A LOVE STORY

Written for the Screen by

Elyon John Gonzales

Current Draft

Jan. 26, 2020

REGISTRATION, WGA-WEST 2020

 FADE IN:

1 EXT. ROAD/ATKINS RESIDENCE - DAY 1

WE PULL UP a hill on a road toward a home as a friendly,

southern VOICE guides us forward.

VOICE OVER
Let me start this off by saying
this: If you’re one of them lovey
dovey type personalities that
believe the princess should live
happily ever after with her prince
charmin’ at the end of the story
than this ain’t your sort of
picture show. No folks, this
ain’t one of them lovey dovey sort
of novelas. So if you’re
sensitive to these sort of thing’s
then I’d advice you to turn away
from this here shindig. But don’t
you worry. It won’t be too long.
Until then, I’ll be sure to catch
you on the other end of this here
coin. Because this here - this
here... IS A LOVE STORY.

CUT TO:

2 INT. HOME OFFICE - NIGHT 2

MERCY ATKINS, 35, drunken sober, seated at a desk, writes

with PEN and PAPER in the early stages of a screenplay.
The desk is organized with sticky NOTES, plot OUTLINES,
character beat SHEETS, research DOCUMENTS and CIGARETTES.

Lamp on the table, room barely lit, fire going, GLASS of

wine. Somber. Lonely.

Someone knocks at the door. Mercy yanks her head back,

towards the sound at the door.

MERCY
Yes?!

YOUNG WOMAN (O.S.)

(drunk)
Anyone home?

MERCY
Hang on.
 2.

Mercy finalizes a sentence on the page.

She gets up, collects a BOTTLE of wine somewhere nearby

then proceeds to answer the door.

CUT TO:

3 INT. HOME OFFICE/DOORWAY - THAT MOMENT 3

The same said young woman is here, barley dressed. GABBY.

Obviously blitz. She is beautiful, in a typical L.A.
blonde sort of way. She holds a JOINT between her ear.

GABBY
Heya!

MERCY
What happened to your clothes?

GABBY
Huh... I donno... I guess I lost
them someplace... from the way to
the door to da’ door.

MERCY
The pool, you mean?

GABBY
That’s it! Whatcha doin’?

MERCY
Working.

GABBY
Oh... What do you do?

MERCY
What do you need?

GABBY
Someone said you had more wine...
We need more wine. I’m Gabby.
I’m an actress... Or trying to be,
anyway. What are you up to...?

MERCY
I believe you already asked me
that.
 3.

GABBY
Oh... Can I barrow more wine?
What’s-his-face said it was
alright to come and ask you...
Are you his sister?

MERCY
Here.

Mercy shoves the bottle in the young woman’s chest.

GABBY
(giggling)
Oh, my boobies are almost out!

MERCY
Yes. They are.

GABBY
Do you have any condoms I can
barrow?

MERCY
No.

GABBY
Oh, that’s alright.

MERCY
How old are you?

GABBY
Me? I donno... How old do I look?

The young woman presents herself in a “cute,” drunken

pose.

MERCY
Young.

Gabby giggles.

GABBY
I’m eighteen.

MERCY
Does he know that?

GABBY
I dunno. I wasn’t going to fuck
tonight but then hey, I thought...
you do what cha’ gotta do for your
career, right?
 4.

MERCY
I suppose.

GABBY
Well, thanks a’ bunch for the
wine, lady!

The young woman rushes Mercy, giving her a hug.

Mercy allows this but leaves her arms down near her hips.

GABBY (CONT’D)
You smell pretty. Like my mom...

Mercy brushes her off.

GABBY
Hey... wanna join us?

MERCY
I need to get back to work.

GABBY
Okay, I get it... I gotta go now.
(walking away)
Thanks for the wine!

Mercy slams the door shut.

CUT TO:

4 INT. HOME OFFICE - THAT MOMENT 4

Mercy makes her way to the desk. Frustrated, she grabs a

CIGARETTE above the desk drawer and lights it with a BOOK
of matches.

She helps herself to some more wine, gripping the glass.

Suddenly, she tosses the glass of wine across the room.

It smashes to pieces against the wall.

She grabs a nearby PILLOW from the sofa in the room and
violently screams in it - concealing the noise.

CUT TO:
 5.

5 EXT. POOL AREA - NIGHT 5

Everyone is drunk, enjoying themselves.

Gabby stumbles on her way back to a group of people

hanging out in the jacuzzi. There are two additional
young, half-naked WOMEN here. Both of them make-out with
TOBIAS ATKINS, 37, actor, prettier than talented but a
soild box office draw.

Gabby falls into the pool on accident with the bottle of

wine, spilling it all over the floor/pool. The folks in
the jacuzzi put a hold on their encounter in the jacuzzi
to laugh at the situation.

CUT TO:

6 INT. MASTER BEDROOM - MORNING 6

The following morning. Empty made-up bed. The room is

decorated with film industry materials such as MOVIE
POSTERS, BOOKS, SCRIPTS, a FILM PROJECTOR, PROJECTION
SCREEN, decent AWARDS, PHOTOS of Mercy and Tobias at
award ceremonies, and a large portrait PAINTING of
Tobias, above a monument, god-like.

CUT TO:

7 EXT. POOL AREA - CONTINUOUS 7

The three young women are spread out naked above Tobias
near the jacuzzi on the floor. BOTTLES of wine litter
about the space. A messy scene that spells out continued
late night drunken sex.

CUT TO:

8 INT. HOME OFFICE - CONTINUOUS 8

Mercy is at her desk, working on the script. She is now

converting the words written on the page to those now
being written on a TYPEWRITER. She has a CUP of coffee
with a CIGARETTE.

She steps toward the window looking out at the jacuzzi.

Seeing the orgy’s aftermath, she quickly swipes the
curtains.

CUT TO:
 6.

9 INT. LIVING ROOM - DAY, LATER 9

WITH ROBERT FORRESTER, 50’s, over weight, a top-shelf

Executive Producer, laughing like a hyena.

Then with JOHNNY MILLER, 40’s, Director/Writer/Producer,

grinning, getting off to the attention.

And, Tobias, laughing to fit in with the group.

Finally, with Mercy, seated stiff, neutral, not laughing

at all.

Mr. Forrester notices her lack of enthusiasm.

MR. FORRESTER
What’s the matter Mrs. Atkins,
have you not read the script yet?

MERCY
I can’t say I have.

MR. FORRESTER
Well why not? You’re a writer.
Perhaps you can provide us with
some useful feedback. If that’s
alright with Mr. Miller, of
course.

JOHNNY
Yeah, that’s cool. The script
could use a females’ perspective.

MERCY
I think I’ll pass, thank you.

TOBIAS
Come on honey, it’s just a quick
read. What, ninety seven pages?

JOHNNY
One hundred seventeen, actually.
It’s some of my best work.

MR. FORRESTER
Indeed it is.

MERCY
Thank you, but I need to focus on
my own work at the moment.

JOHNNY
What’s the genre?
 7.

MERCY
Crime.

JOHNNY
Sounds interesting. What’s it
about?

MERCY
Murder.

JOHNNY
I could dig it.

TOBIAS
(changing subject)
Hun, get us some drinks, will you?

MERCY
What would you like?

TOBIAS
Anything, it doesn’t matter. Do
you boy’s have any preference?

JOHNNY
Whiskey, neat.

MR. FORRESTER
Whiskey neat would be wonderful,
thank you.

TOBIAS
Three whiskeys-

MERCY
-I heard.

TOBIAS
Thanks, hun.

Mercy makes her way to the kitchen as the boy’s hang back
and make jokes - causing them all to laugh at the same
time.

CUT TO:
 8.

10 INT. KITCHEN - CONTINUOUS 10

Mercy enters the kitchen. She removes three GLASSES from

the covert and takes a nice BOTTLE of whiskey from the
counter.

She then proceeds to pour the liquor inside each glass.

Calmly, and with patience. All the while, sound of the
men laughing and joking could be heard in the living room
just across the way.

Mercy finalizes the pouring of the whiskey. She takes

another moment before working up three individual wads of
saliva, carefully spitting in each individual glass -
leaving behind residue of saliva alongside one of them.

CUT TO:

11 INT. LIVING ROOM - MOMENTS LATER 11

At the tail-end of the meeting, the boy’s continue their

laughter, jokes, etc.

Mercy remains silent, seated stiff. Blank-faced.

She watches the men’s glasses touch their lips as they

each consume the whiskey. She softly smirks.

CUT TO:

12 INT. FRONT DOOR HALLWAY - CONTINUOUS 12

Tobias shakes hands with Mr. Forrester and Mr. Miller,

saying good-bye while the men part ways in a happy mood.

Mercy stands by her husband to see the men off.

Tobias waves, say’s good-bye once more and shuts the

door. BEAT. His hand pressed against the door.

Tobias, suddenly, grabs Mercy by shoulders and pulls her

in towards his chest. He holds a firm grip.

TOBIAS
I swear to God, if you ever
humiliate me like that again I’ll
bash your goddamn brains in with a
hammer!

Mercy giggles.

Tobias, annoyed, punches the wall.

 9.

TOBIAS (CONT’D)
Goddamnit, I mean it!

MERCY
I don’t know what you’re talking
about. (beat) Sweetie.

TOBIAS
Don’t give me that ‘sweetie’
bullshit. You know what you did.
I could see it, goddamnit!

MERCY
See what?

TOBIAS
Do you think I’m stupid? I know
you spit in that whiskey. Now
maybe they were being polite but
goddamnit I could see it in the
glass!

MERCY
Or maybe they’re just that stupid.

Tobias slowly removes his hand from Mercy’s shoulders and

begins to laugh. Oddly, soon after, the two embrace this
little personal moment with more hysterical laughter.

CUT TO:

13 EXT. POOL AREA - DAY/LATER 13

Tobias is spread out on a lay-out chair tanning in the

sun. Goofy trunks, shades, tanning oil, the works.
He holds a SCRIPT, courtesy of Mr. Miller as he combs
through it passively.

Mercy approaches him with a DRINK in her hand and takes a

seat next to him on the opposite lay-out chair. She
settles in, ready to let in some sun, in a bikini and
dark SHADES.

She keeps quiet as he reads.

MERCY
(breaking silence)
Any good?

TOBIAS
I don’t know.
 10.

MERCY
What do you mean?

TOBIAS
I don’t get it.

MERCY
Then why are you doing it?

TOBIAS
Would you read it?

MERCY
The script? No.

TOBIAS
For fucks’ sake. Why not?

