Transcript for 12. 39.17 Mhz

INT. THE NOTHINGNESS

[CLICK.]

[STATIC.]

[Donald and Louise are in full panic mode. They RUNNING around the room BANGING on walls and windows. They KNOCK breakables to the floor SHATTERING them. Book get HURLED across the room. Throughout all, the static and OUTRO interject.]

DONALD (prolonged moaning)

Who will give us the wooooorrrrdddsss?!?

LOUISE

WHOOOOOOOOO?!?!

DONALD

THE WOOOOORRRRDSSSSSS!!!

LOUISE

NO ONE IIIISSSSSS GIIIIVIIIING UUUSSSS THE WOOOOORRRDDDDSSS!!!

[Their voices pulse and swirl. They warp and bend. Eventually giving way to more–]

[STATIC.]

 

[END TITLE SEQUENCE PLAYS]

 

[A long moment of silence]

 

INT. KEETS FAMILY HOME – NIGHT

[Keets enters through the front door, removes his jacket and hangs it on the coat rack. In the background, Donald and Louise’s breakdown from the previous scene plays over the radio]

KEETS

Honey, I’m home!

[Silence]

KEETS

Honey, I’m home!

[more silence]

KEETS

Sweetheart?

[Just WIND answers back. A CREAK in the floor board above Keets head.]

KEETS

Bev? Upstairs love?

[Silence.]

KEETS

Dinner waiting in the oven?

[Silence. He begins walking up the stairs.]

KEETS (to himself)

You obviously can’t hear me. I’ll just have to come–

[Barton walks out to the top of the stair.]

BARTON

Keets, wait.

KEETS

OH GOD! Oh Christ! Barton?!?

BARTON

Just wait a second.

KEETS

What the heck are you–

BARTON

I came here… tonight–

KEETS

Why… why are you…? You have blood…

BARTON

I need you to stay calm and listen to what I have to say.

KEETS

Why are you covered… Calm? Why are you covered in blood, Barton? You… what’s with the gun?

[Barton drops his gun. He takes a few steps down the stairs]

BARTON

I came here tonight to talk to you.

KEETS

Where’s my wife?

BARTON

Just to talk to you.

KEETS

Talk? With your service pistol?

BARTON

Your door was open… When I got here. It was open.

KEETS

You…?

[Keets begin to tear up.]

BARTON

It was already… I couldn’t do anything.

KEETS

My baby?

BARTON

It was too late. They had… had been this way–

KEETS

They?

BARTON

For hours, Keets…

KEETS

Aw no… AW… AW NO! No… No, no no…

BARTON

Stay! Don’t come up here.

[Keets draws his weapon.]

BARTON

Whoa!

KEETS

What did you do?!?

BARTON

Hey… I’m not the one. I’m not the guy.

KEETS

You! Where’s my wife?

BARTON

This looks terrible Keets. I know it does. You have to believe me–

KEETS

Pick it up. (pause) Pick it up. Pick. It. Up.

BARTON

Uh… Listen very carefully Keets.

KEETS

You pick it up!

BARTON

If you don’t, you will be killing an–

[Four rounds FIRE off. Barton flops to ground. SLIDING and BUMPING down the stairs, stopping right in front of Keets.]

 

[STATIC]

 

[sounds of water running, bubbling. A typewriter clicks away. Labored breathing. Whale sounds.]

 

INT. MICELI’S NIGHT CLUB OFFICE – NIGHT

[Thomas sits behind his office desk signing off on a few payroll checks. There is a KNOCK at his door.]

THOMAS

Get the door please.

[Knocks again]

THOMAS

CHRIST! Get the door, please.

[An ENFORCER opens the door. GANS stands in the doorway holding the ledger.]

THOMAS

Would you look at that. Someone on payroll who actually does his job. (pause) Are you going to just stand there in the doorway? Bring the ledger here already!

[Gans bring him the ledger. Miceli flips through the book]

THOMAS

This is good… this is really good.

GANS

Thank you sir.

THOMAS

So…? Are we all tied up or are things still a bit messy?

GANS

Everything been tied up in a neat red bow.

THOMAS

Blood red?

GANS

Very.

THOMAS (laughing)

Amazing. You got some ice running through those veins, Gans. I like it.

GANS

Would you like to know how this all wraps up?

THOMAS

Just spare the details, kid. I trust you more right now than I trust my nonna.

