(nORMALITY
PART 2)
Int. Lobby of joyce's building - a few days later
Joyce is getting her mail. Suddenly Lars races by her and opens his mailbox without even noticing her. Joyce looks up at him and is a little startled.
He looks bad. His face has several days' growth of beard. His eyes are bloodshot and vacant. His face is pale. His clothes are winkled and look as if they have been slept in. He is completely distracted.
Joyce
Hey! Lars!
Lars
Oh, hi, Joyce. Sorry, got to run!
He rushes out of the hallway toward the elevator. Joyce follows him but before she can get to him the door of the elevator closes.
INT. JOYCE'S APARTMENT - LATER
Joyce is in her apartment leaning distractedly on the kitchen counter, drinking orange juice, mulling over what she has just seen.
The telephone rings. It startles her. She goes to the wall phone and picks the receiver up.
Joyce
Hello? Yes, I'm Joyce Patterson. Who?....Oh, Lars. Yes, I'm his neighbor, why?....Rockefeller University?....I don't understand why you're calling me....He wrote my name down to call in an emergency?...Well, yes, I do know him, but not that well....Oh? How long has he been gone? Almost two weeks? He hasn't come to work for two weeks?...Well, he has been acting a little strange...OK, I'll try to find out what's going on and get back to you...As soon as I find out. You're welcome. No, I don't mind. I'm concerned myself....
She hangs up and gazes at her ceiling toward Lars' apartment.
INT. LARS' DOORWAY - LATER THAT AFTERNOON
Joyce knocks on Lars' door. No answer. She hears quick FOOTSTEPS inside. She knocks again.
The door opens just a crack, held by a chain.
Lars
Yes?
Joyce
Are you all right?
LARS
Yes, I'm fine.
JOYCE
You don't look fine.
LARS
I'm fine.
JOYCE
Lars, I'm your friend.
LARS
I know.
JOYCE
Lars, I need to talk with you.
LARS
I'm very busy now. Some other time.
He starts to close the door.
JOYCE
Lars, Rockfeller University called me.
He opens the door a crack again.
LARS
(a bit crestfallen)
What did they say?
JOYCE
They said you hadn't been to work in two weeks.
LARS
Has it been two weeks? I didn't realize...I've had some important...some things....
JOYCE
Lars, may I come in?
LARS
You don't want to come in.
JOYCE
Yes, I do.
LARS
It's a mess in here. I've been working...
JOYCE
That's OK. I've seen messes before.
LARS
OK. If you insist. You asked for it.
Lars takes the chain off and opens the door.
INT. LARS' APARTMENT - CONTINUOUS
Joyce enters the apartment and looks around. She can't quite believe what she is seeing.
There are manuscripts scattered all over the apartment. Some of them are opened to various pages. They are sprawled on the coffee table, the couch, the lamp table, and even on the floor.
Half-eating slices of pizza, half eaten apples, half empty cups of coffee are interspersed between manuscripts, as well as articles of clothing--a tie here and an underwear there. There are also cigarette butts in ashtrays and lying, some still smoking, on the edges of tables or bookshelves. Some of the shelves have burn marks were previous cigarettes had not been completely snuffed out.
The apartment is full of cigarette smoke. And Lars puffs away at a cigarette now as he looks at Joyce.
Lars
Well? I told you it was a mess.
Joyce
I didn't know you smoked.
LARS
I do on occasion. When I'm really busy.
JOYCE
So what's going on?
LARS
I'm involved in a project.
JOYCE
What kind of project?
LARS
I can't tell you that. Excuse me.
There is a musical sound from his computer in his bedroom. He rushes into the other room. Joyce watches him from the doorway as he clicks different screens on his computer.
She turns and looks at the manuscripts that are sprawled all over his apartment.
She studies the manuscripts on the coffee table. They are mostly hand-written on ruled notebook paper, clasped by three-ring binders. The cover of one says, "The Fauna of Omega 1." Another cover says, "The Brain development of the Crystomeds." Another says, "The History of the Intergalactic Treaty." One, a book of maps, is open to a map of a planet called Nobra 3, with a caption: "Geologic land masses on Nobra 2."
Lars rushes in to pick up a manuscript from the floor.
JOYCE
What is all this?
LARS
Research. Excuse me.
He disappears into the other room.
Joyce
What are you doing?
LARS
I'm chatting with my Vice Commander on Omega 1. There's a problem.
JOYCE
A problem.