Mercy calmly turns her head to take a look at her husband.

She then slowly rises up to her feet to stand in front of

him.

TOBIAS
What-?

MERCY
-Shut up.

Mercy gets on her knees and undoes his trunks and pulls
them down to his ankles.

She jerks him off while speaking to him.

MERCY
I don’t want to see them here
again, Tobias. Those girls.
I don’t want to hear about it in
passing. Get a hotel, use your
car. Only, I don’t ever want to
know about it.

TOBIAS
Oh god...

MERCY
The next time the idea crosses
your mind just remember - you are
married to me and a divorce would
be very expensive.

TOBIAS
I don’t want that...
 11.

MERCY
No, of course you don’t. But if I
ever find out that you did what
you did with those three girls
again I won’t divorce you.

TOBIAS
...No?

MERCY
I’ll kill you.

TOBIAS
What?

MERCY
Tell me you understand.

TOBIAS
Yes.

MERCY
Yes?

TOBIAS
I understand...

MERCY
I’ll read your scripts for you.
I’ll clean and cook and do the
laundry for you. I’ll even fuck
you, occasionally. But I won’t
allow you to humiliate me like
that. And I meant what I said,
Tobias. Do you believe me?

TOBIAS
Yes, honey, yes....

MERCY
Do you want to come?

TOBIAS
Yes.

MERCY
Then promise me you won’t ever do
that to me again.

TOBIAS
I promise... I’m sorry...

MERCY
Good, now come for me.
 12.

Tobias comes.

TOBIAS
Oh, oh god...

Mercy cleans her hand on his TOWEL then takes her seat
again.

Tobias settles, calms.

MERCY
I’ll read your script now.

Tobias hands her the script.

TOBIAS
It has a lot of big words in it.

MERCY
That’s fine.

Mercy opens the script and begins to read from page one.

BEAT.

TOBIAS
Did you really mean that?

MERCY
Mean what, dear?

TOBIAS
What you said... about killing me.

MERCY
Yes, dear.

Tobias looks off, thinking about this.

TOBIAS
Oh...

Mercy continues to read silently to herself.

CUT TO:

14 INT. MASTER BEDROOM - DAY, LATER 14

Mercy takes a step toward a blue tooth DEVICE in the room

and plays a TUNE. Bee Gee’s: “To Love Somebody.”

She settles in for a moment and begins to sway her hips.

 13.

Then her feet, arms, etc.

Soon enough, she’s in the swing of thing’s, dancing to

the rhythm of the music.

CUT TO:

15 INT. KITCHEN - THAT MOMENT 15

Tobias hunches over the kitchen counter with the script.

He smokes a CIGARETTE. The music and movement could be
heard coming from upstairs via Mercy. He looks up, then
back down at the script to continue re-reading it in an
attempt to make sense of it in his mind.

CUT TO:

16 INT. MASTER BEDROOM - THAT MOMENT 16

Mercy falls back in bed. The music going, with a huge

smile across her face. She stares up at the ceiling.

MERCY
(ad-libbing)
You don’t know what it’s like, to
love somebody, the way I love you.

CUT TO:

17 INT. KITCHEN - NIGHT 17

INSERT - A BLENDER MIXING ICE, TEQUILA AND MARGARITA MIX.

INSERT - CHICKEN AND VEGETABLES GRILLING OVER A FRYING PAN.

INSERT - TV IN KITCHEN, SOME CHEESY COMMERCIAL FEATURING

TOBIAS.

INSERT - MERCY, WORKING ON DINNER.

CUT TO:

18 INT. DINNING ROOM - CONTINUOUS 18

Mercy sets down two dinner PLATES with SILVERWARE above

the dinning room table.

Tobias enters the room afterward with two GLASSES and the
Margarita blender - serving them both drinks to accompany
their meals.
 14.

MERCY
Thank you.

TOBIAS
Abso-goddamn-lutely.

The two take their seats to settle in for dinner.

They enter prayer formation.

TOBIAS (CONT’D)
Well, okay... Oh Lord, thank you
for the usual nothingness you
provide. Seeing as Merc’ and I
had to work really fucking hard
for everything we have up to this
point and all. We appreciate the
idea you convey but as we all
know, it means jack-shit in the
real world but hey. So you do
you. All’s good down here.

MERCY
Amen.

The two raise their glasses.

TOBIAS/MERCY
Cheers.

Then cling glasses and drink.

CUT TO:

19 INT. LIVING ROOM - NIGHT, LATER 19

INSERT - television screen: playing John Cromwell’s 1939

film, “Made for Each Other,” starring James Stewart and
Carole Lombard.

Mercy snuggles up with Tobias on the couch. Lovey-dovey

like, drinking more Margarita's, under a BLANKET, near a
lit fireplace.

TOBIAS
What did you think of the script?

MERCY
It’s up to you.

TOBIAS
It’s confusing though, right?
 15.

MERCY
It’s lazy.

TOBIAS
That’s what it is. It’s lazy.
So, I shouldn’t do it then, right?

MERCY
How much is it offering?

TOBIAS
Twenty-five grand.

MERCY
Flat-rate?

TOBIAS
Yeah, but it isn’t a good script
right? It’s not just me?

MERCY
No baby, it’s not you.

TOBIAS
What’s wrong with it?

MERCY
It’s missing a soul.

TOBIAS
That’s it... Then I shouldn’t do
it?

MERCY
That’s up to you.

TOBIAS
I know, but I don’t know if I
should just do the shity script,
take the money, then focus on
landing something better on the
next round - or just say no and
cut my losses now. Plus Robert,
he pulled a lot on this one to get
me in good with Johnny.

MERCY
Do you want to do it?

TOBIAS
I don’t know. I don’t like the
script but the money could be good
for a’ while.
 16.

MERCY
I’ve got more money coming in on
my script when it’s finished.
Don’t worry about that.

TOBIAS
But I want to contribute, too.
I don’t want you to have to support
me while I’m out trying to land
another gig.

MERCY
That’s sweet.

TOBIAS
Fuck that, it’s fair.

MERCY
Baby, I understand how you feel,
but we’re a team, remember. What
I make you make and vise-vera.
Always.

TOBIAS
And forever.

MERCY
That’s right.

They kiss.

TOBIAS
Fuck it then, I won’t do it.

MERCY
Are you sure?

TOBIAS
Yeah, the scripts’ a piece of
shit.

MERCY
Then I support your decision.

TOBIAS
I love you, baby.

MERCY
I love you, too.

They kiss again. BEAT.

CUT TO:
 17.

20 EXT. OUTDOOR PARTY - ON THE PROPERTY - DAY 20

Some days later, a decently sized gathering commences as

FOLKS shuffle about... mingling, chatting, eating,
drinking, etc.

All are industry related friends, friends of friends,

AD’s, Producers, Actors, Writers, Music Composers,
Directors, etc.

Tobias is standing with a group of friends. CHARLIE,

PETE, MARGARET, SUZAN and PAUL. They are in mid-
conversation, having DRINKS, smoking JOINTS, E-CIGS.
All actors.

PAUL
...I was wearing this goddamn
thing for fifteen hours each day
for two straight months with two
goddamn days off in-between...

SUZAN
That’s awful.

PAUL
You bet your sweet tits it was.
Jesus Christ, and that make-up
artist... man, this guy kept
telling me how pretty my hair was,
and if it was up to him, he’d have
me wear nothing at all.

CHARLIE
Like, naked?

PAUL
No man, nothing in my hair on
account of how pretty it is.

SUZAN
That’s inappropriate.

PETE
What’s his name?

PAUL
It doesn’t matter. The dude’s in
the union, you know they don’t
give a’ fuck. Plus, he’s one of
Robert’s connects, so...

MARGARET
Aren’t we all.
 18.

CHARLIE
(nodding)
As long as he does the job.

PAUL
Godamn right. Fuck, man. And he
kept filling me up, too.

SUZAN
How do you mean?

PAUL
Exactly what I said. He’s lucky I
didn’t file a lawsuit.

PETE
(sarcastic)
Oh poor you. Did the scary make-up
man molest you?

PAUL
Screw you, man. It’s not funny.

PETE
Well, you are very pretty.

MARGARET
I’d do you.

PAUL
...Yeah?

MARGARET
No.

The group all laugh at the joke.

PAUL
You’re a real bitch sometimes, you
know that.

MARGARET
That’s what I’m paid for, sweetie.

PAUL
Man...

CUT TO:
 19.

21 EXT. BUFFET TABLE - CONTINUOUS 21

Robert Forrester stands near Johnny Miller and his

girlfriend, MOLLY, a very, very attractive swimsuit Model
in her early 20’s, spacey in thought. They have DRINKS.

MR. FORRESTER
Who did you see for the role of
Abby?

JOHNNY
I was thinking about that.

MR. FORRESTER
Oh?

JOHNNY
Yeah, I think Molly can do it. She
looks like an Abby.

MR. FORRESTER
Who’s Molly?

JOHNNY
(pointing at Molly)
Who the fuck else, man?

MR. FORRESTER
Is she experienced?

JOHNNY
I’m not an idiot.

MR. FORRESTER
Of course.

MOLLY
(interrupting)
Babe.

JOHNNY
Yeah, babe?

MOLLY
Did you see that Lambo in the
driveway?

JOHNNY
What about it?

MOLLY
I want one.
 20.

JOHNNY
We’ll see honey.

MR. FORRESTER
Pretty little thing, isn’t she.

JOHNNY
Yeah, we just got married a few
days ago.

MR. FORRESTER
Oh, congratulations.

MOLLY
My daddy has a yacht we used. He’s
in politics or something boring.

MR. FORRESTER
That’s wonderful.

MOLLY
We fuck on there all the time.

JOHNNY
May as well put it to good use,
you know.

MR. FORRESTER
Well that’s just splendid.

JOHNNY
Her blow-job’s are fantastic.

MR. FORRESTER
Are they now?

MOLLY
A girl’s gotta make her mark.

MR. FORRESTER
Undoubtably.

CUT TO:

22 EXT. GUEST TABLES, NEAR DJ BOOTH - CONTINUOUS 22

A DJ booth in the background. Guests and friends are on

the floor, dancing, having a good time. Mercy is seated
at a table with a friend/fellow screenwriter named JANET
MOSS, early 40’s, with a cracked-out appearance.

JANET
How are you doing?
 21.

MERCY
Good, thing’s are... fine.

JANET
Oh?

MERCY
I mean, as good as they can be, I
suppose.

JANET
How’s T doing?

