BLACK SCREEN:
KEITH (V.O.)
I've always wanted to go away. The first
time, I was only seven years old. My
mother found me, nine blocks away from
our home, just walking and looking. She
said I just disappeared. She turned
around . . .and I was gone. She was
horrified. I'll never forget the look on
her face nor the incredible hug she gave
me. When I graduated from high school at
sixteen years old, the very next day on
my seventeenth birthday, I packed one
very large suitcase, returned that
incredible hug back to my mother, and
went off to college in New York City.
Now, 18 years old, I realize I have not
gone very far. What is far? Do we ever
know? Do we ever know if we've gone far
or far enough?
1 FADE IN:1
1 INT. COLLEGE CLASSROOM - DAY 1
Students race out of a classroom. KEITH MITCHELL, 18, an
attractive brown skinned, precocious, modern American boy,
college sophomore sits daydreaming at his desk near the
window, with his laptop closed; he is fixated on the world on
the other side of the window. His laptop is his security
blanket. He is never seen without it.
PROFESSOR
Mr. Mitchell?
KEITH continues to look out of the window as the color slowly
fades from the trees, grass, sky and all things in his sight.
PROFESSOR (CONT'D)
Mr. Mitchell, you can be out there as
soon as you pack your things.
KEITH turns to his PROFESSOR.
KEITH
I'm sorry Professor, what did you say?
The outside world regains its colors.
PROFESSOR
Class is over? You are free to go.
KEITH
Wow, that was fast. I feel like I just
sat down.
KEITH focuses on the PROFESSOR.
PROFESSOR
You stared out of that window most of my
class. Time flies when you daydream.
KEITH
Sorry Professor.
KEITH gently lifts his laptop and places it into his backpack
delicately. PROFESSOR watches as KEITH slowly packs his
things up, as if he does not want to leave.
PROFESSOR
Are you okay?
KEITH
(uncertain)
Yeah.
(he stands)
No. Not really.
(confused)
I mean, I am, but. . .
PROFESSOR
Sit.
PROFESSOR walks over.
PROFESSOR (CONT'D)
What's going on Keith?
KEITH
I don't know.
PROFESSOR
(unsympathetic)
Don't waste my time Mr. Mitchell. You're
far too intelligent for this. What's up?
KEITH
(full of conflict)
You know, I've been reading all of those
newspapers you said we should be reading.
PROFESSOR
(proud)
Good. That's real good.
KEITH
I'm thinking about taking some time off
from school.
PROFESSOR sits at a desk near KEITH.
PROFESSOR
Time off?!? What does that mean exactly?
KEITH
Traveling. Seeing the world. Figuring
it all out. I need to make things, make
sense to me.
PROFESSOR
What things?
KEITH
Things. I don't how to explain it. It's
just stuff.
PROFESSOR
Keith, I am in school too. I'm working
towards a Ph.D. You are a very bright
young man. I thought you would follow my
. . .
KEITH
(interrupting)
Professor, you are not the one who said
there is no blueprint? That everyone
must walk their own walk?
PROFESSOR
(struggling)
Yes. I did.
KEITH listens attentively to his favorite PROFESSOR and
mentor.
PROFESSOR (CONT'D)
Keith, an education will open the world
up to you like. . .you could never
imagine. You'll have plenty of time to
travel and save the world.
KEITH
Right now, I'm trying to save myself.
PROFESSOR
(frustrated)
I can not and I will not advise you to
leave college. The experiences you
desire will happen. It's called time.
KEITH undoes his watch and places it on the Professor's desk.
KEITH
I don't have it.
There is a knock on the door. KEITH and PROFESSOR look up.
It's NATHAN. NATHAN PINDERS, 19, is an attractive caramel
skinned, street styled but very upper middle class, mini Ipod
toting guy.
NATHAN
Oh, sorry. Should I come back?
KEITH
No, I'm leaving.
PROFESSOR
Come in Mr. Pinders. Mr. Mitchell is on
his way out.
KEITH and the PROFESSOR stand.
PROFESSOR (CONT'D)
(referring to the watch)
Keep it.
PROFESSOR walks over to his desk and sits.
KEITH and NATHAN crisscross as KEITH exits.
PROFESSOR (CONT'D)
And what is your story Mr. Pinders?
NATHAN
Nothing. I just need you to sign this
form.
NATHAN pulls a Drop/Add form from his back pocket.
2 EXT. NEW YORK CITY - NIGHT 2
The traffic light switches from green to yellow to red.
3 EXT. NEW YORK CITY - DAY 3
The pedestrian sign flashes from stop to walk.
4 EXT. COLLEGE CAMPUS - DAY 4
Students rush about the well manicured university campus.
5 INT. COLLEGE HALLWAY - DAY 5
Students feet rush about the hallway. Two sets of feet
collide. They rest for a moment. One set scatters away as
the other stands firm and walks off in the opposite
direction.
6 INT. COLLEGE CLASSROOM - DAY 6
PROFESSOR sits at his desk.
7 INT. KEITH'S APARTMENT - DAY 7
Ringing phone.
Nearly empty apartment with a large yet sensible rolling
suitcase closed with a passport, airline ticket, video camera
and various travel guides on top.
The phone rings again.
He gently places his backpack on the table. He turns about,
stops and looks at the suitcase.
KEITH
I cannot believe I've packed the phone
again. What is going on?
The phone stops ringing. KEITH, stressed, walks closer to
the suitcase and stops. His cell phone rings. He takes the
phone from is pocket.
KEITH (CONT'D)
Hello.
He neatly places the airline ticket, passport, maps, guidess,
and video camera on the sofa.
8 EXT. COLLEGE CAMPUS - DAY 8
LANCE
Wake up?
He unzips the suitcase and begins to carefully take items
from the suitcase and place them on the floor neatly. He
spots the cordless phone. Embarrassed, he picks up the phone
and tosses it on the sofa.
9 INT. KEITH'S APARTMENT - DAY 9
KEITH
I am awake!
10 EXT. COLLEGE CAMPUS - DAY 10
LANCE
What are you doing?
11 INT. KEITH'S APARTMENT - DAY 11
KEITH
Packing.
12 EXT. COLLEGE CAMPUS - DAY 12
LANCE
Yo, you're not done packing yet?
13 INT. KEITH'S APARTMENT - DAY 13
KEITH
I'm trying to consolidate.
14 EXT. COLLEGE CAMPUS - DAY 14
LANCE
I can not believe you are just leaving
like this.
15 INT. KEITH'S APARTMENT - DAY 15
KEITH
Me either. But. . .
KEITH's cordless phone rings.
KEITH (CONT'D)
(interrupting)
Hold on! It's my mother.
16 EXT. COLLEGE CAMPUS - DAY 16
LANCE
Who else would it be!? She is going to
go nuts when you leave.
17 INT. KEITH'S APARTMENT - DAY 17
He answers.
KEITH
Hello.
MOTHER (V.O.)
Hello, my precious baby.
KEITH
Hi Ma.
MOTHER (V.O.)
Keith I wish I could see you before you
go.
KEITH
Ma, I was home two weeks ago. And you
were here last weekend. Remember?
MOTHER (V.O.)
It wasn't enough.
(she pauses)
KEITH
But you said you were going to come visit
me?
MOTHER (V.O.)
Visit you where? You're all over the map
Keith. I don't know why you all ways have
to rush it.
KEITH
I'm not rushing it. Ma we had this
conversation already.
MOTHER (V.O.)
Okay. Okay. I have to go.
INSERT:
Beautiful woman driving in a convertible.
KEITH
I'll call you later. Promise.
KEITH drops the phone and returns to LANCE.
18 EXT. COLLEGE CAMPUS - DAY 18
LANCE
It's like six o'clock in the morning
where she is, how many times have you
spoken to her today already?
19 INT. KEITH'S APARTMENT - DAY 19
KEITH
Don't worry about that. What time are we
meeting?
He kicks off his loafers but quickly places them together
neatly near his luggage he glances at them considering
whether they will make the cut for his trip.
20 EXT. COLLEGE CAMPUS - DAY 20
LANCE
After my class at the coffee shop. Be
there! On time! And turn your cell on!
KEITH clicks LANCE off.
21 EXT. COLLEGE CAMPUS - DAY 21
Beautiful sunny pre autumn morning on a college campus as
students begin to settle into the rhythm and routine of
university life.
NATHAN PINDERS, with mini Ipod plugged into himself, bursts
through the doors of one of the academic building carrying a
syllabus.
NATHAN stops just before he begins his descent down the
stairs. Without hesitation, he rips the syllabus into
confetti size pieces and tosses it into the air. Suddenly,
and briefly, the campus becomes a mini celebration as the
tiny pieces of paper are blown into a frenzy.
He walks to the edge of campus as the university looms behind
him as if he's been stalked.
Back on campus as bits of paper continue to scatter about.
NATHAN walks away with a syncopated bob of his head.
22 INT. COFFEE SHOP - DAY 22
KEITH sits typing on his top-of-the-line ultra-thin laptop
computer. His fingers peck at the keyboard.
23 EXT. COFFEE SHOP - DAY 23
NATHAN crosses the street in front of the coffee shop. GLEN,
is a stylish, cute, green eyed, dirty blond dread-locked
fellow college student stands in front smoking a cigarette.
NATHAN notices KEITH sitting.
NATHAN
Nerd.
NATHAN's fingers rest on his durag. They slowly unravels it
freeing his scalp. His tucks it in his back pocket but the
ties hang loose from his jeans. He heads for the coffee
shop.
24 INT. COFFEE SHOP - DAY 24
NATHAN walks in. The waiter, GLEN, follows NATHAN into the
coffee shop. GLEN watches as NATHAN steps up to KEITH's
table.
NATHAN
Wassup?
KEITH, now more sporty, looks up at NATHAN.
KEITH
Hey.
NATHAN
You're the guy from the Professor's class
a few weeks ago?
KEITH
I'm sorry?
NATHAN
You were talking to Professor Donnelly.
