Untitled Screenplay

by
Josh Waterman

First draft by
(Josh waterman, 9/16/09)

Josh Waterman
[email protected]
EXT. SUBURBAN STREET, DAY

Wide shot of a car

Trunk shot. As the trunk opens, we see ELLIOT, a man in his

early 20s appear, opening the trunk.

Elliot removes a package from the trunk and closes the trunk.
He walks away from the car. He approaches a door and drops
the package. He drives to another house and repeats. Maybe
one or two more times.

Over Elliot’s actions, a deep-voiced narrator begins:

NARRATOR (V.O.)
Elliot Anderson delivered packages
for a living. From 9 to 5 every
day, he would drive from house to
house. He hated his job. He hated
his life.

INT. ELLIOT’S APARTMENT, CONTINUED

NARRATOR (V.O.) (CONT’D)

So one day, he went home, hung his
coat in the closet, sat down on his
bed, (abrupt) and killed himself.

As the narrator begins to describe the actions, we see Elliot

getting to his house, putting his things away, then shooting
himself in the head. After the gun shot, abruptly cut music
and:

CUT TO:

TITLE CARD

OVER BLACK:

NARRATOR
But in that fraction of a second-
after he pulled the trigger, before
the bullet entered his skull at one
thousand twenty eight miles per
hour, Elliot made a startling
realization.
(MORE)
 2.
NARRATOR (CONT'D)
A realization that, had he been in
literally any other situation,
would have changed his life. Had he
realized it only seconds earlier,
in fact, his life would have been
extended by decades.

The entire previous sequence from gunshot to trunk in

reverse, sped up, ending in a

FADE TO WHITE

INT. ELLIOT’S LIVING ROOM, DAY

We fade back in to Elliot. Two years earlier. On the phone,

he is pacing.

ELLIOT
Yes, my name is Elliot Anderson.
I’m calling in regards to a
position you had available. I saw
the ad in the paper today looking
for an assistant manager?

Beat

ELLIOT (CONT’D)
Really? That’s wonderful.

Beat

ELLIOT (CONT’D)
I’d love to! When would be a good
time?

Beat

ELLIOT (CONT’D)
Today at 3 PM? Perfect. I’ll be
there. Thank you... You too...

He hangs up the phone and sighs a sigh of relief. He sits

down on a chair. He looks exhausted and stressed.

INT. ELLIOT’S CAR, LATER THAT DAY

Elliot is driving, rehearsing for his interview.

ELLIOT
(trying out various
inflections)
(MORE)
 3.
ELLIOT (CONT'D)
Hi, I’m Elliot Anderson. (Repeat,
multiple times.)

EXT. OUTSIDE THE OFFICE BUILDING, MOMENTS LATER

Elliot has just stepped out of his car.

ELLIOT
(extends his hand to an
imaginary interviewer)
Hi, I’m Elliot Anderson. Thank you
so much for your time.

It doesn’t feel right. He knows.

INT. OFFICE LOBBY, IMMEDIATELY FOLLOWING

Elliot approaches the RECEPTIONIST.

ELLIOT
(excited, nervous,
controlled)
Hi, my name is Elliot Anderson; I’m
here for an interview.

RECEPTIONIST
(without looking up, hands
him a clipboard with
papers)
Fill these out. Bring them back
when you’re ready.

Elliot is a bit off put by her lack of care. Without being

cocky, he thinks he is rather important.

ELLIOT
Thank you.

He takes the papers and sits down. He proceeds to fill out

the forms.

The office is drab, devoid of life. Elliot remains peppy, but

never overly emotional or expressive of it. He fills out the
forms and returns them to the Receptionist.

RECEPTIONIST
(still not looking up,
emotionless)
Thank you. We’ll call you when
we’re ready.
 4.

Elliot returns to his chair. An old woman is the only other

person in the lobby. She coughs loudly. It bothers Elliot,
but he doesn’t let it show. Time passes, an hour maybe.

Elliot is reading a magazine, constantly checking his watch,

when:

RECEPTIONIST (CONT’D)
(finally looking up from
her desk)
Mr. Anderson? We’ll see you now.

He gets up, carrying a resume, and walks to the door behind

the clerk’s desk with some bounce in his step.

