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These Words
By Nathan Weaver
By Nathan Weaver
[NOTE: This is the beginning of a horror story I've been working on in various forms through the years]
INT. CABIN’S KITCHEN. AMELIA STRAIGHT is sitting at kitchen table in a daze. She’s wearing some comfortable looking clothes, hair is raggedy, and she’s gulping some coffee. CAMERA starts at WIDE-ANGLE and slowly moves in.
AMELIA VOICE OVER
I was suffering from a writer’s block. A terrible writer’s block, the worst ever. My publisher, as well as my editor, were talking of leaving me, moving on. My works weren’t good enough anymore. It’s hard to admit you’ve sapped all your worth. That the barrel is empty. That the end has come. Rob, my editor had given me my ultimatum yesterday.
I was suffering from a writer’s block. A terrible writer’s block, the worst ever. My publisher, as well as my editor, were talking of leaving me, moving on. My works weren’t good enough anymore. It’s hard to admit you’ve sapped all your worth. That the barrel is empty. That the end has come. Rob, my editor had given me my ultimatum yesterday.
CUT to flashback. CABIN’S LIVING ROOM, phone rings. AMELIA scurries to phone.
AMELIA
(into phone) Hello?
(into phone) Hello?
CUT to split-screen of phone conversation.
ROB
Hello, Amelia. This is Rob.
AMELIA
Hey, Rob. What did you think of the draft?
ROB
Amelia, I don’t know how to tell you this. I’ve been your editor since the beginning. And... you know how I am, I won’t edit it if I don’t like it.
AMELIA
Yeah, yeah. What, you didn’t like it?
ROB
You’re losing it, Amelia. I hate to be the one to tell you this, but you just don’t have it anymore. You had a good run, but... all good things have to come to an end, right?
AMELIA
So, that’s it?
ROB
Now, you know I would love to see the name Amelia Straight plastered across the cover of a new romance novel, but... it has to be good. I’m giving you one last chance here, Amelia. Send me a good draft, and I mean good, and then I will edit the puppy. Otherwise, you’re up a creek. Sorry, old gal, you’re losing it.
CUT back to present. CABIN’S LIVING ROOM. AMELIA is sitting in front of typewriter, she stares blankly at the white paper.Hello, Amelia. This is Rob.
AMELIA
Hey, Rob. What did you think of the draft?
ROB
Amelia, I don’t know how to tell you this. I’ve been your editor since the beginning. And... you know how I am, I won’t edit it if I don’t like it.
AMELIA
Yeah, yeah. What, you didn’t like it?
ROB
You’re losing it, Amelia. I hate to be the one to tell you this, but you just don’t have it anymore. You had a good run, but... all good things have to come to an end, right?
AMELIA
So, that’s it?
ROB
Now, you know I would love to see the name Amelia Straight plastered across the cover of a new romance novel, but... it has to be good. I’m giving you one last chance here, Amelia. Send me a good draft, and I mean good, and then I will edit the puppy. Otherwise, you’re up a creek. Sorry, old gal, you’re losing it.
AMELIA VOICE OVER
These words. These words rolled off his tongue so matter-of-factly, it sickened me to my stomach. All last night he repeated these words in my memory: “You’re losing it.”
These words. These words rolled off his tongue so matter-of-factly, it sickened me to my stomach. All last night he repeated these words in my memory: “You’re losing it.”
AMELIA stares at her finger tips; no doubt she discerns the good years they’ve brought her. She blows gently on her left finger tips, her right ones, and then she places them on the keys of the typewriter.
AMELIA
You’re not losing it, babe. It’s still there.
AMELIA begins typing on the keys in a quick pace.
AMELIA VOICE OVER
(narration) “I knew I loved him at first glance. I recognized the eyes, the cheeks, the lips. I had created the features in a dream some time, and then I buried the image away in the back of my mind. My perfect man...”
(narration) “I knew I loved him at first glance. I recognized the eyes, the cheeks, the lips. I had created the features in a dream some time, and then I buried the image away in the back of my mind. My perfect man...”
CAMERA pans to left, MAN stands in room. The MAN is the figment or character that AMELIA has created in her mind. We, the audience, watch him play out her creative wit.
AMELIA VOICE OVER
“He sat on the sofa, alone to himself. (he sits) He ignored all other guests; I walked towards him, wishing to have his acquaintance and in time his love...”
