"A WRITERLY REVENGE"

 

                           by

 

                     Charles Deemer

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

                                         


 

 

 

FADE IN:

 

 

EXT. COUNTRY HOME - KITCHEN - NIGHT

 

BOBBY SHARP, 50s, a bear of his man, holds a carving knife

to his throat.

 

Across the room, ALICE, 40s, dressed like an Earth Mother,

approaches cautiously.

 

                         ALICE

             Bobby, give me the knife...

 

                         BOBBY

             It's the best thing I can do for

             my career, Alice. The world likes

             their writers dead.

 

                         ALICE

             You have good work to do yet ...

             put it down ...

 

                         BOBBY

             I'm not going to win.

 

                         ALICE

             You don't know that. And it

             doesn't matter if you don't. It's

             just one judge's opinion.

 

                         BOBBY

             That young punk is going to win.

             I'm old enough to be his father.

 

                         ALICE

             We laugh at writing competitions,

             remember? Do this, and it looks

             like you take them seriously.

 

                         BOBBY

             Jesus, you're right.

 

He lowers the knife.

 

                         BOBBY

             It plays right into their

             philistine hands, doesn't it?

 

 

EXT. COLLEGE CAMPUS - NIGHT

 

FACULTY, STUDENTS, GUESTS move across campus toward a

prominent building.


                                                            2.

 

 

Among them are Bobby and Alice. Sharp habitually slumps when

he moves.

 

 

INT. COLLEGE BUILDING - NIGHT

 

Bobby and Alice enter. They immediately are approached by

PROF. TOM TOM, a younger colleague.

 

                         TOM

             Good luck, Bobby.

 

                         BOBBY

             Yeah, right, I'll need it.

 

Alice pulls him away, following the flow of people. She

glances back at Tom, who smiles.

 

 

INT. COLLEGE BUILDING - AUDITORIUM - NIGHT

 

Bobby and Alice take reserved seats near the front of the

auditorium.

 

 

INT. AUDITORIUM - PODIUM - NIGHT

 

A distinguished-looking man is at the podium. This is PROF.

ANDREWS.

 

                         PROF. ANDREWS

             The nominees for this year's

             Sherwood Best Novel Prize, the

             winner to be published by our

             University press, are: "A

             Darkening Wood," by Prof. Tom

             Carlton, Dept. of History ..."

 

Applause. PROF. CARLTON, seated near the front, beams.

 

                         PROF. ANDREWS

             "Love At Ground Zero," by Prof.

             Robert Sharp, Dept. of English

             ..."

 

Applause. Bobby scowls, looking almost suicidal.

 

                         PROF. ANDREWS

             And finally, "Lust," by Kevin

             Mann, a graduate student in

             physics.

 

Applause. KEVIN, 20s, wears black and lots of jewelry.


                                                            3.

 

 

                         PROF. ANDREWS

             And the winner is ...

 

PROF. MARILYN ZINK, loving her moment, darts forward with an

envelope. Andrews takes it and opens it, taking his time for

effect.

 

                         PROF. ANDREWS

             And the winner is ... "Lust" by

             Kevin Mann."

 

Kevin leaps to his feet.

 

                         KEVIN

             Yes!

 

Bobby turns to Alice, looking more down than ever.

 

                         ALICE

             For yourself to smile. Be a

             gracious loser.

 

Bobby looks like he's going to cry.

 

 

INT. CAMPUS - SOCIAL HALL - NIGHT

 

A reception after the awards.

 

Bobby hangs around the bar. Alice stands some distance away,

keeping an eye on him.

 

Bobby has captured the ear of Tom Tom.

 

                         BOBBY

             A writer with charisma, that's

             what the bean counters want.

             Someone who looks good on TV --

             or at least different. Maybe I

             should get a nose ring. Hey,

             honey, how would I look in a nose

             ring?

 

                         ALICE

             Bobby ...

 

                         BOBBY

                  (back to Tom)

             You know, I have a few female

             students who have these metal

             tabs on their tongues. It's for

             giving blow jobs.


                                                            4.

 

 

Alice has heard enough. She rushes forward and takes Tom's

arm.

 

                         ALICE

             Time to go.

 

                         TOM

             Sorry that ...

 

                         ALICE

             We know, we know.

 

She starts away with her husband.

 

                         BOBBY

             Hey, where are we going?

 

But he's well trained and goes along with her.

 

At the bar, Prof. Andrews joins Tom.

 

                         PROF. ANDREWS

             Ever read his novel?

 

                         TOM

             Yes. Have you?

 

                         PROF. ANDREWS

             Dreadful, don't you think? I

             don't know how it was a finalist.

 

Tom knows better than to comment.

 

 

EXT. COUNTRY HOME - DAY

 

An old farm house in the countryside.

 

Suddenly Bobby staggers out the front door. He's an

incredible sight, in undershorts only, his gut spilling out,

looking very hungover.

 

He hurries to a great tree in the front yard. He starts

peeing on it.

 

Alice, in a robe, appears in the doorway.

 

                         ALICE

             For God's sake, Bobby, I said I

             was almost done.

 

                         BOBBY

             I wasn't waiting for you to finish.


                                                            5.

 

 

He looks ecstatic as he relieves himself in the morning air.

 

                         BOBBY

             Why would anyone choose to do

             this inside?

 

 

INT. COUNTRY HOME - KITCHEN - DAY

 

Alice is pouring coffee when Bobby passes by.

 

                         ALICE

             Coffee's ready.

 

Bobby ignores her.

 

 

INT. COUNTRY HOME - BEDROOM - DAY

 

Alice enters as Bobby crawls into bed.

 

He pulls the covers over his head.

 

She sighs and leaves.

 

 

INT. COUNTRY HOME - KITCHEN - DAY

 

Alice eats breakfast alone at a small table off the kitchen.

 

The telephone rings.

 

                         ALICE

             Hello?...Guess....He's still in

             bed....I have no idea, but I'll

             have him call you.

 

 

INT. COUNTRY HOME - BEDROOM - DAY

 

Alice looks in on Bobby. He appears to be asleep.

 

 

INT. COUNTRY HOME - FRONT PORCH - DAY

 

Alice sits in a swing on the porch, reading. The sun is

going down.

 

 

INT. COUNTRY HOME - KITCHEN - NIGHT

 

Evening.


                                                            6.

 

 

Alice turns on a light. She looks in the refrigerator, as if

wondering what to fix for dinner.

 

 

INT. COUNTRY HOME - BEDROOM - NIGHT

 

Alice turns on the light. Bobby doesn't stir.

 

She looks worried. She approaches the bed.

 

She bends forward. Bobby coughs in his sleep, scaring her.

 

She retreats, leaving the light on.

 

 

INT. COUNTRY HOME - KITCHEN - NIGHT

 

Alice on the phone.

 

                         ALICE

             He's been in bed all day. I'll

             have him call you tomorrow.

 

 

INT. COUNTRY HOME - BEDROOM - NIGHT

 

Bobby stirs. He opens his eyes, squints in immediate pain

from the light.

 

                         BOBBY

             Who left the goddamn light on?!

 

 

INT. COUNTRY HOME - KITCHEN - NIGHT

 

Bobby enters, dressed in his disheveled way. Alice eats

alone at the small table.

 

                         BOBBY

             You left the light on.

 

                         ALICE

             Your dinner's keeping warm.

 

                         BOBBY

             I said, you left the goddamn

             light on. It woke me up.

 

                         ALICE

             Poor baby. Didn't get enough sleep?

 

He mumbles and starts away.


                                                            7.

 

 

                         ALICE

             Bobby, for God's sake. You got to

             eat. It's in the oven.

 

                         BOBBY

             I'll pick up a burger in town.

 

                         ALICE

             How long are you going to sulk?

 

                         BOBBY

             A lot of understanding I get

             around here.

 

She starts to say something but stops herself.

 

                         ALICE

                  (after him)

             At least get a ride home!

 

 

INT. TAVERN - NIGHT

 

A SERIES OF SHOTS

 

as Bobby holds court to an audience of STUDENTS.

 

--Bobby gesturing, talking, very animated. We wouldn't

understand what the hell he was saying if we heard.

 

--Students attentive, laughing, enjoying this character.

 

--The bartender and waitress keeping everyone's drinks full.

 

--Bobby increasingly playing to a pretty coed (JENNIFER) in

the group, who flirts back.

 

 

EXT. TAVERN - NIGHT

 

Bobby is helped outside Jennifer on one side and another

student (CAL) on the other.

 

                         CAL

             Man, I really don't think you

             should drive.

 

                         BOBBY

             I don't have to. The car drives

             itself. It's been down this road

             many times. Knows the way by heart.

 

The BARTENDER hurries outside.


                                                            8.

 

 

                         BARTENDER

             No, you don't, Bobby. I just

             called a cab. Give me your keys.

 

                         BOBBY

             Ah, come on...you know how many

             times I've done this?

 

                         BARTENDER

             And the odds get worse each time.

             Keys. The cab is paid for. Here's

             a little incentive.

 

He holds out a small paper sack, just the right size for a

pint of booze.

 

                         BOBBY

             You clever devil ...

 

                         BARTENDER

             Cab said it'd only be a few

             minutes.

 

Bobby takes the booze.

 

                         BOBBY

             You're a good friend. But I keep

             the keys. I'll need to pick up

             the car before you open.

 

                         BARTENDER

             Fair enough.

                  (to students)

             Do you mind waiting with him?

 

                         JENNIFER

             No problem.

 

She smiles at Bobby. He smiles back.

 

 

EXT. COUNTRY HOME - PORCH - NIGHT

 

Alice sits on the swing. She looks old and tired.

 

Headlights in the distance. She goes inside.

 

The cab pulls up.

 

 

INT. COUNTRY HOME - KITCHEN - NIGHT

 

Bobby stumbles into the kitchen. He opens the oven, as if

looking for his dinner.


                                                            9.

 

 

He sticks his head in the oven.

 

Alice enters.

 

                         ALICE

             Bobby, no!

 

Bobby surfaces.

 

                         BOBBY

             You said my dinner was in here.

 

 

EXT. COUNTRY HOME - DAY

 

Morning sun.

 

Alice comes out onto the porch and shakes a rug.

 

 

INT. COUNTRY HOME - BATHROOM - DAY

 

Bobby stands under a steaming shower. Becoming human again.

 

 

INT. COUNTRY HOME - DINING ROOM - DAY

 

A real breakfast at the dining room table.

 

Except that Bobby is just picking at his food.

 

                         ALICE

             You know what you need to do?

 

He doesn't reply.

 

                         ALICE

             Start a new novel.

 

                         BOBBY

             Another unpublished novel. Just

             what the world needs. Why didn't

             I think of that?

 

                         ALICE

             You know, it only takes one

             break, Bobby. Then you're on your

             way.

 

                         BOBBY

             How many years have you been

             saying that? Twenty?

 

She doesn't reply.


                                                           10.

 

 

                         BOBBY

             Twenty three, I think. Since grad

             school.

 

                         ALICE

             Well, how about first things

             first. Eat your breakfast.

 

                         BOBBY

             I'm not hungry.

 

                         ALICE

             Oh, Bobby ... I don't know what

             to do.

 

He looks at her seriously.

 

                         BOBBY

             I don't either.

 

 

EXT. COLLEGE CAMPUS - DAY

 

Alice crosses campus, heading for the Student Union.

 

 

INT. COLLEGE CAMPUS - STUDENT UNION - CAFE - DAY

 

Alice finds Tom Tom. She plops down.

 

An awkward silence.

 

                         TOM

             So he's worse than usual.

 

                         ALICE

             Very. I found him with his head

             in the oven.

 

                         TOM

             You don't have gas, do you?

 

                         ALICE

             It was the image that threw me.

             He said he was looking for his

             dinner but it was like he was

             practicing. Usually he takes out

             his frustration by getting back

             to work. He just mopes. Drinks.

             Sleeps. I'm afraid he's losing

             his spunk.


                                                           11.

 

 

                         TOM

             Hard to imagine Bobby without

             spunk.

 

                         ALICE

             That's what frightens me.

 

 

EXT. COLLEGE CAMPUS - BUILDING - DAY

 

Behind a building, a secluded nook.

 

Alice and Tom are kissing passionately.

 

Alice pulls away.

 

                         TOM

             Let's get a room.

 

                         ALICE

             Not today. Not while he's in such

             a state.

 

                         TOM

             Egomaniacs don't off themselves.

 

Alice starts away, he pulls her back.

 

                         ALICE

             I really have to go. I'm worried.

 

                         TOM

             Understood.

 

She moves off.

 

                         TOM

                  (after her)

             Keep me up to speed!

 

 

INT. COUNTRY HOME - BEDROOM - DAY

 

Alice looks in. Bobby, dressed, is sprawled on the bed.

 

                         ALICE

             Bobby?

 

He ignores her. She moves close enough to see that his eyes

are open.

 

                         ALICE

             What's the matter?


                                                           12.

 

 

Bobby turns and frowns at her. He looks like he can't

believe what he heard.

 

                         BOBBY

             What's wrong? Why should anything

             be wrong?

 

                         ALICE

             Don't be cute with me. I'm

             worried about you.

 

Bobby considers this, then rolls away.

 

Alice, exasperated, leaves.

 

 

INT. COUNTRY HOME - KITCHEN - DAY

 

Alice on the phone.

 

                         ALICE

             I'll get a room at the Days Inn.

             Can you be there by ...

 

She looks at the clock on the wall.

 

                         ALICE

             ... by three-thirty?

 

 

INT. COUNTRY HOME - BEDROOM - DAY

 

Bobby on his back now, staring up at the ceiling.

 

 

INT. MOTEL ROOM - DAY

 

Alice and Tom in an embrace of lovemaking.

 

INTERCUT

 

between Bobby's depressed paralysis and Alice's growing

passion making love with Tom.

 

 

INT. COUNTRY HOME - DEN - NIGHT

 

Bobby drags himself into the dark den, turns on the light,

and sits down at his computer.

 

He opens his mail program, activates a voice audio program

that reads his mail aloud.


                                                           13.

 

 

                         COMPUTER VOICE

             You have three new messages.

             Message one. Subject: Hot honeys

             waiting for you. Message: Hey,

             big stud--

 

Bobby, bored, clicks to next message.

