Right as Rain
Written by Sean Lawrence
FADE IN:
INT. HOTEL PARKING GARAGE - EVENING
SWINGS OPENS SLAM Door. (Sublevel parking garage) A WOMAN
slowly opens the door of a vehicle. She walks to the other side of the car and
picks up a hammer.
CAMERA PUSH IN on hammer hitting the car door window,
BREAKING GLASS SHATTERING.
CAR ALARMS horns playing in the background
HAND CLAPS: The song "Bust the windows out your
car" starts to play in the background. MATCH CUT --
INT. HOTEL KITCHEN - MOMENTS LATER
MARY STYLES, late 20s, tall, Afro-American. Woman, black hair, radiant eyes, bold, stunning features. She moves bottles to the edge of the chessboard one by one drunkenly. The little shot bottles look like chess pieces on a board. Placed on the board backward, all black, then all the white forward towards her, all standing, but the king, who looks like he has been sacked. Near the edge of the countertops, again and again, her hand starts to slip, and she keeps putting chess pieces back the PAN THE BOARD. The little bottles are all empty, but a few remain unopened.
MARY'S POV ON THE DESKTOP
CAMERA ANGLE over bottle
Head hung down, just out of view petite bottle. She drops her hand over it, like a crane operator doing the ROBOT, grabs the whole thing, jerking, moving her hand to her mouth, and tips the bottle end over end into her mouth. Over her lips, she takes it in her mouth, swigs the container contents down, and places the next piece onto the chess board.
JUMP CUT --
MARY (V.O.)
My life has always felt effortless.
Even as a teenager, life has never been that hard.
Rambunctious living feeling this way my whole life; if I only knew or even
realized it, how would I misjudge so many things about myself.
What does it mean to be? Those undisclosed moments. Those
points in your past are.. that are always hollow echoes. What makes me realize
how fracked up it all has been.
Who you are? There are no do-overs. No. You can't just take a mulligan. What, you wish you...Could you go back and start over? A simply step back and be in that moment again.
What would you do differently? Those moments that you wish
you could get back.
Those moments that slip away. Those are the moments you
wish you could do over.
What moments would you do differently?
EXT. SEVEN-SEVENTY-SEVEN NIGHT CLUB - EARLIER THAT EVENING
KIRK LYONS, early 20's mix young, brash, tattooed,
risk-taker. One arm grabbed over a stripper's shoulder. Atmosphere, club like
LOUD DANCE MUSIC.
He Smiles confidently with sheer presupposition, almost
caveman-like right to club the woman; he starts to reach and pull one of their
shoulders. One pulls away, but he regroups, grabs, holds them both, and pulls
them closer to him.
KIRK
(slurring)
My place or yours, ladies, which will it be.
Yours, oh wait(beat), mine is closer. My place it is!
A driver in a dark-tinted SUV limo pulls up in front.
STRIPPER # 1
Can you keep up with us girls?
The driver jumps out and opens the side door.
KIRK
Keeping up shouldn't be a problem.
The driver goes to the other side and opens the other door.
CLUB GIRL # 1
Oh, as if you could? What makes you think you can?
CLUB GIRL # 2
As long as a bitch gets paid.
Kirk closes the door on one side of the motor vehicle after
the woman enters from one of their own perspective sides of the car. The driver
closes the door behind them.
DRIVER'S REAR MIRROR POINT OF VIEW
CLUB GIRL # 1
Who said chivalry ain't dead?
The car drives to the end of the road and creeps to a stop
sign. JUMP CUT --
INT. THE HOTEL ENTERTAINMENT ROOM - EARLIER THAT EVENING
LISA RODRIGUEZ, a Young... modern-looking Hispanic woman,
moves her hand. SLOWLY CAMERA PANS To BADGE read, Wedding planner and Guest
coordinator(event planner).
MARY'S POV
LISA
Hello everyone. Let us get started!
MARY
Not everyone!
LISA
We! Get ready to start! Alright!?
MARY
Well. Not yet.
Lisa walked through the room and acknowledged the guest on
her list. She runs a tight ship, and all the pieces are in order.
