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written by Michael A. Weintraub
TITLE CARD:
Certainty is beautiful.
A moment later, a second TITLE CARD appears below it.
TITLE CARD:
But uncertainty is more beautiful still.
FADE IN:
EXT. JAMES FAMILY HOUSE - FRONT LAWN - DAY
Typical suburban house, five bedrooms, three bathrooms. Lovely
summer afternoon, not too hot. A bicycle lies on its side next
to a tree.
INT. HOUSE - UPSTAIRS BEDROOM - SAME
Young BARRY JAMES, 8, sifts through his closet. He doesn't
seem to find what he's looking for. He gets up, leaving the
mess behind. He walks over to the bedroom window and looks out
it. He opens the window.
BARRY
With God as my wind, I shall fly.
EXT. HOUSE - BEDROOM WINDOW - AFTER
Barry steps out onto the window ledge. He has to brace himself
to fit onto it.
INT. HOUSE - UPSTAIRS HALLWAY - SAME
Barry's older sister, JENNIE, 13, walks out of her bedroom. As
she passes Barry's open bedroom door, she looks in it. She
sees his back to her. She SCREAMS.
JENNIE
Barry, no!
Barry turns his head back.
BARRY
It's okay, Jennie.
JENNIE
Get down. Come back in here.
She starts to walk, slowly, into his room.
BARRY
I'm going to fly.
He turns back around and faces outside. He looks up into the
blue sky.
EXT. HOUSE - SAME
Up above, the white streak of an airplane's path pierces the
cloudless blue sky. Looking up, Barry smiles.
INT. HOUSE - BARRY'S ROOM - SAME
Jennie takes another step toward Barry.
JENNIE
Barry, if you jump out, you can't
fly. You're going to fall and hurt
yourself really badly.
BARRY
No, I'm not. I know it.
Jennie tries to grab Barry, but he steps aside, just out of
her reach.
BARRY
Goodbye Jennie.
Barry jumps.
EXT. HOUSE - SAME
Jennie's SCREAM lasts longer than Barry's leap. In mid-air, he
swings his arms wildly, but to no avail: he lands with a
CRUNCH in a heap on the lawn. He lies on his back, half-awake.
He stares up at the airplane streaks in the sky again. His
eyes glass over, and slowly they close. He has an odd smile on
his face.
EXT. HIGHWAY - DAY
A passenger bus travels down the highway.
TITLE CARD:
Two days later.
INT. BUS - SAME
The bus is mostly full, with only a few vacant seats. One of
the empty seats is next to ALINA ROBERTS, 29, pretty but not
gorgeous. She sits by the window, twirling her long, dark hair
around her fingers as she lazily reads a book: CASE STUDIES IN
ADOLESCENT PSYCHOSIS, VOLUME II.
Seated two rows behind Alina, on the opposite side, is DARRELL
CUMMINGS, 37, with long stringy, dirty, hair and a face
pockmarked with acne and scars. He is listening to his
portable radio, and tugs on the wires of his headphones in
between spurts of tapping the music's drumbeat on his lap.
Alina finishes reading a page, and closes her book. She puts
it in her bag, and takes out a hairbrush. She rises from her
seat and walks to the restroom in the rear of the bus. She
doesn't notice Darrell as she passes him.
INT. BUS STATION - DAY
Alina and Darrell's bus pulls into the station. Both get out,
and carry their bags into the terminal.
EXT. BUS STATION - DAY
Alina gets into a long taxi queue, while Darrell stands
around. He rubs the two days worth of beard growth on his
chin, and eventually climbs onto a city bus.
We follow Darrell onto the bus.
INT. CITY BUS - AFTER
Darrell sits in the rear of the bus. Only two PASSENGERS are
on the bus, and one of them is talking to the BUS DRIVER.
INT. MOTEL ROOM - DAY
Darrell opens the door and enters a cheap, rent-by-the-month
motel room. He drops his bag on the bed and goes into the
bathroom.
INT. MOTEL BATHROOM - DAY
Darrell strips and gets the bathtub ready for a shower. When
the water's hot enough, he rips the paper wrapping off a bar
of soap and gets in.
INT. TAXI CAB - DUSK
The sun begins to set as Alina enters a taxicab. The DRIVER is
an elderly man, and very willing to talk to his attractive
young passenger.
DRIVER
Where to, sweetheart?
ALINA
Oceanside Estates Hotel.
DRIVER
Gotcha.
He starts the engine and they head off. A moment later, the
Driver starts talking again.
DRIVER
You an actress?
ALINA
Actually, no.
DRIVER
You're not here to break it? No
big, golden Hollywood dreams?
That's a rarity for my backseat,
I'll tell you. You're a pretty
girl, too.
ALINA
Umm, thanks.
DRIVER
What's your name? I'm Ernie.
ALINA
Alina.
Ernie sticks a hand in the backseat. Alina reluctantly shakes
it.
ERNIE
Pleased to meet you, Alina. What
kind of name is that? Spanish?
Dark haired beauty like you.
ALINA
Polish.
ERNIE
Oh. So what brings you to LA?
Conference? You a doctor?
ALINA
I'm a doctor, yes. But, not a
conference this time. I'm here for
a patient.
ERNIE
Ahh.... Very nice.
EXT. MOTEL - NIGHT
The street in front of Darrell's motel is a hotbed for illicit
activities. A few PROSTITUTES hawk their wares on a street
corner, while a street VENDOR proffering stolen Rolexes
enthusiastically tries to make some money.
VENDOR
(to a prostitute)
Hey, baby. Got some of that love
for me tonight? I'm real lonely
and can love you good. Real good.
PROSTITUTE
Not tonight, honey. I ain't got
the time.
The vendor looks down at his card table.
VENDOR
I got all the time you need,
sugar. Right here on my table! Ha!
He LAUGHS hysterically at his own joke. The prostitute offers
him a sad smile and turns back toward the street. Not getting
the hint, the vendor shakes the table, testing its stability.
VENDOR
It's strong enough for us, too,
baby. Come on over, I'll give you
the time of your life!
He GUFFAWS again, not noticing that she doesn't even bother a
look at him.
INT. MOTEL ROOM - SAME
Darrell gets dressed in front of the mirror and combs his hair
back. He turns back to the bed and opens his bag. Several
handguns, including an automatic, spill out, along with a wad
of bills wrapped in a rubber band. He undoes the bills and
peels off a couple of $100 bills for the night.
After putting the guns back in the bag, he zips it and stuffs
it under the bed. He exits the room.
EXT. MOTEL - AFTER
The prostitutes are still standing around. The Rolex vendor
has given up, however, and packs up his table for the night.
Darrell exits the motel. Two prostitutes hover toward him. A
THIRD PROSTITUTE watches them.
PROSTITUTE #1
Hey, honey. Sure you don't want to
go back inside?
PROSTITUTE #2
It's gonna get real cold tonight.
We'll keep you warm.
PROSTITUTE #1
Yeah, real warm.
The two prostitutes eye Darrell lustily.
DARRELL
I'm on my way out now.
Darrell walks over to the third prostitute.
DARRELL
What's your name?
PROSTITUTE #3
Christina.
DARRELL
I'm Darrell. Wanna go to a party
with me? It's not too far from
here, and we'll have fun.
CHRISTINA
Two hundred.
DARRELL
No problem. Let's go.
CHRISTINA
Okay, after you.
Darrell grabs her hand and leads her down the street.
INT. TAXI CAB - NIGHT
Ernie the cabbie is still talking Alina's ear off. She takes a
journal out of her bag to read, trying to tune him out.
ERNIE
My niece is also a doctor. A
psychiatrist. She charges four
hundred dollars an hour to
stressed out studio guys. Wow,
more in an hour than I make in a
week. Now, last week she was
telling me about this guy. He's
all stressed out because of, oh I
don't know, that big sci-fi alien
movie that just bombed. You like
movies?
ALINA
Not really, no. Sorry.
ERNIE
Hey, don't be. It's odd down here
not to like 'em, but you're not
from here anyway.
Ernie looks in the rearview mirror and notices that Alina's
not paying attention. He then notices two YOUNG WOMEN standing
on the sidewalk, waving their arms frantically, trying to hail
a cab. He pulls up next to them.
ERNIE
Hey, Allie, I gotta pick these
girls up.
ALINA
What? You can't do that!
ERNIE
If they're heading your way, I can
pick them up. I need the fares,
sorry.
He rolls down the passenger-side window and smiles at the
young women.
ERNIE
Hey ladies. Need a lift?
The two women are both pretty and dressed well. They nod at
Ernie.
YOUNG WOMAN #1
Uhh, you know where the
Oceanside.... Estates Hotel is?
She confirms this by looking at a piece of paper in her hand.
ERNIE
Yeah, come on in.
INT. TAXI CAB - AFTER
One of the young women, CATHERINE, is in the front seat next
to Ernie. The other, MICHELLE, sits in the back beside Alina,
who tries her best to ignore them.
ERNIE
What's going on at the hotel,
ladies?
CATHERINE
A party.
Catherine checks her hair in the visor's mirror. Michelle
leans over the front seat to WHISPER in Catherine's ear.
CATHERINE
I'm not sure....
ERNIE
What is it?
MICHELLE
We were asked to bring some
friends with us.
CATHERINE
Yeah. Can you join us?
She winks at him.
ERNIE
Me? Nah, I'm on duty all night.
But, I'll tell ya what, sweetheart
there is going there, too.
MICHELLE (to ALINA)
Hey, you're going to the
Oceanside, too?
Alina looks up from her book.
ALINA
I'm sorry?
MICHELLE
You're going to the party, too?
ALINA
Which party? At my hotel?
CATHERINE
We're going to a party at the
Oceanside tonight. Wanna join us?
ALINA
Oh, I don't think that's a good
idea. I'm pretty tired.
CATHERINE
Come on, just stop in. Never know
what kind of fun you might find.
Catherine flashes a Hollywood smile and rests her hand on
Ernie's leg. His eyes light up.
EXT. HOUSE - NIGHT
Darrell and Christina, the prostitute, walk up the lawn to the
front door of the house. Loud MUSIC can be heard from within,
and PEOPLE milling about are seen in silhouette in the
curtains.
The front door opens and a YOUNG MAN spills out. He's very
drunk.
YOUNG MAN
Darrell? Is that you, man? What
the fuck are you doing back in LA?
Isn't Hargrove your P.O.?
DARRELL
Just here for some business, don't
get too excited. I'll be gone
before you wake up with a hangover
and remember I'm here.
YOUNG MAN
I'm still staying with Donny.
DARRELL
Okay, I'll look ya up. Take it
easy.
Darrell and Christina enter the house and the young man
leaves.
INT. HOUSE - NIGHT
There are a half-dozen PEOPLE lounging around on the sofas,
La-Z-Boys, and the floor. Most of them appear to be stoned
and/or drunk. Darrell and Christina enter without an
acknowledgment. They don't even notice the television blaring
a Lakers game.
DARRELL
My friend's around here somewhere.
I'll just be a minute. Go get
yourself a drink.
CHRISTINA
Okay. You want somethin'?