KEITH looks up from his computer.
NATHAN (CONT'D)
You don't remember me?
KEITH checks NATHAN out.
KEITH
I'm afraid I don't.
NATHAN
Do you mind if I sit?
GLEN watches KEITH and NATHAN - more NATHAN than KEITH thou.
KEITH
No, go ahead.
NATHAN sits.
KEITH (CONT'D)
What are you listening to?
NATHAN
Celeb.
KEITH
Never heard of it.
NATHAN
It's my boy's cd. Hip-hop. Want to
listen?
KEITH frowns.
NATHAN (CONT'D)
What's that face for? Tell me you don't
like hip hop yo?
KEITH
Well. . .
NATHAN
No, wait I got to hear this one.
NATHAN scoots his chair closer to the table.
NATHAN (CONT'D)
Okay go.
KEITH
What?
NATHAN
Go ahead. I can tell you have something
to say.
KEITH
Well, I like the old stuff, like The
Message, Tribe Called Quest, De La Soul,
Run DMC.
NATHAN
How are you going to compare The Message
to Up in Da Club? It's apples and
oranges man.
KEITH
Exactly! It used to be fresh, so smart,
of the moment, so relevant and fun. Now
it's so violent, misogynistic and
pointless.
GLEN walks over.
NATHAN
(to GLEN)
One second B.
(back to KEITH)
Hip hop is still a reflection of society.
KEITH
Hmmm . . .no. It's just pop music with a
really good hook.
GLEN
Can I get you something?
NATHAN
One second.
(threw off by KEITH's last comment)
What?
(pauses)
You are confusing pop music with hip hop
music.
KEITH
My confusion has nothing to do with hip
hop music but a lot to do with the
America's ability to package and market
anything and everything. . .everywhere.
NATHAN
Cats are doing this hip hop thing all
over the world. We got b boys all over
the world.
GLEN
Call me.
GLEN walks off again.
KEITH
Cats, all over the world, need to express
themselves through their own art forms.
Hip hop culture needs to be appreciated
and studied not imitated and diluted for
the masses and capitalists. Besides, I
don't want the entire world to define me
by a rap song and (slash) or. . .what
they've seen in a music video.
NATHAN
Where is he?
GLEN returns.
GLEN
Worked up a thirst?
NATHAN
Man, get me an orange juice. Fresh
squeezed.
GLEN
Everything here is fresh. I'll be back.
GLEN walks away.
NATHAN
I haven't had a conversation like this
before. What's your name?
KEITH
Keith.
NATHAN extends his hand to KEITH. KEITH looks and extends
his hand to NATHAN.
NATHAN
Nathan. So. . .who are you waiting for.
. . .Keith?
KEITH
Who said I was waiting for anyone. . . .
.Nathan?
NATHAN
It's kind of clear by the way you've
managed to barricade yourself behind your
computer.
KEITH
You found me.
NATHAN
I guess I did.
GLEN returns and places a glass of fresh squeezed orange in
front of NATHAN. GLEN walks off.
GLEN
Two dollars. Pay at the counter.
NATHAN
Thanks.
KEITH phone rings. KEITH scrambles for his cell phone.
KEITH
Don't you want to go pay?
NATHAN
I'll pay on the way out.
KEITH looks over to NATHAN as he slides his phone from his
bag.
KEITH
Why wait?
NATHAN
Exactly. Your phone's ringing.
KEITH makes sour a face at NATHAN and clicks on his cell
phone.
KEITH
Hello.
25 INT. CLASSROOM - DAY 25
LANCE
What are you doing?
26 INT. COFFEE SHOP - DAY 26
KEITH stands up and starts to walk away.
NATHAN
Go. I'll be right here.
NATHAN's fingers creep towards KEITH's computer.
KEITH
Waiting for you.
KEITH smacks NATHAN's hand.
27 INT. CLASSROOM - DAY 27
LANCE
Yo, I'm going to need some extra time on
this test.
28 INT. COFFEE SHOP - DAY 28
NATHAN
Ouch!
29 INT. CLASSROOM - DAY 29
LANCE
Who's that?
30 INT. COFFEE SHOP - DAY 30
KEITH sits back down.
KEITH
Nobody. Where are you?
NATHAN withdraws his hand with a smile.
31 INT. CLASSROOM - DAY 31
GIRL, annoyed, looks over to LANCE.
GIRL
Shhh!
LANCE
Are you listening to me? I'm still in
class.
32 INT. COFFEE SHOP - DAY 32
KEITH
Hold on. Hold on.
KEITH takes the phone from his ear and sees that his mother
is calling again. He places the phone back to his ear.
KEITH (CONT'D)
It's my mother.
(clicks over)
NATHAN watches and sips as KEITH works the phone.
33 INT. CLASSROOM - DAY 33
LANCE
Again?
34 INT. COFFEE SHOP - DAY 34
KEITH
Hi, Ma. I have to call you back.
(clicks over to LANCE)
I'm back.
35 INT. CLASSROOM - DAY 35
LANCE
Yeah. . .
36 INT. COFFEE SHOP - DAY 36
He looks over to NATHAN sipping on his orange juice.
KEITH
Are you coming?
37 INT. CLASSROOM - DAY 37
LANCE
(panicking)
Yo, my professor's coming. I'll catch up
with you later.
38 INT. COFFEE SHOP - DAY 38
KEITH, pissed off, groans and clicks his cell off. KEITH
starts to gather his things. He gives priority and special
attention to his laptop as he packs.
NATHAN
What are you doing?
KEITH
I'm out of here.
NATHAN
Don't you want to hang out and have that
coffee shop experience with me?
KEITH
I don't hang out.
KEITH guzzles the rest of his water, places the empty bottle
on the table and walks away. NATHAN sits baffled and
attracted.
NATHAN
Man that kid is whacked. Yo can I get my
check please!
39 EXT. STREET - DAY 39
KEITH exits the coffee shop onto the streets of New York
City. He passes the newspaper stand featuring the current
news headlines. NATHAN follows a few moments .
NATHAN
(yelling to KEITH)
Yo! Wait up! Where you headed?
MARIA, 19, a cute Latina, and her attractive African American
classmate, VAL, 20, both wearing medical uniforms, backpacks
and carrying books walk ahead of KEITH.
MARIA
Val, I thought would never end today.
VAL
I know. I was up all night studying too.
I just want to get home and finish my
Chinese food. It's going to be so good
too.
KEITH does not look back and with much pep in his step he
hurries away from NATHAN.
KEITH
Stalker.
NATHAN
Yo, Keith!
VAL and MARIA look back. KEITH turns away from NATHAN
twisting his ankle unleashing a loud cry and nearly falling
to the ground. KEITH clutches his computer on the way down
as VAL and MARIA catch him.
MARIA
Are you okay?
VAL
Maria, he's fine. Let's go.
NATHAN catches up.
NATHAN
You okay?
KEITH
(in very minor pain)
My leg.
NATHAN
(to VAL and MARIA)
I got him. You can let go.
VAL
Fine.
VAL gives KEITH to NATHAN.
KEITH
What are you doing?
KEITH holds onto MARIA and VAL.
NATHAN
Nothing. I got you.
(to VAL and MARIA)
Let go.
KEITH
You let go.
NATHAN
I'm trying to help you.
NATHAN lets go. KEITH scopes NATHAN out.
MARIA
You need to sit. Val help him over to
the bus stop.
VAL
Maria?
MARIA
Your Chinese food is not going anywhere?
VAL and MARIA walk KEITH over to the bus stop. KEITH sits.
NATHAN watches and follows.
NATHAN
Does it hurt?
NATHAN sits down next to KEITH.
KEITH
A little.
NATHAN
Come on. Walk it off.
MARIA
He should rest it for a few minutes.
NATHAN
(to MARIA)
Are you a doctor?
VAL
Are you?
NATHAN tries to lift KEITH.
KEITH
What are you doing?
NATHAN
Try to walk.
KEITH attempts to put weight on his leg. KEITH groans a bit.
NATHAN (CONT'D)
You have to stretch it.
NATHAN is by his side.
KEITH
Don't move. Don't move.
KEITH stretches his ankle.
KEITH (CONT'D)
Augh!
NATHAN
How does it feel?
KEITH
I need to sit.
NATHAN
Do you want to go back to the coffee
shop?
KEITH
No.
NATHAN looks over to VAL and MARIA.
NATHAN
Can you help him please?
VAL
Ain't nothing wrong with him.
MARIA
Val. . .help.
VAL
You always want to help somebody.
MARIA
We're nursing students. This what we are
going to do for the rest of our lives.
VAL
Hopefully not on the street. And what
did we talk about in class two weeks ago?
MARIA
What?
VAL
Mal practice. I am not trying to get
sued.
MARIA
Girl you need to re review that chapter.
And the Nurse's Creed.
VAL
What creed?
MARIA
I made that up. Now get over here.
MARIA starts to help KEITH.
NATHAN
Yo kid, show them your leg.
MARIA
Can we see your leg, please?
KEITH pulls up his pant.
MARIA (CONT'D)
Okay, let's see what is going on?
KEITH takes is bag off and pulls out his cell.
KEITH
No signal. I hate that. It's New York
City. How can you not get a signal in
New York City?
VAL
Have you heard of terrorism?
KEITH
It's worse than that -- it's Americanism.
(to NATHAN)
Do you have a signal?
NATHAN
I'm not trying to get brain cancer. Plus
the signals are bad.
KEITH turns to VAL and MARIA.
VAL
Yeah, mine is at home charging.
MARIA
I'm saving it until I become a nurse.
(to VAL)
We'll be on call must of the time. So
now I just want to enjoy life without
one.
KEITH
That's great.
NATHAN stares and shakes his head at KEITH.
KEITH (CONT'D)
Don't shake your head at me.
VAL and MARIA inspect KEITH's leg.
NATHAN
You need to sit still.
MARIA
I don't feel anything out of the
ordinary. It seems fine.
NATHAN
(to MARIA)
Cool. Thanks shorty.
