Post by Dale on Jun 28, 2009 11:33:11 GMT -5
THE DEATH OF CHARLIE WHITMORE
FEMALE VOICE (V.O.)
I'll always remember Charlie Whitmore...
FADE IN:
Inside of an office. Cluttered brown desks and empty swivel chairs. The mood lingering in the air is chillingly calm. "Fly Like An Eagle" by The Steve Miller Band plays softly over the otherwise silent SCREEN.
FEMALE VOICE (V.O.)
Guardian angel. Patron saint. Whatever you want to call it, it was him on that day.
As we slowly PAN to the right the docile office scene changes drastically. It starts with a single paper floating poetically in the air, the corners singed and brown. Black smoke billows up from an unseen fire and broken glass covers the ugly brown carpeting.
FEMALE VOICE (V.O.)
On that day he saved my life.
STOP on a young blonde woman. Her bulged and glassy eyes rest atop thick streaks of black makeup that runs down her damp cheeks. She covers her mouth fighting desperately to breath as her eyes flutter abnormally. After a brief struggle they close as she enters an unconscious state.
FEMALE VOICE (V.O.)
I'll never forget Charlie Whitmore....
CUT TO BLACK.
FADE IN:
INT. WHITMORE RESIDENCE - MORNING
WIDE SHOT of a plain white ceiling. A fan spins slowly, hypnotically. A window nearby is open, a red curtain fluttering fluidly in the wind. "Fly Like An Eagle" resonates from outside, probably a car stereo.
PADMA (O.S.)
Charlie! You're going to be late for work!
CLOSE on an eye as it SNAPS open. Dark green. Lying motionless on the large bed is CHARLIE WHITMORE. He swipes off the white satin sheets that rest over him.
CHARLIE
Ughh....
More inaudible sounds come from outside the bedroom. Faint sounds of overexcited children and clanking dishes. Charlie lies perfectly still, wearing only a fitted pair of black pajama bottoms.
He is a white male of average stature in his mid-to late thirties. His physique is nothing to write home about. Not quite fat, just "blah".
After a BEAT, he finally musters up enough energy to roll out of the bed and head toward the bathroom door. He casually drops his pajama bottoms as he enters.
INT. BATHROOM - CONTINUOUS
Charlie gingerly massages a clump of shampoo into his short brown hair. A CLANKING noise echoes through the bathroom causing him to pause and open a single eye. He listens for a few moments, but the sound is gone.
SWOOSH!
A toilet flushes loudly as Charlie's eyes grow wide. The water turns scolding hot as Charlie yelps, desperately trying to find a safe-zone in the confined shower. He pokes his head through the curtain to see his nine year old daughter, EMILY, rushing out of the door with her school bag bouncing on her back.
CHARLIE
Emily! How many times have I--
EMILY
(interrupting)
Sorry daddy!
Charlie pulls his head back in the shower angrily. He cautiously steps back into range of the flowing water, hoping the burst of fire has passed.
INT. KITCHEN - MORNING
CLOSE on a pan as it sizzles, quickly frying a pancake. PAN OUT to Charlie's wife, PADMA, flipping the pancake over amidst her morning rituals.
Padma Whitmore is also in her mid-thirties, though her age barely shows. Born in India, she was brought to San Francisco at an early age. Since then she's been all over the country, never staying in one place for too long.
She swipes a lock of her black hair from her mouth as she slides some pancakes onto a plate, handing it to her son JACOB. He barely acknowledges her, transfixed on the sound pumping from the Ipod at his hip to the earpiece in his ear.
PADMA
(looking toward the ceiling)
Where in God's name is your father, Jacob?
Jacob, a twelve year old boy with his mother's bronze skin and his father's square-jaw, ignores her question. He pinches his sister, who slaps at him playfully.
EMILY
He's in the shower.
Emily giggles deviously. Padma squints with a look of suspicion causing Emily's laughs to increase twice-over.
PADMA
Well, he better hurry up or he's going to be--
Charlie enters, stopping her sentence short. He is cleanly shaven and dressed in a casual suit. Padma turns back to the pancakes, slightly giving him the cold shoulder. He leans in and kisses her cheek.
CHARLIE
Good morning.
PADMA
Good morning.
Charlie takes a seat across the table from the two children, pouring himself a glass of orange juice. Jacob removes one of his earphones.
JACOB
Can we go fishin' this weekend, Dad?
Charlie sifts through the morning paper, barely paying attention to the question.
CHARLIE
Maybe. We'll see.
JACOB
Ty, from school, is goin' to Finger Lakes with his Dad. Maybe we can go too.
CHARLIE
Finger Lakes? Get's busy this time of year.
(beat)
Fish like the cold weather. Anyway, we'll see Jake.
Jacob nods, putting the ear piece back in and flooding his head with music.
CHARLIE
Emily can come with us. She can hook the worms.
Jacob doesn't hear him and Emily barely looks up from her textbook.
EMILY
That's gross. Totally uncalled for.
CHARLIE
You know what else is uncalled for Emily Rae? Flushing the toilet when--
HONK! A car horns SOUNDS loudly from outside. Jacob and Emily hop up and race to the door with their backpacks.
EMILY
Sorry Dad, that's our ride!
CHARLIE
(muttering under his breath)
Of course it is.
Padma leans down and wraps her arms around his neck.
CHARLIE
Listen, hon. I'm sorry about last night.
PADMA
(quietly)
It's alright. How long do we have before you run out of her like that?
She circles him, kneeling down to straighten his tie. She eyes him in a hopelessly passionate way. He awkwardly looks at his watch, unable to keep eye contact.
CHARLIE
I actually should get going, running late as it is.
They both stand as Charlie heads toward the door.
PADMA
How about dinner tonight? Just the two of us? I can send Em' and Jacob over to my mother's house for the night.
CHARLIE
I'm sorry, hon. It's gonna' be a long night tonight, I'll probably get home after dinner anyway.
Her eyes fall to the ground. Part embarrassed, part sadness. Charlie notices and sighs, placing his hand on her chin.
CHARLIE (cont.)
Maybe this weekend we can drive up north, take a day just for us.
Padma nods, though not really enthused about the proposal.
CHARLIE (cont.)
I'll see you later, okay?
He opens the door and heads outside. As he nears the white Mazda parked in the driveway, Padma sighs in frustration.
PADMA
Charlie, be careful!
He nods, waving back to her. She watches as the little white car zooms down the road, making a right turn and out of sight.
INT. MAZDA - MORNING
Charlie rushes through traffic at a somewhat alarming rate. He occasionally glances in the rearview mirror, fixing his ruffled hair. As he notices the traffic slowing, he quickly becomes impatient.
CHARLIE
Come on! Get out of the way.
A RING comes from the car. It's Charlie's cell phone. The screen says SANDIE. He flips it open, putting it to his ear.
CHARLIE
Well hello there, Sandie.
Sandie's voice is instantly recognizable as the VO from the opening scene.
SANDIE (O.S.)
Hey Charlie. Just a quick reminder on a couple things. You've got a meeting with Scott Zuckerman from Burgeron Financial at eight-thirty.
CHARLIE
Assuming he's on time.
SANDIE (O.S.)
Yes, assuming. That is to also assume you will be on time as well?
CHARLIE
Askin' a bit much, don't ya' think?
SANDIE (O.S.)
(chuckling)
Well I'm almost there so I'll keep him busy until you arrive.
CHARLIE
Sandie? What would I do without you?
SANDIE (O.S.)
That's a very good question. About the other reminder..
(beat)
Are we still on for tonight?
Charlie weaves between two slower-moving cars.
CHARLIE
Absolutely.
SANDIE (O.S.)
Great! I just, umm...wanted to double-check. See you soon, Charlie.
Charlie snaps the phone shut, grinning widely. Out of the corner of his eye he catches a glimpse of a picture resting just below his gas gauge. The grin dissipates slowly.
It's a picture of his family. Padma, Jacob and Emily all smiling into the camera, probably all saying "cheese".
