slashsmut jubilee girl serial beecher keller

It's the Quiet Ones You've Gotta Watch Out For

Part Five

by Jubilee Girl

Cut to: Int. LIBRARY - DAY
BOB REBADOW takes his time perusing the stacks of books on the tables and shelves, his bifocals perched on the end of his nose. As he's thumbing through a hardback book, BLARE sidles up to him.

BLARE (grinning)
Hey, Bob. Fancy meeting you, here.

Oh, hello, Aaron.

I was just returning my /Richard III/. I've already finished the book Toby leant me and I'm dying to find something else decent to read. Anything good in this stack?

There's some Poe in there… and Dickens.

Oh, great! Cheers.

BLARE lifts several books off of the top of the stack he's looking at and reads their spines. BLARE looks over at REBADOW a moment, then back down at his books… he looks up at REBADOW again and opens his mouth as if to say something, but decides not to - he goes back to examining books. By now, REBADOW's moved on to another stack a few paces down. BLARE follows him and leans in closely.

Bob, how long have you known Toby?

Two and a half years.

Would you say you know him pretty well? You guys have been friends for that long, right?

Yes. Tobias has been through a lot of things over these past two and a half years. So many painful things. And I've had to watch almost every single one of them. (long pause; then, softly:) You want to know about Tobias and how he got hurt…. don't you…?

BLARE (looks up)
Wh-what? How did you --?

God told me.


Yes. He used to speak to me all the time, but not so much these days. Only when it counts. So I guess I can forgive Him for that.

So, you know…?

Know what?

How Toby ended up in that wheelchair with his arms and legs broken. Did God tell you what happened?


Did He tell you who did it…?

Yes. (long pause) He also told me that you'd be coming to Oz.

BLARE (putting his hand on Rebadow's shoulder) Bob… please. Tell me who hurt Toby.

REBADOW (looks up and looks into Blare's eyes) You didn't mean to kill her… I know that much. But don't think that because it was an accident and you're feeling guilty that you should try to rescue someone that doesn't *want* to be rescued. Just leave it be, Aaron. Just *leave it be.*

BLARE (earnestly)
I *can't*. Please, Bob, just tell me.

Schillinger and Keller knew each other many years ago. Keller owed Schillinger a favor. Schillinger wanted to get back at Tobias for ruining his chances for parole. So, he called on Keller to redeem the favor he owed him.


Schillinger arranged it with Metzger to get Keller transferred to Emerald City… into Tobias' pod. Tobias was lonely. And gradually, he and Keller --

BLARE (holding up his hand)
No. You don't have to say any more. I get the picture. But… how did he end up in the wheelchair?

Schillinger arranged it so that Metzger would take Tobias to the gym for a workout… and he and Keller gave him a workout.

BLARE looks down at the books in his hands - fidgetting uncomfortably. He slams the books back on top of the stack angrily, braces himself against the table, lowers his head and sighs. REBADOW puts a comforting hand on his shoulder, patting it soothingly.

Cut to: Int. GYM - DAY

KELLER (VO - softly, reassuring:)
C'mon, baby... c'mon! You can do it...! C'mon!

Extreme Close-up: BEECHER's face - he strains and grunts, gritting his teeth.

BEECHER (gasping)
Ohh, god! I... I can't do it!

Yeah, you can! C'mon! Yeah, yeah - that's it...! Keep it up, keep going... oh, yeah! That's it! You're almost there... just a little bit further... yeah, like that... that's good...!

We hear the sound of metal colliding with metal.

BEECHER lets out a groan of long-held breath, all of the muscles in his face relax and his eyes close - he's covered with perspiration, his straw-colored hair is wringing wet.

The CAMERA jumps back a few feet and we can see BEECHER is sitting back on an angled weightlifting bench. The GYM is completely empty, except for BEECHER and KELLER. We also get a glimpse of what BEECHER's been doing. There's a barbell bar sitting nestled in its cradle behind his head - without any weights. KELLER stands behind BEECHER, spotting him - a towel draped over one shoulder. KELLER is helping his podmate with his painful, but necessary, rehabilitation.

BEECHER tilts his head way back and looks up at KELLER (seeing him upside down) and KELLER drops the towel over his face with a grin. KELLER leans on the barbell cradle and watches quietly as BEECHER takes the proffered towel with a grateful, satisfied sigh and wipes his face.

