Lesson 18

[Chris Spizuoco]

Key Scene 2: Make a new plan. I’m learning to understand my main character more; his cadence, language, behavior, etc. while plowing along…

INT. UMAINE BOOKSTORE – DAY
Frank picks through books in the “Forestry” section and methodically places them in his woven wooden basket. The basket garners a few stares.
CHECK OUT LINE
He proceeds to pay and faces CUTE GAL (25) and piles up the books.
FRANK
Can I assume you are the check out person?
RAE
(points to name tag)
Yes captain obvious. My name happens to be Rae. How will you be paying?
FRANK
I maintain the Government provides for the education of all or would they rather we grow up ignorant?
RAE
Good one Thoreau. I don’t make the rules. Cash or check?
He reluctantly hands over cash.
FRANK
That’s all I have.
RAE
My X was also a Professional Forester.
FRANK
Was he not a man of honor?
RAE
He is a man of death. Was surveying a forestry woodlot and killed by a widow maker.
FRANK
A window maker?
She has to spell it out.
RAE
W.I.D.O.W. Widowmaker. It’s what they call a tree limb that falls and kills you. Totally random.
FRANK
To affect the quality of the day is the highest art. One must live in the present, launch yourself under each tree limb, and find eternity in each moment.
RAE
That’s beautiful. Is that Thoreau?
FRANK
Of sorts. He actually said “launch on every wave”; I substituted “tree limb” as being more poetically appropriate.
She’s surprised – in a good way. Genuinely impressed.
FRANK
I normally don’t do this…uh…could I ask your hand in lunch? Uh, meaning, could we meet for lunch? I’m very curious about his forestry exploits.
RAE
I normally don’t say yes, but you are authentically weird…I like that.
They exchange numbers and shake; he kisses the top of her hand; picks up his books to leave.
RAE
Wait! How are you going to pay for lunch? With poetry?

• This reply was modified 2 years, 5 months ago by  Chris Spizuoco.

[michelle patnett]

Ext. BUS STOP – EVENING

Monique is one of several bystanders accidentally caught in a knife fight. She is knocked unconscious and taken to the hospital.

INT. HOSPITAL ROOM – DAYTIME

Nurse notes vital signs as Monique stares out the window.

NURSE

Doctor says you can go home today.

Monique turns her head and wipes her face.

NURSE

Mmm. Family at home must be worried about you.

MONIQUE

No family. No home.

Nurse stares at her, then walks out.

INT. HOSPITAL ROOM – EVENING

As Monique is getting ready to leave, the Nurse reappears and hands her a booklet.

NURSE

This place might be able to help you. Give them a call. Today.

Monique stares at the booklet.

INT. OFFICE BUILDING – EVENING

Monique hesitantly steps into the lawyer’s office and sits quietly while he finishes his phone call.

MARK

Well, we’re making progress. This thing’s a lot bigger than we thought.

MONIQUE

We…

MARK

Yes. Well. You have to admit it did sound far-fetched when you first approached me. But that’s alright. Might take some time to untangle all the knots, but we’ll get him in the end. And his little girlfriend, too.

MARK laughs, but Monique stares at the floor.

MARK

What’s wrong?

MONIQUE

How long. Until we wrap this up.

MARK

Yeah. I don’t know. We’re still uncovering major shit. It’s gonna take a while.

MONIQUE

I don’t have much time.

MARK

I know, I know. It’s hard being locked out of your house and not having any money

MONIQUE

And not having an identity. A friend to call. A soft place to land. Yeah. You have no idea.

MARK

Listen. I’m sorry. I can’t imagine what you’re going through.

Monique laughs hysterically and starts to cry.

MARK

But for what it’s worth I think you’ve handled it really well.

MONIQUE

Oh, I know I have. Not many people in my position…

Monique abruptly stands and walks out the office. At the crowded bus stop, she leans against a wall and silently cries.

EXT. PUBLIC PARK – EVENING

Monique stands behind a tree and watches a little boy play catch with his dad. Her sister Sylvia approaches the pair, and Monique steps away before she is seen.

INT. HOME – DAYTIME

Monique silently places a plate of food in front of Mr. Martin. As she moves away, he grabs her butt. She doesn’t respond or react.

INT. HOME – NIGHTTIME

KIRA

Monique, it’s a little late to be calling.

MONIQUE

Yes, I know. Just wanted to check in with you, and see how things are going.

KIRA

Fine. Things are well.

Beat

KIRA (cont’d)

And you? Did you figure out that little trouble you were having?

