111 1/2 S. Flores St Los Angeles, CA 90048

703.623.1879 mandell81@gmail.com

©2014 by Michael Mandell

3Dimensional

Praise for 3Dimensional:

"I'm hooked!" -Lewis Carmichael, Phlebotomist

"I didn't actually read it, but I heard good things." -WilmaPoritu, Therapist

"3Dimensional is the tits." -Reggie Yost, Bra Manufacturer

"Well that was fucking nuts." -Willy Jones, Blogger

"I've been wondering when they'd come out with a show on 3Dprinting." -Vanessa Pepperwhig-Sloat, Trapeze Artist

2.

3Dimensional by Michael Mandell

DREAM SEQUENCE

INT. RAY'S PICKUP TRUCK - DAY

RAY'S POV

Flashes of hectic visions and noise. Things are jarring andunclear.

-A terrible storm out the driver's window

-A parking lot submerged in water

-A Chevy steering wheel

-A photography studio in the background

-RAY BURNS, 43, the driver of the pickup and our protagonist,in the rear view mirror; concerned

-Out the passenger window, a MOTHER and her TWO DAUGHTERS ina minivan; terrified

-Another car washing away

The flashes level out as sight and sound become clear.

RAY (V.O.)(to minivan)

Stay there.

The ladies hold on for dear life.

RAY (V.O.) (CONT'D)Stay there!

Ray goes to open the driver's door but, what's this, there'sno handle. Huh? He doesn't know he's dreaming. He checks thepassenger door; same. The water's waist high now, with noend of flowing in sight. The water is rising, and fast, andit's coming right for them. He kicks out the windshield, orat least he tries to. It won't budge.

RAY (V.O.) (CONT'D)C'mon!

Oddly, it won't break. Powerful kick after kick not a singlecrack, over and over again.

RAY (V.O.) (CONT'D)C'mon!!!

3.

He's kicking as hard as he can but even his workboot is nomatch for the bullet proof glass. He grabs a tool from hisglovebox for this very occasion. It's a piercer; a littlemetal point at the end of a pen for this very purpose. Likemost pickup drivers Ray comes prepared, but after six goodthrusts into the windshield even the piercer is no match. Helooks at the minivan out the passenger window. It slowlybegins washing away.

RAY (V.O.) (CONT'D)No!

He goes for the passenger window with the piercer but againthe glass is shatter proof. Back to the minivan. It's 20feet away and drifting. Matter fact, the pickup's drifting,too. He sees the minivan get turned around with the current.Ray's truck slams into a light pole, knocking unbuckled Rayoff the bench seat. When he gets back to his seat he assessesthe minivan again; it's now at 50 feet about to hit the sideof a building.

RAY (V.O.) (CONT'D)Watch out!

Slam! The minivan hits the building, knocking the ladiesabout even with their belts on. He's losing them. Ray goesback to frantically kicking the windshield. It's almostcomical how strong it is. He's running out of steam. He'sbeginning to accept that, this time, it's futile playing thehero.

He looks back at the minivan. It's at 100 feet. All he cando is watch as it turns on its side and sinks under the wateronce and for all.

END DREAM SEQUENCE

CUT TO:

INT. RAY'S MASTER BEDROOM - MORNING

Ray jolts awake in bed by himself. Relieved it was just adream, he outstretches his arm and reaches for...nevermind;there's no one there; he remembers.

The television's on in the background. It's tuned to TommyWard, a Charlie Rose-like show, but Ray pays it no mind.

On the TV, TOMMY WARD interviews THURMAN ROYSTACKER, alikeable, oddball computer genius in his mid-60s. He's in afull tuxedo with tails.

4.

TOMMY WARD(on TV)

...3D printing pioneer, ThurmanRoystacker--inventor, futurist,revolutionary--whose latesttechnological feat is nothing shortof a miracle. He'll be debuting itin Detroit on Thursday at RAPID, thelargest 3D printing conference inthe world; and his company, 3Dbio,goes public Friday, with sharesexpected to fly off the shelves.Thank you, Thurman.

THURMAN ROYSTACKER(TV)

My pleasure.

TOMMY WARD(TV)

I'm feeling underdressed.

THURMAN ROYSTACKER(TV)

Well, my jeans were still in thedryer, so.

Ray's house phone rings. He answers, but says nothing.Finally, the TELEMARKETER on the other end speaks.

TELEMARKETER (V.O.)Hello?

RAYHello.

TELEMARKETER (V.O.)Yes, good morning, hello, my name isRhonda from Publisher's Clearinghouse.Could I speak to Ray Burns please?

RAYSpeaking.

TELEMARKETER (V.O.)Great, now just to let you know,this call is being monitored forquality assur--

Ray hangs up. He tears the covers off and hops out of bed innothing but boxers, and trudges to the bathroom with a nastyscar on his left forearm.

5.

INT. RAY'S MASTER BATH

Ray takes a leak. He moves to the sink; swirls mouthwash;brushes teeth; starts shaving. He's struggling just to getthrough his mundane morning routine, and no, it's not becausehe's tired or hungover. There's something over him. A darkcloud.

He keeps the door open. The interview continues.

TOMMY WARD (V.O.)Everyone wants a piece of you.

THURMAN ROYSTACKER (V.O.)Eh, we'll see if it lasts.

TOMMY WARD (V.O.)So this is real, this 3D printing.

THURMAN ROYSTACKER (V.O.)This is very real. The 3D printer ishere. This isn't some futuristicgadget that'll never get off theground. This is a legitimatetechnology that's been around since1984. It's only just now descendinginto the consumer market, andtherefore the mainstreamconsciousness. But its applicationsare endless and soon it'll be asubiquitous as the television set.It's a good time to be alive.

TOMMY WARD (V.O.)So, so, explain it to me because I'mstill not sure how it works.

THURMAN ROYSTACKER (V.O.)3D printing? It's the process ofmaking a three dimensional object ofvirtually any shape by addingmaterials layer by layer in crosssections. So let's say you break amug. Well with your handy dandy 3Dprinter, you just print a new one.Save yourself a trip to the PotteryBarn. Just upload your mug design tothe printer and press print. In mereminutes, you'll have a new mug--that'sfar more durable and dishwasher safe,I might add.

TOMMY WARD (V.O.)Where do I get the design?

6.

THURMAN ROYSTACKER (V.O.)Maybe you get it from potterybarn.comor maybe you get it off some thirdparty website that offers free mugdesigns.

TOMMY WARD (V.O.)They have websites for that?

THURMAN ROYSTACKER (V.O.)They have websites for everything.If you google the most random,nonsensical thing ever, it'll stillyield eighty seven million results.

TOMMY WARD (V.O.)What if it's a one of a kindpromotional mug that I got from SeaWorld in 1968 in the shape of Shamu?

THURMAN ROYSTACKER (V.O.)Then maybe you design it yourself.But you don't wanna promote themanyway. But mugs are yesterday'snews. There're 3D printers that printfood, clothing, ah--

TOMMY WARD (V.O.)Food?

THURMAN ROYSTACKER (V.O.)Food.

TOMMY WARD (V.O.)Out of what?

THURMAN ROYSTACKER (V.O.)Food! There're machines that printpizza, chocolate, ravioli, sugarcandies, uh, corn chips.

TOMMY WARD (V.O.)Edible food.

THURMAN ROYSTACKER (V.O.)Edible food, Tommy.

TOMMY WARD (V.O.)Amazing. And you said clothing?

THURMAN ROYSTACKER (V.O.)Yes, there're printers that printclothing as well.

(MORE)

7.

THURMAN ROYSTACKER (V.O.) (CONT'D)Imagine going on gap.com, purchasinga sweater, and printing it rightthen and there with custom sizing,zero slave labor, and no shipping,which means lower cost and no carbonfootprint. It's a no-brainer! Areyou feeling that? I'm feeling it!

TOMMY WARD (V.O.)And this new printer you're debutingprints what?

THURMAN ROYSTACKER (V.O.)Human beings.

TOMMY WARD (V.O.)Meaning...

THURMAN ROYSTACKER (V.O.)Meaning I invented a printer thatprints human beings.

TOMMY WARD (V.O.)I'm sorry, you'll have to elaborate.

THURMAN ROYSTACKER (V.O.)Well I don't wanna give too muchaway, but yeah. Human beings, Thomas.

RAY'S POV

He's shaving in the mirror when his vision goes blurry, hehears a high-pitch noise, and he temporarily losesconsciousness.

FLASHBACK

EXT. CONSTRUCTION SITE - DAY

Ray meets with an ARCHITECT on a midrise building job site,both in hardhats in what will soon be the subterranean garage.Ray's phone vibrates; he can't avoid it any longer.

RAY(to architect)

Excuse me, I have to take this. We'regood, here, right?

ARCHITECTGo ahead, we're good, that'severything.

Ray shakes the architect's hand and turns away to take thecall. The architect rolls up his plans, waves, and leaves.

8.

ARCHITECT (CONT'D)(waving back; intophone)

I'm leaving as we speak... I'm sorrybut I had to finish up... It'simportant to me, too... Fine, thenwhy don't you just take the kidsyourself and I'll meet you there...I know it wasn't the plan but withthe timing... Okay, I'll meet youthere. Don't forget my sweater...Okay, you too, bye.

He hangs up and jogs off to his '97 Chevy Silverado pickupacross the street. When he gets there, his best friend/sitemanager, DON, intercepts him.

