THE VERY WORST THING THAT COULD POSSIBLY HAPPEN, PART 9
INT. MUSEUM OF CARPETS, KAZAKHSTAN, 1978 - CONTINUOUS
Footsteps in an industrial hallway. Walla of a few men working. The CUSTODIAN is telling a story to one his buddies.
CHARLIE (OVER RADIO)
Director, you’ll need to get down to the basement.
HANS
I know.
CHARLIE
There should be an freight elevator on the left.
CUSTODIAN
(in Russian or Kazakh)
No! I’m serious! And then she says ‘that fat idiot is always looking at my tits!’ And I’m like, well what else is there to look at--
HANS
(his accent suddenly very working-class)
Hey buddy! Hey! Excuse me- ts that a delivery for the weavers’ room? I can get that for you, I have to go down there anyway...
CUSTODIAN
You sure? That’d be great. I have six more--
HANS
(smooth as silk)
Yeah, of course I’m sure, its no problem.
CUSTODIAN
Thanks.
HANS
Happy to help.
Hans wheels a giant industrial cart down the hallway and rings for the elevator.
Theme Music. Titles:
ANNOUNCER
The Very Worst Thing That Could Possibly Happen, Part 9.
INT. HOTEL ROOM 615, EMPIRE HOTEL KAZAKHSTAN 1978
Sara awakes from her fainting spell in her room.
SARA
(foggy)
Where... where am I?
We hear a conversation from the other room.
TROTSKY
Ming? MING!? Can you hear me?
Snake sounds like he’s in a tiny tube.
SNAKE
Yes, I can hear you. Stop yelling at me.
TROTSKY
Can you get through ok?
SNAKE
I think so, but can you get the grate off?
TROTSKY
The what?
SNAKE
The grate! On the sink!
TROTSKY
Oh, this thing, sure.
He tries for a second.
TROTSKY
Its stuck.
SNAKE
Well I can’t get through if you don’t get it off.
TROTSKY
Hold on I’ll get my shaving kit, I have a swiss army knife in there.
Footsteps.
SNAKE
If you could hurry, that’d be great. I’m a little claustrophobic.
TROTSKY
One sec!
From closer to us, in the hotel room:
SARA
Trotsky? What’s going on?
TROTSKY
You’re awake! Good. One second.
Trotsky rifles through his backpack UNZIPS a shaving kit, and while he does this he’s yelling back to the bathroom:
TROTSKY
Ming, did you know the first swiss army knife was made in 1891 by the Karl Elsener Company? in Ibach. That’s in Switzerland. But then the Karl Elsener Company became Victorinox, which is still around and going strong--
SNAKE
SHUT THE FUCK UP AND GET ME OUT OF HERE. Please.
TROTSKY
Yeah, sorry. Here, I got it.
A metal ring snaps and falls the tiled bathroom floor, rolling around. Snake, and Trotsky return to the main part of the hotel room. At first, Sara doesn’t notice that Trotsky is holding Mr Ming.
SARA
(confused)
I’m... what happened?
TROTSKY
You passed out in the lobby.
SARA
Ohhh.
TROTSKY
We brought you up here in a wheel chair. The doctor said you’re fine, but you hit your head pretty hard. He left some pills if it hurts?
SARA
I’m ok, I think.
TROTSKY
Good.
SARA
Where’s Claire?
TROTSKY
I don’t know. She said she needed to stay up late and eat American Hamburgers.
SARA
Sounds like her.
TROTSKY
Right?
SARA
A hamburger sounds good. I’m hungry.
TROTSKY
(pleased with his thoughtfullnes)
Well, take a look at this! I ordered so much room service, its insane. What would you like? Cobb salad? Steak Frites? Waffles and Bacon?
The tins from the tops of room service plates are lifted and placed to the side.
SNAKE
Did you get anything for me?
SARA
AHHHH! WHAT IS THAT?!!!
TROTSKY
Oh, yeah. This is Mr Ming. Don’t worry, he’s a friend.
SARA
That SNAKE is your FRIEND?!!
TROTSKY
Yeah. He’s also a colleague. And he and Claire have been discussing the case with you and Raul, trying to come up a solution.
Sara’s a little exasperated that this whole thing has hit a new level of bizarre:
SARA
I thought the plan was, we come to Kazakhstan and I get to meet Raul!! That’s what Claire said- 3 things, make love, write a letter, take a trip! We did all three!! So what’s the problem?!
