The Dreamer

EPISODE 1: "THE DREAMER"

Written by MEE

Based on the short story by Alex Parise

TEASER

FADE IN:

EXT. SUBWAY TRAIN - DAY

A grimy subway car rattles through New York City, steel wheels SCREECHING against the tracks.

INT. SUBWAY TRAIN - CONTINUOUS

CLOSE ON a YOUNG MAN (17) with dark features and hollow eyes. This is ALEX.His head bobs with the motion of the train, fighting to stay awake.

ALEX (V.O.)

The head was almost obscured by the big black bee-stung hands; but if one looked closely, one could still make out the panic-ridden face of a soon-to-be deceased... chicken.

Alex's eyes snap open as a SCREECH of the train turning a corner jolts him awake. He looks around, disoriented, rubbing his eyes.

ALEX (V.O.)

Where poultry became real. I blinked once, twice, rubbed my eyes, and then muffled a sickness yawn.

Seated across from him is PETER (16), an almost angelic-looking boy with flowing blond hair and piercing blue eyes. His beauty is striking, but there's something unsettling behind his smile.

ALEX (V.O.)

The humorous, almost macabre part of his angelic visage was that in three short years he'd be in prison for the murder of a young mother.

FLASH FORWARD - QUICK CUT:

INT. APARTMENT - NIGHT (DREAM SEQUENCE)

Peter, older now with shorter hair, stands over a WOMAN lying motionless on the floor, a bloody lamp in his trembling hands.

BACK TO:

INT. SUBWAY TRAIN - CONTINUOUS

Alex and Peter exchange knowing glances. Peter tilts his head toward something. Alex follows his gaze.

An OLD MAN sits nearby, head nodding forward then jerking back as he tries to stay awake. His face, weathered by time and hardship, twitches with each near-sleep episode.

ALEX (V.O.)

I smiled. I understood what he meant. It was the hope that we too would be soon in that glorious condition. That tragic dichotomy: 'Of why have you forsaken me?' and 'do this in memory of me.'

A SUBWAY ANNOUNCEMENT blares through speakers.

SUBWAY ANNOUNCER

Seventy-seventh Street. Seventy-seventh Street station.

PETER

(quietly)

Let's go.

Alex's face tightens with anticipation and nervousness as they gather themselves to exit.

TITLE CARD: "THE DREAMER"

END TEASER

ACT ONE

FADE IN:

EXT. HARLEM STREETS - MORNING

Alex and Peter walk side by side through streets that clearly mark them as outsiders. Both wear tattered denim and long hair. Alex's olive complexion stands out less than Peter's pale skin and blond hair.

ALEX (V.O.)

The walk from the subway to the house was uneventful, except that two hippies stood out like a cellar in Oklahoma.

As they walk, TWO YOUNG LORDS MEMBERS watch them suspiciously from outside their storefront office. The Puerto Rican activist group's logo is prominently displayed.

Peter notices and grows tense. Alex keeps his eyes forward.

PETER

(whispering)

They're watching us.

ALEX

Just keep walking.

ALEX (V.O.)

My dark Italian complexion, made deeper by the days at the beach, playing the pocketbook game, helped a little.

FLASHBACK:

EXT. ASBURY PARK BEACH - PREVIOUS WEEK - DAY

A choreographed theft unfolds: GARY (19), muscular and intimidating, stands at the water's edge watching a FAMILY enter the water. He raises his hand slightly.

Peter runs across the beach carrying a blanket, with Alex chasing him. They tumble near an unattended BEACH BAG. During the commotion, Alex grabs wallets and valuables, then chases Peter away.

BACK TO PRESENT:

EXT. RUNDOWN BROWNSTONE - CONTINUOUS

Alex and Peter approach a dilapidated building. They exchange nervous glances before entering.

INT. BROWNSTONE HALLWAY - CONTINUOUS

The hallway is dimly lit, plaster crumbling from the walls. The smell of cooking and poverty hangs in the air. Their footsteps echo as they climb the worn stairs.

ALEX (V.O.)

The hallway was plaster-filled poverty, smelling of dinner, supper, and dirt. It made it clean.

Alex notices writing on the wall: "Why do you think they call it dope?"

ALEX

(to Peter)

Gimme the money.

PETER

(distracted)

What?

ALEX

The money.

PETER

I have it in my pocket.

ALEX

Okay, gimme.

Peter reluctantly hands over a wad of cash. Alex counts it quickly, then nods. Peter knocks on a door with peeling paint.

After a moment, the door opens slightly. MARIA (40s), a short woman in a stained housedress, peers out suspiciously.

MARIA

Papi, what you need?

ALEX (V.O.)

Her voice had that sweet tone that the money in your hand manufactures.

Alex shows her the money.

INT. MARIA'S APARTMENT - MOMENTS LATER

The sparse apartment is clean but worn. Maria hands over a small package to Alex, who quickly examines it.

MARIA

You take, then go. No stay here.

