DLM 1 - Always Remember

8/7/2019 DLM 1 - Always Remember

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THE DEAD LIKE ME CONCLUDING TRILOGY

PART 1

"ALWAYS REMEMBER"

FADE IN

INT. A MORGUE - DAY

A NURSE, whose face we cannot see, ENTERS the room. COMING INTO THE ROOM right behind her is JOY LASS.Joy is frightened, hesitant, and praying silently. The two women COME TO A STOPover a SMALL METAL TABLE,holding a BODY with a CLOTH DRAPED OVER IT.

Joy NODS nervously. The CLOTH IS LIFTED, revealing the STILL FACE of her daughter, REGGIE LASS.Joy SHAKES HER HEAD IN ANGUISH, silently covering her mouth trying unsuccessfull

y to stifle a mournful sob.

JOY(mournfully)Reggie! Oh, God, no...

FADE TOBLACK

A GRAPHIC READS: 10 HOURS EARLIER

FADE IN

INT. DER WAFFLE HAUS DAYSEATED AT THE TABLE, finishing their breakfasts are GEORGE LASS, DAISY ADAIR, ROXY HARVEY and MASON.

GEORGE (V.O.)Whoever said Familiarity breedscontempt? Thats total bull. We love thefamiliar. We revel in it. I mean, look at us.Ive been a reaper for two years now, andhow many mornings have I spent sittinghere at the same place with the same people?We know the prices, the food, the waitress.

Who needs variety, right?

KIFFANY, the waitress, brings a plate of food to George.

KIFFANY(handing the plate to George)

Here you go. The usual.

GEORGEThanks.

GEORGE (V.O.)Thats another thing. Youd think by now

Id have had everything on the menu. Butno, Ive mostly had the same few things overand over. It saves me from having to make



a decision, for one thing.

Kiffany HANDS OUT breakfast plates to the others. Roxys is HEAPING with food. Masons is almost EMPTY.Mason LOOKS HUNGRILY at Roxys full plate.

MASON

Are you really going to eat all that?

ROXY(sourly)

If for no other reason, just to spite you.

GEORGE (V.O.)Yeah, that never changes either. Evenroutine bickering gives you some senseof comfort.

The four of them begin EATING THEIR FOOD. The scene is SPEEDED UP in exaggerated

fashion.Mason FINISHES his food quickly and can be seen REACHING for Roxys plate, but sheSLAPS his hand.

GEORGE (V.O.)Yup. Same old, same old, day after day.

The scene returns to NORMAL SPEED. Daisy is FINISHING UP her food, looking likeshe is doingeverything in a dignified fashion.

GEORGE (V.O.)

Daisy at least has changed some overtime. She started out pretty stuck-upand manipulative. Then she tried tofind religion unsuccessfully. Later,she seemed to be on a course towardself-destruction. But, now she seemscontent to take life or whatever weundead call life one day at a time.

(a beat)I have to admit, shes been really niceto me over the past six months, and Istill have no idea why.

MASONWhats holding up Rube?

ROXYBeats me. But if he doesnt show upbefore I pay my bill, he can just trackme down at the station.

DAISYNo need. Here he comes.

RUBE STROLLS in casually, but still APPROACHES THE TABLE like a man with a missi

on.

GEORGE (V.O.)



And then theres Rube the exception tothe rule. He orders different things off themenu, wants them done specific ways,sometimes tries other diners, and seemsto change moods at the drop of a hat.Hes the one you never know what toexpect from father figure one day,

disinterested cousin the next.

RUBE(tersely)

Sorry. Delayed. Here are yourassignments.

He PLUNKS DOWN ONE POST-IT for each of them, with the exception of Daisy.

GEORGE (V.O.)Thanks, cuz.

DAISYNo soul for me?

RUBEIts a quiet day today. Maybe youllget two tomorrow

DAISYDont go to any trouble on my account.

George TAKES A LOOK at hers.

GEORGE

(annoyed)A morning reap? Rube, tell me this isnta bloody one. Im wearing my best outfittoday. I have to meet with some lawyersat work.

RUBE(dismissively)

Its on the fifth floor of an office building- near some elevators. You do the math.

(a beat)Any other complaints?

The other reapers LOOK AT their notes. They MUMBLE AGREEMENT.

RUBEGreat. Happy reaping.

He STROLLS OFF as casually as he came in. Kiffany comes by and collects the money for the breakfasts.

GEORGE

(to Daisy, quietly)Im kinda pressed for time today.Since youre not collecting



(handing Daisy a ten-spot)could you please get me some pads- super-absorbent?

DAISY(lightly, quietly)

Ah, the curse of being young forever.

(a beat, taking the money)No problem.

The gang methodically begins to PILE OUT.

GEORGE (V.O.)And so we go off to our respective jobsor whatevers. Just another routine,ordinary, boring day.

CUT TO:

EXT

DER WAFFLE HAUS - DAYGeorge, Mason and Roxy hurry out to their respective vehicles. Daisy is the lastto exit

the building. As she does she is QUIETLY ACCOSTED by a twenty-ish black woman -LATOYA.

DAISYLaToya? What gives?

LATOYAYour roomie, Georgia. Her name isLass, isnt it?

DAISYYeah, thats right.

(nervously)Why?

LATOYAShe have any relatives living in thearea?

DAISYYeah, she does.

(a beat)Her parents. Their names are Joy andIm not sure, something likeClarence.

LATOYAClancy, maybe?

DAISYYes. Clancy, thats it!

LaToya looks at a BLUE POST-IT in her hand.

LATOYA

So far, so good. Anyone else?

DAISY



Yes. A sister. She has some boyish-sounding name. Let me think..Reggie, thats it.

LATOYAShit!

LaToya HANDS Daisy her blue post-it.

INSERT THE POST-ITThe note reads R. Lass 10th and Hastings ETD 2:41 P.M

BACK TO SCENE

DAISYNo, this cant be. This is way up ina bad part of town. She should be inschool today - miles from there.

LATOYAStill, I looked up Lass in the phonebook. Theres only three, and two ofthem were Clancy and J.

DAISYYeah. Theyre split up.

(a beat)God, they already lost George. If theylost Reggie too

(a beat)Can I take that?

LATOYAThat was always your plan.

(a beat)You think its the blue graveling?

DAISYI hope so. But either way, I have totry and save her. I owe Georgia morethan she realizes.

LATOYAIll be at my apartment by the phoneafter 2:30, just in case you cant saveher. Theyve always told us collectingsouls is non-transferable.

DAISYWell, lets hope today isnt the day wefind out if thats really true.

(a beat)Thanks for giving me the heads-up.

LATOYANot a problem. You were there for me

back in Soho enough times.

Daisy and LaToya HIGH-FIVE each other, and then GO OFF SEPARATELY.



CUT TO:

INT. FIFTH FLOOR LOBBY OF AN OFFICE BUILDING DAYGeorge is in the corner of the room CHECKING OUT a few MEN DRESSED IN SUITS. SheRECHECKS her post-it.

INSERT THE POST-ITThe note reads T. Flowers Fifth Floor Lobby Liberty Building ETD 7:45 A.M

BACK TO SCENEShe checks the clock on the wall. It reads 7:43. As she turns back, she PLOWS RIGHT INTO a WELL-DRESSED MAN.

GEORGEOh, Im sorry Mr...

