ASSASSIN SOCIETY - SimplyScripts



ASSASSIN SOCIETY

By

Matthew Orobko

FIRST DRAFT

March 23, 2003 TO July 3, 2004

FADE IN

CLOSE ON: CLOSED EYE LID

The camera begins ascending. We see a man lying in bed, sleeping. His wife is sleeping beside him. Light shines in through the window and onto the bed sheets. It is morning. And then, the screen FADES TO BLACK.

“ASSASSIN SOCIETY”

INT. KEITH HANSON’S APARTMENT IN NYC (BEDROOM) – MORNING

We hear the buzzing of an alarm clock. Keith’s eyes open. He yawns. The alarm still buzzes. He reaches over and turns it off. He lies on his back and looks over at his wife, her eyes closed. Keith gets up and puts a shirt on. He walks out of the bedroom

INT. KEITH HANSON’S APARTMENT IN NYC (NURSERY) – MORNING

Keith walks into a baby’s bedroom. He walks over to the crib and sees his son, asleep on his back. He smiles and touches the baby’s face and smiles.

INT. KEITH HANSON’S APARTMENT IN NYC (KITCHEN) – MORNING

Keith is sitting at the small kitchen table. He drinks a coffee and reads a Wall Street Journal. His wife comes in. She heads to the fridge and takes out a carton of milk. She begins preparing the baby’s formula.

KEITH’S WIFE

Take you to lunch today?

KEITH

Not today. Mr. Burdette wants to take me to lunch.

KEITH’S WIFE

Tomorrow?

KEITH

Yeah, sure.

Keith finishes his coffee and takes to mug to the sink. He puts the paper on the table. As he walks out of the kitchen he says something.

KEITH CONT’D.

I’ll be late tonight.

INT. KEITH HANSON’S APARTMENT IN NYC (BEDROOM) – MORNING

Keith puts on his tie. We see he has changed into a suit. He doesn’t look too excited to be going to work.

EXT. STREETS OF NYC (IN FRONT OF APARTMENT) – MORNING

Keith comes out of his building carrying a briefcase and wearing a brown trench coat. Snow lightly falls on the streets. Keith signals for a cab. It pulls up to the curb and Keith gets in.

INT. THE BRANDON BUILDING (KEITH’S OFFICE) – DAY

Keith is standing in his office. He looks out the huge bay window in his office. The window looks out over the entire city. He is startled by a buzzer. He walks over to his desk and presses a button on the pager.

KEITH

Yes?

VOICE ON PAGER (WOMAN’S) O.S.

Mr. Burdette is here to see you.

KEITH

Ok, thank you.

Mr. Burdette comes into Keith’s office. He sits at the front of Keith’s desk. They begin talking.

MR. BURDETTE

So... Where do you wanna go for lunch?

KEITH

You came down to my floor to ask me that?

MR. BURDETTE

I came down to ask you that and to give you an invitation.

KEITH

Are you having a party?

Mr. Burdette laughs and shakes his head.

MR. BURDETTE

No, no. I came here to invite to a club I go to downtown.

KEITH

A bar?

MR. BURDETTE

No, it’s more of a gentlemen’s club on Wall Street.

KEITH

I’m not one for those kinda things.

MR. BURDETTE

C’mon, Keith. You need a taste of society! You live in that drafty apartment with Melanie and your kid. You need to get out.

Keith things about. He fiddles with a pen in his hand and smiles.

KEITH

What time?

MR. BURDETTE

I’ll come down here tomorrow at noon. I’ll drive us down and we’ll have a civilized time.

Keith smiles.

INT. KEITH HANSON’S APARTMENT IN NYC (LIVING ROOM) – NIGHT

Melanie, Keith’s wife, is sitting at the dining room table. She is cutting out something from a piece of paper. Keith comes in and puts his suitcase down.

KEITH

Hi.

Melanie doesn’t look up. She continues to cut.

MELANIE

Where’d you eat?

KEITH

Some place downtown called Percy’s. What are you doing?

MELANIE

I found this new theory about the JFK assassination on the Internet. It’s pretty interesting.

KEITH

Oh. Where’s Charlie, sleeping?

Melanie still doesn’t look up.

MELANIE

Yeah. Slept all day.

Keith nods his head and leaves the dining room.

INT. KEITH HANSON’S APARTMENT IN NYC (NURSERY) – NIGHT

Keith stares at his son, sleeping in the crib. Keith smiles.

INT. KEITH HANSON’S APARTMENT IN NYC (BEDROOM) – NIGHT

Melanie holds the article she found on the Internet in her hands. She goes to the closet and pulls out an extremely thick scrapbook. On the front is written: ASSASSINATIONS in crude writing. She opens it and flips through pages of newspaper clippings, crime scene photographs and everything imaginable about every major assassination that has occurred. We see only a few sections: ABE LINCOLN, JFK, MARILYN MUNROE?, PRINCESS DI?. She flips to the JFK section and tapes the article on a new page.

INT. KEITH HANSON’S APARTMENT IN NYC (BEDROOM – NIGHT (LATER)

Keith and Melanie are lying in bed. They stare up at the camera, eyes open. Keith turns and begins to talk.

KEITH

Why do you do it?

Melanie turns towards Keith and seems puzzled.

MELANIE

What?

KEITH

The scrapbook. What’s the point?

MELANIE

It’s interesting.

KEITH

Yeah, but it’s not like you’ll crack any of the unsolved ones. It’s old news.

MELANIE

It’s interesting ok? I’m interested in it.

Keith says nothing for a short pause and then speaks again.

KEITH

But, some of the names in that book weren’t even assassinated. Like Princess Diana, she died in a car crash.

MELANIE

So they say...

Keith shakes his head and sighs.

KEITH

I think it’s turning into an obsession.

Long pause. Suddenly, we hear a baby crying. Nobody moves. Then, Melanie speaks up.

MELANIE

It’s your turn.

Keith sighs and gets up, leaving Melanie in the bed by her self.

INT. KEITH HANSON’S APARTMENT IN NYC (KITCHEN) – MORNING

Keith sits at the kitchen table, sipping a coffee and reading a Wall Street Journal. We now know that he does this every morning. It’s a ritual for him. Melanie comes in, not saying anything.

KEITH

I can’t go to lunch today.

MELANIE

What?

KEITH

Mr. Burdette wants to take me to some kind of club at lunch.

Melanie seems upset.

MELANIE

You know, you’re such a fucking asshole. You come home, you don’t say three words to me and then you go off to bed.

KEITH

Hey, you have no idea how stressful this job is.

MELANIE

Oh fuck that!

KEITH

If you want me to support you and Charlie-

MELANIE

Support me?

KEITH

Well, you’ve made it abundantly clear that you aren’t going to work at all so-

MELANIE

I can’t believe this.

Keith storms out of the kitchen. We stay with Melanie for a while before she begins crying.

