The Bread Baker & The Homeless Man. Starring George Clooney as John, Taylor Dearden as Trina, and Adam Sandler as Mac.
FADE IN:
EXT. - SAN FRANCISCO BRIDGE - DAY
THE BRIDGE.
The sun is shining in the late morning, the glimmer of the water below sparkle like diamonds, and
while cars, trucks, and the occasional bicyclists ride by (JOHN) a man in his late 60s disheveled from
high winds, still looks strikingly handsome like a fit hiker on a mountain up against the elements, but
instead of nature it's a concrete jungle, somehow bypasses the safeguards and climbs halfway up
the railing, leans over his upper torso, closes his eyes, then stretches out his arms like that scene in
Titanic. No one on the road seems to notice, but a BICYCLIST does and stops, jumps off his bike,
climbs up, and grabs John down. They both tumble and land on the side path hard, they get up
both displaying aches and pains, the biker holds out their hand to assist John.
BIKER
You alright? Hey buddy I'm sorry I was... uh I acted on instinct, I thought...
John jumps on the bike and peddles off as fast as any pro.
BIKER
Ah fuck.
John grows smaller from the bicyclists POV as he rides on the sidewalk toward the other end
of the bridge.
CUT TO:
We see John at the overlook sitting on the grass peering out, the stolen bike next to him on its
side. Tourists and locals scatter the landscape looking and pointing at the beautiful view.
CLOSE ON John's face. He whispers out loud under his breath.
JOHN
How did I get here?
John calls an Uber DRIVER again.
CUT TO:
The Uber driver walks up behind John on the grass.
DRIVER
John Beckett?
John turns startled, then awkwardly stands up almost stumbling, but catches himself.
DRIVER
It is you. What are the odds I'm the closest ride again. I should've
denied you after what you did, but I thought maybe you might need
help. There's a cop here with me to talk to you.
JOHN
What did I do? I don't remember.
FADE OUT:
FADE IN:
INT. - ARCHITECT OFFICE - DAY
THE JOB.
We see John sitting at a table with a scale Highrise building model, he's staring off into space almost
catatonic. MAC steps out of his office and calls to John. An average man with a unique but
distinguished face, dressed in a beautiful expense suit that exudes importance, and a gruff comedic
voice calls again, but louder this time.
MAC
John. (beat) John!
John continues to sit staring not responding, Mac walks over and puts his hand gently on John's
shoulder out of concern.
MAC
You, ok? We need to talk about your last two plans not passing QA review.
John violently hits away Mac's hand, stands up - dumps the table and angrily yells at him.
JOHN
You're trying to sabotage me, you think I'm after your position in the
firm and you want me out! Well, fuck you, Mac! Fuck you! I'll start my
own business.
Just then JAMES, looking like an NFL lineman also sharply dressed in a suit enters the room and he's
carrying an arm full of rolled up blueprints.
JAMES
Whoa, what's going on?
John stumbles toward James, gives him a dirty look, then grabs the blueprints and throws them.
James goes to grab John, but Mac intervenes just long enough for John to escape out the door.
JAMES
What's his problem.
MAC
I don't know, he just snapped. Something is going on.
JAMES
No shit. Those prints are the corrections from peer and code.
Our reputation is taking a hit you need to fire him.
MAC
I'm not jumping to conclusions; this is fucked up I know, but I
need to call SOPHIA, something's up.
FADE OUT:
FADE IN:
INT. - IRISH PUB - DAY
THE BAR.
We see John sitting at the bar drinking shots of whiskey. The place is mostly empty.
The BARTENDER serves up more shots for John.
BARTENDER
That's your last two. I can call an Uber if you can't.
JOHN
I haven't drank in years.
BARTENDER
Damn. Sorry for what you're going through whatever it is.
Can I call you a ride?
JOHN
No, I got it.
John struggles to get his phone out of his fancy suit pocket, he fumbles it, and it falls to the ground.
SOMEONE rushes out from a dark booth and grabs John's phone before he could. John barely
gets a hold of the stranger's pant cuff nearly tripping the robber, but John gets a boot kick to his
chin and lets go. The raucous happens so fast the bartender misses the moment to stop the thief.
