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by Dragan (dragan_tomasevic@hotmail.com)
Rated: 
Genre: Drama
User Review: NOT YET
RATED
Drama/Thriller
Peter Boshensky, a thirty year old man moves to a small czech village. As he attempts to leave behind the pressures and the fishbowl universe of the city world, he suddenly meets a female from the village named Camille Costa
As they automatically connect, they make a pact inwhich they promise that they will meet on November 27th.
As Peter awakes, things seem to be off-kilter. As the day unravels strange things occur, someone has broken into his home, his car is gone and Camille has suspiscously vanished.
Peter, must come to grips with himself to get to the bottom of what is really going on.
Did she just leave him behind? Is there a small town conspiracy? or is it just a blimp of his imagination
P.S - just a short script, dates are written numerically because it is more effective. Please, read carefully.
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
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FADE IN:
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INT. WASHROOM - NIGHT |
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A tall man stands in front of the mirror. The man is in his
early thirties and seems to have a light peach-fuzz on his
face. The man has dark hair, with dark features and appears
very keen. The man is PETER BOSHENSKI. Peter crouches down
and grabs a shaving cream can from the cabinet. He sprays
shaving cream into his hand and evenly spreads it across his
face. A date is displayed, NOVEMBER 26, 1993.
Suddenly, he stares at a CARD that lies next to the mirror.
On the card is written a number and a woman's name on the
top, CAMILLE, written awkwardly in pen. Peter smiles and
begins to shave. Suddenly, he CUTS himself the slightest bit
above the lip origin. |
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PETER
Son of bitch! Everytime. |
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INT. BEDROOM - NIGHT |
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Peter, opens his closet. The same wardrobe is displayed on
hangers. A dark t-shirt with a grayish type of dress paints
with the same type of sports shoes lying underneath each
hanger. Peter, sighs as he grabs a hanger.
cut to: Peter, sits quietly in the dark at a table in his
well built village cabin. The cabin consists of three areas.
A kitchen with a wood burning stove, a washroom and a living
area, which seems to be very absent with anything other then
a neat bed, a table and a phone. Peter sits staring at the
CARD and staring towards the phone.
Peter smiles and picks up the phone. He begins to DIAL the
number on the card. Suddenly, Peter HANGS UP the phone. He
sighs as he looks to the CARD and slowly picks-up the phone. |
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YOUNG WOMAN'S VOICE (os)
Peter? |
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PETER
(Surprised)
Who is this? |
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YOUNG WOMAN'S VOICE (os)
Is this Peter? |
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Peter is silent on the phone. |
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2.
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YOUNG WOMAN'S VOICE (os)
I'm sorry. |
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YOUNG WOMAN'S VOICE (os)
Yes, it's me Camille. |
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The woman on the phone is CAMILLE COSTA, she is very sweet
and kind. She seems very practical, yet some what
instinctive. |
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PETER
It's Peter. I was just calling. |
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CAMILLE (os)
I know, I picked up the phone and
there I heard someone breathing. |
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PETER
It's always strange when that
happens. |
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CAMILLE (os)
I know, you mean to call someone,
but there they are, already
waiting for you. |
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Peter and Camille are both silent. |
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PETER
When I saw you today... |
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INT. GROCERY STORE - DAY |
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Peter, is quietly standing in the isle. He grabs a loaf of
bread and places into his cart. Peter continues down the
isle and heads to the cashier. Peter notices a wonderfully
beautiful woman with flowing, brunette hair and rosy red
cheeks. This is CAMILLE COSTA, she smiles at Peter. Peter,
smiles back and seems to be taken back by her presence.
Suddenly, Peter drops his groceries on the ground. Camille
laughs as he attempts to pick it up. |
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CAMILLE
(laughingly)
Do you need help? |
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3.
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PETER
No, no thank you. I'm fine. |
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Peter places his items back into the basket. He stands in
front of Camille and places his items on the counter. |
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PETER
You have to forgive me. I'm new
here. |
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CAMILLE
Really? Where do you come from? |
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PETER
I come from the city. |
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CAMILLE
Well, it's nice too see an
addition to the village. We
desperately need it. |
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PETER
It seems very nice here. It seems
quiet. |
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CAMILLE
It's baron.
(chuckles)
Well, at least that's what I
think. |
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PETER
It doesn't seem that bad. Every
town has something good about it.
(stares towards Camille)
How much do I owe you? |
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CAMILLE
That will be twenty-four euros. |
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Peter opens up his wallet and coins fly all over the
counter. Peter feels embarrassed, while he collects the
coins. Camille begins to chuckle. |
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PETER
I'm incredibly clumsy.
(Peter sighs as he stares at his
euro bills)
I only have, eighteen euros. I'm
sorry, I'll come back with mor- |
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4.
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CAMILLE
Don't worry.
(She smirks at Peter)
It's close knit here. You pay me
some other time. |
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PETER
Really? I mean thank you so much.
I'll pay you as soon as I can. |
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Peter and Camille stare silently at one another,
flirtatiously. |
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PETER (VO)
I meant to say that you were the
most wonderful person i've met in
my entire life. |
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PETER (cont.)
Well, it was nice to meet you. |
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CAMILLE
Yes, same to you. |
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Peter exits the store as Camille stares desperately from the
store window. |
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EXT. STREET - DAY |
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Peter walks slowly down the street as he glares at the
vineyard down the road across the store that seems to lead
to a graveyard. Camille exits the store and follows Peter
from behind. |
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Peter turns and notices Camille quickly walking towards him.
She hands Peter a card. |
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CAMILLE
A card, it must've fell out of
your wallet when you're change
fell out. |
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5.
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Camille leaves Peter and enters back into her store. Peter
stares at the card and notices that it is a discount card
for farm equipment. It isn't Peter's card. |
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PETER
(quietly)
Farming tools? |
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Peter turns the card and notices a number written on it,
with CAMILLE written on the back. Peter smiles. |
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INT. GROCERY STORE - DAY |
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Camille is packing groceries for a sweet elderly woman
named, Snijka. Camille hands the groceries to her. |
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SNIJKA
Thank you so much, dear. |
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CAMILLE
Your welcome, Snijka. Come
anytime. Tell Dragan that I said
hi. |
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As Snijka turns away from Camille, Peter enters the store
quickly and hands Camille a card. Camille is surprised. |
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PETER
(hesitantly)
Just in case...you know. You need
me for some reason. I don't know
(laughs)
Okay? |
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PETER (VO)
I don't know why I did that. It
wasn't part of my character. I
don't fall for woman quite easily,
but there I felt like a ten year
old boy. |
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Peter exits the store. Camille turns the card given by Peter
and written on it is a number, with Peter's name on it.
Camille smiles. |
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6.
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INT. BEDROOM - NIGHT |
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Peter, sits quietly in the dark with the phone next to his
ear. Camille's breath is heard through the phone.
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PETER
Out of all the countries, out of
all the towns, out of the grocery
stores. I had to walk into yours. |
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CAMILLE (os)
(giggles)
I'd call you Humphrey Bogart, but
you're not nearly as slick. |
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PETER
Oh, i'm not all that bad. I mean
at least were talking about
something instead of the money I
owe you for the bread I bought the
other day. |
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Peter and Camille quietly chuckle. |
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CAMILLE (os)
Why did you come to this town? I
mean there is nothing here. |
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PETER
The city, I couldn't stand it
anymore. That place, it was
beginning to make me too hard.
It's a ruthless place to be. It's
not a nourishing environment when
your encompassed in the
mello-dramatic that occurs in the
city world. |
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CAMILLE (os)
What about your family? You've
just seem to leave them behind?
