"A WRITERLY
REVENGE"
by
Charles Deemer
FADE
IN:
EXT.
COUNTRY HOME - KITCHEN - NIGHT
BOBBY
SHARP, 50s, a bear of his man, holds a carving knife
to
his throat.
Across
the room, ALICE, 40s, dressed like an Earth Mother,
approaches
cautiously.
ALICE
Bobby, give me the knife...
BOBBY
It's the best thing I can do for
my career, Alice. The world likes
their writers dead.
ALICE
You have good work to do yet ...
put it down ...
BOBBY
I'm not going to win.
ALICE
You don't know that. And it
doesn't matter if you don't. It's
just one judge's opinion.
BOBBY
That young punk is going to win.
I'm old enough to be his father.
ALICE
We laugh at writing competitions,
remember? Do this, and it looks
like you take them seriously.
BOBBY
Jesus, you're right.
He
lowers the knife.
BOBBY
It plays right into their
philistine hands, doesn't it?
EXT.
COLLEGE CAMPUS - NIGHT
FACULTY,
STUDENTS, GUESTS move across campus toward a
prominent
building.
2.
Among
them are Bobby and Alice. Sharp habitually slumps when
he
moves.
INT.
COLLEGE BUILDING - NIGHT
Bobby
and Alice enter. They immediately are approached by
PROF.
TOM TOM, a younger colleague.
TOM
Good luck, Bobby.
BOBBY
Yeah, right, I'll need it.
Alice
pulls him away, following the flow of people. She
glances
back at Tom, who smiles.
INT.
COLLEGE BUILDING - AUDITORIUM - NIGHT
Bobby
and Alice take reserved seats near the front of the
auditorium.
INT.
AUDITORIUM - PODIUM - NIGHT
A
distinguished-looking man is at the podium. This is PROF.
ANDREWS.
PROF. ANDREWS
The nominees for this year's
Sherwood Best Novel Prize, the
winner to be published by our
University press, are: "A
Darkening Wood," by Prof.
Tom
Carlton, Dept. of History
..."
Applause.
PROF. CARLTON, seated near the front, beams.
PROF. ANDREWS
"Love At Ground Zero,"
by Prof.
Robert Sharp, Dept. of English
..."
Applause.
Bobby scowls, looking almost suicidal.
PROF. ANDREWS
And finally, "Lust," by
Kevin
Mann, a graduate student in
physics.
Applause.
KEVIN, 20s, wears black and lots of jewelry.
3.
PROF. ANDREWS
And the winner is ...
PROF.
MARILYN ZINK, loving her moment, darts forward with an
envelope.
Andrews takes it and opens it, taking his time for
effect.
PROF. ANDREWS
And the winner is ...
"Lust" by
Kevin Mann."
Kevin
leaps to his feet.
KEVIN
Yes!
Bobby
turns to Alice, looking more down than ever.
ALICE
For yourself to smile. Be a
gracious loser.
Bobby
looks like he's going to cry.
INT.
CAMPUS - SOCIAL HALL - NIGHT
A
reception after the awards.
Bobby
hangs around the bar. Alice stands some distance away,
keeping
an eye on him.
Bobby
has captured the ear of Tom Tom.
BOBBY
A writer with charisma, that's
what the bean counters want.
Someone who looks good on TV --
or at least different. Maybe I
should get a nose ring. Hey,
honey, how would I look in a nose
ring?
ALICE
Bobby ...
BOBBY
(back to Tom)
You know, I have a few female
students who have these metal
tabs on their tongues. It's for
giving blow jobs.
4.
Alice
has heard enough. She rushes forward and takes Tom's
arm.
ALICE
Time to go.
TOM
Sorry that ...
ALICE
We know, we know.
She
starts away with her husband.
BOBBY
Hey, where are we going?
But
he's well trained and goes along with her.
At
the bar, Prof. Andrews joins Tom.
PROF. ANDREWS
Ever read his novel?
TOM
Yes. Have you?
PROF. ANDREWS
Dreadful, don't you think? I
don't know how it was a finalist.