The bartender runs outside yelling at that someone robber.
CUT TO:
EXT. - SIDEWALK IRISH PUB - CONT.
BARTENDER
Son of a bitch!
John appears at the door, then trips a little taking a step out.
BARTENDER
I'm calling the cops.
The bartender goes back inside in a hurry, and John drunkenly jogs in the direction of the thief.
CUT TO:
CLOSE ON John's coat pocket as he briskly pursues, he reaches in his suit jacket pocket then
halts his strides, he pulls out his personal cell phone. PAN to John's face.
CUT TO:
WIDE ANGLE on John and the bartender on the sidewalk far apart, but still within earshot.
JOHN
I found my actual phone; I still have it! That asshole took my
business cell!
BARTENDER
What?!
They start walking toward each other, John goofily smirking while holding his phone up.
FADE OUT:
FADE IN:
EXT. - SIDEWALK IRISH PUB - CONT.
THE DRIVER.
ANGLE ON Pub - street side. John leans on a nearby pole head down, phone in hand. He glances
at it then looks up. The Uber driver pulls up and John gets in the back. We see words exchanged as
daytime bustle goes by in both directions on the road, the driver nods and they pull out into
traffic disappearing out of frame. We see the bartender standing at the doorway shaking his head, then
turns to go back inside.
CUT TO:
EXT. - SAN FRANSICO BRIDGE - CONT.
John is in the back seat of the Uber, bridge traffic fair, he's obviously troubled and somewhat,
emotional, he begins to cry, the sounds of the cars and road noise around them blends in with
John's sobs, the driver notices of course.
DRIVER
You, ok?
John opens the car door as if to jump out and the driver stops as fast as possible without causing
an accident. Cars wail on horns as they drive around in anger at the stopped Uber driver, then
John bolts out of the already opened door and scrambles up to the pedestrian walk/bike path.
The driver who is visibly shook uses his cell to call 911, then gets back in his car and drives off.
CUT TO:
We see the bicyclist stop and jump off his bike to try and help John.
CROSSFADE:
WIDE ANGLE: We're back at the bridge overlook park from the opening scene and we see the COP
and the Uber driver near John all calmly conversing.
COP
Why'd you, do it?
JOHN
I don't know, I think I'm having a nervous breakdown. I'm having
bad headaches, I don't know what's wrong with me, it's like blacking
out but I'm still awake and I don't remember what I... (beat) I lose time.
DRIVER
Oh, man.
COP
I talked to the biker; he doesn't want to press charges he just wants his bike
back. How much have you had to drink today?
JOHN
A few shots of whiskey.
COP
Get some help Mr. Beckett, go straight home.
The cop looks at the driver and he nods yes in acknowledgment. Then the cop loads the bike into
his police car trunk and secures it with bungees. PAN and ANGLE ON The driver and John
getting in the Uber car.
CUT TO:
Inside the Uber car ready to take off - John makes a request to the driver.
JOHN
Take me to the hospital.
DRIVER
You know, that's a good idea.
As they begin to drive, John looks at his cell. CLOSE ON the phone screen - a few missed calls
from Sophia and ROWAN. John notices low battery too. He looks up and out the car window in time
to see the cop drive off with the trunk flopping up and down, the cop car stops, and the officer gets out
to resecure the trunk.
FADE OUT:
FADE IN:
EXT. - HOSPITAL - CONT.
THE BREAD BAKER & THE HOMELESS MAN.
We see the Uber driver parked near the entrance to the ER watching and waiting for John to walk in.
John turns around at the door and waves at the driver, he waves back. John steps in after the automatic
slide doors open and disappears into the building. PULL FOCUS and ANGLE ON the driver starting
his car, pulling away to leave. PULL FOCUS again back to John peering through the glass window
slide doors eyeing the Uber driver leaving and disappearing too, around the corner of dozens of
parked cars. John goes back outside looking left and right for confirmation the driver is gone, then
starts to jog along the side of the building and OUT OF FRAME.
