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"Connection" by Steven J. Fauquier First Draft E-Mail March 2, 2005. swifte5070@yahoo.com
FADE IN:
EXT. SIDEWALK - NIGHT
Walking hand-in-hand, a COUPLE makes their way through many
oblivious PEDESTRIANS. They pass several small corner stores.
TEENAGERS loiter outside.
The couple halts at a large group of PEOPLE bunched together
at a busy intersection. The couple mix-in and talk freely
with each other, laughing, they kiss.
A RED LIGHT.
The group starts to move out onto the street as the various
cars come to abrupt stops.
Across the street, the couple quickly branches off down an
alley between two stores.
The store's sign on the right reads, "Cole's Audio". A
glowing, florescent sign atop the store on the left reads,
"Penelope's".
EXT. ALLEY - NIGHT
The MAN leads the WOMAN down the secluded alley lined with
brick walls on either side. He stops, throws her against the
brick wall violently; she seems to like it. The woman hoists
herself up and wraps both legs around his waist as the man
pins her tightly. The couple kisses passionately. beat.
The CRASH of garbage cans on the pavement.
The couple looks to the right; the woman pushes her long,
black wavy hair out of her face.
WOMAN
Oh no.
The man is no longer pinning the woman. They both stand
facing ahead. The man's eyes widen, he puts his palms face-
out in front of him.
INT. OFFICE - DAY
A small, elegant office space. Plants and artistic paintings
fill the area. There are several plaques on the wall. A
shelf is full of thick, hard-covered books.
NATHAN WINTERS, the man from the alley, sits with perfect
posture on a red leather couch. He is thinner now. He stares
straight ahead.
2.
A PSYCHIATRIST sits still in a large, brown leather chair
with his back to Nathan, to us, listening.
NATHAN
Sometimes I can still feel it.
(Points to head)
In here...
(Points to heart)
... and here.
Nathan's eyes close as if he is recalling a much more
pleasant, distant memory.
NATHAN
But never like when it was actually
happening. The pain was... is awful.
I never thought it could be like that.
PSYCHIATRIST
(o.s. Male Voice)
Did it surprise you? How it felt?
NATHAN
A little.
PSYCHIATRIST
(o.s.)
Did you like it?
Nathan's nose scrunches in as he squints.
NATHAN
Excuse me?
PSYCHIATRIST
(o.s.)
Did you find the pain enjoyable?
NATHAN
How do you feel about getting hurt,
doc?
PSYCHIATRIST
(o.s.)
Don't answer a question with a
question, Nathan.
Nathan shakes his head slightly. beat.
NATHAN
No, I didn't.
3.
PSYCHIATRIST
(o.s.)
Well good then. I think that's it.
NATHAN
That's what?
PSYCHIATRIST
Sessions over for today.
Nathan looks up on the wall.
INSERT CLOCK
3:00
Nathan slowly stands up, still avoiding eye contact.
NATHAN
I wonder...
PSYCHIATRIST
(o.s.)
Do you?
NATHAN
What exactly was the point of that
last question you asked me?
The second hand on the clock is TICKING away. beat.
PSYCHIATRIST
(o.s.)
We all must experience some things
to know that we don't want to
experience them again. It's just,
in some cases, that first time can
get you... hooked.
Nathan straightens the collar of his shirt. He nods his head.
NATHAN
One of these days I have to start
paying you.
PSYCHIATRIST
(o.s.)
See you tomorrow Nathan. Bright and
early.
Nathan heads out the door.
4.
INT. BATHROOM - NIGHT
Nathan leans over a sink, the tap running. He splashes his
face with soapy water and looks up at his reflection in the
mirror. The door is three-quarters shut behind him.
NATHAN
We'll just have to see babe. But
you never know... in the wise words
of my brother, stranger things have
happened in this universe.
Nathan watches the soapy water drain down off his face.
NATHAN
Oh, and make sure you book dinner
reservations at Penelope's for
Saturday. If you don't book early,
we'll never get in. I don't know
how many times I have to remind you.
Nathan dries his face with a black hand towel. He studies
his face in the mirror. beat.
He turns and flicks off the bathroom LIGHT.
INT. BEDROOM - NIGHT
Nathan moves silently towards the master bed through the
darkness. The MOONLIGHT casts a dull, bluish GLOW in the room.
NATHAN
And after that we'll catch a movie,
your choice. And you know what that
means afterward...
He stops at the edge of the bed; gazing down lovingly at his
wife CLAIRE as she sleeps peacefully with her back turned to
him. Her beautiful long black hair cascades down her face.
Nathan quietly climbs into bed; pulling the covers over
himself. He lies there, staring up at the ceiling. beat.
Nathan cautiously turns toward his wife, draping an arm
around her and pulling her close.
NATHAN
(Soft)
How 'bout a trial run?
Nathan waits for a response. beat. His wife remains
oblivious to his impulses.
5.
NATHAN
Too tired again, huh?
Nathan removes his arm and gives her a peck on the cheek
before returning to his side of the bed. He picks up a
FRAMED PICTURE from the bedside table. He smiles as he
studies it. beat.
Nathan kisses the picture and places it gently back on the
bedside table. He rests his head on the pillow and stares up
at the ceiling.
INSERT PICTURE
The picture is of Nathan himself, a few pounds heavier, his
arm leaning up against somebody's shoulder that has been cut
out of the frame. He smiles happily.
DISSOLVE TO:
EXT. SIDEWALK - DAY
Nathan walks amongst the mass of PEDESTRIANS, talking on a
cell phone. He nudges his way through the crowd.
NATHAN
I'm on my way now. I'm just making
a quick stop in at Cole's.
