CELEBRITY STATUS by Luke Bradshaw
Philm Array Productions© WGA# 1694418
FADE IN: 1
INT. LAUNDROMAT - NIGHT
The spin cycle of a washer twirls the wet clothes round and round. An ELDERLY WOMAN (65) sits in a chair next to the machine, reading a magazine. A cigarette dangles in her mouth. The front door opens with a CHIME. A young girl, MANDY POKE (20) enters the laundromat frustrated and tired. Her hair is loosely pulled back in a ponytail. She has a laundry bag under her arm full of dirty clothes. She makes her way to the back with the washers. She sets down the bag and opens one of the washers near the elderly woman. They make eye contact. ELDERLY WOMAN I always stay close to the machine. You never know what kind of freaks are running around. Mandy smiles politely as she starts to load the machine. She looks to the coin slot. MANDY Three dollars?! You’re kidding me. ELDERLY WOMAN You don’t need to tell me that. Mandy looks at the change in her pocket. ELDERLY WOMAN What do you got? MANDY Five. I won’t be able to dry them and I still need money for the bus. ELDERLY WOMAN Here. I can scrape together something. The elderly woman opens her purse and counts out some quarters. I can’t.
The elderly woman hands her the quarters.
2. ELDERLY WOMAN Take it. It’s fine. You don’t come to the laundromat very much do you? Mandy reluctantly takes the money. MANDY Thanks. No, this is my first time. I just moved to the city. Mandy pushes the coins into the slot. The elderly woman looks up and smiles. ELDERLY WOMAN Welcome. From the looks of it you’re going to need some of this. She holds up a laundry detergent bottle. CUT TO: 2
EXT. CITY STREET - NIGHT
Mandy exits the all-night laundromat and heads down the block. 3
INT. CAFE - NIGHT
Mandy sits at a table with a newspaper in front of her. She looks at the Help Wanted ads. A MALE BARISTA approaches. BARISTA You sure you don’t want anything? MANDY No, thanks. BARISTA It’s kind of house rules that if you don’t purchase anything you can’t really loiter. MANDY Of course. Sorry. The barista looks down at the newspaper in Mandy’s hands. She nods and hands it back to him.
INT. LAUNDROMAT - NIGHT
Mandy fills her bag with the clothes from the dryer. She looks over to the chair where the old lady was sitting. It’s empty. Mandy doesn’t give it much thought and continues. 5
INT. APARTMENT - NIGHT
The front door opens. Mandy’s silhouette stands in the doorway with the laundry bag. She flicks on the lights to reveal a pretty drab apartment. Not much furniture. 6
INT. APARTMENT - BEDROOM - NIGHT
Mandy flicks the lights on in the bedroom and drops the bag of clothes on the floor. She collapses on the bed. CUT TO: 7
INT. APARTMENT - BATHROOM - DAY
We’re on a mirror. It’s covered TURN OFF. A few seconds later a the steam, revealing Mandy with She’s still very pretty without
in steam. We hear the shower hand comes in and wipes away a towel wrapped around her. make-up.
She picks up a brush and starts brushing her hair. She stares back at herself. MANDY Excuse me, are you talking to me? (robert deniro-esque) No wait, are you... talking to me? I don’t see anybody else here, so you must be talking to me. Are you talking to me? She quickly aims the brush at the mirror like a gun, laughing hysterically. 8
INT. CASTING AUDITIONS - WAITING ROOM - DAY
Mandy sits in a chair, chewing gum rapidly. She holds a head shot of herself. She wears a cute dress. There’s a few other equally pretty girls in the room. A door opens and a CASTING AGENT sticks his head out.
4. CASTING AGENT Mandy Poke? Mandy quickly looks his direction and takes the gum out, sticking it onto the back of her head shot without thinking. Uh huh. 9
INT. CASTING AUDITION - AUDITION ROOM - DAY
Mandy reads lines with the Casting Agent. MANDY Oh my god, it’s gaining on us! CASTING AGENT If we don’t get back to the lab with these samples, there’s no chance we can save the population. MANDY I have an idea. We can lead it to that sodium chloride factory over there. CASTING AGENT Sodium chloride? MANDY Yeah, sodium chloride is salt. It’s a giant slug, it should be killed by it. CASTING AGENT It’s worth a try. Both actors break from the scene. Mandy looks off camera. REVERSE Three people, sitting at a table turn to look at each other. The Casting Agent looks back. CASTING AGENT We’ll call you. 10
INT. DIFFERENT CASTING AUDITION - AUDITION ROOM - DAY
Mandy enters the frame, holding an imaginary coffee pot. She walks seductively.
5. Mandy turns and looks just off camera. MANDY Would you like a banana split with that? Back on a table with some new people. CASTING DIRECTOR We’ll call you. Mandy nervously smiles and nods. 11
INT. CASTING OFFICE - DAY
Mandy marches through the offices, angrily in her dress. MANDY We’ll call you. We’ll call you? We’ll call you! Mandy reaches the elevator and presses the button, repeatedly. MANDY What kind of crap is this stuff? She sticks her hip out and poses seductively just as the elevator doors open. MANDY Would you like a banana split with that? Mandy quickly chokes back her words when she sees a CUTE GUY (25) on the other side of the elevator doors. He smiles. CUTE GUY Sure, I’d love one. Mandy huffs and steps into the elevator as the cute guy steps out. Mandy presses the close button. The cute guy quickly puts his hand up to stop the door from closing. CUTE GUY I’m sorry, I thought you were offering. MANDY What? Oh no, it was a line for this stupid audition I just did. Can you let go of the door?
6. CUTE GUY Did you get it? She’s annoyed. MANDY They said they’d call me. Why does it matter? CUTE GUY I’m just curious because judging by your emotional state it didn’t go so well. MANDY You try delivering a line like that in a tight dress and we’ll see how convincingly you pull it off. The cute guy laughs and reaches out his left hand. CUTE GUY I’m Marcus. Mandy stares at him. MANDY If I tell you my name will you let the doors close? Marcus looks down at his hand. Mandy reaches out and shakes it. MANDY Mandy. Look, I’m in a hurry. I have another audition I have to get to. MARCUS (cool) Blow it off. Mandy lets go of his hand. MANDY Blow it off? Are you crazy? That’s what I’m here to do. Act. MARCUS If what you call back there was acting, then I’ll save you the trouble, you need to look for another day job.
7. MANDY I wasn’t acting. I was fuming. Why am I even talking to you? Mandy is about to press the alarm button in the elevator. MARCUS I should know a bit about acting. I’m a filmmaker. Mandy stops. MARCUS One coffee. 12
INT. COFFEE SHOP - DAY Marcus sets down two coffees at the table and sits across from Mandy. MANDY I’m sorry if I was a little rude to you. I just moved to the city and to be honest I’m a little overwhelmed. MARCUS I see a hundred girls like you everyday, dreaming of becoming a movie star. MANDY Hey, it’s not about becoming a movie star for me. It’s about the acting. You know, getting lost in somebody else’s life and exploring how deep the inner recesses of the human mind can go. Marcus blows on his coffee. MARCUS So what was your next audition for? MANDY (reluctantly) Soup commercial. They both burst out laughing. MANDY I’m serious. If that’s what it takes to get me there, I’ll do it.
I can see Hollywood of drugs, beginning
MARCUS it now, the E True story... Mandy Poke, life scandal and murder, all with a soup commercial.
MANDY It could happen. So what do you make that’s so fancy? MARCUS Did you ever see Far Away From Home? MANDY Oh my gosh! Yes! I love that movie. It won Sundance! (beat) Wait, you’re joking me. You’re not Marcus Devita? Marcus nods. MARCUS Look at the possibilities when you give someone five minutes of your time. MANDY (to herself) I’m having coffee with Marcus Devita. (beat) But you’re cute. Filmmakers usually aren’t cute. Marcus laughs. MANDY Far Away From Home is a piece of art where I’m from. My friends and I, we’ve watched it at least twenty times. That’s partly what inspired me to take this chance. You did that? MARCUS Yeah, when I was twenty two. Wow, I’m honored to have inspired you. Where are you from?
9. MANDY The interior. The rest of my family works on my dad’s farm doing the daily chores. I couldn’t do it. I was horrible at it. I came here because I want to show them I’m good at something. I’m a good actor and if I work hard enough then maybe they’ll finally see I’m great at something. MARCUS I’m sure they already think you’re great. MANDY You don’t know my family. You have to do something, make something, create something for them to recognize you. They don’t know what to think about me, but they’d love you, cause you made something and you’re a big director. You’re family must be so proud. MARCUS I don’t know about big director. As glamorous as it may look we did that on a shoestring budget. I barely got paid anything. MANDY So you’re a visionary. MARCUS I’m a dreamer. MANDY Well, you’re not the only one. They both smile at each other. There’s definite flirtation. 13
EXT. COFFEE SHOP - DUSK
Inside, the coffee shop is closing. Outside, Marcus and Mandy say goodbye. MANDY It was very nice meeting you Marcus. It’s good to know there’s at least one person I can trust in this big city.
10. MARCUS Likewise. So, you have my card. I’ll give you a call sometime to see how the auditions are going. (beat) I’m working on a new project right now, maybe I can write you in something. Either way I’ll be in touch. Marcus smiles and heads up the street. Mandy unconsciously holds the card to her chest and watches him leave. 14
INT. APARTMENT - NIGHT
Mandy enters the apartment. She sets Marcus’ business card on the counter. She grabs her cell and thinks twice about calling him. She sets it back down. 15
INT. APARTMENT - BEDROOM - NIGHT
Mandy smiles as she sorts through her clothes on the bed. She folds up a pair of jeans. Suddenly she notices something and pushes through the clothes. She holds up one Christmas laden sock and rifles through some more. MANDY Not my lucky socks. Ugh! 16
INT. RESTAURANT - DAY
Dolly to reveal Mandy sitting at a table opposite the RESTAURANT MANAGER. She’s much more dolled up in a simple skirt suit. RESTAURANT MANAGER (O.S.) I’m sorry we’re just not hiring right now. Mandy tries to smile and nods. 17
INT. OFFICE - DAY Mandy sits across from a BUSINESS EXECUTIVE at his desk. BUSINESS EXECUTIVE I have to be honest, you don’t have much of the experience we need here on your resume.
