'Scott'Mature

The second draft of my script for my short film which I'm making as part of a unit for university. Feedback is greatly appreciated, even if you didn't like it!

SC. 1 INT. ARTHURS BEDROOM/KITCHEN             DAY 1 [0800]

THE ALARM CLOCK GOES OFF FOR A SECOND BUT IS TURNED OFF ALMOST IMMEDIATELY BY ARTHUR SCOTT. HE SITS UP AND RUBS HIS HAND THROUGH HIS HAIR AS HE YAWNS, SHAKES HIS HEAD AND GETS UP.

HE WALKS INTO THE KITCHEN WITH A TOWEL ON HIS SHOULDER, FILLING A COFFEE MACHINE WITH WATER AND COFFEE POWDER AND TURNING IT ON BEFORE GOING INTO THE BATHROOM TO SHOWER.

WHEN THE COFFEE HAS FINISHED ARTHUR HAS EMERGED FROM THE SHOWER IN A TOWEL AND POURS HIMSELF A MUG OF COFFEE. HE DRINKS IT AS HE LOADS UP A NEWSPAPER ON HIS TABLET, IDLY FLICKING THROUGH IT. AFTER A MOMENT HE PUTS SOME BREAD INTO A TOASTER AND WALKS BACK TO THE BEDROOM.

WHEN THE TOAST POPS HE COMES OUT IN A CRISP, CLEAN FIGURE CUTTING SUIT. HE EATS THE TOAST WITH JAM AND MAKES A SECOND MUG COFFEE.

HE HEADS TOWARDS THE DOOR AND PUTS THE MUG ONTO A COUNTER AND OPENS UP A SMALL-ISH BOX NEAR THE DOOR, TAKING OUT A HANDGUN, SILENCER AND LOADED MAGAZINE, PUTTING EACH INTO A DIFFERENT POCKET OF HIS JACKET. HE FINISHES THE COFFEE AND HEADS OUT THE DOOR.

CUT TO:

SC. 2 EXT./INT. STREET/PUB                     DAY 1 [0830]

ARTHUR WALKS DOWN A STREET AND WALKS INTO A PUB.

WHEN HE ENTERS HE LOOKS ABOUT FOR A SECOND BEFORE SPOTTING WHO HE IS LOOKING FOR. AS HE WALKS OVER HE SMILES AS RED LOOKS UP FROM HIS FRIED BREAKFAST AND SPOTS HIM COMING OVER.

ARTHUR SITS DOWN OPPOSITE RED AND SHAKES HIS HAND, BUT SUBTLY WIPES HIS HAND ON A NAPKIN TO GET RID OF THE GREASE

RED

Arthur Scott, it's been a while. Good to see you've remained as punctual as ever.

ARTHUR SCOTT

I aim to please, Red.

RED

You know you're 10 minutes late, right?

ARTHUR SCOTT

Making you doubly pleased I even turned up at all, am I right?

RED

... You've got me there, Scott. So, I assume since you've come you're still in the same business as before?

ARTHUR SCOTT

Stealing from people and killing people? Yes, yes I am.

RED

Excellent, I have a small job for you here. It shouldn't be much trouble for a man of such skill, such as yourself.

ARTHUR SCOTT

Your flattery will get you nowhere Red, but if you could notice my new suit it would get you everywhere.

 

RED

Is that a new suit?

ARTHUR SCOTT

Oh this old thing? Just something I threw together this morning. Enough of this silly flirting, what’s the job then?

RED

As I said, nothing fancy. There's a suitcase I would very much like to procure and it's currently in the possession of this gentleman.

RED OPENS UP A LAPTOP THAT’S ON THE TABLE FACING ARTHUR. IT REVEALS A FACEBOOK PAGE ON ROBERT WILSON. RED ALSO HANDS ARTHUR A PAGE THAT WAS RESTING ON THE KEYPAD WITH A PICTURE OF THE CASE WITH ROBERT.

