Being Mary Jane - Spec Script

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BEING MARY JANE
"Ambien Sex"
Written
by
Michael Greene
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COLD OPEN
FADE IN:
INT. MARY JANES HOUSE - MASTER BEDROOM - NIGHT
MARY JANE lays on her back, hands placed across her stomach,
perfectly motionless, in the dark, as if shes in a casket.
Her eyes open - bloodshot. She flips on her side. Stares at
her bedside clock that reads: 10:07 PM.
She MUMBLES something incoherent. Shifts to her other side,
frustrated. Closes her eyes. Several beats later. Her eyes
open.
She CURSES under her breath. Labors to sit up.
INT. MARY JANES HOUSE - TV ROOM - MOMENTS LATER
Mary Jane curls up on the couch, aims her remote at her flat-
screen TV - turning it on - the volume jolts us. She channel
surfs to her old gig, CNN - maybe she can bore herself to
sleep.
On her TV we see Anderson Cooper in a Nigerian village
holding onto one of the kidnapped girls who miraculously
escaped. The moment is dramatic. Ever the pariah, he remains
calm as he TALKS to the viewers.
MARY JANE
(to herself, dry)
Super Cooper saves the day again.
She changes channels. Local news. On her TV we see breaking
news of a charter bus and a semi-truck engulfed in flames.
Mary Jane is drawn in.
MALE NEWSCASTER (V.O.)
A bus full of high school students
heading to Mercer University for a
school visit was hit head on by a
semi-truck that apparently crossed
the median. Eyewitnesses have said
that upon impact both vehicles
burst into flames. At this point
eleven are confirmed dead,
including both drivers, three adult
chaperons and six students. Several
more students are in critical
condition.
Being Mary Jane - Ambien Sex 1.
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Mary Jane is devastated. A photo montage of the carnage
flashes across her TV.
MALE NEWSCASTER (V.O.)
The students, all from Atlanta,
were visiting Mercer as a special
outreach program for low income
households and students that will
be the first generation in their
families to attend college.
An EYEWITNESS is INTERVIEWED - she becomes BACKGROUND NOISE.
Tears well up in Mary Janes eyes. She turns the TV off.
INT. MARY JANES HOUSE - MASTER BEDROOM - MOMENTS LATER
Exhausted, she saunters in, forces herself to look at the
clock: 10:14 PM. She gets lost in a thought, lays back down
and adjusts her pillow. Closes her eyes. A moment later, she
opens her eyes and glances at the clock: 10:14 PM - WTF!?!
Mary Jane picks a fight with her pillow and comforter,
eventually winning. The bedding massacre is strewn across her
room. She lays on her barren bed, labored breathing, eyes
closed. She opens her eyes. Looks at her clock: 10:15 PM.
Music cue: Get Lucky - Daft Punk
INT. MARY JANES HOUSE - KITCHEN - MOMENTS LATER
The kitchen is a mess. This inspires Mary Jane.
QUICK CUTS OF:
She loads the dishwasher.
Sprays and wipes down the counters.
She scrubs the cabinets.
Digs under the sink for the oven cleaner - finds it.
She cleans the oven.
Mary Jane looks at her spotless kitchen, satisfied, turns out
the light.
The only light is from the illuminated clock that reads:
12:07 AM.
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Mary Jane gathers her bedding, wraps it around her entire
body, becoming a giant amoeba and falls onto her bed.
RANDOM TIME LAPSE / QUICK CUTS OF:
Mary Jane unable to sleep.
Masturbating to porn on her computer.
Sips on chamomile tea.
She Attempts sleep again.
Laughing at the crazy personal ads and revealing pictures on
Craigslist. One picture of a man with a giant penis impresses
her.
She researches the bus crash. Openly weeps.
More masturbating.
More research on the bus crash reveals a young hero. His name
is Cortland Jefferson. The sun rises. Splashing a beautiful
glow over Mary Janes face. She smiles. Lays down peacefully.
Falls asleep.
A beat later, her alarm clock SOUNDS OFF, abruptly cutting
off the music. The clock reads: 5:30 AM.
CUT TO:
MAIN TITLES
Music Cue: Zombie by The Cranberries
OVER BLACK we see the following quote appear:
Sometimes I lie awake at night, and I ask, 'Where have I
gone wrong?' Then a voice says to me, 'This is going to take
more than one night.
- Charles M. Schulz
As the heavy guitar permeates our eardrums, we see the title:
BEING MARY JANE
CUT TO:
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MORE MAIN TITLES
INT. MARY JANES HOUSE - MASTER BATHROOM - MORNING
Steam billows from the shower. She stares forward, zoned out -
the walking dead.
CUT TO:
INT. MARY JANES HOUSE - WALK-IN CLOSET - LATER
On autopilot, she reaches for her Wednesday hanger, pulls
some random shoes and a purse.
CUT TO:
INT. MARY JANES HOUSE - GARAGE - LATER
We see her outfit is still perfectly put together. Eye-gasm
on her shoe game as she pulls her leg in and shuts the door
on her Panamera Porsche.
CUT TO:
INT. MARY JANES CAR/DRIVING - MORNING
Mary Janes face is expressionless. She navigates traffic,
unaware the random HORNS are directed at her erratic driving.
CUT TO:
QUICK CUTS / TIME LAPSE OF:
INT. SNC NEWS NETWORK OFFICES - LATER THAT MORNING
Mary Jane walks through the office. She walks in REAL TIME,
the world around her is TIME LAPSED.
CUT TO:
INT. SNC NEWS NETWORK OFFICES - PRIVATE CONFERENCE ROOM -
MOMENTS LATER
GREG, KARA and a few other COLLEAGUES hold court. Mary Jane
is in REAL TIME, the rest are TIME LAPSED.
CUT TO:
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INT. SNC NEWS NETWORK OFFICES - MAKEUP ROOM - LATER
Mary Jane, expressionless, is in the mirror, applying her
make up, in REAL TIME, while everyone else is TIME LAPSED.
CUT TO:
INT. SNC NEWS NETWORK OFFICES - LIVE SET - LATER
Mary Jane goes through her show, shes on, a true pro, we see
her in REAL TIME, the rest of the crew is TIME LAPSED.
CUT TO:
INT. SNC NEWS NETWORK OFFICES - MARY JANES FISHBOWL - LATER
And back into REAL TIME for everything.
END MAIN TITLES.
Mary Jane sits at her desk. Staring blankly ahead. Her
eyelids get heavy. She slowly lowers her head to her desk.
Music fades out on the CLUNK of her head hitting her desktop,
and on this:
Mary Jane finally sleeps.
FADE OUT.
END OF COLD OPEN
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ACT ONE
FADE IN:
A thin stream of drool trickles out of the corner of Mary
Janes mouth, collecting into a half dollar sized puddle on
her desktop.
Kara walks in on the spectacle. Shes amused, then concerned.
CLEARS HER THROAT. Nothing.
KARA
Ive got calls out to several PR
agents.
Mary Jane pops up, MUMBLING like shes speaking in tongues.
She quickly wipes the drool from her mouth.
KARA (CONTD)
I want to flush out your ideas on
the Nigerian school girl
abductions. The more I think about
it, the celebrities jumping on and
off the bandwagon angle is great.
MARY JANE
Cortland Jefferson.
KARA
Whos he? Is he a rapper?
(then)
A producer or something?
Mary Jane quickly shifts gears, unaware of what just came out
of her mouth.
MARY JANE
No.
KARA
(smiling devilishly)
So thats his name. (insinuating) I
was wondering who kept you up all
night. Your eyes look -- different
today.
Off Mary Janes look. Kara gets serious.
KARA (CONTD)
Hes married.
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KARA (CONTD)
(then)
Is he married?
(then)
Please tell me hes not married.
Mary Jane, confused, blinks off the cobwebs.
MARY JANE
Hes a teenager.
Kara is rendered speechless.
KARA
(yelling)
Youre sleeping --
Kara catches herself. She looks around.
KARA (CONTD)
(hushed voice)
With a teenager???
MARY JANE
No! Cortland Jefferson is one of
the survivors from the bus
accident. Hes our next story.
KARA
(relieved)
Okay. Wow. I, ah --
(then)
Wait. Did you not just say in our
staff meeting this morning that you
wanted to take the how quickly we
move on angle on the Nigerian
school girl abductions, of which, I
just went to bat for you upstairs.
Mary Jane doesnt respond.