11. MANDY I can get coffee for you and things like that. I’d be a good assistant. BUSINESS EXECUTIVE You got moxy that’s for sure, but I’ll have to say no. Take some more classes. Get an education then come see me. 18
INT. VETERINARIAN CLINIC - DAY
Mandy waits as a VET NURSE looks over Mandy’s resume. The nurse looks up. VET NURSE Have you bathed an animal before? Mandy smiles, trying to conceal a grossed out look. 19
EXT. VETERINARIAN CLINIC - DAY
Mandy exits, and runs her hands through her hair in frustration. She takes her pen and scratches another job off the paper. She chucks it in the garbage. 20
INT. APARTMENT - DAY
Mandy sits in a chair. She has her cell to her ear. MANDY (in phone) So no call backs? Not for any of the auditions? Okay, thanks. (beat) You know this is really hard-(beat) Hello? Hello? Mandy sets the phone down on the coffee table. Next to it is Marcus’ business card. She hugs her legs to her chest and rocks back and forth. Finally, she gives in and grabs the card and cell off the table, but can’t bring herself to dial. She sets the card back on the table when suddenly her phone RINGS. It startles her.
12. INSERT CALL DISPLAY On phone it reads: MARCUS DEVITA-BACK TO SCENE Mandy is excited, but calms herself down and answers. MANDY Hello? Oh hi, yeah Marcus of course I remember you. Good. Good. Just job hunting. Yup, still auditioning. It’s going great, I might have a few gigs lined up. Ummm dinner? Tonight? Mandy looks at the clock on the counter. She’s smiling. MANDY I think I might be able to make that happen. What the heck, a quick bite right? Sounds good. Okay see you then. Bye. Mandy jumps up from the chair and does a little jig. MANDY (stops dancing) What to wear? 21
EXT. STREET - NIGHT
Mandy stands on the corner of the street. She looks amazing in a cute outfit with a skirt. She checks her cell for the time again. She seems frustrated. We see a pair of hands enter the frame behind her. They quickly grab onto her shoulders. She jumps and screams. Marcus laughs behind her. MARCUS Did I scare ya? Yes.
MARCUS Sorry, I like to shock people. MANDY I can see that. You’re late.
13. MARCUS (looks at watch) Only fifteen minutes. Come on, I’ll make it up to you. You’ll love this place. My treat. Mandy relaxes and smiles. 22
INT. MEXICAN RESTAURANT - NIGHT
The restaurant is dark and moodly lit. A few other couples eat at various tables around Mandy and Marcus. They’ve both gotten very comfortable. MANDY So, I just told my parents, “I’m old enough to decide for myself what I want to do with my life.” And I packed my bags and headed out here. MARCUS That’s impressive. I grew up here so I’ve never really had to take a leap like that yet. It’s hard enough when you live here. (beat) You look great by the way. MANDY Thank you, just some stuff I threw together. MARCUS You gotta try the enchiladas. Magnifico! MANDY I think that’s Italian. The WAITER comes over to the table. WAITER ¿Qué le gusta comer esta noche? MARCUS Nos gustaría que dos de sus enchiladas. WAITER Muy bien excellente. The waiter takes the menus.
14. MANDY You speak spanish? MARCUS (laughs) Un poquito. There’s an awkward silence. MARCUS You know I thought about you a lot since I last saw you. MANDY It’s only been a day. Not even. MARCUS Come on, you weren’t thinking of me? MANDY Okay, yes I was thinking a lot about you too. I’m glad you called. It can be pretty lonely when you don’t know anyone. MARCUS I’m glad I can make you feel less lonely. MANDY So what was it that you needed to talk with me about? MARCUS Oh yeah, that’s right. Well remember when I said I had a new project on the go. Marcus picks up his bag and reaches inside. He pulls out a thick script and sets it on the table. Mandy looks down at the title page. It reads “A Night To Remember”. MARCUS It’s going to be my next film. We already have the financing in place and plan to go to camera in two weeks. Anyway, I was considering you for the lead. Mandy has picked up the script and is flipping through the pages.
15. MANDY The lead? Me? MARCUS You really impressed me, and last night I just sat down at my computer and re-wrote the whole script to fit you. MANDY This coming from the guy who said I should find another day job. MARCUS That was before I got to know you a bit better. Anyway, it’s up to you. I had a bunch of other actresses in mind to play the lead, but they just couldn’t live up to the part. (beat) There’s no rush. Take it home, read it, and if you don’t like it, I’ll let you go back to your other promising prospects. MANDY I’d be lying if I said I wasn’t flattered. To be honest, a lot flattered. No one’s ever done anything like this for me. But I have to say it’s all very sudden, I don’t know if I’d be ready for something-MARCUS It would be paid too, so just an added incentive. be really happy if you’d part. I can’t really see played by anyone else... I’ve met you.
that’s Look, I’d take the it being now that
MANDY Okay, I’ll read it tonight and let you know. MARCUS Great. I’ll be around. Marcus takes a drink of his water. Mandy loosely flips through the pages.
INT. APARTMENT - NIGHT
The apartment door OPENS and CLOSES. Mandy comes around the corner, arms wrapped around the script. She exhales as she leans against the wall. Mandy sets the script on a side table. She picks up the tv remote and turns on the tv. A commercial pops on. Mandy heads into the kitchen. We hear the fridge door open and close. ON TV The commercial flips back to a news program. An ANCHORMAN appears. ANCHORMAN Police are still on the search for missing sixty three year old Annabeth McKenzie, last seen roughly four days ago, Monday. BACK TO SCENE Mandy comes back into the living room with a glass which she fills with milk. She watches the tv with interest. ANCHORMAN (O.S.) Family say they became worried when two days ago Annabeth did not make her usual phone call to check in with her grandkids. Since then thereâ€™s been no indication sheâ€™s been to her home. If you have any information on her whereabouts, or were the last one to have seen her, please contact 1-800-323-TIPS. This is a recent photo. ON TV Next to the anchor-man appears a family photo. It is the ELDERLY WOMAN who was at the laundromat with Mandy. FLASHBACK TO: Mandy sets down her bag and opens one of the washers near the elderly woman. They make eye contact.
17. ELDERLY WOMAN I always stay close to the machine. You never know what kind of freaks are running around. BACK TO SCENE Mandy is shocked to see her picture. She spills a bit of the milk. Shit! 24
INT. APARTMENT - BEDROOM - NIGHT
Mandy paces back and forth in the bedroom. She is on her cell. MANDY Yes, hello my name is Mandy Poke, I’m calling in regards to the missing elderly woman reported on the news tonight. (beat) Well, I saw her about two days ago at the Flower and Suds laundromat. (beat) She was watching my clothes, but when I came back she was gone. I’d just assumed she had to leave. This was around midnight. (beat) You’re welcome. This has me really freaked out. (beat) Okay. Yes, you can contact me if you need any other information. Thanks. Bye. Mandy hangs up the phone. She turns out the lights and shuts the bedroom door. Mandy lies down on the bed, still in her clothes. The shadows of her window shades slash across her face. 25
INT. APARTMENT - NIGHT The script still sits where Mandy left it from before. The title page: A Night To Remember.
INT. FAST FOOD RESTAURANT - DAY
Mandy sits in a booth, eating french fries and reading Marcus’ script. She’s enjoying it. She reaches for another french fry and dips it in a lot of ketchup, without raising her eyes. As she brings it to her mouth the glob of ketchup falls onto the script. Damnit!
She grabs one of the napkins and tries to wipe it off, but it leaves a big red circle. As she looks up, she catches a STRANGE MAN looking at her from another table. She tries to blow it off, but when she looks back he’s still staring at her. He gives her the creepy vibe. She casually closes the script and begins to pack up her things. She makes her way to the exit and rushes out. After a beat, he gets up and heads toward the exit as well. 27
EXT. STREET - OUTSIDE FAST FOOD JOINT - DAY
Mandy shuffles down the street, clutching the script. She looks over her shoulder every now and then. When she sees the strange man exit after her, she picks up the pace. She’s scared. Suddenly she reaches a shop, and CRASHES into someone. She drops the script. A hand reaches down to pick it up. It’s Marcus. MANDY Marcus?! What are... There’s this guy and I think he’s following me. MARCUS Really? Oh shit, yeah there he is. I see him. The strange man in the distance begins to pick up pace and starts to run after Mandy. Hey! Stop!
Marcus grabs her hand. Come on.
19. The two of them hustle as fast as they can down the street. The strange man tries to give chase, but they’re too fast. When he rounds the corner, they’re gone. 28
EXT. ALLEY - DAY Mandy and Marcus catch their breath. Marcus rests his hand against the wall. He’s still holding onto the script. MARCUS What was that about? MANDY I don’t know. I was in the restaurant, just eating and this guy kept staring at me. Then when I get up to leave, he followed. MARCUS What a creep. MANDY Yeah. I don’t know. What are you doing here? MARCUS I was at the stationary store, picking up some more brads for the scripts we have to print. He really got you startled. MANDY Yeah, I’m just really paranoid right now. Something got me shook up last night. Marcus laughs. MARCUS I hope it wasn’t my writing. This is supposed to be a romance. Mandy laughs too. MANDY No, not that. In fact I didn’t even get a chance to read it yet. I got a few pages in when that weirdo freaked me out.
20. MARCUS I thought you said you were going to read it last night? MANDY I was, but like I said I was shook up over something. Marcus leafs through the script. He sees the huge ketchup stain on page five and shows it to her. Mandy laughs. MANDY I know, what can I say, I like my ketchup. Marcus isn’t laughing. MARCUS I thought you were going to take this seriously. I thought you’d be a professional about this. MANDY I am, geez Marcus, I’m sorry, I didn’t mean for that to happen. It was an accident. MARCUS No! There’s no accidents! I spent three years of my life, crafting and shaping this story into what it is. My blood, sweat and tears went into writing this, and you can’t even get past page five without spilling ketchup on it. You gave me your word. Mandy is hurt. MANDY Marcus, I said I’m sorry. I’ll take this seriously. MARCUS You know what, maybe my instincts were wrong about you. Maybe I made a mistake. You couldn’t be the actress for this film. (beat) Here, I’ll leave this where it belongs.
