“UNTITLED PROJECT”

Screenplay by

Konish Dutta

Editions by

Sameer Gadhia

Story by

Konish Dutta

EXT. TIM'S HOUSE

Tim's car pulls into the driveway and Tim gets out and walks into the house.

INT. TIM'S HOUSE -- CONTINUOUS

He is drenched because he was only using a newspaper to cover the himself in the rain. He walks inside, obviously stunned. His WIFE is sitting inside.

WIFEHey darling, how was the day at work? Did you get that raise you wanted?

Tim peeks into the living room.

WIFE (CONT'D)Come sit here. Let me fix you something to drink.

She gestures to the position next to him on his couch. Tim complies and sits there.

WIFE (CONT'D)Now tell me what happened today, Tim.

TIMCan't you talk about something other than work for once?

Tim starts to get up.

WIFEYou seem to be in a bad mood.

TIMNo I'm fine. Don't worry about it.

WIFEDid I say something wrong?

A dark silence befalls the couple.

TIMI'm sorry, Butterfly. Its just something happened today.

WIFEYou didn't get fired, did you?

TIMNo.

More silence befalls them.

WIFEWell, tell me what happened.

TIMYou won't understand.

WIFETelling me will make it better.

TIMNo, it won't.

WIFETry it.

Tim sighs.

TIMI was driving back from work.

INT. CAR -- NIGHT

It is raining while a man is driving the car. He is handsome and is 5'10". He is Caucasian, has brown hair, and mysterious eyes. We see him take off a tag off his shirt and as he puts it on the seat next to him, we see it says "TIMOTHY ROBBINS". TIM continues driving when the car starts making funny noises.

TIMWhat the hell?

He drives the car into an alleyway and gets out of the car. Tim opens the hood and takes a good look inside, finding nothing wrong there. Confused, he heads back into the car

and opens the glove compartment, taking out the car's manual. He starts reading the section that talk about engine noises and troubleshooting when a BLACK MAN suddenly bangs on the window of the car. Tim is terrified.

BLACK MANPlease let me in.

The black man is panting and keeps banging.

BLACK MAN (CONT'D)Please. They're going to kill me. I promise I'm no trouble. I'm no gangster. I promise. Please let me in.

With that Tim starts up his car and drives away as fast as he can. He looks back and watches as he leaves the black man in his dust and two Caucasian HOOLIGANS start beating the man down.

HOOLIGANSYou stupidass nigger!

Right before the hooligans bring their bats down on the black man we cut to:

INT. DINING ROOM -- LATER

Food lies on the table, but it doesn't seem very pleasing. The wife blankly stares at Tim, who is nibbling on his food.

TIMWell, what would you have done?

WIFEI don't know.

TIMI didn't leave him because he looked like trouble. I was just trying to get home safely.

TIM (CONT'D)Its just weird, having all that responsibility on me.

They look at each other and quickly look away in awkward silence.

TIM (CONT'D)You know, he probably was just another gangster looking for a new car.

WIFEWho?

TIMYou know. The man. The black one.

WIFEAre you trying to prove it to me or yourself?

TIMI'm not trying to prove anything. I'm just saying that a man out in the alleys that late at night is probably trouble. So I did the right thing, didn't I?

The wife looks at Tim and then at her food.

WIFEYeah, I guess you did.

His wife just stares at him and then continues eating. Tim is unsatisfied.

INT. KITCHEN -- MOMENTS LATER

His wife is washing the dishes and Tim comes on screen to give his wife his dish.

TIMGood night, Butterfly.

WIFEGood night, darling.

Tim walks upstairs and into the bed, where he crashes onto the bed. He keeps his eyes open for a few moments. For an

instance we see the bloody black man's dead face before we cut back to Tim, going to bed, with a bloody nose.

FADE TO BLACK

FADE IN:

INT. BEDROOM -- MORNING

Tim crawls out of his bed, still looking tired and dead.

POV -- TIM

The camera walks towards the bathroom. His wife shouts from downstairs. He looks at his hands and they are noticeably darker, but we only see that for a few seconds. The mirror is foggy.

WIFE (O.S.)Honey, are you awake?

TIMYeah, I'm up.

WIFE (O.S.)I'm making breakfast.

He washes his hands and heads downstairs..

INT. KITCHEN -- CONTINUOUS

The wife is pouring milk into glass, but she hits the table and the glass falls, spilling the milk all over the carpet.

INT. STAIRS -- CONTINUOUS

Tim is walking down the stairs, but we cannot see his face very well. He slips and curses and as he continues walking down, we zoom in on a PEN, which he tripped on.

INT. KITCHEN -- MOMENTS LATER

Tim walks on screen and looks down, staring at the stain.

TIMWhat happened?

WIFEOh, I spilled some milk and the damn stain won't come off.

