Stephen Metcalfe - Writer & Director

For some reason people didn't seem to think a public relations firm was all that exciting. I suppose if I hadn't written this, I would too.

PUBLIC AFFAIRS

EXT. THE HOUSE - SOUTHAMPTON, N.Y. - NIGHT
A mansion. What the people in South Hampton might call a “summer cottage”. The sound of music playing. Fountains gurgling. Lights blazing. The buzz of people. An elegant party is in progress inside.
A couple come out of the house. Cross a patio and down the steps towards the drive way. Moving quickly. High on good spirits - alcoholic and otherwise. He is around 40; she is in her 20’s and beautiful.
THE MAN
Wait, wait, wait... come here.
She smiles seductively.
THE GIRL
What if someone sees us?
THE MAN
I’ll chance it.
They kiss. The man’s hands starting to roam. The girl accommodating.
THE MAN
Let’s get out of here.
And taking her hand, he leads her around the house.
DOWN IN THE DRIVE -
Expensive cars line the drive. The couple approach. The man stopping in front of a black Mercedes - realizing:
THE MAN
Oh, for - I’m blocked in!
The girl moving on - grinning over her shoulder at him.
THE GIRL
I’m not.
Moving to a little Toyota that’s parked at the driveway gated entrance. The man grinning - quickly following.
THE MAN
Keys!
The girl tosses him her car keys and they get in. The little car starts with a roar and they peel away.
EXT. THE ROAD - NIGHT
The area is rural; potato fields; houses back behind the trees. The road is winding. The car moves fast.
IN THE CAR -
Music blares from the speakers.
THE GIRL
Where we going?
THE MAN
Where you staying?
THE GIRL
20 minutes from here.
THE MAN
We’re going to the beach.
THE GIRL
Impatient little boy...
The man grins.
THE CAR
squeals as it goes around a curve. Motors on.
EXT. THE BEACH ROAD - NIGHT
Headlights approach out of the dark. The car turns on to the beach road. And accelerates on. Light of beach houses back in the dunes.
IN THE CAR -
The girl has a vial in hand. She takes a quick snort.
THE GIRL
You want some?
THE MAN
Wha - are you crazy? Do you know what would happen if I was stopped with that in the car?
THE GIRL
(teasing)
And what would happen if you were stopped with me in the car?
THE MAN
You I can explain, that I can’t. Get rid of it, now.
THE GIRL
(putting it back in her purse.)
Aw, but I like it.
(turning towards him)
I like you.
And with a giggle she goes down on him.
THE MAN
...oh, yeah...
THE CAR
hurtles down the beach road; two headlights flying through the dark.
ON THE BEACH ROAD -
A work area - road repair. Heavy equipment in the right hand lane. Some small blinking horses, the only warning. Bridge over an inlet beyond. Narrowed to one lane.
THE CAR -
approaches going far too fast.
IN THE CAR
The man hardly paying attention - not even sure what’s he seeing as it approaches - blinking lights - orange cones - - and then it’s too late.
THE MAN
- Jesus!
He hits the brake! Yanks the wheel.
INT./EXT. THE CAR -
It skids, goes through the barricades and fishtails, almost rolling - it bounces off a payloader, then careens off the concrete abutment of the bridge -
- and goes airborne -
- and lands with a splash in the dark, swirling water of the inlet. In moments, it’s under water, gone.
A long, silent moment... and suddenly -
A HEAD
breaks the water. The man. He gasps, choking. Not a good swimmer, he struggles to the rocky edge of the inlet; manages to pull himself out. On hand and knees, he vomits water. He turns, gasping. The lights of the car still glow beneath the swirling surface of the water.
THE MAN
Janie... Janie!?... get out of there! You stupid bitch... Get out!
He starts to go back in - and stops himself; afraid. And then the man screams. With rage. Turning, he clambers up the rocks to the road.
