Post by Dale on Jun 12, 2008 13:36:11 GMT -5
Clocks
Episode #1: Genesis
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CLOCKS
Episode 1x2
"GENESIS"
TEASER
Episode 1x2
"GENESIS"
TEASER
EXT. HOSPITAL – NIGHT
Establishing frontal shot of a large New York City hospital. It is white brick exterior with sliding automatic doors. Above the doors in the center is a large clock. It is 1:14 A.M. There is a very strange and eerie presence surrounding the entire scene. The doors open and Marianne slowly walks out, wearing brown cargo-style pants and a red and black sweater. She looks both directions cautiously before crossing the street.
She walks down the completely deserted city streets. Fog rolls down the sidewalk, but she trots through it, disappearing for a moment in the haze. She slowly approaches the entrance to alley. She forces herself not to look down it, like a rock climber would on a steep cliff. Faint NOISES can be heard in the distance, sounds like WHISPERING. They grow louder as she gets closer to a corner.
As she reaches the corner, she can see shadows behind the wall. They are of all odd shapes and forms. The shadows dance sadistically on the pavement, softly CHANTING. Fear takes over in Marianne as she back pedals. First slowly, then faster and faster until she is at full pace, running as quickly as she can. As she begins to slow, a jet-black Lincoln Town Car creeps up next to her. She walks to it, and places her head to the mirror of the tinted window, but is unable to see through.
The window rolls down revealing a smiling Roy relaxed, drinking a glass of CHAMPAGNE. The Doors “The End” plays softly through the cars stereo.
MARIANNE
Roy, what the hell are you doing?
Roy, what the hell are you doing?
Roy speaks in an uncharacteristically suave manner.
ROY
Just cruisin'. What you doin' out here this late hour?
MARIANNE
Going home. Who's car is this, Roy?
ROY
Just a friends. No biggie. Hop in.
Just cruisin'. What you doin' out here this late hour?
MARIANNE
Going home. Who's car is this, Roy?
ROY
Just a friends. No biggie. Hop in.
He opens the door and scoots over. She eagerly climbs in, shutting it behind her. The car begins moving again.
INT. LINCOLN TOWN CAR - NIGHT
Roy smiles strangely at the uncomfortable Marianne. She fidgets in the seat waiting for the silence to be broken.
ROY
Driver will take us anywhere we want to go. Anywhere we want to go, Mary.
MARIANNE
I just left the hospital, Roy. They made a mistake. I'm not pregnant. Some sort of mix-up. Can you believe it?
Driver will take us anywhere we want to go. Anywhere we want to go, Mary.
MARIANNE
I just left the hospital, Roy. They made a mistake. I'm not pregnant. Some sort of mix-up. Can you believe it?
Roy's face looks slightly disappointed. He notices her eyeing him, and quickly smiles.
ROY
We should celebrate. I have Champagne. Cava. Would you care for some Marianne?
We should celebrate. I have Champagne. Cava. Would you care for some Marianne?
She shakes her head.
MARIANNE
Nah, I try not to drink the stuff.
ROY
But this is a celebration. So celebrate. Celebrate love, celebrate life. Celebrate with the sweet nectar of Mother Earth.
Nah, I try not to drink the stuff.
ROY
But this is a celebration. So celebrate. Celebrate love, celebrate life. Celebrate with the sweet nectar of Mother Earth.
He fills a flute-shaped glass with bubbly champagne and forces it into her grasp.
ROY (cont.)
A toast.
A toast.
He holds his glass in the air above his head, then proceeds to stare off into space.
MARIANNE
A toast to...?
A toast to...?
Roy snaps back to reality.
ROY
What?
What?
BEAT.
ROY (cont.)
Drink up, Mary.
Drink up, Mary.
She obliges and sips a small portion of it. She looks out of her window at the dark, desolate city. Something ahead catches her eye. It's a dark figure on the side of the road. It's THE dark figure!
MARIANNE
Roy, that's him! That's the man from the alley!
Roy, that's him! That's the man from the alley!
She looks over, but Roy is gone!
MARIANNE (cont.)
Roy! What the--
Roy! What the--
She looks again at the dark figure as the car zooms by him. She looks through the back windshield, but the figure has disappeared. As she turns to the front...CRASH!
The car collides head-on with a brick wall. Glass shatters, spraying in every direction. Just as Marianne soars forward from the impact—
CUT TO:
INT. SHELTER - NIGHT
Marianne shoots up out of bed into a sitting position. Her hair is wild and her face is beat red. Sweat is dripping profusely from her forehead. She takes a few deep breaths and looks down to her belly. She gingerly rubs her large stomach, which is carrying her unborn child.
END OF TEASER
ACT ONE
ACT ONE
INT. SMALL FARM HOUSE - LOUISVILLE, KY - 1974 - MORNING
Darkness. Birds chirp and a rooster crows. Eyes open, revealing a blurry vision of a small bedroom. The walls are a light shade of pink, and a large vanity sits by the window. Marianne sits up in bed, rubbing her eyes. She is younger now, about eighteen. She wears a cute old-fashioned nightgown.
Suddenly the door bursts open and a couple younger girls rush in, jumping on her bed.
SARAH
Time to get up!
MARIANNE
Okay, okay. I'm up already.
TRUDY
Marianne, you better get ready for church. We're leavin' soon.
Time to get up!
MARIANNE
Okay, okay. I'm up already.
TRUDY
Marianne, you better get ready for church. We're leavin' soon.
Marianne looks at them, noticing they are wearing their Sunday dresses. They look at her...in her nightgown. Sarah pushes her toward the edge of the bed.
SARAH
Now let's go.
Now let's go.
Marianne gets up and fumbles her way into the bathroom.
INT. BATHROOM - MORNING
Marianne's head is buried in the sink. Cold water flows from the faucet as she rinses the sleep off of her face. She raises her head and stares at her reflection in the mirror for a few moments. She is a beautiful, young woman. Her whole life seemingly ahead of her.
INT. LIVING ROOM - MORNING
The Carter family sits around the television, waiting for
Marianne. Mr. Carter silently reads the newspaper, while his wife fixes Trudy's hair.
MRS. CARTER
Boy, she always takes so long.
SARAH
She sleeps in, that's why.
MR. CARTER
We've got plenty of time. You shouldn't rush her.
Boy, she always takes so long.
SARAH
She sleeps in, that's why.
MR. CARTER
We've got plenty of time. You shouldn't rush her.
Mrs. Carter rolls her eyes as she pats Trudy's back, letting her know she is finished.
SARAH
(looking toward the stairs)
Finally!
(looking toward the stairs)
Finally!
Marianne, looking very angelic, descends the stairs. Her brownish-blonde hair is full of lovely curls. She wears a beautiful white summer dress.
SARAH (cont.)
Can we go now, Ma?
Can we go now, Ma?
Marianne gives her mother and father a kiss as they all exit the house.
MRS. CARTER
Good morning, Mary.
Good morning, Mary.
She smiles respectfully.
INT. SETH'S APARTMENT - MORNING
Seth sits at the kitchen table. Friend and Foe surround him, watching as he eats his cereal.
