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Project Kokoro
Scenes 6-10
Home | PROJECT KOKORO SCRIPT INTRO | Scenes 1-5 | Scenes 6-10 | Scenes 11-15 | Scenes 16-20 | Scenes 21-25 | Scenes 26-27 | Scenes 28-end | Film Frenzy

Scenes 6-10

SCENE VI 2:00 Color

(begins pulling into the driveway, Alan slams driver’s door. Beth leaves, says goodbye, they embrace. She then leaves. Alan then opens the backseat door and grabs Michael by the shoulders. He will drag Michael to the front door, open it, and drag Michael upstairs. He will then haul Michael onto the bed, flipping the light off. Alan will then retreat downstairs, muttering “waste of my damn time.” He will relax on the couch, reading a newspaper, possibly putting on his reading glasses. The phone will then ring. Alan will pick it up. Remember, it will be at night, after the bar scene.)

 

ALAN

 

(exhausted) Hello?

 

MYSTERIOUS VOICE (V/O)

 

Is this Mister Wilkes?

 

ALAN

 

No—

 

 

VOICE OVER

 

I would just like to say I am postponing the detonation until Friday at noon, Chicago time, of course. (Alan glances at his calendar, which notes the day is Monday) Tell Mister Wilkes this is a generous gift, as it will give him more time—

 

ALAN

 

Who the hell is this? What do you want?

 

VOICE OVER

 

Oh, I’m sorry sir, this is a telephone conversation?

 

ALAN: (looking alarmed) Is this a joke?

 

VOICE OVER

 

(unconvincingly) What? I mean, yes, ha ha, I fooled you.

 

(hangs up) (Alan looks down at the Caller I.D., which reads “Unknown Caller.” He stares into space, feeling afraid.)

 

SCENE V 1:00 Color

(Michael is seen walking down the street, into a local deli. The scene is “fast forwarded” and Michael comes out with a turkey sub, which he eats. A gunshot is heard. No person is around, and Michael quickly runs. A man, aka me, will shoot again, and realize he is out of ammo.)

 

MAN

 

Son of a bitch!

 

SCENE VII 2:00 Color

 

TUESDAY

 

(phone rings, Alan answers, for it is at his apartment)

 

MICHAEL

 

Hey, Alan, what’s bothering you?

 

ALAN

 

Michael, I am still angry about that very embarrassing occurrence yesterday evening. My girlfriend is mad at me, really, it is not the right time to call.

 

MICHAEL

 

Oh, come on, Alan, I wasn’t that—

 

ALAN

 

Oh, yes you were, you were as drunk as I’ve ever seen you! You drag me into that bar, then get yourself drunk while I’m sitting there, trying to have a conversation with Beth.

 

MICHAEL

 

Alan, just relax, I was simply indulging myself excessively with alcohol.

 

ALAN

 

Oh shut up! You think I care about your—

 

MICHAEL

 

All right, Alan, I’m sorry. Is there anything else you wanted to tell me?

 

ALAN

 

Well-

 

MICHAEL

 

Yes?

 

ALAN

 

I got a phone call yesterday evening. While you were out cold.

 

MICHAEL

 

And?

 

ALAN

 

Well—see, it sounded like a prank call, but I’m not so—

 

MICHAEL

 

Ignore it. Whatever it was, prank calls only try to get your attention. Probably some kid fooling around—

 

ALAN

 

This was no kid, Michael.

 

MICHAEL

 

(mysteriously) So who the hell was this person?

 

ALAN

 

I’ve no idea! It sounded like a grown man.

 

MICHAEL

 

Still, you should ignore it. If anything the caller wants to get you afraid, freak you out.

 

ALAN

 

(unconvinced) All right, I’ll take your word for it.

 

SCENE VIII 2:01

WEDNESDAY

(in the house of Lucas Moreno)

LUCAS

 

Marcus! Get down here right now, young man.

