INT. EDITOR'S ROOM OF A MAGAZINE - NIGHT 10:00 PM
The room is large, with a small section of it hidden behind a glass panel. You can call this small section a separate room. This is the office of the chief editor of the magazine.
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The CHIEF EDITOR comes to his glass door in the glass wall. He opens it to let the noise from the outside, come in, and for the camera to get out. We get a close up of him, with a dolly shot up his face.
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CHIEF EDITOR
Hurry up, guys, it's 10 PM already. We must have a print by 12.
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In the main hall of the room we can see a frantic scene. A bunch of people are running around trying to piece together the edits for the press. We see how various editors typing their keyboards as fast as possible. For some reason the entire facility is using old school type-writers. No computers in sight. Even though the calendar on the wall clearly states that it is 2026.
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MARK ( an editor ) struggles to type. He click-clacks the keyboard and then stops. He clacks it again but then stops again. He doesn't know what he is writing.
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He gives up and runs to the CHIEF EDITOR.
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MARK
Boss. I need my phone.
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CHIEF EDITOR
If you know nothing, you can't type nothing. I'm sorry, Mark, but go back and finish the damn article. We need it by 12.
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MARK
I can't.
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CHIEF EDITOR
( mimicking )
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I can't... Yes you can!
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MARK
I don't know enough. I need Wikipedia... I need...
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CHIEF EDITOR
Wikipedia? Wikipedia?! We are a prestigious...
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MARK
I know...
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CHIEF EDITOR
... magazine here. We cannot sight fucking Wikipedia. Are you out of your mind?
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MARK
How am I going to write this thing without knowing the lists of the movies?
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CHIEF EDITOR
What do you need the list of the movies for?
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MARK
Because it is about the curse of the 4th film. I must know which is 4th. I must be able to analyze how it is different than the rest. And I don't know enough to do this.
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Chief looks at Mark with an annoyed face for a few seconds. He is considering to maybe give him his phone. He looks back at his office, at a box in the corner. He shakes his head. He looks into the room of the editors. Specifically he looks at JOSH.
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CHIEF EDITOR
Josh!... Hey, Josh!
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JOSH
What the fuck do you need from me right now?
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CHIEF EDITOR
You know movies, right?
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JOSH
Fuck you!
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CHIEF EDITOR
Fuck you! Help Mark with his article.
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JOSH
And who is going to write my article?
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CHIEF EDITOR
You have two fucking hours.
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JOSH
I don't have 2 fucking hours. This shit is complicated. The whole fucking legal language and shit drives me nuts. And I will have to proof-read it before sending it over...
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Chief Editor goes back into his office and closes his door. Mark and Josh look at each other awkwardly.
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JOSH
The fuck are you looking at?
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MARK
Chief said...
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JOSH
Go!
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MARK
But...
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JOSH
I don't want to fucking hear about it.
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MARK
Maybe...
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JOSH
No...
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Mark is just standing there silently while Josh is trying to type some more.
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JOSH
Don't just stand there silently. Go to your desk.
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MARK
But I don't know what is the 4th film of Michael Bay? Is it Bad Boys 2?
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Josh looks at Mark with defeated, pissed of, kind of look.
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JOSH
Pearl fucking Harbor!
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MARK
What?
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JOSH
Michael Bay's fucking 4th film is Pearl fucking Harbor. Get the fuck out of my face now.
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MARK
Fuck, this doesn't make any sense. I was sure it must have been Bad Boys 2.
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Josh cannot type any longer. He is too distracted by Mark.
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JOSH
What the fuck are you writing there?
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MARK
Well... ah... what is the 4th cinema picture by Steven Spielberg?
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JOSH
Close Encounters. What the fuck are you writing there?
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MARK
No, it's 1941.
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JOSH
If you count The Sugar-land Express as his first picture, yes. But if you also count Duel, which was released in theaters, the 4th film is Close Encounters of the Third Kind. What the fuck are you writing there?
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MARK
Wait... Now I'm even more confused.
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JOSH
What the fuck are you writing?
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MARK
It's about this curse...
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JOSH
What?
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MARK
... not curse curse. But a statistical kind of curse. You know. Science math.
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JOSH
Meth?
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MARK
What?
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JOSH
Never mind.
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MARK
So... this thing...
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JOSH
Curse?
