Masquerade

INT. SCHOOL AUDITORIUM — DAY

MICHAEL, a drably-dressed seventeen year-old, sits in the front row of the auditorium, right in front of the stage. A lunch tray sits in his lap as he eats from it, lounging back in his seat. Another tray sits idly in front of him on the edge of the stage.

LINDSAY, a driven, deeply serious seventeen year-old, walks in from off-stage, behind the curtains, and stops at the lunch tray at the edge of the stage. She stays standing.

LINDSAY: I heard something about you today.

MICHAEL: Something good?

LINDSAY: I heard that you hurt someone.

MICHAEL: Really?

LINDSAY: Yeah.

MICHAEL: What was it about?

LINDSAY: What do you think?

MICHAEL: I don’t hurt people on purpose. I feel like I’d know what you’re talking about.

LINDSAY: Amelia told me that you hurt her.

Michael stops lounging and leans forward in his chair.

MICHAEL: I didn’t hurt Amelia.

LINDSAY: Why would she say that, then?

MICHAEL: Because she’s pissed that I broke up with her for you.

LINDSAY: She’s been telling everybody that you sexually assaulted her.

MICHAEL: What? I haven’t seen her in months. I haven’t touched her.

LINDSAY: No. She said it happened back when you were going out.

MICHAEL: Well that didn’t happen. You weren’t there. You don’t know.

LINDSAY: That’s not the way this works. She’s the victim here. We have to believe her.

Michael stands from his seat.

MICHAEL: (frustrated) But I’m saying I didn’t do it!

LINDSAY: (firm) That’s not enough, Michael.

Lindsay picks up her lunch tray.

LINDSAY (CONT’D): I can’t see you anymore. This is over. I don’t want to be seen going out with a sex offender.

MICHAEL: But you know me, Lindsay. We’ve been together for three months. You know I’m not some kind of rapist!

Michael steps towards the stage. Lindsay, above him on the stage, steps back. Michael stops.

LINDSAY: I don’t know who you are anymore. I thought you really loved me. Now I feel like you were just using me for sex, now, because Amelia wouldn’t put out for you. You somehow talked me into it, I guess. You’re a fucked up person, Michael. You need help.

MICHAEL: Why won’t you believe me? I’m your boyfriend. You barely even know Amelia!

LINDSAY: I can’t believe how stupid I’ve been. I can’t even talk to you.

MICHAEL: (bewildered) What? —

LINDSAY: (talking over Michael) I’m so embarrassed that I let you do this to me. This is it. We’re over.

Lindsay walks towards the back of the stage.

MICHAEL: Wait! There has to be something I can do. I can change. I don’t have to be that guy anymore.

Lindsay stops.

LINDSAY: You’re never going to get better if you can’t admit you have a problem, Michael. I can’t believe I used to think you were such a good guy.

Lindsay walks off-stage.

MICHAEL: (yelling) I am! I’ll prove it to you! I’ll find a meeting. I’ll get myself into a program. I can figure it out. Lindsay, I’m sorry!

Lindsay disappears behind a curtain. Michael pulls out his phone and signs up for a program on the spot.

EXT. MICHAEL’S HOME — EVENING

Michael drives towards his house. A police car sits, parked outside by the driveway. By the front door, Michael’s mother, AMY, a hippy forty-five year-old, is talking to a POLICE OFFICER, who holds a packet. The two of them see Michael pull up.

Michael parks the car in the driveway. The officer beckons Michael over with his hand. Michael gets out and walks up to the officer. The officer stands high above him.

OFFICER: Are you Michael Turner?

MICHAEL: Officer, I am so sorry. I’m willing to cooperate. If you need to arrest me, that’s fine.

AMY: Michael, what are you doing?

MICHAEL: I’m taking responsibility for my mistakes.

OFFICER: I’m not here to arrest you, Michael.

MICHAEL: But, I thought you were here because of what I did to Amelia?

AMY: Michael, stop talking. Come inside.

