an original screenplay
by Annika Lidne
story by Annika Lidne & Henrik Jansson
THIRD DRAFT – VERSION 3.0
2002-03-05
© 2002 Annika Lidne & Henrik Jansson
Registered by Writers Guild of America, west: no 857743
FADE IN:
EXT. SOUTH BEACH, MIAMI, FLORIDA – DAY
Miami’s South Beach is glowing in the warm sun. THE CAMERA PANS across the busy waterfront with its blue ocean and swaying palm trees, which leads us to --
EXT. CAFÉ IN SOUTH BEACH, MIAMI, FLORIDA – DAY
A LATIN TUNE creates an exotic joyful mood at the café where an up-scale crowd fills the tables. A distinguished gentleman in his sixties, BEN HESSEY, sits at a table, sipping an ice-tea and enjoying the bustle while leafing through a magazine.
A very good-looking, well-dressed man in his late forties, LOUIS, stops at the entrance and scans the café. His eyes light up when he sees Ben. Slowly, keeping his eyes on the older man, he walks closer.
LOUIS
Excuse me, do you mind if I share your table?
Ben looks up and breaks out in a big smile.
BEN
Louis, finally.
He rises and they awkwardly start to shake hands, then change their minds and embrace. They sit down and just look at each other. A WAITER appears.
LOUIS
I’ll have what he’s having.
The WAITER nods and disappears.
BEN
So, how was the trip?
LOUIS
(in a staccato voice)
Airline food. Peanuts. Broken air conditioning. Two dozen blue-haired ladies in spandex pants and Pamela Anderson lips.
(resigned)
I needed to drown my misery in whisky but they only allowed me three tiny drinks.
Ben chuckles.
BEN
I thought you always flew first class.
LOUIS
(darkly)
I did.
Ben smiles at him and shakes his head.
BEN
Other than that, has life been treating you well?
LOUIS
I’ve had my share of good and bad. And you?
Ben sighs and looks down.
BEN
Well, it’s some story.
LOUIS
What kind of a story?
BEN
A long one.
They fall silent. Louis watches Ben intently.
LOUIS
Well?
BEN
Well what?
LOUIS
The story!
EXT. THE ERICSON RESIDENCE – NEW YORK – NIGHT
Naked trees stretch their limbs wetly toward the cloudy night sky. The haunted longing of a PIANO PLAYING a CLASSICAL PIECE
(Suggestion: A stripped down version of Satie´s “Trois Gnossiennes/Lent”) floats in the still air.
The mansion in front of us should be a display of success, but feels like a tomb, despite the gated and walled property, the big driveway with its three luxury cars and the well-kept garden. The house is grand, even in this upper-class suburb outside of New York.
Most of the house is dark and brooding. Light shines through a few of the large windows on the ground floor. Behind one of them, a well-dressed man in his sixties, JOHN ERICSON, is standing, staring out into the night, his powerful face impassive.
Behind him, inside the room, we glimpse his FAMILY.
PETER (O.C.)
I did not!
ERIC (O.C.)
Yes, you did! Why is everything supposed to be my fault?
PETER (O.C.)
Simple cause and effect--
INT. THE ERICSON RESIDENCE – NEW YORK – NIGHT
MUSIC CONTINUES--
The lights in the living room are turned low. Still, they reveal a disturbing anonymity. It’s a museum posing as a home.
PETER ERICSON, a man in his late thirties with a wiry build and a mean scar that gives his face a permanent arrogant sneer, is bickering with his slightly younger brother ERIC, a large muscular man.
Peter sits on a sofa with his wife HELEN, a woman in her mid-thirties who has started to loose her beauty. She is constantly sipping from her drink and clearly had too much to drink already.
On the other sofa, Eric is perched on the armrest, playing with CHERIE’S bleached blonde hair. The twenty-year old girl nervously watches the argument while carefully nursing a glass of champagne. Her ample bosom is showing in the deep cleavage of her dress, which is a bit too vulgar and a bit too cheap compared to the others’ expensive eveningwear.
In the background, a wide doorway reveals a table set for formal dinner.
At the window John hasn’t moved. Despite his stillness, he dominates the room by sheer force of personality.
PETER (CONT.)
--and you should listen to your elders.
ERIC
By ten months. As if it matters.
JOHN
(without moving)
Shut up.
He slowly turns around and fixes his gaze on his youngest son DANIEL, PLAYING THE GRAND PIANO. Daniel is in his mid-twenties with features soft and sensitive in the low light.
JOHN (CONT.)
And stop that racket.
Daniel STOPS PLAYING and THE MUSIC ENDS.
He quickly looks up at his father’s impassive face and then, with teeth clenched, closes the lid on the grand piano.
HELEN
(slightly drunk)
I was enjoying that.
JOHN
(calmly)
After a few drinks you enjoy anything.
Ben watches the argument from deep within an upholstered chair. His face holds wisdom and worries. He throws Daniel a compassionate look, but Daniel doesn’t see it.
JOHN
(to Cherie)
So, child, what was your name again?
ERIC
(irritated)
Pappa, it’s Cherie.
The PHONE RINGS. Peter and Eric tense and look at their father. Ben rises and exchanges a quick glance with John. He leaves the room to answer the phone.
JOHN
So, Cherie, what do you do for a living?
CHERIE
(nervously, in a deep southern drawl)
I’m a model.
JOHN
Really now. What kind of a model? Fashion? Art?
Cherie cringes and glances at Eric for support. She nervously looks back at John.
CHERIE
(nervously, in a deep southern drawl)
Well, art, sort of.
JOHN
So, you’re a porn model.
ERIC
Pappa! Cherie does artistic nudes.
John smiles for the first time. It’s a hard, sardonic smile that never reaches his eyes.
JOHN
Artistic, I see.
Ben enters the room and nods to John.
JOHN (CONT.)
Let’s go. Ladies, if you’ll excuse us.
He leaves the room with Ben as Peter and Eric get up.
HELEN
What? Where are you going?
PETER
Business.
HELEN
You’re just going to leave me here? We haven’t even had dinner yet.
PETER
Please...
Eric kisses Cherie and fondles her breast.
ERIC
I won’t be long.
Heavily limping, Peter walks toward the door followed by Eric. John steps into the room again, donning a long dark coat. He pinpoints Daniel with his cold eyes. Daniel stares back.
DANIEL
Shall we leave the ladies alone then?
JOHN
Move. Now.
Unsteadily, Helen gets to her feet and points a finger at John.
HELEN
(slightly drunk)
Johnny, I’m Peter’s wife--
At the mentioning of “Johnny” the three brothers freeze and look horrified at Helen. John glares at her.
HELEN (CONT.)
--and I got a right to know what’s going on.
John aggressively steps up to her, close. Involuntarily, she takes a step back.
JOHN
(in a hoarse whisper)
Don’t you ever call me Johnny.
TITLE & CREDITS BEGIN:
EXT. THE ERICSON RESIDENCE – NEW YORK – NIGHT
The others are already sitting in the car when John is about to enter with Daniel in tow. Daniel glares at his father’s back.
DANIEL
Where are we going?
John turns around to face Daniel.
JOHN
Your brothers decided to be creative. So, we have a few things to clean up.
INT. CAR – NEW YORK – NIGHT
John sinks down beside Ben in the backseat of the car. Daniel stares at his father through the open door.
DANIEL
I don’t want to get involved. I’m an architect for god’s sake.
JOHN
Nice that you have a hobby. But this is family business and as long as you are eating at my table and spending my money, you do as I say. Understood?
Daniel’s eyes glow in defiance.
DANIEL
I do not spend your money. I haven’t accepted a coin since--
JOHN (CONT.)
(interrupting)
Understood?! Get in.
Daniel angrily climbs onto the backseat and slams the door shut.
MUSIC BEGINS. It’s the SAME PIECE Daniel played in the beginning, but now played in its FULL VERSION.
Eric starts the car, glancing maliciously at Daniel in the rear view mirror.
INT. CAR – NEW YORK – NIGHT
MUSIC CONTINUES--
IN A SEQUENCE OF IMAGES we see the New York suburbs speeding by outside the windows and then the car drives into Manhattan.
Inside the car, the atmosphere is tense, full of carefully controlled aggression. Only Ben seems serene.
THE SEQUENCE ENDS when Eric parks the car in front of the imposing Northern Star Hotel. Its neon sign is beckoning like a beacon in the night.
INT. NORTHERN STAR HOTEL / LOBBY – NEW YORK – NIGHT
MUSIC CONTINUES--
The hotel lobby is a vision of marble and gilded ornaments with decorations of mythic Viking warriors.
The great entrance door is opened by a DOORMAN. He bows as John enters followed by his sons and Ben. John looks impressive with his greatcoat flaring out behind him and the few HOTEL GUESTS in the lobby turn to watch.
The HEAD RECEPTIONIST rushes out from behind the reception desk to meet him. He has to scurry beside John to keep up with the brisk pace.
HEAD RECEPTIONIST
Mr. Ericson, what a surprise. What can I do for you?
JOHN
Nothing. Get back to your station.
John swerves down a corridor, followed by his party.
INT. NORTHERN STAR HOTEL / CORRIDOR – NEW YORK – NIGHT
MUSIC CONTINUES--
John and his company walk down a corridor toward a brass plate reading “NORTHERN STAR SPA”. On the entrance door an announcement is posted, “CLOSED”. Without hesitation John enters the room behind it.
TITLE & CREDITS END:
INT. NORTHERN STAR HOTEL / SPA – NEW YORK – NIGHT
MUSIC CONTINUES--
The Spa is a palace in marble, mosaic and gold, much like the old Turkish bathhouses of Europe. The pool lies calm, lit by underwater floodlights.
JED and NATHAN recline in teak beach chairs. They are dressed in the white uniforms of spa attendants, but there is something in their eyes and build that suggest the watchfulness of mercenaries.
From somewhere A LOW BANGING AND MUFFLED SHOUTING is heard.
John enters with his party and walks up to the two men. They snap up, revealing guns in their hands. John nods at them.
JOHN
Jed, Nathan.
JED & NATHAN
Sir!
Nathan briskly steps up to a door marked “STEAM BATH” and unlocks it. A SHOUT is cut short as a cloud of steam billows out.
THREE BROTHERS stagger out. Their faces reveal a middle-eastern heritage. They look very red-faced and sweaty in their street clothes. With fear, they look at the gathering of men in front of them. The guns held by Nathan and Jed is thoroughly eyed.
JOHN
You know what this is about. The account number, please.
BROTHER #1
(with a middle-eastern accent)
Fuck you!
JOHN
Peter.
Smiling, Peter whips out a gun. With eyes frantic and wide, the victim (Brother #1), stares at his soon-to-be killer. Daniel turns away as John watches impassively.
A LOUD SHOT rings out. Jed and Nathan look away with distaste and the two remaining brothers SCREAM in panic. Daniel stares in horror as blood pours out on the light-colored tile while Ben gives John a cold stare.
BROTHER #2
(shouting with a middle-eastern accent)
You killed my brother!
JOHN
Yeah, and there’s two to go. How it’s gonna be?
BROTHER #3
(with a middle-eastern accent)
You’ll burn in hell!
JOHN
Hell is a fairytale and this is as close as you ever going get to it.
He disdainfully watches them and snaps his fingers at Eric, pointing at brother #2. With a grin, Eric slowly takes out his gun and meticulously cocks it in plain view.
Eric approaches his unlucky victim with the lethal grace of a large predator. In a perverted caress, he runs the barrel of his gun along the throat of his victim and up along his cheek. His victim, Brother #2, shudders. Eric looks at Brother #3 with a sweet smile. Daniel turns his back to the scene and stares at the calm water of the pool. A SECOND LOUD SHOT is heard.
BROTHER #3
(screams)
No!
John gives him a cold stare.
JOHN
Well, now, are we going to leave your mother childless?
Brother #3 sobs, staring in horror at his two dead brothers. John takes the gun from Peter and holds it out to Daniel.
BEN
John, that’s enough.
John doesn’t seem to hear the comment. He stares at his youngest son.
JOHN
(to Daniel)
Kill him.
Daniel looks at him in defiance.
DANIEL
No.
JOHN
I said, kill him.
DANIEL
You always talk about business. Well, this is bad business practice. If I kill him, you’ll never get that account number.
John turns to brother #3.
JOHN
He actually has a point.
John shoots him in the leg. Brother #3 SCREAMS in pain and clutches his leg, sinking to the tiled floor.
BROTHER #3
(shrieking in pain, with a middle-eastern accent)
Credit Suisse, number 5342 5968 2353.
Ben jots down the account number.
JOHN
Thank you.
He holds out the gun to Daniel, who shakes his head again.
DANIEL
I create. I do not destroy.
John looks his youngest son deep in the eyes.
JOHN
The forest always blooms after the fire.
John and Daniel fight a silent war of dominance. All eyes are on them. Brother #3 quickly glances around him and quietly starts sliding toward the pool. Peter and Eric take notice. They look at each other, then scornfully at Daniel.
ERIC
Fuck, let’s get this over with.
A THIRD SHOT smashes the silence, followed by a SPLASH. Proudly Eric turns to his father who slaps him.
JOHN
You do what I say, when I say.
He looks at the body floating in the red-tinged water.
JOHN (CONT.)
Seems like you’re desperate for a bath.
He returns his glance to Daniel. He stares at him for a long time. Daniel starts fidgeting.
JOHN (CONT.)
I’ve been patient with you, Daniel. But you just keep on defying me. You’ve shown time and time again that you do not wish to be a part of this family. And I won’t stop you anymore.
Daniel glares at him.
DANIEL
Father, I didn’t--
JOHN
You’ve made your decision. Leave.
Daniel’s mouth is working as if he wants to say something. Then he swings around and angrily strides toward the entrance. Ben sadly watches him leave.
CUT:
John steps away from the pool. In the background Eric, wet and stripped down to his underwear, helps Jed and Nathan to get the corpse of Brother #3 out of the pool.
John stumbles and Ben catches his arm, steadying him. Ben peers at him with a worried frown.
BEN
You alright?
JOHN
Yes, mother.
He shakes off Ben’s arm with a gruff smile. He stares up at the huge mosaic on the wall above the pool, portraying mythic Viking warriors in Valhalla with Odin presiding.
PIANO MUSIC ENDS:
MATCH CUT:
INT. ART GALLERY – NEW YORK – NIGHT
John studies a large abstract painting, quizzically turning his head sideways. Ben turns up beside him and offers a drink. Sipping it, John views the UPTOWN CROWD that has gathered for the gallery opening. Ben follows his glance and freezes as he sees Louis pass through the entrance.
JOHN
What are we doing here?
Ben visibly takes hold of himself as an effeminate man, THE ARTIST, struts up to them.
THE ARTIST
Mr. Ericson, I want to thank you for giving me this chance.
John looks puzzled at Ben who just smiles annoyingly. John is quickly caught up in conversation with the artist again.
THE ARTIST (CONT.)
You have no idea what this means to me--
Louis sets course on Ben, but Ben makes a dismissive gesture and Louis turns toward the makeshift bar.
THE ARTIST (CONT.)
--this is my life’s work.
He makes a theatrical gesture with his arms, indicating everything hanging on the walls of the gallery. John throws a glance at the paintings.
JOHN
Pity you wasted it on doodles.
The artist stares horrified at him and backs off. Ben draws a deep breath while John is completely unconcerned.
JOHN
(to Ben)
I can’t understand why you dragged me here to be harassed by some fucking faggot.
BEN
(in a barbed-wire voice)
I’m trying to improve your image. It’s good for business, but not if you insist on behaving like a Brooklyn thug.
JOHN
(defensively)
There’s nothing wrong with Brooklyn.
BEN
I never said there was.
He throws John an annoyed glance. From the bar, Louis stares at Ben while sipping on his drink. John watches the crowd and spots a well-dressed man, MR. BAIRD. The man sees John and smiles, briskly making his way to them.
JOHN
(low, to Ben)
Why isn’t he out of business?
Ben is just about to answer, when--
MR. BAIRD
Ben, Mr. Ericson, what a pleasure.
They shake hands.
MR. BAIRD (CONT.)
I didn’t know you took an interest in art.
BEN
John is a patron of the fine arts.
John stares with disbelief at Ben who just returns his glance with a wry grin.
