FADE IN:
EXT. A COUNTRY ROAD - DAY
A long FUNERAL PROCESSION is driving down a country road in New England to a cemetery. We notice a YELLOW CAB in the procession. As the line of cars proceeds, we hear EMIL's voice-over:
EMIL (V.O.): Marg, I say, you're going to too many funerals. It's not healthy. I think it's making you depressed. A good friend, somebody you've known for years, I can understand it. But look at you.
INT. CAB - DAY
In the cab above is MARG, 70ish, who has the energy of a woman twenty years younger. She sits in back, dressed entirely in black.
EMIL (V.O.): Somebody you went to grammar school with and haven't seen since, you go pay your respects. Somebody's kid you never met once, you go. You go to so many funerals, nobody will take you any more. I gave up, your daughter gave up, who's left? So you take a cab. Who goes to a funeral in a cab, I ask you?
Read more from THE VICTORY SISTERS
FADE IN:
EXT. OUTDOOR CAFE - DAY
People fill tables at an outdoor cafe in the city on a
beautiful spring afternoon.
At a table sit JOE and TRICIA, a handsome couple in their
20s. Tricia wears a designer jogging outfit; Joe is dressed
casually in slacks and sportcoat.
Tricia is visibly agitated, while Joe sits calmly, sipping an
espresso.
TRICIA
I can't believe you're doing this -
especially now. We were going to
Washington next week.
JOE
We can still do that.
TRICIA
What's the point? A final fling
before you leave?
JOE
I told you six months ago I'd
probably be moving.
TRICIA
I thought you'd change your mind
since everything's been so good. Or
so I thought.
Several tables away, watching the couple closely, sit HELEN,
60s, and AMY, 40s.
HELEN
I bet he's telling her that he told
her six months ago he'd be leaving.
That's what he told me.
AMY
And to pay closer attention.
At the other table:
JOE
You have to pay closer attention to
what I'm really saying, not what you
want to hear. I've never lied to
you, Tricia.
TRICIA
I just can't believe you can do this
so goddamn easily!
She gets up from the table, throwing down her napkin.
Watching the scene:
HELEN
"I've never lied to you." I bet
that's the line that gets her.
AMY
That line was the last straw for me,
too.
At the table, Joe gets to his feet while Tricia is moving
off. He MOUTHS the very words that Helen is expecting and
repeating to Amy.
HELEN (O.S.)
"I never lied to you!"
Then he calls after her:
JOE
Tricia!
He sits back down, looking more resigned to the inevitable
than upset.
At the other table, Amy leans forward to confide something,
as Tricia stomps by the women's table in a huff.
AMY
It was summer, in 1976, the
Bicentennial. I can remember it like
it was yesterday. I loved that man
so much. I was only 19.
HELEN
Spring of '55 for me, dear. But we
don't want to lose her, do we?
Helen gets up, Amy quickly behind her, and they take off
after Tricia.
Also overlooking this scene from another table has been
GEORGE, 30s, who now moves to sit down across the table from
Joe.
GEORGE
I bring you greetings from home.
He makes an unusual gesture with his hands, like sign
language, and a LIGHT GLOWS in the palm of his hand.
Joe's eyes widen.
JOE
You're . . . ?
Read more from REFUGEE FROM ROSWELL
FADE IN:
EXT. BRITISH COLUMBIA - WOODS - NIGHT
A gang of MEN holding flashlights and torches chases someone
through the woods.
The object of their hunt is VICTORIA LESEUR, late 30s and
looks younger. She wears a formal gown that is blood-stained
and torn.
Victoria looks terrified as she races ahead of the pursuing
gang. And with reason: the men are gaining.
Victoria sees an obstacle ahead, a mountain of stone. She
struggles to reach it before the men catch her.
The men also see the mountain.
MAN
She can't get far now!
They run even harder. The lights dart ahead of them like
volleys of bullets.
EXT. WOODS - CAVE - NIGHT
At the foot of the mountain is a cave. Victoria sees it.
The men are closing in.
MAN
She's heading for the cave!
Just ahead of them, Victoria disappears into the cave.
INT. CAVE - NIGHT
The cave is filled with bats.
A smile crosses Victoria's lips. One would think she was
home. She moves deeper into the cave.
The men enter. Lights dart through the darkness.
Bats flutter everywhere.
MAN
There!
A light falls on something on the ground: it is Victoria's
gown. She's disappeared, leaving her gown behind her.
Read more from CRAVINGS
FADE IN:
EXT. NOB HILL BAR & GRILL - DAY
A bar and cafe in a suburban neighborhood.
INT. NOB HILL BAR & GRILL - TABLE - DAY
At a table are Robert BASS, known as "Bear", and Red HOOKER.
Two retired old men over breakfast. They've done this
thousands of times before.
They eat a moment in silence. They know one another so well
they don't have to talk much.
Hooker pushes an envelope across the table.
HOOKER
Happy birthday. You don't look a
day over eighty.
Bass stares at the envelope. It clearly contains a card.
BASS
How long have we known each other?
HOOKER
Fifty years or more.
BASS
Fifty-two. I don't remember ever
getting a birthday card from you.
HOOKER
Who said it's a birthday card?
Bass opens the envelope and finds...
A GREETING CARD
showing an airplane trailing a sign that says "Bon Voyage!"
BASS
You're taking a trip?
HOOKER
We are. The original manuscript
of Kerouac's "On the Road" is on
display at the Smithsonian all
month. I think we should go see it.
Read more from HOOKER AND BEAR
FADE IN:
EXT. BEAUTILINE INC. - CAMPUS - NIGHT
The campus-like setting of a modern corporation. Behind a large, "glassy" central building, smaller buildings are connected by paths through lawns and flower beds. Modern lamps light the way.
EXT. BEAUTILINE INC. - R&D BUILDING - NIGHT
Waiting in front of the Research and Development Building is ANDY BUNNING, late 20s. He shuffles from foot to foot. Impatient.
Across the way a GUARD exits a building. He heads toward R&D.
Andy mouths "Oh shit" and enters the building.
INT. BEAUTILINE INC. - OFFICE - NIGHT
A copy machine is at work in a dark office. Operating it is RAY BUNNING, 40ish.
He takes documents from a folder, copying them one at a time. As fast as he can.
Andy appears in the doorway.
ANDY: Guard's coming!
Ray replies without looking up.
RAY: Almost done.
ANDY: There's no time.
RAY: I'll meet you at the back door.
ANDY: Ray ...
No use. Andy leaves.
EXT. BEAUTILINE INC. - R&D BUILDING - NIGHT
The guard is closer. He's whistling, relaxed. Just another night. Nothing ever happens.
INT. BEAUTILINE INC. - OFFICE - NIGHT
Ray is still copying.
INT. BEAUTILINE INC. - BACK DOOR - NIGHT
Andy waits, more impatient than ever. He shouts into the dark hallway in a strained whisper.
ANDY: Goddamn it, Ray!
EXT. BEAUTILINE INC. - R&D BUILDING - NIGHT
The guard puts a key in the front door.
INT. BEAUTILINE INC. - BACK DOOR - NIGHT
Ray joins Andy. He carries a briefcase.
RAY: All done.
They head out the back door.
EXT. BEAUTILINE INC. - R&D BUILDING - BACK AREA - NIGHT
The brothers move quickly away.
ANDY: I don't think this is a good idea.
RAY: Too late now.
Read more from DON'T SHOOT! I'M WHITE!
