Last Call

Last Call

Last Call

JUST WHEN YOU THOUGHT IT WAS SAFE TO LEAVE NEW YORK.

MATTHEW IS SENT FROM NEW YORK TO LONDON TO CLOSE A DEAL. IT’S A TWO-DAY TRIP, NICE AND SIMPLE. WHAT COULD POSSIBLY GO WRONG……………

LAST CALL

BY SIMON B. PALMER

 

EXT.  APARTMENT BUILDING-DAY.

 

THE CAMERA PANS UP AN APARTMENT BUILDING UNTIL IT REACHES A MAN WEARING JUST A HOTEL ROBE. THE CAMERA ZOOMS IN ON THE MAN.

THE MAN IS CLEARLY IN DEEP THOUGHT OVER HIS PREDICAMENT.

MATT

(THOUGHTS)

 

What am I doing here? How did it come to this?

MATT LOOKS OVER THE EDGE.

(SPOKEN)

Yep, still don’t like heights.

MATT MOVES BACK AND LEANS AGAINST THE WALL.

(THOUGHTS)

How did I get here?

PAUSE.

Oh yes. I was sleeping peacefully when……………..

CUT TO;

 

EXT. NEW YORK’S MANHATTAN-NIGHT.

 

WE SEE YELLOW CABS DRIVING BY, A FEW PEOPLE WALKING THE STREETS.

 

 

 

EXT. NEW YORK’S EMPIRE STATE BUILDING-NIGHT.

 

AS WE FOCUS ON THE EMPIRE STATE BUILDING WE PAUSE AS THE LIGHTS, LIGHTING THIS MAGNIFICENT BUILDING ARE TURNED OFF.

CUT TO:

 

EXT. TALL APARTMENT BUILDING-NIGHT.

 

WE CLIMB THE BUILDING AND ENTER THROUGH A WINDOW.

INT.  UPPER EAST-SIDE APARTMENT-NIGHT.

 

A SMALL STUDIO APARTMENT. THE FURNITURE HERE HAS BEEN MOVED INTO A CORNER OF THE ROOM. A TALL ASIAN WOMAN IS STANDING DRESSED IN BONDAGE WHIPPING A MAN WHO IS CHAINED TO THE WALL.  THE MAN SCREAMS IN DELIGHT AS HE IS BEING WHIPPED. THE WHIP OCCASIONALLY MISSES THE MAN AND CRACKS AGAINST THE WALL.

AS THE WHIP HITS THE WALL THE CAMERA ZOOMS INTO THE WALL AND CONTINUES TO THE NEXT APARTMENT.

 

INT. UPPER EAST-SIDE APARTMENT-NIGHT.

A SMALL STUDIO APARTMENT WHERE THE BEDROOM AND LIVING ROOM COME INTO ONE. THIS IS OCCUPIED BY ONE MAN WEARING A SLEEPING MASK. THIS MAN IS A YOUNG MAN IN HIS MID-TWENTIES, MEDIUM BUILD WITH A COMFORTABLE HEIGHT, SHORT BROWN HAIR AND A CLEAR COMPLEXION. THE APARTMENT IS BARE WITH ONLY A SMALL PORTABLE TELEVISION, A SMALL HI-FI AND SEVERAL TAPES SCATTERED AROUND THE FLOOR. ALSO, THERE IS A TWO PIECE SOFA, WHICH HAS CONVENIENTLY BEEN USED TO HANG CLOTHES OVER.

WE CAN HEAR THE NOISE OF THE WHIP FROM NEXT DOOR. MATT SLEEPING FELLS THE VIBRATION OFF THE WHIP AND MOVES HIS HEAD SLIGHTLY IN HIS SLEEP.

THE CAMERA ZOOMS INTO THE WALL AND THROUGH THE WALL INTO THE NEXT APARTMENT.

INT. UPPER-EAST SIDE APARTMENT-NIGHT.

 

A SMALL STUDIO APARTMENT WITH BASIC FURNISHINGS.

MIDDLE AGED MAN IN ONLY HIS LIGHT BLUE STRIPED UNDER PANTS IS PLAYING A GAME OF GOLF. HE HAS A SMALL IN DOOR PUTTING GREEN AND TAKES HIS TIME AS HE SWINGS FOR THE SHOT. THE PLAYS HIS SHOT, MISSES, SCRATCHES HIS BUM AND WALKS OVER TO FINISH THE SHOT. HE FINISHES THE SHOT AND BENDS OVER TO PICK UP THE GOLF BALL. WE SEE THE CRACK OF HIS HAIRY ASS. WE HEAR FRANK SINATRA PLAYING ON THE RADIO.

THE CAMERA LEAVES TO RE- ENTER THE MIDDLE APARTMENT.

INT. UPPER-EAST SIDE APARTMENT-NIGHT.

 

A SMALL STUDIO APARTMENT WITH BASIC FURNISHINGS.

MATT IS STILL SLEEPING PEACEFULLY. WE CAN STILL HEAR THE WHIPPING FROM NEXT DOOR.

