Screenplay / Channel 16 (Analysis)

Channel 16

John Mark Alston
jmalston1@bama.ua.edu
jerusalemcampground@gmail.com

EXT. REESE PHIFER STEPS - NIGHT
We cannot see anyone’s faces, only their legs and feet. They sit on the bottom three steps.
VOICE #1
You can just direct the transmitter towards the KWDB tower.
VOICE #2
And it’ll override the signal?
VOICE #1
Uh huh.
VOICE #2
Just like that?
VOICE #1
I mean, if it’s more powerful, yeah man.
VOICE #2
That’s an incredible amount of power...
VOICE #1
Don’t you know it.
VOICE #2
So what are you thinking?
VOICE #1
Well, I work for the University Radio station...
The second voice stops. He thinks.
VOICE #2
Holy shit man, do they have that kind of equipment?
VOICE #1
Yeah. I mean, all we’re talking about is a little local weather station. It’s just a little dinky signal, it probably gets interference every time somebody drives by the place with their radio on...
EXT. UNIVERSITY BLVD. - NIGHT
Travis rides his bike in the cold. He is going to meet Marcus and Marcus’s girlfriend Alex at Hooligans. The main credits roll.
There are people walking along the side of the road. One woman walks out in front of him. He has to swerve in front of her to not hit her. He looks back, and she continues walking, seemingly having taken no notice of him at all.
He turns back, baffled, and raises his eyebrows.
INT. HOLLIGANS - NIGHT
TRAVIS
Sometimes I just wish that there was an alien invasion. Something just cataclysmic that happened that put everybody on the same level, on the same playing feild.
ALEX
An alien invasion?
TRAVIS
Yeah. I mean, think about if you were just walking down the street, and off on the horizon, you could see these massive tripods walking towards you. Can you imagine?
Alex looks at him, her eyes wide.
ALEX
I don't want to...
TRAVIS
You sure about that? Everything that you’d been doing with your life - all your responsibilities would be gone, and everything would just change to, “Okay, survive.”
ALEX
But why would you want that?
TRAVIS
Just to see how I’d do. Life is kind of boring, y’know? I think it’d be pretty cool to just be surviving. It’d be terrifying, of course, but it would at least force me to do something.
(beat)
Shake my world up, y’know?
Alex opens her mouth to speak, thinks, and squints her eyes in confusion.
ALEX
But why an alien invasion?
TRAVIS
Not necessarily just that. It could be a zombie attack or something.
MARCUS
I understand what he’s saying, Alex. Do you know how fun it would be to bunker up with a bunch of friends and shoot at hords upon hords of zombies?
Alex stares at him, blinks slowly.
MARCUS (CONT'D)
It’d be fun.
(beat)
I think this is flat.
He takes a sip of his drink, smacks his lips, then holds his cup up and turns to the waitress.
MARCUS (CONT'D)
Miss!
TRAVIS
(subdued)
Marcus, I thought you got tea.
Marcus takes another sip.
MARCUS
That’s right. I did get tea.
(to the waitress)
Forget it!
(to Alex)
Anyway, what Travis is saying is, when the shit hits the fan, your life as you know it now wouldn’t matter anymore... and I don’t know about you Alex, but to me, and to Travis, that’s an exciting premise.
ALEX
(to Travis)
So you don’t like your life?
Travis looks at her. He thinks.
TRAVIS
It’s not that I don’t like my life, it’s just that...
(beat)
There’s a lot of pressure to do something with your life. I feel like there’s this weight, that I have to have this great accomplishment, this great thing that I’m known for before I die. And if aliens attacked, I wouldn’t have to worry about that.
Alex looks at him blankly.
ALEX
And you would want the whole world to suffer an attack from aliens, and probably have millions and millions die, just because you don’t want to worry about what you want to do with your life?
Travis looks at her, then down at his food.
TRAVIS
Well, when you put it like that...
MARCUS
No man, I’m with you. There was this one time, I was at a thrift store in Homewood - it was like nine, nine-thirty at night. I was going back to my car and all the lights on the street went out. And it was terrifying, but honestly, part of me wanted there to be a sea monster to emerge from around the corner.
TRAVIS
Exactly.
Travis plays with his fork. He thinks.
TRAVIS (CONT'D)
I kind of want to get just really drunk one night and like, go to the post office and mess with the mail. That’s a federal offense right? I would have to use all my tuition to pay for that, and then I’d be out of college. I wouldn’t have to worry about anything. I could move out west, become a drifter... I’d have no responsibilities.
Alex rests her head on her palm.
ALEX
You guys are so sad.
MARCUS
Why?
(beat)
Why are we sad?
ALEX
Because you’re just imagining elaborate ways to make it so that you don’t have to worry about what you’ll do once you get out into the world.
MARCUS
I don’t see what’s sad about that.
Travis is quiet, he simply looks at his food.
ALEX
It’s selfish. Why don’t you use this time to do something. It’s not like you have jobs right now. You could, really do something. Just anything.
TRAVIS
(beat)
I’d rather wait for something to happen to me.
Marcus points at Travis.
MARCUS
Exactly my feeling.
EXT. REESE PHIFER HALL - NIGHT
We see the multiple satellites in the back of the building. We see the radio tower, with the blinking lights on the sides.
INT. ROSE TOWERS - NIGHT
We see Travis walking up the steps to the fifth floor. The camera tediously follows him up each floor. He walks down the hall to his room, and stands outside of his door. He fishes in his pocket for his keys. He stops.
TRAVIS
Oh fuck.
He searches the other pocket, and prods his back pockets as well. He taps his body nervously one last time, even though he knows he does not have the keys.
TRAVIS (CONT'D)
(exasperated)
Fuck...
CUT TO:
INT. ROSE TOWERS - LATER
Travis is sitting down in the hall, his back to the wall opposite of the door. He is on the phone.
TRAVIS
Hey, Nate?
(beat)
Hey. Are you on your way back in town? You are? Okay.
(beat)
No, it’s just I don’t have my keys.
He runs his hand through his hair.
TRAVIS (CONT'D)
No, they’re not lost. I mean, I... yeah they could be in Marcus’s car. I don’t know, he hasn’t picked up.
(beat)
How far away are you, like an hour?
(beat)
Okay. Okay, bye.