(to KEITH)
You're fine. Let's bounce.
MARIA
Look, here comes the bus.
VAL
Oh. We got to go.
NATHAN
Bye.
MARIA and VAL briskly walk off to catch the bus ignoring
NATHAN. VAL and MARIA jump on the bus. NATHAN pulls on
KEITH. A WHITE WOMAN, about 35ish years old, walks pass
KEITH and NATHAN and clutches her purse.
KEITH
She needs to stop clutching her purse and
teach her father, husband, brother, son
to share.
NATHAN
Fuck her.
KEITH
Never. Ever.
NATHAN snatches KEITH into the street. The WHITE WOMAN pulls
a cell phone from her purse.
NATHAN
You don't like girls?
KEITH
Stop pulling on me. My leg hurts.
NATHAN
Right. Taxi!!!
KEITH
What are you doing?
They jump into a gypsy car. Little yellow taxicabs zoom
about Manhattan. Lincoln Town cars zoom about Harlem and
Upper Manhattan
NATHAN (V.O.)
Uptown please. Where are you from?
KEITH (V.O.)
LA. Where are you from?
NATHAN (V.O.)
Brooklyn.
KEITH (V.O.)
(intrigued)
Really? New York?
40 INT. GYPSY TAXI - DAY 40
Sitting in the back of the car.
NATHAN
Brooklyn.
KEITH
Growing up in New York must have been
incredible?
NATHAN
Brooklyn.
KEITH
I only applied to schools in New York. I
came here the day after I graduated. I
couldn't wait. My mother was horrified.
NATHAN
So you like it?
KEITH
Honestly. . .it's not what I thought it
would be.
NATHAN
How so?
KEITH
New York doesn't exists anymore.
(pauses)
Where are you going?
NATHAN
I don't know. I'm hungry. Do you want
to get something to eat?
KEITH
Thanks, but I have to get home.
NATHAN
You got your own place?
KEITH
Yes.
NATHAN
You got some food.
KEITH
No.
NATHAN
You don't have any food?
KEITH
No.
NATHAN
Let's get some food and chill at your
place.
KEITH
No. . .I don't think so.
NATHAN
Why not?
KEITH
I don't even know you.
NATHAN
Driver pull over please.
DRIVER
Here?
NATHAN
Yes! Pull over.
KEITH
What are you doing?
NATHAN
What does it look like? May be it's time
that you unclutch your purse.
The car pulls over and NATHAN jumps out and walks away.
KEITH
(leaning towards the driver)
Driver, can I get out here too?
DRIVER
Eight dollars?
KEITH
Eight dollars? I don't think have eight
dollars.
(searches pockets)
I only have five.
DRIVER
Eight!
KEITH
I'll be right back.
DRIVER
Hey!
KEITH jumps out of the taxi and catches up to NATHAN.
41 EXT. STREET - DAY 41
KEITH catches up to NATHAN.
KEITH
(tapping NATHAN)
Hey.
NATHAN turns around and find KEITH all up in his grill.
NATHAN
What do you want?
KEITH
I need four dollars or four dollars and
fifty cents or ten dollars.
NATHAN
What you are talking about now??!!!
KEITH
Your share of the ride plus tip. It's
eight. . . not including tip.
NATHAN
First, back up.
NATHAN grips KEITH by his arms and moves him back.
KEITH
Are you going to give me the money, he's
waiting?
NATHAN
Who's waiting?
KEITH
The driver.
NATHAN
Eight? Let me show you something.
NATHAN walks back to the taxi.
NATHAN (CONT'D)
(looking back for KEITH)
Are you coming?
NATHAN turns and continues towards the gypsy car. KEITH
follows behind him.
NATHAN (CONT'D)
(to KEITH)
Watch and learn. How much?
NATHAN leans into the car.
NATHAN (CONT'D)
How much?
DRIVER
Eight.
NATHAN
Six, man. Man, we barely went four
blocks. Get out of here.
DRIVER
Eight.
NATHAN
Eight my nuts. Six.
DRIVER
Okay. Seven.
NATHAN
Okay - six. Bye.
NATHAN throws the DRIVER the money.
DRIVER
(with accent)
Fucking asshole!!
The car pulls off.
NATHAN
(turning to KEITH)
Happy?!? That was my lunch money.
KEITH
You are so rude! Starve.
KEITH walks off. NATHAN follows.
NATHAN
You're buying me something to eat.
KEITH
I'm not buying anything.
KEITH looks back onto NATHAN as if he is a crazy person on
the street.
42 INT. DRUG STORE - DAY 42
KEITH scans the large section of toothpastes.
NATHAN grabs some chips from a display and disappears into
one of the aisles passing the newspaper stand. NATHAN pokes
his head back from the isle and addresses the SECURITY
OFFICER.
NATHAN
Hey Officer.
The SECURITY GUARD frowns at NATHAN. Meanwhile KEITH
searches for the perfect toothpaste for his trip. KEITH
walks to inspect what's going on. He pumps into NATHAN
again. NATHAN is trying to finish up his chips.
KEITH
(bumping into to NATHAN)
What are you doing here?
NATHAN
Having lunch?
NATHAN holds up the bag to his mouth and pours it rest into
his mouth.
KEITH
Gross.
NATHAN walks over to the vast array of toothpastes.
NATHAN
Wow, I never noticed there so many
toothpastes?
KEITH
Yeah, it's kind of ridiculous. But
everybody wants what they want and likes
what they like.
NATHAN
What do you like?
KEITH
(smiling)
Whitening. I like a gel. I like the
small tube that can sit up in the
medicine cabinet.
NATHAN lifts a toothpaste from the shelf and reads.
NATHAN
That's wonderful. Here, this one has
whitening. Here you go!
KEITH
But you have to have fluoride.
NATHAN inspects the ingredients.
NATHAN
Got it.
KEITH
I want fresh breathe too.
NATHAN
Definitely!
KEITH shoots NATHAN a quick look.
NATHAN (CONT'D)
It has everything a gel, minty fresh,
tartar control with fluoride. I'm
getting a headache.
KEITH
Can I see that one please?
NATHAN
Catch.
NATHAN throws it to KEITH. KEITH catches and reads the box.
KEITH
This is good! Can I get five more
please?
NATHAN
Five??? For what?
KEITH
None of your business.
NATHAN picks up four boxes.
NATHAN
Here . . .catch.
NATHAN throws all of the boxes at KEITH. They all fall onto
the floor. KEITH bends over to pick them up.
43 EXT. STREET - DAY 43
When KEITH stands erect he and NATHAN have exited the drug
store. NATHAN pulls a Snickers from his back pocket and
starts to eat it.
KEITH
What are you eating?
NATHAN
(holding up the candy bar)
Want some?
KEITH
Of course not. I cannot believe you.
KEITH takes the candy bar from NATHAN's mouth and throws it
in the street.
KEITH (CONT'D)
I just spent a gazillion dollars on
toothpaste.
NATHAN is stunned.
NATHAN
Oh my God. Yo, you did not just do that.
KEITH
You must want cavities.
NATHAN
You must want black eyes.
KEITH
I'm just trying to help you.
NATHAN
Try a little harder.
KEITH
Do you want me to go get it for you?
NATHAN
Like I'm going to eat it off the street.
KEITH
Some of it is still in the wrapper. Kiss
it up to God.
NATHAN
(grabbing his crotch)
Kiss this.
KEITH
That's very Michael Jackson.
They walk off together bickering blending into the busy city
of millions.
44 EXT. FRUIT STAND - DAY 44
KEITH stops at a cute little dilapidated neighborhood fruit
stand situated on a busy New York City street corner.
NATHAN
Where are we?
KEITH
Fruit stand.
NATHAN
I can see that. Why are we here?
KEITH
You didn't have to come. I love this
place.
NATHAN
I hope they flipping burgers in the back.
How are you going to throw my shit in the
street? Then give me some apples and
oranges.
KEITH
Can you calm down?
NATHAN
Trust me. I'm calm.
KEITH
Why don't you go get an apple or
something?
MR. ALPHONSO, a dark brown skinned older gentleman with a
Caribbean accent, walks in from the back of the fruit stand.
MR. ALPHONSO
(pointing directly at NATHAN)
Who is this?
NATHAN
(to KEITH)
Who is that?
KEITH
Mr. Alphonso. He's the Owner.
(turns to Mr. Alphonso)
This is . . .
NATHAN
I'm sorry sir. I'm Nathan Pinders.
NATHAN extends his hand to MR. ALPHONSO. They shake. NATHAN
and MR. ALPHONSO look over to KEITH and begin to speak at the
same time.
MR. ALPHONSO
Where have you been?
NATHAN
(interrupting)
What are you. . .excuse me.
MR. ALPHONSO
Go ahead.
NATHAN
No sir. You go.
MR. ALPHONSO
Son, go ahead.
NATHAN turns to KEITH.
NATHAN
What do you want?
KEITH
Whatever.
NATHAN inspects out the fruits.
NATHAN
Well there are a lot of apples here.
Damn.
KEITH's eyes grow wider from NATHAN's comment.
NATHAN (CONT'D)
Oh. Sorry.
MR. ALPHONSO
Where did you find him?
NATHAN picks some fruit.
KEITH
We go to school together.
NATHAN drops fruit on the ground.
MR. ALPHONSO
You drop. You buy.
(back to KEITH)
You're done early today.
KEITH
Yeah.
NATHAN listens to KEITH and MR. ALPHONSO.
MR. ALPHONSO
(to NATHAN)
And you, what are you studying?
NATHAN
(trying to adjust the fallen
fruits)
I haven't decided on a major yet.
MR. ALPHONSO
Just passing. Learn something while
you're there.
MR. ALPHONSO walks off. KEITH starts to follow him.
NATHAN
Where are you going?
MR. ALPHONSO
Nowhere. Both of you have a seat right
over there. I'll be right back!
MR. ALPHONSO goes into the stand followed by an older Black
woman, MISS MILDRED.
MISS MILDRED
How you doing?