MONIQUE

Yeah, yeah. It’s being finalized as we speak.

KIRA

Well good. Was there anything else?

MONIQUE

I just.. wanted to apologize to you and Steven for my behavior. Over the past few years. I know I wasn’t always the best person, but I want you to know that I am truly sorry for the way I acted.

KIRA

Monique, these little weekly telephone calls are getting to be a bit much. Why don’t we cut it down to – say – once a month? That way we can

MONIQUE

No. No I need to hear your voice. I don’t think you realize how much…. It’s like you’re the one consistency…

KIRA

Monique, it’s lovely that you feel that way, but in all honesty it’s a bit one-sided.

MONIQUE

Oh. I see. I guess I should have expected that.

Monique quietly hangs up the phone and sits silently.

[Benita Cullingford]

Benita lesson 18 more key scenes.

ACT 111 SCENE 9

EXT. MARTY’S LOCK UP – DAY

Constable short, a canvass bag slung over his shoulder

glances up at –

The faded word, HOLMES stencilled at top of one of the double

doors.

Short places his hefty pair of BOLT CUTTERS on the ground and

takes a KEY and pair of GLOVES from his pocket. He puts

gloves on and inserts key in the padlock.

He glances around, picks up bolt cutters and opens the

door wide enough to enter, and slips inside, pulling to

door to behind him.

INT. MARTY’S LOCK UP – DAY (CONTINUOUS)

Dim, but enough light from frosted glass at top of doors

to see. Facing Constable short – back of a WHITE VAN. The

words HOLMES & SON LOCKSMITHS and a telephone number

printed on the van doors and sides.

Strong pts his bolt cutters in his canvas bag and walks

around the van trying the doors. All locked. He turns to

the CLASSIC CAR beside it. Then glances at the back wall –

Open metal shelving with variety of things to do with

cars, and huge range of tools. Short rummages along the

shelves. Nothing interesting. Then he spots –

a Jumbo-sized metal trunk on the floor. Short opens the trunk

using his bolt cutters.

Disappointing. A glorified cupboard; electric kettle, old

mugs stained with caffeine, cleaning gel, a biscuit tin,

empty.

Short stands up. He puts his hand to his forehead, and thumps

it several times, thinking. Ah!

SHORT

(muttering)

Underneath my favourite thing.

Short turns to the classic car. He takes out his TORCH

and shines it up and down. Then crouches alongside the

car –

Underneath, an old TARPAULIN spread out. On it battered

blue metal TOOLBOX.

Short opens the toolbox. Nothing but nuts and bolts and

tools. He shuts it and shines his torch further under the

car.

Torch light picks up a TROLLEY on wheels.

Short pulls out the trolley, lies on it and propels

himself underneath the car.

The torch-light flicks as he searches.

He emerges again and gets off trolley. As he stands

something triggers. He squats again and feels under the

tarpaulin. He drags the tarpaulin out from under the car.

It exposes –

A long row of floorboards. Short bangs on one of the

boards. A hollow SOUND. He prizes a floor up (with

difficulty, failing to see a finger-hole in the board for

removal). He removes several more.

A length of wood ladder leads down to an inspection pit.

Short shines his torch down into the pit.

A large amount of litter on the floor; crisp packets, old

wheels without rims. Various bits from cars etc.

Short places one foot on the ladder. PAUSES. LOOK UP.

BRIGHT DAY-LIGHT streams through the fully open doors. A

figure is silhouetted in the doorway. Someone shouts:

TRACY

What the bloody hell are you doing

here?

CUT

ACT 111 scene12

INT. MARTY’S LOCK-UP -DAY (CONTINUOUS FROM SCENE 9)

Tracy stands in the lock-up doorway staring at Constable

Short.

A moment of indecision between them.

Tracy glances at the broken lock on the ground, then

towards an IRON SPIKE lying alongside the second open

door. She quickly stoops and grabs the spike and holds it

out in front of her.

Constable Short stepped back off the ladder.

CONSTABLE SHORT

I mean to find his ill-gotten

gains one way or another, and it

will take more than that to stop

me.

He points a finger indicating the spike. Then an idea

strikes him.

CONSTABLE SHORT

We could search together, and

share what we find. Come on –

think what that could mean.

Tracy lowers the spike.

TRACY

You don’t know that there’s

anything to find, here or anywhere

else. I don’t think there is and

I’ve never heard a safe mentioned.