OFFICER: Hold on. Michael, this is an order of protection against you. You are not to have any form of communication with Amelia Cruz, except through the court system. If you do, you will be arrested. Understood?

MICHAEL: Yes.

OFFICER: Okay. You’ve been served. You folks have a good night.

AMY: Goodnight, sir.

Amy pulls Michael into the house. The officer gets in his car and leaves.

INT. MICHAEL’S KITCHEN — CONTINUOUS

Amy lets go of Michael in the kitchen.

AMY: I can’t believe this.

MICHAEL: I’m sorry, Mom.

AMY: No. Not you. I can’t believe Amelia is still trying to hurt you.

MICHAEL: Well, I hurt her. This isn’t much of a surprise.

Michael tosses the order of protection on the kitchen table.

AMY: You have to fight that.

MICHAEL: What? Why?

AMY: It will ruin your life. People could see it and they’ll think you’re a sex offender.

MICHAEL: That’s right. Everyone has to believe her. She’s the victim.

AMY: They shouldn’t think that. Neither should you. You have to believe in yourself, Michael, when other people put you down. No matter what. You won’t go anywhere in life if you don’t. What do you think Amelia’s doing by getting this?

Amelia gestures at the order of protection.

MICHAEL: She’s searching for justice.

AMY: Michael, no. She’s attacking you.

MICHAEL: Maybe that’s important for helping me change.

AMY: I don’t want you to change.

MICHAEL: Really?

AMY: Yes. I’ll be upset when this turns you into a different person. Michael, you need to do what you can to get rid of this. You’ll hate yourself forever. Keeping it around will plant the idea in your head that you’re horrible. You’ll struggle harder with your depression. You’ll stop going on dates. You’ll concern yourself over every interaction you have with women. Self-judgement is debilitating.

MICHAEL: I don’t want to go through life like that.

AMY: So don’t. Fight this.

MICHAEL: How?

AMY: We’ll get a lawyer.

MICHAEL: What lawyer would help me?

AMY: Lots. They help everyone. I’m going to find the best one and schedule an appointment. We need to do this as soon as possible.

Amy walks to her bag, which is sitting against the wall, and pulls out a laptop. She starts for her room.

MICHAEL: I’m sorry, Mom. I don’t want you to have to hire a lawyer for me.

AMY: Don’t apologize. It’s not your fault.

MICHAEL: …You’re right.

AMY: I love you. It’ll be okay.

MICHAEL: Thank you.

Amy leaves the room. Michael stands and looks at the order of protection. He picks it up carefully, like it’s hot. After a moment, he puts it back down on the table, and walks to his room, leaving it there.

INT. SCHOOL GYM — DAY

TEENS run around the gym, playing basketball. Michael is among them. So is TAYLOR, a tall eighteen year-old.

Michael’s team is offending. He runs across the court to the enemy hoop. Through a window in the gym, Michael sees the school’s police officer pass by. Michael freezes. The basketball smashes into his face.

INT. SCHOOL GYM HALLWAY — DAY

The hallway is long and empty. The only thing that takes up space is a single trash can.

Michael sits on the ground in the hallway with Taylor, blood running down his face from next to his eye. Taylor gives him a damp towel. Michael holds it to the wound.

TAYLOR: What happened?

MICHAEL: I panicked.

TAYLOR: You’ve got to keep your head straight, man.

MICHAEL: I know. I have a lot going on.

TAYLOR: I heard the cops came to your house.

MICHAEL: Yeah. Amelia got an order of protection against me.

TAYLOR: Oh. I thought you were going to get arrested or something shitty.

MICHAEL: Well, this is shitty. I have to get a lawyer to fight it.

TAYLOR: That’s not that bad. It’s not like anything horrible will happen if you lose.

MICHAEL: I wouldn’t be able to live with myself, having a fucking order of protection against me around the house.

TAYLOR: Why?

MICHAEL:It’ll be a reminder of how awful I am.

