ERIKA RUBIN
FADE IN:
1 EXT. SUBURBAN STATION -- MORNING 1
Grace Calan walks toward a subway entrance. She is in her
early thirties, a rare combination of innocence and beauty.
Long dark hair, glowing skin, and trim body. She takes out
her mirror and checks if everything is in place, satisfied
she continues.
2 EXT. ACROSS THE STATION -- MOMENTS LATER 2
A man(Roy Darlin)stands on the opposite side of the street,
staring where the woman entered the subway. He is a good
looking man in his thirties. Tall, thin, dark short hair,
beard and moustache. He wears a pair of sunglasses, a suit,
and carries an expensive briefcase. He stares a moment longer
and heads towards the subway stairs.
3 INT. SUBWAY -- MOMENTS LATER 3
Roy weaves his way through the crowd. He pushes through the
masses. He keeps looking but loses momentum, then starts to
head out. Suddenly, he knocks into someone's shoulder. His
briefcase goes flying. A purse is thrown to the floor, its
contents spewed out. He goes for his briefcase grabs it and
runs out. Leaving her standing alone, picking up the contents
of her purse.
4 EXT. SUBWAY -- CONTINUOUS 4
Roy stands outside panting heavily, sweat trickles down his
face. He takes a deep breath, straightens his tie and walks
down the street and hails a taxi.
5 EXT. OFFICE BUILDING -- LATER THAT MORNING 5
A large office building.
6 EXT. KINGSTON TOY INC. -- CONTINUOUS 6
A heavy glass door sits open. Above it a sign reads, KINGSTON
TOYS INC. "IF YOU BREAK IT WE MAKE IT BETTER" A receptionist
and many chairs line the front of the office.
7 INT. KINGSTON TOY INC. -- CONTINUOUS 7
Roy walks through the long row of cubicles to his own at the
end of the row. A man (Jack Montgomery) waves his hand at
Roy. Roy ignores him.
(CONTINUED)
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382-Rubin-0329 p. 2
4-7-00
He enters his cubicle. He places his briefcase gently on
the desk, looks around, and opens it hesitantly. He pulls
out a silver compact with the initials CG on it. He holds
it close to his face. Cradling it between his hands. He
carefully opens it and looks at his own reflection in the
mirror. He closes the compact and places it back in his
briefcase. Roy pulls out a tape recorder and pushes play.
TAPE RECORDER: "Yeah, yeah, that's right! You now how to
make me--"
Roy flips off the recorder, a grin on his face. He looks
towards Mr. Stevens door. He puts the recorder in a drawer
and locks it.
Jack walks toward Roy's cubicle, he turn as if he's going to
enter but quickly turns and walks to the coffee station. He
looks back at Roy, who does not notice this at all.
ANGLE ON CLOCK-- 1:00
Roy jumps as his watch goes off. He straightens the papers
on his desk, grabs his case and heads down the row of cubicles
and out the door.
8 EXT. KINGSTON TOY INC. -- MOMENTS LATER 8
Roy waits for the elevator. He glances down at his watch
and then up to the numbers slowly being lit up on top of the
elevator. The 2 is lit up. He looks at his watch again.
He looks at the number 3 lit up. He rushes towards the
stairs.
9 EXT. OFFICE BUILDING -- MOMENTS LATER 9
Roy exits the building in full speed. He is looking at his
watch obsessively as he quickly pushes his way down the
street.
10 INT. MARATHON GRILL -- AFTERNOON 10
The restaurant is packed. Business people are mulling all
around. Eating at tables, waiting in line, coming in and
leaving. Grace Calan sits at a table with three other people.
Her boyfriend, Mitch Wagner, her associate and friend Della
Sacchi, and another associate Tim Bricks. All are conversing
freely and enjoying their meals.
11 EXT. MARATHON GRILL -- CONTINUOUS 11
Roy stands outside peering through the window. He is looking
for Grace. He spots her. He walks inside.
(CONTINUED)
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382-Rubin-0329 p. 3
4-7-00
12 INT. MARATHON GRILL -- CONTINUOUS 12
He tries to act nonchalant, pretending to be waiting for
someone, reading the menu.
He sees Grace, she looks uncomfortable. The smile on her
face seems forced. She keeps shifting in her chair, ready
to bolt.
ANGLE ON GRACE'S TABLE
Mitch is in the midst of telling a story. Mitch is in his
mid thirties, extremely attractive, with a muscular build.
He has a lean handsome face, intense blue eyes and short
dark hair.
MITCH
So, we're sitting up there, stuck
with no one else around...
GRACE
Mitch, I really don't think--
MITCH
Honey, it's fine. Anyway--
GRACE
Mitch!
MITCH
All right, all right, you don't have
to make a scene!
GRACE
I am not making a scene.
MITCH
Whatever, honey. Do you want another
drink or something?
GRACE
(looking around the
room)
No. I think I'll...
Grace sees Roy staring at her.
ANGLE ON ROY FROM ACROSS THE ROOM
They share a moment. Roy looks away quickly and gets into
line.
CUT BACK TO:
(CONTINUED)
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382-Rubin-0329 p. 4
4-7-00
GRACE (CONT'D)
Um, I have to uh, use the ladies
room, excuse me.
Grace gets up and heads for the bathrooms in the back. Roy
follows after a few seconds.
13 INT. HALL -- EXT. BATHROOMS 13
She heads down the hall. She enters the ladies room. Roy
enters the men's room.
14 INT. MEN'S ROOM -- CONTINUOUS 14
Roy stands at the door listening for Grace, he peeks out to
see if she has exited. A man from the urinals stands looking
at Roy.
MAN 2
Hey man, what are you doing?
Roy looks back at the man startled.
ROY
Um, nothing.
Roy tries to exit but Mitch is coming his way, he quickly
hides in a stall. The man at the urinal does not know what
to make of him.
Mitch enters the bathroom and goes to the urinal in front of
Roy's stall.
Mitch finishes and exits.
15 EXT. BATHROOM -- CONTINUOUS 15
He sees Grace. She is standing at the end of the hallway
looking out into the restaurant.
MITCH
Looking for me?
Grace turns, startled.
Mitch grabs her and kisses her passionately. She is taken
aback but gives in willingly.
GRACE
(out of breath)
Yeah.
(CONTINUED)
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382-Rubin-0329 p. 5
4-7-00
MITCH
You ready to blow this joint?
Grace looks at her watch.
GRACE
Yeah, better get back soon or Mr.
Auster will have my head.
The toe grab their things from the table, say their good-
byes and exit.
Roy walks out from the bathroom. And stands staring out the
window the way in which Grace left. His head is hung low.
The man from the urinal walks past Roy in a huff.
MAN 2
(under his breath)
Freak!
Roy stands unfazed, staring after Grace.
16 INT. KINGSTON TOY INC. -- EARLY EVENING 16
Roy sits at his cubicle staring out the window at the clouds.
His eyes follow them as they slowly float past him. He looks
over to Mr. Steven office. The shades are drawn and his
receptionist is nowhere to be seen. Roy grabs his tape
recorder from the desk and walks over to the office. He
leans close to the window and listens.
Jack walks by.
JACK
Buddy, the clock says 5:30. Are ya
staying all night?
Roy jumps back, pretending to look for something in the desk.
ROY
(looking at his watch)
Oh my God!
Roy runs to his desk and grabs his things. He turns to Jack
to say something but just pushes him aside and runs out.
JACK
(yelling after him)
Did I miss something? Where are you
going? Call me later?
(CONTINUED)
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382-Rubin-0329 p. 6
4-7-00
Jack stands there looking after Roy. He looks at Mr. Stevens'
office, nods his head and exits.
17 EXT. ROY'S HOME -- LATER EVENING 17
Queens' Village area. The house is tucked away on a side
street secluded by trees and bushes from the other houses.
It sits alone with its two car garage, high narrow roof, and
large ornate windows.
Roy pulls up to the house in a gray Volvo. The garage door
opens and he drives in.
18 INT. ROY'S HOME -- MOMENTS LATER 18
Roy walks into the kitchen. The kitchen has all the amenities
of a great chef. Everything is in perfect order and
incredibly clean.
Roy walks out of the kitchen into the Den. This room is
also quite beautiful and perfectly kept. Many bookshelves
line the walls of the room.
Roy walks through the Den and pulls open a concealed door
that is part of the bookcase.
19 INT. OFFICE -- CONTINUOUS 19
The office is dark and folds in on you, Roy seems out of
place here.
Roy lays his briefcase on the desk. He opens it slowly and
pulls out the compact.
He walks to the cabinet and opens it, a picture of Grace
sits inside surrounded by objects, his treasure. He places
the compact next to the handkerchief nd closes the cabinet
doors.
Roy leaves and goes out through the den.
20 INT. KITCHEN -- CONTINUOUS 20
Roy enters, opens the refrigerator to an array of take out
containers. He pulls out a slab of pizza. Roy walks into
the atrium.
21 INT. ATRIUM -- CONTINUOUS 21
This city light pours through the huge windows that line the
walls, illuminating the stairs. Huge paintings are covered
in sheets as is the Grandfather clock covered in cobwebs.
(CONTINUED)
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382-Rubin-0329 p. 7
4-7-00
Roy ascends the stairs, unsettling the dust and web on the
way up.
22 EXT. UPSTAIRS HALL. -- MOMENTS LATER 22
Roy walks down the hall-- everything is draped in sheets.