KEITH sits down. NATHAN returns with fruit.
MR. ALPHONSO
I can't complain.
NATHAN looks around and checks things out in the stand. MISS
MILDRED and MR. ALPHONSO handle their business. MISS MILRDED
exits.
MISS MILDRED
See you tomorrow.
MR. ALPHONSO returns. MR. ALPHONSO hands KEITH a book.
NATHAN leans in to inspect.
NATHAN
Oh, that's a good book.
MR. ALPHONSO
You read it?
NATHAN
Yes sir. My father made me read it when
I was fifteen.
MARVIN, not too young but very old, is a tall, slim light
brown guy with a modern twist to the 1970s black radical
about him enters. MARVIN speaks to MR. ALPHONSO in a spoken
word vernacular.
MR. ALPHONSO
How are you my man?
A YOUNG BLACK WOMAN with locks picks some fruits, pays and
walks off.
MARVIN
The man's got me down again.
MR. ALPHONSO
The man hasn't done anything to you! You
got yourself down.
MARVIN
I'm telling you, the man's got me down.
I'm struggling.
MR. ALPHONSO
It has always been a struggle. What are
you going to do about it?
MARVIN
I don't know what to do. What can I do?
KEITH and NATHAN are restless.
NATHAN
Get a job.
KEITH
Don't do that!
NATHAN
Negroes been talking about the same old
thing for centuries. They need to get
over it.
KEITH
I don't care. And he will get over it.
But what you are doing is not the negro
solution.
NATHAN
Sorry.
As they sit on this busy New York intersection full of kids,
mothers, cars, bikes, gypsy taxis, MARVIN and MR. ALPHONSO
dated conversation is drowned out as KEITH and MATHAN sit
looking out onto their world - a new world. The world of hip
hop moguls, inner city millionaires, bling bling, rims, money
and designer everything including bodies.
NATHAN (CONT'D)
I'm going to go. Which way are you
going?
MARVIN
I'm trying to make something happen. But
everything and everyone is against me.
A MIDDLE AGED BLACK WOMAN walks over with her grandchildren,
picks some fruits, pays and walks off. The children ran off
behind their grandmother.
MR. ALPHONSO
You're against yourself.
The children get caught up in a newspaper floating down the
sidewalk from the late morning breeze.
MARVIN
All I can do is try.
The woman untangles the children from the newspaper.
MR. ALPHONSO
Sometimes you have to try a little
harder.
NATHAN stands.
MARVIN
Why you trying to get me down?
KEITH stands.
KEITH
I'll see you when I get back.
MR. ALPHONSO
Where are you going?
KEITH
I'll tell you when I get back.
KEITH and NATHAN walk off. MARVIN stands nearby. MR.
ALPHONSO goes to help another customer.
45 EXT. GROCERY STORE - DAY 45
KEITH stops in front, NATHAN continues to walk on.
KEITH
Bye.
NATHAN turns around. He looks at KEITH, then the grocery
store, then back to KEITH.
NATHAN
Yo! What do you need now?
KEITH
It's a grocery store.
NATHAN
Is that all you do . .is shop?
KEITH
Since I don't have a cow at home or live
on a farm, yes I do spend a some of my
time shopping.
NATHAN
Can I talk to you for a second?
NATHAN summons KEITH over to the side of the street.
46 EXT. SIDEWALK - DAY 46
NATHAN and KEITH walk to the edge of the side walk.
NATHAN
Do you want to sit?
KEITH
Where?
NATHAN
Right here.
KEITH
I'm not sitting in the gutter.
NATHAN
Sit on the curb not in the gutter.
KEITH
I'm going into the store now.
NATHAN
Hold up. Do you want to do something?
KEITH
(totally not getting it)
Do something???
NATHAN
You know like a movie. Walk in the park.
I don't know.
KEITH starts to laugh.
NATHAN (CONT'D)
Fuck you then.
NATHAN walks off.
KEITH
No. No. Wait. Come back. Come here.
NATHAN stops.
NATHAN
What?
KEITH
First, I'm sorry. I didn't mean to
laugh.
NATHAN turns around
NATHAN
Why you playing with me?
KEITH
I'm not.
NATHAN
So what is up?!
KEITH
I have stuff to do.
(pauses)
I'll meet you back here in an hour.
NATHAN
An hour?
KEITH
Yes. One hour from right now.
NATHAN
Cool.
They separate. Their feet travel in different directions.
47 INT. JULIO'S APARTMENT HALLWAY - DAY 47
NATHAN knocks on JULIO's door.
NATHAN
Yo open up!
Continues to knock.
NATHAN (CONT'D)
Julio!?!
NATHAN tries the door knob but it's locked.
NATHAN (CONT'D)
Open up!
48 INT. JULIO'S APARTMENT - DAY 48
JULIO, sexy Black and Puerto Rican, 19 years old, opens the
door. NATHAN and JULIO are like brothers. They've been
friends since third grade.
JULIO
What!!???
NATHAN enters. JULIO jumps back into bed.
NATHAN
What's up?
JULIO
Yo, keep quiet! You know my neighbors
are crazy. You trying to get me evicted?
NATHAN sits. JULIO looks over to NATHAN in deep thought.
JULIO (CONT'D)
Whatever it is. . .NO.
NATHAN looks over to JULIO.
NATHAN
What are you doing?
JULIO
You know what I'm doing. I'm getting
ready for the exam.
NATHAN
I'm dropping that class.
JULIO
You spend more time adding and dropping
classes then being in class. That's
crazy.
NATHAN
Have you been hanging out with my
parents?
JULIO
Fuck you.
(inspecting NATHAN)
What's up? Why you acting weird?
NATHAN stands thinking about what he is going to do with
KEITH.
NATHAN
Nothing. I'm fine.
NATHAN goes and looks into the mirror. He sees JULIO's
motorcycle helmet in the background.
JULIO
Who is it?
NATHAN
Who's what?
JULIO
Stop acting stupid. Who is it this time?
NATHAN frowns at JULIO. LANA, JULIO's gorgeous girlfriend,
emerges from the kitchen wearing a flirty cami top and sexy
boy shorts with cell phone in hand.
LANA
(playful)
Hi Nathan.
LANA walks over and gives NATHAN a kiss on the cheek.
NATHAN
That's one way to get an A.
LANA
You are so silly. That was Todd. So
what's up with you and Keith?
NATHAN
(sitting)
Damn. That was fast.
JULIO
Who?
LANA
(to JULIO)
Keith. From LA.
JULIO
What?
(turning to NATHAN)
Yo, you know I hate that kid.
LANA
Why, he's cute?
JULIO
He's a nerd. What's up with him and that
computer anyway?
LANA
That is true. I've ever seen him without
that computer.
NATHAN
Keep your opinions to yourself man.
JULIO
What's the point of having an opinion if
you don't share it. . .mutha fucker?
NATHAN
I need the keys.
JULIO
Hell no.
NATHAN
Why? You're going to class anyway?
JULIO
No. It's not a toy.
NATHAN
Who you talking to?
JULIO
I'm talking to you.
NATHAN
Stop playing! Where are the keys at? I
have to go.
NATHAN walks towards the dresser where JULIO parks the keys.
JULIO
Not there.
NATHAN
Come on. I'm serious man.
LANA jumps into the bed with JULIO.
JULIO
Serious? What about Herbie?
NATHAN
Herbie's a pothead.
JULIO
You are such a hypocrite.
LANA
Nathan, I wasn't feeling Herbie either.
NATHAN
Thanks Lana. He stayed twisted.
JULIO
What about Kevin? And Terrence? And
Derrick?
NATHAN stands and listens.
LANA
Don't forget Todd?
NATHAN
(annoyed)
What about them?
(to LANA)
And Todd doesn't count. He's your
friend.
JULIO
Exactly mutha fucker, what about them?
LANA
Keith is really smart.
NATHAN
So what. So am I.
(resting his head to the right)
Are you going to give me the keys. . .
please?
JULIO
No.
NATHAN digs deep into his pocket.
JULIO (CONT'D)
(surprised)
Whoa!
NATHAN drops everything onto the bed.
JULIO (CONT'D)
That's it?
JULIO counts and sorts.
NATHAN
Yes, that's it.
JULIO
Yo, don't make me shake your ass down.
NATHAN
I'm serious. That's it. Why you
tripping?
JULIO
Thirty-seven dollars and twenty-four
cents, gum, and two old ass stale joints
from 1958.
NATHAN
Fuck you.
JULIO
Fuck you.
(looks up to NATHAN)
Broke ass.
LANA shakes her head.
NATHAN
What are you doing?
JULIO
Accepting payment. The key is in the
dresser.
NATHAN
No fucking way.
JULIO
You must not be serious then.
NATHAN gets the key from the dresser.
NATHAN
How am I going to have fun with no money
and no weed?
JULIO
(waving the joint in the air)
You'll think of something.
LANA kisses JULIO. NATHAN, not ready for another episode of
the JULIO and LANA in love, grabs the joint from JULIO's
hand.
NATHAN
Thanks. I'll see you later.
NATHAN runs out.
JULIO
Bastard! Remind me to fuck him up later,
baby.
LANA
Wait until I tell Todd.
LANA reaches for her cell.
49 EXT. SIDEWALK - DAY 49
KEITH stands near the parking meter waiting for NATHAN.
NATHAN pulls up on the motorcycle.
NATHAN
Exactly sixty minutes.
KEITH
I'm impressed.
NATHAN
That's the idea. Let's go.
KEITH
Where are we going?
NATHAN
I can't tell you. Get on.
50 EXT. COUNTRY ROAD - DAY 50
Spinning spokes of the motorcycle wheel. KEITH hums the DMX
Ruff Ryders' Anthem. NATHAN looks back to KEITH who is now
loosely holding onto him.
KEITH (V.O.)
(singing)
Stop! Drop! Everybody open up shop.
Ho! Ho! That's how ruff riders roll.
NATHAN is laughing hysterical as he navigates the motorcycle
away from the city.
