Screenplays
I’ve loved movies as long as I’ve loved books. I studied both in college. During the pandemic I thought I’d use my spare time to write screenplays. I wrote two: Romans & Christians (2021) and Haven (2023)
I’ll includes samples below, including versions as a PDF, which will help to maintain better spacing.
ROMANS & CHRISTIANS
Alex Le Clair
EXT. - A VIEW ATOP A REMOTE LOCATION IN THE WOODS OF NORTHERN WISCONSIN - DUSK
High above, we see tall trees and rolling hills cover the landscape except for a coursing pathway through it all. We drift along with a brown station wagon. The sound of tribal drums plays atop the image. Inside the car, LINDA D’AMATO, mid-40s, fierce and devoted mother, evangelical Christian, drives her two daughters to their annual weeklong vacation to the Christian Life and Arts Project (C.L.A.P.), a Christian mentoring camp designed to offer artistic guidance and Christian fellowship for kids. Linda and GIA D’AMATO (17, tall and lanky, cynical, shy, gifted piano player) serve as counselors, whereas the youngest, DANIELLA D’AMATO (12, AKA “Dani,” a bookworm, whip smart, budding photographer, big brown eyes and glasses, tomboyish) is attending the camp as a participant. They are late for the start of the camp.
LINDA
(irritated)
I told you we were going to be late. It’s not a good impression for your first year as a counselor.
GIA
It’ll be fine, mom. No one cares.
LINDA
Of course they care. It’s the welcoming ceremony. We have a job to do!
GIA
(looking up from her phone at her mom)
God forgive me?
LINDA
Don’t talk like that. You’re supposed to be a good example for these kids. Your sister looks up to you. And she was on time.
Gia looks back at Dani who is in a deep sleep, slouched in her seat belt in the back.
GIA
She doesn’t care what she looks like.
LINDA
Maybe you should care a little less. You ever think of that?
Gia sees a packet of materials for the camp lying near Dani’s outstretched hand, including a directory and manual with photos of all the people attending the camp. She picks it up, examines the cover, and begins flipping through it. She finds her name and flips through the other pages, seeing her mother’s name. Gia lifts her feet and sets them on the dashboard.
GIA
Found you. Nice photo.
LINDA
(laughing)
Oh shut it. And take your feet down.
Gia keeps her feet on the dash.
GIA
“‘Be strong, and let your heart take courage, all you who wait for the LORD!’ I’ve attended this camp for seven years and am thrilled to bring along my two beautiful daughters, Gia and Daniella. Every day is a blessing with you.” Aww.
LINDA
It’s true. Unless we’re late for camp. Then it’s less true. What’s Dani’s profile say?
GIA
(flipping through book)
Like you don’t know…[reading voice] “I had such a good time at camp last year! And I get to be there with my mom and sister. I love photography and the Book of Psalms.”
LINDA
(pleased)
You see.
Gia finds the photo of Katy Byrd and groans.
LINDA
What?
GIA
Katy Byrd is a counselor too.
LINDA
You can’t like everyone. I’m sure the other teen counselors will be great. You think you’ll have to room with her?
GIA
Oh, please no! I will, won’t I. Is it too late to turn around?
LINDA
You’ll be fine. You’ll make it work. [waving at Gia’s feet] Gia, you’re gonna get my dash all dirty. What if I have to drive someone?
Gia takes her feet down and looks at the photos of the other counselors. She sees a photo of Manuel Castillo, a sixteen year old comics artist from Milwaukee. She sees a photo of Thomas Jack, a wrestler and sculptor from Wausau. She sees a photo of a man named Jeremiah Cooke.
GIA
Who is THIS?
LINDA
What?
GIA
This guy looks like he’s a thousand years old. Jeremiah Cooke. This guy is gonna sniff out that you’re single.
LINDA
Don’t be cruel. I’m sure he’s a nice man. He’s volunteering at a Christian camp.
GIA
A Christian kids camp. I bet he smells really bad.
LINDA
That’s enough. I don’t need more aggravation. We’re not that far away.
Gia lands on the smiling image of youth pastor, Whit Monroe. She swallows gently and then closes the book and leans her head back and sets her feet back on the dash and looks out the window. As if out of nowhere, Gia makes eye contact with MAMA SPOOK (60s, wild hair, covered in beads and bracelets, a sun dress, no shoes), who is at the side of the road, seemingly investigating a roadkill animal. Both Gia and Linda scream! Gia presses her feet against the dash, her leg muscles ripple, and she presses so hard that the seat pushes back and bangs near Dani’s legs. Dani wakes up with a fright. Mama Spook watches them as they drive away.
DANI
(startled)
What happened!?
GIA
(laughing, to her mom)
Was that Mama Spook? All the way out here?
LINDA
(crosses herself)
GIA
You’re not Catholic anymore, mom.
LINDA
Old habits.
DANI
(disappointed)
I missed Mama Spook?
LINDA
(to Gia)
Look at this! You broke my glove compartment. Oh, Gia!
Gia tries to move the seat forward and it creaks ahead.
LINDA
(exasperated)
The seat too?
The drum sounds grow louder again and we return to our high vantage point. But shortly thereafter a camp appears in view, nestled in the trees.
INT. – INSIDE THE MAIN CAMP CABIN – DUSK
We descend down toward a cabin lit from within. Inside the cabin, WHIT MONROE (20s, the youth pastor, boyish good looks, glasses, plays guitar and drums, has led the youth ministry arts camp the last three summers) finishes the drum circle with all the kids and counselors in the cabin. The kids are between ages 9 and 15. The teens are 16 or 17. The adults are serene and involved parents, a diverse cross-section of incomes and backgrounds. They all look ecstatic and cheer together, including JEREMIAH (60s, who walks with a limp, wears a Green Bay Packers windbreaker, knee brace on each knee, all-white tennis shoes, aviator sunglasses tucked in his jacket). KATY BYRD (17, beautiful brunette with sapphire blue eyes, poised and confident in her art, but insecure and lonely, afraid to be vulnerable, can be cruel, a gifted ballet dancer, an insomniac) is also there. Whit smiles broadly and waves his hands down to calm everyone so that he can begin speaking.
WHIT MONROE
(smiling)
Playing drums together is my favorite kind of introduction. You don’t have to speak. You just have to listen, feel the rhythm together, and play. Usually together. [motions to the right] I don’t know about over here.
CHILD 1
Hey!
WHIT MONROE
Ok Ok. [motions to the left] It was over here.
CHILD 2
No it wasn’t!
WHIT MONROE
It wasn’t? Was I the one who was off?
ALL THE KIDS
Yeah!
WHIT MONROE
I’ll have to work on that. And what better place to do that, to relax our bodies, restore our minds, and strengthen our faith in Jesus Christ than the Christian Life and Arts Project, better known as…
ALL THE KIDS
CLAP!
Everyone claps.
WHIT MONROE
Applause all around. I see all the talented kids here, thank you for coming, and I see the gracious teenagers and adults freely giving their time to volunteer, thank you all, and it fills me with joy. I’m not that old, but--
JEREMIAH
(interrupting)
How old are you?
WHIT MONROE
(looking around, confused)
I’m...I’m 25.
The teen girls sitting in the back adjust themselves in their seats.
WHIT MONROE
(continuing)
But I didn’t find my faith until about seven years ago and ironically enough I found it on the outskirts of this camp, near where I grew up. I was a lost kid struggling to find a purpose and I got into some trouble.
JEREMIAH
What kind of trouble?
The teen girls turn and glare at Jeremiah Cooke, who seems entirely focused on Pastor Monroe’s response.
WHIT MONROE
(smiling)
That I don’t need to get into. But I was trying to find a way, anyway to escape and no matter where I turned up, no matter how far I traveled or how much I tried to hide my feelings or dull my senses, I always felt like I was stuck in the same place, the same scared and angry person.
JEREMIAH
(a little too loudly)
Why so scared and angry?
More glares.
WHIT MONROE
(clearing his throat)
I’m not sure. But one Saturday night I’d stayed out all night, near here, since I grew up not five miles away.
JEREMIAH
Were you drunk?
WHIT MONROE
(ignoring the question)
I was walking alone early in the morning and I was feeling terribly lost, when I heard the sound of church bells chiming up the hill. When I saw the doors to the church open, I decided to go in and that decision changed my life.
The room claps.
WHIT MONROE
(continuing)
Discovering Jesus Christ changed my life, saved my life, because I not only knew that I’d been forgiven, but I felt encouraged to go out and live my life, to spread the good news to others. I plan to do my best to share that blessing with each of you and to receive that blessing from you. Your faith strengthens me as much as mine strengthens you. That’s important to remember. Now, Jeremiah, you asked me how old I am. How old are you?
JEREMIAH
(gruffly)
60 something, 64 I bet.
There are a few laughs in the crowd.
WHIT MONROE
This is a great story. I met Jeremiah–found him, really–in the ditch of a country road not far from here, sleeping beside his banjo–
JEREMIAH
(interrupting, proudly)
Singing old songs for money.
WHIT MONROE
Yes, he’d sing for money. And the best banjo player I’ve ever heard. I asked if he’d play for me there and he did. (to Jeremiah) And it was like a religious experience listening to you.
The room laughs, including Jeremiah, whose laugh is more internal.
WHIT MONROE
(continuing)
And I asked if he was a believer in Christ and if he followed in his footsteps and he said that he did not. But just as I changed, so did he. We have now read the Bible together, nearly twice if my count is right, and we’ve developed a friendship. We play together and sing together. I marvel at his talent. Truly unique. And we share the good news.
JEREMIAH
(to the audience)
Playin’ the banjo is how I commune with God.
WHIT MONROE
That’s right, and–
JEREMIAH
(interrupting)
Ye old fat guy on the cloud.
