FADE IN:

1.EXT. THE BACKYARD OF A COUNTRY COTTAGE—DAY THROUGH THE LIGHT WE SEE THE FRAME OF BRANCHES A SMALL COTTAGE WITH A LARGE PICTURE WINDOW. WE CAN SEE TWO LITTLE GIRLS PERCHED IN THE LOWER CORNER OF THE WINDOW.

ANNA

I hate rain.

MERYL

I really really really hate rain.

ANNA

(whispering, after a long pause)

I hate rain …

2. INT. LIVING ROOM OF COTTAGE—DAY

The rain is creating a HYPNOTIC RHYTHM on the roof. Two little girls are sitting on a cushion-padded bench with their elbows on the window sill. The taller girl is about seven years old with long blond hair; her name is ANNA. The short girl is just a year younger with long flowing golden hair; her name is MERYL. Through the doorway into the small kitchen is NIVY. She is a handsome woman in her late sixties/early seventies. She is stylishly dressed, with intricate silver earrings. WE CAN HEAR THE CRACKLE OF THE FIRE IN THE FIREPLACE. The fireplace casts a warm glow over the living room, which is oak paneled with an Oriental rug tossed on its hardwood floor. Nivy is making hot chocolate.

MERYL

(carefully computing her words)

I hate school

…(pause)

I hate liver,

(giggling)

I hate bedtime …

Anna throws Meryl a hard look.

ANNA

I hate bees …I hate spelling …I hate liver.

MERYL

(interrupting)

I already said liver.

ANNA

(emphatic)

I can say it too.

MERYL

You always do that, Anna. Always!

Anna looks hurt as she watches Meryl. Meryl just stares out the window.

ANNA

(slightly mumbles)

All I said was liver.

Nivy pours the boiling water into the mugs.

ANNA

Meryl …oh Meryl …

Meryl doesn’t look over.

ANNA

(excited)

I hate that girl Yuki with the funny eyes …Meryl look …who am I?

Meryl finally looks over. Anna has pulled her eyes into a very distorted look. She pulls them into slants. Meryl laughs.

MERYL

Yeah

Meryl is giggling out of control. Meryl makes her eyes like Anna’s. They are delighted at themselves. Nivy stares at the two girls. She would like to scold them, but thinks of a strategy more sophisticated than scolding.

She begins the business of preparing the tray of hot chocolate.

ANNA

(changing her eyes with her fingers)

No! They’re like this!

They both giggle. Nivy enters the living room with the tray of hot chocolate. She places the tray on the coffee table.

NIVY

(with a slight Czech accent)

Anna, Meryl. Hot chocolates are ready.

Anna saunters over. Meryl stays over by the windowsill.

NIVY

Meryl why don’t you join us. I want to tell a story.

MERYL

Is there a princess in the story?

NIVY

(carefully)

No … there isn’t a princess, but there is a girl named Meryl.

Meryl slowly walks over and sits down on the floor in front of Nivy and Anna. Nivy opens a tin and sprinkles some mini marshmallows into each cup. Both girls take the mug closest to them. Nivy takes a sip.

NIVY

(settling herself on the couch)

Once upon a time there were two young sisters

ANNA

(interrupting)

Like us?

NIVY

Yes, like you two.

NIVY

Their names were Meryl and Anna …

NIVY

They lived in olden times in a land far, far away where the hills kissed the clouds and it was always almost spring, there lived a King.

4. EXT. CASTLE BY THE WATER—DAY

NIVY (V.O.)

But he was a devious king, full of evil intentions.

5.EXT. WATERFALL

In the distance, women are seen washing clothes in the water.

NIVY (V.O.)

One day he banished them deep into the Great Woods to face their own fate.

6. EXT. PATH IN THE FOREST—DAY

NIVY (V.O.)

And do you know the days turned into years and those subjects learned to live with nature. They prospered and lived in peace.

7. EXT. DIRT ROAD ON THE EDGE OF THE FOREST—DAY A man pulls his GOAT down a muddied path. WE SEE THREE LARGE KNIGHTS DRESSED IN BLACK RIDE UP ON HORSEBACK. They stop when they reach the peasant. The knight closest to the old man points at the man’s hands, which are covered by gloves. The man, who is very humble, takes off the gloves revealing that he has black fingernails. He looks up at the dark knight with humility. A flash of terror registers on the man’s face. TIGHT ON THE DARK KNIGHT. WE SEE A CLOSE-UP OF A SWORD AS IT GOES UP. CLOSE-UP ON THE BULL AS WE HEAR THE SOUND OF THE SWORD CRASH DOWN.

8. EXT. FOREST—DAY

The sunbeams seep through the green leaves and fall upon the forest. WE CAN SEE A WOMAN IN A COLORFUL DRESS WALK THROUGH THE FOREST. She is Rachel (25 years old). Rachel is carrying two buckets of water attached to a yoke that goes across her shoulders. Though it appears to be spring, she is wearing gloves. SHE IS HUMMING VERY SOFTLY. WE HEAR IN THE DISTANCE A MAN SCREAMING, SOUNDS WE CANNOT MAKE OUT, AND CHILDREN SCREAMING. SHE QUICKLY MOVES THROUGH THE FOREST. She is frightened. She comes upon a small fairy-tale house with a thin stream of smoke rising from its chimney. Through the clearing mist WE SEE ANNA AND MERYL COME RUNNING OUT OF THE HOUSE. WE SEE THEY ARE THE SAME GIRLS EXCEPT THEY ARE DRESSED IN FAIRY-TALE CLOTHING. Both girls wear mittens. They are screaming and take refuge in their mother’s skirt. Rachel looks up and sees a man with a scary mask running out of the house. For a moment, the mask is threatening and ominous, then we realize it is play. This is ADAM (30 years old). He is hunched over pretending to be an animal. He studies Rachel carefully and pulls off his mask. The two girls peek out at them.

RACHEL

Adam …you frightened me.

ADAM

I didn’t mean to, Rachel.

Adam glares at her. Rachel gently hands off a basket to Anna.

RACHEL

(to Anna)

Anna …Meryl, please gather the eggs.

We follow Anna and Meryl as they walk beside the

house where the chicken nests are. Anna reaches in and pulls out several eggs; they are a deep shade of blue. Meryl reaches in and gets another blue egg.

WE HEAR THE SOUNDS GETTING LOUDER FROM RACHEL AND ADAM, THOUGH WE CAN’T MAKE OUT WHAT THEY’RE SAYING. Meryl and Anna peer back at them. The children are scared. We are not sure why. Adam walks over to the children. Adam smiles; he bends down to their eye level. He places his finger over his mouth with a motion to shhh them. With their attention he takes off his gloves. WE SEE HE HAS BLACK FINGERNAILS. HE REACHES BEHIND ANNA S EAR AND PULLS OUT A TOY. THE TWO GIRLS LAUGH. WE HEAR THE SUDDEN THUNDER OF HORSES. TIGHT ON THE EGGS FALLING ON THE GROUND. TIGHT ON ADAM REACHING FOR HIS GLOVES. Adam reaches for his ax. RACHEL LOOKS CONFUSED. Rachel and Adam look around at the empty forest. The children look at their parents. The sound disappears.

9. EXT. SOMEWHERE IN THE FOREST—DAY

Meryl is sitting with her doll across from her.

MERYL

(in a motherly tone)

You must wear your mittens and you mustn’t talk to anyone.

(in a baby voice)

But I don’t want to wear my mittens!

(in a motherly tone)

You must! You have black fingernails.

She puts the little mittens onto the doll’s hands. Anna jumps out, grabs the doll, and holds a stick like a sword at Meryl.

ANNA

What do we have here? She doesn’t want to wear her mittens? Well, don’t believe the King would like that!

(to Meryl)

You can’t be trusted!

(in baby voice)

Kill her at once …

Anna takes the doll and runs off with it. Meryl follows in fast pursuit. WE FOLLOW AS THEY DASH THROUGH THE WOODS. THE CAMERA FOLLOWS THEM AS THEY DART THROUGH THE LEAVES AND BRANCHES. Meryl almost catches up, only to fall. Anna gains some distance; once again, Meryl gains on her. Meryl stops to catch her breath and loses sight of Anna, then catches sight of her dress. Off she runs.

10. EXT. SOMEWHERE IN THE FOREST—DAY

Meryl is out of breath. Anna is still in the lead, staggering ahead. They approach a group of five children at play. They have not seen other children in a long time. They stand statuesque for a moment and then are lured in by the children’s game.

11. EXT. THE SHACK—DAY

Rachel is taking down the linens. The sound of children laughing is in the background. WE HEAR THE CLANGING IN THE WIND OF A BELL. Rachel looks up. TIGHT ON RACHEL. HER STARE GOES FROM CALM TO HORROR.

12. EXT. SOMEWHERE IN THE FOREST—DAY

They are playing King of the Mountain. The sun slightly begins to set. As Meryl is about to reach the top, WE FAINTLY HEAR THE SOUNDS OF HORSES. The children continue to play. The children stop playing. They look up at MERYL and stare in terror. THREE DARK KNIGHTS ARE ON HORSEBACK BEHIND MERYL. The children look down at ANNA’s hands and back away.

13. EXT. THE SHACK—DAY

Adam comes upon the house. He sees the ramshackle remains of the shack. The windows of the house have all been smashed. Rachel is nowhere to be seen. He shakes his head in denial. Adam frantically calls out Rachel’s name. WE HEAR EVER SO FAINTLY THE SOUNDS OF HORSES. He screams for Anna and Meryl.

14.EXT. CASTLE ON AN ISLAND—DUSK

NIVY (V.O.)

The Evil King did not destroy all his subjects; for some he had other plans.

The castle is dark and sinister. The sunset ripples off the water.

15. INT. DUNGEON

Anna and Meryl are now dressed only in flimsy burlap uniforms and clogs. WE SEE A DEEP SPACE WITH ONLY A HINT OF LIGHT COMING FROM A TINY CRACK WAY UP ABOVE. As they walk into the dungeon, the sounds of moaning are present. Anna and Meryl are bothered by the foul odor. Other prisoners walk past the girls.

Anna and Meryl almost get separated, but cling to each other.

MERYL

(whispering)

Anna, why are we here? Is it because we’re bad?

Anna motions to Meryl to be quiet. Anna takes Meryl’s hand and holds it.

16. INT. DUNGEON ENTRANCE TO WORKERS’ ROOM

Anna and Meryl stand next to each other in a line. WE HEAR THE BELL SOUND. Girls are to either side of the little girls.

MERYL

I like sugar …and I like strawberries.

ANNA

I like rainbows and …I like chocolate.

MERYL

I like ponies …and …

A light from a doorway flashes a crimson glow on the girls.

MERYL

I like …snowmen …and I like unicorns.

ANNA

and …

DISSOLVE:

17. Int. Dungeon Worker Room

NIVY (V.O.)

Little Anna and little Meryl toiled in the King’s dungeon. The days grew into nights, the nights into weeks.

A red glow flickers in the room. A small girl comes towards the camera. She has a shovel in hand; her face is covered with sweat. She lifts the shovel and dumps the coal in towards the camera. Anna comes up and does the same thing. Meryl walks up and dumps the coal in towards the camera. Another little girl follows in the same motion. A bell sounds, everyone leaves frame.

18. INT. DUNGEON

NIVY (V.O.)

That night the King’s guard entered the dungeon.

WE PULL BACK AND SEE THAT TIME HAS PASSED. ANNA AND MERYL HAVE RATTED HAIR, PALE SKIN, SUNKEN EYES, AND ARE MUCH THINNER. A tall man in black enters.

GUARD

(in NIVY’s voice)

Anyone who will work all night to dig ditches will receive … a bowl of soup.

