AN UNEXPECTED Guest
By: Aaron Blair and Muoi Nene
CLOSE SHOT: TELEVISION
Home video of a YOUNG TALIA getting married.
TALIA (V.O.)
There I was, the happiest girl in
the world.
Talia cuts the cake with her new husband YOUNG PAUL.
TALIA (V.O.) (CONT'D)
I don't know when it ended. I watch
the video library of my life to try
and pin point the exact moment.
Talia dances with her GUESTS at the wedding reception.
TALIA (V.O.) (CONT'D)
Happily ever after, that's usually
where the story ends but it should
be where it begins; because happily
ever after is the hardest part.
Talia waves at the camera. The video turns to snow.
EXT. KENYA - MORNING
MUTINDA a young Taitan boy in his late teens sighs as he
enjoys the quiet moment just before dawn. He is wearing his
school uniform. The sky is a brilliant blue and the sun is
ready to burst from its hiding spot just beyond the horizon.
Mutinda awakes from his daydream and picks up the bag of milk
that he takes every morning to the market.
Mutinda begins to walk towards a collection of tents that
have been set up to sell the farmers' goods.
The makeshift village has a dairy refinery, butchery, gas
station, kiosk, a market where goods are sold and a number of
security outposts that house MAASAI GUARDS.
Mutinda walks into town and joins the lineup of dairy farmers
that drop off their milk every morning.
EXT. KENYA - MORNING - LATER
Fresh from the market Mutinda watches the CHILDREN in uniform
make their daily run to school. They are like a herd of
gazelles. They run gracefully, easily, smiling and laughing.
Mutinda is looking for one child in particular. He spots MUOI
trying to keep up with the rest of the pack. Muoi is chubby
and huffs and puffs as he struggles to keep pace.
Mutinda runs up behind Muoi and whips his butt with a long
twig. Muoi yelps in surprise. He looks back without breaking
stride and recognizes the familiar face.
MUOI
Mutinda! What are you doing? I'm
not an Ox!
MUTINDA
Ox, isn't that what they call you
in the playground?
MUOI
Very funny, I'll have to tell my
sister about how you tease her
favorite brother.
MUTINDA
Tell her?! She's the one who asked
me to make sure you keep up with
the other children. As always I am
just carrying out her wishes.
MUOI
By whipping me?
MUTINDA
Well if you ran faster I wouldn't
have to.
Mutinda whips Muoi again. He yelps and starts to run faster.
MUTINDA (CONT'D)
That's it little Ox! Run, run!
INT. RESTAURANT - DAY
LIBBY has her nose buried in a book: 'The Sands of Santa Ana
by Talia Grieves'. She places it down with a sigh.
LIBBY
I love it.
TALIA
Really?
LIBBY
(Nodding)
The characters, they're so...
TALIA
(Overlapping)
Cliché?
LIBBY
Real. Paul must be a great husband.
TALIA
Don't go giving him credit.
LIBBY
What do you mean? I thought you
authors always wrote about what you
knew.
TALIA
Key word, knew, past tense.
INT. GRIEVES HOUSE - LIVING ROOM - NIGHT
Talia stands in provocative negligee. PAUL struggles to watch
the blaring television.
PAUL
(Annoyed)
You make a better door than a
window you know.
TALIA
(Angry)
Really? It's hard to tell. You
always seem to look right through
me.
Talia storms off.
INT. RESTAURANT - DAY
LIBBY
You're kidding. I always imagined
him to be the perfect husband.
TALIA
Well he was. But something's
changed, we feel distant like we
don't belong.
LIBBY
Well what are you going to do?
TALIA
I don't know. I'm a romance writer
with writers block and no romance
in her life. I need some
inspiration.
INT. NDUKO'S BEDROOM - EVENING
NDUKO, a beautiful Taitan teenage girl, sits reading a Jane
Austen novel with her younger brother MUOI. Muoi entertains
himself with toys. KWESI, their older brother walks into her
room.
KWESI
Nduko?
NDUKO
Yes?
KWESI
I've come to help you with your
homework.
NDUKO
Help me?
KWESI
Yes, as I understand from Muoi you
are having difficulty understanding
your English studies.
NDUKO
Trouble? I am the top student in my
class.
Kwesi shuts the door behind him.
KWESI
What I think you fail to understand
is what we read in books doesn't
necessarily apply to real life.
NDUKO
How so brother?
KWESI
Let's just say that one has to
remember that a mismatch romance
may be a very good read but it is a
very hard life. One has to remember
their place in society and look for
a match that would be appropriate.
Nduko looks at Muoi. Muoi hangs his head in shame.
NDUKO
Appropriate? It seems to me brother
that you don't understand. The
lovers in this novel overcome that
very obstacle. Love my dear brother
is not conscious of caste and if
you don't understand that, it is
you that will never have it.
KWESI
Nevertheless sister I think it
would be wise to remember our
place.
NDUKO
I think it is you that should
remember your place. You are not my
parent.
KWESI
You are right I am not your mother.
I will not show you the same
sympathy or share in your whispers.
I am your eldest brother and must
look after the family's interest. I
speak for our father.
NDUKO
Why can't he speak for himself.
KWESI
I am his voice. I trust you will
heed it. Nothing more needs to be
said.
INT. GRIEVE'S HOUSE - KITCHEN - NIGHT
The microwave finishes cooking a frozen dinner.
TALIA (V.O.)
Another gourmet evening.
Talia takes her dinner and sits in front of her laptop
computer. A blank document with a flashing cursor taunts her.
TALIA (CONT'D)
Another critic.
Talia's cat PIERRE jumps on her lap. Talia pets her friend
and begins to type. The words spill across the screen.
TALIA (V.O.) (CONT'D)
She was alone. Her youth a distant
memory; her love even more distant.
She needed an escape.
A loud plane flies overhead startling Pierre. He jumps off of
Talia's lap and runs away O.S. Talia looks up annoyed at the
distraction.
EXT. KENYA - NIGHT
Mutinda milks his cows before the sun rises.
He collects the heavy bags of milk and begins his daily walk
to the market.
Mutinda walks across the Kenyan highlands as the sky
brightens in preparation for dawn.
EXT. KENYA - MARKET - MORNING
Mutinda waits in line to deliver his milk to the dairy. The
market is full of MERCHANTS from all over the countryside
representing many different tribes and cultures.
Mutinda recognizes a familiar face.
MUTINDA
Chimalsi!
CHIMALSI, a well-dressed man, a year or two Mutinda's senior,
greets his friend warmly.
CHIMALSI
Mutinda!
The two hug.
CHIMALSI (CONT'D)
How are you? Still working hard I
see.
MUTINDA
Always.
Mutinda looks over Chimalsi's fine dress.
MUTINDA (CONT'D)
You look like you are doing very
well.
Chimalsi impassively looks at his clothes.
CHIMALSI
Yes things are well.
MUTINDA
I haven't seen you for some time.
Where have you been?
CHIMALSI
I've been abroad. Working in the
United Kingdom.
MUTINDA
(Envious)
I see.
CHIMALSI
You could be too Mutinda. You are a
good worker. You would do well.
After a couple of years abroad you
could come home and be rich!
MUTINDA
(Disheartened)
How? I don't have a work Visa.
(Beat)
How did you do it?
CHIMALSI
You don't need a work Visa just a
travel Visa. The person I know will
take care of everything. All you
have to do is get there.
MUTINDA
How did you get there?
CHIMALSI
My father bought me a plane ticket.
It cost him his entire crop for the
year but I told him I'd be able to
pay him back within a month.
And I did! Really Mutinda you
should come.
MUTINDA
I don't know Chimalsi. That is a
far way. I belong here. I have my
family, my friends all that is
important to me.
CHIMALSI
All that you want may be here. But
can you have it all?
MUTINDA
What do you mean?
CHIMALSI
Mutinda, you and I both know that
money can go a long way to securing
one's happiness. Before I had to
rely on my parents to find me a
match. Now I am able to choose whom
ever I want. From what I hear you
could benefit from being in a
similar situation.
Mutinda nods.
CHIMALSI (CONT'D)
My parents have tried to match me
with Nduko.
MUTINDA
(Shocked)
And what will you do?
CHIMALSI
I know her heart belongs to
another. I have told them to look
elsewhere.
Mutinda sighs in relief.
CHIMALSI (CONT'D)
Don't be too relieved. It is just a
matter of time my old friend.
Mutinda nods.
