A Stark And Wormy Knight (40 page)

BRENT

(almost like talking in his sleep)

He wants it back. He wants it back…

ERIC

I don’t think we can run away from this, Jan-Jan.

JANICE

My kids. I’ll never get back to them — never see my kids again. Callie… Jack…

ERIC

I don’t want to go either. But I think the only way out is… there.

He takes an awkward step down toward the field. He reaches back for JANICE’s hand. She looks at him, miserable but sobered. She reaches out as if to touch his hand, but lets her hand drop again as we DISSOLVE TO:

EXT. — ORCHARD – 1974

YOUNG ERIC and YOUNG JANICE are holding hands, deep in the trees of the orchard. The branches are so close that they block everything except thin moonlight.

YOUNG JANICE

He… he was acting like he was crazy. Really crazy. I’m scared and I want to go home, Eric. Can you just take me home? I want this all to stop.

YOUNG ERIC

We can’t leave Topher like that. We have to find him — he’s freaking.

JANICE

What about me, Eric?

ERIC shakes his head — a choice he does not want to be forced to make. Suddenly, something RATTLES the trees nearby. ERIC and JANICE freeze, startled. Whatever it is, it’s making a strange MOANING sound and it’s coming closer. JANET presses into ERIC as they wait, helplessly. The sound gets louder, then an instant later YOUNG BRENT blunders through the trees and almost runs into them.

YOUNG ERIC

Brent! Damn, man, you scared me to death. Have you seen… ?

He suddenly realizes BRENT has tears on his cheeks.

YOUNG ERIC
(cont.)

Oh, shit, what’s up? Are you all right… ?

BRENT pushes him aside.

YOUNG BRENT

Fuck off, Pierson. Leave me alone.

YOUNG JANICE

Where’s Kimmy? Brent, where’s Kimmy?

YOUNG BRENT

(stopping for a moment)

Your friend is bitch, Janice. A total bitch.

His face screws up with anger and hurt and he blunders away.

YOUNG ERIC

Jesus, what’s going on around here… ?

He stops as JANICE pulls away from him and heads toward the house.

YOUNG ERIC
(cont.)

Janice! Where are you going… ?

YOUNG JANICE

I have to find Kimmy!

He tries to follow her, but stumbles on something and falls. He gets up, calling JANICE’s name, and we have DISSOLVED TO:

EXT. — THE DIRT FIELD, NOW – NIGHT

ADULT ERIC is in the middle of the empty field. There is nothing in front of him but the dark, empty house several hundred yards away. He is ALONE.

ERIC

Janice? Brent?

CUT TO: ADULT JANICE, same situation.
She’s alone, nothing but her and the house.

JANICE

Eric? Where are you?

CUT TO: ADULT BRENT, same situation. BRENT is standing in the same field, also alone. As he stares at the house, light begins to GLOW in the windows — not sudden, like a light switch, but like something smoldering into life. The first spooky piano notes of David Bowie’s “Time” begin to waft across the field of dirt. BRENT slumps to his knees facing the house like a man awaiting execution as we SLOW DISSOLVE TO:

EXT. — ORCHARD, THEN – NIGHT

The David Bowie song is playing, but a little more muffled, as YOUNG ERIC makes his way through the trees, which seem very tangled and dense. He stumbles into an open clearing and sees TOPHER sitting cross-legged, eyes closed, at the base of a tree.

YOUNG ERIC

Topher! Man, you okay?

TOPHER’s eyes open very slowly. He looks at ERIC with an expression almost of amusement.

TOPHER

Erky. Give me a smoke, man.

ERIC fumbles out a cigarette and hands it to him.

YOUNG ERIC

This is all crazy, man. I think I’m starting to peak…

As he’s talking, TOPHER lights it simply by touching the tip of his finger to the end of the cigarette. ERIC stares, open-mouthed.

TOPHER

Zenger tried to get himself some. He touched little Kimmy’s tit and she smacked him.

YOUNG ERIC

Did he tell you that?

TOPHER

I saw it.

YOUNG ERIC

You were with us.

TOPHER

(imperturbable)

I saw it. I can see your old lady right now. She and Kimmy’re having an argument because she wants to go home and Kimmy doesn’t. Kimmy’s kind of digging the high.

YOUNG ERIC

What are you talking about? You can’t see them from here.

TOPHER

I can see everything, man. I can see my fucking dad watching television in the living room at our house, drinking a fucking beer and squeezing his dick. Everything. I can see the, like, radio waves between the stars — they look like black rainbows.