(beat; listens)
Yeah, again. Just don't get on my
case right now, alright. You know I
get stressed before my appointments.
Nathan looks up at the "Cole's Audio" sign. Then to the
nearby alleyway and Penelope's restaurant.
He rushes past a few CHINESE BUSINESS MEN in suits as they
laugh for no apparent reason.
NATHAN
I'm at the door.
He enters the store.
INT. COLE'S AUDIO - DAY
The door slowly closes behind Nathan; the noise of the city
drowning out with it.
6.
NATHAN
Gotta go babe.
(beat; listens)
Love ya three.
(beat; listens)
Love ya one.
(beat; listens)
Okay, okay. See you this aft'.
He snaps the cell phone shut as he looks around the store.
Small. Quaint. Various stereos, speakers, and minor audio
equipment is placed strategically around the confined space.
There is a DVD rack on the back wall.
Nathan approaches the counter; a pretty blonde CASHIER smiles.
NATHAN
The wife.
CASHIER
Excuse me sir?
Nathan gestures to the cell phone.
NATHAN
The wife was talking my ear off.
He places the cell phone in his pocket.
CASHIER
Oh, I see. So what can I help you
with today, sir?
Nathan stares at the cashier. beat.
NATHAN
I bought a tape recorder here.
About two weeks ago. And wouldn't
you know it, I need more tapes.
The cashier smiles.
CASHIER
No problem. What is the make of the
recorder?
NATHAN
A Sony TCM-200DV. Handheld.
CASHIER
You know your stuff.
7.
NATHAN
The high sound quality one. Thanks.
The cashier moves to the back wall and rummages through some
shelves below.
CASHIER
Any preference in the make of the
cassette tape sir?
NATHAN
Yeah, one that I can record over
and over so I don't have to keep
coming back here.
The cashier looks back over her shoulder, smiles.
CASHIER
Is it such a chore?
Nathan smiles back.
EXT. POLICE STATION - DAY
A decent sized, generic cement building. The boys in blue
walk in and out of glass doors.
Approximately twenty police cruisers are parked outside in
the parking lot. One is currently pulling out of its space.
INT. POLICE STATION - DAY
Many busy cubicles. Various COPS writing up their paperwork,
scurrying about.
A group of errant COPS hang around the coffee machine,
talking and laughing.
Phone's RING.
Detective CULLEN, young, determined, is buried in paperwork
at his desk. beat.
HUSKY VOICE
(o.s.)
How did I know I would find you here?
Cullen looks up. Detective LOYER, overweight, hair thinning,
takes a seat on the edge of Cullen's desk. He sips his
coffee with a smile on his pudgy red face.
CULLEN
Besides the fact that I work here,
Neil?
8.
LOYER
Yeah, besides that smartass.
(beat)
What' chu working on now?
Cullen glances at the paper in front of him.
CULLEN
Organizing my trial dates. Don't
want any of these petty thugs that
I collared to get off because of a
schedule conflict.
LOYER
I hear that.
Loyer leans over to get a better view.
LOYER
Pretty organized system you got
there. Mine's still ugly.
Loyer chuckles to himself.
CULLEN
Maybe you should try, I don't know,
doing some actual police work
instead of sitting around watching
your fat ass get fatter?
LOYER
Oh, now the smartass gets smarter.
Loyer gives Cullen a playful shot in the arm.
LOYER
Just let me take a look at your
scheduling procedure. I'll combine
it with the one a borrowed from
Andrews.
Cullen rubs his arm and hands him the paper. Loyer examines it.
CULLEN
You know one of these days I'm
going to sue you for plagiarism.
LOYER
When you steal from a source, it's
plagiarism, yes. But steal from
two... it's called research, Cullen.
Cullen smiles. beat.
9.
CULLEN
I can see why everyone hates you.
LOYER
I'm not hated... just controversial.
Loyer gets up from the desk, paper in hand. He leaves.
Cullen watches him with interest. beat.
CULLEN
(Calls After)
So what's the difference?
Loyer keeps moving. He doesn't look back.
LOYER
(Calls Back)
Intelligence.
Detective HAAS, red hair, skinny, leans out of his near-by
cubicle and smiles at Cullen. Cullen nods his head and
returns to his work.
INT. OFFICE - LATER DAY
Nathan sits on the red leather couch, perfect posture.
The psychiatrist, back to Nathan, is seated in the brown
leather chair.
A beam of SUNLIGHT shines through a small window onto Nathan.
PSYCHIATRIST
(o.s.)
You still have problems admitting
to yourself what happened?
NATHAN
Yes.
PSYCHIATRIST
(o.s.)
Why?
NATHAN
It's a difficult thing.
PSYCHIATRIST
(o.s.)
To remember?
NATHAN
To forget.
10.
Nathan slumps for a moment, but quickly recovers. beat.
PSYCHIATRIST
(o.s.)
The best way to forget something is
to acknowledge that it happened.
Then it becomes part of you. And
the easiest thing to ignore is the
mundane.
NATHAN
That's distorted thinking.
PSYCHIATRIST
(o.s.)
How do you mean?
NATHAN
I mean, isn't that like hiding a
lie between two truths? Masking it.
PSYCHIATRIST
(o.s.)
It could be interpreted as such,
yes. Do you believe that two wrongs
make a right?
NATHAN
Of course not.
PSYCHIATRIST
(o.s.)
Maybe you're just looking at it the
wrong way?
NATHAN
How should I look at it?
PSYCHIATRIST
(o.s.)
Look at it like failure is progress.
Nathan closes his eyes, nods his head in agreement. beat.
