INSPIRATION

By

ROB LOCKETT

FADE IN.

EXT. CITY STREET MORNING

It's a bird's eye view of Los Angeles, moving over the outlying regions of hills, shifting towards the suburbs before centering on a cluster of skyscrapers.

We descend past the glass towers, passing billboards of various celebrities and designer labels down to the street level. City workers stream past each other, crowding the footpaths of the city as people continually bump into one another.

A few homeless people are seen hobbling towards some workers, trying to gain their attention to beg for money. Commuter traffic is bumper-to-bumper, drivers staring ahead in frustration as electronic billboards inform them of further construction delays. A few sound their horns as they struggle to cope with the standstill.

TRACK with the pedestrians. Their pace is determined. They stream past an obstacle sitting on the gutter.

Most of the crowd detours around but a few turn their head to peer back as they walk past the obstacle.

It's a MAN, sprawled across the pavement. His sparsely stained tuxedo wears last night's celebrations.

In one hand he grips a long stemmed RED ROSE. The other clutches a CELLPHONE.

He's reached the early thirties use-by-date, but the cherubic smile on his face softens the circumstances. He gazes around the street, focusing on a PIGEON that seems to peck at scraps in the gutter.

He places the ROSE down beside himself as he fumbles around inside his jacket pockets to find a LIGHTER.

ALEX takes a couple of drags of his CIGARETTE before returning his attention back to the pigeon, though slightly dulled by the onset of a hangover. The pigeon is joined by another, followed by another, until there is an entire flock of pigeons swarming over the road.

Their warble increases in volume, becoming rhythmic like the sound of a heartbeat. This becomes louder and intensifies till it becomes almost deafening.

This noise is suddenly halted by the ring tone of Alex's CELLPHONE.

The call continues. Alex watches all the PIGEONS fly off, shaking his head in disbelief before returning his attention to the phone call.

We FOCUS on the PHONE as a HAND reaches down to take the call.

PEDESTRIAN

Hey buddy! You gonna answer this... It's a very fucking annoying tune.

ALEX

Yeah I'll get it. Had a big night you know?

PEDESTRIAN

These things happen but seriously, it's Crazy frog annoying.

The CELLPHONE continues to ring.

PEDESTRIAN

Hang on a minute... Don't I know you from somewhere?

ALEX

Excuse me, I need to get this.

Alex picks up the CELLPHONE.

ALEX

Hello?

SARAH

Alex, it's your mother.

ALEX

I thought you would have called last night.

SARAH

Listen Alex, I've got some bad news. It's your...

THE PEDESTRIAN, realizing who Alex is, starts to shout out.

PEDESTRIAN

Well shit me... Listen... everyone... it's that guy!

Alex starts to wave his arm out, urging the pedestrian to keep his voice down.

ALEX

Shh...Yeah yeah well we're all that guy... Sorry Mother, I didn't quite catch that. It's my what?

SARAH(V.O.)

Davey overdosed last night.

Alex stays silent... He is frozen to the spot. The Pedestrian continues shouting out to some ONLOOKERS.

Their voices slow down into a garbled and slow dialogue, indiscernible to Alex as he tries to focus on the conversation on the CELLPHONE. The light around him begins to darken, turning the vision of him and the crowd into black and white. Heavy shadows are cast across his face.

PEDESTRIAN

It's that Alex Somebody! You know... the guy that got Best actor last night! You remember that speech. That was real sappy.

SARAH(V.O.)

Alex... I know that this is a shock to you. It hasn't helped me either.

Some more ONLOOKERS stop and crowd around ALEX. ALEX is gazing at the ROSE in his hand. ALEX turns his attention back to the CELLPHONE.

ALEX

I don't think I can talk about this right now.

Alex stares at the CROWD around him, who are watching his conversation with fascination.

SARAH(V.O.)

It never is a good time with you, is it?

He begins to walk, striding towards a deserted alleyway. Some of the admiring crowd chase after him.

ONLOOKER

(Murmuring)

It is him... He looks different.

ALEX

Look I know. Things have been messed up. How do you expect me to feel?

(A Beat)

Look I'll just get there and we'll talk.

Alex quickens his stride, turning back to look at his followers. The noise they make is muted and we can only hear the loud thumps of Alex's footprints. He weaves in and out of some alleyways.

He fleets his gaze back at the crowd of onlookers, focusing on their individual faces, which appear maniacal. They brandish flaming torches and pitchforks as they continue to track down Alex through the streets.

He switches off the CELLPHONE and slouches up against a BRICK WALL; he tucks the PHONE inside a suit pocket and wraps the suit around himself as though it were a trench-coat. He changes direction and slips down another alleyway.

He spots a DUMPSTER and hops down beside it in an effort to conceal his body. He slumps his back towards a brick wall and lets out a heavy sigh of relief. The sounds of the crowd and the traffic return. Alex turns back and sees an empty alley.

INT. ALEX'S BEDROOM AFTERNOON

ALEX starts to frantically pack his SUITCASE with CLOTHES. He turns his gaze towards the ROSE on his bedside table.

EXT. KODAK THEATRE FLASHBACK

It is a brightly lit STREET filled with FANS as ACTORS climb out of their limousines. One FAN slips through the barrier near the BLEACHERS and hands ALEX a LONG-STEMMED ROSE.

GRACE

My son died two years ago from his drug abuse. Your performance was an inspiration. God bless you...

Alex stares down at the ROSE in his hand.

INT. ALEX'S BEDROOM PRESENT

ALEX walks over to his ANSWERING MACHINE. He presses the PLAYBACK button.

CHRIS(V.O.)

Hey there Alex. It's Chris. Man, I am excited here. There is a big buzz around town and it's all you... Shit Alex, I don't know why you're leaving town... It must be a good reason because the wheels are turning here man. You can up the price on everyone and I mean: everyone... I want to keep my star happy, so ring me if you need to.

Alex has already left the room before the MACHINE clicks off.

INT. ALEX'S CAR DAY

ALEX changes up the gears, he looks down at the SPEEDOMETER.

It reads 80 MPH with the NEEDLE still climbing.

ALEX stares ahead at the road winding past some fields. The vast fields of BARLEY begin to shrink away in the distance as Alex's gaze narrows on the road in front of him: the long white streaks of overtaking markers become rhythmic.

INT. FAMILY HOME FLASHBACK.

A nineteen year old ALEX is sitting by his young brother DAVEY's bed, watching him sleep as the sun slowly comes up in the bedroom. The Bedroom is that of an Eight-year old's: Boasting a myriad of toys and action figures which are becoming aesthetically threatened by the vast piles of used clothes.

DAVEY

(Yawning)

Alex... (Yawn) What are you doin' up?

ALEX

I was waiting for you to wake.

DAVEY

What do you mean?

Davey turns his head to the ALARM CLOCK beside his bed.

DAVEY

Why are you waking me up now?

ALEX

I'm leaving Crockett.

DAVEY

Leaving? Where are you going?

ALEX

I mean I'm leaving here for good.

DAVEY

Did Mum kick you out?

ALEX

Sort of. She threatened to kick me out if she smelt it in my room again.

DAVEY

The pot?

ALEX

You shouldn't know about that sort of thing. You're too young... Look Davey, it's not just that. I mean, that's not only why I'm leaving.

Davey stares at Alex blankly.

ALEX

You won't understand it now, but believe me there's more out there for you than just here. I look around me and everything here's so dull.

DAVEY

Boring.

ALEX

Yeah that's right. This has gone on too long.

ALEX gazes around Davey's room, looking at his cluttered desk and sports trophy collection.

ALEX

I feel like I'm wasting away here. I'm going to be a skeleton in a few years.

DAVEY

Like Skeletor?

ALEX

Yeah. Like Skeletor.

DAVEY

You wanna be He-man.

ALEX

I want to be somebody: Anybody else.

DAVEY

Can I come with you?

ALEX

No Davey, you can't. You have to stay here and look after Mum. You're the man of the house now.

DAVEY

Okay.

ALEX

Now look after yourself and don't get in any trouble while I'm gone.

DAVEY rolls his eyes.

ALEX

I mean it Davey. If I hear of you up to no good I'm coming back to kick your ass, right?

DAVEY

Right.

ALEX

Good.

Alex gives Davey a quick hug, edging off the bed while Davey still claws at his sleeve.

ALEX

Take care you little terror.

DAVEY

You're the terror.

Alex smiles, as he heads out the door.

ALEX

Yeah I know.

INT. GAS STATION

ALEX sits at a small booth, sipping at a COFFEE, checking his CELLPHONE. TWO SENIOR CITIZENS are sitting in the booth behind him, sipping at TEA and sharing a PUZZLE. THREE OTHER DINERS sit further down, questioning the WAITRESS over their side dishes.

CHRIS (V.O.)

Alex: Chris again. You should really call me back. The time is now three-thirty. You wouldn't believe the schedule here...

(A Pause)

I know. You're probably shacked up with a star you lusted after as a teenager. That's normal, that's good, but it can only get better man...you've got everything happening here... the buzz, photo ops, the world is watching Alex.

(A Pause)

Stay in touch because it's all happening and you have to capitalise my friend. I'll be in the office for a while or you can try my mobile.

Alex looks at the phone for a moment and attempts to call CHRIS back.

The PHONE rings a few times before CHRIS picks up the PHONE.

CHRIS (V.O.)

Hello?

Alex hangs up the PHONE before offering a response. He sighs and then finishes off the COFFEE. He stares at the CLOCK hanging on the wall.

INT. RECRUITMENT AGENCY FLASHBACK

ALEX is staring at a CLOCK in a waiting room. Next to the clock is a printed sheet of paper with a message typed: INTERVIEWS BY APPOINTMENT ONLY.

A younger 21 year old Alex takes a seat among TEN OTHER PEOPLE in the waiting room. All of them seem tense, with most clutching the SCREENPLAYS they are given; a few silently mouthing their lines in a vain attempt to swat up on their characters. There are a few FILM POSTERS aligning the wall.

They are accompanied by pictures of some actors the agency has made famous. Alex is staring at one actor in particular when he hears a voice cut the tension. He is interrupted by another struggling actor named MOSES CARTER.

A young black man who dresses far more conservative than his name suggests. Only a stud in his left ear would separate him from a bible salesman. Just twenty-two years old, Moses dresses like his much older peers. Being a social chameleon, Moses is able to transform his dialogue from a young gangster to an old wise mentor.

MOSES

Hard to imagine him waiting here, isn't it?

ALEX

Sorry..?

MOSES

Well, you know here we are, competing for some small time part and he started off doing exactly the same thing.

ALEX

Everyone has to start somewhere.

MOSES

Oh I know that, but you just look at him and think that guy just had it, you know, like he walked up with this Jedi Mind trick, waved his hand at some executive and said 'You will give me this role".

(A short pause)

Probably even turned an Interviewer over and just started banging them on that desk: Half their clothes still on with a shy guy in the corner in the foetal position.

ALEX laughs as MOSES continues on.

MOSES

Or he'd go one step further and give them the Robert de Niro "Is that what you want?" double take, staring at them like Travis Bickle as he's doing them. Imagine that?

ALEX

I remember that look. It became his look for the next forty years.

MOSES

What's your name anyway?

ALEX

Alex. Alex Richards.

MOSES

That's cool. Is that your real name?

ALEX

Yes. It's legit. What about you?

MOSES

I'm Moses. Moses Carter.

ALEX

For real?

MOSES

My parents must have watched too many

of those blaxploitation films.

(MORE)

MOSES(CONT'D)

I'm surprised they didn't name me 'Shaft". I know it was probably playing in the background the night I was conceived.

Alex gazes at the other actors around them.

ALEX

Is it always like this, Moses?

MOSES

What? You mean you haven't auditioned before?

(A Pause)

Well you're not missing much. We usually sit here for an hour or two. Then your name gets called and you find out the part you want is taken and you're actually auditioning for a guy in a suit in some stupid toy commercial.

The door opens and a YOUNG MAN comes out, his eyes are red and he walks with his head dipped low, sneaking a glance at the OTHER ACTORS in the waiting room.

MOSES

Another victim.

ALEX

I guess that will be me soon.

MOSES

I wouldn't worry too much. As long as you can tolerate this, you'll probably last.

ALEX

They made you dress up in a suit, didn't they?

MOSES

I needed the money and no one can tell it's me, so why worry?

ALEX

I'm not worried.

MOSES

Well that's a good start.

The door to the office swings open and an assistant calls out.

ASSISTANT(O.S.)

Mister Richards?

Alex starts to get up of his chair.

Moses leans across to Alex.

MOSES

Here's my card. Let me know if everything goes alright.

ALEX

Sure Moses. Good luck with your interview. If it all goes to hell you can always do children's parties.

MOSES

I'm not that desperate.... Yet.

Alex walks towards the door. Moses watches him before focusing on the CLOCK.

The "actor's face" gazes back at him in the reflection of the CLOCK.

I/E. GAS STATION PRESENT DAY

ALEX walks out of the station diner onto the pavement outside, hurriedly walking past the various vehicles and into the men's room.

INT. NIGHTCLUB FLASHBACK

ALEX bursts through a Nightclub door, striding across a crowded floor, led along by MOSES who waves at a few friends chatting at the bar.

MOSES

Hey, What's up?

SEAN

Same depth: Different smell.

MOSES

You always smell like shit. What are you talking about?

Another acquaintance waves at Moses as he turns to Alex.

MOSES

So you got that part right?

Alex stares at Moses for a minute. Moses' face morphs into a bearded man in an oxford suit.

INTERVIEWER

I'm sorry Alex.

The face morphs into another face. This time it's a woman in her late thirties wearing a very formal business outfit and staring at a glamour photo of Alex.

INTERVIEWER

We'll call you.

The face changes again into a much younger woman, whose dress sense has suddenly become much more casual, puts down a screenplay.

INTERVIEWER

There's just nothing here for you. I'm sorry.

The face morphs again, changing into a blur of different faces. They all say the same thing though their dialogue becomes the same, fast paced and high pitched.

INTERVIEWERS

We're sorry (Repeated several times).

The faces change back into the familiar sight of Moses.

MOSES

Well? Alex? Did you finally get a part?

ALEX

Yeah I did.

MOSES

That's great. Because there are a few people up here I want you to meet.

They walk past a few dancers over a bright neon dance floor before arriving at a few large booths. In the centre booth are a few sharply dressed people talking noisily among themselves. One of them steals a glance at Moses.

It is RYAN, one of Moses' close friends. Ryan is in his mid-twenties, sporting chunks of hair gel through straight black hair. The pinstripe suit he wears covers up his overexposed tan-line, the result of frequenting one of the many tan salons in the area.

RYAN

Moses? Talk to me babe. Come over here and pull up a space.

MOSES

Shuffle over then. Come on.

Some of the other group members stare at Alex.

SEAN

Hey, we got a newcomer here.

RYAN

Well, we'll see. Just be careful. This guy could steal all the vacancies around here.

MOSES

Oh By the way, this is a friend of mine, Alex...

Alex, meet Ryan here.

ALEX

Hey.