Meryl looks at Anna who looks frail and weak. Meryl goes with the man. Anna slumps back.

NIVY (V.O.)

Only Meryl had the strength.

SLOW DISSOLVE:

19.INT. DUNGEON

Anna lays with her eyes closed, and the camera slowly rises above her.

20. INT. DUNGEON—UNKNOWN

Meryl is covered in mud. She staggers in, carrying a tin bowl of soup. She is so exhausted that she can barely make it to Anna. Anna appears even paler than when Meryl left her. Meryl places the bowl of soup in front of Anna. She shakes Anna several times to wake her up. Anna leans up, looks at the soup, then looks at Meryl.

Anna lies back down. Meryl shakes her again; Anna doesn’t get up.

Meryl hands Anna a spoon. Anna dips her spoon in and Meryl dips hers in. Anna brings her spoon to her lips and, just before she puts it in her mouth, ever so carefully spills the soup back into the bowl so Meryl doesn’t see.

Meryl brings her spoon to her lips and, just before she puts it in her mouth, ever so carefully, so Anna doesn’t see, spills her soup back into the bowl.

Again Anna dips her spoon into the soup and again she carefully spills it back into the bowl. Again Meryl dips her spoon into the bowl and again she too spills it back into the bowl. This continues again and again; the spoon drops the soup back into the bowl. The soup’s level in the bowl stays the same.

Meryl stares at Anna and sees what she is doing. Meryl smiles. Anna sees that she has been found out. Meryl dips her spoon in and places it at Anna’s lips. Anna opens her mouth and eats the soup. Anna then dips her spoon and feeds Meryl. Meryl and Anna feed each other until there is no more soup.

MERYL (V.O.)

(impatiently)

So, what happened to them?

21. INT. LIVING ROOM—DUSK

THEY ARE SILHOUETTED BY THE FIRE. Meryl and Anna are moved. Anna stares at her fingertips, then looks at Meryl who is staring back at her.

NIVY

Many say that it was that simple little bowl of soup that saved Meryl and Anna. But I say it was also their hope. For the Evil King that had caused so much misery was overthrown. And the dark and sad dungeons were open and people with black fingernails no longer had to cover their hands.

MERYL

Grandma, that sounds like a real story. Just like a movie.

Meryl gets up and hugs Nivy. Anna hugs them both.

ANNA

Grandma, where did you hear that story?

Nivy leans back to turn off the reading lamp behind her. The light is on long enough to reveal the numbers that are tattooed into her arm.

NIVY

That’s another story …

THE LIGHT IS SWITCHED OFF—FADE TO BLACK

ROLL CREDITS

THE END

by Christian Taylor

1. EXT. FORTLEY MANOR. EARLY MORNING

All is quiet as the first rays of sunlight hit FORTLEY MANOR.

At the front gate is a large sign which reads:

“Bartle and Johnson of London announce the sale of Fortley Manor, an extensive country estate.” Across the bottom is plastered SOLD.

2. INT. FORTLEY MANOR. MORNING

Large rooms lie empty of furniture, everything is spartan and clean, and nothing moves save the morning light that gradually increases throughout the building. A distant RUSTLING is heard.

3. INT. DINING ROOM. MORNING

A pair of woman’s hands sifts through a packing box filled with newspaper-wrapped objects. A small bundle is added, and the box is closed. A sticker is placed on the box which reads AUCTION. There is a sigh from the owner of the hands, MISS PEACH. Miss Peach is a grey-haired, formal-looking woman in her late fifties. She sits awkwardly on a suitcase in the middle of the dining room, which is bare of furniture save a few packing boxes and the odd piece of newspaper. Miss Peach is conservatively dressed in a drab woolen coat and unassuming hat. Miss Peach lifts a cardboard box from the floor in front of her and places the box on her lap. Carefully, she opens the box and reveals inside an array of letters and correspondence. At the top lies a faded postcard of New York skyline. Miss Peach turns over the postcard and it reads: “Dearest Walter, I Miss You, New York Misses You. Oh how stubborn you British are! Love Always, Catherine.”

Miss Peach replaces the postcard and closes the box. SARAH, a plump rosy-cheeked maid, enters; she too is dressed in a coat and hat. She carries a box.

SARAH

I believe this is the last box from his Lordship’s study.

MISS PEACH

Thank you, Sarah. This box contains Lord Walter’s private correspondence. They can be destroyed.

Miss Peach places the box on the floor.

3. INT. DINING ROOM. MORNING (CONT.)

SARAH

That lawyer in charge of the will, Mr. Case, came by earlier; he brought this.

Sarah withdraws from her coat pocket a white envelope and hands it to Miss Peach.

SARAH

He said you would know what it was.

Miss Peach takes the letter and examines it. It reads: “Catherine Spencer, 356 Park Avenue, Penthouse, New York, NY 10022.” She pauses and then places it in her handbag. STEVENS, a young butler, enters.

STEVENS

Will that be all, Miss Peach?

MISS PEACH

Yes, yes. I believe our jobs are finished here.

SARAH

Miss Peach, I’d just like to say you ran a beautiful house. It was a pleasure to work on your housekeeping staff.

Miss Peach gathers her things.

SARAH

If his Lordship was alive I’m sure he would have said the same.

MISS PEACH

Indeed. When you’ve finished closing up the house, Stevens, drop the keys at Mr Case’s office.

4. INT. HALLWAY. MORNING

Miss Peach exits the dining room and walks down the marble hallway. CUT TO:

3. INT. DINING ROOM. MORNING (CONT.)

STEVENS

Where is she going?

SARAH

I think Miss Peach may be travelling to meet her rival.

5. EXT. FORTLEY MANOR. DAY

Miss Peach exits Fortley Manor, and, carrying her suitcase, she walks down a quiet country lane. THE TITLE: THE LADY IN WAITING appears on the screen.

CUT TO:

6. EXT. NEW YORK CITY SKYLINE. NIGHT

Seventies MUSIC builds over a BRIDGE view of New York City, glistening and alive. Cars whiz along avenues, and a myriad of lights shine from an array of windows. This is New York in its heyday—vibrant and energetic. Over the view comes the title card: Wednesday, 13 July 1977. 9:15 p.m.

CUT TO:

7. EXT. CAB. NIGHT

Miss Peach sits in the back of a cab as it enters the city. She peers out of the windows, mesmerized as the lights of the city flash past.

CUT TO:

8. EXT. APARTMENT BLOCK. NIGHT

A taxi drives up and stops outside an apartment building. Out steps Miss Peach dressed similarly as before. She looks up at the high-rise block (#8A) and then enters the building.

CUT TO:

9. INT. APARTMENT BLOCK LOBBY. NIGHT

A doorman wrestles with a large bouquet of flowers, which is being delivered by a young man on roller skates. The young man holds out a receipt card, which the doorman struggles to sign. Miss Peach enters the lobby and walks right past the busy doorman. Arriving at the elevators, she presses the button and waits. From her purse she withdraws the letter, takes a quick look, and then quickly returns it to her bag. The elevator arrives and Miss Peach enters.

CUT TO:

10. INT. ELEVATOR. NIGHT

Miss Peach enters the elevator and presses the button for the penthouse. The doors close, and Miss Peach stands alone. Miss Peach presses the penthouse floor button again, a DOORBELL sounds. The sound of a DOOR OPENING and …Miss Peach begins to mumble to herself as the numbers of the floors flick past.

MISS PEACH

Oh hello …Miss Spencer?

Miss Peach pauses.

Miss Spencer? Miss Catherine Spencer? I am Miss Peach. I have a letter from Lord Walter. Could I come in?

The elevator continues to rise, 25 …26 …27 …28, and, PING, it comes to a stop. Miss Peach is jolted from her day dream as the doors open, and there stands SCARLET, a stunning and heavily made-up black woman. She boasts a pair of sunglasses, a large wig, a fancy theatrical dress, and a large leather zipper bag. She rushes in, ignoring Miss Peach, and presses the lobby button. The doors close and the elevator continues to RISE.

SCARLET

I don’t believe this.

Miss Peach stares at the dramatic and chaotic figure of Scarlet who now stands slumped against the wall. Miss Peach is silent but continues to stare. Scarlet stares back.

10.INT. ELEVATOR. NIGHT (CONT.)

SCARLET

I know. It’s like a crash on the highway—you can’t look at it and you can’t look away.

Miss Peach attempts a smile, but Scarlet stares blankly back. Miss Peach quickly turns away. There is a moment of awkward silence as the elevator continues to glide up. Suddenly the lights in the elevator begin to flicker, and there echoes a loud SOUND of energy being drained.

CUT TO:

11.EXT. NEW YORK CITY. NIGHT

A traffic signal goes blank.

A DON’T WALK signal stops blinking.

A street light fades.

Blocks of apartment buildings go dark.

The Empire State Building switches out …

SOUNDS of a chaotic city echo out.

CUT TO:

12.INT. ELEVATOR. NIGHT

The DRAINING SOUND CONTINUES; the lights in the elevator become dimmer and dimmer and dimmer; there is a loud ZAP; the elevator comes to an abrupt halt, followed by a bright flash …and then BLACK.

MISS PEACH

What’s happened?!

Silence in the dark. A lighter is lit revealing Scarlet.

SCARLET

Lady, we’ve broken down.

12. INT. ELEVATOR. NIGHT (CONT.)

MISS PEACH

Oh dear … we can’t do that …what now.

Miss Peach stares at Scarlet utterly nervous and mesmerized. Scarlet reaches down into her large leather bag, which is on the floor.

MISS PEACH

Wait! What are you doing?

Scarlet ignores Miss Peach and crouching over her bag continues her search. Miss Peach opens a panel and removes an emergency telephone.

MISS PEACH

Hello …I’m trapped in the lift …anyone there?

There is no reply. Miss Peach fiddles with the telephone and then replaces the receiver. Scarlet continues to rummage in her bag.

MISS PEACH

How long do you think …how long are we going to be stopped?

SCARLET

I don’t know.

Scarlet continues to rummage in her bag. An emergency

light flickers on.

MISS PEACH

Oh. We might be trapped for hours.

Scarlet finds some cigarettes and looks up frustrated.

SCARLET

Lady, I’m aware of that!

12. INT. ELEVATOR. NIGHT (CONT.)

MISS PEACH

I wish you would stop saying that. I’m not a Lady.

No Lady this, Lady that. Just Miss Peach. My name’s Peach.

Scarlet stands.

SCARLET

Scarlet. How do you do?

Scarlet lights a cigarette. Miss Peach gives a disapproving cough.

SCARLET

I have to smoke!

MISS PEACH

Scarlet is that … a stage name?

SCARLET

You could call it that.

MISS PEACH

I knew it. My mother was a theatre person. And what do you do in the theatre, Miss Scarlet?

SCARLET

People …hire me for private parties and things.

I sing mostly.

MISS PEACH

All that excitement …never saw the point really.

Scarlet notices an ornate diamond broach on Miss Peach’s lapel and removes her sunglasses to make a closer inspection.

SCARLET

No room for glitter maybe, but give me diamonds anytime.

12. INT. ELEVATOR. NIGHT (CONT.)

Miss Peach makes a small protective gesture to check her broach.

MISS PEACH

Yes … it was my mother’s. It’s glass I’m afraid.

Rather fancy, I thought.

SCARLET

Going somewhere special …special visit?

MISS PEACH

Yes …an old friend.

SCARLET

This was my mother’s.

Scarlet outstretches her hand upon which is a small, delicate diamond ring. Miss Peach puts on her glasses.

MISS PEACH

It’s very beautiful.

Miss Peach makes a closer inspection of the ring peering at Scarlet’s outstretched hand.

Large hands. You’ve got wonderfully large hands.