He turns into--
23 INT. ROY'S BEDROOM -- CONTINUOUS 23
Roy's Bedroom, little has changed. Toys line the shelves
and the walls. His room is as if a 10 year old lived there.
A covered canvas sits by the window.
Roy lays on the bed his feet dangling off.
He grabs a toy dog and sits it on his chest.
ROY
It seemed like old times today.
("Dog's" voice)
What happened?
(His own voice)
I got a compact.
("Dog")
A compact? Did you speak to her?
("Roy")
I touched her shoulder.
("Dog")
You have to do better than that!
("Roy")
I am doing the best I can!
("Dog")
You're best. You whine about your
best but I don't see any results.
("Roy")
I'll do better, I promise.
("Dog")
You're running out of time.
("Roy")
What do you mean?
("Dog")
That, Mitch. He's gonna get her
soon enough. So, you better get a
move on.
Roy jumps off the bed and throws the dog aside. He walks
out of the room.
(CONTINUED)
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382-Rubin-0329 p. 8
4-7-00
24 EXT. ROY'S BEDROOM--HALLWAY -- CONTINUOUS 24
As Roy exits the room it transforms The hallway becomes
bright and full of sunshine, the windows are clean and
gleaming, everything is uncovered looking alive.
Roy bounds out of his room, young Roy. A fifth grader, Young
Roy runs down the stairwell to the front door, grabbing his
bag and coat. He opens the door, stops and yells back into
the house.
YOUNG ROY
Mom, I'm going!
ROY'S MOTHER (O.S.)
Okay, dear. Be careful.
YOUNG ROY
I will!
ROY'S MOTHER (O.S.)
Roy...
YOUNG ROY
Yeah?
ROY'S MOTHER (O.S.)
I love you.
Young Roy shrugs with annoyance.
YOUNG ROY
(obediently)
Love you too.
Roy pulls the door shut.
25 EXT. ELEMENTARY SCHOOL -- MORNING 25
A medium-sized brick building, Neshaminy Elementary.
Roy runs up the stairs into school.
26 INT. ELEMENTARY SCHOOL -- MOMENTS LATER 26
The hall is empty. The walls are lined with short
multicolored lockers and yellow classroom doors.
Roy runs down the hall. A foot goes out and Roy trips. His
bag goes flying and Roy lands on the floor. The foot, Timmy
McFadden walks by laughing and pointing. Roy sits gathering
his things together.
(CONTINUED)
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382-Rubin-0329 p. 9
4-7-00
Out of the shadows comes a girl with long dark curly hair
and bright blue eyes. She bends down and hands him a book.
YOUNG GRACE
Need some help?
Roy, red, looks down as he takes the book from her.
YOUNG ROY
Th-Thanks.
YOUNG GRACE
I saw what Timmy did, you should
tell somebody.
YOUNG ROY
I can't, nobody'd believe me.
Roy continues to stuff his things into his bag.
YOUNG GRACE
You're gonna be late for class.
Roy looks up at the clock on the wall, 9:17.
YOUNG ROY
Yeah.
(beat)
So are you.
YOUNG GRACE
Nah, I got a pass to use the lavatory.
Roy sits on the floor, bag in lap.
YOUNG ROY
What am I going to do now?
YOUNG GRACE
How many times have you been late?
YOUNG ROY
(looking away)
Five times.
YOUNG GRACE
One more time and...
YOUNG ROY
Detention.
Roy puts his head in his hands.
(CONTINUED)
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382-Rubin-0329 p. 10
4-7-00
YOUNG GRACE
Don't worry so much. I got an idea.
The two huddle together. Grace whispers in Roy's ear.
They walk to class.
27 INT. CLASSROOM -- CONTINUOUS 27
The classroom is small with a lot of equipment crammed into
it. The teacher, Ms. Andrews, stands behind her desk taking
role. There are 20 or so small desks facing the front.
Children sit in the first three rows.
Grace and Roy walk up to Ms. Andrews. She stops and looks
at them.
MS. ANDREWS
Well, where have you two been?
GRACE
I had to use the pass and Uh, um...
She turns desperately to Roy.
YOUNG ROY
(quickly whispers in
her ear)
Roy.
YOUNG GRACE
Roy, was coming from the principal
and he said I could walk him back to
class.
They kids look at each other and take a deep breath.
Ms. Andrews regards them suspiciously but shrugs it off.
MS. ANDREWS
Go sit down, please.
Roy and Grace sit. Ms. Andrew resumes taking role.
ANGLE ON YOUNG GRACE AND YOUNG ROY
They share a look.
28 INT. ROY'S HOME -- CONTINUOUS 28
Roy walks through the door, puts his bag and jacket on the
divan.
(CONTINUED)
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382-Rubin-0329 p. 11
4-7-00
29 INT. KITCHEN -- MOMENTS LATER 29
Roy's mother, Victoria, stands chopping vegetables, smoking
the butt of a cigarette. She is tall and pale. She coughs
or wheezes every time she speaks. She has long light brown
hair, her features are similar to Grace's. The ashtray is
filled to capacity. She puts out the cigarette and lights
another. In the corner sits an oxygen tank and a mask.
Roy sits on the chair opposite his mother.
ROY'S MOTHER
(wheezing)
How was your day Sweetie?
Roy picks at the vegetables and starts to nibble.
YOUNG ROY
(mouth full)
It was okay.
ROY'S MOTHER
(coughs)
Just okay?
YOUNG ROY
Well...
Roy's mom stops chopping, her full attention on him.
ROY'S MOTHER
Go on.
YOUNG ROY
I was late for school today and...
I dropped my books and this girl
came by helped me..
ROY'S MOTHER
(breathing hard)
A girl? Was she pretty?
Roy blushes.
YOUNG ROY
Yeah, she's pretty. She helped me
out today and then lied to the teacher
about why I was late.
ROY'S MOTHER
She lied?
(CONTINUED)
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YOUNG ROY
She made up a story so I wouldn't
get in trouble.
ROY'S MOTHER
(disapproving, wheezes)
You mean she lied.
YOUNG ROY
(pleading)
She saved my butt, mom.
An awkward silence, then She goes back to chopping.
ROY'S MOTHER
You met a girl and she lied for you,
it must be love.
YOUNG ROY
M-o-m, don't say that. She's just a
girl and she does not love me. You
are so weird.
Roy goes out. She grabs for the mask and places it on her
face, she takes a couple long, hard breaths. She lights up
another cigarette.
30 INT. DEN -- CONTINUOUS 30
The Den as is was before but it looks new and lived in. He
sees that the book case door is opened. He sticks his head
in.
31 INT. OFFICE -- CONTINUOUS 31
Roy's Dad, Daniel, sits behind the desk with a calculator
and a pile of papers. He is going through his papers,
checking and rechecking numbers. As soon as he notices Roy,
he stops his work and stares at his son, he lights a
cigarette.
ROY'S DAD
Do you want something?
YOUNG ROY
No.
Roy stands at the door.
His father staring at him like a pest.
(CONTINUED)
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382-Rubin-0329 p. 13
4-7-00
YOUNG ROY (CONT'D)
I just wanted to see what you were
doing.
ROY'S DAD
See what I'm doing?
Roy Nods.
ROY'S DAD (CONT'D)
You're done.
He resumes working.
Roy stands silent. He exits head down, tears rolling off
his cheek.
32 EXT. OFFICE -- CONTINUOUS 32
Roy walks out as an adult. The lights from the past fade
into the present. Roy turns looking into the office, it's
empty and lifeless.
Roy walks to the kitchen in a trance.
33 INT. KITCHEN -- CONTINUOUS 33
Passing through like a ghost.
He enters the atrium.
34 INT. ATRIUM -- CONTINUOUS 34
Roy stands underneath the chandelier. He looks up and sees
the moon through the windows over the door. He begins to
howl.
DISSOLVE TO:
WOLVES HOWLING AT THE MOON.
REVEAL, A TV PROGRAM OF WOLVES.
35 INT. GRACE'S BEDROOM -- EVENING 35
The moon is seen through the windows. Grace lays in bed
next to Mitch, sound asleep smoking. She flips from the
wolves to another channel, a preacher, the news, a talk show,
etc. She clicks it off, throwing the remote off the bed.
She tries to cuddle with Mitch, he turns away from her. She
breathes deeply and closes her eyes.
CLOSE UP, GRACE'S EYES POPPING OPEN.
(CONTINUED)
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382-Rubin-0329 p. 14
4-7-00
It's now morning. Grace lays in bed covered by mounds of
blanket where Mitch was. She looks over at the clock, 8:45.
GRACE
Oh my God!
Grace jumps out of bed and runs into the bathroom.
CUT TO:
36 EXT. CITY STREET. -- MORNING 36
Grace is making a mad dash down the street. She is weaving
in and out of people, fixing her hair and clothes as she
goes.
37 INT. SUBWAY -- MOMENTS LATER 37
Grace stands on the platform finishing her face as the train
pulls up in front of her. She gets on the train. It pulls
away.
38 EXT. DESIGN STUDIO -- LATER 38
The building is modern and trendy. The front is all window,
including the door. Grace is running down the street. She
enters the studio. She is seen through the window talking
to someone. She finishes walks out of sight.
REVEAL, ROY ACROSS THE STREET.
Roy is sitting on a bench holding a newspaper, sipping coffee.
He waits a few moments, folds the newspaper up and dumps the
coffee. He crosses the street, retracing Grace's steps.
