DISCLAIMER: I don't own the characters and, especially, none of the songs. No infringement intended.

This is meant to be a series in several episodes. Each will begin with an intro meant to reflect the general tone of that particular episode.

The story is set in present day in the amazing prairies of Canada. One final word of warning: some of the dialogue is in Spanish, there is always a translation following so don't despair if you do not understand, just keep your eyes open and you will find the translation. The script formatting is slightly off but try not to hold that against me, most word processors don't allow for easy exact editing of scripts.

Enjoy!

EXT. PARK.

Start "Even if She Falls" by Blink 182. BENEDICT, CLAUDIO, JOHN.

JOHN

And she was like a starry night

Like a Ferris wheel, full of blue-green eyes

And a heart of steel, always on her own

Almost never real

CLAUDIO

When the night will begin

The pain it won't end, even if she falls in love

Back, you wanna turn back

Your heart will attack, even if she falls in love

BENEDICT

And she was, like a blade of ice

Like a lonely road, clearest day alive

Always sharp and cold, always beautiful

I am such a fool

ALL

When the night will begin

The pain it won't end, even if she falls in love

Back, you wanna turn back

Your heart will attack, even if she falls in love

Try to look in her eyes

The light is just right, even if she falls in love

And it isn't so bad

It's driving you mad, even if she falls in love

When the night will begin

The pain it won't end, even if she falls in love

Back, you wanna turn back

Your heart will attack, even if she falls in love

Try to look in her eyes

The light is just right, even if she falls in love

And it isn't so bad

It's driving you mad, even if she falls in love

Int. BENEDICT'S ROOM.

19 YEAR-OLD BEATRICE and BENEDICT sit on BENEDICT'S bed. They do not look happy at all.

BEATRICE

So you're leaving tomorrow then?

BENEDICT

I can't put it off any longer. I already waited an extra ten days to leave, I start training the day after tomorrow.

BEATRICE

Are we going to talk about what we're going to do?

BENEDICT

About what?

BEATRICE

About us.

BENEDICT

I'll come back and visit. I promise.

BEATRICE

And when you're not visiting? What then?

BENEDICT

What do you want me to say? What can I possibly say to make this situation better? Tell me and I'll say or do anything that you say.

BEATRICE

You could put some effort into it yourself. I'm not the only one involved.

BENEDICT

I know that but, I am leaving. The best I can do is come back for a visit when I can. Don't think that just because I'm not in tears I don't feel upset about this but that is reality and it is what has to be dealt with. No point in thinking otherwise.

BEATRICE

I'm leaving.

BENEDICT

(Shocked)

You're what? When?

BEATRICE

Leaving. In a few weeks. For school, since you asked.

BENEDICT

And you were, what? Not going to say anything?

BEATRICE stays silent. BENEDICT begins to lose patience.

BENEDICT (CONT)

You're not going to say anything? "Though care killed a cat, thou hast mettle enough to kill care".

BEATRICE

Don't you dare quote your grandma phrases at me.

BENEDICT

And the savage bull makes an appearance!

BEATRICE

The only bull will be the one to knock you off your high horse.

BENEDICT

It'll still be a shorter fall than the tumble you'll take.

BEATRICE

Well, at least I'm tumbling over you, not such a large obstacle as I thought at first.

BENEDICT

Well, you might as well get used to sticking close to the ground, I'm sorry if mingling with the lowly commoners affects you.

BEATRICE

Close to the ground is still a step above a slithering slug like you.

BENEDICT

This is not how this is supposed to go.

BEATRICE

Real life tends to be harsh. I'm sorry if it's too much for your delicate complexion.

BENEDICT

I wish you would stop.

BEATRICE

"If wishes were horses..."

BENEDICT

Have it your way: you want to be angry, be angry. You should go. I have to pack.

BEATRICE

You just can't wait to get me out the door, can you?

BENEDICT

Stop being irrational.

BEATRICE

Irrational?

BENEDICT

You are leaving, I am leaving. Is there anything else that we need to discuss?

BEATRICE remains silent.

BENEDICT (CONT)

If you don't want to say anything then there's no point in you being here, is there?

BEATRICE

You're right. There's nothing left to discuss. You really did turn out to be just an ass.

BENEDICT

Takes one to know one!

BEATRICE leaves. BENEDICT waits until she's gone before looking utterly dejected. BENEDICT kicks the bed before collapsing on it, both angry and upset.

EXT. STREET. CONTINUOUS.

BEATRICE is not so much walking as stomping down the block. She looks upset but the further she walks the angrier she becomes.

Start "Don't Stop Me Now" by Queen. Throughout BENEDICT and BEATRICE are both shown as the years begin to pass. They should cross paths several times but each time anger gets the better of them as they become the adults we saw at the beginning. By the end of the song the 11 years between their last civilized conversation and the opening have passed.

BEATRICE

(Singing throughout)

Tonight I'm gonna have myself a real good time

I feel alive and the world it's turning inside out Yeah!

I'm floating around in ecstasy

So don't stop me now don't stop me

'Cause I'm having a good time having a good time

BENEDICT

(Singing throughout)

I'm a shooting star leaping through the skies

Like a tiger defying the laws of gravity

I'm a racing car passing by like Lady Godiva

I'm gonna go go go

There's no stopping me

I'm burning through the sky yeah!

Two hundred degrees

That's why they call me Mister Fahrenheit

I'm trav'ling at the speed of light

I wanna make a supersonic man out of you

BOTH

Don't stop me now

I'm having such a good time

I'm having a ball

Don't stop me now

If you wanna have a good time

Just give me a call

Don't stop me now ('cause I'm having a good time)

Don't stop me now (yes I'm having a good time)

I don't want to stop at all... yeah!

BENEDICT

(Now an adult)

I'm a rocket ship on my way to Mars

On a collision course

I am a satellite I'm out of control

I am a sex machine ready to reload

Like an atom bomb about to

Oh oh oh oh oh explode

I'm burning through the sky Yeah!

Two hundred degrees

That's why they call me Mister Fahrenheit

I'm trav'ling at the speed of light

I wanna make a supersonic woman of you

BENEDICT (CONT)

(Spitefully)

Don't stop me

Don't stop me

Don't stop me

Don't stop me

Don't stop me

Don't stop me

Don't stop me

Don't stop me

Don't stop me

BEATRICE

(Now an adult. Spitefully)

Hey hey hey!

Ooh ooh ooh (I like it)

Have a good time, good time

Ooh ooh alright

BENEDICT

Ooh I'm burning through the sky yeah!

Two hundred degrees

That's why they call me Mister Fahrenheit

I'm trav'ling at the speed of light

I wanna make a supersonic man out of you

Don't stop me now

I'm having such a good time

I'm having a ball

Don't stop me now

If you wanna have a good time

Just give me a call

Don't stop me now ('cause I'm having a good time)

Don't stop me now (yes I'm having a good time)

I don't wanna stop at all

La la la la laaaa

La la la la

La la laa laa laa laaa

La la laa la la la la la laaa hey!...