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Peter sighs quietly |
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7.
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PETER
Can I tell you a secret? |
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PETER
I never told this to anyone
before. |
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CAMILLE (os)
Oh my god. You're not a serial
killer, are you? |
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CAMILLE (os)
Good, because the last guy I met
was and that didn't really work
out. |
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Camille chuckles, while Peter also softly laughs. |
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PETER
I don't have a family. |
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CAMILLE (os)
Oh, i'm sorry...I didn't have any
idea. I wouldn't have asked if I
knew. |
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PETER
No, no you're not offending
anyone. Nobody that i've come
across knew, except well now you.
It's frowned upon around the
places I've lived, so I kept it
hidden in the vault to myself. |
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CAMILLE (os)
Well, what do you tell people when
they ask you about your family? |
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PETER
Well, my father who I properly
named Demetri was an accountant at
the most prestigious bank in Czech
Republic, my mother Lilja was a
film executive and my brother
Maxim, well he was the family
fuck-up. It was to display a
self-importance and a self-esteem,
but in reality I was quite
(MORE)
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8.
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PETER (cont'd)
pathetic. I couldn't tell anyone,
anything else. I couldn't trust
them. |
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CAMILLE (os)
But you trust me. |
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PETER
I don't have any other choice, now
do I? |
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CAMILLE (os)
This a shot for shot deal, Peter. |
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PETER
I don't understand. |
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CAMILLE (os)
When someone delves into a secret
it's only customary for the other
to inflict one back. I can tell
you a secret about me. |
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PETER
No, it's not neccesary. |
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CAMILLE (os)
No, it's alright. We can hold each
other with equal liability to our
secrets. |
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CAMILLE (os)
I have a spot in my home. A secret
spot. |
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PETER
What, like a hiding spot? |
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CAMILLE (os)
No, not really. I mean I don't go
sit there when I get sad about
something or play with an
imaginary friend. It's more of a
place of sacred items of mine.
Items that nobody knew about. A
place nobody knew about. |
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9.
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PETER
What do you keep there?
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CAMILLE (os)
Well, things ordinary people would
consider childish. It's full of
drawings, photographs from my
childhood, love letters that I
have never sent out. I keep it
next to my bed in the vent. It
doesn't work anyways, so i'm not
worried that it will catch fire. |
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PETER
Love letters? To who? |
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CAMILLE (os)
I was still waiting for him. Their
all filled out with how I feel. I
was still just waiting for an
address. It's silly I know and
it's immature. |
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Peter becomes quiet. |
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PETER
Well, I won't tell anyone. |
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CAMILLE
How petty it all may seem. I
wouldn't dare go anywhere without
it. |
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They both become silent again. |
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CAMILLE
You said you were from the city. |
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CAMILLE
I have a sister who lives there,
Maria. Do you know her? |
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PETER
Well, it's a big place Camille.
I'm not on a first name basis with
everyone who lives in the city. |
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10.
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CAMILLE
You're right.
(chuckles)
That's the small town coming out
of me. |
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PETER
What about your family? Are they
intertwined with the interesting
folk of the village? |
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CAMILLE
No, well I only have a mother and
she lives in Slovenia. |
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CAMILLE
To be with her boyfriend, of
course. I didn't like him very
much and I never liked Slovenia,
so I thought I'd stay here. You
know, branch out on my own. |
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PETER
That's good. I mean, Independance
is good. |
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CAMILLE
I would like to think so.
(coughs)
What were you doing in Brno,
anyways? |
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PETER
I was at the University of
Masaryk. I was there for buisness
administration. I graduated this
year. The class of 93. It took
seven years of my life away, with
nothing to show for it. |
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CAMILLE (os)
But you're a buisness man now. |
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PETER
It turns the humble into the
greedy. I didn't want to become
that and I really couldn't stand
working with people that wanted
it.
(slight chuckle)
Yes, it took me seven years to
(MORE)
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11.
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PETER (cont'd)
realize that. |
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CAMILLE (os)
You never realize something until
it's too late to do anything about
it. |
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Peter becomes silent on the phone. |
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PETER
Do you believe in love at first
sound? |
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CAMILLE (os)
You mean, in sight. |
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CAMILLE (os)
I don't understand. |
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PETER
The feeling when you seem to fall
in love with someone, just by the
first word they say. |
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Camille becomes silent on the phone. |
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CAMILLE (os)
Come pick me up tomorrow. |
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CAMILLE (os)
As soon as you may awake. |
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PETER
What is the weather like tomorrow?
(opens the drapes)
Doesn't it snow out here in
November? |
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Peter's GOLDEN VOLKS-WAGEN GOLF is in the drive way, with a
distinct soccer ball hanging from the rear-view mirror. |
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CAMILLE (os)
No, the weather man said not to
expect snow for awhile, You know
global climate change and that
sort of thing. It may not come for
(MORE)
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12.
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CAMILLE (cont'd)
years, but who know's right. |
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PETER
Weathermen, I trust them as far as
I can throw them. |
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cut to: Peter is taking off his clothes and sits on his bed
naked. Peter begins to take his prescription Valium, which
seems to be empty. Peter, opens the window next to the bed
and chucks his medicine canister out the window. |
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PETER (VO)
Where do you live?
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CAMILLE (vo)
I live near the graveyard. There
are a few houses there. |
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PETER (vo)
What's the number? |
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Peter lies back in his bed and shuts his eyes to go to bed. |
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CAMILLE (vo)
It's one fifty six, it's the house
that's made of white cement. I'll
wait for you, Peter. |
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INT. BEDROOM - DAY |
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Peter awakens, with "PETER" ringing in his ear from
Camille's VOICE. Peter notices that he is lying next to his
bed on the floor. Peter stares around the room and notices
that it is completely turned around and in a mess.
It seems that somebody has broken in. The word FOOL is
written poorly on the wall. Peter seems very tired and sore,
yet in quite shock. Peter grabs the phone and dials for the
police. A POLICE RECEPTIONIST answers. |
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POLICE RECEPTIONIST (os)
This is the Svitska police
department, what's the emergency? |
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PETER
Hello, I would like to report a
breaking and entering. |
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13.
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POLICE RECEPTIONIST (os)
Okay sir, does anything seem to be
stolen? |
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Peter stares around the room, but no item seems to be
missing. |
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PETER
No, I don't think so. I mean they
wrote all over my walls. |
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POLICE RECEPTIONIST (os)
Do you have any idea how they
might have broken in? |
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PETER
I don't know. I might've forgot to
lock a window or something. |
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Peter looks at his window, which seems to be slightly open. |
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PETER
Yes, I guess that's how they got
in. |
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POLICE RECEPTIONIST (os)
Well, does anything seem to be
broken? |
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Peter looks in the kitchen and notices a few broken plates
and glasses. |
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PETER
Not really, a few plates and
glasses. They kind've just threw
the place around. |
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POLICE RECEPTIONIST (os)
How did you sleep through all of
this? You must've heard something. |
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PETER
I don't know.
(rubs his head)
Oh, wait! I've recently just been
put on Valium. I guess heavy sleep
is a side-effect. I'm pretty sure
that's what my Doctor told me, but
no I didn't hear anything. |
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Peter stands next to his window and opens the blind the
slightest bit. Peter notices that it is SNOWING. Peter is
oddly surprised. |
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14.