INT BOSS’S OFFICE, MOMENTS AFTER

The BOSS sits behind a big desk. He is a round man in his

40s, dressed to impress. Very slick. Elliot’s chair is a
small one. If Elliot is intimidated, it doesn’t show.

ELLIOT
(extending his hand, like
he practiced)
I’m Elliot Anderson. Thank you for
your time.

The boss hesitates, but is rather welcoming.

BOSS
Sit down, sit down.

Both do.

Cut back to the Lobby; business carries on as usual.

Back to inside the office, a little while into their

interview.

The boss clearly did not write these questions himself, as

even he seems aware of how foolish they may seem.

BOSS (CONT’D)
Of course. (Clears his throat) Now,
Mr. Anderson, we’re looking for
dedicated, trustworthy employees.
If you had to describe yourself in
three words, what would they be?

Elliot smiles to try to cover his awkward pause.

 5.

ELLIOT
(a joke)
Dedicated and trustworthy.

The boss doesn’t think it’s funny. His deadpan face shows it.

ELLIOT (CONT’D)
(trying to recover)
Uhh- (pause) Hardworking,
ambitious, and communicator.

The boss is more pleased.

BOSS
I see here you graduated from
Philadelphia Community College
Business School with a
concentration in business
management. What skills could you
bring to the table here in the
office?

Elliot pauses for a moment. He is about to speak, but halts.

We see his uneasiness, then back to the Boss’s hard stare.

ELLIOT
(controlled, but on the
verge of rambling)
In school, I learned a lot about
textbook management, then with a
few internships in the Philadelphia
area, I got exposure to various
businesses and think I could really
apply a lot of those skills here.
I’d be thrilled to bring new life
to this company.

BOSS
(unimpressed, almost
challenging)
But you’ve never had any managerial
experience in the workforce?

ELLIOT
(playing it off as a joke)
Not yet, but-

BOSS
Listen, uhh Elliot. You seem like a
good kid. I’d love to give you a
job, but we’re just looking for
someone with more background in the
field right now.
 6.

Beat

BOSS (CONT’D)
Listen- do you want a job?

ELLIOT
(puzzled- “didn’t he just
reject me?”)
I thought you said that you were-

BOSS
Not in the office, but delivering
packages on the street. Maybe in a
few months, I hear some good
things, we move you up here.

Beat

BOSS (CONT’D)
How’s it sound?

Elliot thinks a bit. He’s about to respond, when we

JUMP CUT TO:

INT ELLIOT’S APARTMENT, DAYS EARLIER

Elliot and his girlfriend KATELYN are in the middle of a

“talk.”

KATELYN
(angered... nearing the
end of this conversation.
Hell, this relationship)
Of course I know. And it’s been a
really good two years-

ELLIOT
(he knows it doesn’t
matter to her, but he can
try)
Two and a half. We started dating
the week before my birthday.

KATELYN
(Whatever)
Two and a half.

She inhales. This is hard for her, but she has to do it.
 7.

KATELYN (CONT’D)
I just feel like we’ve been
drifting apart.

ELLIOT
(sincere, always sincere)
I don’t know what you’re talking
about, baby. (She’s joking, right?)

KATELYN
We need a break from each other.

ELLIOT
(not attacking, but almost
defensive- of his own
pride)
No we don’t!

KATELYN
I do. I need a break from you,
Elliot. I’ll call you in a few
days, when I figure this out.

ELLIOT
(helpless)
What did I do?

KATELYN
Elliot c’mon- it’s not you. You
know that.

He cuts her off:

ELLIOT
(laughing it off, in
denial)
Of course it is.

Beat

KATELYN
Yeah.

Beat

KATELYN (CONT’D)
(the closest to apologetic
she ever gets)
It is.

Beat
 8.

KATELYN (CONT’D)
If I’m gonna be in a relationship,
I need someone to be there for me.

ELLIOT
I am-

KATELYN
(interrupting)
I need someone to support me. How
can you be there for me if you’re
not even there for yourself?

ELLIOT
(the last attempt)
Kate, I love you-

Elliot moves in to touch her cheek- she moves her head away.