His mouth slightly moves. He's talking to himself. beat.
Nathan's eyes flutter open. He looks in his psychiatrist's
direction with utter confusion. He squints.
He starts to stand up when - -
PSYCHIATRIST
(o.s.)
So take me back to the incident.
11.
He sits back down, relaxing.
NATHAN
Why?
PSYCHIATRIST
(o.s.)
Because this is what you don't pay
me for.
Nathan smiles.
NATHAN
(Soft)
That's always funny.
PSYCHIATRIST
(o.s.)
So whenever you're ready, Mr. Winters.
Nathan closes his eyes.
DISSOLVE TO:
EXT. ALLEY - NIGHT
Claire brushes her hair out of her face.
CLAIRE
Oh no.
The couple stands facing ahead. The man's eyes widen, he
puts his palms face-out in front of him.
NATHAN
Listen... we have money.
VOICE
(o.s.)
No.
A MAN in a black ski mask is menacing. He is dressed in
black jeans, a black sweatshirt, a hood over his head. He
wields a long knife in his hand.
NATHAN
What do you want?
MASKED MAN
Shut up.
The masked man takes a cautious step toward Nathan.
12.
MASKED MAN
What is with all this public
affection from you two?
Nathan and Claire exchange quick eye contact.
NATHAN
I'm sorry, we didn't mean - -
CLAIRE
We'll just go home.
The masked man turns to Claire; explodes.
MASKED MAN
No one asked you, fucking bitch!
The long knife begins to shake in his hands.
Nathan's arms begin to drop back to his sides.
The masked man spins around to face Nathan.
MASKED MAN
Keep you're hands up! Where I can
see them!
Nathan complies.
NATHAN
I got about one hundred and fifty
bucks on me. In my wallet. My back
pocket.
MASKED MAN
I don't want your money.
The masked man steps closer.
NATHAN
Then what do you want?
Another step.
MASKED MAN
All this open love on display.
Can't you see how it affects people?
People that might not be as lucky
as you?
Claire desperately looks over her shoulder.
A street illuminated by a lone, dull streetlight. Parked
underneath it is a black pick-up truck.
13.
The engine is still running.
Claire looks in the opposite direction. Oblivious PEDESTRIANS
scurry passed, unaware.
MASKED MAN
Some people are genuinely hurt by
what others do. They can... feel it
inside.
NATHAN
I don't know what you - -
MASKED MAN
Love is such a powerful thing. If
you have it, life is... life. But
if you don't...
His voice cracks.
MASKED MAN
It's death.
Nathan pulls out his wallet from his back pocket. He quickly
removes the bills, holding them out towards the masked man.
NATHAN
Here, please. Take it. Please.
MASKED MAN
No.
The masked man turns his attention to Claire. She is looking
somewhere down the alley.
MASKED MAN
What are you looking at?
Claire snaps her head around, her pleading eyes piercing the
masked man through her wavy, black hair.
CLAIRE
(Too Quick)
Nothing.
MASKED MAN
You want to run for help?
Claire looks to Nathan. beat. Then back to the masked man.
CLAIRE
(Soft)
No.
14.
MASKED MAN
Good. Now I want you to watch very
carefully.
The masked man suddenly lunges at Nathan with the knife.
INT. OFFICE - LATER DAY
CLOSE UP on Nathan's face. His eyes shut, his face distant.
NATHAN
That's all for today.
Silence. beat.
PSYCHIATRIST
(o.s.)
Why is that?
NATHAN
It's three o' clock, doc.
Nathan slowly opens his eyes; his stare already fixated on
the wall.
INSERT CLOCK
3:00.
The second hand on the clock is TICKING away. beat.
PSYCHIATRIST
(o.s.)
See you tomorrow Nathan - -
NATHAN
Bright and early.
PSYCHIATRIST
(o.s.)
... and early.
INT. BATHROOM - NIGHT
The LIGHT is on, the room is empty. Remnants of tiny bubbles
and foam remains in the sink.
A bed is SQUEAKING.
INT. BEDROOM - NIGHT
Silhouetted by the bluish GLOW of the MOONLIGHT beyond the
closed curtains, two shadows mix together and become one.
15.
Various MOANS accompany the incessant SQUEAKING of the bed.
Claire's shadow is on top of Nathan's, riding him as he cups
her breasts. Her wild hair flopping and bouncing everywhere
with each thrust. beat.
Then it is over with a final chorus of MOANS. Claire
collapses on top of Nathan's heaving chest. He wraps his
thin arms around her, caressing her back with his fingers.
DISSOLVE TO:
INT. KITCHEN - MORNING
Nathan stands over a stove in his boxers and T-shirt.
A CRACKLING sound as he shakes a frying pan.
The phone RINGS.
Nathan eyes stay locked on the stove. He grabs the portable
phone from the nearby countertop.
NATHAN
Yello?
MAN'S VOICE
(o.s.)
Hello, Mr. Winters?
NATHAN
Uh-huh.
Nathan rests the phone between his ear and shoulder, freeing
up his hand.
MAN'S VOICE
(o.s.)
I'm calling from Max's Carpet
Cleaning, and Max was wondering;
does your carpet have stubborn
stains that are impossible to
remove? Do you find that regular
cleaning products just won't do the
trick when it comes to giving your
carpet the love it deserves? Does
food get stuck in-between...?
NATHAN
Jesus. Is this a sales pitch or a
commercial?
16.
MAN'S VOICE
(o.s.)
I am merely trying to demonstrate
how effective Max's Carpet Cleaning
is to solving - -
NATHAN
No thanks.
MAN'S VOICE
(o.s.)