RYAN

Is this the guy you were telling me about?

MOSES

Yeah. He may go a long way yet Ryan.

RYAN

Not as far as we're going to go.

MOSES

You see Alex, Ryan here has sort of become my agent over the last couple

(MORE)

MOSES(CONT'D)

of years. He thinks our fates are

intertwined... or something like that.

Ryan gives a wry smile.

RYAN

Exactly that. We formed a pact. It's airtight my man. With his talent and my social network, we can really go places.

MOSES

You see why I made him my agent? Who else couldn't help but feel sorry for him. Look at his face.

RYAN

He jokes now but wait till his big break. He'll look upon me in a new light. He'll stare up at me with those big old tear-filled eyes and say "Thank you, I owe it all to you, Ryan. I am nothing without you, Ryan. You gave me this break because you are so much more of a man than me."

MOSES

Speaking of which, so my big break's happening...when?

Ryan ignores this.

RYAN

Oh what? You complain now...Who got you that last part then? Your friend you ran into down K-mart? No? Me: that's who. So Alex, you're a friend huh?

ALEX

I guess so. Look at him. He needs all the help he can get.

Ryan laughs and nods his head.

RYAN

A good answer. I think I like this guy Moses. Tell me what Alex, Have you got a babe sittin' at home?

ALEX

No, I'm single too.

RYAN

Too? What do you think I'm desperate and dateless like the rest of these schmucks? ... A little advice, just don't go polluting an already saturated market my friend.

Moses gives a curious glance towards Ryan, trying to anticipate where the conversation's going.

RYAN

I'm joking. What Moses? I'm just busting the guy's balls a little.

MOSES

Busting his balls? Is that a Jersey accent now? You watch Goodfellas and suddenly you're a made man?

RYAN

Heh, you think I'm funny? What like ha-ha funny? What do you mean funny?

MOSES

And on it goes. Excuse him. Impersonations are the only material he's got when he stops his Seinfeld act.

Alex tries to enjoy the moment but he starts to fidget and look around the room.

ALEX

I've got to make a quick phone call. Don't worry, I'll get the round.

MOSES

You see why I hang out with this guy. He lands himself a few small parts and suddenly he's throwing money around like he's Donald Trump. Just no bad hair days like Trump.

Alex disappears into the crowd, searching for a pay phone.

RYAN

Hey if he's happy to spend it, I'll drink it.

MOSES

You really are an agent, aren't you?

RYAN

What are you implying?

MOSES

Whores and their gourds, my friend.

Alex walks over to the bar, getting the BARMAID'S attention.

ALEX

Is there a phone around here?

The BARMAID points towards the back section just around from the bar.

BARMAID

Just around the back there. You'll have to walk past the restaurant.

Alex nods as he strolls past a few diners, focusing on the PHONE mounted on the wall. He puts a few coins in the slot and dials a familiar number.

The phone dials for a few seconds before a male voice answers the call.

DAVEY(V.O.)

Hello...?

ALEX

Davey! I'm glad it's you.

DAVEY(V.O)

Alex! How are you bro? Where are you?

ALEX sticks a finger in his other ear as the crowd noise elevates.

ALEX

I'm in a night club up in LA.

DAVEY(V.O.)

What?

ALEX

I said I'm in a night club in LA!

DAVEY(V.O.)

That's cool. Did you find much work?

ALEX

Just a few small parts here and there.

DAVEY(V.O.)

Parts?

ALEX

Yeah. Didn't I tell you...

DAVEY(V.O.)

Tell me what? Are you acting now?

ALEX

What? Yeah that's right... I went along and auditioned.

DAVEY(V.O.)

When was that?

ALEX

Oh, a couple of months ago now. Okay so a year or two.

DAVEY(V.O.)

Last I heard you were working in a factory.

ALEX

I still do a couple of shifts now and then. They only ring me when they're desperate though.

DAVEY(V.O.)

Oh well. A big shot like you doesn't need them anyway. Besides you can't handle a real man's job.

ALEX

Hey I'm only small fry... But it's a living. Better than being stuck in that lame-ass school of yours.

DAVEY(V.O.)

Fair play. At least you're doing what you want to do. Better than this shit hole.

ALEX

When are you going to come up? I could give you money for a bus.

DAVEY(V.O.)

No that's fine. I don't need your charity. Did you want to talk to Mum...

ALEX

No look Davey, I'd better go. Don't forget my offer though...

DAVEY(V.O.)

Why do you both keep it up like this? One of you is going to have to bury the hatchet sooner or...

The Phone clicks.

DAVEY(V.O.)

Alex?

ALEX hangs up the phone and walks over to the BAR.

EXT. GAS STATION PRESENT

ALEX comes out of the restroom, scanning the area around the PUMPS suspiciously. He walks to his car, fumbling for the car keys and drives off.

We see a profile of the side of the CAR and ALEX as the BACK TYRE churns the gravel at the side of the Highway, ALEX accelerating past a speed limit sign.

INT. GUTHRIE'S CAR

A MAN in his late twenties grasps the steering wheel of a new BLACK SUV. He sports a pony tail and a set of aviators.

He searches the streets for a familiar house, slowing down to peer at a large mansion lined with a tall hedge of lush green foliage, almost concealing the large ELECTRONIC GATE at the front entrance-way.

He does another lap of the block before stopping the car down the road.

He opens up the glove compartment and takes out a STACK OF MAGAZINES, flipping through an assortment of TIME, ROLLING STONE and various other entertainment magazines before he settles on a HUSTLER, inserting it between the centre pages of a TIME MAGAZINE.

He alternates between the latest centre-fold and the view out of the window. His routine is momentarily halted by the ring tone of his CELLPHONE.

GUTHRIE

Yeah?

WHITMAN(V.O.)

Guthrie? Good. How is that photo coming along?

A VAN pulls along behind GUTHRIE'S CAR.

GUTHRIE

Just competitors here.

WHITMAN(V.O.)

Any sign of our star yet?

GUTHRIE

No. I only just got here.

INT. WHITMAN'S OFFICE

WHITMAN walks around with a small CELLPHONE pressed to his ear gazing up at a huge WHITE BOARD with various celebrity names arrayed around it. He looks back at his desk with a photo of ALEX at the OSCARS.

WHITMAN

Well now I need you to chase someone else up.

GUTHRIE (V.O.)

I just told you. I only just got here.

WHITMAN

Now we have a fresher target. I want you to come into the office immediately for a briefing.

INT. GUTHRIE'S CAR

GUTHRIE turns away from the SCREEN, his nostrils flaring.

GUTHRIE

Look Whitman, I need a picture of this one. I'll come in then, and only then.

WHITMAN (V.O.)

Listen Guthrie. I won't put up with this shit from you. Do you know how many other people could do this job for me? A man with your background can't exactly pick and choose between jobs.

GUTHRIE

Hey fuck you Whitman. You remember who got you those shots of that pop star slut? Do you remember how many days I waited here in this car just to get those shots?

Whitman sighs over the phone.

GUTHRIE

Good luck finding someone else who'll wait four days just to get a single photo... Good money just for you to line your pockets with.

WHITMAN (V.O.)

Fair enough. Well there's another chance for you to earn some serious dough as soon as you call in, so stop fantasising...

GUTHRIE looks back from the HUSTLER.

GUTHRIE

I'm watching as well. You know that.

INT. WHITMAN'S OFFICE

WHITMAN

Well whatever. Do what it is you do, take your photo and get over here.

WHITMAN turns off the CELLPHONE and tosses it on the couch across from his desk.

He sits back on a leather office chair and reaches across a vast teak desk, tossing over photos and various memos, revealing a large black PHONE with a CALL HOLD BUTTON flashing intermittently.

Whitman pushes the BUTTON.

INT. CHRIS'S OFFICE

Chris's office is almost identical to Whitman's, both bearing a post-modern crescendo of wood-grain and metal, enough of each decorated throughout to resemble a private study, a juxtaposition of the intimate and the sterile.

CHRIS is busy talking on the phone. A SECRETARY brings him a PRINTED EMAIL, trying to silently signal an important point. Chris waves her away, pointing to the phone.

CHRIS

Yes Ryan. I understand. Well it's a possibility isn't it?... No not now, I'm on the phone. No I wasn't talking to you Ryan.

The door quietly closes as the secretary scurries off.

CHRIS

Yes, sorry about that. Well you know the man better than I do. Is he likely to just pull off these vanishing acts at the drop of a hat?

(A pause)

What?

(A pause)

What do you mean family business?

(A pause)

I have to know. Fuck that, I am his family now.

(longer pause)

Look Ryan I know you're his friend but this is almost career suicide to

(MORE)

CHRIS(CONT'D)

leave at a time like this. This is boom time Gringo.

(a pause)

Do you know the number down there?

(a pause)

Look, just give it to me? I promise that it's in Alex's best...

(a pause)

Okay well try and find out. Do you know where he might be?

(small pause)

Well that's a start. Look I appreciate it man.

(a pause)

Later.

Chris presses the PAGE BUTTON on his DESK-PHONE.

CHRIS

Yes Erica. You can come in now.

The secretary quietly walks back in and waits for his acknowledgment.

CHRIS

Yes it's okay now. I'm not on the phone now am I? Now what is it?

The secretary gives him the letter back. Chris gazes at the memo. The Letterhead is from the TONIGHT SHOW.

CHRIS

Well I can't exactly confirm that now can I? Ring them and tell them I'll confirm it by Friday maybe... Oh and while you're doing that can you find a number for here?

ERICA

Mister Richards?

CHRIS

Yes that's the one: His relatives or friends. You know the lingo.

ERICA

Private and Confidential?

CHRIS

That's right. Now get those heels turning because I want that info ASAP.

The secretary scurries out of the room again as Chris walks over to another desk, where pictures of his acting clientele stare back at him. ALEX'S photo is in the centre with Alex staring straight at the camera with a soft angelic smile.

Chris runs his fingers through his hair and breathes heavily, feebly attempting to relax.

INT. HOSPITAL FOYER AFTERNOON

ALEX strides purposefully through two electronic doors, scanning the room for a reception desk. He arrives abruptly at a counter where a bubbly receptionist waits to hear his enquiry. He glances down and sees a name tag bearing the word KATHERINE.

KATHERINE

Hi. What can I do for you today?

Alex leans in towards her, turning his back to various people either sitting or walking through the entranceway.

ALEX

Ah yes, I was looking for a Davey Richards.

KATHERINE

Okay. Won't be a minute here.

KATHERINE deftly taps at the keyboard, casually reading the monitor for the name. In the middle of her typing, she glances straight up into ALEX'S FACE.

KATHERINE

Here we go. We have a Mister Richards staying in Ward 72B.

ALEX

Thanks.

KATHERINE

You're welcome. Have a nice day.

ALEX

I'll try.

Alex attempts to walk off just as she asks him another question.

KATHERINE

Excuse me but don't I know you?

His eyebrows raise and he scratches his neck.

ALEX

Um... No I don't think so.

KATHERINE

No I'm sure I've seen your face before.

ALEX

It's probably my twin: The handsome bastard.

KATHERINE

Unless... I don't know, you've probably just got one of those faces.

ALEX

I'm sure that's it. Well, have a good day then.

KATHERINE

Will do. Uh... you too.

The receptionist stares after Alex, shaking her head. She tries to get the attention of a CO-WORKER.

Alex passes underneath an archway and strides out into the main corridor.

The co-worker acknowledges Katherine, who tries to point out Alex across the room, disappointed he has left her sight.

CO-WORKER

What is this? Who am I meant to be looking at?

KATHERINE just shrugs, turning her attention back to the front.

CO-WORKER

Look, I've also got work to do.

INT. DAVEY'S HOSPITAL ROOM AFTERNOON

DAVEY RICHARDS lies in a private hospital room. It's immersed in the usual assortment of hospital machines: Tubes and monitoring equipment, all of which Davey is hooked up to. Beside his bed is a dressing table with a few tissues and a vase with a few plain flowers stemming from its core. Waiting patiently beside him is his mother, SARAH RICHARDS, who occupies one of the two chairs allowed for visitors.

Sarah sits up in the chair, looking up from a novel, as a machine beeps loudly from next to Davey's head. She glances briefly at Davey, seeing no sign of movement and sadly glances back to her novel. She doesn't notice Alex leaning against the door.

ALEX

You never could get your head out of those books could you?

Sarah continues to read her novel without looking up.

SARAH

How long have you been standing there?

ALEX

Just now. I only got here five minutes ago.

SARAH

I'm surprised you weren't ambushed.

ALEX

You and me both.

(MORE)

ALEX(CONT'D)

How long has he been here?

SARAH

Just the last two days.

Alex stares down at Davey's comatose body, his eyes moving over the array of tubes and monitors before resting on his eyes lost in endless sleep.

ALEX

Okay... I don't know how these things work? Is he uh... Is he in any pain at all?

SARAH

No. It's just like a big sleep.

ALEX

That's what I figured.

(A Pause)

How has the nurse been?

SARAH

Very good. No complaints so far.

(A long pause)

ALEX changes his stance and moves closer to his mother.

ALEX

So are we going to talk or are you just going to bury yourself in that book?

Sarah reflexively shoots a glare up at ALEX. She holds Alex's gaze for a moment. This occurs just as a NURSE walks in to check on Davey. The Nurse looks at the two of them for a moment before drawing out a clipboard and a pen, checking one of Davey's monitors.

She stands up from her chair and walks past Alex, gesturing for him to join her out in the courtyard.

They both walk past a corridor of sick people, a sea of graying faces that occasionally cough out a few sentences to their immediate associates.

Alex opens up the door into the courtyard, gesturing for his mother to lead him outside, among a pattern of rose gardens and concrete.

SARAH

Don't try to unhinge me Alex. You should appreciate what I've been through. The silence in there affects me as well.

ALEX

I just can't stand being in there. I feel like we're in a lab, watching him about to be dissected.

SARAH

What is that? Who are you? You think I can't read through your act. You probably enjoy being in there, thinking it can give you some inspiration for your next part.

ALEX

That's bullshit.

SARAH

Don't swear in my presence.

ALEX

It's a lie.

SARAH

Really? Well I hope you get comfortable in there, because you have a duty here to watch over your brother just like I've been doing the last couple of days.

ALEX

I came as soon as I could. I know you needed me here.

MRS RICHARDS

He needs you here.

ALEX

Well... Here I am. What else do you want from me?

SARAH

I want you to stop pretending you're his knight in shining armor. I don't get an instant reward every time I act like a mother.

ALEX

That's what bothers you, isn't it? Do you think I wouldn't trade what little recognition I have just to see my brother at his best.

SARAH

(Sighing)

I don't know what to think Alex.

Alex moves closer to his mother, composing himself a little.

ALEX

Look I know that we haven't been exactly the best of families. That phone call I got from you was the first one in a long time.

SARAH

That's true.

ALEX

Why don't you go home and get some sleep? You look exhausted.

SARAH

Are you going to stay here?

ALEX

Of course. I'll take care of him tonight... or at least watch him sleep for a while.

SARAH

I'll see you later.

