Time And Again (a screenplay)

INT. LIVING ROOM – NIGHT
NOTE: The film will be in Black and White, until noted
otherwise.
Darkened living room. Young heavy woman (Bertha) sits on
couch lit only by flickering glow from TV, wearing house coat
and eating Cracker Jax.
JACKIE GLEASON (O.S.)
(unseen voice from TV)
One of these days, Alice. To the
moon…
CUT TO:
INT. BASEMENT – NIGHT
Basement workshop lit only by single bare bulb over
workbench. Slim young man in jeans and plain, white T-shirt
(Henry) wearing glasses is attaching wires to a jumble of
electrical parts and then plugs into wall outlet.
CUT TO:
INT. BLACKOUT – MOMENTS LATER
Loud snapping sound and scene goes black.
HENRY (O.S.)
(unseen, under his breath)
Uh oh!
BERTHA (O.S.)
(very loud)
Now what did you do? Fix that, you
moron! I’m missing my show!
CUT TO:
INT. BASEMENT – NIGHT
Flashlight clicks on and finds the fuse box. Henry removes
blown fuse and inserts new one. Light comes back on and sound
resumes from TV in living room.
JACKIE GLEASON (O.S.)
(unseen voice from tv)
Alice, you’re the greatest.
(Applause and music)
INT. BASEMENT – NIGHT
Henry looks dolefully at the smoldering mess on his
workbench.
BERTHA (O.S.)
(commanding)
Come up to bed now. You have to get
up early tomorrow for work.
(pause)
You and your stupid time machine.
One of these days you’re gonna burn
the house down.
FADE TO BLACK
EXT. TRAIN STATION – MORNING
Henry is on crowded train station waiting for train. He is
wearing grey business suit, white shirt, and tie. He doesn’t
look happy.
Train enters station. Crowd surges onto train carrying Henry
along and train leaves station.
FADE TO:
EXT. DOWNTOWN NEW YORK CITY STREET – MORNING
Henry leaves train station and enters massive office
building.
CUT TO:
INT. LARGE OFFICE WITH MANY DESKS AND PEOPLE – MORNING
Henry exits elevator and walks to one of the desks. He takes
off his jacket and hangs it on the back of his chair. Then he
pulls out some file folders, sets up an adding machine, and
starts to work.
FADE TO:
INT. LARGE OFFICE WITH MANY DESKS AND PEOPLE – AFTERNOON
Henry is still at his desk piled high with papers and
folders.
2.
His collar is opened and tie loosened and sleeves are rolled
up. He’s keying intently on the adding machine and writing
carefully on pad.
FADE TO:
INT. LARGE OFFICE WITH MANY DESKS AND PEOPLE – EVENING
Everybody is leaving for the day. Henry puts his adding
machine and papers and folders away, puts on his jacket and
heads for the elevator.
FADE TO BLACK.
INT. BASEMENT – LATER
Henry enters his basement to find his workbench cleared and
his time machine components in the trash can. He is defeated
and goes upstairs.
FADE TO:
INT. LIVING ROOM – MOMENTS LATER
Henry enters the living room. Bertha is sitting on the couch
watching TV and eating potato chips. He just stands looking
at her with his hands in his pockets.
BERTHA
I did it for your own good. Your
time machine is a joke. It’s never
going to work. You were just
wasting your time and maybe get
hurt. Let’s go to bed now. You have
to get up early tomorrow for work.
Henry follows her out of the room.
FADE TO BLACK.
EXT. TRAIN STATION – MORNING
Henry is on crowded train station waiting for train. He is
wearing grey business suit, white shirt, and tie. He looks
very unhappy. The train begins to enter the station when
suddenly a young, pretty girl (Kaye) grabs Henry by the
shoulders.
3.
KAYE
(wild eyed)
It’s you! How can this be?
She faints right at Henry’s feet as the doors to the train
open and the crowd surges aboard. No one pays any attention
to Henry and the girl at his feet. He kneels down and cradles
her in his arms.