DARRELL
Yeah, get me a beer.
He cocks a smile at her and heads down a hallway. Christina
walks into the kitchen.
INT. HOUSE - KITCHEN - AFTER
Christina stands at the keg, priming the pump. A few FRAT BOYS
ogle her.
INT. HOUSE - HALLWAY - NIGHT
Darrell knocks on a bedroom door. From the hallway, there does
not appear to be anyone inside the bedroom.
VOICE IN BEDROOM O.S.
Yeah, what is it?
DARRELL
Benny, it's me.
BENNY O.S.
Darrell? What the --
The bedroom door opens. Benny is a large, muscular black man
with his hair neatly done in dreadlocks. He is naked, and
doesn't seem to mind Darrell seeing him that way. Behind him,
in bed, lies a NAKED YOUNG WOMAN. She doesn't do much to cover
herself up, either.
DARRELL
Looking good, Benny. Hope I'm not
interrupting.
BENNY
No problem, welcome back to LA.
He gives Darrell a gigantic bear hug. Releasing him, Benny
turns on a lamp by the door, leading Darrell into the bedroom
with him. The girl in bed rolls over and covers her eyes.
Darrell does not take his eyes off her body.
BENNY
Jasmine, meet Darrell. We go way
back.
DARRELL
Hiya Jasmine.
Jasmine doesn't reply. Darrell closes the door behind him.
BENNY
She's shy. Anyway, what's up?
DARRELL
Came here to do some shopping.
Anything on sale?
Benny walks back to the bed.
BENNY
Get up, I need to move the
mattress.
Jasmine gets up, wrapping the bed sheet loosely around her
body. She walks into the bathroom and shuts the door. Benny
slides the mattress off the box spring, revealing a cutout in
the frame. Two large, full, Manila envelopes lie in the
crevice. He takes one out and opens it on the bed. Flattened
Ziploc bags of cocaine, heroin, and marijuana fall out.
DARRELL
All right. Long time, no see.
BENNY
What do you need?
DARRELL
Hmm, one of each.
Benny hands him a few packets, and Darrell gives him two
bills. Shaking his head, Benny returns one of them to him.
BENNY
Call it an old friends discount.
INT. HOUSE - KITCHEN - AFTER
Darrell walks in and finds Christina, a beer in each hand (one
beer is half-empty), TALKING to the frat boys in the kitchen.
Christina hands him the full beer.
CHRISTINA
No problem.
Darrell drinks the beer in one long gulp.
DARRELL
There, we ready?
CHRISTINA
Ready when you are.
DARRELL
Then we're gone.
CHRISTINA
(to the frat boys)
Bye boys.
She gives them a very flirty look, and follows Darrell out of
the kitchen.
INT. OCEANSIDE HOTEL - LOBBY - NIGHT
The Oceanside Estates Hotel is a throwback to the glory days
of Hollywood. Plaques on the wall commemorate various films
that were filmed there in Hollywood's Golden Era, and stars
like Dietrich and Bogart that slept there. A winding staircase
ducks around the lobby to the second floor.
Alina stands with the two young women by the elevator.
MICHELLE
Room 1153. Just knock and say we
invited you. I'm Michelle and
she's Catherine.
ALINA
Okay, let me take a shower and
then I'll see if I'm up for it.
The elevator door opens, and Alina gets in. Michelle and
Catherine head to the bar.
INT. ALINA'S HOTEL ROOM - NIGHT
Alina, clad in a plush white hotel bathrobe, with her wet hair
wrapped in a towel, steps out of the bathroom and sits on the
bed. She opens her briefcase and takes a case folder out and
opens it on the bed. A typed up, twenty-page report on BARRY
JAMES, along with a picture of the boy, is in the folder.
Alina starts to read the report.
EXT. DARRELL'S MOTEL - NIGHT
Darrell and Christina return to his motel. They pass
Christina's fellow prostitutes but no signs of recognition is
made by anyone as they walk to his room. Darrell carries a
small tote bag loosely in hand.
INT. MOTEL ROOM - AFTER
Darrell opens the tote bag on the sink counter.
DARRELL
Want some?
CHRISTINA
Some pot, yeah.
DARRELL
Comin' right up.
Darrell rolls a nice sized joint and lights it for Christina.
He takes a hit from it before handing it to her.
CHRISTINA
Thanks.
DARRELL
Okay.
CHRISTINA
So, what do you want?
DARRELL
Hang on, honey, I got you all
night. Don't worry, nothing too
kinky.
CHRISTINA
That's what I'm afraid of.
INT. HOTEL HALLWAY - NIGHT
Alina gets off the elevator and finds room 1153. VOICES are
heard inside. Alina knocks on the door and finds that it is
open already, just leaning shut. She enters the room.
INT. DARRELL'S MOTEL ROOM - SAME
Darrell is on top of Christina in bed, having sex. Neither
seems to be having that much fun, and Christina has a look of
duty on her face. Darrell climaxes and rolls over onto his
back. Christina rises from the bed and walks naked into the
bathroom. Darrell sits up and re-lights the half-smoked joint.
INT. ROOM 1153 - NIGHT
Michelle and Catherine stand in the corner of the hotel room
alone.
ALINA
Hi, I'm here.
MICHELLE
Yes, we noticed.
ALINA
Where's everyone?
CATHERINE
Beats us. The party's not here.
ALINA
Where is it, then?
CATHERINE
You'll see.
ALINA
What do you mean?
Catherine hands Alina a note. Alina moves over by the bed to
read it.
ALINA
(reading note)
"Good evening Ladies. We're sorry
we could not be there with you,
but there's been a slight change
of plans. We apologize and wish
you still will join us. The phone
will ring at 11:30 p.m. Do not
answer it. Five minutes later it
will ring again. That is call you
want. Thank you."
She hands the note back to Catherine.
ALINA
What the hell is this?
Michelle LAUGHS.
CATHERINE
Some party, eh? They're always
like this. A little adventure.
ALINA
Well, what time is it?
MICHELLE
Eleven-fifteen.
ALINA
We have to sit around another
twenty minutes to be told where
the real party is? I don't think
so.
She walks toward the door, but before she could get there the
PHONE RINGS. She stops and looks at Michelle and Catherine,
who take turns looking at each other.
CATHERINE
Should we answer it?
MICHELLE
No. He said not to answer the
first call.
CATHERINE
But it's not supposed to come for
fifteen minutes.
The phone continues to RING.
ALINA
I say you answer it.
CATHERINE
Really?
ALINA
Sure, why not?
Another RING.
MICHELLE
Yeah, get it.
Catherine answers the phone.
CATHERINE (INto TELEPHONE)
Hello? (a beat) No, it's not 11:30
yet, we know.... We were curious,
okay. Five minutes, yeah.
She hangs up the phone.
MICHELLE
Well?
CATHERINE
There's going to be a taxi waiting
for us in five minutes.
MICHELLE
Taking us where?
CATHERINE
I don't know.
MICHELLE
This is ridiculous.
CATHERINE
Yeah, you're telling me.
ALINA
Okay, this is too mysterious. I'm
coming.
EXT. HOTEL - NIGHT
Alina stands outside the hotel with the Catherine and
Michelle. A chill has descended upon the night, the three
women are woefully underdressed and shivering.
CATHERINE
Cold. Very cold.
The TAXI arrives. Michelle flags it down. The DRIVER stops the
cab and rolls down the passenger-side window.
DRIVER
Party, anyone?
INT. DARRELL'S MOTEL ROOM - NIGHT
Darrell gets up from bed and walks into the bathroom.
Christina remains asleep in bed. He takes a drink of water
from the sink and washes his face, which has turned beet red.
The scars and scabs on his face swell up.
He starts lathering his face with shaving cream. His hands
shake violently as he tries to shave. Streaks of blood mix
with the running tap water and spray pink everywhere.
Finishing, he dries his face and returns to the bedroom.
Darrell lies down next to Christina. After a few moments, his
displeasure at being unable to sleep becomes obvious. He
shakes Christina awake.
CHRISTINA
Wha-?
Darrell slides her down the bed so her head is on his lap.
Christina lazily begins to stroke him with her hands.
DARRELL
Yes, do it.
Christina fully awakens and looks up at Darrell's bloody face.
CHRISTINA
Your face, it's all bloody.
DARRELL
Don't look up. Just go.... Yes.
INT. TAXI CAB - NIGHT
Alina, Michelle, and Catherine are all squeezed into the back
seat. The DRIVER drives hazardously fast.
MICHELLE
You know where to go?
DRIVER
Yah, no problems.
CATHERINE
Where?
The driver SLAMS on the brakes outside of an apartment
complex.
DRIVER
Here.
EXT. THIRD FLOOR LandING - NIGHT
The three women hear PARTY NOISES as they walk up the steps.
Just as they go to knock on the door, a GUNSHOT is heard
inside.
ALINA
Okay, that's my cue. I think I've
had enough for one night.
CATHERINE
The party's just beginning, I can
tell.
ALINA
Well, enjoy it. I'm out of here.
CATHERINE
After all we've done just to get
here?
Another GUNSHOT ricochets inside the apartment.
ALINA
Yes, really. It's too much for me.
'Night girls.
Alina leans over the balcony.
ALINA
Hey, taxi!
EXT. CALIFORNIA TRUST - MORNING
Darrell gets out of a taxi and walks down a busy downtown
street. He sits on a park bench outside of a bank, CALIFORNIA
TRUST, and watches it studiously for traffic. A few CUSTOMERS
pass in and out of the bank over the next few minutes.
Darrell scours the surrounding block quickly with his eyes,
searching for something, or perhaps plotting something else.
A HOMELESS BUM sits down next to Darrell.
BUM
Years ago, I had an account there.
They closed it on me.
Darrell pulls a five-dollar bill out of his pocket.
DARRELL
Here, go get some breakfast, man.
BUM
Thanks man!
The bum scurries off. Darrell regards him for a minute and
then returns to studying the bank.
A moment later, ARON BARTLEY, 48, extremely tall and mostly
bald, walks into the bank.
EXT. JAMES HOUSE - DAY
Barry and Jennie's parents, HELEN and CAREY JAMES sit together
on the living room sofa, watching the cars pass outside.
HELEN
She said she'd get here around
ten.
CAREY
Okay, she's not late yet. Give her
a few minutes, anyway. She just
got into town last night, she
said.
There's a KNOCK on the door. Carey rushes up to answer it. He
opens the door and lets Alina in.
HELEN
Oh, we didn't see you coming.
ALINA
I had the address mixed up, the
cab dropped me off next door. I
walked over.
CAREY
Welcome. I'm Carey James, and this
is my wife Helen.
ALINA
Dr. Alina Roberts. Pleased to meet
you.
HELEN
Come in, please. Have a seat.
ALINA
Thanks.
Carey walks over to the bottom of the staircase.
CAREY
Jennie? Can you bring your brother
downstairs?
JENNIE O.S.
Okay Dad.
As Carey, Helen, and Alina sit down on the sofa, Jennie slowly
carries her brother down the staircase. Barry appears to be
catatonic, and does not respond as Jennie sets him down on the
loveseat next to them. He looks around the room, his eyes not
focusing on anything. There's a light, soft cast around his
right wrist, but otherwise he appears physically unharmed from
his fall.
