Toby Screenplay Draft 7

-TOBYBy D Chandor, B Bolden and R Pilkington Draft VII WIP

Story D Chandor and B Bolden

2009 Bold.Entertainment

Contact: 617-955-4253

EXT. COUNTRY ROAD - NIGHT Thunder claps and lightning flashes over a snaking suburban motorway, lighting up the countryside, heavy rain falling. Piano softly begins to play (Mozart piano sonata in A minor - andante cantabile). Picture holds on landscape for TITLE and OPENING CREDITS. A lone car enters the frame, drives into the distance, its rear lights disappearing into a wooded area. INT. LUXURY CAR - CONTINUOUS Wearing a tweed suit and sitting doll like in the rear of a luxurious car is a SIX year old boy named CHRISTOPHER HENRY LODGES, his family calls him TOBY. He studies pages of SHEET MUSIC in his lap and is lit by a dome light from above. His little finger follows along with the music. In the front seat are his PARENTS; Driving is DAD, GERALD LODGES, a handsome, impeccably dressed, middle-aged man with graying hair. He checks his son in the rear mirror, smiling. His MOTHER, JOANNE GREENBURGH LODGES, in evening attire, sits with her legs crossed and is smiling. She turns her head, looking back. MOTHER Toby, what’s that coming up? Toby lifts his head, listening, squinting one eye. His mother hums along helping, hitting the bass notes. Dad brings the car around a wooded corner. EXT. COUNTRY ROAD - CONTINUOUS Luxury car coming around curve, headlights blasting through rain. INT. LUXURY CAR - CONTINUOUS Toby looking up, struggling with answer. YOUNG TOBY Rec--! Rec-cit-ta-teeve! Dad laughs and mother shakes her head, smiling. (CONTINUED)

CONTINUED:

2.

MOTHER That’s right, "Recitative". Toby grins while meeting his mother’s eyes. As she turns back to face the front, bright lights from an oncoming vehicle blasts the windshield with light. The mother screams, tires screech, COLLISION. EXT. WOODED SUBURBAN ROAD - NIGHT/RAIN The car is SMASHED, engine steaming, hissing, horn BLARING, wheels GRINDING as they continue to spin. Mozart sonata starts playing again, softly. Out of the shattered passenger window crawls YOUNG TOBY, face is bloodied, struggles as he stands dazed, rain pounding around him. On the roadside nearby, his mother lies face up with a cut from forehead to cheek, contorted torso, bloodied dress, DEAD. He looks into the car, sees his father; caved in around the steering wheel, bloodied, DEAD. He moves away from the car, barely comprehending, looking to the road. Another car is spun around, headlights blasting into him. VFX01 - FLASHBACK / VISIONS - SERIES A silhouetted FIGURE appears against the headlight beams; hooded, darkened face, staggering, coming closer, falling down. Toby uses his hands to block the bright headlight, he squints and vision is blurred. The car’s wheels grind, thunder claps, horn continues to blare. INT. LIMO BUSY BOSTON CITY STREET - DAY NOW 21, the adopted sir name for TOBY is GREENBURGH and he is sitting in the rear of a LUXURY LIMO. One turns into multiple HORNS blaring and a loud CRASHING sound awakens TOBY. He is startled, quickly opening the door, getting out.

(CONTINUED)

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3.

LIMO DRIVER (O.S.) What the...! EXT. BUSY BOSTON CITY STREET - CONTINUOUS The limo pulls over on a BUSY DOWNTOWN STREET, moderate TRAFFIC, PEDESTRIANS. A handsome well dressed Toby exits the rear of the limo. He is rattled and holds onto the limo for a moment to catch his breath. He reaches in to grab his briefcase then rapidly walks away. DRIVER Toby, where you going? Toby doesn’t acknowledge, not looking back. EXT. LUXURY BROWNSTONE TOWNHOUSE - DAY On a bright warm sunny day, a large LUXURIOUS BROWNSTONE home on Commonwealth Avenue, Boston, sits with trees in full foliage and frequent cars passing by. INT. TOWNHOUSE GRAND FOYER - DAY An elevator rings then doors open, revealing TOBY. He walks fast, footsteps echoing. ELROY (O.S.) You’re back... sooner than expected? Toby looks up to see a tall man walking towards him. This is ELROY MERRIWEATHER, early 60s, a long time family butler. They smile as they greet each other. Elroy takes the briefcase. ELROY (CONT’D) Are you alright sir? Toby shrugs, anxiously scratching a five o’clock shadow with both hands. TOBY I’m fine El, too much chaos out there.