21. Marcus drops his script into a nearby dumpster and walks past Mandy who starts to cry. MANDY Marcus, please. 29
EXT. STREET - NEAR ALLEY - DAY
Marcus walks up the street, furious. CUT BACK TO: 30
EXT. ALLEY - DAY
Mandy is slouched against the wall crying. She wipes her eyes and pulls herself together. Mandy moves over to the dumpster and steps onto a crate. She leans in over the dumpster to try and reach the script, but she can’t, so she eventually has to climb into the garbage. 31
INT. APARTMENT - NIGHT
Mandy has the apartment dimly lit with candles. She reads the script which has all kinds of stains on it. She’s on the last page. After a moment she lets it close. Wow. 32
INT. APARTMENT - BEDROOM - NIGHT
Mandy is in bed. She tosses and turns. She rolls over to look at her cell on the night-stand near the bed. Nothing. 33
INT. RESTAURANT - KITCHEN - DAY
Mandy stands in a restaurant kitchen. She wears a half-apron. The Restaurant Manager stands in front of her. RESTAURANT MANAGER I’m giving you this job because you begged me to. Think of this as a trial period to prove to me you’re worth the eight seventy five. MANDY Thank you, this means a lot to me. I’m really in need of the work and I promise I’m a quick learner.
22. He hands her a note-pad and pen. RESTAURANT MANAGER Here’s your pad. Our special today is grilled salmon with a malaise of caramel, fresh risotto with a side of sauteed asparagus. You got that? MANDY Salmon, caramel, asparagus. Yup, I think I got it. He looks at her. RESTAURANT MANAGER Maybe you should write that down, sweetheart. 34
INT. RESTAURANT - DAY Mandy walks by the tables with a tray in her hand. She’s trying hard to balance the plates and glasses on it. It’s difficult to watch. She reaches a table with two OLDER MEN in business suits. MANDY Okay, prime rib with a baked potato? One of the men raises his hand. BUSINESS MAN You need a hand with that, darling? They both laugh. Mandy is not amused. She sets down the plates. MANDY And two beers right? BUSINESS MAN That’s right. But there’s a problem here. I ordered this rare. He shows her the meat which is clearly overcooked. BUSINESS MAN This isn’t rare. I like my meat like I like my women, fresh and pink.
23. MANDY Rare, okay. Sure, I’ll have them start another one. BUSINESS MAN #2 Also, this isn’t Guiness. These aren’t the beers we ordered. MANDY You said two beers right? BUSINESS MAN #2 Yeah, but there’s lots of different types of beers. Weren’t you listening? MANDY Got it. Guiness. Two Guinesses coming up. BUSINESS MAN Mine was a Stella. Oh, and when you bring them back can you back your way up, it’s easier to look at? They both laugh. Mandy fights not to say something and instead just smiles. 35
INT. APARTMENT - BATHROOM - NIGHT
Mandy soaks in a bubble bath. She looks at Marcus’ script in her hand. She looks down at the bottom left hand corner. INSERT SCRIPT It reads: 12-313 East 41st St. BACK TO SCENE Mandy slowly slips under the bubbles. 36
EXT. APARTMENT BUILDING - NIGHT
Mandy wears an oversized sweatshirt and jeans with her wet hair back in a ponytail. She walks up to the building and paces back and forth. She walks over to the buzzer list and scrolls down to see: M. DEVITA. She is about to press it, but then chickens out and starts to walk away.
24. She walks back into frame right up to the buzzer and just PRESSES it. It starts to click. Hello?
MANDY Marcus, hi it’s Mandy. Mandy?
MANDY Yes, just listen to me for a moment. (beat) I never meant to hurt you the way I did. It wasn’t always easy for me, growing up in a small town, trying to relate to people. You and I are two people alone in this world looking for someone to hold onto. And if we didn’t find each other the storm would have swallowed us up. We never would’ve known what could’ve been. But now we do. I’m not afraid anymore. I want you to hold onto me. There’s a long pause. Mandy waits eagerly. MARCUS (O.S.) You read it. MANDY Yes, I’m serious about this role. I’m meant to play this part. No response. Mandy is dying. Then the door CLICKS and BUZZES. Mandy is allowed in. 37
INT. MARCUS’ APARTMENT BUILDING - HALLWAY - NIGHT We’re over the shoulder of Mandy on apartment twelve. The door OPENS with Marcus behind it. He smiles. Come in.
INT. MARCUS’ APARTMENT - NIGHT
Mandy sits on his sofa. She looks around the room. It’s covered with all kinds of old movie posters. He also has an impressive DVD collection with all the greats like Citizen Kane, The Godfather, Scarface, Taxi Driver etc. MANDY I love your taste in movies. Marcus comes around the corner from the kitchen. He holds two wine glasses. MARCUS Thanks. Wine? Sure.
Marcus hands her a glass. Marcus pours some into her glass as he talks. MARCUS (re: movie collection) I like to think of myself as the last true cinematic perfectionist. What you see on that shelf is the end of an era, like the Renaissance period with Michelangelo, Boticelli, Caravaggio, and Vasari. (beat) And the sad thing is it all happened before my lifetime. I feel so left behind, having to grow up in an era of commercialism and crap. There’s no more great cinematic art being made. Mandy sips her wine. She’s amused by him. MANDY So you’re going to change that? MARCUS I can certainly try. If it’s not perfect what’s the point? MANDY I love the script. It’s so dramatic, and I’m starting to see why. Marcus sits down in a chair across from her. He laughs.
26. MARCUS I can be intense, I know. And I’m warning you now, that’s how I’ll be when we’re shooting this. Are you ready for that? MANDY I think so. All I know is that the character you wrote, she’s so real and just comes to life on the page. I can identify with her so much. MARCUS You should, she’s you. MANDY But how can that be? I mean you have one cup of coffee with me, and you’re able to capture every thought, feeling and emotion I have about life in a script? MARCUS Perfectionist. (beat) That’s good acting. When a person isn’t even acting. They’re being themselves while the cameras are rolling. It’s my job to capture that. MANDY So what? You’re saying that Robert Deniro was Travis Bickels? MARCUS I’m not saying that he was a crazy, introverted taxi driver, who wanted to blast some mafia guys to protect a child prostitute, but yeah I’m sure that inside of him there was a person fed up with the social ills of society, and he wanted to do something about it. He just took himself to another extreme. That’s the next step for acting. It’s like putting yourself on a tight-rope. I wouldn’t do that to you the first time. Mandy gulps her whine.
27. MANDY Gee, thanks. What if I don’t live up to your standards? You have me all intimidated now. You remember you’re talking to the girl who was getting soup commercial auditions. MARCUS Well, then leave that in my hands. If I fail, I might just have to get rid of you. Mandy laughs and drinks the last of her wine. Marcus doesn’t laugh. Mandy gives him a look. Then he bursts out laughing. MARCUS I’m kidding. I won’t fail. 39
INT. MARCUS’ APARTMENT BUILDING - HALLWAY - NIGHT
Mandy stands outside Marcus’ place. MARCUS Get ready for A Night To Remember. We start wardrobe fittings tomorrow. Goodnight Mandy. Marcus shuts the door. Night. 40
INT. APARTMENT - NIGHT
The lights are out. There are loud KNOCKS at the door. The lights switch on as a sleepy Mandy makes her way to the door. She opens it. TWO DETECTIVES stand on the other side. DET. BREWER (35) and DET. SCOTT (40). Mandy is shocked to see them. DET. SCOTT Ms. Poke, I know it’s a little late, I’m Homicide Detective Scott and this is Detective Brewer. Homicide?
28. DET. SCOTT We’re working the case of Annabeth McKenzie, and we were forwarded your information regarding a tip you called in-MANDY Wait. What? She was murdered? The two men look at each other. Yes. 41
INT. APARTMENT - LIVING ROOM - NIGHT Since Mandy is lacking in furniture she sits in the only chair available while the two men stand. MANDY I saw her at the laundromat, and then I went to sit in a coffee shop and read the newspaper. When I came back she was gone. I thought she’d left. DET. SCOTT All her clothes were still in the machines. We did a search of the area, and in a nearby field, in some bushes her body was found. Mandy covers her mouth. DET. SCOTT There wasn’t much evidence, other than signs of a struggle. She tried to put up a fight. With these types of cases the first 48 hours are crucial and we’ve already passed that window. We’ve questioned family and friends and they say there was no motive for anyone to kill her. So please, if you could help us with anything else you may know. I’m sick.
Mandy gets up and starts pacing, holding her stomach.
29. MANDY No, I don’t have any other information than that. Who would want to kill an old lady? That could’ve been me. I was only gone for an hour and a half. DET. SCOTT Well, it wasn’t you, thankfully. If anything strange or important stands out to you, please give us a call. Here’s my card. Det. Scott hands over his card to her. MANDY There was this creepy guy who chased me down the street the other day. DET. SCOTT Did he say anything to you? MANDY No. I ran away. DET. SCOTT Well, unfortunately, unless he made some remarks to you, or attempted to hurt you we can’t go assuming anything. Just give yourself some time, you might remember some things a few days later. And if you’re worried for any reason, please don’t hesitate. Sorry for waking you. Det. Scott and Det. Brewer show themselves out. Mandy holds onto the card. 42
INT. WARDROBE FITTING ROOM - DAY
Mandy stands in the middle of the room on a small platform. She looks nervous. A COSTUME DESIGNER (24) pins up a skirt at her knees. Marcus enters the room. When he sees her he claps his hands. MARCUS There she is! Look at you, my star. MANDY What do you think? Do you like it?
30. MARCUS I think you look beautiful. You’re making my job that much easier. Marcus approaches her. Mandy relaxes a lot when she sees him. MANDY I’m so nervous. Me too.