Miss Scarlet. Rather like a …

Miss Peach is about to take Scarlet’s large hand in hers when …Miss Peach looks up at Scarlet who stands still. Quickly Miss Peach withdraws her hand and steps back.

She is silent but has become most distressed and nervous.

SCARLET

What is it?

Miss Peach remains silent and tidies herself.

MISS PEACH

Nothing.

12. INT. ELEVATOR. NIGHT (CONT.)

There is a PAUSE, and the two exchange glances. Miss Peach remains silent, then she blurts out.

MISS PEACH

Pardon me but can you do that in public?!

SCARLET

Do what?

MISS PEACH

There are laws!

SCARLET

Not anymore.

MISS PEACH

What one does in one’s private life is one’s own affair, but to flaunt it in public …it’s not right.

SCARLET

Why don’t you mind your own fucking business?

MISS PEACH

Please!

CUT TO:

13. INT. MACHINE ROOM. NIGHT

A large cog lets out a loud CREAK and moves slightly.

CUT TO:

14.INT. ELEVATOR. NIGHT

There is a sudden jolt as the elevator drops down.

MISS PEACH and SCARLET

AHHHHhhhhl

CUT TO:

14. INT. OPEN ELEVATOR. NIGHT

The inner door opens slightly to reveal that the elevator is trapped between floors.

SCARLET

Looks like we’ve outstayed our welcome.

Scarlet withdraws from her bag a small crowbar. Miss Peach looks nervous as Scarlet skillfully inserts the crowbar between the outer doors and begins to lever.

Scarlet levers the doors open and pulls them apart. Miss Peach stares mesmerized by Scarlet’s performance.

SCARLET

Let’s just say …it’s not easy being a woman these days.

Scarlet slips the crowbar back in her bag and smiles sweetly. She grabs her bag and stealthily slips between the doors and out to the darkened floor below. She disappears into the darkness leaving Miss Peach alone. Miss Peach waits …and waits …and waits.

CUT TO:

15. INT. OPEN ELEVATOR. NIGHT

In the distance we hear a RADIO REPORT echoing down the corridor. Suddenly an odd looking MAN holding a drink in one hand and a small radio in the other pops his head through the elevator doors. He rests the drink and the radio on the floor of the elevator. He switches the radio off. He is obviously drunk and stares at Miss Peach. Miss Peach stares at him. He stares at Miss Peach.

MAN

Hi there.

MISS PEACH

Oh hello … I don’t suppose you’re the repairman?

Man

The way I look at it. It’s dark …there’s me looking for company …there’s you up there all alone. Like strangers in the night. How about it honey?

Miss Peach stares at the man horrified. She is frozen in disgust and holds tightly onto her handbag.

16. INT. STAIRWELL. NIGHT

Scarlet opens the door of the stairwell and scans up and down. In the distance there echoes a SCREAM from Miss Peach. Scarlet looks back and reenters the corridor.

CUT TO:

17.INT. OPEN ELEVATOR. NIGHT

Miss Peach screams. The man raises his hands defensively.

MAN

Ok … ok … your loss.

The man turns to leave. Miss Peach sighs, clutching onto her bag.

CUT TO:

18. INT. CORRIDOR. NIGHT

The man stands faced with Scarlet who is lit ominously by her lighter. She stares at the man sternly. Quickly the man gathers his things and scampers away.

CUT TO:

19.INT. OPEN ELEVATOR. NIGHT

Miss Peach waits. Scarlet reemerges lit only by the elevator light. Scarlet outstretches her arms to Miss Peach.

SCARLET

Afraid of the dark? The whole building is out. Coming?

CUT TO:

20.INT. APARTMENT CORRIDOR. NIGHT.

Miss Peach hesitates and then cautiously sticks out her leg. Awkwardly together the couple pry Miss Peach out of the elevator and onto the floor.

20. INT. APARTMENT CORRIDOR. NIGHT (CONT.)

Scarlet and Miss Peach

Oh wait … Ok the floor …wait …I’m trying …where’s the floor …Ahhhm slipping …waaaiit …aaahhhh

Miss Peach slips and both Scarlet and Miss Peach fall to the ground.

SCARLET

Are you all right?

MISS PEACH

I thought men were good at lifting things.

SCARLET

Yeah well, I’m not the lifting kind.

Scarlet stands while Miss Peach grips onto her ankle.

MISS PEACH

I’ve broken my ankle.

SCARLET

What! Are you sure?

Miss Peach flashes a look of malice at Scarlet.

MISS PEACH

Sure? How could I be sure. I need a doctor.

SCARLET

Well, can you move your toes?

In pain Miss Peach squinches up her face.

20. INT. APARTMENT CORRIDOR. NIGHT (CONT.)

MISS PEACH

Just.

SCARLET

It’s not broken then. I can help you walk.

The corridor stretches ahead ominously dark.

MISS PEACH

But there are no lights.

Scarlet rummages in her bag, which has fallen to the side of Miss Peach.

SCARLET

I almost forgot.

Scarlet withdraws a large candle sculpted like an erect penis and moves it toward Miss Peach.

SCARLET

Salvation.

Miss Peach sits frozen in horror and confusion faced with the penis. Timidly, Miss Peach takes the penis and clasps it in both hands. With her lighter, Scarlet touches the tip of the candle and light floods out. Scarlet moves to lift Miss Peach. Miss Peach continues to stare at Scarlet.

MISS PEACH

You’re possibly the most alien person I have ever encountered in my life.

SCARLET

Lady, that talk could get you cut up and dumped in a black plastic bag.

CUT TO:

21. INT. STAIRWELL. NIGHT

The door to the stairwell bursts open. Miss Peach limps, one arm is wrapped around Scarlet, the other carries the candle. They begin to climb the stairs, HUFFING and PUFFING. A group of three PEOPLE come charging down the stairs. They have party blowers in their mouths and carry balloons. They rush past TOOTING and YELLING.

One of the people, a WOMAN, stops and blows a party horn in Miss Peach’s face and runs on. Scarlet struggles with Miss Peach.

SCARLET

Well at least someone’s having fun.

MISS PEACH

Why are we going up?

SCARLET

To visit your friend.

MISS PEACH

No! We can’t go there. Not like this.

SCARLET

If you wanna talk options. We’re forty flights up and you’ve crippled yourself. She’s a friend; she’ll help you.

MISS PEACH

No wait …you don’t understand.

CUT TO:

22. INT. APARTMENT DOORWAY. NIGHT

Miss Peach and Scarlet stand outside the apartment.

Both are very disheveled and sweaty. Miss Peach holds the candle. Softly she knocks on the door. They wait.

No answer. Scarlet then knocks on the door. They wait.

No answer. Scarlet knocks again. They wait. No answer.

MISS PEACH

Oh well, no one seems to be home.

Scarlet drops her bag and kneels on the floor. From her bag, she withdraws an array of delicate tools. Scarlet lifts the tools and inserts them individually into the lock. Miss Peach whispers.

22. INT. APARTMENT DOORWAY. NIGHT

MISS PEACH

What are you doing!?

SCARLET

I told you …I’m not carrying you down forty flights of stairs.

Scarlet delicately fiddles with the lock.

MISS PEACH

Stop. You can’t. What if she comes back?

Scarlet adjusts one of the tools and there echoes a loud CLICK.

SCARLET

She’s your friend; she’ll understand.

Scarlet twists the door handle and the door swings open.

Scarlet smiles sweetly.

SCARLET

Besides, the door was open. Coming?

Scarlet enters.

CUT TO:

23. INT. APARTMENT HALLWAY. NIGHT

The two enter the apartment. Miss Peach hesitates at the door. Scarlet tries the light switch. All remains dark. Miss Peach limps in protectively

MISS PEACH

Don’t touch anything!

Scarlet comes across a side table in the hallway upon which are two candlesticks. Scarlet lights the candlesticks. Miss Peach continues to limp.

SCARLET

That ankle isn’t going to get any better with you limping all over the place.

23. INT. APARTMENT HALLWAY. NIGHT

Miss Peach sits down on a chair as Scarlet searches the drawer of the side table. Scarlet discovers a flashlight and hands it to Miss Peach. Taking one of the candlesticks and the penis candle Scarlet wanders up the corridor.

SCARLET

Nice place your friend has.

MISS PEACH

Don’t touch anything.

Scarlet disappears into the bedroom leaving Miss Peach alone. Miss Peach switches on the flashlight and uses it to scan the HALLWAY and distant LIVING ROOM (#23A). Everything is tidy, delicate, and feminine. The odd piece of furniture and painting can be glimpsed. Scarlet reemerges carrying only the penis candle. Scarlet moves to lift Miss Peach and begins to carry her down the corridor.

SCARLET

You can rest your foot in here.

CUT TO:

24. INT. BEDROOM. NIGHT

They enter the bedroom. There in the middle of the room is a beautiful double bed, bedside which Scarlet has set down the candlestick. Scarlet carries Miss Peach over to the bed. Miss Peach hesitates. Scarlet gently pushes Miss Peach down on to the bed. Scarlet goes into the bathroom. Miss Peach scans the bedroom.

MISS PEACH

You really don’t have to stay. I’d hate to keep you if you have places to go.

CUT TO:

25. INT. BATHROOM. NIGHT

Scarlet has set down the penis candle and is faced with an array of expensive makeup and lotions. She caresses them, lifting a crystal scent bottle to her nose.

SCARLET

No, I have no place special to go.

26.INT. BEDROOM. NIGHT

Miss Peach caresses the silk bed cover and turns to the bed side table upon which are several silver-framed photographs. The photos are a decadent array of fun times through the ages. Miss Peach carefully studies the photographs.

Miss Peach searches and finally comes across a picture of CATHERINE SPENCER and LORD WALTER. She then lifts a single picture of Lord Walter and examines it closely; across it is written “To Catherine, my love always, Walter.” For a moment she caresses the picture of Lord Walter. Scarlet reemerges carrying some bandages and a glass of water. Miss Peach quickly replaces the photograph. Scarlet hands the glass ofwater and two pills to Miss Peach. Miss Peach hesitates.

SCARLET

Painkillers.

Tentatively, Miss Peach takes the pills and swallows them, never losing eye contact with Scarlet. Scarlet then kneels at Miss Peach’s foot and takes off her shoe. She then unravels the bandages and begins to bandage her ankle.

MISS PEACH

Thank you so much, but I think I can manage now.

I’m really quite capable.

Scarlet continues to bandage Miss Peach’s foot rather clumsily.

MISS PEACH

No, no, you’re doing it all wrong.

SCARLET

I’m sorry. I’m only trying to help.

MISS PEACH

Well you’re not helping …you’re making things far worse. I think it would be best if you left.

SCARLET

That’s nice. I help you out of the elevator …

carry you up here, bandage your foot.

26. INT. BEDROOM. NIGHT (CONT.)

MISS PEACH

Well it’s all wrong. Everything you’re doing is wrong.

SCARLET

Well I’m terribly sorry … I didn’t realize I was with an expert.

MISS PEACH

When you’ve spent the better part of your life in the service of others, you become very particular about such things.

Scarlet finishes bandaging.

SCARLET

Well maybe it’s time to take a rest!

Swiftly Scarlet puts down her things, gets up, and leaves. Miss Peach gets up to follow her but winces in pain as she puts weight on her foot. She hesitates and then sits down on the bed. Hot and exhausted, she decides to rest. She lies down clutching onto the flashlight, which she rests protectively on her stomach.

DISSOLVE TO:

27. INT. LIVING ROOM. NIGHT

Scarlet’s hand withdraws from her bag a small transistor radio which she switches on.