(reading his nametag)Ted Flowers.

TEDIts okay.

George BRUSHES HIS ARM as if to straighten out his coat sleeve, SUBTLY REAPING HIS SOUL as she does.

GEORGEI hope I didnt muss your suit.

TEDOh, no problem. I just did an overnighterand Im headed home anyway.

GEORGE(wryly)

Yeah, youre headed home all right.

The elevator PINGS.

TEDThats my ride. Are you coming, too?

GEORGENot this flight. But thanks for asking.

Ted WALKS casually toward the elevator as the DOORS OPEN. There is a MAN inside.He sees Ted.

Ted PAUSES as if he recognizes this man. Then the man GETS LIVID.

MANTed Flowers, you son-of-a-bitch!

The man PULLS A GUN from his pocket and FIRES TWO SHOTS into Ted. The bullets pass through his backand whiz past George. The bullets miss her, but the BLOOD from Teds wounds SPLATTERS all over her suit.ONLOOKERS in the room SCREAM and panic.

MANAll right, nobody move!



The next second, an angry George RUSHES IN and DECKS THE MAN with one punch.

GEORGE (V.O.)Hell hath no fury like a woman whosebest outfit just got blood all over it.

After he goes down, she looks at her BLOODIED SUIT in frustration.

GEORGE(furious)

Damn you, Rube!

CUT TO:

INT. A MIDDLE SCHOOL MAIN CORRIDOR - DAYDaisy ENTERS the main corridor and GETS THE ATTENTION of a passing TEACHER.

DAISYExcuse me, does a Reggie Lass attendschool here?

TEACHERYes, she does. Whats this about?

DAISYI just wanted to check on her. See ifshes healthy.

TEACHER

(suspiciously)Why?

(a beat)Wait. Are you the assistant nurses aideweve been waiting on?

DAISYWhyuhyes, yes I am.

TEACHERWell, its about time you got here.Follow me.

CUT TO:INT. A NURSES AIDE STATION - DAYA typical station with medicines, equipment, tables etc. The teacher and Daisy ENTER the room.

TEACHERHere, you can use one of these olduniforms.

Daisy sees two NURSES UNIFORMS hanging on a rack. She FINDS the one closest to her size and

PUTS IT ON. The teachers pager BUZZES. She pulls it out of her pocket and LOOKS AT IT.



TEACHERI have to take this, Miss...

DAISYDaisy.

TEACHER

Daisy. You just familiarize yourselfbefore I get back.

DAISYGot it.

The teacher WALKS OUT the door. Daisy takes advantage of her absence to LOOK ATTHE MEDICINE CABINET.After studying the names of each drug, she pulls out TWO VIALS.

DAISYPerfect. This one to knock her out. Thisone to revive her. Ill make sure shesnowhere near Hastings and 10th today.

CUT TO:

EXT. THE SCHOOL A BIKE RACKReggie SNEAKS OVER to her bike and PULLS IT OUT of the rack. As she starts to leave,she runs into CHARLIE, the young reaper who takes the souls of animals.(She knows him, but not that he is a reaper.)

CHARLIEReggie, where are you going? Arentclasses just starting?

REGGIE

Not for me. Im going away. As far asI can get.

CHARLIEWhy?

REGGIESince my sister died, my Mom is justdriving me nuts. She broke up with Dad.She tried to sell our house. She wont letme make any real friends.

CHARLIEYoull get past all that. Just go to school.Learn something.

REGGIEI dont see you going!

CHARLIE

I wish I could go. And I wish I still hadmy parents. They died years ago.



REGGIEWell, you get along fine without them.

CHARLIEI didnt use to get along with my parentseither. But now I realize the things wedisagreed about werent really important.

Believe me, being on your own isntall its cracked up to be.

REGGIEWell...I guess Ill find out then.

She HOPS ONTO her bike and soon is PEDALING OFF into the distance.

CUT TO:INT. A CONFERENCE ROOM DAY

At a large conference table in the Happy Time office, a male LAWYER and his CLERK are seatedacross from DELORES HERBIG (Georges boss) and the FIRMS female LAWYER.

GEORGE (V.O.)Now, thanks to the bloody reap, Im waylate for the important lawyers meeting. Idont even know what its all about, butthe way my luck is running today, itsprobably the equivalent to a peaceconference or a council of war.

Suddenly, George BURSTS into the room wearing a DRAB-LOOKING OUTFIT.

GEORGE(visibly perturbed)

Im sorry Im late. My good suit gotsoaked.

LAWYER(to Delores)

I see you dont run much of a tightship here, do you? I guess I shouldntbe surprised.

GEORGE (V.O.)I think that eliminates the peaceconference theory.

Delores doesnt respond.

LAWYERWere done here anyway. Good-bye.

He and his clerk EXIT the room like two soldiers marching off.

FIRMS LAWER(quietly, to Delores)

Ill let you know where we stand later.



The firms lawyer quickly EXITS as well.

GEORGE(sincerely)

Delores, Im really sorry!

Delores MARCHES OFF COLDLY without saying a word to George.

GEORGE (V.O.)And now, I was in a spot that was alltoo familiar the dog house.

George stands there for a moment in frustration, then KICKS THE TABLE LEG only succeeding inhurting herself.

GEORGE (V.O.)

With an injured paw, to boot.

CUT TO:INT. MIDDLE SCHOOL THE INFIRMARY - DAYDaisy, still posing as a nurses aide, has just finished TAKING THE TEMPERATURE ofa timid,

nervous-looking BOY.

DAISYSorry. Its normal.

BOYAre you sure? Ive been feelingnauseous and dizzy all morning.

DAISYNot up to that big test today, huh?

BOYNo, Im not ready to...

He STOPS SPEAKING abruptly.

DAISY(skeptically)

I wasnt born yesterday, kid. I knowwhen someones faking.

BOY(meekly)

Its biology class.

DAISYWell, you should have studied for it.

BOY

Its not a test.(a beat)

Were dissecting frogs today.



(a longer beat)And we have to kill them first.

Daisy SHAKES HER HEAD in sympathy.

DAISYWhens your biology class?

BOY(sighing)

Half an hour.

DAISYWell, I think what you need is alittle rest. Say an hour or two?

BOY(with face brightening up)

Yeah. That sounds good.

DAISY(smiling)

Go lie down in the other room. Illwrite you an excuse.

The boy goes to lie down on a cot, while Daisy writes out an excuse.Just as she finishes, a NURSE enters the room.

NURSEThanks for holding down the fort. Ihave another assignment for you now.

DAISYOkay, but first, could I go check onReggie Lass? Hermother mentionedlast night that she wasnt feeling well andwanted me to check on her.

NURSEWell, apparently she really WAS feelingsick. She left before her first class started.

DAISYWhat?!!

The nurse TURNS HER BACK to Daisy.

NURSEI guess Joy forgot shed asked youabout it.

(a beat)That poor girls been an emotionalwreck since her sister died. Im notsurprised shes having physicalproblems too. What did her mother saywas wrong with her, Daisy?

She TURNS BACK AROUND only to find that Daisy is LONG GONE.



NURSEDaisy?

CUT TO:

EXT THE SCHOOLYARD - DAY

Daisy is frantically searching for a clue to where Reggie went.Charlie recognizes her and approaches.