THE CAMERA PANS AROUND THE ROOM AND THEN BACK TO MATT.

THE PHONE RINGS. MATTHEW STIRS AND LOOKS OVER AT HIS ALARM CLOCK. HE CANNOT SEE HIS ALARM CLOCK BECAUSE HE IS WEARING A SLEEPING MASK USED TO DARKEN THE ROOM. FORGETTING ABOUT THE MASK, HE REACHES OVER AND TURNS ON THE SIDE LAMP. NOT SEEING THE LIGHT, HE REACHES OVER AND TURNS ON HIS OTHER SIDE LAMP. FINALLY HE FINDS HIS ALARM CLOCK AND FEELS FOR THE SWITCH ON THE BACK. HE FINDS THE SWITCH AND TURNS IT OFF. THE PHONE CONTINUES TO RING AS MATT STARTS BANGING THE ALARM CLOCK ON THE BEDSIDE TABLE. HE THEN PAUSES AND REALIZES IT’S THE PHONE RINGING.

MATT

 

What the hell?

MATT, STILL WEARING THE MASK, REACHES FOR THE PHONE, FINDS IT AND ANSWERS IT.

Hello?

PAUSE.

MATT CAN HARDLY HEAR THE CALLER. HE THEN REALIZES THAT THE PHONE IS THE WRONG WAY UP, HE CORRECTS HIS ERROR.

MATT

 

Hello?

WE HEAR A VOICE AT THE OTHER END OF THE PHONE. IT’S JEANNIE, MATT’S LAST GIRLFRIEND, WHO HAS NEVER GOT OVER BEING SEPARATED FROM MATT. HER VOICE IS VERY FAST AND DESPERATE SOUNDING.

JEANNIE

(VOICE ONLY)

 

Matt? Matt? Is that you?

MATT

Jeannie?

JEANNIE

Quick, quick!

MATT

(CONFUSED)

Quick, quick, what?

JEANNIE

You’ve got to come over… you’ve got to come now!

MATT

(STILL HALF-ASLEEP)

What, what for?

JEANNIE

You just need to come over right now, please….

MATT

All right, already. Let me get myself together here, I mean… I can’t even see anything. A fuse must…

JEANNIE

(INTERRUPTING)

Take off your mask.

PAUSE.

MATT FEELING STUPID, TAKES OFF HIS MASK. THE BRIGHT LIGHTS BLIND HIM FOR A MOMENT… HE OPENS A BEDSIDE CUPBOARD REACHES FOR HIS SHADES AND PUTS THEM ON.

PAUSE.

MATT

(BACK ON THE PHONE)

All right, give me a minute.  What’s wrong?

JEANNIE

No time to explain. Just come, come quick.

MATT

Al right, give me a minute, will yer?

JEANNIE

Thank you thank you, quick, quick.

MATT PUTS DOWN THE PHONE. STILL WEARING HIS SHADES, HE FINDS THE NEAREST CLOTHING AROUND AND PULLS IT ON. THIS IS A PAIR OF OLD JOGGING PANTS, AN OLD T-SHIRT AND A PAIR OF OLD BLACK SHOES.

INT. HALL WAY OUTSIDE MATT’S APARTMENT-NIGHT.

 

MATT OPENS THE DOOR OF HIS APARTMENT AND BEGINS TO EXIT. NOT REALIZING HE’S STILL WEARING HIS SHADES. HE ALSO HASN’T NOTICED HIS HAIR STICKING OUT IN ALL KINDS OF DIRECTIONS. HE MEETS A NEIGHBOR ON THE STAIRS. MRS. JOHANSSON AN OLD JEWISH WOMAN RELIGIOUSLY OVERDRESSED. SHE SEES MATT AND LOOKS AT HIM CURIOUSLY.

MRS. JOHANSSON

(SARCASTICALLY)

Expecting some sun Matthew?

MATTHEW, FEELING A LITTLE EMBARRASSED, TAKES OFF HIS SHADES.

MATT

Hi Mrs. Johansson. No Mrs. Johansson.

MATT CONTINUES DOWN THE STAIRS.

Mrs. Johansson gives a suspicious look.

EXT. AN UPPER EAST-SIDE AVENUE IN MANHATTAN-NIGHT.

LATE AT NIGHT SEVERAL PEOPLE ARE STILL WALKING THE STREETS OF MANHATTAN AND A FEW CARS PASS BY.

MATT IS JOGGING AT A STEADY PACE, DOWN THE AVENUE TRYING TO HAIL A CAB, BUT NOT SUCCESSFULLY.

ANOTHER JOGGER DRESSED IN ALL THE GEAR RUNS ALONG SIDE MATT.

MAN

Yeah, who says jogging at this time of night is not good. Yeah!

MATT SMILES.

THE MAN TURNS DOWN A SIDE ROAD.

See you around!

MATT

Yeah, ok.

HE CONTINUES HIS RUN. NOBODY IS AT ALL SURPRISED BY MATT’S APPEARANCE. BUT AFTER ALL THIS IS NEW YORK.

MOMENTS LATER.