“He sat on the sofa, alone to himself. (he sits) He ignored all other guests; I walked towards him, wishing to have his acquaintance and in time his love...”
CAMERA moves in closely towards MAN, he looks up and acknowledges the camera with a gesture and extends the hand for a shake. The sound of the keys typing stop. MAN freezes, as it is his existence has been halted. CAMERA pans back, from the back we see that AMELIA has gripped her hair with both hands in frustration, she removes the paper and tosses it in trash can which is already full. AMELIA rises from her chair, walks to kitchen and leaves coffee mug (when she passes sofa, MAN is no longer there), she then walks to bedroom, CAMERA follows, AMELIA flops herself on bed, she flails and grunts in aggravation, she lies on her back looking at roof; she closes her eyes, CAMERA FADES to BLACK.
CUT to EXTREME CLOSE-UP of AMELIA’S FACE. She awakens startled and wearing a different outfit.
AMELIA
That’s it!
That’s it!
CUT to WIDE-ANGLE. AMELIA leaps from bed, then she gets a head rush, wobbles about and grabs wall. When she snaps out of it she runs into kitchen and gets chocolate milk from fridge.
AMELIA VOICE OVER
When I was a little kid, this cabin was my family’s weekend retreat. We’d get up early and go fishing all day, then come back and eat what we caught, then go to bed. The next morning we’d start over again. (She then returns to living room and sits at typewriter) It was such a nice change from our city life, a nice peace. (She takes a gulp of coffee and sets it down, she places paper in typewriter and begins to type) The calm, quiet sound of the lake and the wind blowing the trees was all that could be heard. A peace rarely found in this world. But, this paradise haven had its strangeness. Every night, like clockwork, we were in bed at nine o’clock. Back at home my parents allowed me to stay up until ten, but not here. It was as if there was an unspoken Passover which took place every night at nine. If we weren’t in bed at nine, there would be a price to pay. (shot of digital clock, it reads 9:00 PM) If we were in bed, then it passed by and the next morning we could continue our peaceful retreat. (clock changes to 9:01 PM)
CUT to WIDE-ANGLE of LIVING ROOM. AMELIA sits with back turned, typing. A nearby lamp flickers off. AMELIA stops and looks over at it. She goes back to typing. The lamp flickers back on. She looks at it again and as she does it flickers off. She gets up and walks over to it, she turns the lamp on and off, then back on. A loud noise is heard from the kitchen. She turns her head, scared. She picks up a pillow from the couch, as a weapon. She slowly walks by the glass sliding door, and towards the kitchen. Another noise is heard. She jumps. She sees a broom; she sets the pillow down and picks up broom, and continues towards kitchen. She looks at the brush part of the broom and rolls her eyes.When I was a little kid, this cabin was my family’s weekend retreat. We’d get up early and go fishing all day, then come back and eat what we caught, then go to bed. The next morning we’d start over again. (She then returns to living room and sits at typewriter) It was such a nice change from our city life, a nice peace. (She takes a gulp of coffee and sets it down, she places paper in typewriter and begins to type) The calm, quiet sound of the lake and the wind blowing the trees was all that could be heard. A peace rarely found in this world. But, this paradise haven had its strangeness. Every night, like clockwork, we were in bed at nine o’clock. Back at home my parents allowed me to stay up until ten, but not here. It was as if there was an unspoken Passover which took place every night at nine. If we weren’t in bed at nine, there would be a price to pay. (shot of digital clock, it reads 9:00 PM) If we were in bed, then it passed by and the next morning we could continue our peaceful retreat. (clock changes to 9:01 PM)
AMELIA
If there’s anyone in that kitchen, I’m gonna let you know right now that I’ll Groucho Marx you to death. And you don’t even wanna know what that means, so you might as well take a hike now.
If there’s anyone in that kitchen, I’m gonna let you know right now that I’ll Groucho Marx you to death. And you don’t even wanna know what that means, so you might as well take a hike now.
SILENCE. She enters the kitchen and walks near the counter. She sets the broom down and picks up a knife from the counter and walks to the fridge and looks at the door. No one is there. She turns around with a sigh of relief. Then, she sees the table. The table has a long cloth on it. She glances at her knife, then back to the table.
AMELIA
If I jerk that table cloth back and there’s someone there, I’m gonna go all Norman Bates. So, if this is a prank, you might wanna speak up right now.
If I jerk that table cloth back and there’s someone there, I’m gonna go all Norman Bates. So, if this is a prank, you might wanna speak up right now.
