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Post by Movie Lord Productions on Nov 26, 2008 0:14:53 GMT -5
A MORAL AROMA
FADE IN:
EXT. DESERTED ROAD – NIGHT
The road is vacant and completely dark before headlights emerge over a hill.
They slowly approach until we can see they belong to a rundown pickup. It ZOOMS by noisily.
INT. PICKUP – NIGHT
From behind the wheel we see the bumpy dirt road as the headlights pierce through the fog.
CLOSE on the radio as a hand turns the knob to a random station.
RADIO D.J.
Now we’re gonna’ go backwards in time, 1967 to be exact. Here’s a little Doors for ya’.
“The End” by The Doors plays softly.
EXT. PARKING LOT – NIGHT
The pickup pulls into the empty lot, stopping abruptly in front of a small brick gate.
A man exits the truck and walks toward the rear. His face remains hidden as he rummages through the bed of his truck, looking for SOMETHING.
MAN
Damn it...
CUT TO:
EXT. UNKNOWN PLACE – NIGHT
Feet trot through damp dirt and grass. He comes to a stop.
BEAT.
A shovel slams hard into the ground as the man begins to dig.
PAN UP to reveal the man is standing in front of a small cement headstone. It is too dark to make out the inscription.
The sound of worn BRAKES comes from a close distance. The man looks across the cemetery to see a car parked next to his.
He quickly walks a few feet away, shovel in hand. He kneels behind a tree and waits.
BEAT.
COLE LABONTE, a tall black man, approaches from the darkness. He cautiously walks toward the partially dug grave, being careful to not make too much noise.
He bends down and begins rummaging through the man’s small bag.
WHACK!
A shovel SMASHES against the back of LaBonte’s head. He falls forward, completely unconscious. The man’s boots are seen next to LaBonte’s motionless face.
The man places a neatly folded piece of paper into LaBonte’s breast pocket.
DISSOLVE TO:
The man stands inside of the large freshly dug hole in the ground. He continues digging until the shovel hits a barricade.
He kneels down and wipes the dirt away with his hands to see a wooden casket. He stands up and reaches over the top of the ledge and grabs a small shoulder bag.
The man takes a seat on top of the coffin. He opens his bag and pulls out two wine glasses and places them atop the coffin lid. He goes back to his bag and pulls out a rose and a bottle of red wine.
He places his hand softly on the coffin.
MAN
God I miss you.
The face of GEORGE, late forties with a medium-build, is now revealed. He is slightly balding and his face is riddled with lines of age.
He sighs as he pours wine into both glasses.
GEORGE (cont.)
I know how much you loved this wine.
He picks up the rose and deeply inhales the aroma. An uneasy smile creeps onto his face and fades into a somber frown.
GEORGE (cont.)
This rose brings back the fondest memories of you.
He moves the rose to arms length and closely examines it as he spins it with his thumb and forefinger. He releases it as it lightly falls to the coffin.
George picks up his glass of wine and brings it to his mouth. ZOOM OUT as he drinks complacently.
FADE OUT.
INT. BEDROOM – MORNING
Over a BLACK SCREEN a woman moans passionately.
SUZANNE
Yes! Yes!
CLOSE on SUZANNE’s face as she bites her lip in ecstasy.
ZOOM OUT as George and Suzanne’s heated sex comes to a climatic end. George wearily rolls off of her.
SUZANNE ECKERSON is a middle-aged brunette who, probably a real-catch in her earlier years, now has a more mature and aged attractiveness. She reaches to a bedside table and grabs a cigarette and lights it up, exhaling loudly.
She rolls over slightly, resting her head on his chest.
SUZANNE
I like the sound of your heart beating.
BEAT.
GEORGE
(not paying attention)
Huh?
SUZANNE
I said I like listening to your heartbeat.
She watches him, awaiting a response.
Nothing.
SUZANNE
George?
BEAT.
SUZANNE (cont.)
George?!?
He quickly snaps back to reality.
GEORGE
What? I’m sorry.
SUZANNE
Where are you?
GEORGE
I’m here...with you.
Suzanne laughs softly.
SUZANNE
No. Where ARE you?
GEORGE
I don’t know. I’m just really confused is all.
He reaches down on the floor and grabs his BOXERS, sliding them up to his waist. He walks over to the large picture window and slides the curtain open.
Light now fills the room, illuminating everything in it’s path.
Suzanne enters the bathroom completely nude.
BEAT.
She reenters the room wearing a white cloth robe. She approaches George from behind and wraps her arms around him tightly.
SUZANNE
I’m torn as well.
GEORGE
I don’t know if it’s right for me to be here.
SUZANNE
I don’t know if it is either, but it feels right.
George spins around so they are face-to-face. He smiles and plants a soft kiss on her forehead.
GEORGE
It feels right to me too.
George enters the bathroom and turns on the sink.
INTERCUT BETWEEN BATHROOM AND BEDROOM
Suzanne sits down casually on the bed and flips open her LAPTOP computer.
George squeezes toothpaste onto his toothbrush.
We see each person’s reaction as the other person talks O.S.
SUZANNE (O.S.)
So I was thinking –
She clicks away on the mouse.
GEORGE (O.S.)
(cutting her off)
You were thinking what?
George softly brushes his teeth as he stares into the mirror.
SUZANNE (O.S.)
I was thinking that we could drive up north and spend a weekend in Maine.
Suzanne reaches over to the bedside table and gets a cigarette.
GEORGE (O.S.)
Maine? Why Maine?
He spits into the sink and makes a sour-face.
SUZANNE (O.S.)
Have you ever even been to Maine? Beautiful weather, lovely scenery. Lighthouses and the best lobster you can find!
George stares at himself in a disgusted manner.
GEORGE
(to himself)
I hate lobster.
SUZANNE (O.S.)
What?
GEORGE
Sounds good!
As George reenters the bedroom Suzanne quickly shuts the laptop.
SUZANNE
You hate lobster?
GEORGE
Yeah, you know that.
SUZANNE
I don’t know anything about you.
George takes a seat on the bed next to her.
GEORGE
Well, what do you wanna’ know?
SUZANNE
Anything. Where are you from?
GEORGE
Hannah, North Carolina.
SUZANNE
Never heard of it.
GEORGE
It’s a small town.
SUZANNE
How long did you live there?
GEORGE
(changing the subject)
So does Maine have anything other than lobster?
SUZANNE
Of course. Besides it’d be a good chance for us to get away from everything for a while.
Awkward BEAT.
SUZANNE
It’ll be good for ya’. Who knows, maybe you’ll actually smile a little bit.
He smiles shyly.
GEORGE
I smile.
SUZANNE
I think you’ll be happy there.
He shrugs, disinterested.
SUZANNE (cont.)
Are you happy?
BEAT.
The telephone RINGS, startling them both. She lies back and stretches for the receiver.
SUZANNE
Hello? Yes, I’ll accept.
She puts the phone against her chest. They exchange knowing looks and George nods slightly.
He quickly gives her a peck on the cheek, grabs his bag and heads out the apartment door.
She sighs and returns the phone to her ear.
SUZANNE
Hi honey.
INT. COLLEGE DORM - DAY
NICOLE, in her early twenties, blonde girl next door type, sits at her desk typing on her laptop. There's a knock at the door.
NICOLE
Just a minute.
She finishes the sentence she's writing and closes the laptop. She opens the door to see George standing there. There is a moment of surprise, that quickly turns to anger.
GEORGE
Hi Nikki.
Nicole tries to shut the door in his face. George puts his foot in the doorway.
GEORGE (cont)
Nicole! Please just hear me out.
NICOLE
Go away.
GEORGE
No. I need to talk to you.
She stops pushing on the door and peaks through the crack at George. He has a look of genuine sincerity on his face.
GEORGE (cont)
I'm sorry I haven't been around much lately.
NICOLE
You’re sorry? I haven't seen or heard from you since the funeral.
GEORGE
I know. And I can explain...
He is cut off by her.
NICOLE
(interrupting)
Go to hell.
She pushes the door hard enough that George's foot is forced out. It slams shut.