ARTHUR SCOTT

[RAISES EYEBROW] Facebook, Red? Aren't you supposed to hand me a sealed envelope with a background search of the guy?

RED

I was going to but our dear friend has done that for us all by himself.

ARTHUR SCOTT

[DRAGGING THE LAPTOP CLOSER] I can't see the next Bond movie showing Bond stalking people on Facebook. So what's the deal with this guy? He seems awfully boring to me.

RED

That's pretty much it. Just a plain ol' boring chap who got himself into debt with the wrong people and is doing a favour.

ARTHUR SCOTT

So just take the case and leave him be? Maybe rough him up a bit?

 

RED

Oh no, kill him. I want him dead.

ARTHUR SCOTT

You're the boss, Red.

RED

Indeed I am, if you could get this done today I'd be very grateful. I'll wait for you here

RED CLOSES THE LAPTOP AND SLIDES IT BACK TO HIS SIDE OF THE TABLE.

RED

And don't cause a scene, I'd like this to be nice and quiet.

ARTHUR STANDS UP AND SHAKES REDS HAND, READY TO LEAVE.

ARTHUR SCOTT

My middle name is 'subtle’, Red you can count on me. Catch you later.

RED

Bye Scott, remember; quick and easy. Keep it quiet.

CUT TO:

SC. 3 INT.EXT. OFFICE/LIFT/LOBBY/HALL/STREET   DAY 1 [0900]

ARTHUR ENTERS AN OFFICE BUILDING, PASSING THROUGH THE LOBBY AS IF HE WORKS THERE. HE GIVES THE RECEPTIONIST A SMILE AND SHE SMILES BACK AT HIM.

ARTHUR GETS INTO THE LIFT AND HITS THE BUTTON FOR ONE OF THE UPPER FLOORS. AS THE LIFT CLOSES HE REACHES INTO HIS INDIVIDUAL JACKET POCKETS, ASSEMBLING HIS HANDGUN WITH EASY EFFICIENCY. HE THEN POCKETS THE WHOLE GUN JUST AS THE LIFT DOORS OPEN.

HE WALKS DOWN THE HALLWAY, NODDING POLITELY TO ALL WHO PASS HIM AND HE STEPS INTO An OFFICE, CLOSING THE DOOR BEHIND HIM. HE SITS BEHIND THE DESK AND LOOKS ABOUT THE OFFICE BEFORE RUMMAGING THROUGH THE DRAWERS, PUTTING HIS FEET UP AND READING SOME DOCUMENTS.

A FEW MOMENTS PASS AND ROBERT WILSON ENTERS THE OFFICE, HOLDING A METAL SUITCASE. HE STOPS DEAD IN HIS TRACKS AS HE SEE'S ARTHUR. ARTHUR LOOKS UP AT HIM AND SMILES, MUCH TO ROBERTS CONFUSION.

ARTHUR SCOTT

Ah, you must be Robert Wilson?

ROBERT WILSON

Um, yeah, yeah I am and who might you be?

ARTHUR SCOTT

Oh, how rude of me, I'm Arthur, Arthur Scott. I've come here to get something from you.

THIS OBVIOUSLY CONCERNS ROBERT AS HE LIFTS THE SUITCASE A LITTLE HIGHER, HOLDING ONTO IT WITH TWO HANDS NOW.

ROBERT WILSON

Are.. Are you here for the case...?

ARTHUR SCOTT

I am indeed Bobbie, can I call you Bob? Now, this is going to be very easy and I'm going to leave here without any trouble, alright?

ROBERT WILSON

But, but I can't, no no you aren't allowed t-to have it.

ROBERT TAKES A STEP BACKWARDS, GRIPPING THE CASE BUT ARTHUR BRINGS UP HIS HAND WITH THE GUN IN IT, POINTING IT AT ROBERT WITH AN APOLOGETIC LOOK. ROBERT FREEZES, EYING THE GUN WITH PANIC IN HIS EYES.