INT. SETH'S BEDROOM - MORNING
Seth sits on his bed, tying up his shoes. He opens the drawer to his nightstand and pulls out a small, black TAPE RECORDER. He CLICKS it on.
BEAT.
SETH
It is May 2nd, 2018. I am finishing up where I last left off with Iran. In my last transmission I talked about the causes for the United States to enter the war against Iran. Now I will talk about the effects the war had on us as a nation. We know that the Iranian "conflict" as they like to call it...
(sidetracked)
You know, that's a load crap if I've ever heard it. I was over there for two years. There was no conflict. That was all-out war. When you argue with your brother over who gets control of the TV, that's a conflict. When you fight in a battle that claims over 100,000 lives, that's hell. That's war. I saw things that no living person should ever have to witness. So don't buy into the media's "conflict" mumbo-jumbo. Not for a second.
It is May 2nd, 2018. I am finishing up where I last left off with Iran. In my last transmission I talked about the causes for the United States to enter the war against Iran. Now I will talk about the effects the war had on us as a nation. We know that the Iranian "conflict" as they like to call it...
(sidetracked)
You know, that's a load crap if I've ever heard it. I was over there for two years. There was no conflict. That was all-out war. When you argue with your brother over who gets control of the TV, that's a conflict. When you fight in a battle that claims over 100,000 lives, that's hell. That's war. I saw things that no living person should ever have to witness. So don't buy into the media's "conflict" mumbo-jumbo. Not for a second.
He grabs his keys from the table near the front door. Underneath them is the Church pamphlet. He grabs it as well. He takes a long drink from his soda and crunches it in his palm. He tosses it in a waste basket as he heads out the door.
INT. CHEVY BLAZER - MORNING
Seth drives to work, still holding the tape recorder to his mouth. His eyes are focused on the road, his mind always alert.
SETH
So we all know "why" we entered the war. The Iranian terrorists killing those U.S. civilians. But as it should be well-known to anyone with an open mind, that was just a red-herring. The excuse our government finally needed. Sure, if you watch the news that's the entire story. Wrapped up in a nice, neat package. But you gotta’ dig deeper. Now they had us all scared. Scared of nuclear war. Biological war. They’ve got us just where they want us.
So we all know "why" we entered the war. The Iranian terrorists killing those U.S. civilians. But as it should be well-known to anyone with an open mind, that was just a red-herring. The excuse our government finally needed. Sure, if you watch the news that's the entire story. Wrapped up in a nice, neat package. But you gotta’ dig deeper. Now they had us all scared. Scared of nuclear war. Biological war. They’ve got us just where they want us.
His Blazer zooms into the parking lot outside of his clock repair shop. He sits inside for a few moments, finishing his thoughts.
SETH (cont.)
All of this, started by a single man. I’m sure you are thinking President Reynolds. But he is merely a puppet. I am speaking of a man by the name of Charles Abaddon. The Secretary-General of the United Nations. That is the man we should fear.
All of this, started by a single man. I’m sure you are thinking President Reynolds. But he is merely a puppet. I am speaking of a man by the name of Charles Abaddon. The Secretary-General of the United Nations. That is the man we should fear.
BEAT.
SETH (cont.)
Now, I must wrap this up; keep an eye out for my next transmission.
Now, I must wrap this up; keep an eye out for my next transmission.
Seth exits the car, slamming the door.
INT. U.N. HEADQUARTERS - MORNING
Charles Abaddon sits in his office chair, with the back facing the camera. The bright sun shines through the tall windows. A phone cord runs from his desk to the chair.
CHARLES
(into phone)
Yes, Mr. Turkova. I understand. It will all be taken care of.
(into phone)
Yes, Mr. Turkova. I understand. It will all be taken care of.
BEAT.
CHARLES (cont.)
Trust me, I know. I know. The gears are turning as we speak.
Trust me, I know. I know. The gears are turning as we speak.
The door opens and Charles spins in his chair. Charlotte enters, sees him on the phone and mouths the word "sorry". He puts his hand up to her, telling her to enter.
CHARLES (cont.)
Okay, I will contact you when I get any new information. Goodbye.
Okay, I will contact you when I get any new information. Goodbye.
He hangs the phone up and smiles at Charlotte. She stands in front of his desk nervously.
CHARLOTTE
Everything okay, Sir?
CHARLES
Of course. Just some business concerning the President. So what's up?
CHARLOTTE
That gentleman is here to see you. Mark Kline.
Everything okay, Sir?
CHARLES
Of course. Just some business concerning the President. So what's up?
CHARLOTTE
That gentleman is here to see you. Mark Kline.
Charles sighs aloud, nodding his head.
CHARLES
Send him--
Send him--
Charles stops mid-sentence as Mark pokes his head in the door, grinning from ear to ear.
CHARLES (cont.)
Scratch that.
Scratch that.
Mark walks forward next to Charlotte.
MARK
Charlie, nice office. Cozy.
(looking out the window)
And look at this view! Brilliant!
CHARLES
Nice to see you again, Mark.
Charlie, nice office. Cozy.
(looking out the window)
And look at this view! Brilliant!
CHARLES
Nice to see you again, Mark.
Mark turns back around to face Charles.
MARK
Yeah, me too. Up for some lunch? I've heard good things about this little middle-eastern place down the road. What do ya' say?
Yeah, me too. Up for some lunch? I've heard good things about this little middle-eastern place down the road. What do ya' say?
Charles hesitates, looking at Charlotte.
CHARLES
Uh, I can't today. I've got a lot of stuff on my plate. Between the Russian Foreign-Minister and the British U.N. Ambassador, I'm stretched to the max.
MARK
No problem, man.
Uh, I can't today. I've got a lot of stuff on my plate. Between the Russian Foreign-Minister and the British U.N. Ambassador, I'm stretched to the max.
MARK
No problem, man.
Mark looks at Charlotte, sizing her up.
MARK (cont.)
Looks like you've got the best lookin' assistant in this place, eh?
Looks like you've got the best lookin' assistant in this place, eh?
Charles rolls his eyes. Charlotte smiles, seeming a bit intrigued.
MARK (cont.)
(to Charlotte)
Perhaps I could persuade you to join me for lunch?
(to Charlotte)
Perhaps I could persuade you to join me for lunch?
Charlotte blushes as she looks timidly toward Charles.
CHARLOTTE
I suppose I could take an early lunch. Would that be okay with you, Mr. Abaddon?
MARK
(sarcastically)
Well, Mr. Abaddon?
I suppose I could take an early lunch. Would that be okay with you, Mr. Abaddon?
MARK
(sarcastically)
Well, Mr. Abaddon?
Charles smiles at the two of them and nods.
CHARLES
Of course.
Of course.
Mark’s face lights up as he gestures toward the door. Charlotte exits and he follows.
INT. MURRAY'S INSURANCE - DAY
Roy sits in a waiting room in a small run-down building. The small black and white television is broadcasting a speech by President Carter; the date shown on screen is July 11th, 1980. He fiddles with a hole in the chair as the door opens. A man emerges and Roy stands to exchange handshakes.
PAUL WILLIAMS
Roy Walker, nice to see you again.