INT. DORM HALLWAY - CONTINUOUS
George again knocks on the door.
GEORGE
Nikki? Please open the door.
NICOLE (O.S)
Not talking to you.
George sighs.
GEORGE
If you'd open the door and let me in, I can explain everything.
NICOLE (O.S)
Which would mean I'd be talking to you and I've already stated that I'm not.
George raises his hand to knock again, but drops his arm in defeat.
GEORGE
(to himself)
Stubborn brat.
NICOLE (O.S.)
What?
He puts his head against the door.
GEORGE
I said you’re stubborn.
NICOLE (O.S)
I am not!
George laughs to himself.
GEORGE
Ever since you were a little girl, you’ve been the most difficult child.
NICOLE (O.S.)
I didn’t exactly have the easiest childhood.
GEORGE
I guess I’m sorry for a lot of things. Will you open the door?
George turns around and faces the door.
NICOLE (O.S.)
I said go away!
A SECURITY GUARD walks up and sees George standing outside the door. He is a tall, bulky African-American.
GEORGE
Nicole! Open this door right now!
SECURITY GUARD
Sir? Can I help you with something?
George looks up to the guard then back toward the door.
GEORGE
No, I’m fine.
SECURITY GUARD
Is there a reason you’re standing in front of that door yelling at one of our students?
George’s expression turns sarcastic.
GEORGE
My daughter lives here.
SECURITY GUARD
Really?
The guard walks to the door and gently knocks.
SECURITY GUARD
Miss? This is campus security. Is everything okay?
NICOLE (O.S.)
Is that man still out there?
SECURITY GUARD
Yes Ma’am. He says he’s your father?
NICOLE (O.S.)
I’ve never seen that man in my life.
The guard looks at George sternly. George looks back in utter shock.
GEORGE
(stammering)
That’s not...I am her father.
The guard steps between George and the door.
SECURITY GUARD
Sir—
GEORGE
(cutting him off)
Now wait a minute. I AM her father!
The Security Guard gets into George’s face.
SECURITY GUARD
SIR! I’m gonna’ have to ask you to leave right now.
George angrily stands his ground.
GEORGE
I’m not going anywhere. That’s my daughter in there and I want to talk with her.
SECURITY GUARD
If you don’t leave on your own, I’m gonna’ make you leave.
George stares at the large man. He takes one last look at the door and reluctantly leaves.
The guard knocks on the door again.
NICOLE (O.S.)
Is he gone?
SECURITY GUARD
Yeah. Is there anything I can do for you ma’am?
The door opens and Nicole steps out.
NICOLE
No, thank you for getting rid of him.
The guard nods to her and walks away. Nicole rolls her eyes, thinking hard about something.
EXT. CAMPUS CAFÉ - DAY
George sits at a table having a cup of coffee. Nicole approaches him, proudly smiling. He scoffs at her.
GEORGE
Very funny.
NICOLE
You DID deserve it.
GEORGE
Why are you here? Talking with me?
Nicole takes a seat across from him.
NICOLE
After you left--
George interrupts her.
GEORGE
You mean after that rent a cop threatened me?
NICOLE
I sat down and thought about it. I should at least hear you out.
George takes a sip of his coffee.
GEORGE
First off, I’m so sorry for not calling or contacting you sooner.
Nicole picks up his cup of coffee and takes a sip.
NICOLE
Yeah, I got that part.
She sets the cup back in front of him.
GEORGE
When your mom passed away--
NICOLE
(cutting off George)
Passed away?
George looks down at his coffee. He looks back up.
GEORGE
I was in a really bad place. Mentally. I needed to get help. I’m still pretty messed up about it.
NICOLE
Why couldn’t you just tell me? All this time I’ve been thinking the worst.
GEORGE
I know and I’m sorry. I didn’t want to put you through what I was going through.
She leans forward in her seat and places her hand on his.
NICOLE
But I did go through it with you, Dad.
George looks into her eyes lovingly.
GEORGE
Yes, I guess you did.
BEAT.
NICOLE
So what happens now?
She sits back in her chair.
GEORGE
Now? There are a few more things I need to take care of then life can get back to normal.
NICOLE
What things?
George notices a car outside the café. In it sits Cole LaBonte, staring right at George.
GEORGE
(distracted)
Not for you to worry. I just wanted to see you. Tell you I love you.
NICOLE
I love you too, Dad.
George stands up and puts a few dollars on the table.
GEORGE
I need to go now.
Nicole gets up quickly and walks over to him.
NICOLE
Why so quickly? When can I see you again?
GEORGE
I don’t wanna’ make any promises I can’t keep, so I can’t say when. I’ll call you when I know though.
She gives George a concerned look.
NICOLE
Are you okay?
GEORGE
I’m okay. Come here.
He embraces her in a long hug.
EXT. REFLEXION CAFÉ - DAY
Suzanne sits at patio table as a waiter pours her a glass of wine. She checks her watch in anticipation. George walks up from behind her and leans over her shoulder and whispers into her ear.
GEORGE
Excuse me miss. Is this seat taken?
She looks back and smiles.
SUZANNE
(sarcastically)
Actually...yes it is.
GEORGE
Oh...someone special?
SUZANNE
Maybe.
GEORGE
Sorry I’m late. Busy day at the clinic.
George sits directly across from her. She takes a sip of her wine.
SUZANNE
I ordered us a nice bottle of Cabernet.
GEORGE
Sounds good. How is it?
SUZANNE
Try it, see for yourself.
George pours himself a small glass. He takes in his surroundings.
GEORGE
This is a nice little place.
SUZANNE
Yeah we used to come here all the time.
BEAT.
SUZANNE (cont.)
Speaking of which, you know my husband called today?
GEORGE
Yeah. How did that go?
She shrugs nonchalantly.
SUZANNE
I told him I want a divorce.
GEORGE
(surprised)
You’re leaving him?
SUZANNE
Yes. I explained to him that I need to move on with my life. I don’t wanna’ miss out on certain experiences.
GEORGE
Suzanne...I’ve told you that I’m not exactly ready for a serious relationship. I like what we have right now. I don’t want you making huge life changes with out completely thinking it through.
SUZANNE
I didn’t make this decision just because of you. I made it because this is what I want.
GEORGE
It just seems like you decided this after we started seeing each other.
A waiter approaches.
WAITER
Are we ready to order?
George glances quickly at Suzanne.
GEORGE
We just need a few more minutes.
WAITER
Of course. Take your time.
They nod to the waiter as he exits. George’s gaze returns to Suzanne.
SUZANNE
I admit that since we’ve met I’ve been looking at things differently, but it’s also shown me that my life isn’t over. I can do all the things I’ve always wanted to do.
GEORGE
Sounds like you’ve put a lot of thought into this. What exactly did you tell your husband?
SUZANNE
I told him that over the last few weeks I’ve been doing a lot of thinking. There are so many things I’ve never done. So many experiences I’ve yet to have. I told him I need to follow a different path.
GEORGE
And if the paths we both choose end up being different?
BEAT.
GEORGE (CONT.)
I don’t want you to come to regret this one day.
SUZANNE
Aww...George and his not-so optimistic outlook. If we end up in different parts of the world, leading different lives, I still wouldn’t regret this choice. I need to do this...for me.
George smiles comfortingly.
GEORGE
I just want you to be sure.
SUZANNE
I am sure. I promise. I don’t know if he did the things they say he did, but things will never go back to the way they were. Things will never be the same.
George nods knowingly.
GEORGE
I understand completely, I really do. He took it okay?
She laughs sarcastically, shaking her head “no”.
SUZANNE
Of course not. But what can I do? I can’t wait forever. Considering the accusations that are being thrown at him, I don’t think he’ll see the outside of a cell ever again.
Another long BEAT.
SUZANNE (cont.)
Anyway, it’s done and over. I’ve made up my mind and I’m happy I did it.
GEORGE
Good. I’m happy for you. Now, should we order?
She nods and begins flipping through the quaint menu lying on the table.
BUZZ. George reaches to his belt and retrieves a small black PAGER.
GEORGE
Damn it.