DONI thought you were gonna see me beforeyou left.

RAYAh shit, I forgot. Can it wait tilltomorrow? I'm late for something.

DONWhat?

RAYA family thing. Family photo. It'san annual thing.

DONI hope you ain't wearin' that shirt.

RAYI got a sweater coming.

DONBecause I been meaning to tell yaall day, that shirt is hideous.

RAYThis is my favorite shirt.

DONWell it hurts my eyes. It's herebyprohibited from this site.

RAYYeah, okay, whatever you say.

DONI'm serious. Do yourself a favor--burn it.

9.

RAYAlright, alright, thanks for thefashion tip but can the other thingwait? I really need to get going.

DONWhat other thing? There's no otherthing. That was the thing.

RAYThat was the thing you had to see meabout before I left?

DONYeah.

RAYC'mon, Don, I don't have time forthis.

Ray hops in the driver's seat and starts her up.

RAY (CONT'D)I'll seeya tomorrow. Your bootsare...well they're stupid.

Don doubletaps the hood and Ray drives off.

END FLASHBACK

BACK TO RAY'S MASTER BATH

Ray comes to. The razor is pressed hard into his cheek.There's tons of blood but his brain hasn't caught up withhis hand yet and he's still dragging it down his face like apeeler to a carrot. Finally he relinquishes the razor, unfazedby it all.

He pours a big sip of hydrogen peroxide on it without wincing.This gash is the least of his pains. He hops in the shower.

INT. RAY'S MASTER CLOSET

Ray slides a bunch of plaid work shirts down his closet roduntil he finds a white dress shirt--the only one he owns. Heputs it on, then a black suit, black tie, black socks, blackwingtips. Well, we know he isn't going to the job site.

INT. RAY'S KITCHEN

He checks the time on the oven. 9:21. He checks the fridge.It's empty. Eh, he's not hungry anyway. Or if he is, what'sthe difference? He slams the fridge shut, grabs his keys,and walks out the door.

10.

INT. RAY'S GARAGE

He presses the button on the wall and the overhead door goesup. Light pours into the two-car garage, which doubles as animpressive tool shop. He's got one of everything beautifullyorganized on the walls. He could build anything in thatgarage.

He gets in his pickup, which is the only vehicle in the room,and backs down the driveway.

INT. FIRST BAPTIST CHURCH - DAY

Ray sits in the front row just trying to hold on. HisBENCHMATES are sobbing. It's a funeral. The PASTOR, a toughas nails older, larger force to be reckoned with, leads.

PASTORWhen somethin' happens this tragic,we must keep faith it's all part ofGod's plan, no matter how grim.

SOMEONE in the row behind Ray gives him a soothing rub onthe shoulder. The deceased is one of Ray's.

PASTOR (CONT'D)Raymond, did you have somethin'?

Ray stands and moves to the pulpit. He's keeping it together.He's keeping it together.

RAY'S POV

He pulls out the speech he prepared from his inside breastpocket; unfolds it; lays it on the lectern. He looks intothe house. It's filled to capacity. He looks at the firstline of his speech and reads aloud.

RAYMy wife and daughters--

His handwriting goes blurry. He, and only he, hears the high-pitch noise again. He muscles through it and looks over atthe casket, but there isn't just one--there's one big oneand two small ones. Ray takes a moment to gather himself.

PASTORThey're with God now.

Ray starts laughing. Screw it, why should he keep his shittogether? This is fucking bullshit. He should voice the truth.

RAYYeah, right, they're with God. I'msure. Right.

11.

He chuckles some more. He gets increasingly maniacal.

RAY (CONT'D)I hate to break it to you people butthere is no God, okay, so no, myfamily isn't with him on a cloud inthe sky. And frankly it's insultingto think of them that way. Itminimizes what happened here. "Yeah,three of 'em died but it's okay,they're somewhere better, you'll see'em again." But these are just thingswe tell ourselves to cope--they'renot real. There's no silver lininghere. I mean I was always skepticalbut now I know: God is dead. That isif he ever lived.

PASTOREasy now.

RAYI know, I know, Pa, what a disgrace.But now I'm certain--God is fuckin'dead.

The pastor is Ray's father. The audience is agape.

RAY (CONT'D)Trust me, there's no plan for mywife and kids. They aren't off to abetter place. This is in no way apositive. My family is dead. Gone.Extinct, you understand, like thedinosaurs you don't believe in. Igot news for you people. All thoseprayers you're wishing on--they'refalling on deaf ears. It's all chance.Everything is random. That's whyshit like this happens. Not becauseGod wants to take my wife and kids--what, he's a psychopath now? Becausethat's pretty fucking sadistic. No,it's 'cause life is fucking random,that's why. Luck o'the draw. I'msorry to break it to you, but youwanna know what happens in the end?

PASTORRay.

The audience shifts uncomfortably.

12.

RAYNothing. That's it, it ends, andthen it's over. Just accept that.Stop denying reason.

(holds bible in air)And stop reading this shit. Don'tbelieve a fuckin' word of it.

PASTORRaymond!

The pastor grabs Ray's arm rather forcefully. Ray breaksaway and storms out the church straight down the aisle pasthis speechless friends, family, co-workers, and acquaintances.

EXT. FIRST BAPTIST CHURCH

He bolts through the parking lot to his pickup. He gets inand slams the door shut. Screams; punches the dash; pullshis hair out; drives over the curb onto the street.

INT. RAY'S PICKUP - MOVING - DAY

He's racing down the street. There's relatively littletraffic, but at his rate of speed he's still passing peopleleft and right, and generally driving with no regard.

He sees a dump truck coming towards him in the distance. Heputs the pedal to the metal. He starts swaying to the leftlittle by little into the truck's lane. The TRUCKER flasheshim, which only eggs him on more, swaying further and fasterinto the guy's lane. He's playing chicken with him.

RAYI see you.

The trucker honks at him. Ray's now completely in the oncominglane. The trucker honks rapid-fire. Ray's expression doesn'tchange. They're close enough to make eye contact. Ray juststares him in the eyes. The guy fucking lays on the horn.Ray's gonna hit him in seconds. The guy braces himself, holdson for dear life, and closes his eyes...but at the lastpossible moment, Ray has a sudden change of heart and veersback into his own lane, leaving the trucker unscathed inhis. Ray oversteers offroad, does a 180, kicks up a ton ofdust, and drifts to a halt.

RAY (CONT'D)I don't wanna die.

He takes a moment, then turns around and merges safely intothe proper lane back in the direction he was going.

13.

EXT. RAY'S HOUSE - DAY

Ray pushes the clicker on his visor as he pulls up hisdriveway. The garage door goes up. What's this? There'ssomething inside. It's a box. A big box. Right in the middle.

Ray throws his truck in park and exits it. He leaves thedriver's door open while he goes to inspect.

INT. RAY'S GARAGE

He looks around. Everything's as it was when he left exceptthe box. All his tools are there. He does a lap around thebox. There's no shipping label at all, nor any identificationat all. Hadn't he closed the garage on his way out? He grabsa rubber mallet off the wall for protection and enters hishouse.

INT. RAY'S HOUSE - VARIOUS ROOMS

Ray creeps from room to room. He checks the perimeter. Nosign of forced entry on the doors/windows. Nothing out ofplace. He goes upstairs. One of the steps is creaky. Hesilently curses himself for stepping on the creak; he alwaysavoids it. Not to worry, after a sweep of the second floor,the coast is clear.

On his way back downstairs, he stops and sees framed familyphotos from years past on the wall. There's an open spot forthis year's. Wow, his family is beautiful. Was.

INT. RAY'S GARAGE

Ray ignores his pickup, which is still running and whosedoor is still ajar on the driveway. He closes himself in thegarage and opens the box with a box-cutters off the wall,which opens a damn of styrofoam peanuts revealing a largewhite machine of some sort with 11 glass-doored compartmentsof varying size, shape, and orientation. It's almostcartoonish in design but very high tech and well made. Italmost looks futuristic, with only a touchscreen. He opens afew compartment doors and inspects. What the heck is it?

He walks around the back of it. He sees 11 corresponding,hidden doors on the back. He opens one. On the inside iswhat almost looks like the guts of a printer of some sort,only higher tech and with more materials and components. Hecloses the doors and moves to the side of it.

There's no words or numbers on it at all. The only markingslook to be a logo--a Vitruvian Man-esque illustration of abody in parts floating outward in space.

He touches the touchscreen and the machine boots up. A secondlater, an option appears on the screen: "Print."

14.

The doorbell rings. He quickly looks around for somethingwith which to cover the machine. He locates a blanket anddrapes it over it, then runs through the house to the frontdoor.

EXT. RAY'S FRONT PORCH

Ray comes outside. It's his older neighbors, JAN and AL,with a casserole in tow.

ALWe're not disturbing you, are we,Ray?

RAYNo, Al.

JANWe just wanted to say sorry. Webrought you a casserole.

RAYYou didn't have to do that.

JANIt's nothing, really.

ALWe tried to make the service but wecouldn't get back from Dumphries intime.

Ray takes the casserole.

JANIt's tuna noodle.

RAYThat sounds delicious.

Al hands Ray his car keys.

ALYour truck was on so I took theliberty. Hope you don't mind.

Ray checks his pickup on the driveway. Al must have closedthe door, too.