39 INT. GRACE'S BEDROOM -- LATER 39
Roy lays in Grace's bed. He smells her pillows and blankets.
He pulls the covers over his head and breathes deeply. He
walks around the room and out the door.
40 EXT. GRACE'S BEDROOM/HALLWAY -- LATER 40
Roy walks down the hall. He caresses the pictures of Grace,
touching everything.
41 INT. GRACE'S LIVING ROOM --LATER 41
He touches her things. He picks up a glass with lipstick on
it and pretends to drink. He takes a sweater from the sofa
and smells it. He comes upon a picture, Grace as a little
girl. He snatches it off the table.
(CONTINUED)
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382-Rubin-0329 p. 15
4-7-00
ROY
This is new.
He examines the picture. He holds it close, hugging it to
his chest.
ROY (CONT'D)
You're coming home with me.
Roy sticks the picture in his coat pocket. He takes one
more look around, and starts to straighten the things he's
touched. He retraces his steps throughout the apartment.
MONTAGE
42 INT.LIVING ROOM 42
Roy cleaning.
43 INT. KITCHEN 43
Roy cleaning.
44 INT. BATHROOM 44
Roy cleaning.
45 INT. BEDROOM 45
Roy cleaning. He kisses her pillow and holds it close to
him. He pulls out a paper heart from hi pocket and places
it on the pillow. He stares at it for a moment.
ROY
That just won't do.
Roy grabs the heart, folds it and places it in his back
pocket. Suddenly, Roy's eyes go blank, he stands rigid with
a strict look across his face.
ROY 2
(as if someone else
talking to himself)
How are you supposed to make any
kind of impression with that?
Roy's posture goes back to normal.
ROY
I know it's wrong that's why I took
it away. I just want to be close to
her.
(CONTINUED)
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382-Rubin-0329 p. 16
4-7-00
Roy changes again.
ROY 2
Weak! That's right, you are weak.
A weak mind, a weak soul. Can't
even get the nerve to ask the poor
little thing out. No, you go snooping
through her things, stealing from
her --
Roy changes, but only slightly.
ROY
That's not true!
Roy starts to change more into the other character physically
but he's still Roy.
ROY (CONT'D)
I am not a weak man. Don't mess
with me...
Roy stands for a moment, pulling himself together. He grabs
everything that would indicate his presence. He takes out
the heart and drops it behind the dresser.
46 EXT. GRACE'S APARTMENT -- EVENING 46
Roy is locking the door (7F) with a key. He walks to the
elevator.
47 INT. THIRD FLOOR OF GRACE'S APARTMENT BUILDING -- MOMENTS
LATER 47
Roy goes to room 3R, unlocks it and enters.
48 INT. ROOM 3R -- CONTINUOUS 48
The room is dark and dirty, and filled with smoke. The
windows are covered heavily by drapery. Newspapers and
trash lay everywhere.
Someone sits int the bedroom watching The Price is Right.
We do not see this person. Cigarette smoke is blown out in
front of the TV.
ROY
You need anything from the store?
A gnarled hand waves at Roy, no.
Roy grabs some trash, and papers, and a broken cane and exits.
(CONTINUED)
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382-Rubin-0329 p. 17
4-7-00
49 EXT. ROOM 3R -- CONTINUOUS 49
He goes to the end of the hall and dumps it down the shoot.
He walks to the door and bangs on it.
ROY
(yelling)
See ya later.
Roy walks to the stairs.
50 INT. GRACE'S APARTMENT BUILDING -- MOMENTS LATER 50
Grace walks into the building. She gets her mail. Grace
turns to wait for the elevator. Roy exits the stairs. Grace
enters the elevator as Roy walks out of the building.
51 EXT. GRACE'S APARTMENT BUILDING -- MOMENTS LATER 51
Roy stands outside looking up at Grace's window. The light
goes on. He realizes it's dark outside. He looks at his
watch and walks away.
CUT TO:
52 INT. KINGSTON TOY INC. -- MORNING 52
Roy sits at his desk wading through paper, overwhelmed. He
pushes the paper around to reveal Grace's picture on his
desk. Jack walks up behind Roy.
JACK
How ya feeling there buddy?
ROY
Fine. Why?
Jack looks confused.
JACK
You being sick and all.
ROY
Oh yeah. Thanks.
Roy goes back to work.
Jack does not move.
ROY (CONT'D)
(looking up)
Sorry, pal, but I gotta get back to
all this.
(CONTINUED)
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382-Rubin-0329 p. 18
4-7-00
JACK
Wanna grab a drink tonight?
ROY
I uh, well, I've got plans.
JACK
Maybe some other time?
Roy nods slightly and turns away.
Jack goes back to his cubicle but keeps looking over at Roy.
ROY (CONT'D)
That idiot!
A man comes up behind Roy.
MR. STEVENS
Who?
Roy startled, jumps a little. He turns around to see...
ROY
Mr. Stevens! I uh, I was just uh,
thinking...
MR. STEVENS
Out loud?
ROY
Yeah.
MR. STEVENS
Everything well?
ROY
Yes sir. Fine. Thank you for asking.
MR. STEVENS
Roy, can I be honest with you.
(doesn't wait for Roy
to answer)
Roy, Kingston is a family. And we
all have to work together to make
this family work. If even one of us
is out of sync, the entire unit can
be harmed. Do you understand what
I'm saying here, Roy? Do you care
about the Kingston family?
ROY
Yes sir.
(CONTINUED)
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382-Rubin-0329 p. 19
4-7-00
MR. STEVENS
Good, I'm glad we're on the same
page. Now get back to work, and I
do mean work!
Roy is physically shaken from this interaction. His face
and knuckles are white. Perspiration glistens on his face
and neck. Roy's phone rings, startling him. He picks up
the receiver.
ROY
Hello.
(pause)
Jack! What...!
Roy looks up and across from him Jack sits holding the phone.
Jack waves the phone at him and then points to it "we should
talk". Roy puts the phone to his ear.
JACK
What happened? Did he fire you?
ROY
No, he didn't fire me. Why would
you think that... Wait, nevermind,
I don't wanna know.
JACK
I'm sorry guy. You should'a come to
work yester--
Roy slams the phone down. Jack feels the pain of the phone
slamming down. He stands up and looks at Roy.
JACK (CONT'D)
What did I do?
Roy just shakes his head and turns away. He looks past the
mound of paper and into the eyes of the girl in the picture.
He kisses his finger and puts it to the lips of the picture.
53 INT. GRACE'S BEDROOM -- EVENING 53
Grace stands at an easel painting, phone in one hand, brush
in the other.
GRACE
Mitch, have you seen that picture my
mom gave me?
(pause)
The one that she gave me for my
birthday.
(MORE)
(CONTINUED)
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382-Rubin-0329 p. 20
4-7-00
GRACE (CONT'D)
The one of me as a little girl.
(pause)
Yeah, that one. You haven't? I
don't know, it's gone.
(pause)
I thought about that. She's not the
kind that would steal. Mitch, please!
I am not going to-- Alright, I'll
ask.
(pause)
Bye.
Grace hangs up the phone, defeated. She stares at the easel
disapprovingly, the tip of the brush in her mouth, she starts
to paint but keeps stopping herself before the brush touches
the canvas. Suddenly she rips the canvas from the easel and
heaves it out the open bedroom window.
54 EXT. GRACE'S APARTMENT BUILDING -- CONTINUOUS 54
Roy stands outside the building. He is looking up at Grace's
window. The painting comes flying out the window and hits
Roy on the head.
Grace POV out the window, Roy lying on the ground.
GRACE
Oh my God!
Grace disappears from the window.
DISSOLVE TO:
55 INT. CLASSROOM -- AFTERNOON 55
Young Roy is standing at an easel in an art class in fifth
grade. He is painting a young girl. It's not half bad. He
stops painting a moment and looks up.
56 ROY'S POV: GRACE ACROSS THE ROOM PAINTING 56
She notices Roy staring at her, he quickly looks away.
She likes that he is staring, he looks up, their eyes meet.
The bell rings.
TEACHER
All right children, let's gather all
the art supplies together and clean
up. Who wants to be monitors today?
All the children raise their hands.
(CONTINUED)
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382-Rubin-0329 p. 21
4-7-00
TEACHER (CONT'D)
Okay. Roy and...
She scans the faces. She points in Grace's direction and
then...
TEACHER (CONT'D)
Sally. You two are in charge of
cleanup. Whoever does the best jobs
gets a pass for a free dessert at
lunch.
The children start to clean. Roy drapes his painting and
slowly cleans his area. Grace walks over to him.
YOUNG GRACE
I saw you staring at me.
Roy turns away, head down.
YOUNG ROY
I'm sorry.
YOUNG GRACE
Can I see what you were drawing?
Roy turns toward her.
YOUNG ROY
It's nothing.
YOUNG GRACE
Come on, show me.
Roy reluctantly gives in to her.
YOUNG ROY
It's just... It's something I...
Roy unveils the painting. Grace takes a step back. She
looks at him, a smile crosses her face.
YOUNG GRACE
It's very pretty.
Roy looks up at her surprised.
YOUNG ROY
You really like it?
Grace nods her head in approval. Roy stands dumbfounded.
Grace looks at the painting and then at Roy.
(CONTINUED)
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382-Rubin-0329 p. 22
4-7-00
YOUNG ROY (CONT'D)
Can I see yours?
They walk over to her painting. It's a beautiful landscape.