RADIO

Due to a thunderstorm upstate, four separate power lines were struck by lightning earlier this evening. Within half an hour the utility suffered a massive loss of some 2,000 megawatts. At precisely 9:34 p.m., New York City experienced a total electrical blackout. As the Consolidated Edison Company struggles to restore power to the city, reports of widespread violence and looting have been flooding in.

27. INT. LIVING ROOM. NIGHT

Whiskey is poured into a crystal glass. Scarlet sits alone and loses all her polish; spreading her legs in a very masculine way. She goes over to the window and looks out across the dark skyline. A distant SIREN is heard.

DISSOLVE TO:

28. INT. BEDROOM. NIGHT

The bedside candlestick has burned down considerably. Miss Peach is jolted awake and briskly switches on her flashlight pointing it toward the doorway. The light hits Scarlet’s face as she stands in the bedroom door holding a candlestick. She stands proud like the Statue of Liberty. She wears a large mink fur coat, costume jewelry, and a large decadent hat.

SCARLET

Nice huh?

MISS PEACH

Where did you get those? Take them off immediately.

SCARLET

I’m not going to hurt them. Please, I need them for five minutes.

MISS PEACH

What do you mean, need? I don’t think you quite know what you need.

SCARLET

What makes you so sure! You don’t know the first thing about me, Peaches.

Scarlet gives a large vivacious smile as Miss Peach looks on hopelessly. Miss Peach stands up and begins to leave the bedroom.

MISS PEACH

We should never have come; we can’t stay here.

CUT TO:

29. INT. HALLWAY. NIGHT

Miss Peach walks briskly with her limp.

SCARLET

It’s a blackout for Christ’s sake. It’s chaos out there.

MISS PEACH

And what if she comes back? She’ll be angry that you broke into her house, touched all her things.

SCARLET

WE …WE broke in, honey. No one dragged you through that door.

SCARLET

You told me she was your friend.

MISS PEACH

Well she is …sort of. A friend of the man I dedicated my life to. I couldn’t turn my back on that.

SCARLET

You lied then.

MISS PEACH

You lied to me first. With all your …glitter.

SCARLET

Glitter?

MISS PEACH

Why exactly do you dress like that!?

Miss Peach motions at Scarlet’s attire. Leaving Scarlet behind, Miss Peach wanders toward the living room.

SCARLET

Because I like it. I love the attention.

MISS PEACH

So you’re just a performer; it’s fancy dress.

Miss Peach turns to Scarlet who stands confused.

MISS PEACH

You may be very striking, but look at yourself.

What are you being now. You don’t even know. She finds us here, I’ll be a laughingstock. We both will be, but in your case it scarcely matters.

Miss Peach looks at Scarlet who stands still.

(pause)

SCARLET

Excuse me, I need to take a shit!

MISS PEACH

You’re totally uncivilized!

CUT TO:

30. INT. LIVING ROOM. NIGHT

Miss Peach enters the living room, which is now bathed in candlelight. Scarlet has beautifully arranged candles all around the room; it is a breathtaking sight. Miss Peach stands in awe. On the table, Scarlet has laid a beautiful dinner set for two, the food is simple but inviting. Two place cards sit on each plate. In beautiful italics on one is written “Lady Peach” and on the other “Lady Scarlet.” Miss Peach turns back to Scarlet who has now disappeared. She turns back to the table and sits down. Miss Peach observes the place settings, and surreptitiously, she rearranges the incorrect silverware arrangement.

CUT TO:

31. INT. BATHROOM DOOR. NIGHT

Miss Peach taps on the bathroom door. Timidly, she whispers.

MISS PEACH

Scarlet. Scarlet.

There is no response.

I’m sorry Scarlet.

CUT TO:

32. INT. BATHROOM. NIGHT

Scarlet sits in front of the mirror. She removes her wig and sits bald. From a large jar Scarlet scoops some cream and smears it on her face, drastically her thick makeup is loosened.

MISS PEACH

You’re so colorful, my dear, so full of color … I probably appear as rather a grey person to you … and you’re right.

CUT TO:

31. INT. BATHROOM DOOR. NIGHT

Miss Peach stands close to the door.

MISS PEACH

You see, I’ve been a housekeeper to a man for over thirty years. Our relationship was overwhelmingly professional in tone …though naturally we might discuss informal topics …from time to time.

Miss Peach pauses.

MISS PEACH

I came to deliver his love letter. I don’t know this woman …you see. All I know is that …

32. INT. BATHROOM. NIGHT

With a sponge Scarlet rubs and rubs and gradually removes all the makeup. Scarlet stops and begins to listen to Miss Peach. Scarlet takes a drag on her cigarette and stares at her bald reflection. She remains effeminate in features, but without all the makeup, all the glamour is gone.

MISS PEACH

I gave him the best years of my life. The very best and he didn’t even notice. I suppose you could call me a coward. So you see, I’m in no position to judge your actions … I simply envy your courage.

Gently and slowly Scarlet removes her loud and glitzy ear rings.

31. INT. BATHROOM DOOR. NIGHT

Miss Peach leaves, taking her candle with her. The candle is blown out.

CUT TO:

33. EXT. MANHATTAN SKYLINE. EARLY MORNING

The sun gradually rises over the building tops. A RADIO UPDATE echoes out. Pull back to reveal Scarlet standing at a window.

DISSOLVE TO:

34. INT. LIVING ROOM. MORNING

Scarlet stands at a window. The room is lit by the blue light of morning. Miss Peach lies on a sofa fast asleep. Scarlet sits down opposite her; she is dressed simply, but beautifully. Her outfit and hairstyle are feminine, but she has shed all her flamboyance. Her beauty now stems from her pure precision and simplicity. She smokes a cigarette. Miss Peach wakes up. Spread on a chair in front of Miss Peach is a beautiful outfit and an elegant pair of shoes.

SCARLET

People used to tell me how I could be straightened out. What I needed was a good woman. I said fine, since a woman is the best there is … I want to be one, the most beautiful one.

INT. LIVING ROOM. MORNING (CONT.)

Scarlet looks at Miss Peach and smiles.

SCARLET

You must realize what you have …and enjoy it. If it was up to the rest of the world, they wouldn’t let you.

DISSOLVE TO:

35. INT. LIVING ROOM. LATE MORNING

We move through the apartment. The dull light of morning highlights the odd object here and there. Candles stand burnt down. All is still. Someone SINGS in the distance. We enter the living room. A dressing table has been set up. Miss Peach sits in front of the mirror. Scarlet stands above and SINGS while she tends to Miss Peach.

DISSOLVE TO:

36. INT. LIVING ROOM. DAY

Nail polish is placed on some nails. They are filed and trimmed. Eyeliner is placed on some eyes. Mascara on lashes. Lipstick on lips. The tight curls of Miss Peach’s hair are brushed out. Powder on the face. Shoes are slipped on some feet. A dress is put on. Earrings are clipped on. A necklace is delicately wrapped around a neck.

DISSOLVE TO:

37. INT. LIVING ROOM. DAY

Scarlet continues to tend to Miss Peach. She then goes over to get a scent bottle. Miss Peach reaches for her bag and out falls the letter. She withdraws the envelope and it reads “Mrs Catherine Spencer.” She holds it closely and then looks up at her reflection in the mirror. She is now complete—beautiful and elegant in both style and makeup. She pauses and stares at the letter. She remains silent. Scarlet returns and stands close by. Miss Peach remains silent. She then takes the letter and replaces it.

MISS PEACH

I’m not Catherine Spencer, I would have liked to have been, but I’m not. Had I been anyone worthy of respect at all, I dare say I would have left Fortley Manor long before this letter was ever written.

Miss Peach smiles and puts the letter away. She stands up straight and is a picture of refined beauty.

SCARLET

Miss Peach your carriage awaits.

Miss Peach gives a curtsey and then twirls to show off her attire. She twirls and twirls and twirls and twirls …

DISSOLVE TO:

38. INT. APARTMENT. NIGHT

Classical MUSIC can be heard. Miss Peach continues to twirl and is dressed beautifully and Scarlet simply, as before. Miss Peach’s formal hair is now loose and relaxed, and both Scarlet and Miss Peach have a content expression on their faces. Delicately and tentatively the pair waltz elegantly around the room. Miss Peach limps, but hardly. Miss Peach and Scarlet continue to dance. The music finishes, and they come to a stop. They hesitate and then move closer together. Behind them we see the city lit up. They hesitate as if they’re about to kiss. Suddenly there is a sound of energy being CHARGED. The lights in the apartment flicker on, and then off, and then on again. Under the bright lights Miss Peach and Scarlet break their embrace. The spell ends and all is revealed. They shift awkwardly, embarrassed by their intimacy.

CUT TO:

39. INT. HALLWAY OF APARTMENT. NIGHT

Miss Peach and Scarlet begin to leave the apartment. Scarlet gathers her bag, and before exiting Miss Peach removes the letter from her purse and places it in the frame of a mirror. Miss Peach pauses with her hand and then looks up at her reflection, which is youthful and content. She smiles.

40. INT. ELEVATOR. NIGHT

The HUM of the elevator as it glides down. Miss Peach and Scarlet stand side by side. They are SILENT and do not communicate in any way. It’s as if they are total strangers to one another. The elevator stops and in gets an ELDERLY MAN.

OLD MAN

They promised us back in ‘65 that it was the last time. Well twenty-seven hours I was trapped in my apartment. It’s a disgrace. I say hang the lot of them.

The elevator comes to rest on the ground floor. The old man gets out, followed by Scarlet and Miss Peach.

CUT TO:

41. INT. LOBBY. NIGHT

The lobby of the apartment block is busy with postblackout activity. Miss Peach turns to Scarlet. For a moment they smile. Scarlet’s expression changes as she observes something of interest over Miss Peach’s shoulder.

SCARLET

Goodbyes were never my thing.

Scarlet smiles and walks past Miss Peach and wanders toward a handsome-suited man across the lobby. Miss Peach watches as Scarlet introduces herself, asking the man for a light. Miss Peach decides to leave and walks slowly toward the exit.

DOORMAN

(calling)

Miss Spencer! Can I help you.

Miss Peach swings around, responding to the name Catherine Spencer and is faced with the back of an elegantly dressed WOMAN who carries some luggage. Miss Peach freezes and watches as the woman stands waiting for the doorman. Miss Peach begins to approach and then stops herself. She looks up and sees Scarlet watching her. The doorman picks up the woman’s luggage and begins to carry it toward the elevator. The woman hesitates, tidies herself, and follows the doorman. Scarlet gives Miss Peach a wave of her hand. Miss Peach smiles and turns away, briskly walking out the front door.

SLEEPING BEAUTIES

FADE UP—sound of a MOTORCYCLE starting and revving.

FADE DOWN.

FADE UP on TITLES. FADE to black.

FADE UP—overlapping voices of TWO TEENAGE GIRLS.

One cries out.

VOICE

Ouch, that hurts!

Cut to interior BEDROOM, night. IRIS, sixteen years old, is standing and brushing LUCY’s hair. LUCY is seated in front of her. They speak to the reflection in the MIRROR in front of them. IRIS hits the tangles in LUCY’s hair. LUCY, fifteen years old, winces.

IRIS

I’m sorry, I’m sorry … it would help if you conditioned it.

LUCY

But it makes it look greasy.

IRIS

Not if you use the right kind.

LUCY

I kinda like it this way.

IRIS

I guess you always had the prettiest hair.

IRIS finishes the last strokes and slightly pats LUCY’s long hair.

Okay, all done.

LUCY

Tomorrow I’ll do yours.

IRIS

Okay.

LUCY rises from the VANITY TABLE, and both girls remove their thin SUMMER ROBES. Underneath they are wearing long, lightly flowered cotton NIGHTGOWNS. IRIS jumps onto her BED. Meanwhile, LUCY positions a FAN toward the window and turns it to the “high” setting. IRIS reaches for the small drawer beneath the NIGHT TABLE, fishing around and then pulling out a pack of CIGARETTES and a small ASHTRAY.

