The Verification (1)
FADE IN: INT. PLANT - DAY In a plastic plant, workers grumble, as they take rolls of film from extruders and place them on machines that convert them to finished products. Supervisors walk through aisles, checking work progress and product quality. INT. OFFICE In a cramped office, several men work on desks. ALAN TAYLOR, a young man in his thirties, wearing eyeglasses, studies a blueprint on a desk that is cluttered with piles of documents and files. A loud plant whistle is HEARD. Several men exit the office. Alan takes out a sandwich from a lunch pail and takes a bite out of it. A voice over an intercom. PRICE (O.S.) Alan will you come into my office please? ALAN (at intercom) Yes sir. He takes a large bite out of his sandwich. He gets up -- his shoulders are hunched -- He exits the office. INT. PRICE'S OFFICE The office is neat with everything in its proper place. PRICE, a tall man and Alan study a large blueprint spread over a large desk. PRICE I want you to study these blueprints. ALAN What kind of a plant is it? PRICE Plastics. It'll be ours shortly. ALAN Where are they located? PRICE In Chicago. We'll be moving our operations there. Alan stands stunned PRICE It'll be a step up for you and you'll be getting a hefty raise. ALAN I'll have to discuss this with my wife. PRICE We want you to make a trip out there and give us a detailed report. Price hands him the blueprints EXT . DOWNTOWN - DAY The sky sparkles in the sunlight. The area teems with activity The luncheon crowd move in herds among the parked cars. Cars and buses lumber along on streets, bumper to bumper. People pour in and out of shops, office buildings, restaurants and galleries. INT. STEWART'S REAL ESTATE CO. Employees work in a maze of cubicles. BARBARA TAYLOR, an attractive young woman in her thirties sits at a desk with MR. and MRS. OHARA, a middle age couple. Barbara hands Mrs. Ohara keys and a booklet. BARBARA If there's anything else you need that we can help you with, just call us. MR. AND MRS. OHARA (in unison) Thank you. BARBARA It was our pleasure. Mr. And Mrs. Ohara exit the office INT. STEWART'S OFFICE CHARLES STEWART, a dapper looking man in his forties and Barbara sit at a desk. STEWART This makes a record month for us, thanks in great part to you. BARBARA We've had some good properties to sell STEWART I believe you're ready for a higher position. BARBARA I'm happy being on commission. STEWART I'm offering you a partnership. You'd have many perks as a partner. BARBARA (smiling) That's what I'm afraid of. STEWART We could make a great team. We could expand our operations to different territories. I need you. BARBARA Thanks for the offer, but I can't spare anymore time away from my family. STEWART Someday you'll see things differently. EXT./INT HOUSE-NIGHT The sky is charcoal. The wind blows wildly. Alan and Barbara and their children- TOMMY, a boy of six and LEAH, a girl of eight - are finishing dinner. STELLA, a golden retriever, sits on the floor beside them. LEAH Mommy, can we watch TV? BARBARA Yes, but don't make a mess there. Leah takes Tommy's hand and they exit the room. Barbara gathers the dishes and silverware and walks into THE KITCHEN Barbara places the dishes, silverware and glasses into a dishwasher and she returns to THE DINING ROOM BARBARA If the company does move, it'll be without us, not after all the work we've put into the house. ALAN We can always sell the house and buy a new one when we relocate. BARBARA That's just like you. You've never had the backbone to fight back. ALAN I don't make the decisions. They do and there's nothing we can do about it. BARBARA Well this time the decision is ours, and we're not moving to Chicago. ALAN I'd be getting more pay now and a... BARBARA ...How many times have I heard that before...I'm not moving and that's final...I'm going to bed. Alan stares at her, as she climbs the stairs. Stella, the dog snuggles up against Alan. She walks to the door and turns toward Alan. ALAN All right. We'll go for a walk. Alan gets a leash from the closet, hooks it on to Stella's collar and they exit the house. EXT. WOODS - NIGHT The stars wink at a black velvet sky. Alan and Stella walk in the woods. Stella energetically pulls Alan with her. ALAN Stella slow up. They continue their walk. Alan's face is wrinkled with anguish, as he mumbles some words