 

                         COMPUTER VOICE

             Message two. Subject: Gain six

             inches. Message: Is your penis

             too small for--

 

Click.

 

                         COMPUTER VOICE

             Message three. Subject: I want to

             be your agent. Message:

 

Rewind click. Bobby leans toward the screen, attentive.

 

                         COMPUTER VOICE

             Subject: I want to be your agent.

             Message: Your short stories on

             your website are incredible. I

             greatly admire your work and want

             to be your agent. Your voice is

             original, powerful, dramatic, a

             voice for our times. I have

             fifteen years experience and have

             just started my own agency. Do

             you have a novel you're looking

             to place? I would like to discuss

             your writing future with you. End

             of messages.

 

Bobby stares at the screen, stunned.

 

Click, click.

 

                         COMPUTER VOICE

             Subject: I want to be your agent.

 

 

EXT. COUNTRY HOME - NIGHT

 

Alice drives up in her car, parks.

 

She approaches the house. Bobby stands up from the porch

swing, beer bottle in hand.

 

                         ALICE

             Are you drunk?


                                                           14.

 

 

                         BOBBY

             No, I'm not drunk. Where have you

             been?

 

                         ALICE

             I was visiting Nancy.

 

                         BOBBY

             I have news.

 

                         ALICE

             She hopes you're feeling better.

 

                         BOBBY

             I have news.

 

                         ALICE

             Are you sure you're not drunk?

 

                         BOBBY

             For Christ sake, will you listen

             to me? I have news! I think I

             have an agent who wants to sell

             my novel.

 

Alice stares at him, as if waiting for the punch line.

 

                         BOBBY

             Hello?

 

                         ALICE

             What are you talking about?

 

 

INT. COUNTRY HOME - DEN - NIGHT

 

They sit together in front of the computer.

 

                         COMPUTER VOICE

             Do you have a novel you're

             looking to place? I would like to

             discuss your writing future with

             you. End of messages.

 

Bobby grins at his wife.

 

                         BOBBY

             My ship's finally come in, baby.

 

                         ALICE

             She actually hasn't read your

             novel yet.


                                                           15.

 

 

                         BOBBY

             Great. Just what I need from you.

             You'd fuck up a wet dream.

 

He storms out.

 

 

EXT. COUNTRY HOME - PORCH - NIGHT

 

Bobby sits in the swing, swigging a beer. Alice comes out.

 

                         ALICE

             Bobby? I just meant that you

             don't want to jump the gun. Don't

             you want to check her out first?

             She may not be a very good agent.

 

                         BOBBY

             She's an agent. Do I have an

             agent? How can she be worse than

             the agent I don't have?

 

 

INT. COUNTRY HOME - DEN - DAY

 

Bobby sits at the computer in his robe. A cup of coffee

nearby.

 

Typing:

 

                         BOBBY (VO)

             I slept on what you had to say in

             your email. Your timing is

             perfect. I do have a novel I've

             been seeking to place.

 

 

INT. COUNTRY HOME - DEN - DAY (LATER)

 

Bobby is dressed for classes, a wrinkled academic. He

listens to an email.

 

                         COMPUTER VOICE

             Please send me your novel as soon

             as you can. For convenience you

             may send it as an attachment.

 

 

INT. COUNTRY HOME - DEN - NIGHT

 

Bobby listening to an email, more casual than earlier.


                                                           16.

 

 

                         COMPUTER VOICE

             I read your novel in one sitting.

             I am speechless. It is amazing.

             It is graced with drama, suspense,

             intrigue. It profoundly speaks to

             the human condition.

 

 

INT. COUNTRY HOME - DEN - NIGHT (LATER)

 

Bobby and Alice listening.

 

                         COMPUTER VOICE

             It profoundly speaks to the human

             condition. I would be very proud

             to be the literary agent for such

             a spectacular novel. I believe

             publication and prizes are in the

             future for this wonderful book.

             I've attached my agent-writer

             contract for you to sign and fax

             to me. End of messages.

 

Bobby takes a deep breath. He lets it out slowly.

 

                         BOBBY

             Well?

 

                         ALICE

             She certainly is ...

 

                         BOBBY

             Is what?

 

                         ALICE

             Expansive.

 

                         BOBBY

             Expansive?

 

                         ALICE

             I've never heard anyone praise

             something so highly.

 

                         BOBBY

             So that's it. It bugs you. You

             can't stand it that somebody

             actually thinks I'm a great writer.

 

Storming off again.

 

                         ALICE

             I just want you to be careful.


                                                           17.

 

 

He stops.

 

                         BOBBY

             About what?

 

                         ALICE

             About her. In case she's ...

 

                         BOBBY

             She's what?

 

                         ALICE

             In case this is a scam of some

             kind.

 

                         BOBBY

             A scam!? A fucking scam!?

 

And now he's gone.

 

 

INT.  TAVERN - NIGHT

 

Bobby is holding court. Cal and Jennifer are among the

students listening.

 

                         BOBBY

             The writer's only job is to write.

             It's not to appear on television.

             It's not to butt-hole the

             marketplace. It's not to write

             what the public wants. It's to

             write what he needs to write,

             what he cannot not write. A

             writer writes for the gods. A

             writer writes for posterity. Thus

             it's a lonely job -- interrupted

             only occasionally by the strike

             of lightning, the sudden

             appearance of a supporter, an

             agent who understands the writer's

             work, an agent on the same

             literary wave length, an agent

             who has that rarest of all human

             qualities, good literary taste.

 

Tom Yawley enters, looks around, finds Bobby.

 

                         CAL

             When's your novel getting

             published, Prof. Sharp?

 

                         BOBBY

             Within the year, I should think.


                                                           18.

 

 

                         JENNIFER

             Will you sign my copy?

 

                         BOBBY

             Only if you dance for me.

 

He takes Jennifer's arm and drags her near the juke box,

blaring with music. She shoots a "what do I do?" glance to

Cal, who grins back.

 

Tom watches them. Bobby tries hard but is not a good dancer.

Jennifer looks embarrassed but gamely goes along.

 

The tune ends. Tom steps forward.

 

                         TOM

             Bobby! I understand

             congratulations are in order.

 

He takes Bobby's arm and leads him off. Bobby tries to catch

Jennifer's eye but she already hurries back to Cal.

 

Tom leads Bobby to a distant booth. They slide in.

 

                         BOBBY

             You heard.

 

                         TOM

             Alice called me. She wants you to

             exercise some caution here.

 

                         BOBBY

             Alice. Her problem is she never

             believed in me. It pisses her off

             someone besides myself thinks I'm

             a genius.

 

                         TOM

             Bobby, I want you to listen to me.

             I've been doing some research on

             the Internet.

 

                         BOBBY

             You came here to tell me about

             your research?

 

                         TOM

             Research on agents. The Marianne

             Toledo Literary Agency is not a

             member of the Association of

             Authors' Representative. In fact,

             I couldn't find her listed in any

             of the standard directories.


                                                           19.

 

 

                         BOBBY

             Alice put you up to this.

 

                         TOM

             She doesn't want you to be

             disappointed.

 

                         BOBBY

             She isn't in the directory

             because she's new. She's a new

             agency! She worked fifteen years

             for somebody else, and now she's

             starting her own business. I'm

             probably her first client.

             Starting at the top.

 

He grins.

 

 

INT. COUNTRY HOME - KITCHEN - DAY

 

Alice stands at the stove. Bacon fries in a pan.

 

                         ALICE

             Bobby, breakfast is almost ready!

 

 

INT. COUNTRY HOME - DEN - DAY

 

Cal sits at the computer, listening to a document being read

to him.

 

                         COMPUTER VOICE

             The Agency will be entitled to

             receive reimbursement from the

             author for the following specific

             expenses relevant to

             representation and promotion of

             the project: manuscript/proposal

             copying costs, long-distance

             telephone calls between author

             and agency and agency and

             publisher, fax costs, necessary

             overnight deliveries and express

             costs--

 

 

INT. COUNTRY HOME - KITCHEN - DAY

 

Alice serves up the plates.

 

                         ALICE

             Bobby! Breakfast!


                                                           20.

 

 

INT. COUNTRY HOME - DEN - DAY

 

Bobby stands up.

 

                         COMPUTER VOICE

             The Agency agrees to forward to

             the Author copies of all

             correspondence received from

             publishers in reference to the

             Author's projects.

 

He clicks off the mail.

 

 

INT. COUNTRY HOME - DINING ROOM - DAY

 

Alice is seated and eating when Bobby enters.

 

                         BOBBY

             I'm going to sign the contract.

 

Alice doesn't respond. Bobby sits down.

 

                         BOBBY

             It's the right thing to do.

 

                         ALICE

             Did you want Tabasco for your

             potatoes?

 

Bobby glares at her.

 

 

EXT. MOTEL - NIGHT

 

Alice's car is parked in front of a room.

 

 

INT. MOTEL ROOM - NIGHT

 

The end of lovemaking. Alice and Tom roll apart, exhausted.

 

Alice quickly recovers. She hops out of bed.

 

                         TOM

             What are you doing?

 

                         ALICE

             I want to show you something.

 

She has brought a laptop, which she opens on the small table

in the room.


                                                           21.

 

 

                         TOM

             First sex, then we browse the net.

             This is a side of you I haven't

             seen before.

 

                         ALICE

             Marianne Toledo has a history.

 

Interested, Tom gets out of bed and joins Alice at the laptop.

 

 

INT. COUNTRY HOME - LIVING ROOM - NIGHT

 

Intervention. Bobby sits in his usual chair. Alice and Tom

sit across the room.

 

                         TOM

             You can't dismiss something like

             that.

 

                         BOBBY

             How do you know they're not just

             rumors? Was she charged with

             fraud? Was she sued? Did she go

             to jail? Of course not.

 

                         TOM

             It's much more subtle than that.

 

                         BOBBY

             She was an employee there. Did it

             ever occur to you that she left

             to start her own agency precisely

             because she disagreed with policy?

             Look, I'm not an idiot, despite

             what Alice has been telling you.

 

                         ALICE

                  (to Tom)

             See what I have to put up with?

 

                         BOBBY

             It's standard practice for

             clients to pay postage and other

             expenses relevant to their

             projects.

 

Tom looks at Alice. She shrugs.

 

                         BOBBY

             Standard practice. They all do it.

             It comes out of your royalties.


                                                           22.

 

 

                         TOM

             She hasn't asked you to send her

             money?

 

                         BOBBY

             Of course not.

 

A pause. Tom tries again.

 

                         TOM

             She's in Oregon. Shouldn't a

             literary agent be in New York?

 

                         BOBBY

             Have you ever heard of email? The

             global village? It doesn't matter

             today.

 

He stands up.

 

                         BOBBY

                  (to Alice)

             If you ever decide to cheat on

             me, I recommend Tom. You two

             think alike.

 

He leaves the room.

 

Tom looks horrified.

 

 

INT. COUNTRY HOME - DEN - NIGHT

 

Bobby opens a bottle of champagne. He's alone.

 

Pop! He pours himself a glass, sips.

 

At the computer, where an email has been started. He types.

 

                         BOBBY (VO)

             I'm faxing the signed contract to

             you tonight.

 

Click, he sends it.

 

He goes to the desk and signs the contract.

 

He faxes if off.

 

He toasts.


                                                           23.

 

 

                         BOBBY

             To the gods of literature! And to

             the Marianne Toledo Literary

             Agency!

 

 

EXT. COLLEGE CAMPUS - DAY

 

Students cross campus between classes.

 

 

INT. COLLEGE CAMPUS - BOBBY'S OFFICE - DAY

 

Bobby reads a manuscript. Sitting, waiting anxiously, is

Jennifer.

 

Now and again Bobby peers up from his reading. Looking at

Jennifer, he imagines:

 

 

INT. BEDROOM - NIGHT (FANTASY)

 

Wild lovemaking, Jennifer on top, riding him, nearing

orgasm...

 

 

BACK TO REALITY

 

Bobby coughs, recovers, goes back to reading.

 

Jennifer looks like she's going to pass out from waiting for

a verdict.

 

 

EXT. COLLEGE CAMPUS - DAY

 

Bobby and Jennifer walk across campus together.

 

                         JENNIFER

             I can't believe you think it's

             that good.

 

                         BOBBY

             The kernel, the concept. First

             rate. You still have work to do

             on the execution.

 

                         JENNIFER

             That's the nicest thing anyone

             ever said about my writing. Thank

             you so much, Prof. Sharp. I'll

             see you in class!

 

She flits off like a happy butterfly.


                                                           24.

 

 

Bobby watches her ass as she goes.

 

                         PROF. ANDREWS

             Nasty thoughts, professor.

 

Andrews has appeared beside him. Bobby ignores the remark.

 

                         PROF. ANDREWS

             Rumor has it that an agent is

             ecstatic over your novel.

 

                         BOBBY

             Some things, professor, are more

             important than the Sherwood Best

             Novel Prize.

 

Bobby smiles and departs.

 

 

INT. COUNTRY HOME - DEN - NIGHT

 

Bobby at the computer, typing an email.

 

                         BOBBY (VO)

             I'm so encouraged by your

             enthusiasm that I've started a

             new novel. A two-year writing

             block has ended! May the gods of

             literature bless you, Marianne

             Toledo.

 

A SERIES OF SHOTS

 

Bobby in the focused heat of creation, writing at the

computer.

 

--late at night, in his shorts

 

--early in the morning, in his robe

 

--taking notes at the dinner table, ignoring Alice.

 

--waking up in the middle of the night to scribble notes in

a bedside journal.

 

--back at the computer. Writing, writing, writing.

 

 

INT. COUNTRY HOME - DEN - DAY

 

Bobby, dressed for school, checking his mail.


                                                           25.

 

 

INT. COUNTRY HOME - KITCHEN - DAY

 

Alice setting the small table.

 

                         ALICE

             Breakfast!

 

 

INT. COUNTRY HOME - DEN - DAY

 

Bobby listening to an email.

 

                         COMPUTER VOICE

             As you know, in an agent-author

             relationship, the author is

             responsible for postage and other

             specific expenses associated with

             marketing your book. To this end,

             please forward a check for $300,

             which should cover about six

             months of my marketing expenses

             on your wonderful novel. As soon

             as I receive your check, the

             marketing will begin. I don't

             expect it to take long to place it.