LUCY arranges herself cross-legged on the opposite BED and faces IRIS. They are silent for a while, looking at each other. IRIS gets up and begins to pace. She lights a cigarette as if she’s fatigued by the rigors of her day-to-day routine. Both girls share the cigarette, careful to exhale toward the window fan.

IRIS

(looking at the CLOCK)

Okay, it’s time.

LUCY

Let’s go.

IRIS

(still pacing)

So we know this: tall, not too tall. And thin. Pale …

shouldn’t he be pale?

LUCY

… Oh yes, very pale, see-through almost …

IRIS

Long, dirty blond hair … fine, fine, fine …

LUCY

So fine it falls through your fingers … (pause)

…Dark eyes …

IRIS sits abruptly on the bed, crossing her legs and facing LUCY. She gestures widely with her cigarette, as if aggravated.

IRIS

No, I thought we talked about this. His eyes should be light and clear and spooky …

LUCY

But …

IRIS

Oh, let’s not argue …(pause) …We should figure the rest out.

LUCY raises her eyebrows.

IRIS

His mouth, what about his mouth?

LUCY

The best part …

Both girls pause, lost in thought. IRIS begins tentatively.

IRIS

His lips will be full … a sort of wide Iris mouth.

(pause) Right?

LUCY does not reply.

IRIS

You … you can’t look at his mouth for too

long … It’s almost too dangerous, you know?

LUCY lays on her back and hugs herself as if chilly.

LUCY

Okay, I guess … Gosh, we’ve almost finished him.

IRIS stabs out her cigarette and rests her elbows on her knees, hands cupping her face.

IRIS

Soon we’ll have to find him.

LUCY

Soon we’ll have to give him a life.

IRIS gets up and wanders around the room, first toward the window, then to the vanity table. She picks up the large, ornate HAIRBRUSH, pulls out loose strands, then

sets it down.

IRIS

(while walking)

But he has one … all that open road, that huge cycle … the dust flying off his wheels … (looking at her reflection) … you and me … (pause, turning to LUCY) … he’s true because we want him to be.

LUCY

(puzzled)

Iris, the time …

IRIS

Right, it’s late …

Both climb under their covers and get comfortable before saying anything.

LUCY

Goodnight, Iris.

IRIS

Goodnight, Lucy.

LUCY

I love you.

IRIS

Love you too.

LUCY

See you in the morning.

IRIS looks at LUCY, then turns off the old LAMP on the night table.

IRIS

(whispering)

Sweet dreams.

The room is dark. The fan continues to hum, the clock ticks, and occasionally an insect buzzes against the screen window. A breeze blows the gauzy CURTAINS.

IRIS and LUCY are holding hands from across their beds. The MOONLIGHT is thick on their faces.

A POPPING SOUND is heard coming from the window, as if someone is throwing a pebble at the SCREEN.

CUT to a CLOSE-UP of LUCY and IRIS’s locked fingers as they fall from each other.

DISSOLVE to a CLOSE-UP of IRIS’s face as she sleeps.

DISSOLVE slowly as IRIS, in a WIDE SHOT, gets out of bed and goes to LUCY’s side. She rouses LUCY. In groggy agreement, they walk to the window, standing side by side and peering out. The breeze is blowing their long nightgowns as if they’re liquid sheets of light.

LUCY

Look.

IRIS

I know.

On the thick green lawn, three stories below them, is a MAN leaning against the seat of a beat-up Harley-Davidson MOTORCYCLE. His hair is long and thin, his face is pale, his build is lanky.

MAN

(offscreen)

Which one of you girls wanna take a ride?

LUCY and IRIS stare out at the MAN, then turn to look at each other. They are dazed.

IRIS

But … he’s not finished. It’s too soon …

LUCY

Someone has to go down …

IRIS

(panicked)

Yes, but we never decided which one of us would actually …

LUCY

I know, I know. (pause) You choose.

IRIS looks out the window. She turns to LUCY and straightens LUCY’s hair.

IRIS

It’s you … You go.

LUCY

You don’t want to ride?

IRIS

No, not tonight … You go, and I’ll wait here for you.

LUCY

(dreamily)

All right.

LUCY lifts the screen window. IRIS helps her out onto the TRELLIS as if in a trance. The MAN continues to look up at both of them, humming “Wild Horses” to himself.

LUCY climbs slowly down the trellis. Her nightgown gets caught in the wood grating; she still moves smoothly and without hesitation. IRIS closes the screen window and sits in the LARGE WINDOWSILL, watching the action below and humming “Wild Horses” softly.

LUCY walks toward the MAN; CUT to a CLOSE-UP of her face.

FADE UP on IRIS in VOICE-OVER: “Dirty blond hair-fine,

fine, fine …” FADE UP on LUCY in VOICE-OVER: “So fine it falls through your fingers …”

DISSOLVE to a MEDIUM TWO-SHOT as LUCY touches his hair and lets it fall through her fingers. The MAN laughs.

CUT to LUCY, looking at the man.

LUCY

Your eyes … they’re so dark.

DISSOLVE to a CLOSE-UP of IRIS.

FADE UP on IRIS in VOICE-OVER: “Light and clear and spooky—we talked about this already.”

IRIS

I was wrong—his eyes are dark.

DISSOLVE to a CLOSE-UP of the MAN as he takes a drag on his cigarette, exhales slowly, then pulls some stray tobacco from his tongue and lips.

FADE UP on IRIS in VOICE-OVER, discussing with LUCY:

“Would he smoke Luckies?” “Maybe, yeah …,” etc.

DISSOLVE to IRIS’s POV as LUCY and the MAN walk into the dark and leave the motorcycle in the middle of the lawn.

CUT to a CLOSE-UP of IRIS.

IRIS

Wait—where are you going … I can’t see you anymore … Lucy, this isn’t fair.

IRIS cries silently.

DISSOLVE to a TWO-SHOT, as the MAN puts his hand on LUCY’s bare arm, then runs his fingers over her shoulder. She is still. He moves his fingers to her neck.

DISSOLVE to a CLOSE TWO-SHOT of LUCY and the MAN. He leans toward her; she backs away slightly, then steadies herself. DISSOLVE to an EXTREME CLOSE-UP of IRIS’s eyes. She blinks slowly.

CUT to a MEDIUM CLOSE-UP of LUCY and the MAN, as he leans forward and moves her hair off of her shoulders. He slowly breathes the scent of her neck and face.

DISSOLVE to IRIS, twirling her hair in her fingers lazily.

CUT to a CLOSE-UP straight on of LUCY’s face. She closes her eyes.

DISSOLVE to a straight-on CLOSE-UP of IRIS. She closes her eyes. CUT to MEDIUM SHOT from the side of IRIS standing at the window. Her hands are splayed on the screen. She sways back, then steadies herself.

DISSOLVE to a CLOSE-UP of LUCY. The man suddenly fills the frame. He is kissing her.

DISSOLVE to a CLOSE-UP of IRIS touching her mouth.

CUT to a CLOSE-UP of the MAN’s hand as it pulls on the fabric at LUCY’s waist.

DISSOLVE to a CLOSE-UP of his other hand as his fingers run through her hair. He pulls it back slightly.

CUT to IRIS standing at the window, breathing evenly, eyes closed.

DISSOLVE to a CLOSE-UP of the clock.

FADE UP on the sounds of PULSES and TICKING.

CUT to an ECU of LUCY’s fingers as they find the belt hooks of the MAN’s jeans.

CUT to a MEDIUM TWO-SHOT of LUCY and the MAN. His

hands move up the length of her nightgown.

DISSOLVE to an ECU of the MAN’s teeth as they hook on LUCY’s lower lip.

CUT to a CLOSE-UP of IRIS, “waking” abruptly.

IRIS

(breathless)

Lucy, it’s time to come home … it’s time …

CUT to a WIDE SHOT, at ground level, of LUCY standing on the dark part of the lawn. She is serene and unruffled. She wanders around the lawn until she recognizes the trellis. The MAN and the MOTORCYCLE are gone. She starts to climb the trellis. IRIS lifts the screen window and helps her into the room. Their movements are extremely slow and fragile. LUCY cradles herself in IRIS’s long, thin arms.

IRIS

(after long pause)

What happened?

LUCY

Hmmmmm?

IRIS

You know what I’m asking.

LUCY

You know … only you can know.

IRIS

Stop … tell me.

LUCY

But you know. (pause) We can’t share everything.

IRIS

Not even him?

LUCY

No, not him …

They slowly get up out of the windowsill and walk to their beds. LUCY and IRIS get under their covers. They are still for a while. LUCY then gets up and goes to IRIS’s bed. She lays down next to her, on top of the covers. Both are on their sides, like spoons.

CUT to a CLOSE-UP of their faces on the bed. Their long hair flows and clutters the frame.

LUCY

Goodnight, Iris.

IRIS doesn’t reply. She is sound asleep.

FADE to black.

THE WOUNDING

by Susan Emerling

1. ECU DOLL HOUSE

A girl’s hand comes in and out of frame.

JULIE

They have to set up the table for dinner. His parents are going to come home after they come back from the movies.

Well, what are we having for dinner tonight? Chicken, ham. No, put the chicken over here. Dad likes the chicken. Dessert of course. And a beer.

Oh tomorrow’s his birthday. He’s going to have a birthday present.

Oh look, the kitty cat; the kitty’s obviously going to try and eat it. Chicken—yeah. It doesn’t look like he’s eating it though. Well, he’ll just be looking at it. Drooling.

Baby’s asleep, yeah asleep. Let’s clean up. What a mess it is. Put the choo-choo train back together.

SHEILA

Well, hi there, sweetheart.

JULIE

Hi, mommy.

SHEILA

When did you get in? Come talk to me …

JULIE

Mom, the coolest thing happened today

3. INT. BATHROOM—NIGHT

Sheila goes into the bathroom and pauses a moment in front of the bathroom mirror to inspect her face for signs of age. She takes out her lipstick and puts some on. She turns and tries to put some on Julie as she speaks, but Julie resists.

JULIE

…well, you know Mr. Connor’s cat? the one that I took care of …

SHEILA

Oh yeah, I remember that cat.

JULIE

Mr. Connor said that when he went into the barn this morning he couldn’t find her …

SHEILA

Really. (She tries to put lipstick on her daughter.) No?

JULIE

So he looked everywhere.

Sheila exits and touches Julie’s shoulder to encourage her to follow. Julie pauses a moment, then follows.

4.INT. KITCHEN—NIGHT

Buckling her belt, Sheila enters the kitchen and crosses to the refrigerator. Julie tags along behind her. Sheila opens the freezer and takes out several ice trays. She turns away with both hands full; Julie tags along behind her.

JULIE

So anyway … so he went into the loft and … he dug into the hay …

Sheila crosses back to the counter, knocks the cubes from the trays into the bucket. One falls on the floor, and Julie picks it up and drops it into the sink.

JULIE (CONT.)

finally he found her …

TOM, late thirties, once handsome, but dulled by alcohol, enters after them and goes to the sink to add water to his drink.

SHEILA

You remember Tom?

JULIE

Hi.

SHEILA

(drops ice into his drink)

Looking for this?

TOM

Thanks.

Julie waits for a moment to get Sheila’s attention back.

JULIE

(shows the size with her hands)

…and there were these three tiny little furry things! She was already pregnant when I was taking care of her!

SHEILA

(smiling, finally realizing the point of the story)

Oh, so she had kittens.

JULIE

(deflated)

Yeah.

SHEILA

Hear that Tom? I don’t think you should let Julie babysit your daughter!

