CLOCKS (Rated PG-13 for some mild violence)

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CLOCKS (Rated PG-13 for some mild violence)

Postby gatti77 on Mon May 26, 2008 7:41 am

Hey everybody, first post on the boards. Thought you may be interested in reading some material I have written. It's not based on a particular show, but definately inspired by LOST, Twin Peaks, and others. I've written quite a few screenplays, but this is my first teleplay. It's an 8 episode season, standard 45-50 pages per episode. Each episode uses a 4-act structure (plus a teaser). I will post the Pilot here, and if anyone would like to read episode 2, let me know. I'll be happy to post it. Any feedback would be great as well. BTW, it looks as though it didn't keep the formatting, so it might look a little funny on the page.




CLOCKS

“PILOT”



TEASER



Fade in.

Brief black and white shots flash on screen. They are quick and moving in-and-out of focus, making them nearly unrecognizable. Mass graves, holocaust-type images. Burning buildings, rioting, and all-out chaos. It appears to be Full-scale war.

EXT. CENTRAL PARK – N.Y.C. 2019 – NIGHT

A large, empty stage is set up outdoors. A single spotlight shines directly in the center. Pan out to large CROWDS, numbering in the thousands, anxiously anticipating SOMETHING.

INT. CHICAGO BAR – NIGHT

A couple dozen bar-patrons sit, silently watching the event transpire on the television. The bartender switches from one channel to the next, all showing the same shot. The bright, empty spotlight.

BAR PATRON #1
What do you think he’s gonna’ say?

The man seated to his right shrugs.

BAR PATRON #2
“Everything is going to be okay” would be a good start.

EXT. CENTRAL PARK – NIGHT

The crowd roars with excitement, smiles covering their faces. A man steps into the spotlight.

CHARLES ABADDON is a distinguished man, wearing a nice black suit. His age is deceiving, as he looks more like 29 than his actual 39. His eyes and hair are as black as the sky on a moonless night. He carries a strange aura and presence, though you can’t quite put your finger on it.

CHARLES
Welcome ladies and gentlemen. Welcome to a new beginning. I know things have been hard. We have all suffered many losses in recent times. But I am vowing, here and now, to bring an end to all American bloodshed!

The applause from the crowd grows considerably louder.

CHARLES (cont.)
We have all lost loved ones. Friends and family alike. We’ve been impacted greatly by the recent tragedies that have fallen on our country. But we will not stand down! We will continue to fight! We will fight until there is nothing more to fight for. The U.A. will become what the U.S.A. used to be.

The crowd now erupts in a wave of cheers. Charles stands under the spotlight, arms stretched toward them, taking it all in.

CHARLES (cont.)
So now, we let the rebuilding process begin. Tonight, my brothers and sisters, marks a new beginning. The lifting of the veil!

Pan out to see the thousands packed in Central Park. They are packed in like sardines, screaming with everything they can muster. The smiles on their faces look strangely peculiar, as their eyes are filled with sadness.

Pan out farther to reveal the buildings in the background to be in shambles. Crumbled pieces of the skyscrapers fill the streets. Helicopters fly over different areas of the city assessing the damage. Pillars of white and black smoke rise toward the sky throughout the city.

The damage is immense, as though the city has been hit by a category 5 hurricane. Nearly every building has been leveled. Cars are flipped upside down in the street, total bedlam. FINAL SHOT of the sun setting, no beautiful New York skyline.

END OF TEASER





ACT ONE



EXT. NEW YORK CITY – DAY

ESTABLISHING SHOT of the city, the same one as in the end of the teaser. But now, the city is it’s usual busy and bustling self. A far cry from the devastation it will later receive.

EXT. BUS STOP – N.Y.C. – MORNING

MARIANNE CARTER sits on a corner bench alone. She is an attractive young woman, mid-twenties, with dirty blonde hair. Her clothes are worn and tattered, in need of a good wash. Judging by her appearance, she would seem to be homeless. Her face is unusually worn and tired, especially for her young age.

Marianne contently watches a woman and her young son crossing the street. A man sits down next to her. This is ROY WALKER. He is a bit older, at 32. By his attire, he also appears to be homeless. He has short, brown hair and a bad five o’clock shadow. The two look at each other and smile affectionately.

MARIANNE
Hi Roy.

ROY
Hello, Mary. Didn’t see you at the shelter for breakfast this morning.

MARIANNE
Beautiful day. Thought I’d take a walk.

Marianne uses her hand to shield her eyes from the sun.

MARIANNE (cont.)
Missed me, huh?

Roy’s face turns a light shade of red.


ROY
So, what’s the plan today? Anything lined up?

MARIANNE
Lois, at the shelter, got me a job interview. A place called Treble Marketing.

ROY
Oh, that’s right. I forgot. That’s today, huh?

She nods.

MARIANNE
(sarcastically)
Sure is.

ROY
You don’t sound too excited. Mary, nervous? It can’t be.

He grins deviously. She shamefully motions to her clothing.

MARIANNE
Can you blame me? Seriously, look at me. Who’s gonna’ hire someone who comes in lookin’ like this?

ROY
Ah, that don’t matter. Be happy ‘cause this might just be the chance you been lookin’ for.

Marianne looks away to conceal the pain on her face.

ROY (cont.)
Everyone deserves a fresh start, Marianne. There are things that have happened, things we have done, that we regret. But it’s in the past, Mary. What matters is what we do next. We can’t change the stuff in our past. It’s the

ROY (cont.)
future we gotta’ worry about now Mary. We decide where we go next.

MARIANNE
I guess so. If we could change it, I’d be at a luxurious resort in Tahiti drinkin’ margaritas.

Roy laughs aloud.

ROY
See? Give ‘em a little bit of that charm. They won’t be able to resist.

MARIANNE
Roy.

ROY
What?

MARIANNE
You’re sweet.