INT. THE BRANDON BUILDING (KEITH HANSON’S OFFICE) – DAY

Keith is staring out the window again. Looking over the city. We begin to hear an off screen monologue of Mr. Burdette while Keith stares out.

MR. BURDETTE O.S.

You never can tell what they’re thinking. You meet them, fuck them, marry them, and then dump them. Or, they dump you and you get fucked. It’s all weird when it comes to relationships...

EXT. NEW YORK STREETS (DOWN THE STREET) – DAY

Mr. Burdette and Keith are walking down a New York sidewalk. They both wear trench coats and they talk as they walk. Snow lightly falls.

MR. BURDETTE

...and I hate it. Did I ever tell you that I was married, Keith?

KEITH

No sir, you haven’t.

MR. BURDETTE

Awwww, it’s not worth mentioning, but I will tell you this much...

Mr. Burdette stops walking, Keith also stops walking and begins listening.

MR. BURDETTE CONT’D.

...after I found this place... I totally forgot about that blood-sucking bitch.

They begin walking again. Keith has a strange look on his face.

KEITH

With all respect, Mr. Burdette, I don’t think Melanie and I are getting a divorce.

MR. BURDETTE

Nevertheless... Here we are.

Keith finds himself and Mr. Burdette standing in front of a huge cobblestone building with the name of it simply printed in normal gold lettering above the door. It reads: EVERYMAN’S.

INT. EVERYMAN’S – DAY

Keith and Mr. Burdette walk into the building. A butler-looking man dressed in a tuxedo asking for their coats immediately greets them.

BUTLER-LOOKING MAN

Coats, sirs?

Keith and Mr. Burdette hand them their coats. The butler-looking man takes them. Keith looks around the room and sees a very sophisticated looking bar. There is a bar of course and men sitting at it dressed in very formal clothing. There is a fireplace at one end of the room. Men sitting in chairs reading books are huddled close to the fire. At another end is a separate room that is full of books and comfy chairs. Near where Keith is standing is a circle of chairs, where a group of four men sit in a circle, sipping brandy and talking.

MR. BURDETTE

Well, I think the first order of business is to get you a drink.

Mr. Burdette guides Keith over to the bar and haves him sit down.

MR. BURDETTE CONT’D.

What do you like, Keith?

Keith looks at the wide selection of drinks.

KEITH

I’ll have a Jack.

Mr. Burdette smiles and claps his hand on Keith’s shoulder.

MR. BURDETTE

Fine choice, my boy! Fine choice! Hurly! Hurly!

The bartender, Hurly, comes over immediately.

HURLY

Yes, Mr. Burdette?

MR. BURDETTE

Give the newcomer a Jack, will ya?

Hurly smiles and fixes him a drink. Keith takes a swig of it and smiles. A man comes up behind the two men.

MAN

Are you well William?

Mr. Burdette turns around and sees a bald man, dressed in formal clothes like all the other men and drinking a brandy. Mr. Burdette shakes his hand.

MR. BURDETTE

I am well, Nicholai. And you?

NICHOLAI

I am very well. And who is this?

Nicholai gestures to Keith sitting at the bar. Mr. Burdette introduces him.

MR. BURDETTE

This is a new member. Keith Hanson, meet Nicholai Johansen.

Keith shakes Nicholai’s hand.

KEITH

Nice to meet you.

NICHOLAI

Likewise.

Mr. Burdette chimes in.

MR. BURDETTE

Well, I’ll let you two get acquainted.

Mr. Burdette goes off frame. Nicholai and Keith begin talking.

NICHOLAI

So, this is your first time at Everyman’s?

KEITH

Yeah. Mr. Burdette told me about this place and he invited me.

Nicholai nods his head.

NICHOLAI

I see. There’s some people over there I’d like you to meet...

Nicholai points to a group of men sitting in a circle, talking at the other end of the room.

MOMENTS LATER...

Keith is sitting in the circle while Nicholai introduces everybody. He moves around the circle.

NICHOLAI

This is Michael Caton.

MICHAEL

Hello.

Nicholai moves to the next man.

NICHOLAI

This gentleman is Rufus Donaldson.

RUFUS

Welcome.

NICHOLAI

This man is Lyle Johnson.

LYLE

Nice to have you.

Nicholai moves to the final person in the circle.

NICHOLAI

And this inconsiderate son of a bitch goes by the name of Quincy McIntyre.

Quincy salutes Keith and then speaks.

QUINCY

Don’t pay any attention to this bastard.

The group laughs.

NICHOLAI

Gentlemen, this is Keith Hanson. He came with William, he’s new.

MICHAEL

How do you know William, Keith?

KEITH

I work for him.

LYLE

Oh really?

QUINCY

It’s not that often you see employer/employee relationships like that anymore.

The group begins talking to Keith.

RUFUS

Anybody can have a good relationship. By the way, Lucille wants a divorce.

LYLE

No shit?

Rufus raises his right hand.

RUFUS

Scouts honor.

NICHOLAI

That’s the great thing. If I didn’t have you guys as an excuse to get away from Mary twice a week, I’d probably kill myself. I mean every day I come home she wants me to cook dinner! Me! What the fuck is up with that?

Suddenly, Keith pipes up.

KEITH

Well, you know nowadays the whole gender clashing has died down. People don’t go for tradition as much as they used to. It’s not a question of who’s going to cook what for dinner, it’ a question of who’s going to cook dinner. Many people think that men and women should share the responsibilities.

The group stares at Keith. They emotionless faces as Keith waits for a response.

QUINCY

You married, Keith?

KEITH

Yeah.

QUINCY

Kids?

KEITH

Yeah, one-year-old.

QUINCY

How long have you been married?

KEITH

Two years.

QUINCY

And do you and your wife believe in this philosophy of yours?

KEITH

Well, it’s not really a philosophy and yes we do.

Quincy leans in close and talks quietly.

QUINCY

Let me guess... You and your wife are having problems. You seem to be fighting a lot.

Keith’s mouth drops. He leans back.

KEITH

How did you know?

Michael speaks.

MICHAEL

Surely you know the award-winning marriage counselor, Quincy McIntyre.

Keith smiles. The whole group laughs.

KEITH

Oh yeah, I know who you are. My wife has a copy of your book.

Quincy nods.

LYLE

So, Keith, Nicholai says this is your first time at Everyman’s.

Keith nods his head.

NICHOLAI

Well, you’ll find you’ll be welcomed here.

KEITH

Yeah, well it seems very homey.

RUFUS

We’ve been coming here for a long time now.

KEITH

How often do you guys come here?

Pause.

NICHOLAI

About twice a week. We find it really relaxes us.

QUINCY

Not to mention our other club.

The group is quiet.

KEITH

You go to another place like this?

LYLE

It’s not like this place. It’s more private just us four.

Keith is interested.

KEITH

What do you do?

RUFUS

It’s a... hunting club.

KEITH

Where is there to hunt in New York?

All of the men smile. Keith finds this strange.

QUINCY

We manage.

NICHOLAI

You’re welcome to join us, we meet on Thursdays.