EXT. FRONT OF HOTEL. 11 years later.

JOHN, CONRAD and BORACHIO stand around smoking. JOHN, as usual, looks angry. CONRAD and BORACHIO smile and giggle throughout, evidently smoking more than just tobacco.

JOHN

So, Hero and Claudio are together then?

BORACHIO

Inseparably so. But, I can help tear them apart.

JOHN

Any bar, any cross, any impediment would be like medicine to me. I hate him so much it makes me sick, and whatever trips him up makes me feel better. How can you tear this relationship to shreds?

BORACHIO

Not honestly, but so sneaky that no dishonesty would appear in me.

JOHN

Tell me how.

BORACHIO

I think I've told you how much I am "in the favour" of Margaret.

JOHN

I remember.

BORACHIO

I can, at any moment, day or night, call her and ask her up into Hero's room.

JOHN

How could that possibly end this relationship?

BORACHIO

The poison of that lies in you. Go to your brother; don't hesitate to tell him that his honour is "tainted" by setting up this relationship, especially due to Hero's "activities".

JOHN

What proof should I give him?

BORACHIO

Proof enough to make a fool out of your brother, to enrage Claudio and, maybe, kill Leonato. Is that enough for you?

JOHN

(Smiling)

More than plenty.

BORACHIO

Go, then; look for a time when Pedro and Claudio are alone. Tell them that you know that Hero loves me; remember to stress how important this is for both their reputations and that you only tell them out of love for them. They will not believe you without proof, offer it to them and it will be this: they will see me in Hero's room, will hear me call Margaret Hero. We will find the perfect time for this tonight, at the party. Make sure you convince them to come and thanks to what you have said and what they'll see they will believe it all and Claudio will leave Hero.

JOHN

Well, whatever becomes of this, I will put it in practice. Make a good show of this and your payment shall be...a thousand?

BORACHIO

Make sure you are convincing.

JOHN

I will go and find out their plans for tonight.

JOHN stubs out his cigarette and walks back inside the Hotel. BORACHIO and CONRAD watch him go. As BORACHIO turns back to CONRAD, they start laughing again. They stub out their cigarettes and start walking down the street, very pleased with themselves. They are reaching the corner when they pass PEDRO, CLAUDIO and BENEDICT, walking back to the hotel. BENEDICT looks rather subdued and deep in thought; he and his clothes look neat and trim. PEDRO and CLAUDIO are happily chatting.

PEDRO

I'll only stay for the party tonight, I am heading off tomorrow during the day.

CLAUDIO

I'll go with you, sir, if you like.

PEDRO

(Pretending not to notice BENEDICT'S silence)

No, that would be as terrible an idea as to show a kid his new toy and not let him play with it. You and Hero can have a few more days to decide what you want to do about your future. Don't worry, I won't be in bad company for I'm taking Benedict with me and he is, from the top of his head to the sole of his foot all joy.

Int. Hotel. Continuous.

They enter the Hotel. MARGARET hands them their room keys and as they start climbing the stairs, they run into BEATRICE.

PEDRO and CLAUDIO climb a few steps ahead before looking back and finding that BENEDICT is glued to the bottom of the stairs, staring up at BEATRICE. BEATRICE is also frozen in place as she sees BENEDICT. They take slow steps toward each other, clearly dazed and unsure of what to do. PEDRO and CLAUDIO smile at each other and at MARGARET, who is at the front desk watching the exchange.

Begin "Stutter" by Mariana's Trench. ALL singing throughout.

BENEDICT

I know

I never make this easy.

It's easier to disappear.

BEATRICE

You said,

Give me some,

A thing that I can go on.

Together, yeah anywhere but here.

ALL

Sing it back.

Oh-oh, Oh-oh, Oh-oh, Oh-oh

Hey yeah

Oh-oh, Oh-oh, Oh-oh-oh-oh

And I'm begging you,

Bring me back to life,

I just can't stand leaving you alone tonight.

It's too late to go,

Already taken me forever just to try to know.

One for the money, two for the show,

Three to get ready, and four to go.

For the life of me,

I don't know why it took me so long to see.

BEATRICE

I just

Stutter, Stutter, Stutter,

Di-di-di-di-di-did I?

Stutter, Stutter, Stutter,

Di-di-di-di-di-di-did I?

BENEDICT

Stutter, Stutter, Stutter,

Di-di-di-di-di-did I?

Stutter, Stutter, Stutter,

Di-di-di-di-di-di-did I?

BENEDICT

Sunshine

Blinds you if you stare but,

Now I see, yeah (crystal), crystal clear.

So here I am,

You can take or leave me.

But I won't ever be anywhere but here.

ALL

Sing it back.

Oh-oh, (yeah) Oh-oh, Oh-oh, Oh-oh

Sing it back to me.

Oh-oh, Oh-oh, Oh-oh-oh-oh

BEATRICE/BENEDICT

And I'm begging you,

Bring me back to life,

I just can't stand leaving you alone tonight.

It's too late to go,

Already taken me forever just to try to know.

One for the money, two for the show,

Three to get ready, and four to go.

For the life of me,

I don't know why it took me so long to see.

BEATRICE

I just

Stutter, Stutter, Stutter,

Di-di-di-di-di-did I?

Stutter, Stutter, Stutter,

Di-di-di-di-di-di-did I?

BENEDICT

Stutter, Stutter, Stutter,

Di-di-di-di-di-did I?

Stutter, Stutter, Stutter,

Di-di-di-di-di-di-did I?

MARGARET/PEDRO/CLAUDIO/HERO

Oh, na na na,

BEATRICE

Stutter.

MARGARET/PEDRO/CLAUDIO/HERO

Oh, na na na,

BEATRICE

Did I?

MARGARET/PEDRO/CLAUDIO/HERO

Oh, na na na, (Yeah)

Oh, na na na,

BENEDICT

Di-di-di-di-did I?

MARGARET/PEDRO/CLAUDIO/HERO

Oh, na na na,

BEATRICE

Di-di-di-di-did I?

MARGARET/PEDRO/CLAUDIO/HERO

Oh, na na na,

BENEDICT

Di-di-di-di

MARGARET/PEDRO/CLAUDIO/HERO

Oh, na na na,

BEATRICE

Di-di-di-di

MARGARET/PEDRO/CLAUDIO/HERO

Oh, na na na,

BENEDICT

Di-di-di-di-

MARGARET/PEDRO/CLAUDIO/HERO

Oh, na na na,

BEATRICE

Di-di-di-di-did I?