ROY
(grinning)
Thanks.

MARIANNE
And a liar.

Now Marianne laughs aloud, at the expense of Roy, who shakes his head humorously.

INT. U.N. HEADQUARTERS – NEW YORK CITY – MORNING

Charles Abaddon walks through the rows of cubicles, heading to his office. Phones BUZZ in the background. CHARLOTTE LONG (26), a gorgeous blonde secretary approaches.

CHARLOTTE
Mr. Abaddon, I talked to the Syrian Prime Minister this morning. Your trip is scheduled for next week.

CHARLES
Ah, Charlotte. Good morning.

Charlotte gives off a rare sense of innocence and purity. And around Charles, a sense of nervousness as well.

CHARLOTTE
Good morning, Sir.

CHARLES
Everyday with the “Sir”. Please, it is not necessary.

Her face reddens as she coyly ruffles through some papers in her arms.

CHARLOTTE
Sorry, Mr. Abaddon.

CHARLES
Charles works just fine, Charlotte.

She smiles awkwardly.

CHARLOTTE
Of course.

Charlotte hands a brown FOLDER to Charles.

CHARLES
So Syria, huh? When do we leave?

CHARLOTTE
Next Thursday, Sir. I got you on a flight out of JFK.

CHARLES
Great, better get packing then.

Charles walks toward his office, Charlotte appears confused.

CHARLOTTE
Um, packing, Sir?

Charles turns to face her.

CHARLES
You are coming with me, yes? I’ll need someone there, and Valerie is on medical.

Charlotte’s eyes light up as she quickly follows a couple paces behind him. Now with a new sense of pride in her step.

CHARLOTTE
Of course, I’d love to---I mean, I’ll look forward to it.

CHARLES
Great. Also, Charlotte, could you get all the information on the refugees in Syria? I’d like to go over it more on the flight. Keep my mind fresh.

CHARLOTTE
Absolutely. I’ll have it all ready for you, Sir.

CHARLES
Sounds terrific.

Charlotte and Charles go their separate ways.

CHARLES (cont.)
Ma’am.

Charles grins at her as he enters his office.

EXT. TORRES ANTIQUE CLOCK REPAIR - AFTERNOON

ESTABLISHING SHOT. The shop is small and quaint. The window sill is arranged neatly with a vast array of clocks.

INT. TORRES ANTIQUE CLOCK REPAIR - AFTERNOON

The store has an old-fashioned sense to it. Patsy Kline’s “Walkin’ After Midnight” plays over the shop’s sound system. Ticking of clocks come from every direction.

ROSE VIERA, 29, browses the glass-case of watches. She is a naturally beautiful Spanish woman with long slightly curly black hair. Originally born in Madrid, she now lives in the Big Apple, but still speaks with a touch of a Spanish accent. She wears a greenish-colored flowery summer dress.

She approaches the front counter, where a young man reads Michael Crichton’s “Timeline”. Rose eyes him in a flirtatious manner.

This is SETH PRESCOTT.

Seth, 30, has a decent build and is in great shape. His light brown hair is of medium length.

ROSE
Sorry to bother you, but I was
wondering if I could try one of
those watches on?

She points to the glass case behind her.

SETH
No bother, ma’am. Of course you
can.

Seth leads her back to the case. She watches and flips her flowing black hair seductively.

ROSE
My name is Rose. And you?

SETH
Seth. Pleasure to meet you, Rose.

ROSE
I like that name, Seth. It is from the bible, no?

SETH
Yeah, I guess you’re right. Don’t think that’s why I was given it though.

ROSE
You are not a religious man?

SETH
‘Fraid not.

ROSE
Oh, that is too bad. I’m a member of a church not too far from here. If you’d be interested I have a BROCHURE. We have bible studies twice a week. I would love to see you there sometime.

Seth eyes her suspiciously.

SETH
Sorry, it’s really not my cup of tea.

Rose works some of her charm.

ROSE
How about this? I’ll give you one anyway, just in case. Better to have one and not need it, than to need one and not have it, right? Perhaps sometime you will change your mind.
(handing him the pamphlet)
No pressure though.

Rose closely examines the watches. She picks up a nice silver one. The price tag says: 49.99

ROSE
I’ll take this one. It’s a good one?

Seth eyes the watch carefully. He smiles.

SETH
Yes, very nice.

ROSE
So, Mr.?

SETH
Prescott.

ROSE
Mr. Prescott. Why the keen interest in clocks?

SETH
I don’t know really. Time is just and amazing thing. The most important thing man has ever created. Have you ever seen the inner-workings of a clock?

ROSE
I have not. Perhaps you can show me sometime?

Seth smiles and nods, not used to women hitting on him.

ROSE (cont.)
I believe time is the glue that holds us together.

SETH
You are absolutely right.

ROSE
I think I read it on a hallmark card.

They laugh as she hands him the money from her purse.

SETH
If anything goes wrong bring it in and I’ll get it goin’ again.

ROSE
Let’s hope.

She winks as she walks away. Seth hypnotically watches every step. A short Hispanic employee named FRANK MARQUEZ enters the store as she is leaving. He also watches her leave. Frank is brash and loud-mouthed, but genuinely a nice guy.

MARQUEZ
That is a damn fine chica. Get her number?
Frank looks at the brochure.

MARQUEZ (cont.)
Bible studies? What kinda’ crap is this?

Seth doesn’t break his gaze from Rose.

SETH
I don’t think she was REALLY talking about goin’ to church.

MARQUEZ
Then what she give you this flyer thingy for?

SETH
(jokingly)
Better hurry up, I’m goin’ to lunch soon.

Frank gives him a friendly scowl and walks away.

INT. TREBLE MARKETING – MORNING

Marianne sits alone in a small padded chair. The under-sized room would bother anyone with a slight trace of claustrophobia. Her clothes are a bit more cleaned up, but still somewhat ragged. She stares at a nice framed PICTURE on the desk. It shows a man and wife, and two children.

