toby screenplay draft 7

8/14/2019 Toby Screenplay Draft 7

1/23

-TOBY-

By

D Chandor, B Bolden and R Pilkington

Draft VII WIP

StoryD Chandor and B Bolden

2009 Bold.Entertainment Contact: 617-955-4253


2/23

EXT. COUNTRY ROAD - NIGHT

Thunder claps and lightning flashes over a snaking suburbanmotorway, 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, itsrear lights disappearing into a wooded area.

INT. LUXURY CAR - CONTINUOUS

Wearing a tweed suit and sitting doll like in the rear of aluxurious car is a SIX year old boy named CHRISTOPHER HENRYLODGES, his family calls him TOBY. He studies pages of SHEETMUSIC 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, impeccablydressed, middle-aged man with graying hair. He checks hisson in the rear mirror, smiling.

His MOTHER, JOANNE GREENBURGH LODGES, in evening attire,sits with her legs crossed and is smiling. She turns herhead, looking back.

MOTHERToby, whats that coming up?

Toby lifts his head, listening, squinting one eye. Hismother hums along helping, hitting the bass notes. Dadbrings the car around a wooded corner.

EXT. COUNTRY ROAD - CONTINUOUS

Luxury car coming around curve, headlights blasting throughrain.

INT. LUXURY CAR - CONTINUOUS

Toby looking up, struggling with answer.

YOUNG TOBYRec--! Rec-cit-ta-teeve!

Dad laughs and mother shakes her head, smiling.

(CONTINUED)


3/23

CONTINUED: 2.

MOTHERThats right, "Recitative".

Toby grins while meeting his mothers eyes. As she turnsback to face the front, bright lights from an oncomingvehicle 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 theshattered passenger window crawls YOUNG TOBY, face isbloodied, struggles as he stands dazed, rain pounding aroundhim.

On the roadside nearby, his mother lies face up with a cutfrom forehead to cheek, contorted torso, bloodied dress,DEAD.

He looks into the car, sees his father; caved in around thesteering wheel, bloodied, DEAD.

He moves away from the car, barely comprehending, looking tothe road. Another car is spun around, headlights blastinginto him.

VFX01 - FLASHBACK / VISIONS - SERIES

A silhouetted FIGURE appears against the headlight beams;hooded, darkened face, staggering, coming closer, fallingdown. Toby uses his hands to block the bright headlight, hesquints and vision is blurred.

The cars wheels grind, thunder claps, horn continues toblare.

INT. LIMO BUSY BOSTON CITY STREET - DAY

NOW 21, the adopted sir name for TOBY is GREENBURGH and heis sitting in the rear of a LUXURY LIMO.

One turns into multiple HORNS blaring and a loud CRASHINGsound awakens TOBY. He is startled, quickly opening thedoor, getting out.

(CONTINUED)


4/23


5/23

CONTINUED: 4.

ELROYWell, youve come to the rightplace.

(RE: briefcase)Library...?

TOBYYes.

Toby starts to walk away, but stops, turns back towardsElroy and lowers his voice to a whisper.

TOBY (CONTD)Is she here?

Elroy gives a discreet nod, yes. Toby sighs, stoic,deflating onto a bench nearby, clasps his hands and lowershead. Elroy moves toward him and speaks solemnly.

ELROYIt cant be easy, sir, she expectsa lot from you.

Toby doesnt respond, brief silence. Elroy, disheartened,takes silence as cue to exit and turns swiftly withbriefcase disappearing into the hallway.

Toby remains seated in grand foyer, looking at a portrait ofhimself, age 7 and on the opposite side of the frame, anolder, stern woman, Tobys GRANDMOTHER, smiling, a large dogsitting at her foot.

He takes a deep breath... stands and walks to a cabinetbeneath portrait, reaches below, pulling out a hidden bottleof cognac.

INT. TOWNHOUSE MASTER BEDROOM - DAY

A MAGNIFYING GLASS enlarges a black and white newspaperphoto of a car wreck. The desk is scattered with stacks ofnewspapers, photographs, files, notes pinned to the wall.

Sitting at the desk, Tobys GRANDMOTHER, FRANCIS GREENBURGH,70s, a feisty, older woman. She is talking on the phone andlooking at a photograph of a WOMAN, Tobys MOTHER at ayounger age, playing the piano in a large music hall.

