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JIGSAW RAINBOW

The first 18 pages of a completed feature length script, WGA registered...

JIGSAW RAINBOW

BLACK

Music muffled by a lively bar crowd is blaring from inside
nearby. Brief amplification as a door is heard flying open,
crunching footsteps stomp into the gravel.

A nearby car door is opened then slammed shut. Ignition
fires-up, tires peel, spitting asphalt. The car speeds away,
engine roaring, fading away.

INT. CAR - NIGHT

Dark. Silhouetted, the unidentifiable DRIVER speeds towards
an overpass. A green sign: NEWARK INTERNATIONAL AIRPORT NEXT
RIGHT hangs from the oncoming structure. He shoots through,
crossing a narrow bridge.

An off ramp leads to a haunting stretch of road. In the
distance a faint light becomes recognizable as a green
traffic light.

He reaches the middle of the intersection. SMASH!
Broadsided by an unseen vehicle. It's a loud, hard collision.

The thundering impact spins the car around, windows breaking,
metal bending, tires screeching. The Driver is tossed around
like a sock puppet. As the car skids an abrupt thud tosses
it once over, landing upside down. It teeters to a stop.

The chaos settles. Peace. Silence. No movement from the
Driver. He's sprawled out through the broken passenger's
side window. Upper body spread outside, legs mangled inside.

There's no way he survived.

CUT TO:

"FIVE YEARS BEFORE THE ACCIDENT"

INT. HOTEL BAR LOUNGE - NIGHT

It's early. Only a handful of PEOPLE scatter about. A LOCAL
BAND does their sound check while TOBEY CARPENTER, 19, good-
looking white boy, chills at the bar with his FATHER, 47.

TOBEY'S FATHER
You know we're playin every night
this week. Four hotels. You gonna come?

TOBEY
I dunno. Got homework.

TOBEY'S FATHER
Shiiit. Last time you did homework
was when I took your mother to the
opera.

TOBEY
You never took Mom to the opera.

TOBEY'S FATHER
Exactly.

They laugh. They drink. Father and son.

A THIRTYSOMETHING DOLL comes from behind Dad. She nibbles on
his ear, winks at Tobey.

TOBEY'S FATHER
Whoa. Tobey, have you met...

DOLL
...Alyssa.

TOBEY'S FATHER
Alyssa?

TOBEY
(laughs)
What's up?

She doesn't respond, working her way to Dad's mouth.

LATER

The lounge is standing room only. The band starts to play.
Tobey watches his old man on drums from the bar. It amuses him.

Then, a CUTE BLONDE, not much older than Tobey, orders a
drink beside him. She leans back, enjoys the music.

TOBEY
See the drummer? My old man.

CUTE BLONDE
Really? They're not bad.

Tobey's Father goes nuts on drums. The crowd eats it up.
Tobey and the Blonde drink and flirt.

LATER

Lost in the drunken crowd, the Cute Blonde and Tobey consume
one another. His hands slip under her jeans as she sucks on
his neck.

HOTEL HALLWAY

Tobey unlocks the door. She lifts up his shirt. They fumble
inside, locking the door behind them.
"DO NOT DISTURB"

INT. DIFFERENT BAR LOUNGE - DIFFERENT NIGHT

Dad's band is in the middle of the same song as Tobey clings
to a SLIM BRUNETTE. They back peddle from the dance floor
to the

RESTROOM

and crash into a stall, frenzied, as she unzips him. She
kicks the door shut but their motion is visible through the
cracks.

An up and down rhythm.

INT. DIFFERENT HOTEL - DIFFERENT NIGHT

Tobey lies shirtless on his back as a RED HEAD licks her way
down to his jeans. She unbuckles him as HER TWIN crawls onto
the bed and dives in.

INT. DIFFERENT HOTEL LOUNGE - DIFFERENT NIGHT

Dad's band finish's up their song. Strong applause as this
wraps it up. Tobey is seated at the bar, applauding, with a
VOLUPTUOUS LATINA on his lap.

LATER

The lounge has pretty much hollowed out as the Band Members
dismantle their instruments. Tobey's Flavor of the Evening has him by
the hand.

They reach the bar where they find ERIKA, Tobey's Mother, 36, tragic.

ERIKA
Oh look. It's my flesh and blood.
A true creation of unconditional
love.

TOBEY
What are you doin' here?

ERIKA
What? Can't I show support for my
Knight in shining armor?

TOBEY
Jesus you're drunk.

ERIKA
I gotta be somethin. Your
girlfriend's a model. Your
father's a rock star. And you're
a...whatever you are.

TOBEY
Whatever I am? Hey, you put me
here, babe. Half a me is you.