BEN (CONT.)
Excuse me.
He turns toward the bar as John and Mr. Baird engage in conversation. At the bar, he slides in beside Louis.
BEN (CONT.)
I can’t talk right now.
Louis glances at John.
LOUIS
I understand. I want to meet though.
Ben nods.
BEN
Yeah, been too long.
Louis fetches a business card from his pocket and gives it to Ben.
LOUIS
Call me.
Ben smiles and nods. He takes three drinks and returns to John and Mr. Baird.
MR. BAIRD
--the more I look at it, the more advantages I find in merging our companies.
John gives Ben a suspicious glance then smiles politely at Mr. Baird. Ben hands a drink each to the two men. They thank him with a polite nod.
JOHN
I couldn’t agree more.
MR. BAIRD
Until tomorrow then.
They shake hands and Mr. Baird heads back to his company. Taking a sip of his drink, John stares at his back.
JOHN
(to Ben)
What on earth have you told him?
BEN
Everything he wanted to hear.
INT. TYR HOLDING - JOHN’S OFFICE – NEW YORK – DAY
The weak daylight outside the office window is bleak and gray. John’s office has the same anonymous, corporate look as his home. Shocked, Mr. Baird sits in front of John’s desk, gaping at him.
MR. BAIRD
(stuttering with despair)
But--but--it’s my company. You can’t take it all away. My family, we’ll be bankrupt. The employees--
JOHN
Mr. Baird, we are offering you a way out. How do you think the stock market will react on the news about the oversights in your accounting, not to mention your offshore bank accounts?
MR. BAIRD
(upset)
But, I haven’t--
With a hard smile, John interrupts him--
JOHN
You lose the company anyway. But we offer - no publicity.
He slides a thick folder toward the anguished Mr. Baird.
JOHN (CONT.)
Just sign on the dotted line.
Resigned, Mr. Baird opens the folder.
CUT:
Ben holds the door open for Mr. Baird, who beaten walks out of the office. Outside we glimpse an expensively decorated corporate anteroom with TWO SECRETARIES at work.
Ben shuts the door with a small smile. John looks at him.
JOHN
I got to hand it to you. You’re the best.
He rises and pours two drinks. He passes one glass to Ben and they clink their glasses together.
JOHN (CONT.)
To a good days work.
They drink. Suddenly John wobbles and spills whisky on his shirt. Ben quickly steadies him.
BEN
Now you go and see your doctor.
JOHN
It’s nothing.
BEN
Fine, just humor me, alright. You owe me that much.
JOHN
Yeah, yeah, I will, when I have time.
Ben glares at him.
JOHN (CONT.)
Promise.
INT. JEFF’S APARTMENT – NEW YORK – DAY
The modern apartment is airy and nicely decorated, but the moving boxes obstruct the quiet harmony. Outside, the rain is pounding on the windows.
Daniel sits on the floor surrounded by a few books, staring at a framed picture.
INSERT – PICTURE
In the picture we see a younger John with his beautiful WIFE holding BABY DANIEL. Beside them stand TWO SMALL BOYS, Peter and Eric.
BACK TO --
A fit, attractive, black man in Daniel’s age, JEFF, appears in the doorway, dressed only in a pair of boxer briefs. He looks at Daniel who seems lost in memories.
JEFF
You okay?
DANIEL
Yeah.
He stands up with the picture still in his hand. He looks at it, touches it.
DANIEL (CONT.)
There was a time when we were happy. Then I grew up.
He studies the picture and then, suddenly, throws it into the wall. Smithereens of glass rain down on the floor. Jeff takes a few long steps towards Daniel and catches him in his arms.
JEFF
And you try to convince me you’re okay?
DANIEL
(yells)
I fucking hate him
Jeff strokes his face.
JEFF
He’ll come around eventually.
Daniel pulls loose and looks at Jeff. Unexpectedly he lets loose a tight, bitter laugh.
DANIEL
You don’t get it, do you?
Jeff lifts a brow.
DANIEL (CONT.)
He doesn’t know anything about me. Never has, never will.
THE DOORBELL RINGS. Startled, they glance at each other. Jeff moves to open the door. Daniel CLEARS HIS THROAT, looking first at Jeff’s boxer briefs and then at his face.
DANIEL (CONT.)
I guess I better answer that.
EXT. JEFF’S APARTMENT – NEW YORK – DAY
Ben waits in the nicely decorated corridor outside an apartment door. He is about to ring the bell again when the door is opened a few inches. A safety chain stops it from opening any further. Daniel peers out and looks shocked at Ben.
DANIEL
What are you doing here? How did you find me?
BEN
That was the least of my worries. Open the door.
Through the open slit, Daniel tries to look up and down the corridor, obviously worried that Ben might have brought company.
DANIEL
I’m not sure I can.
BEN
Don’t be stupid. I’m not your father. Now, let me in.
Daniel sighs and closes the door. THE RATTLE OF THE SAFETY CHAIN being unhooked is heard. Daniel opens the door and lets Ben in without a word.
INT. JEFF’S APARTMENT – NEW YORK – DAY
Ben views the moving boxes standing in the hallway and sighs. He puts down his briefcase on a small table and opens it. He removes an envelope and offers it to Daniel.
BEN
Here’s two credit cards with unlimited credit.
DANIEL
I can take care of myself.
BEN
I never doubted that. Save them for a rainy day.
DANIEL
What will my father say?
He fingers the envelope.
BEN
What he doesn’t know, doesn’t bother him.
He smirks at Daniel.
DANIEL
Don’t stick your neck out.
BEN
Just try and stop me.
Daniel weighs Ben with his eyes.
DANIEL
If it weren’t for you, we would have killed each other years ago.
BEN
Probably.
Jeff steps out into the hallway dressed in an expensive business suit. Daniel turns and smiles at him.
JEFF
(to Ben)
Hi, I’m- -
BEN
(interrupting)
Jefferson Haley. Father unknown, mother a factory worker. A sister and a brother. Worked your way through Harvard Business School. Graduated summa cum laude in 1998. Internship at Goldman Sachs. Currently market analyst at Meyer Loewe. [he pauses] Not bad for a ghetto boy from Detroit.
Daniel and Jeff share an amazed glance and then look at Ben. He smiles.
BEN (CONT.)
I’m Benjamin Hessey--
Jeff and Ben shake hands.
BEN (CONT.)
--the family watchdog.
Jeff grins.
JEFF
More like the wizard behind the throne. You’re famous.
Ben smiles and puts his hand on the door handle, peering at Daniel.
BEN
You want me to find you an apartment or do you want to stay here?
DANIEL
I’ll stay.
Ben nods.
BEN
Call me if there’s anything you need, alright?
Daniel nods. Ben opens the door and steps out into the hallway, then turns.
BEN (CONT.)
I must say you have much better taste in partners than your brothers.
He smiles and closes the door. Daniel looks shocked after him.
INT. TYR HOLDING - JOHN’S OFFICE – NEW YORK – NIGHT
John and Ben sit poring over large heaps of documents. The desk-lamp highlights the white papers and in the background the New York City skyline glitters. Ben stands up and stretches.
BEN
Nature calls.
He walks out.
John gets to his feet. Without emotion, he gazes at the city showing through the large panorama window. Suddenly, his body is racked by a seizure. His hand flies to his chest. He fumbles and steadies himself against the desk. He is breathing heavily with his head hanging down.
The CAMERA focuses on his hand, shaking slightly on the desk. It is placed on a newspaper with the picture of a beautiful blonde woman in her fifties, looking very powerful. John removes his hand and a large damp print of his palm can be seen, smudging the newsprint reading: SENATOR RESIGNS.
Slowly he stretches from his pained, crouched position and makes it over to a cupboard. On top of it stands a pitcher and he pours a glass of water. As he drinks it, his eyes fall on one of the family photos. It portrays Daniel.
JOHN
(to himself)
You stubborn boy.
He takes the framed photo and puts it face down in a drawer. Ben watches from the door and sadly shakes his head.
Without warning, John collapses and falls to the floor. Ben rushes forward with fear written all over his face.
EXT. TYR HOLDING - JOHN’S OFFICE – NEW YORK – NIGHT
The emergency lights of the parked ambulance flashes in the dark and reveal glimpses of the impressive office building.
MUSIC BEGINS. (Suggestion: “New York State of Mind”)
SINGER (SINGS, V.O.)
Some folks like to get away, take a holiday from the neighborhood, hub a flight to Miami Beach or Hollywood. I’m taking a Greyhound on the Hudson River line. I’m in a New York state of mind--
John is rushed out on a stretcher with Ben worriedly trailing beside it.
COLLAGE – NEW YORK - NIGHT
MUSIC CONTINUES--
In a SEQUENCE OF SHOTS we follow the ambulance speeding through the streets of New York.
INT. AMBULANCE – NEW YORK - NIGHT
MUSIC CONTINUES--
With worry written all over his face, Ben holds John’s hand peering at the pale, slack face. The CAMERA pans to a CLOSE-UP of John’s face.
FLASHBACK SEQUENCE: EXT. BROOKLYN STREET – NEW YORK - DAY
MUSIC GOES INTO A JAZZY PIANO INTERLUDE.
It’s the 1940’s in a dirt-poor neighborhood of Brooklyn. TWO BOYS, about seven years old, enthusiastically play an improvised game of stickball on the street. THE YOUNG JOHN is a little bigger than the YOUNG BEN and far dirtier and shabbier.
CUT:
A few years later, Ben has grown up a bit. A GROUP OF OLDER BOYS harasses him. John, walking up the street with a brown paper bag in his arms, sees it. He drops the bag and groceries spill out on the street. Fearlessly he tears into the bunch of much bigger boys, punching and kicking. Soon they run and John throws himself down on the ground beside Ben. Tenderly he checks him over and then helps him up on his feet, dusting him off.
FLASHBACK SEQUENCE: INT. APARTMENT – NEW YORK - DAY
MUSIC CONTINUES--
The apartment is hardly fit for human habitation. John slips into the kitchen with his broken grocery bag. He tries to sneak all the dirty and partially broken groceries into the cupboard when HIS FATHER appears.
The man is unshaven and grubby, dressed in a once white undershirt. The man explodes at the sight of the broken paper bag and the dirty groceries.
FATHER
(roars in a heavy Swedish accent)
Johnny, you little worthless piece of shit.
He catches John’s arm in a hard grasp and fetches a cane from a corner. In a fit of rage, he starts beating the defenseless boy.
He shouts in rhythm with the beat of the cane against John’s skin--
FATHER
One - day - I’m - going - to - kill - you – Johnny - Boy.
He underlines the last two words with two very hard whacks and John SCREAMS.
FLASHBACK SEQUENCE: INT. BEN’S ROOM – NEW YORK - DAY
MUSIC CONTINUES--
A TEENAGED BEN is studying in his neat room. The sparse furniture shows that the family is poor, but tidy. The walls are adorned with newspaper clippings of 1950’s baseball players and a framed poster from the movie “Casablanca”.
A TEENAGED JOHN, tall and muscular, walks into the room and excitedly sits down on the neatly made bed. Ben looks up and greets him with a smile.
JOHN
I’ve got a great deal coming up with the Vincelli brothers!
BEN
(upset)
You have what?
JOHN
(tries to placate him)
I need the money. I can’t stand living with the old man anymore.
BEN
No? How about prison, then, Sherlock? Is, what? a hundred bucks? really worth a year inside?
John sighs and looks depressed.
BEN (CONT.)
You know as well as I do that those morons always mess it up.
JOHN
Yeah, I guess.
He looks pleadingly at Ben. Ben quietly meets his eyes, thinking. He puts down his pen and turns to face John.
BEN
This is what we do, Sherlock. Since you and I have brains to think with, we find a really fat take. We stake it out, make all the plans - and make them foolproof. Then, we give them to the Vincellis, Tony the Trumpet or the East Side boys. They do the job, they take the risks and we collect fifty percent.
Ben smiles cheekily while John looks at him in awe.
EXT/INT. EMERGENCY WARD – NEW YORK – NIGHT
MAIN VOCAL TUNE CONTINUES--
Doors are flung open as the stretcher carrying John is rushed into the emergency ward. The reflection of the flashing lights of the ambulance contributes to the sense of emergency.
NURSES and DOCTORS are flocking around the stretcher, YELLING (ad lib) at each other.
Ben stands back, looking helplessly at his immobile friend. He watches as the stretcher carrying John is wheeled into a ward and the door closes. He sighs and then pulls out his cellular phone.
INT. PETER’S HOUSE / WARDROBE – NEW YORK – NIGHT
MUSIC GOES BACK TO A RHYTHMIC, JAZZY INTERLUDE:
Helen is standing inside her huge walk-in closet, dressed in a slip. The closet is packed with clothes and shoes from floor to ceiling. On the floor there are several unpacked bags from fancy designer stores like Prada and Gucci with the silk tissue wrappings showing.
Bored she sifts through the clothes hangers.
HELEN
I simply don’t have anything to wear.
INT. PETER’S HOUSE / BEDROOM – NEW YORK – NIGHT
MUSIC CONTINUES--
The bedroom looks like something out of an upscale interior design magazine. Dressed in a tuxedo, Peter stands in front of the mirror tying his bow tie, grossly imitating her yapping.
THE PHONE RINGS.
HELEN (CONT.)
(OFF)
People’ll think I’m a slob, or that we’re on the verge of bankruptcy.
Peter quickly answers to avoid a discussion.
PETER
Hello?
INT. ERIC’S APARTMENT – NEW YORK – NIGHT
MUSIC CONTINUES--
Eric’s apartment is a study in expensive decay. It looks like a hotel room trashed by a rock band during an orgy. A few lines of coke and some half-empty bottles of Absolut vodka adorn the glass table.
On the big bed, Eric is enthusiastically fucking a REDHEADED STRIPPER. Her LATINO COLLEAGUE is sitting behind him, worshipping his muscular torso.
The PHONE RINGS. Eric stops and looks at it.
REDHEADED STRIPPER
Forget it, baby.
Eric starts moving again on top of her. The phone CONTINUES to RING, and then the ANSWERING MACHINE cuts in.
ANSWERING MACHINE
(Eric’s voice, OFF)
This is Eric. Leave a message.
PETER
(OFF)
It’s me. Pick up, I know you’re there. Pappa’s at the Mercy hospital. It might be serious. I’m picking you up.
Eric is out of bed even before Peter’s message is over.
EXT. ERIC’S APARTMENT BUILDING – NEW YORK – NIGHT
MUSIC CONTINUES--
Peter pulls his car into the curb and parks with the engine running at the same time as Eric appears through the entrance. He jumps into the passenger seat and Peter takes off.
INT. PETER’S CAR – NEW YORK – NIGHT
MUSIC CONTINUES--
The neon-lit streets of New York are passing by outside the car. Peter looks at Eric.
PETER
He should have stepped down a long time ago. He’s losing the edge.
Eric snorts.
ERIC
Tell me about it. He should be going to Florida with the rest of the waste.
PETER
I’ll take over.
ERIC
You? Why not me?
PETER
I’m the oldest.
ERIC
So? People know me, and they’ve learnt not to fuck with me.
PETER
Muscle isn’t everything. I’m smarter.
ERIC
Says who?
INT. DANIEL’S OFFICE – NEW YORK – NIGHT
MUSIC CONTINUES--
Daniel’s office holds both a regular desk and a drawing board with a high chair in front of it. A model of an impressive building is displayed on the desk. The office walls are decorated with sketches and photographs of buildings.
Daniel is holding the phone pressed to his ear as he tensely watches the New York City skyline glittering in front of him.
DANIEL
How is he? Will he be alright?
INT. EMERGENCY WARD – NEW YORK – NIGHT
MUSIC CONTINUES--
With worry etched into his face, Ben glances at the door where John’s stretcher previously was rolled in.
BEN
I don’t know.
DANIEL
(OFF)
I’m coming down.
BEN
No. We don’t want him upset right now. I’ll call you as soon as I know something. [he pauses] And Daniel, try not to worry too much, okay?
INT. HOSPITAL WARD – NEW YORK – DAY
THE MUSIC PICKS UP A FEW LINES OF THE VOCAL TUNE AGAIN:
SINGER (SINGS, V.O)
My heart is the big town. I don’t want to waste more time. I’m in a New York state of mind --
John lies in bed, looking pale and tired. His face is as gray as the day outside. His eyes follow the NURSE as she checks the medical monitors.