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MARK
Yeah, curse! This mathematical curse, it suggests that the 4th film by any director is kind of bad shit crazy.
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JOSH
Curse?
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MARK
Yeah...
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JOSH
Well okay... you can say that Close Encounters is kind of bad shit crazy.
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MARK
But 1941 though.
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JOSH
What 1941... oh... wait... Yeah... That makes no sense. Well. I suppose you have a curse of the 5th picture then.
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MARK
Well in that case Bad Boys 2 makes sense. But what about Babylon. You know from this guy...
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JOSH
What?
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Mark comes to the papers on his desk.
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MARK
Wait a second.
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Mark looks at the stuff he wrote.
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JOSH
This guy?
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MARK
Oh... ah... Damien Chazelle.
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JOSH
Hm...
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Josh thinks about it. He completely forgot about his article. He starts walking towards Mark.
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JOSH
So you are saying that Babylon is similarly crazy to Spielberg's 1941? I mean yeah... It does kind of makes sense. And you could toss out Duel. It was technically shot for TV.
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MARK
But then Bad Boys 2 doesn't work.
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JOSH
Unless Pearl Harbor is the cursed Michael Bay film.
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MARK
What?
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JOSH
You are saying that the 4th film by a director is the cursed film. Maybe its Pearl Harbor.
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MARK
But in this movie Bay tried to calm everything down. Bad Boy 2 on the other hand fits with the rest of the films. It's just, it doesn't fit the number.
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JOSH
What if what you are looking for is not bad shit crazy movies, but different movies? Think about it. Michael Bay movies are bad shit crazy pretty much by default. Pearl Harbor, sure, it has bad shit crazy moments, but maybe because it is trying to be this big Oscar-bait picture, it is kind of strange. What if you are looking for strange movies?
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MARK
Hm...
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JOSH
Let's toss in a different director to test it... Ah...
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MARK
Quentin Tarantino
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JOSH
Quentin Tarantino. So he makes Reservoir Dogs, that's 1. Pulp Fiction, that's 2. Jackie Brown, that's 3. And then Kill Bill is 4. From one side you can argue that Jackie Brown is the weird one out...
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MARK
Kind of like Beau is Afraid.
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JOSH
What?
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MARK
Ari Aster.
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JOSH
Wait, I didn't finish my point.
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MARK
Go on.
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JOSH
From one side you can argue that Jackie Brown is the weird one out. It is not a story by Tarantino, but Tarantino adopting a novel. It is more serious then his other films. It is not as juvenile. Then if you think about it from the perspective of 1941, Babylon and Pearl Harbor, and the fact that it seems like not a lot of people understood those films, you can say that the cursed Tarantino picture is actually Death Proof. His 5th picture. But then actually, if you really think about it, Kill Bill is the weird one out. I mean obviously it is. It is a martial arts film. It is a 2 volume epic. It is the bad shit crazy, ultra ambitious film.
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MARK
Kind of like Bad Boys 2.
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JOSH
Not necessarily. Pearl Harbor, seems to me at least, to be more ambitious than Bad Boys 2.
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MARK
So you are saying the 4th film is usually overly ambitious?
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JOSH
Well, let's think about it. You dropped a name... what was it.
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MARK
Ari Aster?
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JOSH
Yeah... So he made Hereditary... right?
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MARK
Right!
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JOSH
Then he does Midsommar.
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MARK
Right.
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JOSH
Then you get Beau is Afraid.
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MARK
His misunderstood, overly ambitious movie.
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JOSH
What about Eddington? He did make a 4th film.
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MARK
That's the problem I'm having. Eddington seem to be calmer than Beau is Afraid.
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JOHN
But wait, think about it. He makes basically 3 horror films. And Eddington is a fucking Western.
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MARK
It is more of a political action film.
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JOSH
Here you go. This is the odd one out.
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MARK
You said the film needs to be ambitious.
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JOSH
I said that it is maybe the case. But I also said that the 4th films is the odd one out.
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MARK
Hm... Okay... what about. I don't know... what about Ridley Scott?
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JOSH
Let's see... So he does the Duelists. That would be 1. Then Alien. That's 2... Wait... Then Blade Runner? Did he fucking direct anything in between Alien and Blade Runner?
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MARK
Wait... you don't know?
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JOSH
Well?
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MARK
What, well? I thought you knew.