CHIMALSI (CONT'D)
But enough of this, how is the
family?
The two catch up on old times.
INT. GRIEVE'S HOUSE - NIGHT
Paul sits engrossed in his paper. His dinner sits unattended.
Talia walks in.
TALIA
Paul we need to talk.
Paul puts down his paper, annoyed at the interruption.
PAUL
(Sarcastic)
I thought you writers were more
original than that.
TALIA
(Emotional)
Why do you always have to bait me?
PAUL
Cause you always take it.
TALIA
What happened to us?
PAUL
What do you mean?
TALIA
I mean what are we doing? We hardly
see each other. We never go ou-
A loud plane flies overhead drowning out Talia's complaints.
TALIA (CONT'D)
(Angry)
And that! How am I supposed to get
any work done with that constant
noise!
PAUL
Tali, sometimes we don't hear the
planes for months. It depends on
the way the winds are blowing.
(Beat)
You know why we moved here. It's
close to work. The rent is
affordable. You know what a place
like this would cost in Central
London. We wanted the space and
this is a nice area.
(Beat)
Oh and about us? It happens to
every couple. We've been together
for almost a decade, married for
five. You get comfortable. Every
couple does.
TALIA
That's hardly an excuse.
PAUL
It's a reason.
TALIA
Well it's not a good one. We used
to be inseparable, we were that
couple. The one that everyone
thought belonged together.
PAUL
Who cares what everyone thinks?
TALIA
I thought it too. I guess I was
wrong.
Talia storms off for dramatic effect. Paul shrugs and returns
to his paper.
EXT. KENYA - AFTERNOON
Mutinda and Nduko walk home with their FRIENDS. Mutinda
carries her books.
NDUKO
Will your uncle be coming by
tonight? Kwesi has been on my case.
It would be best to make it
official. That way he cannot
object.
Mutinda nods.
NDUKO (CONT'D)
And he will ask?
MUTINDA
He will ask. The question is what
will your uncle ask?
NDUKO
He is a reasonable man. My mother
hears the whispers. She knows that
I like you above all others.
She will use her influence on the
men where she can.
MUTINDA
I hope so.
NDUKO
Don't worry Mutinda we will be
together no matter what my uncle
says.
MUTINDA
And your brother?
NDUKO
No matter what he says.
MUTINDA
It's what he does that concerns me.
NDUKO
Not to worry. Kwesi is just being
protective he isn't cruel.
INT. RESTAURANT - DAY
Libby and Talia sit in a restaurant having lunch.
TALIA
I have a meeting with my publisher.
He's going to want to know when I'm
going to deliver.
LIBBY
And?
A WOMAN with CHILDREN sits at a table close by. The woman is
having trouble controlling her children.
TALIA
I've got nothing! I don't even have
an excuse. I can't even figure out
a fucking lie! What kind of fiction
writer am I?
LIBBY
A good one going through a rough
time.
TALIA
You have to say that. You work for
me!
LIBBY
Hey a publicist has to put a good
spin on any situation. Something
will come, don't worry.
TALIA
The only thing that's come to me is
the realization that I need a
change. I spend most days alone and
the time I do have with Paul is
spent fighting.
LIBBY
Well at least there's the make up
sex.
TALIA
First you have to make up.
The children start to cry. Talia smiles at the Woman's
struggle, wishing that it was her own. Libby looks at the
mother with pity.
LIBBY
(Whispering)
Can you believe it? She should
leave them at home. This isn't the
place for children. That's what
McDonalds is for.
TALIA
Oh they're just children. I think
it's fun to watch. You never think
about it?
LIBBY
NEVER! If you ever hear me talking
about it I give you permission to
shoot me.
TALIA
A little drastic wouldn't you say?
LIBBY
Why? It would be the end of my life
as I know it.
TALIA
So we've graduated from drastic to
dramatic. I don't know. Sometimes I
think about what could have been.
LIBBY
Are you actually thinking about
starting up with your publisher,
(Beat)
What's his name?
TALIA
Henry.
LIBBY
That's it. You plan on starting up
with Henry again?
TALIA
No that's done for me. I know
Paul's been absent, but I can't get
adulterous on him for it, not
again.
(Beat)
I'm a big enough girl to confront
him about it without having to
resort to something that will just
make me feel worse.
LIBBY
You thinking of leave him?
TALIA
He left a long time ago.
INT. HENRY'S OFFICE - DAY
HENRY picks up a picture from his desk. It is of him and
Talia smiling. Talia is receiving some award in the picture
and he is by her side. Henry sighs deeply.
Talia walks in surprising Henry. Henry fumbles with the
picture and places it on his desk.
HENRY
Talia! Good to see you!
Talia and Henry hug awkwardly.
HENRY (CONT'D)
Have a seat love.
Talia sits she looks nervous and distracted, after an awkward
silence.
HENRY (CONT'D)
Well?
TALIA
Well what?
HENRY
Must we go through this Tali?
Really, we know why you're here. I
need to tell my boss something.
TALIA
Tell him I'm in the research stages
of something very exciting.
HENRY
I did.
TALIA
Excellent!
(Beat)
So, I can leave?
HENRY
I told him that six months ago. I
need a new story.
TALIA
It takes time!
HENRY
Well at least give me one to tell
my boss. I need to keep him off my
back so I can stay off yours.
(Beat)
Unless this is just a ploy to get
you on your back.
Henry reaches out to take Talia's hand. Talia retracts.
TALIA
Henry, that chapter's closed. I've
told you that already. Anyway we're
both married now.
HENRY
But you know you-
TALIA
(Interrupting)
I don't want to know. Listen, I'm
trying, Henry. I just need some
time. I'm working through some
things right now.
HENRY
Well if you need inspiration we
could always-
(Beat)
I mean we had some good times.
TALIA
Enough! I said no. Let's keep it
professional.
HENRY
It just hurts me to see you this
way. I know your talent. I've
always been your biggest admirer.
TALIA
I write romance novels Henry.
There's nothing special about it.
HENRY
Your fans seem to think so and I do
too.
(Beat)
I've never seen you struggle for so
long. I just figured I could help.
TALIA
You already are, in some way.
HENRY
Well I'll do my best to stall. But
Tali, you'll have to give me
something I can work with. You
can't use our past to influence me
forever. Fond memories can only go
so far.
TALIA
Thanks for the pep talk. Don't
worry Henry you'll have something
soon.
INT. MUTINDA'S HOUSE - NIGHT
MUTINDA'S UNCLE walks into Mutinda's house after a long
meeting with Nduko's uncle. Mutinda rushes to greet him.
MUTINDA
(Eager)
Uncle welcome, did it go well?!
Mutinda's Uncle gives his nephew a look that tells him the
news.
MUTINDA'S UNCLE
It did not my nephew. Nduko's Uncle
had no issue with you two marrying.
MUTINDA
(Overlapping)
That's good!
Mutinda's Uncle shakes his head at the impetuousness of
youth.
MUTINDA'S UNCLE
No it is not. They are asking too
much. You cannot afford to meet his
demands.
(Beat)
I did my best to negotiate a better
price but he stood firm. He knows
Nduko is very beautiful and could
fetch much more than you can
afford.
Mutinda turns to his FATHER who listens silently.
MUTINDA
(Becoming emotional)
But father, we are doing well!
Can't we meet his demand? I will go
in debt if I have to.
MUTINDA'S FATHER
You, what do you have? If anyone
goes in debt it would be me. I have
a responsibility to look after this
family. Your brothers and sisters
should not live a poor life because
you want something you cannot
afford. It is not fair to them.
MUTINDA'S MOTHER walks in having overheard her son and
husband's conversation.
MUTINDA'S MOTHER
Mutinda, why must you always want
what you cannot have?! There are
plenty of young beautiful Taitan
women that you could have for a
wife. I will find one for you.
(Beat)
What about Wanja?
I've seen that she looks at you
with kind eyes. She's Nduko's
cousin so there are similarities.
MUTINDA
(Interrupting)
Mother, I want to marry Nduko! I
love her!
MUTINDA'S MOTHER
(Scolding)
Love?! What do you know of love?
You are a child you are too young
to appreciate love. Your father and
I didn't marry for love. Our
parents chose for us and we are
very happy, and very much in love.
Who will you trust Mutinda your
inexperience or the wisdom of your
parents? We know you better than
you know yourself. We will find you
a woman that will make you happy.
MUTINDA
Never!
Mutinda rushes O.S. crying.