He hurriedly changes lanes and passes a small hybrid-car, coming dangerously close to side-swiping it. He turns the radio on and changes the station a few times looking for something interesting.
RADIO D.J.
Thanks for tuning in this lovely Tuesday morning. The weather is getting colder, get ready because the holidays are comin'. Well, let's get this Tuesday morning off to a good start. Here's a tune everyone can enjoy. Steve Miller Band's "Fly Like An Eagle".
As the song starts, Charlie looks at his radio. A little deja-vu kicking in. He looks up as he passes a homeless man on the sidewalk. He is African-American, with a dirty green military-style jacket on. Charlie exchanges a strange look with the man, who is holding a large cardboard sign that reads: THE END IS NEAR (the word NEAR is crossed out and replaced with) HERE! After a few moments of staring, Charlie looks forward again.
CHARLIE
Damn...
The light has turned yellow and he guns it, trying to beat the light. Just before he makes it, it goes to red. As he is crossing the intersection a dump-truck comes into view, plowing into the side of the Mazda. The car whips sideways out of control, eventually hitting head-on with a telephone pole.
CUT TO:
BLACK SCREEN. Faint voices are heard, but we can't make out the words at first. Screams ring out, as the voices grow louder.
PARAMEDIC (O.S.)
Sir, can you hear me? Sir?
Beat.
PARAMEDIC (O.S.)(cont.)
Paul, he's got no pulse!
The sound of a fire can be heard, but is drowned out by loud screams.
PARAMEDIC (O.S.)(cont.)
He's gone...
A coughing sound grows near. A smoker’s cough.
UNKNOWN VOICE (O.S.)
(raspy voice)
Sum' bitch.
INT. WHITMORE RESIDENCE - MORNING
OVERHEAD SHOT of Charlie as his eyes snap open. A bead of sweat trickles down his cheek. "Fly Like An Eagle" is playing from a car outside. Charlie looks around the room, everything seeming all too familiar.
PADMA (O.S.)
Charlie, you're going to be late for work!
Charlie hesitates a few moments before climbing out of the bed. He rubs his hair and heads to the bathroom. He slips his pajama bottoms off, pausing briefly before entering.
INT. BATHROOM - CONTINUOUS
He stands under the water as it pours down over his conditioner-covered hair. Familiar sounds come from outside the shower. Like a light bulb going on in Charlie's head his eyes burst open and he shoots his head around the curtain.
CHARLIE
No hunny, don't flush that!
SWOOSH! He's too late. All he sees is her blonde hair flipping as she trots through the door.
EMILY
Sorry daddy!
Charlie jumps from the hot water reigning down, almost ripping the curtain off.
INT. KITCHEN - MORNING
Charlie peeks his head around the corner cautiously. Low and behold, there is his wife Padma flipping pancakes over the burner.
PADMA
Good morning, honey.
She smiles brightly at him, which he returns in a strange manner. She sets the plate at an empty spot on the table, pouring a glass of orange juice.
PADMA (cont.)
Better eat, Charlie. You're running late as it is.
He sits, still wearing the rightful look of confusion.
JACOB
Hey Dad, can we go fishin' this weekend?
Charlie doesn't respond. Padma notices his odd state.
HONK! The awkward silence is broken by the sound of a car horn from outside. The two kids stampede to the front door.
PADMA
Have a good day guys!
EMILY
(shutting the door behind her)
Thanks Mom!
She takes a seat next to Charlie.
PADMA
What's wrong?
CHARLIE
(snapping back to reality)
Huh?
PADMA
You don't look right today.
CHARLIE
Nah, I'm okay. Just a little deja-vu I guess.
Padma slides a stack of pancakes onto his plate.
PADMA
For example?
BEAT.
CHARLIE
I...I feel like I've done this before.
PADMA
(playfully offended)
Are you trying to tell me not to make pancakes anymore, Charles?
He lightly laughs.
CHARLIE
It's not that. It's everything. The kids, the shower...I don't know.
PADMA
You're probably just stressed, Charlie. Why don't you come home early tonight? We can have a nice dinner. I'll send Emily and Jacob over to my Mother's house for the night.
BEAT as Charlie's mind seems to struggle.
CHARLIE
I'm sorry. I've--
(pauses)
Again! This has happened, Padma. I know it. I've gotta' work late tonight. I know it's not what you want to hear. Not this time, not last time.
PADMA
So this is Groundhog Day? You've lived this day before?
Charlie shrugs in the absurdity of her statement.
CHARLIE
I rush out of here. Late. I run a red light...BOOM! I get hit by some sort of garbage truck or something. I don't think I survive.
Padma looks at him worriedly.
PADMA
Charlie, sometimes the mind does strange things. You probably had this dream last night and you're remembering fragments of it. That's all.
Charlie doesn't yet appear convinced.
PADMA (cont.)
Think about it this way. If what you think is real, is REAL, then what is there to worry about? You get hit by a truck, you wake up tomorrow good as new. Right?
She smiles devilishly at him and he finally begins to loosen up.
CHARLIE
(jokingly)
Maybe you're onto something. I better get to work though. I'm sorry, it was just so real.
She kisses his cheek.
PADMA
It's okay.
He stands, heading toward the front door. One last goodbye kiss and he begins his walk toward the Mazda.
PADMA (cont.)
Charlie! Don't run any red lights, okay?
He shoots her a grin and gets into the car.
INT. MAZDA - MORNING
Charlie slowly cruises through traffic, occasionally glancing down at the speedometer. 41...42...41. He flips on the radio and "Fly Like An Eagle" blares through the speakers. He angrily shuts it off as he passes the familiar black homeless man with the apocalyptic sign.
Just after passing the man he slowly reaches the intersection. The light turns yellow, but Charlie chooses to stop this time. As it turns red, Charlie watches in anticipation.
WHOOSH!
A dump-truck flies by at an alarming rate as Charlie exhales, laughing in relief. His shoulders loosen as he relaxes. In the distance, the faint sounds of sirens can be heard, growing closer and closer.
The light turns green and Charlie slowly moves forward --
WHAM!
A cherry red corvette storms through the intersection, much like the dump-truck, and plows into Charlie. His car swerves to the left, spinning wildly until it hits a light post.
CUT TO BLACK.
Screams ring out, echoing in the DARKNESS. The familiar smoker's voice is heard plain as day.
UNKNOWN VOICE (O.S.)
Charlie? Wake up Charlie...
The SCREEN comes into FOCUS as Charlie's eyes open. Standing over him, hand stretched out, is the black homeless man. After a moment Charlie takes his hand, struggling to get to his feet.
CHARLIE
What...what happened?
All around Charlie can see the wreckage. His Mazda billowing with smoke. The street filled with glass and debris. EMT's run around the scene, trying to help whomever they can.
UNKNOWN MAN
You died.
Charlie's legs buckle as he steps backward, trying to catch his breath.
CHARLIE
I what?!?
UNKNOWN MAN
You died, Charlie. Plain and simple.
CHARLIE
I don't feel dead.
UNKNOWN MAN
I tend to have that effect on people.
Charlie shakes his head angrily and walks toward an ambulance.
CHARLIE
You're crazy!
(to a medic)
Hey! Can I get some help?!
The EMT's aren't paying any attention to his cries.
UNKNOWN MAN
They can't help you.
CHARLIE
I just got into a car accident! Of course they can help me!
UNKNOWN MAN
Where are your bruises? Wounds? Scrapes or scratches?
Charlie pauses a moment, looking up and down his arms and elbows. Nothing. An EMT passes right next to him.
CHARLIE
Please help...me.
His words trail off as the man walks by, not seeing Charlie at all.
CHARLIE (cont.)
What happened to me?
The man slightly smiles.
UNKNOWN MAN
Let's take a walk, Charlie.
He puts his arm around Charlie and leads him out of the chaos.
EXT. ALLEY - DAY
Charlie and the homeless man walk down a dirty alley. Litter and trash line the sides, along with graffiti marks splattered across the chipping walls.