He holds her for a few seconds enjoying the feel of her in
his arms. She opens her eyes and looks at him for a second
then stands up quickly and backs away from him.
KAYE (CONT’D)
(gasping)
I’m sorry. I thought you were
someone else.
She turns to leave but stumbles and Henry catches her in his
arms. They stare into each others eyes for a moment.
KAYE (CONT’D)
(backing away again)
Sorry… I have to go.
HENRY
Wait. I’ll walk you home.
KAYE
No. No. I’m fine.
But she sways unsteadily and HENRY takes her arm.
HENRY
Come on. I’ll worry about you all
day if I don’t see you home safely.
They exit the station… Henry still holding Kaye’s arm.
FADE TO:
EXT. FRONT OF SMALL APARTMENT BUILDING – MORNING
Kaye extracts her keys from her handbag and starts to unlock
the front door.
KAYE
Thank you. I’m sorry to be a
bother.
HENRY
No bother. I’m Henry.
4.
KAYE
(looking confused)
I’m Kaye. Thanks again.
She opens the door and starts to enter. Henry tries to follow
but she puts her hand on his chest to hold him back.
KAYE (CONT’D)
No, no. This has been very
upsetting. You remind me of
somebody. Please go.
She enters the building and closes the door behind her. Henry
walks slowly away looking back once.
FADE TO BLACK.
INT. LARGE OFFICE WITH MANY DESKS AND PEOPLE – DAY
Henry is at his desk with his adding machine and papers
spread out but he is not working. He is daydreaming about
Kaye and reliving the moments he held her in his arms.
Soon it’s the end of the day and everyone is leaving
including Henry who has a smile on his face and is whistling.
EXT. TRAIN STATION – MORNING
Henry is scanning the crowd at the station searching for
Kaye. He does not find her and gets on the train for work.
FADE TO:
INT. LARGE OFFICE WITH MANY DESKS AND PEOPLE – DAY
Henry is at his desk with his adding machine and papers
spread out but he is not working. He is daydreaming about
Kaye and reliving the moments he held her in his arms.
Soon it’s the end of the day and everyone is leaving
including Henry who has a concerned but determined look on
his face.
FADE TO:
EXT. FRONT OF SMALL APARTMENT BUILDING – EVENING
Henry is standing in front of Kaye’s house looking up at the
windows. He looks at the names on the door buzzers and sees
one that says “K.
5.
HOLLAND” and presses it but there is no answer. He rings
again and a woman opens a window and looks quizzically at
him.
WOMAN
Yes?
HENRY
Is Kaye at home?
WOMAN
She doesn’t live here anymore. She
moved out yesterday.
HENRY
Do you know where she went?
WOMAN
No. She just packed up and left.
The woman closes the window. Henry looks dejected, stuffs his
hands in his pockets and shuffles away.
FADE TO BLACK.
INT. BASEMENT – LATER
Henry looks around his basement workshop. He changes from his
business suit to a pair of jeans and puts on a brown leather
jacket over his T-shirt. He retrieves the parts of his time
machine from the trash barrel and puts them into a cardboard
box. He takes one last look around, turns off the light and
leaves the basement with the box in his arms.
FADE TO BLACK
EXT. OUTSIDE BILL’S MOTORCYCLE SHOP – LATER
Henry crosses the street puts down the box in front of the
door and enters the shop.
CUT TO:
INT. INSIDE BILL’S MOTORCYCLE SHOP – EVENING
Bill is working on a disassembled BSA motorcycle. He looks
up at the sound of the door and sees Henry. His face lights
up with genuine pleasure.
6.
BILL
(exclaims)
Hank!
HENRY
Hello, Bill.
Bill stands up, wiping his hands on a rag. He gives Henry a
warm and hearty handshake then stands back to look at him.
BILL
It’s been a while…
HENRY
Five years in fact… since I
married Bertha.
BILL
So how is that working out?
HENRY
It’s not. I just moved out. She
trashed my time machine.
BILL
You still working on that stu…
that thing?
HENRY
I know you don’t believe it, Bill,
but I’m sure I can make it work.