and shakes his head, After a beat, Stella suddenly stops. She starts to whine softly and pull Alan backwards. A whirling sound is heard and gets louder. Bright lights whirring above, shed a blazing radiance. Alan holds Stella tightly. He smiles, as he stares at the sky. Within a flash, the whirling sound stops and the sky turns black. Alan and Stella walk toward the house. INT. BREAKFAST ROOM - DAY Barbara gathers Leah and Tommy. Alan drinks a cup of coffee. His bag and raincoat are beside him. BARBARA (to children) Let's hurry now or we'll be late. (to Alan) When's your flight? ALAN Eleven BARBARA Call me when you get there. ALAN Okay. She and the children kiss Alan, then leave. Alan reads his newspaper while drinking his coffee. After a beat, the whirling sound is heard. Alan gets up and looks out of the window. Bright lights blaze in the sky. He exits the house. He looks up at the sky. He stands rapt, his face twisted with disbelief. A large saucer type space ship hovers above him. Its multicolor lights form a funnel that envelops him. The funnel slowly lifts him into the space ship. Within a flash the ship darts off the sky. INT. SPACE SHIP The ship is shrouded in a gray mist. Alan is laid out on a large table. Several strange looking aliens in white gowns and masks, hover over him. They probe his body with long needles and converse with each other in a soft strange language. Alan's attempts to move his body are unsuccessful. He opens his mouth to scream, but no sound is heard. The aliens continue to probe Alan's body. LATER EXT/INT. HOUSE - DAY Alan walks into the house. He sits for a moment, then stares at his bag and raincoat. He looks at his watch and shakes his head as if to clear it. He picks up a phone and punches a number. ALAN Hello..This is Alan Taylor... I'm waiting for your taxi...He's on his way?... Thank you. He hangs up. He puts on his jacket and gathers his bag and raincoat. INT. AIRPORT TERMINAL - NIGHT Passengers pour in and out of terminals. Alan with a carryon bag, emerges from a terminal. He scans the area. He stops, his face a mask of disbelief. A man, the mirror image of himself, dressed in a sharp designer suit, walks past him. Alan shakes his head as if to revive. Billy (O.S.) Mr. Taylor. BILLY GORDON. A young man in his twenties approaches Alan. BILLY Mr. Taylor, I'm Billy Gordon from Westgate. ALAN Oh! Hello. How did you know it was me? BILLY They showed me your picture. Do you have anymore bags? ALAN No, this is it. Thanks for meeting me. BILLY The car's outside. They proceed to walk to the airport exit. EXT. AIRPORT Billy and Alan get into a chauffeured limousine and drive off. INT. LIMOUSINE Alan scans the interior of the limousine. ALAN This is awfully nice of you people. BILLY (handing Alan a card) I've already checked you into the hotel. If you need anything at all, call me at any time at this number. ALAN Thank you. Alan places the card in his wallet. After several beats, the limousine pulls up to a hotel. Alan emerges from the limousine. He waves to Billy. Billy waves back, as the limousine drives off. Alan enters the hotel LATER INT. HOTEL ROOM Alan talks on the phone INTERCUT Barbara at home. ALAN I should be through here in a day or two. BARBARA I haven't changed my mind. I'm not leaving my home or job. ALAN How are the children? BARBARA They're fast asleep. ALAN Give them a kiss for me. BARBARA Call me before you leave. Barbara hangs up. Alan holds the phone for a moment then hangs up. EXT/INT. RESTAURANT - NIGHT Alan is finishing his meal with a coffee. A waiter arrives with a check. Alan signs the check. WAITER Thank you. Would you like a taxi Sir? ALAN No thanks. It's just a short walk to the hotel. WAITER. Have a good evening. Alan gets up from his table and walks out of the restaurant and into THE STREET Alan walks on the street. A misty fog blankets the quiet, empty street. Alan turns up his jacket collar in an attempt to keep the wind away. He enters an alley and continues walking. Ahead of him. three young men with long hair, dressed in chinos smoke cigarettes. Alan approaches and is stopped by one of them. FIRST MAN Pops, can you spare a cigarette? ALAN I don't smoke. Alan starts to walk away, when he is confronted by the second man. SECOND MAN How about some cash instead? The men surround Alan. ALAN I've only got a few dollars in