The Last Shot

INT. FILM SET

CLIFFORD BROCK sits on a director's chair. A director's

finder hangs on a string wrapped around his neck. He appears

to be lost in thought, distracted, a bit wild-eyed. GRETCHEN

WERNER walks in with a script in hand, a clip board, wearing

glasses.

GRETCHEN WERNER

Mr. Brock?

No response.

GRETCHEN WERNER

Mr. Brock?

No response.

GRETCHEN WERNER

I think people are waiting.

CLIFFORD BROCK

Let them wait. Things are

flowering. We wait for radiance,

for change to flower.

GRETCHEN WERNER

Are you thinking of changing

something in the script again?

CLIFFORD BROCK

Hillary, it's Hillary, right?

GRETCHEN WERNER

No. Actually it is Gretchen.

CLIFFORD BROCK

Well you see, that is what I mean.

It should be Hillary. What are you

doing with a name like Gretchen?

GRETCHEN WERNER

My parents gave it to me.

CLIFFORD BROCK

Parents always fuck things up.

GRETCHEN WERNER

I sort of like Gretchen.

Clifford pops off his director's chair.

CLIFFORD BROCK

Sort of? That's not good enough.

It can be better. Things can never

be good enough. They can always be

better. But we get lazy. We stop

thinking.

GRETCHEN WERNER

Does this mean you are changing the

script again? Because I would like

to know before we start shooting.

CLIFFORD BROCK

Why? Change is easy. Change means

nothing. What is hard is to

enhance, refine, to augment.

GRETCHEN WERNER

How are we augmenting?

Clifford starts to stare at Gretchen and move closer to her.

CLIFFORD BROCK

I can see a Hillary hiding inside

that you, trying to work its way

out. It hungers to come out of

that shell of a Gretchen. And

explode. There are great things

waiting for that Hillary and

Gretchen is stopping her.

At this point they are very close. Gretchen, though

uncomfortable and feeling awkward, is nonetheless taken in by

Clifford. At this point, RONNIE KNOX rushes in.

RONNIE KNOX

Are you ready? Are you ready?

CLIFFORD BROCK

Ready? Yes. No. I am rethinking.

RONNIE KNOX

We cannot afford to rethink. You

have to be ready to roll. To roll.

Like...now.

CLIFFORD BROCK

It's all wrong. It doesn't feel

right.

RONNIE KNOX

We do not have time for feeling

anything, Clifford. We have to

wrap. Today.

Kelly King is downstairs, Clifford.

And she's in a twit because the

studio has its auditor on site.

CLIFFORD BROCK

There's no murder.

RONNIE KNOX

(ignoring Clifford)

So we need to shoot the last shot

and finally finish the fucker.

CLIFFORD BROCK

Think about what it would be like

if there was no murder.

RONNIE KNOX

Think about what? No murder what?

What are you talking about?

CLIFFORD BROCK

We do not shoot a murder. We show

the audience that there was no

murder. We can make that change,

can't we Gretchen?

GRETCHEN WERNER

I can do what ever you want.

RONNIE KNOX

No murder. Clifford, this is the

first scene in the movie. We are

shooting the first scene last. If

you change the first scene,

everything changes.

CLIFFORD BROCK

Isn't that brilliant.

RONNIE KNOX

No. It's idiotic. You are

deranged and having one of your

mind flips. We do not have time

for flip flops, Clifford. Kelly

King is on set. She knows the

script. You can't change it.

CLIFFORD BROCK

I wrote it. I can change it. It's

in my contract. Can't I Gretchen?

GRETCHEN WERNER

Well, you have been changing a lot

as you can see.

Gretchen holds up the script which is filled with yellow

sheets and clipped pages representing dozens of changes.

RONNIE KNOX

You are seeking support from the

fucking script supervisor. (to

Gretchen) Can you please leave?

CLIFFORD BROCK

Stay where you are Ms.....

GRETCHEN WERNER

Werner. Gretchen Werner.

CLIFFORD BROCK

Your German?

GRETCHEN WERNER

My father....

RONNIE KNOX

Oh for chrissake, who gives a shit

about her. Are you fucking the

script supervisor?

CLIFFORD BROCK

Gretchen's personal life is none of

your business. Tell her Gretchen?

GRETCHEN WERNER

Ms. Knox, we are not....