Tim sits down and starts eating his scrambled eggs.

TIMDo you have any sunscreen?

WIFEWhy?

TIMIt's been really hot and I think I've gotten darker.

His wife takes a good look at him.

WIFEOkay, if you really want it.

His wife hands him a bottle of sunscreen. Tim applies it to his face vigorously.

TIMWhere's my newspaper?

WIFENewspaper? Isn't it on the table?

TIMNo.

WIFEI'll take a look outside.

His wife exits and Tim continues eating his eggs and drinking his milk. The wife comes back inside and gives the paper to Tim. Tim reads the paper and flips page by page until he reaches page six. He pauses and looks at a headline at the bottom of the newspaper, saying:

"TEACHER KILLED IN A HATE CRIME."

The picture below the headline is the mug of the black man that asked to be let into Tim's car.

TIMHe wasn't a gangster.

WIFEWho?

TIMThe black man. Yesterday.

WIFEWhat?

TIMHe was just a teacher. I couldn't save a teacher.

WIFEStop blaming yourself. You were suspicious. I don't blame you.

TIMI better get going to work.

WIFEYou haven't even eaten half of it.

TIMI'm going to be late.

INT. CAR -- LATER

Tim drives his car, obviously self-conscious. He keeps staring in the mirror and making mistakes while driving. In one incident, he is staring at his face in the rear view mirror and realizes he is about to crash his car. He brakes suddenly and brings a fury of curses from other drivers.

EXT. OFFICE -- DAY

Tim's car pulls into the parking lot. As he gets out, he pauses and looks at himself in the mirror and applies sunscreen.

INT. TIM'S OFFICE

Tim is sketching in his diary, while he thinks to himself.

TIM (V.O.)Today was a bad day at work.

CUT TO:

EXT. OFFICE

Tim is looking at himself in the mirror. He finally gets up and walks to the office.

INT. OFFICE

Tim walks, obviously upset. His co-workers greet him as he walks by them.

JAREDHey Tim.

Tim looks back at JARED.

JARED (CONT'D)Have you seen the newspaper.

Tim is reminded of the black man's murder.

TIMYes.

JAREDLakers beat the Kings. You owe me six bucks buddy.

TIMI'll give it to you tomorrow. Did you read page six?

JAREDNo. Why?

Tim takes out a newspaper from his briefcase and hands it to Jared. Jared reads the newspaper.

JARED (CONT'D)You'd think after all these years, there wouldn't be hate crimes like this.

TIMJared I want to tell you something.

JAREDWhat?

TIMThis is between the two of us. Word does not get out.

JAREDYeah, just tell me.

TIMI was there. I saw it happened.

JAREDWhat?

The camera zooms out to a black man working before cutting back in to Tim and Jared's conversation.

JARED (CONT'D)Why didn't you let him in?

TIMYou sound like my wife.

JAREDBut why didn't you let him in?

TIMI thought he was a gangster or something.

JAREDThat's understandable. I mean he was black, right?

TIMNo that's not it.

The BOSS comes in between the two men.

BOSSHello gentlemen.

JAREDHi Mark.

MARKTim, you look like you had a trip to the tanning salon with your wife.

JAREDYeah, Tim, that stuff gives you cancer.

MARKJared, lay off the shrooms. Anyway, I need to tell you something in private, Tim.

MARK moves Tim aside to talk.

MARK (CONT'D)You know David? David Burrow?

CU -- DAVID BURROW

DAVID is a black man who is delivering a file from his office to another one.

TIMYeah I know him.

MARKI want you to fire him.

TIMFire him?

MARKThat's right.

TIMWhy? He's a hard worker.

MARKCompany can't afford what we're spending. We need to lay off a few people.

TIM

Why David? Why not Jared? He's the lazy one. David finishes his job.

MARKThe decision has been made, so follow through with it.

CUT TO:

INT. TIM'S OFFICE -- LATER

David is sitting in a chair with Tim opposite him. We can only see David and Tim is offscreen.

TIM (O.S.)Do you know why you're here, David?

DAVIDNo, I don't.

TIM (O.S.)Listen, Mark was just talking to me and telling me about the financial situation of the company. We're having problems maintaining our necessary income currently.

David's face starts turning to one of horror. He knows what's coming.

DAVIDListen, I've worked my ass off for this company for three years and you lay me off like this?.

TIMI know. I know. If it was my decision I wouldn't have done this.

DAVIDI'm in tough times, Tim. I need my job.

TIMI wish I could help. I really do. I'm sorry David. We're letting you go.

David gets up.

TIM (CONT'D)David.

David looks back. Tim puts a wad of bills on the table.

TIM (CONT'D)Take this. Please.

DAVIDYou've always thought I've been inferior to you, haven't you?

TIMNo, that's not what I mean at all, David.

