'gsgrurs (nr

64 downloads 342 Views 2MB Size Report
To a telephone which he picks up, seems to cup.in his hand to ... face look.s pinched and straj-ned. He talks quietly in
'g fql

:.4t

:Fr

'gsgrurs (nr

;,

&q ITTATCL ,,Iq$ro1Tilr EO

11 6g19 13,,

*'':ii

UOalcS

sto8 &srxll&

rE&

ROOM[DAY] 1. rNT. CONFERENCE 1 o w s lu n g

Thi s i s a b ig, sump tuous, p a n e le d ro o m wit h a I o n g , table in the center surrounded by ad agency execs' 2. HIGH ANGLE SHOT LOOKING DOWN At the men around the table. lookj-ng across and down the around it.

we're slJow PAN DOWNuntil the men level of at eye table

3. REVERSE ANGLE LOOKING TOWARDTHE HEAD OF TABLE of the the pre sid e n t At M i s rell, overpowering man of giant stature angry and dour face, perpetually never l-eaves. PAN DOWNTHE TABLE and finally there quietly sj-tting man atiractive a tall-, Wiltiairs, who drums on the tab1e nervously, w atch, th e n rise s.

ad agency' a fat and with small piggish eyes' a a challenging took that of the men faces at the on Gart up winding in a Brooks Brothers suit checks an expensive looking

4. TRACK SHOT OVER WITH HIM To a telephone which he picks up, seems to cup.in his hand to He'S his conversation. keep the others from overhearing now. His description of kind beyond any distraught obviously the quietly into talks He face look.s pinched and straj-ned. phone. WILLIA},IS Ros s ' s s e c re t a ry ! Jake I want conscious impatiently, (he waits a t h im) sta rin g Misre ll

of

MIS RE L L ' S V O I CE (from opposite side of room) wa j-t in g f o r y o u r we're s t ill Williams, Mr. Ross! WILLIAMS (with a forced smil-e, over his sh o u lder) ) to g e t h im n o w' s ir. I'm trying (th e n in to p h o n e ) This Jake Ro s s ' s s e c re t a ry ? J o a n ie ! Wh e re is h e ? I know h e ' s o u t t o lu n c h . B u t there was a conference call-ed here at two n o w wh e re It is n o w t wo -t h irt y ' o 'clock. is h e ! f o rc e s h is (h e wets h is I ip s , voice down an octave) chec k a ro u n d . A 1 1 right, (MORE) ( coNTTNUED)

z. CONTINUED: W ILLI A MS (c o n t ' d ) E a s t o r t h e Co lo n y a n d t e l-I Calt S ard i's back here in a get his keister him to hurry ! then fixes his face into He slams down the receiver srniI5-ng, nonchalant mask and returns to the table.

a

5. TRACK SHOT WITH HIM As he wal-ks over to the table, toward l,lr. Misre11.

sits

down, again

smi-ling

6. CLOS E S HOTMIS RE L L who stares

back at him, totally MISRELL Well? Where is your three-miI1ion-dol-lar

unsmilj-ng. protege with the automobile account?

WILLIAMS P ro b a b ly He's due at a n y mo me n t ' s ir. big lunch crowd or something-

a

MISRELL a b j-g Mo re lik e ly Don't b e an id io t . or th re e o r f o u r o f ' e m. He wa s ma rtini, too young to put on this account - I tol-d He ' s mu c h t o o y o u n g yo u th a t, willia ms . an to put on this large and important accountTher e' s

a knock o n th e d o o r.

7 . I.{OVINGSHOT WITH WILLIAMS over to the big' double As he springs to his feet and hurries up. A young secretary He opens it conference room doors. pu11s out of her which he literaIly hands him an envelope open the envelope, and him, rips door behind hand, slams the star ts to re a d . 8. EXTREMELYTIGHT CLOSE SHOT WILLIAMS' FACE As suddenly he looks toward Misrel1.

white,

9. CLOSE SHOT MISRELL Reacting.

stares

up over the

letter

briefly

3.

10. CL OS E S HOT WTL L IA MS As his eyes sIowly go downward and the letter it very slowly drops to his side. He carries table and stands there at the far end.

in his hand over to the

11. REVERSEANGLE LOOKING OVER HIS SHOULDER Down the length of the table on the tab]e in a methodical, silence of the room.

at Misrel-l who very slow1y drums tapping that permeates the

MISRNLL WelI? We have now been here thirty-four min u tes, Mr. W illia ms . WTLLTAMS (Io o ks u p f ro m t h e le t t e r, takes a deep breath) This is a communication from Jake Ross. },IISRELL Would you be so kind contents wi-th us?

as to

share its

12. M ED. CLOS E S HOTW ILLI A MS As he looks down at the letter, spreads the tab le, th e n lo o ks u p f ro m it .

it

out on the top of

WILLIAMS you the sense of it very I can teII q u ickly, Mr. M is re l1 . T h is is J a k e Ro s s ' s resignation. He's moving over to another agency. 13. C LOS E S HOT MIS RE L L As hi s

fa ce se e ms to fre e z e . MISR-ELL And?

14. CI,OSESHOT WILLTAMS As hi s

face se e ms to fre e z e . WILLIAMS And he's taking the autornobil-e account with hi-m.