CLIFFORD BROCK

Don't feel like you have to succumb

to her interrogation. Gretchen and

I have a relationship.

GRETCHEN WERNER

Well, a professional one.

CLIFFORD BROCK

You tell her, Gretchen. Let the

production manager have it.

RONNIE KNOX

Gretchen, can you please give me a

moment alone.

Gretchen leaves.

INT. DRESSING ROOM

GWEN BARLOW and UNA FRIPP sit in a holding area.

GWEN BARLOW

He's brilliant.

UNA FRIPP

How can you tell?

GWEN BARLOW

Stupid question. It's obvious.

UNA FRIPP

He's a mess.

GWEN BARLOW

He appears that way. But I can

feel his brain cells tingling all

over my body when he gives me

direction.

UNA FRIPP

So it's true.

GWEN BARLOW

What?

UNA FRIPP

You guys are fucking each other.

GWEN BARLOW

Absolutely not.

UNA FRIPP

Right.

GWEN BARLOW

You're jealous.

UNA FRIPP

What, of Clifford Brock's dwelling

on your performance.

GWEN BARLOW

Well, yes.

UNA FRIPP

He dwells on your performance

because you need forty notes for

one simple action.

GWEN BARLOW

Una, I have nuance. You get it.

Nuance. And it takes fine surgery

to urge my nuance to bloom.

UNA FRIPP

You have so many nuances nobody

knows what the hell you're doing.

GWEN BARLOW

Excuse me, Una, but since this is

the last shot of the movie, let me

just tip you off that you are quite

disliked by everyone.

UNA FRIPP

I consider that a badge of honor.

GWEN BARLOW

That is why I have the last big

scene and not you.

UNA FRIPP

You're murdered in the last scene.

I remain alive, ready, willing and

able to be cast in a sequel, you

idiot.

GWEN BARLOW

You remain alive because you have a

more powerful agent. That's all.

INT. PRODUCTION OFFICE

KELLY KING and EDGAR MIGGS are in a room. Edgar is holding a

clipboard and lots of papers. Kelly is trying very hard to

be respectful, but cannot help revealing her disdain.

EDGAR MIGGS

Sixteen days over the schedule at

about $225,000 per day.

KELLY KING

Please don't do the math.

EDGAR MIGGS

That comes to exactly three million

six hundred thousand dollars.

KELLY KING

It does not.

EDGAR MIGGS

Actually, according to the expense

reports, it really adds up to about

four million. So you are correct.

KELLY KING

Thank you. No look, if the studio

wants me to finish this movie, then

quite possibly your presence here

is going to slow things down.

EDGAR MIGGS

I hardly think so.

KELLY KING

I am the engine that keeps this

ship moving. And just having you

here is draining me of fuel. The

site of you makes me feel spent.

EDGAR MIGGS

You are spent. Fully spent. The

studio wants you wrapped before

overtime kicks in today.

KELLY KING

What? This is the last day. This

is the last shot. You are going to

give me shit on the last day?

EDGAR MIGGS

I think it is entirely reasonable

for the studio to require you to

wrap without overtime.

KELLY KING

Clifford Brock is an overtime kind

of director. That is what I am

dealing with here.

EDGAR MIGGS

According to the script, there is a

simple murder for you to shoot. It

is half a page. Is it so much to

ask for you to not go past six pm?

INT. FILM SET

Clifford Brock and Ronnie Knox are where we last left them.

CLIFFORD BROCK

We are living in crazy times,

Ronnie. Crazy times where nothing

is as we think it is. Everyone

thinks there's a murder. Everyone

acts as if there is a murder. Why?

Because they want there to be a

murder.

The murder justifies every

character's purpose. It justifies

their actions. It fills a void.

But, what if there is no murder, no

murder, and the audience knows it.

But, ah ha, but all the characters

believe, they have to believe, they

want to believe that this murder

happened, that it exists. It's a

metaphor.

RONNIE KNOX

Audiences don't give a shit about

metaphors, Clifford. They want a

movie with drama, Clifford; at a

minimum, to make sense. Some

sense. This means we have to

reshoot everything.

CLIFFORD BROCK

No. No. That's the point. Oh,

how brilliant. How brilliant. The

metaphor IS the drama. Today, we

do not shoot a murder. We shoot...

In walks WENDY JAY.

WENDY JAY

Is everything OK? People are sort

of getting worried.