KARA (CONTD)
Youre doing it again.
MARY JANE
Doing what?
KARA
Its like you have ADHD. One second
youre on how the whole world --
MARY JANE
(enthusiastic)
Exactly!
(MORE)
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The whole world needs to know who
Cortland Jefferson is. This kid
saved at least a dozen kids from
burning alive --
KARA
(sarcastic)
Hmmm. Right. A dozen kids versus
three hundred school girls who --
MARY JANE
Two hundred and ninteen. And right
here in our back yard.
KARA
(dry)
Local story versus international
headlines. (thick sarcasm) Thats
what I signed up for.
MARY JANE
This is an opportunity to make
international headlines, not just
follow them?
That shuts Kara up.
MARY JANE (CONTD)
Super Cooper locked it down and has
the whole world thinking he saved
four of those girls.
(then)
But give it a week, social media
will dry up and then we run the
how quickly we move on angle.
Kara doesnt budge. Mary Janes claws come out.
MARY JANE (CONTD)
(sarcastic)
Or better yet, I know how to regain
interest, why dont you have Mark
and I parachute into Nigeria?
Mary Janes PHONE RINGS - its her mom. She picks up on the
first ring - she must be sleep deprived.
MARY JANE (CONTD)
(into phone)
Hey Mom.
Kara rolls her eyes, abruptly leaves.
INTERCUT WITH:
MARY JANE (CONT'D)
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INT. PARENTS HOUSE - BEDROOM - SAME TIME
HELEN PATTERSON pokes her head out her bedroom door,
eavesdrops on a CONVERSATION downstairs.
MARY JANE
Mom?
Helen shuts the door loud enough for anyone downstairs to
hear her passive aggressive posturing.
HELEN
(into phone)
Shes here again.
MARY JANE
Whos she?
Helen closes her jewelry box.
HELEN
The one I banned from my house.
Hides it in a drawer.
MARY JANE
(rolls eyes)
Tracy? Mom, you cant exile someone
for a crime they didnt commit.
HELEN
Shes here with Patrick. I just
dont see why he brings her around.
MARY JANE
Well, theyre kind of a package
deal, mom. And now that hes not
living there --
HELEN
You had crazy eyes this morning.
(then)
Again.
Mary Jane reaches into her purse, fishes around.
MARY JANE
(laughs, stalling)
Mom, my eyes didnt look crazy...
She finds her compact. Opens it. Her eyes are bloodshot,
twitchy -- her eyes look crazy -- silently CURSES.
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HELEN
Are you sleeping? You know the last
time you had crazy eyes, you --
Mary Jane opens her top desk drawer, pulls out the Visine.
MARY JANE
Mom, Im sleeping just fine.
She leans back far in her seat. Hold her phone with her
shoulder. Puts a couple drops of Visine in each eye. Blinks
rapidly.
HELEN
I know youre into all those
natural, herbal tea remedies, but
sometimes a good prescription is --
MARY JANE
Mom, Im --
HELEN
Im just saying. You should call
Lisa and have her write you a
prescription. You cant afford to
lose this job too.
MARY JANE
First of all, Im not going to lose
my job and secondly, Lisa is not
that kind of doctor.
HELEN
Shes got a prescription pad,
doesnt she?
Mary Jane looks at her door where her imaginary co-worker is
standing.
MARY JANE
Hold on, mom.
(to imaginary co-worker)
What?
(then)
Okay, Ill be right there.
(then)
Mom, I have to go. Ill stop by
later.
INT. DR. HUDSONS OFFICE - EXAMINATION ROOM - LATER THAT DAY
DR. LISA HUDSON and Mary Jane stand across from one another
with a giant, invisible wall of tension between them.
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DR. HUDSON
Im not that kind of doctor.
MARY JANE
I know that, but Im not that kind
of patient. Lisa, I need your help.
I literally have not slept in three
nights. Look at my eyes! Remember
these???
Lisa looks into Mary Janes eyes. Sees the twitching.
DR. HUDSON
At least theyre not as bloodshot
as last time.
(then)
You need some sleep.
MARY JANE
(sarcastic)
Ya think?
Lisa struggles with the boundary between her profession and
her long standing friendship.
DR. HUDSON
What youre asking me to do is
unethical and basically illegal.
MARY JANE
Right. I forgot, youre Doctor
Ethics.
Lisa takes offense to the dig. She bites her tongue, then
decides otherwise.
DR. HUDSON
At least my ethics dont cause
friends to commit suicide.
It takes Mary Jane a couple moments to recover from the low
blow. She chooses her words wisely.
MARY JANE
At least... when my best friend
tried to commit suicide I was there
for her.
Touch -- they both simmer in their venomous thoughts.
Finally...
MARY JANE (CONTD)
That time of the month?
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Crickets. A smile creeps over Lisas face. They both LAUGH,
probably too much.
MARY JANE (CONTD)
That wasnt even that funny. Shit,
Im so loopy, though.
(then)
Listen. I get it. You cant
prescribe me anything. And come to
think of it, after you overdosed on
sleeping pills, you aint the one I
should be asking to write a
prescription.
DR. HUDSON
(serious)
Thats not fu --
Before she can complete the word they both CRACK UP again.
The LAUGHTER turns painful. Lisa has trouble catching her
breath. Mary Jane massages her sides.
A nurse pops her head in. They play it off -- quickly regain
their composure.
As soon as Dr. Hudson attempts to address her nurse, she
LOSES IT again. Mary Jane follows suit. The nurse, weirded
out by their MANIACAL LAUGHTER, quietly shuts the door.
INT. DR. HUDSONS OFFICE - WAITING ROOM - MOMENTS LATER
Dr. Hudson avoids eye contact with her receptionist for fear
of lighting the laughter fuse again.
DR. HUDSON
(poised)
Please contact Dr. Shibas office
and schedule an appointment this
afternoon for Mary Jane Paul. Tell
them this is a code forty-two.
Lisa walks Mary Jane out.
MARY JANE
Okay, so what are you getting me
into?
DR. HUDSON
You want to sleep tonight?
Mary Jane gestures -- of course.
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DR. HUDSON (CONTD)
Then, you need to see Dr. Shiba.
MARY JANE
Whats a code forty-two? Is that
the kookoo bird code or something?
DR. HUDSON
(smiles warmly)
A professional courtesy code.
Without it, theres no way you
could get a same day appointment.
Mary Jane is impressed.
DR. HUDSON (CONTD)
Friendship has its privileges.
FADE OUT:
END OF ACT ONE
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ACT TWO
FADE IN:
INT. DR. SHIBAS OFFICE - LATER THAT DAY
DR. SHIBA, a tiny Japanese man in his late 50s, balding,
seated behind a large, meticulously organized, mahogany desk,
observes Mary Jane.
She looks at the two dozen or so Im a super bad ass doctor
official diplomas, certificates and awards adorning his
walls.
DR. SHIBA
The involuntary eye twitching and
insomnia are both directly linked
to stress.
Mary Jane focusses her attention on Dr. Shiba.
DR. SHIBA (CONTD)
For the next three nights, I want
you to get a full nights sleep.
(then)
Im going to prescribe Zolpidem.
Also known as Ambien. The only
requirement is that you let your
husband --
MARY JANE
Im not married.
Dr. Shiba glances down at her left hand -- slowly nods.
DR. SHIBA
Okay. Make sure your boyfriend --
MARY JANE
I dont have a boyfriend.
He takes a moment to consider.
DR. SHIBA
Do you have anyone who can spend
the night with you?
MARY JANE
I do.
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DR. SHIBA
This is very important.
(then)
Ambien is a powerful hypnotic and
you need to make sure someone you
trust is there to observe you.
Dr. Shiba hands the prescription to her. She looks at it.
MARY JANE
(baffled)
Only three pills? You dont have
samples?
DR. SHIBA
(smiles)
I dont.
(then)
I want to see you in three days for
a follow up. Then we can role up
our sleeves and get to the bottom
of whats so stressful in your
life.
She smiles. Is this guy for real?
CUT TO:
INT. PARENTS HOUSE - LATER THAT EVENING
Mary Jane zones out on the TV. Her mom finishes up dinner and
channel surfs - shes become quite adept with the TV remote.
An interview with CORTLAND JEFFERSON comes on - snapping Mary
Jane out of her daydream.
MARY JANE
Wait! Leave it there, mom.
Helen, put off by her tone, reluctantly obliges. Off her
look...
