[[A hyperbole and personification of weakness.]]

TOTALLY OPTIONAL TO READ

USELESS INTRO

ACT 0

USELESS INTRO

SCENE 0

0-1-AINT. HOSPITAL - 19950-1-A

A woman is giving birth to a son. The room is 348. She's freaking out, like seriously. Forget the whole  beauty of bringing a life into this world crap, she's trying to hold her body together as this baby expands the hell out of her lower abdomen. Husband is next to her, hand turning purple, face in disgust at the idea that he now shares that hole with someone else and even though he was technically first... he still gets "sloppy seconds" from now on.

MARGARET

(to GOD)

Why? Why? Why?

(baby crowning)

(higher pitched screams)

WHY! WHY! WHY!

STAN

(to MARGARET)

You can do this honey!

CUT TO:
0-2-AINT. HOSPITAL - 19980-2-A

Same woman giving birth to another kid. This time it's a girl. A bit more relaxed. I mean the damage the first kid did was bad enough, what could one more do?

MARGARET

(to GOD)

Softer than last time...O.K.?

STAN

(to MARGARET)

Push it, Push it real good!

CUT TO:
0-3-AINT. HOSPITAL - 20010-3-A

MARGARET is giving birth to another child. This will be the last one. Another girl. The other two kids will be kids but this one, LIN, will be special. Not in the exactly context of this story but she'll be special.

MARGARET

(to God)

I think I'm good on this one.

STAN

(to MARGARET)

That was fast.

END SCENE

ACT I

SCENE I

FAST FORWARD TO:
1-1-AEXT. HOUSE - OREGON - USA - 20081-1-A

Shack to apartment to house to home. They live pretty isolated, like the Internet works and all but as far as humans go...they don't. "Live off the land...blah blah" STAN would say. The kids grew up silently hating each other as all, most, siblings do; their appreciation for each other grew immensely as well...since that's all they had out in the wilds.

Family's kind of a sick idea. You're stuck with people who more times than not, you'd never be around or hell you'd even hate if you met under other circumstances. But there you are loving them, thinking of them, relying on them...all because you have the same last name. This is your first taste of the real world, you'll be surrounded by people you dislike but who also hold the key to your survival or at the very least to the difficulty of it.

Now the house was great. You'd expect some farmhouse or an exorcist type place. But it was like a mansion. Each kid had a room, there were two floors, wood floors, nice windows. Oh and the best part was the future proofing. The parents decided that their kids were special and would do things with their lives(big surprise) so when they built the house, 4 rooms were left untouched so that whatever hobbies/mischief/talents the kids got into they would have a creative space. It was dope¡ But Lin was the only special one and even she had only touched one room.

Parenting is also a sick idea. Yes they bore you, but what were their intentions? Do what, the right thing and raise a "good kid"? So what, they can brag about you?depend on you later? They let you achieve so that they can be called great parents? Most people are who they are because of their parents and that's sad...because they never wondered off the beaten path, probably in fear of a beating (HA)

LIN

(to MARGARET)

What are the empties for?

MARGARET

(looks at STAN)

(to MARGARET)

For you to explore.

LIN

(to MARGARET)

But theirs nothing inside?

MARGARET

(to Lin)

To explore yourself.

STAN

(to Lin)

To explore yourself.


END SCENE

ACT I

PART EYE - I THINK I'M DOING IT WRONG

SCENE II

PART EYE - I think I'm doing it wrong:

2-1-AINT. THE HOUSE - EMPTY #1 - 20082-1-A

If the eyes are the window to the soul, take yourself and the person person you love into view. See the past and the present, the present and the future, love and hate, rational and wild no matter what your limit is set to two. It sucks...

He can see it all. He sees all his enemies at once, his past, present & future, the fronts and the truths, the intention & the action, you can't hide anything from him. 8. PRIDE "You sure?" "If you think so" "I know what you mean"...you think he's an asshole but the gift of eyes hasn't fed his ego it's only taken his sight. A sunrise isn't a sunrise it's an illusion you can't see past...he can. Space is a constant reminder of falling short not stars. Silent(menacing), calculating(strategic), quiet(observant), there's nothing out of the ordinary about him.

He lives in the house, unbeknownst to the family. Lin knows, she's spoken to him twice. Once before she could speak and another time when she was asleep. She leaves him things food, water, books...she's a friend...a friend.

LIN

(painting)

~When I'm alone in my room sometimes I stare at the wall...

CUT TO:
2-1-BINT. THE HOUSE - ABOVE EMPTY #12-1-B

EIGHT

(silently descends from roof)

~Through the wire

CUT TO:
2-1-CINT. THE HOUSE - EMPTY #12-1-C

EIGHT enters and makes his way to the corner.

EIGHT (CONT'D)

~Good Morning little school girl, can I come home with you

LIN

~My tea's run cold I'm wondering why I…got out of bed at all

EIGHT

(thoughts)

What have we here? Another one? Keats this time? Why is this girl so entranced by romance...the downfall of them all.

Hopeless dependency we share for one another
I find everything about you attractive though we just met
It seems as though everything around me, even nature is insignificant next to you
The sun shines for you.
The trees bow before you the flower bloom with you every passing.
I've not achieved until I have you with me so be with me
Be with me and no one else
Be with me and no one else
Let it not be I but we be us
I find that I can't live without you...so let's bone

EIGHT (CONT'D)

(thoughts)

How's that Mr. Keats?(HA).