MUTINDA'S MOTHER
Mutinda!
Mutinda's Mother rushes after her son. She is stopped by
Mutinda's Father.
MUTINDA'S FATHER
Let him go.
MUTINDA'S MOTHER
(Becoming emotional)
But he is in pain he needs-
MUTINDA'S FATHER
He needs to be with his own
thoughts. He won't hear anyone
else's.
(Beat)
Come and sit. We will talk about
what we can do for Mutinda.
The old couple sits together.
EXT. HENRY'S OFFICE - DAY
Talia rushes across a busy London Street to the Oxford tube
station.
INT. TUBE - EVENING
Talia sits on a CROWDED subway car.
EXT. STREET - EVENING
Talia walks home. The street bustles with activity. Talia
walks past a schoolyard full of CHILDREN waiting for their
parents to pick them up. Talia stops and looks longingly at
the children. She smiles at the sound of their laughter.
INT. GRIEVE'S HOUSE - NIGHT - CONTINUOUS
Talia opens the door of her house and walks in. She drops her
keys on a nearby table. She takes off her jacket and shoes.
She walks to her answering machine only to find that there
are no messages waiting.
Pierre walks in purring. He rubs against Talia's leg.
TALIA
Dinner for two Pierre?
Pierre meows. Talia walks to the kitchen, open a can of cat
food, puts it in a cat food dish and places it on the floor.
Pierre immediately begins to feast on the food ignoring its
once important owner.
TALIA (CONT'D)
(Sarcastically)
That's it? You and Paul both;
you're all the same.
Talia walks past her table; it has a lonely lipstick stained
wine glass sitting in its centre. A plane can be heard flying
overhead making the contents of Talia's house rattle. The
phone rings. Talia picks up her phone.
TALIA (CONT'D)
Hello?
LIBBY (V.O.)
Tali?
TALIA
Hey Libby.
LIBBY (V.O.)
How'd it go?
TALIA
You know. People want something,
I've got nothing, blah, blah, blah.
Talia walks out to her backyard. She sits on a lone lawn
chair at a table with a single setting and an umbrella.
LIBBY (V.O.)
Was he angry?
TALIA
I wouldn't say that.
(Beat)
He tried to make a move on me.
LIBBY (V.O.)
And?
TALIA
And nothing. I told you and him
both. It's over.
LIBBY (V.O.)
(Whispering)
They're all the same aren't they?
A Plane flies overhead. Pierre wanders outside and sits
beside Talia who pets her satisfied friend.
TALIA
I wish. I can't get a second look
from Paul.
LIBBY (V.O.)
(Impassive)
Another night home alone?
TALIA
I have Pierre. I'm going to become
a crazy cat lady.
LIBBY (V.O.)
Don't scare me.
TALIA
Well, what els-
Something crashes into Talia's table. Talia leaps out of
harms way. Pierre rushes O.S.
LIBBY (V.O.)
(Concerned)
What the hell was that?
Talia doesn't answer but peers at the wreckage.
The umbrella has collapsed and is wrapped around an object
that landed in Talia's backyard.
Steam rises from the heap.
LIBBY (V.O.) (CONT'D)
(Starting to get worried)
Talia! Answer me! Are you okay?
TALIA
(In shock)
I'm going to have to call you back.
LIBBY (V.O.)
Not until you tel-
Talia hangs up the phone. She rises to her feet and slowly
makes her way towards the steaming heap.
Talia looks up to the sky then back.
Talia notices the broken shaft of her patio umbrella and
picks it up.
Talia cautiously pokes the steaming object. It is dense and
doesn't move easily, but it is not entirely solid.
The phone rings making Talia jump. She ignores the phone and
continues her investigation. The phone stops ringing. Talia's
answering machine picks up.
TALIA (O.C.)
You've reached Paul and Talia.
Leave a message and we'll get back
to you as soon as we can.
LIBBY (O.C.)
(Frantic)
Tali! Pick up the phone damn it!
(Beat)
Are you okay?
(Beat)
I'm calling back and if you don't
pick up I'm calling the police!
Talia ignores Libby's threat. She stabs the object with more
force. The shaft sinks into the object. Talia loses her
balance and falls to the ground.
The phone rings again.
Talia ignores the phone. She rises and grabs the shaft that
now sticks out of the heap. Talia pulls it out. The phone
stops ringing before the answering machine can pick it up.
Talia is able to get a snag in the canvas with her pole. She
begins to peel away the canvas to see what lies beneath.
After making some progress she stops, tries to make out what
it is that's invaded her backyard.
The phone rings again. Talia ignores the phone. The answering
machine picks up.
TALIA (O.C.)
You've reached Paul and Talia.
Leave a message and we'll get back
to you as soon as we can.
PAUL (O.C.)
(Worried)
Um, hi Tali. Are you there? If you
are please pick up. Um, I'll be
home soon.
Talia looks at the machine confused by Paul's weird message.
Talia peels away a good chunk of the canvas. Looking closer
Talia makes out the shape of what seems to be a human being.
Talia begins to work harder to unwrap the strange trespasser.
Sirens can be heard O.S., in the distance. They continually
get closer. Talia successfully frees the object revealing its
identity: Mutinda's frozen corpse.
Steam continues to rise from the frozen body as it reacts to
the warmer air. Talia takes a closer look. Mutinda's face
looks at peace. Talia looks at the body wondering how someone
so harmless could have ever scared her.
Talia looks to the sky.
There is a sudden knock at Talia's door.
OFFICER WALTER (O.S.)
Miss Grieves are you okay? We
received a call regarding a
disturbance.
Talia ignores the intrusion. She is completely focused on
studying her guest. She feels an immediate connection to the
visitor. His vulnerability makes him more human than anyone
in her life at the moment.
OFFICER WALTER (O.S.) (CONT'D)
(Yelling)
Really Miss Grieves if you are
there please answer, otherwise we
will have to use force.
Talia slowly reaches out to touch the Mutinda's face. Talia
wonders: Does anyone know about his death other than her?
OFFICER WALTER (O.S.) (CONT'D)
(Yelling)
Right then, you leave us no choice
Miss Grieves. We're coming in!
The door slams.
OFFICER WALTER (O.S.) (CONT'D)
Damn it!
(Beat)
Harold don't just stand there, help
out yeah?
(Complaining)
These doors have gotten too hard to
break in really. How do they expect
us officers to do our job if - oh,
you ready then? Alright.
The door breaks open. OFFICER WALTER and HAROLD rush on
screen. Talia remains focused amidst the commotion.
INT. CAR - NIGHT - CONTINUOUS
Libby honks her horn at the traffic ahead of her.
LIBBY
(Angry)
Move it!
She pulls on to a side street and accelerates through the
narrow streets of suburban Ealing.
LIBBY (CONT'D)
(Worried)
C'mon, c'mon.
(Beat)
You better be okay Tali.
She turns a corner. Flashing lights flood the street. A
police car and ambulance are parked in front of Talia's
house.
LIBBY (CONT'D)
(Thinking the worst)
Oh my god!
Libby stops her car and tries to rush out of it but she is
stopped abruptly by her seat belt.
She releases herself and rushes out.
EXT. TALIA'S HOUSE - NIGHT
TWO PARAMEDICS wheel out a body bag on a stretcher.
LIBBY
(Panic)
Oh my god! Tali, no!
Libby throws herself onto the stretcher. It collapses under
her weight.
Libby tumbles to the ground along with the body bag. Mutinda
rolls out of the body bag. Libby screams. The two paramedics
curse Libby.
TALIA (O.S.)
Libby?
Libby jumps to her feet and spins to face the voice. Talia is
sitting slumped on her front steps. Libby rushes to her side.
LIBBY
(Confused)
Honey, who the hell is that? What
happened?
TALIA
(Muttering)
He fell right from the sky.
LIBBY
(Concerned)
What?
Libby looks back at Mutinda's body.
LIBBY (CONT'D)
What do you mean?
TALIA
(Muttering)
I can't believe it, right out of
the sky, holy shit, it's
unbelievable.
Officer Harold enters on screen. He places a blanket around
Talia. A team of FORENSIC INVESTIGATORS walk in and out of
Talia's house.
OFFICER HAROLD
She's in shock. It's natural. She
needs some rest. She'll be fine.
Things like this happen
occasionally.
LIBBY
People falling from the sky?
