Stephen Metcalfe - Writer and Director

The Infield was written for Revolution Pictures in 2002.

THE INFIELD

FADE IN ON:
Sepia-toned, scratchy, old home movies. Of five little boys. Boyhood friends who did everything together.
The town and neighborhood they live in is the quintessential, small town America of the fifties and early sixties. A middle class neighborhood of small, neat houses and sparse but manicured lawns.
An innocent time of watching television together on the living room floor... and running through the lawn sprinkler... and big finned, gas guzzling convertibles that little boys loved to pretend to drive...
And sitting together, wide-eyed, watching the Wolfman at the movie theatre.
Of Roman games - where sticks are swords and pails and trashcan lids are armor.
Of sitting on the curb in front of Goodies Luncheonette, eating candy.
Of backyard sleep-overs - everyone piled into one small tent.
And sneaking up to a window to watch someone’s older sister undress - and running like hell when she sees you.
Of the community swimming pool - running and doing cannonballs.
And - most important - of baseball. Playing pepper in the backyard and pitching to one another and reading the sports page and watching the World Series on TV and playing stickball in the street.
And Little League; flannel uniforms too big for them, being coached by your Dad - fielding, hitting, running the bases. The stands full....
And finally, that time - that one unforgettable game - in the last inning there was a hit and a run scored and the bench cleared and everyone was shouting - we won - we won! And the five friends hugged one another, jumping up and down with everyone else - because up to this point, this was the happiest any of them had ever been in their entire lives. MUSIC AND CREDITS end as we -
DISSOLVE TO:

EXT. LOS ANGELES - EVENING
Establishing. Sun setting in the west.
EXT. BRENTWOOD - EVENING
Establishing. A secluded street of expensive but not overly ostentatious homes. A neighborhood. A BMW X-5 makes it’ s way up the street and turns into a driveway.
IN THE DRIVEWAY
The car comes to a halt. JOSH TAYLOR, 40’S, gets out. He is on his cell phone.
JOSH TAYLOR
...uh-huh... uh-huh... and that is what, first dollar gross? Uh-huh... I’m sure it was profitable - for him.
Boys, age 12, are shooting baskets in the driveway next door. Josh watches; enjoying the horseplay as -
JOSH
No, I’m not saying no. I’m saying if you expect that kind of back end, we need to reevaluate what’s up front.
Reaching into the car, he pulls out an expensive Tumi overnight bag.
JOSH (cont’d)
Jay - Jay, why are you raising your voice, am I raising my voice? - let’s not raise our voices, Jay. Well, then he should take those offers. That’ s fine, you do that, you get back to me.
(making a point with a - )
Thank you, Jay.
He closes his cell phone. And now, one of the boys next door, TOM, 10, looks up and sees him.
TOM
Hey, Dad!
JOSH
Hey, Tom! Hey, guys!
STEPHANOS
Sorry your movie tanked this weekend, Mr. Taylor!
JOSH
It didn’t tank, Stephanos, it came in third behind a chick flic and Jim Carrey! See ya, Dudes!
Josh turns for the house.
INT. KITCHEN - EVENING
Josh is pouring himself a large glass of Cabernet. His wife, NANCY, 40, is preparing dinner. Gourmet stuff; like everything, she does it effortlessly.
NANCY
Well, come on, tell me, how’d it go?
JOSH
It was... pretty great. I mean, the place is beautiful - Santa Barbara - and the teachers and the staff, well, they seemed terrific... attentive and smart. And they knew all about Max, what his interests were, math and science and... I was impressed.
NANCY
And there was no problem with him starting late?
JOSH
No, no, apparently kids are always starting second semester. And it’s about the kids, you know? That’s what’s so great about this place, it’ s about them and what they need.
NANCY
And it’s what he wants.
JOSH
Yeah. He wants it and... and I think it’s going to be good for him.
NANCY
What about you?
JOSH
Oh, hell, I’m a mess.
INT. DINING ROOM - EVENING
A lovely room. A beautiful meal. Josh, Tom and Nancy are at the table. A glance between Tom and Nancy.
NANCY
Maybe you should take a vacation.
