-TOBY-

By
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)
CONTINUED: 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)
CONTINUED: 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)
CONTINUED: 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 out, gets to the doorway and stops,
listens then steps into the hallway, slowly. Toby slouches
and starts tapping a series of keys, faster, staccato, a
melody emerges and 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)
CONTINUED: 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 THEORY-
Elroy starts sorting through the contents.
TOBY
This is incredible, she’s saved
everything.

(CONTINUED)
CONTINUED: 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 EVIDENCE-
TOBY
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)
CONTINUED: 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)
CONTINUED: 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)
CONTINUED: 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