Clocks (Episode #4: Georgia On My Mind)

[blaggers]

Clocks

Episode #4: Georgia On My Mind
--------------------[/color][/center]

CLOCKS

Episode 1x04

"GEORGIA ON MY MIND"



TEASER

INT. MURRAY'S INSURANCE - 1987 - DAY

CLOSE on a small circular pocket-watch. It reads: 11:55 A.M.

PAN up the arm to see it belongs to Roy. He snaps the watch shut and stuffs it in his pocket. He is dressed in a nice business suit and a red and black tie. He sits in an office cubicle and begins typing up some sort of document on his computer. His boss, Paul Williams pokes his head around the corner.

PAUL
Hey Roy, can I talk to you a minute?

Roy spins around in his chair surprised.

ROY
Yeah, of course.

Paul motions with his head for Roy to follow him.

INT. PAUL'S OFFICE - DAY

Paul takes a seat behind his large oak desk.

PAUL
Have a seat, Roy.

Roy sits directly across from him, making himself comfortable.

PAUL (cont.)
So how are things?

Roy shrugs.

ROY
Good, I guess. What about you?

PAUL
I can't complain. Anyway, the reason I need to talk to ya' is because we need you to head outta' town next week. Could you do that?

ROY
Of course. Where to?

PAUL
Georgia. Hotlanta' to be exact.

Roy looks excited.

ROY
Great, never been.

PAUL
Where'd you go last month? Boston, right?

ROY
Yeah, nice town. I could use a long drive.

PAUL
Yeah. Okay, well, I'll get with Tammy and get everything set up for ya'. Sound good?

ROY
Sounds great, Paul. I'm lookin' forward to it.

[/center]
The two shake hands as Roy exits with a giddy smile on his face.

INT. ROSE'S CONDO - PRESENT - NIGHT

Rose stands in her dimly lit kitchen, wearing reddish-flannel pajamas. She takes a sip of her water and leaves the kitchen, shutting the light off as she exits.

She walks up the small set of stairs to the loft. She sits down on her bed and stretches her neck. CRACK! A noise echoes from downstairs. Glass SHATTERING. She immediately runs to her closet and grabs a Louisville Slugger. She holds it like a baseball player and slowly creeps down the stairs.

At the bottom of the stairs she looks down the long hallway. In a blurring motion a figure dressed completely in black runs by the end of the hallway. She jumps, her hands trembling uncontrollably.

ROSE
Who's there?

She steps forward a few paces when suddenly a black-gloved hand reaches from behind and covers her mouth. Her eyes bulge and she let's out a muffled scream.

EXT. SHELTER - 1987 - DAY

The shelter is run down, barely recognizable. There is a large amount of graffiti on the front walls. A white Toyota slowly creeps by.

INT. TOYOTA - DAY

Roy sits behind the wheel. He comes to a stop and puts the car in park. He pulls a photo of Marianne from his pocket. Roy looks at it sorrowfully. His eyes become glassy as a tear rolls down his cheek. Roy turns the photo over. On the back is a short note, written in a female's handwriting. As he reads it, Marianne's voice takes over.

MARIANNE (V.O.)
I'm sorry, Roy. I had to take Charles and leave, it wasn't you. It was me. It was just something I needed to do. You are my best friend Roy, and I will never forget you. Hopefully one day we will find each other again. Until then, remember that I will never stop loving you. Goodbye Roy. Love, Marianne.

At the bottom of the note is a date. It says August 7th, 1980. After a brief time he puts the photo back in his pocket. He puts the car in drive and takes off.

END OF TEASER


ACT ONE

EXT. SEVEN-ELEVEN - ATLANTA, GA, 1987 - NIGHT

The shop is eerily silent. The lights are on inside, and a clerk can be seen through the window. An occasional car passing by on the nearby freeway is the only noise heard. Until a tall black male and a young woman exit the shop.

The man is dressed in a black silk shirt and khakis. He walks with a cane, but not because he has to. The woman wears a short turquoise dress and high heels. Her hair is blonde and curly.

MAN
Look bitch, I don't know what you think you're doin'. I run this damn town. I want you to work for me, you're gunna' work for me!

WOMAN
You think so?

MAN
(mocking her)
‘You think so?’
(serious tone)
Yeah, I think so.

WOMAN
I got a job. I ain’t no damn prostitute.

MAN
Close enough.

The woman starts to walk away but the man grabs her by the arm forcefully.

MAN
Don't walk away from me. You know who the hell I am?

WOMAN
I don't give a damn. Let go of my arm!

She spits in his face. He wipes it from his eye and laughs sadistically.

MAN
You really shouldn’t have done that.

He slaps her across the face, sending her to the ground. She holds her flushed cheek as the man stands over her smiling. The sliding doors open and Roy walks out, holding a SLUSHIE. He looks at them, the man shrugs confrontationally.

MAN
You got a problem?

Roy looks away as he heads to his car.

MAN (cont.)
That's what I thought.

The man grabs the woman by her hair and pulls her to her feet.

WOMAN
Let go of me!

MAN
Shut up!

She kicks him in his shin, and he jerks back in pain. But it only lasts a few moments before he pounces on her again, wrapping his large hands around her throat.

MAN
You don't know when to quit do ya'?

She fights desperately, struggling for air. THUMP! A metal PIPE hits the man in the back of the head and falls to the ground. Roy drops the pipe as it CLANKS loudly on the ground. He reaches his hand out to help her up.

ROY
Are you okay?

WOMAN
(coughing)
Yes. You saved my life.

ROY
What's your name?

WOMAN
Layla.

ROY
Nice to meet you Layla, I'm Roy. What the hell is this guy's problem?

LAYLA
I guess he's territorial. Like a dog, you know? We better go, this isn't the kind of guy you piss off, if you know what I mean.