CROSSFADE:
EXT. - BREAD BAKERY - DAY
CLOSE ON John's face sleeping. PULL BACK to reveal he's asleep in front of the bakery sprawled
out cold on the ground, and a couple of empty NIPS of JACK DANIELS with one still in his hand.
His seemingly lifeless body half blocking the door, he stirs and John curls into a semi-fetal position to
get more comfortable. TRINA, a late 20s early thirties no nonsense looking woman WALKS INTO
FRAME, then stops - she stares at John first in frustration teetering on anger, then suddenly to wonder.
She steps over John's legs to unlock the door, and she keeps glancing almost enamored, but also
confused. John sure looked a little too put together to be homeless. John's suit was nice, but the dirt
on his clothes and the smell of alcohol, anyone would assume as much. Trina hurries in then locks
the door behind her, she watches John wake up just then, and he picks himself up, he knocks on
the bakery door while intensely gazing at Trina on the other side.
JOHN
What time do you open? I don't see a sign.
TRINA
You need to leave!
JOHN
Where's BILL? I'm not dangerous, I used to come here every day to
get a loaf of sourdough. Well, when I was married anyway, it's been a while.
TRINA
I'm the new owner. Please leave.
We see pedestrians trickle by occasionally as the town wakes up.
JOHN
New owner?
TRINA
Hold on, be right back.
After being gone for less than 30 seconds, Trina unlocks the door cracking it just enough to hand
John a French baguette.
JOHN
French bread? Bill never made...
TRINA
I've never heard of a homeless person complain about free food before.
Just go!
John sulks away as Trina watches him go. John takes a bite; he smiles as he chews.
JOHN
Homeless?
FADE OUT:
FADE IN:
THE EX-WIFE.
EXT. - BUS STOP - DAY
We see John waiting at a bus stop, a few seconds later one drives up, and John gets on.
STEADICAM onto the bus with John finding a seat. He plops down exhausted.
CUT TO:
We see John get off the bus in a nice suburb neighborhood.
CUT TO:
John knocks on the door of a beautiful house with a well-maintained yard. The door opens
and we see a middle-aged woman with long black hair mixed with grey streaks, she's equally
attractive as John. It's Sophia his ex-wife. She pauses and tears well in her eyes.
JOHN
Hi, Sophia.
SOPHIA
Mac called me. He told me what happened. Rowan was worried, and
drove around the city since he couldn't get a hold of you.
JOHN
Really? Mmm I'm impressed.
SOPHIA
Goddammit!
Sophia steps out and hugs John.
JOHN
I'm sorry my phone died.
SOPHIA
I know. Like always. (beat) Come in and talk and call your son.
CUT TO:
CONT.
We see John and Sophia on the back deck on an outdoor lounger having tea. John with cell to ear.
JOHN
Ok, see you later. And thanks. (hangs up) He's on his way.
SOPHIA
MARY and I broke up.
JOHN
I'm sorry to hear that. (beat) When are you going to tell Rowan?
Aren't you tired of hiding it? I am. It's the cause of our divorce, and
he's our son, him of all people should know.
SOPHIA
My family.
JOHN
Fuck your family.
SOPHIA
Fuck you!
JOHN
We're going to have this fight all over again? It's 2029. We're old.
You're old. You're not a scared teen anymore! Or are you..,inside?
Scared of your family still after all this time? Get over it! Move on!
Grow up! (beat) Your son deserves the truth. Ah fuck my head!
John holds his temples. Sophia cries and sniffles.
SOPHIA
I made you an appointment with my doctor. Please go.
Rowan steps into frame and catches his parents off guard.
ROWAN
Hey. Mom you, ok?
John pulls out a bottle of Advil and pops a couple, then sips his tea. He awkwardly gets up.
JOHN
I'm ready to go, let's go.
FADE OUT:
FADE IN:
EXT. - DRIVING/ROWAN'S CAR - CONT.
THE SON.
Father and son have a conversation. Rowan, the 26-year-old spitting image of his dad John,
have a lively discussion about the circumstances all while the bridge, then city blur by the car
windows.