A

15. PAN SHOT DOWNTHE FACES OF THE MEN At the table as each seems to catch his breath and then and with great compassion and concern over from Misrell toward Williams.

look

MISPdLL Did you hear what r said, Wil-liams? That of account represented a gross billing something in the neighborhood of three dollars a year. And how many mitlion times have you Promised it to me? WILLIAMS (cle a rs h is t h ro a t a n d f o r a mo ment ca n ' t g e t a wo rd o u t ) This is as much of a shock to me as it to you, Mr. Mis re 1 1 .

is

MISFGLL ( roaring) I t wa s y o u r p e t Do n 't con me, Willia ms ! T h e n it wa s pro jectt Y o u r p e t p ro je c t ! your idea to give j-t to that ]ittle college greeny! Now get with it, boy! Ge t wit h it , williams. He rises from his seat and goes to the window, his jowled, baby about to cryi now fleshy face screwed up like a little points a f j-nger at him. around toward wil-Iiarns, he whirls MISRE L L (c o n t ' d ) S o what's 1eft , WJ -I lia ms ? No t o n ly h a s yo u r pet pro jec t b a c k f ire d b u t it ' s the premises! sprouted wings and left yo u t o u s i-n my wh a t ' s le f t I'1 1 te ll about deep abiding concern view! A and your judgment in men! 16. PAN SHOT DOWNTHE FACES OF THE MEN Each of whom look embarrassment.

down at their

hands i-n a vast

'

bit j-ng

I7 . CLOSE SHOT WILLIAI4S As he closes his eyes for a moment, feels the sweat on his massages his stomach as an forehead and then unconsciously a match to his insides. ulcer deep inside lights

5.

18. C LOS E S HOT MTS RE L L to the table,

As he returns down on it.

pounds the

flats

of his

hands

I,lISRELL This is a push b u s in e s s , Wi} l-ia ms ! A push , p u sh, p u s h b u s in e s s . P u s h a n d b u t p e rs o n a lly . Y o u d o n ' t d e le g a t e d rive, to little boys. responsi-bilities 19. CLOSE SHOT WILLIAI'{S As he looks

sick. You should

I,IISRE L L ' S V O I CE know it more than

anvone e1se.

The CAMERADOLLIES in for an EXTREMELYTTGHT, TrGHT CLOSE SHOT of MISRELL'S FACE shooting at just the NOSE and LITTLE OVAL MOUTHthat goes up and dor.rn and up and down. MTSRELL a p u sh, push , p u s h b u s in e s s , Willia ms . push , push , p u s h a ll t h e wa y . A 1 1 ft's the time. Right on down the line20. EXTREMELYTIGHT CLOSE SHOT WILLIA.I{S As sud d e n ly

he ca n 't

sta n d it

a n y lo n g e r

and shouts

out.

WILLTAMS Fa t b o y, wh y d o n ' t y o u s h u t y o u r mo u t h ! 2I.-25.

SERTES OF ABRUPT CUTS FROMFACE TO FACE

Of the men at the table, then Misrel_L, then Witliams who suddenly exhales and realizes that the voice that suddenly exploded in the room like shrapnel was his own! 25A. TNSERT COFFEECUP Dr ops to

flo o r.

26. DIFFERENT ANGLE WILLIAI\.IS As he closes his eyes for a moment, grabs at his tightl y as o n ce a g a in the u lc e r ma k e s a n a s s a u lt he turns and walks quietly out of the room. C U T TO:

stomach very o n h im, t h e n

6.

27. EXT. CONFERENCE ROOMA LINE OF DESKS TWO SECRETARIESWHISPER TO ONE ANOTHERAS HE GOES PAST THEM. 28. TRACK SHOT WTLLTAMS AS HE CONTINUES TO W.LLKTHROUGHTHE OFFICE. CUT TO: 29. TNT. DTFFEF.NNT OFFTCEAREA Wi l l - i ams's se cre tary, Wil-liams approaches.

He1 e n , s j-t s a t a d e s k a n d lo o k s She forces a smile.

up as

HELEN Me ssa g e s o n th e d e s k , b o s s . A n d h o t coffee out here. Can I bri-ng you some? He shakes his

head and starts

toward

the door.

HELEN Want anything at al-l? He turns

from the door and stares

at her.

WILLIAMS Y e a h . A sh a rp ra z o r a n d a c h a rt human anatomy showing where all arteries are ! He goes into

the office

of the the

and slams the door behind

him.

30. IN T . W ILLIA I,IS 'S OFFT CE Fluorescent tube lighting is on a1f around the room and the first thing he does is flick off the switch putting the room semi-darkness. into a Then he walks over to a big, modern, expensj-ve-looking desk, looks briefly at the picture of a beautiful woman on it, then sits down behind the desk and stares down at nothing. Over this tableau we hear the N ar r ator's vo ice . NARRATOR'SVOTCE This is Ga rt Willia ms , d 9 e t h irt y -e ig h t , a man protected by a suj-t of armor all held together by one bolt. Just a moment d9o, someone removed the bolt and Mr. protection Williams's feII away from him a n d le ft him a n a k e d t a rg e t . He ' s b e e n cannonaded this afternoon bv al1 the e n e mie s of h is t if e . His in ie c u rit v has shelled him; (MORE) ( CoNTTNUED )

t. CONTINUED: NARRATOR'S VOICE (cont'd) hin with has straddLed his sensitivity disqui-et his deep-rooted humj-liation; about his own worth has zeroed in on him, and bl-own him apart landed on target, ad agency exec, who in l1r. Gart Williams, just the Twilight move into a moment will search for survival! Zone in a desperate FADE TO BLACK OPENING BILLBOARD FIRST COMMERCIAL FADE ON: 31. INT. OF CARS

COMMUTERTRAIN

INIGHT]

LONG SHOT DOWNLENGTH OF ONE

the camera comes i-nto the frame from behind A conductor who remaj-n. of the few passengers the tickets collectj-ng at the by himself who sits him toward Williams DOLLY IN with punches it. takes his ticket, Conductor far end of the car. 32.

TWO SHOT THE TWO MEN How are

CONDUCTOR ONE you tonight, Mr. Witliams?

(looks

WILLIA},IS up, tiredly,

g rin ) In the abso lute He turns

and looks

with

a wry

P in k !

out toward

the wintry,

dark

landscape.