BILL
So you’re coming back to work? I
sure missed you. You’re the best
mechanic I ever had.
HENRY
(smiling)
I’m the only mechanic you ever had.
BILL
So what can I do for you, Hank?
HENRY
Actually, Bill, I need a very big
favor.
Bill just looks at Henry and resumes wiping his hands on the
rag.
HENRY (CONT’D)
I need a place to stay and a place
to work on my time machine.
7.
(MORE)
I really need to make it work and
go back to the time before I
married Bertha and meet up with
someone else. Do you still have
that room upstairs?
BILL
(slowly and thoughtfully)
I tell you what. I have a lot of
work and I need help. You give me
nine to five Tuesday through
Saturday and you can have the room
and the shop – with all the tools -
after hours. I’ll even pay you a
little so you can buy food and
razor blades. What do you think?
HENRY
(grinning happily)
It’s a deal! Can I stay here
tonight and start work in the
morning?
BILL
Yup.
HENRY
And can I bring my stuff in?
Henry goes out and brings in the box he left outside.
BILL
What’s that?
HENRY
The parts to my time machine that
Bertha trashed.
BILL
(rolling his eyes and
shaking his head)
Okay, okay. Let’s go up and make
the room livable. It hasn’t been
used in years.
Henry picks up his box and follows Bill to the back of the
shop.
BILL (CONT’D)
When did you start wearing glasses,
Hank?
8.
HENRY (CONT’D)
HENRY
Right after I started working at
the insurance company. I read a
lot of numbers.
FADE TO BLACK.
EXT. HIGHWAY – DAY
Motorcycle coming down the highway toward camera. As it gets
closer we see Henry riding.
FADE TO:
EXT. CITY STREET – DAY
Motorcycle coming down city street. Stops in front of Bill’s
Motorcycle Shop. Henry parks it, dismounts, and enters shop.
FADE TO:
INT. INSIDE BILL’S MOTORCYCLE SHOP – DAY
Bill and customer look expectantly at Henry.
HENRY
Runs like a dream now. Good as
new.
Bill nods and smiles. Customer smiles and pays Bill.
CUSTOMER
(heading out the door)
Thanks, Hank. That’s great.
BILL
Yup… things have gotten a lot
better here since you’ve been back.
The customers really like the way
you treat their bikes.
HENRY
And I like the work, Bill, but I
really wish I could figure out the
one glitch that blocking my time
machine.
BILL
(turning away from Henry
and smirking)
9.
(MORE)
Oh, right, the time machine. Well,
I’m sure you’ll get it some day.
FADE TO BLACK.
INT. MOTORCYCLE SHOP WORK AREA – NIGHT
It’s late and Henry is at a workbench in a corner of the
shop. The shop is dark and the only light is above the work
area. Henry is soldering a string of transistors together and
then attaches the string to two terminals in a control panel.
He connects the panel to a metal chair and very carefully
adjusts a dial.
Henry sits on the chair, puts his finger on a switch,
squeezes his eyes shut tight, and throws the switch. Nothing
seems to happen except the light over the work area goes out.
HENRY
Failed again. Gotta keep trying.
Well, it’s a new day.
It’s almost dawn. There’s a pale light coming from outside
and Henry finds the light switch on the wall. He turns on the
light.
CUT TO:
INT. INSIDE BILL’S MOTORCYCLE SHOP – MORNING
NOTE: The film changes to Full Color, until noted otherwise
later.
Henry rubs his eyes and goes outside to watch the sun come
up.
FADE TO:
EXT. OUTSIDE BILL’S MOTORCYCLE SHOP – MORNING
It’s a beautiful sunny morning and Henry turns to go back
into the shop but he’s locked out. There’s a sign on the
door: MECHANIC WANTED. Henry looks puzzled.
The sound of a motorcycle approaching and Bill pulls up with
an older motorcycle and parks in front of the shop.
BILL
(opening the door)
Are you applying for the mechanic
job? What’s your name?
10.