NATHAN (V.O.)
(singing))
Go Keith. It's your birth. Go Shorty.
NATHAN with KEITH in tow navigates the motorcycle out of the
hustle and bustle of Manhattan into the serenity of what New
Yorker's call upstate New York. KEITH sits behind NATHAN who
is firmly in control. They enjoy the adventure and seem
pretty comfortable with one another.
KEITH (V.O.)
Where are we?
NATHAN (V.O.)
Upstate.
KEITH (V.O.)
Upstate? I don't get it. It's like ten
minutes away from the city and it's
upstate.
NATHAN (V.O.)
It's a New York thing. I spent my
summers up here with my grandfather.
KEITH (V.O)
Are we going to see him?
NATHAN (V.O.)
Augh. May be. . .if you behave.
KEITH (V.O.)
(jokingly)
Me? You're the one kidnapping people.
NATHAN (V.O.)
(amused)
Right.
KEITH and NATHAN ride past the countryside. The tip of
Manhattan's vast and overwhelming skyline looms about in the
background. Then in an instant it's gone. The motorcycle
continues over some tough terrain as KEITH grabs hold to
NATHAN tightly.
51 EXT. COUNTRY ROAD - DAY 51
KEITH is now slowly steering the motorcycle. NATHAN is not
on the back.
KEITH
How are we going to get back?
NATHAN is pushing the motorcycle as KEITH pretends to drive.
NATHAN
The same way we got here. We'll get some
gas, chill and head back to the city.
KEITH
It's probably best if we just head back
to the city.
NATHAN
Come all the way here just to go back?!
Be realistic.
KEITH
(amused))
All the way where?
NATHAN
Here. Look around. Trees. Grass. Blue
sky. It's nice.
KEITH scans the lust landscape and rolling hills. KEITH
pulls his cell phone from his pocket and extends it to
NATHAN.
NATHAN (CONT'D)
Put that away. I got everything under
control.
KEITH
You're confusing out of control with
under control? Can you stop please?
NATHAN stops. Keith jumps off of the motorcycle.
NATHAN
Who are you calling?
KEITH
Help.
KEITH tries to get a dial tone.
NATHAN
By the time they get here, we can be at
the gas station.
KEITH
I can't get a signal.
NATHAN kicks the kickstand.
NATHAN
Why can't you just relax and deal with
it.
KEITH
I am dealing with it.
NATHAN
You are so spoiled.
KEITH
So are you. It's America. We're all
spoiled. Tell me something I don't know
for once.
NATHAN
There's gas station right off this road.
(turns to KEITH)
Are you going with me?
KEITH
No.
NATHAN grips the handle bars and starts to push the
motorcycle.
NATHAN
I don't have all day.
KEITH
Bye.
KEITH stands like a Rodan sculpture. NATHAN moves closer to
KEITH and whispers into his ear.
NATHAN
I'm not coming back, this time.
NATHAN pushes the motorcycle as KEITH stares at nothing.
NATHAN never looks back. KEITH looks over to NATHAN leaving
him behind. KEITH looks back onto the vastness of nothing
and looks once more to NATHAN steadily growing distant.
NATHAN passes a BLUE HIGHWAY SIGN with Gas, Food, Lodging,
Rest Room symbols on it.
52 EXT. GAS STATION - DAY 52
The motorcycle stands in front the gas pump. NATHAN exits
the store and walks over to the motorcycle.
NATHAN
Look who it is.
KEITH makes his way to the gas station. He stands near the
motorcycle. NATHAN drinks a some water, places a pair of
mirrored motorcycle sunglasses on and makes his way over to
KEITH and the motorcycle. He passes the empty newspaper
holder - no news.
NATHAN (CONT'D)
So you made it.
KEITH ignores NATHAN.
NATHAN (CONT'D)
Want some water?
KEITH
No.
NATHAN
You look very thirsty.
NATHAN extends the bottle. KEITH takes it and drinks it all.
He extends the bottle back to NATHAN.
NATHAN (CONT'D)
Damn.
KEITH
Can we go now?
NATHAN
So you are riding?
KEITH looks over to NATHAN.
NATHAN (CONT'D)
Okay, let's ride partner.
They exit the gas station. KEITH rests his head on NATHAN's
back and wraps his arms around NATHAN's waist.
53 EXT. COUNTRY ROAD - DAY 53
KEITH and NATHAN zoom pass on the motorcycle.
NATHAN (V.O.)
Check out the lake.
KEITH (V.O.)
Good. I feel like drowning.
54 EXT. WOODS - DAY 54
KEITH and NATHAN jump off of the motorcycle. NATHAN tosses
the sunglasses next to the bike.
NATHAN
Can you handle nature?
KEITH looks around amazed that he is still so close to New
York City.
NATHAN (CONT'D)
It's great huh?
They run away freely, towards the woods shouting and chasing
after one another, dodging the tree branches and jumping over
exposed tree roots.
KEITH
Yeah!
Back at the side of the road, the motorcycle falls over.
They continue to run until they disappear into the foliage.
KEITH and NATHAN play in the woods as they make their way to
the lake. They chase each other.
NATHAN
Keith. Come here.
KEITH continues to run freely.
KEITH
No.
NATHAN
Stop. Come here.
KEITH
No.
NATHAN
Come on. Stop.
KEITH stops. NATHAN walks over to KEITH.
KEITH
What?
NATHAN
(pointing to his pocket)
Check my pocket.
KEITH
(looking at Nathan's crotch)
Ill, gross.
NATHAN
Yo, why are you so fucking weird?!?!
NATHAN digs into his pocket and pulls out a joint. KEITH
studies NATHAN and his joint.
NATHAN (CONT'D)
Are you ready for the next level?
KEITH
Yes, but I don't smoke.
The joint falls from NATHAN's lips.
NATHAN
What? You're joking right?
KEITH picks it up and gives it back to NATHAN.
KEITH
No. I've never done it before.
NATHAN takes the joint from KEITH.
NATHAN
I don't know anyone who doesn't smoke.
KEITH
Well it is about time that we meet.
KEITH walks away.
NATHAN
(lights the joint)
Wait.
KEITH turning back towards NATHAN. NATHAN releases the smoke
from his mouth seductively. KEITH stares at NATHAN.
NATHAN (CONT'D)
Want to try?
KEITH
No thank you.
NATHAN
I don't like to share my shit.
NATHAN sucks on the joint and blows more smoke into KEITH's
face as he extends the joint to KEITH.
NATHAN (CONT'D)
(whisper)
Take it.
KEITH
Can you stop blowing smoke into my face?
NATHAN
Is that all you have to say?
NATHAN takes another long hit.
KEITH
Are you going to be able to drive?
NATHAN releases the smoke from his mouth and breathes it back
in through his nose. KEITH watches.
NATHAN
I don't know, can you drive?
KEITH
What??!
NATHAN
I'm joking, I only have one joint.
We'll get back. I'm fine.
KEITH inspects NATHAN.
NATHAN (CONT'D)
Are you positively sure you don't want to
hit this?
KEITH takes the joint from NATHAN.
KEITH
Only because I want to get home safely.
KEITH places it in his mouth and inhales deeply. KEITH
chokes.
NATHAN
See! You don't even know what you're
doing.
(taking the joint back)
Let me show you something.
KEITH
What?
NATHAN moves in on KEITH.
KEITH (CONT'D)
What?
NATHAN
Open your mouth.
KEITH
(hesitant)
Why?
NATHAN
Just open your mouth. And shut up.
KEITH
How am I going to shut up and open my
mouth . . .at the same time?
NATHAN
Damn I thought you were the shy and quiet
type.
KEITH
I am.
NATHAN
Open. Don't say nothing.
KEITH opens his mouth.
NATHAN (CONT'D)
Just breathe in.
NATHAN places the joint in his mouth and blows into KEITH's
mouth. KEITH breathes in.
KEITH
What does that do?
NATHAN
Huh?
KEITH
I don't feel anything.
KEITH coughs.
KEITH (CONT'D)
I don't feel anything. Can you do it
again?
NATHAN
What?
KEITH
Do it an again! Please. If it's so
good, make it work.
NATHAN
It's not that simple. You have to relax.
KEITH
I am relaxed. Hit me please!
NATHAN
Trust me yo, I'm about to hit you, if you
don't calm down.
NATHAN does it again.
KEITH
(struggling to relax)
I don't feel anything.
NATHAN
Yo, rest your nerves man. You are really
starting to stress me out.
NATHAN places the joint to his lips. KEITH stares as NATHAN
puffs.
NATHAN (CONT'D)
What are you looking at? Are you okay?
KEITH
(with a giggle)
I definitely feel something. Tingly.
NATHAN
Great! You're fucking tingling.
KEITH sits down slowly. NATHAN exhales a huge smoke cloud.
55 EXT. LAKE - DAY 55
KEITH, stoned, slowly sits as NATHAN, feeling nice, stands
with the reflection of the lake and the sun on their faces.
NATHAN
Where's your computer?
KEITH
Home.
NATHAN
You were scared I was going to sell that
sucker.
KEITH
No I wasn't.
NATHAN sits doen next to KEITH.
NATHAN
Yes you were.
KEITH
I was not.
NATHAN
Don't lie.
KEITH
I'm not lying.
NATHAN
I've never seen you without it.
KEITH
You've never seen me then.
KEITH turns his attention towards the lake trying not to
focus on NATHAN.
NATHAN
I guess I haven't.
KEITH
Okay. . .I did have some reservation.
But it was mainly because I did not want
to drop it or something. I have my life
on that computer.
(to NATHAN)
You're not a thug.
They sit staring onto the lake.
NATHAN
I know.
(turning to KEITH)
But don't think you have me all figured
out.
KEITH
I won't. I'll let you unravel.
They sit. NATHAN slowly lays back looking directly up into
the sky.
KEITH (CONT'D)
Sometimes when I'm sitting all alone. I
swear I can feel the earth moving.
NATHAN
What do you feel now?
KEITH smiles at NATHAN.
