Things Beyond Midnight (35 page)

FADE IN:

INT. LIMP (moving) – NIGHT

A uniformed chauffeur, SIDNEY, is at the wheel—behind a rolled-up glass partition separating driver from passengers. In the back seat: DAVID ASHLAND and his attractive wife, LYDIA.

They ride in tight-faced, sullen silence. Then...

LYDIA

Congratulations. As usual, you managed to make a total fool of yourself.

ASHLAND

I was being funny. I’m always funny at parties.

LYDIA

Do you actually think it’s
funny
to pour a whisky sour all over the hostess... fight with her husband... get us thrown out of the party?

ASHLAND

(amused tone)

Spilling the drink was an accident. I was trying to climb up on the piano. To sing. Very funny song.

And he begins humming the melody.

LYDIA

(acidly)

Your songs are vulgar and disgusting.

ASHLAND

(suddenly angry)

I’ll tell you what’s vulgar and disgusting—the way you went after that guitar player.

LYDIA

I have to find affection somewhere. God knows
you
don’t supply it.

ASHLAND

You get what you give out in this world, sweetie. And you’re a mighty cold fish.

Another silence. Then she turns to him, looks him directly in the eye.

LYDIA

How can you expect anything
but
coldness?... This kind of life... it killed your first wife.

ASHLAND

Trish drank herself to death. You know that as well as I do.

(beat)

I can handle my booze. She couldn’t.

LYDIA

You pushed her over the edge, David! She kept drinking more all the time, just to keep from going crazy – the same way I do. For all the same reasons.

ASHLAND

(in a cutting tone)

Don’t give me that! You drink because you like it. Nobody puts a gun to your head.

More silence between them. She is beyond anger; she’s made a decision.

LYDIA

(calmly)

David, I’m going to divorce you.

ASHLAND

Fine. Okay, okay. I don’t need you. I never did.

LYDIA

No, all you need is another party, another vodka martini, another crowd to play the fool for.

ASHLAND

Look... if you want a divorce you’ve
got
it. With my blessing. But just shut up about what I need.

EXT LIMP – THE STREET – NIGHT

as it swings off the street onto a freeway ramp. Moves up the ramp and begins to enter the freeway through a swirl of ground fog.

There is the sudden, stabbing SOUND of a truck’s air-horn. The limo has veered into the path of a giant truck/trailer rig...

INT LIMO

as ASHLAND pounds at the glass partition with the heel of one hand.

ASHLAND

(shouting)

Sidney!
Look out!

We see SIDNEY wrench the wheel violently left, and the limo begins sliding on the damp asphalt.

EFFECT we are into a wall of fog, totally opaque. It forms a milk-white envelope around the limo.

ASHLAND

(to Lydia)

Can’t see a damn thing out there!

They suddenly emerge from the fog-wall into clear night air. SIDNEY rolls down the glass a few inches.

SIDNEY

Sorry about that, Mr. Ashland. My fault entirely.

ASHLAND nods, does not reply. He settles back into the seat as SIDNEY rolls the glass back up between them.

LYDIA

That was close.

EXT ASHLAND HOME – FULL SHOT – NIGHT

as the black limo rolls smoothly up the circular, pebbled drive to the front entrance. The place is more than a house; it’s a mansion.

ANGLE NEAR ENTRANCE

as SIDNEY stops the car, gets out to open the rear door for the ASHLANDS. (He is, by the way, a “proper” chauffeur, in snappy cap and uniform.)

ASHLAND steps out, but LYDIA does not.

ASHLAND

Aren’t you coming?

LYDIA

No—I’m going.

ASHLAND

Where?

LYDIA

Away from you. To my sister’s maybe. Or downtown. I’ll let you know. I just
don’t
feel like going inside that house with you tonight.

ASHLAND

What about the car?

LYDIA

Sidney will bring it back after he’s dropped me off.

ASHLAND

Suit yourself. I’m going in and have a drink.

LYDIA

(cynically)

Now where have I heard that line before?

And she leans forward to tap the glass. SIDNEY puts the car into gear.

THE SCENE – WIDE SHOT

ASHLAND stands in the entrance, watching the big car motor off into the darkness.

