First Day Since

By Marshall Cunningham

INT. BLACK VOID - NIGHT

“Time After Time” by Cyndi Lauper plays as the opening credits roll past. Light chatter and road noises are heard in the background. Suddenly, the loud noise of a car crash and screams erupt. Once it dies down, the words “First Day Since” appear.

INT. ARNIE’S APARTMENT BEDROOM - MORNING

Morning light and the noise of busy New York City streets flutter in from the slightly open window. The bedroom is small, housing a small desk, bed, and a few thick, antique shelves. They are stuffed full of blueprints, subway management guides, photos of an older couple, and the entire James Bond book series.

Next to the bed’s left hangs an old hardhat with years of scars and indents upon it. Beside that are life achievement plaques from the NYC Subway Union and Station Division. An old, ruffled calendar with the words “DAYS UNTIL RETIREMENT” scribbled on it in red ink hangs close to them.

On the other side of the bed hangs a framed poster for the film You Only Live Twice. Sean Connery’s signature glistens upon it in silver ink.

Suddenly, the gray eyes of ARNIE EMITON burst open. He’s an older white man in his mid 60s. Most of his features are pointy and wrinkled, and the little white hair he has left wraps around the back of his head. He’s dressed in a night shirt and pajama pants.

ARNIE (groggily) Morning, dear.

Arnie rises and stretches with a massive yawn. He puts on his glasses, making his eyes appear massive, and starts to glare around the room.

ARNIE (CONT’D)

Goodness me, felt I barely slept a wink. Kept dreaming ‘bout this sorta...car crash. We were finally on that vacation, y’know, to the coast, and I’d gotten a rental, and—

However, he looks to his side and doesn’t see his wife.

ARNIE (CONT’D) Missy?

He lifts up the covers to make sure she isn’t there. His head swivels left and right. She is nowhere to be found.

ARNIE (CONT’D) (worriedly)

Missy!

Arnie stumbles out from the bed. The joints in his back and arms make an audible pop. He throws on a pair of slippers and hobbles into the living room.

INT. ARNIE’S APARTMENT LIVING ROOM - MORNING

All is silent apart from the quiet honking of cars below. The living room is small with just a small TV and two recliners. The kitchen is attached to it, filled only by a small table.

Arnie looks all around, checking under the cabinets and table.

ARNIE (to himself)

The hospital call in early or something?

He raises up with cracks and groans and spots something on the kitchen wall. A letter, typed in small, black font, is pegged to the wall with a kitchen knife. Arnie moves in to read it.

It says: Your wife’s been taken. We need your help to find her. Come to The Caramel Drizzle Café on 43rd ASAP. I’ll be waiting.

The letter is signed “Agent Shell.”

Arnie’s eyes widen with fearful tears. He gulps.

ARNIE (CONT’D) (terrified)

Goodness me...

EXT. NEW YORK CITY STREET - MORNING

Arnie walks through a crowded street. Everyone is wearing dark black suits and coats while moving at an incredible pace. However, Arnie meanders through with a light fuzzy brown suit jacket, a little red bowtie, a dusty, 1960s style cap, and suspenders hiding beneath it all. A look of confusion is on his face as he tries to find the café.

INT. CARAMEL DRIZZLE CAFÉ - MORNING

Arnie enters. The restaurant is small, only having a few dimly lit tables. A barista stands behind a bar serving a customer. The very back wall has a pair of doors that seem to lead down to a set of abandoned stairs.

He spots SHELL sitting in the corner. She’s dressed in a sophisticated blue coat with sunglasses on and her dark hair wound up in a tightly-packed bun. A briefcase lies next to her leg. She’s on the phone, keeping a stoic expression as she talks. Arnie hears the end of the conversation as he approaches.

SHELL (deadpan)

I’m gonna tell him, Eli. Try and stop me.

The person on the other end starts to stammer, but Shell ends the call. She looks up and motions for Arnie to have a seat.

SHELL (CONT’D)

Morning, Mr. Emiton.