Roy nods and they quickly jog into the darkness.

EXT. LAYLA'S CAR - NIGHT

They reach her blue Chevy parked in the parking lot. It's in poor condition and the paint is rusty. She unlocks the door and Roy opens it for her.

LAYLA
Thank you for helping me. Most people wouldn't have looked twice.

ROY
It's no problem, really.
(building up courage)
Can I see you again sometime? I'm only going to be in town for a little while.

Layla looks at him suspiciously. Then she smiles.

LAYLA
Can you remember an address?

ROY
Sure.

LAYLA
6471 Lohman Falls. Got it?

ROY
6471 Lohman Falls. What will I find there?

LAYLA
I work there. You can come see me sometime.

ROY
Oh, okay. Definitely. I'll see you soon.

She nods and smiles. She starts her car, after it struggles to turn over. Roy watches as she drives away.

INT. NEW CHURCH OF CHRIST - PRESENT - DAY

The usual members sit inside the dark church basement. Seth paces back and forth by the door.

DOUG
Seth, I'm sure everything is fine. She probably just slept in or something.

SETH
It doesn't feel right. Something's up.

RON
I think he's right. She should have answered her cell phone.

SETH
I need to tell you guys something.

RON & DOUG
(simultaneously)
What?

Seth stops pacing and takes a breath.

SETH
A few days ago some guys broke into my shop. They knocked me out.

DOUG
Abaddon's guys!

SETH
Yeah. They threatened me, tried to intimidate me. They said if I come back to this church, something bad will happen to Rose.

They look shocked.

SETH (cont.)
I told her about it, but she didn't seem worried.

RON
Well, it wouldn't be the first time they've been after her. She does know how to handle herself. Unfortunately for her, she’s also somewhat stubborn.

DOUG
Very stubborn.

RON
We can't jump to conclusions. It could be nothing. Has anyone checked her place?

They shake their heads.

SETH
I can run by there. See if she's home.

RON
I think that'd be a good idea. Let us know as soon as you find anything out, Seth.

SETH
Of course.

He grabs his jacket and heads out the door. Ron and Doug look at each other sternly.

INT. ABADDON'S OFFICE - DAY

Charles sits at his desk, quietly jotting down something on a sheet of paper. There is a knock at the door, as Charles looks up Mark Kline enters.

CHARLES
Hello, Mark.

MARK
Hey Charles. How's it goin'?

CHARLES
It's goin'.

MARK
(nodding toward his paper)
Workin' on anything good?

CHARLES
Just a speech. I've gotta' talk down at the Convention Center about Iran's Nuclear Arms. Giving me a migraine for the past two days.

Mark chuckles.

MARK
I hear ya'. So what's on your agenda next week?

Charles seems impatient.

CHARLES
Well, this speech is.

MARK
Yeah, of course. Well anyway, I just wanted to thank you for helping me. With the, you know --

CHARLES
(interrupting)
Yeah, I know. Don't mention it. Just remember what I said.

MARK
Of course. I'm changing my ways Charlie.

Charles rolls his eyes and continues writing. Charlotte enters, wearing a nice black dress.

MARK (cont.)
Woo-wee. How are we doin' today, Miss Long?

CHARLOTTE
I'm doing good, thanks. Mr. Abaddon, here's those reports you asked for.

She hands him a small pile of DOCUMENTS.

CHARLES
Thanks, Charlotte.

CHARLOTTE
You're welcome.

MARK
See ya' tomorrow night.

Charlotte smiles and exits the office.

CHARLES
Tomorrow night?

MARK
Yeah, she gave me another date. At least this time I know what I'm goin' into. She's different than most the women I date. So I've been preparing.

CHARLES
Right.

Charles looks worried as he flips through the reports.

EXT. 6471 LOHMAN FALLS - 1987 - NIGHT

Roy pulls up to the large white building. The moon shines brightly on it, making it glow strangely. There is no business sign or writing of any kind on the building. Roy hesitates a moment, debating on whether to go in or leave. He shuts the car off and gets out.

INT. 6471 LOHMAN FALLS - NIGHT

The door opens and Roy creeps in. The large building is filled with glowing disco-style lights. As Roy takes it all in, he realizes it's a STRIP CLUB. He sees a bar off to one side, two separate stages set up, both equipped with a large pole running from the ceiling. George Michael’s “Faith” blares through the speaker system.

DOOR MAN
(Scottish accent)
Can I 'elp you, Sir?

Roy looks around the room in bewilderment.

DOOR MAN (cont.)
What's the matta', ain't never seen no strip club before, mate?

ROY
I...I’m looking for Layla.

DOOR MAN
Everybody’s lookin’ for Layla, pal. She's over there.

He points toward one of the stages. Roy sees a small crowd gathered around the stage.

ROY
I don't see her.

DOOR MAN
You don't see her!?! What the hell you lookin' at? Only one girl on that stage, mate.

Roy now sees a woman on the stage dancing. It’s too far across the room to make out much, just a neon-purple wig.

ROY
She has...purple hair?

DOOR MAN
Called a wig. Sex appeal, so they say.

Roy stares at her in a daze.

DOOR MAN (cont.)
The hell you waitin' on? You found her, now go give her some of that hard earned green.

Roy looks at him, still confused. He heads in her direction. As he gets closer he can see that it is her wearing a purple wig. The only thing covering her breasts are small, stringy purple tassels. She sees him watching her from a short distance and smiles seductively at him. He just stares at her, still in his trance.

The song ends and Layla walks to the back. Roy heads to the bar.

ROY
A bud, please.

The bartender nods and reaches under the bar. He twists off the bottle and hands it to Roy. Roy takes a couple sips until someone sits down next to him. It's Layla. She is now wearing a long suede fringe western jacket and tight blue jeans.

LAYLA
You made it.

Roy looks over and smiles, not realizing she was there.