Suzanne’s demeanor quickly changes. Sadness instantly rolls across her face.
SUZANNE
Work?
GEORGE
(frowning)
Yes. I have to get back.
(BEAT)
I’ll make it up to you?
SUZANNE
Okay.
He stands up and leans in and kisses her softly on the cheek. The waiter appears behind him.
WAITER
Are we ready?
George turns to him.
GEORGE
I gotta’ run.
(to Suzanne)
You’re gonna’ stay?
She nods. George reaches into his wallet and sets a few bills on the table to cover the cost. He smiles at her and hastily exits.
WAITER
What can I get for you today, ma’am?
The voice trails off as Suzanne looks blankly ahead in disappointment.
EXT. STREET – DAY
George walks down a city street. He stops and looks back at the café’ where Suzanne still sits. He smiles.
INT. BOOK STORE – CONTINUOUS
LaBonte stands by a new releases book stand staring at George. He lifts a tape recorder to his lips.
LABONTE
(whispering)
Subject has left the café’ and is headed to unknown location. Will proceed to follow.
EXT. STREET – CONTINUOUS
George begins to turn around to walk down the street when he notices something in the window of the book store.
INT. BOOK STORE – CONTINUOUS
LaBonte sees George headed to the window and quickly hides behind a book shelf. He waits for a few moments.
BEAT.
He peaks out and sees George staring straight at him. A look of recognition appears on both of their faces.
EXT. STREET – CONTINUOUS
GEORGE
You?
INT. BOOK STORE – CONTINUOUS
LABONTE
You?
LaBonte quickly runs for the door and exits the store.
EXT. STREET – CONTINUOUS
He looks down the street to see George running away. He chases after him. Through the crowd of N.Y.C. pedestrians, he sees George’s head moving swiftly between groups of people.
George takes a left turn. A few seconds later, LaBonte takes the same turn. The alleyway is empty. LaBonte cautiously walks down it, his eyes peeled for George.
WHAM!
An aluminum trashcan slams against LaBonte’s back and he falls to the ground. He rolls over to his back and looks up at George, who breathes loudly.
GEORGE
I don’t know who you are or why you are following me, but you need to stop. Leave me alone!
LABONTE
I know what you’ve done, George. I’ve been hired by someone who knows too.
BEAT.
GEORGE
What I’ve done? Why are you following me? What are you waiting for me to do?
LaBonte smiles arrogantly.
LABONTE
Slip. You will eventually. And I’ll be right there.
George’s face is bright red as he drops the trashcan.
GEORGE
Leave me alone.
George walks away. LaBonte remains on his back watching until George has turned and is out of sight.
FADE OUT.
INT. ASYLUM - DAY
The Asylums halls are dark and desolate. An occasional shriek can be heard from one of the rooms that line both sides of the hall. The lights on the ceiling flicker in an eerie manner. At the end of the hall a figure approaches, slowly at first, but gaining speed quickly.
As it grows closer it's apparent that it is a young woman, her hair wildly unkempt and bags hanging low beneath her eyes. She runs by as if the devil himself is chasing her.
GEORGE (V.O.)
How long have you been here now, Robert?
She’s followed by two orderlies desperately trying to apprehend her.
ORDERLY
We’re not gonna’ hurt you! You just need to go back to your room!
They finally catch up to her and grab her arms forcefully.
FEMALE PATIENT
NO! No! Stop. Let me go! Let me go!
The orderly pulls out a long syringe and attempts to administer the sedative. The second orderly, JOHN, struggles to subdue the patient.
ORDERLY
Damn it John, hold her still. I'm gonna’ end up stabbing myself with this needle!
JOHN
I got her. Just give her the shot, okay?
They manage to stick her with the needle. Her voice goes weak.
FEMALE PATIENT
(drowsy)
I'm not crazy. I'm not...crazy.
Her body goes limp in John’s arms.
ROBERT (O.S.)
Long time.
Down another corridor a male patient dressed in a typical white hospital gown slowly walks backward in an odd manner. Patients and Doctors line the sides, talking and writing on clipboards.
Down a little further a patient nervously talks to a Doctor.
DOCTOR
Now Vincent, we’ve talked about making these false claims.
VINCENT
I'm not making this up, they're after me. By just telling you this, I've probably put you and your loved ones in danger.
DOCTOR
Alright, Vincent. Tell me about these people.
After a right turn two younger male orderlies exit one of the rooms.
ROBERT (O.S.)
Long time. How long have YOU been here?
WORKER 1
Did you see the new girl on the second floor? Damn, now that's a piece of ass.
WORKER 2
We don't have a new girl on the second floor. Are you talking about Claire in Administration? She's not that new.
WORKER 1
No, she's a patient. I'd fuck the craziness right out of her.
WORKER 2
Better watch out. You know the rules. Patient/Doctor relationships.
WORKER 1
Well I ain't no doctor and I sure as hell ain't looking for a relationship.
Both men laugh as they push open double doors and enter --
INT. ASYLUM RECREATION ROOM - CONTINUOUS
Two patients sit silently across from each other playing checkers.
GEORGE (O.S.)
Not quite as long as you. I think that is something we can both agree on Bob.
A young orderly gives a small cup of pills to a patient who robotically swallows them.
Slowly MOVE IN on a small table in the corner of the lounge. George sits at one end, smiling.
GEORGE
Is it okay if I call you Bob?
ROBERT is a younger man, mid twenties. He answers without a moment of hesitation.
ROBERT
No.
GEORGE
(caught off-guard)
Oh, well okay --
Robert leans back revealing his hands seem to be crocheting something that isn’t there.
GEORGE (cont.)
So in our last session you spoke of trying to get your life back on track. Perhaps going back to college?
ROBERT
Maybe.
George
What kind of degree were you going after?
ROBERT
Business management...
George jots down some notes.
ROBERT
(nervously)
But I don't wanna’ be in management. I don't want the responsibility.
GEORGE
Why? You don’t think you’d be good at it?
ROBERT
No, it's not that. I just don't want it.
(softly to himself)
I don't want it.
GEORGE
What don't you like about having responsibility?
Robert focuses more on his imaginary crocheting. George continues taking notes.
GEORGE(cont.)
Robert? What don't you like about it?
ROBERT
I don't wanna’ let them down. Don't want to let them down.
GEORGE
Who Robert? Who are you afraid of letting down?
ROBERT
Everyone.
GEORGE
Who is everyone?
Another doctor walks up to them and sets his clip board down on the table. George looks up at him and nods.
GEORGE
Dr. Stevens.
DR. STEVENS is a tall, older man with gray hair and a gray beard. He has a callous expression on his face and doesn't seem pleasant.
DR. STEVENS
George, can I see Robert? It's time for our session.
GEORGE
Sure, Henry. I didn't realize how long we had been talking.
George turns to Robert. Robert grins at him.
GEORGE (cont)
Robert, we'll pick up where we left off tomorrow, okay?
Robert starts to nod while looking down.
ROBERT
Oh, okay.
George stands up and pats Robert on the shoulder as he leaves. Dr. Stevens sits down across from Robert.
DR. STEVENS
Well, well. How are you today Bob?
Robert doesn't respond. George looks back at him and a look of despair crosses his face. George turns around and walks away.
DR. STEVENS (O.S.)
Bob? Do you hear me? I asked you a question.
(BEAT)
Okay Bob, I can't help you if you won't talk to me.
George continues to walk away shaking his head.
INT. ASYLUM RECREATION ROOM - EVENING
About a dozen people are seated in chairs, forming a circle. It's group therapy time. Robert, George, and Dr. Stevens are all there. George and Dr. Stevens are both seated across from each other.
DR. STEVENS
What I'd like to talk about today is relationship issues.
Dr. Stevens looks around at everyone. Nobody seems to be paying attention. George stares at the patients.
DR. STEVENS (CONT.)
Who here has relationship problems? Be it friends, family, spouses…
No response.
GEORGE
We know that it takes a lot of work to create and maintain personal and professional relationships. Our goal here is to identify the problems that may occur and learn how to work through them. Okay?