 

 

INT. COUNTRY HOME - DEN - DAY

 

Bobby and Alice eat breakfast. Silence until:

 

                         ALICE

             You're unusually quiet. Anything

             going on?

 

                         BOBBY

             Thinking about my lecture.

 

He may fool Alice but he doesn't fool us.

 

 

INT. COLLEGE CAMPUS - BOBBY'S OFFICE - DAY

 

Bobby at his desk. His checkbook out. Should he write it or

not?

 

He puts down the checkbook. He goes to the computer in the

office. Brings up the email program.

 

Typing.


                                                           26.

 

 

                         BOBBY (VO)

             I have a question about your

             request for marketing expenses. I

             was under the impression that the

             standard practice was to deduct

             these from money from the sale

             rather than asking for them up

             front.

 

 

INT. COUNTRY HOME - DEN - NIGHT

 

Bobby getting the agent's response.

 

                         COMPUTER VOICE

             You are perfectly right! However,

             since my agency is new, at this

             point in time I have no income,

             and I think it is fair if the

             client helps me during this

             transition period by paying for

             specific project-related costs

             upfront. If this is a burden for

             you, of course I can make an

             exception. I want nothing to get

             in the way of our relationship,

             which I expect to be a long one

             to our mutual benefit.

 

 

INT. COUNTRY HOME - LIVING ROOM - NIGHT

 

Alice puts down a magazine and gets up from reading.

 

 

INT. COUNTRY HOME - DEN - NIGHT

 

Bobby is at the desk, writing a check. Alice enters.

 

Bobby guiltily tries to hide what he is doing.

 

                         ALICE

             I think I'll visit Nancy. She

             hasn't been feeling well.

 

                         BOBBY

             Give her my best.

 

                         ALICE

             What are you doing?

 

                         BOBBY

             Just paying some bills.


                                                           27.

 

 

                         ALICE

             I may be late.

 

She is gone. Bobby finishes the check, rips it out.

 

 

INT. COUNTRY HOME - DEN - NIGHT (LATER)

 

Bobby at the computer.

 

                         BOBBY (VO)

             As the old cliche goes, "check's

             in the mail."

 

 

INT. COLLEGE CAMPUS - GYM - DAY

 

Bobby and Tom playing handball. Both are not in the best of

shape, making it an inept but close game.

 

 

INT. COLLEGE CAMPUS - LOCKER ROOM - DAY

 

Bobby and Tom dress after a shower.

 

                         TOM

             Any word from the agent?

 

                         BOBBY

             She's starting to send out the

             manuscript.

 

                         TOM

             Good. I hope it works out for you.

 

                         BOBBY

             Do you?

 

                         TOM

             Of course I do. What a thing to

             say.

 

                         BOBBY

             I'm sorry. I've been in the

             margins for so long, I can't

             remember who my friends are.

 

                         TOM

             I'm your friend. Remember it.


                                                           28.

 

 

INT. MOTEL - DAY

 

Good enough a friend to bang his wife: Alice and Tom are at

it again.

 

 

EXT. COLLEGE CAMPUS - PARKING LOT - DAY

 

Bobby unlocks his car.

 

Jennifer calls across the lot.

 

                         JENNIFER

             Prof. Sharp, wait a minute!

 

She rushes up, all smiles and wonder.

 

                         JENNIFER

             I got into UCLA! I'm so thrilled!

             I'm sure your letter of

             recommendation helped.

 

She throws herself into his startled arms. Bobby is beside

himself. Finally he maneuvers apart.

 

                         BOBBY

             You're going to love graduate

             school.

 

                         JENNIFER

             I'm sure of it. I'm absolutely

             sure of it.

 

She spontaneously kisses him on the cheek.

 

                         JENNIFER

             I have to find Cal and tell him.

             Thanks for everything!

 

And she's off in a whirlwind.

 

                         BOBBY

                  (after her)

             Give my best to ... Cal ...

 

 

INT. MOTEL - DAY

 

Alice and Tom dress, preparing to leave.

 

                         TOM

             Why don't you leave him?


                                                           29.

 

 

                         ALICE

             Bobby wouldn't survive without me.

 

                         TOM

             Don't underestimate him. What's

             in the relationship for you? You

             said you haven't had sex with him

             in over a year.

 

                         ALICE

             He doesn't need a lover. He needs

             a mother. I cook and do his

             laundry.

 

                         TOM

             That's exactly my point.

 

                         ALICE

             If I didn't cook him healthy

             meals, he'd live on junk food and

             be dead in six months. I'm tied

             up for the rest of the week.

             Don't call. I'll call you when

             I'm free.

 

And she is out the door, leaving Tom looked puzzled and

frustrated.

 

 

EXT. COLLEGE CAMPUS - FOOTBALL FIELD - DAY

 

Graduation exercises.

 

Alice helps Bobby with his cap and gown.

 

                         BOBBY

             How do I look?

 

                         ALICE

             Very professorial.

 

                         BOBBY

             Let's go away this summer.

 

                         ALICE

             Summer's always your writing time.

 

                         BOBBY

             I'm not a frustrated novelist any

             more. I'm not driven to have to

             prove myself. I've been neglecting

             you, I know it and you know.

                         (MORE)


                                                           30.

 

 

                         BOBBY (CONT'D)

             Let's take some time off and do

             something together. Maybe camp

             across the country.

 

Alice is practically in a state of shock.

 

                         ALICE

             You're going to be late. We'll

             talk about it later.

 

Bobby moves off to get ready for the procession.

 

 

INT. COUNTRY HOME - DINING ROOM - NIGHT

 

Bobby and Alice at dinner. A different look: candles, wine,

a rare romantic setting for them.

 

                         BOBBY

             I'm going to the MLA convention

             in two weeks.

 

                         ALICE

             You never go to those things.

 

                         BOBBY

             You know why? Because someone is

             bound to ask, How's the writing

             going? I finally can tell them.

 

Alice starts to say something, catches herself. She visibly

is not as optimistic as Bobby about what is happening with

the agent.

 

                         BOBBY

             You could come along if you like.

 

                         ALICE

             Oh great, three days trapped with

             several thousand English

             professors. I can't think of a

             better way to spend a weekend.

 

                         BOBBY

             It's in Boston. You could go to

             museums, shop till you drop.

 

                         ALICE

             Let me think about it.


                                                           31.

 

 

INT. COUNTRY HOME - BEDROOM - NIGHT

 

Bobby and Alice getting ready to bed. Some awkwardness, they

haven't actually gone to bed at the same time in a very long

time.

 

They get into bed. An awkward silence, each staring at the

ceiling.

 

Bobby rolls toward her. He gently touches her face.

 

                         BOBBY

             Have I ever told you how

             beautifully you've aged?

 

                         ALICE

             No, you haven't. And don't be

             silly.

 

                         BOBBY

             It's true.

 

Suddenly he is under the covers, scooting down toward the

end of the bed.

 

                         ALICE

             Bobby!

 

He pays her no mind.

 

                         ALICE

             Stop it!

 

She slides up the bed.

 

Bobby comes out from under the covers.

 

                         BOBBY

             I just wanted to kiss your vagina.

 

                         ALICE

             I know ... I'm sorry ...

 

                         BOBBY

             Please don't say you have a

             headache.

 

                         ALICE

             It's been so long, Bobby ... it

             feels, I don't know, like you're

             a stranger ...

 

                         BOBBY

             I guess I have been.


                                                           32.

 

 

                         ALICE

             Let's work back into it slowly.

             Can we do that?

 

                         BOBBY

             Of course.

 

He rolls back to his side of the bed.

 

                         BOBBY

             I want to take up photography

             again. I need a hobby.

 

                         ALICE

             I thought you didn't like it when

             you tried it before.

 

                         BOBBY

             It was too technical then. They

             have digital cameras now that do

             everything for you.

 

                         ALICE

             Then give it a try. I'll get you

             a camera for your birthday.

 

                         BOBBY

             I want to do a series on your

             vagina.

 

                         ALICE

             What?

 

                         BOBBY

             I'd forgotten how wonderful it

             is, just looking at it, the

             smell, all that hair, the

             sculpture of it, the--

 

                         ALICE

             Stop it! You're making me blush.

 

                         BOBBY

             Really? Good. That's a good sign.

             I'd do a whole series and put

             them in a book and call it

             "Cuntry Portraits." After

             Shakespeare.

 

                         ALICE

             I don't think I want my pussy in

             a book, Bobby.


                                                           33.

 

 

                         BOBBY

             Oh, come on. Nobody will know

             it's you.

 

                         ALICE

             I can't imagine doing all that

             posing.

 

                         BOBBY

             We can spread it out over time.

 

                         ALICE

             Why don't you razzle dazzle one

             of your students? One of them

             would probably be flattered to

             have her pussy photographed.

 

                         BOBBY

             Really? You wouldn't mind?

 

But Alice obviously would mind.

 

                         ALICE

             I was making a joke.

 

She elbows him in the ribs.

 

                         ALICE

             Go to sleep.

 

She leans over and turns out the light.

 

A silence.

 

                         BOBBY

             Goodnight, Alice.

 

                         ALICE

             Goodnight, Bobby.

 

 

EXT. AIRPORT - DAY

 

Establishing.

 

 

INT. AIRPORT - TERMINAL - DAY

 

Bobby and Alice in line for boarding. Bobby has a carry-on

bag.

 

                         ALICE

             Have a safe flight. Call me so I

             know you're safe.


                                                           34.

 

 

                         BOBBY

             I will, sweetie.

 

He kisses her.

 

Alice watches him go. There is something both sad and

hopeful in her expression, as if she's torn between trying

again with him or not.

 

 

EXT. BOSTON - CONVENTION CENTER - DAY

 

English professors stream in for the MLA convention.

 

 

INT. BOSTON - CONVENTION CENTER - ROOM - DAY

 

Social and welcoming hour of the MLA convention. Several

thousand professors mingle with drinks in their hands.

 

Bobby appears somewhat lost. Maybe he shouldn't have come.

 

Then a familiar voice:

 

                         ANDY

             Bobby! Bobby Sharp! Hey, buddy,

             you're the last guy I expected to

             see here.

 

ANDY, 50s, arrives, bearded, pony tail.

 

                         BOBBY

             Andy, hey! I didn't think I was

             going to know anybody here.

 

                         ANDY

             I thought you hated these things.

 

                         BOBBY

             Well, I thought I'd better check

             one out before I retire.

 

                         ANDY

             Glad you did. I've got news to

             share. Can I buy you a drink

             later? You have any dinner plans?

 

                         BOBBY

             Yes and no.


                                                           35.

 

 

                         ANDY

             Great! Listen, I'll meet you out

             front after this is over, okay? I

             got a lady I'm supposed to meet.

             I may score, old friend. At my

             age, can you imagine? It's really

             great to see you!

 

And he's gone. And Bobby again looks lost.

 

 

EXT. BOSTON - CONVENTION CENTER - NIGHT

 

Bobby waits outside. Andy arrives, a pretty young professor

on his arm. This is HEATHER GOODWELL, 20s.

 

                         ANDY

             Am I late?

 

                         BOBBY

             Not very.

 

                         ANDY

             I'd like you to meet Heather

             Goodwell, Bobby Sharp. We were in

             grad school together. Did we

             raise hell in those days or what?

 

                         HEATHER

             Nice to meet you.

 

                         BOBBY

             You, too.

 

                         ANDY

             Heather's the up-and-coming

             authority on flower imagery in

             Marlowe's plays.

 

                         BOBBY

             I thought Shakespeare was the

             flower guy.

 

                         ANDY

                  (to Heather)

             The guy's wit is like a razor.

 

 

INT. BOSTON - RESTAURANT - NIGHT

 

After dinner, Bobby, Andy and Heather have coffee and brandy.


                                                           36.

 

 

                         HEATHER

                  (to Andy)

             Have you told him yet?

 

                         ANDY

             Just about to.

 

                         BOBBY

             Tell me what?

 

                         ANDY

             I have very good news to share.

             Fantastic news. I'm humbled, I'm

             overjoyed ...

 

                         HEATHER

             Andy, tell him.

 

Andy takes a letter out of his coat pocket. He passes it

across the table to Bobby.

 

Bobby is stunned when he sees the letterhead: The Marianne

Toledo Literary Agency. He starts reading.

 

                         MARIANNE TOLEDO (VO)

             I read your poem-novel in one

             sitting. I am speechless. It is

             amazing. It is graced with drama,

             suspense, intrigue. It profoundly

             speaks to the human condition. I

             would be very proud to be the

             literary agent for such a

             spectacular novel. I believe

             publication and prizes are in the

             future for this wonderful book.

             I've attached my agent-writer

             contract for you to sign and fax

             to me.

 

Word for word, exactly what Bobby received from her by email.

His hands are shaking.

 

                         ANDY

             People thought I was crazy,

             writing an entire novel in rhymed

             couplets. 700-plus pages, baby --

             and she read it in one sitting!

             Does she have good literary

             tastes or what?

 

Bobby looks like he's going to get sick. He struggles up and

bolts away.


                                                           37.

 

 

                         ANDY

             Bobby?

 

 

INT. RESTAURANT - MEN'S ROOM - NIGHT

 

Bobby splashes water on his face.

 

He stares at himself in the mirror.

 

Andy enters.

 

                         ANDY

             You okay, buddy?

 

                         BOBBY

             Yeah, I ... I think I ate

             something that didn't settle

             right. Listen, I'd better call it

             a night ...

 

                         ANDY

             You sure? Brandy sometimes

             settles the stomach.

 

                         BOBBY

             No, I feel like crashing ... and

             you have Heather to keep you

             company ...

 

                         ANDY

             Is she hot or what? It's amazing

             how many young women want to go

             to bed with their fathers.

 

 

INT. COUNTRY HOME - DINING ROOM - NIGHT

 

Alice and Tom having a candle light dinner. The phone rings.

 

 

INT. BOSTON - HOTEL ROOM - NIGHT

 

Bobby with the phone in one hand, an open whiskey bottle in

the other.

 

INTERCUT

 

                         ALICE

             Hello?