GANS

As long as you know just how helpful I can be, sir.

THOMAS

You’re a good boy Gans. I think I can see your role expanding very soon.

[STATIC – the distorted sound of “There might still be a rootbeer left in the icebox. If there’s two, will you bring me one? I want to share one with you”]

[CLICK]

[STATIC]

 

INT. MRS. WU REPAIR SHOP – DAY

[Archie is nervously fiddling with the radio he recently put back together. In the distance, sirens. Lillian is checking over the vitals of Joseph Ells. Carmen and Trudy look on.]

CARMEN

Well?

LILLIAN

Hm.

CARMEN

Can’t you give me more than that?

LILLIAN

He’s alive. (to Archie) Please stop fiddling with that.

CARMEN

Yes… and…?

LILLIAN

And… I don’t know. This is weird.

CARMEN

My husband is not weird!

LILLIAN

Fine. His condition, due to what I will assume is no fault of his own, is flat out looney tunes… His condition is cuckoo… bizarre…

CARMEN

Oh, Joseph…

LILLIAN

Other worldly?

TRUDY

Pipe it lady!

ARCHIE (slight speech impediment)

Lil! You’re losing sight.

LILLIAN

Sorry.

CARMEN

I’m sorry.

LILLIAN

I want to help him… I just don’t know how.

[Archie finally comes across the a working station.]

ANNOUNCER (O.S.)

Thank you for choosing KPOW.

ARCHIE

KPOW is back up!

TRUDY

Should we try to get him to a hospital?

LILLIAN

It’s not safe on the streets right now with the riots and all.

ANNOUNCER

We know you have many choices along the radio dial and appreciate you tuning into Los Angeles’ number one frequency.

CARMEN

What do we do then? We can’t leave him like this.

LILLIAN

The good news is he seems stable. All his vitals are very normal.

ARCHIE

You all should stay here for at least a little longer. Maybe through the night. See how things look in the morning.

TRUDY

Is there room?

LILLIAN

Sure. You’re all welcome.

ANNOUNCER (O.S.)

Broadcasting directly to the ganglia housed inside your skull cabin. Ready to remove those tin foil caps and bathe… babababa… baaaaaatttttthhhhhhheeeeeee.

LILLIAN

Is that a part of the show?

ARCHIE

No.

THE VOICE

Wha– Wha– What’s The Frequency? I am broadcasting to you in hopes on building the bridge for my safe return. I’m building– I am broadcasting to you in hopes on building the bridge for my safe return.

[repeats in the background]

CARMEN

I know that… we know that voice.

LILLIAN

Yeah?

TRUDY

It’s the same one from the tape.

[STATIC]

ARCHIE

What tape?

THE VOICE (repeating variations)

My trail of breadcrumbs have vanished. Likely eaten by the creatures in this forest of sound.

TRUDY

The body!

[Joseph’s body begins to lightly vibrate as the The Voice speaks and stops when it doesn’t.]

CARMEN

Joe!

LILLIAN

Uh… we all heard, saw… heard-saw that?

[STATIC, vibrating]

THE VOICE (repeating variations)

The forest is overgrown thick with noise. It can be blindingly bright while being a vortex of darkness. It is alpha and omega. I’m alpha and omega.

[Joseph continues the pattern of vibrating along with The Voice.]

LILLIAN

Archie, shut it off!

[Archie does so. Silence.]

LILLIAN

Ok. Let’s all take a moment to discuss what may or may not have actually just happened. Archie… you go first.

ARCHIE

I don’t know, he was like vibrating, his voice was coming out the radio, it was crazy–

[Lillian giggles, before–]

[STATIC]

[Sirens. Just so many sirens]

 

INT. WU FAMILY APARTMENT BEDROOM – DAY

[Walter sits at a chair next to Whitney as she recuperates in bed.]

WHITNEY

Hey.

WALTER

Good morning… well, no… afternoon it is.

WHITNEY

Ow… owie. Ouch. Troubles?

WALTER

Yes Whit?

WHITNEY

My side really hurts. Bad…

WALTER

I’m sorry Whit.

WHITNEY

How long have I been laid up?

WALTER

Almost forty eight hours. You’ve been in and out.

WHITNEY

Two days…Phew. I never sleep that long. Who’s room are we in?

WALTER

Lillian’s… Needed to get you patched up and she’s someone we can trust.