He takes her hands in his. MARCUS We’re in this together. Mandy smiles. Marcus looks down at the costume designer. MARCUS Barbara, I just had an idea, why don’t we raise that a little. The costume designer looks up at Marcus, then to Mandy. She starts to pin up the skirt so it’s quite a bit above the knees. MARCUS (seductively) A little more. She continues slowly raising it higher and higher, until Mandy breaks hands with him and pulls it down more. MANDY I think lower is better Marcus. I just don’t think she would wear skirts that high. MARCUS Okay, okay sorry. Yeah if you feel that way about your character trust your intuition. (beat) Come on lets finish this up. We meet with the producers in half an hour. Marcus leaves Mandy with the costume designer. The costume designer gives Mandy a look.
INT. PRODUCTION BOARDROOM - DAY
Mandy walks down the hallway toward the boardroom. She can hear LAUGHTER around the corner. She enters to reveal three guys sitting at a table with Marcus. They’re the producers, LIONEL METCALF (29), RANDY HILSON (32) and JAMES DURBY (32). Mandy stands at the end of the table. Well?
RANDY You’ve done it again Devita. You picked another winner. She looks fantastic. (beat) Sorry, Mandy please sit. Mandy sits at the table. Each person has a water bottle in front of them. MANDY Hi, it’s nice to meet all of you. I’m Mandy Poke. MARCUS Mandy, this is Lionel Metcalf, Randy Hilson, and James Durby. They’re our financiers for the film. These are the guys I had to convince you were worth the wait. Wait?
RANDY Yeah, Marcus has had us on pins and needles telling us we couldn’t go into production until he could find the right actress to play the lead. Now, it’s a done deal. LIONEL And thank goodness, you can only hold a production so many times. (to Marcus) So you’re sure this time? MARCUS Yup, with every bone in my body.
32. LIONEL Great. I’ll call the bank, have them start transferring the money. Excuse me. As Lionel gets up to leave, a production assistant enters. PRODUCTION ASSISTANT Marcus, you have a call on line two. You can take it out here if you like. MARCUS Sure, I’ll be right back Mandy. Marcus gets up and leaves, following out Lionel, leaving Mandy with Randy and James. JAMES So Mandy, where do you hail from? MANDY (distracted) Umm, the interior, I came out here to pursue acting. Actually I haven’t even been here that long. It was funny how I met Marcus. JAMES Yeah, he told us all about it. How you showed up at the audition fifteen minutes late, because you’d missed your bus, but you begged him to hear you out and ended up completely wowing him. From everything he says about you, you’re the next Meryl Streep. MANDY Um... is that what he said, oh yeah. Funny eh? Randy turns to James. RANDY Alright, we can finally get this thing underway. MANDY What’s been the hold up? Randy and James look at each other somber.
33. RANDY Marcus didn’t tell you? Mandy shakes her head. JAMES Our last lead actress was killed. Mandy chokes back emotion. Marcus and Lionel enter the room. Marcus places a hand on Mandy’s shoulder. MARCUS (to Lionel) So, we all good? LIONEL Yup. It’s a go. CUT TO: 44
INT. PRODUCTION BUILDING - HALLWAY - DAY
Outside the woman’s washroom Marcus paces back and forth. MARCUS Mandy, I’m sorry please come out and talk to me. Let me explain myself. Don’t be upset. The bathroom door opens. Mandy’s mouth is covered with water droplets and she dabs a paper towel against her mouth to dry it. MANDY Don’t be upset? Marcus, that’s a pretty big detail to leave out before someone starts a movie! (beat) This is all so overwhelming. Mandy starts to cry. Marcus gently pulls her in. MARCUS Shhh, please don’t cry. I know this is a lot. I’d ask them to push the date another week, but we’ve already had so many hold ups, we just have to go forward. MANDY A girl was killed?
34. MARCUS Yes, her name was Britney Hansen. It was a hit and run. We were a week into production and on the weekend she’d gone out. She was walking across the street when she was struck by a car. It’s tragic I know. No one came forward and there were no witnesses, so the police weren’t able to catch the sick maniac. There was no easy way to tell you. Mandy pushes away from him. MANDY And you lied! I lied?
MANDY Yes, you lied about how we met. Mandy starts to walk away. MARCUS That? How’s it going to look to the men who are sinking a million dollars into my movie that I met their next big star in the elevator? Mandy stops. MARCUS It was what they wanted to hear. I’m as overwhelmed as you are. This is way more difficult than Far Away From Home and I only have one chance to get this right. If this movie fails then I won’t get another shot at my career. I can’t take any chances. MANDY You’re taking one with me. MARCUS And that’s the only chance I’m willing to take. (beat) Are you with me?
35. Mandy resists. Marcus looks into her eyes. He smiles. MANDY (hesitantly) Yes, I’m with you. 45
INT. APARTMENT - DAY
Mandy enters the apartment. She tosses her keys onto the kitchen counter. She looks down and sees a few pieces of mail. She picks them up and heads into the kitchen. Mandy opens the fridge. Yuck.
REVEAL FRIDGE Inside the fridge it’s empty except for a few condiments and a moldy, half-eaten sandwich on a plate. BACK TO SCENE She shuts the fridge and looks through the mail. It’s all junk except for one envelope which is addressed to Mandy Poke. Curiously, she opens it up and looks inside. It’s a letter with a cheque. MANDY Just a little taste. Marcus. Mandy examines the cheque. MANDY Wow. Okay, groceries it is. 46
EXT. STREET OUTSIDE MANDY’S APARTMENT BUILDING - DAY
Mandy walks down the street, carrying a lot of grocery bags. She’s struggling with the weight. She manages to get her keys out and opens the front door. 47
INT. MANDY’S APARTMENT BUILDING - HALLWAY - DAY Mandy SLOSHES down the hallway with the bags in her hands. She reaches her apartment door and stops. The door is slightly ajar.
36. As quietly as she can, she sets down the bags, and peaks into the crack. Suddenly there’s a QUICK BLUR of movement past the door. Mandy jumps. She can hear footsteps inside the apartment and then they’re gone. Mandy is a nervous wreck. MANDY Hello? Is anyone in there? I’m calling the police. She shakily takes out Det. Scott’s business card and dials the number on her cell phone. 48
INT. MANDY’S APARTMENT BUILDING - HALLWAY - LATER
Mandy stands in the hallway with Det. Brewer. DET. BREWER He’s just going to check over the place and make sure it’s all clear. And you’re sure you saw someone inside? MANDY Yes, I mean I couldn’t see who, but I definitely saw movement inside. DET. BREWER Well if anyone is hiding in there, we’ll grab them. MANDY Thanks, I wouldn’t have called unless I thought there was a serious threat. DET. BREWER No need to apologize, like Detective Scott said, call us anytime. The door to Mandy’s apartment opens and Det. Scott steps out. Mandy waits for him to pull someone out with him. Instead he shakes his head. DET. SCOTT Sorry, no one inside. I looked everywhere. No signs of forcible entry and nothing damaged.
37. Mandy walks to the door and enters the apartment. 49
INT. APARTMENT - DAY
Mandy looks around the place. It looks the same as it did before. DET. SCOTT I’d say nothing was stolen, but it’s hard to tell. MANDY I’m working on getting some more furniture. I’ve only been here a month. DET. SCOTT I don’t know what to tell you Ms. Poke. Maybe you left the door unlocked when you went out. Maybe it was a practical joke. There’s no evidence here that it was a breakin. MANDY I saw someone rush past the door. DET. SCOTT I know, and I believe you. But they’re not here now. If you’re really worried do you have any friends you can stay with for awhile? Anyone who would let you crash on their couch? MANDY I only know one other person in the city and he’s the director of the movie I’m in. DET. SCOTT You’re in a movie? Wow, which one? MANDY It’s called A Night To Remember, being directed by Marcus Devita. That name registers with Det. Scott. Det. Brewer joins him at the door. MANDY You’ve heard of it?
38. DET. SCOTT It’s a familiar title with us. DET. BREWER We’re still investigating the case of the former actress, Britney Hansen. MANDY I just found out what happened. It’s horrible. DET. SCOTT It’s turning into a cold case. No witnesses and no leads. Mandy, you be sure to keep in touch with me okay? Anything that concerns you give me a call. We’re not far away. MANDY Okay, thank you. That means a lot to me. DET. BREWER Find a place to stay for the night. It’d make us feel better. Okay, bye.
Det. Scott and Det. Brewer leave as Mandy shuts the door. She leans up against it, and immediately locks it. 50
INT. APARTMENT - BEDROOM - NIGHT
Mandy has a duffle bag on her bed. She tosses clothes into it as she talks on her cell. MANDY You sure? You don’t mind if I stay there a few nights? (beat) I don’t know who it was. The police came by to check. They didn’t find anything. (beat) Thanks so much Marcus, I’ll be there soon. Mandy hangs up.
INT. MARCUS’ APARTMENT - NIGHT
Marcus opens the door for Mandy to enter. She sets her bag down. Marcus gives her a big hug. MARCUS I made us dinner. Mandy enters into the apartment and sees an elaborate dinner arrangement with candles and a bottle of wine on the table. MANDY Marcus, you didn’t have to do all this. It’s just enough you’re letting me use your couch until I feel it’s safe to go back. MARCUS Don’t worry about it. I want you to feel at home while you’re here. Marcus breaks off from her and heads into the kitchen. MARCUS (O.S.) I hope you like lamb. Oh, so hey did you get the cheque? Mandy sets her things down by the couch. MANDY Lamb is fine. Yes, I got the cheque, and ended up buying a whole bunch of groceries which are now sitting in my empty apartment not being eaten. (beat) By the way how did you know where to send it? I don’t think I ever gave you my address. Marcus enters back into the living room with a bottle of wine he’s about to crack open. MARCUS Really? I’m pretty sure you gave it to me. MANDY No, I’m pretty sure I didn’t. I’d remember. A girl alone in the big city is careful who she tells that to.
40. There’s a long silence as Marcus continues to screw the corkscrew into the bottle. MARCUS Okay, you’re right. You got me. I cheated. You forgot this when you were here last night. Marcus reaches onto the counter and holds up a bus pass. He flips it over to reveal Mandy’s handwritten address on the back. MARCUS I’m sorry I was going to give it to you today. Not the most professional way about doing it. MANDY Oh my gosh, I was looking for that. I forgot it here? Marcus hands it back to her. MARCUS Yup, must’ve slipped out of your sweater when you were on the couch. I found it between the cushions. Mandy tucks it into her pocket. She studies Marcus. MANDY Yeah, I guess. MARCUS Come on, let’s eat. I hope you’re hungry. Starving. 52
INT. MARCUS’ APARTMENT - LATER The mood is very romantic. Marcus refills his wine glass. MARCUS What do you think? MANDY It’s so good. I love the sauce you used. This has to be one of my new favorite dishes. (beat) Marcus?