Through the partial glass wall separating the ward and the corridor, John sees THE DOCTOR talking to Ben. They both look very serious. Ben nods and throws a glance at John. Together they approach the ward.
CUT:
MUSIC RETURNS TO A RHYTHMIC, JAZZY INTERLUDE:
John looks up at the Doctor standing beside the bed. Ben is sitting in a chair, looking almost as exhausted as John.
THE DOCTOR
I’m afraid I’m a bearer of bad news.
INT. HOSPITAL CORRIDOR – NEW YORK – DAY
Peter turns away from the hospital ward where his father, Ben and the doctor can be seen talking through the partial glass wall.
PETER
I’ll go and buy a Coke. You want one?
ERIC
Yeah.
Bored, Eric sits down on a bench as his brother walks out through the swing doors nearby.
INT. HOSPITAL STAIRWELL – NEW YORK - DAY
The doors swing behind Peter as he lifts his mobile phone to his ear. He stops in a corner of the stairwell, carefully checking if he can be overheard.
A few STAFF MEMBERS hurry down the stairs and AN ELDERLY COUPLE patiently waits in front of the elevators.
PETER
(stressed)
Vince? This is Peter Ericson. Buy those MCQ futures.
VINCE (O.S.)
Look, Peter, futures are a huge risk - and especially those. There’s always a winner and a loser.
PETER
(interrupting)
20 million.
Vince gasps (OFF).
VINCE (O.S.)
You’re crazy. No way. With your other investments going down--
PETER
(interrupting)
Do it. And think of your kickback.
VINCE (O.S.)
If this goes wrong--
PETER
It won’t. I got a tip off. Buy’em!
INT. JEFF’S APARTMENT – NEW YORK – DAY
MUSIC CONTINUES--
Daniel sits on a cushioned bench by the window, staring out at the gray clouds. Jeff walks in, looking concerned.
JEFF
Talk to me.
Daniel faces him, frowning.
DANIEL
My father is sick. [he pauses] Dying.
Daniel turns and stares out of the window.
DANIEL (CONT.)
He’s got a brain tumor, big as a ping-pong ball. They can’t remove it. It’s terminal.
JEFF
I’m so sorry.
He sits down on the bench in front of Daniel and takes his hand, caressing it. Daniel snatches it back, hugging himself.
DANIEL
Well, that’s just it. I don’t know if I am. I should be, but-- [he pauses]. The world is a better place without some people, including my father. My life will be better without him, but still, he is my father. And somehow that fact gives me some kind of obligation to feel something - sorrow, guilt, anger, or whatever. And I don’t.
JEFF
Maybe it’s just shock.
Daniel shakes his head.
DANIEL
There have been four attempts on his life during the last fifteen years and every time I’ve been disappointed they’ve failed.
He’s not a nice man, Jeff.
He rises and sighs.
DANIEL (CONT.)
I think I’m just sorry that I never had the chance to get to know the man he could have been, if life had been different.
INT. HOSPITAL WARD – NEW YORK – DAY
MUSIC RETURNS TO ORIGINAL VOCAL VERSION:
A large color brochure fills the screen. It looks like a travel brochure, filled with sunny skies, palm trees and searing blue ocean. A large resort-type mansion dominates the picture. ”Cypress Hall – first class hospice” the title reads.
SINGER (V.O., ENDS THE SONG)
--I’m in a New York state of mind.
MUSIC ENDS:
The brochure is flipped down and John’s face is revealed. As the CAMERA pans out, we see Ben sitting beside his bed.
JOHN
Why should I join the flock and pass by Florida on my way to heaven?
BEN
Well, I could always try to find you a place in Hell’s Kitchen.
JOHN
Don’t try to cheer me up.
BEN
Okay, here’s the deal. You go to Florida or you stay in that bed. You can’t go home. Even if you feel fine, you’ll need immediate medical attention if you get another seizure.
JOHN
And just maybe I don’t want to waste away. Maybe I prefer going out with a bang at my desk.
BEN
John, we need to buy time. You know as well as I do that we have a few weeks, maybe months, tops. And we haven’t done any contingency plans since they tried to kill you five years ago.
He gets up and starts pacing the floor.
BEN (CONT.)
You really want your whole life’s work go down the drain?
JOHN
Don’t be dramatic. You know the business as well as I do.
BEN
Yeah, but I don’t have your, let’s say, rather direct way of solving problems.
John grins wryly.
JOHN
I can give you a crash course.
Ben frowns.
BEN
Yeah, right.
He turns and stares out of the window at the dreary view.
BEN
If you go, I’ll be following you ten minutes later.
He looks back at John, who sighs.
JOHN
So, when will the bloodshed start?
BEN
If, and when, is up to you.
JOHN
I won’t win this one, will I?
FADE OUT:
FADE IN:
EXT. RUNWAY – FLORIDA – DAY
A JAZZY LATINO-INSPIRED TUNE BEGINS:
The sun burns from a bright blue sky. Palm trees sway in the gentle breeze as the big jet lands on the runway of the Miami Airport.
EXT. MIAMI AIRPORT – FLORIDA – DAY
MUSIC CONTINUES--
Following a uniformed CHAUFFEUR, John and Ben walk out of the busy airport building. Behind them TWO AIRPORT EMPLOYEES wheel an overloaded luggage trolley each. Above the exit we see the sign “MIAMI AIRPORT”.
They stop at a limousine and the chauffeur opens the door for them. The airport employees start loading the luggage on a pick-up truck, helped by the DRIVER. The limousine smoothly leaves the curb.
INT. LIMOUSINE – FLORIDA – DAY
MUSIC CONTINUES--
John impassively watches the tropical greenery whiz past the car window. The car turns into a beautiful driveway. At the end an impressive mansion appears, which we recognize from the brochure.
Lush green lawns and fiery flowerbeds surround the building. Beach chairs and sitting groups dot the lawn, some occupied, others vacant. A PARTY is playing croquet on the lawn and glance at the limousine as it drives by.
BEN
It looks very nice.
John just stares impassively straight ahead.
BEN (CONT.)
Look at the flowers. They must have a fulltime gardener here.
JOHN
Why don’t they save them to the fucking funeral?
EXT. CYPRESS HALL – FLORIDA – DAY
MUSIC CONTINUES--
The limousine stops in front of the grand entrance to Cypress Hall.
MUSIC ENDS:
A middle-aged man with a friendly face, DR HOFFMAN, descends the stairs. He is casually dressed in slacks and a shirt with rolled up sleeves. He greets John and Ben as they are getting out of the limousine.
DR HOFFMAN
Welcome, I’m Jonathan Hoffman, chief physician here. I’ll hope you will have a nice stay with us, John.
JOHN
(stiffly)
That’s Mr. Ericson to you, and I doubt it.
Dr Hoffman shares a quick glance with Ben and then smiles at John.
DR HOFFMAN
We’re usually not that formal here, but if you prefer Mr. Ericson, I’ll certainly call you that. Please this way.
He gestures for them to enter the mansion.
INT. CYPRESS HALL / RECEPTION – FLORIDA – DAY
Dr Hoffman enters the reception followed by John and Ben. The interior is as far removed from a hospital as it could possibly be. Colorful paintings adorn the adobe walls and the furniture is designed in a sturdy but elegant Hispanic style.
A beautiful woman in her fifties wearing a flowing dress, SARAH, enters the room from inside the house, carrying a large bouquet of flowers. We recognize her as the senator from the newspaper in John’s office. Ben smiles at her and she returns his smile while looking quizzically at the imposing John. He doesn’t even notice her.
DR HOFFMAN
I think I’ll start by showing you around.
JOHN
Just show me my room.
DR HOFFMAN
Certainly.
He looks John over.
DR HOFFMAN (CONT.)
Are you feeling alright? Can I get you something?
JOHN
Did you have a problem hearing what I just said?
He throws an annoyed glance at the doctor. Dr Hoffman clenches his teeth and leads them up a broad curving staircase.
INT. CYPRESS HALL / JOHN’S ROOM – FLORIDA – DAY
Dr Hoffman gestures with his arm.
DR HOFFMAN
Here we are.
JOHN
Leave.
Dr Hoffman looks troubled at him but obeys. He pops his head back through the doorway.
DR HOFFMAN
Mr. Ericson, a guest left us yesterday. We always throw a small party in remembrance. It’s eight o’clock in the dining room. It’ll be a chance for you to get to know everybody.
JOHN
What is this? A hospice or a cult?
He stares at Dr. Hoffman who takes the hint and leaves.
Ben walks up to the window and peers out. The blue ocean stretches into infinity, framed by the tall palm trees on the beach.
BEN
So, you’re intent on making this stay as miserable as possible.
JOHN
You wanted me here. I’m here. That doesn’t mean I have to enjoy it. That wasn’t part of the deal.
Ben sighs exasperated and turns around.
BEN
It’s your call.
He views his long time friend with a sad face.
BEN (CONT.)
How long have we known each other? Fifty years? You have never taken any time off to just rest, laze about, chat with people, go for a swim. Do it now, you have every opportunity. Enjoy yourself for a change.
JOHN
I do not enjoy such activities. It's a waste of time.
BEN
How do you know? You never tried.
John gives him a hard stare.
JOHN
Just leave, Ben. And call me when the paperwork is done.
Ben sighs again. He throws John a last glance and walks out. John moves to the window, impassively watching the ocean.
CROSS FADE / MATCH CUT:
INT. CYPRESS HALL / JOHN’S ROOM – FLORIDA – EVENING
The sun is setting over the ocean. John hasn’t moved. A KNOCK on the door is heard. He doesn’t react. The KNOCKING is HEARD AGAIN.
The door opens and reveals an attractive nurse, ANNABELLE.
ANNABELLE
Good evening, Mr. Ericson. I’m Annabelle, your nurse.
John stands still, as if nailed to the floor. Annabelle looks at his back.
ANNABELLE (CONT.)
I just wanted to let you know that dinner will be served downstairs in a few minutes.
JOHN
I’m not interested in company. Bring up a tray.
CROSS FADE / MATCH CUT:
INT. CYPRESS HALL / JOHN’S ROOM – FLORIDA – DAY
Light leaks through the blinds covering the windows. John’s room is almost dark. He lies in bed, watching the news. Annabelle enters the room, walks over to the windows and starts to pull up the blinds.
JOHN
Leave them. And you leave, too.
She nods curtly and walks out, throwing him an exasperated glance in the process.
CROSS FADE / MATCH CUT:
INT. CYPRESS HALL / JOHN’S ROOM – FLORIDA – NIGHT
The room is dark, save for the blue flickering of the TV screen. John sits in a reclining chair watching the business news when Annabelle appears with a tray.
ANNABELLE
Your dinner, sir.
She almost throws the tray down on the table and stalks out of the room, SLAMMING the door. John grabs the plate and starts eating mechanically.
Jeff appears on the TV-screen, being interviewed by a FEMALE NEWS ANCHOR.
NEWS ANCHOR
--and today, the MCQ shares fell freely.
News anchor turns to Jeff as John chuckles.
JOHN
(to himself)
I knew that scam wouldn’t work.
LEGEND ON TV-SCREEN: Jefferson Haley, analyst, Meyer Loewe.
JEFF
Yes, that’s right, Catherine. The IRS took the market by complete surprise when it filed a complaint against MCQ--
MATCHCUT:
INT. PETER’S APARTMENT – NIGHT
JEFF (CONT.)
--on the grounds of tax evasion and fraud. It is--
Peter stares at the TV-screen. He grabs a heavy designer vase from the low table in front of the sofa and hurls it at the TV.
The screen shatters in a thousand pieces.
INT. CYPRESS HALL / JOHN’S ROOM – FLORIDA – DAY
A bright sunshine leaks through the closed blinds. John sits in his reclining chair wearing a dressing gown. The TV is still on and a breakfast tray sits on the table beside him. He is reading the Wall Street Journal when Dr Hoffman enters.
DR HOFFMAN
Hello, Mr. Ericson. How are you doing today?
John throws him a glance and returns to his paper.
JOHN
Apart from being imprisoned here?
DR HOFFMAN
There is a field trip to John Pennekamp today. Would you like to come?
JOHN
I wasn’t aware I’d signed on for a package tour.
Dr Hoffman blinks and visibly takes hold of himself.
DR HOFFMAN
Suit yourself. How about joining us for lunch?
JOHN
No.
DR HOFFMAN
You can’t sit here day in and day out.
John doesn’t look up from his newspaper.
JOHN
As long as I pay the fees, I can do exactly as I please.
EXT. CYPRESS HALL – FLORIDA – DAY
Dr Hoffman walks purposefully across the lawn, toward a group of PATIENTS playing croquet. Sarah watches as WAYNE, a big, burly Texan in his late fifties makes his shot. He misses completely and laughs out loud. An attractive and neat middle-aged woman, MARY, nudges Sarah and looks teasingly at Wayne. He makes a face at her.
Dr Hoffman pauses and watches them. As Sarah lines up to shoot her ball, he walks up to Wayne. Dr Hoffman talks quietly with Wayne who nods in agreement.
INT. CYPRESS HALL / JOHN’S ROOM – FLORIDA – DUSK
The only light in the room emerges from a reading lamp above John’s shoulder. He sits in his chair with Time magazine forgotten in his lap, staring straight ahead.
The door opens and Wayne enters the room. He walks over to the window and starts pulling up the blinds.
WAYNE
Rise and shine. Day’s almost over.
John glares outraged at him.
JOHN
Who are you? What do you think you’re doing?
Wayne makes a half-turn towards John, but keeps at his task.
WAYNE
Wayne Miller, pleased to meet you. And for starters, I’m here to get you out of this self-pitying.
JOHN
Excuse me?
He glares at Wayne.
JOHN (CONT.)
You just come barging in here. You are the rudest person I’ve met in a long time.
WAYNE
Well, I guess it takes one to know one. Now, let’s have dinner. And I won’t take no for an answer.
JOHN
What are you going to do? Camp here?
Wayne laughs.
WAYNE
You’re sharp. I like that.
Wayne looks at John with a smile, completely ignoring his angry face.
WAYNE (CONT.)
We just have this bet going. The others think you’re too much of a wimp to come down. I said you just had to close some urgent business.
John peers at him, evaluating him. Suddenly John smiles a tight half-smile.
WAYNE (CONT.)
Shall we?
John rises from the chair and puts on a jacket. Together they walk out.
INT. CYPRESS HALL / DINING ROOM – FLORIDA – NIGHT
In a corner of the lavish dining room a JAZZ BAND is playing A JAZZ COVER. (Suggestion: “Don’t Get Around Much Anymore”)
Wayne strolls in with John beside him. They are greeted with curious smiles from the OTHER PATIENTS. John glances around the room. It looks more like a top class restaurant than a hospice, save from a few gaunt guests in wheel chairs.
Across the room, Wayne meets Dr Hoffman’s eyes with a victorious smile. With a relieved expression, the doctor returns the glance.
Wayne escorts John to a table by the window. Sarah and Mary are already sitting there, nursing a glass of champagne each.
SARAH
Finally, the mystery man.
WAYNE
John, this is Mary Wheaton from Boston and Senator Sarah Driscoe from North Carolina.
Sarah smiles.
SARAH
Ex-senator.
JOHN
Hello.
They greet each other. The men sit down. John steals a quick look at Sarah and she meets his eyes with a smile.
MARY
You have to forgive our curiosity. We like to welcome new members to our little social club.
John looks at her.
JOHN
It’s a morgue. Only the corpses haven’t understood they’re history.
MARY
Beep. You owe us a song.
John throws her a baffled glance.
MARY (CONT.)
It’s so dull and boring with all this talk about death and disease so we decided that every time anyone speaks about it in the common areas, you have to join the band and sing a song. It lifts everyone’s spirits.
JOHN
(stiffly)
Forget it. What’s next, faith healing?
SARAH
(very seriously)
No, but Dr Hoffman is an avid believer in tarot therapy and crystal energy.
John stares incredulously at her. Suddenly Wayne, Sarah and Mary break into a roaring laughter and John realizes he’s been had. He starts to chuckle.
