dead letters pilot by martha...
TRANSCRIPT
DEAD LETTERS
Pilot
by
Martha Williamson
Revised First Draft March 16, 2013
Muse Entertainment818-358-3615
"Dead Letters"
Pilot
ACT ONE
1 EXT. DENVER - PRESENT DAY (2013)- DAY
We see the sights of Denver - the mountains, the skyline,the lake in Washington Park...
2 EXT. DENVER SUBURB - DAY
We DRIVE down a pleasant local shopping area, passingboutiques, a U.S. Mail truck is parked nearby. A MAIL CARRIERsteps out to deliver a box to a florist shop. WE PASS thetruck and continue down the street, stopping at a Starbuck's. In front of the Starbuck's, on the corner, stands one of thelast remaining U.S. Mailboxes in the area.
3 EXT. STARBUCK'S - DAY
Along the window, facing towards the street, is a ROW OFTWENTY-SOMETHINGS sitting at a long counter staring - notout the window - but at their laptops and iPads.
THE CAMERA PUSHES IN THROUGH THE WINDOW
We HEAR a MALE VOICE.
MALE VOICE (V.O.)Look at them. Guzzling their pumpkin-flavored coffee, tapping away ontheir laptops...
4 INT. STARBUCK'S - DAY
The CAMERA PANS the Twenty-Somethings along the counter.
MALE VOICE (V.O.)...Cruising Craigslist for a jobthat will pay them to sit on theirfat modems in some other place andtap on someone else's computer toearn money for more pumpkin flavoredcoffee. It's the Great Circle ofLife reduced to a laptop.
ANGLE ON: A PAIR OF WOMEN'S HOT BLACK HIGH HEEL SLINGS
One TOE taps impatiently. In front and behind, other pairsof shoes wait in line to give their orders at the frontcounter.
A bored BARISTA calls out an order.
2.
STARBUCKS EMPLOYEE (O.S.)Vente vanilla mocha macchiato witha double shot of mocha.
ANGLE ON: THE "DELIVERY" COUNTER
A CUSTOMER steps forward to retrieve his coffee.
MALE VOICE (V.O.)You have to ask yourself why anyonewould choose these bleak occupationsover...
ANGLE ON THE LINE OF SHOES, THE HEELS AND PAIR OF MEN'SLOAFERS AHEAD OF THEM IN LINE.
PANNING UP we meet OLIVER O'TOOLE, 40's, good-looking in anintense sort of way, intelligent, unorthodox but kind. Dressed in slacks and jacket, Oliver appraises the jean andT-shirt set that sips coffee at tables around him.
OLIVER (V.O.)...a calling.
Behind Oliver, we discover the owner of the high heels isSHANE, a confident, carelessly beautiful woman in her earlythirties, wearing sunglasses and a cool leather jacket. Shesearches for something on her Smart Phone.
BARISTANext!
Oliver steps up to order.
OLIVERI'd like a cup of coffee.
BARISTATall? Grande? Venti?
OLIVERI'm sorry, I'm not following...
BARISTA(sighs)
Small, medium, or large?
OLIVERMedium. Medium coffee.
BARISTARight. Which coffee?
OLIVERWhat do you recommend?
3.
BARISTAEverything's on the wall. It's upto you.
OLIVERThis is my first visit. Frankly,I wouldn't be here at all if mycoffee machine hadn't been illegallyappropriated after an unfortunatewar of words with my superior. Well, I wouldn't call her mysuperior, let's say supervisor, awoman utterly lacking in....
A frustrated Shane interrupts.
SHANEExcuse me, can I just give him myorder while you're reminisci...?
OLIVER....Excuse me?
SHANE....I'll even pay for your coffeeif you'll just let me go ahead ofyou.
Oliver turns to see Shane behind him.
OLIVERBe my guest.
SHANEI'm sorry. I'm just late and it'smy first day at my new job.
OLIVERAt least you're employed...
SHANE(to Barista)
Grande skinny vanilla latte.
OLIVER...instead of sitting over therestaring into cyberspace.
SHANE(still ordering)
And he'll have a venti blondeAmericano.
OLIVERWhat's that?
4.
SHANEBlack coffee. Most of those guysactually ARE employed. They'rejust working from home.Theoretically.
OLIVERAnd someone pays them? Theoretically?
BARISTAGrande skinny vanilla latte and a Venti Americano.
SHANE(grabs her coffee)
Gotta go.(she drops a ten onthe counter)
Keep the change.
She rushes off. Oliver watches her leave.
5 EXT. STREET - DAY - MOMENTS LATER
Oliver strolls down the street carrying his cup of coffee.He walks like a man who enjoys being alive, appreciating thethings around him: the blue sky, the flowers in the planterson the sidewalk, the mailbox ahead on the corner.
OLIVER (V.O.)There it is, the last bastion ofcivility in a world of megabytesand downloads, a beacon of hope tothose who still put their faith inthe power of a piece of paper anda forty-six cent stamp.
A woman walks up to the mailbox. Oliver gallantly holds theshoot open for her. She smiles and drops her letter insideand walks off. He looks at the mailbox fondly as he sipshis coffee.
OLIVER (V.O.) (CONT'D)Behind every envelope standthousands of dedicated heroes whostill fight the good fight throughrain and snow and fiscal cliffs todeliver every note, every card,every letter. And I am one ofthem, the few, the proud, thepostal. I work for you, whoeveryou are. Or, whoever...you were.
5.
ANGLE ON THE MAILBOX
DISSOLVE TO:
6 EXT. DUPLEX APARTMENT - DAY
CLOSE ON two small hanging mailboxes marked with an A or B between a blue door and a brown door.
ANGLE ON THE STREET
A taxicab pulls up to the curb in front of the brick duplex in the middle class neighborhood.
ANGLE ON PASSENGER SEAT
KELLY, a beautiful young woman in her mid-twenties, looks atthe blue door and smiles sadly.
KELLY'S POV
The house number above the blue door: 1020.
Kelly writes the address on a STAMPED PINK ENVELOPE.
KELLYOkay, thanks. Just one more stopnow before the station, please.
7 EXT. DENVER STREET CORNER - DAY
The impatient taxi DRIVER HONKS from the taxicab.
DRIVERLady, are you coming or not?
Kelly stands in front of a mailbox on a street corner. Sheholds the pink envelope in one hand and the open slot withthe other hand, debating whether or not to mail the letter. She puts it in, takes it out, thinks it over.
DRIVER (CONT'D)Decide already!
KELLYI'm sorry, I just...
DRIVER"When in doubt, don't." My motheralways said that and she was nodummy.
That seems to make some sense to Kelly. She stuffs the letterin her pocket, walks back to the cab and gets in. They driveoff.
6.
8 EXT. UNION STATION - DAY - MINUTES LATER
The taxi pulls up to the curb. Our Taxi Driver, now somewhatkinder and gentler, gets out and retrieves Kelly's luggageas she exits the taxi. He gives her a genuine, sympatheticsmile.
DRIVERHere you go, kid.
KELLYThanks.
She starts to pay him. The Driver stops her.
DRIVERNo. You keep it.
KELLYBut...
DRIVERHonest. I hear a lot of storiescome outta that backseat, but yoursis a doozie.
KELLYI haven't told anybody. I can'tbelieve I told you.
DRIVERHey, comes with the territory. I'm kinda like a therapist withsix cylinders!
She laughs and reaches for her luggage.
DRIVER (CONT'D)Don't worry, honey. You're doingthe right thing. And mail thatletter. Life is short.
Something he says resonates with her. She smiles as ifrecalling a memory.
KELLYI know.
(hands him the envelope)I'm so late. Could you....?
DRIVERNo problem. All part of theservice. Take care of yourself,kid.
7.
She smiles and walks into the station. The Taxi Driver turnsback to the taxi about to close the trunk.
MALE TRAVELER (O.S.)Taxi! Hey!
He stops and turns to see an arriving COUPLE approach withluggage.
MALE TRAVELER (CONT'D)We're going to the Drake.
DRIVERGet in. I've got that.
He reaches for the luggage, dropping the envelope into theside pocket of his jacket. Except he misses and, unbeknownstto him, the PINK ENVELOPE falls onto the pavement.
The driver drops the bags in the back, slams the trunk, getsin the car and drives away, revealing a kiosk where twoelection posters are plastered, one to re-elect Barack Obamaand one for Mitt Romney. We realize we are in 2012. TheCAMERA PANS BACK to THE PINK ENVELOPE. It lies on thepavement.
Seconds later, the WHEELS of a car drive over it and then wesee the FEET of a MOTHER and a LITTLE BOY walk past it. TheBoy turns around and we WIDEN to see him pick up the damagedenvelope.
MOTHERWhat are you doing? Hurry up!
LITTLE BOYSomebody dropped this.
MOTHERGive it to me. We'll mail it whenwe get to Aunt Dody's.
She takes it and slips it into her purse.
DISSOLVE TO:
9 EXT. RANCH HOUSE - DAY - THAT AFTERNOON
A taxi with a Texas license plate pulls up in front of aranchhouse where AUNT DODY and her TWO PRE-SCHOOL AGEDCHILDREN and a BARKING PUPPY are waiting to greet the Motherand Little Boy from Denver as they emerge from the taxi.
DODYWelcome to Texas!
8.
The Mother puts down her purse to embrace Dody, the puppybarks & children scream excitedly. They ad lib greetings.
MOTHERFinally! What a trip!
The smallest child, a LITTLE GIRL all dressed in pink, toddlesup to the purse on the ground and, unnoticed by anyone,retrieves the PINK ENVELOPE.
LITTLE GIRLPink! Pink!
She runs around the lawn and up to the porch.
10 INT. RANCH HOUSE BEDROOM - MOMENTS LATER
The Little Girl enters her pink-decorated bedroom holdingthe PINK ENVELOPE. She opens the lid of a toy box filledwith toys and dolls.
POV - from Toy Box interior.
LITTLE GIRLPink!
She SHUTS THE LID.
WE ARE IN BLACK.
CHYRON: "ELEVEN MONTHS LATER"
11 INT. RANCH HOUSE BEDROOM - ELEVEN MONTHS LATER
We HEAR the urgent sniffing and whining of a DOG. The lidopens up and peering at us is Aunt Dody and Ranger, the NOW-FULL-GROWN DOG.
AUNT DODYWhat's in there, Ranger? Hmmm? What do you smell in there?
Aunt Dody pulls out a dripping chocolate fudge bar. AuntDody groans.
AUNT DODY (CONT'D)Ewww. What are we going to dowith that girl, Rang...
She stops, seeing something else in the box. She pulls outthe PINK ENVELOPE, covered in melted chocolate.
AUNT DODY (CONT'D) What on earth....?
9.
She tries to wipe the chocolate off, but only manages tosmear it worse. She sighs.
12 EXT. RANCH HOUSE - DAY - LATER
We see Aunt Dody at the sidewalk drive carrying the PINKENVELOPE, but the name and address are incomprehensiblysmudged. She inserts it into the mailbox and lifts the"outgoing" flag.
DISSOLVE TO:
13 INT. U.S. MAIL REGIONAL FACILITY - DENVER - PRESENT DAY
The PINK ENVELOPE makes its way down a conveyor belt.
We WIDEN to see we are in a huge, noisy warehouse of a room. Dozens of MAIL WORKERS sort letters and packages, bags ofletters are dumped into boxes and sorted onto conveyor belts. We SEE the damaged PINK ENVELOPE, but this time it is re-directed to another conveyor. And another. And into amachine that stamps its envelopes with the words:
"DEAD LETTER"
The PINK ENVELOPE falls into a mail bin on rollers and it isimmediately covered by hundreds of other dead letters thatare dumped on top of it by an unseen MAIL WORKER.
The CAMERA PULLS BACK to reveal an employee, NORMAN, (mid-thirties, intelligent but a fountain of only occasionallyhelpful information). Norman dumps more letters on top andpushes the bin past Oliver, who is sipping his Starbuck'scoffee below a government-issued portrait of Barack Obama. Norman pushes the bin through a door that slams shut afterhim. The sign on the door reads:
"DEAD LETTER TERMINAL"
Somewhere behind that door, the PINK ENVELOPE with Kelly'sletter lies hopelessly...dead.
ANGLE ON: OLIVER
He stands in the busy room with calm authority, the only onewho refuses to wear a uniform. In his mind, he is a god inthe pantheon of mail delivery. Oliver reads an OSHA flier onthe employee bulletin board with disdain.
OLIVER"There is no job so important thatwe can't do it safely."
(MORE)
10.
OLIVER (CONT'D)(to no one inparticular)
Patently false. "Safety First" isthe battle cry of the meek.
Oliver turns a passive eye to the parade of envelopes, boxes,and cards that stream towards his office. Something catcheshis eye and his entire demeanor changes. He urgently hits aswitch, bringing everything to a halt as he grabs a slightly-mangled color postcard of the Eiffel Tower. Watching Oliverfrom a distance is RITA, a fortyish female with glasses whonever learned to apply make-up with colors found in nature. Norman re-enters the floor and Rita exchanges a meaningfulglance with him, indicating the reason for the hold-up onthe line.
They watch expectantly as Oliver stares a moment at the photo,then slowly turns it over. He reads what is written on theother side and, as he has done so many times before, realizesit is not what he is looking for. He returns it sadly tothe conveyor belt, hits a switch, and resumes supervision ofhis kingdom. Norman and Rita pretend they have seen nothing. Oliver carries on.
ANGLE ON:
ANOTHER AREA OF THE FLOOR
A large, overworked, no-nonsense supervisor ANDREA (60's)reads a file as a frustrated Shane argues with her as theywalk towards Andrea's office. Shane is the same beautifulwoman we met earlier. She argues with the attitude of a21st century career woman whose computer skills are surpassedonly by her belief in the power of the social network tosolve the problems of the world.
SHANEI told you, this is a mistake. I'm supposed to be assigned toDirect Line Operations as atechnical systems consultant.
ANDREASays here you're on DLO.