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POLICE RECEPTIONIST (os)
Well, sir there isn- |
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PETER
(quietly to
himself)
It's snowing. |
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POLICE RECEPTIONIST (os)
Exuse me? |
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PETER
Oh, sorry. Uhhm, is there anything
you can do about this? |
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POLICE RECEPTIONIST (os)
Well, like I was saying sir. There
doesn't seem to be hard enough
evidence of stolen or severely
damaged property to link this to
anyone. It must be just a local
gang of kid's. Will make sure to
keep a look out, usually they hit
more homes than one with things
like these. Just kids having an
immature joke, I bet. |
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PETER
(upset)
Well, it's not really all that
funny. |
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POLICE RECEPTIONIST (os)
I know sir. Will make sure to
contact you if we have any leads. |
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POLICE RECEPTIONIST (os)
Try to have a good day sir. |
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Peter places the phone down and looks around the trashed
home. Peter can only squeeze out a slight chuckle. Peter
heads to the washroom. |
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15.
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INT. WASHROOM - DAY |
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Peter, stands in the mirror and notices that he is quite
chubby. Peter chuckles. |
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PETER (vo)
God, I have to start going to the
gym again. |
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Peter begins to wash his face, when he notices in the mirror
that his peach fuzz is back again on face. Peter sighs. |
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PETER (vo)
I guess my hormones are still
working. You'd be surprised how it
changes over night. |
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Peter comes across his lips and notices his shaving cut is
all, but healed. He lightly chuckles and takes off his
clothes. He turns on the faucet and enters in the shower. |
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INT. BEDROOM - DAY |
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Peter, opens up the closet and notices that all of his
identical clothing are still their. Nothing has seemed to
moved.
cut to: The bedroom seems to be all cleaned and back in
order. Peter, is BRUSHING the walls hard with a bucket of
soapy water next to him, trying to rid it of the graffiti.
Peter, grows tiresome of the scrubbing and stops for a brief
moment. Peter stares at the faint writing and seems slightly
bothered. He continues to scrub the walls harder.
cut to: Peter stares at Camille's number on the card. Peter
picks up the phone and dials her number. Peter waits quietly
as the phone rings. |
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Peter is silent. |
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MAN'S VOICE (os)
Hello?
(silent)
Hello? |
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Suddenly, Peter places the phone down. Peter seems quite
upset, as well as curious. |
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16.
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PETER (vo)
I thought she lived alone. |
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Peter stares back at the card. |
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EXT. OUTSIDE PETER'S HOME - DAY |
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Peter leaves his home and quickly turns to lock the door.
Peter continues to walk down the driveway, when he notices
his car is MISSING. Peter looks desperately down the road,
but it is gone. He is completely upset and angered. Peter
quickly enters back into his home. |
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INT. BEDROOM - DAY |
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Peter, enters his home hastily and grabs the phone. Peter,
dials the police and seems quite upset. |
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POLICE RECEPTIONIST (os)
This is Svitska police department,
what's the emergency? |
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PETER
(angrily)
Yes, I called earlier about a
breaking and entering. Well, those
bastards took my fucking car! |
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INT. DOCTOR'S OFFICE - DAY |
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Peter, enters the office which seems to be quite empty. An
old lady lies on the end of the seating row sleeping. Peter
looks to the RECEPTIONIST who smiles at Peter kindly and
welcoming. |
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PETER
Hello, i'm here to see a
Dr.Rucizka. |
|
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| |
RECEPTIONIST
Yes, sure. He should be out any
minute, Peter. |
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|
Peter smiles to the receptionist and turns to walk away, but
quickly turns back to her. |
|
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17.
|
| |
PETER (cont.)
How did yo- |
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|
Suddenly, Doctor Rucizka enters into the lobby. |
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| |
DR.RUCIZKA
Oh, come in. come in. I was
waiting for you.
(turns to receptionist)
I told you to tell me as soon as
he came. |
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| |
RECEPTIONIST
He had just arrived. |
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| |
DR.RUCIZKA
Good, good. Come into my office,
please. |
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|
Peter and Dr.Rucizka enter his office, while Peter shares
another smile with the receptionist. |
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| |
|
INT. DR.RUCIZKA'S OFFICE - DAY |
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|
As Dr.Rucizka hurries into the room he seems to swipe a few
items from the wall. THE OFFICE, IS quite COLD and STERILE,
with SEVERAL DEGREES ornamented on the wall. Peter, takes a
seat and notices a NEW SONY VERSION CAMERA mounted on a
tripod, which is being fiddled by Dr.Rucizka. |
|
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| |
PETER
I've never seen that before. Is
that the brand new Sony? I
mean...wow. |
|
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| |
DR.RUCIZKA
Well, uhhm yes. Us doctor's have
our privellages.
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| |
PETER
State of the art, kind've stuff. |
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|
Dr.Rucizka takes a seat across from Peter as Peter stares
into the camera. |
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| |
PETER
What's the camera for anyways? |
|
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|
18.
|
| |
DR.RUCIZKA
It's for...patient reference. |
|
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| |
PETER
For a different patient that comes
in every day? |
|
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| |
DR.RUCIZKA
You could say that. |
|
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|
Dr. Rucizka reveals a folder, opens it and glares at it. |
|
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| |
DR.RUCIZKA (cont.)
How do you feel today, Peter? |
|
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| |
PETER
I'm okay, I woke up really sore
this morning. |
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| |
DR.RUCIZKA
Tell me what you did yesterday?
That you remember. |
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| |
PETER
I don't think this has any
barring- |
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| |
DR.RUCIZKA
Sure it does, Peter. It all does. |
|
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| |
PETER
Okay, well I just moved here a
couple days ago. I went to the
store got some bread, went home.
|
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| |
DR.RUCIZKA
And yesterday was? |
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| |
DR.RUCIZKA
The date, it tends to slip my
mind. |
|
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| |
PETER
Ahh, I think it was the 26th of
November. Yeah, it was the 26th. |
|
|
|
19.
|
| |
DR.RUCIZKA
Yes, of course. Is there anything
else you would like to tell me? |
|
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| |
PETER
I met a wonderful woman yesterday.
She works down at the store.
Camille, do you know her? |
|
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| |
DR.RUCIZKA
No, no I don't. Enough of that,
you came here for? |
|
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| |
PETER
I just came for my- |
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| |
PETER
Yes.
(smiles)
That's funny. My old doctor,
Dr.Kubina hasn't mentioned this to
anyone. |
|
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| |
DR.RUCIZKA
Valium, well I guess you can tell
from the eyes, but I am good
friends with Dr, Kubina from
medical school. He did tell me
that you were to make a visit. |
|
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| |
PETER
(laughingly)
Ohh, so that's why you know my
name. |
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| |
PETER
Well, the Valium. Could that be
the reason i've been feeling some
what sore and brittle? |
|
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| |
DR.RUCIZKA
Ahh, yes. Depending on each
patient, that seems quite
plausible. |
|
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|
20.
|
| |
PETER
Does one also tend to fall in
heavy sleep? |
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| |
DR.RUCIZKA
Yes, sure. That could happen. |
|
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| |
DR.RUCIZKA
Can you move alittle closer to the
desk? So, I can get you on camera. |
|
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|
Peter, moves his chair closer towards the desk. |
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| |
DR.RUCIZKA
Good.
(opens drawer and reveals a packet
of four Valium pills)
Here's you're daily amount of
Valium. |
|
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|
| |
PETER
Daily? No, you must be mistaken I
came here to have a full canister
worth. |
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| |
DR.RUCIZKA
You'll be back. |
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| |
PETER
See, I don't want to be back. |
|
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| |
DR.RUCIZKA
Well, uhhhm the juristiction
doesn't allow us to give more than
a daily amount, since it's
such a small town, you understand. |
|
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| |
PETER
Well, is there anyway, you know.