TROTSKY
Well... we’re a day early to rendezvous with Raul.
SARA
Can’t we just wait? Its one fucking day!
A beat. Then: Trotsky and Ming BURST out in HYSTERIA.
SNAKE
That’s so funny!!
TROTSKY
She’s like, we could just wait!
SNAKE
Oh my god I’m laughing so hard I hurt my back!!
TROTSKY
Maybe I could just set my watch forward a day!!!
SARA
(in french)
Come on. Come on!!! You guys can suck my dick.
The laughing dies down. Beat.
SNAKE
That steak looks pretty good.
TROTSKY
Uh oh.
SNAKE
I can’t help it!
TROTSKY
Ming, we’re kind of in a rush, here!
SNAKE
Raul did NOT make my meals a priority.
TROTSKY
That’s not true- I read the reports!
SNAKE
Well fuck you Frederique, I’m just hungry! Have you ever been a snake? No. It sucks. You’re always cold, and you’re always hungry.
TROTSKY
And you have no hands.
SNAKE
And you HAVE NO HANDS!!
SARA
Help yourself- there’s a lot of food over there.
SNAKE
That’s nice of you, but, I’m kind of particular.
SARA
Suit yourself. Hey, Pass me the waffles, Frederique?
SNAKE
So, wait, where’s Claire?
INT. KAZAKHSTAN NATIONAL OPERA, ALMATY 1978
Claire is crying.
CLAIRE
But... I can’t. No no no. I can’t give you that!
EVINKA
Its not helping you anyway! Look at you! You drift from time to time and place to place, filling people with all this hope and love and for what?! So they can just live normal lives? With all the normal shit- the accidents and deaths and bills and mean bosses and shitty friends? For that?!
CLAIRE
But its... I didn’t mean to! I didn’t MEAN TO! She just, she caught me by surprise.
EVINKA
You have it, and I want it.
CLAIRE
No...
EVINKA
It would only hurt you more to have to let her go.
CLAIRE
But I WOULD! I WILL! I will let her go. But I need to feel this... its all that I’ll have.
EVINKA
It was a rookie move. Falling in love with a mistake. I know about you, Ai, you’re supposed to be one of the best! How could you?
CLAIRE
It wasn’t on purpose. I never would have thought it could happen- really, never in a million years! But that first time I held her. Goddamn it. The way she fit?
She imagines holding Sara for a moment, then let’s go.
CLAIRE
Did I hide it well?
EVINKA
(not totally sure)
I think so.
CLAIRE
But you could tell- you knew I fell in love with Sara?
EVINKA
Yes. And I will do you the kindness of trading that love for your 24 hours. Simple. Take it or leave it.
Beat. Claire considers. Then:
CLAIRE
What do I have to do?
INT. MUSEUM OF CARPETS, KAZAKHSTAN, 1978 - AFTERNOON
We’re wheeling the chair with Raul through the endless room of weavers in the underground workshop below the carpet museum. Besides the sound of the looms, there’s also the FOOMPH FOOMPH of pneumatic tubes.
RAUL
I don’t feel very good.
DAMIRA
I know, Raul. It’s ok. You don’t have to send any more letters now.
SANZHAR
He’s so weak.
RAUL
What are those tubes on the ceiling?
SANZHAR
That’s the mail.
RAUL
Like the ones I wrote to Sara?
SANZHAR
Yes, those came here to be logged and sorted before going to the mail rooms.
RAUL
And who are all these people?
SANZHAR
They’re weavers.
RAUL
Yes, I see them all weaving, but what THE FUCK are they weaving and why are there so many of them--
SANZHAR
They’re making the carpets for everyone.
RAUL
For everyone? You mean, like everyone in the world?
SANZHAR
Every single one.
The wheelchair and footsteps stop.
DAMIRA
This. This is our problem.
RAUL
What... What happened?
INT. HOTEL ROOM 615, EMPIRE HOTEL KAZAKHSTAN 1978 - DAY
There’s a knock at the door.
CLAIRE
(from outside)
Open up!
Footsteps. A door opens.
TROTSKY
You’re back.
SNAKE
(in Mandarin)
Ai, where the hell did you go? We’re losing her, and Raul is almost gone.
CLAIRE
(in Mandarin, sharply)
You think I don’t know that?
(In english)
Jesus, Ming. Hi Trotsky, yes I’m back.
SARA
Did you find your hamburgers?
CLAIRE
In a way. But they were expensive.