SHANEDirect Line Operations. That'swhat Washington is now callingcomputer-managed delivery services.
ANDREAWell, DLO is what we're stillcalling the Dead Letter Office.
11.
Shane follows Andrea into her glass cubicle office markedSUPERVISOR.
14 INT. ANDREA'S OFFICE - DAY
SHANELook, all you have to do is callthe PG's office in Washington and...
ANDREAGood idea. I'll call the PostmasterGeneral right after I return thatcall from the Secretary of Defense.
SHANEThis is ridiculous. I don't belonghere.
ANDREAOh, and....I do?
(thinks, then smilesevilly)
I think I know what to do. Have aseat.
15 INT. MAIN SORTING FLOOR - CONTINUOUS
ANGLE ON OLIVER
Andrea approaches him and hands him Shane's file.
ANDREAOliver. I want you to train thisgirl. She's a computer somethingfrom Washington.
OLIVERNo.
ANDREAWe need updated computer supportin your department.
OLIVERAbsolutely not.
Oliver enters through a door marked "DLO - No UnauthorizedPersonnel." Andrea follows him back into his office.
16 INT. DLO (DEAD LETTER INNER SANCTUM) - CONTINUOUS
Oliver, trailed by Andrea enter the DEAD LETTER OFFICE, acramped, messy room with rubber stamps and stacks of booksand bulletin boards with clippings, a tiny, ancientrefrigerator from which Oliver extracts a bottle of chocolate
12.
Yoo-Hoo. There are bins and bins of dead letters. Andreasteps over boxes labelled "Mid-Atlantic" "No Zip" "BadHandwriting" etc.
ANDREAThis isn't a request, your Lordship. And trust me, you will be sorry ifyou can't get with the programthis time.
Oliver opens the Yoo-Hoo soda bottle and pours it into awine glass and savors it.
OLIVERSay what you will, I cannot teachwhat cannot be taught to a brainthat has been programmed to rejectthe subtleties of my craft.
ANDREAI will fire you.
OLIVERI have a Government Service PayLevel higher than you can count. I am untouchable.
ANDREAI will take away your refrigerator.
OLIVERYou will return my Mr. Coffee.
ANDREADone.
OLIVERSend her in.
17 INT. INNER SANCTUM - DAY - MINUTES LATER
Oliver sits at his desk. Norman stands nearby. In theb.g., Rita sorts letters with a strange, balletic abandon. There is a KNOCK on the door. Oliver nods and Norman opensit to reveal Shane standing there. They recognize each other.
OLIVERIt's you!
SHANEIt's Venti Americano. Incredible.
NORMANYou know each other?
13.
OLIVERNo. Just, theoretically.
SHANEI'm Shane McInerney.
Oliver stares at her as if he doesn't understand.
SHANE (CONT'D)Shane. Shane.
OLIVER(reading file)
I can't work with someone namedShane. Norman, tell her why.
NORMANBecause...
(guessing)Because at some point, you, Shane,will walk away and Oliver willneed you to return...?
OLIVERVery good, go on...
NORMANAnd Oliver will be forced to say...
RITA(dramatically)
"Shane! Come back, Shane!"
OLIVERAt which point you will turn andlook at me with much the samevacancy with which you stare at menow, utterly unaware of theunfortunate cinematic reference. Therefore, I shall callyou...Sheryl.
Shane looks around this asylum and chooses discretion.
SHANEOkay....Look, I'm only heretemporarily.
OLIVERAnd how wise you are to recognizesuch a great truth so early inlife.
SHANEI mean, there's been a mistake.
14.
OLIVER(perusing the file)
A merry mix-up, perhaps. But amistake? We shall see. Welcometo the Inner Sanctum.
(hands file to Rita)Rita, file this in a safe place.
Rita takes it, scans it quickly page by page and tosses itonto a huge stack of unfiled papers. Shane stares.
OLIVER (CONT'D)Photographic memory. Total recallis a plus in this business.
18 INT. MAIN POSTAL FLOOR - MOMENTS LATER
Oliver is giving Shane a tour of his kingdom. Norman follows.
OLIVEREvery letter that passes throughthe United States Postal Systemsymbolizes an act of faith. Faiththat it will arrive at itsdestination on time and in goodcondition. Faith that what waswritten by the writER will remainprivate until read by the...
(he waits for Shane)By the...
SHANEWrite-ee?
OLIVERThis is a sacred covenant that, ifbroken, signals what, Norman?
NORMAN(recites)
"The breakdown of civilization andthe beginning of anarchy."
OLIVERThis is why we attempt to ascertainthe correct address using clues onthe OUTSIDE of the envelope untilwe have NO OTHER CHOICE. And whenthat moment comes, we open theletter reverently and respectfully,much the way a medical studentperforms a first autopsy...
Oliver produces from a pocket an elegant letter-opener.
15.
SHANEMy God...
OLIVERAnd we read only as far as we must,gathering and gleaning clues as tothe correct destination. It's ahigh-calling, Sheryl.
SHANEShane. Shane McInerney.
OLIVERA grave responsibility, Ms.McInerney. One that cannot bedispatched merely by uploading anddownloading and...
(distastefully)..."Googling."
Andrea approaches carrying a clipboard.
ANDREAMcInerney! Guess what! There ISsomething in the system calledDirect Line Operations.
SHANEI know.
ANDREABut it's not here, it's downtown.
SHANEGreat. I'm on my way.
ANDREANot so fast, missy. You gottaapply for reassignment and continueworking at your current level duringthe six week waiting period beforeyou're approved for transfer.
SHANETransfer. Is this a joke? Sixweeks with these...these...
ANDREASign here.
Shane sighs and takes a pen from Andrea. She reads the paper.
SHANEReason for transfer?
16.
ANDREAPaper allergy. Always works.
Shane sighs, signs the document, and hands it back to Andrea.
ANDREA (CONT'D)(smiles evilly again)
Go with God.
Shane wants to die. Andrea waddles away.
OLIVERHard to believe she was once MissSpecial Delivery of 1967. Comealong.
He opens the door to the DLO Inner Sanctum and Shane sighsand abandons all hope as she enters.
OLIVER (CONT'D)I'm sorry to say, you won't beworking from home.
19 INT. INNER SANCTUM - CONTINUOUS
Rita is still there, sorting with that graceful yet super-human skill.
SHANEI guess as long as I'm here, youmight as well show me your harddrive.
OLIVERThere's no need to be vulgar.
Shane opens her laptop. It is a small, sleek, amazingmachine.
NORMANWow. I've never seen one likethat before.
SHANEState of the art. Configured tomy specifications. You are lookingat a piece of classified hardwarewith a 9750 processer, 1200 MBs ofRAM and a 72 GB hard drive withNVIDIA graphics and a resolutionof 2200 by 1200 pixels.
(they stare at her)Let's just say I have the capabilityof a small army in the Caribbean.
17.
Rita rolls the large bin of letters over to Oliver.
OLIVERAh. Let's get to the real work,shall we? Now, I believe thatthere are no coincidences, Ms.McInerney. Everything happens fora reason.
SHANEYou really believe that?
OLIVERWell, take today, for example. Out of all the coffeeshops in allthe towns in all the world...
SHANE...you walked into mine.
OLIVERYes! Just as everything in theDead Letter Office was originallyintended for another place, andyet, for some Providential reason,they have been misdirected. Temporarily, of course. Notunlike...you.
Oliver taps the bulletin board of clippings behind Shane.
ECU: three newspaper clippings from other cities have beencarefully cut out and preserved. "60 Year-Old Letter ArrivesJust In Time" "Lost Letter Reunites Brothers" "Dead LetterSolves Mystery of Childhood Sweethearts." Shane turns backand looks at Oliver with new interest.
SHANEYou did that?
OLIVERNo. But it is a standard to whichwe aspire. Someday, we, too, shalljoin the pantheon of postalexcellence. Now:
Oliver stares at the pile of letters, as if waiting for oneto jump out at him. Rita stops her work to watch this ritual. Norman watches intently, crossing himself. Shane iscompletely bewildered. Finally, Oliver inhales, exhales,and solemnly reaches into the pile and pulls out...a Hallmarkgreeting card envelope hopelessly mangled.
18.
OLIVER (CONT'D)(reading address)
First name intact. Thomas P-E-R-something. Card has been rippedby...
(smells it)Canine. Seattle postmark. Lookslike a greeting card, tentativehandwriting, no return, BillieHoliday commemorative...Notbirthday, not sympathy...I'mguessing "thinking of you." Alright,we're going in.
Oliver is focused and serious as a surgeon. He takes hisletter opener from his pocket and carefully opens the envelopeand removes the card. He reads and smiles triumphantly.
OLIVER (CONT'D)"Let's catch up"! Signed, "Pete". And Pete has written: "Saw this,thought of you. Dropped by 'Curios'yesterday, but you were on a breakso..."
(he puts it down)Norman...
NORMANI'm on it.
Norman is already pulling out the Seattle area yellow pages.
SHANE(re: yellow pages)
You do know, of course, we are inthe twenty-first century, right?
OLIVER(to Norman)
Look under "antique stores."Possibly "gift shops"
(to Shane)Computers do not share Norman'sinnate ability to think outsidethe box. I would even suggestthat Norman is, in fact, unawareof the box.
NORMAN(reading)
Curios Antiques! Proprietor ThomasPerkins! P-E-R!
SHANEImpressive.
19.
OLIVERChild's play.
Shane picks up the card and starts to read. Oliver snatchesit out of his hands.
OLIVER (CONT'D)Unh-unh-unh! We never, ever, everread past the point of necessity. Rita!
He hands it to Rita, who drops it in a special post officeforwarding envelope, seals it efficiently and drops it inthe Outgoing Box with a flourish.
SHANEThat's it? Shoot, with the rightsoftware, I could double yourefficiency in...
OLIVEREfficiency. What an ugly word. There is something more at workhere, Sheryl. In the beginningwas the word, and the word has itsown time and place. In short, wedo not find the letters that mustbe found today. They find us.
He repeats the letter-retrieval ritual.
SHANEBut...
NORMANShhh! It's happening!
Oliver pulls out the PINK ENVELOPE WE SAW AT THE BEGINNING.
SHANEMaybe I should just find somethingelse to do while you guys...
But Oliver's not listening. He's staring at the envelope. Norman senses a big one and waves Shane off.
OLIVER(with quiet intensity)
Norman, get out your pencil.
INSERT: We see the smudged envelope is addressed to: CharlieAt The Bl... 102..(damaged), Den(damaged). The CAMERA notesthe 2013 postmark.
20.
OLIVER (CONT'D)Addressed simply to Charlie. Postmark is six weeks ago but bearsa forty-five cent BicycleCommemorative from 2012. Returnreads simply "Kelly of WashingtonPark." Writer doesn't expect areply.
NORMANBut it's postmarked from Texas.
RITAThere's no Washington Park in Texas. It's gotta mean Washington Parkhere in Denver. People ridebicycles there all the time.
OLIVERA sentimental stamp choice, then?
(feels something insidethe envelope)
And she has enclosedsomething...something small andround...Norman, a consult, please?
He hands the envelope to Norman, who carefully touches,sniffs, and analyzes the envelope.
NORMANHandwriting indicates a female inher twenties. Generally confidentbut recently troubled, indicatedby bold figures tempered bytentative strokes.
SHANEYou can tell all that by...
NORMAN(continues)
Good quality, hand-cut linen,Sherwood Stationery circa 1960.Untraditional dye, most likely aspecial color blend. This sort ofstuff was made to order back thenfor the rich. The really rich.
Shane opens her laptop and powers up.
SHANEOkay, I can run a list of thewealthiest women on the East Coastnineteen fifty eight to sixty five
(MORE)
21.
SHANE (CONT'D)and cross-reference it with SherwoodStationery's special order recordsfrom...
RITABut she's in her twenties. She'stoo young...
OLIVER...But sentimental. Perhaps thisis stationery she kept from hergrandmother's desk. Then again,it may have come from an old boxof stationery she bought at anantique store. Too many variableshave left us no choice...
SHANEI can run a list of local antiquestores that specialize in...
Oliver slides his letter opener across the top and retrievesKelly's letter.
SHANE (CONT'D)Or, we could just do that.
OLIVER(reading top line)
"September 27, 2012, DearCharlie..." This letter is almosta year old. It just never made itinto the system.
SHANEUntil six weeks ago?
NORMANA floater! We've got a floater!
He's very excited. He pulls up a chair to listen. Olivernotes the attached item. It is a flat gold blazer buttontaped to the letter.
OLIVER(begins reading)
"Dear Charlie. I wanted to besure you got your button back. And I wanted to explain about lastnight."
Oliver sighs.
22.
OLIVER (CONT'D)Oh, dear. Another "I can explaineverything" apologetic repletewith the return of an article ofclothing.
(to Shane)Letters like this are usuallyaccompanied by liberal referencesto Jello shots and tequila. Well,here we go.
Oliver reads quickly. He's heard this all before.
OLIVER (CONT'D)"Dear Charlie, I wanted to be sureyou got your button back. And Iwanted to explain about last night.
Oliver stops. This letter is different.
OLIVER (CONT'D)Good heavens.
Oliver reaches over to his wine glass. It is empty. Hedoes the unthinkable and takes a steadying swig straightfrom the soda bottle. Rita stops everything and freezes.Shane forgets her laptop and sits on a nearby table to listen. Norman's eyes widen.
OLIVER (CONT'D)(reads on)
"Walking away and leaving youstanding there in the park was thehardest thing I've ever done. Except to tell you what I'm goingto say next. I had to leave becauseI couldn't let you watch medie....."
(a beat)Norman, I think this is going torequire another Yoo-Hoo.
END ACT ONE
23.
ACT TWO
20 INT. INNER SANCTUM - DAY
Norman fetches Oliver another Yoo-Hoo as Oliver finishes offthe one he currently has. Everyone else sits in raptattention waiting to hear the rest of the letter. Oliverknocks back another Yoo-Hoo in a few gulps. As they watch:
SHANE(whispers to Rita)
What is that stuff?