Dr. Nathan said '*light* weight-lifting, Chris.

Tobe... it's just the bar. The bar weighs fifty pounds. There ain't nothin' lighter than that in here.

BEECHER (dejectedly; looking down at his towel)
I know... but to me, it feels more like fifty-thousand pounds than fifty. My arms are still so fuckin' weak.

I know... (leans down and kisses Beecher's forehead) but you're doing so good so far, baby. I'm proud of you!

BEECHER (looking back up at Keller)

Yeah...! (smiles)

BEECHER tilts his head back even further - at what looks like an almost painful backwards angle - and smiles up at KELLER.


KELLER grins - he leans over the barbell bar. BEECHER lifts his head up a bit and their lips meet - although they're still upside down to each other - they kiss slowly and carefully.

The CAMERA slowly pans off to the side - going around and behind KELLER's back - and we see, hidden in the shadows, against the far wall of the GYM, an unknown INMATE watching the two men kiss ... he's been watching them the entire time.

SISTER PETE is digging into her desk drawer, looking for a file she's misplaced. A KNOCK sounds at her door.

Yeah? Come in!

BLARE sticks his head in the door.

Sister? You wanted to see me?

SISTER PETE (looks up)
Oh, Aaron! Yes, I did.

I'm not disturbing you, am I? Because if I am, I can come back-

SISTER PETE (smiling)
Oh, no, no! Don't be silly! What I'm doing can wait. Please, come in...!

BLARE steps in quietly, shutting the door behind him - he takes a seat in the chair in front of SISTER PETE's desk and folds his hands together in his lap.

What did you want to talk to me about...?

How are you, Aaron? Have you been sleeping any better since we talked last...?

BLARE (nods, smiling)
Oh, yes. Very much better, thank you.

That's good! A package arrived for you today!

Really? A package for me?

Yes, from England... here, let me just find it...

She lowers her head and begins looking under her desk.

BLARE (puzzled)
They sent it to you?

SISTER PETE (still searching)
Well, I guess whoever mailed it didn't know which unit you were in, so they just sent it care of Oz, hoping that it would get to you, eventually. Now, if only I could remember where I put the damn thing...!

BLARE chuckles. She looks up and spies the package - a box {long and wide, but not very deep} wrapped in plain brown wrapping paper - sitting on top of her filing cabinet.


SISTER PETE hops up from her desk and retrieves the box - she hands it over to BLARE with a smile. BLARE accepts the package and reads the postmark.

So, who is it from...?

BLARE (surprised)
It's from my sister...!

You have a sister, huh?

Yeah. Caroline. She's my older sister. She pretty much had to be a mother to me, since our mother died of cancer when I turned ten.

Oh, Aaron. I'm so sorry. I didn't know.

It's okay. (pause) Caroline helped me get through school for my PhD. She wanted me to come to America and make something of myself. I guess I have done, hmm? (grins ruefully)

So, are you going to open it? I can't imagine what could be in there...!

Well, let's see!

BLARE rips off the brown wrapping paper, pulls the tape off of the box, removes the lid, parts the tissue paper covering its contents and looks inside. He sets the box in his lap, sits back in his chair and chuckles to himself.

Ha… I knew there was a reason I loved her so much...

Why? What's in there?

BLARE holds up the box so SISTER PETE can see what's inside - there are several thick sketch pads tucked into the box, along with several boxes of charcoal sticks, pastels, watercolor kits, brushes and colored pencils.

I didn't know you were an artist! My goodness, Aaron - however did you find the time to do that *and* your work, too...?

Oh, I *made* time, Sister. Art is and always will be my first love. I enrolled in art school in England before I ever even considered being a psychologist. Caroline must have realized they wouldn't allow me to bring any personal posessions here with me to Oswald. She sent these knowing that I'd be longing to draw and paint again, but that I wouldn't have anything to draw or paint *with*...!

Well, I certainly won't keep you! Sounds like you're gonna be very busy for the next few days! So, go on - get going!

BLARE replaces the lid on top of the box, tucks it under his arm and stands up.

Oh! And Aaron --?


Make sure to hide those art supplies somewhere... I don't wanna hear about somebody getting shanked with a colored pencil!

BLARE (chuckling)
Okay. Will do. Was there anything else you wanted to talk to me about, Sister?