She turns to look into the hallway, reacting to a change inlight, someone walking by and not stopping.

(CONTINUED)


6/23

CONTINUED: 5.

GRANDMOTHER (ON PHONE)Could you hold on for a moment?

Her hand covers mouthpiece, suddenly appears angry.

GRANDMOTHER (CONTD)

Toby, we need to talk...!(pause)Damn it, Toby, could you please getin here...

((back to phone, composed,polite)

Thank you for your efforts... this information is going tobe very useful. Now, are you absolutely sure about this...?Her wrinkled hand goes to a pen and pad, jots somethingdown.

INT. TOWNHOUSE LIBRARY/PIANO ROOM - DAY

Daylight floods the large stately room with shafts ofsunlight coming from large windows, dust particles floatingin the air.

TOBY enters the room with liquor. He walks toward apriceless baby grand piano, sets a drinking glass down on atable nearby and pours from the bottle of cognac. He takes adrink then sits at the piano adjusting his position, startsplaying the Mozart sonata (continued from beginning). Hisfingers 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. ELROYserves 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.


7/23

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.

GRANDMOTHERStop this nonsense...! You

shouldnt be playing that... Whyarent you working on the solo?There are only four daysremaining...

She stands sternly, awaiting a response..., nothing.

GRANDMOTHER (CONTD)...and youre being interviewedthis evening for an article in theGlobe. I told her to meet you atPISQUALLIES, six oclock.

TOBYInterview... what inter...?

She abruptly raises a finger to silence him.

GRANDMOTHER(interrupting)

Ive worked hard to set this up foryou, along with everything elsethat you show not the slightestappreciation for. (pause) Be there,six Oclock!

She starts walking out, gets to the doorway and stops,listens then steps into the hallway, slowly. Toby slouchesand starts tapping a series of keys, faster, staccato, amelody emerges and then crashes into an inharmonious chord.

His grandmother suddenly returns to the doorway...

GRANDMOTHER (CONTD)Was I not heard?

Toby adjusts his posture, sits upright, rigid. Grandmotherapproaches.

GRANDMOTHER (CONTD)Youre changing it again, arentyou? Toby looks away, no answer.

GRANDMOTHER (CONTD)Toby, you told me that you wouldnot continue to stray!

(CONTINUED)


8/23

CONTINUED: 7.

TOBY(anxious)

I am, I mean... I was, I just needto make some slight variations...

He looks at a photograph of him, younger, with his parents,

everyone smiling.

GRANDMOTHERI thought we had an understandingof your direction and how thisshould be played. We dont havetime for this... yourindecisiveness is insulting.

TOBYPlease, Grandmother, Im onlyreworking the final movement; trynot to worry.

Grandmother watches as Toby presses his palms against hiseyes.

GRANDMOTHERThe final movement...? This makesme very uncomfortable Toby... Atany rate, you look god-awful, getyourself cleaned up and ready forthe interview, you have less thanthree hours.

She turns to leave, halting once more, her eye catching

Tobys drink on a table. She walks over, picks up thecrystal cocktail glass, buries her nose into it and breathesdeeply.

GRANDMOTHER (CONTD)Theres where my cognac is going.Please, its so difficult toreplace.

Toby sighs exhaustively.

GRANDMOTHER (CONTD)Im going to be out of town for thenext couple of days. In case youveforgotten, Ill be at the ranch.

She exits, her heels clapping down the hall.

GRANDMOTHER (CONTD)Dont forget... six oclock!


9/23

8.

Toby, still looking at the photograph, stands, walks closer,picks it up and lovingly runs a finger over his mothersface.

INT. NEWSPAPER OFFICE CUBICLE - AFTERNOON

Background office sounds, people talking. Scattered desk,computer displaying screen saver, the telephone rings, andan attractive WOMAN, 30, walks into the frame and answers.Her name is KELLEY FAEROE, on the phone with her news roomeditor, LARRY JACOBSON.

KELLEYHello, this is Kelley...

LARRY (ON PHONE)Hi, Kelley, its Larry. I need youto interview this piano prodigy inthe Back Bay tonight. Usually John

Davidson does this kind of thing,but Ive talked to the grandmothera number of times now, and she is areal piece of work. Let me tellyou, she keeps insisting that thekid will be far more comfortablewith you doing the interview.