EXT. CYPRESS HALL / PORCH – FLORIDA – NIGHT
John and Wayne sit in comfortable rattan chairs on the porch facing the ocean. Lanterns create a soft glow. The CALMING SOUND OF WAVES breaking is heard in the background, as well as the soft MUSIC from the jazz band (O.S.).
Both men drink whisky and have gone through quite a lot of it.
JOHN
It seems like all wealthy Texans are in the oil business.
He grins at Wayne, who returns his smile.
WAYNE
Absolutely, it means I’m allowed to have an absurdly young wife with very big hair.
They laugh together. Wayne takes a sip out of his glass and looks at John over the rim.
WAYNE
What about you?
JOHN
Business up in New York.
WAYNE
Specifics. I want specifics.
They laugh a bit drunkenly.
JOHN
Alright. My business partner and I own Tyr Holding, which owns a few retail chains, Northern Star Hotels--
WAYNE
I thought that mob guy, Johnny Two Tap, owned Northern Star.
John stiffens.
JOHN
(hisses)
Don’t you ever call me Johnny.
Wayne looks at him with a mix of surprise and amusement.
WAYNE
Or what? You’ll gonna drag me behind the nurses’ station and double tap me with a bedpan?
He indicates the two taps at the back of his neck and grins. John stares at him.
JOHN
And I’m not affiliated with the mob.
WAYNE
(dripping with irony)
Now really dear, you could have fooled me.
Wayne throws back the rest of his drink and pours the last drops from bottle into his glass.
WAYNE (CONT.)
You disappoint me. I’ve always wanted to meet a real mobster.
John stares suspiciously at him and then catches Wayne’s slight smile. He starts smirking.
JOHN
Beware of that bedpan.
They suddenly start to chuckle, look at each other and begin laughing for real. Wayne dries the tears of laughter from his eyes.
WAYNE
Don’t think you can avoid the interrogation by making me laugh.
John sips his drink and coyly looks at Wayne.
JOHN
I’m not in the habit of admitting anything ever.
WAYNE
I’m sure you ain’t, Mr. badass New York mobster. So, Johnny, got any family?
John throws him an annoyed glance.
JOHN
I divorced, then she died. We got three sons. One smartass pussy-whipped by his wife, one addicted to strippers and one architect. I’m beginning to think none of them is mine.
Wayne starts chuckling.
INT. PETER’S CAR – NEW YORK – NIGHT
Peter drives the car through Greenwich Village. Eric is sitting beside him in the passenger seat.
PETER
We’ll do this my way.
ERIC
Yeah, right. And end up getting a blowjob instead of 10 000 bucks.
PETER
(smirking)
I didn’t think you ever turn down an offer like that.
ERIC
Fuck you. You’re gross. It’s a guy we’re talking about. [he pauses] We’ll do this my way.
PETER
And what’s that this time? Scare him dead, beat him dead or shoot him dead?
ERIC
(upset)
I can be nice.
PETER
Really?
EXT. GREENWICH VILLAGE CLUB – NEW YORK – NIGHT
Peter and Eric step out of the car in front of a glitzy club. They both tuck guns into their trousers underneath their jackets.
ERIC
(complaining)
You never trust me.
PETER
But I did. Once. You got me shot and I turned into a limping cyborg.
ERIC
That was an accident.
PETER
No, that was thinking with your dick. Like always.
INT. GREENWICH VILLAGE CLUB – NEW YORK – NIGHT
The dance floor is rocking to the HARD TECHNO MUSIC. Eric and Peter push through the predominantly MALE CROWD. Here and there is a sprinkling of WOMEN. It is obvious that this is a gay club.
THE CLUB OWNER is holding court at the best table. Around him sit a mix of PRETTY BOYS and DRAG QUEENS. The two brothers step up to him. Eric towers over him in an intimidating way.
ERIC
Hi, remember us?
CLUB OWNER
(under his breath)
Shit.
CLUB OWNER (CONT.)
(nervously to Peter & Eric)
I’ll have your money in a few days.
Peter and Eric look at each other and shake their heads in sync. Eric laces his fingers together and cracks them in a threatening way, smirking evilly at the Club Owner.
CLUB OWNER (CONT.)
Alright, alright. Give me a few minutes.
He scurries away with Peter and Eric following closely.
INT. GREENWICH VILLAGE CLUB / BACKROOM – NEW YORK – NIGHT
CLUB MUSIC CONTINUES, BUT MUTED--
The Club Owner holds out a thick pile of hundred dollar bills toward the two brothers. Eric takes the money and pockets them. They nod at the Club Owner and turn around, walking back the way they came.
ERIC
See, I can be nice.
PETER
There’s a first for everything.
INT. GREENWICH VILLAGE CLUB – NEW YORK – NIGHT
CLUB MUSIC CONTINUES AT FULL VOLUME--
Peter and Eric push their way through the dancing crowd to get out of the club. The dancers closest to them spin and suddenly Peter and Eric stand face to face with Daniel and Jeff. Shocked they look at each other.
PETER
(to Jeff)
You!
Eric’s hand shoots out and grabs Daniel.
ERIC
What the fuck are you doing here?
MUSIC ENDS:
INT. CYPRESS HALL – FLORIDA – NIGHT
John and Wayne stagger out of the dining room and into the hall, giggling and laughing. They have their arms slung around each other’s shoulders for support.
TWO MALE STAFF MEMBERS discreetly follow, keeping an eye on the two very drunken patients.
John and Wayne stop at the foot of the stair, looking up at it as if it was Mount Everest. They more or less crawl up the stair, giggling.
WAYNE
John?
JOHN
Yes, Wayne?
Wayne laughs helplessly.
WAYNE
I forgot what I was about to say.
John looks helplessly at him and then begins to laugh. He STUTTERS something but can’t get anything out. Then--
WAYNE (CONT.)
John.
He points at John, then at himself.
WAYNE (CONT.)
Wayne. John Wayne.
They both collapse on the stair, rolling with laughter. John looks up the long stair.
JOHN
I need a horse. A horse! A kingdom for a horse!
Wayne collapses into a new laughing fit while the two staff members share an exasperated glance and cross their arms sternly.
INT. BEN’S APARTMENT – NEW YORK – NIGHT
Ben leads Peter and Eric into the living room of his neat and tastefully decorated home. Looking tired, Ben falls into a stuffed chair and watches them.
Eric looks thoroughly beat up. He is vividly blue under the eyes. His nose is enormously swollen and put into a large bandage, which reaches up to his forehead. He looks quite funny.
BEN
What happened to your nose?
ERIC
(aggressively)
Nothing.
BEN
Alright then, what’s so important you had to drag me up at this ungodly hour?
ERIC
(outraged)
We saw that little shit--
PETER
(interrupting)
Daniel’s a bloody faggot. We collected a gambling debt at this gay club and there he was, with his fucking lover. I’m going to take that black motherfucker and--
Peter is more or less foaming at the mouth.
ERIC
When pappa finds out, he’s fucking--
Ben’s eyes narrow to thin slits. He looks dangerous.
BEN
(interrupting)
Sit, and mind your language.
The two brothers stare at Ben and sink down on the sofa without another word. Ben looks at them sternly.
BEN (CONT.)
One. Daniel is an adult and has every right to choose whom he spends time with. Two. You are not going to say a word to your father. I’ll see to that. Three. You go down and visit as planned, and no scenes involving this. Understood?
ERIC
But--
BEN
(firmly)
But nothing. You follow orders.
ERIC
(roaring)
I’m so fucking tired of this. Whose side are you really on?
BEN
I’m on the side that pays your bills. Now leave. I’m exhausted.
Peter and Eric walk out muttering. Ben worriedly covers his face with his hand and sighs heavily.
EXT. BEN’S APARTMENT - NEW YORK - NIGHT
Peter and Eric exit the exclusive apartment building. Peter limps toward his car with a scowl on his face.
PETER
He treats us like retards. I’m a businessman. I won’t live on petty handouts anymore.
ERIC
Tell me all about it. But, hey, compared to me you’re loaded.
Peter just gives him a hard stare and sighs.
PETER
Pappa’s dying and God knows what’s in that will.
INT. CYPRESS HALL / DR. HOFFMAN’S OFFICE – FLORIDA - DAY
Puzzled, Dr. Hoffman studies a series of CAT scan images mounted on a light box on the wall. Dr Hoffman turns to John.
DR. HOFFMAN
How are you feeling?
JOHN
(morosely)
I have a headache.
Dr. Hoffman chuckles.
DR. HOFFMAN
Well, live with it. If I hadn’t seen the bar tab I might have been worried.
He grins at John and then his face takes on a serious look. He throws a pondering glace at the light box.
DR. HOFFMAN (CONT.)
I’ll prescribe some medication. We’ll try to keep that tumor in check. And report any dizziness, hallucinations, nausea, headaches – any thing out of the ordinary, okay?
JOHN
Can I have an aspirin?
Dr. Hoffman studies him and then smiles.
DR. HOFFMAN
Yes, but only because I’m in a good mood today.
EXT. CYPRESS HALL – FLORIDA – DAY
A cab stops outside the entrance and Ben gets out. Heavily he walks up the steps.
INT. CYPRESS HALL / TERRACE – FLORIDA – DAY
John and Ben sit down, facing each other, on the terrace overlooking the ocean. John sips a glass of orange juice, looking tired and hung over.
JOHN
You have the papers already?
BEN
No.
JOHN
Then what?
BEN
I got some news.
JOHN
Which you had to come all this way to tell me? Good or bad?
BEN
Depends on how you look at it.
JOHN
Well?
BEN
Daniel has found the love of his life.
JOHN
So? You come all this way to tell me he’s finally fucking some broad?
Ben sighs. He rises and steps up to the railing, looking at the view. He turns slightly to John and sighs again.
BEN
His name is Jeff. He’s one of the sharpest stock market analysts on Wall Street.
John stares shocked at him and jumps up. With a few long steps he stands in front of Ben, towering over him.
JOHN
(yelling)
YOU ARE TELLING ME THAT MY SON, MY SON, IS A FAGGOT? A POOFTER? A FUCKING QUEER?
BEN
(calmly)
He’s gay, yes.
John stares at him, red-faced with anger. He turns and forcibly throws his glass on the tile floor. He starts pacing like a madman, throwing daggered glances at Ben.
JOHN
(loudly)
Impossible. He can’t be. He doesn’t act like that.
BEN
Like what?
JOHN
You know, queer. You know how people like that is.
BEN
No, enlighten me.
John glares at him and limply waves his wrist in an exaggerated “gay” gesture. Ben snorts.
BEN (CONT.)
Come on, John. How many homosexuals have you met?
JOHN
(stiffly)
Well, recently, that queen at the gallery.
Ben starts laughing and turns around to face him.
BEN
That “queen” has five children and is on his third marriage. You’ll have to do better than that.
JOHN
I don’t socialize with queers.
Ben looks out at the ocean.
BEN
(softly)
Oh, but you do.
JOHN
Yeah, obviously, since you just told me that my son is a goddamn faggot.
Ben turns and looks straight at John.
BEN
Have you never wondered why I never married?
John gawks at him flabbergasted.
EXT. CYPRESS HALL – FLORIDA – DAY
Ben waits for a cab. He looks older and more tired than ever. The cab arrives and he quickly gets in, as if wanting to put distance between himself and John as soon as possible.
EXT. BEACH – FLORIDA – DAY
With his back as stiff and straight as a lighthouse, John stares at the ocean. Further up the beach, Sarah is walking barefoot at the edge of the water, holding her straw-hat with a hand against the breeze. Her thin dress is billowing in the wind. She sees John and changes her direction, walking up to him.
Softly, a SONG starts to play. (Suggestion: Stan Getz / “Ebony Sam”)
SARAH
(friendly)
Hi.
JOHN
(morosely)
Hi.
She follows his stare toward the ocean.
SARAH
It’s beautiful, isn’t it?
JOHN
I haven’t noticed.
She looks at him with a searching glance.
SARAH
Something wrong?
JOHN
It’s nothing.
She peers at him.
SARAH
Don’t lie to me.
JOHN
(snorting)
Why would you be interested in my problems?
She shrugs.
SARAH
I like to help people.
She puts a hand on his arm and looks up at him.
SARAH (CONT.)
Come, walk with me.
ohn allows himself to be led down to the water’s edge.
EXT. BEACH – FLORIDA – DAY
They walk in silence. John looks down at Sarah. He sighs.
JOHN
I just found out that my best friend, a man I trusted in everything, has been lying to me for fifty years.
Sarah stops and looks concerned at him.
JOHN (CONT.)
Well. Lying might be too harsh a word. He just hasn’t told me the whole truth.
He sighs and Sarah patiently waits for him to continue.
JOHN (CONT.)
And my youngest son, he’s involved with somebody he shouldn’t be involved with at all.
SARAH
(quietly)
People don’t always behave the way we want them to. Still, you have three healthy sons. And having a best friend, the same one, for fifty years. That’s rare, and precious.
John looks surprised at her.
JOHN
Yeah, maybe. But still--
SARAH
You feel cheated on?
JOHN
Yeah, I guess I do.
SARAH
Is it important enough, big enough, to end a lifetime of friendship?
John doesn’t answer. He watches two dogs fight further up the beach.
SARAH (CONT.)
How would you have reacted if your friend told you earlier?
JOHN
Freaked out, probably.
SARAH
So, there’s a logical reason for him not to tell you?
He starts walking again, staring out at the waves. Finally --
JOHN
Yeah.
SARAH
You know, it’s always easier to forgive someone else than to forgive yourself. I’ve learnt that the hard way.
Sarah looks at John.
SARAH (CONT.)
When you only have a short time left, you realize there are so many things you wish you’d done differently. I’ve been a very hardheaded woman. And that has made me a very lonely woman.
She kicks up sand and watches a seabird soar to the sky.
SARAH (CONT.)
And now I also realize how it made me miss out on life. There are so many things I now wish I had time to discover, but before all this I didn’t even notice.
She looks down and smiles a little embarrassed.
SARAH (CONT.)
It’s silly, but when I was a girl I had this dream about going to Morocco and Egypt. Sitting in a tent in the desert, watching the bright stars outside. I had forgotten that dream for years and years. Yet, now--
She wipes the tears from her eyes and draws a deep breath.
SARAH (CONT.)
We never really understand what life is all about until it’s too late.
EXT. CYPRESS HALL – FLORIDA – DAY
John and Sarah walk towards the house on a small pathway. Both are deep in thought. In the background the ocean glows blue.
Sarah turns toward a hothouse standing in the garden.
SARAH
Would you mind helping me water the plants?
John wakes up from his thoughts.
JOHN
Huh? Yeah, sure.
INT. HOTHOUSE – FLORIDA – DAY
The hothouse is magnificent with rare flowers blooming and small plants growing to be put outside later.
Sarah hands John a watering can. He takes it and just stands there, looking lost. She smiles.
SARAH
Well, go on.
JOHN
How much?
SARAH
A gallon or so.
Awkwardly, John starts watering the plants, splashing a little here and there. Sarah watches him amused.
SARAH
Well, thank god you’re not in charge of gardening. Then we would be left with a Zen garden.
John looks confused at her.
JOHN
Huh?
SARAH
You know, Japanese stone garden.
JOHN
Oh.
It is obvious that he hasn’t a clue what she is talking about. She steps close to him and puts her hand on the handle of the watering can, pushing it down so the plants get thoroughly soaked.
SARAH
I didn’t mean a gallon for the whole hothouse. A gallon each.
He smiles embarrassed. She cups a strange looking flower, a Pitcher plant (Nepenthes Rajah).
SARAH
You know, in one of these they found a gallon of water and a drowned rat.
She giggles.
JOHN
Yeah, right.
SARAH
But it’s true! Honestly.
She steps up to another magnificent plant with huge red flowers.
SARAH (CONT.)
And this one, the Aztecs used as an aphrodisiac. A friend of mine tried it and was sick for a week.
She giggles as John gives her a disbelieving look. She holds out the flower to him.
SARAH (CONT.)
Well, smell it anyway. It has a nice fragrance.
Reluctantly he steps closer and breathes in deeply.
JOHN
It-- [he searches for words] it smells of my wife. She had a perfume like that.
SARAH
“Joy” by Jean Patou.