RAYI'm not myself today.

JANYou don't have to be, dear.

15.

RAYYou didn't happen to notice anythingodd today, did you?

ALHow do you mean?

RAYAt my house. Someone in my house.

ALWell, we were in Dumphries allmornin'.

RAYRight, you just said that.

JANWhy, honey? What is it?

On second thought, Ray probably shouldn't mention anything.He puts the casserole down by the door.

RAYNo reason. Nevermind.

JANWas someone in your house, honey?

RAYNo, no. It's nothing. It's fine.

JANYou sure?

RAYYeah.

ALWe'll keep an eye out for ya.

RAYThat's okay. Really, it's nothing.

Pause. Jan breaks the tension with a big hug. After a moment,Ray lets go but Jan does not.

JANWe're not done yet.

Ray puts his arms around her again.

JAN (CONT'D)That's more like it.

16.

ALJan, leave him alone.

JANNot before I finish one of my famoushugs. Okay, finished.

She finally lets go.

ALCan we go now?

JANYes, now we can go.

(to Ray)Oh, and if ya wanna reheat that laterjust pop it in the toaster oven forthirty minutes on three fifty.

RAYGot it. Thanks again.

JANYou're welcome.

ALOkay, goodbye!

Al puts his arm around his wife and they walk off. Ray goesinside.

JANPoor thing.

INT. RAY'S KITCHEN

Ray throws the casserole on the kitchen table and tears thetin foil away. He takes a seat. There's enough for a week ofleftovers but Ray, suddenly starving, leaves no bite behindfirst with a fork then with his bare hands. Bite for bite heconsumes the entire dish. The landline rings. He lets it goto the machine. First, his wife's voice.

RAY'S WIFE (V.O.)Hi, you've reached the Burnses, leavea message!

Beep. Then, his MOTHER's voice.

RAY'S MOTHER (V.O.)How dare you, Raymond. I don't carewhat happens in your personal life,you don't speak that way in yourfather's church. It's blasphemous.

(MORE)

17.

RAY'S MOTHER (V.O.) (CONT'D)He has a reputation! How you thinkpeople'll react now they know heraised a sinner like you? You shouldsee him. He can hardly breathe.

Ray wipes his hands, reclines in his seat, opens his belt,and closes his eyes.

PASTOR (V.O.)Lucy!

She hangs up without another word.

FLASHBACK

INT. RAY'S PICKUP - MOVING - DAY

Ray drives dangerously fast. He promised his wife he'd be ontime. He approaches a red light with a hard stop and littleintention of staying so. After a car passes perpendicular,he guns it through the red light.

He approaches the next light, which is also red. This time,there's too many cars crossing to run it.

RAYC'mon, c'mon, Goddammit. Unbelievable.

The light turns green and Ray guns it again. This time heweaves between a few cars to be first at the next light,which is currently green, but before he can complete theweave his cell phone rings and he grabs it out of thecupholder but it slips from his hand into the crack betweenthe console and the seat.

RAY (CONT'D)Shit!

He reaches down without taking his eyes off the road, butcan't locate the phone. He's still in the middle of amaneuver. He jolts left to narrowly avoid one of the carshe's passing. That was a close one.

He checks the fast-approaching light: still green. He takeshis eyes off the road to locate the still-ringing phone. Hespots it under/behind his seat but he still can't reach it.He has to shift around and contort himself to get ahold ofit, which he finally does, but by that point the light hasturned yellow, then red, and Ray doesn't realize it. He pullshis arm out of the crack but the phone drops back to thefloor.

RAY (CONT'D)Ah!

18.

The cars start to cross in front of him in the intersectionbut Ray's still consumed with the phone business, and speedingof course. He manages to extract his phone at the lastpossible second and skid to a complete stop an inch beforehitting someone. He goes to answer his phone but it's toolate; they hung up. The screen reads Missed Call: (800) 644-7799.

RAY (CONT'D)Fucking telemarketers.

He slaps the steering wheel. All that for that? The lightturns green and he guns it through the intersection.

END FLASHBACK

EXT. CONSTRUCTION SITE - SECOND STORY - MORNING

When Ray comes to at work the next day, he sees Don right inhis face, staring back at him with a curious look. Ray turnsaway and measures something.

DONYou okay, Ray?

RAYI'm fine.

DONYou don't look it. You sure you don'twant some time off?

RAYPositive.

DONYou shouldn't be here, Ray.

RAYWhy not?

DONI don't know, because you'reunconscious?

RAY(turns to Don)

I am not!

DONYou were.

RAYNo, I wasn't.

19.

DONWhat do you call it then?

RAYI just zoned out, that's all. Ithappens.

DONDude, you were out cold. You couldhurt yourself. This is a constructionsite. You could kill someone.

RAYI said I'm fine, Don.

DONWell I don't believe you, so takethe rest of the day--hell, take therest of the week. You could use it.

RAYAnd do what?

DONI don't know, build somethin'.

RAYI am building something.

Ray turns back and starts hammering something. Pause. Donshould say something.

DONThat was really somethin' yesterday.

More nothing from Ray.

DON (CONT'D)Those people definitely weren't readyfor all that.

RAY(almost to himself)

Yeah, well, who's ever really readyfor anything.

DONIt got pretty weird in there afteryou left.

RAYOh?

20.

DONYeah, and now nobody'll shut up aboutit.

RAYGood, let 'em talk.

DONThey aren't sayin' nice things. Itdidn't sit well with them, Ray. Thatisn't the type of sentiment peopletolerate around here. Plus your dad.What were you thinkin'?

RAYI'm sorry I wasn't more considerateat my wife and kids' funeral.

DONHey, I ain't mad atcha, I'm justspeakin' for the general consensus.I don't blame ya. It needed to besaid. I commend ya. You fuckin' wentthere.

RAYAre you done?

DONCourse. Lemme know if there's anythin'I can do.

Ray just keeps hammering. Don slowly backs out of that area.

INT. CHURCH BACKROOM - EVENING

Ray's dad the pastor, a nasty, intense, hypocritical, abusivesumbitch, speaks from his oversized chair. He discusses Ray'sstatus in the church with Ray's older brother/church number-two, CHUCKIE BOYD, and six other CHURCH ELDERS who don'tdare speak unless spoken to. Like his father and unlike Ray,Chuckie Boyd is a hulking figure. The room is dark and dustyand ominous.

PASTOREither you with me or against me,simple as 'at. And you ain't with metalkin' like that in my church.

CHUCKIE BOYDBut Pa, he didn't mean it. His familyjust--

PASTORWe his family. God his family.

21.

CHUCKIE BOYDBut a father ain't supposed to outlivehis kids. Those were his little girls.He created them.

PASTORAnd He created us. And if He wannatake 'em then that's what He do. Wedon't question the lord, son, weabide Him and serve Him.

Chuckie Boyd shifts his weight. His little brother's speechgot him thinking. Still, he's on Team Patriarch. In thistown, you don't go against the pastor.

PASTOR (CONT'D)So he out. And so's you if you feelin'his way.

(to the elders)That goes for all o'ya. Align yourselfwith him and you out, too. There'sno room for disbelievers here. Nomercy, neither. Next time you seehim, don'tchu smile at him, don'tchutalk to him, don'tchu you invite himin your homes. He's out. That's final.And you are too if you do. All clear?

The room affirms.

PASTOR (CONT'D)Chuckie Boyd?

CHUCKIE BOYDYessir.

The pastor swivels around. The crowd disperses, leaving thepastor alone to ponder what went wrong with Ray or plot hisnext move.

INT. RAY'S GARAGE - NIGHT

The garage light turns on and Ray enters from the utilityroom. He pulls the blanket off the machine and places it ona shelf. He's about to power it up when he hears something,or someone, outside on his driveway.

RAYNow what?

He looks out the upper windows of the garage door and seesSARAH BERGER, an unfamiliar woman in hipster denim apron,vintage cateye spectacles, and dark curly hair; she'sdefinitely not a local.

22.

SARAH BERGER(muffled)

Are you handy?

RAYSorry?

SARAH BERGER(muffled)

Are you handy?

RAYI'll come around.

SARAH BERGER(muffled)

What?

Ray turns off the garage light on his way inside the house.

EXT. RAY'S HOUSE

Ray steps out the front door.

SARAH BERGERHi.

RAYHi.

SARAH BERGERAre you handy?

RAYWho's asking?

SARAH BERGERRight! I'm Sarah Berger. I'm thegirl next door. Not "the girl nextdoor", I just mean I live next doorand I happen to be a girl, which,technically, would make me "the girlnext"--You know what? Doesn't matter.Are you handy or what?

RAYYou're the one who bought oldKeebler's dump?

SARAH BERGERThank you for saying that, yes, I amthe proud new owner of some old guy'sdump. Can you just please answer thequestion?

23.

RAYYes, yes, I'm handy. I better be,I'm in construction.

SARAH BERGEROh thank God.

RAYHow long have you been standing there?

SARAH BERGERNot long. It's urgent.

RAYWhat is?

SARAH BERGERMy toilet. I'm having a...situation.

She pantomimes an epic explosion with her hands.

RAYAre you.

SARAH BERGERYeah, and it's really urgent so ifwe could just--

RAYThat's really more of a plumber'sdeal.

SARAH BERGERPlease! It's like Old Faithful inthere! I don't know what to do!