KEITH

Well, I have a lot of things to get and with this place I’m just too busy.

Suddenly, Mr. Burdette comes by laughing and holding a beer.

MR. BURDETTE

What are these assholes talkin’ about? Trying to get you to join their cult?

The whole group laughs.

KEITH

Have you been to their club?

MR. BURDETTE

No, no I haven’t. What is it... the uhhhhh... hunting club?

LYLE

Yeah.

MR. BURDETTE

Nahhh, I never really liked hunting.

MICHAEL

You wouldn’t know a true sport if it came up to you and spit in your mouth.

The group laughs.

NICHOLAI

Well, it’s been fun gentlemen.

Nicholai gets up and shakes everybody’s hand.

NICHOLAI CONT’D.

I’ll see you gentlemen tomorrow.

He moves over to Keith and shakes his hand. He speaks softly.

NICHOLAI CONT’D.

Consider hunting, Keith. It’s a profound experience...

He leaves as does the other men. Keith has a strange look on his face.

INT. KEITH HANSON’S APARTMENT IN NYC (KITCHEN) – NIGHT

Keith walks into the kitchen and throws the keys onto the kitchen table. He sees a note that is held by a magnet on the fridge. He reads it:

Keith,

Dinner in fridge.

INT. KEITH HANSON’S APARTMENT IN NYC (BEDROOM) – NIGHT

We see Melanie asleep in the bed, alone. Suddenly, the door to the bedroom opens and a beam of light shows on Melanie. The door closes and the light disappears. Keith gets into the bed and snuggles up close to her. She doesn’t wake up.

INT. KEITH HANSON’S APARTMENT IN NYC (KITCHEN) – MORNING

CLOSE ON: AN ENVELOPE

On the envelope is printed in neat handwriting: MR. KEITH HANSON. We see Melanie sitting at the kitchen table, drinking coffee. Keith joins her. She doesn’t look up from her coffee.

MELANIE

Where’d you go last night?

KEITH

I told you Mr. Burdette was taking me to that club last night.

Melanie nods her head.

MELANIE

How was it?

KEITH

You know, just a bunch of boring rich guys talking about their wives.

Keith sees the envelope and picks it up. He feels it with his hands.

KEITH CONT’D.

What’s this?

Melanie looks up and sees the envelope Keith is holding. She puts her coffee down.

MELANIE

Oh, I don’t know. It was in our box this morning. There was no address on it.

Keith begins to open it. He stops when he hears the baby crying. He puts the envelope in an opened briefcase that is sitting near him and gets up.

INT. KEITH HANSON’S APARTMENT IN NYC (NURSERY) – MORNING

Charlie is standing up in his crib. Keith comes in and picks him up.

KEITH

Hey Charlie! How’s it going?

The baby immediately stops crying as Keith rocks him back and forth.

INT. KEITH HANSON’S APARTMENT IN NYC (KITCHEN) – MORNING

Keith walks into the kitchen where Melanie is sitting and drinking coffee. He walks over to his suitcase where the envelope lies and closes it.

KEITH

I better go.

He leaves the room. Melanie stops him.

MELANIE

Keith!

We hear Keith’s voice.

KEITH O.S.

Yeah?

MELANIE

I’m sorry about all the stuff I said yesterday.

KEITH

Me to.

MELANIE

I love you.

KEITH

I love you to.

We hear the door slam as the screen fades to black.

INT. THE BRANDON BUILDING (KEITH HANSON’S OFFICE) – DAY

We see the flashing cursor on a computer. Quickly, we see someone type YEARLY COST REPORT in bold font. We see that Keith is typing it. He presses enter for a new paragraph and is startled by the buzzer.

VOICE ON BUZZER (WOMAN’S) O.S.

Mr. Hanson, Mr. Burdette is here to see you.

Keith pushes a button on the buzzer and speaks into it.

KEITH

Ok. Send him in.

Moments later, Mr. Burdette comes in and sits down in front of Keith’s desk.

MR. BURDETTE

So, how’s life?

KEITH

Pretty shitty.

Mr. Burdette nods and then speaks.

MR. BURDETTE

I just came down to tell you that I’m going to need that cost report by the end of the week.

Keith sighs.

KEITH

The end of the week?

MR. BURDETTE

I know it’s fast. But, those numbers from last years Van Orton case, remember the tax fraud, well it’s still kicking our ass and the boys upstairs are getting pretty antsy.

Keith nods.

KEITH

Yeah, that was a tough one.

MR. BURDETTE

By the way, Nicholai wanted to thank you for coming yesterday.

Keith’s face shows a look of puzzlement.

KEITH

What?

MR. BURDETTE

I don’t know. Those guys show a lot of respect for each other they enjoyed your company.

Keith nods as Mr. Burdette leaves the office. Keith returns to his work and opens his briefcase. He sees the envelope and takes it out. He reads the front again and then opens it. Inside is single card that looks like an invitation. It reads:

Your are cordially invited to:

THE KENNEDY SOCIETY

Annual Member Initiation

Saturday, December 9

11:59 p.m.

121 East

Building 45 E

Keith turns it over to see if anything is on the back. Nothing. He seems puzzled.

INT. THE BRANDON BUILDING (HALLWAY) – DAY

Keith is standing beside a water cooler. He examines the invitation. A man comes up and gets a drink of water.

MAN

Hey Keith.

KEITH

Hey.

The man sees that Keith is reading something.

MAN

What’s that?

Keith looks up.

KEITH

Oh, I don’t know. It came in my mail this morning. It’s some kind of invitation or something.

The man rips it out of Keith’s hand.

MAN

Let’s see.

The man reads it.

MAN CONT’D.

The Kennedy Society? What the fuck is this?

KEITH

I don’t know. I’ve been trying to think.

MAN

You’re not going to go are you?

KEITH

I don’t know.

MAN

Oh c’mon! You don’t even know what this is! It could be one of those psycho cults that go around getting people to join so they could get them in a mass suicide!

Keith laughs.

KEITH

I don’t think so.

The man gives him back the invitation.

MAN

Don’t go. I’m telling you.

The man leaves. Keith stands in the hallway, reading the invitation.

INT. KEITH HANSON’S APARTMENT IN NYC (BEDROOM) – MORNING

We see the alarm clock. It buzzes and Keith turns it off. Melanie gets up and rips a page off of a ‘page-a-day’ calendar. It says: SATURDAY, DECEMBER 9.

INT. KEITH HANSON’S APARTMENT IN NYC (NURSERY) – MORNING

Melanie stares at Charlie who is asleep in the crib. She smiles.

INT. KEITH HANSON’S APARTMENT IN NYC (KITCHEN) – MORNING

Keith puts on his trench coat he is about to leave. He holds the invitation in his hand. Melanie walks in and sees Keith about to leave.

MELANIE

Where’re you going?

Keith stops and thinks of an excuse.

KEITH

I forgot a few things at the office.

Melanie nods her head. We hear the door shut. Melanie stands in the kitchen, silent.