DAISYCharlie, have you seen a girl with longblonde hair and glasses?

CHARLIEYou mean Reggie? Georges sister?

DAISY

You know her?

CHARLIEIve talked with her sometimes. But shedoesnt know what I do.

DAISYHave you seen her today?

CHARLIEYes. Shes running away from home.She and her mom arent getting along. I

tried to talk her out of it but shewouldnt listen.

DAISYIm sure you did. Which way did she go?

CHARLIEWest. She took her bike with her.

DAISYWhats it look like?

CHARLIEIts pink and white and has a basket infront with her name on it.

DAISYAt least thatll be easy to spot.

CHARLIEWhy are you looking for her? Do youknow her Mom?

DAISYNo. I have a post-it with her name

on it. But Im trying to save her.

CHARLIE



But, doesnt that mean shes doomedalready?

DAISYNot necessarily in her case. I cantexplain right now.

CHARLIEI hope you can save her. Shes prettycool, in her own way.

DAISYIll do my damnedest!

CHARLIEGood luck.

DAISYThanks.

Daisy RUNS OFF toward where her car is parked.

CUT TO:INT. A SMALL CONVENIENCE STORE DAYIts a typical Mom and Pop operation just one CLERK working the counter. He is currentlyhanding Reggie a SODA. She then gives him some LOOSE CHANGE to pay for it.

GEORGE (V.O.)When some of us venture off the regularpath, we land in unfamiliar territory.The trick is to keep our cool, kick back,

and act like weve done this all before.

CLERKShouldnt you be in school, little girl?

REGGIE(sounding casual)

Im home schooled. My Mom gave methe day off.

CLERKThen why isnt she here with you?

REGGIEShes trying to teach me responsibilityfor myself. Like not talking to strangers,for instance. Excuse me.

She EXITS with an air of self-confidence that the clerk cant challenge. He just SHAKES HIS HEAD.

CUT TO:

EXT. THE CONVENIENCE STORE - DAY

Reggie is finishing her soda as she steps over to a BIKE RACK. It is empty! Shelooks aroundand SEES HER BIKE BEING RIDDEN AWAY by a THIEF a teenage boy.



GEORGE (V.O.)Of course, venturing out of your comfortzone is one thing. Having the rugcompletely pulled out from under you isquite another.

She THROW HER SODA DOWN and CHASES after him, even though he is too far ahead ofher to notice.

CUT TO:EXT. A POOL HALL DAYThe teenage boy seen earlier PULLS UP in front of the pool hall with Reggies bike.Another TEEN is standing nearby.

TEEN(with mild sarcasm)

New wheels, man?

THIEFHey, it was easy pickings. Ill hock itlater. If you watch it while I shoot somepool, Ill split the take.

TEENSounds good to me.

CUT TO:EXT A STREET CORNER - DAYReggie is HIDING behind an old fashioned PHONE BOOTH across the street from the

pool hall,WATCHING her property from a distance.

CUT TO:THE POOL HALLA woman who is obviously dressed like a HOOKER is taking money from a MIDDLE-AGED MAN,and then leading him into the pool hall. Nearby is a SECOND HOOKER, who also takes money from a CLIENTand then leads him into the same place.

THE STREET CORNER

GEORGE (V.O.)When youre overmatched, theresnothing like changing the odds bycalling for reinforcements.

Reggie enters the phone booth. Since she is small, she has to STRETCH to in order to puther coins in. She READS THE NUMBER for police printed on the phone and then PUNCHES IT IN,and patiently waits for the phone to be answered.

REGGIEHello, this is Reg...I mean, Joy Lass.Do you policemen know whats going



on over at Darbys Pool Hall?

CUT TO:

EXT. DAISYS CAR DRIVING DOWN A NEIGHBORHOOD ROAD DAYDaisy is DRIVING down the road in a RUNDOWN NEIGHBORHOOD, searching for Reggie.

She SPOTS REGGIES BIKEin front of the pool hall. She PARKS a short distance away, HOPS OUT, POPS UP THE CARS HOOD for a fewmoments, CLOSES IT and then HEADS FOR THE POOL HALL.

CUT TO:

INT. THE POOL HALL DAYIts a rundown, smoke-filled pool parlor with a couple of large hallways in the back.Daisy CHARGES up to a CASHIER at his stand.

DAISYHave you seen a little girl thin, blondehair, big glasses?

CASHIERDoes this look like a little girls joint?

DAISYWell, her bike is parked out front!

A male CUSTOMER walks over to Daisy and interrupts.

CUSTOMERI like your outfit, honey. You got moreimagination than the other girls.

CASHIERShes looking for some little kid.

DAISYYes. Her name is Reggie.

CUSTOMEROh, little Reggie. Sure Ill show youwhere little Reggie is.

DAISYGood. She needs her medicine!

CUSTOMEROh, right away sweetheart.

The customer takes Daisy back into the one of the BACK HALLWAYS without any further ado.

CUT TO:

EXT THE POOL HALLTwo POLICE CARS pull up in front of the pool hall. The youth guarding Reggies bik



e just RUNS OFF,leaving the bike behind. FOUR POLICE OFFICERS EMERGE from the two cars.

CUT TO:

INT. A BACK ROOM

Theres just a simple bed, and a couple of chairs. The emphasis is obviously justget in,

have your fun, and get out. Daisy MARCHES IN looking for Reggie, with the Customer following.She looks around and then turns back to face the man.

DAISYI though you said Reggie was back here!

CUSTOMER(smiling)

Oh, little Reggies comin out to meet

you.

He UNBUCKLES his belt and UNZIPS his zipper.

DAISYHey, wait a minute. Whats going onhere?

CUSTOMER(mildly annoyed)

All right. All right. Money up front,I know.

(pulling some bills from his pocket)What do you charge? Twenty? Forty?

DAISYCharge? Who do you think I am?

Suddenly a COP BURSTS INTO the room.

COPOh, what have we here? NurseFeelgood giving you a therapeuticmassage?

CUSTOMERHey, it was her idea. She propositionedme.

DAISYI did not. I was looking for a little girl.

COPYou can both tell it to the judge.

DAISYWait a damn minute! Im not a hooker.

Im a nurses aide at the school.



COPWell, youre not in school now, areyou? Lets go!

He GRABS HOLD of her wrist and CUFFS HER to the Customers wrist, then HAULS THEMOUT.

CUT TO:

EXT THE POOL HALL - DAYDaisy is being hauled out by the Cop.

DAISYWait. You cant arrest me. Ive got tofind Reggie. Its a matter of life anddeath.

COP(unsympathetically)

But you had time to stop for a quickie,huh? Cant be that important!

He SHOVES HER INTO THE BACK SEAT of his car with the customer.

In all the confusion, Reggie casually WALKS BY, HOPS ONTO HER BIKE and RIDES OFF.

CUT TO:INT HAPPY TIME SERVICES GEORGES OFFICEGeorge is AT HER DESK doing some paperwork LOOKING NERVOUS.

GEORGE (V.O.)Okay, so I had to pick today to gripeabout being in a routine. Now, Imdressed like a slob, totally in the darkabout whats troubling the office, andDelores isnt speaking to me.

(a beat)There was a time when I would havethought of that last part as a good thing,but now

Delores ENTERS and WALKS OVER to Georges desk LOOKING VERY SOLEMN.