OFFICER HAROLD
(Nodding)
Yeah, sometimes you get stowaways
hiding in the landing gear of a
plane. They freeze to death pretty
quick. It doesn't take long at that
height. Poor sap, he probably
didn't feel a thing.
(Beat)
Anyway, when the plane's on its
approach, and drops its landing
gear, the frozen body drops out.
It's rare but sometimes the houses
closest to the airports have these
poor lads drop right in on them,
(Beat)
quite unexpectedly.
LIBBY
(Playfully)
Not very considerate of them is it?
TALIA
(Offended)
How can you joke! You make me sick.
That's a person. He died, maybe
left behind a wife, children, his
family. There are people that love
him that have no idea.
LIBBY
(Tenderly)
Sorry hon.
But if we were to take it seriously
we'd all go mad with grief. Need to
do something to try and lighten it
up.
Talia nods at Libby's good intentions.
TALIA
(To Officer Harold)
What happens now?
OFFICER HAROLD
What do you mean?
TALIA
I mean what do you do next?
Officer Walter enters on screen.
OFFICER WALTER
(Pompous)
Not much, open and shut really.
Harold ready to go? We've got
everything we need.
OFFICER HAROLD
(Smug)
Well there's the matter of a
statement.
OFFICER WALTER
(Pompous)
What's to say?
(To Talia)
You were in your yard talking on
the phone then crash! This bundle
of joy enters your life, yeah?
TALIA
(Tentatively)
I guess, but aren't you going to
inves-
Officer Walter ignores Talia.
OFFICER WALTER
Yep that's it. Not much more we can
do really. We don't know where this
lad is from or who he is.
LIBBY
Doesn't he have ID?
OFFICER HAROLD
Illegals rarely travel with
anything that would link them back
to their country of origin.
OFFICER WALTER
Yep, afraid they'd get shipped
back. They come here with no
identification and when they talk
to customs they claim they're from
the worst war torn country in
Africa so they can get refugee
status.
(Beat)
They think that we can't tell the
difference.
TALIA
(Concerned)
Aren't you going to do anything to
try and inform-
OFFICER WALTER
(Interrupting)
Like I said there's not much we can
do. Time to move on to the land of
the living where crimes are being
committed every day. This crime was
averted.
TALIA
(Uncertain)
Doesn't feel that way.
LIBBY
It's alright love, they're just
doing their job.
TALIA
(Certain)
Doesn't feel that way either.
OFFICER HAROLD
What I think Walter is trying to
say, poorly I might add, is that
we'll take it from here. But here
take my card.
Officer Harold hands Talia a card. Talia takes it.
OFFICER HAROLD (CONT'D)
If you'd like to contact me about
anything or have any questions feel
free to call.
OFFICER WALTER
We'll let Frank and the boys finish
up. No need for us to hang around.
Harold rises to his feet and shoots Officer Walter an annoyed
look.
OFFICER HAROLD
(To Talia)
Like I said. Call me if you need
anything.
Officers Walter and Harold walk O.S. Paul walks on screen as
the two officers leave.
PAUL
What's going on here? Tali are you
okay?
TALIA
Have a seat. I'll tell you the
story.
Paul sits down beside Talia and Libby. Libby gives Paul a
worried look.
INT. GRIEVE'S HOUSE - NIGHT
Talia sits silently at the window staring up at the sky.
PAUL
(Tenderly)
Get some rest honey. You've had a
fright.
LIBBY
She practically scared me to death
too!
PAUL
Yes, we all had a fright. Things
will be better in the morning.
TALIA
(Muttering)
I don't think I'll ever be the
same. I've never been so close to-
(Beat)
I'll never forget it.
PAUL
Well, get some rest.
Paul looks at Libby.
LIBBY
Right. I'll be off. But I'll call
you first thing, okay honey?
Talia nods. Libby walks over and kisses Talia.
Paul walks Libby out. Whispering can be heard O.S. Paul
returns on screen and takes a seat beside Talia.
PAUL
She's gone. It's just us. Talk to
me.
Talia turns and buries her head in Paul's chest. She bursts
into tears.
TALIA
Paul I can't believe it. Why did it
have to happen? Why? I'll never
forget his face. I see it every
time I close my eyes. I'll never be
the same. He'll never go away.
PAUL
Time, dear. Give it time. His face
will fade, I promise.
EXT. KENYA - AFTERNOON
Nduko, Mutinda and their friends walk home from school. Nduko
rushes her friends ahead so she can speak privately with
Mutinda. Mutinda's friends follow the giggling girls. Muoi
lingers.
NDUKO
You too Muoi.
MUOI
Why? I know what you two are going
to talk about.
NDUKO
We want to be alone.
MUOI
I want to stay.
Mutinda slaps Muoi's butt.
MUTINDA
Come now little Ox move on. Your
sister and I need to talk about
adult affairs.
Muoi rolls his eyes but rushes ahead when Mutinda motions
that he will slap him again.
The two are alone and Nduko becomes serious.
NDUKO
It didn't go well.
MUTINDA
No it did not.
NDUKO
My father laughed at the thought of
my marrying you.
(Beat)
I didn't think it was funny.
MUTINDA
You know, as I, that my family
cannot give what someone as
beautiful as yourself demands.
NDUKO
I don't care. This is all stupid.
It shouldn't matter about money, or
the number of cows, or how it
benefits our families. It is about
love. We read Austen in class and
her characters go through the same
thing and that was over a hundred
years ago! Kenya has to get with
the times.
(Beat)
I will leave them. We can run away.
Mutinda smiles. He has never loved Nduko more. Mutinda
becomes serious and shakes his head.
MUTINDA
I cannot. We cannot. It would be
wrong to take you from your family,
your home, where you belong, where
we belong.
NDUKO
But it is wrong of them to separate
us.
MUTINDA
Don't worry I have a plan.
Kwesi and his friends arrive interrupting Nduko and Mutinda's
talk. As soon as Kwesi arrives Mutinda becomes withdrawn and
submissive.
KWESI
Ah what have we here? I thought
this matter was settled already.
NDUKO
Kwesi!
KWESI
Do not sound so cross sister. An
unattached woman should not be
walking alone with a young man. It
could harm her reputation.
(To Mutinda)
She remains unattached.
Mutinda NODS.
NDUKO
Kwesi, Mutinda is my age mate. We
are friends. I'm still allowed to
have friends aren't I?
KWESI
Friends yes, but I can see they
walk ahead. If you are both just
friends why must you be apart from
your friends?
NDUKO
Kwesi it's none of your business!
KWESI
Ah sister, you forget that it is my
business. Your reputation is your
family's reputation. If someone
should attempt to soil the
reputation of my family I would
have to take matters into my own
hands.
NDUKO
How dare you threaten!
MUTINDA
Nduko, Kwesi is right.
(To Kwesi)
I apologize.
Mutinda hands Nduko her books and walks ahead under the
watchful eye of Kwesi and his friends. Nduko is furious and
chokes back tears.
INT. GRIEVE'S HOUSE - MORNING - CONTINUOUS
Talia wakes up and rolls out of bed. She looks back at Paul,
who is still sound asleep. Talia walks out of her bedroom and
down the stairs.
Talia moves cautiously. Her home feels foreign. It looks
exactly as she left it, but more sterile in some way. She
notices that the once lipstick stained wine glass is now
crystal clear.
Talia makes her way to her backyard. The wreckage that was
once her table and umbrella patio set has been piled into a
neat bundle and placed in a corner of the yard.
Talia surveys her yard. She walks the perimeter always
staring at where Mutinda's body once lay. Pierre casually
walks on screen.
TALIA
(Sarcastically)
My hero. I like the way you
protected me the other night.
Pierre walks casually inside. Talia follows.
Paul walks into the kitchen wiping the sleep from his eyes.
He sits at the table.
TALIA (CONT'D)
Good morning.
PAUL
Morning love. How are you feeling?
TALIA
Better, but-
PAUL
Don't worry, it's to be expected.
TALIA
Are you going somewhere?
PAUL
Of course, same place I go every
morning.
TALIA
(Emotional)
You're going to leave me?
PAUL
Let's not get too dramatic. I'll be
back like I am every night.
TALIA
(Pleading)
But after last night? Can't you
take the day off?
PAUL
Why?
TALIA
Because I want you to. Please, stay
home for me?
Paul sighs.
PAUL
Sorry hon, I have to go in today.
TALIA
(Angry)
What's so important? I thought the
whole point of working at the bank
was because you work banking hours!