An annoyed look appears on Dr. Stevens face.
DR.STEVENS
George, please let me finish.
George looks insulted. He shrugs submissively.
DR. STEVENS (cont.)
I know many of you do not want to be here. Many of you are here unwillingly.
(BEAT)
While some are not. But in order for you to leave this place, we need to make progress. We can’t do that if you don’t open up to me. Talking is by far the best therapy for any problem that we as humans encounter.
George looks over the patients.
GEORGE
I know, personally, I’ve had some problems in the past. When my wife passed, I thought things would never get better. I thought my life, as I knew it, was over. But I’ve learned that through all bad things, good arises. It helped me decide that helping people is what I wanted to do. What I was meant to do.
DR. STEVENS
(dismissal of George)
Does anyone else have anything they would like to say?
Long BEAT. Finally SABRINA, a young woman, maybe mid-twenties, raises her hand timidly.
SABRINA
My mother is ashamed of me.
George smiles, knowing he got the conversation going.
DR. STEVENS
Go on, Sabrina. Why is she ashamed of you?
SABRINA
I did not do so well in High School. My sister went to Dartmouth while my younger brother is at Stamford.
(BEAT)
I barely made it four months at LaGuardia Community College.
DR. STEVENS
Do you feel as though you let her down? Or maybe she just had high expectations of you?
SABRINA
(defensively)
I did the best I could do. It’s not my fault I’m not as smart as my siblings.
GEORGE
Don’t say that. It’s not that they’re any smarter than you. Some people just have a harder time in school than others.
SABRINA
It just seemed like no matter what I did she was always prouder of my sister.
DR. STEVENS
Do you resent your sister for that?
SABRINA
(upset)
NO! It’s not her fault.
DR. STEVENS
Well, all I’m saying is it seems like there was a lot of competition in your house hold.
SABRINA
No. It’s wasn’t like that at all. We never tried to be better than each other. Our mom just--
She is interrupted by Dr. Stevens
DR. STEVENS
(sarcastically)
Hmmm. Your mom was proud of your sister and not you. Sounds like competition to me.
George looks at him in disgust.
SABRINA
Just forget I said anything.
She sits back in her seat, returning to her shell.
ROBERT
Dr. Callaway, I’m sorry your wife is dead.
George painfully nods to Robert.
DR. STEVENS
Bob, would you like to add something to our discussion?
ROBERT
(softly to himself)
My names Robert…
DR. STEVENS
I’m sorry, what was that?
ROBERT
Nothin’.
Dr. Stevens jots down a few notes before looking toward George.
DR. STEVENS
George, would you like to talk about your loss?
George looks surprised.
GEORGE
Well this isn’t really about me, Dr. Stevens.
He shrugs.
DR. STEVENS
Suit yourself. Would anyone else like to say anything?
ROBERT
My name is Robert.
George laughs softly to himself. Dr. Stevens shoots him a angry look.
INT. ROBERT’S ROOM – NIGHT
The room is dark, only the blue-ish moonlight shining in, lighting up Robert’s face. He lays in bed in complete silence.
After a few moments he begins twitches and thrashing violently.
ROBERT
(in his sleep)
Don’t leave...
The sheets covering him slide off of him slowly. Eventually slumping to the floor.
CLOSE on the lump of white sheets lying on the floor.
INT. ASYLUM RECREATION AREA – DAY
George and Robert sit across from each other as they did the day before. George eyes Robert, who looks like he hasn’t slept in days.
GEORGE
Long night?
ROBERT
Something like that.
GEORGE
Why haven’t you been sleeping well lately?
BEAT.
ROBERT
I haven’t had a good night sleep since my Grandmother died.
GEORGE
Is that why you’re here?
Robert shrugs shyly.
GEORGE (cont.)
If you’re not ready to talk about it, I understand.
ROBERT
She was the best person I ever knew.
GEORGE
You took her death pretty hard?
ROBERT
It changed everything.
START FLASHBACK MONTAGE
A younger Robert sits on couch watching TV as his grandma crochets.
ROBERT (V.O.)
We had always been close. She never put any pressure on me to be the best.
Robert argues with his parents.
ROBERT (V.O.)
My parents were really upset about my decision. Not following in the family business.
He arrives at his grandma’s house with his stuff.
ROBERT (V.O.)
But she never turned away from me.
He sits on a couch watching TV as his Grandma is crocheting.
ROBERT (V.O.)
And for a while things were good. I was happy.
He blankly stares at a casket as it is slowly lowered into the ground.
ROBERT(V.O.)
It’s funny how fast things change.
Robert’s family tries to call him on the phone, but he doesn’t answer. Newspapers begin to fill his front porch.
ROBERT (V.O.)
I completely shut down.
His family finally comes into the house and finds Robert sitting in his grandma’s rocking chair, crocheting a massive quilt that covers the floor all around him.
ROBERT (V.O.)
They said I needed to get help.
His family checks him into the asylum.
END FLASHBACK MONTAGE
Tears well-up in Robert’s eyes. George moves his seat closer and places a hand on his shoulder.
GEORGE
Your grandmother would have wanted you to move on. To be happy.
Robert nods knowingly, tears now streaming down his cheek.
GEORGE (cont.)
You gotta’ get yourself together and get out of here, Robert. There is no future in here.
ROBERT
I can’t.
George bends down a little bit to see into Robert’s eyes.
GEORGE
Yes you can. It’s in you...I’ve seen it. Just trust yourself. I won’t be here forever, Robert.
Robert looks at him strangely, unsure of what he is implying.
ROBERT
What do you mean...you won’t be here forever?
George sits back in his chair and crosses his arms.
GEORGE
I mean that sooner or later you’re gonna have to make it on your own. You won’t be able to rely on doctors or family.
Robert acknowledges with a nod.
GEORGE
I can only offer advice and counsel. Ultimately your fate is in your two hands.
Robert stops crying and exhales deeply.
ROBERT
Thank you, Dr. Callaway.
GEORGE
Call me George.
Robert smiles, the expression feels unusual even to him.
ROBERT
Can I ask you something?
GEORGE
Of course.
ROBERT
Well, you see, I’m from Toledo Ohio. I have a theory that says you can tell more about a person by what city they are from, than you can by talking to them for an hour.
George looks at him strangely.
ROBERT
People lie. It’s just a fact. You never truly know ANYONE. But, their background, their upbringing, it never lies. So my question is, Doctor, where were you born?
BEAT.
GEORGE
Little town in South Dakota, Robert. Called Ward Draw.
Robert thinks for a moment, looking at George as if he has just had an epiphany.
GEORGE
So what does that say about me?
Robert opens his mouth to answer, but is interrupted.
FEMALE VOICE (O.S.)
Here are your meds, Robert.
As Robert looks up we see the voice belongs to Suzanne. George looks up and grins at her. Robert quickly wipes his tears away.
GEORGE
You look lovely today, nurse.
She smiles coyly.
SUZANNE
Thank you.
As she walks away Robert gasps playfully.
ROBERT
I think the nurse has a crush on you.
GEORGE
That’s just crazy talk.
George looks back and watches as Suzanne helps another patient.
GEORGE
Well Robert, I think our time is up today.
Robert nods.
ROBERT
Thank you...George.
George smiles proudly as he pats Robert’s shoulder and exits.
Robert looks down at his “crocheting” and pauses for a moment.
INT. ASYLUM RECREATION AREA – THE NEXT DAY
George is walking around the recreation room. He walks up to Robert, who is staring out a window.
GEORGE
Hey Robert.
Robert turns around and looks at him.
ROBERT
I’ve been doing a lot of thinking since our talk yesterday.
GEORGE
And?
Robert stares out the window again for a moment then turns back.
ROBERT
I’m gonna’ try to put my fate in my hands.
George smiles at him as he pats him on the back. George looks at Roberts hands.
GEORGE
You’re not crocheting?
Robert stares at his hands.
BEAT.
ROBERT
I’m finished.
INT. Asylum Hallway – Day
George makes his way down the hallway. Suzanne is walking from the opposite direction. He stops in front of her. She smiles at him.