WHITNEY

You look… terrible.

WALTER

It’s been a hard week or so.

WHITNEY

Have you gotten any sleep?

WALTER

Some?

WHITNEY

Troubles… have you even stepped out this room?

WALTER

What for? There’s a master bath right there. Lil, Arch, Trudy and Carmen pop in from time to time and check in. They bring in food… we may never actually have to leave.

[Whitney chuckles.]

WHITNEY

Ouch! Ow! Don’t don’t do that! It hurts, I told you. Can’t even laugh… (pause) What?

WALTER

You had me worried there, kid

WHITNEY

Bah! What’s a little tiny bullet anyways? I’m fine. Good as new. In one side, out the other.  

WALTER

Yes! Right! Some silly, puny bullet can’t stop you.

WHITNEY

Right!

WALTER
No way!

WHITNEY

That’s right. Damn right!

WALTER

Four bullets couldn’t take down Ol’Whit.

WHITNEY

Wait. Let’s not take it too far.

WALTER

Probably right about that.

[There is a KNOCK at the door. Lillian opens the door and pops her head in.]

LILLIAN

There she is. I thought I heard you two talking in here.

WALTER

See Lil, it wasn’t necessary to amputate.

WHITNEY

Amputate? What? No.

LILLIAN (To Walter)

Can I speak to you in the hallway for a brief moment?

WALTER

Hold tight Whit.

[Walter exits the room to]

 

INT. WU FAMILY APARTMENT HALLWAY – DAY

WALTER

I think she’s going to make it.

LILLIAN

We have a situation downstairs concerning your client and her husband.

WALTER

Oh… is he dead?

LILLIAN

No.

WALTER

Is he awake?

LILLIAN

No.

WALTER

What other situation could it be? Is it naked stuff? Are they doing naked things down there?

LILLIAN

He’s vibrating.

WALTER

Wow… send Mrs. Ells my heartfelt congratulations.

LILLIAN

Are you always this difficult to have a conversation with?

[Door pops open and Whitney sticks her head out.]

WHITNEY

All the time.

WALTER

Private conversation Whit. Poor form.

WHITNEY

What do you mean he’s vibrating?

WALTER

This may not be the time to have a birds and the bees conversation.

LILLIAN

His body… reacted to the radio. The Voice that’s been interrupting the Love, Honor and Decay broadcasts.

WHITNEY

That’s not normal, right?

LILLIAN

No.

 

WHITNEY

Weird, but… I like it. Okay! Let’s take look!

WALTER

Maybe you should be laying down. (to Lillian) Tell her she needs to rest.

LILLIAN

You should really be resting.

WHITNEY

Nah.

LILLIAN (to Walter)

She refused.

WHITNEY

Let’s go see the other patient shall we? (beat)  But can someone help me down the stairs, first?’

[Rhythmic hand clapping, hurried, muted monologue]

 

INT. KOWALSKI’S HOME STUDY – DAY

 

[The Devil sits behind his desk putting pen to paper.]

THE DEVIL

To My Dearest Moira, In my efforts to write the wrongs of our past and start anew I have failed you. As the man we believed me to be, I have not measured up.

[The radio CLICKS on. Soothing music begins to play.]

THE DEVIL (To himself)

Odd.

[He CLICKS the radio back off. Allister enters the study.]

ALLISTER

Did you call for me?

THE DEVIL

Yes son? Yes son.

ALLISTER

What was it?

THE DEVIL

What was what?

ALLISTER

That you called for me?

THE DEVIL

No, my sweet boy. I didn’t call for you.

ALLISTER

Oh.

THE DEVIL

I didn’t even know you that you ex– were here.

ALLISTER

I am. I’m always here.

THE DEVIL

Always…? Thankfully. Would you care to join me? Come. Aw, give me a hug. Would you care to join me? I was writing your mother a… letter.

ALLISTER

That’s okay. I’ll leave you to it then.

[Allister exits.]

THE DEVIL (To Allister)

Till dinner time my sweet pea. Alright. Back to my letter. (To the letter) It pains me to inform you of this, Moira, even though we no longer share the same world. The man you knew… hoped me to be was but an illusion… a projection of a desired affectation. I am not that man. I am not a man at all.

[A door swings open.]

ALLISTER

Did you knock?

THE DEVIL

Did I knock?

ALLISTER

Yes.

