Kristina Furey

Entry X of "The List"

INT. REBECCA’S KITCHEN-LATER THAT MORNING     

Jenny walks in and throws the Tattler magazine down.  Her pictures on it with a headline that reads, “Jenny Matisse Writes Tell All Book.  (Page 3), See her handwritten notes.  Jenny slumps down and cries.  Jenny opens to page three and glances at it. 

JENNY:   Who?  How?  Uh, Brandon!  (She runs over and checks the answering machine.)

ANSWERING MACHINE:  There are no new messages.

Jenny takes a deep breath and slowly exhales.

She picks up the phone and dials.

JENNY:    Please, please pick up.  Brandon?

BRANDON:  (A quiet voiceover, coming from Jenny’s phone.)  I have nothing to say to you.

JENNY:  No please, please let me explain.

BRANDON:  (A quiet voiceover, coming from Jenny’s phone.)   You don’t have to explain.  I saw you with Juliette last night.

JENNY:  But no, it’s not what you…  (She slowly lowers the phone from her ear.)  think.  (She looks at it and cries.  She puts the phone down on the counter and starts to walk away but returns and picks it up again.  She dials.)

BRANDON’S ANSWERING MACHINE:   (A quiet voiceover can be heard through Jenny’s phone.)  Please leave a message.

JENNY:  Brandon, please pick up!  I love you!  I would never do anything to hurt you.  Please believe me.  I was going to leave before, because of the Tattler, remember.  They twisted everything!  Yes, I wrote it, but it was personal.  I never meant for…  Uh, that’s it!  Sophie must have grabbed it out of my pocket last night.  (She pulls the phone away from her ear and there is the light sound of a dial tone.  She hangs up.  She redials and then puts the phone down in defeat.)

CUT TO: 

*The following sequence is backed by MOBY’S SONG, “PORCELIAN.  It’s almost like a slide show that changes with each note that is played on the synthesizer.  Each progressive picture begins, inside of the blurred impression, left behind by the previous picture. 

INT.  KITCHEN:

Jenny is on the phone. 

One image of her on the phone fades into another.

INT. REBECCA’S BEDROOM:

Jenny is on a phone with a cord, sitting on the bed.  This scene fades into her sitting on the floor tangled up in the cord, phone to her ear.)

INT. REBECCA’S FOYER: 

Jenny has her suitcases.  Scenes of her walking down the stairs fade into each other.

*Now scenes are compressed (time lapse) action that halts briefly on the last image of each scene.

EXT. REBECCA’S HOUSE:

A taxi is coming down Rebecca’s street.  The taxi is stopped in front of Rebecca’s house.

Jenny is in the same outfit she wore when she arrived, is walking from the front door to the taxi.  The taxi door is shut.)

The for-sale sign is pulled out and taken away.  This ends with a close up on the house.

Movers come.  The new owner admires the house from the front lawn.

INT. OF TAXI:

Jenny is in the taxi crying.  She pays the driver.

INT.  AIRPORT:

Jenny checks her baggage.  She sits waiting to board.

INT. AIRPLANE:

Jenny is boarding the plane.  Jenny is sitting in her seat.

*This ends the time- compressed sequence.  The next scene is played normally.

EXT. AIRPLANE:

The plane is taking off.

*This next sequence is a repeat of earlier scenes, only played backwards.

INT. BRANDON’S HOUSE-BEDROOM:

The scene of Brandon and Jenny on the bed where he takes her shirt off plays.  So now, the shirt is being buttoned.

INT. BRANDON’S CAR:

The scene of Jenny in Brandon’s car, tracing raindrops on the window.  Only now it is played backwards, so that the raindrops are going up the window. 

INT. REBECCA’S KITCHEN: 

The scene where she throws the last Tattler magazine on the kitchen counter.  So now, the magazine goes from the counter to her hand.

*We are leaving the backwards sequence in the following scene.

INT. BRANDON’S CAR:

Brandon, in the car talking about his life since Vicky died.  This scene starts like it’s being rewound on a video machine, with quick lines running through it.  Then it’s stopped played forward and then backwards again and then forward.