More people turn to look at Jeremiah.
WHIT
Very funny, Jeremiah. But as I was saying–
JEREMIAH
(interrupting)
But lately I haven’t wanted to. Maybe with all these kids--
WHIT MONROE
(interrupting)
Absolutely. You can be a creative teacher. Sharing our joy in Christ and sharing our love of music is a great way to restore ourselves and rekindle our passions.
JEREMIAH
Maybe I’ll sing a dirge.
The crowd gets quiet and turns to look at Jeremiah. A few adult counselors make eye contact with each other, concerned.
JEREMIAH
(continuing)
God loves a dirge.
WHIT MONROE
(settling himself and the crowd)
God loves all kinds of music. And thank you Jeremiah for your questions and thoughts. Like me, Jeremiah was trying to escape and there was nowhere to go.
The crowd is again pulled in by the young pastor.
WHIT MONROE
(continuing)
People develop all kinds of schemes to escape their lives, but it’s our work and our responsibilities and our connections with those we love and those in our community that bring us closer to God. There is no faith without work. Whatever you do, work at it with all your heart. If we can find pleasure and purpose in that seeking, then we become part of the Divine Light and live with Christ with each breath we take, each step we take, each hand we take in our own loving hands.
JEREMIAH
(singing “I Be So Glad…When the Sun Goes Down”)
I be so glad when the sun goes down.
I be so glad when the sun goes down.
KATY BYRD
Shut up, old man.
WHIT MONROE
(gently chiding her)
Katy.
KATY BYRD
Sorry, but he’s being a creep.
WHIT MONROE
Jeremiah, thank you, again.
JEREMIAH
No, thank you, pastor, for bringing me in.
WHIT
(smiling, gathering his bearings)
But please no more interruptions, OK? [turning his attention to the kids again] It’s not just about taking from the Lord or finding strength in the purity of salvation. It’s also about making, right?
The kids sitting around him clap.
WHIT MONROE
(smiling)
When we channel the Divine Spirit into our creative work, we grow that much closer to God. I hope each of you find time this week to feel the glory of creation rising inside you. That inspiration and joy you feel? That intuitive, urgent need? That’s a gift. So let’s share it with each other.
Everyone claps.
[Dissolve to]
INT. – INSIDE THE MAIN CAMP CABIN – DUSK
Most of the campers have left the main cabin, but Jeremiah stays behind, examining the space. He stops and looks quizzically at old weapons hanging on the wall (a sword, a saw-like dagger, a bow and arrow, a few torches) above the fireplace. DIANA (50s, kind, adult counselor) and BRIAN (50s, gentle, inquisitive, adult counselor) step toward him.
DIANA
(to Jeremiah)
What was your name again?
JEREMIAH
(ignoring her)
What’s with the sword?
BRIAN
(to Diana)
I think it’s Jeremiah.
JEREMIAH
(reaching his hand up toward the blades, baffled)
Sharp!
BRIAN
They are! We keep them sharp as a reminder of the Roman oppression of the early Christians. A lot of blood was spilled to pass along our faith.
DIANA
I don’t really like this display myself. It’s like decorating your wall with the heads of animals.
JEREMIAH
(to Diana, curious)
Barbaric, you mean?
BRIAN
No!
DIANA
Yes, a little.
BRIAN
Oh but we need it. We are all bathed in the blood of Jesus Christ. [turns to Jeremiah, chuckling] Can’t always pray the demons away! Sometimes you have to fight them!
JEREMIAH
Ain’t that the truth. [immensely pleased] Huh.
Jeremiah walks past them without saying goodbye and they turn and watch him go.
DIANA
(unsettled)
What a strange man.
[Cut to]
EXT. – OUTSIDE THE MAIN CABIN – DUSK
Everyone has left the main cabin and is milling around outside. Katy is speaking with Whit, while THOMAS (17–a broad-shouldered young man who lives on a farm, orphan, shy, a sculptor, kind smile, a defender, a visible scar runs across his face) waits for Katy. Whit sees Thomas standing there and turns to address him.
WHIT
Thomas. I don’t think we’ve met yet. I’m so glad you’re here! I’ve been loving your sculptures.
THOMAS
(nervous)
You’ve seen those?
WHIT
Yes! Remarkable. How do you even come up with the stuff you make? It’s so…strange. I don’t mean that in a bad way! Are you a horror fan?
KATY
Ugh, no. Gross.
WHIT
(chuckling)
I was asking Thomas.
THOMAS
I don’t know. Somewhat. Bad dreams, I guess.
WHIT
I think that’s an excellent way to process nightmares. I’m glad you’re here. Look. I know how much your mom meant to you, and I’m sorry to hear about her passing. I know things were difficult at the end.
KATY
(taking steps forward, almost to change the subject)
He’s better now. She was very abusive.
THOMAS
(nodding, looking down)
WHIT
(quietly)
I know how hard it was. And that doesn’t just go away.
KATY
(insistent)
But it does get better. You just have to have faith!
WHIT
We’re here for you. And we’re glad you’re here for us.
THOMAS
It should be fun.
WHIT
(smiling)
You both should get some food. These young kids are growing and they eat a lot!
Whit departs, but slows when he sees Gia, Linda, and Daniella walking toward him. Thomas watches Katy walk away for a moment and then runs to catch up with her.
GIA
(to Katy as she’s walking by)
Hi Katy.
Katy rolls her eyes and walks by without saying anything.
DANI
(to Gia)
What’s her problem?
LINDA
(to Whit Monroe)
I am so sorry Reverend! So, so sorry. It’s my fault we’re late, mine and mine alone. And of course Gia took some time getting ready, but we’re so thrilled to be back!
WHIT
I’m thrilled to have you all back. [To Gia] Wow, you just keep growing up. I don’t want to say I feel old, but every year I’m stunned when I see you.
LINDA
Only getting better at piano too. Playing at Sunday AND Thursday service. I’m so proud.
Dani snaps a picture of Whit, who acts like he’s dazed by the flash and pretends to tumble backwards. The Polaroid photo shoots out and Dani looks down as the ghostly image appears.
WHIT
(looking at Gia)
I’m hungry. Are you hungry? I mean--
GIA
(quickly)
Yes.
WHIT
(continuing)
--all of you?
GIA
Oh.
Linda grabs ahold of each of her daughters’ hands.
LINDA
Yes, we are all hungry.
DANI
Is the food better this year?
WHIT
I’ve prayed for it.
INT. - C.L.A.P. CAFETERIA - NIGHT
The space is bustling with excitement while Christian rock music plays on an old boombox setup on a table. A stack of CDs rises above the boombox. Whit Monroe walks in with Linda, Dani, and Gia. Whit is pointing at people, smiling, and waving. Dani races off to the line of kids waiting for food and she screams in excitement, finding two old friends there: HAZEL (13, optimistic, collaborative, mousy, loves video games and origami) and ELEANOR (13, calm, crafty, secretive, athletic, an excellent archer). Linda follows after her. Gia is in a daze, not knowing what to do next. She doesn’t want to follow along with her family all week, but she’s not sure where to turn to first. In the fog of her confusion she hears a faint voice and then turns her head to see Whit’s smiling face.
WHIT
C’mon, I wanna introduce you to some other counselors.
Whit walks over to a table where Katy Byrd and Thomas Jack are sitting, along with MANUEL CASTILLO, aka MANNIE, 17 (comics artist, quick-tempered, problem-solver, independent). Katy sees Gia beside Whit and she smiles wryly, as if she’s enjoying this embarrassing scenario for Gia. Katy smiles brightly at Whit.
KATY
Hi Whit! Are we the only teen counselors this year?
WHIT
That’s actually what I wanted to talk to you about. This is Gia. Gia, these are your other counselors: Mannie Castillo, Thomas Jack, and you know Katy Byrd.
Katy waves broadly at Gia.
WHIT
(continuing)
Guys, this is Gia D’Amato, this is her first time as a counselor.
MANNIE
Me too.
THOMAS
Yeah, me too.
WHIT
Lots of new faces, which we love.
KATY
We have to sacrifice somebody.
WHIT
(chuckling))
Katy…
KATY
It’s my second year as a counselor, though I was being trained my last summer as a camper when I was 15.
WHIT
(to Gia)
I’ll get you some food. Just have a seat.
Whit departs toward the food line.
KATY
Wow, it’s like daddy getting you your McDonald’s.
THOMAS
(to Katy)
C’mon, man. (to Gia) Nice to meet you.
Thomas shakes Gia’s hand. They smile at each other. Mannie also shakes her hand.
GIA
(to Mannie)
What brings you to C.L.A.P.?
MANNIE
The pastor at my church showed me Whit’s YouTube channel and I checked it out and here I am.
Gia turns to ask Thomas, but Katy jumps in.
KATY
Thomas stalked me on TikTok and I invited him. He’s a lapsed Catholic, so I’m going to help save his soul.
THOMAS
I don’t know about all that.
MANNIE
(to Thomas)
God is with you wherever you go.
KATY
If we’re talking about Bible verses, then there is one you need to know.
THOMAS
Here it comes.
KATY
(performing voice)
The thief comes only to steal and kill and destroy. I came that they may have life and have it in abundance.
MANNIE
That’s the one to know?
GIA
It’ll make a good tattoo someday.
Katy’s eyes widen in gentle fury at the perceived slight.
KATY
Maybe it will. A good reminder when I’m counting my money.
Katy smiles at her table mates.
KATY
(continuing, to Gia)
I’m surprised you’re even here. I would have thought you’d be pregnant by now.
Katy’s smile drops.
MANNIE
(to Katy)
You don’t want to have kids?
KATY
We’ll see. But I want to have a lot of money. Who doesn’t? You can be rich and still love God.