JOSH
Hmm, what?
NANCY
I said maybe you should think about taking some time off. People do on occasion.
JOSH
I take time off.
TOM
Dad, you never take time off.
JOSH
Excuse me? Christmas? We all went to Hawaii.
NANCY
Where you read scripts and were on the phone all day.
JOSH
Yeah, but I did it on the beach.
Nancy and Tom glancing at one another again.
NANCY
Well, I think it’d be fun. To go some place new, do something completely different.
JOSH
Without you guys? I wouldn’t know where to go.
Nancy and Tom smile at one another.
INT. DINING ROOM - MOMENTS LATER
The magazine section of The Sunday Times is open to a photograph showing a group of grinning, middle aged men in baseball uniforms. The caption: BASEBALL CAMP - FANTASIES REALIZED. Josh looks up from his reading.
JOSH
Baseball camp? You’re not serious.
NANCY
Why not?
TOM
Yeah, Dad, you love baseball.
JOSH
To watch, yeah. I haven’t played in years.
NANCY
Bet you haven’t lost it.
JOSH
I already had. It was the Broadway Show League back in New York. West Side Story kicked our butts and believe me, they were not a bunch of he-men. Besides, this isn’ t something you do yourself and anybody who’d be interested is busy. So.
He puts the article aside. Goes back to his dinner. Nancy and Tom glancing at one another again.
NANCY
What about old friends?
JOSH
Hmm?
NANCY
You know, the ones you grew up with - Rat and Moose.
TOM
Archie... Jughead.
Josh gives him a look.
NANCY
They played baseball, didn’t they?
JOSH
Did they play baseball - you are talking about the infield that won the Long Island High School Championship of 1975. Neal caught, Mike played third, I was at short, Joey was second, Rich, first and -
(suddenly suspicious)
- what is going on here?
NANCY
All right. We did some checking. The Dodgers have a camp starting in Vero Beach in three weeks to kick off the start of spring training. Not only that, it’s a - what?
TOM
Hall of Fame Camp. Not just Dodgers, Dad, players from other teams.
NANCY
What do you think about calling up those old buddies of yours and offering to pay for it.
JOSH
They’d never let me.
NANCY
How do you know.
JOSH
Because I just do, because... you don’t call people up out of the blue after 20 years and invite them to baseball camp.
NANCY
I did./She did.
JOSH
...what.
NANCY
I called them.
JOSH
... what’d they say?
NANCY
Yes.
EXT. JOSH’S HOUSE - NIGHT
Establishing. Upstairs lights on.
JOSH (V.O.)
I can’t.
INT. BEDROOM - CONT.
Josh, in bed, reading a script. Nancy comes out of the bathroom, brushing her hair, getting ready for bed.
NANCY
Can’t or won’t.
JOSH
We have half a dozen films in production, another three or four set to go -
NANCY
Josh, the thing about being the boss is you can do what you want, when you want and you know it.
JOSH
Well, I can’t. How’d you find these guys anyway? I don’t have numbers any more, addresses...
NANCY
This from a man who once tracked down the president of Swaziland to see if his army could transport a film crew across a rain swollen river.
JOSH
Yeah, well, presidents are easy compared to old friends.
(then; casually:)
What are they doing?
NANCY
Thought you weren’t interested.
JOSH
I didn’t say I wasn’t interested, I said I was busy.
NANCY
Well, let’s see. Your friend Neal’s a general contractor out on Long Island.
JOSH
That figures. Neal never could have worked for anybody.
NANCY
Rich is vice-principal of a high school in Massapequa.
JOSH
The Moose? Ha! No way. The only reason he ever showed up for school was for lunch and fist fights. What else?
NANCY
Mike’s a fireman.
JOSH
(surprised)
Really. His Dad was too. He was killed in a fire in fourth grade. Really shook us up. What about Rat?
NANCY
Who?
JOSH
Joey - Joe Doshay.
NANCY
Oh. He was a little vague about what he’s been doing.
JOSH
Tell me about it. Where is he?
NANCY
Atlantic City, New Jersey.
JOSH
That could mean anything. And knowing Joe, probably does. Wives and kids?