CONSTABLRE SHORT

There must be one, and if you

don’t help I’ll have to –

He breaks off as –

Jim appears behind Tracy.

JIM

What’s going on here?

TRACY

It’s our rogue policeman, you

know, he’s convinced Marty had a

stack of goodies hidden somewhere

in here. He broke in.

JIM

Come on, that’s enough. I’ll phone

the police – you’ve got to put a

stop to this.

Jim gets out his mobile phone out of his jeans. Tracy

puts a hand on his arm.

TRACY

Hang on… I don’t think we want

the police involved again.

It’s…It’s… I don’t know what

to think.

CONSTABLRE SHORT

I suggested a deal. We look

together and share the spoils we

find, you too, I guess. What d’

think? It’s possible there’s a

considerable amount here

somewhere.

Jim puts his phone away and moves into the lock up.

Constable Short walks forward, his voice and manner

threatening.

CONSTABLRE SHORT

Otherwise. I’m sure I can think up

some charge that will get you out

of the way.

Jim steps in front of Tracy, shielding her and shouts

loud and sudden.

JIM

Not another step! Back off!

Short steps back and retreats between the two cars. Jim

follows, keeping a short distance between them. Tracy

moves forward as well.

Short glances over his shoulder and takes another step

back. His eyes on Jim he puts his left foot down –

CONTINUED: (4)

(CONTINUED)

26.

And steps onto the centre of the wheeled trolley. The

trolley moves with sudden speed and shoots off at an

angle.

Stone flies over. His feet leave the ground. He yells in

shock as he falls six feet into the inspection pit.

The sound of his landing THUD is followed by a DOUBLE

THUD like an axe splitting a log.

An audible Gasp from Tracy and Jim. Then silence as –

Tracy and Jim step forward and peer over the edge of the

pit.

Short lies on his back, unmoving. His head has hit a tyreless

car wheel, and blood oozes.

JIM

Do you think he’s dead?

TRACY

I don’t know, but we’ll have to

check. He’s a right bastard but we

have to do something.

Tracy goes to the corner of the pit to descend the

ladder. Jim slips past her.

JIM

No, no… not you. |I’ll go.

Jim climbed down the ladder.

PIT BOTTOM

Jim crouched down beside Short’s body. He felt short’s

wrist, then put his fingers across his neck.

JIM

(calling up)

No pulse that I can feel, but I’ve

never done this before. Do you

have a mirror?

Tracy checked her bag and found a mirror. She crouched

down and leaned over the edge of the pit.

Jim reached up and took the mirror. He held it under

Stone’s nose.

Tracy waited Jim finally climbed out of the pit and

handed back the mirror.

JIM

Now we have to report it – I’m

sure as I can be he’s dead.

Tracy looked about to cry. Jim put his arms around her,

and they stood awhile in a silent embrace. Jim broke apart.

JIM

Right, this is what we’ll do.

We’ll allow ourselves one little

white lie to make it easier, to

help keep you out of it. We were

meeting here, that’s true. I got

here first, saw the broken lock

and came in to check things. Okay?

Trace nods, numbly.

JIM

I saw constable Short. We had

words about what he was doing. He

turned and retreated, then – all

the rest etc. Then you arrived.

TRACY

Okay, I guess that does no harm,

and it’s very close to the truth

and makes further enquiries about

Marty less likely. I have to think

about Mary as well.

Jim nodded and got out his mobile phone.

JIM

(into phone)

Ambulance please, there’s been an

accident… Someone might be dead.

And the police, too.

CUT.

[Douglas Booth]

Doug Booth – whew! Things get really bumpy from here on in! Lots of notes included with scripted scenes – I’m not totally sure how everything breaks down into the “key scene categories” – but I’m going to put it all up here – and then sort it out and clarify things as I go forward. For me, the important thing has been to – keep going! And, in fact, I’ve gotten to “FADE OUT” (to post with the next lesson or so), with most of the action and character arcs provided for – even if some of them are very rough – and, well, one significant character sort of disappeared midway in Act 3 – so there will still be a lot to do!

DAY 18

First some notes. Everything goes well, until… then it heads into the lowest low.

So, in the Crypt, Nick meets Alice and Caspar (or so he believes, which is the same thing).

He is doing the right thing.

Then meets Shania out front. She asks him what happened? Did they set him up, he may wonder.

Oh shit – her response – we told him about the HDFC clients and that the deal is back on (for the 5 buyers)

SO – after last page, more upbeat!

As a call comes through – to Nick or Shania. We’ll see – it’s from Mark Matthews at HPD.