We can bend the rules? |
|
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| |
DR.RUCIZKA
I wish I could. |
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|
Peter STANDS UP as Dr.Rucizka does the same. They shake
hands. |
|
|
21.
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| |
DR.RUCIZKA
Okay, thank you for coming Peter. |
|
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| |
PETER
I'll see you tomorrow? |
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| |
DR.RUCIZKA
I'll wait for you, Peter. |
|
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|
Peter, stares at Dr.Rucizka for a quick moment as he shares
a grin. Peter, walks out of his office and shares a friendly
glance to the receptionist. Suddenly, as Peter turns back to
Dr.Rucizka's office an argument seems to be occuring. |
|
|
| |
DOCTOR'S ASSISTANT
You can't do this anymore! |
|
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| |
DR.RUCIZKA
Under my supervision, it's what I
think is best! |
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| |
DOCTOR'S ASSISTANT
Under your supervision!? You don't
know wh- |
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| |
DR.RUCIZKA
Don't you dare tell me what I
don't know! |
|
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|
Peter chuckles out of curiousity as he walks out of the
Doctor's office. |
|
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| |
|
INT. OUTSIDE DOCTOR'S OFFICE - DAY |
|
|
As Peter strolls away from the doctor's office, two elderly
gentlemen that are smoking seem to be having a heated
conversation. Peter, ease-drops as he walks by. |
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|
| |
OLD MAN #1
He should be thrown in prison.
Those Americans, they are facists. |
|
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|
| |
OLD MAN #2
He didn't really do much. Any
other man in his position would
have done what Clinton had done. |
|
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| |
OLD MAN #1
Do you think Klaus would of done
anything like that. He has honour
he has a pride, but this Toso-
(MORE)
|
|
22.
|
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|
| |
OLD MAN #2
That's a whole different matter.
Have you seen any of the czech
women that work in office.
Abstinence is much more attracting
then they are.
|
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|
Peter, turns to the old man. |
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|
| |
PETER
I'm sorry, Clinton? |
|
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| |
OLD MAN #2
He is going to court today, I
think. |
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| |
PETER
What did he do now? |
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| |
OLD MAN #1
He's a pathetic sex trader, that's
what he is. |
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| |
OLD MAN #2
You know, He was found fornicating
with some woman, ahhh
Lesky....mon- |
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| |
OLD MAN #2
Yeah, something like that. |
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|
23.
|
| |
OLD MAN #1
Already? He shouldn't have done it
in the first place. He should be
in shame. |
|
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|
| |
PETER
(chuckles)
Well, only American's right? |
|
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|
Peter taps one of the elderly men on the shoulder and
continues down the road. |
|
|
| |
|
INT. STORE - DAY |
|
|
Peter, enters the store and notices a thin, young blonde
haired girl sitting quietly next to the cash register. This
is ANNE. Peter, smiles at Anne as she quickly smiles back.
Peter, walks to the back of the store and begins to pick out
a few items, bread, milk and cheese.
Peter, notices that Anne's eyes are still fixed on him.
Peter, instinctively turns and glares in her direction, but
Anne quickly looks away. Peter smiles and walks towards the
cashier placing his items on top of the counter. Peter,
takes out his wallet, while she stares. |
|
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|
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|
| |
PETER
(tightens jacket)
Well, you know, I wasn't prepared
for this.
(points towards the snow)
Things can change overnight,
especially the weather. |
|
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|
| |
ANNE
The weathermen have been saying
this would happen for weeks. |
|
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| |
PETER
Weathermen, they don't know what
the hell their talking about half
the time. |
|
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|
24.
|
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|
| |
ANNE
Wait, you're Peter right? The man
who lives over on the mountain. |
|
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| |
PETER
Yeah.
(chuckles)
What? Did Camille tell you about
me? |
|
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| |
PETER
Yeah, shes got long brunette hair
maybe a little taller then you
are. She works here. |
|
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| |
ANNE
Ohh, well I just started a few
days ago, so you know. |
|
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| |
PETER
Okay, well if you see here then
tell her that I said, Hi.
(Peter hands her a few euros)
Tell her this is for the bread. |
|
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|
Peter, turns to walk away. |
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|
| |
ANNE
To be honest. I just moved into
this town. |
|
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|
Peter, turns back to Anne. |
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|
| |
PETER
Oh, really? So did I. |
|
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|
Anne, seems stumped as she stares at Peter. |
|
|
25.
|
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|
| |
ANGRY MANAGER
Hey! It's you're first day and you
still find a way to screw up! |
|
|
|
The manager storms from the back and GRABS Anne's arm in
anger. Peter, just stands and stares at the fuming man. |
|
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|
| |
ANGRY MANAGER
(mockingly)
I'm sorry sir, I'm sorry sir
(angrily)
What's the first thing that I told
you? Put the freshest bread at the
back of the pile, Right!? |
|
|
|
Peter, quickly strolls out of the store. As the commotion
continues. |
|
|
| |
|
EXT. OUTSIDE STORE - DAY |
|
|
Peter, walks next to the store and notices a band of
children next to a set-up stand selling cheap and useless
goods. As Peter glares at CHILDREN'S DRAWINGS and CHEAP
STOLEN CANDY an elderly woman seems to be angry with one of
the children as she grabs his ear, holding up a wooden
jewellery box. |
|
|
| |
ELDERLY WOMAN
You stole this from me you little
bastard! |
|
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| |
ELDERLY WOMAN
Yes you did and you know it! |
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|
| |
ELDERLY WOMAN
Listen, you better get out of here
selling this stupid shit! What's a
matter with you? You know what you
need? A good beating with a
branch, that's what you need! |
|
|
|
26.
|
Peter, quietly chuckles. Another boy approaches Peter across
the table stand. |
|
|
| |
YOUNG BOY
You need anything, sir? How about
some candy or some rings? |
|
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|
| |
PETER
Papers? Do you have any of the
papers left? |
|
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|
| |
YOUNG BOY
We sold the last one a half-hour
ago. |
|
|
|
Peter, smiles at the young boy and notices a calender
tipping at the edge of the table. Peter, POINTS towards the
calender. |
|
|
| |
PETER
I'll have the calender. How much
is the calender? |
|
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|
|
The young grabs the calender and places it in a flimsy bag. |
|
|
| |
ANGRY MANAGER
That will be, uhhm yeah that will
be five euros. |
|
|
|
Peter, chuckles at the boy as he hands him the money. Peter,
begins to walkaway and takes the calender from the bag. |
|
|
| |
YOUNG BOY
Thank you, please tell your
friends! |
|
|
|
Peter, flips through the cheaply and terribly made calender
that seems to be missing pages. |
|
|
| |
PETER
(turns back to
young boy)
What the hell is this? This is a
peice of crap. |
|
|
|
| |
YOUNG BOY
I stand by my items sir. |
|
|
|
| |
PETER
You're missing god-damn August! |
|
|
|
| |
YOUNG BOY
So, what? Add it. |
|
|
|
27.
|
|
Peter, flips to the cover of the Calender. |
|
|
| |
PETER
Yeah and what? It's 98-99!? You
really shouldn't skimp out on
distribution.
(Peter swipes his five euros off
the table)
Add August to it and i'll talk to
you in five years. |
|
|
|
Peter, throws the calender onto the table as the child
stands silently looking awkwardly at Peter. Peter, continues
to walk down the street. Suddenly, Peter stops next to the
snow covered road leading up to the cemetery, which
Camille's house is near. Peter, begins to walk down the
SNOWY road in curiosity. |
|
|
| |
|
EXT. OUTSIDE CAMILLE'S HOME - DAY |
|
|
Patrick, strolls off the snowy road and stares up at the
tall white, cemented house with the number 156 etched into
the side. A shiny steel lining surrounds each individual
number.