DELORESMillie.

George LOOKS UP at her.

GEORGE (V.O.)Uh, oh. Maybe I was better off whenshe wasnt speaking to me.

DELORESMillie, due to what happened this morning,Im afraid our affiliation will have to be



terminated very soon. Ill miss you.

George is AGHAST with disbelief.

GEORGE(frustrated and apologetic)

Delores, I am REALLY sorry I was late

today. I tried to get here on time, Iswear. But I got blood all over my goodsuit and

DELORESMillie

GEORGEthen I had to rush home and my othergood suit was at the cleaners, so I hadto pick this one.

DELORES(louder)

Millie.

GEORGEI didnt mean to leave you high and drytoday, I swear to God!

DELORES(firmly, loudly)

Millie, its not you!

George STOPS TALKING, puzzled now.

GEORGE (V.O.)Im off the hook? I never saw thatcoming.

DELORESI dont care that you were late today. Iknow you sometimes keep odd hours,but you always get your work done.

(a beat, with sympathy)I didnt mean to be short with you thismorning. I was just afraid that if I saideven one word to you in my state ofmind, that I would just burst into tears.God knows it took all I had not to do itat that meeting.

GEORGE(puzzled, sympathetic)

What the hell did they do to you?

DELORESIt was about something that happenedbefore you started to work here. There

was a gentleman named Elliott Parks.Hed lost several jobs before he cameto us. I was able to find him a steady



job. I was very proud of that.

GEORGESowhat went wrong?

DELORESHe had an accident fell into some

machinery where he worked. His spinewas broken. Hes paralyzed from thewaist down.

GEORGEThats awful.

DELORESYes, it was. And now hes suing me.

GEORGEWhat?!! How is that YOUR fault?

DELORESThose gentlemen informed me thatIm being held liable for getting him ajob he wasnt qualified to do.

GEORGEThats a crock!

DELORESI know. But hes still suing me for fivemillion dollars.

GEORGEButyou dont have..

DELORESOf course not. But Happy Time does.And theyll more than likely settle for asmaller amount. Then theyll fire me.

GEORGEButthat isnt fair!

DELORESNo. But life isnt fair either. Not for me.Not for you sometimes. And certainlynot for someone like poor Georgia Lass.

GEORGE(caught off guard)

What did you just say?

DELORESOh, that young girl that was felled bythat falling sattelite. You remember,you helped me write that evaluation forher poor mother.

GEORGEOh, right. Georgia. Yeah. That was



tragic.

DELORESI wonder sometimes what she mighthave become. Maybe shed have turnedout like you -

(a beat)

eventually.

GEORGEI guess well never know.

DELORESExactly.

(sighing)Its been a pleasure working with you,Millie.

GEORGE

(quietly)Same here.(a beat)

But dont give up yet.

DELORESIll try not to.

Delores WALKS AWAY solemnly.

GEORGE (V.O.)And then I had my epiphany. Sure thiswas a sucky job and my boss was a

little freaky sometimes. But damn it,this was MY sucky job, and MY freakyboss, and I wasnt going to give upeither one without a fight.

George PICKS UP THE PHONE like a person on a mission.

GEORGEMichael. Get me any information wehave on file about an Elliott Parks pronto!

(a beat, humbly)Uhplease.

CUT TO:

INT. A HOLDING CELL DAYDaisy is in a holding cell with about twelve other WOMEN, some seated, some walking around.She is CLUTCHING THE BARS on the cell door talking to a female GUARD.

DAISYLook, Im telling you, Ive got a badstomach ache. Ive really got to see a

doctor.

GUARD



Weve got a medic on staff, but shedoesnt have time to treat boo-boos andupset tummies.

(a beat)And neither do I.

DAISY

Listen to me. Ive got to get out of here.Ive got to be somewhere by 2:41 PM.

GUARD(casually)

Youll be arraigned around 2:30. Youcan post bail then.

DAISYThats too late. Ive got to get out now!

GUARD

Well, you can hope the judge takes youfirst.(a beat)

But if you dont quit whining, Illpersonally see to it that youre last inline!

The guard WALKS OFF. Daisy SLAMS THE BARS in frustration. She starts to WALK AWAY without payingany attention to where she is going, and she PLOWS RIGHT INTO the side of a Black lady, HATTIE.

HATTIE

Hey, watch where youre going!

DAISY(a little disconcerted)

Sorry.

Daisy LOOKS at Hatties dress carefully as the lady walks away. There seems to bean indicationof SOMETHING SOLID SEWN INTO IT. Daisy briskly walks over to Hattie and subtly CORNERS HER.

DAISY(whispering)

I felt something in your dress a minuteago. Youve got a shiv in there, haventyou?

HATTIE(whispering, annoyed)

A shiv? Youve been watching toomany prison flicks, white girl.

They continue to WHISPER as they converse.

DAISY

Well, then, lets see what happens if Itell the guard about it.



HATTIEYou do, and Ill use it on you.

DAISYThen you DO have one!

HATTIE

(defensively)Look, its just for protection. Some ofmy johns can get violent. I dont wantto get in trouble.

DAISYI wont get you in any trouble. Justplease let me borrow it.

HATTIEYoure crazy.

DAISYIll pay you for it.

HATTIEHow much?

DAISYI dont have any money here of course.But Ill go to an ATM and get you somelater. I promise.

HATTIEIf you have money in a bank, what the

hell are you doing here?

DAISYIts all a mistake. Im not a hooker.

(a beat)Not that theres anything wrong withbeing one, of course.

HATTIEDont patronize me girl. Get to the point.

DAISYLoan me your shiv. Tell me what youwant in return for it and Ill get it to you.

HATTIEWhat I need, you cant get me!

DAISYTry me. Theres more to me that meetsthe eye.

HATTIEWhat I need is to get out from under thethumb of my pimp.

DAISYGreat. Ill give you some money so you



can get away.

HATTIEIve already got some money stashedaway. But that bastard will hunt medown if I run. He doesnt give away hisproperty easily.

Daisy EXAMINES Hattie while trying to think. She notices Hatties HANDS have GREENFINGERNAIL POLISH

on them.

DAISYBy any chance, do you always wear thisshade of green on your fingers?

HATTIEYeah. I do. Customers forget names andfaces. You need a hook to make them

remember you.

DAISYThats fantastic.

(a beat)Ive got a perfect plan then. I pulled asimilar con on a pimp 30 years ago.

(catching herself)I mean, three years ago. Loan me yourshiv and Ill get you loose from yourpimp. How 'bout it?

HATTIE

You talk a good game, girl. But whyshould I believe you?

DAISYWhat have you got to lose? A lousyshiv? But look at what you gain if Imtelling the truth. And I am!

Hattie HESITATES, but Daisy seems to be sincere.

HATTIEAll right. I live at 501 Transom Street.Apartment 217.

DAISYIll meet you there tonight around seven.

HATTIEOkay. Ill trust you.

Hattie carefully SLIDES THE KNIFE OUT of the lining of her dress and hands it over to Daisy.

DAISYThank you.

(a beat)

Now, no matter what you see, I WILL bethere at your apartment at 7 oclock.Okay?



Hattie NODS. Then Daisy MARCHES OVER to the cell door again.

DAISY(shouting)

Hey, guard. Get your ass over here!