Tom laughs with Sheila. Julie looks hurt and then smiles too.

SHEILA

Oh hey, c’mon. You want to take that out to Bill in the living room? Thanks, sweetheart.

Julie exits past Tom and Sheila to enter the dining room.

5. INT. DINING ROOM—NIGHT

A long table set with an elaborate fall meal. BILL, late fifties, is playing with a dog.

BILL

Oh, I love you, that’s right, go on go on …

Julie enters the dining room and sets the bowl down and pokes over the food.

AL, middle-aged, serves himself from the buffet. Sheila and Tom can be seen through the doorway to the kitchen. Their HUSHED VOICES and LAUGHTER fill the room.

SHEILA (O.S.)

How’d I sleep last night? Like a baby as usual.

TOM (O.S.)

Yeah.

SHEILA (O.S.)

I woke up every hour.

(laughter)

God, how awful.

An awkward moment is shared by Bill, Al, and Julie as they listen. Nothing is said. Bill scrapes the meat off the knife onto Julie’s plate. Julie looks away from Bill nervously as they listen to the laughter off-screen.

BILL

Your mother was worried about you.

JULIE

No she wasn’t.

Al and Julie glance at each other. Al smiles. Julie, uncomfortable, turns away and wedges herself between the chair and table.

SHEILA (O.S.)

I’m going to go check on the table.

TOM (O.S.)

Hey, c’mon, just a moment, c’mon …

Laughing, Sheila enters from the kitchen and circles the buffet table.

SHEILA

Hi there. Mind if I steal this?

BILL

Go right ahead.

She picks something up from the cutting board and drops it into her mouth, wiggling her bottom to show the sensation of the good flavor. She exits to the foyer. Al tears a leg off a chicken.

6. INT. FOYER/STAIRS—NIGHT

Through the rails of the staircase, Julie sits alone, balancing a plate on her knees. She arranges a small grouping of doll house furniture displaying a living room and holiday dinner around her plate as she eats. SOUND of ice TINKLING in glasses is unnaturally loud; the soft indistinguishable patter of CONVERSATION.

SHEILA (O.S.)

I’d love to get a picture of that. I’d love to get a picture of that.

AL (O.S.)

So just who is Julie’s father anyway? So who’s Julie’s father? That’s what I never understood. Headless and footless adult figures pass in and out of the frame in front of her obscuring and revealing Julie.

SHEILA

Hi, is that for me? You know what Julie asked me?

TOM

What?

SHEILA

If you were the same Tom she met at her birthday party years ago.

TOM

You’re kidding.

(They laugh.)

SHEILA

(laughing)

So how’s your wife?

Bill enters unobserved for a moment. Sheila notices Bill and crosses to him.

SHEILA

(turning toward Bill)

Thanks for the drink, Tom. Can I get you anything, sweetheart?

BILL

No thanks. I’m all set.

Bill swirls the alcohol in his glass, forces a smile, and pulls away and heads to the bar. With Tom and Bill in the background by the bar, Sheila steps away and lights a cigarette, inhaling deeply.

TOM

Great scotch, Bill.

BILL

That’s nice.

8. INT. DEN/CORRIDOR—NIGHT (intercut with sc. 7)

Al comes from the corridor behind Julie and surprises her. He performs a simple magic trick offering her a cigarette. Julie takes it. He lights it for her. Julie tries to look natural smoking the cigarette but is made uncomfortable by Al’s proximity to her.

From the living room, Sheila watches Julie smoking with an air of surprise but does not reprimand her. Instead she smiles at her daughter and blows smoke rings with her own cigarette. They exchange smiles.

9. INT. LIVING ROOM/DEN—NIGHT

Delirious montage of details of the room and the movement of the guests as the party wears on.

10.INT. LIVING ROOM—NIGHT

Sheila and Julie dance as Julie hammers away on the organ. She plays very badly. The mother and daughter improvise a raucous R ‘n’ R tune. Bill and Al are off to the side in quiet conversation. Sheila dances across to Bill.

SHEILA

Come dance with me.

BILL

(smiling, pushes her away)

C’mon, c’mon.

Sheila dances back across toward Julie, and Tom joins her in a sloppy dance.

BILL

Just knock that off; you’re making me crazy. Turn it off. Shut that thing off.

Julie lifts her hands off the keyboard and the organ dies.

JULIE

It is off.

SHEILA

Take it easy, Bill.

BILL

Stop that dee-dee-dee shit.

Julie gets up and leaves.

TOM (O.S.)

Hey, Jules, c’mon play for us.

11.INT. STAIRWELL/FOYER—NIGHT

Julie stomps up the stairs. A needle drops sharply on the turntable.

From the base of the stairs, Al watches Julie’s foot disappear around the banister.

12. INT. LANDING/MASTER BEDROOM—NIGHT

At the top of the stairs, a light is burning in the large master bedroom on the bedside table next to a bottle of whiskey and a tumbler; the bed is unmade. An informal wedding portrait of Sheila and Bill is on the nightstand.

A rifle rests in the corner of the room.

Julie lingers in the doorway a moment. She enters and closes the door behind her. She pushes over the photos on the bedside table and jumps on the bed where she discovers her mother’s nightgown.

BILL (O.S.)

Just a little while ago you were nothing, you know, you were nothing. Just a woman in a bar with a little snotty-nosed kid, a little snotty-nosed kid.

SHEILA (O.S.)

What is this story you’re telling me? A little Biafra here.

Sheila and Bill laugh.

SHEILA (O.S.)

I was perfectly fine.

BILL (O.S.)

I understand it was a hell of a job. That was real— working for the president. One hell of a job. I mean it was fine, I’m not saying anything—c’mon—you were working in a bar. Give me a break.

SHEILA (O.S.)

I happened to grow up five blocks from that bar.

I know all the people. It’s not a sleazy place.

BILL (O.S.)

I’m just saying that it’s not exactly brain surgery, that’s all.

SHEILA (O.S.)

Good Lord! I wouldn’t exactly call yourself a brain surgeon.

She pulls her shirt over her head and holds the nightgown up.

13. INT. BATHROOM—NIGHT

SOUNDS of the PARTY continue downstairs: MUSIC, VOICES, GLASSES CLINKING mingle with the rushing WATER. Water pours from the tap; bubbles form on the surface of the water. Julie’s foot plays with the tap as it fills the tub.

SHEILA (O.S.)

One invention and you’re sitting pretty.

BILL (O.S.)

That’s right, we’re sitting pretty.

SHEILA (O.S.)

Oh yeah, well, we’ll just see about that. You’re getting pretty tight, aren’t you? Counting every penny.

Julie sits in the bubbles up to her neck. Her dry hair hangs over the edge of the tub. She picks up a lipstick from the edge of the tub and applies it using the side of the tube as a mirror. She admires the fractions of her face that she can see in its reflection.

14. INT. DEN/BAR—NIGHT

Sheila leans against the hearth framed by a rack of rifles. She lets out an exasperated sigh over the sound of her own voice arguing with her husband.

BILL (O.S.)

It’s not every penny. It’s thirteen hundred dollars. I have a right to ask my wife.

15. INT. BATHROOM—NIGHT

Julie slowly slides herself into the water. She thrashes around under water blowing bubbles to the surface. Underwater the argument turns to mush.

BILL (O.S.)

I’m just asking. I have a right to ask my own wife about the goddamned money.

16. INT. LANDING—NIGHT

A bottle is knocked over.

SHEILA (O.S.)

I resent, I resent that you call my daughter …

17. INT. BATHROOM—NIGHT (CONT.)

Julie reemerges from underwater and the sound returns to normal.

BILL (O.S.)

What did you call me that for … just think of who you’re talking to.

SHEILA (O.S.)

You’re drunk.

BILL (O.S.)

Oh yeah, so what are you the Virgin Mary you’re so sober?

17. A SPECIAL EFFECTS SHOT OF GLASS tumbler with ice fills with scotch.

18. INT. BATHROOM—NIGHT

In a three-way mirror, apricot satin shimmers as Julie slides a luxurious nightgown, several sizes too large, over her head. The voices downstairs vanish as she is enraptured by her own sensuality. A loud CRASH is heard downstairs.

19. HARD CUT TO:

A tumbler of ice and scotch CRASHES to the ground.

20. INT. BATHROOM—NIGHT (CONT.)

21. Julie turns sharply at the SOUND.

22. INT. FOYER—NIGHT

Julie comes out of the bathroom and runs to the landing. Seen from high above through the bars of the staircase. Tom is between Sheila and Bill. The figures pass in and out between the rungs of the banister. Bill taunts Sheila.

SHEILA

Get your stomach out of the way.

BILL

Fuck you.

TOM

Don’t, Bill, c’mon …

SHEILA

I still have a few good years on you.

BILL

Fucking few, baby, few fucking years, baby …

Sheila spits in Bill’s face and laughs.

BILL

Fucking whore.

SHEILA

(shrieking)

Get out of my way.

BILL

Come back here, come back here.

Bill lurches toward her. Julie watches the fight from the landing. The FIGHT swirls up the stairs. AD LIB. As Sheila and Bill approach, Julie moves quickly away from the door of the room to the stairwell of the third floor.

24. INT. JULIE’s BEDROOM—NIGHT

Julie backs into her own bedroom and stands in the semidarkness. Sheila and Bill can be seen running up the stairs.

SOUNDS of Sheila and Bill SCRAMBLING into the master bedroom. The door SLAMS shut.

SHEILA (O.S.)

Stay away from me, don’t touch me!

BILL (O.S.)

Put that gun down, put it down.

SHEILA (O.S.)

I said stay away from me …

Sheila SCREAMS.

A shotgun BLAST is heard.

23.INT. DOLL HOUSE—NIGHT

The miniature chandelier swings in the doll house and a large armchair is overturned. The SOUND of tinkling GLASS.

24. INT. JULIE’s BEDROOM—NIGHT

Julie remains frozen and glazed, clutching the bundle of clothing. Her breath rasps slightly as she holds it in. She strains for sound. For a few moments SILENCE pervades the house. Finally, a DOOR OPENS and SLAMS shut, BOUNCING OPEN again from the force. Sheila lets out a long SIGH.

BILL (O.S.)

I can’t believe you.

SHEILA (O.S.)

You fat ugly thing that I married. You’re a piece of shit, you know that. You’re a piece of shit.

Julie’s eyes blink and shift toward the direction of these sounds.

Julie takes a few steps forward and listens as STEPS bound quickly down the stairs, a dog YELPS in pain.

TOM (O.S.)

Hey, Bill, what’s going on?

DOOR OPENS and SLAMS shut. FOOTSTEPS crunch on GRAVEL. a CAR DOOR OPENS and SLAMS shut, and a dog BARKS, a car DRIVES away up a long GRAVEL drive.

After several beats, Sheila lets out a LONG SLOW SOB.

Julie very slowly lets out her breath in an extended sigh. She moves slowly toward the stairs, stopping first to place the laundry in her hamper, and then descends.

25. INT. LANDING/MASTER BEDROOM—NIGHT

Tom’s FOOTSTEPS bound up the stairs; near the top, his pace slows. Julie watches from the third floor landing as Tom slowly approaches Sheila’s room. Tom enters and sees Sheila holding the smoking rifle in front of her.

TOM

Put the gun down, baby, put the gun down, baby.

SHEILA

Get out of my room. Get out of my room. Get out of my room.

Tom strides up to her and grabs it out of her hands, overpowering her with no difficulty. He catches her off balance and hurts her hands.

AL (O.S.)

Sheila, Tom, what’s going on?

With the rifle in one hand, Tom backs out of the room.

Sheila throws an ashtray at him. Tom turns and sees Julie behind him.

TOM

(voice quivering but in command)

Everything’s fine … go to bed.