RITAHigh fructose corn syrup, water,whey, sugar, corn syrup solids,cocoa, partially hydrogenated soybean oil, sodium caseinate, salt...
NORMANI once met the President of theYoo-Hoo Company on a bus trip toMexico.
Shane processes that. Oliver is sufficiently hydrated.
OLIVERNow, where were we?
RITA"I had to leave because I couldn'tlet you watch me die."
OLIVEROh, yes.
(reads)"The truth is, I'm sick."
DISSOLVE TO:
21 BEGIN FLASHBACK:
22 EXT. DENVER STREET - DAY - 2012
We are outside a very tall office building.
KELLY (V.O.)"I'm really sick, Charlie, and forthe longest time, all I've beenthinking about is just trying tostay alive."
Walking into the building at a rapid pace is CHARLIE, a good-looking twenty-something loaded up with a large donut box
24.
and a carrier full of coffee. He is in his shirt sleeves, atie, and business slacks. He enters the building.
The CAMERA PANS UP to the third floor and we see a beautifulyoung woman, KELLY, standing at the window looking out,pensive and conflicted. She carries a professional cameraand she takes a photo through the window of something downon the sidewalk.
23 INT. OFFICE BUILDING - THIRD FLOOR - DAY - SAME TIME
Kelly exits a door from an office we do not see. Preoccupied,she presses the button for the elevator without checking tosee if she's pressed UP or DOWN. She slips her camera intoher backpack.
We HEAR a DING, the doors open and she steps in and standsnext to Charlie and OTHER BUSINESS TYPES who are inside.
KELLY (V.O.)"And then yesterday, I steppedinto that elevator and there youwere and you made me remember thedifference between staying aliveand being alive....
24 INT. ELEVATOR - CONTINUOUS
Charlie smiles. Kelly hits the LOBBY button.
CHARLIE(whispers)
Sorry, we're going up. Looks likeall the way.
KELLY(shrugs sadly)
Oh, well. Doesn't really matter.
CHARLIENice ride, though. You get tostop at all the best floors.
She smiles. There is instant chemistry. The elevator stopsand the doors open to reveal an impatient, self-importantthirty-something CAMERON.
CHARLIE (CONT'D)(sotto to Kelly)
Well, not all the best floors.
Cameron strides in, forcing Kelly and Charlie and Others tothe back. Charlie juggles his coffee and donuts.
25.
CAMERONCharlie, that you back there?
CHARLIEMorning, Mr. Cameron.
CAMERONYou get my cinnamon cruller?
CHARLIEYessir.
CAMERONAnd the Colombian supremo, notthat junk from Ecuador you gotyesterday?
The elevator stops and lets out a few more riders who giveCharlie a sympathetic look as they depart. Cameron pressesthe CLOSE DOORS button relentlessly until the doors closeand they continue up.
CAMERON (CONT'D)You'll never make it in mergersand acquisitions if you can't eventake a decent coffee order, pal.
CHARLIEColombian. Got it.
The elevator slows to the tenth floor and opens.
CAMERONIt better be up on the seventeenthfloor by the time I get there. And don't screw up like you usuallydo.
Another withering comment that makes Charlie cringe. Kellywatches with distaste. Cameron steps out and holds the doorfor one last zinger.
CAMERON (CONT'D)I'm meeting that new VP gal todayand I hear she likes her donuts. God, I bet she's a pig.
KELLYActually, I like bagels. But Ican buy them for myself, right,Charlie?
She presses the Close Door button on a stunned and gulpingCameron. Kelly waves good-bye as the elevator doors close.
26.
KELLY (CONT'D)Oink-oink.
The doors close before Cameron can respond.
CHARLIEYou're the new vice-president?
KELLY(laughs)
No. Do I look like a vice-president?
Charlie laughs.
CHARLIENo, you look beau...well, you weregreat.
KELLYI hope I don't get you in trouble. I just couldn't resist. Youactually work for that jerk?
CHARLIEHim and three more just like him.
KELLYSorry to hear that.
CHARLIEWell, there's something to learnfrom everybody, even if it's whatnot to do.
KELLYThat's a great attitude.
CHARLIE(shrugs)
What doesn't kill me makes mestronger, right? That and donuts,of course. You want one?
KELLYThanks, but I actually DO preferbagels. I'm supposed to stay offsugar while I'm...
She stops herself. Fortunately, the elevator opens atCharlie's floor.
CHARLIESeventeen. That's me.
(MORE)
27.
CHARLIE (CONT'D)Hey, thanks again. Best laughI've had all week. Maybe all month. Maybe...all year.
He sighs and steps out in front of a huge corporate doorwith the impressive title "MILLER, MILLER, MILLER ANDSCHWARTZ". Kelly instinctively stops the door.
KELLYHey, Charlie?
Charlie is more than happy to come back.
KELLY (CONT'D)You deserve better. Life is short,you know.
Charlie gives her a look.
CHARLIEI know, but the days are reallylong sometimes.
The doors begin to close.
CHARLIE (CONT'D)Hey! What's your name?
KELLYKelly!
Just as the doors close a BUSINESSWOMAN catches the door andsteps in and presses the 45th floor button. Kelly smilesbut the woman is too busy on her iPhone to notice.
25 INT. OFFICE BUILDING - 45TH FLOOR - MOMENTS LATER
The doors open, the Woman walks out without a word, stilltexting on her phone. Kelly pushes the LOBBY button andwaits for the doors to close.
26 INT. ELEVATOR - MOMENTS LATER
Kelly waits patiently and watches the numbers on the paneldescend as she approaches the floor where Charlie got off -the seventeenth floor. She is surprised when it stops andthe doors open to reveal Charlie, his tie now loosened,wearing a blazer with gold buttons, and a backpack slungover his shoulder.
CHARLIEHey! Kelly!
He jumps inside with a new look of vitality on his face.
28.
KELLYHi! Going down?
CHARLIEAll the way. I just quit.
Kelly reacts.
27 EXT. BUILDING - DAY - MOMENTS LATER
They exit together. Charlie throws his hands up in the airas if just released from prison.
CHARLIEFree at last, free at last!
KELLYWas it really that bad?
CHARLIEIt was so bad that I told myselfthis morning if a beautiful girldoesn't walk into this elevatortoday and rescue me, I'm ridingall the way up to the top floorand jumping off. Donuts, coffee,and all.
Kelly deflects the compliment.
KELLYColumbian coffee, I hope!
CHARLIE"Yessir!"
KELLYWell, congratulations. I hope youfind another job that you like.
CHARLIEThat's tomorrow. But today, I'mtaking you out for a bagel.
KELLYOh, I don't know...
CHARLIEYou gotta go to work, right?
KELLYNo, but...
29.
CHARLIEThen come on! You just saved aman's life. In some cultures thatmakes me responsible for you.
KELLYActually I think it's the otherway around.
CHARLIEEven better! How can you say "no"now?
KELLYBut I didn't save your life. Ittakes...it takes a lot more thanthat to save a life.
CHARLIEAre you kidding? If it weren'tfor you, I'd be up there right nowpassing out crullers to Miller,Miller, Miller & Schwartz. Well,not Schwartz. He's glucoseintolerant.
END FLASHBACK
28 INT. INNER SANCTUM - DAY - PRESENT (2013)
Shane, Norman, and Rita are listening raptly.
OLIVER(reading)
"The truth is, Charlie. I don'tknow who saved whose life thatday. You may have saved mine. Iwon't know for awhile. But I'llalways cherish the day you quitMiller, Miller, Miller & Schwartzand..."
Oliver abruptly stops reading and closes the letter.
OLIVER (CONT'D)Well, there we go.
SHANEWhaddya doing? Keep going.
OLIVERNo need. Miller, Miller, Miller &Schwartz. Rita?
30.
RITA(from memory)
Mergers and acquisitions. TheColorado Bank Building on 3424Lincoln Street.
NORMANWe send their Human Relations officea Form 407B requesting the namesof terminations on September 26,2012, with first name Charles orCharlie.
SHANE(ignoring him)
What about Kelly? What's she dyingof? Is she going to live?
OLIVERTo read any further than necessarywould violate the prime directive.
SHANEYou gotta be kidding.
NORMANHe's not kidding.
RITAWe don't kid. We're not kidders.
SHANEWhat a hypocrite.
OLIVERI beg your pardon?
SHANEYou know darn well it'll take weeksbefore some drone in HR pulls abunch of old employment records tohelp out the U.S. Post Office. Meanwhile, Charlie is out theresomewhere wondering why the girlof his dreams blew him off whenthey were so obviously falling inlove.
OLIVERThere's nothing in here thatindicates they were in love.
31.
SHANEEverything in that letter so farindicates they were in love. Orgetting there. Right, Rita?
Rita swallows nervously.
RITAI've never actually been in...
(she glances at Norman)Well, I mean, not when the OTHERperson was...in it. At the sametime.
Norman is oblivious.
NORMANI read a book once on chemicalchanges in baboons suggesting thatapes experience a certain emotionalconnection similar to human love.
Shane stares at him.
SHANEThank you. Maybe you could bringthat in tomorrow.
(to Oliver, her bestcon job)
Look, if there's a chance thatreading one more line could giveus a truly solid chance to redirectthat letter to poor Charlie, thendon't we owe it to him? And toKelly.
(to Oliver)I mean "of all the elevators inall the towns in all the world..."
Her reference to Oliver's quotation resonates with him. They lock eyes and he stares at her a moment. Then:
OLIVER"We?""Us?" Why, Ms. McInerney,could it be that you've alreadytaken our little enterprise intoyour heart? That's very touching.But the answer is no.
Oliver slides the letter into a pigeon-hole marked "PENDING"and turns away to other business. Shane waits a moment, andthen surreptitiously SLIPS THE PINK ENVELOPE INTO HER ATTACHECASE.
END OF ACT TWO
32.
ACT THREE
29 INT. BAR - "THE MAILBOX" - THAT NIGHT - PRESENT (2013)
A tiny hole-in-the-wall joint where postal workers hang out. Oliver and Shane ENTER and walk to the bar. Nearby, Ritasways precariously over a jukebox, feeding it quarters.
SHANE(to Oliver)
I've heard of cop bars and gaybars and Mafia bars. Never beento a postal bar.
OLIVEREveryone needs a place to decompresswith their peers. Actually, thesepeople are not my peers, but theyare clearly yours and I thoughtyou might enjoy it here.
SHANEYou're a charmer.
RITA(calling over)
Hey! You spell McInerney with anM-C, right?
SHANEUh, yeah.
RITAExxxcellent! I've got a surprisefor youuuuuu!
Shane and Oliver sit at the bar. The BARTENDER approaches.
OLIVERRita is a connoisseur of thecarefully-crafted daiquiri.
(to bartender)Barkeep, a gin rickey, hold therickey.
SHANEI'd like a Yoo-Hoo on the rockswith a side car.
The Bartender stares at her. Oliver amused.
SHANE (CONT'D)Sorry, just a little postal humor. Gibson, up, very dry, please.
33.
A busty thirty-something ELEANOR with her postal uniform onbut her shirt open too far approaches, her eye on Oliver.
ELEANORHello, Oliver. Haven't seen youaround for awhile.
OLIVEREleanor. How are things inPassports?
ELEANOROh, you know. Everybody wants toget there tomorrow.
OLIVERAh.
Oliver doesn't pursue the conversation. Eleanor's eyes travelto Shane but Oliver doesn't introduce her. Finally:
ELEANORYou're that new girl from WashingtonDC, huh?
OLIVERThe "girls" are over in the cornerspilling beer on the billiard table. This lady and I have business toattend to. I'm sure you understand.
Dismissed, Eleanor moves on. Shane is surprised and looksat Oliver with a new interest.
SHANE(teasing)
And I thought you didn't like me!
Oliver stares at her. Then, quite seriously:
OLIVERI haven't decided yet.
SHANEThen why did you invite me here?
Before he can answer, Norman enters and joins them.
NORMANMiller, Miller, Miller, & Schwartzwere sued for fraud and went outof business six months ago.
OLIVERSo much for our only lead.
34.
SHANEYeah. And it only took eight hours.
OLIVERDo I detect irony?
Oliver and Shane begin a banter that is not just professionaltension but perhaps a hint of a sexual tension to come.
SHANEIf I'd had that letter, I could'vefound this Charlie guy in thirtyseconds.
OLIVERThis is not a race we run, Ms.McInerney. It is a journey.
SHANEIt's a job! You deliver one letterand the next day a hundred takeits place. It's a losing battle,an exercise in futility. It mayeven be a good excuse to upgrademy search engine capacity. Butit's not some woo-woo spiritualjourney.
OLIVERThere are more things in heavenand earth, Horatio, than are dreamtof in your philosophy.
NORMANIt's not Horatio, it's Sheryl,right?
SHANEIt's Shane!
OLIVERIt's Shakespeare, my littlepeasants. Now, you may lack asense of destiny, but you have onecharacter trait that, if carefullycultivated, could be helpful. Andthat is something I like tocall....curiosity. You wanted toknow why we're here?
He reaches into the outside pocket of Shane's attache case,removes the PINK ENVELOPE, and places it on the counter. Shane is mortified.
35.
SHANEI can explain. Actually, I can't. But I haven't read it yet, sotechnically...
NORMAN(scandalized)
Unauthorized removal! Regulation#PR34D! That's a gross violation.
OLIVERYes, it is. But in this case, aconvenient one.
He removes the letter from the envelope.
SHANEI thought you never broke the rules.
OLIVERWell, apparently we have you to dothat for us. I, however, must onoccasion bend the law in order tofulfill the spirit of the law. Nuts?
He offers her some from a bowl.
OLIVER (CONT'D)Norman. Go retrieve Rita. Shewouldn't want to miss this.
Norman leaves and walks over to the jukebox. Shane speaksto Oliver with sincerity and quietly.
SHANEThank you.
OLIVERFor what?