A small sign hangs above a beautifully finished oak door. The door stands out against the rest of the alley...it just doesn't quite fit. The sign reads:
"WYNONA T. CARMONA’S LITTLE PIECE OF ITALY"
They enter.
INT. WYNONA T. CARMONA’S LITTLE PIECE OF ITALY - DAY
Charlie looks around the quaint little restaurant in confusion. His body feeling anxious as he shuffles in his seat.
CHARLIE
What are we doing here?
UNKNOWN MAN
Best way to have a good conversation is over some grub. Best grub is found here.
A short waitress with a N.Y. accent approaches, smiling brightly at the homeless man.
WAITRESS
Frankie, so good to see you! What can I get ya'?
The man kisses the waitress' hand, causing her to blush.
UNKNOWN MAN
Ah, Wynona...it's been so long. Still as pretty as ever.
(looks at the menu briefly)
I think I'll have the spaghetti.
WAITRESS
Of course.
(to Charlie)
And for you?
Charlie doesn't respond, naturally still overwhelmed by the situation. She raises her eyelids inquisitively.
CHARLIE
She can....see me?
She gives him a very strange look now. Like someone who looks at an escaped mental patient.
UNKNOWN MAN
Don’t mind him, sweetie. Give him the same as me.
She nods and heads toward the kitchen.
CHARLIE
Why is it that she can see me, but the EMT’s couldn’t?
UNKNOWN MAN
Because I want her to, Charlie.
CHARLIE
What do you mean YOU want her to? Who the hell are you?
UNKNOWN MAN
I guess a formal introduction is in order. My name is Franklin. Franklin Roosevelt. It's nice to meet you Charlie Whitmore.
He reaches his hand out to shake, but Charlie doesn't reciprocate the gesture.
CHARLIE
(doubtful)
Franklin Roosevelt? Like the President?
Franklin rolls his eyes, pulling his hand back.
FRANKLIN
One guy comes along and gets a simple title such as President and now he's the standard? Fine. Yes, like the President. Lord knows I been around a lot longer than he ever was.
CHARLIE
Well Franklin Roosevelt, I suggest you give me some answers or I'm out that door right now.
Franklin sips on a glass of red wine, his eyes brimming with confidence.
FRANKLIN
Where are you gonna' go Charlie? Everything you know, everything you've ever known, is gone to you.
Charlie looks away sadly.
FRANKLIN (cont.)
Don't get all wet-faced on me now. Your family isn't dead. You'll see them again. Soon.
CHARLIE
I don't understand.
The waitress brings the plates of steaming spaghetti and sets it in front of them quietly.
FRANKLIN
Best spaghetti you'll ever taste, Charlie.
(beat)
Look, nobody ever understands. It's natural. Yesterday...well today I guess, you were driving to work. You had an accident and you didn't survive.
CHARLIE
Right. Then today I wake up and it all is happening again. Same as yesterday.
FRANKLIN
Bingo Charlie-boy. Soon you will be on your third iteration.
Charlie sighs, throwing his hands in the air in defeat.
CHARLIE
Third iteration?
(beat)
Is this hell? Or have I just gone insane?
Franklin laughs whole-heartedly.
FRANKLIN
This is far from hell, my friend. And you are far from insane.
CHARLIE
So if I've died...twice. Why do I keep living this "iteration" over and over? Punishment? Some kind of purgatory? Have I committed some terrible act and am now paying for my sins?!?
FRANKLIN
What is the deal with you, Charlie? I think television has given you a twisted, guilt-ridden mind. Again, this is NOT hell.
Franklin wipes his mouth as he finishes his meal.
FRANKLIN (cont.)
Time for round three, Charlie. You should think about trying an alternative way to work this time.
CHARLIE
(desperate)
Wait! I don't understand. Why am I here? What am I supposed to be doing?
Franklin sighs, starting to become visibly annoyed.
FRANKLIN
You're here, Charlie, because you are a much needed piece of the puzzle. You need to save someone important by sacrificing yourself. Do this and everything will fall into place. Your path will be complete. Simple is that.
(beat)
It's already laid out, Charlie. Unfortunately someone is making it very difficult. But you'll get there.
CHARLIE
Save someone? Who?
FRANKLIN
A woman here in the city.
CHARLIE
Who?
FRANKLIN
I can't tell you her name, Charlie. That's not how it works. A woman in your life is being wronged by you. That's the simplest way to put it. Save her and it is complete.
Charlie stares on in total confusion as Franklin smiles brightly, closing his eyes for a short moment.
The SCREEN CUTS TO BLACK.
FRANKLIN (O.S.)
Got it?
CUT TO:
INT. WHITMORE RESIDENCE - MORNING
"Fly Like An Eagle" plays once again. Charlie wakes up, checking his surroundings in bewilderment. He jumps out of bed and rushes to the bathroom.
INT. BATHROOM - MORNING
SWOOSH!
Charlie looks down in defeat as the scolding water falls onto his back.
EMILY (O.S.)
Sorry Daddy!
INT. KITCHEN - MORNING
He walks through the kitchen, barely even looking at his family. Padma notices as he puts his jacket on in a hurry and exits through the front door.
PADMA
Charlie?
She notices his car keys lying on the table and snatches them up, following him outside.
EXT. WHITMORE RESIDENCE - CONTINUOUS
Charlie is speed-walking across the lawn like a madman as Padma exits the screen door.
PADMA
Charlie, where the hell are you going? You forgot your keys!
CHARLIE
(without looking back)
I'm taking the subway today.
She appears taken aback by the comment, her eyebrows raising with curiosity.
PADMA
The subway?!? Charlie that's two miles away!
He doesn't respond as he continues down the sidewalk. Padma watches on, her face filled with worry.
INT. SUBWAY - MORNING
Charlie sits alone in the back of the train, eyeing the other passengers in a paranoid fashion. Although it's day, you wouldn't know it in the dark and loud tunnel. The subway lights flicker eerily.
Charlie notices the other passengers all staring at him. The sweat pours from his flushed face. A young kid, couldn't be more than twenty, stands up and pulls a gun from the front of his pants.
PUNK KID
Everyone stay calm! All I want is your wallets and your purses!
Charlie stares wide-eyed at the robber, unable to move. The kid points his gun at an elderly man, who doesn't budge.
PUNK KID
Don't be a hero, old man.
ELDERLY MAN
You want my wallet? You're gonna' have to--
BOOM!
The gun fires, hitting the man squarely in the chest. He slumps to the left, his white shirt quickly turning a dark red. Screams echo through the train. The kid grabs a young blonde woman, shoving the barrel into her big curly mess-of-a-hairdo.
PUNK KID
Who else wants to be a hero? I'll put a bullet into this bitch’s skull!
Charlie watches, transfixed by the scene. People begin to hand over their belongings, the blonde woman crying loudly. Suddenly Charlie hears a voice, ringing out in his head like God himself.
FRANKLIN (V.O.)
You're here, Charlie, because you are a much needed piece of the puzzle. You need to save someone important by sacrificing yourself. Do this and everything will fall into place. Your path will be complete. Simple as that.
The kid approaches Charlie cautiously.
FRANKLIN (V.O.)
Save her and it will be complete...
BEAT.
PUNK KID
Gimme' your wallet, friend.
Charlie's fists clench tightly as he leaps from his seat, hurling toward the kid. Just as he reaches, the kid throws the woman to the side, her body clanging against a metal hand rail.
Charlie tackles him, landing torso-to-torso. He reaches his arm back and brings his fist crashing down when--
BOOM!
The gun fires. Charlie's eyes widen as he falls back, clutching his chest in agony. Blood seeps through his fingers as his eyes rolls back in his head.
CUT TO:
Clouds. Endless puffy clouds. Charlie stares at the clouds in wonderment, they look so close he might be able to reach out and touch them.
CHARLIE
Am I dead?
FRANKLIN (O.S.)
Nope.
