Now it’s just a tedious process. I just stand in the background while Chelsea and I are blinded by the camera lights and flash bulbs for what seems to be an eternity.
NINA’S OFFICE
NINA
Does your husband come along for the ride?
CHELSEA’S KITCHEN
REBECCA
Alex used to. The novelty wore off for him even sooner.
NINA’S OFFICE
Nina laughs before speaking.
NINA
Maybe if Chelsea had someone, they could have kept each other company.
CHELSEA’S KITCHEN
REBECCA
Alex never got on with David when Chelsea was seeing him. But I think he and Andrew would get along just fine.
NINA’S OFFICE
Nina’s look changes from a smile to confused. She turns from the window, looking toward her desk.
NINA Excuse me?
CHELSEA’S KITCHEN
Rebecca straightens up.
REBECCA
Well...isn’t it obvious?
NINA’S OFFICE
NINA
What’s obvious?
CHELSEA’S KITCHEN
REBECCA
How Andrew feels about Chelsea. I mean, you can see it in the way he looks at her.
NINA’S OFFICE
Nina walks over to her desk and sits down in her chair, her arms resting on the desk.
NINA
Well, I’ve never been with Chelsea and Andrew in the same room. You had a little more insight than I have.
CHELSEA’S KITCHEN
REBECCA
He admitted so much when he was here in London.
NINA’S OFFICE
Nina sits in her desk chair, silent for a few moments.
CHELSEA’S KITCHEN
REBECCA (CONT'D) I think it’s kind of sweet, even romantic. But Chelsea’s seems to be clueless about it.
NINA’S OFFICE
NINA
That leads to the question of what’s going to happen when she finds out?
CHELSEA’S KITCHEN
REBECCA
I don’t know. As shy as Andrew is around her, we may never know.
Chelsea enters the kitchen from the hallway. Rebecca looks at her while speaking.
REBECCA (CONT'D) It looks like we’re finally about ready. I will give you a call on Monday.
NINA’S OFFICE
NINA
Okay. Talk to you later.
Nina hangs up and puts the phone on the desk. She turns in her chair, now facing the window.
NINA (CONT'D)
Great. Just great. Let the drama begin.
Scene 9
INT. CHELSEA’S TOWNHOUSE DAY
Chelsea is sitting at her breakfast bar with her laptop open in front of her.
Camera shot of laptop screen, showing the following:
“Act II, Scene 1: INT. ELIZABETH’S BEACH HOUSE SUNSET”
Fade Out from Chelsea’s Face: Fade In to Elizabeth’s Face
Elizabeth is sitting on her sofa, looking at her laptop open on the coffee table. Kieran is standing to her left at the floor to ceiling windows, looking out onto the Malibu beach.
ELIZABETH
So, if this is going to work, I’m going to need some guidelines to work from.
Elizabeth looks up from the laptop and at Kieran.
ELIZABETH (CONT'D) What physical characteristics attract you to a woman?
Kieran is still looking out at the beach and ocean.
KIERAN
The first thing that ever catches my eye about a woman are her eyes. Dark eyes. Green, Brown, the darker the better. There is something about the darkness. Something about the mystery. Those eyes supersede any other physical traits, only because it is so hard to not be hypnotized by them.
Elizabeth turns her look to the coffee table, her reflection shown back in the glass surface. She is looking at her own dark green eyes.
ELIZABETH
What about blue eyes?
KIERAN
Blue eyes are beautiful, and along with the ones of smoky gray, portray in innocence. But they don’t strike me the same way.
Kieran turns his head, glancing over his shoulder at Elizabeth as she looks at her reflection. He turns back to the beach.
KIERAN (CONT'D) Next would have to be a woman’s hair. I don’t know if it is because I am a redhead myself, but there is DEFINITELY something about redheaded women that make me speechless.
Elizabeth lifts her hand up and reaches for a lock of her amber hair draped over her right shoulder. She is still looking at herself through the reflection in the glass.
ELIZABETH Just redheads?
KIERAN
Just redheads when it comes to the heart. Brunettes with dark eyes, like many of the women of India, have such an exotic look to them. That is definitely attractive, but a redhead to me brings in a sense of innocence. I had such a crush on a redhead that lived next door when I was a teenager.
ELIZABETH She was a virgin?
Kieran turns to Elizabeth. Elizabeth turns her look to catch his.
