The Verification (1)
FADE IN:
INT. PLANT - DAY
In a plastic plant, workers grumble, as they take rolls
of film from extruders and place them on machines that
convert them to finished products.
Supervisors walk through aisles, checking work progress and
product quality.
INT. OFFICE
In a cramped office, several men work on desks.
ALAN TAYLOR, a young man in his thirties, wearing
eyeglasses, studies a blueprint on a desk that is
cluttered with piles of documents and files.
A loud plant whistle is HEARD.
Several men exit the office.
Alan takes out a sandwich from a lunch pail and takes
a bite out of it.
A voice over an intercom.
PRICE (O.S.)
Alan will you come into my office please?
ALAN
(at intercom)
Yes sir.
He takes a large bite out of his sandwich.
He gets up -- his shoulders are hunched -- He exits the office.
INT. PRICE'S OFFICE
The office is neat with everything in its proper place.
PRICE, a tall man and Alan study a large blueprint spread over
a large desk.
PRICE
I want you to study these blueprints.
ALAN
What kind of a plant is it?
PRICE
Plastics. It'll be ours shortly.
ALAN
Where are they located?
PRICE
In Chicago. We'll be moving our operations
there.
Alan stands stunned
PRICE
It'll be a step up for you and you'll
be getting a hefty raise.
ALAN
I'll have to discuss this with my wife.
PRICE
We want you to make a trip out there and
give us a detailed report.
Price hands him the blueprints
EXT . DOWNTOWN - DAY
The sky sparkles in the sunlight.
The area teems with activity
The luncheon crowd move in herds among the parked cars.
Cars and buses lumber along on streets, bumper to bumper.
People pour in and out of shops, office buildings, restaurants
and galleries.
INT. STEWART'S REAL ESTATE CO.
Employees work in a maze of cubicles.
BARBARA TAYLOR, an attractive young woman in her thirties sits
at a desk with MR. and MRS. OHARA, a middle age couple. Barbara
hands Mrs. Ohara keys and a booklet.
BARBARA
If there's anything else you need that
we can help you with, just call us.
MR. AND MRS. OHARA
(in unison)
Thank you.
BARBARA
It was our pleasure.
Mr. And Mrs. Ohara exit the office
INT. STEWART'S OFFICE
CHARLES STEWART, a dapper looking man in his forties and
Barbara sit at a desk.
STEWART
This makes a record month for us, thanks
in great part to you.
BARBARA
We've had some good properties to sell
STEWART
I believe you're ready for a higher
position.
BARBARA
I'm happy being on commission.
STEWART
I'm offering you a partnership. You'd
have many perks as a partner.
BARBARA
(smiling)
That's what I'm afraid of.
STEWART
We could make a great team. We could
expand our operations to different
territories. I need you.
BARBARA
Thanks for the offer, but I can't spare
anymore time away from my family.
STEWART
Someday you'll see things differently.
EXT./INT HOUSE-NIGHT
The sky is charcoal. The wind blows wildly.
Alan and Barbara and their children- TOMMY, a boy
of six and LEAH, a girl of eight - are finishing dinner.
STELLA, a golden retriever, sits on the floor beside them.
LEAH
Mommy, can we watch TV?
BARBARA
Yes, but don't make a mess there.
Leah takes Tommy's hand and they exit the room.
Barbara gathers the dishes and silverware and walks into
THE KITCHEN
Barbara places the dishes, silverware and glasses into a
dishwasher and she returns to
THE DINING ROOM
BARBARA
If the company does move, it'll be
without us, not after all the work
we've put into the house.
ALAN
We can always sell the house and buy a
new one when we relocate.
BARBARA
That's just like you. You've never had
the backbone to fight back.
ALAN
I don't make the decisions. They do and
there's nothing we can do about it.
BARBARA
Well this time the decision is ours,
and we're not moving to Chicago.
ALAN
I'd be getting more pay now and a...
BARBARA
...How many times have I heard that
before...I'm not moving and that's
final...I'm going to bed.
Alan stares at her, as she climbs the stairs.
Stella, the dog snuggles up against Alan. She walks to the
door and turns toward Alan.
ALAN
All right. We'll go for a walk.
Alan gets a leash from the closet, hooks it on to Stella's
collar and they exit the house.
EXT. WOODS - NIGHT
The stars wink at a black velvet sky.
Alan and Stella walk in the woods. Stella energetically
pulls Alan with her.
ALAN
Stella slow up.
They continue their walk. Alan's face is wrinkled with
anguish, as he mumbles some words and shakes his head,
After a beat, Stella suddenly stops. She starts to whine
softly and pull Alan backwards. A whirling sound is
heard and gets louder.