SHANEFor outing me here instead of backat the office in front of Andrea. I could have been...
OLIVERTerminated. Yes. Well, I try todo as little in front of Andrea aspossible.
Oliver takes his drink and begins walking towards a cornerbooth. Shane follows. Norman joins them with Rita.
36.
OLIVER (CONT'D)Welcome, Rita.
They sit in the booth.
OLIVER (CONT'D)Now, where were we?
RITA(recites)
"I'll always cherish the memory ofthat day when you...."
OLIVER"Miller, Miller..." Here we are:"...when we met and tried so hardnot to fall in love...."
DISSOLVE TO:
30 BEGIN FLASHBACK - 2012
31 INT. GAYLORD BAGEL FACTORY - DAY
Charlie and Kelly stand at a cafe table, assembling theirbagels and lox.
CHARLIEThere's an art to the perfect bageland lox combo.
KELLYI don't think I can eat raw salmon.
CHARLIEThink of it as sushi with bread. And onions, tomatoes, and creamcheese, all the major food groups. You eat one of these, you're goodfor the day.
KELLY(points)
And these?
CHARLIEAh! Capers! The key to the wholeenterprise. The "secret sauce" ofbagels and lox.
KELLYThey look like....fish eggs.
37.
CHARLIENope. Capers are flower buds. Little salty flower things thatadd just the perfect balance tothe cream cheese.
Kelly tries to put some one, but they roll off.
KELLYUh-oh.
CHARLIE(building as he goes)
The secret is you sort of glue thecapers into the cheese so theydon't roll off. THEN the salmon,the onion, and the tomato and....
He holds it out, she takes it and awkwardly takes a bite,getting some cream cheese on her nose.
CHARLIE (CONT'D)Hmm?
Kelly nods, sort of surprised that she likes it.
KELLYMmmm!
CHARLIEYou've got some....rightthere...um..
He wipes the cream cheese off her nose.
CHARLIE (CONT'D)Great nose, by the way. Peopletell you that a lot, right? Yourboyfriend, probably....
Kelly doesn't say anything.
CHARLIE (CONT'D)Forget that. Too much informationfor a first date. This is a date,right? Sort of?
KELLY(hesitates, a beat,then:)
I have a proposition.
CHARLIEYes. Whatever it is....yes.
38.
32 EXT. GAYLORD'S BAGEL FACTORY - A FEW MINUTES LATER
They are finishing off their bagels, tossing the paper intoa nearby trash. Charlie is reviewing their agreement.
CHARLIESo, no last names.
KELLYRight.
CHARLIENo phone numbers, no addresses, no"I was born here and I went toschool there, my boyfriend is ajerk, my girlfriend married mydentist...." No histories.
KELLYWe spend one day together, saywhatever we want to say with nofear, no judgment, because we won'tsee each other again.
CHARLIESee, that's the part I'm havingtrouble with.
KELLYThink about it. One day when youdon't have to worry if what you door say will affect tomorrow. Nophone numbers, no texting, notweeting, no googling tomorrow. Just living right now, today.
CHARLIEIs this part of your "life is shortphilosophy?" Are you writing abook and I'm one of yourunsuspecting subjects? "Chapter14 - Charlie Quits His Job...."
KELLYPhilosophy, yes. Book, no. Areyou in or out?
33 INT. BAR - "THE MAILBOX" - NIGHT - PRESENT (2013)
The four are still sitting in the booth. Oliver stopsreading. Shane types on her laptop. Rita and Norman arelistening.
39.
OLIVER(ignoring them)
No texts, no emails, no tweets. Agirl after my own heart.
(reading)"I know I gave you a pretty crazyreason for..."
SHANEWait! I've got an idea. It'ssort of wild, but...
OLIVEROh, happy day.
SHANEIn the letter, they spend the daytogether. They go to a park, right?
OLIVER(re: envelope)
"Kelly, from Washington Park."
SHANEI've got a proposition.
OLIVERNo. Whatever it is, no.
RITAI think it's a great idea.
NORMANHow do you know what it is?
She whispers to Norman.
RITABecause I'm a woman.
SHANEWe're looking for clues in a loveletter. But maybe not all theclues are going to be on the paper.Let's go to the park.
RITA(winks at Norman)
Yeah. Why read about somethingwhen you can..experience it.
NORMANSome of us could use a walk and alittle fresh air.
40.
SHANECome on, Oliver, are you in or youout?
In the b.g., Eleanor shoots a corner pocket shot and thecorner erupts with loud screams of victory. It's not pretty.
CUT TO:
34 EXT. WASHINGTON PARK - NIGHT - FIFTEEN MINUTES LATER
Oliver, Shane, Norman, and Rita stand in the park, near thebicycle racks. Rita has gotten a bit of a second wind.
RITAWashington Park, two lakes, threeplaygrounds, six tennis courts,four miles of bike paths, and ducks. Lots of ducks.
SHANENow, isn't this better? Now weknow what Kelly's talking about.
OLIVERMay I continue now?
SHANERead on, MacDuff.
(amused)Shakespeare.
Oliver ignores the dig and continues.
OLIVER(reading)
"I know I gave you a pretty crazyreason for only spending one daytogether, Charlie...."
DISSOLVE TO:
BEGIN FLASHBACK - 2012
35 EXT. WASHINGTON PARK - DAY - HALF AN HOUR LATER
Kelly and Charlie are in a beautiful park renting bikes froma machine. Kelly wears her backpack and straddles a bike,ready to ride. Joggers run by, people walk dogs, playFrisbee, etc. Kelly is taking pictures of everything.
KELLY (V.O.)"The truth is, I only had one dayto spend....
41.
Charlie swipes his credit card to release a second bike andputs the card in his wallet and his wallet in his back pocket. He gets on the bike, she puts her camera in her backpack andthey push off.
KELLY (CONT'D)But spending it with you made allthe difference."
BEGIN MONTAGE
36 EXT. PARK - MOMENTS LATER
Kelly and Charlie ride along the bike path, past gardens, aplayground, a fountain. Kelly takes photos, wobbles on herbikes, Charlie steadies it as she shoots.
37 EXT. PARK - CONTINUOUS
They have stopped by the lake, where ducks have gathered. Kelly takes a few photos as Charlie pulls something out ofhis backpack, starts tearing it apart, and tossing it to theravenous ducks.
CHARLIELunchtime, guys.
(hands some to Kelly)Here.
KELLYWhat's this?
CHARLIECameron's cinnamon cruller. I wasgoing to eat it as a last act ofdefiance, but now I like the thoughtof feeding it to wild ducks, onetiny piece at a time.
Kelly laughs.
KELLYI'm glad to see you're not bitter.
CHARLIEYou know, I'm not, actually. Justthink, that poor guy's still backthere, merging and acquiring andI'm....well, I'm here with you.
They share a quiet look. A good time to kiss, but Kellybreaks the spell and tosses another crumb to the ducks. Charlie sees something in the distance.
42.
CHARLIE (CONT'D)C'mon. I want to show yousomething.
38 EXT. PARK BRIDGE OVER A DITCH - MOMENTS LATER
Charlie and Kelly are standing on a bridge that spans a ditch.
CHARLIEWhen I was in sixth grade, I walkedto school and I crossed this bridgeevery day.
KELLYCareful. No historical details.
CHARLIEI know, I know. But see this ditch? All the other kids jumped the ditchon the way to school. They'd takea running start and fly right acrossand land over there.
KELLYBut you took the bridge.
CHARLIEI tried to jump at first. I'd runright up to the edge but somethingalways made me put on the brakesat the last second. God, it wasembarrassing. They'd all bestanding on the other side yelling"Jump, Charlie. You can do it!"
KELLYBut...?
CHARLIEBut I never did. After awhile,they stopped expecting me to eventry and then it was too late tochange their minds.
Kelly is quiet. Something he has said has resonated deeply.
KELLYMaybe some things are just toolate to fix.
Charlie senses he's hit a nerve and breaks the mood.
CHARLIEShoot, what do I know? It's nevertoo late.
43.
KELLY(smiles)
Oh yeah? Then jump the ditch.
CHARLIEWhat?
KELLYJump! Do it today. What are youwaiting for?
CHARLIENo way.
KELLY(laughing)
Ditch your pride.
CHARLIE"Ditch." Very clever. Okay, goover there and wait. But over tothe side. Don't distract me.
KELLY(amused)
Right.
CHARLIEAnd no cameras!
KELLYYou may want a record of thissomeday.
CHARLIESomeday? Aha! Now if there's achance we have a "someday," THAT'Sworth jumping for.
Kelly smiles and walks down the bridge and positions herselfto the side, near a tree. Charlie walks a good distanceaway to give himself some running room.
CHARLIE (CONT'D)(to himself)
Okay. I can do this.
ANGLE ON KELLY
She slips her camera out and stands partially covered fromview, clicking photos.
CAMERA POV - A SERIES OF SHUTTER CLICKS
44.
We see Charlie, a good distance away, turn around and preparehimself. He stretches. He takes a breath. He starts torun back towards the ditch.
He makes it! Click, Click, Click.
CHARLIE (CONT'D)Yes!
Charlie does a victory dance and runs around a little.Suddenly something - some ONE - runs out from a stand oftrees, smacks into him and knocks him down.
Kelly stops shooting and looks across.
KELLY'S POV - CHARLIE AND A JOGGER
It all happens very quickly. Charlie and the jogger areboth on the ground. Charlie stands and helps the jogger up. Charlie seems very good-natured, laughing, dusting off thejogger, clearly apologizing, patting the guy on the back andsending him on his way. Kelly takes a couple more picturesof the encounter, and we see on her face a new sense ofappreciation for Charlie.
Charlie walks back towards her, over the bridge.
KELLYOuch! Are you okay?
CHARLIEYeah. Pride goeth before a fall,I guess.
KELLYYou lost a button.
CHARLIEA small sacrifice for making thejump of a lifetime.
KELLYYou were awfully nice to that guy,considering he knocked you down.
CHARLIEWell, why not? Life is short.
Kelly looks at him and he grins.
KELLY (V.O.)I think that was the moment Irealized how much I wanted to live.
(MORE)
45.
KELLY (V.O.) (CONT'D)How much I needed to believe in a"someday" with you in it. Maybethat's how it feels to fall inlove, Charlie. When you can't waitfor tomorrow.
They retrieve their bikes and walk them for awhile. Charliegets on his bike. Kelly does, too, and follows him.
39 EXT. PARK LAKE - DAY - LATER
They are riding their bikes along the lake and Kelly slowsdown, running out of energy. She works hard to hide it.
CHARLIE(calling back)
There's a great fountain up hereat the top.
KELLYCharlie, wait!
Charlie stops and rides back to her. Kelly parks her bikeand sits on a nearby park bench.
KELLY (CONT'D)It's so pretty here. I just wantto take a couple of pictures.
CHARLIEGo for it.
Charlie notices a newspaper left by someone on the bench. He picks it up and starts folding it into a boat.
CHARLIE (CONT'D)So, are you a professionalphotographer?
(she gives him a look)Ok, how about this:...why do youlike to take pictures?
KELLYLemme see...well, I know in somecultures people think taking aphotograph of something is likestealing a piece of its soul. Butfor me, taking a picture ofsomething or someone is a way to ....I don't know...honor a soul. It's my way of saying "here youare, duck, here you are, sky, hereyou are, Charlie, and before you
(MORE)
46.
KELLY (CONT'D)float away, I want to stop timefor just a moment to really seeyou.
Charlie doesn't look up. He just stares at the newspaperboat he holds in his hand.
KELLY (CONT'D)What? What are you thinking?
CHARLIEI'm reading this little articlehere on the side about Rodger Piper,age 61, a baker who won the lotterylast week. And I bet everybodythinks he's the luckiest guy inthe world. And yesterday, I wouldhave thought so, too. But today,I think the luckiest guy in theworld...is me.
He sets the boat adrift. Kelly takes a photo of the boat. Charlie turns and looks at her and smiles. She smiles backand takes a photo of him. Click.
END FLASHBACK
CUT TO:
40 EXT. SAME LAKE - PRESENT DAY - 2013
Kelly's POV of Charlie is now Shane's POV of Oliver, whostands in the same place, gazing at a lake without a paperboat.
ANGLE ON SHANE
She holds her hands up to frame what she sees.
SHANEClick.
NORMANOn the other side of this lakethere is an exact replica of MarthaWashington's garden at Mount Vernon,Virginia. I'm a direct descendantof George Washington's accountant.
OLIVERI don't see the purpose incontinuing this field trip,particularly without a permissionslip from your mother, Norman.
47.
SHANEJust a little longer, Oliver. Please. Just read a little more. There's got to be something inthat letter that can help us if weput ourselves in Kelly and Charlie'splace.
Oliver sighs and mutters as he finds his place.
OLIVERI will not jump over a ditch.
SHANEFine.
OLIVERTomorrow, everything goes back tonormal.
SHANEIf that's what you consider normal.
OLIVER(reads)
"I wanted to tell you everythingright then, Charlie....
DISSOLVE TO:
41 BEGIN FLASHBACK
42 EXT. PARK LAKE - 2012
As the boat floats off, we hear Kelly's voice continue:
KELLY (V.O.)"...But I didn't want to break thespell. I've always been good atputting off the hard stuff..."
Kelly sits beside Charlie as they watch the boat float away.
KELLY (CONT'D)I feel like we ought to dosomething. Something to commemoratethis day. Something that makes adifference.
CHARLIEWe could get married.
KELLYTempting. But I don't marry onthe first date.
48.
CHARLIEGood point. Let's see....
He sees something in the distance. It's a Red CrossBloodmobile set up near a playground.
CHARLIE (CONT'D)Got it! You saved my life today. Let's save some more!
A shadow comes across Kelly's face.
KELLYYou want to give blood?
CHARLIEYeah! It's life-affirming, youget to lie down, they give youcookies, and it's free!
KELLYI don't give bloodreally...anymore...
CHARLIEC'mon. They do it once a yearhere in the park and it makes youfeel great.