He hangs up, looks down the hall, bobs his head and taps on the ground.
CUT TO:
INT. ROSE TOWERS - LATER
Travis is still sitting in the same spot, his legs sprawled out. A person comes up the stairs, walks by.
PERSON
Hey.
TRAVIS
How’s it goin’.
CUT TO:
INT. ROSE TOWERS - LATER
Travis looks around. He gets up, and walks down the hall. There is a low humming in the halls due to the air conditioning. He is looking for a snack machine. He turns the corner, and paces around. He turns back, and sits down in a spot at the end of the hall, facing the stairs. He fiddles around with some lint on the floor. He looks up as we hear footsteps, and there is a boy walking towards him. The boy has a haircut with a part on the right, and he is wearing a white collared shirt and black pants. He wears a silver pendant on the right breast of his shirt.
BOY
Hey pal. It’s been a while.
Travis hesistates, but is friendly.
TRAVIS
Hi.
BOY
So what’re you majoring in again?
Travis stares at the boy for a moment, but the boy’s confidence wins him over.
TRAVIS
Um. I’m undecided. Undecided right now.
BOY
(confused)
Oh yeah?
TRAVIS
Yeah.
(beat)
I mean, I’m taking some classes in communications.
BOY
Communications.
(beat)
Well what happened to engineering?
TRAVIS
Oh, engineering? No, I’m not really that good at math, so.
Travis opens his mouth, but is reluctant to say anything. He finally does as the boy talks over him, completely ignoring him.
TRAVIS (CONT'D)
I think you...
BOY
(somewhat confused)
Well how’s Sarah doing?
The boy pulls out a cigarette box out of his back pocket, and takes one out to smoke. The box reads “Lucky Star”.
TRAVIS
I don’t know Sarah. I think you have me confused with somebody else.
BOY
Oh.
He holds the cigarette up to his mouth, and looks at Travis strangely.
BOY (CONT'D)
Oh...
The boy then turns slowly, and returns down the stairs, lighting up his cigarette with a match along the way.
We see Travis, staring blankly down the empty hallway. He is utterly confused.
TRAVIS
(mumbling)
You can’t smoke in here...
EXT. ROSE TOWERS - NIGHT
We see Travis standing in the cold, outside the front doors, as Nate pulls up in his Jeep Trailblazer. Nate gets out, as Travis walks up.
TRAVIS
How much stuff do you have?
NATE
Not that much.
He opens the trunk, with garbage bags full of clothes falling out.
TRAVIS
(eyeing the luggage)
I’ll get some towels and the lamp, and that’s it.
NATE
Aw, come on...
CUT TO:
INT. ROSE TOWERS - NIGHT
Nate and Travis ride the elevator to the fifth floor, Nate’s many bags strewn around their arms. Travis also carries Nate’s Big Al Elephant lamp.
NATE
My lights kept going out on the way back.
TRAVIS
Yeah?
NATE
Yeah.
TRAVIS
That’s not good.
NATE
Yeah, I guess. It actually wasn’t that hard to drive. I couldn’t really see where the lanes were, but I just went where the other cars... weren’t. It worked out pretty okay.
TRAVIS
(absentmindedly)
Your battery’s probably gonna die.
NATE
(nonchalant)
No...
(beat)
It was actally pretty scary sometimes, though. I’m not really used to it being that dark in the car, ‘cause all the gauges went out too - did I tell you that? I couldn’t see how much gas I had or how fast I was going. I felt like something terrible was about to happen.
TRAVIS
Like you crashing into a car?
NATE
No... there was never any real danger. It kind of felt like a videogame.
TRAVIS
Except it was real. The danger was real.
NATE
(sarcastically)
I mean, I guess.
The doors open as they get to the fifth floor hall. They step out.
TRAVIS
Something weird happened to me.
Nate doesn’t seem to respond, preoccupied with his bags.
TRAVIS (CONT'D)
Okay, I’ll tell you about it. I was waiting outside our door, sitting at the end of the hall, and there was this guy that just came up and started talking to me like he knew me. He was like, “Hey pal, long time no see” or something like that.
NATE
You didn’t know him?
TRAVIS
No. I’d never seen him.
NATE
That is weird.
TRAVIS
He started asking about what I was majoring in, and I was like, “I don’t really know, I’m undecided,” and he was like, “Oh well what about engineering?”
Nate digs for his keys.
TRAVIS (CONT'D)
He had me confused with somebody else, ‘cause then he started asking me how Sarah was doing. And I don’t know any Sarahs. I mean, I guess Sarah’s a pretty common name...
NATE
Where are my keys?
TRAVIS
(shocked)
What?
Nate stares at him blankly for a moment.
NATE
Nah, I’m kidding.
He pulls out the keys and unlocks the door.
TRAVIS
Jesus Christ, Nate. Jesus, you know how pissed I would have been?
NATE
(dryly)
Jesus. You would have been so pissed.
We can see them through the door, we are observing from the hallway.
TRAVIS
Anyway, when I told the guy that he had me confused for somebody else, he didn’t even like, say “Oh, I’m sorry” or whatever. He was just like, “Oh...” and left.
NATE
(beat)
Maybe he had taken some drugs. You know how kids are.
Nate closes the door. The camera stays on their door for a moment.
RANDY (O.S.)
Okay, ready? Minute thirty seconds. And...
A bell sounds.
CUT TO:
INT. 411 RIVERSIDE WEST - NIGHT
Randy sounds the “bell,” a spoon against a trashcan, and Marcus and Nick box. We see them wail one another for about twenty seconds, a small crowd cheering them on. A phone rings. No one takes any notice.
CUT TO:
INT. ROSE TOWERS ROOM 406 - NIGHT
We see Travis on the other end of the phone, anxiously waiting for someone to pick up. Nate is in the background, moving his bags around slowly and haphazardly.
CUT TO:
INT. 411 RIVERSIDE WEST - NIGHT
Marcus and Nick continue to fight, violently. They both block quite a bit, and take many body shots. The phone continues to ring, and finally some crowd members take notice, looking around for the phone. Alex finally picks it up.
ALEX
Hello?
CUT TO:
INT. ROSE TOWERS ROOM 406 - NIGHT
Travis’s eyes light up.
TRAVIS
Alex?
ALEX (O.S.)
Hey what’s up?