ROWAN
Mac called mom and mom called me. Dad I'm worried about you.
And you fell off the wagon?
JOHN
I know. I haven't been myself; my job is on the line. (beat) been losing
time.
ROWAN
Losing time? What do you mean?
JOHN
Thanks for picking me up. Take me to the Hilton.
ROWAN
Where's the motorhome?
JOHN
The shop.
ROWAN
Dad. Answer the question. Losing time?
JOHN
I don't remember things, blocks of time, It's like a waking black out.
ROWAN
You destroyed your office!
JOHN
I'm scared son, I don't need you yelling at me right now,
Rowan lets some tears out.
ROWAN
Are you at least going to see a doctor?
JOHN
Your mom already made an appointment for me.
ROWAN
She acts like she still loves you.
JOHN
She does.
ROWAN
You guys were happy.
JOHN
It's complicated.
They stop in heavy city traffic. John gets out of the car in the middle of the street.
ROWAN
Dad!
JOHN
The hotel is a block from here.
John fast walks away to the curb weaving in and out of the traffic jam and not looking back.
ROWAN
(rolls down passenger window)
Dad, wait!
FADE OUT:
FADE IN:
INT. - DOCTORS OFFICE - DAY
THE DOCTOR.
The Doctor and John are in a typical office setting, but with a more obvious hospital vibe. The Doc
behind his desk and John trying to be as comfortable as he can on the sofa, though he struggles hiding
his anxiety. PAN around the room first, then ANGLE ON the men.
JOHN
I'm nervous as fuck. Just tell me, tell me if I'm going to die and how
long I have. Just get it over with, don't beat around the bush.
DOC
It's not that grim John. Relax, please.
JOHN
It's not?
DOC
It is a tumor, but...
John yells, then leaps off the couch, and paces erratically.
JOHN
I knew it! How long do I have?
John stops pacing and collapses on the edge of the sofa and mopes.
DOC
But it's benign. You are not going to die, well maybe if you get hit by
a bus walking off a curb, just look both ways before you cross.
JOHN
Benign?
DOC
Yes, benign. It's small, about the size of a pea located on your
temporal lobe, which explains not being able to recall events, and
your emotional outbursts.
JOHN
I'm not dying? I'm not dying.
DOC
It doesn't look like it's growing so I'd like to monitor it. Surgery is
an option if you wanted to go that route, but it carries some risk. There
are alternative treatments we could talk about.
JOHN
(lays down)
I'm not dying. (laughs) (beat) The memory loss, the outbursts.
I want the surgery or whatever - the alternatives maybe.
DOC
Ok yeah, we'll figure that out. Take some time off work if you can, if
not you shouldn't drive, have someone take you.
JOHN
I was fired actually, just today too. That's fucked up, but no worries,
I got a helluva severance, if my insurance lapses I got it.
DOC
Sorry to hear that. I admire your work, some of the most beautiful
buildings in the city.
JOHN
Thanks Doc. What's next?
FADE OUT:
FADE IN:
THE BAKERY.
EXT. - BREAD BAKERY - DAY
ANGLE ON the face of the Bakery and the Twenty foot MOTOR HOME parked directly
in front. Trina nearly trips staring at the vehicle as she approaches her business while expressing a
strange concern on her face, she turns toward the door to open it, and hears the home on wheels
cheap aluminum door slam shut. Panicked, Trina spins back with her door key pointing at John not
recognizing him.
TRINA
I have a gun!
JOHN
(holds up his keys)
I have a gun too.
Trina notices it's the homeless man.
TRINA
You're the homeless guy I gave bread to. That's your RV?
That thing looks new.
JOHN
Yes, that's my RV, my home. Last time we
met I was having a bad couple of days, so I apologize for that.
TRINA
Did you like the bread?
JOHN
It was fantastic, you do Bill justice.
The city begins to wake up, the sidewalk and street starts to get busy with pedestrians
and cars. John and Trina stand awkwardly far apart for conversation, and move to the ANTIQUE
BENCH nearby against the brick wall of the building.