BILL (CONT’D)
HENRY
But I’m Hank! I…
BILL
Well, Hank, come on in. Let’s see
what you can do. We have a lot of
bikes to fix. Spring is here and
everybody wants to ride.
FADE TO BLACK.
INT. INSIDE BILL’S MOTORCYCLE SHOP – DAY
There follows a quick succession of short clips showing Henry
and Bill working throughout the day.
1. Bill showing Henry around the shop.
2. Bill and Henry working on a bike together.
3. Henry changing a tube and tire.
4. Bill showing Henry how to rebuild a carburetor.
5. Henry changing a headlight bulb.
6. Henry working on a bike while Bill deals with customers.
7. Bill putting tools and parts away.
8. Henry sweeping the floor.
FADE TO:
INT. INSIDE BILL’S MOTORCYCLE SHOP – EVENING
BILL
(beaming and wiping his
hands on a rag)
Well, Hank… that was a great
day’s work. You’re hired. Come back
tomorrow at nine.
HENRY
(tentative and worried)
Bill, I don’t have any place to go.
BILL
(stops wiping hands)
What do you mean?
11.
HENRY
I just got here and I don’t have a
place to stay. But I do like the
work and I want the job.
BILL
Well… there’s a room upstairs
with a bed. You can use that for a
few days until you find a place.
HENRY
(very grateful and
relieved)
That’s very kind of you, Bill. I
promise you won’t be sorry.
BILL
(handing Henry a key)
Here’s a key so you can go out if
you want. Be sure to lock the door
when you’re out and when you’re
upstairs.
HENRY
Okay, Bill. Thank you.
FADE TO BLACK.
INT. UPSTAIRS ROOM – EVENING
Henry is going through the white pages phone book but can’t
find what he is looking for. He is disappointed. He goes
downstairs.
FADE TO:
EXT. OUTSIDE ON STREET – EVENING
Henry is walking along the sidewalk looking closely at all
the houses.
FADE TO:
EXT. FRONT OF SMALL APARTMENT BUILDING – EVENING
Henry is standing in front of the house where he had last
seen Kay. He looks at the names on the door buzzers but he
doesn’t see anything familiar. He walks away back to Bill’s
Motorcycle Shop.
FADE TO BLACK.
12.
INT. UPSTAIRS ROOM – MORNING
Henry is asleep in bed. He hears a door slam and opens his
eyes. He looks around confused not really sure where he is.
BILL
(shouting from downstairs)
Hank! You awake?
HENRY
Yeah, Bill. I’ll be right there.
Henry hurriedly dresses and goes downstairs.
CUT TO:
INT. INSIDE BILL’S MOTORCYCLE SHOP – MORNING
HENRY
(his hair is wild and he
still looks sleepy)
Give me a minute, Bill.
Henry goes into the bathroom. He comes out a moment later
his hair combed and face washed.
BILL
Those the only clothes you have?
Here, put this on.
He hands Henry a black T-shirt that says “Bill’s Motorcycle
Shop.”
HENRY
(mumbles)
Thank you.
Henry goes back into the bathroom and comes back out wearing
the new T-shirt.
BILL
That’s better. Here, have some
coffee.
Bill produces a brown paper bag with two containers of coffee
and two buttered rolls. They eat standing up at the counter
while Bill thumbs through some work orders.
BILL (CONT’D)
Looks like we have a day’s work
here. You can start with this one.
13.
He hands Henry one of the work orders.
FADE TO BLACK
INT. INSIDE BILL’S MOTORCYCLE SHOP – EVENING
Bill and Henry are wrapping up the day’s work, putting tools
away and sweeping up.
BILL
Any plans for the weekend, Hank?
HENRY
I’m going to check out the
neighborhood and look for a place
to live.
BILL
Good luck. And don’t forget to lock
the door while you’re out and
upstairs.
HENRY
Okay, Bill. Thanks
Bill heads out the front door and Henry heads upstairs.
FADE TO BLACK
EXT. OUTSIDE BILL’S MOTORCYCLE SHOP – MORNING
Henry exits the motorcycle shop. It’s Sunday morning and you
can hear church bells in the distance. Henry hesitates, not
knowing which way to go, then heads down the street.