INT HOUSE – NIGHT

as he enters, CAMERA WITH HIM. He tosses aside his topcoat, walks in cold anger down a long hallway, to:

INT LIBRARY/DEN – FIRELIGHT

ASHLAND switches on a lamp, moves to the bar, pours himself a stiff shot.

ANGLE AT FIREPLACE

as he settles into a deep chair by the hearth, takes a long swallow from his glass. The flames play across his face as he nods to himself

ASHLAND

Have it your way, sweetie. Ole David here will make out just fine without you.

And he watches the fire-patterns as we

DISSOLVE TO:

CLOSE ON DOOR BUZZER (ASHLAND’S) — NIGHT

as a finger presses the buzzer.

PULL BACK TO:

EXT HOUSE – ON SIDNEY

as he rings once again. (The limo is parked on the driveway behind him in b.g.)

The door opens. ASHLAND, a half-filled glass in his hand, blinks out at his chauffeur.

ASHLAND

What is it, Sidney?

(noticing the limo)

Why isn’t the car in the garage?

SIDNEY

I thought you might wish to use it, sir.

ASHLAND

Use it!

(checks his wrist)

It’s after three in the morning!

SIDNEY removes a small white envelope from his uniform pocket.

SIDNEY

Mrs. Ashland wants you to join her.

(hands over envelope)

This is for you, sir.

CLOSE ON NOTE as ASHLAND opens the envelope, unfolds the single white sheet. It reads:

David—

Please forgive me for my wretched behavior tonight. I didn’t really mean what I said to you. Guess I just had too much to drink.

I’m sending Sidney back to fetch you to this marvelous party I discovered. You’ll adore it!

See you there, darling!

L.

WIDER ON SCENE

as ASHLAND looks up from the note, puzzled.

ASHLAND

Is she serious?

SIDNEY

Quite, sir. Mrs. Ashland asked me to drive you to the party.

ASHLAND

(with a what-the-hell smile)

Well... I’ve never turned down one yet.

DISSOLVE TO:

INT LIMO (moving) – NIGHT as the big car glides through the city Ashland has rolled down the glass.

ASHLAND

So, whose house are we headed for?... The Nalbins? Sterns? I hear the Kendricks are back from Monte Carlo... is it their place?

SIDNEY

No, sir. The party is downtown.

ASHLAND

(startled)

I don’t know anybody downtown!

SIDNEY

It’s a new apartment building...

That’s all I can tell you, sir.

ASHLAND

(with a grin)

You’re being very mysterious, Sidney.

SIDNEY

Mrs. Ashland wants to surprise you, sir. I’m just doing as she asked.

ASHLAND settles back with a contented sigh.

ASHLAND

All right... I’m always game for a surprise.

(beat)

Drive on, McDuff!

CUT TO:

EXT DOWNTOWN APARTMENT BUILDING – FULL – NIGHT

as the black limo pulls up to a tall, 20-story structure of shining glass. On the dark, fog-shrouded avenue, the building glows with a thousand lights from as many windows.

SIDNEY opens the door for ASHLAND, who emerges, looks up.

HIS POV – THE BUILDING

rising above him like an immense, bright-lit Christmas tree.

BACK TO SCENE

as ASHLAND shakes his head.

ASHLAND

Never saw
this
before!

SIDNEY

As I said, sir, it’s a new building.

ASHLAND

Their electric bill must be a killer!

(beat)

Where’s the party? What floor?

SIDNEY

It’s in 10-E.

(gets back into limo)

Have a good time, Mr. Ashland.

And the black car purrs away into the fog.

INT APT. BUILDING’S LOBBY – NIGHT

as ASHLAND enters the wide, ornate lobby. His footfalls are soundless against thick red carpet as he moves toward the elevator. He is quite alone in this part of the building; no doorman or guard.

AT ELEVATOR

He pushes the “Up” button, waits, humming to himself. (It is the same melody we heard him hum earlier in the limo—a “party” song.)

The doors click open and he enters the cage.

CUT TO:

INT 10th FLOOR HALLWAY

ASHLAND steps out of the elevator, CAMERA FOLLOWING. He walks along the hall, checking door numbers—finds the correct one.

CAMERA FEATURES “10-E”

ON ASHLAND AT DOOR

as he thumbs the buzzer. Through the door, we hear the SOUNDS of a party: the sea-tide of cocktail conversation, the tinkle of iced drinks, muted music from a stereo.