 

                         BOBBY

             My flight comes in at 4 in the

             morning.


                                                           38.

 

 

                         ALICE

             Bobby, are you drunk?

 

                         BOBBY

             You don't have to pick me up.

             I'll take a cap. I just wanted

             you to know it's me coming in the

             house.

 

                         ALICE

             Tomorrow morning?

 

                         BOBBY

             Four. Probably five before I get

             there.

 

                         ALICE

             Why are you coming home early?

             What happened?

 

                         BOBBY

             It's a long story.

 

 

INT. COUNTRY HOME - DINING ROOM - NIGHT

 

Alice returns.

 

                         ALICE

             It was Bobby. He's coming home.

 

                         TOM

             You mean now?

 

                         ALICE

             Early in the morning. You can't

             spend the night.

 

                         TOM

             What happened?

 

                         ALICE

             I have no idea.

 

 

INT. AIRPORT - TERMINAL - DAY (SUNRISE)

 

Bobby enters the terminal, looking physically and mentally

beat. A real mess.

 

To his surprise, Alice is waiting for him. They embrace.

 

                         ALICE

             What happened?


                                                           39.

 

 

                         BOBBY

             I need to put it together. First

             I need sleep. A whole lot of sleep.

 

They head out. Alice has her arm around him.

 

 

INT. COUNTRY HOME - KITCHEN - DAY

 

Alice is making herself a sandwich.

 

Bobby enters. He looks a tad better but not much.

 

                         ALICE

             You want lunch?

 

                         BOBBY

             Maybe later.

 

He plops down at the small table off the kitchen. Alice

joins him.

 

                         BOBBY

             I was a fool, Alice.

 

She waits for him to go on.

 

                         BOBBY

             Andy was there.

 

                         ALICE

             Andy Lakowski?

 

Bobby nods.

 

                         ALICE

             My God. Talk about ghosts from

             the past. How is he?

 

                         BOBBY

             Still has his pony tail. Still

             chases women.

 

                         ALICE

             Andy Lakowski ... so he's not

             still married to Mary?

 

                         BOBBY

             I'm not sure.

 

                         ALICE

             God, I would've been so curious,

             it's the first thing I would've

             asked.


                                                           40.

 

 

                         BOBBY

             He showed me a letter ... from

             Marianne Toledo. Exactly the same

             as the email I got. Word for word

             for word for fucking word.

 

                         ALICE

             Oh my God ...

 

                         BOBBY

             A goddamn boilerplate letter of

             literary accolades.

 

                         ALICE

             Bobby, I'm so sorry.

 

                         BOBBY

             She represents the lowest form of

             human existence.

 

                         ALICE

             Thank God you found out now.

 

                         BOBBY

             I sent her three hundred dollars.

 

                         ALICE

             When?

 

                         BOBBY

             Weeks ago. For marketing.

 

                         ALICE

             Well -- consider it a lesson well

             learned and move on.

 

                         BOBBY

             I don't want her to get away with

             this. I don't want her to put

             other writers through this.

 

                         ALICE

             You can send a complaint to the

             Better Business Bureau.

 

                         BOBBY

             It's not personal enough.

 

 

INT. COUNTRY HOME - DEN - NIGHT

 

Bobby at the computer, staring at a blank email, his hands

in his lap. In his head:


                                                           41.

 

 

                         BOBBY (VO)

             You cruel lying double-crossing

             cunt, I'd like to tie you to a

             medieval torture contraption and

             stretch your guts till they break

             like violin strings.

 

A window pops open and an audio message plays.

 

                         COMPUTER VOICE

             A new email has arrived in your

             box. Do you want to hear it now?

 

Bobby clicks yes.

 

                         COMPUTER VOICE

             You have one new message. Message

             one. Subject: Unusual emergency.

             Message: Would it be possible for

             you to forward another two

             hundred dollars as soon as

             possible, which of course will be

             credited to your marketing account?

 

Click. The sound is turned off. Bobby looks outraged, ready

to explode. He is shaking until he can't hold it in any

longer.

 

                         BOBBY

             AAAAAAAAAHHHHHHHHHHHHHHH!

 

Alice rushes in.

 

                         ALICE

             Bobby?

 

He storms past her.

 

 

INT. COUNTRY HOME - BEDROOM - NIGHT

 

Bobby has a suitcase on the bed. Alice enters.

 

                         ALICE

             What is it?

 

He starts throwing clothes into the bag.

 

                         BOBBY

             I have to leave for a few days.

 

                         ALICE

             Leave where?


                                                           42.

 

 

                         BOBBY

             You have to trust me on this.

 

                         ALICE

             Bobby, what is going on?

 

                         BOBBY

             I don't have time to explain.

 

                         ALICE

             Where are you going?

 

                         BOBBY

             I'll call you when I get settled.

 

Bobby throws a digital camera into the suitcase. He slams it

shut, grabs it and goes.

 

                         ALICE

             Bobby!?

 

She races after him.

 

 

EXT. COUNTRY HOME - NIGHT

 

Bobby walks quickly to his car, Alice right behind him. In

addition to a suitcase, he carries a laptop computer.

 

                         ALICE

             At least tell me where you're

             going.

 

                         BOBBY

             You won't approve.

 

                         ALICE

             Maybe I'll surprise you.

 

                         BOBBY

             I'm going to do this, Alice,

             whether you approve or not. I

             don't want to leave with an

             argument. I need you to trust me.

             I know what I'm doing.

 

He gets in the car.

 

                         ALICE

             Call me!

 

Bobby starts the car and is out of there.


                                                           43.

 

 

EXT. FREEWAY ENTRANCE - NIGHT

 

Bobby gets on the freeway.

 

 

INT. CAR - NIGHT

 

He is focused, determined, driving into the night.

 

 

INT. COUNTRY HOME - DEN - NIGHT

 

Alice comes into the den. She sees the email on the computer.

She starts reading.

 

Her expression suggests she realizes what is about to

happen -- and it's not good.

 

 

EXT. DIFFERENT TOWN - MOTEL - DAY

 

Early morning. Bobby's car parked in front of a room.

 

 

INT. MOTEL - DAY

 

Bobby finishes shaving.

 

He stares at himself in the mirror.

 

A deep breath. A slow exhale.

 

He's ready to go.

 

 

EXT. INTERSTATE - DAY

 

Bobby's car speeds down the Interstate.

 

A sign reads: "Portland - 330 miles"

 

 

INT. COUNTRY HOME - DEN - DAY

 

Alice is showing Tom the email.

 

                         ALICE

             I think he went to find her.

 

                         TOM

             He drove to Oregon?


                                                           44.

 

 

                         ALICE

             Obviously. I said he went to find

             her.

 

                         TOM

             I'm not the enemy here, Alice.

 

                         ALICE

             I'm very upset, okay? I'm afraid

             what he might do to her.

 

                         TOM

             Well, she sounds like a crook to

             me.

 

                         ALICE

             That's not the issue. He'll do

             something he'll regret, something

             that may get him in trouble. He's

             taking it personally. He's just

             another victim of a scam. It has

             nothing to do with him, really.

 

                         TOM

             Alice, maybe you should look more

             carefully at what's going on now.

 

                         ALICE

             I'm not sure what you mean.

 

                         TOM

             Maybe this is the time to leave

             him.

 

                         ALICE

             This is the least opportune time

             to leave him.

 

                         TOM

             Let him make his own mistakes.

             There's nothing to keep you here.

             At least you don't have kids.

 

                         ALICE

             At least I--

 

She looks outraged. She slaps him - hard.

 

                         TOM

             What's that about?


                                                           45.

 

 

                         ALICE

             Infertility is not something to

             say "at least" about. Now get the

             hell out of here.

 

                         TOM

             I didn't know you were so

             sensitive. I'm sorry, I--

 

                         ALICE

             Get out!

 

Tom gets the message.

 

 

EXT. INTERSTATE - DAY

 

Bobby's car zips along.

 

 

INT. CAR - DAY

 

Bobby struggling to look at a map as he drives.

 

 

EXT. INTERSTATE - OTHER AREA - DAY

 

Moving to slow lane.

 

 

INT. CAR - DAY

 

Bobby hunched forward, looking for his exit.

 

 

EXT. INTERSTATE - EXIT LANE - DAY

 

His car turns off the Interstate.

 

 

EXT. COTTONWOOD - COUNTRY ROAD - DAY

 

Bobby's car approaches a small town.

 

A sign reads: Cottonwood ... Pup. 5435

 

 

INT. COTTONWOOD - MOTEL - OFFICE - DAY

 

Bobby checking in.

 

                         MOTEL CLERK

             Is that for one night?


                                                           46.

 

 

                         BOBBY

             Do you have weekly rates?

 

                         MOTEL CLERK

             Yes, we do.

 

 

INT. COTTONWOOD - MOTEL ROOM - DAY

 

Bobby on the phone. Leaves a message.

 

                         BOBBY

             Alice, it's me. I'm glad you're

             not there actually, so we don't

             start fighting. I'm safe and

             sound. I decided not to tell you

             where I am, so you don't do

             something crazy. Call the police

             or some damn thing. I know you

             think I flipped out. Do I sound

             over the edge to you? I'm Mr.

             Cool and Collect. Never been more

             relaxed in my life. Consider me

             off on a little private adventure.

             I'll be here a few days, I think.

             I'll get back to you soon.

 

He hangs up.

 

Throws the suitcase on the bed. Unzips it. Deep in thought.

 

 

INT. COTTONWOOD - MOTEL ROOM - DAY (LATER)

 

The room looks different, more lived in now. He's unpacked

and gotten relaxed. Poured himself a drink.

 

Bobby is on the phone again.

 

                         BOBBY

             Yes, Prof. Jacobs in

             Zoology...Thank you...Ned, Bobby

             Sharp in the English Department

             here...Say, this may sound like a

             wacky thing to ask but I'm out of

             town, researching a book, and an

             old friend of mine from grad

             school here is opening up a

             roadside zoo, you know, one of

             those things you find scattered

             around the west?

                         (MORE)


                                                           47.

 

 

                         BOBBY (CONT'D)

             and anyway, he was wondering how

             in hell a guy went about procuring

             small animals, you know, like

             bats, snakes...Really?...I had no

             idea it was so easy...Let me get

             something to write on.

 

 

EXT. COTTONWOOD - MOTEL - DAY

 

Bobby comes out and gets in the car.

 

 

EXT. COTTONWOOD - MAIN STREET - DAY

 

Main Street. Bobby's car is parked on the street.

 

 

INT. COTTONWOOD - CAFE - DAY

 

Bobby finishes up an early dinner. The WAITRESS comes over

to get his empty plate.

 

                         WAITRESS

             Well, you must have been hungry.

 

                         BOBBY

             It was great. I can't remember

             the last time I saw liver and

             onions on the menu.

 

She smiles, giving him a "where have you been?" look.

 

 

INT. CAR - DAY

 

Bobby sits behind the wheel. He opens a folder on the seat

beside him. He takes on a sheet on which he's written notes.

 

One item is an address for Marianne Toledo.

 

 

EXT. COTTONWOOD - NEIGHBORHOOD - DAY

 

Bobby's car cruises slowly through a neighborhood. The

street is filled with Cottonwood trees. Small town America.

 

He passes KIDS playing ball in the street.

 

He passes a MAN watering his lawn.

 

Several porches are filled with RESIDENTS sitting and

watching him pass by.


                                                           48.

 

 

INT. CAR - DAY

 

Bobby looks for an address, cruising. Then he finds it.

 

 

EXT. COTTONWOOD - NEIGHBORHOOD - DAY

 

The car pulls to the curb.

 

 

INT. CAR - DAY

 

Bobby turns off the engine. He stares at the house he's

parked in front of.

 

No car in the driveway. No sign of activity.

 

Bobby is thinking.

 

He starts the engine again.

 

 

EXT. COTTONWOOD - NEIGHBORHOOD - DAY

 

His car pulls away from the curb.

 

 

INT. COTTONWOOD - VARIETY STORE - DAY

 

Bobby pushes a cart through a store. In the cart are

binoculars, a case of water bottles, a notebook, pens, cans

of spray paint, a knife, a travel alarm clock.

 

 

EXT. COTTONWOOD - MOTEL - DAY

 

Bobby's car parked in front of his room.

 

 

INT. COTTONWOOD - MOTEL - DAY

 

Bobby at the laptop computer, composing an email.

 

ON THE SCREEN

 

The message is going to The Marianne Toledo Literary Agency.

 

Bobby types: "If you think you're going to get away with

this, guess again."

 

He stares at the computer screen, thinking. Then he clicks

delete. He doesn't send the email.


                                                           49.

 

 

EXT. COUNTRY HOME - NIGHT

 

Tom's car pulls in front of the house. He gets out.

 

 

INT. COUNTRY HOME - NIGHT

 

Alice lets him in.

 

                         TOM

             Alice, I'm really sorry.

 

                         ALICE

             I said you're forgiven if you do

             something for me.

 

                         TOM

             What's that?

 

                         ALICE

             I think I know where Bobby is. I

             want you to go there and persuade

             him to come home.

 

                         TOM

             Alice...

 

                         ALICE

             Either say yes, or get the hell

             out.

 

                         TOM

             If I say yes, when do I have to

             leave?

 

Alice smiles flirtatiously.

 

                         ALICE

             I'd give you till tomorrow morning.

 

                         TOM

             And tonight?

 

                         ALICE

             Is that a yes?

 

                         TOM

             I'm not sure.

 

                         ALICE

             If it was, we could celebrate.

 

                         TOM

             Alice...


                                                           50.

 

 

                         ALICE

             I'm serious, Tom. Your decision.

 

Tom exhales. He knows he's a goner.

 

 

EXT. COTTONWOOD - NEIGHBORHOOD - DAY

 

Bobby parked across and down from the Toledo house. Waiting.

 

 

INT. COUNTRY HOME - BEDROOM - DAY

 

Alice and Tom wake up.

 

Tom makes an amorous advance. Alice rejects it and gets out

of bed.

 

                         ALICE

             You want to make an early start.

 

 

EXT. COTTONWOOD - NEIGHBORHOOD - DAY

 

MARIANNE TOLEDO comes outside. Pretty, 30s, not your picture

of a scam artist.