Bright lights whirring above, shed a blazing radiance.
Alan holds Stella tightly. He smiles, as he stares at the
sky. Within a flash, the whirling sound stops and the sky
turns black.
Alan and Stella walk toward the house.
INT. BREAKFAST ROOM - DAY
Barbara gathers Leah and Tommy. Alan drinks a cup of coffee.
His bag and raincoat are beside him.
BARBARA
(to children)
Let's hurry now or we'll be late.
(to Alan)
When's your flight?
ALAN
Eleven
BARBARA
Call me when you get there.
ALAN
Okay.
She and the children kiss Alan, then leave.
Alan reads his newspaper while drinking his coffee.
After a beat, the whirling sound is heard. Alan gets up and
looks out of the window.
Bright lights blaze in the sky.
He exits the house. He looks up at the sky. He stands rapt,
his face twisted with disbelief.
A large saucer type space ship hovers above him.
Its multicolor lights form a funnel that envelops him.
The funnel slowly lifts
him into the space ship. Within a flash the ship darts off
the sky.
INT. SPACE SHIP
The ship is shrouded in a gray mist.
Alan is laid out on a large table.
Several strange looking aliens in white gowns and masks, hover
over him. They probe his body with long needles and converse
with each other in a soft strange language.
Alan's attempts to move his body are unsuccessful.
He opens his mouth to scream, but no sound is heard.
The aliens continue to probe Alan's body.
LATER
EXT/INT. HOUSE - DAY
Alan walks into the house. He sits for a moment, then stares
at his bag and raincoat. He looks at his watch and shakes his
head as if to clear it. He picks up a phone and punches a
number.
ALAN
Hello..This is Alan Taylor...
I'm waiting for your taxi...He's
on his way?... Thank you.
He hangs up. He puts on his jacket and gathers his bag and raincoat.
INT. AIRPORT TERMINAL - NIGHT
Passengers pour in and out of terminals.
Alan with a carryon bag, emerges from a terminal. He scans
the area. He stops, his face a mask of disbelief.
A man, the mirror image of himself, dressed in a sharp designer suit,
walks past him.
Alan shakes his head as if to revive.
Billy (O.S.)
Mr. Taylor.
BILLY GORDON. A young man in his twenties approaches Alan.
BILLY
Mr. Taylor, I'm Billy Gordon from Westgate.
ALAN
Oh! Hello. How did you know it was me?
BILLY
They showed me your picture. Do you have anymore bags?
ALAN
No, this is it. Thanks for meeting me.
BILLY
The car's outside.
They proceed to walk to the airport exit.
EXT. AIRPORT
Billy and Alan get into a chauffeured limousine and drive
off.
INT. LIMOUSINE
Alan scans the interior of the limousine.
ALAN
This is awfully nice of you people.
BILLY
(handing Alan a card)
I've already checked you into the hotel.
If you need anything at all, call me at
any time at this number.
ALAN
Thank you.
Alan places the card in his wallet.
After several beats, the limousine pulls up to a hotel.
Alan emerges from the limousine. He waves to Billy.
Billy waves back, as the limousine drives off.
Alan enters the hotel
LATER
INT. HOTEL ROOM
Alan talks on the phone
INTERCUT
Barbara at home.
ALAN
I should be through here in a day
or two.
BARBARA
I haven't changed my mind. I'm not
leaving my home or job.
ALAN
How are the children?
BARBARA
They're fast asleep.
ALAN
Give them a kiss for me.
BARBARA
Call me before you leave.
Barbara hangs up.
Alan holds the phone for a moment then hangs up.
EXT/INT. RESTAURANT - NIGHT
Alan is finishing his meal with a coffee. A waiter arrives
with a check. Alan signs the check.
WAITER
Thank you. Would you like a taxi Sir?
ALAN
No thanks. It's just a short walk to
the hotel.
WAITER.
Have a good evening.
Alan gets up from his table and walks out of the restaurant
and into
THE STREET
Alan walks on the street. A misty fog blankets the quiet,
empty street. Alan turns up his jacket collar in an attempt
to keep the wind away.
He enters an alley and continues walking.
Ahead of him. three young men with long hair, dressed in
chinos smoke cigarettes.
Alan approaches and is stopped by one of them.
FIRST MAN
Pops, can you spare a cigarette?
ALAN
I don't smoke.
Alan starts to walk away, when he is confronted by the second
man.
SECOND MAN
How about some cash instead?
The men surround Alan.
ALAN
I've only got a few dollars in cash.