TRINA
What are you doing here?
JOHN
Can we go inside to talk?
TRINA
No! This is weird, you could be a serial killer. What do you want?
A BICYCLIST rides by and stares at John nearly crashing, Trina and John stare back as the biker
pushes off his seat and peddles faster away.
TRINA
What's that dude's problem?
JOHN
I stole his bike.
TRINA
(scoots away)
What? (beat) Ok you need to go.
JOHN
You ever hear of the San Francisco architect John Beckett?
TRINA
Yeah.
JOHN
That's me. Your building is actually one of mine.
Trina gets up and takes a couple steps back from the bench.
TRINA
Bullshit.
JOHN
I worked for Bill when I was interning after college and 25 years later
after construction here was done, Bill moved his bakery here.
He didn't tell me he sold it. I'm rambling... I'm looking for work.
You hiring by chance?
TRINA
(laughs, then serious)
You need to go John. Business isn't great so I'm not hiring.
JOHN
(briefly points at Trina's sign)
You should've left Bill's name up there.
TRINA
(curious)
Bill said to leave his name up too, I obviously didn't listen.
FADE OUT:
FADE IN:
THE BOSS.
EXT. - OFFICE BUILDING - DAY
We see John standing outside his RV in front of the office building where Benson & Beckett
Architecture is. John notices his letters on the building wall had been removed and he rolls his eyes,
then calls Mac who picks up on the other end.
MAC
Jooohhn! Hey, it turns out your drawings didn't have as serious
mistakes than...
JOHN
Mac, come down. Let's talk in my place.
MAC
You drove the beast? I didn't think there was room around here to park
that. Hold on I'll be down.
CUT TO:
INT. - JOHN'S RV - CONT.
Mac relaxes on the bench seat looking around inside the home on wheels. John sits on the corner
side sipping tea.
JOHN
Tea?
MAC
No thanks, I'm a coffee man. You never drank tea in the office.
JOHN
I switched up. I need a favor, Mac.
MAC
How are you handling things with the...your condition?
JOHN
I'm on meds, it helps. You know my building on 7th?
MAC
Oh yeah, your rebuilt block, it's a beauty.
JOHN
Bill sold the bakery.
MAC
What? Noooo.
JOHN
And I'm working there for free. New owner is struggling.
MAC
Wow John, that's a full circle story. So, what do you need?
FADE OUT:
FADE IN:
EXT. - BREAD BAKERY - NIGHT
THE FIRING & THE DINNER.
CLOSE ON Trina's bakery NEON sign, it reads SOURDOUGH CITY. PAN down to the front door.
John locks up for the days business and pep steps down the sidewalk.
CUT TO:
CLOSE ON the Bakery DOORKNOB, PULLBACK - ANGLE on an apparent homeless person trying the
knob, the door opens, and this person joyfully rushes in closing the door carefully behind them.
CROSSFADE:
ONE HOUR LATER.
We see three people run from Trina's bakery carrying bags of bread, the French baguettes sticking
out the top. Trina coincidently happens upon the scene just as the crime is taking place and runs toward
them screaming.
TRINA
(jog to run to jog to stop)
Hey! Hey hey hey stop!
She peeks inside turns on the lights and sees that it's trashed and mostly emptied out of product.
CUT TO:
EXT. - JOHN'S RV - CONT.
Trina pounds on the door, and John pops his head out. then steps out.
JOHN
Trina, what's up? I thought you were out of town.
TRINA
You didn't lock the door and the bakery was robbed, most of the bread
is gone! What happened?! I leave you one time - I can't, I can't do this.
The store suddenly booms in business and when I need help the most
you can't handle it.
(beat) John and Trina stand in a moment of awkward silence.
JOHN
I...
TRINA
You're done, don't comeback, thank you, but I'll figure it out.
JOHN
Not even as a customer?
TRINA
And park your house somewhere else!
Trina turns and leaves without giving John a chance. She disappears around the corner.
JOHN calls out to her.
JOHN
Me and my beast are staying right here!