MARY JANE (CONTD)
I just want to hear what he says.
On the TV, Cortland Jefferson is composed and well spoken.
CORTLAND JEFFERSON
I was sitting directly behind the
driver. I remember pulling my
jacket over my head just before the
crash. After that, there people
were screaming that they didnt
want to die.
(MORE)
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(he chokes up)
I didnt want to die. There was
fire and smoke everywhere. I knew
the only way out was through the
window. So I kicked and kicked
until it popped off.
The REPORTER cuts him off.
REPORTER
Thank you Cortland. You are quite
the young hero.
(directly into camera)
Turns out, the jacket Cortland was
wearing was an Army jacket and was
fire retardant. Lucky kid. Back to
you Jenny.
HELEN
Okay, you heard him talk. Now may I
change the channel on my TV?
MARY JANE
Thank you, mom.
Mary Jane waits for her mom to look away -- roles her eyes on
the sly. We hear the door SHUT downstairs. Mary Jane looks
towards it.
INT. PARENTS HOUSE - KITCHEN - MOMENTS LATER
PAUL SR. hands his daughter a pharmacy bag.
MARY JANE
Thanks for getting this for me. You
know how rumors --
He raises his finger to his lips -- SHHH. Points to the
ceiling.
PAUL SR.
(low talk)
Shes listening.
Mary Jane gets it.
MARY JANE
(low talk)
Yeah. I dont want her to worry.
PAUL SR.
No. You dont want her nosey ass
all up in your business.
CORTLAND JEFFERSON (CONT'D)
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Mary Jane weighs years of evidence in a couple seconds --
reluctantly agrees.
PAUL SR. (CONTD)
Right?
Paul Sr. pulls his daughter in for a hug.
PAUL SR. (CONTD)
Now you get home and get some
sleep, alright?
She could stay in her dads embrace for eternity -- the hug
means more to Mary Jane than her dad will ever know.
INT. MARY JANES CAR/DRIVING - NIGHT
Mary Jane sits at a stop light.
MARY JANE
Call Lisa.
AUTOMOBILE VOICE COMMAND (V.O.)
Dialing Lisa.
The light turns green. The phone RINGS. Someone HONKS for her
to drive. She pulls off. Looks in her rearview mirror -
CURSES under her breath.
DR. HUDSON (V.O.)
(cheerful)
So? Is Dr. Shiba not the best?
MARY JANE
(smiles)
Yes. He seems very genuine.
INTERCUT WITH:
INT. DR. HUDSONS HOME - MASTER BATHROOM - SAME TIME
Lisa, squeezed into a form fitting dress, rock star pumps,
puts on make-up -- shes got a hot date. Shes got Mary Jane
on speaker phone.
DR. HUDSON
What did he prescribe?
MARY JANE
(uncertain)
Thats kind of what Im calling
about.
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Lisa stops what shes doing.
DR. HUDSON
Whats wrong?
MARY JANE
Nothing. Nothing. No. Everything is
great.
(then)
He prescribed Ambien.
Lisa delicately applies her mascara.
DR. HUDSON
Okay. Thats a good thing.
Mary Jane realizes something.
MARY JANE
Why do you have me on speaker
phone?
DR. HUDSON
Lisas getting ready for a hot date
tonight.
MARY JANE
(intrigued)
Who? And how come Im just now
finding out?
Lisa LAUGHS.
DR. HUDSON
This architect I met at the gym.
MARY JANE
Since when did you start going to
the gym?!?
DR. HUDSON
The celibacy thing is getting kind
of old.
MARY JANE
Be strong, sister! Besides, no
mortal will be able to handle you
unleashing the beast after how many
years?
Lisa LAUGHS.
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DR. HUDSON
Im not giving up the cookies on
the first date.
(then)
Hey. Be careful tonight.
(then)
With the Ambien. Did Dr. Shiba
suggest you have someone spend the
night with you?
Long silence. Mary Jane searches for a cover. Lisa realizes
the intention behind the call.
DR. HUDSON (CONTD)
Im cancelling my --
MARY JANE
No youre not!
DR. HUDSON
But --
MARY JANE
No buts! You enjoy your date. Call
me tomorrow and let me know how
things went.
DR. HUDSON
(reluctant)
Okay.
She wants to say something else.
MARY JANE
No cookies on the first date --
Lisa relaxes.
DR. HUDSON
Okay. Bye.
CUT TO:
INT. MARY JANES CAR/DRIVING - MOMENTS LATER
Mary Jane contemplates who to call.
MARY JANE
Call Kara.
Dialing Kara.
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After several lonely RINGS, her voice mail MESSAGE picks up.
QUICK CUTS OF:
MARY JANE
Hey. So, if you get this --
(reconsiders)
I dont know if you caught our boy
Cortland Jefferson tonight, but he
is the real deal. There is a major
story with this kid. I can feel it
in my bones. I -- we -- need him on
the show. Can I count on you
putting the wheels in motion first
thing tomorrow morning? You better
not be screening my call, lady.
Mary Jane hangs up.
MARY JANE (CONTD)
Call Nichelle.
Dialing Michelle Jackson.
Mary Jane quickly hangs up.
MARY JANE
Call Nee-shell.
Frustrated, she hangs up again.
MARY JANE
Call! Nee! Shel-LA!
MARY JANE
Are you kidding me!?! Nichelle!
Call Nichelle!!! Nee-shell!
She hangs up, again, tries to calm herself.
Takes several deep breaths.
MARY JANE (CONTD)
(matter-of-fact)
Call Nichelle.
Long beat, then...
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Dialing Nichelle.
MARY JANE
(giddy)
Yes!
Nichelles voice mail picks up after one ring. Mary Jane
realizes she got deliberately sent to voice mail.
She contemplates leaving a message -- CURSES under her breath
and hangs up.
MARY JANE (CONTD)
Call Mark.
Dialing Mark Bradley.
The phone RINGS.
MARK BRADLEY
Good timing.
INTERCUT WITH:
INT. LONDON HEATHROW AIRPORT - MORNING
Mark is about to board a plane.
MARY JANE
Im so glad you picked up. I really
need you to come over tonight. Ive
been --
MARK BRADLEY
Sure. It should only take me about
ten hours to get there. Thats
assuming I --
MARY JANE
Where are you?
MARK BRADLEY
Heathrow. On my way to Nigeria.
Kara didnt tell you?
Mary Jane searches her memory banks.
MARK BRADLEY (CONTD)
(laughing)
Yeah.
(MORE)
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Im going to parachute into one of
the villages and rescue the
kidnapped school girls.
Mary Jane is completely confused.
Kara told me about your idea.
(then)
Seriously, though, after Super
Cooper did his thing, everyone
thinks the story is over. But
theres two hundred more girls
still being held captive.
MARY JANE
Youre serious. Youre on your way
to --
MARK
Im boarding.
MARY JANE
Be careful, Mark. You know --
I gotta go. Talk to you in the
morning.
Mary Jane shakes off the surreal moment -- was it real???
After several moments simmering in her Alice in Wonderland
world, she realizes there is no one else to call. Its a very
lonely epiphany.
CUT TO:
INT. MARY JANES HOUSE - MASTER BEDROOM - LATER THAT EVENING
Mary Jane opens her pajama drawer. She stares into the
drawer. Digs a royal blue shirt out from the bottom.
CU on another one of Davids Duke University t-shirts -- yes,
she kept one.
CUT TO:
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INT. DAVIDS HOUSE - HOME OFFICE - SAME TIME
DAVID is working on something on his laptop. ANA, sporting a
baby bump, pops her head in on him.
ANA
Im going to bed.
David is laser focussed on what hes working on and doesnt
respond.
ANA (CONTD)
Honey? Im going to bed?
David looks up, intense, his concentration broken.
DAVID
What?
ANA
Good night.
David softens.
DAVID
Good night.
As soon as Ana exits, Davids phone CLINKS -- a text message.
Curious, he picks up his phone. He looks at the message ID
and it says CRAZY.
He SIGHS. Without reading the message, he puts his phone
down. Goes back to work. His phone CLINKS again. He ignores
it. It CLINKS again.
He picks up his phone. The message reads, PLEASE CALL ME.
ITS A MATTER OF LIFE AND DEATH. SORRY FOR THE DRAMA.
SERIOUSLY. CALL ME!
David stands up. Dials CRAZY.
MARY JANE (V.O.)
Thank you for calling me.