GEORGE
I’m leaving soon if you wanna’ get a bite?
She looks intrigued.
SUZANNE
(playfully)
I get off in an hour if you can wait?
GEORGE
See you in the parking lot.
She smiles and continues walking.
INT. ASYLUM ENTRANCE AREA – DAY
George approaches the young orderly behind the counter. He places his bag on the counter and smiles.
GEORGE
Well Miss Bennett, I think I’m ready to go.
She looks somewhat surprised.
MISS BENNETT
Are you – Are you sure?
GEORGE
Yes. I got everything I needed.
She smiles genuinely. She hands him a clipboard and a pen.
MISS BENNETT
That’s good. Sign here please.
George quickly signs his name. He takes a deep breath and turns to head out the door.
MISS BENNETT (O.S.)
Mr. Callaway!
George turns to see her hastily walking toward him. She carries a pair of scissors.
She takes his hand in hers.
MISS BENNETT
You won’t be needing this anymore.
She cuts a yellow BRACELET from his wrist and smiles.
MISS BENNETT (cont.)
Only patients are required to wear these.
George looks at his wrist for a moment and returns the smile. He walks out of the exit.
EXT. ASYLUM – CONTINUOUS
As he walks through the parking lot he notices Suzanne standing next to her little black car.
SUZANNE
I’m glad you decided to get yourself some help.
GEORGE
(jokingly)
You sure you want to go to dinner with a crazy person?
SUZANNE
Deep down we’re all a little crazy.
George laughs as he opens her car door for her.
FADE OUT.
EXT. CITY STREET – NIGHT
The city is dark and quiet. Fog rolls in from the south, creating a hazy film in the air. Through this film walks LEONARD (30).
He is a man of average build, clean shaven wearing a nice business suit.
Leonard walks through the night, not paying any attention to the prostitutes and homeless people he passes. The SCENE is eerily silent as he continues walking.
He passes a small pawn shop, in the window is a television report. CLOSE on the TELEVISION as Leonard keeps going. The reporter is a young woman in her twenties.
NEWS REPORTER
Due to the recent spike in gas prices, many people are using alternate routes. Some suggestions would be carpooling, buses, and the subway. Though if traveling at night, the latter two can be somewhat dangerous.
She moves on as the CAMERA begins to fade out.
NEWS REPORTER (cont.)
In other news, we have reports of another extreme case of domestic violence in the area. That makes seven in the past four months.
CUT TO:
INT. SUBWAY STATION – NIGHT
Leonard waits for the Subway to arrive. He looks sad and tortured. A few other stragglers wait near him as the Subway finally arrives.
INT. SUBWAY – NIGHT
Leonard enters the subway, which is already carrying about a dozen passengers. He takes a seat near the back, by himself.
He works on something he has pulled out of his briefcase, lost in his own thoughts. The sound of the subway is the only thing that reminds him of where he is at. The subway stops at another station. The doors open and George steps on. He sits across from Leonard. He notices out of the corner of his eye that George is staring at him strangely. He nonchalantly ignores him.
GEORGE
Hi, there.
He looks up from his work to see George’s smiling face. He shoots him a polite nod.
Awkward BEAT.
GEORGE
You don‘t mind if I sit here, do you?
He shrugs and looks back to his work.
LEONARD
Public Subway, isn't it?
GEORGE
(ignoring the rudeness)
I suppose it is.
George removes his bag from his shoulder and places it in the seat next to him.
GEORGE
So, uhh, What's your name friend?
Again, Leonard looks up to make sure he is talking to him.
LEONARD
What? Oh, I’m Leonard.
BEAT.
GEORGE
(realizing he's not going to ask)
Name's George. Nice to meet you.
Holds out his hand. It stays out for an awkwardly long time before Leonard reciprocates the gesture.
GEORGE (cont.)
Gas prices, eh? Sheesh...
Again, no response.
GEORGE (cont.)
You a business man? Banker?
LEONARD
(impatiently)
What? Yeah, I'm a banker.
GEORGE
That's great. Take the Subway often?
LEONARD
Yeah, I guess. Just don't like paying for gas anymore. Rather pay the surcharge.
GEORGE
I hear ya‘. Ridiculous! But what can we do?
Leonard shrugs.
GEORGE (cont.)
Nothin', that's what. Damn Government's got us by the balls!
George laughs aloud. Leonard looks very uncomfortable now.
LEONARD
So, what is it that you do...
(trying to remember)
Uh…George?
GEORGE
Well, I'm a Problem-Solver.
Leonard takes a moment to weigh the seriousness of the answer.
LEONARD
Hmm…is that a real profession?
GEORGE
Sure.
LEONARD
What exactly does a Problem-Solver do?
GEORGE
Solve problems.
Leonard smiles to himself. Stupid question gets a stupid answer.
GEORGE (cont.)
You got a problem? I know how to fix it. No matter how big. I'll figure out a way around it...hell, sometimes straight through it. But no matter what, I guarantee to make it go away. I suppose I'm kinda’ like a therapist. A psychiatrist.
LEONARD
(sarcastically)
Okay.
The subway begins to slow as people stand up, ready to exit.
LEONARD (cont.)
Well, this is my stop. It was nice meeting you, George.
GEORGE
Yeah, definitely. I'll see you around.
The last statement lingers for a moment until Leonard eventually stands and exits.
EXT. LEONARD'S APARTMENT – NIGHT
He walks up the large staircase. CLOSE on his KEY entering the keyhole. The door unlocks.
INT. LEONARD'S APARMTENT – NIGHT
Leonard enters and tosses his briefcase on the dining room table. He looks around the dark house, searching. He sees a NOTE on the refrigerator.
CLOSE UP on the note. It reads:
Lenny,
Sorry, certain obligations came up that I have to deal with tonight. You understand. I’ll see you tomorrow night.
Sarah
Sadness fills Lenny's eyes as he reads the note. He crumples it in his hand and tosses it into the garbage.
EXT. COLLEGE DORMS – DAY
ESTABLISHING SHOT as George enters the Dorms.
INT. DORM HALLWAY – CONTINUOUS
George stands outside of his daughter’s room. He knocks softly.
The door opens and JESSICA, Nicole’s roommate stands at the door.
JESSICA
Can I help you?
GEORGE
Is Nicole here?
JESSICA
No, she’s in class right now. I can tell her you stopped by, Mr...?
George pulls out a small white envelope from his pocket.
GEORGE
No, no that’s alright. Could you just give this to her?
She nods as he hands her the envelope. He smiles and exits.
INT. NICOLE’S DORM ROOM – CONTINUOUS
Jessica shuts the door and looks over to the bed where Nicole sits quietly.
JESSICA
He looked sad.
She rolls her eyes.
NICOLE
Yeah. He always does.
She hands her the envelope. Nicole opens it and looks at it closely.
JESSICA
What is it?
NICOLE
(confused)
It’s a picture of my family.
Jessica shrugs, suggesting she doesn’t understand. Nicole stares at the picture, which remains hidden from the CAMERA.
INT. SUBWAY STATION – NIGHT
Again Leonard stands waiting for the subway. His sadness still there, same as the night before. After a brief moment, the familiar sound comes as the Subway train approaches.
INT. SUBWAY – NIGHT
Leonard walks toward the same seat as last night. Sitting next to his seat is George, smiling brightly.
GEORGE
We have got to stop meeting like this.
Leonard chuckles to himself.
BEAT.
GEORGE
So, how are you doing?
Leonard doesn't respond. George eyes him.
GEORGE (cont.)
Is something wrong, my friend?
LEONARD
Just relationship problems.
George smiles.
GEORGE
Normally, that would be my cue. You said the magic word.
Leonard looks puzzled.
GEORGE (cont.)
Problems. Would you like to talk to me about them? Maybe I can help.
LEONARD
No I’m fine.
GEORGE
No really, this is what I do.
LEONARD
I'm not real open to discussing my personal life with a stranger. Especially not for a fee.
George extends his hand.
GEORGE
Hi, my name's George. And I'm a problem solver.
Leonard smiles, loosening up just a bit.
GEORGE (cont.)