ON THE ROAD -
He pulls himself to his feet. He looks around, panting. There are lights in the distance - beach houses. He looks back at the water - the lights of the car are gone now. He turns and slowly begins to walk.
EXT. THE BRIDGE - EARLY MORNING
Police cars are parked. A fire engine. An ambulance. A crane has it’s rig out over the water. A crowd of people are gathered.
A SUV pulls to a stop and a small, grey haired man, 50’s, get out of the back. He moves quickly forward. Past the bystanders - towards the police line.
A COP
Can’t go any further.
Behind the police line, another younger man, FRANK BACON, calls out.
BACON
Wait! He’s okay, let him through!
The small man - his name is HENRY LYLE - moves forward. To join the younger man.
HENRY
Where is he?
BACON
This way.
THE MAN FROM THE PARTY
is sitting on the sea wall, a blanket him, staring at something. Henry and Bacon approach. Henry puts an arm out, then moves forward alone. And then:
HENRY
Hello, Paul...
PAUL COE doesn’t even look up. He seems almost amused.
PAUL COE
...I wondered who’d they send.
HENRY
Are you all right?
Paul Coe nods. And now we see what he’s been staring at - the crane is in the process of raising the wrecked car out of the water.
HENRY
Who is she?
PAUL COE
A family friend.
HENRY
Does your wife know her?
PAUL COE
She’s her secretary.
(and then:)
I was giving her a lift home.
HENRY
In her car?
Coe looks at him for the first time.
PAUL COE
(succinctly)
She wasn’t feeling well. I was going to drop her off and then go back to the party. She was going to pick her up car in the morning.
HENRY
You know what this looks like, don’t you.
PAUL COE
(with quiet fury)
It’s not. Now handle it.
HENRY
We’ll do our best.
The car is now on the bridge and a fireman opens the door - water rushes out, followed by the blonde girl’s body.
HENRY
Your fly’s undone.
HENRY turns away.
ON THE POLICE LINE
Henry walks back to the Mercedes. He passes some on-lookers.
ON LOOKER
Hey, what happened back there?
HENRY
Nothing, not a thing.
(muttering; to himself)
The next Senator from New York just drove a car off a bridge, that’s all.
Henry keeps going.
*
ACT I
INT. HOTEL DINING ROOM - MORNING
Tables are full of very well dressed movers and shakers talking business. TOM SHAW, 30’s, sitting by himself at a table, could be one of these well dressed businessmen. A waiter puts his breakfast down in front of him. Tom nods his thanks. He glances at his watch; is about to start eating when he sees his sister, MARY SHAW,, 30’s, approach; briefcase, case files and books stacked on the luggage carrier trailing behind her. Her hair is still wet from the shower. She has lipstick on her teeth. She’s loud.
MARY
All right, so I’m late. Sue me, I had to walk.
People stare. Tom is keenly aware of it.
TOM
They don’t have cabs in your part of town?
MARY
No, they’re all in your part of town taking assholes to Wall Street.
She falls into the chair opposite him.
MARY
Is that decaf?
TOM
No.
MARY
Thank God.
She slurps his coffee. Reaches for his toast.
MARY
Talked to Mom?
TOM
Yeah.
MARY
Ritchie?
TOM
Not if I can help it.
MARY
Me either. He always wants something from you.
TOM
It’s a family characteristic.
(off her scowl)
You want pleasantries, Sis, be on time.
MARY
I have a client. Benjy Lassiter. Three weeks ago, he walks into a grocery up in the Bronx and robs the owner at gun point. He walks out, right into the arms of the police.
TOM
He’s lucky they didn’t shoot him.
MARY
Maybe he’s white and they hesitated.
TOM
Is he?
MARY
No. He’s black, 15 years old, he is borderline retarded, it was a fake gun and he is now facing 30 years in an adult prison.
She picks up a second piece of toast, reaches for jelly.
MARY
This is what they’re doing now, Tommy. The jails are too crowded, so they’re filling them with smaller prisoners.
