the last man in the universe

The Last Man in The Universe

By

Guilherme Neves

First Draft.

August 25th, 2010.

FADE IN

INT. GABE AND MATT’S LIVING ROOM - NIGHT.

A New York City apartment fully decorated with action

figures, posters, books, comic books and DVDs everywhere.In

a corner, an LCD TV on the wall in front of an old ripped

futon. In the middle of the living room, two work desks. A

big window in the back exposes the Empire States Building

MATT VANDERSEE, a 26 years old comic book writer, circles

around the living room hitting the pen on his forehead.

MATT

It starts with Marcus waking up by

the sound of the alarm coming from

the computer. He jumps out of bed

and walks into the control room--

GABE ROBERTS, a 26 years old comic book illustrator is

seated on his desk holding a pencil. The desk is filled with

illustration drafts of spaceships and astronauts. On the top

of the pile of papers, the first draft of a Graphic Novel

titled "The Last Man in The Universe".

GABE (VO)

--Wait, you wanna do it on two or

tree panels?

MATT

Anh?

GABE

You’re thinking about showing the

act of jumping or just the

awakening and the walking panels?

MATT

No, no. Show the jumping. I want to

break into every action so we build

the tension. Got it?

GABE

Yep.

MATT

So he wakes up, jumps out of the

bed, walks into the control room,

opens the door. No, wait! DIALS the

password and THEN the door

automatically opens! We see a huge

windshield to the universe,you

(MORE)

(CONTINUED)

CONTINUED: 2.

MATT (cont’d)know? like a massive wall of glass

exposing this infinite dark of...

of--

Matt hits the pen on his forehead vigorously.

MATT

Of... you know, fucking darkness!

Black ink! Then, he stares to this

magnificent view.

Matt uses hand gestures to describe his idea.

MATT

From below, a monstrous round

blueish planet slowly appears in

front of his eyes.

GABE

In how many panels do you wanna do

the Earth’s arising?

Furiously, Matt throws the pen on Gabe.

MATT

Dammit Gabe! Seriously! Can you

make at least ONE creative decision

on your own? I’m fucking trying to

think inside the story here!

Jesus--

GABE

Sorry. Go on.

Matt sits in his chair, trying to concentrate again.

MATT

Right. So, as the planet arises in

front him, Marcus shakes his head

in disbelief. Sobbing like never

before, he falls on his knees

contemplating what once he called

home.

GABE

Oh.. really? Do we need all this

weeping crap?

MATT

Duuude! I’m trying to capture the

essence of this man, here! The guy

has been alone for over 20 years on

(MORE)

(CONTINUED)

CONTINUED: 3.

MATT (cont’d)that spaceship with one and only

desire to find home! This is the

achievement of a lifetime, We can’t

just put him highfiving himself.

GABE

Ye, but sobbing? This guy hasn’t

had any human contact for, like,

ages! Don’t you think this reaction

is a little bit too human?

MATT

What the fuck is wrong with being

human, Gabe?

GABE

Nothing, but the fact that this

guy’s best friend is a computer

voice who tells time. He has no

human attachment!

Matt sights, stands up and wanders to the kitchen.

MATT (OS)

You’ve been watching too much

Oprah, Gabe!

Gabe gives a quick smile.

MATT (OS)

What happened to the milk?

GABE

I put it in the bottom drawer. So

listen, I was thinking--

INT. GABE AND MATT’S KITCHEN - CONTINUES.

Matt looks for food in the shelves.

MATT

Now that’s unusual. Ha.

GABE (OS)

-- I’m not quite sure about this

finding Earth passage.

4.

INT. GABE AND MATT’S LIVING ROOM - CONTINUES.

Gabe takes a deep breath to organize his toughs.

GABE

Don’t you think Marcus character is

too passive in this scene? I mean,

it’s the spaceship that eventually

passes around Earth. The main

character had nothing to do with

it.

Matt comes back holding a bowl of cereal with milk.

MATT

So what?

GABE

So, it’s random! Just a

coincidence! In a middle of the

infinite universe, this man finds

Earth by accident and that’s it?

MATT

I don’t know.

Matt swallows a spoon full of cereal.

MATT

Maybe he was, like, meant to. It

was his destiny--

GABE

--Don’t even start with this

destiny bullshit! Stop being a lazy

writer and come up with a

reasonable explanation for this

event!

MATT

What do you want me to do, Gabe?

Give him a map? An universal GPS?

GABE

You’re the writer. Use your magic

powers.

Matt let his head fall and hit the desk.

MATT

Argh...

Gabe spins on his chair.

(CONTINUED)

CONTINUED: 5.

MATT

(Moaning)

Can we have coffee now?

EXT. STREETS OF LOWER EAST SIDE, NEW YORK - NIGHT.

Winter in New York. Matt and Gabe are using heavy coats.

MATT

Question. In a movie adaptation of

"The Last Man in The Universe", who

should play Marcus?

Gabe looks funny towards Matt.

GABE

John Malkovich.

MATT

Are you kidding me?

GABE

What? He’s a great actor!

MATT

How do you expect to get rich

putting an ugly old dude alone in

the screen for two hours?

GABE

So now Marcus has to be handsome?

MATT

He has to be at least appealing,

tolerable. Malkovich is too old!

Maybe 15 years ago, but now he must

what? Sixty?

INT. DAVE’S DELI - NIGHT.

A small and cozy Deli. Matt and Gabe step in it. The door

bell rings. DAVE, a mid-fifties black man, comes from a door

behind the counter.

DAVE

What took you guys so long? I’m

almost closing here!

GABE

Sorry Dave, we’ve been working.

(CONTINUED)

CONTINUED: 6.

DAVE

Hunft... three?

GABE

Ye.

Dave turns himself to the Coffee Machine.

MATT

Hey Dave, who is more convincing as

a delusional astronaut, Russel

Crowe or Edward Norton?

DAVE

Denzel.

Matt and Gabe laugh but Dave don’t understand why. He faces

them.

DAVE

What?!

GABE

This character is... white.

DAVE

Why?

Matt and Gabe look at each other.

MATT

Well, I don’t know. He just... is.

DAVE

(Grabbing three cups of coffee

and moaning.)

Here we go. Four fifty.

EXT. STREETS OF LOWER EAST SIDE, NEW YORK - NIGHT.

Matt and Gabe are back in the streets, this time, drinking

their coffees. Matt carries the third.

GABE

Besides, if we give the role to

Edward Norton, he would end up

rewriting the whole thing and

taking our names of the credits.

They rush to cross the street and stop in front of a poorly

signposted comic book store called Supernova. They walk into

the store.

7.

INT. SUPERNOVA COMIC BOOK STORE - NIGHT.

A large and dusty comic book store. JAY HERNANDES, a 28

years old puerto rican descendant born and raised in New

York is working behind the counter, talking to a girl who is

holding some books. Her name is JESSA, 23 years old girl

with long blond hair. The door bells rings.

RING

As Gabe and Matt make their way into the counter, the girl

leaves the books on the counter and heads for the exit. When

they are crossing to room, Gabe and the girl gaze each

other.

JESSA

Hi.

Gabe is caught by surprise.

GABE.

Uh... hey.

Matt and Gabe get to the counter.

MATT

(Talking to Gabe)

Do you know that girl?

GABE

(Still confused)

I don’t think so.

JAY

You probably don’t. She just moved

from California. You have my

coffee?

MATT

Here.

Matt hands the coffee to Jay. Gabe walks around the counter,

looking for something in the drawers.

JAY

(Holding one of the copies

from the book the girl left on

the counter)

This is the book she just made.

It’s like a series of comic strips

about the female universal. She

asked us to display at the Indie

Section.

(CONTINUED)

CONTINUED: 8.

Jay points with his head to a bookcase in the darkest corner

of the store. Matt grabs another copy of the book.

MATT

"The Uncanny Manual of Unorthodoxy

Girls, by Jessa Spalding.

Gabe appears from behind the counter holding a flannel coat.

GABE

Found it!

MATT

(flipping through the girl’s

book)

How bad is it?

JAY

Haven’t read yet.

Gabe grabs another copy of the book and starts flipping

through as well. He sees her picture on the back cover of

the book.

GABE

It seems alright.

MATT

(dropping the book on the

counter)

You always liked these girlie

stuff.

JAY

How’s work going, boys?

MATT

All good, but Gabe was bitching me

about using coincidences in the

story.

JAY

What kind of coincidence are we

talking about?

GABE

The scene when Marcus locates the

Earth.

JAY

Hum... let me think...

Jay crosses his arms and tips his forefinger on his mouth.

(CONTINUED)

CONTINUED: 9.

JAY

I don’t think you HAVE to follow

the causality rule. I mean, if it

where a commercial graphic novel,

ye sure, you would probably have to

elucidate better, you know? Make it

for dummies. But now in a case like

this--

GABE

--IT IS supposed to be a commercial

graphic novel! We are sick and

tired of stacking our work in the

Losers Section!

Gabe points to the same bookcase in the corner.

GABE

It’s time to go pro, Jay! We’re

done being notorious nobodies.

Matt takes a sip on his coffee.

MATT

The Last Man is our way out, dude.

Next time you see us, will be at

the cover of Wizard Magazine.

JAY

Argh! Can’t believe you, guys!

You’re selling out! How can you?!

GABE

Sorry Jay, but between sticking to

the cause or getting millionaire

with the merchandise rights, I go

with the toys.

Gabe points at the action figure of "Material Man". In the

background, a huge poster of the same character.

JAY

(Infuriated)

Are you kidding me?! "Material

Man"?! That’s the kind of shit you

want to produce?! You wanna be the

new fucking Frank Humbles? The

biggest jerk of comic industry?

Seriously, man?! How low can

someone gets?!

Gabe and Matt laugh, but Matt realizes that Jay is sincerely

mad at them.

(CONTINUED)

CONTINUED: 10.

MATT

Oook, boys. Play time is over.

Let’s get back to work, Gabe. See

you tomorrow Jay.

JAY

Jerks.

Gabe and Matt make their way to the exit. Matt stops under

the door.

MATT

Hey, Jay, in a movie adaptation of

"The Last Man in The Universe", who

do you think should--

JAY

--Fuck you, Matthew!

INT. GABE AND MATT APARTMENT’S DOORWAY - NIGHT.

Gabe and Matt are coming back from the street. Gabe is on

the phone. Matt is trying every key of his Superman key

chain to open the door. He finally finds right key.

MATT

It’s ridiculous. It’s always the

last one.

INT. GABE AND MATT’S APARTMENT - CONTINUES.

Gabe and Matt enter in their apartment.

MATT

So, can you wake me up tomorrow

morning? I’m pretty sure my phone

is gonna be dead by then I can’t

find the charger.

GABE

Shh! Dude, I’m on the phone!

INT. LEA’S BEDROOM - CONTINUES.

LEA ROBERTS, 22 years old girl is talking to Gabe on the

phone. She in on her bed, in a very girlie bedroom full of

old dolls and teddy bears.

(CONTINUED)

CONTINUED: 11.

LEA

(Into phone)

Just tell him to shut the fuck up!

INTERCUT AS NEEDED

GABE

She is asking you to keep it down,

please.

MATT

FUCK OFF, LEA!

LEA

(Yelling louder)

YOU FUCK OFF, MATT!

Gabe gets scared of her screaming and takes the phone out of

his ear. Gabe goes to his room and closes the door.

INT. GABE’S ROOM - NIGHT.

Just like the rest of the apartment, Gabe’s room has a Comic

Book theme. He leans his body against the door.

GABE

(Into the phone)

There’s some unsettled sexual

tension between you two, you know?

LEA

Shut up. When are you coming home?

Gabe sits on his bed.

GABE

Ah... not sure. We are pretty

focused on this new graphic novel

right now. I don’t want to stop the

process while we’re producing.

LEA

Whatever. Just saying, my birthday

is on three weeks and you better be

here.

GABE

Promise, no worries. I have to go

sleep now. Tell the folks I said

hi.

(CONTINUED)

CONTINUED: 12.

LEA

Ok. Miss you, bro.

GABE

Miss you, sis.

END INTERCUT.

Gabe hangs off the phone and lays on his bed. Matt turns on

the stereo loudly. It’s playing "Know you Enemy" by Green

Day. Gabe closes his eyes, trying to ignore it. He can’t.

Gabe stands up and opens the door.

GABE

FUCK OFF, MATT!

Gabe slams the door.

INT. GABE AND MATT’S APARTMENT - LATE NIGHT.

Silence. A "Watchman" clock on the wall marks 2h45 am. Matt

is fully awake, sited on his desk, tipping his fingers

rhythmically on the table. He is looking deeply to a blank

piece of paper in the top of an unorganized pile of papers

over his desk.

Matt stops and stretches. He stands up, walks around the

living room looking for inspiration. His forefinger moves

around the bookshelf, trying to find help in one of his

books. Nothing.

He sits again. Rest his head on his hands and moan.

INT. GABE AND MATT’S KITCHEN - LATER.

Matt opens the fridge. There’s water, milk and beer. He

takes the beer.

INT. GABE’S BEDROOM - LATER.

Slowly, Matt opens Gabe’s door. Gabe is snoaring. Matt

closes the door with a smirky smile on his face.

MONTAGE. INT. GABE AND MATT’S LIVING ROOM AND KITCHEN -

LATER.

BY THE SOUND OF KNOW YOUR ENEMY - GREEN DAY.

Matt turns the stereo on again. The same song continues.

Matt feels the music in his body, takes a long sip of beer

(CONTINUED)

CONTINUED: 13.

and sits back on his desk. He is writing fast. He drinks and

writes. He reads it punching his leg. He opens the fridge

and takes another beer. He writes. He drinks. He crumbles a

sheet of paper and throws it away. He keeps writing and

drinking moving his head energetically.

MATT

(holding a sheet o paper)

Now that’s better!

Matt opens another beer. He writes and drinks. He prepares a

line of cocaine and sniffs it. He tips his fingers on the

desk really fast while he thinks. He’s writing furiously.

There’s several writen pages on his desk. He opens another

beer and sniffs another line of cocaine. He laughs loud. He

writes until his pen is out of ink. He grabs another pen.

This second pen works. He is thrilled.

MATT

Yes, YES! This needs a celebration!

Matt sniffs three lines of cocaine. Now he is writing really

fast. He is really agitated. He opens another beer. Drinks

it, writes, laughs and sniffs another line of cocaine.

END OF MONTAGE.

INT. GABE AND MATT’S APARTMENT - MORNING.

Gabe steps out of his bedroom wearing his pajamas and drags

himself to the kitchen. He opens the fridge and there’s only

water and milk. He takes the milk and pour some in a bow

with cereal.

He sits on his couch and turns the TV on. There’s Sponge Bob

Square Pants playing. The apartment looks messy, but he

doesn’t seem to have realized it yet. He looks to the

"watchman" clock on the wall. It’s marking 10h21 am.

GABE

MATT! YOU’RE LATE!

No response. Gabe eats his cereal.

GABE

(With his mouth full of

cereal)

MATT! WAKE UP! YOU’RE GONNA GET

FIRED THIS TIME!