 

 

INT. CAR - DAY

 

Bobby is snapping photos of her like crazy.

 

 

EXT. COTTONWOOD - NEIGHBORHOOD - DAY

 

Marianne gets in her car in the driveway.

 

A SERIES OF SHOTS - FOLLOWING MARIANNE

 

Bobby follows Marianne as

 

--she pulls out of the driveway and heads out.

 

--drives through town.

 

--enters a neighborhood the other side of town.

 

--pulls into a driveway.

 

 

EXT. PARENTS' HOUSE - DAY

 

Marianne's aging parents, JOE and MABEL, come outside to

welcome her.


                                                           51.

 

 

INT. CAR - DAY

 

Again, Bobby is snapping photos like crazy.

 

 

EXT. COUNTRY HOME - DAY

 

Alice sending Tom off on his trip.

 

                         ALICE

             Call me. Often.

 

                         TOM

             If he's doing what you think he's

             doing, the only way to stop him

             is to call the police. You know

             that, don't you?

 

                         ALICE

             Then do it, Tom. Do what needs to

             be done.

 

 

EXT. INTERSTATE - DAY

 

Tom's car on a stretch of Interstate that Bobby traveled

before.

 

 

INT. COTTONWOOD - MOTEL - NIGHT

 

Bobby works on the laptop.

 

He's loaded the photos he took earlier. He's working with a

photo of the parents.

 

He doctors the photograph, creating a photo of Marianne's

parents sitting in an electric chair, side by side, as if

about to be executed.

 

A gruesome photograph is created.

 

Bobby adds the caption: "No one is safe!"

 

He looks very pleased with himself.

 

 

EXT. COTTONWOOD - COPY CENTER - DAY

 

Bobby's car is parked in front of a copy center.


                                                           52.

 

 

INT. COTTONWOOD - COPY CENTER - DAY

 

Bobby sits at a computer, printing the photograph of

Marianne's parents being executed.

 

He looks at it. Just right.

 

 

EXT. COTTONWOOD - MAIN STREET - DAY

 

Bobby drops a manila folder into a mail box. The photo is on

its way.

 

 

EXT. COTTONWOOD - DAY

 

Tom's car enters on Main Street.

 

 

EXT. COTTONWOOD - MOTEL - DAY

 

Cruising by the motel, Tom sees Bobby's car. He pulls into

the parking lot.

 

 

INT. MOTEL - DAY

 

Someone knocks on the door. Bobby answers it.

 

Tom, standing there shaking his head.

 

Bobby moves aside, and Tom enters.

 

                         TOM

             Alice sent me, obviously. She

             thinks you're up to some pretty

             strange things, old friend. Is

             she right?

 

                         BOBBY

             Of course not.

 

                         TOM

             Then what are you doing here?

 

                         BOBBY

             See the laptop? I'm working on a

             new novel. It's going damn well,

             too.

 

                         TOM

             In Cottonwood, Oregon, which

             happens to be the address of The

             Marianne Toledo Literary Agency?


                                                           53.

 

 

                         BOBBY

             Okay, I told her off. It feels

             like poetic justice writing my

             new book here. This is the one

             that will break open the market

             for me, Tom. I can feel it in my

             bones.

 

Tom looks like he's heard this many times before -- which he

has.

 

                         TOM

             What do I tell Alice?

 

                         BOBBY

             I don't care.

 

                         TOM

             How long will you be staying here?

 

                         BOBBY

             Not too much longer. Are you

             getting a room or heading back now?

 

                         TOM

             I could use a drink.

 

 

INT. COTTONWOOD - BAR - DAY

 

A cocktail lounge in a restaurant. Pretty empty at mid-day.

 

Bobby and Tom sit at the bar.

 

                         TOM

             Maybe you should call her.

 

                         BOBBY

             She wouldn't believe me. You have

             to convince her. You're much more

             persuasive than I am.

 

                         TOM

             What did you tell the agent?

 

                         BOBBY

             I went easy on her. She's kinda

             cute.

 

 

EXT. COTTONWOOD - RESTAURANT - PARKING LOT - DAY

 

They stand at Tom's car in the lot.


                                                           54.

 

 

                         BOBBY

             You go on, I'll walk back.

 

                         TOM

             Don't be silly.

 

                         BOBBY

             I have some errands to do.

 

                         TOM

             Well. I'm not sure what Alice is

             going to say. She was pretty

             certain she had you figured out.

 

                         BOBBY

             She did. I just didn't wig out as

             much as she expected.

 

                         TOM

             Okay. Take care of yourself,

             Bobby. I still think you should

             call her.

 

                         BOBBY

             I will. Have a safe trip.

 

He watches Tom get in and pull away. He grins.

 

 

EXT. COTTONWOOD - NEIGHBORHOOD - TOLEDO HOUSE - DAY

 

Marianne comes out to get the mail. The manila envelope has

been delivered.

 

 

INT. TOLEDO HOUSE - DAY

 

She opens the large envelope and takes out the photo.

 

Her parents being executed.

 

She gasps. The photo falls to the floor.

 

 

INT. TOLEDO HOUSE - COFFEE BAR - DAY

 

Marianne sits with her friend, JULIE, at a coffee bar. They

have glasses of white wine.

 

Julie looks at the large envelope.


                                                           55.

 

 

                         JULIE

             A NY return address. Give me a

             break, the postmark is local. I

             think it was a sick teenager.

             They're the only ones who know

             how to manufacture fake pictures

             like this.

 

                         MARIANNE TOLEDO

             But who would do such a thing? As

             far as I know, I don't have an

             enemy in the world.

 

                         JULIE

             It's anonymous. Photos of your

             parents are on your brother's

             website, remember? His family

             album? A sick kid found it,

             downloaded, made up the picture,

             got your address -- this isn't

             anything personal, for God's sake.

 

                         MARIANNE TOLEDO

             What a world we live in.

 

 

EXT. ANOTHER STATE - MOTEL - NIGHT

 

Tom's car parked in front of a room.

 

 

INT. ANOTHER STATE - MOTEL - NIGHT

 

Tom on the phone.

 

                         TOM

             Alice, I'm just telling you what

             he told me.

 

 

INT. COUNTRY HOME - KITCHEN - NIGHT

 

Alice on the phone.

 

                         ALICE

             You are so gullible.

 

INTERCUT

 

                         TOM

             Why can't he be working on a new

             book? He's a writer. That's what

             writers do.


                                                           56.

 

 

                         ALICE

             He would not go to Cottonwood,

             Oregon, to write a new book.

 

                         TOM

             He has a sense of irony. I mean,

             there's a certain sick sense to it.

 

                         ALICE

             Get back there.

 

                         TOM

             Alice...

 

                         ALICE

             If you don't get back there, I'll

             never speak to you again. I know

             my husband. I know him like a

             book. If he's lying about it, it

             worries me more than ever. You

             have to stop him before he does

             something we all regret.

 

A silence.

 

                         ALICE

             Okay, I'm on my way.

 

                         TOM

             Alice! I'll go back...

 

                         ALICE

             I should've taken care of this

             myself in the first place.

 

                         TOM

             Alice--!

 

But she hangs up on him.

 

Tom slams down the phone.

 

                         TOM

             God damn it!

 

 

EXT. COTTONWOOD - NEIGHBORHOOD - NIGHT

 

Very late. All the houses are dark.

 

Bobby's car pulls up in front of Marianne's house. her car

is in the driveway.


                                                           57.

 

 

His headlights go off. Bobby gets out and approaches the

house.

 

 

EXT. NEIGHBORHOOD - TOLEDO HOUSE - NIGHT

 

Marianne's car is parked in the driveway.

 

Bobby looks around. Dead silence. Everyone is in bed.

 

Bobby approaches the car. He has the knife in hand.

 

He stoops at a tire -- and slashes it. And the next. And the

next. Full house.

 

He approaches the side of the house. He takes out a can of

spray paint.

 

He sprays graffiti on the side of the house.

 

Some of it reads: "The agent from hell" ... "Scam artist!"

 

Bobby looks very satisfied with himself.

 

He moves to the back of the house. More graffiti.

 

 

INT. TOLEDO HOUSE - BEDROOM - NIGHT

 

Marianne asleep in bed.

 

 

EXT. TOLEDO HOUSE - FRONT - NIGHT

 

Bobby back in the front of the house. He's found a hose,

which he attaches to a connection at the front corner of the

house.

 

He pulls the hose to the front door.

 

He inserts the hose into a mail slot in the door.

 

He hurries back to the connection and turns on the water.

 

This done, he runs to the car. Gets in. Starts up.

 

The car, lights still out, moves down the street.

 

 

INT. TOLEDO HOUSE - BEDROOM - DAY

 

Early morning. Marianne stirs in bed.

 

She wakes up.


                                                           58.

 

 

Slowly a distant sound reaches her consciousness. She hears

something.

 

She sits up, attentive.

 

 

INT. TOLEDO HOUSE - FRONT FOYER - DAY

 

Water everywhere, the foyer and front room flooding.

 

Marianne, in a robe, enters -- and sees the disaster.

 

She gasps.

 

 

INT. COTTONWOOD - MOTEL - DAY

 

Bobby wakes up.

 

He gets out of bed and stumbles into the bathroom.

 

 

EXT. TOLEDO HOUSE - PORCH - DAY

 

A POLICE OFFICER waits on the porch.

 

Marianne appears from around the side of the house. She's

dressed.

 

                         MARIANNE TOLEDO

             I don't know why this is happening

             to me.

 

                         POLICE OFFICER

             Is this your car, ma'am?

 

For the first time, she sees the four slashed tires. She

breaks down.

 

                         POLICE OFFICER

             Let's go to the station, ma'am.

             You can file your report.

 

                         MARIANNE TOLEDO

             Who is doing this to me?

 

 

EXT. TOLEDO HOUSE - DAY

 

Bobby's car cruises slowly by. No activity.


                                                           59.

 

 

INT. CAR - DAY

 

Bobby is straining to see signs of life inside. What is

going on?

 

 

INT. COTTONWOOD - CAFE - DAY

 

Bobby at the same table. Same waitress, taking his order.

 

                         BOBBY

             The chicken fried steak.

 

                         WAITRESS

             Got it. First time on the menu?

 

                         BOBBY

             This one I've seen before.

 

 

INT. COTTONWOOD - POLICE STATION - DAY

 

Marianne sits at a table with the police officer, who is

filling out a report.

 

                         MARIANNE TOLEDO

             I'm a literary agent. I have my

             own business.

 

                         POLICE OFFICER

             Apparently you rejected the wrong

             writer. "The agent from hell!"

 

Marianne looks uncomfortable.

 

                         POLICE OFFICER

             You look like you have an idea

             who it might be.

 

                         MARIANNE TOLEDO

             No, I haven't been in business

             long. All my clients I found

             myself. I haven't rejected anyone

             yet.

 

                         POLICE OFFICER

             Then apparently one of your

             clients is unhappy. "Scam agent!"

             What's that about?

 

                         MARIANNE TOLEDO

             I have no idea. I haven't done a

             thing to aggravate anyone.


                                                           60.

 

 

                         POLICE OFFICER

             Can we get a list of your clients?

 

                         MARIANNE TOLEDO

             Of course. I didn't know I had an

             enemy in the world.

 

The police officer writes something in the report.

 

                         MARIANNE TOLEDO

             Is it safe for me to go home?

 

                         POLICE OFFICER

             I suppose that depends on whether

             or not this dissatisfied client

             got enough strokes by doing this.

             What we can do is, increase our

             patrols in the neighborhood.

 

                         MARIANNE TOLEDO

             Yes, please do that. I haven't

             done a single thing to any of my

             clients but praise their work.

 

                         POLICE OFFICER

             I don't know what to tell you,

             ma'am.

 

Marianne doesn't look reassured.

 

 

INT. COTTONWOOD - MOTEL - DAY

 

Bobby on the phone.

 

                         BOBBY

             How are those shipped? The thing

             is, I'm a one-man business and

             would need something I can handle

             myself....That would work. Let's

             do it that way.

 

 

EXT. TOLEDO HOUSE - DAY

 

Bobby cruises by and now sees considerable change.

 

Water-soaked and ruined carpet on the front lawn.

 

House painters at work, painting over the graffiti.

 

A great tube in the front door, sucking out the water.


                                                           61.

 

 

INT. CAR - DAY

 

Bobby looks delighted with the results.

 

 

EXT. JULIE'S HOUSE - DAY

 

Julie parks in her driveway. She and Alice get out.

 

They take several suitcases out of the trunk.

 

                         JULIE

             Don't look that way. You're going

             to stay here till you feel

             absolutely safe going home.

 

                         ALICE

             I hate to put you out like this.

 

                         JULIE

             Don't be ridiculous.

 

They head for the door with Alice's bags.

 

 

EXT. SMALL HOUSE - DAY

 

Bobby pulls to the curb and gets out.

 

A LANDLORD moves forward to greet him.

 

                         LANDLORD

             Mr. Sharp?

 

                         BOBBY

             Right.

 

                         LANDLORD

             Well, let me show you around.

 

 

INT. SMALL HOUSE - DAY

 

Landlord gives Bobby the tour of the house.

 

                         BOBBY

             Rent are so much cheaper here

             than where I come from.

 

                         LANDLORD

             Advantage of a small town.


                                                           62.

 

 

                         BOBBY

             Like I say, I only need it for a

             month while I wait for the house

             I bought to close. Is this a

             problem?

 

                         LANDLORD

             To be honest, the market hasn't

             been too good. I'll take what I

             can get.

 

                         BOBBY

             Then I think we have a deal.

 

 

EXT. INTERSTATE - DAY

 

Alice's car zips down the Interstate.

 

 

EXT. COTTONWOOD - MOTEL - DAY

 

Tom's car parked outside the office at Bobby's old motel.

 

 

INT. MOTEL - DAY

 

Tom signing in.

 

                         MOTEL CLERK

             How long will you be staying?

 

 

EXT. SMALL HOUSE - DAY

 

Bobby carries his bag and laptop inside. His car is in the

driveway.

 

 

INT. SMALL HOUSE - DAY

 

No furniture. A bare house.

 

Bobby looks around and seems shocked by what he sees.

 

                         BOBBY

             Damn.