KIERAN
Hell, if I no. But she was in my mind. A true angel.
Elizabeth smiles and turns back to the laptop. She types for a few moments. Kieran watches her for a moment and turns back to the window.
ELIZABETH
Ok. Anything else? You haven’t mentioned breasts yet.
KIERAN Why, should I?
Elizabeth looks up from the laptop at Kieran, still facing the window.
ELIZABETH
Well, are they A, if not THE, critical factor in a man’s sexual attraction to a woman?
Kieran turns around and walks toward Elizabeth. He stands in front of a loveseat at the end of the coffee table, facing Elizabeth.
KIERAN
Not for me. It doesn’t matter what size or shape a woman’s breasts are to me, as long as they are hers.
Kieran sits down on the loveseat.
KIERAN (CONT'D) But your missing the point. A woman’s eyes and hair are not just physical characteristics that attract me sexually. They contribute to my attraction to all of her. They are the elements get my attention, that lead me to wanting to learn more about her.
ELIZABETH
What else do you want to learn about her?
Kieran leans forward.
KIERAN
I want to know if she has a sense of humor and can laugh at herself. I want to know if tears well up in her eyes when she hears a sad story and or watches a happy ending. I want to know if she is independent and strong in mind and heart, but at the end of the day still needs a companion, just someone to talk to.
Elizabeth sits watching Kieran without speaking. Kieran sits back in the loveseat, props his right elbow on the loveseat’s arm, and rests his head in his right hand, his eyes on Elizabeth.
KIERAN (CONT'D) Not sure I could sound much cornier. (He laughs a little)
Elizabeth turns back to the laptop.
ELIZABETH No, no, not a all. Very refreshing, actually.
Elizabeth turns back to Kieran and smiles.
CHELSEA’S TOWNHOUSE
Fade Out from Elizabeth’s Face: Fade In to Chelsea’s Face
Chelsea sits in front of the laptop for a moment before closing it. She gets up, walks into the entry hall, and stands in front of a mirror on the wall.
Camera shot of her face from the mirror. Her green eyes are very open as she plays with a lock of her ginger hair with her right hand. A smile slowly widens on her face.
Scene 10
INT. NINA’S PRODUCTION STUDIO. DAY
Nina and Robert are sitting on the set behind an L shaped counter, one on each outside edge. They have just finished a take. Andrew is standing in the studio, just beyond the lights. Nina waves Andrew over to where she and Robert are sitting. Andrew walks up and stands opposite Nina on the inside edge of the counter.<
br />
NINA
What did you think?
ANDREW
I think it’s great. How long was that?
ROBERT
About 5 minutes. It think we hit all the key points.
Nina gets up and walks around the counter to Andrew. Andrew turns to meet her look.
NINA
Rob, can you give us a little time?
ROBERT Sure.
Robert looks at Andrew and shakes his head.
ROBERT (CONT'D) I will be in my office looking at what we just did.
Robert walks out. Andrew’s look follows him out of the room. Andrew then turns back to Nina. Nina is staring intently at Andrew.
ANDREW What?
NINA
Have you been completely honest with me?
ANDREW
What do you mean? Of course, I have.
Nina points to Robert’s chair.
NINA Sit!
Andrew looks at the chair, then back at Nina.
ANDREW Okay.
Andrew walks around the table to Robert’s chair and sits. Nina walks around the opposite end and sits in her chair. Nina’s look is fixed on Andrew.
NINA
I was talking to Becky yesterday.
ANDREW Really?
Andrew shifts forward in the chair and leans on the desk, his gaze fixed on the camera standing in front of them.
ANDREW (CONT'D) How’s she doing?
NINA
Just fine. We had a very interesting talk.
Andrew leans back and turns to Nina.
ANDREW
Oh? About what, pray tell?
Nina’s look turns steely.
NINA
Listen, one reason I agreed to take part in this project was because I thought I could trust you.
ANDREW
What could Becky have said that would make you not trust me?
NINA
That you have serious feelings for Chelsea.
Andrew sits silent for a moment, looking Nina eye to eye. Andrew stands up and takes a few steps to the end of the table, before turning back to Nina.
ANDREW
I don’t see where that really matters.
NINA
You don’t see where that really matters? Andrew, Chelsea is the only thing giving this project credibility.
Nina gets up, walks around her end of the table, and up to Andrew.