ROY
Yepp. Granted, I'm a bit...umm....surprised.

She laughs.

LAYLA
Yeah, I could tell. Does it bother you?

ROY
No, no not at all. Just wasn't expecting it, that's all. You looked great though. You have nice, umm...moves.

LAYLA
(chuckling)
Well thank you. You don't look to bad yourself.

ROY
So that was your last dance?

LAYLA
It was. Now I am going home. I've been here for fourteen hours straight. I need sleep.

ROY
You want a drink?

LAYLA
No thanks. I gotta' go in a minute. Just wanted to say hi.

Roy looks shocked that she's leaving him there. He now seems a little disinterested.

LAYLA (cont.)
I hope we can go out sometime.

She grabs his hand and writes something on it in pen.

LAYLA (cont.)
This is my home number. Call me tomorrow night, we can have dinner.

Roy's face lights up.

ROY
Dinner? Great. I can't wait.

LAYLA
And Roy, if you don’t call, I’ll understand.

ROY
What? Why wouldn’t I call?

LAYLA
The reason I brought you here, to see where I work. That way we don’t waste anytime. I like to put it out on the table. If you’re cool with it, great. But if not, we don’t have to waste each other’s time. Ya’ know?

ROY
As I said, dinner sounds great.

Layla coyly smiles and walks away, running her hand across his shoulders. Roy takes another drink from his beer and laughs to himself, watching her out of the corner of his eye.

EXT. ROSE'S CONDO - DAY

Seth walks up the front steps to Rose's condo. He looks around the exterior for any signs of trouble. He KNOCKS. No answer. He walks along the side until he comes to a scattered pile of broken glass. He looks up and sees the window is busted out. He rushes back to the front and uses his shoulder to forcefully open the front door.

INT. ROSE'S CONDO - DAY

Once inside, Seth looks around urgently.

SETH
Rose, you in here?

He runs up the stairs. After a brief time, he rushes back down and checks the rest of the condo. He comes back in to the front room and frustratingly rips at his hair.

SETH
Damn it!

A phone RINGS, catching Seth off-guard. He hurries to it and picks up the receiver.

SETH
Hello?

MAN (O.S.)
I warned you not to go back there.

SETH
You son of a --

MAN (O.S.)
(interrupting)
Calm down, Mr. Prescott. You're friend Rose is okay for now. But that can all change, unless...

SETH
Unless what?

MAN (O.S.)
Unless you do something for us.

SETH
Let me talk to Rose. Far as I know you could be lyin'.

MAN (O.S.)
(to Rose)
Make it quick!

The phone becomes muffled for a moment.

ROSE (O.S.)
Seth!

SETH
Rose! Are you okay?

ROSE (O.S.)
Yeah. Seth, don't listen to them! They're not gonna' do anything to me! Don't listen to them Seth --

The muffled sound comes back again as the man snatches the phone from her.

SETH
Rose!

MAN (O.S.)
That's enough of that.

SETH
If you hurt her, I swear I'll kill you myself!

MAN (O.S.)
Well that doesn't have to happen. It's all up to you Seth. Either she dies or you do us a small favor in exchange for her life.

BEAT.

SETH
What do you want me to do?

MAN (O.S.)
Meet me at the parking garage on Hilton and Seward. One hour. I'll make you an offer there.

CLICK. The phone line goes dead. Seth calmly puts the phone down and heads toward the door.

INT. CARTER RESIDENCE - 1987 - NIGHT

CLOSE on a television set playing “The Dead Zone”. Marianne and Charles sit on the couch in the dark living room. The lights from the T.V. dance on their faces. They are snuggled close as they eat popcorn, intently watching the film. Charles is now 8 years old.

INT. KITCHEN - NIGHT

Marianne stands in front of the sink washing dishes. She seems happy and tranquil. That all changes when she sees what looks like The Dark Figure reflected in the window. She spins around quickly to see Charles standing behind her. His eyes seem strange as he stares ahead hypnotically.

MARIANNE
Charlie, you scared me.

She notices in his hand is a small steak KNIFE from the kitchen drawer.

MARIANNE (cont.)
Charlie? Charlie, what are you doing with that knife?

Charles continues to look forward in an apparent catatonic state. Marianne quickly reaches down and snatches the knife from his hands. She sets it on the counter and kneels down.

MARIANNE (cont.)
Charlie! What's wrong honey?

She gently shakes him, hoping to bring him back to reality.

MARIANNE (cont.)
Charles!

His eyes return to normal as his gaze now rests upon his Mother's face. He looks puzzled.

CHARLES
Hi, Mommy.

Marianne stares at him in fear and bewilderment.

END OF ACT ONE


ACT TWO

EXT. PARKING GARAGE – DAY

Seth stands alone in the quiet garage. Rows of cars surround him in every direction. He walks over to the edge and looks down to the ground below. About 6 stories up.

A car door slams behind, startling Seth. He turns to see the man who he talked to in his shop approaching. He carries a small, silver briefcase. Seth watches him closely.

MAN
We meet again.

SETH
You surprised?

MAN
Quite. You are not?

Seth shakes his head.

SETH
Nope. I had a feeling you’d pop up again sooner or later.

The man laughs mockingly.

MAN
Seth, we are not the bad guys.

SETH
You’re not huh? Then who is?

MAN
Well that’s precisely the reason we are having this meeting. We want you to do us a favor.

SETH
You mean do Charles Abaddon a favor? I’d rather tie the noose around my own neck.

Again the man laughs, appreciating Seth’s humor, considering the situation.

MAN
Charles Abaddon is bringing nothing but good to this country. What is so wrong with that, Mr. Prescott?

SETH
Can we skip the BS? What do you want with me?

MAN
If you insist. We want you to stop a terrorist leader. Stop him before he does something that will send this entire country into a place it doesn’t want to be in.