EXT. STREETS OF NYC (121 EAST STREET-BUILDING 45 E) – DAY

CLOSE ON

The numbers 45 E are in gold plate on the side of the building. We hear wind. We see Keith standing in front of the building. He holds the invitation in his hand as he stares at the building. Suddenly, the front door opens and Nicholai steps out.

NICHOLAI

Hello Keith.

KEITH

Hi.

NICHOLAI

We’re all very grateful you could make it.

Keith smiles.

INT. 121 EAST STREET (BUILDING 45 E) – DAY

Keith sits in a circle that includes Nicholai, Michael, Quincy, Rufus, and Lyle. They all speak about thing. Keith remains fairly silent.

LYLE (MID/CONVO)

...so I’m standing there with a smoking rifle in my hand and this son of a bitch...

Lyle points to Michael. The group is laughing.

LYLE CONT’D.

...is lying trapped under the bear and pissing his pants, begging for me to help him. Well, I can’t move because I’m collapsed on the ground laughing my ass off and then Quincy and Rufus come and wonder what the fuck is going on. Finally we get the bear off of him and there it is today.

Lyle points to a bear skin rug in the center of the elegant-looking room. The group roars with laughter except Keith who finally speaks.

KEITH

So, what do you guys hunt mostly?

MICHAEL

Big game.

RUFUS

Really big game.

The group laughs a subtle laugh. Keith nods. Nicholai quiets the group down.

NICHOLAI

Gentlemen, gentlemen enough of the antics. Let’s get down to business.

KEITH

Before we do that, can I ask a question?

The group is silent, awaiting his question.

KEITH CONT’D.

Why did you invite me to this thing?

QUINCY

We like you Keith. We want you to be part of our society.

KEITH

But I hate hunting.

The group laughs.

NICHOLAI

Have you ever seen the movie JFK, Keith? The one with Kevin Costner?

KEITH

Yeah.

NICHOLAI

It was a pretty silly movie, wasn’t it? I mean here you have a group of filmmakers, some damn good filmmakers at that, but they have dedicated 3 hours of screen time to this bullshit story that is too retarded to believe!!

KEITH

Well it was a pretty popular movie.

NICHOLAI

I guess what I’m trying to ask you, Keith, is do you believe that what happened in that movie is true?

Pause.

KEITH

No. I think Oswald is the true story.

Nicholai laughs.

NICHOLAI

And even that story is bogus! Did you know that if something happens like an assassination and the government doesn’t figure it out, they make something up! I mean here you have almost an entire country believing this Oswald did it but in reality it was just four guys that wanted to have some fun! That’s it! That was all it was.

KEITH

What?

NICHOLAI

Come with us Keith.

Nicholai, Keith and the rest of the group get up and follow Nicholai through a door into a back room.

INT. 121 EAST STREET BUILDING 41 E (BACK ROOM) – DAY

The group surrounds a futuristic-looking device in the middle of a dark room. Lights shine on the device and a control panel placed a few feet away. Keith is puzzled whereas the rest of the group seems to know exactly what is going on. Nicholai walks over to the control panel and pushes a button. The wall to Keith’s left suddenly opens revealing many hunting-type rifles. Nicholai walks over and picks one up. He holds it in his hand.

NICHOLAI

For the past twenty years now, the boys and I have been...how should I put this...traveling through time.

KEITH

What the fuck are you talking about? What the fuck is this?

Keith is beginning to get scared.

NICHOLAI

We aren’t a hunting club. Well, actually in a sense we are. We hunt people. Important people. People like president Kennedy, president Lincoln. Even princess Diana. They weren’t the work of people the government claims have killed them, they were the work of us. Four men who have a hobby.

Keith has a strange look on his face. He turns around.

KEITH

I have to go.

Rufus and Lyle stop him.

RUFUS

You should try it.

LYLE

It’s a very powerful experience.

NICHOLAI

Do you have any idea what it feels like to kill a man with that amount of power? We do.

KEITH

Let’s see if I fully understand this: you guys travel through time with that...

(points to time machine)

...and kill important people just for sport?

MICHAEL

Right.

KEITH

And you guys want me to partake in this thing?

QUINCY

Exactly.

KEITH

You guys are fucking nuts! I just... I can’t... How... How do you even make a time machine!? I mean it’s fucking impossible. And if you guys killed all of those people within the last twenty years how come I haven’t noticed a time when they weren’t dead?

NICHOLAI

When we travel back in time and we assassinate those individuals it becomes a part of history, like it happened however long ago.

MICHAEL

We don’t just assassinate those of the past, but the future also.

Pause. Keith is mystified.

NICHOLAI

All we ask of you, is to at least try it and if you like it then...

Keith is silent. The group awaits his answer.

KEITH

I just can’t... This is... I need to go.

Keith leaves. As he walks away Nicholai yells something to him.

NICHOLAI

If you change your mind, we’ll be here.

Nicholai smiles. The group stands behind him.

INT. KEITH HANSON’S APARTMENT IN NYC (BEDROOM) – NIGHT

Keith walks in the bedroom and sits on the edge of the bed. He slowly takes off his shoes. He loosens his tie and looks at the closet.

INT. KEITH HANSON’S APARTMENT IN NYC (KITCHEN) – NIGHT

Keith sits at the kitchen table. He stares at his wife’s closed ASSASSINATION book. A mug of coffee sits beside him. He takes a sip and opens the scrapbook. He begins leafing through the pages. He stops and closes the book.

INT. KEITH HANSON’S APARTMENT IN NYC (NURSERY) – NIGHT

Keith stands over his son’s crib. He looks down at the peacefully resting child. He strokes his head. The screen fades.

INT. KEITH HANSON’D APARTMENT IN NYC (LIVING ROOM) – MORNING

The first thing we see is their son awake, lying on a blanket, a soother in his mouth, watching the teletubbies on tv. In the background we see Melanie cooking breakfast in the kitchen. Keith walks into the Living room and sits down. He begins changing channels with the remote. He goes so fast you can’t even see what’s on. Melanie talks from the kitchen.

MELANIE (O.S.)

Do you want some eggs?

Keith doesn’t pay attention.

MELANIE (O.S., CONT’D.)

Keith? Eggs?

Keith snaps out of it.

KEITH

No thanks.

Suddenly, Keith says something that Melanie wasn’t expecting.

KEITH (CONT’D.)

I’m, uhhhhh... I’m thinking about quitting.

Melanie turns around, she walks into the living room. She seems upset.

MELANIE

Your job?

Keith nods his head.

KEITH

Yeah. I was sitting at the table last night, looking through your book... And I just started to think: what am I doing? This wasn’t what I wanted to do. I didn’t want to be somebody’s bitch. Which, I pretty much am to Mr. Burdette. But...

MELANIE

I thought everything was going well...

KEITH

Well it was...

Melanie seems upset.

MELANIE

What... are...

KEITH

Is something wrong?

Melanie seems furious.