MERCY
He’s fine. Looking for his next
show, you know.

JANET
Well, that’s what I wanted to talk
to you about. I have a nephew. He
hates school but loves to write.

MERCY
I see.

JANET
Anyway, I thought maybe you could
have him over sometime to shadow
you for a few days while you work
on your script for your Paramount
friends.

MERCY
I don’t know...

JANET
Oh come on, Merc’. He’s great.
Really.

MERCY
I just... don’t feel comfortable
having other people around while
I’m trying to work. You should
understand, you’re a writer.

JANET
Honey, I work in TV. I work with
other writers all the time.
Besides, he’s quiet, attentive and
he loves to just sit and learn.

MERCY
I don’t know.
 22.

JANET
It wouldn’t be just a favor, I
wouldn’t do that to you.

MERCY
What would you call it?

JANET
Well, I have a friend, remember
Jacob Moore, over at Showtime?

MERCY
Yeah, how is he?

JANET
Fucked. I mean the guy still bangs
hookers and does blow on the
constant with a wife and four kids
at home but, he’s heading a new
project that I think Tobias would
be perfect for.

MERCY
What’s the show?

JANET
A new series he’s running. And
guess who the series lead writer
is?

Janet shoots Mercy a look.

MERCY
Congratulations.

JANET
Thanks.

MERCY
You’ll get Tobias an audition?

JANET
Fuck an audition. I’m thinking
series lead.

MERCY
Oh wow, that would be amazing,
thank you.

JANET
Uh-uh, only you gotta take my
nephew in for a few days, and...
when the right opportunity comes
along...
(MORE)
 23.

JANET (CONT'D)
introduce him to some of your
friends in the feature world.
Years from now. I mean, the kids’
gotta get laid before he jumps off
the plane into Normandy, know what
I mean?

MERCY
You know what. That sounds good.

JANET
Yeah?

MERCY
Yeah.

JANET
Okay great, you’ll fucking love
him. How about I dump him off
over the weekend?

Mercy raises her glass and clings glasses with Janet.

MERCY
Cheers.

JANET
The little shit better remember
what his auntie did for him.

MERCY
I’m sure he will.

JANET
Who knows, maybe someday he’ll get
me a fucking job.

MERCY
Uh-hu.

CUT TO:

23 EXT. DANCE FLOOR - DAY/LATER 23

Mercy and Tobias hold closely to one another in the midst

of a dance number. Slow, romantic... good all around.
The lovers gleaming with hope. Love in their eyes.

MERCY
Guess what?

TOBIAS
What?
 24.

MERCY
I think I got you your next gig.

TOBIAS
On what?

MERCY
Series for Showtime. Jacob Moore.

TOBIAS
I fucking love Jacob Moore. I
mean, the guys a prick but fuck
the man, his shows are fantastic!

MERCY
I know, baby.

TOBIAS
How did you...?

MERCY
Janet and I traded favors.

TOBIAS
...I fucking love you.

MERCY
I love you too, baby.

WIDE - ABOVE THE FLOOR, the dancing couple embrace to a

loving song as the crowd swirls around them centering
them amongst everyone else.

DISSOLVE TO:

24 EXT. POOL AREA - LATER THAT NIGHT 24

Some of the guests are now in the pool and jacuzzi. Most
are drunk, or just about beyond that.

Mercy hangs pool side, looking up at the stars. She

smokes a JOINT - embracing the lovely evening. She
listens to music on her I-PHONE, wearing EARPHONES.

Tobias is seated behind her, near the jacuzzi, watching

her lovingly.

He senses someone near him and turns to look at the seat

next to his. He see’s a 14 year old kid seated there,
recording someone at the jacuzzi with his I-PHONE. This
is ADAM, Janet Moss’s nephew.
 25.

Tobias looks to see who the kid is recording. It’s

Molly. Her ass, as she lays on her stomach in a
revealing bikini bottom. Johnny Miller is in the jacuzzi
in the background chatting with a few actors.

Tobias turns/leans towards the boy.

TOBIAS
Hey.

ADAM
What?

TOBIAS
What the hell are you doing?

ADAM
What’s it to you?

TOBIAS
This is my house.

ADAM
So?

TOBIAS
Put the phone away.

ADAM
Fuck you, I’m not doing that.

TOBIAS
Goddamnit.

Tobias snatches the phone out of the kid’s hand.

ADAM
Hey mother-fucker, give it back!

TOBIAS
Who are you with?

ADAM
Janet Moss.

TOBIAS
What are you, adopted?

ADAM
She’s my aunt, douche.

TOBIAS
What’s your name?
 26.

ADAM
I won’t say.

TOBIAS
(holding up phone)
I’ll toss this goddamn thing into
that goddamn pool, I swear to God.
Now tell me your name.

ADAM
Alright, chill dude, my names'
Adam. Now give me my phone back
before I tell someone you tried to
touch my dick.

Tobias slowly hands the boy back his phone. As soon as

Adam has the phone he resumes recording on Molly’s ass.

TOBIAS
You must be adopted.

ADAM
Fuck yourself, old man.

Tobias takes Adam’s comment to heart. He places his hand

on his face, feeling for wrinkles.

Janet barges in, out of nowhere.

JANET
What do you think you’re doing?
Give me that phone.

ADAM
Hey, oh hey, come on.

JANET
Let’s go, we’re leaving.

Janet pulls Adam away - holding his phone hostage.

JANET (CONT’D)
I’m sorry about this T, we’re
going now. Sorry.

TOBIAS
No problem, have a safe drive
home.

JANET
(walking away)
Thanks, I’ll drop him off over the
weekend. See you then.
 27.

TOBIAS
Wait, what?

JANET (O.S.)
Be sure to thank Merc’ again for
me. Good-night!

TOBIAS
Oh, goddamnit.

Just then, Mr. Forrester enters the scene and immediately

places his hand over Tobias's shoulder.

MR. FORRESTER
Hey, Tobias.

TOBIAS
Hey, Robert.

MR. FORRESTER
Can I speak with you a moment? In
private.

TOBIAS
Can it wait ‘till morning? I’m
kinda tired.

MR. FORRESTER
Walk me to my car.

Reluctantly, Tobias follows Mr. Forrester away from the

pool and toward the driveway to his car.

CUT TO:

25 EXT. DRIVEWAY - NIGHT, MOMENTS LATER 25

Tobias and Robert Forrester walk side-by-side on their

way to Robert’s car in the driveway.

Robert walks with a funny walk, half drunk and sweaty.

Some other guests walk to their cars around them, headed

home for the night.

The men reach Robert’s car as he get’s in and takes a

seat in the drivers seat. Tobias remains by the window,
leaning forward to speak with him.

Robert remains quiet, seeming off-beat.

TOBIAS
What is it?
 28.

BEAT.

MR. FORRESTER
This movie has to work. I’m on my
last string of investors and some
of them are getting nervous. It
has to work.

TOBIAS
...I’ve been meaning to talk to
you about that.

MR. FORRESTER
You aren’t backing out on me, are
you Tobias? Because remember, I’m
the one who got you started in
this fucking town!

TOBIAS
...No, no, of course not.

MR. FORRESTER
Good. Because I can’t afford to
loose you. Not now.

TOBIAS
But Mercy thinks-

MR. FORRESTER
-Fuck what she thinks!

Tobias is thrown off a bit.

MR. FORRESTER (CONT’D)

I’m sorry, Tobias. I didn’t mean
that.

BEAT.

TOBIAS
What is it Robert, what’s wrong?

Robert suddenly begins to cry.

TOBIAS (CONT’D)
Hey, hey, it’s alright. Come on,
it’s okay, really. Stop crying.

MR. FORRESTER
Oh, fuck!

TOBIAS
Hey, take it easy. I have
neighbors.
 29.

MR. FORRESTER
They’re so fucking old it’s
amazing they hear anything at all!

TOBIAS
(getting real)
What’s wrong, Robert?

Robert composes himself, wipes his tears, clears his

nose, throat, then;

MR. FORRESTER
I’m sorry.
I have to tell you something. Oh
God... I’m so fucking ashamed.

TOBIAS
You can trust me. You know that.

MR. FORRESTER
I did something... I’m so
ashamed...

CUT TO:

26 INT. HOTEL ROOM - NIGHT (FLASHBACK) 26

Robert is standing over a naked GIRL on her stomach in bed.

He holds a BOTTLE in hand that he used to strike her with.

She has a bruise on her head, blood trickling, alive, only

unconscious.

MR. FORRESTER (V.O.)

She was so goddamn beautiful...
I couldn’t help myself.

Robert takes a long drink, unbuckles his pants, drops

them, then approaches her in bed.

CUT TO:

27 EXT. DRIVEWAY - CONTINUOUS 27

Robert tears up again. He attempts to hide it but can’t.

Tobias is lost for words.

MR. FORRESTER
I’m so fucking ashamed.
 30.

TOBIAS
Fuck, Robert... This is serious.

MR. FORRESTER
I was a bad boy... I did bad...
(begins smacking himself)
Stupid, stupid, stupid, stupid!
Fucking, stupid boy!

TOBIAS
Hey, stop it.

Robert ignores him and continues smacking himself. Tobias

quickly reaches for Robert’s arm to stop him from hurting
himself any further.

TOBIAS (CONT’D)
Goddamnit Robert, stop!

Robert slowly settles down.

MR. FORRESTER
She was some wannabee actress,
some college student. I told her
to meet me at my hotel for drinks
to discuss her future. I was
drunk. I was drunk and I fucked
her. I fucked her while she was
passed out.

TOBIAS
I don’t want to hear this, Robert.

MR. FORRESTER
I know, I’m sorry. I did bad,
Tobias. I did bad, I know that.
But she’s okay now. I told her
everything would be okay because
she said she’d forget the whole
thing. So it’s okay. We’re okay.

BEAT.

TOBIAS
What are you trying to tell me
here Robert?

MR. FORRESTER
...I gave her a few movie deals,
low-level shit. And she said
she’d forget the whole thing ever
happened, like it never fucking
happened. But she’s pregnant.
(MORE)
 31.

MR. FORRESTER (CONT'D)

With my fucking baby, she’s
pregnant!

TOBIAS
...What are you going to do?

MR. FORRESTER
This movie is going to work. It
has to. But I, but we need to make
it work. No matter what. I need
the money. My baby needs the
money. These investors need a good
return on their investment,
Tobias.

TOBIAS
Goddamnit, Robert.

MR. FORRESTER
I need you to hit a home run for
us pal. I do, I need you. Please,
don’t hate me. Please, please
don’t hate me because if you do
I’ll go home right now and blow my
fucking brains out.