LARS
Could you do me a favor. Could you see if you can find the book of maps of Omega 1.
JOYCE
Omega 1?
LARS
Yes, it may be on the floor by the bookshelf.
JOYCE
OK.
She looks around on the floor, spots the book and brings it to him.
LARS
It's on, I believe, page 12. Mountains of the Eastern Region.
She flips the pages of the book.
JOYCE
Is this it?
LARS
That's it. Thanks.
He grabs the book from her and studies the map. Then he rushes back into the bedroom.
JOYCE
Lars?
She follows him.
BEDROOM - CONTINUOUS
Lars sits at his computer. He is typing messages onto the screen. Joyce walks up behind him.
INSERT OF SCREEN: Commander Van Kant: The cave is located in the valley, Lieutenant. In the back of the valley.
Lars clicks and the screen is blank. Then he clicks again and types a reply.
INSERT OF SCREEN: Commander Van Kant: No, Lieutenant, I don't think it is inhabited.
Lars clicks and the screen is blank again.
JOYCE
Who are you talking with?
LARS
Lieutenant Miho.
JOYCE
But there's nothing on the screen. He's not answering you.
LARS
He is, but in an invisible code that only I can see.
JOYCE
Only you can see?
LARS
Correct. Listen I'm really busy now. Could you please come back later?
He rises and takes her arm and escorts her to the door.
JOYCE
Have you eaten?
LARS (O.s.)
What? No, I don't think so. I mean, not today.
JOYCE
I'll make something.
She goes to the kitchenette.
INT. - kitchen table - lateR
Joyce and Lars sit at the kitchen table eating. She had made some sandwiches, and put out some potato chips, pickles, coffee.
Joyce
The woman from Rockefeller, Gail, seemed concerned about you.
Lars
I know.
JOYCE
She asked me to call her back.
LARS
Right.
JOYCE
What should I tell her?
Lars
Whatever you like.
JOYCE
Why haven't you gone to work for two weeks?
LARS
I told you. A problem came up.
JOYCE
With your other planet.
LARS
Yes.
JOYCE
Should I tell that to Gail.
LARS
I don't think she'd understand, do you?
JOYCE
No, I don't. I'm not sure I understand.
LARS
What don't you understand?
JOYCE
What is it you're doing exactly?
LARS
I told you I'm Chief of Security on Omega 1. I'm responsible for the welfare of several million citizens.
JOYCE
And there's a problem there?
LARS
A big problem. It seems there was an earthquake in the Eastern Region. Many people have lost their lives. I've been communicating with my lieutenant for the last two weeks but I really need to be there.
JoycE
So why aren't you there?
LARS
I did go there one night last week, to check things out. I saw the devastation.
JOYCE
And how did you go there?
LARS
I told you.
JOYCE
You did? I don't remember. What did you say?
Lars
I teleported.
JOYCE
Oh, right. And how do you do this teleportating.
LARS
It's hard to explain. It's a capacity I discovered I have. I have to be in the right mental mood, in the right state of relaxation to do it.
JOYCE
Where do you do it? On the roof? On the toilet?
LARS
You're making fun of me.
JOYCE
Well, you have to admit it does sound strange.
LARS
I know it does. I didn't believe it myself when I first discovered it. But then I came back and started writing these things down, and drawing the maps and the pictures. And then I knew it was all real.
JOYCE
Can I do it?
LARS
What?
JOYCE
The teleportation. Can you teach me to do it?
LARS
I don't think it can be taught. I think you just have to have an ability within you.
JOYCE
You have to be born with it?
LARS
Yes.
JOYCE
Too bad. Sounds fun.
LARS
But if you want to help out, there's something else you could do.
JOYCE
What?
LARS
I could use an assistant to help me keep track of things.
JOYCE
You want me to be your secretary.
LARS
Something like that.
JOYCE
While you're teleporting across the universe.
LARS
I don't teleport across the universe. I can only teleport to Omega 1.
JOYCE
OK. What do you want me to do?
LARS
Well, you could start by organizing the information.
JOYCE
These manuscripts?
LARS
Yes.
JOYCE
OK. What do you want me to do with them?
LARS
Well, you can start by putting them into some kind of order in the shelves there. And then we'll begin indexing them.
JOYCE
OK.
LARS
Thanks.
He hugs her across the table.
JOYCE
You're welcome. I guess. But you should go back to work. I mean to your job. They're worried.
LARS
Yes. You're right. Soon.