Alina gets up from the sofa and sits on the loveseat with
Barry.
ALINA
Barry? Hello? I'm Alina. I'm here
to help you.
Barry doesn't respond, but his eyes lock on her for a brief
moment.
HELEN
Since his accident, he hasn't
walked.
CAREY
It's not because he can't. He can
walk, he just chooses not to.
Alina nods.
ALINA
If he can't fly, he won't walk.
Suddenly, Barry speaks.
BARRY
Hi Alina.
He extends his right hand out to Alina. Alina takes it and
gently shakes it, smiling.
ALINA
Hi Barry. Do you mind if I sit and
talk with you?
BARRY
No. It's okay. I'm a little tired,
though.
ALINA
I won't stay long. We'll just talk
for a few minutes.
CAREY
Helen, Jennie, let's leave them.
HELEN
Barry, we'll just be in the back
yard, okay?
ALINA
Thank you. Barry, what grade are
you in?
BARRY
Second.
ALINA
Which subjects in school do you
like?
BARRY
I like math.
ALINA
I liked math, too.
EXT. JAMES HOUSE - BACKYARD - SAME
Barry's parents and sister sit around a picnic table, watching
the two inside.
CAREY
She has a great way with him.
HELEN
She'd better for what we're paying
her.
CAREY
Helen, really.
INT. CALIFORNIA TRUST - DAY
Aron waits in the lobby area of the bank, aimlessly flipping
through loan brochures. A bank official, PRESCOTT, comes out
behind the bulletproof glass partition.
PRESCOTT
Aron Bartley?
Aron rises from his seat and walks over to Prescott. Aron
towers above him. He leans down to shake Prescott's hand. Aron
speaks with a Scottish brogue.
ARON
Call me Aron, please.
PRESCOTT
André Prescott. Welcome to
California Trust.
INT. CALIFORNIA TRUST - PRESCOTT'S OFFICE - AFTER
Aron sits opposite of Prescott's desk. Prescott has a large
file folder open, and thumbs through the pages within.
PRESCOTT
Mr. Bartley, were you the executor
of your mother's will?
ARON
No, I was not.
PRESCOTT
Unfortunately, we need the
notarized signature of the
executor, if they cannot be
present for these proceedings.
ARON
Unfortunately, the executor died
shortly after my mother passed
away.
PRESCOTT
Oh, I am sorry to hear that.
ARON
Car accident. He was a good man.
He shakes his head solemnly.
PRESCOTT
You have my sympathy for your
double loss, sir.
ARON
Thank you.
Prescott examines a stack of papers on his desk carefully.
PRESCOTT
Unfortunately, in this situation,
I'm not sure how to proceed. We
will, of course, get you the money
willed to you by your mother, but
there's a bit of sticky red tape I
have to wade my way through first.
ARON
Isn't there a manager or someone
who can sort through this?
PRESCOTT
Actually, yes, that would be Mr.
Carlisle, but he's away at a
conference this week. He'll be
back tomorrow morning and I can
assure you this will be tops on
his list, the first thing
tomorrow. Don't worry about it.
ARON
Okay. I'll come back then.
Aron rises from his seat and turns for the door. Prescott
looks over the will again.
PRESCOTT
Now, wait here a second. Are you
familiar with your mother's
request for the memorial at
Stanford?
Aron stops at the door.
ARON
No, I wasn't.
Prescott hands him the will and points to a paragraph.
PRESCOTT
Here.
INT. CALIFORNIA TRUST - LOBBY - AFTER
As Aron exits Prescott's office he passes Darrell, entering
the bank. Darrell walks through the empty roped-off line for
customers to a TELLER. Darrell hands her a hundred dollar
bill.
DARRELL
Can you break this for me? Fives
and tens, please.
INT. JAMES HOUSE - LIVING ROOM - DAY
Alina and Barry are still talking on the couch. Barry's
parents and Jennie are seen through the window outside, pacing
around the lawn.
ALINA
Here, take my hand.
Alina gets up from the couch and offers her hand out to Barry.
He tentatively grasps it, and she helps him stand up.
Together, they hold hands as she leads him a few steps toward
the window.
ALINA
There, very good. Now, I'm going
to let go. Just stand there. Don't
try to walk.
BARRY
Okay.
Barry's fingers slip free of Alina's hand and she takes a
cautious step back. Like a small child, Barry totters, but
stands on his own again, as if for the first time. He beams a
smile.
ALINA
Very good, it's not hard at all,
is it?
BARRY
No, I'm remembering again.
ALINA
Good. Here, let me help you sit
down again.
Alina puts her arm around his shoulder and leads him slowly
back to the couch. Together, they sit back down.
Barry's family returns inside.
HELEN
We saw that. We're very proud of
you, Barry.
CAREY
Good job, kiddo.
ALINA
I'll see you again tomorrow
morning, okay?
BARRY
Good. Bye-bye.
Jennie lifts Barry up off the couch again and carries him
upstairs.
CAREY
That was remarkable, thank you.
ALINA
Don't get too optimistic by the
beginning. Sudden, quick progress
is often at the start of a very
long healing progress. We could
easily be disappointed tomorrow.
You never know, especially with
children.
CAREY
Yes, we understand. Thank you,
though.
INT. ALINA'S HOTEL ROOM - NIGHT
Alina sits in a hotel bathrobe, her hair wet, at the desk,
making notes in Barry's file.
INT. DARRELL'S MOTEL ROOM - SAME
Darrell sits on his unmade bed, methodically cleaning and
loading his guns. He checks the sights on each, aiming at a
lamp near the door. He pulls the trigger, and a CLICK is heard
as an empty chamber is dropped. He turns to the mirror and
focuses on himself. He FIRES again.
DARRELL
Bang, you're dead. Do not collect
$200, do not pass go, proceed
directly....
Quickly, with the fluid skill of a military marksman, he drops
the gun he was checking out and reaches for an unloaded rifle,
and fires several empty shots at his reflection.
DARRELL (Cont.)
....to death. Thank you for
playing.
INT. ARON'S APARTMENT - NIGHT
Aron sits in front of the television, watching a SITCOM on
television. A bowl of half-eaten pasta sits on his lap. The
TELEPHONE RINGS. Aron places the bowl on the coffee table and
answers the phone.
ARON (INto TELEPHONE)
Hello?
ALINA (O.S., ON TELEPHONE)
Mr. James?
ARON (INto TELEPHONE)
Sorry, you've dialed the wrong
number, I'm afraid.
ALINA (O.S., ON TELEPHONE)
Oh.... Sorry. Have a good night.
ARON (INto TELEPHONE)
Yes, you too.
He hangs up the phone.
INT. ALINA'S HOTEL ROOM - AFTER
Alina hangs up the phone, waits a bit, and then picks it back
up and re-dials the number. After a few rings, she gets an
answer.
ALINA (INto TELEPHONE)
Hello, Mr. James?
CAREY (O.S., ON TELEPHONE)
Yes, hello?
ALINA (INto TELEPHONE)
Hi, this is Dr. Roberts.
CAREY (O.S., INto PHONE)
Hello, how are you?
ALINA (INto TELEPHONE)
Just fine, thank you. I was just
checking up on Barry.
EXT. DARRELL'S MOTEL - MORNING
The faintest morning lights of dawn strike over the hotel as
Darrell exits, wearing a long, bulky black trench coat. He is
cast in shadow as he walks, calmly, down the highway to a bus
stop. He drops his bags and waits for a bus to arrive. There
is no one else around.
INT. JAMES HOUSE - MORNING
Alina sits at the kitchen table, eating breakfast with Helen,
Jennie, and Barry, who is shoveling spoonfuls of corn flakes
into his mouth as fast as he can.
HELEN
Barry, slow down, please.
Carey enters the kitchen. He hands an envelope to Alina.
CAREY
There you go.
ALINA
Thank you.
Alina doesn't open the envelope, but feels the weight of the
contents. It's obvious that a large stack of bills is in the
envelope. She tucks it into her briefcase and finishes eating
with the family.
INT. CALIFORNIA TRUST - PRESCOTT'S OFFICE - MORNING
Aron meets again with Prescott, this time with the bank's
manager, ROGERS, sitting beside Prescott.
ROGERS
Mr. Bartley, was the executor also
your mother's lawyer?
ARON
No, she had a separate personal
attorney.
ROGERS
Good. We'll need to know his or
her name. That should straighten
out this whole mess.
ARON
I have it right here.
He hands Rogers a letter from his briefcase. Rogers reads it
and then places it down.
ROGERS
Great, we'll send a fax out to Mr.
Charon and get this expedited.
Hopefully it will be resolved by
close of business today.
ARON
Thank you.
EXT. CALIFORNIA TRUST - AFTER
Alina approaches the bank as Darrell gets off a city bus. Aron
opens the door and walks out. Darrell stands back, smoking a
cigarette. Aron nearly bumps into Alina as she enters.
INT. CALIFORNIA TRUST - AFTER
Alina finds a long line waiting for her. She gets at the end
of it.
As the line slowly moves along, Alina finds herself three
people behind a teller.
Darrell enters the bank and checks the time on a wall-mounted
clock: 9:09 A.M. He reaches into a coat pocket and takes out a
ski mask and a small, collapsible lunch bag. He puts the ski
mask on and then takes a handgun out of another pocket. He
waves it in the air.
DARRELL
Anyone want to die today?
Everyone in the bank turns to him. A few people SCREAM.
DARRELL (Cont.)
Now, I didn't think so. I don't
want to kill anyone; I just want
your money. So, make things easy
for me, and I'll make things easy
for you. No wallets, no purses,
just cash. No checks, no credit
cards. Cash only. D'ya understand?
He opens the lunch bag and walks around the bank, collecting
bills from the customers. Alina opens the envelope she was
given to by Carey and GULPS. There are hundreds of dollars in
cash in it. She has a deposit slip, completely filled out, in
her hand. Alina puts the slip in the envelope and quickly
throws the stuffed envelope over the teller's counter.
The TELLER looks surprised at Alina. Darrell sees her toss out
of the corner of his eye and looks over at Alina.
ALINA (to THE TELLER)
Deposit, please.
DARRELL
What the hell's that, honey?
ALINA
This bank's insured. I'm
depositing cash.
DARRELL
Oh. Well, that money's going to
me.
ALINA
Steal it from the bank, not me.
DARRELL
Making things difficult here?
He takes a menacing step toward Alina. She doesn't blink at
the gun he waves in her face.
ALINA
No. Not at all.
DARRELL
Good.
He walks over to the teller.
DARRELL
Give me her money.
The teller hands him her envelope. Darrell takes the cash out
of the envelope and throws the envelope and deposit slip down
on the counter.
DARRELL
No, just the cash. Keep the
papers.
Darrell takes a good look at the amount of cash Alina was
depositing.
DARRELL
Not bad, sister. Thanks. Looks
like I'm done now.
Darrell leaves. As the bank returns to calm, POLICE SIRENS are
heard outside.