ARNIE (shakily)

M-M-Ma’am, I don’t know who you are or what’s going on, I-I just need to know where my wife is, what’s been done to her, what’s going on—

Before he can finish rambling, Shell grabs his hand and forces him to sit. She takes off her sunglasses, revealing bright blue eyes.

SHELL (assuredly)

I need you to stay calm and listen to me. We can’t get anywhere unless you do.

Arnie nods. He leans in closer as Shell begins to speak.

SHELL (CONT’D)

Mr. Emiton, you and your wife have been dragged into a war. Not one of public knowledge but one of great global concern. I am part of the CIA division known as D.A.V.I.D. We were created to fight the rising global threat of G.O.L.I.A.T.H., a Russian-based trafficking unit. They have sects all across the world. Their goal is to steal compromised peoples and ship them overseas for medical experimentation that transfigures them in horrible, horrible ways. They attacked the night of your accident, disguised as ambulance drivers. You were left, but your wife—

ARNIE (confusedly)

My...accident? You mean my dream wasn’t...

SHELL

False? No. It occurred over the weekend. It’s possible you may have suffered some memory loss from the trauma.

Arnie shakes his head and rubs his temples.

ARNIE

So...they’ve got Missy? B-But your letter, you said you needed me—

SHELL

And we still do. We’re having a breakthrough, Mr. Emiton. We’ve gathered intel that your wife and many others are being shipped off to Russia tonight. The only way to call off the order is to locate their central office. And the only way we know that leads there is...

Shell pauses to glare directly in the gray eyes of Arnie.

SHELL (CONT’D)

Through the abandoned subway line.

Arnie can’t help but smile a bit as he starts to realize what she means.

SHELL (CONT’D)

They have an old car right below this building. From what we’ve gathered it should lead straight to their base. Only issue is, it’s old, uses hardware too outdated for our agents.

Shell leans closer in again, gripping Arnie’s wrinkled hand.

SHELL (CONT’D)

We know of your work. Your skills. It’s exactly what this mission needs. Mr. Emiton, I’m asking you to save more than your wife. I’m asking you to save the world.

Arnie’s face lights up. He smiles and starts to straighten up with a giggle.

ARNIE (excitedly)

You mean you’re wanting me for...agent stuff? Like, like Bond, and, an—

Shell nods. She brings her sunglasses back on her face, struggling to conceal a smile and stay stoic.

INT. ABANDONED SUBWAY STATION - MORNING

Arnie and Shell plod down the stairs. They enter the station, illuminated by one flickering light. It houses a single, rusted subway car.

ARNIE (rambling)

It’s just, y’know, guys like me don’t get a chance for the big agent stuff. I-I-I’m small class, blue collar, and this is, well, this is real a-a-and here, and--

Shell ignores him. She pulls the car’s rusted door open with a creak.

SHELL

Let’s focus, Mr. Emiton. We need to get this working.

INT. SUBWAY CAR - MORNING

They both enter in. Shell takes a flashlight from inside her coat and shines it around, showing off the nasty, rusted interior.

ARNIE

It’s an IRT R12, one of the earlier models. First I worked on, actually.

SHELL

Can you get it running?

Arnie opens the door to the control cabin and looks at the layout of knobs, gears, levers, and loose wires. He starts to talk but suddenly stops. He stares off at it, completely blank and hollow. Shell reaches to touch his shoulder, but he jumps back to life.

ARNIE (chuckling to himself)

Don’t see why I can’t!

Arnie lies underneath the control panel. Hundreds of wires hang around him as he pulls and tweaks while whistling to himself. Shell stares off from the side, grinning to herself.

ARNIE (CONT’D) (rambling)

What we’re looking for is the conductor line. It should be...no, not there, here, yes, got it. Get that to the motor port, you’ll get the good ol’ New York power running through it. Just gotta reach right under here, plug up this, and--

Suddenly, the car turns on. All the lights start buzzing in a multitude of colors. Monitors fold out from the sides of the cars, weapon racks buzz out, and radio transmissions start to blare.

Shell helps him up, and the pair stare in confusion.

ARNIE (CONT’D) (shaken)

D-D-Did I cut the wrong wire?