ONE CONDUCTOR Cold winter this year. Seems to get darker earli-er than it ever has. WILLIAMS ( nods ) That 's the way of the world. The rj-ch get and the days get shorter! richer stj-cks the tj-cket into the slot in The conductor chuckles, facing Willj-ams' then continues out of seat the back of the the car. 33. C LOS E S HOT W ILLIA MS His f a c e lo o k s As he leans b a ck in th e c h a ir. a n d c lo s e s h is e y e s . bre a th a d e e p takes He

t ire d

a n d wa n .

( CONTTNUED )

B. CONTINUED: of Misrel-I and In hi-s subconscious he heard the voice first then other voices that sprj-ng up f rom his subconscj-ous. Over clo se sh o t of h is f a c e t h e v o ic e s c o me in the tight, loud, real and yet somehow a step discordantly filtered, beyond reality. MIS RE L I ' S V O I CE a push , pu s h , p u s h b u s in e s s , It's W ill-ians. It's a n a b s o lu t e J -y p u s h , p u s h , p u sh business. I t ' s a push, push, push b u sj-ness. Y ou g o t t o g e t wit h it , b o y . a push , pu s h , p u s h b u s j-n e s s . Y o u g o t It's boy. It's to get with it, a push, push, push business. Y o u g o t t o g e t wit h it , boy. 34. DIFFERENT TIGHT ANGLE WILLIAI,IS'S FACE As his

eyes go open and he shouts That's

out.

WILLIAI.{S enough!

35. REVERSEANGLE LOOKTNGOVER HIS SHOULDERAT WOMANIN FRONT O F H IM Who turns

around,

wj-de-eyed,

and stares

at him.

36. DTFFERENTANGLE WTLLTAUS As he turns tr ai n.

away from her to stare

out

the window of the

37 . ANGLE SHOT OVER HIS SHOIJLDER At the wintry landscape outside in the darkness. His eyes cLose as he leans his head out the window and after a moment l ets his h e a d re st o n th e b a c k o f t h e s e a t , h is e y e s c lo s e d . The sound of the train comes up to provide a hummj-ng clickety clack sound as the CAI{ERAMOVESfN for an angle shot looking down from over the head of williams as he fa1Is asleep. Gradually the sound of the train takes on a dj-fferent tone. j-mperceptibl-e at f irst It's and then very obvj-ous, almost as if the train were going through a tunnel and there was aD echoy effect. Lj-ghts shoot b y p la y in g o n Willia ms ' s face and on the interior of the train. The CAI,IERASTARTS A SLOWpAN j-t's d ire ctly DO w Nun til in f ro n t o f willia ms , s h o o t in g o n hfun. Then the CAMERAPULLS BACK to reveal an absolutely empty car and suddenly the entj-re car is suffused by sunlight and then the train is suddenly coming to a stop. DOLLY IN FOR CLOSE SHOT OF WILLIAI4S as his eyes open and suddenly blink. He takes a deep breath, looks at his watch, then looks out the window.

q

3B. DIFFERENT ANGLE WILLIAMS'S FACE j-n amazement. SLOWPAN SHOT up from him As he suddenly starts wINDOw. OUT THE Outside it is suddenly bri-ght and to a SHOT suilrmer. The train has stopped in front of sunny and obviously station with a big which reads raj-lroad sign a smal1 "Wi1Ioughby. " 39. CLOSE SHOT WILLIA},IS AS AGAIN HE STARTS AND STARES. 40. LONG SHOT LOOKING OUT THE WINDOW station. There are horse-drawn carriages. women Of the train with parasols and long dresses. Men in obvj-ous nineteenthcentury costume. Littl-e boys with knickers run back and One ca rries a f j-sh in g p o le . for th. 4I.

DIFFERENT ANGLE IOOKING DOWNTHE STREET

As seen from th e tra in car. A b a n d s t a n d , c a r r i a g €s , a l-I t h e accoutrements to a quiet suilrmer day of almost a century ago. 42. CLOSE SHOT wILLIAI'{S As his eyes scan the scene. amazement. bewilderment,

He shakes his

head in

43. DIFFERENT A}TGLEOF HIM INSIDE TRAIN walks halfway As he rises, windows as he walks.

down the car,

staring

out of the

44. LONG SHOT OVER HIS SHOULDER As the fa r door of th e car o p e n s . A c o n d u c t o r c o me s in , t h is one in old-fashioned dress. He smiles at Wil-Iiams and cal-l-s out in a trainman' s voi-ce. Willoughby. He starts

CONDUCTOR TWO Thi-s stop is Willoughby!

to walk past Will-iams who grabs him. WILLIAI',IS W h a t d o you me a n , Willo u g h b y ? Willoughby?

Wh e re ' s

CONDUCTOR TWO (g rin s a n d win k s ) willoughby? Tha t ' s Will-o u g h b y rig h t o u tside. ( CoNTTNUED )

1 0. CONTINUED:

around to stare whirls williams turns toward the conductor.

out the window again,

then

WILLIAMS wa it a mj-nute . . . wa it a min u t e , wh a t ' s g o ing o n ? Th e re ' s n o p la c e c a ll-e d Willoughby on this 1ine. And look at it Th e s u n is o u t . I t ' s . . . it ' s o u tside. summer. CONDUCTOR TWO ( smiles ) Th a t's wh a t sh e is , mj-d -J u ly ! wa rm o n e , to o . He starts stop him.

to walk past

A n d a re a l

and again Wil-Iiams

has to grab him and

WILLIAMS Wait a minute ... it ' s No v e mb e r. Wh a t ' s going on anyaray? It's November! What is th is pla ce? W h e re a re we ? Wh a t ' s happened? 45. DIFFERENT ANGLE THE CONDUCTOR As he releases

himsel-f

and continues

to walk down the car.