TRAVIS
Hey, um. Can I talk to Marcus?
INT. 411 RIVERSIDE WEST - NIGHT
Alex looks at Marcus, getting punched in the face repeatedly.
ALEX
He’s busy right now.
TRAVIS (O.S.)
Oh. Okay. Well I guess, if you have a chance, can you ask him if he’s seen my keys?
ALEX
Oh, yeah.
Marcus, curious, even though still in the heat of a fight, looks over to Alex. His words are slurred from his mouthpiece.
MARCUS
Whoozat?
ALEX
It’s Travis.
MARCUS
Whazee want?
Marcus dodges a swing, and throws one at Nick’s stomach.
ALEX
He wants to know if you’ve seen his keys.
MARCUS
What?
CUT TO:
INT. ROSE TOWERS ROOM 406 - NIGHT
TRAVIS
(subdued)
I mean, if he’s busy I can call back later.
INT. 411 RIVERSIDE WEST - NIGHT
ALEX
(loudly, to Marcus)
He was asking if you’d seen his keys.
MARCUS
Mmm, nah.
He manages to block several punches, and turn to get a last good punch on Nick before the bell sounds.
ALEX
(to Travis)
He said he hadn’t seen them.
TRAVIS (O.S.)
Oh, okay, that’s fine.
Marcus takes off his gloves, the crowd claps and congratulates them for a good fight. Marcus takes out his mouthpiece.
MARCUS
(to Alex)
Hold on, lemme talk to him.
ALEX
Here you go, Travis...
She hands the phone to Marcus, who now has a towel draped around his neck.
MARCUS
Hey man, what’s up?
CUT TO:
INT. ROSE TOWERS ROOM 406 - NIGHT
TRAVIS
Oh, hey. I - uh. I was just wondering if you had seen my keys lying around anywhere, because I already looked everywhere at my place and they’re not here.
CUT TO:
INT. 411 RIVERSIDE WEST - NIGHT
MARCUS
Oh, I don’t think so, man.
(he turns)
Hey Nick, have you seen Travis’s keys?
NICK
(offhandedly)
Oh, no.
MARCUS
Anybody see Travis’s keys anywhere?
Marcus waits for a moment to see if anyone responds.
MARCUS (CONT’D)
No, we don’t know.
CUT TO:
INT. ROSE TOWERS ROOM 406 - NIGHT
TRAVIS
Oh, okay. Well thanks anyway.
MARCUS (O.S.)
No problem.
CUT TO:
INT. 411 RIVERSIDE WEST - NIGHT
MARCUS
Hey, don’t you have your phone number and shit on your keychain?
TRAVIS (O.S.)
Yeah, I do.
MARCUS
Okay, well that’s good.
CROWD MEMBER #1
Hey, who’s fighting next?
CROWD MEMBER #2
Chance and Randy!
CROWD MEMBER #1
Oh, this is gonna be good...
CUT TO:
INT. ROSE TOWERS ROOM 406
Travis listens to the excess conversation on the other end.
TRAVIS
Hey, what’re you guys doing?
CUT TO:
INT. 411 RIVERSIDE WEST - NIGHT
MARCUS
Oh, we’re fighting.
TRAVIS (O.S.)
Fighting? As in... really fighting?
MARCUS
Yeah, I mean, we’re using boxing gloves, but we’re not really boxing. Like, we’re not following all the official rules or whatever.
(beat)
It’s basically fist-fighting with boxing gloves on.
CUT TO:
INT. ROSE TOWERS ROOM 406 - NIGHT
TRAVIS
Oh.
(beat)
Why?
CUT TO:
INT. 411 RIVERSIDE WEST - NIGHT
MARCUS
Why are we fighting?
TRAVIS (O.S.)
Yeah.
Marcus is silent for a moment, thinking. In the background, Nick applies vaseline to Chance’s face and gloves. Nick stretches.
NICK
(to Chance)
Shit makes you feel alive, man.
Marcus shrugs.
MARCUS
(to Travis)
Shit makes you feel alive, man...
INT. ROSE TOWERS ROOM 406
TRAVIS
(laughing)
Oh, I guess it does.
MARCUS (O.S.)
Yeah man. We’re throwing some bows.
Travis is not sure how to end the conversation. He opens his mouth hesitantly.
TRAVIS
Well anyway, I’ll talk to you later.
MARCUS
Yeah, see ya, man...
CUT TO:
INT. 411 RIVERSIDE WEST - NIGHT
MARCUS
And uh, I’ll tell you if I see your keys.
TRAVIS (O.S.)
Thanks Marcus.
MARCUS
Yeah.
TRAVIS (O.S.)
Bye.
MARCUS
Bye.
Marcus hangs up and sets the phone down. He turns.
MARCUS (CONT'D)
Let’s get another fight going in this mother!
The crowd roars.
EXT. MCFARLAND BLVD. - NIGHT
We see different shots of near-empty streets around Tuscaloosa. We hear the sound of a far-off train. We see different buildings around the campus, and parked cars downtown. The train continues to sound.
TRAVIS (V.O.)
I love the sound of the train. It’s like a lullaby from the still of the night. It’s a very reassuring sound. I have the feeling that, whenever the train calls out, everyone just stops to listen. Or maybe they don’t. But I wouldn’t be surprised if they did. It’s a bittersweet sound. Like it’s mourning the present, because the future is so uncertain. But it’s comforting. Because it’s telling us that neither the present nor the future really matter.
INT. ROSE TOWERS ROOM 406 - NIGHT
Close on Travis. We see him take a big swig of Negra Modela. He is watching Channel 16. It is the local weather channel, which jumps from feeds of cameras set up around town.
TRAVIS
And that’s why I love Channel 16, y’know? It’s the same concept.
Nate is half-asleep on the couch, to Travis’s right. Travis talks to him anyway.
TRAVIS (CONT'D)
If people from another planet, with no prior knowledge about Earth saw this channel, they would think, “Oh wow, there’s no fighting... there’s no hostility on this planet. There’s just cars going by, and this beautiful, soft music.” Everyone’s fine. Everything’s so inconsequential.
(beat)
Nothing matters.
Nate makes a noise through his nose in his sleep. Travis observes him momentarily, then takes another long sip of the lager.