John steps back into his RV and slams the door. We see his silhouette against the light from the
window. A muffled, but clear word can be heard loudly through the RV wall.
JOHN
Fuuuck!!
WIPE:
INT. - SOPHIA'S HOUSE - CONT.
Sophia and Rowan eat together at the dinner table.
ROWAN
What did you wanna talk about?
SOPHIA
Remember my friend Mary?
ROWAN
You mean your lover?
Sophia drops her fork.
SOPHIA
How long have you known?
ROWAN
Since I was 18. I tried to seduce Mary once and she told me what was
going on between you two. I was just being a dumb kid, I'm just glad you
and dad stayed close after the divorce.
SOPHIA
Oh my God, she outed me to you, and years ago. This is my fault.
Sophia gathers their dishes and takes it to the kitchen sink, she balls - tears flow.
ROWAN
Mom.
Rowan meets her where she's at and consoles, he cries too.
FADE OUT:
FADE IN:
INT. - BREAD BAKERY - DAY
THE MEET CUTE.
We see Trina hand kneading a large pile of dough behind the counter on the back table.
A few impatient CUSTOMERS loiter around the bakery while waiting for service. Trina acknowledges
them.
TRINA
Be there in a few minutes, I have to get this cut and in the oven before
the dough rises too much. I'm so sorry, I'm shorthanded.
CUSTOMER
Hire some help.
The customers leave just as Trina puts the bread in the oven. She glances to the door seeing the back
of the last patron slipping out, and she lets out a loud frustrated sigh. Trina hurriedly leaves too -
locking up, she unlocks and goes back inside putting a, 'Be Back Soon' sign in the window, then
relocks the door, heads down and around the corner to John's RV gently rapping on the door.
John peeks through the window curtain and opens the door quickly, he steps out and trips, but
catches himself, Trina helps steady him.
TRINA
Whoa, old man.
JOHN & TRINA (simultaneously)
Old man?
I need your help.
JOHN
What?
TRINA
I'm sorry. I could really use your help; I'll even start paying you.
John looks around pausing before answering. Trina is anxious.
JOHN
Yeah ok.
CROSSFADE:
INT. - BREAD BAKERY - CONT.
Rowan and Mac enter the bakery. They scan the shelves full of sourdough loaves of various kinds.
Trina stares at Rowan like a deer in head lights, Mac nudges Rowan, and he returns the gaze toward
her, Mac goes to check out the baguettes in the baskets looking back occasionally at Rowan and Trina
still eye locked with each other.
ROWAN
Hi.
TRINA
Hi. (beat) Uhhh oh um can I... get you a loaf?
John appears from behind a rack of raw dough in the back, then comes out to the front counter.
ROWAN
Dad!
TRINA
Dad?
JOHN
You guys met, good. Hey son. Mac.
MAC
Looks just like I remember, and oh man that smell, love it.
JOHN
Thanks for coming in. How many?
Mac puts his arm around John's shoulders and guides him toward the door to go outside.
He tells John something in a quiet inaudible voice. Trina and Rowan step closer to each other,
Rowan grabs a loaf and holds it in-between them. Rowan takes a bite.
ROWAN
(chewing)
Mmm.
TRINA
Good?
ROWAN
I'm in love with this bread.
TRINA
Love uh? That's the best compliment so far.
ROWAN
You like Unicorns?
TRINA
(curious)
They're ok, why do ask?
ROWAN
Will you go to the movies with me?
TRINA
Ok. You talking about that sequel?
ROWAN
Yeah, Death of a Unicorn 2, Revenge of the Pegasi.
CUT TO:
EXT. - BREAD BAKERY - CONT.
We see John and Mac shooing potential customers away out front.
JOHN
Love at first sight?
MAC
Yeah. It's rare obviously, but it happens. Serendipity man.
We miss you at the firm, especially Jeannie.
Rowan and Trina surprises John and Mac exiting the bakery in a hurry.
TRINA
Can you close?
JOHN
No problem. Rowan, where are you two going?
ROWAN
Movies!
FADE TO BLACK.
THE BEGINNING
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