Roy stares, caught up in it.
YOUNG ROY (CONT'D)
(stammering)
This is a-mazing.
YOUNG GRACE
Do you like Monet?
Roy shrugs.
YOUNG GRACE (CONT'D)
He's my favorite. Well, I gotta go.
Grace turns to leave. Roy watches her. He stares long after
her.
Roy looks at his own painting and then over to Grace's. He
shakes his head and covers it. He exits.
CUT TO:
57 INT. ROY'S HOME -- LATER 57
Roy walks in as before and goes into the kitchen. His mother
is not in the kitchen. Roy looks for her.
58 INT. DEN -- MOMENTS LATER 58
YOUNG ROY
Mom! Mom, where are you?
Roy walks to his father's office. He looks in. Empty.
YOUNG ROY (CONT'D)
Where are you Mom?
Roy walks to the atrium.
59 INT. ATRIUM -- MOMENTS LATER 59
Roy walks up the stairs.
60 INT. HALLWAY -- MOMENTS LATER 60
Roy walks down the long, dark hallway. He heads for the
last door, his parents bedroom. Roy comes to the door. He
hesitates and then pushes the door open.
(CONTINUED)
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382-Rubin-0329 p. 23
4-7-00
YOUNG ROY
Mom?
Roy walks in. The room is beautiful. A huge canopied bed.
Large bay windows and a fire place. The furniture is all
antique woodwork. Everything is spotless, except for his
mother's robe lying on the floor by the bed. Roy goes over
and picks it up.
Roy walks out, robe in hand.
61 EXT. BEDROOM/ INT. HALLWAY -- CONTINUOUS 61
Roy walks out and down the hall. He gets to the top of the
stairs. He sees his father hanging his coat. His father
looks up, pale and haggard. They share a moment. Roy's
father drops his head and motions for Roy to join him. Roy
walks down the stairs slowly.
CUT TO:
62 EXT. CHURCH -- DAY 62
The day is gray and rainy. A line of limousines line up
outside the church.
ANGLE ON THE DOORS OF THE CHURCH
The doors open wide and a procession of men carrying a coffin
exit. Followed by Roy and his father. All get into the
cars. The long line of follows the hearse down the street.
63 EXT. CEMETERY -- LATER 63
The coffin sits on top of the plot. Roy, his father, and
family sit grave-side. People stand all around. The Priest
takes his place and starts to speak.
PRIEST
From the earth we came and from the
earth we shall return. Ashes to
Ashes and Dust to dust.
(pause)
Today, we mourn the passing of
Victoria Darlin. She leaves behind
her husband Daniel and son Roy. She
will be missed by all.
(pause)
Daniel, would you or your son like
to speak?
Daniel shakes his head, embarrassed, unable to speak. Roy,
shaking, walks up to the Priest and turns to face the crowd.
(CONTINUED)
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382-Rubin-0329 p. 24
4-7-00
Roy clears his throat.
YOUNG ROY
(to the Priest)
I don't know what to say.
PRIEST
(to Roy)
Just say what's in your heart, son.
YOUNG ROY
My mother was a wonderful person.
She took care of me and loved me
more than anyone. She didn't deserve
to die.
(looking at his father)
She's not the one who should be dead!
She's not the one who should be lying
in that coffin!
The Priest tries to grab Roy. He pulls away to the other
side of the coffin.
Roy's father shifts uncomfortably in his chair. He begins
to look around at the faces staring at him.
YOUNG ROY (CONT'D)
My mother deserved to live forever.
She should be standing up here with
me! Unlike my--
The Priest goes to grab Roy. He grabs his arm. Roy squirms
around. His father comes up and takes his other arm.
PRIEST
That's enough!
ROY'S DAD
Don't say another word.
YOUNG ROY
Leave me alone! You don't care about
me! You didn't care about her! All
you care about is your work! Let go
of me! LET ME GO!
Roy pulls lose from the men and starts to run from them. He
runs far off into the cemetery. They do not follow. They
all watch as he runs away.
The Priest and Roy's father face the mourners.
(CONTINUED)
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382-Rubin-0329 p. 25
4-7-00
PRIEST
Please, let's all try to calm down.
We must try not to think of sorrow,
but the joy that Victoria brought us
all. Let's put her to rest and let
her sleep in peace..
They all turn back to the coffin. Roy's dad walks back to
his chair. He stares blankly, then looks to the coffin and
shakes his head slowly.
CUT TO:
64 EXT. CEMETERY -- MOMENTS LATER 64
Roy watches the funeral from behind the iron fence. He sees
the coffin lowered. His father shaking hands and hugging
relatives as they leave. He goes up to the Priest and shakes
his hand. Those that are left, walk back to their cars and
disappear from view. Roy walks away from the cemetery and
heads down the road.
CUT BACK TO:
65 INT. CEMETERY -- CONTINUOUS 65
Roy's father stands alone at the grave site. He drops to
his knees and begins to cry.
CUT TO:
66 EXT. HOUSING DEVELOPMENT -- EVENING 66
Roy is wandering around. He comes to a house with a moving
truck outside of it. He knows this house. He doesn't
understand. Young Grace walks outside carrying a box of
stuffed animals. Roy stands and takes a deep breath. He
walks over to her.
YOUNG ROY
Hi, Grace.
Grace puts down the box of toys. She walks over to him.
YOUNG GRACE
Roy, right?
YOUNG ROY
Yeah.
(Uncomfortable silence)
You're moving?
(CONTINUED)
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382-Rubin-0329 p. 26
4-7-00
YOUNG GRACE
Yeah, my dad got a new job in Seattle.
He works with airplanes, I'm not
exactly sure what.
Grace picks up the box and puts it near the moving truck.
Roy walks over to her.
YOUNG ROY
(restrained)
That's exciting.
Grace tries to lift the box into the truck.
YOUNG GRACE
My dad's really happy.
Grace is struggling with the box. Roy runs over to help
her. He gets the box in the truck.
YOUNG ROY
What about you?
Roy moves a little closer to Grace. He stands a step away
from kissing her.
YOUNG GRACE
(looking away from
Roy)
I'm gonna miss living here. I'll
miss my friends...
Roy leans in a little.
YOUNG GRACE (CONT'D)
School, the tasty cakes.
Grace takes a sideways step, almost losing his balance.
With Grace's back turned, he gains his composure. Grace
turns back to him.
YOUNG GRACE (CONT'D)
Did you know that there are no Tasty
cakes in Seattle? Only here. They
make them here, did you know that?
There's a factory and you can go and
watch how they make all the different
kinds. Isn't that amazing?
YOUNG ROY
Yeah, it's amazing.
Roy looks at Grace lovingly.
(CONTINUED)
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382-Rubin-0329 p. 27
4-7-00
YOUNG GRACE
(oblivious to Roy)
Well, I gotta go finish packing.
I'll miss you, Roy. Hope you have a
good... Oh, I don't know. Good luck.
YOUNG ROY
You too! I mean... I'll miss you
too!
Grace walks into the house. Roy stands, watching her go,
when she's gone, he turns and walks away.
YOUNG ROY (CONT'D)
I'll miss you, I'll miss you, I love
you, I love you etc.
Young Roy walks down the street talking to himself.
DISSOLVE TO:
67 EXT. GRACE'S APARTMENT BUILDING -- NIGHT 67
Roy lays on the ground with the painting on top of him. He
starts to wake. He looks at the painting, it looks like him
as a boy.
Roy's POV: Grace running to the door.
He stands quickly, seeing her, he runs off.
Grace runs to where her painting landed, no one, not even
the painting. She just stands there, not knowing what to
do. She slowly walks back to her apartment.
Roy hides around the corner. He waits till Grace is in her
apartment and then walks off.
68 INT. BAR -- LATER THAT NIGHT 68
The door swings open from the outside. Lamp light fills the
bar for a few seconds blocking out who is entering for a
moment. Roy enters, he looks haggard, disheveled, he holds
the painting in his hand. He takes the nearest bar stool
and sits the painting next to him, he orders.
ROY
Stoli.
The bartender bring his glass. Roy empties it before he
goes. Roy raises his finger.
(CONTINUED)
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382-Rubin-0329 p. 28
4-7-00
ROY (CONT'D)
I'll have another.
Roy turns away from the bar and looks around. People drinking
their misery away. People partying after work. A few couples
smooching in the back. He notices something familiar about
the guy in the last booth. Roy takes a closer look, slowly
he inches towards them. He stops. It's Grace's boyfriend,
Mitch. Roy goes red. He readies himself for a fight. Mitch
gets up and pulls his woman to him and kisses her. They
grab their coats, walking right by Roy. Roy walks to their
booth and sits down. The waitress puts a shot in his hand.
He drinks it down. He puts his hand around the glass and
tries to break it, he gives up. Roy lays his head on the
table.
69 INT. ROY'S HOME/ATRIUM -- EVENING 69
Roy runs through the house. Pulling the sheets off of
everything.
70 INT. HALL -- MOMENTS LATER 70
He throws all of the sheets off and starts dusting with his
shirt. He walks down the hall to his parents bedroom. He
throws open the door.
CUT TO:
71 INT. OFFICE -- MORNING 71
Ray sits leaning back in his father's leather chair, legs up
on the desk, smoking a cigar from a box recently opened. He
puffs regularly, making rings of smoke.
72 INT. ATRIUM -- MOMENTS LATER 72
The smoke from the den wafts a bit into the atrium. It is
spectacularly clean.