(CONTINUED)

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4.

ELROY Well, you’ve come to the right place. (RE: briefcase) Library...? TOBY Yes. Toby starts to walk away, but stops, turns back towards Elroy and lowers his voice to a whisper. TOBY (CONT’D) Is she here? Elroy gives a discreet nod, yes. Toby sighs, stoic, deflating onto a bench nearby, clasps his hands and lowers head. Elroy moves toward him and speaks solemnly. ELROY It can’t be easy, sir, she expects a lot from you. Toby doesn’t respond, brief silence. Elroy, disheartened, takes silence as cue to exit and turns swiftly with briefcase disappearing into the hallway. Toby remains seated in grand foyer, looking at a portrait of himself, age 7 and on the opposite side of the frame, an older, stern woman, Toby’s GRANDMOTHER, smiling, a large dog sitting at her foot. He takes a deep breath... stands and walks to a cabinet beneath portrait, reaches below, pulling out a hidden bottle of cognac. INT. TOWNHOUSE MASTER BEDROOM - DAY A MAGNIFYING GLASS enlarges a black and white newspaper photo of a car wreck. The desk is scattered with stacks of newspapers, photographs, files, notes pinned to the wall. Sitting at the desk, Toby’s GRANDMOTHER, FRANCIS GREENBURGH, 70s, a feisty, older woman. She is talking on the phone and looking at a photograph of a WOMAN, Toby’s MOTHER at a younger age, playing the piano in a large music hall. She turns to look into the hallway, reacting to a change in light, someone walking by and not stopping.

(CONTINUED)

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5.

GRANDMOTHER (ON PHONE) Could you hold on for a moment? Her hand covers mouthpiece, suddenly appears angry. GRANDMOTHER (CONT’D) Toby, we need to talk...! (pause) Damn it, Toby, could you please get in here... ((back to phone, composed, polite) Thank you for your efforts... this information is going to be very useful. Now, are you absolutely sure about this...? Her wrinkled hand goes to a pen and pad, jots something down. INT. TOWNHOUSE LIBRARY/PIANO ROOM - DAY Daylight floods the large stately room with shafts of sunlight coming from large windows, dust particles floating in the air. TOBY enters the room with liquor. He walks toward a priceless baby grand piano, sets a drinking glass down on a table nearby and pours from the bottle of cognac. He takes a drink then sits at the piano adjusting his position, starts playing the Mozart sonata (continued from beginning). His fingers are fluid as he plays the keys. VFX02 - FLASHBACKS / VISIONS - SERIES Younger Toby with dad, playing soccer, having fun. Sitting at a piano with his mother, her playing. ELROY serves at dinner table with parents. Riding in car, lights in windshield, collision. Thunder claps, lightning flashes, rain. The accident, car upside down, dead parents. A dark staggering figure, hooded, approaching. Grandmother looking down at Toby, pointing, angry.

6. INT. TOWNHOUSE LIBRARY/PIANO ROOM - DAY Grandmother slaps her hand on the piano lid. Toby stops, suddenly quiet, shaken, eyes rolled back, trance broken. GRANDMOTHER Stop this nonsense...! You shouldn’t be playing that... Why aren’t you working on the solo? There are only four days remaining... She stands sternly, awaiting a response..., nothing. GRANDMOTHER (CONT’D) ...and you’re being interviewed this evening for an article in the Globe. I told her to meet you at PISQUALLIES, six o’clock. TOBY Interview... what inter...? She abruptly raises a finger to silence him. GRANDMOTHER (interrupting) I’ve worked hard to set this up for you, along with everything else that you show not the slightest appreciation for. (pause) Be there, six O’clock! She starts walking listens then steps and starts tapping melody emerges and

out, gets to the doorway and stops, into the hallway, slowly. Toby slouches a series of keys, faster, staccato, a then crashes into an inharmonious chord.