 

 

INT. JEANNIE’S UPPER EAST SIDE APARTMENT-NIGHT.

JEANNIE IS A SHORT ATTRACTIVE GIRL IN HER MID TWENTIES. SHE HAS LONG HONEY BLONDE HAIR WITH TANNED SKIN TO COMPLEMENT HER APPEARANCE. SHE OBVIOUSLY SPENDS A LITTLE TIME EACH WEEK IN THE GYM, BUT LIVES AN UNORGANIZED LIFE, JUDGING BY THE STATE HER APARTMENT IS IN. HER APARTMENT IS SLIGHTLY LARGER THAN MATT’S WITH A SEPARATE BEDROOM AND PATIO.

JEANNIE IS SAT BY THE DOOR WAITING FOR MATT. SHE STANDS AND CHECKS HER FACE AND HAIR IN A NEARBY MIRROR. BEING SATISFIED SHE SITS BACK DOWN.

PAUSE.

THE BUZZER RINGS.

JEANNIE JUMPS UP TO ANSWER THE INTERCOM.

JEANNIE

(SPEAKING THROUGH THE INTERCOM)

Hello, hello?

WE HEAR MATT’S VOICE THROUGH THE INTERCOM.

MATT

(SPEAKING THROUGH THE INTERCOM)

It’s me.

JEANNIE

Matt is that you?

MATT

 

Why? How many other people have you called over tonight?

JEANNIE BUZZES MATT IN AND EAGERLY WAITS.

PAUSE.

THERE’S A KNOCK ON THE DOOR.

JEANNIE CHECKS THROUGH THE PEEP HOLE.

MATT

(OUT OF BREATHE)

MATT IS SHOUTING THROUGH THE DOOR.

It’s me, stop being so paranoid!

JEANNIE OPENS THE DOOR AND EMBRACES MATT.

JEANNIE’S DOG RANDY RUSHES IN AND SNIFFS AROUND MATT.

MATT

What is it, what’s wrong?

 

JEANNIE

It was terrible!

MATT

What? What was terrible?

JEANNIE

On the television just now…It just came so unexpected. All the time it was him… He didn’t have a mother at all in the house. It was him all the time… I mean who could write that kinda thing? It should never have been shown. And they don’t warn you that’s it’s gonna be so frightening?

JEANNIE EMBRACES MATT AGAIN AND STARTS TO CRY.

PAUSE.

MATT

I can’t believe you’ve dragged me all the way out here for a scary movie.

JEANNIE DRIES HER EYES AND RELEASES MATT.

 

JEANNIE

Three blocks? And I can’t believe you didn’t do your hair before you came over? It’s a real mess.

MATT

What?

JEANNIE BRUSHES HER HANDS THROUGH MATT’S HAIR TO TIDY IT.

JEANNIE

You just got out of bed and came straight over?

MATT REMOVES JEANNIE’S HANDS AND STEPS AWAY.

MATT

Yeah I came straight over. I thought it was an emergency or something. I didn’t think to dress for the occasion.

JEANNIE STEPS TO MATT AND FINISHES TIDYING MATT’S HAIR. MATT LET’S HER.

JEANNIE

 

That’s better. You’ve lovely hair. You still using that shampoo I bought you?

MATT STEPS AWAY.

MATT

 

Yeah the papaya extracts, anyway what am I doing here? I can’t believe I ran all the way over here.

JEANNIE

 

JEANNIE STEPS TO MATT.

You’re so sweet. I just really needed some company right now. I’m sorry if I disturbed you…

PAUSE.

MATT WIPES THE SLEEP OUT OF HIS EYES.

JEANNIE HANDS MATT A TISSUE FROM A TABLE NEARBY.

MATT TAKES IT AND CONTINUES TO WIPE HIS EYES.

JEANNIE

We used to always watch scary movies together in case, you know, we needed to stop and turn on the lights or something. You were always there for me.

MATT THROWS THE TISSUE AWAY  INTO A NEARBY BIN.

PAUSE.

I’m sorry, it’s the first time I’ve watched a scary movie without you. I should never of….

MATT INTERRUPTS AND EMBRACES JEANNIE

MATT

(SOFTLY)

 

It’s all right; I mean I was only sleeping.

JEANNIE

 

I knew you’d understand.  Will you stay for a while?

MATT AND JEANNIE MOVE INTO THE LIVING ROOM AREA.

MATT

 

I’ll stay for a few minutes, a short while.

JEANNIE SMILES AND RUBS MATT’S ARM.

MATT

I’m not staying the night though; I’ve a big meeting tomorrow.

MATT SEES A MAGAZINE ON THE SIDE.

JEANNIE

What meeting?

MATT PICKS UP THE MAGAZINE.

MATT

 

You’re reading this? When did you start reading ‘Cosmopolitan.’?

JEANNIE

 

I just picked it up the other day. I like it for the articles…. What, what meeting?

PAUSE.

MATT FLICKS TROUGH THE MAGAZINE.