I'm sure it'll keep until next time, Aaron. Now, go on. Have fun! (smiles)

BLARE (excitedly)
Okay. Thank you, Sister!

BLARE hurries out of the office, shutting the door behind him, and SISTER PETE is left with an extremely befuddled, but pleased, smile on her face. She laughs to herself.

Cut to: Int. GLASS POD

Darwin's theory of evolution said that to keep the cycle of life going, there *has* to be a weaker species, in order to keep the stronger ones up where they are. Every creature, every species, *everybody* has gotta have something to prey on …

SCENE: Shot from the very 1st episode of Oz - BEECHER in a wrestling match with SIMON ADEBISI over his watch. The CAMERA will switch back and forth each time between HILL and the video screen as HILL speaks.

HILL (cont'd)
...feed on ..

SCENE: SCHILLINGER shoving pieces of paper into BEECHER's mouth, forcing him to eat them.

HILL (cont'd)

SCENE: SCHILLINGER kneels over BEECHER, lying face down on the bed, naked and writhing in pain - as SCHILLINGER carefully burns a swastika into BEECHER's right buttock.

SCENE: BEECHER lying naked and face down on the floor of his cell in AdSeg.

HILL (cont'd)

BEECHER's hand gropes blindly across the floor, finds his glasses and smashes them against the concrete, shattering them.

Cut back to: Close up - HILL in the glass pod
On the Video Screen behind HILL, shots of a lioness running down and attacking a gazelle, a python striking at and curling its body around a dying rat, and a Praying Mantis' slender claws reaching out and capturing a small insect are shown

Something smaller, something vulnerable, something *weak*. Otherwise, the whole fuckin' thing just collapses-

Close-up: HILL

The CAMERA jumps back a couple of feet

HILL: (echo)

Cut to: HILL - The CAMERA is now outside the pod in a WIDE SHOT - we see HILL sitting in his wheel chair, the Video Screen behind him and the clear Plexiglas pod that holds him.


Close up: HILL

You've always gotta have a predator and you've always gotta have a prey. It's been that way since the dawn of time and it ain't ever gonna change.

Cut away: HILL now looks up at the CAMERA (which is suspended over the pod).

"Only the *strong* survive", "survival of the *fittest*" … in Oz, that's all you do. All *anybody* does. All the moves you make between sunrise and sunset every day are fundamental to keeping your ass in one piece and keeping your life the way you like it.

CYRIL O'REILLY stands atop the pod with a bucket and a mop - he mops the top of the pod and slowly but surely the soap and water obscure the audiences' view of HILL until he can no longer be seen at all.

You kiss your boss' ass a little extra every day, hoping you get that big promotion or that raise you've been counting on comes through, so your wife and kiddies can have a White Christmas or so you and your wife can make that get-away to Jamaica like you've been talking about for so long. You might not wanna do it, but you don't have a choice! You're doing what you *have* to do … to survive. If you don't get little Johnny those $500 sneakers he wants, the bullies at school will kick his ass for being a geek. If you can't afford to get little Katie those braces for her teeth, the stuck up bitches at her school will make fun of her and she'll come home every day with tears in her eyes. You're giving them the sneakers and the braces to help them survive in the little world *they* live in - so the bullies and the stuck up bitches with the perfect teeth don't give them a hard time.

Cut back to: GLASS POD (normal shot/angle) On the video screen behind HILL, we see BLARE shoving SCHILLINGER up against the partition in the shower room.

INSIDE the pod, BLARE lays in the bottom bunk of a bunk bed, quietly reading a book - oblivious to the HILL, the Video Screen or what images are being shown on it. HILL has moved across from the bunkbed to the opposite corner.

They say looks can be deceiving… well, what if the predator only *looks* like a predator? That bully that beats up little Johnny? He could be just another one of those poor bastards that's being hunted … he's had enough and he's decided to fight back on his own terms. By turning in to one of *them* - by turning into a predator. Same goes for the prey. It's self-preservation... camouflage... a mask they can wear to keep the bad guys away, keep the pain away... keep everything away...

Close up: Video Screen - HILL's face finally appears

If it helps them get through their days and keep their asses in one piece, all the better for them… right?

As HILL speaks, the CAMERA slowly pulls back - revealing the pod to be empty once again.

Smash cut to: Int. GLASS POD - HILL is back inside once again.