Sarah walks towards the door and stops for a moment.

SARAH

I know that phone call was important to you.

Alex nods.

ALEX

Yes.

DISSOLVE.

INT. DAVEY'S HOSPITAL ROOM NIGHT

ALEX sits down in a chair beside Davey's bed. He looks forlornly towards his comatose brother, taking in every breath as though it is his last. Alex leans closer towards the bed.

ALEX

I don't know if you can hear me or not Davey, but I'm going to speak to you anyway... You sure are scaring me right now... To hear...

(Alex breathes in heavily)

To hear that you're little brother is in a coma is not the best news.

(A pause)

I don't know where exactly that puts us right now but I'm looking to... no I'm hoping to hear there's a future for people like us. I hope the future forgives us. I know that life can be a piece of shit and we try to overcompensate for it somehow.

(A long pause)

You know that Mum and I haven't spoken for a while. I'm sure we both put if off for as long as we could.

Alex smirks.

ALEX

But you sure put an end to that didn't you: Always trying to be the mediator.

INT. FAMILY HOME NIGHT

SARAH shuffles over to a heater, clicking it over for a few moments before moving over to her entertainment unit.

She bends down to grab a VIDEO TAPE, fumbling it for a second before inserting it into the VCR. She flicks on the TV screen and is greeted with a few seconds of snow before the recorded program begins.

She turns in her armchair, getting herself nice and settled before anticipating the program that's about to start.

HUGH JACKMAN appears out on the screen, walking across to centre stage, the music of the academy awards and audience cheers fading out behind him as he prepares his address.

HUGH

Thank you. Thank you very much. Ladies and gentlemen...

INT. HOSPITAL ROOM NIGHT

ALEX

I've tried to sum up what got us both here in the first place. A psychiatrist at this point would probably pull out a clipboard and ask "Now what about your parents?" And that's just the thing isn't it? I mean our father wasn't exactly the warmest spirit in the world but I think he left us early enough before he could do any significant damage.

(A Pause)

Now let's look at Mum. Now that's only been a positive influence... Despite all of her efforts, she couldn't be both of our parents now could she?

(A Shorter Pause)

I tried to be some sort of role model for both of us. It's not always easy though. I left you for my reasons; my own selfish reasons only to return to this. It's hard to explain what I feel right now, this numbness, and this ...cynicism.

The machine continues to beep as Alex looks back at his feet.

ALEX

I owe you... I owe us a lot.

Alex returns his gaze back to Davey's face.

A nurse walks in to interrupt Alex's moment, bringing in some CDS.

ALEX

What's all this?

NURSE

It's something that we've been experimenting with for a few years. Mrs Richards agreed with Doctor Singh to use it on your brother.

ALEX

You mean that music actually wakes people up out of these things.

NURSE

Sometimes. It's not just any time of music though... It has to be music that triggers some type of emotional response from the patient, something they're familiar with... but talking like you are will help your brother as well.

ALEX

Alright I'll admit that this is all starting to sound a little too amusing. Are you sure about this?

NURSE

Well it's worth a try. Care to pick something out he might like?

ALEX

I don't know... His tastes have varied a little over the years. I wouldn't want to find out he wakes up to N-Sync.

The Nurse smiles.

NURSE

You won't know until you try.

ALEX selects a track he thinks they might both like, slipping the C.D. in and skipping across some of the tracks. The song begins...

Alex starts to tap the C.D. cover against his knee, moving along in time with the bass. He glances over the C.D. cover before a song catches his eye. His face changes and he speaks to the back of the already departing nurse.

ALEX

Huh... You're not going to believe this, it's almost as if he's trying to tell us something.

Alex leans over and skips a few tracks.

MUSIC F.X.: The song Coma by Pendulum starts...

The song reaches the words "Hug me till you drug me honey, kiss me till I'm in a coma."

Alex tilts his head back and we focus in on his eyes peering up through the ceiling.

EXT. THE JUNGLE DREAM SEQUENCE

ALEX is wandering through a vast jungle of different-colored foliage, stumbling through various types of plant-life as he spots a field through the distance. Alex brushes away at some branches that sway at his face, clawing them aggressively as the branches start to sway faster and harder.

As Alex pushes harder through a gap, he finds it starting to close in around him, closing off his view of the field. Alex watches something stir in the background, pushing through from the other side. He also hears an electronic beep in the background.

A camouflaged object moves closer towards him, making rustling noises everywhere around him, trying to ambush him. Alex, not knowing where to look, turns around as he hears another electronic beep. The noise sounds slightly louder than the last one.

As Alex turns back to hear more rustling, a length of vine starts to curl up towards his face. As it lifts up, a gap suddenly appears and a harsh light forces its way through.

Alex winces, trying to see beyond the light when the vine suddenly wraps around his throat, gagging him. The light flickers before shooting another bright flash into Alex's face. The sound of a camera flash is preceded by another loud beep...

INT. HOSPITAL ROOM

ALEX wakes up with a jolt just as he hears another beep from Davey's MONITOR.

He is sweating profusely and looking around anxiously at his surroundings.

He looks again at Davey's bed and glimpses the beeping monitor. The music continues to play as Alex examines the latest events of his life.

A voice cuts into his thoughts as he imagines himself up on the stage at the Oscars...

ACTOR

And the winner is... Alex Richards.

INT. RYAN'S OFFICE FLASHBACK

ALEX continues back to a meeting with Ryan before the academy awards. RYAN is pouring out some champagne into a glass as Alex emerges from a perspex table, snorting up a line of COCAINE, sniffing his nose at the same time.

Ryan offers out a CHAMPAGNE GLASS to Alex.

RYAN

Here's to you Buddy. I think this will be a night to remember.

Alex grabs the glass and sniffs his nose again.

ALEX

Cheers.

As the glasses clink together, Alex is interrupted by a voice.

ACTOR(V.O.)

And the winner is...

EXT. HOLLYWOOD BOULEVARDE FLASHBACK

ALEX stares outside the mirrors windows of a limousine. He sees past the blur of onlookers as the car slows to a halt outside the red carpet.

As his door is opened, Alex is hit by the euphoria of the moment, as the crowds' cheers rise to a crescendo, pitching at a tremendous volume as the few quiet ones among them gaze adoringly at Alex: their new star.

As Alex staggers out of the limo and stumbles along the carpet, he hears a voice cut through the maelstrom of fans, piercing Alex's ear drums and warping the cheers of the other fans till they eventually become muted.

GRACE

Alex...

The fan slips through the barrier and hands Alex a LONG-STEMMED ROSE.

Alex slips back into a stream of conscious thought as he hears the beep of a machine.

INT/EXT. GAS STATION FLASHBACK

Alex drifts back to his petrol stop before arriving at the hospital. He stumbles through the MENS ROOM, locking up the cubicle door behind him as he removes a BAGGY OF COCAINE, placing on a small METAL TRAY and snorting a line of it.

Alex sniffs his nose and sways around for a moment, the walls of the MENS ROOM become darker and smaller. He hears the beep of a machine followed by a voice.

SFX.: The announcer at the Oscars voice enters into Alex's thoughts, this time his voice is horribly warped and slowed down, giving it a more sinister tone...

Actor (V.O.)

And the winner is...

A machine beeps.

INT. HOSPITAL ROOM PRESENT

ALEX is interrupted again by the beeps of Davey's machine. Alex starts to shake and a few tears roll down his face.

He cannot bear to look at Davey's still comatose body and he rises up off the chair and walks out into a guests lounge, nervously shuffling into a seat. He reaches over to a remote control and changes the channel of the television.

Alex is greeted by the image of David Letterman addressing his audience on the Tonight Show. We move in on the television screen, filling the vision with nothing but the television clip.

David letterman begins his celebrity roasting, making Alex's ears prick up at the mention of his voice.

LETTERMAN

And what's with this Alex Richards guy anyway... I mean I've heard of disappearing acts but you know, this guy leaves Steve Guttenberg for dead...

(pause for laughter)

I mean I watched the movie this guy was in Paul and I admit it wasn't half bad but I'm left now feeling like a bride at the altar. It could be a bad Julia Roberts movie... But where is this guy, he was even booked in for the show. Is he Leno's replacement?

(A short pause)

Paul? What do you think? Maybe I have to move on here...

INT. WHITMAN'S OFFICE NIGHT

The Tonight Show is playing in the background as WHITMAN continues to type on the computer. He rubs at his eyes for a moment before peering at the screen and moving a COFFEE MUG to his lips.

His concentration is broken as the PHONE RINGS. He grabs the CORDLESS off its cradle and answers, eyes still focused on the computer screen.

WHITMAN

Hello?

(MORE)

WHITMAN(CONT'D)

(A Pause)

Yes I'm well aware of that. He's working on that right now.

INT. GUTHRIE'S CAR NIGHT

We are moved back to the DRIVEWAY that GUTHRIE was staking out. GUTHRIE is listening to the radio, glancing up as a SPOTLIGHT turns on in the FRONT GATE to the mansion.

Guthrie reaches over to the passenger seat and picks up his CAMERA.

WHITMAN(V.O.)

Yeah I'd play that angle too.

Guthrie puts the camera up to his face just as the GATE begins to open. He watches the events unfold through the VIEW-FINDER on the CAMERA. The centre of the CAMERA LENS acts like a target as we watch the gate open up and a WOMAN emerges from behind the gate.

WHITMAN(V.O.)

Richards. Yes. Spelt the way it sounds. See how easy that was?

(A Pause)

No. No problems there.

Guthrie waits for her to turn front on as she stops talking back to her escort. We continue to wait until she stops talking, pivoting her head.

The CAMERA snaps into action, taking a burst of pictures within a few seconds. Guthrie tries to seek out her MALE COMPANION but can't get a clear view. He returns to the WOMAN, who is now aware of the camera.

WHITMAN(V.O.)

Don't worry. There's something going on there. Whatever he's hiding, we'll find it. We all have our dirty little secrets.

Guthrie takes another sequence of photos, revealing one continuous burst that shows the WOMAN trying to cover up her face as she opens up her CAR DOOR and drives off.

WHITMAN(V.O.)

Richards is our next target. Whatever happens, just make sure it's up front. It should make bold look positively weak.

INT. FAMILY HOME DREAM SEQUENCE

Alex is in his family home. He sits on an old faded floral Armchair. He hears a creaking sound in the background that starts to get louder. Alex gets out of the chair and goes to investigate, walking past a corridor of pictures of his family before finding a Large linen cupboard, which swings open again.

Alex begins to feel uneasy as there is clearly no one opening it. The door creaks open widely again and closes.

ALEX

Dad?

The door continues to swing.

ALEX

It's you Dad, isn't it?

The door stops for a moment, before suddenly closing very suddenly and noisily.

The air around the door transforms into a white vapour, which makes the outline of a human figure. It rushes at Alex, whose mouth gapes open as it passes through him and continues out the front wall of the house. Alex starts to sneeze.

INT. HOSPITAL

Alex wakes up suddenly, making a snorting sound as he props himself up on a chair. There is a T.V on in the background displaying a cheesy infomercial.

Alex sees a rolled up 100 Dollar note on the coffee table in front of him. He quickly pockets it and wipes powder off his nostrils. A nurse politely taps at his shoulder and lets him turn around before speaking.

NURSE

Sir?

Alex fidgets and stares nervously back at her.

NURSE

Mister Richards, there's something here I'd like you to see.

Alex eventually comprehends what is happening, lifting himself upwards and meeting the nurse's gaze.

ALEX

It's happened hasn't it?

Alex quickly scrambles out of the lounge towards his brother's room. The nurse paces behind, reaching the door of Davey's ward and pulling it shut.

NURSE

I'll leave you to it.

Alex

Davey?

Davey nods his head.

Alex

You're shittin' me. How long have you been up?

Davey laughs.

DAVEY

Long enough to hear you snore from time to time. Maybe that's what gets people out of these things.

Alex gives him a hug before peering down at the tubes, wondering if he had just ripped some out of the machine.

ALEX

Oh shit, you okay there?

DAVEY

I've been asleep for a long time. What do you think?

ALEX

You don't want to know.

DAVEY

You know, you could do with some sleep yourself. Maybe some beauty sleep for that thing you call a face.

Alex snickers for a moment, before composing himself. He glances downward, noticing the tubes coming out of his nose.

DAVEY

They've really got me wired me up here haven't they? Think you could pour some alcohol into that drip for me? It all goes straight in my vein.

Alex's smile fades.

ALEX

Davey: I think the last thing we need here is for you to pump any more shit into your body.

DAVEY

I guess Mum's not far away then.

ALEX

Yeah she told me. Don't worry about that.

DAVEY

That's not what I meant. You know that.

There's a brief pause as Davey glances up at his brother, wondering which of them was the worst-dressed.

DAVEY

Well at least it got the two of you talking.

Alex rolls his eyes.

DAVEY

Speaking of talking, I thought you'd be all over that phone by now. I watch some of those shows. Aren't you people supposed to have those stupid drive-thru headphones on?

ALEX

What do you mean 'you people'?

DAVEY

LA types. What did you think I meant?

ALEX

Three things here. One. I am showing you a little respect here by not answering calls. Two. I am respecting some of the other people here by following this sign.

Alex taps at a SIGN above his head that reads "TURN OFF ALL CELL PHONES"

ALEX

And lastly... We have no fucking reception here whatsoever.

Davey smirks.

DAVEY

Yeah. I guess that's why a lot of people are retiring here. You can't be bothered here by anybody.

ALEX

I wish that were completely true.

DAVEY

Things were peaceful here until you showed up.

ALEX

Thanks. And I missed you too.

DAVEY

Apparently I was a mid-range coma patient. It's still a bit touch-and-go.

ALEX

The longer you were in that coma, Davey, the more chance of serious damage to your brain.

DAVEY

They obviously briefed you then.

ALEX

I told them that you already had brain damage but they didn't seem to take me seriously.

Davey rolls his eyes.

DAVEY

So you were trying to be funny then?

ALEX

I don't have to try my friend. Humor just oozes out of every pore.

DAVEY

That's not the only thing that oozes out. Shit for instance. That's another one.

Alex stands up momentarily, pretending to size Davey up. Alex gives him a playful jab, hitting nothing but air.

DAVEY

Tell the nurse to induce a coma for me. At least I got some peace last time.

Davey sees that Alex isn't laughing, adopting a much sterner look.

DAVEY

What?

ALEX

Before that happens there are some things you'll need to tell me. Don't sugar-coat it for me. I know what caused the coma. I just need to hear it from you.

Davey reaches across to locate a button, tapping it as the bed slowly starts to rise up, edging closer towards Alex as he changes his posture. Davey shuts his eyes for a moment and takes a deep breath. He re-opens his eyes.

EXT. RICKY'S HOUSE.

It is a typical white-painted cottage with a matching picket fence. As we move in closer, we notice the timber boards are peeling and flaky as we move in through a living room window where a group of people are crouched around a glass coffee table.

INT. RICKY'S HOUSE.