Tom
knows better than to comment.
EXT.
COUNTRY HOME - DAY
An
old farm house in the countryside.
Suddenly
Bobby staggers out the front door. He's an
incredible
sight, in undershorts only, his gut spilling out,
looking
very hungover.
He
hurries to a great tree in the front yard. He starts
peeing
on it.
Alice,
in a robe, appears in the doorway.
ALICE
For God's sake, Bobby, I said I
was almost done.
BOBBY
I wasn't waiting for you to
finish.
5.
He
looks ecstatic as he relieves himself in the morning air.
BOBBY
Why would anyone choose to do
this inside?
INT.
COUNTRY HOME - KITCHEN - DAY
Alice
is pouring coffee when Bobby passes by.
ALICE
Coffee's ready.
Bobby
ignores her.
INT.
COUNTRY HOME - BEDROOM - DAY
Alice
enters as Bobby crawls into bed.
He
pulls the covers over his head.
She
sighs and leaves.
INT.
COUNTRY HOME - KITCHEN - DAY
Alice
eats breakfast alone at a small table off the kitchen.
The
telephone rings.
ALICE
Hello?...Guess....He's still in
bed....I have no idea, but I'll
have him call you.
INT.
COUNTRY HOME - BEDROOM - DAY
Alice
looks in on Bobby. He appears to be asleep.
INT.
COUNTRY HOME - FRONT PORCH - DAY
Alice
sits in a swing on the porch, reading. The sun is
going
down.
INT.
COUNTRY HOME - KITCHEN - NIGHT
Evening.
6.
Alice
turns on a light. She looks in the refrigerator, as if
wondering
what to fix for dinner.
INT.
COUNTRY HOME - BEDROOM - NIGHT
Alice
turns on the light. Bobby doesn't stir.
She
looks worried. She approaches the bed.
She
bends forward. Bobby coughs in his sleep, scaring her.
She
retreats, leaving the light on.
INT.
COUNTRY HOME - KITCHEN - NIGHT
Alice
on the phone.
ALICE
He's been in bed all day. I'll
have him call you tomorrow.
INT.
COUNTRY HOME - BEDROOM - NIGHT
Bobby
stirs. He opens his eyes, squints in immediate pain
from
the light.
BOBBY
Who left the goddamn light on?!
INT.
COUNTRY HOME - KITCHEN - NIGHT
Bobby
enters, dressed in his disheveled way. Alice eats
alone
at the small table.
BOBBY
You left the light on.
ALICE
Your dinner's keeping warm.
BOBBY
I said, you left the goddamn
light on. It woke me up.
ALICE
Poor baby. Didn't get enough
sleep?
He
mumbles and starts away.
7.
ALICE
Bobby, for God's sake. You got to
eat. It's in the oven.
BOBBY
I'll pick up a burger in town.
ALICE
How long are you going to sulk?
BOBBY
A lot of understanding I get
around here.
She
starts to say something but stops herself.
ALICE
(after him)
At least get a ride home!
INT.
TAVERN - NIGHT
A
SERIES OF SHOTS
as
Bobby holds court to an audience of STUDENTS.
--Bobby
gesturing, talking, very animated. We wouldn't
understand
what the hell he was saying if we heard.
--Students
attentive, laughing, enjoying this character.
--The
bartender and waitress keeping everyone's drinks full.
--Bobby
increasingly playing to a pretty coed (JENNIFER) in
the
group, who flirts back.
EXT.
TAVERN - NIGHT
Bobby
is helped outside Jennifer on one side and another
student
(CAL) on the other.
CAL
Man, I really don't think you
should drive.
BOBBY
I don't have to. The car drives
itself. It's been down this road
many times. Knows the way by
heart.
The
BARTENDER hurries outside.
8.
BARTENDER
No, you don't, Bobby. I just
called a cab. Give me your keys.
BOBBY
Ah, come on...you know how many
times I've done this?
BARTENDER
And the odds get worse each time.