ERIKA
And I'll never forget that magical
evening you were conceived. My
God - Celestial Divinity.

Tobey grabs her arm, yanks her off the stool.

TOBEY
Alright. I'm taking you home.

He drags her outside. Her reluctance leads to an argument on
display through the window. A muted shouting match.

Then it gets serious. Something she says changes Tobey's
demeanor instantly. He is frozen. She stumbles away,
leaving her son devastated. He returns inside.

TOBEY
Anyone. Anyone know where...my
dad...?

SOME GUY
Keith Moon? I wouldn't bother
him. He's throwin up in the
bathroom.

Tobey heads into the bathroom. After a moment, he bolts out,
frantic. Out of breath.

MOMENTS LATER

Red and blue lights from outside flash throughout the lounge.
People huddle around as PARAMEDICS rush Tobey's Father out
of the men's room on a gurney. Tobey watches his father
convulse.

Sirens scream as...

EXT. URBAN STREET - DAY

...A COP CAR pulls over onto the sidewalk. The sirens stop
as an OFFICER emerges. TWO OTHER COPS escort DARNEL
ALECKSON, 19, tough black youth, out of his run-down
brownstone. The First Officer restrains Darnel's hysterical
GIRLFRIEND, crying uncontrollably, as she shouts a Darnel.

Their 3 year old SON stands by in wonder.

Darnel is placed in the back seat of one the cars. When
the car door shuts, it's loud, like...

INT. PRISON - NIGHT

...a prison gate slamming shut. Locked down.

A GUARD completes his rounds and signals for ANOTHER GUARD
to join him in the

MAINTENANCE ROOM

The Guard grabs a baggy of pills from his pocket, takes one
for himself, one for his pal.

DARNEL'S CELL

Darnel counts a wad of twenties, wincing in minor pain as his
CELL-MATE begins to tattoo his bare back. Both Guards
leisurely pass by with subtle acknowledgment.

CUT TO:

INT. PRISON - VISITATION - DAY

As Darnel enters he and a Guard make a brief, discreet,
unnoticed transaction.

Darnel has a seat at the booth. His arms now covered in
tattoos. He speaks on the phone with a WOMAN, late 40's,
only seen in the reflection of the window that divides them.

WOMAN
I don't enjoy being here. This place
makes me sick. And so do you.
So I'll make this brief. My daughter
is through with you. She packed
up and got on a plane.

He doesn't seem to care.

WOMAN
She left Devin with me. But there's
nothing more I can do. In and out of
the hospital. They say this is gonna
continue for the rest of his childhood.

Darnel begins to show a hint of sensitivity and interest,
which he tries to hide.

DARNEL
Hospital. What's wrong?

INT. AUTO GARAGE - NIGHT

A Japanese radio broadcast echoes throughout.

A BIG JAPANESE MAN, 50, enjoys sushi at a desk, as
another Japanese man, who will become to be known
as KENT, 19, expresses his dissatisfaction.

Japanese with subtitles:

KENT
I'll tell you what's wrong. I can't
do this anymore.

Big Man tosses a wad of cash at Kent.

Kent shakes his head.

KENT
It's not about money anymore.

Big Man stops eating.

KENT
I'll finish what I started. Then
that's it.

Big Man laughs.

EXT. NIGHT CLUB - LATER

An awning bares Japanese characters in neon.

A pristine Dodge Viper parks nearby. As the COCKY DRIVER
exits, his Bruno Magli's splash in a puddle. His ESCORT hops
out with no trouble. He takes her by the arm. They argue
in Japanese as they enter the club.

In the upside down reflection of the puddle Kent approaches
the driver's side. He's working.

Lock is picked. Ignition is hot-wired. Car is gone.

INT. GARAGE - LATER

The door opens up as the Viper pulls in, parks. Kent steps
out. Big Man catches him on his way out.

BIG MAN
When I come back in the morning,
I want to see you that you've earned
what I've given you.

He leaves. Kent surveys the garage. The empty garage.

EXT. GARAGE - SUNRISE

Big Man pulls up in his Lexus. He waits as the door opens.
His jaw drops to his lap.There's nowhere for him to
go. The garage is filled to capacity.

At least a dozen automobiles. Luxury cars. Sport cars. All
late models. Shiny and new.

INT. KENT'S APARTMENT - BEDROOM - MORNING

Kent flops into the room and into his bed. His girlfriend,
KIMIO, 19, is busy getting dressed, beginning her day as his
has just ended.

Japanese with subtitles:

KIMIO
I have to go to work.

She draws the blinds. Bright sunshine pours through the
window, blinding Kent. He pulls the covers over his face.