DAVIDI can't believe you're even offering me that wad of money after firing me. You can take away my job, but you can't take away my pride.

David steams out of the office. Tim looks pale, sickly, and tired.

CU -- SKETCHBOOK

We see on the sketchbook, two palms catching a butterfly.

INT. OFFICE

Tim is sitting at his desk alone.

TIM (V.O.)Yes, today was a horrible day.

Tim reclines on his chair and yawns, slowly falling asleep.

FADE TO BLACK

A flurry of images race through the screen in this dream of Tim's. First the Confederate Flag is shown burning and then a whip appears next. Then we see the Tim's head in monochrome floating through a stupendous vortex of light and

color. We see the milk spilling, the sketch, prison bars, a shadow, and shrieking. A black man is being whipped mercilessly on a dining table and some red wine falls onto the wood floor, breaking the wine glass. A confederate flag, his wife laughing, a white Ku Klux Klan Mask, a whip, and Tim's head all pass by in a flurry. We see his wife loading the dishwasher with Christmas music in the background and Tim dancing with his wife an all the lights shut down to black, referencing to Eternal Sunshine (The Barnes and Nobles Scene)

TEACHERLet me in.

FADE TO BLACK

FADE IN:

INT. TIM'S OFFICE -- AFTERNOON

The camera focuses on Tim's nameplate, which says "TIM ROBBINS" in golden letters. The phone rings. We hear Tim pick up the phone, but his voice is coarser and rougher. He is offscreen and all we see is the nameplate on the table.

TIM (O.S.)Hello?

(pause)Yes, this is Tim Robbins.

(pause)Okay how's 4:30 sound?

(pause)Great I'll see you then.

We hear the phone smack down. The camera cuts to an image of a mirror falling on the floor and breaking. For an instance we see a man streak away in the broken mirror pieces. We focus on the desk, which is empty. Nobody is sitting at the desk, yet we hear Tim's phonecall. As we lower, we see Tim hiding under the desk, except now he is completely black. He has undergone a metamorphosis in his sleep.

TIM (CONT'D)Hello?

(pause)This is Tim Robbins.

(pause)Cancel all my meetings for today please.

(pause)I can't make it.

(pause)I'm very ill right now. Please cancel my meetings.

(pause)Thank you.

He then dials another number. We hear the phone ring and ring, before we hear a message.

JARED (O.S.)Hello, you have reached Jared William's voicemail. I can't come to the phone right now, but if you would please leave a message I can get right back to you. Talk at the beep. In your message please leave your name, phone number, and if applicable, your address. Thank you for leaving a message.

We hear a beep. While Tim talks, he presses his face against the window outside the hallway.

TIM (V.O.)Jared, this is Tim. Listen something has happened to me. You know how I told you about the incident last night. How I didn't save that teacher? Well I think its coming back to me. You know how Mark told me I was darker. Well I've turned completely black. I'm a black man Jared. I know when you hear this you'll think I'm crazy, but I'm serious. Yesterday I was white. Now I'm black. I have no idea what to do. Please call me on my cell when you hear this message.

While he says the above dialogue in voice-overs, we cut to images of Tim running out of the office as fast as he can.

EXT. OFFICE -- MOMENTS LATER

Tim runs out of the office and gets into his car and we hear a screeching noise.

INT. TIM'S OFFICE

From the window, we see Tim's car screech away and then we zoom in on Tim's previous sketch of the two palms and a butterfly.

EXT. TIM'S HOUSE

We see his car parked in the driveway.

INT. TIM'S HOUSE

We see a coat on the hanger and a key on a table. Then we see Tim hurry up the stairs and walk into the bedroom, where we hear a showering noise. Tim picks up some of his wife's clothes that are laying on the bed. The showering sound stops and his wife appears in a towel.

TIMHoney, honey. I can explain.

WIFEHow the hell did you get in here?

TIMHoney, its me!

WIFEWho are you?

TIMIts me Tim.

WIFEYou think I'm some sort of a retard? What did you do with my husband? Why are you wearing his clothes?

TIMPlease, just listen.

WIFE

Get out, you pervert!

TIMHoney.

WIFEGet out! I'm calling the cops.

TIMPlease Honey.

Tim sees its useless and starts running. He runs to the car and realizes he forgot the keys. He runs back in, where the wife is standing, searching for a phone. She finds the phone and dials.

TIM (CONT'D)I know this doesn't make any sense, butterfly, but please hang up. Remember last night when I was telling you about the teacher that was killed and I could have saved him?

His wife hangs up.

WIFEWhat did you just call me?

TIMPlease, butterfly, please.

He reaches for his wife and touches her hand before she starts screaming and goes to the closet, throwing everything she can find at him. The wife tries to throw a shoe at Tim but it misses and hits a glass of milk on a table. We see the same sequence as shown before, where the milk falls from the table. Tim grabs the keys and takes off in the car. He speeds for a while, looking back every now and then, before he hears police sirens. Tim curses under his breath and pulls the car to one side, waiting. The COP comes to the window.

