by Gary Kittle
MARY:
How was your day?
DON slumps down on to the settee, staring into space. His features are pinched, his countenance tensed.
DON:
Well done for remembering...
(HALF-BEAT)
But I can't believe I have to ask you to fix me a drink. (SIGHING) Tumbler. Large whiskey. Ice. Now.
MARY prepares the drink. DON looks up, staring at the outstretched glass in MARY's hand. He snatches it from her, spilling some of the contents over his hand.
DON:
Give me strength.
MARY:
How was your day?
DON's head snaps up angrily. He stands abruptly and brings his face within centimetres of MARY's.
DON:
Don't ask.
DON brushes past MARY, knocking her off balance slightly. She recovers and turns to face him.
MARY:
When do you want to eat?
DON glares back at her, then sighs and turns to the window, peeking out through the blinds.
DON:
Not yet. I'm not that...
DON's body stiffens.
(BEAT)
Well, I'll be...
DON steps back a little from the window.
(CUT TO: ROAD OUTSIDE)
The parked car seen earlier starts its engine and slides away.
(CUT BACK TO: LIVING ROOM)
DON turns from the window, an ugly grimace on his face.
DON (TO HIMSELF):
He knows. He must know.
(LOOKING AT MARY)
But how?
MARY:
I don't understand.
DON approaches MARY and grabs her roughly by the upper arms, so forcefully that her feet almost leave the ground.
DON:
Lover boy knows you're here, Mary. Now how did he find that out?
MARY:
Lover boy?
DON shoves MARY down onto the settee and falls on her, his right knee thrust forcefully against her solar plexus.
MARY:
Do you want to go upstairs?
DON:
How come that prick knows you're here!
MARY:
Prick?
DON (SHOUTING):
Ainsworth! Steven Ainsworth! How. Does. He. Know. You. Are. Here!
MARY:
I told him.
DON retreats in shock, covering his mouth and then giggling disbelievingly. His eyes are wild with fear and loathing.
DON (SHOUTING):
You did what?
MARY:
A man called Steve phoned. He said, 'Mary, is that you?' So I told him.
DON stalks the room, running his hand through his hair. He downs his drink and re-fills the glass, downing that also.
DON (SARDONICALLY):
So you said yes? So you said 'yes'!
DON runs at MARY and drags her by the hair towards the telephone. He pulls her head down towards the receiver.
DON (SHOUTING):
See this? Do. Not. Touch. This. Ever. Again!
And throwing her to the floor he marches out, cursing.
SCENE 9) INT. Back in the living room. Some hours later.
DON is slumped in front of the TV. His eyes seem vacant.
DON (MONOTONE):
I hope you understand now, Mary. We can't let that prick back into our life. He's a... what do the French call it? An agent provocateur.
MARY's hair is unkempt and a couple of strands have actually come out. The top she is wearing is torn. She stares at the screen in silence. DON raises his foot and kicks MARY's thigh to elicit a response. She turns her head his way.
DON:
You told him!
MARY continues to look at DON.
DON:
You can stop looking at me now.
MARY obliges and faces the screen again. DON remains pensive, however. He pours himself another large measure of whiskey and gulps half of it down. He talks into the glass.
DON:
It's not the same this time - and I thought it would be better. There's something... missing.
DON turns to look at the impassive profile of MARY.
DON (TO HIMSELF):
There's always something missing - even when you've paid for it.
DON drinks the rest of his whiskey and stands unsteadily; he sneers down at MARY.
DON:
My perfect angel. Docile and dumb. (TO HIMSELF) Why isn't that enough?
DON lurches unsteadily towards the stairs. He leaves MARY in the dark, staring at the screen, the lights from which flicker across her unblinking face.
SCENE 10) EXT. DON's garden. Later that same Wednesday night.
Away from the street lights, something moves among the shadows near DON's house. The intruder peers furtively through a window at MARY seated before the flickering t.v.
INTRUDER (WHISPERED):
Oh, Mary....
(CUT TO: ROAD OUTSIDE DON'S HOUSE)
A figure emerges from the shadows of the house and slinks across the road to his car. The figure gets in, closing the driver's door with exaggerated care.
(CUT TO: CAR INTERIOR)
Heavy breathing. The interior light goes on. Eyes stare into the rear view mirror, the brow has a determined frown.
INTRUDER/STEVE (WHISPERED):
Don't worry, sweetheart. We both know you're not strong enough to do this alone.
(BEAT)
It's down to me now.
The interior light goes out. The ignition turns and STEVE's car quietly slips away. In the living room window lights from the television continue to flicker deep into the night.
SCENE 11) INT. Lunchtime Thursday. Bright sunshine.
DON bursts in with a beaming smile. MARY is absent. He has a plastic bag in his hand, hidden behind his back.
DON (SHOUTING):
Hi, honey. I'm home!
MARY emerges from the kitchen, smiling, wearing an apron.
MARY:
You're home early.
DON:
That's because...
DON brings out the bag from behind him.
DON:
I've got you a surprise!