DAVEY is walking casually past the kitchen with a beer in his hands and drops himself onto a worn leather armchair. He faces RICKY: A man in his mid-thirties in camouflage pants and a black singlet top who stares at his girlfriend JANET, who is deftly cutting some powder into symmetrical lines across the table with a credit card.

She gazes back at Ricky for a moment before returning to her task at hand. Janet would resemble a free-spirit, though still too uptight to be a total hippie she manages to exude sensuality despite the little pot belly peeking out over her skirt.

JANET

What's up babe?

RICKY

I don't know. It's a Sunday night. We should really make the most of it.

Janet starts to curl up a ten dollar bill, tightly rolling it as she meets Ricky's gaze once more.

JANET

And you don't think we're doing that right now?

RICKY

This is probably enough. But I'm still thinking about those customers. You should have heard this one assclown today.

JANET

You're working seven days at the moment. It's a condition.

RICKY

We're bordering on a joke about

(MORE)

RICKY(CONT'D)

Mondays here. You realise that? One crack about Mondayitis and I'll fucking disown you, understand?

Ricky doesn't wait for Janet's response. He turns his attention to Davey, examining his over-relaxed slump.

RICKY

If only we could get Davey to shut up!

JANET

He's never been the talkative type.

RICKY

Like his brother. Well except when he's got a camera shoved in his face. Then Alex becomes the animated type.

Davey smiles.

DAVEY

I'll talk when I'm good and ready. You just rustle up some people worth talking to.

Ricky grabs a cordless phone off the coffee table next to him, jabbing away at a few buttons.

RICKY

You hear that Janet. It's time to get things moving here.

DAVEY

You're right about that. Stop talking to me and ring someone.

Davey slides down the armchair onto the carpet before perching himself over the coffee table. He rubs some powder into his gums. Janet glances over again at Ricky.

JANET

He's got his second wind. Our boy is finally growing up.

Davey pinches at his nose, grunting at the same time to clear his nostrils. He shifts his eyes over to Ricky, who lowers the cordless and looks over at his notebook.

RICKY

Who else should we get Jan?

JANET

Don't forget to invite some of the girls over. I'll need some girl time and our boy here needs to get laid.

(A Pause)

I think Danielle had her eye on him.

RICKY

Really? I didn't think shithead here was her type.

DAVEY

Yeah, I guess a minimum wage asshole like me can be a real turn on for a gal.

JANET

Of course it can. I didn't mind slumming it. I still am.

RICKY

Fuck you.

Janet laughs.

JANET

Slut.

RICKY

Just don't act like a man-whore and you can still pick

up a nice one.

DAVEY

Don't start again. Typical couples. You don't know everything.

JANET

Yes we do. So relax.

JANET gestures towards the coffee table.

JANET

This stuff's pretty much Spanish fly anyway.

Janet rises up off the floor and walks over to the SOUND SYSTEM.

She peers over the CD collection before finding the correct CD for the mood. AS the CD tray retracts back in, Janet turns back to Davey, watching him blow out a huge puff of smoke.

JANET

(Murmuring)

Something mellow I think is the order of the day.

RICKY

Hello. Yes. That's right. What do you mean maybe? You remember what tomorrow is? That's right. You know what that leads to. Are you feeling the love yet?

Janet twists up the VOLUME KNOB on the STEREO and the scene speeds up.

We watch Janet, Davey and Ricky speed up in their intake of lines just as people begin to drift into the house. We are given a TIME LAPSE perspective of the events quickly unfolding.

It is a vast hive of activity as people blur from talking into dancing, into a collective group sharing pot and bad jokes.

We are turned towards the TELEVISION, where the opening moments of the ACADEMY AWARDS begin, just as we glance back to see Davey slumped on the couch, staring in a daze at the screen. Occasionally he picks up bits of conversation.

JANET

So then I just tell him I can push the hang-up button at any time. That tends to make them a little more courteous... either that or it's a good way to get the conversation to end.

Some people sit down near the TV, crawling up on the floor and critiquing the images on screen.

MARISSA

Who do you think'll get it? I hear Jodie might be up for it.

HALEY

She's always up for it or at least in the running. Jack's the same. He just has to raise an eyebrow.

A couple of people sit alongside him before eventually getting up to leave. DANIELLE sits down to talk to Davey, playing with her hair at the same time.

We see a montage of clips of VARIOUS PEOPLE moving as Danielle changes positions, occasionally using DRUGS before she sits across Davey's knee, leaning in to kiss him passionately on the lips.

We see figures begin to dance before we drift towards the TELEVISION, focusing in on a presenter announcing Best Actor and cutting to a close-up on Alex's face.

This is blurred in with the drug-induced delirium of Davey's face; who has decided to put his face right up against the screen. The two are mirrored as we see Alex begin his walk towards the podium simultaneously with Davey being hauled up to dance with Danielle.

We cut to Alex beginning his speech, barely able to control the warm smile breaking out between his words as we then switch to Davey's smile breaking, as the dance between him and Danielle becomes more sexual.

Davey gazes over from Danielle over towards the screen, briefly acknowledging Alex's speech before the music starts to fade, warping and turning to static. Sweat beads down across his forehead and Davey's vision goes blurry, the room shifts as he passes out.

We are briefly shown Davey's little world as the TV screen blurs, along with Danielle's face. Janet and Ricky's heads pop up for a moment before Davey's vision almost fades to black, leaving a small tunnel of vision.

We cut to an extreme close-up on his EYEBALL, lingering on his tremendously dilated PUPIL for a moment before slowly drifting out over his face and upper torso, as MORE PEOPLE crowd around him.

EXT. JUNGLE APPROACHING SUNSET FLASHBACK

ALEX is dressed in full ARMY CAMOUFLAGE GEAR. His hair is oily with perspiration and his face is marked with blood

(MORE)

(CONT'D)

and earth. He runs along with an M-16 slung across his shoulder.

He changes pace as he hears the sound of a twig cracking. He takes the M-16 and holds it firmly in front of him, locking the holster in against his shoulder.

We see a TATTOO with a rose and a girl's name displayed underneath his sleeve as he swings the M-16 towards the sound. He changes direction, cutting a path through the JUNGLE, occasionally stumbling over the UNDERGROWTH.

He pauses as he reaches a CLEARING , turning his head and body as he spots a figure out of the corner of his eye. A hole appears in his chest, bursting forth a red stream of blood.

Alex falls to the ground as MOSES appears over him, looking agitated, eyes beginning to moisten with tears that he struggles to fight back.

MOSES

You should have just turned the other cheek... Shut out the madness. This would have all gone away.

Moses' dialogue is cut short as GAVIN, The DIRECTOR, yells cut to ALL THE CAST AND CREW.

ALEX starts to raise himself up again, hand over his shoulder blade. ARMOURERS and the STUNT CO-ORDINATOR rush in to check his BLOOD SQUIB.

GAVIN

Cut! Very good everyone. Thanks gentleman, that looked pretty good.

(A Pause)

Okay now, where's my DOP?

ALEX flinches a bit, as his squibs are being disconnected.

ARMOURER

You okay there Alex?

ALEX

It's okay. They don't hurt much.

MOSES

Good. Well maybe I could shoot you again then.

ALEX

You'd like that. Wouldn't you?

MOSES

You'd take a shot in the ass first Alex.

ALEX

The name's 'Sarge'. Remember.

MOSES

Oh of course. SARGE. You don't think I'd remember to call you Sarge when the camera's rolling?

ALEX

No.

MOSES

Thanks. Well I'm glad I've got your vote of confidence.

ALEX

I'd be surprised if you can even remember what the film's about.

MOSES

Don't forget who helped you get this part there Sport.

ALEX

Sport? Dude you would have to be the uncoolest brother in existence.

MOSES

I'm just saying be grateful is all. This is a war film.

ALEX

I know what an opportunity this is. War films have always been a great opportunity.

MOSES

But this isn't just a war film. It's a Vietnam film.

ALEX

So?

MOSES

What do you mean so? Some of the most successful war films have been Vietnam War films... With the exception of military funded ones.

ALEX

What like John Wayne's The Green Berets? I still get the shakes after that one.

MOSES

They're coming back in a big way though. A lot of actors have been launched off the back of a war film.

ALEX

It's just a shame you don't have the look bro. You're no Denzel and

you don't sound like Morgan Freeman.

MOSES

So?

ALEX

Well the man has the golden voice for narration, hasn't he?

MOSES

It's just typical you have to pick a black guy, isn't it? You could have picked any number of actors for their voice... Orson Welles, Laurence Olivier...

ALEX

Lawrence Fishburne...

MOSES

Oh that's rich: Another black guy.

ALEX

There are other names... James Earl Jones, Sidney Poitier...

MOSES

Ok. Now you're just pissing me off.

Enter LAUREN, a young Director of Photography. She is young considering most of the DOP positions are taken up by much older males. A subject of a shared gaze, she ambles over to Alex and Moses.

She carries a gauge and holds it around eye level, her face scans over various plant-life. Both of the males continue to peer over at her, admiring her confidence in wearing very casual clothes with minimal make-up.

Lauren still exhibits natural beauty which is only heightened by her comfort with the surroundings.

ALEX

She looks new. Is she new?

MOSES

Well that all depends. She's new to you it seems.

ALEX watches Lauren, focused and collected, scanning the scene around her.

ALEX

New is good.

MOSES

Well... don't get too concerned.

She's a ball-breaker.

ALEX

What?

MOSES

Come on Alex. Don't make me have to spell it out for you. I don't think Lauren prefers the company of men.

ALEX

What?

MOSES

She's a lesbian.

ALEX

No way.

MOSES

A muff diver.

ALEX

Stop.

MOSES

A mound surfer.

ALEX laughs.

ALEX

Shut up.

(A Pause)

She rejected you didn't she?

MOSES

No I just know she is attracted to...

ALEX

She did. That's it isn't it?

MOSES

No. I have detailed ...

Alex laughs out loud.

ALEX

She turned you down flat and now you're so dejected, you don't even want me to meet her.

MOSES

(laughing)

All right. So she did.

ALEX

Now we'll get involved and when we're serious I'm going to tell her just what you said.

MOSES

Cock.

(A pause)

And now for my sensitive side...

MOSES walks over to Lauren, tapping her on the shoulder.

LAUREN

Oh... Hi there Moses.

MOSES

Yes that's right. The one and only. It's good to see you again.

LAUREN

Likewise.

Lauren studies Moses for a second, before glancing up at Alex.

LAUREN

They really like to rough you guys up don't they? Was it long in make-up?

MOSES

A little. But they'll get it down to perfection soon enough.

LAUREN

Who's your blood-soaked friend?

MOSES

Him? He's just one of the stand-ins. I just met the guy.

Moses turns back towards Alex. Alex's mouths the words "The One and Only" back at Moses and makes a masturbation gesture.

MOSES

Yeah he's just here for the catering. And when I say catering, I mean the catering you get in Dennis Hopper's trailer.

Alex chooses the moment to interrupt.

ALEX

Hi I'm Alex.

LAUREN

Lauren. I saw you guys getting right in the moment there. That was nice.

ALEX

I guess it's not too bad for a stand-in, hey Moses: A man who I apparently haven't met before.

MOSES

Well I wish we hadn't met. Don't take your eyes off this guy Lauren. He'll be all over you like a rash.

ALEX

Rash?

MOSES

Yeah you should really get that cleared up.

Lauren laughs.

ALEX

Thank you Moses. How did those tests go again? Are you feeling 'positive'?

MOSES

It was nice meeting you again Lauren. I'll leave you and the disease-free stand-in here to talk your life away.

Moses makes his departure, stopping by a catering basket to sample the latest bagel.

ALEX

Pay no attention to Moses. He was put on the family pedistal in early childhood and tragically he still thinks he's there.

Lauren smiles.

LAUREN

You two are obviously familiar then.

ALEX

Sure. What about yourself? Same crew?

LAUREN

I've worked with Gavin before. But he was just an A.D. then. Everything seems new this time around.

ALEX

New is a good thing.

LAUREN

Well sometimes. Unless you're talking about Reality Television.

ALEX

Or renovation shows. I don't own a house to renovate? Do other people own houses, do they?

LAUREN

Apparently. You're also leaving out infotainment programs. You know the ones that are on at 3am that are followed by phone sex ads.

ALEX

I'm glad you hate them. I was wondering if we could discuss other pet hates... over coffee perhaps?

LAUREN

You couldn't wait to use that in-road, could you? I mean come on. We're only in a quarter of a conversation here. Who else drops a line in at this point?

ALEX

Lauren: It's just coffee. We can finish the other three quarters of the conversation.

LAUREN

It's never just coffee. I'll catch you later.

ALEX

I'm not usually this forward. I'm just strangely comfortable now, with you I mean.

LAUREN

Later Alex.

Alex wanders back over to Moses, who's devouring his bagel while watching some of the camera crew scurry around the latest camera crew.

MOSES

I told you. Definitely a lesbian.

ALEX

I don't know. But she definitely requires a more delicate touch.

MOSES

If you've got the time to waste... Maybe watching the L word together.

ALEX

What do you think we're doing here? I'm a tremendous time-waster.

MOSES

Spoken like a true actor.

ALEX winces.

INT. GUTHRIE'S HOUSE PRESENT

Guthrie descends down a long, winding staircase towards his basement. We track with Guthrie for a while before switching to his perspective as he moves down a dark corridor, coming up to a glaring bright light.

INT. PHOTO LAB

He enters a dark red photo lab. Guthrie peers over a wall of various celebrity PHOTO, each in a candid shot. He eventually stops at a publicity photo of ALEX, taking the photo off the wall and analyzing it for a moment. He sets it down on a table next to a carefully arranged set of CAMERA EQUIPMENT.

He reaches across and sets his camera over a large stainless steel table. He takes each set of LENSES and FILTERS, applying each as an extension of the CAMERA, enjoying the moment like a surgeon with his instruments.

He takes a BATTERY PACK and slaps it into the camera, letting it snap into place like ammunition into a gun. Guthrie walks with the camera outside, picking out a crow waddling along the fence.

He picks a focus point and adjusts to the crow's eye. He takes aim and fires off a few snaps. He walks back inside and reaches for a phone.

I/E. HOSPITAL FOYER – AFTERNOON

ALEX strolls past the RECEPTION BENCH, failing to notice an INTERN AND A RECEPTIONIST examining his every move. He walks through a set of electronic doors just as he encounters his MOTHER taking a drag of a CIGARETTE.

ALEX

I thought you would have given up by now.

SARAH

No. I'm still staring death in the face with every drag.

ALEX

Well I'm hardly in a position to pass judgment. Just know we're both dying together.

SARAH

Amen kiddo.

ALEX

Can you watch over our patient? I have some errands to run.

SARAH

What errands? You just got here.

ALEX

I'll tell you later. Take care.

EXT. BASKETBALL COURT AFTERNOON

RICKY is playing a game of two-on-two basketball with THREE LOCALS. The courts are played on black tar with little else but glass and a weathered backboard to complete the look.

The players move aggressively as Ricky and his partner quickly shuffle back towards the ring. Ricky shuts down an attempt to slam-dunk the ball, sending the other player sprawling to the ground and the BASKETBALL bouncing off the makeshift court.

