A Moment in an Elevator © 2014
an original screenplay by A. Craig Newman
Writer's notes: I wrote this script for a competition in New York called The Ultimate Filmmaker. The challenge was to get a genre, a line of dialogue, and a prop and write, film, and edit a film in 7 days. The genre was "Faith-Based", the prop was red scissors, and the line of dialogue is the one that ends in "I have halitosis." The film that was entered was different from this script, but I think this first stab at the script was the best. -ACN
Cast
MARY – Gothic Chick. Wears all black and white, pale make up with black nails and lipstick. She has severe untreated depression. Used to being the object of ridicule and abuse from all sides. She's almost always defensive. She has a major chip on her shoulder.
CARLOS – The Superstar. He's always found it very easy to succeed and excel in the world. He does not even notice those he has stepped on and hurt along the way.
MICHAEL – Angel. Takes the form of an older black security guard.
STEVEN – Guard. The real security guard.
PASSENGER ONE – Random office person bitching about random office topics
PASSENGER TWO – Another office person bitching
SCENE 1 – Security Desk
CARLOS signs the register. MICHAEL is behind the desk.
MICHAEL:(Bright and cheery with a big smile checks Carlos's entry) Good Morning, Mr. Carlos! How are you today?
CARLOS: (Distracted and dismissive) Yeah, I'm fine. Where do I find the Goldberg and Associates Law office?
MICHAEL: Thirtieth floor. Need an advocate?
CARLOS: They need an intern.
MICHAEL: Good luck! Remember seize each moment. Life is made of moments.
CARLOS: (slightly confused) Umm...ok.
CARLOS exits. MARY steps up to the desk and signs in.
MICHAEL: (reads her entry)Hail Mary, full of grace!
MARY: (unimpressed) Gimme a break.
MICHAEL: The Lord is with thee; blessed art thou amongst women.
MARY: (turns to walk away) Christ.
MICHAEL: Holy Mary, pray for us sinners, now and at the hour of our death. Amen
MARY: Whatever.
MARY exits
SCENE 2 – Outside the elevator
MARY, CARLOS, PASSENGER ONE and PASSENGER TWO wait for the elevator.
ONE: Those two don't stand a chance.
TWO: Monica says they'll keep it secret.
ONE:She's full of shit. You can't keep that secret forever.
Elevator dings and the doors open. The four passengers step inside.
SCENE 3 – Elevator interior
Everyone selects their floor. ONE and TWO continue to talk. CARLOS and MARY do not interact, but grow more uncomfortable as the conversation goes on.
TWO:I hear they got caught hitting it in the supply closet.
ONE:They were getting high?
TWO:No, I mean “hitting it.” Bill Clinton style
ONE: Yuck. If I find a stain on my copy paper...
TWO:HA! Sick. I hope there are no stains left over. If you're going to give head in an office closet, you better be a swallower.
ONE:You talk like you have experience.
TWO:You haven't?
ONE:Well, I never had much luck with the ladies. See the thing is, my toes are really crusty and I think I have halitosis.
TWO:I know you have halitosis.
ONE:(breathes on TWO) Is that so?
TWO: AAAHHH!!! ASSAULT! I'LL SUE!
The elevator stops and ONE and TWO step off. CARLOS and MARY continue to ride in silence. After a few seconds the elevator stops but the doors do not open. CARLOS and MARY trade concerned looks. CARLOS presses buttons, but the elevator does not move. CARLOS presses the emergency alert button and a bell rings. MICHAEL's voice is heard over the intercom.
MICHAEL: Yes, sir, how can I help you two?
CARLOS: We're stuck in the elevator. It's elevator (looks around for a placard with the elevator's number on it) 7 and we're between floors 28 and 29.
MICHAEL: Ok, you and the little lady relax for a bit and we'll get help to you right away.
MICHAEL hangs up.
CARLOS: Hurry up! I have an interview and I can't be late. Hello? HELLO?
CARLOS throws his hands up in frustration. MARY starts to look around at the corners of the elevator and the control panel.
CARLOS: What are you looking for?