ARTHUR SCOTT

This doesn't have to go this way Bobbie.

ROBERT WILSON

You d-don't work for The Boss, do you?

ARTHUR SCOTT

The Boss? That case belongs to- oh fantastic, this is exactly what I need.

ROBERT WILSON

[RELAXES] So, you're not going to k-kill me then?

ARTHUR SCOTT

[LAUGHS] Oh no, no, I am going to kill you Bobbie and take the suitcase from you. I hope you understand it's nothing against you, you seem like a nice guy really-

THE PHONE ON THE DESK RINGS, DISTRACTING ARTHUR AS HE LOOKS DOWN IT WITH A FROWN AND HANGS IT UP. WHEN HE LOOKS BACK UP ROBERT IS GONE AND IS SPRINTING DOWN THE HALL TOWARDS THE ELEVATOR.

ARTHUR SCOTT

Bollocks.

ARTHUR LEAPS OVER THE DESK AND LEAVES THE OFFICE, POCKETING HIS GUN AND WALKING QUICKLY DOWN AFTER ROBERT.

THE LIFT OPENS AND ROBERT GETS IN WITH ANOTHER WOMAN. HE MASHES THE GROUND FLOOR BUTTON, LOOKING UP AND DOWN BETWEEN ARTHUR AND THE BUTTON.

ROBERT WILSON

Come on, come on, please please hurry up!

THE DOORS OF THE LIFT FINALLY CLOSE AND ARTHUR SWEARS TO HIMSELF AND SPEEDS UP TO A JOG, TRYING NOT TO ATTRACT ATTENTION TO HIMSELF. WHEN HE ENTERS THE STAIRS HE BOLTS DOWN THEM AS FAST AS HE CAN.

HE ARRIVES TO THE BOTTOM AND GOES TO THE LIFT ONLY TO SEE IT CLOSE. HE LOOKS ABOUT AND SPOTS THE WOMAN WHO WAS IN THE LIFT WITH ROBERT. HE JOGS TO HER AND GENTLY GRABS HER ARM.

ARTHUR SCOTT

Sorry miss, but where did Bobbie go?

WOMAN

Wilson? He went out that way [POINTS]

ARTHUR SCOTT

Thank you.

ARTHUR HEADS OFF BUT STOPS AFTER A SECOND, TURNS BACK AND SHAKES THE WOMANS HAND, SMILING.

ARTHUR SCOTT

I'm Arthur by the way

BEFORE SHE CAN REPLY ARTHUR IS OFF. HE LEAVES THE BUILDING AND QUICKLY TURNS A CORNER TO LOOK ABOUT. HE SPOTS ROBERT JOGGING QUICKLY UP THE STREET AND BEGINS TO TAKE OUT HIS GUN BUT SPOTS TWO POLICEMEN, FROWNS AND POCKETS THE GUN AND STRIDES UP THE STREET AFTER ROBERT.

ROBERT GLANCES BEHIND HIM TO SEE ARTHUR AND TAKES OUT HIS PHONE, SPEED-DIALLING A NUMBER AS HE WALKS.

THE BOSS (V.O.)

What do you want? What’s wrong?

ROBERT WILSON

I'm b-being chased, he wants the suitcase, what do I do? I'm trying to-

THE BOSS

What? Who's chasing you?

ROBERT WILSON

He said his name is Scott, Andrew or something, I think h-he want to-

THE BOSS

Arthur Scott? Fuck, this is not good, why is he here? Listen Wilson, keep going. Go to the Quay and you'll be picked up. Go. [HANGS UP]

ROBERT LOOKS AT HIS PHONE AND PUTS IT BACK IN HIS POCKET AS HE WALKS INTO A DOG-LEGGED CORNER IN THE STREET. AS HE TURNS THE FIRST BEND TWO LARGE THUGS ARE STANDING THERE. HE STOPS BUT ONE OF THEM GESTURES HIM FORWARD.

THUG #1

Keeping going Wilson, you'll be picked up by the tower.