DAVID
Whats going on?
INTERCUT WITH:
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INT. MARY JANES HOUSE - KITCHEN - SAME TIME
Mary Jane paces in the kitchen. Shes wearing Davids Duke
University t-shirt and nothing else. She holds the
prescription bottle in her hand.
MARY JANE
(manic)
Listen. I need a huge favor. Ive
called everyone I trust, which,
Ive painfully realized, isnt that
many people, so, Im calling you.
Strictly as a friend.
David is curious.
DAVID
Okay. You have my attention.
MARY JANE
I need you to come over.
David shakes his head.
DAVID
Im hanging up now.
MARY JANE
Wait! Dont hang up! Please --
(forced calm)
-- wait. Please. Let me explain.
He reluctantly agrees to listen.
MARY JANE (CONTD)
(back to manic)
I havent slept in three nights.
Seriously. I even went to a shrink
earlier today and you know how I
despise head doctors and Im more
anti-medicine than Scientologists,
but if I dont get some sleep
tonight, Im not going to make it.
So, Dr. Shiba, hes this
psychologist Lisa referred me to,
prescribed me a few Ambien.
Literally three pills. I know,
youre thinking, why didnt he
just give me some samples? Right?
I was thinking the same thing.
(MORE)
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I even asked him about why he
didnt give me samples and so long
story short, I need to get some
sleep tonight and Im going to take
an Ambien. He told me I have to
have someone I trust watch over me.
You wouldnt have to actually watch
over me. I mean, you can sleep on
the couch or something, I totally
respect you and the white girl
models relationship, whats her
name? Amber? No -- Ana -- sorry.
But I just need someone here to
make sure I dont do anything
stupid. I really need your help.
Can you help me?
He wipes his face hard, knowing he cant deny this woman. A
long, stagnant silence envelopes them. David SIGHS.
Mary Jane knows what his sigh means. A nervous smile creeps
over her face.
DAVID
Okay.
MARY JANE
Do you need me to talk to Ana?
Because, Ill talk to --
DAVID
No. What I need you to do is stop
talking before I change my mind.
MARY JANE
Okay. This is me not talking
anymore.
CUT TO:
INT. MARY JANES HOUSE - TV ROOM - 50 MINUTES LATER
David and Mary Jane sit silently on the couch, watching TV.
Mary Jane is wrapped up in a comfy afghan.
DAVID
(staring forward)
So, how long before it kicks in?
No answer. David looks over -- Mary Jane is comatose. He
smiles.
CUT TO:
MARY JANE (CONTD)
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David carries Mary Jane through the door and lays her on her
bed. He tucks her in. As he leaves, he stops and takes in the
moment -- watching her rest peacefully. Reality hits him. He
SIGHS and turns out the lights.
FADE OUT:
END OF ACT TWO
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ACT THREE
INT. MARY JANES HOUSE - TV ROOM - LATER
The light from the flat screen splashes across Davids face
in a steady rhythm -- hes in a deep sleep -- and left the TV
on. He winces.
We reveal that Mary Jane, now completely nude is going down
on him. He slowly wakes up. Disorientated, it takes him
several moments to realize where he is and who is doing what
to him -- by then, its too late.
Mary Jane forges a pathway of kisses to his neck and gently
kisses his ear.
MARY JANE
(whispering)
You said all I have to do is ask.
She kisses him on his mouth. He tries in vain to resist. The
soulmates passionately make love -- is this a dream?
CUT TO:
INT. MARY JANES HOUSE - MASTER BEDROOM - MORNING
Mary Janes alarm clock SOUNDS OFF. The clock reads: 5:30 AM.
She opens her eyes and smiles. A full nights sleep has made a
big difference.
CUT TO:
INT. MARY JANES HOUSE - TV ROOM - MOMENTS LATER
She checks in on David. The bed linens are folded -- hes
been gone for a while. This perplexes Mary Jane. She shrugs
it off.
CUT TO:
INT. MARY JANES HOUSE - MASTER BATHROOM - MOMENTS LATER
Steam billows from the shower. Mary Jane looks at herself in
the bathroom mirror. Her eyes look much better.
She notices Davids Duke University t-shirt is on inside out
and backwards -- makes a mental note. Looks at the
prescription bottle on her sink. Picks it up.
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MARY JANE
(to herself)
Magic in a bottle.
Mary Jane takes off Davids shirt and eases into the shower.
CUT TO:
INT. MARY JANES CAR/DRIVING - LATER THAT MORNING
Mary Jane is looking at the world through rose colored
glasses with a permanent smile plastered on her face.
MARY JANE
Call Never Answer.
Dialing Never Answer.
The call goes straight to voice mail.
MARY JANE
(cheerful)
Hey David, I just wanted to thank
you for being there for me in my
true moment of need. I feel so much
better and really needed --
A car cuts her off, she HONKS. LAUGHS it off.
MARY JANE (CONTD)
Sorry, someone just cut me off.
(then)
Im rambling. Please tell Ana I
really appreciate her loaning me
her man last night. I think --
well, Im pretty sure you know by
now that maybe youve got yourself
a good woman there, David. And you
know if Im saying that, its true.
Talk to you later.
Mary Jane SIGHS with a sense of genuine satisfaction.
CUT TO:
INT. SNC NEWS NETWORK OFFICES - LIVE SET - LATER
Mary Jane takes her seat at the desk. LARRY, the sound guy
mics her.
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MARY JANE
Larry? Have you been hitting the
gym?
LARRY
(laughs)
My wife is on this smoothie kick.
Which basically means Im on a
smoothie kick.
MARY JANE
Smoothies do the body good.
LARRY
(dry)
Yeah. So did the juicer, the flex
master, our stair stepper and the
exercise slash clothes hanger
stationary bike.
MARY JANE
(laughs)
Thanks.
She places in her earwig.
MARY JANE (CONTD)
Kara, you there?
KARA (V.O.)
I am.
MARY JANE
Whats the status on our golden boy
Cortland?
Mary Jane scans the Teleprompter. Before Kara can answer.
MARY JANE (CONTD)
Whats the correct pronunciation of
Sambisa?
KARA (V.O.)
Thats it.
MARY JANE
Mark is ready to go?
KARA (V.O.)
Ten four.
MARY JANE
Okay guys and girls, show time.
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Shes counted in by a STAGE MANAGER:
STAGE MANAGER
Five, four, three, two --
The stage manager points to Mary Jane on the one.
ANGLE ON: Mary Jane live.
MARY JANE
Im Mary Jane Paul. Thank you for
joining me at this hour. SNC
anchor, Mark Bradley, is joining us
live from Sambisa, Nigeria. What is
the situation there Mark.
INTERCUT WITH:
EXT. SAMBISA VILLAGE, NIGERIA - SAME TIME
Mark is in his element - serious news reporting. There is a
slight delay because of the time zone difference.
MARK BRADLEY
Thank you, Mary Jane. In a press
conference earlier today, Chief of
Defense Staff Air Marshal Alex
Badeh explained the military knows
where the abducted girls are, but
are ruling out a rescue by force
for fear of endangering them. Most
officials think any raid to rescue
them would run a high risk that the
girls would be killed by their
captors. Boko Haram has repeatedly
showed ruthlessness in targeting
civilians. Earlier today, thirty-
one security personnel were killed
in an attack by heavily armed Boko
Haram militants in the town of Buni
Yadi.
MARY JANE
What about the recent reports of
four more girls escaping?
Long pause. Mark listens. The delay is awkward, as usual.
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MARK BRADLEY
Yes. The four girls who escaped and
was widely publicized earlier this
week by other networks had escaped
with the original fifty-three over
a month ago. Apparently, and for
good reason, their parents were
keeping their escape hidden for
fear of retaliation against their
village.
Mary Jane and Kara watch a video of Cortland Jefferson from a
news website.
On her computer we see Cortland Jefferson in a sling, his
attorney, his father and mother outside at a news conference.
The on-screen graphics read First Lawsuit Filed in Deadly Bus
Crash.
Cortlands attorney DRONES ON about the lawsuit. They cut to
a video of Cortland playing drums in a drum line - hes
exceptional.
MARY JANE
Do you see it?
Kara is perplexed.
KARA
I dont.
Mary Jane re-cues the part of Cortland playing in the drum
line. Kara still doesnt see it.
A loud COMMOTION and a WOMAN YELLING somewhere in the office
momentarily distracts them. Kara looks out the door. A SNC
security guard runs past her.