SHELL

No, you did exactly what we needed.

She smiles at him and starts to look around. Arnie can’t help but blush.

SHELL (CONT’D)

This is a G.O.L.I.A.T.H car alright. I had no idea they’d be this...engineered.

She takes a closer look at the monitors and sees displays of victims, unit updates, and code typed in Russian. Arnie peaks over her shoulder, eyes wide with amazement.

ARNIE

Look! There she is!

He points to the screen of victims and sees Missy. His stare lingers as his face contorts into an odd mix of fear and happiness. Shell nods and puts her sunglasses back on.

ARNIE (CONT’D)

I...I know that picture. It’s from my award party. Those villains cut me out of it!

SHELL (jokingly)

Would you want to be up there instead?

ARNIE

I, um, I guess not.

Suddenly, the train lurches forward at great speed. Arnie is flung back. Shell catches him.

ARNIE (CONT’D) (terrified) What’s going on?!

Shell sets him down in a seat and bolts to the front. She swivels her head around and finds the central monitor glowing with a subway station map. A small green dot near the bottom starts inching closer to the top where a red dot sits. Beside the red dot is the face of a buff, balding Italian man in his 40s.

Arnie enters. He looks up at the dim tunnel ahead and starts to fumble for the break. He reaches for where it should be but finds the handle broken off.

ARNIE (CONT’D)

I can’t stop it!

The face of Shell turns white. She doesn’t respond to Arnie. Arnie looks down at the monitor, squinting to see what it means.

ARNIE (CONT’D)

Who’s he?

SHELL (cold)

Lou Paizano, head of the Alley Kings, the New York G.O.L.I.A.T.H. Branch. This car is heading to his base. Right to him.

Arnie’s face twists in shock as he steps back in fear.

SHELL (CONT’D)

We were only meant to leave this tracker here and launch an attack after it arrived. Now...it looks like we’re going in with it.

Arnie shakes his head uncontrollably, too scared to speak. He leaves the control room and starts to pace around with his hands running over his balding head.

ARNIE (terrified)

No no no no, I can’t be here, I gotta get off, we gotta stop it.

Shell rushes over and grabs him by the shoulders.

SHELL

Arnie, calm down. You have to listen to me.

He struggles away from her, eyes looking each and every way.

SHELL (CONT’D)

ARNIE!

Finally, he succumbs. He glances into her sunglasses.

SHELL (CONT’D)

We’re going to make it out of here. Alive. I just need you to listen to me and follow what I say, okay?

Slowly, Arnie nods and drops the tension from his shoulders.

SHELL (CONT’D)

Good...good.

INT. G.O.L.I.A.T.H. UNDERGROUND BASE - MID MORNING

The subway car starts to slow outside of a platform. It is filled with floodlights, crates and boxes, and guards patrolling with guns and bullet proof vests. Near the back is an elevator door protected by two guards.

INT. SUBWAY CAR - MID MORNING

Shell peaks out of the window as the car comes to a halt. She sees the mass of soldiers and ducks back down. Carefully, she moves to the opposite side and pulls down two pistols and extra ammo.

Arnie stays staring out the window. His eyes grow wide as he sees two guards start approaching the car as it grinds to a halt.

ARNIE (whispering)

They’re coming to the door!

Shell makes no expression. She grabs Arnie by the shoulder and makes him duck down. The pair hide near the back behind a row of seats.

SHELL (whispering)

Take this. Keep your wrists tight. Arms straight. Use it if you have to.

She hands him the gun, but Arnie stammers in protest.

ARNIE (whispering)

Oh no, I can’t, I—

SHELL (whispering)

Take it.

Arnie begrudgingly grabs the pistol right as the guards force open the door. They start to sweep the area, shining lights and pointing their guns at every corner.

Shell looks back and sees a second door behind them. Both the hinges and handles are rusted.

She shakes her head and grabs Arnie once again, motioning him to stay quiet and follow her lead.

She counts down with her hand. When she gets to one, she pulls the door open with a loud creak and forces Arnie through. She jumps after him as the guards, now alerted, start running to the car’s end.