But sir, you're missing a great
opportunity to - -
NATHAN
No thank you. Matter fact, scratch
my name off all you're calling
lists altogether.
MAN'S VOICE
(o.s.)
I'm sorry sir, I can't do that.
NATHAN
Why not?
MAN'S VOICE
(o.s.)
I don't have the authority.
Nathan smirks, flips some eggs over in the frying pan.
NATHAN
But you have the authority to come
into a perfect strangers home and
try to sell him something? Hold on...
Nathan removes the phone from his ear. He arches his head as
if he is looking around a corner.
NATHAN
(Calls Out)
Eggs are almost done babe.
He brings the phone back to his ear.
NATHAN
Sorry... making breakfast for my
wife. So what is it we were talking
about again?
17.
MAN'S VOICE
(o.s.)
Well Mr. Winters, I was trying to
tell you that Max's Carpet Cleaning
is head and heels above the
competition and - -
NATHAN
Oh yeah, right. Not interested.
Nathan hangs up. BEEP.
He smiles to himself, flips the eggs once more. beat.
The phone RINGS again.
Nathan eyes it, ignores it. After the fourth RING he picks
it up.
NATHAN
Yello?
WOMAN'S VOICE
(o.s.)
Hi dear.
Nathan's eyes shoot to the back wall, widening. He burns
himself.
NATHAN
Ahh, shit!
He puts his index finger in his mouth.
WOMAN'S VOICE
(o.s.)
What's wrong?
NATHAN
Umm, nothing mom. Just burned my
finger. I'm making eggs.
Nathan's MOTHER distinctly SIGHS on the other end.
MOTHER
(o.s.)
Put some of that ointment I bought
you on it.
NATHAN
'k Ma.
18.
MOTHER
(o.s.)
And how many times have I told you
to answer the phone like a normal
person? You say 'hello' when you
pick up the phone Nathan, no more
of this 'yello' nonsense.
Nathan rolls his eyes.
MOTHER
(o.s.)
And don't roll your eyes.
NATHAN
Dammit Ma, you know me too well. So
what's up?
MOTHER
(o.s.)
How are you?
NATHAN
I'm fine, but what did you call me
for Ma?
MOTHER
(o.s.)
It's about your brother.
Nathan turns off the stove.
MOTHER
(o.s.)
You talk to him lately?
Nathan grabs two plates from the shelf.
NATHAN
Mike? Uhh, no. Not for awhile
anyway. Why?
MOTHER
(o.s.)
He hasn't called me for a few weeks.
Its not like him.
Nathan divides the eggs equally onto the plates.
19.
NATHAN
Well, you know... he just gets busy
sometimes. But I haven't spoken to
him for awhile either. In fact, I
was going to call you in a couple
days about that...
MOTHER
(o.s.)
Where do you suppose he could be? I
hope he didn't get himself into
trouble.
Nathan sprinkles salt and pepper onto both plates.
NATHAN
Nah, he's fine Ma. You know Mike
even better than me. And like me,
he's a grown man. But you'll be the
first I call when I see him next, okay?
MOTHER
(o.s.)
Nathan Winters... are you trying to
get rid of your mother?
Nathan grins.
NATHAN
C'mon Ma. It's just I got my
appoin... my job to get to, places
to go, people to see. You know how
it is.
MOTHER
(o.s.)
Sure, sure. I understand. Well, you
and Michael come by some time real
soon okay? No more of these three-
way conference calls. I want to see
my boys.
Nathan stands holding two plates of eggs.
NATHAN
You got it.
MOTHER
(o.s.)
I love you Nate.
NATHAN
Me too, Ma. Bye now.
20.
MOTHER
(o.s.)
Buh-bye.
Nathan mashes the buttons with his cheek, hanging up the
phone, he lets it fall to the countertop.
He walks out of the kitchen with two plates of eggs.
NATHAN
(o.s. Calls Out)
Breakfast is served!
DISSOLVE TO:
INT. OFFICE - DAY
Nathan is seated on the red leather couch. His usual perfect
posture. The psychiatrist's back is to Nathan, he sits in
the brown leather chair.
Rain patters down on the window sill above Nathan's head.
PSYCHIATRIST
(o.s.)
It's not good to keep things
bottled up.
NATHAN
I can't tell you anymore doc. I
won't. It's not something I want to
re-live. It's - -
PSYCHIATRIST
(o.s.)
Then you should also - -
NATHAN
... my secret.
PSYCHIATRIST
(o.s.)
... write to all the medical
journals and publications in the
world. Tell them you made the
greatest medical discovery of the
last few decades.
Nathan looks disappointed in himself for a brief moment.
NATHAN
(Quickly)
Why is that?
21.
PSYCHIATRIST
(o.s.)
Because having a secret is the cure
for amnesia.
Nathan's head comes forward, listening intently. beat.
PSYCHIATRIST
(o.s.)
It seems the only things we can't
forget are the things we want too.
Nathan closes his eyes, smiles.
NATHAN
(Soft)
Poetry.
INT. BEDROOM - NIGHT
Nathan lies on the master bed, both arms behind his head,
staring up at the ceiling.
The bathroom door is shut. LIGHT trickles out underneath the
crack of the door. The showers WATER IS RUNNING.
NATHAN
Doc says I have to start paying him
now if we want to continue our
sessions together. But I think I'm
better... don't you?
The shower continues. There is no response. beat.
NATHAN
I swear to God, sometimes I think
I'm just talking to myself babe.
Nathan lies still, listening. beat.
He turns his head towards the bathroom door.
NATHAN
Claire?
No response. beat.
Nathan's still face gradually grows into a crooked smile.
