Screenplay / No Love Lost (Analysis)

 

 

NO LOVE LOST

 

 

 

 

FIRST DRAFT

 

 

22/06/09

 

 

 

Written
by

Cameron J. King

 

 

 

 

 

 

 

 

 

FADE IN:

INT. JON’S OFFICE - DAY

JON, a young handsome executive, sits at his desk alone, staring into the abyss. Camera pulls back to reveal a
busy corridor of office after office, PEOPLE darting
from one room to the other.

JON (V.O.)
You can have everything
but want nothing. You can
create the perfect car
but have no fuel. You
can go only up, but feel
constantly down.

CUT TO:

INT. JON’S APARTMENT - DAY

A luxurious rooftop apartment fills the frame. The phone
is RINGING. ERIN leaves a message.

ERIN (O.S.)
Hey Jon, it’s me, again.
Please call me when you
get this. I miss you.

CUT TO:

INT. MOTHER’S MANSION - DAY

Jon’s MOTHER, a woman who refuses to look the age she is,
is watching a PORTRAIT of her and Jon as HANDYMEN straighten it out above a GRAND FIREPLACE.

JON (V.O.)
Living my father’s legacy,
under the watchful eye of
my mother.

CUT TO:

EXT. HIGH STREET - DAY

The PUBLIC walk up and down a shopping street as
focus centres on a billboard of Jon’s face smiling,
the words “MEDICOM - We Know Who You Are”.

JON (V.O.)
I wasn’t even smiling when
they took that photo.

CUT TO:

INT. JOEY’S DINER - DAY

GARETH, a young rough looking man with a stylish yet
untidy beard sits alone at a table, a BURGER in front
of him and on the empty side of the table, he
checks his watch, he’s annoyed.

JON (V.O.)
This is my best friend, a
hot-headed aspirer who
swears a lot. He loves me
for my money, exactly, my
best friend.

CUT TO:
EXT. CITY SKYLINE - DAY

The SUN rushes by as the day speeds along, yellow
cabs and suit after suit flow like a blurry river.

JON (V.O.)
New York, New York. The
city that never sleeps.
Why you ask? ‘Cos this
my friend is America.

CUT TO:

INT. JON’S APARTMENT - DAY

The camera PANS across a dresser top, photo
after photo of Jon and Erin, she has silk-
blonde hair, rosy cheeks and the perfect
smile, she is the definition of beauty.

JON (V.O.)
The one girl that means
so much to me. I have
everything, but I want
only her. She is my world,
my guardian angel, my
life. To realise this I
had to loose my world,
I had to die.

CUT TO:

INT. JON’S OFFICE - DAY

A static Jon remains staring into camera as we
move into a close up.

JON (V.O.)
And it all began with a
phone call.

The phone RINGS. Jon glances down, then answers.

JON
Hello, Jon Meyers speaking.

INTERCUT PHONE CONVERSATION

ERIN
Jon it’s me.

JON
Hey babe.

ERIN
When am I gonna see
you again Jon? It’s
been two weeks now.

JON
I’m working on it b-

ERIN
No that’s the problem
with you Jon, your
always working! When
will you learn to
relax J-

JON
Well ‘bout dinner?

Jon mimes “shit”

ERIN
Dinner?

JON
Yes, dinner.

ERIN
Tonight?

JON
Sure why not?

Jon mimes “shit”, again.

ERIN
A Giovanni’s?

JON
Mmhmm.

ERIN
Great, you see you
can do it! I’ll see
you at eight, I gotta
get ready! Bye I love
you!

Erin hangs up before Jon replies.

PAIGE SMITH, a tall dark haired
and pretty young woman, Jon’s receptionist, walks
in the room placing a large pile of files
on his desk.

PAIGE
You’ve need to sign these
credit reports, proof
read next weeks cover and
prepare your speech for
the company executives by
Thursday.

JON
What day is it today?

PAIGE
Wednesday.

Jon sighs.

PAIGE
Will there be anything else?

JON
No, thanks Paige.

PAIGE
Are you all right sir?

JON
I’ve got a date with Erin
tonight.