46. REVERSEANGLE LOOKTNGOVER HTS SHOULDER Toward Williams

who stands

there

staring

after

him.

47. REVERSEA}IGLE LOOKINGTOWARDCONFUCTOR WILLIAI{S'S P.O.V. WTLLIAMS P le a se...p lease , wh a t ' s is Willoughby?

g o in g o n ? Wh e re

48. MED. CLOSE SHOT THE CONDUCTOR As he smiles again but this time with a touch of on his face and a kind of mvsterious ti-1t of his winks.

seriousness head. He

CONDUCTOR TWO sir ? T h a t ' s Willo u g h b y rig h t Willo u g h b y, W illoug h b y . outsid e . J u 1 y . S u mme r. I t ' s 1 8 8 8 . It's a lov e ly lit t I e v iI I a g e . (and then the smile fades and th e re's so me t h in g in t e n s e in hJ-s voice ) You ought to try it sometime! (MORE) (CoNTTNUED)

11. CONTINUED: CONDUCTORTWO (cont'd)

wh e re a ma n c a n s lo w P e a cefu l, restfu l, full walk and live his life down to a measure ! (th e n h e tu rn s a n d c a lls o u t again ) Th is s t o p is Willo u g h b y . W illoughy. He continues

out the opposite

door.

49. DIFFERENT ANGLE WILLIAI,IS As he races down the length of the car to He yanks open the door. conductor.

the

follow

CUT TO: 50. SHOT OVER HTS SHOULDEROF THE PLATFORI4BETWEENCARS Which is empty, and beyond it a window leading car whj-ch is also empty of anyone.

to

the

next

51. CL OS E S HOT WIL L IA MS on camera. His face is As he turns around and is tight twisted and torn with confusion. His mouth opens as if to protest or question or plead for someone to give him understandi-ng and clarity. Suddenly the train lurches and he fa1ls agaj-nst the side of the door, clutching it for support. Then very slowly he turns and wal-ks back to his seat. 52. TRACK SHOT WTTH HTM AS HE WAIKS And sits

down. He looks

out of the wi-ndow.

53. MOVTNGSHOT FROM INSTDE THE TRATN moves and l-eaves the town and station As the train behind. The CA-MERA DOLLIES IN FOR EXTREMELYTIGHT CLOSE SHOT OF WfLLfAl4S as he stares out the window and then suddenly the li-ght pattern changes. The i-nterior lights of the train take over and it is now dark and wj-ntry and there are other people in the car. The conductor that r,ee've seen in the beginning comes by. CONDUCTOR ONE Westport-Saugatuck next stop. (he pause s b y willia ms ) Have a good sleep, Mr. Wj-Iliams? WILLIAMS (sta rts and lo o k s u p a t h im) Yeah. (a fte r a p a u s e , q u ie t t y ) Y e a h , I h a d a go o d s I e e p . (MORE) ( CoNTTNUED )

12. CONTINUED: a good Idiotic.

WILLIAMS (cont'd) sleep with an idiotic

dream.

(h e turn s t o s t a re o u t t h e window) id io t ic . le a s t I g u e s s it ' s A t least...a t (then he tu rn s t o lo o k u p toward conductor) Ever hear of a town named Willoughby? CONDUCTORONE (screws up h is f a c e thoughtfully ) Wj-Iloughby? Willoughby where? Willo u g h b y, Willoughby,

WILLIA},IS Con n e c t j-c u t , New York.

I guess. Or

CONDUCTOR ONE (sh a kes hj-s h e a d t h o u g h t f u lly ) No, not on this ru n . (he move s) There 's n o W illo u g h b y o n t h e lin e . (th e n h e co n t in u e s o n f y e llin g ) Westport-Saugatuck next stop. WestportSaugatuck. He disappears through the car door as the CAI',IERA PAM OVER to Wj-l1iams. He rises very s1owIy to his feet, picks up his starts briefcase, out the car as we!florsso],VE To: 54. EXT. SUBURBANRANCHHOME INIGHT] SPRAWLTNG VERY PRETENTIOUSLOOKING MODERNHOME DISSOLVE TO: 55. IN T . L IV ING ROOM-DE N Williams stands by a small- bar pouring hi-mse1f a large highball. He stirs the ice and very reflectj-vely takes of it. He turns as the light from the hal1 outside is suddenly ushered into the room with the door opening.

a sip

56. I{ED. CLOSE SHOT MIRROR BEHTNDTHE BAR Framed there is the reflection of Wil-l-iams's wife, Jane. She stands there frozen in place in the doorway looking across at hi m , accu sin g . Th is is a b e a u t if u l wo ma n . B u t b e a u t if u l lik e ju s t a s la c k in g in al - abaster - just as co1d, ju s t a s b rit t le , emotion. She walks slowly across the room toward him.

13.

57 . DIFFERENT ANGLE THE TWO OF THE}'I JANE And what are your plans this evening? To plastered and then sing old get quietly co lle g e so n g s?

