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Version 2.0
July 1998
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Robalini
The
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Klearinghouse
Part IV
The following is part four of a thirteen part serialization for the screenplay Blinded, written by Robert Sterling. It is suggested for mature audiences only. Though it is copyrighted, feel free to forward it to others, or to put it on your website.
Sit back, turn down the lights, microwave a bag of popcorn, and enjoy the show.
INT. EVELYN'S WORK OFFICE - DAY
Evelyn is in the middle of a conversation with JANET,
the masseuse, a very attractive woman. The two are
smiling.
JANET
Now he's made a complete fool of
himself, so he starts walking out
the bar, and as he's about to
leave, he turns back and says,
"Can I ask you something? Are you
a lesbian?" I couldn't believe
it! So I laughed and said, "No, I
just have good taste!" You
should've seen him!
They both laugh loudly.
EVELYN
You really said that? What'd he
do?
JANET
He stormed off and left. But I'm
glad Tiffany was with me. I was
afraid he'd wait for me outside
when I left.
EVELYN
I know. You have to be careful.
(looking at watch) Oh, I've got a
new patient I'm seeing now. I got
to get back to work. I'll talk
later, though, Janet.
JANET
Bye.
They smile as Janet leaves. Evelyn goes behind her
desk and presses the intercom button.
EVELYN
Mr. Chamberlain, send in Mr.
Richmond, please.
MR. CHAMBERLAIN
(o-s, via intercom)
Yes, Ms. Hood.
A few seconds later, MR. RICHMOND enters, a short,
nervous looking middle-aged man with a beard and long
black hair with a pony-tail. She walks to him and
shakes his hand.
EVELYN
Hi, Mr. Richmond. Why don't you
sit down?
He nods. They both sit down, she in her chair, he in
the one facing her.
MR. RICHMOND
You mind if I smoke?
EVELYN
(holding out ash tray)
Go ahead.
He smiles as he gets up and takes it from her. He sits
down and lights up, and then takes a smoke.
MR. RICHMOND
(smiling)
I can't last an hour without one.
EVELYN
Is that why you wanted to see me?
MR. RICHMOND
No, it isn't. (pause, looks at
her) Look, I'll try to level with
you, alright? But it's real hard.
I mean, I hate saying it, but
you're... great looking. That's
why I picked you. I saw your add,
and I thought you'd understand my
problem, beings how you look.
Evelyn stares at him coolly, and he looks away
nervously.
MR. RICHMOND
I guess I should tell you a little
bit. I'm a rich guy. I hate to
brag, but I am. Eight figures a
year. But you know, I've never
been serious with a woman. Never.
(pause) I jerk off four, maybe
five times a day. Sometimes I go
crazy and do it more. One day I
must've did it like fifty times.
I lost count. It's like I'd wank
off 'til I came, and then I'd go
in a daze, then I'd wake up a few
minutes later and wank off again.
After a couple of hours, nothing
came out, I'd just feel it and go
into a daze.
EVELYN
I see. Go on.
MR. RICHMOND
Well, I do this, but I don't get
what I want. Know what I mean?
EVELYN
What do you want?
MR. RICHMOND
(slowly)
Love. I wanna feel cared about.
And I can't even find a fucking
date. So I see these prostitutes
a couple times a month. And we,
we, you know, we, uh... fuck. We
fuck a while, and I come, and it's
done. And they let me lick their
pussies, but they don't fucking
come. Never. They don't enjoy it
one bit. It's like, "Yeah, let's
get it over with, I got another
customer soon." And I always ask
if they'd like to kiss, but they
say no.
EVELYN
It's an easy way to pass a
disease.
MR. RICHMOND
Well, I offer more money for
kissing, but they usually still
say no, and even when they say yes
they still don't enjoy it. I
guess I'm saying I don't feel
loved. And I want to.
(stares at her)
So, you think you can help?
Evelyn stares at him for a few seconds.
INT. POLICE OFFICE - DAY
The room is cluttered. Inside, sitting at a desk,
eating coffee with donuts, is MR. FODDER. Mr. Hood
enters the room, and sneaks up behind Fodder.
MR. HOOD
(in a powerful voice)
Mr. Fodder, shouldn't you be
working?
Fodder stiffens up at the desk in fear. He turns
around and sees Mr. Hood smiling. He breathes deeply,
then looks at Mr. Hood again.
FODDER
Shit. Don't do that to me.
MR. HOOD
Sorry. Trouble in the trenches?
FODDER
Fucking crazy. That dyke Noman,
she's busting our balls over that
fucking Shaman case. I'm telling
you, heads are gonna roll before
it's over. I'm working twelve
hour days, and we still got no
leads.
MR. HOOD
When's that chick gonna learn how
things are run here?
FODDER
Probably never. She's trying to
turn the fucking department upside
down, and she's using the case as
her reason.
MR. HOOD
It's all overblown. I mean, what,
some broads are being offed. Big
fucking deal. Probably a bunch of
whores anyway. The Shaman's doing
L.A. a fucking service.
FODDER
Amen. But Noman don't think so,
and she's the one wearing the
fucking pants. (beat, stares)
So, you stop by just to talk shit?
MR. HOOD
A little business. Wondering if
you'd help me out.
Mr. Hood hands Fodder the prints. Fodder looks at
them, then back up at Mr. Hood.
MR. HOOD
My wife's got a patient. I can't
exactly say the problem, client
confidentiality and all, but I'd
like you to check some prints for
matches if you can.