JOYCE
Very soon.
They hug and kiss.
Int. - Lars' apartment - a few nights later
Joyce puts a manuscript onto the bookshelf and then writes something down on an index card. She puts another manuscript beside that one and again makes a notation on an index card.
Lars comes in from the bedroom. He stands behind her and wraps his arms around her.
LARS
How's it going?
Joyce
Great. I should have them all indexed in a few days.
They kiss.
INT. LARS' APARTMENT - A FEW NIGHTS LATER
Lars and Joyce are sleeping in his bedroom. Suddenly she opens her eyes and sits up. She turns on the light.
Lars rolls over.
Lars
What?
Joyce
I forgot to recalculate the nesting figures.
LARS
You can do it in the morning.
JOYCE
No, I want to do it now while it's still fresh in my mind.
She gets up, clad in a night gown, and leaves the room. Lars stares in disbelief and goes back to sleep.
INT. LARS' APARTMENT - morning
Joyce and Lars sit at the kitchen table having breakfast. Joyce making notations on a manuscript.
JOYCE
Lars, I'm going to need you to go back to Omega 1 tonight.
LARS
Why is that?
JOYCE
I'm still missing some of the drawings of the Cynapods.
LARS
(sighing)
You know, you're getting to be a slave driver.
JOYCE
Please?
LARS
Fine, I'll do it after work.
She gives him a peck on the cheek and continues making notations. He looks at her.
Int. Lars' apartment - a few nights later
Joyce sits at a desk pouring over several manuscripts. She compares one to another and writes some things down. She is very focused on what she is doing.
A cigarette is dangling from her lips.
The front door opens and Lars arrives.
Lars
When did you start smoking?
JoycE
I don't know. Today. Yesterday. Listen, we have a problem.
LARS
What's wrong?
JOYCE
Plenty.
She throws down her pencil and lights another cigarette. Lars leans over the desk.
LARS
What?
JOYCE
These distances are all messed up. Either your astronomical projection from Libra 2 is off or the star maps are way off. They just don't jibe. Look!
She points to a map.
LARS
What about it?
JOYCE
These two distances can't both be right. There must be a miscalculation. And it throws everything else off.
LARS
Let me see.
He pulls up a chair and begins making calculations with a pencil.
JOYCE
You see what I mean?
LARS
(very upset)
I don't understand this. I copied those maps exactly from the maps at the Institute.
JOYCE
Maybe you made your mistake when you translated from Omegan measurements to miles.
LARS
I doubt it.
JOYCE
How were the distances measured in the first place?
LARS
Well, we had the starship and could actually get close to some of those suns. We used ordinary methods, you know, spectroscopic analysis of light and so on. But after the "Age of Intersteller Flight" the errors were corrected by direct instrument readings.
JOYCE
How were the instruments calibrated? In miles, kilometers, or what?
LARS
The basic unit is the ecapalim, an Omegan term corresponding to our mile, actually about a mile and five sixteenths. But because of the immense distances, instruments on spaceships register in tonecapalim, or units of about one hundred and sixty thousand miles. Here, let me see if it's just an error in calculating miles.
He works feverishly calculating on the back of a map. Joyce watches him with interest. She is as caught up in it as he is.
JOYCE
No, no, 4,477.
LARS
Right, 4,477. You're right.
(he throws pencil down)
No, that's not it. There's something fundamentally wrong.
JOYCE
Well, it's not very serious, after all--
LARS
(exploding)
Not very serious!
JOYCE
I mean--
He stands up and hits the books with his hand, knocking them off the table.
Lars
Not serious! Just so you know, these maps are used by my pilots. No wonder I've lost so many ships!
Joyce
I didn't know...
He zigzags around the room like someone who has just been physically wounded. He has suddenly changed from an emotionless character to someone gone beserk. Joyce watches in astonishment. He begin ramming his fist against a table.
LARS
Damn, damn, damn, damn, damn! I hate it! I hate it! I hate it when something like this happens! Shit! Shit! Shit! You do everything right! You check and double check it all! You check it with all your heart and all your might! But it doesn't matter how hard you check it! Somebody somewhere in the universe always has to make sure to mess it up! I hate it! I hate it! I hate it!
He finally stops and holds his hands over his temples.
Joyce
Have you lost that many?
LARS
I don't know. I don't know. I don't know. We've got to get things under order there because we don't know how much longer Earth is going to last.
He goes over and sinks down in the sofa, forlornly.