KATELYN
Elliot- We have so much fun, you
and me. But I’m out of college
three years now. I want my life to
go somewhere. Not just... I can’t
live in this alternate universe
where everything is fun and I don’t
go anywhere. I want a career, I
want to be successful. And I know
you do too. You can be so much
better than this. I don’t even know
what you do all day. You need a
job.

ELLIOT
(on the verge of tears)
You’re breaking up with me after...
after two years because I don’t
have a job?

Beat

KATELYN
(distantly)
Two and a half.

The succinct equivalent of “Yes, in fact. This relationship

is over.” It kills Elliot (figuratively, of course, for now).

JUMP CUT BACK

TO:
 9.

INT. BOSS’S OFFICE, CONT

ELLIOT
(forces a smile)
I’ll take it.

INT. ELLIOT’S CAR, MINUTES LATER

He sits in the driver’s seat, phone to his ear.

We just barely hear a voicemail machine. After a beep:

ELLIOT
Hey- it’s me... Again. Just calling
to see how you’re doing. (Beat) I’m
doing great. I just got a job with
this delivery company. I start on
Monday. (Beat) Do you want to grab
lunch sometime? Give me a call
back... Please.

He struggles- what to say next? He decides on nothing and

reluctantly hangs up. He exhales deeply and closes his eyes.

FADE TO:

INT. VARIOUS, THE FOLLOWING DAYS

Something of a montage of Elliot living his life in glum. He

shaves, sits on his chair, waits for his phone to ring, and
lives his life in a general haze.

He sits on the couch and stares at his cell phone, waiting

for it to ring. It vibrates and he picks it up immediately,
taking us out of the montage.

ELLIOT
(excitedly)
Hello?

It’s not who he thought it was.

ELLIOT (CONT’D)
Oh sorry Mr. Orton. I thought it
was... someone else. Yes sir, I’ll
be there.

Beat.

ELLIOT (CONT’D)

7... am?
 10.

ELLIOT (CONT’D)
Sure- 7 is perfect. Monday it is.
I’ll see you then. Thank you.

Beat

ELLIOT (CONT’D)
Yes sir, package delivery- that’s
me. I’ll see you. (etc etc)

He hangs up the phone and is completely out of hope. He leans

back on the couch he was sitting it. He looks as if he’s
given up.

JUMP CUT TO:

INT. STARBUCKS, DAY TWO (AND A HALF) YEARS AGO

Elliot works as a barista. He’s rushing, taking orders,

filling orders, and looking trendy while he does it.

Kate walks in. He’s never seen her before. She’s the most
beautiful girl he’s ever seen.

He doesn’t know now, but the viewer should: this girl will
forever change his life.

She waits in line, eventually getting to the counter.

Throughout the following, although it seems like a trivial,
everyday encounter, it is a moment for Elliot beyond
incredible. Kate, however, feels nothing beyond basic
customer/barista relations.

ELLIOT
(playing it cool, smiling)
Hi what can I get for you today?

KATELYN
Grande coffee, cream and sugar.

ELLIOT
Sure, that’s $1.80

She pays him and he puts the order in.

ELLIOT (CONT’D)
And the name for the order?

KATELYN
Kate.

ELLIOT
Kate. Got it.
 11.

He smiles AT her. This feels just a tad bit awkward. He

realizes.

ELLIOT (CONT’D)
We’ll have that right out.

She nods and moves away.

He quickly moves away from the front of the counter, and goes
to the back to fill her order. In a stroke of genius (ha), he
grabs a napkin, writes down his phone number, and calls her
name, order ready. She comes to the counter, on her phone, in
the middle of a conversation. Without looking at him, she
takes her drink and the napkin. She wipes her mouth with the
napkin, throws it away, and walks out the door, without so
much as a second thought towards Elliot. He looks at her walk
out the door longingly.

ELLIOT (CONT’D)
(under his breath)
Shit.

We stay with him for just a moment, before a tall woman

interrupts his longing thoughts:

JANINE, Elliot’s boss, is addressing him.

JANINE
Elliot- you wanna take your break
now?

He doesn’t, but he will.

ELLIOT
(fake smile)
Sure.

Beat

ELLIOT (CONT’D)
You need anything, Janine?

JANINE
We need to talk.

ELLIOT
Is there a problem?

There is.

JANINE
Let’s sit down and talk about it,
yeah?
 12.