TAYLOR: You’re not awful.

MICHAEL: Amelia thinks I am.

TAYLOR: No she doesn’t. She waited three months to get an order of protection. The only reason she’s doing anything now is because she wants your attention. She wants you back because you saved her. You made her life manageable. I don’t think you realize it, but you’re great at helping people. Maybe not in your current condition, haha, but other times.

MICHAEL: I’m always getting fucked up.

TAYLOR: You roll with the punches. That’s not something a victim does.

MICHAEL: You think so?

TAYLOR: Yeah. No matter what you go through, you’re always there to save the day.

MICHAEL: I’m the one who needs saving.

TAYLOR: Amelia never had to save you from anything, man. You saved her constantly. Remember when she didn’t get chosen as a lead in the play last semester?

MICHAEL: Yeah.

TAYLOR: You helped her realize that it wasn’t life-changing like she was acting. You calmed her down and brought her back to reality.

MICHAEL: Yeah. That was rough.

TAYLOR: Yeah and you did it anyway. I’m telling you: you’re a hero, man. You’re good for people and you were good for her. You can fight the order of protection if you want, but you don’t need to stress over it.

MICHAEL: You’re right. Thanks.

Taylor pulls the towel from Michael’s face and looks at the wound.

TAYLOR: Almost there. Come back inside when it stops.

Taylor moves for the gym door, then halts.

TAYLOR (CONT’D): Do you think you could help me run drills tomorrow morning?

MICHAEL: Yeah, sure.

TAYLOR: Thanks, man.

Taylor walks through the door. Michael stands up and checks his wound with an unused part of the towel. No blood. Michael throws the towel away and pushes through the doors, back into the gym.

INT. WEIGHT ROOM — DAY

A class full of students working out. Michael, dressed in gym clothes, does bicep curls in front of the mirror. JESSIE, a pigtail-wearing sixteen year-old, walks up and stands next to Michael, facing the mirror. Michael is absorbed in himself and doesn’t notice.

JESSIE: I heard you had a run-in with the police last night.

MICHAEL: Yeah. Nothing I can’t handle.

JESSIE: You can handle the cops?

MICHAEL: Nah… I mean, it’s not a big deal. Just a misunderstanding.

JESSIE: Really?

MICHAEL: Yeah, my mom found me a good lawyer. It’ll get straightened out.

JESSIE: What did you do?

MICHAEL: I wouldn’t have had to do anything if she hadn’t come after me first.

JESSIE: Well, I can’t blame her.

Michael looks at Jessie for the first time.

MICHAEL: What?

JESSIE: I’d come after you, if you ever gave me the chance.

Michael sets down his weights.

MICHAEL: Ha! You’re not that kind of girl.

Jessie picks up the weights Michael just used, lifting them up easily.

MICHAEL (CONT’D): Not bad.

Jessie winks and starts doing reps.

JESSIE: Can I tell you a secret?

MICHAEL: Of course.

JESSIE: I wouldn’t mind if you did to me what you did to her.

MICHAEL: What? ….Oh. No, I wouldn’t want you to go through —

JESSIE: No it’s okay, really.

MICHAEL: I’d rather save you from something like that.

JESSIE: Michael. I’d like it. It’s hot.

MICHAEL: …Really?

JESSIE: Yeah.

MICHAEL: …Okay. Look out for me, then.

Michael smiles and turns away to walk to the bench press. Jessie sees him leaving, puts down the weights, and taps him on the shoulder.

JESSIE: Hey, do you smoke weed?

MICHAEL: Yeah, sometimes.

JESSIE: Do you want to meet me before school tomorrow?

MICHAEL: Sure.

JESSIE: Cool. I’ll see you then.

Jessie walks away. Michael goes to the bench press.

INT. MICHAEL’S BEDROOM — NIGHT

Michael lies in bed, wide awake. Time passes, and he’s still wide awake, having unmoved. He gets up, gets on his computer, and starts playing video games.