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JOSH
Okay I give up, I don't know. Tell me.
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MARK
I don't know either. I thought you could tell me.
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JOSH
Fuck! Wait... So Alien is... hm... I mean... technically he could make a movie in between. And he made a few smaller films in the 80s. Damn it. We need a phone.
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MARK
Yeah. Fuck!
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Both of them look at the Chief Editor's glass office. And at the box inside of it.
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JOSH
Think, think, think, think....
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MARK
We can sneak in, or something.
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JOSH
What. You want to try to get your phone from over there?
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MARK
Yeah... and then we can quickly see the list on Wikipedia...
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JOSH
Wikipedia? Are you nuts? You want to fucking sight a fucking Wikipedia in your fucking article in the fucking magazine?
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MARK
What's wrong with that?
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JOSH
I mean... yeah... In this particular case, yeah... I guess you are right.
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MARK
So what do we do?
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Josh looks at the clock on the wall of the room. It shows 10:55 PM. Almost 11 PM.
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JOSH
Damn it. We've got a fucking hour. And we need to also proof read the damn thing.
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MARK
What do we do?
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JOSH
I guess.... we could...
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Josh is looking down at the door to the Chief's office. He glances over to his own desk and thinks about the pencils that he has neatly in a little jar.
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JOSH
We need to invent some bullshit.
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MARK
What? No...
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JOSH
No... Not for the article. For the Chief.
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MARK
I tried talking to him. He told me to talk to you instead.
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JOSH
We need something that would make him walk out of the room.
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MARK
What's that gonna help? The door is auto locked. By the time he is out of view the door is locked.
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JOSH
Not if we pencil it.
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MARK
What?
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JOSH
Trust me.
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A moment of awkward silence.
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JOSH
Go bullshit him.
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MARK
Now?
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JOSH
We need to proof read the damn thing. Yes! Now!
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Nervously Mark is strolling toward the Chief's door not knowing what to say. In the mean-time Josh is taking out one of his pencils and pretends to be casual.
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Chief comes to the glass door.
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CHIEF EDITOR
What do you want, Mark?
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MARK
I wanted to...
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CHIEF EDITOR
Yes?
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MARK
Ah...
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CHIEF EDITOR
Speak up. I don't have time.
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MARK
Buy you a drink?
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CHIEF EDITOR
What?
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MARK
I mean, no homo, but you seems like a nice guy. You know. I would buy you a can of Pepsi now if you want.
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CHIEF EDITOR
What are you talking about? No! Get to work.
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MARK
I mean, it is... ah... kind of... homo.
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CHIEF EDITOR
Ha?
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MARK
I love you man!
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Chief Editor leans closer to Mark.
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CHIEF EDITOR
( quietly )
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Shut up. You cannot talk about this sort of thing. Besides I'm your boss. What the fuck is wrong with you?
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MARK
Can we talk about it. You know. Somewhere private?
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CHIEF EDITOR
Shut the fuck up. Shut the fuck up. I mean... don't get me wrong. You are attractive and all. But shut the fuck up.
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MARK
Please...
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CHIEF EDITOR
Shit. Okay... you buy me a fucking Pepsi and we come back.
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MARK
Yeah.. cool...
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CHIEF EDITOR
Act naturally.
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Chief editor and Mark start to walk away from the door. The door is automatically closing down. In this very moment, pretending to be casual, Josh strolls by said door and drops his pencil. The pencil lands in the door-way, blocking it from locking up.
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Josh looks at the rest of the editors. He sees how Chief and Mark go out of the room.
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JOSH
( to everyone in the room )
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Guys... The love-birds just got out. Mark and Chief.
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SOME EDITOR
What the fuck.
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JOSH
Seriously. Go spy on them! They are in love!
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Everybody in the room walk out of the room leaving Josh alone. He opens the Chiefs door and slowly walks in. There is the box. He strolls closer to it. He looks inside. It is full of mobile phones. He looks through them. He find it. His phone...
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There are strange yells happening from outside of the room. Josh is kind of scared.
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But he unlocks the phone and searches for Ridley Scott on Wikipedia. He sees Duelists, Alien, then Blade Runner. So Blade Runner was the 3th. But what was the 4th? Oh right. It was fucking Legend from 1985. Truly the weirdest Ridley Scott film.
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