The door opens behind her and MR. JAMESON, from picture, enters.

MR. JAMESON
Sorry for the hold-up. Had to take care of a few things. Never a dull moment around here, let me tell ya’.

Marianne stands and greets him. He is short and chubby with a noticeable bald spot at the base of his head. She extends her hand to him politely. He looks at her appearance and appears to be a bit hesitant.

MR. JAMESON
You must be...
He looks at the paper in his hands.

MR. JAMESON (cont.)
Marianne?

He finally shakes her hand. He has somewhat of a pretentious demeanor.

MARIANNE
Yes, Sir. Marianne Carter.

Mr. Jameson sits behind his desk and looks through a stack of files.

MR. JAMESON
Here we are. No previous employment for three years?

Marianne looks at the ground shamefully like a student in the Principal’s office.

MARIANNE
No, Sir. Things have been a little rough since I moved out here.

He eyes her reluctantly.

MR. JAMESON
No worries. Where did you live before moving here?

MARIANNE
Kentucky. I moved out here when I was eighteen.

MR. JAMESON
Had to get away from the parent, eh? I know how that is.

MARIANNE
(looking at the floor)
Yeah.

MR. JAMESON
So, what benefits can you bring to our company?

MARIANNE
Well, Sir, to be perfectly frank, I don’t exactly what it is this company does. But I am a dedicated, hard worker. I also know that, given the chance, I can bring good to any environment I am in.

MR. JAMESON
And presently, do you have a residence and mode of transportation?

MARIANNE
No, Sir. No residency. I live at a shelter right now. But bus routes are pretty good, I wouldn’t have any problem getting here every day. And on time.

Mr. Jameson seems to have made up his mind.

MR. JAMESON
I see.

MARIANNE
I know I may not look like the best candidate for this job. Any job, for that matter. But all I need is a shot. A chance to prove myself in a place I can really excel at. Some place to go everyday other than out there.

MR. JAMESON
For the record, Miss Carter, this is not an exile from the streets. This is a job. Should I take another person’s chance at a good, solid, career away to let you have somewhere to “go” during the day?

Marianne doesn’t know what to say. Her face is fiery red as she bites her tongue.

MR. JAMESON
Well, Miss Carter, thank you for coming in. We will review all valid applications and will be in touch.

Marianne looks away before looking him in the eyes. She knows her tattered appearance cost her the job. After that split-second, she hides any anger or disappointment and shows solid professionalism.

MARIANNE
Thank you for the opportunity, Sir.

She shakes his hand again before exiting.

After the door closes, Mr. Jameson sits down and opens his desk drawer. He pulls out a HANDKERCHIEF and wipes his hands.

INT. U.N. HEADQUARTERS – EVENING

Charles sits at his office desk. Through the window behind him the beautiful sunset is visible. The city’s skyline is breathtaking. The phone RINGS.

CHARLES
Charles Abaddon.

Charles smiles as he hears the voice.

CHARLES (cont.)
Yes, honey. Yeah, we leave next week. Should only be four or five days. Yeah, I’ll be home in a little while, just have to make a quick stop.

BEAT.

Charles sighs softly.

CHARLES (cont.)
Yeah, I’m okay. Alright, see you soon. I love you too.


He hangs up the phone. After a brief pause, he opens his desk drawer and pulls out a framed PHOTOGRAPH. He stares at it for a few moments, not revealing it to the camera.

After putting it back he grabs his JACKET and heads out of the door. He passes by the CLOCK. It reads: 6:06

INT. CLOCK REPAIR SHOP BREAKROOM – EVENING

Seth sits in a small break room with ugly yellow walls. He munches on a turkey sandwich. Seated directly across the table is Frank, eating a burger and watching a television that is place near the ceiling of the room.

MARQUEZ
Can you believe this crap? They want to convince me our economy is
fine? You gotta’ be kidding me, man.

SETH
Just need someone to take us in the right direction, that’s all. Our economy has been worse than this before.

Marquez doesn’t take his eyes off the screen.

MARQUEZ
I thought Reynolds could have. That’s why I voted for him. What you think?

SETH
I think you have too much faith in our President.

Marquez laughs for a moment, but quickly becomes serious as he points at the screen.

MARQUEZ
What ‘bout him?

Seth looks up to see a news report with a picture of Charles Abaddon on the screen.

SETH
Don’t get me started on HIM.

MARQUEZ
I could see him runnin’ for President. He’s got all the credentials. Hey, weren’t you in the War? Did ya’ ever meet him?

Seth pauses a moment before answering.

SETH
Here’s a more important question. Do you know why the war started? I mean, why it really started?

MARQUEZ
Well, yeah. Course’ I do. Those Iranians killed those dudes at the embassy. But I s’pose you have your own little conspiracy theory, right?

SETH
Well it started long before that, my friend. And no it’s not a “theory”. It’s the honest damn truth. Those men who “died” at the embassy, what if I told you they never really died at all?

Long dramatic pause. The silence is broken by Marquez’ hysterical laughter.

MARQUEZ
Whatever drugs you take before work Prescott, you really gotta’ start sharing.

Seth chuckles to himself as Marquez tosses his burger. He opens the door and starts to leave.

MARQUEZ (cont.)
Seriously, man. Where do you come up with this stuff?


SETH
Not from the newspaper or media, I can tell you that.

Marquez exits shaking his head. Seth continues looking at the picture of Abaddon on the screen.

EXT. N.Y.C. STREETS – EVENING

Marianne walks down the lively sidewalk. Her face exhibits an obvious sadness. The sun is nearly gone and the night is just beginning. She turns down a long, dark alley. A short-cut. Dumpsters and hefty bags line the sides.