Mary Jane looks at her -- everything okay?
Kara shrugs it off.
KARA (CONTD)
It looks like they have it under
control.
MARY JANE
As long as nobody starts shooting.
KARA
Riiight?
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They both turn their attention back to the computer.
KARA (CONTD)
Okay, so what am I missing?
Mary Jane points to the computer screen. The video is paused
on Cortland playing in a drum line.
MARY JANE
Thats not the same kid.
Kara looks closer.
KARA
Yes it is.
Mary Jane sits back. Smirks.
MARY JANE
Now, I realize that maybe its a
cultural thing and Im not going to
go there.
KARA
(confused)
Go where?
MARY JANE
You really dont see it.
(then)
See, I would expect Greg not to see
it --
KARA
Wait. Are you saying this is a
Black thing?
MARY JANE
(mocking)
Wait. Did you just say a Black
thing? (to herself) What century
are we in?
They both look at each other. Mary Jane rolls her eyes.
MARY JANE (CONTD)
I did a little digging. Checked his
Facebook profile. He has a
fraternal twin brother.
Off Karas look.
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MARY JANE (CONTD)
His brother is shorter, smaller and
a hell of a lot more talented with
drumsticks. In fact, Cortland
didnt even make the line.
(then)
Hes on the practice squad.
Kara gets it.
KARA
And half their press conference is
about how his injuries may prevent
him from playing drums again.
MARY JANE
From hero to zero once we break
this.
KARA
(excited)
Hes coming in tomorrow.
They high-five each other. Greg pops his head in.
GREG
Hi Kara. Great show today ladies.
(then)
Mary Jane. Can you come up to my
office?
MARY JANE
(uncertain)
Sure.
He exits. Mary Jane looks at Kara.
MARY JANE (CONTD)
Anything I dont know that I should
know?
Kara shakes her head -- no. Mary Jane walks out of her
office. It takes a couple beats, but she notices the office
is very quiet. She looks around, catching the other staff
looking at and whispering about her.
CUT TO:
INT. SNC NEWS NETWORK OFFICES - GREGS OFFICE - MOMENTS LATER
Mary Jane is seated. Across from her is Greg seated at his
desk, the HEAD OF SECURITY, a couple uniformed police
officers, and a SNC SECURITY GUARD standing off to the side.
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HEAD OF SECURITY
So, we dont know how serious the
threat is, but we just want to make
sure you are escorted to and from
the parking lot by one of my guards
until things quiet down.
Mary Janes head is spinning.
GREG
We are considering filing
trespassing charges and you should
seriously consider getting a
restraining order.
MARY JANE
Was she carrying a gun or knife or
something?
The head of security looks down at his notes, then over to
the SNC security guard, then back to Mary Jane.
HEAD OF SECURITY
A canister of pepper spray.
MARY JANE
Every woman carries pepper spray.
(then)
What exactly did she say that was
considered so threatening?
The head of security glances over to the uniformed police
officers, then reads from his notes.
HEAD OF SECURITY
(dry)
Where the expletive is Mary Jane?
Where is that expletive expletive?
She expletived my fiance. Im
gonna expletive kill that Black
expletive.
Mary Jane raises her eyebrows.
MARY JANE
(to SNC security guard)
Was that last expletive a reference
to a female dog?
The SNC security guard was not ready to be put on the spot.
SNC SECURITY GUARD
Uh --
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HEAD OF SECURITY
(clears his throat)
Yes mam, it was.
Greg DRONES ON about tightening security, becoming background
noise.
CU on Mary Jane as she simmers in her anger.
CUT TO:
Same CU on Mary Jane.
KARA (O.C.)
You just cant get a man of your
own, can you?
Kara paces. Theyre locked in MJs fishbowl. SNC staff
members pretend not to listen -- but theyre all tuned in.
Mary Jane text messages David.
On her phone she types the message, YOU NEED TO CONTROL THE
WHITE GIRL. SHE CAME DOWN TO MY OFFICE TRIPPING. I THOUGHT
SHE WAS COOL W/U COMING OVER???
KARA (O.C.) (CONTD)
What is it about a man who has a
woman that is so attractive to you?
(then)
Have you thought about talking to
someone? Maybe seeing a therapist
or something?
Mary Jane has had enough of Karas berating.
KARA (CONTD)
Why cant you --
MARY JANE
Why cant you give me the benefit
of the doubt?
KARA
Where theres smoke, theres fire
MJ. And Ana coming down here --
MARY JANE
Ana coming down here is a
misunderstanding and Im getting to
the bottom of it.
(MORE)
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So back off with all your self-
righteous, Im a scorned woman
rhetoric. Save it for a misery
loves company, cheated on women,
support group or something.
CUT TO:
INT. SNC NEWS NETWORK OFFICES - GARAGE - LATER THAT DAY
Mary Jane walks to her car -- shes angry, oblivious to the
SNC security guard (from earlier) three steps behind her. She
checks her text message chat with David -- no response.
She unlocks her Panamera with a deliberate push of the
remote. Tosses her purse in.
SNC SECURITY GUARD
Uh...
She turns to the SNC security guard -- what?!? Her glare
freezes him in his tracks. His lips quiver, but no sound
comes out.
Mary Jane rolls her eyes, gets in her car and shuts the door
with authority.
SNC SECURITY GUARD (CONTD)
(zero confidence)
Have -- a blessed day -- Ms. Paul.
CUT TO:
Mary Jane navigates traffic -- shes driving fast and
furious. She now looks at the world through crap tinted
glasses.
MARY JANE
Call Never Answer.
Dialing Never Answer.
The call goes straight to voice mail.
MARY JANE
(forced calm)
I dont know what is going on, but
you need to call me as soon as --
MARY JANE (CONT'D)
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A car cuts her off, she LAYS ON THE HORN. CURSES at the
driver.
MARY JANE (CONTD)
As much as I would like to say that
was for you, it wasnt. Im
driving.
(then)
Tell your little white girl Im
gonna let her little temper tantrum
she threw down at my place of work
slide. Once.
(then)
Well chalk it up to pregnancy
hormones or something.
(then)
I thought she was cool with you
helping me out? Get her on the same
page David or I will file a
restraining order.
(then)
You need to call me.
CUT TO:
INT. MARY JANES HOUSE - MASTER BATHROOM / KITCHEN - LATER
THAT EVENING
Mary Jane finishes up her bedtime routine, wearing her
comfort pajamas shes had since college. She looks at the
Ambien prescription bottle. Picks it up.
We follow her to the kitchen. She checks her phone again --
nothing. Sets her phone on the counter. Opens the pill
bottle, takes out an Ambien.
Reaches into the fridge for a bottled water. Pops the pill
with a couple swallows of water.
CUT TO:
She tucks herself into bed and sets her water on the night
stand.
CU on Mary Janes peaceful face. She closes her eyes.
CUT TO:
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INT. MARY JANES CAR - GARAGE - THE NEXT MORNING
Same CU on Mary Janes peaceful face. She opens her eyes --
smiles -- realizes she is inside her car, fully clothed. She
looks at the empty bag of potato chips in her passenger seat -
- her smile dissipates.
FADE OUT:
END OF ACT THREE
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ACT FOUR
FADE IN:
INT. MARY JANES HOUSE - KITCHEN - MOMENTS LATER
Music cue: Paranoid - Kanye West
QUICK CUTS OF:
Mary Jane, on the phone, holding onto the Ambien
prescription.
MARY JANE
Hi Doctor Shiba, this is Mary Jane
Paul. So, Im day two into the
Ambien experiment and a couple
nights of sleep has made a big
difference, but I woke up inside my
car this morning. The problem is I
didnt fall asleep in my car and I
also apparently changed my clothes,
went somewhere and bought some
chips -- and ate the whole bag. I
dont remember doing any of this.
Please call me when you get in.
Thank you.
She calls Lisa.
MARY JANE (CONTD)
Lisa. Im sorry to call you so
early. I have some questions about
Ambien. Something really weird
happened last night. Call me.
Thanks. Oh and what happened with
your date the other night?
She looks up side effects of Ambien on her computer -- its a
hypnotic. People experience sleep walking, sleep eating and
even sleep driving episodes.
Her tea kettle WHISTLES.
She pours steaming water over a tea bag.
Mary Jane, lost deep in thought, sips her tea -- scalds her
lip.