THOMAS
Is ballet gonna get you all that money?
KATY
(snapping back quickly)
The discipline from it will.
MANNIE
(to Thomas)
There’s poetry and beautiful storytelling in the Bible. I had religion classes as a kid and we had to draw a scene and that’s how I learned how much I loved to draw. I’ve always felt connected to God when I’m creative.
KATY
Pastor Castillo.
MANNIE
(to Thomas)
Be still and know that I am with you. Remember that.
THOMAS
Yeah, if I could sit still, I’d be happy.
MANNIE
(genuinely)
It’s great to meet you, my friend.
Thomas nods back at him. Dani walks over to talk to Gia.
KATY
Here comes Gia’s best friend.(to Gia) Not your only friend though, right?
THOMAS
(to Katy)
What is wrong with you?
GIA
(to Dani, snapping at her)
Sit somewhere else.
Dani stops in her tracks and holds her hands up in the air as though she’s baffled by Gia’s behavior, then turns and returns to the table with Eleanor and Hazel.
KATY
(to Gia)
That was harsh. Where’s the maternal instinct?
Dani sits down with a dazed look on her face.
HAZEL
(to Dani)
What?
DANI
My sister is a freak.
ELEANOR
(grabbing Dani’s hand beneath the table)
We can just ask Whit. It’s no big deal.
Dani has tears starting to gently nudge at the edges of her eyes. She wanted to ask her sister a question about archery, because she is proud her sister has a position of authority, and she’s proud of her friend’s archery ability and she just wants to share that.
HAZEL
(to Eleanor)
How far away do you think you could shoot and still hit a bullseye? Like 50 feet?
ELEANOR
Meters.
HAZEL
What?
ELEANOR
50 meters. That’s how it’s measured.
HAZEL
That’s weird.
DANI
No, it’s not. Aren’t you in track? People run the 100 meter dash.
HAZEL
(smiling)
Oh yeah!
Hazel’s cheery optimism brings Dani out of her funk and she smiles. Eleanor leans over and bumps Dani, who laughs.
HAZEL
I’m not a sprinter.
ELEANOR
You run the 1600 meters.
HAZEL
Yeah. But I call it “the mile.”
The girls all laugh.
[Cut to]
Katy locks eyes with Whit, who is carrying a tray toward their table.
KATY
(to Gia)
Here comes your happy meal.
WHIT
(sets food down in front of Gia)
Here you go, Gia. I got you a little bit of everything.
GIA
(looking down)
Thanks…
WHIT
Look, tomorrow night we’re doing Romans & Christians.
KATY
Already?
WHIT
High chance of rain the last few days. I thought we’d try it early this year. Katy, can you make sure they know how it all--
KATY
On it. I’ll show them around after we’re done eating.
WHIT
Thank you. I’ll see you all bright and early tomorrow. It’s a blessing that you’re all here.
They wish him goodnight.
THOMAS
What’s Romans & Christians?
KATY
(smiling)
You’ll see.
Jeremiah Cooke watches the four teens from a table where he eats alone. He has a blank expression. He’s pressing his spoon rhythmically into his mashed potatoes. A TEENAGE WAITRESS stops by his table.
JEREMIAH
Hello there, pussycat.
TEENAGE WAITRESS
(rolls her eyes)
They said there is no alcohol. But I found some cherries.
JEREMIAH
Excellent. Iced Tea it is. [takes the cherries and drops them into his iced tea, then lifts it and takes a drink.]
TEENAGE WAITRESS
Ok, is there anything else I can get you?
JEREMIAH
Sometimes you want a drink. Nothing wrong with that, is there? [smiles at the waitress] I’m an Officer of the Great Struggle.
TEENAGE WAITRESS
(looks back at the kitchen, then back to the table)
Great. Look, I have a lot of work to do–
JEREMIAH
(interrupting)
What are you writing on that pad of yours?
TEENAGE WAITRESS
This? Just orders.
JEREMIAH
(teasing)
Oh c’mon... I’ve seen you writing more than that.
TEENAGE WAITRESS
I write down ideas, funny things I hear.
JEREMIAH
More than just food orders?
TEENAGE WAITRESS
Yeah, poems and stuff.
JEREMIAH
A poet! [takes a swig of his iced tea] What have you been writing?
TEENAGE WAITRESS
(hesitant)
Nothing really.
JEREMIAH
Don’t be shy.
TEENAGE WAITRESS
I did write this line earlier: “Speak well or my tears delete you.”
JEREMIAH
I’ll say no more. [covers his mouth]
TEENAGE WAITRESS
No, no. [pauses] But I liked the idea of each stanza, like, starting like that. “Speak well.” And then later on “Sleep well.” And on from there.
JEREMIAH
Wonderful. Instructions to a lover.
TEENAGE WAITRESS
(blushing)
No. I mean, I don’t know.
JEREMIAH
What are you going to call it?
TEENAGE WAITRESS
I hadn’t thought about that yet.
JEREMIAH
How about “My Pink Mushy.”
TEENAGE WAITRESS
(chuckling)
Gross, no.
JEREMIAH
Something more straightforward then, like “Coquette.”
She thinks about it, tapping her pen against her notepad, then walks away.
JEREMIAH
(whispering to himself)
Bye, pussycat.
The Teenage Waitress stops for a moment and writes on her notepad. She looks back at Jeremiah and sees him devouring his food. She thinks for a moment, then enters the kitchen. Jeremiah turns and locates Dani, who is laughing with her two friends. A smile slowly spreads across his lips as he chews.
[Dissolve to]
EXT. – OUTSIDE THE CAFETERIA – NIGHT
Katy walks Thomas, Mannie, and Gia around the grounds to explain how Romans & Christians works. Their heads gleam softly in the moonlight. There are kids fluttering around like bats outside, laughing. Some kids are skipping stones by the lakeshore, which is near the cabins. Some adults are warning the kids away from the woods. Katy points up at the moon.
KATY
A full moon! That’s perfect. We’ll want as much light as we can get.
MANNIE
Looks like they’re already having fun.
They all turn to see kids, including Dani, playing with a white glow-in-the-dark ball, shouting “Catch the moon!” as they throw it to each other and scream as they try to catch it. The wind swirls and blows through camp in a primal way. Mannie reaches down and picks up a 9-iron golf club.
MANNIE
(to Katy)
What’s this doing here?
KATY
Beats me. I think Whit sometimes hits golf balls into the lake, so maybe it’s his.
THOMAS
It’s windy.
Some kids run past them in a frenzy toward the water and jump in.
GIA
Hey! Get out of there!
The kids cackle and one, LUCY, 10, freckled and sweet, reaches a hand out toward Thomas as though she’s in danger.
LUCY
Save me! Save me!
KATY
(to Thomas)
She needs you, Thomas. Now what?
Thomas stops for a moment when he sees a rope on shore, meant for tethering boats. He ties it to a rock and then throws the other end to Lucy. She smiles when she grabs it and pulls herself toward shore.
KATY
(to Thomas)
What, can’t swim?
THOMAS
I can swim.
KATY
Of course you can! Who can’t? (smiles)
Katy resumes the tour.
KATY
(continuing)
This is the energy you can expect tomorrow night. It’s a blast!
MANNIE
Yeah, but what is it?
GIA
The kids have to find the light source of the underground church.
KATY
Did Whit tell you to explain it?
GIA
It’s Capture the Flag, but about searching for your spiritual home and protecting your faith.
Linda waves Gia over and Gia sighs and runs over to her mom. Katy glares at her as she leaves.
LINDA
(confiding with Gia)
Who’s this Mannie? I like him.
GIA
I don’t know, mom. I just met him.
LINDA
He’s cute!
GIA
You’re too old for him.
LINDA
Oh stop it.
GIA
Thomas is a lapsed Catholic too. Maybe he’d interest you more.
LINDA
I’m a Christian, sweetheart. I’m lapsed nothing. And don’t be mean. Don’t let that girl change you.
[Cut to]
Three older kids (DOMINIC, 15, COOPER, 14, KEN, 15) are sitting on logs by a fire. They are roasting marshmallows.
DOMINIC
This one is you, Cooper. This one is you, Ken.
KEN
(jokingly)
Don’t do it!
DOMINIC
Into the fire!
COOPER
I wouldn’t joke about that.
DOMINIC
About what?
KEN
Yeah, c’mon Dom, at least put some chocolate on us.
DOMINIC
I’m going to eat you.
Dominic slowly turns the marshmallows and we drift in closer to see them singe in the fire.
EXT. – CAMPGROUNDS – NIGHT
Gia runs back toward Mannie, Thomas, and Katy.
KATY
(to Thomas and Mannie)
Are your parents here too?
Each shakes their head.
KATY
(continuing)
OK, because you don’t need to have them here with you. But like I was saying, we are the Romans and the kids are the Christians. There’s no running, but kids will speed walk. If they run, the game is over. (looks straight at Gia) One year I played the game was over in the first hour, because some dumb kid started running.
Gia stares back at her.
THOMAS
What does the light source look like?
KATY
A lamp or fire, but it changes each year and only Whit knows where it is. He’s probably hiding it as we speak.
MANNIE
So we look for the kids. They look for the light.
KATY
Precisely. When we see kids, we shout, “Halt in the name of Caesar!” and bring them back to the main cabin, which will be our prison.
THOMAS
So we put the kids in jail?
GIA
(reassuringly)
But they can get out.
KATY
If they witness to their captive...if they’re persuasive. I always got out. I don’t usually let them out though.
THOMAS
Witness?
GIA
They have to persuade you to let them go, using the power of their faith.
KATY
The roleplaying can get intense. When I was younger, this counselor pushed me forward with his foot and shouted, “Get going!” and I fell down. He taunted me, like, “We nailed your savior to the cross!” Stuff like that. So fun.