MATT

 

You know about this. I told you before that after each quarter we have a general meeting in which one of us could get promoted. I have told you……

 

JEANNIE

You’re getting promoted?

MATT

(THINKING)

I didn’t say that, but hey who knows. I am kinda due a promotion, but hey anyway are you al right now cause I gotta go get some sleep. I need to be focused for tomorrow.

JEANNIE

Will you just stay for one coffee, and help me forget about this movie, please…? Oh and there’s some mouth wash in the bathroom, you know if you want to freshen up.

MATT PUTS HIS HAND UNDER HIS CHIN AND BLOWS TO TASTE HIS BREATHE.

MATT

 

I came straight over.

JEANNIE SMILES.

HE EXITS FOR THE BATHROOM.

MATT

(WALKING TO THE BATHROOM)

One coffee, then I’m outta here, all right?

MATT MUTTER’S TO HIMSELF

She better give me the good coffee.

MATT ENTERS THE BATHROOM.

CUT TO: INT. UPPER EAST SIDE APARTMENT- NIGHT.

WE ARE INSIDE JEANNIE’S KITCHEN WHICH IS SURPRISINGLY CLEAN AND TIDY. MATT IS SAT AT A TABLE AS JEANNIE PREPARES THE COFFEE.

 

MATT

 

So what was this movie all about then?

JEANNIE

It’s an old black and white movie by some English guy… What’s his name, Alfred something?

Where some girl comes to stay at this hotel or something….

AT THIS POINT JEANNIE’S DOG STROLLS IN, SEES MATT AND STARTS HUMPING MATT’S LEG. MATT SHAKES HIM OFF.

JEANNIE SMILES.

RANDY EXITS INTO ANOTHER ROOM.

JEANNIE

I guess Randy’s been missing you too.

MATT SMILES UNCOMFORTABLY

Anyway this guy who kinda runs the place keeps disappearing to see his mother. But his mother, well she’s not there. You see like a silhouette of her, but never, you know in the flesh.

MATT IS THINKING.

JEANNIE POURS ONE CUP OF COFFEE AND GIVES IT TO MATT.

PAUSE.

MATT

(SIPPING HIS COFFEE)

MATT SMILES AS HE ENJOYS THE COFFEE.

JEANNIE GIVES A SEXY SMILE.

MATT TAKES ANOTHER SIP WHILST THINKING.

PAUSE.

Psycho, you saw Alfred Hitchcock’s ‘Psycho.’

JEANNIE

That’s it, that’s it. Have you seen it too?

MATT

Oh yeah, a long time ago…great movie.

JEANNIE

(SPEAKING PERSUASIVELY)

Why don’t you move back in for a while, that way we can watch scary movies together, like we used to and that way you won’t have to run three blocks each time…

MATT

(INTERRUPTING)

Don’t start all this again now Jeannie… things are just fine the way they are.

JEANNIE

Miss me?

PAUSE.

MATT SIPS HIS COFFEE.

 

MATT

Sometimes, but we talked about this……

JEANNIE

(INTERRUPTING)

 

Why don’t you stay, as a friend? I know you get lonely too.

MATT FINISHES HIS COFFEE.

 

MATT

 

Ten minutes, then I really gotta go.

JEANNIE SMILES.

MATT EXITS TO THE LOUNGE.

 

TIME CUT TO:

 

INT. LOUNGE OF UPPER EASTSIDE APARTMENT- NIGHT.

THIS LOUNGE IS VERY UNTIDY WITH CLOTHES AND BOOKS SPREAD EVERYWHERE.  MATT AND JEANNIE SIT ON THE COUCH TOGETHER WATCHING TELEVISION. JEANNIE HOLDS ONTO MATT’S ARM AS THEY WATCH TELEVISION. MATT IS DRIFTING OFF AND JEANNIE SEEMS CONTENT TO BE WITH MATT.

 

TIME CUT TO:

 

EXT. MANHATTAN – DAY.

WE SEE THE BUSY STREET’S OFF MANHATTAN. DRIVERS SCREAMING AT EACH OTHER AS THEY ATTEMPT TO GET BY. PEOPLE OF ALL ORIGINS STROLLING ALONG THE SIDEWALKS.

WE SEE TWO MEN ARGUING IN RUSSIAN.

 

CUT TO:

 

INT. UPPER EASTSIDE APARTMENT- EARLY MORNING.

MATT AND JEANNIE ARE STILL SITTING ON THE COUCH. THEY BOTH LEAN ON EACH OTHER AS THEY SLEEP. MATT BEGINS TO STIR. HE KISSES JEANNIE ON THE CHEEK.

PAUSE.

MATT JUMPS UP IN HORROR AWAKENING JEANNIE.

MATT

(PANICKY)

What time is it!!

MATT LOOKS AT THE CLOCK AND SEES HE IS LATE FOR WORK. JEANNIE STIRS.

Dam it!

JEANNIE

Calm down, Calm down.

MATT IS FRANTICALLY GETTING DRESSED.

MATT

This… this is all your fault!

JEANNIE

I’m sorry, I’m sorry….. What can I do?