EXT. SMALL FLOWER SHOP – EVENING

Charles slowly walks down the shop’s stairs, holding a bouquet of FLOWERS. He crosses a street and heads toward the same alley. CLOSE on his face as he stops, looking down the alley. He takes a long, deep breath and heads down it.

EXT. DARK ALLEY – EVENING

Marianne looks down at her feet as she walks. She seems to sense someone is behind her and glances back, attempting to look inconspicuous. The outline of a figure is rapidly approaching.

Flowers fall to the ground near some black trash bags. CLOSE on them as one of the petals falls off, blowing violently in a gush of wind.

Marianne’s pace quickens, but the footsteps behind her grow louder. She can see the end of the alley just up ahead.

CLOSE on feet, quickly walking one after another. Pan up to see Charles swiftly moving down the alley. He has a look of determination and relentlessness on his face.

Marianne turns, but is instantly bludgeoned across the face. She falls to the ground on her stomach, clutching her nose.

MARIANNE
Stop! Stop it!

He punches her violently, tearing at her clothes like a rabid animal. One hand holds her down as her jeans are pulled down with the other.

MARIANNE
Please! What are you doing?!?

Marianne’s cries echo in the dark alley, but nobody comes. A hand covers her mouth, stifling the screams. Her bulged, bloodshot eyes produce tears which roll down her cheeks and onto his hand. Marianne gives in and stops fighting. After a few moments, all movement stops.

The man stands up and Marianne watches his feet as he walks off. As her eyes move up, she barely catches a glimpse of him as he turns the corner. A streetlight above casts his shadow from around the corner. For a brief second his shadow almost seems to elongate strangely. Like that, it is gone. Marianne lowers her head and sobs.

END OF ACT ONE





ACT TWO



EXT. BUS STOP – MORNING

Marianne sits on the same bench as before, solemnly watching all the PEOPLE pass her by. Her face is bruised and swollen, her eyes red from tears. She stares forward in a trance-like state.

After sitting alone for a few moments, Roy sits down next to her. They look at each other, similar to the way they did before. Tears well up in her eyes and she loses control. She buries her head in his shoulder and sobs.

ROY
(rubbing her hair)
I’m sorry, Mary. I’m so sorry.

BEAT.

ROY (cont.)
What kind of monster would do this?

She raises her head and looks at him with damp, weary eyes. She can’t bring herself to speak.

ROY (cont.)
We should get you to a hospital. You need to be checked out.

She slowly shakes her head.

MARIANNE
No, I’ll be okay. I can’t afford no hospital, Roy.

ROY
I’m sure if we talk to Lois, she can help.

MARIANNE
No, Roy! I don’t want to talk to anyone about it. I don’t know who

MARIANNE (cont.)
he was; I didn’t even see him for Christ sake. There is nothing anyone can do! Hospital can’t help. Damn Police sure as hell can’t help me. Ain’t no one helpin’ me!

Roy struggles to find words to comfort her.

ROY
I just think you should—

MARIANNE
(interrupting)
Just leave it alone Roy! Forget about it, would ya’? We can’t change the past, right?

Marianne can’t hold back her tears again as Roy tries his best to console her.

INT. ABADDON RESIDENCE – MORNING

CLOSE on EGGS frying in a skillet. Pan out to see an attractive woman in her mid-thirties. She has long dark hair, tied back in a pony-tail.

This is SYDNEY ABADDON.

Sydney turns to see THOMAS, her son, fidgeting at the table with his toast.

SYDNEY
Thomas, don’t play with your food. The eggs are almost done.

Thomas, 10, is a petite boy with bright blue eyes. Those blue eyes light up when his father enters the room.

CHARLES
Hello, dear.

He kisses Sydney’s head, making her smile happily.

SYDNEY
Morning Charlie.

Charles sits across from his son at the kitchen table.

SYDNEY
So, how was work last night?


CHARLES
It was work. I’m just anxiously anticipating my vacation...in the luxurious land of Syria.

Sydney chuckles as she places an egg on Charles’ plate.

THOMAS
What do you do at your new job, Dad?

Charles thumbs through a newspaper, pondering the question.

CHARLES
Well, I get to meet people from all over the world. French, German, all speaking different languages.

THOMAS
Do you speak German?

CHARLES
Ich sicher tue.

Thomas giggles.

THOMAS
Can you teach me a new language?

CHARLES
Sure, son. We’ll start after I get back. But while I’m gone you have to think of the language you want to learn. Okay?

THOMAS
Okay, Dad. I will.

A horn HONKS from outside. Thomas jumps up, looking out a window.

THOMAS
Mrs. Wallace is here! Bye!

Sydney chases after him with a brown paper bag.

SYDNEY
Thomas, your lunch!

Charles smiles as he looks through the paper. After a few moments Sydney returns and takes a seat next to him.

SYDNEY
Charlie. I know where you were last night. I didn’t forget.

Charles stops reading. His face is shrouded with fear.

SYDNEY (cont.)
I’m sorry. I know it’s hard, honey.

CHARLES
I know. That will be the last time, I promise. It’s getting easier, it really is. From now on though, we will move past all of it.

Sydney looks at him sympathetically and rubs his back.

SYDNEY
I know we will.

They share a brief, loving kiss.

EXT. CEMETERY – MORNING

Seth walks slowly through a deserted cemetery. Headstones are spread out as far as you can see. He carries a pack of Carnival brand CIGARETTES.

Seth stops in front of a small, cement headstone. He stares down for a moment before kneeling to touch the surface with his fingertips.

SETH
Hey buddy. Sorry I haven’t been here lately, got tied up in some things. I miss you, man.

BEAT.

SETH (cont.)
I still haven’t given up. Your name will be honored one day, I promise you that. All of us will get the honor we deserve.

Seth takes a moment, doing his best to hold back his emotions. He props the cigarettes next to the gravestone.

SETH (cont.)
Got you some Carnivals, buddy. Enjoy ‘em.