NATHAN
You've been in that shower for
awhile. You must be feeling dirty.
Nathan gets to his feet and makes his way to the bathroom door.
22.
He knocks lightly and enters, shutting the door behind him.
Portions of the LIGHT under the door fill up with BLACKNESS
as various items of clothes fall to the floor.
NATHAN
(Muddled)
Dirty girl.
The shower door OPENS AND CLOSES.
The phone RINGS.
Then a loud THUD, followed by a familiar chorus of MOANS
that follow. The shower doors SHAKE with each thrust.
INT. KITCHEN - MORNING
Nathan enters the kitchen. He wears track pants and a tank top.
He opens the refrigerator, grabs a carton of milk, downs it,
and closes it up. He peeks around the corner to see if
anyone caught him.
Shutting the refrigerator door, he notices something.
INSERT ANSWERING MACHINE
The RED LIGHT blinks on and off.
Nathan GROANS; he presses the blinking button.
ANSWERING MACHINE
(o.s. Robotic Female Voice)
You have... three, new messages.
Nathan presses a button. BEEP.
MAN'S VOICE
(o.s.)
Hi Sara, it's Dave. I was just
calling to see if you had any plans
for tonight? I thought maybe we
could go out to dinner again. See a
movie. Whatever. Just give me a
ring back when you get this. You
know how to reach me.
CLICK.
Nathan scratches his chin, squints suspiciously.
BEEP.
23.
MAN'S VOICE
(o.s.)
Hi, yes. I just called this number
no more than an hour or two ago. I
just realized now that I dialed the
wrong number apparently. Must've
been a faulty connection. Sorry
'bout that.
CLICK.
Nathan leans up against the counter. He scratches his shoulder.
BEEP.
MOTHER
(o.s.)
Nathan, where are you? You're
usually home at this time. Anyway,
I wanted to tell you first hand but
I'm coming down to visit tomorrow
morning. But don't worry, I'm not
driving there.
She LAUGHS.
Nathan SLAMS his fist down on the counter. He bites his
bottom lip and leans in closer to the machine.
MOTHER
(o.s.)
I'll take a cab down like I used to
do. If you can hear this Nathan,
pick up.
(beat. Silence)
Well, okay then. See you tomorrow
dear... bright and early.
CLICK.
BEEP.
ANSWERING MACHINE
(o.s.)
End of mess...
Nathan turns the machine off. He stands still, staring at it.
beat.
He grabs the portable phone, dials a number. He waits.
Beat. No answer.
24.
NATHAN
Dammit!
He dials again, waits.
Beat. No answer.
Nathan tosses the portable phone on the countertop. He looks
to the clock on the stove.
INSERT DIGITAL CLOCK
9:26
Nathan's eyes widen; he turns and sprints down the hallway.
The stairs CREAK as he runs upstairs.
EXT. SUBURBS - MORNING
A red cab pulls away from the curb. Nathan's mother, short,
stubby, curly gray hair, glasses, makes her way up the
driveway while checking through her purse.
Swinging her purse around her shoulder, she waddles up the
driveway to the front pathway.
She ascends a few stairs towards the front door. When she
reaches it, she stops.
Nathan's mother squints and adjusts her thick glasses. There
is a note taped onto the front door. An envelope beside it.
INSERT NOTE
Hi Mom. I just received you're message as I was stepping out
for the day. I tried to call you, but it seems you already
left. I'm so very sorry, but I gotta work. I don't have an
extra key to let you in, but I left you some cash in the
envelope. I'm sorry again Mom. I'll call you first thing.
Love you much. Nathan.
Nathan's mother shakes her head. She removes her purse from
her shoulder and rummages through it.
MOTHER
Always trying to get rid of his own
mother.
She takes out a key from her purse, places it in the lock,
opens the door. She steps inside, turns to rip-off the
letter and the envelope, and shuts the door behind her.
SLOW DISSOLVE TO:
25.
EXT. SUBURBS - MORNING
Several cop cars parked on the street outside of Nathan
Winters home. Their sirens flashing; doors ajar.
COPS in dark blue windbreakers talk into walkie talkies.
The many FAMILIES from the neighborhood have gathered on
their front lawns to witness the commotion.
A plain white car pulls up to the driveway. It stops
abruptly, a door opens. Detective Loyer steps out. He leaves
the engine running.
Loyer walks with a purpose towards the home. A YOUNG COP
joins him at his side, looking at a notepad.
YOUNG COP
The mother called in approximately
forty five minutes ago. Said she
found her son dead in the home.
Murdered, apparently. She also has
us looking for another son, who has
gone missing. Anything else she
said I couldn't make out. She was
hysterical when I - -
Loyer walks on without looking over in the young cops direction.
LOYER
Where is she now?
YOUNG COP
Hospital. Being treated for shock.
Loyer nods his head. He brushes past a COP on the driveway.
LOYER
Has the home been cleared?
YOUNG COP
It has.
LOYER
Good. Seal off the area.
YOUNG COP
Yes sir.
Loyer makes his way up the path towards the front door. The
young cop breaks off and heads back down to the street.
Loyer stops in front of the open front door. Three COPS are
conversing.
26.
LOYER
You fellas' done any questioning yet?
The cops turn to face Loyer.
COP # 1
Not as of yet, sir.
LOYER
Why not?
COP # 2
Still goin' over the crime scene.
Loyer looks around at all the families looking back at him.
LOYER
Do you see all these people
watching us right now?
The cops scan the area.
COP # 2
Just curious.
COP # 3
They all just came out a few
minutes ago, sir. I doubt - -
LOYER
You boys ever heard of windows?