BEATRICE/BENEDICT

Oh-oh, Oh-oh, Oh-oh, Oh-oh

And you been singing,

Oh-oh, Oh-oh, Oh-oh-oh-oh

Hey,

ALL

Bring me back to life,

I just can't stand leaving you alone tonight.

It's too late to go,

Already taken me forever just to try to know.

One for the money, two for the show,

Three to get ready, and four to go.

For the life of me,

I don't know why it took me so long to see.

BEATRICE/BENEDICT

I just

Stutter, Stutter, Stutter,

Di-di-di-di-di-did I?

Stutter, Stutter, Stutter,

Di-di-di-di-di-di-did I?

Stutter, Stutter, Stutter,

Di-di-di-di-di-did I?

Stutter, Stutter, Stutter,

Di-di-di-di-di-di-did I?

Dance ends and they all find themselves at the party. BENEDICT, PEDRO and CLAUDIO go to one in the opposite corner of BEATRICE, HERO and MARGARET. LEONATO, JOHN, BORACHIO and CONRAD come into the room. LEONATO joins PEDRO&CO. JOHN&CO get a drink from the bar. As LEONATO approaches the table with PEDRO&CO dialogue is not clear, BENEDICT is the first to be clearly heard.

BENEDICT

(Working up courage to confess his feelings)

Gentlemen, I am not as I have been.

LEONATO

I agree, you look sadder.

CLAUDIO

I hope he's in love.

PEDRO

Hang it! There's not a drop of blood in him that can be touched with love: if he is sad, he wants money.

BENEDICT

(Hesitating)

I...have...a toothache.

PEDRO

What! You've been sighing over a toothache for weeks?

BENEDICT

Well, everyone can master a grief but he that has it.

CLAUDIO

I still think he's in love. If he's not in love then there is no believing in old signs: he cleans himself up nicely.

PEDRO

Has anyone seen him at the barber's?

CLAUDIO

No, but the barber has been seen with him.

LEONATO

That's true, and he looks younger than he did, all trim and neat like that.

PEDRO

Well, and he also sprays himself, could you not smell him from the parking lot?

CLAUDIO

That's as much as to say, he is in love.

PEDRO

The biggest proof of this is how quiet he is.

CLAUDIO

And when was he prone to washing his face?

PEDRO

Indeed, that's a tell-tale sign for him: conclude, he is in love.

CLAUDIO

Oh, but I know who loves him.

PEDRO

I bet you it's one that doesn't know him.

CLAUDIO

Yes, or his terrible habits and despite all: she dies for him.

BENEDICT

(Annoyed)

This does not help with the toothache. Leonato, would you come with me, I have a few words to speak with you which these hobby-horses must not hear.

BENEDICT and LEONATO leave the room.

PEDRO

On my life, it'll be about Beatrice.

CLAUDIO

For sure. Hero and Meg played out their part with Beatrice and they've noticed a change in her over these past few weeks as well. Hopefully, the two bears will not bite each other when they meet again.

JOHN approaches PEDRO and CLAUDIO.

JOHN

Brother, hello.

PEDRO

(Making an effort to not be cold)

John.

JOHN

If you have a moment, I'd like to speak to you.

PEDRO

In private?

JOHN

If you want but Claudio can stay, what I have to say concerns him.

PEDRO

What's the matter?

JOHN

(To CLAUDIO)

Do you still intend to go after Hero?

PEDRO

You know he does.

JOHN

I don't know that, not after he knows what I know.

CLAUDIO

(Suddenly angry)

If there's something wrong then tell us about it.

JOHN

You might think that I don't love you, but after what I'll tell you I hope you change your mind. I am only doing this out of love and respect for you...the both of you.

PEDRO

Why, what's the matter?

JOHN

I came here to speak to you about something important and it's already taken me long enough to get to the point so I'll just make it: the girl is unfaithful.

CLAUDIO

Who, Hero?

JOHN

Even she; Leonato's Hero, your Hero..

(laughing suggestively )

everybody's Hero.

CLAUDIO

Unfaithful?

JOHN

The word is too good for her; I could say she is worse: think you of a worse title, and I will fit her to it.

CLAUDIO grabs him by the collar.

JOHN (CONT)

Don't just take my word for it, come with me tonight and I will show you proof enough. If you truly love her, stay with her, but it would be better for your reputation to be rid of her.

CLAUDIO

(Releasing JOHN when PEDRO comes between them)

Could this be true?

PEDRO

I will not think it.

CLAUDIO

If I see anything tonight I'll make sure she pays for it.

PEDRO

And since I helped you get her, I will help with what I can.

JOHN

I'll say nothing else of her, be patient for a few more hours, and then you shall see proof for yourselves.

As JOHN settles in between PEDRO and CLAUDIO, PEDRO follows him closely, clearly not trusting him completely. JOHN manages his best apologetic and supportive smile and looks down at the table. CLAUDIO fumes and begins twisting and tearing at a napkin, very angry and oblivious to JOHN and PEDRO. PEDRO takes a deep breath, straightens up and looks down into his drink.

Int. car. Day. 10 YEARS EARLIER.

As he looks up again we see he is now about 25 years old and is sitting in the driver's side of a car. The MAN from "Caraluna" is sitting in the passenger's seat. PEDRO, looking nervous, pulls up to his parent's house. As he approaches, a nineteen year old JOHN sits on the front door steps. He looks bitter, but his expression turns to pure anger as he realizes who is in the car. As PEDRO parks the car, JOHN looks down, takes a deep breath, and by the time he looks up, he is smiling and, apparently, all traces of anger are gone. In the car, PEDRO takes a deep breath of his own, the MAN sitting in the passenger's seat looks at him.

MAN

Nervous?

PEDRO

A little more than that.

MAN

(Pointing at JOHN)

Is that your brother?

PEDRO

Yes.

MAN

He looks bitter, and angry. The way you talk about him, I expected a little puppy.

PEDRO

He has his moments but he is my brother, and always will be.

MAN

Is he nicer than he looks?

PEDRO

No, he's really not.

MAN

What about your parents?

PEDRO

If you don't want to be here, you are free to go.

MAN

Don't get all defensive. I just want to know how much of what you told me is true.

PEDRO

You think I lied to you?

MAN

I think you might have of exaggerated a little.

PEDRO rolls his eyes and gets out of the car. He approaches JOHN, who is still attempting to smile at him. By the time PEDRO reaches him, JOHN has given up and goes back to looking sullen and serious.

PEDRO

How have you been?

JOHN

(Looking behind PEDRO into the car.)

Is that him? You know this is not going to end well.

PEDRO

I know that but, I can't keep hiding half my life. I refuse to; at least, I would like to try not to have to.

JOHN

(Bitter)

Well, it works out for you anyway. You get to leave at the end of the day, don't you?

PEDRO

Will you ever get over that? I didn't abandon you here, you know. You are free to leave, whenever you want. If it's so terrible, why don't you?