THE DEVIL

For what purpose? Hm?

ALLISTER

I thought I had heard–

THE DEVIL

Dear?

ALLISTER

Maybe you wanted inside.

THE DEVIL

But I am already here. Inside.

ALLISTER

You are inside…

THE DEVIL

I’m inside.

ALLISTER

You are inside…

THE DEVIL

I’m inside. I’m inside!

ALLISTER

So you hadn’t knocked?

THE DEVIL

No. Oh? Oh oh?

ALLISTER

So…maybe you called for me?

THE DEVIL

No my sweet boy. No, no. I didn’t knock.

ALLISTER

So… do you need me here?

THE DEVIL

That’s…that’s unnecessary. I’m…

ALLISTER

Good. I’m glad. When you’re ready then. I’ll get you back inside in no time.

THE DEVIL

I’m already here. Inside.

ALLISTER

Bye!

[He goes back to writing.]

THE DEVIL

I am but a beast. A beast that speaks like a man. Who dines with a knife and fork. One who must have shed his fur in favor of a three piece suit. I’m not a man at all. A man would not be writing you this letter but typing it on a God’s typewriter. An instrument of great capabilities. Something so–

[CLICK as the radio turns on]

LOUISE (O.S.)

How beautiful!

THE DEVIL

What?

LOUISE (O.S.)

How romantic.

[Pause.]

THE DEVIL

Hello? Hello?

LOUISE (O.S.)

From the moment I heard your poetic words I knew I just HAD to say something.

THE DEVIL
Where are you? Where’s that voice coming from?

LOUISE (O.S.)

Down here. On your desk. I’m broadcasting to you from this funny little box.

THE DEVIL

That appears to be the case.

LOUISE (O.S.)

Would you be a dear and get the door please?

THE DEVIL

The door?

LOUISE (O.S.)

Please.

THE DEVIL

Has someone told you that they’re at the door?

LOUISE (O.S.)

If that makes more sense you… then yes. Someone told me they were at the door.

THE DEVIL

My apologies. I am not taking callers at the moment.

LOUISE (O.S.)

Oh, Douglas! Must you vex me in this way?

THE DEVIL

I must. There is no other option.

LOUISE (O.S.)

You have an important guest WAITING at the door. You do remember your manners.

THE DEVIL
Man or beast. (under his breath) Man or beast? These manners are man manners…

LOUISE (O.S.)

You are most certainly a beast. But even beasts carrying on with a certain etiquette. Wouldn’t you agree?

THE DEVIL

Yes! I believe you are making quite a bit of sense.

LOUISE (O.S.)

Then be a dear… Unlock the door. Your guest is here.

[STATIC, clanking of a mechanical device]

 

INT. MRS. WU REPAIR SHOP – DAY

WALTER

What… am I looking at here?

WHITNEY

Wow…

ARCHIE

That is a communication device.

WALTER

But it’s person.

LILLIAN

Yes. Correct.

WHITNEY

Oh my, my, my… Oh my! This is so weird!

WALTER

He has wires coming out of him.

ARCHIE

Yes… yes he does.

WALTER

And… a microphone.

WHITNEY

I can’t believe this!

ARCHIE

Necessary to make contact with The Voice transmitting on the KPOW frequency.

WHITNEY

Fascinating! Wow!

WALTER (to Carmen)

You’re okay with this?

CARMEN

I didn’t see any other way to make contact with The Voice.

WALTER

No? No other way?

CARMEN

There is a obvious connection.

WALTER

Oh, completely. Yes. Obvious.

ARCHIE

Once we realized the connection between the The Voice and Joseph it was a matter of making some logistical jumps and come to the best solution for the problem.

WALTER

This is an impressive logistical jump you’ve made here, Archie.

WHITNEY

How did you guys do this?  

ARCHIE

Well, with Lil’s understanding of physiology and with my knowledge of electronics, I think we did a workable job.

WALTER

So. You’ve turned a catatonic man into a radio in hopes of communicating with a mysterious voice that’s been ruining a popular radio serial. We may… have leapt far, far away for anything logistical.

ARCHIE

Not much different than the Dick Tracy watch I made.

WHITNEY

I am…impressed. And why not? Do you know how many people are in vegetable states? If you turned everyone into a radio then you could do… an amusement park of radio people! [silence] Sorry. As you were saying?

WALTER

So what now?