FADE TO:
EXT. OUTSIDE ON STREET – DAY
Series of clips showing Henry walking through the
neighborhood.
1. Business section
2. Park with children playing
3. Residential section with single family homes
4. Residential section with small apartment houses.
14.
He stops for a while in front of the house where he last saw
Kaye and watches people going by but there is no sign of her.
FADE TO BLACK
INT. INSIDE BILL’S MOTORCYCLE SHOP – MORNING
Henry is setting up tools as Bill enters the shop.
HENRY
Morning, Bill.
BILL
Morning, Hank. Any luck finding a
place?
HENRY
I did but the owner wasn’t around.
I’ll go back during lunch to meet
him.
BILL
Okay, then. Let’s get started.
Bill starts sorting through a pile of work orders.
FADE TO BLACK
INT. INSIDE BILL’S MOTORCYCLE SHOP – EVENING
BILL
(opening two beers,
handing one to Henry
along with an envelope)
Happy anniversary, Hank. It’s been
a year since you walked into my
shop and you’ve done real well.
You’ve become a top notch mechanic,
the customers really like you,
you’ve got your own apartment, your
own bike. You’re an asset to me and
to the community. Here’s a well
deserved bonus for you.
HENRY
(taking the envelope and
the beer but looking
unhappy)
Thanks, Bill.
15.
BILL
(brightly)
Why so glum, chum? You should be
happy.
HENRY
I really appreciate everything,
Bill. But, you know, I’m still
looking for that special person.
BILL
(not quite understanding)
You’d meet lots of girls if you
weren’t so particular.
HENRY
(shaking his head)
You don’t understand. There’s
someone special I’m looking for.
BILL
That’s exactly what I’m saying.
Henry just shakes his head and downs his beer.
FADE TO BLACK.
EXT. OUTSIDE BILL’S MOTORCYCLE SHOP – EVENING
It’s Saturday night. Bill and Henry are closing up the shop
for the weekend.
BILL
I hear there’s a carnival at the
fairground this evening. Why don’t
you check it out and have some fun.
HENRY
I’ll do that, Bill. Thanks.
Henry mounts and starts his motorcycle and rides off.
FADE TO:
EXT. CARNIVAL – NIGHT
Bright lights, loud music, and crowd noises. Henry parks his
motorcycle and dismounts. He enters the carnival.
He walks around looking at people having fun eating and
riding on carousel, roller coaster, and other amusement rides
and games.
16.
He comes across a long line of men and boys waiting at a
table with a big sign that says, “Kisses For Charity – 10
cents each.” There are three young women behind the table
collecting dimes and dispensing kisses. One of them is Kaye.
At first he is astonished but then he smiles and gets on
line. The line moves steadily along but when Henry’s turn
comes Kaye is busy with another “customer.” He hesitates but
the man behind him gives him a nudge and Henry gets his kiss
from a different girl.
He gets back on the long line counting how many people are
ahead of him and trying to figure out how to get to kiss
Kaye. As he gets closer he recalculates his position and lets
a couple of guys ahead of him, but when he gets to the table
he misses Kaye again. He decides to just wait around for a
chance to speak to her.
FADE TO:
EXT. CARNIVAL – LATER
The carnival is closing for the night. Vendors are packing up
and taking down their booths. There are just two men on line
at the kissing table and three women selling kisses. One of
the women is folding up the table. Henry decides to take
another try and get on line behind a large burly man.
With the table out of the way the burly man steps toward
Kaye, easily picks her up and hoists her onto his shoulder
and starts to walk away with her. She is wriggling and
kicking to get away from him. Henry dashes in front of the
man and confronts him.
HENRY
(smiling)
Hey, buddy… there’s a $25 deposit
on that.
BURLY MAN
(looking puzzled)
I don’t have $25.
HENRY
(still smiling)
Then you can’t have her. I’m
sorry… you’ll have to put her
down… right now.