Rogers, the bank manager, comes down a staircase, oblivious to
what just happened.
GUNSHOTS and ad libbed POLICE TALK over a bullhorn are heard
O.S.
POLICE OFFICER (O.S., AD LIB)
Put the gun down now! Down!
More GUNSHOTS. Acting on instinct, Rogers ducks.
ROGERS
What happened?
TELLER
We were just taken.
ROGERS
What?
INT. OFFICE BUILDING - DAY
Aron exits the bathroom and walks down the hallway. As he
passes his SECRETARY's desk, she calls for him.
SECRETARY
Sir, you have a message.
ARON
Who?
SECRETARY
A Mr. Prescott, would you like his
number?
ARON
No, I have it, thank you.
INT. ARON'S OFFICE - DAY
Aron dials Prescott's number. After a few rings, Prescott
answers.
PRESCOTT (O.S., ON TELEPHONE)
California Trust. André Prescott
speaking.
ARON (INto TELEPHONE)
It's Aron.
PRESCOTT (O.S., ON TELEPHONE)
There's been a problem here at the
bank today. We won't have your
mother's estate settled this
afternoon. I'm sorry.
ARON (INto TELEPHONE)
What happened?
PRESCOTT (O.S., ON TELEPHONE)
I can't really explain. Watch the
news.
ARON (INto TELEPHONE)
I will. Can you come over later?
Have dinner?
PRESCOTT (O.S., ON TELEPHONE)
What time?
ARON (INto TELEPHONE)
Seven-thirty.
INT. JAMES HOUSE - BARRY'S BEDROOM - DAY
Alina and Barry sit next to each other on his bed. He fumbles
with a model plane on his lap.
ALINA
Tell me what happened.
BARRY
When?
ALINA
When you jumped.
Barry stops playing with the plane.
BARRY
Well.
ALINA
It's okay, you can tell me. I
won't get mad at you.
BARRY
Mom and Dad did.
ALINA
I know. I won't. I promise.
BARRY
Cross your heart?
ALINA
And hope to die.
BARRY
Okay. I was reading a book for
school and got bored. I looked out
the window and saw a bird.
ALINA
And that's when you thought you
could fly?
BARRY
Yes. Well, no. I always knew that.
ALINA
When did you first think you could
fly, then?
BARRY
I don't know.
Tears start to well in his eyes. Alina notices them, and hands
him a tissue.
ALINA
It's okay, we don't have to talk
about it.
BARRY
No, I don't mind. I just don't
know.
ALINA
Do you like to fly?
BARRY
Yes.
ALINA
Have you been in an airplane
before?
BARRY
Yes. We went to visit Grandma in
Oregon.
ALINA
Did you like it?
BARRY
It was fun. I got wings. Plastic
wings.
ALINA
Do you understand how airplanes
fly?
BARRY
No. Does God do it?
ALINA
No, they have engines. They are
powerful machines that push
themselves over the air. That's
how they fly.
She demonstrates with Barry's model plane.
ALINA
See, the air goes under the wings,
and the engines lift the plane up.
You're not an airplane, Barry. Do
you understand that?
BARRY
I can't fly?
ALINA
No, I'm afraid you can't.
BARRY
But, God told me to.
ALINA
Who did?
BARRY
God.
ALINA
What did He say?
BARRY
He said to spread my wings and
fly.
ALINA
When did you hear this?
Barry thinks.
BARRY
I don't remember.
ALINA
Did you try to fly before you fell
out of your window?
BARRY
No. Just the one time. Why?
ALINA
I'm trying to help you, Barry.
BARRY
What's wrong with me?
ALINA
Nothing. Nothing's wrong, don't
worry. I'm going to go downstairs
and talk to your mom and dad now,
okay?
BARRY
All right.
Alina exits the bedroom and heads
INT. JAMES HOUSE - LIVING ROOM - AFTER
Helen and Cary sit watching the TV news. Coverage of the bank
robbery is the top story. Alina stops at the bottom of the
stairs and watches.
HELEN
Is that the bank you were at this
morning?
ALINA
How many banks get robbed everyday
here?
HELEN
I mean, this was the bank you were
at.
ALINA
I see.
CAREY
How's Barry?
ALINA
Fine. I need to talk to you two.
Helen turns off the TV.
HELEN
Yes?
ALINA
He seems to believe that God talks
to him.
CAREY
God?
ALINA
Yes, Barry thinks that God told
him to jump.
CAREY
What do you think?
ALINA
I don't know. That's why I'm down
here with you.
HELEN
Well, Barry goes to Sunday school
with Jennie.
CAREY
We're both God-fearing parents, we
wanted to instill a strong belief
in our children.
ALINA
Nothing wrong with that.
CAREY
We're not zealots or anything.
Barry wasn't spoon-fed anything.
ALINA
Okay. That's what I wanted to
know. Thanks. I should get going
now.
HELEN
You sure you're okay?
ALINA
Yes, thanks.
HELEN
I mean, since the bank robbery
this morning?
ALINA
The money's insured. I'll get it
eventually.
CAREY
Good. We can help you out if you
need.
ALINA
No, thank you. I'm fine.
Alina exits the house.
EXT. JAMES HOUSE - SAME
Alina walks down the front walk of the house and turns back.
She looks up at the second level, at Barry's bedroom window.
He is sitting by the sill, looking up at the clouds. Alina
waves up at him, but he doesn't notice. Barry moves to raise
the window to open it, but it won't budge. After a moment of
struggling with it, Barry retreats back to his bed, out of
sight. Alina breathes a sigh of relief and continues down to
the street and walks to the bus stop.
INT. ARON'S APARTMENT - NIGHT
Aron and Prescott sit at the dining room table, eating dinner.
ARON
Did you see any of it?
PRESCOTT
No, I didn't. I was in my office
the whole time. I don't believe
it.
ARON
How much was taken?
PRESCOTT
About two thousand. Mostly cash
deposits.
ARON
Who was the guy?
PRESCOTT
A drifter, he acted alone. He was
living at a motel in West
Hollywood.
ARON
Oh, okay. Glad no one was hurt.
PRESCOTT
Yes, that was thankful. The
robber's in critical condition,
though. He was shot by an officer.
Stomach wound.
They both eat silently for a bit.
PRESCOTT
So, what are you going to do with
it?
ARON
With what?
PRESCOTT
The money.
ARON
The inheritance?
Prescott nods.
ARON
Oh, I don't know. Quit my job,
maybe. Buy a boat and sail around
the world.
PRESCOTT
Is it enough to retire on?
ARON
I don't know. I have a bit of my
own saved away. I'm going to head
up to the Bay Area, first, though.
Spend sometime where I grew up.
There's the memorial for my mother
that needs to be setup.
Aron SIGHS.
ARON (Cont.)
She was a good woman. When she was
seventeen, she came to America
from Scotland. She raised me by
myself when my father was killed.
Worked twelve-hour days. And then,
one day, we had all that money.
Now I have more. I don't know what
to do with it all.
PRESCOTT
Looking to double it?
ARON
What do you mean?
PRESCOTT
I might have something you'll be
interested in.
ARON
What is it?
PRESCOTT
I can't say now, really. But, I'll
let you know.
INT. SHOPPING MALL - BOOKStoRE - NIGHT
Alina browses the magazine rack, not really seeing anything of
interest. She moves on to the rest of the store.
A young man, RAY HOLMES, notices her and slowly follows her
down the aisles. Alina doesn't see him and continues to
browse.
INT. BOOKStoRE - SHOPPING MALL - AFTER
Alina has two books in hand and stands at the checkout line.
The CASHIER finishes a sale and Alina steps up to the counter.
The cashier keys in the books sale codes.
Ray leans against the magazine rack, pretending to read a
magazine. He can't take his eyes off Alina.
Alina writes a check for her purchase.
CASHIER
Ma'am, I need to see your driver's
license and a major credit card.
Alina fumbles in her purse for her wallet. As she does so, she
drops her checkbook and pen onto the floor.
ALINA
Damn.
She leans over to pick them up, but the pen has slid out of
sight. She puts the checkbook back in her purse and finally
fishes her wallet out.
ALINA
Here.
She hands a credit card and her license to the cashier. They
are studied a bit, and the cashier copies the pertinent
information to the back of the check and returns the cards to
Alina, along with the books and receipt.
Alina exits the store, never noticing Ray. After Alina is out
of sight, Ray walks over to the register, leans down, and
picks up the pen she left behind. It is imprinted with the
text OCEANSIDE ESTATES HOTEL and the insignia of the hotel. He
puts the pen in his pocket and walks out of the bookstore.
INT. JAMES HOUSE - BARRY'S BEDROOM - NIGHT
The lights are off, but Barry's not asleep. He lies on his
back, his eyes wide open. The moonlit shadow of the tree
outside his window is cast on the floor and the foot of his
bed.
Through the window, Barry watches the moon, the stars, and an
owl that flies to the window ledge and looks inside. Seeing
nothing of interest, the owl hops over to a branch of the tree
and slowly and quietly starts to HOOT.
Barry gets up from bed and walks to the window. He looks at
the bird, which is about ten feet from the window. He tries to
raise the window, but it's locked firmly shut. He struggles a
bit to undo the locks, but he's not strong enough. After a
concerted effort, he finally gives up and sits back down on
the bed.
The bird outside, sensing the motion of Barry sitting back
down, flaps its wings, streaking off into the night. Barry
looks at his bedroom door. It is dark, out of the path of the
moonlight, but surrounded by the cracks of light that seep
inside from the well-lit hallway.
INT. HOTEL HALLWAY - NIGHT
Alina passes a maid's cart, with pillows and towels, as she
makes her way to her room.
INT. ALINA'S HOTEL ROOM - LATER
Alina sits at the desk, reading one of the books she bought at
the bookstore, taking notes on a pad of paper from Barry's
file. The pen runs out of ink.
ALINA
Damn.
Alina fumbles in her purse for a pen, but doesn't find one.
She stops and thinks for a moment and then gets up and walks
out of the room, taking care to not lock herself out.
INT. HOTEL HALLWAY - AFTER
The maid's cart is still abandoned. Alina walks up to it and
finds a drinking glass with a dozen pens in it and takes three
out. She quietly and discreetly walks back to her room. The
MAID exits a room and does not notice Alina.
EXT. HOTEL - NIGHT
Ray parks his car in the hotel's lot and walks toward the
entrance.
INT. HOTEL LOBBY - AFTER
Ray walks through the lobby, back to the bar, constantly
scanning for Alina.
A few moments later, he exits the bar and comes back to the
lobby. He sits on a sofa, waiting.
A magazine on the coffee table in front of him keeps him
occupied for a bit, but soon he grows bored and gets up,
exiting the hotel.
INT. HOTEL LOBBY - DAWN
Ray returns and except for the two CLERKS at the front desk,
the lobby is deserted. He sits on a sofa with a view of the
elevator and watches it, waiting for Alina to come out.
INT. ALINA'S HOTEL ROOM - MORNING
Alina's in a rush. She buttons her blouse, kicks on her shoes,
and gathers her bags, all seemingly at the same time. She ties
her hair back in a hasty ponytail, throws on her coat and
heads out the door all in one fluid motion.