ROY
Thanks, glad to see you too.
PAUL WILLIAMS
Go ahead, have a seat.
Roy Walker, nice to see you again.
ROY
Thanks, glad to see you too.
PAUL WILLIAMS
Go ahead, have a seat.
He motions to the chair Roy had just stood up from. After he sits, Paul sits across on a small, ugly-brown sofa.
PAUL WILLIAMS (cont.)
I'm sure you are wondering why I called you back in here today.
I'm sure you are wondering why I called you back in here today.
Roy nods.
PAUL WILLIAMS (cont.)
Well, we've decided we think you will be the best for this position. Are you still interested?
Well, we've decided we think you will be the best for this position. Are you still interested?
Roy smiles and his cheeks redden with excitement.
ROY
Of course, Sir. Looking forward to it.
PAUL WILLIAMS
Great. Now you are aware there may be times where you are needed to travel, correct?
Of course, Sir. Looking forward to it.
PAUL WILLIAMS
Great. Now you are aware there may be times where you are needed to travel, correct?
Roy responds with a look of concern.
ROY
Well, currently...currently I don't have transportation. Other than the bus.
PAUL WILLIAMS
That is not a problem Roy. We will supply you with a rental car anytime you are needed to leave the city.
ROY
Alright then. Sounds too good to be true.
PAUL WILLIAMS
So you'll accept the position?
ROY
Definitely, Sir. When can I start?
Well, currently...currently I don't have transportation. Other than the bus.
PAUL WILLIAMS
That is not a problem Roy. We will supply you with a rental car anytime you are needed to leave the city.
ROY
Alright then. Sounds too good to be true.
PAUL WILLIAMS
So you'll accept the position?
ROY
Definitely, Sir. When can I start?
Paul stands up and walks to the far wall. He looks at a calendar. It is covered in scribbled black marker.
PAUL WILLIAMS
Tomorrow. At nine.
Tomorrow. At nine.
Roy stands up and shakes his hand again.
ROY
Thank you very much Sir. I'll see you then.
Thank you very much Sir. I'll see you then.
Paul nods as Roy exits the building with an extra hop in his step.
INT. SHELTER - DAY
Marianne sits alone, knitting a small baby-size sweater. The sweater rests perfectly on her enlarged belly.
The door swings open and Roy enters, obviously in a great mood. She smiles at the sight of him.
MARIANNE
How did it go?
How did it go?
Roy leans down and passionately kisses her on the lips. He then bends farther down and kisses her right on the belly.
MARIANNE (cont.)
That good?
ROY
Oh, it went great. Perfect.
MARIANNE
So you got the job?
That good?
ROY
Oh, it went great. Perfect.
MARIANNE
So you got the job?
Roy's bright eyes give her the answer. She stands up and hugs him tightly.
ROY
This is it Mary. We are gonna' get back on track. I told you, things will come around.
MARIANNE
I'm so happy for you.
ROY
Just a little bit of time and we'll be outta' here and get an apartment. One with two bedrooms. For the baby.
This is it Mary. We are gonna' get back on track. I told you, things will come around.
MARIANNE
I'm so happy for you.
ROY
Just a little bit of time and we'll be outta' here and get an apartment. One with two bedrooms. For the baby.
Marianne's eyes well up as she hugs Roy again. He kisses her gently on the top of her head. He pulls his hand from behind his back revealing a bottle of champagne.
ROY (cont.)
Let’s celebrate. With some cava.
Let’s celebrate. With some cava.
Marianne freezes for a moment. Déjà vu.
ROY (cont.)
What? Something wrong?
What? Something wrong?
She snaps back to reality and gently rubs his back.
MARIANNE
I’m pregnant, Roy. I can’t drink.
I’m pregnant, Roy. I can’t drink.
He looks embarrassed as he sets the bottle down. Marianne's eyes shoot down as she backs up suddenly.
MARIANNE
Oh, damn.
Oh, damn.
Roy seems puzzled.
ROY
What's wrong?
What's wrong?
She looks back up at him, eyes bulging.
MARIANNE
I think my water just broke.
END OF ACT ONE
ACT TWO
I think my water just broke.
END OF ACT ONE
ACT TWO
INT. U.N. HEADQUARTERS - AFTERNOON
Charles stands, facing a dozen other men. They are in a large conference room, with a video-screen on the far wall. On the screen is a large-sized map of Europe. It appears they are meeting about some International affairs.
CHARLES
We made tremendous progress throughout the last few months in Syria. Aid and other services have helped out greatly. Now with the recent uproars coming out of Europe, our focus must change. Priorities, ladies and gentleman.
We made tremendous progress throughout the last few months in Syria. Aid and other services have helped out greatly. Now with the recent uproars coming out of Europe, our focus must change. Priorities, ladies and gentleman.
Charles points to Russia on the map behind him.
CHARLES (cont.)
We start here.
We start here.
BUZZ!
The intercom on the center of the table BUZZES. Charles leans forward, pushing a button on the console.
CHARLES
(into the intercom)
Yes?
FEMALE SECRETARY (O.S.)
Mr. Abaddon, there is a call for you. From your wife, Sir.
CHARLES
(to the group)
Okay, everyone take ten.
(into the intercom)
Yes?
FEMALE SECRETARY (O.S.)
Mr. Abaddon, there is a call for you. From your wife, Sir.
CHARLES
(to the group)
Okay, everyone take ten.
The group silently files out. Charles takes a seat and picks up the phone.
CHARLES
Syd? Is everything okay?
SYDNEY (O.S.)
Yeah. Just wanted to let you know that I am on my way to Thomas' school. He has been suspended.
CHARLES
Suspended? What happened?
SYDNEY (O.S.)
Apparently he was fighting with another boy. I'm not exactly sure of the details. I've got a meeting with his teacher though. I'll let you know more when I find out.
CHARLES
Okay, honey. I'll talk to him when I get home.
Syd? Is everything okay?
SYDNEY (O.S.)
Yeah. Just wanted to let you know that I am on my way to Thomas' school. He has been suspended.
CHARLES
Suspended? What happened?
SYDNEY (O.S.)
Apparently he was fighting with another boy. I'm not exactly sure of the details. I've got a meeting with his teacher though. I'll let you know more when I find out.
CHARLES
Okay, honey. I'll talk to him when I get home.
Charles looks worried, though he tries to sound reassuring to his wife.
SYDNEY (O.S.)
Thank you Charles. I'll call you later. I love you.
CHARLES
Love you too. Bye.
Thank you Charles. I'll call you later. I love you.
CHARLES
Love you too. Bye.
Charles hangs up. He sighs as he leans back in his swivel-chair, rubbing his eyes.
BUZZ!
CHARLES
Son of a--
(into the intercom)
Yes?
FEMALE SECRETARY (O.S.)
I'm sorry, Sir. Mr. Kline is on line two.
CHARLES
Tell him I'll call him back.
FEMALE SECRETARY (O.S.)
He says it's urgent, Sir.
CHARLES
Damn it. Okay.
Son of a--
(into the intercom)
Yes?
FEMALE SECRETARY (O.S.)
I'm sorry, Sir. Mr. Kline is on line two.