(IMPATIENTLY)
Come on, Mary. Take it!
MARY takes the bag and pulls out a long green dress.
DON:
Isn't it beautiful?
MARY:
Is it my birthday?
DON turns away, doubling over with laughter.
DON:
Your... Your birthday? Oh, Mary. You are priceless.
MARY:
I don't...
DON:
Understand! (LAUGHING) Don't worry, Mary. It doesn't matter.
DON sweeps MARY up in his arms and spins her around him.
DON:
Nothing matters but our happiness!
DON puts her down with a pronounced huff and arches his back, wincing. He starts to leave, then stops and turns at the door to speak firmly to MARY.
DON:
Have it on when I come back home again this evening.
MARY:
I understand.
DON:
Oh, and Mary...
(BEAT)
Just the dress. No need for you to wear anything else. OK?
And with a wink he slams himself back out.
SCENE 12) INT. DON's bedroom. Later that same Thursday night.
DON and MARY lay in bed, the green dress draped over a chair. DON is smoking a cigar with exaggerated pleasure.
DON (TO HIMSELF):
I could get used to this.
DON exhales, and his features cloud over with anger.
DON (TO HIMSELF):
But I've seen footprints in the garden and they're not mine.
MARY turns her head towards him, but DON puts his index finger to his lips, and so she remains sile
nt.
DON:
And I'm sure it's been his car outside the house late at night.
(BEAT)
So you can thank him for what happens next.
DON stares at MARY, who continues to stare back at him in silence. He sneers contemptuously and takes another drag.
DON:
I've always wanted to do this - afterwards.
DON takes another, longer drag and coughs.
DON:
Did you know that?
DON grins savagely. MARY doesn't respond and DON's grin quickly fades. He stares down at his cigar, frowning.
DON:
Cat got your tongue, again?
DON studies the glowing end of the cigar, smiling.
DON:
Put out it out for me.
MARY starts to slither down the bed towards DON's groin.
DON:
No - Not for that.
(BEAT)
Just put your tongue out, will you.
MARY obliges and DON edges the glowing cigar towards her protruding tongue. MARY does not move. The cigar is as close to the tongue as it can be without making contact. DON's expression is a mixture of fascination and excitement as he scrutinises his advancing hand. There is a sizzling sound and tendrils of smoke swirl around DON's fingers.
SCENE 13) EXT. Town center shopping arcade. Saturday afternoon.
MARY has linked her arm through DON's as they stroll along the pavement looking relaxed and happy.
DON:
We've never shopped here, have we? That's because this is Ainsworth's haunt. Bet you're wondering what the hell I'm playing at?
MARY looks at DON, smiling dutifully.
MARY:
What the hell are you playing at?
DON sniggers and with a shake of his head puts his index finger to his lips. MARY remains quiet.
DON:
I've decided to let him catch me out. We're together again and he can't do a damned thing. He's impotent.
DON stops and pulls MARY around to face him.
DON (HISSED):
I could beat you black and blue this time around and there's not a thing he or anyone else can do about it. (SNEERING) I own you and there's no law against it.
DON pulls MARY closer, his mouth centimeters from hers.
DON (WHISPERED):
Kiss me. Passionately. He's about fifty meters behind us.
DON and MARY kiss, drawing a few looks from passers-by. After about thirty seconds they break off and continue strolling. DON drops his hand to cup MARY's left buttock.
DON (TO HIMSELF):
Do your worst, limp dick.
The sound of running feet grows and suddenly a man is standing directly in their path, breathing hard.
STEVE AINSWORTH:
Mary! Mary, what's going on?
MARY does not answer but looks to DON for guidance. DON merely smirks disdainfully at STEVE and raises his eyebrows.
DON:
Excuse me, can we help you?
STEVE:
Mary, talk to me. Are you all right?
DON:
Not saying much, is she? What does that tell you, lover boy?
STEVE:
Mary, please. I can help you. It...
DON steps between STEVE and MARY. STEVE immediately squares up to DON, ready for conflict.
STEVE:
What have you done to her? If you've hurt her, I swear to God...
DON (LAUGHING):
Steve, let me introduce you to the new Mary. Contented, loyal and - believe it or not - even less interested in what you have to say than I am.
DON steps aside to reveal the impassive face of MARY staring back at STEVE. Her arms hang limply by her sides.
STEVE:
Mary, what has he done to you?
MARY (FLATLY):
Steven Ainsworth.
STEVE looks flustered and impulsively grabs MARY's arm. DON makes no move to stop him.
STEVE:
Come with me, Mary. You don't have to take this anymore.
MARY is unmoved.
MARY (FLATLY):
Steven Ainsworth.
Even more confused, STEVE turns on DON, furious.
STEVE:
Have you drugged her? I'll find out. I swear it! I'll find out and show you up for the sick freak you are!
STEVE lets go of MARY's arm and barges violently past DON's shoulder. DON guides MARY away in the opposite direction, aware that more passers-by are looking at him than STEVE. DON slips his hand into MARY's and then digs his nails into her flesh so hard his knuckles turn white (C.U.).