JOHN
Yeah, that was it. How did you know?
Sarah holds out her wrist. He delicately takes it and smells it. He smiles in wonder at her. He just stands there holding her arm and looking at her. Sarah smiles a bit embarrassed and look down.
SARAH
Why don’t we water these poor plants and go have a drink?
Moving in sync with the music, she takes another watering can and waters the plants. John stiffly follows, still looking a little lost and bewildered. He is sneaking glances at her, in some aspects behaving like an embarrassed teenager with a crush.
MUSIC ENDS:
FADE OUT:
FADE IN:
EXT. CYPRESS HALL – FLORIDA – DAY
Peter and Eric walk out of Cypress Hall, followed by John dressed in a suit. Eric’s nose is still taped with a small strip of plaster, but other than that looks quite normal.
Parked in front of the stairs is a rather vulgar luxury car. Eric climbs into the driver’s seat, while Peter holds up the door to the passenger seat for his father. John gets in and Peter places himself in the backseat.
Wayne walks by with a croquet club in his hand.
WAYNE
Have a nice day in Miami, Johnny boy!
John sighs and makes a half-hearted wave. Peter and Eric stare at him, disturbed by the lack of reaction.
INT. CAR – FLORIDA – DAY
The silence is deafening. John stares straight ahead. Peter leans forward.
PETER
We got all the money from the Swiss number account. All sweet twenty million.
ERIC
And those Iranian dickheads have learnt not to fuck with us.
JOHN
They didn’t. You two screwed up.
The silence returns as they ride through the lush landscape.
CUT:
At a red light, John stares at the car in front of them. It’s decorated with rainbow flags and pro-gay stickers.
He resolutely turns his head and looks out of the side window. Peter turns and looks at him.
PETER
How are you feeling?
JOHN
I’m dying. How do you think?
EXT. LUXURY CAR DEALERSHIP – FLORIDA – DAY
Eric enthusiastically jumps out of the car and views the cars glistening on the inside of the showroom’s glass walls. Grinning, he turns to Peter and John who have gotten out too. They walk up to the showroom and enter.
INT. LUXURY CAR DEALERSHIP – FLORIDA – DAY
John mutely views the cars in the luxurious showroom.
ERIC
You need some wheels, pappa.
JOHN
What for?
ERIC
(cries)
Look, the new Ferrari!
Eric and Peter rush towards the red, sleek car. John turns around and impassively watches the street. On the sidewalk TWO YOUNG MEN pass, holding hands and smiling at each other. John clenches his teeth. He stiffly walks to the entrance door and gets out. His sons don’t notice, still enraptured by the expensive car.
INT. MEN’S STORE IN A LUXURY MALL – FLORIDA – DAY
Eric holds up a muscle shirt by an expensive designer label.
ERIC
How about this?
Peter eyes him with smirk while John stares numbly.
PETER
Absolutely. Those stripper girls will be all over you.
ERIC
I knew it.
He disappears into a changing room. A SALES CLERK walks up and smiles politely at John.
SALES CLERK
Good day, sir. Can I help you?
John doesn’t bother to answer.
PETER
I want a suit. Conservative but nice. Ralph Lauren, maybe.
SALES CLERK
Certainly. This way, please.
Peter follows him. John slowly ambles out of the store toward a café. Through the big store window, we see him sitting down on a high stool in front of the bar and ordering from a WAITRESS.
CUT:
Peter, dressed in a brand new suit, critically watches himself in a large mirror. The sales clerk hovers by his side, nipping and tugging at the suit to make it fit better. Eric appears with the muscle shirt in his hand.
ERIC
Pappa is gone.
Peter throws him a glance in the mirror.
PETER
Again?
Peter clenches his jaw.
PETER (CONT.)
I feel like screaming. God, he’s boring.
ERIC
We take time off and he doesn’t even appreciate it.
PETER
Yeah, I know. It sucks. But I’ll try to keep him happy until I’ve seen that will.
Eric gets something cunning in his eyes. He stares at the sales clerk.
ERIC
Split, will you?
The sales clerk nods nervously and leaves them alone. Eric gives Peter a piercing look.
ERIC
What if he dies before he’s signed the will?
Peter looks at himself in the mirror and then looks at Eric in the reflection.
PETER
He already has one, an old one. It may as well leave all control to Ben.
ERIC
Fuck.
INT. LUXURY MALL – FLORIDA – DAY
John sits on a barstool with a coffee in front of him, leafing though a local newspaper. A scruffy-looking BLACK MAN walks up to him.
BLACK MAN
Do a good deed and God will save your soul.
He holds out his upturned palm towards John, begging for a penny.
JOHN
I don’t believe in God.
The man scrutinizes John and smiles.
BLACK MAN
Neither do I, but it’s a good sales pitch.
John gives him a wry smile.
BLACK MAN (CONT.)
So, tell me, what do you believe in?
John shrugs.
BLACK MAN (CONT.)
You got to believe in something. What makes you tick? What drove you to become a successful man?
He gestures to John’s expensive clothes.
JOHN
Money, I guess.
The black man narrows his eyes.
BLACK MAN
Mammon is a hollow and fickle master.
He taps John’s chest twice.
BLACK MAN (CONT.)
You better find yourself a better master before it’s too late.
JOHN
Like whom?
The black man smiles and pats John’s shoulder.
BLACK MAN
That’s your quest.
He walks off without another word and John stares after him. He shrugs and turns back to his coffee and newspaper. He turns a page and stops, staring.
INSERT – PAPER
A sparse ad, adorned with frolicking dolphins, reads “This is the first day of the rest of your life. Explore it.” The ad ends with a logotype “Key Largo Water World”
BACK TO –
PETER
(OFF)
Pappa! There you are. We got worried when you just disappeared.
John turns and looks doubtfully at his two sons.
JOHN
Really? Why don’t you just hire me an English nanny then?
He rises and leaves, clearly pissed off.
INT. BENIHANA RESTAURANT – FLORIDA – EVENING
The restaurant is a circus, an expensive tourist trap for adults who are still children at heart.
The semicircular tables are filled with happy, exalted GUESTS watching the CHEFS at each table putting on a show while preparing the food.
One table only has three guests; John, Peter and Eric. John’s two sons excitedly watch the chef’s dexterity with awe while John mostly looks embarrassed. Peter throws him a glance and sighs.
PETER
Look, we’re trying to cheer you up.
JOHN
I’m touched. Only thing is I’ve known you too long to buy it. So spit it out!
Peter throws Eric an uneasy glance and then looks back at his father.
PETER
Well, now that you are here, and ill, I -- we -- think it would be better if the family business were in the hands of, well, a family member.
JOHN
That’s an interesting view. So, I gather that you don’t feel that taking care of you two for more than thirty years, attending school functions, buying you Christmas presents and getting you out of trouble, qualifies Ben as a family member?
ERIC
Look, he’s done a lot for us, but --
John’s face darkens and he starts to look very dangerous.
JOHN
Do you two really believe that just because you are of my blood it puts you in a position to question my decisions, and above all, makes you more fit to run the business than all of Ben’s knowledge, cunning and experience?
His sons squirm under his hard gaze.
PETER
Well, I -- we --
John’s relentless stare shuts him up and he lowers his gaze. John stares at Eric and, with a sigh, he drops his head. John fastens his eyes at Eric’s taped nose.
JOHN
What happened to your nose?
ERIC
Nothing.
John cocks a brow and looks sternly at his son.
ERIC (CONT.)
(strained)
That little faggot shit hit me.
John stares at him and suddenly the corners of his mouth starts jumping. He breaks out in laughter, much to the annoyance of his two oldest sons.
INT. STRIP CLUB – FLORIDA – EVENING
The MUSIC is THUNDEROUS as the GIRLS strip, tease and sway in the multicolored light to a SEXY SWING TUNE. (Suggestion: The Sammy Davis Jr./Count Basie Song “Woman”)
SAMMY DAVIS JR (SINGS, V.O.)
--Cause she’s a woman – W.O.M.A.N. Let me say it again--
A STRIPPER is shaking her ass in Eric’s face and he loves it. He grins over his shoulder at his brother and stone-faced father. They are sitting at a table close to the stage.
Around them, the other tables are filled with leering MEN. There are all kinds of groups; from YOUNG G.I:s on leave to BUSINESSMEN in suits and GRANDFATHERS in brightly colored shorts and t-shirts.
Eric gets hold of a male MANAGER and shouts in his ear. The man grins and nods.
CUT:
THREE half-naked GIRLS appear at the table, teasing and giggling. Eric immediately pulls one down on his knee. She giggles as he caresses her. Her colleague straddles Peter’s knee, doing a lap dance, and he’s clearly enjoying himself.
The third girl slides up to John and perches on the armrest of his chair. She sneaks her arm around his neck and leans in. John’s face clouds and he briskly removes her arm, putting it back into her lap. She draws back with an offended face. John stiffly watches the dancers on the stage.
The girl at center stage spins to the music.
MATCH CUT / MATCH MUSIC:
INT. CYPRESS HALL – FLORIDA – NIGHT
MUSIC CONTINUES--
Sarah spins in the middle of the dance floor. Behind her, at the end of the room, John steps out. He watches her with a strange expression on his face. Sarah pulls out of the spin and returns with suggestive, sexy movements to HER DANCE PARTNER.
They laugh happily and swirl out among the other DANCERS.
Wayne sees John staring at Sarah dancing. He pours two drinks and walks up with them to John. He gives one to John who shoots him a surprised glance.
WAYNE
Thought you might need it. You looked a bit too overawed to ask her to dance.
JOHN
I don’t dance.
WAYNE
Wrong. You didn’t use to dance.
The MUSIC ends and the dancers applaud. Wayne nudges John and nods toward Sarah. John frowns and hands Wayne his empty glass. He sets course on Sarah.
JOHN
Would you honor me with the next dance?
The jazz band starts PLAYING A COVER OF a JAZZ SONG. (Suggestion: “That Old Black Magic”)
Sarah smiles at John and places her hand in his. They start to dance slowly, picking up the pace with the music. A smile starts to show itself in the corners of John’s mouth as he spins Sarah around and around.
MUSIC ENDS:
FADE OUT:
FADE IN:
EXT. BEACH – FLORIDA – DAWN
John sits on the beach watching the sunrise. He is still dressed in his suit from the previous day. His posture is relaxed but thoughtful.
The sun burns orange above the horizon and rises into the sky (speeded F/X sequence). THE LOUIS ARMSTRONG SONG “WHAT A WONDERFUL WORLD” FADES IN as the sun rises.
John gets up and walks to the edge of the water. A wave licks his shoes. Suddenly he continues into the water, further and further out.
INSERT - UNDERWATER SHOT – DAY
MUSIC CONTINUES--
John sinks under the water. His face looks elated.
BACK TO –
MUSIC CONTINUES--
John shoots out of the water. He starts splashing and playing in the water like a five-year old.
EXT. CYPRESS HALL / TERRACE – FLORIDA – DAY
MUSIC CONTINUES--
The WAITRESSES are setting the tables on the terrace for breakfast. They glance surprised at the thoroughly soaked John.
JOHN
Good morning, ladies. Isn’t it a wonderful day?
He smiles at them. Baffled, they return his smile.
INT. CYPRESS HALL / JOHN’S ROOM – FLORIDA – DAY
MUSIC CONTINUES--
He starts moving to the music as he tosses his wet clothes on the floor.
John proceeds into the bathroom to meticulously groom himself. He showers, washes his face, brushes his teeth, shaves, clips the hairs in his nose and carefully styles his hair while SINGING ALONG to the music, knowing every word.
He dresses casually but nicely taking his time to chose his clothes as he sings along with the music. He looks himself over in the mirror and smiles satisfied. He flips OFF THE RADIO as he exits and THE MUSIC ENDS.
INT. AIRPLANE – DAY
Eric looks terrible. His taped nose just underlines the consequences of a long hard night. He is sleeping in his seat, with his mouth open.
THE CABIN CREW has started to serve breakfast. Peter nudges Eric to wake him. He has to shake his brother to get him to open his bloodshot eyes.
ERIC
Huh?
PETER
Breakfast.
Eric massages his eyes and his temples. Peter pulls down the tray in front of Eric and then his own. An AIRHOSTESS hands him two trays. Eric eyes the food with distaste.
ERIC
What happened?
PETER
Yesterday? We bombed. Pappa disappeared, you got shitfaced and I had to pay off a stripper.
ERIC
The Latino?
He smiles proudly.
ERIC (CONT.)
I knew I’d nail her!
PETER
You puked all over her.
EXT. CYPRESS HALL / TERRACE – FLORIDA – DAY
John, Wayne and Mary eat breakfast on the terrace, surrounded by fellow patients. John seems like a ball of energy. He keeps glancing at the doorway leading out to the terrace.
WAYNE
(to Mary)
You owe me a rematch.
Mary gives him a great smile.
MARY
Ha! And what makes you think you win this time?
Wayne chuckles.
WAYNE
I have a winning personality. It’s not in me to lose. I’ve only been warming up.
Mary laughs.
MARY
Sure, for three months!
Wayne turns to John who is glancing at the doorway again.
WAYNE
You want to see me crush her?
JOHN
Huh?
Distracted, he turns to face Wayne.
WAYNE
Croquet. Do you want to join us?
JOHN
No, I don’t enjoy games.
Sarah steps out on the terrace. John’s eyes are drawn to her like a magnet.
SARAH
Hi guys. Are you ready for another game after breakfast?
WAYNE & MARY
Sure.
She looks at John.
JOHN
Yes, that would be nice.
Mary and Wayne start chuckling. Sarah turns to them.
SARAH
What? Did I miss something?
WAYNE
Nothing.
He shoots John an amused glance and John looks away, embarrassed.
EXT. CYPRESS HALL – FLORIDA – DAY
Cypress Hall creates a beautiful backdrop to the four friends playing croquet. Just behind them lays a flowerbed with two small sunflower stalks in the middle.
A JAZZY TUNE BEGINS. (Suggestion: Dinah Washington/“Teach Me Tonight”).
John is the last to shoot his ball. He concentrates and then strikes. His ball knocks Wayne’s off the course.
WAYNE
Hey! That’s cheating. You said you never played before. You’re a goddamn pro.
John smiles wickedly at him and rests the club on his shoulder.
JOHN
Your shot.
Wayne lines up to strike and keeps throwing playfully evil glances at John who grins back. Wayne misses his shot as usual.
WAYNE
Damn!
MARY
(to John and Sarah)
He’ll just needs to warm up for another year or so.
In a MONTAGE OF IMAGES we see the foursome playing croquet while having a very good time. There is a lot of looking and smiling going on between John and Sarah.
The sunflowers grow quickly into big bushes to show the time that passes (F/X). The players have different clothes between the images to underline the passing of time. In the final shot John and Sarah are very close and intimate against the backdrop of the splendidly blooming sunflowers.
EXT. BEACH – FLORIDA – EVENING
MUSIC CONTINUES--
The sun is setting when John and Sarah walk down to the beach. They sit down in a couple of beach chairs and look at the ocean.
John moves his hand closer to Sarah, resting it on the armrest. She copies his movement. Hesitantly, John lets his arm fall down, inching closer. She does the same. Finally he touches her hand with his finger. She moves her hand and they clasp them together. They just sit there holding hands and watching the sunset.
MUSIC ENDS:
FADE OUT:
FADE IN:
EXT. TYR HOLDING – NEW YORK - DAY
The day is overcast and gray. The PEOPLE milling on the streets is huddling against the cold. Peter and Eric enter the imposing building of Tyr Holding.
INT. TYR HOLDING / BEN’S OFFICE – NEW YORK – DAY
Ben sits behind his desk working when Peter and Eric enter. On the wall hangs a framed poster from the movie “Casablanca”.
PETER
We got to talk.
Ben looks up.
BEN
Oh, about what?
ERIC
Pappa.
PETER
And the will.
Ben shrugs.
BEN
It’s not much to talk about. You’ll know when the time comes.
PETER
That’s not good enough. Pappa is dying. What guarantees do we have that he is thinking straight right now?
Ben leans back and puts his fingers together, looking quizzically at them.
ERIC
Old men do silly things.
Ben looks straight at him and lifts a brow.
BEN
Now, really?