 

 

INT. COTTONWOOD - VARIETY STORE - DAY

 

Bobby pushing a cart. He's bought a sleeping bag, air

mattress and pump, Coleman stove and lantern, camping set of

pans and plates, etc.


                                                           63.

 

 

INT. SMALL HOUSE - NIGHT

 

The lantern is lit.

 

Bobby pumps up the air mattress. He obviously is going to

camp out in the small house.

 

 

EXT. INTERSTATE - MOTEL - NIGHT

 

Alice pulls into a motel off the Interstate.

 

 

INT. INTERSTATE - MOTEL - NIGHT

 

Alice getting settled.

 

Not the motel phone but her cell phone rings.

 

 

INT. COTTONWOOD - MOTEL - NIGHT

 

Tom is calling.

 

INTERCUT

 

                         ALICE

             Hello?

 

                         TOM

             Thank God I got you. Where are you?

 

                         ALICE

             The question is, where are you?

 

                         TOM

             Back in Cottonwood.

 

                         ALICE

             At a motel?

 

                         TOM

             Of course.

 

                         ALICE

             I'm still a few hours away. Give

             me directions. We can have a late

             breakfast together.

 

 

INT. SMALL HOUSE - BEDROOM - DAY

 

Bobby is nailing boards to cover up the windows in a small

bedroom in the house...


                                                           64.

 

 

INT. SMALL HOUSE - BEDROOM DOOR - DAY

 

...and installing a latch and lock outside the door.

 

 

EXT. RESTAURANT - DAY

 

Alice's and Tom's cars both parked outside a restaurant.

 

 

INT. RESTAURANT - TABLE - DAY

 

Over breakfast.

 

                         ALICE

             When did he check out?

 

                         TOM

             I'm not sure.

 

                         ALICE

             Did you ask?

 

                         TOM

             Ah ... I can't remember.

 

                         ALICE

             You didn't ask. Christ, Tom, what

             kind of a detective are you?

 

                         TOM

             I didn't want this job, Alice.

 

 

EXT. COTTONWOOD - MOTEL - DAY

 

A delivery van is parked outside the office. The DRIVE

stands with the motel clerk.

 

                         MOTEL CLERK

             He told me to tell you he's at

             this address.

 

                         DRIVER

             My instructions are to deliver

             here.

 

                         MOTEL CLERK

             But he's not here any more. He's

             at this address.

 

                         DRIVER

             Jesus H. Christ.


                                                           65.

 

 

He climbs back into the truck.

 

As the van pulls away, Alice's car follows Tom's car into

the motel parking lot.

 

They park and get out.

 

                         TOM

             I'll change my room from single

             to double occupancy.

 

                         ALICE

             I want my own room.

 

                         TOM

             Alice...

 

                         ALICE

             It doesn't mean I won't sleep

             with you. It means I want my own

             room.

 

 

EXT. SMALL HOUSE - DAY

 

The driver opens the back of the van.

 

                         DRIVER

             Where you want them?

 

                         BOBBY

             Inside.

 

Driver uses a dolly to load two small crates. He pushes them

up the walk, up the steps, over the door foundation and

inside.

 

 

INT. SMALL HOUSE - DAY

 

Driver notices the lack of furniture, the camping equipment

and sleeping bag.

 

                         BOBBY

             The moving van is late.

 

                         DRIVER

             I'd say so. Where do I drop this?

 

                         BOBBY

             In the corner is fine.

 

Driver does so. He holds out something for Bobby to sign.


                                                           66.

 

 

Bobby signs.

 

                         DRIVER

             I know it's none of my business

             ... but what the hell you going

             to do with those?

 

                         BOBBY

             My brother and I are opening up a

             roadside zoo.

 

                         DRIVER

             Ah.

 

Satisfied, he starts to leave.

 

                         BOBBY

             I wonder if I could trouble you

             for something.

 

                         DRIVER

             What's that?

 

                         BOBBY

             Now that I think about it, I need

             to transport these today. I

             wonder if you could put them in

             my car. One would fit in trunk,

             the other in the back seat.

 

                         DRIVER

             I just moved them in, and now you

             want me to move them out?

 

                         BOBBY

             I'm sorry. It's worth twenty to me.

 

 

EXT. SMALL HOUSE - DRIVEWAY - DAY

 

Driver puts the crates in the car, one in trunk, one in back

seat.

 

                         BOBBY

             I really appreciate it.

 

Gives the driver a twenty. The driver looks amused.

 

He climbs into the truck and is gone.

 

Bobby moves to the crate in the trunk. Carefully he stoops

down to peek through the breathing slats.

 

Something startles him and he jerks back.


                                                           67.

 

 

In fact, he looks a little terrified. He slams the trunk

door shut.

 

 

INT. COTTONWOOD - MOTEL OFFICE - DAY

 

Alice enters the office.

 

                         MOTEL CLERK

             Help you?

 

                         ALICE

             Yes. A few days ago a Bobby Smart

             was staying here. He's my brother,

             and I wonder if he left a

             forwarding address.

 

                         MOTEL CLERK

             Oh, yes, for the delivery van.

 

                         ALICE

             I thought he might. I wonder if I

             could have it.

 

                         MOTEL CLERK

             I don't see why not. He didn't

             look like a crook to me.

 

He laughs at his own joke.

 

 

EXT. COTTONWOOD - MOTEL - DAY

 

Alice pounds on Tom's door. He opens it.

 

                         ALICE

             I got his new address.

 

 

EXT. SMALL HOUSE - DAY

 

Bobby drives off.

 

 

EXT. SMALL HOUSE - DAY (LATER)

 

Alice's car pulls into the driveway.

 

 

INT. ALICE'S CAR - DAY

 

Alice behind the wheel.


                                                           68.

 

 

                         TOM

             His car's not here.

 

                         ALICE

             I can see that.

 

She gets out.

 

 

EXT. SMALL HOUSE - DAY

 

Alice snoops around. She peers in some windows.

 

Tom follows along.

 

                         TOM

             He doesn't have any furniture.

 

Moving behind the house.

 

They see the window boarded up on the inside.

 

                         TOM

             What the hell is he doing?

 

                         ALICE

             He's going to take her hostage.

 

                         TOM

             Who?

 

                         ALICE

             The agent. And keep her here.

 

                         TOM

             Alice...

 

                         ALICE

             I'm sure of it. We've got to find

             her.

 

 

EXT. TOLEDO HOUSE - DAY

 

Alice pulls in front of the house and stops.

 

She and Tom get out. But clearly no one is home.

 

                         ALICE

             Maybe he already has her.

 

                         TOM

             What if he actually is writing a

             book?


                                                           69.

 

 

                         ALICE

             He wasn't there writing, was he?

 

                         TOM

             He has to eat sometime.

 

 

INT. COTTONWOOD - CAFE - DAY

 

Which is what Bobby is doing. The waitress arrives.

 

                         WAITRESS

             Everything all right?

 

                         BOBBY

             Perfect as usual.

 

                         WAITRESS

             Good. Pie today?

 

                         BOBBY

             Does the sun set in the west?

 

The waitress seems to be thinking about it, trying to

remember where the sun sets, what direction it might be.

 

                         WAITRESS

             I guess it does!

 

She's off to fetch pie.

 

 

EXT. SMALL HOUSE - DAY

 

Alice's car parked on the street.

 

                         TOM

             How long are we going to wait for

             him?

 

                         ALICE

             As long as it takes.

 

                         TOM

             We should've brought two cars.

 

Alice doesn't respond.

 

                         TOM

             Personally I think this is a

             waste of time.

 

                         ALICE

             So walk back to the motel.


                                                           70.

 

 

Tom thinks about it.

 

                         TOM

             You won't give me a lift?

 

                         ALICE

             I don't want to miss him.

 

Tom opens the door.

 

                         ALICE

             Close the door, for Chrissake.

 

She starts the engine.

 

 

EXT. SMALL HOUSE - NIGHT

 

Alice parked again, alone, still waiting.

 

 

EXT. TOLEDO HOUSE - NIGHT

 

Bobby parked across from Marianne's house, waiting.

 

 

EXT. SMALL HOUSE - NIGHT

 

It's late now. Alice gives up first. She starts the engine.

 

 

EXT. TOLEDO HOUSE - NIGHT

 

Bobby starts the engine. But he doesn't drive off, he pulls

into the driveway.

 

He stops and gets out.

 

He starts around the house, looking for something. He finds

it. A window that isn't locked.

 

He gets it open. With some difficulty, he manages to crawl

into the house.

 

 

EXT. TOLEDO HOUSE - NIGHT (LATER)

 

The front door opens and Bobby comes out. He leaves the door

open behind him.

 

He goes to the car, opens the trunk.

 

He struggles with the crate but manages to lift it. With

difficulty, he carries it inside the house.


                                                           71.

 

 

Back to do the same thing with the crate in the back seat.

 

 

INT. TOLEDO HOUSE - NIGHT

 

Both crates are inside. He carefully approaches one.

 

 

EXT. TOLEDO HOUSE - NIGHT

 

He finds tools in the trunk of his car.

 

 

INT. TOLEDO HOUSE - NIGHT

 

Bobby works and gets the lid loose on one crate. But he

leaves it on top.

 

He does the same with the other. Then he lifts the lid and

quickly peeks inside, slamming down the lid when he sees

what he was looking for.

 

He goes to the other crate. He pushes it across the room.

 

 

INT. TOLEDO HOUSE - BEDROOM - NIGHT

 

Bobby pushes the crate into the bedroom.

 

Now he removes the lid. He turns the crate upside down.

 

He lifts the crate away -- leaving behind a pile of slimy,

wiggling SNAKES.

 

He hurries away, closing the bedroom door behind him.

 

 

INT. TOLEDO HOUSE - NIGHT

 

Back at the other crate. He's thinking. Where to put this on?

 

He makes a decision. He cracks the front door open, all the

quicker to escape by.

 

He removes the lid, tossing it aside, leaving the crate

where it is -- and runs like hell to get out of there.

 

 

EXT. TOLEDO HOUSE - NIGHT

 

He exits the house, slamming the door behind him.

 

He hurries to a front window and peeks inside.


                                                           72.

 

 

INT. TOLEDO HOUSE - NIGHT

 

BATS already have come out of the crate and are flying

around the room.

 

 

INT. COTTONWOOD - MOTEL - NIGHT

 

Alice and Tom in bed in Tom's room, after sex.

 

Alice gets up and starts dressing.

 

                         TOM

             Not staying?

 

                         ALICE

             I have an early start in the

             morning.

 

Tom doesn't say anything.

 

 

EXT. SMALL HOUSE - DAY

 

Alice's car pulls up. She and Tom both get out.

 

They walk to the front door.

 

 

INT. SMALL HOUSE - DAY

 

Bobby is brewing morning coffee on the camp stove in the room.

 

A knock on the door.

 

He goes to the window to see who it is. Oh my God. He looks

around, as if looking for an escape route.

 

Suddenly there's a tap on the window. Alice is on the other

side of the glass, looking straight at him.

 

Bobby gestures meekly and goes to the door.

 

Alice barges in. Tom follows behind her.

 

                         ALICE

             What is this about?

 

Looking around.

 

                         ALICE

             Don't you realize you can kill

             yourself burning that in closed

             quarters?


                                                           73.

 

 

                         BOBBY

             You're thinking of charcoal.

 

                         ALICE

             Where is she?

 

                         BOBBY

             Who?

 

                         ALICE

             The agent.

 

                         BOBBY

             She isn't home?

 

Alice considers him, trying to read him. She quickly moves

away, starting a search of the house.

 

                         TOM

             I tried to tell her you were

             writing.

 

                         BOBBY

             When Alice gets her mind set...

 

                         TOM

             But why the house?

 

                         BOBBY

             Actually...it's free rent...I'm

             doing a favor for a guy. Keeping

             the vandals away. Since what

             happened to the agent, everybody's

             nervous.

 

Alice reenters.

 

                         ALICE

             What happened to the agent?

 

                         BOBBY

             Somebody trashed her house.

 

                         ALICE

             You, for instance?

 

                         BOBBY

             Wish I'd thought of it. All I did

             was yell at her and make a fool

             of myself.

 

Alice stares at him, trying to read him.


                                                           74.

 

 

                         BOBBY

             You all had breakfast? I have

             lots of cans of Dinty Moore's

             Beef Stew.

 

 

EXT. TOLEDO HOUSE - DAY

 

Julie's car pulls to the curb.

 

 

INT. JULIE'S CAR - DAY

 

Julie is driving, Marianne beside her.

 

                         JULIE

             Want to go inside?

 

                         MARIANNE TOLEDO

             No point, really.

 

                         JULIE

             I really don't mind you staying

             with me.

 

                         MARIANNE TOLEDO

             I have to get my life back.

 

                         JULIE

             Today then?

 

                         MARIANNE TOLEDO

             I have more work to do at the

             library. Maybe after dinner?

 

                         JULIE

             That works for me.

 

 

EXT. SMALL HOUSE - DAY

 

Bobby, Alice and Tom come out.

 

                         ALICE

             Bobby, sometimes you just don't

             make any sense.

 

                         BOBBY

             Look, I'll introduce you to the

             landlord. He'll say exactly what

             I told you. But if it'll make you

             feel better...want me to do that?


                                                           75.

 

 

                         ALICE

             Actually, yes. When can I meet him?

 

                         BOBBY

             I'll give him a call. Are you at

             the motel?

 

                         ALICE

             Room 102.

 

                         BOBBY

             I'll call as soon as I learn his

             schedule and can set something up.

 

                         ALICE

             One more question. Inside. The

             bedroom. Why are the windows

             boarded over?

 

                         BOBBY

             Because the glass was broken. It

             was just replaced, and I haven't

             had a chance to take the boards

             off yet. One of my projects for

             today, as a matter of fact.

 

Alice with the same inquiring look, measuring him.

 

                         ALICE

             Okay. Give me a call then.

 

 

INT. JULIE'S HOUSE - NIGHT

 

Julie answers the phone.

 

                         JULIE

             Hello?

 

 

INT. LIBRARY - PAY PHONE - NIGHT

 

Marianne on the phone.

 

                         MARIANNE TOLEDO

             Hi. Can you swing by at nine and

             pick me up? I'm in the middle of

             something and would like to keep

             at it.