MARY: A camera. How did he know there were two of us, that a guy was calling before you spoke, and there was a lady in the car?
CARLOS: He saw us get on, obviously.
MARY: Not so obvious, but thanks for talking down to me. Four of us got on.
CARLOS: Whatever. It doesn't matter. I'm going to be late for my interview.
MARY: Yeah, because the whole world revolves around you, still.
CARLOS: What do you mean?
MARY: Everyone and everybody has been kissing your ass since you could walk and told you how perfect you were. So, apparently, the most important fact today is that Carlos has an appointment.
CARLOS: To hell with you! You don't know anything about me!
MARY: I know that since you can throw a ball, you're treated like your shit not only doesn't stink, but must be made from solid gold. You're handed scholarships and opportunities and probably will go on to marry the prom queen and have a bunch of stupid kids.
CARLOS: Look, lady, I don't know how you know all this shit, but don't get mad at me for being who I am. There's nothing wrong with being successful.
MARY: Yeah. People like you seem to be a success no matter what you do, while folks like me get forgotten.
CARLOS: Well, I won't be forgetting you any time soon, that's for damn sure.
MARY: You have already. You don't recognize me, do you?
CARLOS: Should I?
MARY: Nah, I guess not. I sit behind the star quarterback every day for the past 3 years; why should I expect him to recognize me?
CARLOS: (Looks at her for a long moment)Mary? Mary...uh.....Madone! I thought you moved away in the 9th grade.
MARY: Nope, just became invisible.
CARLOS: Why would you do that?
MARY: You still don't remember do you? You never called me Mary Madone. I was always -
CARLOS: Mary Da Moose. Oh yeah. I forgot about that. Why the hell did we ever call you that?
MARY: (Pulls back her hair, trying to give Carlos a clear look at her face.) Isn't it obvious?
CARLOS: (puzzled) Um...no.
MARY: There you go again, fucking with me. You jocks think it's so funny to call the fat girl with a big nose Moose, or a kid with bad acne Pizzaface, any other of a million names. Fuck you and people like you.
MARY begins to cry while CARLOS is visibly uncomfortable with having a list of his sins put on display. CARLOS hands MARY and handkerchief.
CARLOS: Which were you?
MARY: Was I what?
CARLOS: Bad skin or overweight.
MARY: I was both, and thanks for using the PC terms.
CARLOS: Look, I was an asshole when I was younger. Said a lot of things I shouldn't have and treated a lot of people like shit. Including you, apparently. I'm sorry I ever said any of that.
In a flash of rage, MARY starts to hit CARLOS with her bag. As she does, things fall from her bag onto the floor.
MARY: FUCK YOU! You think I'm gonna fall for that? Some bullshit from a bullshit artist/wannabe lawyer? Save that shit for your interview!
CARLOS: (Covering the best he can against the onslaught.) It's not bullshit! I'm really sorry!
MARY continues to attack CARLOS. CARLOS grabs MARY by the forearms to stop her. In the process the sleeves of her dress reveal bandages all along her arms from her cutting herself. MARY immediately stops hitting him, attempting to hide her wounds from him. She starts to pick up things that fell and stuff them violently back into her bag. CARLOS starts to help. In the process, he picks up the red scissors and a medicine bottle. There's a pause between them, as CARLOS figures out what he's holding and she is unsure how to stop him.
CARLOS: I've seen this before. My sister was a cutter. She had her own bottle full of mismatched medicines that she swallowed all at once. I found her body.
MICHAEL: (over the intercom) Hey, you two, we're almost ready to end your ride. You'll be done in a second!
CARLOS: We don't have a lot of time left. I'm sorry for what I've said to you and done to you and made you feel. No one has the right to do and say those things to anybody else. You're not fat and you're not ugly. You're better looking than half the cheerleaders I've dated.
MARY: Don't try to-
CARLOS: MARY! (she goes silent) I'm sorry. Really sorry. For real. You're a beautiful person. And I'm sorry I didn't see that before. (Mary takes the scissors from him) Can I ask you for a favor I have no right to ask for?