YAY!

MARK
Hey! We’ve reviewed the buyers’

information. All of them. We realize there are problems with the board – but – if these sales close, there is no need for 3rd Party Transfer – so for now – the foreclosure sale will be postponed – possibly forever. Keep us posted and… good luck!

NICK
On the other hand, if those guys

were trying to take me out, even when the sales WEREN’T going through, what’s going to happen when they find out they ARE?

NICK (CONT’D)
Also – Even worse – what is going

to happen when Pastor Summers drops a dime on HIS deal and tells the AG he was coerced and bribed into selling out his congregation to sell the church?

What?

SHANIA

NICK
Well – it hasn’t happened yet – but

– I have it on good authority that…. It might!

(something the spirits told him)

Shania gives him a look.

NICK (CONT’D) (shrugging)

Might have been a dream… but it didn’t feel like one. And… if Pastor Summers is into talking to, er, spirits – he will certainly be getting an earful!

EXT. CENTRAL PARK

Pastor Summers walking through a deserted and
of the park. There’s some kind of visual cue
some way relates back to Alice (he would have known her well – too old to be a former sweetheart?) He is thinking. – then REACTS as he sees one of his Deacons, walking on an intersecting path. The Deacon waves and joins him. (Distinguished, gray-tinged beard, upstanding looking guy).

DEACON
(Chit chat about “oh what a

coincidence” <it isn’t> – and then Summers gets down to it)

SUMMERS
What do you think? If we bailed

out of this deal – what would happen to the church? Would we be able to survive?

DEACON
Our building is a wreck. We don’t

have the funds to save it and renovate. In my opinion, this deal seems like a heavensent gift – to do for our congregation what we can’t do for ourselves. (sell the church in return for a guaranteed “space” in the newly constructed building, plus some perks)

CUT TO:

beautiful area he sees that in

2.

SUMMERS
Plus assisting our (referring to

Deacon and himself retirement funds to grow materially…

DEACON
Which we fully deserve, as a small

reward for a lifetime of dedication to doing the Lord’s work. (quotes some Biblical verse – about how the Lord provides for his servants)

SUMMERS
And what if these developers go the

same route as the crooks who bought (the name of one of the other – real – churches) and knock down our own building and then, years later, the “new building” and our new church, are still holes in the ground?

The Deacon looks pious.

DEACON
(another biblical quote about how

you don’t need to be within the walls of a church to be with the Holy Spirit). <what an asshole, right?>

Summers looks at him.

SUMMERS
Deacon, are you truly starting to

believe your own bullshit?

DEACON
Wait a minute, Pastor. Are you

starting to get cold feet? Summers shrugs.

SUMMERS
I think I should probably ask the

AG’s office what they think the chances are of Senor Ballena’s group fulfilling their promises and obligations. I, for one, would rather have a cold and drafty church than muddy hole in the ground – that we don’t even own1

3.

DEACON
And I think that phone call would

be an enormous mistake.

Summers cocks his head… as if talking to heavenly spirits. Aka Bernard!

SUMMERS
What do you think, Jesus?

Mistake… or Good Idea?

He holds out his hands like balance scales – and when he gets to “Good Idea” – that hand goes down, as if the weight of evidence is stronger for that argument.

Pastor Summers looks to Deacon.

SUMMERS (CONT’D) Well – there you have it! The

scales of justice and our Heavenly Father have spoken… at least, they’ve spoken to me.

DEACON
Summers, you’re out of your mind!

SUMMERS
On the contrary, fallible as I am,

I am doing my best to minister to my flock.

(beat)
You know – it’s kind of a nice feeling! You should try it sometime!

He walks away from Deacon, heading deeper into the park. Possibly fishing in his pocket for a business card (we’ll it later?) – looks at it, then puts it back into his wallet as…

DEACON

watches him go – and then makes a phone call to… someone. He talks and talks. And talks. Finishing, he puts his phone back in his pocket, pulls his hoodie up over his head, puts on his super-cool shades, and heads off in the same direction as Summers.

ANGLE – UWS SUBWAY STOP AT CENTRAL PARK WEST

Summers is looking as happy as we have ever seen him – talking to people as he goes down into the subway station at the very edge of Central Park.

4.

5. A minute later, Deacon follows him down, moving rapidly.

INT. SUBWAY

Pretty deserted. Summers is waiting inside, looking up the tracks – and sees his oncoming train round the bend, thundering into the station.