She paces throughout her kitchen. Doing her best to recollect
what happened last night -- what about the night before with
David???
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She picks up her phone, calls David. Straight to voice mail.
Pulls up the text conversation with NEVER ANSWER.
On her phone she types the message, CALL ME. I THINK I KNOW
WHAT HAPPENED. YOU MUST THINK IM CRAZY AS FU--
She stops typing. Thinks to herself. Deletes the message --
letter by letter.
A beat later, her phone RINGS, abruptly cutting off the
music. Mary Jane recognizes the number.
MARY JANE (CONTD)
Dr. Shiba. Thank you for calling me
back. I know Im scheduled to see
you tomorrow, but --
(listens, then)
I did the first night, but last
night I couldnt find anyone.
(listens, then)
Yes. Thank you.
Mary Jane places her phone down and lets out a deep SIGH.
Before she can enjoy the residual effects of her sigh, her
phone RINGS. She immediately picks it up.
MARY JANE (CONTD)
(into phone)
Dad? Is everything okay with mom?
INTERCUT WITH:
INT. PARENTS HOUSE - KITCHEN - SAME TIME
Paul Sr. prepares an elaborate smoothie with leafy greens,
yogurt and frozen blueberries.
PAUL SR.
(into phone)
Everything is okay here, baby. I
was just calling to check in with
you. Have you been sleeping better?
MARY JANE
I have. Almost too good. Im going
in for a follow up this morning.
PAUL SR.
Thats good. Sounds like your
doctor is on top of things.
(then)
(MORE)
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I see youre interviewing the young
hero from the bus crash.
Mary Jane is confused.
MARY JANE
How do you know about that?
PAUL SR.
Well, not all of us fast forward
through commercials. Talk Back
promos are in heavy rotation.
(then)
Your mom has taken quite an
interest in that young mans story.
She talking to her colleagues at
Jack and Jill about presenting him
an award for bravery and raising
money for a scholarship.
MARY JANE
I hate to burst moms hero bubble,
dad, but the kids a fraud.
Paul Sr. anticipated her response. A slight smile creeps over
his face. He stops prepping his smoothie and walks to the
window... gets lost in a thought.
PAUL SR.
If you dig deep enough, youll find
something on everyone.
MARY JANE
This is different, dad.
PAUL SR.
Remember when you were in high
school and Ms. Mason had you read
Invisible Man, by --
MARY JANE
(impatient)
By Ralph Ellison. Im not seeing
the connection, dad.
PAUL SR.
Your teacher was fired because she
didnt follow the school districts
approved reading list.
Mary Jane rolls her eyes.
MARY JANE
Dad, this is completely different.
PAUL SR. (CONT'D)
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PAUL SR.
Is it? I seem to remember her being
your hero.
MARY JANE
Dad, what happened to her was
character assassination.
PAUL SR.
But you didnt know what was going
on at the time and the powers that
be labeled her a fraud.
Mary Jane shakes her head.
MARY JANE
This is different. Cortlands
family hired some ambulance chasing
attorney whos filed a lawsuit
because he may not be able to play
the drums again, which he couldnt
play in the first place. Six kids
lost their lives in the accident.
He broke his arm and got a few
burns. His twin brother is the --
anyway, just trust me, dad. Its
not the same.
Long silence, laced with tension.
PAUL SR.
You may be right. Maybe the family
is using the situation to their
advantage.
Another stagnant moment creeps by.
PAUL SR. (CONTD)
You were right about Terrence, but
if you could do it over, would you
change how you handled it?
Mary Jane resists the wisdom, refuses to answer him.
PAUL SR. (CONTD)
What have I always told you about
crossing the street?
Another long moment passes. Mary Jane closes her eyes --
lets go.
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MARY JANE
(reluctant)
Even if you have the right of way,
you still have to look both ways
because its better to be wrong and
alive than be dead and right.
CUT TO:
INT. DR. SHIBAS OFFICE - LATER THAT MORNING
Classic psychiatrist/patient set up -- Mary Jane on a couch,
Dr. Shiba sits behind her.
MARY JANE
I keep having a recurring dream.
Its a pleasant dream but set
inside a nightmare environment.
Its always in the same house. The
layout of the house makes no sense.
Almost as if Escher designed it --
no beginning and no end. Its like
a real life house version of one of
those bad carnival fun houses, but
no crazy mirrors, just bad garage
sale furniture. Nothing matches and
its always dark outside.
(then)
And theres always someone outside
trying to get in, but Im never
worried that they can actually get
in. But I know theyre out there,
patiently waiting. So, I walk
around the house and eventually I
realize there are no doors... just
windows.
CU on Mary Janes face.
MARY JANE (CONTD)
But, Im too scared to look out the
window because of the reflection
from inside. You know how when you
have lights on inside and if its
dark outside, you cant see unless
you get your face really close to
the window to block out the
reflection? That still freaks me
out, even in real life, because
putting your face that close to the
window leaves you so vulnerable to
whatever or whoever is waiting
outside.
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Mary Jane thinks about her statement. Shes figured something
out. A long, silent moment passes -- too silent -- shouldnt
he be asking me something? She turns and looks back at Dr.
Shiba -- really???
CU on Dr. Shiba -- hes dozed off.
The DOOR CLOSES just shy of a slam -- startling Dr. Shiba out
of his slumber. Hes quickly recovers from his confusion.
Looks on the couch where Mary Jane should be. He sees
something.
CU on Mary Janes last Ambien pill.
CUT TO:
INT. SNC NEWS NETWORK OFFICES - BREAK ROOM - LATER THAT DAY
Mary Jane and Kara wait by the microwave. The rhythm of the
popcorn popping matches the intensity of the conversation.
KARA
Its rape, MJ.
MARY JANE
I dont know. I mean --
KARA
If you were not conscious, have no
recollection of having sex with
him, but he obviously had sex with
you and admitted it to his baby
momma --
MARY JANE
Stop it. I came to you because I
need an objective view. David is
not a rapist. No way.
An assistant walks in. Kara shoots her a look of death --
leave now!
The assistant quickly turns around and exits.
KARA
I am giving you an objective view.
Was he aware that you took the
Ambien?
MARY JANE
Yes. He saw me take it. Thats why
he was --
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KARA
See!
Mary Jane shakes her head.
KARA (CONTD)
What was the last thing you
remember?
Mary Jane searches her memory banks.
MARY JANE
I... remember... being on the couch
and we were watching something on
television.
KARA
And when you woke up?
MARY JANE
I was in bed.
KARA
Were you clothes on?
MARY JANE
(laughs)
Of course.
Mary Jane recalls something.
KARA
What? You remember something. What
it is?
MARY JANE
I... my shirt... was inside out and
on backwards.
Kara slams her hand on the counter top. Paces like a caged
beast.
KARA
He raped you. What he did was rape.
(then)
We need to call the police. That
son of a --
MARY JANE
Just hold on. Stop. Look at me.
Kara reluctantly obliges.
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MARY JANE (CONTD)
David is not a rapist. And Im damn
sure not calling the police. Do you
have any idea what they do to Black
men accused of rape?
(then)
Listen to me. So last night I took
another Ambien. I woke up this
morning in my car, fully dressed.
(then)
With an empty bag of chips in my
passenger seat and crumbs
everywhere.
Kara processes this new information. Mary Jane searches her
mind for answers. The microwave bell DING, disrupts their
thoughts.
Kara pulls out the bag. Mary Jane slides the bowl towards
her. As Kara pours the steamy popcorn into the bowl...
KARA
That complicates things. Maybe you
dont need to go to the police --
(then)
Yet. But, you definitely need to
have a face to face with David and
find out what exactly went down.
(then)
You ready for the kid?
Mary Jane nods -- yes. Grabs the bowl of popcorn, exits the
break room. Kara follows.
CUT TO:
INT. SNC NEWS NETWORK OFFICES - GREEN ROOM - MOMENTS LATER
Cortland, his DAD and MOM make themselves at home. Mary Jane
and Kara enter with the bowl of popcorn.
CORTLANDS MOM
Oh yeah. I could smell it coming
down the hall.
She takes the bowl from Mary Jane and digs in.
CORTLANDS MOM (CONTD)
(to Cortland)
See, baby, all you have to do is
ask for what you want.
Cortlands dad shoves a handful into his mouth.
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CORTLANDS DAD
Mmmm hmmm. This is that premium
microwave popcorn. Do you have any
hot sauce?