SETH
The hell are you talkin’ about?

MAN
I’m talking about a complete and utter police-state. I’m talking about an act that will cause the government to throw away the constitution. The Patriot Act? That’s nothing compared to what will happen if this terrorist does what he is planning on doing.

SETH
And what does he plan on doing?

The man seems to be growing impatient with Seth.

MAN
He plans on assassinating someone. I think you can figure out who.

Seth seems nervous. Does he know about their plan?

SETH
How am I supposed to stop him? Why me? I ain’t nobody.

MAN
Oswald was nobody. But he did what he was told, which is what counts. Mr. Prescott, you are more important than you know. And concerning the means of stopping him...well, I think you can figure that out as well.

Seth shakes his head defiantly.

SETH
I’m not killin’ anybody.

MAN
It has to be done, Mr. Prescott.

SETH
Who the hell are we talkin’ about anyway?

MAN
The terrorist? I think you know him. Ron Luther.

Seth looks at him astonishingly.

SETH
You’re insane. You are all insane.

MAN
Then I guess you will never see Rose again. I’m sorry.

The man turns and begins walking away. Seth looks at his feet, thinking desperately.

SETH
Damn it, hold on a second.

He slowly turns around.

SETH (cont.)
I need to see her.

MAN
I’m sorry?

SETH
Rose. I need to see her first.

MAN
Very well.

He turns and softly whistles toward the black car behind them. The door opens and a second man gets out, followed by Rose. Her hands are bound behind her back and her mouth gagged with a thick white ROPE.

SETH
Take that out of her mouth.

Man #1 nods at the second man. He removes the rope.

ROSE
Seth! Whatever it is they want you to do, don’t do it! Don’t do it, Seth!

He forcefully reinserts the rope in her mouth. Seth watches angrily.

SETH
(angrily)
Okay. I’ll do it.

MAN
Good.

He extends the briefcase toward Seth.

SETH
What’s this?

MAN
It’s a gun. The one you will kill Luther with.

Seth reaches for the briefcase, but as he does he grabs the man’s wrist and spins him around swiftly. In one motion he uses his forearm to apply a mild choke to his throat and uses his free hand to pull the gun from the man’s beltline.

Man #2 points his gun at Seth while Seth points his gun at Man #1’s head.

SETH
Let her go!

MAN #1
(calmly)
Seth, you do not want to do this.

SETH
Yeah? Well I think I do. Now tell him to let her go or I’ll blow your damn head off!

BEAT as neither parties give in. Finally Man #1 sighs and nods to Man #2.

SETH (cont.)
Kick that gun over here too!

Man #2 obliges and Rose rushes over to Seth. They back step to Seth’s Blazer, still holding onto man #1. Seth opens the door for Rose, her hands still tied behind her back. He goes to his side and opens his door.

MAN #1
You’re making a terrible mistake, Mr. Prescott. You’ve changed everything now.

SETH
Shut up.

Seth pushes him forward and gets in the Blazer. He keeps his gun pointed directly at him through the window. He starts the engine and speeds off, leaving the two men to sulk in the quiet parking garage.

INT. BLAZER – DAY

Seth drives quickly, checking his rearview mirror often. He uses a free hand to undo the rope wrapped around Rose’s wrists.

ROSE
(happily)
You are crazy! You know that?

SETH
One of the few good things that came out of my military stint.

Rose is now free and she hugs him tightly and affectionately.

INT. SMALL RESTAURANT – EVENING

Roy and Layla sit directly across from each other at a small, quaint restaurant. A waiter pours them both a drink and walks away. They’ve just finished their meals.

Layla looks much different than the two previous times we’ve seen her. She looks classy and elegant.

LAYLA
I can’t believe I’ve never been to this place. A hidden gem.

ROY
A friend of mine at the company told me about it. Said he eats here every time he comes to Atlanta.

LAYLA
Tell me Roy, have you ever been married?

Roy shakes his head.

LAYLA (cont.)
Why not? Haven’t found the right girl yet?

Roy seems uncomfortable as he fidgets in his seat.

ROY
No, that’s not it. I just...I don’t know.

LAYLA
So you have found the right girl? What happened?

ROY
I didn’t say that.

She looks at him knowingly.

LAYLA
I know you didn’t.

He grins bashfully.

ROY
What always happens, I guess. It didn’t work out.

LAYLA
I see.

There is an awkward silence.

LAYLA
You wanna’ go to my place? Have some wine?

ROY
Umm...yeah, sure.

They smile at each other, the electricity almost visible.

INT. U.N. HEADQUARTERS - HALLWAY - EVENING

Charles is talking to a few men in the quiet, empty hallway. The men are foreign, from somewhere in Asia. They laugh at whatever joke Charles has told them. They nod and shake hands upon exit. Charles sees Charlotte walking down the hall and hurries to stop her.

CHARLES
Charlotte!

She turns and greets him with a smile.

CHARLES (cont.)
Can I have a word with you?

CHARLOTTE
Of course.

Charles peers around the large office area. There is only a few people who haven't went home for the night. Charles speaks in a somewhat quiet tone, giving off a sense of secrecy.

CHARLES
It's about Mark. I'd like it if you didn't see him.

CHARLOTTE
See him?

CHARLES
Dating. Relationship. I'd rather you didn't get in involved with him.

She looks at him, expressing confusion and a hint of anger.

CHARLOTTE
And why is that?

CHARLES
You just have to trust me, Charlotte. It won't turn out good.

CHARLOTTE
(flirtatious)
Are you jealous, Charles?

CHARLES
What? No. What are you implying, Charlotte?

She rolls her eyes.

CHARLOTTE
Never mind. Don't forget about your speech tomorrow afternoon. Also, your interview with Mr. Drysdale from CNN. I set it up for Thursday at four.