The cops glance at each other.
LOYER
There's about twenty to thirty
possible witnesses standing on
their front lawns right now in
their underwear. Get to it.
Loyer turns abruptly, enters the home.
INT. OFFICE - MORNING
A door very slowly CREAKS open. The tip of a gun is visible.
A head quickly peeks around the corner, lightning fast.
MAN'S VOICE
(o.s.)
Is there anyone in this room?
Silence. beat.
27.
MAN'S VOICE
(o.s.)
If there is someone in here and you
do not respond, you will be shot on
sight. Do you hear me?
Silence. beat.
The door opens fully. Detective Cullen stands in the doorway,
alert. He wears a dark blue windbreaker and a baseball hat
on backwards.
He slowly moves in. Gun pointed ahead, he looks around the
door with the quickness of a snake bite, then retreats.
He continues to scan the room for a beat; he seems convinced,
he heads in.
INT. KITCHEN - MORNING
COPS surround the area; kneeling down on the floor, leaning
over the stove and the countertop, dusting for prints. They
all wear latex gloves.
Loyer enters.
LOYER
Wha' do we got gentleman?
A COP with a thick mustache continues to dust for prints on
the portable phone.
COP # 4
Only the prints of the homeowner
thus far.
LOYER
O-kay.
Loyer positions himself in the middle of the kitchen; hands
on hips, scanning the scene. beat.
LOYER
I assume we have people upstairs
and down?
COP # 4
Upstairs, yup.
LOYER
Nobody's downstairs?
The cop looks up from the phone.
28.
COP # 4
We are the downstairs, sir.
Loyer nods his head. beat.
LOYER
So where's the body?
INT. OFFICE - MORNING
Detective Cullen looks over the various artwork and plaques
on the wall; arms resting at his side, gun in hand. Relaxed.
A beam of SUNLIGHT shines down on the nearby red, leather couch.
Cullen studies the wall for a beat, slowly turns around, he
shields his eyes from the beam of LIGHT.
Turning his head away from it, so his back is to the wall,
his once squinting eyes go instantly wide.
Cullen snaps the gun up into shooting position.
CULLEN
Freeze!
The top of the psychiatrists head is visible over the back
of the large, brown leather chair.
Cullen edges closer.
CULLEN
Put you're hands in the air right
now! Now! Now!
The psychiatrist's head falls out of view.
INT. STAIRWAY - MORNING
Detective Loyer makes his way out of the kitchen, towards
the stairs.
He looks up, there is a commotion.
MAN'S VOICE
(o.s.)
Detective Loyer!
A COP scampers to the edge of the railing; he leans over,
looking straight down at Loyer.
COP # 5
We got another body!
29.
Loyer charges up the stairs.
INT. OFFICE - MORNING
Cullen has taken cover behind the red leather couch; gun
pointed at the large, brown leather chair. beat.
CULLEN
I'm opening fire in five seconds if
you fail to comply! Now show
yourself! Hands up! Come out slowly!
Cullen's breathes are heavy, rapid.
CULLEN
One!
Silence. beat.
CULLEN
Two!
Silence. beat.
CULLEN
Three!
Silence. beat.
CULLEN
Fou - -
PSYCHIATRIST
(o.s.)
Where are you right now?
Cullen's eyes widen; his grip tightens on the gun.
PSYCHIATRIST
(o.s.)
You're not supposed to be there...
CULLEN
(Under His Breath)
What the fuck?
(Loud)
Show yourself!
Silence. beat.
Cullen spots the bookshelf. He reaches for a book with his
free hand, his gun hand still locked in the chair's
direction. He grabs a thick, hard-covered green book from
the shelf.
30.
Cullen throws it with a GRUNT over the chair; it hits
something with a dull THUD.
PSYCHIATRIST
(o.s.)
Do you know where you are?
Cullen grabs another hard-cover book. A red one this time.
He throws it well-over the chair towards the back of the
room. It hits the back wall with a loud THUD.
Like lightning exploding out of a bottle, Cullen is suddenly
upon the chair. He flips it over; his eyes burning, his
hands shaking with the gun.
His expression turns to utter shock.
CULLEN
(Breathing Heavy)
Holy shit.
INT. BEDROOM - MORNING
COPS litter the room. They kneel over dressers and stand
over cabinets, dusting for prints.
The master bed is unmade and empty.
A few COPS stand inside of the small bathroom, Loyer
included. The door is wide-open.
INT. BATHROOM - MORNING
The cops huddle together. Three of them kneeling down
looking at something below the sink. The cop that called
over the railing is one of them.
In the mirror's reflection, Loyer stands looking down,
shaking his head is disgust. Detective Haas enters from the
bedroom, holding a folded picture.
HAAS
We found this on the bed.
Loyer snatches the folded picture from his hand.
HAAS
In a broken frame.
INSERT PICTURE
Loyer's hands grip the picture on either side. Nathan
Winters, a few pounds heavier, stands there smiling. His arm
resting against the crease of the picture.
31.
A shoulder jutting out.
HAAS
(o.s.)
Unfold it.
Loyer's hands begin to slowly unfold the picture.
INT. OFFICE - MORNING
Cullen, startled, backs off and stumbles into the back wall.
He covers his mouth with his hand.
Collapsing to his knees, he throws up through his fingers.
INT. BATHROOM - MORNING
INSERT PICTURE
It is completely unfolded now. A crease down the middle.
We can now see what the heavier Nathan is leaning up
against... Nathan. A skinnier Nathan.
HAAS
(o.s.)
Twins.
Loyer looks up at Haas.
LOYER
Where's the other body?
