Redemption-A Spec Script by Patrick Sean Lee (easy readers txt) π
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- Author: Patrick Sean Lee
Read book online Β«Redemption-A Spec Script by Patrick Sean Lee (easy readers txt) πΒ». Author - Patrick Sean Lee
MARVIN
Oh God, it's her!
He begins to move in Amy's direction. Falters. Stops entirely as she disappears down the street in the crowd. He looks dolefully at his blood-stained clothes, then turns and peers sadly into the window at his reflection.
CUT
EXT. DOWNTOWN INDUSTRIAL AREA STREET-MORNING
Marvin shuffles along a street. On one side sit commercial buildings, low and squat. On the other, a single building with a long loading dock spanning its rear, one end of the street to the other. He approaches the end nearest him, steps into a weed-infested area, and then bends down, removing a battered piece of plywood covering an opening beneath the dock-end. On hands and knees, he crawls in.
CUT
EXT. UNDERSIDE OF A LOADING DOCK-CONTINUOUS
It is dark, save the stabs of light entering through planks three feet above Marvin's head. He crawls inward until he reaches a dug-out depression. Empty bottles litter the area around it. A filthy blanket hangs into a hollowed out space. Marvin reaches it, rolls in, and pulls the blanket over him. He closes his eyes and drifts off.
Beside him, Anselm the angel eyes the indigent ruefully for a moment, then disappears.
CUT
EXT. A PARK-MORNING
The ghostly image of Anselm sitting on a park bench, immersed in thought. A bird flits to him, perches on his knee. The bird whiplashes a worm dangling from its beak. Waits a second, and then flies away.
ANSELM
...Where do I put him where
he won't kill someone? The missions
are no good...
CUT
EXT. A PARK-CONTINUOUS
A Mercedes roadster approaches the park bench on a winding pavement roadway running through the park. The driver, a young, pretty blond WOMAN, has the music inside turned up to a high volume. She is speeding.
CUT
INT. THE CAR-CONTINUOUS
On the passenger seat beside the driver sits a monstrosity of a sequined purse. The SOUND of a cell phone rings out. The driver shifts here eyes quickly back and forth from the windshield to the purse over and over, trying to locate the phone.
MARIBETH
Shit...
CUT
EXT. A PARK-CONTINUOUS
Maribeth loses control, leaves the roadway, shears the bench with Anselm sitting atop it, and then comes to rest on a decapitated fire hydrant. Water bursts everywhere.
Anselm flits to the front of the wrecked Mercedes and peers in at the young woman, who is now slamming her hands on the steering wheel, cursing her luck.
Two BICYCLISTS passing by stop. The male bicyclist whips out his cell phone and keys in a number. The female leaves her bike and runs to the edge of the roadway. A few feet beyond, the flowerbed with its tilled soil and devastated plants fills with water.
FEMALE BICYCLIST
(anxiously)
Are you okay? Do you need help?
Maribeth opens the door, cursing, and steps into a gooey mud puddle, sinking up to her calf. She tries to remove her foot, and loses a shoe.
MARIBETH
Crap!
FEMALE
What happened? Are you injured?
MARIBETH
(underbreath)
He's gonna' fucking kill me this time.
(aloud)
I'm fine, I just lost my shoe!
FEMALE
Oh no.
MARIBETH
A brand new Prada! Damn!
FEMALE
Oh God, no! I lost a Gucci once. It
was simply tragic!
Maribeth continues to struggle, trying to extricate herself from the mud. Anselm hovers, taking it all in. The male bicyclist reaches the scene.
MALE
Cops are on the way. She hurt?
FEMALE
Well, yes! She lost a Prada--go help
her out!
The male glances over at the field of mud, then back at his partner.
MALE
You're not serious? In that mess?
FEMALE
Well, at least help her find her shoe.
God, they cost a fortune.
MALE
What about the car?
FEMALE
Oh who cares about the car? Her
insurance will pay for that.
(to Maribeth, loudly)
Do-you-have-insurance?
Maribeth is still struggling, cursing.
