Mweh?


(Now we see the bar again. GEORGIA and APRIL have actually managed to infiltrate without the latter having a panic attack. They are having drinks, “girly” drinks, chatting it up and being very friendly in the background. The camera pulls back to see JAKE and BILL in the foreground, both displeased with the situation. We can still hear them laughing and giggling over the ambient bar noise; the boys are remaining silent. They cast angry looks at the girls, then back at each other, as if to say “huh, women!” or something to that effect. JAKE makes a rude gesture, hinting at a possible “relationship” between the two ladies, and BILL loses it. We do not see his eyes close. It should be noted that the BLONDE is tending bar. BILL shoots up from the table, knocking it over and roaring out a challenge as the song begins with percussive, accusing piano.)

BILL:

You think you’re better, you’re better than me?!
You blow me off as history
To avoid conversation
You’re ignoring me

(APRIL, startled, bolts from her chair and streaks out of the bar. The BLONDE, meanwhile, gets the patrons to start a bit of a drone underneath the song. BILL, seizing the opportunity, saunters over to a flabbergasted GEORGIA and starts pouring on a slightly liquored up charm.)


When you’ve had enough and
you need somebody to know
Well you’re looking tough

But you need a way to let it go
Come on now
what’s a boy s’posed to do
When I can’t seem to leave you alone
Touching me touching you

I wanna be your brother,
wanna be your father too
Never make you run for cover

even if they want us to
I wanna be your sister,
wanna be your mother too
I wanna be wanna be
Whatever else that touches you (x3)

(GEORGIA is not having any of it. She leaves as well, with BILL grinning callously and shouting after her.)


For fear of losing, losing your way
just stop and listen to the things that they say
To avoid confrontation
you walk away

(he turns back to the rest of the bar, full proclaiming that he’s, well, lost his ability to care.)


Growing up, found the need to compromise
Well I’ve had enough 20 years and I realized
Come on now, what’s a boy s’posed to do
When I can’t seem to leave you alone
Touching me touching you

(We see him slide across the floor and sing the next chorus… to JAKE.)


I wanna be your brother,
wanna be your father too
Never make you run for
cover even if they want us to
I wanna be your sister,
wanna be your mother too
I wanna be wanna be
Whatever else that touches you (x3)

(JAKE gets upset, disgusted, and leaves. The patrons keep on underneath the music as BILL makes the rounds, hitting on pretty much everything he sees.)


When you’ve had enough and you need somebody to know
Well you’re looking tough but you need a way to let it go
Come on now, what’s a boy s’posed to do
When I can’t seem to leave you alone
Touching me touching you

(the song suddenly grinds to a halt, traintracks as we see the BLONDE from behind the bar interjects her own song, leaping up onto the bar and, well, pulling a Coyote Ugly. BILL doesn’t seem to be aware of this, as he continues with the bride to his song and the final choruses. They happen simultaneously.)

BLONDE:

Everybody’s gonna love today,

Gonna love today, gonna love today

Everybody’s gonna love today, love today,

Anyway you want to, anyway you’ve got to,

Love love me, love love me, love love…

Girl with a groove with the big bust on,

Big bust on, big bust on.

Wait till your mother and your papa’s gone,

Papa’s gone.

Momma, Momma, Papa, shock shock me,

Shock shock me, Shock shock…

BILL:
This isn’t a perfect love
One that we’re guilty of
What am I supposed to do
Can’t seem to leave you alone
Touching me Touching you

I wanna be your brother,
wanna be your father too
Never make you run for
cover even if they want us to
I wanna be your sister,
wanna be your mother too
I wanna be wanna be
Whatever else that touches…

(BILL finally sees the BLONDE, and the song dissolves, along with the entire bar scene. We hear what sounds like the rush of tides, but it turns out to be the rush of wind through the window of BILL’s bedroom back in his house. The entire previous scene appears to be a dream. It’s apparent that APRIL has been here lately, as almost everything of note has been boxed up and taken. The bed is bare, except for a passed out BILL. Several bottles of liquor stand on a milk crate next to the bed. Most surprisingly, however, are the BLONDE and the YOUNG BILL that was originally seen in the opening, singing the backup bits to the next song in a hushed, worried whisper.)