He pushes past her and hustles down the stairs.

Al, hanging back from the scene, stands midway on the stairs.

He hangs his eyes on Julie as Tom pushes past.

Al pauses a moment staring at Julie, then follows Tom down the stairs.

Julie, standing in the open doorway, in embarrassment notices that she is still in her mother’s nightgown and pulls it close around her.

TOM (O.S.)

C’mon, let’s get out of here. Al, c’mon move it.

Julie stands silent and contorted, tears filling her eyes, but she does not cry.

SHEILA

Julie, Julie.

Julie turns and walks slowly toward her mother. The music box begins to play.

26. INT. MASTER BEDROOM—NIGHT Julie embraces Sheila and lays her into bed. Julie sits quietly on the edge of her mother’s bed, and softly and out of key, she sings her to sleep.

DISSOLVE TO:

27.INT. DINING ROOM—NIGHT

Passata la musica finita la festa. The guests have gone home, and this is what remains. Wax drips from smoldering candles, the carcasses of the turkeys are picked bare. Bottles and wine glasses are tipped on their sides. A broken flower vase spills forth, and the water makes an incessant drip into a puddle on the floor. The fruit has rotted in its bowl.

DEAD LETTERS DON’T DIE

(Originally “Thomas Fupper”)

by Anais Granofsky and Michael Swanhaus

BLACK SCREEN

White calligraphy text appears on the screen. “Once upon a time, just a Christmas ago …

INT. MAILBOX—DAY

Darkness.

The creaking of rusty hinges.

A rectangle of light creeps open, and the face of AMANDA CARSON appears in the lit frame. A French chapeau rests on her flaccid brown hair. Hiding behind nervous squirrel-like features are scared, world-weary eyes. She glances around, tenderly marks the envelope with a kiss and drops it into what we now discover is a mailbox.

The letter lazily floats downwards and lands atop a hill of waiting letters.

CUT TO:

EXT. DEAD LETTER OFFICE—DAY

A plaque reading “U.S. POSTAL SERVICE-DEAD LETTER OFFICE” is bolted to a closed side door.

INT. DEAD LETTER OFFICE

Mountains of jaundiced Santa letters. Long-forgotten packages line the aged brick walls. The depths of the Dead Letter Office.

Christmas cheer hangs limp from every over-packed shelf. A pathetic Post Office-issued tree struggles to hold its last two remaining bulbs. The camera PANS past discarded presents. A snow shaker, two dancers eternally whirling in an afternoon snow storm. Lacy red panties. A huge rotting teddy bear, two bags resting under its arms.

We finally stop on THOMAS FUPPER, a middle-aged postman with a thin, nondescript face. He’s intently reading a weathered copy of Cyrano de Bergerac. Beside him sits CHUCK SLATES, the only other worker in this office of lost dreams. Chuck reads a Christmas edition of Playboy, while sucking on a Pepsi through a red twizzler.

A loud CRASH echoes throughout the room as the doors are flung open by BOSS, a grossly overweight man with the face of a bulldog. He huffs and snorts with the exertion of carrying two large mail sacks.

BOSS

Hey pissants! Why don’t you get your hand off your chub and help me out!

Thomas and Chuck grapple with the bags, dragging them to the sorting table.

BOSS (CONT.)

Goddamn Santa Claus is gonna give me a bleedin’ hernia!

Boss sits down with a rush of air.

BOSS (CONT.)

All these kids do today is take. Take. Take. That’s what you get with a world full of backseat produce. When I was a kid, a smack across the head did me just fine. Hell, I’d go to the sack with a grin on my face, thinkin’ I’d had a damn good Christmas.

CHUCK

I think that’s referred to as child abuse.

BOSS

It’s more than I get now. (He glances over to Thomas.) You talkin’ today Fupper?

Thomas stops his sorting and looks up.

THOMAS

Sure I am, Boss.

BOSS

Too bad. Get this crap sorted by three.

Boss heads back out the door.

There’s a CLUNK in the walls. Thomas falters in his sorting and looks at the clock. It’s four. The faint sound of a letter wisping down the chutes.

INT. CHUTE

A letter tumbles and soars downward in a type of stationery ballet.

DEAD LETTER OFFICE

Thomas stares at the chute’s opening.

CHUCK

That her?

THOMAS

Yeah.

CHUTE

Arching and dipping, the letter makes its way toward the dim opening.

DEAD LETTER OFFICE

Thomas waits. Not breathing. The letter approaches. The far-off sound of a typewriter. SWOOSH. It soars out of the chute and lands directly in front of him. The lipstick kiss marks the letter as Amanda’s. Thomas stares. Unable to move.

CHUCK

So, what doth the fair maiden have to say this week?

Thomas reaches out and picks up the envelope. Gingerly he tears it open and begins to read. His voice blends with Amanda’s and continues over into the next scene.

AMANDA (V.O.)

My dearest Joshua. As always, I miss you with everything I am.

EXT. AMANDA’S HOUSE—AFTERNOON

Thomas sits on his trusty 1940 Schwinn Classic bicycle, his brown-bag lunch sits in the plastic basket hanging above the front tire. A speedometer and mileage counter are attached to the handlebars, and two “U.S. Postal” saddlebags hang from the seat. Thomas takes a bite out of his sandwich, his eyes never leaving Amanda’s front door.

AMANDA (V.O.)

Christmas is coming, as it tends to do each year, and I am still in solitude. This time of year holds no joy, only loneliness.

Amanda stands on her front porch, completely unaware of Thomas’s watchful eyes. She is trying to hang a wreath on her door, but just can’t seem to get it.

AMANDA

Darn it!

Thomas looks on with an aching love. Her frustration is not hers alone. He cringes as she tries … and fails.

STEVE, another mailman, comes walking down the sidewalk. Thomas jumps at the sound of his voice.

STEVE

Hey, Tom. Whatchya doin’?

Thomas quickly glances at Amanda. His foot kicks the pedal.

THOMAS

I was … was just eatin’ my sandwich, here.

STEVE

Awful far for lunch ain’t it?

THOMAS

I was … just, here, on the route.

STEVE

Aw yeah, I didn’t think you delivered here no more.

THOMAS

I, ah, yeah, I had myself transferred to the office.

STEVE

The office?

Thomas starts the bike in motion.

THOMAS

It was good seeing you, Steve.

Steve smiles uncertainly.

STEVE

Yeah, you too.

Thomas makes like a tree.

Amanda finally hangs her wreath and, with a last glance, walks inside and closes the door.

The wreath hangs as a delicate symbol of Christmas, then falls to the ground with a loud SMASH.

CUT TO:

INT. DEAD LETTER OFFICE—AFTERNOON

Thomas sits reading the last of Cyrano. The brown-bag lunch finished and crumpled in front of him. Chuck appears from the back of the room.

He holds up a very tacky, see-through negligee.

CHUCK

Deb’s secret Santa gift. What do you think?

Thomas looks up from his readings.

THOMAS

You bought that?

CHUCK

Naw, it was in the back. Package didn’t have a return address. Saved myself five bucks.

THOMAS

I guess it’s the thought that counts.

CHUCK

Damn right. What’d you get for your ole’ lady?

THOMAS

Oh, I … I wouldn’t even know what to … She deserves more than I could give her.

Chuck shoves his lacy gift in a drawer and begins to throw letters into their appointed boxes.

CHUCK

Still haven’t talked to her, huh?

THOMAS

Uh, not yet.

Chuck faces Thomas.

CHUCK

Fupper, you gotta take the bull by the balls.

He crumples the letter he is holding into a ball.

CHUCK

This Stevie Wonder, secret lover crap has gone on for much too long.

THOMAS

It’s still too early.

CHUCK

It’s been two years! She writes to her dead husband for God sakes; you can’t tell me she doesn’t need a friend.

THOMAS

I don’t want to rush it.

Chuck shrugs his shoulders.

CHUCK

Hey, it’s your day at the track, but if you ask me, no one likes to bet on a horse that shows.

The SOUND of Thomas’s bicycle.

CUT TO:

EXT. AMANDA’S HOUSE

Thomas sits on his bike across the street straightening his bow tie. A suit that appears to be one size too small rests on his bony frame. A single daisy sits in his basket.

THOMAS

Hello, my name is Thomas Fupper. I’m a mailman at the … uh, post office, and I’ve been reading …

He takes a deep breath, smoothes his eyebrows, grabs the flower, and dismounts his bike.

EXT. AMANDA’S FRONT WALK

Thomas approaches the cement walkway.

THOMAS

Hello, my name … is Thomas Fupper. I’ve been … I mean I work at the Dead Letter Office …

Thomas’s footsteps falter. His last remaining words sink in, and he halts, his foot near the edge of the path. He stares as if seeing the house for the first time.

Go! Go, Goddammit! Nothing. Thomas wilts, he can’t go through with it. He gingerly lays the daisy down on the cement slab of the walkway. He retraces his steps, a beaten man. Thomas speeds away just as Amanda rounds the corner and comes to her walkway. A daisy. She picks up the abandoned flower and looks around. No one. Must have fallen out of a bunch. She moves toward her house, cradling the flower.

CUT TO:

INT. AMANDA’S HOUSE—NIGHT

The daisy sits in a glass on Amanda’s T.V. dinner stand. She’s eating a Swanson frozen dinner “Beef Surprise.” The television blares some nonsensical movie of the week, in which Amanda is deeply involved.

We PULL OUT to reveal a set of men’s clothing neatly laid out as if someone was sitting there. Beside the suit is a small child’s outfit, propped under the invisible man’s arm. It looks like a normal family at rest, minus the family. Amanda reaches over and takes the empty sleeve in her hand, as if taking the arm of a loved one. A distracted smile remains on her face.

CUT TO:

INT. THOMAS’S APARTMENT—NIGHT The dingy little room is lit by a single lightbulb hanging from the cracked ceiling. Thick, floral print wallpaper clings to the sheet rock. A Charlie Brown Christmas tree slouches in the corner.

A picture of Fred Astaire and Ginger Rogers dancing in the snow is taped to the wall.

Rudolph the Red Nose Reindeer laments from the television.

Thomas sits in an overstuffed armchair. (The next sequence of shots will be done as we dolly behind Thomas’s head.) He raises a cup of cider to his lips. Drinks. Lowers the cup.

Drinks again. The cup disappears from sight. He raises his hand and places a gun in his mouth. Christmas lights blink. The steel barrel knocks against his teeth. A tear rolls down his sallow cheek. Rudolph.

Thomas yanks the gun out of his mouth and sinks down onto the orange shag rug. The gun slips from his fingers.

GRAPHIC MATCH:

INT. DEAD LETTER OFFICE—DAY

A child’s drawing of Santa lying in a pool of blood. Below, in the hand writing of an eight-year-old, are the words:

SANTA LIES.

Chuck shakes his head as he examines it.

CHUCK

Merry Christmas. Jesus.

Thomas sorts through hundreds of letters. Boss comes busting in. More letters, and he’s not pleased.

BOSS

I wish I was packing. If I was packing, I’d blow some heads clear off their necks.

Thomas gingerly takes the sacks from his boss. Resigned to being unarmed, Boss sinks into a chair.

BOSS

At least it’s the last day of this holiday horseshit.

CHUCK

That’s more in the spirit, Boss.

BOSS

You can suck my spirit.

Chuck drops his bag and faces Boss.

CHUCK

Now, did the good man from the North Pole person really piss in your Corn Flakes? Or does being an ass hole just die hard?

BOSS

You have a problem with me, Mr. Slates?

CHUCK

In fact I do. Tom and I were wondering why people like you find it necessary to puke on everybody else’s parade?

BOSS

This true, Fupper?

Thomas looks up, dazed.

Thomas

Yeah, sure.