Another brief pause before Seth walks away. From the far end of the cemetery Seth notices a black Nissan parked near the entrance. A man stands next to it with BINOCULARS, staring directly at him!

Seth watches for a moment. Eventually the man sees he has been spotted and quickly hops into the car. Seth watches as he speeds off until out of sight.

INT. U.N. HEADQUARTERS – DAY

Charles sits in his office as Charlotte enters. She carries a brown FOLDER in her arms. Behind her is a tall, lanky man with curly blonde hair.

CHARLOTTE
Mr. Abaddon, Sir. This is Keith Harold, he is with the Post. Here to interview you, Sir.

Charles looks at him, struggling to remember. She hands him the folder. As he thumbs through it, he now remembers the interview.



CHARLES
Oh, of course. How could I have forgotten?

Keith smiles.

KEITH
Thanks for the opportunity, Mr. Abaddon. I’ve really been looking forward to this.

CHARLES
No problem at all, Keith. Do you mind if I call you Keith?

He shakes his head nervously.

KEITH
No, Sir. Of course not.

CHARLES
Great, let’s get to it then. Charlotte, hold my calls please.

She nods and exits.

CHARLES (cont.)
So, Keith. Ask away.

Keith takes out his notepad and pen. He takes out a tape recorder and looks at Charles for permission.

CHARLES (cont.)
No tape recorders, Keith. You know the rules.

Keith smiles, hiding the disappointment.

KEITH
Okay sir. Would you like to comment on your trip to Syria that is coming up?

CHARLES
Absolutely. I am heading to Syria next week as part of a United Nations refugee relief effort.
CHARLES (cont.)
There are thousands of refugees all living without homes, food, or water. The Syrian government seriously needs to take a look at these men, women and children, and get something going. And soon.

KEITH
Mr. Abaddon, are you actually going to take part in the relief
effort? Or are you there for diplomatic reasons only?

CHARLES
Are you implying something, Mr. Harold?

Keith smirks arrogantly.

KEITH
No I am not, Mr. Abaddon. It’s just that many people believe you put on a mask, so to speak. To impress the media, I suppose.

CHARLES
Is that right? So, then let me ask you. What am I really like? Of course, since you know so much about me.

KEITH
Mr. Abaddon, I am just stating an opinion of a large part of the public media.

CHARLES
This is ridiculous and absurd. You think I have no feelings, no sympathy, for the Syrian refugees? I am some cold, heartless bastard who cares only about himself?

Keith remains still, not saying a word.


CHARLES (cont.)
Did you fight in the Big War? Did you risk your life for the greater good? I put my life on the line every day for two years, and for what? Myself?

KEITH
Sir, I did not mean to offend you. I was just asking a ques—

CHARLES
(interrupting)
I’m sorry Mr. Harold, but I think you did. Now I have to ask you to leave. The interview is over.

Keith stands up, frightened and nervous. He exits the room and Charles leans back in his chair. He puts his arms behind his head and the trace of a smile appears on his face.

INT. SHELTER – ONE MONTH LATER – DAY

The Time Machine, from 1960, plays on the television. After a few moments LAUGHTER is heard. Pan out to Roy and Marianne sitting on a sofa watching. Marianne’s bruised face is nearly healed and the two seem much happier and tranquil.

MARIANNE
This movie is so corny. It’s crazy how much movies have changed.

The two laugh at another silly part in the movie. As the laughter stops, Roy awkwardly kisses her on the lips. She stares at him in bewilderment.

ROY
I’m sorry. I don’t know why I did that.

MARIANNE
No, don’t apologize. It’s okay.

After a brief silence, she leans in and returns the kiss. She pulls back suddenly, holding her stomach in dismay.

MARIANNE
Oww, my stomach.

Roy takes offense.

ROY
Thanks a lot, Mary. Way to boost a guy’s confidence.

MARIANNE
No, I’m serious. I think something’s wrong.

Marianne stands, but barely makes it a step. She collapses to the floor with a THUD. Roy leaps up and comes to her side.

ROY
Marianne! Are you okay?

He looks around desperately.

ROY (cont.)
Help! Someone! Somebody call 911!

Roy holds her head in his arms helplessly.

END OF ACT TWO






ACT THREE



INT. NEW CHURCH OF CHRIST – DAY

Long shot down the aisle of an empty church hall. Wooden pews run down both sides and a large altar sits at the front.

INT. CHURCH BASEMENT – DAY

The basement is dark and isolated, similar to a Police interrogation room. A GROUP of eight men and women are seated in folding chairs. Rose is one. The man sitting next to her is the same man from the cemetery. Another man stands in the center.

This is RON LUTHER.

Ron, 36, is a tall black man with a booming voice and a powerful, chilling presence. He is the obvious alpha-male of the group.

RON
Did he go for it?

ROSE
I think so. I am very convincing.

MALE GROUP MEMBER
Why again are we worrying about him?

Ron looks at him coldly.

RON
We need him because he will do it. Will you do it?
(looking at the others)
Any of you?

Nobody answers. They try hard NOT to make eye-contact with him.

RON
Seth has a reason and a motive.

Ron pauses dramatically.

RON (cont.)
We just have to give him courage, and a method.

ROSE
Well, who knows. Maybe we’ll see him tonight.

RON
I’m guessing it will take him longer than you think. But, eventually his curiosity will get the best of him. Kill the cat, so to speak.

BEAT.

RON (cont.)
Okay, I’ll see everyone at seven. Make sure you are not followed.

Ron exits first. Everyone files out behind him.

INT. HOSPITAL WAITING ROOM - EVENING

Roy sits in a small, empty waiting room. He stares at the floor, clutching his head in his hands. A doctor enters, holding some CHARTS in his hands. Roy stands up immediately.

ROY
Is she okay?