TRAVIS (CONT'D)
You’re a great listener, Nate. That’s why I like you.
Travis stares at the television, his eyes vacant. The feed switches from street to street, only a handful of cars on each. The orchestra music plays softly in the background. Travis takes another drink of his Modela, then closes his eyes. He inhales through his mouth, then releases through his nose.
We hear a crackling from the far side of the room. Travis shifts in his seat, his eyes still closed. There is static from the TV, and the music fades out. Travis opens his eyes. He blinks for a moment.
We see the TV, still switching feeds from camera to camera, though in silence. Travis, confused, gets the remote and turns up the volume, but nothing happens.
There is an occasionally buzzing. A deep voice comes through the speakers, echoing and enveloped in static.
TV VOICE
Hello Earthlings. The voice you are hearing is Galgar, of the Starship Command Number 7758-31.
We see Travis’s eyes widen in fear and a slightly drunken state of confusion.
TV VOICE (CONT'D)
We have been picking up frequencies from your Earth for many years, and have subsequently tracked your movements, your lifestyles, and your relationship habits with one another. Though we are galaxies apart, we believe we have an inert understanding of your planet. We are speaking to you now because we fear that your existence as a people may be coming to its end on your Earth.
Travis tries to wake Nate with his hand.
TRAVIS
Nate...
(beat)
Nate!
TV VOICE
We have noticed a particular trend in your people upon reflection of the information you have transmitted, and that is that you are living false lives. You praise false Gods and follow false principles. You try to escape your present form of living by consuming various chemicals that alter your state of mind. You are afraid to confront your present self.
Travis, now terrified, shoves Nate.
TRAVIS
Nate! Wake up!
TV VOICE
You are afraid to confront your past self. You fear the future. You try to blunt the pains of life by constructing a narrow-sighted false life.
TRAVIS
(now hysteric)
Nate!!
TV VOICE
This false life consists of diversions that are dangerous to your cumulative well-being. You turn to the false life in order to deal with the stresses of the primary life. The false life is formed in imitation of the primary life, only exaggerated and trite. It is characterized by vulgar sex and violence, and embodies everything the conscious mind represses in its primary life, due to society’s wants. Be wary of this false life.
Nate gets up and runs to the kitchen, grabbing a pot and a spoon and clanging them together.
TRAVIS
Nate! Nate!!
Nate finally opens his eyes slightly. He is completely delirious.
NATE
What the fuck are you doing?
TV VOICE
...For the false life can only bring suppression to the primary life. The stronger the false life becomes, the weaker the primary life grows... and ultimately, the greater the risk that is posed towards the well-being of your people.
TRAVIS
Nate! Are you listening to this?
Nate rolls on his side, his face in the seat of the couch.
NATE
(muffled)
Listening to what? The TV?
TRAVIS
Yes!
NATE
What’s he saying?
TV VOICE
...Remember this. The false life is overblown. If it is allowed to dominate your consciousness, then you will see your people suffer as a result, for the blasphemies of the false life are not fit for the primary life, and they can only cause destruction, and death.
(beat)
There will be aimless wars. Supernatural occurences will seem real... due to your making them that way. The unnatural will be natural. The living will be indiscernible from the dead.
TRAVIS
(eyes wild)
Are you listening??
NATE
What about it? It’s just a guy...
TRAVIS
No, this never happens, this NEVER happens... He’s saying he’s an alien, Nate!
NATE
Shut up, Travis...
TV VOICE
...You must first change the primary life, before you succumb to that which is false. Please heed our word. We fear there is not much time for your people.
(beat)
That is all, from Galgar, of the Starship Command Number 7758-31. Farewell, and good-night.
The last few words get muffled in distortion and static, and the music returns.
TRAVIS
Did you hear that Nate? He said he was Galgar, of some Starship command something...
Nate says nothing, his head now burrowed into the seat, his body covered in a blanket.
TRAVIS (CONT'D)
(defeated)
Nate?
Nate, now back asleep, lets out a loud snore. Travis sighs, collapsing onto his chair. He runs his hands through his hair, observing the TV screen, baffled. It shows the feeds, with the music playing behind it from before, as if nothing had ever happened.
INT. 411 RIVERSIDE WEST - NIGHT
Marcus and Alex sit in Marcus’s room. Marcus watches Brazil and Alex rests on his bed. They both stare at the screen.
ALEX
This is weird.
Marcus watches the TV, his mouth slightly open. He is unblinking.
MARCUS
(absentmindedly)
Shhhhhh...
The phone rings. Marcus glances at it momentarily. He picks it up.
MARCUS (CONT'D)
Hello?
(beat)
No, man. I’m not watching that.
(beat)
What? I’m in the middle of a movie, man...
ALEX
Who is it?
MARCUS
It’s Travis. Hey man, d’you find your keys?
TRAVIS (O.S.)
What? No...
CUT TO:
INT. ROSE TOWERS ROOM 406
TRAVIS
That’s not important right now...
MARCUS (O.S.)
Woah, okay man. What’s the problem?
TRAVIS
Okay. Well, you’re gonna think this is stupid. And - because it is. You’re gonna think this is stupid, and cliche... because it is a cliche. But you have to believe me - you have to believe what I’m saying.
MARCUS
Okay, man. What’re you saying?
TRAVIS
Okay. Um, there was this voice. I was watching the TV, and there was this voice that came on, and it said it was Galgar, of the starship command number...
He holds a notebook on which he has notes scrawled out in black ink.
TRAVIS (CONT'D)
7758-31. Do you think the number has any significance?
There is silence on the other end.
MARCUS (O.S.)
Uh. I dunno, man.
TRAVIS
You think I’m crazy, don’t you?
INT. 411 RIVERSIDE WEST - NIGHT
MARCUS
No man, no.
(beat)
What kind of voice was it?
ALEX
(confused)
What?
TRAVIS (O.S.)
It was like a... a deep, British voice. But it said it was coming from another galaxy. It, it said - hold on.
(beat)
It was talking about a primary life and a “false life”. It was warning that if the false life takes over, that there’s gonna be - uh - destruction.
ALEX
What is he saying?
MARCUS
(mumbled, to Alex)
Hold on...
(to Travis)
Hey Travis, have you had anything to drink tonight?
TRAVIS (O.S.)