*From this point on everything moves forward again.

INT. REBECCA’S HOUSE-LIVING ROOM:

The scene of Jenny’s last phone call with Brandon.

INT. BAR RESTAURANT:

Jenny, blowing up at her Dad in the restaurant. 

EXT. SIDEWALK-NIGHT

Jenny on the sidewalk after blowing up at her dad, slumping down against the wall by the phone.

INT. REBECCA’S HOUSE FOYER:

Jenny slumping down against Rebecca’s front door, after Sophie reads the Eulogy.

INT. HOTEL PUBLIC BATHROOM: 

Jenny slumping down against the hotel bathroom, the first time she met Juliette.  This scene repeats two more times.

INT.  JENNY’S APARTMENT-PRESENT TIME:

She walks into her dark apartment.

INT. REBECCA’S HOUSE-FOYER:

Flashback the first time she walked into Rebecca’s house.

INT. JENNY’S APARTMENT: 

Flashback, Jenny rolling the pill container.

INT. JENNY’S APARTMENT:

New scene.  Jenny is wearing the same outfit, so that the earlier scene of Jenny rolling the pill container flows into this new scene.  This time she lets the pill container go and it rolls off of the table, in slow motion, and onto the floor. 

The lid pops off and the pills spill out onto the floor.

She dumps the pills down the sink.

She opens a journal and starts writing in the middle of the first page.  THE LIST, by Jenny Matisse.

INT. BRANDON’S OFFICE:

Brandon pulls the screenplay, THE LIST, out of the envelope.

EXT. MOVIE THEATER:

A movie theater marquee is being changed.

*The song should end with this.

The loud ring of a phone can be heard.

The camera zooms out from the marquee and it is now realized the marquee changing was being viewed from the window in Jenny’s new apartment.

Jenny has been staring out her apartment window.  The marquee is seen from her point of view.  The camera pans to show her point of view as she walks away from the window to answer the phone. 

INT.  OF JENNY’S NEW APARTMENT: 

A different camera angle shows Jenny answering the phone.

JENNY:  Hello?

BRANDON:  Hello Jenny.

Jenny drops onto the couch.

BRANDON:  It’s me, Brandon.

Jenny nods her head slightly.

BRANDON:  I got the screenplay you sent.  It’s good, it’s really…  I’m sorry, I’ve messed up terribly.  (pause)  Are you there?

JENNY:  (crying)  Um hmm.

BRANDON:  You were right.

JENNY:  Right?

BRANDON:  About hurting each other without the intention, it’s inevitable.  (pause)  It hurt when Vicky died.  I felt so angry with God and so focused on her absence that I forgot how beautiful and inviting her smile was.  I forgot what a free spirit she was and how her eyes sparkled when she laughed.  It wasn’t until Rebecca’s funeral when you spoke about being able to see the meaning of life in Rebecca’s life and how it was a gift and you were willing to accept the sadness that comes along with it, that I was able to remember.   Your words reminded me and when I, when I saw you save that turtle, you made me want to fall in love again.  You make me laugh and want to reach out and touch you and be touched by you.  You heal me.  The pain of love and life is inevitable but when you’re by my side it loses its power.  Are you still there?

JENNY:  Um hmm.

BRANDON:  I can understand if you don’t ever want to see me again.

JENNY:  No, I love you!

There’s a knock at the door.

JENNY:  Don’t… just stay, don’t hang up, there’s someone at the door.

Jenny opens the door.

There’s a turtle walking down the hall.

Jenny looks up and down the otherwise deserted hallway and laughs.

Brandon walks around the corner with a copy of the list in one hand and his cell phone in the other.

BRANDON:  I was hoping you’d accept my apology.

Jenny runs to Brandon, hugs him and kisses him.

BRANDON:  (breaking the embrace) Wait, wait, wa-it.  There will be plenty of time for that.  Oh, well, maybe just one more.

They kiss

BRANDON:  Now about your screenplay, I was thinking, it’s great that she writes the screenplay.