LISA
Who is missing? Bridal party, check; parents of the bride,
parents of the groom, check and check.
MARY
It seems both the best man and the groom have run off.
Lisa slams her phone into her bag. JUMP CUT --
INT. KIRK'S APARTMENT - EARLY MORNING
Mary rolled up in an oversized chair in the dark bedroom,
sleeping. Mary waits for Kirk to come home. Keys hitting a candy dish wakes
her, and she slowly awakes.
CLOSE UP MARY'S FACE.
Kirk walks into view with one of the girls; the outline of
their bodies moves past the door of the room. "Save Me" plays in the
background. Kirk falls to the bed, and the pair begin to play and laugh.
MARY'S POV
KIRK (O.S.)
Can you help me with my pants?
Stripper walks into the room.
Mary flips the light switch on.
MARY (O.S.)
Is this what kind of husband you're going to be? Completely
unfaithful!
CLUB GIRL # 1
Who is this bitch?!
MARY
Shouldn't I be the one asking that question? This is my
home.
KIRK
(superciliously)
What are you doing here?
MARY
Here! In our home, before our wedding! Here I was, waiting
on you, thinking something awful happened to you, here to find you cheating.
Why?
Mary walks to the fireplace. Picking up a picture from the
mantel, she looks at it and places it in her oversized bag. Walks back into the
room. Mary marches from the room and comes to Kirk, swinging her bag into
Kirk's head. The women run from the apartment. SMASH CUT TO --
EXT. KIRK'S APARTMENT LOBBY - SUNRISE
Mary's standing and speaking as her voice upticks with
every word. She begins to yell, and the words almost hang in the air with
syllables. As she becomes more and more perturbed, she becomes like an
unprovoked lion. She looks enraged and almost takes the door off the frame as
she walks out.
REVERSE ANGLE ON MARY
MARY
If you are not ready to get married(beat), why put a ring
on my finger?
KIRK
Look!
MARY
Why! Do you hear me talking to you (beat)? Why?
KIRK
I don't know? It seems like the right thing to do.
MARY
If it doesn't mean a thing, then why do it?
KIRK'S POV
KIRK
You know it's the night before the wedding, it's
tradition.
Her face drops in shock and disbelief; she turns out the
door quickly, slamming it shut behind her. JUMP CUT --
INT. MARY'S APARTMENT - CLOTHES CLOSET
Mary throws garment after garment into the oversized bag, a
dresser on wheels; she throws in vacation clothing, only bathing suits and cut
dresses, all into her bag. Flips the bag over to the other side, locks, and
shuts the bag. JUMP CUT --
INT. MARY'S CAR - INTERSTATE 12
Crying on the side of the road, attempting to pick up her
phone.
She dials her phone.
INT. LISA'S HOME - SAME TIME
Reaching in the dark, a hand grabs a phone; not even
removing the sleep mask from her face, Lisa brings the phone to her ear.
MARY
(into the phone)
Hello, Lisa. I was hoping to get your voicemail. I'm sorry
to call so late; the last thing I wanted to do is bother you, but could you let
everyone know that the wedding is off.
INTERCUT telephone conversation
LISA
What do you mean by what happened?
MARY
I caught Kirk with two strippers. I can't deal with this
right now.
LISA
I completely understand you take all the time you need.
MARY (O.S.)
I (beat), I (beat), I'm going away for a few weeks to
rethink my life.
LISA
You don't have to go; we are all here for you; I'm here for
you. Whatever you need?
MARY'S POV
MARY
No. I have to go (beat). I need to get away. Images of early childhood flash across the screen, alone on the playground, flash before her eye the time of early youth, the time of happiness for a moment she could remember. What did it mean to be young again? To be happy.
END -- INTERCUT
MARY'S CAR - INTERSTATE 12 - NIGHT
Still driving the long stretch of road that seems to go on
forever, the car seems to reek and rake down the long, dark road seamlessly in
the dead stretch of night. The headlights wrap the edge of the night.