SILENCE. She slowly walks over, shaking from fright; she pulls the cloth up and looks under table. Nothing again. She covers it and stands up, calm again.
AMELIA
Babe, you’re getting all worked up over nothing.
Babe, you’re getting all worked up over nothing.
AMELIA walks over to counter and places knife back, picks up broom and walks into living room, places it back. She then walks past sliding door; THE PHANTOM is standing on other side of sliding door. AMELIA doesn’t notice and sits back down at typewriter. She looks at clock, which now reads 9:06 PM.
AMELIA
Huh, that’s a first. And a tad bit ironic.
AMELIA clears throat, takes a sip of coffee, and then begins to continue typing. FADE to BLACK.
INT. THE LIVING ROOM, SAME NIGHT. AMELIA sits on couch, on phone.
AMELIA
Hey, Rob. This is Amelia. It’s about 11:30 at night, so obviously you’re not at work. Anyway, I’ve started a draft and I’m really excited about it. Really, really excited about it. I just wanted to leave this message so you would get it first thing in the morning. It’s not a romance, so I’m kind of reinventing myself here. But, uh, it’s really good. It’s really, really, really good. Yeah, so, talk to you later I guess. Call me. You can call me after you get this. That would be good. Well, thanks. (hangs up)
Hey, Rob. This is Amelia. It’s about 11:30 at night, so obviously you’re not at work. Anyway, I’ve started a draft and I’m really excited about it. Really, really excited about it. I just wanted to leave this message so you would get it first thing in the morning. It’s not a romance, so I’m kind of reinventing myself here. But, uh, it’s really good. It’s really, really, really good. Yeah, so, talk to you later I guess. Call me. You can call me after you get this. That would be good. Well, thanks. (hangs up)
FADE to BLACK.
INT. CAR, DAYTIME—FLASHBACK. FROM AMELIA’S PERSPECTIVE (as child), door opens and MOTHER pops her head in, FATHER walks up behind her.
MOTHER
Hey, babe, your dad and I have to go in and talk with the owner of the house. You just stay here and we’ll be right back, okay?
Hey, babe, your dad and I have to go in and talk with the owner of the house. You just stay here and we’ll be right back, okay?
MOTHER shuts the door and they both walk up to house. AMELIA/CAMERA slides across seat and watches them walk up to house. THEY enter the house and after a moment, AMELIA/CAMERA turns around and moves around the car looking out the windows at everything around the car. Eventually, we hear a door shut and she turns and looks up at the house. OWNER, MOTHER and FATHER are standing on porch. MOTHER and FATHER come down to the car and get in, OWNER watches them from porch.
MOTHER
That’s really weird, hun.
FATHER
A little bit. But, if he wants to believe that, then let him, I say.
MOTHER
(disapproving) Honey…
FATHER
I’m just saying… he’s obviously not all there, but he seems sane enough. Why should that have to be our problem?
MOTHER
You definitely can’t beat the deal he’s offering.
FATHER
That’s for sure. So, what do we tell him?
MOTHER
Well, I guess, if that’s what he wants then that’s what he’ll get. It’s exactly what we were looking for.
FATHER
Okay, let’s do it. (turns to AMELIA/CAMERA) Well, be right back, babe.
MOTHER
(to AMELIA/CAMERA) We’re getting it!
That’s really weird, hun.
FATHER
A little bit. But, if he wants to believe that, then let him, I say.
MOTHER
(disapproving) Honey…
FATHER
I’m just saying… he’s obviously not all there, but he seems sane enough. Why should that have to be our problem?
MOTHER
You definitely can’t beat the deal he’s offering.
FATHER
That’s for sure. So, what do we tell him?
MOTHER
Well, I guess, if that’s what he wants then that’s what he’ll get. It’s exactly what we were looking for.
FATHER
Okay, let’s do it. (turns to AMELIA/CAMERA) Well, be right back, babe.
MOTHER
(to AMELIA/CAMERA) We’re getting it!
THEY exit the caar again and head up towards OWNER on the porch, we hear FATHER shout to OWNER.
FATHER
We’ll take it! Can you gift wrap it?!
FADE TO BLACK.
INT. LIVING ROOM, DAYTIME—PRESENT DAY. AMELIA stands in front of glass sliding door with back turned to camera; she is looking out to where the car was parked. She turns and walks off-CAMERA.
Abrupt, eh?