RAYWe talking number one or number two,here?

SARAH BERGERI'd rather not say.

RAYSo, two.

SARAH BERGERBut it's coming from the tank, notthe bowl.

RAYWhat about the lid?

SARAH BERGERIt didn't come with one.

24.

RAYI told you it's a dump. Did you tryturning the water off?

SARAH BERGERI tried but it wouldn't budge.

RAY(relenting)

Gimme a minute.

He starts back for his house.

SARAH BERGERThat's your house!

RAYI know. I gotta grab my tools.

INT. SARAH BERGER'S HOUSE - NIGHT

Sarah guides him through the small, old house to the sceneof the crime. She opens the bathroom door for Ray's viewingpleasure. It's a geyser, alright.

RAYHoly hell.

SARAH BERGERThat's what I was trying to tellyou.

No sense waiting. Ray jumps in and gives a crack at turningthe knob by hand. Like she said, it won't budge. He comesback out, grabs his pliers from his old wooden toolbox, jumpsback in, and after some serious tugging is finally able torotate the knob all the way clockwise, stopping the springonce and for all. Then he goes into the tank and tweaks thepart causing the problem.

SARAH BERGER (CONT'D)Now you know why I knocked on yourdoor in the middle of the night.

RAYYou didn't knock, you lurked. Can Iget some towels?

SARAH BERGEROf course! Sorry.

She hands him a stack of towels from a nearby moving box andhe starts wiping the mess. She stands outside the door lookingon.

25.

SARAH BERGER (CONT'D)You're the best, you know that? Iowe you one.

RAYWhatcha cookin'?

SARAH BERGERHuh?

RAYYour apron.

SARAH BERGEROh, this is just my outfit, I'm notactually wearing this for utility.

RAYYou're not from around here, areyou?

SARAH BERGER(toughguy voice)

Nah, Brooklyn, kid.

RAYNew York City?

SARAH BERGERDing ding ding.

RAYWhatcha doin' down here?

SARAH BERGERI took a job. Spur of the momentthing. But now here I am and reality'ssetting in and we're in the middleof nowhere and I know no one andthen this toilet thing happens andI'm wondering if it's an omen andwhat if I've made a big mistake andmaybe I should've held out on thatother offer but then I figure I gottabe patient and ride it out becausethings get better, right, and ifnothing else it'll be an experiencethat makes me...me.

RAYUh huh. What do you do?

SARAH BERGERI'm a third grade teacher.

26.

His vision goes blurry but he's able to keep the oncomingflashback at bay as he gathers up the wet towels.

RAYYou got a washing machine?

SARAH BERGER(British accent)

Right this way, sire.

She leads him to the utility room.

SARAH BERGER (CONT'D)So what were you doing in your garage?

RAYNothing.

SARAH BERGEROf course not.

INT. THE NIGHTLY SHOW WITH GEORGE CRAIG - NIGHT

Roystacker, in another tuxedo, is on another talk show withyour host GEORGE CRAIG. Think The Daily Show.

GEORGE CRAIGYou realize you sound like a crazyperson, right?

THURMAN ROYSTACKERYes I do.

GEORGE CRAIGOkay, good. No, that's a good sign.That tells me you're not crazy. That'show you can tell if someone's crazy,you know.

THURMAN ROYSTACKERHow's that?

GEORGE CRAIGIf they can't admit they're crazy."I'm not crazy!!!" said every crazyperson ever.

THURMAN ROYSTACKERYes, yes, I've noticed that myself,but what I'm doing here isn't entirelyunprecedented.

GEORGE CRAIGYou mean other people are printinghumans, too?

27.

THURMAN ROYSTACKERWell yes, in parts. They're printingall sorts of things nowadays.

GEORGE CRAIGI find this so fascinating. Whichparts are they printing?

THURMAN ROYSTACKERLivers, kidneys, lungs, bladders--

GEORGE CRAIGBalls?

THURMAN ROYSTACKEREven balls, George.

GEORGE CRAIGAnd these work, these balls?

THURMAN ROYSTACKEROh yes, George, these are fully-functioning balls.

GEORGE CRAIGI'm sorry, I'm having trouble taking you seriously.

THURMAN ROYSTACKERI get that a lot.

GEORGE CRAIGI bet. So how does your printer differfrom these others, then?

THURMAN ROYSTACKERBecause the others can only printthat one part. Mine's an all-in-one.I can print a whole body, essentially.

GEORGE CRAIGShut up.

THURMAN ROYSTACKEROkay.

GEORGE CRAIGNo, don't shut up, ah--what do youmean, "essentially"?

THURMAN ROYSTACKERWell...some assembly required. Theydon't come out fully formed. Butthere'll be a surgeon on hand at theshow to figure that out.

28.

GEORGE CRAIGThat's right, the, the trade show.You're gonna demo your printer.

THURMAN ROYSTACKERThat's correct, George. I'll beprinting a human this weekend. Butwait, there's more. It'll be streamingonline so all of you can see foryourselves in real time, completelyfree!

The crowd goes wild.

GEORGE CRAIGYou're gonna shut down the internet.

THURMAN ROYSTACKERI just may.

GEORGE CRAIGAre you printing a guy or a girl?

THURMAN ROYSTACKEROnly time will tell.

GEORGE CRAIGI'm still having trouble with this.You're printing actual, working bodyparts?

THURMAN ROYSTACKERYes, yes, I'm printing ears thathear and eyeballs that see and nosesthat smell.

GEORGE CRAIG(closing)

And balls that hang. ThurmanRoystacker, everyone! Either themost brilliant man in the world or acomplete nutjob. See what I did there?Nutjob. Don't touch that dial.Actually, do what you want, you willanyway.

INT. RAY'S GARAGE - NIGHT

Ray is back in his garage. Now he's cutting a smallrectangular piece of wood with a table saw. He finishes sawingthat piece and plugs it into an empty window frame on thegarage door, concealing the machine from future onlookers,creepers, and lurkers. Then he puts soundproofing up aroundthe room, and then he installs a deadbolt into the garagedoor frame.

29.

Finally, he gets to the machine. He boots it up. Like thefirst time he turned it on, the same one word option appears:Print.

Ray rolls up his sleeve and presses Print. The next screenreads Choose Body Part. He nervous laughs. He touches that,which produces a pop-up with every body part imaginable listedin a scrolling list.

RAYWhat the?

He scrolls down, eventually touching Eyeballs, which thenprompts him Default or Custom. Things go fuzzy and then thehigh-pitch noise. He quickly chooses Default, presses Confirm,and that's when he's out cold.

FLASHBACK

EXT. PHOTOGRAPHY STUDIO - DAY

Ray and his family pose by a huge Oak tree with interwoven,above-ground roots behind the studio. Ray's two daughters,MARISSA, 9, and GRACE, 6, stand by his side but his wife,LILY, just kinda hangs in the background by herself. Theseare the same people in the minivan from Ray's nightmare.

Ray's got a solid blue sweater on now. The rotund femalephotographer, ANDRE, in short hair and mom jeans, shoots thesession.

ANDRELily, why you hidin'? Lemme see youreyes, girl! You got the prettiestpair in town.

Lily blushes and steps forward. She's gorgeous. Tall. Fit.Blonde. Her sharp facial features are beautiful but heruncommonly grey eyes are from another planet. The girls takeon after their mother.

ANDRE (CONT'D)(snapping away)

There it is. That's the shot. Tiltyour head down, Marissa. Grace, stepback a hair. Yes. Yes. Ray, big smile.That's it, nice, we're gettin'there...

Ray pulls Lily in more but her smile for the camera betraysher frustration, and she pulls away.

RAY(through his smile)

C'mon, I was only ten minutes late.

30.

LILY(through her smile)

We were supposed to be twenty minutesearly.

The rest of the conversation is through their teeth.

RAYI had to speak with the architect.

LILYSpeak to him tomorrow.

RAYI couldn't, it was important.

LILYMore important than this?

RAYCourse not, but I had an issue thatcouldn't be resolved without him, sopostponing him meant postponing theentire project.

LILYDon't be so dramatic.

RAYYou scheduled this at the worst time.

LILYIt was the only time she had allmonth.

RAYFine but you know I can't leave workearly.

LILYThen why'd you say it shouldn't be aproblem?

RAYBecause it shouldn't be a problem.It still is. I was expecting theunexpected.

LILYWell, don't you just know howeverything's gonna play out.

RAYI know enough to know I don't knowit all.

31.

LILYI hate when you say that.

RAYI've never said that in my life!

LILYYeah but you're always saying thingslike that.

ANDRE(full voice)

Y'all ain't gonna have a single usableshot if ya keep it up, I mean it.

GRACE(through her smile)

Mommy, I have to go potty.

LILY(through her smile)

Why didn't you go when I told youto?

GRACE(through hers)

I don't know.

MARISSA(through her smile)

Daddy, what time is it?

RAY(through his)

Why, you need to be somewhere?

ANDRE(full voice; frustrated)

Aight, let's take five. Girls, let'sgo potty. C'mon, I'll take ya.

MARISSA(through her smile)

I don't have to go.

ANDRE(full voice)

You don't have to talk like thatanymore, and too bad.

RAY(full voice)

Missy, go.

32.

The girls go off with Andre, who turns around and warns thequarreling lovers,

ANDRETwo minutes.

LILY(punching his shoulder)

You idiot.

RAYMe.