KENT
Goodnight.

EXT. BUS STOP - NIGHT

Kent steps off. Walking down the street he turns the corner,
stopping in his tracks.

Down the block unmarked cars surround the garage. He
observes as a Police tow-truck pulls out, towing the Viper.

He then casually turns around and walks away. Walking
quickly turns to running.

INT. KENT'S BEDROOM - LATER

Kent storms in. Frantic. He begins packing. Shit's flying
everywhere. This awakens Kimio.

KIMIO
what are you doing?

KENT
That's it. No more.

KIMIO
What?

KENT
It's over. I was going to quit
anyway. Can't do this anymore.

KIMIO
What are you talking about?

KENT
C' mon. Pack. We're leaving.

KIMIO
Where?

KENT
America. New Jersey.

KIMIO
To live?

KENT
It's beautiful. They call it the
Garden State.

KIMIO
The what?

KENT
The Garden State. It's
magnificent. One big beautiful
garden.

CUT TO:

Front page of THE STAR LEDGER, A CENTRAL NEW JERSEY
NEWSPAPER. The Headline: "CRIME & POLLUTION REACH
RECORD HIGH"

Pages turn to the CLASSIFIED ADS.

VOLUNTEER WANTED - COLLEGE LEVEL - INEXPERIENCED
OKAY - FOR TROUBLED YOUTH CENTER

INT. OFFICE - DAY

Humble. Nothing flashy.

Seated at the cluttered desk is Tobey, now 24. He has
changed. Clean, but unkept. He has completely outgrown
the pretty-boy image.

He sits opposite MARCUS LINCOLN, 50, but a kid at heart. He reads
over Tobey's resume, as Tobey is still and quiet.

LINCOLN
Televenture? You do telemarketing?

TOBEY
Yes. It sucks.

Lincoln laughs. But Tobey doesn't laugh with him.

LINCOLN
Sorry. I'm sorry.

Tobey nods. Lincoln continues to read.

LINCOLN
So you're taking Behavioral
Science?

TOBEY
Yeah.

LICOLN
How's that going?

Tobey breathes deep, reluctant to answer.

LINCOLN
Come on kid. Speak up.

TOBEY
Beavioral Science. I can't tell you
how funny that is. The class is a
parody of itself.

LINCOLN
Uh-huh...

TOBEY
My classmates are fulla shit. My
teacher's fulla shit. The whole
school. Hypocrites.

LINCOLN
Well...boot camp should always be
tougher than the war.

Tobey laughs to himself as he knows he's not being taken
serious.

LINCOLN
Behavioral Science. Hypocrites.
Exactly. You figured it out.

TOBEY
Huh?

LINCOLN
You have to change your perspective.
What happens? They give you an
assignment - You pick it apart - Figure
it out. Fuck that. The school's the
assignment. The school is what you pick
apart. Don't analyze the work - analyze
the source. That's a solid education.

Tobey's not buying this...

TOBEY
What are you a member of the board?

LINCOLN
Look. Everyone's fulla shit, kid.
Everyone. You. Me. We're all
fulla shit. But you're also chock
fulla angst. That's the problem.

TOBEY
I'm chock fulla pissed off.

LINCOLN
With school? Or the whole world?

TOBEY
Christ. You're just like my teacher. You
twist everything to make yourself
sound smart. Is this how you
help people?

LINCOLN
This is not a group session. This
is a job interview. This is how I
conduct a job interview.

Silence. Tobey considers this.

TOBEY
Then how do you help?

LINCOLN
How do I help? You wanna know the
secret recipe? The eleven herbs and
spices?

TOBEY
Yeah.

LINCOLN
Okay. First. You need a sense of humor.
Or you'll go nuts.

TOBEY
Mm hm.

Lincoln looks him right in the eye.

LINCOLN
But. Forgiveness. That's the key.
You must be able to forgive.

TOBEY
Forgive...

Silence as Tobey reflects.

BACK TO CLASSIFIED ADS - EMPLOYMENT

SUBSTANCE RESEARCH-EARN UP TP $2000-HEALTHY MALE
RECOVERING COCAINE ADDICTS NEEDED FOR ONE MONTH
ANTI-RELAPSE STUDY

INT. RESEARCH CENTER - APPLICANT'S ROOM - DAY

Wall to wall pale blue. Tiny. Institutuional.

Darnel, now 24, is looking better, well groomed and clean.
He tries to maintain dignity drudging through questions
that becon shame and grief.

He sits opposite the SOCIAL WORKER, an elder lady who spits
out each question with no compassion, checking her list after
each response.

