22.
He follows her towards the house. INT. COLONY HOUSE - AFTERNOON
Donna leads Boyd inside, revealing an interior that is equal parts ARTISTS' RETREAT and HOTHOUSE OPIUM DEN. The rundown rooms are spacious, thanks to the vaulted ceilings. A SCULPTOR sits in the corner, trying his best to work with shoddy materials. A YOUNG COUPLE fuck on the couch. Various granola types come and go, either ignoring or not noticing Boyd's presence. Donna yells at the young couple on the couch. DONNA Hey! What did I tell you two? Keep it in the bedroom. This isn't a goddamn cathouse. The Couple retreats from the room, mumbling their apologies, as Donna whispers to a MAN standing at the bottom of the stairs. He's dressed like a stoner but posted like a sentry. The Man nods, Donna turns back to Boyd. DONNA (CONT'D) Follow me. INT. ELLIS' STUDIO - MORNING We hear the SCRATCHING SOUNDS of charcoal on canvas. FATIMA HASSAN (19, Iranian), earthy, intelligent, a stunning natural beauty, stands before the third story window in the high-ceilinged, rundown room, nude except for a thin veil that hangs loose off her shoulders, bathed in the light of the morning sun. The scratching of the charcoal stops. Fatima turns. FATIMA Why did you stop? ELLIS STEVENS (21), a handsome philosopher with the shredded body of an underwear model is across the room, working at a beautiful and haunting charcoal sketch of Fatima. He's staring at her now in open adoration, ELLIS You're like a poem, you know that? You make everything around you beautiful. Even this place. The words are like a warm embrace. Her eyes move to the doorway behind Ellis and her face lights up.
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