Darwin had his theories, but E.L Doctorow had his own ... and they went something like this:

Extreme Close-up: HILL's mouth.

People… are… *animals*.

Cut back to: Int. Pod
The Video screen behind HILL burbles to life again ... various images from the last 2 seasons are flashed up on the screen.

The dumb ones are exploited by the smart ones ...

As HILL speaks, the Video Screen shows CYRIL O'REILLY at the moment of his arrest - hands held high over his head in the air, eyes darting around worriedly, like a helpless, scared child - as the police surround him.

...and the smart ones get fucked up the ass by their own cunning.

The Video Screen now shows a shot of a post-chemo RYAN O'REILLY in his pod, reaching out to embrace DR. NATHAN. She pushes him away roughly.

The small ones are tortured by the large ones ...

The Video Screen replays the scene where BEECHER gets a "makeover" from some of the homosexual inmates of Oz. It shows him walking up to the door of the pod he shared with SCHILLINGER - his face covered with garish makeup. SCHILLINGER and (now deceased buddy) SCOTT ROSS laugh hysterically while BEECHER stands quietly, somehow withstanding the gibes and humiliation.

....and the large ones destroy themselves with the force of their own momentum.

The Video Screen shows a crazed BEECHER throwing a chair through the window of his pod - glass goes flying everywhere - SCHILLINGER catches the worst of it.

Cut back to: the GLASS POD

Or somethin' like that… [grins.]

The sound of iron prison bars rolling and slamming shut can be heard - the screen goes BLACK.

Then suddenly, we see a brief replay of the scene between SCHILLINGER and BLARE in the shower room in blindingly bright, psychedelic colors. BLARE roughly kisses SCHILLINGER's cheek and lets SCHILLINGER slowly slip down the wall.

Cut to: Int. A HALLWAY in EmCity
BLARE walks down the hallway, heading back to EmCity after visiting SISTER PETE. The CAMERA follows along behind him as he walks... suddenly a pair of hands appear and give BLARE a hard shove.

BLARE stumbles and nearly drops his package, but recovers his balance quickly - he whips around and faces his attacker(s). VERN SCHILLINGER with two of his ARYAN BROTHER flanking him block the hallway, like living cholesterol in a concrete vein. SCHILLINGER walks up to BLARE, a smirk on his face.

Hey, fuckwad.

BLARE (squaring his jaw; annoyed)
What do you want, Vern...?

You thought you were being really cute in EmCity, didn'tcha? Making me look like a fool in front of everybody...

You do a perfectly good job of making yourself look like a fool on your own without *any* help from me, Vernon.

SCHILLINGER's ARYAN BROTHERS chuckles to themselves at BLARE's remark.

BLARE (out of the blue:)
Which hand do you write with, Vern?

SCHILLINGER (confused)

Which hand do you write with?

Right. Why the fuck do you care?

Well, y'see... I read palms.

SCHILLINGER (chuckles)
Oh, really?

SCHILLINGER's ARYAN BROTHERS laugh along with him.

Yeah! Want me to read yours and tell you what I can see in your future...?

SCHILLINGER (going along with it for a laugh)

Your left hand, then, if you please.

SCHILLINGER holds his righthand out to BLARE, which he takes. He stands at SCHILLINGER's left side, almost in front of him. BLARE turns SCHILLINGER's hand over so he can see his palm, tucking his box under his right arm.

Okay, now, this hand that you write with is known as your strong hand. The left hand holds the secrets of all of the gifts you received when you were born and the right hand is what you do with all of those gifts. From what I can see… you've got two children, yes?

BLARE tries to hold onto his box, but he's having trouble. He sighs impatiently, stops for a second and holds the box out to SCHILLINGER.

Would you hold this for me?

SCHILLINGER (distracted by the palm reading)
Uh, yeah... (takes the box and holds it in his left hand) Hey, yeah - I do have two kids. Two boys. How the hell did you know that?

BLARE (tracing the lines on Schillinger's palm)
And here's your heart line, here... ohh, but the end of it's curling down towards your palm. Not much of a romantic, are you?

SCHILLINGER (fidgetting a bit)
Well, I was married three times, so that should tell ya something, shouldn't it?

BLARE (nodding)
Well, it's no wonder - your head line is here, totally separate from your heart line - which means you don't let your emotions get in the way of doing what you feel is right.