DOCTOR
Yes, Mr. Walker. She’s fine. We gave her a sedative, so she’s a bit out of it.

ROY
What happened? What’s wrong with her?



DOCTOR
We’re not sure just yet. Could be a number of things, really. We took her blood and will have to
run some tests. If you’d like, you can see her.

Roy nods.

ROY
Of course.

DOCTOR
But only for a minute. She needs rest.

He leads Roy down the hall toward her room.

EXT. NEW CHURCH OF CHRIST – EVENING

Seth stands on a busy sidewalk, staring across the street. The CHURCH is of an unconventional style. It is a small white building, the only evidence of it being a church is the single cross that sits on the rooftop. Seth watches a small GROUP file in, noticeably NOT in their Sunday best.

He pulls the white brochure from his jacket pocket. CLOSE on it as it reads:

NEW CHURCH OF CHRIST BIBLE STUDIES.

And below:

FRIDAY & SUNDAY NIGHTS / 7 P.M.

Seth notices Rose from across the street. She is alone, leaning against a light post smoking a cigarette. He watches her, mesmerized by her beauty, just as he was by her charm the last time he saw her. She sees him and comes his way. Seth walks away, pretending not to see her, but she is too quick.

ROSE
Seth! I knew you’d come.

Seth turns around, acting surprised to see her.

SETH
Hi, yeah. I was just, umm..., just passing by.

ROSE
You coming in?

SETH
No, I should really get home.

Rose looks disappointed.

ROSE
Well, I’ve got about half an hour. Get some coffee with me?

Seth ponders the question for a second. Then he nods, making Rose smile joyfully.

INT. U.N. HEADQUARTERS – EVENING

Charles stands at a window, staring out at the city lights. The town is lit up beautifully. In the reflection he sees a familiar face. A black man, around the same age, is coming toward him. Charles turns and greets him.

CHARLES
Mark Kline. What brings you to the City?

They embrace with a friendly hug. He is MARK KLINE, 38. He wears thin-rimmed glasses and is overly self-absorbed.

MARK
Charles, what a pleasant surprise.

CHARLES
What’s it been? Three years?

MARK
Something like that, yes. So I see Harvard has done you quite well.

CHARLES
As it did for you. Great work in the Varone trial. I didn’t think God
CHARLES (cont.)
himself could have gotten him a not-guilty verdict.

Mark shrugs, indicating it was “no big deal”.

MARK
He couldn’t have.

Charles smiles at his friend’s boastfulness.

MARK (cont.)
So, I hear you have a big speech soon?

Charles checks his watch and gives a slight nod.

CHARLES
Didn’t see the time. I guess I do.

Charlotte approaches, interrupting the conversation. She seems jittery and apprehensive.

CHARLOTTE
Sorry, um, Mr. Abaddon. You’re on in five.

Charles smiles at her and extends his hand to Mark.

CHARLES
Well, Mark, we should get together sometime. How long are you gonna’ be in the Big Apple?

MARK
Not sure. I know how to find you though.

CHARLES
That you do. Find me anytime, my friend.

MARK
(semi-sarcastically)
Break a leg tonight.

Charles grins at him and follows Charlotte.

CHARLOTTE
Old friends?

CHARLES
You’ve heard the expression “keep your friends close, and your enemies closer”?

She nods.

CHARLES (cont.)
Well, let’s just say he’s the closest friend I’ve got.

They make their way down a long empty hall, toward a conference room. Charles reaches ahead and grabs her arm, causing her to turn around, fear in her eyes.

CHARLES (cont.)
Charlotte, you’ve been different since we got back from Syria? Everything okay?

CHARLOTTE
Yes, Sir. Everything’s, um...fine.

Charles eyes her, trying to get a read.

CHARLES
Don’t like the promotion?

CHARLOTTE
No, of course not. I am in your debt for that, Sir.

CHARLES
So it must be about what happened over there? Is that it?

She looks at her feet. That is confirmation enough for him.



CHARLES (cont.)
It’s okay, trust me. Nobody will find out. Right? It’s just between you and me.

She nods, still looking flustered.

CHARLES (cont.)
We’ll talk about it later. Don’t want to be late for the press conference.

CHARLOTTE
Of course not, Sir.

They continue the walk down the hall. Charles watches her closely from behind.

CHARLES
(jokingly)
Enough with the “Sir”, sweetheart.

She looks back and shows a slight smile.

INT. COFFEE SHOP – EVENING

Seth and Rose sit in a quiet, relaxing coffee shop. Half a dozen other customers sip contently on their beverages. One man sits on a sofa across the room playing an acoustic guitar. Seth and Rose sit across from one another.

ROSE
So, Seth. Tell me about yourself.

SETH
Not much to tell, my story isn’t any different than most.

ROSE
I’m interested. So humor me. You lived here all your life?

SETH
No, born in Georgia. Left school early and joined the Army.
(sarcastically)
Smart move on my part.

Rose slyly smiles.

ROSE
Did you fight in the War?

Seth takes a moment to respond. When he does, it’s just a nod.

ROSE (cont.)
Wow, that’s amazing. You are a brave man. A hero.

SETH
I’m no hero. The things I saw in the war, things I went through, nobody should ever have to go through. Should ever have to see. If you asked a hero “if he had to go back, would he do it all over again?” He would say “yes”. If you asked me, I’d say no.

ROSE
I’m sorry. I’ve heard many stories about the things that went on over there.

SETH
Enough about the war and the war stories. What about you? I want to hear YOUR story.

Rose’s becomes flushed as she takes a sip of her coffee.

ROSE
Well, I was born in Madrid. Moved here when I was eleven. Never looked back.

SETH
What made you leave Spain?

ROSE
Political persecution.


SETH
Yeah?

ROSE
No, just needed a change of scenery.

They laugh in unison . Seth begins to loosen up around her.

ROSE (cont.)
I studied at NYU. In theology and philosophy.