KELLEYThats the arts/entertainmentsection isnt it?

LARRY (ON PHONE)Yeah, yeah its AE, and I imagineit might be a pretty goodopportunity for you. His name isToby Greenburgh I guess a realMozart or something... Anyway, theGlobe wants it and incredibly itseems we wont get it without you.

KELLEYWell thank you for the vote ofconfidence... you said itshappening this afternoon?

LARRY (ON PHONE)More like tonight actually, in twohours, PISQUALLIES on BeaconStreet, six oclock. Ill send youan email with his info. ThanksKelley, I really appreciate this.

Kelley puts the phone down and falls back into the chair.

(CONTINUED)


10/23

CONTINUED: 9.

KELLEY (TO HERSELF)Oh, youre fucking welcome Larry.

INT. TOWNHOUSE LIBRARY/PIANO ROOM - LATE AFTERNOON

Toby at the piano, rubs his eyes, arranges pages of sheetmusic on the page holder. He starts to play, and a melodyemerges, contemporary, staccato. He stops, erasing a sectionand starts over.

GRANDMOTHER (O.S.)Elroy, my car is waiting, myluggage?

ELROY (O.S.)Im bringing them, maam.

The sound of footsteps fade away, music is full and

continuous.

VFX03 - FLASHBACKS / VISIONS - SERIES

Younger Toby performing at a recital, grandmother standingbehind him.

His parents 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 tohim.

Religious/gothic statues, tombstones, mausoleum, blood,knives, morbidity.


Toby screams out loud, shaken from a deep trance. Elroyknocks on the door, enters the room.

ELROYIs everything okay, sir?

Startled and catching his breath, Toby frantically attemptsto organize scattered sheet music.

(CONTINUED)


11/23

CONTINUED: 10.

ELROY (CONTD)You have a call Toby, a reporterfrom the Globe.

TOBYHow long have you been standing

there?

ELROYI just walked in, sir. A reporteris calling to confirm a six oclockmeeting. Should I tell her... thatyoure busy?

TOBYUm, (beat) no... Ill talk to her.

Toby stands, relaxed, walks to the phone, answering andcollapsing on an antique chair.

TOBY (CONTD)Hello.

KELLEY (ON PHONE)Hello, is this Toby Greenburgh?

TOBYSpeaking.

KELLEY (ON PHONE)My name is KELLEY Faeroe..., I workfor the Boston Glo....

TOBY(interrupting)

Six oclock, right?

INT. NEWSPAPER OFFICE CUBICLE - LATE AFTERNOON

KELLEY is sitting at her desk holding the phone to her earwith shoulder, looking at computer, typing.

KELLEYUm..., yes, six at PISQUALLIES, onBeacon Street. - CLICK -

(to herself)Man Larry, this is just fuckinggreat.


12/23

11.


He puts the phone down, leans his head back, exhaling. Hehops out of the chair, walks to the bottle of cognac andpours the glass full. He takes the glass and walks into thehallway.

TOBY (O.S.)Hey El, can you help me out withsomething?

INT. GRANDMOTHERS MASTER BEDROOM DESK - LATER

The room is large, flamboyant, curtains drawn and darkly litby accent lighting. Toby enters the room taking the drinkand walking to desk area, setting his glass down. Elroyappears at the doorway.

ELROYYou called for me, sir?

TOBYI did... Im trying to findsomething, a piece of music that mymother had been working on. (beat)Do you know anything about allthese boxes?

Toby plops a box down, pulled from a stack in a closet nearthe desk.

ELROYOnly that theyre storage items,have never looked inside any ofthem.

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.

TOBYThis is incredible, shes savedeverything.

(CONTINUED)


13/23

CONTINUED: 12.

Toby plops another one down, opens it revealing awards,certificates, photography of his younger mother throughoutall ages, everything related to music and piano.

Under the photos, he finds folders of sheet music each witha performance date and his mothers corresponding age.

Another folder is unmarked; it contains sheet music, wornwith water damage, smeared with mud. He looks through thestack page for page and finds one titled, "Visions in thekey of A - blue, the sky and eternity, Messian" He islooking, studying his mothers hand written notes, startssmiling.

