EXT. RESTAURANT – NIGHT
We see Toto (male, 30s – 40s) and Dodie (female, 30s – 40s) peering out of the window.
The door slowly opens.
Cautiously, like astronauts taking their first steps
into an unfamiliar world, they step out.
We are all painfully aware of how still and quiet it is.
And then, they see The Saucer.
Low angle hero shot:
The pair of them, silhouetted against the glow of the saucer, hovering way above their restaurant.
SMASH CUT TO:
Soft focus. Twinkling points of light in the darkness.
Perhaps it’s a star field…?
Titles: “Approximately Five Hours Earlier”
Suddenly brighter – a cold greenish light…
Swimming into focus:
It’s a foil topped container, inside a fridge.
INT. RESTAURANT, KITCHEN – DAY
Foreground:
Eggs frying in a pan.
Two slices of toast, waiting on a plate.
Background:
Toto takes tubs out of the walk-in fridge, setting up for a shift. The clock on Wall reads 6ish.
Toto bumps the fridge door closed,
plops the eggs onto the toast.
Dodie enters.
She bites into a piece of toast, as Toto turns back to the plate
TOTO
Hey!!
Dodie holds up a peace offering – an espresso for him.
He relents.
INT. RESTAURANT, DINING ROOM – CONTINUOUS
We follow Dodie back into the restaurant,
Eating the toast as she goes.
Dodie unlocks the front door.
Charles Alexander (50s-60s, Asshat with money) enters. Bluetooth headset in his ear.
DODIE
Good Evening Mr. Alexander…
CHARLES ALEXANDER
(not paying attention)
Double Espresso and a Single Malt.
He sits – still talking on phone.
Dodie takes a breath, swallows the annoyance, and goes to the espresso machine.
CHARLES ALEXANDER
(louder than necessary)
Well, I think you’ll find it is your problem…
The door opens again – Jamie (NB, 30s-40s, beanie and glasses) walks in, carrying a backpack and holding a travel mug.
DODIE
Hey! How are you?
JAMIE
Hey! I’m…. great?…fine?
… I’m good. How are you?
DODIE
Oh you know…
(gestures vaguely)
…living the dream!
They both smile – and hold eye contact…
… just long enough to become an awkward silence.
Their hands make contact as they pass the cup.
Both notice – neither admits it.
Dodie fills the travel mug and hands it back to Jamie.
They both go to speak – Brief Awkward laughter.
Jamie pays for the coffee with their phone.
Puts a bill into the tip jar on the counter.
JAMIE
Thanks! See you later.
DODIE
See you! Enjoy the coffee!
JAMIE
(turning to go)
You too!
Realizes what they said, Considers turning back and saying something else… No, bad idea. They leave.
DODIE
(quietly berating herself)
“Enjoy the coffee?” Ugh!
She drops her head to the counter in exasperation.
Toto, returning his cup, saw the whole thing.
TOTO
Hey… don’t be so hard on yourself – that was an improvement!
… Are you ever going to ask for their number though?
Charles Alexander clicks his fingers impatiently.
Dodie is not amused.
TOTO
(sarcastic)
Oh Good. He’s here again.
I’ll go.
INT. PHOTO STUDIO – DAY
Small studio – desk in corner with large cork board covered in notes and reference images. Most of the space taken up by backdrop, lights, other equipment. And a coffee machine.
Jamie places the travel mug down on the desk, amongst the rings from several previous coffees placed there.
They move the mouse to wake the computer – emails appear.
Jamie leans over to read one – and knocks the coffee mug over!
JAMIE
Gah!! Dang it!
They grab the mug before it rolls off the desk.
Luckily the lid was still on, so only a little coffee spilled on the papers.
We see them as Jamie blots the coffee spill off:
Thumbnail sketches: a dancer in front of a city skyline, lighting diagrams, a kit checklist.
INT. ANTIQUE SHOP, DAY
Charles Alexander sits behind a counter, inspecting an artifact of some kind, glasses artfully perched on the end of his nose.
CLING! We hear the bell on the door – an actual metal bell!
He looks up over his glasses.
A DELIVERY DRIVER is bringing in a large package
on a furniture dolly
DELIVERY DRIVER
Hi there! Got a delivery for you!
CHARLES ALEXANDER
I can see that.
The driver begins to remove their dolly,
CHARLES ALEXANDER
Just a moment – I don’t want that left in the middle of my sales floor.
INT. ANTIQUE SHOP, BACK ROOM – MOMENTS LATER
Charles leads the driver, wheeling the package, into a back room. We see a large vault door built into a wall.
DELIVERY DRIVER
That’s where you keep the really good stuff eh?
Charles just scowls.
DELIVERY DRIVER
(offering clipboard)
Just your signature on here then please…
Charles holds up a finger – Wait.
He begins a close inspection of the box.
Still not touching it – until he is certain there is no damage.
DELIVERY DRIVER
Hey, do you have a restroom I could use real quick?
Charles looks as offended as if the driver had pooped right there.
CHARLES ALEXANDER
Absolutely not!
Completes his inspection and signs the clipboard.
DELIVERY DRIVER
(forced politeness)
Well – you have a good day now.
Charles begins to open the delivery – inside the external packaging is a wooden crate of some kind.
He picks up a long metal pry bar and opens the lid….
Shredded webs of recycled cardboard packaging material.
But – glinting through the gaps….
Is that a blown glass sculpture?
Something preserved in amber, or resin perhaps…?
CLING! We hear the bell on the front door.
INT. ANTIQUE SHOP – MOMENTS LATER
A woman, who we’ll come to know as MEL, has walked in. (30s-40s, undercut hair intentionally bed-headed, tattoos peeking out at collar and cuffs)
She walks around, somewhat aimlessly, casually picking things up, touching things…
Charles comes out onto the shop floor.