MATT

 

ALMOST DRESSED NOW.

Nothing, nothing, you’ve done enough… wait, you can call me a cab… No don’t bother, I’ll probably be

better off taking the subway. But I need to go back to my place first.

MATT IS THINKING.

JEANNIE

(THINKING)

Why don’t you go straight to work? Yeah that way you’ll save time.

MATT

In what? In my jogging pants.

JEANNIE

You’ve a suit in my bedroom, a little old, but it should be all right.

MATT

What suit?

JEANNIE RUNS INTO THE BEDROOM TO PICK UP THE SUIT.

MATT CHECKS HIS WATCH AS HE WAITS FOR JEANNIE.

JEANNIE ENTERS WITH A DOUBLE-BREASTED GREY SUIT. IT LOOKS A LITTLE OLD AND SHABBY.

MATT

LOOKING AT THE SUIT.

You’ve got to be kidding me. Look at it!

JEANNIE

It’s all right… you used to look great in this suit. I think you need to re-join the gym at some point. Or perhaps a personal trainer.

MATT CHECKS HIS WATCH AGAIN AND THEN LOOKS AT THE SUIT.

MATT

Got a tie? And what about a shirt?

JEANNIE RUNS INTO THE BEDROOM AS MATT PULLS ON THE PANTS. THEY ARE VERY TIGHT, BUT MATT MANAGES TO CLIMB INTO THEM.

JEANNIE ENTERS WITH A TERRIBLE LOOKING TIE AND FRILLY BLOUSE.

MATT

(LOOKING AT THE TIE AND BLOUSE)

What is that!

 

JEANNIE

You used to love that tie. You wore it once when we…

MATT

(INTERRUPTING)

Yeah but that’s a girls blouse. I can’t possible wear that.

JEANNIE

 

It’ll be fine. The suit will cover the blouse. No one will notice. Come on now chop chop.

MATT IS PULLING ON HIS SHOES.

JEANNIE

 

Actually, can you be careful with the blouse, it’s DKNY.

MATT CLIMBS INTO THE BLOUSE. IT’S A LITTLE TIGHT. HE NOTICES THE BUTTONS ARE ON THE WRONG WAY ROUND AND IS A LITTLE CONFUSED FOR A MOMENT.

JEANNIE JUMPS IN AND DOES UP MATT’S BUTTONS, RUBBING HIS CHEST SLIGHTLY ON PURPOSE.

JEANNIE

 

You’re my Prince.

MATT

Really. I look like a Prince?

JEANNIE

No, Prince, you know Purple Rain

MATT HAS NO ANSWER TO THIS.

PAUSE.

SHE THEN TIES HIS TIE FOR HIM AS HE STANDS THERE WAITING.

PAUSE.

How you doing for time?

MATT

(LOOKING AT HIS WATCH)

 

Not good.

JEANNIE

You could always roller-blade to work?

MATT

 

Say what?

JEANNIE

 

A thousand New Yorker’s blade into work each day.

MATT

 

You’re serious?

JEANNIE

 

While we’re here chatting you could be out there bladeing.

MATT

 

I haven’t roller-bladed in years, I mean I don’t know if I can even still do it.

JEANNIE

Why don’t we find out? Come on it’ll be fun.

CUT TO;

EXT. UPTOWN MANHATTAN, SIDEWALK- DAY.

MATT AND JEANNIE ARE OUT ON THE SIDE-WALK. MATT IS TYING UP HIS LACES TO HIS ROLLER-BLADES. JEANNIE IS HOLDING A FEMININE BRIEFCASE WHICH HOLDS MATT’S SHOES. HE FINISHES AND ATTEMPTS TO STAND.

HE STRUGGLES TO BALANCE SO JEANNIE HELPS SUPPORT HIM.

MATT

 

There’s no way I can do this. I mean I can’t believe I let you talk me into this; it’s a stupid idea anyway. I mean I was never any good at this anyway.

JEANNIE MOVES BEHIND MATT.

Where are you, what are you doing?

THE BRIEFCASE HAS A LITTLE SHOULDER STRAP. JEANNIE HANGS IT ON MATT’S SHOULDER.

JEANNIE

 

Your shoes are in there.

MATT

I can’t even skate, let alone carry this.

JEANNIE

 

Yes you can, and so you shall.

JEANNIE GIVES MATT A BIG PUSH.

MATT

 

Shit…..!

MATT ROLLS ONTO THE MAIN ROAD AND IS ALREADY BETWEEN TWO CARS.

JEANNIE

(SHOUTING TO MATT)

 

Good luck with the job honey. Your butt looks great in that suit. Let’s do lunch soon, call me.

MATT DOES NOT ANSWER AS HE’S CONCENTRATING MORE ON STAYING ALIVE.

CUT TO:

EXT. UPPER-EASTSIDE MANHATTAN AVENUE-DAY.