PAIGE
Oh very nice.

JON
Yeah I’m sure she’ll
love me balancing
tomorrow’s files and
a bowl of lasagne.

PAIGE
Sorry sir but -

JON
No Paige, don’t worry
it’s not your fault.
I’ll see you tomorrow.

PAIGE
Good luck sir.

JON
Thanks I’ll need it.

Jon looks at his rolex, 7:30, he grabs his
coat and leaves his office, entering the
still very busy bustle of the office block
corridor. MICHAEL appears from no where holding
two magazine covers. He’s medium height, short
hair and a stylish beard with a somewhat camp
approach to interaction, walking backward to
keep up with Jon as he strides toward the elevator.

MICHAEL
Mr. Meyers sir, which one
do you think looks better?

JON
I’m sorry I don’t have time
for-

MICHAEL
‘Cos I thought this one
looked better ‘cos of its
colour contrasts.

JON
Can we do this t-

MICHAEL
And it gives of this really
possitive message about the
perfect body in our fitness
section.

 

JON
Look…

MICHAEL
It’s Micheal sir.

JON
Micheal..

Jon takes pity in Micheal’s over enthusiastic
expression.

JON
That one, I like that
one.

MICHAEL
Oh thank you sir, I knew
you’d choose the best!

JON
Goodnight Michael.

Jon walks away.

MICHEAL
(down the corridor)
Goodnight sir, I’ll let you
know how it goes!

Jon waves his hand without turning.

CUT TO:

INT. MEDICOM RECEPTION FLOOR - NIGHT

AL, a middle-aged black security guard is
sat at his desk, TV monitors filling it while a
cup of sloppy filter coffee and today’s stained
newspaper sit on the desk. Al looks up.

AL
Oh hello sir.

JON
Evening Al not sleeping
on the job I trust.

AL
No, No sir not at all.

JON
How’s the wife.

AL
Oh her? She’s still
naggin’ my ass about
messing the house up. Damn
woman, gives me rest bite
jus’ sittin’ here all night
rather than waking up next
to that thing.

JON
I’m very happy for you
both.

AL
Ah you can kiss my ass.

JON
Goodnight Al!.

AL
(to himself)
Yeah you too ya lucky
son of a bitch.

CUT TO:

EXT. MEDICOM TOWER - NIGHT.

Gareth is waiting outside by Jon’s PORCHE.

GARETH
Hey!

JON
Hey man.

GARETH
Don’t give me that shit.
Where the fuck were you?
I had two quarter-pounders
with cheese man.

JON
Oh shit man yeah I’m
sorry what with work
and everyth-

GARETH
Yeah “oh shit” man!
Jesus dude you know how
much of a loner I looked?
Looked like my life is so
(MORE)
GARETH (CONT’D)
shit that I had to date my
own food.

JON
Yeah well maybe it is!

GARETH
What you say to me?

JON
Look, I didn’t mean that
man I’ve just had a long
day-

GARETH
Fuck you man.

Gareth sets off walking.

JON
Come on Gareth, Gareth!

Gareth give him the finger picking up speed.

JON
Shit.

Jon gets into his Porche.

INT. PORCHE - CONTINUOUS

Jon puts his coat on the passanger’s seat
and starts the engine. He looks in his rear view
mirror hoping for a space to pull out.

JON
Come on, come on.

CUT TO:

INT. GIOVANNI’S - NIGHT

Erin enters the restaurant, she’s dressed in a
pink silk dress, matching her lipstick, her hair
in a bun. She approaches the WAITER.

ERIN
Hi I have a table for two
under Meyers.

WAITER
Ah yes follow me madame.

CUT TO:
INT. PORCHE - CONTINUOUS

Jon looks at the clock, 7:45pm.

JON
Come on, Come on!

Finally a gap, Jon revs hard and pulls
out.

CUT TO:

INT. GIOVANNI’S - CONTINUOUS

Erin is sat playing with a BREADSTICK. The
waiter approaches.

WAITER
Can I get you anything
to drink while you wait
madame?

ERIN
Oh no thank you.

The waiter bows his head, Erin looks up at the
clock - 8:00pm.