CHARLES ALEXANDER
(obviously irritated)
Can I… help you?
Unfazed – She flashes a cold smile.
MEL
No thanks. I’m just… browsing.
CHARLES ALEXANDER
(Professionalism stretched thinly over his disdain)
Of course – you’ll find some of our more reasonably priced items over there.
MEL
(walking the opposite direction)
Great.
Charles Alexander pretends to turn his attention to an artifact on his desk. We see he is actually now watching his new customer on a CCTV monitor under the counter.
INT. RESTAURANT, DINING ROOM – EVENING
Dodie is pushing tables together. A reserved sign and a pile of cutlery waiting on the already-situated one.
As she lifts a table – the phone rings.
RACK FOCUS TO:
The phone, sitting on the bar.
All the way on the other side of the room.
RACK BACK:
DODIE
(under her breath)
Fuck.
She puts the table down, turns towards the bar – and sees Toto making his way from the kitchen towards the phone.
TOTO
I got it!
Dodie picks the table back up, and puts it in place against the others. She starts laying the place-settings.
Toto walks over juggling a fresh cup of coffee and the reservation book.
TOTO
They just cancelled.
Dodie looks at the just-moved table, then at Toto.
Beat. He takes a sip of coffee.
EXT. TALL BUILDING – DAY
Multi-story building. Perhaps it used to be a hotel,
or a school…? Now there’s some artisanal retail below,
studios and workspaces on the floors above.
Two people carrying balloons walk out,
Following them, we find Jamie
Sitting on a bench out front, looking at their phone.
ON JAMIE’S PHONE:>
Scrolling through tonight’s hourly weather:
Clear skies all the way through. Sunset – 8:47
!DZZZTTT!! A message pops up:
Amber
Just pulling up now. See you soon!
Back to Jamie:>
Types a quick response, then watches as an Uber/Lyft pulls up on the other side of the street.
Amber (female, red hair, 20s – 30s) gets out – and waves.
AMBER
Jamie!
Jamie smiles and waves back – or, attempts to…
Realizes they’re still holding their phone!
Slipping that into a jacket pocket,
They stoop to pick up their backpack
Turning back… WHAM!
They walk right into:
A large, handsome, jock-type man: JAKE (20s – 30s).
JAMIE
Oh my God!
JAKE
Whoah!!
JAMIE
I am so sorry!!
JAKE
(holding up his arms and smiling as he walks away)
All Good! Excuse me!
Amber has made it to Jamie by this point.
AMBER
Hi! Good to see you!
She goes in for a hug, as Jamie holds out their hand to shake.
Amber reaches for Jamie’s hand…
As Jamie now opens their arms for a hug.
Amber laughs, and envelops Jamie in a hug.
INT. WAREHOUSE BUILDING, ART STUDIO – MOMENTS LATER
We hear door unlocking, it opens, they enter.
JAMIE
So, this is me – can I get anything for you.
AMBER
(Shakes head)
No – this is great!
JAMIE
Cool, well… if you’re good, and wanna get changed – I’m gonna take this up to the roof and start setting up.
Lifts rolling case, smiles, turn to go.
AMBER
Oh – one thing – bathroom?
JAMIE
Oh, sorry – of course – back down that way, take the first left, and it will be on your left.
Weighing up options, looking at watch…
JAMIE
can I give you the key to let yourself back in, I just don’t wanna leave it open, with the event tonight, extra people walking around…
AMBER
Oh, sure – no problem.
INT. RESTAURANT, BAR – DAY
Everything is in its place:
All the bottles are stocked.
All the cutlery is polished.
All the limes are cut into wedges…
Dodie stands by the limes, tosses her knife into the air,
letting it fall and stick into the cutting board. Thunk.
Again. Thunk.
Like a ticking clock. Thunk.
Toto comes out of kitchen, and walks past the bar.
Thunk.
He walks up to the door, and stops – looking at it curiously.
He tips his head on one side, like a dog
Dodie, now intrigued, watches him.
He takes hold of the handle … and opens the door.
TOTO
Nope. Door still works.
He sticks his head outside, and looks around.
TOTO
(walking back to the bar)
Sign’s still there too.
INT. ANTIQUE SHOP, EVENING
The bell on the door again: A ruggedly handsome man (40s-50s, leather jacket, expensive haircut) enters. This is DONOVAN.
CHARLES ALEXANDER
(standing)
Good Evening Sir!
DONOVAN
Hey, how’s it going?
CHARLES ALEXANDER
May I help you find something, sir?
DONOVAN
(smiling)
No need – there she is!
He crosses to Mel, drapes an arm around around her shoulders and kisses her cheek.
DONOVAN
Hey Babe! Find anything you like?
Mel gives a non-committal gesture.
Ping. Donovan’s watch sounds a notification.
He checks it:
DONOVAN
Well shoot – looks like we’ll have to come back.
He reflexively puts his hand out to shake, like a well-trained politician.
DONOVAN
Thanks for your time.
CHARLES ALEXANDER
Not at all sir – Thank You. Here…
(Handing him a business card.)
DONOVAN
Good to meet you Charles!
Sunglasses back on, he opens the door for Mel,
and with a very symmetrical smile, he’s gone.
Charles follows them to the door – locks it, and turns the sign to ‘Closed.’
INT. ANTIQUE SHOP, BACK ROOM – MOMENTS LATER
Charles reaches into the crate, and removes a beautiful, twisted, bulbous shape: Golden and pearlescent, around the size of a pineapple.
He holds it up to the light – translucent, it almost glows…
Whoops! Shit!! He drops it…
It hits the floor – Crash – and shatters.