73 INT. OFFICE -- CONTINUOUS 73
Roy sits up at the desk and takes out a piece of paper. He
begins to scribble fast.
74 INT. HALLWAY -- CONTINUOUS 74
Everything is gleaming new.
75 INT. OFFICE -- CONTINUOUS 75
Roy goes to the cabinet and opens his shrine to Grace. He
lights the candles inside. It glows bright on him.
(CONTINUED)
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382-Rubin-0329 p. 29
4-7-00
He stares holding his sheet of paper.
76 EXT. ROY'S BEDROOM -- LATER 76
Roy closes the door and locks it.
77 INT. PARENTS BEDROOM -- MOMENTS LATER 77
Roy takes the key and puts it in his mother's Jewelry box.
The room is basically the same except, Roy has moved into
the room.
78 INT. OFFICE -- MOMENTS LATER 78
Roy is talking on the phone, writing things down.
Roy grabs a stack of papers and leaves the room. He reenters
and grabs something from the shrine and puts it in his pocket.
He exits.
79 EXT. DESIGN STUDIO -- DAY 79
A changed Roy stands outside the studio. He is in a dapper
suit. He wears glasses, and now has green eyes. He is clean
shaven, his hair is blond, short, and styled.
Roy takes a deep breath and enters the studio.
80 INT. DESIGN STUDIO -- CONTINUOUS 80
Roy walks in confidently. The studio is large and white.
Modern paintings and computer generated art hangs on the
walls. Before the doors there is a reception area. A man
sits at the desk.
RECEPTIONIST
Do you have an appointment, Sir?
Roy walks right past the man and into the offices.
RECEPTIONIST (CONT'D)
Sir, you can't do that! Sir!
81 INT. STUDIO OFFICES -- CONTINUOUS 81
The receptionist follows. He goes to get some help.
Roy follows his nose to Grace's office. Her name plate on
the door. He puts his hand to the door to knock but walks
right in.
(CONTINUED)
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382-Rubin-0329 p. 30
4-7-00
82 INT. GRACE'S OFFICE 82
Grace sits at her desk talking on the phone. She looks up.
GRACE
What are you doing?
(to the phone)
No, not you.
(to Roy)
You! Who are you?
(to the phone)
Yes, I know who... Can I call you
back? Okay, bye.
Grace stands behind her desk.
GRACE (CONT'D)
Who the hell do you--
Roy thrusts a business card in her face. She takes it.
GRACE (CONT'D)
Andrew Lenahan?
ROY
I'm sorry to intrude but I--
GRACE
What? I'm going to call security!
Grace goes for the phone. Roy stands between her and the
phone.
ROY
Please, I apologize for my rudeness.
I guess my excitement got the best
of me.
GRACE
Do you always just walk into people's
offices without knocking?
ROY
I try not to make it a habit, but
yes, sometimes I do just forgo the
formalities and walk right in.
Grace starts to respond. Roy walks around her, takes her
from behind the desk and sits her in the chair next to him.
ROY (CONT'D)
I find the element of surprise always
works in my favor.
(CONTINUED)
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382-Rubin-0329 p. 31
4-7-00
Roy stands.
ROY (CONT'D)
Now, let's get to business, shall
we.
He faces her.
GRACE
What business is that?
ROY
I've come to commission a painting.
Grace looks at Roy in shock.
ROY (CONT'D)
Yes, I know you'll say you're not an
artist, but I know differently.
Grace's mouth drops wide open.
GRACE
I-uh-I-uh, I don't know what to say.
ROY
Say you'll do it.
GRACE
I don't know anything about you. I
don't even know you and you want me
to paint for you. How... I mean...
How do you know anything about me?
ROY
There are things beyond even your
control.
(pause)
If you must know--
The door bursts open. The receptionist and another man walk
in.
RECEPTIONIST
(pointing at Roy)
That's him! He walked right by me--
MR. AUSTER
Grace, is this man bothering you?
Grace, still in shock from the entrance.
(CONTINUED)
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382-Rubin-0329 p. 32
4-7-00
GRACE
Uh, no. He, uh, he wants to hire
me.
MR. AUSTER
Oh.
RECEPTIONIST
Oh really?
Mr. Auster gives the receptionist a knowing look.
MR. AUSTER
The front desk is unattended.
The receptionist quickly exits,
MR. AUSTER (CONT'D)
Grace is the best at what she does.
Her savvy always gets the job done
and at a reasonable price.
ROY
Well, I don't exactly want Ms. Calan
for her savvy. I'm more interested
I her uh, talent.
MR. AUSTER
Her savvy is her talent.
GRACE
Can we steer the conversation away
from my savvy. Is there something I
can help you with Mr. Auster.
MR. AUSTER
I just came in here to make sure you
were alright.
GRACE
I'm fine. I think Mr...
(looks at the card)
Lenahan, just got carried away.
Mr. Auster gives Roy the once over.
MR. AUSTER
Are you sure?
Grace walks Mr. Auster to the door.
GRACE
I'll be fine.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 33
4-7-00
ROY
She's in the best of hands.
Roy gives Mr. Auster a wide grin.
They both give Roy a look. She opens the door and Mr. Auster
exits, hesitantly.
GRACE
As you can see, not much excitement
around here. I'm sure they're all a
buzz out there.
Roy and Grace go to her door and open it a sliver, they peer
out.
83 EXT. GRACE'S OFFICE -- CONTINUOUS 83
People are looking over at Grace's office, trying to look
inconspicuous, they get caught and try to look busy.
84 INT. GRACE'S OFFICE -- CONTINUOUS 84
Grace closes the door. They stand for a moment and break
out into laughter.
GRACE
I haven't laughed this hard...
(pause)
In a long time.
ROY
I'm glad I could oblige. So, when
do you think we could get started?
GRACE
Whoaa, I think we better get something
straight here.
ROY
Okay. How 'bout we discuss it all
over dinner?
GRACE
I'm not going to have dinner with
you.
ROY
Why not?
GRACE
I don't even know you.
(CONTINUED)
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382-Rubin-0329 p. 34
4-7-00
ROY
At dinner you'll get to know me.
GRACE
Are you trying to be charming?
ROY
Is it working?
GRACE
Maybe.
ROY
Then I'm being charming.
GRACE
Listen Mr. Lenahan, I feel you owe
me some sort of explanation. How do
you know me and why do you want me
to paint for you?
Roy walks to the window.
ROY
There was an art exhibit at the
University of Pennsylvania about ten
years ago. I saw a painting of a
young girl seated at a vanity. She
was looking in a mirror.
Grace looks up recognition in her face.
ROY (CONT'D)
But the reflection she saw was not
her own but a monster; or rather,
she saw herself as the monster
reflected in the mirror. I told
myself I had to have it. But the
artist wouldn't sell. I tried
everything, but it was for the school
and none of the paintings were to be
sold.
Grace stands and walks over to Roy.
GRACE
Why did you need to buy it?
ROY
I understood that girl so well. She
was, at that moment, the one person
I could understand.
(CONTINUED)
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382-Rubin-0329 p. 35
4-7-00
Grace looks into Roy's eyes, he stares back. For a moment
they are locked together.
Grace looks away quickly.
GRACE
I can't believe you did that.
Grace looks up at him, really looking at him this time, almost
staring. Roy begins to shift from his reserved stance,
looking away from her.
GRACE (CONT'D)
You seem to know a lot about me.
ROY
I know you paint more than stick
figures.
Grace smiles. Roy sighs in relief.
GRACE
So. What do we do now?
ROY
My name is Andrew Lenahan.
Roy extends his hand. Grace plays along.
GRACE
I'm Grace Calan.
She extends her hand, they shake.
ROY
Pleased to meet you.
GRACE
Likewise.
ROY
So, tonight, dinner?
GRACE
I have plans for this evening. But
tomorrow, how does that sound?
Grace goes through her calendar on her desk. Roy looks
disappointed.
ROY
That would be fine.
(CONTINUED)
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382-Rubin-0329 p. 36
4-7-00
Grace and Roy stand in silence for a moment, not knowing
what to say.
GRACE
Well, I, uh, guess I better get back
to work.
ROY
I'm sorry, you're right, I've kept
you too long.
Grace walks over to Roy and lightly holds his arm.
GRACE
It's okay. Why don't you give me
your number and I'll have Mark, out
there, give you a call.
Roy a little shaken by her touch, stares at her hand on his
arm for a moment. He quickly regains his composure.
ROY
Sounds like a plan.
GRACE
See you later.
Grace sits at her desk.
ROY
Bye.
85 EXT. GRACE'S OFFICE -- CONTINUOUS 85
Roy walks out of Grace's office and up to the cross
receptionist. Roy walks calmly past him and exits.
86 EXT. DESIGN STUDIO -- CONTINUOUS 86
Roy sits on the bench outside the studio and waits.
DISSOLVE TO:
87 EXT. DESIGN STUDIO -- EVENING 87
Roy still sits on the bench. Two coffee cups sit next to
him, a folded up newspaper on his lap. Grace exits the
studio. She walks down the street towards the subway. Roy
watches as she goes.
(CONTINUED)
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382-Rubin-0329 p. 37
4-7-00
88 INT. KINGSTON TOY OFFICE -- LATER 88
Roy sits at his desk, jacket off, shirt undone, cuffs up,
scribbling furiously. His drawer is unlocked, the recorder
is visible. The sun is about to peak the horizon.