SARA
What’s the matter? Why are you looking at me like that?
A beat.
CLAIRE
Do you love Raul?
SARA
I don’t think there’s a word for what I feel.
CLAIRE
Let me put it this way- do you two BELONG together?
SARA
Yes. We belong together. We are one thing.
Another knock on the door. From outside:
KATE
Mom?
The door opens. Kate enters.
KATE
I got it.
TROTSKY
(nervous)
Uh- what is that?
CLAIRE
Its just a typewriter. Relax.
KATE
Is the big bad spy scared of a little typewriter?
TROTSKY
You SHOULD be scared. Have you seen what those things can do?
CLAIRE
Kate, can you set it up on the table?
TROTSKY
Here.
Trotsky pushes some plates and dishes aside and Kate sets down the typewriter.
CLAIRE
Sara, I need you to type something.
SARA
Ok.
CLAIRE
Do you feel up to it?
SARA
Yes, I’m fine. Whoa.
She gets out bed and wobbles a little bit.
TROTSKY
Here, get in the wheel chair.
SARA
I can make it!
TROTSKY
But its right here. Come on. Let me help.
SARA
This is so embarrassing. I just feel so weak.
SNAKE
We need to step on it.
KATE
(in Mandarin)
Chill, Ming.
CLAIRE
(in Mandarin)
Chill, Ming.
CLAIRE
(In english, to Sara)
You can do it. I’m going to say the letters, and you type, ok?
SARA
Ok... I’m ready.
-------
INT. MUSEUM OF CARPETS, KAZAKHSTAN, 1978 - AFTERNOON
Back in the Weaver’s Room.
DAMIRA
Raul, this... This is our problem.
RAUL
What... what happened?
DAMIRA
Raul, this is your loom. This is where the rug of your life is woven.
RAUL
This- wait. What?
DAMIRA
That’s you. The carpet.
RAUL
That’s me?
SANZHAR
That’s you. Your time, your moments. Your symmetry and serendipity and imperfections.
DAMIRA
And this one, the one next to it, this is Sara’s rug. Her life, her timeline.
SANZHAR
And, as you can see, there was an accident. Two of the delivery carts were wheeling by, loaded up with wool and, well, they crashed.
DAMIRA
And it pushed your two looms together.
SANZHAR
In a giant tangled mess.
RAUL VO
There it was, among the rows and rows of endless weavers: two looms had been smashed into each other, one tilted so its shaft frame and heddles pushed through the warps of the other, their wefts and shuttles wrapped around and through each other, the ratchet wheel of one jammed into the breast beam and bateen sley of the second. I got up out of the wheel chair, still a little wobbly and looked closer at the unfinished carpets- inspecting the fabric that had been woven before the crash. Every pattern and medallion unfolded into more patterns and shapes as I got closer. I squinted, and there were still more inside them. I had the feeling that little red and burgundy and brown and blue shapes were inside each other all the way to an atomic level.
SANZHAR
Don’t stare too long, you’ll get dizzy
INT. HOTEL ROOM 615, EMPIRE HOTEL KAZAKHSTAN 1978 - DAY
Claire is trying not to cry as she gives the letters to Sara.
CLAIRE
Period. E. N.
CLACK.
SARA
We’re starting with a period?
CLAIRE
Yes, darling. We’re going backwards now. But quickly!!!
CLACK. CLACK.
The SFX is warbling and bending as time warps, turning backwards, then forwards, fast then slow.
SARA
Why are you crying?
CLAIRE
I’m fine, Sara. O. Space. Y. L. N. O. Space. S. I. Space.
CLACK CLACK CLACK. Faster and faster.
SARA
Like this?
CLAIRE
E. R. E. T.
STOP. Silence.
The paper is pulled from typewriter. Claire wipes her tears, sniffles.
CLAIRE
Here, Ming. Take a look.
SNAKE
(mumbling as he reads)
Hmm. Ok. Yeah. Maybe? Maybe.
CLAIRE
It will work.
SNAKE
I like it.
CLAIRE
But we need to mail this, like, yesterday.
SNAKE
Well, I’m headed to tomorrow so...
CLAIRE
You know what I mean!
KATE
How do we get the letter to go with Ming? He has no hands!
SNAKE
Why is everyone so preoccupied with the no-hands thing?
CLAIRE
Ming, you need to take this letter with you, back through the tubes.
SNAKE
You could stuff it in a mouse...
TROTSKY
There’s NO MOUSE!