She smokes despite the "NO SMOKING" sign posted right behind
her.

SOCIAL WORKER
Your parents?

DARNEL
My father died before I was born.
Have no idea where my mother is.

SOCIAL WORKER
Brothers and sisters?

DARNEL
All dead.

SOCIAL WORKER
Who's the emergency contact?

DARNEL
Uhh. My boss? Or my landlord.
Good luck getting a hold of him.

SOCIAL WORKER
So you have no other immediate
family?

DARNEL
I have my son.

SOCIAL WORKER
And how old is he?

DARNEL
Eight.

SOCIAL WORKER
The mother?

DARNEL
Don't know. Atlanta, maybe.

SOCIAL WORKER
Are you presently employed?

DARNEL
I deliver and install household
appliances.

SOCIAL WORKER
You ever been arrested?

DARNEL
Yes.

SOCIAL WORKER
For what?

DARNEL
I was smoking in a non-smoking
section.

She pauses.

SOCIAL WORKER
Excuse me?

DARNEL
Nothing. It was a joke.

She looks at him sharp. Then she rises, tears down the NO
SMOKING sign, and tosses it in the trash.

DARNEL
I'm, sorry. I didn't mean anything.
I'm just trying to keep a sense
of humor. It's all I got left.

SOCIAL WORKER
You're not funny.

DARNEL
You're right. Who am I to talk?
Drug addict ex con. What do I
know?

SOCIAL WORKER
Not a thing. Like everyone else
who comes in here. Waste of
human flesh. And now you want
us to feel sorry for you because
you can't get a real job. Cause
you're an ex con. With a criminal
record.

DARNEL
Lady, I'm just responding to your
ad. That's all. I'm clean and I
wanna stay clean.

She smiles. Then takes his application and places it in the
trash atop the crinkled NO SMOKING sign.

SOCIAL WORKER
I'm sorry. But the ad wasn't
serious. It was a joke. We were
joking. We're just trying to keep
a sense of humor.

BACK TO CLASSIFIED ADS - EMPLOYMENT

TELEMARKETING-SEEKING MOTIVATED INDIVIDUALS W/ GREAT ATTITUDE
& PHONE VOICE-ALL POSITIONS INCLUDING MANAGER-MAKE BIG $$$
CALL TELEVENTURE

INT. TELEVENTURE BREAKROOM - DAY

Messy. Dismal. And a Coke machine tagged OUT OF ORDER. A
xeroxed Bride's face, dazzling smile, is posted on the wall.

MAN'S VOICE (O.S.)
(sniffle)
My wife. She was somethin else
back then.

FFTTT! The blade of a tiny pocket knife darts into her eye.

MAN'S VOICE (O.S.)
We're getting a divorce.

The Man's hand pulls the blade out of her eye. Late 40's
with a case of the sniffles, BASTER walks back to the other
end of the room, preparing to throw again.

Kent, sitting nearby, looks much more conservative than
before. Glasses. Starched shirt. A new man, perhaps. But
his English needs work.

KENT
Oh. Sorry.

BASTER
So am I. But I'll tellya. This
is very therapeutic.

He launches the knife again. FFTTKK! Her other eye.

BASTER
(sniffle)
It could be whatever. Hitler...
some high school teacher gave you
an F...or...
(removes knife)
your wife. You give her
everything, then she turns around,
sucks your bank account dry, sucks
the Pool Cleaner dry. Either
way - she sucks!

Throws the knife extra hard on "she sucks". FFKK! Her mouth.
He removes the knife, shows it to Kent.

BASTER
See this...?

KENT
Yes?

BASTER
Check it out.

He folds the blade, secures it into his belt buckle. The
knife is unnoticeable.

BASTER
Nifty, huh? Leftovers from a
promotion we did.

KENT
Oh.

BASTER
Yep. We do all kinds a stupid
shit here. Right now we're givin
away tropical vacations. You
wanna go on vacation?

KENT
Ahh...OK.

BASTER
Yeah me too. But first you gotta
work. So here's the deal. You
know what "under the table" means?

KENT
Uhh...yes. It mean no tax.

BASTER
No tax. That's right. See that?

He flicks the knife in a new direction. FTSHH! A STATE
EMPLOYMENT REGULATIONS poster. The blade punctures MINIMUM
WAGE - $5.15.

BASTER
Pretty Shitty. After taxes it's
like four dollars. Actually three
seventy five.

KENT
OK.

BASTER
(sniffle)
But I'm gonna give you four twenty
five. Save you fifty cents. That
adds up after forty hours. Not
bad.

KENT
Yes. Thank you.