BLONDE ANDBOY:

Don’t wake up, won’t wake up, can’t wake up,
No, don’t wake me up
don’t wake up, won’t wake up, can’t wake up,
No, don’t wake me up

BILL: (drowsy, half asleep, mourning. He’s still lying on the bed. He glances at the clock.)
It’s the early morn
(turns on the light)

lights flick on
sleepy eyes peek through the
blinds at something wrong
(does so. He sees his reflection in a nearby window, almost transparent.)

Motionless remains the mess
Shame, such a beautiful, beautiful young life

(he rolls over onto his back)
By the time  I’m dreaming
and you’ve crept out on me sleeping
I’m busy in the blissful unaware
By the time I’m dreaming
and you’ve crept out on me sleeping
tell me how am I supposed to care

BLONDE & BOY:
Don’t wake up, won’t wake up, can’t wake up,
no, don’t wake me up
don’t wake up, won’t wake up, can’t wake up,
no, don’t wake me up

(BILL rolls over again and sees some of the flotsam left from APRIL’s hurried packing. A bunch of old baby clothes are strewn about, as if she couldn’t decide if she should take them or not.)

BILL:
A trail of clothes two years old
Why did you have to go and leave
all this stuff behind
wasn’t I allowed three strikes and out
No, but you said I could, said
I could just one night

(he pulls himself up to a seated position on the bed, but it’s apparent he really doesn’t want to do anything.)


By the time I’m dreaming
and you’ve crept out on me sleeping
I’m busy in the blissful unaware
By the time I’m dreaming
and you’ve crept out on me sleeping
tell me how am I supposed to care

(he’s very clearly crying now, his tears reflecting in the streetlight streaming in the window like ersatz moonlight. More involved background parts.)

If I had let you go, let you go

BLONDE ANDBOY:

sounds like Would

BILL:
would this be different, different
Now I’ll never know never know
I didn’t get the chance damn you
If I let had you go, let you go
would this be different, different
Now I’ll never know never know
I didn’t get the chance damn you

(three part unison.)
And by the time I’m dreaming
and you’ve crept out on me sleeping
I’m busy in the blissful unaware
And by the time I’m dreaming
and you’ve crept out on me sleeping
tell me how am I supposed to care
(the BLONDE and the BOY fade the song out. As they do so, BILL blinks hard, turns around slowly and, for the first time, sees the BLONDE in reality.)


Don’t wake up, won’t wake up, can’t wake up,
no, don’t wake me up
don’t wake up, won’t wake up, can’t wake up,
no, don’t wake me up
don’t wake up, won’t wake up, can’t wake up,
no, don’t wake me up
don’t wake up, won’t wake up, can’t wake up,
no, don’t wake me up
don’t wake up, won’t wake up, can’t wake up…

BILL: (almost aghast, but mostly curious)

Who are you?

(the BLONDE smiles.)

BLONDE: You know who I am?

BILL: Are you… me?

BLONDE: Not yet.

BILL: Why are you… why am I… I think… I do… Do I want…?

BLONDE: You’ll just have to find that out…

(the BOY, who has been standing very nervously in the corner, finally speaks up.)

BOY: Be careful! You don’t have to…

(he quails under a glare from the BLONDE. She turns back to BILL, and smiles.)

BLONDE: We’ll meet again, BILL. My name’s Mary.

(she sticks out a hand to shake his. He makes to do so, but the instant before contact we are blinded as BILL snaps into morning, his alarm clock juddering him awake with the force of a neutron bomb. Was he dreaming? Did he fall back asleep until then? Was it real? He is asking himself the same thing.

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