JOYCE
What are you going to do?
LARS
I don't know. I guess I'll have to check on it when I go back.
Joyce looks at his calculations and has an idea.
JOYCE
You don't happen to know when you made these, do you?
LARS
No. Why?
JOYCE
Well, it occurred to me you might have marked a date on them. That would have helped.
LARS
How?
JOYCE
It's just an idea. I thought if they were dated you could find out when you examined the original at the institute. It's possible those maps are based on information obtained before the "Age of Interstellar Flight." That may be what's wrong.
LARS
(a little hope)
You mean that maybe these maps are based on old ones and my pilots are using the corrected charts?
JOYCE
Right. After all, if you had been losing that many ships, you'd have heard more about it. The only ships you've lost recently were the ones lost in the earthquake.
LARS
That would be easy to check on.
JOYCE
Of course. When you go back, get in touch with the Institute. I think you'll be able to clear this up right away.
LARS
OK. I'll go tomorrow night.
JOYCE
Great.
LARS
(calming down)
Thanks. Sorry I...lost it.
JOYCE
It's OK.
She lights another cigarette. He looks at her with amazement. She is studying the map again and puffing on the cigarette.
Ext. museum of modern art - the next day
Dinah stands in front of the museum, waiting impatiently. She looks at her watch.
Joyce comes drifting up, in no hurry. Dinah waits impatiently.
Dinah
You're a half-hour late.
Joyce
(distractedly)
Sorry.
DINAH
Sorry, doesn't cut it. What's going on?
JOYCE
Nothing.
DINAH
It was your idea to go to the museum.
JOYCE
I know.
DINAH
If there's something else more important to you...
JOYCE
No. Let's go.
They walk into the museum.
Int. Museum - later
Joyce and Dinah walk through a gallery. Dinah is looking at the pictures. Joyce gazes off distractedly.
EXT. museum garden - A FEW MINUTES LATER
Joyce and Dinah sit on chairs in the garden, drinking coffee.
Dinah
What's wrong with you today, Joyce? You seem out of it.
Joyce
Do I?
DINAH
Yes, you do. You're not here. I don't know where you are, but you're not here with me.
JOYCE
Sorry.
DINAH
What's going on with the spaceman?
JOYCE
Not much. He's been working on a project. I've been helping him.
DINAH
You're helping him? What do you mean? How?
Joyce
I'm helping him...organize his files.
DINAH
Oh, for his research project at Rockefeller?
JOYCE
No.
DINAH
No. Then what?
JOYCE
It's for the other one.
DINAH
The other one? You mean the one he's doing on the other planet that he telepaths to?
JOYCE
Teleports.
DINAH
Teleports. Right. Whatever. You're getting involved in his delusion?
JOYCE
I don't really think of it as a delusion.
DINAH
What do you think of it as?
JOYCE
I don't know. I've always been interested in science fiction. My father was interested in it too.
DINAH
Your father was delusional?
No, he was just a sci fi buff. When I was a little girl he took me to a sci fi convention. It's one of my best memories. He kept these scrapbooks of clippings about flying saucers. After he died, I hid them in my room so my mother wouldn't throw them away.
DINAH
So now you're your going to fly off to Mars with Lars?
JOYCE
Not Mars.
DINAH
Wherever.
JOYCE
I don't know. It's hard to explain.
Dinah opens her purse and pulls out a piece of cake. She looks at Joyce in askance. Joyce opens her purse and pulls out a pack of cigarettes. She lights one up.
Dinah
You're smoking?
JOYCE
I just started.
DINAH
I thought I was the oral personality.
JOYCE
I don't smoke that much.
DINAH
The question is, why are you smoking at all? What's up with you, Joyce? Why are you getting involved with a looney?
JOYCE
He's not a looney.
DINAH
He's a spaceman.
JOYCE
Have you ever heard of the psychotherapy technique called "joining"?
DINAH
Yes, I've heard of it.
JOYCE
Well, I guess that's kind of what I'm doing. I guess I'm joining his delusion. I'm working with him on the research he's doing on other planets.
DINAH
So you're just pretending?
JOYCE
Sort of.
DINAH
Sort of?
JOYCE
Well, partly I'm doing it for therapeutic reasons.
DINAH
And partly for other reasons?
JOYCE
He fascinates me. His delusion fascinates me. He's a brilliant man, one of the most brilliant men I've ever met.