NATHAN (CONT'D)
Pervert.
KEITH stands.
KEITH
You are ridiculous.
NATHAN
Where are you going?
NATHAN blocks out the sun with his hand as his sits up.
KEITH
To check out the water.
NATHAN
No, sit with me.
KEITH sits back down next to NATHAN. They sit in silence for
what since like an eternity for KEITH and nothing for NATHAN.
KEITH tries to get up again. NATHAN quickly grabs his arm
and pulls him back to his side.
NATHAN (CONT'D)
Where are you going?!!??
KEITH
To see.
NATHAN
Why can't you just sit here? Are you
scared of me?
KEITH
No. What kind of question is that?
NATHAN
I feel like you keep trying to get away.
KEITH
I am. But not from you.
NATHAN
Are you okay?
KEITH
I will be. . .tomorrow.
NATHAN
What happening tomorrow?
KEITH
I'll tell you the day after tomorrow.
KEITH stands and walks toward the lake.
NATHAN
Tell me now.
NATHAN watches KEITH's every move. KEITH stops and turns
back to NATHAN.
KEITH
Are you coming?
KEITH turns towards the lake and begins to undress. He
strips down to his underwear and walkd into the lake. NATHAN
stands and does the same. They splash about in the water.
They settle down and sit in the water.
KEITH (CONT'D)
What do people do up here?
NATHAN
Escape.
KEITH
There is no escaping. It's just life. I
don't understand why people make it so
difficult.
KEITH lays down in the water and closes his eyes. The sun
and shadow of the trees and leaves dance about KEITH's face.
NATHAN stares.
NATHAN
Life is difficult for some people.
NATHAN dissects KEITH's anatomy. He moves in. NATHAN leans
over KEITH. He drops water onto KEITH. KEITH's eyes open.
KEITH
What you are doing?
NATHAN
Nothing.
KEITH sits up and sees the trees, grass, water, sky and
clouds.
NATHAN (CONT'D)
Are you all right?
KEITH stands dripping onto NATHAN.
KEITH
I'm going for a walk.
KEITH emerges from the water and makes his way to his
clothes. NATHAN lays face down in the lake. He turns over
and peaks at KEITH dressing. KEITH walks off into the woods
leaving NATHAN to his own aquatic devices.
56 EXT. WOODS - DAY 56
KEITH walks through the woods. He stumbles upon ADAM, 22, a
cute grungy white dude with a video camera.
KEITH
Hi. What are you doing?
ADAM
Filming. I'm Adam.
KEITH
Keith.
ADAM
Your friend is funny. What's up? Is
school out?
ADAM tapes NATHAN splashing water everywhere.
KEITH
For some of us. Nice camera. May I
check it out?
ADAM
Sure.
ADAM gives KEITH the camera.
KEITH
(inspecting the camera)
Nice.
KEITH turns the camera to NATHAN.
ADAM
Hey, don't point it at me.
KEITH
Why not?
ADAM
I don't like being filmed. Hey your
boy's getting out. Film him.
56A EXT. LAKE - DAY 56A
NATHAN walk towards his clothes scattered about. He looks
around looking for KEITH. NATHAN arrives at his pants. He
shakes the water off.
57 EXT. WOODS - DAY 57
KEITH standing with ADAM watching NATHAN.
ADAM
What is he doing?
They kind of lean in together and scope NATHAN out.
KEITH
(surprised)
Oh my God. I can not believe him.
KEITH lowers the camera.
ADAM
Get that!
ADAM tries to get the camera from KEITH.
KEITH
No.
KEITH moves the camera from ADAM's reach.
ADAM
Why not? That's good stuff.
KEITH
No.
(turning directly to ADAM)
Have you heard of invasion of privacy?
ADAM
Obviously you haven't. Your on private
property.
ADAM grabs the camera from KEITH.
KEITH
What?
ADAM begins to film NATHAN taking his underwear off.
ADAM
This is my property.
KEITH puts his hand over the lens. ADAM wiggles the camera
away from KEITH's hand.
KEITH
You own this?
NATHAN pulls his pants on quickly and walks off in search of
KEITH.
ADAM
Well of course we don't own the river.
But where you are standing. . .
(throwing a finger out)
. . .we own it!
NATHAN walks up on KEITH and ADAM.
NATHAN
What are you doing?
KEITH
Nothing.
NATHAN
Who's this?
ADAM
Adam. What's your name?
NATHAN
(jealous)
What are you doing?
ADAM
Filming. You're funny.
NATHAN
Funny my ass! I know you didn't film me
with my dick hanging out.
ADAM looks.
NATHAN (CONT'D)
Give me that camera.
ADAM
I don't think so.
NATHAN tries to get the camera from ADAM.
NATHAN
I only have one thing to say, did you
tape me?
ADAM
May be I did, may be I didn't.
NATHAN
(frustrated)
May be. . .
NATHAN lunges for the camera. They struggle over the camera
for a moment. Finally, NATHAN takes the camera away from
ADAM.
ADAM
Can I have my camera back?
ADAM lift his shirt revealing a gun.
ADAM (CONT'D)
I just want my camera back.
NATHAN
You like shooting, don't you?
ADAM
All I want is my. . .
Out of nowhere KEITH steps in. He takes the camera from
NATHAN. He ejects the tapes. NATHAN and ADAM watch.
KEITH
Yeah, yeah, yeah. . .we all want
something.
NATHAN, stunned and shocked, just stares at KEITH.
KEITH (CONT'D)
(turning to NATHAN)
What?
NATHAN just shrugs. ADAM stands at attention.
KEITH (CONT'D)
So Adam, we're going to take the tape.
KEITH gives the mini cassette to NATHAN.
KEITH (CONT'D)
And here's your camera.
ADAM
Thanks.
Turning to NATHAN.
KEITH
You ready?
NATHAN
Yeah!
KEITH and NATHAN start to walk away.
KEITH
I'm starving! Can we get a donut or
something?
NATHAN
Remind me to never get you stoned again.
58 EXT. ROADSIDE - DAY 58
They arrive to where they left the motorcycle.
KEITH
Okay, where is the motorcycle?
NATHAN
Fuck!
Looking around. NATHAN crashes the sunglasses.
KEITH
Why did you do that?
KEITH picks them up.
NATHAN
This is not happening.
KEITH takes out his cell and hands it to NATHAN.
KEITH
Here, call your Grandfather.
NATHAN looks.
NATHAN
My grandfather is dead.
KEITH
Dead?
NATHAN
He's buried up here.
KEITH
I don't know what to say.
NATHAN
There is nothing to say.
NATHAN walks off followed by KEITH directly into the camera.
59 EXT. ROAD - DAY 59
The sun begins to set. Gradually a figure emerges from the
darkness as if it were smoke seeping, leaking or oozing from
the camera.
KEITH (V.O.)
Are you okay?
The shadow slowly transforms into shape.
NATHAN (V.O.)
I've been better. And you?
Little by little the shape gradually forms into a figure.
KEITH (V.O.)
Fine.
Step by step the figure becomes NATHAN and KEITH. NATHAN
walks ahead of KEITH.
He stops, turns and sticks out his thumb. He turns his head
and looks ahead in direct opposition to the traffic racing by
him.
KEITH (CONT'D)
What are you doing?
A car goes by.
NATHAN
Getting the fuck out of here. What does
it look?
KEITH
I was just asking.
Another car breezes pass. NATHAN looks at KEITH oddly as
another car goes pass while NATHAN continues to hitchhike.
KEITH stands on the side of the road not too far from NATHAN.
NATHAN stands for all the world to see but no one stops to
help nor acknowledges him.
KEITH (CONT'D)
Are you sure you are okay?
NATHAN
Stop asking me that. I said I'm okay. I
am okay. Don't be trying to analyze me
and shit.
KEITH
I'm not. I really want to know if you
are okay or not.
NATHAN
Hell no I'm not okay. Now what? What
are you going to do about it?
KEITH
I don't know.
NATHAN
Exactly. No one knows.
NATHAN stoops along the side of the road. Cars continue to
race pass ignoring NATHAN and KEITH's existence. The sun
continues to fall.
KEITH
Nathan, you don't have to do everything.
NATHAN
I don't want to do everything.
KEITH
Good.
Full of confidence, KEITH walks over to the very edge of the
road and throws his thumb out onto the world.
NATHAN
What are you doing?
KEITH
Helping. Watch and learn.
NATHAN walks off. He stands and watches KEITH.
NATHAN
(amused)
You don't even know what you're doing.
KEITH
Watch me.
KEITH stands for a minute. He pulls he shirt off.
NATHAN
Put your shirt on!
KEITH
You have to get their attention.
NATHAN
You are out there.
KEITH turns his back onto the world and flexes at NATHAN.
KEITH
Don't be jealous.
KEITH throws his thumb back at the world.
60 INT. CAR - DAY 60
On the other side of the road a driver notices KEITH. The
car goes to the next turning point. The car turns about
creating a cloud of smoke from the dusty road.
61 EXT. ROAD - DAY 61
KEITH laughs. The car pulls up beside KEITH.
KEITH
Let's go.
62 INT. CAR - DAY 62
The electric window slowly goes down onto FATHER JONES, a
handsome Black man and preacher, in his early forties,
dressed in a black suit with a white dress shirt.
FATHER JONES
Where are you going?
KEITH
New York.
NATHAN comes over.
NATHAN
We're going into town. We got towed.
FATHER JONES
Get in, I'll take you.
NATHAN
Thank you.
FATHER JONES
But you have to put your shirt on first.
KEITH slips his shirt over his head. NATHAN opens the door
offering KEITH the back seat. NATHAN lifts FATHER JONES's
bible and hat and places it on his lap.
FATHER JONES (CONT'D)
Be careful with that.
NATHAN
Yes sir.
KEITH
Thanks.
The car takes off.
FATHER JONES
(concerned)
What are you doing out here?
NATHAN sits dreaming.
KEITH
Getting away.
FATHER JONES
From what?
