INT. MORROW HOUSE - REBECCA’S BEDROOM - NIGHT

Within the darkened bedroom of a middle class Boston home, TWO NAKED BODIES, a man and a woman in their late twenties, are making love in the moonlight on a king size bed. Both parties are greatly enjoying the moment.

A red rose is seen on a pillow beside the woman.

A THIRD FIGURE, another late twenties male, lays beside the fornicating two, fast asleep.

INT. MANHATTAN APARTMENT - LIVING ROOM - DAY

AARON FARKAS stands at the window of the apartment office of independent motion picture producer JAY MILES. Aaron, in his late twenties, is dressed casually, while Miles, late thirties, is dressed for success. They are good friends.

Miles holds a copy of Aaron’s latest screenplay. His company’s logo, FIRST LIGHT PRODUCTIONS, is painted on the near wall.

MILES

Gotta’ tell you, man. This is good. Better than anything you’ve given me before, anyway.

AARON

Talk, Jay.

MILES

Well... Yeah, I’m pretty sure we can get funding. Got a couple of doctors looking to invest in a comedy. Got problems with a re-write?

AARON

As long as she gets the guy, I don’t care. And it should stay in Boston.

MILES

Think they’d insist it. Toronto AND Boston though.

(more)

MILE (cont)

Some of these locations would be less expensive up north.

(beat)

Where did this come from?

AARON

Been toying with it for a while.

MILES

You’re looking at five percent if it gets full financing. I’m guessing we’ll go for a million, so your take...fifty thousand.

Aaron turns and looks at him.

AARON

It’s THAT good?

MILES

Yeah.

AARON

(beat)

Seventy-Five.

Miles gives him a smirk.

INT. RETIREMENT HOME - MCKEE ROOM - DAY

BARBARA MCKEE, an elderly woman, sits on the side of her care room in a moderate retirement facility. Her son TRAVIS MCKEE sits with her. He is a laid back gent in his late twenties.

Barbara is holding a tan and white tabby cat on her lap, her pet.

BARBARA

My new place...doesn’t allow pets. Can’t exactly take him with me, so...

TRAVIS

Ma’, come on. Eh?

BARBARA

I want YOU to look after him for me. You watch Tigger, all right?

She hands the animal to Travis.

BARBARA

TAKE HIM, already. He’s getting hefty.

Travis takes the cat from her.

TRAVIS

What about Doug, Ma’? Why can’t HE watch Tigger?

BARBARA

Cause I asked YOU, Mary-boy. Besides, your brother’s allergic, and HE’s getting Mighty Mouse over there.

She refers to a large bird cage set up in the corner of her room, which houses an adult cockateel.

Travis looks at it, then the cat. Tigger looks back at him.

INT. MORROW HOUSE - LIVING ROOM - DAY

Rebecca and Jesse are in the middle of another violent argument.

Jesse paces through the living room consisting of a recliner, sofa, coffee table and entertainment center. Their house is clean, but no one piece of furniture matches, a sign of young couples.

Tigger the cat lays on the recliner watching the two like at a tennis match.

JESSE

You get me so frustrated with you sometimes. You don’t understand me.

REBECCA

Why should I want to?

JESSE

I’ve done all I can to get through to you how wrong you are! I write you letters all the time...

REBECCA

Which I can’t even read... You can’t even spell. How’d you ever get your degree spelling ABOUT with a “W,” I have no clue.

JESSE

My English is fine. It’s your head that’s broken. I’m trying to reach you on a level that’s more personal, more primal.

REBECCA

Like clubbing me over the head and dragging me back to your cave?

JESSE

You are my wife. You’re nothing without me, without your husband.

REBECCA

What century did you grow up in?

JESSE

I’m here to help you better yourself. And you won’t let me. It’s what I’m here for.

REBECCA

Then, all the belittling and slapping me around is just...what? A hobby?

JESSE

When do I put my hands to you? When have I EVER harmed you?

REBECCA

(beat)

Are you really THIS deluded? Or is that a word too big for you?

Jesse becomes angered. He picks up the cradle from their cordless phone off the nearby coffee table and hurls it at Rebecca.