MANDY I keep wanting to find something wrong with you because you’re too perfect. MARCUS That’s just the wine talking. MANDY I’m serious you’re almost too good to be true. Like you dropped out of the sky and rescued me. You know if you hadn’t come along with this project, I’d be trying to wait tables while struggling to land auditions. Nothing in my life has ever worked out so perfectly. I was always the girl who couldn’t do anything right. My sisters and brother were able to help my dad with the farm, but I was always off “pretending” to work. My dad’d tell me to make myself useful in the house. And even there I’d screw up. I was never good at home. MARCUS Well, perhaps it’s because now you’re finally home. Marcus raises his glass. MANDY I’ll drink to that. Here’s to never changing, for anybody. Marcus CLINKS his glass with hers. He watches her as she drinks back the wine. 53
INT. MARCUS’ APARTMENT - NIGHT
A stack of blankets and a pillow are set on a chair. Marcus is in pajama bottoms and an undershirt. He’s pretty buff. He maneuvers the couch cushions to make it easier to lie down on. The bathroom door OPENS behind him. Mandy stands in the doorway. She’s wearing a tight t-shirt and some skimpy shorts. Marcus turns around and has to swallow hard.
42. Mandy laughs and walks back toward the couch. MANDY This is what I always sleep in. It’s nice.
Mandy crosses in front of him. They are extremely close. Thanks.
She pauses inches away from him. Marcus breaks the tension and steps away. MARCUS Well, so here’s some extra blankets, and a pillow. The couch can be pretty lumpy so I just balance it out with some more pillows. Mandy laughs and sits down on the couch. MANDY Thanks, I should manage. MARCUS Get some sleep because we have camera tests tomorrow and you need to look your best. MANDY (a little drunk) Yes, sir. MARCUS Night Mandy. Marcus? Yeah?
MANDY You’re sweet. Marcus just smiles and heads into his bedroom, closing the door behind him. Mandy takes the blankets and drapes them over herself.
INT. STUDIO - DAY
Mandy’s face pops up on camera. She’s being recorded. VOICE (O.S.) Okay, now look at me. Mandy looks at the camera. She’s smiles bashfully. VOICE (O.S.) Awesome, she’s a natural. The camera loves her. REVEAL Marcus stands by a camera with the DIRECTOR OF PHOTOGRAPHY (25) operating it. The D.O.P. is a young, hip guy. There’s a monitor hooked up so they can both look at the frame. D.O.P. Now get up and walk around the room, I’ll follow you. Mandy starts to walk, at first not so smoothly, but then she gets in the rhythm. D.O.P. Shake what your momma gave you. Excellent. Okay, Marcus we’re looking good. Great.
Mandy and Marcus smile at each other. MARCUS I’m gonna have Todd come in and we can run some lines with the two of them. Fantastic.
MARCUS Mandy, Todd is playing Jake. The door behind them opens. TODD JENKINS (20) enters the room. He’s a good-looking, ladies-man type. Mandy sees him and gets even more nervous. Mandy?
44. Todd extends his hand. TODD Hi, I’m Todd Jenkins. I guess for the next four weeks I’ll be your soul mate. Mandy shakes his hand and laughs. Marcus surveys all of it. MARCUS Okay, Todd why don’t you step back. We’ll frame up on Mandy first. Lets run scene forty two. Marcus watches the monitor, which is all Mandy all the time. Both Mandy and Todd have scripts in their hands. They scan to find the scene. The two actors get into the zone. TODD I was looking for you. MANDY You’ve found me. TODD Why do you have to make it so difficult? The more I chase after you, the more you run away. MANDY Maybe it’s because I’m scared. TODD Scared of me or what you might be feeling? MANDY Maybe both. Todd moves in closer to Mandy. TODD Does this scare you? No.
Todd moves in slightly closer. The room is charged with heated tension. Mandy stays put. TODD How about now?
Todd makes one final step so he’s inches away from Mandy. Now?
Todd starts to lean in to kiss her.
MARCUS Cut! Okay, that’s good! We got the shot. Thanks guys. Mandy and Todd are quickly sucked back into reality. Todd realizes how close he is and backs away. MARCUS Alright, I think we’re done here. (to D.O.P.) Good work Andy. (to the actors) Save the rest of it for the day. Marcus walks out of the room. After a beat Mandy follows after him. 55
INT. STUDIO LOBBY - DAY
Marcus steps into the lobby and heads over to a water cooler. He pours himself a cup of water. Mandy steps in behind him. MANDY Marcus, are you okay? Marcus turns around to face her. MARCUS Of course, why wouldn’t I be? MANDY I don’t know you just seemed a little upset. MARCUS Upset? Are you kidding? I just don’t want you guys using it all up on a camera test.
46. MANDY Okay, cause you know that’s just acting? MARCUS Who do you think you’re talking to? I know that remember. I’m the director. MANDY Come on don’t be mad. MARCUS Listen, lets just call it a day for now. There’s a ton of other stuff I need to do before we shoot. (reaching in his pocket) Here, take my extra set of keys. I’ll meet you back at the place later. Marcus puts the keys in her hand and walks past her. Mandy tries to contain her emotions. 56
INT. MARCUS’ APARTMENT - NIGHT
Mandy sits on the couch. She watches the tv, bored. She checks the time on her cellphone. MANDY Midnight, nice. Mandy clicks the tv off. She gets up and starts to walk around the apartment. She looks at the various posters on the wall and little trinkets he’s accumulated. She sees his bedroom door is slightly open. One push is all it’d take. Mandy, against her better judgement, decides to ever so slightly nudge it open. It’s dark. 57
INT. MARCUS’ APARTMENT - BEDROOM -NIGHT
Mandy steps into the room, a mere silhouette in the doorway. Everything is neatly made and put away. Not the average single guy’s place. Mandy walks by his dresser and sees a few framed photographs on it. INSERT PICTURES
47. There’s some pictures of Marcus with some buddies on a camping trip. Pictures of Marcus water skiing. Finally, one picture stands out. A picture of Marcus with a blonde. He has his arms around her. It looks like they could almost be a couple. They both look happy. BACK TO SCENE Mandy obviously doesn’t like that one. She continues over to a desk in the room. There’s a drawer. She reaches out her hand and slowly begins to slide it open when suddenly, BOOM! She spins around. 58
INT. MARCUS’ APARTMENT - NIGHT Marcus stumbles into the apartment. He’s dripping wet. He turns to see Mandy in the doorway of his bedroom. MARCUS (drunk) What were you doing? Were you in my room, looking through my stuff? MANDY No, Marcus, I was just bored and was looking around. MARCUS You invaded my private space? MANDY Are you drunk? MARCUS Maybe I am, and maybe I’m not. Marcus shuffles past her toward his room. MANDY Where were you? It’s midnight. MARCUS You’re not my mother. I was out with some of the crew, celebrating our new movie. It’s going to be awesome. MANDY Marcus, who’s that girl in the picture with you?
48. Marcus turns back to her, and for the first time we see how nasty he can be. MARCUS That’s none of your business! He can see that he’s hurt her. MARCUS Mandy, I’m sorry. I didn’t mean that. It was Britney. Before she died. (beat) I need some sleep. Marcus heads into his room and SLAMS his door, leaving Mandy alone. 59
INT. MARCUS’ APARTMENT - NIGHT
Mandy lies on the couch in the dark. She wipes a falling tear from her eye. 60
INT. MARCUS’ APARTMENT - DAY
The bedroom door opens to Marcus’ room. He’s having a rough morning. Mandy is at the door with her bag over her shoulder. MARCUS Where are you going? MANDY This was a bad idea. MARCUS You’re leaving? MANDY That, and I’m off the film. I can’t do this with you. MARCUS What?! You’re quitting on me now? We shoot in a day. MANDY I don’t care. Remember how I said I was trying to find something wrong with you, well I did. Goodbye Marcus.
49. MARCUS Mandy, wait! Mandy opens the door and leaves. Marcus, in his boxers and undershirt, chases after her. 61
INT. MARCUS’ APARTMENT BUILDING - HALLWAY - DAY Mandy walks down the hall. Marcus exits the apartment and chases her down. MARCUS Mandy, wait! Stop, please! Mandy finally stops and turns around. MANDY What?! You have something else mean to say to me? Am I here to be your emotional punching bag? MARCUS Okay! I was upset yesterday. I admit it. I thought I’d be completely fine with the whole thing, but you’re right-MANDY You were jealous. MARCUS Yes. Yes, I was. I didn’t think I’d feel this way. MANDY What do you mean? Marcus can’t look her in the eye. MARCUS I didn’t think I’d be falling in love with you. One of the apartment doors OPENS. An OLD LADY looks out at them. OLD LADY Can you keep it down out here? Some people are still trying to sleep.
50. MARCUS Fine! (to Mandy) Will you just come back inside? Mandy nods. She follows Marcus back into his place. 62
INT. MARCUS’ APARTMENT - DAY
Mandy walks into the apartment. Marcus shuts the door behind them. MARCUS I wasn’t going to tell you until after the film was done. I didn’t want to complicate-Mandy quickly spins around, grabs, and kisses him. It’s intense and long. Finally, they break apart. MANDY I think I love you too. 63
INT. APARTMENT FILM SET - KITCHEN - DAY
A large 2k light fills the frame. Suddenly it’s SPARKED. A film crew is at work in a small apartment kitchen. A few ELECTRICS work on adjusting the lights. The D.O.P. holds his light metre up to the window. There’s quite a bit of commotion. The CAMERA CREW sets up their shot. Marcus is behind video village, along with the producers, Randy and James. RANDY You feeling confident Marcus? MARCUS Yup, this is a really simple scene. It’s where the two lovers have come together and the act of preparing dinner seals their bond in life. JAMES Hey, as long as it looks good, we’re happy. RANDY Where’s Mandy?