As Peter slowly walks towards the house, he glares at the
SNOW COVERED graveyard that seems to lie next to if not on
the same backfield behind the home. Peter, slightly shutters
as he walks up the stairs. Peter checks the number again and
knocks.
Suddenly, A SCRUFFY LOOKING MAN WITH A HEAVY BEARD AND DARK
FEATURES opens the door hastily, causing Peter to be
startled. He stares at Peter awkwardly, almost as if he has
trespassed. |
|
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|
| |
SCRUFFY MAN
And what is it that you want? |
|
|
|
| |
PETER
Oh, nothing sir. I just came to
see, Camille. |
|
|
|
Peter attempts to stare into the home, but the scruffy man
blocks his view due to his bulky size. |
|
|
28.
|
|
|
|
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|
| |
SCRUFFY MAN
There is no Camille that lives
here. |
|
|
|
| |
PETER
Well, this is
(checks house number)
One-fifty six. |
|
|
|
| |
SCRUFFY MAN
(roughly)
What did I say? |
|
|
|
| |
PETER
I know what you said, bu- |
|
|
|
| |
SCRUFFY MAN
Then, why are you still here? |
|
|
|
Peter, seems confused and seems suspicious. Peter, looks
down in the hallway of the home, which seems oddly messy. |
|
|
|
|
|
|
The scruffy man moves closer to Peter and stares at him with
anger. |
|
|
| |
SCRUFFY MAN
I can tell you to leave or I can
do it a much more painful way.
|
|
|
|
| |
PETER
I'm not doing anything wrong, I
just want to see her. |
|
|
|
| |
SCRUFFY MAN
I really feel uneasy with your
presence around. I want you to
leave.
(suddenly he listens to Peter,
breathing)
You're the man that called here
this morning, weren't you? |
|
|
|
29.
|
|
|
|
|
| |
SCRUFFY MAN
I'm new to this town. I don't feel
like being harassed. It's just not
neighbourly if you understand
where I'm coming from. You better
not come around here no more. |
|
|
|
| |
PETER
I don't mean to cause any trouble.
I'm just looking for a girl and if
she's not here then where did she
go? |
|
|
|
| |
SCRUFFY MAN
(angrily)
Well, there isn't one here and I
don't know. Now leave. |
|
|
|
The scruffy man SLAMS the door in Peter's face. Peter still
stands in front of the door attempting to look through the
window. |
|
|
| |
PETER
Look, if you're her boyfriend! I
didn't know. I just met her
yesterday! I didn't do anything!
|
|
|
|
Peter, sighs as there is no presence of the scruffy man.
Peter, slowly walks down the stares and begins to walk down
the snow covered road. Peter, glares back at the home and
notices the scruffy man STARING from a second floor window.
Peter, quickly turns and continues down the road. |
|
|
| |
|
INT. SNOW COVERED ROAD - DAY |
|
|
Peter,strolls down the road THINKING HARD to himself and
seems to be off-set. Next to the road lies an old mechanics
shop with a pile of old and torn up vehicles. Peter, stares
at the pile as a worker seems to be RIPPING OFF side mirrors
for extra parts.
Suddenly, as Peter stares back at the pile he notices under
some rubble his completely DESTROYED VOLKS-WAGEN GOLF. It is
completly STRIPPED and MANGLED. Peter, furiously walks
towards the pile and stares in disbelief. Peter's eyes are
glued onto the SOCCER BALL that hangs on the rear-view
mirror. The mechanic glares at Peter. |
|
|
30.
|
|
|
|
|
| |
PETER
What the fuck happened to my car? |
|
|
|
| |
MECHANIC
Look, I just receive them. I don't
require a back-story for every
peice of junk that comes in here. |
|
|
|
| |
PETER
(angrily)
That's my car! |
|
|
|
| |
MECHANIC
What do you want me to do about
it? |
|
|
|
| |
PETER
(angrily)
Those bastards! |
|
|
|
Peter, walks away in anger down the road as the mechanic
just chuckles him off. |
|
|
| |
|
INT. PETER'S BEDROOM - DAY |
|
|
Peter, quickly enters the room and HASTILY grabs the phone.
Peter, dials the police. Suddenly, the receptionist answers. |
|
|
| |
POLICE RECEPTIONIST (os)
This is the svitska po- |
|
|
|
| |
PETER
Yeah, hi. I called today about the
breaking and entering and the
stolen car. |
|
|
|
| |
POLICE RECEPTIONIST (os)
What now? |
|
|
|
| |
PETER
Well, I found my car. In god-damn
peices! |
|
|
|
| |
POLICE RECEPTIONIST (os)
Yes, sir. Well, we checked the
number of your vehicle and it
seems to have been declined awhile
ago. |
|
|
|
31.
|
| |
PETER
What? That's impossible. I had it
in my driveway, yesterday! |
|
|
|
| |
POLICE RECEPTIONIST (os)
Well, i'm sorry sir. That's what
came out. Did you have any sort of
insurance on your vehicle? |
|
|
|
| |
PETER
(chuckles)
I was planning on doing that
today. |
|
|
|
| |
POLICE RECEPTIONIST (os)
Well, there is nothing else we can
do about that. |
|
|
|
| |
PETER
There's nothing you can do. Is
there anything you guys CAN do? |
|
|
|
| |
POLICE RECEPTIONIST (os)
(sighs)
Look, sir if you're going to be
rude then I really don't have to
listen to this, you understand me.
Is there anything else you want to
complain about? |
|
|
|
| |
PETER
No
(sighs)
Oh, wait. Well, this might be
nothing to you, but I went to see
a friend today at her home, but
she's not there anymore. |
|
|
|
| |
POLICE RECEPTIONIST (os)
That's what we call the process of
leaving. |
|
|
|
| |
PETER
No, but see there was a man that
was there and he seemed really mad
that I came. I have a reason of
suspicion that he could of been
the one who broke into my home. I
mean it is a possibility. |
|
|
|
| |
POLICE RECEPTIONIST (os)
(chuckles)
Sir, just leave the investigation
to us. I'm sure there is nothing
(MORE)
|
|
32.
|
| |
POLICE RECEPTIONIST (cont'd)
to worry about. Maybe you should
just forget it. |
|
|
|
Peter, angrily SHUTS the receiver down and quietly STEAMS to
himself.
cut to: Peter is sitting at the desk and seems to be
scribbling something down on a piece of paper. |
|
|
| |
PETER (vo)
Where is she? Did she just leave?
She's wouldn't do that, but how
would I know. I just met her
yesterday. She could've taken my
car. She could've been the one
that broke in, but that man. There
is something about the man. I
must've been wrong. They probably
go around meeting new people and
robbing them of their will like
some kind've joke. I don't know,
something is not right. Everything
seems to be altered. Something has
happened. |
|
|
|
As Peter stares at the peice of paper we notice the word
FOOL has be sketched onto the paper. Peter, quickly gets up
and grabs his jacket. Peter, heads out of the door. |
|
|
| |
|
EXT. OUTSIDE CAMILLE'S HOME - NIGHT |
|
|
As Peter slowly approaches the home he looks out in fear of
the scruffy man, but no one seems to be around. Peter,
notices a car next to the home. As Peter walks towards the
front steps a LOUD BANG is heard from inside. As Peter
shutters he quickly backs away from the front steps when
another BANG is heard. Peter, begins to tread next to the
side of the home and detects a window that leads a view
inside.