No response. Gabe moans, stands up and walks to Matti’s

room. He opens Matt’s door and sees his friend is lying on

the floor. Matt is dead.

14.

EXT. PLATTSBURGH’S CEMETERY - RAINY DAY.

Rains a lot. A line of black cars cross under a gate

indicating "Plattsburgh Cemetery".

EXT. PLATTSBURGH’S CEMETERY - LATER.

Matt’s family and friends are gathered at his funeral.

People are covering themselves with umbrellas. Gabe is

wearing a black suit. Lea, wearing a black dress, stands

besides him. He hold his sister’s hand.

EXT. PLATTSBURGH’S CEMETERY - LATER.

The rain starts to fade. The funeral is over. Gabe, Lea and

their parents BOB, a 58 years old chubby and bald man and

MARGARET, a 53 years old and still very distinct woman, are

heading to the car.

JAY (OS)

Gabe! Wait!

Gabe turns his back and sees a soaked Jay running in his

direction.

GABE

Hey Jay. How you doing?

JAY

Wha..what kind of question is this?

The last thing I said to the guy

was "Fuck You"! How do think I’m

feeling? I feel like shit!

Gabe laughs with sorrow.

GABE

I know the feeling.

JAY

Anyways. I just want to check on

you. I don’t know what are your

plans now. But, you know, if need

anything--

GABE

--Ye. I think I’ll spend sometime

in my parents’ house. Need to

process this whole thing before

doing anything.

(CONTINUED)

CONTINUED: 15.

JAY

Course. Well, I have to get going.

Need to take the road back to New

York before the sunset. Take care,

man.

GABE

You too, Jay.

Jay gives Gabe two awkward slaps on his sholder. Gabe starts

heading to his parents’ car again.

JAY

Er.. Gabe. One more thing. I don’t

wanna sound like a heartless

corporate son of bitch but... how

long are you intending to stay

here? Because I need to know how

long should I hold your job at

Supernova.

Gabe looks to Jay and then to his family, who are waiting

for him in the car.

GABE

Just... just don’t.

INT. ROBERT’S DINNING ROOM - NIGHT.

In a fancy dinner table, Gabe has a silent dinner with his

sister and parents.

INT. GABE’S OLD ROOM - DAY.

Two weeks have passed. Gabe has a beard and dark circles

under his eyes. Seated on the floor, he reads an old X-Men

issue from his collection that is stacked in a big paper box

with the sign "Gabe’s Comics" in front of him.

DOOR KNOCKING.

Bob opens the door.

BOB

Hey kiddo, can I come in?

Gabe nods in permission. Bob sits on Gabe’s bed. Gabe keeps

focused on reading.

(CONTINUED)

CONTINUED: 16.

BOB

Reading your old comics, ha? You

know, I had to put up a fight with

uncle Tommy for this.

Bob hits the old box full of comic books with his foot.

BOB

He was trying to take this away for

your cousin Brian, but I told him

you wouldn’t like it.

GABE

Thanks, dad.

Bob looks around the room, trying to find another subject to

start small talk. He fails. Gabe keeps his eyes on his

comics.

BOB

So... how’s New York?

GABE

All right.

BOB

Did you guys paid this month rent?

GABE

Uhum.

BOB

Good, good. Are you... planning on

moving back until the end of the

month or... eventually?

Margaret walks in the room, drying her hands on her appron.

MARGARET

Bob! Stop pushing him! Can’t you

see his doing his "thing"?

GABE

It’s ok Mom--

BOB

-- I was just talking to my son,

Margaret!

Margaret turns to Gabe.

(CONTINUED)

CONTINUED: 17.

MARGARET

(In a sweet voice)

Don’t let your old father bother

you, Gabe. You can stay here as

long as you want. As a matter of

fact, you don’t even have to go

back--

BOB

--Now I’m the pushy one! Look at

you woman! You’re son is a man!

Stop trying to bring him back to

your nest!

GABE

Guys...

MARGARET

I’m not trying to do anything, Bob!

I’m just concerned about our boy!

BOB

He’s not a boy anymore--

MARGARET

--That terrifing city can mess up a

person! Look what happen to

Matthew.

GABE

Stop it!

BOB

Oh, come on Margaret! You know that

boy was screwd up way before he

left Plattsburgh.

MARGARET

Don’t be so cruel, Bob! It’s been

only two--

GABE

--THAT’S ENOUGH!

Scared, Margaret and Bob stare at Gabe. Gabe take a deep

breath.

GABE

Wolverine is dying here, for Christ

Sake!

18.

EXT. FRONT OF ROBERT’S HOUSE - CLOUDY DAY.

Gabe is looking to the christmas lights installed on the

roof. He’s holding a ladder. He supports the ladder on the

house’s lateral wall and prepares to climb it. A family car

loaded with boxes stops in front of his house. He recognizes

it. Uncomfortable, he goes toward the car.

While he gets closer, MAURA VANDERSEE, 56 years old fat

woman, steps off the passengers seat and meets Gabe in the

front of the vehicle. Gabe gives her a confort hug.

GABE

Hey, Mrs. Vandersee.

MAURA

How you doing, my son?

CHARLES VANDERSEE, A 63 years old man with a big mustache,

is waiting holding the steering wheel. They both have large

dark circles under their eyes and a really sad expression on

their faces.

GABE

Hello, Mr. Vandersee.

Charles nods to Gabe. Maura is still holding Gabe’s arms,

caressing him.

MAURA

Me and Charles just got back from

New York. We cleaned Matt’s bedroom

and brought back all his stuff.

She motions to the boxes in the car.

MAURA

I did’t touch anything in the

living room because I don’t know

what is yours or what was his. But

well, all those things have any use

for us now, so you should keep it.

Matt would probably prefer that

way.

GABE

OK, thanks. Thanks Mrs. Vandersee.

Gabe smiles at her. Mrs. Vandersee hugs him strongly and

looks deeply into his eyes, slowly shaking her head. Gabe

notices she starts to tear up. She wipes her eyes.

(CONTINUED)

CONTINUED: 19.

MAURA

Anyway. We just came to give Matt’s

keys back.

She takes the Superman key chain from her pants pockets and

puts on Gabe’s hands.

GABE

Thanks, Mrs. Vandersee.

Gabe put the keys on his coat pocket. Maura gives him

motherly smile. Maura is about to cry, but she holds back

her emotion.

MAURA

(Looking to the ground)

Hum... I should get going. I need

to unpack all these things and I’m

pretty sure Charles as useful an

umbrella in an ice storm.

Charles is distracted in the car. Gabe and Maura laugh a

bit.

GABE

Good bye, Mrs. Vandersee.

MAURA

Good bye, son.

Maura opens the car door. She hesitates before going inside.

MAURA

Gabe, Matt told me you two were

really excited about this new book

you were producing.

Gabe grins timidly.

GABE

Ye... it was gonna be great, I

think.

MAURA

You should finish it. You know?

(BEAT)

MAURA

He would like it.

20.

EXT. FRONT OF ROBERT’S HOUSE - LATER.

Gabe and Lea are breaking down the christmas decoration in

front of the Robert’s House. Lea is deflating an inflatable

snow man while Gabe, on the roof, takes down the christmas

lights.

LEA

Gabe?

GABE

Ye?

LEA

For how long was Matt having drug

problems?

GABE

What? What are you talking about?

LEA

I heard mom on the phone. I know he

OD-ed.

GABE

No, I mean, yes. He died of

overdose. But he was no coke

addict.

LEA

Well... how come?

GABE

What do you mean, how come? He used

it now and then, but he was no

addict. At least I don’t think so.

(BEAT)

GABE

You know. He was like an ocasional

user.

LEA

(intriged)

Hum... never heard there was

such thing.

21.

INT. ROBERTS KITCHEN - MORNING.

Gabe is on the kitchen table waiting for his breakfeast.

Margaret is making waffles. Bob walks in.

BOB

Waffles? You never do waffles! Now

that’s just low, Margaret.

Margaret ignores him. He makes a move to sit on the table.

MARGARET

Don’t even think about resting your

ass on that chair before taking the

trash out.

BOB

Ye, ye. I’ll take it later.

Bob sits.

GABE

Oh, boy.

Margaret stops cooking, crosses her arms, holding her

spatula, and stares at Bob.

MARGARET

Later when, Robert?

BOB

Later! After you make my

breakfeast.

MARGARET

Ha. But guess what.

Margaret point her spatula at Bob.

MARGARET

I’m not making any breakfeast until

you take your lazy ass out of that

chair and take the trash out!

While Margaret is threatening Bob, Lea enters the room. She

ignores the scene, walks around the table and stops behind

Gabe. She leans on Gabe’s chair and whispers in his ears.

LEA

Follow me if you want to eat today.

Margaret and Bob are arguing while Gabe escapes with his

sister from the kitchen. It takes a while until Margaret

notices their absence.

(CONTINUED)

CONTINUED: 22.

MARGARET

AT LEAST TAKE THE GARBAGE OUT!

INT. ROBERTS’ CAR - DAY.

Lea is driving Gabe around Plattsburgh. The place seems calm

and desert. They pass through a commercial area and Gabe

notices an abandoned place.

GABE

What happen to the Salvador’s

Market?

LEA

They went out of business.

Everything is closing nowadays. The

Cheesecake Factory closed as well.

GABE

That sucks.

LEA

Recession is a bitch.

Gabe keeps looking through the window.

LEA

Missing New York?

GABE

A bit, maybe.

LEA

I would be crazy bored already.

This town is the most lame place on

Earth. Take a look on these

streets, Gabe. Everything is the

same from when we were kids.

Nothing ever happens around here.

Gabe nods, but keeps his eyes on the outside, starring at an

endless line of identical houses.

LEA

So... when are you going back?

GABE

I don’t know. I don’t know if I

will.

Lea looks at Gabe in desbelief, very desapointed at her

brother. She hits the accelerator and the car goes faster.

23.

EXT. OUTSIDE MERVIN’S DINER - DAY.

The Roberts’ car parks in front of Mervin’s Diner, a old

fashioned trashy place on the Interstate 87. Lea steps out

of the car. Gabe follows her.

GABE

Why are we eating here? This place

is a shithole.

LEA

It’s not about the food. I need to

show you something.

INT. MERVIN’S DINER - DAY.

A traditional road diner. A few locals are having their

breakfast seated on the stools, but all the tables are

empty. Gabe and Lea grab a both. An overly made-up waitress

that doesn’t look more then 24 comes to talk to them. On her

name tag is written AMBER.

AMBER

Hello and welcome to Mervin’s

Diner. My name is Amber and I will

be serving you today.

Gabe looks at her astonished.

GABE

Am?!

Amber needs a couple of seconds to recognize Gabe. She’s

seems uncomfortable with the situation.

AMBER

Oh my gosh! Gabe! It’s been ages!

How you doing?

GABE

You know, living.

Amber and Gabe look a little bit embarrassed. They try to

smile.

LEA

(Being cinical)

Hey, Amber.

AMBER

(Fake smile)

Heeey, Lea.

(CONTINUED)

CONTINUED: 24.

AMBER

(To Gabe)

So, I heard about Matt. Sorry I

couldn’t go to the funeral, but

it’s been crazy busy around here.

Lea notices that the place is almost empty.

LEA

Totally.

AMBER

So, Gabe, how is the city? Heard

you and Matt were a big hit in the

comics business.

GABE.

Nah, still striving, you know. But

we’ll get there. I mean, I, I’ll

get there.

AMBER

Great.

They both nod for a couple of seconds starring each other

with a forced smile. Lea is delighted, reading Mervin’s

menu.

GABE

So, how you been? Mom told me you

and Jareth--

AMBER

(Pointing to her wedding ring)

--Ye, we got married last year. Big

wedding, all that jazz, you know?

For a small town, it was like

Superbowl.

GABE

That’s great. What about acting?

Have you been--

AMBER

(Simulating a smile)

--Oh, nonono. I quit all that

nonsense a long time ago. I’m a

happily married woman and future

mother now.

She caresses her belly.

25.

EXT. OUTSIDE MERVIN’S DINER - DAY.

Gabe steps off Mervin’s Diner, followed by Lea.

GABE

(Sarcastically)

Thanks Lea.

LEA

Don’t thank me, you paid.

GABE

I mean the whole trick you pulled

out today. You tottaly scrooge me

over, in there!

Gabe gets inside the car.

LEA

I’m just trying to help you!

INT. ROBERTS CAR, MERVIN’S DINER PARKING LOT - DAY.

Lea enters in the car with Gabe.

GABE

Help me how? By making me face my

highschool love pregnant with the

biggest jerk in town?!

LEA

No! I wanted to show you how

patetic and meaningless is life in

Plattsburgh! You told me that girl

was fucking talented and now look

at her! Is that how you want to

spend your life? Being a no one?

Gabe breaths heavily, looking forward, to the windshield.

GABE

Just drive.

INT. ROBERTS CAR - DAY.

Lea is driving Gabe back home.

GABE

If you hate this town so much, why

you’re still here?

(CONTINUED)

CONTINUED: 26.

LEA

Look at me Gabe, what do you see?

GABE

You are... a pretty girl.

LEA

Exactly. I’m pretty girl. That’s

it.

INT. ROBERTS GARAGE - DAY.

Lea and Gabe step out of the car inside their parents

garage. The place is full of old furniture, boxes and

hardware tools.

GABE

I don’t get it why you think you’re

not good enough to live in city.

LEA

Come on Gabe. I was never the

brightest. I didn’t go college like

you, I have no skills. I’m doomed

for this place, but you have a shot

and you’re wasting it!

Gabe closes the garage door.

LEA

I read your stuff, you know. That

was not... not so bad.

Gabe smiles at her. She smiles back.

GABE

Here.

Gabe takes the Superman key chain from his coat pocket and

throws at her. She catchs it.

LEA

What is this?

GABE

Your keys. If I’m going back, I

need a roommate.

Lea grins, still skeptical.

(CONTINUED)

CONTINUED: 27.

GABE

Happy Birthday, Lea.

EXT. ROBERTS YARD - SUNNY DAY.

Gabe and Bob are packing Gabe’s car with Lea’s bags. A

couple of feets away, Margaret is holding Lea by her

shoulders.

MARGARET

And if I hear that you’re causing

any kind of trouble to your

brother, I’ll be boarding on the

next train to NYC and bringing you

back with me! Now give me a hug!

Margaret gives Lea a tigh hug. Bob closes the car’s trunk.

BOB

That was the last one.

Bob puts his hand on Gabe’s sholder.

BOB

You’re a good kid, you’ll be

allright. Now, hug your dad.

Gabe hugs Bob. Bob whispers in his ears.

BOB

Take care of that one for me, ok?

GABE

You got it.

MARGARET

(about to cry)

Oh god! My little ones are leaving

me!

Margaret holds Gabe and kisses his cheek. She also gives him

a hug and whispers in his ears.

MARGARET

You don’t have to go if don’t want

to, you know?

Gabe laughs and kisses his mother.

GABE

No worries, guys. We’ll be alright.

Gabe and Lea enter in the car and leave the Roberts’ yard.

28.

INT. GABE’S CAR IN FRONT OF ROBERTS’ HOUSE - DAY

Lea watches her parents, holding hands in front of the

house, waving goodbye.