Within seconds, the guard CHARGES OVER to her, obviously FUMING.

GUARDWhat do you want now MissLast-in-line?

DAISYI just wanted to show you something!

With that, she takes the knife and JAMS IT into the side of her own neck. Bloodcomes SPURTING OUTimmediately. The other girls SCREAM and back away. Daisy COLLAPSES to the floor.

The guard STARTS TO UNLOCK THE DOOR quickly.

GUARDBertha! Give me a hand in here!

BERTHA, a female medic APPROACHES as the guard unlocks the door. She WRAPS A TOWEL around Daisys neckand PICKS HER UP to carry her out.

In the back of the cell, Hattie LOOKS ON, obviously crestfallen at these events.

HATTIE

Damn! Why do I always trust the crazyones?

CUT TO:

INT THE MEDICS OFFICE DAYThe office looks like any typical doctors office. No fancy equipment, just the basics. The medic RUSHES INand puts Daisy on the elevated couch, HOLDING HER HANDS TIGHTLY against Daisys neck as if to stop thebleeding. The guard FOLLOWS HER in.

BERTHAIve stopped the bleeding. Go to yourstation. Call an ambulance. Stay thereuntil the ambulance gets here. Then getme. Okay?

GUARDGot it.

The guard TAKES OFF. She doesnt want to hang around possibly tainted blood. As soon as the guard is out of

range, Bertha rather CALMLY LETS GO of Daisy and then CLOSES her office door.

BERTHA



(casually)I assume youve stopped bleeding by now.

Daisy GETS UP and pulls the towel off her neck.

DAISYI thought Id heard the medic in Vice

was a reaper. But I wasnt sure!

BERTHA(with mild sarcasm)

You couldnt just pretend you had astomach-ache?

DAISYI tried. But Attila the Hun out therewouldnt help me.

BERTHA

(nodding in agreement)Yeah, she is a control freak.

DAISY(anxiously)

Look Ive got to get out of here. Itsa matter of life and death.

BERTHAIsnt it always for a reaper?

(a beat)Let me guess. You have a post-it andyoure running late.

DAISYYes. Its a little girl, and she.

BERTHATurn off the violins, honey. Im onyour side.

She walks to her WINDOW and UNLATCHES IT, but doesnt open it.

BERTHAThe alarm will go off when you open thewindow, but youll have plenty of time toget to the parking lot. Runaway hookersarent exactly a big priority.

(a beat)Sally will lose your file, and see to itthat your effects are returned.

DAISYI appreciate that.

(sheepishly)Could I possibly borrow your car?

Before Daisy even finishes the sentence, Bertha has TOSSED HER KEYS

into Daisys hand.

BERTHA



The White Civic. Second car in thethird row.

DAISYIll leave it somewhere you can find it.

Bertha WAVES HER HAND dismissively.

BERTHANo problem. Its got Lojack.

She PULLS OFF HER BELT and hands it to Daisy.

BERTHAI will need you to bind and gag me, tomake it look good.

DAISY

Okay.

Daisy PULLS BERTHAS ARMS behind her back and WRAPS THE BELT around her wrists.

BERTHABe sure to pull it nice and tight.

DAISYWe want to make it look good, right?

BERTHANo, actually Iminto bondage a little.

Daisy pulls the belt loop VERY TIGHT. Berthas EYES ROLL BACK with obvious pleasure.

BERTHAOh, yeah!

Bertha then COLLAPSES FORWARD onto the ground. Daisy finds a TOWEL and a WASHCLOTH.She ROLLS UP the towel and starts to TIE IT around Berthas ankles.

DAISYYou sure you wont get in trouble forthis?

BERTHA(dismissively)

Oh, please. No one else wants to do myjob. Theyre all afraid of catching AIDS.

Daisy uses the washcloth to GAG Berthas mouth.

DAISYThanks. I owe you for this!

Bertha MUMBLES something under the gag. Its not really decipherable but she seems

to be saying something like No problem. Daisy goes to the window, STEELS HERSELFfor a moment, then quickly PULLS THE WINDOW UPWARD. An ALARM sounds, as Daisy RACES



through the window opening as fast as she can. Bertha just WAITS on the floor patiently,obviously not disturbed in the least.

CUT TO:

EXT A CITY STREET DAYThis is a run-down area of the town. There are roads and some old stores and businesses,but it looks almost abandoned.

GEORGE (V.O.)The grass always looks greener on theother side of the fence. But sometimesits because theres a lot of cowpies inthat other yard. And now that youre init, you have to avoid stepping on them.

After a while, the old side of the fencestarts looking pretty good to you.

Reggie arrives, WALKING HER BICYCLE along. She looks TIRED, HUNGRY and seems towishshed never ventured out on this journey. She looks at her WATCH.

CUT TO:INSERT SHOT THE WATCHThe watch reads 2:15 but the second hand isnt moving. It has obviously stopped.

BACK TO:REGGIE ON THE STREETReggie TAPS her watch to start it, but it doesnt seem to work. She SHAKES HER HEAD in frustration.She stops near a STREET SIGN, LEANS HER BIKE against it, and then SITS DOWN under the sign,looking exhausted. The camera PANS UP to the top of the sign post. It reads Hastings Avenue.

CUT TO:EXT A PARKING LOT DAYA white Civic SCREECHES into the lot and PARKS next to Daisys car. Daisy BURSTS OUTof the car quickly and then POPS THE HOOD on her car. She RETREIVES A KEY that was tapedunder the carburetor. Then she UNLOCKS her car door and HOPS IN.

CUT TO:INT. DAISYS CAR DAYDaisy OPENS HER GLOVE COMPARTMENT and pulls out the two SYRINGES from earlier inthe day. She then

PUTS THEM IN A POCKET in her coat, and starts the car up. The DIGITAL CLOCK on her car reads 2:30.

EXT HASTINGS AVENUE DAYReggie gets up and looks around. She sees a PLUMBING SHOP a short distance away.



CUT TO:EXT THE PLUMBING SHOP - DAYProminent in front of it is a large POLE atop which is a PLATFORM with a FULLY EQUIPPED TOILET.

CUT TO:REGGIEReggie LOOKS at her WATCH, then ROLLS HER EYES because she forgot it wasnt working.She TRUDGES toward the plumbing shop. She passes under a SIGN that reads 10th Street.

CUT TO:

EXT THE PLUMBING SHOP DAYThe shop is closed and abandoned. A short distance away, Reggie SETS HER BIKE DOWN on the grassnear the corner and WALKS toward the shop, STARING UPWARD at the platform whichholds the toilet.Atop the platform, visible only to us, TWO GRAVELINGS APPEAR out of nowhere. They are not likethe typical gravelings weve seen in the past, who all appear similar. One of themappears to be

a large male and has a distinctive BLUE RING around his right eye. The other isnoticeably smallerand appears to be female. The male one POINTS toward Reggies bike in the distance

and then SHOVESthe female over in its direction. With reluctance, she JUMPS ONTO the pole and RUNS DOWN IT quickly.

CUT TO:EXT REGGIES BIKE ON THE GRASS DAYThe female graveling looks at the bike lying on its side. She SCURRIES over to aPOOL OF OIL under

a parked car a short distance away. She COVERS HER ARMS in the oil and then ZIPSback to the bicycle,

methodically RUBBING the oil over the wheels of the bike.