Kaye has stopped kicking and squirming. A small crowd is
gathering to see what’s happening. The burly man seems
hesitant. He looks at Henry and at the crowd. He puts Kaye
down in front of Henry and walks away.
17.
HENRY (CONT’D)
(to Kaye)
Are you all right?
KAYE
Now I am. Thanks to you.
HENRY
That could have been ugly. I’m glad
I was here.
KAYE
I’m glad too. But you’ve been here
for a while. I saw you on line a
few times buying kisses. Wasn’t one
enough?
HENRY
I wanted to kiss you but my timing
was off.
KAYE
Why me?
HENRY
You remind me of somebody.
KAYE
Well, I’ll kiss you now for saving
me… no charge.
Kaye takes hold of Henry’s shoulders and kisses him full on
the mouth but just quickly.
CLOSE UP HENRY’S FACE
Surprised look and smile
CLOSE UP HENRY’S AND KAY’S FACES LOOKING INTENTLY INTO EACH
OTHER’S EYES
HENRY
(taking Kaye’s hand)
Can I walk you home?
KAYE
(brightly)
Sure.
They exit the carnival.
FADE TO BLACK
18.
There follows a series of scenes showing the developing
relationship between Henry and Kaye leading up to Henry’s
dramatic ride to meet Kaye at the new house. Two and a half
minutes background music Sonny James “First Love.”
(see Romantic Sequence video for timing of scenes with
music.)
1. Riding 2-up
2. Walk to picnic area.
3. Picnic scene at the lake. Dancing slow motion.
4. Exploring art gallery or museum.
5. Enjoying performance at night club.
6. Dinner with Kaye’s family (instrumental)
7. Kissing at the front door.
8. Proposal with ring.
9. Shopping for towels and pots.
10. House hunting
EXT. OUTSIDE FRONT OF NEW HOUSE – DAY
Kaye approaches new house. There are five cars parked in
front. The front door is open and four couples plus the
realtor are in the hallway. Kaye enters.
INT. INSIDE NEW HOUSE – DAY
Kaye walks through the rooms aware that the other couples are
also interested in the house. You can hear the couples
talking anxiously between themselves. Then it gets quiet.
REALTOR
Well, are any of you prepared to
make an offer? Otherwise I have
another appointment and you can
call me when you decide.
There’s some more chatting between the couples and Kaye runs
out of the house.
CUT TO:
19.
EXT. A PAY TELEPHONE NEARBY – DAY
Kaye drops a coin in the slot and bites her lower lip
anxiously.
CUT TO:
INT. INSIDE BILL’S MOTORCYCLE SHOP – DAY
Bill is at the counter with a customer. The phone rings.
BILL
Bill’s Motorcycle… good
afternoon.
CUT TO:
EXT. A PAY TELEPHONE NEARBY – DAY
KAYE
(practically gasping)
Bill… Is Hank there?
CUT TO:
INT. INSIDE BILL’S MOTORCYCLE SHOP – DAY
BILL
Hi, Kaye. No, Hank’s out test
riding a new bike for a new
customer. How are you?
CUT TO:
EXT. A PAY TELEPHONE NEARBY – DAY
KAYE
(still very excited)
No time to talk. Tell Hank to meet
me at the corner of Elm and
Driscoll… and hurry! Please!
BILL
Kaye? Are you all right?
But Kay has already hung up. Bill looks quizzically at the
phone in his hand. Just then Henry walks in.
20.
HENRY
Sweet bike. Runs like a dream.
(he notices Bill holding
the phone staring at
Henry)
Hey. What’s up, Bill?
BILL
Kaye just called. Said for you to
meet her at the corner of Elm and
Driscoll. She seemed very
excited… said to hurry. Is she in
trouble?
Henry dashes out the door.
FADE TO BLACK.
EXT. VARIOUS CITY STREETS – DAY
Henry speeds off on his motorcycle. Scenes shift from
motorcycle speeding down different streets and close-ups of
Henry’s face looking anxious and focused.
CUT TO:
OVER SHOULDER SHOT
Henry is speeding towards an intersection as a green Buick
sedan is coming the other way. Abruptly the car makes a left
turn right into Henry’s path.