JOHN

Where would I go? Back to you? Follow you into the RCMP, wouldn't that be lovely?

PEDRO

You could do so much more-

JOHN

Save it! It's time to grow up, and no I could not do more, and I won't.

JOHN walks away, making a point of running into the MAN, who has now gotten out of the car. PEDRO watches his brother go, looking more angry than concerned. PEDRO is joined by the MAN, and they turn and walk into the house. Outside, JOHN is making his way toward the pasture were there are several cows out. Once he reaches it, he stops. Almost as soon as he does he hears a noise and turns to find his FATHER, fixing a gap in the fence. JOHN comes near his father, who is startled by him.

FATHER

Juan! Que me quieres matar o que?

(John! Do you want to give me a heart attack or what?)

JOHN

Perdon. Te ayudo?

(Sorry. Need help?)

FATHER

Si. Detenle ahi.

(Yeah. Hold that.)

JOHN holds up a board as his FATHER hammers it back in place. When his FATHER is done, he straightens up and claps JOHN on the shoulder, giving him a brief smile. JOHN looks down.

FATHER (CONT)

Y ya llego tu hermano?

(Is your brother here?)

JOHN

(Looking up and putting on his best innocent smile.)

Si. Ya llego, con su amigo.

(Yeah. With his friend.)

FATHER

Cual amigo?

(What friend?)

JOHN

(Smile broadening, enjoying what he is about to do.)

El novio.

(His boyfriend.)

John's FATHER looks confused and shocked. JOHN only shrugs his shoulders and walks away. His FATHER looks livid, and stalks back to the house. He can be seen going into the house, after a few moments, he throws the MAN out the front door. All this is seen from afar and the words cannot be made out. PEDRO follows his FATHER out the door and tries to restrain him, getting punched in the face in the process. His FATHER stops after that, looking angry and embarrassed. PEDRO picks himself up, then gets into the car, along with the MAN and drives away. JOHN watches and, as he sees the car disappear in the distance, begins to laugh. After a few seconds, he turns and watches the cows, looking very satisfied.

INT. OFFICE. PRESENT DAY.

Inside an office space inside the RCMP headquarters of Messina. There is a meeting taking place, DOGBERRY and VERGES are standing and are circling two more men, OTECAKE and SEACOLE.

DOGBERRY

Are you good men and true?

VERGES

Yeah, otherwise it'll be a pity for they would face salvation, body and soul.

DOGBERRY

No, that would be a punishment too good for them if they have any loyalty in them because they have been chosen for the town watch.

SEACOLE and OTECAKE look delighted.

VERGES

Well, give them their duties, Dogberry.

DOGBERRY

First, who so you think is the most desertless man to be constable?

VERGES

Hugh Otecake, sir, or George Seacole; because they can write and read.

DOGBERRY

Come here, neighbour Seacole. God has blessed you with a good name: to be well named is the gift of fortune; but to write and read comes by nature.

SEACOLE

Both which,-

DOGBERRY

You have: I knew that would be your answer. Well, for your name, give God thanks and do not brag about it; as for your writing and reading, use it well when there is no need for such games. You are thought here to be the most senseless and fit man for the constable of the watch, therefore, you will hold the light.

Hands SEACOLE a flashlight.

Dogberry (cont)

Now, these are your duties: you will comprehend all vagrant men; and you can stop any man in the name of the Township.

SEACOLE

How if he won't stop?

DOGBERRY

Well then, never you mind him and let him go and call the rest of the watch together and thank God you are rid of a shady character.

SEACOLE and OTECAKES are confused.

VERGES

If he will not stop when he is asked, he is none of the town's citizens.

DOGBERRY

True, and you are to meddle with none but the town citizens. You shall also make no noise in the streets; for, for the watch to babble and to talk is most tolerable and not to be endured.

OTECAKE

We will rather sleep than talk: we know what belongs to a watch.

DOGBERRY

Why, you speak like an ancient and most quiet watchman; for I cannot see how sleeping should offend. You also need to go to the bar and get all the drunks to bed.

SEACOLE

How if they will not?

DOGBERRY

Why, then, leave them alone till they are sober: if they don't say any different by then, you just tell them they are not the men you thought they were. If you meet a thief, you may suspect he is not honest; and as for those kind of men, the less you mingle with them, the better for you.

OTECAKE

If we know someone is a thief, should we not like...uhm..take him?

DOGBERRY

Yes, because of your post you may but I believe that those who "touch pitch will be defiled": the best thing for you if you do meet a thief, is to let him show himself for what he is and steal out of your company.

VERGES

You have been always called a merciful man, partner.

DOGBERRY

Truly, I would not kick a dog, let alone accuse any man who has any honestly in him. This is the end of the charge. You two, are presenting the Inspector's own person: if you meet him in the night, you may stop him.

VERGES

No, I think they cannot.

DOGBERRY

A toonie to the one who is right, they may stop him: but not if the inspector is not willing; for, in truth, the watch should offend no man; and it is an offence to stop a man against his will.

VERGES

In that case, you are right.

DOGBERRY

Ha, ha, ha! Well then, good night: if there are any issues call me up. Good night.

OTECAKE

Well then, we know our duty: let's sit on a bench till two and then, to bed.

DOGBERRY

One word more, I beg you, watch over Leonato's door: the big event is there tomorrow and there is something going on there tonight. Good night: be vigitant, I beg of you.

SEACOLE and OTECAKE are shown the door. They exit, looking very excited at the prospect of their charge.

EXT. Street. Night. Continuous.

SEACOLE and OTECAKE amble down the street, with apparently no fixed direction. They walk a few blocks until they come to a bar. They stop when they hear noise inside. As they are about to enter to investigate, BORACHIO and CONRAD cut them off. SEACOLE is pushed back and trips over OTECAKE and they fall. As they help each other up, JOHN, PEDRO and CLAUDIO approach. SEACOLE and OTECAKE make plenty of room for them to pass, making quite the show of protocol. Both PEDRO and CLAUDIO look absolutely drunk and have trouble even entering the bar. JOHN helps them in, smiling the entire time. After a few seconds, SEACOLE and OTECAKE enter the bar.

Start "Kill the DJ" by Green Day.

Inside the bar, BEATRICE, MEG and HERO are off to the side. BEATRICE is sitting at the bar, nursing a drink and looking drunk. HERO and MEG are dancing, getting the other patrons to join them. BORACHIO and CONRAD have split, BORACHIO is beginning to follow MEG around the dance floor. A few people join the girls and it becomes hard to clearly make them out amongst the people. PEDRO and CLAUDIO hang back, close to the door and partially hidden by a half wall. None of the girls see them. JOHN gets some drinks and finds BORACHIO, nodding his way.