PAUL
Honey, you know it doesn't work
that way. I'm not some bloody
clerk. Don't worry I'll get home a
little earlier. We're meeting some
important clients.
TALIA
What would it take?
(Beat)
What if he landed on me last night?
PAUL
Well thankfully he didn't. Let's
not deal in too many hypotheticals
okay?
(Beat)
You're okay, I'm okay -
TALIA
We're not okay.
PAUL
(Tenderly)
Listen, we need some time away. I
have some vacation saved up we'll
go away, just the two of us. Paris?
TALIA
Africa.
Paul laughs.
PAUL
Not bloody likely! People are dying
trying to escape that place and
you're thinking of going there to
relax? I don't think so.
TALIA
Is it in the paper?
Paul thumbs through the paper.
PAUL
Doesn't look like it.
TALIA
I'm surprised it isn't.
PAUL
I'm not; it isn't newsworthy.
TALIA
A man fell frozen, out of a plane
and into our backyard. How is that
not newsworthy?
PAUL
Now if he had landed on you. That
would be a story. No one relates to
a nameless immigrant trying to
steal into the country without the
good sense to avoid freezing to
death. Who cares?
TALIA
I do.
PAUL
Well maybe you should tell his
story then. You're a writer.
TALIA
Maybe I will.
Pierre interrupts their conversation with a loud meow.
TALIA (CONT'D)
Sorry honey, mommy will feed you.
PAUL
I can't believe the way you talk to
him.
TALIA
It's my maternal instincts. They
get the better of me sometimes.
Paul rises and kisses Talia on the cheek.
PAUL
Better?
(Beat)
I'm off love. I'll get home earlier
today I promise.
Talia nods and kisses Paul. She watches Paul leave O.S.
Talia walks into the kitchen and opens a can of cat food.
TALIA
Tell his story eh?
Pierre meows to remind his owner that her job isn't finished.
Talia wakes from her daze and empties the contents of the can
into Pierre's dish.
INT. GRIEVE'S HOUSE - DAY - LATER
Talia sits in front of her computer. She's on the Heathrow
airport web site. Talia clicks on the arrivals link and
enters the time and date that the incident happened.
Pierre rubs at her leg. Talia finds what she's looking for
and scribbles the results on a pad of paper.
Talia rises to her feet. She pets Pierre.
TALIA
See Pierre. A little bit of time
and effort is all it takes.
Talia finds Officer Harold's card.
TALIA (CONT'D)
I think it's time I take a trip to
the Yard.
EXT. KENYA - MORNING
Mutinda makes his daily trip to the Market. He makes frequent
stops along the way. Mutinda talks to various FARMERS
attempting to work out a deal where he can earn some extra
money for taking their goods to the market.
EXT. KENYA - MORNING
Mutinda begins to take more and more goods to the market.
INT. MUTINDA'S HOUSE - NIGHT
Mutinda counts his extra money. He hides it in his bed.
EXT. KENYA - MARKET - MORNING
Mutinda arrives at the market weighted down by his additional
responsibilities.
Chimalsi sees his friend.
CHIMALSI
Mutinda! Let me help you or you
will walk like an old man before
your wedding day.
MUTINDA
Thank you.
CHIMALSI
What is all this? Have things gone
this well at your family's farm
that you've expanded so?
MUTINDA
No, I have made an arrangement with
some farmers along my route to
bring in their goods for a share of
the profits.
CHIMALSI
And if they don't profit.
Mutinda is silent.
CHIMALSI (CONT'D)
Mutinda, why break your back? I
told you I'd arrange everything in
the UK.
MUTINDA
It's just that it's so far.
CHIMALSI
I know, but at this rate how long
before you can afford one cow?
MUTINDA
A few months.
CHIMALSI
I'm telling you my friend you could
have twenty cows by then if you
came to the UK.
MUTINDA
It's just everything I have-
CHIMALSI
Mutinda, when will you realize you
have nothing here. All that you
have will be gone in time, your
friends will move, your family will
fragment through marriage and your
love will go to the highest bidder.
MUTINDA
I have time.
CHIMALSI
That is the only thing you do have.
But you don't have much of it.
(Beat)
Really Mutinda, if you are so
afraid you will lose everything by
leaving just stay. You will find
the result is the same. I offer you
hope.
MUTINDA
And I thank you, but for now I must
try my own way.
CHIMALSI
I respect you. If you change your
mind all you have to is ask.
Mutinda nods. The two begin to unload the good Mutinda has
brought to the market.
INT. POLICE DEPARTMENT - DAY
Talia enters a CROWDED police department bustling with
activity. She walks up to an AGED RECEPTIONIST.
TALIA
Excuse me?
AGED RECEPTIONIST
Yes?
TALIA
Can I speak to Officer Harold
Griggs please?
AGED RECEPTIONIST
You look familiar. Have I seen you
here before? What's it about love?
Prostitution?
Talia stops and looks herself over, curious as to why the
receptionist would come to that conclusion.
AGED RECEPTIONIST (CONT'D)
Prostitution cases are set -
TALIA
(Interrupting)
No, no, not prostitution just tell
him that Talia Grieves is waiting
to see him?
The Receptionist rolls her eyes and picks up the phone.
AGED RECEPTIONIST
Talia Grieves is here to see you.
(Beat)
Alright.
The Receptionist hangs up the phone.
AGED RECEPTIONIST (CONT'D)
He'll be right out.
TALIA
Thank you.
Officer Harold enters on screen. He recognizes Talia
immediately and greets her warmly.
OFFICER HAROLD
(Enthusiastically)
Ms. Grieves! Nice to see you. What
brings you in?
TALIA
(Tentatively)
Um, yes, well when you and Officer
Walter were inve-
OFFICER HAROLD
(Understanding)
Walter eh? Certainly could use an
adjustment to his bedside manner
couldn't he?
TALIA
Yes, well no argument here, but
after he said there'd be no
investigation I did some digging
and well I found this.
Talia produces a pad of paper that lists the flights arriving
at Heathrow at the time of the incident.
TALIA (CONT'D)
(Growing angry)
You know it took me five minutes.
FIVE MINUTES! To find out what
flights he could've been on.
(Beat)
And what do you do? Nothing!
Officer Harold reaches to take the print out from Talia.
Talia pulls her hand away.
TALIA (CONT'D)
I don't think so.
(Beat)
What are you going to do with it?
(Sarcastically)
File it?
(Angry)
I don't know what kind of shop you
run-
OFFICER HAROLD
(Interrupting)
Well that's excellent work!
(Beat)
Should've been a detective Ms.
Grieves. Makes sense I've read your
novels.
TALIA
You've read-
OFFICER HAROLD
Well I am married. And your books
are rather popular with my wife.
Officer Harold reaches and successfully takes the print out
from Talia.
OFFICER HAROLD (CONT'D)
This is good. We obtained a report
from Heathrow officials.
(Beat)
See the problem with these Internet
reports is that they don't always
reflect the actual arrival times.
They're really predictions. To get
a more accurate report it's best to
go to the Airport directly.
(Beat)
But it looks like everything was on
schedule that night.
TALIA
I see. And what do you do with this
information?
OFFICER HAROLD
We add it to the file.
TALIA
(Beginning to get annoyed)
That's just the problem isn't it?
Officer Harold looks confused.
TALIA (CONT'D)
(Angry)
You're going to let it rot in a
file while his family and friends
wonder why they haven't heard from
him!
OFFICER HAROLD
(Defensively)
We add it to the file, which we've
sent to the Kenyan Embassy. You see
a death of this nature is
considered sudden and unexplained.
We are required to launch an
inquiry.
Since the deceased was obviously
from a different country we
typically involve Interpol or the
relevant Embassy.
(Beat)
Once we were able to pinpoint our
John Doe's origin we tried to get
information from Interpol. We found
nothing so we passed the file to
the Embassy. They are much better
equipped to locate the next of kin.
TALIA
(Somewhat ashamed of
herself)
I see.
OFFICER HAROLD
Not to worry. It's in the
appropriate hands.
TALIA
I guess so.
OFFICER HAROLD
Why so interested Ms. Grieves?
TALIA
He was so young. He risked his
life. I need to know, maybe help, I
don't know. At the very least I
have to make sure his family knows.
I couldn't imagine what I'd feel if
my children disappeared.
(Beat)
If I had any. I know I wouldn't
want to suffer that uncertainty. I
can't knowingly let someone else go
through it.
OFFICER HAROLD
Certainly commendable. I see why
you write Romance novels.