RONNIE KNOX

Wait till you hear this. We are

not shooting a murder. We are not

shooting a murder. We are shooting

a metaphor. We have to set up to

shoot a metaphor.

WENDY JAY

I am not sure I understand.

RONNIE KNOX

He's lost his mind, Wendy.

WENDY JAY

Mr. Brock?

RONNIE KNOX

Yes. Mr. Brock. Who the fuck

else. This nutcase here is not

some crazy genius. But you want to

think that. Don't you. You want

to think he's a crazy genius.

WENDY JAY

I don't think Mr. Brock is crazy.

INT. DRESSING ROOM

Gwen Barlow is holding a script in hand, standing, facing Una

Fripp, who is holding a prop gun.

GWEN BARLOW

Do you think when you shoot me I

should fall forward or back?

UNA FRIPP

Have you ever heard of anyone

falling forward into a gunshot?

GWEN BARLOW

Oh yes. I think there is a medical

name for it.

UNA FRIPP

Oh, christ.

GWEN BARLOW

But you might be right. If I fall

forward, I will be face down. I

should fall back, and die with my

face to the camera.

UNA FRIPP

The medical name for that is

vanity.

MADISON QUINN walks in.

MADISON QUINN

Ms. Fripp, there's been a change.

UNA FRIPP

Madison, I am rehearsing. I told

you not to bother me when I am in

my zone. I am in my zone, in my

zone rehearsing.

MADISON QUINN

Yes, Ms. Fripp. But I thought you

should know that a little broo-ha

ha is, well, brewing.

GWEN BARLOW

What sort of broo-ha ha?

UNA FRIPP

Gwen, you are not to directly

address my personal assistant. She

answers to me, not you. (to

Madison) What sort of broo-ha ha?

INT. PRODUCTION OFFICE

Kelly King and Edgar Miggs are still going at it.

EDGAR MIGGS

The studio is also concerned about

the stability of your director.

KELLY KING

He's a director. A film director.

Of course he's not stable. That's

what you pay for.

EDGAR MIGGS

We have watched the dailies.

KELLY KING

Excuse me, what? The dailies. How

the hell did you get a hold of the

dailies? I haven't even watched

the dailies.

EDGAR MIGGS

Which is an indication that you

have lost control.

Ronnie Knox walks in.

RONNIE KNOX

We have a problem.

KELLY KING

Not now Ronnie.

RONNIE KNOX

Yes now.

KELLY KING

Ronnie, who do you work for? Who

do you work for?

RONNIE KNOX

I work for the picture.

KELLY KING

Wrong. You work for me. Me. Your

loyalty is to me, not the picture.

RONNIE KNOX

Well then let me re-phrase. You

have a problem, and you should know

about it, like now.

KELLY KING

And you think it appropriate, you

think it prudent to share my

problems with Mr. Miggs here who is

a representative of the studio?

No. No. So go back to work and

get the last shot set up.

RONNIE KNOX

But...

KELLY KING

Go.

INT. FILM SET

Clifford Brock is now standing, looking out the window. He

is alone with Wendy Jay, who stands behind him.

WENDY JAY

Film is no longer an artform. It

has become a business. Big

business, like oil or banking.

Filmmakers pretend to be artists,

but you know what they are?

At this point Wendy walks up to Clifford and puts her hand on

his shoulder.

WENDY JAY

They are assembly workers

assembling a package of formulaic

messages that support the global

corporate fascist state. But

you...you are different. You are a

warrior fighting against the

corporate terrorists that have

stolen the hearts and minds of the

working class.

CLIFFORD BROCK

So I take it you approve of the

change to the scene we will shoot

today?

WENDY JAY

It is positively a masterstroke of

artistry. Your filmmaking has the

touch of Michaelangelo.

Wendy turns Clifford around to face her.

WENDY JAY

Creativity at your level must be

very draining. Do you feel

drained, Mr. Brock?

CLIFFORD BROCK

No.

WENDY JAY

Of course you don't. Genius never

tires. It continues to labor on in

the face of all obstacles.

CLIFFORD BROCK

The point is that we believe what

we want to believe to make us feel

like we are purposeful. We make

ourselves right by altering our

perceptions.

WENDY JAY

Yes. It is deliciously Einsteinian

in its thought.

