INT. THE CAR – NIGHT
FADE IN:
The front view out the windshield of a car can be seen. The
wipers are on, clearing the drops of rain. It is an empty
countryside road. The headlights of the car illuminate its
path, the trees are left unsheltered without leaves and the
grass sits tall.
The low RPMs of the ENGINE can be heard as the car moves, its
tires driving over broken asphalt.
The car continues driving, we see the area visibly lighten up
with ominous streetlights ahead. The car gets closer – the
neighbourhood comes to life. A wealthy neighbourhood, houses
swaged with four by four SUVs – upon entry of the
neighbourhood, a house stands sentry-like, full focus; the
driveways lights design the entrance like gold.
The car pulls in towards the garage of the house. The car
STOPS and the sounds of the ENGINE CUT.
An individual (we will know him as Doug for now), midtwenties, slim build, American, walking towards the garage door, he begins to lean down to open it from the bottom.
He lifts the garage door up, heading towards the light-switch.
The garage lights up, inside can be seen wall mounted tools,
from hacksaws to hammers, nails, pliers and planks of wood.
To the left, bin bags can be seen piled up on eachother with
a white wooden door, to the right, tyres and jerry cans with
the centre remaining empty.
Doug walks towards the left side, opening the door and
entering the room.
FADE TO BLACK.
OVER BLACK:
A phone can be heard ringing – footsteps approaching it, the
click of the phone being picked up is heard and the ringing
stops.
OLIVIA (V.O.)
Hi, Ed?
FADE IN:
INT. LIVING ROOM – MOMENTS LATER
EDGAR
Edgar, speaking.
From Doug, to Edgar. The identity speaks, we can see him
sitting on a leather couch, black – with modern furniture,
with mosaic flooring and white walls. Edgar has his feet up
on a glass coffee-table.
OLIVIA (V.O.)
Hi, Ed. I won’t be able to make it
tonight, I am really sorry. You
haven’t upset me or anything, I
just-
EDGAR
You just can’t? You make plans then
all of a sudden, you just can’t.
Why do you lead me on for brief
moments to shut me down at the last
second?
OLIVIA (V.O.)
Ed, it isn’t like that. I just
can’t make it. I’m sorry.
EDGAR
Stop calling me Ed. I’ll talk to
you later.
EDGAR hangs up and places the phone on the glass coffee
table, he lays back and takes a moment for himself;
reflecting – eyes closed and head laid back on the sofa with
his arms spread. A moment of nurturing and peace.
After a couple minutes, he gets up. He heads towards his
bedroom to get changed for the night.
INT. EDGAR’S BEDROOM – MOMENTS LATER
We watch EDGAR go through his routine, seeing him getting
changed..
EDGAR (V.O.)
I feel like my anatomy is split.
Everything I do, all that I try.
I feel the blues at the night hour,
with all the plans and the
excitement.
EDGAR finishes up and begins to exit his bedroom, heading
back down to the living room.
CUT TO:
INT. LIVING ROOM – MOMENTS LATER
EDGAR lays back down on the sofa, beginning to doze off into
a gentle goodnight, rubs his eyes and begins to yawn as he
slowly fall asleep.
FADE OUT.
OVER BLACK:
EDGAR (V.O.)
Tired. Tired and tired. I go
through the hardship, I go through
the idea of rejection. It’s like a
slow guitar being played, the tempo
never picks up and it’s the same
old pattern. That’s as far as I
get, Olivia, Aliya, Mercedes. They
don’t feel any sort of empathy,
they don’t know how I feel. They
make the call, they get away.
FADE IN:
EXT. EDGAR’S GARDEN – MORNING
Clear skies CAN be SEEN, the SUN radiates the area – the
golden hour. Birds can be HEARD chirping, singing their
harmony. The wind gently pushes against the hedgerows in
EDGARs garden.
An ACOUSTIC guitar can be heard being played, reverbing from
the house.
CUT TO:
INT. LIVING ROOM – MORNING
EDGAR can be SEEN playing the guitar on his sofa, packs of
tobacco are laid across the glass table and the phone is
still in place, he is playing a light tune whilst singing in
a mellow tone, still wearing the SAME clothing, waiting for
the phone to ring once more.
EDGAR
I never feel alright, I guess I
have to go.
And in my silence, it’s so
menacing.
And when I am left alone, it’s so
damaging.
And in my violence, the walls cave
in.
And I’m not able to, escape it all.
Another lonely night.
EDGAR (CONT’D)
Nevermind, scrap that. It’s not
good enough. She won’t call, will
she?