LEA

I’ll miss those freaks.

MARGARET (VO)

Leandra! Don’t get pregnant!

MONTAGE INT. GABE’S CAR AND EXT. I-87, BY THE SOUND OF

"HOME"- EDWARD SHARP AND THE MAGNETIC ZEROS.

Gabe looks aprehensive. A peaceful landscape enhanced by the

snow. Endless lines of trees. Lea plays with her hand out of

the car, trying to catch snowflakes. The car passes through

a brige over a deep river. Lea sleeps, Gabe looks at her and

smiles. It starts to get dark. Lea is awake again, she

points to the lights of the New York buildings spotted miles

away. The car is on Washignton Bridge. Lea has a grin on her

face but Gabe is serious.

END OF MONTAGE

INT. GABE’S APARTMENT - NIGHT.

Gabe opens his apartment door. He stays at the front door

staring at it. Lea pushes him inside with her luggage.

LEA

Come on, douchebag! I wanna take a

shower and get to bed!

INT. MATT’S OLD BEDROOM - NIGHT.

Lea walks to Matt’s old room. All the furniture is there,

but his personal belongings are gone. She puts her luggage

in a corner and start unzipping it.

INT. GABE’S APARTMENT LIVING ROOM - NIGHT.

Gabe stands on his feet in the middle of the living room,

right in front of Matt’s desk. The desk looks the exact same

way from the night Matt died. There are several papers fully

written and piled randomly. He stares at it for a long time.

Then he looks at his own desk and sees the unfinished cover

of "The Last Man in The Universe".

He steps away.

29.

EXT. STREETS OF LOWER EAST SIDE, NEW YORK - DAY.

It’s Spring in New York. In the streets, people are walking

dogs, carrying their coffees and talking on their phones.

Everyone seems happy, touched by the new season. Everyone

but Gabe. Now he has a long beard, messy hair and walks with

a grumpy face. He carries as bag while listening to his

ipod.

INT. SUPERNOVA COMIC BOOK STORE - DAY.

Gabe and Jay are working at the Supernova. The store is

empty. Gabe is standing in front of the register, reading a

graphic novel titled "Blankets" by Craig Thompson. Jay is

seated on the counter, thrilled of excitement while drawing

on his notebook. Jay’s enthusiasm draws Gabe’s attention.

GABE

What is going on in that little

sick disturbed mind of yours?

JAY

Nothing... but the most AWESOME and

fucking kick-ass superhero ever

created. The Minute Man!

Jay hands Gabe his notebook. Gabe sees it drawn a cartoonish

black super hero with a big clock on his chest.

JAY

He has the ability of traveling

back in time. But here’s the trick!

He can only go back one minute in

the past.

GABE

Funny, your Minute Man looks just

like Flavor Flav.

Jay takes his notebook and stares at the opened page.

JAY

Fuck! You’re right!

With the back of his pencil, Jay erases his drawing. Gabe

smirks and goes back to his book.

JAY

(Grumbling)

At least I’m drawing something...

(CONTINUED)

CONTINUED: 30.

GABE

What you say, Jay?

JAY

At least I AM creating something.

Gabe frowns, keeping the eyes on his book.

JAY

Seriously man, when are you gonna

get going with your drawing again?

Remember how you guys were all

excited about "The Last Man in

Universe"? Why don’t you just

finish what you and Matt started?

You could still finish in time to

take it to Comic Con, you know?

Gabe closes his book.

GABE

Can you please stop? Just drop it.

You’ve been pushing me to finish

that piece of shit for the last two

months--

JAY

--It is not a piece of shit, Gabe.

GABE

--And we didn’t even come up with a

proper end to it. So why bother,

man? Let it go.

Gabe goes back to his book. Jay is not convinced.

JAY

What about those pages Matt wrote

that night?

Gabe slams his book and throws it on the counter.

GABE

What night, Jay?! Hun!? Which

night?! Are you talking about the

night when that son of bitch

drugged himself to death? Do you

want me to finish the story with

the insanities of a coked man?

JAY

How the hell you know if it’s good

or not when you don’t even bother

reading it!?

(CONTINUED)

CONTINUED: 31.

GABE

Forget it, Jay! I’m not gonna sit

my ass reading senseless words on a

paper! It’s just waste of time!

Jay sighs. Gabe returns to his book.

JAY

(mumbling to himself)

Waist of your fucking precious

time.


Gabe stands behind the counter reading his book. He reclines

over the balcony and accidentally drops Jay’s pencil. He

grabs it on the floor.

With the pencil on his hands, he gazes to the inventory

papers and flyers spread over the balcony. He grabs one

sheet of paper, turns backwards to it’s blank face and

stares at it. His fingers plays with the pencil. He holds

the pencil firmly and when it’s tip is about to touch the

paper, the door bell rings.

DING.

Gabe drops the pencil. A girl wearing a a Felix, The Cat

T-shirt walks in the store and goes towards the counter.

It’s Jessa.

JESSA

Hi. Is Jay here?

GABE

You just missed him.

Gabe recognizes her.

GABE

I know you! You’re the girl from

that comic strip book. "The

Unconventional Guide for Weird

Chiks", right?

JESSA

It’s "The Uncanny Manual for

Unorthodox Girls", but I like your

version.

(CONTINUED)

CONTINUED: 32.

GABE

He, Sorry. I’m Gabe.

JESSA

Jessa, nice to meet you.

Gabe throws his arms forward for a hand shake but Jessa is

leaning for a kiss. They share a moment of awkwardness while

they try to synchronize their kiss on the cheek while

holding hands. They detached from each other with big

embarrassment.

GABE

You’re not from here, are you?

JESSA

Can you tell?

GABE

Well, costumers usually don’t kiss

me during my shifts.

JESSA

(Giggling)

Sorry.

GABE

(Mumbling)

No, it’s alright. Highlight of my

day. Can I try to help you?

JESSA

I don’t know, Jay’s supposed to

have a check for me from the books

that were sold.

Gabe starts looking for something behind the counter.

JESSA

Is it there?

GABE

No. I’m actually looking for the

key chain that opens the office. He

usually keeps this kind of stuff

there. But he probably took the

keys with him.

JESSA

I should have called first.

(CONTINUED)

CONTINUED: 33.

GABE

Come back tomorrow! I’m sure he’ll

be here.

JESSA

(Walking to the door)

Ye, sure. I’ll drop by. Thanks for

the book title. I might use it for

the sequel.

Gabe smiles.

JESSA

Just kidding. Sequels sucks.

INT. GABE’S APARTMENT - LATE NIGHT.

Gabe is lying on the couch, having a good time reading "The

Uncanny Manual for Unorthodox Girls". He is so distracted

reading and laughing that he doesn’t realizes when Lea

arrives. She’s wearing a sleeveless black blouse with a pig

printed on it, thigh jeans and high heels. A big and

colorful rose tattooed on her left shoulder. She walks in

and goes directly to her room.

Gabe is laughing out loud. Intrigued, Lea comes out to the

living room.

LEA

What’s so funny?

GABE

It’s just a book that I took from

the store.

Gabe glances at Lea’s shoulder and jumps out of the couch,

shocked.

GABE

Lea! What the hell is that in your

arm!

LEA

Oh! This?

Lea gets her forefinger moistly putting it into her

mouth. Then, she rubs it in her skin over her tattoo. The

tattoo starts fading.

LEA

It’s fake. Everybody at work has

tattoos. I don’t want people

thinking of me as a sweetheart.

(CONTINUED)

CONTINUED: 34.

GABE

’Cause that would be terrible.

Lea seats on the couch with Gabe.

LEA

When you’re mean, people tip you

better. What is this?

She takes the book from Gabe’s hands.

LEA

(Reading the cover)

Jessa Spalding. Hum, who is she?

GABE

That’s what I’m trying to figure

out.

MONTAGE. INT. GABE’S BEDROOM - MORNING.

A Spider Man Alarm Clock awakes Gabe. He has a grim on his

face.

INT. GABE’S BATHROOM - LATER.

Gabe whistles a song in the shower.

Rolled on his towel, Gabe stares at the mirror, analyzing

his face.

Gabe shaving his beard.

Gabe is combing his hair.

INT. GABE’S APARTMENT COMMON AREA - LATER.

Still rolled on his towel, Gabe walks from the bathroom to

his bedroom whistling. Lea, is watching TV on the couch. She

looks back at Gabe, curious about the sudden change of mood.

INT. GABE’S BEDROOM - LATER.

In his underwear, Gabe browses his closet, looking for a

nice shirt.

Gabe checks himself with his outfit.

Gabe sprays perfume on his neck.

35.

INT. GABE’S APARTMENT COMMON AREA - LATER.

A smiley Gabe leaves the the apartment. Jessa keeps looking

at the door after he left, shaking her head with

incredulity.

END OF MONTAGE.


The door bell rings.

DING.

Gabe comes in carrying his bag. Jay is the counter, very

focused, drawing vibrantly on his notebook. He doesn’t look

at Gabe.

GABE

Morning Jay.

Jay mumbles something incomprehensible.

Gabe takes Jessa’s book out of his bag.

GABE

(Holding Jessa’s book)

So, I took this book back home

yesterday. And I have to say man, I

think it’s pretty--

JAY

--Ga..Gabe. Shh! I’m almost done

here. Wait.

Gabe seats over the counter, putting Jessa’s book besides

him. Jay keeps centering his attention on his drawing.

JAY

Let me just say ahead, that you

might don’t get this idea. I think

it’s a bit too outside the box for

you. But listen up. Are you ready?

Gabe nods.

JAY

I present you the most up-to-date

hero. The state of the art force to

annihilate evil in every kind of

form. This is... wait--

Jay gives the final touches in his drawing.

(CONTINUED)

CONTINUED: 36.

JAY

--THE INTERNET MAN!

Jay holds his notebook opened right in front of Gabe’s face.

JAY

An online hero who saves people

without taking his ass of his

chair! But here’s the trick: he

uses a dial connection!

Gabe laughs of the drawing: a fat man in glasses, using a

tiny superhero suit, seated in front of a computer, eating

MC Donald’s. Jay closes his notebook an puts it

aside, disappointed at his friend reaction. Only then he

notices Gabe’s new look.

JAY

Wow!! What’s is going on here?

Jay points to Gabe’s facial area.

GABE

I shaved! So what?

Jay sniffs the air.

JAY

Are you using PERFUME!?

Gabe jumps out of the counter, turns his back on Jay and

starts organizing some papers.

GABE

Shut up.

JAY

Seriously, there’s something

happening. Wait. Are you throwing

me a surprise party? Because,

considering my birthday was three

months ago, I would be really

surprised.

GABE

There’s no party. I was just tired

of the "Cast Away" look. That’s it.

Jay keeps starring at Gabe.

JAY

(Whispering)

No way.

(CONTINUED)

CONTINUED: 37.

The front door opens.

DING.

Gabe turns his head quickly and sees Jessa coming in,

wearing a Betty Boop t-shirt. He goes back to his duties,

pretending he hasn’t seen her yet.

Jay notices Gabe’s movements. He looks at Jessa, at her book

over the counter and then at Gabe again. He connects the

dots.

JAY

(to himself)

No way!

JESSA

Hey comic boys.

Gabe turns to Jessa, pretending to be surprised.

GABE

Hey!

JAY

Hey! Let me get you money. Just a

sec. Gabe, keep in charge, looking

good.

Jay steps away to the office.

JESSA

What happened to the beard? You

look so... different without it.

Gabe rubs his hand around his face.

GABE

You don’t like it?

JESSA

No. It’s cool. Somehow it’s like

I’m finally meeting you face to

face.

Gabe holds Jessa’s Book.

GABE

I started reading your book last

night.

(CONTINUED)

CONTINUED: 38.

JESSA

Really? What you think of it?

GABE

It’s pretty good, actually.

JESSA

Actually? You were thinking that

just because I don’t make the nerdy

weird girl stereotype, I can’t a

make a descent work?

GABE

No! Of course not! I was just about

to tell you how your work surprised

by it’s unique way to tell a girl

story without being cliche. You

totally gets the feminine universe

without having to talk about boys.

JESSA

Why should I have to talk about

boys?

JAY (OS)

Got it!

Jay comes back holding an envelope.

JAY

Sorry, it’s not that much.

JESSA

Nah, it’s OK. I’m surprised that we

actually sold any of them.

Jay handles the check to Jessa.

JAY

I was gonna ask you. Have you been

to the Maitena’s exhibition at the

MOCCA?

JESSA

No! I didn’t know she has an

exhibition in town. But I

absolutely love her work. What is

this MOCCA?

GABE AND JAY

Museum of Comics and Cartoon Art.

(CONTINUED)

CONTINUED: 39.

JAY

You never been at MOCCA?! The

exhibition ends this weekend. You

should go tonight!

JESSA

I will! Thanks for the tip!

JAY

(Very theatrical)

I have to do inventory tonight, but

maybe Gabe could take you, right

buddy?

GABE

Ahn...

JESSA

Sure! That would be fun. Unless you

already have plans--

GABE

--No, no! I’m available. I’m mean,

I can go. I, I’ll take you. It’s no

problem, no problem at all. I’ve

been willing to go there anyway

before so it’s no problem--

Jay taps on Gabe shoulder.

JAY

--OK Champ, we got it.Gabe’s shift

ends at eight. Stop by and you guys

can walk from here.

JESSA

That works. So, see you later,

Gabe. Looking forward for tonight.

GABE

Ahn--

JAY

--So are we. Right, Gabe?

GABE

Ahn, ye.

Jessa leaves the store. Gabe sighs, starring seriously at

Jay.

(CONTINUED)

CONTINUED: 40.

JAY

What?!

INT. MAITENA’S EXHIBITION AT MOCCA - NIGHT.

A fancy art gallery room with big printings of Maitena’s

works on the wall. The place is crowded by artists and

hipsters. Gabe is still using the same outfit but Jessa is

on a white dress, high hells and loose curly hair. They stop

in front of one of the panels.

JESSA

All her work have deeply influenced

me to start producing.

GABE

It’s so cool that you know Maitena.

JESSA

I have an aunt who bought me all of

her books from Argentina a couple

of years ago. What do you think of

this one?

Jessa is starring at the panel, but Gabe is looking at her.

GABE

Very beautiful.

INT. MAITENA’S EXHIBITION AT MOCCA - LATER.

Gabe and Jessa are at the final exhibition panel. It’s a big

picture of Maitena, smiling to the camera.

JESSA

Oh my god, she is so gorgeous,

right.

Gabe disagrees.

GABE

Totally. Totally hot.

EXT. UNION SQUARE - LATER.

A crowded square, full of college kids hanging, playing

music and riding their skates. Jessa is holding the

exhibition book.

(CONTINUED)

CONTINUED: 41.

GABE

So, why you moved from California?

The comics industry is broader at

the west coast.

JESSA

It was more like for personal

reasons.

GABE

Sorry for asking.

JESSA

No! I mean, I was having some

issues with my mother. She was

constantly pushing me to be

something that I’m not. I just felt

lying to myself. So I came to New

York, for a brand new start.