LILYYes, you!

RAYCan we just move past this?

LILYNo!

RAYWhy not?

LILYBecause we were supposed to take onecar. That was the plan.

RAYBut why? What's the big deal? I don'tsee why it matters.

LILYIt's a surprise, Ray.

RAYFor who?

LILYYou!

RAYMe?

LILYYes, you!

RAYWhat is this magical place where wecan only bring one car?

LILYI can't say, it'll ruin the surprise.

33.

RAYWell can we still go?

LILYNo, we seriously can't go in twocars.

RAYThen we'll leave one here.

LILYWe'll just go another time, Ray.

RAYOh c'mon, don't be like that.

LILYNo, Ray, you don't get rewarded fordeviating the plan!

RAYUch. Fine.

(he moves in)Hey.

LILYWhat?

RAYYou know I love you like shit, right?

LILYWow, like shit? That's a lot.

RAYC'mere.

LILYWhat?

RAYC'mon.

LILYNo.

RAYC'mon, c'mere.

He pulls her in and they touch foreheads.

RAY (CONT'D)Ra ra ra ra ra ra ra ra ra.

(MORE)

34.

RAY (CONT'D)(she was supposed tojoin him)

Hey!

This time she complies in unison.

RAY (CONT'D)Ra ra ra ra ra ra rara ra.

LILYRa ra ra ra ra ra ra rara.

RAYThank you.

LILYYou're welcome.

They hug it out.

ANDRE (O.S.)I don't know what that was but thelens loved it.

They look over and realize Andre has returned with the girls,and that she photographed their private moment. They separate.

MARISSAThat's Mommy and Daddy's thing thatthey do.

GRACEMommy and Daddy are gross!

RAYAlright, Marissa, Grace, get behindMommy. Andre, I got a picture forya.

LILYWhat's happening?

Andre's already shooting.

ANDREI'm ready.

RAYI got my own surprise. Just staythere. Girls, let's go.

Marissa runs up behind Lily, and Grace behind Marissa. Theywatch as Ray pulls a jewel box from his pocket and takes aknee.

35.

LILYWhat's this?

RAYLily Ann Burns, will you marry me?

He opens the box and displays it to her.

RAY (CONT'D)I got you earrings since you alreadyhave a ring.

ANDREY'all ain't married?

LILY(to Ray)

I was gonna ask the same thing.

RAYYeah. So. Marry me again.

LILYI don't get it.

RAYWhat's to get? We'll freshen thispuppy up. It'll be fun. And thekids'll get to be there. We'll getAndre to shoot it.

ANDREI'm booked that day!

Lily takes out the studs she's wearing and sticks the newdangly ones in.

LILYHow do I look?

RAYStunning.

LILYYes, Ray, my answer's yes.

They kiss and hug.

ANDREShe said yes! Dance partycelebration!!!

Andre presses play on her ancient AIWA boombox with six CDchanger. The happy family starts dancing to the upbeat song.Andre checks her natural light from the sky above. It's dark.

36.

A storm is definitely rolling in. She shoots on.

RAY'S POV

Ray stares into his wife's eyes; those intense, alien greys,which stare back into his own with a most-enchanting look.

END FLASHBACK

MATCH CUT TO:

INT. RAY'S GARAGE

RAY'S POV

Lily's grey eyes turn brown as Ray comes to. The machine isbeeping now, and the eye-level compartment is flashing neongreen. Now he's staring into the eyes that printed while hewas out cold, two of them, looking right back at him frombeyond the glass.

BACK TO

RAYAh!!!

He shoots out of his seat and falls flat on his ass. He getsup and hobbles to the eyes in amazement. He checks his watch.They printed so fast. He opens the compartment. He pokesone. He grabs it and looks at it up close. He squeezes it inhis hand.

RAY (CONT'D)Squishy.

He puts it back. This is too much. He just printed a couplehuman eyeballs. That's some heavy shit. He reaches back inand turns them backwards.

EXT. CONSTRUCTION SITE - MORNING

Ray's transporting dirt in a Bobcat from one spot to thenext the next day. He stops to let a crane pass. He looksexhausted with deep, dark bags under his eyes. While he'sstopped he yawns a huge bear of a yawn straight outtahibernation. Just then, Don walks by and sees.

DONRay, you look like shit.

RAYI didn't ask.

37.

DONDude, take it easy, I'm just messin'with ya.

RAYNo you're not. I do look like shit.I feel like it, too.

DONThen why can't I say it?

RAYBecause I don't need the reminder.

DONRay, I really think you could usesome time off. You're not in theright head space. That's fine, I'mnot judgin' ya. Just go get somerest before you come back to work.

RAYI said no, Don.

DONI'm your boss, Ray.

RAYYou're my best friend, Don.

DONI'm your only friend, Ray.

RAYIs yawning such a crime?

DONAh, when you're operating heavymachinery, yeah, I'd say it prettymuch is.

The crane moves out of his way.

RAYFor the last time, I'm fine. Stopworrying about me. Really. Thankyou. Goodbye.

Ray continues on with his haul.

EXT. CONSTRUCTION SITE - AFTERNOON

Later in the day, TWO CONSTRUCTION WORKERS and Ray emergefrom a manhole. Ray is the last one out. He finishes histhought before covering it back up.

38.

RAYSo I think if you--

HECTOR (O.S.)Ahhhhhhhhhhhhhhhhhhhh!

Thud. HECTOR, another construction worker, fell down thedeep uncovered manhole. Sounds like it hurt. The beams hewas carrying scatter on the ground.

RAYOh shit!

Ray grabs a beam that's about to fall in, too. He throws iton the ground and the two other construction workers stepback to the manhole and look in. One of them finger-whistlesto alert the others. Saws stop sawing and jackhammers stopjackhammering. WORKERS come flying in from 360 degrees.

RAY (CONT'D)Hector, that you?

HECTORMy back, my back.

RAYAlright, alright, shit, alright,fuck, alright, how bad is it?

HECTORBad, man. Fuck. Ah.

RAYOkay, okay, don't move, Onsite'scoming.

(yelling)Where's the medic?

Just then, the MEDIC swoops onto the scene and climbs downthe manhole with his headlight illuminated.

MEDICSir, can you tell me your name?

HECTOR(barely)

Hector.

MEDICWhat's your last name, Hector?

Hector just writhes in pain.

39.

MEDIC (CONT'D)Alright, just sit tight, Hector,everything's gonna be alright.

Don muscles through the crowd and arrives at the manholebeside Ray. He notices Ray's guilty look.

DON(to Ray)

You had something to do with this?

EXT. CONSTRUCTION SITE - MOMENTS LATER

Ray and Don hash it out off to the side while the medic andhis PARTNER carefully extract Hector from the manhole.

RAYIt just happened so quick. I mean,Don, the timing was comedic.

DONThere's nothing funny about this,Ray. A guy just almost died becauseyou didn't cover the manhole.

RAYYet. I didn't cover it yet. It wasone second!

DONI don't care if it's a day, the firstthing you do when you exit a manholeis cover it! Hector just fellseventeen feet! He's lucky if hewalks again! Do I have to remind youwhat happened to the last guy whofell down one? Jesus!

Having extracted Hector from the manhole, the medics put himon a stretcher and load him in an ambulance.

RAYI messed up.

DONDamn right you messed up. This iswhat I was trying to avoid but no,you insisted on staying, and I waslax, and now look what happened. Youlook like a zombie, you're blackin'out on the job, I mean, this isn'tgood.

40.

RAYI didn't black out. Okay, okay, Iadmit, yesterday I blacked out. Buttoday, ask Romeo. We were in themiddle of a conversation. I wasperfectly lucid.

DONRay, if you had just gone homeyesterday--just taken the week likeI said--this never would'a happened.And now lookit.

The medic walks over.

MEDICHe's got a broken hip and a piercedspleen seems like, but we gotta gethim to the hospital.

DONMy God.

MEDICHe was lucky. Could'a been a lotworse.

The medic hops in his ambulance and takes off.

DON(to his workers)

Everyone back to work!

Everyone shuffles back to their stations.

DON (CONT'D)Y'hear that, Ray? Could'a been a lotworse. You just dodged a bullet.

RAYIt was a stupid mistake. It won'thappen again.

DON(beat)

Whatchu mean, you're blackin' out?What does that mean? Who does that?

RAYI'm having these...flashbacks, Iguess you'd call 'em. Every so often.

DONLike of what? Your childhood?

41.

RAYNo, dumbass, the--my--

He can't bare to say it.

DONRight. Got it. Sorry. What is it,then, you think? The PTSD?

RAYI guess.

DONYou seein' somebody?

RAYYou mean a shrink?

DONMight not be a bad idea. I mean, Ipersonally wouldn't see one but youcould.

RAYI can't stop replaying it.

DONYeah, well...

(he hesitates)Either way, you can't stay here. I'msending you home.

RAYC'mon, Don, it was a freak occurrence.

DONI'm sorry, I just can't keep ya herein light of all this. There's justno way.

RAYWhat am I supposed to do?

DONLike I said, see a shrink. Also likeI said, build somethin'! Just nothere.

RAYLike what?

DONI don't know--your life back up? Achair?

42.

Ray's about to break down in tears. He looks Don's way butDon doesn't offer any sympathy in return, only a single pity-pat on the shoulder.

