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Eternal by Anthony Renfro

Website: atothewr.com Email: atothewr@gmail.com


FADE IN: EXT. CAR/TOWN - EARLY MORNING A sign appears with the words WHITESIDE TOWN LIMITS written on it. This is one of those old colonial seaside towns. trapped inside antiquity. A place

A lit vacancy sign hangs in the window of the hotel, a modified two story house. A black Chevelle sits in a space in front of this hotel. At the end of this town is a little white church and a turn off that leads to a driveway. The car turns into this driveway. EXT. LIGHTHOUSE - CONTINUOUS The car pulls up to an abandoned lighthouse. This place was once a working lighthouse, but the new automated one put it out of business. This new automated lighthouse sits a mile out to sea on a large rocky outcropping. Its light splashing like a steady beat over the old lighthouse in some cruel twist of fate. DAN WESS (37) gets out of the car. His hair is long and his face is covered with a thick beard. His clothes are a bit disheveled and his posture is one of a sunken and beaten man. Dan takes out a flashlight from his bag and turns it on. Through the beam of light he sees the run down cemetery behind the lighthouse. He drops his bag by the front door and walks towards it. INT. GRAVEYARD - CONTINUOUS Dan opens the old gate and walks over to where his grandfather and grandmother are buried. The place is overgrown with weeds and needs repair.


Dan kneels down in front of his grandfather's gravestone and stays there thinking for a moment or two. Dan stands up and looks around. He makes his way out of the graveyard. EXT. LIGHTHOUSE - CONTINUOUS Dan walks around the place making note of what has fallen apart and what can and cannot be replaced. He makes his way around to the entrance and shines the light inside. INT. LIGHTHOUSE/FIRST FLOOR HALLWAY - CONTINUOUS On instinct Dan flips the switch. The lights, of course, do not come on. He explores. Spider webs have found their way into corners and dormant rooms. The wind whistling through the place creates a ghostly moan that seems to fill every room and every corner. Emptiness and decay abound. Dan makes his way to the stairs. He climbs up to the second floor. INT. LIGHTHOUSE/SECOND FLOOR - CONTINUOUS Dan wanders through the bedrooms of the house. He reaches the stairs that spiral up into the tower. He climbs. When he reaches the top he pushes up on the trap door. He opens it and when he shines the light inside several bats scurry for darkness.


INT. LIGHTHOUSE TOWER - NIGHT Dan climbs up into the clear glass enclosure. It is broken in spots and needs to be replaced. The light (long dormant) sits in the midst of a large spidery web. From up here Dan can scan the surrounding area. He explores. EXT. LIGHTHOUSE - NIGHT MARY-BETH (27) strolls across the vacant ground toward the old lighthouse. She has raven black hair and white, almost pearl-like, skin. Shes tall with a sleek lean figure. She's dressed in boots, tee shirt, leather coat, and jeans. INT. LIGHTHOUSE TOWER - CONTINUOUS Dan sees her and watches her approach. She disappears inside. Dan makes his way over to the stairs and listens for her. She can be heard walking up the stairs to the second floor. Dan steps away from his position and prepares to face her, but her footsteps stop somewhere below. He walks over to the stairs and with caution descends. INT. LIGHTHOUSE/SECOND FLOOR - CONTINUOUS Dan doesn't turn on the flashlight, so his going is slow. He checks the first bedroom, nothing. bedroom. He goes into the next

INT. LIGHTHOUSE/SECOND FLOOR/MASTER BEDROOM - CONTINUOUS He walks in and there she is. The light from the automated lighthouse cascades over her in light, then darkness, then light, then darkness, etc.


They lock eyes and something registers between them. Neither can speak or move. It is like the whole world has stopped and they are the only two existing. She stands up and he steps back. He moves towards her and she steps back. He steps back and she moves forward. Again they hold their gaze. Eyes locked.

Their gaze breaks and she charges out of the room and into the hall. Dan rushes after her. INT. LIGHTHOUSE/SECOND FLOOR HALLWAY - CONTINUOUS Mary-Beth is moving down the stairs to the first floor. Dan rushes to the top of the stairs and stops. He looks down and sees nothing. He runs down the stairs to the first floor. INT. LIGHTHOUSE/FIRST FLOOR HALLWAY - CONTINUOUS Mary-Beth is running out the door. Dan opens his mouth to speak. She is gone. EXT. LIGHTHOUSE - NIGHT Dan rushes out into the night and in vain he searches for her. Headlights fall upon him. Pete shuts off the car (which has a ladder tied to the top of it) and gets out. He rushes over to Dan. Deborah is there a second or two later. PETE (37), Dan's best friend and confidant. He stands about five seven and is currently dressed out in jeans and a sports sweatshirt. DEBORAH (37) is Pete's wife. She is petite and has the look of a wife and mother. She dresses to fit this style. Dan. PETE You okay?