INT. OFFICE - MORNING
Cullen has made it to one knee. His puke spilled out over
the floor and his hand.
Lying face-up, sprawled out next to the fallen chair, is a
man that looks like Nathan Winters... except a few pounds
heavier. There are thick bandages wrapped around his chest
and stomach. Blood has soaked through them long ago, it is
dried and crusted. His face is a bluish green, his eyes wide
and distant.
PSYCHIATRIST
(o.s.)
That's ridiculous.
Cullen falls to his ass; his gun pointed directly at the
body. His eyes wide, hands shaking, puke hanging from the
side of his mouth.
32.
Cullen stares at the body, confused. He slowly gets to his
knees and begins crawling towards the fallen chair. He leans
down over the carcass.
PSYCHIATRIST
(o.s. Loud)
I can tell.
Cullen GASPS. He stumbles on his knees towards the man and
begins patting him down. He hits something hard in the right
pocket.
He reaches in and pulls out a tape recorder.
INSERT TAPE RECORDER
A tape is spinning on the inside. Across the top is SONY
TCM-200DV.
Cullen stares at the tape recorder in awe.
Silence. beat.
He presses the fast-forward button. Presses play.
Silence beat.
He presses the fast-forward button again. Presses play.
Silence. beat. Then - -
PSYCHIATRIST
(o.s. Louder)
I'm so glad you decided to pay me
Nathan. I didn't want you to end
our sessions just yet. I don't
think you're quite healed...
Cullen presses stop on the recorder. He collapses to the
floor once more, his head slumps down, trying to regain his
breath.
INT. BATHROOM - MORNING
Various COPS fill the small bathroom. Detective Loyer and
Detective Haas are nowhere in sight.
A COP with a camera SNAPS photographs of a gruesome sight.
Scrunched into a ball, in a compartment underneath the sink
is a woman with long, wavy black hair. Claire looks almost
unrecognizable in the light. She has bandages wrapped around
her stomach, encrusted with blood.
33.
A COP bends down beside the cop with the camera
COP # 6
(Grimacing)
How can you kill someone so pretty
and stuff them underneath a sink
right after? It's barbaric.
The cop with the camera SNAPS another picture from a
slightly different angle.
COP WITH CAMERA
What, you should only kill someone
and stuff them underneath your sink
if their ugly? Besides, this woman
has long since gone.
COP # 6
So he was storing her here?
COP WITH CAMERA
Looks like it. I'd say by the looks
of her... she's been dead for
several weeks. A month maybe.
The cop with camera SNAPS another picture. The cop kneeling
beside him blinks.
INT. HALLWAY - MORNING
Loyer and Haas pass numerous other COPS in dark blue
windbreakers.
HAAS
Found this one first thing. The
mother tipped us off where he was
located.
They round a corner and come to a small staircase leading up
into another level.
LOYER
Where is everybody?
HAAS
The area has been cleared and
dusted for prints sir. Other than
that we left it as is for you.
Loyer reaches the stairs.
LOYER
Jesus. So no one is up there?
34.
Loyer takes the first step up.
HAAS
Nope. But forensics is on the way.
Loyer shakes his head and ascends a few more steps.
FOOTSTEPS are heard above.
Loyer stops in his tracks; he looks back to Haas.
LOYER
You sure about that?
Loyer unholsters his sidearm. Haas looks puzzled. He draws
his weapon as well.
The FOOTSTEPS begin descending the stairs.
Loyer hugs up against the wall. Motions for Haas to follow
his lead. Haas complies.
Loyer points his gun at the top of the stairs as the
FOOTSTEPS round the corner. Then - -
Cullen appears at the foot of the stairs, a tape recorder in
hand. He throws his hands in the air, palms facing out.
Loyer drops his outstretched arms; exasperated.
LOYER
Jesus Cullen, you almost gave me a
heart attack. What in God's holy
name are you doing up there, huh?
Cullen drops his arms to his sides. He walks slowly down the
stairs.
HAAS
What were you thinking Cullen?! Or
were you? No one was suppose to go
up after the initial investigation
until detective Loyer inspected the
scene.
Cullen stops by Loyer and Haas. A far away look in his eyes;
his face emotionless.
CULLEN
I got here late. I walked up to
where the action was. Then climbed
these stairs. No one said a thing
to me.
35.
Loyer covers his face with his forearm.
LOYER
What did you throw up over yourself
or something? You smell awful.
Cullen descends the last steps to the floor.
HAAS
And you mighta just fucked up the
crime scene jerk off.
Cullen turns around. beat.
CULLEN
What did your guys think of the tape?
Loyer and Haas study Cullen.
HAAS
What tape?
Cullen holds the recorder up in his hand, he tosses it to
Haas who fumbles with it, but catches it.
CULLEN
(Walking Away)
I'm going home.
Loyer watches Cullen leave with interest. He nods his head
and begins up the stairs.
FADE TO BLACK
FADE IN:
INSERT - Two Days Later
INT. POLICE STATION - DAY
Detectives Loyer and Cullen sit alone in a small office
surrounded by mounds of paper, evidence and a handheld tape
recorder. They sit on either end of a large desk.
Closed blinds cover a large window behind them.
LOYER
How's the mother?
CULLEN
She's holding up considering.
LOYER
Good.
36.
Loyer takes a sip from his coffee mug. beat.
LOYER
So what's new?
Cullen continues to sift through the paper on the desk.
CULLEN
Apparently... this guy Nathan was
holding some psychotic psychiatric
sessions with himself. He would ask
himself questions, recorded onto
this...
(Taps tape recorder)
... that he had already thought out
the answers to. Basically, he was
having a manufactured conversation
with himself in the past tense.