DINAH
He may be brilliant, but he's also a raving looney bird.
JOYCE
Maybe.
DINAH
There's no "maybe" about it. People who think they can mentally travel to other planets are insane. It's called a schizophenia.
JOYCE
I suppose, but it's a nice kind of craziness. In a way I envy him. He has something that most of us, living our humdrum lives, don't have. He has a passion, a commitment. And his information about Omega 1 is so extensive and so complete, down to the last dot, it's amazing. Last night I found one mistake in his calculations and he went beserk. I had to admire his passion.
DINAH
You admire him.
JOYCE
Yes.
DINAH
Joyce, I'm feeling concerned about you. I think you're getting into something over your head.
JOYCE
I know what I'm doing, Dinah. You don't have to worry. Are you ready? Let's go look at the Rodin exhibit.
Joyce gets up and Dinah reluctantly follows.
INT. LARS' BEDROOM - NIGHT
Joyce and Lars are lying in bed. She is turned away from him. He gazes longingly at the back of her head.
He caresses her and kisses her neck. She awakens and turns around. They kiss. He climbs on top of her. They begin to make out.
Suddenly She stops.
Joyce
I just remembered something.
Lars
What?
JOYCE
The indentions. Did you finish the indentations?
LARS
Can we talk about that later?
JOYCE
Just answer me. Did you finish them?
LARS
No.
JOYCE
(upset)
You didn't do the indentations?
LARS
No.
JOYCE
You said you were going to do them yesterday.
LARS
I know. I didn't get around to it yet.
JOYCE
But we can't go any further unless you do the indentations.
LARS
I'll do them in the morning.
He tries to kiss her. She turns away.
JOYCE
What time in the morning?
LARS
In the morning.
JOYCE
What time?
LARS
Never mind.
He rolls off of her, frustrated. They lie back to back.
JOYCE
Lars, you are going to do them in the morning, aren't you?
LARS
I said I was.
He closes his eyes. Hers stay open.
INT. LARS' BEDROOM - LATER THAT NIGHT
Joyce opens her eyes. She rolls over to see that Lars is not in bed. She notices a light coming from underneath the bathroom door.
She sits up in bed, puts on her robe, and goes to the door to investigate. She knocks on the door.
Joyce
Lars?...Lars?
(knocks)
Lars? Are you in there?
(knocks again)
Are you...teleporting?
(knocks again)
Lars, let me in. Lars! Lars! I know you're there! Would you open the door?
The door suddenly opens and Lars is standing before her, a tall silhouette in the bathroom light.
Lars
Do you know what you just did?
JOYCE
What?
LARS
I had to abort, that's what.
JOYCE
Sorry.
He walks past her and sits on the bed to light a cigarette. She sits down beside him.
LARS
I was almost there and I had to turn back.
JOYCE
Sorry.
LARS
(angrily)
It takes a lot of energy to...do it. I don't think I'll have enough energy to do it now.
JOYCE
Maybe I can do it.
LARS
No.
JOYCE
Why?
LARS
Because you can't.
JOYCE
Why can't I?
LARS
You don't have the...ability.
JOYCE
You can teach me.
LARS
It can't be taught.
JOYCE
You just don't want to teach it. You want to keep it to yourself. You want it to be your special secret.
LARS
No at all. It just can't be taught.
JOYCE
Why?
LARS
Because it's something you have to be born with, like an ear for music.
JOYCE
I have an ear for music.
LARS
Good for you.
JOYCE
I want you to teach me, Lars. I want you to teach me now.
LARS
Sorry, I can't.
He puts out his cigarette in an ashtray and kisses her on the cheek. Then he takes off his robe and climbs into bed. He closes his eyes. Joyce looks at him.
JOYCE
You're just going to go to sleep?
LARS
Yes.
JOYCE
When are you going back? We need to finish the indentations.
LARS
We will. Good night.
She looks at him for a while, then climbs over him and lies beside him, gazing off. They are back to back.
INT. LARS' KITCHEN - MORNING
Lars is all dressed up in a suit and drinking a cup of coffee from the kitchen counter.
Joyce drifts in, wearing her pajamas and robe.
JOYCE
You're going to work?
Lars
Yes.
JOYCE
What about the indentations?
LARS
They'll have to wait.
JOYCE
You said you'd go this morning.
LARS
I know.
JOYCE
When are you going to do it?
LARS
Tonight.
JOYCE
Can't you go this morning?
LARS
No.
JOYCE
This is important.