CUT TO:THE PLUMBING SHOPReggie walks under the pole with the platform, SHADING HER EYES so she can lookup at the toiletpropped above her. The graveling atop the platform begins to LOOSEN UP the TALLBRACKETthat is holding the toilet in place.

GEORGE (V.O.)As human beings, we often search outthings that remind us of the things we

used to have, but have now lost.Sometimes, we find comfort in that.



In his zeal to unscrew the connections quickly, he JUMPS UP on the tall bracketfixture itself,swinging his legs out violently and KNOCKING THE TOILET SEAT off. The seat FALLSand LANDS

just two feet in front of where Reggie is standing. The toilet seat obviously reminds her ofher sisters death. She STARES AT IT for a long moment.

GEORGE (V.O.)And other times, we find weve openeda door that we should have left closed.

CUT TO:THE GRAVELINGThe graveling has loosened the bracket, which is about five feet long and metallic, but slender.He then begins to violently ROCK THE PLATFORM back and forth.

CUT TO:REGGIEThe pole in front of her begins to ROCK and COME LOOSE from its foundation.FEAR fills Reggies eyes. She starts to RUN BACK toward her bike.

CUT TO:EXT. THE CORNER NEAR THE PLUMBING SHOP DAYFrom around the corner, Daisys car comes SCREECHING into view. She SLAMS ON the brakes andBURSTS OUT of the car. She LOOKS UP at the graveling quickly.

DAISY

(to herself)It IS the blue graveling. Reggie doesnthave to die!

She looks and sees Reggie running toward her bike. The other graveling is stillstanding near it.

DAISY(calling out)

Reggie. No! Dont run to your bike!Thats what he wants you to do!

But Reggie is too frightened to listen. She RACES toward her bike and PICKS IT UP!

DAISYReggie! NOOOOOOOOOOOOO!

The whole scene moves in SLOW MOTION, switching back and forth

DAISYDaisy starts to run toward Reggie still calling out to her.

REGGIEReggie gets up on her bike and tries to ride away, but the oil on the wheels cau

ses herto lose control. The bike FALLS OVER SIDEWAYS slamming Reggie to the ground andSTUNNING her.



She lies HELPLESSLY PINNED under her bike.

THE GRAVELINGThe platform pole breaks loose. The graveling RIDES the pole at it tilts over andHURLS THE BRACKET PIPE out toward Reggie like it was a javelin.

REGGIES POINT OF VIEWThe bracket FLIES OUT of the sky hurtling toward her.

REGGIES FACEToo frightened to look, she CLOSES HER EYES tightly. A few moments later, we hearthe unmistakable CHUK of metal passing through flesh. BLOOD SPLATTERS against her face.Nervously, she OPENS HER EYES.

A PAIR OF FEMALE HANDSTwo female hands are CLUTCHING at a bracket that is STICKING OUT of her stomach.

After a long moment, the camera ZOOMS OUT to reveal that the female hands belongto Daisy.

She is CROUCHED OVER. The bracket has penetrated through her back and is sticking out ofher stomach. But it hasnt touched Reggie.

DAISYOh, shit, that hurts!

She steels herself, grits her teeth and then bravely GRABS HOLD of the front ofthe bracketand STARTS TO PULL IT OUT.

CUT TO:EXT THE WHEEL OF REGGIES BIKE DAYThe female graveling LOOKS in Daisys direction. She SEEMS TO RECOGNIZE Daisy. Butsuddenly,

the male graveling GALLOPS IN looking peeved. He GRABS the female graveling by the armand DRAGS HER OFF with him. Momentarily, they speed up and VANISH from view.

CUT TO:DAISYDaisy PULLS the bracket FORWARD until it passes through her body and out of herstomach.A couple of her INTESTINES OOZE OUT of her stomach for a moment, but she PUSHESTHEM BACK inand COVERS the spot until it HEALS after a few long seconds.

DAISY(with obvious relief)

Are you okay, Reggie?

CUT TO:REGGIEThis is too much for Reggie to process. Her EYES ROLL BACK in her sockets



and she FAINTS dead away. Daisy walks over to her, and starts to SHAKE her gently.

DAISYWake up, Reggie. Its okay.

(a long beat)Wait a minute. I have a better idea.

She takes one of the SYRINGES from her pocket

DAISYDont wake up. Not just yet.

She carefully INJECTS THE SERUM into Reggies arm.

CUT TO:

INT. THE LASS HOME DAYThe phone RINGS. Joy, who is just coming in the front door, RUNS OVER and ANSWER

S IT.

JOYHello?

(a long beat, then grievously)Oh, my God.

FADE TO:

INT THE MORGUE DAYAs before (at the opening of the show) the nurse, whom we now see is Daisy,lifts the cloth to reveal Reggies face.

JOY(mournfully)

Oh, my God! Reggie. Oh God, no!

Joy REACHES TOWARD Reggie, but Daisy gently HOLDS HER BACK.

DAISY(sincerely)

Im sorry, Mrs. Lass. Theres a fewpreparations I have to do first. Just giveme a few minutes and then I promiseyou can spend as much time with her asyou need.

Joy NODS mournfully. Daisy gently ESCORTS HER THROUGH the doorway.

CUT TO:INT. A CORRIDOR DAY

DAISY

And Im so sorry for your loss.

JOY



(weeping)Oh, God, theyre both gone. Ive lostboth my babies.

(a beat)I outlived my children.

She BURSTS INTO TEARS.

Daisy gently LEADS Joy to a CHAIR and sets her down on it, handing her a large BOX OF TISSUES as well.Joy is SOBBING uncontrollably, unable to even ask a question now.

DAISYYou stay right here. Ill get a griefcounselor for you.

Daisy starts to walk away quickly. Joy grabs hold of some tissues and continuesto SOB.

CUT TO:THE MORGUEDaisy re-enters, pulling out a syringe from her pocket. She tests it, then cautiouslyINJECTS Reggie again. After a few long moments, Reggie BLINKS HER EYES and thenWAKES UP.

REGGIEWhere am I?

DAISY

In the morgue, honey.

Reggie REACTS in MILD FEAR.

DAISYIts okay. Youre not dead. But youcame pretty close to it back there.

REGGIEI remember. You saved me. That polewent right through you, but you didntget hurt.

(a beat)Are you an angel?

DAISYIn a way. I help people cross over to thenext life. But it wasnt your time today,honey.

(more seriously)But you almost made it your time byrunning away like that.

REGGIEYeah, that was dumb. I was hungry and

scared, and didnt know where I wasgoing to sleep. And it was only one day.



DAISYWell, your mom is willing to take youback. In fact, shes waiting just outsidefor you.

REGGIEOh, crap. Shell ground me for life now.

DAISY(playfully)

Oh, I think shell be more glad to seeyou than you realize. She was reallyworried sick about you, you know. Whydont you go show her that youre okay?

REGGIE(reluctantly)

All right.

Daisy HELPS REGGIE DOWN off the table. Then she gently SCOOTS HER out the door.As soon as she walks out, a STUDENT ENTERS from the door on the other side of the room

STUDENTAre you almost finished? The next classstarts in half an hour and I have to havethis place set up.

DAISYRelax. Five minutes, ten minutes tops.

(a beat)Remember, I did give you twenty bucks

....and a little something extra.