JOHN

(Quite pleased with himself)

Walking after dark

In the New York City park

Your thoughts are so unholy

In the holiest of holes

Onward Christian soldiers

Filled with jive and mind control

The blood left on the dance floor

Running running red

The bullet that you asked for

Killing you to death

Unless you

As the chorus starts, the scene changes to a more nondescript dance club setting with JOHN as the DJ. PEDRO and CLAUDIO remain on the outskirts, but still take part in the action. MEG, HERO and BEATRICE are front and center, surrounded by other dancers. JOHN controls their movements.

ALL

Someone kill the DJ

Shoot the fucking DJ

Someone kill the DJ

Shoot the fucking DJ

Someone kill the DJ

Shoot the fucking DJ

Voices in my head are saying

"Shoot that fucker down!"

JOHN points to BORACHIO, who starts dragging both MEG and HERO around the dance floor. CLAUDIO tries to come closer but is constantly cut off by a crowd.

JOHN

We are the vultures

The dirtiest kind

The culture wars in your heart and mind

Walking after dark

In the New York City park

I'll pick up what's left in the club

My pocket full of pills

Sodom and Gommorah

In the century of thrills

ALL

The blood left on the dance floor

Running running red

The bullet that you asked for

Killing you to death

Unless you

Someone kill the DJ

Shoot the fucking DJ

Someone kill the DJ

Shoot the fucking DJ

Someone kill the DJ

Shoot the fucking DJ

JOHN

Hold him underwater

'Till the motherfucker drowns

BORACHIO has tossed HERO out of the way, but CLAUDIO has not noticed. JOHN points to CLAUDIO and the crowd parts to let him through. BORACHIO takes MEG to a dark corner, where it's hard to see who she is. They start making out, as CLAUDIO tries to come closer, the crowd closes in on him once again.

JOHN

We are the vultures

The dirtiest kind

The culture wars in your heart and mind

Someone's gonna get you boy

Shoot that fucker down

Things between BORACHIO and MEG are escalating and CLAUDIO is more and more desperate to see what is going on. The crowd makes it impossible for CLAUDIO to pass.

JOHN (CONT)

Someone kill the DJ

Shoot the fucking DJ

Someone kill the DJ

Shoot the fucking DJ

(Walking after dark)

Someone kill the DJ

Shoot the fucking DJ

Someone kill the DJ

Shoot the fucking DJ

Someone kill the DJ

Shoot the fucking DJ

Voices in my head are saying

"Shoot that fucker down!"

The lights are cut.

EXT. BAR. NIGHT. CONTINUOUS.

PEDRO is dragging CLAUDIO out, practically carrying him, as he is hysterically shouting HERO's name. After a few moments JOHN walks out, looking extremely pleased with himself. He helps PEDRO restrain CLAUDIO. They drag him down the block. As the three are seen making their way down the block, OTECAKE and SEACOLE exit the bar, half carrying BEATRICE out. She keeps trying, and failing, to go back into the bar. OTECAKE and SEACOLE look after CLAUDIO, PEDRO and JOHN and seem confused. They finally shrug their shoulders and take BEATRICE in the opposite direction, presumably toward her uncle's house. As the street quiets down again, HERO wonders out, looking for her companions. She sees no one and turns in the opposite direction as BEATRICE. After another few moments, BORACHIO and MEG step outside. BORACHIO hands MEG a cigarette, which she takes, gladly. He lights it for her and walks away. MEG looks pleased, and walks in the direction BEATRICE took. Follow MEG for a few blocks, until she encounters SEACOLE and OTECAKE, coming back sans BEATRICE. They both look at MEG as if they recognize her, but she ignores them and keeps walking. Follow SEACOLE and OTECAKE as they head back, past the bar and go to the park.

EXT. PARK. Continuous.

Everything seems quiet, and SEACOLE and OTECAKE sit in the playhouse, so as to command the view of the park and houses nearby. Enter BORACHIO, stumbling and very drunk. CONRAD is walking quietly toward him from his left but BORACHIO does not see him.

BORACHIO

What Conrad!

SEACOLE

Keep quiet!

BORACHIO

Conrad, I say!

CONRAD

Here, man; I'm at your elbow.

BORACHIO

(Mocking)

And my elbow was itchy, I though a scab would soon follow.

CONRAD

(Rolling his eyes.)

I'll owe you an answer for that, in any case, tell me what happened.

BORACHIO

Come over here, I think it's starting to rain...and anyway, I will, like a true drunkard, tell you everything.

OTECAKE

Something's wrong here, let's keep quiet.

BORACHIO

So now know that I have earned of John one thousand...

CONRAD

(In disbelief)

Is it possible that any trick would be so important?

BORACHIO

It would be better if you asked if any trick should be so rich: because when rich baddies have need for poor ones, poor ones can name any price they want.

CONRAD

(Resentful)

I wonder at it.

BORACHIO

(Drunk throughout)

Well that just goes to show you how you are...unconfirmed. Anyway, you should know that tonight I have "wooed" Margaret, Hero's friend, by the name of Hero: she came to me and said a thousand things to me-but I tell this story wrong-I should first tell you how Pedro, Claudio and John, "planted, placed and possessed" by John himself, saw this friendly encounter from afar.

CONRAD

I know that...but they thought Margaret was Hero?

BORACHIO

Two of them did, Pedro and Claudio; but the devil John knew she was Margaret; and it was partly by what he had told them, which first took hold of them, partly by the darkness, which did trick then, but mostly by my trickery, which confirmed anything that John had said about Hero, that away goes Claudio, completely enraged. He swore he would meet her tomorrow as planned, shame her with what he saw this night, and send her home again without a man.

SEACOLE

(Jumping down from the playhouse.)

We charge you, in the Township's name, stand!

OTECAKE

(On radio)

Call up the constable. We have recovered the most dangerous piece of lechery that was ever known in the commonwealth.

CONRAD

(Stepping in front of BORACHIO)

Officers...

SEACOLE

(Excitement and confusion getting the better of him)

Don't speak: we charge you let us obey you to go with us.

CONRAD laughs and pushes SEACOLE down to the ground. SEACOLE looks hurt, but OTECAKE punches CONRAD in the face. CONRAD drops down from the force and shock. BORACHIO raises his hands in defeat but still makes a point to laugh at CONRAD, who is holding his nose. SEACOLE gets up and leads CONRAD away. They start walking back toward the station.

INT. LEONATO'S HOUSE. DAY.

It is mid afternoon, the sun coming in brightly from the window. In her bedroom, HERO and MARGARET, are trying on different outfits for the celebration taking place soon.

HERO

(Looking at a clock. Annoyed.)

My God, Meg, maybe we should go wake up Beatrice again. I want her help.

MARGARET

(Playfully defiant throughout. )

She'll be along soon enough. In the meantime, I think your other dress would be better.

HERO

(Nervous and snapping throughout.)

No, Meg, I'll wear this.