MELANIE

You’re fucking right something’s wrong! I mean... Did you... Did you even think about what we’re going to do? Does this mean I have to get a job?

KEITH

No, no. I’ll start looking for one today and...

Melanie storms out of the living room. We hear a door slam. Keith is left alone with Charlie and the tv.

EXT. NEW YORK SIDEWALK – DAY

Keith walks down the sidewalk. Snow falls. He looks upset as a cab drives by and sprays him with a puddle of slop that was in the curb. Keith backs up and notices he is at the Kennedy Society building. He stands in front of it for a while before he enters it.

INT. 121 EAST STREET BUILDING 41 E – DAY

Keith walks in to find Nicholai, Michael, Lyle and Quincy. Keith stands at the door. Nicholai interrupts their conversation.

NICHOLAI

Keith...?

The group turns around. They stand up to greet him. Nicholai walks over.

NICHOLAI (CONT’D.)

You’re soaking. Come sit by the fire. Michael! Get Keith a brandy.

Keith walks over to the bar and gets a brandy for him. Keith sits in front of the fire as Michael hands him the brandy.

KEITH

Where’s Rufus?

QUINCY

Rufus is currently on a mission.

Keith thinks nothing of this.

LYLE

So Keith... What brings you back?

KEITH

Well, I was thinking... I know that in my mind this sounds really stupid with all the...

(clears throat)

...time traveling and stuff. But... it sounds... I might...

(sighs)

...I want to try it...

Nicholai smiles.

QUINCY

You understand that this is a very sensitive issue, Keith...

Keith nods his head.

KEITH

I know but... I guess before I fully commit I need proof.

Quincy nods.

MICHAEL

I understand. Well, Rufus should be back any time soon. I believe his target was Mr. Saddam Hussein...

Keith giggles. The group gives Keith a funny look.

KEITH

I’m sorry. It’s just... It sounds silly. You mean that in ten minutes Rufus will walk out of that door after just killing Saddam Hussein?

Nicholai and the rest of the group nod their heads. Suddenly, Rufus walks out of the backroom with a hunting rifle and leans it against the wall. He quickly walks over to the bar and takes a drink.

RUFUS

Simply exhilarating!

Rufus turns is head and notices Keith sitting by the fireplace.

RUFUS (CONT’D.)

Keith? Keith is it?

QUINCY

Keith here, would like to give it a go.

Rufus’ eyes go wide. He runs over to Keith hugs him and shakes his head.

RUFUS

Wonderful! Wonderful! You won’t regret this Keith! It’s the best feeling in the world to execute somebody with great importance! It really is.

Keith sits back down.

KEITH

Did you... Uhhhh... Really kill...

RUFUS

Yes I did. As a child. The world will never know of the great suffering he would go on to create thanks to me.

KEITH

But... The Gulf War...

MICHAEL

Never happened.

Keith puts his hands to his face and lays back into the chair.

NICHOLAI

I understand what you must be feeling, Keith. But...

Nicholai stands up and walks over towards the bar. He pours himself another drink.

NICHOLAI (CONT’D.)

We’ve been there before...

LYLE

The question is, gentlemen, who should we give him to start with.

MICHAEL

That is the question.

Keith listens with great curiosity and fear.

NICHOLAI

It has to be somebody of extreme importance.

The entire group (except Keith) look over at Nicholai.

QUINCY

I think I know who your getting to.

KEITH

Who? Who?

Nicholai turns around. Towards Keith.

NICHOLAI

A man that we’ve been thinking of destroying since we discovered this thing. A man that if he were to be assassinated before he could do any harm would change the course of history forever.

LYLE

Adolf Hitler.

INT. 121 EAST STREET BUILDING 41 E (GUN ROOM) –DAY

The camera pans through a large display case full of guns of all kinds, shapes and sizes. Keith stands in front of the large display with the rest of the group standing behind him.

QUINCY

The gun that kills Hitler must be a special one.

Keith sees a regular sized handgun staring him in the face. He points to it.

KEITH

I want that one.

The group smiles.

INT. 121 EAST STREET BUILDING 41 E – DAY

Keith is standing in front of a long mirror wearing a tuxedo. He stares at himself. A look of extreme fear in his eyes. Nicholai hands him the handgun.

NICHOLAI

We’ll be sending you to a time before his rise to evil. He’ll be sitting in a German bar with his friend, Pitof. You will appear outside the bar. Simply walk in, shoot him twice in the head and run towards a barn a few feet away from the bar. Stand still and you will return here, unharmed.

Keith looks at Nicholai.

NICHOLAI (CONT’D.)

If at any time you feel you can not go through with it, just remember all of the pain and suffering this man caused and remember that you have a chance to stop it before it happens.

Keith nods. Nicholai shouts.

NICHOLAI (CONT’D.)

Is the device ready, Michael?

Michael sticks his head out from the back room.

MICHAEL

Ready...

Nicholai looks over and the rest of the group.

QUINCY

Remember Keith, run for the barn. We’ll pull you back.

INT. 121 EAST STREET BUILDING 41 E (BACK ROOM) – DAY

Keith stands in the middle of the device. It’s a bizarre image of a man dressed in a suit, holding a handgun and standing in the middle of this strange device. The group huddles around a control panel a few feet away.

MICHAEL

Don’t worry Keith. All is well.

We see Michael pushing a red button on the control panel. Keith disappears in a flash of light. The group members look at each other and smile.

LYLE

Well... time for a brandy, gentlemen...

The men turn and leave the room.

EXT. OLD GERMAN STREET – NIGHT

We see a very old German street. Old houses and buildings line the cobblestone roads. Snow lightly falls to the ground and a full moon is visible in the background. A horse and carriage rides by an alley, which Keith suddenly runs out of. The carriage stops.

CABBIE

(German w/English subtitles)

What in the name of?! Watch where you’re going!

The cabbie rides off. Keith breathes heavily. He examines his surroundings. He walks down the street a few feet and sees the barn. He turns around. He sees a building with a sign hanging from it. He leans against the window. He sees that it is a bar. The bar is packed. Music plays. Beer is passed around. People laugh. Keith looks at his gun and walks inside.

INT. GERMAN BAR – NIGHT

Keith enters the bar and immediately begins to survey the patrons. He sees that nobody really notices him because they are all drunk. He circles the crowd. He is almost pushed down by a nearby fight. He sits down in a chair placed in the corner of the room. He sits silently. He watches the people. He tries to find the person he’s looking for. Suddenly he hears a drunk yell...

GERMAN DRUNK

Pitof! Pitof!

He sees a man stick his hand up from a table and wave to the drunk. The man that sits beside him looks like a young Hitler. Keith stands up and begins walking slowly towards the table. He stands in front of the table.

KEITH

Adolf Hitler?

The young Hitler turns around and nods his head. Keith raises his gun and fires a shot. Hitler goes down. Everybody stops. Silence. People stare at Keith. Hitler lies on the floor. Keith casually walks out of the bar.