CHARLES
Tell him I'll call him back.
FEMALE SECRETARY (O.S.)
He says it's urgent, Sir.
CHARLES
Damn it. Okay.
He hits the button, flipping to line two and picks up the receiver.
CHARLES
What can I do for you Mark?
What can I do for you Mark?
Mark breathes heavily through the phone. His voice is frantic and desperate.
MARK (O.S.)
Charles! I need help, Charles. I've really screwed up...
CHARLES
Whoa! Mark, slow down. What happened?
MARK (O.S.)
We were just messin' around. Havin' some fun. I need your help, Charles.
CHARLES
Help with what? What the hell is going on?
Charles! I need help, Charles. I've really screwed up...
CHARLES
Whoa! Mark, slow down. What happened?
MARK (O.S.)
We were just messin' around. Havin' some fun. I need your help, Charles.
CHARLES
Help with what? What the hell is going on?
BEAT.
MARK (O.S.)
She's dead. I think I might have killed her.
She's dead. I think I might have killed her.
Charles eyes widen as the words come through the telephone.
EXT. CLOCK REPAIR SHOP - EVENING
Seth stands under the dimly lit streetlight. His back is turned as he locks up the store for the night. As he turns and heads to his Blazer, he notices a woman standing next to it. He recognizes her beautiful flowing black hair.
It's Rose. She is dressed casual, wearing jeans and a red hooded sweater. She waits for him to reach her before engaging in conversation.
ROSE
I'm not stalking you. I promise.
SETH
I wouldn't mind.
I'm not stalking you. I promise.
SETH
I wouldn't mind.
Rose smiles.
ROSE
Busy day at work?
SETH
Just savin' the world, one clock at a time.
Busy day at work?
SETH
Just savin' the world, one clock at a time.
Rose laughs aloud, causing Seth to shyly look away.
ROSE
Plans for tonight?
Plans for tonight?
He shakes his head as he leans against his Blazer.
SETH
Nope.
Nope.
He eyes her suspiciously.
ROSE
What?
SETH
Are you going to ask me to go to church with you again?
ROSE
Maybe. You'd be very interested in what we do there. Up for it?
What?
SETH
Are you going to ask me to go to church with you again?
ROSE
Maybe. You'd be very interested in what we do there. Up for it?
BEAT.
Seth glances inside his Blazer as he notices the pamphlet sitting on his passenger seat. It is the Church pamphlet that was dropped by the man he chased.
SETH
What the hell, let's go.
What the hell, let's go.
Rose, expecting rejection, looks surprised.
ROSE
Seriously?
SETH
Seriously. But just to be straight, I’m not drinkin’ any Kool-Aid.
Seriously?
SETH
Seriously. But just to be straight, I’m not drinkin’ any Kool-Aid.
Rose laughs again as Seth begins to open his car door.
ROSE
I'll drive us.
I'll drive us.
Seth stops and shrugs.
SETH
Alright with me.
Alright with me.
The two climb into Rose's fire-red sports car and drive away.
EXT. ST. AUGUSTINE ELEMENTARY- EVENING
Establishing shot. The building is of ordinary design, two levels and is constructed with an ugly shade of orange bricks. A few children rush off the tall set of stairs leading to the entrance.
INT. CLASSROOM - EVENING
Sydney knocks quietly on the open classroom door. The teacher, Mrs. Peterson, looks up from her work on the desk
and smiles.
MRS. PETERSON
You must be Mrs. Abaddon, Thomas' mother?
SYDNEY
Yes, I am.
You must be Mrs. Abaddon, Thomas' mother?
SYDNEY
Yes, I am.
Mrs. Peterson stands and waves for her to enter.
MRS. PETERSON
Please, take a seat.
Please, take a seat.
Sydney looks at the small chairs used for the children.
SYDNEY
I'll stand. Thanks.
I'll stand. Thanks.
Mrs. Peterson leans against her desk with a serious expression on her face.
MRS. PETERSON
As you know Thomas has been suspended. He got in an altercation this morning with another boy.
SYDNEY
Okay?
As you know Thomas has been suspended. He got in an altercation this morning with another boy.
SYDNEY
Okay?
Mrs. Peterson chooses her words carefully.
MRS. PETERSON
Well, that's only part of it. His behavior has changed dramatically in recent months. His grades are dropping and his attitude has dropped as well. Are there any problems at home?
Well, that's only part of it. His behavior has changed dramatically in recent months. His grades are dropping and his attitude has dropped as well. Are there any problems at home?
Sydney frustratingly rolls her eyes.
SYDNEY
No. My husband has been working different hours, but that's about it.
MRS. PETERSON
I'd like to show you something. I've contemplated it all day, but I think you should see it.
No. My husband has been working different hours, but that's about it.
MRS. PETERSON
I'd like to show you something. I've contemplated it all day, but I think you should see it.
She goes behind her desk and opens a drawer.
MRS. PETERSON (cont.)
Last Tuesday we had an art class here at the school. All the students were told to draw anything they wanted. Usually it’s Superman, cars, that sort of thing. But your son's was, well, a little different.
Last Tuesday we had an art class here at the school. All the students were told to draw anything they wanted. Usually it’s Superman, cars, that sort of thing. But your son's was, well, a little different.
She lays the picture across a desk, facing Sydney.
MRS. PETERSON (cont.)
I'm assuming this is Thomas. And this must be your husband.
I'm assuming this is Thomas. And this must be your husband.
The drawing shows Thomas and Charles sitting on a couch, watching television. Behind them is their large fireplace.
SYDNEY
So? What's the problem, exactly?
So? What's the problem, exactly?
Mrs. Peterson looks hesitant to go on.
MRS. PETERSON
Do you see yourself in this picture anywhere?
Do you see yourself in this picture anywhere?
Sydney glances at it a bit more and shrugs her shoulders.
SYDNEY
No. So what? Thomas loves his Father, he doesn't see him very much. He sees me all the time.
MRS. PETERSON
Well, Mrs. Abaddon, the thing is...you are in this picture. He pointed it out when he showed the class.
No. So what? Thomas loves his Father, he doesn't see him very much. He sees me all the time.
MRS. PETERSON
Well, Mrs. Abaddon, the thing is...you are in this picture. He pointed it out when he showed the class.
Sydney looks again, harder this time. CLOSE on Mrs. Peterson's FINGER as it runs across the surface of the drawing. It moves to the mantle on the fireplace. There is a drawing of an URN.
MRS. PETERSON
He told me and the rest of the class, this was you.
He told me and the rest of the class, this was you.
Sydney stares at the picture intently, her face covered in confusion.
INT. NEW CHURCH OF CHRIST - BASEMENT - EVENING
Inside the small basement sit Ron and some of the other members of the church group. The door opens slowly as Rose enters with Seth. Ron immediately stands up to greet them.
ROSE
Everybody this is Seth Prescott. He's decided to sit in on one of our sessions.
Everybody this is Seth Prescott. He's decided to sit in on one of our sessions.
Ron extends his hand courteously to Seth.
RON
Ron Luther. Great to meet you, Seth.
SETH
Same here. Kind of creepy down here.