DAN Did you see her? Who? The girl! DEBORAH DAN

PETE What girl? I didn't see any girl. Did you, Deb? DEBORAH No, I didn't see anything. They look about for a moment or two, mostly just humoring Dan. Dan gives up on the girl and tries to move back into a new conversation. DAN Weird. (Beat) Did you bring the stuff? Yeah. PETE

They walk over to the car and Pete opens the trunk. He takes out an air mattress and pump, pillows, some kerosene lamps, candles, matches, a cooler, some blankets, a couple of cans of paint and some brushes. Dan unties the ladder and takes it down. PETE (CONT'D) Power and water will be on by tomorrow. DAN That is, if anything still works. Deborah takes one of the kerosene lamps and lights it. Pete closes the trunk and they take the stuff inside. INT. LIGHTHOUSE/LIVING ROOM - CONTINUOUS This room is dominated by a large fireplace and it is empty like the rest of the house.


Deborah sets the kerosene lamp down so they can have some light. They put the stuff in one corner of the room. PETE You okay now? DAN Yeah, I think. Deborah takes a seat on the hearth as Dan walks over to the window. PETE Little overwhelming? What? DAN

PETE Coming back. DAN More than I thought it would be. Pete walks around looking the place over, running his hand over the dilapidated walls. PETE I remember when this place used to be beautiful. I remember that time when you and I nearly fell through the upstairs floor because we were wrestling so hard. You remember how your grandfather got so mad because we shook the plaster off the ceiling? DAN (SMILING) Yeah, I remember that. Pete takes a seat on the hearth beside Deborah as Dan continues to stand at the window. PETE Why don't you get out of here tonight? Come back tomorrow when you can really look this place over. DAN I want to stay.


PETE We hate to leave you alone. DAN I think it's for the best. It feels good being back; still got some old ghosts to chase. Silence between them. a while. Its obvious Dan wants to be alone for

PETE I guess thats everything? DEBORAH I think so. PETE Well Dan if you need anything. I know. DAN

PETE Just keep me posted. DAN I will. Thanks again for everything. They exchange pleasantries. DAN (CONT'D) See you later. Later. PETE

DEBORAH See you Dan. Later. DAN

They leave. Outside, Pete's car comes to life and the sound of it evaporates into the distance. Dan pumps up the air mattress and places the sleeping bag on top of it. When he is done he pulls a sweater from his duffel bag and puts it on.


He grabs the kerosene lamp and makes his way outside. EXT. LIGHTHOUSE - NIGHT Mary-Beth has returned to the lighthouse. She leans closer to the shadows as Dan walks off towards the trees. She watches him. Dan stops about halfway and turns back to the lighthouse. He shines the light around for a moment before turning back to his task. He sets the lamp down and collects some firewood. the lamp, he goes back inside. Mary-Beth steps up to the window. INT. LIGHTHOUSE/LIVING ROOM - CONTINUOUS Dan puts the wood into the fireplace and gets the fire lit. He turns off the lamp, kicks off his shoes, and climbs into the sleeping bag. He lies there a moment looking up at the ceiling. He looks down at his wedding band and takes it off. He holds it tight in his hand and pulls it close to his heart. He closes his eyes and dreams of times gone by. EXT. LIGHTHOUSE - CONTINUOUS Mary-Beth turns away from the window and walks over to the doorway. She steps inside. INT. LIGHTHOUSE/FIRST FLOOR HALLWAY - CONTINUOUS Mary-Beth creeps over to where the living room door should be and peeks around the corner. Dan is lying by the fireplace asleep. Mary-Beth ducks back behind the wall into the shadows. Picking up


She waits a minute before peeking around again. She steps into the room and walks over to him. She leans down beside him. with his slumber. He doesnt move as he continues He moves just a bit

She reaches out and touches his hair. causing her to freeze in place.

He doesnt wake up and quietly goes back to sleep. She watches him for a moment or two before getting up and leaving. EXT. POST OFFICE - MORNING Dan walks out and over to the general store. He goes inside. INT. GENERAL STORE - CONTINUOUS This is a creaky old place with antiquated floorboards and walls. Old signs hang in strategic places advertising modern items. The aisles hold an array of items, anything from household cleaning supplies, to groceries, to books, to DVD's. Dan sees this small section of DVD's and walks over to them. There are about twenty in all. He flips through them and finds a couple he likes. Darkness' and 'Freddy vs. Jason'. 'Army of

Once he is done he walks over to the grocery section and gets some non-peris