As Peter crouches below, a presence seems to lie in the room
next to the window Peter is under. As Peter peaks inside a
sudden HORROR comes over Peter as he FALLS back down to the
ground. The Scruffy man is covered in BLOOD and seems to be
CHOPPING UP some sort of a CORPSE, with a few organs layed
out on the counter.
Peter glares back, but is unable to see what it is. Peter,
seems to be breathing quite heavily and seems to be close to
hyper-ventilating. As Peter looks back in the corpse seems
to be covered by a white linen. The scruffy man picks up the
|
33.
|
LARGE CORPSE and carries it out from the back door into the
field.
Peter, quickly runs back next to the porch and hides. The
scruffy man enters into the SHED and places the corpse
inside. Suddenly, as the scruffy man comes out of the shed
he suspiciously SURVEYS the area. Peter, places his hand
over his mouth as he begins to breath heavily. The scruffy
man seems to be approaching Peter as he walks near the side
of the house.
Suddenly, a CAR ENGINE is turned on. As peter stares at the
side of the home hidden. He notices that the scruffy man has
entered his car. The scruffy man turns on to the snow
covered road and drives off.
Peter, quickly comes from next to the porch and paces
himself quickly to the back field near the SHED. Peter seems
very upset and un-easy. As Peter approaches the door he
notices that it is ajar the slightest bit. |
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| |
PETER
(startled)
Camille? |
|
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|
A terrible stench hits Peter from inside causing Peter to
instantly VOMIT. |
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Peter, backs away from the SHED with his face covered in
tears. Peter, slowly turns to the back door of the house.
Peter places his hand out and hesitantly grabs the HANDLE.
He ENTERS the back of the house. |
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| |
|
INT. CAMILLE'S KITCHEN - NIGHT |
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|
Peter slowly enters the kitchen and automatically SLIPS,
FALLING to the ground due to the BLOOD COVERED FLOOR. Peter,
stares around the gory table, which seems to have a chopping
block on top of it. The kitchen seems to be quite
dis-ordered.
Peter holds back his tears, with a daunting look on his
face. Peter picks himself up and continues into the
living-room. |
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34.
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|
INT. CAMILLE'S LIVING-ROOM - NIGHT |
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|
Peter enters the nearly empty living-room, the only objects
are a television set with an attached VCR and an old chair.
Everything else seems to be missing. Peter, turns to the
stair well. |
|
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| |
PETER
Camille? Hello? Camille? |
|
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Peter begins to walk-up the stairwell, cautiously. |
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INT. CAMILLE'S HOUSE - 2ND FLOOR - NIGHT |
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|
Peter stares around the second floor, which only seems to
hold two rooms. Peter, stares in one room, which seems quite
baron and only holds a mattress. A few cloths of a man's is
SCATTERED around. Peter turns to the other door. Peter takes
a deep breath and enters into the room. |
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INT. BEDROOM - NIGHT |
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|
Peter slowly walks in and glares across the room. The room
is a typical females room: warm colours, a large bed with a
canopy attached to the roof of the bed posts. A beautifully
varnished dresser adorns the room with its crisp shine.
Peter slowly smirks at the pure innocence of Camille's room.
Suddenly, Peter walks next to the bed and stares at the VENT
covering. |
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| |
CAMILLE (vo)
It's full of drawings, photographs
from my childhood, love letters
that I have never sent out. I keep
it next to my bed in the vent. |
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|
Peter kneels down and places his hands over the vent. Peter,
struggles to take off the covering, but suddenly it smoothly
relinquishes itself from the vent. Peter throws the covering
next to him and stares into the inner darkness of the vent.
Peter, lies next to the vent placing his hand as far in as
possible. Peter, sways his harm for a few seconds and
suddenly a PALENESS comes across his face. Peter, slowly
brings his hand out from the vent and reveals several
letters and photographs tied in a bundle with a maroon
coloured string. Peter, in disbelief drops it on the floor
next to him as he covers his face.
Peter, drops his hands next to his side, while his pale face
|
35.
|
is pouring with a cold-sweat. Peter stares at the letters,
which lay right in front of him. Hastily, Peter grabs the
bundle and rips the string from it. |
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CAMILLE (vo)
How petty it may seem. I wouldn't
dare leave without it. |
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|
Peter begins to stare at photographs, which all are of
Camille when she was younger. Peter continuously whips
through the bundle, when suddenly a BRIGHT YELLOW LETTER
catches his eyes. Peter, quickly opens it and notices that
it is a letter written by Camille. It is one of her love
letters. Peter, begins to tear up as he realizes that is
addressed to PETER. Peter begins to weep. |
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| |
PETER
(while weeping)
Sincerely....Peter. |
|
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| |
SCRUFFY MAN (os)
(angrily)
What are you doing here? |
|
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|
Peter, SPURRED WITH SHOCK feels the scruffy man's presence
behind him. Peter hesitates to turn in fear. |
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| |
SCRUFFY MAN (os)
(threateningly)
I told you to stay away, didn't I? |
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Peter, slowly inches his fingers to the vent covering which
lies a few inches from his hand. |
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| |
PETER
(sadly)
Tell me where she is. |
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Suddenly, Peter GRASPS the vent covering and viciously
swings it towards the scruffy man. The vent covering catches
the man in the head causing him to fall heavily to the
ground. Peter, stands over-top of the scruffy man who seems
to be dilated. |
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| |
SCRUFFY MAN
You fucking mot-! |
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36.
|
Peter, begins to heavily strike the man again causing blood
to spray across the wooden floors. Peter, is in absolute
anger as he holds the vent covering ready to strike again.
The scruffy man covered in blood is all but, unconscious. |
|
|
| |
PETER
(quietly)
Just tell me where she is. |
|
|
|
The scruffy man barely makes eye contact with Peter as he
falls in and out of consciousness. Suddenly, the man
slightly CHUCKLES as he stares away from Peter. Peter, full
of anger viciously beats the man over the head with the vent
covering causing Peter to be covered in blood. Suddenly, the
covering BREAKS after one last fatal blow to the man's head. |
|
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| |
PETER
(angrily)
You sick fuck! |
|
|
|
Peter, falls next to the brutally murdered man and begins to
cry profusely. Peter and the entire floor is also covered
with the scruffy man's blood.
Peter, stares towards the bundled letters and notices the
card that he gave Camille when they first met with his
number written on the back. Peter, lets out a BLOOD CURDLING
SCREAM from his lungs as tears stream down his face. |
|
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| |
|
INT. BEDROOM - NIGHT |
|
|
Peter, is furiously scrubbing the bloody floors as the
scruffy man's bloody body lays in the doorway covered in
several bed sheets. Peter, glares at the bundle of letters
and photographs and wraps it with the string. Peter, places
the bundle in the side pocket of his jacket. |
|
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| |
|
INT. CAMILLE'S KITCHEN - NIGHT |
|
|
Peter, struggles to pull the scruffy man's corpse through
the kitchen and out into the back-yard field. |
|
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|
INT. OUTSIDE CAMILLE'S HOME - FIELD - NIGHT |
|
|
Peter, stands next to a LARGE HOLE dug next to the snow
covered graveyard. Peter, rolls the body into the hole and
begins to shovel the dirt back into the hole, covering the
body.
cut to: Peter, begins to walk out of the field when his eyes
|
37.
|
are glued onto the SHED. Peter, CHUCKS the shovel at it in
anger and quickly runs from the field. |
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| |
|
INT. OUTSIDE PETER'S HOME - NIGHT |
|
|
Peter, walks dreadfully down the road next to his house and
seems to be drained of energy and emotion. Peter, glances at
his home and notices a car parked in the drive-way.