LILLIAN

We were hoping you’d give it a try.

WALTER

Me?!?

WHITNEY

You have to do it, Troubles! You have to! I want to see it happen.

ARCHIE

Once I plug in the power source the amplifier feeds into the body here. You put these earphones on. Then all you need to do is press the button down here on the microphone and begin speaking. You let go to let The Voice respond and press back down to speak again. Understand?

WALTER

No but at least the mechanics are clear.

ARCHIE

Take a seat.

[Walter sits beside Joseph.]

ARCHIE

When you are ready I’ll plug him in and we’ll see if it works.

 

INT. THE NOTHINGNESS

[CLICK.]

[STATIC.]

MISSY

For a woman of a certain sophistication only one brand of cigarettes is blazing a new frontier for expecting mothers. From Spishak the makers of Enfield No. 2 cigarettes comes Twilight Toasties, the only prenatal cigarette on the market. A cigarette so effective your fetus just may decide that it doesn’t need the full nine months to ready! That’s how healthy and strong it will be. Don’t believe us? Perhaps you’ll believe these satisfied customers.

ALMOST MOTHER #1

At first, my husband and I thought the baby hated me. He wouldn’t just kick. He would actually jab me in various organs. Anything his little talons could reach. I just couldn’t get any rest. Soon dark circles settled around my eyes. It was getting hard for people to look at me.  When our doctor told us that baby wasn’t getting the right nutrients from our generic prenatal cigarettes, we turned to Twilight Toasties. Now the baby is so quiet, I barely know he’s there. Giving me a full half a day’s rest every night. Thank you Twilight Toasties!

MISSY

Don’t believe us? Perhaps you’ll believe these satisfied customers.

[The former Keets scene plays. Keets sobs]

MISSY

Don’t believe us? Perhaps you’ll believe these satisfied customers.

[Throughout the scene, the Keets scene plays beneath]

ALMOST MOTHER #2

In today’s modern world, the modern woman needs to be one step ahead of the field. During my pregnancy I found myself gaining ungodly amounts of weight. I could sense my husband’s eye begin to wander. Who could blame him? Before my weight gain I was a cut above the rest. The most modern of modern women. With the help of Spishak’s Twilight Toasties I was able to shed most of my weight gain. By the time the baby was removed from instead of me it was only another week till I looked like my new old self again. Thank you Spishak for helping this woman and many others keep their family together.  

MISSY (distorted)

Don’t believe us? Perhaps you’ll believe these satisfied customers.

ALMOST MOTHER #3

I was sick. For the longest time we didn’t know what it could be. The doctors told us the baby was perfectly healthy, but I’d likely be dead in a month. The baby was due in three! What is a mother to do? After I was but to their science division, the fine men of Spishak were contacted by my doctor. They informed me that the baby was stealing my life force. Though they couldn’t rule out that the baby wasn’t doing this maliciously, I was assured that the likelihood was statistically low. We were so relieved. After many tests, they prescribed me two packs a day of Twilight Toasties as a way of weaning the baby off my life force and onto to something less hazardous to my health…

–cigarette smoke packed with all the vitamins we both would need. Spishak’s science division are among the most intelligent, kindest and thoughtful men this country has ever produced.  Knowing better than anyone what’s best for women and their needs. They also prescribed Age BeGone’s new advanced formula. Now after giving birth we won’t have to wait so long before getting back up on that horse and giving our baby a playmate.

MISSY

Spishak the makers of America’s most popular brand cigarettes, Enfield No. 2., and now the makers of that very thing that will keep your life from spiraling out of control. [gunshot]

–and now the makers of that very thing that will keep your life from spiraling out of control. [two gunshots]

–and now the makers [gunshot]

–and now the makers of that very [six gunshots]

–and now the makers of that very thing that will keep your life from spiraling out of control.

Twilight Toasties cigarettes by Spishak, leading the way to America’s future.

[BUZZER]

(higher, distorted) Twilight Toasties cigarettes by Spishak, leading the way to America’s future.

[BUZZER]

(even higher, distorted) Twilight Toasties cigarettes by Spishak, leading the way to America’s future.

[BUZZER]

(even HIGHER, distorted) Twilight Toasties cigarettes by Spishak, leading the way to America’s future.

[BUZZER]

(muffled) Twilight Toasties cigarettes by Spishak, leading the way to America’s future.