COPHey there.

TIM

Hi.

COPYou know why I stopped you?

TIMNo.

COPDo you know what you were doing wrong?

TIMNothing, officer. I don't think I did anything.

COPDo you know the speed limit in this area?

TIMForty-five miles per hour?

COPTwenty-five.

TIMI didn't realize that. I've had a long day.

COPDo you know how fast you were going?

TIMThirty? Maybe thirty-five?

COPYou were topping sixty-five in this scrap of metal.

TIMI didn't notice. I'm sorry.

COPI'm going to have to see your license.

Tim gets out his license and looks at it. His face suddenly changes. He forgot that he was black.

COP (CONT'D)Let me see that.

The cop grab's the license out of Tim's hand and stares at it. Tim is scared as the cop looks at the license and at Tim.

COP (CONT'D)Is this some kind of a joke?

Tim doesn't know what to say.

COP (CONT'D)Get out of the car and put your hands up.

Tim slowly gets out of the car.

COP (CONT'D)Hands up!

Tim puts his hands up. The cop places him on the hood of the car and handcuffs Tim's hands.

INT. CAR -- LATER

Tim is handcuffed in the car as the cop drives.

COPShit!

The cop slams the brakes and the car jolts.

EXT. STREETS

The cop car screeches and we see it barely hit another vehicle. The man from the other vehicle gets out of the car. This man is black.

INT. CAR

As the car jolts a pen flies back and cop curses under his breath. The cop gets out and we see through the window that the cop is talking to the man from the other vehicle. Tim

looks at the pen for a few seconds and then looks back up at the window. The cop is on the phone and the VEHICLE MAN is staring straight at Tim and mouths the words, "Use it."

EXT. STREETS

The cop gets off the phone and hands the VEHICLE MAN a piece of paper.

COPHere's my registration and license plate number. I got a guy in the back of my car and I better rush him to the station so we'll deal with insurance later. Just come by the station and give them this slip and we'll talk.

VEHICLE MANI'll be sure to use it.

INT. CAR

The cop walks into the car and starts it.

TIMWhat's going to happen to me?

COPYou're going to be put in jail before the trial unless you get someone to bail you out.

The car rolls for a while before we hear a TRANSMISSION over the radio.

TRANSMISSIONWe got a robbery. Can you check it out?

COPYeah let me just get something to write with.

He searches his pockets and can't find anything.

COP (CONT'D)

Hey, have you seen a pen anywhere in the car?

We see a pen on the floor and Tim staring at it.

TIMNo.

COPOkay, I'll just memorize it. What's the address?

INT. POLICE STATION -- LATER

Tim is escorted by the cop into a series of rooms. He eventually gets into the sheriff's office.

COPThis is Sheriff McKinley.

SHERIFFWe've just got a few questions for you before we put you in jail. We'd just like the charges straight. What's your name?

TIMTimothy Robbins.

SHERIFFBullshit. That's what it says on your stolen license and you don't look white to me. What's your real name?

TIMI don't seem to remember.

SHERIFFAre you telling you suffer from amnesia or something?

TIMI don't know. I don't really know what to say.

SHERIFF

So I'm guessing you don't know who to call, do you?

TIMNo, I don't.

SHERIFFOkay, lets get the charges straight. We have you for grand theft auto, ID theft, breaking and entering, and attempted.

TIMBreaking and entering? Rape? What?

SHERIFFYou deny those charges?

TIMYes.

SHERIFFTake a look at this.

He presses a button on his answering machine. It plays Tim's earlier voice.

TIM (V.O.)I know this doesn't make any sense, butterfly, but please hang up. Remember last night when I was telling you about the teacher that was killed and I could have saved him?

The transmission switches off. The sheriff presses a button.

SHERIFFWe went to her house after she hung up and she confirmed that a man fitting your descriptions had broken into her house and attempted to rape her. So now the real question is, "Where is Tim Robbins?". Did you kill him?

TIMI don't know.

SHERIFFWhat are you trying to say?

TIMI don't know what happened to Tim Robbins. I really don't.

SHERIFFAre you saying you have amnesia or some sort like that?

TIMI think I may. I'm really not sure.

SHERIFFYou know I'm not a bloody idiot. I know you know where Tim Robbins is. I know that this whole thing is a facade you're putting on.

Tim stares at the sheriff blankly.

SHERIFF (CONT'D)But, I'm not without a heart.

The sheriff touches Tim's hand gently. Tim gets increasingly nervous.

SHERIFF (CONT'D)We can call this thing off right now, if you follow my directions.

TIMWhat directions?

SHERIFFYou can be a free man, Tim. You can be a free man. I'm giving you this chance right now. Take it Tim.