EXT. GERMAN STREET – NIGHT

Keith bursts out of the bar and begins briskly walking up the street. He comes to the barn and walks in. The camera stays outside. Suddenly, there’s a flash of light from inside the barn.

INT. KEITH HANSON’S APARTMENT IN NYC (KITCHEN) – NIGHT

Silence. The only light we see is from the stove. We hear the front door unlocking. Keith walks into the kitchen and sits down. He throws his keys onto the table. He leaves himself with his thoughts.

INT. KEITH HANSON’S APARTMENT IN NYC (LIVING ROOM) – NIGHT

The camera is close on a computer screen. The google search engine is up. We watch as ADOLF HITLER is typed into the search engine. The cursor moves over the button ‘search’ and is pressed. We see Keith’s face watching in bewilderment as the google search returns nothing. He rubs his eyes.

Moments later...

Keith is now searching for another topic. He types in ‘holocaust’ and searches. Google returns nothing. He leans back in his chair. He focuses on Keith and Melanie’s shelf full of movies. The camera begins scanning each one. Keith’s eyes go wide. He stares at the shelf.

Moments later...

Keith is now at the internet movie database. He searches for the title ‘Schindler’s List’. The site turns back a bunch of titles with the word ‘list’ in it but not Schindler’s List. Keith has a strange look on his face.

EXT. OVER NYC – EARLY MORNING

The camera drifts over the city as the sun rises. People are getting ready to start their day.

INT. THE BRANDON BUILDING (KEITH HANSON’S OFFICE) – DAY

Keith is at his desk. He stares off into space. He fiddles with a pen he holds in his hand. He begins doodling on a piece of paper. Out of nowhere Mr. Burdette bursts into his office.

MR. BURDETTE

Hey Keith! How’s it going?

KEITH

Odd.

Mr. Burdette doesn’t seem to pay attention to this and sits down.

MR. BURDETTE

Well...

Keith puts the pen down.

MR. BURDETTE (CONT’D.)

I was talking to some guys from Michigan... They encountered the same problems with this Van Orton thing and guess what...

KEITH

What?

MR. BURDETTE

We aren’t completely fucked yet.

Keith pretends to be interested.

MR. BURDETTE (CONT’D.)

So...

Mr. Burdette slaps a plane ticket to Michigan on Keith’s desk. He picks it up and begins looking at it, almost as if he doesn’t know what it is.

MR. BURDETTE (CONT’D.)

You leave Friday. Back on Monday.

KEITH

This isn’t a really...

MR. BURDETTE

We need you on this Keith. You’re my number one guy...

Keith nods his head.

MR. BURDETTE (CONT’D.)

You alright? Jesus, it looks like you just killed someone.

Keith looks up from the ticket, serious. Mr. Burdette starts laughing as he leaves.

INT. 121 EAST STREET (BUILDING 45 E) – DAY

The men are sitting around the fire, drinking Brandy and talking. Nicholai is absent.

LYLE

It was at that theatre. God I don’t even remember the name of it anymore. I took the gun, I just used a handgun I didn’t want to scare the poor people, so I had a handgun and I yelled out...

KEITH

Death to tyrants?

LYLE

Yes that’s right. Except it was in Latin. And then... I pulled the trigger.

The group starts laughing. Except Keith who looks serious and preoccupied.

QUINCY

A story that gets better with every telling...

NICHOLAI (O.S.)

That it does Quincy, that it does...

The group is shocked to see that Nicholai has emerged from the back room covered in blood and carrying a blood-soaked butcher’s knife. He takes off his trench coat and stumbles over to the bar. He puts his knife down and begins to take several drinks still covered in blood. The group stares at him in disbelief.

MICHAEL

Jesus Christ, Nicholai...

Nicholai puts down his glass and turns around.

NICHOLAI

Well... I should think I’ll need a change of clothes.

Nicholai starts laughing. The group doesn’t.

RUFUS

And who was it today, Nicholai?

NICHOLAI

Somebody named Jonathon Kent.

KEITH

Jonathon Kent?

NICHOLAI

Yes, apparently in the year 2013 he will be the President of the United States of America. He will do wonders for the country and the world and one day, for no apparent reason, a man called Desmond O’Donnaly will assassinate him.

Nothing. Suddenly, Keith pipes up.

KEITH

We can go into the future?

The group all turns around and looks at Keith.

QUINCY

Of course we can go into the future. It will be because of us that three world wars will be prevented. One in 2010, one in 2020 and one in 2021.

Lyle snarls.

LYLE

This world is going right to hell.

Pause.

KEITH

How often do you guys go into the future?

All of the men smile.

RUFUS

All of the time.

Keith nods his head.

LYLE

Yes. The world’s darkest times will be in the years 2044 to 2084.

Keith is intrigued.

KEITH

Why is that?

MICHAEL

Basically...we’ll get another Hitler. Only worse. He’ll lay down severe crimes against humanity.

NICHOLAI

You see, sometime between now and 2020, around the same time as the 4th world war, a cult will be formed by a man that will become well liked and well respected. Soon, he’ll become president of the united states and will single handedly cause world war 5. He will, undoubtedly, win it but he will force the world into the apocalypse making every continent part of America. He will set up internment camps (or in other words death camps) for anybody that steps out of line. He’ll have a camera placed in every room of every house so he can monitor every citizen and every three days he’ll randomly pick 1 million people to execute because of the population increases.

Keith stares. Wide eyed.

KEITH

This is the kind of future I have to put my kid in?

Nicholai continues wiping the blood from his hands.

NICHOLAI

I’m afraid so.

LYLE

I told you the world was going right to hell.

KEITH

No. I can’t let that happen. We have to stop him.

The group falls silent.

QUINCY

Well... About that... We would, believe me that fucker has another thing coming! It’s just that...

MICHAEL

The world in 2044 is a horrible, horrible place. We already sent someone to kill him.

Keith waits for an answer.

MICHAEL (CONT’D.)

He hasn’t returned yet. And that was a year and a half ago.

KEITH

I don’t care. I’ll kill him. I can do it.

RUFUS

Keith, it’s an awful place. You’ll die there.

KEITH

No I won’t. I can do it. I just need you guys to bail me out of there.

They nod their heads, looking over at Nicholai.

NICHOLAI

If you think you are prepared to face the brash consequences and maybe even certain death. Go ahead.

EXT. ALLEY IN FUTURE NEW YORK – NIGHT

It is pouring rain. We see Keith crawling through the mud and garbage of a very dirty alley. He stands up and almost falls back down. His hair is matted to his face. Suddenly, a large blimp-like craft floats overhead. A giant TV screen is on it and an ominous man on the screen is relaying messages.

OMNIOUS MAN ON BLIMP

You are scum. You are the dirt on the bottom of my feet. You are the pain in my side. You are the vomit I through up. You are my digested food. You amount to nothing. Everybody hates you. I hate you the most.

Keith sees a bum lying in the garbage, head shaved.

BUM

I saw you. You fell from the sky.