SETH
A deep thinker, huh?

ROSE
(pointing at her head)
Not as much goin’ on up there are you might think.

Seth smiles. The two seem to be connecting very well.

ROSE (cont.)
So now that all the boring, get- to-know-you chit-chat is out of the way, I’ve got a question for you.

SETH
Shoot.

ROSE
What is your connection to Charles Abaddon?

Seth’s guard comes right back up as he glares at her suspiciously. She has a wicked smile striped across her face.

INT. HOSPITAL ROOM – EVENING

Roy enters the room to see Marianne lying on the bed. She looks serene and comfortable. Cords run from different areas of her body into large machines. She is either asleep or overly sedated, Roy is not sure which. He sits down next to her and takes her hand in his.

BEAT.

He brushes her hair from her face, trying to fight back the coming tears.

ROY
Marianne. I’m not sure if you can hear me, but I think you can. We may have only known each other for a few years, but I’ve never felt so close to anyone in my life. Each day, living in that shelter, I wonder how I can make it to tomorrow. Then I think of you. I know we can get through all of
this, and I know things will get better for us. They have to.

Marianne’s eyes remain closed, but flutter momentarily.

ROY (cont.)
It’s getting late and they said I could only see you for a few minutes. I just want you to know I am here. I will be here as long as it takes. Whatever it is that has brought you here, we can get through it. Together. I love you Mary.

Roy kisses her hand softly. Machines start to BUZZ and BEEP all around the room. Suddenly Marianne’s unconscious body begins convulsing violently.

ROY
Marianne!

Roy attempts to hold her down, but her strength is overwhelming. Her eyelids open with only her sclera visible.

ROY (cont.)
Doc! Get in here!

Two nurses rush in, followed by the doctor. The doctor grabs a SYRINGE and fills it with a clear fluid.

DOCTOR
What happened?

ROY
Nothing, I mean, I don’t know. I was just talking to her. Is she going to be okay?

Roy tries grabs hold of her hand, trying to help.

DOCTOR
Sir, I’m gonna’ need you to leave the room. Sir, you need to leave now!

Roy backs toward the door as the doctor approaches her with the needle.

DOCTOR
(to the nurses)
Hold her down.

The two nurses hold her seizing body down to the best of their abilities. The doctor sticks the needle into the largest vein in her arm. Her body falls limp instantly.

END OF ACT THREE






ACT FOUR



INT. SMALL APARTMENT – NIGHT

The small studio apartment is dark and gloomy. The sink is filled with dishes and worn clothes line the furniture. A glass case sits against the wall, holding an array of different GUNS, typical military-man gear.

The door opens and Seth enters, tossing his keys on a small table. Two CATS instantly appear at his feet. One is white and one is black. Seth kneels down, rubbing the backs of each as they purr. He sees the edge of his sofa has a few tears in it.

SETH
Which one of you felt like destroying something today? Was it you Foe? Or Friend?

The black cat nudges against his face lovingly. Seth flips the television on and opens the refrigerator, pulling out a Bud. A news reporter on the T.V. mentions Abaddon’s speech coming in the next hour.

Seth stands against the kitchen counter and pops the cap off the beer, causing it drop to the floor. He bends down to get it and as he looks up he sees---

A man staring through his window!

It is the same man from the cemetery. The two stare at each other for a few seconds. He is about Seth’s age, but wears goofy glasses and an old-fashioned brown hat. The man takes off, with Seth in pursuit.

Seth goes through the front door and looks over the edge of his outside balcony. He sees the man running about fifty paces ahead, through a grassy area. In one motion, Seth leaps over the second-story balcony, landing in the crouched position on his feet.

He hastily chases the man, who now runs across a busy New York street. Seth pauses at the street, waiting for an opening. Finally Seth makes his move and gets across the street, causing a cab to brake at the last moment. It comes to a screeching halt.

CAB DRIVER
The hell are you doin’ buddy?

Seth rounds a corner, but is beginning to lose sight of him in the CROWD of people. He sees the man take another turn into an alley. Seth makes the same turn, about thirty seconds later. But now the alley is empty. He leans on a brick wall, desperately trying to catch his breath.

Out of the corner of his eye he notices something lying on the ground. It’s some kind of paper. He kneels down to get a look at it. CLOSE on the paper. It is the exact same church pamphlet that was given to him by Rose.

INT. U.N. HEADQUARTERS – NIGHT

Charles stands, surrounded by different aids. Charlotte adjusts his tie as another woman applies some T.V. makeup. A guard from outside the room pokes his head through the door.

GUARD
Mr. Abaddon, sorry to bother you. But there is a call for you, they said it was urgent.

Charles looks at the woman applying the makeup, who nods that she is finished. He walks past the man and to the PHONE.

CHARLES
Charles Abaddon.

Heavy breathing. The voice comes through raspy and familiar.

FAMILIAR VOICE (O.S.)
Hello, Charles.

CHARLES
Who is this?

BEAT.

FAMILIAR VOICE (O.S.)
A friend of a friend. I would like to speak to you in person. About Marianne.

Charles looks nervous, thinking very carefully about what to say next.

CHARLES
I’m sorry?

FAMILIAR VOICE (O.S.)
I know what you did to her, Mr. Abaddon.

CHARLES
I don’t know who or what you are talking about. Tell me who this is.

FAMILIAR VOICE (O.S.)
My name is Roy Walker. Like I said, a friend of a friend. Unfortunately, right now I must go. Perhaps we can chat again later? Oh, and Mr. Abaddon, you will pay for what you have done.

CLICK. The line goes dead. Charles hangs up slowly, staring at the telephone for a while, attempting to get his bearings.

BEAT.

Charlotte enters.

CHARLOTTE
Mr. Abaddon, it’s time.

CHARLES
Would you give me a damn minute!?