CHARLES
Drysdale? That sorry sap?

CHARLOTTE
Sir he has the most watched news program in the country.

Charles starts to say something, but Charlotte is already on her way.

INT. BLAZER - NIGHT

Seth and Rose drive down a long stretch of highway. The night is dark and quiet, civilization seemingly non-existent. Rose looks out the window at the night sky. Her eyes are weary and she looks exhausted.

SETH
It probably isn't safe for you to sleep at home.

ROSE
I don't think it will be safe anywhere for a long time.

BEAT.

ROSE (cont.)
Do you think things will ever be right again? I mean, in the world.

Seth shrugs.

SETH
I dunno'. Change is always just around the corner. We just have to get to it, that's all. Politicians come and go, but the people have always been here. Know what I mean?

ROSE
Yes. I just need to know that what we are doing MEANS something. That we are doing something good.

SETH
We are. If Abaddon attacks Iran, Russia, China, whoever, all hell is going to break loose. We could be looking at another World War. If we can help stop that, then I'd say there is purpose behind it.

Seth smiles at her assuredly. Her demeanor changes as she looks more relaxed and comforted by Seth's words.

SETH (cont.)
You can stay at my place tonight. Just until we can figure things out.

She smiles.

ROSE
Thanks. I'd like that.

Seth looks straight ahead at the yellow lines on the pavement as Rose goes back to gazing at the stars.

EXT. CARTER RESIDENCE - 1987 - DAY

FOLLOW 8 year old Charles out of the front door and down the steps of the apartment. He is carrying a large GI JOE in his hand. He walks around a car to see Marianne crouched down, loading some bags in the trunk. She smiles when she sees him.

MARIANNE
You about ready, Charlie?

CHARLES
Where we goin'?

MARIANNE
The city, remember?

Charles lights up.

CHARLES
New York City!?!

MARIANNE
The one and only.

Charles jumps around joyfully.

CHARLES
Yes! Yes! I can't wait!

She laughs at him as he runs to the car door and climbs inside.

INT. LAYLA'S APARTMENT - 1987 - NIGHT

Roy sits alone on a small couch. The apartment is dark and is sort of retro-70's. Lava lamp, beaded curtains, the works. Layla walks in carrying a couple glasses of red wine.

LAYLA
So Roy, tell me about this girl. Marianne, was it?

Roy looks bashful as he sips the wine.

ROY
What do you want to know?

LAYLA
Why'd she leave?

He shrugs.

ROY
Don’t really have any idea. She got pregnant --

LAYLA
(interrupting)
Yours?

He shakes his head feverishly.

ROY
No, no. She was umm...assaulted.

LAYLA
Raped?

ROY
Yeah. I was there to see the baby the day after she had it. The last time I saw her she was leaving the hospital to go home. Then she was gone.

LAYLA
That's sad. What did she name the baby?

ROY
Charles. Charles Carter.

LAYLA
Sounds like the name of a President.

Roy chuckles to himself.

ROY
That sure would make Mary proud.

BEAT.

They both awkwardly drink their wine. She finishes her glass and sets it on the table.

Another BEAT.

Finally the silence is broken when Layla erupts with a kiss on Roy's lips. At first he looks shocked, but then reciprocates the kiss and sensually grabs the back of her head. She lies backward on the couch, him now nearly on top of her as they continue to kiss passionately.

END OF ACT TWO


ACT THREE

INT. SETH'S APARTMENT - NIGHT

Seth makes the bed in his dimly lit bedroom. He straightens out the sheets and fluffs the pillows. Rose appears behind him in the bathroom door. She wears an overly large N.Y. Rangers jersey of Seth’s as she smiles at him affectionately.

ROSE
Thank for this, Seth. It means a lot.

SETH
Ah, no problem. Those rats of Abaddon's aren't going to quit. At least this time you'll have some backup.

Seth holds a pillow as if he’s ready to whack someone with it. She laughs softly, her head resting against the door frame.

SETH (cont.)
I'll be right in there.

He points to a couch in the living room.

SETH (cont.)
If you need anything.

She nods knowingly.

SETH (cont.)
You okay?

ROSE
I'm great.

He smiles.

SETH
Okay, I'll see you in the morning. Get some sleep, I know you gotta' be beat.

ROSE
Goodnight, Seth.

SETH
Goodnight.

She watches him closely as he exits. Her eyes easily give away the fact that she is falling for him.

INT. SETH'S LIVING ROOM - NIGHT

The room is completely dark. Seth lies on the small couch asleep. The doorknob SHAKES. Seth's eyes snap open and he watches the door.

BEAT.

The knob SHAKES again and Seth quickly jumps to his feet. He rushes over to his gun cabinet and grabs a Beretta 9MM. He stealthily approaches the door. After a few moments he swings the door open and aims his gun in the hallway.

INT. HALLWAY - CONTINUOUS

Nobody. The sound of wind is heard. At the end of the hall is an open window, Seth investigates. As he peers out, he sees a man running around the side of a building across the street.

Seth closes the window, checking the locks. He takes a deep breath and goes back into the apartment.

EXT. DOCKS - MORNING

Abaddon's men sit next to their car near the docks. The small waves crash into the docks just a few feet away. The setting is calm and serene. Then Charles shows up. He wears his usual black suit and tie and approaches them with disdain on his face.

MAN #1
Mr. Abaddon, nice to see you Sir.

CHARLES
What happened?

MAN #1
Prescott. He had me at gun point, we had to let her go.

Charles shakes his disgustingly.

CHARLES
What the hell is wrong with you?

MAN #1
I'm sorry, Sir.

CHARLES
I'm the one who's sorry. For both of you. Luther was supposed to be dead by now. He operates out of a church in the middle of the city, how is that so hard to take care of? The man begins to speak but is cut off by Abaddon. Ron Luther is top priority. I don't care about the girl, I don't care about any of them. Except Luther and Prescott. Can you take care of them? Or do I need to get someone who can?