INT. YAFFA CAFE - LATER.

A nice diner with retro decoration. Zebra prints on the

booths and tables and Christmas lights hanging from the

ceiling. Gabe and Jessa are seated by the window, eating

burgers.

JESSA

Wait, wait! So you also do comics?!

Why didn’t you tell me before?!

GABE

Well--

JESSA

--I’ve been talking about me the

whole night. I’m sorry! You must

think I’m the worst company.

GABE

Shut up. You’re not.

JESSA

How many books you published?

GABE

Published? No no, we produced like

half dozen of graphic novels, but

we never got published.

(CONTINUED)

CONTINUED: 42.

JESSA

Who’s we?

GABE

Me and Matt. He was my creative

partner.

JESSA

What happen, you guys broke up?

Gabe was about to bite his burger but he stops.

GABE

No. He died a couple of months ago.

Gabe and Jessa eat their burger in an awkward silence.

EXT. SAINT MARKS PLACE - LATER.

A noisy and colorful street. Gabe and Jessa are walking

slowly, enjoying the evening.

JESSA

So, where can I find these books?

GABE

Nowadays? I don’t know. But I still

have a couple of each volume in my

apartment. We can go there

someday--

JESSA

--Can we go now?

INT. GABE’S APARTMENT - LATER.

Gabe opens the door for Jessa. They step into the apartment.

Jessa examines the decoration.

JESSA

Wow! You take the nerd concept to a

whole new level.

Gabe walks to the bookshelf.

GABE

Here they are.

Gabe points to his books. He grabs one of them and gives to

Jessa.

(CONTINUED)

CONTINUED: 43.

JESSA

Cool!

Jessa seats on the couch, and start reading Gabe and Matt’s

book.

GABE

Do you wanna drink something?

JESSA

Sure. You have beer?

INT. GABE’S KITCHEN - LATER.

Gabe opens the fridge. There’s only Lea’s healthy food.

GABE

HEY! I’LL BE RIGHT BACK! GOING TO

THE DELI DOWNSTAIRS REALLY QUICKLY

AND GET US A SIX PACK!

Gabe runs throughout his apartment door.

INT. DAVE’S DELI - LATER.

A tired Dave is closing the front door and turning off the

Deli’s lights when he hears door knocks.

DAVE

Now what the --

GABE (OS)

--DAVE! DAVE! IT’S GABE! OPEN UP!

Dave opens the door.

DAVE

We’re closed man, what the hell?

Are you on drugs?

GABE

Sorry Dave! It’s an emergency!

DAVE

What is it?!

GABE

I need beer.

Dave sighs and slams the door in Gabe’s face.

44.

EXT. DAVE’S DELI FRONT DOOR - CONTINUES.

Gabe keeps starring the door while he hears Dave mumbling on

the other side. Dave opens the door again, handing a six

pack. He gives it to Gabe.

DAVE

Next time you have an emergency,

call 911.

GABE

Thanks so much!

Gabe rushes back to his apartment. Holding the door opened,

Dave watches Gabe’s run.

DAVE

(Shaking his head)

White people...


The door opens with a bang. Gabe walks in, breathing

heavily. He goes straight to the living room, but he doesn’t

find Jessa on the couch. He turns his head and sees her,

sitting on Matt’s desk, reading Matt’s papers. Gabe freezes.

JESSA

Hey! That was fast!

GABE

What... what you’re doing?

JESSA

I was reading this. "The Last Man

in The Universe". You’re new baby!

Wow Gabe, this is really good!

GABE

(talks under his breath)

Uh... thanks.

JESSA

I didn’t know you were a writer as

well.

Gabe’s hands are trembling.

GABE

I’m...not.

Jessa stands up, still holding Matt’s papers.

(CONTINUED)

CONTINUED: 45.

JESSA

You don’t have to be so humble!

This is amazing! You have talent.

Gabe abruptly grabs the papers from Jessa’s hands and puts

it back on the desk. Jessa gets scared.

GABE

This is Matt’s desk.

The sound of a key chain trying to open the door is heard in

the living room. Lea comes in. She has a turtle tattoo on

her left arm, this time. She doesn’t notice the tension in

the air.

LEA

Hey Gabe, I have left overs! Oh,

hi. I’m Lea, Gabe’s sister.

Jessa is relieved by Lea’s arrival.

JESSA

Hey! I didn’t know you had a

sister. I’m Jessa.

LEA

Wait, you’re the comics girl! We

read your book last night! You’re

amazing! Right, Gabe?

Gabe nods. Lea looks at the six pack Gabe is holding.

LEA

Wow! Beer!


The living room is messier then before. Gabe is walking with

a trash bag, taking out the beer bottles. He throws it in

the trash.

He stares at Matt’s desk. Hesitating, he walks towards it

and stops right in front of the papers. He seats on the

chair, holds a sheet of paper and starts reading it.


Another work day at Supernova. Jay keeps drawing on his

notebook. Gabe is reading a magazine. A fat kid is browsing

through the store.

(CONTINUED)

CONTINUED: 46.

JAY

You’re really not telling me what

happened last night?

GABE

Nothing happened Gabe. We went to

the exhibition and had dinner

later. That’s it.

JAY

Ye, but what happened? Where’s the

yesterday smiley face? You were

glowing like like those Twilight

gay vampires.

Gabe ignores him. Jay tries to concentrate on his drawing.

He can’t.

JAY

Did she try to stick a finger

there?

GABE

What?! No! Shut up! Just... show me

your new idea already.

JAY

Ok, wait...

Jay gives the final retouch on his drawing. Before showing

it to Gabe.

JAY

Taking in consideration all the

creative feedback you’ve been

giving me, I was able to realize

the flaws in my previous art pieces

and come up with my ultimate and

final creation. The one that will

rule them all. Are you ready?

GABE

Ye.

JAY

I have two words for you.

(BEAT)

GABE

What?

(CONTINUED)

CONTINUED: 47.

JAY

Wait! I’m setting the dramatic

tension here.

Gabe sighs.

JAY

Fish Whisperer.

Jay keeps nodding for approval.

GABE

I don’t get it.

JAY

Dude! Think! It’s Aquaman meets The

Six Sense!

GABE

Wow. I’m... speechless.

JAY

I know, right!?


DING.

Jessa walks in.

JESSA

Hey comic boys.

GABE AND JAY

Hey.

JESSA

Gabe, I dropped by to give you

this.

Jessa takes a small and thin notebook out of her bag. She

handles to Gabe.

GABE

What is it?

JESSA

Well, I felt really bad about what

happened last night.

Jay stares at Jessa’s finger.

(CONTINUED)

CONTINUED: 48.

JESSA

You could hardly sleep. So I

decided to write some ideas to help

you out finishing your story.

GABE

What?

Jay takes the notebook from Gabe’s hand and reads it. Gabe

seems confused.

JAY

Oh! Is this for "The Last Man in

Universe"?

JESSA

Yes. I thought some ways on how to

develop the story after Marcus

lands on Earth.

Jay keeps reading it.

JAY

This is great! You could really use

some of this insights, Gabe!

Gabe is looking to the floor. His hands are trembling again.

JAY

Gabe?

GABE

(controlling his anger)

Why are doing this?

JESSA

I’m just... trying to help.

Gabe grasps the notebook out of Jay’s hands and throws it

back to Jessa. The notebook hits her chest and falls in the

ground.

GABE

(Aggressively)

This is none of your fucking

business!

Gabe is breathing heavily. Jessa and Jay and the fat kid

look scared at him. Jessa opens her mouth to say something,

but she can’t. She turns her back to them and exits the

store, leaving her notebook on the floor. Jay and Gabe stay

in silence for some time.

(CONTINUED)

CONTINUED: 49.

JAY

Now that must have been a hell of a

finger.

INT. GABE’S BEDROOM - NIGHT.

Lighted by light of the moon, Gabe lies on his bed, starring

the ceiling. The Spider Man alarm clock marks 2h01 am. Gabe

rolls on the bed, sleepless.


Wearing his pajamas, Gabe opens the kitchen and grabs some

water. He drinks it from the bottle.

INT. GABE’S LIVING ROOM - LATER.

Gabe is walking back to his room but he stops and he faces

himself in front of his bag. He takes a moment before

opening the front pocket and taking out Jessa’s notebook.

Stares at it and them gathers courage to read it.

He seats on his chair, holding Jessa’s notebook and Matt’s

papers. He reads it all. A well sharped pencil over a blank

piece of paper lays in under his nose. He observes them and

slowly moves his hands attempting to hold the pencil.

After a deep breath, Gabe starts drawing again.

EXT. WASHINGTON SQUARE - DAY.

A flowering and crowded square with a big fountain in the

center. Gabe and Jessa are seated on a bench. Around them

children plays and people walk their dogs.

GABE

Thanks for coming. I’m really sorry

for my behavior yesterday. Guess I

overreacted.

JESSA

Oh, you think?!

GABE

I know, I was a jerk. But hey,

look.

Gabe takes out from his bag a folder with comic book pages.

(CONTINUED)

CONTINUED: 50.

GABE

I spend the whole night drawing

this. I took all yours and Matt’s

ideas to keep producing The Last

Man.

Jessa is impressed, but resented.

JESSA

That’s terrific, Gabe. I’m glad for

you. Hope you can finish it

someday.

GABE

See, that’s the thing. Me and Matt,

we had this idea of finishing The

Last Man in time in time to promote

it at San Diego’s Comic Con. We

were confident that if we could do

so, we would find a publisher

willing to sell the book.

JESSA

That’s great. You should do it.

GABE

I can’t. At least not by myself. I

can’t write, Jessa. I’m not a

writer. I draw. But you, you

clearly have the skills.

JESSA

Wait. Are you proposing a

partnership?

GABE

Ye. Maybe together we can finish it

in time to San Diego.

JESSA

How much time would he have?

GABE

A couple of weeks to finish the

sample and send it to be evaluated

and then two months to finish the

whole thing. Matt and I had some

savings we’ve been keeping to print

some copies. So you wouldn’t have

to spend any money on it.

(CONTINUED)

CONTINUED: 51.

JESSA

Well, that is a lot to process.

Gabe stands up.

GABE

Of course. Take some time and call

me if--

JESSA

--Time?! We don’t any time! Ok,

I’ll do it, but you have to promise

me you won’t have another freak

attack!

GABE

You got a deal!

MONTAGE, BY THE SOUND OF "BRAND NEW START" - LITTLE JOY.

INT. GABE’S APARTMENT - DAY.

Gabe and Jessa are on Gabe’s couch, discussing ideas for

"The Last Man in The Universe".

EXT. SOUTH SEAPORT STREET - DAY.

Gabe and Jessa are talking and walking at the South Seaport

Street.


Gabe and Jessa are discussing their ideas with Jay, who is

totally excited.


Gabe is drawing on his desk, while Jessa sleeps in the

couch. He looks at her with kindness.

EXT. CENTRAL PARK - DAY.

Gabe is seated in bench at Central Park. Jessa talks while

Gabe draws in his notebook.


Gabe, Jessa and Lea are eating chinese food in the couch and

watching TV.


(CONTINUED)

CONTINUED: 52.

Gabe is drawing on his desk. Jessa sleeps at Lea’s lap in

the couch while Gabe’s sister watches TV.


Jay and Gabe are drawing in their notebooks while they work

at the supernova. Gabe’s drawing is a complex view of a

desert abandoned city. Jay’s drawing is a cartoonish

character dressed as a banana, wearing a cape.


Jessa seated on the couch while she writes. Gabe sleeps over

his desk.


Gabe is in front of the computer, coloring "The Last Man in

The Universe" pages. Jay and Jessa are making suggestions

behind him.

INT. GABE’S APARTMENT AND JESSA’S BEDROOM - NIGHT.

Gabe and Jessa discussing ideas through the phone. Gabe is

drawing a female character on his notebook that resembles

Jessa.

INT. FEDEX KINKO’S - DAY.

Gabe and Jessa are printing the cover of "The Last Man in

The Universe" sample.

INT. STARBUCKS CAFE - DAY.

Gabe and Jessa are filling the application form to Comic

Con.

INT. POST OFFICE - DAY.

Gabe is in a line to send the application form in the post

office.

END OF MONTAGE.


While Gabe is seated behind the counter, drawing another

page of "The Last Man in Universe", Jay is helping a fat

young dude in the register. The kid gives Jay a pile of

books.

(CONTINUED)

CONTINUED: 53.

JAY

Ok, let’s take a look on what do we

have here.

Jay start charging the books.

JAY

Eisner... Sacco... Spiegelman,

sweet man, nice selection! Moore...

Crumb... wait a minute.

Jay holds a copy of "Material Man".

JAY

Are you kidding me?

FAT YOUNG DUDE

What?

JAY

Are you... are you buying this?

FAT YOUNG DUDE

Yes.

JAY

But why?!

FAT YOUNG DUDE

Ahn... excuse me?

JAY

Why the hell, among all the great

art pieces in this store, you chose

THIS!?

Behind Jay, a monstrous "Material Man" poster.

FAT YOUNG DUDE

I... I don’t know, dude. I heard

it’s cool.

JAY

Cool?! You heard that this pile of

shit is cool? This big cliche

machine, superficial crap is cool?

How... who... how the... who told

you...

Jay closes his eyes, leans on the counter and takes a long

and deep breath. He looks deadly serious at the fat young

dude.

(CONTINUED)

CONTINUED: 54.

JAY

Dear and beloved costumer, I can

see that you mean no harm. And I

can also realize, by your other

selections, that you have potential

to be a quality reader. The books

you have here are classics of the

ninth art and I am proud of you for

taking them home and embarking on

these delightful journeys, full of

meanings, emotions and talent.

That’s why, putting this--

Jay breaths deeply again.

JAY

-- "book" among these other titles

is, at least, sacrilegious.

Therefore, as an certificate sales

associate at Supernova, I have to

recommend you something more

suitable with the other titles

you’re purchasing today.

Gabe is shaking his head with a smirk smile.

FAT YOUNG DUDE

Wow. Well, thanks dude. But I’m

taking it.

JAY

What!? But I just--

FAT YOUNG DUDE

--Dude! Are you fucking selling me

this or not?!

JAY

No! I won’t be responsible for such

a crime!

FAT YOUNG DUDE

FINE! I’ll get it online, then! Who

wants to buy in a dirty old store,

anyway?

The fat young dude walks towards the exit.

JAY

WAIT! What about the other books?

(CONTINUED)

CONTINUED: 55.

FAT YOUNG DUDE

SHOVE IT!

Jay keeps starring forward while the front door closes.

GABE

Great selling skills, Jay. You

totally deserve the assistant

manager title.

JAY

Shut up!

Jay looks to the ceiling.

JAY

Father, you know I won’t give up on

my quest of saving as many souls I

can.

GABE

Maybe you should think about saving

this store finances, because it’s

just a matter of time until this

shit hole closes.

Jay grabs the fat young dude pile of books over the counter

and starts replacing it back through the store.

JAY

So Gabe. Have you guys did it

already?

GABE

Did what? What you’re talking

about, Willis?

JAY

You know. You and Jessa. Have you,

you know.

GABE

Are you talking about--

JAY

--Sex!