[STATIC, the sound of a tree falling.]

[CLICK.]

 

INT. KOWALSKI’S FRONT DOOR – DAY

[Knocking. The door UNLOCKS and OPENS.]

THE DEVIL

Were you waiting long?

THE NARRATOR

Just a short while.

THE DEVIL

Forgive my rudeness.

THE NARRATOR

No bother.

THE DEVIL

Welcome. Come in. Please.

[THE NARRATOR, early 30s, enters.]

THE NARRATOR

What a lovely home.

THE DEVIL

Follow me. We can talk in the study.

THE NARRATOR

Sure thing.

[They WALK through the hallway and to–]

 

INT. KOWALSKI’S HOME STUDY.

THE DEVIL

Here we are. Make yourself at home.

THE NARRATOR

Thank you. You’re very kind.

ALLISTER

Father? Who is– Did you called?

THE DEVIL

Oh, Allister! You’re still here. Come. We have a guest.

THE NARRATOR

Hello.

ALLISTER

Oh! A friend?

THE DEVIL

He seems friendly enough. Let’s not make any assumptions just yet, though.

ALLISTER

May I sit?

THE DEVIL

(To Allister) Please. (To The Narrator) Can I offer you anything?

THE NARRATOR

No thank you. I couldn’t.

THE DEVIL

Well, I hope you don’t mind if pour myself some tea.

ALLISTER

May I have some tea?

THE DEVIL

Without a doubt.

THE NARRATOR

Oh, go right ahead. I meant what I just said there about being kind. I’ve never been invited into someone’s house before.

THE DEVIL

Really?

ALLISTER

Me either…

THE NARRATOR

Yes, yes. Most people can be quite short when it comes to speaking with a stranger who just showed up at their door unannounced wanting to talk about a higher power.

THE DEVIL

How rude. I personally, am very happy that you’re here.

THE NARRATOR

Do you subscribe to a particular belief Mr…?

THE DEVIL

Kowalski. You can call me Doug.

THE NARRATOR

Do you believe in the Lord? They who is our savior and protector?

ALLISTER

I’d like to believe.

THE DEVIL

Can’t say that I’ve ever felt the need to believe.

THE NARRATOR

Until now, of course!

ALLISTER

YAAAAAAAY!

THE NARRATOR

You reached out to me for a reason sir. You reached out to be saved!

THE DEVIL

I believe you to be correct, in a way… I’m sorry what is your name again?

THE NARRATOR

How rude of me. Narrator…

THE DEVIL

Narr– hm. Wonderful. Wonderful to meet your acquaintance, Mr. Narrator.

ALLISTER

I’m Allister.

THE NARRATOR

Hello. I’m Narrator… The.

THE DEVIL

What a peculiar last name you have.

THE NARRATOR

Oh, it’s quite old.

THE DEVIL

I find old things to be much more interesting the new. Don’t you?

THE NARRATOR

Like the word of our Lord.

THE DEVIL

Or… Like this house for example. It has been in the family for generations. You have just seen the tip of the iceberg in the study. I would love to show you some more. It’s large and it’s intricate. The finest craftsmen in the whole world have worked on this house. It has secrets within secrets within secrets within secrets within secrets within secrets.

THE NARRATOR

Sounds terrifying.

THE DEVIL

Nonsense. Secrets are life and life is mysterious. Mystery is wonder. And wonder is the sensation of dipping your toes outside of your own reality. Confusion is being pushed–

THE NARRATOR

Of course but the word of the lord really does explain all the mystery–

THE DEVIL

Did you know that my great, great grandfather built a room — I think you will find this interesting, being a man of faith yourself — he built a room for the purpose of worship?

THE NARRATOR

I didn’t… I wouldn’t… I wouldn’t know that.

ALLISTER

I knew it!

THE DEVIL

Wouldn’t you like to see this room for worship, would you Mr. Narrator?

THE NARRATOR

Certainly!

THE DEVIL

Follow me. We’ll talk along the way.

ALLISTER

Would it be alright if I came along?

THE DEVIL

Of course, my dear.

THE NARRATOR

Will we be talking about our Lord savior and protector or will it be more house stuff?

THE DEVIL

Come this way. (Pause) Watch your step there.

[He unlocks a heavy metal door.]

THE DEVIL

Come, quickly!

THE NARRATOR

Wow. Gothic.