RICKY

You just got humiliated by a cracker. Can I get a hell yeah?

Ricky high-fives his Partner as the basketball is picked up by ALEX.

RICKY

Game on bitches.

Ricky is suddenly struck in the face by the BASKETBALL.

ALEX

You know gloating's a sign of weakness, you piece of shit.

Ricky hunches over, grabbing at his face, which is stinging from the impact. Disorientated, he stands back up.

RICKY

What the fuck? What are you playing at Wonder-boy? My face...

One of the basketball players bounces the ball back to Ricky, who cradles it in one of his arms.

ALEX

It'll heal. It's not exactly comatose.

Ricky throws the BASKETBALL back at Alex, who catches it back in his fingers.

RICKY

What are you talking about? Comatose? You dick. You think I did this.

Alex hurls the BASKETBALL back.

ALEX

Yes. That's the general consensus.

Ricky has caught the ball. He starts to bounce it as the other three distance themselves from the conversation.

RICKY

Fuck-off with that shit man. So he had a rough night okay. I admit it. We were just doing our thing. Me and Jan were the first ones to call the ambulance.

ALEX

Well forgive me for thinking you two deserve a humanitarian award. Two fine upstanding dealers such as yourselves.

Ricky hurls the BALL back. Alex palms it away as the BALL bounces off again.

RICKY

(Through gritted teeth)

We are not dealers.

ALEX

Well didn't you two distribute drugs that involved in my brother's overdose? That's dealing.

RICKY

We were paying him back for shit he gave us. It's a two way street. Or did he neglect to mention that part.

Ricky's partner gathers up the BASKETBALL.

ALEX

I'm sorry. A guy's recovering from a coma and finally spilling his guts. I don't check every detail.

RICKY

Well maybe you should Alex. And when are you going to fess up? We're all waiting.

ALEX

What are you talking about?

RICKY

Don't shit me. We all know. Don't patronize me when everyone knows who inspired your brother in the first place.

ALEX

Fuck you.

RICKY

What's the matter, James Dean? Not so verbal now are you? Everyone in this town knows you're an addict.

(MORE)

RICKY(CONT'D)

We know because we've had to live here. It's not exactly easy.

ALEX

I left.

RICKY

That's right. You left. Your brother stayed. Why do you think he's doing what he's doing?

ALEX

I never asked for this. I've got a grip on my life.

RICKY

Oh that's rich, Wonderboy? Have you? Have you really? You're just as fucked up as the rest of us. And you know it. You just don't have the shitty job to match.

ALEX

Just stay the hell away from my family.

Alex glances at the other three, who are transfixed to this altercation.

ALEX

I'm going.

RICKY

I guess that's what you're best at Marlon Brando.

RICKY turns to his team-mate, who starts to dribble the BALL back down the court.

INT. CHRIS' OFFICE. NIGHT.

Chris looks disgusted at the TELEVISION. He flips his finger on the remote control and swivels in his chair back towards his desk.

He leans closer to his desk and addresses MOSES and RYAN, readying himself for their objections. Both the other two are studying Chris' face waiting for him to break the silence.

Chris starts tapping at his desk with a gold pen. He breaks the rhythm in time to speak.

CHRIS

All right then. What the hell is going on?

MOSES

Now just a second Chris...

CHRIS

This is just the tip of the iceberg, amigos. Why the fuck can't I find Alex? He doesn't return any of my calls. It's like he's vanished and I'm very uncomfortable about that.

RYAN

I can understand.

MOSES

Things aren't that simple, Chris.

CHRIS

No. Things are very simple. I am an agent. He is an actor. He has a responsibility to me and the press here.

MOSES

He has a responsibility to his family Chris. Above all else it's to his family.

CHRIS

Right then let's start there then. What is going on? This is boom-time for him now Moses.

MOSES

He knows that. Don't you think it would be something major for him to miss all these interviews?

CHRIS

I don't know what to think. You say major? Okay what's major here gringo? You saw Letterman.

RYAN

It's personal Chris. You know. The stuff we can't talk about.

CHRIS

Personal? Ryan you're my comrade here. You know how this affects my job. It's time for you both to get up close and personal with me. I know he's gone back home... well at least that's something I do know. What's this mean? Is he going back to the Promised Land to lead his own personal crusade? I know of admiration but his fans are here.

Moses interrupts.

MOSES

Chris: if you could just stop talking and forget about your career for a moment. This is important stuff here.

Alex has had a family crisis and he left immediately. It's something I would have done. It's something anyone would do.

CHRIS

I thought he didn't get along with his family?

MOSES

Does that even matter?

CHRIS

Well it depends on the situation, doesn't it Cochise?

RYAN

We are not at liberty here to say Chris.

(A Pause)

What the hell is wrong with you anyway? You're really going to town on the gringo stuff aren't you?

Chris nostrils flare up and he re-commences tapping the pen. We see he's tapping it on a profile of Alex.

RYAN

I'm also impressed with your use of power words. Shysters like yourself use them to hide your apparent lack of intelligence.

Moses interrupts.

MOSES

Look there are things people shouldn't need to know. They haven't earned that right. You haven't earned that right.

CHRIS

Well I guess I'm going to find out then. You know that these people will pay top dollar for the goods on celebs.

MOSES

So you're going to sell him out? Send him to the wolves?

CHRIS

Why not? He'll still get the publicity. Good or bad it gets tickets at the box office. You know how these things work. This actor gets arrested so the news mentions his new film along with the charges. This actress...

RYAN

I believe its actor nowadays.

CHRIS

Whatever: This actress is about to have a steamy affair with her co-star from the film, and what do you know, it's out the next week. In this case, family tragedy works well too.

CHRIS meets MOSES eyes which have turned into a glare.

CHRIS

Who do you think I am Moses? I am one of the wolves here. That's why guys like Alex hire me... because I can get the job done.

(MORE)

CHRIS(CONT'D)

I can command these wolves sometimes; lead them to their source of income. And as long as those big fat cheques keep rolling in and women want to give 5 star blow jobs, actors call me, because I'm the mother-fucking slayer.

RYAN

Shouldn't you be swiveling on a black chair and wearing a long black robe. You know... yellow eyes. "You underestimate the dark side of the force": That sort of thing.

Moses cuts in, moving closer to Chris's desk.

MOSES

Who the hell do you think you are? You think you're Tony Soprano and this is just one big mafia family that bends to your will. You're nothing buddy... a flash in the pan.

CHRIS

You picked it Moses: A family. We're all one big dysfunctional family. It's like one of those fucking Springer families isn't it? We spend all the time on talk shows, clawing at one another. Occasionally one of us claws themselves out to live the dream.

RYAN

Nice monologue asshole. Do you practice these speeches?

CHRIS

You both worry too much about the other person. The world isn't a utopia. It's a world of power. It's the Tony Montana's that get ahead. The Gordon Geckos. The Tony Sopranos you mentioned Moses.

MOSES

Yeah, they're all fictitious and so are you.

(A pause)

If you send Alex to the wolves they're still gonna come after you Chris. You see plenty of agents collecting food stamps.

CHRIS

I don't care. He owes me. I'm going to get something from this.

MOSES

He doesn't owe you anything. He's the talent here that's had to carve things up. He carries people like you. What other actors have you got? They're all in Hemorrhoid commercials for fuck's sake.

CHRIS

That was one commercial.

RYAN

I think it suits Chris. Maybe you could go in one yourself? You can be the before patient. It's effective. You're giving me the shits already.

CHRIS

That's not funny. Neither of you are being very funny. In fact I think you're both being very serious and I don't like that. I may have to call security.

MOSES

Do you even have security here, Chris? I thought you needed Alex's money for that.

CHRIS

I don't know. Let's find out.

Moses reaches across and grabs Alex's photo off the desk.

MOSES

Don't bother. We won't make one of those scenes you agents think should be in the movies. You know... to spice the film up.

RYAN and MOSES leave the room, quickly striding across the lobby floor, each taking a mobile phone out of their jacket.

RYAN

What an asshole. I was never like that when I was your agent was I?

MOSES

Fortunately no.

RYAN

Do you want me to try Alex?

Moses starts to frantically tap buttons.

FX: (O.S) we hear a few dials on the phone.

Moses waits for a few moments...

ALEX (V.O.)

Hi, you've reached the voicemail of...

MOSES

Shit it's gone to message bank.

RYAN

What do we do?

MOSES

I'll have to keep trying I guess.

Moses hangs up and tries to ring again.

MOSES

We're in damage control now. You have your contacts. Find out where this trail goes. We need to know what they know.

EXT. MATER AVENUE MORNING

GUTHRIE's black SUV cruises along the main street. He peers over at the RED CROSS symbol and begins to slow his speed.

ALEX, DAVEY and SARAH are talking out the front. Sarah gives Davey a hug and a quick peck on the cheek before walking off to her car. Alex and Davey start walking over to Alex's car. Davey takes a CIGARETTE out of his pocket as Alex flips open his CELL PHONE.

INT. GUTHRIE'S CAR

Guthrie focuses on some figures down the main street chatting. He pushes the accelerator pedal down further before leaning over the steering wheel to get a better view, adjusting his glasses at the same time.

GUTHRIE

Shit!

Guthrie pushes the accelerator down further.

Alex has the MOBILE PHONE up to his ear as we move in on the two jumping into the car.

INT. ALEX'S CAR

DAVEY

It's cool to smoke in here right?

Alex gestures to Davey to be quiet.

ALEX

Shhh. I've got to listen to these.

Alex hears the date for last night's phone call.

Guthrie pulls up too close to Alex's car, slamming on the brakes as he fumbles for the CAMERA inside a BAG lying across the passenger seat.

Alex sees the SUV brake as he starts up the car.

MOSES (V.O.)

Alex, whatever you're doing, get the fuck out of dodge now! Chris has sold you out! ...

Alex sees Guthrie fumbling over the camera. Alex shifts the car in gear and pushes on the accelerator.

MOSES (V.O.)

You've got paparazzi and god knows what else sniffing around you. I don't know what they know, but your private life suddenly became very public.

We close-up on Davey looking at Alex before snapping his head to see Guthrie line up his camera.

ALEX

Duck down Davey!

INT. GUTHRIE'S CAR

GUTHRIE focuses the viewfinder over the car. We cut to the viewfinder's perspective as Guthrie zooms , firing off a few shots as Davey ducks his head down with Alex bobbing his head as the two drive past on the opposite side of the road.

GUTHRIE

Fuck!

Guthrie starts to turn the car around as Alex's car takes off down the street.

INT. ALEX'S CAR

Davey raises his head back up, noticing Alex scanning the rear-view mirror.

DAVEY

Media?

ALEX

What do you think?

DAVEY

Either that or you haven't made the last payment on this heap.

ALEX

Not the time Davey.

DAVEY

I'm sorry. I'm still putting together why you're actually 'running away' from the spotlight.

ALEX

Not running away Davey. Driving away. There's a distinct difference.

We focus on the Speedometer rising well over the limit.

DAVEY

Who are you driving away from?

Alex slows down a little as an oncoming car blurs past them. Alex then overtakes the car in front of him.

ALEX

How the fuck should I know? ... Come on. Get out of the way... Some asshole with a camera I guess.

DAVEY

So what if they get a few snaps of you.

ALEX

Not me. Us.

Guthrie's SUV speeds up, becoming larger in the mirror. Alex pushes the accelerator down further.

DAVEY

Great! I get out of hospital just long enough to be put back in.

Alex sees Guthrie overtake the same car a few seconds earlier.

ALEX

I know what I'm doing.

DAVEY

Yeah it sure looks like it. That's right. You LA types do this shit all the time. Right?

ALEX

Not the time!

DAVEY

You probably do this shit while nursing a café latte right? Selling stocks over the phone?

ALEX

Davey, I swear to god, if you don't shut your mouth right now I'll run this thing off the road and you can give death a busy day at the office.

We glimpse back at Guthrie's car continuing to keep pace with Alex. Guthrie starts to move over to the opposite side of the road. He juggles the camera as the car starts to move towards the rear passenger side of Alex's car.

ALEX

Look at this guy. This is messed up.

Alex spots a bend and starts to slow. Guthrie sees this as a chance to move up but panics as a car emerges out of the bend.

He jams on his brakes and swerves back over to the right side of the road just as he cops some blaring horns and abuse from the oncoming driver.

ALEX

That might've slowed him down.

DAVEY

I hope so. Maybe 'we' can slow down now.

ALEX

Not yet. Trust me. I know what I'm doing.

DAVEY

Yeah that's right. You were in that remake of Bullit, weren't you?

Alex overtakes another car, scanning the mirror again to check on Guthrie's car, which has widened the gap.

ALEX

That's not how it works, most of that was stuntmen.

Alex spots a fork in the road and swerves across the road, hardly slowing down as he drifts around the corner.

ALEX

But I did a little.

The tail-end of the car corrects itself and Alex moves quickly along a back road.

DAVEY

Yeah but you were a bad guy in it.

ALEX

Henchman number two.

DAVEY

And you crashed. So you know how to crash on film as well.

ALEX

Don't tempt me. Why don't you make yourself useful and light me one of those?

DAVEY

What?

Alex spots a car trying to move across an intersection. Alex sounds the horn as the car suddenly halts. Alex just swerves over in time to miss the front-end.

ALEX

It helps me concentrate.

DAVEY

Talk about multi-tasking... Just watch the road please.

Alex glances back to see if Guthrie's in the mirror. The rear shot reveals nothing. Alex hears Davey yell out as they come up to a CROSSING.

DAVEY

Shit!

A WOMAN with a PRAM starts to walk across the crossing. Alex turns to hear his brother's reaction and slams on the brakes. They make a tremendous squeal as the car locks up.

We begin to close-up on the woman's face as she starts to panic.

We go back to the front end of the car as it starts to halt. The screeching finishes as the car pulls up just in front of the woman.

She hurries off, peering at the front of the PRAM to see if her child is upset. She shakes her head at Alex.

PRAM LADY

Watch where you're driving asshole!

ALEX

Holy crap, I think I'm going to have a stroke! Where the hell did she come from; Of all the things to jump out at a crossing, Davey, A pram! A fucking pram!

As the two begin to compose themselves, the familiar sight of Guthrie's SUV re-emerges onto Alex's rear view mirror.

ALEX

Oh what is this now?!

DAVEY

Determined prick isn't he?

Alex takes off again, alternating glances between the speedometer and the rear-view mirror.

ALEX

We might have to lose him again in traffic. Is there anything else up ahead?

DAVEY

A tunnel... Then a town after that.

ALEX

That'll have to do.

EXT. TUNNEL

It's the same stretch of road, about a mile ahead. Two motorcyclists with passengers on the back are waiting on the side of the road. On the back of each motor-cycle are two passengers, who are busy inspecting their cameras. One of the riders signals across to the other and both paparazzi teams accelerate quickly.

They see Alex's car pop up in the distance and they decide to take up both lanes of traffic.

