The Last Days of Harvesting Sand
by Kristin Sweetland
(1997)
The first act of my never-finished screenplay for the University of Victoria
1. Title Credits
Over a shot of a large hill at twilight. Above the hill thousands of squawking birds fly. Atop the hill is a female figure with her arms outspread.
2. Interior. Train car. Norway. Night.Four people sit in the dark, smoking. A middle aged man, an elderly lady, MORGANNE, a young woman in her early twenties, and SETH, a young man with dreadlocks in his mid twenties with a Norwegian accent.
SETH
That was pretty good in there.MORGANNE
What?SETH
How you did that .MORGANNE
Oh.SETH
It’s hard when you don’t speak the language, or understand.He turns around and says something to the elderly lady in Norwegian. She nods.
SETH
I told her you were from America.MORGANNE
I’m not.
SETH
I know.
3. Exterior. Luna, New Mexico. Backyard. Day.
MARIA, a, a middle aged Mexican woman JORGE, a middle aged Mexican man CHRISTINA, a fourteen year old Mexican girl, JOSIE, 42 AUDREY, 19 and HELEN, 50 are assembled behind a cluster of trailers for a barbecue. They are cleaning, roasting and peeling chilis. Jorge is tending the barbecue and BOOTS, a Chihuahua is running around. All are working, except Audrey who is tanning her legs, and swatting flies. On the surrounding land are two trailers and a small run down adobe house. The yard is cluttered with junk.HELEN
Isn’t that an exercise in futility?AUDREY
What do you mean?HELEN
I mean, do you think killing one will really help?AUDREY
One less.CHRISTINA
I hate chilis. My hands are burning.MARIA
Mi hija, stop complaining, please.HELEN
I’m surprised you’re even allowed to hate chilis down here.Helen puts her arm around Josie, but Josie gets up and wanders over to the other side of the yard.
Hon, could you pass me that other bushel, and my beer, OK?
She realizes that Josie isn’t paying attention.
Well we couldn’t be happier to be anywhere, I don’t think..
JORGE
We are blessed with kind neighbors.The rest all notice Josie who is staring up at the sky.
Seeing another one of them UFOs today Josie?
HELEN
No, seriously, do you hear something?JOSIE
I’m not sure.MARIA
They’ll be here soon.
4. Interior. Train car. Night.The two other passengers in the car have fallen asleep.
SETH
Seth.He extends his hand in greeting.
MORGANNE
Morganne.Morganne pulls out another cigarette and he lights it.
5. Exterior. Luna. Field. Day.Jorge has wandered off into the chili pepper fields. He is examining the plants and we see that there are not many peppers on the vines. He looks over into the irrigation ditch and we see that it is empty. He gets down to look at the soil and it is all just dry sand. He fills up his bushel with a few more ripe peppers, and then looks up at the sky, which we see is cloudless and empty.
6. Interior. Trailer. Day.
Josie is helping Maria bring in dishes and bottles from outside.
MARIA
Jorge will not show it, but he is very concerned.JOSIE
The harvest was exceptionally bad, wasn’t it?MARIA
He never likes to complain, wants to pretend everything is fine, but you have lived here for several months, and you know what it has been like. The ditches are all dried up, and we are lucky to have gotten what have.Maria opens the refrigerator and we can see that it is almost empty,
JOSIE
We can help you with anything you need.MARIA
It is best you stop. You are an artist, you need your hands. If you are not careful the chilis can eat away at them slowly. There is a devil inside them, with very sharp teeth.We hear a car pulling up the gravel driveway.
CHRISTINA
(voice-over)Uncle Carlos!
Maria drops a glass on the floor and it breaks.
7. Exterior. Yard. Day.
A Blue Truck is pulling up the long driveway and Boots is barking madly. All have assembled to greet the visitor.
HELEN
So the son is back from Hell, huh?JOSIE
Be good, Helen.
8. Interior. Train Car. Night.The two other passengers in the train car are still asleep. The man is snoring and the woman is drooling on the window. Morganne is shifting restlessly half asleep, trying to get comfortable. She is unaware that Seth is watching her. The door of the train car opens and it fills with light. The conductor comes in and starts speaking loudly in Norwegian. He asks for their tickets. Morganne understands his gestures and shows her ticket. He goes over and wakes up the two sleeping passengers and the woman argues with him briefly. We understand that he is asking them to leave. Seth lights a cigarette.