His grandmother suddenly returns to the doorway... GRANDMOTHER (CONT’D) Was I not heard? Toby adjusts his posture, sits upright, rigid. Grandmother approaches. GRANDMOTHER (CONT’D) You’re changing it again, aren’t you? Toby looks away, no answer. GRANDMOTHER (CONT’D) Toby, you told me that you would not continue to stray!

(CONTINUED)

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7.

TOBY (anxious) I am, I mean... I was, I just need to make some slight variations... He looks at a photograph of him, younger, with his parents, everyone smiling. GRANDMOTHER I thought we had an understanding of your direction and how this should be played. We don’t have time for this... your indecisiveness is insulting. TOBY Please, Grandmother, I’m only reworking the final movement; try not to worry. Grandmother watches as Toby presses his palms against his eyes. GRANDMOTHER The final movement...? This makes me very uncomfortable Toby... At any rate, you look god-awful, get yourself cleaned up and ready for the interview, you have less than three hours. She turns to leave, halting once more, her eye catching Toby’s drink on a table. She walks over, picks up the crystal cocktail glass, buries her nose into it and breathes deeply. GRANDMOTHER (CONT’D) There’s where my cognac is going. Please, it’s so difficult to replace. Toby sighs exhaustively. GRANDMOTHER (CONT’D) I’m going to be out of town for the next couple of days. In case you’ve forgotten, I’ll be at the ranch. She exits, her heels clapping down the hall. GRANDMOTHER (CONT’D) Don’t forget... six o’clock!

8. Toby, still looking at the photograph, stands, walks closer, picks it up and lovingly runs a finger over his mother’s face. INT. NEWSPAPER OFFICE CUBICLE - AFTERNOON Background office sounds, people talking. Scattered desk, computer displaying screen saver, the telephone rings, and an attractive WOMAN, 30, walks into the frame and answers. Her name is KELLEY FAEROE, on the phone with her news room editor, LARRY JACOBSON. KELLEY Hello, this is Kelley... LARRY (ON PHONE) Hi, Kelley, it’s Larry. I need you to interview this piano prodigy in the Back Bay tonight. Usually John Davidson does this kind of thing, but I’ve talked to the grandmother a number of times now, and she is a real piece of work. Let me tell you, she keeps insisting that the kid will be far more comfortable with you doing the interview. KELLEY That’s the arts/entertainment section isn’t it? LARRY (ON PHONE) Yeah, yeah it’s AE, and I imagine it might be a pretty good opportunity for you. His name is Toby Greenburgh I guess a real Mozart or something... Anyway, the Globe wants it and incredibly it seems we won’t get it without you. KELLEY Well thank you for the vote of confidence... you said it’s happening this afternoon? LARRY (ON PHONE) More like tonight actually, in two hours, PISQUALLIES on Beacon Street, six o’clock. I’ll send you an email with his info. Thanks Kelley, I really appreciate this. Kelley puts the phone down and falls back into the chair. (CONTINUED)

CONTINUED:

9.

