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ABOUT THE AUTHOR
John Garvey earned a bachelor of science degree in filmmaking from infamously racist and homophobic Bob Jones University in South Carolina. He has made a lifelong study of filmmaking and filmmakers and has spent the last several years studying 3D graphics, working briefly on the computer-animation TV shows Max Steel and Dan Dare at Netter Digital and Free For All at Film Roman/Forum Visual Effects. Some areas of personal study for him include existentialism (Camus), astronomy and quantum physics (Sagan, Hawking, Ferris), genetics (Wills, Russell), fiction (Updike, Abu-Jaber), film noir (Silver, Chandler) and the contemporary L.A. crime novel (Connelly, Crais, Nava). He lives with his longtime companion in Los Angeles.
INT. 47 BRODY, ZEPH'S BEDROOM—NIGHT
Zeph is sitting at his computer watching Ella Raines in Phantom Lady. He looks up as Slim appears in the doorway. She is now wearing a clear-plastic raincoat and holding the CD in a paper sleeve in one hand and the camera in the other. Zeph is surprised by the addition of the raincoat. He clicks Pause.
Slim gives him a hooded look.
She indicates the CD. Zeph gives her a small smile, and she holds the camera out to him. He takes it, removes the USB cable, and begins to get ready to leave.
EXT. HOLLYWOOD BLVD—NIGHT
Slim guides the car to the curb in front of a wig shop displaying a closed sign, and Zeph opens the door. He steps out onto the wet sidewalk, slings his bag over a shoulder and retrieves the camera, which is already attached to a collapsed tripod. He smiles to Slim and closes the door. She pulls away, and he turns and studies the shop window and its rows of extreme wigs displayed on pale mannequin heads. The neon in the window glows through the rows of curls and tendrils and glints on the puddles scattered across the sidewalk. Zeph drifts back and forth in front of the window for a while before settling on an angle and setting up the tripod. He studies the image in the viewfinder and then adjusts the exposure settings, clicks the button at the end of the shutter cable and waits as the exposure is taken. After adjusting the settings and taking another exposure, he picks up the tripod and moves off down the wet sidewalk. He passes a homeless person sleeping in a doorway and considers taking a picture but then decides not to and walks on. At a corner he glances back over his shoulder. There are several people on the sidewalk behind him but none looks like someone tailing him. He steps down off the curb and crosses the street.
EXT. METRO STATION, VINE—NIGHT
A handful of people wait near the bus shelter at the Hollywood and Vine station. As Zeph crosses the plaza toward the escalators, he unscrews the camera from the tripod and slips it into a pocket. He collapses the tripod and stashes it in his bag and steps onto the down escalator.
INT. METRO STATION, VINE—NIGHT
At a ticket machine, he pushes a button, deposits coins and withdraws his ticket. He takes a couple of pictures as he passes through the long corridor decorated with an Old Hollywood motif and then walks down the steps to the platform. At the edge of the platform, he takes a picture of the tracks receding into the mouth of the tunnel and then turns quickly around to the dozen or so people waiting on the platform with him. One man looks down to his newspaper a little too quickly. He looks like he could have been one of Burkhart's bodyguards at the cemetery, but Zeph isn't sure. He studies the other people on the platform as he waits. When the train enters the station, it creates a strong breeze that picks up a few scattered pieces of litter. When the doors open, Zeph steps on.
INT. METRO STATION, HIGHLAND—NIGHT
Zeph rides the up escalator to street level. When he steps off, he crosses to the other side of the Metro entrance, turns around, leans against the wall and waits. After a long moment, the man with the newspaper steps off the escalator, glances blandly over to Zeph and walks out to the plaza. Zeph waits as a few other people step off the escalator and then walks unhurriedly out onto the plaza himself.
EXT. HOLLYWOOD & HIGHLAND—NIGHT
Zeph walks to the curb in front of the metro entrance and retrieves his tripod from the bag. When the camera is set up, he takes an exposure of Hollywood Boulevard looking east. Traffic is light as it moves below the neon on the Scientology building and the Guinness and Ripley museums. He turns the camera around and takes a shot looking west, with the glare of the El Capitan marquee bouncing across the wet street. He picks up the camera and walks down the sidewalk until he is across the street from the El Capitan and sets the tripod down. As he adjusts the camera, he glances around and spots the man with the newspaper. Zeph looks through the viewfinder and zooms in on individual details of the facade of the El Capitan. The busts and garlands gently glow in the incident light from the flaring marquee. After several exposures, Zeph pulls out his cell phone and clicks to answer. He speaks into it briefly and then disconnects. By the time the camera and tripod are back in his bag, Slim pulls the car over to the curb and Zeph gets in. After the car pulls away, the camera zeroes in on a battered fedora sitting incongruously in the stream of water flowing along the curb.
FADE TO BLACK
|Pilot: "The Allegheny Starlight"
Episode 02: "Femmes Fatales"
Episode 03: "The Death Valley Zephyr"
Episode 04: "The Sunset Local"
Episode 05: "Meteor Shower"
Episode 06: "The Woodlawn Starliner"
Episode 07: "Crossroads"
Episode 08: "The City of Electrons"
Episode 09: "The Musk of the Gardens of Allah"
Episode 10: "Under the Crescent Moon"
Episode 11: "Chameleon Night"
Episode 12: "Deep Focus"
Episode 13: "Shadow and Mist"