Keith keeps trudging through the rain. He feels around in his pocket and takes out a handgun. He comes out onto a street. Within seconds a spotlight is thrown on him and he falls to his knees. A helicopter-like craft begins descending and we hear a deep, menacing voice emanating from the craft.

MENACING VOICE (O.S.)

Do not move. Throw your weapon to the ground. Do not move.

The helicopter lands. Keith seems very confused and afraid. The back of the craft opens and three men, dressed in SWAT team-like clothes, jog out, towards Keith. Two of them aim their semi-automatic weapons at him while the other one searches around the front and back of his head.

FIRST TROOPER

No code!

SECOND TROOPER

Maybe he’s one of the rebels!

They look at him. Rain pours into Keith’s face.

FIRST TROOPER

He’s too clean to be a rebel.

Pause. All we hear is the sound of a roaring engine and the pouring rain.

THIRD TROOPER

Check his blood!

The first trooper takes out a device and holds it to Keith’s palm. He quickly takes it back as Keith winces. On the device it says: UNIDENTIFIED INDIVIDUAL.

FIRST TROOPER

Unidentified!

THRID TROOPER

Holy shit!

The first trooper takes off his visor revealing another baldhead with a barcode implanted in his forehead. He leans in close to Keith.

FIRST TROOPER

Where did you come from? What sector are you from?

Keith tries to come up with an answer.

KEITH

I’ve been here. I’ve always been here.

SECOND TROOPER

Get him to the impound.

INT. IMPOUND – NIGHT

Keith stands in front of another bald man. He sits in front of a very small computer screen at a desk. The three troopers surround Keith and keep him detained. Keith’s hair is matted to his face.

MAN AT DESK

Where did you find him?

FIRST TROOPER

Sector 38563737HgghHSYDB774827374927YnNB88366337RNBF037R03FH, sir.

MAN AT DESK

Give me your full name. Last name first, first name last.

KEITH

Hanson, Keith.

The troopers start laughing. The man at the desk looks angry.

MAN AT DESK

Shut up! Is that supposed to be funny, Keith?

Keith is once again, confused.

KEITH

No, sir.

The man at the desk turns to his computer.

MAN AT DESK

Give me your identification number.

KEITH

I don’t have one.

Everyone looks shocked.

MAN AT DESK

What do you mean you don’t have one? Everybody’s got one. If you don’t have one then you are not a citizen of the planet Earth.

Pause. Keith doesn’t know what to say.

MAN AT DESK (CONT’D.)

Did this...Keith have any weapons on his person?

THIRD TROOPER

Just one.

The trooper takes out the small handgun and hands it to the man at the desk. The man takes the gun and looks it over.

MAN AT DESK

Is this some kind of sick joke? I haven’t seen one of these since 2032. Take him to impound lot 7.

The troopers take him away. He doesn’t know what to say so he remains quiet.

INT. IMPOUND LOT 7 – NIGHT

A class chamber holding Keith drops down into a cell. The chamber opens and Keith straggles out. His head is now shaved but with no barcode. Keith looks up as the chamber is lifted out of the cell. He looks around and finally sits down against the cage. He hears a voice from the other cell.

VOICE (O.S.)

They don’t care about you, you know.

KEITH

What?

Another shaved head without a barcode appears through the shafts of light in the cell.

VOICE

The boys. They don’t care about you and they’ll never come back.

Keith gets up and walks to the other side of the cell.

KEITH

What boys? Who are you?

VOICE

You know, the boys. Michael, Quincy, Rufus, Lyle, that bastard Nicholai. They don’t give a shit about you.

KEITH

You’re part of the Kennedy Society?

The voice nods.

VOICE

Yep. Well, up until a year ago I suppose.

KEITH

So you’re the guy that came here and never came back?

The voice nods again.

VOICE

I’ve been waiting for them to kill me for a year now.

KEITH

Kill you?

VOICE

Yep. That’s what this place is for. It’s a goddamn death camp.

Keith turns around again.

VOICE

You couldn’t have killed him if you tried.

KEITH

Who?

VOICE

Don’t play retarded with me, champ. I know why you’re here. You found out what the world would be like and wanted to kill that fuckwad. It’s impossible. And even if you did kill him, it wouldn’t solve anything. You’d have to go back to before all of this. Before the problems were already created. Killing him now won’t solve anything. The world will be a shit hole. Besides, you can’t get within 200 miles of that fucker without getting liquidated.

Suddenly, a huge beam of light is put over top Keith. We hear a booming voice.

BOOMING VOICE (O.S.)

Prisoner #836746529475647362854936596985746407524509672469036309683260732509673209567036732067382730625-04670-7604-87-02760867026707864969659469564694256965926529572658926896892698269286987659826, the master would like to have a word with you.

We hear ooooos and awwwwweees from the prison. The voice smiles and nods his head. The glass chamber comes down and Keith steps inside. It lifts and the light shines off.

INT. WHITE ROOM – UNKNOWN

Keith sits, heavily strapped to a chair. In front of him is a TV monitor. The monitor flickers and a well-kept man with glasses can be seen. He has no shaved head and no barcode.

WELL-KEPT MAN ON TV SCREEN

So this is the prisoner.

Keith stares at the screen. We now know this is the master.

THE MASTER

Well... He isn’t much.

He giggles.

THE MASTER (CONT’D.)

I run a pretty tight ship around here. I always know who’s coming, who’s going. I know this planet like the back of my hand. On my world, you have a barcode on your head and a goddamn ID number. I my world, if you don’t have these thing you may as well be dead and nobody dies on my planet unless I do the killing. So I guess why I called you here and why we’re having this conversation is because I want to know HOW THE FUCK YOU GOT ON MY PLANET AND WHY THE FUCK DIDN’T I KNOW ABOUT YOU!!!???

Keith seems terrified.

KEITH

Please, master, allow me to explain.

THE MASTER

Oh, please do. I’ve got nothing but fucking time on my hands.

KEITH

Ok. This might sound insane. I come from the year 2004 in the city of New York. I’m part of a society that travel through time and views what the world was like in the past and what it will be like in the future. I wound up here to see what it would be like and now I know.

The master is silent.

THE MASTER

You know, Archibald, over at the impound lot says that you have the same last name as me.

KEITH

Really?

The master nods.

THE MASTER

Nobody on this planet has anything the same as me. So this is what makes your story somewhat believable.

KEITH

Oh no, believe me it’s the truth.

The master sighs.

THE MASTER

Forgive me for my actions. I’m so sick of death. I’ve been surrounded by death ever since I can remember. It’s horrible. The first memory I have is that of my father choking my mother to death. I was right there. Right there.

KEITH

That’s horrible.

The master nods.

THE MASTER

I feel as if there’s so little time and so many people to execute. It’s just...

The master begins laughing.

THE MASTER (CONT’D.)

How are you supposed to get back?

KEITH

That’s the thing. I think I might be stuck here.

The master’s eyes go wide.