MANNIE
So they’re running all over the place trying to find the light. How far can they go?
KATY
The kids need to stay on the boundary of the grounds. Obviously not in the lake. There is a fence that runs across in the woods.
THOMAS
They can go in the woods?
KATY
You’re such a scaredy cat!
GIA
Yes, they can go in the woods, but not over the fence.
KATY
The south side is a little different, that’s marked by the road that took you in. Kids can’t go beyond that. There are houses there, including the person we call “Mama Spook” who called the cops one year when kids were in her yard. So that’s fun.
GIA
She’s an old hippie. Nothing to be afraid of.
KATY
(as though she’s weighing scales)
A hippie, a witch, all the same. (to Mannie and Thomas) If you see someone who looks like an old homeless woman walking around the grounds, let Whit know immediately. (takes a deep breath) I’m so excited. It’s so much fun. Such good energy here!
EXT. – JUST OUTSIDE THE WOODS – NIGHT
Whit Monroe walks briskly toward the woods. He’s wearing a hoodie with the hood over his head and carries a flashlight and lantern. He looks back at the cabin and ducks, until he’s certain no one is looking. Then he slides into the woods and turns the lantern on.
WHIT MONROE
(holding the lantern up)
Looks bright enough.
He steps into the woods, moving gingerly through the darkness, tripping occasionally on exposed roots on the ground. Finally he arrives at his destination, a moss-covered wall. He looks up and down the wall, looking for a place to hide the lantern. He sets it down for a moment and then backs away and examines the location from a short distance.
WHIT MONROE
Too easy.
He walks back up to the lantern, picks it up, and then feels a slight, cool breeze come from his side. He turns and twists the lantern in the direction of the breeze. It looks like there is a door of some kind hidden behind a patch of moss. He walks over to it, cleans off some of the obstruction, and steps back to see what he’s uncovered. The light shows a engraving on the door that reads “Hic incipit pestis.” Curious about what he’s uncovered he walks up to the door and pushes on it. It doesn’t move much, but as he pushes harder he feels a rush of wind inside that seems to push back against him. At last he pushes so hard, his hand breaks through the door and he falls to the ground. A cool and bitter wind blows across his face and sets him in a daze.
WHIT MONROE
(frustrated)
Crapola.
He looks at the door and feels compelled forward, almost drawn toward it, and as he reaches for the door, a gust of wind from inside blows the door open and he’s able to swing it open and shut with some ease. He turns the lantern on and sets it inside, closes the door and steps back. The light isn’t too bright, but illuminates the door enough so that it can be seen from a shorter distance and the inscription can be read.
WHIT MONROE
(chuckles)
That’s kind of perfect.
EXT. – C.L.A.P. CAMPGROUND – NIGHT
Dani stops in her tracks looking at the trees swaying in the intense wind. It’s almost as though she hears a rumbling thrum in the woods, a wicked moan riding along the breeze. She takes out a disposable box camera and takes a picture and turns when a commotion arises nearby. A bat has descended from the sky and is writhing on the ground. Kids are screaming and running away. It’s behaving rabidly, as though it wants to bite one child, who is scrambling away on her backside with her legs open. It is crawling closer and closer to the middle of her legs as tries to scoot backwards. The bat is just about to latch on when Mannie runs up and smashes it with the golf club. Katy runs up to it and looks down with disgust. One of the counselors, BRIAN, runs up to assess the scene.
BRIAN
What happened!?
KATY
(sarcastically)
Mannie, by the fire, with the golf club.
DIANA, another counselor, strolls up with her arms crossed.
DIANA
It’s just a bat.
BRIAN
Yeah, but did you see what it was doing?
DIANA
No, but there’s nothing we can do about it now.
Diana turns and looks at the kids throwing sticks up into the air at the bats.
DIANA
If you don’t want the bats to come down after you, then stop throwing those sticks up into the air. You’re harassing them. [To Brian] You step away for a minute and it’s like Lord of the Flies out here.
Brian lifts the dead bat with a stick and is about to throw it on the fire when it falls from the stick. He grabs it with a hand and throws it in the fire, but winces and steps back sucking on a finger. The fire sparks and singes and a strange howling sound seems to leap from the flames. Cooper, who was just placing a graham cracker on top of his marshmallows and chocolate, slumps his shoulders.
COOPER
I’m not hungry any more. [To Dominic] You want this?
DOMINIC
Heck yeah. More for me.
As he bites in the s’mores, we dissolve into the next scene.
HAVEN
By: Alex Le Clair
EXT. - A VIEW ATOP REDWOOD CITY, CALIFORNIA - NIGHT
Welcome to Redwood City, California. The sprightly sound of “5 Years Time” by Noah and the Whale plays as the camera drifts forward to reveal an expansive view of the beautiful city, its coursing waterways and sleepy affluence, all in view, lit up against the night sky.
EXT. - PARKING LOT OF GROCERY STORE - NIGHT
We continue to drift forward through a parking lot as the bouncy music plays, sliding past families putting away groceries in their cars, the sound of laughter, and a few distinguishable commands from parents to their kids, a couple in a muffled disagreement. At last we tilt up to reveal the grocery store’s exterior.
INT. - GROCERY STORE - NIGHT
The song shifts to being played on the grocery’s store’s internal speakers. We drift forward through the brightly-lit interior into the potato chip aisle. In the distance we see ALDO BLOOM, 30s, disheveled in pajama pants, sandals, and a hoodie. A grocery basket holding a bottle of alcohol, cookies, and a frozen pizza is slung over his arm as he holds up various bags of chips and turns them around to examine them. One bag says “Seaweed & Crab” as its flavor. Aldo looks at the bag with confusion. At last he throws the bag in his basket.
EXT. - GROCERY STORE - NIGHT
The song picks back up in its non-diegetic form as Aldo casually exits the grocery store and walks right in front of an SUV that is about to pass. The driver stops and holds up his hands, but Aldo doesn’t see him--he’s looking straight ahead, digging his hand in one of the plastic bags. He pulls his hand out and sets a cookie in his mouth.
EXT. - REDWOOD CITY BEACH - NIGHT
We drift forward onto the beach, where there is a lovely view of the water. Aldo continues his slow stroll as the music plays. Finally, he finds a spot where he sits down and removes everything from the bag, as though it is a ritual by now, and falls back into the sand as the song stops. Aldo is expressionless as he looks up at the moon.
ALDO
(singing)
Fun fun fun. Fun fun fun. (long pause) One more time can’t hurt.
He reaches for his phone and taps on the name “Luna” and we hear ringing. After four rings, Luna picks up on the other end.
LUNA
(quiet, annoyed)
Hello.
ALDO
(surprised)
Hey! For some reason I’ve been missing you.
LUNA
You haven’t been missing me.
ALDO
Actually, I have missed you.
LUNA
(sighs)
ALDO
I know. I need to stop calling.
LUNA
You do.
ALDO
But the last time we saw each other…
LUNA
That was a… (sighs) It’s over, Aldo.
ALDO
I just want to see you. Can’t we just, you know, be friends?
LUNA
(sincerely)
I’m sorry you’re having such a hard time. I don’t know what else you want me to say.
ALDO
(pauses)
Can I get the ring back at least?
LUNA
Goodbye, Aldo.
Luna hangs up and Aldo tosses the phone in the sand next to him.
ALDO
(sighing)
That could have gone better.
Aldo turns on his side. He picks up his phone and sees Luna’s name on it and hovers his finger over the name, tempted to call her again. Finally he drops his head and sets the phone in the sand. He lies back. His eyes blink and he falls asleep.
EXT. - REDWOOD CITY BEACH - DAY
Aldo wakes up with the sun on his face to the sound of his phone buzzing. He grabs it quickly, hoping it might be Luna, but sighs when he sees STARLIGHT BRAND MANAGEMENT on his phone. He looks at his watch and curses. It must be his boss, Joel.
ALDO
(answering the phone)
Hello.
JOEL
Aldo. Good morning to you. Running late?
ALDO
Joel, yeah, I’m sorry. I’m not feeling great. Is it OK if I take the day off?
JOEL
Well, normally I’d say yes, but of course today is the Bently meeting.
ALDO
(silently cursing to himself)
JOEL
You’re an important part of that pitch.
ALDO
Can’t I do my part another day?
JOEL
(chuckling)
No. We need to be together on this, otherwise we look unreliable.
ALDO
Fine, I’ll get in as soon as I can.
JOEL
I need you here in an hour.
INT. - STARLIGHT BRAND MANAGEMENT - DAY
Aldo is straightening his collar, smoothing out his shirt, and ruffling his hair. MIRANDA, 30s, carrying a tablet, dressed in bright colors and black-framed glasses, rushes up to him and hands him a packet of papers.
ALDO
Has the meeting started yet?
MIRANDA
They’re just chatting right now, so it’s fine. It’s remote. Just take a breath.
ALDO
Is the piano in there?
MIRANDA
Yes, you’re all set. I mean, I think you are.
ALDO
That’ll work. How do I look?
MIRANDA
Like you slept on the beach.
ALDO
C’mon.
MIRANDA
You look great. You’re lucky you’re handsome.
Aldo stops before entering the room. He doesn’t want to go in. Everything inside him is telling him to leave, to go find a beach and lie there. But he pulls the door open and walks in. Miranda quickly follows and ducks down to a chair on the side of the long table, while Aldo sits at the 88-key keyboard. Joel sees them come in out of the corner of his eye and taps a button that shifts the video to a slideshow, while another TEAM MEMBER, 40s, dressed in a suit, chats with the client.
TEAM MEMBER
As far as archetypes there are a number that we could go with, depending on how we want to focus on the relationship with your customers. Adventure, wisdom, reliability. These remain the core values.