ELLIOT
Sure- of course.

Beat

ELLIOT (CONT’D)
Your office?

JANINE
I need a smoke. Right outside there
in just a minute, yeah?

She gestures to the front of the store, a little patio area.

ELLIOT
(a tad concerned, but he
hides it)
Sure. That sounds great. (He forces
another smile. Sickening.)

EXT. STARBUCKS PATIO, MOMENTS LATER

Janine and Elliot sit at a table opposite each other.

Back and forth between them. Elliot is fiddling with

something, Janine sits confidently, smoking a cigarette.

JANINE
(breaking the silence)
Elliot, you know why I wanted to
talk to you?

ELLIOT
(a bit taken aback)
No... I was actually kind of
wondering why-

JANINE
Elliot I like you, so I’m going to
be frank with you.

Beat

JANINE (CONT’D)
(frankly)
We’re going to have to let you go.

Elliot did NOT see this coming.

He’s about to say something, when he sees the girl from

inside, Kate, sitting at a table away from him in the patio.
 13.

He stares at her, over Janine’s shoulder- momentarily

forgetting the situation at hand.

Janine notices and looks behind her. Elliot immediately looks

back to his conversation, and Janine follows.

JANINE (CONT’D)
I just haven’t seen you put effort
into what you’re doing. You’re
finishing up school, right?

ELLIOT
(still a bit taken aback)
Yeah. I finish this June.

JANINE
(Sincere? If so, barely)
Perfect. With a business major, I’m
sure you’ll find a new job in no
time.

Beat

JANINE (CONT’D)
(awkward)
I’ve got to get back to work. I’ll
uhh.. I’ll see you around Elliot.
I’m sorry about all this.

She stands up and reaches her hand out to shake.

He doesn’t.

ELLIOT
Should I come in tomorrow?

JANINE
(cutting him off)
Don’t bother. We’ll drop your last
check off in the mail and get that
out to you, yeah?

During that, she drops her cigarette to the ground and grinds
it in with her foot.

When done, she turns around to go back inside, before she

realizes one more thing:

JANINE (CONT’D)
And just leave your hat and apron
here. I’ll take it in. I’ll see you
around, Elliot.
 14.

She goes back inside.

Elliot sits down in his chair. He sees the girl again. She’s
just getting up from her table. Elliot has a sense of
motivation; he’s going to talk to her. He pulls his apron
off, throws his hat down on the table, now wearing street
clothes. He walks over to the girl; she’s still oblivious to
him, and begins to walk to her car

ELLIOT
(he shouts)
Excuse me!

She turns and sees him; She recognizes him.

KATELYN
Can I help you?

Elliot realizes he has nothing to say here.

KATELYN (CONT’D)
(realizes she sounded a
bit harsh)
You work here, right?

Elliot laughs casually- something between a smirk and a

chuckle.

ELLIOT
(why not...)
Yeah! (Playing it cool.) I make
coffee for people who don’t like to
make it themselves.

KATELYN
Like me?

Beat

ELLIOT
(smiling)
Yeah. Like you.

She laughs (giggles?).

ELLIOT (CONT’D)
(after an awkward beat)
I would ask if you want to go get
coffee sometime, but we... We
already did that

He points at the coffee cup in her hand and laughs awkwardly.

 15.

ELLIOT (CONT’D)
So do you want to maybe...

Cliched, he struggles for words.

KATELYN
Yeah. I’d love to.

She smiles. He smiles. Blackout.

INT. ELLIOT’S CAR, LATER THAT DAY

Elliot singing along with the radio.

He’s happy.

Audio slowly fades out, then abrupt blackout.

OVER BLACK:

NARRATOR (V.O.)
All too often, we focus on how
events unfold. To Elliot, it did
not matter. He realized that this
series of events did not matter.
The significance was in the
beginning and the end. He was going
to kill himself because it didn’t
end well. He didn’t care how he had
gotten to that point. But in that
fraction of a second- after he
pulled the trigger, before the
bullet entered his skull at one
thousand twenty-eight miles per
hour, Elliot realized that just
maybe, he was wrong.

Beat

NARRATOR (CONT’D)
But it was too late

Gunshot

Roll credits. As they begin, the music from the car scene
once again crescendoes

END