No fee. Can't charge a friend, ya' know? Wouldn't be right.
BEAT.
LEONARD
I…I think Sarah‘s gonna‘ leave me.
GEORGE
Sarah?
LEONARD
My girlfriend.
GEORGE
Oooh...
LEONARD
I'm sure you hear that one a lot, eh?
GEORGE
Relationship problems definitely lead the pack, that's for sure. So how long have you and Sarah been together?
LEONARD
Around a year.
GEORGE
Okay. To be honest relationship problems are something I’m very familiar with.
LEONARD
Were you able to help them?
GEORGE
Well, all situations are different. Variables.
LEONARD
Variables?
GEORGE
Ah, just mathematical mumbo. Mind if I ask you a few routine questions? It usually helps in these sort of cases.
Leonard shrugs and nods.
GEORGE (cont.)
What makes you think she is leaving?
LEONARD
Lots of things. For instance, she is always cancelling our plans. I don’t know she seems distant, reserved. I just don't see her much anymore.
GEORGE
Previous record?
LEONARD
I'm sorry?
GEORGE
Past relationships? Do you know anything about them?
LEONARD
We don‘t talk about it.
George considers this.
GEORGE
Kids?
LEONARD
What? Oh, no…no kids.
GEORGE
Well, that certainly makes things a lot easier in case things don’t pan out.
LEONARD
Why do you need to know all this?
GEORGE
Just assessing the situation. Variables, Leonard.
George thinks. Long BEAT.
Leonard begins to look uncomfortable as he waits for George to speak again.
LEONARD
Ah forget about it. Thanks for listening though.
Leonard looks away shamefully as his tears begin to well up. George snaps out of his thoughts and notices Leonard's sad state.
GEORGE
You really love her, don't you?
LEONARD
(Beginning to break down)
Of course. I can't even imagine her being with another man, it makes me sick!
George looks worried.
GEORGE
Leonard you’re not...suicidal are you?
Leonard looks shocked at the question. He had not even considered the option.
LEONARD
What? No!
GEORGE
Good. That is not the answer. You need to convert these feelings of loneliness and betrayal into something constructive. We need to FIX your problem.
Another long BEAT.
LEONARD
I'm open to any suggestions at this point. I don't know what to do.
The last sentence lingers in the air for a few moments.
GEORGE
To be perfectly frank, Leonard, I only see one thing you can do. Only one option.
LEONARD
I'm listening.
The subway lights begin to flicker eerily.
GEORGE
You have to kill her, Leonard.
Leonard's eyes widen in horror.
LEONARD
I what? Are you insane?!?
George remains completely calm, rational.
GEORGE
As much as you may not think right now, I am very good at what I do, Leonard. This is the only available option for this case.
LEONARD
This case? This is my life we are talking about. And you are God damn crazy!
GEORGE
It's the truth, Leonard. Do you know what will happen to you if or when she leaves you? Do you know what your life will become?
LEONARD
Listen, sure I say I "can't live without her", but kill her? What does that solve? Her being dead doesn't help me one bit. Unless I'm looking for an execution, which as surprising as it may be, I am not.
George stands up and takes a seat right next to Leonard. He places a hand on Leonard’s shoulder.
GEORGE
Would you like to know what will happen if you don’t resolve this situation soon?
Leonard removes George’s hand from his shoulder.
LEONARD
You know, I think I'm gonna' pass. I think I'm going to find a different seat as well.
Leonard begins to get up, now George speaks with a newfound tone of urgency.
GEORGE
Leonard, listen to me! I’m just trying to help you. All I ask is that you hear me out. If you want to move after that, fine. You will never have to talk to me again. But before you go, please just hear what I have to say.
Leonard hesitantly sits across from George.
GEORGE
If you do nothing, here is what is going to happen to you.
START B&W SILENT MONTAGE
Leonard and Sarah argue in a kitchen. Sarah eventually storms out of the room.
GEORGE (V.O.)
First she will tell you something like “I can’t handle this anymore”, you’ll try to convince her that you can work through it, but in the end she will leave you.
Sarah gets in a taxi, bags packed. Leonard watches from the doorway.
GEORGE (V.O.)
You’ll fall into depression and make desperate decisions. She live the life she never thought she could live. She’ll be with someone else.
He purchases a gun from a run-down pawn shop.
Sarah is on a boat, with another man, enjoying some champagne.
GEORGE (V.O.)
You’ll lose all your ambition in life. You’ll start to question you’re very existence.
Leonard sits on his couch, looking very defeated as he eats a TV dinner.
GEORGE (V.O.)
And finally you’re left with only one option.
Leonard puts the gun just below his chin. Pulls the trigger.
Now the images increase ten-fold, just one long blur. Until it stops on one last vision.
Leonard lies in a hospital bed, connected to all sorts of BUZZING machines. He lies still, only thing he can move is his eyes. He looks around the room as everyone goes about their routines.
END B&W SILENT MONTAGE
Leonard holds his head in his hands. He looks up at George.
GEORGE
You see? That is the OTHER option. That is you letting what happens, happen.
LEONARD
How do you know that will happen?
George doesn't answer. He just smiles strangely at Leonard.
LEONARD
You can’t see the future.
George keeps smiling. Leonard finds his eyes and his smile mesmerizing. A look of submission comes over Leonard’s face.
LEONARD (cont.)
So...what should I do?
GEORGE
Take control of your destiny, Leonard. Do not let things "fall as they may". You control your path. Not anyone else. You.
LEONARD
But what of the consequences?
GEORGE
Well if you do it right there will be no consequences.
Leonard stares out the window thoughtfully.
GEORGE (cont)
I'll tell you what. Go home tonight, see Sarah. Talk to her. Tomorrow night, when I see you on this Subway, if you are still convinced she is leaving you, we'll talk about what to do next. Deal?
George extends his hand to shake on the deal. Leonard’s rubs his neck. He reciprocates the gesture.
The subway comes to a stop. Leonard stands up.
LEONARD
Who ARE you?
GEORGE
I'm George. I'm a problem solver.
LEONARD
Right.
Leonard exits and heads home.
EXT. LEONARD'S HOME – NIGHT
Leonard again walks up the stairs to his door.
CLOSE on the keyhole again, as the key is inserted.
INT. LEONARD'S HOME – NIGHT
Leonard enters, placing his briefcase on the table. He looks around the dark house, not seeing any sign of life.
LEONARD
Sarah, are you here?
Nothing. He sighs as he notices a red light blinking in the kitchen.
INT. KITCHEN – CONTINUOUS
The red light illuminates the entire kitchen in a creepy red glow. It's the ANSWERING MACHINE.
Leonard presses a button on the interface.
VOICE (O.S.)
(robotic)
You have ONE new message.
BEAT.
SARAH (O.S.)
Lenny, it's Sarah. I have to work late again, I'm sorry. Been a hectic week. Anyway just wanted to let you know. Tomorrow I'll be there early, we...we need to talk. I have something important to tell you. I'm sorry, don't wait up tonight. Goodbye.
CLICK. Leonard looks at the machine for a long time, his eyes becoming damp.
CUT TO:
INT. SUBWAY STATION – NIGHT
Leonard waits for the Subway train. He seems impatient. Anxious to speak with George.
The familiar sound comes from down the long dark tunnel as the Subway approaches.
INT. SUBWAY – NIGHT
Leonard enters the Subway, looking toward his seat. The entire back-end is empty.
No George.
Leonard takes his seat, desperately searching the rest of the train for his mysterious new confidant. He is nowhere to be found. Leonard frowns sadly.
He puts his briefcase on his lap and opens it, making sure nobody is watching.
Inside is a small, black 9MM PISTOL. He quietly removes the clip. It is loaded. He puts it back in and gently sets it back inside his briefcase. Underneath it is a picture of him with Sarah. They look happy.
He slams the briefcase closed as we –
CUT TO:
EXT. LEONARD'S HOME – NIGHT
As Leonard walks up his stairs, he notices all the lights are on. She is there.
CLOSE on the keyhole. His key enters it, but doesn't turn.
BEAT.