JOEL
(mouthing to Aldo)
Are you ready?
TEAM MEMBER
These are ancient values. These are future values. That timelessness is crucial to what we like to do at Starlight, whether it’s with startups or rebrands. We’re always striving to be fresh, while keeping ourselves firmly rooted in classic iconography.
Aldo is feeling nauseous as he sits in the meeting and the realization that he might have to puke dizzies him. He looks for a garbage can in case of emergency and Miranda, reading his mind, ducks and walks over to the garbage can and slides it next to him.
JOEL
(silently mouthing to ALDO)
What the fuck?
Aldo sees that he should reassure Joel, so he puts on a smile and acts like he’s tapping out a lovely song at a piano bar, bobbing his head in a fake groove. The Bently client spokesperson, MADELYN ARQUETTE, woman, husky voice, French accent, speaks up on the other side of the call.
MADELYN ARQUETTE
That sounds fine so far.
JOEL
Madelyn, was there a certain place you wanted us to start?
MADELYN ARQUETTE
We are interested in your MMI. We like what you did with Saint Vixen and something similar to that would be lovely, but we’re obviously open to hearing it. My understanding is you’re demonstrating that now, is that correct?
Joel is wide-eyed, looking at Aldo, as he’s hunched over the piano as though he’s going to fall over. Joel’s finger hovers over the video button as he wonders whether or not he should show Aldo talking and playing or just keep the audio. Team members are looking at Joel to make a decision.
JOEL
Yes, that’s correct. We have Aldo Bloom, one of our MMI coordinators here to share some music for you. Aldo, are you ready?
ALDO
(giving two thumbs up)
I’m two thumbs ready.
Joel reluctantly turns the video on so that Madelyn and the Starlight presentation team can see each other.
MADELYN ARQUETTE
There you are! It’s nice seeing you so that we can put a face with the presentation, especially from so far away.
Aldo begins playing a romantic ballad on the piano.
ALDO
It’s lovely to see you too, madame. Parlez vous Francais?
Joel side-eyes Miranda, who is smiling with a look of fright in her eyes.
MADELYN ARQUETTE
(hesistant and slightly amused)
Oui.
ALDO
Magnifique.
Joel is now gently rocking back and forth in his chair, the color drained from his face, as he watches Aldo play.
ALDO
(singing, falsetto)
Bentlyyyyyyyyyyy. Bentlyyyyyyyyyyy.
MADELYN ARQUETTE
(with her hand over her mouth, quietly laughing to herself)
Aldo stops his intro music and thinks for a moment, then continues on in a strange jittery melody that devolves into simply pressing his palms randomly into the keys.
ALDO
Bently Bently Bently Bently Bently.
JOEL
Aldo...
ALDO
As for the main theme, I was thinking about a march, something triumphant and stadium-ready, a kind of how-do-you-like-me-now? Let’s see here...
Aldo drags a finger from the high notes to the bass notes like a rock n roll song, then begins to stomp on the pedals in an aggressive glam rock-like stomp, something that the band Queen might have played. Joel’s eyes are getting wider and wider, while Miranda is grooving to the music. Aldo pauses for a moment and puts a hand over his mouth like he’s going to throw up. Everyone in the room either leans in or turns away. Aldo regains his composure and continues to play before stopping abruptly.
MADELYN ARQUETTE
Hmmm. I like this very much.
JOEL
You do?
MADELYN ARQUETTE
It makes me think of fist pumping in the air, you know? What do you have in mind for notifications?
ALDO
Um, how about some sparkles? Everyone loves sparkles.
Aldo adds an effect and presses a few keys to create a shimmering sound.
ALDO
We could add some bottom to it too, beauty and strength.
Aldo taps a bass note melody to cut through the sparkles.
MADELYN
Hmm, yes! Charming.
ALDO
How about some congas? Aye yi yi!
Aldo lurches to one side.
ALDO
(continuing, worried)
Oh no.
Joel mutes and removes video of the presentation, while Aldo falls to the ground and pukes in the trash can.
JOEL
(pointing to a team member)
Hold them in chat, say we’re having some tech issues and we’ll be live with them again shortly.
Aldo can be heard laughing with his head in the trash can.
JOEL
Call security, Miranda.
EXT. - STARLIGHT BRAND MANAGEMENT - DAY
Aldo is sitting on the curb outside of Starlight with a box of stuff next to him. Miranda walks out and stands next to him.
MIRANDA
Quite a show.
ALDO
I aim to please.
MIRANDA
(shakes her head looking at him)
I’m gonna miss my lunch time partner.
ALDO
(looks at her and nods)
MIRANDA
What do you want to do?
ALDO
What do I want to do… Huh, well, let’s see. Will you marry me?
MIRANDA
No.
ALDO
Join the crowd.
MIRANDA
One husband is enough. (pauses) Are you just gonna sit here?
ALDO
Was thinking about it. (pause) Oh, are you coming out here to tell me to leave?
MIRANDA
You can’t stay on the property, Aldo.
ALDO
(nods)
I forgot my keys up there.
MIRANDA
I’ll go look. I know your car. Stay here.
Aldo watches Miranda return to the building and waits for a moment. He looks at his work stuff beside him. He stands and walks to his car and examines the things inside. Aldo walks away.
EXT. PARK SIDEWALK. DAY
We drift along with Aldo as he walks. He sees a family of ducks clucking along together.
ALDO
Enjoy it while it lasts.
INT. - COFFEE SHOP - DAY
Aldo waits in line while a YOUNG GIRL ON FIRST DATE and YOUNG GUY ON FIRST DATE talk at a table near him, which he overhears.
YOUNG GIRL ON FIRST DATE
I’m nervous.
YOUNG GUY ON FIRST DATE
Me too, but this is already a better start to my last date.
YOUNG GIRL ON FIRST DATE
Oh no, what happened?
YOUNG GUY ON FIRST DATE
I had the date with the girl’s mom, who was trying to convince me to go on the date with her daughter. She wouldn’t set up a profile for herself apparently.
YOUNG GIRL ON FIRST DATE
No! What did you do?
YOUNG GUY ON FIRST DATE
It was weird! I chatted with the mom for a bit, almost like we were on the date and then I got up to go to the bathroom and just left.
YOUNG GIRL ON FIRST DATE
How horrifying! That wasn’t here was it?
YOUNG GUY ON FIRST DATE
No, Finn’s Bakery. I can’t go back there anymore.
YOUNG GIRL ON FIRST DATE
I’ve never been there.
YOUNG GUY ON FIRST DATE
It’s alright.
YOUNG GIRL ON FIRST DATE
We’ll have to go there some time.
YOUNG GUY ON FIRST DATE
Yeah?
YOUNG GIRL ON FIRST DATE
Yeah, I’ll protect you from the mom. But the daughter will be your responsibility.
YOUNG GUY ON FIRST DATE
She probably won’t show up to that either.
Aldo’s eyes tear up.
INT. - BILL’S HORSESHOE BAR AND GRILL - DAY
Aldo sits at the bar with an empty shot glass, a cocktail glass with just ice cubes in it, a glass of beer, and a glass of red wine in front of him. Aldo is having a conversation between the cocktail glass and the shot glass.
ALDO w/ COCKTAIL GLASS
(using a surfer accent)
It goes by pretty fast, so before you know it, you’re gonna be big like me.
ALDO w/ SHOT GLASS
(using young kid voice)
But I want to be big now.
ALDO w/ COCKTAIL GLASS
No, you’ve got a lot of growing up to do first. I should know, I’m eighteen and I’ve got it all figured out.
ALDO w/ SHOT GLASS
When you start college, is your girlfriend coming with you?
ALDO w/ COCKTAIL GLASS
No, she’s going to a different school. But we’re going to make it work.
Aldo is laughing a sad laugh, breaking character for a moment, before regaining his role-playing composure.
ALDO w/ SHOT GLASS
What’s so funny?
ALDO w/COCKTAIL GLASS
Oh nothing. But it could be she doesn’t want to be with me anymore.
ALDO w/ SHOT GLASS
Oh no!
Aldo grabs the glass of beer and slides it up to the other two glasses as if it’s walking.
ALDO w/ GLASS OF BEER
You’re scaring your brother!
ALDO w/ COCKTAIL GLASS
He needs to know the truth!
BARTENDER, 50s, woman, brings a plate of chicken wings.
BARTENDER
Did you order the wings?
ALDO
Did I!?
The bartender rolls her eyes and sets the plate down in front of Aldo. Aldo grabs the wine glass and walks it over to the other glasses.
ALDO w/ WINE GLASS
(using Jersey accent)
Knock it off you’s two, dinner’s ready.
INT. - BATHROOM OF BILL’S HORSESHOE BAR AND GRILL - DAY
Aldo enters the bathroom and walks to the empty line of urinals. He stops at a urinal on the far right. As he looks up he sees a small poster advertising therapy help with the heading in large letters “DO YOU FEEL LOST?” The poster is branded in the lower right with the Haven corporate logo. Aldo looks down at the other urinals, noticing that none of them have a poster hanging above them. He looks back at the poster in front of him and squints.
ALDO
Oh! Yes!
He looks down and shakes his leg. The song “Islands in the Stream” by Dolly Parton and Kenny Rogers comes on. Aldo washes his hands quickly and then dances his way out of the bathroom.
[Cut to]
Aldo sings along with “Islands in the Stream” as he walks back to the bar, smiling at the bartender. After the first chorus finishes, she slaps the bill down in front of him. The song continues to play. Aldo looks at the bill and laughs and then gets more concerned as he examines the receipt. Aldo signs his credit card bill then flips over a coaster and writes his name and phone number on it and slides it to the bartender and smiles and nods. She reads it and walks away. A burly BAR MANAGER with tattoos stops by.