GABE

What!? No! We’re just friends!

JAY

Right. Not by your choice.

(CONTINUED)

CONTINUED: 56.

Gabe keeps drawing. Jay finishes replacing the book and goes

back to the counter.

JAY

Seriously, Gabe. You have to make a

move, and fast. Otherwise you will

loose your moment.

GABE

Ye, I should definitively take love

advices from you, Casanova.


Gabe is drawing in his desk. He hear the sound of a key

chain and then the door opens. Lea comes in, dressed on her

work uniform.

LEA

Hey, still working? Where’s Jessa?

GABE

She left about an hour ago. I want

to finish this page before going to

bed.

Lea throws herself in the couch.

LEA

So, there was this guy in the bar

tonight. Great tipper. He told me

he works in comics industry.

GABE

(Without paying too much

attention)

Hum, he’s an artist?

LEA

No, he said he is a publisher at

Black something. Black Horse--

GABE

--Dark Horse?!

LEA

Yes! Dark Horse! Exactly. And I

told him about you and the book

you’re making.

(CONTINUED)

CONTINUED: 57.

GABE

And?!

LEA

He said he would love to meet you

sometime. But... he I might just be

trying to get into my pants.

GABE

I don’t care! It’s a publisher,

Lea! He can get into whoever pants

he likes as long he takes a look at

The Last Man.

LEA

Gabe, I’m not your bitch!

GABE

Sorry, Lea. Just kidding here!

That’s not what I meant.

LEA

It’s ok. I’ll take one of the

samples you printed and I’ll bring

to him tomorrow.

Gabe grins.

GABE

Thanks sis.

LEA

Whatever.

Gabe goes back to his drawing, with a large smile on his

face, while Lea curls her hair with her fingers.

LEA

How much money do you think a

publisher makes?

INT. GABE’S BEDROOM - MORNING.

The Spider Man Alarm Clocks wakes Gabe at 9h00 am.


Gabe is preparing his cereal. The door bell rings. He opens

the door.

58.

INT. GABE’S APARTMENT HALLWAY - CONTINUES.

Ouside the apartment, Jessa is holding an envelope with

large smile on her face.

GABE

Hey! What’s that?

JESSA

We’re in!

GABE

What?

Gabe sees the Comic Con logo on the envelope.

GABE

No way.

JESSA

Way.

GABE

No way!

JESSA

Way, Gabe, way!

Gabe hugs Jessa and lift her up in the air.

GABE

We did it!

Gabe starts spinning her in the hallway. Jessa laughs

loudly.

GABE

I can’t believe it!

JESSA

Put me down, Gabe!

They stop spinning. Gabe puts her down. He looks into her

eyes.

JESSA

Thanks for this oportunity, Gabe.

GABE

No... thank you.

Gabe leans forward and kisses Jessa, holding her hips. Jessa

gets scared. She pushes him.

(CONTINUED)

CONTINUED: 59.

JESSA

Gabe! What the fuck!?

GABE

I’m sorry, I thought that we--

JESSA

--Fuck! Fuck!

GABE

-- that we had a connection.

JESSA

We do, you idiot! We’re creative

partners. That’s it!

GABE

I’m so sorry. I misread the

signals.

JESSA

You’re an asshole, Gabe!

Jessa marchs out of the hallway through the stairs. Leaving

Gabe completely confused.


Gabe and Jay are seated in the couch, drinking beer and

watching TV.

JAY

So she just called you an asshole

and disappeared?

GABE

Pretty much, ye.

JAY

Without any further explanation?

Terminal cancer? Time traveling?

Seven evil ex boyfriends?

GABE

Nada. I’ve spend the day trying to

understand why, but... it just

doesn’t make any sense.

JAY

You should call Lea and get some

feminine perspective on it.

(CONTINUED)

CONTINUED: 60.

GABE

I did. She said she have no idea.

But she told me that her and Jessa

are going out to drink and talk

tonight

JAY

I think Jessa probably feels she

needs to be around her girlfriends

now.

GABE

Ye. I’ll just drop by her house

tomorrow and ask what is going on.

JAY

You do that, boy! Just be straight

to her. I can’t see how that can go

wrong.

GABE

Cheers.

JAY

Cheers.

They drink their beer.

INT. JESSA’S APARTMENT HALLWAY - MORNING.

Gabe knocks at Jessa’s door. He’s well dressed and a bit

nervous. He hears a feminine voice on the other side of the

door.

FEMININE VOICE

Shut up! Let me pay, I have a job!

A girl opens the door. Completely confused, Gabe recognizes

the girl. It’s Lea. She is Jessa’s Felix The Cat t-shirt and

her panties. Lea is petrified by seeing Gabe at the door.

They stare at each other, without saying a word.

JESSA (OS)

Just pay the guy and come to bed,

I’m starving!

GABE

Lea?

JESSA (OS)

Lea, come on! Hurry up!

(CONTINUED)

CONTINUED: 61.

LEA

I’m sorry.

JESSA (OS)

What is talking you so long?

Gabe hears footsteps getting closer. Jessa apears behind

Lea.

JESSA

Oh, fuck.

Gabe walks away.

EXT. NEW YORK STREETS - RAINY DAY.

Under their umbrellas, people walk fast through the streets

of New York. A big line of cars are stuck in traffic,

honking with impatience. Gabe ignores the rain, the people

and the cars. He’s completely wet, walking slowly carrying a

miserable expression.

INT. GABE’S APARTMENT - LATER

Seated on the couch, a soaked Gabe zaps the TV without

interest in any particular channel. The phone rings.

RING!

Gabe picks up the phone but stays mute.

LEA

(trough phone)

Gabe? Gabe?!

EXT. STREETS OF NEW YORK - CONTINUES.

Lea walks fast in the streets. Still rains massively. She

carries an umbrella and talks on the cellphone.

LEA

(Into phone)

Gabe, I know you’re there, I can

here you breathing! Listen! Don’t

freak out! It’s not what you’re

thinking! I’m coming home now and

we can talk--

62.

INT. GABE’S APARTMENT - CONTINUES.

Gabe hangs up the phone. He promptly turns off the TV, grabs

his bag and exits the apartment.

INT. SUPERNOVA COMIC BOOK STORE - LATER.

Jay is alone in the store, reading a hentai magazine. (adult

content Japanese comics). The door bell rings.

DING.

Scared, Jay throws the magazine on the floor, behind the

counter. Gabe walks in, even more wet then before.

JAY

Gabe, it’s your day off. What the

hell are you doing here?

GABE

I can’t stay home, Jay. Do you want

me to step in and cover your shift

today?

Jay looks to the ground and sees the magazine laying there.

He steps on it, trying to hide it.

JAY

No! You stay right there! It’s your

day off, for Christ sake! Tell me

what’s going on.


Jay looks astonished with his mouth open. Gabe is seated on

the counter, gazing at Jay.

GABE

So, you’re not gonna say anything?

(BEAT)

GABE

Jay? Jay?!

JAY

Dude, wait! This is too much to

process!

(CONTINUED)

CONTINUED: 63.

GABE

I know.

JAY

It’s not easy to image the scene,

you know? I’m struggling here to

make it more realistic as possible.

GABE

Oh, fuck you!

JAY

Sorry, Gabe! But come on!

Jay stares deeply into Gabe’s eyes.

JAY

(Whispering)

Two girls!

GABE

One is my sister. The other one is

the girl I love.

JAY

Ye, it’s probably a little bit more

tricky for you, but still.


DING.

Lea comes in. She throws her umbrella in the ground and

walks towards her brother. Jay looks at Lea with wonderment.

She is holding her cellphone. She tries to hands it to Gabe,

but he doesn’t grab the phone from her hands.

GABE

I don’t wanna talk to you nor her

right now.

LEA

It’s not Jessa.

Confused, Gabe takes hold of the phone with hesitation.

GABE

(Into the phone)

Uh.. hello?

64.

INT. NATHANIEL’S OFFICE - CONTINUES.

A fancy office with a big window displaying the south bay

area of New York city. On the walls, framed posters of

Material Man and other titles. Behind a wooden large desk,

sits NATHANIEL SHARP, an mid-thirties spiked hair executive.

NATHANIEL

(Into the phone)

Gabe! The man of the moment! I was

so looking forward to talk to you.

INT. SUPERNOVA COMIC BOOK STORE - CONTINUES.

Gabe chokes the phone with both hands.

GABE

(Whispering)

Who is this?!

Lea gestures for Gabe to keep talking. Gabe obeys.

INTERCUT AS NEEDED.

GABE

(Into the phone)

Uh... hi. Who’s is it?

NATHANIEL

Oh, I’m so sorry! My name is

Nathaniel, but you can call me

Nate. Look at that! Gabe and Nate!

What a team, hun?

GABE

Uh--

NATHANIEL

-- I’m a friend of your sister,

Lea? She gave to me a sample of

your book--

Nathaniel shuffles the papers on his desk, among dozens of

magazines he finds "The Last Man in The Universe" sample.

NATHANIEL

--"The Last Man in The Universe"!

Wow! Genius, really really good!

ESPECIALLY the art. You’re gifted!

(CONTINUED)

CONTINUED: 65.

GABE

Thanks.

NATHANIEL

Anywho, I work on this "little"

publishing company, I don’t know if

you ever heard of us, "Dark Horse"?

GABE

Yes! Off course!

NATHANIEL

So, I’m gonna straight. We would

LOVE to meet with you anytime to

talk business, what you think?

GABE

Uh.. sure! Ye! Absolutely, that

would be--

NATHANIEL

--Wonderful. Listen, I have to go.

My assistant will call you in a bit

to schedule a meeting, ok? Awesome,

great chat, bye bye.

END OF INTERCUT.

Gabe needs a moment to hang up the phone. With his mouth

open, he looks at Jay.

JAY

What was that?

Gabe can’t talk. Then he looks at Lea. She smiles.

GABE

You...are so fucking lucky.

INT. DARK HORSE CONFERENCE ROOM - DAY.

A large meeting table is centered in a bright room. In one

side, three chairs are occupied by Nathaniel, FRANK HUMBLES,

a 30 years old eccentric comic book writer and an KIM LIN

HU, a young female Chinese executive. Behind them, framed

posters of "Hellboy", "Sin City" and "Buffy" on the walls.

On the other side, Gabe is seated alone. Behind him, a huge

poster of "Conan".

NATHANIEL

Gabe, we are so happy to have you

here! We were mind blown by the

(MORE)

(CONTINUED)

CONTINUED: 66.

NATHANIEL (cont’d)style, the angles, the details you

put on paper. Right Kim?

KIM

Brains on the ceiling.

GABE

Thanks.

NATHANIEL

And we would love to publish your

book here at Dark Horse. Right Kim?

KIM

Absolutely.

NATHANIEL

BUT, with this whole burst of

comics movies adaptations and the

Comic Cons coming up, we have so

many projects already in

development, that we can’t just

push yours first. Kim?

KIM

So so many projects.

NATHANIEL

But we don’t want to waist a talent

like yours. So we have something

right now for you. Do you know

Frank Humbles?

Gabe realizes he is facing Frank Humbles.

GABE

Hum, just by name. Nice to meet

you.

Frank nods.

NATHANIEL

Frank is our newest and most

promise writer here at Dark Horse.

His first and only graphic novel so

far sold more then six hundred

thousand copies in less then six

months. Material Man has made more

then 2 million dolars in

merchandising last year and we just

signed with Universal Studios to

shoot the movie adaptation.

(CONTINUED)

CONTINUED: 67.

KIM

Samuel L. Jackson is on board.

NATHANIEL

You see Gabe, with all the buzz, we

think it’s the right time to

release a sequel.

GABE

Hum... cool. But, I though Material

Man exploded himself and the whole

Zargun planet to save humankind at

the end of the--

NATHANIEL

--That is just a minor detail. I’m

sure Frank already have a solution

for this, right Frank?

FRANK

(Starring seriously at Gabe)

I do.

Gabe, Nathaniel and Kim look at Frank, waiting for the

explanation. But Frank stays mute.

NATHANIEL

Ok. Here’s the deal, Gabe. We need

a new talent. We want you to

illustrate "Material Man 2".

Gabe is surprised by the offer. The three on the other side

stare at him waiting for an answer.

GABE

Ahn... what about James Bonnet, the

original illustrator, what happened

to him?

Frank rolls his eyes.

NATHANIEL

Frank and Mr. Bonnet had some

creative divergences, so we decided

to tave some fresh talent this

time. You see Gabe, this kind of

exposition could put you on the

first time of American

illustrators. Right Kim?

KIM

Easily.

(CONTINUED)

CONTINUED: 68.

NATHANIEL

So, what do you say?

Gabe feels pressured by the tension in the room.


Jay is behind the register machine, full of rage.

JAY

YOU WHAT!?

GABE

I, I took the job at Dark Horse! I

though you would be happy for me!

JAY

You’re gonna work at Dark Horse?!

GABE

Yes!

JAY

And you’re gonna draw "Material Man

2"?!

GABE

Yes!

JAY

Are you out of your fucking mind!?

GABE

Jay! It’s a real job! I’ll be

drawing a real graphic novel! It’s

gonna be selling worldwide!

JAY

The Last Man is a real graphic

novel! "Material Man" is just...

the worst thing I have ever read in

my life!

GABE

C’mon Jay, everything that sells

here is the worst thing you ever

read in your life.

JAY

Ye, but this time I mean it!

(CONTINUED)

CONTINUED: 69.

GABE

Besides, it’s the chance to publish

The Last Man! If I do "Material

Man", they’ll consider publishing

my book next year!

(BEAT)

JAY

(Sighs)

Fuck, Gabe. I had great plans for

you.

GABE

What are you talking about?

JAY

I was gonna make you Supernova

co-assistant manager. But now, now

you’ll probably have to work only

part time here because of your new

"job".

GABE

Well, about that. That’s actually

why I came here to talk to you. It

will be a full time job at Dark

Horse, so--

JAY

--Don’t even think about saying

that.

GABE

--I’ll have to stop working here.

Gabe waits for Jay’s reaction, but he keeps looking to the

floor, shaking his head.

GABE

Jay? Are you not gonna say

anything?

Jay stares at Gabe.

JAY

You’re fired, Gabe.

70.


No one is seated on the couch or on the desks. The TV is

turned off. An unoccupied living room. The sound of a door

being opened. Gabe appears. He tosses his bag in the couch.

Besides the couch, the answering machine marks one new

message. Gabe clicks "play".

LEA

(Through answering machine.)

Hey Gabe, I’m already at work. Hope

you had a successful meeting with

Nate. I know you’re trying to avoid

me, but we need to talk.

Gabe goes to his room.

LEA


You misunderstood the whole

situation the other day. Me and

Jessa got drunk and I end up

sleeping at her place. That was it.


RING.

Gabe comes back from his room and towards the door.

LEA


I mean, I’m not saying that we

didn’t do anything. Cause yes, we

made out. But that was it. I

doesn’t mean anything! It wasn’t

me! It was the tequila!

Gabe opens the door, Jessa is on the other side. They both

can hear Lea’s voice coming from the answering machine.