CUT TO:
EXTREME CLOSE-UP
Henry’s terrified face.
CUT TO:
EXTREME CLOSE-UP
Car driver’s horrified face.
Horrendous crashing sound.
FADE TO BLACK.
21.
EXT. CEMETERY – DAY
Small crowd around grave as minister is saying final words.
Kaye, dressed in black, is being supported by her parents as
coffin is lowered into grave. Bill is there along with
others. After the service Kaye’s parents lead her away as the
others disperse.
FADE TO BLACK.
INT. FAMILY’S LIVING ROOM – DAY
Kaye sits on the couch with her legs tucked under her holding
a handful of tissues. She is sobbing and looks like she has
been crying forever. Her mother is sitting on the couch with
her and holding Kaye’s hand. Other family members and friends
are standing around sad and concerned.
MOTHER
(softly stroking Kaye’s
hand)
Kaye, sweetheart, you can’t keep
blaming yourself.
KAYE
(sobbing uncontrolably)
It’s all my fault. I made him rush.
I didn’t have to make him rush.
The others come closer trying to console her.
KAYE (CONT’D)
Now he’s gone. My life is gone. I
can’t go on.
Kaye buries her face in her arms and sobs violently. Her
mother and the others look at each other in mild alarm and
shake their heads.
FADE TO BLACK.
INT. FAMILY’S LIVING ROOM – EARLY MORNING
Kaye’s family is coming down for breakfast. Kaye is still
sitting on the couch with a blanket partially on her lap and
is crying softly.
MOTHER
Come, dear. Have some breakfast.
22.
Kaye looks up at her pitifully and shakes her head. Her
mother strokes Kaye’s head and leaves the room. The others
each touch her shoulder or arm and leave the room.
FADE TO BLACK.
INT. FAMILY’S LIVING ROOM – EVENING
Family is returning from work and school. Kaye is still
sitting on the couch exactly as she was this morning. She is
no longer crying but she looks haggard and worn out.
MOTHER
Won’t you have some supper with us,
dear?
Kaye just shakes her head and looks down at her lap. The
family moves out of the living room.
FADE TO BLACK.
INT. FAMILY’S LIVING ROOM – NIGHT
Family members are passing through living room on their way
to bedrooms. Mother sits on one side of Kaye while father
stands on the other side.
MOTHER
Come to bed, dear. Tomorrow is a
new day. You’ll get up and go to
work and move on.
Kaye shakes her head forlornly but allows herself to be led
to her bedroom.
FADE TO BLACK.
INT. KAYE’S BEDROOM – MORNING
Mother enters. Kaye is in bed but awake. She looks like she
had been crying during the night. Mother sits on bed and puts
her arms around Kaye. Kaye puts her arms around mother’s neck
and starts crying again. Mother strokes Kay’s hair.
MOTHER
(softly commanding)
Come, dear… let’s go down to
breakfast.
23.
She helps Kaye out of bed and leads her out of the room.
FADE TO BLACK.
INT. KAYE’S BEDROOM – LATER
Kaye is dressed for work and mother is brushing her hair.
Kaye tries to smile but it is weak and strained.
MOTHER
There now. Let’s get you to the
train station.
They leave the room arm in arm.
FADE TO BLACK.
EXT. TRAIN STATION – MORNING
Kaye enters the train station very tentatively.
NOTE: The film gradually changes from full color to black and
white.
She has to force herself to move. Then she sees Henry. He is
wearing a grey business suit, white shirt, and tie. He looks
very unhappy. The train begins to enter the station. Kaye
rushes up to Henry and grabs him by the shoulders.
KAYE
(wild eyed)
It’s you! How can this be?
She faints right at Henry’s feet as the doors to the train
open and the crowd surges aboard.
FADE OUT.

Time And Again (a screenplay)

pessenfeld

Joined December 2009

  • Artist
    Notes

Artist's Description

Henry goes back in time to meet the girl of his dreams… but there’s a twist… isn’t there always?

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