 

INTERCUT


                                                           76.

 

 

                         JULIE

             No problem. Want me to bring your

             bags?

 

                         MARIANNE TOLEDO

             You don't have to do that.

 

                         JULIE

             Don't be silly. It would save us

             a trip.

 

 

INT. COTTONWOOD - MOTEL ROOM - NIGHT

 

Alice on the phone.

 

                         ALICE

             How long will he be out of town?

 

 

INT. SMALL HOUSE - NIGHT

 

Bobby on his cell phone.

 

                         BOBBY

             His daughter said till the end of

             the week.

 

INTERCUT

 

                         ALICE

             Either this is true or very

             convenient for you.

 

                         BOBBY

             Alice the Great Doubter. Why am I

             not surprised?

 

                         ALICE

             We need to talk.

 

                         BOBBY

             Now?

 

                         ALICE

             Tomorrow.

 

                         BOBBY

             Day after tomorrow. I need to

             finish a chapter tomorrow.

 

                         ALICE

             Bobby...okay, day after tomorrow.


                                                           77.

 

 

EXT. SMALL HOUSE - NIGHT

 

Bobby comes out. He gets into his car.

 

 

EXT. TOLEDO HOUSE - NIGHT

 

Bobby pulls up and stops.

 

 

INT. CAR - NIGHT

 

He has food and coffee from a fast food restaurant. He's

obviously settling in, on stake out.

 

 

EXT. TOLEDO HOUSE - NIGHT

 

Later. Julie's car pulls into the driveway.

 

 

INT. JULIE'S CAR - NIGHT

 

Alice riding shotgun.

 

                         JULIE

             You sure you don't want me to

             help you unpack?

 

                         MARIANNE TOLEDO

             I'm beat, I'll unpack tomorrow.

             I'm taking a hot bath and going

             straight to bed.

 

                         JULIE

             Well, at least let me help you

             with your bags.

 

 

EXT. TOLEDO HOUSE - NIGHT

 

Marianne and Julie get a suitcase each and head for the

front door.

 

 

INT. CAR - NIGHT

 

Bobby, dozing, sees what is going on. He quickly perks up,

watching.

 

 

EXT. TOLEDO HOUSE - PORCH - NIGHT

 

They climb onto the porch.


                                                           78.

 

 

                         MARIANNE TOLEDO

             Just leave it. Thank you so much

             for everything.

 

                         JULIE

             You're sure you're okay with this?

 

                         MARIANNE TOLEDO

             Whoever the sicko is, I think

             he's gone on to other things. I'm

             okay.

 

They set down the bags and embrace.

 

 

INT. CAR - NIGHT

 

Bobby watches.

 

Julie gets back into her car and drives away.

 

Marianne, on the porch, digs for her keys...

 

 

EXT. TOLEDO HOUSE - PORCH - NIGHT

 

...and finds them.

 

She opens the door.

 

Sets one bag inside. Sets the other bag inside.

 

And enters.

 

 

INT. TOLEDO HOUSE - NIGHT

 

At the same time, she closes the door and turns on the light.

 

Suddenly bats dart through the room, as if coming from

everywhere.

 

Marianne screams.

 

A bat dive-bombs her. She runs across the room to get away.

 

She tries to protect herself with her arms, dodging the

bats, moving to the other end of the room.

 

She heads for the bedroom.


                                                           79.

 

 

INT. TOLEDO HOUSE - BEDROOM - NIGHT

 

Marianne races into the bedroom, slamming the door behind her.

 

In the darkness, she catches her breath.

 

Safety. No bats.

 

She turns on the light.

 

She steps forward, feels something, and stops in her tracks.

 

Snakes slither all over the floor.

 

Marianne screams again. She flees the bedroom.

 

Now she races to the back door. A few bats have gotten into

this area of the house and flutter about.

 

 

EXT. TOLEDO HOUSE - FOLLOWING MARIANNE - NIGHT

 

Marianne stumbles out of the house, runs up the driveway --

and straight into the arms of Bobby, who has been waiting

for her.

 

                         BOBBY

             Come with me!

 

Marianne, stunned, scared, does as she is told.

 

Bobby leads her to his car. He opens the door for her.

 

 

INT. CAR - NIGHT

 

Bobby gets behind the wheel.

 

                         MARIANNE TOLEDO

             Who are you?

 

                         BOBBY

             Your neighbor. We should go to

             the police, right?

 

                         MARIANNE TOLEDO

             Right. Right...

 

Bobby starts the engine.

 

 

EXT. SMALL HOUSE - NIGHT

 

Bobby pulls into the driveway.


                                                           80.

 

 

INT. CAR - NIGHT

 

Marianne, in a daze, comes out of it enough to wonder where

she is.

 

                         MARIANNE TOLEDO

             I thought we were going to the

             police.

 

                         BOBBY

             I called them to meet us here.

 

                         MARIANNE TOLEDO

             When?

 

                         BOBBY

             On my cell. You were napping.

 

                         MARIANNE TOLEDO

             I was?

 

                         BOBBY

             They're on their way.

 

 

EXT. SMALL HOUSE - NIGHT

 

Bobby helps her out of the car. He escorts her to the door.

 

 

INT. SMALL HOUSE - NIGHT

 

They come inside, Bobby still helping her.

 

Marianne looks confused by all the camping gear.

 

                         MARIANNE TOLEDO

             I don't understand where we are...

 

Bobby, for the first time, grabs her more aggressively.

 

                         BOBBY

             Welcome to the home of the Gods

             of Literature!

 

                         MARIANNE TOLEDO

             What?

 

No longer escorting her, he now drags her toward the bedroom.

 

                         MARIANNE TOLEDO

             Let me go!


                                                           81.

 

 

He is too big, she is too weak to put up a fight. Bobby

shoves her into the bedroom and throws the door shut behind

her.

 

He quickly latches the padlock and snaps it shut. She's

locked in.

 

Bobby steps away and takes a deep breath. Beyond the door,

Marianne starts screaming.

 

                         BOBBY

             Scream all you want, Marianne

             Toledo Literary Agency! It might

             suggest to you how your clients

             feel!

 

She takes him up on it, screaming like crazy.

 

 

INT. SMALL HOUSE - DAY

 

Morning. Bobby, sprawled in the sleeping bag, stirs.

 

 

INT. SMALL HOUSE - BEDROOM - DAY

 

Marianne also is inside a sleeping bag. No air mattress. No

pillow.

 

She moves and groans in her sleep.

 

 

INT. SMALL HOUSE - DAY

 

Bobby listens at the bedroom door. Nothing.

 

 

INT. MOTEL - ALICE'S ROOM - DAY

 

Alice brushes her hair, getting ready for the day.

 

 

INT. SMALL HOUSE - DAY

 

Bobby with coffee, standing at the bedroom door, listening.

 

                         BOBBY

             Are you awake?

 

 

INT. SMALL HOUSE - BEDROOM - DAY

 

She is. She stirs, sits up.


                                                           82.

 

 

                         BOBBY (OS)

             Good morning, Marianne Toledo

             Literary Agency.

 

Marianne struggles out of the sleeping bag.

 

                         BOBBY (OS)

             If you behave yourself, I can

             offer coffee.

 

She creeps to the door.

 

 

INT. SMALL HOUSE - DAY

 

Bobby at the door.

 

                         BOBBY

             I heard you moving. I know you're

             awake.

 

INTERCUT TWO SIDES OF DOOR

 

                         MARIANNE TOLEDO

             Why are you doing this to me?

 

                         BOBBY

             Do you want coffee?

 

No response.

 

                         BOBBY

             Fine. Go back to bed.

 

                         MARIANNE TOLEDO

             Wait!...Yes, coffee would be nice.

 

                         BOBBY

             No screaming....Say, No screaming.

 

                         MARIANNE TOLEDO

             No screaming.

 

                         BOBBY

             I'll be right back.

 

 

INT. SMALL HOUSE - BEDROOM - DAY

 

Marianne's eyes dart around the room, as if looking for a

possible escape port. Nothing.

 

She listens at the door, waiting.


                                                           83.

 

 

INT. SMALL HOUSE - DAY

 

Bobby at the door again.

 

                         BOBBY

             I'm going to unlock the door. I'm

             going to invite you into the room

             for coffee. We're going to talk.

             Or rather, I'm going to talk, and

             you're going to listen. I expect

             good manners from you. No

             screaming. No attempt to escape.

             If you do any of these days,

             you're locked in for the day --

             and we'll try again tomorrow. Do

             I make myself clear?...I said, Do

             I make myself clear?

 

                         MARIANNE TOLEDO (OS)

             Yes.

 

He unlocks the padlock. Undoes the latch. Opens the door.

 

Marianne looks a fright. She steps forward.

 

                         BOBBY

             Sit on the sleeping bag. Your

             coffee is on the stove.

 

She does what he says. After she's down on the sleeping bag,

he hands her a cup of coffee.

 

She sips, looking at him, frightened but also curious,

waiting.

 

Bobby paces in front of her, as if looking for the words

with which to begin.

 

                         BOBBY

             I was so excited when I heard

             from you the first time. That you

             would read my short stories on

             the Internet, and take the time

             to tell me how much you liked

             them -- and be a literary agent

             besides! And ask if I had a novel!

             Well, I had several, but I'd

             recently finished one. I thought

             it was very good. So I sent it to

             you.

 

He pauses, pacing. Marianne is frozen.


                                                           84.

 

 

                         BOBBY

             You don't know what it's like to

             be a writer in the margins. You

             write every day. Now and again

             someone publishes something,

             usually something small. Mostly

             they ignore you. But since the

             Internet, at least you can put it

             out there, at least you can

             invite an audience in, allow for

             the possibility of having an

             audience. But you're still in the

             margins, out of the mainstream.

             Nobody knows who you are. Nobody

             knows what you do. You write in a

             vacuum. Do you have any conception

             of what that is like? To write in

             a vacuum?

 

Marianne's mouth opens, as if to reply, but no words come

out. The more he talks, the more frightened she looks.

 

                         BOBBY

             I've been a marginal writer for

             over twenty years.

 

 

EXT. MOTEL - DAY

 

Alice comes out to her car.

 

 

INT. MOTEL - TOM'S ROOM - DAY

 

Tom notices Alice out the window.

 

 

EXT. MOTEL - DAY

 

Alice starts the car.

 

Tom rushes out.

 

                         TOM

             Wait a minute!

 

He goes to the window.

 

                         TOM

             Going to breakfast without me?

 

                         ALICE

             I have to talk to Bobby.


                                                           85.

 

 

                         TOM

             Alone?

 

                         ALICE

             I was thinking alone, yes.

 

                         TOM

             Breakfast first?

 

                         ALICE

             Sure. We go in two cars.

 

 

INT. SMALL HOUSE - DAY

 

Bobby continues.

 

                         BOBBY

             I was at the MLA convention.

             Modern Language Association. I

             ran into my roommate from grad

             school. He was so excited! He'd

             found an agent who loved his work.

             Moreover, she was going to

             represent a 700 page novel

             written in rhyming couplets.

             Imagine an agent so daring, so

             literary, to do such a thing! He

             had a letter from her. He shared

             it with me.

 

A light behinds to go off in Marianne, she looks like she's

beginning to realize who he is and why he is doing this --

and this makes her look more frightened still.

 

                         BOBBY

             I can recite parts of the letter

             by heart. "I read your work in

             one sitting. I am speechless. It

             is amazing. It is graced with

             drama, suspense, intrigue. It

             profoundly speaks to the human

             condition. I would be very proud

             to be the literary agent for such

             a spectacular novel. I believe

             publication and prizes are in the

             future for this wonderful book."

 

He glares at her. Bobby looks really dangerous for the first

time.


                                                           86.

 

 

                         BOBBY

             Why can I recite this from memory?

             Because I got the exact same

             letter as an email. Because The

             Marianne Toledo Literary Agency

             described my work exactly the

             same way as it described his work.

             Which, of course, means the

             praise is boilerplate -- and

             total bullshit.

 

                         MARIANNE TOLEDO

             I can explain...

 

                         BOBBY

             I'll tell you when it's your turn!

 

He glares at her. She cowers.

 

                         BOBBY

             But here's the question -- what's

             in all this for The Marianne

             Toledo Literary Agency? I found

             out soon enough. You were a

             beginning agency, all expenses

             and no income yet, you were

             struggling financially -- and

             therefore it seemed fair to ask

             for small advances to help you

             with marketing expenses, expenses

             the client would be charged with

             anyway. Instead of deducting them

             from sales, because there were no

             sales yet, the writer would pay

             them in advance. Not much. Just a

             few hundred dollars. Not much at

             all in the context of all the

             fame and fortune to come.

 

Pacing, glaring.

 

                         BOBBY

             The Internet is a marvelous space.

             A new universe actually. I

             learned something interesting

             things on the Internet. I learned

             that Marianne Toledo used to work

             for the Creative Writing Literary

             Agency, which the state of

             Washington charged with fraud.

 

                         MARIANNE TOLEDO

             I can explain--!


                                                           87.

 

 

                         BOBBY

             Hey! Wait your turn! I learned if

             you do a Google search for

             Writers Websites, you get almost

             three million responses. Three

             million! How many writers do you

             have to flatter to get, say, a

             dozen to send you a few hundred

             dollars marketing expenses? Not a

             bad income if you do the math.

 

                         MARIANNE TOLEDO

             That's what you think I'm doing?

 

                         BOBBY

             I take it you want to talk now.

             The Creative Writing Literary

             Agency. Tell me about that.

 

                         MARIANNE TOLEDO

             I was young, it was my first job

             as an agent. I didn't realize it

             was a scam. When I found out, I

             left.

 

                         BOBBY

             You have principles! I'm impressed.

             What about the boilerplate praise?

 

                         MARIANNE TOLEDO

             Who are you?

 

                         BOBBY

             Don't you remember? You

             practically called me a literary

             genius.

 

                         MARIANNE TOLEDO

             I found you on the Internet,

             didn't I?

 

Bobby just stares at her.

 

                         MARIANNE TOLEDO

             I have a new business. I need

             clients. Like you say, writers

             are everywhere on the Internet.

             You have no idea how much crap I

             have to read before I find

             something I like. Of course I

             want to represent writing I like.