INT. HOTHOUSE – FLORIDA – DAY
John and Sarah tend the flowers, smiling and touching. Clearly they are very much in love. John scrutinizes a flower.
JOHN
This one looks a bit down.
Sarah steps closer and has a look.
SARAH
Oh, look, bugs.
She points them out to him and fetches a spray can with insecticide from a shelf. Annabelle enters the hothouse.
ANNABELLE
Oh, there you are, Mr. Ericson.
John turns around.
JOHN
John.
She smiles.
ANNABELLE
John. You have a call.
She hands over the cordless phone to him.
JOHN
Hello?
BEN
(OFF)
It’s me.
John looks at Sarah spraying the plant.
BEN (CONT. O.S.)
I’ve got the papers ready.
John is more focused on Sarah treating the sick plant than on Ben. He points out places that she’d missed spraying.
JOHN
Mmm.
BEN (O.S.)
I’m sending down a courier in a few days.
JOHN
Mmm.
BEN (O.S.)
Are you listening to me?
JOHN
Mmm, papers, courier.
He carefully looks over the neighboring plants for signs of more bugs.
BEN (O.S.)
I’m concerned about Peter and Eric. I have a feeling they might do something stupid.
JOHN
Wouldn’t surprise me.
BEN (O.S.)
Are you feeling alright?
John smiles at Sarah who returns his smile.
JOHN
Actually, I’m feeling a bit dizzy.
INT. ITALIAN RESTAURANT – NEW YORK – DAY
The day is bleak outside the big windows. The restaurant is an old fashioned family restaurant. Peter sits alone at a big round table in a secluded corner, talking into his mobile phone.
PETER
(whispering forcefully)
Vince, I told you once and for all, I don’t have the money.
TWO ELDERLY ITALIAN MEN arrive at the table, followed by THREE YOUNGER BODYGUARDS.
VINCE (O.S.)
What do you want me to do? We tape all transactions. You okayed the purchase. The firm has proof. I warned you, but you didn’t listen.
Peter nods respectfully at the two Italians.
PETER
By the way, how are Mary and the kids?
Vince gasps.
VINCE (O.S.)
You wouldn’t dare--
PETER
Bye, Vince.
He rings off and immediately stands up.
PETER
Mr. Conti, Mr. Zalbo, I’m honored to meet you.
INT. CYPRESS HALL / TERRACE – NIGHT
The terrace looks very cozy in the warm night, lit by flickering lanterns. In the background THE OCEAN SWELL is heard. Most of the hospice patients have gathered around the scattered tables, listening intently.
Softly lit, a MAN sits reading a poem in a cleared area where everybody can see him.
MAN
-- This day, Time travails with a mighty birth. This day, Truth stoops from heaven and visits earth. ‘Ere night descends I shall more surely know, what guide to follow, in what path to go. I wait in hope, I wait in solemn fear, the oracle of God, the sole, true God, to hear.
(Note to actor: “Pilate’s wife’s dream” by Currer Bell, a k a Charlotte Brontë)
He closes the book and the audience starts to CLAP. He makes a seated bow and leaves the chair. Another patient, THE POETRY
LEADER, steps forward.
POETRY LEADER
I’ve asked one of our most artistically talented friends to share her favorite poem with us. Sarah?
Sarah walks up to the chair and sits down. She opens a book, concentrates and begins reciting.
SARAH (CONT.)
Come live with me, and be my love,
And we will all the pleasures prove,
That hills and valleys, dales and fields,
And all the craggy mountains yields.
She pauses and throws a smile at John.
SARAH (CONT.)
And we will sit upon rocks,
Seeing the shepherds feed their flocks,
By shallow rivers, to whose falls,
Melodious birds sing madrigals.
(Note to actor: “The passionate shepherd to his love” by Christopher Marlowe)
Suddenly, she sways and drops the book. Blood starts leaking from her nostril. John rushes forward, followed by Wayne, Mary and the Poetry Leader.
JOHN
Sarah? Sarah!
INT. CYPRESS HALL / CORRIDOR – FLORIDA – NIGHT
John, Wayne and Mary anxiously wait outside the closed door to Sarah’s room. The door is suddenly opened and they crane their necks. John gets to his feet. Dr. Hoffman emerges followed by Annabelle. Tiredly he rubs his eyes and then peers at the three patients.
JOHN
How is she?
DR. HOFFMAN
She’ll be okay in the morning. Just a little exhausted, I think. I’ll run a few more tests tomorrow.
He looks sternly at them.
DR. HOFFMAN (CONT.)
And you three, to bed, now. Doctor’s orders.
FADE OUT:
FADE IN:
EXT. GARDEN – FLORIDA – DAY
The flowerbeds glow in the sun and behind them the ocean is a splash of blue. Sarah, looking a bit haggard, sits painting a beautiful watercolor of a flower in a Georgia O’Keefe style. John sits beside her studying her at work.
SARAH
What do you think?
John studies the painting and the flower in front of them, which she has used as a model.
JOHN
It’s a shade darker in the middle.
He points to the middle of the flower.
SARAH
Yes, you’re right.
She hands him the brush.
SARAH (CONT.)
You do it.
John looks horrified at the brush and then at her.
JOHN
I can’t. I’ll just destroy it.
She giggles.
SARAH
So what? It’s not like it’s a Picasso. If you mess it up, I’ll just make another. Come on, try it.
Behind them, unseen, Daniel approaches with Jeff by his side. Daniel carries a large envelope. He stops, staring at his father.
Concentrating hard, John carefully dabs a little paint on the brush and tests it on a piece of scrap paper. He adds a darker shade and tests it again. Very carefully he dots a little color in the middle of the flower and leans back, evaluating it.
SARAH (CONT.)
Perfect.
They smile at each other. Sarah reaches out and strokes John’s face in an intimate gesture. He catches her hand and places a
chaste kiss on her knuckles.
Daniel watches amazed. He CLEARS HIS THROAT. The couple turns around. John tenses as Daniel steps forward.
DANIEL
Father, Ben sent me to deliver this.
He holds up the thick envelope.
JOHN
That cunning old bastard.
His eyes trail to Jeff and he frowns. Jeff smiles politely but very nervously at him. Sarah studies them. Daniel starts fidgeting under his father’s scrutinizing gaze and mute silence. Sarah gets to her feet and thrusts out her hand to Daniel.
SARAH
Hello, I’m Sarah.
Daniel smiles and shakes her hand.
DANIEL
I’m Daniel and this is Jeff.
Jeff and Sarah shake hands. John stares at Jeff. Jeff steps up to him and presents his hand. It shakes.
JEFF
(stuttering slightly)
Mr. Ericson, I’m Jeff Haley.
John looks at him, evaluating. He glances at Daniel and then back. Daniel bites his lip.
JOHN
I’m too old for this.
He turns and stares at the ocean. Sarah and Daniel exchange a look.
SARAH
John, I’ll show Jeff around. I’m sure you and Daniel have a lot to talk about.
John turns to look at her and she’s not happy. She nails him with a hard stare and it’s like the powerful senator suddenly emerges for a second.
SARAH (CONT.)
Just come up to the terrace when you’re done.
She takes Jeff’s arm and they walk off, quietly CHATTING.
John stares after her, and then looks Daniel up and down. John sighs and smiles a little.
JOHN
I was wrong. I didn’t think you had it in you.
DANIEL
What? Finding a partner?
JOHN
That good pummeling you gave your brother.
Daniel shrugs.
DANIEL
(in a barbed-wire voice)
He shouldn’t have pushed me that far.
He stares his father in the eye.
DANIEL (CONT.)
Does that make me a better man in your eyes? That I lost my temper? That I broke my brother’s nose? Is that what you think? It didn’t solve anything. Violence never does.
JOHN
Daniel, that isn’t the point. The point is that you stood up for yourself.
Daniel looks disbelievingly at him. John jerks his head, indicating the other chair.
JOHN (CONT.)
Sit.
EXT. CYPRESS HALL / TERRACE – FLORIDA - DAY
At the terrace patients are chatting, drinking coffee and juice, playing bridge and chess. The jazz band is quietly JAMMING.
Sarah and Jeff occupy a table near the edge of the terrace. Sarah throws a glance at John and Daniel. They are still talking in the garden near the beach. She glances at her watch.
SARAH
Nearly two hours.
JEFF
I wonder what they’re talking about.
SARAH
From what you said, I guess they have a lot of talking that is way overdue.
Jeff nods absentmindedly and continues to study them. John rises from his chair and walks to the edge of the water. He tears up the content of the envelope into small pieces and lets the wind blow them into the water.
CUT:
John and Daniel walk up to Sarah and Jeff. John stops and looks Jeff over. He extends his hand. Jeff gets to his feet.
JOHN
This is hard for me, but I’ll guess I have to do this properly.
He takes a deep breath.
JOHN (CONT.)
I’m John, Daniel’s father.
Jeff shakes his hand.
JEFF
Pleased to meet you. I’m Jeff Haley.
John nods.
JOHN
I’ve seen you on TV.
He looks at his son.
JOHN (CONT.)
Do you want to stay for dinner? The food is actually excellent.
Daniel shoots Jeff a look and then glances a bit embarrassed at his father.
JOHN (CONT.)
Only that much family a day, huh?
DANIEL
Well, we had planned to go out.
SARAH
Jeff and I thought we could spend the day together tomorrow. Is that alright with you two?
She looks at father and son. John gives her a worried glance.
JOHN
Are you sure you’re well enough?
SARAH
Dr. Hoffman told me I could do anything I wanted as long as I get enough rest and take my pills like a good girl. So?
She smiles at John and Daniel. They nod their agreement. Jeff offers his hand to John.
JEFF
It was nice meeting you, Mr. Ericson.
John shakes his hand.
JOHN
Call me John.
JEFF
Thank you, John.
Jeff nods. He bends down and embraces Sarah.
JEFF
See you tomorrow then.
They walk off as the OPENING BARS of CHEEK TO CHEEK (variant of the Louis Armstrong/Sarah Vaughn version), is being played by a single PIANO(O.S.).
INT. CYPRESS HALL / DINING ROOM – FLORIDA - NIGHT
MUSIC CONTINUES--
Daniel is sitting on the stage by the piano playing the opening bars of “Cheek to cheek”. The other members of the jazz band join in.
They keep playing the intro over and over as John stands embarrassed and hesitant on the small stage.
The dining room is filled with patients and STAFF nursing drinks. Wayne, Mary, Sarah and Jeff sit at a table just in front of the stage.
MARY
(calling out)
Come on!
WAYNE
(calling out)
Go, Johnny, go!
Sarah laughs. John turns and looks at Daniel. He nods to his father.
DANIEL
(low)
You can do it.
John turns to the audience and at the right note, he starts singing – and he’s a good singer.
JOHN
(sings)
Heaven, I’m in heaven. And my heart beats so that I can hardly speak - -
(continues)
MONTAGE: EXT. PUBLIC BEACH – FLORIDA – DAY
MUSIC CONTINUES--
The sun is smiling at the CROWDED beach. A big sign is announcing KEY LARGO WATER WORLD. It’s a happy, festive mood.
At a jetty, John sits on a Jet Ski with Sarah behind him. He releases the clutch and the machine suddenly jumps forward.
JOHN (V.O.)
(sings)
--And seem to find the happiness I seek when we’re out together dancing cheek to cheek-- (continues)
Sarah giggles surprised and holds on tighter with her arms around his waist.
Daniel and Jeff, waiting beside John on a Jet Ski each, laugh at him. John lets the Jet Ski move forward and heads out to sea with the two boys following.
They crisscross the water with happy smiles. Daniel and Jeff try to splash each other as well as Sarah and John by making sharp turns. John tries to avoid them, happily laughing.
Out of the water, a FEW DOLPHINS suddenly emerge, racing and playing with the humans on their strange machines. John looks at them with wonder in his eyes.
CUT:
With big smiles on their faces, Daniel and Jeff help Sarah and John up on the jetty.
The MUSIC goes into an INTERLUDE.
John stumbles on the jetty but Daniel is quickly there to steady him.
DANIEL
(worried)
Are you alright?
John catches his breath and smiles at him.
JOHN
Yes, but you can be a good son and go fetch my legs. I think I dropped them somewhere out there.
Daniel, Jeff and Sarah laugh at his remark.
MONTAGE: EXT. BEACH CAFÉ – FLORIDA – DAY
MUSIC CONTINUES, RETURNING TO MAIN VOCAL TUNE--
A delicious feast is placed on the table in front of the foursome. The glasses of white wine are coated with tiny droplets of
cool condensation.
JOHN (V.O.)
(sings)
Oh, I like to climb a mountain, reach the highest peak but it doesn’t thrill me half as much as dancing cheek to cheek-- (continues)
The foursome laughs and talks as they are eating. Sarah feeds John morsels of food. Jeff sits with his arm on the backrest, discreetly fondling Daniel’s neck.
MONTAGE: EXT. BEACHFRONT – FLORIDA - DAY
MUSIC CONTINUES--
The two couples stroll down a sidewalk. John falls behind and quickly buys a simple bouquet of flowers. He catches up with the other three, hiding the flowers behind his back and then swiftly presents them to an overjoyed Sarah.
INT. CYPRESS HALL / DINING ROOM – FLORIDA - NIGHT
MUSIC CONTINUES--
John walks across the tiny space set aside as a dance floor and reach out his hand. Sarah takes it and rises to her feet. John curls an arm around her and places the microphone in front of her.
SARAH
(sings)
Heaven, I’m in heaven. And my heart beats so I can hardly speak -- (continues)
TRANSITION:
MONTAGE: EXT. BOTANICAL GARDEN – FLORIDA – DAY
MUSIC CONTINUES--
The two happy couples stroll in the beautiful garden, admiring the abundant florid splendor.
SARAH (V.O.)
(sings)
--and I seem to find the happiness I seek when we’re out together dancing cheek to cheek
-- (continues)
Sarah is dragging John off the path to show him the flower wonders, enthusiastically talking and smiling (MUTE). Daniel and Jeff walk along, discreetly holding hands, looking at the older pair behaving like teenagers in love.
John and Sarah turn back to the path and John frowns when he sees Daniel and Jeff holding hands. Sarah catches his glance and nudges him with a disapproving glare. He smiles to placate her.
CUT:
Jeff buys a disposable camera at a refreshment stand and runs back to the others who slowly stroll along a path.
CUT:
A PARK ATTENDANT aims the disposable camera, trying to get a good shot of the foursome in front of a magnificent fountain.
MONTAGE: INSERT - CAMERA VIEWER
MUSIC CONTINUES--
The foursome looks happy but a bit strained, smiling at the camera.
SARAH (V.O.)
(sings)
--And the cares that hung around me through the week seem to vanish like a gambler’s lucky streak as we’re dancing cheek to cheek-- (continues)
Suddenly a BIRD decides to land on John. He helplessly flails his arms to ward off the aggressive bird and the other three collapses with mirth.
FREEZE FRAME and SOUND OF A CAMERA SHUTTER CLICKING.
MONTAGE: EXT. CUBAN STREET FESTIVAL – FLORIDA – DAY
MUSIC CONTINUES--
The Cuban fiesta is in full swing with DANCERS, JESTERS, ACROBATS and MUSICIANS milling in the colorful CROWD.
Daniel and Jeff flank John and Sarah as they move along with the rest of the crowd. John is smoking a huge cigar, looking very content. Sarah is holding on tightly to him, pointing out STREET ARTISTS painting on the sidewalks, CHEFS cooking exotic street food and CHILDREN climbing on balconies and streetlights to get a better view.
They end up on a square where a LATIN BAND is playing for a DANCING CROWD. John takes Sarah’s hand and drags her into the middle of the improvised dance floor, swinging her around to the music.
SARAH (V.O.)
(sings)
--it doesn’t thrill me half as much as dancing cheek to cheek-- (continues)
INT. EXCLUSIVE STRIP CLUB – NEW YORK - EVENING
MUSIC CONTINUES--
The STRIPPERS dance and tease on the stage. Below, Eric sits fondling a GIRL in his lap, watching the show.
SARAH (V.O.)
(sings)
--Come on and dance with me. I want my arm around you, that charm about you-- (continues)
The girls on stage mimic her lyrics.