He looks to his left to see Franklin sitting next to him, still looking particularly annoyed. PAN OUT to see they are on a Ferris wheel. The very top.
CHARLIE
I loved these when I was a kid.
FRANKLIN
That's why we’re here.
CHARLIE
I thought...I thought I was supposed to save her. I guess not.
FRANKLIN
Not her.
(serious tone)
Listen Charlie. We're running out of time.
CHARLIE
Time? What time?!?
Franklin rolls his eyes and tilts his head back trying to stay cool and collected. The ride begins to move slowly.
FRANKLIN
Let's say, hypothetically, a war is going on. A battle, so to speak. It's much bigger than both of us, that's for sure. This woman...the one you need to save today, she cannot die. Her path leads to something important.
(beat)
VERY important. Something that will shape the future. But the...opposition...is putting things in your path. Obstacles.
CHARLIE
Why?
Charlie notices as the Ferris wheel's pace quickens.
FRANKLIN
He thinks he can win. He doesn't want you to arrive at your ultimate destination.
CHARLIE
Where is my ultimate destination?
The two whirl around the wheel at a dangerously fast speed.
FRANKLIN
Work. Simple, yeah? That is where you will save her Charlie.
(beat)
That is where you will die.
CUT TO:
INT. WHITMORE RESIDENCE - MORNING
"Fly Like An Eagle" plays from outside as Charlie awakens. He hops out of bed and rushes downstairs. Same old, same old.
INT. MAZDA - MORNING
He rushes through traffic, apparently not learning from his first iteration. As he slows to a red light his phone RINGS.
CHARLIE
Hey Sandie.
SANDIE (O.S.)
Hey, just wanted to give you a couple of reminders.
CHARLIE
Meeting with Scott Zuckerman and yes we're still on for tonight.
Awkward pause.
SANIDE (O.S.)
You okay?
(beat)
Is it your wife?
Charlie's eyes, which have been staring at the road in a docile state, now come to life.
CHARLIE
What?
SANDIE (O.S.)
I mean, I know you said it was falling apart. Are you having second thoughts?
CHARLIE
Sandie, what are you talking about? Second thoughts about what?
SANDIE (O.S.)
Trying to save your marriage.
Charlie's face lights up as he snaps the phone shut, quickly spinning into a U-turn. He stops at the red light, his hands trembling with excitement.
CHARLIE
(to himself)
It was her! All this time and she was right in front of me.
Past his head, through the driver's side window, we see a man in green cargo pants and a camouflage jacket running full speed toward his car. His foot rises in the air as--
BOOM!
Glass shatters, spraying across Charlie's face. Before he knows what's going on, his door is opened and he is pulled out by the collar of his shirt. The man tosses him to the pavement and jumps into his car.
He raises his eyebrows tauntingly and flashes a devilish grin. Charlie looks up to see the man holding a long barrel .357. BOOM!
CUT TO BLACK.
INT. WHITMORE RESIDENCE - MORNING
"Fly Like An Eagle" plays from outside as Charlie's eyes SNAP open. As he wakes, he immediately bursts into a hysterical laughter.
INT. KITCHEN - MORNING
Charlie sits at the table as the kids rush out the door. His wife walks by and he grabs her by the hand, pulling her close.
CHARLIE
I love you.
She looks at him oddly.
PADMA
Well, I love you too.
CHARLIE
I just want you to know that. I know I've been distant lately and I'm sorry. I've made mistakes in my life and today I'm going to being the process of making them all right.
(beat)
But through everything, I've always loved you more than anything.
PADMA
Where is this coming from?
CHARLIE
When you see someone, you never really know if it's the last time you ever will. You have to make every moment count.
He leans in and kisses her passionately. A kiss that, for the first time in years, gave Padma butterflies.
INT. MAZDA - MORNING
Charlie casually drives through traffic. As he nears a bridge he sees Franklin standing alongside the road holding his prophetic sign. Franklin nods and smiles to Charlie, who's eyes fill with hope.
INT. PARKING GARAGE - MORNING
He turns the ignition off and the car drones down to silence. He takes a moment, sitting in the dark and quiet garage, to take a long and deep breath. He reaches forward and grabs the picture of his family from the dash, staring at it longingly.
BEAT.
He smiles and exits the car.
EXT. WORK - MORNING
Charlie walks up a few cement steps toward a door. The door leading to work. Finally. As he reaches it, a voice calls from behind.
SANDIE (O.S.)
Charlie! Wait up!
Charlie turns to see the mysterious Sandie hustling up the steps with a grin. We can now see that Sandie, the woman from the VOICE OVER's, is also the woman from the opening scene. Crouched under her desk, mascara running down her face.
CHARLIE
Hey.
SANDIE (O.S.)
You made it.
Charlie nods triumphantly.
CHARLIE
Yes I did.
She leans in for a kiss, causing Charlie to back away.
CHARLIE (cont.)
Listen, there is something I need to tell you.
SANDIE
Yes?
CHARLIE
(hesitating)
I...I can't see you anymore. I'm sorry. It was a mistake from the beginning and I know that now.
Sandie stares at him with a betrayed look in her eyes.
SANDIE
I knew it. God damnit, I knew it from the beginning. You were never going to leave your wife, were you?
Charlie looks away.
SANDIE (cont.)
Whatever, Charlie. I guess I should think before I jump.
She stares at him for a long awkward moment, her rage increasing exponentially by the second. She tosses a coffee, one she had bought for him, at his feet angrily.
CHARLIE
Come on, Sandie. I didn't mean to hurt you...that is the last thing I wanted.
SANDIE
Save it, Charlie!
She turns to walk away as Charlie reaches for her.
SANDIE (cont.)
Don't touch me! Find someone else to answer your damn phone!
She quickly storms away. Charlie turns to the door, sighing overtly loud. The door opens for him as he looks up to see Franklin, dressed as a typical doorman.
FRANKLIN
Good day Mr. Whitmore.
Charlie seems puzzled.
CHARLIE
I made it...now what? I...I'm not sure if I "saved" my wife, but I tried.
FRANKLIN
It wasn't your wife, Mr. Whitmore.
Franklin nods toward Sandie as she hails a bright yellow taxi, her face still blood-red with fury. Charlie turns back to Franklin.
CHARLIE
Now what do I do?
FRANKLIN
Go on to work. I believe you have a meeting with Scott Zuckerman at eight-thirty, is that right?
CHARLIE
That's what I hear.
The two laugh softly as Franklin nods in approval. He extends his hand, which Charlie this time accepts.
FRANKLIN
Everything is going to be alright now, Charlie.
Charlie smiles graciously as he enters the building.
INT. ELEVATOR - MORNING
Charlie steps into an elevator, only occupied by one other man, and pushes the button for "98". As he waits patiently, "Fly Like An Eagle" plays quietly from the elevator sound system.
DING!
INT. OFFICE - MORNING
As he steps out into his office, "A Day In the Life" by The Beatles begins to play. Charlie reaches his desk and stands behind it. The desk has a beautiful view of the city through a typical large glass window.
PAM, a woman in her late forties, shows up to greet him.
PAM
Good morning Mr. Whitmore.
CHARLIE
Good morning Pam. Looks like we're going to have to hire a new secretary.
(beat)
Sandie quit.
Pam rolls her eyes, unsurprised. She extends a stack of papers in her arms toward Charlie.
PAM
I have a few things you need to sign. Mostly sales reports.
He nods, taking them. He kneels down to his desk and begins signing. He pauses.
CHARLIE
What's the date today?
PAM
The date? It's...it's umm...the eleventh. Of September.
Charlie nods, remembering. He finishes signing and hands them back to her.
PAM (cont.)
Thanks! These were supposed to be in last night...you saved my butt.
CHARLIE
My pleasure.
As she walks away, Charlie goes to the window and takes in the breathtaking view. A soft RUMBLE fills the air, getting closer and closer.
P.O.V. from behind Charlie Whitmore, we see an enormous 747 come into view, heading straight toward the window as he watches silently. Awestruck.