             That's what an agent does.


                                                           88.

 

 

EXT. RESTAURANT - DAY

 

Alice and Tom come out of the restaurant.

 

                         TOM

             How long will you be?

 

                         ALICE

             I have no idea. It depends on

             Bobby.

 

She gets into her car.

 

 

INT. SMALL HOUSE - DAY

 

Marianne rambles on nervously.

 

                         MARIANNE TOLEDO

             I'm not a writer, it's not easy

             for me to sit down and write an

             original letter every time I have

             to contact someone. Of course

             it's a numbers game. The more

             good writers I represent, the

             more stuff I send out, the better

             the chances of making a sale. My

             business depends on making sales.

             I help writers by doing this,

             don't you see? I'm not hurting

             writers, I'm helping writers!

 

                         BOBBY

             You're not hurting writers! You

             play to their greatest weakness,

             their egos! Their inferiority

             complexes! Their anger at being

             marginal! You give them hope! You

             bring their dreams to life again!

             You're not hurting writers?

 

                         MARIANNE TOLEDO

             It's my job to do this! What do

             you want from me?

 

                         BOBBY

             Now there's an interesting

             question. What do I want from you?

 

                         MARIANNE TOLEDO

             Are you going to kill me?

 

Bobby is genuinely shocked by the question.


                                                           89.

 

 

                         BOBBY

             That's the best you can come up

             with? That's the paucity of your

             imagination? I'm going to kill

             you? And you set yourself up as

             the judge of literary quality?

 

                         MARIANNE TOLEDO

             Just don't torture me...just get

             it over with...

 

                         BOBBY

             Oh, for Christ's sake.

 

 

EXT. SMALL HOUSE - DAY

 

Alice pulls up. She gets out.

 

Instead of going to the front door, she goes to a front

window. She looks in...

 

...and sees what is going on.

 

She bolts back. What to do?

 

She hurries back to her car, taking out her cell phone. She

punches 911.

 

                         ALICE

             I need police immediately...

 

 

INT. SMALL HOUSE - DAY

 

As before.

 

                         BOBBY

             I don't know what I'm going to do

             with you. It was more fun,

             frankly, when I was just

             terrorizing you. Imagining what

             you were going through, how

             frightened you were. Poetic

             justice and all that. Nothing

             personal, but having you here,

             actually talking with you, isn't

             nearly as satisfying.

 

Alice busts into the house.

 

                         ALICE

             Bobby! Whatever you're doing to

             her, stop it. Stop it right now.


                                                           90.

 

 

                         BOBBY

             Alice.

 

Alice hurries to Marianne.

 

                         ALICE

             Are you all right?

 

Marianne climbs to her feet.

 

                         MARIANNE TOLEDO

             You know him?

 

                         ALICE

             He's my husband. What has he done

             to you?

 

Sirens in the distance.

 

                         BOBBY

             My, my. You called the police,

             didn't you?

 

                         ALICE

             It was a precaution. I had to.

 

                         MARIANNE TOLEDO

             I need the police...

 

She starts for the door. Bobby steps in her path.

 

                         BOBBY

             One step at a time. I'm still in

             charge here.

 

Marianne freezes. She looks to Alice for help.

 

                         ALICE

             We'll just wait and keep calm...

 

                         BOBBY

             Actually there's a long honorable

             tradition of writing from prison.

             There are advantages to getting

             arrested.

 

 

EXT. SMALL HOUSE - DAY

 

Two POLICE OFFICERS bring out Bobby, who is handcuffed.

Alice follows behind.


                                                           91.

 

 

                         ALICE

             Don't answer any questions! I'll

             get a lawyer.

 

                         BOBBY

             It's okay, Alice. This might turn

             out to be good for my career.

 

The officers shove him into the back of a patrol car. They

head out.

 

Alice gets on her cell phone.

 

                         ALICE

             Get over here as fast as you can.

 

 

INT. SMALL HOUSE - DAY

 

Alice is cleaning out the house. All the camp gear, Bobby's

things, the laptop, are arranged near the door.

 

Tom enters.

 

                         TOM

             What's going on?

 

                         ALICE

             Help me put all this in your car.

 

 

EXT. SMALL HOUSE - DAY

 

All the stuff at the door is loaded into the back seat and

trunk of Tom's car.

 

                         TOM

             What am I supposed to do with it?

 

                         ALICE

             You're going home. I want all of

             Bobby's stuff out of here.

             Especially his computer. It might

             have evidence on it. If they

             don't have evidence, they don't

             have a case.

 

                         TOM

             You're removing evidence?

 

                         ALICE

             No, I have no idea if it's

             evidence or not. I just want all

             his stuff out of here. Go. Now.


                                                           92.

 

 

                         TOM

             Now?

 

                         ALICE

             I have no idea when the police

             will be back with their yellow

             tape and the forensic experts and

             all the rest. Go!

 

                         TOM

             Why are you going so much out of

             your way to help him?

 

                         ALICE

             Tom, he's my husband.

 

 

INT. POLICE STATION - INTERROGATION ROOM - DAY

 

A police officer, SGT. COBY, is with Bobby. Bobby sits at a

table in an otherwise bare room.

 

                         SGT. COBY

             Were you planning to rape her?

 

Bobby just sits there. But he looks very uncomfortable.

 

                         SGT. COBY

             We have kidnapping. I strongly

             suspect we have you for vandalism

             as well. You don't help yourself

             by this lack of cooperation.

 

                         BOBBY

             I'm waiting for my lawyer.

 

Coby lets out an exasperated sigh.

 

                         SGT. COBY

             Okay.

 

He leaves.

 

Bobby sits with increasing discomfort.

 

 

EXT. POLICE STATION - DAY

 

Marianne comes out of the station with Julie. They get into

Julie's car.


                                                           93.

 

 

INT. ALICE'S CAR - DAY

 

Alice is parked nearby, waiting, watching. She starts the

engine.

 

 

EXT. POLICE STATION - DAY

 

Julie's car pulls away. Alice's car follows.

 

 

EXT. JULIE'S HOUSE - DAY

 

Julie's car pulls into the driveway.

 

Julie and Marianne get out.

 

Alice car swerves to the curb. She hurries out.

 

                         ALICE

             Miss Toledo!

 

Rushing forward.

 

                         ALICE

             We need to talk.

 

                         MARIANNE TOLEDO

             I've said everything I had to say

             to the police.

 

                         ALICE

             It's about my husband. There are

             some things you need to understand.

 

 

INT. POLICE STATION - CELL - DAY

 

Bobby in a cell. He looks like this isn't as heroic an

experience as he anticipated.

 

An OFFICER comes to his cell.

 

                         BOBBY

             Is my lawyer here?

 

                         OFFICER

             We're letting you out.

 

Bobby looks stunned.

 

                         OFFICER

             All charges were dropped.


                                                           94.

 

 

INT. ALICE'S CAR - DAY

 

Alice driving, Bobby beside her.

 

                         BOBBY

             How much did it cost us?

 

                         ALICE

             You don't want to know.

 

                         BOBBY

             Alice, I...

 

                         ALICE

             Not now, Bobby.

 

                         BOBBY

             When?

 

                         ALICE

             Not for a long while. Let's just

             go home.

 

 

EXT. COUNTRY HOME - DAY

 

Alice comes out and gets the mail.

 

 

INT. COUNTRY HOME - TABLE - DAY

 

Bobby having lunch at the small table off the kitchen.

 

Alice sits down with the mail.

 

Her expression reacts to a letter.

 

                         BOBBY

             What's that?

 

                         ALICE

             It's for you. From the Toledo

             Agency.

 

                         BOBBY

             Give it to me.

 

                         ALICE

             Throw it away, Bobby. It'll just

             upset you.

 

                         BOBBY

             Maybe she's giving me my money

             back.


                                                           95.

 

 

Alice gives him the letter. He tears it open.

 

It's a copy of a letter from a publisher, only the name and

contact information have been blackened out, except for the

single identification, "New York."

 

Bobby reads the letter. Alice comes around to read over his

shoulder.

 

                         BOOK EDITOR (VO)

             Dear Marianne: Well, it was quite

             a struggle, but I can offer you a

             contract to publish Bobby Smart's

             novel. As you know, it's hard to

             place what used to be called the

             literary novel today. There's no

             denying Smart's considerable

             writing talent but the story is

             character-driven, devoid of

             strong plot elements, and depends

             on our appreciation of his

             writing style for our interest --

             all contrary to the trends of the

             market today. Nonetheless, I

             argued long and hard for this --

             and won, with one caveat. We are

             offering a two-book contract. We

             want the second book to be in a

             more commercial genre. Indeed, we

             want to meet with your client in

             order to discuss the direction

             his writing career should move in

             now. Personally I think he would

             be a strong candidate for writing

             psychological thrillers because

             of the strong inner voices of his

             characters. At any rate, a

             contract is on its way, two

             books, the second in a popular

             genre to be determined. My

             congratulations to you and Bobby

             Smart, and I look forward to

             working with you both.

 

Alice looks amazed. Bobby looks stunned.

 

                         ALICE

             Unbelievable...

 

But there's also a small folded sheet of paper included with

the letter. Bobby unfolds it.


                                                           96.

 

 

                         MARIANNE TOLEDO (VO)

             Here's a copy of your lost

             opportunity, asshole! I told the

             editor you were dead and your

             estate had withdrawn the book.

 

                         ALICE

             That bitch!

 

Bobby gets up and goes into the kitchen.

 

 

INT. COUNTRY HOME - KITCHEN - DAY

 

Bobby takes a beer out of the refrigerator.

 

                         ALICE

             Bobby, don't. Don't use this as

             an excuse to tie one on.

 

                         BOBBY

             I'm not going to tie one on,

             Alice. I'm having one beer to

             celebrate.

 

                         ALICE

             Celebrate...?

 

                         BOBBY

             A narrow escape, hey? They wanted

             me to sell out. They wanted me to

             write psychological thrillers.

 

 

INT. TAVERN - NIGHT

 

Bobby holding court. Cal and Jennifer are there.

 

                         BOBBY

             They wanted me to abandon

             literature for the marketplace,

             to kiss the fat ass of the public.

 

                         CAL

             What did you tell them?

 

                         BOBBY

             I told them to go to hell! I told

             them I was withdrawing my novel

             from their greedy paws! I told

             them I believed in the gods of

             literature, not the gods of greed!

 

Jennifer, beaming, applauds.


                                                           97.

 

 

                         JENNIFER

             Your integrity is inspiring.

 

 

INT. COUNTRY HOME - BEDROOM - NIGHT

 

Bobby and Alice in bed.

 

Alice is awake, rolled toward Bobby, looking at him.

 

He stirs. In the darkness, they regard one another.

 

                         ALICE

             How are you doing?

 

                         BOBBY

             I'll be okay.

 

                         ALICE

             Did you really start a new book?

 

                         BOBBY

             No. But I should.

 

                         ALICE

             Yes, I think so, too.

 

                         BOBBY

             It's what I do.

 

                         ALICE

             It's what you do.

 

 

INT. COUNTRY HOME - KITCHEN - DAY

 

Alice at the stove.

 

                         ALICE

             Breakfast!

 

 

INT. COUNTRY HOME - BEDROOM - DAY

 

Bobby is still in bed.

 

Alice enters.

 

                         ALICE

             Breakfast, sleepy head. Want me

             to keep it warm in the oven?

 

No reply.


                                                           98.

 

 

Something strikes Alice as wrong. She approaches the bed.

 

                         ALICE

             Bobby?

 

She touches him -- and freezes. Then she falls onto the bed,

shaking her husband.

 

                         ALICE

             Bobby!

 

 

EXT. CEMETERY - DAY

 

Bobby's casket is lowered into the ground. FACULTY, STUDENTS,

OTHERS watch.

 

 

INT. COUNTRY HOME - A WAKE - NIGHT

 

Wall-to-wall people, drinking, eating, having a wake for

Bobby.

 

Alice climbs onto a chair, held by Tom so she doesn't fall.

 

                         TOM

             Attention, everyone!...Listen up!

 

                         ALICE

             Thank you. I just want to share

             with you Bobby's epitaph. Well,

             there are two, actually. The one

             he wrote for himself, and the one

             I wrote for him. Here's his:

             "Unread in life / Unknown in

             death / He's finally taken / His

             last breath / Burma Shave / Won't

             help him now."

 

                         A GUEST

             That sounds like Bobby.

 

                         ALICE

             And mine: "He woke. He wrote. He

             slept. He woke. He wrote. He

             slept. He woke. He wrote. He

             died."

 

Reciting this has moved her. She drops off the chair, trying

to control her emotions, and moves off quickly.


                                                           99.

 

 

INT. COUNTRY HOME - BEDROOM - NIGHT

 

Alice sits on the bed, regaining her composure.

 

Tom enters.

 

                         TOM

             Are you all right?

 

                         ALICE

             I'm leaving.

 

                         TOM

             I'm not sure what you mean.

 

                         ALICE

             I'm selling the house, and I'm

             leaving.

 

                         TOM

             Leaving where?

 

                         ALICE

             I'll stay with my sister in Maine

             for a while. After that, I'm not

             sure.

 

                         TOM

             And us ...?

 

                         ALICE

             There's no us.

 

                         TOM

             I thought there was.

 

                         ALICE

             I can't have an "us" with a man

             who thinks infertility is a good

             break.

 

 

EXT. COUNTRY HOME - DAY

 

A car pulls up.

 

 

INT. COUNTRY HOME - DAY

 

Alice answers the door.

 

An older man in a suit is on the porch. This is GAYLORD APPLE.


                                                          100.

 

 

                         GAYLORD

             Mrs. Smart?

 

                         ALICE

             Yes.

 

He offers his hand.

 

                         GAYLORD

             Gaylord Apple. I'm an editor with

             Random House. Vintage Books

             actually. I read about your

             husband's death. I'm sorry I

             missed the funeral. I'm here

             because his agent never got back

             to us after we made an offer on

             his novel, and now her phone is

             disconnected. We'd still like to

             publish it.

 

                         ALICE

             You want to publish his novel?

 

                         GAYLORD

             Very much so.

 

                         ALICE

             Then we must talk, mustn't we?

 

FADE OUT