MARY: (Cautiously) What?
CARLOS: (gesturing to the meds) Let me hold on to these.
The doors open before MARY responds. MICHAEL is standing at the doorway with the bright light from the hall spilling in around him.
MICHAEL: Ok, you lovebirds! End of the line! Time to move on!
MARY continues to look at CARLOS cautiously, but doesn't fight him over the medication. CARLOS smiles, puts the bottle in his pocket, and walks out of the elevator. MARY attempts to put the scissors back in her bag and drops them. When she goes to pick them up, the car shakes and there are sounds of the cable snapping. Before she can react to the noises, the cable breaks and car drops. CARLOS, releasing what has just happened runs to the doorway, screaming for MARY.
MICHAEL: (to CARLOS) Ever wonder what you would do differently if God gave second chances?
SCENE 4 – Interior of CARLOS's bedroom.
CARLOS wakes from a night's sleep screaming for MARY. He's covered in sweat and short of breath. He looks around, surprised by the sudden shift in his location. He looks at the clock. It says 9:00 AM. Still unsteady and unsure, he gets up and starts to get ready for the day. As he goes to pick up his towel to get in the shower, he sees his jacket lying next to it. He has a moment of indecision. Then, he picks up his coat, grabs his key, and rushes out of the door.
SCENE 5 – Lobby of the office building.
CARLOS runs in the front door in his pajamas, slippers, and a coat. He runs to the security desk where MICHAEL is sitting.
CARLOS: Did she come through? Is she here?
MICHAEL: (smiles and points to the elevator's lobby) Mary is right over there.
CARLOS runs to the lobby, slipping on the tile floor. He sees MARY step on the elevator and hears the two passengers repeat a snippet of their conversation from earlier. CARLOS runs to the doors just before they close. CARLOS sticks his hand in the car, the doors reopen, and he takes MARY by the hand.
CARLOS: You need to come with me right now.
MARY: Get away from me, asshole!
The door closes behind him. He begins to speak frantically to her.
CARLOS: Yes, I'm an asshole. I'm the biggest asshole you've ever known. But I'm going to be different. I'm going to different. Life is going to be different. Your life is going to be different. You're not going to be sad any more.
MARY: I'm not sad.
CARLOS: You have red scissors in your bag that you use to cut your forearms. You've got a bottle of meds in there that I doubt are all aspirins. The guard at the front desk was just saying the Hail Mary to you. You're mad as hell at me and the world and you want nothing more than to hit me right now.
MARY: Look, buddy, I don't know what game you're playing.
The elevator dings and ONE and TWO step off.
CARLOS: No, you look! (Shouting through the door into the lobby) Everyone look and laugh at , Pizzaface Mary MOOSE!
MARY starts to hit CARLOS with her bag. She's swinging hard, lost in her rage at him and everyone she's known over the years who have been so mean to her. CARLOS is stepping backwards as she hits him, drawing her out of the elevator and into the lobby of the new floor. After they are both clear, the doors close. CARLOS grabs her forearms again.
CARLOS: Oh. Thank God you're safe.
MARY kicks him in the crotch. CARLOS collapses to the floor.
MARY: You're a fucking psycho!
MARY runs down the hall and comes back with a security guard, who is MICHAEL but his face is unseen.
MARY: (To the security guard) That's the guy that attacked me. I want him arrested.
CARLOS: (Making his way to his feet, leaning against a wall.) No. No. I didn't attack you. I wanted to save you. I want to help you.
MARY: Save me from what?!
MICHAEL: From that, I think.
Suddenly, the sounds of cables snapping are heard, there's a blast of air and dust as the car speeds past the lobby and the sound of crashing when it hits the ground level.
MARY: Oh my GOD-
MICHAEL: (Spoken during a slight pause.) He's listening.
MARY: -What the hell was that?
CARLOS: A second chance.
MARY: At what?
Before CARLOS can respond, MICHAEL starts laughing, subtly.