CUT TO:

INT. PORCHE - CONTINUOUS

Jon approaches a TRAFFIC LIGHT, it’s on AMBER.

JON
Green, green, green.

The LIGHT turns green. Jon carries on then brakes
hard as a taxi swerves from no where grinding to
a halt in the middle of the junction. A man in
an ice-cream van gets out and starts arguing in
what could only be described as “foreign”.

JON
Oh no! Come on man!
This is just great.

Jon drives around the junction, almost knocking
a CYCLIST over.

CUT TO:

 

INT. GIOVANNI’S - CONTINUOUS

Erin looks at the clock, 8:35pm. Sighing she
gets up and walks into the LADIES.
Jon bursts into the restaurant, looking round
he can not see Erin. The Waiter approach.

WAITER
Can I help you sir?

Taking one last look around Jon replies.

JON
No, no. Wrong restaurant.

Jon leaves, as he passes through the DOOR Erin
comes back out of the ladies, sits back down
continues playing with breadstick.

INT. PORCHE - NIGHT

Jon sits back, his face in his hands.

JON
Shit, Shit shit shit SHIT!

THE ENGINE comes alive, Jon pulls out.
The radio PLAYS the song UNINTENDED by MUSE.
 

SONG
“…You could be the one I’ll
always love…”

Jon begins to break down.

SONG
“…And I’ll be there as
soon as I can, but I’m busy,
many broken pieces of the life
I had before…”

Jon begins to cry uncontrollably. The sound
of the CAR’S ENGINE becoming louder as his
speed increases.

SONG
“… first there was the one
who challenged all my dreams
and all my ballads…”

Jon looks down, his eyes filled with tears, his
WALLET open, a PICTURE of Erin pokes out.
He looks out of the window to see the car flying,
terrified he grips the wheel as the CAR FLIPS
completely on to it’s roof, screeching across the road,
shatter glass filling the air as it hit’s a BRICK WALL
on the side walk. Silence.

INT. DARK ROOM - UNRECOGNISABLE TIME

Jon is stood in a PITCH BLACK room, a single
SPOTLIGHT from above frame showers him, alone he
looks round for a sign of human life, nothing.

JON
(echoes)
Hello?

The call reverberates off unseen walls, his
ECHO getting quieter as it moves away.

ECHO
Hello, hello, hello, llo,
no, no…

JON
Is anyone there!?

Silence.

JON
ANYBODY!?

ECHO
Anybody, anybody, somebody,
nobody, hello body…

JON
Who’s there!?

Two more SPOTLIGHTS come on. Gareth and Erin
are stood close to one another, hand in hand
they look very much in love. They are completely
oblivious to Jon.

JON
Guys?

GARETH
So do you fancy dinner
tonight?

ERIN
What again? You spoil me!

GARETH
I could spoil you further
and skip dessert.

ERIN
Well it’ll have to be a
very, very hot main.

JON
GUYS!?

They move to kiss one another, Jon runs at Gareth
but falls right through him as their image SHATTERS
like glass.

JON
Where the hell am I!?

ECHO
The hell, the hell, hell,
hell on earth, welcome,
welcome to hell.

JON
Let me outta here!

ECHO
Outta here, outta here,
outta here, out of fear.

JON
Let me OUT!

CUT TO:

INT. HOSPITAL, WAITING ROOM - DAY

Erin is sat on the edge of her seat, coffee in hand,
her tear-stained face emotionless as she stares into
nothingness. The DOCTOR approaches.

DOCTOR
Exuse me.

BEAT

DOCTOR
Miss?

 

ERIN
(sniffing)
Yes.

DOCTOR
My name’s Doctor Ross,
I’m looking after Jon.

ERIN
H-How is he?

DOCTOR
His vitals are stable,
but his minds in a
state of shock, keeping
him in a coma.

ERIN
A coma?

New tears make tracks down Erin’s cheeks.

DOCTOR
Please try not to worry
miss. Coma recovery is much
more common these days and…

The Doctor notices Erin’s pain.

DOCTOR
Why don’t you come back
tomorrow, we’ll have more
on his condition then.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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