INT. GAS STATION CONVENIENCE STORE - DAY

Ray grabs a bag of chips while his pickup fills up. Anothercustomer, a familiar woman, approaches. This is JORDY.

RAYHey, Jordy.

Jordy considers diverting her path but it's too late. Shestares at the floor.

JORDYHey, Ray.

RAYHow's it goin'?

JORDYFine. I gotta go.

She walks off without looking.

RAYHey Jordy?

JORDYYeah?

RAYEverything okay?

JORDYMm hmm.

RAYWhy don't I believe you?

Jordy bounces.

EXT. GAS STATION - MOMENTS LATER

Ray hangs the pump back. As a GMC Yukon drives by, the MALEPASSENGER, who can't be seen, yells,

MALE PASSENGERMay God have mercy on your soul,Raymond Burns.

Ray looks up but it's too late to identify who said it.

43.

INT. RAY'S GARAGE - NIGHT

Ray plays with the machine some more, back at it on thetouchscreen. This time, he chooses Custom instead of Default.He turns on the tiny box TV in the corner. How convenient,Roystacker, in tuxedo as always, is on another talk showwith your host EDDIE ROURKE. Think The Tonight Show. Rayhalf-listens as he continues with the machine.

THURMAN ROYSTACKER (O.S.)But I'm gonna tell you something Ihaven't told anyone else, Eddie,because I like you.

EDDIE ROURKE (O.S.)What now?

THURMAN ROYSTACKER (O.S.)My printer doesn't just print genericbody parts. It prints fullypersonalized parts.

RAYWhaaaaaaaaaaaaaaaaat?

Ray runs to the TV and turns it up.

INT. THE TONIGHT SHOW WITH EDDIE ROURKE STUDIO

Now we're on set of the live show in real time. Roystackercan be seen wearing a pin on his lapel of the same logo onRay's printer.

EDDIE ROURKEMeaning what?

THURMAN ROYSTACKERIt means that if you, Eddie Rourke,needed a new liver you could eitherput your name on a list in seventeenthousandth place or you could emailme your medical records, I'll upload'em to my printer, and print you anew one in forty five minutes--anexact replica that's one hundredpercent compatible with your, EddieRourke's, body. Personal to you.Unless you'd rather wait three years.If you last that long.

EDDIE ROURKEI don't wanna wait.

THURMAN ROYSTACKERWhy would you?

44.

EDDIE ROURKESo this is for real? You can reallydo this?

THURMAN ROYSTACKEROh yes. You don't even need to provideyour own medical records. I can search'em just as easily.

EDDIE ROURKEI was under the impression my medicalrecords were private.

THURMAN ROYSTACKERSilly willy, privacy is a thing ofthe past. Which normally would botherme but in this case could save alife. I can even link up to yourfacebook page. We live our wholelives on the web. My printer simplygathers the information that's outthere to print an accurate match.

EDDIE ROURKEHow long have you been working onthis? This must have taken youforever.

THURMAN ROYSTACKERWell, yes, yes, I would say that'san accurate depiction of the timeline.

EDDIE ROURKEAlright, so let's say I need thatliver. Lay it on me. How much is itgonna set me back?

THURMAN ROYSTACKEROh, I don't know, I've never thoughtabout that. I've only printed aprototype. How 'bout a cool mill?

EDDIE ROURKESeems high. Are there any discountsor credits that could be applied? Iput you on my show...

THURMAN ROYSTACKERYes, one million would be thediscounted rate.

INT. RAY'S GARAGE

Ray looks closely at Roystacker's pin.

45.

RAYI don't believe it.

He runs back to the machine to confirm it. It's a match.

RAY (CONT'D)Okay, this is freaky.

He looks back at the TV.

EDDIE ROURKE(on TV)

So how many of these machines do youhave, because seventeen thousandtimes forty five minutes equals...Let me just get my calculator...

THURMAN ROYSTACKER(on TV)

Seven hundred sixty five thousandminutes, or twelve thousand sevenhundred fifty hours, or five hundredthirty one point two five days.

EDDIE ROURKE(TV)

So you're good at math.

THURMAN ROYSTACKER(TV)

Mm.

EDDIE ROURKE(TV)

And that's just the liver.

THURMAN ROYSTACKER(TV)

Right, and that's just the--ah, Ionly have one machine at the momentso I'd probably have to invest inmore. But presently, yeah, just theone.

The touchscreen reads, Upload or Search.

RAY(re: TV)

You sure about that, buddy?

Ray touches Search. He types his wife's name: Lily Ann Burns.It results in a bunch of different Lily Ann Burnses. Hechooses the one with the right Lily's social security number,photo, and date of birth.

46.

When it asks him to Choose Body Part, Ray checks All (1,352),then Confirm, and then it starts printing; each compartmentat the same time. He looks through each of the glass doors.Layer by layer, body parts are printed.

Each compartment prints its own system: Skeletal; Muscular;Cardiovascular; Digestive; Endocrine; Nervous; Respiratory;Immune/Lymphatic; Urinary; Reproductive; and Integumentary.On the screen it shows each compartment's progress, withpart listed and percentage completed.

He looks around for a makeshift operating table. Bingo. Hiscluttered, steel, doubledecker island on wheels will workjust fine. He clears all the stuff off it with a single sweepof the arm and wheels it next to the machine. He grabs a ragand wipes it down, then lays a plastic sheet on top.

By the time he finishes prepping his work station, the machineis beeping at him and one compartment is blinking purple. Hechecks the touchscreen. It reads Completed: Skeletal: Phalange1. He opens the unmarked pressurized skeletal compartmentand sees a tiny bone. He puts on a pair of gloves and grabsa tweezers, extracting it carefully and laying it on one endof the plastic-covered island. The printer starts printingthe next part, Phalange 2, as soon as the door is reclosed.

RAY (CONT'D)You want me to build something, I'llbuild something.

Ray searches something on his phone.

RAY (CONT'D)(reading)

"Phalanges: Any of the bones in thefingers and toes. In humans, thereare fourteen phalanges in each handand foot. Two in the thumbs and bigtoes, three in the remaining digits."

He takes a closer look at it.

RAY (CONT'D)It's a baby toe bone.

Phalange 2 is at 33%...34%...35%. The smaller they are, thequicker they print.

The machine beeps at him; a different compartment this time.This one flashes hot pink. He looks at the touchscreen. Itreads Completed: Endocrine: Pineal Gland. He searches it upon his phone.

47.

RAY (CONT'D)(reading)

"The Pineal Gland, or Pineal Body,Conarium, or Epiphysis Cerebri, is asmall endocrine gland in thevertebrate brain." Brain!

He extracts the pineal gland from the Endocrine compartment.It's reddish-grey about the size of a grain of rice. He laysit on the opposite end of the operating table.

RAY (CONT'D)(reading)

"It produces the seratonin derivativemelatonin, a hormone that affectsthe modulation of sleep patterns inthe circadian rhythms and seasonalfunctions." Okay. "Its shape resemblesa tiny pine cone--hence it's name--and is located in the epithalamus,near the center of the brain betweenthe two hemispheres tucked in a groovewhere the two halves of the thalamusjoin."

He doesn't know what any of that means but he'll make itwork. Ray stands back with his hand on his mouth. This isreally happening.

The machine beeps at him again; a third compartment. Thisone flashes electric blue. The touchscreen reads Completed:Digestive: Duodenum. He checks it on his phone.

RAY (CONT'D)(reading)

"This article is about the organ.For Frank Zappa's song by the samename, see 'Duodenum Song'... Theduodenum is the first section of thesmall intestine in most highervertebrates...principal site foriron absorption...shortest part ofsmall intestine."

He extracts it from the blue compartment.

RAY (CONT'D)(to duodenum)

We'll put you right...here.

He puts it in the middle somewhere.

PRINTING MONTAGE

48.

We hear and see a cacophany of beeps and colors as eachcompartment spits out part after part, which get bigger andbigger, over the course of the night. Ray lays them out ashe goes, filling the table little by little, barely able tokeep up with the machine. Eventually his wife's body startstaking shape.

As the night rages on, Ray becomes more disheveled and wildand a little crazy. For the son of a fundamentalist pastorin this small, Southern town, the religious implications arevery much present.

He extracts a lymph node, a gallbladder, a hypothalamus, akidney, a spleen, a tongue, a uterus, ovaries, spine,appendix, lungs, pleura, parathyroid, eyes, epidermis, thyroidgland, brain, stomach, pancreas, rectum, esophagus, smallintestine, and large intestine.

By the time the machine finishes printing, the sun is up andRay is a complete mess. He admires his creation from acrossthe room, which is a full human body on its back in bloodydisgusting parts on the table. All the bones and organs andeverything laid out where they belong to the best of Ray'sabilities.

The machine printed the pieces; now it's time for Ray to putthem together. He grabs a needle and thread from his Armysurgical kit and begins sewing.

INT. ROBERT E. LEE ELEMENTARY SCHOOL - CLASSROOM - MORNING

Sarah writes Ms. Berger in cursive on the chalkboard. Herclass starts laughing softly.

SARAH BERGERHi class, I'm Ms. Berger and I'mgonna be your teacher for the restof the year.

More kids join in, but she's a good sport.