CUT TO BLACK.
Written by Hanelle
The End.
FEMALE VOICE (V.O.)
I'll always remember Charlie Whitmore...
FADE IN:
Inside of an office. Cluttered brown desks and empty swivel chairs. The mood lingering in the air is chillingly calm. "Fly Like An Eagle" by The Steve Miller Band plays softly over the otherwise silent SCREEN.
FEMALE VOICE (V.O.)
Guardian angel. Patron saint. Whatever you want to call it, it was him on that day.
As we slowly PAN to the right the docile office scene changes drastically. It starts with a single paper floating poetically in the air, the corners singed and brown. Black smoke billows up from an unseen fire and broken glass covers the ugly brown carpeting.
FEMALE VOICE (V.O.)
On that day he saved my life.
STOP on a young blonde woman. Her bulged and glassy eyes rest atop thick streaks of black makeup that runs down her damp cheeks. She covers her mouth fighting desperately to breath as her eyes flutter abnormally. After a brief struggle they close as she enters an unconscious state.
FEMALE VOICE (V.O.)
I'll never forget Charlie Whitmore....
CUT TO BLACK.
FADE IN:
INT. WHITMORE RESIDENCE - MORNING
WIDE SHOT of a plain white ceiling. A fan spins slowly, hypnotically. A window nearby is open, a red curtain fluttering fluidly in the wind. "Fly Like An Eagle" resonates from outside, probably a car stereo.
PADMA (O.S.)
Charlie! You're going to be late for work!
CLOSE on an eye as it SNAPS open. Dark green. Lying motionless on the large bed is CHARLIE WHITMORE. He swipes off the white satin sheets that rest over him.
CHARLIE
Ughh....
More inaudible sounds come from outside the bedroom. Faint sounds of overexcited children and clanking dishes. Charlie lies perfectly still, wearing only a fitted pair of black pajama bottoms.
He is a white male of average stature in his mid-to late thirties. His physique is nothing to write home about. Not quite fat, just "blah".
After a BEAT, he finally musters up enough energy to roll out of the bed and head toward the bathroom door. He casually drops his pajama bottoms as he enters.
INT. BATHROOM - CONTINUOUS
Charlie gingerly massages a clump of shampoo into his short brown hair. A CLANKING noise echoes through the bathroom causing him to pause and open a single eye. He listens for a few moments, but the sound is gone.
SWOOSH!
A toilet flushes loudly as Charlie's eyes grow wide. The water turns scolding hot as Charlie yelps, desperately trying to find a safe-zone in the confined shower. He pokes his head through the curtain to see his nine year old daughter, EMILY, rushing out of the door with her school bag bouncing on her back.
CHARLIE
Emily! How many times have I--
EMILY
(interrupting)
Sorry daddy!
Charlie pulls his head back in the shower angrily. He cautiously steps back into range of the flowing water, hoping the burst of fire has passed.
INT. KITCHEN - MORNING
CLOSE on a pan as it sizzles, quickly frying a pancake. PAN OUT to Charlie's wife, PADMA, flipping the pancake over amidst her morning rituals.
Padma Whitmore is also in her mid-thirties, though her age barely shows. Born in India, she was brought to San Francisco at an early age. Since then she's been all over the country, never staying in one place for too long.
She swipes a lock of her black hair from her mouth as she slides some pancakes onto a plate, handing it to her son JACOB. He barely acknowledges her, transfixed on the sound pumping from the Ipod at his hip to the earpiece in his ear.
PADMA
(looking toward the ceiling)
Where in God's name is your father, Jacob?
Jacob, a twelve year old boy with his mother's bronze skin and his father's square-jaw, ignores her question. He pinches his sister, who slaps at him playfully.
EMILY
He's in the shower.
Emily giggles deviously. Padma squints with a look of suspicion causing Emily's laughs to increase twice-over.
PADMA
Well, he better hurry up or he's going to be--
Charlie enters, stopping her sentence short. He is cleanly shaven and dressed in a casual suit. Padma turns back to the pancakes, slightly giving him the cold shoulder. He leans in and kisses her cheek.
CHARLIE
Good morning.
PADMA
Good morning.
Charlie takes a seat across the table from the two children, pouring himself a glass of orange juice. Jacob removes one of his earphones.
JACOB
Can we go fishin' this weekend, Dad?
Charlie sifts through the morning paper, barely paying attention to the question.
CHARLIE
Maybe. We'll see.
JACOB
Ty, from school, is goin' to Finger Lakes with his Dad. Maybe we can go too.
CHARLIE
Finger Lakes? Get's busy this time of year.
(beat)
Fish like the cold weather. Anyway, we'll see Jake.
Jacob nods, putting the ear piece back in and flooding his head with music.
CHARLIE
Emily can come with us. She can hook the worms.
Jacob doesn't hear him and Emily barely looks up from her textbook.
EMILY
That's gross. Totally uncalled for.
CHARLIE
You know what else is uncalled for Emily Rae? Flushing the toilet when--
HONK! A car horns SOUNDS loudly from outside. Jacob and Emily hop up and race to the door with their backpacks.
EMILY
Sorry Dad, that's our ride!
CHARLIE
(muttering under his breath)
Of course it is.
Padma leans down and wraps her arms around his neck.
CHARLIE
Listen, hon. I'm sorry about last night.
PADMA
(quietly)
It's alright. How long do we have before you run out of her like that?
She circles him, kneeling down to straighten his tie. She eyes him in a hopelessly passionate way. He awkwardly looks at his watch, unable to keep eye contact.
CHARLIE
I actually should get going, running late as it is.
They both stand as Charlie heads toward the door.
PADMA
How about dinner tonight? Just the two of us? I can send Em' and Jacob over to my mother's house for the night.
CHARLIE
I'm sorry, hon. It's gonna' be a long night tonight, I'll probably get home after dinner anyway.
Her eyes fall to the ground. Part embarrassed, part sadness. Charlie notices and sighs, placing his hand on her chin.
CHARLIE (cont.)
Maybe this weekend we can drive up north, take a day just for us.
Padma nods, though not really enthused about the proposal.
CHARLIE (cont.)
I'll see you later, okay?
He opens the door and heads outside. As he nears the white Mazda parked in the driveway, Padma sighs in frustration.
PADMA
Charlie, be careful!
He nods, waving back to her. She watches as the little white car zooms down the road, making a right turn and out of sight.
INT. MAZDA - MORNING
Charlie rushes through traffic at a somewhat alarming rate. He occasionally glances in the rearview mirror, fixing his ruffled hair. As he notices the traffic slowing, he quickly becomes impatient.
CHARLIE
Come on! Get out of the way.
A RING comes from the car. It's Charlie's cell phone. The screen says SANDIE. He flips it open, putting it to his ear.
CHARLIE
Well hello there, Sandie.
Sandie's voice is instantly recognizable as the VO from the opening scene.
SANDIE (O.S.)
Hey Charlie. Just a quick reminder on a couple things. You've got a meeting with Scott Zuckerman from Burgeron Financial at eight-thirty.
CHARLIE
Assuming he's on time.
SANDIE (O.S.)
Yes, assuming. That is to also assume you will be on time as well?
CHARLIE
Askin' a bit much, don't ya' think?
SANDIE (O.S.)
(chuckling)
Well I'm almost there so I'll keep him busy until you arrive.
CHARLIE
Sandie? What would I do without you?
SANDIE (O.S.)
That's a very good question. About the other reminder..
(beat)
Are we still on for tonight?
Charlie weaves between two slower-moving cars.
CHARLIE
Absolutely.
SANDIE (O.S.)
Great! I just, umm...wanted to double-check. See you soon, Charlie.
Charlie snaps the phone shut, grinning widely. Out of the corner of his eye he catches a glimpse of a picture resting just below his gas gauge. The grin dissipates slowly.
It's a picture of his family. Padma, Jacob and Emily all smiling into the camera, probably all saying "cheese".