He turns to his computer and begins to draw with the mouse.
On the screen are the schematics of an airplane. (A toy
airplane.) The sun is higher.
Roy stands at the printer waiting for his drawings. The sun
still higher.
Roy is cleaning up and putting things away. The sun is up,
the office is opening.
Roy goes to the bathroom.
89 EXT. BATHROOM -- MOMENTS LATER 89
Roy exits, putting his tie on. He no longer looks like
Andrew. The contacts are out, glasses off, and he has a
brown wig on. Walking down the hall, he bumps into
Mr.Stevens.
MR. STEVENS
Roy, what a nice surprise. We haven't
seen you in two days.
(pause)
Have you come down with some awful
virus that left you mute and dumb?
They walk past Roy's desk, Roy grabs the tape recorder and
is ushered into Mr. Stevens office.
MR. STEVENS (CONT'D)
Is there something you'd like to say
to me?
Roy is very calm.
ROY
No.
MR. STEVENS
Nothing?
ROY
Yes.
Roy remains calm while Mr. Stevens' voice grows in volume
and anger.
(CONTINUED)
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382-Rubin-0329 p. 38
4-7-00
MR. STEVENS
You've been out of this office for
days now, and not a word. You show
up whenever you like, work at strange
hours, you leave, you don't show up
for meetings, and now here you are 6
am finishing work! Do you think you
can get away with this?
ROY
With what, sir?
MR. STEVENS
Don't fuck with me!
Roy pulls out a tape recorder from his pocket.
ROY
I think you're the one that should
stop the fucking. All those women.
What would your wife think.
Roy pushes play.
WOMAN ON TAPE
Yes! Yes! Right there! That's it!
Give it to me! Give It To Me! GIVE
IT TO ME!
ROY
Does this sound at all familiar?
Let me play you some more.
Roy fast forwards the tape a bit.
MAN ON TAPE
Come on baby. Yeah, you know how I
like it. Oh, yeah baby! Oh, yeah!
Oh, Yeah! Yes! Yes! That's right!
Oh, Oh, oh...
(heavy breathing)
You know just how to make me come,
baby.
ROY
That voice, sounds familiar doesn't
it?
Mr. Stevens goes white. He quickly pulls away from Roy and
uses his desk for support.
MR. STEVENS
Where did you get that?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 39
4-7-00
Roy says nothing.
MR. STEVENS (CONT'D)
WHERE DID YOU GET THAT!?
Roy stays silent. Mr. Steven begins to charge Roy from across
the room. As Mr. Stevens is about to get his hands around
Roy's neck he raises his hand with the tape recorder in it.
ROY
(completely calm)
You know. I think your wife would
love to hear this. I think she'd
get a real kick out of it. What do
you think?
Mr. Stevens pulls away.
ROY (CONT'D)
That's what I thought.
MR. STEVENS
What do you want?
ROY
A little time off.
MR. STEVENS
That's all?
ROY
Yes.
MR. STEVENS
What about the tape?
ROY
What tape?
Roy opens the door, turns to Mr. Stevens. Jack walks up to
the door.
ROY (CONT'D)
Do we have an understanding?
Mr. Stevens nods his head in agreement.
JACK
(oblivious)
Where ya been?
ROY
Around.
(CONTINUED)
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382-Rubin-0329 p. 40
4-7-00
JACK
I thought you quit or something.
ROY
Just had some personal business to
take care of.
JACK
So you're back?
ROY
Not exactly. I was just talking to
Mr. Stevens about you taking over
for me, while I'm away, taking care
of things.
(to Mr. Stevens)
Isn't that right?
MR. STEVENS
Yes.
(to Jack)
Do you think you're up to it?
JACK
Yes, sir! Thank you so much sir!
Jack grabs Roy's hand and shakes furiously. He pulls Roy to
him and gives him a bear hug.
JACK (CONT'D)
You're the best friend I've ever
had.
Roy does not react as Jack hugs him and quickly pulls away.
Roy and Mr. Stevens share a knowing stare unbeknownst to
Jack. Roy slips out of the office as Jack overpowers Mr.
Stevens in conversation.
90 EXT. DESIGN STUDIO -- EVENING 90
Roy stands outside the studio. He is now Andrew Lenahan.
He holds a single flower in his hand, behind his back. Grace
stands at the studio door, ready to exit. She sees Roy and
gives him a smile through the glass. She exits.
GRACE
Hi.
ROY
I was early, so I went across the
street and got you this.
(CONTINUED)
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382-Rubin-0329 p. 41
4-7-00
He pulls out the flower and hands it to her.
ROY (CONT'D)
It's a rare water lily.
Grace smells it.
GRACE
It's lovely, but--
ROY
I know, it's just that I-- had the
time. It's nothing.
He takes her by the small of her back and guides her towards
the car, a black BMW sits across the street.
GRACE
Where are we going?
ROY
A little place, it's not far. Just
sit back and enjoy the drive.
Roy gets in the car and puts it in gear. He is gleaming.
They drive off.
91 INT. MUSHELEU -- LATER 91
Roy and Grace are seated at a table overlooking the water.
GRACE
Nice.
ROY
I thought you'd approve.
The waiter comes by with menus.
WAITER
Something to drink?
GRACE
I'll have a Chardonnay.
ROY
Stoli.
GRACE
So, Mr. Lenahan, what is it you want
me to paint?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 42
4-7-00
ROY
Please, call me Andrew.
GRACE
Okay, Andrew...
ROY
My mother's portrait.
GRACE
Your mother?
ROY
Were you expecting it to be me?
GRACE
Well, I thought there might be some
ulterior motive.
ROY
I would never.
They laugh. The food comes. They talk and eat.
GRACE
What do you do exactly, for a living?
ROY
I design aircrafts for Boeing.
GRACE
My father worked for Boeing.
ROY
Really? When did he work there?
GRACE
For years. He died last year.
ROY
I'm sorry.
GRACE
It's okay. Before he died, the two
of us went and watched them test all
the planes my father ever designed.
It was like watching his life actually
fly by. I never saw him cry until
that day.
Grace gets a little teary. Roy gives her his handkerchief.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 43
4-7-00
GRACE (CONT'D)
Thanks. I'm sorry to go on like
this.
ROY
No, it's okay. I understand. My
parents meant a lot to me. When
they died, I was only fifteen.
GRACE
Really?
ROY
I was in class and the Vice Principal
came and said there was an emergency.
Right there in the hall he told me
they were dead. It was so unreal,
you know? I thought it was a dream,
but when I got home and they weren't
there, I knew it was true.
GRACE
What'd you do?
ROY
I declared myself independent. My
uncle was a lawyer. He looked after
the money and me, until I was
eighteen, then I was on my own.
GRACE
I'm so sorry, I didn't mean too--
ROY
It's fine. I know they're at peace
and so am I.
GRACE
How did our discussion of art turn
to this?
ROY
You asked what I did for a living.
GRACE
You were listening.
ROY
Always.
Roy looks away. He motions to the waiter.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 44
4-7-00
WAITER
Yes, sir.
ROY
We'd like dessert menus.
GRACE
I'm full.
ROY
Come on, you have to try their praline
cheesecake, it's amazing.
The waiter nods in agreement. Grace agrees.
GRACE
We'll have one piece with two forks.
(to Roy)
Is that all right?
ROY
Perfect.
92 EXT. MUSHELEU -- LATER 92
Grace and Roy are walking by the water.
GRACE
We didn't really get to talk about
the painting.
ROY
I know. What about lunch tomorrow?
GRACE
I eat lunch with my boyfriend during
the week.
ROY
Oh.
GRACE
You know, I don't think it would be
that big a deal if you came along.
ROY
That's great. So, tomorrow at one?
GRACE
(unsure)
Yeah.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 45
4-7-00
ROY
The water at night, it's so peaceful.
GRACE
I always thought this was the perfect
time to lose yourself.
ROY
What do you mean?
GRACE
When the moon's full and the water
is right, you can... Never mind.
ROY
No, go on.
Grace looks at her watch.
GRACE
We better get going. It's late.
They walk to the car.
ROY
I had a really good time.
GRACE
The best business dinner I've had in
a long time.
They get in the car.
93 EXT. GRACE'S APARTMENT BUILDING -- LATER 93
94 INT. ROY'S CAR 94
GRACE
How'd you know where I lived.
ROY
You told me.
GRACE
I did?
ROY
You said you lived by the park.
GRACE
I didn't say which one.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 46
4-7-00
ROY
I'm a good guesser, and anyway, I
had a friend who used to live here.
GRACE
Really, who?
ROY
You wouldn't know them.
Roy gets out of the car and opens the door for Grace. He
takes her hand and helps her out.
GRACE
Thank you.
He kisses her hand. She doesn't know how to react.
ROY
My pleasure. See you tomorrow.
Grace walks in to her apartment building.
95 INT. GRACE'S APARTMENT -- LATER 95
Grace walks in and relaxes on the sofa. The phone rings,
she jumps.
GRACE
Hello.
CUT TO:
96 INT. BAR -- CONTINUOUS 96
Mitch stands in a phone booth.
MITCH
Hey baby. Where ya been? I've been
calling all night. I thought we had
a date.
CUT BACK TO:
97 INT. GRACE'S APARTMENT -- CONTINUOUS 97
GRACE
Oh, sorry, I forgot. I had dinner
with a client.