LEA


So yes, I slept with Jessa. But it

was a one night thing! I’m not

gonna do it again! I promise you,

she is not my type. I know what

you’re thinking, but I’m not a

lesbian!

JESSA

Ouch.

(CONTINUED)

CONTINUED: 71.

LEA


Anyway. We can talk later when I

come back. Me and Jessa are hitting

to the movies later, maybe she

could stop by and talk to you. Miss

you bro.

BEEP.

JESSA

Can we talk?

GABE

I have to work in the morning.

Gabe closes the door on Jessa’s face.

JESSA (OS)

Congratulations on your new job,

Gabe! You asshole!

EXT. DARK HORSE HEADQUARTERS - DAY.

A sizable building with big windows and the Dark Horse logo

placed right above an ostentatious door entrance. Staying a

couple of feet in front of it, Gabe contemplates the view.

He takes a deep breath and enters in the building.

INT. DARK HORSE LOBBY - CONTINUES.

A busy and well decorated lobby. Executives in suits come

and go from the elevators. Three receptionists using blue

tooth devices talk on the phone unstoppably, putting all

their calls on hold. Gabe, felling highly under dressed for

the situation, ambles towards one of the receptionists.

RECEPTIONIST

Good Morning, Dark Horse Comics,

how can I help you?

GABE

Hi, It’s my first--

The receptionist makes a sign for Gabe to wait a moment

because she is on the phone.

RECEPTIONIST

I’ll transfer you, have a good day.

Hello, welcome to Dark Horse

Comics, how can I help you?

(CONTINUED)

CONTINUED: 72.

GABE

Hey, my name is Gabe, it’s my first

day here at Dark Horse.

RECEPTIONIST

Oh, welcome! Is anyone expecting

you?

GABE

I think Mr. Frank Humbles is

expecting me.

RECEPTIONIST

I’m sorry sir, he is not in the

country, right now.

GABE

Excuse me?

The receptionist signs again, pointing that she is on the

phone with someone else.

RECEPTIONIST

Mr. Lee will be coming back from

his vacations next Monday. I’m

Sorry, who did you say it’s

expecting you, again?

GABE

Frank Humbles.

RECEPTIONIST

Ok.

She uses her computer keyboard to make the call.

RECEPTIONIST

Mr. Humbles? Hi, Mr. --

GABE

Robert. Gabriel Roberts.

RECEPTIONIST.

-- Mr. Gabriel Roberts is already

here sir. Yes, sir. You have to go

to the HR department and print your

ID card, sir.

Gabe keeps starring at the receptionist.

RECEPTIONIST.

Sir!

(CONTINUED)

CONTINUED: 73.

GABE

Yes?

RECEPTIONIST

You have to go to the Human

Resources department to print your

ID card. Third floor. After that

Mr. Humbles will be expecting you

at the tenth floor.

INT. DARK HORSE HALLWAY - LATER.

Already carrying his ID card around his neck, Gabe searches

for the right door. He reads the door signs: "MARK SHEPPERD

AND DAVID ORTIZ", "JOHN MORITZ AND ROBERT DUPRE", "EDWARD

FRANTI AND FOREST BEHRINGER". He finally finds the right

door: "FRANK HUMBLES AND ILLUSTRATOR". He knocks.

INT. FRANK HUMBLES’ OFFICE - CONTINUES.

A spacious and bright room divided in two work offices. In

one side, a large extravagant desk, surrounded by "Material

Man" merchandise products. Posters, toys, wall clocks. On

the side, a bookshelf with classics of literature, like

Maquiavel, Cervantes, Bukowski and Kafka. Seated on a tall

and comfortable chair is Frank Humbles, writing frenetically

on a wireless keyboard, while looking to a huge MAC monitor.

On the other side of the room there’s a simple chair and a

simple illustrator desk with and a pile of white paper over

it. Gabe opens the door and enters the room.

GABE

Hey, Frank. How you doing, man?

Gabe makes a move to greet Frank by shaking his hand, but

Frank interrupts him, without taking his eyes off the

monitor.

FRANK

That’s your table. You may sit.

I’ll be with you in a minute.

Gabe sits on his chair, trying to get comfortable, but the

seat is to too near to the ground. Gabe looks around,

analyzing the place. He attempts to spin the chair, but it

makes an awful loud squeaking sound. Frank stops writing.

FRANK

Please, don’t do that.

Frank goes back to his writing. Gabe tries to find something

in the room to start small talk.

(CONTINUED)

CONTINUED: 74.

GABE

So... a lot of books you have

there.

Frank keeps writing. Gabe notices something.

GABE

Hum... no comics?

Frank keeps writing.

FRANK

I don’t read comics.

GABE

You don’t read comics?

FRANK

I don’t really care about the

sequential art language. I’m a

storyteller. Unfortunately, my

stories are too big, visual and

expensive for other medias, so I’m

adapting my art to the comics

aesthetics while I wait for the

movies adaptations.

Gabe looks at Frank with incredulousness. Frank ends his

writing and stares at Gabe.

FRANK

Gabriel, right?

GABE

Yes, but you can call me--

FRANK

--So, a few ground rules. Material

Man is my masterpiece. I treat it

with all my respect and dedication.

And I expect that you do the same.

GABE

Off course, Frank. I totally

understand--

FRANK

--Not done. I also have a very

specific creation method. I’m not

interrupted when I’m describing

panels, scenarios and dialogues.

I’m meticulous in my descriptions,

so I demand perfection on every

single drawing.--

(CONTINUED)

CONTINUED: 75.

Frank’s voice starts fading while Gabe’s gets distracted.

FRANK

-- This is a collaboration project.

My responsibility is to conceive

all the elements that will bring

the story to life. Your

responsibility is to reproduce all

these elements into paper. Is that

clear?

Gabe is lost in his thoughts.

FRANK

Gabriel? Is that clear?!

GABE

Oh... Yes! Bright clear!

FRANK

Superb. Let’s begin.


An exhausted Gabe arrives at his apartment from his first

day at Dark Horse. He throws his bag and himself in the

couch and turns the TV on.


It’s late night. Gabe is sleeping in the couch with the TV

on in loud volume. Lea is in the room, shaking Gabe, trying

to wake him up.

LEA

Gabe! Gabe! Wake up! Go to bed!

Gabe rouses. He looks at her scared, struggling to situate

himself.

GABE

What time is it?!

LEA

A quarter past four. I just got

home from work. How was the first

day?

GABE

Hum... very... corporate.

(CONTINUED)

CONTINUED: 76.

LEA

Do you want to talk now?

GABE

Not really, no. I have to go wake

up in couple of hours.

LEA

Ok. We can have brunch this

weekend, what about that?

GABE

Sure. We’ll do that. Going to bed?

LEA

Ye, Good Night.

Lea goes to her room. Gabe rubs his eyes, stands up and

grabs his bag. He makes an attempt to go to his room but

stops when stares at his working desk. He shuffles through

the papers lying there. There’s unfinished panels, papers

fully written and drafts. He finds Jessa’s notebook. He

holds it for a second.

He seats in the chair and flips Jessa’s book. He has a small

smile of sentimentality on his face. Gabe holds an

unfinished panel, grabs a pencil and begins drawing on it.

INT. GABE’S APARTMENT - MORNING.

Gabe is still drawing on his desk, very concentrated. The

Spider Man Alarm Clock sound starts beeping from his room.

He jumps out of his chair and looks for Watchman clock in

the wall. It marks 07h30.

GABE

Shit!

Gabe runs to his room.

INT. DARK HORSE LOBBY - MORNING.

Gabe comes into the lobby in a hurry. He shows his ID card

to the receptionist.

RECEPTIONIST

Good morning, Mr. Robert.

Gabe nods at her with a smile. He sees the elevator door

closing.

(CONTINUED)

CONTINUED: 77.

GABE

Hold it, please!

He enters in the elevator breathless.

INT. FRANK HUMBLES’ OFFICE - LATER.

Gabe is already seated in his chair, drafting unstoppably

over a blank piece of paper. Frank is strolling in circles

around the room, looking through the window. He is dictating

at Gabe in a very theatrical way.

FRANK

A post-apocalyptic New York City!

Times Square is devastated. There’s

some Broadway shows’ panels like

The Phantom and Rent--

GABE

I think Rent is not on Broadway

anymore.

FRANK

-- still hanging by the cords. Cars

are abandoned throughout the 7th

Avenue and Broadway. The store

windows are all broken and the

walls are spray painted. There’s a

helicopter crashed on the Coca-Cola

sign.

GABE

A what?

Frank sights. He uses his hands to explain to Gabe.

FRANK

A-helicopter-crashed-on-the-Coca-Cola-sign.

Got it?

Gabe looks at the paper a bit confused.

GABE

Hum... ye. Keep going.

FRANK

On the center of the panel, a

silver ring lies on the ground, on

the bottom of the TKTS stairs.

(CONTINUED)

CONTINUED: 78.

GABE

Wait. You want all of this in one

panel?

FRANK

Absolutely.

GABE

I was doing a whole page on this.

Showing every detail in small

panels and them a big horizontal

one in the bottom with a panoramic

view. See?

Gabe grabs the paper and tries to show it to Frank. Frank is

looking to the other way.

FRANK

I don’t need to see your doodles,

Gabriel, because I already imagined

it in my mind. I know exactly what

I want to say in this panel and how

I want to show it. So, please,

again. A post-apocalyptic New York

City! Times Square is devastated.

There’s some Broadway shows’ panels

like the Phantom, Rent and Mamma

Mia--

Gabe crumbles the piece of paper and starts again.


A couple of weeks have passed. Seated in his desk, Gabe is

drawing "The Last Man in The Universe". He is using the long

beard style again. The watchman clock marks 09h12 p.m. Lea

walks in from the streets carrying shopping bags. She talks

on the phone.

LEA

(Into the phone)

Yes! 50% off! Can you believe it?!

I had to buy it, you know? This

kind of opportunity comes one in a

life time!

Lea notices Gabe’s presence in the room. She changes the

tone of voice, almost whispering in the phone.

LEA

(Into the phone)

(MORE)

(CONTINUED)

CONTINUED: 79.

LEA (cont’d)Look, I’ll call you later. Yes,

he’s here. Hum... ye, I think you

should. Ok, talk to you later. Bye.

GABE

Who was it?

LEA

(Lying)

Uh... mom! She said hi.

GABE

Are you sure it was not Jessa?

Lea goes to her room.

LEA (OS)

Why? Do you wanna talk to her?

GABE

Not really.

LEA (OS)

Too late, she’s on her way.

GABE

What?

Lea closes the door.



RING.

Gabe opens the door. He is wearing a nicer t-shirt, his

beard is shaved and his hair is still wet. Jessa is in the

other side of the door, holding a sad smile.

JESSA

Hey Gabe. Please don’t shut the

door on my face again.

GABE

I’m sorry for--

JESSA

It’s ok. I came here to get my

notebook.

(CONTINUED)

CONTINUED: 80.

GABE

Sure, come in.

Jessa comes in. Gabe walks to his desk. Jessa follows him.

JESSA

How’s been with the new job?

GABE

Hum... alright. It’s kind of weird

to adapt with a new partner but

it’s ok.

He grabs her notebook and hands to her. Their hands touch

each other. Awkwardness. Jessa notices the new pages Gabe

has been drawing.

JESSA

Wow! What is this?

Gabe tries to hide his drawings, but Jessa grabs some

papers.

JESSA

Gabe, these are great!

GABE

Uh, thanks.

JESSA

Seriously. Really good... wait. I

don’t remember writing this.

GABE

Ye, that’s some new stuff.

JESSA

Who’s writing for you?

GABE

No one, I’ve been writing by

myself--

JESSA

--You’ve been writing this?

Jessa starts reading it but Gabe keeps trying to take the

papers out of her hands.

JESSA

Gabe, stop! Let me read this!

(CONTINUED)

CONTINUED: 81.

GABE

It’s just bullshit!

JESSA

It’s not! Let me read it!

She steps back and Gabe gives up. He seats on the couch, a

bit ashamed. Jessa reads it attentively.

JESSA

This is going pretty well. You’re

almost ending it.

GABE

I’m kind of stuck in the last

chapter though. But there’s no

rush. Dark Horse will probably

publish it next year after I finish

"Material Man 2".

JESSA

What about Comic Con? You already

got accepted.

GABE

Why bother with that now? It’s too

much time, effort and money

spenthtt on possibilities, no

guarantees of a contract.

JESSA

Ye, but... did you sign anything

with Dark Horse to actually publish

The Last Man?

GABE

No, but...

JESSA

So why are you so confident?

GABE

Well, they told me I’ll be the

first on the list.

JESSA

I think you should have some

assurance before wasting the Comic

Con opportunity, I’m just saying.

82.

INT. DARK HORSE CANTEEN - DAY.

Nathaniel is serving himself with mashed potatoes in the

lunch line at the Dark Horse canteen. Gabe, holding his

tray, comes cutting the line to try to get behind Nathaniel.

GABE

Mr. Sharp! Mr. Sharp, excuse me!

NATHANIEL

Gabe, how you doing?

GABE

I’m good, Mr. Sharp. Can I have a

word with you?

NATHANIEL

Of course. And call me Nate,

please! We are friends! Do you want

some mashed potatoes?

GABE

Uh, Sure. Thanks Mr...Nate.

Nathaniel serves him a spoon of mashed potatoes.

NATHANIEL

So, how’s our new future best

seller going on?

GABE

Hum... it’s going pretty good, I

guess.

NATHANIEL

You’re probably amazed by Frank’s

imagination. He is unbelievable,

right?

GABE

He is truly... beyond belief. But

an, I actually I was willing to

talk to you about my other project,

"The Last Man in The Universe"--

NATHANIEL

Oh! Genius! A master piece! I was

totally mind blown when I read it!

GABE

About that. I was wondering when

during the next season do you

intend to publish it, because I can

(MORE)

(CONTINUED)

CONTINUED: 83.

GABE (cont’d)finish it by the end of this summer

and if you are interested, I can

bring all the pages by this fall.

NATHANIEL

Well Gabe, you see. The comics

industry is a very complex

business. We can’t just put your

project first in a line--

GABE

--Ye, but you said that--

NATHANIEL

--There’s has to be market planning

and research. Lots of research. We

have to do audience testing before

any new releasing. And there’s

always our prime comics titles like

Buffy, Conan, Star Wars, Aliens Vs.

Predators--

GABE

--I understand it, sir. I’m saying

that--

NATHANIEL

-- Besides, you have a lot of work

ahead of you, with Frank. Why don’t

worry about "Material Man 2" now

and we can talk about that next

year, hun?

GABE

Well, I--

NATHANIEL

Hey Jonas! Come here you son a

bitch! Where have you been? Excuse

me, Gabe.

Nathaniel, gets out of line with his tray and starts walking

with another executive. Gabe stays blocking the line,

starring to the figure of Nathaniel, vanishing in the middle

of a crowd of the suit men. People behind him shout out to

Gabe keep walking.

PERSON IN LINE #1

Move!

(CONTINUED)

CONTINUED: 84.

PERSON IN LINE #2

Come on, we don’t have all day!