MAN #1
No, no Sir. We'll take care of it.

CHARLES
Good. Get it done before they do something stupid.

They nod earnestly as Abaddon walks away.

INT. CAR - 1987 - DAY

Marianne drives, grinning from ear to ear as Charles gazes at the beautiful scenery. The roadside is filled with luscious, vibrant green pine trees.

CHARLES
Mom, why we goin' to New York City?

MARIANNE
To see an old friend. An old friend of Mommy's.

CHARLES
Your best friend?

MARIANNE
Yeah. My best friend.

CHARLES
What's his name?

Marianne smiles nostalgically as she answers.

MARIANNE
His name is Roy. He's a very nice man.

CHARLES
If he's your best friend, why haven't I met him?

MARIANNE
It's complicated, Charlie. We haven't seen each other for a long time. Since you were born actually.

Realization spreads across her face. She hadn't thought about that fact for a long time.

CHARLES
I can meet him?

MARIANNE
Absolutely.

Charles smiles as he goes back to staring at the trees. Marianne turns the radio on as U2’s “With or Without You” plays.

INT. LAYLA'S APARTMENT - 1987 - MORNING

The sound of pigeons chirping wakes Roy up. He stretches his arms and rubs his eyes. When he gets his wits, he looks around the room in a daze.

ROY
What the...

He looks to his left to see Layla lying next to him sleeping soundly. His eyes bulge and his memory comes back to him. He quietly gets up and heads to the restroom.

INT. RESTROOM - CONTINUOUS

Roy quietly runs water from the faucet and splashes it on his face. He takes a few moments to look in the eyes of his reflection. He sees his pants lying near the toilet. Something is slightly sticking out of the pocket, so he reaches down and pulls it out.

CLOSE on the picture of Marianne. Roy takes a long look at it and then looks at himself in the mirror once again. His face and eyes are full of shame.

After quickly putting his jeans on, he sneaks through the bedroom and out the door, not waking Layla up.

INT. SETH'S BEDROOM - MORNING

The similar sound of birds chirping is heard. OVERHEAD SHOT of Rose, now awake, lying still in the bed. She smiles as she realizes where she's at. She quickly rolls out of bed and heads into the living room.

INT. SETH'S LIVING ROOM - MORNING

As she enters the room she sees Seth sitting up in a wooden chair. His head is knelt down as he sleeps. She slowly approaches him and softly shakes his shoulder. He jumps nearly a foot out of the chair in a startled daze, causing her to jump as well. PAN DOWN to see the PISTOL in Seth's hand is pointed right at Rose. He quickly lowers it and sets it on the table.

SETH
I'm sorry.

ROSE
No, I'm sorry. I shouldn't have scared you.

BEAT.

ROSE (cont.)
(amusingly)
You always sleep in a chair with a gun?

SETH
You always so witty in the morning?

She smiles at him playfully.

ROSE
Seriously, why the gun?

SETH
Get dressed. We gotta' go to the church.

INT. U.N. HEADQUARTERS - DAY

Charles enters the building, walking toward his office quickly. A few people drop what they are doing to greet him on his way there, mostly kissing his you-know-what. When he reaches his office, the door is slightly ajar. He pushes it open to reveal Charlotte sitting in a chair, waiting his arrival.

INT. ABADDON'S OFFICE - CONTINUOUS

Charles looks puzzled as he takes a seat behind his desk.

CHARLES
You're here early, Charlotte. Something wrong?

CHARLOTTE
Sort of, Sir. Yes. I've been thinking about what I said to you yesterday. It was unprofessional and I apologize.

CHARLES
Charlotte, I'm not sure what you are talking about.

CHARLOTTE
About me. Me and you. You're a married man and my boss, I shouldn't even joke about that. So, again I'm sorry.

Charles chuckles lightly.

CHARLES
It's no problem, really. No need to get so worried, Charlotte.

CHARLOTTE
Well, there's one more thing, Sir.

CHARLES
Yes?

CHARLOTTE
It's about Mark. We are going to go on another date.

Charles begins to speak, but she cuts him off.

CHARLOTTE (cont.)
I'm not sure why you are so against the idea of me seeing him, but it's my life. My life here at work and my life outside of work are two completely different things. I enjoy his company, now that I've gotten to know him. So again Sir, I'm sorry. But this is something I feel very firm about and will not be swayed.

Charles sighs and Charlotte can tell he's disappointed, but she will not waiver.

INT. NEW CHURCH OF CHRIST - BASEMENT - DAY

Seth stands before the group, a look of urgency on his face.

SETH
With the recent events, I don't think it would be wise for--
(looking at Ron)
US to stay here. It's not safe.

DOUG
What? Why?

SETH
First they came after me, then they took Rose. And last night at my place, I'm pretty sure they were tryin' to get in.

Rose looks alarmed by this revelation.

RON
They don't know about this place, Seth. We're okay.

ROY
You're on the internet. Can't be too hard to track us down.

DOUG
Au contraire. Our contact number is on the internet, not our location.

ROY
Well, can't they just trace the number.

DOUG
Do I look like an idiot?

ROSE
(to Roy)
He does pretty amazing stuff with electronics.

Doug smiles proudly.

RON
Abaddon's scared, Seth. That's all it is. He knows we are close to whatever relations he's got with Asheri.

SETH
A scared man can be pretty damn dangerous. YOU need to go somewhere safe, Ron. They've had a chance to kill me, but they didn't. Same with Rose. Instead they used us as pawns to get to you.

RON
What?

SETH
The terms they laid out to get Rose back. It involved murdering you. They want you gone. They want you gone bad.

Everyone sits in silence for a moment.