KELLYYou won't jump a ditch but needlesare no problem?
CHARLIEI know. Go figure. I used to doit all the time in college. Ithink I've even got my old donorcard here in my...
He reaches into his back pocket, but realizes it's not there.
KELLYWhat's the matter?
CHARLIEMy wallet. I think I've...oh, man...
He realizes it's missing.
43 EXT. NEAR THE PARK BRIDGE - DAY - MINUTES LATER
They are walking their bikes slowly, retracing their steps,looking for his wallet.
49.
KELLYI can't believe you lost your walletand your job on the same day.
(leans down to picksomething up)
Found your button though.
CHARLIETo be accurate, I quit my job, Idid lose the wallet, but I foundthe girl of my dreams. I think itall balances out. Except for thepart where I wake up tomorrow andrealize I lost the girl.
KELLYCharlie, I'm sorry. It just...itjust has to be this way.
She takes his hand and puts the button in it.
KELLY (CONT'D)Promise me you'll go home tonightand you'll sew this button back onyour blazer and find yourself thejob of your dreams and meet somebodywonderful and have lots of babiesand grandchildren and make dozensof paper boats for them every timeyou take them for walks in thepark and when you set them sailing,you'll think of me.
Charlie looks at the button and gives it back to her.
CHARLIEOr, you could come by tomorrow andsew the button on yourself.
KELLY(laughs)
Are you telling me you can't sew?
CHARLIEI don't think I can do anythingwithout you now, Kelly.
They almost kiss. Kelly hesitates. Charlie smiles.
CHARLIE (CONT'D)One more thing. Just one more.
He takes her hand and walks her to the nearby swingset.
50.
CHARLIE (CONT'D)If you sit in this one right here...
She does.
CHARLIE (CONT'D)And you swing really high....
He pushes her again and again...
CHARLIE (CONT'D)And you look over the top of thetrees right over there, you see abrick duplex with a blue door anda brown door?
KELLYNo...yes! A blue door and achimney?
CHARLIERight.
She swings back to him and he stops her.
CHARLIE (CONT'D)That's where I live. The bluedoor.
KELLYYou're breaking the rule.
CHARLIEYou're breaking my heart. Comeon, tell me that I'm going to openmy door tomorrow morning and you'llbe sitting on the steps.
KELLYCharlie, please, I have to...
He pushes her higher. We FOLLOW KELLY up into the air. Asthe swing comes back down, it's now:
END FLASHBACK
44 EXT. PARK SWINGS - DAY - PRESENT TIME - 2013
SHANE IN THE SWING IS CAUGHT BY OLIVER
It's a surprisingly intimate moment. They speak awkwardly.
SHANE...stop.
51.
OLIVERDid you see it?
SHANEDid I...?
OLIVERThe blue door.
SHANEOh, right. Yes. That must beCharlie's place. But, maybe weshould read just a little further. You know, just to be sure.
OLIVER(flustered)
Right. Just to confirm. Let'ssee..."I can't forget the kiss onthe swings..."
NORMANThey kissed? Right here?
OLIVERApparently so, Norman. Now..."Ican't forget..." Etcetera, etcetera. Here we are: "...and even though Ipromised I'd come back, I knew Icouldn't. I keep imagining youthere on the steps by the bluedoor, waiting for me. And I'msorry I wasn't there.
NORMANHow could she? She promised.
OLIVER"...BUT I can explain. With all mytalk about courage, you were theone who took all the big leapsyesterday and now it's my turn. So today I'm going to do what Ihave to do to get myself well. Ifit works, and if you still feelthe same way about me, let's meeta year from today and we'll go ona second date. But if I'm notthere waiting for you at the bridgeat six o'clock, you'll know it'sonly because the jump I had tomake was just too far. Whateverhappens, Charlie, sew this buttonon and go out into the world.
(MORE)
52.
OLIVER (CONT'D)I know I made the rules, and I'mnot going to break them now. Butthe best way to find me if youreally need me someday is to justremember this: life is short, butit's beautiful. Love, Kelly...
Oliver finishes and the others are quiet. Finally:
SHANEOh, man. What's today?
RITAThe twenty-third. Oh, wow.
SHANEAnd Charlie has no idea they'resupposed to meet in four days.
OLIVERAssuming she took the leap...andmade it to the other side.
Oliver takes the button out of his pocket and stares at it.
END OF ACT THREE
53.
ACT FOUR
45 EXT. CHARLIE'S DUPLEX - NIGHT - LATER
The four of them stare at the blue door.
RITAI don't see another house on thisblock with a blue door and a browndoor and a chimney.
SHANESo, who's going to knock?
OLIVERThere is no knocking. We don'tknock.
NORMANWe go back to the office and followprocedure before we get in trouble.
SHANETrouble? You think Andrea iscruising the park? Come on, we'restanding right HERE! Let's just...
She snatches the letter from Oliver. He snatches it back.
OLIVERAnd I thought you'd welcome theopportunity to show us what thatfancy laptop of yours can do...
He walks off. She sighs and they all follow.
46 EXT. U.S. MAIL REGIONAL FACILITY - DENVER - NIGHT - LATER
A few mail trucks move in and out of the back receiving areas.
47 INT. INNER SANCTUM - NIGHT - SAME TIME
Shane types on her laptop as the others watch. She navigatesthe street views from her screen.
SHANEHere's the street...Here's theblue door. There's the addressand the last known occupant is....
She pulls a piece of paper off a printer as it prints out.
SHANE (CONT'D)Charles - Charlie - Riggs.
54.
Norman crosses himself and copies the address onto a form.
SHANE (CONT'D)I guess we can't write "good luck"on the back, huh?
Oliver is not amused. Norman affixes the form to the backof the letter and hands it to Oliver.
OLIVERWe re-address it and re-package itwith a form explaining why openingthe letter was necessary.
SHANEYou're actually going to mail this?
OLIVERWe've pushed the limits of protocolenough already.
SHANEBut they've only got four days!
OLIVERAre you questioning the efficiencyof this facility?
SHANEWell, if the envelope fits.... Besides, don't you want to knowhow it all turns out? Don't youwant to put it in his hands tomake sure they get together? Whatif the letter ends up in huge pileof other mail he doesn't read untilSaturday? What if it gets stuckinside a Land's End catalogue? What if by some incomprehensibletwist of fate it takes the U.S.PostOffice more than four days todeliver a simple letter?
(getting emotional)And then Kelly shows up and shewaits and waits and waits but henever comes and she's just leftstanding there on that bridgewondering how could he just leaveher there when she said she loveshim so much...?
Oliver realizes this is personal to Shane. He speaks gently.
55.
OLIVERWe are the United States PostOffice. We cannot play God.
SHANEWe do that already. What if you'dpulled out a green envelope thismorning instead of this pink one? It's all a crapshoot anyway.
OLIVERWhen you have been in this businessas long as I have, Ms. McInerney,you will discover that it is aHand greater than mine that pullsout a dead letter and revives it.
SHANEGreat. So it's a spiritualcrapshoot.
Norman hands the letter to Rita who ceremoniously stamps theletter with a large rubber stamp. They preside over thisprocedure with the solemnity of a funeral. Finally, Oliverslips the PINK ENVELOPE into its new post office sleeve. They follow him out of the Inner Sanctum.
OLIVERWe may never know the whole truthabout a letter or what happens toit once it leaves us, but we areresponsible for what little truthwe can glean from it and to giveit every chance to find its intendedreader...
48 INT. U.S. MAIL REGIONAL FACILITY - NIGHT
It is quiet, with a skeleton CREW working in the b.g. Oliverstops in front of the SORTING MACHINE.
OLIVERAnd tomorrow the truth will bedelivered to Mr. Riggs, a yearlate...Or right on time.
He tosses the PINK ENVELOPE into the great, moving maw ofsorters and rollers and it disappears into its future.
OLIVER (CONT'D)But it's not up to us anymore.
Shane is clearly disappointed.
DISSOLVE TO:
56.
49 EXT. ESTABLISHING POST OFFICE - DAY - THE NEXT DAY
50 INT. INNER SANCTUM - SAME TIME
Norman works industriously, Rita strangely sorts as usual.Shane gazes at the wall of sorting baskets, trying to figuresomething out. The CAMERA PANS across the baskets, each ofwhich are labelled CANADA, EUROPE, SOUTH AMERICA, AFRICA,MIDDLE EAST, ASIA, ANTARCTICA, AUSTRALIA and finally andincongruously: PARIS. Shane frowns.
SHANENorman. Why does Paris get itsown basket?
Norman freezes.
SHANE (CONT'D)Norman?
NORMANAny correspondence from Paris mustbe separated and given to Oliver.
SHANEWhy?
RITANobody knows. But every time adead letter comes through with aParisian postmark, you'd thinkhe'd found gold, until...
SHANEUntil?
RITAUntil he gets that tragic look onhis face that says..."No, thisisn't it." Whatever "it" is.
NORMANI think it's a lottery ticket hemailed to himself.
RITAFrom Paris? Nah, it's somethingelse. Something...deep.
SHANEIs Oliver...married?
Before Rita can answer, the door opens and Andrea enterscarrying a mailbag. They immediately drop the subject.
57.
ANDREANorman, where's Oliver?
NORMANOn the floor.
ANDREAI was just on the floor. He's notthere.
NORMANMaybe he's on the floor...somewhereelse?
ANDREAListen, you little pipsqueak. Thetime's they are a'changin' andyou'd better decide who you workfor around here.
NORMAN(thinks hard)
The United States Government?
ANDREA(disgusted)
I got a new bag from Kansas CityDLO. Get 'em processed before thedecade's over, will ya?
(to Shane)By the way, that transfer you putin for? Gonna take ten weeks.
She drops the bag and exits.
NORMANTen weeks?! That's enough time tore-organize the Graceland bins!
Shane is frustrated. She starts to pack up her laptop.
SHANEI can't believe this.
RITA(to cheer Shane up)
Hey, guess what! Remember what Itold you last night? About asurprise?
SHANEThe last twenty four hours havebeen nothing but surprises. Butgo on.
58.
RITAWell, I KNEW I'd seen your namebefore. On a letter. A dead letterentered the system fourteen monthsago, postmarked April 28, that'stwo days before your birthday.
SHANEHow do you know that?
RITAI read your file, remember? Soit's probably a birthday card.
SHANEWhere is it?
RITAI mailed it to you.
SHANEYou what? I work here. Youcould've just handed it to me.
Oliver enters.
OLIVERStandard procedure, Ms. McInerney.
SHANEProcedure?! That's my birthdaycard from...who was it from?
RITAReturn address obscured.
SHANEThen where did you mail it?
RITATo here. Care of Dead Letters.
SHANEYou people are crazy.
OLIVERA popular theory. Coffee?
SHANEYour coffee is swill and this jobis a dead-end.
59.
OLIVERThe coffee, I grant you, couldimprove. But I take exception toyour disparagement of this office.
SHANEOoohh! I disparaged the U.S. PostalSystem! Shocker! Wake up! Nobodywrites letters anymore. You'll beout of a job in three years. I,however, am escaping right now.
She grabs her laptop and exits. Rita and Norman are stunned. Oliver looks at them and sighs.
51 EXT. STREET - DAY - MOMENTS LATER
Shane is marching down the street. She is suddenly awarethat a car is slowly following her. She stops and looks.
ANGLE ON OLIVER
He is at the wheel of a vintage Astin Martin. He stops. She keeps walking. He rolls down the window.
OLIVERCan I offer you a ride to yournext career?
SHANENo.
OLIVERA moment of your time, then.
SHANENobody drives an Astin Martin exceptJames Bond.
OLIVERI will take that as a compliment.
SHANEYou're not changing my mind, Oliver. The US Post Office is a dinosaur,there's no future for me there andI should have stayed in DC andtaken that Digital Analysis job atthe IRS.
He stops the car, leaves it running in the street, and walksover to her. She stops and groans.
60.
OLIVERMaybe you're right; electronicthought has taken over the world. We can e-mail and text faster thanwe can think. People are hiredand fired and destroyedelectronically every minute. Abbreviated words fly aboutcyberspace like confetti. Even aswe speak some future captain ofindustry is texting BTW OMG TTFN. That is our future. But a yearago, maybe five, or perhaps thirtyyears ago, someone wrote a letterwith real words and more than twoseconds of thought behind them. And we are living in THEIR future. Think about it, Ms. McInerney. There are thousands and thousandsof letters back there, each one avoice from the past, waiting to beheard. And it will take a lifetimeto accomplish that. But it willbe worth it. And if you disagree,then why are you so upset that youdon't have a birthday card you didn't even know existed fiveminutes ago?
She stares at him.
OLIVER (CONT'D)There's something special aboutyou, Ms. McInerney. I've seen itbefore. An instinct. A certaincompassion for the lost soul behindthe lost letter. It's what madeyou steal Kelly's letter to Charlie.
Shane hesitates. He's right, but he's hit a nerve.
SHANEI don't care about Kelly and Icouldn't care less about her andher letter. I quit.
She walks off, leaving him on the sidewalk.
OLIVERShane! Come back, Shane!
(realizing. He saidit)
....Oh, dear.
61.
52 EXT. PARK SWINGS - DAY - LATER
Shane is sitting on the swings, deep in thought. She pushesoff and tries to get high enough to see Charlie's house overthe trees. She can't. She gives up, stands, and walks offin the direction of Charlie's place.
53 EXT. CHARLIE'S DUPLEX - MINUTES LATER
Shane walks around the corner and looks at the house withthe blue and brown doors and then realizes that parked acrossthe street is Oliver's car. He stands outside, leaningagainst it, waiting for her with two cups of Starbuck's inhis hand. She sighs and walks over.
SHANEReally?
OLIVERI allowed fifteen minutes to walkto the park, factored in anotherten for aimless wandering, whichallowed me twenty five minutes toorder your skinny vanilla latteand deliver it still hot by thetime you showed up.
SHANEAnd you think I'm that predictable.