TOBIAS
Settle down, I don’t hate you.

MR. FORRESTER
You swear?

TOBIAS
Yes, I-I don’t hate you.

Robert places his hand on Tobias’s wrist.

MR. FORRESTER
Thank you, Tobias. You’re a good
friend. Thank you.

Tobias slowly pulls his arm away.

TOBIAS
But I can’t do this movie with
you, Robert.

MR. FORRESTER
What?

TOBIAS
I’m sorry, but Mercy and I
discussed it and, I can’t make
this movie, not now. I’m sorry.
 32.

MR. FORRESTER
Why the hell not?

TOBIAS
It just isn’t the right project
for my career right now.

MR. FORRESTER
I made your fucking career!

TOBIAS
I know you did, and I really
appreciate that, but-

MR. FORRESTER
-No.

Robert shoots out of the car and steps in to Tobias’s

face. Close. Heated.

MR. FORRESTER (CONT’D)

No, you are going to make this
movie and you are going to do
right by me. What the fuck!?

TOBIAS
...I’m sorry, but I can’t.

Robert sizes Tobias up, then;

MR. FORRESTER
Yes.

TOBIAS
No.
(confused)
What?

MR. FORRESTER
Yes.

TOBIAS
Robert-

MR. FORRESTER
-Let me explain something to you.
You are going to make this fucking
movie, and you are going to hit a
fucking home run for me. For the
baby and for your cunt wife.

TOBIAS
Don’t say that about Mercy.
 33.

MR. FORRESTER
Did she tell you not to do it?

TOBIAS
No, it was my decision.

MR. FORRESTER
Well, I don’t care.

TOBIAS
Come on, Robert.

MR. FORRESTER
Let me say this in words you can
understand. C-O-N-T-R-A-C-T.

TOBIAS
I never signed a contract.

MR. FORRESTER
Bullshit you didn’t.

TOBIAS
When?

MR. FORRESTER
Earlier this week, when we picked
up those three little piglets. Or
do you not recall?

CUT TO:

28 INT. ROBERT’S CAR - MOVING - NIGHT (FLASHBACK) 28

Robert drives. Tobias is in the back seat with the same

three young women he slept with at his pool seen earlier.
Robert feeds them more BOTTLES of alcohol with a BAGGIE
of cocaine.

MR. FORRESTER
That’s it, girls. Liquor him up.
It’s a celebration for all of you.

The girls and Tobias cheer.

GABBY
(sloshed, leaning over)
When will I be in the movie?

MR. FORRESTER
After you do your duty,
sweetheart.
 34.

GABBY
Wait, does that mean I gotta fuck
you too?

Robert smiles at the thought. Gabby snorts a line.

CUT TO:

29 EXT. HOLLYWOOD BLVD. - CAR - NIGHT/LATER (FLASHBACK) 29

INSERT - HOOD OF THE CAR - THE CONTRACT - Tobias’s hand is

given a PEN via Robert’s.

MR. FORRESTER (O.S.)

Sign this, Tobias. It’s very
important. Here, sign right here.

Tobias signs the contract.

Two of the girls are outside of the car dancing.

Gabby is on the roof flashing her tits/cheering at the
passing CARS on the street.

Tobias lowers his zipper and turns towards the girls.

MR. FORRESTER (CONT’D)

(pulling him back)
Put your cock away! You trying to
get us arrested?

CUT TO:

30 EXT. DRIVEWAY - NIGHT/THAT MOMENT 30

Tobias is startled, at an utter lose for words.

MR. FORRESTER
I OWN YOUR CONTRACT.

TOBIAS
...How could you do that to me?

MR. FORRESTER
I’m backed into a corner here, my
friend. If you don’t honor the
contract you have signed I will
take you to court and believe me
son, I can afford it much more
than you can.

BEAT.
 35.

TOBIAS
...I’ll tell people.

MR. FORRESTER
Tell people what?

TOBIAS
I’ll tell them all what you told
me... about that girl, about what
you did to me. My friends are
your friends, too.

MR. FORRESTER
Actors are so naive they’ll
believe anything you tell them.
I lied, stupid. I didn’t get that
girl pregnant. I fucked her. But
she isn’t pregnant. She did it
for her career. She’s smart. And
yes, your friends are my friends.
But I’ve known them longer. Shit,
I made their careers.

TOBIAS
(understanding the
sick joke)
So there’s no contract?

MR. FORRESTER
(stern)
Oh, there is. Insurance policy,
my boy.

TOBIAS
I...

MR. FORRESTER (CONT’D)

Shut the fuck up and listen to me.
I’m desperate, Tobias. Can’t you
see that? Just do the right
thing. Make the movie. Honor
your contract and all will be
well. But if you don’t, not only
will I sue you, but I will end you
career just as quickly as I
started it. I don’t want to, but I
will if I have to. And I won’t
just end your career, but your
wife’s, too. Who does she run
with? Mark Stevens, Carol
Stewart, that cunt Janet? I made
them. Consider me God, my friend.
No two ways about it.
 36.

BEAT.

MR. FORRESTER (CONT’D)

Believe me, I would do this
another way if I could, but I am
out of options. Now: will you
make the movie and honor the
contract or will you completely
fuck up your entire life?

BEAT.

TOBIAS
...I’ll do the movie.

Robert places his hands on Tobias’s shoulders.

MR. FORRESTER
Atta boy.

CUT TO:

31 INT. MASTER BEDROOM - NIGHT, LATER 31

Mercy, asleep in bed, comfortable, wakes up to the

feeling of an empty bed. She looks around, seeing no
one, she get’s out of bed and leaves the room.

CUT TO:

32 INT. KITCHEN - MOMENTS LATER 32

She enters the kitchen. It is dark.

MERCY
Babe?

No answer. She flicks the lights on to find Tobias,

seated at the kitchen table, with a BOTTLE, drunk.

MERCY (CONT’D)
What are you doing?

TOBIAS
Getting drunk.

MERCY
I could see that.

TOBIAS
...yes...
 37.

Mercy slowly walks over to the table and takes a seat. No

words are spoken for a moment. Only exchanged glances.
Without speaking, Mercy understands his pain.

MERCY
You shouldn’t be drinking in this
state of mind.

TOBIAS
I’m a pussy.

MERCY
No.

TOBIAS
And I’m stupid.

MERCY
What?

TOBIAS
That’s right, a big goddamn dumb
pussy.

MERCY
I don’t think that.

TOBIAS
No? But I am. ...Robert spoke
with me tonight.

MERCY
About the movie?

TOBIAS
Oh yeah...

Robert takes another long drink.

MERCY
Stop drinking.

TOBIAS
You know what he said to me? He
said he owns, OWNS the contract.

MERCY
For the film?

TOBIAS
The fat bastard.

MERCY
But you never signed a contract.
 38.

TOBIAS
But I did.

MERCY
How is that possible?

TOBIAS
That night, those girls... He got
us liquored up. And so, he got me
to sign that same goddamn night.

MERCY
How do you know he’s telling the
truth?

TOBIAS
Because he’s a slimy cocksucker.

MERCY
Don’t say that. It’s not you.

TOBIAS
I’m sorry.

MERCY
You’re drunk.

TOBIAS
Yes.....That is true.....

Mercy takes his hand and places it inside her own.

MERCY
Baby, come to bed. Sleep tonight.
And tomorrow, you and I will talk
about what to do. Okay?

BEAT.

TOBIAS
(smiling)
Okay.

MERCY
Okay.

TOBIAS
Is there some shit-nose kid coming
over here Saturday?

MERCY
What?
 39.

TOBIAS
what’s-her-faces kid... the little
shit with the cell phone.

MERCY
Adam.

TOBIAS
Little shit.

MERCY
Baby, stop it.

TOBIAS
He’s coming over?

MERCY
That’s the favor.

TOBIAS
...So be the will of man.

MERCY
What?

TOBIAS
I don’t know. Fuck me, I’m drunk.

MERCY
(smiling)
Yes, you are.

Mercy helps Tobias to his feet.

TOBIAS
You don’t know what it’s like.

MERCY
Know what what’s like?

TOBIAS
To be in love with somebody like
you.

MERCY
Oh, but I do.

Both look to one another with complete understanding.

CUT TO:
 40.

33 EXT. DRIVEWAY - DAY 33

Title card SUPERIMPOSED over driveway and home.

Saturday, June 11th, 8:07AM

CUT TO:

34 INT. MASTER BEDROOM - CONTINUOUS 34

Mercy and Tobias are asleep in bed together. Side by side.

Tobias opens his eyes, soon followed by Mercy.

They look into one another’s eyes.

MERCY
Hi.

TOBIAS
Hey.

MERCY
How do you feel?

TOBIAS
My head hurts.

MERCY
You drank too much, dummy.

Tobias smiles, but it soon fades.

TOBIAS
I have to do the movie, don’t I?

MERCY
It’s your choice to make, and
yours alone.

TOBIAS
What else can I do?

MERCY
(petting his hair)
We’ll do what we normally do. What
we’ve done on numerous occasions
before.

CUT TO:
 41.

35 INT. KITCHEN - DAY (MONTAGE) 35

Tobias hunches over the sink. He holds a SHOT of grass

juice only to force it down his throat.

MERCY (V.O.)
First, you’ll need to get sober.

He dips his face inside a BOWL filled with ice water.

CUT TO:

36 INT. MASTER BEDROOM - CONTINUOUS (MONTAGE) 36

Mercy makes the bed.

MERCY (V.O.)
I’ll make the bed.

CUT TO:

37 INT. SHOWER - CONTINUOUS (MONTAGE) 37

Both Mercy and Tobias take a shower together.

MERCY (V.O.)
We’ll shower. Get dressed.

CUT TO:

38 INT. KITCHEN - CONTINUOUS (MONTAGE) 38

Mercy cooks BREAKFAST as Tobias makes the COFFEE.

MERCY (V.O.)
We’ll sit, and have breakfast.

The two eat breakfast at the table.

CUT TO:

39 EXT. POOL AREA - CONTINUOUS (MONTAGE) 39

Tobias and Mercy are outside cleaning up - collecting

trash, reorganizing furniture.
 42.

MERCY (V.O.)
We’ll clean up the mess from the
night before.

CUT TO:

40 EXT. DRIVEWAY - CONTINUOUS (MONTAGE) 40

a BMW pull into the driveway and parks somewhere near the
front door.

MERCY (V.O.)
And wait for our guest to arrive
around eleven.