Ron Luther. Great to meet you, Seth.
SETH
Same here. Kind of creepy down here.
The group laughs.
RON
Yeah, a claustrophobic's nightmare. But it's private.
ROSE
(to Seth)
Ron is the one who got us all together. He organized this group from the beginning.
SETH
So, without beating around the bush, what do you guys do in here? I know this is more than your average "bible studies".
Yeah, a claustrophobic's nightmare. But it's private.
ROSE
(to Seth)
Ron is the one who got us all together. He organized this group from the beginning.
SETH
So, without beating around the bush, what do you guys do in here? I know this is more than your average "bible studies".
Ron slyly smiles at Rose.
RON
Seth, you're right. We don't come here for worship. We come here because it's safe.
SETH
Safe from what?
Seth, you're right. We don't come here for worship. We come here because it's safe.
SETH
Safe from what?
Seth looks around the room at the groups faces. They all look at him strangely. Almost as if they are awe-struck.
The door behind Seth opens and a man walks in.
DOUG
Sorry I'm late guys--
Sorry I'm late guys--
He breaks midsentence when he sees Seth. It is Doug Hayes. The same man from the cemetery and Seth's apartment. Seth squints his eyes to see him better in the dimly lit basement.
ROSE
Seth, this is Doug. He's a friend of--
Seth, this is Doug. He's a friend of--
She is interrupted by Seth's fist crashing into Doug's face. Doug crumples to the ground hard as Seth shakes his hand in an attempt to ease the pain. Rose and Ron look at each other, then back at Seth.
INT. LINCOLN TOWNCAR - 1974 - MORNING
CLOSE on Marianne as she sits in the middle of the backseat between her sisters. The family drives conservatively down a Kentucky highway. Her sisters childishly smack each other while Marianne reads Margaret Mitchell’s “Gone With the Wind”.
SARAH
Mom! Trudy keeps clawin' me!
Mom! Trudy keeps clawin' me!
Mrs. Carter ignores them to the best of her ability. Another PINCH in the backseat by Trudy and Sarah squeals again.
SARAH (cont.)
Mom! Tell her to stop!
Mom! Tell her to stop!
Mrs. Carter snaps her head back toward the girls with a fierce scowl on her face.
MRS. CARTER
Both of you stop it! If either one of you behaves like this when we get to CHURCH, I swear to God.
TRUDY
I didn't even do nothin’! How could I, with Marianne in the way?
Both of you stop it! If either one of you behaves like this when we get to CHURCH, I swear to God.
TRUDY
I didn't even do nothin’! How could I, with Marianne in the way?
Marianne looks up and sees her Father looking in the rearview mirror at her. He winks at her and smiles.
Suddenly, a Semi-truck from the other lane swerves in front of the car. BOOM! The two vehicles collide head-on. The car crunches violently from the impact, folding up like an accordion. It spins sideways causing two other cars in the other lane to swerve, hitting each other in the process.
As the chaos comes to an end, smoke billows from every inch of the vehicles. PAN out slowly to see the crunched Town car nearly tipped over in a ditch. A few people have stopped and are rushing around the cars desperately trying to help. The scene is eerily silent. Mr. Carter lies motionless about twenty feet away from the car. His arm and head are covered in thick red blood.
END OF ACT TWO
ACT THREE
ACT THREE
CLOSE on a white door with a peep-hole. There is a KNOCK.
BEAT.
The door is opened to reveal Charles, who is hurried in by a frantic Mark Kline. He is wearing a white robe and his eyes are red as fire, like he hasn’t slept for weeks.
MARK
Thanks for comin'. I don't know what the hell to do!
Thanks for comin'. I don't know what the hell to do!
Charles scans the room, it is a mess. Liquor bottles are cluttered on the table and a small mirror sits on the floor. From where he is standing he can see traces of a white residue on it.
CHARLES
Where is she?
MARK
I put her in there.
Where is she?
MARK
I put her in there.
He points at the bathroom door.
Charles walks to the door and opens it. A white sheet is draped over what appears to be a dead body. Charles slowly reaches down and pulls the sheet back. It is a nude, blonde woman with a large angel tattoo on her lower back.
CHARLES
This isn’t Charlotte.
MARK
No, man. Charlotte was a prude. She took off a long time ago.
This isn’t Charlotte.
MARK
No, man. Charlotte was a prude. She took off a long time ago.
Charles seems relieved, yet still annoyed.
CHARLES
What the hell were you thinking?
MARK
I don't know, man. Just havin' a little fun.
CHARLES
Looks like it. I can't get caught involved in situations like this, Mark. It's the same old thing with you.
What the hell were you thinking?
MARK
I don't know, man. Just havin' a little fun.
CHARLES
Looks like it. I can't get caught involved in situations like this, Mark. It's the same old thing with you.
Mark looks at the floor shamefully.
CHARLES (cont.)
Who is she?
MARK
She's a workin' girl. Met her down at the station. We were just messin' around, I think she OD’d.
CHARLES
Damn it, Mark. We're not in college anymore. You've got a family now. A career. You can't be putting it on the line for stuff like this.
MARK
I know. I don't know what to do.
Who is she?
MARK
She's a workin' girl. Met her down at the station. We were just messin' around, I think she OD’d.
CHARLES
Damn it, Mark. We're not in college anymore. You've got a family now. A career. You can't be putting it on the line for stuff like this.
MARK
I know. I don't know what to do.
Mark begins to break down, he has lost all self-control. Charles can't help but feel sorry for his old friend.
CHARLES
Take it easy. We've been through a lot, Mark. I'll help you. But I'm telling you now, this is the last time. No more.
Take it easy. We've been through a lot, Mark. I'll help you. But I'm telling you now, this is the last time. No more.
Mark nods his head rapidly.
MARK
Of course, Charlie. I'm gonna' get help. I'm gonna' get straightened out.
CHARLES
I'm serious. I'm done with it.
MARK
I know, I know.
Of course, Charlie. I'm gonna' get help. I'm gonna' get straightened out.
CHARLES
I'm serious. I'm done with it.
MARK
I know, I know.
Mark looks at the woman's pale, limp body.
MARK (cont.)
What about her?
CHARLES
I'll have it taken care of. Get yourself cleaned up and get the hell out of here.
What about her?
CHARLES
I'll have it taken care of. Get yourself cleaned up and get the hell out of here.
Mark nods as he hugs Charles tightly. Charles smiles nervously as he pats his back.
INT. NEW CHURCH OF CHRIST - BASEMENT - EVENING
Doug sits in a metal chair with his head bent back. He holds a bloody Kleenex to his nose. The right-lens to his glasses are cracked and loose. Seth stands across the room near the door. His eyes are filled with anger and distrust.
SETH
Someone better start giving me an explanation.
ROSE
Seth, just calm down. We’ll explain everything.
SETH
Good. Start with why the hell Bill Gates over here has been followin’ me.
Someone better start giving me an explanation.
ROSE
Seth, just calm down. We’ll explain everything.
SETH
Good. Start with why the hell Bill Gates over here has been followin’ me.
Doug looks offended.
DOUG
Why you gotta’ say that?