MICHAEL: "At what?" she asks. (Addressing CARLOS) Life is made of moments. Every moment can change it. And most, you don't get back. (Addressing MARY) I'll tell Mother Mary you said, "Hi!"
MICHAEL smiles once more. CARLOS and MARY trade puzzled looks. When they look back, MICHAEL is gone.
MARY – Gothic Chick. Wears all black and white, pale make up with black nails and lipstick. She has severe untreated depression. Used to being the object of ridicule and abuse from all sides. She's almost always defensive. She has a major chip on her shoulder.
CARLOS – The Superstar. He's always found it very easy to succeed and excel in the world. He does not even notice those he has stepped on and hurt along the way.
MICHAEL – Angel. Takes the form of an older black security guard.
STEVEN – Guard. The real security guard.
PASSENGER ONE – Random office person bitching about random office topics
PASSENGER TWO – Another office person bitching
SCENE 1 – Security Desk
CARLOS signs the register. MICHAEL is behind the desk.
MICHAEL:(Bright and cheery with a big smile checks Carlos's entry) Good Morning, Mr. Carlos! How are you today?
CARLOS: (Distracted and dismissive) Yeah, I'm fine. Where do I find the Goldberg and Associates Law office?
MICHAEL: Thirtieth floor. Need an advocate?
CARLOS: They need an intern.
MICHAEL: Good luck! Remember seize each moment. Life is made of moments.
CARLOS: (slightly confused) Umm...ok.
CARLOS exits. MARY steps up to the desk and signs in.
MICHAEL: (reads her entry)Hail Mary, full of grace!
MARY: (unimpressed) Gimme a break.
MICHAEL: The Lord is with thee; blessed art thou amongst women.
MARY: (turns to walk away) Christ.
MICHAEL: Holy Mary, pray for us sinners, now and at the hour of our death. Amen
MARY: Whatever.
MARY exits
SCENE 2 – Outside the elevator
MARY, CARLOS, PASSENGER ONE and PASSENGER TWO wait for the elevator.
ONE: Those two don't stand a chance.
TWO: Monica says they'll keep it secret.
ONE:She's full of shit. You can't keep that secret forever.
Elevator dings and the doors open. The four passengers step inside.
SCENE 3 – Elevator interior
Everyone selects their floor. ONE and TWO continue to talk. CARLOS and MARY do not interact, but grow more uncomfortable as the conversation goes on.
TWO:I hear they got caught hitting it in the supply closet.
ONE:They were getting high?
TWO:No, I mean “hitting it.” Bill Clinton style
ONE: Yuck. If I find a stain on my copy paper...
TWO:HA! Sick. I hope there are no stains left over. If you're going to give head in an office closet, you better be a swallower.
ONE:You talk like you have experience.
TWO:You haven't?
ONE:Well, I never had much luck with the ladies. See the thing is, my toes are really crusty and I think I have halitosis.
TWO:I know you have halitosis.
ONE:(breathes on TWO) Is that so?
TWO: AAAHHH!!! ASSAULT! I'LL SUE!
The elevator stops and ONE and TWO step off. CARLOS and MARY continue to ride in silence. After a few seconds the elevator stops but the doors do not open. CARLOS and MARY trade concerned looks. CARLOS presses buttons, but the elevator does not move. CARLOS presses the emergency alert button and a bell rings. MICHAEL's voice is heard over the intercom.
MICHAEL: Yes, sir, how can I help you two?
CARLOS: We're stuck in the elevator. It's elevator (looks around for a placard with the elevator's number on it) 7 and we're between floors 28 and 29.
MICHAEL: Ok, you and the little lady relax for a bit and we'll get help to you right away.
MICHAEL hangs up.
CARLOS: Hurry up! I have an interview and I can't be late. Hello? HELLO?
CARLOS throws his hands up in frustration. MARY starts to look around at the corners of the elevator and the control panel.
CARLOS: What are you looking for?
MARY: A camera. How did he know there were two of us, that a guy was calling before you spoke, and there was a lady in the car?
CARLOS: He saw us get on, obviously.
MARY: Not so obvious, but thanks for talking down to me. Four of us got on.