NANCY
Neal, yes, with two, Rich, yes, three, Joe didn’t say and Mike is single.
JOSH
Mike was always the ladies man.
The look on Josh’s face; amused, intrigued, curious.
NANCY
Josh, whenever you talk about growing up, you know what you talk about? These guys. What are you waiting for, the first funeral?
She turns back into the bathroom. Leaving Josh lost in thought.
EXT. JOSH’S HOUSE - MIDDLE OF THE NIGHT
Establishing. The house is dark. A single light suddenly goes on inside the house; ground floor.
INT. HOUSE - CONT.
The hall light on behind him, Josh, in a terry robe, stands in the doorway looking into what is obviously a teenage boy’ s bedroom. Sports and movie posters on the wall. Books, CD’s and science projects on the shelves. Josh stands, lost in thought, staring at the empty bed. He turns away.
INT. HOME OFFICE - NIGHT
Josh enters, turns on a light and moves across the room to the far wall. He takes a small framed photograph down off the wall.
The photo is of the five boys we saw in the credits sequence, age 12. They are in baseball uniforms. Two kneeling, three standing; one of them holding a trophy. All grinning - not a care in the world.
Josh staring. The memories flooding back. He puts the photo back on the wall and turns away. As he does we see another framed photo. Tom and his older brother, Max. Beautiful kids - especially Max. The light goes off as Josh exits.
EXT. STUDIO LOT - DAY
Establishing.
INT. JOSH’S OFFICE RECEPTION - DAY
Josh is escorting a movie star (GWYNETH PALTROW would be nice) and her agents into the reception area of his outer office.
AGENT 1/AGENT 2
Josh, this has been so great./Yeah, let’s see if we can make this happen.
JOSH
We’ll see what we can do. Gwyneth...
GWYNETH PALTROW
(kissing his cheek)
Thanks, Josh.
JOSH
Bye.
He watches them exit. He turns back towards his office.
INT. JOSH’S OFFICE - DAY
An office befitting a studio head of production. Josh moves to his desk, sits. And now Josh picks up a slip of paper. He stares at it a moment. And now, finally, he reaches for the phone and dials.
EXT. NEAL LINDSEY’S HOUSE - DAY
A rural setting; Montauk on the eastern tip of Long Island. The house is small and weathered; The land surrounding it, pristine. It is February - desolate beauty this time of year.
An old pick-up is parked in the yard. On the side of the door - NEAL LINDSEY - PAINTING - CONTRACTING. The hood of the pick-up is up and a man is leaning down into the engine, muttering as he twists at some stubborn bolt with a wrench. A boy, J.T., 12, stands at his side, looking on. A girl, LISA, 5, sits nearby playing with a doll.
An attractive woman, 30’s, appears at the kitchen door.
MADDIE
Neal!
And the wrench slips and the man roars in pain. Waving wounded knuckles, he rises - and bangs his head on the hood of the truck.
NEAL
Goddamn it! Son of a - shit!
NEAL LINDSEY, 40’s, is lean and athletic. He shows that now by taking the wrench and throwing it across the yard where it bangs off the door of the barn/toolshed.
LISA
(giggling)
Mommy, Daddy’s being naughty again.
MADDIE
(reproachfully)
Neal.
(then:)
You have a phone call.
She turns back inside.
J.T.
Nice arm, Dad.
NEAL
Go pick up the wrench.
He starts in.
INT. NEAL’S HOUSE - DAY
Neal enters. In the kitchen, Maddie is at a computer going over house accounts.
NEAL
Is it a paint job?
MADDIE
They didn’t say.
NEAL
...we could use one.
He moves to the phone. Picks it up.
NEAL
Yeah, hello.
INTERCUT: INT. JOSH’S OFFICE - CONT.
JOSH
Okay, who was getting more at home, Dick Van Dyke or Danny Thomas in Make Room for Daddy?
NEAL
Dick, definitely.
JOSH
Who would you choose first in a pick up game, Walt Frazier or John Havlicek?
NEAL
Neither, I’d go with Bill Russell.