Wendy kisses Clifford on the lips. The kiss is somewhat

long, a bit wet, but Clifford's mind seems to be elsewhere,

which goes unnoticed by Wendy. Wendy's lips withdraw slowly,

her eyes closed, and she now too seems to have been

transported.

WENDY JAY

(eyes closed when she

starts talking)

Oh my god. Oh my god. I can feel

it. I can feel the very demise of

the corporate power structure, its

destruction is on the horizon. The

death of Mickey Mouse and Ronald

McDonald. And I have touched the

soul of the messiah of change.

CLIFFORD BROCK

It might be wise to start

assembling the art department so

you can dress the set.

WENDY JAY

Of course. All in the service of

our socio-political goals. Thank

you Mr. Brock. Thank you Clifford

Brock. Thank you.

Wendy departs, leaving Clifford alone.

INT. CORRIDOR

Ronnie Knox is walking down a corridor and is confronted by

Una Fripp. Madison Quinn is in tow.

UNA FRIPP

What's this I hear about a change?

RONNIE KNOX

Nothing is decided.

UNA FRIPP

Madison here tells me she has heard

otherwise.

RONNIE KNOX

Well Madison doesn't know what she

is talking about.

UNA FRIPP

We rehearsed the scene. I have

prepared. I've studied every

aspect of the scene.

RONNIE KNOX

You pull a fucking trigger of a

handgun and say a few words.

What's to study?

UNA FRIPP

I do not want any last minute

changes. My contract says all

changes are to be delivered forty

eight hours prior to the day of

production.

RONNIE KNOX

This is film, Una. Not a stage

play. You will not pampered to

death on my set.

UNA FRIPP

Your set?

Ronnie rolls her eyes or sits on an outburst.

UNA FRIPP

I have a contract.

MADISON QUINN

Yes. She has a contract.

UNA FRIPP

You tell her, Madison.

RONNIE KNOX

Oh for chrissake.

INT. EDGAR MIGG'S OFFICE

Edgar Migg's office is more lavish than the production

office, with a couch and a coffee table. Kelly King storms

into the room to find Clifford Brock. Edgar Miggs sheepishly

stands at the door.

KELLY KING

What's this I hear?

CLIFFORD BROCK

It's a small alteration to the

script but a big change to the

movie. No costs are involved in

making the change.

KELLY KING

No murder? Have you lost whatever

mind you have left, Clifford? This

is a suspense film. The whole film

is about a murder. This is not a

message movie. This is not some

high brow metaphorical art house

film. This is Hollywood, Clifford.

I am Hollywood. And if you would

stop and think who butters your

bread and mows your three lawns and

changes the tires on your dozen

sports cars, maybe you would

remember you are Hollywood too.

CLIFFORD BROCK

Maybe we should stop doing what we

are doing? Maybe we are all

running backs heading toward the

wrong goal. Maybe we are on the

wrong train, going in the wrong

direction at the wrong time.

KELLY KING

Who gives a shit what train and

what direction. It is a gravy

train, Clifford. That is all you

need to care about. Keep the gravy

coming. You see that man over

there?

Kelly King points to Edgar Miggs.

KELLY KING

He is the eyes and ears of

Hollywood. Watching every move I

make and every move you make.

EDGAR MIGGS

Actually, all I want is for this

last shot to not go into overtime.

I am not here to interfere with the

creative aspects.

CLIFFORD BROCK

See. Big brother has his concerns,

which is not relevant to the change

I am making to the shot.

KELLY KING

Oh it will be. It will be when the

film tanks at the box office. Big

brother will throw you out into the

orphanage so fast you will not know

what hit you.

Gwen Barlow walks in, giving a passing nod to Edgar Miggs.

GWEN BARLOW

So this is true?

KELLY KING

Gwen, this is business talk, not

art talk. So go study your lines.

CLIFFORD BROCK

You stay where you are, Gwen.

EDGAR MIGGS

Ms. King, we need to report the

status of the set to the studio.

KELLY KING

What status? There is no status.

EDGAR MIGGS

You are losing control.

Clifford and Gwen slip out of the room.

KELLY KING

Mr. Miggs, this is movie making.

Things happen. It is all part of

the plan for stuff to go wrong, for

things to come off the rails. It's

an improvisation. If you permit me

to do my job, if you let me have

the exercise my steady

determination to get this done,

then my studio poll numbers will be

just fine. Where's Clifford?

