WORKING NIGHTS
A Screenplay
by Christopher P. Jacobs
Copyright ©
2002 by Christopher P. Jacobs
1. EXT. DOWNTOWN STREET 1. NIGHT. A woman stands impatiently outside of a theatre box office, scanning the streets and occasionally checking her watch. A flyer on the theatre reads “Farewell Performance! Michael Scott Hamilton. World Concert Tour Begins in Hometown.” Finally, the woman fingers the tickets in her hand, shakes her head and disappointedly enters the theatre alone.
2. EXT. DOWNTOWN STREET 2. NIGHT. A couple of hours later. A well-dressed young woman comes out of an office building. She pauses to adjust the latch on her briefcase and then hurries along the sidewalk. Suddenly she stops short. She recognizes with surprise a man who has just exited a night club with an attractive woman clinging to his arm. She ducks behind a streetlight and watches the couple turn down an alley, then follows them from a safe distance as they head towards a parking ramp.
3. INT. PARKING RAMP. NIGHT. The woman hides behind a car while the couple tarries playfully on the way to their car. All at once another car screeches to a stop beside them and a woman angrily storms out. She is the one who had been waiting at the theatre.
NICK
Tatiana! Didn’t expect to see you here.
TATIANA
Obviously.
NICK
Have you, uh, met Lisa?
LISA (giggling)
Hi.
TATIANA
Nick, you promised!
NICK (squeezing Lisa)
Hey, I’ve got my own life to worry about now.
TATIANA
But he’s your own brother!
NICK
We all got our priorities.
TATIANA
Michael noticed you weren’t there. He was terribly disappointed.
NICK
I doubt it. And what if he was? He’ll get over it. Like I said. Mike’s got his priorities, I’ve got mine.
LISA
(whining, playing with Nick’s hair)
C’mon Nicky, baby. Let’s go.
TATIANA
You’ll never change, will you. And whatever happened to Katelyn? And Janna before her?
NICK (shrugging)
I changed? They didn’t?
Nick gently tries to untangle himself from Lisa’s arms so he can get his car keys. Tatiana walks back to her car.
TATIANA
Some day I wish you’d just grow up.
4. INT. BAR. NIGHT. The woman who had been following Nick sits at the bar, toying with the half a glass of red wine in front of her. She shakes her head and is about to take another sip when Tatiana plops onto the stool beside her.
TATIANA
I thought that you, at least, would have been there, Amy.
Tatiana motions to the bartender for a glass of wine.
AMY
You know how much I wanted to. And how much I needed to finish this contract by the deadline. I phoned Michael. He understood.
TATIANA
Of course he did. But he still felt let down. I was there when you called.
The bartender sets Tatiana’s wine in front of her and she immediately takes a large sip.
AMY
I sent flowers. (she takes another sip of wine) But it’s too late to worry about it. His plane is long gone by now and so is the past.
TATIANA
Why can’t... oh, never mind.
AMY
What?
TATIANA
(sipping her wine)
Nothing.
AMY
Why can’t Nick stop being an asshole?
TATIANA
(with a bitter laugh)
Yeah. That, too. (pause) He was like that even when he was a little kid. I can’t tell you how many times I just wanted to kill him.
AMY
He tends to have that effect on a lot of people.
TATIANA
Except those who refuse to see through all his charming bullshit. Mom never could. She always let him have his way. Dad finally gave up and ignored him.
AMY
I’ve come to the conclusion that’s probably the best way to deal with Nick.
TATIANA
You could be right.
She takes a sip of wine
Too bad about you and Michael.
AMY
We both agreed it was for the best. We’re still friends. Good friends.
TATIANA
Mom always hoped...
AMY
Look. Your mother will just have to get it through her head that people’s lives don’t always conform to her storybook fantasies.
TATIANA
Hey, you don’t have to tell me that. Believe me. (pause) It’s still a shame, though.
Amy sighs deeply, drains her glass of wine, and motions to the bartender for a refill. Tatiana does the same.