TOM
(resigned)
Why is this always where I come in?
MARY
Because you know people. Tommy, talk to somebody. The mayor’s office owes you favors, the governor - you can get these people on the phone, I can’t.
TOM
The Mayor’s office is tough on crime, and the governor hates New York City because it didn’t vote for him.
MARY
Call Clooney then.
TOM
I can’t.
MARY
Your congressman boss, talk to him.
TOM
Ex-congressman. And what do I say? My sister’s got this client, can you get him off the hook?
MARY
This client, yes.
TOM
It doesn’t work like that.
A moment.
MARY
You know in some states there’s no age minimum for prosecution as an adult? Kids are just tossed in the slam with hardened criminals.
A moment.
MARY
This is what you do, Tommy. What you should be doing.
TOM
Get some info to me, I’ll look at it.
She smiles, grabs a file from her luggage carrier, puts it in front of Tom.
TOM
Don’t expect much.
MARY
I do. I expect everything of you.
She rises.
MARY
Enjoy your oatmeal.
Off she goes. He sits a moment. Nods at someone he knows.
TOM
(to a passing waiter)
May I have a fresh cup of coffee, please.
He’s about to start reading, when something catches his eye. And now, he rises - he moves quickly to an adjacent table and he grabs the newspaper out of a patrons hand.
PATRON
Hey, what do you think -
TOM
Just a minute.
PATRON
But -
TOM
Shut... up.
Paul Coe stares back at Tom from the front page of the newspaper.
EXT. AVE OF AMERICA’S - MORNING
Establishing. Pedestrians, traffic, limos. A modern office building.
HENRY (O.C.)
Does everyone have coffee, tea, the beverage of their choice? All right, we’re not all here but lets get started.
INT. A CONFERENCE ROOM - DAY
Poster on the wall showing various public affairs campaigns - for businesses, for corporately financed public service projects, for government related, public relations campaigns. Monogrammed China coffee service is a on a wood side table. Pastries are on a plate. HENRY LYLE is 50; expensively dressed, greying but still possessed of the humor and energy that are his trademarks. With him is Frank Bacon, looking nervous and out of place. They are at a conference table.
HENRY
Folks, this is Frank Bacon. Mr. Bacon is associated with the Republican National Committee here in New York; the RNC, as I’m sure you all know, being one of my favorite charities....
Grins, titters of laughter from the people at the table.
HENRY
Frank, you know my partner, Leon...
BACON
Not personally but...
LEON DEMATEO, 60’s, is big, good natured and athletic looking with a lot of Bronx still in his voice.
LEON
Frank. Nice suit.
HENRY
Isabelle Giametti is our corporate strategies director.
ISABELLE GIAMETTI is 30, severely attractive, and all business.
HENRY
Herb Stein, our director of strategic communications.
HERB STEIN, 40’s, is casually dressed. Doesn’t matter - he’d be a mess even in a suit.
HENRY
Nina Schmidt is in charge of grassroots positioning and research -
NINA SCHMIDT, 40’s, dresses in Laura Ashley garb. Hair held up with pencils. Shew has a lovely warm, smile. Her assistant, TERRY TYLER, 30’s and gay, is stylishly dressed in black.
HENRY
- and her associate, Terry Tyler, is the head of our in-house fashion police...
More titters. Grins.
HENRY (cont’d)
And the gentleman at the end of the table - feverishly doodling -
MITCHELL HEYWOOD is a black man, 30’s, dressed like Wall Street player in white shirt, tie and suspenders. Needless to say, he stops doodling.
HENRY
- is Mitchell Heywood our resident policy wonk.
MITCHELL
“Wonk”?
HENRY
All right, expert. Folks, I’m going to keep this short and sweet. Like me. On Saturday night, the RNC’s golden boy for the New York Senate seat in 04, Paul Coe, was at a fund-raiser on Long Island. On the way home, he drove his car off a bridge.
Different reactions from people at the table. And then:
ISABELLE
...is he all right?