OLIVERI think you're that invested inyour work. And an employee withthat much commitment cannot beallowed to self-terminate. Ordrink sub-standard swill, for thatmatter.
He hands her a cup. She leans against the car.
SHANEThanks.
OLIVERMy pleasure. Shouldn't be long,now. Mailman is right around thecorner.
SHANEKind of exciting. I mean, in fiveminutes he could be opening upthat letter and realizing he has adate on Friday with the love ofhis life.
62.
OLIVEROr, perhaps he has since met awaitress from Hooters and isexpecting twins and taken up workas a grouter of bathroom tile.
SHANENo chance. Not him. Not Charlie.
Oliver nods in the direction of an approaching MAILMAN.
ANGLE ON MAILMAN
He walks up the steps. He places some mail in Box A by thebrown door, then turns to the blue door, hesitates, thenfinally places the pink envelope in Box B and walks away.
ANGLE ON SHANE AND OLIVER
SHANE (CONT'D)(mesmerized)
There it is.
OLIVEROnce again, civilization prevails.
He opens the car door, preparing to drive off.
SHANEWait! We have to see him get...
She stops as a busty RED-HAIRED 40ish WOMAN in a tight skirtand heels steps out from the brown door to retrieve her mail. She notices the pink envelope and grabs that, too, and re-enters her house.
SHANE (CONT'D)What is she doing?
Alarmed, Shane takes off across the street to the duplex.
OLIVERMiss McIn...erney...
It's took late. Shane is walking up the steps and knockingon the brown door.
THE BROWN FRONT DOOR
The door opens and the Red-Haired Woman answers.
WOMANHi.
63.
SHANEHello. I...um...I'm from the UnitedStates Postal Service. I am asystems consultant for direct lineoperations.
(she flashes her ID)I'm conducting a...mailinvestigation.
WOMANYou wanna investigate my mail.
SHANEI'm investigating the unauthorizedco-mingling of correspondencebetween shared postal destinations.
WOMANI don't get it.
SHANEYou just removed an envelope fromthat mailbox.
WOMANSo? You don't have to make afederal case out of it.
SHANEActually, mail theft is a federalcase, ma'am.
WOMANI wasn't stealing it. I was sendingit back. The guy's been gone formonths and I don't think he's comingback.
She hands the letter to Shane. Shane looks at and blanches.
SHANEI'm going to have to confiscatethis.
WOMANConfiscate away, honey.
The Woman goes back inside and Shane walks numbly back toOliver's car.
OLIVERWhat are you doing with that letter. You can't just...
64.
SHANERead it.
Oliver takes the letter and reads the words that the Red-Haired Woman scrawled across the front:
INSERT ENVELOPE:
"IN JAIL. RETURN TO SENDER."
Oliver sighs deeply and looks at Shane. She is devastated.
54 INT. INNER SANCTUM - DAY - A FEW MINUTES LATER
Shane is setting up her laptop.
NORMANWhat do you mean he's in jail?
SHANEI mean his neighbor wrote returnto sender on the envelope, whichwould have put a letter with noreturn address back into the system.
NORMANYou intercepted the letter at thepoint of delivery?
SHANEYep.
NORMAN(crosses himself)
Regulation 4D1278! Dear God inHeaven. And you allowed this?
OLIVERWell, twenty-five minutes earliershe had tendered her resignation,so technically she had yet to bereinstated as a government servant.
SHANEI mean it's sheer luck I was thereat just the right time to interceptit.
OLIVERLuck is the religion of the lazy.
Rita enters carrying a card and eating a sandwich.
65.
RITAGuess what? I found it. Stoppedit just in time. Your card.
She presents Shane with her overdue birthday card. Shanestares at the handwriting and the postmark. They watch.
NORMANFrom your dad, right? Parentswrite out full names and thehandwriting is male, late forties,early fifties.
Shane stares at it, then puts it in her purse unopened.
NORMAN (CONT'D)Aren't you going to open it?
SHANELater, maybe. I gotta find Charliefirst.
RITACharlie? Kelly's Charlie?
NORMANCharlie-in-jail-for-somethingCharlie. I knew there was somethingfishy about that guy.
SHANEI'm Googling him now.
RITACharlie... In jail...
OLIVERWhat?
RITAI think I read something about...Oh, no...
SHANEWhat?
RITAThe baker. The guy who won thelottery last year? He was murderedby a guy named Charlie Riggs.
END OF ACT FOUR
66.
ACT FIVE
55 INT. INNER SANCTUM DLO - CONTINUOUS
Rita's announcement has brought everything to a halt.
SHANEWhat are you talking about?
RITAI read an article about the bakerin Park Hill who was going to giveall his lottery money to theorphanage up in Loreto Heightswhere he grew up. They said he wasa great guy, a real self-made manand he always gave cookies to thekids on Fridays after school, butthen Charlie...
SHANENot Charlie...
RITA...Somebody, some guy held up hisbakery and the baker got shotand.....
They are silent.
SHANEWhat else?
RITAThat's all I ever read. It wasjust too sad. I didn't want toread any more.
Shane turns back to her laptop.
SHANEWell, I don't believe it. Itcouldn't be our Charlie.
OLIVERHe is not "our Charlie." And ifit's true, then perhaps Kelly madethe right decision to walk awaythat day.
SHANEI can't believe you said that.
67.
OLIVER(gently)
I know how much you wanted to seethose two find happ...
SHANEOkay, here it is:
(reads)"Denver police officers arrestedCharles Riggs, age 27, thatafternoon at his....
(sighs, defeated)Washington Park duplex two hoursafter the shooting."
RITAOh, no. It is our Charlie.
ANGLE ON SHANE'S LAPTOP
We SEE a mug shot of a very sad Charlie.
NORMANHe's not bad-looking.
SHANE"Riggs was taken into custody andcharged with homicide during thecommission of an armed robbery. Hehas plead not guilty and remainsincarcerated without bail in theDenver County Jail awaiting trial."
OLIVERWell, there it is.
Shane types some more and pulls up a television news clip.
ANGLE ON SHANE'S LAPTOP
BEGIN VIDEO
We see a local newsperson interviewing a detective.
NEWSPERSON"Detective Arthur Kimsey of theDenver Police Department said itwas the shortest murderinvestigation in his twelve yearson the force."
We SEE the DETECTIVE on screen with chryon underneath.
68.
DETECTIVE"We just went to his house andwaited for him to come home!"
We SEE police escorting a handcuffed Charlie along a prepwalk.
NEWPSERSON"According to Detective Kimsey,Riggs was easily apprehended becausethe alleged gunman not only matchedthe description of the shooter byseveral witnesses, but in his hasteto escape the scene, he droppedhis wallet and identification,leaving them behind...."
END VIDEO
Shane stops the video and shakes sighs deeply.
NORMANKelly never mentioned anything inthe letter about him being clumsy.
OLIVEROr homicidal.
SHANEHush!
(typing again)When was this?
RITAAbout a year ago. This month, Ithink....
(realizing)Oh....wow!
SHANE(reads, thrilled)
Oliver! It happened a year ago onthe twenty-sixth.
OLIVER(it dawns on him)
Aha! Oh, me of little faith!
NORMANWhat's going on?
SHANENorman! Don't you see? It couldn'thave been Charlie!
(MORE)
69.
SHANE (CONT'D)He was with Kelly that day! Allday! And remember? He lost hiswallet! Whoever found his walletwas probably the same guy who shotthe baker.
RITAHe's taller than I imagined.
NORMANI was in a jail once. I wasvisiting my cousin. He was doingten days in Quartzite, Arizona forcow-tipping.
Shane is typing again, searching for something.
SHANEStop talking, Norman. And I meanthat from the bottom of my heart.
(she sees something)Oh, no....
Shane sits back as Oliver reads a headline she's pulled up.
OLIVER"Riggs Faces Life in Lottery WinnerShooting." He goes to trial nextweek.
SHANEWhat are we going to do?
OLIVERWe're going to re-address the letterand send it to Charlie care of theCounty Jail.
SHANEThat's it? But he needs our help.
OLIVERClearly, he needs someone's help. His lawyer, for example. The U.S.Postal System, however, is not inthe business of defending murderers.
RITAHe's not a murderer.
SHANEAnd if we know that, we have to dosomething about it.
70.
OLIVERThe truth is, we know nothing beyondwhat is in this letter. In fact,we most likely know far less. Perhaps it's time to put thathealthy sense of curiosity back togood use into your paying job beforeit gets us all arrested.
Shane points to what she's done on the laptop.
SHANEVoila!
They look and suddenly they are looking at an unpleasantlyvivid picture of JERRY POPOVICH, 30ish, fat, and wearing anobnoxious cowboy hat.
OLIVERWhat is this?
SHANEThis is Jerry Popovich, Charlie'spublic defender. And this is hisFacebook page.
Oliver looks at it. Rita starts passing out Yoo-Hoo bottlesas they settle in to watch.
SHANE (CONT'D)"Jerry Popovich, thirty-seven,status single...no surprise there. Likes: cooking, eating, barbecuing,loves anything from the Mile HighDeli. Life's ambition - quit thelaw and buy a restaurant..."
OLIVER"Proudest accomplishment this year:winning the hot dog eating contestat last July's bar associationpicnic"? Highly undignified for anofficer of the court."
SHANE(types)
Hold that thought! I can reconfigurea firewall and pull up the Clerk'scalendar at the District Court...
NORMANHow are you doing that?
71.
SHANEI told you, I can do anything withthis baby except beam you up tothe Enterprise.
(hits a final key)Look at that. In the last twelvemonths, Popovich has only spentfourteen hours on Charlie's case.
RITAHe's doomed.
OLIVERThis is not a man committed to thepursuit of justice.
NORMANI could have told you that. Didyou see the cowboy hat he's wearing? It's a low grade blend of felt andcardboard. They send it to youfree when you order fifty poundsor more from the Montana Steak andSausage Outlet.
SHANEYou still wanna do nothing, Oliver? You wanna leave it up to the cracklegal mind of the hot dog champion?
OLIVERThat's an unfair snapshot of a manunder considerable pressure. Enoughregulations have been "reconfigured"today. I suggest we let Charlie'schips fall where they may.
SHANEWho's playing God now? Look, theother day you said that we need tobe responsible for what littletruth we have. And the truth is,Charlie Riggs is innocent.
OLIVERPossibly.
SHANEWe can prove it.
OLIVERPossibly.
72.
SHANEPossibly, probably. It's our moralobligation to at least try.
OLIVERWhat are you proposing?
SHANEIf we send the letter to Charlie,all he can do is hand it over toJerry the idiot lawyer who's gonnalose it or spill ketchup on it. But if we deliver the letter inperson, maybe there's somethingCharlie can tell us that we can doto help. He needs this letter,Oliver, he needs to keep that datewith Kelly, and he needs help. Iknow, it's risky, but sometimesyou just have to take the leap.
OLIVERIt's a compelling proposition....
SHANEThink about it. My computer skills,Rita's memory, your talents as apostal detective, and Norman's...expertise in handwriting and specialmaterials. We're talking the DeltaForce here, Oliver.
A breathless Norman smiles proudly.
NORMANLike secret agents?
SHANE(winks to Oliver)
We even have James Bond's car.
NORMANI applied to the CIA once.
RITANo kidding? Me too! But theywouldn't let me in. I memorizedall the license plates in theparking lot, though.
NORMANWe'd have to have a name. All thegood secret agent teams have names.
73.
OLIVERHmmm...There's the problem ofAndrea, of course. She'll want toknow what we're up to.
SHANEWe're fact-gathering to ensure thedelivery of letters that requirevery special handling.
OLIVERShe could take away my refrigerator.
RITAHe really hates that.
SHANEWe'll be flying under the radar.Think of it as a covert divisionof postal intelligence.
OLIVERPostal intelligence...We certainlyare that already, I suppose.
NORMANBut we still need a name. Likethe Mission Impossible Force. Orthe Avengers. Or The Incredibles.
OLIVERAlright, Norman. How about...ThePost... The Postables. Would thatmake you happy?
NORMAN(envisioning it all)
"The Postables. A License ToDeliver!" I love it!
SHANEThen it's official.
(lifts her Yoo-hoo)To...The Postables!
They raise their Yoo-Hoos to their future.
ALLThe Postables.
END OF ACT FIVE
74.
ACT SIX
56 INT. GENERAL MAIL ROOM - THE NEXT MORNING
Andrea walks through the mail room in her usual bad mood.
57 INT. INNER SANCTUM - DAY - SAME TIME
Oliver is going over a checklist as Shane is packing up herlaptop. Norman is peeking through a crack in the door out tothe main floor.
OLIVERAlright, final checks. Laptop.
SHANECheck.
OLIVERTrenchcoat. Check.
NORMANHere she comes!
They take their places as the door opens. Andrea barrels in.
ANDREA'S POV
It appears that no one is in the room except Rita.
ANDREAWhere's Oliver?
RITAGood morning, Andrea.
Andrea notices a shuffling behind some bags. She kicks them.
ANDREANorman!
He stands up, terrified.
ANDREA (CONT'D)What in the name of Paul Revereare you doing?
NORMANSorting. Forwarding. The usual.
Oliver and Shane tiptoe out from behind the door and out ofthe office, unseen by Andrea.
75.
ANDREATell Oliver I want to see him inmy office pronto.
RITAPronto may be difficult.
ANDREAWhat are you talking about?
RITAOliver went home. He got hold ofa bad piece of fish last night.
ANDREAThen send that other one.
RITAThat could be a problem. Samedinner. Same fish.
ANDREAI want one of them at that meeting. And nobody goes home sick unless Isend them home sick.
She stomps out.
RITAYou can breathe now, Norman.
58 EXT. COUNTY JAIL - DAY - LATER
Oliver and Shane get out of the Astin Martin. Oliver wearsa tie, a jacket, and his trenchcoat. He carries hisbriefcase. Shane carries her own briefcase.
59 INT. COUNTY JAIL VISITATION LOBBY - DAY - CONTINUOUS
Shane and Oliver enter. They walk to the WATCH COMMANDER atthe desk.