SETH (cont.)
Anyway, I've been thinking. They've threatened all of us, and we've seen the extent to which they will go. Kidnapping Rose!?!

RON
Now you see. Abaddon has to be dealt with.

BEAT.

SETH
I'll do it.

ROSE
(shocked)
What?

SETH
I'll kill Charles Abaddon.

Ron slyly smiles and nods in approval toward Seth.

RON
I know the perfect time.

END OF ACT THREE


ACT FOUR

EXT. NEW CHURCH OF CHRIST - BACK ALLEY - DAY

Seth and Rose stand in the deserted alleyway. Seth leans against the brick wall as Rose lights up a CIGARETTE.

ROSE
(blowing out a puff)
Seth, seriously. You're just upset. How is killing Abaddon going to solve anything?

SETH
It will solve EVERYTHING.

ROSE
There are other ways to do it, Seth.

SETH
No, there isn't any other way. This has been a long time coming, Rose. It took me a while, but I realize this is what I'm supposed to do.

ROSE
For the greater good.

SETH
Exactly.

Rose rolls her eyes in an aggravated manner.

Suddenly Roy comes through the door. He smiles at the two, but their expressions remain the same. He looks a bit embarrassed.

ROY
Seth, umm...I hate to ask but could you give me a lift?

SETH
Umm...yeah, sure.

Seth fumbles in his pocket for his keys.

SETH (cont.)
I'll be back soon.

Roy smiles and nods to Rose. The two exit as Rose finishes her cigarette.

INT. U.N. HEADQUARTERS - OFFICE - DAY

Charles picks up the phone and dials a number. As it rings he rubs his forehead stressfully.

MARK (O.S.)
Hello?

CHARLES
Mark, this is Charles.

MARK (O.S.)
Of course it is. What can I do for ya' buddy?

CHARLES
I need to ask you a favor.

MARK (O.S.)
Whatever you need.

BEAT.

CHARLES
I need you to stop seeing Charlotte.

Another long BEAT.

MARK (O.S.)
The hell you talkin' about?

CHARLES
I don't want you to see her anymore.

MARK (O.S.)
What's the problem? Is it about what happened with that girl?

CHARLES
No, I can't explain it. I just need you to give me your word.

MARK (O.S.)
It doesn't make any sense. Why do you care what either of us do?

CHARLES
I care because you're a good friend of mine, Mark. I care because I know you too well. Same goes for Charlotte.

MARK (O.S.)
What are you tryin' to say?

CHARLES
I'm trying to say that as a favor to your friend, don't see her anymore.

BEAT.

CHARLES (cont.)
Can you do that for me?

MARK (O.S.)
Whatever. You don't want me to see her, then fine. I won't see her anymore.

CHARLES
Give your word?

MARK (O.S.)
(agitated)
Yes, I give my word.

CHARLES
Thank you, Mark.

MARK
Yeah.

Charles hangs up the phone and smiles to himself proudly.

INT. SETH'S BLAZER - DAY

Seth weaves through traffic as Roy looks strangely content. The silence is awkward as the two barely know each other.

ROY
So you're really gonna' do it, huh?

SETH
I'm sorry?

ROY
Abaddon.

Seth nods gravely.

ROY
I applaud that. You have tremendous courage.

Seth doesn't respond.

ROY (cont.)
Marianne, Abaddon's mother, she was brave like you. Bravest woman I ever knew.

SETH
You really loved her, huh?

ROY
So much. To this day she still owns my heart.

Seth looks at Roy as he watches the traffic going by. He feels sorry for him. His social awkwardness and his hard life.

SETH
You never had anyone after her? Wife or kids?

Roy shakes his head.

ROY
Well, I met a girl. She was beautiful and charming. We spent an incredible night together, but I couldn't get Marianne out of my mind. Every minute of every day she was all I thought about.

BEAT.

ROY (cont.)
I think there is more to her death than is believed.

SETH
Abaddon's mother?

ROY
Yes.

SETH
Why?

ROY
Just a feeling, mostly. Plus, I called Abaddon not long after I found out. He sounded like he was lying. Like he was hiding something.

SETH
(chuckling)
You sound like me.

ROY
How so?

SETH
Paranoid.

Seth watches the road as he hears a peculiar noise coming from Roy. He looks over to see Roy sniffling a bit. A few tears rolling down his cheek.

ROY
(trying to control his emotions)
I'm sorry. I just loved her so much!

Seth looks very uncomfortable in the presence of so much emotion.

SETH
No problem, really.

He stammers, trying to help the situation.

SETH (cont.)
Roy, you need to live your life. Stop thinkin' 'bout the past. Times are tough. They can only get tougher.

ROY
You're right, I know.

SETH
You got friends now. We're all here for you.

Roy smiles thankfully.

ROY
This is me. Thanks Seth.

Seth slows to a stop outside of Roy's place.

SETH
Don't mention it.

Roy gets out and shuts the door, popping his head into the window.

ROY
I'll see ya' later.

SETH
Take it easy, old man.

Roy laughs overly loud as he heads toward his door.

DISSOLVE TO:

[/center]
INT. MARIANNE'S CAR - 1987 - DAY

She looks at the house and then down to a piece of paper in her hands.

CHARLES
Is this it?

Marianne thinks for a moment.

MARIANNE
I...I think so.

She turns the key, shutting off the ignition.

EXT. ROY'S APARTMENT - 1987 - DAY

Marianne smiles nervously at Charles as she KNOCKS on his door. No answer. Another knock. No answer.

CHARLES
Maybe he's not home.

The door to the immediate right opens and an older, gray haired woman pokes her head out.

OLD WOMAN
Can I help you, Miss?

MARIANNE
Hi, I was wondering...do you know if Roy Walker lives here?

OLD WOMAN
Yeah, this is Roy's place. He’s gone though, Georgia I think.

MARIANNE
Georgia?