The door is opened by a jolly-faced FAT MAN.

CLOSE ON FAT MAN

as his sweating moon face breaks into a smile of welcome.

FAT MAN

Hi, fella! C’mon in! Join the party!

INT PARTY SUITE – FULL

as DAVID ASHLAND enters past the FAT MAN. The main party area is large and crowded with a variety of guests, young and old. It is decorated in a Chinese motif—ivory tables with serpent legs; figured screens; heavy drapes in stitched silver; lamps with jewel-eyed dragons looped at their base—and, in the room’s far end—an immense bronze gong suspended between a pair of demon-faced warriors.

ANGLE TIGHTENS

as a thin, garish, turkey-necked woman moves up to ASHLAND. She is the kind one finds in Florida resort hotels; heavy eyelashes, too much makeup.

THIN WOMAN

Hello, there! My, but...

(staring at him)

you look just like a man I saw once, outside the library when I was a child. He was sitting on a little stone bench I remember...

(beat)

... and he had his throat cut.

Disturbed, ASHLAND walks away from her, CAMERA FOLLOWING, to the bar along one side of the room.

ANGLE AT BAR

as he mixes himself a drink. An attractive, red-haired young lady, VIVIAN, turns to him from the bar.

VIVIAN

My name’s Viv. I drink.

ASHLAND

(eyes searching the crowd for Lydia)

That’s nice.

VIVIAN

No, it isn’t nice. Not at this lousy party it isn’t.

(shakes her head)

I keep drinking, but I can’t get smashed.

ASHLAND

I’m looking for my wife. Maybe you’ve met her. Lydia Ashland?

VIVIAN

Sorry—but I never help husbands find their wives.

(with a little finger wave)

Bye, bye!

And she whirls off into the crowd.

A fever-eyed man approaches him.

HEALTH MAN

If you wish to maintain your health, you can’t just stand there. Keep moving. Stay ahead of ‘em. Stand still and they’ll form their cloud.

The man is in constant motion as he talks, shifting from one foot to another, weaving his body like a boxer.

ASHLAND

Who will?

HEALTH MAN

The germs. They form clouds around people. If you don’t keep moving they gang up on you. Form a germ-cloud. Billions of ‘em. They can cause flu. Ever had the flu?

ASHLAND

Of course. Everybody gets the flu.

HEALTH MAN

(with a smirk)

That’s cuz people don’t keep moving.

(beat)

Better get trotting, fella!

And he’s gone.

TIGHT ON ASHLAND

as he reacts to something directly behind, touching him. He turns to confront:

SNAKE MAN

Dressed in black, with a live snake curling round his waist and neck. He smiles at ASHLAND.

SNAKE MAN

Her name’s “Baby”... She likes to rub her head against your neck.

Hope you’re not afraid of snakes.

ASHLAND

(obviously repelled)

I... uh... can’t say that I’m fond of them.

SNAKE MAN

She’s really very loving. Want to hold her?

ASHLAND

(moving off into the crowd)

No... no thanks.

CAMERA FOLLOWS HIM through the smoke-hazed room as he continues to look for LYDIA. Now, suddenly, he sees:

HIS POV

a figure, from the back, who looks like LYDIA (same dress and hair). The woman leaves the main party area and starts toward the kitchen.

ON ASHLAND

as he attempts to follow, calling to her.

ASHLAND

Lydia!

CUT TO:

INT KITCHEN

as ASHLAND enters quickly, INTO CAMERA. The room is full of partygoers – but no LYDIA.

ASHLAND approaches a bearded man near the door.

ASHLAND

My wife just came in here... tall, in a green dress. Did you see where she went?

WORM MAN

I no longer look at women. Can’t do anything with them, so why look at them?

(beat)

I’m a worm trainer.

ASHLAND is startled.

ASHLAND

Beg pardon?

WORM MAN

I train a worm to run a maze. Then I grind him up and feed him to a dumb, untrained worm. Know what happens?

(beat)

The dumb worm can run the maze. But only for 24 hours. Then he forgets. Unless I keep him on a trained-worm diet. I defy you to tell me that isn’t fascinating!

ASHLAND

(nods)

It’s fascinating – but right now I’m looking for my wife.

WORM MAN

(with a chuckle)

And I’m looking for a way out of this kitchen!