ROBERT DUMBLY NODS AND CONTINUES ON HIS WAY, GOING IN BETWEEN THE TWO THUGS.

A MOMENT LATER, ARTHUR COMES AROUND THE CORNER AND STOPS WHEN HE NOTICES THE THUGS AND CASUALLY WALKS TOWARDS THEM AS IF THEY'RE OLD FRIENDS

ARTHUR SCOTT

Ah, good morning gentlemen, if you don't mind I do have to-

THUG #1

Shut up, Scott. You're not going anywhere.

THUG #2

You're upsetting the livestock and The Boss doesn't appreciate it.

ARTHUR SCOTT

Me? No no you've got it all wrong, Bobbie and I are ol' Uni mates, we just-

THUG #1

I won't tell you again Scott, shut up.

ARTHUR SCOTT

What if we were long lost brothers? No?

THE TWO THUGS MARCH TOWARDS ARTHUR, CRACKING THEIR KNUCKLES AND NECKS GETTING READY TO FIGHT.

THUG #2

Try not to scream, Scott. We don't want to attract any attention here.

ARTHUR SCOTT

I'll do my best.

THUG #1 GOES TO GRAB ARTHUR BY THE SHOULDER AND PUNCH HIM IN THE FACE BUT ARTHUR SPINS AROUND, GRABBING HIS ARM MID-SPIN AND SWIPES THE THUG OUT FROM UNDER HIS FEET WITH A LOW-SWEEPING KICK, PUNCHING HIM HARD IN THE JAW AS HE HITS THE GROUND, LEAVING HIM A GROANING HEAP ON THE FLOOR.

THUG #2 THEN GRABS ARTHUR BY BOTH SHOULDERS AND FLINGS HIM INTO A WALL WITH ARTHUR CRUMPLING TO THE GROUND AS HE HITS IT, BUT HE QUICKLY SCRAMBLES BACK TO HIS FEET BUT THE THUG GRABS HIM BY HIS JACKET, SLAMMING HIS BACK INTO THE WALL. AS HE GOES TO PUNCH ARTHUR IN THE STOMACH, ARTHUR HOOKS HIS FOOT TO THE BACK OF THE THUGS KNEE, PULLING TO BRING THE LEG DOWN AND THE THUG ENDS UP SMASHING HIS FIST ON THE WALL.

AS THE THUG IS ON ONE KNEE AND YELLING AT HIS BLOODY BROKEN FIST, ARTHUR CRACKS HIM IN THE SKULL WITH HIS ELBOW, KNOCKING HIM UNCONSCIOUS.

ARTHUR DUSTS HIMSELF DOWN AND NONCHALANTLY PULLS OUT HIS GUN AND SHOOTS BOTH OF THE THUGS AND CONTINUES ON THE PATH ROBERT TOOK.

AS ARTHUR WALKS OUT OF THE CONCEALED STREET OUT INTO AN OPEN ROAD-SIDE. HE LOOKS LEFT AND RIGHT BUT ROBERT IS NOWHERE TO BE SEEN.

ARTHUR SCOTT

Well this is just fantastic.

CUT TO:

SC.4 EXT. BASE OF SPINNAKER TOWER                 DAY 1 [1200]

ROBERT IS SITTING ON A BENCH BY SPINNAKER. HE HAS THE SUITCASE RESTING ON HIS LAP, TAPPING HIS FINGERS ON IT NERVOUSLY, CONSTANTLY LOOKING AROUND HIM AND CHECKING HIS WATCH.

A MAN IN A LEATHER JACKET APPROACHES HIM AND CATCHES ROBERTS EYE.

JACKET GUY

You Robert Wilson, mate?

ROBERT WILSON

[NODS DUMBLY AND STANDS UP]

JACKET GUY

Right, come me with me, The Boss wants you to-

HE SUDDENLY SHUDDERS VIOLENTLY AND A RED SPOT SPREADS ACROSS HIS CHEST AS HE SILENTLY STUMBLES FOR A FEW SECONDS BEFORE FALLING FORWARD BUT IS CAUGHT AS ARTHUR APPEARS, GUIDING THE BODY TO SIT ON THE GROUND, SITTING AGAINST THE RAILING.