Daisy takes a MANNEQUIN DISPLAY hanging on a hook on the side of the room and SETS IT DOWNon the table where Reggie was. She PINS A NOTE on top of it and then COVERS themannequin with a SHEET.

STUDENTYou know this isnt a real morgue justsomething the College uses for teachingmedical examination. Why did you makethat lady think it was?

DAISYI was using it to teach a lesson too. Alesson in perspective. I think both ofthem will pass with flying colors now.

CUT TO:

THE CORRIDORReggie WALKS TOWARD JOY nervously. As she approaches, she sees her Mom is crying,with her hands covering her face. Reggie feels bad now.

REGGIE(touching Joys arm)



Mom, are you okay?

Joy STOPS CRYING for a moment. She OPENS her hands and LOOKS AT Reggie in disbelief.

JOYReggie?

She looks at Reggie for a long moment, as if afraid to acknowledge her.Then she GRIPS HER on the shoulder and feels that she is indeed real.

JOY(overjoyed)

Oh, my God!

She GRABS HOLD of Reggie around the waist and PULLS HER UP into the air as she stands up.She begins to SPIN AROUND with her little girl in her arms, SHOUTING JOYOUSLY.

JOYOh, my God! Youre alive! Youre notdead! Oh, my God! Oh, my God!

She starts KISSING Reggie all over her face FEVERISHLY.

REGGIE(perplexed)

Uh, Mom. Youre uh...creeping me outjust a little here.

JOYI dont care! I havent lost you! You

arent lying on a slab in the morgue.Its a miracle!

She SPINS Reggie around again twice, then looks nervously at the door to the morgue.She STEELS HERSELF up and RACES to the door, STILL CARRYING Reggie aloft.

CUT TO:

THE MORGUEJoy BURSTS INTO the room, still holding Reggie. She sees the cloth on the table. She hesitates and then JERKS IT OFF with her free hand. There she sees the mannequinwith the note on it. She PULLS THE NOTE OFF and starts to READ IT, all WITHOUT EVERSETTING REGGIE DOWN. The contents of the note are heard in Daisys voice.

DAISY (O.S.)Always remember what happened heretoday. Remember how you felt when thenurse led you here. How you prayed toGod, Please dont let it be my daughter.

Please let this be some kind of mistake.Your daughter was destined to die today,but she has been spared maybe for a



day or a month, maybe for eighty or ahundred years. Enjoy the time you haveleft with her and always remember.

JOYYes. Yes, I will remember. I will!

I promise.(looking upward)

Thank you so much!

REGGIEAre you okay, Mom?

JOYIve never felt better, sweetheart.

(a beat)Come on. Im getting you out of herebefore someone tries to put a toe tag on

you!

She opens the door and RACES OUT of the room, wanting to get at far away from there as possible.The door SWINGS CLOSED and the camera LINGERS on the empty room for a few long moments.

REGGIE (O.S)(timidly)

Uh, Mom...seriously...you can put medown now.

CUT TO:INT. HATTIES APARTMENT NIGHTHatties apartment is a dull drab tenement apartment, with windows facing out towardanother tenement across the street. Hattie has heard a KNOCKING on the door andis RUSHING toward it.

HATTIEOkay, okay, Hold your horses.

She reaches the door and looks out through the peephole. Her JAW DROPS in amazement.She OPENS THE DOOR and there stand Daisy, Mason and LaToya.

HATTIE(mystified)

My God. You should be dead. Or atleast in the hospital.

DAISY(matter-of-factly)

I heal fast.(a beat)

Now, do you still want to get rid of yourpimp?



HATTIEIll say. That bastard didnt bail me outfor hours. But what do you have in mind?

DAISYTwo questions first. Do you have extranail polish in your shade of green?

HATTIEOf course.

DAISYAnd do you have a way to lure yourpimp over here for a bogus emergency?

HATTIEIf I need to.

DAISY

Good, then heres the plan.

She GATHERS HERSELF AND THE OTHER THREE people into a football-style HUDDLE andbeginsto WHISPER INDISTINCTIVELY. The camera PANS UP to the clock on the wall which reads 7:03.

FADE TO:

HATTIES APARTMENTThe clock now reads 8:15. The camera PANS OVER to the door just in time to see Hatties PIMP,

a tough, but not particularly muscular fellow RUSH IN. Immediately, Daisy PUTS AGUN TO HIS HEAD.

Hattie is wearing a LONG-SLEEVED COAT and the top of her body is stretched out on a dining-room table,complete with overhanging TABLECLOTH. She is being held down by Mason, who is holding a MEAT CLEAVERin his hand. She is PLEADING for mercy.

PIMPWhats goin on here?

DAISYDont move a muscle. My boss has abusiness debt to settle. Then you can go.

HATTIE(frantic)

Help me, please! Hes crazy!

MASON(with casual cruelness)

Sorry, mate. But this doll was one of myladies long before she hooked up withyou. She took off with my moneymonths ago, and with interest...Well, its

easier just to make an example of her.

HATTIE



Please. Please, Ill pay you back. Iswear I will!

PIMPNow listen. Shes my property now.

MASON

Well, then, care to pay off her 20 grand?

PIMPNo freakin way. But shes still myproperty.

MASONOh, you want a piece of her, then? Noproblem!

With chilling casualness, he takes the meat cleaver and CHOPS HATTIES HAND OFF.Hattie SCREAMS in agony. Mason casually TOSSES THE HAND to the Pimp. He LOOKS at

the hand,sees the green nail polish on the fingernails, then DROPS IT in horror.

MASON(holding up the cleaver)

Want another slice?

PIMPYoure on your own, bitch.

He turns and BOLTS OUT of the room. Hattie continues to SCREAM. Daisy MOVES OVERto the window

and LOOKS OUT of it down to the street.

DAISYIts okay. Hes out of the front door andhes still running.

Hattie STOPS SCREAMING abruptly. She PULLS HER ARM OUT OF HER SHIRT, where she actuallyhad it tucked, though she CHECKS IT ONE TIME just to make sure the hand is stillthere.

She RUSHES OVER TO THE WINDOW next to Daisy.

The arm without a hand on it has slipped back out of the sleeve. A few moments later,LaToya EMERGES from under the table, where she had slipped her hand through a SLITin the tablecloth into the shirt sleeve. It was her hand that had been hacked off,and she now has it covered with a hand towel. Mason HOPS OVER TO HER carrying her hand.

MASONYou need me to reattach this?

LATOYA(shaking her head)

No. Its actually quicker to just to let the



new one grow back.

MASONSeriously?

LATOYAOh yeah. I once reaped a guy carrying a

machete. He freaked out and choppedmy arm right off. Grew back in aboutfive minutes.

MASONAwesome.

LATOYAEspecially if its a clean cut.

(a beat)Nice job on that by the way.

THE WINDOWHattie is watching her pimp running off from a distance.

HATTIEYeah. You run. You ugly coward.Leaving me to be hacked up likea cow.

Daisy sneaks back over to LaToya.

DAISY(quietly)

You okay?

LATOYAAlmost.

DAISYWere definitely even now. In fact, Iowe you!

LATOYANo problem. It was for a good cause.

Mason has put the hand back on the floor. Hattie WALKS OVER to LaToya nervously.

HATTIEYou sure youre okay honey? Thatlooked awfully real.