Kelly King and Edgar Miggs are alone.

INT. DRESSING ROOM

Clifford Brock and Gwen Barlow face each other.

GWEN BARLOW

I think it's wonderful that you

don't want to kill me.

CLIFFORD BROCK

Murder is not necessary to the

story.

GWEN BARLOW

You are so right. Will there be a

sequel?

CLIFFORD BROCK

Every story has a sequel. Every

story is followed by another story.

GWEN BARLOW

Yes. Yes. And so I live on. On

to another story. Another film!

CLIFFORD BROCK

You know you were cast in this role

against my better judgment.

GWEN BARLOW

What?

CLIFFORD BROCK

You did a lousy audition. You

obviously relied on your facial

structure and good body rather than

any acting talent.

GWEN BARLOW

I'm...but...

CLIFFORD BROCK

But I was wrong. You are as

talented as you are beautiful.

Gwen is relieved.

CLIFFORD BROCK

Your talent seems to glow, like a

bright yellow sun through a hazy

sky.

GWEN BARLOW

Clifford, really. You are making

me blush.

Clifford touches her face with his hand, gently stroking the

side of her cheek, working its way down Gwen's neck.

GWEN BARLOW

Clifford. Clifford. If I were

you, and I make no pretense to be

you or know what it is like to be

you, but if I were you, I would

stop touching your actress right

now before you get in trouble.

CLIFFORD BROCK

Trouble? I am the director. Why

should I get into trouble?

GWEN BARLOW

You want me, Clifford Brock? You

want all of me...all my hazy

sunshine reflecting warmly off

every part of your body. Is that

what you want, Clifford Brock?

CLIFFORD BROCK

I do not think I could have

expressed it better.

GWEN BARLOW

Then place this in your pants and

let it tickle your future plans.

Sequel. Gwen Barlow in your

sequel. Make certain the last shot

is changed, and you can have all

the sunshine you want. And do you

know why?

CLIFFORD BROCK

Why?

GWEN BARLOW

Because you are a brilliant

and...and Gwen Barlow does not die.

Gwen walks out.

INT. A CLOSET OR HIDDEN AREA

Madison Quinn is standing with her head leaning back against

the wall. Edgar Miggs slips into the room.

EDGAR MIGGS

I missed you.

MADISON QUINN

Yeah?

EDGAR MIGGS

How's it going?

MADISON QUINN

Una Fripp is a pompous,

pretentious, overbearing egomaniac.

But she pays well.

EDGAR MIGGS

You look beautiful.

MADISON QUINN

Edgar...what happened to that job

opening with Chris Nolan's

production company?

EDGAR MIGGS

I'm working on it.

MADISON QUINN

I'm not sure you are.

EDGAR MIGGS

Maybe after they wrap today, we

can...

MADISON QUINN

You fly here on the company jet?

EDGAR MIGGS

Yeah.

MADISON QUINN

So. We can fly back together.

EDGAR MIGGS

Doesn't Una need you?

MADISON QUINN

I am quitting after we wrap.

So...I don't care anymore?

EDGAR MIGGS

You certain you want to make this

change so rashly?

MADISON QUINN

Change is good.

EDGAR MIGGS

I can't promise anything, Madison.

MADISON QUINN

I'll move in with you.

EDGAR MIGGS

Is that what you want?

MADISON QUINN

I don't want it the way it is.

Madison goes to Edgar and is about to embrace him. Edgar

moves back.

EDGAR MIGGS

We shouldn't. Not here.

MADISON QUINN

I thought Hollywood would be

exciting. Like everyday, exciting.

But the minute you go through the

door, you get wrapped up in all the

emptiness of it. I'm tired of

being aroused by emptiness. I want

to be aroused by something...real.

Madison touches her finger to her lips and then places it on

Edgar's lips. She then leaves.

INT. EDGER MIGG'S OFFICE

Una Fripp storms into the room where Kelly King and Edgar

Miggs are engaged in conversation.

UNA FRIPP

So you are the producer. You are

in charge, so start to normalize

things around here. We have a

scene. It is written. I murder

Gwen, a murder I have been waiting

to do for months, and now you think

your nutcase director can change

this on the last day of production.

At this point, Clifford Brock walks in.

CLIFFORD BROCK

Of course I can change it. It is

my prerogative.