CHUCK

You’d think you were the only guy ever to get his ass kicked by a holiday.

Boss stands up.

BOSS

You want to know the last time I ever celebrated Christmas? December 24, 1959. That’s the last time my mother ever brought home a stinking pair of orange jogging pants. Every year she’d come home from that stinkin’ pants factory and every year she’d have that brown paper package. Three pairs of extra-large orange jogging pants. You know what that does to a kid, havin’ to go back after every Christmas break wearin’ oversized, polyester orange pants. Let me tell you, it teaches you that Christmas good tidings don’t last much past the twenty-fifth of the month.

Thomas and Chuck stand silent.

BOSS

So I decide I’m not gonna do it no more, not this year. She walks in with this big ham-hock-eatin’ grin on and hands me that package. I flung that orange bomb so hard across the room I could hear it tearin’ in mid-flight, “I’m not wearin’ those fuckin’ orange pants no more!!! I hate ‘em and I hate you!” Well my mother, she starts to cry and she doesn’t stop, in fact she keeps cryin’ right out the front door. I looked over at that torn brown package and there they were, pretty as could be, a pair of spankin’ new blue jeans. That’s the last time I ever saw the woman who gave me this rat trap of a life. See, I’m not pretending my life isn’t an empty piece of crap.

So if it pleases you to eat your turkey and shove a couple of potatoes down your gizzard, then be my guest. Just leave me the fuck alone.

Boss turns and leaves the room. Chuck and Thomas are speechless. Chuck reaches into his drawer and pulls out a plastic bag.

CHUCK

I guess I won’t give him this.

THOMAS

What is it?

CHUCK

Jogging pants.

(shrugging)

No forwarding address.

Chuck tosses them to Thomas.

CHUCK

Here, use them with passion.

Thomas looks down at the bag.

THOMAS

Things aren’t so good, are they Chuck?

CHUCK

No, my friend, they’re not.

Chuck throws down the letters in his hand.

CHUCK

Well! Screw this, I’m gettin’ outta this hell hole. I got a mildly attractive wife and two bug-eyed kids waitin’ for me. You comin’?

THOMAS

Naw. Her letter comes today.

Chuck throws on his coat.

CHUCK

Wanna see what I found today?

He holds up the drawing of the dead Santa.

CHUCK

Nice, huh?

THOMAS

Who sent that?

Chuck crumples the picture into a ball and throws it onto the sorting table.

CHUCK

A very misdirected child.

There’s a CLUNK from above.

CHUCK

I’ll leave you two alone.

A pat on the back and Chuck’s gone. Silence.

The letter travels its whispering path and lands in front of Thomas. He rips open the envelope.

AMANDA (V.O.)

My dearest Joshua. I am writing to you for what may be the last time. The little hope I’ve been clinging to is gone.

CUT TO:

EXT. STREET—AFTERNOON

Thomas rides down the street between two long snow banks. He notices nothing. The world does not exist.

AMANDA (V.O.)

Once, I could believe that a miracle could fall from the sky. But as the season becomes colder, I now know that I can’t stay in a life that doesn’t need me.

Amanda’s letter flaps inside the plastic basket.

CUT TO:

EXT. STREET

We follow a scruffy pair of shoes making tracks down the sidewalk. A black bag bounces against his knees. Shouting and police sirens can be heard.

CUT TO:

EXT. STREET

Thomas’s wheels crunch through the cold winter air.

CUT TO:

EXT. STREET

The scruffy pair of shoes, now attached to a scruffy looking man round the corner and SLAM!!! Right into Thomas. Police round the corner.

The man untangles himself and flees, dropping the black bag on the road. Police pound past.

Silence. Bicycle wheels spinning. Thomas reaches over and pulls the bag close to him. He slowly unzips it and looks in.

CUT TO:

EXT. SHOP—AFTERNOON

Thomas’s bicycle slides to a stop in front of a small second-hand shop. In the window, a Santa suit stands glowing in the cold afternoon light. Thomas cuffs the kickstand and dismounts.

CUT TO:

EXT. STREET—CHRISTMAS EVE—LATE AFTERNOON Christmas decorations droop across the street top, smothering the air with Christmas joy. Snow pours out of the sky. The faint sound of Booker T & the MGs playing “Santa Claus Is Coming to Town.” Then, out of the snow, barreling down the street is Thomas.

His bicycle is decorated like a Mr. Magoo version of a Norman Rockwell Santa sled. A plastic Rudolf the Red-Nosed Reindeer with a glowing cherry red nose is wired to the front. A transistor radio propped up in his basket blares Booker T. Thomas sits decked head to waist in the Santa costume from the store window. On his legs are the orange jogging pants from Chuck.

The black bag sticks out of his mail sack.

Madly, he steers his bike through the snow. He cuts sharp right down the next block.

CUT TO:

EXT. EMPIRE STATE BUILDING—NIGHT

A Salvation Army Santa Claus stands in the cold next to his empty money pot senselessly ringing his bell. Thomas buzzes up past him and curbs his bike. He steps onto the pavement, grabs the bag and pats Rudolf on the head.

THOMAS

Don’t go away, I’ll be back in a zip.

He approaches the entrance.

DARREL (O.S.)

Yo, Santa!

A group of young black kids rouse Thomas from behind. DARREL, the leader of the boys, struts up to Thomas and pushes him in the back. Thomas turns in confusion.

DARREL

Santa, I’m talking to you.

His friends walk up and surround Thomas.

DARREL

Yeah, I was just wondering if you got any presents in that bag for me.

The boys laugh.

What?

THOMAS

He pulls a knife from under his jacket.

DARREL

Let’s get this over with. Give me your money.

The kids pull in tighter. Thomas looks over to the Salvation Army Santa and back to the kid.

DARREL

Come on, man. I don’t need this crap tonight.

THOMAS

Can I ask you a question?

Darrel’s thrown back by his sincerity.

DARREL

(looking around to his boys)

A fuckin’ crazy man.

(back to Thomas)

Yeah, OK. What?

THOMAS

You ever believe in Santa Claus?

All the boys laugh.

THOMAS

As a kid?

DARREL

I don’t believe in no fairy tales, and I sure as hell never expected no handouts. I got schooled pretty quick that what you take is what you get. So to answer your question, I never had a chance to believe in no Santi Claus.

THOMAS

I’m sorry.

DARREL

Yeah, so am I.

Thomas grabs a couple hundred dollars from his pouch.

THOMAS

(dropping the bills into Darrel’s open hands)

That’s all I can give you.

Thomas disappears into the Empire State Building. As he trails off down the hallway, satchel in hand, the camera PANS UP to the top of the Empire State Building.

DISSOLVE TO:

INT. AMANDA’S HOUSE—NIGHT

CLOSE-UP on a framed postcard of King Kong scaling the side of the Empire State Building. SCREAMS and HOWLS blare from off-screen. The camera DOLLIES OVER to Amanda, who stands at the kitchen sink, plate in hand, carefully listening to an old transistor radio which rests on the window sill. A NEWS CASTER continues:

NEWSCASTER (O.S.)

The police don’t seem to know what to do. Nothing like this has ever happened on Christmas Eve …

EXT. AMANDA’S HOUSE

Thomas sits on his bike across the street watching Amanda through the window. A pile of Amanda’s letters neatly tied under a red velvet bow sits in his basket. Thomas straightens his eyebrows and readjusts his beard.

THOMAS

Hello, my name is Thomas Fupper. I know you don’t know me, but I …(he inhales deeply) I am in love with you.

He grabs the letters and dismounts his bike. Swiping his hand along Rudolf’s body, he gives him a quick pat on the head and moves toward the house.

EXT. AMANDA’S FRONT WALK Long strides. Slowing as they approach the door. Smooth yellow paint surrounds the buzzer. Thomas’s long bony finger reaches in. He pauses. Moving closer, now shaking.

The door bell shrieks. He beckons the dreaded buzzer.

THOMAS

Hello, my name is Thomas …

From inside he hears the VOICE OF THE NEWSCASTER.

INSERT RADIO:

NEWSCASTER (O.S.)

The riots started shortly after a man apparently dressed as Santa Claus threw approximately forty thousand dollars off of the top of the building …

CUT BACK TO:

The voice trails off. LOUD SCREAMS AND POLICE SIRENS are heard from inside the transmitted world.

Thomas stands stunned.

Fire. Howling sirens. It can’t be real.

He falters back, unable to comprehend the repercussions of his actions. Suddenly the door opens. Thomas jumps and drops the letters. They tumble and spill across the front steps. He glances down at the letters and back to Amanda, who quickly recognizes them as hers.

Embarrassment contorts in her saddened eyes.

THOMAS

I, I …

He slowly backs away as Amanda looks down at the letters.

THOMAS

(continuing to back up)

I … I’m sorry.

He turns and bolts right into his bike, causing it to come crashing down with him. He stumbles to his feet and takes off down the block.

Amanda stands alone on her front porch with the last few years of her life thrown at her feet. Ever so gently, she crouches down and reaches for the precious papers.

Her eyes well up as she’s left to collect her innermost thoughts.

CUT TO:

INT. DEAD LETTER OFFICE—NEXT MORNING

Thomas lays amongst bags of letters, sound asleep.

Sunlight streams into the office. Particles of dust highlighted like crystal.

He pries each eye open with some difficulty, rolls his head to one side, and scuttles backwards. He quickly smoothes over his eyebrows.

Amanda sits on a pile of letters, calmly watching him. Thomas’s bike is parked behind her.

They say nothing, merely contemplating each other’s presence.

Thomas opens his mouth but Amanda speaks first.

AMANDA

I followed you. From my house.

Silence.

THOMAS

It was an accident. Everything that happened was a mistake.

AMANDA

How did you get my letters?

THOMAS

I work here … in the office. I didn’t mean any harm. Everything just happened so quick, I wasn’t ready.

AMANDA

Who are you?

THOMAS

My name’s Thomas.

AMANDA

OK, Thomas. Tell me, what’s happening?

Thomas lets his hands drop.

THOMAS

It went all wrong. They didn’t understand. I just wanted to give them something to believe in.

AMANDA

It was you.

THOMAS

I was giving it to them. Everybody needed something and … it was all I had to give you.

AMANDA

What does that have to do with me?

Thomas shifts in his pile of letters and looks down.

THOMAS

I’ve always had this dream, and it’s ridiculous because it’s a direct rip-off of an old Fred Astaire film, but it’s mine … because you’re there. We’re dancing in the sunlight of a snowstorm. And, I, I couldn’t let that die.

Amanda timidly looks at his face.

AMANDA

How do you know me?

THOMAS

I used to deliver to your house. I tried so hard to speak with you, but when I saw what he did to you.

Amanda looks away.

THOMAS

I hated coming there; I hated not doing anything when I saw him hurting you. But when I left, you started writing.

AMANDA

You were reading them.

THOMAS

It was the only way I could know you. I wanted to give you your miracle. But they didn’t understand what it was supposed to be.

Amanda crawls over and removes Thomas’s beard and hat.

AMANDA

My husband didn’t die. He took everything and disappeared.

A letter shoots out of the duct and soars into the air.

THOMAS

I know.

The faint strings of an instrument.

AMANDA

He took my life.

Five more letters fly into the air. In seconds, hundreds of letters are shooting out of the duct. CLASSICAL WALTZ MUSIC slowly fades in.

THOMAS

I just want to try.

AMANDA

I don’t know how to start.

THOMAS

You already have.

Amanda takes Thomas’s hand. He inhales her clean scent.

They slowly embrace.

Letters fly everywhere, like snowflakes.

Step by step, they begin to waltz across the floor like Ginger Rogers and Fred Astaire. Two people who have never known love just found it.

In the background, the sound of POLICE SIRENS can be heard.

THE END