Kara keeps the parents occupied while Mary Jane pulls
Cortland off to the side.
MARY JANE
Before we go on, I just wanted to
talk with you, so you can get
comfortable.
Cortland nods -- okay -- hes nervous. Mary Jane makes note
of his arm sling and the burns healing on his ears, neck and
hands (his injuries are worse than weve seen).
MARY JANE (CONTD)
So, hows the arm?
CORTLAND JEFFERSON
Actually, its my collar bone.
Mary Janes smile puts him at ease.
MARY JANE
I want to get some clarification on
a couple things.
His mom and dad LAUGH about something -- it distracts
Cortland. He cant help but smile. Mary Jane notices the
sparkle in his eye.
MARY JANE (CONTD)
I bet your parents were relieved
you survived the crash.
Cortland nods -- yes.
MARY JANE (CONTD)
Do you have any other siblings?
CORTLAND JEFFERSON
A brother.
(then)
Hes my twin.
MARY JANE
How come he wasnt on the bus?
CORTLAND JEFFERSON
My brother is set. Hes already got
offers from several schools.
(MORE)
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(then)
Did you see me on the news?
Mary Jane smiles -- yes.
CORTLAND JEFFERSON (CONTD)
They messed up and showed video of
my brother on snare.
(then)
I wish I was that good. But, thats
what Im striving for.
MARY JANE
How do you feel about the lawsuit?
He looks at his parents and grins.
CORTLAND JEFFERSON
This whole situation has brought my
parents back together. Theyd been
separated for a couple years. Now
look at them.
Mary Jane studies his parents -- she gets it.
Greg rushes in and pulls Kara to the side. They both look at
Mary Jane -- she knows that look -- something isnt right.
SMASH CUT TO:
INT. SNC NEWS NETWORK OFFICES - LIVE SET - MOMENTS LATER
Frenzied set. Greg leads Mary Jane to the set, while Larry
mics her.
GREG
Weve got communications, but we
dont know for how long. Get in.
Get the --
MARY JANE
I got this, Greg.
Mary Jane slams in her earwig.
MARY JANE (CONTD)
Talk to me.
INTERCUT WITH:
CORTLAND JEFFERSON (CONT'D)
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INT. SNC NEWS NETWORK OFFICES - CONTROL ROOM - SAME TIME
The room is alive with activity. A grainy television feed
jumps in and out. On several of the monitors, we can see
Mark, his face is dirtied and he looks very serious.
The DIRECTOR looks at one of the editors.
DIRECTOR
I need that feed coming in strong
and clean!
KARA
Okay, MJ, the satellite feed is
coming up.
MARY JANE
Do we have audio with Mark yet?
KARA
Yes.
MARY JANE
I need to talk to him before we go
live.
KARA
We dont have time.
MARY JANE
Make time.
DIRECTOR (O.C.)
What the hell is that?
Mary Jane sits at the news desk. MACHINE GUN fire bleeds
through her earwig. Mortified -- she taps her ear.
MARY JANE
Mark?
KARA
Im sorry, MJ. Weve lost comm.
FADE OUT:
END OF ACT FOUR
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ACT FIVE
FADE IN:
INT. SNC NEWS NETWORK OFFICES - LIVE SET - NIGHT
The make up person applies a quick touch up to Mary Janes
face and hastily exits as...
The stage manager counts her in:
STAGE MANAGER
MARY JANE
joining me at this hour. Earlier
this evening the militant group
Boko Haram attacked the hotel where
SNC anchor Mark Bradley is
reporting from. We have lost all
communications with Mr. Bradley and
the hotel. Please stay with us,
well be right back.
The stage manager visually counts her off. Mary Jane
scrambles off set, past Greg.
INT. SNC NEWS NETWORK OFFICES - BACK STAGE / BATHROOM -
CONTINUOUS
Music cue: Love Song - Candice Glover (the raw version she
sang on American Idol)
Mary Jane, about to burst into tears runs to the bathroom.
Once inside, she leans against the door. Tears well up in her
eyes.
Mary Jane pinches her arm hard -- weve seen this coping
mechanism before. It takes her several moments to settle
down.
She takes a moment to compose herself. Straightens her
blouse. Walks back towards the live set.
Greg walks with her.
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GREG
After the next break, I want you to
start the Cortland Jefferson
segment.
MARY JANE
That makes no sense.
GREG
Weve spent a lot on ad buys to
promote it.
MARY JANE
Theres no story, Greg. Hes a
hero. Were running with the
celebrity angle on the school
girls.
The make up person walks in front of them, checks Mary Janes
face -- good to go.
GREG
But what about the fraudulent
lawsuit?
STAGE MANAGER (O.C.)
Ten seconds.
MARY JANE
I hope his family gets millions.
She sits down. Larry gives her lav mic a once over.
KARA (V.O.)
(in Mary Janes earwig)
Ill deal with Greg.
MARY JANE
Thank you, lady.
STAGE MANAGER
Five, four, three --
The stage manager raises the peace sign on two, points to
Mary Jane on the one.
MARY JANE
joining me at this hour.
(MORE)
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On April fourteenth, two hundred
seventy-six school girls were
taking exams at a secondary school
in the remote northeastern village
of Chibok, when Islamist gunmen
surrounded it, loaded them onto
trucks and carted them off. Fifty-
three escaped shortly afterwards.
(then)
The public outcry from celebrities
and social media had been
tremendous. But now, more than
sixty days later, the girls are
still being held in captivity and
no one seems to care.
(then)
Joining us tonight, from our
affiliate in Washington, is U.S.
Senator Cory Booker.
INTERCUT WITH:
INT. SNC NEWS NETWORK OFFICES - CONTROL ROOM - CONTINUOUS
Senator Bookers image is on several monitors.
KARA
(into mic)
Doing great MJ.
DIRECTOR
Split screen with number four in
three, two, one...
The director points and the monitor switches to a split
screen.
ANGLE ON: Mary Jane live
MARY JANE
Senator Booker, thank you for
joining us at this hour.
SENATOR CORY BOOKER
Thank you Ms. Paul, its a pleasure
to be here.
(then)
Sorry to hear about the recent turn
of events, I hope Mr. Bradley is
okay.
(then)
MARY JANE (CONT'D)
(MORE)
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Hopefully, this will draw
additional attention to the fact
that over two hundred school girls
are still missing.
MARY JANE
Thats a great point Mr. Booker.
Two months ago, social media was
ablaze with concerns and clever
hashtags. Most celebrities felt it
was their duty to comment and
sympathize with the cause. But,
prior to this latest incident,
America seemed to not care anymore.
Aside from SNC anchor Mark Bradley,
there are no other U.S. networks
reporting from Nigeria.
SENATOR CORY BOOKER
Unfortunately America has short
attention spans when it comes to
crisis. We want the crisis and its
resolution to fit neatly within a
week to two week time frame so we
can apply our energy to the next
crisis. Its like drinking a cup of
coffee, which you know Im an
expert at.
MARY JANE
How so?
SENATOR CORY BOOKER
Theres nothing like the first sip
of a hot, steamy cup of coffee. The
way it warms your chest as it works
its way to your stomach. But the
longer the cup sits there, the
colder it gets. Sometimes the last
swallow isnt even worth it because
its cold. Thats our countrys
attention span when it comes to
crisis.
(then)
The crisis is the coffee in the
cup. The cup represents our
attention span. And the person
drinking the coffee represents
America. We only like our coffee
when its hot and steamy. And we
know how quickly a cup of coffee
gets cold, right?
CUT TO:
SENATOR CORY BOOKER (CONT'D)
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THAT EVENING
Shes on her phone.
MARY JANE
Look. You need to stop treating me
like a bad date and give me the
courtesy of a return phone call.
Avoidance has never been your game,
so man up and call me back.
Just as she hangs up, Kara pops her head in.
MARY JANE (CONTD)
Please tell me weve made contact
with Mark.
Kara shakes her head -- no.
KARA
We have made contact with local
authorities, though, and they
informed us Mark was not among the
casualties.
MARY JANE
How many casualties?
KARA
At least a dozen dead and twenty
injured.
Mary Janes SNC security guard shadow interrupts them.
SNC SECURITY GUARD
Excuse me, Ms. Paul, uh... there is
a man here to see you. Hes, uh...
not on your approved visitors list,
but said you know him.
MARY JANE
Whats his name?
SNC SECURITY GUARD
Eric --
He looks down at his clipboard.