MORGANNE
What’s going on?SETH
It’s the smoking car. Nobody is allowed to sleep in here. You must be smoking to stay.MORGANNE
But the rest of the seats on the train are full. Where does he expect them to go?The conductor and the passengers are still arguing.
Actually, do you feel like getting out of here for a while?
SETH
I think the dining car is still open.
9. Exterior. Yard. Luna. Day.
Maria, Christina, Carlos, Helen, and Josie are all sitting around the yard again. Carlos is drinking and has already accumulated a number of empties beside him. Some are still working on peeling and cleaning the chilis. Jorge is coming out of the trailer with some more beer.
JORGE
It is nice to see you son. We thought you had left us for good this time.CARLOS
No, I was just away (beat) for a while.CHRISTINA
Where have you been Carlos? We haven’t seen you in so long. We thought you must be dead or something. My mom said-MARIA
Shhh.CARLOS
Oh, here and there, you know me, little murietta. How is my Christina?CHRISTINA
I’m good. I go to high school now, outside of Luna. But the teachers say I got an attitude problem.CARLOS
That’s my girl.MARIA
Come on Carlos, don’t encourage her. You’ll get her into more trouble.
HELEN
So Carlos, how long are you in town?
CARLOS
I don’t know. I’ve got some stuff to do. Do you mind if I crash here, papa?Jorge shrugs his shoulders and looks at Maria.
CARLOS
(To Helen) So, what’s your name again?HELEN
Helen, and this is Josie Hill.CARLOS
And these are the folks you sold our land to pop? (To Josie and Helen)Do you know how long this land has been in our family? You got yourself some real Mexican land. (To Jorge) What were you thinking?JORGE
You know we had no choice.CARLOS
What is it, that backtax crap? You’re a fool, old man.JOSIE
I think I’ll go see what Audrey’s doing.CARLOS
Audrey, is that your daughter?JOSIE.
That’s my daughter.CARLOS
Bring her out when you’re done.
Josie leaves and heads into her adobe.
CARLOS
So what would you two ladies want with land down here anyways? There’s nothing here. There’s not even any water.HELEN
I’m teaching at the Valencia campus of UNM. It’s only about ten miles from here, and Josie’s an artist. She wanted to move somewhere with a studio. She’s been using that old shed behind the house.CHRISTINA
She makes food.CARLOS
What do you mean?HELEN
We used to live in California, and Josie used to, um, make and paint that fake food that looks like, real food in, commercials, and ads and such. She still does some contract work for that sometimes, but she’s getting more into sculpture, more into her own thing.All look at Christina who has wandered off, looking into the distance.
JORGE
What is it Christina, do you hear something?CHRISTINA
I’m not sure.CARLOS
They’re not here yet? (Cackles) It’s all going to go to shit.
10. Interior. Dining car. Night.
Morganne and Seth are sitting at a table. Morganne has a coffee, and fries, Seth had a beer and a couple of sandwiches wrapped up in plastic. He begins to unwrap the sandwiches and peel of the meat, placing it on a plate beside him. Morganne is watching.
SETH
I’m a vegetarian.MORGANNE
Oh.SETH
So what’s someone like you doing all the way up here, alone?MORGANNE
Someone like me?SETH
You know. Young, pretty female.MORGANNE
You speak very good English. How is that?SETH
Uh.. I’m originally from America. I was, um... born in Detroit. I moved here when I was young.MORGANNE
With your parents?SETH
No I don’t have any, I mean, they’re dead.MORGANNE
I’m sorry.There are some uncomfortable moments of silence.
I was up in Bodo, for the solstice. I‘ve always wanted to see the Arctic circle, especially in the midnight sun.
SETH
I see. Brave girl.Morganne looks puzzled.
MORGANNE
I’ll be right back.She gets up and walks towards the bathroom. Once she is out of sight Seth looks down at the meat on his plate, and stuffs it ferociously into his mouth.
11. Interior. Train bathroom. Night.Morganne is looking at herself in the mirror, examining the dark circles under her eyes. She splashes her face with water, dries off, and then takes out a small notebook and pen from her bag. Locks the door. She peeks her head out the window and we see that the sky is getting brighter.
12. Interior. Train dining car. Night.Morganne returns to the table and we see her glance briefly at the empty plate beside Seth. She sits down and begins to pick at her fries, and drink her coffee.