SNAKE
Alright, alright.
SFX of very loud crinkly plastic wrap being taken off the lip of a glass, the way they saran wrap every fucking thing when you order room service.
SARA
Did you guys try this orange juice? Its like the freshest thing I’ve ever tasted.
TROTSKY
Sara, you’re a genius.
SARA
I know. Here. Use the plastic wrap.
SNAKE
Uh, I’m not sure about this.
KATE
It’ll be fine.
CLAIRE
Oh yeah, this is going to work, Ming. It has to work. Come here.
TROTSKY
Stop squirming!
SNAKE
It tickles!
CLAIRE
Is there any more of that plastic wrap Sara?
KATE
Are you kidding? They put it on everything. Even the salt and pepper. Not very green.
SFX of paper and plastic wrap as the snake squeals in protest, giggling.
INT. MUSEUM OF CARPETS, KAZAKHSTAN, 1978 - AFTERNOON
RAUL
So this is why everything is fucked up? Are you serious?
DAMIRA
Very.
RAUL
Because of an accident with a delivery cart?!
SANZHAR
Exactly.
RAUL
You guys should really be a bit more fucking careful--
There’s a clunk. And another CLUNK. And then a FOOOOOMPH.
SNAKE
AHHHHHHH!
SMACK. Snake falls on the ground.
DAMIRA
Mr. Ming!! Are you ok?!
SANZHAR
What are you doing in the tubes, Ming? That’s not safe!!
RAUL
Snake! Buddy! Are you alright? That’s like a six foot drop!
SNAKE
No I’m not alright!! Owww my fucking back.
SANZHAR
You’re a snake, you literally ONLY have a back...
DAMIRA
What’s this?
SNAKE
What’s what?
RAUL
I’m pretty sure she’s talking about the piece of paper that’s wrapped around your body. Is that... is that plastic wrap??
SNAKE
That’s why I’m here. Hand delivery. Its from Ai. Or Claire. You know who I mean.
They unwrap the letter with SFX of plastic wrap and some pained protests from Ming.
RAUL
Is it for me?
SNAKE
No, not this time, Raul. Give it to Damira.
Paper. She reads it.
DAMIRA
Hmm.
RAUL
Well?
DAMIRA
It’ll work.
SANZHAR
Let me see... Ah. So that’s why she sent the robes for Raul.
DAMIRA
Raul, sit down at the loom. Sanzhar, help him out of the wheelchair.
Sanzhar helps Raul out of the wheelchair and onto the work bench in front of the loom.
SANZHAR
(with efforts)
I’ve got you. Ok, here we go.
DAMIRA
Do you know how a loom works?
RAUL
No.
SANZHAR
Damira, he will be gone.
DAMIRA
No. He will live. She will live. This is the only way now!
(To Raul)
You see how, Raul?
RAUL
Not at all.
DAMIRA
Go slow, I’ll show you. Slowly! We have to undo this knot- this tiny knot right here. Then we can join the two rugs.
RAUL
Join the two rugs?
SANZHAR
Yes, my friend.
RAUL
So...
DAMIRA
Its the only answer. Now Raul, push this bar to separate the warps and pass the shuttle through behind, but be careful! If you pull two far, Sara’s loom will fall! There: left to right, that will pull the thread backwards. Slowly, now...
RAUL
Like that?
DAMIRA
Yeah. Ok Stop! Stop there.
RAUL
What now?
DAMIRA
Take this thread- the tiny one... No the black one, not the red...
RAUL
It sounds like I’m diffusing a bomb.
DAMIRA
You are.
INT. HOTEL ROOM 615, EMPIRE HOTEL KAZAKHSTAN 1978 - EARLIER
Claire quietly weeps as she continues to give Sara directions.
CLAIRE
Now we have to get you ready, Sara.
SARA
I’m so heavy, Claire, I can barely move!
KATE
(in Mandarin)
Ming better be quick.
CLAIRE
Mr Ming has never failed, Kate.
TROTSKY
What should we use? The air conditioning vent? That’s too big.
CLAIRE
The faucet in the tub.
TROTSKY
Ok.
INT. MUSEUM OF CARPETS, KAZAKHSTAN, 1978- THE DAY BEFORE
Hans is wheeling his cart.
HANS
(quietly)
Ok I’m in the weaver’s room. Which way?
CHARLIE (OVER RADIO)
You’re looking for row D48, Aleph quadrant.