SHELL (CONT’D)

Behind the crates!

Arnie, still crouching, shuffles behind a large wall of boxes all stamped with the G.O.L.I.A.T.H. logo. His hands tremble. Shell sneaks next to him, briefcase in hand.

ARNIE (whispering)

W-W-What now?

SHELL (whispering)

We need to reach that elevator. If we’re high enough, I can get the signal out.

ARNIE (whispering)

Ain’t that where the boss is? The Lou guy?

SHELL (whispering)

It’s a risk worth taking. Now come on.

They both peak out past the crates and see a maze of guards in front of them. The elevator is barely visible.

Shell motions for Arnie to follow. The two start creeping along, crouched so as to stay hidden.

The guards patrol around. Some are opening the crates and pulling out weapons, medicinal equipment, and mechanical parts. Others stand alert with their guns.

The guards who checked the car come back. Arnie sees them reporting to someone. He crouches lower, heart audibly beating.

ARNIE

(muttering to himself)

What am I doing, what am I doing, what am I doing...

Shell reaches back behind her and motions for Arnie to be quiet. When she turns back around, a guard moves in front of the crate. His face turns to shock.

The guard tries to yell, but Shell drags him down and elbows him in the face, knocking him out cold.

ARNIE (CONT’D)

(yelling)

AAHH!!

All attention suddenly turns to Arnie, Shell, and their pile of crates. Shell whips around to him in horror, her expression both shocked and angry.

Guards start to hustle towards them. Shell peaks up and sees them approaching, forcing her to pick Arnie up and turn the safety off of his gun.

SHELL

Start shooting!

Shell lets a few shots fly out before turning to run. Arnie scrambles to keep up with her.

ARNIE (yelling)

I-I-I just can’t kill people!

SHELL

It’s you or them!

She fires of another round at a guard close by, knocking the guard back into a pile of boxes.

SHELL (CONT’D)

We got to get to that elevator, now!

The guards start firing back. Most of their bullets fly into the crates. Arnie keeps his gun low and follows after Shell. The entirety of the bunker is drowned in the sound of gunshots.

They near the elevator. Shell pushes ahead of Arnie and starts to fight the two guards. She shoots one in the knee and starts fist fighting the other.

Arnie looks on in complete shock but is suddenly grabbed by a guard. Arnie tries to shake him away, but the grip is tight.

ARNIE (begging)

Stop it, please!

The guard moves his hand up to start choking him out, but Arnie manages to slip through his grasp. He turns back around and closes his eyes. He shoots.

He opens them again to find the guard lying on his back with a hole through his chest. Blood pours from underneath him, and his face is expressionless.

His gun lies on the floor with a stream of smoke crawling out of the barrel.

Arnie stares on. He slowly twists his head the longer he looks at the scene, the same way he stared at the subway controls earlier. Arnie’s face goes blank.

ARNIE (CONT’D) (calmly) Goodness...

Slowly, the voice of Shell starts to fade back in.

SHELL (yelling)

Now Arnie, now!

He hears her and is brought back to the present. His face twists back in horror and his breathing goes wild, seemingly choking him.

Shell forcefully grabs him and drags him into the closing elevator. She kicks away the two dead bodies blocking the door. It closes.

INT. ELEVATOR - NOON

The elevator is large and wide, painted with hues of gold and blue. A mirror spans across the walls. Arnie leans against the wall and tries to catch his breath.

ARNIE

I...I...I killed him...

Shell pays no attention. She hits the button for the top floor and opens the briefcase, pulling out a small tablet with wires and a thick black case on it. The screen is full of data with the central most section showing the signal status. It’s low.

SHELL

You did what you had to.

ARNIE

No no no, I didn’t! This isn’t me, none of this! I-I’m just some guy in a bad spot, not some killer, or fighter, or Bond, or—

His jagged breathing starts up again. He starts to look around at the walls, squinting as he does. They’re suddenly green.

Shell almost drops the tablet. Her once strict demeanor turns soft and concerned. She sets the sunglasses on top of her head and looks at Arnie, who turns back to her. When he does, the walls return to blue and gold.