SETH
So what do you think of the country?MORGANNE
Norway? (Beat). There’s a lot here. More than most places. It feels safe.SETH
Yes, but still you have to be careful. You never know what could happen to a beautiful woman traveling alone. You must attract a lot of attention.MORGANNE
Not really.SETH
Probably more than you would think.Morganne is uninterested and looking out the window, drifting.
(Under his breath)
Oh hail to the fire and the dust
For they tell us of passion and lust
The wind whispers warnings
And tells you you must
Beware of people like us.MORGANNE
What was that?SETH
Oh, nothing.He gets up from his seat
Do you want a beer or something?
MORGANNE
Sure.We follow Seth to the bar, and notice Morganne watching him as he leaves. She turns around and he begins to watch her. Seth orders 2 beers from the bartender in Norwegian, and there is a play of looks between him and Morganne, each when the other one is not looking. He then returns to the table and they have a toast.
SETH
To new friends?MORGANNE
All right.SETH
It’ll be morning soon.MORGANNE
It’ll be morning soon.
13. Interior. Train. Smoking car. Day.
Both Seth and Morganne are asleep in the smoking car. The train stops with a jolt, and wakes Morganne. She jumps up, looks out the window, and the station says TRONDHEIM. She quickly packs up her things, looks at Seth sleeping, and rushes out of the train car.
14. Exterior. Luna. Night. Backyard.The Moon is shining down on the adobe house, and we hear rustling in the dark. Audrey appears from behind the house wearing a short green satin dress and heels. She stumbles and falls over, and then notices that she has ripped her stockings. She stands up, looks around making sure nobody heard her and rushes off down the driveway.
15. Interior. Luna Roadhouse. Night.Luna Roadhouse is a smoky bar playing country music. The clientele is mostly Mexican and Native men, but there are a few women. JULIUS, is at the bar wearing a tuxedo with a carnation in the pocket, and is holding a top hat. He is talking to ENRIQUE, the bartender.
JULIUS
I don’t know how you talked me into giving her this job. I knew she couldn’t hack it. I mean, she’s not even here and we’re on in five.Audrey walks in the door and much of the attention of the patrons is turned towards her.
Well it’s about time, little one. What in the name of hell has happened to you? You’re a mess. Can I have an lovely assistant that looks like Medusa? I need an Aphrodite, Audrey. You know aesthetics are the key to the gateway of success, how many times have I told you that? Go back there and clean yourself up. We’re on in five.
AUDREY
Sorry Julius.Audrey walks across the bar and into the back room. All eyes follow her.
16. Interior. Luna Roadhouse. Night.The lights begin to dim, and smoke is coming off of the stage. The chatter of the bar quiets, and carnival-like music comes begins to play.
M.C.
Ladies and Gentlemen, will you please welcome, the incredible and mystical, awesome and unbelievable, master of the magical realm, the amazing Julioni!The crowd applauds and there is cheering. Julius enters the stage from behind a curtain, and bows to the audience.
And with him, his lovely assistant Bunny!
Audrey comes out from behind the screen holding a cage with two rabbits. She has taped up her stocking and fixed her hair, but she still looks less than groomed. Julius begins with some magic tricks with the rabbits. OLD MAN is at the bar talking to Enrique. He is very old, Mexican and is hiccuping every couple seconds. He has thick glasses, a white beard and a white suit with a handkerchief in the pocket. He’s drinking milk and is avidly watching Audrey.
OLD MAN
Look at her go. Isn’t that something. The Virgin of Guadalupe herself.ENRIQUE
The Virgin of Guadalupe? I don’t know about that. Depends on what you like, I guess.OLD MAN
Look at her go. Isn’t that something. My wife’s gonna kill me if she finds out I’m here.ENRIQUE
Old Man, your wife’s been dead for ten years.OLD MAN
Yup. She’s gonna kill me.Julius finishes a trick and the crowd cheers. Audrey leaves the stage.
17. Interior. Dressing room. Luna Roadhouse. Night.
Audrey had gone into the back room, and we still hear the crowd applauding, and the music coming from the bar.JULIUS
(voice-over)
Oh, Thank you, thank you so much, you’re all beautiful, thank you.Audrey looks at herself in the mirror, and spends a while examining her hair. She turns around to look at her body, and dress. She then looks at her eyes, and we see them well with tears.