LOYER
Wow.
CULLEN
No kidding.
LOYER
A 'psychotic psychiatric session'.
That definitely is a new one.
CULLEN
That's what you asked for.
Loyer grins, takes a sip. beat.
LOYER
And the mother was positive that it
was her son's voice on the tape?
CULLEN
Uh-huh. She said it sounded
different, but she definitely knew
it was Nathan. She said she talked
to him all the time over the phone
and could tell. That was one of the
reasons for visiting him in the
first place.
LOYER
What was?
CULLEN
To avoid talking to him over the
phone. She missed the connection of
actually being there.
37.
Loyer shifts in his seat.
LOYER
And the woman?
Cullen looks up.
CULLEN
Oh shit, you haven't heard have you?
Loyer slightly shakes his head, leans forward.
CULLEN
They found traces of his semen
inside of her.
LOYER
So?
CULLEN
It was deposited after she was dead.
LOYER
You're shitting me?
Cullen returns his gaze to the papers.
CULLEN
Couldn't make that up if I tried.
He liked her real clean as well.
Even gave her showers to keep her
that way.
Loyer sits back in his seat, taking a deep breath.
LOYER
I'm sure glad I dumped this one in
your lap pal.
CULLEN
Yeah, thanks a bunch.
LOYER
My pleasure.
Loyer sips on his coffee.
LOYER
(Motions to Mug)
Want one?
Cullen looks up briefly.
38.
CULLEN
I'm good, thanks.
Cullen stops rummaging through the papers, he looks up at Loyer.
CULLEN
You know... when I was up in his
den, I saw the plaques on the wall.
Guess whose they were?
LOYER
Whose?
CULLEN
They were awarded to one Michael
Winters.
LOYER
Wouldn't you know it.
CULLEN
The poor bastard was actually a
psychiatrist after all. Or an
aspiring one at least.
Loyer gets up out of his chair and heads over to the closed
blinds. He opens them and stares out over the many cops
running around doing their frantic jobs.
LOYER
Any leads on his whereabouts?
CULLEN
None. Mother doesn't have a clue.
Neighbors say he was a bit of a
recluse. They didn't know him.
LOYER
Didn't want to know him.
CULLEN
Probably. But I got the make of his
vehicle from them.
Loyer half turns.
LOYER
Oh?
CULLEN
They said he drives a black pick-up
truck.
39.
LOYER
A dime a dozen.
CULLEN
Unfortunately.
Loyer looks back out the window, sipping from his mug.
Cullen returns to his paperwork. beat.
Loyer heads to the door, opens it, the noise of the police
station invades the privacy of the room.
CULLEN
Hey Neil?
Loyer turns around in the doorway.
CULLEN
Think we'll ever catch him?
Loyer shrugs nonchalantly.
LOYER
Only a matter of time really.
Loyer turns to leave, but stops. beat.
LOYER
Can I make a suggestion?
CULLEN
Please.
LOYER
Trace any and all sales of tape
recorders being sold in the area.
Stick with the same make of that
one there on the desk. These guys
usually stay with what's dependable.
He may do it again, family or not.
Remember... it's the first time
that gets them hooked.
Loyer nods and heads into the busy office, shutting the door
behind him. The peace is restored to the room.
Detective Cullen stares ahead, thinking. beat.
He returns to his paperwork.
40.
INT. MOTHER'S HOUSE - DAY
Nathan and Michael Winters mother sits on her couch with as
much posture her old body allows to her.
There is a tape recorder and an envelope on the table in
front of her. She is flipping through a book on her lap.
INSERT BOOK
A family picture book. Various pictures of two YOUNG BOYS
who look identical except for the difference of a few pounds
between them.
The mother's old, shaking hands turns page after page.
Nathan and Michael grow older. From birthday parties, to
Halloween, to school pictures, to graduation photos, family
photos, college photos.
In each and every one it seems, the skinnier boy is in the
back of the picture; slightly out of focus.
Pictures of the twins when they are full-grown. Nathan is
still in the background, wearing a mask called a smile.
The mother looks up from the book, tears in her eyes, she
grabs the envelope. Pulling out a cassette tape from amidst
the many bills, she places it in the recorder and presses play.
Loud STATIC. beat.
NATHAN
(v.o. Somberly)
Do you know what it's like to live
with the knowledge that someone is
better than you at everything? And
to make matters worse, that person
is your brother. Your twin brother
no less. It's like your reflection
is always two steps ahead of you.
(beat; Static)
Ever since I was a kid I could
feel... a connection. I know Mike
must've felt it too. It's a two way
street. I know that now. Everything
he did, I went along for the ride.
But the pain was nothing in
comparison to the love... the love.
It only made me feel empty. I could
sense it, but I couldn't live it.
It wasn't with me. I was simply
borrowing a duplicate.
(MORE)
41.
NATHAN (CONT'D)
In a way, his success only
accentuated my failures. My
shortcomings. My need for a love
which I would never have. At least
not like he could. It was... is a
terrible thing. To be able to see
goals without having the skills to
reach them. Knowing of a potential
that I could never acquire...
(beat; Static)
The only true love I ever felt was
from you Ma. And I truly love you
for it. I always will.
STATIC for long beat.
The mother presses stop. She whimpers, removes her glasses,
and looks back down to the book in her lap.
The mother reaches a photo we've seen before. Michael and
Nathan perfectly proportionate in the frame. Michael's arm
leans on Nathan's shoulder, they both smile happily.
A tear drops from above, it lands directly on Nathan. Once
again, he is out of focus.
FADE OUT.
THE END