SHANEWe have an attorney clientconsultation with prisoner CharlesRiggs.
WATCH COMMANDERI.D.
Oliver and Shane provide their I.D. They watch nervously asthe Commander checks his computer. He frowns.
76.
WATCH COMMANDER (CONT'D)I don't see your names on today'slist.
OLIVERWhat list is that?
WATCH COMMANDERClient Counsel Appointment Roster.
Shane pulls out her computer and starts typing furiously.
SHANEThe Client Counsel AppointmentRoster? I swear I put our nameson that yesterday.
WATCH COMMANDERYou would've had to do it lastThursday.
SHANEYes, Thursday. I put our names onthere...Thursday. For today.
OLIVER(buying Shane sometime)
Thursday. That was a lovely day,wasn't it? Virtually cloudless.
SHANEDo you mind checking again?
WATCH COMMANDER
He presses a few more buttons.
WATCH COMMANDEROkay. There you are. But I don'tshow you as attorney-of-record.
OLIVERYou are referring, of course, toJerry Popovich. A fine fellow,I've always been pleased with hiswork. Sadly, however, he inhaledone too many Mile High roast beefsandwiches last week and has beenput on administrative leave untilhis stomach returns to its originaldimensions.
77.
WATCH COMMANDER(chuckles)
Yeah, Jerry does like his subs.
He hands them two badges.
60 INT. CONFERENCE ROOM - JAIL - MINUTES LATER
Oliver and Shane nervously await Charlie's arrival. Shanesets up her laptop as if ready to take notes.
The door opens and Charlie enters in handcuffs, accompaniedby a GUARD who sits him on a chair and leaves the room butwatches from a window. Charlie stares at them.
SHANEHi, Charlie.
CHARLIEDo I know you?
OLIVERNo, Charlie, you do not know us. But we are here to help you.
CHARLIE(relieved)
Finally. You're from The ColoradoLegal Aid Association, right?
OLIVERActually, we're from the PostOffice.
DISSOLVE TO:
61 INT. CONFERENCE ROOM - JAIL - MINUTES LATER
CHARLIE(reads)
"Whatever happens, Charlie, sewthis button on and go out into theworld. I know I made the rules,and I'm not going to break themhere. But the best way to find meif you really need me someday isto just remember this: life isshort, but it's beautiful. Love,Kelly..."
Charlie wipes tears from his face.
CHARLIE (CONT'D)I knew something was wrong.
(MORE)
78.
CHARLIE (CONT'D)She would've come forward and spokenup for me if she could've. Butshe's sick, I guess, huh?
OLIVERIt appears that way.
CHARLIENobody would believe me. Not thepolice, not the District Attorney,not even my own lawyer. They allthought I made her up.
SHANEWell, you've got proof now.
CHARLIEOnly proof that she loved me. Ican't prove anything else aboutthat day without her and thepictures she took.
SHANEDid she take any pictures of you?
CHARLIEI think so.
OLIVERAll you need is one that placesyou there. Perhaps one of younear the Bloodmobile that onlycomes to the park...
CHARLIEOnce a year! That'd be perfect.
SHANESo, on Friday, you ask her! Or, Imean, I guess, somebody should...
CHARLIELook, I know it's a lot to ask,but...
SHANEOf course we'll go. Friday, onthe bridge, we'll meet her andwe'll let you know as soon as weget the pictures.
CHARLIEJust let me know that she's okay.
79.
Shane and Oliver are touched. Charlie's a good guy.
CHARLIE (CONT'D)I wish I knew what was wrong withher.
OLIVERWe can make some discrete inquiries. Is there anything you can tell usabout her that wasn't in the letter?
CHARLIEWell, I remember thinking when shegot on the elevator that she hadthese beautiful sad eyes.
SHANE(gets an idea)
What floor was that? When she goton the elevator.
CHARLIEUm...it was...the fourth floor.
SHANEIn the Colorado Bank Building?
Shane starts to frantically type.
CHARLIEYeah, why?
SHANEHere it is. "Western States AdvancedResearch Systems, a state of theart medical research companyspecializing in the experimentaltreatment of blood-related disordersspecifically... Hodgkins Disease."
CHARLIEOh, my God.
OLIVERCheck if anyone named Kellyparticipated in an experimentaltreatment there last year.
SHANEI'm on it.
OLIVERShe's very thorough.
CHARLIE AND OLIVER WAIT PATIENTLY
80.
SHANEMedical records, always tough.
CHARLIEI tried to find her on the internethere, too. I tried every versionof "Kelly" I could think of. Itried Facebook and The MissedConnections on Craigslist.
SHANEOkay. I'm in. September 26 lastyear they finalized their controllist of forty patients with Stage3B Hodgkins Lymphoma and startedtrials the next day...But theyonly use first names...Jack D. Jason M. Karl W, Kelly! Kelly S. Bingo. How old do you think Kellyis?
CHARLIETwenty two, twenty three maybe?
SHANE(reads)
Kelly S. Date of birth....she'stwenty two. We've got her. Nowlet's see how she's doing....
Shane types. Shakes her head. Tries something else.
CHARLIEWhat's the matter?
SHANEThey ran the actual trials inCheyenne and all the clinicalrecords were sent up there. I canonly get the double-blind resultsfrom August..Okay, here they...
Shane just stares at them and finally sits back in her chair.
CHARLIEWhat? How's she doing?
Shane can't speak. Oliver reads the words on the screen.
OLIVER"The 2012 clinical trial commencingSeptember 27, 2012 failed to producepositive outcomes in... 100% ofsubjects. As of this date, nopatients survived treatment."
81.
CHARLIEI don't..I..what does that mean?
OLIVERCharlie, I think it means she'sgone.
Charlie stares sadly at the blazer button in his hand.
62 INT. INNER SANCTUM - NIGHT - LATER
Oliver, Shane, Rita, and Norman sit silently, grieving.
NORMANWhat do we do now?
RITAWe can still...
OLIVERNo. We tried, and it's over.
SHANEBut we didn't try hard enough. The pictures have to be out theresomewhere. If we could just...
OLIVERWe did our best. But the truthis, we are only postal employeesand we need to get back to doingwhat we know how to do and letpoor Charlie grieve for Kelly.
SHANEAnd fight for his life.
Andrea enters.
ANDREAGotten over the bad fish, I see.
OLIVEROh, Andrea, yes. We're feelingmuch better, aren't we, Ms.McInerney?
SHANEYeah. It's a miracle.
OLIVERForgive me for not keeping you inthe loop, Andrea.
82.
ANDREAOh, yeah. I really missed beingin your loop. Too bad you weren'tin mine. You missed the meeting.
OLIVERAnd I deeply regret that. It won'thappen again.
ANDREAYou're darn right it won't happenagain 'cause there ain't gonna beanother department meeting again. Ever.
OLIVERI beg your pardon?
ANDREAThat's right. They're shuttingthe place down. This lousy branchhas - what did they call it? -"lost its viability."
OLIVERThe Dead Letter Office is...dead?
ANDREAThis time next month, you'll allbe selling stamps and sortingcatalogues in Byers or Pueblo maybe. Meeker, if you're lucky!
(to Shane)You wanted a transfer? Well, you'regonna get one, missy. How's THATfor being in the loop?
Andrea walks out and slams the door. They all stand in shock.
END OF ACT SIX
83.
ACT SEVEN
63 INT. BAR - "THE MAILBOX" - THAT NIGHT
The gang sits together at the bar, silent and dejected.
RITAThis has been a very bad day.
NORMANI thought we were a pretty goodteam, holding down the fort.
RITA(taking a risk)
You wanna dance?
Norman looks as if he's been invited to an electrocution.
OLIVERDance with the lady, Norman. Youdeserve a little diversion.
Norman and Rita walk away. Oliver watches them try to dance.
SHANEHe has a terrible crush on her,you know.
OLIVERThat's very insightful of you,considering she absolutely terrifieshim.
SHANELove is funny.
OLIVEROdd, perhaps. But funny? Rarely.
SHANEWhat about you, Oliver? Are youmarried?
OLIVER(uncomfortably)
Ah! Finally. Our drinks.
The Bartender delivers their drinks. Oliver lifts his.
OLIVER (CONT'D)To...to...
84.
SHANETo the Dead Letter Office - thelast hope of the written word.
They toast with their glasses.
OLIVERI made a pilgrimage to the NationalPostal Museum two years ago. Itwas glorious.
SHANECan't say I ever went.
OLIVERI got lost in it.
SHANEYou went alone?
OLIVERNo. Sort of. I took my...wife. Alovely person whose interestsextended far beyond the writtenword to, shall we say, the somewhatdecadent. We were standing infront of the Pony Express exhibitand I turned around and she wasn'tthere anymore. I looked for hereverywhere. I finally gave up andwent back to the Holiday Inn Expressand waited for her, but she nevercame. I was about to call thepolice when I noticed the littlered light blinking on the phone. She'd left a message. She saidshe was tired of being married toa government official and shefigured since she was in WashingtonDC that put her closer to Paristhan she'd ever been in Denver, soshe was getting on a plane andmoving to France.
SHANEI'm so sorry. Did she come back?
OLIVERNot yet. The last thing she saidin her message was "I'll send youmy forwarding address. Au revoir."Actually, she pronounced it "Orrivorre." I suppose her accenthas improved by now.
85.
SHANEAnd that's why you check everydead letter from Paris.
OLIVERI have to believe she mailed heraddress to me and it just got lostsomehow. I mean, she was alwayssomething of a coquette, but shenever broke a promise to me.
(sadly)Except one, of course.
SHANEHaven't you waited long enough?
OLIVERI believe in keeping promises. Iam, after all, a gentleman.
SHANEYes, you certainly are.
A long beat. Then:
SHANE (CONT'D)Oliver? Would you like to dance?
She smiles gently. He is touched.
CLOSE ON A coin being dropped in the slot of the jukebox. AFEMALE HAND presses J12.
MUSIC IN: LA VIE EN ROSE -
The heartbreaking voice of Edif Piaf serenades Shane andOliver in French as they come together and dance slowly but,of course, discretely. Norman and Rita dance in the b.g.
OLIVERInteresting choice.
SHANEHave you ever thought about justgoing to Paris?
OLIVERWithout an invitation?
SHANEOr, you could just tell me hername, I could track her down inten seconds and you'd finally know.
86.
OLIVERI suppose I would.
SHANEI bet that's it. Maybe you eschewthe electronic age...
OLIVERLove that word. Eschew.
They dip. There is a moment when they freeze and we canimagine with them what a kiss might be like. But not tonight.
SHANE....You reject it all because ifyou knew how to Google and Skypeand scan and whatever, you wouldn'thave an excuse anymore for notfacing the truth.
OLIVERDon't psychoanalyze the SectionLeader, please. Besides, you'reone to talk.
SHANEWhat do you mean?
OLIVERWhy haven't you opened that cardyet?
SHANEHow do you know I haven't?
OLIVERNorman checks your purse everyday. You should open it. I'mguessing birthday card with twoten dollar bills in it from Dad.
SHANEYou are good. Yeah. He alwayssent me twenty dollars for mybirthday.
OLIVERSent. Not... gave?
SHANEHe left us when I was ten. He'dalways promised to come to mybirthday, but all I'd ever get wasa card and some money.
87.
OLIVERSo that's why getting Kelly andCharlie to keep that date meant somuch to you.
SHANEYeah. Maybe so. I do know how itfeels to wait for somebody whonever comes.
OLIVERI'm sorry to hear that. But ifthe letter from your dad is anolive branch, maybe he's sendingyou a message. Life is too shortto lose the chance to...
SHANELife is short! Oliver, that's it! She was sending him a message!
(calls out)Rita! Norman! Let's go!
Shane walks off the dance floor and everyone follows.
64 INT. INNER SANCTUM - NIGHT - LATER
The four of them gather around Shane's computer as she types.
SHANEOkay, Rita, keep going.
RITA(reciting)
"Charlie, sew this button on andgo out into the world. I know Imade the rules, and I'm not goingto break them now."
Shane nods.
RITA (CONT'D)"But the best way to find me ifyou really need me someday is tojust remember this: life is short,but it's beautiful. Love, Kelly..."
SHANEThere's a reason she never wantedhim to forget that. It was herway of breaking the rule. It wasa way for him to find her.
OLIVERShe was sending him a message.
88.
SHANE(as she types)
Life is short, but it's beautiful.
They stare in shock at the screen. It is a blog called "LifeIs Short But It's Beautiful." And the background photo is ashot of Charlie in mid-air, leaping across the ditch.
NORMAN(reads aloud)
"Charlie, if you find this page,you must have really wanted tofind me. And in case I don't makeit to the bridge, I wanted you tohave these pictures to rememberthe last best day of my life. Love,Kelly."
SHANEThere's Charlie by the lake. There'sCharlie sailing the boat.
OLIVERWhere's Charlie and the Bloodmobile? They have to be in the same pictureto establish time and place.
SHANEWe'll find it.
WE SEE A SERIES OF PHOTOS CHRONICLING CHARLIE'S JUMP ACROSSTHE BRIDGE AND COLLISION WITH THE JOGGER. WITH EVERYDESCRIPTION WE HEAR, WE SEE A MATCHING PHOTO.
SHANE (CONT'D)Look, there he is jumping the ditch,there he is landing on the otherside, there he is running...
RITANo, that's the jogger who ran intohim. Or is that Charlie?
NORMANIt's the jogger. He just sort oflooks like Charlie.
RITASort of? He looks a lot likeCharlie. Same build, same hair..
OLIVERInteresting. Charlie was knockeddown by someone who looked a greatdeal like him...
89.
SHANE...Just before he lost his wallet.
END OF ACT SEVEN
90.
ACT EIGHT
65 EXT. CITY HALL - ESTABLISHING - DAY
66 INT. LOBBY - DAY - THE NEXT MORNING
Rita stands by the elevators, looking around. She holds abag. She looks across nervously to Shane.
