We Don't Eat | James Vincent McMorrow
Scene I - Wendy's birthday
Begins with Wendy alone in the piano room, plinking softly at the keys. The melody she picks out is a heavily simplified version of the song We Don't Eat by James Vincent McMorrow. As a figure enters the room, her hands jerk and she stops playing. The figure is revealed to be Lorelei, and when Wendy reveals the fact it is her eighteenth birthday, Lorelei sits down at the piano and the two women begin to speak properly with each other for the first time. Meanwhile, the studio version of We Don't Eat begins to play very softly in the background, and the girls' talk turns to the piano, and Wendy teaches Lorelei how to play the song.
Scene II - Friends
The intro to the song plays softly as Wendy sits on the windowsill of a huge bay window, sipping lemonade and reading a book, obviously pregnant. In a parallel to their first meeting, Lorelei stumbles across Wendy. The German girl is obviously still torn up from Rafael's death--dark circles, weight loss and messy hair. Wendy invites her to sit and the two begin to discuss loss. Wendy reveals her pregnancy to Lorelei, along with stories of Ben, and Sullivan. She and Lorelei begin to talk more seriously, of coping with the loss of their loved ones.
âI guess all we can do it hope it gets better.â
The song reaches a crescendo and Wendy reaches across the windowsill to pull Lorelei into a hug. The scene fades with the music.
So if in the future, I might need myself a saviour, I'll remember what was written on that wall.
Scene III - Wendy's death
After Wendy's death, we see Lorelei, stumbling out of her room, wrapping a cardigan around her thin frame. She's heard the screams and the cries, and she's terrified. Suddenly she's running, flying through the halls, and stops when she sees a streak of blood on the floor, her hand flying to her mouth. The song begins to play again. Slowly this time, almost as if in slow motion, Lorelei follows the blood splatters to the infirmary, and when she sees Arabella outside, she knows. The song reaches its crescendo as Lorelei bursts into the hospital, shouting and screaming and demanding to see her. The guards gently move Lorelei back into the corridor, where she sinks down next to Ari.
"She's--she's gone?"
"Yeah. She's gone."
If this is redemption, why do I bother at all. There's nothing to mention, and nothing has changed. Still, I'd rather be working at something, than praying for the rain. So I wander on, 'til someone else is saved.