CUT TO:

41 INT. FRONT DOOR HALLWAY - CONTINUOUS (MONTAGE) 41

Mercy opens the front door, greeting Adam and Janet.

Tobias lingers nearby, wearing a phony smile.

MERCY (V.O.)
Then we will say hello and pretend
to be happy to welcome Adam in to
our home.

Janet leaves as quickly as possible.

CUT TO:

42 INT. HOME OFFICE - CONTINUOUS (MONTAGE) 42

Mercy is seated with Adam at her desk explaining thing’s

to him. He is uninterested, bored, on his PHONE. She
ignores this fact and pretends he is paying attention.

MERCY (V.O.)
I will spend the early afternoon
working with Adam.

CUT TO:

43 INT. KITCHEN - CONTINUOUS (MONTAGE) 43

Tobias is in the kitchen preparing STEAK & BAKED

POTATOES. He also brings about the necessary ingredients
to make OLD FASHIONED drinks.
 43.

MERCY (V.O.)
Since you know him best, you will
spend that time preparing his
favorite meal. And preferred
drink of choice.

CUT TO:

44 INT. BATHROOM - NIGHT, LATER (MONTAGE) 44

Mercy is in the bathroom crushing up sleeping PILLS to

put in to Adam’s GLASS of milk.

MERCY (V.O.)
At around 8:30pm, I will work on
putting little Adam to bed.

CUT TO:

45 INT. GUEST BEDROOM - CONTINUOUS (MONTAGE) 45

Mercy forces the GLASS of milk down Adam’s throat.

LATER - Adam is in bed, sound asleep.

Mercy shuts the lights/door simultaneously.

CUT TO:

46 INT. DINNING ROOM - CONTINUOUS (MONTAGE) 46

Tobias makes the table. PLATES of steak, potatoes, and

Old Fashioned COCKTAILS for three.

MERCY (V.O.)
You will set the table.

CUT TO:

47 I/E. ROBERT’S CAR - MOVING - DRIVEWAY - LATER (MONTAGE) 47

WE ARE ABOVE THE ROOF OF THE CAR - moving up the driveway

toward the home.

MERCY (V.O.)
Finally, at nine, we will greet
him for dinner.
 44.

The car comes to a complete stop just as the head-lamps

cut out.

MERCY (V.O.) (CONT’D)

And - we will reason with him.

CUT TO:

48 INT. FRONT DOOR HALLWAY - NIGHT 48

The door peels open, revealing Robert. He holds a BOTTLE

of wine with a large smile.

MR. FORRESTER
Hello beautiful.

Mercy steps forward to greet him hello.

MERCY
Hello, Robert. How was the drive?

MR. FORRESTER
Not bad at this time of night.
Thank you so much for inviting me
over for dinner.

MERCY
Of course. Would you please come
in?

MR. FORRESTER
Certainly.

He steps inside as Mercy shuts the door behind him.

CUT TO:

49 INT. DINNING ROOM - MOMENTS LATER 49

Mr. Forrester, Mercy and Tobias are all seated silently

as they awkwardly eat dinner together.

Robert Forrester stares at the steak on his plate as if

apologizing to it.

Mercy and Tobias exchange a glance.

MERCY
(clearing throat)
So, I wanted to speak with you
about the film, if I could.
Robert?
 45.

Mr. Forrester looks at Mercy. Then over at Tobias.

MR. FORRESTER
You really tell your wife
everything, don’t you?

TOBIAS
Of course. She’s my wife.

MR. FORRESTER
(scratchy throat)
You’re a lucky man, Tobias. And a
good man. I thought it over.
I have decided to allow you to
step away from the project if you
want to.

TOBIAS
...thank you.

Mercy nods in agreement.

MERCY
Yes, thank you Robert.

MR. FORRESTER
I’m sorry guy’s. You’re good
people.

MERCY
We appreciate you understanding.

TOBIAS
That was easier than I though it
would be.

MR. FORRESTER
(taking a drink)
Fuck Johnny. Fuck the movie. And
fuck my life.

Everyone shares the quiet, venting out like moment.

MERCY
How about a drink or few?

TOBIAS
Fuck... yes, please.

Mercy immediately begins clearing the table.

 46.

MERCY
I’ve got just what we need.

CUT TO:

50 INT. LIVING ROOM - MOMENTS LATER 50

Robert is seated on the couch with Mercy. They have

DRINKS in their hands, playing music in the background.

Tobias performers a stage play dance number for them -

spilling the WHISKEY in his hand on to the carpet, but
nobody cares.

Back with Mercy and Robert Forrester.

MR. FORRESTER
You know Mercy, you are a lovely
woman. And I mean that in a good
way.

MERCY
Sure you do.

MR. FORRESTER
No, I do.

MERCY
Can I ask... what’s the story with
you and women?

MR. FORRESTER
What do you mean?

MERCY
Well, you’ve developed a certain
reputation on the subject.

MR. FORRESTER
...When a man my age reaches the
autumn years of his life, he cares
less and less of what people think
of him. And I’ve been fortunate
to have thing’s work out for me
when I was young. I didn’t have
to struggle as much as most people
do. I was privileged. It was
difficult - impossible at times -
but I just kept on, no matter
what. And my grandfather had
established himself as a generous
EP before me, so... I am very
grateful. Lucky.
(MORE)
 47.

MR. FORRESTER (CONT'D)

But living up to someone else’s
reputation is messy work.

Mr. Forrester takes a drink. Mercy reads him.

MERCY
Can I ask you something?

MR. FORRESTER
Why the hell not.

MERCY
...Are you lonely?

Robert carefully thinks about the question.

MR. FORRESTER
With wealth and power comes great
isolation. It’s the thing with
success in our industry, it allows
you to live your wildest impulses.
And don’t worry - you’ll get there
someday, too. And when you do - I
only hope that you make better
decisions then I have. Both of
you.

Mercy and Robert share a warming glance, then turn to

Tobias who is at the timely conclusion of the routine.

Mercy and Robert applaud.

MERCY
Woo!

MR. FORRESTER
Bravo.

INSERT - WHISKEY SPILLS INTO 3 GLASSES ABOVE THE TABLE.

Mercy and Robert are seated on the couch, laughing.

Tobias returns to the group, almost falling over with the

drinks. He plops down on the couch next to Mercy and
hands them their drinks.

MR. FORRESTER
Thank you.

Tobias holds up his glass.

TOBIAS
Cheers.
 48.

The three cling glasses.

TOBIAS
Thanks for understanding Robert,
really. It means the world to me.

MERCY
To both of us.

MR. FORRESTER
Sometimes you just gotta do what’s
right, kiddy's. Don’t ever forget
that.

CUT TO:

51 INT. LIVING ROOM - CONTINUOUS, LATER 51

It is pretty late at this point. Everyone is drunker.

Robert, Tobias and Mercy are seated at different places

around the living room. Soothing music in the
background.

MR. FORRESTER
(laughing)
You know, I almost pissed myself
on my way over here.

TOBIAS
(laughing)
Why?

MR. FORRESTER
I gave myself two choices:
Either go over there and apologize
or shoot yourself in the face.

Tobias laughs harder.

MERCY
(going along with the crude
joke)
What, no, you’re crazy. That’s awful.

TOBIAS
You’re acting again, aren’t you?

MERCY
Acting?

MR. FORRESTER
I always wanted to be an actor.
 49.

The three laugh at the same time.

Booze spills on the carpet but no one notices.

MR. FORRESTER (CONT’D)

No, no, I mean it. I really did.
I was going to shoot myself....

Tobias gives Robert a look.

TOBIAS
Bullshit.

MR. FORRESTER
(smiling)
I have proof.

Tobias perks up.

Robert Forrester pulls out a big MAGNUM from his coat

pocket.

Mercy’s eyebrows perk up but nothing beyond that.

MERCY
(thinking its fake)
That’s a big fucking gun.

MR. FORRESTER
I always wanted a Dirty Harry
sized gun, so.

TOBIAS
How the hell did you fit that
thing in there?

MR. FORRESTER
I was going to blow my brains out
with this.

Mr. Forrester places the gun down above the table between
the couches.

TOBIAS
Do you realize how much that
would’ve hurt?

MERCY
I’d imagine it’d be quite painful.

Robert, realizing he didn’t;

MR. FORRESTER
Fuck me, I guess not.
 50.

Robert begins laughing hysterically. As do the couple.

TOBIAS
I still don’t believe you. That’s
a prop gun.

MR. FORRESTER
No, it’s not.

TOBIAS
Yeah it is.

MERCY
It has to be.

Robert continues laughing hysterically, not paying any

attention to what they are saying.

Tobias picks up the gun.

TOBIAS (CONT’D)
Yeah, see.

HE POINTS THE GUN AT ROBERT AND SHOOTS HIM IN THE FACE.

Mercy and Tobias react.

CUT TO:

52 INT. UPSTAIRS HALLWAY/DOWNSTAIRS LIVING ROOM - NIGHT 52

WE FOLLOW BEHIND Adam from the upstairs hallway down to

the living room. All the while listening to Mercy and
Tobias argue below.

MERCY (O.S.)
Fuck, fuck, fuck! What the fuck
did you do!? Fuck!

TOBIAS (O.S.)
I thought it was fake... I didn’t
know it was real.

MERCY (O.S.)
Why would you pick up a gun, point
it at someone’s face and pull the
trigger?!

TOBIAS (O.S.)
I didn’t know! Stop yelling at
me.

MERCY (O.S.)
What the hell is wrong with you!
 51.

Adam reaches the two in the living room. Tobias has his
arms over Robert’s chest, holding him up. Mercy holds
one of his legs while holding the gun in her other hand.

Adam get’s a good look at the details. The bloody sofa.

The body. The drinks with booze mixed with blood, the
piece of brain and skull on the carpet....

ADAM
I’d like to go home now.

Mercy and Tobias share a look.

TOBIAS
Hey... buddy... what’s up?

ADAM
Take me home.

MERCY
We can’t just now. Why don’t you
go upstairs and take a bath and
I’ll order you a pizza.

ADAM
You two are murderers.

The couple drop the body flat on the floor.

MERCY
Oh, this?

TOBIAS
It’s nothing. A prop dummy.

MERCY
Yeah.

ADAM
Fuck you, I heard the gun shot.
(pointing at body)
And that fat guy is dead.

MERCY
Oh...no...he’s not.

ADAM
Bullshit!

TOBIAS
(thinking on his feet)
How much allowance do your parents
give you?
 52.

ADAM
What?

MERCY
What the hell are you doing?