MARGARET

In truth, it's not so good; and I bet your cousin will say so.

HERO

My cousin's an idiot, and you are another: I'll wear none but this.

MARGARET

Well, I like that one well enough, I suppose, if your hair were a little browner; and your dress is such a...rare fashion.

HERO

God give me joy to wear it! Since it seems my heart is super heavy.

MARGARET

(Suggestively)

It'll be heavier soon with the weight of a man.

HERO

(Blushing furiously at MEG'S suggestion.)

Margaret! Have you no shame?

MARGARET

(Still toying with HERO)

Of what? Of saying the truth? Is not love honourable in a beggar? Is not your man honourable without love? I think you would have me speaking of husbands and wives but: if speaking badly lets out the truth then it can offend no one. Now, is there any harm in being the heavier with the weight of a man?

HERO hesitates, clearly trying to contradict MEG.

MARGARET (CONT)

None, I think, especially if it's the right man and the right woman; otherwise the love would be light and not heavy.

MEG becomes slightly more serious. HERO looks like she is about to ask about that when MEG puts on a beaming smile and looks to the door. BEATRICE is standing there, looking sick and exceedingly hung over.

MARGARET (CONT)

Let's ask Beatrice! Who is...here.

HERO

(Concerned for BEATRICE.)

Good morning, cousin.

BEATRICE

(Drained of energy throughout. )

Good morning, Hero.

HERO

What's wrong? Are you sick?

BEATRICE

I think I might have no other choice in the matter.

MARGARET

(Provoking BEATRICE, which works almost instantly. )

Your choice seems to be to clap into "Light of Love". Come! You sing it and I'll dance it.

BEATRICE

You would speak light of love, with your heels up in the air half the time.

MARGARET

Are you insinuating something? Are you suddenly very knowledgeable in the affairs of love?

BEATRICE

(Trying to change the subject. )

It's time you were ready, Hero. As for me, I am very sick.

MARGARET

For a hawk, a horse, or a husband?

BEATRICE

You are an ass, what do you mean?

MARGARET

Me? Nothing. Just that God sends everyone their heart's desire.

HERO

(Trying to stir the conversation elsewhere. )

Claudio sent me these

Holds up several trinkets

HERO(CONT)

One of them is an excellent perfume.

BEATRICE

I am stuffed up, cousin; I cannot smell.

MARGARET

A good young lady and stuffed! That's one way to catch a cold!

BEATRICE

Oh, God help me! God help me! how long have you had a working brain?

MARGARET

Even since you left it. Doesn't it look good on me?

BEATRICE

It is not seen enough, you should hide it in that hair of yours.

MARGARET

(Smiling knowingly)

Anyway...you should get some of this Cardus Benedictus and keep it close, it's the only thing for your illness.

HERO

(Whispering to MARGARET)

Meg! Now you're just teasing her!

BEATRICE

(Trying to hide the blush creeping up her cheeks. )

Benedictus! Why Benedictus? You have some secret meaning in this Benedictus.

MARGARET

Secret meaning! No; I meant, plain holy-thistle. I think, you think that I think that you are in love. Yet I am not such a fool to think or even believe that you will be in love or that you even can be in love. Still...Benedict, was another like you and now he's become more of a man: he swore he would never fall in love and now, despite it all, he eats his meat and does not complain about it. And even now, I look at you and I don't know how it would be possible to convert you but I believe you might just look like other women do!

BEATRICE

What is it with the speed of your tongue?

MARGARET

Well, it's not a false gallop.

She looks out the window and notices people starting to arrive. She notices CLAUDIO, PEDRO and JOHN arriving. CLAUDIO still looks drunk but the other two look deathly sober.

MARGARET (CONT)

Oh look! They're here! Claudio, Pedro, John...

HERO looks nervous and freezes on the spot. BEATRICE joins MARGARET at the window, trying-and failing- to look uninterested. After a few more people come in, BENEDICT stumbles in. He looks generally clean and tidy but is evidently hung over and attempting to not look like it. He stumbles to the stand with drinks and is about to reach for a drink when he thinks better of it and just grabs a water instead. MARGARET elbows BEATRICE, who rolls her eyes at her and quickly disappears to change. MARGARET takes HERO by the arm and leads her out of her room, laughing all the way.

EXT. LEONATO'S BACKYARD. CONTINUOUS.

LEONATO is greeting people coming in. DOGBERRY and VERGES come stumbling up the block. They stop and awkwardly salute LEONATO as they reach him. LEONATO will be in a hurry to leave them and go inside throughout.

LEONATO

Good afternoon, do you need something?

DOGBERRY

Yes, sir, I would have some confidence with you that decerns you nearly.

LEONATO

All right. Be quick about it, I am very busy.

DOGBERRY

Yes, this is it, sir.

VERGES

Yes, in truth it is, sir.

LEONATO

What is it?

DOGBERRY

Mr. Verges here, sir, speaks very little of what is important: an old man, sir, and his wits are not so much with him anymore; but in truth, he is as honest as the skin between his brows.

VERGES

Yes, I thank God I am as honest as any man living, at least an old man and not any more honest than me.

DOGBERRY

Comparisons are odorous, Verges.

LEONATO

You are tedious.

A few moments of silence go by, when it is obvious neither DOGBERRY nor VERGES understand what is going on.

LEONATO (CONT)

I would now know what you have to say.

VERGES

Oh right, sir, our watch tonight, without your worship's presence, have taken a pair of as dirty criminals as any in Messina.

DOGBERRY

(To LEONATO)

A good old man, sir; he will be talking: as they say, when the age is in, the wit is out: God help us!

(To VERGES)

Well said, Verges: now, God's a good man; and when two men ride a horse, one must ride behind. You are an honest man, in faith, but as honest as any one who ever broke bread; but God is to be worshipped, and all men are not made alike.

LEONATO

Indeed, he comes too short of you.

DOGBERRY

Gifts that God gives.

LEONATO

I have to go.

DOGBERRY

One word, sir: our watch, sir, did indeed comprehended two aspicious persons, and we would have them this morning questioned before your worship.

LEONATO

Take their examination yourself and bring it to me: I am now in a hurry, as it might be obvious to you.

DOGBERRY

It shall be suffigance.

LEONATO

Have something to drink before you go.

LEONATO disappears inside. VERGES is about to follow him when DOGBERRY grabs him by the collar and stops him. He turns VERGES around and pushes him away from the house.

DOGBERRY

Go get Francis Seacole; tell him to bring his pen and paper: we are now to examination these men.

VERGES starts heading off in one direction but DOGBERRY catches up to him and points him in a different direction. DOGBERRY heads in the opposite direction, only to turn around shortly and follow VERGES.

EXT. LEONATO'S BACKYARD. CONTINUOUS.