Charles reaches into his desk drawer, pulling out the photograph. He touches it lightly, running his fingertips across the surface.


CHARLOTTE
My apologies, Sir. I didn’t mean to rush you.

Charlotte turns to leave.

CHARLES
Charlotte, don’t apologize. I was out of line there, I’m sorry. I just have a lot of things on my mind.

CHARLOTTE
No, Sir, it’s okay. Since I’ve been working here you have been on time and ready for everything that has come in front of you.

CHARLES
That is thanks to you, Charlotte. So again, I am sorry.

BEAT.

CHARLES (cont.)
Now, let’s get this show on the road, shall we?

The exchange smiles as he follows her out the door.

INT. SETH’S APARTMENT – NIGHT

Seth sits in a recliner. His face is lit up in an assortment of colors from the television in front of him. PAN DOWN to see his hands. He is cleaning a RIFLE. On the television Abaddon is greeting the media before his speech. Seth doesn’t take his eyes off the screen.

INT. HOSPITAL ROOM – NIGHT

Roy peeks his head in to see Marianne. She lies still just as before. He sits next to her and places his hand on her belly, hesitating for a moment. Just as he touches her, her eyes begin to open. Roy looks at the floor, not noticing she is awake.


MARIANNE
Hey buddy, do I know you? What’re you tryin’ to do?

Roy’s head shoots up with a puzzled and concerned look on his face.

ROY
Marianne? It’s Roy.

Marianne stares at him for a few moments, no recognition on her face at all.

MARIANNE
Okay, Roy. Do I know you?

Roy’s eyes well up as he stares at Marianne, his heart broken. Before he gets too upset, Marianne grins from ear to ear.

MARIANNE
Works every time.

Roy’s eyes bulge and he hugs her with everything he can muster.

ROY
Don’t ever do that again!

Marianne laughs uncontrollably as Roy blushes. A sharp pain causes her to wince from laughing.

MARIANNE
Don’t make me laugh, it hurts.

ROY
That’s what you get. Jeez, I’ve been waitin’ for you to get up. Talk about lazy.

MARIANNE
Whatever. So heard anything from the doctor?

ROY
Still waiting. I’m sure everything is okay though.


MARIANNE
I heard you.

ROY
Huh?

MARIANNE
I heard you while I was out. The things you said. Did you mean it?

Roy looks at the floor for a few moments before setting his gaze back to Marianne.

ROY
Every word of it, Mary.

She smiles brightly and leans forward. The two embrace and share a passionate kiss. Roy pulls back just as the door opens. The doctor enters and Roy stands.

ROY
Doc, anything?

DOCTOR
(to Marianne)
Oh, you’re awake. How do you feel?

MARIANNE
(looking at Roy)
Actually, I feel great. Guess I’m just waitin’ on the verdict.

BEAT.

DOCTOR
Well, we did some tests and have pinpointed the cause. Marianne, you’re pregnant. About a month along.

Tears well up in her eyes. She knows. Roy’s face fills with anger and disdain.


INT. U.N. HEADQUARTERS – NIGHT

Charles is in his office, staring out of his large, open window. The lights are bright and the city is still booming, even at the late hour.

He takes a sip from his glass of Cabernet and places it on the table. After taking a deep breath of the cold night air, he opens his desk drawer and pulls out the PICTURE. It still remains hidden, only seen by him.

SYDNEY (O.S.)
You were great out there, you know?

Charles looks up to see his wife standing in the doorway. She walks toward him and pours herself a glass of wine.

SYDNEY (cont.)
I was thinking about what you said before. About putting IT behind you. Charlie, I don’t expect you to do that, nor do I want you to.

Charles looks at her with a loving smile.

CHARLES
It’s been a long time, honey.

SYDNEY
Yes, yes it has. But it is a part of your life, Charlie. A part of you, and because of that, it’s a part of me too. You should remember it. Everything happens for a reason, Charlie.

She looks down at Charles’ hands. She cocks her head a bit to see the picture.

SYDNEY (cont.)
She was incredible. A rare beauty.

CHARLES
Yeah she was.

BEAT.

CHARLES (cont.)
I’ve tried...to let it go.
(sigh)
I can’t. It haunts me everyday. Everyday. It’s what I see when I close my eyes, and most of the time I see her when they’re open. I can’t forget.

Camera slowly PANS DOWN to his hands to REVEAL:

The picture. It’s a portrait of Marianne. She smiles, but her eyes are filled with a strange sense of sadness and pain.

CHARLES (cont.)
It’s been thirty-nine years.

START MUSICAL MONTAGE to Coldplay’s “Trouble”

Charles exits the flower shop the month before. He slowly crosses the street to the alley entry-way. He takes a long deep breath before venturing down it.

Charles stops next to some trash bags. His eyes noticeably glassy. He drops the FLOWERS to the ground near the wall and wipes his eyes.

BEAT.

He quickly walks to the end of the alley, almost as if he’s suffocating. As he reaches the end he struggles to catch his breath, rubbing his hand through his hair. People pass in front of him, not paying any attention. He walks away, disappearing into the bustling New York City night.

END MUSICAL MONTAGE

Back in the office again, Charles downs the last of his wine. He looks at the floor as he speaks.

CHARLES
I just hope every year it will happen. By some crazy chance

CHARLES (cont.)
coincidence it will actually happen.

Charles looks up at his wife.

CHARLES (cont.)
I will see the man who did that terrible thing to her. I will see my Father.

CLOSE on Charles’ hands, holding the portrait of Marianne.

CUT TO BLACK.



THE END.
gatti77
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Re: CLOCKS (Rated PG-13 for some mild violence)

Postby gatti77 on Thu May 29, 2008 6:53 am

I have been getting a couple replies from people having trouble reading it in their browser. If anyone has, you can check it out in my Myspace blog. The link is:

http://profile.myspace.com/index.cfm?fu ... d=52073345
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