cash. THIRD MAN We'll take it. Alan starts to take out his wallet. The first man hits Alan on the head with a Billy-club. Alan crashes hard to the ground. He is unconscious. The men quickly rifle his clothes, taking his wallet, watch, gold ring and jacket. They quickly run away. LATER Alan wakes up. He holds his head, his face twisted with pain. He attempts to get up, but falls back to the ground. He sits up and shakes his head, his body shivering violently. FRED, a barrel-chested man and HARRY, a small cricket of a man, walk toward Alan. FRED Hi, what's doing? ALAN I don't have anything. HARRY We don't want anything. Alan holds his head. FRED Looks like someone's jumped you. I'm Fred and this is Harry. What's your name? ALAN ...I don't remember. FRED We'll call you Smith. Joe Smith. That's a good moniker. Here, have a swig. It'll do you good. Fred and Harry help him to his feet. Fred hands him a small bottle of whiskey. He helps him drink from the bottle. Alan coughs. FRED Come with us. We're going up north. We'll get you squared away Fred and Harry lead Alan through the alley. INT. PRICE'S OFFICE Price talks on the phone. PRICE Mrs. Taylor, he hasn't shown up yet... And you checked the hotel? It not like him at all... Of course. He knew how important the meeting was...Something's terribly wrong...Call me if you hear anything...Yes, he's got to be found He hangs up, his face is locked in confusion and anguish. INT. POLICE STATION - DAY In a small office, Casey, a young, lean, muscular detective sits at his desk. Stacks of paperwork, dust-gathering, water-stained letters are on his desk. Barbara sits on a chair in front of him. CASEY Believe me I do sympathize with you. BARBARA Then why aren't you doing something about it? It's been two weeks that he's missing. CASEY We just don't have the man power to work on your case now. We haven't even started on some of our hi-priority cases. BARBARA This has been a dreadful nightmare. CASEY You may want to look into an outside agency. BARBARA (getting up) And we pay taxes for you police. Casey gets up from his chair. He attempts to shake hands with Barbara. She evades his gesture and storms out. EXT. FARM - DAY The farm sparkles in the sunlight. Men and women pluck vegetables and fruit from the plants and trees and place them in baskets. Fred, Harry and Alan work arduously in picking vegetables from the ground. Harry's hair has turned gray. His face is wrinkled and weather worn. He is unsteady on his feet. Alan stands up for a moment. He wipes his face with a handkerchief and stretches his body. He is tan, his body erect and he wears no eyeglasses. FRED Well Joseph. Next week we'll be back in Chicago. ALAN I'll be sorry to leave. BETTY, a young, attractive woman, carrying a water bag approaches. HARRY (smiling) I wonder why? Betty fills a large cup of water and hands it to Alan. ALAN Thanks Betty. He drinks the water thirstily. BETTY Are you going to the dance tonight? ALAN I haven't made any plans to. BETTY Dad's letting me have the car. We could go together. ALAN Would your Dad approve? BETTY Of course. He likes you. ALAN Then I'd be happy to go. Betty gives him a quick peck on the cheek. She proceeds to dole out the water to the other farm workers. FRED We've got a few more jobs lined up when we get back. Join us for a drink tonight and we'll talk about it. Alan stares at Betty, as she continues to dole out the water. Betty turns toward Alan. She gives him a broad smile. ALAN I can't make it tonight. BLACK SCREEN Dance music is HEARD. FADE IN INT. BARN - NIGHT Couples are dancing to a slow beat. Young men and women stand by the wall observing the dancers. At a long table, people partake in refreshments. Alan and Betty dance closely. Betty rests her head on Alan's chest. She looks up at Alan. BETTY Are you really leaving? ALAN It looks like it. BETTY Dad wants to give you some work here after the season. ALAN That's very kind of him. BETTY Dad says that you must have been an engineer. The music stops. Alan looks ahead. ALAN There they are. Alan and Betty approach Fred and Harry. ALAN What are you guys up to? FRED We're going to town. BETTY I hope you're not taking Joseph away. HARRY (with trembling voice) You're welcomed to come along. Betty locks eyes with Alan searchingly. Alan smiles. ALAN We'll do it another time. Have a good time. FRED