51. MARCUS I don’t know. Maybe I’ll go find her. I can have a quick chat with her about the scene. Marcus gets out of his chair. He pulls the FISRT ASSISTANT DIRECTOR aside. MARCUS Mike, any idea where Mandy is? 1ST A.D. Last word I got boss she was getting touched up by makeup in the bedroom. MARCUS I’m just going to go over the scene with her real quick. 1ST AD No problem. I’ll be here waiting. The 1st A.D. makes a reference to his wrist watch. 64
INT. APARTMENT FILM SET - HALLWAY - DAY
Marcus walks along the hall. He passes a few other CREW MEMBERS and nods. He reaches the closed bedroom door and KNOCKS. Who is it?
FEMALE VOICE (O.S.)
MARCUS It’s Marcus. Can I come in? FEMALE VOICE (O.S.) Sure, she’s almost ready. Marcus opens the door. 65
INT. APARTMENT FILM SET - BEDROOM - DAY
Marcus enters to see two MAKE-UP GIRLS standing in front of Mandy on the bed. They step aside to reveal a glammed up Mandy in a robe. Her hair is perfectly coiffed. You like?
52. MARCUS She looks amazing. (beat) Would you girls excuse us, I just have to talk with Mandy for a second? MAKE-UP ARTIST Sure, we’ll be on set for final touches. Mandy nods. The girls step out and shut the door behind them. MANDY I can’t believe it’s happening. We’re really here. I know.
Marcus sits down on the bed next to her. MARCUS Are you ready? MANDY I think so. I got all the lines. MARCUS Good. You’ll do great. It’s time to make cinematic history. MANDY I’ll give it my best shot. Marcus is kind of annoyed by her comment. MARCUS Now, I really want you to dig deep for this. You guys have just gotten back together finally, and this is your bonding moment. Think of the carrots and onions as your former self that you’re cutting up. MANDY Former self, got it. MARCUS Remember, let it all go. Mandy nods. Marcus pats her on the back and leaves the room. Mandy is alone on the bed and takes in a deep breath.
INT. APARTMENT FILM SET - KITCHEN - DAY
Mandy stands by the counter over the cutting board. It’s clear that the camera is rolling due to the intense faces on the crew. Mandy begins to cut up a few vegetables. Todd enters the kitchen. TODD Smells wonderful. MANDY Thanks, it’s your favorite, Shepherd’s pie. TODD It reminds me of when I was a boy. MANDY I know, I remember you telling me. The scene is kind of playing flat. The producers behind Marcus look at each other. Marcus is glued to the monitor. TODD Here, why don’t you let me help you with that. Todd crosses over to her and puts his hands on her shoulders. Mandy stiffens up. MANDY That feels nice. Todd leans down to kiss her neck and it’s clear Mandy is not comfortable. Cut!
Mandy and Todd break out of the scene and look in Marcus’ direction. Marcus jumps out of his chair and walks onto set. MARCUS Mandy, is everything alright? MANDY Yeah, everything’s fine. Just a little nerves.
54. TODD I can tone down the physical contact. No!
Mandy looks at Marcus puzzled. MARCUS This is all about the sensual passion between you two. She wants to give into you at this point. Your caress is what soothes her. (beat) Let’s try it again. The actors go back to first marks and Marcus jumps back in his chair. NOTE: The camera crew runs through the motions before the shot. Action!
The scene plays out as it did before. TODD Smells wonderful. MANDY Thanks, it’s your favorite, Shepherd’s pie. TODD It reminds me of when I was a boy. MANDY I know, I remember you telling me. TODD Here, why don’t you let me help you with that. Todd crosses over to her and puts his hands on her shoulders. Mandy stiffens up again. MANDY That feels nice. Todd leans down to kiss her neck. Mandy, this time, lets him sensually kiss her neck.
55. Her hand instinctively becomes more and more forceful, as she chops the vegetables. Todd pulls her in. Finally, the blade comes down. MANDY Oh my gosh! Mandy has cut open her hand. It starts to bleed pretty badly on the cutting board. Cut!
A few of the crew members rush onto the set to help put a paper towel around her hand. Marcus rushes to her. MARCUS Mandy, are you all right? MANDY No, it hurts. 1ST A.D. Okay, lets get first (into walkie) Craft service you’re Our lead actress has (to crew) Everyone just take a and a coke.
aid in here. needed on set. cut herself. break. Smoke
MANDY I’m sorry Marcus, I didn’t mean to wreck up the shot. The FIRST AID/CRAFTSPERSON rushes onto set with a bag and examines Mandy’s bleeding hand. CRAFTSPERSON Okay, come with me sweetie. She’s going to need to go to the hospital. This needs stitches. The craftsperson leads Mandy away from the set. There’s droplets of blood on the floor. Marcus paces. He’s worried. Randy and James approach him. RANDY So much for our first day.
INT. HOSPITAL ROOM - DAY
Mandy’s left hand gets wrapped in some bandages. A NURSE (23) has finished the final touches. NURSE Is that too tight? Does it hurt? MANDY No, it’s okay. Thank you. NURSE Don’t worry your hand should heal up nicely. Just try not to do too much movement with it for the first week. And rinse it with antibacterial soap when you clean it. Mandy nods. There’s a slight KNOCK at the door. Both Mandy and the nurse turn to see it open. Marcus peaks his head in. MARCUS Is she alright? Can I come in for a second? NURSE Sure, I was just finishing up here. The nurse excuses herself from the room. Marcus shuts the door after her. Hi.
MARCUS Hi. Is it better? MANDY Yeah, but it hurt when they put the stitches in. Marcus takes her bandaged hand. MARCUS I’m so sorry about this. What happened there today in the scene? MANDY I don’t know Marcus, I mean I was trying to give you my best performance, but the whole time you had me second guessing myself.
57. MARCUS What do you mean? MANDY Well, as I was chopping the vegetables all that was going through my head was don’t make Marcus jealous. Don’t let him down. I didn’t want you to get upset again. MARCUS See, this is why I didn’t want to tell you how I felt. I knew that my own issues would get in your head. Mandy’s cell RINGS in her purse on the chair across from her. MANDY Of course it would, and you tell me that I have to make cinematic history. That’s a lot of pressure. This is my first real acting role. I just don’t know anymore. Marcus is worried. MARCUS Don’t say that. You can do this. I promise you I’ll stay out of your head. You’re right, it’s your character. I won’t interfere. I just want us both to make the best film that we can. I do too.
MARCUS We can talk more about it tonight. Mandy hops down from the bed and crosses over to her purse and takes out her cell. MANDY I was going to talk with you about that too. I’m feeling a bit better now, and maybe I should stay at my place tonight. If I’m going to do this, I want to do it right, and if we can set our feelings aside during the filming I think it will only help.
58. MARCUS (not happy) Okay. Until the film’s over? Mandy nods and holds her cell to her ear. MANDY Just want to check my messages. Marcus nods. Mandy pushes a few buttons and the message plays in her ear. DET. SCOTT (O.S.) Hi, Mandy it’s Detective Scott, listen if you can give me a call I’d like to meet with you to discuss a few things. After you said you were working on A Night To Remember it got me thinking, and I dug up some things on the case. We should talk. Thanks bye. Mandy looks to Marcus who’s sitting on the bed. She tries to hide her reaction. MARCUS Who was that? MANDY Oh, no one. Just my agent. Nothing new. Come on lets get out of here. Okay. 68
EXT. PARK - DAY Mandy walks through an open park. In the distance ahead of her Det. Scott sits on a bench. He has on a trenchcoat. Mandy approaches him. MANDY You wanted to talk to me? DET. SCOTT I did, thanks for meeting with me. Have a seat. Mandy sits down on the other end. DET. SCOTT What happened to your hand?
59. MANDY I cut it in a scene we were shooting yesterday. Careless accident. I’m not much of a method actor. DET. SCOTT You’re not filming today? MANDY No, they arranged the schedule so I have a few days off to recover. They both look out at the beautiful ocean and mountain landscape. MANDY Did you guys catch a break in the case? DET. SCOTT Mandy, what do you know about the director, Marcus Devita? MANDY What? Where’d that come from? DET. SCOTT You must’ve been working pretty closely with him, I’d assumed you might be able to share some insight on who he is as a person. MANDY I don’t feel comfortable talking about him like this. What does he have to do with anything? DET. SCOTT He was Britney’s boyfriend at the time of her death. Mandy is caught off guard. DET. SCOTT Yeah, we interviewed him. He told us how he and Britney had developed a romantic relationship during the filming of the movie. They’d met two months prior. She’d just moved here. He selected her for the part. He said he loved her.
60. MANDY Stop it! What are you saying? Why are you telling me this? DET. SCOTT I’m telling you this because I want to know if this is sounding at all familiar to you. MANDY No, he’s been nothing but professional toward me. He’s my director and I’m his actress. DET. SCOTT Okay, I’m sorry if I upset you. (beat) Mandy, I’m just trying to solve Britney’s case so that her parents can have some type of closure. They’ve lost a daughter, and it’s my job to lessen the pain. Mandy stares at the scenery. Det. Scott starts to get up. DET. SCOTT I’m sorry to bother you. Wait.
Det. Scott sits back down. MANDY Yes, he told me he was falling in love with me. 69
EXT. PARK - DAY
Mandy and Det. Scott walk along a walkway through the park. DET. SCOTT He was genuinely honest about his feelings for her. After doing this for so long you get an instinct about people. He genuinely seemed like he wouldn’t have wanted anything bad to happen to her. I wouldn’t have classified him as a suspect, but after talking with you the other day I decided to do a more thorough background check on him. He’s had it pretty rough.
61. MANDY What does that have to do with anything? DET. SCOTT Did he tell you he was abandoned by his mother at age three and was raised in the foster care system? No.