It's

WILLIA}4S wa n ly ) (smiles a t h e r a lit t le been one of t h o s e d a Y s -

JANE wif e B o b B la ir' s r know a ll- a b o u t it . ca lle d me. S h e s a i-d h e ' d b e e n in t h e got me e tin g with you . Y o u g o t . . . y o u or something. She called to hysterical find out how you were. 58. MED. CLOSE SHOT WILLIAI'{S As he turns

away, smiles. WILLIAMS - aIl- the They were all very solicitous boys at the meeting. (he looks down into his glass t h e ic e ) a n d jig g les compassion that is That free-flowing re lie f ! I ' m t h e v ic t j-m - n o t actually th e m! Th e y've mis t a k e n a n in t a k e o f of sympathy! breath for an outpouring

She crosses over and He Starts to pour himself another drink. into hj-s face, her own face grabs his arm, looking straight white and taut. JANE homilies Would you spare me your l-ittle just give and simple me a little now and you a wreck Did frank and honest answer. you throw away Did this afternoon? career a jo b ? WILLIA},IS It appears not. Mr. Misrel-l phoned before He h a s f o u n d it in th e o ffic e . I le ft oversized heart of his to that giant, This somewhat obese, gracious forgive. gentleman will allow me to continue in h is emp loy simply b e c a u s e h e ' s s u c h a human-type fellah(a p a u se) (MORE) ( coNTTNUED)

14. CONTINUED: W ILLI A MS (c o n t ' d ) p a re n t h e t ic With a small, in s ig n if ic a n t , reason - that if f were to go additional agency, I might possibly to competitive take a lot of business with me! JANE Go o n . WILLIAI',IS ( shrugs ) That's it. That ' s a ll o f it . ( he carries his dri-nk across the room and sits down in a chair ) and I'm I'm tired, Janie . I ' m t ire d , sick. JANE (fro m acros s t h e ro o m) Th e n yo u 're in t h e rig h t wa rd ! We specialize in people who are sick and tire d too, Ga rt . f ' m s ic k a n d t ire d o f a husband who lj-ves in a kind of permanent self-p ity! A h u s b a n d wit h a h e a rt like a bleeding sensitivity he unfurls flag whenever he decj-des that the competition is too rough for him. 59. CLOSE SHOT WILLIAI,IS As his

head goes up and he stares

across

the room at her.

WILLIAMS S o me p e o p le a ren ' t b u ilt f o r c o mp e t it io n , Janie . (he ri-ses and walks halfway o ver to he r) Or big p rete n tio u s houses that they can't afford . Or rj-ch c o mmu n it ie s t h e y d o n ' t feel comfortable in. Or country clubs that they wear around thej-r necks l-ike a badge of statu s JANE (on her fe e t , s h o u t s And you woul-d prefer-

a t h in )

WILLTAMS (outshouting her now) I woul-d prefer, though never asked b e fore , a jobr a n y jo b - a n y jo b a t a llwhere I co u ld be my s e lf ! (MORE) ( CONTTNUED )

15. CONTTNUED: W fLLI A I { S (c o n t ' d ) Where I wouldn't have to climb on a stage and go through a masquerade every morning at nine and mouth all the dialogue and play the executive and make bel-ieve f 'm young man on his way up. the bright B e cause I'm not t h a t p e rs o n , J a n ie . You've tried to make me that person, but th a t isn 't me. (now his voice is quieter as he turns away from her) That i-sn't me a t a ll. I ' m. . . I ' m a n o t very young, soon to be o]d, very uncompetitj-ve, rather dul_l_, quite uninspj-red, average type of guy(he whi-rl-s around toward her) With a wife who has an appetite! JANE And where would you be if my appetitee

it

weren't

for

60. CLOSE SHOT WILLIAI.{S As hj-s eyes drop.

He walks

over to the chair

and sits

down.

WILLIAMS f know where I 'd l_ike to be. JANE (chalIengin g , h e r v o j-c e b rit t le a n d sh riII) And where would that be? He looks FACE.

up at her.

The CAMERAMOVESIN VERY CLOSE TO HIS

WILLIAMS A place called Willoughby. A lirt1e town that I chartered inside my head. A place I manufactured in a dream. (he looks away from her now, speaks soft ly and re fle ctive ly, a lmo s t a s if t o hinself ) An odd dream. A verv odd dream. willoughby. It was summer. Very warm. The kids were barefooted. One of them carried po1e. A n d t h e ma in s t re e t a fish ing looked li-ke. . .l-ooked like a Currler and Ives pain tin g . B a n d s t a n d , o 1 d -f a s h io n e d sto res, b icycles , wa g o n s . (he looks toward her again) I've neve r se e n s u c h a . . . s u c h a s e re n it v . (MoRE) ( CoNTTNUED)

76. CONTINUED: WfLLfAIiIS ( cont 'd ) It was the way people must have lived hundred years ago. (a pause as he looks away again ) Crazy dre a m.

a

61. MOVTNGSHOT JANE As she walks

over to him.

62. ANGLE SHOT LOOKTNGUP AT HER Her face is distorted wj-th an impatience, a frustration, a deep-rooted and abiding lack of respect for the man, in addition to the sense of impotence on her part. She turns and starts out of the room. 63. DTFFERENTANGLE THE ROOI\,I As wil-l-iams rises. WILLIAI,IS Jani-eShe stops

at the door,

her back to him.

64. REVERSEANGLE LOOKTNGOVER HER SHOULDER Toward hin. His voice hunger and yearni-ng.

is

soft

and with

a strange

quality

of

WILLIAMS You should have seen this p lace . ..th is. . . t h is Willo u g h b y . J a n ie , it wasn 't ju st a pI a c e . . . o r a t ime . . . (a pause ) ft wa s like...a d o o rwa v t h a t le a d s t o sanity. A soundproof w6rld where shouts a n d cries can't b e h e a rd . 65. CLOSE SHOT JANE JA}iE (her wo rds lik e p ie c e s o f ic e ) ju s t t h a t y o u No thin g se rio u s , G a rt . I t ' s we re b o rn to o l a t e . T h a t ' s t h e p ro b le m. You were born too late. And your taste is a little ch e a p ! Y o u ' re t h e k in d o f ma n who could be satisfied with a sunmer afternoon and an ice wagon pu1led by a horse . My ni-stake, pdf . My error. My mj-serable tragic error. (MORE) ( CoNTTNUED)

Ll .