THIRD MAN
We'll take it.
Alan starts to take out his wallet.
The first man hits Alan on the head with a Billy-club.
Alan crashes hard to the ground. He is unconscious.
The men quickly rifle his clothes, taking his wallet, watch, gold
ring and jacket. They quickly run away.
LATER
Alan wakes up. He holds his head, his face twisted with
pain. He attempts to get up, but falls back to the ground.
He sits up and shakes his head, his body shivering violently.
FRED, a barrel-chested man and HARRY, a small cricket of a
man, walk toward Alan.
FRED
Hi, what's doing?
ALAN
I don't have anything.
HARRY
We don't want anything.
Alan holds his head.
FRED
Looks like someone's jumped you.
I'm Fred and this is Harry. What's
your name?
ALAN
...I don't remember.
FRED
We'll call you Smith. Joe Smith.
That's a good moniker. Here, have
a swig. It'll do you good.
Fred and Harry help him to his feet. Fred hands him a
small bottle of whiskey. He helps him drink from the
bottle. Alan coughs.
FRED
Come with us. We're going up north.
We'll get you squared away
Fred and Harry lead Alan through the alley.
INT. PRICE'S OFFICE
Price talks on the phone.
PRICE
Mrs. Taylor, he hasn't shown up yet...
And you checked the hotel? It not like
him at all... Of course. He knew how
important the meeting was...Something's
terribly wrong...Call me if you hear
anything...Yes, he's got to be found
He hangs up, his face is locked in confusion and anguish.
INT. POLICE STATION - DAY
In a small office, Casey, a young, lean, muscular detective
sits at his desk.
Stacks of paperwork, dust-gathering, water-stained letters
are on his desk.
Barbara sits on a chair in front of him.
CASEY
Believe me I do sympathize with you.
BARBARA
Then why aren't you doing something
about it? It's been two weeks that
he's missing.
CASEY
We just don't have the man power to
work on your case now. We haven't even started
on some of our hi-priority cases.
BARBARA
This has been a dreadful nightmare.
CASEY
You may want to look into an outside
agency.
BARBARA
(getting up)
And we pay taxes for you police.
Casey gets up from his chair. He attempts to shake hands
with Barbara. She evades his gesture and storms out.
EXT. FARM - DAY
The farm sparkles in the sunlight.
Men and women pluck vegetables and fruit from the
plants and trees and place them in baskets.
Fred, Harry and Alan work arduously in picking vegetables
from the ground.
Harry's hair has turned gray. His face is wrinkled and
weather worn. He is unsteady on his feet.
Alan stands up for a moment. He wipes his face with a
handkerchief and stretches his body. He is tan, his
body erect and he wears no eyeglasses.
FRED
Well Joseph. Next week we'll be back in
Chicago.
ALAN
I'll be sorry to leave.
BETTY, a young, attractive woman, carrying a water bag
approaches.
HARRY
(smiling)
I wonder why?
Betty fills a large cup of water and hands it to Alan.
ALAN
Thanks Betty.
He drinks the water thirstily.
BETTY
Are you going to the dance tonight?
ALAN
I haven't made any plans to.
BETTY
Dad's letting me have the car. We
could go together.
ALAN
Would your Dad approve?
BETTY
Of course. He likes you.
ALAN
Then I'd be happy to go.
Betty gives him a quick peck on the cheek.
She proceeds to dole out the water to the other farm workers.
FRED
We've got a few more jobs lined up
when we get back. Join us for a drink
tonight and we'll talk about it.
Alan stares at Betty, as she continues to dole out the
water. Betty turns toward Alan. She gives him a broad
smile.
ALAN
I can't make it tonight.
BLACK SCREEN
Dance music is HEARD.
FADE IN
INT. BARN - NIGHT
Couples are dancing to a slow beat.
Young men and women stand by the wall observing the dancers.
At a long table, people partake in refreshments.
Alan and Betty dance closely. Betty rests her head on
Alan's chest. She looks up at Alan.
BETTY
Are you really leaving?
ALAN
It looks like it.
BETTY
Dad wants to give you some work
here after the season.
ALAN
That's very kind of him.
BETTY
Dad says that you must have been an
engineer.
The music stops. Alan looks ahead.
ALAN
There they are.
Alan and Betty approach Fred and Harry.
ALAN
What are you guys up to?
FRED
We're going to town.
BETTY
I hope you're not taking Joseph away.
HARRY
(with trembling voice)
You're welcomed to come along.
Betty locks eyes with Alan searchingly. Alan smiles.
ALAN
We'll do it another time. Have a good
time.
FRED
See you tomorrow.