No, I mean - yeah, man. But that’s not the problem. That’s not the problem. You don’t just come up with stuff like this, Marcus. This actually happened.
ALEX
Marcus, what’s going on?
Marcus covers the voice box on his phone.
MARCUS
I think he’s just drunk, he’s talking out his ass.
He turns back.
MARCUS (CONT'D)
Where’s Nate right now, Travis? Did he see it?
TRAVIS (O.S.)
No, he’s asleep right now, Marcus. I tried to wake him up, but he’s asleep.
MARCUS
I understand man. What channel did this happen on?
CUT TO:
INT. ROSE TOWERS ROOM 406
TRAVIS
Channel 16. It happened on Channel 16.
MARCUS
Okay, lemme just...
(beat)
I don’t see anything weird.
TRAVIS
No, I know you don’t see anything, because it’s already happened - it’s not gonna happen again.
CUT TO:
INT. 411 RIVERSIDE WEST
Alex is now leaning on the end of the bed, trying to hear the conversation.
MARCUS
Huh. Well man, do you want me to call the station - it’s locally run right? Or the Communications office? Do you think they’d know anything about it?
TRAVIS
Hey - actually. Actually, that’s a great idea, man.
MARCUS
Yeah, sure.
TRAVIS
And, hey, you don’t have to call them, I can call them.
Marcus, reluctant, looks at Alex.
MARCUS
Oh... well, okay. Yeah, you just call them and tell them what happened, see if they know anything about it.
TRAVIS
Okay, yeah, that’s great. Okay, bye Marcus.
MARCUS
(subdued)
Bye Travis.
Marcus hangs up. He looks at Alex.
MARCUS (CONT'D)
He’s gonna call the station, or Communications department.
Alex stares at him, her mouth slightly open.
ALEX
He’s drunk. You said so yourself. Why did you tell him to call around in the middle of the night?
MARCUS
I didn’t. He just said he was going to. Doesn’t matter.
Alex sighs, and her eyes take her back to the television.
ALEX
Do you think he really saw anything?
MARCUS
I dunno. Maybe.
(beat)
I dunno.
We hear a terrible banging on the main door. Marcus and Alex look at one another, then get up.
ALEX
What is that?
We see Nick come out of his room as well, and they all approach the door. Nick looks through the peep-hole.
NICK
There’s nobody out there.
MARCUS
Open the door.
Nick opens it. As he said, there is no one there.
MARCUS (CONT'D)
It was probably the guys down at 405.
He sticks his head out into the hallway.
MARCUS (CONT'D)
Yeah, okay. Obama won and there’s nothing you can do about it, you motherfuckers!
ALEX
Marcus...
We see Nick close the door.
TRAVIS (O.S.)
Um, yes. Is this the number for the telecommunications department?
CUT TO:
INT. ROSE TOWERS ROOM 406
A woman is on the other end. Her voice is weak. She is tired. We only see Travis for the entirety of the conversation.
WOMAN
Yes it is.
TRAVIS
Okay, great. Um, I was calling to report a - uh, an intrusion of a signal. On Channel 16. The local weather station. Channel 16 was interrupted by a outside force - outside signal.
WOMAN
Um. Okay, what’s your name?
TRAVIS
Travis Coleman.
WOMAN
Okay, Travis Coleman. Why are you telling us?
TRAVIS
Um. I just. I just thought that maybe you would know something about it. Has anyone else called in or anything?
WOMAN
Not that I know of. Then again, I don’t imagine a lot of people watch the local weather station at 1:30 at night.
TRAVIS
Oh. Well. Um.
Travis looks around his room, not sure what to say.
TRAVIS (CONT'D)
Well, do you want any details about the thing, or anything?
WOMAN
Listen, I just work the night shift at the front desk, I don’t know anything about this stuff.
TRAVIS
Oh. Okay.
There is a silence.
WOMAN
(sighing)
Have you tried calling the actual station?
TRAVIS
I already - I called them already, they didn’t pick up.
WOMAN
Hmm. Well, just. I guess, can you just describe what happened for me?
TRAVIS
Okay, thank you. Thank you. I was just watching, and there was a voice that came on. He said his name was Galgar. But that’s not important. The traffic feeds were still playing, but a voice came on, and he started talking about a primary life, and a false life. And, I didn’t really hear what he said, but I think that he was saying that if the false life takes over - the false life is like violent TV shows and stuff - if that takes over, then everything will, sort of be, destroyed. He said...
Travis picks up his notebook.
TRAVIS (CONT'D)
He said “The dead will be indiscernible from the living,” which can be taken as like, I dunno. Ghosts? Maybe? Like spirits?
There is a long silence over the phone.
TRAVIS (CONT'D)
(desperately)
Hello?
WOMAN
I hear you, Travis. Um. Maybe it was just someone pulling a prank, trying to scare some people. Just to stir some folks up, you know?
TRAVIS
I don’t know. I don’t know about that...
WOMAN
What kind of voice was it? Was it a man’s voice?
TRAVIS
Yes, it was a man. It was a deep, British man’s voice.
WOMAN
(repeating)
A British man’s voice.
TRAVIS
Yes.
WOMAN
And after he finished his little speech?
TRAVIS
What?
WOMAN
What happened after he finished talking?
TRAVIS
He just went away. His voice just went off and the music came back on.
WOMAN
Huh. Well. I’ll let the head of the department know about it tomorrow morning.
TRAVIS
Thank you, thank you again.
WOMAN
And Travis?
TRAVIS
Yes.
WOMAN
Get some sleep.
TRAVIS
Yes. Okay. Yes, I will.
Travis hangs up the phone. He sighs, and turns to look at Nate, still asleep on the couch. Travis stares at the phone. He yawns, rests his head on his hand.
EXT. REESE PHIFER HALL - MORNING
We see the same satellites again, with the sun coming up.
CUT TO:
INT. ROSE TOWERS ROOM 406 - AFTERNOON
We see Travis in the same position, only slightly slumped over. He is asleep. We hear Nate talking to him.
NATE
Travis. Travis...
(beat)
Travis.
Travis opens his eyes. He smiles.
TRAVIS
Hey man.
NATE
Did you sleep through your philosophy class?
Travis looks at the clock for a moment.
TRAVIS
Yeah, I guess I did, ha.
Travis notices that there is someone else in the doorway.