Why you gotta’ say that?
Rose looks at Ron, who nods to her.
ROSE
This is Doug. Doug Hayes. He's a good friend of mine. We went to NYU together.
This is Doug. Doug Hayes. He's a good friend of mine. We went to NYU together.
Doug removes the Kleenex; his nose looks to have stopped bleeding.
DOUG
Cut the B.S. Let me ask you, have you heard of the Illuminati?
Cut the B.S. Let me ask you, have you heard of the Illuminati?
Rose rolls her eyes sarcastically.
DOUG (cont.)
The New World Order? Bilderberg? Of course you have. We listen to your audio blogs, Seth. I've been listening to them for two years now. I, well I used to be, what you'd call a fan. Usually a fist to the nose changes that.
The New World Order? Bilderberg? Of course you have. We listen to your audio blogs, Seth. I've been listening to them for two years now. I, well I used to be, what you'd call a fan. Usually a fist to the nose changes that.
Seth seems puzzled as he looks at Rose.
ROSE
Doug here is a bit of a conspiracy nut. We all have our ideas; he just takes them to extremes sometimes.
Doug here is a bit of a conspiracy nut. We all have our ideas; he just takes them to extremes sometimes.
Now Doug rolls his eyes and takes a seat, putting the Kleenex to his nose.
RON
Seth, we know a lot about you. We've been following you for quite some time.
SETH
Following me? Following me for what?
RON
We need help with something. Something we think you have a keen interest in as well, Seth.
SETH
(looking at Rose)
Surprise, surprise. Though I do like the front, very creative. Church, bible studies. Well, whatever it is you’re lookin' for, you're not gonna' find it with me.
Seth, we know a lot about you. We've been following you for quite some time.
SETH
Following me? Following me for what?
RON
We need help with something. Something we think you have a keen interest in as well, Seth.
SETH
(looking at Rose)
Surprise, surprise. Though I do like the front, very creative. Church, bible studies. Well, whatever it is you’re lookin' for, you're not gonna' find it with me.
Seth turns toward the door.
RON
What if I told you I had information you want. I have information that could blow the lid off of everything you've worked for. The biggest story since Watergate.
What if I told you I had information you want. I have information that could blow the lid off of everything you've worked for. The biggest story since Watergate.
Seth hesitates, holding the door handle in his grasp.
SETH
You don't know anything about me. I'm not some crazy conspiracy guru like your friend here.
You don't know anything about me. I'm not some crazy conspiracy guru like your friend here.
Seth gestures toward Doug.
DOUG
What?
ROSE
(sympathetically)
Seth, you don't understand.
SETH
I understand plenty.
(sarcastically)
What "information" do you have? Kennedy's assassin? Government made UFO's?
What?
ROSE
(sympathetically)
Seth, you don't understand.
SETH
I understand plenty.
(sarcastically)
What "information" do you have? Kennedy's assassin? Government made UFO's?
Nobody answers. Seth shrugs.
SETH (cont.)
That's what I thought.
That's what I thought.
Seth begins to leave again.
RON
It's about Charles Abaddon.
It's about Charles Abaddon.
Seth stands, frozen in place. He turns to look at them all, their eyes hopefully watching him. He gives in and takes a seat.
SETH
Fine, I'm listening.
Fine, I'm listening.
INT. HOSPITAL - KENTUCKY, 1974 - EVENING
Darkness. A constant BEEPING sound. Eyes open to reveal a bright white ceiling. Reveal young Marianne, lying in a hospital bed. She is adorned in the traditional white hospital gown. She turns to her left to see an electrocardiogram, the source of the beeping noise. She tries to sit up, but the pain forces her back down as she tenderly holds her ribcage. A large scrape is apparent above her left eyebrow.
The door opens and DR. HAYWORTH enters. He stands at the foot of her bed and smiles sympathetically toward her.
DR. HAYWORTH
How are you feeling Marianne?
How are you feeling Marianne?
A confused Marianne looks back at him strangely.
MARIANNE
What happened to me? Why am I here?
DR. HAYWORTH
What is the last thing you remember, Marianne?
What happened to me? Why am I here?
DR. HAYWORTH
What is the last thing you remember, Marianne?
She struggles to remember.
MARIANNE
I remember going to Church. In the car, Mom was yelling at Sarah and Trudy. Where is everybody?
I remember going to Church. In the car, Mom was yelling at Sarah and Trudy. Where is everybody?
He appears hesitant, choosing his words delicately.
DR. HAYWORTH
Do you remember the crash?
Do you remember the crash?
HONK! A brief flash fills Marianne's memory. A semi plowing head-on with the Carter family car.
MARIANNE
We got in a car crash. A large truck.
DR. HAYWORTH
That's right. The man veered into your Father's lane.
MARIANNE
I remember. Where is my Father? Is he okay?
We got in a car crash. A large truck.
DR. HAYWORTH
That's right. The man veered into your Father's lane.
MARIANNE
I remember. Where is my Father? Is he okay?
The Doctor sits down to her left. He puts his hand on Marianne's shoulder.
DR. HAYWORTH
I'm sorry Marianne. He didn't make it.
I'm sorry Marianne. He didn't make it.
Marianne's eyes well-up with tears. Her face becomes flushed as she begins to sob.
DR. HAYWORTH
He died upon impact. It was quick.
He died upon impact. It was quick.
Marianne looks up, wiping the tears from her eyes.
MARIANNE
The rest of my family?
DR. HAYWORTH
I'm sorry.
The rest of my family?
DR. HAYWORTH
I'm sorry.
Marianne knows the answer.
DR. HAYWORTH (cont.)
You were not meant to go Marianne. God spared you for a reason.
MARIANNE
My family is gone! What reason?
DR. HAYWORTH
You will find out. He has other plans for you Marianne.
You were not meant to go Marianne. God spared you for a reason.
MARIANNE
My family is gone! What reason?
DR. HAYWORTH
You will find out. He has other plans for you Marianne.
Marianne does not respond. She covers her face with her hands and quietly weeps. The Doctor exits the room. After a few moments of silence, Marianne leaps out of her bed and rips the needle from her arm. She wildly throws her pillow across the room and begins pushing over the different equipment scattered across the room, screaming as loud as she can.
CUT TO:
INT. HOSPITAL - EVENING
CLOSE UP of Marianne's face. She screams in pain, sweat dripping down her face. Pan out to see her lying in a hospital bed, similar to before. Doctors scatter around the room and one sits between her legs. She is about to give birth.
DOCTOR
Marianne, I need you to push as hard as you can, okay? Can you do that?
MARIANNE
Uh-huh..
Marianne, I need you to push as hard as you can, okay? Can you do that?
MARIANNE
Uh-huh..
Marianne pushes and screams with everything she has. A female doctor stands behind the seated one.
FEMALE DOCTOR
Almost there. We can see the head.
Almost there. We can see the head.
Marianne wrenches in pain again, tears blending in with the sweat rolling down her cheeks. Suddenly a baby's cry is heard. The Doctor stands up, holding a small, fragile infant. Marianne's body goes limp as she takes a few long, deep breaths.
"Lightning Crashes" by Live plays softly in the background.