SCHILLINGER nods. BLARE has pivoted himself again, so that he is pretty much standing in front of SCHILLINGER, with his back almost to him.

From what I can see, here, it looks like you've been through a lot of pain in your life. But it looks like you've got a lot more pain ahead of you in the future...

SCHILLINGER (brows furrowing)
Pain? What kinda pain?

BLARE (calmly)
This kind.

BLARE quickly puts his righthand into SCHILLINGER's, so that the back of his hand is flush with SCHILLINGER's palm - he laces his fingers together with SCHILLINGER's {so there's no way he can let go}, so that when BLARE curls his hand into a fist, SCHILLINGER's hand is curled around his.

BLARE turns, and before anyone has a chance to stop him, slams their fists into the wall, hard. We hear the bones in SCHILLINGER's hand crack and he lets out an involuntary yelp of pain - but BLARE bashes their fists into the wall again and again - his own hand going completely unharmed.

SCHILLINGER falls to his knees, cradling his injured hand and the two ARYAN BROTHERS move to attack BLARE.

BLARE quickly spins and crouches down behind SCHILLINGER, wrapping his right arm tightly around his neck, placing his hand firmly on his forehead. SCHILLINGER and the ARYAN BROTHERS all have this look of shocked wonder on their faces - how the hell did he do that so fast?

Don't! Or I swear to you I'll break his neck. He'll be dead before he hits the floor. Vern, tell them to move away...

SCHILLINGER (almost choking)
You heard what he said! *Do* it, for fuck's sake!

The two ARYAN BROTHERS obediently back away several feet.

Good. Now that we have some privacy, I want to have a little chat with you, Vernon.

Chat?! What the fuck are you talkin' about, man?

Well, this probably all comes as a great surprise to you, but I feel we need to press on if we're going to, if you'll pardon the pun, hit on all of the important points of the purpose of this little excercise. You fuck with Toby, I fuck with you.

SCHILLINGER (stammering anxiously)
Toby? Oh, Beecher! Wh-what do you mean? I never --!

BLARE (continuing, undeterred)
You break Toby's bones, I break yours. Does that sound fair to you?

Y-yeah. Yeah, whatever, man. Whatever! I'll do whatever the hell you want… just let me go, all right?

Well, good, because although the pain you're feeling right now is probably very nearly unbearable, it is *finite* in comparison to the purgatory you pushed Toby into. As soon as your right hand is healed, I'll break your left. Then, I'll start with your legs... and so on and so forth. You are going to repay Tobias Beecher for all of the pain and suffering you have put him through. Am I being understood, Vernon?

Y-yes. Yes!

And you will not tell anyone in EmCity of this little intervention, nor will you inform the correctional officers or the warden. You will tell *no one*. Is that clear?


Good, because if you do - next time, I won't just break your knuckles, Vernon. I'll snap your fucking spine like a twig and make sure you spend the remainder of your days in agony… in a wheelchair just like Toby's. You stay away from Toby. If I hear that you've been anywhere within even two hundred yards of him, I will make you so, so sorry… that much I can promise you.

SCHILLINGER yelps and struggles weakly for a moment, but BLARE holds him still. He leans down and whispers into his ear - his tone and demeanor suggesting he's whispering sexy innuendos.

You won't see me coming, Vern. There's nothing you can do to put an end to any of this. The tomes of your absolution will be writ with quills of broken bone dipped in your own blood. For once, *you* shall be the one to suffer. Suffer in fear. You'll never. see. me. coming.

SCHILLINGER (struggling a bit, Blare holds him still) Jesus fuckin' Christ, you're as crazy as Beecher!

BLARE (to the two Aryan Brothers:)
How does it feel? To see this man that you thought was once so powerful reduced to tears? He's an old, racist fool. There will never be room for a monster like him out in the world with civilized human beings. He is a *joke* and everything he stands for is a *joke*. He has no power over you. Never has, never will.

BLARE kisses SCHILLINGER's forehead lightly and releases him - SCHILLINGER falls flat on his face, sobbing, and his two ARYAN BROTHERS just stand there and watch him writhe in pain. BLARE grabs his box out of SCHILLINGER's good hand, dusts it off, turns on his heel and walks off down the hallway as if nothing ever happened.

Continued in Part 6

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