KELLEY (TO HERSELF) Oh, you’re fucking welcome Larry. INT. TOWNHOUSE LIBRARY/PIANO ROOM - LATE AFTERNOON Toby at the piano, rubs his eyes, arranges pages of sheet music on the page holder. He starts to play, and a melody emerges, contemporary, staccato. He stops, erasing a section and starts over. GRANDMOTHER (O.S.) Elroy, my car is waiting, my luggage? ELROY (O.S.) I’m bringing them, ma’am. The sound of footsteps fade away, music is full and continuous. VFX03 - FLASHBACKS / VISIONS - SERIES Younger Toby performing at a recital, grandmother standing behind him. His parent’s bloodied bodies at the accident. A cathedral funeral with two closed caskets, flowers. Being at cemetery, cold, his grandmother, looking down, angry. Toby at a piano, playing, smiling, mother sitting next to him. Religious/gothic statues, tombstones, mausoleum, blood, knives, morbidity. INT. TOWNHOUSE LIBRARY/PIANO ROOM - LATE AFTERNOON Toby screams out loud, shaken from a deep trance. Elroy knocks on the door, enters the room. ELROY Is everything okay, sir? Startled and catching his breath, Toby frantically attempts to organize scattered sheet music.

(CONTINUED)

CONTINUED:

10.

ELROY (CONT’D) You have a call Toby, a reporter from the Globe. TOBY How long have you been standing there? ELROY I just walked in, sir. A reporter is calling to confirm a six o’clock meeting. Should I tell her... that you’re busy? TOBY Um, (beat) no... I’ll talk to her. Toby stands, relaxed, walks to the phone, answering and collapsing on an antique chair. TOBY (CONT’D) Hello. KELLEY (ON PHONE) Hello, is this Toby Greenburgh? TOBY Speaking. KELLEY (ON PHONE) My name is KELLEY Faeroe..., I work for the Boston Glo.... TOBY (interrupting) Six o’clock, right? INT. NEWSPAPER OFFICE CUBICLE - LATE AFTERNOON KELLEY is sitting at her desk holding the phone to her ear with shoulder, looking at computer, typing. KELLEY Um..., yes, six at PISQUALLIES, on Beacon Street. - CLICK (to herself) Man Larry, this is just fucking great.

11.

INT. TOWNHOUSE LIBRARY/PIANO ROOM - LATE AFTERNOON He puts the phone down, leans his head back, exhaling. He hops out of the chair, walks to the bottle of cognac and pours the glass full. He takes the glass and walks into the hallway. TOBY (O.S.) Hey El, can you help me out with something? INT. GRANDMOTHER’S MASTER BEDROOM DESK - LATER The room is large, flamboyant, curtains drawn and darkly lit by accent lighting. Toby enters the room taking the drink and walking to desk area, setting his glass down. Elroy appears at the doorway. ELROY You called for me, sir? TOBY I did... I’m trying to find something, a piece of music that my mother had been working on. (beat) Do you know anything about all these boxes? Toby plops a box down, pulled from a stack in a closet near the desk. ELROY Only that they’re storage items, have never looked inside any of them. He opens and pulls out yellowing newspaper clippings; -FAMILY DIES IN FATAL ACCIDENT ON RT35-WEST HAVEN BOY SURVIVES CRASH, PARENTS DEAD-BOY IS ADOPTED BY GRANDMOTHER, QUESTIONS LINGER-POLICE: NO EVIDENCE TO SUPPORT OTHER CAR THEORYElroy starts sorting through the contents. TOBY This is incredible, she’s saved everything.

(CONTINUED)

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12.

Toby plops another one down, opens it revealing awards, certificates, photography of his younger mother throughout all ages, everything related to music and piano. Under the photos, he finds folders of sheet music each with a performance date and his mother’s corresponding age. Another folder is unmarked; it contains sheet music, worn with water damage, smeared with mud. He looks through the stack page for page and finds one titled, "Visions in the key of A - blue, the sky and eternity, Messian" He is looking, studying his mother’s hand written notes, starts smiling. Elroy is quietly looking at old newspapers; -LODGES CRASH SURVIVOR POINTS TO FOUL PLAY-POLICE: RAIN WASHED AWAY ANY HOPE FOR EVIDENCETOBY I have it El; "Visions in the key of A and the color blue". (pause) My grandmother has forever denied knowing anything about this. She’s wrong, it’s not original... ELROY Careful... are you sure you want to go there? Toby stops, looks at Elroy. TOBY I have no choice. EXT. PISQUALLIES - BOSTON CITY STREET - DUSK It’s the end of a sunny day. A WOMAN is standing outside of the restaurant smoking a cigarette and talking on a cell phone. She is in here late 20s, brunette and attractive. Her name is Kelley. A luxury vehicle pulls in front of the restaurant, well dressed, Toby gets out from the rear of the limo and walks toward Kelley looking directly into her eyes. TOBY Are you KELLEY? He reaches to shake her hand. Kelley closes her cell phone walking in front of Toby, holding the door as he enters first.