Keys. The cab is paid for. Here's
a little incentive.
He
holds out a small paper sack, just the right size for a
pint
of booze.
BOBBY
You clever devil ...
BARTENDER
Cab said it'd only be a few
minutes.
Bobby
takes the booze.
BOBBY
You're a good friend. But I keep
the keys. I'll need to pick up
the car before you open.
BARTENDER
Fair enough.
(to students)
Do you mind waiting with him?
JENNIFER
No problem.
She
smiles at Bobby. He smiles back.
EXT.
COUNTRY HOME - PORCH - NIGHT
Alice
sits on the swing. She looks old and tired.
Headlights
in the distance. She goes inside.
The
cab pulls up.
INT.
COUNTRY HOME - KITCHEN - NIGHT
Bobby
stumbles into the kitchen. He opens the oven, as if
looking
for his dinner.
9.
He
sticks his head in the oven.
Alice
enters.
ALICE
Bobby, no!
Bobby
surfaces.
BOBBY
You said my dinner was in here.
EXT.
COUNTRY HOME - DAY
Morning
sun.
Alice
comes out onto the porch and shakes a rug.
INT.
COUNTRY HOME - BATHROOM - DAY
Bobby
stands under a steaming shower. Becoming human again.
INT.
COUNTRY HOME - DINING ROOM - DAY
A
real breakfast at the dining room table.
Except
that Bobby is just picking at his food.
ALICE
You know what you need to do?
He
doesn't reply.
ALICE
Start a new novel.
BOBBY
Another unpublished novel. Just
what the world needs. Why didn't
I think of that?
ALICE
You know, it only takes one
break, Bobby. Then you're on your
way.
BOBBY
How many years have you been
saying that? Twenty?
She
doesn't reply.
10.
BOBBY
Twenty three, I think. Since grad
school.
ALICE
Well, how about first things
first. Eat your breakfast.
BOBBY
I'm not hungry.
ALICE
Oh, Bobby ... I don't know what
to do.
He
looks at her seriously.
BOBBY
I don't either.
EXT.
COLLEGE CAMPUS - DAY
Alice
crosses campus, heading for the Student Union.
INT.
COLLEGE CAMPUS - STUDENT UNION - CAFE - DAY
Alice
finds Tom Tom. She plops down.
An
awkward silence.
TOM
So he's worse than usual.
ALICE
Very. I found him with his head
in the oven.
TOM
You don't have gas, do you?
ALICE
It was the image that threw me.
He said he was looking for his
dinner but it was like he was
practicing. Usually he takes out
his frustration by getting back
to work. He just mopes. Drinks.
Sleeps. I'm afraid he's losing
his spunk.
11.
TOM
Hard to imagine Bobby without
spunk.
ALICE
That's what frightens me.
EXT.
COLLEGE CAMPUS - BUILDING - DAY
Behind
a building, a secluded nook.
Alice
and Tom are kissing passionately.
Alice
pulls away.
TOM
Let's get a room.
ALICE
Not today. Not while he's in such
a state.
TOM
Egomaniacs don't off themselves.
Alice
starts away, he pulls her back.
ALICE
I really have to go. I'm worried.
TOM
Understood.
She
moves off.
TOM
(after her)
Keep me up to speed!
INT.
COUNTRY HOME - BEDROOM - DAY
Alice
looks in. Bobby, dressed, is sprawled on the bed.
ALICE
Bobby?
He
ignores her. She moves close enough to see that his eyes
are
open.
ALICE
What's the matter?
12.
Bobby
turns and frowns at her. He looks like he can't
believe
what he heard.
BOBBY
What's wrong? Why should anything
be wrong?
ALICE
Don't be cute with me. I'm
worried about you.
Bobby
considers this, then rolls away.
Alice,
exasperated, leaves.
INT.
COUNTRY HOME - KITCHEN - DAY
Alice
on the phone.
ALICE
I'll get a room at the Days Inn.
Can you be there by ...
She
looks at the clock on the wall.
ALICE
... by three-thirty?