TRAVIS (CONT'D)
Who’s this?
NATE
Travis, this is Leopold.
LEOPOLD
(to Travis)
Hello.
TRAVIS
How’s it goin’?
NATE
Uh. I was in English, and Leopold was asking if anyone saw what happened on Channel 16 last night. He said that a voice cut in, interrupted the program. I said I think my roommate might have seen it.
TRAVIS
(suddenly remembering)
Oh! The thing!
He points to the TV, still on.
TRAVIS (CONT'D)
You know about it?
LEOPOLD
Yes I do.
Travis looks at him for a moment, still tired.
TRAVIS
D’you wanna get coffee?
INT. FERGISON LOBBY - LATER
Travis sits as Leopold meticulously stirs his coffee, adding just the right amount of sugar and cream. Travis stirs his coffee in response, waiting.
TRAVIS
This is fucking great.
(beat)
So. What do you know about what happened?
LEOPOLD
Oh, I know as much as you do. The broadcast was intruded upon by an outside signal.
TRAVIS
Yes, but do you know where that signal was coming from?
LEOPOLD
Well, the voice stated clearly and plainly. It was Galgar, from the starship command number 7758-31.
TRAVIS
So. So you believe that it was actually - from another -
LEOPOLD
...That it was not of this Earth, yes.
TRAVIS
How do you know for sure?
LEOPOLD
I don’t. But when a voice comes over the television, unannounced and unexpectedly, telling you it’s sending its message from halfway across the galaxy, I tend to believe it.
TRAVIS
(smiling)
Well, that’s the truth. My roommate wouldn’t get up for it. I told him about it but he didn’t think it was any big deal.
Nate, who has come up behind them with his coffee to sit down, overhears Travis. He flips him the bird, with his own sound effect...
NATE
Peeew...
LEOPOLD
Oh yes, it’s very real. I knew it from the second the voice came over. You see, I’ve had several extra-terrestrial experiences.
TRAVIS
(somewhat deflated)
Oh you have?
LEOPOLD
Oh yes, but nothing like this. It’s usually just a suspicious flashing light in the sky, or a strange whirring in the night.
NATE
You mean like a plane?
TRAVIS
(turning to him, angry)
Nate.
He stares at him momentarily, gripping his pen.
TRAVIS (CONT'D)
You certainly put it eloquently, Leopold. Now.
(clearing his throat)
Do you think there’s anyone else that might have seen it, that just isn’t talking about it? I mean, we couldn’t have been the only ones.
LEOPOLD
I wouldn’t be surprised if we were the only ones. If not, I’m sure we’re the only ones who responded to it the way we did, meaning, we actually took it seriously.
TRAVIS
Oh yeah?
LEOPOLD
Yes, yes. These people with a typical human mentality will just let this kind of thing wash right off of them, with no questioning or explanation at all.
TRAVIS
Yeah. I guess you’re right.
(beat)
Well, what d’you think it means? The message?
LEOPOLD
Well. I’d assume it means precisely what it’s saying. That they’re trying to save us, because we’re gorging on fatastical violence and sex, and in the end, it’s going to kill us.
NATE
Woah, wait.
Nate holds a hot bit of coffee in his mouth.
NATE (CONT'D)
What?
LEOPOLD
Yes. That’s what the creatures from across the galaxy warned us of. Not of an impending attack. Not that giant lasers were going to come down and vaporize us all, but that we’re going to lose ourselves in our own overblown trash. We’re going to forget how invaluable our lives really are.
TRAVIS
They called it the false life, Nate.
Nate looks at them both.
NATE
You’re saying that aliens - aliens told you that people shouldn’t be caught up in their own fantsies?
Leopold looks at Nate, somewhat hurt.
TRAVIS
Nate. Shut up.
(beat)
Okay, Leopold. There’s something I can’t figure out. Why here? Why would they send their message here? Do you think we’re especially susceptible to the kind of thing they’re talking about?
LEOPOLD
Oh no, I’d assume that, whoever these people are, they just sent the signal in Earth’s general direction in hopes that it would be heard somewhere.
TRAVIS
So the signal just happened to land here?
LEOPOLD
That’s what I’d assume. It must have taken years upon years to reach us, as well. Keep in mind it’s coming from across the galaxy. The transmission was probably very weak when it got here, which leads me to believe that either the weather station’s signal itself is just weak, or that it was already facing some kind of interference.
Travis raises his eyebrow.
TRAVIS
And you’re saying the transmission just happened to hit at exactly the right time?
LEOPOLD
Well, the beings probably sent it on a constant loop, in hope of someday making a contact.
TRAVIS
So. Wait. If it’s an old message, the destruction and chaos they’re talking about - it could already be in effect?
LEOPOLD
I’m not sure. But it could be very close.
TRAVIS
How are we going to know when it gets here?
LEOPOLD
I don’t know. I’d imagine that it would all happen gradually. I don’t think we’ll just wake up one day to a red sky and flames enveloping everything we see. I think that we’ll slowly start to see the effects of it.
Travis feels his teeth with his tongue.
TRAVIS
You know what Galgar said? He said that the living will be indiscernible from the dead.
LEOPOLD
I heard that.
TRAVIS
Does that mean that the dead will start walking again? Or their spirits?
LEOPOLD
It could. Or it could be a harbinger for our deaths. We’re so close to death that we could be construed as dead, ourselves.
Travis looks at him, his jaw locked coldly.
TRAVIS
Don’t say that.
Nate stares at Leopold strangely.
NATE
You seem to know a lot about this.
LEOPOLD
About what?
NATE
About all this. About this whole thing.
LEOPOLD
Are you saying that I did it? That I interrupted the broadcast?
NATE
I dunno. It seems like you could have.
LEOPOLD
(flatly)
I couldn’t have orchestrated something like this.
Travis’s eyes move from Leopold’s to Nate’s. They are all silent for a moment, tense. Travis’s phone rings. It breaks the spell. He picks it up.
TRAVIS
Hello?
(beat)
Uh, yes it is.
(beat)
Oh. Oh, okay.
(beat)
My keys, yes, thank you. They were in the communications building - just in the front hallway? Well thank you so much - uh - is. Do you want to meet somewhere? Like. Um, where are you now?
We see Nate and Leopold politely exchange a silent dialogue. It is clear that each has respect for the other.