JOSH
Who threw popcorn at you while you were making out with Wendy Carson, back row, Loew’s Theatre, eighth grade.
NEAL
Couldn’t stand it, could you.
JOSH
Hey, Neal.
NEAL
Jesus Christ... Jesus H. Christ...
INT. HIGH SCHOOL - DAY
A crowded hallway. Some boys hanging out in front of the lavatory - look outs. But not paying enough attention because suddenly a large man in a dark suit swoops down like an avenging angel.
INT. LAVATORY - CONT.
Boys are gathered around a stall door. They run for their lives as RICHARD BOTHROYD barges in. Rich moves to the stall door; pulls it open - to see a young man dump a cellophane baggie of pills down the toilet. Time seems to momentarily stop as they stare at one another. Starting again as Rich rushes forward, grabs the boy and shoves an arm down the toilet after the evidence.
INT. HIGH SCHOOL ADMINISTRATIVE OFFICES - LATER
The boy sits on a bench, staring at the floor. In an adjoining office, Rich sits at his desk - suit jacket off, sleeve rolled up - staring out through the open doorway at the boy. Turning now, to stare down at framed photo on his desk - a woman, two teenage girls and that same boy - his son. Rich looking up again as an office secretary appears in his doorway.
SECRETARY
Mr. Bothroyd? Phone call on two.
RICH
Thanks, Darlene.
The woman glancing towards the boy. Rich ignoring the look on her face. He reaches for the phone.
RICH
This is Richard Bothroyd
(and then, smiling softly:)
...Josh?
EXT. QUEENS, N.Y. - DAY
Fire trucks are parked on the icy street. Firemen pour water into a blazing apartment building. Policemen keep spectators back. And suddenly a firemen comes out of the smoke filled doorway of the building, holding an unconscious woman in his arms. The spectators stare as he puts her down, pulls off his helmet and visor to reveal a handsome face and begins administering mouth to mouth. After a few tense moments, the woman coughs and responds. Para-medics come in to take over. MICHAEL CALLAHAN, 40’S, rises. The spectators begin to cheer. Mike, aware of them for the first time, waves modestly -
INT. FIRE STATION - LATER
A fire engine pulls into the station house. An off-duty fireman is on the phone. He looks up as Mike, face dirty with sweat and soot, jumps down off the truck.
FIREMAN
Mike! Phone call!
Surprised, Mike starts forward.
EXT. ATLANTIC CITY - DAY
The spires of Atlantic City in the distance. A gaudy sign hangs over a low, ugly building and an almost empty parking lot - THE COVER CLUB - MUSIC! - ENTERTAINMENT! -
INT. NIGHTCLUB - DAY
On a small stage, an overly made-up woman in her sixties sings. Her backup musicians are even older than she is. At the back of the room, JOE DOSHAY, a balding, goateed guy in a silk shirt, loud sports jacket, jeans and tinted aviators, smokes a cigarette and stares morosely at the stage. Turning, he makes his way to the bar.
AT THE BAR
The bartender, a bleached blonde woman, GERRY, 40, is stocking a cooler. She looks up as Joey sits; glances towards the stage. Joey sighs.
JOEY
I shoulda gone for the transvestites.
GERRY
Somebody called for you.
JOEY
Who?
GERRY
Not who you’re thinking. They left a number.
She slides a slip of paper to him. He squints at it through his cigarette smoke. He almost smiles.
JOEY
Well, I’ll be...
He reaches across the bar for the phone.
EXT. JOSH’S HOME - EVENING
Josh pulls into the driveway. Gets out; happily brings two large shopping bags into the house with him.
INT. JOSH’S KITCHEN - EVENING
Nancy looking up from some paperwork as Josh enters.
NANCY
What’s all this?
He’s carrying two large bags from THE SPORTS AUTHORITY.
JOSH
(like a sport)’s announcer)
You’ve got in touch with these boyhood friends of yours, Mr. Taylor! What are you going to do now?
Josh pulling a brand new baseball mitt out of the bag.
JOSH (cont’d)
I’m going to -
(not Disneyland but - )
- Dodgertown!
He grins. Nancy comes forward to hug him.