INT. HOTEL LOBBY - AFTER
As he did last night, Ray sits in the lobby waiting for Alina.
He sips coffee and a newspaper is folded on his lap. He
watches the elevator as it opens. Alina gets out with several
other guests. Ray smiles to himself and gets up, newspaper
tucked under his arm. He walks to the group Alina's stuck in.
Alina tries to walk around the group, but they're too slow and
she's trapped. Frustrated, she darts around and runs right
into Ray. They both fall to their feet. Alina's bags spill
open on the floor.
ALINA
Damn.
RAY
Let me help you.
Alina looks up at him and likes what she sees. She smiles at
him.
ALINA
Thanks.
He takes the pen she dropped in the bookstore out of his
pocket without her noticing. As he hands her a pile of papers,
he slips the pen to her.
RAY
Here you go.
ALINA
That's everything, thanks.
She gets up and starts to walk to the front door. Ray scampers
to his feet and hurries to her side.
ALINA
Are you staying here?
RAY
No.
ALINA
Why are you here then?
They walk out of the lobby.
EXT. HOTEL - MORNING
Alina heads down the driveway to the street. Ray tags along
like a puppy following its master.
RAY
I was waiting for someone.
ALINA
Oh.
RAY
They never showed.
ALINA
Too bad. Well, seeya.
RAY
Listen, can I buy you dinner
sometime?
ALINA
I don't date strangers.
RAY
Neither do I. My name's Ray. Ray
Holmes.
Alina stops and offers her hand for him to shake.
ALINA
Alina Roberts. My pleasure.
RAY
Now we've met, we're not strangers
anymore. Have dinner with me.
Alina starts walking to the sidewalk again.
ALINA
Really, I'm going to have to pass.
Thank you, though. I'm flattered.
RAY
All right. I give up. I'll not
pester you anymore.
Alina stops and waits by the bus shelter.
RAY (Cont.)
Hey, you're waiting for a bus?
ALINA
Wow, you're good looking and
smart.
RAY
Listen, I'm not trying to bother
you. I'm not a freak, really, I'd
just like to help you. Do you need
a ride somewhere or something? My
car's just over there. It's no big
deal.
ALINA
No thank you. The bus is fine.
RAY
Okay, good-bye. I'll catch you
around sometime, Alina.
ALINA
Maybe.
RAY
Take care.
He bows before her and turns around, walking back to the
parking lot. Alina watches the bus tread slowly down the
street toward the hotel. A flume of black smoke billows out
behind it. She looks back at Ray, ambling slowly, regretfully,
to his car.
ALINA
Ray!
He doesn't hear her.
ALINA (Cont.)
Hey, Ray!
Ray turns around.
RAY
Yeah?
Alina runs up the driveway. The bus approaches the stop.
ALINA
I'm sorry. I was rude. Yeah, sure,
why not? Meet me here tonight for
dinner?
RAY
What time?
ALINA
Is seven okay for you?
The bus doors open. PASSENGERS get off.
RAY
Sure. See you then. Hurry, you'll
miss your ride.
ALINA
Thanks. See you then.
Alina runs to the bus. Ray stands back, and watches her. She
gets on the bus and pays the DRIVER, who shuts the doors
behind her. The bus trudges on, down the road.
Ray gets into his car and fires up his cell phone. He punches
in a number and waits for it to be answered.
RAY (INto TELEPHONE)
Hey, Jerry. I can't make it
tonight. Show it without me. I'll
try to make it afterward, but no
guarantees. Let Leo know I'm
sorry. I'll have my cell on all
day, if you need me, but don't
call me after six. Thanks, man.
EXT. JAMES HOUSE - BACKYARD - DAY
Alina and Barry stroll slowly through the yard. Two glasses of
lemonade await them on the patio table.
ALINA
How are you feeling?
BARRY
Fine.
ALINA
Your mom says you want to go back
to school.
BARRY
Yeah. Can I?
ALINA
Soon, yes. We're not quite ready
yet.
BARRY
What do we need to do?
ALINA
Some things. I need to find out
some more information first. Soon,
though. Don't worry.
INT. CALIFORNIA TRUST - DAY
Prescott stands in the lobby, waiting for something or
someone. Soon, Aron arrives, and Prescott exits with him
immediately.
ARON
What is it?
PRESCOTT
Let's go.
EXT. SIDEWALK CAFÉ - AFTER
Prescott and Aron talk over lunch menus.
ARON
Okay, André, what's up?
PRESCOTT
There's a kid I know.
ARON
A kid?
PRESCOTT
Well, not a kid, but he's young. A
friend of my nephew's. He's right
out of film school.
ARON
Okay, and?
PRESCOTT
He just made his first film,
little low budget thing. Nothing
too fancy, cost him about twenty
thousand to make.
ARON
So?
PRESCOTT
He's got this new script,
absolutely fascinating. I'd like
to produce it. I mean, I'd like us
to produce it.
ARON
What? I don't know anything about
making movies. I hardly watch them
as it is.
PRESCOTT
Just some money. No more of your
time than you'd want to give. He's
a pretty efficient kid, he'll make
good use of it.
ARON
How much money are you talking
about here?
PRESCOTT
I don't know, offhand. Maybe eight
hundred thousand, close to a
million.
ARON
That's a lot of money.
PRESCOTT
Read the script, it's a sure bet.
Prescott hands Aron a screenplay. Aron thumbs through it.
ARON
Mission. Let me guess, big budget
action flick?
PRESCOTT
Not quite. Just read it, Aron.
ARON
Okay, I will.
INT. ARON'S OFFICE - AFTERNOON
Aron enters his office with a cup of coffee in hand and shuts
the door behind him. He changes the clock radio on his desk
from a talk radio station to a classical station.
Aron sits back in his high-backed chair and relaxes. The
screenplay is on the desk in front of him. He leans forward
and picks it up, opening it to page one.
ARON
(reading aloud)
Fade in.
FADE TO:
INT. ARON'S OFFICE - LATER
Aron finishes reading the last page of the screenplay and
closes it, gently laying it back down on his desk. He takes a
tissue and dabs his wet eyes with it. He blows his nose and
stretches. He is obviously moved by what he just read.
Aron tosses the wadded up tissue toward a trashcan across the
room and misses by two feet.
ARON
(muttering)
And people wonder why I didn't
play basketball.
He gets up, walks over to the errant tissue, picks it up and
places it in the trash. He walks back to his desk and picks up
the telephone and dials a number rapidly from memory.
ARON (INto TELEPHONE)
I just read it. I'm no expert, but
it's very good. I want to meet
this guy.... eight o'clock,
Pasadena.... Yeah, I know where
that is. I'll be there, see you
then, thanks.
INT. CITY BUS - DUSK
Alina rides back to the hotel on the city bus. As it
approaches her hotel she checks her watch, 6:50 p.m. and then
her appearance in the reflection of the dirty tinted window.
She brushes her hair back and deems herself acceptable.
The bus slides to a stop outside of the hotel and Alina walks
down the steps to the sidewalk.
EXT. HOTEL - SAME
Ray is sitting on the hood of his car in the parking lot. He
smiles when he sees Alina approach him. She smiles, too.
ALINA
You're early.
RAY
Is that bad?
ALINA
Nope. Not at all. I like
promptness in men. So, what did
you have in mind?
Ray gets down off the hood and opens the passenger door for
Alina.
RAY
Hop in.
INT. RAY'S CAR - ROAD - AFTER
Ray slows down and stops at a red light. He looks over at
Alina.
RAY
So, what do you do?
ALINA
I'm a child psychologist. You?
RAY
Filmmaker.
ALINA
Interesting.
RAY
It pays.
ALINA
What kind of films do you make?
RAY
I just finished a thriller. Low
budget, nothing you'd ever hear of
or probably ever see.
ALINA
I'll keep my eyes out for it.
What's it called?
RAY
It's called Code of Honor. About a
cop that's framed for murder and
has to prove he's innocent.
ALINA
Ahh.
The light changes back to green and Ray puts the car back in
drive.
RAY
In fact, it's being screened
tonight over in Pasadena. I just
finished a new script, though,
which should hopefully be better.
We're shooting that this summer.
ALINA
Is that where we're going?
RAY
The screening? No. I didn't think
you'd be interested. I have
reservations for us in Burbank.
ALINA
Okay, I don't know this area at
all.
RAY
Where are you from?
ALINA
Oakland.
RAY
What brings you down to sunny
southern California, then?
ALINA
A patient.
RAY
Let me guess, a messed up kid?
ALINA
Yep. You are a smart one. Nothing
gets by you.
RAY
Child abuse?
ALINA
No, it's a bit different. I also
have a Masters degree in Theology,
so I get the weird ones. This
one's a little boy who thinks he's
an angel and wants to fly.
RAY
Fly? Hmm.
ALINA
Nice story, huh?
RAY
I'll say. Parents sell the rights
yet?
He LAUGHS at his own joke. Alina manages an uncomfortable
smile.
ALINA
I'm not finished treating him yet.
Almost.
RAY
So, is he?
ALINA
What?
RAY
An angel. Can he fly?
ALINA
Sorry, no. There aren't any angels
in this city of angels.
RAY
God's nowhere to be found here.
INT. FANCY RESTAURANT - NIGHT
Alina and Ray pick at their salads. In between them, a white
candle burns. The yellow light it gives off casts itself
beautifully on their young, fresh faces.
ALINA
What's the new screenplay about?
RAY
It's a bit of an exposition on the
nature of God. It's moody, you
know?
ALINA
Oh, tired of the action genre
already?
RAY
Not really, I'm just trying to
diversify. It's called Mission.
ALINA
So, what's the story?
RAY
Well, it's about a priest who is
commanded to guide a nun to a man
she's supposed to fall in love
with.
ALINA
Who commands the priest?
RAY
God.
ALINA
Oh, yeah, of course. Sounds, umm,
interesting. A nun, you said?
RAY
Yes.
ALINA
Don't you think some people might
find that just a little teeny-
weeny bit blasphemous?
RAY
I suppose, yeah. It's just a
story. There are worse things in
the news every night.
ALINA
Yes, but-
RAY
-Really, you're dealing with a boy
who thinks he can fly. Which is
more fucked up? My story or that
kid?
Alina is visibly shaken.
RAY (Cont.)
Look, I'm sorry. I didn't mean to
offend you. I'm just a bit
defensive when it comes to my
work.
ALINA
Well, I'll just have to read it
and judge for myself, then?
RAY
Exactly.
INT. MOVIE THEATRE - NIGHT
A couple dozen VIEWERS watch Ray's movie, Code of Honor. Aron
and Prescott sit together in the back row. The final shot of
the film fades out and the first credit reads:
WRITTEN AND DIRECTED BY RAY HOLMES
Aron turns to Prescott.
ARON
Very good. He has a good eye. I
liked the new story better,
though.
PRESCOTT
I thought so, too. Unfortunately,
he's not here now. I was told he
was coming.
The credits are short and end abruptly. The HOUSE LIGHTS are
turned on. Prescott rises from his seat and starts to make his
way down the aisle to the front.