A man comes from the car and places a BOX OF ITEMS on
Peter's driveway and begins to drive-off. Peter, runs
towards the car, but it is already down the road. |
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|
Peter, stands and huddles around the box. Peter opens the
box and notices a several amount of video-tapes segmented
into several groups. One group shows 95,the others
93,98,96,94 and 97. Peter, sighs because he doesn't have a
VCR. Peter, stares down the road to the graveyard. Suddenly,
he picks up the box and continues to walk down the road. |
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INT. CAMILLE'S LIVING-ROOM - NIGHT |
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|
Peter, enters from the back door and quickly moves to the
living-room, which lies a television set, with a VCR mounted
on-top of it. Peter, places the box down and opens it. The
box is full of video-tapes. Peter randomly grabs a tape and
places it in the VCR.
He waits in anticipation has a HAZINESS is displayed on the
screen. Suddenly, PETER IS SHOWN ON SCREEN and seems to be
quite clueless. It appears that Peter is sitting in a
doctor's room, suddenly we hear Dr.Rucizka speaking in the
background.
Peter, quickly rejects the tape from the VCR and grabs
another from a 93 pile. Again, it displays Peter on screen
in the doctors office speaking to Dr.Rucizka. Peter
continues to change and view each tape, which seems to have
Peter in every tape in a the doctor's office, speaking to
Dr.Rucizka. |
|
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| |
PETER
(confused and
upset)
How? |
|
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|
38.
|
Suddenly, he stares into the box and notices a LETTER.
Peter, rips the letter from the box and opens it hastily.
Peter, begins to read the letter. |
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| |
DR.RUCIZKA (vo)
Dear Peter, This is Dr.Ruciska,
you saw me today for your Valium.
I would like inform you that my
colleagues and predecessors have
requested me to re-sign due to my
experiments; which have been
deemed un-ethical. My experiments
as you may wonder has everything
to do with...you. |
|
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|
Peter looks at the mess of tapes that surround the
television set. Peter,is in absolute confusion and
frustration. |
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| |
DR.RUCIZKA (vo)
Confused, as you are. I promise
you, Peter. The tapes that you
have just witnessed aren't
doctored in any which way. That is
you, each and every time that you
have entered my office. I know,
you believe this delves in the
realm of impossibility.
(beat)
Do you know what day it is Peter?
Do you truly know? Today, isn't
the day you've come to believe it
is. Today,is November 19th and I
warant you that you haven't
traveled back in time. On November
27, 1993 you and native female
Camille Costa, were driving
through the hillside prairies in
the afternoon... |
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| |
|
INT. PETER'S CAR - INSIDE - DAY |
|
|
Peter, strolls up in his gold Volks-wagen golf up next to
CAMILLE'S HOME. He BEEPS the horn several times. Suddenly,
Camille appears from the house and smiles at Peter. She
begins to walk towards him, when suddenly she turns back to
the house and locks the door.
Camille, approaches the car and enters. Peter and Camille
stare at one another with smiles. She HUGS Peter lovingly. |
|
|
39.
|
| |
CAMILLE
You feel much better then you
sound. |
|
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|
Peter smiles and lightly chuckles. |
|
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| |
PETER
Where do you want to go? |
|
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| |
CAMILLE
Anywhere, but here. |
|
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|
Peter smiles and drives down the dusty road. |
|
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| |
|
INT. PETER'S CAR - INSIDE - MOUNTAIN PRARIE - DAY |
|
|
Peter and Camille sit in awkward silence as they stare out
at the beautiful fields that grow beneath the mountain.
Peter stares at Camille, but hesitates to speak. |
|
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| |
PETER
Last night, we could barely stop
talking now- |
|
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| |
CAMILLE
I didn't think you were going to
come. |
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| |
CAMILLE
I don't know, maybe you thought I
was crazy. Most women my age don't
do those sort of things, unless
their chemically unbalanced. |
|
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| |
CAMILLE
I mean, this is kind've spur of
the moment, don't you think?
Maybe, I should've waited for a
while, to get to know you. |
|
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| |
PETER
That's much too practical. You
know, my bio-chemic's teacher
always told me that practicality
was a weakness. Besides, I felt
like I told you my entire life
(MORE)
|
|
40.
|
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|
Peter and Camille share a sweet gaze and smile. A slight
BUMP is felt on the road, causing a slight jump in the car.
Camille chuckles. |
|
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| |
CAMILLE
I've never met anyone like you
before. You seem different. You
seem original. |
|
|
|
| |
PETER
It serves as an outer shell. I
assure you, other then these last
few days, I lead a very mundane
life. |
|
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| |
CAMILLE
See, I wouldn't say that by
looking at you, or hearing the way
you speak. |
|
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|
|
Peter turns to Camille and smiles, a flirtatious sense is
displayed from their friendly body posture. Suddenly, THE
CAR REARS OUT OF CONTROL. FLIPPING THE CAR SEVERAL TIMES AND
WHIPPING IT SPURIOUSLY DOWN THE MOUNTAIN. PETER AND
CAMILLE'S BODIES ARE FLAILED AROUND THE CAR AS THE STEEL
MANGLES WITH EVERY ROLL. The car slowly comes to a
stand-still at the end of the mountain,which lies deeply in
the corn field.
A smoldering heat and smoke emit from the car, causing some
of the corn stock to light on fire themselves. Both Peter
and Camille lay unconscious. Suddenly, sirens are heard from
a distance as ambulance arrive on the scene dragging both
their bodies from the wreck. |
|
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| |
|
INT. HOSPITAL ROOM - DAY |
|
|
Peter and Camille, both lie in separate beds next to one
another both in critical condition. We notice a few doctor's
huddling around Peter's brain-scan x-ray and seem to be
worried. Suddenly, we notice Dr.Rucizka revealed from the
group of doctors. |
|
|
41.
|
| |
DR.RUCIZKA (vo)
You had seemed to have endured
severe mental trauma from your
accident, causing you to have
revered effect on your cerebrum
lobe. It was an absolute miracle
that you came out alive. |
|
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| |
|
INT. DOCTOR'S OFFICE - DAY |
|
|
Peter, enters and shakes hands with Dr.Rucizka. Peter seems
to have a fresh wound on his head. |
|
|
| |
DR.RUCIZKA
It seemed to me that you had a
great wealth of your memories
before the day of the accident,
but after coming in day after day
requesting your Valium medication,
which I supplied to you the day
before and the day before that and
not even recognizing who I was, we
had come to the conclusion that a
rare mental infliction was gained,
causing you to have a twenty-four
hour memory loss. You would... |
|
|
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| |
|
INT. CAMILLE'S HOUSE - DAY |
|
|
Peter is knocking on the door, but no one seems to be
answering. Peter, stares into the window, but the house
seems to be empty. Peter seems upset. |
|
|
| |
DR.RUCIZKA (vo)
-Go through the day as any other
one, but when you'd awake your
memory from that day has vanished,
making your judgment believe that
it is... |
|
|
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| |
|
INT. ROAD - NEXT TO JUNK YARD. - DAY |
|
|
Peter, walks next to the Junk yard when suddenly he notices
his Volks-wagen Golf, mangled and destroyed. Peter, seems
angered and upset. |
|
|
| |
DR.RUCIZKA (vo)
November 27th, 1993. |
|
|
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| |
42.
|
|
INT. HOSPITAL ROOM - DAY |
|
|
Peter and Camille, both still lie in their beds motionless.