Tobias ignores her and approaches the boy, pulling out

his WALLET and some CASH along the way.

TOBIAS
(counting money)
I have... twenty six bucks here.
But how does five hundred a month
sound? From now until the day I
die, huh?

MERCY
(in the background,
smacking her forehead)
Oh son-of-a-bitch...

Adam quickly darts his eyes, then immediately rushes for

the door knob.

TOBIAS
Hey!

MERCY
(to them both)
Wait!

Tobias reaches for the boy’s hand. He misses, landing on

the knob - leaving a bloody hand print.

Tobias then instinctively grabs a hold of the boy as he

attempts to duck past him.

ADAM
Get off me, asshole!

MERCY
What are you doing, stop!

Tobias and Adam struggle a bit.

Adam knees him in the groin then darts up the stairs.

TOBIAS
(falling on the floor)
my balls!
 53.

Mercy instinctively rushes up the stairs after the boy,

not realizing she still holds the gun.

CUT TO:

53 INT. UPSTAIRS HALLWAY/GUEST ROOM - CONTINUOUS 53

Adam reaches for his I-PHONE and quickly unlocks the

screen with a long and complicated pass code.

Mercy reaches the doorway and see’s the boy with his
phone.

MERCY
What are you doing?

Adam ignores her and pushes the call symbol on his phone,
quickly hitting keys 9-1-1.

MERCY (CONT’D)
Put the phone down.

He ignores her.

Mercy could hear the other end of the line - after the
first initially ring she quickly leaps over the bed, to
the phone, then smacks it out of his hand.

The phone violently splits apart against the wall.

Mercy struggles with Adam. She does her best to keep him
under her control.

ADAM
Let me go!

MERCY
Calm down.

ADAM
Help! Help!

MERCY
Stop it!

The gun in her hand stabs his chest as they continue to

wrestle around on the floor.

ADAM
I don’t want to die...

MERCY
You won’t, just calm down!
 54.

ADAM
Please don’t kill me!

MERCY
I’m not going to do anything to
you.

With the gun still poking his chest, Adam quickly manages
to maneuver his way out of the situation and wiggle free.

He quickly shoots up to his feet and BREAKS THROUGH THE

WINDOW IN THE BEDROOM.

CUT TO:

54 EXT. SIDE OF HOME - THAT MOMENT 54

Adam smashes through the other side of the window and

comes tumbling down off the roof - spilling shards of
glass all over the place.

He lands on the side of the house - falling two stories.

He is hurt but still very much alive.

He takes a moment to massage his physical wounds, but

then, just as quickly, get’s up off the ground to run
away from danger.

Mercy sticks her head out of the broken window, seeing

Adam run away below.

MERCY
Come back here!

CUT TO:

55 INT. STAIRWAY/FRONT DOOR HALLWAY - THAT MOMENT 55

Tobias leans against the wall, nursing his crotch, in

pain. Mercy bolts down the stairs in a haste.

TOBIAS
I think he broke my balls.

MERCY
He jumped out the window.

TOBIAS
He what?

MERCY
He ran, we need to go after him.
 55.

Tobias looks at the gun in Mercy’s hand.

TOBIAS
We can’t.

MERCY
We’re not going to kill him,
stupid! We just need to make sure
he doesn’t tell anyone about the
fat dead man in our loving room!

TOBIAS
Right...fuck, my balls...

CUT TO:

56 EXT. POOL AREA/WOODSY AREA - NIGHT 56

Adam runs through the backyard pool area on his way to

freedom. He hops a fence, roles over a hill, then
continues onward down some woodsy path.

CUT TO:

57 EXT. FRONT DOOR/DRIVEWAY - CONTINUOUS 57

Mercy and Tobias rush out of the house. They immediately

run into a bright beam of light coming from a FLASHLIGHT.

Mercy immediately tucks the gun behind her pants,

thinking it’s a cop.

MR. GEORGE PERKINS, about 90, their neighbor. Oblivious

to the stressful situation, temporarily blinding them,
chimes in.

GEORGE
Hey now.

MERCY
Mr. Perkins?

GEORGE
Yes, ma’am.

MERCY
What are you doing out so late?
 56.

GEORGE
Well, the misses and I heard what
we thought was a gunshot and I
thought I’d come check out just
what the fuck was happening around
here.

MERCY
Yes, yes, we’re fine. No gunshot
to report here. It was the TV.

GEORGE
The television?

MERCY
Yes, it was playing loudly, sorry.

TOBIAS
Yeah, yeah, we turned that damn
thing off so all is well now.

GEORGE
Well, just the same, the wife
insisted I call the police but I
thought I’d check it out first.
No need to call them boys’ out
here so late unless absolutely
necessary, I reckon.

MERCY
Of course. Listen, I’ve got to go
handle something. Hun, why don’t
you go and take the car to go and
get that thing I mentioned at the
drug store.

TOBIAS
What thing?

MERCY
That thing we talked about. Make
sure to take the main road on your
way to the store. In the car.
Okay?

TOBIAS
...Oh... yeah... That’s right.
Sure, I can do that.

GEORGE
So everything's alright?
 57.

MERCY
Yes, we’ve got to go now. Thank
you, Mr. Perkins.

GEORGE
Just being neighborly.

MERCY
And we appreciate it, thank you.

Mercy quickly bolts, carefully concealing the gun.

Tobias looks over at her then over at Mr. Perkins, unsure

of what to do. Both men are confused by this.

BEAT.

TOBIAS
I gotta go get tampons. You know
how it is.

GEORGE
Huh? Oh, sure, sure. Well, I
won’t keep you.

MERCY (O.S.)
(off in the distance)
Go now, before they close!

TOBIAS
I gotta go. I’ll see you around.

GEORGE
Well, alright then. Drive safe.

TOBIAS
You too.

Tobias runs for the CAR and quickly jumps in.

He quickly starts it then peels out of the driveway,

creating skid marks that releases tire smoke that
directly blows in to George’s face.

George waves his hand about, coughing.

GEORGE
(to himself)
What in the hell?

The car swerves down the hill toward the main road.

George takes a look at the house.

 58.

He sees the door left wide open and decides to head over
to it to close it.

He moves very, very slowly on account of his age and bad

hip.

GEORGE (CONT’D)
(to himself)
Dumb kids, leaving the door wide
open... Never know who might come
a’prowling these days... Goddamn
new aged Charlie Manson, that’s
who...

CUT TO:

58 EXT. BACKYARD/WOODSY AREA - NIGHT 58

Mercy’s feet land on the dirt, hopping the same fence.

She looks down at ground, seeing the boy’s footprints.

She runs deeper in, after him.

CUT TO:

59 INT. MERCY’S CAR - MOVING - THAT MOMENT 59

Tobias clings on to his testicles, in pain, struggling to

maintain control of the car. One of Mercy’s girly CD’s
plays over the car stereo in the background.

CUT TO:

60 EXT. FRONT DOOR - CONTINUOUS 60

Mr. Perkins reaches the door, out of breathe. He collects

himself then reaches for the door knob to close the door.
As he does, he notices the BLOODY hand print on it.
Examining it closely with the beam of his flashlight.

GEORGE
(to himself)
What in the hell?

CUT TO:
 59.

61 INT. FRONT DOOR HALLWAY - THAT MOMENT 61

Mr. Perkins works his way beyond the front door, slowly.

He finally makes his way down the hallway and into --

CUT TO:

62 INT. LIVING ROOM - CONTINUOUS 62

The living room. Mr. Perkins takes a peak inside.

There, on the floor, he sees the body of Mr. Forrester.

Half of his face is missing. Blood everywhere.

Mr. Perkins’ eye’s widen.

His flashlights hits the floor.

CUT TO:

63 EXT. WOODSY AREA - NIGHT 63

Adam runs. Mercy catches up behind him.

MERCY
Stop!

Mercy stops - drawing the weapon.

Adam stops in his tracks at the sound of the gun cocking.

He slowly turns around. The two stand-off.

ADAM
No, please... I w-won’t say
anything. I promise. Please,
don’t shoot me.

Mercy keeps the weapon drawn on the boy. Conflicted.

CUT TO:

64 INT. MERCY’S CAR - MOVING - THAT MOMENT 64

The girly song continues to play. Tobias looks around

every which way, holding his crotch.

TOBIAS
(to himself)
They’re broken, I know it...
 60.

He looks down at his crotch and unzips. He pops on the

head lights to take a closer look.

TOBIAS (CONT’D)
Oh no...

He cringes in pain.

TOBIAS (CONT’D)
Little shit broke my balls.

CUT TO:

65 EXT. MAIN ROAD - THAT MOMENT 65

Mercy’s car makes a U-turn in the middle of the road as

it speeds it’s way down the opposite side. The head
lights are still on as it zooms past us.

CUT TO:

66 EXT. HILL/ATKINS RESIDENCE - MOMENTS LATER 66

Mr. Perkins moves away from the home as quickly as he is

able, still very slowly, toward home.

GEORGE
(to himself)
These damn crazed son’s-of-bitches
these days... they’ll shoot anyone
for no good-damn reason....

CUT TO:

67 EXT. WOODSY AREA - NIGHT 67

Mercy holds the gun out. Determined.

Adam, scared.

ADAM
Please... please... no...

MERCY
Shut up!

ADAM
I don’t wanna die, please...

Adam’s face turns sour.

 61.

Mercy reacts to this, unsure of what that’s about.

Adam pee’s himself. Begins to cry.

MERCY
Oh, goddamnit.

ADAM
I’m sorry... please don’t shoot
me... I’m sorry, I won’t say
anything, please...

Mercy makes up her mind.

ADAM (CONT’D)
PLEASE. DON’T.

Mercy’s arm drops to the weight of the gun.

MERCY
Get the hell out of here.

ADAM
Thank you.

Adam sees’s this as a good opportunity to run.

Mercy remains where she is, watching Adam run away. She
begins to cry - completely overwhelmed with the
situation.

Adam safely manages to hop one more small white fence,

out toward the main road.

Mercy clears her tears, holding her head and hair.

MERCY
(shouting)
Fuck!

CUT TO:

68 INT. MERCY’S CAR - MOVING - THAT MOMENT 68

Tobias looks down at his crotch, concerned.

TOBIAS
(tearing up)
Oh my god...

He looks up.

AND SEE’S ADAM STANDING THERE IN THE MIDDLE OF THE ROAD.

 62.

Tobias’s eyes.

Tobias’s feet slams down on the breaks.

Adam’s eyes widen as the car zooms in towards him.