13.

INT. PISQUALLIES RESTAURANT - NIGHT It’s a posh, quiet setting, moderately busy with other patrons. Toby walks in front of Kelley, the owner of the restaurant approaches him, smiling, outstretched hand. BRUNO Maestro, how are you this evening? TOBY Good evening, Bruno... BRUNO Table for two...? TOBY I believe my Grandmother called. BRUNO Oh, yes, of course..., right this way. They follow his lead, Toby first, Kelley shrugs. INT. PISQUALLIES RESTAURANT - CONTINUOUS BRUNO shuffles quickly around the table, pulling a chair for Kelley, Toby seats himself. BRUNO Please, would you like something to drink? TOBY Pinot noir... large... KELLEY smiling, looking at the Bruno. KELLEY Just water for me, Pellegrino...? BRUNO Your drinks will be here momentarily. Bruno walks away from the table. Toby taps all his fingers, sequentially. Kelley unfolds her napkin. TOBY So, what section do you write for...?

(CONTINUED)

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14.

KELLEY I actually write for Lifestyles. Toby throws a hard look at her. TOBY Lifestyles..., you’re joking? KELLEY shrugs her shoulders, open palms, innocent. KELLEY Let’s talk about your music.... What inspires you? She takes a pad of paper and a pencil from her purse. TOBY Let’s see, how should I answer this...? Something that works for the lifestyles section... (pause) I’ve got it; my Italian leather sofa, now that inspires me! KELLEY Come on, we’re here to talk about your music and you don’t seem interested. TOBY Guess what, Kelley..., I had nothing to do with this, go ahead and talk about anything you want. KELLEY Okay... you know what, I get it... Kelley starts putting away her notebook. Toby makes eye contact with her and adjusts his posture. A WAITER delivers their drinks. WAITER Here’s your drinks, I’ll be right back momentarily... TOBY I’m having difficulties. (pause) I really don’t mean for it to affect you, I guess you could say I’m experiencing the pratfalls of being a tormented prodigy as of late.

(CONTINUED)

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15.

KELLEY It wasn’t my idea to do this either by the way. Toby holds his wine glass with hands, arms bent, elbows on table, looking at KELLEY. KELLEY (CONT’D) Your grandmother was quite adamant. The desk tried to redirect her three times I’m told. She’s the one that insisted I do it... something to do with your comfort level. Toby suddenly sits back in his chair, embarrassed, amazed. KELLEY (CONT’D) It all happened at the last minute. TOBY Pardon me, my grandmother did what? KELLEY She’s the reason I’m here... The Waiter returns to their table. Toby is still amazed, bewildered, looking down. WAITER Anything for dinner this evening? Toby readjusts; closer, placing his wine glass back on the table, swallows, looks up to the Waiter. TOBY No thank you, just the drinks... (focus on Kelley) My Grandmother is difficult, I apologize for her. Quiet, Kelley senses a darker note. The Waiter walks away. Toby takes a large drink of his wine. KELLEY I understand that something tragic occurred, when you were young. TOBY No..., no, it’s nothing. Toby stares into the distant not looking. He takes a deep breath, still.

(CONTINUED)

CONTINUED:

16. KELLEY It must be something... you know I could do some digging... TOBY Don’t bother... He sighs, checks his watch. TOBY (CONT’D) I need to get back... KELLEY (reaching into purse) I would love to hear what you’re working on? TOBY No, I’m not ready. KELLEY Well, if you just want to talk...