Footsteps are approaching.
HANS
Copy that.
Damira’s voice fades in.
DAMIRA
They’ll be here tomorrow, you know. If you don’t get some mice Ming is going to be really mad.
SANZHAR
Oh yeah, sorry I totally--
HANS
Excuse me, I’m looking for row D48-A, in Aleph quadrant- I got a little turned around.
DAMIRA
Oh you guys, you never look at the signs! Its right down there.
She turns and walks away.
HANS
Ok thanks.
Damira continues talking to Sanzhar as she walks away, and The cart wheels in the other direction, so this conversation fades out...
DAMIRA
I asked you three times already, Sanzhar! You have to get him some mice. Snakes have a very fast metabolism.
SANZHAR
I know, I know. I’ll get over to the pet shop this afternoon- Promise! You love to harass me, don’t you?
Hans keeps pushing his cart. Then we hear another cart wheeling towards. The CUSTODIAN is HUMMING to himself as he approaches.
CHARLIE (OVER RADIO)
(the signal is breaking up)
Director... I don’t know if you can hear me... I’m losing the signal.
HANS
(quietly)
I’ve got it from here, Charlie.
The HUMMING and CART is getting louder and closer.
CHARLIE (OVER RADIO)
Sorry what’s that?
HANS
(whisper shouting)
I found it. D48. This is is Sara’s rug.
CHARLIE (OVER RADIO)
Come again??!
HANS
(fully shouting)
I’ve got it from here!
The HUMMING and CART right there!
CUSTODIAN
Excuse me!
CHARLIE
I can’t... this stupid thing... hello??! Director??
CUSTODIAN
Hey watch out comin’ throughhhHHHHH!!!
HUGE CRASH as the looms smash into each other.
HANS
Oh shit.
CUSTODIAN
You gotta watch what you’re doing!! I’m not taking the blame for this.
HANS
This is... Oh no.
CUSTODIAN
Damira is going to be so pissed. I need this--
HANS
What day is it?
CUSTODIAN
What?
HANS
What fucking day is it??
CUSTODIAN
(in another language)
Its Tuesday.
HANS
(quietly, horrified)
Oh no. I did this... Sara! Its all my fault. Oh god. Its all my fault.
INT. KAZAKHSTAN NATIONAL OPERA, ALMATY 1978
EVINKA
Come Claire, look at this.
Footsteps as they walk on the stage of the opera.
EVINKA
This set, its morning, you see. And then I pull on the rope, and up it goes. The set behind it: night time at the ball.
CLAIRE
So it doesn’t matter what order they’re in?
EVINKA
Not at all.
CLAIRE
And that’s--
EVINKA
That’s how it works.
INT. MUSEUM OF CARPETS, KAZAKHSTAN, 1978 - WEDNESDAY
Back with Raul in the workshop.
RAUL
I can barely see... my eyes aren’t that great.
DAMIRA
Slow it down. Push the warp thread out of the way, just a little bit! Slow, if you break that...
RAUL
If I break that what?
DAMIRA
Well, you die.
RAUL
Ok that’s good to know.
DAMIRA
The black thread! Weave it through there. That’s the thread from Sara’s rug.
RAUL
That’s why we’re connected?
SANZHAR
Every rug borrows threads from others- family, friends, lovers. That’s normal, Raul. Its essential.
DAMIRA
But if we separate these two rugs, you both will be lost. So instead, we make one rug.
RAUL
But, I love her.
DAMIRA
And now you will be together, I promise.
RAUL
I don’t know what to believe, but I’m sad, and I’m very weak and tired, so DON’t FUCK WITH ME, Damira. I don’t want to lose Sara.
DAMIRA
You can’t LOSE her, Raul. You ARE her.
INT. KAZAKHSTAN NATIONAL OPERA, ALMATY 1978
EVINKA
(rapturous)
That’s... its just... I have no words.
CLAIRE
Do you miss Sara? Or is it just the feeling, just the love, without Sara attached.
EVINKA
Its so strange... I miss... someone. I don’t know who.
CLAIRE
But its so good it hurts.
EVINKA
Yes. Its so good it hurts.
CLAIRE
When they first found me for postal service, I was only 16, you know.
EVINKA
Younger than your daughter is now.
CLAIRE
Yes. This is pretty much all I have ever known. But I never felt that before.
EVINKA
Will you retire?
CLAIRE
No. Yes. No.
EVINKA
You’re a candle. You knew you’d get blown out. You must have known.