RITA(into phone)
Here he comes.
ANGLE ON NORMAN AND JERRY POPOVICH
Norman stands behind the large Jerry as they walk throughsecurity. Norman follows Jerry to the elevators. Rita stepsup next to Jerry and presses the UP button. The three ofthem wait for the elevator to open. Some PEOPLE exit, butwe see that Oliver is inside holding a folder. He staysthere as Jerry, Rita, and Norman enter. Just as the doorsclose, A MAN attempts to catch the elevator, but Shane stepsin front of him and flashes her Postal I.D. badge.
SHANEI'm sorry, sir. This elevator hasbeen secured. Please take theelevator to your left.
Shane steps inside and the doors close.
67 INT. ELEVATOR - CONTINUOUS
Jerry presses a the button for his floor but just as theelevator begins to move, Shane presses the STOP button andthey lurch to a halt.
JERRYWhat the hell is going on?
OLIVERA moment of your time, Jerry.
JERRYWho are you people?
OLIVERLoyal Americans working for a topsecret agency dedicated to thehighest standards of mail delivery. We have a matter of the utmostimportance to bring to yourattention.
91.
JERRYLet me outta here.
SHANE(holds up bag)
I have a Double Double Mile HighRoast Beef special on sourdoughthat says you wanna hear what wehave to say.
Jerry hesitates. Oliver pulls the photos from the folder.
OLIVERYou are the public defender forCharles Riggs and this is theevidence that proves he is innocent. Photos taken in a park at the sametime the crime took place. Notethe Bloodmobile - a once a yearafternoon event. Please payparticular attention to this photoof a man who bears a remarkableresemblance to Mr. Riggs. Pleasenote his hand suspiciously nearMr. Rigg's back pocket. I submitto you that he is stealing thevery wallet that the perpetratorpurposely dropped at the scene ofthe crime to frame an innocent manfor the murder of the baker.
JERRYThat's ridiculous.
OLIVERIt does sound a bit far-fetched,until I point out that the manaccosting Mr. Riggs and removinghis wallet is Eugene Moss, thecousin and sole surviving relativeof the deceased.
RITALook him up. He's on the internet.
Jerry stares at the photo.
OLIVERFollow the money, Mr. Popovich,and I imagine you will find a murderweapon and a man who has justinherited the lottery millionsthat his cousin had planned todonate to an orphanage.
92.
JERRYWell, I'll give this some thought.
OLIVERYou will give this to the DistrictAttorney on the seventh floor rightnow and get the charges againstMr. Riggs dropped immediately.
JERRYLook pal, you can't tell me whatto do.
SHANE(reaches into bag)
Better hurry, Jerry. This offerends when we get to the seventhfloor and I eat your Mile High suball by myself.
JERRYIs that a threat?
OLIVERNo. But this is. Have you everseen what happens to Montana Steakswhen they've been delayed foradditional postage.
Jerry sighs, presses the button and takes the sandwich.
OLIVER (CONT'D)Well done, sir.
68 EXT. DENVER JAIL - THE NEXT DAY
The Postables stand across the street by Oliver's car,watching the door to the jail.
RITASo, this it? It's all over?
OLIVERBefore you know it, we'll be backat the DLO packing our proverbialbags. Our days of rule-breakingglory are over.
SHANENot for me.
OLIVERNo.
(MORE)
93.
OLIVER (CONT'D)I imagine you'll always be foundsomewhere stepping across a line. But before it's all over, I'd liketo know why: Why are you such arevolutionary, Shane McInerney?
SHANEWell, because you actually calledme by my correct name, I'm goingto tell you, Mr. O'Toole.
Shane pulls out the still-unopened "birthday" card.
SHANE (CONT'D)I used to follow all the rules. Drove the speed limit, parked atleast five feet from the firehydrant, never tore the tags offfurniture. So when the hospitaltold me that visiting hours wereover one night, I said thank you,I'll come back and see my dadtomorrow. But when tomorrow came,I didn't have anyone to come backto. My dad had died overnight andI never got to work things outwith him.
NORMANWhy were you fighting?
Rita elbows him.
SHANEI'd said something horrible tohim. He called and said he wassick and wanted to spend my birthdaywith me before he died. And Itold him he'd been gone so longthat he was dead to me already.
RITAOuch.
NORMANBut...he was your dad. He knew hehurt you. He must have known youdidn't mean it.
SHANEHe knew that I did.
(MORE)
94.
SHANE (CONT'D)So, maybe this is a birthday cardwith twenty dollars and a bunch offorgiveness in it. But if itisn't...I don't think I could bearit.
No one knows what to say. Oliver looks up in time to seeCharlie walk out of jail.
ANGLE ON CHARLIE
He is walking out of the jail, putting on his blazer, wearingthe same clothes he was arrested in a year ago. Charlie isinstantly surrounded by a number of reporters and newscameras, eager to interview the innocent man.
REPORTER#1Mr. Riggs! Mr. Riggs! How doesit feel to be exonerated?
REPORTER#2Who found the evidence?
REPORTER #1What's the first thing you're goingto do?
Charlie takes a deep breath and looks across the street. He sees our gang waiting for him by Oliver's car. He smiles.
69 EXT. WASHINGTON PARK - DAY - MINUTES LATER
The car pulls up and they get out near the bridge.
CHARLIEI know it doesn't matter now, butI just figured, it's Friday andone of us should be here, you know?
OLIVEROf course. Best wishes, Charlie.
RITAI brought you a bagel and lox.
NORMANAnd cream cheese. And capers.
CHARLIE(moved)
Thanks. Thanks for everything.
95.
RITACome on, Norman, let's feed theducks.
Norman shrugs and they walk off.
CHARLIE(a beat)
Why did you all do this?
OLIVERWe each have our reasons. A daughterwaiting for a father. A husband'swife who left him to see Paris andnever returned. A loyal governmentworker and a young woman with amind like a Wikipedia committed totheir work and, perhaps someday,to each other. We are simple peoplewith a simple faith in the goodnessof the average American letter-writer. We do this for these, andfor so many more reasons. Butmore than that, we did it for Kelly.
CHARLIEU.S. Postal Service, huh?
OLIVERAn obscure division.
CHARLIEWell, thank you.
OLIVEROur pleasure, Mr. Riggs. We werejust doing our job. Oh, one morething...
Oliver reaches into his pocket. He hands Charlie the button. Charlie takes it and nods.
SHANE(hands him somethingelse)
And, here. Just a little somethingto remember us by. It's...a sewingkit.
Charlie smiles and nods. He turns and walks towards thebridge. Oliver and Shane walk towards Norman and Rita.
NORMANIt's hard to believe this was ourlast assignment together.
96.
SHANENorman, this was our firstassignment together.
NORMANYeah. I'm gonna miss us.
Rita smiles and tentatively puts her arm through Norman's. A WOMAN ON A BIKE rides past them. Shane glances up, thenrealizes something. She stops and turns around.
SHANEOh, my God....
ANGLE ON THE BRIDGE
Charlie leans over the bridge and stares sadly at the ditch. He sighs. He opens the sewing kit, pulls out a needle andprepares to sew on the button in his hand.
KELLY (O.S.)Charlie?
He turns and is stunned to see Kelly standing by a bike.
CHARLIEWhat...what are you doing here?
KELLYWell, we had a date, right?
CHARLIEYeah, but...I mean, I tried tofind you, I did find you, at theresearch center... but... you're...alive. My God, you're alive!
KELLYI'm fine! You found me in Boston?
CHARLIEBoston? No, here in Denver. Theplace on the fourth floor. Butthey said nobody survived thetrials.
KELLYReally? Wow. I never finishedthe trials. I only signed upbecause it was free and I was tooafraid to go back home and ask myparents for help.
97.
CHARLIEI can't imagine you being afraidof anything.
KELLY(smiles)
You don't know my parents. Butthat day, when you quit and thenyou jumped the ditch, I realized Ihad to do some scary things, too. So I dropped out of the program,and went home to Boston and I madeup with my parents and they got methe greatest doctor in the worldand here I am.
CHARLIEYou were in Boston all this time? So, you don't know...
KELLYKnow what?
CHARLIE(smiles)
Doesn't matter. You ready for oursecond date?
KELLYI'm here, aren't I? But look atthat! You still haven't sewn thatbutton on!
CHARLIEI was waiting for you.
He holds out the button. She reaches for it. He takes herhand and pulls her to him and they kiss as if it's beenforever.
ANGLE ON OLIVER, SHANE, RITA, & NORMAN
NORMANThat's Kelly, right?
OLIVERYes, Norman, I believe it is.
RITA(weeping)
I knew it. I just couldn't believeshe was really gone...
98.
NORMANBut I don't understand. She'ssupposed to be...
OLIVERYou can't believe everything youread on the internet.
SHANEThat's right. "There are morethings in heaven and earth, Norman,than are dreamt of in yourphilosophy."
OLIVER AND SHANEShakespeare.
They share a private smile as the gang walks to the car.
OLIVER (V.O.)I have seen it all, dead lettersby the thousands, each one a tinypaper vessel laden with good newsor ill, profit or loss, love orpain...
WE SEE CHARLIE & KELLY BY THE LAKE. CHARLIE SETS ANOTHERPAPER BOAT INTO THE LAKE AS KELLY SEWS ON THE BUTTON.
OLIVER (V.O.) (CONT'D)...Tossed about on the rough seasof government protocol, a shipsearching for its harbor. Eachone bearing the power to changesomething and yet, each one adestiny postponed...until it comesto us.
70 INT. U.S. MAIL REGIONAL FACILITY - ONE WEEK LATER
Oliver walks confidently across the mail floor. He nods toa seething Andrea. He walks toward the Inner Sanctum door.
OLIVER (V.O.)Aunt Tilly's missing will, themissing registration form of theclass reunion, the odd ransom note,the first letter from college, thelast letter from Iraq.
71 INT. INNER SANCTUM - DAY - CONTINUOUS
CLOSE ON: Another load of DEAD LETTERS being dumped into abin. The gang has clearly worked out a terrific systemtogether.
99.
Rita is pulling out letters variously addressed "Barack Obama,USA" "The Jerks at the IRS" etc. Norman alternately crosseshimself and stamps them. He passes them to Shane, who worksthe laptop and forwards them.
NORMANSanta, the Pope... here's one foryou.
Norman tosses a blue card to her. Shane scans it efficiently.
SHANENo city. Just a zip. 145 AlbinoTreets? Should be Albion Street.
NORMANObviously.
SHANE(with newfoundauthority)
Sender is clearly dyslexic. Applythat same disturbed pattern sequenceto your ZIP, reverse the first andfifth numerals, and you have... 90208 not 80209. Los Angeles!
Oliver enters. He walks purposefully to his desk and openshis attache case, removing a brown lunch bag and a bottle ofYoo-Hoo, which he places carefully in his belovedrefrigerator.
NORMAN'Morning, Oliver.
He walks to the time clock and finds his card on the wall.
OLIVERLadies and gentlemen, it is anexcellent day.
He punctuates this with a decisive CLICK of his card in thetime clock. He returns the card to its slot.
OLIVER (CONT'D)There is little that lifts a man'sspirits more than the knowledgethat he has meaningful work.
NORMANMickey Mouse...George Clooney...Her Royal Majesty Queen Sofia ofSpain - toss that into Europe,will you?
100.
Shane takes it and tosses it into a bin. Oliver retrieves anewspaper from his attache and cuts out a story from it.
Oliver pins his news clipping to his bulletin board.
THE CLIPPING: The headline reads: "POST OFFICE SOLVES MURDEROF BAKER, REUNITES COUPLE"
Oliver straightens it, sniffs, clears his throat, to callattention to the clipping. Shane and Norman stop and readthe headline. Oliver points to a paragraph farther down.
RITA(reading)
"District Attorney Edwards hailedthe local post office branch atAlameda and Downing for 'superlativeservice and a highly efficientdead letter division.' The branchwas originally slated for closurebut will now be expanded to receiveall misdirected letters from theWestern and Mid-States region."
The door opens and Andrea enters, carrying a paper.
ANDREAMcInerney. I guess you rate now.That transfer you asked for camethrough early and you report toDirect Line Operations at theTerminal Annex in two hours. Ifyou still want it.
Shane slowly takes the paper and stares at it.
SHANEThanks. I think...I think I needa cup of coffee. Good coffee.
She exits. The three remaining Postables turn to each other,devastated. Andrea's evil smile returns.
72 INT. STARBUCK'S - DAY - LATER
The Barista calls out an order.
BARISTA (O.S.)Grande chai tea with foam.
ANGLE ON THE LINE OF SHOES WAITING TO ORDER AT THE COUNTERAND SHANE'S FAMILIAR BLACK SLINGS.
PANNING UP we see Shane. She stands in line, still holdingAndrea's transfer notice in her hand.
101.
After a moment, she remembers something and reaches into herpurse and trades the paper for the still-unopened greetingcard.
She takes a deep breath and opens it up. It is a birthdaycard. As she reads, she is visibly relieved and moved. Andyes, there are two tens.
73 INT. INNER SANCTUM - DAY - A FEW MINUTES LATER
NORMANMaybe we could go find her.
OLIVERNot on your tintype, Norman.
RITABut Shane is out there somewhere,deciding where to go.
OLIVERYes, she is. And who can understandthat better than we who believethat everything lost must find itsway home in its own good time.
They fall silent and tend to their work. A pall has fallenover the room. Then, the door opens and Shane enters,carrying four cups of Starbuck's coffee.
SHANECome and get'em while they're hot! I got three skinny vanillalattes...and one Venti Americano. We've got a lot of mail to getthrough today.
OLIVERThat was very kind of you.
SHANEHey. I found an extra twenty.
They happily turn back to their work.
OLIVER (V.O.)Yes, the thoughtfully-composed,well-considered, addressed, stamped,professionally postmarked, andpersonally delivered letter isstill the gold-standard of humanintercourse. God is in His universeand all is right with the world.
THE END