INT. MICHAEL’S BEDROOM — MORNING

Time passes. The sun is up, now, and Michael is still gaming. The game freezes and crashes. When the game closes, a distraught Michael sees the time on the desktop taskbar. 8:30. Michael yelps and falls from his chair, rushing to get ready.

EXT. SCHOOL PARKING LOT — MORNING

Michael pulls into the driveway. He gets a text from Jessie.

JESSIE (TEXT): Hey, where are you? Don’t let this bud go to waste.
Michael starts typing, apologizing for being late, but he gets another text from Taylor.

TAYLOR (TEXT): Dude where are you?

Michael starts texting an apology but gets another text.

LINDSAY (TEXT): Have you gone to one of those meetings yet?

Michael starts texting an excuse but is interrupted by another text.

AMY (TEXT): Michael, are you at home? I called your school to let them know you won’t be there, so you can meet with the lawyer. The meeting is at 9:15.

Michael’s phone clock reads 9:00. Michael sits in his car for a moment. He puts the car in reverse and pulls out of the parking spot, and drives out of the lot.

EXT. MOVIE THEATER — DAY

Michael pulls up to the theater in his car. He parks and gets out.

Michael walks to the movie theater box office. He glances at a poster for a brightly colored children’s movie called “Watered Down.” On the poster is a cartoon water drop character desperately holding onto a rope, dangling above a bucket of water.

Michael walks to the box office. The fake bubbly fifty year-old ATTENDANT turns on her microphone to the outdoor speaker.

ATTENDANT: (bird-like) Hello!

MICHAEL: Hi.

ATTENDANT: Welcome to the movies! What are you seeing today?

MICHAEL: I’m not sure.

ATTENDANT: Do you want recommendations?

MICHAEL: Okay.

ATTENDANT: Cool! I saw some great movies that are playing right now. I saw this great documentary about the #MeToo movement called “Speaking Out.”

MICHAEL: What else?

ATTENDANT: Are you a fan of horror?

Michael shrugs.

ATTENDANT (CONT’D): Well, this movie “Highway” will make you one. It’s terrifying. Its told from the perspective of a kid trapped in the trunk of a car.

MICHAEL: I’m not sure about either of those.

ATTENDANT: Okay well if you want to bring out the nerd in you… Like usual, we have a superhero movie.

MICHAEL: No thanks.

ATTENDANT: There’s a movie about these men that are all about illegal street-racing —

MICHAEL: (interrupting) I don’t think I’m going to see anything, actually. Thanks.

ATTENDANT: Oh… Okay! Thank you for coming. Sorry we couldn’t find you something to see.

Michael, as the attendant watches, walks away from the box office and to an electronic kiosk. He purchases a ticket for “Watered Down” and enters the movie theater.

INT. THEATER AUDITORIUM — DAY

Michael sits in the theater, near the back, by himself. The lights are on and advertisements play quietly on the screen. A MOM and CHILD sit near the front of the theater. The theater is empty otherwise. Michael yanks on a candy rope with his teeth.

INT. THEATER AUDITORIUM — 1 HOUR LATER

The lights in the auditorium are off. Michael’s face is lit up by the images on the screen. He is glued to the film.

WATER DROP (O.S.): Please don’t make me go back in the bucket. I know you want me to.

TREE (O.S.): The bucket’s full of water. I thought you wanted to be with your kind, inside the bucket?

WATER DROP (O.S.): No! I can’t do that.

TREE (O.S.): Why not?

WATER DROP (O.S.): I lose myself in there. I get all mixed up with the other water.

TREE (O.S.): Why don’t you stay outside the bucket, then?

WATER DROP (O.S.): I thought you wanted me to go back in!

TREE (O.S.): It doesn’t matter what I want. You can’t live the life of another person. You are you and that’s all there is. You are unique, and there’s no one else in the world like you.

Michael let’s out a quick gasp and cries.

THE END