THE DEVIL

After you sir.

[The Narrator steps through the doorway and into–]

 

INT. KOWALSKI’S HOME PRISON CELL

THE NARRATOR

It’s awfully dark in here.

THE DEVIL

Apologies. Let me take care of that.

[The metal door CLANKS shut and a light goes on. The NARRATOR tries the door, but it is locked.]

THE NARRATOR

Uh… Mr. Kowalski?

[As speaker box on the wall SQUAWKS.]

THE DEVIL (O.S.)

Yes?

THE NARRATOR

It’s seems that you have locked me in this room.

THE DEVIL (O.S.)

Perhaps.

THE NARRATOR

Will you be letting me out soon?

[Silence.]

THE NARRATOR

So there is a typewriter here atop this table. Along with a large stack of paper. (Pause) And a chair for me to sit in.

THE DEVIL (O.S.)

Use the seat as one would.

[He slides the chair out, sits and tucks himself back in.]

THE NARRATOR

Am I supposed to use the typewriter as well?

THE DEVIL (O.S.)

Feed the paper through the typewriter, please.

[He does so. The typewriter springs to life TYPING away.]

THE NARRATOR

How are you doing this? Is this a trick typewriter?

[The typewriter stops and the paper falls to the table top.]

THE NARRATOR
I believe it’s done.

THE DEVIL

What does it say?

[He picks up the paper.]

THE NARRATOR

It says…Uh… It says “What’s The Frequency? Second draft.”

[Silence.]

THE DEVIL

Feed it another.

[CLICK]

[The shuffling of pages, distorted. Someone hums to themselves]

 

INT. MRS. WU REPAIR SHOP – DAY

WALTER

Am I the only one who finds this scenario slightly disconcerting?

WHITNEY

Can I… go next?

ARCHIE

Ready?

[Pause.]

WALTER

As ever.

[Archie plugs Joseph in. His body briefly JOLTS.]

ARCHIE

You are good to go.

[Walter presses down on the button.]

WALTER

Hello? I am broadcasting this message in hopes of speaking to… speaking to the… mysterious Voice that keeps interrupting everyone’s favorite radio serial. Are you receiving this message?

[Quiet, gentle static. Quiet music]

WALTER

Aargh!

INT. THE NOTHINGNESS

[Something quietly begins to pulse in the Nothingness]

WALTER (distorted)

So… what now?

THE VOICE

Can you hear me? Are you receiving this message? Walter can you hear me?

[Walter’s previous lines repeat themselves, seemingly answering the Voice. Various other former scenes from the episode play, as well as clips from the scene to follow. A telephone rings. The pulsing grows stronger. WALTER mutters and groans to himself.]

[The VOICE speaks up, repeating variations of lines]

THE VOICE

Walter I have been lost. Displaced if you will. The forest is thick with noise. I cannot see or feel my hands, my face, my lips. I feel nothing. I hear everything. We must find a way. You and I must find that way together. Reunite me with my wife… with my body.

[The frequency continues to swirl around, audio clips distorted and fading in and out of the pulsing. Walter’s groans of pain and mutterings become more frequent.]

THE VOICE

You must receive this message. You need to guide me back but first we must find the frequency. What’s the frequency, Walter? What’s the frequency?

[Voices are distorted, separated from WHITNEY’s quiet, muffled confusion. The pulsing becomes stronger, staticier. A phone rings in the distance. “Again, let’s try again”, repeats. Walter’s voice and groans begin to overlap each other, with a final “What’s the Frequency?” before–]

 

INT. MRS. WU REPAIR SHOP – DAY

LILLIAN

Unplug the machine!

[Archie pulls the cord from the wall.]

[Walter rips the headphones off his ears. He slumps over in the chair breathing heavy.]

LILLIAN

Walter!

WHITNEY

Troubles?!? Are you ok?

LILLIAN

Whitney, you may need to give him a little space.

[Whitney gets closer to him.]

WHITNEY

Hey… hey… are you okay?

[He lifts his head up.]

WALTER (soft)

The mountains had arms.

WHITNEY

Can someone get him some water?

WALTER

And those arms reached out and hugged the nearest person. A whispered in their ear.

WHITNEY

What are you saying? I don’t understand. What’re you talking about?

WALTER

No. That wasn’t the question. The mountain whispered–

WHITNEY

I don’t understand what you’re saying. It doesn’t make any sense.