What looks like a house? With fields of hay, wheat, &
rye which sit in huge silos which go on forever. Passing on the long country
pass. On the side of the road is an Inn. As you come to a cliff which bends and
hangs down the long mountainside.
Off to the right, off to the side of the road, is a huge
country farmhouse, "The Country Inn"...The Inn had three competing
farmhouses which supplied the Inn with everything, from sheep to cattle, to
honey and fruit, to yarn, and fabric.
Mary pulls her car along the long side of the Inn and
parks.
INT. COUNTRY INN LOBBY - NIGHT
MARY
Hello. How are you?
INNKEEPER
I'm doing fine and how about the likes of you?
MARY
About the likes of who? Me!?
INNKEEPER
I believe we have your room ready, and your tab is also all
set.
MARY
Can I receive a wake-up call at 9:00 a.m.?
Up walks one of the Inns staff.
INNKEEPER
Just follow this young man to your room.
The Innkeeper pushes past Mary on her way out the door of
the hotel lobby. JUMP CUT --
INT. INN ROOM 602 - MOMENTS LATER
Mary sits in the room; there is a long suite and extra
tables with chairs next to a stuffed sofa. Sitting in plain view is a full-body
mirror; sitting in the room, the idea of the room being too big was an
understatement with the effect of the mirror in the room. Made the feel like it
goes on forever room, making it seem it was giving you the feeling like you are
trapped and re-materialized in the array of mirrors over and over
forever.
Shades are down, but the heat of the sun slowly tips into
the room just under the blind.
Mary holds the phone to her ear.
MARY
(into the phone)
Is it too late to order. I was just hoping to get something
in before you closed the kitchen.
Mary reaches down and turns the menu to the front. She
places the phone to her ear.
MARY (O.S.)
Room Service, please. Yes, hello; I wanted to place an
order for two black coffees and a side of strawberries and toast with grits and
bacon. Please have eggs over easy with a side of blueberry pancakes. And if I
could have apple jelly for my toast. Thank you.
Nathan Matthews, a waiter, a young man in his early 20s,
muscular fit, who works as a cook, pushes a cart full of food to the elevator.
Selects the floor and, once there, pushes the cart out. The cart is full of
everything.
NATHAN
Room service!
Mary moves to open the door but first places a wrap over
her head.
She opens the door.
MARY
Hello.
NATHAN
Hello, where did you want to eat?
Mary points to the side table in front of the dresser in
the room.
MARY
Here is fine.
Mary moves throughout the room. Thomas sets the different
trays up on the table.
NATHAN
If you don't mind me asking, where are you from?
Mary notices him looking into her eyes.
MARY
Everywhere, I guess, but mainly back east; my parents are
Navy, so I was a military brat growing up. We traveled everywhere when I was
young: Japan, Germany, and Hawaii.
NATHAN
No. It's something else; I just can't place it.
Mary reaches for her glasses and places them on her face.
Wraps Her head in a wrap.
NATHAN
Here you are, ma'am. You're all set. Did you just want it
billed to the room?
MARY
Why? Yes, that's fine. Here.
Mary takes from her bag a hundred-dollar bill. She has
nothing smaller to give him.
NATHAN
Did you need to change back, ma'am? I will have to go
downstairs and get it for you?
MARY
No. That's fine.
Thomas folds his tray and pushes the cart back out the
door.
NATHAN
Thank you. I don't know if I have ever been tipped this
much before; let me know if you like the eggs.
The door closes behind him, and he heads to the elevator.
FLASHBACK - EXT. DOUBLE K & RANCH FARM
Mary sits at a table with her mother and father. All around
her are farm hands and cattlemen; on the table are plates of food, eggs, bacon,
and trays of bread and toast and fresh fruit. Mary is no older than six years
old; she is young and ideal. After eating, she is in the kitchen helping with
the dishes with her mother and putting the pots away. She heads out to the
farmhouse to see a mother cow give birth to a young calf.