Alex nods, giving Peter a look of excitement.

INT. BROWNSTONE HALLWAY - MOMENTS LATER

Outside Maria's apartment, Alex and Peter examine their purchase: 35 capsules of heroin.

ALEX

Take three each for now.

Alex carefully hides 19 capsules in his sock. Peter looks around nervously.

PETER

I don't trust keeping them on me.

Peter finds a small hole in the crumbling wall and stuffs his share inside.

ALEX

Seriously?

PETER

It's safer.

ALEX (V.O.)

I quickly took out my works. Kept in a small brown suede bag with a pull string.

Alex pulls out a small suede bag and removes an eye dropper with a pacifier attached to it. He meticulously prepares his equipment.

ALEX (V.O.)

I tore a piece of a dollar bill, a small strand of 'In God We Trust' and handed it to Peter.

The preparation ritual continues in detail as Alex opens three capsules into his spoon and Peter uses a bottle cap with a wire handle. They heat their mixture with a lighter.

CLOSE ON: The needle entering Alex's arm, searching for a vein. Blood backs up into the dropper.

ALEX (V.O.)

It's the ultimate procrastination, the sleepy, sloppy junkie, sorrow delayed. Scarlett made real. Only there are no fiddly-dees in the street.

Their faces transform as the drug takes effect. Alex's eyes become heavy. He smiles faintly at Peter.

MARIA (O.S.)

(from behind door)

You go now! Too much time!

They slowly gather their gear. Alex notices blood dripping from his arm onto his jeans.

ALEX (V.O.)

It made what looked like a pattern, a silly, deliberately recognizable face of despair.

As they prepare to leave, Alex remembers.

ALEX

The wall. I need to get the rest.

He reaches into the hole but can't feel the capsules.

ALEX

FUCK!

He knocks urgently on Maria's door.

ALEX

Our dope fell behind the wall.

MARIA

(through door)

Sorry, nuthin' I can do. You have to go, too much in hallway, go now.

ALEX

I need to get the dope!

MARIA

No! You have to go now!

PETER

(tugging Alex's arm)

C'mon, let's get out of here.

They stumble down the stairs, still feeling the effects of the heroin.

INT. BROWNSTONE STAIRWELL - CONTINUOUS

As they near the bottom, a figure emerges from the shadows. MACHETE MAN (20s), a skinny but menacing addict with a large machete in his hand.

MACHETE MAN

Who got duh dope?

He lunges forward, pressing the blade against Peter's throat. Peter freezes, eyes wide with terror.

MACHETE MAN

Who got duh dope?!

Alex stares at the thin line of blood appearing on Peter's neck.

ALEX

Wait... Stop, okay, stop.

Alex reaches toward his sock, then stops, having a obscure George Harrison album inspiration....

ALEX

The wall!

MACHETE MAN

(pressing harder)

What?

ALEX

The dope is behind the wall! It fell behind the wall upstairs. I'll show you.

The Machete Man studies Alex suspiciously, then slowly eases pressure on Peter's neck.

MACHETE MAN

Okay, show me. Let's go, show me.

They slowly climb back up the stairs, Peter trembling, the machete still close to his back.

INT. HALLWAY OUTSIDE MARIA'S APARTMENT - CONTINUOUS

Alex points to the hole in the wall.

ALEX

It fell in there. We have to break the wall more to get it.

MACHETE MAN

Do it.

Alex hesitates, then starts pulling at the plaster. The wall crumbles easily. The Machete Man joins in, using the handle of his weapon to smash a larger hole.

Maria's door flies open.

MARIA

What the fuck are you doing?!

MACHETE MAN

(in Spanish and English)

Shut the fuck up!

The wall continues to crumble. Behind it, balanced on a wooden beam, sits the bag of capsules.

The Machete Man grabs it triumphantly and rushes down the stairs. Alex follows immediately.

MARIA (O.S.)

Don't you ever come back!

EXT. BROWNSTONE - CONTINUOUS

The Machete Man walks quickly away. Alex hurries after him.

ALEX

Hey, part of that dope is mine. Hey, we need to split that. Hey, we're partners on that.

The Machete Man keeps walking, ignoring him.

ALEX

Hey, I was the one who told you it was in the wall. Hey, hey! Where are you going. Hey!

The Machete Man finally stops, turning to Alex with exasperation.

MACHETE MAN

Okay, just shut up!

Alex smiles inwardly, motioning for Peter to catch up.

INT. ABANDONED BUILDING - LATER

The three sit among broken furniture and debris. Sunlight streams through broken windows, illuminating dust particles. They divide the capsules.

ALEX (V.O.)

So, the ritual was repeated. The capsules were divvied up. The works, the belts, the blood, the booting, the head bob, and then the head nods...

The three inject themselves. Alex leans back against a wall, eyes closing slowly as the heroin takes effect.

ALEX (V.O.)

My nod slowly melted into a silent, soulful sleep, that finally turned black without my knowledge.