INT.
COUNTRY HOME - BEDROOM - DAY
Bobby
on his back now, staring up at the ceiling.
INT.
MOTEL ROOM - DAY
Alice
and Tom in an embrace of lovemaking.
INTERCUT
between
Bobby's depressed paralysis and Alice's growing
passion
making love with Tom.
INT.
COUNTRY HOME - DEN - NIGHT
Bobby
drags himself into the dark den, turns on the light,
and
sits down at his computer.
He
opens his mail program, activates a voice audio program
that
reads his mail aloud.
13.
COMPUTER VOICE
You have three new messages.
Message one. Subject: Hot honeys
waiting for you. Message: Hey,
big stud--
Bobby,
bored, clicks to next message.
COMPUTER VOICE
Message two. Subject: Gain six
inches. Message: Is your penis
too small for--
Click.
COMPUTER VOICE
Message three. Subject: I want to
be your agent. Message:
Rewind
click. Bobby leans toward the screen, attentive.
COMPUTER VOICE
Subject: I want to be your agent.
Message: Your short stories on
your website are incredible. I
greatly admire your work and want
to be your agent. Your voice is
original, powerful, dramatic, a
voice for our times. I have
fifteen years experience and have
just started my own agency. Do
you have a novel you're looking
to place? I would like to discuss
your writing future with you. End
of messages.
Bobby
stares at the screen, stunned.
Click,
click.
COMPUTER VOICE
Subject: I want to be your agent.
EXT.
COUNTRY HOME - NIGHT
Alice
drives up in her car, parks.
She
approaches the house. Bobby stands up from the porch
swing,
beer bottle in hand.
ALICE
Are you drunk?
14.
BOBBY
No, I'm not drunk. Where have you
been?
ALICE
I was visiting Nancy.
BOBBY
I have news.
ALICE
She hopes you're feeling better.
BOBBY
I have news.
ALICE
Are you sure you're not drunk?
BOBBY
For Christ sake, will you listen
to me? I have news! I think I
have an agent who wants to sell
my novel.
Alice
stares at him, as if waiting for the punch line.
BOBBY
Hello?
ALICE
What are you talking about?
INT.
COUNTRY HOME - DEN - NIGHT
They
sit together in front of the computer.
COMPUTER VOICE
Do you have a novel you're
looking to place? I would like to
discuss your writing future with
you. End of messages.
Bobby
grins at his wife.
BOBBY
My ship's finally come in, baby.
ALICE
She actually hasn't read your
novel yet.
15.
BOBBY
Great. Just what I need from you.
You'd fuck up a wet dream.
He
storms out.
EXT.
COUNTRY HOME - PORCH - NIGHT
Bobby
sits in the swing, swigging a beer. Alice comes out.
ALICE
Bobby? I just meant that you
don't want to jump the gun. Don't
you want to check her out first?
She may not be a very good agent.
BOBBY
She's an agent. Do I have an
agent? How can she be worse than
the agent I don't have?
INT.
COUNTRY HOME - DEN - DAY
Bobby
sits at the computer in his robe. A cup of coffee
nearby.
Typing:
BOBBY (VO)
I slept on what you had to say in
your email. Your timing is
perfect. I do have a novel I've
been seeking to place.
INT.
COUNTRY HOME - DEN - DAY (LATER)
Bobby
is dressed for classes, a wrinkled academic. He
listens
to an email.
COMPUTER VOICE
Please send me your novel as soon
as you can. For convenience you
may send it as an attachment.
INT.
COUNTRY HOME - DEN - NIGHT
Bobby
listening to an email, more casual than earlier.
16.
COMPUTER VOICE
I read your novel in one sitting.
I am speechless. It is amazing.
It is graced with drama,
suspense,
intrigue. It profoundly speaks to
the human condition.
INT.
COUNTRY HOME - DEN - NIGHT (LATER)
Bobby
and Alice listening.
COMPUTER VOICE
It profoundly speaks to the human
condition. I would be very proud
to be the literary agent for such
a spectacular novel. I believe
publication and prizes are in the
future for this wonderful book.