NINA (CONT'D)
The work you two have done so far is great. The feedback I’ve received from friends of mine in the production industry has been very positive. But their primary interest is with her name as lead actress and as co-writer. She’s bankable, and they know it.
Nina turns and takes a few steps before turning back around.
NINA (CONT'D) If she walks, then they won’t be interested in taking any risk on this.
ANDREW
What do you want me to do? Just turn my emotions off until its over?
Nina walks back over to Andrew.
NINA
No, of course not. She is your mews. The screenplay is great because your emotions are in it. Just be aware of the consequences if she finds out that your interests in this project are not solely professional.
ANDREW Understood.
NINA
Do you want to go grab some coffee or something? I’ve got a hour or so before I need to pick up Kelly.
ANDREW Sure.
Nina turns toward the doorway and takes a few steps toward it. Andrew follows before stopping.
ANDREW (CONT'D) And thanks for understanding. I really do appreciate your help.
Nina turns back to Andrew.
NINA
Know that you can always talk to me. You’re a nice guy, and I would like to see everything work out for you when it’s all over.
Nina turns again and walks through the doorway, followed by Andrew.
Act III
Scene 1
INT. NINA’S PRODUCTION STUDIO. DAY
Nina is standing in the studio, between takes on her podcast. Camera shot shifts to door on right. Andrew walks in. Nina turns to face Andrew.
NINA
Hey, you. How’ve you been?
Andrew walks up to Nina.
ANDREW
Great, thanks. How are you?
Nina turns and picks up paperwork from a stool standing next to her. She then turns back to Andrew.
NINA
Busy. Really busy. Did you close out the Kickstarter project?
ANDREW
Yea. I wanted to get with you and go over the next step.
NINA
Way ahead of you. Lets go to my office.
Nina turns to a camera operator in the studio.
NINA (CONT'D)
Carl, go ahead and take your lunch. I will meet you back here in an hour.
Nina walks past Andrew through the doorway he entered the studio through. Andrew turns and follows her.
Camera shot of inside of Nina’s office. Nina enters through the doorway from the hall, walking around the desk, and sits in the chair. Andrew enters behind her and walks over to the large window behind the desk.
Nina watches Andrew for a moment before speaking.
NINA (CONT'D)
So, how is the script coming? The next step is to circulate it to some producers.
ANDREW It’s coming.
Andrew is still looking out the window. He then turns to Nina.
ANDREW (CONT'D) The first draft is done. Chelsea and I went over the last scene about a week ago.
Andrew walks over to the front of the desk and slumps down into the guest chair.
NINA
You’d think that you’d be happier now that you have some finances to work with.
ANDREW I am...I’m just a little frustrated.
NINA
Really? What possibly could have you frustrated? Oh, wait. WHO could have your frustrated?
Andrew looks at Nina with a sarcastic smile.
ANDREW
Funny. Real funny.
Nina gets up from her desk and walks around to its front, leaning back on it next to Andrew.
NINA
You still haven’t told her, have you?
Andrew is still facing the desk chair Nina got up from.
ANDREW
What am I supposed to tell her?
Andrew turns toward Nina.
ANDREW (CONT'D) I’m pretty sure that she is not going to be very understanding about my motives.
NINA
True. Deceit is never a good starting point for a relationship. But your situation is not a typical one.
Nina returns to her desk chair, sits down, and leans forward toward Andrew.
NINA (CONT'D) You’ve been working with her for several months now, and it’s obvious that you haven’t tried to take advantage of the situation by making any advances.
Andrew gets up and walks back to the window.
ANDREW
Believe me, I really wanted to. Each time I saw her on the other end of the webcam...It was so hard to not just blurt it out.
Nina turns to Andrew and sits back in her chair.
NINA
But you didn’t. You showed restraint.
ANDREW
I showed cowardice. The same cowardice that convinced me to give up on attempts at relationships before. Now I’ve chosen someone who logically does not have any romantic interest in me. It is only because of a feeling of obligation that she even agreed to work with me.
Nina sits silently, looking at Andrew. From the hallway, Kelly enters the office.
Nina turns in her chair, facing forward again toward Kelly, who has stopped after a few steps into the office.
NINA
Hey, sweetheart. How was your day?
KELLY
Fine. Same ole, same ole.
Kelly turns her gaze to Andrew and then back to Nina.
KELLY (CONT
'D)
Why do you all look so serious?