LATOYA(lightly)

Dont be silly. Of course Im okay.

HATTIEWell, could I see your hand? I mean,just to be sure.

LATOYAOh, goodness. You dont really think Id



let these lunatics chop my hand off forreal, do you?

She starts to LAUGH in a JOVIAL, LIGHT, dismissive manner. Daisy JOINS IN the laughterand then Mason. Hattie clearly wants to laugh as well, but cant yet.

HATTIEPlease. Just for my own peace of mind.Can I see your right hand?

LATOYAWell, I mean...if you really insist.

HATTIEYes...please.

LATOYAWell...okay.

She starts to UNWRAP THE TOWEL slowly. After a couple of times unwinding it,she confidently UNWRAPS IT FASTER. She PULLS IT OFF COMPLETELY,and there is her complete hand, good as new.

LATOYATa Da!

Hattie TOUCHES IT just to be sure. Then she looks over at the hand on the floor.

HATTIE(shaking her head)

How did you do that?

DAISYA good magician never reveals hersecrets.

(a beat)Now you can retrieve your stash andsneak out after dark. You can leave thehand there as proof. Even if your pimpthinks youre still alive, I doubt hellwaste time chasing after a one-handedhooker.

HATTIEI cant believe you did all this for me just for a lousy shiv.

DAISYWell, that lousy shiv helped saved thelife of a dear friend of mine.

Daisy gives Hattie a HUG.

DAISYTake care, Hattie. Good luck with your

new life.

HATTIE



Thank you...for everything.

Daisy and her friends EXIT quietly. Hattie anxiously begins to PACK her things.

GEORGE (V.O.)Sometimes breaking away from thefamiliar completely - is exactly what the

doctor ordered.

CUT TO:INT REGGIES BEDROOM - NIGHT

Joy is TUCKING REGGIE INTO BED. She has a smile on her face that wont go away,and seems to be especially attentive to every detail.

GEORGE (V.O.)Nothing makes the familiar seem more

appealing to you than returning to it.Especially after you thought you had lostit forever.

JOY

Reggie, you gave me such a scare today.Why did you try to run away like that?

REGGIEIm sorry, Mom. But since George died,everythings changed. You and Dadbroke up. You tried to sell the house...

JOYI know its been tough on you, sweetie.But things change in life, and we have toadapt somehow.

(a beat)Losing George was so hard. Id just dieif I lost you too. Please tell me what Ican do differently to make things better.

REGGIEWell, you could let me have some realfriends.

JOYDont I let you do that already?

REGGIEWell, remember that time I had my newfriends for a sleepover, and you sentthem all home instead?

JOYIm sorry about that, Reggie. But youwere making light of your sisters deathand...

REGGIE(firmly, almost angrily)



But I wasnt making light of it. I was justtrying to accept it. I thought if I couldmake it sound like it was a cool way todie...

(a beat, softly)it wouldnt keep hurting so much.

JOYOh, honey...

She gives Reggie a brief HUG.

JOYIll tell you what. You invite them overagain. This time, I wont send themhome early. I promise.

REGGIE(hesitating)

Well, right now...theyre sort of

grounded.

JOYThats okay. Maybe I can talk theirparents into giving them a little reprieve.

REGGIEIts not their parents exactly. Its morelike...community service.

JOYCommunity service? For what?

REGGIEThey kind of...vandalized the school.

Reggie then GRINS SHEEPISHLY. Joy doesnt know how to react for a moment.Then she just starts to LAUGH. Reggie begins to LAUGH VERY SLIGHTLY.Finally, Joy gives Reggie a big HUG.

JOYI love you, Reggie.

From our point of view, we see Reggie HESITATE. But then she makes a PASSIVE GESTUREwith her eyes as if to say, Oh, why not?

REGGIEI love you too, Mom.

Joy is genuinely caught off guard by the admission. A TEAR runs down her cheek.She HUGS REGGIE TIGHTER.

CUT TO:

EXT THE LASS HOUSE NIGHT

GEORGE (V.O.)Home is the most familiar place of all.



Thats why I kept trying to come backafter I first died, even though it didntused to appeal to me when I was alive.

George is HIDING IN A TREE BRANCH in the back yard, PEEKING INTO the windowfrom a short distance away. She has clearly seen Reggie and Joys exchange.She SMILES and then CLIMBS DOWN the tree and sneaks back out into the night.

GEORGE (V.O.)But every so often, a little trip backhome gives me a smile, and a reason tokeep going forward.

CUT TO:

INT. GEORGE AND DAISYS APARTMENT NIGHTDaisy UNLOCKS THE DOOR and then ENTERS. She sees George sitting on the couch.Suddenly, a realization hits her.

DAISYOh, Georgia. I forgot all about gettingyour pads. Im so sorry. Its been a busyday.

GEORGE(smiling)

Its okay. I got them. It worked out betterthat way, in fact.

DAISYHow so?

GEORGESince I was out all that way already, Iswung by and stopped to check in on mysister.

DAISYOh. And how was Reggie?

GEORGEJust great. In fact I think she and Momactually had a moment.

DAISYThats wonderful!

GEORGEI tell you, I was having one craptacularday today. I got blood all over my bestsuit, missed an important meeting,thought I was getting fired, found out myboss was getting sued.

(a beat)I thought the day couldnt get any worse.

DAISY

Things can always get worse, Georgia.

GEORGE



Yeah, I suppose they can.(a beat, smiling)

But instead it got better.

DAISYThats good.

Daisy reaches into her pocket and PULLS OUT A TEN-DOLLAR BILL andHANDS IT out to George.

DAISYHeres your ten back.

Then, to her horror, Daisy sees that her POST-IT IS STUCK ON THE BILL.Just as George grabs the bill, Daisy SNATCHES THE POST-IT from it.

GEORGE(puzzled)

I thought Rube didnt give you a post-it.

DAISYOh, I volunteered to help them out on theNorth side SAP section. I owe somefavors up there, so I filled in on a reap.

GEORGEOh.

(a beat, lightly)Was it messy?

DAISYSomewhat. But it all worked out okay in

the end.

GEORGEAnybody I know?

DAISY(with a smile)

No, Georgia. I promise you. No one youknew died on my watch today.

George LOOKS AT Daisy a little PUZZLED.

GEORGE (V.O.)Im not sure what she meant by that,but Im pretty sure Id better not ask.

Finally, George SHRUGS IT OFF.

GEORGEO...kay.

(a beat)Good night, Daisy.

DAISYGood night, Georgia.

George SMILES and then WALKS OUT of the room.



GEORGE (V.O.)As much as we love the familiar, thereare times when doing somethingunfamiliar, out of the ordinary, evendownright crazy...

Daisy takes her post-it note, GAILY RIPS IT INTO LITTLE PIECES

and then TOSSES THEM INTO THE NEAREST TRASHCAN.

GEORGE (V.O.)...really makes everyones day.

She walks off with a smile on her face.

FADE TO CLOSING THEME

THE END

(Author's note: Some of you fans are probably thinking I have violated a basic rule of the show - that thepilot demonstrated that if someone's name is on a post-it, they have to die or else their soul will expireand rot inside them. I haven't forgotten any of that. Please be patient. The third part of the trilogy,"The Blue Graveling" will explain thoroughly just how it was that Reggie could be saved in this story.)

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DLM 1 - Always Remember