MATT IS SCATTING BETWEEN A LIMOUSINE  AND A TAXI. THE CAR AHEAD IS A RESIDENTIAL CAR AND THE ONE BEHIND IS ANOTHER TAXI. HE SKATES NERVOUSLY AS HE HASN’T DONE THIS FOR SEVERAL YEARS. A REAR WINDOW OF THE LIMO ROLLS DOWN AND A FANCY LOOKING BLACK MAN LOOKS AT MATT. MATT LOOKS BACK. THE MAN FROWNS, SHAKES HIS HEAD AND THEN ROLLS BACK THE ELECTRIC WINDOW. A LADIES HEAD APPEARS FROM OVER THE MANS LAP AND LOOKS OUT AT MATT. THE MAN PUSHES THE LADIES HEAD BACK DOWN AND ROLLS UP THE WINDOW. MATT IS SURPRISED AND DISTRACTED FOR A MOMENT.

MATT LOOKS UP AT THE ROAD SIGNS TO SEE HIS TURN. HIS TURN IS APPROACHING. HE STARTS TO TURN, THE TAXI DRIVER ATTEMPTS TO OVERTAKE. MATT’S TURN IS A LITTLE SLOWER THEN ANTICIPATED, FORCING THE TAXI-DRIVER TO GIVE MATT A LITTLE NUDGE.

THE NUDGE INCREASES MATT’S SPEED AS HE MAKES THE TURN. MAKING THE TURN TOO FAST FORCES MATT TO TURN ALL THE WAY BACK SO HE’S NOW SKATING INTO FORTHCOMING TRAFFIC.

 

EXT. UPPER-EASTSIDE, MANHATTAN-DAY.

THIS IS A VERY BUSY ROAD WITH TWO LANES OF TRAFFIC. MATT SKATES FRANTICALLY BETWEEN CARS COMING TOWARDS HIM. THE FLOW OF TRAFFIC IS TOO FAST FOR MATT TO TRY TO STOP, SO HE CONTINUES TO SKATE. A CAR HAS TO SWERVE TO MISS HITTING HIM.

MATT WAVES AN APOLOGY.

MATT QUICKLY MAKES ANOTHER TURN DOWN A STREET WITH TRAFFIC TRAVELING IN THE SAME DIRECTION HE’S TRAVELING. HE MANAGES TO SLOW HIS SPEED DOWN TO A COMFORTABLE SPEED AND FOR THE FIRST TIME SEEMS COMFORTABLE ROLLER-BLADING.

MATT

(TO HIMSELF)

 

Yeah baby, I still got it.

ONE OTHER ROLLER-BLADER IS ON THIS STREET. THIS BLADER HAS ALL THE GEAR ON. HE’S WEARING THE HELMET, THE SHADES, THE ELBOW PADS AND KNEE PADS.

MATT CATCHES HIM UP. HE LOOKS OVER AT MATT. MATT WAVES. THE BLADER SHAKES HIS HEAD AND SKATES AWAY. MATT SKATES AND CATCHES HIM UP. THE BLADER SKATES FASTER, MATT SKATES FASTER.

ALL OF A SUDDEN THE SKATERS COME TO THE END OF THE STREET ONTO ANOTHER VERY BUSY AVENUE. THE OTHER SKATER TURNS IN SWIFTLY AND JOINS THE TRAFFIC.  MATT TRIES TO SLOW DOWN, BUT IT’S TOO LATE. HE SKATES STRAIGHT INTO MORE FORTHCOMING TRAFFIC. AS HE TRIES TO KEEP BALANCE AS WELL AS AVOID ALL CARS

HE NOTICES THE OTHER SKATER WAVE SARCASTICALLY AT HIM. MATT KEEPS HIS HEAD AND TURNS AGAIN TO FACE THE RIGHT DIRECTION. AS HE DOES A BUS NUDGES HIM OFF THE ROAD ONTO THE SIDE-WALK. THIS SIDE-WALK IS PACKED WITH PEOPLE.

MATT IS SKATING TOO FAST TO STOP OR SLOW DOWN SO HE CONTINUES TO SKATE AVOIDING ALL THE PEOPLE.

A TALL SCRUFFY LOOKING MAN LOOKS AT MATT FROM AHEAD.

MAN

 

Hey you bum, get off the side-walk!

MATT SKATES BY CRINGING.

MATT MANAGES TO TURN BACK ONTO THE ROAD TO AVOID HITTING PEOPLE. HE TURNS ONTO ANOTHER STREET AND THEN COMES TO A VERY LARGE BUILDING. HE SKATES TOWARDS THE BUILDING AND AS THE ELECTRIC DOORS OPEN, HE SKATES INTO THE BUILDING.

 

 

INT. LARGE BUILDING IN UPTOWN MANHATTAN-DAY.

 

THIS IS A LARGE ENTRANCE HALL TO AN OFFICE BUILDING.

AS HE SKATES INTO THE BUILDING THE DOORMAN SHOUTS AT HIM.

DOORMAN

Hey, this isn’t Central Park!

MATT

 

Sorry…. I’m late.

MATT CONTINUES TO SKATE UNTIL TWO SECURITY GUARDS GRAB HIM AND PICK HIM UP. THESE ARE TWO LARGE SECURITY MEN IN UNIFORM. MATT IS CARRIED OUT AS HIS SKATES ARE STILL SPINNING.