OLD WOMAN
Yeah, for work. He travels a lot.

Marianne smiles sadly.

MARIANNE
When do you think he'll be back?

OLD WOMAN
Oh dear, he's usually gone for two or three weeks at a time.

She makes a disappointed face.

MARIANNE
May I ask, how's he doing?

OLD WOMAN
Alright, I reckon. Seems lonely. Don't come out much 'cept for work.

Marianne looks at Charles and rubs his hair.

MARIANNE
Well, thank you very much.

OLD WOMAN
Any time, dear.

Marianne holds Charles' hand as they walk back to the car. She looks at the ground as she walks, face full of guilt.

They get into the car and head back the way they came. Just as they get out of sight, a Toyota pulls up the road from the opposite direction. It’s Roy. He’s home from his trip, just seconds too late.

START MUSICAL MONTAGE

“Universe” by Steve Smith plays as we see small sections of each character's lives.

INT. ROY'S CAR - 2010 - DAY

Roy drives down a long stretch of black highway. His face is just starting to get scruffy as this is about 8 years previous from the present. He passes a sign for the "CITY OF ATLANTA"

INT. MARIANNE'S CAR - 1987 – DAY

Marianne and Charles drive home. He plays with some toys in the backseat as Marianne looks lost in her thoughts of the past.

INT. SETH'S APARTMENT - EVENING

Seth and Rose sit at the small wooden kitchen table. Chinese takeout covers the table messily. Neither speak or even look at each other for that matter. Rose’s eyes show disappointment.

EXT. RESTAURANT - EVENING

Mark and Charlotte enter an upscale 4-star restaurant. He holds the door for her and they both laugh at whatever joke Mark just told her.

INT. ABADDON RESIDENCE - EVENING

Sydney helps Thomas pack a small suitcase. Clothes, toiletries, toys, etc. She looks confused and worried.

INT. ABADDON RESIDENCE - DEN - EVENING

Charles sits behind a computer, his face illuminated from the screen.

CLOSE UP of the screen as he types in an encrypted message:

IT'S TIME

He looks behind his back in a paranoid manner.

INT. ROY'S CAR - 2010 - DAY

The music slowly comes to a stop as Roy looks at himself through the rearview mirror. He fiddles with his hair, sweat rolling down his forehead. There is a news report on the radio. The woman talks about the Iranian "Conflict" and how it is affecting the Nation's economy.

EXT. LAYLA'S HOUSE - 2010 - DAY

POV behind Roy as he walks up the steps to Layla's front door. He rings the bell and waits patiently.

BEAT.

The door opens and Layla stands in the doorway, not recognizing Roy. She puffs on a cigarette and lets out a sickly cough.

LAYLA
I'm not interested in whatever you're sellin'.

ROY
I'm, umm..I'm not selling anything.

LAYLA
Then whaddya' want?

ROY
My name is Roy. Roy Walker.

Layla’s caught off guard. She recognizes the name. She flicks her cigarette and it zips dangerously close to his head.

LAYLA
Roy Walker, huh? What the hell are you doin' here?

ROY
I just wanted to say I'm sorry. For what I did.

She laughs in his face.

LAYLA
Sorry? For a one night stand twenty-some years ago!?!

ROY
Yes.

Layla is somewhat taken aback by his sincerity.

LAYLA
The past is the past. Gotta' move on.

ROY
How have you been?

LAYLA
Look Roy, I accepted your apology. But to be perfectly honest, I don't want nothin' to do with you. I wondered for a long time if I'd see you again.

BEAT.

Roy looks at the ground shamefully.

LAYLA (cont.)
I told myself if I did, I'd tell you about the mess you left. Then tell you goodbye. So that's what I'ma do.

ROY
I'm not sure what you mean.

LAYLA
You have a child Roy. I got pregnant that night. You have a son.

ROY
I what? That can't be!

LAYLA
It can and it is. He didn't know you the last twenty years, he don't need to know you now.

ROY
What's he like? Will you just tell me a little about him?

Layla fights back tears as she sighs.

LAYLA
You didn’t know him the last twenty years, you don’t need to know him now. He'll be dead soon anyway.

She's ready to erupt in sobs any moment. She lowers her head, hiding her tears.

LAYLA (cont.)
Please, you need to go. Goodbye Roy.

She goes inside and shuts the door in his face. He backs up in a daze.

INT. LAYLA'S HOUSE - DAY

Layla uses a kleenex to wipe her tears away. Her makeup is smudged and running down her face. She sits down at the table and grabs a pen and paper.

She begins writing at a frenetic pace. CAMERA MOVES in to see what she is writing.

It's a letter, addressed to Seth. It says:

"I love you and I am sorry for not standing behind you in your decision" among other things. Signed, Mom.

CUT TO BLACK

THE END

[Jester- PsychoBunnyProductions]

! ! !

Love the twist at the end! another brilliant episode! Brilliant! I wanna know what its time for!!!! Cant wait till the next ep.

[Dale]

Share Your Thoughts:

Statement: Please take some your time to "review" this episode. For every positive review the shows creator will recieve "1 point" along with a 1.0 rating. For every negative review the creator will not recieve any points and will lose 0.5 in ratings. If ratings start to decline the series will be cancelled. Thank You.

Rate/Review this Episode:
www.themoviereels.com/Review_TV.html

Thank You for viewing this episode of "Clocks". We appreciate your support.

--------------------------------

Don't forget to post this next time along with the episode.

~Mr. Vincent

[Legend]

Wow, that was great. I'm sorry I fell a bit behind, but I caught myself up and this episode was awesome. I love a good twist, and this episode had it.

[16thhour]

After reading all the series. I am very certain that this is Friggin Brilliant. It kept me entertained and wondering whats going to happen next. I CAN"T wait to read the next episode! GREAT JOB! =D