DET. SCOTT I looked at his record. There were accounts of beatings and numerous reports of child abuse. He was shifted from one home to another until he was adopted. They both stop walking. MANDY That doesn’t mean he would hurt anyone. DET. SCOTT No, but it’s my job to get inside the head of someone, to analyze the way they think. And with these types of situations I can’t help but wonder where all that hurt and anger gets put. MANDY How do you know that he didn’t rise above it? He’s a brilliant artist. Most brilliant artists have some kind of pain in their life, or they wouldn’t be so good at what they do. DET. SCOTT I don’t mean to attack anyone, and I’m not pronouncing guilt on anyone, but I’m concerned. I’m sure he’s good at what he does. He obviously has an eye for talent. MANDY You have an investigation to do, and I want it to be resolved. (MORE)
62. MANDY (CONT'D) I feel for what Britney might’ve gone through, I do, but I can honestly say I think Marcus is one of the most caring and sincere people I know. He wouldn’t do that. DET. SCOTT Okay, I believe you. Then I guess I’m at another dead end. I’ve put you through a lot and I apologize. Thank you for your cooperation with everything. I’ll leave you to your movie. Det. Scott walks away, leaving Mandy standing on the walkway alone. 70
INT. MARCUS’ APARTMENT - NIGHT
Marcus opens the apartment door and enters. Mandy is already in the apartment, waiting for him. MARCUS What are you doing here? I thought you said you were going to stay at your place? MANDY I am. I just came by because I forgot a few things and wanted to see you. MARCUS Oh, right, I put them in a bag over there. MANDY How did it go today? Mandy walks over to the bag of her stuff. She briefly looks through it. MARCUS It went really well. We had some intense scenes with Todd. There was this one scene where Todd just-Marcus? Yeah?
63. MANDY Why haven’t you told me about your past? I told you all about mine. The farm, my parents, my brother and my sisters. MARCUS There isn’t much to tell. My life is actually pretty boring. Grew up in the same old neighborhood. Hung out with the same friends. That’s why I never brought it up. It wasn’t as interesting as yours. MANDY Such a dynamic person like you must have some kind of history. What was your childhood like? Were you adopted? Marcus stops to think about her question. MARCUS No. Why do you ask? MANDY I’m curious. MARCUS Mandy, I’m glad you came by because we have to talk about something. Marcus sits in a chair. Mandy slowly sits down on the couch. MARCUS There’s been some talk going on on set. It’s not me... this is so hard to say, but the producers have given me an ultimatum. Either I recast your role or they pull the plug on the whole film. Mandy is shocked. What?!
MARCUS I know. They weren’t happy with the footage we shot. MANDY I was only in one scene.
64. MARCUS And I’m arguing with them to trust me, to give you another shot. I told them how you were just nervous that day. MANDY Marcus, you wrote the role for me, can’t you decide? MARCUS They have the final decision. They wanted more feeling from you. Mandy stands up. MANDY I can’t believe this! I’m getting fired from a movie that I haven’t even acted in yet! I cut my hand for this! I dug through the garbage to get this! Marcus, please do something. MARCUS What do you want me to do? If I tell them I won’t do it if you’re not in the movie, then there is no movie. MANDY I’ve been through hell for this. People are dying around me, and now you tell me they don’t like my acting? Mandy throws her bag at Marcus. MANDY Why did you pull me into this?! Why did you give me false hopes and tell me stuff that wasn’t true? Are you telling me you no longer love me? MARCUS Everything I said was the truth! MANDY If that’s so why didn’t you tell me you were abandoned by your mom? Why you were sent to live in foster homes? Why you were abused as a child?
65. MARCUS Shut up! Those are all lies! Where did you hear that from? MANDY Did you know that the police think you might be a suspect in Britney’s death? Marcus doesn’t believe her. MANDY Yeah, they came to talk to me. They wanted me to tell them about what type of person you were. MARCUS What did you say? MANDY (starts to cry) I told them the truth. That you’ve been the most interesting, wonderful person I’ve ever met and that you wouldn’t hurt anyone. MARCUS Mandy, I do still love you. I wish this was different. I don’t know what else I could do to change it. MANDY Tell them that I’m more important to you than this film. Tell them the truth. Marcus doesn’t respond to that comment. MANDY Oh, I guess I knew it all along. I wasn’t the most important thing to you. I’ll leave you and your film alone. Mandy picks up her bag of stuff on the floor and walks by Marcus out the apartment. Marcus, this time doesn’t chase after her. Mandy. The door SLAMS shut.
EXT. MARCUS’ APARTMENT BUILDING - NIGHT
Mandy storms out of Marcus’ building with her bag in hand. She looks up. 72
INT. PRODUCTION OFFICE - NIGHT
Mandy walks into the production office. A PRODUCTION COORDINATOR at the desk gets up when she sees Mandy. PRODUCTION COORDINATOR Mandy, hey we were just finishing up for the night, what are you doing here? MANDY Are Randy and James here? PRODUCTION COORDINATOR Yes, but they’re in a meeting. They asked not to be disturbed. Mandy starts to walk away from the production coordinator down the hall. MANDY This will only take a moment. PRODUCTION COORDINATOR Mandy, you can’t go in there. Mandy reaches the door. 73
INT. PRODUCTION BOARDROOM - NIGHT
Randy, James and Lionel sit around the boardroom table. They have papers and take-out food scattered around them. They look haggard. Mandy BURSTS in. Everyone looks in her direction. The production coordinator pops into the doorway behind Mandy. RANDY Umm... Tom, we’re gonna have to call you back. Something came up here.
67. TOM (O.S.) (speaker phone) Alright Randy, but you’re going to have to let me know what your decision is soon. RANDY Will do. Thanks. Randy presses a button on the phone. RANDY Mandy, what are you doing here so late? PRODUCTION COORDINATOR I tried to tell her you were in an important meeting. RANDY No, it’s fine. Mandy come in. Mandy steps inside and the production coordinator shuts the door behind her. MANDY You guys are making a big mistake, you can’t do this! I’ve put so much work and dedication into this-LIONEL So he told you? Yes! only even what
MANDY And it’s not even fair. I’ve been in one scene. I haven’t had the chance to show you I’m capable of.
RANDY We know. You’ll be great. Mandy, what are you talking about? MANDY I’m talking about you guys getting rid of me because of one stupid mistake. JAMES Mandy, we’re not getting rid of you. We saw the little bit that we had and loved it. You were so real, and genuine. The camera loved you.
68. MANDY What? You’re not firing me? RANDY No, I thought you were mad about Marcus. Marcus?
RANDY Yeah, we’ve decided to let him go. We gave him the ultimatum today. Either he leaves the project and stays on as a writer, or there’ll be no movie. JAMES Yeah, there was just too many hold ups, and problems on set. LIONEL Today, he took twenty five takes for one shot. He was thinking too hard, and maybe he needs to take some time off and recollect himself before his next project. MANDY He wrote the script. It’s his story. RANDY We know that. And trust us, it wasn’t an easy decision. We think he’s extremely talented, but it’s just not his time right now. After Britney died he wasn’t the same. (beat) The only bright side out of all of this was he found us you. Mandy is completely shocked. 74
EXT. STREET - NIGHT
Mandy walks along the sidewalk, contemplating to herself. A pair of headlights in the distance behind her flick on. Mandy steps out into the street to cross. The parked car on the side of the road GUNS it into the street and races toward Mandy.
69. Mandy looks back to see the headlights barring down on her. She’s literally a deer in headlights. At the last minute she dives away from the car and hits the pavement hard. The car tears down the street away from her. Oh my God!
Mandy is shaking terribly. She gets up and runs across the street. Help! 75
EXT. ALLEY - NIGHT
Mandy ducks into an alley. She pulls out her cell and starts to dial frantically. MANDY (into phone) Come on. Pick up. (beat) No. (beat) Detective Scott it’s Mandy Poke. I think someone just tried to run me over. I’m so scared. Please call me back. I don’t know what to do. I’m going to see Marcus. Mandy hangs up. 76
EXT. MARCUS’ APARTMENT BUILDING - NIGHT
Mandy runs up to the buzzer. She presses the button. It continues to CLICK, but no answer. Mandy goes over to the door. She searches through her pocket and pulls out the extra set of keys he gave her. She opens the door. 77
INT. MARCUS’ APARTMENT - NIGHT The door UNLOCKS and Mandy enters the apartment. MANDY Marcus? Are you here?
70. She shuts the door behind her. The place is eerily empty. Everything is neatly put away. Mandy walks through the apartment. Marcus?!
She walks over to the bedroom. 78
INT. MARCUS’ APARTMENT - BEDROOM - NIGHT
Mandy flicks the light on. Nothing. She turns it off and is about to shut the door, but something calls to her to enter. She walks past the dresser with the photos, toward the desk in the corner. The drawer is slightly opened. Mandy reaches out and slides it open even more. INSERT DRAWER As it opens we catch a glimpse of something colorful. When it’s pulled all the way out, there is a match to her lucky Christmas laden sock. BACK TO SCENE Mandy stares at it, part shock, part disbelief. She picks it up. FLASHBACK TO - Mandy smiles and blows the loose strands of hair out of her face and starts to load the machine. - Mandy folding her clothes, pushes through them, searching for something. - Detective Scott looks down at Mandy. DET. SCOTT All her clothes were still in the machines. We did a search of the area, and in a nearby field, in some bushes her body was found. BACK TO SCENE Mandy’s hand starts shaking as she covers her mouth. She quickly stuffs the sock into her jeans pocket and makes a break for the door.
INT. MARCUS’ APARTMENT - NIGHT
Mandy rushes to the door. She looks down and sees the lock twisting back with the sound of a key TURNING inside. She bolts to the side. The door opens. Marcus enters very nonchalantly. He sets his keys in the dish by the door and turns around to lock it. Mandy cowers down behind the couch in the living room. She peaks around to see Marcus walk into the bathroom. He closes the door, but not all the way. The water starts RUNNING. Mandy sees this as her chance and makes a break for the door. She twists the lock back. Marcus’ hand darts into frame, landing on the door. Mandy turns to see him standing over her. MARCUS What are you doing here? MANDY Marcus, I was scared. I didn’t know where else to go. MARCUS Scared of what? MANDY Someone almost tried to run me over. MARCUS Oh my God are you okay? MANDY Yeah, I’m better now, but I need to get going. I don’t want to bother you. Mandy reaches for the door. Marcus grabs her arm. She looks into his eyes. It’s not Marcus behind them. MARCUS ALTER You know now don’t you? MANDY Marcus?? Stop it, please! You’re scaring me.