CUT TO:

69 EXT. WOODSY AREA - THAT MOMENT 69

Mercy reacts to the sound of a car hitting something.

Something loud.

She quickly widens her eyes and runs up toward the same
direction of the sound.

CUT TO:

70 EXT. MAIN ROAD - CONTINUOUS 70

Mercy walks up to the car on the road.

The boy’s body is stuck under the car.

She makes her way to Tobias in the drivers seat.

MERCY
What did you do...?

TOBIAS
I didn’t mean to... he just stood
out in the middle of the road.

MERCY
What did you do?

Mercy reaches for Tobias and smacks him in the face a few
times.

TOBIAS
I didn’t mean to...

MERCY
Put your cock away, stupid!

He quickly does.

TOBIAS
I-I didn’t mean to...
 63.

Tobias steps out of the car, falling on his face.

MERCY
(crying)
Oh no...

She crouches down and holds her head between her knees.

Tobias slowly limps over to her and tries to hold her.

TOBIAS
I... He was in the middle of the
road... I didn’t see him...

She smacks him away and continues to cry.

TOBIAS (CONT’D)
I didn’t mean to.

MERCY
Shut the fuck up!

He does. Tobias stays away for the time being.

Mercy remains crouched, sobbing quietly to herself.

CUT TO:

71 EXT. FRONT OF PERKINS DRIVEWAY - CONTINUOUS 71

Mr. Perkins reaches his home. He stops near the mail-box

and takes a seat. He catches his breathe, then proceeds
onward toward his home.

CUT TO:

72 EXT. MAIN ROAD - MOMENTS LATER 72

Mercy and Tobias struggle to carry the boy into the

trunk. They manage, then shut it closed.

They hop in the car and take off.

CUT TO:
 64.

73 INT. MERCY’S CAR - MOVING - MOMENTS LATER 73

Mercy rides passenger as Tobias drives. The car moves

slowly. Up the hill, toward home.

Another girly song plays over the stereo. They remain

silent. Mercy kills the radio. BEAT.

TOBIAS
I-

MERCY
-Don’t speak to me right now.

TOBIAS
Okay. I just wanted to say...

MERCY
Not now, please.

BEAT of silence.

TOBIAS
... I’m sorry. Honey, I didn’t
see him... I’m sorry.

MERCY
(sighing)
...I know.

CUT TO:

74 E/I. DRIVEWAY/FRONT DOOR/CAR - CONTINUOUS 74

Tobias pulls the car forward and shuts off the engine.
The head lights remain on. They remain seated, silently.

TOBIAS
What are we going to do?

MERCY
Keep quiet so I can think.

Beat.

TOBIAS
...you know, you didn’t do
anything... It was me. So, if you
want I can tell the cops that.
I’ll tell them you had nothing to
do with it because... you didn’t.
I will... I’ll turn myself in...
Right now.
(MORE)
 65.

TOBIAS (CONT'D)
Just tell me that that’s what I
should do and I’ll do it.

MERCY
Shut up, dummy.

Mercy remains quiet, thinking about what to do.

Just then, she notices something strange about the house.

MERCY
Where’s the old man?

TOBIAS
...I don’t know. Home, maybe.

MERCY
Did you shut the door before you
left?

TOBIAS
No.

MERCY
Then who did?

Mercy and Tobias look over at the door to the house.

Their POV - the closed door.

They look to one another - realizing what this means.

CUT TO:

75 INT. LIVING ROOM - CONTINUOUS 75

Mercy and Tobias enter the space. They look around -

noticing nothing new.

Then, on the floor, they notice the flashlight belonging

to Perkins.

Mercy slowly reaches down to pick it up.

TOBIAS
Do you think?

MERCY
They would’ve been here if he did.
We have to find the old man.

TOBIAS
He’s probably at home.
 66.

MERCY
Come with me.

Mercy heads for the door, Tobias follows.

TOBIAS
Where are we going?

MERCY
Where do you think?

TOBIAS
But-

MERCY
-Stay close to me.

CUT TO:

76 EXT. DRIVEWAY/CAR - MOMENTS LATER 76

Mercy leads them outside toward the back of the car.

She opens the trunk. The boys body is still here. She
quickly reaches for the big gun in the trunk then shuts
it.

TOBIAS
(seeing the idea)
...No.

MERCY
We don’t have a choice at this
point.

TOBIAS
I’ll turn myself in.

MERCY
No, no... this has to be done.

TOBIAS
I can’t. Not again.

MERCY
Do you want to spend the rest of
your life in jail? Baby, do you?

TOBIAS
...Of course not.
 67.

MERCY
Then come help me kill these two
and we’ll be done with it.

TOBIAS
But I can’t kill anyone. Not on
purpose.

MERCY
What’s the difference?

TOBIAS
It wouldn’t be right.

MERCY
Okay then, I’ll kill them. Both
of them.

TOBIAS
You’d do that for me?

Mercy places her hand on his check - creating a blood

stain. Neither pay attention to this fact.

MERCY
Of course I would. You are my
husband. And I love you.

TOBIAS
...I love you, too.

MERCY
Your problems are my problems, now
and forever.

TOBIAS
Always.

MERCY
And right now, you and I need to
kill these two old people to stay
out of jail, that’s all. Once we
take care of them, we’ll go back
inside the house and take care of
the other bodies and together...
you and I will plan our next move,
just like we’ve done countless
times before.

TOBIAS
What about the blood... On the
road, all over the house... what
do we do about all that?
 68.

MERCY
Well, we’ll clean it up after we
kill the neighbors. We’ll
probably start with the road first
since we wouldn’t want anyone
seeing it by first light. But
first, we start with the
neighbors.

TOBIAS
Yeah, that’s smart.

MERCY
Are you with me on this? Because
I can’t go through with it if you
aren’t.

TOBIAS
I’m with you baby, all the way.

MERCY
Okay.

TOBIAS
Let’s do it.

MERCY
Oh. And I apologize for calling
you dumb, it was the stressful
situation. I didn’t really mean
that.

TOBIAS
That’s alright.

Beat.

MERCY
How do you feel?

TOBIAS
Better. I can walk OK, now.

MERCY
I love you.

TOBIAS
I love you, too.

The couple kiss one another - passionately.

TOBIAS (CONT’D)
It’s like when I’m acting and
you’re writing...
(MORE)
 69.

TOBIAS (CONT’D)
we’re going off to face the bad
guys, that’s all... right?

MERCY
That’s right, baby.
(holding up gun)
Okay, let’s go.

They sneak off toward the neighbor’s house.

CUT TO:

77 EXT. PERKINS RESIDENCE - NIGHT 77

Mercy leads as she hunches down near the neighbor’s car.

Tobias simply tags along behind her.

They slowly work their way to the front of the house.

CUT TO:

78 EXT. PORCH - THAT MOMENT 78

Mercy and Tobias hunker down near the front door.

TOBIAS
You know, I just thought about
something.

MERCY
What’s that, hun?

TOBIAS
The way I see it - these two old
prunes probably don’t have much
time left on this earth, and we
got our entire lives ahead of us.
So by my calculation, it’s a fair
trade. Our lives for their’s.
Know what I mean?

Not fully understanding the logic, but going along with

it anyway...

MERCY
Sure, baby. That’s right.

TOBIAS
I love you.

MERCY
I love you, too.
 70.

They share a kiss one more time - as if it were to be

their last.

TOBIAS
(sighs)
Okay.

Tobias reaches/turns the door knob.

TOBIAS (CONT’D)
It’s locked.

MERCY
(sarcastically)
Of course.

He tries again.

TOBIAS
It won’t open.

CUT TO:

79 INT. PERKINS BEDROOM - NIGHT 79

The lights are off in the room. It is still and quiet.

ETHEL PERKINS, 88 years young, is nested warmly in bed.

When suddenly, the door bursts open with the immediate

switch of the overhead lights.

Ethel wakes up, startled by the light and noise.

ETHEL
What in the blazes?

George stumbles to the bed and collapses at the foot of

it. Out of breathe, he rests his back against the bottom
of the bed frame.

ETHEL (CONT’D)
(rushing to him)
Pookey?

He can’t reply. On account of his asthma.

Ethel rushes to the night stand and grabs his INHALER.

ETHEL (CONT’D)
Hang on, pookey.
 71.

She places the inhaler to his lips. He takes a hit of

air.

CUT TO:

80 EXT. PORCH - THAT MOMENT 80

Mercy looks up at the window, seeing the ceiling lights

on, she becomes uneasy.

MERCY
They’re awake.

TOBIAS
Think they called the cops?

MERCY
I don’t know but we’ve got to
hurry.

TOBIAS
How the hell do we get inside?

Mercy and Tobias look around, paniced.

She picks up a ROCK and hands it to Tobias.

MERCY
Use it.

TOBIAS
Are you sure?

MERCY
No, but do it anyway.

TOBIAS
But I might cut my hand.

MERCY
Oh, goddamnit.

CUT TO:

81 INT. PERKINS BEDROOM - NIGHT 81

George catches a breathe. He takes one more hit from the

inhaler. Ethel is kneeled by his side at this point,
calming him.

ETHEL
What is the matter, George?
 72.

GEORGE
The neighbors... they’ve gone bat-
shit crazy. They killed someone.

ETHEL
That can’t be true. They seem
like such nice people. I think
they’re in the industry.

GEORGE
I don’t give a’ shit.

ETHEL
Oh George.

GEORGE
Believe you me, they killed
somebody alright.

ETHEL
Are you sure?

GEORGE
Sure as my own two eyes. Yup,
there’s this fat fella laying dead
with half his face blown off over
there.

ETHEL
Oh George, stop it.

GEORGE
I mean-

THEY HEAR THE SOUND OF A WINDOW SMASHING DOWNSTAIRS.

ETHEL
Oh my, what was that?

GEORGE
That’s them, they’ve come to
finish us off. Quickly Ethel,
call 9-1-1.

George makes his way over to the closet.

ETHEL
I keep the phone downstairs.

GEORGE
Since when?
 73.

ETHEL
I don’t like to have my sleep be
interrupted by the sound of a
ringing telephone. It hurts my
ears.

GEORGE
Oh, for pete’s sake, Ethel. You
have to tell me these things
before you do them, not after.

ETHEL
I did, but you didn’t listen.

GEORGE
Oh, come now.

More fumbling could be heard downstairs - broken lamps,

moving furniture.

ETHEL
Oh, dear!

George removes a SHOTGUN from the closet.

He opens its chamber, though empty.

GEORGE
Damnit woman, where are my
bullets!?