18. Interior. Luna Roadhouse. Night.Audrey is walking through the bar, toward the front door.
ENRIQUE
Hey Audrey, we got some drinks over here for ya.AUDREY
No thanks Enrique.ENRIQUE
No Audrey, come on you gotta come over here.On the bar there are five drinks lined up in a row. Enrique points out the gentlemen who have purchased the drinks for her, while he pushes them toward her on the bar.
ENRIQUE
This one’s from that guy, the one in the suit over there. This one’s from the big old fat guy in the corner, you see? The one with the yellow sweater? This one’s from, that table of gringos. This one’s from Old Man (beat), and this one’s from me.AUDREY
Have you seen Julius?ENRIQUE
I saw him leaving with some lady. (Beat) He’s no good for you Audrey.Audrey nods, looks around, sits down at the bar and picks up her first drink. She lights a cigarette.
19. Interior. Sanchez Trailer. Night.The room is dark and Maria and Jorge are sleeping. There is a large crucifix above their bed. Maria is tossing and turning muttering indistinguishable words. Suddenly she bolts up.
MARIA
Dios, mio.
20. Interior. Luna Roadhouse. Night.Audrey is still at the bar. All the glasses beside her are empty, except the one that she is finishing off. We can tell she is drunk. The door to the bar opens behind her.
MAN AT THE DOOR
(voice-over)
Yeah, it was nice seeing you Julius, adios.The man enters the bar, Audrey slams her glass down, gets up, and stumbles out the door.
21. Exterior. Luna Roadhouse. Night.AUDREY
There you are.Julius is sitting on the hood of a car in the parking lot, smoking. He is still dressed in his tux.
Enrique said you left with some lady but I knew you wouldn’t...
Audrey puts her arms around Julius’ neck and begins kissing it. Julius is unreceptive.
JULIUS
Audrey you’re stinking drunk.AUDREY
You used to like to get me drunk.Audrey climbs up onto the hood of the car, wrapping her arms and legs around Julius. People in the parking lot are watching.
JULIUS
You’re making a fool of yourself.AUDREY
Why are you acting like this? You used to want me to touch you.JULIUS
Audrey, please, you’re just a kid. Damn it. I never should have let you work for me in the first place. If Enrique found out how old you are, do you know what he’d do to me?Audrey lets go of Julius, and gets down off the car.
AUDREY
(in a drunk, non sensical drawl)
Oh, I get it. You were willing to let me prostitute myself into carrying around your fucking bunnies, but now I’m not good enough for you, when thrill of baby-sitting has worn off , and you turn off your perverse, degenerate... all you men are the same, your brains are in your pants... and your mind is in your head.JULIUS
I wouldn’t expect you to understand.AUDREY
Because I’m such a little kid? You’re an ass Julius.
JULIUS
Well if I wasn’t do you think I’d be doing what I’m doing in this town beside you, wiggling your tight but beside animals in cages.AUDREY
Fuck you Julius.Audrey turns around and stumbles away across the parking lot towards the road. She has been walking for a little while when a blue truck slows down and stops beside her. Carlos is behind the wheel.
CARLOS
Hey you’re Audrey, right?AUDREY
Yeah, so what?CARLOS
Don’t’ you remember me? We’re neighbors.AUDREY
Oh yeah, right.CARLOS
You know, you don’t look like you should be walking anywhere tonight. Especially in that little dress. This is the desert you know, the weather can surprise you, sneak up on you, (beat) trick you. I’ll take you home.Audrey pauses for a minute, looks around, and then gets into the truck. Carlos has a case of beer on the floor. He reaches into it and takes one out.
Beer?
22. Exterior. Luna. Hill House. Night.
AUDREY
Thanks for the ride. I appreciate it. Are you staying with Maria and Jorge?CARLOS
Yeah, well I’m sleeping outside in the truck for a few days.He reaches over and touches Audrey’s hair.
AUDREY
I can’t, I have to go.CARLOS
Oh, come on.He grabs her arm.
Just a little longer?
Boots runs up to the truck, barking. Carlos puts his hand on her leg and starts moving it up her dress. She pulls away and her stocking rips exposing bare skin. He grabs her again and in the struggle Audrey smashes her beer into the passenger side window and it shatters. A light comes on in the house, and one in the Sanchez trailer. She opens the door and stumbles out falling on the ground. Josie comes out the front door of the house wearing her pajamas and sees Audrey on the ground. She grabs a rake from beside the door and goes over to the truck.