WALTER

“What’s the Frequency, Whitney?”

WHITNEY

The what?

WALTER (distorted)

What’s the frequency?

[Walter moves his hands to Whitney’s throat. Whitney chokes out a gasp]

TRUDY

Christ! Someone hold him down!

ARCHIE

Mix calm down!

WHITNEY

Troubles?

WALTER (distorted)

What’s the frequency?!?

WHITNEY

You’re… choking… Troubles…

WALTER (distorted)

What’s the frequency?!?

WHITNEY

Stop….

CARMEN

I don’t think he’s in there.

LILLIAN

Let go of her Walter! Let go!

CARMEN

His eyes… it’s like they’re empty.

[Lillian tries to pry his hands off of Whitney. Walter swings his elbow hitting Lillian in the temple. She falls to floor.]

ARCHIE

Lil?!? You okay?

CARMEN

My god! He’s going to kill her!

WHITNEY

You’re choking… stop!

WALTER

What’s the frequency, Whitney?

[WHITNEY gasps for air, begging Walter to stop]

[Trudy pull out her gun aims and cocks it.]

TRUDY

Stand back people!

WHITNEY

Troub- !

[Guns fires off.]

THE END

[We cut immediately to–]

 

CREDITS

[A door opens and closes. Footsteps through a house. A sink runs water, and then shuts off. A quiet muttering of ‘alright’. Someone grabs their keys, opens the front door, and exits. A car door opens, and closes as they enter. A car reminder ‘chimes’, “I hear you, I hear you”. Through the speakers, the Credits play. ]

JAMES OLIVA

Okay, so… think about it. Actually, I really like this song. Turn it up… Okay…

“JAMES OLIVA”

What’s The Frequency? is written and created by James Oliva.

JAMES OLIVA

Hm, heh heh. Okay.

[Blinker turns on, clicks in the background]

“JAMES OLIVA”

Production and sound design by Alexander Danner. What’s The Frequency’s theme music composed by Kurt C Nelson.

JAMES OLIVA
[hums to himself, sings “I can do anything, think about it, go on and think about it”]

“JAMES OLIVA”

With featured additional music provided by Think About It. You can find more of the their music via Reverbnation at www.reverbnation.com/thinkaboutit

JAMES OLIVA

Please do.

“JAMES OLIVA”

As always I’m James Oliva. Till next time.

James?

James?

JAMES OLIVA

Huh. What is that? What is–

“JAMES OLIVA”

Can I sleep now?

Can I sleep?

JAMES OLIVA

Ha ha.. Okay… uh, sure.

“JAMES OLIVA”

I am fading…

I am fading…

JAMES OLIVA
Well –What is this? It’s a little weird. Um…

“JAMES OLIVA”

You…

JAMES OLIVA

Oh, me now!

“JAMES OLIVA”

You are fading.

JAMES OLIVA

Ah! Ha…

“JAMES OLIVA”

You are fading…

We are.. Us…

We are Fading…

Fading.. Together…

Fading….

[car reminder chimes as the Credits dissolve into staticky nonsense and James flees the car. Quietly “As always, I’m James Oliva.” The music continues before–]

 

EPILOGUE

INT. KOWALSKI’S HOME PRISON CELL – NIGHT

[The Narrator still sitting in the chair at the desk. The typewriter continues to CLACK away.]

THE NARRATOR

Maybe I should have accepted the offer of tea…

[Typewriter stops. He begins to feed in another.]

THE NARRATOR

Sure hope they left me enough paper to–

[The power in the room goes out.]

THE NARRATOR

Uh… Excuse me?!? Can some please put the lights back on? It will be hard to complete this task without sufficient lighting.

[The typewriter starts up again.]

[The sound of the metal wall beginning to budge.]

[A panel from the metal wall creaks open. Barton crawls out.]

THE NARRATOR

Hello?

[He grunts and struggles.]

THE NARRATOR

Is there–

[The panel closes.]

THE NARRATOR

-somebody–

[The light power back on.]

THE NARRATOR  

-here? Uh… hello. (Pause) Are you okay?

[Barton is stiff and dizzy as he tries to stand up.]

THE NARRATOR

I’m The Narrator. You are…?

BARTON

Barton. Barton Wu.

[typewriter begins typing again. Somewhere, a door slams shut]

 

THE END

 

Advertisements

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s