III

INT. – LOCAL 432 – NIGHT

(Even without an establishing shot, most people will know where we are – some DIMLY-LIT CLUB. It used to be a bar. The LIVE BAND PLAYING's sound levels are WAY TOO HIGH, as one might expect, and it's impossible to tell what the singer's singing...)

MATCH-CUT ON THE SOUNDBOARD: TWO KNOBS replace COLE'S EYES in kind of an amateurish filmschool-student transition. It'll work.

One of those knobs is MASTER VOLUME. (If anybody notices the levels, they're almost all in the RED.) A HAND reaches into frame and DROPS the volume from "mind-explodey" to "merely deafening."

The hand was Cole's, but he isn't the Local's sound guy. THE SOUND GUY FLINCHES at the change in sound and looks to "whatever punk messed with my levels" but –

The sound guy is 6'2", early 30s, something-Eastern Bloc, named MARVIN and there's A LOOK OF RECOGNITION between him and Cole.

(Note: to be heard, everybody has to SHOUT, more or less.)

COLE
I wanted to hear the lyrics.

It took Marvin a second.

A shaking of hands. We might catch a glimpse of guilt in Marvin's eyes; he likes the levels to be too loud but wouldn't admit it. Dumbass.

MARVIN
How are you, man?

COLE
Okay. When's the last time we talked,
a month ago? Your hair was shorter.

MARVIN
I dunno, maybe. What happened to your
hair, did you dye it?

CUTAWAY: OVER-SHOULDER SHOT looking over DAISY to COLE. A few of Daisy's COHORTS with her. MOVE a little to show that it's Daisy, but don't shove it on anyone's face.

COLE
– this way.

(We missed the rest of the sentence.)

MARVIN
That's weird!

COLE
I know, right!

MARVIN
So why'd you come? We didn't need
volunteers, did we?

COLE
No, somebody invited me. I haven't seen
'em though.

MARVIN
(corny)
Was it a girl?

(Cinematography note: In the BG of shots on Cole, we'll see DAISY EMERGING from obscurity in the mob of people behind Cole.)

COLE
It was a couple people.
(a pause)
Mostly girls.

(There was a little "I'm not trying to get laid" tone in that.) They laugh.

The sound board is pretty close to the stage. Most of the people in the club are close to the stage too; there are almost 300 of them. "Fire code" comes to mind. That crowd is why Daisy can get pretty close without being noticeable. It's not shocking or anything.

As COLE AND MARVIN TALK we'll occasionally cut to THIRD-PERSON FOLLOWSHOTS ON DAISY, looking over her to Cole. Sound stays with the guys, though.

She notices how unselfconsciously Cole is talking with Marvin – raised above most of the other people in the Local, and thus clearly visible, with his ass stuck out, he converses not having noticed that at all. And he's not posing. Daisy thinks that's adorable.

MARVIN
(glancing
to Daisy)
What do they look like?

COLE
Basically anybody else sceney here,
except pretty much my age.

MARVIN
I think they're behind you.

Cole sees Daisy and instantly notices how exposed he is, physically – like how easily somebody could just push him off. He adjusts and faces Daisy – he might be blushing –

To see Daisy & co. LAUGHING.

A little awkwardly trying not to expose himself again, hurriedly:

COLE
(to Marvin)
Will you please excuse me?

(Note that Daisy couldn't possibly hear that, such is the ambient noise level of the club.)

MARVIN

Go ahead, man.

(3.1)

Cole HOPS OFF the platform.

(Feel free to skip; Scenery.) This place's – this ex-bar's – odd geometrical seating blocks were probably made in the mid-1970s. Looks like it might've been renovated once in the '80s. The Local's interior is a perfect symbol of how anybody with talent leaves this town as soon as they possibly can. The place has been redecorated plenty recently, though, probably by club attendees.

He and Daisy have to get well within touching range to talk. Neither of them is reluctant to get close, but they don't need to be that close, either.

COLE
So you're here.

DAISY
Of course I am.

COLE shrugs.

DAISY
(re: Marvin)
Do you know that guy?

She pauses like she's trying to remember his name, but she totally doesn't know him.

COLE
– Marvin.

DAISY
Yeah, Marvin!
(a pause)
Can I introduce you to my friends?