PEDRO, JOHN and CLAUDIO are standing in LEONATO'S GARDEN. The place has been decorated as if for a semi formal event. BENEDICT is standing by the shade of a tree, holding a bottle of water to his brow and looking pale and sick. CLAUDIO looks similarly pale but is also enraged. PEDRO looks serious and keeps stealing looks toward JOHN. JOHN is holding a water bottle of his own, looking serious but slightly pleased with himself. LEONATO waves at PEDRO enthusiastically but PEDRO does not return the greeting. LEONATO looks mildly upset but crosses paths with HERO, who is practically pushed out the door by MEG. HERO looks slightly embarrassed but laughs anyway. LEONATO guides her quietly toward CLAUDIO, who still looks bitter. Behind MEG, BEATRICE comes out. Looking sickly but making an effort. She haphazardly makes her way to the table with drinks and picks up a bottle of water. She turns to scan the crowd and sees BENEDICT. They both stare, looking more than a little dumbfounded and embarrassed. Eventually BENEDICT looks down and makes his way over to BEATRICE. As he approaches her, the scene begins to change to a deserted street from the previous night.

EXT. STREET. NIGHT. PREVIOUS NIGHT.

BENEDICT'S water bottle turns into an actual drink bottle and BEATRICE goes from standing shyly next to a table to being half slumped over SEACOLE and OTECAKE. BENEDICT, despite being fairly drunk himself, shakes off the two watchmen and tries to help BEATRICE out himself. She looks up at him and tries to step away forcefully from him. BENEDICT insists on hanging on, at which point BEATRICE becomes confrontational and very angry.

BEATRICE

Just...lemme go!

BENEDICT

(Letting go and watching her slump to the ground.)

I just...wanna...help.

BEATRICE

(Incensed)

You've helped enough over the years, thanks.

BENEDICT

What's that supposed to mean?

BEATRICE

It means you can just go. I don't...I just...

BENEDICT leans over and helps her up. He lets her go as soon as she catches her balance. He looks genuinely concerned for her.

BEATRICE (CONT)

Why are you being like this?

BENEDICT

Like what?

BEATRICE

Like this.

BENEDICT

You mean nice?

BEATRICE shakes her hand as if to say yes. She stumbles again and when BENEDICT moves to help her she flails him away. BENEDICT himself stumbles and when he turns back to BEATRICE he is obviously angry.

BENEDICT (CONT)

What is wrong with you? I am trying to help you get home! Why do you always have to be-

BEATRICE

A what?

BENEDICT takes a deep breath and tries to walk away. BEATRICE is beyond control and goes after him and grabs him and turns him around. BENEDICT is very obviously now angry.

BEATRICE (CONT)

A what?

BENEDICT

Fine, you want to do this?

BEATRICE

A what?

BENEDICT

A bitch!

BEATRICE

(Mocking)

Now was that so hard? I do have one question though.

She doesn't wait for BENEDICT to respond.

BEATRICE (CONT)

What game are you playing at lately? I've seen you all cleaned up and quiet. D'you think I can fall for a trick like that easily? What-What is it with you? Why do you...what? Just...torture me?

BENEDICT

Beatrice, you're drunk.

BEATRICE

So are you!

BENEDICT

I just thought-

BEATRICE

There's some news...you thinking-

BENEDICT

You know what? Forget it...

BEATRICE

That's right! Walk away! You're good at that.

BENEDICT

Are you sure you want to do this now?

BEATRICE

You started it.

BENEDICT

I'm only trying to help! You...you...

BEATRICE laughs and tries to walk away, BENEDICT grabs BEATRICE by the shoulders, hard so she won't move. He takes a deep breath and lets her go. BENEDICT takes a swig of his drink.

BENEDICT (CONT)

You really don't understn'd...I'm..trying?

BEATRICE

Was that a question?

BENEDICT

(Frustrated)

God above! You really don't realize what you're doin' to me?

Start "50 Ways to Say Goodbye" by Train.

BENEDICT

(Singing throughout)

My heart is paralyzed

My head was oversized

I'll take the high road like I should

You said it's meant to be

That it's not you, it's me

You're leaving now for my own good

That's cool, but if my friends ask where you are I'm gonna say

She went down in an airplane

Fried getting suntanned

Fell in a cement mixer full of quicksand

Help me, help me, I'm no good at goodbyes!

She met a shark under water

Fell and no one caught her

I returned everything I ever bought her

Help me, help me, I'm all out of lies

And ways to say you died

BEATRICE

(Singing throughout)

My pride still feels the sting

You were my everything

Some day I'll find a love like yours (a love like yours)

Acknowledging the awkwardness of the lyrics.

She'll think I'm Superman

Not super minivan

How could you leave on Yom Kippur?

(To BENEDICT)

That's cool, but if my friends ask where you are I'm gonna say

She was caught in a mudslide

Eaten by a lion

Got run over by a crappy purple Scion

Help me, help me, I'm no good at goodbyes!

She dried up in the desert

Drowned in a hot tub

Danced to death at an east side night club

Help me, help me, I'm all out of lies

And ways to say you died

BENEDICT

I wanna live a thousand lives with you

BEATRICE

I wanna be the one you're dying to love...

BOTH

But you don't want to

BENEDICT

That's cool, but if my friends ask where you are I'm gonna say

BEATRICE

That's cool, but if my friends ask where you are I'm gonna say

She went down in an airplane

BENEDICT

Fried getting suntanned

BEATRICE

Fell in a cement mixer full of quicksand

Help me, help me, I'm no good at goodbyes!

BENEDICT

She met a shark under water

BEATRICE

Fell and no one caught her

BENEDICT

I returned everything I ever bought her

Help me, help me, I'm all out of lies

BEATRICE

She was caught in a mudslide

BENEDICT

Eaten by a lion

BEATRICE

Got run over by a crappy purple Scion

Help me, help me, I'm no good at goodbyes!

BENEDICT

She dried up in the desert

BEATRICE

Drowned in a hot tub

BENEDICT

Danced to death at an east side night club

Help me, help me, I'm all out of lies

And ways to say you died

Music ends. By the end, BENEDICT and BEATRICE are back to standing in front of each other. They say nothing as they stare at one another. Eventually their drunkenness gets the better of them and they topple a little. BENEDICT smiles drunkenly and BEATRICE shakes her head but is more amused than anything else. BENEDICT puts his arm around BEATRICE and they start walking toward LEONATO'S HOUSE. It's only down the block and they manage to make it in one piece. When they reach the door, BEATRICE attempts to disentangle herself from BENEDICT but makes little progress as he playfully refuses to let her go. She laughs at first but after a few attempt she shoots him an annoyed look. BENEDICT takes a deep breath and lets her go, holding up his hands in defeat. BEATRICE smiles and puts her hand up to his cheek, after a second she slaps him playfully. She turns as best as she can and walks back inside. BENEDICT smiles to himself and starts walking back, taking a couple more slugs from his drink.