With that, the sheriff tightens his grip on Tim's hands.

TIMWhat do you mean?

SHERIFFYou know what I mean, Tim. Come on, don't be naive.

TIMPlease, don't.

SHERIFFTim, just relax.

The sheriff gets out of his seat and comes closer to Tim. Tim stands up and heads for the door. Its locked. The sheriff holds out the keys.

SHERIFF (CONT'D)I wouldn't try anything naughty if I were you.

TIMNo. I'd rather not be free, but please. Don't.

The sheriff advances. Tim cringes and punches the sheriff hard on the face. The sheriff lies on the floor.

SHERIFFDamn you nigger! You worthless piece of shit! I'm going to make sure you stay in jail for the rest of your insignificant life.

The sheriff heads for the phone, but Tim catches up and takes the phone from the sheriff's hands, slamming it back down. The sheriff promptly takes out his gun and points it at Tim.

SHERIFF (CONT'D)I could kill you right now. It would bring me such satisfaction and sweet pride. I could get away with it too. I could just tell them it was in self-defense. And you know what? They would believe me. They don't care about a jackass off the road. You don't matter. Now, if I

were you I'd back off before I unleash the tigers.

Tim backs off and sheriff makes the call.

SHERIFF (CONT'D)Hello?

(pause)I'm going to need backup here. I have our criminal at gunpoint.

(pause)He punched me hard. This is the only way to stop that crazy son of a bitch.

He hangs up.

INT. PRISONS -- NIGHT

Tim is sitting in his prison all alone. A WARDEN brings him food and slides it under the prison cell. Tim takes it and starts eating, but it isn't very appetizing. Then again, he hasn't had much food the whole day. He ate half his breakfast and completely skipped lunch. Tim is hungry. After forcing down a few gulps of food, he reaches down the backside of his pants. He pulls something out of his ass. Lo and behold, its the same pen from the police car. He tries to pick the lock with the pen and it amazingly works. Most everyone is asleep, so he quietly sneaks through, until he comes to one of the last cells, in which a man is awake.

PRISONERHey, get me out.

Tim ignores and continues sneaking through.

PRISONER (CONT'D)C'mon man hook a buddy up.

Tim quietly walks through the lobby.

PRISONER (CONT'D)If you don't let me out, I'm gonna make enough noise to bring the guards down.

TIM

Shut the hell up!

The prisoner lets a high yelled scream out.

TIM (CONT'D)No, please. Shut up. They'll hear you. Please be quiet.

He hears footsteps

TIM (CONT'D)Shit.

Tim hides in the shadow. The policeman walks down the stairs.

POLICEMANHey! What the hell is going on here? Huh? Hey! Meathead! What's going on?

As the police man says this, Tim creeps behind the policeman, bangs him to the ground, and drags his body to the side, swapping clothing. Now Tim is complete in a policeman uniform to mix with his surroundings. Tim holds a gun up at the PRISONER.

TIMDo me a favor and shut the fuck up.

Tim leaves.

INT. POLICE STATION

Tim sneaks corner to corner and eventually makes it to the police station exit without being caught. He tries to open the door. It is locked. We zoom in on the keyhole to emphasize this fact. He sits down at a nearby desk and shuffles the papers until he finds a map. He points to where he is, "ENTRANCE LOBBY", and points to where the keys must be, "STORAGE FACILITY A". He closes the map and puts it down on the desk, noticing the newspaper. He opens it and goes the page about the racial murder, looking carefully at the black man he left behind. The camera zooms onto the black man's image and slowly to his name, which is "ROBIN JACKSON". The camera then shifts to the computer screen, which says "SEARCH POLICE RECORDS". Tim enters the name,

"ROBIN JACKSON" and presses "SEARCH". He waits for a while, before he comes up on a profile of the black man, Robin Jackson. He writes down all the info that appears, which includes his height, weight, age, occupation, and ADDRESS. As he gets up, another POLICEMAN walks in.

POLICEMANWhat are you doing here?

Tim stares at him blankly.

POLICEMAN (CONT'D)That's my desk.

TIMOh, I'm sorry. I just had to check something quick and didn't want to walk all the way back.

POLICEMANNo problem, man.

They have an awkward encounter as Tim slowly walks past the policeman, keeping an eye on him every moment. This walk is elongated to atleast forty seconds of suspense. At the last moment, Tim's uniform's ID drops. The camera does a quick zoom into to the ID, where the policeman is definitely Caucasian. The policeman sees it and takes out his gun.

POLICEMAN (CONT'D)Freeze!

He keeps the gun pointed at Tim and slowly picks up the ID, staring at it and then staring at Tim.

POLICEMAN (CONT'D)You have 30 seconds to tell me your story.

TIMOfficer, I really didn't do anything.