LARS
I know.
JOYCE
We're almost there.
LARS
My job is important too. If I don't show my face they're going to fire me.
JOYCE
They can wait another day.
LARS
I'm going in, Joyce.
Lars looks at her.
JOYCE
Why are you looking at me like that.
LARS
Nothing. I think you need some sleep.
JOYCE
Never mind that. Let's get this job done. I can sleep later.
LARS
OK.
JOYCE
Come home right after work.
LARS
Yes.
He puts down his coffee, kisses her on the cheek and goes to the door.
INT. LARS' BATHROOM - LATER THAT MORNING
Joyce opens the door of Lars' bathroom and looks around inside. She stands over the toilet. She puts the seat down and sits on it.
She sits back and closes her eyes. She holds the side of the toilet with her hands, as if prepared for take-off. Her eyes are shut very tight and she begins to tremble. She tries and tries to teleport. After a while she gives up and opens her eyes with despair.
She get up and stares at the toilet, as if there is something about it she doesn't understand. She flushes the toilet, then tries sitting down on it again and closing her eyes. Still no results.
Finally she gets up and storms out of the room.
INT. ELEVATOR OF JOYCE'S BUILDING - LATER THAT MORNING
Joyce gets into the elevator in her robe, carrying manuscripts under each arm.
A BUSINESS WOMAN is in the elevator, dressed in a suit. She stares at Joyce. Joyce is oblivious to her.
INT. JOYCE'S APARTMENT - LATER
Joy pours over the manuscripts, still in her robe, her hair uncombed, wearing no makeup.
Manuscripts are all over the floor of her apartment, the kitchen counter, the coffee table, and the sofa.
She smokes a cigarette as she checks one manuscript against another, penciling in calculations.
The teapot whistles in the kitchenette. She gets up, pours herself a tea, reading the manuscript at the same time. She sits back down to study the manuscripts.
The telephone RINGS, but she doesn't get up to answer it. The answering machine's outgoing message comes on.
ANSWERING MACHINE
(with Joyce's cheerful voice)
Hi. I'm not here right now. If you'd like to leave a message, feel free to do so at the sound of the tone. Thanks a lot.
Then comes the voice PROFESSOR SIMMS, a middle-aged professor of psychology.
Dr. Simms
Joyce, this is Dr. Simms at Columbia. You haven't attended class for a couple of weeks now and I was just calling to see if you were OK. Could you please give me a call when you have a chance.
Joyce doesn't look up from her manuscripts. She writes down some more figures. After a while the telephone RINGS again.
The machine answers it again.
ANSWERING MACHINE
Hi. I'm not here right now. If you'd like to leave a message, feel free to do so at the sound of the tone. Thanks a lot.
Dinah's voice is heard on the speaker phone.
Dinah (O.S.)
Joyce? Joyce? It's Dinah. Are you there?...Joyce, pick up the phone....Joyce, if you're there please pick up the phone....Joyce, I know you're there and I'm worried about you....What do I have to do, come there and knock on your door?
Joyce finally looks up and hears Dinah's voice. She crawls over to the end table and pushes the speaker phone button.
Joyce
Hi.
DINAH (o.S.)
You don't pick up the phone?
JOYCE
(curtly)
I'm busy.
DINAH (o.S.)
You're busy? Oh, I see. Let me guess. You're busy traveling to other planets? Is that it?
JOYCE
I have to go.
DINAH (O.S.)
Would you talk to me?
JOYCE
What do you want to know?
Joyce is writing figures on a manuscript.
DINAH (O.S.)
You sound like you're a million miles away.
JOYCE
I'm right here.
DINAH (O.S.)
Joyce, why haven't you called me back? It's been almost a month....
JOYCE
I told you, I'm busy.
DINAH (O.S.)
Well, I'm busy too. I'm too busy to keep calling a friend who doesn't even care enough to call me back.
JOYCE
Then don't.
DINAH (O.S.)
Is that what you want? You want me to stop calling you?
JOYCE
I guess.
DINAH (O.S.)
You guess?
JOYCE
I'm busy, OK? I have to go. Bye.
She slams down the receiver and continues working on the manuscript.
INT. ELEVATOR OF JOYCE'S BUILDING
Joyce is on the elevator again, going up. She is still in her robe and pajamas. The BUSINESS WOMAN is on the elevator, this time returning from work.
She stares at Joyce, but Joyce is busy writing on a manuscript and doesn't notice her. The elevator reaches the next floor and Joyce gets off.