TALIA
(Defensive)
What does that have to do with
anything?
OFFICER HAROLD
How different people see the same
situation.
TALIA
How do you see it?
OFFICER HAROLD
(Thoughtfully)
I think I've been jaded really. All
I see is a sorry bloke who didn't
have the good sense not to get
himself killed. He probably was up
to no good, which is why he tried
to leave his country in the first
place.
TALIA
(Sarcastically)
Nice.
OFFICER HAROLD
Like I said, jaded.
(Beat)
I like your version better.
TALIA
So do I.
OFFICER HAROLD
Well Ms. Grieves thank you for
dropping by. We can always use all
the help we can get.
(Beat)
Before you leave might I ask for a
favour?
TALIA
(Suspiciously)
What would that be?
OFFICER HAROLD
Could I get an autograph for my
wife? She was furious that I didn't
ask the first time but I thought it
inappropriate. If I didn't this
time I'm afraid I'd be left out in
the cold. Spare me the couch for
the night?
TALIA
Certainly, as long as you could
return the favour.
OFFICER HAROLD
(Suspiciously)
How so?
TALIA
You said the matter has been sent
to the Kenyan Embassy?
OFFICER HAROLD
Yes.
TALIA
If a gal wanted to talk to someone
about the investigation there-
OFFICER HAROLD
I understand. Ambassador Kamau is
the name. Seemed like a nice enough
bloke. Talk to him. He's the one
who'd be able to tell you where the
matter stands.
TALIA
Thank you.
OFFICER HAROLD
Thank you.
Talia leaves autographs a piece of paper and leaves the
police station.
INT. GRIEVE'S HOUSE - EVENING
Talia returns home from her excursion.
TALIA
Hello? Anyone home?
No one answers. Talia sighs.
TALIA (CONT'D)
Pierre? Suppertime honey.
Talia walks to the kitchen and opens a can of food. Talia
looks around surprised that Pierre hasn't come running.
TALIA (CONT'D)
Pierre?
Talia walks out of the kitchen and into her backyard.
TALIA (CONT'D)
Pierre? Suppertime!
Talia spots Pierre licking something on the ground. Talia
walks towards Pierre.
TALIA (CONT'D)
Pierre, what are you licking?
(Beat)
Get away from that!
Pierre scatters. Talia notices the bloodstain and a chunk of
brain that Pierre had been licking. Talia grimaces in
disgust.
TALIA (CONT'D)
You have no standards.
Talia notices a gleam of light coming from a low hanging tree
branch. It is a button attached to a torn piece of cloth.
Talia reaches and pulls it down. A picture and card fall from
the cloth. Talia picks up the picture and card. The picture
is of Mutinda, Nduko and Muoi. The card is the Hotel Card
that Chimalsi had given Mutinda. Talia sighs deeply.
INT. HOTEL ROOM - EVENING
Libby sits on a bed crying.
PAUL (O.C.)
I wish you wouldn't cry every time.
LIBBY
(Sobbing)
I'm a horrible person.
PAUL (O.C.)
(Consoling)
You're not a horrible person.
LIBBY
I am. I love my best friend's
husband. I'm fucking him. How does
that not make me horrible!
(Beat)
Why do we do it Paul?
Paul sits beside Libby and puts his arm around her.
PAUL
Because we love each other.
LIBBY
No, Paul, that answers why we do
it. It doesn't answer why we're
doing this to Tali.
PAUL
Same reason.
LIBBY
Do you love her too?
PAUL
Of course, but it's different now.
Comfortable. We've lost our
passion.
Libby's phone rings. She picks it up and looks at the
incoming number.
LIBBY
It's Tali.
PAUL
Why does she always call when we're
together? It's like she has some
sixth sense.
LIBBY
I'm going to get it. Be quiet.
Libby answers the phone.
LIBBY (CONT'D)
Hey Tali, what's up?
(Beat)
What?
(Beat)
Picture?
(Beat)
Calm down, okay, I'll meet you at
the pub. Sure in thirty minutes,
see you then.
Libby hangs up.
PAUL
Is she okay?
LIBBY
She sounded panicked. Something
about a picture. I'm going to meet
her at the pub.
PAUL
Alright, same time tomorrow?
LIBBY
I don't know. It feels even worse
after what happened to her. Maybe
we shouldn't.
Paul leans in and kisses her. Libby knows she can't resist.
INT. PUB - NIGHT
Libby enters and notices Talia sitting at a table. She joins
her friend.
LIBBY
(Concerned)
What is it love? You gave me a
fright!
Talia looks up.
TALIA
I went down to Scotland Yard.
LIBBY
Why?
TALIA
Well I was going to yell at those
incompetent police but it turns out
they weren't that bad. They just
need work on their people skills.
But that isn't the point.
LIBBY
What is the point honey?
Talia reaches in her purse and produces the picture and hands
it to Libby. Libby takes it.
Libby studies the picture and a tear streams down her face.
TALIA
(Concerned)
Libby, are you okay?
LIBBY
(Emotional)
Well it's bloody tragic isn't it?
(Beat)
Poor lad, smiling, no idea.
Libby wipes the tears from her eyes.
LIBBY (CONT'D)
Yep well that's enough of that.
What are you going to do?
TALIA
I don't know. I mean there's only
so much I can do from here. Right
now Harry said it's in the hands of
the embassy.
LIBBY
Harry?
TALIA
The officer from the other night.
LIBBY
Sounds like you two got a little
friendly.
TALIA
Libby, he's married, and so am I.
LIBBY
Hey I'm a publicist. It's my job to
find a spin.
(Beat)
Married you say? Just my luck.
TALIA
What do you mean?
LIBBY
Another married man. You don't know
what it's like. You're married to a
great man. You're so lucky.
TALIA
I wouldn't go that far.
LIBBY
Honey, in London the women out
number the men four to one. And
once you're my age the chances of
finding someone-
(Beat)
Well let's say it becomes more
difficult to compete. You have to
start resorting to drastic-
Libby becomes overwhelmed with emotion. Talia leans in to
console her friend.
TALIA
Libby any man would be lucky-
LIBBY
(Composing herself)
Thanks love, I'm okay. Really, we
didn't come down here to talk about
me.
TALIA
You're my closest friend, Libby.
I'm here for you.
LIBBY
(Emotional)
That just makes it worse.
TALIA
Makes what worse?
LIBBY
(Composing herself)
Nothing, I came here to console
you!
(Beat)
So now that you have your picture
what do you plan to do?
TALIA
I don't know. Maybe a visit to the
embassy is in order. I got Harry to
give me a name down there.
(Beat)
I really just need to know. I need
the closure.
INT. GRIEVE'S HOUSE - NIGHT
Talia walks in on screen. Paul sits reading a paper on the
couch.
PAUL
Hi love. How's Libby?
TALIA
How did you know I was with Libby?
PAUL
Who else would you be with at this
time?
(Beat)
Unless you're having an affair on
me.
TALIA
She's fine. Sad the only two people
I could possibly be out with are my
husband or my publicist.
PAUL
She's your best friend.
TALIA
Yeah, but I pay her. So does she
have a choice?
(Beat)
Remember when we had so many
friends?
Paul nods.
TALIA (CONT'D)
What's happened?
PAUL
People move on. They get married,
have children, less time. It's
difficult, those pesky
responsibilities keep popping up
and get in the way.
TALIA
It seems that all those people have
moved on but us.
PAUL
Honey, we said we never wanted
those things. They were the enemy.
(Beat)
Suburban hell with two point five
children and a dog. That was never
for us, remember? We wanted to be
free. The world's already a
horribly over populated place. We
wanted to be part of the solution
not the problem.
TALIA
(Angry)
Solution? You work at the bank. We
lost those ideals a long time ago.
PAUL
(Angry)
Fine then what is it you want,
Tali?
Talia reaches into her purse and produces the picture.
TALIA
I want this!
Paul PUTS his paper aside. He TAKES the picture from Talia.
PAUL
What's this?
TALIA
I found it in our yard.
PAUL
It's the?
TALIA
Yes.
PAUL
So what is this, Tali? You want to
be a young dead African boy?
TALIA
No, I want what he has.
PAUL
What he had he died trying to get
away from.
Paul hands the picture back to Talia.
TALIA
You don't know. See that smile?
That could've been his child. He
had a family. He had happiness, he
belonged. That's what I want.