Alan and Betty walk out of the barn.
EXT. BARN
The sky is blue with wisps of clouds.
BETTY
You and your friends are very close.
Aren't you?
ALAN
` I'd be completely lost without them.
BETTY
What's wrong with Harry?
ALAN
He's been aging rapidly.
BETTY
Is there anything that can be done?
ALAN
I don't know. Fred's taking him
to a specialist when we get back to
Chicago.
BETTY
I hope they can do something for him.
ALAN
We hope so.
BETTY
You're so different from your friends
and everyone else here.
BETTY
Who are you and where do you come from?
She looks into his eyes searchingly
ALAN
I don't know who I am. I only remember
Fred and Harry. They're my dear friends.
BETTY
And what about me?
ALAN
You make me very happy.
BETTY
Then don't leave.
Betty comes close to Alan. She kisses him lightly.
A lull, then she takes his hand.
BETTY
Let's dance.
They return to the dance floor.
LATER
EXT. FARM HOUSE - NIGHT
A car pulls up to the driveway of the house.
INT. CAR
Alan and Betty are in a close embrace. They kiss long and passionately.
BETTY
I'll be anything you want me to be.
Just promise me you won't leave.
ALAN
I'd only complicate your life.
BETTY
How could that be?
ALAN
I can't give you anything.
BETTY
...I guess I've been making a fool
of myself.
ALAN
I had a very good time tonight.
They exchange doleful looks at each other.
Alan gets out of the car and walks toward the farm house.
He stops midway, turns around and waves to Betty.
Betty waves back and drives off.
NEXT MORNING
EXT. FARM HOUSE
The farm workers carrying their belongings, board trucks and
cars.
Fred helps Harry onto a truck, He then climbs aboard the
truck. Fred motions to Alan to get on the truck.
Alan and Betty stand a distance from the trucks. Alan
holds his hand up, telling them to wait.
BETTY
You'll write won't you?
ALAN
Of course. They're waiting for me.
I've got to go.
Alan kisses her. Betty holds him tightly. Alan entangles
himself from her, until his hands slowly slip away from
hers.
He runs to the truck, throws his belongings on the truck
and climbs aboard. He waves and smiles at Betty.
Betty waves back, her tears rolling down her cheeks.
EXT. BUS TERMINAL - NIGHT
A bus arrives at the terminal. Passengers board the bus.
Fred, Harry and Alan stand near the bus.
ALAN
I'd like to come along with you.
Maybe I can be of some help.
FRED
It's not necessary.
ALAN
I wouldn't mind.
FRED
It's better this way. We'll see each other again.
ALAN
How will I be able to reach you?
FRED
We'll find each other.
Fred hands him a sparkling jade amulet.
ALAN
What is this?
FRED
It'll be your good luck charm.
ALAN
How do I use...
ALAN
You'll know when the time comes. Guard
it carefully.
ALAN
I'll miss you guys.
Alan embraces Fred and Harry.
Fred and Harry board the bus.
Alan stares at the sparkling amulet and waves at the bus, as
it drives off.
EXT. CITY OFFICE BUILDING - DAY
It is a cold bitter morning. The wind blows fiercely.
In front of a tall office building, several homeless people
sleep in front of the building entrance.
They are huddled together to escape the fury of the cold wind.
Sanitation men pick up trash and haul it onto trucks.
People walk briskly in all directions.
A police wagon stands at the curb.
A policeman walks up to one of the homeless. He twirls
his stick, then slams it on the soul of his shoe.
POLICEMAN
(loudly)
Come on move it. And I mean everyone.
Let's go.
The homeless slowly wake, their eyes glazed and bloodshot.
The policeman shoves his stick into their bodies.
POLICEMAN
All right! Up you go, into the wagon.
The homeless get up. They gather their belongings and trudge
toward the police wagon.
A figure opens his blanket. It is Alan, His clothes are
tattered and he has a week's growth on his face. He gets
up and follows the others into the police wagon.
EXT/INT. GEORGE'S ESTATE - DAY
A car drives along a tree-lined road that sweeps up to a
driveway of an imposing mansion.
The morning dew glistens on a lush, green lawn, carefully
trimmed. A servant in a white jacket, walks a small white
poodle.
GEORGE CHANIN, Barbara's father, a tall man with chiseled
features, stands at the driveway.
Barbara, Leah and Tommy emerge from the car. Leah and
Tommy rush to George. They hug him tightly. Barbara
kisses George.
GEORGE
How was the trip?
BARBARA
Traffic was a bit heavy with a few
Copyright © 2001 Stanley Heisler |