BASTER
But here's the problem. I can't
put you on the phones and I
certainly can't hire you as a
manager.

KENT
But ad say you look for manager...

BASTER
(laughs to himself)
Look...uhh...

He struggles with the name on the resume.

BASTER
I can't pronounce your name so I'm
just gonna call you Kent, cause
you look kinda like a Japanese
Clark Kent.

KENT
OK.

BASTER
So look. Kent. Let's be realistic.
I barely understand you myself.
But don't worry. I got somethin
perfect just for you...

He grabs the knife from the poster, throws it in the corner,
above a mop and bucket...

INT. TELEVENTURE CALL CENTER - MOMENTS LATER

...THUD!

Twenty PHONE REPS at their computer work stations whip their
heads around to the noise. They see Kent outside the window,
washing it with a sponge.

EXT. TELEVENTURE BUILDING

Soap suds splash against the soiled glass. Kent is thorough
as he watches everyone inside.

Taking drags from his cigarette, Baster looks a little chilly
as the wind picks up.

BASTER
When you're through here, hit the
bathrooms. Use the mop in the
breakroom.

Kent nods "yes" and notices something strange from Baster's nose.
From Kents look, Baster touches his nostril and sees
blood on his finger...

BASTER
Shit.

He flicks the cigarette, heads back inside. Kent continues
to clean, spilling some of the water on his shirt sleeves and
pants. It's cold. And the wind just makes it worse.
 
INT. CLASSROOM - DAY
On the blackboard, The TEACHER has written the class
assignment: HIROSHIMA - HAS JAPAN FORGIVEN AMERICA?
Tobey stares at FORGIVEN.

LATER

While Tobey is diligent taking notes, fellow BOY and GIRL
students flirt casually with each other behind him.

INT. TOBEY'S BEDROOM - DAY

Several books on HIROSHIMA are stacked on the drawer. Tobey
glares at them with contempt. Then, through his window, he
notices the MAILMAN dropping off the days mail.

INT. TOBEY'S KITCHEN - MOMENTS LATER

Tobey filters out what's his, tosses the rest on the table.

He holds a photograph of HIMSELF, YOUNGER, AS BEFORE, WITH
HIS ARMS AROUND TWO STUNNING YOUNG WOMEN WEARING NEXT
TO NOTHING.

The three of them look wasted, enjoying themselves, as this
photo was apparently taken during a party. Flipping the
photo, he sees that this is a makeshift postcard:

HEY SEXY,

HOW ARE YOU!? I HOPE YOU STILL LIVE AT THIS ADDRESS.
REMEMBER THIS NIGHT? IT WAS THE LAST TIME I SAW YOU.
I HAVE A NEW JOB. I LOVE IT!! I'M A REGIONAL
MANAGER FOR LINGERIE INC.! I'LL BE AT THE MALL
EVERYDAY FOR A WEEK STARTING NEXT MONDAY. COME
AND SAY HI!!

LOVE, SAMANTHA

Tobey is taken back. Numb. This is unpleasant.

TOBEY
(whispers to himself)
...god...

He sits at the table, looks at the photo again. Reaching for
the remaing mail to stack it neatly, he notices an envelope
addressed to his Mother. The return address reads: EDISON
MINI-STORAGE.

This disturbs him.

He opens it to find a bill for a locker. Monthly rent. In the name
of ERIKA CARPENTER..

EXT. TOBEY'S CAR - DAY

Entering the parking lot, EDISON MINI-STORAGE reflects across
the windshield.
 
While reading this screenplay I had no sense of place. Give your locations names

INT. DIFFERENT HOTEL - DIFFERENT NIGHT

Tobey lies shirtless on his back as a RED HEAD licks her way
down to his jeans. She unbuckles him as HER TWIN crawls onto
the bed and dives in.

INT. DIFFERENT HOTEL LOUNGE - DIFFERENT NIGHT

Dad's band finish's up their song. Strong applause as this
wraps it up. Tobey is seated at the bar, applauding, with a
VOLUPTUOUS LATINA on his lap.

Give those places names and change the time line. You need to think of other people when you write a screenplay. Think of mentally ill me and my incapasity to appreciate description like "Different Hotel -- Different night"

Lets try to make our screenplays exciting everyone. Think of watching someone read your screenplay. You have to write it for them to read. Your reader has to enjoy it and understand it or they will put down and pass on it after its first read.

There are ten dozen other places in your screenplay where you could use better description.
 
I had completely forgotten that I posted this here.

Thanks for the kind words. This is an old script - the very first full length that Ive ever written.

I cannot pm it to anyone because it is no longer on file. I only have a few pages saved on my computer..

Maybe I'll post more.
 
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