JEREMY, A 31 years old short black guy using a stripped

shirt and a Yankees cap right behind him holds Gabe’s

shoulder and pushes him forward.

JEREMY

Yo, The suit is gone. Keep walking,

like Johnny Walker.

GABE

I’m sorry.

Gabe goes back serving himself at the buffet, frustrated on

his brief conversation with Nathaniel.

JEREMY

The suit promised you to publish

your book and now you’re stuck with

the worst piece of shit ever

written?

Gabe gets surprised by Jeremy’s question.

GABE

Yes! How do you know?!

JEREMY

The story of my life. Take a look

at all the losers behind me, homie.

We are all in the same line. The

line to get our ass--

PERSON IN LINE #2

MOVE!

GABE AND JEREMY

Sorry!

JEREMY

Who are you drawing for?

GABE

Frank Humbles.

JEREMY

Shiiit! You really are stuck with

the worst piece of shit ever

written, aren’t you?! For real,

they tried to pass me this gig a

couple of months ago, but I

preferred to keep on "Little Lulu"

(MORE)

(CONTINUED)

CONTINUED: 85.

JEREMY (cont’d)rather than have to face that

douche from 9 to 5.

GABE

They offered you my job?

JEREMY

They offered it to almost every

illustrator in this building. But

no one was disposed to work with

Humbles after what happened to

James.

GABE

James Bonnet? What happened to him?

Jeremy stops and so does Gabe.

JEREMY

James tried to kill himself.

GABE

He what?!

PERSON IN LINE #2

Come on! We’re hungry here!

Gabe and Jeremy leave the line and seat on one of the large

canteen tables. Jeremy is already devouring his food. Gabe

is in shock.

GABE

He tried to kill himself?

JEREMY

(With his mouth full)

That’s the rumor. They say that in

the final two weeks working on

"Material Man" it was so unbearable

for James to work with Humbles that

he attempted to kill himself by

jumping out of his rooftop.

GABE

Wow!

JEREMY

Ye, but the building was just a

three stories so the guy just broke

his legs.

(CONTINUED)

CONTINUED: 86.

GABE

And that’s why they hired me?

Jeremy moves his shoulders expressing "I don’t know".

GABE

But what about my story? They told

me they loved it.

JEREMY

You clearly never talked to agent

before, have you?

GABE

No, why?

Jeremy puts another big spoon of food into his mouth.

JEREMY

(With his mouth full)

Ten years ago I sent them a sample

of a fantasy graphic novel. It took

me two years to finish it. I signed

with them with the promise that my

book would be published as soon as

the priority books were released.

GABE

And then what happened?

JEREMY

Nive eleven, Bush administration,

Superbowl, recession, everything is

a reason to postponed your project

until you understand that every

book in here is a priority but

yours. When you realize that, is

already too late, because you

signed a long term contract with

exclusivity and you are stuck

drawing the stories of frigid eight

years fat girl who doesn’t know she

will probably end up becoming an

lesbian activist.

INT. JESSA’S APARTMENT HALLWAY - NIGHT.

Gabe knocks on Jessa’s door. He knocks again. She opens it

surprised.

(CONTINUED)

CONTINUED: 87.

JESSA.

Hey.

GABE

Hey, I need your help.

MONTAGE, BY THE SOUND OF "MY BEST FRIEND BY WEEZER.


Jessa and Gabe are back in the "The Last Man in The

Universe" project. They both look excited. Gabe is drawing a

panel, Jessa is behind him, nodding with approval.

INT. FRANK HUMBLE’S OFFICE - DAY.

Frank strolls in his room, looking trough the window and

being theatrical. Gabe looks tired, but still struggling to

keep on Frank’s pace. Gabe interrupts Frank with an idea.

Frank shakes his hand and head in disapproval.

INT. GABE’S KITCHEN - NIGHT.

Gabe is seated over the counter in the kitchen, Jessa is

seated in a stool. They are eating Chinese food on the box

and laughing. The door bell rings.

RING.

Gabe opens the the door and sees Jay with a puppy face,

holding a six pack of beer. Gabe smiles at him.


Gabe looks even more tired then before. He finishes a panel

and shows it to Frank. Frank doesn’t like it. Gabe takes a

deep breath, crumbles the paper and starts again.


The whole gang is reunited in Gabe’s living room. Gabe is

drawing on his table. Jessa writing on Matt’s desk, Lea and

Jay are drinking beer and watching TV.

INT. FRANK HUMLE’S OFFICE - DAY.

Gabe is drawing a panel of the "Material Man while Frank

observes nodding behind him.

Frank steps away, seats on his chair and starts writing on

his computer. Gabe discretely changes the "Material Man"

panel for a "The Last Man in The Universe" page and keeps

working on it.

(CONTINUED)

CONTINUED: 88.


Gabe, Jessa and Jay are behind their notebooks, coloring the

last "The Last Man in The Universe" pages. Lea is printing

the pages and pinning them in a large board they placed in

the wall with all the book pages.


A pile of crumble paper in the corner of the room. Gabe is

holding his head with left hand, while drawing with his

right hand. Frank is even more expressive and theatrical.

Gabe is drawing himself pointing a gun to his head. The gun

fires a flag written "Just kill me now".


Holding beers a grim smiles, Gabe, Lea, Jessa and Jay stare

a the complete board with all the book pages. They celebrate

by cheering and drinking.

Lea and Jay are seated on the couch, holding beers and

watching TV. Jessa is behind Gabe, who’s saving the final

file with "The Last Man in The Universe".

JESSA

That’s it.

Gabe turns his back to the computer and looks at Jessa.

GABE

(Smirking)

Ye, I guess so.

END OF MONTAGE.

INT. DARK HORSE CONFERENCE ROOM - DAY.

Gabe and Frank are seated next to each other in the

conference room. On the other side, behind all the framed

posters, are Nathaniel, Kim and an older executive.

NATHANIEL

So, my boys! How is our next big

hit going?!

FRANK

Absolutely fantastic, Nate. You

guys are gonna have your brains

exploded after Material Man 2 hits

you! I’m not obeying any rule or

law, this time. We’re doing

(MORE)

(CONTINUED)

CONTINUED: 89.

FRANK (cont’d)everything! Time travelings,

parallel universes, super powers,

alien invasions, death and

resurrection. Everything is

MASSIVE! I’m not kidding, this

story will change the history of

comics! Hell! It’s gonna change the

history of storytelling!

The executives get really impressed with Nate’s speech. They

look each other and at Gabe, giggling and applauding.

NATE

Uau! That’s biiig news! I love it!

Don’t we love it, Kim?

KIM

We adored it!

NATE

Yes, we do! And Gabe! GabO! My

friend! It’s been two months

already! Right? Time fly when

you’re having fun! How are you

adapting to this crazy industrial

corporate machine of comics

business?

Gabe opens his mouth, attempting the answer Nathaniel

question, but Frank interjects.

FRANK

He is doing just great! Amazingly

great! This one is a really hard

worker!

Frank messes with Gabe’s hair. Gabe gets annoyed by it.

NATHANIEL

Well, since it’s all good news, let

me bring another one! We were

scheduling "Material Man 2" to

release in Christmas but something

came up, a couple of titles got

canceled and now we have space

available to print and distribute

"Material Man 2" in the fall! Isn’t

it good news?!

KIM

Splendid.

(CONTINUED)

CONTINUED: 90.

FRANK

Well, it’s kind of a tight schedule

but... I’m pretty sure we can pull

it out. Right, Gabriel?

Gabe opens his mouth, but Frank doesn’t wait for reply.

FRANK

Ye, we can do it. Even if it take

us some of our weekends.

NATHANIEL

Actually, It will probably take all

of your weekends for the next two

months. We are just having this

meeting to check with you, boys. Do

you think you can give us full

commitment for the next weeks and

help us to advance the release

date? I know is something hard to

ask, but we’re talking about a

couple more millions depending on

the release date.

GABE

Since you’re asking, "Nate", I

already--

Frank strongly holds Gabe’s arm.

FRANK

-- You don’t worry, Nate. We’ll do

it! We’ll bring it!

INT. DARK HORSE HALLWAY - LATER.

Walking back to their office, Gabe and Frank walk side,

pretending to have a good relationship in front of the

executives. But when they get to the elevator, Gabe’s

expression changes from a fake happiness to rage.

INT. DARK HORSE ELEVATOR - CONTINUES.

Gabe and Frank walk in the elevator. There’s no one else.

Frank, without expressing any emotion and completely

ignoring Gabe’s presence, hits the button the the tenth

floor.

GABE

What the hell was that, Frank?! I

told you weeks ago I couldn’t do

(MORE)

(CONTINUED)

CONTINUED: 91.

GABE (cont’d)extra hours because of my other

project! You totally stabbed me in

the back in there!

FRANK

Don’t be dramatic Gabe. Save it for

comics.

GABE

I’m not being dramatic, Frank! I’m

just... pissed! I was supposed to

beat San Diego’s Comic Con next

weekend!

The elevator bell rings when they reach the tenth floor.

DING.

The elevator door opens.

FRANK

Comic Con? Come on. It’s time to

stop playing with toys and get

real. You’re an adult now.

Frank exits the elevator, leaving a speechless Gabe behind.


The living room is fully loaded with copies of "The Last Man

in The Universe", posters, promotional folders and open

paperboard boxes. Gabe, Lea, Jessa and Jay are packing the

books into the boxes to Comic Con. Next to the door, two

small suitcases.

JESSA

Can’t believe that after all the

trouble, you’re not going, Gabe.

GABE

No worries. Jay knows everything

about Comic Con. You won’t even

miss me.

JAY

Can’t believe I’m actually helping

you to sell out. I fell like a

bitch.

(CONTINUED)

CONTINUED: 92.

GABE

But it’s MY bitch. And I’m a very

thankful pimp.

LEA

Guys, hurry up. You’re gonna miss

the flight!

GABE

Ok, you two. Listen up. This is it.

You’re by yourselves now, but it’s

gonna be alright. Talk to as many

publishers you can, distribute all

the copies if it’s possible. You

need to come back with a contract,

or at least a couple of offers.

It’s a crucial moment in our lives,

depending all on you.

JAY

It sounds like a pleasure cruise.

JESSA

Oh my god, don’t be so dramatic.

It’s like your sending us to hell.

It’s just California!

INT. DARK HORSE LOBBY - MORNING.

It’s Saturday. The usual crowed lobby at Dark Horse is now

practically empty. Just one receptionist behind the counter,

reading a magazine.

INT. FRANK HUMBLES’ OFFICE - LATER.

In the office, it seems like a work day. Frank is still

circling the room and Gabe tries to concentrate in the

moment, although he is clearly wanting to be somewhere else.

FRANK

Captain Voronezh is threatening

Material Man to release five atomic

bombs simultaneously if our hero

doesn’t give him the Material

Silver Ring. You can draw a lot of

panels in this page to increase the

tension.

GABE

How many?

(CONTINUED)

CONTINUED: 93.

FRANK

A lot.

Gabe sights.

FRANK

So Material Man struggles with his

conscious, but he can’t find a

better solution. He takes out the

the ring and throws it to Captain

Voronezh. But before the villain

grabs it, the ring stops in the

air. Time stands still.

GABE

Wait, you’re freezing time, now?

FRANK

Yes.

GABE

How the hell am I supposed to draw

time freezing?

FRANK

Be creative, Gabriel. For once.

Gabriel sights again, this time more heavily.

FRANK

From behind Captain Voronezh,

appears another Material Man, a

Material Man from the future. He

blinks at the original Material

Man.

GABE

Now wait a second. That’s how

you’re going to resolve the

conflict? Bringing another Material

Man for the future? You can’t do

that! You can’t bring new elements

in the final act and make them the

answer to the main confrontation of

the story. It’s cheating!

FRANK

Gabriel, what have we talked about

you using your mouth and not your

hands inside this office, uh?

(CONTINUED)

CONTINUED: 94.

Gabe holds his hands over his face, rubs his eyes and tries

to control himself. He breaths deeply. Frank keeps talking,

but Gabe is not paying any attention. He looks to his opened

bag on the floor and sees a copy of "The Last Man in The

Universe". He smiles at it.

FRANK

Gabriel? Gabriel?! Are you with me,

here?

Gabe gazes Frank, then turns his eyes back to the book in

the bag.

GABE

No, I’m not.

Gabe drops the pencil on the table, stands up and grabs his

bag on the floor.

FRANK

What are you doing?

GABE

I have a plane to catch.

FRANK

You can’t leave now! We have to

finish my story!

GABE

Not today, we don’t.

Frank moves quickly and stands between Gabe and the exit

door.

FRANK

Listen to me, you prick! You’re not

leaving this office until you

finish drawing what I want you to

draw!

Gabe punches Frank in the face. Frank goes down.

GABE

Sorry man, but I think I just broke

my hand.

Gabe leaves the office.

95.

EXT. DARK HORSE HEADQUARTERS - LATER.

In a fast pace, Gabe walks away from Dark Horse. He closes

and opens repetitively his injured hand while he talk on the

phone.

GABE

(Into the phone)

Lea, it’s me. Can you buy me ticket

to San Diego? Yes, I’m going. Now.

I’m on my way to the airport.

INT. TAXI PASSENGER’S SEAT - DAY.

Gabe is apprehensive in the cab, ticking his mobile phone

display, waiting for a call. The phone RINGS the Superman

Theme song. The display shows a picture of Lea. Gabe picks

up the phone.

GABE

(Into phone)

So?

LEA

(Through phone)

Buying... right now.

INT. LEA’S BAR - CONTINUES.

Lea is seated in her bar’s counter. Holding the phone

between her head and shoulder, she uses a Mac Book to book

Gabe’s ticket. The place is empty. In the back, two hot

waitresses set up the tables.

LEA

(Into phone)

Ok, look. There’s a flight to San

Diego leaving from La Guardia in

one hour, can you make it?

INT. TAXI PASSENGER’S SEAT - CONTINUES.

Gabe looks to his watch. It’s marking 01:02h p.m.

GABE

(Into phone)

Hum... ye! I think so, buy it!

96.

EXT. LA GUARDIA AIRPORT - DAY.

Gabe steps off the cab, pays the taxi driver and runs into

the La Guardia Airport lobby. A couple of feet away from the

door, he stumbles over an old lady. An electronic board

hanging on the ceiling informs the time. 01:24h p.m. He

helps her to stir up and gets back on his track.

INT. LA GUARDIA AIRPORT - LATER.

Gabe waits impatiently in a long line to be attended to his

check-in. He looks at his watch. 01:40h p.m. The airport is

packed with tourists from all over the world. The loudness

disturbs him.

Gabe sees an OLD JAPANESE MAN, in a slow pace, carrying his

bag towards the CHECK-IN ATTENDANT. It takes forever just

for the old Japanese man makes his way from the line to the

counter. Gabe gets irritated.


Gabe is handing his ID to the check-in attendant. She types

on the computer. Behind her, a clock on the wall marks

01:52p.m. Gabe is tipping on the balcony with anxiety. The

attendant gives him the ticked.


Gabe runs towards the boarding gate. He presents his ticket

to an airline worker and enter on the plane.

INT. AIRPLANE - LATER.