PAUL
That's what we all want. But it is
never all happiness is it? There
are all those other times in
between. I could go find a ton of
pictures of us smiling just as
bright as the boy in that picture.
He's dead Tali.
(Beat)
I can't believe you're
romanticizing that poor bloke's
life based on some stupid picture.
TALIA
You just don't get it. Someone
doesn't bring a picture like this
to get away from something. They
bring a picture like this to remind
them of what they're doing it for.
PAUL
Doing what?
TALIA
I don't know but I'm going to find
out.
INT. NDUKO'S BEDROOM - EVENING
Nduko does her homework on her bed. Muoi bursts into the
room.
NDUKO
Muoi! What is it?
MUOI
They're here!
NDUKO
Who?
MUOI
They've come to negotiate for you!
NDUKO
WHO!
MUOI
They are Kikuyu, very wealthy. His
name is Comba.
Nduko jumps to her feet and rushes to her door. Kwesi stops
her.
KWESI
In a rush?
NDUKO
If people are planning my future I
think I should be present.
KWESI
They've traveled very far because
of the rumour of your beauty. I
hope you mouth does nothing to soil
that perception.
NDUKO
I have nothing to hide. I will be
me. If that is not enough for Comba
then it is their issue, not mine.
KWESI
Well I think it would be best if
you remain here. Muoi!
Muoi leaves Nduko's room. Kwesi slams the door and locks it
behind him. Nduko rushes to the door and tries to open it.
She is locked in. A prisoner in her own room. She slumps to
the ground beginning to sob until she notices the open
window.
EXT. KENYAN EMBASSY - DAY
Talia stands in front of the Kenyan Embassy. She enters
through its large doors.
INT. KENYAN EMBASSY - DAY
The interior of the Embassy is very quiet and practically
empty aside from a lone EMBASSY RECEPTIONIST.
Talia approaches the Embassy Receptionist.
TALIA
(Whispering)
Hello.
EMBASSY RECEPTIONIST
(Coldly)
Hello, how may I help you?
TALIA
(Using her normal voice)
I'd like to speak to Ambassador
Kamau please.
EMBASSY RECEPTIONIST
I see, do you have an appointment?
TALIA
Sorry no. But I was told to speak
with him directly by Officer Harold
Griggs. My name is Talia Grieves.
EMBASSY RECEPTIONIST
Please have a seat.
Talia walks to a couch and sits.
The Embassy Receptionist picks up the intercom.
EMBASSY RECEPTIONIST (CONT'D)
Ambassador? There is someone here
to see you.
AMBASSADOR ALEX KAMAU exits his office and walks to his
receptionist.
AMBASSADOR KAMAU
Did you get any deliveries?
EMBASSY RECEPTIONIST
Sorry Ambassador, nothing has
arrived.
AMBASSADOR KAMAU
So what have we here?
EMBASSY RECEPTIONIST
Oh this is a Ms. Graves-
TALIA
(Interrupting)
Grieves!
EMBASSY RECEPTIONIST
Yes, well, she is here to see you-
AMBASSADOR KAMAU
(To his Receptionist as if
Talia wasn't present)
Does she have an appointment?
EMBASSY RECEPTIONIST
No, she does not.
TALIA
(Interrupting)
Officer Harold Griggs sent me
along.
The Ambassador straightens up at the Officer's mention.
AMBASSADOR KAMAU
I see. Well, Ms. Grieves do come
in.
(To his Receptionist)
Hold my calls please.
Talia walks through the Ambassador's office door and enters
the Ambassador's Office.
INT. AMBASSADOR'S OFFICE - DAY
Ambassador walks behind his desk and sits.
AMBASSADOR KAMAU
Please, have a seat.
Talia sits in one of the plush chairs.
AMBASSADOR KAMAU (CONT'D)
Now, how can I be of assistance,
Ms. Grieves?
TALIA
Actually, I was going to ask you
the same thing.
AMBASSADOR KAMAU
(Confused)
I'm sorry?
TALIA
You see, I'm the woman who our-
(Beat)
John Doe dropped in on that
unfortunate night.
AMBASSADOR KAMAU
(Suspiciously)
I see.
TALIA
And I want to help you in any way I
can. I've come to see how locating
his family is coming along?
AMBASSADOR KAMAU
(Relieved)
I'm happy to hear you're taking an
interest.
(Beat)
You'll be happy to know that we are
pursuing all the official channels
to resolve the issue.
Talia smirks; she knows she's being brushed off.
TALIA
What does that really mean?
AMBASSADOR KAMAU
(Almost mechanical)
Ms. Grieves, have no fear. The
matter is in the most capable
hands. And I'm sure you'll
understand that since the matter is
considered a criminal investigation
I can't divulge any information.
TALIA
(Angry)
The only thing criminal is that no
one seems to want care about this
man and his family.
AMBASSADOR KAMAU
(Trying to calm Talia)
Ms. Grieves!
TALIA
So you've done nothing? What about
distributing his picture, or DNA
evidence? You have his body!
Ambassador Kamau laughs.
TALIA (CONT'D)
(Frustrated)
What's so funny?
AMBASSADOR KAMAU
(Loosening up)
I can see that you are determined.
TALIA
(Firm)
I am.
AMBASSADOR KAMAU
(Sincere)
Ms. Grieves Kenya is a large
country. Sadly we do not have DNA
records of all our citizens.
Usually DNA, fingerprints, dental
records are reserved for the elite
rich. For reasons that I do not
care to advertise.
(Beat)
I'm afraid our John Doe was
definitely not of that class and
locating his family is next to
impossible.
TALIA
(Pleading)
But his family-
AMBASSADOR KAMAU
(Interrupting)
From our, what did you call him?
(Beat)
John Doe's dress and appearance he
looks like he's either Kamba or
Taita. These tribes are spread
throughout the Southern part of our
Country. The Kamba have a
population of over two million and
the Taita are significantly smaller
but still close to three hundred
thousand.
TALIA
So?
AMBASSADOR KAMAU
You see it's not like it is here
Ms. Grieves. Most of these people
do not have electricity or police
for that matter. They have
designate chiefs and practically
govern themselves. Outside of the
local Churches, which can be miles
away from some villages, we have no
method of communicating with them.
TALIA
(Getting frustrated)
So what are the capable hands that
you've left this with?
AMBASSADOR KAMAU
We check with Interpol. But a
person must be reported missing or
a fugitive for Interpol to be aware
of the matter. I suspect that our
John Doe is neither.
I imagine he tried to smuggle
himself into the country for work.
He probably told his family he was
going abroad so they don't even
think he is missing.
TALIA
But Officer Griggs said they
already checked with Interpol so
what are you doing that's any
different?
AMBASSADOR KAMAU
As I said we are also communicating
with the local Churches but again
we have no control over whether
these messages will actually reach
the affected family.
TALIA
(Exasperated)
So we're helpless?!
AMBASSADOR KAMAU
I'm sorry, I wish there was more I
could do at the moment, but that is
our process. I wouldn't say we're,
how did you put it? Helpless, but
we do have to be patient.
TALIA
And what happens to John?
AMBASSADOR KAMAU
Who?
(Remembering)
Oh yes, well I'm afraid we'll have
to bury him here. He'll have a
marked grave so we'll be able to
locate him quite easily if the
family comes and claims him.
TALIA
So that's it? His death is
pointless and his family will
suffer in silence while we all sit
back and wait. I can't believe it!
AMBASSADOR KAMAU
(Condescending)
I think that's a little over
dramatic Ms. Grieves. If we had
more resources we'd surely-
TALIA
(Interrupting)
Well what would you do if you had
the resources?
AMBASSADOR KAMAU
If we had the resources these cases
wouldn't exist.
Talia rises in frustration.
TALIA
I hear you complaining about not
having any resources but all I see
is someone who isn't willing to be
resourceful.
AMBASSADOR KAMAU
Please don't get too upset. Time
will resolve this matter. It always
does. You must be patient Ms.
Grieves. I see that you've become
quite attached to the matter. I
wish I could offer more but at the
moment it is all I have to give.
Talia sighs. She realizes that her anger is misdirected.
TALIA
I'm sorry Ambassador.
(Beat)
I appreciate that you're being
honest with me. It's just so
frustrating.
AMBASSADOR KAMAU
Please Ms. Grieves don't let this
taint your perspective of Kenya. It
is a beautiful country full of
beautiful people. Things like this
happen to all countries. I hope you
understand.
Talia nods. Ambassador Kamau rises.