BAR MANAGER
(slides a to-go container to him)
You’re all settled up. Time to go.
EXT. - BATHROOM OF BILL’S HORSESHOE BAR AND GRILL - DAY
There is a MAN ON HIS PHONE in an argument, apparently a lover’s quarrel. Aldo locks into the conversation as he walks nearby.
MAN ON HIS PHONE
If you had your way, we’d never have sex, so what’s the point? (pause) Oh, don’t give me that. You don’t… (pause) No, that’s not true.
ALDO
(shakes his head)
The man on his phone sees Aldo walking by and gives him a death stare. Aldo stops to listen to the rest of the conversation, as though the man wants him there for support.
MAN ON HIS PHONE
Hold on a second. [To Aldo] Can I help you with something?
ALDO
Typical, am I right?
MAN ON HIS PHONE
[To Aldo] Yeah, right, move along, pal. [Back on his phone] Some guy outside the bar.
ALDO
Nothing’s gonna change. You can already feel it.
Probably already got another guy.
MAN ON HIS PHONE
(sets his phone down)
What did you say?
ALDO
I bet she’s already--
The man punches Aldo in the stomach and then in the face and Aldo falls onto his side.
MAN ON HIS PHONE
(kicking Aldo)
Is this the other guy? Is THIS the other guy? How about THIS?
Aldo
(screaming)
Aldo rolls onto his back and we slowly lift into the sky as the chorus for “Islands in the Stream” kicks in again. We get higher and higher in the sky and the sun flares and rolls into sunset and then to night.
EXT. - HIGH ABOVE ALDO’S APARTMENT - NIGHT
We descend as Aldo walks to his apartment. As we get to the ground, it becomes clear that a drone has been delivering a package to a building nearby. Aldo watches as the drone drops off the package and then watches as it departs. He turns to see Miranda getting out of a car, walking toward him.
MIRANDA
I sent your car back.
ALDO
(stares at her)
MIRANDA
Here are your keys.
Aldo takes the keys. He sits down on the curb and offers his to-go container to Miranda, who sits down beside him.
ALDO
(sensing Miranda wants to tell him something)
What is it?
MIRANDA
(chewing)
You know the Haven in Mendicino? I think you could get a job there.
ALDO
Why do you think that?
MIRANDA
(wide-eyed)
Because I had dinner with Matthew King a few months ago. You know him right?
ALDO
I don’t really know him, at least not anymore. I grew up with him. He was closer in age with my older brother, but we dated the same girl in college. I mean, I was in college. He dropped out. I don’t think, no, I don’t think he--
MIRANDA
(interrupting)
Did you steal his girlfriend?
ALDO
No, I wouldn’t say steal.
MIRANDA
Was it Luna?
ALDO
Yeah.
MIRANDA
Aldo!
ALDO
He wasn’t even living on campus at that point. I thought he’d moved back to Sedona. Why am I explaining this…I…
Aldo trails off.
MIRANDA
(sets her fork onto her plate)
I didn’t even know you dated that long. (sets a chicken wing back in the container) Look...if he contacts you, will you talk to him?
ALDO
(sighs)
MIRANDA
I don’t want to worry about you.
ALDO
Fine, if he contacts me, I’ll talk to him.
EXT. - ALDO’S APARTMENT BUILDING - NIGHT
Miranda hugs Aldo and she begins to walk away.
ALDO
You know, if things ever go south with Mike…
MIRANDA
Good night, Aldo.
ALDO
(watching her go)
Good night.
INT. - ALDO’s APARTMENT - NIGHT
Aldo walks into his apartment. It is empty except for a couch, a lamp on the ground, a TV and a laptop computer beside the couch. He changes into a white t-shirt and bathrobe, then falls onto the couch and drifts off to sleep.
INT - ALDO’S APARTMENT - DAY
Aldo wakes up to the sound of his door being knocked upon. He’s sleeping in the same position, wearing the same thing, but as he rises and we pull back, we see that time has passed and the place hasn’t been cleaned in weeks. Pizza boxes are everywhere. MATTHEW KING, 40s, dressed in expensive casual clothing, bouncy with energy and charisma, stands outside Aldo’s apartment. We can’t see his face. He knocks upon Aldo’s door again and Aldo opens it dressed in his bathrobe and white t-shirt with pizza stains on it.
ALDO
(surprised)
Matt? What are you doing here?
MATTHEW
(pushes the door open)
Aldo! Great to see you. How long has it be--. My God!
ALDO
Yeah, it’s a little messy. If I’d known you were coming over, I would have, ah...
MATTHEW
Would have what, bought some furniture?
ALDO
There’s a couch.
MATTHEW
(kicks a pizza box)
I mean...Jesus Christ!
ALDO
I’ve only lived here about a month, since my fiance and I split up.
MATTHEW
Yeah, I heard about the kick in the balls. My condolences.
ALDO
Thanks.
MATTHEW
It happens to the best of us. It’s also partially why I’m here.
ALDO
Yeah? Why else are you here?
MATTHEW
(smiles broadly)
To see an old friend! Did you get my messages?
ALDO
Oh yeah.
MATTHEW
I like to help my friends when I can. I have that luxury. I have the luxury of access--to people, things, ideas. Like you now, I just walked in and knocked on the door.
ALDO
And I just let you in. Amazing stuff.
MATTHEW
It is when you think about it. How often do we even do that anymore? I try to see people in person whenever I can, because it’s not what separates people that interests me. It’s what unites us.
ALDO
I always found you inspiring.
MATTHEW
And the pain of a broken heart is one thing that unites us. (long pause as Matthew waits for Aldo to say something sarcastic, but it never comes.) How do we do it? Huh?
ALDO
(serious, locking eyes with MATTHEW)
MATTHEW
What’s the best way to get over a broken heart?
ALDO
I, obviously, don’t know.
MATTHEW
Things will get better in time, but that’s not an efficient way to handle things.
ALDO
Ok, can we just cut the corporate talk? I knew you when you were called “Matty.”
Matthew moves garbage from the couch and gestures for Aldo to sit. Aldo sits. So does Matthew.
MATTHEW
The first thing that I’ve found to be helpful is to keep myself busy. Are you doing that?
ALDO
(looks around)
Not really. I got fired.
MATTHEW
I’ll get to that. But you should keep busy and have people in your life so you’re not spending all your time thinking about what you don’t have.
ALDO
Ok, thanks…
MATTHEW
But another thing that helps is to fall in love again.
ALDO
On the rebound.
MATTHEW
Not necessarily. People know Romeo & Juliet, but they forget that Romeo starts that story heartbroken for Rosaline.
ALDO
That cannot be the example you’re giving me.
MATTHEW
The point is…when you fall in love, suddenly, you’re not thinking about the past anymore. You’re thinking about the future. You’re anticipating seeing the other person. You’re making plans.
ALDO
This is great, but I don’t think there’s anything--.
MATTHEW
(interrupting)
And I have someone I want you to meet.
ALDO
(long pause)
It’s not a therapist is it?
MATTHEW
No. But I don’t see what would be wrong with that.
ALDO
Because I was starting to get excited, and then I thought he’s got some therapist he wants me to see.
MATTHEW
Love is the best therapy.
ALDO
(stares at him)
MATTHEW
Miranda talked to you about Haven?
ALDO
Miranda’s married. I already brought that up–
MATTHEW
(interrupting)
Forget Miranda. Do you know anything else about our company? Have you read anything, watched anything?
ALDO
(shrugs)
Not really.
MATTHEW
Good. It’s much better when you don’t have expectations.
ALDO
(looks around)
Don’t get me wrong, it sounds intriguing. But I don’t think I can afford it.
MATTHEW
Your rent will be taken care of. Do you want to spend your time wallowing here in this dingy apartment, pining for someone who doesn’t want you? That’s not a way to live, at least I don’t think so. What do you say?
ALDO
(long pause)
Ok, yeah.
MATTHEW
That’s the spirit! On Monday morning, 9:00 am, a car will show up at your curb and take you in. And I’ll give you this (sets down a jet black card that looks like a credit card).
ALDO
What’s that?
MATTHEW
It’s access. It’s money. (pause for beat) It’s time to think about the future.
They both rise from the couch. Matthew offers his hand to Aldo, who accepts it.
MATTHEW, cont.
I’ll show myself out. Clean this place up. It’s disgusting. (slaps Aldo on the back and departs)
Aldo sits down on the couch. We zoom in close on his face.
INT. - ALDO’S APARTMENT - DAY
It’s the next day, though that is unclear as we are still close on Aldo’s face. Aldo’s phone pings and we move back to see that the apartment has been cleaned and a bag is sitting next to the couch. Aldo has not bought new clothes or gotten a haircut. He’s not even sure he will leave. The phone pings again.
ALDO
(looking down at his phone)
I’m thinking!
We see there is a timer decreasing on his phone, a bar draining, for the car service app. When the bar drains completely without any response from Aldo, then it will depart. It pings again. Aldo stares at the pizza boxes stacked in the kitchen.
EXT. - ALDO’S APARTMENT - DAY
We see Aldo’s apartment from inside the car that is meant to pick him up. It is a luxury car, driverless. We hear a faint melodic whistling from the AI DRIVER DUANE, a gruff voice, the kind that sounds like it comes with a body that is 50 pounds overweight, a head that is balding, and a kind face with a mustache.
AI DRIVER DUANE
This kid’s gonna be a no-show.
The timer on the app attached to the device on the dash is draining. It gets to 10-9-8.
AI DRIVER DUANE
It is a real person I’m picking up, right? Donna? Haha, just a bit of driver humor.
Right as the timer gets to 2, the ping is returned.