AMY
There’s a bit more to it, but I won’t go into that. How are you and Trevor doing?
TATIANA
Trevor. Ah, yes. Good old Trevor.
AMY
That bad, huh? What I’d like to know is why you can see through your brother’s B.S. but never anyone else’s. You’ve had one loser after another just using you and calling it a relationship.
TATIANA
Yeah, well. Just lucky, I guess. (sips her drink) Now Andre knows how to treat a woman. Maybe I should return his calls sometime.
AMY (in disbelief)
Tatiana! Andre’s a drug dealer!
TATIANA
He’s been really sweet lately. And he’s always willing to listen to me.
AMY
Tatiana, he’s a drug dealer!
TATIANA
Well, nobody’s perfect.
AMY
Least of all Andre. Listen, you need to stay away from him.
TATIANA
Hey, you don’t need to freak out over it. I never did any more than talk with him. I haven’t seen him for a while, anyway.
AMY
Good. I’m telling you, it can be dangerous just to be around him. He’s... never mind. Just promise me you won’t get involved with him. (she sips her wine)
TATIANA
Well, Trevor’s no picnic. (she finishes her wine) I never know from one day to the next what kind of mood he’ll be in.
AMY
There’s one thing you can count on him for--he'll always ask you for money.
TATIANA (defensive)
He’s had a lot of business deals go bad.
AMY
I, uh, kinda think there’s a bit more to it than that, but it’s your money.
The bartender refills Tatiana’s glass and she immediately sips from it.
5. EXT. ALLEY. NIGHT. A wad of bills exchanges hands. A shadowed figure looks around impatiently while another shadowed figure leafs quickly through the bills.
TREVOR
Now we’re even. Right?
ANDRE
I’ll know when I’m done counting.
TREVOR
Don’t worry, man. It’s all there. Nick never lets down a friend.
ANDRE
It’s not Nick I’m worried about. It’s you.
TREVOR
You know I’ve always come through for you.
ANDRE
Yeah. Not through any fault of your own.
TREVOR
You won’t have to worry about it anymore, man. This was my last time.
ANDRE
Tell me another one. But if you can’t pay next time, you’ll be joining the stable yourself.
TREVOR (considering)
I can think of worse fates.
ANDRE
I’m glad. Because if I ever hear even a rumor of a double-cross involving Trevor Doyle, you can expect any number of fates.
TREVOR
I can imagine.
ANDRE
(finishes counting)
Don’t be so sure. Anyway, you’re right. It’s all here, so you’re off the hook for now, Doyle.
6. INT. TATIANA’S APARTMENT. NIGHT. The door opens and Amy feels around to turn on the light. With her other arm she holds up the intoxicated Tatiana, and once the light is on she guides her to the bed.
AMY (setting her down)
You gonna be all right?
TATIANA (sleepily)
Yeah, yeah. Thanks. You’re a real friend. Maybe the only one I’ve got.
AMY
You’re drunk. Everybody feels that way now and then. Now get some rest. You’ll feel better tomorrow.
TATIANA (holds her head)
Oh yeah? Wait... tomorrow’s Saturday. I can sleep all day. Maybe it won’t be so bad. (she lies back on one side of the bed)
AMY
Do you...need any help? Getting undressed? Should I make some coffee?
TATIANA
(closing her eyes)
I’ll be fine.
AMY
I’m going now. Call me if you need anything.
TATIANA
Hmm? Oh... yeah... thanks. Bye.
AMY
See you tomorrow.
Amy leaves, turning off the light and closing the door softly behind her. Tatiana puts her hands to her head again, opens her eyes, then props herself up on her elbows, looks at the empty side of her queen-size bed and then at the clock, glowing in the dim room light. It reads 2:22 am.
TATIANA
Shit.
She stands up shakily, bracing herself on the nightstand, then pulls her dress over her head, throws it on a chair, and sits down hard on the bed. She is just about to lie down when the sound of a key in the lock makes her start. The door opens and a male hand reaches for the light switch. Trevor turns on the light and steps into the room.