Just like adolescence, KEITH and NATHAN, have nothing to
reply. The light of the cars passing makes wonderful twirls.
NATHAN closes his eyes.
FATHER JONES (CONT'D)
Okay. So why were you towed?
NATHAN
We parked in the wrong space.
FATHER JONES
(sarcastic)
Where? Outside of New York City?
KEITH sits up leaning into FATHER JONES' chair. NATHAN zones
out.
KEITH
Do you have a cell phone?
FATHER JONES
Yes I do.
FATHER JONES reaches in his breast pocket.
KEITH
My service is not working out here.
FATHER JONES
You don't need to explain.
FATHER JONES pulls out his cell and hands it to KEITH.
FATHER JONES (CONT'D)
Here you are.
KEITH
Thanks.
KEITH takes the phone and dials.
FATHER JONES
How long have you been out there?
NATHAN
Long enough.
FATHER JONES
Is that the new thing? Hanging in the
suburbs?
NATHAN
No.
They drive down the road. The landscape all seems the same
like on the "Flintstones".
KEITH
(leaning in to NATHAN)
Where were we?
NATHAN
Jefferson.
KEITH sits back.
KEITH
Jefferson police station please. Thanks.
(pause)
Hi I am trying to see if my motorcycle
was towed. Sure. I'm being transferred.
(pause)
Hello, I am calling to check if my
motorcycle was towed. Okay. What's that
number? Can you transfer me? Thanks.
KEITH clicks off and starts to dial again. They drive by
more trees, signs and billboards.
KEITH (CONT'D)
Hello, can you tell me if my motorcycle
was towed. I'm on hold. I hope you have
a good phone plan?
FATHER JONES
The best. Thanks for your concern.
KEITH
At least you have a reception out here.
(back to the officer)
Hello. I am trying to see if you towed
my motorcycle? The license number?
NATHAN
I don't know it.
KEITH
I don't know it. But it was at the lake.
Okay. They put me on hold again.
(he waits)
Hello. Julio Thomas?
Another pasture goes pass.
NATHAN
Yes. It's Julio.
KEITH
Yes. That's it. So where can I pick it
up from?
NATHAN
Ask him how much?
KEITH
How much? What? One thousand, one
hundred and seventeen dollars!? For
what?
NATHAN lips move: "DAMN".
KEITH (CONT'D)
Past due registration, sticker fees,
taxes and eleven outstanding tickets.
What do I need to do?
Back to reality, NATHAN opens his and sees that beautiful
orange, red, yellow and white abstract scenery that you see
when the sun beams down onto your eyes when you open them
after being closed for a while.
KEITH (CONT'D)
Nathan.
Trying to hold onto the beauty and tranquility, NATHAN does
not reply.
KEITH (CONT'D)
Nathan.
NATHAN
I heard you.
FATHER JONES
Hop back there and discuss it?
NATHAN
What?
FATHER JONES
(firm and fatherly)
You heard me. You've sitting here with
your eyes closed. You better wake up.
NATHAN
I said I heard him.
FATHER JONES
Now see him. Go ahead. Talk to him.
NATHAN jumps in the back seat of the car with KEITH.
NATHAN
So what did they say?
KEITH
It's $1,117 and we need Julio to get the
motorcycle back.
NATHAN
Fuck. I don't know. . .
KEITH motions to FATHER JONES.
NATHAN (CONT'D)
I'm sorry Father.
FATHER JONES
No problem. I'll take you to the bus
station. Unless you want to join me at
the Church tonight. I can't take you to
Julio, but I can take you to Jesus.
KEITH
I just want to get home.
FATHER JONES
(looking at NATHAN)
What about you?
NATHAN
Next time.
FATHER JONES
Of course.. . .the next time.
KEITH and NATHAN settle in the back seat. They ride along
the road with the sun setting. They pull into town. The sun
is gone.
KEITH
Thank you.
FATHER JONES
Do you have enough money to get home?
KEITH
Yes. Thank you.
They jump out of the car.
FATHER JONES
Okay. Get home safely.
NATHAN
Thanks.
NATHAN closes the door. FATHER JONES drives off. KEITH and
NATHAN walk off. They quietly walk through the unfamiliar
town together in search of a way back to the city and home.
63 INT. BUS STATION - NIGHT 63
KEITH
What time is the next train to Manhattan?
ATTENDANT
Seven fifteen.
NATHAN
I don't have any money?
KEITH
Do you have a credit card?
NATHAN
No.
KEITH
Can I get two tickets please?
ATTENDANT
One way?
KEITH
Yes, two one way tickets.
ATTENDANT
That will be thirty-eight dollars.
He gives the ATTENDANT the cash.
ATTENDANT (CONT'D)
Here you are.
KEITH takes the tickets.
KEITH
Thanks.
He gives one ticket to NATHAN.
NATHAN
Thank you. You know I got you, right?
KEITH
You're welcome.
NATHAN sits.
NATHAN
Where are you going?
KEITH
I have to call my mother.
NATHAN
Call her later.
KEITH
No, I need to call her now. Are you
going to call your Mother?
NATHAN
I'll call her later.
KEITH
Are you going to call Julio and tell him
what happened?
NATHAN
Are you crazy?
KEITH
What about your father?
NATHAN looks at KEITH as if he was lost his mind.
NATHAN
Hell no. You don't know my father? I
can't tell him about this. And I
definitely can't ask him for money.
KEITH
You need to get to know your father
better.
NATHAN stands.
NATHAN
Keith, why don't you mind your own damn
business and leave me alone. Here. .
.take your fucking ticket too.
(throws ticket into KEITH's face)
I don't need it.
KEITH, hurt, walks off. NATHAN sits back down. The ticket
rests on the floor.
64 EXT. BUS STATION - NIGHT 64
KEITH stands in front of the Bus Station as the sun begins
for fall. He walks off. KEITH maneuvers through the sleepy
town. A few cars go pass. He watches the town folk walking
about. KEITH walks over to a ATM machine.
65 INT. BUS STATION - NIGHT 65
NATHAN looks over to the phone, rolls his eyes, and releases
a deep breath. He makes his way to the phone.
NATHAN
Dad?
DAD (V.O.)
Where are you? You were supposed to be
here at three o'clock.
INSERT:
Tall mirrored skyscraper.
NATHAN
Dad, can you listen for one second?
DAD (V.O.)
Sure. Where are you calling from?
NATHAN
You are not listening. Upstate.
DAD (V.O.)
Visiting your grandfather again?
NATHAN
No. He's dead.
DAD (V.O.)
You know what I mean.
NATHAN
Stop thinking I always know what you
mean.
DAD (V.O.)
Are you okay?
NATHAN
Yes.
DAD (V.O.)
What's the story this time Nathan?
NATHAN
Augh. . .
DAD (V.O.)
Nathan how many times can we go through
this. Why can't you be here on time like
everyone else? I don't have time for
your foolishness.
NATHAN
I'm not like everyone else.
DAD (V.O.)
So you think you can just do what you
want to do?
NATHAN
I'm not saying that.
DAD (V.O.)
Are you sure you are okay?
NATHAN
Actually I feel really good right now.
I'm very okay.
(he pauses for second and let's it all
out)
I took Julio's motorcycle. I drove
upstate and the motorcycle got towed.
DAD (V.O.)
Towed. Case and point. That's why you
can't do what you want to do.
NATHAN
May be, but I would do it all again.
DAD (V.O.)
You're not thirteen Nathan. You're in
college now. You are a young man. An
adult.
NATHAN
I don't feel like it.
DAD (V.O.)
You are! How much?
NATHAN
Eleven hundred and seventeen dollars.
DAD (V.O.)
And how much do you have?
NATHAN
I can probably cover the seven part.
DAD (V.O.)
But you don't want to work with me?
NATHAN (V.O.)
Dad, it's not that I don't work for you -
- with you. I just want to explore other
things. This time, I'm asking you for
your help. Will you help me?
DAD (V.O.)
Of course I'll help you. I'll see you in
my office tomorrow morning before your
first class. We'll work it out.
NATHAN
Can't I come after class?
DAD (V.O.)
What did I say?
NATHAN
Okay.
DAD (V.O.)
No. What did I say?
NATHAN
Tomorrow morning before class.
DAD (V.O.)
Great. See you them. And don't think
for a second that I'm just giving you
twelve hundred dollars. No way Nathan.
NATHAN
(abrupt)
I understand. I got to go.
NATHAN hangs up. The phone rings. He stands looking out
onto the a portion of the world which the door of the bus
station permits as the phone continues to ring. It stops.
66 EXT. PHONE BOOTH - NIGHT 66
The sun is beginning to set. The colors from the setting sun
makes everything beautiful. KEITH walks up to the pay phone
and dials.
KEITH
Hello.
KEITH pulls the phone from his ear.
KEITH (CONT'D)
I've been out all day Ma.
Placing the phone back to his ear.
KEITH (CONT'D)
I'm at a pay phone. I can't get a signal
on my cell phone.
KEITH (CONT'D)
I am in New York.
KEITH (CONT'D)
I'm with my friend.
KEITH (CONT'D)
No, I think he's staying in school.
KEITH (CONT'D)
Yes, unlike me.
KEITH (CONT'D)
Because I have been out all day. You are
not listening to me again?
KEITH (CONT'D)
But, you're not hearing me.
KEITH (CONT'D)
Bye Ma.
KEITH (CONT'D)
I have to go.
KEITH hangs up. The phone rings. KEITH looks at the phone
but does not answer his watches and listens until the ringing
stops. He turns and walks away.
67 EXT. BUS STATION - NIGHT 67
NATHAN sits in front of the Bus Station. A bus pulls in
blocking NATHAN.
KEITH makes his way to the bus. A few people get off the
bus. NATHAN gets on, goes to the back of the bus and sits.
Shortly afterwards, KEITH gets on and grabs a sit up front.
The bus pulls off. The bus exits the serenity of outer urban
existence while the thousand eyes of skyscrapers light up
knowing another bus load of haunters heads its way.