SARAH BERGER (CONT'D)That's it, go ahead, laugh it up--myname is Ms. Berger. Keep laughing,really, I'm okay with it. C'mon, youcan do better than that. I wanteveryone to join in. Let's go, rightnow, give me your biggest laugh, Imean it. Don't feel bad--believe me,I'm used to it. I've been called allsorts of names in my day. Hamburger,cheeseburger, buffalo burger, ostrichburger!!!

49.

Now every kid is laughing at the top of their lungs. She's anatural. It subsides.

SARAH BERGER (CONT'D)Sometimes you just gotta laugh itout. Okay, glad we got that takencare of. Now I'd like to go aroundthe room and have you introduceyourselves.

She points to STUDENT A, a cute blonde girl in the frontrow.

SARAH BERGER (CONT'D)Let's start with you.

STUDENT AMe?

SARAH BERGERYes, what's your name?

STUDENT AGina.

Sarah looks at her class list and makes a note.

SARAH BERGERGina Haynes?

STUDENT AThat's my name, don't wear it out!

SARAH BERGERI'll do my best. Nice to meet you,Gina--I mean--

She zips her lips.

SARAH BERGER (CONT'D)(unzipping her lipsand pointing toSTUDENT B)

And how about you? What's your name?

STUDENT BMy name isn't important.

SARAH BERGERWhat is important?

STUDENT BThat I'm a vampire and I like drinkingblood.

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SARAH BERGEROookaaay.

STUDENT C raises his hand.

SARAH BERGER (CONT'D)Yes?

STUDENT CI would like to poop now.

SARAH BERGERAnd who are you?

STUDENT CDevin McArthur.

SARAH BERGERBut class just started.

STUDENT CI'm just listening to my body, Mrs.Berger.

SARAH BERGERGo.

Student C runs to the in-class restroom.

SARAH BERGER (CONT'D)And it's Ms., not Mrs. I'm notmarried.

STUDENT D raises her hand in the back.

SARAH BERGER (CONT'D)Yes?

STUDENT DWhy not?

SARAH BERGERUh...

STUDENT EMs. Berger, how old are you?

SARAH BERGERAnd who are you?

STUDENT EJamie Gulick.

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SARAH BERGERHow old do you think I am, JamieGulick?

STUDENT ESixteen.

STUDENT DThere is no way she is that old.

SARAH BERGERI'm thirty five.

STUDENT DWhoa.

STUDENT EWhoa.

INT. RAY'S GARAGE - MORNING

Ray sews the skin to itself around the guts of an entireleg, from the foot to the upper thigh. Two finished arms areoff to the side.

His sewing is amateurish despite his Army medic background(framed certificate of valor/medals on the wall).

EXT. COBO CONVENTION CENTER - MORNING

A limousine stops in front of the downtown Detroit conventioncenter. The CHAUFFEUR runs around to the rear passenger doorand opens it for Roystacker and his tall, lanky, Scandinavianassistant, STIG.

The line of CONVENTIONGOERS waiting to get in roars withapplause when they see the man in the tuxedo.

Roystacker and Stig are greeted by THOMPSON, the blackconvention liaison assigned exclusively to their detail.

THOMPSONGood morning, sir, I'm Thompson andI'll be your personal liaison thisweekend, so if you need anythingplease don't hesitate to ask. Now ifyou'll follow me, I'll take you toyour station.

THURMAN ROYSTACKERThank you, Thompson.

Roystacker waves to the crowd as he enters the center.

INT. COBO CENTER - CONVENTION FLOOR

They walk past REPS from every major 3D printing house inthe world putting finishing touches on their booths before

52.

the doors open to the public. There's 3D printed wind energypropellers and a 3D printed supercar and a 3D printed tracthome.

INT. COBO CENTER - AUDITORIUM

Roystacker enters the 1,000 seat auditorium that's exclusivelyhis the entire weekend. The set is a giant abstract of hisprinter compartments. The seats are empty except for someCAMERA OPERATORS and TECHNICIANS scattered around the housedoing their jobs.

THURMAN ROYSTACKERYes, yes, yes!

STIGI take it the set is satisfactory,sir?

THURMAN ROYSTACKERIt's marvelous, my dear boy, just asI designed.

Roystacker runs down to the stage where his printer restsunder a black tarp. He taps the microphone. It's on.

THURMAN ROYSTACKER (CONT'D)Testing, testing, one two three,testing, testing.

The LIGHTBOARD OPERATOR in the booth turns on the colorful,flashing, compartment lights of the set and aims the spotlighton Roystacker.

THURMAN ROYSTACKER (CONT'D)What's up, Detroit!!!

Silence.

THURMAN ROYSTACKER (CONT'D)Tough crowd.

He squints to see into the house. He finds a CAMERAMAN by atripod in the middle of the seats.

THURMAN ROYSTACKER (CONT'D)(to cameraman)

Hey.

CAMERAMANHi.

THURMAN ROYSTACKERHow ya doin'?

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CAMERAMANGood.

THURMAN ROYSTACKERYou ready to make history?

CAMERAMANYes, sir.

THURMAN ROYSTACKERGood.

INT. RAY'S GARAGE - DAY

Having sewn Lily's arms, legs, torso, and head individually,Ray now attaches each of those parts to themselves to createthe whole. He sews Lily's left arm to her torso. Her tightabs and perfect breasts are exposed but it's not a prettysight; there's blood everywhere and missing head.

He finishes sewing her arm to her torso. He pulls the two tosee if they're secure. They are. He tests the arm'smaneuverability. Looks good.

He takes his gloves off and goes inside for a piss.

INT. BATHROOM - MOMENTS LATER

Flush goes the toilet as Ray notices a streak of blood onhis cheek. It's everywhere, really. He starts wiping it away,then stops and exits. Fuck it, he's feeling animalistic.

INT. RAY'S HOUSE

He walks by a window on his way back to the garage. Out ithe notices Jan and Al standing outside their house lookingback at him in horror. He waves at them, but they don't waveback. Instead, Al ushers Jan into their house, which onlyinfuriates the manic, sleep-deprived, blood-soaked madscientist.

EXT. JAN AND AL'S HOUSE - DAY

Ray knocks on their door. They don't answer.

RAYJan? Al? C'mon, I know you're inthere. Open up, it's me, Ray.

AL (O.S.)Go away.

JAN (O.S.)Al!

54.

AL (O.S.)Jan, let me handle this.

RAYWhat's the problem? The other day acasserole, today this?

JAN (O.S.)We're sorry, Ray.

AL (O.S.)Shh! No, we're not. We ain't sorry.Now get off my property, you bloodyfool!

RAYBut why? What did I do?

AL (O.S.)Get movin', sonny.

RAY(losing it)

Tell me what I did, Al. Go on, tellme, tell me what I did that's so badand I'll go. Tell me. Tell me, Al!Tell me! What'd I do so bad, huh?What'd I do? C'mon, I wanna know. Iwanna know. I wanna know!!!

AL (O.S.)Your little stunt in church, that'swhat. Now git!

RAYYou weren't even there!

AL (O.S.)We heard all about it!

JAN (O.S.)Shame on you, Raymond.

Ray runs to his pickup in his driveway, and takes off.

INT. CHURCH OFFICE - DAY

Ray barges in. He heads for his father's backroom but ChuckieBoyd stops him in his tracks. Ray tries to pass but ChuckieBoyd grabs ahold of Ray and won't let go. He's got his armsbehind his back. Given the size difference between the twosiblings, fighting back would be futile. Two of the eldersare there for backup but don't do much of anything.

55.

RAY(silent fury)

Let me go, Chuckie Boyd.

CHUCKIE BOYDRay, just calm down. Just calm down,Ray.

RAYGet off me, Chuckie Boyd. This doesn'tconcern you.

Having heard the commotion from the backroom, the Pastormakes himself known in the doorway with a bourbon in hand.

PASTORWell, well, look what the cat draggedin. I knew you'd show your face 'roundhere--but a simple 'pology won'tsuffice.

RAYYou think I'm here to apologize.

PASTORWhy else enter the lion's den?

RAYYou turned the whole town againstme.

PASTORNo, Raymond, you turned 'em 'gainstyourself. That cha own damn fault.That what happen when you smite Him.

RAYHim? Or you.

The pastor puts his drink down and pulls out an antique,ornate lighter and flips its lid. The thing's a torturedevice.

PASTORSay again.

RAYWhat, you're gonna burn me? Justlike old times?

He just goes with it. Chuckie Boyd is an ogre. Even aftersome shrinkage over the years, the pastor is pretty imposing,himself.

56.

PASTORYou do the crime you pay the time.

RAYAnd what crime would that be?

PASTORPreachin' rhetoric in your father'schurch, for one. And correct me ifI'm wrong, but didn't you kill yourwife and kids?

RAYFuck you, you piece of shit.

He gets another flashback jitter.

The pastor motions an ambiguous command and Chuckie Boydoutstretches Ray's arm to the side. An elder steps in androlls up Ray's sleeve, exposing his wound on his forearm.

PASTORAnd it was healin' so good. What'syour record, son? Twenty one? We canbeat that.

RAYJust get it over with, already. Doit. Burn me. I'm already in hell. Iwon't even feel it.

The pastor obliges. He finds his spot under Ray's wound andignites the flame. Ray barely reacts.

PASTOROne. Two. Three. Four.

(to the other elder)Hand me my drink.

The other elder does so while the pastor keeps burning Raywithout counting. The pastor takes a long swig of his drinkas if he himself were enduring the flame.

PASTOR (CONT'D)Five.