ETHEL
I... I don’t remember. George, I’m
afraid.

George grabs her by the hand and leads her out of the
room - as quickly as he can, though appearing slow.

CUT TO:

82 INT. PERKINS LIVING ROOM/STAIRWAY - CONTINUOUS 82

Mercy and Tobias are near the couch. They switch on a

nearby LAMP and take a peak around. They whisper.

MERCY
I’ll go in first.

TOBIAS
(normal voice)
What?
 74.

MERCY
Shh!

TOBIAS
(whispers)
What did you say?

They continue to whisper from this point.

MERCY
Follow me.

TOBIAS
Okay.

They work their way through the living room toward the
stairway. Mercy pokes her head up first. Soon followed
with Tobias.

TOBIAS
What should I do?

MERCY
Just stay behind me.

TOBIAS
Okay.

MERCY
Let’s go.

Mercy leads them upstairs, slowly and cautiously.

CUT TO:

83 INT. HALLWAY/PERKINS BEDROOM - CONTINUOUS 83

Mercy and Tobias are now hunched outside the Perkins

bedroom door. It is closed.

A streak of visible light is seen underneath the door.

They look to one another one more time.

MERCY
Are you ready?

TOBIAS
Yeah.

MERCY
Okay, on three. Ready, one - two -
 75.

Mercy quickly swings the door open - crouched.

Tobias remains planted behind the wall out in the hall,

covering his ears in anticipation of the shot.

Mercy pans the gun around the room. It is empty.

Tobias pokes his head in to take a look.

TOBIAS
Where are they?

MERCY
They must be in another room.

TOBIAS
What do we do?

Mercy looks around the bedroom. She spots an UMBRELLA

near the closet. She makes her way to it.

MERCY
Stay there.

Tobias remains at the door.

Mercy slowly creeps to the closet and examines its

exterior, carefully.

She pulls the closet door open and aims the gun. Again,
no one is there.

TOBIAS
Well?

Mercy tosses Tobias the UMBRELLA.

MERCY
Here.

TOBIAS
(catching it)
What’s this for?

Mercy makes her way back to him - continued whispers.

MERCY
We’ll have to do a complete search
of the house. We’ll go room to
room. First, we’ll check the
upstairs rooms then work our way
down.
 76.

TOBIAS
Okay, but why the umbrella?

MERCY
They’re old. You see one of them,
then you beat them with it. Long
enough for me to come and finish
them off with the gun, anyway.

TOBIAS
Do you have enough bullets?

MERCY
I don’t know.

TOBIAS
Shouldn’t we be sure first?

Mercy opens the gun - checks the rounds.

MERCY
I’ve got five left.

TOBIAS
That’ll work.

MERCY
Okay, let’s take the hall.

TOBIAS
Wait.

MERCY
What?

TOBIAS
Why haven’t they called the cops
yet?

MERCY
They’re old.

TOBIAS
So?

MERCY
I don’t know, maybe they forgot
how the phone works.

TOBIAS
Makes sense.

MERCY
Okay, let’s finish this.
 77.

They make their move.

CUT TO:

84 INT. PERKINS HALLWAY - CONTINUOUS 84

They sneak their way down the hallway. There are two
doors. One on the left, the other on the right.

MERCY
I’ll take the left, you the right.

TOBIAS
Okay.

Mercy positions herself at the knob - holding the gun.

Tobias makes his way to the other door - holding the

umbrella.

Mercy takes a look at him, laughing under her breathe.

TOBIAS (CONT’D)
What?

She looks at him with a smile, then up at the umbrella.

He catches on, and shimmies in, giggling at himself.

CUT TO:

85 INT. PERKINS GUEST BEDROOM - CONTINUOUS 85

Mercy slowly squeaks the door open. She takes a slow

step inside, still crouched. Looks around.

She works her way over to the light switch in the room
and flicks it on.

She sees the room for what it is. A nursery of sorts for
an infant child. A crib, baby toys, the works.

Mercy walks over to the night stand table and takes a

look at it’s wears. She sees PHOTO picture frames of Mr.
& Mrs. Perkins with their GRANDCHILD. Smiling, loving
faces.

This warms Mercy’s heart. Soon fading, back to the

matter at hand, she lays the picture frames face-down.

CUT TO:
 78.

86 INT. PERKINS BATHROOM - THAT MOMENT 86

Tobias is inside the rest room looking around. He sees

the shower curtains, closed.

Tobias slowly makes his way to it. BEAT. He quickly

pulls the curtains open. Nothing. He sighs, relived.

Tobias sees a closet door and walks over to it. He keeps

outside of it a moment. Then opens it. Nothing but
towels.

About to close the closest door, something catches his

eye... a statue, tucked away behind some of the towels.

He reaches in to the covert to take a closer look at the

item in question.

And removes an OSCAR. He reads the label and text:

“Best Supporting Actor - George Perkins - 1972.

Tobias recollects on his career, statue in hand. Soon,

he puts it back, respectfully.

CUT TO:

87 INT. PERKINS HALLWAY - NIGHT 87

Mercy and Tobias randevou in the hallway.

MERCY
Find anything?

Tobias hides his findings of the statue.

TOBIAS
No. You?

Mercy shields her feelings of the baby room.

MERCY
Not a thing.

The two could tell the other isn’t being exactly honest.

TOBIAS
Come on, let’s check downstairs.

MERCY
Okay.

TOBIAS
Wait.
 79.

MERCY
What?

TOBIAS
...I wasn’t being honest with
you... I found an Oscar.

MERCY
Really. For who?

TOBIAS
That old man look familiar to you?

MERCY
No. You?

TOBIAS
No, but he won an Oscar in 1972.

MERCY
Under what category?

TOBIAS
Supporting actor.

MERCY
Wow.

TOBIAS
Yeah.

MERCY
Under different circumstances the
two of you might’ve gotten along.

TOBIAS
Maybe.

BEAT.

MERCY
I haven’t been completely honest
with you, either.

TOBIAS
Oh?

MERCY
...I found a nursery. For a
baby... a cute, lovely little
baby.

Both look to one another as if to say:

 80.

TOBIAS
Someday.

MERCY
(smiling wide)
Someday.

BEAT.

TOBIAS
Come on, let’s kill these people.

MERCY
Right.

And they continue their move downstairs.

CUT TO:

88 INT. STAIRWAY/FRONT DOOR AREA - NIGHT 88

Mercy and Tobias cautiously make their way down the

stairs. Immediately, they both notice the front door,
wide open. Neither whisper now.

TOBIAS
Shit.

Mercy grunts.

Tobias makes his way down the steps toward the front door
and takes a look outside.

TOBIAS (CONT’D)
Great, they snuck out. Right under
our noses.

Mercy switches on the lights at the bottom of the

stairwell.

Tobias swings the door shut

AS A SHOTGUN ROUND TEARS OPEN HIS CHEST.

He falls flat on his back. Blood everywhere. Umbrella

popping open. Mercy and Ethel scream.

Mercy irrationally rushes to her husband. Putting her

gun down next to her.

As he lay there - blood foaming the mouth, unable to

speak.
 81.

Mercy cries and shouts at him not to die.

George emerges behind them and clears the shotgun for

another round - ready to fire if need be. Ethel follows
closely behind him. Tears in her eyes.

MERCY
(holding his head)
No, no, no, no... baby, please...
please baby, please, don’t leave
me alone...

George takes a look at the mess in front of him.

He sees the gun near Mercy.

GEORGE
I’m sorry, miss. I didn’t want
thing’s to happen this way.

Mercy caresses Tobias.

Tobias’s eyes are wide - petrified. Trembling. He

attempts to speak but only gurgles.

MERCY
Shh, baby, shh... shh... shh...

He chokes on his own blood - struggling for oxygen in

Mercy’s arms. All the while she pleads and cries for
this to stop. And just like that, he passes.

Ethel takes a seat on the floor, holding her tears. Heart

broken at the ugliness of it all.

George remains vigilant - shotgun ready.

GEORGE
I’ll need you to stand up with
your hands over your head, miss.
Slowly.

Shocked, lost for words, cares, worries for her own

safety, Mercy slowly stands up and looks George dead in
the eye.

George senses her next plan of action.

GEORGE (CONT’D)
Now miss, please. You don’t have
to do this.

Mercy takes a look at Ethel on the floor - grateful that

she shares her pain.
 82.

MERCY
How long have you been married?

Eye’s locked between the two. She gently answers:

ETHEL
Sixty-six years.

MERCY
Two for me.

The women share a moment of understanding.

Mercy looks down at the gun at her feet.

George watches her eyes.

Mercy slowly shifts her attention to George.

And the shotgun.

GEORGE
(nodding his head, no)
Please... don’t...

Mercy holds a stiff, blank expression.

She quickly reaches for the gun on the floor.

Before her hand could touch the brass, George blows the
top portion of her head square off.

He drops the shotgun as Ethel screams and shields herself

in George's arms.

HOLD - George and Ethel hold on to one another.

HOLD - Tobias and Mercy lay dead on the floor.

CUT TO:

89 EXT. PERKINS/ATKINS RESIDENCES - HILLS - MORNING 89

The following morning.

Squad CARS, AMBULANCES, Detective CRUISERS and yellow

TAPE consume the driveway of the property.

George and Ethel are side-by-side speaking with one of

the DETECTIVES as PEDESTRIANS and PERSONNEL move about
the space doing what they usually do in these sort of
situations.
 83.

WE MOVE AWAY from the driveway and chaotic mess of it all

- down the hill - toward the bottom of the road - as the
familiar, friendly, southern VOICE carries us away...

VOICE OVER
Well - I guess you could chalk
this up as one of them good old
fashioned fiascoes. Yup, Tobias
and Mercy Atkins surrendered their
lives on account of pure
stupidness. So I guess the moral
of the story is don’t kill your
fellow man. But if you do, do so
with some sort of intelligence.
And don’t fell too bad about that
boy who got hit by that there car -
as it turned out, he was adopted.
And being a royal pain to those
who raised him - it turned out to
be a’ blessing in disguise as nine
months later the couple gave birth
to their first child. Name of
Peggy. As for the old man and his
old lady, all this taught them was
to keep a’ loaded gun by the bed
and a phone line nearby in case of
would be emergencies. Well now,
that’s it. I hope y’all enjoyed
your stay. Oh, and one last
thing. Don’t you ever
underestimate your elders.
They might just end up surprising
you some day. ‘Till next time,
this is P.C. McCraw signin’ off.
Hasta luego, friends.

THE END.