EXT. ALEX'S CAR

ALEX

Oh now what? Fuck this easy rider bullshit. I've got to get past.

As his car moves closer to the pair of motorcycles, they are suddenly engulfed by a tunnel. The motorcycles suddenly slam on their brakes to force Alex to slow down. Alex slams his foot on the brakes to avoid running up the back of one.

ALEX

Is this guy on crack?

He checks back in the mirror to see Guthrie bearing down on them. As he shifts his head back, Alex is suddenly met with two bright flashes, which pierce his eyes. He recoils reflexively, bringing his arm up to protect his face. He loses control of the steering wheel and his sedan rams into one of the rails aligning the tunnel.

EXT. TUNNEL

The car is pushed across the side of the road, almost colliding with Guthrie's SUV, which swerves to miss it. The Sedan turns sideways and starts to roll, tumbling down the tunnel before gradually coming to a halt.

The Paparazzi Team stop and grab their cameras, taking off a few shots before Guthrie pulls up. As the Black SUV moves closer, they jump on their bikes and speed off. Guthrie pulls up near Alex's wrecked Sedan.

He takes out his camera but hesitates for a moment and instead reaches for a mobile phone.

GUTHRIE

Hello operator.

Guthrie looks in through a shattered passenger window. He sees Davey trying to catch blood gushing down his nose and Alex's head slumped over the steering wheel.

GUTHRIE

I need an ambulance right away.

We go over the wrecked car for a moment, watching Davey trying to move Alex before drifting back through a damaged rear windscreen.

INT. HOSPITAL FOYER

The Hospital doors crash open as a Gurney is wheeled in with a young patient on top of it. As two nurses push it along the corridor; a young woman strides purposefully up to the front desk.

RECEPTIONIST

52A... but visiting hours are over soon.

JOURNALIST

This won't take long.

I/E. GAVIN'S HOUSE

Gavin opens up the door to MOSES and RYAN, who shake his hand warmly before GAVIN leads them through a corridor and out onto his back porch where his guest is having a drink.

GAVIN

Thank you for coming guys. This is Mr Liam Ford. You may have seen some of his work. Liam here is a photojournalist at Time magazine and a man I believe that can shed some light over our friend's problem. You guys fire away and I'll fix us up some more beers.

MOSES

That would be very helpful.

RYAN

Appreciated.

LIAM

I'm sure there's plenty of stuff that you guys already know. Things you've seen on television, people you know yourself, but what a lot of them leave out is the money involved in this kind of business.

MOSES

How much are we talking?

LIAM

It's in the multi millions, if not billions. The more famous the person, the higher the value, and your boy is the freshest of the fresh.

INT. HOSPITAL

The young journalist takes off her coat and pulls out a small voice recorder. She tucks it discreetly under her coat before scanning the halls.

EXT. GAVIN'S HOUSE

LIAM continues to talk with RYAN and MOSES. GAVIN walks back out and gives everyone a beer.

LIAM

There are already a few groups of paparazzi fixing their scopes on Mister Richards, stalking any his hangouts and chasing down any leads.

EXT. ROAD OUTSIDE HOSPITAL

A Man travels down the main road very slowly, gazing over at the various people milling outside the hospital.

RYAN(V.O.)

Scopes? stalking? You make them sound like military... or cops.

The man fondles around his neck for a camera, checking the lens cap is off before turning his attention to the crowd of unaware citizens

LIAM(V.O.)

Is that so hard to believe? Forget your pen is mightier analogies here. It's the case of a camera over a gun in this day and age.

EXT. GAVIN'S HOUSE

RYAN

The analogy still fits.

LIAM

Granted. But I don't think anyone could fathom the power of the photographic image. Wars could be started, or ended, over the context of that one single image. If this is a war Ryan, it's one of information. Just take a look at the Vietnam War soldiers; once people started seeing the dead bodies of American soldiers, they changed their minds very quickly.

Throw in a few photos of Vietnamese children with napalm burns and monks torching themselves and you've got a revolution on your hands.

MOSES

How bad can it get?

LIAM

I don't think anyone could talk about the tenacity of the press, particularly the paparazzi, without mentioning Princess Diana. The debate still continues among the press.

MOSES

Who could forget?

LIAM

It's obviously the question of blame. Do people accept that a driver well over the legal limit was the cause or whether the Media's high speed pursuit caused the crash? I think people forget that the Princess gave her life over to the press long before the incident.

INT. HOSPITAL CORRIDOR

The JOURNALIST scans a t-intersection before looking up and seeing an information sign. She turns down a long passageway, occasionally bumping past a few wheelchairs and gurneys before she finds Alex's ward.

EXT. OUTSIDE RICKY'S HOUSE

The familiar sight of Guthrie's black SUV pulls up on the main road. He checks over some scrawled handwriting on a note-pad before gazing over the road.

LIAM(V.O.)

The real point here guys, the very insurmountable fact that everyone chooses to ignore here is the real villain in this piece.

Guthrie climbs out of the vehicle, knocking on the front door of Ricky's house.

LIAM(V.O.)

The one whose very greed enables him to continually hunt for that one sacred image: The holy grail of human frailty that will ultimately make them feel better about themselves.

EXT. GAVIN'S HOUSE

MOSES

And that person is?

LIAM

You, me, us, ourselves: The individual.

RYAN

Count me out.

LIAM

I don't think so. We helped to create a marketplace for this culture. We weren't content that a star was a star. They had to be constantly brought back down to our level.

MOSES

I think you have something there.

LIAM

In an age of corporate consumerism and blind ambition, we have allowed the image of the celebrity to be tarnished. But that wasn't enough, we then sold it like it was a commodity.

RYAN

This is getting depressing.

LIAM

It's awful, I know. But it's the way it is. I'm sure some of the guys that are targeting your boy once dreamed of taking those memorable war-time shots but in the end, they've got bills to pay, and this is big business.

Liam pauses for a moment to have a large swig of his beer.

MOSES

So what can we do?

LIAM

Well I mean you can try suing them like a lot of celebs do, but that only seems to amplify the problem.

RYAN

I don't think Alex is the suing type. What do you reckon?

MOSES

Probably not, but seriously, if the situation was reversed, and it's your face staring down the lens, Liam, what would you do?

LIAM

Well that's the million dollar question isn't it? As much as we all love the gossip and the scandal...

LIAM looks at Ryan.

LIAM

We're only human. We're also big fat suckers for the truth. A lot of us are genuine softies at heart.

(A Pause)

If I had my hands on some of the equipment you guys use, I'd turn it right back around. Tell the public what I believe is the truth and let them make up their own minds.

Ryan meets Moses gaze, giving him a subtle nod which Moses echoes back.

LIAM

But hey, it's a free country. You guys might have a better plan. Who knows?

INT. HOSPITAL ALEX'S ROOM

THE JOURNALIST sees that ALEX has his eyes shut, gazing over the room before meeting eyes with SARAH RICHARDS, who has now been joined by LAUREN.

JOURNALIST

Missus Richards, this must be awful for you. Two hospital visits...

LAUREN

Please leave.

JOURNALIST

I just want to ask...

LAUREN

Get going bitch before you end up an inpatient.

SARAH

I think it would be best for all of us.

Davey emerges from around the corner with a security guard.

DAVEY

What? You think we weren't prepared.

The Journalist takes a last glance around the ward before pivoting on her heel and walking back down the corridor.

Lauren walks over to ALEX'S Bed, peering over at his swollen face lost in a deep sleep.

INT. ALEX'S BEDROOM FLASHBACK

A lens has fixed a close-up on ALEX'S face dozing away in a morning slumber, his face is captured on a HI-8 VIDEO CAMERA which is being held by LAUREN. In the bottom of the screen is the date and time which reads 3-11-02. As he emits a tiny snore, she is compelled to add some commentary.

(Closing up on Alex's Nose)

LAUREN (V.O.)

And here we have it Ladies and Gents, proof that Mister Richards is indeed a snorer.

Alex's snores get a little louder.

LAUREN (V.O.)

And the hits just keep on coming. Let us look on as we watch the snoring Walrus interact with his natural surroundings.

Lauren zooms back out, showing Alex's top half, his face smothered awkwardly into the side of a pillow.

She prods Alex on the cheek with two fingers.

LAUREN (V.O.)

Mister Richards, wake up! You have an audience to entertain.

She prods Alex in the shoulder blade.

LAUREN (V.O.)

Wake up ugly. Hurry up.

She pokes Alex in the stomach.

LAUREN (V.O.)

I know you're awake. You can't hide it.

ALEX

(Mumbling into the pillow)

Go away...

LAUREN (V.O.)

It's too late for that now. You shouldn't have spoken.

ALEX

I need more sleep.

LAUREN (V.O.)

(In a baby voice)

Oh what's the matter? Are we a little bit hung-over are we?

ALEX

What do you think?

LAUREN(V.O.)

I think you're a pussy.

Alex starts to stir more, wiping his nose and mouth.

LAUREN(V.O.)

Not your best look.

ALEX

What's that? ... I recognize that narrator's voice. You're filming again, aren't you?

LAUREN(V.O.)

Ding ding ding. And the last horse over the line is...

Alex starts to move his hand down underneath the bed-sheet that is covering up his lower half. Lauren begins to pan down...

LAUREN(V.O.)

And what do we have here: Time for some amateur pornography?

Alex quickly grabs the sheet and throws it over the camera lens just before Lauren removes it. Lauren puts the camera down and wrestles with Alex.

LAUREN

You asshole. I knew you were going to do that.

ALEX

Asshole? Pussy? What a sophisticated young lady you turned out to be. Just what on earth am I going to tell my mother?

Lauren's hand goes underneath the bed-sheet.

LAUREN

There's certain things, 'sinful things', I would hope to leave out.

Alex reaches over and turns off the camera.

INT. ALEX'S LIVING ROOM

We focus through the familiar sight of LAUREN"S HI-8 CAMERA LENS. This time the date reads 5-01-03. Alex is reaching around for a lighter when he notices the lens centered on him.

ALEX

Can you give that a rest?

LAUREN

What?

ALEX

What do you think?

LAUREN

It's good practise.

ALEX

Don't you think you overdo it a little. Okay. It's your career. I get it.

LAUREN

I think you're a little camera shy.

Alex smirks.

ALEX

An actor that is camera-shy. How wonderfully ironic?

LAUREN

Laugh all you want but there's an element of truth in there. Don't get me wrong when you're at work you're in the moment, but in private time I think you resent little invasions like this.

Alex lights up a cigarette.

ALEX

Seriously Lauren, can we give this shit a rest? Can't I have this in peace without the sardonic commentary?

LAUREN

Are you worried about giving the wrong impression; "The Smoker"

ALEX

That's the least of my vices.

LAUREN

Yeah I know about that. Why don't you give it up?

ALEX

What do you mean?

LAUREN

Well you could like yourself more, maybe enough not to end it all

(MORE)

LAUREN(CONT'D)

Morrison-Style. Maybe getting past the 27s club would be great.

ALEX

This isn't the time.

Alex breathes some smoke out his nostrils towards the camera.

LAUREN

It's never a good time is it?

ALEX

What? I've tried okay. It's not easy. Take it down a notch would you. In fact, could you put the camera away? This whole thing, it's so fucking 1990's.

LAUREN

Fair enough.

Lauren turns the camera off.

LAUREN

I just wish you would open up once in a while. God it's like going out with a teenager.

ALEX

You knew what you were in for, don't you worry.

LAUREN

Are you going to share that with me?

Alex passes his cigarette over.

ALEX

See.

(A Pause)

I can share sometimes.

INT. RYAN'S APARTMENT

Lauren is wielding the Camera yet again. The date reads 8-8-03.

Lauren makes a quick pan around the front of Ryan's apartment block, noticing that it does little to stand out from the other standard cement-rendered suites on offer. Ryan answers the door sporting a large white dressing gown.

LAUREN

Well if it isn't Hugh Heffner.

RYAN

Nice. Well you know hot tubs bring people from all walks of life. Even voyeuristic Soderbergh Wannabees. Did I say that correctly?

LAUREN

Nice comeback. So is the man of the hour in?

RYAN

Of course. We are well and truly in celebration mode. Too much I think for your beau.

LAUREN

Where is he?

Lauren watches a few people run out the back of the Apartment.

LAUREN

There seems to be a lot of excitement here.

Lauren watches a crowd gather round, before realising its Alex slumping over, on the verge of passing out.

LAUREN

Oh fuck! Alex!

Alex can barely move his head as he attempts to turn in Lauren's direction.

ALEX

I don't care. Fuck it all!

LAUREN

What?

A few people try to prop Alex up as Lauren moves closer, putting down the camera.

We return to the lens of Lauren's camera, watching the scene from side on.

ALEX

Fuck it. Just get away from me. Get the fuck away from me!

Ryan tries to prop Alex up as he slumps to the ground; unconscious. Tears start to trickle down Lauren's face as she peers over Alex. Ryan gives Lauren's shoulder a squeeze to comfort her.

LAUREN

He doesn't care? Well the problem is I do care. I can't live like this either okay?

Lauren leans over Alex's face.

LAUREN

I'm so sick of this crap! I can't live with a junkie.

Ryan squeezes her arm again before turning his attention to the small crowd gathered around Alex.

RYAN

Does someone want to call an ambulance? You know that might be a good idea here?

Ryan moves his hand over Alex's throat, checking his pulse.

FADE OUT

INT. HOSPITAL ROOM PRESENT

DAVEY walks into Alex's ward just as a POLICEMAN turns toward him.

OFFICER CROWE

What about this one? Are you keeping out of trouble, Davey?

DAVEY

As much as the next person here.

OFFICER CROWE

That's not all that promising. Anyway...

He turns back to Alex.

OFFICER CROWE

There's no official charge yet but... I wouldn't go too far if I were you.

He turns to SARAH.

OFFICER CROWE

You have my home number if you need anything.

SARAH

Thanks Tom.

OFFICER CROWE

I just wish things were better for you.

The Policeman heads out the door. Davey moves past and blocks the doorway from anyone else.

DAVEY

Could I get some time alone with him?

SARAH

Just remember he's a bit delicate now.

DAVEY

I'll be quick.

Davey waits for his mother to move out of the room and further out of earshot before he addresses his brother, who is looking quite focused, thumbing the bed console to move the bed higher to appear more attentive.

DAVEY

Before you even begin to move that mouth of yours, we need to get some things straightened out.

ALEX

I'm listening.

DAVEY

I should hope so Buddy. I want you to stop this whole protecting 'my image' crap. You almost got us killed you fucking lunatic.

ALEX

He was all over me...

DAVEY

So what? So what Alex? We could be both pushing daisies right now because you're so worried about your precious self image. You think this is for us, well guess what, it's for you. It's all about you.

ALEX

That's not...

DAVEY

I told you to shut up. Everyone here knows your dirty secret. They know because it runs in the family. It's only your Hollywood buddies that you have to fess up to.

ALEX

Look it's hard Davey, all right? What do you want me to do? Rehab or do what I do out in public; In front of kids and family types. I have to work.

