EXT. BEACH- NIGHT
Drew walks down the beach at a leisurely pace. He stops alongside Wayne, an attractive African-American in shorts and a leather jacket. Drew leans over to speak to him.
DREW I haven't seen you around here.
WAYNE You just haven't been looking.
DREW Would you like to see my cabana?
WAYNE (looking over his shoulder) I'm not supposed to.
Drew is holding out a banana, which Wayne now notices, then takes.
DREW Do you want to come to my cabana or not?
WAYNE I'm not supposed to. (He pockets the banana) But I can make an exception.
DREW Do you take American Express?
Wayne is still looking out behind him.
DREW Do you take American Express?
Wayne looks at him like he's crazy.
DREW I'm joking. Come on, let's go.
As they walk down the beach, Drew dials the satellite phone. He reads off a credit card number.
DREW I'd like a man, early forties, chestnut hair, spontaneous, who does couples.
(Repeats) Couples.
At the cabana by the big palm tree. And I really can't stress spontaneous enough.
He hangs up.
DREW
I'm Colin. My name is Colin Mochrie, have you 'got that? You are Wayne. You are to respond only to Wayne. Is that clear?
INT. DREW'S CABANA - NIGHT Wayne is in the bathtub, Drew is pouring in white milky bath oil.
DREW That's a very fine Chardonnay you're drinking.
Long pause, in which Wayne is luxuriating in the tub and Drew is casually touching his chest.
DREW I want you to clean your genitals.
Wayne reaches for a washcloth.
DREW No. From behind. Get on your knees.
Wayne shrugs.
DREW I want to watch. You have a very nice body.
There is a knock at the door. Drew stands up.
DREW Wayne, get out and dry off, choose a robe-not the Bijan and come and meet me and our guest in the living room for drinks.
Drew answers the door.
DREW You've arrived! How lovely, let me take your coat. I'm Colin. How good of you to come.
Ryan looks somewhat bewildered. Drew inspects his body and face.
DREW Not quite chestnut, are you? More light brown. I'm going to call you Ryan. I'm Colin Mochrie.
Drew escorts him into the living room and brings him a glass of wine. Wayne enters, sitting next to Ryan on the couch, and Drew sits across from them. There is a long silence.
DREW So, don't you want to know what I do?
The two men look at each other with uncomfortable smiles. Wayne shrugs.
WAYNE No.
RYAN (Smiling) No, not really.
Drew is visibly irritated, recrosses his legs.
DREW Well, I am on The Price is Right. On CBS. (Long pause) Have you heard of it?
Another long pause. They shake their heads. Wayne stands up and goes over to the CD collection.
WAYNE You have a really nice place here...Colin. How much did you pay for it?
DREW Actually, that's none of your business, Wayne, But I can assure you it certainly wasn't cheap.
Drew leaves to refill his wine glass and Ryan takes a pack of cigarettes out of his fanny pack. Drew returns, carrying a tray of chocolates.
DREW No, no smoking. Not in here.
He walks over to Wayne.
DREW Varda truffle?
Wayne stares at the plate and shakes his head. Ryan takes one.
DREW I don't want you to get drunk, but that's a very fine Chardonnay you're not drinking.
Drew goes over to his CDs and scans his vast collection. He takes one out and examines it.
DREW Do you like Phil Collins? I've been a big Genesis fan ever since the release of their 1980 album, Duke. Before that I really didn't understand any of their work. It was too artsy, too intellectual. It was on Duke where Phil Collins' presence became more apparent. He puts aside the CD and takes out another one.
DREW I think "Invisible Touch" is the group's undisputed masterpiece.
He puts on the song and gestures for them to follow him into the bedroom.
DREW It's an epic meditation on intangibility, at the same time it deepens and enriches the meaning of the preceding three albums. Wayne, take off the robe.
Drew puts out a lace teddy. He motions to Wayne to put it on.
DREW Listen to the brilliant ensemble playing of Banks, Collins and Rutherford. You can practically hear every nuance of every instrument. Ryan, remove your culottes.
Drew starts to undress.
DREW In terms of lyrical craftsmanship and sheer songwriting, this album hits a new peak of professionalism. Ryan, why don't you dance a little?
Ryan dances awkwardly. Wayne sits on the bed.
DREW Take the lyrics to "Land of Confusion." In this song, Phil Collins addresses the problem of abusive political authority.
Drew knots a silk scarf around Wayne's neck - rather menacingly - then helps him into some suede gloves.
DREW "In Too Deep" is the most moving pop song of the 1980s about monogamy and commitment. The song is extremely uplifting. Their lyrics are as positive and affirmative as anything I've heard in rock.
He turns on the video camera.
DREW Wayne, get down on your knees, so Ryan can see your asshole.
Drew looks through the viewfinder.
DREW Phill Collins solo efforts seem to be more commercial and therefore more satisfying in a narrower way, especially songs like "In the Air Tonight" and "Against All Odds." Ryan, don't just stare at it. Eat it.
He walks over to the sound system in his bedroom and slides in the CD.
DREW But I also think that Phill Collins works better within the confines of the group than as a solo artist-and I stress the word artist. This is "Sussudio," a great, great song, a personal favorite.
SEX MONTAGE CUT TO "Sussudio." We see this in WIDE SHOT, or through the LENS OF THE VIDEO CAMERA.
CUT TO: Drew asleep in his bed with Wayne and Ryan on either side of him. Ryan accidentally touches his wrist. Drew's eyes open.
DREW Don't touch the Rolex.
Drew gets up from his bed and goes over to his armoire.
He opens the drawer in which are a nail gun, a coat hanger, a rusty butter knife and a half-smoked cigar. He turns around to see Wayne and Ryan both starting to get up and get dressed. He takes the coat hanger.
DREW We're not through yet...
CUT TO:
Drew ushering them out the door impatiently. They are both sobbing, badly bruised and bleeding. Drew has a deep scratch on his hand and one on his shoulder. In the background Phil Collins' "In the Air Tonight" is playing.