See you tomorrow. Alan and Betty walk out of the barn. EXT. BARN The sky is blue with wisps of clouds. BETTY You and your friends are very close. Aren't you? ALAN ` I'd be completely lost without them. BETTY What's wrong with Harry? ALAN He's been aging rapidly. BETTY Is there anything that can be done? ALAN I don't know. Fred's taking him to a specialist when we get back to Chicago. BETTY I hope they can do something for him. ALAN We hope so. BETTY You're so different from your friends and everyone else here. BETTY Who are you and where do you come from? She looks into his eyes searchingly ALAN I don't know who I am. I only remember Fred and Harry. They're my dear friends. BETTY And what about me? ALAN You make me very happy. BETTY Then don't leave. Betty comes close to Alan. She kisses him lightly. A lull, then she takes his hand. BETTY Let's dance. They return to the dance floor. LATER EXT. FARM HOUSE - NIGHT A car pulls up to the driveway of the house. INT. CAR Alan and Betty are in a close embrace. They kiss long and passionately. BETTY I'll be anything you want me to be. Just promise me you won't leave. ALAN I'd only complicate your life. BETTY How could that be? ALAN I can't give you anything. BETTY ...I guess I've been making a fool of myself. ALAN I had a very good time tonight. They exchange doleful looks at each other. Alan gets out of the car and walks toward the farm house. He stops midway, turns around and waves to Betty. Betty waves back and drives off. NEXT MORNING EXT. FARM HOUSE The farm workers carrying their belongings, board trucks and cars. Fred helps Harry onto a truck, He then climbs aboard the truck. Fred motions to Alan to get on the truck. Alan and Betty stand a distance from the trucks. Alan holds his hand up, telling them to wait. BETTY You'll write won't you? ALAN Of course. They're waiting for me. I've got to go. Alan kisses her. Betty holds him tightly. Alan entangles himself from her, until his hands slowly slip away from hers. He runs to the truck, throws his belongings on the truck and climbs aboard. He waves and smiles at Betty. Betty waves back, her tears rolling down her cheeks. EXT. BUS TERMINAL - NIGHT A bus arrives at the terminal. Passengers board the bus. Fred, Harry and Alan stand near the bus. ALAN I'd like to come along with you. Maybe I can be of some help. FRED It's not necessary. ALAN I wouldn't mind. FRED It's better this way. We'll see each other again. ALAN How will I be able to reach you? FRED We'll find each other. Fred hands him a sparkling jade amulet. ALAN What is this? FRED It'll be your good luck charm. ALAN How do I use... ALAN You'll know when the time comes. Guard it carefully. ALAN I'll miss you guys. Alan embraces Fred and Harry. Fred and Harry board the bus. Alan stares at the sparkling amulet and waves at the bus, as it drives off. EXT. CITY OFFICE BUILDING - DAY It is a cold bitter morning. The wind blows fiercely. In front of a tall office building, several homeless people sleep in front of the building entrance. They are huddled together to escape the fury of the cold wind. Sanitation men pick up trash and haul it onto trucks. People walk briskly in all directions. A police wagon stands at the curb. A policeman walks up to one of the homeless. He twirls his stick, then slams it on the soul of his shoe. POLICEMAN (loudly) Come on move it. And I mean everyone. Let's go. The homeless slowly wake, their eyes glazed and bloodshot. The policeman shoves his stick into their bodies. POLICEMAN All right! Up you go, into the wagon. The homeless get up. They gather their belongings and trudge toward the police wagon. A figure opens his blanket. It is Alan, His clothes are tattered and he has a week's growth on his face. He gets up and follows the others into the police wagon. EXT/INT. GEORGE'S ESTATE - DAY A car drives along a tree-lined road that sweeps up to a driveway of an imposing mansion. The morning dew glistens on a lush, green lawn, carefully trimmed. A servant in a white jacket, walks a small white poodle. GEORGE CHANIN, Barbara's father, a tall man with chiseled features, stands at the driveway. Barbara, Leah and Tommy emerge from the car. Leah and Tommy rush to George. They hug him tightly. Barbara kisses George. GEORGE How was the trip? BARBARA Traffic was a bit heavy with a few
Copyright © 2001 Stanley Heisler |