POLICEMANHow do you explain this?

TIM

Michael needed a new badge. I was just delivering it to him.

POLICEMANShow me your real ID.

Tim slowly approaches the policeman.

POLICEMAN (CONT'D)No. Wait there. I'll come look at it.

The policeman slowly approaches Tim as he rummages through, looking for an ID. As the policeman comes closer, gun in hand, Tim grows more and more frantic.

TIMIt must have fallen off. I swear.

POLICEMANCut the crap.

Suddenly, Tim swings his arms and knocks the policeman unconscious. He continues outside, sneaking past the corners cautiously. As he passes through the corridors of the police station, he starts hearing strange noises from the SHERIFF's office. He notes it in his memory and continues into STORAGE FACILITY A. Looking at all the keys on the rack, Tim picks one out, when he the noises from the sheriff's office get louder.

INDISTINCT MAN (O.S.)Please don't! Help me! Please! Someone help!

Tim starts to walk out.

INDISTINCT MAN (O.S.) (CONT'D)Help!

He stops and and takes out his gun, opening the barrel. How typical. Its empty. He walks to the many shelves of Storage Facility A and takes out a knife, swinging it wildly. Suddenly his eyes catch something more delicious. He puts the knife back and grabs a fire-ax. Again, his eyes come up on something more tantalizing. He grabs a sword from the era of King Arthur and looks at it. Again, he is

distracted and grabs a frying pan. The indistinct man still cries out. He studies it carefully and puts the frying pan down, takes the sword, and heads to the sheriff's office. He quietly opens the door and witnesses the sheriff raping another black man. Tim sneaks up from behind and slashes the the sheriff's back. The sheriff screams and lies on the ground, still alive. The black man gets up from his position and quickly pulls his pants up. Tim cuts his sword through the air and holds it inches away from the sheriff's neck.

TIMYou know what? You're not worth it. You're not worth dying.

The sheriff flinches at getting caught. He has only managed to put his underwear on, but his pants are still on the floor. Tim addresses the black man.

TIM (CONT'D)Hey! Hey you! Tie up the sheriff's dirty mouth.

BLACK MANWith what?

TIMWith anything!

The black man searches for something to tie the sheriff's mouth with.

SHERIFFI don't know how you escaped and frankly I don't care. When they find me, I'm going to bring you death. Do you hear me? I'm going to shoot you on the spot. You might have a few hours at most, before they find me and when they do I'll have every officer under my authority searching for you.

The black man ties his mouth up with a rag. They both leave, locking the door.

EXT. PARKING LOT

The two men open the doors to freedom and are finally liberated from the bars of the prison.

BLACK MANI'd just like to thank you for that.

TIMNo problem. That fag deserved what he got.

BLACK MANSo what's your name?

TIMTim.

BLACK MANI'm Jeremy. Tim, I want to ask you something if you don't mind.

TIMGo ahead.

JEREMYHow did you escape from your cell?

TIMI picked the lock.

JEREMYI thought they check you beforehand for anything that could pick a lock.

TIMI stuck a pen up my ass.

JEREMYUp your ass?

TIMYeah. That's my car over there.

They walk over the Tim's car.

TIM (CONT'D)

I'll just drop you off wherever you want and leave. Is that fine?

JEREMYYeah that's okay.

TIMActually you go ahead and drive. I've had a long day. I'll try to catch up on some sleep.

They get in the car. JEREMY starts the car and they head out.

JEREMYHow long was it there?

TIMWhat?

JEREMYThe pen. How long was it up your ass?

TIMSince this afternoon.

JEREMYDamn. That's genius.

Tim looks pleased. He leans back and relaxes, slowly drifting off into his own world.

EXT. PARK -- AFTERNOON

A butterfly flutters across the park. Tim's wife's image flashes on screen for a second before we cut back to the fluttering butterfly. Now we see a couple walking together. It is Tim as a white man and his wife, holding hands, walking through the park. Tim is staring at his wife, who notices.

WIFEWhat is it?

TIMWhat?

WIFEWhy are you looking at me like that?

Tim stops and bends down on one knee. His wife looks flabbergasted.

TIMI think you know what I want.

WIFETell me.

TIMWill you marry me?

WIFEYou forgot my name.

TIMHoney.

WIFEThat's not my name.

TIMLife always doesn't happen the way you expect it to.

WIFEAren't you forgetting something?

TIMNo, I don't think so.

WIFEIt starts with an "r".

TIMI'm not missing anything.

WIFEYou didn't get me a ring?

Tim stands up.

TIM

No.

WIFEYou really expect me to marry you without a wedding ring? Come on. I know you're no beaner.

TIMWow, you're so judgmental.

WIFEWell why didn't you get me a wedding ring?

TIMI don't need to impress you.

WIFEWhat do you mean? Its tradition.