END OF FLASHBACK
INT. INN ROOM 602 - MORNING
Mary opens her bag, and in it are dresses and shorts,
shirts, and blouses. She pulls out her dye and grabs a tow runs into the
bathroom. MATCH CUT TO --
She emerges with a totally different color of hair, dressed
in short shorts and a T-shirt. Heads to the door, and clearly, you can see her
swimsuit under her clothes; she grabs an oversized towel and heads out the
door.
EXT. INN PARKING LOT - MORNING
Mary sits out front, putting herself together. She stands
there with nothing but white, putting white gloves on and wearing shades.
Placing the oversized white hat into the box outlining the back of her back
seat, she rolls up the back window. The young man loads her bags into the back
of her car, and she tips him, this time handing him a twenty dollar bill. Opens
the car door and shuts it once she is inside, then pushes the push button
starter. JUMP CUT --
EXT. GAS STATION - DAY
Mary pulls into a gas station. Opens the door and walks
inside. Walks down the aisle, looking over the store snacks like she wants to
buy something.
MARY
Can you point me to "Farmer Acres"
GAS STATION ATTENDED
The resort?
MARY
Yes, I believe that's the name?
GAS STATION ATTENDED
Yes. It's back a bit on the left.
MARY
About how far?
GAS STATION ATTENDED
About a quarter mile.
MARY
That's strange. How did I miss it?
GAS STATION ATTENDED
Oh yeah, the sign is hard to see, and you only can see it
going back towards the farm up the road. You don't know how many people come in
here asking for the place.
He lifts a box and scans it.
MARY
Thank you.
GAS STATION ATTENDED
Is there anything else (beat) I can help you with?
Mary moves for the door, grabbing the handle.
MARY
No, thank you.
Mary waves bye. JUMP CUT --
EXT. FARMER ACRES - MOMENTS LATER
Mary pulls in and finds the atmosphere is very different
from the INN she just left.
She walks into the lobby, and no one is there; the place
looks like a ghost town through the lobby and out by the pool.
She finds out why the pool is the life of the place and
everyone surrounding it.
She walks up to the first person she sees and asks about
the front desk clerk.
MARY
Hi, I was hoping that you could help me.
M.R. CLARK
While I will try my best.
MARY
I was just arriving and was hoping to check in.
M.R. CLARK
Oh, you must forgive our front desk clerk; we don't get
very many visitors, and everyone here is usually out here by noon.
MARY
That's not a problem. I have had a long trip and am very
exhausted. I just wanted to check in and...
M.R. CLARK
Why don't you follow me and we will see if we can find him
together.
Mr. Clark takes Mary to the door and opens it. Next to the
front desk, there is a coat and hat rack. He reaches for the top hat and places
it on his head. MATCH CUT --
INT. FRONT DESK LOBBY - MOMENTS LATER
MR. CLARK
Welcome to "Farmer Acres." How may I be of
service?
Mary smiles and grins.
MARY
So you are the front desk clerk?
M.R. CLARK
And the gardener, hostess, and the co-owner.
MARY
Nice to meet you. And how do you do?
M.R. CLARK
I'm doing fine, and how may I be of service?
MARY
I'm looking to check in, please.
Mr. Clark places his hand on a bell and rings it twice; a
young man comes into the room, and a bellhop places her bags onto a cart. JUMP
CUT --
EXT. FARM RESORT STABLES - DAY
Horses running side by side inside a closed gate. A young
man holds another in place as it runs, attempting to buck free. The young colt
reaches a point and fights harder.
Jamison Matthews, late 20 years, brashly good-looking,
farmhand, waiter, do all. The resorts know it all and resident fixer.
JAMISON
Easy! Easy boy!
The colt bucks even harder but finally listens.
Kelly Stormwell, 20 years old, head headstrong but
even-tempered ex-girlfriend.
KELLY
Making progress.
JAMISON
That's it. Good-boy.
Jamison places the colt on the pen.
KELLY
So, what happened to you last night? You were a no-show.
JAMISON
Since we broke up, you have been trying to go out with more
than you did when we dated.
KELLY
I know a good thing when I see it.
JAMISON
Too bad you didn't then.
KELLY
This place isn't going to run itself; it takes a lot of
work.
JAMISON
Nothing does; that's what life is about: taking help from
others and not putting them at arm's length.