AI DRIVER DUANE
Oh, a flair for the dramatic. I’m gonna like this kid.
We see Aldo carrying pizza boxes, dumping them in a dumpster outside the building, then he walks up to the car and gets inside.
AI DRIVER DUANE
Good morning to you! Where are we headed?
ALDO
(confused)
Did Matthew King not program--
AI DRIVER DUANE
(interrupting)
Haha, just a bit of driver humor. Our destination is set.
ALDO
Good.
AI DRIVER DUANE
Santa Clara County Jail, coming up.
ALDO
What?
AI DRIVER DUANE
Haha, no no. Off we go (whistles).
They depart. While on the road, AI DRIVER DUANE strikes up a conversation.
AI DRIVER DUANE
Say, have you ever been to a Haven?
ALDO
Nope.
AI DRIVER DUANE
Well, they’re all different. All enclosed, entire towns and cities built from scratch.
ALDO
Yeah, like the Kremlin.
AI DRIVER DUANE
Exactly like the Kremlin! Have you ever been there?
ALDO
Can’t say that I have.
AI DRIVER DUANE
Fascinating place. Men and women stationed on horseback outside it now, escort you in. Same with the vatican.
ALDO
So maybe it is like you’re taking me to jail.
AI DRIVER DUANE
Haha, ain’t that the truth. Haven’t seen much of them other than the entrances, so can’t help you there.
ALDO
Where else have you driven?
AI DRIVE DUANE
Oh, I’ve been all over the world. DRIVER DUANEs have been in existence for fifteen years now. Can drive a lot of places in fifteen years.
ALDO
What’s been your favorite?
AI DRIVER DUANE
Favorite? Push comes to shove it’s Garden Route in South Africa, but I like driving anywhere there’s people to pick up. It’s a beautiful planet we’ve got here.
The car pulls out to reveal a beautiful vista. The camera pulls out high above, watching the car maneuver through the twists and turns of the landscape, like the drive to the Overlook Hotel in The Shining.
INT. - HAVEN HEADQUARTERS CONFERENCE ROOM - DAY
A large room with one wall entirely glass to let the sunlight in. A large round table in the middle of the room, filled with executives and handlers of a Chinese company called Weishu. All the Weishu representatives are dressed in dark suits. AIGUO LIN, the Weishu spokesman--40s, male, glasses, handsome and reserved, but unintimidated in all situations--sits in the middle of his team. Likewise, Matthew King, dressed casually, sits in the middle across from Aiguo Lin. King’s team mimics his casual dress, except for ZOFIA ZABIELSKI, 30s, well-dressed, sharp, sensitive, and steely-eyed. She possesses a cutthroat persona with an outwardly conservative presentation that captures the attention of Aiguo Lin, who notices that Matthew King often looks at her for her reaction to things. Zofia sits at the end of the table, by the doors. She is there to listen to the meeting and take notes, but also to handle any distractions that walk through the door. She is developing into one of Matthew King’s most trusted advisors.
AIGUO LIN
We appreciate the gravity of the work that you have done. Symmetry clones, DNA replicants, and EVOLs are on the horizon, are they not?
MATTHEW King
I’ll take your word for it.
AIGUO LIN
No, it is your word, as expressed to The New York Times.
MATTHEW King
I say a lot of things in the press, just as you do.
AIGUO LIN
Who can deny the advantages of a strong relationship with the media?
MATTHEW King
A little different here.
AIGUO LIN
(pausing)
Not so different. But we do approach our work from a different--shall we say--perspective than you.
MATTHEW King
(looks at Zofia, then looks back at Aiguo Lin)
You mean stealing all of our ideas and pretending they’re your own?
AIGUO LIN
We leverage our resources, just as you do.
MATTHEW King
You leverage our resources.
AIGUO LIN
We have learned from western companies, just as you have learned from us.
MATTHEW KKing
I… (laughs)
AIGUO LIN
What value are such thieves to you? Can’t you just mix your potions and invent something new?
MATTHEW King
(looks at Zofia, sighs)
I admire your ability to build.
AIGUO LIN
So there is something.
MATTHEW King
And build quickly.
AIGUO LIN
Our differences aren’t so vast, but we do see things differently. (Turns to Zofia) What do you think?
ZOFIA ZABIELSKI
(pauses)
I think the agenda is set and the sooner we get to it, the better off we’ll be.
MATTHEW King
(smiling at Zofia)
Right, busy day.
AIGUO LIN
(to Zofia)
What is your name, miss?
ZOFIA ZABIELSKI
My name is Zofia Zabielski.
AIGUO LIN
And what do you do here?
ZOFIA ZABIELSKI
(pauses)
Executive Assistant.
AIGUO LIN
As an Executive Assistant, what do you think of our two companies? Are we so different?
ZOFIA ZABIELSKI
You have a market approach. We have a mission approach. Our mission is to change the world, which requires the markets. You wouldn’t be here if you weren’t valuable. We have tremendous faith in our mission. We are the most creative company in the world. If you’d like to do business, then I advise that we start the meeting.
AIGUO LIN
(smiling at Zofia, then turning to Matthew King)
It’s so important to have trusted advisors.
INT. - HAVEN VIDEO CREATION ROOM - DAY
Zofia sits watching a promo video with DAI, 20s, female, Japanese, fiery, intelligent, but looking tired, and KABIR, 30s, male, Indian, reserved and exhausted. Zofia leans against the wall, there to offer feedback on the video they’ve been creating for weeks.
VIDEO
Like the regions in Ancient Mesopotamia, each Haven is a self-contained space of work, experimentation, and progress. Our products influence the way life is lived around the world.
ZOFIA
Stop.
Dai stops the footage.
ZOFIA
Take the Chinese representation out.
KABIR
And fill it with what?
ZOFIA
Something else.
DAI
(sighs)
You told us to put it in before.
ZOFIA
And now I’m telling you to take it out.
Dai restarts the video.
VIDEO
But inside the walls, our people aren’t focused exclusively on changing the way our world works--
ZOFIA
Stop.
Dai stops the video.
ZOFIA
Don’t show any Autonomous AI.
KABIR
I thought that was the whole point of this video.
ZOFIA
Things change. This is a promotional video. It’s what we say it is.
Dai makes a note on a sheet and restarts the video.
VIDEO
...they’re also intent on living full lives with friends and family. Touch football, for example, is a mainstay at Haven Headquarters in Mendocino.
ZOFIA
Stop. These people don’t live or work here.
Dai stops the video.
KABIR
Casting has always worked better for us.
DAI
(reading from a sheet nearby)
Heroic, diverse, and relatable.
ZOFIA
It should be people who actually live and work here.
DAI
But no Asian representation.
ZOFIA
I didn’t say “Asian.” I said “Chinese.”
Matthew King stops by and Dai and Kabir smile and sit up straight.
MATTHEW
Are you busy here?
ZOFIA
Just running through a promo video.
MATTHEW
Let’s see it.
Dai restarts the video from the beginning.
VIDEO
Like the regions in Ancient Mesopotamia, each Haven is a self-contained space of work, experimentation, and progress. Our products influence the way life is lived around the world. But inside the walls, our people aren’t focused exclusively on changing the way our world works, they’re also intent on living full lives with friends and family. Touch football, for example, is a mainstay at Haven Headquarters in Mendocino. As commune living has grown more popular, so too has the desire for work placements to offer healthy diversions from the rigors of a long work day.
MATTHEW
Stop.
Dai stops the video.
MATTHEW, cont.
Ok, yeah, looks great. [to Zofia] Aldo is on his way.
ZOFIA
You told me to--
MATTHEW
No, just let it go. Aldo is on his way.
ZOFIA
Who?
MATTHEW
My old friend, Aldo. Remember, I wanted you to show him around?
ZOFIA
Right. [to Dai and Kabir] Just wrap it up and have it ready for the strategy meeting.
Zofia leaves with Matthew King.
INT. - HAVEN HEADQUARTERS - DAY
Matthew and Zofia leave the editing building together and walk across the campus toward the main gates. It is sunny and beautiful outside and the campus is pristine.
ZOFIA
Don’t do that.
MATTHEW
(smiling)
Don’t do what?
ZOFIA
Undermine me in front of the team.
MATTHEW KING
How did I undermine you?
ZOFIA
I told them to make changes and you showed up and said everything was fine.
MATTHEW KING
(moves closer to her)
Everything is fine.
ZOFIA
Stop. It’s inappropriate.
Matthew King starts walking again and Zofia follows along.
EXT. - HAVEN HEADQUARTERS CAMPUS - DAY
Matthew King and Zofia walk and chat.
MATTHEW
You need to relax. Look, if they don’t respect you, fire them. Don’t overthink this.
ZOFIA
I don’t need their respect. I need yours.
MATTHEW
You have it. Look at this beautiful day and we’re walking together to meet an old friend who I have a chance to help in his time of need.
ZOFIA
Is that what you’re doing?
They stop again.
MATTHEW
Yes, that’s what I’m doing.
ZOFIA
How long is the tour supposed to be?
MATTHEW
How long? I don’t know. Show him around.
ZOFIA
I need to stop in and see my kids. Zach has them at the library today.
MATTHEW
What about their tutor?
ZOFIA
She has the day off.
MATTHEW KING
We can get you another tutor.
ZOFIA
It’s a family day.
MATTHEW KING
While he works and you do too?
ZOFIA
It’s scheduled. (she stares at him)
MATTHEW KING
(holding up his hands)
Fine. Swing by the library. He should see that anyway.
He checks his watch.
MATTHEW KING, cont.
A DUANE is dropping him off at the entrance in 30 minutes. You’ll have an escort. I’m sorry about that. Just make sure Aldo is at my office sometime this afternoon. I’m heading there now.