TIMTradition my ass. When we first met, did you ever feel the need to impress me?

WIFESlightly.

TIMOkay fine fine. Do you think I ever tried to impress you?

Wife thinks about it for a moment.

WIFENo, not really.

TIMNow what about your other boyfriends before me.

WIFEWhat about them?

TIMThey tried to impress you right?

WIFEWhat do you mean?

TIMFlowers, gifts, compliments.

WIFEYeah I guess.

TIMAnd I don't try to impress you at all?

WIFEI guess not.

TIMSo then what does that tell you?

WIFEI have no clue what you're talking about.

TIMIf I gave you presents and gifts, would you like me any more than you do now?

Wife thinks even more.

WIFENo probably not.

TIMSo then what's the real need of impressing anyone?

WIFEYou do know I'm just testing you, right? I love you the way you are.

TIMI knew you would say yes.

WIFEI never said yes.

TIMYou will once you see this.

Tim takes out a black box from his pocket and opens it, revealing a diamond ring.

TIM (CONT'D)I was testing you too.

They embrace each other.

FADE TO BLACK

FADE IN:

INT. CAR

Tim yawns and wakes up slowly. He looks over the Jeremy.

TIMHow much farther until you get out.

JEREMYWe're almost there.

Tim nods and looks dreamily to the road. Jeremy turns on the music and flips through channels until he comes to a song by Michael Jackson.

JEREMY (CONT'D)Do you mind?

TIMNo, not at all.

JEREMYYou like Jackson?

TIMExcuse me?

JEREMYDo you listen to Michael Jackson a lot?

TIM

No, not really. I'm not into the hip hop scene.

JEREMYOh come on. You can't tell me you don't listen to this stuff.

TIMBefore I got married and was into clubbing, I used to hear it a lot. But I like Eminem a lot more than old school Michael Jackson.

JEREMYEminem? The last thing everyone needs is a white guy trying to be black.

TIMTrust me, he isn't trying to be black. That's the way he is. I respect him for that. His music's a lot better than most of Michael's stuff anyway.

JEREMYWe're here.

Jeremy gets out of the car.

JEREMY (CONT'D)Thanks again for everything.

TIMOh, no problem.

Jeremy pulls out a gun and points it at Tim.

JEREMYI'm gonna need your wallet?

TIMWhat?

JEREMYHurry up and don't try anything fancy.

TIMI just saved you.

JEREMYJust give me the wallet and I'll be gone.

Tim grabs his wallet and tosses it to Jeremy. Jeremy counts the money while holding the gun.

JEREMY (CONT'D)Good enough.

Jeremy runs away and Tim scoots into the driver's seat, taking a big breath. Today was really not his day. He unwraps the piece of paper from his pocket -- the one with the Robin's address.

EXT. ROBIN'S HOUSE -- LATER

Tim's car comes rushing in and Tim gets out. He rings the doorbell and waits. He rings it again. An old woman comes out.

TIMHello. Is this the house where Robin Jackson used to live.

OLD WOMANYes, yes it is.

TIMYou wouldn't happen to be his mother, would you?

OLD WOMANYes. Yes, I'm his mother. Who are you?

TIMI have important information about your son.

OLD WOMANMy son's dead.

TIMI know. I have something important to tell you. May I come in?

OLD WOMANNo.

TIMI was there. I was there when your son died.

The old woman flinches.

OLD WOMANPaul!

An elderly man appears.

PAULWho is this?

OLD WOMANThis man claims he was there when Robin died.

Paul stares at Tim.

PAULYou better let him in.

INT. ROBIN'S HOUSE

They come into the dining table and have a seat.

OLD WOMANSo tell me. What do you mean by you saw my son die.

TIMI was driving back to work one day.

CUT TO:

INT. TALK SHOW ROOM

This is a talk show room (reference When Harry Met Sally). Its really supposed to be metaphorical and only exists to

give the viewer a good sense that Tim explained the incidents that have occurred to him. The old woman and Paul are sitting in director's chairs facing the camera.

OLD WOMANHe told us everything. Everything from start to finish.

PAULHe told us about his wife, about the Michael Jackson incident, about the cop, about the gay sheriff, about the mugging, the stoned co-worker.

OLD WOMANHell, he even told us his dreams.

PAULAnd his drawing.

OLD WOMANAnd the frying pan.

CUT TO:

INT. ROBIN'S HOUSE

We are back to reality. Wasn't that trippy? The old woman and Paul are just giving him a blank stare.

PAULWhat I don't understand is... Why didn't you help Robin?

TIMI had a bad feeling about it.

PAULA bad feeling about it? My son died!

TIMI thought you would understand. What would you do? It was a man in the middle of the night. I honestly thought he was a gangster.

OLD WOMANMy son was no gangster! He was a teacher for Christ's sake.

TIMWhat would you have done?