THE MASTER

I don’t think you’d want to be stuck here. If you were to remain here, without a barcode or ID number, I’d have to execute you.

INT. 121 EAST STREET-BUILDING 45 E – DAY

Suddenly, Keith is back to the present. He lies down on the couch. He still has a shaved head. The men crowd around him.

NICHOLAI

Keith? Keith?

Keith wakes up and looks around the room.

KEITH

I’m back?

QUINCY

You sure are, son.

Keith sits up and touched his baldhead.

KEITH

How long was I gone?

RUFUS

Three days.

KEITH

Jesus Christ.

Suddenly, Lyle gets excited.

LYLE

But enough of these stupid questions. Did you kill him?

Keith sighs and seems like he’s starting to remember.

KEITH

No. But...

Lyle seems mad.

LYLE

Goddammit! We’re never going to get that son of a bitch.

KEITH

Wait, wait, wait. I spoke to him.

MICHAEL

You spoke to him? You? Jesus Christ.

KEITH

Listen to me. Listen. He said that when he was a year old his dad killed his mom.

We see Nicholai suddenly get very serious. He sits down. And puts his hands to his face.

KEITH (CONT’D.)

He said that ever since then he’s been surrounded by death. Ever since then. So if we find out when his dad killed his mom and we stop him, he might not turn out that way.

MICHAEL

That’s good thinking. That’s damn good thinking. We don’t have to kill anybody, instead, we have to save somebody.

Suddenly, Nicholai pipes up.

NICHOLAI

It won’t work.

The men turn around and listen.

MICHAEL

What do you mean it won’t work? What the hell are you talking about? It’s perfect.

Nicholai stands up and walks over to the fireplace. The men listen intently.

NICHOLAI

I’ve tried it before.

LYLE

What the fuck are you saying, Nicholai?

NICHOLAI

A couple of years ago, when I first built that machine, I took it to the future. I met that sadistic fuck and he told me that his daddy killed his mommy when he was a year old. I figured the same thing as you Keith, if we stop the father, he won’t turn into that...monster. So I asked him the date it was and where. I thought I could stop it using the machine. I went to that date which is, coincidentally, exactly 2 years ago to the date.

Rufus steps in.

RUFUS

You mean his mom is going to die today?

Nicholai nods ‘yes’.

RUFUS (CONT’D.)

Fuck we better hurry then. Where does it happen?

NICHOLAI

It’s no use! Listen to me! I went to the apartment building and I saw that man strangling his wife but when I tried to stop him he took a knife and stabbed me in the leg.

Nicholai lifts up his pant leg and shows everybody the scar.

NICHOLAI (CONT’D.)

I passed out from the pain and when I came to, she was already dead. The baby was standing in the crib, so innocent. You can’t change what’s meant to be. You just can’t. But maybe there’s a way. Just maybe. And that’s why I invited Keith to our club.

Everybody looks at Keith.

KEITH

What?

Everybody’s eyes are wide. Keith stands up and begins walking towards Nicholai.

KEITH (CONT’D.)

What are you saying?

NICHOLAI

I thought that if I could speak to the father. And warn him. Maybe it could be prevented.

Nicholai turns to Keith.

NICHOLAI (CONT’D.)

Don’t go home tonight Keith, you’ll regret it for the rest of your life.

Keith’s eyes go wide. He falls back onto the couch. He puts his hands to his face.

KEITH

I can’t kill my wife. I can’t kill my wife. I can’t kill my wife.

QUINCY

When is he supposed to do it? Nicholai! When is he supposed to do it?

NICHOLAI

23 minutes.

Keith looks extremely upset.

KEITH

I have no reason to kill my wife. I can’t kill my wife.

LYLE

Jesus Christ.

NICHOLAI

Just don’t go home, Keith. Don’t.

Keith wipes his eyes and suddenly stands up, running out of the building.

RUFUS

Keith!

INT. HANSON APARTMENT (KITCHEN) – DAY

Keith runs in from outside to the kitchen. He slowly walks to the baby’s room. He opens the door and sees Charlie, sleeping. He walks to the edge of the bed. He reaches over and grabs a pillow and slowly begins putting it over Charlie’s face. Suddenly, Melanie comes in.

MELANIE

Keith? Where’ve you been? I’ve- What re you doing?

Keith turns around, crying.

KEITH

It must be done. It has to be. I’m sorry. I’m so sorry. I’m so so sorry.

Keith puts the pillow on Charlie’s face and begins pressing. Melanie runs up and takes a lamp and smashes it on the side of Keith’s face. Keith falls down. Melanie drops a knife she was carrying.

MELANIE

No, what the fuck are you doing?

Charlie gets up and stands up in the crib. He smiles as he watches the two fighting. Keith leaps on top of Melanie and begins choking her. Melanie starts coughing. She can’t breathe. Suddenly, the past Nicholai bursts from the closet.

NICHOLAI

No! You can’t!

Nicholai hits Keith off of Melanie but Keith finds the knife that Melanie dropped and picks it up. He stabs Nicholai in the leg with it.

KEITH

You don’t understand. It has to be done! It must be!

Melanie gets up and kicks Keith in the face numerous times. Keith picks up the knife and begins stabbing Melanie with it. She falls down dead. Keith stands in the middle of the nursery with two bodies on the ground and blood all over his hands. He runs out of the apartment, crying. Charlie stands in his crib, laughing. The past Nicholai wakes up and sees the dead wife. He gets up and starts trudging out of the room.

NICHOLAI

No.

EXT. NEW YORK STREETS – DAY

We see the past Nicholai hobbling down the street. He turns a corner and disappears into the past, where he came from. We catch up with Keith, running down the sidewalk, crying. He holds the bloody knife in his hands. He sits down in an alley and continues to cry.

KEITH

I don’t care, Charlie. I don’t. I don’t care if you grow up to be like that. I won’t like to see it. I’ll make sure of it.

Keith takes the knife and slits his throat. He falls down, dead. Blood streams from his wound.

INT. 121 EAST STREET-BUILDING 45 E – DAY

The men sit around the fireplace. They all look distraught. Nicholai looks at his watch.

NICHOLAI

He would’ve done it by now.

QUINCY

It’s a damn shame.

The screen goes black.

TITLE CARD:

2 YEARS EARLIER

INT. 121 EAST STREET-BUILDING 45 E – DAY

We see Nicholai burst from the back room, holding his leg. He collapses on a dirty old couch, not the same one they have now. The entire building looks in worse shape.

INT. THE HANSON APARTMENT – DAY

We see Keith sitting across from Melanie. They both drink coffee. Keith reads the Wall Street Journal.

MELANIE

Keith?

KEITH

Yeah?

Pause. Keith looks up, concerned.

MELANIE

I want to have a baby. In a while I mean. Not for like a year.

Keith smiles.

MELANIE (CONT’D.)

Do you love me?

KEITH

I do love you. And I always will. Forever and ever.

They smile at each other as we.

FADE OUT

THE END. ©2003-2004 MATTHEW OROBKO

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