I've attached my agent-writer
contract for you to sign and fax
to me. End of messages.
Bobby
takes a deep breath. He lets it out slowly.
BOBBY
Well?
ALICE
She certainly is ...
BOBBY
Is what?
ALICE
Expansive.
BOBBY
Expansive?
ALICE
I've never heard anyone praise
something so highly.
BOBBY
So that's it. It bugs you. You
can't stand it that somebody
actually thinks I'm a great
writer.
Storming
off again.
ALICE
I just want you to be careful.
17.
He
stops.
BOBBY
About what?
ALICE
About her. In case she's ...
BOBBY
She's what?
ALICE
In case this is a scam of some
kind.
BOBBY
A scam!? A fucking scam!?
And
now he's gone.
INT. TAVERN - NIGHT
Bobby
is holding court. Cal and Jennifer are among the
students
listening.
BOBBY
The writer's only job is to
write.
It's not to appear on television.
It's not to butt-hole the
marketplace. It's not to write
what the public wants. It's to
write what he needs to write,
what he cannot not write. A
writer writes for the gods. A
writer writes for posterity. Thus
it's a lonely job -- interrupted
only occasionally by the strike
of lightning, the sudden
appearance of a supporter, an
agent who understands the
writer's
work, an agent on the same
literary wave length, an agent
who has that rarest of all human
qualities, good literary taste.
Tom
Yawley enters, looks around, finds Bobby.
CAL
When's your novel getting
published, Prof. Sharp?
BOBBY
Within the year, I should think.
18.
JENNIFER
Will you sign my copy?
BOBBY
Only if you dance for me.
He
takes Jennifer's arm and drags her near the juke box,
blaring
with music. She shoots a "what do I do?" glance to
Cal,
who grins back.
Tom
watches them. Bobby tries hard but is not a good dancer.
Jennifer
looks embarrassed but gamely goes along.
The
tune ends. Tom steps forward.
TOM
Bobby! I understand
congratulations are in order.
He
takes Bobby's arm and leads him off. Bobby tries to catch
Jennifer's
eye but she already hurries back to Cal.
Tom
leads Bobby to a distant booth. They slide in.
BOBBY
You heard.
TOM
Alice called me. She wants you to
exercise some caution here.
BOBBY
Alice. Her problem is she never
believed in me. It pisses her off
someone besides myself thinks I'm
a genius.
TOM
Bobby, I want you to listen to
me.
I've been doing some research on
the Internet.
BOBBY
You came here to tell me about
your research?
TOM
Research on agents. The Marianne
Toledo Literary Agency is not a
member of the Association of
Authors' Representative. In fact,
I couldn't find her listed in any
of the standard directories.
19.
BOBBY
Alice put you up to this.
TOM
She doesn't want you to be
disappointed.
BOBBY
She isn't in the directory
because she's new. She's a new
agency! She worked fifteen years
for somebody else, and now she's
starting her own business. I'm
probably her first client.
Starting at the top.
He
grins.
INT.
COUNTRY HOME - KITCHEN - DAY
Alice
stands at the stove. Bacon fries in a pan.
ALICE
Bobby, breakfast is almost ready!
INT.
COUNTRY HOME - DEN - DAY
Cal
sits at the computer, listening to a document being read
to
him.
COMPUTER VOICE
The Agency will be entitled to
receive reimbursement from the
author for the following specific
expenses relevant to
representation and promotion of
the project: manuscript/proposal
copying costs, long-distance
telephone calls between author
and agency and agency and
publisher, fax costs, necessary
overnight deliveries and express
costs--
INT.
COUNTRY HOME - KITCHEN - DAY
Alice
serves up the plates.
ALICE
Bobby! Breakfast!
20.
INT.
COUNTRY HOME - DEN - DAY
Bobby
stands up.
COMPUTER VOICE
The Agency agrees to forward to
the Author copies of all
correspondence received from
publishers in reference to the
Author's projects.