Alex's vision begins to blur and darken. The sounds around him distort.

DISSOLVE TO:

INT. HOSPITAL EMERGENCY ROOM - DREAM SEQUENCE

Alex finds himself in a brightly lit emergency room. Everything has a surreal, hyper-real quality.

ALEX (V.O.)

Then a white fluorescent light made me take notice that the brightly lit room I was now in smelled of alcohol and misery.

He sees shadowy figures behind a blue curtain. A NURSE pops her head out.

NURSE

She's dead.

Alex tries to scream but no sound comes out. Images flash rapidly: his childhood home, his grandfather's face, Peter with blood on his hands.

NURSE

Wait, we got her back, she's alive.

VOICES merge and overlap, growing louder then softer.

VOICE #1

Alex, it's okay.

VOICE #2

Lex, we have to go.

VOICE #3

We got her back, Alex.

The voices morph into one: Peter's.

PETER (O.S.)

Lex, let's get out of here.

INT. ABANDONED BUILDING - LATER

Alex's eyes flutter open. Peter stands above him, smiling.

PETER

C'mon, let's go.

Alex rises shakily to his feet. They laugh as they stumble through the abandoned building, high and euphoric despite the danger they just faced.

EXT. CITY STREETS - LATER

Alex and Peter walk toward the subway station, their earlier fear now transformed into giddy camaraderie.

ALEX (V.O.)

By the time we pulled into Newark, we were sad to see our new friend go. Two hours before, he had almost cut Peter's throat, but now the misery of addiction had us in hug-swapping, hand-slapping, nose-itching goodbyes.

INT. TRAIN - LATER

Alex and Peter sit side by side on the train heading back to New Jersey. The Machete Man has departed. They slump in their seats, still feeling the effects of the heroin.

Alex stares out the grimy window at the passing houses.

ALEX (V.O.)

I stared out of the grime-streaked window, thinking of all the lives in all of the houses that whisked by. What was happening in the little apartment, so close to the train that the noise must have been part of the family?

Alex's head slowly drops against the window as he drifts off to sleep.

FADE TO WHITE:

INT. DREAM SEQUENCE - TIMELESS

A white, fog-filled space slowly transforms into a street scene from Alex's childhood. CHILDREN play in the twilight.

CHILD'S VOICE

First to see the streetlights go on!

Alex turns, looking for the source of the voice. The street gradually darkens.

ALEX

(calling out)

Where's the whistle?

He waits for his father's signal to come home, but it never comes. The darkness deepens.

From across the street, a figure appears, illuminated by a fire burning in a trash barrel. As Alex focuses, he recognizes his GRANDFATHER, deceased but appearing as he did in life.

ALEX

What are you doing here? Where are you going?

His grandfather points down a road that stretches into darkness. Alex starts toward him, but his grandfather waves frantically for him to stop.

ALEX

Can I come with you?

GRANDFATHER

No! You have a life to live.

His grandfather points toward the sky, then turns and walks away into the darkness.

TRAIN CONDUCTOR (V.O.)

Next stop, Asbury Park.

TRAIN CONDUCTOR (V.O.)

(louder)

Asbury Park.

INT. TRAIN - DAY

Alex awakens with a start. The train is slowing. Across from him, Peter sleeps with his head resting on the shoulder of the old man from earlier.

ALEX

(softly)

C'mon, Pete, let's go, we're home. Peter.

Peter stirs, then recoils from the old man, pushing him roughly away. He stands, still high, smiling at Alex.

EXT. ASBURY PARK TRAIN STATION - DAY

Alex and Peter descend from the train. Alex looks down the street and sees GARY approaching with a distinctive swagger.

ALEX (V.O.)

I glanced down the street where it's "hard to be a saint," and saw, coming closer with a Jersey City walk, our third partner... Gary.

Gary, muscular and intimidating despite his own addiction, walks toward them with purpose.

ALEX (V.O.)

He was a sports specimen turned addict, still with all the muscle that says 'don't fuck with me,' but also a grizzled street look that comes with the constant chaos that a heroin run demands.

Alex hurries toward Gary, eager to share their adventure. Gary throws an arm around Alex's shoulders and leans in close.

For a moment, Alex expects concern or relief from his friend after their dangerous journey. Instead, Gary whispers with a sardonic smile:

GARY

Who got duh dope?

Alex's face falls slightly, then hardens into a knowing smile. This is their life now.

FREEZE FRAME on Alex's face, caught between resignation and the high still flowing through his veins.

FADE TO BLACK. adventure. Gary throws an arm around Alex's shoulders and leans in close.

For a moment, Alex expects concern or relief from his friend after their dangerous journey. Instead, Gary whispers with a sardonic smile:

GARY

Who got duh dope?

Alex's face falls slightly, then hardens into a knowing smile. This is their life now.

FREEZE FRAME on Alex's face, caught between resignation and the high still flowing through his veins.

FADE TO BLACK.