(he stands and lets his head fall back)

You don’t know what I can do. I can see the worms in the ground under your feet, these little silver strings crisscrossing…

(lets his head loll forward until he’s looking at ERIC; grins)

I can even see inside your head, Pierson. You’ve been thinking all night about some little blonde chick you met at Bader’s party who said she was going to UCLA in the fall — thinking about how she slipped you some tongue when you went out with her to get smokes…

TOPHER’s laugh is a cackle. ERIC takes a stumbling step backward. TOPHER opens his eyes wider — the pupils are so dilated that there is no iris, only BLACK HOLES in the middle of the white.

TOPHER

Don’t run away, Erky. It’s all starting to happen now — I can feel it. I’m getting so big that I’m not going to need my body soon. I’ll be flying, man, flying…

TOPHER actually begins to FLOAT up from the ground until he is hovering at least a foot in the air, head thrown back, laughing. ERIC turns and runs as we CUT TO:

EXT. — PIERSON HOUSE, 1976 — MINUTES LATER

YOUNG ERIC stands on the front porch, gasping for breath: he’s run all the way. He braces his hands on his knees. David Bowie is still playing inside.

YOUNG ERIC

(to himself; a terrified mantra)

Too high. Just peaking, that’s all. Cool out, man. Cool out.

Shakily, he stands and opens the door — the music comes rolling out. YOUNG BRENT is crouched beside the stereo system, records all over the floor, feverishly looking for something.

YOUNG ERIC

Where’s Janice?

BRENT shakes his head; he’s too busy.

YOUNG BRENT

Gotta change the music — too many edges. You got some Floyd, don’t you? Reverse the flow, you know what I mean? “Dark Side of the Moon”? No, no, too much electricity. The new one, the new one, the new one. “Wish You Were Here”, yeah, that’d close up the holes.

(he looks up at ERIC, eyes wild, face flushed)

Where’s your Floyd, Pierson? You have “Wish You Were Here”, don’t you? Don’t you?

YOUNG ERIC

Take it easy, dude.

YOUNG BRENT

There’s fucking electricity, man! It’s leaking all over the place! I gotta put something on… !

YOUNG ERIC

Uh… I think I’ve got some Crosby, Stills, and Nash…

YOUNG BRENT

Perfect!

(he returns to pawing frantically through the records, not really looking at any of them)

Crosby, Nash, Stills, still crazy, Crazy Horse, Young, young gifted and black, Black Mariah, Blackmore, Richie Blackmore, Black Oak, blackout, Black Sabbath…

(he pauses for a moment, startled)

No. No!

(returns to his pawing and gibberish)

Nash, Stills, steel, steal your face, Steely Dan, Steeleye Span, Stealer’s Wheel, wheels, wild, child, chill, still, Stills, Nash, Crosby, Nash…

ERIC is looking for JANICE. The living room is a mess. So is the kitchen, even worse. Someone has started to make a pot of Spaghetti-Os on the stove, but stopped partway through, leaving tomato sauce splashed on the counter. Someone has finger-painted a crude EYE on the counter with the tomato sauce — the eye with sun’s rays we’ve seen on BRENT’s doorstep — and a few ants are crawling around it.

As ERIC reaches the stairs leading upstairs, BRENT has put on a “mellower” record — King Crimson’s “Court of the Crimson King”. ERIC hesitates, then moves up into the shadowed staircase. As he reaches the landing, he pauses.

YOUNG ERIC

Janice?

He looks up and down the hall, then moves toward the only closed door — for a moment the hallway STRETCHES, so that it seems a VERY LONG WAY. He takes another step and his hand closes on the doorknob and the door swings open.

It’s his grandparent’s BEDROOM — fussy, tidy. The only light is from a small bedside lamp with a heavy shade, so the room is shadowy. A FIGURE is seated on the bed, back to him, very still. ERIC, clearly nervous, begins to walk around. It’s KIMMY, head down as though she’s asleep sitting up, her hair covering her face. As ERIC nervously reaches his hand toward her, she lifts her face, eyes wide.

KIMMY

Eric! I thought you were Janice.

(she smiles)

Not Janice-Janice, of course, but this Janice.

YOUNG ERIC

Where is she?

KIMMY

I don’t know. She’s mad at me because I want to stay. Maybe she went home. If she has a home here, I mean — do you think everyone has one here, just like in real life?

ERIC shakes his head in confusion and sits beside her.

YOUNG ERIC

This is such a weird night…

KIMMY

I think it’s nice you’re in my dream.

YOUNG ERIC

Huh?

KIMMY

Because I thought about it happening like this, and then it happened, so that’s how I know I’m dreaming.

YOUNG ERIC

You’re not dreaming, Kimmy. You’re just tripping.

KIMMY

Maybe you dreamed it, too. Maybe you just went to sleep, and now you’re dreaming the same dream as me. That’s okay. It means no one can get in except us.

YOUNG ERIC

Like ghosts…

KIMMY