He hurriedly changes lanes and passes a small hybrid-car, coming dangerously close to side-swiping it. He turns the radio on and changes the station a few times looking for something interesting.
RADIO D.J.
Thanks for tuning in this lovely Tuesday morning. The weather is getting colder, get ready because the holidays are comin'. Well, let's get this Tuesday morning off to a good start. Here's a tune everyone can enjoy. Steve Miller Band's "Fly Like An Eagle".
As the song starts, Charlie looks at his radio. A little deja-vu kicking in. He looks up as he passes a homeless man on the sidewalk. He is African-American, with a dirty green military-style jacket on. Charlie exchanges a strange look with the man, who is holding a large cardboard sign that reads: THE END IS NEAR (the word NEAR is crossed out and replaced with) HERE! After a few moments of staring, Charlie looks forward again.
CHARLIE
Damn...
The light has turned yellow and he guns it, trying to beat the light. Just before he makes it, it goes to red. As he is crossing the intersection a dump-truck comes into view, plowing into the side of the Mazda. The car whips sideways out of control, eventually hitting head-on with a telephone pole.
CUT TO:
BLACK SCREEN. Faint voices are heard, but we can't make out the words at first. Screams ring out, as the voices grow louder.
PARAMEDIC (O.S.)
Sir, can you hear me? Sir?
Beat.
PARAMEDIC (O.S.)(cont.)
Paul, he's got no pulse!
The sound of a fire can be heard, but is drowned out by loud screams.
PARAMEDIC (O.S.)(cont.)
He's gone...
A coughing sound grows near. A smoker’s cough.
UNKNOWN VOICE (O.S.)
(raspy voice)
Sum' bitch.
INT. WHITMORE RESIDENCE - MORNING
OVERHEAD SHOT of Charlie as his eyes snap open. A bead of sweat trickles down his cheek. "Fly Like An Eagle" is playing from a car outside. Charlie looks around the room, everything seeming all too familiar.
PADMA (O.S.)
Charlie, you're going to be late for work!
Charlie hesitates a few moments before climbing out of the bed. He rubs his hair and heads to the bathroom. He slips his pajama bottoms off, pausing briefly before entering.
INT. BATHROOM - CONTINUOUS
He stands under the water as it pours down over his conditioner-covered hair. Familiar sounds come from outside the shower. Like a light bulb going on in Charlie's head his eyes burst open and he shoots his head around the curtain.
CHARLIE
No hunny, don't flush that!
SWOOSH! He's too late. All he sees is her blonde hair flipping as she trots through the door.
EMILY
Sorry daddy!
Charlie jumps from the hot water reigning down, almost ripping the curtain off.
INT. KITCHEN - MORNING
Charlie peeks his head around the corner cautiously. Low and behold, there is his wife Padma flipping pancakes over the burner.
PADMA
Good morning, honey.
She smiles brightly at him, which he returns in a strange manner. She sets the plate at an empty spot on the table, pouring a glass of orange juice.
PADMA (cont.)
Better eat, Charlie. You're running late as it is.
He sits, still wearing the rightful look of confusion.
JACOB
Hey Dad, can we go fishin' this weekend?
Charlie doesn't respond. Padma notices his odd state.
HONK! The awkward silence is broken by the sound of a car horn from outside. The two kids stampede to the front door.
PADMA
Have a good day guys!
EMILY
(shutting the door behind her)
Thanks Mom!
She takes a seat next to Charlie.
PADMA
What's wrong?
CHARLIE
(snapping back to reality)
Huh?
PADMA
You don't look right today.
CHARLIE
Nah, I'm okay. Just a little deja-vu I guess.
Padma slides a stack of pancakes onto his plate.
PADMA
For example?
BEAT.
CHARLIE
I...I feel like I've done this before.
PADMA
(playfully offended)
Are you trying to tell me not to make pancakes anymore, Charles?
He lightly laughs.
CHARLIE
It's not that. It's everything. The kids, the shower...I don't know.
PADMA
You're probably just stressed, Charlie. Why don't you come home early tonight? We can have a nice dinner. I'll send Emily and Jacob over to my Mother's house for the night.
BEAT as Charlie's mind seems to struggle.
CHARLIE
I'm sorry. I've--
(pauses)
Again! This has happened, Padma. I know it. I've gotta' work late tonight. I know it's not what you want to hear. Not this time, not last time.
PADMA
So this is Groundhog Day? You've lived this day before?
Charlie shrugs in the absurdity of her statement.
CHARLIE
I rush out of here. Late. I run a red light...BOOM! I get hit by some sort of garbage truck or something. I don't think I survive.
Padma looks at him worriedly.
PADMA
Charlie, sometimes the mind does strange things. You probably had this dream last night and you're remembering fragments of it. That's all.
Charlie doesn't yet appear convinced.
PADMA (cont.)
Think about it this way. If what you think is real, is REAL, then what is there to worry about? You get hit by a truck, you wake up tomorrow good as new. Right?
She smiles devilishly at him and he finally begins to loosen up.
CHARLIE
(jokingly)
Maybe you're onto something. I better get to work though. I'm sorry, it was just so real.
She kisses his cheek.
PADMA
It's okay.
He stands, heading toward the front door. One last goodbye kiss and he begins his walk toward the Mazda.
PADMA (cont.)
Charlie! Don't run any red lights, okay?
He shoots her a grin and gets into the car.
INT. MAZDA - MORNING
Charlie slowly cruises through traffic, occasionally glancing down at the speedometer. 41...42...41. He flips on the radio and "Fly Like An Eagle" blares through the speakers. He angrily shuts it off as he passes the familiar black homeless man with the apocalyptic sign.
Just after passing the man he slowly reaches the intersection. The light turns yellow, but Charlie chooses to stop this time. As it turns red, Charlie watches in anticipation.
WHOOSH!
A dump-truck flies by at an alarming rate as Charlie exhales, laughing in relief. His shoulders loosen as he relaxes. In the distance, the faint sounds of sirens can be heard, growing closer and closer.
The light turns green and Charlie slowly moves forward --
WHAM!
A cherry red corvette storms through the intersection, much like the dump-truck, and plows into Charlie. His car swerves to the left, spinning wildly until it hits a light post.
CUT TO BLACK.
Screams ring out, echoing in the DARKNESS. The familiar smoker's voice is heard plain as day.
UNKNOWN VOICE (O.S.)
Charlie? Wake up Charlie...
The SCREEN comes into FOCUS as Charlie's eyes open. Standing over him, hand stretched out, is the black homeless man. After a moment Charlie takes his hand, struggling to get to his feet.
CHARLIE
What...what happened?
All around Charlie can see the wreckage. His Mazda billowing with smoke. The street filled with glass and debris. EMT's run around the scene, trying to help whomever they can.
UNKNOWN MAN
You died.
Charlie's legs buckle as he steps backward, trying to catch his breath.
CHARLIE
I what?!?
UNKNOWN MAN
You died, Charlie. Plain and simple.
CHARLIE
I don't feel dead.
UNKNOWN MAN
I tend to have that effect on people.
Charlie shakes his head angrily and walks toward an ambulance.
CHARLIE
You're crazy!
(to a medic)
Hey! Can I get some help?!
The EMT's aren't paying any attention to his cries.
UNKNOWN MAN
They can't help you.
CHARLIE
I just got into a car accident! Of course they can help me!
UNKNOWN MAN
Where are your bruises? Wounds? Scrapes or scratches?
Charlie pauses a moment, looking up and down his arms and elbows. Nothing. An EMT passes right next to him.
CHARLIE
Please help...me.
His words trail off as the man walks by, not seeing Charlie at all.
CHARLIE (cont.)
What happened to me?
The man slightly smiles.
UNKNOWN MAN
Let's take a walk, Charlie.
He puts his arm around Charlie and leads him out of the chaos.
EXT. ALLEY - DAY
Charlie and the homeless man walk down a dirty alley. Litter and trash line the sides, along with graffiti marks splattered across the chipping walls.