JOSIE
Audrey, what the hell? What are you wearing, damn it?Josie notices her ripped stockings, and goes over to help her off the ground. She takes the beer bottle out of her hand.
You’re polluted. Get in the house.
Audrey goes into the house. Josie walks over to the driver side of the car.
You bastard.
She takes the rake, swings it, and breaks the driver side window in front of Carlos’ face.
You stay away from my daughter or I swear to fucking god, I’ll kill you.
Josie throws the rake on the ground, and goes back into the house, slams the door and turns off the lights.
23. Interior. Train Station. Trondheim. Day.Morganne is walking through the station with a big pack on her back. She walks over to cafe that has a sign that says “Restaurant” in both English and Norwegian. It is closed. The sign on the door says 8 h to 22h. She looks at her watch which says 7:30. She throws her bag down and sits on the floor beside it. She pulls out a map or Norway from her back and finds Trondheim. Looking at the surrounding towns she notices one called “Hell”, and circles it with a pen.
SETH
Hell’s a great town. Quite close to where I live.Morganne jumps and looks p seeing Seth standing above her with his backpack on.
And you were going to leave without saying goodbye?
MORGANNE
You were sleeping, and I was in a hurry. I didn’t know you were getting off here.SETH
Well I guess I was. Are you staying for long?MORGANNE
I’m catching the one o’clock to Oslo.SETH
Well then we don’t have much time do we?MORGANNE
Hmmn?
SETH
I have something I have to show you.
24. Interior. Hill house. Day.Josie, Helen and Audrey are all bustling around the kitchen. The Hill house is bright and colourful, covered in flowers and artwork. There is a poster on the wall that says “Goddess Bless”, and another from the Michigan Women’s festival. Josie is trying to get toast out of the toaster with a knife, Helen is rustling the newspaper while she reads it, and Audrey is looking through the cupboards. The radio is on. Nobody will look at each other.
RADIO ANNOUNCER
And folks it seems that old man winter had forgotten us this year. Our Indian summer has turned into more of an Indian swelter. Today, sunny with a high of ninety six, no chance of showers whatsoever. We’ll be right back after this with Jane and the sports...Audrey is pouring milk from a bottle into her bowl of cereal, but it slips from her hands and breaks on the ground. Neither Josie or Helen flinch. She gets down to wipe up the milk, and cuts her hand on a piece of glass. Josie puts on her coats, sticks her toast in her mouth, opens the front door and slams it behind her. Audrey looks out the window and sees her walking around the house to the shed in the back.
HELEN
You knew how she was going to react to this.AUDREY
I know. I know it all.
25. Exterior. Trondheim. Day.Seth And Morganne are walking up a path towards a large cathedral. The sign says “Nidaros Domkirke”
MORGANNE
This is what you wanted to show me?SETH
This? What this is, is the most fantastic cathedral in all of Scandinavia. It is also thought to have the most beautiful rose windows in the world. You must see it now, before it is too late.MORGANNE
Too late?SETH
We have few historical churches left in Norway. We have had a phenomenon lately of cult-induced church burnings.
26. Interior. Cathedral. Day.The interior of the church is dimly lit and there are a few people walking about looking at the windows and the altars. Morganne is looking up at an enormous rose window over the entrance door.
MORGANNE
My God, it’s magnificent. I cant imagine anyone wanting to destroy thi-She looks around but Seth is nowhere to be seen. She wanders around looking at the windows and the tapestries. The cathedral is aglow with candles and warm yellow light. Morganne spins around, and sits down in the middle of the aisle on the stone floor. Seth comes up behind and grabs her.
SETH
So what do you think?MORGANNE
You have to stop doing that.SETH
People must be crazy to think that Satan would actually want them to destroy something like this. The fools.MORGANNE
It’s beautiful but it’s also late. I have to go catch my train.SETH
Will you ever stop moving?MORGANNE
I’m not so sure.SETH
I need you to do something for me. Let me explain...
27. Interior. Hill house. Day.Josie knocks on Audrey’s door and opens it. Audrey is lying on the bed facing the wall.
JOSIE
I don’t want to talk about it, but I have decided to punish you. Get dressed. You’re going to church with Jorge and Maria.Audrey’s jaw drops.