JENNY:  Um hmm.

BRANDON:  But your audience is going to want to see her get the guy in the end as well and he needs to grovel and tell her everything she means to him.  You know, maybe he should even bring the turtle.

JENNY:  Yeah, I like those ideas.

THE RED CARPET: 

This scene shrinks down in the middle of the screen to accommodate the ending credits.  As many of the actors from the movie as time allows, are getting out of their cars and or walking down the red carpet while their names flash along side of them in the credits as Brandon and Jenny continue to plan the ending of, The List.  Brandon, Jenny and Dr. Wells are excluded.

BRANDON:  (voiceover)  And I’m thinking you should throw in some alleluias.  Start the credits rolling and occasionally even some bloopers can pop up on the screen.

JENNY:  (voice over)  No, no, I got it!  All the actors can be walking down the red carpet with their names being displayed during the credits and then…

The credits continue to run with actors walking down the red carpet and their names being displayed and then it’s broken by the next scene. 

CUT TO: 

THE RED CARPET: 

The camera pans over to Juliette Carter who is ending an interview with one of the actors.

JULIETTE:  And here comes my good friend and one of America’s favorite leading men.

The name of the actors playing Jenny, Brandon and Juliette flash in the credits.

Jenny and Brandon walk up together.

Jenny is very pregnant.

JULIETTE:  Jenny, congratulations on your nomination for best screenwriter and Brandon you were very believable playing yourself in, “The List.”

JENNY:  Thank you.

JULIETTE:   It’s a fairytale story that could only come true in Hollywood.  (Juliette looks at Jenny’s pregnant belly and then back at Jenny and Brandon’s faces.)  And I see your coming attraction.

Jenny’s hand goes to her belly.

JULIETTE:  So when is that joint project scheduled to be released?

BRANDON:  (Putting his hand on Jenny’s belly.)  It could possibly upstage us all tonight.

JULIETTE:  Well, good luck!

THE RED CARPET:

More actors walk down the carpet with credits, and then another scene breaks in.

INT. OF AWARDS BULDING.

PRESENTER:  And the award for Best Screenplay goes to…

The name of the actor playing the presenter flashes in the credits. 

PRESENTER:  (opens the envelope)  Jenny Deveraux, for, “The List.”

THE RED CARPET:

The remainders of the actors walk down the red carpet with the exclusion of Dr. Wells.

CUT TO: 

INT. OF AWARDS BUILDING:

JENNY:  Wow, whoever said life doesn’t come with an instruction book?  (pause)  And thank you Rebecca for leaving me yours.  I wouldn’t be here without it.  Excuse me a moment, Hey Hon., can you check off number three on that list I have in my purse.  Thanks!  That’s ten for ten.  Pretty much covers it.  I want to thank my husband for being such a nice guy and putting up with all my craziness.  Okay,  (She speeds up.)  and I want to thank  (She lists the Director, Producer, the Screenwriter, etc.  She holds up the award.)  Believe in your dreams!  Write them down and follow where they lead you.  Thank you!

Jenny is escorted off stage.

CUT TO AUDIENCE:

Dr. Wells is in the audience sitting next to some celebrity like *Winona Ryder or *Robert Downey Jr. (*Note this was written in 2003, so substitute some current celebrity, in need of help managing their  ¼ life or midlife crises.) 

DR. WELLS:  Are you?  I’m Jenny’s therapist.  (She hands them her card.)  Call me.

The song, “WISH” by NAKED BLUE begins. (SERIOUSLY,  IF YOU HAVEN’T YET HEARD THIS SONG, DO IT!!!  IT WAS A HUGE PART OF MY INSPIRATION TO WRITE THIS.  The whole song plays while the rest of the credits roll and the turtle slowly makes its way down the red carpet.  (YES, the turtle!  You didn’t think we would forget the turtle do you???)  Turtle’s name pops up at some point and a disclaimer about how no turtles came to harm during the filming of The List.

 

                       THE END

 

Be the first to respond!

Leave a comment:

  •