NINA
Oh, Andrew is just having a selfpity session. Writers tend to get a little emotional sometimes.
Andrew turns towards Nina.
ANDREW
Again with the comedy.
Kelly sits in the guest chair and turns to Andrew.
KELLY
You still haven’t told her, have you?
Nina leans forward in her chair, laughing, putting her face down on the desk.
KELLY (CONT'D) Why haven’t you?
Andrew turns back to the window.
ANDREW
It’s not that easy.
KELLY
What are you afraid of?
Nina lifts her head back up from the desk.
NINA
Andrew is afraid of being rejected.
ANDREW Which is highly probable considering how different Chelsea and I are.
KELLY
If you’re referring to the age difference, many people have fallen for each other despite ages years apart. We are studying medieval and renaissance history right now, and it was apparently normal for men to marry women much younger than they were.
Andrew cracks a smile before turning to Kelly.
ANDREW
I’m afraid women today have a bit more say in the matter than those hundreds of years ago.
Nina gets up from her chair and walks over to Andrew.
NINA
Why do you assume Chelsea’s say wouldn’t be to be with you? Listen, I think we have a really good chance at a production deal here, and I am the last person who wants to screw it up. But, as your friend, I also can’t keep watching you torture yourself.
Kelly gets up and walks to the side of the desk, facing Andrew.
KELLY
Mom’s right. If I didn’t want anything to do with someone, I sure wouldn’t agree to have to look at them on a regular basis through a webcam. I would have just made them email me.
Andrew looks at Nina, and then back at Kelly.
ANDREW
Great. Now I’m being tag-teamed.
Andrew looks back at Nina.
ANDREW (CONT'D)
Chelsea is supposed to be back in LA on Monday. Can you set up some meetings with producers for us next week?
NINA
I will see what I can do. What are you going to do?
ANDREW
I will set up a meeting with Chelsea. I will tell her we need to go over some of the recent changes we made before we meet with producers.
Kelly steps closer to the desk and sits on the corner.
KELLY
You should get her to meet you at the beach, at sunset.
ANDREW
Yeah. That would be subtle. I think you’ve been studying a bit too much of the Romantic period of history.
NINA
How very true. Leave it to me. I will call Rebecca and make the arrangements.
Andrew starts to walk toward the doorway to the hall.
ANDREW
Between you and Rebecca, I wonder sometimes if I have puppet strings on each limb.
Kelly walks over to Andrew and whispers in his ear.
KELLY
My mom is definitely a master.
Kelly and Andrew both look at Nina and laugh. Andrew proceeds through the door and down the hall. Nina looks at Kelly inquisitively.
NINA
What was that all about?
Scene 2
INT. CHELSEA’S TOWNHOUSE DAY
Chelsea is in the kitchen at the breakfast bar. A small suitcase is open on the bar. David walks through the front door, carrying a camera case. He enters the kitchen.
DAVID Hey.
Chelsea stands in front of her suitcase, packing items into it.
CHELSEA
Hey. Did you bring it?
David walks up and puts the camera case on the bar next to the suitcase.
DAVID
Yes. Of course I did. What do you need it for?
CHELSEA
Becky and I are going to have a few days to spare in LA, and I thought we might do some sightseeing.
Chelsea turns to the case and opens it. She pulls the camera out of the case. As the strap attached to the camera clears the case, a small card falls out onto the floor.
Chelsea bends down and picks the card up. Standing back up, she looks at the card. Camera shot of card.
“...the heart that has truly loved never forgets, But as truly loves on to the close...
Thomas Moore "Believe Me If All Those Endearing Young Charms"
Chelsea looks at David, smiling.
CHELSEA (CONT'D) Where did this come from?
David steps toward Chelsea, surprised.
DAVID
Um...well, it was on the flowers I gave you in Pensacola. I forgot to attach it.
CHELSEA Aw, that’s sweet.
Chelsea turns the card over and reads the back. David’s expression changes to one of apprehension, having forgot about the name on the back. Camera shot of back of the card.
“With these flowers of adoration
Awaiting your response with hope and anticipation
[email protected]”
Chelsea’s facial expression changes from a smile to a frown. She looks back at David with a stern look on her face.
CHELSEA (CONT'D) I thought you said the flowers were from you.
DAVID
I never said they came from me.
Hopelessly Found Page 6
