The Traveler (Working Title)
When we last left off, we asked the question, "Whatever Happened to Marie?".
So ... shall we see where this shitty first draft of a screenplay I completely forgot I wrote, but accidentally stumbled upon, goes next?
Why not?
EXT. CABIN - NIGHT
Marie approaches the cabin, looking around. The windows are curtained, but she tries to steal a peak peek inside.
An attractive YOUNG MAN opens the front door, sticks his head out, and silently watches Marie. She turns from the window, sees him, and issues a small “eek” while jumping.
YOUNG MAN
Hi there. Can I help you?
MARIE
I ... um, got stranded on the road. My cell phone won’t get a signal. I just wondered if I could use your phone.
YOUNG MAN
And you figured you’d look in my window to see if I had one?
MARIE
I’m sorry. It’s been a strange night. My name is Marie. Could I use your phone?
YOUNG MAN
Sure thing, Marie. My name is Curt. C’mon in.
INT. CABIN - NIGHT
The cabin is sparsely, but comfortably, furnished with an old sofa and thick, fur rug, laid before a fireplace. Bookshelves line the walls, and in one corner is a desk with a laptop on it. The phone is next to the laptop.
CURT
Phone’s right over there.
MARIE
How’re you getting phone service out here?
CURT
The same way I get on the Internet. VOIP.
[In case you haven't caught on, this is practically a historical piece.]
MARIE
Oh, right.
She shrugs and smiles. Curt smiles. Marie walks to the phone and enters 4-1-1. She turns to Curt.
MARIE (CONT’D)
This is going to sound strange, but what town am I closest to?
CURT
Damascus.
MARIE
Damascus, Maryland?
CURT
Yes, of course. Who are you calling? If I might ask.
MARIE
I need to call a cab and get home. I’ve just had the worst date of my life. At least, I hope so.
(into the phone)
Oh, hello, yes, Damascus, Maryland. I need the number of any cab company at all.
CURT
I can give you a ride home.
MARIE
I’ve already been taken for a ride by one stranger. I don’t need another.
(into the phone)
Thanks. Okay.
(pause)
Hello, I’d like a cab please. Um, hold on a moment.
She places her hand over the receiver and turns to Curt.
MARIE (CONT’D)
What’s your address?
CURT
Just tell the dispatcher to have the cab driver go to Main Street in Damascus, turn north at the library, and go about five ten miles until he reaches nothing but trees and a cabin. Then, he’ll know he’s arrived.
MARIE
Which road should he take? What road was I walking on?
CURT
It’s just a small county road. I don’t know the name or the number. My mail is delivered at the post office, in case you’re interested.
Marie deflates, her shoulders slumping. Curt walks over to her and takes the phone away.
CURT (CONT’D)
(into phone)
Hi. Can I get your number?
He mimes scribbling it down in air.
CURT (CONT’D)
Thanks. She may call you back later.
He hangs up.
MARIE
Mind telling me what the point of that was?
CURT
I can give you a ride home.
MARIE
Why should I trust you?
CURT
You just went out on a date with a complete stranger who took you for a ride, and you’re asking me that?
MARIE
Exactly. I don’t need two weird rides from men in one night.
CURT
Whoever that guy was, he was an idiot. You seem really nice, and I’d never strand you in the middle of nowhere, like that asshole.
Marie bites her lip and a tear runs down her cheek.
MARIE
Thank you.
CURT
Hey ... are you all right?
MARIE
Frankly, no. I haven’t been all right in a long time.
CURT
Maybe you shouldn’t go home.
MARIE
What would you suggest I do?
CURT
Come with me.
MARIE
Where?
CURT
Wherever I want, whenever I want.
MARIE
But I have a job and bills to pay.
CURT
Is this what you want to do the rest of your life? Go to this job and pay your bills?
MARIE
Not really.
CURT
Then, you have to make a change. The sooner, the better.
MARIE
I ... this is ridiculous.
CURT
Is it any more ridiculous than living a life you don’t like?
MARIE
But I just met you.
CURT
You haven’t even heard my proposal.
MARIE
I thought you asked me to run away with you.
CURT
Well ... I said you could come with me, not run away. I’m not running from anything. I’m seeking adventure. What are you seeking, Marie? Maybe you should ask yourself that.
MARIE
I’ve been having the strangest dreams. I don’t know what they mean. For all I know, they might not mean a thing, but they scare me.
CURT
Maybe your dreams express your subconscious desire to seek adventure.
[Dear God! Did i really write this horrible line? I must have been on drugs.]
MARIE
I just don’t know.
CURT
If another woman came along, would you feel better?
MARIE
Yes. If I knew and trusted her.
CURT
Try asking one of your friends. You might be surprised. Someone you know might be dying for a chance to do this, if you just ask them.
MARIE
Well ... okay. But, first, could you give me a ride home?
CURT
Naturally. How better to show you the honesty of my intentions than to honor your request? This way to my jalopy, ma’am.
He bows, with a sweeping gesture of one arm toward the door.
MARIE
(shaking her head)
You’re a piece of work.
CURT
You’re welcome.
EXT. MARIE’S APARTMENT - NIGHT
Curt’s car, an old Rambler, pulls up to the curb. Marie and Curt are laughing.
INT. CURT’S CAR - NIGHT
Marie extends a hand toward Curt, who grasps it, pulls her in for a brief hug, then lets her go.
MARIE
Thanks so much, Curt. I really appreciate the ride.
CURT
Now, promise me you’ll think about my proposal.
MARIE
Yes, yes. Of course, I will.
Curt opens the glove box and digs out a pen. He scribbles on Marie’s arm.
CURT
That’s my number. Call me as soon as you’re ready. But don’t dally. I’m leaving soon. Can I have your number, too?
MARIE
I can’t believe I’m doing this ....
She takes the pen and writes her number on his arm.
MARIE (CONT’D)
Take care, Curt. I’ll be in touch, one way or the other.
She replaces the pen in the glove box and opens the door. Curt places his hand on her arm.
CURT
I’m so glad we met. Don’t forget me. I won’t forget you.
Marie looks back at him, nods, then opens the door, and exits the car. Curt blows her a kiss and drives off.
Marie watches the car move off for several seconds. Finally, she goes inside.
*****
A FEW NOTES FROM THE WRITER
Okay, first off, that scene in Curt's cabin. Way, way, way too long. I can hear screenwriters and producers and managers and agents and all their assistants thinking, "Get there sooner. Much, much sooner."
Secondly, what the hell, Marie? What's this slightly weird off-the-grid guy's deal? What did they talk about in the car? A Rambler, no less?
Thirdly, introduce Curt as CURT. Not YOUNG MAN.
Example:
CURT, early 30s, attractive, opens the front door, sticks his head out, and silently watches Marie.
And that's just for starters.