MARIBETH
What? Of course...damn it!...I
do. My father's the governor!
Anselm's eyes brighten.
ANSELM
(softly, unheard by the humans)
Governor? He's going to kill her
this time? I like her. I think Marvin
will, too.
CUT
EXT. THE PARK ROADWAY-CONTINUOUS
A black and white rolls to a stop at the scene, cherry top spinning. A COP emerges from the vehicle with a black leather log book in hand. The Female bicyclist rushes to him.
FEMALE
(very excited; animated)
She's fine, officer. She just lost a shoe.
The officer blinks at the comment.
COP
What?
FEMALE
Well, I mean after she hit the
water thing...
The cop walks away, and works his way around the mud field to Maribeth's foot-locked side. He shakes his head.
COP
You again, huh?
MARIBETH
I swear it was just an accident, officer.
A...a dog ran, well, right in front of me...
The camera pans up as Maribeth continues to speak to the cop.
FADE
INT. THE LAW OFFICES OF SAMPSON AND DELILAH-MORNING
AMY ALIONELLO sets her purse behind the desk in the reception room. She glances around quickly at the room, then pulls her chair out and takes a seat. She peruses several files sitting atop the desk, picks up the top one, opens it.
She is beautiful, wearing a short black skirt, pumps, and a white satin blouse.
From farther in the office, an interior door opens. JOHN SAMPSON emerges with an arrogant bearing. He approaches Amy.
SAMPSON
Morning gorgeous. I need the Bauer
Deposition right now. You're late again,
you know.
Sampson turns without a word and retreats to his office. As he reaches the door he stops and turns back.
SAMPSON
Oh. The Copperfield people are staging
a fund raiser Saturday night at The Brown.
You're going with me.
He exits the reception area. Amy's face is in shock. Her eyes and mouth open wide.
A moment later the exterior door to the office opens and JOHN DELILAH walks almost stumbling in. He is tall, wearing a rumpled suit, one eye sitting slightly catty-wampus in his homely face. He carries a shock of wilting carnations. He hesitates briefly, and then thrusts the flowers forward toward Amy.
DELILAH
(sweating bullets, nervous)
Uh, I got these for you. Downstairs.
I mean outside downstairs. They weren't
expensive, but I thought they were pretty
and that maybe you'd...you know, like
them. I, uh...
Amy rises, and with a huge smile on her face accepts John Delilah's wilting gift.
AMY
(beaming)
They're just beautiful, John. Thank you
so much for your thoughtfulness.
John reacts visibly. Relieved, blushing. He heaves a sigh.
DELILAH
I, uh...oh gosh, thanks. I couldn't be
sure. I mean...
Delilah sets the briefcase in his hand down onto the carpet, brushes off his wrinkled jacket, and then takes a deep breath as Amy smiles across at him.
DELILAH
Umm, there's something I wanted
to ask you...I mean it has nothing
to do with the flowers! No, I got
them because I truly hoped...
AMY
(interrupting his stammering)
What is it, John? Go ahead, ask away.
DELILAH
Well, I've been thinking about this
all week. Not, uh, bad thinking-just
thinking, you see. There's a pretty
important fund raiser this Saturday
night for that nit-wit Mayor Copperfield.
I don't really want to go, but I have to,
I guess, and, well, I was just wondering...
I mean I'd like to have a date. Not a
date-date! Just escort someone who I could
be comfortable with, and, and...
Delilah is beet red, grasping for words. Amy's face shows her sadness. She walks around the desk and places her free hand atop his shaking hand.
AMY
Oh John, I'm so sorry.
Amy motions dourly at Sampson's door.
AMY
He told me not five minutes ago that
I was going with him. I'm so sorry.
What could I say?
JOHN
(visibly deflated)
Oh. Well, he's the boss I guess. I suppose.
AMY
(angrily)
You're partners!
DELILAH
I know, I know, but...well...he put up
the money to open the office...and
all that. I...I...
AMY
John! Just go in and tell him that you
asked me last week! That I'm going
with you!