Gabe is squeezed seated between an fat old man and an old

mid-age woman with glasses. He tries, without success, to

get comfortable in the tiny seat. The FLIGHT COMMANDER’S

voice manifests loudly.

FLIGHT COMMANDER (OS)

Good Afternoon, ladies and

gentleman, this is Captain O’Harris

speaking. We’re in the direct

flight New York to San Diego--

97.

INT. COMIC CON - LATER.

Jay and Jessa are seated in a humble and amateur stand of

"The Last Man in The Universe". The stand’s simplicity

contrasts with the magnitude and the visual impact of the

other stands around them. There’s one with a 15 feet giant

"The Hulk" model smashing a wall. On the other side, seven

models in golden bikinis distribute "Star Wars" water

bottles. Jay and Jessa look intimidated.

INT. AIRPLANE - LATER.

Gabe’s flight arrives at San Diego. No one seems as busy as

Gabe. He struggles to makes his way out of the plane.


Jessa is reading a Curve Magazine at the stand. Jay is

annoying one of the bikini girls on the "Star Wars" stand.

A MAN ON A SUIT stops in front of Jessa and grabs one of

"The Last Man in The Universe" copies. He flips the pages

and shows some interest.

MAN ON A SUIT

This is not bad. You drew this?

JESSA

No. I, I wrote. Part of it, at

least.

MAN ON A SUIT

Hum, too bad.

The man on a suit trows the book back on the desk and

leaves. Jessa sights.

EXT. SAN DIEGO AIRPORT - LATER.

Gabe is standing at the San Diego airport entrance, trying

to drive some taxi driver’s attention. He pulls over a cab,

but the old mid-age woman with glasses who was sitting

besides him on the airplane opens the door and gets into the

car first.

98.


While Jay is behind the desk, Jessa is standing in front of

the stand, distributing promotional folders. Using the same

strategy of the bikini girls, Jessa tries to flirt with all

the executive that pass through her. No one gives her

attention.

EXT. SAN DIEGO AIRPORT - LATER.

Gabe finally stops a cab in moment it’s starts to rain.

INT. TAXI - CONTINUES

Gabe is soaked, but inside the taxi. He opens his bag and

gets an old black Dark Vader t-shirt written "Who’s your

daddy?" on it. The Indian TAXI DRIVER notices the t-shirt.

TAXI DRIVER

Are you to be going to nerd thingy?

GABE

Yes, can you take me there as fast

as you can?

TAXI DRIVER

Ya.


Jessa rests her head over the desk. Jay is reading the Comic

Con Guide.

JAY

There’s a Kevin Smith panel at 5.

Do you mind if--

JESSA

YES! Yes, I do!

Jay drops the guide and sights.

INT. TAXI - LATER.

The taxi driver drives happily singing along with an Indian

song playing on the radio. Gabe tries to see trough the

window, but it’s pouring outside.

(CONTINUED)

CONTINUED: 99.

A loud screechy sound scared the both of them. The car loses

his balance and starts sliding between lanes. Gabe holds on

the driver’s seat.

TAXI DRIVER

BENCHOD! MATHERCHOD!

The taxi driver manages to maneuver and pulls the car over

by the side of the curb. They both stay mute, trying to

catch their breath.

INT. TAXI - LATER.

Gabe is dry again, using his Dark Vader t-shirt. The taxi

driver enters in the car, completely soaked.

TAXI DRIVER

The tire! Exploded!

GABE

The tire what?

The Taxi Driver does some mimic to explain the burst tire.

TAXI DRIVER

Boom!

GABE

You got a flat tire?

TAXI DRIVER

Ya!

GABE

(to himself)

Great.


A couple of young teenagers, using Deadpool t-shirts are

talking to Jay, asking him questions about "The Last Man in

The Universe".

YOUNG TEENAGER #1

So what is his super powers?

JAY

He doesn’t have any super power.

(CONTINUED)

CONTINUED: 100.

YOUNG TEENAGER #2

Is he like Batman?

JAY!

No, he is NOT like Batman. He’s a

tortured soul fighting not only for

his life, but for the whole human

existence.

The two young teenagers look each other, without actually

understanding Jay’s speech.

YOUNG TEENAGER #1

So... he’s like.. Material Man,

then?

Jay stands up.

JAY

ARE YOU FUCKING KIDDING ME?!

EXT. SAN DIEGO HIGHWAY - RAIN.

Gabe tries to get a ride on the highway. Gabe protects

himself from the rain by using his jacket over his head.

A vintage black van stops for Gabe. The front passengers

seat door opens for him. MANIS BRANNON, a 54 years old man

with gray hair and wearing a Dracula costume is seated on

the drivers seat.

MANIS

Nice t-shirt, boy. Heading to

Comic-Con?

GABE

Thanks. Yes! Are you going there?

Manis point to his vampire outfit.

MANIS

What do you think?


Jessa and Jay are alone in their stand, defeated.

JESSA

How long ’till it closes?

(CONTINUED)

CONTINUED: 101.

JAY

Two hours.

JESSA

Shit.

INT. MANIS’ VAN - LATER

Gabe dries himself in a black towel. He looks behind and

sees a large group of teenagers dressed as Twilight

characters. Only them he realizes he’s using a "Team Edward"

towel. All the teenagers looked depressed.

GABE

(to Manis)

What happen to them?

MANIS

What do you mean?

GABE

Why do they look so miserable?

MANIS

Oh! No no, they are just IN the

characters... I think.

(BEAT)

MANIS

I don’t really get this new vampire

thing.

A milestone on the road reads "Comic Con Pavilion - 1

mile.".

MANIS

So, what are your business at Comic

Con?

GABE

I’m an illustrator. I just finish

this book--

Gabe takes out a copy of his book and gives it to Manis.

GABE

-- And now I’ll try to sell it

there to some publishers,

investors, the suit guys, you know?

(CONTINUED)

CONTINUED: 102.

MANIS

Ye, I have an idea. Hum... "The

Last Man in The Universe". Seems

good!

GABE

Keep it. As a gift.

The Van enters in a parking lot with a big sign reading

"WELCOME TO SAN DIEGO’S COMIC CON".

EXT. COMIC CON PARKING LOT - LATER.

The van is parked between thousands of cars in a huge

parking lot. Gabe steps out of the car.

GABE

Thanks Mr...

MANIS

Dracula, Cont Dracula.

Gabe laughs.

GABE

Thanks Mr. Count Dracula.

MANIS

You’re welcome, boy. And good luck

with your book, I’m sure it’s gonna

be a hit.

Gabe runs in the rain towards the Comic Con Pavilion.


Gabe enters at Comic Con. He gets amazed by it’s enormity.

Huge boards, panels, signs and models inside and outside the

colorful stands from the biggest brands in the nerd

business. The comics industry is there with Marvel Comics,

DC Universe, Image Studios and Black Horse. Movies studios

like Universal, Warner and Fox also have their stand. The

video-game industry is also present with Nintendo, Capcom,

Sony and so many others. Thousands of people dressed in

costumes walk by, carrying gift bags and merchandising. It

takes some time for Gabe to get focused again and start

running towards "The Last Man in The Universe" stand.

103.


Jay sleeps over the desk while Jessa tries to defeat boredom

by throwing balls of paper at him. Jessa notices something.

JESSA

Jay. Jay, wake up!

JAY

(sleeping)

Huum...

JESSA

Jay! Wake up! I think that’s Gabe

coming there!

Gabe appears from the middle of crowd, running in slow

motion. Jay and Jessa stand up, both really excited. Gabe

struggles to make his way to the stand, pushing some Star

Trek fans away.

He finally makes it. Jessa and Jay hug Gabe and jump in

hapiness!

GABE

Wow! I never seen you guys so happy

to see me before!

JESSA

I can’t believe you’re here!

JAY

This is it! With Gabe here, nothing

can hold us down! This is it! This

is it!


Jay rest his head over the desk while Jessa throws balls of

paper at him. Gabe is seated next to her, looking defeated.

JAY

This is it.

The announcer’s voice pops out loudly from the pavilion

speakers.

ANNOUCER

Attention nerds of the world. We’re

closing the doors in two minutes.

Please make your way to the nearest

exit and have yourself a super day.

(CONTINUED)

CONTINUED: 104.

JESSA

That’s it, let’s pack it up.

Gabe shakes his head in disbelief.

GABE

All the trouble... for nothing.

MONTAGE, BY THE SOUND OF "IT ENDS TONIGHT" FROM THE

ALL-AMERICAN REJECTS.


Jessa, Jay and Gabe break the stand down and pack the books

and the posters in the boxes.

INT. TAXI - LATER.

The trio is carrying the boxes in their laps, completely

defeated. Gabe looks through the window and reads the sign.

"Thanks for coming to COMIC-CON. Have yourself a SUPER day".

Gabe sights.

INT. AIRPLANE - NIGHT.

Gabe is seated between Jessa and Jay. Jessa is already

sleeping. Gabe is looking forward, drawning in sadness. Jay

is drawing in his notebook. He shows his latest creation to

Gabe.

JAY

Loser Hero"! The super hero that

never saves the day.

Gabe ignores him.

INT. AIRPLANE - LATE NIGHT.

While Jessa and Jay sleep on Gabe’s shoulder, Gabe sees the

lights of New York through the airplane windown. He is

holding a copy of "The Last Man in Universe". He puts the

book back on his bag.

END OF MONTAGE

105.


Gabe enters his apartment carrying one of the boxes. Jessa

and Jay follow him, also holding a lot of stuff.

Lea is stading before them, with a grim on her face and the

ansering machine on her hands. The trio looked each other,

trying to understand the situation.

GABE

Lea?

JAY

Are you... high?

Lea clicks the "PLAY" buttom on the anwsering machine.

MANIS

(Through the anwsering

machine)

Hi Gabe, this is Manis, well, Count

Dracula for you.

Jessa and Jay look at Gabe with curiosity.

INT. MANIS BRANNON OFFICE - CONTINUES.

Manis Brannon is seated in his office. Manis is taking out

the Dracula make up. His fake fangs are over the table. On

the wall, posters of famous graphic novels like "100

Bullets", "Fables" and "Sandman".

MANIS

(Into phone)

I think I never got the chance to

tell you, but besides being the

Twilight gang driver, I’m also the

VP of Creator & Content Development

here at VERTIGO, a part of the DC

Enterteinment Group.

Manis is holding the "The Last Man in The Universe" copy

that Gabe gave to him.

MANIS

(Into phone)

And I just finish reading your "The

Last Man in The Universe. Boy, I

got to tell you, I think we have

something here.

106.


Gabe, Jessa, Jay and Lea are jumping, hugging and

celebrating. Jay is dancing weird without any music, Lea is

bringing some beers to celebrate. Jessa comes near Gabe, put

her arms around his neck and kisses him.

GABE

What.. what was that about?

JESSA

I think you deserved this one.

EXT. SUPERNOVA COMIC BOOK STORE - NIGHT.

A big line of young people in front of Supernova. A sign

hangs over the entrance reading "The Last Man in The

Universe Autograph Night".


The Supernova is packed with The Last Man fans. Most of them

are carrying their copy of the book, now published. Some of

them even wear The Last Man t-shirt. The place is decorated

with the book theme. There’s a big The Last Man poster

placed over an old Material Man one. Jay is surrounded by

nerd girls, who are very interested in Jay’s speech. Jay is

showing a drawing in a bigger and fancier notebook.

JAY

And this is The Animal Savage. He

has the ability to talk to animals.

But here’s the trick. The animals

don’t have the ability to talk

back.

The girls giggle and clap in amusement.

Dave from the Deli and Jeremy are having an enthusiastic

chat.

JEREMY

So this character is a rapper by

day and a vigilante by night. My

agent is trying to sell the rights

for an adaptation in the screen.

It’s gonna be the first brother

with a cape in the movies!

(CONTINUED)

CONTINUED: 107.

DAVE

I have one word for you...

(BEAT)

DAVE

Denzel.

In a corner, Lea, dressed as an executive, is giving an

interview for a local broadcast chanel.

LEA

Yes, we are already talking to

Warner Brothers about the movie

adaptation, but right now my client

is concentrated in another project.

Behind her, Margaret and Bob are proudly hugging each other,

starring at Lea. Margaret has tears on her eyes.

A long line, that comes from outside the store, ends at a

large desk, where Gabe and Jessa are seated behind. An empty

chair is placed beside Gabe. Gabe and Jessa are autographing

"The Last Man in The Universe".

Gabe autographs one of the covers. Under the book titles is

written "By Gabe Roberts, Jessa Spalding and Matthew

Vandersee".

A beautiful brunete girl wearing a "Preacher" t-shirt is

next in line. Her name is ALICIA, 24 years old. She gives

her copy of The Last Man to Gabe, waiting for his autograph.

ALICIA

Hey! Big fan!

Gabe grabs the book without looking at her.

GABE

Thanks! Do you want me to put your

name here?

ALICIA

Sure! It’s Alicia.

Her voice draws Gabe attention. He gazes her and gets

impressed by her looks. Gabe smiles at Alicia.

GABE

(Writing)

"A kiss to my most attractive fan,

Alicia. Love, Gabe."

Alicia giggles.

(CONTINUED)

CONTINUED: 108.

ALICIA

When are you gonna release the

sequel?

GABE

No sequels. They always suck.

Behind her, dozens of copies of "Material Man 2" are placed

at the SALE section. They both smile at each other again.

ALICIA

So what are you guys doing now,

then?

GABE

Well, we--

JESSA

(Interfeering)

--We are not doing anything. Gabe

is flying solo this time. He is

drawing AND writing the story of

this lesbian greek muse who combats

evil and prejudice in the sixth

century. And it’s based in someone

very special.

JESSA

(Sibling)

Like me.

Both girls giggles this time.

ALICIA

Wow! That sounds great! What about

you?

Alicia moves to her left to stay right in front of Jessa.

JESSA

I don’t have anything in

development yet. I think I’m still

waiting for my muse to come up.

Jessa touches Alicia’s hands on purpose when she goes to

grab Alicia’s copy of the book. They both stare each other

intensevely. Gabe stands in awe looking at then while he

moves his lips soundlessly.

GABE

What the F--

FADE OUT

109.

AN EXTRA SCENE, TO BY PRESENTED DURING THE CREDITS.


Frank Humbles is talking to an OLD MAN with glasses and a

vintage hat. Both are drinking champagne in plastic glasses.

FRANK

So after making my first million, I

decided that comics are too small

for me. That’s why from now on I’m

only writing screenplays. I

realized that comics are for

idiotic small minded kids. Look at

these superheros. Spider-man, Hulk,

X-Men! They are all so

bidimensional and so superficial.

No charisma whatsoever. There’s no

inner struggle. It’s all rubish. So

I’m gonna take my characters and

bring them to a whole new level of

reality and deepness. Totally

inovating the industry of

storytelling.

The old man takes a sip of his champagne.

FRANK

But let’s stop talking about this

big things. I don’t know if your

generation can actually understand

the magnitute that I’m talking

about here. What about you, what do

you do for living.

The old man takes out his hat.

OLD MAN.

I’m Stan Lee, you brat!

the last man in the universe

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