(scene switches to a small closet, where Sydney is hurrily preparing for an obviously busy day. It almost immediately switches back)

 

LUCAS

 

MARCUS!

 

SYDNEY

 

Lucas, dear, if you want Marcus to listen, why don’t you go up the stairs and then admonish him?

 

LUCAS

 

Sydney! I’d—(stumbling for words) I thought you left!

 

 

SYDNEY

 

No, Lucas, I have been inside this household for the morning. Besides, why would I leave my husband and son?

 

LUCAS

 

Well—

 

SYDNEY

 

As I have suggested, Lucas, why don’t you go upstairs and try to coax Marcus?

 

LUCAS

 

All right. (offstage) Marcus!

(Sydney hurries to a different closet which contains Lucas’ coat, where she opens the pocket, dropping a pen inside. Lucas walks downstairs)

 

LUCAS

 

What are you doing?

 

SYDNEY

 

I was—

 

LUCAS

 

(walks over to her) What are you doing with my coat, Sydney?

 

SYDNEY

 

Oh, nothing! I was rearranging the coats to make them look nicer.

(Lucas looks suspicious)

LUCAS

 

Oh—I see. Well, then, better be off to work.

 

SYDNEY

 

Remember to put your coat on.

(takes the coat out as he puts his arms into it)

 

LUCAS

 

I’ll see you back here around six.

(symbolically, they do not kiss)

 

SYDNEY

 

Good-bye.

 

(immediately after door shuts, Sydney flips out her cell phone and dials a number)

SYDNEY: Come on, come on, dammit! Oh, yes, hello. Why aren’t we ready yet? What is obstructing us from getting this thing ready? When will we have it done by? (pause) Friday?! You mean it simply can’t be done earlier? The only reason I have not divorced my husband is this. If you need just a minute more than this, I—I will not be happy. (hangs up, looking distraught) (Marcus enters) What do you want?

 

MARCUS

 

Mom, can you drive me to school today?

 

SYDNEY

 

No, honey, just walk.

 

MARCUS

 

But—

 

SYDNEY

 

Honey, can’t you see I am busy?

 

 

MARCUS

 

(forlornly) Okay. I’ll walk.

SCENE IX Color

(Once again, a dark room, a single flame can be seen with a wood reflection. No faces can be seen, voices are hushed)

TRUSSEL

 

Give it to me!

 

WILKES

 

Your weapon—and—your project. Completed.

 

TRUSSEL

 

What?! You’ve completed it?

 

WILKES

 

Gladly.

 

TRUSSEL

 

Mr. Wilkes, you are impressing me, now we only have to wait three more days. Shall I grant you a reward this time? Let’s see…several thousand dollars generally does the trick.

 

WILKES

 

But sir, our currency will be useless once the public has gone mad!

 

TRUSSEL

 

No, Mr. Wilkes, you are quite wrong. They will, in fact, become more greedy, and therefore kill for money. However, you must realize that they have no idea we will ultimately control most of their actions.

 

WILKES: This plan is flawless.

 

TRUSSEL

 

(unconcerned) Yes.

 

WILKES

 

It is utterly brilliant, sir.

 

TRUSSEL

 

Thank you. We shall ultimately dominate the globe. We shall select only the elite to toil for us as slave labor. The others we will kill. Kill, I say! You were correct in saying that this project is flawless, Mr. Wilkes. This world is rampant with overpopulation. This project will alter just that. This project has been my dream since I was a little boy. This, Mr. Wilkes, is Project Kokoro.

 

SCENE X Color

THURSDAY

The house of Alan and Michael.

Alan will shuffle through the daily mail and find a mysterious letter, which reads, “Mr. Aaron Wilkes” There is no postal address, no street or city addresses or ZIP code, nothing, except this name. Alan will be very ambivalent at this moment—he will not be sure whether to throw the letter in the fire or keep it for later reference. Alan eventually strolls over to the blazing fire and tosses it in. This will be a difficult scene to direct.

  

 

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