DELILAH
Oh...I don't know, Amy. I don't know
if I could. He's pretty...
Sampson's office door flies open. He emerges, scowls at the two of them.
SAMPSON
Well, if it isn't the banker. Or were you
golfing this morning?
Amy, get that Deposition in here now!
And when you leave this evening, go
buy a decent evening gown for Saturday.
I'll reimburse you for it.
He turns and goes back into his office, slamming the door.
Both Amy and Delilah have downcast looks on their faces. The carnations in Amy's hand have drooped badly. The air in the room suddenly whirls, lifting Amy's shoulder-length hair slightly. The atmosphere brightens, as if someone has knocked a wall down and let in the real morning atmosphere. The carnation heads gain their beauty; the stems rise to attention. John's mouth drops open. Amy's eyes mirror his astonishment.
AMY AND DELILAH (in unison)
John?
Amy?
FADE
EXT. DOWNTOWN-MORNING
Two days following
Marvin returns to the busy street near the business center. He sits on the curb, removes his ratty tennis shoes, stands, and then pitches them into a waste container.
MARVIN
You bastards stink. G'bye.
Afterward he walks barefoot to the front of the Women's Clothing Store, and stares through the glass at the mannequins again. He looks. Stares. Looks. He fails to see someone approaching him from behind.
COP
Where's your shoes, Mac?
Marvin wheels around. The COP is tall, broad-shouldered, standing a few feet away in a practiced, menacing stance. Marvin hesitates before answering.
MARVIN
I threw 'em away.
COP
Why?
MARVIN
They stunk.
Marvin stands his ground.
COP
What're you doing here?
MARVIN
Lookin' in this window at the dummies.
COP
(glowering, mocking)
Why? Planning on buying a dress for
your girlfriend?
MARVIN
Nope. Just lookin'.
COP
You been drinking?
MARVIN
Nope.
COP
Let me see some I.D.
MARVIN
Don't have no I.D. What for? Don't
drive, don't have no bank account.
Don't need no I.D.
COP
Yeah, as a matter of fact you do.
Get your ass outta' here. Go get
sober, and then get an I.D. If I see
you hanging around here again,
I'll run your ass in. Move it.
MARVIN
Okay, but I ain't drunk.
Marvin steps around the cop and heads toward the park across the street.
COP
Not that way.
Marvin stops, looks back at the cop.
MARVIN
The Salvation Army's that way.
'Sides, this is a free country, an'
I can go any goddam' where I like.
COP
And I can beat the livin' shit outta'
you in this free country, and no one
will give a shit. I oughtta' run you in,
you crazy old fuck.
Marvin takes a step backward toward the gutter. He raises his middle finger.
MARVIN
Run this in!
The cop rushes forward. Marvin darts into the street, heading for the park, barely missing the front end of a delivery truck. The cop is forced to stop and wait for the truck to move forward after it screeches to a stop. Marvin dashes into the park.
CUT
EXT. A PARK-CONTINUOUS
Marvin runs through the park, slows after gazing back over his shoulder. He approaches a street bordering the far side. Not looking, he jogs across it.
CUT
EXT. COMMERCIAL DISTRICT-CONTINUOUS
Marvin shuffles south, away from the cop and the small park. He passes a Men's Clothing Store, hesitates, back tracks, and looks in the windows at mannequins dressed like million dollar-an-hour attorneys. The sales staff is busy attending to customers.
MARVIN (V.O.)
There I am...or could be. Maybe.
He stares for a moment.
If I could just steal...right under
their noses.
He waits another moment, then reaches for the handle of the glass door. He touches it, and a light show bursts forth. He collapses onto the sidewalk.
CUT
EXT. MARVIN'S VISION-CONTINUOUS
Marvin sees a beautiful field of flowers emerging. In concert with it, a beautiful voice singing. And then another voice.
ANSELM
Get up. She is here, and she is waiting.
Go to the Governor's Mansion.
The dream fades.
FADE
EXT. STREET-CONTINUOUS
Marvin shakes his head. A moment passes, and then he rises shakily and sets off down the
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