Eric’s MOBILE PHONE RINGS. He answers and then glances at his watch. A meeting is set up.
INT. SHABBY LIVINGROOM – NEW YORK – DAY
MUSIC CONTINUES--
The light is low in the shabby living room with its mismatched furniture. A STREET GANG is kicking back in the worn sofas, smoking dope and drowsily watching TV.
Peter replaces the phone into the cradle. He nods at the GANG LEADER, a big dangerous-looking man in his late twenties. Like his fellow GANG MEMBERS, he is dressed in baggy hip-hop clothes. Peter, in his neat expensive garments, sticks out like a sore thumb.
MONTAGE: EXT. CUBAN STREET FESTIVAL – FLORIDA DAY
MUSIC CONTINUES--
John and Sarah are still dancing while Daniel and Jeff munch street food on the sidewalk.
SARAH (V.O.)
(sings)
--Heaven, I’m in heaven-- (continues)
MONTAGE: EXT. ROAD – FLORIDA – EVENING
MUSIC CONTINUES--
The big red convertible cruises along the beachside road. Jeff is driving with Daniel beside him.
John is sitting in the backseat with his arms around Sarah. He kisses her on the cheek. She giggles and throws her head back, smiling at him. Daniel turns his head, looking amused at them.
SARAH (V.O.)
(sings)
--I seem to find the heaven I seek, when we’re out together dancing cheek to cheek--
INT. CYPRESS HALL / DINING ROOM – FLORIDA - NIGHT
MUSIC CONTINUES--
John and Sarah have moved to the middle of the tiny dance floor. They start dancing as they both join in song.
JOHN & SARAH
(sing)
--Dance with me, I want my arm around you, that charm about you will carry me through to, Heaven-- (continues)
TRANSITION:
EXT. BACK ALLEY – NEW YORK – NIGHT
MUSIC CONTINUES--
The alley is lined with firescapes and dumpsters. A luxury car slowly turns into the dark alley and park.
The CAMERA creeps closer and we see Eric peering out of the window, looking around. From behind the car two of the gang members emerge. They walk up to Eric who rolls down the window with a welcoming smile.
The Gang Member #1 pulls out a gun and quickly fires A SHOT. Blood splatter on the passenger side window by the force of the shot and Eric slumps forward.
INT. CYPRESS HALL / DINING ROOM – FLORIDA - NIGHT
MUSIC CONTINUES--
John and Sarah dance tightly together on the small stage, SINGING, as they end their song.
JOHN & SARAH
(sing)
--when we’re out together dancing cheek to cheek.
Daniel PLAYS a solo ending. Jeff smiles proudly at him. The band and its guest performers get a CHEERY APPLAUSE as the music ENDS.
FADE OUT:
FADE IN:
INT. CYPRESS HALL / JOHN’S ROOM - MORNING
The room is almost dark with little stabs of morning light leaking through the closed blinds. From the bed we HEAR the rustling of sheets, a low GIGGLING and SOUNDS OF KISSING.
A KNOCKING ON THE DOOR silences the sounds into suspense. The door is suddenly flung open and Dr. Hoffman steps in.
DR. HOFFMAN
John?
John raises himself on his elbow. Beside him, Sarah’s hair is sticking up from underneath the covers. Dr. Hoffman looks mortified.
DR. HOFFMAN (CONT.)
Oh, sorry. Ehh, please stop by my office as soon as you can. Sorry!
Embarrassed he backs out and closes the door. Sarah starts giggling and shows up from under the covers. John smiles at her and gives her a passionate kiss.
INT. DR. HOFFMAN’S OFFICE – FLORIDA – DAY
Dr Hoffman leans smiling against his desk, looking at John who occupies the chair in front of him.
DR. HOFFMAN
Well, you’re not ill.
John stares at him, shell-shocked.
JOHN
What???
DR. HOFFMAN
There’s simply isn’t a trace of the tumor. You’re a quite healthy man for your age. You only have to watch that old ticker of yours.
JOHN
But--
DR. HOFFMAN
You know the tests we did? Or more to the point, the series of tests we did? The first came back negative, but I wanted to be absolutely certain. The second set also came back negative. So, I made some calls. Turns out that the lab in New York mixed up the original test results.
JOHN
(slowly)
So I’m not dying?
DR. HOFFMAN
No, go home and enjoy life.
JOHN
But-- you’re telling me it was all a mistake?
DR. HOFFMAN
(beaming)
Yeah! Isn’t it fantastic?!
He beams at John who just stares emptily in front of him.
EXT. CYPRESS HALL / BALCONY – FLORIDA - DAY
John steps out on the balcony and looks down. Below, Sarah is cutting some flowers while talking to Mary. He looks at them with infinite sadness.
INT. CYPRESS HALL – FLORIDA – DAY
Annabelle rushes out of the nurses’ room with a cordless phone in her hand. A member of the jazz band is walking toward her and she stops, asking him something. He turns and points to the open doors of the balcony.
Annabelle runs toward the balcony.
EXT. CYPRESS HALL / BALCONY – FLORIDA - DAY
John still stares at Sarah and Mary when Annabelle bursts out through the doors. She tries to control her breathing before talking.
ANNABELLE
There’s an urgent call for you.
She hands him the phone.
INT. MORGUE – NEW YORK - DAY
Peter is standing in a bleak autopsy room with Ben sitting in a chair beside him. He has a mobile phone pressed to his ear. Gurneys line the wall, carrying DEAD BODIES covered with sheets.
PETER
Eric’s dead.
JOHN (O.S.)
(confused)
What?
PETER
Eric’s dead. Last night. A shot in the head.
JOHN (O.S.)
(confused)
Oh, my God.
EXT. CYPRESS HALL / BALCONY – FLORIDA - DAY
John sinks down into a chair on the balcony.
PETER (CONT. O.S.)
Those goddamn Iranians.
The phone slips from John’s hand as he sits motionless, staring straight ahead.
EXT. CYPRESS HALL / TERRACE – FLORIDA - DAY
Wayne, Mary and some other patients are sitting at a table, talking and laughing. Sarah stands beside them with the cut flowers in her hand.
SARAH
--all in all, we had a wonderful day. And Daniel and Jeff are so sweet.
John staggers out on the terrace, looking lost and confused. Sarah sees him and freezes with a shocked expression.
SARAH
John?
Her red flowers drop to the ground like a splash of blood as she hastens toward him.
SARAH (CONT.)
John? What’s the matter? Are you alright?
Wayne stands up with a worried expression. Sarah catches John in her arms.
SARAH (CONT.)
John, talk to me. What’s the matter?
He hugs her hard. She holds him and strokes his hair. He draws a deep breath and lifts his anguished face.
JOHN
(sobbing)
He’s dead. They shot him. In the head.
Sarah stares at him shocked.
JOHN (CONT.)
And I’m not dying. They want me to leave. Leave you.
He starts sobbing and buries his head in her shoulder. Sarah glances at Wayne. He quietly gather the others and they move away to allow John and Sarah some privacy.
JOHN (CONT.)
(wailing)
Why aren’t I allowed to be happy? Everything is taken away from me.
EXT. CYPRESS HALL – FLORIDA – DAY
A big red convertible races toward the entrance of Cypress Hall. It brakes hard. Daniel and Jeff jump out. They run up to the entrance and disappear into the building.
EXT. CYPRESS HALL / TERRACE – FLORIDA – DAY
Daniel and Jeff burst out on the terrace. Wayne sees them and just points to the beach. The two men advance quickly across the lawn.
EXT. BEACH – FLORIDA – DAY
Sarah sits on the sand, comforting John. Daniel and Jeff appear behind them.
DANIEL
Pappa!
He squats down beside his father. John looks at him with red eyes and a grief-stricken face.
DANIEL (CONT.)
Ben called. Told us what happened. We’re going back to New York. You want to come with us?
John hugs Sarah.
JOHN
I want to stay.
SARAH
No, it’s your son. Go. I’ll wait.
EXT. CYPRESS HALL – FLORIDA – DAY
John and Sarah are tightly embracing and kissing. Daniel stands by the open door to the backseat waiting, as Jeff loads John’s overnight bag into the trunk of the car. John releases Sarah and strokes her face.
JOHN
I’m already missing you.
She smiles.
SARAH
Get going now.
Sighing he gets into the car. Daniel closes the door and gets into the passenger seat. Jeff starts the car and drives away.
John turns and watches Sarah. She waves after him.
Suddenly, just when the car is about to disappear beyond a turn, it stops and drives back in reverse.
CUT:
John gets out of the car and takes a few long steps toward the stunned Sarah. He embraces her hard and looks at her.
JOHN
I‘m not leaving. Eric’s always burned his candle in both ends. He’s gone. You’re here.
She starts crying, smiling through her tears.
INT. DR. HOFFMAN’S OFFICE – FLORIDA – DAY
Dr. Hoffman sits at his desk looking up at John looming over him.
DR. HOFFMAN
John, you’re not ill, terminally or otherwise. This is a hospice.
JOHN
Doctor, understand something. I’m not leaving Sarah here alone. Now or ever.
He reaches into his pocket and withdraws a written cheque. He places it in front of the good doctor.
JOHN (CONT.)
A small donation to your cause.
Hoffman takes it and studies it. His mouth almost falls open at the amount. He looks up at John.
DR. HOFFMAN
You’re serious?
EXT. CYPRESS HALL – FLORIDA – EVENING
Sarah follows a glowing trail of flickering party lights from the house to the beach. Faintly, but with increasing strength,
ACOUSTIC ARABIC MUSIC can be heard.
EXT. BEACH – FLORIDA – EVENING
MUSIC CONTINUES--
Following the trail of lights, Sarah appears on top of a dune. The glowing trail continues down to the beach where a Bedouin tent has been erected. Warm flickering lights shine from it. Outside, two Arabian horses with ornate oriental saddles and bridles are hobble-tied.
With a growing smile on her face, Sarah follows the lights to the tent. She walks around it and sees THREE MUSICIANS in Arabic garb squatting on the ground, PLAYING their instruments. She continues a few steps to the tent opening and looks inside.
EXT/INT. TENT ON THE BEACH – FLORIDA – EVENING
MUSIC CONTINUES--
Sarah looks amazed at the rich fabrics draped from the ceiling and down along the tent walls. Oriental carpets and velvet cushions in jewel colors cover the floor. In the middle of the tent, a large but low table stands. It is set for a feast for two with gold plates, Venetian glasses and Safi pottery.
Leaning against a mountain of soft cushions, John lies on his side beside the table, gazing at the overwhelmed Sarah. He smiles as she meets his glance.
JOHN
If you can’t go to Morocco, I guess Morocco has to come to you. Please--
He gestures for her to take her place at the table. She lies down.
SARAH
(with admiration)
You’re crazy.
Smiling, she throws a fascinated look around. A WAITER in a djellbah enters, carrying a tray with Arabic delicacies. He puts small pots with food on the table and then pours the wine from an ornate brass pitcher.
John and Sarah pick up their glasses and clink them together before drinking.
IN A SEQUENCE OF IMAGES we see John and Sarah discovering the Arabic food as the musicians play (OFF), smiling and laughing at each other. The bond is visibly strengthening between them as they feed each other morsels of food, stealing kisses now and then.
THE MUSIC PLAYS UP TO A DANCE TUNE and four BELLY DANCERS enter. Sarah watches fascinated as the girls’ swirl in intricate patterns to the music. John happily gazes at Sarah’s overjoyed face.
EXT. BEACH – FLORIDA – NIGHT
MUSIC CONTINUES--
John and Sarah step out of the tent. The belly dancers have brought the horses and help them to sit up. Sarah gets up on her horse with the ease of long practice, while John is clearly out of his element.
They turn their horses along the beach and walk them for a few meters. Sarah smiles at John with a devilish glint in her eyes.
SARAH
(cries)
Come on!
She digs her heels into her horse and sets off with John in tow. Together they gallop off in the moonlight.
FADE OUT:
FADE IN:
INT. CYPRESS HALL / COMMON ROOM – FLORIDA – DAY
The cozy common room opens its French windows to the ocean. Groups of patients sit watching TV and chatting when Sarah walks in. They start WHISTLING and CAT CALLING. She blushes.
WAYNE
The Arabian Princess has finally awakened.
She makes a face at him and smiles.
SARAH
You’re horrible.
Mary laughs. Sarah sits down beside them. She glances at the TV that is showing a program about a new urban development.
John strolls in and the WHISTLES and CATCALLS get louder. He just looks at them and smiles.
WAYNE
(booms)
Rudolph Valentino has entered the building.
The crowd laughs.
JOHN
(with a glint in his eye)
Actually, I always wanted to be Lawrence of Arabia, but Brooklyn was severely lacking enough sand.
His comment brings out a chuckle from the others. He throws a glance at the TV. Daniel is being interviewed in front of a magnificent new building, the one we have already seen as a model in his office.
JOHN (CONT.)
(excited)
Look, that’s my son.
The other patients crane their necks and watches excitedly.
POETRY LEADER
It’s a fantastic building, John. You must be very proud.
Sarah throws a glance at John. He turns to the poetry leader.
JOHN
Yeah, I am.
Smiling, he turns back to the TV. Sarah reaches for her coffee cup and holding it in mid-air, she suddenly shivers and drops it. It CRASHES to the floor.
INT. HOSPITAL ROOM – FLORIDA - DAY
Sarah lies in bed, pale and unconscious. She is hooked up to an array of medical monitors and drips. John sits beside her bed, holding her hand. He looks at her with bottomless sadness and worry. He dries her sweaty forehead with a soft handkerchief.
INT. CAR – NEW YORK – EVENING
Ben is sitting with Mr. Conti in the backseat of the luxury car. Mr. Conti sighs.
MR. CONTI
Well, the youngsters aren’t what they used to be. No honor, no loyalty. Backstabbing traditore.
BEN
When it comes to Peter, nothing surprises me anymore.
The car slows down to park in front of a Broadway theatre. Ben gives Mr. Conti’s leg a friendly slap.
BEN
Well, thank you, old friend, for a most enlightening evening. I owe you.
MR. CONTI
No, not this time. They think they can do away with us old-timers. Sometimes we need to show them we still got sharp teeth and steel in our hearts.
The car stops and Ben readies himself to exit. Mr. Conti looks at him fondly.
MR. CONTI (CONT.)
I can’t believe you made me go and see “Casablanca” again.
BEN
(defensively)
We only do it once a year.
Mr. Conti chuckles.
MR. CONTI
And what does that mount up to now? Thirty times? I’ll pick the movie next week.
BEN
Let me guess, James Cagney in “Public Enemy”.
MR. CONTI
How did you know?
BEN
(chuckling)
Because every time I force you to see “Casablanca”, we’ll see “Public Enemy” right away the next week. Ciao!
Ben is still chuckling as he exits the car.
EXT. BROADWAY THEATRE – NEW YORK – EVENING
Peter disdainfully views the theatre and the crowd entering the building as Ben strolls toward him.
BEN
Peter!
Peter snaps around, scowling.
PETER
Is this the surprise? A fucking play?
Ben joins him and they start moving towards the entrance.
BEN
You say you want to take over your father’s position. Being head of an international investment company is not only about doing business, but also about creating an agreeable public image.
Peter spits.
PETER
People have learnt not to fuck with me.
BEN
I much doubt that the chairmen of our business partners want to fuck you. On the other hand, they don’t do business with thugs either.
PETER
(growling)
You think you can bully me into becoming some bloody wimp? My father would never allow this.
BEN
As I recall, he found Richard III a both enjoyable and enlightening experience.
Peter just glares at him.
INT. THEATRE – NEW YORK – NIGHT
Ben and Peter sit in a box seat. Ben looks with interest at the stage while Peter seems extremely bored.
On the stage, RICHARD, Duke of Gloucester, stands in a set depicting a street.
RICHARD
And therefore, since I cannot prove a lover to entertain these fair well-spoken days, I am determined to prove a villain and hate the idle pleasures of these days.
He limps a few steps, a very similar limp to that of Peter.
RICHARD (CONT.)
Plots have I laid, inductions dangerous by drunken prophecies, libels, and dreams, to set my brother Clarence and the King in deadly hate the one against the other--
Peter yawns and Ben throws him a poisonous look. Peter looks bored around the theatre. He catches the glance of a GOOD-LOOKING GIRL and smiles. She returns his smile with an expression of disgust. With a scowl, he returns his attention to the stage.