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MARY JANE
Oh my God, Eric! Yes.
(then)
Where is he?
CUT TO:
INT. SNC NEWS NETWORK OFFICES - DOWNSTAIRS LOBBY - MOMENTS
LATER
Candices SONG kicks back in.
Mary Jane bolts out of the elevator followed by the SNC
security guard and Kara. She scans the lobby, sees ERIC
waiting at the security desk. Hes a mess.
She stops in her tracks.
Candices haunting cover punches us in our gut with
emotion... Music swells.
Mary Jane runs to him. They fall into each others arms. Mary
Jane remains strong for him.
ERIC
(sobbing)
I didnt want him to go. But, he
was so excited... kept talking
about how he was going to finally
get back to real news reporting.
MARY JANE
Its okay. Everythings going to be
okay.
Eric notices Kara. Gathers himself quickly. Mary Jane notices
he sees Kara.
MARY JANE (CONTD)
She knows. Shes cool.
Karas confused. Mary Jane gestures towards Eric with an
exaggerated head lean.
MARY JANE (CONTD)
Eric... is... (under her breath)
Marks...
Kara gets it.
KARA
Oh. Right. Yes.
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She extends her hand to shake his -- Eric pulls her in for a
tight hug.
ERIC
(blubbering)
Im so scared.
Kara reluctantly half comforts him, then gives in one hundred
percent. She looks at the SNC security guards.
KARA
(to SNC security guards)
Hes with us. Put him on whatever
list he needs to be on. Were
taking him upstairs.
CUT TO:
INT. SNC NEWS NETWORK OFFICES - KARAS CUBICLE - LATER
Its really late, the lights are dimmed, most of the office
is gone -- except for essential personnel. Eric sits in
Karas chair. Mary Jane sits on her desk. The mood is a bit
lighter as they reminisce.
ERIC
Those dark chocolate peanut butter
cups from TJs might as well be
labeled as crack.
MARY JANE
Oh my God... yes! Those are so
good.
(then)
But...
ERIC
So bad for you.
MARY JANE (CONT'D)
... so bad for you.
They both LAUGH. Kara joins them. Shes smuggled in a bottle
of Woodford Reserve.
KARA
I snagged this from Gregs secret
stash.
MARY JANE
How do you know where Gregs stash
is?
Kara pours each of them a double shot.
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KARA
Its what I do.
Mary Jane notices Greg approaching from across the room -- he
looks sick with stress and in need of sleep.
MARY JANE
Gregs coming for his bottle.
Greg keys in on Kara and Mary Jane.
GREG
(yelling across the room)
We need you both on set
immediately!
Eric stares at Mary Jane, looking for a reaction. Mary Jane
looks at Kara. They all know Gregs tone was a negative
urgent -- the stagnancy lingers.
KARA
(fake positive)
Im sure Marks okay.
Mary Jane doesnt believe Kara -- knocks her drink back. Eric
follows suit. Kara downs hers.
KARA (CONTD)
(throat burning)
Lets go.
CUT TO:
INT. SNC NEWS NETWORK OFFICES - CONTROL ROOM - MOMENTS LATER
The room is gearing up for an urgent broadcast and alive with
energy. Various angles of Mary Jane can be seen on all of the
monitors as the make up woman and Larry make final
adjustments.
Greg shows Kara something on a computer screen.
KARA
And this has been authenticated.
CU on computer screen: We see an image of Mark Bradley seated
in front of two armed, Boko Haram terrorists. Hes holding up
a newspaper displaying the date.
GREG (O.C.)
Yes. It was sent to our U.S.
Embassy in Abuja. Its been
authenticated.
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DIRECTOR
Twenty seconds.
KARA
(into microphone)
MJ, you good?
INTERCUT WITH:
INT. SNC NEWS NETWORK OFFICES - LIVE SET - CONTINUOUS
Mary Jane scans the tele-prompter.
MARY JANE
Im too close to the story.
KARA
Youre going to be fine.
MARY JANE
Seriously. (holding back her tears)
Mark is one of my best friends.
Greg leans over to Kara.
GREG
Im pulling her. Cynthia should be
covering this.
DIRECTOR
Fifteen seconds. Lets get on the
same page people.
Kara covers the mic -- shoots a barrel of daggers into Gregs
soul.
KARA
Mary Jane is bringing this home.
Greg backs off.
KARA (CONTD)
(into microphone)
MJ, you are one of the, if not the,
strongest woman I know. You can and
will do this.
(then, on the down low)
Look at Eric.
Mary Jane looks over at Eric, hes just off stage -- locked
onto Mary Janes eyes.
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KARA (V.O.) (CONTD)
He deserves to hear it from you.
The country needs to hear it from
you.
(then)
Mark would want you to report this.
Mary Jane SIGHS. She regains control of her emotions --
focusses -- business as usual.
MARY JANE
Okay guys and girls, show time.
DIRECTOR
Okay. Lets count her in.
STAGE MANAGER
MARY JANE
joining me at this hour. We have
conformation that SNC anchor, Mark
Bradley, has been abducted by the
terrorist group, Boko Haram.
Eric passes out off stage, momentarily distracting Mary Jane.
KARA
Youre doing great MJ. Bring us
home.
MARY JANE
According to U.S. embassy officials
in Nigeria, Mark Bradley and his
camera man, Aaron Ruby, were
abducted after a bloody gun battle,
where thirteen have been confirmed
killed and over twenty injured. At
this point, we know Mark Bradley
has not sustained any injuries,
however, we do not know the status
of Aaron Ruby.
CUT TO:
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INT./EXT. MARK BRADLEYS HOUSE - LATER
Mary Jane and Eric share an extended, cathartic hug in the
doorway. Its the middle of the night. No words are exchanged
as Mary Jane leaves.
We follow her taking the short, lonely walk home.
CUT TO:
INT. MARY JANES HOUSE - FOYER - MOMENTS LATER
Mary Jane closes the door and shuffles towards the kitchen.
Her doorbell RINGS.
She turns around and opens the door, expecting Eric, but its
David. They share an awkward moment of silence.
MARY JANE
The last time you showed up
unexpectedly, you demanded I take a
pregnancy test.
David softens.
DAVID
May I come in?
MARY JANE
You lost your I can show up
whenever I want and come in
privileges a long time ago.
Another awkward silence.
MARY JANE (CONTD)
Why are you here?
DAVID
I saw what was going on...
(then)
With Mark.
MARY JANE
So, why are you here?
Mary Jane exaggerates looking around him, outside.
MARY JANE (CONTD)
Wheres the blonde beast? You
tranquilize her? Put her back in
her cage?
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David doesnt appreciate the dig, but keeps a poker face.
Another stagnant moment passes. Neither wants to give in.
DAVID
Look. I came here because I know
you and Mark are close and...
MARY JANE
And what? You want to be my friend?
(then)
My besty?
(then)
Did you get permission from...
DAVID
Really? I mean, this isnt cute.
MARY JANE
Cute? You think this is an attempt
at being cute? Im still trying to
figure out, why you are here?
DAVID
I guess this was a bad idea.
MARY JANE
Thank you. Youre finally making
some sense.
DAVID
What the hell is wrong with you?
Davids glare pierces her soul. He starts to speak, but
stops himself just short of any utterance leaving his lips.
MARY JANE
Im crazy. Remember?
His gaze disconnects. A slight smile eases over his face.
Without another word, he turns and leaves. Mary Jane watches
him become absorbed by the darkness of the night.
She calmly shuts the door. The weight of her life falls on
her like a truckload of bricks. She leans against the door,
and slides down it in a heap of emotions. She pinches her
arm, but the pinch is in vain. Mary Jane breaks down.
INT. MARY JANES HOUSE - MASTER BEDROOM/BATHROOM - THE NEXT
MORNING
Mary Jane wakes up. She doesnt feel good. It takes her a few
restless moments to realize she really doesnt feel good.
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She scrambles to her bathroom and makes it to the toilet just
in time to vomit. After she finishes, she rests on the cool
tile floor for a few moments, wondering maybe it was
something she ate.
A couple moments pass. Something dawns on her. She gets up,
takes a moment to steady herself on the sink, opens up the
medicine cabinet. Removes a box. Quickly turns it around to
look at the instructions.
She turns it back around to reveal its the pregnancy test
David had brought over to her previously.
On her SIGH, we:
FADE OUT:
END OF SHOW

Being Mary Jane - Spec Script

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