CARLOS: Whatever. It doesn't matter. I'm going to be late for my interview.
MARY: Yeah, because the whole world revolves around you, still.
CARLOS: What do you mean?
MARY: Everyone and everybody has been kissing your ass since you could walk and told you how perfect you were. So, apparently, the most important fact today is that Carlos has an appointment.
CARLOS: To hell with you! You don't know anything about me!
MARY: I know that since you can throw a ball, you're treated like your shit not only doesn't stink, but must be made from solid gold. You're handed scholarships and opportunities and probably will go on to marry the prom queen and have a bunch of stupid kids.
CARLOS: Look, lady, I don't know how you know all this shit, but don't get mad at me for being who I am. There's nothing wrong with being successful.
MARY: Yeah. People like you seem to be a success no matter what you do, while folks like me get forgotten.
CARLOS: Well, I won't be forgetting you any time soon, that's for damn sure.
MARY: You have already. You don't recognize me, do you?
CARLOS: Should I?
MARY: Nah, I guess not. I sit behind the star quarterback every day for the past 3 years; why should I expect him to recognize me?
CARLOS: (Looks at her for a long moment)Mary? Mary...uh.....Madone! I thought you moved away in the 9th grade.
MARY: Nope, just became invisible.
CARLOS: Why would you do that?
MARY: You still don't remember do you? You never called me Mary Madone. I was always -
CARLOS: Mary Da Moose. Oh yeah. I forgot about that. Why the hell did we ever call you that?
MARY: (Pulls back her hair, trying to give Carlos a clear look at her face.) Isn't it obvious?
CARLOS: (puzzled) Um...no.
MARY: There you go again, fucking with me. You jocks think it's so funny to call the fat girl with a big nose Moose, or a kid with bad acne Pizzaface, any other of a million names. Fuck you and people like you.
MARY begins to cry while CARLOS is visibly uncomfortable with having a list of his sins put on display. CARLOS hands MARY and handkerchief.
CARLOS: Which were you?
MARY: Was I what?
CARLOS: Bad skin or overweight.
MARY: I was both, and thanks for using the PC terms.
CARLOS: Look, I was an asshole when I was younger. Said a lot of things I shouldn't have and treated a lot of people like shit. Including you, apparently. I'm sorry I ever said any of that.
In a flash of rage, MARY starts to hit CARLOS with her bag. As she does, things fall from her bag onto the floor.
MARY: FUCK YOU! You think I'm gonna fall for that? Some bullshit from a bullshit artist/wannabe lawyer? Save that shit for your interview!
CARLOS: (Covering the best he can against the onslaught.) It's not bullshit! I'm really sorry!
MARY continues to attack CARLOS. CARLOS grabs MARY by the forearms to stop her. In the process the sleeves of her dress reveal bandages all along her arms from her cutting herself. MARY immediately stops hitting him, attempting to hide her wounds from him. She starts to pick up things that fell and stuff them violently back into her bag. CARLOS starts to help. In the process, he picks up the red scissors and a medicine bottle. There's a pause between them, as CARLOS figures out what he's holding and she is unsure how to stop him.
CARLOS: I've seen this before. My sister was a cutter. She had her own bottle full of mismatched medicines that she swallowed all at once. I found her body.
MICHAEL: (over the intercom) Hey, you two, we're almost ready to end your ride. You'll be done in a second!
CARLOS: We don't have a lot of time left. I'm sorry for what I've said to you and done to you and made you feel. No one has the right to do and say those things to anybody else. You're not fat and you're not ugly. You're better looking than half the cheerleaders I've dated.
MARY: Don't try to-
CARLOS: MARY! (she goes silent) I'm sorry. Really sorry. For real. You're a beautiful person. And I'm sorry I didn't see that before. (Mary takes the scissors from him) Can I ask you for a favor I have no right to ask for?
MARY: (Cautiously) What?
CARLOS: (gesturing to the meds) Let me hold on to these.
The doors open before MARY responds. MICHAEL is standing at the doorway with the bright light from the hall spilling in around him.