The high-pitch noise returns as Ray blacks out in hisbrother's arms.

FLASHBACK

EXT. PARKING LOT - DAY

The same parking lot from Ray's opening nightmare. Ray andthe gang exit the studio. He and Lily are holding hands.

57.

Marissa hasn't stopped dancing. Grace is just sort of staringinto the sky while walking. Her balance is thrown and shenearly falls over.

RAYWatch yourself.

GRACEI almost fell over, Daddy!

RAYI know, you gotta watch where you'regoing.

He kisses Lily one last time.

RAY (CONT'D)Okay, my lovely ladies, I'll meetyou back at the house.

MARISSADaddy, can I go with you?

GRACEOoh, me too, Daddy!

MARISSANo, Grace, you have to go with Mommy.

GRACEBut I wanna go with Daddy.

MARISSAYeah, because I wanna go with Daddy.

GRACENah ah, I thought of it before yousaid it.

RAYGirls!

They freeze.

RAY (CONT'D)You're both going with Mommy.

MARISSA(to Grace)

Good job, Grace.

RAYDon't blame her, I wasn't gonna takeyou, either. Byeeee.

58.

Ray goes to his pickup. Lily and the girls go to Lily'sminivan. We recognize more of the parking lot from Ray'sopening nightmare.

GRACEWhat did I do?

LILYGirls!

Ray enters his truck and starts her up. Lily and the kids dothe same. Both vehicles depart simultaneously but Ray takesa different path to the exit, where both vehicles meet atthe same time; two cars merging into one lane.

The sky is even darker now. We're waiting for the storm.

INT. RAY'S PICKUP

Lily motions for Ray to go first. Ray motions for Lily to gofirst.

RAYNo, no, please.

When she accelerates, Ray does, too. She stomps on her brakes.He does too. She throws her hands up in the air.

RAY (CONT'D)(waving her to go)

We both waved each other at the sametime. Go, go.

She accelerates another few inches, and once again Ray does,too. They abruptly stop in unison again.

Lily mouths, "Ray!" Ray is fucking with her now but he doesn'tlet on.

RAY (CONT'D)(waving her first)

Sorry, I thought you meant--nevermind,just go, go.

Lily can't read Ray's lips. She mouths, "What?"

RAY (CONT'D)Go!

Lily accelerates. Ray does, too. They stop, and Lily mouths,"Oh c'mon!"

RAY (CONT'D)Okay, no, because that time--

59.

Lily mouths "I have no idea what you're saying."

RAY (CONT'D)(waving her)

Just go.

Lily understood that one. She mouths, "You sure?"

RAY (CONT'D)(waving her)

Yes, yes, go, go.

Lily goes. So does Ray. They stop abruptly. They're almosttouching. Their cars are now in the exact spot, in the exactformation, from Ray's nightmare. Everything is the same; themoment foreshadowed. We're waiting for the storm, we'rewaiting for the storm.

She mouths "Okay, now I know you're fucking with me." Oops,the kids heard that one.

RAY (CONT'D)I swear I'm not.

Lily mouths, "Yeah, right."

RAY (CONT'D)I mean it, I don't know what you'retalking about.

Unable to hold it in any longer, he busts out laughing. Lilymouths, "You idiot. Please go already." She waves him to go,but this time, genuinely, he waves for her to go first.

RAY (CONT'D)No, no, please. Ladies first.

Lily mouths, "You sure, now?"

RAY (CONT'D)(waving with a grandsweeping motion)

I'm sure, I'm sure.

A low cloud rolls in overhead. Build build build buildbuild...but the storm never comes.

Instead, Ray actually lets Lily go this time, watching herdo so from behind his regular old windshield with a smile.

The second she merges onto the street, though, she's T-bonedby an 18-wheeler at 50 mph. The collision comes as a totalsurprise and lasts an eternity as the minivan gets stuck tothe truck, wrapped around its massive grille, then swallowedunderneath between two sets of tires, where it stays until

60.

the 18 wheeler can skid to a full stop. The damage iscatastrophic. They were fucking squashed to death. By thetime they come to a stop, the minivan barely resembles aminivan.

Ray's opening nightmare isn't what actually happened at all;a false foreshadow; just his subconscious garbledreinterpretation of the accident.

Ray runs to it hundreds of feet down the road.

EXT. ACCIDENT SITE

He runs and runs but he can't get there quick enough.

RAYThis can't be. No. No!

He gets closer. He knows it's bad. He sees the minivan is acrumpled mess.

RAY (CONT'D)Lily! Grace! Marissa!

No response. He passes the TRUCK DRIVER, who's exited histruck to assess the damage.

RAY (CONT'D)(more to himself thanthe truck driver)

You son of a bitch. You son of abitch.

He gets to the minivan. He sticks his head inside an opening.His view is obstructed. All he can see is one of Lily's earsand a new earring glimmering in the light with a drip ofblood about to drop from its bottom.

RAY (CONT'D)Lily! Girls!

Nothing.

RAY (CONT'D)Oh, Jesus, no.

He tries pulling them out but they're already gone, andcompletely stuck. It's a job for the Jaws of Life. He pullshis head out.

RAY (CONT'D)(shouting generally)

Call an ambulance!

He sticks his head back inside but they're already gone.

61.

RAY (CONT'D)C'mon, girls, stay with me, y'hear?Lily, stay with me. Stay with me,baby. C'mon, baby, ra ra ra ra ra rara ra ra. C'mon baby, say it withme. All of you--all my babies. Ra rara ra ra ra ra ra ra. C'mon girls.Lily, c'mon. Grace, Marissa. Ra rara ra ra ra ra ra ra. C'mon, say itwith me, ra ra ra ra ra ra ra ra ra.Oh, Jesus, no, Jesus, please, please,Jesus, no. No, no, no!

END FLASHBACK

BACK TO CHURCH OFFICE

Ray's on the floor. He comes to when his father's boot nailshim in the kidney.

RAYAh!

Ray, no longer hindered by his big brother, grabs his burn.

PASTORWake up, swine, time for you to go.

Ray tries standing. It isn't easy between the kidney shotand the burn, which is a horrific sight alone. Plus he's gotLily's blood all over. He's a mess.

PASTOR (CONT'D)Twenty six! Look at that. New record. May God be with you in your timeo'need.

(as he walks off, toChuckie Boyd)

Kick him to da curb, Chuckie Boyd.

Chuckie Boyd drags Ray out back and tosses him on the ground.Chuckie Boyd considers apologizing for a split second, thenthinks better.

INT. RAY'S GARAGE - DAY

Ray, having bandaged himself up, finishes Lily shirtless.(She's naked to the party; he may as well be, too.) He sewsher right arm to her torso.

INT. COBO CENTER - AUDITORIUM - DAY

Roystacker patiently waits in the wings beside Stig. Hedoesn't look nervous in the least, even though he's about to

62.

revolutionize biology in the single most significant waysince...possibly ever. Stig checks his email.

THURMAN ROYSTACKER(whispering)

That better be on silent.

STIGIt is, but sir, the new projectionsare in.

THURMAN ROYSTACKERAnd?

STIGEven better than we thought, sir. Ifyou pull this off, you stand to makean estimated one hundred and ninetynine million dollars by Mondaymorning.

THURMAN ROYSTACKERThey couldn't make it an even two?Seriously, Stig, turn it off.

STIGYes, sir.

INTERCUT BETWEEN ROYSTACKER AND RAY

-Ray sews Lily's right leg to her torso.

-Roystacker takes the stage. The formerly empty house is nowoverflowing, and the AUDIENCE is now erupting in applause.

THURMAN ROYSTACKERWhat's up, Detroit!!!

Unlike last time he said that, the crowd roars withanticipation.

-Ray sews Lily's left leg to her torso.

-Roystacker shows a few slides of 3D printing technology andhuman anatomy on the projector.

-Ray sticks Lily's head on her otherwise-completed body, andbegins sewing it on. She's got sloppy stitches all over.Even worse than Ray, she's a monster in her current state.

-Roystacker wraps up his schpiel.

63.

THURMAN ROYSTACKER (CONT'D)Is technology really dehumanizingus? If anything, I say it's savingus from certain extinction. I sayit's bringing us back. I say it'srehumanizing us.

He smiles a devilish grin and produces a wand from his sleeve.

THURMAN ROYSTACKER (CONT'D)And now, without further adieu, Ishall attempt the impossible--theimplausible--the utterly unreasonable.Abracadabra, alakazam, build me ahuman this weekend, madame!

He thrusts his wand and the black tarp is dramatically pulledoff the printer revealing...a refrigerator? An old, white,crappy Maytag refrigerator. The crowd goes silent, then startsmurmuring as they realize the refrigerator isn't part of theact.

THURMAN ROYSTACKER (CONT'D)(to himself)

What's this, a joke? My printer.(to Stig in the wings)

Where's my printer, Stig?

Stig looks back speechless, then at Thompson, who too can'tbelieve his eyes.

-Ray finishes sewing Lily's head on. She's rough, but atleast she's in one piece. He wipes her down with a rag. She'spuffy all over.

She opens those magnificent eyes of hers, blinks twice,focuses back into Ray's eyes, and grins together atlast...then suddenly grabs the surgical scissors off theoperating table and stabs Ray in the thigh in all herFrankensteinian glory, opening the scissors once inside atfull extension.

THE END