CONTINUED: JA NE (c o n t ' d ) to a man whose big dream get married To Hu c k le b e rry F in n ! T h a t to b e is in tite it ? you wa n t , is n ' t is wh a t 66. EXTREMELYTIGHT CLOSE SHOT WILLIAMS WILLIAI.{S S ome thin g like t h a t . A P 1 a c e . . . a f u lla ma n c a n liv e h is lif e time ...wh e re me a sure . (he turns away thoughtfullY, softly ) Th a t's what h e s a i-d . T h a t ' s wh a t con d u c t o r s a id . A p la c e wh e re th a t...that f u I l me a s u re ! a ma n ca n live h is lif e DISSOLVE TO: 67. r NT. TRA rN [NTGHT] C L O S E S HO TWT L L T A MS in his customary seat. Over his shoulder we see the Sitting occasional- lights landscape outside cloaked by wintry night, v o ic e . c o n d u c t o r' s t h e whe n h e h e a rs by. He stirs flashing ONE'S VOICE CONDUCTOR willoughby? CAMERAPULLS BACK FOR TWO SHOT WILLTAI.{S What? ONE CONDUCTOR Last week you asked me about a town Mr. wilI ia ms . ca lle d willo u g h b y , (h e scratche s h i-s ja w) I l-ooked it up. Every old timetabl-e I co u ld fin d . (h e shake s h is h e a d ) No such p lace a s f a r a s I c o u ld s e e . WILLIAI,IS (forcin g a s mile ) Th a n ks. It was a d re a m, t h a t ' s

afI.

CONDUCTOR ONE (contj-nuing on down the car) P ro b a b lv wa s. out) lcairin g Ne xt stop, S tamf o rd . S t a mf o rd , n e x t s t o p .

1a

68. DIFFERENTANGLE WILLIAMS As he puts his head back, sighs deeply, looks out the window and clo ses h is ey e s . I n t h e b a c k g ro u n d we h e a r t h e br i efl y out. vo j-ce o n ce aga in c a llin g conductor's ONE'S VOICE CONDUCTOR next stop. Stamford.

Stamford

69. EXTREMELYTIGHT CLOSE SHOT WTLLTAMS'SFACE [DAY] As once again th e co n d u cto r' s other conductor and gradually willoughby.

v o ic e s e g u e s in t o gets louder.

that

of the

CONDUCTOR TWO'S VOICE Next stop, Willoughby.

Once again Willj-arns's eyes open wide. He springs to his f eet and stares out the window. Once again the car is of an oIdfashioned variety and empty save for the conductor who approaches hirn walking down the aisle. Willo u g h b y,

CONDUCTORTWO sir.

70. D T FFE RE NTA NGL E WILLIAMS willoughby? He turns

to

stare

out the window again.

7L. LONG SHOT OVER HIS SHOULDEROF RAILROAD STATTONAND TOWN BEYOND This time a band plays in the bandstand at the far end of the str eet and there 's the sou n d o f la u g h L e rt h o rs e s , a n o rg a n grinder - all of them fusing together to provide a kind of soft symphony. 72. MOVINGSHOT WILLIA}4S As he goes out of the car to the train

platform.

13. REVERSEANGLE LOOKING UP AT HIM From outside as he stops there. him headj-ng f or the next car. willoughby.

The conductor

CONDUCTOR TWO A 1 1 o u t f o r Willo u g h b y .

passes behind

10

7 4. ZOOMARINTO WILLIA}4S'S FACE As he stands there transfixed, on a thin line now obviously between disbelief and resolve. He makes a motion as if to get off the tra in, then stops, lo o k s d o wn t o t h e g ro u n d , t h e n he's thrown o ff bala n ce by t h e s u d d e n je rk o f t h e t ra in star ti ng . 75. MOVTNGSHOT THE TRATN With Williams standing on the platform. The moment of decision has passed and he has obviously retreated. 76. DIFFERENT ANGLE THE TRAIN PLATFORM As Williams turns away, stands there for a moment as the train picks up speed, sIowly raises his head to look into tr ai n car fro m wh ich h e 's c o me . 77. LONG S HOT HrS P .O.V . Once again j-t is f ashi-oned.

fil-led

the

[ Nrc HT ] with

people

and is

no longer

old-

78. DIFFERENT ANGLE WILLIAI\,IS As he whirls outsi de .

around to stare

out

from the platform

to

the

79. SHOT OVERHTS SHOULDER of the

landscape

going

by.

once again

it

is wintry

and dark.

BO. CLOSE SHOT WILLIAIUS As he closes his eyes, swallows and is beset not only bewilderment, but by an odd, hauntj_ng sense of having another chance.

by lost

81. M OV INGS HOTWITH HIM As he goes into the car and to his seat. He ]ooks out at the passing landscape and then at the reflectj-on of himserf in the gl-ass. His lips move and after a moment we can hear what he' s sa yi-ng. WI],LTAMS (so ftly, to h ims e lf ) ) W illoughby, Nex t t ime . . . n e x t t ime . . . I ' m g o ing to g e t off t (h e turn s t o f a c e t h e c a me ra , his face determj-ned and grim) I'm g o ing to get o f f a t WilL o u g h b y !

zu-

FADE TO BLACK ACT TWO FADE ON: 82. INT. WTLLIAI{S'S OFFICE [DAy] OF A TELEPHONE RECEIVER fn front strident

of Williams's face. voice of Misrell.

What with We've ears 'em!

EXTREMELY TIGHT ANGLE SHOT

We hear

the

filtered

but

MISRELL we need here, Williams, is a show zazz! An entertainer with moxie! got to take the audience by the and give 'em a yank! Jar 'em! Rock Give them the o1d push, push, push!

WILLIAMS (closing his eyes) ) I understand, Mr. Mj-srell. 83.