She hands him her business card. He takes it, and notices a long SCAR on the top of her arm, wrist to knuckle area. Kelley tenses, pulls her sleeve to cover the area. Toby takes the card while abruptly standing, slides it into a pocket. Looking at Kelley. TOBY Yeah... I really need to go. He leaves quickly tossing a 100 dollar bill on the table. Kelley is surprised and watches Toby leave. EXT. BOSTON CITY STREET - NIGHT Toby staggers on sidewalk along Commonwealth Ave, lit by street lights. He stops, breathing heavily, puts his hands on knees and looks up, street lighting burns to white. VFX04 - FLASHBACKS / MENTAL VISIONS - SERIES Lightning; the dark hooded figure jump cuts closer, the crash scene flashes, wreckage, weather, bodies. The dark figure stands over him. Toby reaches down, picks up a sharp object from the wreckage. As a hand touches his shoulder, he slashes it causing a deep bloody cut. (CONTINUED)

CONTINUED:

17.

He sees the face of the figure, its young Kelley, 16, soaked, drunk, staggering back to her car on the side of the road, blue and red lights on the horizon. The other car flees, tires screeching. His grandmother looking down, pointing her finger - her dog, flashes, attacking. INT. TOWNHOUSE HALLWAY - NIGHT Piano echoing, fluid, complete, Elroy’s polished shoes walking down polished marble hallway. INT. TOWNHOUSE LIBRARY - CONTINUOUS TOBY is at the piano, relaxed and stops as Elroy enters the doorway. ELROY Toby...? Toby looks up. ELROY (CONT’D) Is there anything I get for you sir? TOBY No, everything’s fine, fine. ELROY May I ask how the interview went, sir? TOBY Yes, it was fine Elroy... I want you to know something; I’m leaving Boston after the concert. Maybe it’s time for you to get out of here as well. We’ll meet in exotic places around the world. Toby stands and walks to the fireplace mantle, picks up business card, looks at Elroy and smiles. ELROY I would like that sir. TOBY That’ll be all Elroy. Toby walks and picks up the phone, sits in antique chair and dials.

(CONTINUED)

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18.

ELROY Yes sir. Elroy smiles, turns and leaves the room. INT. KELLEY’S APARTMENT - NIGHT Kelley’s laptop is sitting on her desk inside a loft style apartment, screen lights her face. She has a pencil in her mouth, hair pinned up, tapping on computer keys. The screen displays search engine results; "Toby Greenburgh" + "car accident", NO RESULTS. She adds "parents" to the search, nothing. She sighs as the phone rings. She answers... KELLEY Hello, this is Kelley. TOBY (ON PHONE) Kelley...? KELLEY Toby... is that you... what time is it? TOBY (ON PHONE) When did you say you’re going to print...? KELLEY They want it before 3pm tomorrow... why? TOBY (ON PHONE) Because you wanted to hear it... KELLEY Um, that’s great... wow... TOBY (ON PHONE) You still want to hear it? KELLEY Tonight? There’s a pause. Toby’s tone gets lower. TOBY (ON PHONE) Yes, of course tonight. 54 Commonwealth Ave.

(CONTINUED)

CONTINUED:

19. KELLEY It’s rather... TOBY (ON PHONE) (interrupting) I’ll see in a short while...

Kelley’s mouth is wide; she hears a dial tone, silence, shakes her head, looks at the screen; NO RESULTS. She sighs and closes the lid, darkness. EXT. LUXURY BROWNSTONE TOWNHOUSE - NIGHT It’s a dark cool night, street lighting splashes onto the sidewalk and surrounding trees. A porch light is lighting the front steps of the Townhouse. Several cars pass by. A taxi pulls up and Kelley exits the rear, hands the driver money and walks up the steps to an open door, piano music streaming out. She knocks on the door and slowly pushes it open, looking in. KELLEY Toby...? INT. TOWNHOUSE MASTER HALLWAY - NIGHT The entry way door opens allowing light to enter the area. As Kelley enters through the hallway, she is outlined by a soft silhouette. She follows an open door, light streaming out, piano louder, continuing to doorway, leans in and sees Toby playing and enters the room. INT. TOWNHOUSE LIBRARY - CONTINUOUS Kelley slowly walks toward Toby as he continues to play, not looking up. KELLEY Toby, are you okay...? Out of his trance, he looks at Kelley, pointing with his eyes to the coffee table, continuing to play, fingers flying. She notices newspaper clippings arranged on a coffee table... - LODGES COUPLE KILLED IN CONNECTICUT CRASH, CHILD SURVIVES - LODGES CHILD CLAIMS OTHER CAR INVOLVED IN ACCIDENT (CONTINUED)

CONTINUED:

20.