PAULOkay. Okay fine. So why are you even here?

TIMI was just hoping you knew anything about why I turned black.

OLD WOMANHow the hell would we know, young man?

TIMI was just hoping.

PAULI'll help you with whatever you need. We owe you that much for the explanation you gave us. But please answer this. Would you have picked my son up if he was white?

TIMExcuse me?

PAULWould you have picked him up if he was white?

TIMMr. Jackson, I'm not racist.

PAULJust answer the question.

TIMMr. Jackson, what point are you trying to make.

Paul takes out a gun and points it at Tim.

PAULYou have till the count of three to leave the room. If I open my eyes and see you here, I'm going to unload in your face.

Tim seems exhausted.

PAUL (CONT'D)One.

Tim gets out of his chair.

PAUL (CONT'D)Two.

Tim runs out.

EXT. ROBIN'S HOUSE

PAUL (V.O.)Three.

Tim rushes out.

TIMShit.

The camera rotates to show that Tim's car has been completely wasted with graffiti. Tons of spray paint cans have been unloaded on the car itself. Tim decides to live with it and gets in the car. He looks at the piece of paper and looks at the second address.

EXT. ROBIN'S SCHOOL -- LATER

We see a sign saying "University High School" and see Tim's car rushing in at high speeds.

INT. ROBIN'S CLASSROOM

Tim is rummaging through files. We see the haunting image of Robin on his desk. Tim rummages through files and files of paperwork, but can't find an answer to his question. He leaves the classroom empty-handed.

EXT. PARKING LOT

Tim walks out to his car and gets really nervous. For some reason, he doesn't feel at ease with the current moment. He looks behind him nervously and sees nothing unusual. As he walks towards his car and takes off the alarm, two white hooligans appear with knives out.

HOOLIGANSGive us your wallet and everything will be fine.

Tim is exhausted and gives in. He searches inside his jacket.

TIMI don't have it.

HOOLIGANSGet it out. I don't think you'll like the alternative.

TIMI seriously don't have it. I got mugged earlier.

HOOLIGANSOh yeah. You expect us to believe that.

TIMYou can search me if you'd like.

HOOLIGANSAndy, want to search him?

ANDY, one of the hooligans, lets out a big punch, knocking Tim over. He gets on top of Tim, while the other hooligan beats him. Tim manages to kick one of them in the crotch and breaks free of Andy. He makes a break for it, over a bridge and through a park, until he comes into an alleyway, where he jumps down and sees a car parked there. He rushes to the car and immediately realizes his wrongdoings and secret prejudice. He bangs on the windshield.

TIMPlease let me in.

Tim is panting and keeps banging.

TIM (CONT'D)Please. They're going to kill me. I promise I'm no trouble. I'm no gangster. I promise. Please let me in.

This time the WHITE MAN lets him into the car. Tim is relieved and gets in, looking behind at the two hooligans chasing after the car and losing.

TIM (CONT'D)Thank you. Thank you.

WHITE MANSo what's the story?

TIMIt was just a racial crime.

WHITE MANYou'd think after all these years, those would have stopped.

TIMYeah I do.

WHITE MANWhere do you want me to drop you off at.

TIMThis address.

Tim takes out the crumpled paper in his pocket and shows it to the white man. Of course Michael Jackson is playing in the background.

EXT. ROBIN'S HOUSE. -- MOMENTS LATER

The car pulls in and Tim gets out.

TIMThank god for people like you.

WHITE MANNo problem.

He drives away. Tim walks up and rings the doorbell. PAUL opens the door.

PAULWhat the hell are you doing still here?

TIMPlease don't kick me out again. I'm only here to talk. I understand my mistakes.

PAULCome in.

INT. ROBIN'S HOUSE

They are sitting at the dinner table once again in an awkward predicament.

PAULYou came to tell us something

TIMWell. I just want you to know that it was wrong of me not to pick up your son.

PAULNo. No it wasn't wrong at all. I didn't expect you to pick him up at all. I wouldn't have blamed you for that.

Tim is slightly confused.

PAUL (CONT'D)What was wrong was that you judged my son. You judged him before you knew him. That too, on his skin color. That was what you did wrong.

Tim stares and knows Paul is right.

TIMI have no life left. I don't know how to switch this. I can't talk to my wife. I don't have a job. The police are probably after me.

PAULYou have plenty of life left. The world needs a person like you right now. More than ever.

Police sirens holler in the background. Tim looks over his shoulders.

PAUL (CONT'D)You better get going if you want to escape. But don't run away this time.

Tim gets up and leaves. As he is about to head out the door, his eye catches something on the floor. It is a beautiful butterfly, with a wing cut off, unable to fly. Tim picks it up into his palms and watches as it soars out of his hands, like magic. He opens the door into a world of black.

ROLL CREDITS