DAVEY

They're all going to know sooner or later. If they see you helping yourself though they may change.

ALEX

Rehab?

DAVEY

Why not?

ALEX

They're going to be all over the place. And whether you think it's all about me or not, remember Davey, our whole family is going to be plastered all over the front page.

DAVEY

Well what do you suggest?

ALEX

I don't know.

DAVEY

Well?

ALEX

Well what Ronald Reagan?

DAVEY

Well Rehab then. I'll quit if it means kicking your scrawny ass at it.

ALEX

So you think you'll quit this time. Davey, I am going to kick your ass at Rehab. You won't be up to it.

DAVEY

Why not?

ALEX

Well I'm just so much better than you at a lot of things Davey, and this is one of them.

DAVEY

I'm going to make you my bitch at this Alex, and you know it.

ALEX

Well fuck it. I'm in... It's just not good for my driving skill, now is it?

Davey laughs.

DAVEY

Yeah you prick. I can testify to that.

ALEX

You'd better get mum in here for her big I 'told you so' finale.

DAVEY

Can do.

ALEX

Oh Crockett?

DAVEY

Yes Tubbs?

ALEX

Thanks.

DAVEY

No problem Biatch.

EXT. MALIBU REHABILITATION CENTRE

A Black Sedan pulls up In front of a large Electronic Gate, one that appears small against the towering Oak trees that line the road and the large driveway. There are various vehicles along the road, though this particular vehicle contains MOSES and RYAN, who peer closely over the other vehicles.

MOSES

What do you think?

RYAN

Looks fairly secluded, but you never can tell.

MOSES

Do you think this is the right step?

RYAN

I think this is lame man.

MOSES

Why?

RYAN

Well what do you mean why? I mean beyond that gate over there is state of the art gym equipment, resort style accommodation and some hot medical staff that are just begging for celebrity cock.

MOSES

It can't be that easy.

RYAN

Yeah...Well, it is. Give him a 60 day stint in Betty Ford and that will see him flying straight.

MOSES

Betty Ford's no good.

RYAN

What do you mean it's no good?

MOSES

Liam says there are people waiting for him.

Ryan starts making gestures with his hands, making an imaginary camera and impersonating clicking sounds.

RYAN

Oh you mean this? Fuck 'em. Just send them my way and I'll give them a whole calendar.

MOSES

Alex is not like you and... Thank god for that.

RYAN

Fuck this waiting.

MOSES

We just got here.

RYAN

I'm gonna try something.

RYAN open up the car door and gestures to MOSES to watch over at the car next to them, a grey Chevy van, whose owner appears to be filling out a Sudoku puzzle, with the window wound down. Ryan puts his hand on the roof and peers through the window.

RYAN

Excuse me there good buddy... but you wouldn't know where the esplanade is? See my friend here (pointing towards Moses) says he knows the area but we're actually lost.

PAPARAZZI 1

Sure it's not far. You just head around the bend up ahead and cross the next intersection...

Ryan looks around the van, noticing a CAMERA hanging off the man's neck.

PAPARAZZI 1

...go ahead 2 clicks and take the next left.

RYAN

Thank you. You've been very helpful. Nice van too. My friend had one just like it except you know, jet black, red stripe, part of a team thing really.

PAPARAZZI NUMBER ONE smiles.

PAPARAZZI 1

Sure.

RYAN

Dick.

PAPARAZZI 1

What did you say?

RYAN

Oh nothing. Have a nice day now.

Ryan wanders over to the next vehicle, a white Ford Bronco. The owner is leaning over the hood, smoking a cigarette. Ryan glances over at a camera bag placed on the passenger seat.

RYAN

Good day sir. Have I seen this SUV before? It looks great on a police camera.

PAPARAZZI TWO

What do you want?

RYAN

I'd just thought I'd come by and announce to you lovely gentleman that I 'm a down on his luck, drug fucked celebrity. Now could I get my photo done in 8 by 9, glossy? I'm looking for a nice wooden frame too.

PAPARAZZI TWO

Fuck you.

RYAN

What? I'm only trying to get you some business.

The man takes another drag and flicks his cigarette toward Ryan.

PAPARAZZI TWO

You're polluting my air.

RYAN

Oh that's rich. Why don't you get a real job, stalker.

Ryan chuckles to himself before walking back over to his car. He climbs back into the driver's seat and pops the cigarette lighter in.

MOSES

I thought you were quitting.

RYAN

I'm at peace with my problems.

MOSES

I'll pretend I didn't hear that. More Paparazzi?

RYAN

You bet. They're anxious to take a photo too.

The lighter pops out and Ryan lights his cigarette.

MOSES

Bastards.

Ryan takes a puff.

RYAN

Can you drive?

MOSES

Yeah. How come?

RYAN

A thought occurs.

MOSES

An immature one?

Ryan gives Moses a very sheepish grin.

RYAN

What? Me?

INT. WHITE FORD BRONCO.

PAPARAZZI NUMBER TWO reaches over and grabs his camera, adjusting the focus as he hears a CAR start up and begins to take off. He focuses his viewfinder on the gate just as the car slows and comes to a complete halt.

He sees Ryan's bare backside peering directly at the camera. As he looks up from his camera, he sees Ryan slapping his behind.

RYAN

Here you go Buddy! Get a good shot here and this will sell magazines.

(a small pause)

Enjoy Stalker!

Moses takes off quickly, almost throwing Ryan out of the window as he scrambles back inside the car.

PAPARAZZI NUMBER TWO shakes his head and returns his attention back to the camera.

EXT. DREAM SEQUENCE

Alex discovers he has returned back to the jungle, though this time it has transformed from a mixture of vines and tropical foliage into a dense wilderness of coniferous forest pines and brown leaves of autumn.

The dense cluster of trees is like a blur of green and brown until Alex clears his vision and concentrates on an emerging pattern through the trees, forming an ominous pathway. He wanders through the trees, hearing a rhythmic snapping of twigs and branches.

The noise becomes a symphony of marching and abstract tribal music. Over the noise, Alex deciphers a bubbling sound of stream water cascading over rocks before he glimpses a vapour of smoke rising over the treetops.

He feels a sharp pain in his stomach and doubles over before he sees a vision in the corner of his eye. His father sits by the stream and attends to a fire that is steadily growing larger.

His father has rigged a makeshift shelf of crudely chopped wood over the open flames, over which sits atop a metal can with boiling water. Alex gazes over at his father's clothing, recognizing a pressed grey suit and tie that make up a burial outfit.

His father's nose starts to bleed, dripping blood on his shoulder, which he smears off with his hand before reaching for a wooden spoon by his side, which he uses to stir the water. He looks over at Alex.

PAUL RICHARDS

I could really use a drink right now.

Alex begins to sneeze but abruptly wakes up.

INT. HOSPITAL

ALEX calls out to a nurse, who shuffles by the corridor. She abruptly changes direction at the sound of Alex's Voice.

ALEX

Excuse me, Nurse?

NURSE

Yes? What can I do for you?

ALEX

Could you please see if my brother's around?

LAUREN sticks her head around the corner.

LAUREN

He just headed for some smokes. He shouldn't be too long. Moses is out grabbing some coffee.

ALEX

You guys do too much.

LAUREN

I already got you one. It's still luke-warm.

ALEX

Great.

LAUREN

It wasn't easy though. You should have heard the guy. Buy a mocha and get a life story from a guy who probably still sleeps in his parent's bed; all free of charge.

ALEX

Well thanks anyway.

ALEX adjusts his bed, moving to a more upright position.

ALEX

Coffee aside, can I ask for one last favor?

LAUREN

Maybe...It depends.

(A pause)

Okay. Fire away.

ALEX

I need some equipment. An idea I have.

LAUREN

What do you need?

ALEX

Nothing too substantial: A couple of video-cameras, some extra batteries and a tripod.

LAUREN

I think I can arrange that. I think I know what it's for anyway.

ALEX

How soon?

LAUREN

A couple of days.

ALEX

Okay.

(A Pause)

Thank you.

EXT. THE CABIN

TWO SEDANS pull up alongside one another on a wide area of gravel. In front of the cars, stands a small timber cabin. Though it is modest in size it nonetheless exudes a quiet charm. Marking its porch is the familiar sight of horseshoes and various weather gauges. In the background lies a dense forest of oak trees and coniferous pines.

LAUREN and ALEX emerge from one vehicle, greeting DAVEY and MOSES who have stepped out of the other.

LAUREN opens up her TRUNK and removes a few black CASES. ALEX scrambles to pick up one of them.

LAUREN

It's okay. I have it.

ALEX

Just let me lift one. Give me some chance at chivalry.

MOSES pulls out some keys and jiggles them in the lock of the front door.

MOSES

Here Davey. Just give it a little twist here as it does stick a bit.

DAVEY

Wow. I thought only white folk had log cabins these days. It's a bit redneck.

MOSES shakes his head.

MOSES

No, my Dad's still very much the outdoors enthusiast. And despite what you think underneath that subtle racism, the cabin is quite plush.

DAVEY

Hey, I'm no racist.

MOSES

Sure. Remember your last name's Richards... and this isn't a comedy club.

DAVEY

Touché.

LAUREN and ALEX move up the front steps with their CASES.

MOSES

Here. We'd better give them a hand.

LAUREN

Don't worry about the equipment. It's all done.

ALEX

Yeah, just grab the other bags if you could.

MOSES

Sure.

INT. THE CABIN

ALEX unzips a suitcase he's laid across his double bed. He hears LAUREN'S footsteps behind him as the door opens up.

ALEX

Well I guess that's it then; just the unpacking to go.

LAUREN

Are you sure about this?

ALEX smirks at the comment.

ALEX

No, but then again...

ALEX spies DAVEY talking to MOSES out of the bedroom window.

ALEX

I don't want to tell him that.

LAUREN

Well its one of the stupidest things you've done.

ALEX

You say that with a lot of restraint.

LAUREN

I can reminisce further.

ALEX

That's fine. Can't you just say the usual 'take care' stuff?

LAUREN

Just get over here and hug me.

ALEX

...Just a hug?

LAUREN

Don't push it.

ALEX and LAUREN embrace. Alex rests his chin over LAUREN'S hair, using the height advantage to hide his anxiety.

ALEX

I won't scratch up your camera.

LAUREN

You think I'm worried about that. I can replace a camera.

INT. CABIN NIGHT

DAVEY starts to unpack his clothes; His face pales in the sunlight as he hunches over and lets a long line of spittle hang from his mouth. He tries to ignore his headaches as he is interrupted by ALEX.

ALEX

Are you ready for this?

DAVEY

Are you sure about this? I have never even seen you chop wood let alone go fishing. This isn't L.A.

ALEX

It's fine. Dad wasn't all bad you know.

DAVEY

What's your point?

ALEX

He taught me a few things about the outdoors. All with beer in hand of course.

DAVEY

Sounds about right.

ALEX

Don't get too comfortable. We set off in the morning.

DAVEY

This doesn't get easier does it?

ALEX

I don't know.

DAVEY

How far do you normally get?

ALEX

Two days. That's the best so far.

DAVEY

So what are you saying?

ALEX

I'm saying there's a good reason they took our phones. This is going to get ugly.

DAVEY

Great; and we're going to film ugly. I can't wait.

ALEX

Just get some rest.

DAVEY

Sweet dreams Bro. Do you want a courtesy knock, you know, in case you're jerkin off?

ALEX

I think I'll be fine.

EXT. THE WOODS MORNING

DAVEY is perched behind a camera, focusing it on ALEX'S FACE. HE pans it across to his mouth, enlarging it.

DAVEY(O.S.)

Hey is that drool in your mouth?

ALEX

No. And before this turns into another semen joke, are we good?

DAVEY

I'm not sure. What do you want me to do?

ALEX

Look, It's quite simple: Zoom the camera in as much as you can on my eye and wait for it to focus.

DAVEY

How will I know when it's focused?

ALEX

It will go from blurry to clear.

DAVEY

Okay. Yeah. Sorry, I knew that.

ALEX

And when that's done you simply zoom it back out again so that you've got my head and my shoulders in the shot, oh and don't chop my head off either.

Davey adjusts the shot and brings Alex's full head into view.

DAVEY

Now do I just say go and you start talking?

ALEX

Count it down. Press record at about Three seconds.

DAVEY

Okay.

Davey goes through the instructions.

DAVEY

And we're good.

Alex gives a slight pause before beginning to talk.

ALEX

Hi. I'm Alex Richards... Behind the camera and soon to be in front of it is my brother David.

(MORE)

ALEX(CONT'D)

Behind us is a woodland and there are no assistants or trailers to be found.

As you may know, my brother and I have been subject to not only a car crash but also the scrutiny of the media. There have been rumors and suggestions made that I have a drug addiction and that this has endangered my family.

(A longer pause)

I can tell you with no doubt in my voice that this is absolutely true. I have a drug problem and unfortunately it has affected my family in a dangerous way. I became so caught up in the idea of hiding my dirty little secret that it nearly destroyed my life and my brother's. The reason we have decided to make this little film here is because I wanted the public to hear it from me and I want to personally apologise to all of my fans who believe I was just playing that in a character.

(A short pause)

Alex sniffs a bit out of his nose before turning back to the camera.

ALEX

I don't know where to begin to tell you why I started a life with drugs, but I can tell you what I want to do with it...

Between me and Davey here, we decided to finally quit our own addictions. We are doing this without the aid of any rehab clinics but only the help of each other. You will see that this isn't easy. I am already starting to feel nauseous and I don't think Davey feels so hot either.

(A pause)

This part here we are doing for our own benefit and I know this is a little self indulgent but we thought we might film it just to show how difficult it is and show how determined we are to make our lives just a little bit better.

EXT. CAMP SITE

DAVEY moves out of his tent, adjusts the camera lens and focuses on the noise coming out of ALEX's tent.

Alex starts to make some regurgitation noises.

Alex desperately opens up his tent's zip, forcing it to open as he sticks his head out and starts vomiting on the ground below.

Davey focusses the camera on the spectacle before Alex addresses him in the middle of it.

ALEX

Get that thing out of my face.

Davey smirks from behind the camera.

ALEX

Turn it off. Turn that fucking thing off! Get the fuck out of my face!

Alex's eyes begin to well up with tears. Alex moves his head back around and tries to climb back into the tent.

EXT. CAMP SITE

Alex begins foraging around for some firewood, picking up a loose piece of wood and checking it for any sign of dampness. He piles it on top of some other pieces of wood that are cradled in his shoulder. He moves over towards the camp-fire, which is beginning to die down. He drops the pile of wood nearby and stokes the remaining coals, watching them glow amber before his eyes. He sees Davey lying down in a patch of grass, staring up at the sky.

DAVEY

Please leave the camera for the moment.

ALEX

I will.

DAVEY

Why do we do this?

ALEX

I don't know.

DAVEY

I think you do.

ALEX

I'll tell you later.

DAVEY

In front of the camera?

ALEX

No; just when you're ready to listen.

DAVEY

You still feel like shit?

Alex

Yeah.

DAVEY

Me too.