DOCTOR
Congratulations. You are now the mother of a beautiful baby boy.
Congratulations. You are now the mother of a beautiful baby boy.
Marianne lies on her back staring at the ceiling. Her chest moves up and down with her breathing. She closes her eyes and smiles.
INT. NEW CHURCH OF CHRIST - BASEMENT - EVENING
The group of individuals sit around the darkened room. Everyone's gaze is directed at Seth, who is leaned against the door nonchalantly.
SETH
Look, you guys don't have to convince me that Abaddon isn't a saint. I know from experience, he's far from it.
DOUG
Wouldn't surprise me if he was a high member of the Illuminati.
ROSE
Doug, enough with the Illuminati.
DOUG
Okay, fine.
Look, you guys don't have to convince me that Abaddon isn't a saint. I know from experience, he's far from it.
DOUG
Wouldn't surprise me if he was a high member of the Illuminati.
ROSE
Doug, enough with the Illuminati.
DOUG
Okay, fine.
Seth chuckles at the ridiculousness of the situation.
SETH
Seriously, stop wasting my time. What is Abaddon doing, that I don’t know about, that would be such a big conspiracy?
Seriously, stop wasting my time. What is Abaddon doing, that I don’t know about, that would be such a big conspiracy?
Ron leans forward slowly.
RON
You read about his trip to Syria earlier this year, correct?
You read about his trip to Syria earlier this year, correct?
Seth nods.
RON (cont.)
Reliable sources say that he had some very shady meetings while he was there.
SETH
With who?
RON
Let's just say he was meeting with the wrong crowd. You've heard of Amir Asheri?
SETH
The terrorist?
RON
That's him. He was behind the attacks in Jordan last year.
Reliable sources say that he had some very shady meetings while he was there.
SETH
With who?
RON
Let's just say he was meeting with the wrong crowd. You've heard of Amir Asheri?
SETH
The terrorist?
RON
That's him. He was behind the attacks in Jordan last year.
Ron slides a photo across the table in the center of the room. It shows Charles Abaddon meeting with an Israeli man, presumably Amir Asheri.
SETH
Why was Abaddon meeting an Israeli terrorist?
RON
That's a good question. Luckily the man who snapped this shot, also snapped one more.
Why was Abaddon meeting an Israeli terrorist?
RON
That's a good question. Luckily the man who snapped this shot, also snapped one more.
Ron slides a second photo across the table. This one shows Charles Abaddon handing the Israeli man a silver briefcase.
SETH
Is he being blackmailed?
RON
Seth, he is paying Asheri to do a job, if you know what I mean.
SETH
A job? Paying a terrorist to attack a country? If Charles Abaddon wanted to attack a country, in his position of power, he could do it a helluva’ lot easier than that.
RON
You’ve said it yourself, in your blogs. Abaddon is setting us up for World War three. This is just the beginning.
SETH
So say you’re right, which I definitely am not suggesting, what country is he looking to attack?
RON
I don’t know. But I am right Seth.
Is he being blackmailed?
RON
Seth, he is paying Asheri to do a job, if you know what I mean.
SETH
A job? Paying a terrorist to attack a country? If Charles Abaddon wanted to attack a country, in his position of power, he could do it a helluva’ lot easier than that.
RON
You’ve said it yourself, in your blogs. Abaddon is setting us up for World War three. This is just the beginning.
SETH
So say you’re right, which I definitely am not suggesting, what country is he looking to attack?
RON
I don’t know. But I am right Seth.
Ron pulls a tape recorder from his shirt pocket.
SETH
What's this?
RON
An insider got this to me. He got a jump on the location of their meeting. Got there first, set up a bug, and recorded their conversation.
What's this?
RON
An insider got this to me. He got a jump on the location of their meeting. Got there first, set up a bug, and recorded their conversation.
Ron clicks PLAY on the tape recorder. It opens with static before voices are heard. Seth waits with a smirk on his face.
CHARLES (O.S.)
Are you alone?
ASHERI (O.S.)
Of course, Mr. Abaddon.
CHARLES (O.S.)
Can you do it?
Are you alone?
ASHERI (O.S.)
Of course, Mr. Abaddon.
CHARLES (O.S.)
Can you do it?
BEAT.
CHARLES (O.S.)
(angrily)
Well? Can you?
ASHERI (O.S.)
You know I can do it. Are you sure about this? Do you understand the implications?
CHARLES (O.S.)
Don't worry about what I understand, Mr. Asheri. It must look like terrorism. Their government or their people cannot suspect a thing.
(angrily)
Well? Can you?
ASHERI (O.S.)
You know I can do it. Are you sure about this? Do you understand the implications?
CHARLES (O.S.)
Don't worry about what I understand, Mr. Asheri. It must look like terrorism. Their government or their people cannot suspect a thing.
Seth's smirk begins to go away. He looks at Rose who nods her head. It's the truth.
ASHERI (O.S.)
We can have everything in order soon. The warheads are on their way as we speak.
CHARLES (O.S.)
Good.
We can have everything in order soon. The warheads are on their way as we speak.
CHARLES (O.S.)
Good.
There is some incoherent noises in the background. Suddenly static fills the tape recorder once again. The group sits in silence as Ron clicks the recorder off.
RON
Were not sure what happened, but the line cut off.
SETH
Who are you people?
ROSE
We are part of a much larger coalition, if you will. Spread throughout the globe.
SETH
And you?
Were not sure what happened, but the line cut off.
SETH
Who are you people?
ROSE
We are part of a much larger coalition, if you will. Spread throughout the globe.
SETH
And you?
Seth points at Ron, who smiles.
RON
I'm nobody. Just another revolutionary.
SETH
Okay, so let's say I believe you. Why not just go to the police? The F.B.I.?
RON
I wish it were that easy.
I'm nobody. Just another revolutionary.
SETH
Okay, so let's say I believe you. Why not just go to the police? The F.B.I.?
RON
I wish it were that easy.
Many of the group's faces change after that comment. Sadness fills their eyes.
SETH
What?
ROSE
We had a member, he was in the Bureau. He tried to take information to someone who could do something. Blow the whole thing wide open.
SETH
So what happened?
ROSE
Abaddon got to him first.
What?
ROSE
We had a member, he was in the Bureau. He tried to take information to someone who could do something. Blow the whole thing wide open.
SETH
So what happened?
ROSE
Abaddon got to him first.
Seth realizes what they are implying.
SETH
So, what do you want me for?
So, what do you want me for?
BEAT.
RON
We want you, Seth, to kill Charles Abaddon.
We want you, Seth, to kill Charles Abaddon.
The words ring out in the darkened basement as Seth tries to grasp what he's just heard.
END OF ACT THREE
ACT FOUR
ACT FOUR
INT. CAR - NIGHT
Charles drives home after work. He passes through a busy N.Y. intersection. His phone RINGS. He pushes a button on his dash, turning on the speakerphone.
CHARLES
Hello?
UNKNOWN VOICE (O.S.)
Hello, Mr. Abaddon.
CHARLES
What have you got for me?
UNKNOWN VOICE (O.S.)