Leonard takes a long deep breath and turns the key, unlocking the door.
INT. LEONARD'S HOME – NIGHT
Leonard holds his briefcase, not placing it on the table as we are accustomed to seeing. He slowly enters, peeking around the doorway for Sarah.
There is the sound of glass CLANKING together resonating from the kitchen. Leonard creeps into the kitchen to see the back of Sarah as she uncorks a bottle of red wine.
LEONARD
Hi.
Sarah spins around surprised.
SARAH
You scared me Lenny.
LEONARD
Sorry.
She begins pouring wine into two glasses.
SARAH
Want some wine?
He nods and takes one of the glasses. They both take a seat at the Dining Room table, just next to the kitchen. Leonard sets the briefcase right next to his seat, not straying too far from it.
SARAH (cont.)
How was work?
LEONARD
Fine, I guess. So what did you want to talk to me about?
SARAH
(builds up courage)
Well, I've been doing a lot of thinking lately. Soul searching.
Leonard's face is plastered with dread. He knows what's coming.
LEONARD
And?
SARAH
And I've thought a lot about us. About me and you. About our past, our future and about right now. We just seem so distant anymore. Things don't seem the same as they used to be.
Leonard doesn't speak. She watches him, waiting for SOME kind of reaction, but get's nothing.
SARAH (cont.)
There’s someone else.
Leonard now shows reaction. His eyes are filled with hatred and disdain.
SARAH (cont.)
It's not what you think –
LEONARD
(exploding)
Not what I think?!? So what should I think, Sarah? That all these nights you've been working late, you've been sleeping with another man? Is that what you're saying?
She begins to respond, but he cuts her off.
LEONARD
I can't believe I was such a fool! Damn it Sarah. How could you put me in situation like this?
SARAH
Situation like what Leonard? You haven't even let me explain!
He slams the empty glass of wine on the table hard, shattering it. Sarah jumps, frightened. Leonard's eyes gleam in a strange, non-human way.
LEONARD
There is nothing to explain! I get it...I do. Need the excitement, the change of scenery. Well now you have to –
Leonard thinks about the irony of what he is about to say. He even smirks slightly.
LEONARD (cont.)
You have to live with yourself. Your conscience. You back me into a corner and you expect me to remain calm? Remain civil?
SARAH
You’re being impossible Leonard. You don’t understand what the problem even is.
LEONARD
Don't try to blame me for this! I know exactly what the problem is.
SARAH
I’m not blaming you. I’m just…
She notices his hand bleeding.
SARAH (cont.)
Lenny, you're bleeding.
Leonard looks at his hand. The broken glass has sliced it pretty bad. He heads toward the sink.
SARAH
Are you gonna listen to what I have to say?
Leonard doesn’t turn around.
LEONARD
I don’t have to. You’re seeing someone else.
SARAH
Lenny, you’re not letting me finish.
LEONARD
(sarcastically)
No, I get it. Things get stale after a while.
SARAH
You know that’s not true, it’s just…
She’s cut off by Leonard
LEONARD
You needed to find excitement you don’t have with me anymore. You want to live your…
SARAH
(cutting of Leonard)
I’m married.
BEAT.
SARAH
I’ve been married for over ten years.
Leonard stops washing his hand. He stares into the sink and blood-infused water swirls down the drain.
SARAH
You see? When I say I’m seeing someone else, I mean you’re that someone else.
Sarah watches Leonard, waiting for a reaction.
SARAH (cont.)
Leonard?
Leonard turns around, pointing a gun directly at her. Before she has a chance to react—
BOOM!
CUT TO BLACK.
FADE IN:
INT. BAR - DAY
George sits at the bar drinking. The place is basically empty except for a few regulars. The BARTENDER approaches George.
BARTENDER
Get you another one, bud?
The bartender is a short, heavy set man with a strong Brooklyn accent.
George looks at his almost empty glass. He looks up to the bar tender
GEORGE
Sure. Why not? It's only--
He squints at his watch.
GEORGE (cont)
Eleven-thirty.
The bartender pours him another drink. He sets the bottle on the counter next to his glass.
BARTENDER
In case you want another one.
George nods in approval. The bartender walks away. George downs another glass as a man approaches.
TIM MCCAY
Hey stranger.
TIM MCCAY is an older fellow with gray hair and a five day old beard. George looks up from his glass at the old man, then turns back.
GEORGE
Hi.
TIM MCCAY
Name's Tim. Tim McCay
George doesn't respond. He pours himself another glass and holds the bottle out to Tim. Tim eyes the counter for an empty glass. He finds one and sets it in front of him. George pours him a glass too
GEORGE
(nonchalantly)
Hi Tim, I'm George.
TIM MCCAY
Much thanks stranger.
Tim raises his glass.
TIM MCCAY (cont)
So what are we drinking to stranger?
George downs his glass. He fills up it up again.
GEORGE
Mistakes.
(BEAT)
You drinking or what?
Tim quickly finishes his first glass. George immediately refills them.
TIM MCCAY
Mistakes, huh? Well I've had plenty of those in my time.
They drink again.
GEORGE
Yeah?
Tim stares off at all of the bottles of alcohol on the shelves behind the bar.
TIM MCCAY
Sure. Been around a long time. More than my fair share of screw-ups.
They both take another shot.
TIM MCCAY(cont)
So what’s got you drinkin’ like a sailor in the middle of the day?
BEAT.
TIM MCCAY
It's a woman isn't it?
GEORGE
Something like that.
Tim grabs the bottle and pours himself another glass. He holds to bottle to George
TIM MCCAY
Another?
He slides it down the bar to Tim. He refills it.
TIM MCCAY
Well stranger, no problem that time and alcohol can't fix.
George drinks it in one gulp.
TIM MCCAY (cont.)
Wanna’ talk about it?
George takes a few bills from his wallet and lays them on the counter before standing up.
GEORGE
Enjoy the rest the of the bottle.
TIM MCCAY
Take care stranger.
Tim continues to finish off the bottle. George exits the bar.
INT. GROCERY STORE – DAY
CLOSE on a long display of different types of wine. A hand grabs a bottle of red wine.
George stands in line at the check out. He moves to the front as the cashier scans his items.
CASHIER
Interesting night you have ahead of you.
GEORGE
I guess we'll see.
CASHIER
That’ll be thirty-two, twenty-one.
George hands her the money and exits.
INT. WAITING ROOM - DAY
STEPHANIE PARKER, mid-twenties, small and petite, stands up from her desk to greet George as he enters.
STEPHANIE
Dr. Callaway, I thought you had gone home early for the day?
GEORGE
Oh, I forgot something in my office.
STEPHANIE
Do you need me to stick around for anything? I just thought since you were leaving for the day and there really isn't too much work to go over, I'd take off a little early.
GEORGE
Yes Stephanie, that would be fine.
George continues to his office.
INT. GEORGE’S OFFICE - CONTINUOUS
George walks over to his desk and sets his bag on it. He stares out the window thoughtfully.
INT. WAITING ROOM - CONTINUOUS
Stephanie finishes up some of the paperwork. She notices a folder sitting on her desk.
STEPHANIE
Oh yeah, that's right.
She picks up the folder and heads to George's office.
INT. GEORGE’S OFFICE - CONTINUOUS
As she enters, she sees George sitting behind his desk. He is staring at something in a folder.
STEPHANIE
Sir, there are some schedule changes you --
George quickly slides the folder into his top desk drawer.
STEPHANIE (cont.)
Oh. I'm sorry Dr. Callaway. I didn't mean to interrupt.
GEORGE
No, no. Stephanie please come in. What changes?
Stephanie’s distracted by the bottle of wine sitting on his desk. It’s adorned with a red bow.
STEPHANIE
(playfully)
What's the occasion?
George seems unsure of what she's talking about.
STEPHANIE (cont)
The wine?
GEORGE
Oh yeah, Sarah’s favorite.
A sad look overcomes his face. Stephanie notices it.
STEPHANIE
Are you okay, Sir?
George, realizing she's looking at him, walks from behind his desk over to her. He places his hands on her shoulders.