PRESCOTT (Cont.)
There's my nephew, I'll be right
back.
Prescott walks up to the front row, where a group of young
FILM JUNKIES are discussing the film. One of them, JERRY,
breaks away from the group and approaches Prescott.
JERRY
Hi Uncle André. Did you like it?
PRESCOTT
Actually, we did. Is Ray here? I
have a friend that wants to meet
him.
JERRY
No, he couldn't make it tonight.
Leo's here, though. Who's your
friend?
Prescott turns around and faces the back of the theatre.
PRESCOTT
Aron! Come on down here!
Aron walks slowly down the aisle to the front of the theatre.
JERRY
Jesus, he's tall.
PRESCOTT
He's also recently rich and
doesn't know what to do with the
money.
Aron joins the group.
ARON
Hello, Aron Bartley.
JERRY
Jerry Gibbons, pleasure to meet
you.
EXT. FANCY RESTAURANT - PARKING LOT - SAME
Alina and Ray walk out of the restaurant and head back to his
car.
ALINA
Thanks. I enjoyed dinner.
RAY
Want to see a movie now?
ALINA
Your movie?
RAY
Sure, there's nothing else good
playing.
ALINA
I thought we missed the screening?
RAY
Hey, I'm the director. It's my
movie. When I want it shown, it's
shown.
ALINA
Well, okay, then, Mr. Powerful
Hollywood Filmmaker.
INT. MOVIE THEATRE - LATER
Aron, Prescott, Jerry, and LEO, a portly, bearded young man,
sit in the front row.
ARON
Obviously, I want to meet Ray
first, but I'm very interested. I
don't know much about movies, but
I know what I like.
LEO
Well, I won't speak for Ray, but I
think he likes people who know
what they like. And, I do, too.
Somehow, Leo manages to flash a winning smile to Aron.
Ray and Alina arrive. As they enter the theatre, Ray is
surprised to see people still there.
RAY
Oh, hello.
JERRY
We didn't expect you to show.
RAY
Sorry about that, I had other
plans. How did it go?
LEO
Just fine. Everyone liked it.
RAY
Great. We're here now to watch it.
LEO
Before you do, Ray, there's
someone you should meet.
He gestures toward Aron. Aron rises from his seat and bows
over to Ray.
ARON
Aron Bartley, glad to meet you.
Ray shakes his hand. Alina looks at Aron like she knows him
from somewhere but can't place it. Aron doesn't pay any
attention to Alina, he's focused only on Ray.
RAY
Likewise. Did you enjoy the film?
ARON
I did, indeed. I also liked the
script I read this afternoon.
RAY
Great. I always welcome new fans.
Aron hands him a business card.
ARON
I hope to be more than a fan. I
have to run now, though, but
please call me up tomorrow.
RAY
Will do, it was nice meeting you.
Aron and Prescott leave together.
JERRY
We're out of here, too, Ray. Speak
to you tomorrow. You two enjoy the
film.
Jerry and Leo leave, TALKING as they walk out the door.
RAY
Okay, have a seat wherever you'd
like. Let me start up the
projector.
He disappears behind the curtain. Alina picks a seat in the
middle of the theatre, halfway back from the screen.
INT. MOVIE THEATRE - PROJECTION ROOM - SAME
Ray fires up the projector and sets the reels running. The
movie starts, and Ray stays in the projection room for a few
minutes, watching Alina watch the movie.
EXT. HOTEL - PARKING LOT - NIGHT
Alina stands with Ray beside his car.
ALINA
I had a good time tonight.
RAY
So did I, thanks.
ALINA
You're welcome.
RAY
How much longer are you in town?
ALINA
Probably another week or so.
RAY
Can I see you again before you
leave?
ALINA
Sure. Call the hotel for me. Leave
a message if I'm not in. I have
voice mail here.
RAY
Great. Goodnight.
He takes a half-step closer to her. He's close enough that if
he wants to reach out and kiss her, he can. Alina smiles at
him, and looks down at his advancing feet.
ALINA
Goodnight.
She turns around and walks inside.
INT. RAY'S APARTMENT - BEDROOM - MORNING
Ray sips from a mug of coffee as he walks over to his desk. On
it is a telephone, his wallet, a copy of Mission, and Aron's
business card. He takes another sip of coffee, puts the mug
down, and picks up the telephone, dialing Aron's number.
INT. JAMES HOUSE - BARRY'S BEDROOM - DAY
Alina and Barry are sitting on his bedroom floor, playing with
a Lego set.
BARRY
I got these for my birthday when I
was four. I love them.
ALINA
When I was a little kid, my older
brother had a million Legos. I
didn't like to play with them
then.
BARRY
You didn't?
ALINA
No, I thought they were for boys.
BARRY
Jennie likes to play with them,
though.
ALINA
It was different when I was a kid.
There were boy-toys, and girl-
toys.
BARRY
You can create a million cool
things with them.
ALINA
Yeah, I know. I like them now.
She looks out the window. There's really nothing of interest
out there, but she seems distracted by something.
BARRY
You okay?
No response. Barry shrugs, and begins construction of a multi-
colored airplane. He has to reach across Alina to get to the
wheels.
INT. ARON'S OFFICE - DAY
Ray sits across the desk from Aron. The script is open between
them.
RAY
If we start filming in July, we
can finish by October. But, if we
wait 'til August, it won't be
until December.
ARON
Why?
RAY
A million reasons. The locations
we'll want to use will be busy.
We're on the bottom rung here, and
get second chances at everything.
Plus, Gary Dukater won't be
available after November.
ARON
I've lived here my whole life, but
never realized exactly how
Hollywood works.
RAY
Well, pay attention.
INT. ALINA'S HOTEL ROOM - DUSK
Alina walks into her hotel room and sees the message lamp on
the telephone blinking.
INT. RAY'S APARTMENT - LIVING ROOM/KITCHEN - NIGHT
Alina sits on Ray's couch, flipping through a magazine. Ray is
behind her, in the kitchen, cooking dinner.
RAY
Almost ready.
He stirs a pot and sets the stirrer down beside the stovetop.
He walks into the living room.
RAY
No, don't read that. The script's
right there.
ALINA
Oh, ok.
She puts down the magazine and picks up the screenplay.
ALINA
Mission, by Ray Holmes.
RAY
That be me.
ALINA
How long did it take to write
this?
RAY
About five months. Last one took
longer, almost a year.
ALINA
When do you start filming?
RAY
I don't know yet. We're still
doing the casting and securing the
locations. Maybe end of July,
hopefully sooner.
ALINA
Okay. Your water's boiling over.
Ray rushes back into the kitchen to stir the pot. Alina begins
to read the script.
FADE TO:
INT. RAY'S APARTMENT - LIVING ROOM - NIGHT
Ray and Alina are sitting on his couch. Alina takes a sip of
her wine and sets it back down on the coffee table.
RAY
You disagree?
ALINA
Well, no. I just haven't felt that
way yet, so I don't know.
RAY
You've never seen someone and
thought to yourself "Yes!"? It
happens to me once a month, it
seems.
ALINA
Well, yeah, of course I have. But
it wasn't love. It was more like a
lust.
RAY
It was a temporary feeling?
ALINA
More like a fleeting one. Just a
time-and-place situation.
RAY
I don't work like that. I obsess,
it's more than fleeting.
ALINA
I'm not quite sure why you're
telling me this.
RAY
Me neither. I'm not usually this
confessional. But, I think I can
be open with you.
He leans in closer to her.
ALINA
You do?
RAY
Is that okay?
ALINA
I suppose. I didn't quite expect
this.
RAY
Do you mind?
Closer. They're so close they're WHISPERING to each other.
ALINA
No, I don't.
RAY
Good.
He kisses her. It's a slow kiss, and he's the first to pull
away.
RAY
I'm sorry.
ALINA
What for?
She slides on top of him and kisses him again, more
aggressive, assured.
INT. RAY'S APARTMENT - BEDROOM - DAWN
The first rays of sunlight awaken Alina. Beside her, Ray is
still asleep. She quietly gathers her clothing, in a pile
beside the bed on the floor, and dresses.
Without looking back at Ray she slips out of the bedroom.
EXT. BARRY HOUSE - MORNING
Helen opens the door and lets Alina in. She appears to be in a
rush, and is breathing heavy, like she just ran up the
driveway in a sprint.
ALINA
I'm sorry, Helen. I overslept.
HELEN
Well, come in, then.
Alina enters.
INT. BARRY HOUSE - AFTER
Alina sits down on the couch. Carey walks in from the kitchen.
CAREY
Hi Alina.
ALINA
Sorry I'm late.
CAREY
No big deal.
ALINA
Where's Barry? Is he upstairs?
Carey looks at Helen. Helen looks back at Carey.
ALINA (Cont.)
Well?
HELEN
He's at school, Alina.
ALINA
What?
CAREY
He was anxious to go back, and we
thought he was ready.
ALINA
You thought he was ready? You're
not his doctor, you're not
qualified to say that.
HELEN
No, we're not. But, we're his
parents. We decided it over dinner
last night, and tried to call you
at your hotel -
ALINA
I was out last night.
HELEN
I know, well, you weren't in when
we called.
CAREY
We tried three or four times. By
the time we had decided and put
Barry to bed, you still hadn't
answered. So, when he got up this
morning, we took him to school.
ALINA
I don't believe this. Did you let
him ride the bus?
HELEN
No, Carey drove him there. We're
going to pick him up, too, at
three o'clock.
ALINA
I'd like to see him then. I'd like
to see him now, actually. He's not
ready to go back.
HELEN
We didn't agree. He's a young boy,
Alina, he's not sick.
ALINA
I didn't say he was. But, he had,
and still has, problems. Serious
emotional problems, and they have
to be dealt with. I wasn't ready
to insert him into a volatile
situation like school. School can
be an emotional war zone for a kid
like him. It could be brutal. The
other kids could tease him,
ridicule him. It wasn't a good
idea. I wish you hadn't done that.
HELEN
Look, we're his parents. In fact,
we'd like to end his treatment
with you.
ALINA
He's not ready yet, I'm warning
you.
Helen opens up her purse and takes out an envelope of cash.
She offers it to Alina.
HELEN
Here, take this. Thank you very
much.
Alina accepts it, grudgingly.
ALINA
Yeah, thanks.
Without looking back, she storms out of the house.
EXT. SCHOOL - DAY
Alina stands around the front entrance of the school, with
other MOTHERS awaiting their children.
A SCHOOL BELL rings inside, and slowly but surely, the KIDS
start poring out into the sunshine.
Barry, with a few of his FRIENDS, come out, all smiles.
ALINA
Barry!
Barry turns to her and smiles.
BARRY
Hi Alina.
ALINA
Are you okay?
She heads over to him.
BARRY
I'm fine, yeah. I'm back at
school.
ALINA
I know. I was concerned. Can we
talk?
BARRY
Sure. (to his friends) I'll see
you guys later.
Alina and Barry walk around to the side of the school.
ALINA
Barry, listen to me, this is
important, okay?
BARRY
Sure, what's up?
ALINA
Are you sure that you're able to
be in school again?