SECURITY GUARD ONE

 

What the hell do you think you’re doing in here with those?

MATT

 

I know, I work here, I’m just late. Please let me go.

SECURITY GUARD TWO

 

Are you wearing a girl’s blouse?

MATT

It’s a DKNY.

THE GUARD LOOKS SUSPICIOUSLY AT MATT.

CUT TO:

 

INT. OFFICE BUILDING LOUNGE-DAY.

MATT RUSHES THROUGH IN HIS TIGHT SUIT, GIRLS BLOUSE AND HORRID TIE. THE RECEPTIONIST BUZZES HIM THROUGH.  SHE SMILES AS SHE SEES HIS SUIT.

MATT

Morning Lauren.

LAUREN GIVES MATT A STRANGE LOOK AND POLITELY SMILES.

 

CUT TO:

INT. OFFICE HALL WAY-DAY.

MATT CONTINUES TO RUSH THROUGH.  HE PASSES SEVERAL PEOPLE HE KNOWS IN THE BUILDING. THEY ARE AMUSED BY HIS SUIT, BLOUSE AND TIE.

MATT

Morning, morning.

HE COMES TO A DOOR AND LOOKS THROUGH. DOREEN A SHORT CHUBBY GIRL WALKS OVER. DOREEN IS ONE OF THE MAIN SECRETARIES WORKING FOR THE COMPANY.

SHE’S EATING A MUFFIN AS SHE CHECKS OUT MATT IN HIS TIGHT SUIT.

DOREEN

Nice ass Matt. I never noticed it till now.

DOREEN IS LOOKING AT MATT’S SUIT.

MATT

Doreen, how long has it been going on?

DOREEN NOTICES MATT’S BLOUSE.

 

DOREEN

What the meeting or you wearing girls clothes?

MATT

 

The meeting.

DOREEN

 

About fifteen minutes now, where have you been? Back to the seventies?

MATT THINKING.

MATT

(DRAMATIC)

I’m going in.

DOREEN STOPS MATT FROM ENTERING.

DOREEN

You know he doesn’t like interruption’s… Go if you really want to, but I really wouldn’t recommend it.

MATT MOVES AWAY FROM THE DOOR.

MATT THINKING.

ANOTHER MAN ENTERS AND WALKS PAST MATT.

HE IS A LITTLE TALLER AND A LITTLE THINNER WEARING A VERY NICE SUIT. HE MOVES WITH GREAT CONFIDENCE AND FINESSE.

LUIS

Hello Matt. There’s something different about you today, can’t quite place it.

MATT IS NOT IMPRESSED AND SMILES SARCASTICALLY.

LUIS ENTERS THE ROOM AND CLOSES THE DOOR BEHIND HIM.

MATT JUMPS UP.

MATT

(TO DOREEN)

He’s just gone in! See?

DOREEN

Yes but he was here when the meeting started, so he is entitled to leave and come back.

MATT

What is that, meeting law?

DOREEN IS LOOKING THROUGH THE DOOR.

DOREEN

Quick, something’s happening.

MATT

What’s happening? here let me see?

MATT LOOKS THROUGH THE WINDOW.

DOREEN

I don’t know but Wilson’s just shaken hands with the boss and everyone’s clapping.

MATT

(DISSAPOINTED)

I’m going to my office.

MATT EXITS. DOREEN CONTINUES TO WATCH ANXIOUSLY, CHECKING OUT MATT’S BOTTOM.

 

CUT TO:

 

INT. NEW YORK OPEN CAFE. VERY NOISY-DAY

CARS BEEPING THEIR HORNS, AGGRESSIVE DRIVERS CURSING AT EACH OTHER.

MATT AND HIS FRIEND JAY SIT TALKING, DRINKING CAPPUCCINO. THEY TALK LOUDLY

TO BE HEARD AND ARE NOT AT ALL BOTHERED BY THE DISTRACTIONS. JAY IS AN AFRO-AMERICAN GUY. A LOCAL NEW YORKER, ORIGINALLY FROM THE BRONX. HE’S A SHORT GUY WITH LONGISH HAIR TIED BACK. MATT HAS KNOWN HIM FOR A WHILE.

THEY SPEAK LOUDLY AT A RAPID PACE.

JAY

So that’s it? Just like that? You leave Tuesday? And I didn’t wanna interrupt you, but what’s with that funky suit?… Damn! I like the shirt though, very Jimi Hendrix. Or are you the artist formally known as Matt?

MATT

Don’t start, I didn’t have time to change…I stayed with Jeannie last night.

JAY

 

You stayed at Jeannie’s again, damn!

MATT

But to answer your question, yes I’m leaving on Tuesday. They dumped it on me. It’s my fault for not being at the meeting. It went round the table and then I was nominated my Dave.

JAY

Wow… but it has to be England, right?

MATT

Whatta yer mean?

JAY

I mean you couldn’t change it to Paris or somewhere like Rome? They’re happening places, you know?