DON (HISSED):
See, I told you he was impotent.
They disappear into the crowd.
SCENE 14) INT. DON's living room. Early Saturday evening.
DON looks harassed and tired. MARY stands by faithfully. DON turns to her, irate, raising his eyebrows.
DON:
Tumbler. Large whiskey. Ice. Now.
DON stares (frowning) at MARY momentarily as she moves to make his drink.
DON (SHARPLY):
He still managed to humiliate me out there today. And you... You just stood there and let him do it.
DON storms up to MARY, screaming into her face:
DON:
God damn you, Mary. If you don't say something right now I swear I'll...
MARY:
Do you want to go upstairs?
DON half-turns away and then swings back, slapping MARY across the face with the back of his hand. MARY crashes over the coffee table. DON lurches after her, grabs her by the hair and drags her back to her feet, spitting and snarling. MARY does nothing to resist him.
DON (SHOUTING):
No, Mary. Because tonight I have a fucking headache!
DON drags MARY through the house to the cellar door. He steps through, switches on the light and they both descend, nearly tripping several times. MARY remains silent.
DON:
I think you need to spend some time in your box! Don't you?
SCENE 15) INT. The cellar, moments later.
DON drags MARY over to a large open rectangular crate and throws her down towards it.
DON (SHOUTING):
Inside. Now! If I have to look at that dumb face one second longer I swear I'll do something I won't regret.
MARY obediently lies inside the crate and DON puts the lid over her, obscuring its surface. He stands aside to reveal:'
‘SECRET LIAISONS, INC. (c)
ADVANCED ANDROID PARTNERS.’
DON mounts the cellar stairs without looking back.
DON:
Deactivate.
The cellar light is extinguished and the door at the top of the stairs slams shut.
SCENE 16) INT. DON's hallway. Next morning (Sunday). Around Midday.
DON sits at the kitchen table with his head in his hands, groaning and sobbing, with a half-empty bottle of scotch in front of him. On the table is a pile of photograph albums. He looks around him, as if he does not recognise his surroundings. DON drinks straight from the bottle. He leaps up with a growl, grabs something from a drawer, and heads for the stairs.
SCENE 17) INT. DON's bedroom. Moments later.
DON tears open his wife's wardrobe doors. He rips dresses from their hangers and slices them up with a pair of scissors, swearing and cursing under his breath. When his hand falls on the green dress, however, he freezes and drops the scissors at his feet. DON lifts out the dress carefully and collapses, weeping, onto the bed with the green dress clutched to his chest. He curls up in a foetal position.
SCENE 18) INT. Back in the cellar. An hour later.
The lid lifts off (POV from inside) MARY's crate and DON stares down, eyes red but face impassive. Then his face starts to fill with emotion and tears run down his face. He replaces the lid and fetches a hammer and nails, but when he attempts to drive in the first nail he ca
nnot do so.
DON shakes his head, letting out a long sigh, and drops his tools. He removes the lid once more.
DON (WHISPERED):
Reactivate.
There is a buzzing sound as DON stares down into the crate.
DON (WHISPERED):
Get up, Mary. We need to talk.
SCENE19) INT. Back in DON's bedroom. Minutes later.
DON and ANDROID MARY sit side by side on the bed. Ruined clothes, the scissors and discarded hangers litter the floor. DON has the green dress carefully folded in his lap. He strokes it as he talks; his voice calm and even-toned.
DON:
I had a hard time while you were... sleeping.
DON continues to stare down into his lap, still stroking the dress. ANDROID MARY sits stiffly, staring ahead, smiling.
DON:
I looked at some pictures of you...of us - back then... before you left. I was trying to remember how it felt.
(SCOFFING)
I know you won't understand.
ANDROID MARY:
I don't understand...
DON:
The memories came flooding back. Things I hadn't thought of in years. Good and bad. But do you know what shocked me the most?
DON's hands become fists, then relax again (C.U.).
ANDROID MARY:
I don't...
DON:
I don't know what I want from you anymore.
(SADLY)
And I'm not sure I ever did.
ANDROID MARY:
I...
DON's hands become fists, then relax again (C.U.). He stares at MARY, speaking through gritted teeth.
DON:
So tell me what to do, Mary. Because right now you're about as far away from me as you've ever been.
MARY moves closer to DON on the bed. His hands turn into fists, but this time stay clenched (C.U.).
DON:
I don't know what I want but I know you have it and I know you're keeping it from me - deliberately.
(HALF-BEAT)
You little prick teaser!
DON leans closer to MARY with tear-filled eyes, saliva peppering her cheek as he speaks.
DON:
But it doesn't really matter anymore. And do you know why, Mary?
MARY looks blankly ahead. DON nestles his head against the side of her face, like a cat, and closes his eyes.
DON (WHISPERED):
Because the fact that you're holding it back from me really turns me on...
DON pulls his head away from MARY's, then launches a head butt straight into the side of her face, sending her spiralling off the bed onto the floor. DON gets up and meanders round the bed, his arms tensed, fists clenched.