MICHAEL: Ok, you lovebirds! End of the line! Time to move on!
MARY continues to look at CARLOS cautiously, but doesn't fight him over the medication. CARLOS smiles, puts the bottle in his pocket, and walks out of the elevator. MARY attempts to put the scissors back in her bag and drops them. When she goes to pick them up, the car shakes and there are sounds of the cable snapping. Before she can react to the noises, the cable breaks and car drops. CARLOS, releasing what has just happened runs to the doorway, screaming for MARY.
MICHAEL: (to CARLOS) Ever wonder what you would do differently if God gave second chances?
SCENE 4 – Interior of CARLOS's bedroom.
CARLOS wakes from a night's sleep screaming for MARY. He's covered in sweat and short of breath. He looks around, surprised by the sudden shift in his location. He looks at the clock. It says 9:00 AM. Still unsteady and unsure, he gets up and starts to get ready for the day. As he goes to pick up his towel to get in the shower, he sees his jacket lying next to it. He has a moment of indecision. Then, he picks up his coat, grabs his key, and rushes out of the door.
SCENE 5 – Lobby of the office building.
CARLOS runs in the front door in his pajamas, slippers, and a coat. He runs to the security desk where MICHAEL is sitting.
CARLOS: Did she come through? Is she here?
MICHAEL: (smiles and points to the elevator's lobby) Mary is right over there.
CARLOS runs to the lobby, slipping on the tile floor. He sees MARY step on the elevator and hears the two passengers repeat a snippet of their conversation from earlier. CARLOS runs to the doors just before they close. CARLOS sticks his hand in the car, the doors reopen, and he takes MARY by the hand.
CARLOS: You need to come with me right now.
MARY: Get away from me, asshole!
The door closes behind him. He begins to speak frantically to her.
CARLOS: Yes, I'm an asshole. I'm the biggest asshole you've ever known. But I'm going to be different. I'm going to different. Life is going to be different. Your life is going to be different. You're not going to be sad any more.
MARY: I'm not sad.
CARLOS: You have red scissors in your bag that you use to cut your forearms. You've got a bottle of meds in there that I doubt are all aspirins. The guard at the front desk was just saying the Hail Mary to you. You're mad as hell at me and the world and you want nothing more than to hit me right now.
MARY: Look, buddy, I don't know what game you're playing.
The elevator dings and ONE and TWO step off.
CARLOS: No, you look! (Shouting through the door into the lobby) Everyone look and laugh at , Pizzaface Mary MOOSE!
MARY starts to hit CARLOS with her bag. She's swinging hard, lost in her rage at him and everyone she's known over the years who have been so mean to her. CARLOS is stepping backwards as she hits him, drawing her out of the elevator and into the lobby of the new floor. After they are both clear, the doors close. CARLOS grabs her forearms again.
CARLOS: Oh. Thank God you're safe.
MARY kicks him in the crotch. CARLOS collapses to the floor.
MARY: You're a fucking psycho!
MARY runs down the hall and comes back with a security guard, who is MICHAEL but his face is unseen.
MARY: (To the security guard) That's the guy that attacked me. I want him arrested.
CARLOS: (Making his way to his feet, leaning against a wall.) No. No. I didn't attack you. I wanted to save you. I want to help you.
MARY: Save me from what?!
MICHAEL: From that, I think.
Suddenly, the sounds of cables snapping are heard, there's a blast of air and dust as the car speeds past the lobby and the sound of crashing when it hits the ground level.
MARY: Oh my GOD-
MICHAEL: (Spoken during a slight pause.) He's listening.
MARY: -What the hell was that?
CARLOS: A second chance.
MARY: At what?
Before CARLOS can respond, MICHAEL starts laughing, subtly.
MICHAEL: "At what?" she asks. (Addressing CARLOS) Life is made of moments. Every moment can change it. And most, you don't get back. (Addressing MARY) I'll tell Mother Mary you said, "Hi!"
MICHAEL smiles once more. CARLOS and MARY trade puzzled looks. When they look back, MICHAEL is gone.