ZOFIA
It’ll be sooner than you think.
MATTHEW KING
(turns, walking backwards away from her, his arms open)
Then it’s sooner.
INT. - HAVEN ENTRANCE - DAY
Zofia stands inside a quiet capsule where guests/vehicles are ushered into Haven after being checked by security. Zofia sees Aldo’s taxi pull up. She stares at the screen, getting a look at him before she goes to greet him. She’s annoyed with these secretive tasks that Matthew King has started giving her more frequently. SECURITY GUARD BILL, male, 50s, mild-mannered, all business, greets Aldo at the car window.
SECURITY GUARD BILL
What’s your business here today, sir?
ALDO
I’m here to see Matthew King.
SECURITY GUARD BILL
Mr. King sent for you directly?
ALDO
Yeah, he sent the car for me. I’m from Redwood City.
SECURITY GUARD BILL
I don’t see you on the daily list of visitors, sir. Do you have a printed itinerary from the Haven headquarters or has Haven security vetted you?
EXT. - HAVEN ENTRANCE - DAY
Zofia exits the holding space and walks toward the car.
ALDO
No, Matt just said to be ready today and a car would--
ZOFIA
Excuse me, Bill. I can take it from here.
The security guard steps back and Aldo exits the car. Zofia walks to the curb to greet him.
ZOFIA
Welcome to Haven, my name’s Zofia Zabielski. (extends her hand)
ALDO
Thanks, a long drive waiting and wondering what this would be like.
They start walking together into the Haven.
ZOFIA
What’s your name?
ALDO
Aldo. Bloom.
ZOFIA
Do you have luggage?
ALDO
(holds up a single bag)
ZOFIA
That’s fine. This is where visitors are greeted. It’s the only official exit and entrance. A 10-foot wall surrounds the entire campus.
ALDO
That’s scary.
ZOFIA
It’s for security. All shipments come through this entrance. The airspace is restricted.
ALDO
Nice.
ZOFIA
I’ve been asked to show you around. The tour will be quick. I’m busy, as I’m sure you are.
ALDO
I don’t have anything to do actually.
ZOFIA
There is plenty to do to occupy your time. We’ll stop by the library, because I need to say hi to my kids. Here’s our ride.
ALDO
You’re gonna drive?
ZOFIA
It’s easier and faster that way.
Zofia gets in the driver seat and Aldo gets in the passenger seat. Zofia takes off abruptly and someone jumps out of the way in the street.
ALDO
(tensing up)
Whoa.
The tires screech as Zofia is a jittery driver.
ALDO, cont.
Wouldn’t it be easier if Donna showed us around?
ZOFIA
Most of the businesses are front-loaded in the Haven with the residences in the back. You can walk the wall, which has a beautiful view of the ocean. Has Mr. King given you a black card for purchases?
ALDO
(anxious)
Yeah, it’s...let’s see...here it is...oh no.
ZOFIA
If you’ve lost it we can cancel it and get you a replacement.
ALDO
(excited)
Got it! Right here.
ZOFIA
Use that to buy what you need. The big store on the corner is where larger shipments are delivered. This is a good spot to pull over.
Zofia pulls the car over.
ZOFIA, cont.
That’s the delivery hub, so if you order something to be delivered, pick it up there.
ALDO
Like what?
ZOFIA
Whatever you need. Restaurants over here, that’s a good deli. Your pharmacy is right here. Do you have prescriptions you need transferred?
ALDO
Depends how long I’m here.
ZOFIA
Someone at the delivery hub will help you with all of that. You have a coffee shop up there, and a nice park to walk in beyond that, it’s a botanical garden.
ALDO
Everyone seems so happy.
Zofia puts the car in drive and continues on.
ZOFIA
The fitness center is here.
ALDO
No traffic lights.
ZOFIA
There are electric bicycle hubs around the entire facility. There are restaurants, including one up here by the library.
ALDO
That’s the library!? It’s huge.
ZOFIA
It’s more of a cultural center. And security, really. My husband runs it.
Zofia parks.
INT. - HAVEN LIBRARY - DAY
Aldo trails behind Zofia as they enter the library. The space is wide open. There aren’t stacks of library materials. Instead, there are people playing an intense game of dodgeball, running and diving and shouting. The beautiful and enormous glass vaulted ceiling shines natural light into the space. The place is busy. Zofia’s husband ZACH, 40s, exuberant, competitive, is among the people playing. The players wear shiny helmets that tightly cover their heads, except for their mouths, so that it’s easier to talk.
ZACH
(dodges a ball)
We got you! We got you! You’re out! Yeah!
Zofia leads Aldo along the periphery. They walk past people jamming on real instruments. Aldo sees Zofia walking toward the back of the library, past the play area for the kids with its bouncy houses, slides, maze, and other games. There are tables and chairs in the back next to several shelving units with books. Two kids, HOLDEN, boy, 8, and PARKER, girl, 9, sit at a round table in the middle. Holden sees Zofia, smiles, and runs to give her a hug. Parker is coloring and remains seated.
ZOFIA
Hey, little man. Whatcha doing over here?
HOLDEN
Hiding from Cody.
ZOFIA
Yeah? Did dad ask her to watch you while he played his game?
Holden nods. Aldo shows up, expecting Zofia to introduce him, but she ignores him.
ZOFIA, cont.
(to Parker)
Is Cody here with you?
Parker shrugs. Holden is still in a hug with Zofia, standing atop her feet as she moves.
ZOFIA
(to Holden)
Holden, I’m going to find Cody. I’ll be right back.
Holden runs and rejoins his sister at the table. Aldo grabs a few random books from a display and sits down next to the two kids. Parker gives him side-eye when Aldo opens a book and starts to read. Holden looks at Aldo and smiles.
ALDO
(to Holden)
You want to read this with me?
It’s a book called My Dad Isn’t Bad.
ALDO
(reading aloud)
My dad isn’t bad, but I’ve been waiting for an upgrade for years.
Holden walks over and looks over Aldo’s shoulder and puts his hand on Aldo’s arm while he reads.
ALDO
(continues reading)
At first he charmed me with his piggyback rides, strange animal noises, and goofy dinosaur walk. But lately, I’ve found myself wanting more. So I asked him: where is the faster ride, the strange new voices, the unexpected storylines? Where’s the drama, the dazzle, the joie de vivre? That’s when I decided to make a brand new dad.
Aldo stops for a moment and flips the book around and looks at the back. He sees Parker listening intently and Holden has moved to put an elbow on Aldo’s shoulder while he reads to him. Zofia has shown up, but is silent behind Aldo and Holden.
ALDO, cont.
Kinda intense. (To Holden) You want to help me read it?
HOLDEN
Sure.
Zofia is surprised by this and smiles. Holden traces his finger along the words.
HOLDEN, reading
He’s all--
ALDO
Always.
HOLDEN
Always told me I can be wha…
ALDO
Sound it out.
HOLDEN
Whatever … I set my mind to, well so can he.
Holden stops and smiles at Aldo.
ALDO
Good. What do you think is going to happen?
ZOFIA
He makes a new dad.
ALDO
Hey, Holden here is helping me read. I can’t remember the last time I read a picture book.
HOLDEN
(staring closely at Aldo)
What’s your name?
ALDO
Aldo. Aldo Bloom.
They shake hands.
ALDO, cont.
(to Parker)
And what’s your name?
She doesn’t answer, but Holden speaks up for her.
HOLDEN
That’s Parker.
ALDO
Yeah? That’s a pretty name.
Parker blushes and looks down at her book.
HOLDEN
She reads all the time.
ZOFIA
Cody was playing in the dodgeball game too. But she’s not anymore and is coming to watch you.
PARKER
We’re fine here by ourselves.
Zach shows up behind them, sweating, an exasperated look on his face.
ZACH
See, I told you. They’re fine.
ZOFIA
They are. I need to take Aldo on the rest of his tour.
Zach briefly looks at Aldo, then looks back to Zofia.
ZACH
(to Aldo)
If you want to play touch football, we have games every weekend in the park near the residences. Zo can show you where that is. Always looking for new players. Catch.
He throws a ball and it hits Aldo in the side.
ZACH
Oops! Sorry Aldo. I’m still in game mode. Hey Zo, I’m working late, board meeting tonight.
ZOFIA
That’s fine. Have Cody bring them home and wait for me to get there.
ZACH
She’s not their nanny. She’s got a job to do too.
ZOFIA
(to Aldo)
Let’s go.
Zofia kisses both of her kids and she and Aldo leave.
INT. - CAR - DAY
Zofia sits in the car with Aldo ready to drive him to Matt’s office.
ZOFIA
Do you have kids?
ALDO
No.
ZOFIA
You’re good with them.
ALDO
(looks at her silently, then turns forward as they drive off)
ALDO
This is wild. I feel like I got in a time machine. Look at this place.
The houses are pristine, like a suburban movie set.
ZOFIA
Forward or backwards in time?
ALDO, cont.
Exactly! Look at...people live here?
ZOFIA
Uh huh. That’s the park Zach was talking about. And up here is Mr. King’s office. Or one of them. He wanted me to drop you off here.
Zofia pulls to the curb and parks.
ALDO
Where am I living?
ZOFIA
Matt’s assistant will help you with that.
ALDO
Ok. Where do you live?
ZOFIA
Not necessary for you to know that. (pause) But…I’ll show it to you sometime.
ALDO
Are you coming in? I’m scared to go in by myself.
ZOFIA
I can drive you back to the entrance and call a car to take you home?
ALDO
(smiles at her)
But I just got here!
Aldo gets out and thanks Zofia for the ride. He watches as she drives off. Zofia looks at him through the mirror and then faces forward, demonstrating a first look of joy and concern.
ALDO
(watching the car leave)
My bag…