ROBERT GOES TO RUN BUT ARTHUR FLICKS OUT HIS GUN AND SHAKES HIS HEAD, GESTURING TO THE BENCH.

ARTHUR SCOTT

Bobbie, please, we don't need to do it this way, let's have a talk, alright?

ROBERT WILSON

[SILENTLY SITS DOWN, SUITCASE ON LAP]

ARTHUR PUTS THE GUN IN HIS JACKET POCKET AND SITS DOWN BESIDE ROBERT, STRAIGHTENING HIS JACKET A LITTLE. THEY SPEND A SECOND SILENTLY SITTING THERE, LOOKING OUT INTO THE HARBOUR.

ARTHUR CHECKS HIS WATCH, SHRUGS A LITTLE AND LOOKS TO ROBERT.

ARTHUR SCOTT

OK Bobbie, what happened? 

ROBERT WILSON

I.. I don't know w-what you-

ARTHUR SCOTT

This whole mess, how'd you get tied up in this? You seem like a nice guy.

ROBERT WILSON

[OPEN AND CLOSES HIS MOUTH DUMBFOUNDEDLY]

ARTHUR SCOTT

Bad game of cards? Piss somebody off? Put a horse’s head in someone’s bed?

ROBERT WILSON

Does that happen!?

ARTHUR SCOTT

Oh lord no, that's Hollywood stuff, nobody sleeps through someone putting a horse head in their bed, the smell is something shocking, let me tell you

ROBERT WILSON

[LOOKS HORRIFIED]

ARTHUR SCOTT

We're getting off topic, I'm gonna guess... money? Borrow something you couldn't pay back?

ROBERT WILSON

Y-yeah, I just made some bad... I asked for more time, I could get him the money but he said all I have to do is hold onto this and he'd...

ARTHUR SCOTT

He'd call it all off, everyone's a winner? Now, if I know The Boss, I'll hazard a guess it's not just you who's in trouble here?

ROBERT WILSON

My-my wife and daughter... he said... I just can't give you the case, I need it to keep them safe, they didn't have anything to do in this, you know?

ARTHUR SCOTT

I understand, just one simple job and I come barging in telling you to give me one thing saving your family and I'll kill you as well. I'm sorry Robert.

ROBERT WILSON

I just... I just don't know what to do

ARTHUR SCOTT

Hey, how about this, I'll help you out. I owe nothing to The Boss, right? 

ROBERT WILSON

Really? So you'd-

ARTHUR SCOTT

Just hear me out first of all. Go look out to the water. No really, properly look at it and tell me what you see.

LOOKING CONFUSED BUT EGGED ON BY ARTHUR WHO JUST SMILES AND GESTURES TOWARDS THE RAILING, HE GETS UP HOLDING ONTO THE SUITCASE AND STANDS AT THE RAILING, RESTING ONE HAND ON TOP.

HE LOOKS OUT THE BUSY HARBOUR, FULL OF LOTS OF DIFFERENT BOATS AND FERRIES. HE SPENDS A MINUTE OR SO LOOKING OUT BEFORE FEELING A LOT CALMER BUT STILL A LITTLE CONFUSED.

HE STARTS TO TURN AROUND TO FACE ARTHUR

ROBERT WILSON

What am I supposed to-

HE CONVULSES VIOLENTLY TWICE AS ARTHUR SHOOTS HIM IN THE CHEST. HE SLUMPS BACK AGAINST THE RAILING, THE SUITCASE DROPPING TO THE FLOOR AND HE SLIDES DOWN TO SIT AGAINST THE BARRIER, HIS HEAD DROOPING FORWARD.