Elroy is quietly looking at old newspapers;

-LODGES CRASH SURVIVOR POINTS TO FOUL PLAY-

-POLICE: RAIN WASHED AWAY ANY HOPE FOR EVIDENCE-

TOBYI have it El; "Visions in the keyof A and the color blue".

(pause)My grandmother has forever deniedknowing anything about this. Sheswrong, its not original...

ELROYCareful... are you sure you want togo there? Toby stops, looks atElroy.

TOBYI have no choice.

EXT. PISQUALLIES - BOSTON CITY STREET - DUSK

Its the end of a sunny day. A WOMAN is standing outside ofthe restaurant smoking a cigarette and talking on a cellphone. She is in here late 20s, brunette and attractive. Hername is Kelley.

A luxury vehicle pulls in front of the restaurant, well

dressed, Toby gets out from the rear of the limo and walkstoward Kelley looking directly into her eyes.

TOBYAre you KELLEY?

He reaches to shake her hand. Kelley closes her cell phonewalking in front of Toby, holding the door as he entersfirst.


14/23

13.

INT. PISQUALLIES RESTAURANT - NIGHT

Its a posh, quiet setting, moderately busy with otherpatrons. Toby walks in front of Kelley, the owner of therestaurant approaches him, smiling, outstretched hand.

BRUNOMaestro, how are you this evening?

TOBYGood evening, Bruno...

BRUNOTable for two...?

TOBYI believe my Grandmother called.

BRUNO

Oh, yes, of course..., right thisway.

They follow his lead, Toby first, Kelley shrugs.

INT. PISQUALLIES RESTAURANT - CONTINUOUS

BRUNO shuffles quickly around the table, pulling a chair forKelley, Toby seats himself.

BRUNOPlease, would you like something to

drink?

TOBYPinot noir... large... KELLEYsmiling, looking at the Bruno.

KELLEYJust water for me, Pellegrino...?

BRUNOYour drinks will be heremomentarily.

Bruno walks away from the table. Toby taps all his fingers,sequentially. Kelley unfolds her napkin.

TOBYSo, what section do you writefor...?

(CONTINUED)


15/23

CONTINUED: 14.

KELLEYI actually write for Lifestyles.Toby throws a hard look at her.

TOBYLifestyles..., youre joking?

KELLEY shrugs her shoulders, openpalms, innocent.

KELLEYLets talk about your music....What inspires you? She takes a padof paper and a pencil from herpurse.

TOBYLets see, how should I answerthis...? Something that works forthe lifestyles section...

(pause)Ive got it; my Italian leathersofa, now that inspires me!

KELLEYCome on, were here to talk aboutyour music and you dont seeminterested.

TOBYGuess what, Kelley..., I hadnothing to do with this, go aheadand talk about anything you want.

KELLEYOkay... you know what, I get it...

Kelley starts putting away her notebook. Toby makes eyecontact with her and adjusts his posture. A WAITER deliverstheir drinks.

WAITERHeres your drinks, Ill be rightback momentarily...

TOBYIm having difficulties.

(pause)I really dont mean for it toaffect you, I guess you could sayIm experiencing the pratfalls ofbeing a tormented prodigy as oflate.

(CONTINUED)


16/23

CONTINUED: 15.

KELLEYIt wasnt my idea to do this eitherby the way.

Toby holds his wine glass with hands, arms bent, elbows ontable, looking at KELLEY.

KELLEY (CONTD)Your grandmother was quite adamant.The desk tried to redirect herthree times Im told. Shes the onethat insisted I do it... somethingto do with your comfort level.

Toby suddenly sits back in his chair, embarrassed, amazed.

KELLEY (CONTD)It all happened at the last minute.

TOBYPardon me, my grandmother did what?

KELLEYShes the reason Im here... TheWaiter returns to their table. Tobyis still amazed, bewildered,looking down.

WAITERAnything for dinner this evening?

Toby readjusts; closer, placing his wine glass back on the

table, swallows, looks up to the Waiter.

TOBYNo thank you, just the drinks...

(focus on Kelley)My Grandmother is difficult, Iapologize for her.

Quiet, Kelley senses a darker note. The Waiter walks away.Toby takes a large drink of his wine.

KELLEYI understand that something tragicoccurred, when you were young.