AMBASSADOR KAMAU (CONT'D)
Thank you for dropping Ms. Grieves.
Even if I haven't been too helpful.
Ambassador Kamau hands Talia one of his cards that are
sitting on his desk.
AMBASSADOR KAMAU (CONT'D)
If there is anything else I can do,
please don't hesitate to call.
The two exchange niceties and Talia walks O.S.
INT. BANK LOBBY - AFTERNOON
Talia enters an ornate bank lobby and is surprised to find
Libby waiting there.
TALIA
Libby?
Libby sits up. She's surprised at the sound of Talia's voice.
LIBBY
(Nervous)
Tali? What are you doing here?
TALIA
I went down to the embassy this
morning. Since I was in the
neighborhood-
(Beat)
What are you doing here?
LIBBY
I was doing some, um
(Beat)
Banking.
Paul walks in on screen. He is surprised to see the two
women.
PAUL
(Suspicious)
What have we here? Two of my
favorite women.
Talia walks up to Paul and hugs and kisses him. Libby shrugs
her shoulders at Paul behind Talia's back. She's just as
surprised as he is.
TALIA
I was just around the corner so I
thought I'd surprise you for lunch.
Then I saw Libby here and it all
worked out perfectly. We can all go
to lunch.
PAUL
(Relieved)
A surprise indeed. This is my lucky
day. So where do we want to eat?
(Beat)
Somewhere along the Thames?
TALIA
You know it's my favorite.
LIBBY
(Flustered)
Oh I can't make it. I was just
doing some banking. I have some
things I need to take care of-
TALIA
Oh, but Libby, you have to come.
LIBBY
No, I'll catch up with you later.
Libby kisses Talia on the cheek and rushes O.S.
TALIA
That's odd. I've never seen Libby
so eager to get out of a free
lunch.
PAUL
You heard the lady. Places to go,
people to see. Probably trying to
publicize your career.
TALIA
That shouldn't take her long.
PAUL
Funny girl! I see we're in a better
mood.
TALIA
I am, I'm sorry about last night.
It's just-
PAUL
(Interrupting)
I know, I should've been better
about it. I don't know how I'd
react if I had almost been crushed
by a man falling from the sky. It
must have been horrible.
TALIA
It's weird, it was horrible, but in
some way it hasn't been.
PAUL
How's that?
TALIA
We'll talk about it at lunch. I'm
starved!
INT. RESTAUTANT - AFTERNOON
Talia and Paul sit eating lunch.
TALIA
(Wound up)
It's just so frustrating.
PAUL
(Sympathetically)
There's only so much he can do.
There's only so much any of us can
do.
TALIA
What do you mean?
PAUL
You don't know what it's like,
honey. The amount of bureaucracy
the rest of the world has to
navigate.
(Beat)
Most police know where the crime
is, who the criminals are, but they
can't just walk in and start
arresting people.
(Beat)
Same for me. I can't just decide to
start investing people's money
wherever I want.
There are rules in place that need to be followed. Do they
always help?
(Beat)
No, sometimes they hinder, but they're in place to protect us
from people who might abuse the power if they had it.
TALIA
I guess.
PAUL
So are you going to drop it now?
Will you let these people do their
job?
TALIA
Of course, I'll let them do their
job. I just want to help.
PAUL
How about you worry about your job,
you're life, for awhile. Let them
deal with theirs.
TALIA
I guess you're right. I'll do my
best to let it go.
The two continue to talk.
EXT. KENYA - NIGHT
Nduko makes her way through the moonlit terrain.
EXT. MUTINDA'S HOUSE - NIGHT
Mutinda lies awake in bed.
NDUKO (O.C.)
(Loud whisper)
Mutinda!
Mutinda stirs from his bed and rushes to the window.
Mutinda and Nduko stand face to face.
MUTINDA
What are you doing here?
NDUKO
Oh Mutinda, they plan to sell my
future away to the highest bidder.
Let us run away.
MUTINDA
Nduko, you shouldn't have come. It
is dangerous and if your family
finds out they will charge my
family for your abduction. We
cannot.
NDUKO
But we'll never be together!
MUTINDA
Don't worry. There may be a way.
Let me get dressed and I will take
you home. It would be wrong to
worry your family.
Mutinda gets dressed and joins Nduko to walk her home.
EXT. KENYA - NIGHT
Mutinda and Nduko walk together. They stop in front of
Nduko's house.
MUTINDA
So you see, with the extra work
I've picked up maybe your family
will agree to our marrying.
NDUKO
But you could not have enough.
MUTINDA
No, but within a couple of years I
would. I will pay your family a
monthly sum until my debt is
settled and we can wed.
NDUKO
A couple of years! I doubt they
will agree.
MUTINDA
That's why you must use your mother
to our advantage. I will give your
family everything they ask and more
if they will give me the time.
NDUKO
Alright, we will try, but if they
say no?
MUTINDA
They have not said no.
NDUKO
Yet.
MUTINDA
Nduko, we are meant to be together.
NDUKO
My heart belongs to you.
MUTINDA
As does mine to you.
The two kiss for the first time. Kwesi, who has gone to look
for Nduko witnesses their kiss.
EXT. KENYA - NIGHT - LATER
Mutinda begins to walk home. He is pushed to the ground Kwesi
and his FRIENDS.
MUTINDA
(Afraid)
Please I have no money.
KWESI
It is your lack of respect that I
take issue with.
MUTINDA
Kwesi?
KWESI
How dare you soil the reputation of
my sister, my family! I will teach
you what it means to respect those
of a higher class.
EXT. KENYA - MORNING
A battered and bruised Mutinda struggles under the growing
load of goods that he takes to the market.
Chimalsi sees his struggling friend and helps him.
CHIMALSI
Mutinda, what happened! You look as
if you've been run over.
MUTINDA
If only I was, it would be a better
fate then mine.
CHIMALSI
What troubles you?
MUTINDA
Nduko-
CHIMALSI
(Interrupting)
Ah, a woman, I might have guessed.
Did her father find you in her bed?
MUTINDA
Nothing like that. Her brother does
not approve of us. What you see is
his attempt to persuade me to look
elsewhere.
CHIMALSI
A compelling argument.
MUTINDA
It would take much more then
bruises for me to give up But I am
afraid that her family will not
have patience for ventures to yield
the sort of wealth Nduko would
command as a bride.
CHIMALSI
Mutinda, I've told you my friend,
come to the UK. You will be able to
pay for your bride within months.
Surely Nduko's family would not
object to such a reasonable time.
MUTINDA
It's just so far.
CHIMALSI
If you stay you may lose everything
that is keeping you here.
Mutinda nods.
MUTINDA
My friend I think there is no other
way.
CHIMALSI
Excellent, it is the smart choice,
the only choice.
Chimalsi pulls out a card of a UK Hotel and hands it to
Mutinda.
CHIMALSI (CONT'D)
This is the place I work. Once you
make it to the UK look me up and I
will take care of everything.
Mutinda nods thoughtfully trying to figure out how he can get
to the UK.
CHIMALSI (CONT'D)
All that you have to do is get
there.
INT. GRIEVE'S HOUSE - NIGHT
Talia surfs the net collecting as much information as she can
about the regions Ambassador Kamau had mentioned.
Talia prints out the information she's collected.
Talia surrounds herself with the information and thoughtfully
pieces together the mystery of her John Doe's origin.
Paul walks in on screen.
PAUL
Tali, honey, what are you doing?
TALIA
Working.
Paul surveys the printed material.
PAUL
Kenya, I thought you said you'd
give that a rest?
TALIA
Who's to say that my next book
doesn't take place there?
PAUL
Likely, come to bed.
TALIA
I'll be there in a bit.
Paul walks O.S.
INT. GRIEVE'S HOUSE - BEDROOM - NIGHT
Paul picks up the phone, looks behind himself and dials.
LIBBY (V.O.)
Hello?
PAUL
It's me.
LIBBY (V.O.)
Paul I had no idea Talia was going
to-
PAUL
I know, don't worry. Do you want to
try tomorrow?
LIBBY (V.O.)
I don't know. Seeing you two
together-
PAUL
I love you, Libby.
LIBBY (V.O.)
Okay, let's meet at the Hotel Room
this time. It's safer.
PAUL
See you then.
INT. GRIEVE'S HOUSE - NIGHT
Talia looks at the hotel card she found along with Mutinda's
picture.
INT. GRIEVE'S HOUSE - M