A small sign hangs above a beautifully finished oak door. The door stands out against the rest of the alley...it just doesn't quite fit. The sign reads:
"WYNONA T. CARMONA’S LITTLE PIECE OF ITALY"
They enter.
INT. WYNONA T. CARMONA’S LITTLE PIECE OF ITALY - DAY
Charlie looks around the quaint little restaurant in confusion. His body feeling anxious as he shuffles in his seat.
CHARLIE
What are we doing here?
UNKNOWN MAN
Best way to have a good conversation is over some grub. Best grub is found here.
A short waitress with a N.Y. accent approaches, smiling brightly at the homeless man.
WAITRESS
Frankie, so good to see you! What can I get ya'?
The man kisses the waitress' hand, causing her to blush.
UNKNOWN MAN
Ah, Wynona...it's been so long. Still as pretty as ever.
(looks at the menu briefly)
I think I'll have the spaghetti.
WAITRESS
Of course.
(to Charlie)
And for you?
Charlie doesn't respond, naturally still overwhelmed by the situation. She raises her eyelids inquisitively.
CHARLIE
She can....see me?
She gives him a very strange look now. Like someone who looks at an escaped mental patient.
UNKNOWN MAN
Don’t mind him, sweetie. Give him the same as me.
She nods and heads toward the kitchen.
CHARLIE
Why is it that she can see me, but the EMT’s couldn’t?
UNKNOWN MAN
Because I want her to, Charlie.
CHARLIE
What do you mean YOU want her to? Who the hell are you?
UNKNOWN MAN
I guess a formal introduction is in order. My name is Franklin. Franklin Roosevelt. It's nice to meet you Charlie Whitmore.
He reaches his hand out to shake, but Charlie doesn't reciprocate the gesture.
CHARLIE
(doubtful)
Franklin Roosevelt? Like the President?
Franklin rolls his eyes, pulling his hand back.
FRANKLIN
One guy comes along and gets a simple title such as President and now he's the standard? Fine. Yes, like the President. Lord knows I been around a lot longer than he ever was.
CHARLIE
Well Franklin Roosevelt, I suggest you give me some answers or I'm out that door right now.
Franklin sips on a glass of red wine, his eyes brimming with confidence.
FRANKLIN
Where are you gonna' go Charlie? Everything you know, everything you've ever known, is gone to you.
Charlie looks away sadly.
FRANKLIN (cont.)
Don't get all wet-faced on me now. Your family isn't dead. You'll see them again. Soon.
CHARLIE
I don't understand.
The waitress brings the plates of steaming spaghetti and sets it in front of them quietly.
FRANKLIN
Best spaghetti you'll ever taste, Charlie.
(beat)
Look, nobody ever understands. It's natural. Yesterday...well today I guess, you were driving to work. You had an accident and you didn't survive.
CHARLIE
Right. Then today I wake up and it all is happening again. Same as yesterday.
FRANKLIN
Bingo Charlie-boy. Soon you will be on your third iteration.
Charlie sighs, throwing his hands in the air in defeat.
CHARLIE
Third iteration?
(beat)
Is this hell? Or have I just gone insane?
Franklin laughs whole-heartedly.
FRANKLIN
This is far from hell, my friend. And you are far from insane.
CHARLIE
So if I've died...twice. Why do I keep living this "iteration" over and over? Punishment? Some kind of purgatory? Have I committed some terrible act and am now paying for my sins?!?
FRANKLIN
What is the deal with you, Charlie? I think television has given you a twisted, guilt-ridden mind. Again, this is NOT hell.
Franklin wipes his mouth as he finishes his meal.
FRANKLIN (cont.)
Time for round three, Charlie. You should think about trying an alternative way to work this time.
CHARLIE
(desperate)
Wait! I don't understand. Why am I here? What am I supposed to be doing?
Franklin sighs, starting to become visibly annoyed.
FRANKLIN
You're here, Charlie, because you are a much needed piece of the puzzle. You need to save someone important by sacrificing yourself. Do this and everything will fall into place. Your path will be complete. Simple is that.
(beat)
It's already laid out, Charlie. Unfortunately someone is making it very difficult. But you'll get there.
CHARLIE
Save someone? Who?
FRANKLIN
A woman here in the city.
CHARLIE
Who?
FRANKLIN
I can't tell you her name, Charlie. That's not how it works. A woman in your life is being wronged by you. That's the simplest way to put it. Save her and it is complete.
Charlie stares on in total confusion as Franklin smiles brightly, closing his eyes for a short moment.
The SCREEN CUTS TO BLACK.
FRANKLIN (O.S.)
Got it?
CUT TO:
INT. WHITMORE RESIDENCE - MORNING
"Fly Like An Eagle" plays once again. Charlie wakes up, checking his surroundings in bewilderment. He jumps out of bed and rushes to the bathroom.
INT. BATHROOM - MORNING
SWOOSH!
Charlie looks down in defeat as the scolding water falls onto his back.
EMILY (O.S.)
Sorry Daddy!
INT. KITCHEN - MORNING
He walks through the kitchen, barely even looking at his family. Padma notices as he puts his jacket on in a hurry and exits through the front door.
PADMA
Charlie?
She notices his car keys lying on the table and snatches them up, following him outside.
EXT. WHITMORE RESIDENCE - CONTINUOUS
Charlie is speed-walking across the lawn like a madman as Padma exits the screen door.
PADMA
Charlie, where the hell are you going? You forgot your keys!
CHARLIE
(without looking back)
I'm taking the subway today.
She appears taken aback by the comment, her eyebrows raising with curiosity.
PADMA
The subway?!? Charlie that's two miles away!
He doesn't respond as he continues down the sidewalk. Padma watches on, her face filled with worry.
INT. SUBWAY - MORNING
Charlie sits alone in the back of the train, eyeing the other passengers in a paranoid fashion. Although it's day, you wouldn't know it in the dark and loud tunnel. The subway lights flicker eerily.
Charlie notices the other passengers all staring at him. The sweat pours from his flushed face. A young kid, couldn't be more than twenty, stands up and pulls a gun from the front of his pants.
PUNK KID
Everyone stay calm! All I want is your wallets and your purses!
Charlie stares wide-eyed at the robber, unable to move. The kid points his gun at an elderly man, who doesn't budge.
PUNK KID
Don't be a hero, old man.
ELDERLY MAN
You want my wallet? You're gonna' have to--
BOOM!
The gun fires, hitting the man squarely in the chest. He slumps to the left, his white shirt quickly turning a dark red. Screams echo through the train. The kid grabs a young blonde woman, shoving the barrel into her big curly mess-of-a-hairdo.
PUNK KID
Who else wants to be a hero? I'll put a bullet into this bitch’s skull!
Charlie watches, transfixed by the scene. People begin to hand over their belongings, the blonde woman crying loudly. Suddenly Charlie hears a voice, ringing out in his head like God himself.
FRANKLIN (V.O.)
You're here, Charlie, because you are a much needed piece of the puzzle. You need to save someone important by sacrificing yourself. Do this and everything will fall into place. Your path will be complete. Simple as that.
The kid approaches Charlie cautiously.
FRANKLIN (V.O.)
Save her and it will be complete...
BEAT.
PUNK KID
Gimme' your wallet, friend.
Charlie's fists clench tightly as he leaps from his seat, hurling toward the kid. Just as he reaches, the kid throws the woman to the side, her body clanging against a metal hand rail.
Charlie tackles him, landing torso-to-torso. He reaches his arm back and brings his fist crashing down when--
BOOM!
The gun fires. Charlie's eyes widen as he falls back, clutching his chest in agony. Blood seeps through his fingers as his eyes rolls back in his head.
CUT TO:
Clouds. Endless puffy clouds. Charlie stares at the clouds in wonderment, they look so close he might be able to reach out and touch them.
CHARLIE
Am I dead?
FRANKLIN (O.S.)
Nope.
He looks to his left to see Franklin sitting next to him, still looking particularly annoyed. PAN OUT to see they are on a Ferris wheel. The very top.