SHELL

But you’re a hero.

She pauses before grabbing his hand and squeezing it tight.

SHELL (CONT’D)

You’re on a secret, undercover mission for your wife, Arnie. Normal people don’t do that. Normal people can’t face that kind of challenge.

Slowly, her eyes start to water.

SHELL (CONT’D)

Be the Bond your wife needs. You’re an amazing man, and an amazing husband, and an amazing—

Before she can continue, the tablet suddenly buzzes. Her expression falls. She looks at it and hides it away from Arnie who is also tearing up.

ARNIE What’s it say?

SHELL

Oh, um, the signal, it’s growing. Once we reach the top it should be ready to send out our location.

She glances back up at him, tone somber.

SHELL (CONT’D)

I’m not sure what to expect. Just be ready...for anything. Got me?

Arnie nods. He leans his head back against the wall and tightens his grip on his gun. He closes his eyes and breaths one long, quiet sigh. The rumble of the elevator shakes him, and beeps of the rising floors grow louder and louder.

INT. CONFERENCE ROOM - NOON

The elevator suddenly stops, jolting the pair forward. Before them, the doors open to reveal the conference room.

LOU PAIZANO, a big-bellied, 7-foot, bearded Italian man in his 40s, sits at the head of a long table. Six of his henchman sit around him. One is standing and presenting a weapon from a stack of crates bundled near the wall. They all look over in shock as the elevator opens.

Shell steps forward and points her gun at Lou, keeping her hand and tablet behind her back. Arnie flops around with his gun but does the same, trying to stay calm.

SHELL (firm) Stand down, Paizano.

Lou tilts his head in confusion and then starts laughing. He speaks with a heavy New York accent.

LOU

I ain’t armed, darlin’!

The six henchmen rise and point their guns at the pair.

Arnie gulps. His hand starts shaking, but Shell gives him a nod of reassurance.

LOU (CONT’D)

This all D.A.V.I.D.’s got these days, huh? You’ve gotta be kidding me!

Lou stands up and leans on the table, giggling to himself.

LOU (CONT’D)

Didn’t realize they started hirin’ from the nursin’ home.

ARNIE (yelling) Sh-shut it!

Arnie tightens his grip. Despite his shaking becoming more noticeable, he stares down Lou without any fear.

LOU

Listen, I got men right here, clamberin’ up this buildin’, an’ lockin’ the whole place down. I don’t know what kinda suicide mission you two are on but it ain’t ‘bouta work, got me?

Shell takes one quick look at Arnie. She smiles to him and gives him a nod before looking back to Lou.

SHELL

If you say so.

Shell lowers her gun from Lou and fires it twice, knocking back two of the henchmen. She grabs Arnie. The two run and crouch down behind the exhibition crates while gun shots fire over them.

SHELL (CONT’D)

(screaming)

Cover me!

She starts tapping on the tablet. The beacon is almost at full signal.

Arnie nods and peaks over. Bullets fly over his head. He ducks back down but points his gun over the crates and starts firing. One of the henchmen screams as the pistol almost flies out of Arnie’s hands.

SHELL (CONT’D)

It’s almost there! I just need to—

Suddenly, Lou crashes into the crates, exploding them in every direction. Arnie sits exposed. Shell lays buried underneath the smashed crates, the tablet blinking next to her hand.

Lou stands over the both of them, chuckling and wiping off the wooden splinters from his shoulder.

LOU

I ain’t here to play your little spy game, got me!?

He looks over to Arnie. Lou stands over him and picks him up by his shirt. The gun falls from Arnie’s hand.

LOU (CONT’D)

You! You aren’t even D.A.V.I.D, are ya’?

Lou pulls him closer. Arnie looks away, shaking and stammering unintelligible words.

LOU (CONT’D)

No...it’s your wife. You were in the wreck, and now look at ya’. Tryna save her? Get her back?

Lou holds him eye to eye.

LOU (CONT’D)

Tryna be some kinda...Bond?

Arnie gulps.