72. MARCUS ALTER Marcus? Marcus isn’t here right now. Mandy backs into the room. Marcus stares at her deadpan. MANDY Marcus, let me go. I’ll call the police. MARCUS ALTER They won’t be able to find you. MANDY What are you saying? Why are you talking like this? MARCUS ALTER I’m Marcus’ friend. Consider me his agent. I get him what he wants. MANDY Marcus, please you’re joking right? MARCUS ALTER Do you see a smile on my face? Now that you know, I have to decide what to do with you. You dodged my car. Probably better that way, cause it would look a little suspicious if you died the same way as Britney. MANDY Marcus! Shut up! Quit it! Mandy pulls out her cell and starts to dial. She holds it to her ear. MARCUS ALTER You don’t want to do that. Marcus leaps at her and grabs the cell from her hand. He throws it to the ground and stomps on it. MARCUS ALTER Why does another girl have to come in and wreck everything I’ve worked for? This was going to be my big chance, to show the world what a great filmmaker I am. He had to fall for you. He swore that he wanted you just for the role, but again he had... (MORE)
73. MARCUS ALTER (CONT'D) (disgusted) Feelings. MANDY Marcus, it’s Mandy remember. I’m your friend. I’m the person that cares about you. MARCUS ALTER Shut up! He doesn’t want to talk to you. You cost him the movie. MANDY I didn’t mean to. I want to make this movie with you. You have to let me go. MARCUS ALTER I told him again and again, you can’t trust anyone. Nobody loves you. MANDY I do. I love you, Marcus. Marcus shakes his head. MARCUS I love you too. Marcus’ head snaps back up. He smacks the side of his head. MARCUS ALTER You’re pathetic! (to Mandy) I’m going to put an end to this right now. Marcus marches into the kitchen out of sight of Mandy. She starts to edge toward the front door. Marcus comes out from the other side of the kitchen. His hand is behind his back. MARCUS ALTER Don’t make me do this the messy way. MANDY Marcus, listen to me. It’s him who’s hurting you, not me. He’s costing you your career. You’re the great filmmaker. Marcus brings a huge butcher knife out from behind his back.
74. MARCUS ALTER It’s going to be tough to explain this was an accident. Oh God!
Mandy races for the door and gets it open in a flash. Marcus bolts after her. 80
INT. MARCUS’ APARTMENT BUILDING - HALLWAY - NIGHT
Mandy runs down the hall. She BANGS on all the doors. MANDY Help me! Please, somebody help me! Marcus steps out into the hall and chases after her. Mandy darts around the corner. 81
INT. MARCUS’ APARTMENT BUILDING - STAIRWELL - NIGHT
Mandy reaches the stairwell to the building. She takes one last look behind her and decides to run up the stairs. Within seconds Marcus appears. He has the butcher knife out. He’s about to run down the stairs, but something tells him otherwise. He runs up the stairs after Mandy. 82
INT. MARCUS’ APARTMENT BUILDING - STAIRWELL - NIGHT
Mandy rushes up the flight of stairs. She leans over the railing, short of breath. She sees the glint of the knife spiraling up the stairwell underneath her. She panics and keeps moving. 83
EXT. MARCUS’ APARTMENT BUILDING - ROOF - NIGHT
The door to the roof opens. Mandy can’t control her shaking. She closes the door slowly and looks around for something she can block it with. There’s nothing. Mandy runs to the edge of the building to see if there’s a ladder or fire escape she can climb down. Nothing again. She’s so high up and the ground is so far down. She turns back to the door.
75. MANDY Please God get me out of here. Please, someone do something. I don’t want to die. The door opens so slowly. Mandy watches in suspense. The shimmer of the blade peaks out from the door. We can see Marcus’ eyes in the reflection. MARCUS ALTER Here’s Johnny. Mandy screams. Marcus steps out onto the roof. MARCUS ALTER Don’t you think this all would’ve made a great movie? Maybe that’ll be my next script. (beat) See, I like you. You make everything so easy for me. A fall is much easier to pawn off as a suicide. MANDY Marcus stop. Don’t come any further. Listen to me very carefully. I know what you went through. The beatings as a child. You needed a way to protect yourself, but this is not the way to do it. You have to snap out of it. He is destroying you. Marcus keeps coming closer, as Mandy backs more and more toward the edge. MARCUS ALTER I can see why he’d fall for you. I got to know you quite well when I was watching you. Mandy reacts. MARCUS ALTER That’s right, I was watching you all the time. FLASHBACK SERIES OF SHOTS - In the laundromat window Marcus watches.
76. - Outside the fast food restaurant Mandy eats her fries, as Marcus watches her. The strange man has a concerned look. - Marcus climbs out of Mandy’s apartment window with her bus pass in his hand. BACK TO SCENE Mandy starts to play it all back. MARCUS ALTER We saw you meet with your first agent. That’s when he picked you. FLASHBACK TO: 84
INT. CASTING AGENT - WAITING ROOM - DAY
Marcus sits in a chair in the lobby, reading a magazine. He looks up. Mandy exits from an office and smiles. She waves to the person inside and walks right by in front of Marcus who watches her the whole way. CUT BACK TO: 85
EXT. MARCUS’ APARTMENT BUILDING - ROOF - NIGHT Mandy looks back down over the edge. MARCUS ALTER We knew then that we had to have you. He was right. You were a good actress, but I’m not going to let this stupid kid throw it all away on some bitch. MANDY Please, Marcus! Please, fight for me! If you have any love for me! MARCUS ALTER Shut the fuck up! Marcus fights to snap out of it. MARCUS Mandy! What’s going on? He looks at the knife in his hand.
77. MARCUS ALTER You have to do this! She’s cost you your movie! She’s destroyed everything! No! Stop!
MANDY Marcus, you don’t need to hurt anyone. You can get help. I can help you. You can still be a great filmmaker. Marcus manages to subdue the struggle within. MARCUS I do love you. I do. Marcus looks at Mandy. Marcus begins moving toward her with his other hand out. MARCUS Why are we up here? Mandy get away from the ledge. MANDY Marcus, is it you? Is it really you? MARCUS Yes. I can’t hurt you. I could never let you be hurt. Marcus slowly lowers the knife. He’s within, stabbing range to her. VOICE (O.S.) Freeze! Drop the knife! Marcus quickly spins around. Suddenly a bullet pierces through his shoulder. He looks at it in shock. Another bullet pierces through his chest. Mandy screams. No!!
Det. Scott stands in the doorway to the roof. He’s out of breath and has his gun drawn on Marcus. DET. SCOTT Mandy get away from him!
78. Mandy cries and covers her mouth. Marcus crumples to the ground. Det. Scott runs over to Mandy and puts his arm around her. Marcus lays on the ground bleeding. DET. SCOTT He was going to kill you Mandy. I got your call and tried to get here as soon as I could. They both look at Marcus. Mandy moves toward him, but Det. Scott stops her. He kicks away the knife and crouches down to check Marcus’ pulse. He shakes his head. Det. Scott stands and grabs his walkie. DET. SCOTT (into walkie) This is detective Scott, I am requesting an immediate ambulance to 313 East 41st St. We are on the roof. A man has gunshot wounds. MANDY (to Marcus) I’m sorry Marcus. This shouldn’t be the way it ends. MARCUS (choking on blood) I’m glad it ended this way, because I didn’t hurt you. Mandy crouches down to him. She takes his hand in hers. MANDY We’re both so alone. Marcus’ life slowly fades from his eyes. Mandy starts to cry. Det. Scott crouches down next to her and puts his hand on her shoulder. MANDY (to Det. Scott) It was another part of him that did it. DET. SCOTT I know. You’re safe now. FADE TO:
EXT. PARK - DAY
Mandy’s face fills the frame. Slow DOLLY back during the shot. MANDY I only got to know a small part of you. But even that was more than most people. I know I’ll never forget you. I hope you can move on to a better place, where no one will ever hurt you again. You gave me such a gift and I thank you for everything you’ve done. You will always be remembered for what you gave the world. You leave a great legacy behind through the stories you told. I love you. The further we pull back the more we realize it’s a film set and Mandy is acting opposite Todd. DIRECTOR Cut! Fantastic Mandy, that’s the one. Okay everybody, I think we got it. The 1st A.D. next to the director steps onto set. 1ST AD Everybody, that’s a wrap! The crew cheers and everyone hugs each other, and gives each other high fives. Mandy smiles and hugs Todd. She walks over to video village and hugs the director. Randy, Jack and Lionel take turns hugging her, and congratulating her. RANDY You’re going to be a huge star. This is the one Mandy. It’s only up from here. Mandy just smiles. She sees Det. Scott just off set, watching. Excuse me.
EXT. PARK - DAY Mandy walks over to Det. Scott. MANDY You were watching? DET. SCOTT Yeah, I wanted to see what all the fuss was about. Apparently there’s a big movie star on this set. Can you introduce me? MANDY Very funny. DET. SCOTT Congratulations. MANDY Thank you. It’s bitter, sweet. DET. SCOTT I can officially close the cases on Annabeth and Britney. Their families are still grieving, but at least they have some closure. MANDY Yeah. So what are you going to do now? DET. SCOTT I’m working with the departmental pyschologists to analyze the effects of early childhood abuse. I’m working on a better ending. Mandy smiles wanly. MANDY So you have your hands full? DET. SCOTT Yeah, pretty much. You? MANDY I think I might go back to the interior for a bit. Maybe for a little R & R.
81. DET. SCOTT I hear ya. Well, good luck with everything, Mandy. I’ll be watching for you. MANDY Thanks, take care Detective Scott. DET. SCOTT It’s Bruce. Bruce.
Det. Scott walks away from Mandy. She watches him leave. Mandy pulls out her cell. She dials a number. MANDY (into phone) Daddy, hi, it’s Mandy. (beat) Yeah, I’m fine. Is mom there? Mandy turns and starts walking away. MANDY I was thinking of coming home for a visit. We BOOM up into the tree off of Mandy. FADE TO BLACK.