CHARLIE
I loved these when I was a kid.
FRANKLIN
That's why we’re here.
CHARLIE
I thought...I thought I was supposed to save her. I guess not.
FRANKLIN
Not her.
(serious tone)
Listen Charlie. We're running out of time.
CHARLIE
Time? What time?!?
Franklin rolls his eyes and tilts his head back trying to stay cool and collected. The ride begins to move slowly.
FRANKLIN
Let's say, hypothetically, a war is going on. A battle, so to speak. It's much bigger than both of us, that's for sure. This woman...the one you need to save today, she cannot die. Her path leads to something important.
(beat)
VERY important. Something that will shape the future. But the...opposition...is putting things in your path. Obstacles.
CHARLIE
Why?
Charlie notices as the Ferris wheel's pace quickens.
FRANKLIN
He thinks he can win. He doesn't want you to arrive at your ultimate destination.
CHARLIE
Where is my ultimate destination?
The two whirl around the wheel at a dangerously fast speed.
FRANKLIN
Work. Simple, yeah? That is where you will save her Charlie.
(beat)
That is where you will die.
CUT TO:
INT. WHITMORE RESIDENCE - MORNING
"Fly Like An Eagle" plays from outside as Charlie awakens. He hops out of bed and rushes downstairs. Same old, same old.
INT. MAZDA - MORNING
He rushes through traffic, apparently not learning from his first iteration. As he slows to a red light his phone RINGS.
CHARLIE
Hey Sandie.
SANDIE (O.S.)
Hey, just wanted to give you a couple of reminders.
CHARLIE
Meeting with Scott Zuckerman and yes we're still on for tonight.
Awkward pause.
SANIDE (O.S.)
You okay?
(beat)
Is it your wife?
Charlie's eyes, which have been staring at the road in a docile state, now come to life.
CHARLIE
What?
SANDIE (O.S.)
I mean, I know you said it was falling apart. Are you having second thoughts?
CHARLIE
Sandie, what are you talking about? Second thoughts about what?
SANDIE (O.S.)
Trying to save your marriage.
Charlie's face lights up as he snaps the phone shut, quickly spinning into a U-turn. He stops at the red light, his hands trembling with excitement.
CHARLIE
(to himself)
It was her! All this time and she was right in front of me.
Past his head, through the driver's side window, we see a man in green cargo pants and a camouflage jacket running full speed toward his car. His foot rises in the air as--
BOOM!
Glass shatters, spraying across Charlie's face. Before he knows what's going on, his door is opened and he is pulled out by the collar of his shirt. The man tosses him to the pavement and jumps into his car.
He raises his eyebrows tauntingly and flashes a devilish grin. Charlie looks up to see the man holding a long barrel .357. BOOM!
CUT TO BLACK.
INT. WHITMORE RESIDENCE - MORNING
"Fly Like An Eagle" plays from outside as Charlie's eyes SNAP open. As he wakes, he immediately bursts into a hysterical laughter.
INT. KITCHEN - MORNING
Charlie sits at the table as the kids rush out the door. His wife walks by and he grabs her by the hand, pulling her close.
CHARLIE
I love you.
She looks at him oddly.
PADMA
Well, I love you too.
CHARLIE
I just want you to know that. I know I've been distant lately and I'm sorry. I've made mistakes in my life and today I'm going to being the process of making them all right.
(beat)
But through everything, I've always loved you more than anything.
PADMA
Where is this coming from?
CHARLIE
When you see someone, you never really know if it's the last time you ever will. You have to make every moment count.
He leans in and kisses her passionately. A kiss that, for the first time in years, gave Padma butterflies.
INT. MAZDA - MORNING
Charlie casually drives through traffic. As he nears a bridge he sees Franklin standing alongside the road holding his prophetic sign. Franklin nods and smiles to Charlie, who's eyes fill with hope.
INT. PARKING GARAGE - MORNING
He turns the ignition off and the car drones down to silence. He takes a moment, sitting in the dark and quiet garage, to take a long and deep breath. He reaches forward and grabs the picture of his family from the dash, staring at it longingly.
BEAT.
He smiles and exits the car.
EXT. WORK - MORNING
Charlie walks up a few cement steps toward a door. The door leading to work. Finally. As he reaches it, a voice calls from behind.
SANDIE (O.S.)
Charlie! Wait up!
Charlie turns to see the mysterious Sandie hustling up the steps with a grin. We can now see that Sandie, the woman from the VOICE OVER's, is also the woman from the opening scene. Crouched under her desk, mascara running down her face.
CHARLIE
Hey.
SANDIE (O.S.)
You made it.
Charlie nods triumphantly.
CHARLIE
Yes I did.
She leans in for a kiss, causing Charlie to back away.
CHARLIE (cont.)
Listen, there is something I need to tell you.
SANDIE
Yes?
CHARLIE
(hesitating)
I...I can't see you anymore. I'm sorry. It was a mistake from the beginning and I know that now.
Sandie stares at him with a betrayed look in her eyes.
SANDIE
I knew it. God damnit, I knew it from the beginning. You were never going to leave your wife, were you?
Charlie looks away.
SANDIE (cont.)
Whatever, Charlie. I guess I should think before I jump.
She stares at him for a long awkward moment, her rage increasing exponentially by the second. She tosses a coffee, one she had bought for him, at his feet angrily.
CHARLIE
Come on, Sandie. I didn't mean to hurt you...that is the last thing I wanted.
SANDIE
Save it, Charlie!
She turns to walk away as Charlie reaches for her.
SANDIE (cont.)
Don't touch me! Find someone else to answer your damn phone!
She quickly storms away. Charlie turns to the door, sighing overtly loud. The door opens for him as he looks up to see Franklin, dressed as a typical doorman.
FRANKLIN
Good day Mr. Whitmore.
Charlie seems puzzled.
CHARLIE
I made it...now what? I...I'm not sure if I "saved" my wife, but I tried.
FRANKLIN
It wasn't your wife, Mr. Whitmore.
Franklin nods toward Sandie as she hails a bright yellow taxi, her face still blood-red with fury. Charlie turns back to Franklin.
CHARLIE
Now what do I do?
FRANKLIN
Go on to work. I believe you have a meeting with Scott Zuckerman at eight-thirty, is that right?
CHARLIE
That's what I hear.
The two laugh softly as Franklin nods in approval. He extends his hand, which Charlie this time accepts.
FRANKLIN
Everything is going to be alright now, Charlie.
Charlie smiles graciously as he enters the building.
INT. ELEVATOR - MORNING
Charlie steps into an elevator, only occupied by one other man, and pushes the button for "98". As he waits patiently, "Fly Like An Eagle" plays quietly from the elevator sound system.
DING!
INT. OFFICE - MORNING
As he steps out into his office, "A Day In the Life" by The Beatles begins to play. Charlie reaches his desk and stands behind it. The desk has a beautiful view of the city through a typical large glass window.
PAM, a woman in her late forties, shows up to greet him.
PAM
Good morning Mr. Whitmore.
CHARLIE
Good morning Pam. Looks like we're going to have to hire a new secretary.
(beat)
Sandie quit.
Pam rolls her eyes, unsurprised. She extends a stack of papers in her arms toward Charlie.
PAM
I have a few things you need to sign. Mostly sales reports.
He nods, taking them. He kneels down to his desk and begins signing. He pauses.
CHARLIE
What's the date today?
PAM
The date? It's...it's umm...the eleventh. Of September.
Charlie nods, remembering. He finishes signing and hands them back to her.
PAM (cont.)
Thanks! These were supposed to be in last night...you saved my butt.
CHARLIE
My pleasure.
As she walks away, Charlie goes to the window and takes in the breathtaking view. A soft RUMBLE fills the air, getting closer and closer.
P.O.V. from behind Charlie Whitmore, we see an enormous 747 come into view, heading straight toward the window as he watches silently. Awestruck.
CUT TO BLACK.
Written by Hanelle
The End.
)