NATE
(whispered)
Lost his keys.
TRAVIS
Oh. Okay. Well, I can just meet you somewhere over there. Okay. Yeah. Just in the East parking deck over behind Rowand-Johnson? When are you free? Okay. Well I’m just at the Ferg. Yeah. Yeah, that’s fine with me. Okay. Okay. Thanks again. Thanks so much.
Travis hangs up.
TRAVIS (CONT'D)
That was a guy - Fin. He said he had my keys.
NATE
Fin?
TRAVIS
Yeah. He said he found them in the hallway of Reese-Phifer on the second floor, just outside of room 216.
NATE
That’s where you have...
TRAVIS
Mass comm.
LEOPOLD
How long have you not had your keys?
TRAVIS
Just a night. The guy said he would meet me in a about twenty minutes at the parking deck over that way.
He points in an arbitrary direction out the window. He then takes a sip of his coffee.
NATE
Well, if are you guys done talking about Galwin-
TRAVIS
...Galgar.
NATE
Right. Galgar. Then I guess I’ll get out of here, I’ve got a class at five.
TRAVIS
See you later.
He holds up his middle finger as he says it, playfully.
LEOPOLD
I’ll see you in English, Nate.
Nate waits.
NATE
See you, Leopold.
He looks down at Travis, and flips his another bird, again adding a laserbeam sound effect. He exits.
Travis looks at Leopold.
TRAVIS
Do you want to walk and talk?
He cocks his head in the direction of the parking deck.
LEOPOLD
Sure.
As they get up from the table, Marcus and Alex emerge from out of nowhere. Alex looks concerned for Travis.
ALEX
Hey Travis.
TRAVIS
Hey Alex. Hey Marcus, what are you guys doing?
ALEX
Just getting coffee. Are you okay, Travis?
TRAVIS
Am I okay?
MARCUS
Alex...
TRAVIS
Oh. You mean, are you worried about my call last night?
Alex looks at him, her teeth together with fret.
ALEX
Yes. You know what you were saying about the end of the world and zombies and stuff? I’m just worried that maybe you’re... making it real.
(beat)
When it’s not there?
TRAVIS
Oh, no. It’s real. This is Leopold, he saw it too.
Leopold smiles and does a polite greeting motion with his hand. Alex simply stares at them both, perhaps more worried than before.
TRAVIS (CONT'D)
Thanks for caring though, Alex. We were sort of on our way out, so I’ll see you guys later.
He walks past them, and Leopold follows in trail.
MARCUS
See you later, Travis.
Alex looks at Marcus, not knowing what to think. Marcus shrugs.
EXT. FERGUSON - LATER
Travis and Leopold walk together to the parking deck. Travis is slightly ahead of Leopold. Neither of them talk. Then, Leopold looks curiously at Travis.
LEOPOLD
You want the world to end?
Travis looks ahead, does not respond immediately.
TRAVIS
I never said that.
Leopold is not sure what to make of his answer, so he simply looks forward as well.
LEOPOLD
Y’know, it’s people like that that can’t accept a supernatural occurrence for what it is. They have to put some kind of rationalization on it, or act like somebody’s crazy because they believe it.
Travis presses his lips together.
TRAVIS
That’s right.
(beat)
You’re exactly right.
EXT. EAST PARKING DECK - EVENING
We see the feet of two guys sitting in the back of a truck, their legs dangling off the side. They are the feet of the two people we saw earlier.
VOICE #1
He said he would be here in twenty minutes?
VOICE #2
That’s what he said.
Voice #2 looks at the keys, reading the name.
VOICE #1
That’s what you said... Travis Coleman.
EXT. ROWAND-JOHNSON - EVENING
TRAVIS
What do you think Galgar looks like?
LEOPOLD
Well, I’m tempted by the sci-fi movies of the world to assume that he’s a long, gangly humanoid with a huge head and black, slit eyes. But as far as my own imagination will take me, apart from popular depictions - well, he could literally look like anything. Maybe he looks exactly like us.
TRAVIS
(thinking)
He did speak to us in English, not some alien language.
LEOPOLD
That’s probably because they’ve learned our language and sent the message in English for us to understand.
TRAVIS
(pointing)
Here it is on the left.
They hop over some bushes, and the ledge, and walk into the cavernous parking deck. Only one car sits in the deck, on the ramp to the second level. From Travis’s perspective, we can see the backs of the heads of the guys in the truck. They laugh and joke, their voices echoing throughout the place. Travis approaches them.
TRAVIS (CONT'D)
Uh, Fin?
They take no notice.
TRAVIS (CONT'D)
(louder)
Is that Fin?
The guys in the truck stop. They both turn. Fin has red hair that he has dyed himself, and the other, Neal, has a long brown ponytail.
FIN
Hey, are you Travis?
TRAVIS
That’s right, I am.
FIN
I’m Fin. This is Neal.
TRAVIS
Neal and Fin, hello.
Neal nods, somewhat uninterestedly. Fin pushes himself off of the back of the truck, and approaches Travis warmly.
FIN
I’ll get you your keys, man.
TRAVIS
Thanks so much. Really, you don’t know how much you’ve helped me out.
FIN
No problem. No problem at all.
TRAVIS
(turning)
Oh, this is Leopold. We just met, actually.
FIN
Hello, Leopold.
Fin gets the keys from his pocket.
TRAVIS
We were talking about the signal intrusion on Channel 16 last night. D’you guys hear about it?
Fin stops as Travis is about to take the keys. Fin stares him down, his face suddenly tight. He pulls the keys from Travis’s fingertips.
FIN
Travis Coleman.
He stares at the name on the keys, then looks up at Travis.
FIN (CONT'D)
I knew that name was familiar.
Fin turns to Neal.
FIN (CONT'D)
Neal, this is the guy that called in last night. Y’know they were talking about it in TCF?
Neal’s eyes widen.
NEAL
Holy shit.
FIN
Yeah.
Fin looks Travis dead in the face.
FIN (CONT'D)
Hey, you asshole. You know how much shit we could get into for doing that?
Travis is extremely confused.
TRAVIS
I don’t know what you’re talking about-
FIN
You called it in. You said there was a broadcast intrusion on Channel 16 last night, did you not?