I refuse to find the meaning in Love so it seems your adventures are (now) of significance to me Mr. Finn.

(watching LIN)

How does this girl come across this literature. I can see that she holds promise but it seems that she will be devoured by love. If only she consciously knew I was here, I'd warn her of the future that lies near. I'd show her the wonders of these rooms. But eyes are for looking I suppose.

LIN

~You don't know what you do

CUT TO:
2-2-AINT. THE HOUSE - EMPTY #12-2-A
TIME PASSES BY VIEW OF WINDOW

END SCENE

ACT I

PART EYE - I THINK I'M DOING IT WRONG

SCENE III

3-1-AINT. THE HOUSE - EMPTY #1 - 20103-1-A

The inevitable happens. 8 loathes the girl but also relishes her quirks. He's superior but he constantly relies on her. A genius with a crutch, forever tied to a lesser being. Maybe his Love was in-fact her. But today is the day. Everything he knows will change. He's about to get fucked up, he'll lose sight of what he is and question all he knows.

LIN (CONT'D)

(dancing)

~It was all a dream

EIGHT

(glancing up)

There's a draft here. Why would she leave the window open during the fall, there's likely to be a squirrel to run through the room.

So here's the deal. I can talk about it but I can't do any justice. There's a wind of change, literally, but also on another level. Can you imagine that one day something or someone can literally come into you life and disrupt everything. The pilgrims can invade your tribe, the construction companies can trample your ecosystem, the secret police can knock on your door, God can say "you will die for their sins", your first child could also kill your wife during birth but somewhere along the way you endure but most importantly you realize that along with this new tragedy you discover that you enjoy the universes cruel way of slowly nudging toward chaos. You constantly clung to your way of doing things convinced whether by fact or pride that you are correct but the introduction of something new should kill everything it instead makes you something new. Like a WWII soldiers first kill. He was a preacher's boy, office job, too much of a pussy to propose to his girlfriend worthless. But once he makes that kill, his whole life is redefined, he should hate himself, have nightmares but instead he smiles and though he may not physically do it: He'll forever be drenched in his kill's blood. That's how to describe this change, being drenched in your kill's blood with the kill being the thing you that you were.

Speak of the devil.

BIRD(PHEONIX)

(gracefully)

Hello.

EIGHT

(looking up)

...

In a blaze of glory (here it comes)...everything changed. A brown bird with a red no CRIMSON breast, wings with intricate patterns and eyes of a psychic hawk. As the sun shone through the window and partially blinded 8 the loud THRASHING VIBRATIONS OF THE BIRD INSTANTLY DISAPPEARED...

EIGHT (CONT'D)

(looking up)

Thank you for the morning song though it has fallen into late afternoon.

BIRD(PHEONIX)

(to EIGHT)

Well excuse me. It seems that you live...

The air is slightly smelly.

BIRD(PHEONIX) (CONT'D)

(to EIGHT)

falsely.

EIGHT

(TO BIRD(PHEONIX))

falsely.


EIGHT

You must not speak before you understand a situation. It leaves you open for deflection without someone even having to look at you.

BIRD(PHEONIX)

(to EIGHT)

Well.

BIRD(PHEONIX) swoops down and takes 8. Flies out the window.

Everything changes.

TWO WEEKS LATER

EIGHT

(thinking)

I hate you. All you represent fills me with feelings of hate. Loud, bright, wild, sporadic, total violation for PERSONAL SPACE.

EIGHT (CONT'D)

(thinking)

You're everything...my eyes haven't seen anything or everything at one time before. I had no idea what was possible from this room but you have seen it all but you also have the ability to GO whenever.

EIGHT (CONT'D)

You're is something I should kill. But until that time I shall experiment with the possibilities that you bring.

LIN

(playing)

~Deep in the heart of Texas

END SCENE

ACT I

PART EYE - I THINK I'M DOING IT WRONG

SCENE IV

4-1-AINT. THE HOUSE - EMPTY #1 - 20104-1-A

LIN

~Dacning in the streets

EIGHT is sitting in the window.

EIGHT

Where are you?

EIGHT (CONT'D)

Why can't I see this?

EIGHT (CONT'D)

You'-

BIRD(PHEONIX)

Hello. I see you've recovered from our adventure.

EIGHT

...

BIRD(PHEONIX)

You are a waste, I've taken you outside. You've flown, seen things, felt a real breeze and you're still here.

BIRD starts to take off.

EIGHT

(to BIRD)

What do you know. You've flown your whole life and felt a breeze but I've only read about them. If not for you I'd would have left the sensation to my imagination...You've only know that so it's your reality and what I know may seem caged but it's what I know. Just as you wouldn't live my life realize that I don't want yours either, but you've taken me with you.

EIGHT (CONT'D)

(TO HIMSELF)

Now I'll dim the brightness of your life with mine.

BIRD

Hmmm, well maybe I owe you the same courteous discomfort. You yourself aren't a normal recluse and have therefore attracted my attention.

Flies away.

LIN

(writing)

~When you decided to walk through my door.

FAST FORWARD TO:
4-1-BINT. THE HOUSE - EMPTY #1 - 20104-1-B