- CONFUSION SURROUNDS CHILD’S VERSION OF CRASH - COPS END CRIMINAL INVESTIGATION OF CT CRASH The piano stops and Toby stands raking his finger down the keys, notes cascade. He walks to the open piano lid, reaches in to pluck a string causing loud and reverberating noise. Uncertainty and worry washes over Kelley’s face, tears flowing down, reverb from the piano string continuing. EXT. SYMPHONY HALL - NIGHT Ambient sounds of busy city street, vibrant sidewalk activity, parked limos and taxis lined up. Marquee reads: - TONIGHT ONLY - SOLOIST, CHRISTOPHER HENRY GREENBURGH Under the marquee, several people are milling around, an attendant is in the box office, piano ringing out but MUTED. INT. SYMPHONY HALL LOBBY - CONTINUOUS The music is louder, the solo progresses in a grand, elegant lobby with ushers standing near closed door. INT. SYMPHONY HALL - CONTINUOUS A sophisticated black tie crowd is quietly watching Toby perform. He is playing gracefully and with passion, under bright stage lighting. VFX - TOBY’S FLASHBACKS / MENTAL VISIONS - SERIES Toby pulls a string from under the lid of his piano, loud snapping sound resonates. Sneaking up on Kelley from behind, wraps string around her neck. Reflective butcher knife cutting flesh, blood. Kelley’s bloody hand reaching for Toby. Newspaper headlines, flashes with photographs of family together, mother playing piano. Grandmother angry, looking down, pointing finger.

21. INT. SYMPHONY HALL - CONTINUOUS The audience watches. Toby is calm, eyes rolled back looking toward stage light, fingers flying, piano reaches crescendo. VFX05 - TOBY’S FLASHBACKS / MENTAL VISIONS - SERIES Kelley’s bloody hand holding Toby’s. Legs kick wildly with tempo, desperate. Hammer coming down on piano strings, vibrations. Toby being enraged, face bloodied. His mother and father, flashes between dead and alive. The dark hooded silhouetted figure, bloodied hand, dying. INT. SYMPHONY HALL - CONTINUOUS Audience in the background, Toby’s fingers moving rapidly on keys, entranced, final haunting chords ringing out. VFX06 - TOBY’S FLASHBACKS / MENTAL VISIONS - SERIES In sync with piano, Toby dances wildly near the piano in library while holding a reflective, bloodied knife. Kelley in the library, crying, pleading. Toby looking down at Kelley, pointing at her with knife. INT. SYMPHONY HALL - CONTINUOUS Toby reaches the end of his solo. The audience is silent for a moment and then bursts into loud over the top applause. Toby inhales deep, smiling, confident. In front of the massive crowd, he stands in front of the piano, bows and walks off stage. Approaching the side stage, he is greeted by multiple camera flashes and a large group of people waiting, adoring. While rushing to leave, he sees his grandmother waving her arms for his attention. He approaches, whispers in her ear and quickly heads away from the crowd. She appears shocked and immediately starts to follow him but is stopped by security.

22.

EXT. SYMPHONY HALL, REAR EXIT - NIGHT A luxurious car is standing idle in an alley. Elroy opens the rear door as Toby approaches. They look at each other and smile. As Toby gets in, he blocks being able to see the person in the rear waiting on him, wearing a red dress, gently clapping. Elroy is smiling as he closes Toby’s door and walks to the other side. He gets in and drives the limo away. THE END