She tries to dodge the path of the item but it hits her square on the temple. She holds the wound. Blood seeps from between her fingers.

Jesse steps closer. Tigger leaps from the recliner and runs off.

JESSE

You see! See how you need me?

(beat)

Let me see it.

He tries to pull her hands away. Rebecca steps away.

REBECCA

Don’t you fucking touch me!

She takes a strategic step back and kicks Jesse square in the groin. He doubles over in agony.

INT. REBECCA’S BEDROOM - NIGHT

Two figures continues to revel in their heated passions. Hands are caressing each others bodies. The MAN whispers to the WOMAN from the darkness.

MAN

Want things to be different between us. Want us to be closer. Like we should.

Woman moans softly with delight.

WOMAN

Yes.

The third figure beside them remains asleep still, as the soft moaning and panting of the other two does not disturb his slumber.

At a closer glance, the third body lying on the bed is Travis. His hair is matted as though he had been sweating profusely.

EXT. MORROW HOUSE - BACK YARD ALLEY - DAY

Jesse storms out of his back door carrying a rolled up stack of bound paper.

He makes his way to the alley behind his home. Rebecca exits the house following him.

REBECCA

What’s the problem now?

JESSE

The problem is...you’d rather sit there and read this propaganda your FRIEND sent you then listen to what I have to say?!

REBECCA

It’s just a screenplay of his. It’s not like he’s trying to start an underground militia! He’s been writing them since high school. Just cause you’re too stupid to understand that...

Jesse reaches the house’s trash toter aside the back alley.

JESSE

Yeah? Understand this.

He tears every paper from the bound stack, like a child in a tantrum. He crumbles and rips each page, tossing them into the toter. Rebecca watches with disdain.

JESSE

You listen when I talk to you!

After all the pages are in the alley trash, Rebecca turns back to the house.

REBECCA

You’re a waste of clean air.

Jesse remains stewing in anger. He soon notices his NEIGHBOR watching from the back yard next door.

Neighbor is trying to start his barbecue grill. He is a well built man for being in his early forties, the father of TWO LITTLE GIRLS who are also in the yard next door playing. Neighbor stares at Jesse.

JESSE

PISS OFF!

INT. MORROW HOUSE - REBECCA’S BEDROOM - NIGHT

The love making of the two shadowed Figures becomes more aggressive. Moaning from both the Man and Woman is consistent but soft.

Woman now holds the red rose in her hand, caressing her face with the pedals.

Travis has changed his sleeping position next to the couple, but his rest remains undisturbed.

EXT. NEIGHBOR HOUSE - FRONT DOOR

Travis pounds on the Neighbor’s front door with his fist and a shovel.

JENNIFER STAIOS, his friend and roommate, stands behind him nervous. She glances down the street for approaching policemen.

TRAVIS

GET OUT HERE, YOU MOTHERFUCKER! GOT SOMETHING FOR YOU. BREAK YOUR ASS OUT HERE NOW, FUCK!

JENNIFER

Travis, leave it!

TRAVIS

Shut up!

(off door)

OPEN THIS FUCKING DOOR!

Jennifer approaches the Neighbor’s living room window and looks in, seeing if the man is home.

INT. NEIGHBOR HOUSE - LIVING ROOM

Quickly, Neighbor passes through his living room in his sleeping attire.

Jennifer looks closer and sees the man is armed with a .45 cal handgun. HE approaches the front door.

EXT. NEIGHBOR HOUSE - FRONT DOOR

JENNIFER

Shit.

She quickly darts to Travis and again attempts to pry him from the entrance.

TRAVIS

Open up, you pussy!

JENNIFER

He’s coming! We need to get out of here!

TRAVIS

Let him come!

JENNIFER

He’s got a gun, Travis. This is stupid! Let’s go! Come on!

The front door slowly starts to open.

INT. MORROW HOUSE - LIVING ROOM

Aaron and Jesse are struggling with each other on the floor, each trying to get advantage over the other.

Suddenly, they are frozen by a SERIES OF GUN SHOTS O.S.

Aaron looks at the front door, fear on his face. JENNIFER SCREAMS O.S.