FODDER
Tell you what. I'd love to help,
because I still owe you my ass on
the Gink case, so I'll try to when
I get a chance. But it's a bitch
here, you know? (pause) What do
you want? Sex freaks? Killers?
Dope heads?
MR. HOOD
Anything and everything. We have
no leads.
(Fodder's jaw drops)
Well, he's a guy.
FODDER
That cuts it in half. You ain't
helping any.
MR. HOOD
Well, why don't you start with the
"missing persons" files. Look, if
you can help, fine. If you can't,
that's fine too. He's in his
mid-twenties. Whatever you can
do.
Mr. Hood looks at his watch, then back at Fodder.
MR. HOOD
Well, I gotta go. Hey, I'm having
a cocktail party Monday night.
Stop by.
FODDER
Yeah. I will. See you around.
Mr. Hood begins to exit. As he does, he takes his
right hand and makes a pistol sign with it. He aims
it at Fodder and moves the trigger finger, smiling.
INT. EVELYN'S HOME OFFICE - EVENING
She sits at her desk as Carl faces her.
EVELYN
I thought we'd just talk this
session. What's on your mind?
CARL
Having trouble sleeping. Like
something's in the back of my
head. Know what I mean?
EVELYN
Yeah, I've been having trouble
sleeping myself.
CARL
(smiling)
Aren't we clones? How's your day?
EVELYN
Different. Had a new patient. He
got me thinking. He felt unloved.
The more people I see, the more I
realize that, deep down, everyone
needs to feel loved. And when
they don't feel it, that's when
they have problems. I think
that's why most patients see me.
CARL
I guess you don't have that
problem.
EVELYN
No, I don't. I have Sigmund. And
I do love Charles.
(smiling at Carl)
Why the interest in my day?
CARL
Guess so I can know you better.
Seems I know more about you than
myself. (pause) I get the
feeling I really know who I am,
but I'm so scared about myself,
that I'm consciously choosing not
to see the real picture of me.
EVELYN
That's interesting.
(Carl stares)
Your choice of words. "Choosing
not see the real picture of me."
Why did you use that phrase?
CARL
I don't know. What's wrong with
it?
EVELYN
Nothing. But in Western
civilization sight is associated
with sin. Why do you think "see
no evil" comes before "hear no
evil" and "speak no evil"? Have
you ever read Genesis in the
Bible?
(Carl nods)
Read it again. After Adam and Eve
ate the forbidden fruit, "their
eyes became open" and "they saw
that they were naked". The power
to see IS the original sin.
That's why there's so many myths
linking the purifying of the soul
with the loss of sight.
CARL
(pause, thinking)
What does this mean about me?
EVELYN
I think you're right, you really
know who you are. But you're
ashamed of yourself, you think
that you're evil. So you've lost
your memory, so you don't have to
"see the real you". (beat, Carl
contemplates) Would you like to
play a game?
CARL
(smiles)
Yeah. I'd love to.
EVELYN
It's a psychological game. I say
a word, and you say the first word
that comes to mind. Interested?
(Carl nods)
Great. Let's start. Body.
CARL
Flesh.
EVELYN
God.
CARL
Unknown.
EVELYN
Baby.
CARL
Innocence.
EVELYN
Creation.
CARL
Destruction.
EVELYN
Money.
CARL
Power.
EVELYN
Power.
CARL
Control.
EVELYN
Freedom.
CARL
Island.
EVELYN
Life.
CARL
Death.
EVELYN
Death.
CARL
Surrender.
EVELYN
Future.
CARL
None.
EVELYN
Love.
CARL
Lust.
EVELYN
Lust.
CARL
(stares at her a moment)
Fantasies.
EVELYN
Mother.
CARL
Peace.
EVELYN
Peace.
CARL
Water.
EVELYN
Man.
CARL
Killer.
EVELYN
Woman.
CARL
Goddess.
EVELYN
Hell.
CARL
Earth.
EVELYN
One.
CARL
Solitude.
EVELYN
Me.
CARL
(pausing)
You mean me as in me, or me as in
you?
EVELYN
Me as yourself. Me.
CARL
Mystery.
EVELYN
Interesting.
Close-up of her smiling.
INT. CARL'S BEDROOM - NIGHT
He is lying on his bed with an angry look on his face,
as there's the sound of Mr. Hood shouting. The shot
pulls closer to his face as the shot continues, showing
his anger more and more. He is practicing the handcuff
trick, as the cards lay next to him, solitaire style.
CARL
(in v.o.)
I am keeping this diary because
Evelyn asked me to. She said it
might help me remember some
things. I find her fascinating
and beautiful. Every night, I
hear Mr. Hood scream at her. Last
night, I think I heard him slap
her. I don't understand how he
treats her. How she takes it, I
understand even less.
EXT. MONTAGE - DAY
He works in the garden.
CARL
(v.o., cont.)
I worked in the garden all day,
next to the house. It's real
Goth.
Shot of house, towering over Carl.
CARL
(v.o., cont.)
The more I see it, the more
I hate it. It reminds me of him.
When I hear him scream, it's all I
see besides darkness, lights
beaming through its windows. It's
like it's alive, a maze with a
monster. (beat) The garden is
hot, muddy from water. Bugs are
everywhere.
Shot of him slapping at a fly on himself. Another shot
of what appears to be a snake slithering by. He stares
at it.
CARL
Today, I thought I saw a snake.
(beat) I don't like this garden
one bit.