TREVOR
Sorry, hon. Did I wake you?
TATIANA
Where the hell have you been?
TREVOR
I told ya, I had stuff t’ do. Some things to take care of.
TATIANA
You’re always 'taking care of something.' So how come you never take care of me?
Trevor sits beside her on the bed, plays with her hair and caresses her cheek.
TREVOR
I’ll make it up to ya, girl, I promise. Everything’s fine now, so we can spend lots of time together. (he kisses her)
TATIANA
(brushing him aside)
I’m not in the mood now. Wait until morning. Just take off your clothes and get into bed.
TREVOR (standing up and removing his shirt)
Suit yourself.
7. INT. AMY’S APARTMENT. NIGHT. Amy is wearing a nightshirt and sits cross-legged on her bed beside her open briefcase and some papers, typing on her laptop with one hand while holding a brandy snifter with her other. After taking a sip, she sets the glass on the nightstand and types rapidly with both hands. All at once she stops and slowly smiles with satisfaction.
AMY
That’ll work. They’re gonna love it. Damn, I’m good!
She picks up the brandy glass, swirls it around, and takes a healthy swig.
8. INT. NICK’S APARTMENT. NIGHT. Lisa emerges from the shower while Nick sits on the bed talking on the phone. During the conversation, she plays with his hair and snuggles against him seductively, but he pays little attention to her, sometimes returning a caress and sometimes brushing her away as he speaks.
NICK
Yeah, that’s right. (pause) He said that? Well, I wouldn’t put it past him to try something. (pause) No. (pause) Definitely not. Leave Tatiana out of this, do you hear me? I’m serious. (pause) Yeah. Next Friday night. That gives us about a week. (pause) Should be plenty of time. (pause) Sure it’ll cost something. It’ll cost big bucks, in fact. But you get what you pay for, y’know? (pause) She’s worth it, all right. Trust me. (pause) Yeah, sure. (pause) All right. I’ll see you Monday. (pause) You too.
Nick hangs up the phone and Lisa immediately embraces him.
LISA
Who was that?
NICK
(finally returning her advances, and with enthusiasm)
Doesn’t matter. What matters is you’re here right now.
FADE OUT
FADE IN
9. INT. OFFICE BUILDING ELEVATOR. NIGHT. Amy enters the elevator, leaving the office after working late, and presses the button for the ground floor. The door closes and the elevator descends, but stops only one floor down.
AMY
Oh, great. Who’s still here at this hour?
Daniel enters the elevator, sees Amy and pauses with an odd expression of recognition.
DANIEL
Aren’t you... Amy... Amy Hewitt?
AMY
That’s my name. And you are...?
DANIEL
Oh, uh. Daniel Tanner. I... I sat by you in econ class back in college.
AMY
Oh. Yeah! I remember you. You’ve changed. I didn’t recognize you. (beat) So... what are you doing here?
DANIEL
Oh, I work here. Up in accounting. Started last week. What about you?
AMY
I’ve been an account executive for, like, ever. Since I graduated, anyway.
DANIEL
I always thought you’d take off to New York or L.A., or at least Chicago.
AMY
Yeah, well. I took the easy way out, since my uncle does own the company.
DANIEL
Really? I never knew.
AMY
Different last names. (beat) So, Daniel...it’s been awhile.
DANIEL
Yeah. I’ve been in Detroit the past few years, and San Francisco the year before that.
AMY
Really? I love San Francisco.
DANIEL
It was nice, but dreary in a way, with all that fog. And Detroit paid a lot more money, more than here, actually. And certainly lots of things to do.
AMY
So why did you move back?
DANIEL
Well, it was Detroit, you know what I mean? And I went to college here, so I sorta knew the town already--a little, at least.
The elevator stops and the door opens.
AMY
Say... are you, uh, doing anything right now? (beat) I mean, would you ever, want to have a drink or something?
DANIEL
Uh... yeah. I could do that, I guess. Sure.
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