He glances over to Shell. She reaches for the tablet, but a henchman crushes it with his foot and points a gun to her head. She looks up at him, tears in her eyes.

Arnie closes his eyes. Imagery of his room comes back. His hardhat. His awards. The signed poster.

However, the largest and most clear image is the picture of him and Missy.

He opens his eyes. His hands stop shaking, and he takes one long breath.

ARNIE

No. I’m just...being me.

Arnie rears back a hand and clobbers Lou in the face. The punch forces Lou to drop Arnie as Lou reels back in pain.

Arnie picks the gun back up. Two more henchmen start to run at him, but he shoots them, wrists tight and arms straight, knocking them back.

LOU (angrily)

Come here!

Lou lunges forward and tries to grab Arnie, but he barely dodges out of the way, tumbling some as he does. The last henchman grabs Arnie from behind. In response, Arnie elbows him away and hits him with his gun, knocking him down.

Lou readies for another lunge. He yells and dives at Arnie.

Arnie fires off his final shot.

The villain falls down, moaning.

Smirking, Arnie stands over him. Sweat is rolling down his face as his hands begin to tremble again. Lou gazes up, eyes barely open. He starts to say something. However, the windows all across the room suddenly break inward.

Twenty D.A.V.I.D. agents come pouring in. They rush in with covered helmets, vests, and guns. Two help Shell up from the ground while the others work on retrieving the bodies and detaining Lou. Another small group searches through the remains of the crates.

Arnie looks around at all the action. He drops his gun, tears forming in his eyes.

ARNIE

Goodness me!

Shell breaks free from the help and starts wiping herself off, coughing some. Arnie rushes over to her and hugs her without warning.

Her scowl turns to a surprised but loving smile. She hugs him back.

ARNIE (CONT’D)

W-W-We did it! We stopped him! I-I I don’t know what happened, but I punched him, and, and—

SHELL

You made her proud.

Shell pulls away and wipes away a tear.

SHELL (CONT’D)

Operatives back at base say they’ve got her location and the hundred others they were about to ship off. She’ll be back in the morning.

Arnie’s eyes grow wide, and he goes back in for yet another hug, this time pulling Shell up and swinging her around.

ARNIE

Oh, thank you, Shell! Thank you, thank you, thank you!

INT. ARNIE’S BEDROOM - NIGHT

Arnie closes his bedroom door with a sigh. He looks around at his hat, awards, picture, and poster, and can’t help but giggle.

ARNIE

Oh, Missy, you aren’t gonna believe it! I was him! I-I-I was Bond! I had a gun, I gotta punch, and kick, and--oh, let me just write it down for you. I can’t go and forget a single bit!

He sits down at his desk and pulls out his journal, flipping to a newly bookmarked page. He scribbles down “First day since the accident,” and keeps writing. A massive smile grows on his face.

He finishes and sets the journal aside. A small giggle escapes him.

He turns off the lights and lifts the window, letting the buzz of the city trickle in, and hops into bed.

Arnie smiles and closes his eyes.

ARNIE (CONT’D)

See you in the morning, dear.

He drifts off to sleep.

As he snores, the focus goes back to the journal. The breeze from the window flips it back open to the page he wrote on. The page flips forward, revealing the one behind it. On it reads: “First day since the accident.”

That one flips forward. The one behind it reads “First day since the accident.” The pages begin to flip faster and faster, showing the entire journal filled with entries saying “First day since...”

As the journal flips, the focus goes down beneath the desk and shows small boxes with their lids undone. Inside lay journals. The visible ones read “2012,” “2008,” “2000,” “1993,” “1987.”

Finally, all the way in the back, there lies a journal labeled “1983”. Sticking out of it is a picture of Arnie, Missy, and a young girl standing outside a packed, vacation ready station wagon. The camera moves closer into the young girl, fading from her face and into Shell’s in the next scene.

INT. MEDICAL LAB - MIDNIGHT

Shell sits staring at a computer screen. Her hair is down, and she wears a medical lab coat. Her name tag reads: “Michelle Emiton - Founder.” In the reflection of the monitor, her last name reads: “notimE”.