He
clicks off the mail.
INT.
COUNTRY HOME - DINING ROOM - DAY
Alice
is seated and eating when Bobby enters.
BOBBY
I'm going to sign the contract.
Alice
doesn't respond. Bobby sits down.
BOBBY
It's the right thing to do.
ALICE
Did you want Tabasco for your
potatoes?
Bobby
glares at her.
EXT.
MOTEL - NIGHT
Alice's
car is parked in front of a room.
INT.
MOTEL ROOM - NIGHT
The
end of lovemaking. Alice and Tom roll apart, exhausted.
Alice
quickly recovers. She hops out of bed.
TOM
What are you doing?
ALICE
I want to show you something.
She
has brought a laptop, which she opens on the small table
in
the room.
21.
TOM
First sex, then we browse the
net.
This is a side of you I haven't
seen before.
ALICE
Marianne Toledo has a history.
Interested,
Tom gets out of bed and joins Alice at the laptop.
INT.
COUNTRY HOME - LIVING ROOM - NIGHT
Intervention.
Bobby sits in his usual chair. Alice and Tom
sit
across the room.
TOM
You can't dismiss something like
that.
BOBBY
How do you know they're not just
rumors? Was she charged with
fraud? Was she sued? Did she go
to jail? Of course not.
TOM
It's much more subtle than that.
BOBBY
She was an employee there. Did it
ever occur to you that she left
to start her own agency precisely
because she disagreed with
policy?
Look, I'm not an idiot, despite
what Alice has been telling you.
ALICE
(to Tom)
See what I have to put up with?
BOBBY
It's standard practice for
clients to pay postage and other
expenses relevant to their
projects.
Tom
looks at Alice. She shrugs.
BOBBY
Standard practice. They all do
it.
It comes out of your royalties.
22.
TOM
She hasn't asked you to send her
money?
BOBBY
Of course not.
A
pause. Tom tries again.
TOM
She's in Oregon. Shouldn't a
literary agent be in New York?
BOBBY
Have you ever heard of email? The
global village? It doesn't matter
today.
He
stands up.
BOBBY
(to Alice)
If you ever decide to cheat on
me, I recommend Tom. You two
think alike.
He
leaves the room.
Tom
looks horrified.
INT.
COUNTRY HOME - DEN - NIGHT
Bobby
opens a bottle of champagne. He's alone.
Pop!
He pours himself a glass, sips.
At
the computer, where an email has been started. He types.
BOBBY (VO)
I'm faxing the signed contract to
you tonight.
Click,
he sends it.
He
goes to the desk and signs the contract.
He
faxes if off.
He
toasts.
23.
BOBBY
To the gods of literature! And to
the Marianne Toledo Literary
Agency!
EXT.
COLLEGE CAMPUS - DAY
Students
cross campus between classes.
INT.
COLLEGE CAMPUS - BOBBY'S OFFICE - DAY
Bobby
reads a manuscript. Sitting, waiting anxiously, is
Jennifer.
Now
and again Bobby peers up from his reading. Looking at
Jennifer,
he imagines:
INT.
BEDROOM - NIGHT (FANTASY)
Wild
lovemaking, Jennifer on top, riding him, nearing
orgasm...
BACK
TO REALITY
Bobby
coughs, recovers, goes back to reading.
Jennifer
looks like she's going to pass out from waiting for
a
verdict.
EXT.
COLLEGE CAMPUS - DAY
Bobby
and Jennifer walk across campus together.
JENNIFER
I can't believe you think it's
that good.
BOBBY
The kernel, the concept. First
rate. You still have work to do
on the execution.
JENNIFER
That's the nicest thing anyone
ever said about my writing. Thank
you so much, Prof. Sharp. I'll
see you in class!
She
flits off like a happy butterfly.
24.
Bobby
watches her ass as she goes.
PROF. ANDREWS
Nasty thoughts, professor.
Andrews
has appeared beside him. Bobby ignores the remark.
PROF. ANDREWS
Rumor has it that an agent is
ecstatic over your novel.