DEACON (O.S.) (softly)

I’m very sorry, Pastor, but…

And, suddenly, Summers is propelled off the platform – by a hooded figure standing right behind him – right in front of the onrushing train. There’s a SCREECH OF BRAKES as the engineer does his best, but then – a horrific THUD…

And, as we hear a SHRIEK OF HORROR from one of the few others in the station…

The lone hooded figure rushes out through the exit turnstile, up the stairway, and is gone. Everyone is transfixed by the horrific sight down on the tracks to notice anything else.

INT. ATTORNEY GENERAL’S OFFICE A Secretary says:

SECRETARY
We had a message from a Pastor

Summers about the proposed sale of the Church of the Holy Covenant in Harlem.

And…?

ATTORNEY GENERAL

SECRETARY
Just to call him back when you get

the chance.

ATTORNEY GENERAL Okay – first thing after lunch.

As all bustle out of the office for their lunch break. CUT TO:

CUT TO:

BACK IN CENTRAL PARK

Deacon is walking rapidly back through the park – once again, talking on his cell.

DEACON Handled.

He hands up, still walking rapidly towards the East Side. CUT TO:

THE MAIN BOARD PERSON She gets a call.

BOARD PREZ Hello, Scott.

(beat)
Oh – so they’re trying it again But since we already rejected them… oh. They all changed the family member who is the primary buyer? So – if we just reject them all again – gentrifiers, investors, or whatever the hell they are – but never give a reason for our action, which is our right – there will be no way anyone can ever haul us up on any kind of fair housing charges – right? That’s right!

(beat)
Okay. Just a small speed bump, but no big deal. And… next year, we can laugh about all this… poolside in Kissimmee!

(Note – not sure where Carl is in all of this – and – he is probably in bad financial shape, so he “has to sell”..

And need to write the earlier scenes of Nick in the Crypt and how all tht goes – and then getting it together with Shania and then into what I have.

THEN – “Lowest low”.
After all this – with Shania – Nick on the phone with Carl…

NICK
Yeah, I understood. No – you’ve

gotta do what’s best for your family.

6.

So he’s signing the contract of sale for an immediate closing – looks like they want to get it done before anything else happens. And, of course, they don’t care what kind of shape the building is in – since their overall goal is to tear ‘em all down and build a new 29 story steel and glass skyscraper.

Shania must know the overall plan plan – so – when will she tell Nick what is really going on? And.. when will she tell her mom the latest developments? That there are some MAJOR CHANGES in what the are doing and WHY. She does love Nick, by now, goes into her mom’s stuff with “Lord Brian” (her father), etc… let’s see.

SO – back to scene… Nick hangs up with Carl, who is going through with the sale of his place.

To Shania

NICK (CONT’D) (listens)

Holy shit…

NICK (CONT’D)
Pastor Summers just got hit by the

C Train. Sent him straight to Heaven – I hope.

When?

SHANIA

NICK
Day after tomorrow. Final

walkthrough – tomorrow afternoon. His phone rings again. He answers.

Before anyone can say anything else, Nick’s cell RINGS again. Better answer it, right?

ERNESTO (V.O.) (heard over Nick’s cell

phone) Nick.

NICK Who’s this?

ERNESTO (V.O.)
You need to ask? It’s the person

who inadvertantl financed your entry into the world of real estate, thanks to your criminal actions.

7.

Nick REACTS – then figures it out. Oh!!!

ERNESTO (V.O.)
But now I must tell you – you need

to fulfill your job as an agent and do everything you can to close my Holstein Way deals – or you may be having a reunion with the late Pastor Summers sooner than you might like!

On Nick.
He reacts – but, since he’s a bad ass, it’s with attitude.

NICK Oooh! Spicy!

ERNESTO
What… I hope you understand…

NICK
Later, dude. By the way, only

idiots keep their wallets in their back pockets. Bye.

He hands up. (Holy shit – what has he just done?) NEW STUFF

CARL desperately wants Nick to be there for his final walkthrough. AND…

SHANIA
You know, my mom is definitely

gonna want to weigh in on all of this.

NOW – GOING BACK TO THE BEGINNING OF THIS SEQUENCE!!!

INT. CRYPT
Inside, as per page 17 (?)

Nick is trying to find a way to keep the entry door secure – but there’s nothing to get a grip on. And now, as he hears VOICES of #1 and #2 approaching…

He is really, really worried that he can’t keep them out. Looks like he’s doomed.

VOICE (V.O.) (low rumbling laugh)

8.