BRIEF: COLE'S POV: A look at DAISY'S FRIENDS. They're all staring straight at him. Keep the shot just long enough to make us uncomfortable.

Cole, perhaps blushing, isn't sure how to respond. He shrugs.

It's weird for a second, the way Daisy does it. She puts AN ARM AROUND COLE and the other AROUND x FRIEND. ONE AT A TIME.

DAISY
This's Jenny. She draws a lot and
wants to be a photographer.

JENNY
Or a filmmaker.

JENNY is a very self-conscious not-attractively-dressed redhead who wears glasses. She's cute, and she's a dork.

COLE
(to Jenny)
Are we supposed to shake hands?

She grins and sticks 'er paw out.

It's only slightly corny, and it's the same way when they shake.

JENNY
You're strong.

COLE
Yeah.

JUMP-CUT:

DAISY
(mid-sentence)
Emilie.

EMILIE is a beautiful, pint-sized short-haired brunette skate punk hiding in boyish clothes. She looks a little like Bertie the androgynous cabin boy (real name Roberta) played by Janet Munro in The Swiss Family Robinson (1960).

She offers Cole her hand. He considers acting oldschool English and kissing it but doesn't. Shaking:

COLE
Hi, Emilie!

She likes him instantly. Chemistry between two people.

EMILIE
Hi, Cole!

JUMP-CUT:

DAISY
(mid-sentence)
– Alice.

ALICE is took skinny to look good in what she's wearing – low-rise hiphugger bluejeans + whale tail. Tank top and a white bra she gave up concealing; the club is really hot, and EVERYBODY'S SWEATY, especially those dancing as she was. She looks way taller than she really is at 5'8" and has long black hair with poorly-done blonde streaks in it.

JUMP-CUT:

DAISY
(mid-sentence)
– Mel.

Shaking hands.

"Melissa." She's the fat one. She acts and dresses like she doesn't mind being overweight, in skinny jeans and the like, but Cole, looking straight into her eyes, can see she hates herself for it.

MEL
Hi.

JUMP-CUT:

(3.2)

5+ SECONDS LATER

Daisy, with an ARM AROUND COLE, and Daisy's four friends are walking to some unspoken-for SITTING AREA in the middle of some larger sitting section you can see the stage from.

JUMP-CUT:
Indeterminably later.

SITTING AT THE TABLE, by this point everybody's comfortable with everybody else and there are TWO NEW GUYS at the table with them. One of them is probably Alice's boyfriend, but no time's taken to establish that.

Note that Daisy and Emilie are NEXT TO COLE.

EMILIE
Aren't you gonna get caught?

COLE
For your safety, I won't explain it,
but no, basically.
(more)

Laughs.

The group can't tell whether Cole's kidding.

COLE (CONT'D)
Unless Davie turns me in.

MEL
Why'd you, like, show him it was...
you, anyway?

Giggles. It isn't funny, they're just concerned if somebody says the wrong thing he'll snap into action-mode and destroy them.

DAISY
Yeah, I'm glad you did, just –

COLE
(interrupting
slightly)
I don't know.

Same tone and look in his eyes as when he told Davie the same thing.

JUMP-CUT:

(3.3)

EXT. – LOCAL 432 PARKING LOT – NIGHT

With the Local's façade AT THEIR BACKS, they're CROSSING A STREET – the girls and Cole. THREE GUYS, two from before, are loosely with them.

Cole is HOLDING HANDS – not seriously – with Daisy and Emilie. It's all quite silly. Cole feels a little dumb doing it.

They reach the PARKING LOT and the group SPLITS UP there. Mel with Emilie, Alice and two guys with Jenny, one guy alone. Daisy stays with Cole, which confuses him and makes him really uncomfortable.

Mel and Emilie don't seem to notice, but Alice does and throws a "What are you gonna do, fuck him?" LOOK at Daisy. Jenny's kind of focusing on the guy with her. THE LAST GUY meets Cole's confused look with an "I don't know either" LOOK.

ALICE
(to Daisy)
You coming?

She HOOKS ARMS with Cole. Gets really cute about it.

DAISY
Cole's taking me home.