TRAVIS
Well yeah, but-
FIN
Do you know how much of an offense that is? Me and Neal could go to jail for a long time.
TRAVIS
Wait. So that was... so it was you?
NEAL
Yes it was us.
He jumps off the truck as well.
TRAVIS
I didn’t know. I didn’t mean to get you guys in trouble.
FIN
We aren’t in any trouble yet. But if you keep talking about this, then we’re going to be.
TRAVIS
I - I didn’t know. I didn’t think it would... I didn’t-
FIN
Shut the fuck up.
Fin grabs Travis’s shirt. Leopold backs up.
NEAL
Stay right there!
Leopold freezes.
FIN
(to Travis)
Listen. If we got caught for this, we would have to drop out of school. There’s a big ass fine. A big ass fine. In the hundred-thousands.
(beat)
Now I don’t have that kind of money, okay? I can’t get another offense on my record - I can’t drop out of school.
NEAL
Neither can I.
FIN
Neither can Neal. Now just, keep your mouth shut about this, or you’re gonna be dead. And I mean that.
Travis swallows. His face is void. It is not clear what he is upset about: that his life has been threatened, or that the message was not real.
TRAVIS
(raspy)
Okay. Oh-kay.
Fin glances over at Leopold.
FIN
That goes for you too. You got me?
LEOPOLD
Yes.
Fin looks at them both, still trying to keep his sense of menace. Travis looks at him, his eyes hard.
TRAVIS
I can pay for it.
Fin’s brow loosens.
FIN
What?
NEAL
What’d he say?
TRAVIS
I said I can pay for it. If it - if this ends up being a big thing, I can say that I did it.
Fin is utterly confused, and turns to Neal. Neal shrugs.
FIN
What are you talking about?
TRAVIS
I could - I could use my tution money to pay off the fine. I could, uh, drop out of school, become a drifter - I don’t care. I could, really.
FIN
Are you fucking with us?
TRAVIS
No. No, I’m not. I’ll do it. I want to. I’ve been looking for something like this.
Fin looks at him skeptically.
TRAVIS (CONT'D)
I’ll take the fall for it. I promise. I’ll live with no responsibilities.
Fin stares at him coldly, for quite a while.
TRAVIS (CONT'D)
I promise.
Fin keeps his arm locked onto Travis’s shirt for a moment. His face becomes cool again. He relaxes. He finally lets go of Travis, dropping his keys to the ground.
FIN
There are your keys.
Travis leans down and picks them up. When he stands up, he is face to face with Fin. They stare at each other.
FIN (CONT'D)
You better do what you say. If it does come down to it. If the shit hits the fan, you better be there. Yeah?
Travis nods. So does Leopold.
FIN (CONT'D)
(louder)
Yeah?
TRAVIS
Yes. Yes.
FIN
Okay.
(beat)
Now get the fuck out of here.
Fin and Neal return to the truck. Neal walks around to the driver’s side. Fin closes the back of the trunk. Travis and Leopold look at each other, their spirits broken.
TRAVIS
(quietly)
It’s not real, Leopold. None of it’s real.
(beat)
Nothing matters.
Leopold closes his eyes then opens suddenly, looking as they are about to get in the truck.
LEOPOLD
Who did the British accent?
Travis darts his eyes at Leopold.
FIN
What’d you say, kid?
LEOPOLD
Which one of you did the British accent?
Fin and Neal look at one another, blandly.
FIN
What the fuck are you talking about?
Travis’s brow furrows.
TRAVIS
The British accent. On Channel 16. Galgar.
Fin sighs, running his hand over his face.
FIN
I don’t know what the fuck you guys are talking about - look, all we did was transmit an old 70s double-penetration porno. We thought it would be funny - from where we were sitting, we didn’t even think it worked.
Travis’s face drops. He freezes in one spot.
TRAVIS
What. What we saw wasn’t - that wasn’t what we saw.
He looks at Leopold. Then back to Fin.
TRAVIS (CONT'D)
There was no interruption of the video, there was just a voice that came on. A British voice, he said he was Galgar. He said there was going to be destruction. Do you not know about any of that?
Fin looks at them, almost smiling. He turns to Neal, to see his reaction. He turns back.
FIN
You guys. We just wanted to put a little bit of porn over the air. It’s not anything revolutionary. I am still lost as to what the fuck you’re talking about, though.
TRAVIS
(thinking)
70s double-penetration porn?
Travis looks at Leopold. He blinks quickly.
TRAVIS (CONT'D)
That was the outside interference.
NEAL
(to Fin)
What’s he saying?
Close on Travis’s face.
TRAVIS
That was what allowed the message to come through. Your signal didn’t come over the air, it just let the other one through.
We see the parking deck from a far-off shot. We feel the cold night air.
EXT. REESE PHIFER HALL - NIGHT
Extreme close-up on the radio tower. We heard the humming, louder than ever.
INT. ROSE TOWERS - NIGHT
Nate comes up the stairs, and stands outside of his room. The camera keeps close on him and he digs through his pocket for his keys. He gets them out, and flips through them. Behind him, down the hall, we hear a voice.
BOY
Hey pal, it’s been a while.
Nate turns. He doesn’t recognize the boy. The boy approaches, friendly.
NATE
Oh. Hey. How’s it going?
BOY
Good, good. So what are you majoring in again?
The boy gets out a Lucky Star cigarette.
NATE
Oh, uh. I’m thinking about something in business.
BOY
Business.
The boy stops.
BOY (CONT'D)
Well what happened to engineering?
NATE
Um, engineering?
Nate looks at him out of the corner of his eye.
NATE (CONT'D)
I don’t know. I don’t know about engineering.
The boy seems somewhat confused. He pulls out a match, lights it on the opposite wall.
NATE (CONT'D)
Well uh... how’s Sarah doing?
Nate looks at him suspiciously.
Slow motion. There is a close-up of the boy’s pendant. It reads “Sherman High School, class of 1958.”
The boy is a ghost. He is trapped in this conversation on this hall. The destruction has already begun. The boy lights his cigarette. Music fades in.
CUT TO:
INT. ROSE TOWERS ROOM 406 - NIGHT
It is the music from Channel 16. We see the television, Channel 16 still on. Cool, calm music. We slowly pan in, watching the feeds switch from one street to the other, as the music grows louder and louder.
THE END