Nick reacts – what?!!!

VOICE (V.O.)
My daughter and I will not allow

the door to open.

And now, as the voices outside the crypt grow louder – there’s an attempt to open the door from the outside. It budges just a crack – but will go no farther!

#1 (V.O.)
Forget it. This door hasn’t been

opened for a hundred years! The stupid shit must be somewhere else.

#2 (V.O.) For example

#1
Don’t tempt me. We’ve gotta keep

on lookin’, or you-know-who is gonna make our every breath miserable.

EXT. CRYPT
The two guys stumble off, looking elsewhere in the cemetery.

INT. CRYPT
Nick has no idea as to what is going on!

ALICE’S VOICE (V.O.) Please tell my grandson that when

the treasure is found, he’ll be able to keep our home forever!

NICK Treasure?

CASPAR’S VOICE (V.O.) (laughter)

Do we have to do EVERYTHING for you?

ALICE’S VOICE (VO) Oh, Daddy! You’re confusing the

poor man!

CASPAR’S VOICE (V.O.) Oh, please! Don’t they teach young

people anything these days?

9.

The room FILLS UP WITH LIGHT.

VOICE
Pay attention, young man. We’ll ony

show you this once!

WE START TO SEE – FAST-ACTION MONTAGE – SOMEWHAT OTHERWORLDLY – SCENES OF OLD-TIME HARLEM – AND ALL THE OTHER STUFF THAT NEEDS TO BE SHOWN, TO MAKE THE BACKSTORY PROPERLY PRESENTED (IF NOT TOTALLY UNDERSTOOD – GONNA HAVE TO WORK ON THIS!!!)

OUTSIDE –
A THUNDERSTORM breaks loose!

INT. CRYPT

Nick is curled up on the foor, fast asleep.

NEXT DAY

Nick sets out, very creaky. Exiting the crypt, he then pushes it back into closed position, as best he can.

NICK Bye, guys.

He clasps his hands in front of his chest (and heart) – paying tribute to one and all.

OH — WE’RE BACK HERE, NOW!

WIDE – CEMETERY

Nick sets out, very creaky – then REACTS…

HIS POV

As he sees Shania general area.

How did

I got a to meet

studying one of the headstones in his

NICK (CONT’D) you know

SHANIA
text from a mystery number you here.

NICK Caspar?

Who?

SHANIA

10.

NICK
Nothing. But (he laughs) he was

known as the Numbers King of Harlem!

SHANIA
So, what were you doing, spending

the night in… (reading)

The Boylston Family crypt?

NICK
Well, since it seemed like someone

wanted me dead, so… I thought where better to hide out than – among the company of my peers (so to speak).

(beat)
You and your mom wouldn’t know anything about this, would you?

Shania is genuinely upset by all this.

SHANIA
What happened after you left?

NICK
Well, I got jumped by two guys in

an SUV – but my homeless buddy from the airport saved the day – and, well…

(he’s not sure if he’s ready to tell her the rest, just yet)

SHANIA
Do you think… Scott?

NICK
Wait, what? Scott, as in President

of Gilt Edge Realty? (what is he really thinking?)

SHANIA
We called and told him he’d better

revise the overall plan for Holstein Way – since we’re going to do our best to overturn the 3rd Party Transfer for Holstein Court HDFC.

NICK
And you think he…

11.

SHANIA
Let’s put it this way. It was

definitely not my mom – or me. Though if either one of us were there with you, you wouldn’t have had to rely on your homeless pal (and his cat) to save you!

She goes into a subtle kung fu pose (presage of things to come).

NICK Your mom, too?

SHANIA
We used to train together – from

when I was eight till when I was eighteen.

Nick smiles at the thought.

NICK
Bruce Lee wouldn’t have had a

chance.

SHANIA
I dunno. My mom had kind of a

crush on him… but, not to get sidetracked – we never said shit to anyone.

(beat) Except Scott.

NICK
My boss. Well, I do seem to have

that effect on some people… Shania grins.

SHANIA
So you’d better watch it! But, in

the meantime… bring it here, big guy!

She gestures him, and, grinning, Nick moves forward and sweeps her off her feet in a big, feet-off-the-ground hug!

Whoo-ee!

SHANIA (CONT’D)

And then… as they’re still swirling around, amid all the tombstones and family crypts (does the wind sweep up and leaves are scattered everywhere – and maybe even a couple of the cemetary cats – or mice – give them a look)…

12.

Someone’s cellphone goes off – a call is coming in.

13.