KELLY
That's why I'm trying to correct that now.
JAMISON
Don't you think that's too little too late?
Jamison tips his hat and leaves the barn.
EXT. FARM RESORT POOL - DAY
Mary sets by the pool wearing sunglasses; alone, she holds
a glass and places it to her lips.
JAMISON
Can I get you something else?
She has it in her ears and is not listening to the young
man.
MARY
Pardon me. Did you say something?
She places the glass on his tray, not even looking or
making eye contact.
JAMISON
I ask if you need anything else?
She turns her wrapped head up and looks in his direction.
Past him. As if he wasn't there.
MARY
No. Well yes. Could you have the chef make more of today's
special?
JAMISON
I will see what he can do.
He walks away.
INT. FARM RESORT BAR - MOMENTS LATER
Jamison walks into the bar.
JAMISON
Can you put in an order for today's special for me,
please?
KELLY
You do understand your work for me? Right.
JAMISON
Yeah. Yeah. I know... but you realize I can't work the damn
computer right.
Into the room walks a young man holding a tray.
NATHAN
Where do you want these?
JAMISON
Ask Kelly.
Thomas places the tray down, walks outside towards the open
door, and steps out.
EXT. FARM RESORT POOL - MOMENTS LATER
NATHAN
What are you doing here?
MARY
I could ask you the same.
NATHAN
We drop off some supplies ..things that aren't in season.
MARY
Oh, I see.
The door to the pool swings open.
KELLY
Are you bringing this order in or not?
NATHAN
Here I come... Talk to you in a moment.
In walks the order.
JAMISON
Here you are for today's special. Is there anything else I
can help you with?
MARY
Are you good friends with Nathan?
JAMISON
You can say so he's my little brother.
INT. FARM RESORT DINING ROOM - NIGHT
The main course comes out and sits at the tables for the
guests to eat.
MARY
Everything looks wonderful.
THOMAS
Glad it meets your liking.
Thomas cuts and places a piece of fish onto Mary's plate.
KELLY
Thank you for joining me and my father. We have never had a
movie star for dinner before. Well, not for dinner, but eating with us at our
table.
MARY
The honor is all mine.
THOMAS
So how long will we have the pleasure of your company?
MARY
Hard for me to say.
She places a small bite in her mouth.
KELLY
Let us know if there is anything we can do to be of
service.
The second course is brought out.
MARY
Hello, how are you?
JAMISON
Fine, how are you tonight, ma'am?
KELLY
Do you two know each other?
MARY
Yes, we met earlier today.
JAMISON
She loved the special of the day.
MARY
Yes, I never had something so wonderful. It just melts in
your mouth.
He picks up the tray of fish.
JAMISON
I must be getting back.
Mary looks off in his direction.
KELLY
Do you see something you like?
Mary turns her head back around and looks in Kelly's
direction. JUMP CUT --
INT. FARM RESORT KITCHEN - MOMENTS LATER
The staff is rushing about, and the main line chef calls
out the last order.
CHEF
This is it; let's complete this order, and the first round
is on me.
The last orders rush out. MATCH CUT --
INT. FARM RESORT BAR - AFTERHOURS
Only staff are present.
CHEF
Great job tonight, a guy; you were awesome.
Drinks are being passed around. In walks in Thomas.
THOMAS
I got the second round; great job tonight.
Kelly walks into the room.
JAMISON
I need some fresh air.
EXT. FARM RESORT BAR - MOMENTS LATER
Allen North, 30 years old, town handyman, sits near the
entrance.
JAMISON
Allen. What are you doing out here?
ALLEN
Came up with Kelly; she wanted me to come up for some
reason.
JAMISON
Just like her, I'm headed home, and I only can take so much
in one day.
ALLEN
Hey, I need a favor. Do you still have some of that oak
left over from the Johnson, please? I have a project I'm working on and need
some fill-in supplies, which I can't afford to buy new.
Jamison turns and looks inside for a moment.
JAMISON
Yeah, sure, but remember, my going rates you owe me.