28. Interior. Jorge’s car. Day.
Jorge is driving with Maria in the passenger side and Christina and Audrey in the back.
Christina is speaking very close to Audrey’s face. While Christina is talking Audrey looks out the window and rolls her eyes.CHRISTINA
It’s so exciting that you are coming with us, I have always wanted to have a friend in church, and your mom said you were so excited to come and maybe you can come every week, and it’s usually so boring but someday I am going to be able to teach the Sunday school class or something if they don’t think I am too stupid and don’t forget to stop at the gas station we have to get the candles you know you really can’t go with out the candles. Oh here, pull in here.They pull into the gas station.
Can I have some money? I’ll be right back. Oh Audrey you have to come with me.
Christina takes money from Maria, grabs Audrey’s arm and pulls her out of the car.
29. Interior. Gas station mini mart. Day.There is a section of an aisle dedicated to votive candles of various different saints. Audrey is less than attentive.
CHRISTINA
Now which one should we get? There’s St. Francis, of the Virgin of Guadalupe, or St. Joseph, of Peter...
30. Interior. Jorge’s car. Day.Christina is sitting in the back seat with a pile of candles on her lap and a huge smile on her face.
31. Interior. Pueblo church. Day.The church is bright and colourful, and is covered in New Mexican religious folk art. There are many crosses covered in plastic flowers, old framed paintings of Jesus, and crutches hanging on the walls. People are walking in, lighting their candles they brought and placing them on a cart at the back of the church. The preacher is a Mexican man in his fifties and is wearing a tacky suit. Audrey, Jorge, Maria in Christina sitting in a row near the front.
PREACHER
Now people, I’m going to tell you what you know and already know well. There is but one God who we unite under, but one God who saves us from the clutches of sin and the fires of burning degenerate Hell, and that is God the son, God the father and God the Holy Ghost. One God my friends. One. And we need him now. We need to call out to Him, Our Lord through his son Jesus, and say All Mighty Father help me for I am nothing, for I am weak, I need you to save me from this treacherous world, this treacherous life, this treacherous town we live in. For the devil is among us, The devil is here, the devil is coming and we know this is true!A murmur spreads across the room.
Oh Lord help us through this darkness and despair we are about to see, help us through this pain and misery we are about to taste, and help us bring our lips to the cup of forgiveness and drink away the pain of damnation that will soon be upon us when the devil birds fly, and bat their heathen wings through the winds of eternal blasphemous sin!
The crowd is getting excited and upset.
We are waiting. We are all waiting like we all will be waiting someday at the gates of Heaven for our judgment. But now we have to ask ourselves what it is that we have done to make us wait so long. What have we done not to have been blessed with what we are used to, and why is the devil here lurking behind our every shadow?. He has decided to tease us so morbidly. So terribly indeed.
32. Exterior. Pueblo church. Day.People are pouring out of the cathedral and into the square in front of it. There is a lot of commotion, and yelling, and we understand that everyone is upset and disturbed by the sermon. There are a few people arguing. Old Man walks by, hiccuping. Audrey walks out of the church with a horrified look on her face. Jorge is out of place with his smiling disposition. Maria has her arm around Christina.
JORGE
Shall we go home? We still have a lot of chilis left to roast today.He catches a glimpse of a man across the square wearing a very expensive looking suit, talking to a group of other man.
Oh Maria look, there he is.
MARIA
Don’t stare Jorge.AUDREY
Who is it?JORGE
The richest man in the whole town. He is in the business of death.
33. Interior. Train Car. Day.Morganne is fumbling through her backpack, trying to fit things into it and close it up. She stuffs her notebook and pen into one of the pockets. The train jarrs when it stops and she pulls her bag onto her back and gets off the train.
34. Exterior. Train platform. Day.Morganne steps down onto the platform, and there is a sign that reads “WELCOME TO LUNA, NEW MEXICO, POPULATION 333”. She looks up and the sky is clear and blue, and empty.
35. Exterior. Luna. Day.
Morganne is wandering through empty streets towards a large hill. She is looking at a piece of paper with directions and a map drawn on it. She begins to climb the hill, and when she gets fairly high she looks out over the whole town. She holds up her map in front of her, and tries to align it with her birds eye view of the town. There is a X marking a spot on her paper, and she visually locates this point in the distance, pointing at it with her finger. She lights a cigarette. Takes a few drags and runs off down the hill.
to be continued...
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