RICHARD
(with a sly look)
Clarence still breathes, Edward still lives and reigns, when they are gone, then must I count my gains.
Peter grins. Ben studies him with narrowed eyes.
INT. HOSPITAL ROOM – FLORIDA - NIGHT
John sits beside Sarah’s bed writing furiously. She MOANS and he stirs, quickly rising and bending over her. He dries her sweaty brow and strokes her face tenderly.
INT. THEATRE – NEW YORK – NIGHT
Ben watches the play serenely, while Peter has an angry scowl on his face. The stage depicts a palace with Richard alone on the stage.
RICHARD
I do the wrong, and first begin to brawl. The secret mischiefs that I set abroach, I lay unto the grievous charge of others.
Clarence, who I indeed have cast in darkness, I do beweep to many simple gulls, namely to Derby, Hastings, Buckingham. And tell them it is the Queen and her allies that stir the King against the Duke my brother.
But then I sigh and, with a piece of Scripture, tell them that God bids us do good for evil.
And thus I clothe my naked villainy with odd old ends stolen forth of holy writ and seem a saint when most I play the devil.
TWO MURDERERS enter the stage.
RICHARD (CONT.)
But here come my executioners.
Peter suddenly looks more interested.
RICHARD (CONT.)
Are you now going to dispatch this thing?
FIRST MURDERER
We are, my lord, and come to have the warrant so that we may be admitted where he is.
RICHARD
Well thought upon. I have it here about me.
Richard gives him the warrant.
RICHARD (CONT.)
But, sirs, be sudden in the execution, do not hear him plead.
FIRST MURDERER
Tut, tut, my lord, we will not stand to prate. Talkers are no good doers. Be assured, we go to use our hands and not our tongues.
RICHARD
I like you, lads. Go, go, dispatch.
They exit stage. Ben watches Peter with a hard expression.
INT. HOSPITAL ROOM – FLORIDA - NIGHT
John sits holding Sarah’s hand, slowly stroking it with sorrow etched into his face.
JOHN
(whispering)
Sarah, please, come back to me.
INT. THEATRE – NEW YORK – NIGHT
Ben watches Peter like a hawk as he sighs impatiently and stares at the stage. The set is a prison cell with CLARENCE, Richard’s brother, and the two murderers.
CLARENCE
Alas, for whose sake did I that ill deed? For Edward, for my brother, for his sake. He sends you not to murder me for this. If you do love my brother, hate not me. I am his brother, and I love him well.
If you are hired for meed, go back again and I will send you to my brother Gloucester, who shall reward you better for my life than Edward will for tidings of my death.
SECOND MURDERER
You are deceived. Your brother Gloucester hates you.
CLARENCE
O, no, he loves me, and he holds me dear. Go you to him from me.
FIRST MURDERER
Right, as snow in harvest. Come, you deceive yourself. It is he that sends us to destroy you here.
CLARENCE
It cannot be, for he bewept my fortune and hugged me in his arms and swore with sobs that he would labour my delivery.
FIRST MURDERER
Why, so he does when he delivers you from this earth's thraldom to the joys of heaven.
SECOND MURDERER
Make peace with God, for you must die, my lord.
The First Murderer shoots Clarence.
In the box seat, Peter jerks as if he’s been slapped. He whips around his head to meet the hard eyes of Ben.
PETER
(vehemently)
You think you’re so smart, don’t you? I had nothing to do with my brother’s death!
Ben coldly studies him.
BEN
I can’t recall I ever said you did. But now that you mention it--
Peter narrows his eyes and looks at Ben with venom.
PETER
Back off, Ben. Just back off.
Ben calmly leans back in his seat gazing at Peter.
BEN
Or what, Peter?
He throws a glance at the stage.
BEN (CONT.)
You know how this play ends?
PETER
No, and I don’t care.
BEN
(undisturbed)
The momentum of terror, murder and treason only go a certain distance. Then the tide turns against you. I think you should stay and watch the end of the play, and watch it very carefully.
He rises.
BEN (CONT.)
Goodnight, Peter.
INT. HOSPITAL ROOM – FLORIDA - DAY
In an uncomfortable position, John is asleep in a chair beside Sarah’s sickbed. Sarah’s eyelids flutter and slowly she wakes up. She turns her head and watches John sleeping. She moves and the SOUND wakes John.
JOHN
Sarah? God, you’re awake.
She smiles at him while he quickly leans forward and takes her hand.
JOHN (CONT.)
I thought I’d lost you.
SARAH
We always knew this would happen, to either of us.
JOHN
Knowing is one thing.
They look at each other and then kiss. As they part, Sarah caresses the side of his anguished face.
SARAH
We should be thankful. We should even be thankful for this.
She makes a gesture to indicate the hospital room and its contents.
SARAH (CONT.)
A few months ago, this - we - could never have been. We would never even have met. And even if we had, we would have meant danger to each other. A US Senator would never have considered, nor could have afforded a relationship with a--
She hesitates and searches for the right word.
JOHN
--mob guy named Johnny Two Tap?
She smiles and laces her finger together with his.
SARAH
I was going to say a somewhat shady businessman.
He chuckles and kisses her fingers. She looks at him.
SARAH (CONT.)
We’re free, John. We’re free to do whatever we please. There’s no more agendas, no more worry about what people going to think or how it will affect our lives. It’s all been made redundant.
She looks at him with such love in her eyes.
SARAH (CONT.)
The only thing that still matters is that I love you.
He leans over her and they kiss, warmly and tenderly. As he draws back they just look at each other.
Dr. Hoffman opens the door and looks in. He smiles as he sees them.
DR. HOFFMAN
Good morning. How are we feeling today?
He steps into the room. John sits up properly in his chair.
SARAH
A bit drained.
He takes her pulse, checks her eyes and listens to her heart with a stethoscope. Annabelle walks into the room.
DR. HOFFMAN
John, I need to run some tests. Why don’t you go and have some breakfast?
INT. PROTESTANT CHURCH - NEW YORK - DAY
The ORGAN pumps out a LOUD HYMN. The church is old and grand with high, soaring archs.
Below the altar a coffin stands, decorated with flowers. TWO DOZEN GIRLS, clearly strippers and hookers judged by their clothes and heavy make up, crowd around the coffin, crying loudly.
Mr. Conti and Mr. Zalbo, surrounded by their bodyguards, move from the coffin to the family standing on the side and offer their condolences.
Ben, Peter and Daniel are all dressed in black suits with white ties. Helen looks as if posing for a fashion ad in a veiled hat and a severe black dress. Jeff hovers slightly behind Daniel, as if unsure of his status in the family group.
Mr. Conti and Mr. Zalbo give Jeff a curious glance and then take turns to shake Daniel’s hand.
MR. ZALBO
My condolences.
They move on to Peter. They both give him hard, disapproving stares and quickly shake his hand without a word. Mr. Conti smiles warmly at Ben, who is next in line. He takes Ben’s hand in both of his.
MR. CONTI
Ben, I’m sorry for your loss. No man should have to die like that.
Peter quickly looks at him.
MR. CONTI (CONT.)
I’m sorry John couldn’t make it, but I’ve heard that snowstorms often delay the flights from Scandinavia.
They look each other in deeply in the eyes.
BEN
Yes, I’ve heard that too.
MR. CONTI
I hope his business went well. Give my greatest condolences to John when he’s back.
BEN
I will.
Ben shoots Peter another glance.
BEN (CONT.)
And thank you again for your help.
MR. CONTI
I’m always here if you need me.
INT. CYPRESS HALL / SARAH’S ROOM – FLORIDA - DAY
John peacefully sleeps with Sarah on his arm. The setting sun is softly shining through the window, illuminating them. John opens his eyes. His yawn ends in a big happy smile.
He glances out through the window, looking at the blue ocean and the gently swaying palms. Smiling even more, he gazes at Sarah. Tenderly he strokes her face. Then his face transforms into panic. With his palm against her cheek he carefully tries to wake her.
JOHN
Sarah?! Sarah!
CUT:
In a CLOSE-UP of Sarah’s face we see a hand shutting her eyelids. The CAMERA PANS OUT.
Dr Hoffman sighs and turns to John. John looks like he is carved in stone. Dr Hoffman places a hand on his shoulder and softly nudges him away.
DR HOFFMAN
There is nothing more you can do.
JOHN
I want to stay with her.
Dr Hoffman looks into his eyes. The two men stare at each other. Finally Dr Hoffman removes his hand.
DR HOFFMAN
Do as you must.
EXT. CYPRESS HALL – FLORIDA – DAY
A lonely figure is sitting on a grass knoll facing the endless blue ocean. A few seagulls soar in the cloudless sky.
Ben trudges up to John. He quietly sits down beside him.
JOHN
You didn’t tell me you were coming.
BEN
No. I didn’t want to hear a lot of bullshit about you being fine.
JOHN
When did you ever start listening to that?
Ben smiles slightly. John gives him a quick glance and then stares out at the ocean again.
JOHN (CONT.)
You know, you always have been there to pick up the pieces of my life. The crashed marriage, kids out of control, bad business deals--
He turns and looks at Ben.
JOHN (CONT.)
You asked me why I never wondered why you didn’t marry. I can answer that. I was selfish. You were always there, always picking up my shit. I never stopped to think about your needs. [He pauses] And I’ve realized something.
BEN
What, Sherlock?
JOHN
That you have been married. You’ve been married to me for fifty years, in everything apart from the marriage bed.
Ben lifts a brow.
BEN
We have been learning something.
JOHN
Yeah, we have, and bloody late too.
He sighs and stares at Ben.
JOHN
If I only could give you what I had with Sarah, I would. You only got the bad parts of our relationship.
BEN
(quietly)
You know that’s not true.
John looks at him with anguish.
JOHN
Please tell me that it has been someone during all these years.
BEN
Yes, there has. A few times.
JOHN
But?
Ben smiles ruefully.
BEN
It’s hard when you’re “married” to someone else, to use your own expression.
John sighs.
JOHN
Is there someone now?
Ben gazes out to the ocean.
BEN
Sort of.
John takes hold of his arm and Ben looks at him.
JOHN
Ben, I have seldom given you an order, but now I will. Leave the business. Go out and find your happiness. It’s the only thing that matters in the long run. Go, go now.
They stand up and embrace. Ben starts walking, then stops and turns. They stand looking at each other. With deep breath, Ben turns again and walks away. John looks at his retreating back.
MATCHCUT:
EXT. CEMETERY – FLORIDA – DAY
John stands at the foot of the coffin with a book in his hand, reading aloud.
Dr Hoffman, A PRIEST and the other patients stand around the coffin adorned with flowers. The jazz band sits behind them, QUIETLY PLAYING A SOFT TUNE.
JOHN
--And I will make thee beds of roses, and a thousand fragrant posies. A cap of flowers and a kirtle, embroidered all with leaves of myrtle.
His voice gets choked but he struggles on.
JOHN (CONT.)
A gown made of the finest wool, which from our pretty lambs we pull.
Fair-lined slippers for the cold, with buckles of the purest gold.
Tears are streaming down his face and he can hardly talk.
JOHN (CONT.)
A belt of straw and ivy buds, with coral clasps and amber studs,
And if these pleasures may thee move,
come live with me and be my love.
(Note to actor: “The passionate shepherd to his love” by Christopher Marlowe)
He puts a single flower on the coffin, the red Aztec flower that smelled of Jean Patou’s “Joy”. Abruptly he turns and walks toward the beach.
EXT. BEACH – FLORIDA – DAY
MUSIC CONTINUES--
John steps out on the dune above the beach and stares at the ocean. Below him are two beach chairs positioned just like the ones he and Sarah sat in when they held hands for the first time.
Slowly he approaches them, stops, looks at the chairs in remembrance. Carefully he sits down and silently views the waves and the seagulls.
The MUSIC starts to change, slowly turning into “Cheek to cheek”. John closes his eyes, leaning back. He turns his face to the sun and smiles.
SARAH (V.O.)
(sings)
--Heaven, I’m in heaven. And my heart beats so I can hardly speak and I seem to find the happiness I seek when we’re out together dancing cheek to cheek --
The CAMERA slowly pulls out and raises its eye to the blue sky.
MUSIC FADES.
FADE OUT:
FADE IN:
EXT. TYR HOLDING – NEW YORK – DAY
The summer has arrived in New York and the CITIZENS delight in it, parading down the streets in light and colorful clothes.
INT. TYR HOLDING / ANTEROOM – NEW YORK – DAY
The two secretaries are busy at work.
The door to Ben’s office is suddenly SLAMMED open and Peter storms out. Surprised, the two secretaries look up and stare after the stalking man as he makes his way to the main entrance.
With curiosity, they glance at the open door to Ben’s office. The CAMERA SLIDES INTO THE OFFICE.
MUSIC BEGINS SOFTLY. (Suggestion: Dinah Washington: “What a difference a day makes”).
INT. BEN’S OFFICE – NEW YORK – DAY
Ben is sitting behind his desk with a lawyer, MR. OAKHAM, occupying one end. Daniel, Jeff and Helen sit in front of the desk.
Helen rises and looks at the lawyer.
HELEN
Mr. Oakham, do you handle divorces?
MR. OAKHAM
Yes, certainly. But let’s take one thing at a time, shall we?
HELEN
Sure, I’ll get back to you.
She walks towards the door and stops, turning around.
HELEN
Goodbye.
The others look after her as she exits and closes the door. Ben nods to the lawyer to continue.
MR. OAKHAM
Well, then, shall we get on with the will? Daniel--
TRANSITION:
FLASHBACK: SMALL SUBURBAN HOUSE - DAY
A young John gets out of his car and A THREE-YEAR OLD BOY rushes to greet him. His father swings him up and around, laughing.
JOHN (V.O)
--you were so sweet when you were little. Then times changed.
FLASHBACK: INT. ERICSON MANSION – DAY
An enraged TEENAGED DANIEL throws a china bowl at John, who ducks and then backhands Daniel across the face. Daniel glares at his father and stalks out. John stares after him.
JOHN (V.O)
But despite our differences, it’s not until now I realize that you’re the only of my sons who stood up to me and built your own life, regardless of my threats. There are more of me in you than I think we both care to admit.
FLASHBACK: INT. HOSPITAL ROOM – FLORIDA - NIGHT
John watches the sun rise through the windows of Sarah’s hospital room. His face is sad but serene. He returns to the writing of his will.
JOHN (CONT., V.O)
I hope to do you right in death, as I couldn’t in life. You are my sole heir, Daniel. And I hope that one day you will get an heir yourself. It’s not that hard, trust me.
BACK TO –
Daniel smirks at the last words, looking at Jeff with both amusement and a bit of irritation.
The lawyer continues reading the will.
MR. OAKHAM
Last, but not, least a few words to you, Ben.
FLASHBACK: INT. CLUB
The small rundown club is full with PEOPLE in fifties dress style. A young John, dressed in James Dean-style, is dancing with a PRETTY GIRL.
A YOUNG BEN, dressed more conservatively in a suit, is watching them. John catches his glance and smiles. With a gesture, he offers the pretty girl to Ben who just shakes his head with a laugh.
JOHN (V.O)
Remember my words. Find your happiness.
MUSIC FADES OUT:
EXT. CAFÉ IN SOUTH BEACH, MIAMI, FLORIDA – NIGHT
The sun has set and the many colored lights make South Beach seem festive. The LATIN MUSIC from the Café’s sound system adds an exotic feel to the evening.
Ben and Louis haven’t moved from their café table. The remnants of a light dinner and glasses of wine crowd the tabletop.
Louis looks at Ben and smiles, taken with the story. Ben leans back.
BEN
So, here I am.
LOUIS
Well, that’s some story.
Ben smiles and Louis looks at him coyly. Louis stretches discreetly.
BEN
How about a walk? See what South Beach has to offer?
LOUIS
I’ll be delighted.
They leave the table and step out on the sidewalk. They glance at each other and smile.
BEN
Louis, I think this could be the beginning of a beautiful friendship.
Louis grins at him. Together they walk away.
CRANE SHOT:
The CAMERA PANS UP AND AWAY as Ben and Louis disappear into the crowd.
FADE OUT:
THE END