ALLEN
Just like old times, thank you. I don't know how much this
will help.
JAMISON
It's not like old times, but always glad to help a friend
out of a jam; just come by tomorrow and take a look at what you need. Good
night, I need to count some sheep.
INT. KIRK'S APARTMENT LOBBY - DAY
Press reporters are hanging in the lobby with reports of
the break-up, looking for Kirk for comment and any information on Mary's
whereabouts.
REPORTER # 1
Do you have any information on the whereabouts of Mary
Styles?
REPORTER # 2
Are you aware of the allegations she has been reported
missing?
Kirk walks through the lobby holding his mail, unaware of
the questions, not even giving notices.
REPORTER # 3
Is it true she broke off the engagement?
Kirk stops and turns to the reports to say something, then
stops and keeps walking.
EXT. FARM RESORT POOL
Action
EXT. FARM RESORT MAIN ROAD - DAY
Main characters in the screenplay:
1. Mary Styles:
• Age: Late 20s
• Description: Mary is a strikingly beautiful woman with
bold features and radiant eyes. She has a strong, independent spirit and a
resilient personality. She comes from a military background, having grown up as
a "military brat" due to her parents' service. Mary is shown to be
introspective and seeks solace at Farmer Acres after her engagement with Kirk
ends abruptly. Her journey at the resort serves as a catalyst for her personal
growth and self-discovery.
2. Kirk Lyons:
• Age: Early 20s
• Description: Kirk is portrayed as a risk-taking, brash,
and somewhat impulsive young man. He was once engaged to Mary, but their
relationship comes to an end, and he is seen as somewhat careless in his
actions. Kirk's character represents a source of conflict and a turning point
in Mary's life.
3. Jamison Matthews:
• Age: Late 20s
• Description: Jamison is a versatile and hardworking
individual with roles as a farmhand, waiter, and more at Farmer Acres. He
exudes confidence and charm and has a genuine connection with Mary during her
stay. Jamison's character offers support and a potential romantic interest for
Mary as she navigates her emotions.
4. Kelly Stormwell:
• Age: 20 years old
• Description: Kelly is a headstrong and determined young
woman known for her even-tempered nature. She plays a significant role at
Farmer Acres, and her dynamic with Jamison is characterized by their shared
history and occasional tension. Kelly's character adds depth and complexity to
the relationships within the story.
5. Mr. Clark (Innkeeper):
• Description: Mr. Clark is a multi-faceted character who
serves as the Innkeeper, gardener, hostess, and co-owner of Farmer Acres. He
embodies a sense of hospitality and takes on various responsibilities at the
resort. His interactions with Mary reflect warmth and a welcoming attitude.
6. Nathan Matthews (Waiter):
• Age: Early 20s
• Description: Nathan is a young waiter at Farmer Acres who
interacts with Mary during her stay. He is courteous and eager to assist.
Nathan's character plays a smaller but still significant role in Mary's
experience at the resort.
7. Lisa Rodriguez:
• Age: Not specified
• Description: Lisa is mentioned in the screenplay as a
wedding planner and guest coordinator. She has a professional relationship with
Mary and provides support during challenging times, showing her willingness to
help.
These characters interact in various ways, contributing to
Mary's journey of self-discovery and personal growth. Each character brings
their own unique qualities and dynamics to the story, adding depth to the
narrative.
1.
The story's central
conflict appears to revolve around Mary Styles and her journey of
self-discovery and healing after a tumultuous relationship with Kirk Lyons.
Mary catches Kirk cheating on her, leading to the cancellation of their
wedding. This event prompts her to leave town and stay at Farmer Acres, a
resort, in search of a new beginning.
2.
The conflict lies in
Mary's struggle to come to terms with the end of her relationship, her need for
self-discovery, and her desire to find happiness and purpose in her life.
Throughout the story, she may grapple with questions about her identity, what she
truly wants, and whether she can move past her past experiences.
3.
Additionally, there may
be sub-conflicts and interpersonal dynamics between other characters, such as
Kirk, the resort staff, and other guests, that contribute to the overall
conflict and development of the narrative.
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