HENRY
Yes. But the woman he was with is not. She drowned.
NINA
And she was?
HENRY
His wife’s secretary.
TERRY
Matronly? Fifties?
HENRY
Twenty six and attractive.
LEON
It’s Chapaquitoc all over again.
MITCHELL
Mmm, only this time it’s a Republican.
HENRY
That’s why we’re here this morning. We’re going to make sure it’s not. Folks, Lyle-DeMateo has a new client. Paul Coe.
Surprise and uncertainty.
MITCHELL
Since when do we handle political candidates?
HENRY
As of right now.
HERB
Since when do we handle fascists?
HENRY
We don’t and let’s keep the jokes to ourselves.
HERB
...who’s joking?
(to Bacon)
No offense.
Bacon smiles uncertainly - he’s in over his head and he knows it.
HENRY
What we know so far is this.
(reading from notes)
The car went into the water, Paul Coe managed to get out. The girl, Jane Monroe, did not. Coe tried to get back down to her. With the tide changing, he couldn’t. He went for help. The lights were out in first two houses he came to. The third house was a quarter of about a mile down the road. Coe called the police from there. He then returned to the accident site. He refused paramedics attempts to treat him. He insisted on staying until Miss Monroe’s body had been recovered. He then went to a local hospital where he submitted to treatment and where he is now currently under observation.
Henry tosses down his notes.
HENRY
Don’t everyone jump in all at once.
LEON
All right. Who’d he call first?
HENRY
The police. Then his people back at the fund-raiser.
HERB
(muttering)
... at least he got that right...
TERRY
Do we know how fast he was going?
HENRY
It was a road construction zone, there were no skids marks. Either he was doing the speed limit and never saw the barricade or he was going so fast, he didn’t have time to brake.
HERB
Obviously we go with the former.
HENRY
Obviously.
NINA
Henry? He’d been at a party... had he been drinking?
HENRY
Our take is that he’d been drinking but he wasn’t drunk.
NINA
MADD’s not going to like that.
HENRY
We’ll deal with that.
MITCHELL
Did the police administer a sobriety test?
BACON
Uh - I can answer that. Mr. Coe insisted. He was under the limit.
NINA
Well, that’s something.
HENRY
However... several hours had passed between the accident and when he took the test.
HERB
If it comes up, our take on that should be that it was the police’s fault, not his.
HENRY
Our take is that it was no one’s fault. And it will come up.

MITCHELL
How much time actually passed before he returned to the scene of the accident?
HENRY
(knowing the answer)
Mr. Bacon?
BACON
Uh... he’s not sure.
They stare at him.
BACON
He was in shock... as you can imagine.
No one looks too impressed.
LEON
I’d get a doctor to confirm it.
HENRY
Already on it.
TERRY
Also his swimming ability - or the lack there of.
LEON
And let’s hope he wasn’t on Varsity.
HENRY
(nodding; making a note)
What else.
NINA
I’d like a more information on the inlet - depth, current, visibility - that sort of thing.
HERB
“It was a dark and stormy night...”
HENRY
I’ll say it again, no jokes, please.
HERB
Sorry.
HENRY
We’ll call the Coast Guard. What else?
LEON
Frank, did he call anyone after he called you?
BACON
I’m sorry, I don’t know.
LEON
We should find out. The press will.
Henry makes a note.
HENRY
Anything else?
ISABELLE
Yes.
(to Bacon)
What about his wife.
BACON
... what about her?
ISABELLE
It’s going to be a lot easier convincing the public that Paul Coe wasn’t having an affair this girl, if his wife believes it.
BACON
...why wouldn’t she?
HERB
(muttering)
Is naivety a requirement at the RNC or do they cultivate it?
HENRY
(glaring at Herb)
For now... we will assume she does. Folks, I know you have a lot of things on your desks at the moment. This one’s the priority. We have a week at most, until the girl’s funeral. By then, we need to be ready to take our man public.