Follow BENEDICT as the scene begins to change around him. His drink becomes the water bottle once more and his drunken staggering becomes a hungover shuffle over to BEATRICE. As he reaches her there is an awkward moment were neither know how to react. BENEDICT eventually taps BEATRICE'S water bottle with his own. She barely reacts but attempts a weak smile as she obviously struggles with embarrassment and sickness. BENEDICT moves to take a hold of BEATRICE'S hand and say something when CLAUDIO's screaming makes them both turn toward a quickly escalating commotion.

CLAUDIO

No, Leonato! And what should I give you back in payment for this-

He points disdainfully at HERO. Who looks confused and on the verge of tears.

CLAUDIO (Cont)

... "rich gift"

PEDRO

Nothing, unless you give her back.

CLAUDIO

Sir, you show me well. There, Leonato-

He shoves HERO extremely hard toward LEONATO, who just barely catches her.

CLAUDIO (Cont)

take her back again. She is nothing more than the image of decency! Look how she blushes! Wouldn't you swear that she's an innocent by how she looks? But I swear to you, she is not! She knows all about deception and depravity! Her blushing is out of guilt, not innocence!

LEONATO

What do you mean?

CLAUDIO

Not to stand here, or anywhere else, with her anymore. Not to be associated with the town whore!

LEONATO

Claudio, please! If you two, after a few drinks, ever-

CLAUDIO

No, Leonato, I never even proposed anything of the sort! I was never anything but perfectly decent!

HERO

(Understandably mortified.)

And did I ever seem anything other than decent to you?

LEONATO

(Turning to PEDRO, who stands behind CLAUDIO, fully approving.)

Aren't you going to say something?

PEDRO

What would I say? I'm embarassed that I went around approving of the match between my friend and a common stale.

LEONATO

(Looking at HERO and becoming angry.)

This is a nightmare.

JOHN

(Attempting to sound sincere.)

Sir, this is no dream. All this is true.

CLAUDIO

(Glaring at HERO but addressing her father.)

Leonato, let me ask your daughter just one question: Hero, who was the man you were with at the bar last night?

HERO

I wasn't with any man last night.

PEDRO

(After CLAUDIO takes a step toward her, looking like he's about to punch her. PEDRO steps infront of CLAUDIO, but still looks threateningly at HERO.)

Leonato, I'm sorry you have to hear this but, on my honor, my brother, Claudio and myself saw her, even heard her last night at the bar. She was with a man and he has, very freely, shared the details of how they've met a thousand times in many other places before-

JOHN

(Pretending to be deeply disturbed by the idea of what his brother is suggesting.)

Come on, Pedro, you really shouldn't repeat what we were told. It would be an offence to the language.

Looks at HERO and smiles creepily.

JOHN (Cont)

I am sorry, young lady, for your...misgovernment.

PEDRO puts his hand on JOHN'S shoulder and he backs down. PEDRO, CLAUDIO and JOHN walk out, leaving the gate to the yard open.

HERO looks pale and like she's going to be sick. LEONATO looks shocked but as soon as he turns toward HERO he looks livid. LEONATO grabs HERO roughly by the arm and drags her toward the open gate. BEATRICE tries to get him to let go but he pushes her back. BENEDICT immediately steps in and holds LEONATO from behind. HERO struggles to get loose but LEONATO refuses to loosen his grip. BENEDICT manages to hold LEONATO tight enough that he let's go of HERO.

LEONATO turns and tries to punch BENEDICT. BENEDICT steps back just in time. HERO, in the meantime, has gone from looking shocked, to determined as she catches a glimpse of CLAUDIO and PEDRO at the end of the park in front of LEONATO'S HOUSE. As LEONATO begins to move toward her again, BENEDICT once again holds him back. HERO begins to run to catch up to CLAUDIO and as she steps off the curb a pickup runs into her, having no time to stop. BEATRICE screams and runs to HERO, who is unconscious.

BENEDICT lets go of LEONATO and runs to help BEATRICE. LEONATO sinks down were he stands. Across the park, CLAUDIO turns when he hears the screeching of breaks. He makes a move to go back but JOHN holds him back and shakes his head no. PEDRO steps up to help his brother drag CLAUDIO away, who begins to struggle to try and run back.

Pan back to HERO lying on the pavement, still unconscious. BEATRICE is holding her head carefully as BENEDICT is calling for an ambulance. LEONATO has stood up and walked over, looking numbly down at his daughter and niece. In the distance an AMBULANCE can be heard.

Start "Give me Novacaine" by Green Day.

As the first beats of the song start, the ambulance arrives and two PARAMEDICS get out. Everything slows down and all audio except for the song is unheard. BEATRICE stands to the side, blood on her hands. BENEDICT stands next to her protectively. The PARAMEDICS lift HERO on to a stretcher and as we follow it we see that HERO is now standing to the side looking on in total shock.

HERO

(Singing throughout.)

Take away the sensation inside

Bittersweet migraine in my head

HERO opens her eyes and now she stands in the far corner in the ER. Her UNCONSCIOUS SELF rolls past her, followed by BEATRICE and BENEDICT, who are stopped at the door by a nurse.

It's like a throbbing toothache of the mind

I can't take this feeling anymore

DOCTOR

(Singing)

Drain the pressure from the swelling,

HERO

(Singing. As she looks down at herself in shock.)

This sensation's overwhelming,

Give me a long kiss goodnight

And everything will be alright

Tell me that I won't feel a thing

So give me Novacaine

Change to a ROOM IN THE HOSPITAL.

UNCONSCIOUS HERO is lying in a bed. BENEDICT, BEATRICE and LEONATO stand around her looking shocked. Obviously some time has passed since they have all changed clothes. HERO is standing behind them, now looking more curious and stealing glances at BEATRICE.

HERO

Out of body and out of mind

Kiss the demons out of my dreams

I get the funny feeling and that's alright

Jimmy says it's better than here,

I'll tell you why

Drain the pressure from the swelling,

This sensation's overwhelming,

Give me a long kiss goodnight

And everything will be alright

Tell me that I won't feel a thing

So give me Novacaine

BENEDICT, BEATRICE and LEONATO leave the room. Things speed up and several days go by. We can see BENEDICT and BEATRICE come and go several times and LEONATO sitting in a chair by the bed on a few occasions. HERO begins to look bored and walks around poking at the equipment. The occasional NURSE and DOCTOR come through but no one notices HERO.

When the last of the CHORUS begins, UNCONSCIOUS HERO begins to twitch as does HERO in the corner. As the song ends, HERO opens her eyes, looking confused. HERO is alone in the room.

HERO

Drain the pressure from the swelling,

This sensation's overwhelming,

Give me a long kiss goodnight

And everything will be alright

Tell me Jimmy I won't feel a thing

So give me Novacaine

Fade Out.