GEORGE
I'm fine Stephanie. Thank you for your concern.
Stephanie, caught off guard, looks at the folder she's holding. She extends it to him.
STEPHANIE
Umm, Mr. Stevens called to reschedule. Normally I wouldn't bother you with it, but he wants to come in tomorrow morning.
George takes the folder and walks back to his desk.
GEORGE
Uh-huh.
STEPHANIE
Should I set it up for tomorrow?
GEORGE
I'll take care of it Stephanie. Thank you.
Stephanie looks at George with concern. George looks up at her.
GEORGE
Aren't you taking off early?
Stephanie approaches the desk. George holds up his hand.
GEORGE (cont)
Stephanie, please. Go home, I’m fine.
Stephanie reluctantly turns around and heads towards the door. She stops before exiting.
STEPHANIE
Goodnight Dr. Callaway.
GEORGE
Goodnight Stephanie.
Stephanie exits. George opens his top drawer and pulls out the folder.
INT. SUBWAY STATION – EVENING
George sits on a bench staring at his bottle of wine. After a few moments the familiar sound of a subway is heard in the distance.
The subway pulls up and George approaches the doors.
CLOSE on his face as the sound of the subway doors opening echoes throughout the station. He has a look of resignation on his face. |
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Post by Movie Lord Productions on Nov 26, 2008 0:15:42 GMT -5
CUT TO:
EXT. CEMETERY – DAWN
LaBonte’s eyes open as he finds himself sprawled out in the dirt. He get’s his bearings and sits up and rubs the back of his head.
As he stands up he notices the folded up paper stuffed into his breast-pocket.
He removes it and begins to read.
START MUSICAL MONTAGE TO “LUX AETERNA” by Clint Mansell
GEORGE (V.O.)
I used to be happy. Great career, successful daughter and the love of a beautiful wife.
BEAT.
GEORGE (V.O.)
It’s funny how fast things change.
INT. BAR – DAY
George sits at the bar, downing one shot after another.
GEORGE (V.O.)
I used to be happy.
Tim McCay is now seated next to him, sharing the bottle.
TIM MCCAY
So what’s got you drinkin’ like a sailor in the middle of the day?
BEAT.
TIM MCCAY
It's a woman isn't it?
GEORGE
Something like that.
George takes another drink.
INT. OFFICE – DAY
George is behind his desk, thumbing through a folder. Inside is a picture of a blonde woman walking into an apartment.
GEORGE (V.O.)
Until I found out my wife had been living another life.
He flips the picture over, revealing another one beneath it. The picture is of Leonard affectionately kissing Sarah.
GEORGE (V.O.)
With another man.
INT. GROCERY STORE – DAY
George stares blankly at the cashier as she scans his items.
GEORGE (V.O.)
I was overcome with anger and hatred.
PAN DOWN to reveal the items. A bottle of red wine and a small container of RAT POISON.
GEORGE (V.O.)
And I knew I couldn’t live without her.
He puts them both in his shoulder-bag and exits.
INT. OFFICE – DAY
Stephanie stares at the bottle of wine on George’s desk.
STEPHANIE
(playfully)
What's the occasion?
George looks at her quizzically.
STEPHANIE (cont)
The wine?
GEORGE
Oh yeah, Sarah’s favorite.
CUT TO:
INT. OFFICE – LATER
George opens the rat poison and methodically pours it into the uncorked bottle of wine.
GEORGE (V.O.)
And I wouldn’t let her live without me.
He finishes and ties the bow neatly around it.
INT. SUBWAY – EVENING
George sits across from Leonard, neither of them speaking.
GEORGE (V.O.)
It’s funny how fast things change.
Now George leans forward, a bit of urgency in his voice.
GEORGE
To be perfectly frank, Leonard, I only see one thing you can do. Only one option.
LEONARD
I'm listening.
The subway lights begin to flicker eerily.
GEORGE
You have to kill her, Leonard.
Leonard's eyes widen in horror.
INT. LEONARD’S APARTMENT – EVENING
Leonard runs water over the laceration on his palm.
SARAH
I’m married.
BEAT.
SARAH
I’ve been married for over ten years.
He doesn’t respond.
SARAH
You see? When I say I’m seeing someone else, I mean you’re that someone else.
GEORGE (V.O.)
I wanted him to feel every bit of the suffering that he had brought onto me.
Leonard turns around, pointing a gun directly at her. Before she has a chance to react—
BOOM!
EXT. LEONARD’S APARTMENT – NIGHT
Leonard sits on the steps leading to his apartment. Police lights reflect off of his face.
An Officer pulls him to his feet, applying handcuffs to his wrists. He leads him to a squad car.
PAN OVER a small group of pedestrians who watch the scene as it unfolds.
GEORGE (V.O.)
But it wasn’t enough.
STOP on George as he stands amidst the on-lookers with a look of accomplishment on his face.
INT. ASYLUM RECREATION AREA – DAY
George sits across from Robert casually talking. Suzanne approaches, handing Robert a small cup of pills.
SUZANNE
Here are your meds, Robert.
George looks up and grins at her.
GEORGE
You look lovely today nurse.
She smiles coyly.
SUZANNE
Call me Suzanne.
As she walks away Robert gasps playfully.
ROBERT
I think the nurse has a crush on you.
GEORGE
That’s just crazy talk.
George looks back and watches as Suzanne helps another patient.
GEORGE (V.O.)
It will never be enough.
INT. HOTEL ROOM - DAY
Suzanne sits on the bed reluctantly talking on the phone.
SUZANNE
I’m moving on with my life. I’ve found someone and he is wonderful to me. It’s over!
She slams the phone down angrily.
CUT TO:
INT. PRISON – DAY
Leonard leans against the wall, a phone to his ear.
LEONARD
Who is it?!? Suzanne?
(BEAT)
Damn it!
He smashes the phone against the wall repeatedly in a fit of rage until he breaks down in tears.
CUT TO:
EXT. HOTEL ROOM – DAY
George stands outside the door as he hears Suzanne slam the phone down.
GEORGE (V.O.)
So I decided to take from him what he took from me.
He walks away with a smile on his face.
EXT. REFLEXION CAFÉ – DAY
George and Suzanne sit alone at a quaint table.
SUZANNE
You know my husband called today?
GEORGE
Yeah. How did that go?
She shrugs nonchalantly.
SUZANNE
I told him I want a divorce.
George leans back in his chair, crossing his arms.
GEORGE (V.O.)
And now I have.
EXT. CEMETERY – NIGHT
George sits atop the coffin alone. He carefully pours two glasses of wine.
GEORGE (V.O.)
In the end Sarah and I would have our bottle of wine.
He drinks complacently, resigned to his fate.
CUT TO:
EXT. CEMETERY – DAWN
LaBonte slowly walks to the freshly dug grave. He stands over it staring inside. His eyes are wide with shock.
A series of QUICK SHOTS flash on screen.
-- Suzanne sitting by herself at the café with a look of loneliness on her face.
-- Robert, dressed in a nice suit, works with his parents in a furniture store. He appears uncomfortable but content.
-- Nicole sits crouched beneath a payphone, tears streaming down her face. She holds the photograph in her hands. It’s her, George, and her mother...Sarah.
-- Inside his jail cell, Leonard sits quietly in the dark. He cries softly as he looks at a small picture of Sarah. He listens to a tape, it’s LaBonte’s voice. He was Leonard’s P.I.
GEORGE (V.O.)
I never did believe in fate.
END MUSICAL MONTAGE
INT. SUBWAY STATION – EVENING
Return to the CLOSE SHOT on George’s face. His expression changes to a look of surprise. The Beatles “A Day In the Life” plays softly.
PAN AROUND to reveal George is now staring at Leonard, who is seated directly inside the subway.
GEORGE (V.O.)
It’s funny how fast things change.
George quickly tucks away the bottle of wine into his shoulder-bag. He enters the subway as the doors close behind him.
GEORGE (O.S.)
Hi there. Don’t mind if I sit here do you?
The subway ROARS away into the dark tunnel.
CUT TO BLACK.
THE END. |
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