Doctors, huddle around Camille body and place the bed sheet
over her badly battered body. They seem to be quite upset. |
|
|
| |
DR.RUCIZKA (vo)
She is dead, Peter. She has been
for the past five years. |
|
|
|
| |
|
INT. OUTSIDE STORE - DAY |
|
|
|
Peter, holds a cheaply made calender which reads 1997-1998. |
|
|
| |
DR.RUCIZKA (vo)
Only, your memory hasn't been able
to store it. |
|
|
|
| |
|
INT. CAMILLE'S LIVING-ROOM - NIGHT |
|
|
Peter, sits in the middle of the living-room with his eyes
glued on the letter. Peter's face becomes pale again, and
seems to be much to frustrated. |
|
|
| |
DR.RUCIZKA (vo)
You've come to the belief that it
is November 27, 1993 and no other
day. In actuality, it is November
19, 1998. Due to your condition,
your memories are unable to be
processed after the day of
November 26th, 1993. |
|
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| |
|
INT. PETER'S HOME - DAY |
|
|
Peter stands next to the window and notices the sunniness
outside. Peter, looks at the CARD with Camille's number on
it a begins to dial it on the phone. There is no answer on
the phone and continues to ring. |
|
|
| |
DR.RUCIZKA (vo)
Simply, you awake with a fresh
memory, unaware of the days that
have passed. The years that have
gone by, you are caught by a
mental time warp believing when
you awake that it is still the day
after November 26th, 1993. |
|
|
|
43.
|
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|
|
Peter puts down the phone.
|
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| |
|
INT. CAMILLE'S LIVING-ROOM - NIGHT |
|
|
Peter, GRASPS the letter with absolute shock. Peter, shakes
his head desperately refusing to accept the truth. Peter's
face is absolutely flushed. |
|
|
| |
DR.RUCIZKA (vo)
I was given all this information
and for some reason it has
consumed me. The need to
understand, to experiment how
someone under your disability
survives in everyday life, how he
copes with life without realizing
the days that have gone by. To go
through a day, that will never
hold substance for you ever again,
who can never love again, who has
nothing, but the memories from the
past and the hope for the future,
which circles in the abyss of
uselessness. |
|
|
|
Peter's eyes glare at the video tape of him in Dr.Rucizka's
office. Peter, moves closer to the television set and rubs
the screen where his face lies. Peter, begins to tear up.
Peter, stares at the video tapes and understands the numbers
93,94,95,96,97 and 98 were the years in which he has been
video-taped. Peter, looks back down at the letter. |
|
|
| |
DR.RUCIZKA (vo)
We chose not to reveal this
information in the past, due to
sensitive issues. To prevent the
risk for you to cause harm to
anyone, under false pretenses. |
|
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|
|
Peter, stares down at his cold blood stained hands. |
|
|
| |
DR.RUCIZKA (vo)
To not harm yourself for her death
and for you misfortunes, but now
it has come out of my hands. The
medical bureau has forced me to
reveal you're disability and to
bring this subject out into the
(MORE)
|
|
44.
|
| |
DR.RUCIZKA (cont'd)
light. |
|
|
|
Peter, stares at the letter with utmost disbelief. His face
is pale and sick, covered in sweat. Suddenly, Peter reveals
a lighter from his pocket and begins to light the letter on
FIRE. The letter slowly burns into dust. |
|
|
| |
DR.RUCIZKA (vo)
I'm sorry, Peter. This may hold
consequence to you now, but when
you awake you will not remember
me, Camille will still be alive
and to you it is still 93 of
November 27th. Whatever you choose
to due now, is for you alone. To
keep yourself in the dark or for
you to use these objects for
reference.
(beat)
From a friend. |
|
|
|
The letter is completely burnt. Suddenly, Peter races out of
the home from the back-door. |
|
|
| |
|
INT. OUTSIDE CAMILLE'S HOME - FIELD - NIGHT |
|
|
Peter, stands next to the dirty darkened shed. Peter,
approaches the door and slowly opens it. Next to the door
lies a mechanic's light. Peter snatches the light and turns
it on. Peter. quickly covers his face from the rotten smell
of the shed. Peter, SHINES the light and notices the object
that is wrapped in bloody sheets.
Peter, slowly kneels next to it and unwinds the sheets.
Suddenly, Peter falls back in shock. The body covered in
sheets, is only a carcass of a freshly slaughtered pig.
Peter, begins to unwrap several sheets of other carcasses,
which all seem to be freshly slaughtered chickens, pigs and
cows. |
|
|
| |
PETER
(nervously)
What have I done? |
|
|
|
Peter, quickly falls out of the shed and runs quickly in
into the graveyard, out of confusion and fear. |
|
|
| |
45.
|
|
INT. GRAVEYARD - NIGHT |
|
|
Peter, slowly enters the small graveyard, which seems to be
covered in snow. The tombstones are barely distinguishable.
Suddenly, Peter runs to each tombstone KNOCKING THE SNOW off
each one. Peter, continuously clears each tombstone, until
he hits the third nearest one.
Peter glares at the tombstone and falls to his knees.
Written on the tombstone is CAMILLE MILENA COSTA BORN MARCH
6th 1963, DEATH NOVEMBER 27th 1993. Peter begins to cry as
he grasps the tombstone. He falls into the snow, weeping
onto the ground. |
|
|
| |
CAMILLE (vo)
You never realize something until
it's too late to do anything about
it. |
|
|
|
| |
PETER
(while crying)
I'm sorry. |
|
|
|
Peter, places his hand into his jacket and reveals the
bundle of Camille's letters and photographs. Peter, roughly
digs the dirt closely next to Camille's tombstone and places
the letters in the hole. Peter, cover the hole with a
combination of dirt and snow.
Peter, slowly drags himself away from the graveyard down the
road. Peter, continues to cry into his hands down the road. |
|
|
| |
|
INT. CAMILLE'S HOUSE - NIGHT |
|
|
Suddenly, we hear someone unlocking the front door. Anne,
enters the home and takes her jacket off. |
|
|
| |
ANNE
Dad!? Dad, I got you the butcher
paper that you wanted !?
(confused)
Dad!? |
|
|
|
Suddenly, Anne enters the family room and notices a burnt
paper and a box full of video-tapes in the middle of the
room. Anne, turns to the screen and notices Peter speaking
to Dr.Rucizka, Anne, sits in a chair confused. |
|
|
| |
ANNE
Dad!? What is this!? |
|
|
|
| |
46.
|
|
INT. PETER'S HOME - NIGHT |
|
|
Peter, enters his home in absolute agony falling to the
floor. Peter, begins to rip his clothes off him until he is
completely naked. Peter, glares across the wall and faintly
sees the writings on the wall. FOOL.
Peter, stares at the CARD with Camille's number on it.
Peter, grabs it from the table and grasps it tightly, while
he lies naked next to his bed. Peter, holds the card close
to his heart as he falls deeper and deeper into
unconsciousness. |
|
|
| |
CAMILLE (vo)
It's one fifty six, it's the house
made out of white cement. I'll
wait for you, Peter. |
|
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| |
|
INT. PETER'S HOME - DAY |
|
|
Peter, awakes next to his bed with "PETER" ringing in his
ear from Camille's voice. Peter sorely stands up in the
living-room and seems very exasperated. Peter, walks towards
the window and opens the blinds. Peter, stares out the
window. |
|
|
| |
PETER
(quietly)
It's snowing. |
|
|
|
Suddenly, a faint police siren is HEARD becoming louder and
louder. Peter, turns and stares at the card with Camille's
number on it, Peter smiles. |
|
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FADE OUT. |
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