COLE
You sure? You guys, like, don't know me –

Cole and Alice LOOK at each other. She's studying him. He just grimaces. He doesn't want to take Daisy home but he probably will.

EMILIE AND MEL

join the conversation too.

ALICE
Really?

COLE
Uh...yeah. I know better than to defy
a beautiful lady, I guess.
(more)

Giggles.

COLE (CONT'D)
Especially an emo one.

Laughs. Cole's touched on some argument he didn't know about and everybody but Daisy thinks it's hilarious.

DAISY
I'm not emo.

COLE
So I guess adding the "beautiful" part
didn't work.

More laughs. Cole isn't really trying to entertain the group, but it's having that effect.

DAISY
Why do you think I'm emo?

COLE
What are your favorite bands?

DAISY
Chiodos Bros., Fall-out Boy, Newfound Glory and Thursday.

Good thing Cole wasn't drinking anything; he would've done a spit take.

EVERYBODY laughs. Daisy blushes.

(3.4)

INT./EXT. – COLE'S CAR/CURBSIDE, DAISY'S HOUSE – NIGHT

(Interior or exterior depending upon where the camera is.)

Her parents – or guardians, whatever (she's under 18) – are middle-class, but the house she lives in probably isn't worth more than 120,000 either. That's pre-American real estate crisis money. The neighborhood seems safe enough. People taking walks at knife probably wouldn't get robbed at gunpoint or anything.

Cole drives a four-door, lapis lazuli 1999 Ford AU Falcon XR8 SEDAN.

AUDIO – and, not loudly, there's MUSIC PLAYING on its sound system, which's reading from an iPod plugged into its main console next to the steering wheel.

And Daisy's leaning about as close to him as she can be.

AS HE PULLS UP

DAISY
Don't feel like you hafta say "yes" to
this, okay?

A brief silence as Cole looks to Daisy like "Huh?"

DAISY
Okay?

COLE
Okay, but you're making me tremendously
nervous.

Giggles.

DAISY
Do you wanna come up to my room and
make out?

COLE
I know how this's gonna sound, but I
hafta say it anyway: Uh...I don't
remember how to kiss right anymore.
(more)

OVERLAPPING DIALOGUE:

(1) COLE (CONT'D)
I want to, it's just...I don't want
you to think I'm uninterested, or bad
or inexperienced, cuz I'm not.

(2) DAISY
(empathetic)
You don't remember how to kiss? When
did you forget, sweetie?

COLE
The night before the locker room
thing with Davie. My hair was brown
before then.

She GAZES INTO HIS EYES for awhile, studying like Alice was earlier. What Cole said settles in as real.

AUDIO – about thenish, Cole's "radio" – an iPod plugged into his car's sound system – SHUFFLES to the Rolling Stones song "Little T&A" written and sung by living chemistry experiment Keith Richards, the Stones' guitar player.

She moves his way very deliberately. She isn't exactly fast, but isn't slow.

And KISSES HIM, taking his big fleshy bottom lip between both of hers. Nibbles a little.

Then pulls back, looks at him, and KISSES HIM AGAIN, on the cheek, making a loud and we but traditional smooch noise.

He smiles happily – "somebody likes me." She smiles too but in a "fingerfuck me" way.

She wets her lips a little.

A THIRD KISS but straight on Cole's mouth this time, with hers open. TONGUE. She lingers a couple seconds. Cole responds, but he doesn't match the energy Daisy put into it.

She stays close. It doesn't bother her in the least that he's kind of afraid. She probably likes it. Maybe she likes that control, the response coming on so strong gets her.

DAISY
That wasn't too bad, was it?

Their lips glisten with saliva.

He grins. We can see in his eyes she isn't as good as she thinks she is – he can still judge somewhat, or just regained the ability to – but he's very touched that Daisy is being so great to him, so he could give a fuck whether she's any good.

COLE
No, it wasn't.
(switches
gears)
I still feel a little lost. Uh...I'm
really scared, Daisy.

He means "about everything."

DAISY
Don't be.

Stroking his hair softly. Kissing his cheek.

COLE
I wanna go make out with you, but I'd
just screw it up, and then you'd hate me.

DAISY
You wouldn't screw it up. And I can't hate you.

She kisses him gingerly, languorously, just next to his eye. A loud smooch.

OFF THAT: