EXT. THE ATLANTIC OCEAN - TWILIGHT
An uncommonly handsome MAN, about 30, is with a beautiful WOMAN, early 20s, on a small, 1950s-era motorboat a short distance off the Maine coast. They are kissing passionately. The sun drains from the sky as storm clouds approach. The SOUNDTRACK is The Happenings’ smash hit, See You in September.
The scene becomes increasingly erotic, as the man and woman shed their bathing suits. See You in September fades as we hear THUNDER and see the first LIGHTNING. The ocean is beginning to churn.
MAN
We should head in.
WOMAN
Are you afraid, Bergie?
MAN
It’s getting dangerous.
WOMAN
Don’t be silly. The sea is our friend. Nothing can come between us here. Kiss me.
They resume their lovemaking as the waves continue to build. Soon, the boat is in danger of being swamped. The man’s lust gives way to fear — but not the woman. She is more passionate than ever. The man breaks off.
MAN
We have to go.
He tries to start the boat’s small outboard engine, but it won’t catch.
WOMAN
Come with me.
MAN
What on earth?
WOMAN
Don’t you see? This is how it was meant to be.
The boat slips under the water. The man starts to swim toward the shore — but the woman grabs his leg. An iron grip.
WOMAN (CONT’D)
We’ll live forever.
The man struggles to free himself as the woman drags him under the waves.
UNDERWATER
CUT TO:
The man is close to drowning — but not the woman, who seems strangely satisfied, even angelic. The man thrashes. He finally escapes. As he heads to the surface, we see a FLASH of what appears to be a fanciful fantail.
EXT. THE ATLANTIC OCEAN - NIGHT
CUT BACK TO:
The storm is full fury. Near exhaustion, his energy almost spent, the man paddles toward the shore.
EXT. THE BEACH - NIGHT
The man crawls out of the surf and collapses.
END CREDITS
FADE OUT.
FADE IN:
EXT. OLD HARBOR, BLOCK ISLAND - THE PRESENT DAY
A summer morning, sunny and warm, the ocean dotted with sailboats. A picture postcard. Arriving from the Rhode Island mainland, the Block Island ferry has pulled into the dock.
The SOUNDTRACK is Jimmy Buffett’s Margaritaville.
Passengers disembark. Cars and freight are unloaded.
On the vehicle deck, BEN HOUGHTON is behind the wheel of a beat-up old Jeep Cherokee. He is uncommonly handsome, tall, in his late thirties, a man with a ponytail, sunglasses, cut- off jeans, and tee-shirt. He sports a two- to three- days’ growth of beard.
Ben drives off the ferry, waving to several people he knows. He stops to talk to an OLD DECK HAND, a grizzled man in his sixties who has worked the docks forever.
OLD DECK HAND
As I live and breathe, Ben Houghton!
Did you order up this weather for us, cappy?
BEN
Hank! How was the winter?
OLD DECK HAND
Mild — one even you fair-weather people could’ve muddled through, I bet. You here for the summer?
BEN
Until Labor Day. Same as always.
OLD DECK HAND
You bring weather like this, you’re welcome ‘til Christmas.
Ben continues in his Jeep onto Main Street, Old Harbor, a small village with a few hotels, restaurants, and shops.
As Ben surveys familiar surroundings for signs of change in the nine months he’s been on the mainland, his eye is caught by SERENA FISHER, who is standing, alone, on a balcony of The Atlantic, a grand old wooden hotel. Serena is about 20, tall, with an exotically beautiful face, red hair, and a slender but not girlish figure. Unforgettable.
We NOTE that this is the same woman, still the same age, from the opening scene.
Ben slams on the brakes. Serena is watching Ben intently. As Ben returns her look, Serena raises binoculars to get a better look at him. Ben’s face registers skepticism, then mild shock.
BEN
(to himself)
Serena Fisher?
CLOSE ON THE HOTEL BALCONY
It’s deserted. Serena has disappeared.
EXT. HARBORMASTER’S BUILDING - DAY
Ben drives into the parking lot of a sprawling old building built on wooden piles. The harbormaster’s office and residence are here, along with a marine supply store, a lobster pound, and Ben’s small summer photo studio.
CLOSE ON THE STUDIO DOOR
A sign reads: BEN’S ISLAND STUDIO. PORTRAITS AND LANDSCAPES. Attached to the inside of a window is a hand-lettered sign that reads: HAVE A GREAT WINTER! REOPENING JULY 1! Ben fiddles with the lock, finally letting himself in.
INT. BEN’S STUDIO - DAY
The studio is well-equipped, with a computer, printer, lights, backdrops, lightboard, and a (rarely-used) darkroom. The windows provide a magnificent view of the harbor.
Ben takes down the closed-for-winter sign, opens the windows, dusts off his desk, checks his phone to confirm that service has been restarted, and steps back outside.
EXT. HARBORMASTER’S BUILDING - DAY
Ben struggles with a large aluminum trunk containing his cameras. He is interrupted by STEVE MCAFFERTY, harbormaster and dear old friend, a happy-go-lucky sort. McAfferty is Ben’s age. He is standing in the doorway to his office, identified by a sign: HARBORMASTER.
STEVE
Need a hand?
BEN
STEVE!
STEVE
Ben, old buddy! You’re early. Your e-mail said
not to expect you for another couple of weeks.
BEN
Last-minute change. Business on the mainland is slow — the economy, you know. The only reason to stay was Steph, and I hardly ever see her these days. She’s set to start the biggest trial of her career.
STEVE
The Granatino murder case.
BEN
That’s the one.
STEVE
It’s been all over the news. Grisly shit, those
gangland killings.
BEN
She’s pretty sure she can get the bastard the chair.
STEVE
Let’s hope so.
BEN
It’s been a bitch for her to prepare. Fifteen-hour days, seven day weeks, four prosecutors, you get the picture...
Together, the two men get the trunk up the stairs and into the studio.
INT. BEN’S STUDIO - DAY
STEVE sits at Ben’s desk, while Ben unpacks his cameras and lenses. His business may not be booming, but his equipment is the finest money can buy.
STEVE
I heard about your father. How is he?
BEN
It’s into his liver. All they can do for him now is morphine.
STEVE
I’m sorry, Ben.
BEN (unemotionally)
No one lives forever.
STEVE
Is he at home?
BEN
Yes, with nurses around the clock. He wanted to come out here, but the doctors nixed that. As strong- willed as he is, he couldn’t get them to give in. My sister’s in from Chicago. Me — well, I...
STEVE
I know how hard it must be.
BEN
Yeah. Hard.
(a beat)
But enough of the gloom. How have you been?
STEVE
Town council still won’t give me that assistant
I need, but other than that, I can’t complain.
I finally got my new sign. And they gave me the money to renovate the second floor. I live here now.
BEN
Cool. How long have you fought for that?
STEVE
Only six or seven years. I guess politicians
are like fine wine. They take time.
A SERIES OF SHOTS
Of Ben driving across Block Island to his family’s summer house. The Houghton residence is on the shore of magnificent Mohegan Bluffs, on the island’s south end.
EXT. SUMMER HOUSE - DAY
The house is a rambling, vine-covered, shingled building with shutters, chimneys, porches, and balconies. Old money. A driveway dividing an enormous, impossibly green lawn leads past a carriage house to the front door. Having just finished with the lawn, two salty old CARETAKERS are loading mowers onto their pickup truck.
CARETAKERS
Good morning, Mister Houghton.
BEN
Morning, boys. Lawn looks great.
FIRST CARETAKER
Thanks. Water and electricity’s all on. Wood’s stacked by the main fireplace. The market guy stocked the ‘fridge. And we got the float in the water.
SECOND CARETAKER
Boat, too. The yard repainted her over the winter. She looks pretty as a summer dream.
BEN
She always does.
FIRST CARETAKER
Well, see you next week. You need anything,
you know where to call.
INT. SUMMER HOUSE - DAY
The inside has cozy old furniture and ample windows affording stunning views of the ocean. The dominant motif is BEN’S FATHER, known to most by his nickname, Houghtie.
Houghtie’s presence is everywhere — on the mounted swordfish above the fireplace, golf trophies, photographs of him at the wheel of his motorboat, etc. In these photos, he is a distinguished looking man in his late sixties with a full head of silver hair and Brooks Brother attire.
As Ben brings his gear into the house, he pays no attention to any of this. He throws all of the windows open.
EXT. SUMMER HOUSE - DAY
Ben leaves the house by way of the oceanfront porch, crosses the lawn, and descends a set of weather-beaten stairs that lead down the bluffs to a dock.
EXT. HOUGHTON DOCK - DAY
Tied to the dock is Houghtie’s boat: a classic 1930 Chris- Craft triple-cockpit runabout named HOUGHTIE’S GLORY that has been meticulously maintained. It’s the old man’s pride and joy. A race float, flags flying, is anchored out in the water a distance.
Ben seems inclined to take the boat for a spin. The building SOUNDTRACK is The Motels’ Suddenly Last Summer.
WIDE ANGLE: Of the stairway and bluffs.
CLOSE ON: The top of the stairway. Serena Fisher is standing there.
CLOSE ON: Ben’s face.
BEN
(to himself)
It can’t be her.
CLOSE ON: Serena’s face. She’s smiling.
BEN (CONT’D)
Serena?
She doesn’t answer.
BEN (CONT’D)
(shouting) Serena!
Ben is off and running, taking the stairs two at a time, but when he gets to the top, Serena has vanished. Nothing in sight but the summer house and vast, empty lawn.
Ben stands, hands cupped to face, calling for her. But his voice competes with the rising sounds of WIND and SURF.
BEN (CONT’D)
Serena! Come back!
EXT. SUMMER HOUSE - PORCH - EVENING
Ben is on the oceanfront porch. Dinner dishes litter a wicker table. He is drinking white wine as he talks to his wife, STEPHANIE, on his phone.
BEN
This is great news. The way you’ve been talking, I didn’t expect to see you until the Fourth of July.
INT. STEPHANIE’S OFFICE - EVENING
Approaching 40, Stephanie is not unattractive, but she is no raving beauty, either. With her horn-rim glasses, business suit, and dark hair in a bun, she radiates calm and collected. She is a star assistant attorney general in Boston, where she and Ben live in the off-season.
STEPHANIE
It’s only a two-day postponement. The defense
sought it and we didn’t object — we could
use a little breather right now. I have a staff
meeting at noon, but that shouldn’t go past two. I ought to be able to make the five o’clock ferry. You sure that’s OK?
INTERCUT WITH BEN
BEN
Of course it’s OK.
STEPHANIE
I know how precious your solitude is. How many times have you said it’s the key to our marriage?
BEN
You know I’m not serious.
STEPHANIE
Yes, you are. A need for solitude and a father complex: ladies and gentlemen of the jury, the evidence clearly shows these to be among the defining characteristics of Benjamin Houghton the Third.
BEN
Not funny.
STEPHANIE
That’s a joke that’s as old as we’ve been together.
BEN
You think this is the time for jokes about my father?
STEPHANIE
You’re right, Ben. I’m sorry. I’m just stressed out, but that’s no excuse. Have you called today?
BEN
No. I’ve been sitting here, surrounded by him,
and you know what I feel? Anger. Resentment.
(a beat)
I guess he’s right.
STEPHANIE
About what?
BEN
His only son being an ungrateful bastard.
STEPHANIE
You know that’s not true.
BEN
I’m not sure if I’ll call tonight. He’s got nurses.
My sister’s there. It’s not as if he lacking for attention.
STEPHANIE
Do what you feel is best. You know
I love you, Ben.
BEN
I love you too.
STEPHANIE
I’ll see you at the dock tomorrow night.
BEN
I’ll be there.
STEPHANIE
Good night, Ben.
BEN
Good night, Steffie.
EXT. SUMMER HOUSE - PORCH - EVENING
Ben hangs up, then dials another long-distance number.
INT. BEN’S FATHER’S RESIDENCE - EVENING
A NURSE dressed in traditional white answers the phone, which is ringing in a wood-paneled library. There is a large desk, leather furniture, crimson draperies, paintings of stern ancestors on the walls, etc. This is Beacon Hill, Boston.
NURSE
Houghton residence.
She presses the phone to her ear, but hears only silence.
NURSE (CONT’D)
Houghton residence. Hello? Hello?
Ben has hung up.
EXT. SUMMER HOUSE - PORCH - EVENING
Ben pours another glass of wine as the sun sets over the Atlantic.
INT. SUMMER HOUSE - BEN’S BEDROOM - NIGHT
Ben’s bedroom is at the opposite end of the house from his father’s. It is smaller than the old man’s, and Ben has decorated it with some of his photographs. Ben is asleep, tossing, turning, muttering unintelligibly.
FLASHBACK
EXT. SUMMER HOUSE - DAY
Ben’s father is hosting a party for his son on the occasion of his graduation from college 17 years ago. A tent has been erected and a DJ is spinning the classic tune Dancing in the Streets by Martha Reeves and the Vandellas.
Serena is dancing with Ben — and her moves are dropping jaws. She looks the same as today, and while 17 years younger, Ben has the long hair and unshaven look he’s kept through age 39 — in contrast to the buttoned-down look of
Ben’s father and many of the guests who are bankers, lawyers, stock brokers, and their wives.
The soundtrack fades.
CUT TO:
The head of the stairs that lead to the beach. Ben and his father are speaking privately.
BEN’S FATHER
I invited Peter Barclay.
BEN
I saw.
CUT TO:
A shot of PETER BARCLAY, somewhat younger than Houghtie, but equally impeccably groomed and dressed. With Barclay is BARCLAY’S WIFE, a trophy woman with bleach-blond hair and gaudy jewelry who dresses much too young for her age.
CUT BACK TO:
Ben and his father.
BEN’S FATHER
Have you spoken with him?
BEN
No. I’ve talked to Peter Barclay exactly once
in my life. He struck me as even more of an asshole than the rest of your friends.
BEN’S FATHER
Don’t you get pissy with me. Not in front
of my guests.
BEN
Why? Are you afraid of what they’d say?
‘Poor Houghtie. The burden he must carry with his son.’
BEN’S FATHER
Don’t push me, Benjamin.
BEN
Why is he here?
BEN’S FATHER
He’s on the board at the business school. As a favor to me, he could get you in — lackluster grades and all. I want you to talk to him.
BEN
Peter Barclay can blow business school out his ass.
BEN’S FATHER
Benjamin, I’m warning you.
BEN
How many times do we have to cover the same ground? I’m not going to business school.
BEN’S FATHER
All right. I suppose you’re more suited to law school, anyway. That’s what your mother would have wanted if she were alive today.
BEN
How would you know? You never listened to her.
BEN’S FATHER
Your mother and I had issues.
BEN
You treated her like shit — that’s the only issue.
I’m not going to law school.
BEN’S FATHER
Then what are you going to do? This isn’t college any more.
That chapter in your life ended yesterday.
BEN
Shall you remind me again how much you paid for it?
BEN’S FATHER
You’re in the real world now, Benjamin. There are no gut courses,
out here, no credit for Comp Lit 101. Out here, a man without
a strategy is dead in the water.
BEN
I have a strategy. I’m going to be a photographer.
BEN’S FATHER
A photographer of what, exactly?
BEN
Whatever I want.
CUT TO:
Serena standing at the edge of the tent, talking to STEVE MCAFFERTY, who looks college-age. STEVE belts back another beer. Serena waves to Ben, who waves back.
CUT BACK TO:
BEN’S FATHER
You two seem to have struck up quite the acquaintance. Who is she, anyway?
BEN
Her name is Serena Fisher.
BEN’S FATHER
I know her name. Who is she? What do her parents do?
BEN
I have no idea. I only met her last week.
BEN’S FATHER
She looks... uncouth. Wild.
BEN
She is. You should see her in bed.
Ben starts off to Serena.
BEN (CONT’D)
Thanks for the advice, Father. I’ll be sure to incorporate it into my strategy.
EXT. HOUGHTON DOCK - THAT NIGHT
The moon is out, the dock lights are lit, and in the distance we hear the muted sounds of MANY CONVERSATIONS and a JAZZ BAND. Ben and Serena are alone by Ben’s father’s boat. As striking as Serena’s beauty is her voice: seductive, enchanting, irresistible.
SERENA
He really hates me, doesn’t he?
BEN
What he thinks doesn’t matter.
SERENA
He’ll try to break us up. I can see that already. He’ll do anything
to see that we don’t stay together.
BEN
Would you just forget about him?
SERENA
Only if you insist.
BEN
I insist.
Ben kisses Serena, but she allows only a teasing moment of intimacy before she jumps up, strips, and runs down the dock.
SERENA
Last one in’s a rotten egg!
With extraordinary grace, Serena dives into the ocean. She seems almost to move in slow motion. Ben takes off his clothes and follows her into the water. He surfaces before she does. Treading water, Ben looks for her, in vain.
BEN
Serena! Where are you?
Eventually, Serena surfaces — next to the race float, a good
200 yards away. She swings herself up onto the float, where tiki lanterns blaze. Wet, she looks more beautiful than ever.
SERENA
Here.
Ben swims to the float. He is winded when he arrives. Serena, on the other hand, is not tired at all.
BEN
How’d you do that?
SERENA
I guess I’m a natural swimmer.
BEN
Natural? Have you ever thought of the Olympics?
Serena pulls Ben next to her. They kiss, more passionately this time. Ben wants more, but Serena pushes him away and dives back into the water. Ben is anxious again.
BEN (CONT’D)
Serena! Don’t do this!
After a nerve-wracking moment, Serena surfaces at the dock. She is smiling — and unwinded.
END FLASHBACK
INT. SUMMER HOUSE - BEN’S BEDROOM - NIGHT
His dreams have awakened Ben. He goes to his bureau, where an old-fashioned kerosene lantern awaits. He lights it and walks to the end of the second-floor hall, where he opens the attic door.
INT. SUMMER HOUSE, ATTIC - NIGHT
A cobwebby space crowded with trunks, books, furniture, etc. Ben finds the trunk he wants and opens it. It contains a mortarboard, old yearbooks, faded newspapers, boxes, etc.
Ben opens one of the boxes to reveal letters and an envelope filled with negatives and prints — of Serena, taken the summer they met.
Ben finds an envelope. A delicately carved scrimshaw ring is inside, along with a letter, which Ben begins to read.
We hear a NARRATION by Serena.
CLOSE ON:
LETTER FROM SERENA TO BEN
Dear Ben,
SERENA (V.O.)
There’s no right way to say goodbye, is there? No words to describe how my heart is ripped in two. How I would give anything to have things turn out differently...
(a beat)
But Ben, I can’t go on like this. The obstacles your father has thrown up — we can’t get by them. At least I can’t. I hate to say he’s right, because in the most important sense, he’s not.
I could care less about the money. I love you. I’d love you if you lived in a shack. And my love for you will go on for eternity.
(another beat)
But in another sense, he is right. I am not one of you, and could never be. As strong as our love is now, eventually he would destroy it. There would come a day when you would look at me differently. I couldn’t handle that.
(another beat)
There are a million other things I want to say, but words fail me. Ben, I love you like I’ve never loved anyone. I will think of you every day the rest of my life. And when the summer moon shines and the wind caresses the waves, I’ll be with you. Think of that sometimes, OK, my love? I’ll be there, if only in sweet memory...
CLOSE ON:
LETTER FROM SERENA TO BEN
Love, forever and ever,
Your Serena.
Ben tucks the letter back into its envelope.
CLOSE ON:
The scrimshaw ring. It is an unusual and distinctive design. After examining it, Ben returns it to the envelope and puts the envelope into the box. He is carrying the box as he leaves the attic.
INT. BEN’S STUDIO - MORNING
A series of shots of Ben at work the next day. He leafs through an appointment book, accepts a shipment of supplies, cleans cameras, etc. The telephone rings.
BEN
Ben Houghton speaking.
SERENA (O.S.)
Hello, Ben.
BEN
(dry-mouthed)
Serena.
Serena will remain off-screen during this conversation.
SERENA (O.S.)
I’m here. On the island.
BEN
So it was you I saw yesterday.
SERENA (O.S.)
You sound surprised.
BEN
You didn’t look any different.
SERENA (O.S.)
Is that a crime?
BEN
No. But it’s been 17 years.
SERENA (O.S.)
I take good care of myself.
BEN
(less nervously)
Tell me your secret. Because in my case, the normal aging processes seem to have been at work.
Ben runs his hand through his hair.
BEN (CONT’D)
I mean, I’m going grey.
SERENA (O.S.)
I think you’re even more attractive than when we went out.
BEN
Thanks. You’re, ah...
(a beat)
as pretty as ever.
SERENA (O.S.)
Only pretty?
BEN
You’re beautiful.
SERENA
Do you mean it?
BEN
I do.
There is an awkward pause.
BEN (CONT’D)
So what brings you to the island?
SERENA (O.S.)
You.
BEN
Come on.
SERENA (O.S.)
I’m serious. I’ve come a long way to see you, Ben.
BEN
I’m flattered.
(a beat)
But I’m married, Serena.
SERENA (O.S.)
I know. To a lawyer, of all things.
Serena laughs. Ben doesn’t.
SERENA (O.S.) (CONT’D)
You haven’t lost your sense of humor, have you? You have to admit: seventeen summers ago, the idea of you marrying a lawyer would have been unimaginable. To everyone but your dear loving father.
BEN (a beat)
How did you know she’s a lawyer?
SERENA
You’ve maybe heard of this thing called Google?
BEN
Stephanie’s not your average lawyer.
SERENA (O.S.)
I’m sure she isn’t. But I didn’t call to talk about her. I want you to do my portrait. You do such incredible work.
BEN
Thanks. But I think it would be better if—
SERENA (O.S.)
I’ll come by tomorrow at nine.
BEN
I’m busy all morning.
SERENA (O.S.)
Then I’ll see you at two.
BEN
But Serena—
SERENA (O.S.)
Two o’clock. Your studio. Toodles.
Before Ben can say more, Serena hangs up. He checks caller ID — but ‘unknown number’ comes up.
INT. BEN’S STUDIO - LATE AFTERNOON
Ben is closing shop for the day. STEVE has stopped by to chat.
BEN
Do you remember Serena Fisher?
STEVE
Serena Fisher... Serena Fisher... sounds familiar. Give me a clue.
BEN
I went out with her the summer we graduated from college.
STEVE
That’s right — your father made no secret of hating her. Sure, I remember her. Gorgeous girl, great figure, long brown hair. Kind of wild, right?
BEN
That’s her.
STEVE
Why?
BEN
She’s here on the island.
STEVE
Really. I don’t think she’s been back since you two broke up. At least I haven’t seen her.
BEN
She wants me to do her portrait. I don’t think I should. There’s something strange about the whole thing — I mean, apart from having someone from a previous lifetime dial
you direct. I saw her yesterday. Twice. At The Atlantic and then again out on the bluffs.
STEVE
Let me guess: Not so gorgeous any more?
BEN
No, that’s what’s so weird. She still is gorgeous. As if time stopped for her.
STEVE
You sure it wasn’t her niece or something?
BEN
I’m sure.
STEVE
So what’s the big deal? You take her picture, talk old times, and see-you-later. Or is it more than that? You got an old itch you maybe want her to scratch?
BEN
No.
STEVE
You used to tell me sex with her was better than cocaine.
BEN
It was.
(a beat)
But there’s more to life than sex.
STEVE
Really? Name something.
BEN
A good wife.
STEVE (laughs)
I wouldn’t know.
BEN
Anyway, it’s just weird. Seventeen years without a single word. And then boom, here she is.
STEVE
It’ll probably be another 17 before you hear from her again. I wouldn’t sweat it.
(a beat)
How about a beer?
BEN
Can’t. I’m meeting Steffie at the ferry. But I’ll take a rain check.
EXT. OLD HARBOR, BLOCK ISLAND - EARLY EVENING
Ben greets Stephanie as she disembarks the ferry. She is wearing a business suit and carrying a briefcase, which she drops before embracing Ben with uncharacteristic emotion. The kiss lingers as the crowd swirls past.
BEN
Boy — you’re unusually affectionate. Are you having an affair or something?
STEPHANIE
No, silly. But I do have something big to tell you.
BEN
Hit me with it.
STEPHANIE
Not here. Are you doing one of your famous island dinners?
BEN
Steamers, boiled lobster, corn on the cob, Chardonnay — of course we’re doing an island dinner.
STEPHANIE
Do we have reservations for the front porch?
BEN
Where else?
STEPHANIE
Then I’ll tell you there.
BEN
That’s not fair.
STEPHANIE
Who said life was fair? We wait ‘til dinner. But I should warn you: You may be drinking alone.
Stephanie runs ahead of Ben and hops into his Cherokee. Ben follows and they drive off down the main street.
CUT TO:
A shot of Serena on the balcony of The Atlantic Hotel. She has been watching everything through binoculars. Neither Ben nor Stephanie have noticed.
EXT. SUMMER HOUSE - PORCH - EVENING
CUT TO:
Stephanie has changed into a cotton dress and her hair is down, making her look more attractive. She and Ben are seated at the wicker table, which has the remains of their dinner.
STEPHANIE
Are you comfortable?
BEN
Never been more so.
STEPHANIE
Do you love me?
BEN
Of course I love you.
STEPHANIE
More than the moon and the stars?
BEN
Are you sure you’re not having an affair?
STEPHANIE
Cross my heart and hope to die.
BEN
Well, then? The suspense is killing me.
STEPHANIE
I’m pregnant.
BEN (a beat)
You are?
STEPHANIE
Is that all you can say — ‘you are?’
They kiss.
BEN
It’s great news!
STEPHANIE
I found out yesterday.
BEN
And you didn’t tell me? Steffie!
STEPHANIE
What kind of loser would break news like that over the phone?
BEN
This calls for a toast!
STEPHANIE
Only a taste for me.
Ben pours fresh wine. From inside comes the sound of a PHONE RINGING. Ben bolts from his chair.
BEN
It’s probably about my father. Hold that toast.
I’ll be right back.
INT. SUMMER HOUSE - BEN’S FATHER’S STUDY - EVENING
Ben is on the land line talking to Serena, who remains off-screen for this conversation.
SERENA (O.S.)
She’s not nearly as pretty as I imagined.
BEN
What are you doing calling here?
SERENA (O.S.)
Somebody ought to tell her that not even grandmothers put their hair up in buns any more. And that business suit. I don’t even know where to go with that.
BEN
I don’t want you to call here.
SERENA (O.S.)
She can’t possibly be any good in bed.
BEN
I’m hanging up now, Serena.
SERENA (O.S.)
Please don’t. I shouldn’t have said that. But seeing her brought back old feelings.
BEN
Why are you calling?
SERENA (O.S.)
To confirm my appointment for tomorrow.
BEN
I’ve been thinking a lot about that. I don’t think
we should do it.
SERENA (O.S.)
What are you afraid of, Ben?
BEN
Look, there are other photographers on the island. I can recommend someone.
SERENA (O.S.)
But I want you. Look — it’s not like I’m asking you to go out with me or anything. This is strictly professional.
BEN
It would be better if you got someone else.
SERENA (O.S.)
Just an hour. That’s all it would take. Please? I promise no more shitty comments.
BEN
I just think—
SERENA (O.S.)
Please, Ben? Don’t make me beg.
BEN
(after a pause)
I’ll see you at two o’clock.
SERENA (O.S.)
You sound funny, Ben. Like there’s an echo.
FLASHBACK
BEN
I’m in my father’s study.
SERENA (O.S.)
I remember your father’s study. We made love there one night. The irony of fucking in his favorite room was almost too much to take.
INT. SUMMER HOUSE - BEN’S FATHER’S STUDY - NIGHT
With the passion of twenty-somethings, young Ben and Serena are making love. They’re interrupted by Houghtie, calling his son from somewhere in the house.
BEN’S FATHER (O.S.)
Benjamin? Benjamin Houghton! Where are you? Is that girl here?
END FLASHBACK
INT. SUMMER HOUSE - BEN’S FATHER’S STUDY - EVENING
Ben is still on the phone with Serena. Stephanie, still on the porch, has become concerned.
STEPHANIE (O.S.)
Ben? Are you all right?
BEN
(whispers into the phone)
I have to go now.
SERENA (O.S.)
Sweet dreams, Ben.
Ben unplugs the phone and exits the study.
EXT. SUMMER HOUSE - PORCH - EVENING
STEPHANIE
Was it about your father?
BEN
Nope. Wrong number.
STEPHANIE
That was awfully long for a wrong number.
BEN
Some people can’t take no for an answer. Now, where were we? That’s right — our toast. Here’s to us — the three of us. Cheers.
STEPHANIE
Cheers!
INT. SUMMER HOUSE - BEN’S BEDROOM - NIGHT
Stephanie and Ben attempt love-making, but it doesn’t go anywhere. They lie next to each other, talking.
STEPHANIE
Is anything wrong? I wanted tonight to be wonderful.
BEN
It is. It’s just a lot to have happening all at once: my father, now you being pregnant.
STEPHANIE
You want this baby, don’t you?
BEN
Would we have gone through all that if I didn’t? But I can’t forget what happened before.
STEPHANIE
That was almost a decade ago. The doctor says there’s no medical reason for it to happen again.
BEN
I’m afraid, that’s all.
STEPHANIE
Don’t be. I have a good feeling. A great feeling.
FLASHBACK
INT. HOSPITAL LABOR ROOM - NIGHT
About five months after Stephanie and Ben married. Stephanie is in extreme pain as her contractions come closer and closer. Ben is doing the best he can with Lamaze.
Suddenly, the fetal monitor ALARM goes off.
STEPHANIE
What’s that?
BEN
The monitor.
STEPHANIE
What’s it mean?
BEN
I don’t know.
Two NURSES come running into the room.
FIRST NURSE
The heart rate is dropping!
SECOND NURSE
We’ve got to get her to delivery!
FIRST NURSE
Call a code!
The second nurse leaves the room, and barely an instant passes before a loudspeaker is summoning anesthesiology, surgery, neonatology, etc., STAT. Medical personnel rush about, and Stephanie is wheeled across the hall to delivery. Forgotten in the frenzy, Ben tags along.
INT. HOSPITAL DELIVERY ROOM - THAT NIGHT
An OBSTETRICIAN begins a Cesarean section.
OBSTETRICIAN
Hemostat... scalpel... cautery, please... where’s that pulse?... I can’t stop this bleeding... Damn it, where’s that pulse? I think we’re losing it... Goddamnit, I think we’re losing it...
CUT TO:
The delivery room, after the operation. Stephanie is clutching their son, who was stillborn, to her chest. She and
Ben are sobbing. The only other person left in the room is the obstetrician, who is on her way out.
OBSTETRICIAN (CONT’D)
Take as much time as you need.
END FLASHBACK
EXT. OLD HARBOR, BLOCK ISLAND - NOON
The next day. Stephanie and Ben are on the pier, awaiting the call to board. They are holding hands. Among those passing by are a younger, smiling couple with their baby.
BEN
It’s so easy for some people.
STEPHANIE
But we finally got here.
The ferry whistle BLOWS. Stephanie and Ben kiss one last time, and then Stephanie squeezes Ben’s hand. She seems less anxious about all this than her husband.
STEPHANIE (CONT’D)
Everything’s going to turn out fine. I promise.
BEN
Can I have it in writing?
STEPHANIE
In a sworn deposition, if you’d like.
Stephanie is no sooner aboard than the WHISTLE BLOWS again, the gangplank is thrown, and the ferry heads to sea, leaving Ben on the pier, waving.
INT. BEN’S STUDIO - JUST AFTER NOON
Ben comes in through an open door to find Serena, attired in a summery red dress. She is sitting at Ben’s desk. He is not amused.
BEN
What are you doing here?
SERENA
The door was unlocked. I let myself in.
BEN
I never leave the place unlocked.
(a beat)
It’s not two o’clock yet.
SERENA
No, but since you didn’t have anything else booked I figured we could get an early start. But if you’d like me to come back—Ben goes to the harborside window and looks out. The ferry is well out to sea.
BEN
I need time to set up.
SERENA
I’ve got all the time in the world.
Ben starts arranging flashes, tripods, cords, backdrops, etc. He started his career with Kodak film, but he has long since gone digital.
SERENA (CONT’D)
I don’t want digital, Ben. Bytes and megabytes — they take the magic away. Do you shoot real film anymore?
BEN
I haven’t in a long time.
SERENA
Do you still have the equipment?
BEN
Somewhere back there.
SERENA
Then use that. I want close-ups, candids, the works. A full portfolio.
BEN
What are you planning to do with it?
SERENA
I’m going to model.
BEN
You won’t find many modeling jobs on Block Island.
BEN
(a beat)
Not even with your looks.
SERENA
I’m not planning to work here, silly. I have bigger things in mind.
Ben disappears into his dusty darkroom, and returns with an old-fashioned Leica. he’s found some film that is still good, too. He sets up.
BEN
I’m ready.
Serena sheds her dress, leaving her in a one-piece black swimsuit — and an exquisite pearl necklace. Stunning.
Serena goes to a mirror, fixes her hair, and sits on a stool. Ben gets down to it. The session has the crackling feel of a high-fashion shoot.
BEN (CONT’D)
I suppose it’s none of my business what you’ve been doing for the last 17 years.
SERENA
I haven’t married or anything, if that’s what you’re driving at. I don’t have any kids. I’m free as a bird, Ben.
BEN
(a long beat)
You didn’t give me a phone number. No address. A goodbye letter and that was it. Sayonara.
(a beat)
What was that about?
SERENA
I’m sorry, Ben. I didn’t handle things the way I should have.
BEN
You make it sound like... like you got rid of your hairdresser or something. We were in love, Serena. At least I thought we were.
(a beat)
OK. Let’s try a few without the necklace.
Serena takes it off.
SERENA
I was young.
BEN
Not even a call. I waited and waited... and nothing. How could you?
SERENA
I was afraid of being hurt. I was afraid of where things were going, what with your father and all — his scorn for me was so apparent. I wanted to call you, I swear I did. I must have picked up the phone a million times. A month went by, then two. Eventually, I figured you must have found someone else.
BEN
After that summer? Are you crazy?
SERENA
I’m sorry, Ben. More sorry than I’ve ever been about anything. I made the biggest fucking mistake of my life.
(a beat)
I never forgot you. Not for a day.
BEN
OK. We need the fan.
A fan blows Serena’s hair.
BEN (CONT’D)
Good. Great. Turn this way. Now that.
SERENA
What about you, Ben? Did you ever forget me?
Ben makes a show of checking his camera.
BEN
We’re done.
SERENA
You didn’t answer.
BEN
I’ve thought of you, yes.
SERENA
A lot?
BEN
(a beat)
I don’t see the point of this, Serena.
Serena lets it go. She puts her dress back on.
SERENA
When will they be ready?
BEN
Tomorrow morning, assuming the developer and paper’s still good.
SERENA
Goodbye, Ben. I hope I haven’t offended you. I meant every word of what I said. I never forgot you.
Ben accompanies Serena to the door.
EXT. HARBORMASTER’S BUILDING - AFTERNOON
Serena gets into her car: a red Mustang convertible. Waving to Ben, she drives off in a cloud of dust.
INT. BEN’S STUDIO - LATER THAT AFTERNOON
Ben is at work in his darkroom, working with old bottles of chemicals. Having developed the film from today’s shoot, he is making 11-by-14 prints. Serena comes up in the tray — ghostlike at first, then fully defined.
The SOUNDTRACK is Bananarama’s Cruel Summer.
Ben sends the prints through the dryer. As they’re drying, he rummages around in the box of letters and stuff he took from the attic trunk two nights ago. He finds the negatives he wants and makes 11-by-14 prints. In the darkroom light, they seem remarkably similar to today’s shots.
CUT TO:
Ben at a lightboard with a magnifying glass. He is comparing new shots with the old, which show Serena by the shore. She is wearing a black bikini.
A SERIES OF SHOTS
Old photos versus new, with details seen through a magnifying glass. Except for the different style swimsuits, everything looks uncannily the same — down to the length and part of Serena’s hair and her pearl necklace.
INT. BEN’S FATHER’S RESIDENCE - EVENING
Ben’s father is in his bed, all but hidden under sheets. A tube is threaded into his nose, an IV is connected to his arm, a heart monitor beeps, etc.
This is not the distinguished looking gentleman seen in the summer place photos, but an old man ravaged by cancer. He is subdued today, but not out of it. He is decidely unhappy as DR. HENDREN checks pulse and blood pressure, and administers morphine as a NURSE hovers.
DR. HENDREN (to nurse)
He should sleep through the night. Barring the unforeseen, I’ll be by at nine tomorrow.
The nurse sees the doctor to the door, leaving Ben’s father and BEN’S SISTER, a fortyish woman, alone.
BEN’S FATHER
Goddamn doctors. I hate them all.
BEN’S SISTER
They have only your best interests in mind.
BEN’S FATHER
Bullshit. All any doctor has in mind is bilking
his patients. I’ve never met one that I liked. Have you reached Benjamin?
BEN’S SISTER
There’s no answer at the house.
He’s probably at dinner.
BEN’S FATHER
Did you try that fool studio of his?
BEN’S SISTER
I got his answering machine.
BEN’S FATHER
I want you to call every restaurant on the island.
BEN’S SISTER
Please, Dad. He couldn’t get off now even if we reached him. We’ll talk to him in the morning.
BEN’S FATHER
This is just more of his passive- aggressive bullshit. He knows I need him to sign off on that conveyance of deed. Nearly forty years old, and he has the responsibility of a child. The only sensible thing he ever did was marry Stephanie.
BEN’S SISTER
Easy, Dad. You know what the doctors said. You need your rest.
BEN’S FATHER
Damn those doctors.
INT. BEN’S STUDIO - THE NEXT MORNING
Ben is showing Serena the results of yesterday’s shoot.
BEN
Well?
SERENA
You’ve come a long way since the last time I posed for you. Do you remember that, Ben?
BEN
We were at the summer place.
SERENA
You didn’t have any of this fancy equipment — only a Nikon camera.
BEN
You were wearing a black bikini. And those same pearls.
SERENA
Do you remember afterwards?
BEN
(a beat)
Refresh my memory.
SERENA
We made love.
BEN
On the float.
SERENA
I remember how incredibly warm the ocean was, how bright the stars were. It was like a dream you never want to wake up from. I was crazy for you, Ben.
A pause. Ben is uncomfortable with this.
BEN
It’s been a long time since I made prints. I’m not sure I like the quality. What do you think?
SERENA
Shall I be honest?
BEN
Of course.
SERENA
They’re great — the technical aspects, I mean. It’s me that I don’t quite like. I look wooden, as if I was trying too hard. It’s no reflection on you — it’s been a long time since I was before a camera. Tell you what. Why don’t we go to the shore? I’d feel more comfortable there. And what a perfect day.
BEN
I’m afraid—
SERENA
Please? Pretty please? Just one more shoot. I promise I won’t ask for anything more.
BEN
I’m afraid I have work to do.
Serena leafs through Ben’s appointments book, which shows a clear calendar for today — indeed, the entire summer.
SERENA
What work? Come on, Ben. I can hear the shore calling.
EXT. HARBORMASTER’S BUILDING - MORNING
Serena’s car, a classic 1965 red Mustang convertible, is parked next to Ben’s old Cherokee. Carrying equipment, Ben starts toward his vehicle — but stops when he sees hers.
BEN
I can’t believe you still have it.
SERENA
Why would I want anything else?
Ben worshipfully inspects the car, which is in mint condition.
BEN
It’s as awesome as it was 17 years ago. No dents. No rust.
SERENA
Get in. You’re driving.
Ben gets behind the wheel while Serena loads his equipment into the back seat. She gets in beside him.
BEN
I always loved this car.
SERENA
I always said it had your name.
Ben runs his fingers lovingly over the wheel, the dashboard, the instrument panel.
INSERT - ODOMETER It reads 1,153.3
BEN
Is the odometer broken?
SERENA
No. Why?
BEN
The mileage hasn’t changed.
SERENA
Of course it has.
BEN
But it hasn’t. I was behind the wheel when it hit 100,000. We were cruising and drinking champagne. It was our one-month anniversary. You called it a sign.
SERENA
I don’t remember.
BEN
I do, as clear as yesterday.
SERENA
It must have gone all the way around again.
BEN
Come on. No Mustang ever went 200,000 miles.
SERENA (dismissively)
Men! You’re all alike — so hung up on the details. Start it up.
A SERIES OF SHOTS
Of Ben and Serena heading toward the bluffs. Ben drives enthusiastically, while Serena tunes the radio. She flips through a succession of contemporary songs until settling on a station playing Orleans’ 1976 hit Still The One.
EXT. HOUGHTON DOCK - NOON
Against the backdrop of ocean, float, and Houghtie’s speedboat, Ben is shooting Serena, who has stripped to a black bikini — the one from the summer they met. She is wearing her pearls. Suddenly, she runs to the end of the dock.
BEN
What are you doing?
SERENA
If I’m going to model swimwear, shouldn’t it look like I swim? Think Sports Illustrated.
Serena dives in — and quickly surfaces. Dripping wet, she climbs back onto the dock, takes off her bikini top, and strikes a pose by Houghtie’s boat.
SERENA (CONT’D)
There. Now they can put me on a tool calendar.
Ben stands at his camera, not knowing how to react.
SERENA (CONT’D)
Go on, shoot! I hired you, remember?
Ben takes several shots.
SERENA (CONT’D)
Does that camera have a self-timer?
BEN
Forget it.
SERENA
Please, Ben. For old times sake.
BEN
No way.
SERENA
What are you afraid of?
Serena puts her top back on.
SERENA (CONT’D)
There you go, you old fart.
BEN
Are we done?
SERENA
Except for you. Come on, Ben. Every artist puts his signature on his work. I’m not leaving until you get in a picture.
BEN
Not happening.
SERENA
Don’t be shy.
Ben weakens.
BEN
All right. But just one.
He sets the timer and joins Serena. Just as the camera gives its warning beeps, Serena throws her arms around him and lightly kisses him.
BEN (CONT’D)
What the heck.
SERENA
You need to lighten up, Ben. Living with her all these years has sucked the life out of you.
Taking her clothes, Serena runs off the dock and up the stairs.
INT. SUMMER HOUSE - LIVING ROOM - EARLY AFTERNOON
We hear the sound of a SHOWER from somewhere in the house. Ben is at an open window, surveying the ocean through a telephoto lens.
The sound of the shower stops and Serena walks into the living room. She is draped in a beach towel. She combs her hair as she tours the room, inspecting Ben’s father’s photos, trophies, and assorted memorabilia.
SERENA
I’d forgotten just how oppressive he is.
BEN
He’s a little less so these days.
Cancer has a funny way of bringing people up.
SERENA
It’s malignant, isn’t it.
BEN
The doctors say he won’t last the summer.
SERENA
Does that make you sad?
BEN
I don’t know how it makes me feel. All I know is it’s not something I want to talk about.
Serena stops by a glass case containing a wooden model of a 19th-Century sailing ship. It’s amateurish, but some talent clearly was behind it.
SERENA
Did he make this?
BEN
I did. I was in eighth grade. It was the first thing I did that my father said made him proud. I never built another.
Serena picks up a photograph of Stephanie and Ben at their wedding reception, which was held here at the summer place.
SERENA
A lawyer — honest to God, Ben, you could have knocked me over with a feather when I found out. How did you ever meet a lawyer?
BEN
Her brother was one of my classmates.
SERENA
Houghtie must have jumped for joy.
BEN
She’s a good person. She believes in battling evil. It sounds old-fashioned, but it’s true.
SERENA
Are you in love?
BEN (a beat)
I love her.
SERENA
That’s not what I asked you.
BEN
I love her.
SERENA
She gives you room. She knows that’s the way to your father’s money.
BEN
That’s nonsense.
SERENA
You’re not in love with her.
BEN
(weakly)
I am.
SERENA
No, you’re not — that’s your lie to yourself, a lie you’ve repeated so often you probably believe it. The truth is you got her pregnant and the honorable thing to do was walk her down the aisle. Isn’t that how it happened, Ben? You knocked her up and some twisted sense of morality overlaid with your father’s stifling influence made you marry her.
BEN
You’ve got it wrong.
SERENA
Maybe I do. Maybe you just needed someone to take care of you.
(a beat)
I can take care of you, Ben.
Ben goes to speak. Serena puts her finger to his lips.
SERENA (CONT’D)
Shh. I’ll be right back.
Still wrapped in her towel, Serena goes to her car. When she returns, she is carrying a distinctively designed bottle. She finds two champagne flutes and fills each. She hands one to Ben.
BEN
Absinthe.
SERENA
You remember.
BEN
I’d never had it before. It was a rainy night. We built a fire.
SERENA
We made love. Here, in this room.
It was the first time.
Before drinking, Serena goes to the CD player and finds the song she wants. It’s Sheryl Crow’s All I Wanna Do. After a drink, Ben, reluctantly at first, dances with Serena.
SERENA (CONT’D)
After that summer, I could never hear this song without being desperate for you.
BEN
We must have played it a hundred times.
SERENA
I wanted your soul, Ben.
BEN
You could have had it.
SERENA
Is it too late now?
They kiss passionately. Serena slips out of her towel and unbuttons Ben’s shirt. She has gotten to his pants when he pushes her away. The music stops.
BEN
I can’t.
Serena doesn’t protest. Without a word, she dresses, takes her absinthe, and goes to the door.
SERENA
I’ll be waiting for you, Ben.
Serena leaves. Off screen, we hear the sounds of an ENGINE starting and TIRES squealing.
INT. BEN’S STUDIO - LATE AFTERNOON
Ben is in his darkroom, developing and printing the latest shots. He is preoccupied with the topless photos. He makes an enlargement of the best one.
As it’s drying, he finds another negative from the attic box and makes a print. It’s a nude shot — from the summer he met Serena. Ben takes both prints to his lightboard, where he scrutinizes them.
INSERT - ENLARGEMENT OF TODAY’S PHOTO
We see pearl necklace, tan lines, the curve of a breast.
INSERT - PRINT OF CORRESPONDING YEARS-AGO PHOTO
We see the identical necklace, tan lines, and curve of a breast. The two prints could be from the same negative.
BEN (whispering)
It’s impossible.
His concentration is broken by the sound of his PHONE RINGING. The answering machine picks up.
BEN’S RECORDED GREETING
You have reached Ben’s Island Studio. I’m not available to take your call now, but if you leave a message, I’ll get back to you.
BEN’S SISTER (O.S.)
Ben, it’s your sister. I’ve already left a message at the summer place. It’s really important that you call as soon as—
Ben picks up his phone. His sister will remain off screen for this conversation.
BEN
Carol. I’m here. How is he?
BEN’S SISTER (O.S.)
Slipping, Ben. Fast. The doctor doesn’t
know how long he’ll last.
BEN
Is he conscious?
BEN’S SISTER (O.S.)
He’s in and out. I think you should come tonight.
Ben looks at his watch. It’s almost five p.m.
BEN
If I hurry, I can make the five- thirty ferry. That would put me in Boston by nine.
BEN’S SISTER (O.S.)
I’ll see you at the house.
Ben hangs up, then calls Stephanie at her office.
STEPHANIE (O.S.)
You’re sure you don’t want me to pick you up?
BEN
I don’t want to take you away from that trial. I’ll take the Jeep.
STEPHANIE (O.S.)
Then I’ll meet you at his house. You sound frantic, Ben. Please be careful. Someone else needs you now. Someone very little.
INT. BEN’S FATHER’S RESIDENCE - FRONT HALL - THAT NIGHT
Stephanie and Ben’s sister greet Ben at the front door. He hugs Stephanie, then his sister, and the three go upstairs.
Outside Houghtie’s room, Dr. Hendren and Houghtie’s attorney are standing watch. The attorney is the aged Peter Barclay, who is holding a stack of documents.
PETER BARCLAY
Hello, Benjamin. Frankly, I’m surprised to see you. Your father thought you’d never come.
BEN
You haven’t changed a bit, have you, Barclay?
An asshole to the bitter end.
PETER BARCLAY
I don’t think that’s necessary.
BEN
How much will you get as executor? A million? Two? For that kind of money, I think you can take some of my shit.
Ben goes into his father’s bedroom, Barclay following.
INT. BEN’S FATHER’S BEDROOM - NIGHT
Houghtie can speak, although he is wheezy and dangerously short of breath. A death rattle.
BEN’S FATHER
(to Barclay)
You - get out.
Barclay leaves.
BEN’S FATHER (CONT’D)
(to Ben)
Close the door.
Ben does, then stands at the foot of his father’s bed.
BEN’S FATHER (CONT’D)
What made you come? A sudden rush of nostalgia? Or did
you want one last look before they plant me.
BEN
You’re staring death in the face and it hasn’t softened you.
BEN’S FATHER
I’m not afraid of dying. In Vietnam, I saw soldiers die every day. Some were men about it. Some checked out as blubbering wimps. They were cowards, Ben. There’s nothing more loathsome than a coward.
Ben turns from his father, toward a window with a drawn drape.
BEN’S FATHER (CONT’D)
You’re probably wondering about the disposition of the estate.
BEN
I haven’t given it a thought.
BEN’S FATHER
Yes, I suppose you haven’t. You free-spirited types with your trust funds, never worrying about a thing.
(a beat)
I did you a great disservice, Ben, when I established that for you.
BEN
I never asked for it.
BEN’S FATHER
And you never refused the checks, either, did you.
BEN
Are you done?
BEN’S FATHER
No. I haven’t gotten to the details. I’ve split everything seventy-five/twenty-five between you and your sister. Peter has just completed the fine print. I’ve signed, with the requisite two witnesses. Peter assures me that despite the morphine, probate will rule that I was of sound mind. We taped everything, just to be safe.
Saying nothing, Ben continues to look away.
BEN’S FATHER (CONT’D)
Aren’t you curious who gets the seventy-five?
Ben shows no interest.
BEN’S FATHER (CONT’D)
You do. Does that surprise you? Carol gets this place and the mutual funds. You get the summer house and stock portfolio. Plus sole proprietorship of the firm. It works out almost exactly to a three- to-one split.
BEN
The firm? Is that some sort of sick joke?
BEN’S FATHER
Quite the contrary. My hope is that, at the age of almost 40, this sill finally jump-start you. If it doesn’t, I have every faith Stephanie will step in. She told me about the baby, by the way. Congratulations — I know how long you two have tried to get pregnant again. It’s a shame I won’t live to see my first grandchild, but there’s a certain symmetry to it, wouldn’t you agree — one checking in, while another checks out. DNA simply can’t be denied.
(a beat)
Have you nothing to say, Ben?
BEN
No. Nothing.
For a fleeting moment, it seems as if Houghtie may cry. He doesn’t, but something inside him finally breaks.
BEN’S FATHER
Well, I do. It’s hard for a man like me to apologize, you know that better than anyone, but I suppose it’s better late than never.
(a beat)
I’m sorry, Ben. I wasn’t the father I could have been. Should have been. I wasn’t the husband your mother deserved, either. I hope it works out better for you and Stephanie and your baby than it did for me and for her. You might not believe I mean that, but I do. I’ve had a lot of time lately to reflect. It’s a new experience for me. Uncomfortable and uplifting at the same time. And this is where I net out.
(a beat)
I love you, Ben. I wish I could go back in time and change things. Many things. It really is true, what they say: no man on his deathbed ever regretted that he didn’t make more money.
With painful effort, Ben’s father extends his hand to his son. Ben starts to extend his in return, but stops — momentarily. Just when it seems he will withhold this last gesture, he takes his father’s hand. Then he hugs the old man, and both cry.
EXT. FUNERAL HOME - EVENING
Ben’s father’s wake, a few days later. A steady stream of Mercedes, Infinitis, and other luxury automobiles discharge well-dressed mourners.
INT. FUNERAL HOME - MAIN PARLOR - EVENING
Near the open casket containing Houghtie, Stephanie, Ben and his sister greet the mourners one-by-one. Among them are Dr. Hendren and STEVE McAfferty.
INT. FUNERAL HOME - SMOKING ROOM - EVENING
The lone occupant is PROFESSOR BERGMAN, who is about Houghtie’s age, is confined to a wheelchair, and wears horn- rimmed glasses and a rumpled suit.
We NOTE that this is the young MAN from the opening scene — many decades later, but still handsome. Bergman is smoking a Nat Sherman cigarette.
Ben enters the room and lights a cigarette of his own, a Marlboro.
BERGMAN
I’m glad to see that I am not the only politically
incorrect person here.
BEN
I haven’t had a cigarette in 15 years. I’m on my second pack today.
Ben extends his hand.
BEN (CONT’D)
I don’t believe we’ve met. I’m Ben Houghton.
BERGMAN
Conrad Bergman. I’m sorry about your father.
BEN
Thank you. Did you know him from the firm?
BERGMAN
No. I teach at Harvard — for one more year, that is. Houghtie and I served many years together on the Board of Overseers. Every board needs its token flake and I was it.
(laughs)
You would be surprised how having a token flake helps in separating certain alumni from their pocketbooks. I was a particularly big hit with Meg Whitman.
BEN
The head of HP.
BERGMAN
Yes. Business School, ‘79, if memory serves me.
BEN
What do you teach?
BERGMAN
Scandinavian languages. I also dabble in Scandinavian folklore — I’m the son of Swedes, you see. I teach one course, every spring.
BEN
Sounds fascinating.
BERGMAN
You may be the only person here besides me to think so. But it has always been my favorite course. Something about prattling on about elves and trolls and mermaids while the ghosts of Harvard’s Puritan founders watch from the rafters — suitably horrified, I am sure — has a certain appeal.
(laughs)
You can see I have earned my credentials as token flake.
BEN
Mermaids — they make for great movies, don’t they. I assume you’ve seen Splash.
BERGMAN
Yes. But my interest is much deeper than Hollywood. Mermaids have been with us forever. The ancient Greeks wrote of them. The Cretes and Romans and Celts, too, and so on into modern times. The stories and sightings from Scandinavia alone would fill volumes.
BEN
You sound like you believe in them.
BERGMAN
(a beat)
I do.
BEN
You’re kidding.
(a laugh)