CUT BACK TO:
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 47
4-7-00
98 INT. BAR -- CONTINUOUS 98
A woman knocks on the phone booth. Mitch shushes her. He
sticks his head out, hand over mouth piece.
MITCH
One second, baby.
He gives the woman a quick kiss and closes the door.
MITCH (CONT'D)
Can I come over later?
(pause)
I'll see you soon. Love ya.
He hangs up, exits the booth and joins the woman at the bar.
MITCH (CONT'D)
Baby, I have to get going.
STELLA
Right now?
MITCH
Yeah, I'm sorry. I'll call you.
STELLA
You better.
She grabs him and kisses him deeply.
99 INT. GRACE'S BEDROOM -- LATER 99
Grace lays on the bed watching tv.
A door is heard opening. Mitch walks in to the bedroom.
GRACE
What took you so long.
MITCH
Since you stood me up, I decided to
get some work done.
GRACE
I thought you--
MITCH
I'm gonna jump in the shower.
Mitch undresses, leaves a pile on the floor and enters the
bathroom. Grace goes to pick up the clothes. Mitch jumps
out, wet, and kisses her.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 48
4-7-00
MITCH (CONT'D)
Wanna join me?
He pulls her into the bathroom. Her robe is flung into the
bedroom.
100 INT. BATHROOM -- MOMENTS LATER 100
The two are in the shower.
101 INT. ROOM 3R BATHROOM -- MOMENTS LATER 101
Roy (as Andrew)is cleaning out the bathtub.
ROY
(yelling)
Next time you'll call someone if it
gets clogged?
The person coughs violently.
ROY (CONT'D)
Use the oxygen!
The gnarled hand places a mask up to his face. Only the
eyes and a fogged face mask can be seen.
Roy emerges from the bathroom.
ROY (CONT'D)
I gotta go. The nurse'll be by
tomorrow. I don't know when I'll be
back.
(to himself)
Neither will you.
Roy leaves. The hand drops the mask and lights another
cigarette.
DISSOLVE TO:
102 EXT. ROY'S HOME -- DAY 102
It is the past again.
103 INT. ROY'S HOME/ATRIUM -- MOMENTS LATER 103
Young Roy enters, he is fifteen. He drops his coat on the
divan and enters the kitchen.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 49
4-7-00
104 INT. KITCHEN -- CONTINUOUS 104
Roy gets out some food and begins to prepare it. He cooks
and does his homework at the same time.
A door slams (O.S). Roy's father enters, cigarette in hand.
ROY'S DAD
What's for dinner?
ROY
Pork chops, potatoes, and string
beans.
Putting his cigarette out by Roy.
ROY'S DAD
Good. I'll be in my office. Call
me.
Roy stares after his father and then continues to work.
105 KITCHEN TABLE -- LATER 105
The two sit at the table in silence. Roy's father shovels
food into his mouth quickly. Roy sits picking and staring
at the meal. Roy's dad looks up for a moment, notices his
son.
ROY'S DAD
Something eating you, son.
Roy looks up slowly, curious.
ROY
Do you really care?
ROY'S DAD
Not at all, son, not at all.
ROY
What kind of man are you? You don't
give a damn about me, you never cared
about my mother! What the hell is
wrong with you?
Roy's dad wipes his face and stands.
ROY'S DAD
Wait a second here, I cared about
your mother, I did. She just wasn't
my main objective.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 50
4-7-00
ROY
Objective, she was not an objective,
or an object, she was a person! And
she was all I had. Now, I just have
you. I might as well have nothing!
Roy runs upstairs. Roy's dad stands for a moment, then
returns to his meal. He finishes and lights a cigarette.
CUT TO:
106 EXT. MARATHON GRILL -- AFTERNOON 106
Roy (as Andrew) waits outside for Grace.
Grace comes from behind and taps Roy on the shoulder.
GRACE
Hey there.
Roy turns quickly.
ROY
I was waiting.
GRACE
Got here about five minutes ago.
Ladies room.
Grace puts her arm through Roy's.
GRACE (CONT'D)
Let's eat. Mitch'll be here in a
few.
ROY
Shouldn't we wait?
They enter the Marathon Grill.
107 INT. MARATHON GRILL -- CONTINUOUS 107
GRACE
I know what he wants. He always
gets the same thing. Corned beef,
mustard, mayo, and a pickle.
(pause)
Isn't it boring?
ROY
There must be some comfort in
repetition.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 51
4-7-00
They take a table in the back.
The man who called Roy a freak is a table away from them.
Roy notices and turns away from this man.
GRACE
So, what do you want?
ROY
I don't know, maybe Mitch can choose.
GRACE
Be nice.
ROY
I'm sorry.
(looks at menu)
I think I'll have the turkey club
with mustard and no mayo. How 'bout
you?
GRACE
That's exactly what I was going to
order.
(pause)
Creepy.
They laugh. The waiter takes their order.
ROY
I brought photos of my mother.
Roy takes some pictures out of his pocket and hands them to
Grace.
GRACE
She was beautiful. She looks a lot
like you.
ROY
People say that a lot.
GRACE
Is this your dad?
Holding a picture of Roy's mother and father.
ROY
Yeah.
GRACE
He seems really... hard.
(MORE)
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 52
4-7-00
GRACE (CONT'D)
I'm sorry, he just doesn't look like
he wants to be there.
ROY
Very perceptive.
Roy takes the picture from grace.
ROY (CONT'D)
My mom used to tell me a story about
this picture. My dad hated having
his picture taken--
Mitch comes up behind Roy and places his hand on Roy's
shoulder.
MITCH
Hey baby.
GRACE
Mitch, uh, hi.
Mitch sits next to Grace.
MITCH
Are you going to introduce me?
GRACE
Sorry Mitch, this is Andrew.
(they shake)
Andrew this is Mitch.
ROY
Nice to meet you.
MITCH
Likewise. What you two been gabbing
about?
GRACE
Andrew was telling me about this
picture of his parents.
Mitch takes the picture from Roy.
MITCH
Really?
(to Grace)
Good story, honey?
Mitch goes in for a kiss. Grace turns toward Roy.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 53
4-7-00
GRACE
Actually, you interrupted it.
Mitch is stung by her coldness.
MITCH
By all means, go on with your
fascinating story.
ROY
Well, as I was saying--
MITCH
Ah, sorry to interrupt again, but
did you two order?
GRACE
Yes.
MITCH
You did?
GRACE
Mitch, I ordered for you.
MITCH
My sweet baby. Give daddy a kiss.
Mitch grabs Grace and kisses her passionately. He looks at
Roy. Grace pulls away embarrassed. Roy is uncomfortable.
GRACE
Sorry about this.
Roy shakes his head.
ROY
Not a problem.
The waiter comes with their food. Mitch digs in. Roy and
Grace pick slowly.
GRACE
So, Andrew, what did you have in
mind for the portrait?
ROY
I was thinking of the garden at our
house. Maybe putting her there and
in one of her favorite dresses.
He pulls out a photograph.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 54
4-7-00
ROY (CONT'D)
This was her favorite. She used to
dance me around the house wearing
that dress.
MITCH
(chewing, under his
breath)
Momma's boy achoo...
Grace looks at Mitch disapprovingly.
GRACE
That's really sweet.
ROY
She used to be a dancer. That's
where they met. My dad saw this
beautiful creature dancing on the
stage and he had to have her. Or
that's what she said.
GRACE
That's so romantic. My parents met
on a blind date. My mom wasn't even
going to go but my Aunt forced her
to. Just think if they'd never met?
ROY
I don't even want to imagine.
Grace blushes. Mitch fumes.
MITCH
I think we ought to get going.
Grace looks at her watch.
GRACE
You're right. Andrew, it was lovely.
I still think I need more.
ROY
Why don't you come by the house this
weekend, both of you.
GRACE
That sounds great. Mitch?
MITCH
I can't, I have that meeting in
Montreal.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 55
4-7-00
GRACE
Oh yeah, I guess it'll just be the
two of us.
ROY
Too bad.
Grace goes for her wallet.
ROY (CONT'D)
Don't worry about it, it's in me.
Grace and Mitch prepare to leave.
GRACE
See you saturday.
Mitch give Roy a dirty look.
108 EXT. MARATHON GRILL -- MOMENTS LATER 108
Mitch and Grace exit. They walk down the sidewalk.
MITCH
I don't trust that guy.
GRACE
You don't trust anybody, including
me.
MITCH
He just rubs me--
GRACE
(making fun)
The wrong way? Honey, please, Andrew
is a nice man who wants his dead
mother's portrait done.
MITCH
And Norman Bates doesn't even set
off any bells for you?
GRACE
You're overreacting.
MITCH
I just hope I don't find your body
mangled in the shower.
GRACE
Come on, I gotta get back to work.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 56
4-7-00
They walk around the corner. Roy follows but suddenly turns
the other way.
109 INT. KINGSTON TOY OFFICE -- EVENING 109
Roy (as Andrew) walks to his cubicle, empty. He walks over
to Jack's desk and finds all of his work. He opens Jack's
computer and starts to work. He looks through the pile of
papers and starts to design on the computer.
110 INT. BATHROOM -- LATER 110
Roy is wiping his face. He looks in the mirror. He sees
Andrew staring back and he jumps.
111 INT. KINGSTON OFFICE -- MORNING 111
The sun is peaking and Roy stands looking out the window,
coffee in hand.
He finishes up at Jack's desk and cleans up. He looks at it
all and pushes the chair back and walks out.