Some information about the Coalition. Seems they may be acquiring a new member as we speak.
CHARLES
So what? You going to inform me of every new member?
UNKNOWN VOICE (O.S.)
This is different. This is someone you know.
Hello?
UNKNOWN VOICE (O.S.)
Hello, Mr. Abaddon.
CHARLES
What have you got for me?
UNKNOWN VOICE (O.S.)
Some information about the Coalition. Seems they may be acquiring a new member as we speak.
CHARLES
So what? You going to inform me of every new member?
UNKNOWN VOICE (O.S.)
This is different. This is someone you know.
BEAT.
CHARLES
Humor me.
UNKNOWN VOICE (O.S.)
Seth Prescott.
Humor me.
UNKNOWN VOICE (O.S.)
Seth Prescott.
Charles eyes widen in shock. After a few moments a confident grin creeps its way onto his face.
EXT. CAR - NIGHT
Charles car turns a corner and heads down another busy street. Rose's fire-red sports car zooms by, unbeknownst to both.
INT. ROSE'S CAR – NIGHT
Rose drives while Seth sits in the passenger seat deep in thought. The silence is uncomfortable and eerie. Rose looks somewhat anxious.
ROSE
Look Seth, you don't have to do it. Ron and I have different views. We joined the Coalition for two completely different reasons.
Look Seth, you don't have to do it. Ron and I have different views. We joined the Coalition for two completely different reasons.
Seth doesn't respond.
ROSE (cont.)
He thinks brute force solves everything, I don't. Peace is what this country, this world, needs. Not more violence.
He thinks brute force solves everything, I don't. Peace is what this country, this world, needs. Not more violence.
Seth turns to speak to her, but before the words come out bright lights shine into the back window. Someone behind them bumps their rear. Rose looks in her mirror before GUNNING it!
The car stays right behind her, not letting her gain any ground.
SETH
What's this guys problem?
ROSE
We are. This is what happens when you get mixed up with Abaddon, Seth!
What's this guys problem?
ROSE
We are. This is what happens when you get mixed up with Abaddon, Seth!
The car pulls next to her, ramming Seth's side of the car. She swerves off, turning into a harbor. She weaves her way through the large docking area until coming to a DEAD END! She slams on the brakes.
The car stops about ten yards away. Waiting. Finally Seth opens his door.
ROSE
What are you doing?
What are you doing?
Seth ignores her as he steps out. He walks toward the tinted jet-black Sedan. He raises his arms in the air in a confrontational manner. The car's window rolls down, but it's too dark to see inside. Seth reaches behind his back as he walks faster toward the car. He pulls out a small 9MM pistol.
SETH
Can I help you!?!
Can I help you!?!
As Seth gets close, the car steps on it and spins out toward the exit. Seth watches as the car speeds away.
INT. ABADDON RESIDENCE - NIGHT
Thomas sits in his bedroom drawing at his desk. Collective Souls "The World I Know" plays on his stereo. The door creaks open as Charles peeks his head in.
CHARLES
Thomas, can I come in?
Thomas, can I come in?
Thomas turns and smiles at his Father.
THOMAS
Yeah, I'm just drawin'.
Yeah, I'm just drawin'.
Charles steps in and stands behind Thomas at the desk. He is drawing an oddly-shaped clock, similar to a Dali painting.
CHARLES
Not bad, Thomas.
Not bad, Thomas.
Thomas is silent.
CHARLES (cont.)
Can we talk?
THOMAS
Okay.
CHARLES
Do you know what I want to talk to you about?
Can we talk?
THOMAS
Okay.
CHARLES
Do you know what I want to talk to you about?
Thomas answers without missing a beat.
THOMAS
Mom.
CHARLES
What about her?
THOMAS
I don't like her anymore.
Mom.
CHARLES
What about her?
THOMAS
I don't like her anymore.
Charles looks concerned.
CHARLES
Why don't you like her anymore. She loves you Thomas.
THOMAS
Okay.
CHARLES
Why did you draw that picture at school? Why was your Mother dead?
THOMAS
I dunno'. I saw it in my head, I think. Sort of.
Why don't you like her anymore. She loves you Thomas.
THOMAS
Okay.
CHARLES
Why did you draw that picture at school? Why was your Mother dead?
THOMAS
I dunno'. I saw it in my head, I think. Sort of.
Thomas doesn't seem to make any sense. Charles, confused, tries to dig deeper.
CHARLES
So if she’s dead in your picture, how do you think she died, Thomas?
So if she’s dead in your picture, how do you think she died, Thomas?
BEAT.
THOMAS
I killed her. Well, it wasn't really me. It seemed like me though.
I killed her. Well, it wasn't really me. It seemed like me though.
Dramatic silence as Charles ponders what has just been said by his young son.
INT. HOSPITAL – MORNING
Marianne gathers her belongings from her hospital stay. Her newborn son lies next to her, wrapped up in a white blanket. The mood is tranquil and serene.
Roy enters and the two embrace in a hug. Roy kisses her softly on her forehead. He notices the child and caresses his smooth hair.
ROY
Have you thought of a name?
Have you thought of a name?
BEAT.
MARIANNE
Charles. His name is Charles.
Charles. His name is Charles.
Roy nods in approval.
ROY
Charlie. I like that. He looks like a Charlie.
Charlie. I like that. He looks like a Charlie.
Marianne laughs as she loads the last of her stuff.
MARIANNE
Nervous about your first day?
Nervous about your first day?
Roy attempts to act calm and in-control.
ROY
No way, I’m lookin’ forward to it.
(looking at his watch)
I just wanted to drop by to see you. I should get going, don’t want to be late on my first day.
No way, I’m lookin’ forward to it.
(looking at his watch)
I just wanted to drop by to see you. I should get going, don’t want to be late on my first day.
She smiles.
MARIANNE
Of course.
Of course.
Roy kisses her passionately, though she seems a little reserved.
MARIANNE (cont.)
Goodbye, Roy.
Goodbye, Roy.
He looks puzzled.
ROY
Goodbye?
MARIANNE
Yeah, goodbye. I’ll see you later.
Goodbye?
MARIANNE
Yeah, goodbye. I’ll see you later.
Now he smiles and hugs her tightly.
ROY
I love you Mary.
MARIANNE
I love you too.
I love you Mary.
MARIANNE
I love you too.
Roy plays with Charles’ fingers.
ROY
See ya’ later little man.
See ya’ later little man.
Marianne watches as Roy exits the room. She picks up Charles and exits as well.
EXT. HOSPIAL – MORNING
The Beatles “Yesterday” plays in the scene’s background.
Marianne straps Charles into the back of her small, white Pontiac. She starts the car and exits the hospital parking lot.
EXT. NEW YORK CITY – 1974 – DAY
The young Marianne drives her blue Buick Skylark down a long black stretch of highway. She zooms by a sign that reads:
WELCOME TO THE CITY OF NEW YORK
EXT. NEW YORK CITY – DAY
Marianne, with Charles in the back, drives down the same stretch of highway. This time she passes a sign that reads:
NOW LEAVING NEW YORK CITY
The car races out of the city until out of sight.
FADE TO BLACK.
THE END.