INT. LARS' APARTMENT - LATER
Joyce sits at the desk scribbling on the manuscripts, a cigarette in her mouth.
Lars opens the door and walks in. She looks up at him.
Joyce
You're here. What took you so long? Did they make you work overtime?
Lars
No.
JOYCE
Then why are you so late?
LARS
I don't know.
He goes to a cabinet, takes out a bottle of sherry and pours himself a drink. He stands with his back to her.
JOYCE
Something wrong?
LARS
No. Nothing's wrong.
JOYCE
Then why are you standing there? Don't you want to get started?
LARS
Not especially.
JOYCE
How come?
LARS
(shrugging)
I don't know. Just tired, I guess.
JOYCE
That's odd. I thought you were so interested in finishing this stuff on the Olmedians.
LARS
All right.
He pulls up a chair. Joyce holds up a chart she has been working on.
JOYCE
These are the statistics on the Olmedian ethnic types. I did as much as I could without the indentations. What do you think?
LARS
You've done a good job.
JOYCE
We just need the indentations and we'll be through. Can you go back tonight?
LARS
I suppose.
JOYCE
You suppose?
LARS
I guess I can go.
JOYCE
Lars, what's eating you?
LARS
Nothing. Nothing at all.
JOYCE
Then why are you acting so...so indifferent?
LARS
Oh, it's just....
JOYCE
Just what?
LARS
Well...it's just that I've got something to tell you and I can't seem to get it out.
JOYCE
Something you haven't told me?
LARS
Yes.
JOYCE
About the Olmedians? What is it? Do we need more information? Are the figures skewed?
LARS
No, it's not that.
JOYCE
So tell me. After all this time we shouldn't be keeping things from each other. You usually don't have any trouble telling me what's on your mind.
LARS
I don't usually. But this is different.
JOYCE
Out with it.
LARS
All right. I'll tell you--but you're not going to like it.
JOYCE
Go ahead.
LARS
I've been lying to you.
JOYCE
Lying to me? About what?
Lars gets up and walks across the room to pour some more sherry. He picks up a manuscript lying on the cabinet and turns around.
LARS
About this. And about all the information I've been giving you these past few weeks. It's all a lie, all of it. I've been making it up. I've been inventing...all that nonsense.
JOYCE
You're kidding.
LARS
No.
JOYCE
You've been making it up?
LARS
Yes. All of it.
JOYCE
It's all false?
LARS
All false.
JOYCE
Even the trips?
LARS
Trips!
(snorts)
What trips? It's been weeks since I gave up that foolishness.
JOYCE
But you've been telling me--
LARS
I know what I've been telling you.
He walks over to her and sits down beside her, facing her.
JOYCE
What are you saying?
LARS
It's all a lie. I haven't gone on any trips and I have been making up the information. I started seeing through all this weeks ago.
JOYCE
What do you mean, saw through it?
LARS
Just what I said. I realized I was...well...crazy. I've been deluding myself for years. There were never any trips. That was just...insanity.
JOYCE
Then why did you pretend? Why didn't you tell me this before?
LARS
Because I felt I had to pretend. I felt you wanted me to.
JOYCE
You felt I wanted you to? Why?
LARS
Well, you seemed so into it. I didn't want to hurt your feelings.
Joyce
You didn't want to hurt my feelings? Hurt my feelings? That's a good one! That's the best one I've ever heard.
Joyce begins to laugh. She laughs and shakes her head. She has a laughing fit until there are tears in her eyes.
LARS
Do you understand what I'm saying?
JOYCE
Oh, I understand all right. You don't want me to share your secret anymore. I was getting too close, right?
She gets up and paces the room.
LARS
Joyce...
JOYCE
You want to keep it all to yourself, don't you. Is it because I was demanding that you teach me the secrets of teleporting? Is that it? Is it because I was getting too close to your elitist little secrets. You have to keep it all to yourself, don't you, so you can feel superior to everybody.
LARS
No, that's not it...
JOYCE
Of course that's it! After all the work I've done, after all the hours I've put in, this is the thanks I get!
LARS
Joyce....
He stands up, starts to touch her.
JOYCE
Don't touch me! I hate you! You liar! I can't believe what a liar you are! All these months you've been leading me on, playing me for a fool!
LARS
I haven't been leading you on. I--
JOYCE
Don't try to explain!