ARTHUR SLOWLY AND DELIBERATELY DISASSEMBLES HIS GUN, PUTTING EACH PIECE INTO A DIFFERENT POCKET. HE THEN GETS UP AND WALKS TOWARDS ROBERT INDIFFERENTLY.

HE PAUSES TO LOOK AT HIM FOR A SECOND AND GOES DOWN ONE KNEE TO FIX HIS JACKET SO THAT IT COVERS THE BULLET WOUNDS. HE STANDS UP AND PICKS UP THE SUITCASE AND WALKS OFF, CASUALLY CHECKING HIS WATCH AS HE GOES.

CUT TO:

SC.5 INT./EXT. PUB/STREET                      DAY 1 [1300]

ARTHUR WALKS THROUGH THE PUB ENTRANCE AND HEADS TOWARDS WHERE RED WAS SITTING LAST TIME, AS HE IS STILL IN THE SAME SEAT.

RED SPOTS ARTHUR AS HE APPROACHES AND SMILES AT HIM, GESTURING TO THE SEAT IN FRONT OF HIM

RED

Hello again Scott, I trust it all went according to plan

ARTHUR SCOTT

[SETTING THE CASE ON THE TABLE AS HE SITS] More or less, he made a bit of a run but it all went down smooth enough.

RED

He didn't cause to much trouble I hope?

ARTHUR SCOTT

He was tied in with The Boss, had to deal with some minions of his.

RED

Ah yes, probably should have told you that but, hey, you're here now and you've brought me my prize.

RED TAKES THE SUITCASE AND DRAGS IT TOWARDS HIM AND HE FLICKS OPEN THE CLASPS AND OPEN UP THE CASE, BLOCKING ARTHURS VIEW. HE NODS TO HIMSELF, CLOSES IT AND SETS IT DOWN BESIDE HIM.

ARTHUR SCOTT

I don't suppose I get to see what exactly it is you wanted in there?

RED

Now now, Scott, you know that's not how the business rolls.

ARTHUR SCOTT

[SHRUGS] You know I had to ask, Red.

RED

Of course, of course, but what you do get is something for your troubles

RED TAKES OUT AN IPHONE AND FIDDLES WITH IT FOR A SECOND OR TWO BEFORE PUTTING IT AWAY AGAIN.

A MOMENT LATER, A WAITRESS COMES ALONG AND HANDS RED A BROWN ENVELOPE. AS SHE LOOKS OVER AT ARTHUR, HE SMILES DEVASTATINGLY AT HER, MAKING HER SMILE SHYLY BEFORE SHE WALKS AWAY.

RED SIMPLY LOOKS AT ARTHUR AND SHAKES HIS HEAD.

RED

I swear, Scott, that damned smile of yours is why you'll never meet my wife.

ARTHUR SCOTT

That's a shame, I imagine any wife of yours to be a truly remarkable woman.

RED

Oh she is, but anyway, here's your money, all accounted for, unless you'd like me to count it for you?

ARTHUR SCOTT

[TAKING THE ENVELOPE] No no, I trust you old friend. Thank you very much, is there anything else I can do for you?

RED

Nothing at all Scott, you've been very helpful.

ARTHUR SCOTT

Then I'll be off, thanks for the job Red, tell your friends and family about me

RED

Will do Scott, look after yourself.

ARTHUR GETS UP AND WALKS OUT OF THE PUB AND ONTO THE STREET. HE LOOKS ABOUT HIMSELF, CHECKS HIS WATCH AND WALKS OFF.

CUT TO:

SC.6 EXT. END CREDITS/FLORISTS                 DAY 1 [1330]

STILL SCENE OF THE OUTSIDE OF A FLORIST AS PEOPLE WALK BY. THE CREDITS ARE ROLLING ON SCREEN.

ARTHUR WALKS TO THE FLORIST AND WALKS INSIDE. HE IS INSIDE FOR A FEW MOMENTS WHEN HE COMES OUT WITH A BOUQUET OF FLOWERS AND CONTINUES ON WALKING. 

END

 

The End

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