Angry and insecure, KEITH and NATHAN do not interact.
68 EXT. BUS STATION - NIGHT 68
Bus pulling in. Feet getting off of bus.
69 INT. SUBWAY STATION - NIGHT 69
KEITH walks towards the subway station. He approaches the
turnstyle. He checks for his wallet. He pats himself down.
Tired, disappointed and frustrated. . .
His lips say: "FUCK!"
He turns and runs back to the bus station. Commuters
continue to make their way to and from the trains.
70 INT. KEITH'S LIVING ROOM - NIGHT 70
KEITH talking on phone.
KEITH
Glen, it's Keith. What is Nathan's last
name?
GLEN (V.O.)
Who?
KEITH
The guy from this morning?
GLEN (V.O.)
I don't know. Why?
KEITH
I thought he was in one of your classes.
GLEN (V.O.)
That was last semester.
KEITH
(frustrated)
Can you think for a second?
GLEN (V.O.)
What I'm thinking is. . . why do you need
to know his last name?
KEITH
Oh my God. I can't believe this.
GLEN (V.O.)
You trying rub that?
KEITH
Augh! If you remember, call me.
GLEN (V.O.)
Don't make me come over there. Tell me
what happened.
KEITH
(abrupt)
I have to go. Bye.
KEITH hangs up. KEITH sits alone trying to decide if he
should cancel his credit cards. He sits thinking. There is
a knock on the door. KEITH goes over and opens the door.
NATHAN
I cannot believe you just left me like
that.
KEITH
I did not leave you. You're the one who
sat way in the back of the bus.
NATHAN
Is it not politically correct to sit in
the back of the bus?
KEITH
What do you want?
NATHAN
Nothing.
KEITH
You came here for nothing.
NATHAN
I know your mother taught you some
manners. Aren't you going to invite me
in?
KEITH opens the door onto his apartment.
KEITH
Keep my mother out of this please.
NATHAN
Why? Is she on the phone . . .again?
NATHAN steps in.
KEITH
No. She's not.
He looks around and acts so thirsty.
NATHAN
Can I get something to drink?
NATHAN closes the door.
KEITH
Water is in the kitchen.
NATHAN
It's my first time. . .here. I don't
know where the kitchen is. Can you get
it for me?
KEITH leaves NATHAN. NATHAN walks over to the luggage.
71 INT. KITCHEN - NIGHT 71
KEITH starts to pour a glass of water. NATHAN enters the
kitchen. KEITH turns.
KEITH
Look, you found it.
KEITH extends a glass of water to NATHAN. NATHAN takes the
glass and places it on his lips.
NATHAN
Where are you going?
KEITH
What?
NATHAN
You're all packed up. Where are you
going?
KEITH
I'm going away for awhile.
NATHAN
What's awhile?
KEITH
I don't know. I haven't figured it out
yet. It may be a week, a month, a year.
It might be one day. I plan not to have
a plan.
NATHAN
What about school?
KEITH
My major is General Studies. I'm wasting
time and money.
NATHAN
What are you talking about?
KEITH
I'm going to see the world. I'm leaving.
NATHAN
You weren't going to tell me?
KEITH
No.
NATHAN
That's kind of fucked up Keith.
KEITH
Nathan, today is the first time I've ever
seen you.
NATHAN
So what!
KEITH
What do I say to you?
NATHAN
Something. You say something.
KEITH
I didn't know what to say.
NATHAN
You should have showed me than.
KEITH
I did. But I lost my wallet.
NATHAN reaches into his pocket and pulls out KEITH's wallet.
KEITH grabs it.
KEITH (CONT'D)
Look.
He pulls out $1,200 and gives it to NATHAN.
KEITH (CONT'D)
Here. I got it for you.
NATHAN
No.
KEITH
Take it. It's yours.
NATHAN
No. You got it for you. I don't want
your money.
KEITH stands and accepts NATHAN's lecture.
NATHAN (CONT'D)
You don't get it. And for a split second
you were different. I'm going to go now.
I have to get out of here.
NATHAN walks away. KEITH stands for a second then goes after
NATHAN.
INT. KEITH'S LIVING ROOM - NIGHT
NATHAN walks into the living room followed by KEITH.
KEITH
Nathan.
NATHAN quickly makes his way to the door.
KEITH (CONT'D)
Nathan! You don't have to go.
NATHAN opens the door.
NATHAN
Yes, I do.
NATHAN steps out and closes the door. KEITH stares at the
door until he starts to tear up. He walks over to the door.
He starts to lock it. He stops. He opens the door. There
is no one. He steps outside. NATHAN is sitting on the
stairs.
KEITH goes and gets NATHAN.
72 INT. KEITH'S BEDROOM - NIGHT 72
Alarm clock displaying 11:42PM.
NATHAN and KEITH are lying in KEITH's bed fully dressed.
KEITH rolls over and closes his eyes.
Alarm clock displays 12:37AM.
NATHAN is wide-awake as KEITH sleeps like a baby next to
NATHAN.
Alarm clock displays 1:53AM.
NATHAN is still wide-awake while KEITH sleeps. NATHAN looks
over to the clock and back to KEITH. NATHAN thinks about
going home to his own bed. He moves softly to get up, just
then KEITH rolls over and throws his arm and leg over NATHAN.
NATHAN is trapped. NATHAN smiles and closes his eyes.
Alarm clock displays 1:54AM.
NATHAN and KEITH, bodies intertwined, are both fast asleep.
The sun rises.
The alarm clock starts ringing. It is 6:00AM. KEITH opens
his eyes. His hand searches for the electrical cord. When he
locates the cord. He pulls it out. Time is gone. He looks
over to NATHAN still asleep.
KEITH
(softly)
Nathan.
NATHAN does not reply.
KEITH (CONT'D)
(softly)
Nathan.
KEITH leans into NATHAN and blows onto the back of his neck.
NATHAN has chills but continues to sleep. KEITH studies
NATHAN for a moment. Slowly KEITH makes his way from the
bed into the bathroom. NATHAN rolls over. His hand searches
for KEITH.
73 INT. BATHROOM - MORNING 73
KEITH gets into the shower pulling the sky blue shower
curtain. Shortly thereafter, NATHAN enters the bathroom and
sits down quietly. KEITH pulls the curtain back to get out
of the bathtub.
KEITH
What are doing?
NATHAN
I thought you left.
NATHAN just stares at KEITH.
KEITH
No. I'm still here.
NATHAN
So I see.
KEITH wraps his towel around him.
NATHAN (CONT'D)
I've never spent the night with anyone
before.
KEITH
Me either.
An arkward silence.
KEITH (CONT'D)
Do you want to take a shower?
NATHAN
With you?
KEITH
Augh.
KEITH and NATHAN stand both uncertain of what's next. KEITH
steps over to NATHAN and pulls NATHAN's shirt off.
NATHAN
Can you miss someone before they've gone?
KEITH hands slip down to NATHAN's waist as he continue to
undress NATHAN.
KEITH
I think so.
KEITH and NATHAN disappear behind the sky blue shower
curtain.
Shortly afterwards KEITH emerges and exits the bathroom.
74 INT. KEITH'S BEDROOM - DAY 74
KEITH sits on the edge of his bed thinking over all that's
happened to him with NATHAN. NATHAN walks in with the towel
wrapped around his waist.
NATHAN
Why aren't you dressed?!?
KEITH cannot speak.
NATHAN (CONT'D)
What's wrong?
NATHAN sits down right to KEITH. Silence.
KEITH
Why did I not see you before?
NATHAN
I don't know.
KEITH
A whole year. I never saw you.
NATHAN
You were focusing on someone else.
KEITH
Who??!!?
NATHAN
You.
KEITH falls back on the bed.
KEITH
I'm sorry.
NATHAN lays down next to KEITH. They disappear.
NATHAN
Don't be sorry. You see me now. That's
what matters.
In the distance, time, the sweep hand on NATHAN's watch,
resting on the night stand, rushes their time together away.
KEITH rolls over to NATHAN.
KEITH
Will you come visit me?
NATHAN
Yeah.
KEITH
You will?
NATHAN
Yes. You surprised?
KEITH stands.
KEITH
Hmmm. . .no.
NATHAN lifts a fist up to KEITH. KEITH raises his fist to
NATHAN.
NATHAN
Stay focused. The world is a crazy place
man.
KEITH
I will.
Their fists touch.
NATHAN
Thanks for having my back. . .looking out
for me.
KEITH
No problem.
KEITH opens his hand.
NATHAN
You should get dressed.
NATHAN does the same.
KEITH
Thank you. It was . . . real.
Their hands pressed together for a moment. They slide their
hands allowing their fingers to clutch. Slowly and gently
they unravel their fingers and release.
INSERT VIDEO:
75 EXT. LAKE - DAY 75
KEITH sits in the grass while ADAM records him. KEITH
absorbs the beauty of his surroundings. He looks up to the
sky and smiles. He covers his eyes to block the sun and
peaks out through his fingers.
NARRATOR (V.O.)
Things were not the same after that day
for Keith or Nathan. Keith did not
return to the United States. He traveled
all over Africa.
Eventually he transferred to the
University of Ghana in Accra. He learned
several new languages including Akan and
Moshi-dagomba.
INSERT VIDEO:
76 EXT. LAKE - DAY 76
NATHAN, dipping wet, shakes off. He looks around and slides
his wet underwear off. He looks around for KEITH. KEITH's
hand slides across.
NARRATOR (V.O.)
Nathan did visit Keith in Africa.
Together they sailed to Goree Island off
the coast of Senegal. They rode camels
to pharaoh's Pyramids in Egypt. They
bungy jumped over Victoria Falls. They
walked through Soweto.
77 EXT. GHANA - DAY 77
KEITH and NATHAN exploring.
NARRATOR (V.O.)
It wasn't the end. It was the beginning.
They created their own blueprint, both
separate and together.
78 EXT. AIRPORT -DAY 78
Airplane runs goes down the runway and lifts off.
FADE OUT.