LARS
I was just waiting--
JOYCE
Right, you were just waiting until you could have the most impact. You were waiting until you could really knock me down. Do you enjoy it? Do you enjoy leading people on and then knocking them down? Do you get some sadistic pleasure out out it? Is this how you get back at your mother?
LARS
No, it's not like that.
He tries to touch her again.
Joyce
Get away from me! You liar! You lying jackass! Don't you touch me! Don't you ever touch me! Do you hear me?
She is pummeling him with her fists.
LARS
Joyce, get hold of yourself.
JOYCE
Fuck you! I'm fine. I'll be just fine. You lying creep! I hate you, I hate you, I hate you!
She backs away from him. She picks up the manuscript she was working on.
LARS
What are you doing?
JOYCE
I'm taking this with me. I'll work on it by myself. You can't stop me. I'll find out by myself. I'm very close. Don't try to stop me. Don't even think about it. I may even learn how to teleport. Don't laugh. You think I can't do it? Is that what you think? I can't do it. Good-bye, Lars. It's been...fun....
She backs out of the door. Lars looks at her in astonishment, realizing she has "caught" his delusion.
INT. JOYCE'S APARTMENT - A FEW DAYS LATER
Joyce sits on her rug, still in her pajamas, working on a manuscript. The telephone RINGS.
She works feverishly at some figures. The answering machine clicks into gear.
Answering machine
(Joyce's voice)
Hi. I'm not here right now, but if you'd like to leave a message please do so at the sound of the tone. Thanks a lot.
Lars (O.S.)
Joyce? Please pick up the phone. Joyce, would you pick up the phone...
EXT. CITY PARK - A FEW DAYS LATER
Joyce sits in the park scribbling in the manuscript. She is in her pajamas and robe. She looks pale.
Shelby passes by and spots her.
Shelby
Joyce? Is that you.
Joyce
Who wants to know?
SHELBY
It's me, Shelby. How's it going, babe?
JOYCE
(not looking up)
Oh, Shelby. It's going well.
Shelby looks her over. He sits beside her.
SHELBY
Are you all right, babe?
JOYCE
Yes. I'm fine. Never been better.
SHELBY
Right. May I ask why you're dressed in your pajamas? Don't tell me. It's the latest fashion statement?
JOYCE
What? Oh, my pajamas? I don't have time to be concerned with appearances.
SHELBY
I see.
JOYCE
Shelby, would you by any chance be familiar with the interstellar measurement called a tonecapalim?
SHELBY
Tone what?
JOYCE
Tonecapalim? It's used by people on Omega 1.
SHELBY
Oh, really? Omega 1.
JOYCE
It's in the Orion Galaxy.
SHELBY
Oh, is that where that is. I actually know a lot about the Orion Galaxy. Astronomy is one of my hobbies. Ask me anything.
JOYCE
Do you know off hand how many miles make up one tonecapalim.
SHELBY
How many miles make up a tonecapalim?
JOYCE
Yes. Or kilometers. How many kilometers make up a tonecapalim.
SHELBY
A tonecapalim.
JOYCE
That's what I said.
SHELBY
Well, not off hand. What are you reading?
JOYCE
(covering it with her hand)
It's a book.
SHELBY
A book about Omega 1?
JOYCE
Yes. Would you like to help me?
SHELBY
Sure. Like I said, astronomy is one of my hobbies.
JOYCE
Can I trust you?
SHELBY
Trust me? My middle name is trust!
You picked just the right guy for the job. I know everything about the Orion gallaxy. I have this theory about--
JOYCE
Have you ever heard the term, "teleportation?"
SHELBY
Teleportation? Not really.
JOYCE
I'm trying to learn how to do it.
SHELBY
That's nice. What is it?
JOYCE
I'm going to explain it to you, Shelby.
SHELBY
I'm all ears.
JOYCE
(smiling into his eyes)
I'm going to explain it all to you.
SHELBY
Thanks. Can I get your phone number?
JOYCE
What? Oh, sure. You got a pen?
SHELBY
Yeah, yeah. It's in one of my pockets. Hold on.
He nervously fumbles in his pockets, pulls out a ball-point pen and a scrap of paper.
JOYCE
You ready.
ShelBy
As ready as I'll ever be.
JOYCE
I'm glad I ran into you, Shelby.
SHELBY
It's your lucky day, Joyce. OK, so what's your number?
She smiles into his eyes. He smiles back with bravado and anticipation.
FADE TO BLACK