112 EXT. DESIGN STUDIO -- MORNING 112
Roy sits outside the studio smoking a cigarette. He looks
at the half smoked cigarette in disgust. He throws it to
the ground and steps on it. He stands as Grace enters the
studio. Roy walks away.
113 INT. DESIGN STUDIO -- CONTINUOUS 113
Grace turns around and looks at where Roy was standing. No
one, just a bench. Grace continues into her office.
114 EXT. ROY'S HOME -- DAY 114
Roy stands outside waving. Grace drives up.
ROY
Did you find it okay?
GRACE
It was fine. This place is beautiful.
ROY
Thanks. My Grandfather designed it.
Grace grabs her things form the car. Roy takes them from
her.
ROY (CONT'D)
So what'd ya bring me?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 57
4-7-00
GRACE
I've been coming up with all kinds
of ideas. I've been sketching like
crazy.
ROY
Really, I thought you were blocked.
GRACE
What?
ROY
You said you hadn't done much in a
while.
GRACE
I did?
ROY
Don't you remember? We were sitting
at the restaurant--
GRACE
(unsure)
Oh, yeah.
ROY
Well, let's get inside. I'll show
you around.
GRACE
Can I see the garden?
ROY
Sure.
They go around the back of the house.
In the back their is a fountain and many blooming trees.
Vines cover the back of et house and flowers cover the path
on both sides that leads to the veranda. They walk along
the path.
GRACE
Wow! I didn't expect anything like
this!
Grace turns around as she walks. She runs to the fountain
and splashes.
ROY
Do you like it?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 58
4-7-00
GRACE
I love it!
They go and sit in the veranda.
Grace shows Roy the sketches. He looks at them but mostly
he looks at Grace and she notices and likes it. They flirt.
ROY
I was thinking she could be seated
there.
He point to where Grace sits. He comes close to her.
ROY (CONT'D)
Have the sun come across like this.
Roy touches her cheek and shoulder.
GRACE
A soft light would be nice.
ROY
Let me show you the dress.
Roy takes Grace by the hand, he escorts her toward the house.
115 INT. ROY'S HOME/KITCHEN -- MOMENTS LATER 115
ROY
Something to drink?
Roy opens the fridge. Grace looks over Rosy shoulder. She
points.
ROY (CONT'D)
Lemonade?
Grace nods seductively. They drink.
GRACE
Do you live here all alone?
ROY
Me and the ghosts.
GRACE
(joking)
There's ghosts?
ROY
Come on, I'll show you the rest of
the house.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 59
4-7-00
116 INT. ATRIUM -- MOMENTS LATER 116
Grace looks around head high. Roy follows, watching her.
GRACE
This place is so amazing. Who cleans
up there?
Roy points to himself. Grace looks impressed.
ROY
All you need is a really big ladder.
GRACE
You know what they say about a guy
with a big ladder, don't ya?
ROY
No, what do they say?
GRACE
Um, If I were at all witty I'd have
something good to say here, but I'm
not. Sorry.
ROY
That's okay, you'll do better next
time. But good try.
Roy chucks Grace on the chin. Their faces get close, she
pulls away.
GRACE
I paid for the full tour.
ROY
You're right.
Roy leads grace up the stairs. Grace looks at the pictures
as she goes.
GRACE
These are great. All of these.
Who's this.
Pointing to a picture of a beautiful red-head.
ROY
That's my Great Aunt Sophie. She
was a nurse during World War two.
This was done right before she left,
but she didn't come back.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 60
4-7-00
GRACE
I'm so sorry.
ROY
No, it's okay, she stayed because
she fell in love.
GRACE
With a soldier she saved?
ROY
No, with the enemy.
They sit on the steps under the portrait.
ROY (CONT'D)
She was captured and well, he took
care of her and then some time passed
and they fell in love.
GRACE
It can't be as simple as that.
ROY
Of course it wasn't but it's a long
story and I've told it so many times.
GRACE
Come on.
ROY
Okay.
The two sit on the stairs and talk, for hours. The sun sets
and they sit on the steps. They look up and the moon is
out.
Grace looks at her watch.
GRACE
Oh my God...
Roy looks out the window.
ROY
It's dark.
They look at one another.
ROY (CONT'D)
Time for dinner.
Grace stands.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 61
4-7-00
GRACE
I better get going. I promised
Mitch...
Roy stands and touches her hand.
ROY
He's out of town.
Grace turns toward Roy.
GRACE
You're right.
(pause)
Dinner?
ROY
Dinner.
117 INT. KITCHEN -- LATER 117
Pots and pans are on the stove. Food is being cooked. The
kitchen table is set elegantly. Candles are lit. Roy is
putting the finishing touches on a salad. He looks out the
window and watches Grace sketch in the garden.
118 EXT. GARDEN -- CONTINUOUS 118
She looks up and waves.
119 INT. KITCHEN -- CONTINUOUS 119
He motions that he's finished. Roy smiles. He tidies himself
up and waits for Grace.
120 INT. DEN -- LATER 120
Grace and Roy sit on the sofa drinking Brandy.
GRACE
That was one of the best meals I've
ever tasted.
She clinks her snifter with his.
ROY
Thank you. You're one of the best
guests I've ever had.
They clink again.
ROY (CONT'D)
Grace.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 62
4-7-00
GRACE
Yes.
ROY
Can I kiss you?
GRACE
Yes.
They embrace and kiss passionately. Grace pulls away after
a moment.
GRACE (CONT'D)
I have to go.
Grace stands. Roy stands.
ROY
But you haven't seen the dress.
GRACE
The dress?
Roy takes Grace's hand.
ROY
Don't go.
GRACE
Andrew...
Grace pulls away and grabs her things.
GRACE (CONT'D)
I'll see you on Monday. Can you
bring the dress by there?
ROY
Yes.
GRACE
I had a really good time.
They share a look.
Grace turns to go. Roy watches.
GRACE (CONT'D)
Oh what the hell.
Grace turns back to Roy and kisses him.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 63
4-7-00
ROY
I thought you were going.
GRACE
So did I.
121 INT. PARENTS BEDROOM -- LATER 121
Roy lies in bed. The bathroom light is on, the door open
slightly.
GRACE (O.S.)
One more second. I might need your
help.
Grace exits the bathroom wearing Roy's mother's dress.
Roy sits up.
ROY
You look--
Grace looks in the mirror.
GRACE
Like your mother?
ROY
No. Amazing.
(pause)
Come here.
Grace stands next to the bed by Roy. He sits on his knees
and hugs her. They begin to kiss. Roy pulls her onto the
bed.
DISSOLVE TO:
122 INT. BEDROOM -- MORNING 122
Grace lays in bed asleep. Roy stands at the door carrying a
tray. He comes over to her in bed and holds a flower to her
nose. She smells and opens her eyes.
GRACE
What's this?
ROY
Breakfast.
Grace sits and Roy puts the tray in front of her. They eat.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 64
4-7-00
GRACE
I, uh, never cheated on anyone before.
ROY
I didn't mean to...
GRACE
No, you didn't. I guess, things
with me and Mitch, weren't great.
ROY
Grace.
GRACE
Yes.
ROY
I should tell you.
GRACE
You can tell me anything.
(pause)
I know it's corny but I feel like
I've known you my whole life.
ROY
I feel the same way.
(pause)
It's just that I...
GRACE
What?
ROY
This isn't easy for me. Being here
with you, it's like all my dreams
coming true.
(pause)
I never thought...
Grace kisses Roy.
GRACE
You never thought that someone like
me could love someone like you?
ROY
I never thought--
The phone rings.
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 65
4-7-00
ROY (CONT'D)
Hello.
(pause)
What! Are you sure? Okay, I'll be
there as soon as I can.
Roy jumps out of bed.
GRACE
What is it?
Roy quickly picks up his clothes.
ROY
I have to go. An emergency.
GRACE
Do you want me to come with you?
ROY
No. Um, it's work, some test just
went, uh, haywire, and I have to go
take care of it. No big deal.
GRACE
Sounds big to me.
ROY
Well, they need me.
Roy starts to gather Grace's clothes. He shoves them at
her.
ROY (CONT'D)
You better, uh, get home too.
Grace slowly gets dressed.
GRACE
Yeah, I better.
123 EXT. HOUSE -- LATER 123
Grace sits in her car, Roy stands by the window.
ROY
I'll see you Monday.
He kisses her.
GRACE
Is this goodbye?
(CONTINUED)
-----------------------------------------------------------------------------------------------------
382-Rubin-0329 p. 66
4-7-00
ROY
Just for a day.
GRACE
I sound like a school girl.
ROY
I always had a thing for school girls.
They laugh and kiss.
Grace drives away. Roy stands and watches. He quickly opens
the garage and gets in his car.
124 INT. KINGSTON TOY OFFICE -- LATER 124
Roy walks in to the office. He still looks like Andrew.
Jack sits at his desk, pale, his clothes are wrinkled and
dirty. He looks as if he hasn't slept.
JACK
What happened to you?
ROY
I could ask you the same thing.
Roy walks over to Jack's desk.
ROY (CONT'D)
What happened?
JACK
I came in to work the other day and
the project was finished, done, it
was complete. The thing is, I didn't
do it.
ROY
I know.
JACK
I knew it was you but I just couldn't
believe it.
(pause)
How could you?
ROY
What?
JACK
Who the hell do you think you are?
(CONTINUED)
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382-Rubin-0329 p. 67