This is the intro and excerpt from Act One of the screen play. Contact me if you would like to become a critical reader.
CONSEQUENCES OF FADING ECHOES
Written by
Brad Allison
Based on Repercussions: A New Dawn
By Brad Allison
(c)2024 by Brad Allison
ACT ONE
FADE IN:
EXT. APARTMENT PARKING LOT - NIGHT
A harsh November rain falls, the night engulfed in cold and wetness. Headlights cut through the dark, a car maneuvers into the lot, tires splashing through puddles. It comes to a stop under a carport, rain pounding rhythmically on its roof.
INT. CAR - NIGHT
Black leather-gloved hands tightly clutch the steering wheel. One hand extends, smoothly shifting the gear shift into park. The same hand makes a slight adjustment to the rearview mirror. Reflected in it, we catch a glimpse of MIKE HARTFORD’s eyes, the glossy rain-soaked asphalt, and the
brightly illuminated parking lot stretching out behind.
A slow instrumental rendition of Alan and Marilyn Bergman’s “What Are You Doing The Rest of Your Life?” plays softly on the radio.
MIKE HARTFORD (30s) mutters to himself
MIKE
Could you have not sent me a nicer night, Tad?
EXT. APARTMENT PARKING LOT - NIGHT
The car door opens. A black umbrella pops into view, held by the same gloved hand. A wisp of cold breath escapes from behind it. MIKE, clad in a tailored suit and London Fog overcoat, steps out. He closes the door, turns, and walks toward his apartment building, his Prada shoes sloshing through puddles. He reaches the front glass entry doors to the apartment building, scans his keycard, and steps inside.
INT. APARTMENT ATRIUM - NIGHT
Rain drips off MIKE’s coat as he closes his umbrella at the entrance. The lobby is polished and minimalistic. His shoes echo on the porcelain tiles as he makes his way to the elevator. He summons the elevator - the doors open immediately. As he turns to enter, we see his face for the first time.
INT. MIKE AND TAD’S APARTMENT - NIGHT
The sound of keys unlocking the front door echoes in the dark apartment. MIKE enjoys the spaciousness of the open floor plan. The lights flicker on, highlighting a framed photo of MIKE and TAD on a table. Mike tosses his keys onto a desk near the entrance, stows his umbrella, and hangs up his damp overcoat. He stops to pick up TAD’s police hat from the bar table and smells it, longingly.
MIKE
Surrounded by people all day, yet now when I need someone, there’s no one around.
He replaces the hat and strides into the living room, setting his cell phone and glasses on the coffee table, rubbing his tired eyes. He starts to remove his shoes, glancing at the notification-filled phone screen.
He heads to a small wet bar, pouring brandy into a snifter after taking a direct swig from the bottle. His gaze lands on another picture of him and TAD on the counter.
MIKE (CONT’D)
Oh, Tad...
Tracing the frame with his finger, he picks up the snifter and the bottle, retreating to the sofa.
Suddenly, the BUZZ of the intercom breaks his reverie. He pushes himself off the sofa to answer, pressing a button on the intercom panel.
MIKE (CONT’D)
Yes, who’s there?
INTERCOM (O.C.)
(Through the speaker)
Delivery for a Mike Hartford.
Mike looks at the camera feed - a figure stands holding a floral bouquet. MIKE pushes a button on the intercom.
MIKE
I’ll buzz you in.
He lingers, the warmth of the brandy soothing his thoughts. Placing the glass aside, his gaze drifts to the wall mirror. He runs his fingers through his unruly, curly auburn locks, acknowledging their need for a trim, and observes the telltale signs of weariness in the reddened hue of his eyes.
A KNOCK at the door.
MIKE opens it to find a DELIVERY MAN, middle-aged, holding a bouquet. The man smiles, handing Mike the flowers.
Mike retrieves a bill from his pocket and hands it to the man.
MIKE (CONT’D)
Thanks.
DELIVERY MAN
Thank you. Have a good evening.
The delivery man tips his hat and leaves. MIKE closes the door, retrieves his drink, and carries both
items to the coffee table. He sits, opening an envelope from the bouquet.
INSERT - CARD
“We deeply regret missing the funeral. Please remember, we’re
here for you. Don’t hesitate to reach out if you need
anything. Our thoughts and prayers are with you during this
difficult time. Larry and Scott.”
BACK TO SCENE
He tosses the card onto the table, picks up his phone, and starts listening to messages.
WOMAN’S VOICE (V.O.)
Mike, this is Barbara. Can you give me a call?
MIKE
What the hell does she want?
The next voice mail on his phone blares out.
WOMAN’S VOICE (V.O.)
It’s mom. We’re worried about you. Call when you get this. We love you.
Mike skips to the next message.
MAN’S VOICE (V.O.)
I need that Q3 report ASAP. Clients are waiting. Call me.
Mike sits in the dim light, lost in thought.
MIKE
(murmuring)
Let Jason wait...
He flicks through his phone, lands on BARBARA’s contact, and taps to call. The phone emits a ringing tone, then the line connects as someone picks up on the other end.
MIKE (CONT’D)
(into phone)
Barbara...I don’t want anything of Tad’s, especially not from you... A letter? Why would he leave it with you? Fine. Come over.
He abruptly ends the call, throwing the phone onto the sofa.
MIKE (CONT’D)
(to himself)
Good Lord, the man’s barely in his grave and you’re already bringing up his personal effects? Why now?
FLASHBACK - INT. HIGH SCHOOL HALLWAY - DAY
A bustling high school hallway is alive with the buzz of STUDENTS preparing for the next class. The excitement of the closing school year is palpable. YOUNG BILL (18) and YOUNG MIKE (18) stand by their lockers, swapping books. As classrooms fill, the noise level diminishes. Mike shuts his locker.
YOUNG BILL
It’s Friday, let’s do something.
YOUNG MIKE
We have finals...
BILL tugs at MIKE’s arm, urging him.
YOUNG BILL
You and your studying obsession. School’s almost over. Come on...
YOUNG MIKE relents with a sigh.
YOUNG MIKE
All right! Okay...
Suddenly, BOBBY KITNA (late teens) and his gang approach.
BOBBY KITNA
Faggots.
YOUNG MIKE remains facing away, deliberately ignoring Bobby. In a moment of frustration, YOUNG BILL forcefully slams his locker shut.
YOUNG BILL
What did you say, asshole?
YOUNG MIKE
Let it go, Bill.
Bobby approaches, grabbing his crotch.
BOBBY KITNA
How about a game of hide the salami?
YOUNG BILL
Why don’t you get on your knees and...
YOUNG BILL halts in his tracks when VICE PRINCIPAL MR. KLINE (50s) approaches them.
MR. KLINE
Is this a party I haven’t been invited to? Get to class. Now!
BOBBY and his friends chuckle as they disperse.
MR. KLINE (CONT’D)
Move along, boys.
MR. KLINE continues walking down the hallway.
YOUNG MIKE
An hour to go...Don’t let this ruin your day.
YOUNG BILL
I wanted to hit him so bad...
They walk down the hall.
YOUNG MIKE
He’s cute.
YOUNG BILL
Bobby?
YOUNG MIKE
He’s got a nice ass, too!
They burst into laughter, hurrying toward their class.
END FLASHBACK
GuyInKalamazoo
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