CLAIRE
I must have known.
Music comes up. A long cue here.
INT. MUSEUM OF CARPETS, ALMATY, 1978
Raul finishes weaving the carpets together.
DAMIRA
Yes, Raul! Yes. Sanzhar, put the crate under the edge of Sara’s loom, so it stops wobbling around.
SANZHAR
Got it.
RAUL
So what now?
DAMIRA
One of our weavers will finish from here. You need to go with Mr Ming.
SNAKE
Come on, Raul, there’s a drainpipe over here.
RAUL
A drainpipe?
SNAKE
Well, you’re pretty skinny, but we need something bigger than the mail tubes... This will work. Sanzhar!
SANZHAR
WhT?
SNAKE
Come here- get the grate off that thing.
INT. HOTEL ROOM 615, EMPIRE HOTEL KAZAKHSTAN 1978
TROTSKY
(from the bathroom)
It’s ready. Bring her in.
The tub starts running.
CLAIRE
We need to get you in the bathtub.
SARA
In the tub?
CLAIRE
Please.
SARA
I’m too weak to argue.
TROTSKY
I can carry her. Kate, get the door.
KATE
Got it.
Trotsky puts her in the bathtub, as Claire kneels by her head, and Kate and Trotsky observe.
CLAIRE
Is it warm enough?
SARA
Yes.
CLAIRE
Good. Lean back.
SARA
Is this the end?
CLAIRE
We don’t really use that word, but...
TROTSKY
Au Revoir, Sara.
SARA
Good bye, comrade.
KATE
(in Mandarin)
Good bye, Sara.
(In english)
Good luck.
CLAIRE
Now, lean back. All the way, I’ll hold you. I’ve got you. Good. Now open your mouth.
SARA
What?
CLAIRE
Open your mouth and put it on the faucet.
SARA
(muffled)
Like this?
CLAIRE
Yes. That’s it. This will only hurt for a second, I promise.
SARA
(unintelligible)
I love you.
INT. CAB, PARIS, 1959.
We’re in front of the train station on a busy Paris street. A car door opens.
CAB DRIVER
Where to?
RAUL
Where are we?
CAB DRIVER
Gare Du Nord. The train station.
RAUL
Oh.
CAB DRIVER
Home? You want to go home?
RAUL
Sure.
The car starts to drive.
CAB DRIVER
Good trip?
RAUL
I don’t know.
A beat.
RAUL
What year is it?
CAB DRIVER
Its 1959, Raul.
RAUL
Huh.
CAB DRIVER
Yep.
(beat)
Mind if I listen to the news?
RAUL
Sure.
He clicks on the radio.
BBC NEWS
And in Paris, the government of Charles De Gaulle is under fire for their involvement in a false flag operation to drum up support for the subjugation of Algeria. Code Named “Red Hand,” government operatives were responsible for the bombing that took place last week in a square of Rue Bonaparte near the Eglise Saint-Sulpice.
Beat.
RAUL
This is it, up here.
CAB DRIVER
I know.
RAUL
But... how do I know? How do I know that?
The car stops.
RAUL VO
He angled the rear view mirror a bit, so I could see my own face.
They respond together, loosely doubled:
RAUL
So that’s me.
SARA
So that’s me.
CAB DRIVER
Do you need some money? Mr Ming and Claire left me some money for you.
RAUL
Thanks.
SARA
Thanks.
CAB DRIVER
Of course. I won’t see you again. I have a new assignment.
RAUL
Oh. Well, take care.
SARA
Oh. Well, take care.
CAB DRIVER
You too.
(In Farsi)
I envy you, you know. You’re a lucky fucker.
(In english)
Take care of yourselves.
We exit the cab, take out keys and walk up a long flight of stairs, enter an apartment.
RAUL VO
The apartment is exactly how I remembered it. Or imagined it? I don’t know. I went to the bathroom, to look at my new self...
His voice transforms into Sara’s.
SARA VO
...to look at my new self. I washed my face, and listened to the drain, just briefly, just checking.
SARA
I don’t think we’ll hear anymore from them, I suppose.
RAUL
I don’t think we’ll hear anymore from them, I suppose.
SARA VO
My typewriter sat on the desk, a little dusty.
A piece of paper is fed into the machine. TYPING.
RAUL VO
I felt like I should put it all down, in case I forget, in case I disappear again.
SARA VO
I felt like I should put it all down, in case I forget, in case I disappear again.