MATT

No, the deal’s in London.

JAY

Ain’t that a bitch? Well hey; you’ll only be there for a few days right?

MATT

(CONCERNED)

Why what’s wrong with London

JAY

You been to London before right?

MATT

 

No, why?

A WAITER CLEARS AWAY THE CUPS FROM THE TABLE. HE’S A TALL LATIN-LOOKING MAN WITH LONG HAIR GELLED BACK. HIS HANDS SHAKE AS HE PICKS UP THE CUPS. JAY NOTICES THIS AND SMILES.

JAY

(TO THE WAITER)

Two more of those babies please Shakey, and remember no cinnamon on mine, I hate that shit… You can put it on his though. He’s an outta-towner, if yer know what I mean?

WAITER

 

Got it.

THE WAITER EXITS.

JAY

(TO MATT)

So you been to London right?

MATT

No, why?

JAY

Well I have…I’ll tell you about it

PAUSE.

JAY TAKES A LOOK UP THE STREET, AND THEN MOVES CLOSER TOWARDS MATT TO GET HIS FULL ATTENTION.

You go to a dinner, right? You’ll pay maybe ten bucks for a burger or something.  And it ain’t even a decent sized burger. Maybe there cows are a little smaller over there or something.

MATT

Aren’t cows all the same size?

JAY

 

No man, they feed them differently from Country to Country.

MATT

Of course.

JAY

And the cars man, they’re so small, you’re like sitting in a can of tuna…

PAUSE.

MATT IS THINKING.

Hey brother, and don’t even think about ordering a beer… Warm beer? I mean come on!

MATT

They don’t drink their beer warm…nobody drinks their beer warm.

JAY NODS.

MATT

I guess I won’t stay there any longer than I need too.

JAY

 

Forget about It man, In and out.

A DIFFERENT WAITER ARRIVES WITH TWO COFFEES. HE PUTS ONE IN FRONT OF MATT AND ONE IN FRONT OF JAY.

WAITER

Anything else fellas?

 

JAY (TO THE WAITER)

No we’re good.

THE WAITER EXITS.

JAY AND MATT SIP THEIR CAPPUCCINO’S.

AT THAT MOMENT A ROLLER-BLADER SKATES UP TO MATT AND JAY’S TABLE. JAY’S A LITTLE CAUTIOUS, BUT SEES CLEARLY THE MAN IS NO THREAT TO HIM.

HE’S A TALL AFRO- AMERICAN GUY WITH SHORT HAIR AND A MEDIUM BUILD. HE’S LISTENING TO HIS PERSONAL STEREO. HE TAKES OFF HIS HEADPHONES AND LOOKS AT JAY. WE HEAR THE MUSIC PUMPING LOUDLY THROUGH HIS HEADPHONES.

JAY

 

What up?

GUY

 

You know where the Washington State building is?

JAY

 

Yeah, it’s the funny shaped building about five blocks that way, on the right.

JAY POINTS OUT THE DIRECTION

GUY

 

Thanks man. I’m supposed to be there half an hour ago.

JAY

 

Better get your skates on then?

THE MAN LAUGHS, SHAKES JAY’S HAND WITH A GANG LIKE SHAKE, PUTS ON HIS HEADPHONES AND SKATES AWAY DOWN THE ROAD.

JAY

(TO MATT)

Where was I at?

MATT

 

You were telling me about London.

JAY

 

That’s it.

MATT

 

So how’s the crime over there?

JAY

The crime. It’s worse than it is here.

MATT

What, but I heard they’ve got no guns over there.

MATT SIPS HIS CAPPUCCINO.

JAY

Gun’s these guys carry oozzies. Oh and you know what a cup of coffee costs?

MATT SHRUG’S HIS SHOULDERS.

JAY

Forget about it, you’re talking more than five bucks.

JAY SIPS HIS CAPPUCCINO.

MATT

What?

 

JAY

And it tastes like shit.

MATT SIPS HIS CAPPUCCINO.

JAY TAKES A SLURP OF HIS CAPPUCCINO.

PAUSE.

JAY

You got any protection arranged out there?

JAY SLURPS HIS CAPPUCCINO.

MATT

What you mean like condoms?

JAY

JAY SHAKES HIS HEAD.

You ain’t ever heard about ‘The European Mafia?’

MATT

‘The European Mafia’?

JAY

Yeah man, there the meanest sons of a bitches around. You don’t want to run into them, they’ll mess

you up… big-time. Then they go after yer family and friends and then their families and friends.  Their dog’s too.

MATT CHECKS HIS WATCH.

MATT

 

I need to move.

JAY NODS.

MATT PUTS HIS HAND IN HIS POCKET.

JAY

 

Don’t worry, I got this. These aren’t British prices here; you better save your money for that. Just watch your back over there. Hey and watch what you say, you’ve got to speak properly like I do. They speak the Queen’s English over there… But apart from all that, you’ll dig it.

MATT FINISHES HIS COFFEE, STANDS SHAKES JAY’S HAND AND EXITS.