BARRY
Yeah, why?
ALINA
I think you and I still need to
talk.
BARRY
We're talking now, right?
ALINA
No, I mean like we were at your
home, when you weren't in school.
BARRY
My Mom and Dad say that I don't
need to anymore, though.
ALINA
What do you think?
BARRY
I feel fine, really. That's what I
think.
ALINA
Well, okay. If you need me, call
me, all right? I'm still concerned
for you.
She hands him a business card.
BARRY
Thanks.
ALINA
I'll let you go home now. You take
care, okay? Don't be afraid.
BARRY
I will. Bye Alina.
Alina starts to walk away. She turns back and with a smile,
waves at Barry.
ALINA
Goodbye Barry.
INT. ALINA'S HOTEL ROOM - NIGHT
Alina is laying on her bed, idly watching the television and
counting the money that Helen paid her. There are dozens of
bills, of various denominations, on and about her on the bed.
There is a KNOCK on the door. Alina looks surprised: she
obviously didn't order room service. She checks her hair
quickly in the mirror as she walks to the door. She opens the
door: it's Ray.
ALINA
Oh, hi.
RAY
I'm sorry, but I'm a bit confused.
ALINA
Excuse me?
RAY
May I come in?
ALINA
Oh, yeah, sure.
Alina steps aside and lets him in. She sits on the edge of the
bed and he takes the desk chair. She starts to organize the
money again in the envelope.
ALINA
Okay, what's up?
RAY
Well, why'd you leave this
morning?
ALINA
Oh, that.
RAY
Yeah, that.
Alina takes a big sigh.
ALINA
I'm on the verge of something big,
I think.
RAY
How do you know that?
ALINA
Things are different. The kid,
Barry, he seems to be telling me
something.
RAY
What the hell are you talking
about?
ALINA
I wish I knew how to tell you. The
sunlight's different down here.
The water tastes odd, and I know
it's not just the pollution. I'm
getting this incredible déja vu,
but I don't remember what of. It's
a karma.
RAY
And what does that have anything
to do with the kid? Or myself,
too, for that matter?
ALINA
I don't know. But I feel it.
RAY
You can't always trust your
feelings.
ALINA
Then why are you here?
RAY
For an explanation.
ALINA
Well, you're getting one now. I
think I'm in love. And it's not
with you. I don't know who,
actually.
RAY
Yeah, hrmph.
ALINA
Do you want to go for a ride? I
want to show you something.
INT. RAY'S CAR - NIGHT
Ray drives on the freeway. Alina's arm dangles loosely out the
passenger window.
ALINA
Since last night, everything's
different. For all I know, the air
pressure's changed, because it
feels like life's a lot looser to
me. Things move quicker.
RAY
And you're sure it's not me.
ALINA
Absolutely. Sorry, Ray. I do like
you, though. I won't forget you.
RAY
It's okay
ALINA
It's been so quick. But, as I've
stopped to think about it, the
more I know it's not you. This is
important stuff.
EXT. JAMES HOUSE - NIGHT
Alina and Ray walk down the quiet street. Except for a cat
darting up a tree trunk, there isn't any activity. They stop
outside of the James house.
ALINA
This is where the kid lives.
RAY
He jumped from up there?
ALINA
He tried to fly from up there.
RAY
I thought he jumped.
ALINA
Well, it depends on how you look
at it. He thinks he was trying to
fly. I thought he was jumping.
RAY
That's a fair, scientific analysis
of the situation, yes.
Alina scowls at his mockery.
ALINA
Now, though, I think that he was
trying to fly.
RAY
That's impossible, you know.
ALINA
A lot of things are impossible,
but they still happen.
RAY
If you say so. I don't know the
kid, so I won't say what is and
what isn't possible.
ALINA
So, as it turns out, everything
I've wanted to believe has turned
out to be false. Now, I have to
find new things to believe in.
RAY
And I'm not in your master plan,
huh?
ALINA
No, I think he is, though.
RAY
The kid? You're serious.
ALINA
Yeah, I think I am.
RAY
So, what are you going to do about
it? Run off with him?
ALINA
No, no. I just need to talk to him
again. Then, hopefully, things
will be clear.
RAY
Let's get going, then. No use
stalking the kid after his
bedtime.
INT. RAY'S APARTMENT - MORNING
Ray and Aron sit opposite each other at the dining room table.
Between them is a yellow legal pad. Ray and Aron take turns
passing back and forth a pen and jotting notes on the pad.
RAY
I'm not sure about that. She
wouldn't say that.
ARON
What's the matter with you today?
Nothing's working for you. You're
disagreeing with your own script.
RAY
It's a complicated matter, Aron.
I'm completely over my head with
some things.
Aron gestures to the script.
ARON
This?
RAY
The film? No. Other things. It's
weird, I can't explain.
ARON
Well, I don't have all day here
with you.
RAY
Maybe we should do this another
time, then. Tomorrow okay for you?
ARON
Sure. Call me in the morning, I'll
be around.
Aron exits. Ray remains at the table, moving the pen around in
his fingers like a baton twirler. He jots a few notes down,
but grows frustrated and walks over to the window. Sliding his
fingers through the blinds, he looks down at the road and
watches the cars and people go by. Nothing of interest to him
happens until a bus pulls up and among the people getting off
it is a NUN. Ray rushes over to the door and heads out.
EXT. RAY'S APARTMENT - DAY
Ray exits the front door of the apartment and looks around for
the nun. As he sweeps his head back and forth to look in all
directions, he sees a BLUR IN BLACK go around a corner. He
quickly dashes off in that direction believing that it's the
nun.
As he turns the corner, Ray sees that it was, in fact, the
nun, and she's about twenty yards ahead of him. He runs to
catch up with her.
He stops next to her. She doesn't pay much attention to him;
to her he's just another guy running down the street.
RAY
Excuse me.
She doesn't stop. Ray taps her on the shoulder.
NUN
Yes?
Finally we see her face. She's young and very attractive.
RAY
I'm sorry. I don't mean to startle
you. I just wanted to ask you some
questions.
NUN
Questions?
RAY
Yeah, I'm a writer. I mean, I'm
making a movie about a nun, and I
just wanted to get some of the
facts straight. You know, about
being a nun.
NUN
Okay. What did you have in mind?
RAY
Well, I have a few questions. It
might take a while. Do you mind?
I'll buy us some coffee, if you'd
like.
NUN
Oh, I can't now, sorry. I'm late.
Shall I call you?
RAY
Yes, please. I'd like that.
He hands her a business card. She reads the card, smiling.
NUN
Ray Holmes. Hi. I'm Sister
Catherine.
RAY
Pleasure to meet you.
He awkwardly offers his hand to her. She takes it and gently
shakes it.
SISTER CATHERINE
The same. I'll call you.
INT. AIRPORT TERMINAL - TICKET COUNTER - DAY
Alina waits in line behind one other PERSON.
INT. ARON'S APARTMENT - SAME
Aron sits at his desk, on the phone. He is obviously on hold.
After a few seconds, he starts talking.
ARON (ON TELEPHONE)
Yes. I'd like a roundtrip ticket
to San Francisco. (a beat)
Tomorrow night. Can I keep the
return open?
INT. RESTAURANT - NIGHT
Aron eats alone in a crowded restaurant. On the table next to
his plate is an old college yearbook.
INT. RAY'S APARTMENT - NIGHT
Ray sits on the couch, watching TV. An open copy of Mission
rests beside him. A ballpoint pen acts as a bookmark. There
are various notes scribbled on the page and in the margins.
The telephone RINGS. Ray answers it on the second ring.
RAY (INto TELEPHONE)
Hello?
ALINA (O.S., ON TELEPHONE)
Hi, it's me.
RAY (INto TELEPHONE)
Hi there. What's up?
ALINA (O.S., ON TELEPHONE)
I wanted to say good-bye. I'm
leaving tomorrow night. I have a
new job starting on Monday and I
need to prepare.
RAY (INto TELEPHONE)
Okay, thanks for calling. You take
care.
ALINA (O.S., ON TELEPHONE)
I hope you forgive me. I was a
jerk last night.
RAY (INto TELEPHONE)
It's okay, I understand
completely. And I'm going to use
it someday.
ALINA (O.S., ON TELEPHONE)
Use it? What do you mean?
RAY (INto TELEPHONE)
In a story. I'm going to have a
character like you. Do you mind?
ALINA (O.S., ON TELEPHONE)
No, not really, I deserve as much.
Just change the name to protect
the guilty.
RAY (INto TELEPHONE)
Will do. Look me up if you're ever
back in town.
ALINA (O.S., ON TELEPHONE)
I will. Good-bye.
INT. ALINA'S HOTEL ROOM - NIGHT
Alina hangs up the phone. She is sitting on the bed, and
beside her, her bag is open and is half-filled with folded
clothes. More clothes rest on the back of the desk chair,
awaiting folding.
INT. RAY'S APARTMENT - BEDROOM - MORNING
The phone RINGS, awakening Ray. Groggily, he raises his head
and answers it on the third ring.
RAY (INto TELEPHONE)
Hello?
SISTER CATHERINE (O.S., ON TELEPHONE)
Hello, may I please speak to Ray
Holmes?
RAY (INto TELEPHONE)
This is him.
SISTER CATHERINE (O.S., ON TELEPHONE)
Ray, hello. This is Sister
Catherine. We spoke yesterday.
RAY (INto TELEPHONE)
Yes, I remember. I don't have nuns
calling everyday.
Ray sits up in bed. He's awake now.
SISTER CATHERINE (O.S, ON TELEPHONE)
I wasn't sure if it was all right
to speak to you, but I checked
with my Superior. I can discuss
your story with you if you still
want to.
RAY (INto TELEPHONE)
Yes, definitely. When's good for
you?
SISTER CATHERINE (O.S., ON TELEPHONE)
How about this afternoon? Four-
thirty?
RAY (INto TELEPHONE)
Fine. Remember where we met
yesterday? There's a coffeehouse
across the street.
SISTER CATHERINE (O.S., ON TELEPHONE)
Yes, I know it. I'll see you then.
INT. SHOPPING MALL - FOOD COURT - DAY
Aron and Ray eat fast food tacos and, again, look at the
script that's open between them. Aron jots a note down on the
script.
RAY
I've a meeting this afternoon with
a nun.
ARON
Okay.
RAY
I just want to confirm the details
of Mary Charlotte's story with
her. She seems pretty nice.
ARON
Is she good looking, too?
Aron means this in jest, but LAUGHS when Ray nods.
ARON (Cont.)
Really? Oh boy-o, you'd better
watch out.
RAY
Yeah, I know. She's God's wife. Of
all of the husbands, He's the one
I don't want to piss off.
ARON
We shouldn't even be joking about
this. But, it's in the script.
Ray winks.
RAY
Well, I'll just write it off as
research, then.
ARON
Anyway.
RAY
Yes.
ARON
I have to go out of town tonight.
I'll probably be back on Monday or
Tuesday.
RAY
All right. Where are you going?
ARON
Up to the Bay Area. I'm helping to
dedicate a memorial to my mother
at Stanford. She passed away last
month. It's on Sunday afternoon,
but I haven't been up there since
I was a little boy, so I want to
go back and spend some time there.