PAN SHOT DOWNWILLIAI,TS'S BODY

After first seeing his face convul-se in sudden pain. Now his right hand moves insj-de his shirt stomach as the ufcer once again rakes over his

agonizJ_ng to touch inside.

MISRELL'S VOICE got to be bright, Now it's Williams. Bright with patter. Dancing. Comedy. And push, push, push, push. That's everything the kind of show the client '11 l-ike. 84.

MED. CLOSE SHOT WTLLIAMS

I

WILLIAIVIS understand, Mr. Misrell.

f understand-

MISRELL'S VOICE Tomorrow morning, Williamst Understand? I want at least a preliminary idea for the show. You know what I want - just a rough format with some specifics as to how we integrate the commercials within the body of the show. 85.

DIFFERENT ANGLE WILLIA-I'{S

I'11

WTLLIAMS do what I can.

his

2 r.

86. CLOSE SHOT PHONERECEIVER MTS RE L L ' S V O I CE Do more than you can. With me, Williarns? Aspire ! Dream big and then get behi_nd it. P u sh, p u sh, p u s h , p u s h . Wi-Iliams moves the phone away from him during the speech so that we a re o n th e tele p h o n e li-s t e n in g to "push, push, push, push. " 87. DIFFERENTANGLE WILLIAMS As he lays down the receiver and once again his hand massages his stomach. He looks pale and sick and inundated by pain. The phone rings. He picks it up. We hear a filtered voice blabbering at him. The words unintelligble, but the sense of the urgency very much in evidence. WILLIAT'IS (trying to interject at odd moments) ) Well, I have n 't s e e n t h e ra t in g s o n t h e sh o w. ..n o .. .n o . . . we l_ l it wa s t h e t i_ me slot the sponsor wantedAnother

phone rings. WILLIAI{S (into the f irs t phone) ) Ho Id on ju st a s e c o n d , will you. (he push e s a b u t t o n a n d t a lk s j-nto the other line) Yes? They were what? Wait a second. (he sh o u ts o u t ) Hele n ?

88. LONG SHOT THE DOOR As the secretary

appears.

WTLLIAMS What film outfit did the commercial_s on the Bradbury account? The negatives are a lL scra tch e d . T h e y ' re s c re a min g b lo o d y murder at me. HELEN I'l-l- h a ve to che c k it , would like to s e e y o u . The voj-ce on the phone suddenly

s ir.

Mr. Mj_ s re 1 l

comes in

roud and strident.

(CoNTTNUED)

zz. CONTINUED:

WILLIAI,IS to have to

I 'm going here-

check

i-t

out

f or

you

HELEN

Mr. Misrell, The voice

conti-nues

s ir.

on the

line-

HELEN Mr. Wj-l1iams, Mr. Misrel-1 in siste n t-

seemed rather

89. CLOSE SHOT WILLIA},IS As his face suddenly probe at him.

seems very

pale.

The voices

continue

to

90. I.{OVINGSHOT WITH HIM AS he crosses the room almost like Some kind of automaton/ the offi-ce, walks into the small pr5-vate bathroom adjoining The camera moves up for a shot stands in front of the mirror. The phones over his shoulder. of his office of the reflection ja b b e r a n d rin g . on the desk ja b b e r and ri n g , 91. REVERSEANGLE LOOKING TOWARDWILLIAMS'S FACE A11 the time the phones and voices As he stares at himself. seem to reach a crescendo and screech at him. CUT TO: 92. SHOT OF MISRELL'S FACE IN THE I'IIRROR t h e p ig g is h The fl -esh y jowled fe a ture s , move up and down, uP and down.

eyes,

t h e lip s

that

MISRSLL (in th e mirro r) ) Push, Push, P ush , push , P us h , Willia ms . Push, Push, Push, push , Williams. Williams. 93. PROFILE SHOT WILLIAI{S of and suddenly he takes the flats As his features contort a hundred into it breaking mirror, both hands and smashes the pJ-eces. At this moment all noise stops and there is dead and utter sile n ce.-

2 3.

94. MED. CLOSE SHOT WILLIAMS to

As he turns shut.

face the camera,

his

mouth twitching,

his

eyes

WILLIAMS No more ! No mo re - in G o d ' s n a me . . . n o more! 95. TRACK SHOT WILLIAI',IS le a n s o f f t h e lig h t s , As he runs across th e room, f lic k s his against the wall- for a moment. Then he turns and retraces steps back to th e desk, pic k s u p t h e p h o n e , d ia ls a n u mb e r. WILLIAMS p le a s e . I'd like W e stp o rt , Co n n e c t ic u t , p le a s e . Ca p ita l 1-9 8 9 9 . Y e s , ( he waj-ts for a moment ) Janie , th is is G a rt , h o n e y . S t a y t h e re ' will- you please? I just want you to stay I'm com in g h o me . th e re. ( a pause as he l- j-stens to her obviously arguing) Ja n ie. . .Ja n ie, p le a s e lis t e n . . . (then shout in g ) Ja n ie! I've had it . Un d e rs t a n d ? I ' v e h a d I ca n 't go o n f o r a n o t h e r d a y . I it. ca n 't go on for a n o t h e r h o u r. T h is is it ri-g h t now. I've g o t t o g e t o u t o f h e re . (a n o ther pa u s e ) Ja n ie. (c1 o se to t e a rs ) Ja n ie, help me , wj-ll y o u . P le a s e . . . p le a s e help me. Janie? (a pause ) Janie? a to what is obviously then listens He cl-icks the receiver and, massaging his He sl-owly replaces the receiver dead line. stomach, he stares at the telephone. D ISSO LV E TO: 96. r NT. TRA rN INTGHT] ME D. CL O S E S HO T Wil- liams in his ticket.

se a t.

The c o n d u c t o r

p a s s e s h im, p u n c h e s h is

ONE CONDUCTOR Y ou're goin g ho me e a rly t o n ig h t , Williams?

h u h , Mr.