BOBBY
Some things, professor, are more
important than the Sherwood Best
Novel Prize.
Bobby
smiles and departs.
INT.
COUNTRY HOME - DEN - NIGHT
Bobby
at the computer, typing an email.
BOBBY (VO)
I'm so encouraged by your
enthusiasm that I've started a
new novel. A two-year writing
block has ended! May the gods of
literature bless you, Marianne
Toledo.
A
SERIES OF SHOTS
Bobby
in the focused heat of creation, writing at the
computer.
--late
at night, in his shorts
--early
in the morning, in his robe
--taking
notes at the dinner table, ignoring Alice.
--waking
up in the middle of the night to scribble notes in
a
bedside journal.
--back
at the computer. Writing, writing, writing.
INT.
COUNTRY HOME - DEN - DAY
Bobby,
dressed for school, checking his mail.
25.
INT.
COUNTRY HOME - KITCHEN - DAY
Alice
setting the small table.
ALICE
Breakfast!
INT.
COUNTRY HOME - DEN - DAY
Bobby
listening to an email.
COMPUTER VOICE
As you know, in an agent-author
relationship, the author is
responsible for postage and other
specific expenses associated with
marketing your book. To this end,
please forward a check for $300,
which should cover about six
months of my marketing expenses
on your wonderful novel. As soon
as I receive your check, the
marketing will begin. I don't
expect it to take long to place
it.
INT.
COUNTRY HOME - DEN - DAY
Bobby
and Alice eat breakfast. Silence until:
ALICE
You're unusually quiet. Anything
going on?
BOBBY
Thinking about my lecture.
He
may fool Alice but he doesn't fool us.
INT.
COLLEGE CAMPUS - BOBBY'S OFFICE - DAY
Bobby
at his desk. His checkbook out. Should he write it or
not?
He
puts down the checkbook. He goes to the computer in the
office.
Brings up the email program.
Typing.
26.
BOBBY (VO)
I have a question about your
request for marketing expenses. I
was under the impression that the
standard practice was to deduct
these from money from the sale
rather than asking for them up
front.
INT.
COUNTRY HOME - DEN - NIGHT
Bobby
getting the agent's response.
COMPUTER VOICE
You are perfectly right! However,
since my agency is new, at this
point in time I have no income,
and I think it is fair if the
client helps me during this
transition period by paying for
specific project-related costs
upfront. If this is a burden for
you, of course I can make an
exception. I want nothing to get
in the way of our relationship,
which I expect to be a long one
to our mutual benefit.
INT.
COUNTRY HOME - LIVING ROOM - NIGHT
Alice
puts down a magazine and gets up from reading.
INT.
COUNTRY HOME - DEN - NIGHT
Bobby
is at the desk, writing a check. Alice enters.
Bobby
guiltily tries to hide what he is doing.
ALICE
I think I'll visit Nancy. She
hasn't been feeling well.
BOBBY
Give her my best.
ALICE
What are you doing?
BOBBY
Just paying some bills.
27.
ALICE
I may be late.
She
is gone. Bobby finishes the check, rips it out.
INT.
COUNTRY HOME - DEN - NIGHT (LATER)
Bobby
at the computer.
BOBBY (VO)
As the old cliche goes,
"check's
in the mail."
INT.
COLLEGE CAMPUS - GYM - DAY
Bobby
and Tom playing handball. Both are not in the best of
shape,
making it an inept but close game.
INT.
COLLEGE CAMPUS - LOCKER ROOM - DAY
Bobby
and Tom dress after a shower.
TOM
Any word from the agent?
BOBBY
She's starting to send out the
manuscript.
TOM
Good. I hope it works out for
you.
BOBBY
Do you?
TOM
Of course I do. What a thing to
say.
BOBBY
I'm sorry. I've been in the
margins for so long, I can't
remember who my friends are.
TOM
I'm your friend. Remember it.
28.
INT.
MOTEL - DAY
Good
enough a friend to bang his wife: Alice and Tom are at
it
again.