Ray thinks about saying something, and opens his mouth to do
so, but decides against it and takes a drink from his soda
instead.
EXT. HOLLYWOOD STUDIO - BACKLOT toUR - DAY
Alina walks around a studio backlot as part of an amusement
park tour. JAPANESE TOURISTS surround her.
EXT. COFFEEHOUSE - DAY
Ray checks the time on his watch: 4:05 P.M. He hurries inside
the coffeehouse.
INT. COFFEEHOUSE - AFTER
Sister Catherine is sitting at a corner table, sipping from a
cup of tea. She sees Ray come in and waves him over.
RAY
Sorry I'm late.
SISTER CATHERINE
It's nothing. I'm free for the
rest of the day.
RAY
I see. I'll be right back, let me
get a drink.
INT./EXT. ARON'S APARTMENT - DAY
Aron closes up his suitcase, puts on his coat, and walks out
the door of his apartment, bag in hand.
Outside the apartment, a TAXICAB is waiting for him. He gets
in the cab.
INT. COFFEEHOUSE - DAY
Ray hands a fresh copy of his script to Sister Catherine. As
she takes a look at it, he sips from his coffee.
RAY
Here.
SISTER CATHERINE
I've never seen one of these.
RAY
It's almost like a stage play.
"INT." and "EXT." describe whether
the scene is inside or outside.
The rest of that line tells where
the scene is set, and the time of
day. Other than that, it should be
pretty straightforward.
SISTER CATHERINE
I'll read it tonight.
RAY
Okay, let me warn you. The nun in
the story, Sister Mary Charlotte,
is not exactly a model nun. I
mean, this isn't going to be the
most wholesome movie. This ain't
Sister Act.
SISTER CATHERINE
It's okay, I wasn't always a nun.
She gives Ray a mischievous smile. It sends chills down his
spine.
EXT. HOTEL/INT. TAXICAB - EVENING
Alina walks out of the lobby of the hotel, bags in hand, and
enters a waiting cab. The CABBIE starts up his engine.
CABBIE
Where to? LAX?
ALINA
Yeah. Actually, there's somewhere
I want to go on the way.
CABBIE
No problem.
He cuts out into traffic, sending a flurry of pigeons into
motion, escaping the sidewalk.
EXT. BARRY HOUSE - DAY
The cab pulls up into the driveway.
ALINA
I'll just be a minute.
The cabbie starts the wait meter. Alina exits the cab and
walks up to the door. She rings the doorbell.
After a half-minute, Carey opens the door. He looks surprised
to see Alina.
CAREY
We thought you left.
ALINA
Actually, I'm on my way to the
airport now. I just wanted to say
good-bye to Barry. Is he home?
CAREY
He's upstairs. Wait here.
Alina nods, and he shuts the door. Alina turns around and
holds up her index finger to the cabbie, indicating "one more
minute." The cabbie shrugs and opens a newspaper to read.
INT. JAMES HOUSE - FAMILY ROOM - SAME
Carey enters the family room, where Helen and Barry are
working on a puzzle together.
HELEN
Who was at the door?
CAREY
It's Alina.
BARRY
Alina's here?
He gets up from the sofa and starts for the front door.
CAREY
Hold on, sport.
BARRY
I want to say hi to her.
HELEN
No, you can't, Barry.
BARRY
Why Mom?
Barry starts to pout. His eyes transform into puppy-dog eyes,
and Helen weakens, but doesn't give in.
HELEN
Sorry.
Barry glares at her, and then storms up the stairs to his
bedroom. Carey looks at Helen, who shrugs. Carey sighs. He
returns to the front door and opens it. Alina is still
waiting.
CAREY
I'm sorry, Alina, but he's not
feeling too well today. He's
taking a nap now upstairs.
Alina casts her eyes downward.
ALINA
Oh, I'm sorry. Say good-bye for
me, then, please. And, also to
Helen and Jennie. Thank you.
CAREY
Thank you, Alina. We do appreciate
your work.
Alina nods and turns around. She returns to the cab. Carey
watches her get in it. The cabbie pulls out of the driveway
and drives away from the house.
INT. JAMES HOUSE - BARRY'S BEDROOM - SAME
Barry opens his bedroom window and watches the cab move out of
the driveway. He sees Alina turn around in the backseat and
look up at him. He waves to her.
INT. TAXICAB/EXT. JAMES HOUSE - SAME
The cabbie slows the cab to a stop at an intersection. In the
backseat, Alina waves to Barry. She wipes a tear from her
eyes. She sees Barry step out, again, onto the ledge. Alina
frantically waves her hands "no" to him.
Barry waves, indicating up to her. She starts to open her
mouth, to shout, but doesn't make a sound.
The cabbie starts to turn the corner. Alina loses sight of
Barry. He remains on the ledge as the cab disappears. After a
moment, he returns inside the bedroom.
INT. RAY'S APARTMENT - EVENING
Ray sits near the window, watching the sunset outside. There's
a glass of ice tea dangling loosely from his hand. He snaps
out of his reverie when there is a KNOCK on the door.
Walking to the door, Ray takes another sip of the tea, and
places the glass on a table. He opens the door. It's Sister
Catherine. But, she's not in her nun's habit, she's wearing
jeans and a sweatshirt. Ray blinks, and finally recognizes
her.
RAY
Hi.
SISTER CATHERINE
I hope you don't mind. I got your
address from the script.
She holds up his script in her hand.
RAY
No. Please, come on in.
She smiles and steps past him into the apartment. She looks it
over.
SISTER CATHERINE
Nice place.
RAY
Thanks. I do my best. Can I get
you something?
SISTER CATHERINE
Ice tea would be nice, please.
RAY
Coming right up. Have a seat, make
yourself at home.
Sister Catherine sits on the couch, sliding some newspapers
out of the way.
SISTER CATHERINE
I read the script.
RAY
Already?
He looks up at the kitchen clock.
SISTER CATHERINE
It was good. You got a few things
wrong, though.
He returns with the drink for her.
RAY
Like what?
SISTER CATHERINE
Oh, minor details, really. Things
you wouldn't know about being a
nun. On the whole, though, it was
pretty good.
RAY
Thanks.
He gives her a sincere smile of appreciation.
SISTER CATHERINE
Are you making the movie?
RAY
Soon. We're casting now.
SISTER CATHERINE
Have you cast Sister Mary
Charlotte yet?
RAY
No. We're having auditions next
week.
SISTER CATHERINE
Okay. Do you want me to tell you
what you need to correct? Or is
that not my job to do?
RAY
No, please. That's why I asked you
to read it.
SISTER CATHERINE
Okay. Come here. I took some
notes.
Ray sits down on the couch beside her. He sits an
uncomfortable distance away, as if protecting and honoring her
privacy and space.
Sister Catherine takes a folded sheet of paper out of her
pocket. On it are an itemized list, written in her immaculate
script.
RAY
That's some list.
SISTER CATHERINE
Well, it got me thinking. For the
most part, you got the character
right. But, some things were
either missing all together or
just wrong. Little things, though.
RAY
Fair enough. You're the expert.
She looks up at him archly.
SISTER CATHERINE
Hardly. I'm still a novice.
RAY
Not to change the subject, and if
you don't mind my asking, what
made you decide to become a nun?
SISTER CATHERINE
It's something I've always known.
When I was a little girl, I was
very sick, and a miracle happened
in the hospital - my heart started
beating again after I was
pronounced dead - that was
attributed to Saint Catherine. In
order to become a saint, two
miracles have to be attributed to
you; my recovery was the second
for Catherine. When I became a
nun, I took her name as my own.
RAY
Catherine's not your real name?
SISTER CATHERINE
No, it's not my birth name. I used
to be Michelle Walton.
RAY
What about your family?
SISTER CATHERINE
They still call me Michelle.
She LAUGHS.
RAY
No, no. I mean, what do they think
about you being a nun?
Ray gets his pen ready to write down her response. This
conversation's turned from casual to serious.
SISTER CATHERINE
Oh, they're fine with that. Why
wouldn't they be?
RAY
I don't know. Doesn't your mother
want you to have a family? Mine
sure does....
SISTER CATHERINE
I have a younger sister who can
bear that burden. I'm on my own
path.
Ray nods, understanding.
INT. AIRPLANE - EVENING
Alina walks down the aisle of the plane to her seat in the
rear. She checks her boarding pass and then takes the window
seat. The aisle seat next to her is empty. Once she is
settled, she leans her head against the window and closes her
eyes.
EXT. BARRY HOUSE - SAME
Barry, still out on the window ledge, prepares to jump. He
looks down at the ground. No one is watching him.
Barry sticks a foot out into the air, as if to step onto an
invisible surface. He puts the foot back on the ledge, and
bends his legs. He springs up and leaps out into the air.
For a moment, he is flying, but soon starts to drift downward
at a slower rate than he did when he first tried to fly.
Invisible wings flutter in the air, trying to keep him
aloft....
INT. AIRPLANE - EVENING
Alina JERKS awake.
ALINA
Barry, no!
A few PEOPLE across the aisle regard her. She shakes,
nervously, in her seat, before realizing it was just a dream.
Composing herself again, Alina smiles at the people,
reassuring them and herself that she is, in fact, fine.
INT. AIRPORT TERMINAL - SAME
Aron, his suit bag slung over his shoulder, rushes down the
terminal to the last gate. He hurriedly hands his ticket to
the AGENT and walks briskly down the jetway to the plane.
INT. AIRPLANE - AFTER
Aron hangs his bag in the closet near the front and then walks
down the aisle, looking for his seat. He has to slouch over
due to the low ceiling on the plane.
He finds his seat: the aisle seat next to Alina. They exchange
smiles of courtesy as he squeezes himself into the tiny seat.
ARON
Good Evening.
ALINA
Hi there.
Aron crinkles his brow. He's trying to recognize her face.
ARON
Have we met before?
ALINA
I don't know. We may have. I'm not
from Los Angeles.
ARON
Neither am I, actually. I live
down here now, though.
ALINA
I live in Oakland. I teach at
Stanford.
ARON
That's where I'm heading. I went
to school there.
ALINA
Oh, really?
She smiles at him. Soon, it begins to rub on her.
ALINA (Cont.)
Wait, I think we have met before.
Aron burrows his brow. He's not sure if they have met.
ARON
Really?
ALINA
I think so. It'll come to me. In
any case, I'm Alina.
She offers her hand to him. He shakes it.
ARON
Pleased to meet you, I'm Aron.
Alina and Aron smile at each other. The Flight Attendant fades
out as the engines ROAR to life, and the plane pulls away from
the gate. Aron very slowly lets go of Alina's hand. They both
look out the window as the plane pulls down the runway and
takes off over the ocean.
The plane pulls back around over land, and down below, they
see Los Angeles glitter in the dusk, preparing for the night.
FADE TO BLACK.
FADE UP TO:
TITLE CARD:
Every beginning is only a sequel, after all, and the book
of events is always open halfway through.
Wislava Szymborska, Love at First Sight
FADE OUT.
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