Around her, the rest of the lab is quiet. She sits behind a set of windows that look out into the subway station seen earlier. However, with the lights now on, both the station and the car are revealed to be sets, with the windows being screens simulating a moving car. A few workers are seen resetting everything.

She takes a sip from a coffee mug, the steam still wafting off of it. The logo of “The Joshua 10:13 Foundation” is printed on the side.

One monitor is replaying footage of earlier events, taken from a security camera’s view. Another has stats of vitals, tests, and data compared to past versions.

Her eyes droop while staring at it.

DR. ELIJAH, a man in his 50s with olive skin, receding black hair, and dressed in a similar lab coat, approaches Michelle from behind.

DR. ELIJAH

Michelle, you gotta get on home. You’ve had a long day.

She pays him no attention and keeps watching the footage of Arnie staring at the subway controls. Dr. Elijah looks on over her shoulder.

DR. ELIJAH (CONT’D)

He’s starting to slow on the memory tests...isn’t he?

MICHELLE (sternly)

Just means it’s time to change them out again. Just like we did the wall color for stimulation retention. We’ll get a new subway car, one more recent and not his first, or give him clearer details for the pistol instruction test.

She turns to Dr. Elijah, tears heavy in her eyes and lip quivering.

MICHELLE (CONT’D)

Dad’s doing fine. Just like he always has.

DR. ELIJAH

Is that why you wanted to tell him earlier today?

Dr. Elijah stares down at her.

DR. ELIJAH (CONT’D)

Wanted to say you’re his daughter, his wife’s dead, and he’s been living the same day over and over in a lab? Don’t you remember what happened last time you tried that?

MICHELLE (yelling)

It’s better than how he’s living now!

Michelle tightens her face in an effort to hold back tears.

MICHELLE (CONT’D)

It’s already inhumane as is to put him on some Disney ride every day and hope his memory starts to stick...

Dr. Elijah rests his hand on her shoulder.

DR. ELIJAH

I get your frustration, Michelle. I really do. But how else can we test him, make sure he’s safe, and make sure you get time with your father? He’s happy, isn’t he?

Michelle whips back around, shaking her head.

MICHELLE

I didn’t think it would last this long.

DR. ELIJAH

No one did...no one did.

They both look back at the statistics monitor. A graph labeled “Memory Test - Today” is clearly lower than “Memory Test - One Month Ago”. She sighs.

DR. ELIJAH (CONT’D)

I know I don’t have to tell you this, but time, it’s...running out. Arnie’s getting older, and the Board wants results. They need to make sure they’re funding more than your own personal project.

Michele pretends not to hear. She stares at the screen with no emotion.

DR. ELIJAH (CONT’D)

You can’t forget that the work here is for more than just saving him. It’s about saving everyone else—

A tear falls down Michelle’s cheek.

MICHELLE

With Alzheimer’s, dementia, memory loss. I know.

MICHELLE (CONT’D) I know.

She scoots closer to the desk, letting Dr. Elijah’s hand fall back to his side.

MICHELLE (CONT’D)

Goodnight, Dr. Elijah.

DR. ELIJAH Night, Shell.

Dr. Elijah walks away, shaking his head. Michelle takes a sip of her coffee and slumps down her head. She closes her eyes.

MICHELLE (softly)

Come on, Dad. Please. We’re...we’re running out of time.

She stares back at the computer and puts in her earbuds. She plays the footage of her hugging him after taking down Lou.

Michelle cries.

The camera pulls out from the office, going past the subway, the maze of crates, the fake conference room, and up into the café before. It zooms far into the midnight sky where it fades to black.

INT. BLACK VOID - NIGHT

“Time After Time” by Cyndi Lauper plays as credits roll past again. Light chatter and road noises are heard in the background. Suddenly, the loud noise of a car crash and screams erupt. Once it dies down, the words “First Day Since” appear.

The screen stays black as the faint, tired voice of Arnie starts to speak.

ARNIE (tiredly)

M...M...Mi...Mi—

THE END