KELLY KING

I have a solution. We shoot it

both ways. One with a murder and

one without. That way we can

finish this discussion, and wrap

without overtime.

CLIFFORD BROCK

Do you think I just got off the

bus, Kelly. We shoot it both ways,

you will use the murder shot.

KELLY KING

You have final cut.

CLIFFORD BROCK

Bullshit. You know that's

bullshit.

UNA FRIPP

That's right, bullshit. I have

final cut.

KELLY KING

You have "final look," Una.

UNA FRIPP

Final look?

KELLY KING

You get to look at it and give us

your comments, which we can choose

to ignore if we wish.

UNA FRIPP

I am not getting paid enough for

just a final look.

Wendy Jay walks in.

WENDY JAY

OK, we are all set. The DP is

lighting. The change has made my

job easy. No blood, no mess.

EDGAR MIGGS

No blood means no gunshot, which

means we can dismiss the licensed

gun wrangler, We will save on

payroll and insurance.

KELLY KING

God help me.

CLIFFORD BROCK

OK, so no murder creates some story

problems...it is no longer linear.

But life is not linear.

UNA FRIPP

Excuse me, but my life is very

linear.

CLIFFORD BROCK

Una, you are a star. Committing

murder will tarnish your image.

UNA FRIPP

You think?

KELLY KING

Can we all shut up. For one

second. Maybe we can market the

movie as Part One, locking into the

public's mind set that there will

be a Part Two. This heightens

interest, avoids the possible

criticism of the movie not making

sense, because it will all make

sense when everyone sees Part Two.

Plus, I might add, it doubles the

potential revenue stream.

Everyone seems to absorb this bit of news as good news.

There is a somewhat long moment of silence.

WENDY JAY

We are going to lose the light if

we wait too much longer.

KELLY KING

We wouldn't want to lose the light.

Mr. Miggs, you will cover me on

this?

EDGAR MIGGS

It seems to be a reasonable plan.

WENDY JAY

Mr. Brock, the studio executives

will make you put the murder back

in when you make Part Two.

KELLY KING

Wendy, shut the hell up. That is

for another day.

CLIFFORD BROCK

One shot at a time, Wendy. You

accumulate enough good shots, you

have a good movie.

WENDY JAY

Conducting warfare as a pacifist.

Wow - I get it.

CLIFFORD BROCK

It's an editing thing, Wendy.

WENDY JAY

Of course, Mr. Brock.

INT. A PRIVATE AREA OFF THE FILM SET

Clifford Brock is pacing. Gretchen Werner walks in with

script and notes in hand.

GRETCHEN WERNER

So I made the changes to the script

as requested. You OK?

CLIFFORD BROCK

No.

GRETCHEN WERNER

What's wrong?

CLIFFORD BROCK

I don't know if I am making a

mistake.

GRETCHEN WERNER

You're taking a risk.

CLIFFORD BROCK

Yes. Do I need to take risks right

now in my life? Things are good.

GRETCHEN WERNER

I don't know. Are they?

CLIFFORD BROCK

Are they what?

GRETCHEN WERNER

Your life. Is it good?

Clifford looks at Gretchen.

CLIFFORD BROCK

It's Gretchen, right? Gretchen

Werner?

GRETCHEN WERNER

Yes.

CLIFFORD BROCK

I was wrong.

GRETCHEN WERNER

About what?

CLIFFORD BROCK

After we wrap today, I'd like

to...to have a drink with you.

GRETCHEN WERNER

You just want to talk?

Clifford walks up to Gretchen and is quite close.

CLIFFORD BROCK

I want to...I want to talk about

the sequel.

GRETCHEN WERNER

I don't think there should be a

sequel.

CLIFFORD BROCK

You don't.

They are getting quite close.

GRETCHEN WERNER

It should be a prequel. Start the

credits of this movie (referencing

the script in her hand) with a

"Part Two" in the title. Like

George Lucas did with Star Wars.

CLIFFORD BROCK

Wow...you are really being a script

supervisor.

GRETCHEN WERNER

That's what I do. I supervise.

CLIFFORD BROCK

The prequel idea is brilliant.

GRETCHEN WERNER

It shows confidence, Clifford. It

has...

CLIFFORD BROCK

What does it have?

GRETCHEN WERNER

Balls.

They embrace and kiss.

CUT TO BLACK.

THE END.