EXT. CAMP SITE NIGHT

DAVEY emerges from a restless sleep to focus on the burning glare of the fire. He stumbles over to a large tree and urinates, clearing his throat during the middle. He spots ALEX hunched over in front of the fire. He approaches his brother carefully.

DAVEY

You okay Bro?

Davey spots a trickle of tears running down his brother's cheek.

ALEX

No.

Davey fidgets uncomfortably, picking at his arm subconsciously before he awkwardly slumps down near his brother.

DAVEY

This can't be good then.

ALEX

I know what you're thinking. The fame, the money, respect... Whatever, I know. On paper it looks nice right?

DAVEY

Yeah.

ALEX

Well that's just it, isn't it? So why the fuck do I feel like shit all the time?

DAVEY

It's all in your head.

ALEX

That's it.

DAVEY

Well I know mine's justifiable. My life's shit. I feel like shit. It's a simple equation.

ALEX

I'm sorry.

DAVEY

No, it's nothing.

ALEX

No this really is my fault. Your friend Ricky was right. I remember the very first time you used. I walked you through it every step of the way.

DAVEY

Look you may think so but I was the one who still made that choice.

ALEX

But you were young. It was unfair.

DAVEY

Well it doesn't matter now. So when did you start?

ALEX

I was the same age.

DAVEY

So... What started you in the first place?

INT. RICHARDS' FAMILY HOME FLASHBACK

A young ALEX RICHARDS walks through the front door. He throws a gym bag onto the couch and opens up the refrigerator. He takes out a carton of orange juice and guzzles at it. He overlooks a handwritten note on the kitchen bench-top. Alex calls out down the hallway.

ALEX

You're home early!

(A Pause)

Dad?

Alex moves down the hall. He notices the bathroom light on and goes to open the door.

INT. RICHARDS' BATHROOM FLASHBACK

ALEX opens up the bathroom door and watches his Father's body sway from the SHOWER RAIL. He gazes in disbelief. The SHOWER RAIL eventually breaks under the weight and the body falls to the floor. Alex drops the juice carton and scrambles to pick up the body.

EXT. CAMPSITE. PRESENT

ALEX starts to weep openly. DAVEY leans in closely.

DAVEY

Jesus! I never knew. Mum just told me he just up and left. That he had another family.

ALEX

I'm sorry. We should have told you. I guess we were trying to protect you.

DAVEY

Shit no I'm sorry... for you.

ALEX

I wanted to clean it all up before Mum got home but I couldn't. I just sat there, nursing him.

I don't know how long he'd been dead but he just stared at me with those eyes. That's the worst thing. He wasn't there.

DAVEY

How many people know?

ALEX

Just a few. And one really fucked psychiatrist.

ALEX

He seemed happy right? You can say it. It's the way it really is though Davey? Often the people who seem the happiest on the outside are the most fucked up. It's not fair.

DAVEY

It explains you a bit more now.

Alex has composed a little now but still lets a few tears run freely.

ALEX

I promise when we get through this shit, I'll show you the letter. It explains a lot. Basically he had that type of personality.

DAVEY

Drugs?

ALEX

Not really... well the alcohol was his poison and when he started mixing it with valium and other prescription drugs, he was on the way.

DAVEY

Do you want the camera?

ALEX

Fuck the camera.

DAVEY

This is important.

ALEX

I know it is but there's another way to tell it.

DAVEY

We can do this.

ALEX

Yeah.

DAVEY

No we really can. We're almost through the worst of it.

ALEX

Not quite. But I like where your head's at.

DAVEY

For what it's worth, I'm sorry.

ALEX

What for?

DAVEY

I know now it wasn't your own image you were protecting. It was Dad's.

ALEX

I think he'd be proud.

DAVEY

I think you're right. I'm not one for religion, but heaven or hell, he's looking up to us.

ALEX

I hope so.

(A Pause)

I'm sorry we didn't tell you. I don't blame you if you get angry about that fact.

(MORE)

ALEX(CONT'D)

I'd rather have you hate me for a little while than carry the burden.

DAVEY

I understand. You're doing what I probably would have done.

EXT. RIVERBED

A stream starts to flow freely, cascading over a pile of rocks as it picks up momentum. A few Salmon are pushing against the current, forcing their way upstream.

Their progress is broken as a line drops elegantly against them. A salmon is halted in its struggle and hoisted up onto the bank as DAVEY laughs at this latest triumph.

DAVEY

I told you I'm good.

ALEX

It's not exactly difficult. They're swimming against the current. They might as well be in a barrel.

DAVEY

Do you want to ruin the moment?

ALEX

Okay you got me there. This is the life, isn't it?

DAVEY

How are you feeling?

ALEX

My head's clearing. My sheets are dry.

DAVEY

I don't want to know about that.

ALEX

How about you?

Davey drops the fish, letting it wither on the ground.

He looks at the river and over the valley that runs beneath them.

DAVEY

Good. I don't know why but I feel really good.

ALEX

Good to hear.

ALEX casts out his own fishing line.

ALEX

Let's get some more done before the bears come.

DAVEY

It's quite a view, isn't it?

ALEX stops to take a look over their surroundings.

ALEX

Yes.

DAVEY

You couldn't even hallucinate this

ALEX

No.

SUPERIMPOSE: 11 MONTHS LATER...

INT. WAITING ROOM.

GUTHRIE sits in a large waiting room; he glances up from a magazine to watch a TV broadcast. The TV screen shows an attractive woman focusing on the center of the screen. She glances briefly towards her Male counterpart before reading the latest bulletin.

NEWSREADER

And now our top story in this week's entertainment. In the race for the Oscars, Hollywood exile and Oscar-winning star of Angel Dust, Alex Richards could be up again for an award; this time taking his place in the director's seat in his shocking and revealing documentary: Coming Clean: A Richards' Story.

(A Pause)

The controversial film tackles some heavy issues such as Richards' recently public drug addiction as well as the suicide of his father.

Hollywood Tonight took this story further, heading downtown to ask you the viewer just what you thought of Richards' latest work.

GUTHRIE glances down at his latest magazine: a close-up of a nascar driver running along the tarmac in flames captures his attention momentarily before he peers back to the television screen. He watches a journalist press his microphone towards an enthusiastic young FEMALE.

VIEWER

I think he's very brave. To put everything out there like that and still quit his addiction at the same time. That takes a lot of guts.

THE JOURNALIST takes his microphone over to another VIEWER; a young bearded man in his twenties who gives a raised eyebrow to the latest question.

JOURNALIST

So what are your thoughts on Alex Richards?

VIEWER TWO

I think it's a little self absorbed really. I mean I know the guy has had problems but do we really need to know about another celebrity with drug issues, I mean it's like part of their resume now, or something.

GUTHRIE stops watching the television as an ASSISTANT emerges from a doorway and hands out a laminated CARD.

ASSISTANT

Okay now here's your press pass. We're looking forward to seeing your work but just be careful out there. Some of these machines fly right by you at ridiculous speeds.

GUTHRIE

Thanks for the advice but I'm sure it's all in the job description.

ASSISTANT

That's a good attitude... well I hope you like your new assignment.

GUTHRIE

I'm sure I will.

EXT. HOLLYWOOD BOULEVARDE

Fans crowd around the bleachers outside the Kodak theatre, looking on as reporters start interviewing Hollywood Celebrities. Beyond the scene is a row of limousines coasting down the boulevard.

More fans align the streets as roving street journalists attempt to catch a few quotes from Limousine windows. Beyond this is a group of Religious conservatives, who wave posters and jeer at the procession of celebrities.

INT. LIMOUSINE

Alex and Davey are sharing a lime soda together. A familiar hand reaches over to offer them up a champagne glass.

ALEX

It's okay.

MOSES

It's non-alcoholic.

ALEX

Fine. I'll have one then.

DAVEY

I guess if you're offering, Moses.

DAVEY winds down the window and yells out at the religious group.

DAVEY

I am one of God's beautiful creations thank-you!

ALEX

Don't encourage them Davey.

DAVEY

What? Can't I have a little fun?

Alex glances at the group of religious right wing before his eyes widen at a strangely familiar sight. Beyond the group is one lone woman clutching a ROSE; she gazes over at the procession of Limousines.

Alex motions to the driver.

ALEX

Pull up to the kerb.

DRIVER

Are you sure?

ALEX

Yes. Right there.

DRIVER

Very well sir.

DAVEY

What are you doing?

ALEX

Don't worry. It's fine.

EXT. HOLLYWOOD BOULEVARDE

The Limousine stops right in front of the woman. Alex sends the window right down.

The group of religious fanatics stops their chanting to watch.

Alex and Davey both hang their heads out of the window.

ALEX

Good afternoon. I see you have another rose there.

GRACE

Yes.

GRACE turns to Davey.

GRACE

This one's for you. Your mother would be very proud.

DAVEY

She is, I think. What's your name?

GRACE

Grace.

ALEX

Do you need a lift Grace?

GRACE

I'm fine. You two enjoy your evening.

ALEX

You're far too kind.

GRACE

You both deserve a good night.

ALEX

Will you be watching?

GRACE

Always.

Grace walks off and smiles at the group of religious fanatics.

They pause for a moment and there is a brief and awkward silence before they resume chanting at the Limousines.

ALEX

You like the limelight don't you?

DAVEY

Hey, look who's talking.

ALEX

You just don't have the style, Davey. Watch this.

ALEX activates the sunroof and climbs on top of the seat. He stares out at the crowd. He leans back in.

ALEX

What are you waiting for Crockett? Get up here.

DAVEY joins his brother, just as a few fans run out past traffic, narrowly avoiding a collision as they surround the LIMOUSINE. ALEX and DAVEY both lean over to shake hands and pat people on the head.

INT. RICHARDS' FAMILY HOME LATE AFTERNOON.

LAUREN brings two glasses of champagne into the living room. She hands one over to SARAH RICHARDS, who appears confused at the remote control in her hands.

SARAH

Now do you have any idea how to work this thing?

LAUREN

The DVD recorder?

SARAH

That's right. I bought this thing and they told me what it could do but I still have no idea.

Lauren hands over her champagne glass.

LAUREN

I'll take care of it. You just enjoy that champagne.

SARAH

I like your thinking.

Lauren starts to record the television. The screen displays the red carpet opening of the Academy Awards.

Sarah's eyes begin to redden.

LAUREN

Are you okay?

SARAH

My boys... Aren't they beautiful? I could die right now you know.

LAUREN

You can't do that.

Sarah looks over at Lauren.

LAUREN

Who else am I going to share this Dom Perignon with?

Sarah smiles.

INT. KODAK THEATRE.

A HOLLYWOOD OSCAR WINNER turns away from a large television screen, turning back to their vast audience and peering down at the TELEPROMPTER.

ACTOR

And the winner is...

A TV CAMERA focuses on ALEX and DAVEY'S face before zooming out to show their faces in a box with five others, each displaying Individual nominees.

ACTOR

Alex and Davey Richards for Coming Clean: A Richards' story.

BOTH the brothers fight back tears as they look quickly at the other. Alex squeezes Davey around the neck and they run up the stage steps. Davey ushers his brother over to the podium first as they take it in turn to shake the ACTOR'S hand before returning back to the audience.

ALEX

For him.

(A pause)

For them.

Without that connection, I am nothing but a speck; Someone that you wouldn't pay the time of day to. There's a reason why people get up here and thank a whole list of people for their acceptance speech. It's the reason why I'm here to tell you I am nothing without them but that with them I can be something else.

Together we can inspire those around us to wake up one day, look in the mirror and ask "Is this all I can be? Is this the dream I fought for? And if the answer is no, we can climb out of the gutter we've called a home for too long.

(A Short Pause)

The people who define some element of truth in my life are my family and friends. Without them I am just another junkie.

(A Pause)

Well I think you've met enough of me to make up your own minds, so I'd like to introduce you to a far greater man than myself: my brother. He knows me. He knows that for once I'd like you to spare your kindness and gratitude.

(A long Pause)

For him.

Alex is met with a very large applause.

DAVEY turns towards the Microphone and glances down at a camera.

DAVEY

Please don't play me off yet. It's hard to get a word in with him.

The audience laughs.

DAVEY

First off I'd like to thank all the people who funded the thing. I don't know why you did but I'm glad. All my peeps out there: I love you. Mum, we love you.

(A brief pause)

Davey looks down at the band. His left eye swells.

DAVEY

Not yet guys.

DAVEY turns to ALEX.

DAVEY

Alex, I love you for being my inspiration.

(A Pause)

I forgive you for being my inspiration.

Alex starts to cry but his tears are quickly buried underneath DAVEY'S bear hug.

The brothers are met with a standing ovation as the Audience thunders out their approval. The band music starts to play.

INT. RYAN'S OFFICE.

RYAN rises up from his computer desk. He turns the monitor around to face a new CLIENT.

RYAN

You want assurances?

CLIENT

Is that too much to ask? You have to convince me why you're my new agent.

RYAN

I'm not sure it works that way but here's one good reason. Check this out. It's a popular one on Youtube. Sure, not as popular as Obama's speech but nonetheless a good one.

CLIENT

Alex Richards is your client?

RYAN

Back then he wasn't. He was just my friend. Now he's my client as well.

CLIENT

So where is he now?

RYAN

Next question.

CLIENT

Huh?

RYAN

Did you have a question?

CLIENT

That was it.

RYAN

Which was?

CLIENT

Where is he now?

RYAN

Next question.

CLIENT

I get it. So it's classified.

RYAN

This isn't Area Fifty-One.

CLIENT

Very good. Well played sir.

Ryan clicks his mouse button and the Youtube video finds a particular spot.

ALEX(V.O.)

And not to mention my good pal, Mr Ryan Murphy, you were there for me.

RYAN

And to prove it's not just a name coincidence: I have photos of Alex and myself.

CLIENT

Well I'm sold.

Ryan clicks again and the screen pauses.

CLIENT

Hey what are you doing? I like that speech.

Ryan rolls his eyes.

RYAN

Really? I thought it waffled on once he thanked his best friend.

(A short Pause)

Okay then. Here you go.

Ryan un-pauses the screen and Alex continues to give his Best actor acceptance speech.

ALEX(V.O)

... without all of those people in the business, I could not live this dream. The roles we take on the screen pale in significance to the one role we play in life.

EXT. WOODS

RICKY is seen with JANET pouring out cups of juice to some irritable teenagers who have just walked off a bus.

They gather around ALEX, who looks back at his brother, who prepares a back-pack alongside Alex's. Alex lets himself be surrounded by the large group as some more of his helpers crowd around.

Two helpers, Moses and Lauren, politely move their way through. Lauren gives Alex a big hug and he kisses her on the forehead.

ALEX (V.O.)

We were only given one chance at this. When I get my final curtain call, I hope I gave something worthwhile, but it's not for you people, I'm afraid. It's for my family, the main audience in my life...

Alex and Davey lead the pack up a large hill. Alex looks back at his brother and smiles as he sees Davey helping a young local hike up the hill, sweat oozing from his forehead. Davey looks back up at his brother and gestures him onward.

FADE OUT.

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