( CoNTTNUED )

24 . CONTINUED:

Williams nods and doesn 't s a y a n y t h in g . The conductor punching tickets. williams continues on down the aisle, moves in his seat, stares out through the window, impatiently, nervously checks his watch, then looks out the window again, r lses to peer mo re clo sely o u t o f t h e g la s s , t h e n s it s d o wn twitch convulsj-veIy. He starts to take out again. His fingers a cigarette then looks up at a sj-gn over the door. 97. CL OS E S HOf THE S TGN "No Smoking" 98. ANGLE SHOT LOOKfNG DOWNFROI',ITHE SIGN TOWARDWILLIA.I{S Who starts to put the cigarettes drops them.

away in

pocket

his

then

99. TOP HAT SHOT FROMACROSSTHE ATSLE LOOKING STRAIGHT TOWARDTHE FLOOR BY WILLIA.I'{S As he be n d s d o wn to pick voice is heard.

u p t h e c ig a re t t e s .

T h e c o n d u c t o r' s

CONDUCT OO RNE ' S V O I CE next stop. Stamford.

Stamford

1OO. EXTREMELYTIGHT CLOSE SHOT CTGARETTES Suddenly bathed j-n sunl-ight. PAN SHOT UP untj-l we 're on a LONG ANGLE LOOKfNG UP at Williams's face as suddenly it is bathed in sunlight. He has a smile that j-s almost ethereal. Willoughby

CONDUCTOR TWO'S VOICE next stop. Willoughby!

101. DIFFERENT ANGLE WILLIAIqS As he jumps to

his

feet

Willo u g h b y! Willo u g h b yt

and shouts.

WILLIAI.,IS Th a t ' s wh e re I g e t o f f . Tha t ' s my s t a t io n !

CONDUCTORTWO ( just coming alongside, smj-Ies and winks ) ) Y es, sj-r. That' s y o u r s t a t io n , willoughby.

25 .

TO2. EX T. TRA IN S TA TION is in as we can see him Looking toward the car that williams platform then down the steps walking through the doors to the pass fishing rods. carrying and toward the camera. Two boys Hi,

BOY ONE Mr. W illia ms .

Hi,

BOY TWO Mr. W illia ms .

103. CLOS E S HOT W ILLIA MS Fi- r st,

mysti-fie d ,

then o v e rjo y e d .

WILLIA}IS Hi, boys. Catc h s o me b ig o n e s t o d a y , I thin k to morrow I ' 1 1 jo in y o u . Plenty They continue

BOY ONE of room! And lotsa

huh?

fi-sh.

on.

104. LONG SHOT I{AN ON A WAGON As he waves. Hi,

MAN Mr. W illia ms .

We lc o me t

WILLIAMS Th a n k yo u . Than k y o u . . . I ' m. . . I ' m be here .

g la d t o

105. I"IOVINGSHOT WILLIAMS As he goes beyond the station, heading toward the main we can see and hear people greeting street. him and welcoming him. 106. DIFFERENT ANGLE WILLIAMS As he walks toward the camera and is suddenly surrounded peopl e, a I1 in period dre s s , wh o wa lk wit h h im.

by

107. ANGLE SHOT LOOKINGAT CLOCK IN STOREWINDOW As will-iams passes. There in the window is a grandfather C1OCK. ThC CAUERAMOVESIN VERY TIGHT on it unti] we See the pendulum going back and forth. CAMERACONTINUESTO DOLLY in on the pendulum.

26 .

108. DIFFERENT ANGLE THE PENDULUM As it

swings.

LAP DISSOLVE TO: 109. E X T. FrE LD INTGHT] CL O S EO N L A NT E RN That swings back and forth in the same cadence as the grandfather clock. it is shooting down fhe CAI'{ERAMovES until on the body of Gart Williams who lies face up in the snow, a leaning over him and beyond the intern white coated intern The intern one of whom hol-ds the lantern. two trainmen, the body of They lift motions to another attendant. rises, and start to carry it out of the Williams to a stretcher scene. Just

TRAINMAN ONE ju mped off t h e t ra in ,

d id h e ?

CONDUCTOR ran Shouted somethin' about Willoughby, t h e la s t I o u t to th e p lat f o rm a n d t h a t ' s seen him. Doctor said he musta died They ' re g o n n a t a k e h im in t o in sta n tly. town for an autopsy. Funeral parlor there sent the ambulance. TRATNMANONE P oor f el-Ia h . 110. ANGLE SHOT LOOKING DOWNON THE INTERN AND THE ATTENDANT Carrying

the

body over to a wai-ting

ambulance.

111. DTFFERENTANGLE LOOKING TOWARDTHE REAR END OF THE A},IBLTLANCE gently Its back door is wide open. The stretcher is lifted back. and through into the Then the attendant closes both the doors and the CAMERAZOOI,ISIN for a CLOSE SHOT of the lettering on the back of the doors which reads, "WILLOUGHBY AND SON, FUNERAL HOME." CAI.{ERASTAYS on this shot for a long, long moment, then the ambulance's engine is started, thrown into gear and it moves and it moves off into the darkness. The CAMERASLOWLYPANS UP toward the sky as we hear the V o ice . N ar r ator's NARRATOR'SVOICE Mr. Gart Willj-ans, who sought respite from torment under a gravestone; who climbed on a world that went by too fast and then... ju mp e d o f f . (MORE) ( CoNTTNUED )

27. CONTINUED: NARRA T O R' SV O I CE (c o n t ' d ) Mr. Gart Williams, who might now telf us wh a t awa j-ts u s in t h e b e y o n d . . . b e c a u s e th is, too, is a p a rt o f . . . T h e f wilig h t Zone! FADE TO BLACK.