TOBYNo..., no, its nothing.

Toby stares into the distant not looking. He takes a deepbreath, still.

(CONTINUED)


17/23

CONTINUED: 16.

KELLEYIt must be something... you know Icould do some digging...

TOBYDont bother... He sighs, checkshis watch.

TOBY (CONTD)I need to get back...

KELLEY(reaching into purse)

I would love to hear what youreworking on?

TOBYNo, Im not ready.

KELLEY

Well, if you just want to talk...

She hands him her business card. He takes it, and notices along SCAR on the top of her arm, wrist to knuckle area.Kelley tenses, pulls her sleeve to cover the area. Tobytakes the card while abruptly standing, slides it into apocket. Looking at Kelley.

TOBYYeah... 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 bystreet lights. He stops, breathing heavily, puts his handson 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 thewreckage.

As a hand touches his shoulder, he slashes it causing a deepbloody cut.

(CONTINUED)


18/23

CONTINUED: 17.

He sees the face of the figure, its young Kelley, 16,soaked, drunk, staggering back to her car on the side of theroad, 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, Elroys polished shoeswalking down polished marble hallway.

INT. TOWNHOUSE LIBRARY - CONTINUOUS

TOBY is at the piano, relaxed and stops as Elroy enters thedoorway.

ELROYToby...? Toby looks up.

ELROY (CONTD)Is there anything I get for yousir?

TOBYNo, everythings fine, fine.

ELROYMay I ask how the interview went,

sir?

TOBYYes, it was fine Elroy... I wantyou to know something; Im leavingBoston after the concert. Maybeits time for you to get out ofhere as well. Well meet in exoticplaces around the world. Tobystands and walks to the fireplacemantle, picks up business card,looks at Elroy and smiles.

ELROYI would like that sir.

TOBYThatll be all Elroy. Toby walksand picks up the phone, sits inantique chair and dials.

(CONTINUED)


19/23

CONTINUED: 18.

ELROYYes sir. Elroy smiles, turns andleaves the room.

INT. KELLEYS APARTMENT - NIGHT

Kelleys laptop is sitting on her desk inside a loft styleapartment, screen lights her face. She has a pencil in hermouth, hair pinned up, tapping on computer keys.

The screen displays search engine results; "Toby Greenburgh"+ "car accident", NO RESULTS. She adds "parents" to thesearch, nothing. She sighs as the phone rings. Sheanswers...

KELLEYHello, this is Kelley.

TOBY (ON PHONE)Kelley...?

KELLEYToby... is that you... what time isit?

TOBY (ON PHONE)When did you say youre going toprint...?

KELLEYThey want it before 3pm tomorrow...

why?

TOBY (ON PHONE)Because you wanted to hear it...

KELLEYUm, thats great... wow...

TOBY (ON PHONE)You still want to hear it?

KELLEYTonight? Theres a pause. Tobystone gets lower.

TOBY (ON PHONE)Yes, of course tonight. 54Commonwealth Ave.

(CONTINUED)


20/23

CONTINUED: 19.

KELLEYIts rather...

TOBY (ON PHONE)(interrupting)

Ill see in a short while...

Kelleys mouth is wide; she hears a dial tone, silence,shakes her head, looks at the screen; NO RESULTS. She sighsand closes the lid, darkness.

EXT. LUXURY BROWNSTONE TOWNHOUSE - NIGHT

Its a dark cool night, street lighting splashes onto thesidewalk and surrounding trees. A porch light is lightingthe front steps of the Townhouse. Several cars pass by. Ataxi pulls up and Kelley exits the rear, hands the drivermoney and walks up the steps to an open door, piano musicstreaming out. She knocks on the door and slowly pushes it

open, looking in.

KELLEYToby...?

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 asoft silhouette.

She follows an open door, light streaming out, piano louder,continuing to doorway, leans in and sees Toby playing andenters the room.

INT. TOWNHOUSE LIBRARY - CONTINUOUS

Kelley slowly walks toward Toby as he continues to play, notlooking up.

KELLEYToby, are you okay...?

Out of his trance, he looks at Kelley, pointing with hiseyes to the coffee table, continuing to play, fingersflying. She notices newspaper clippings arranged on a coffeetable...

- LODGES COUPLE KILLED IN CONNECTICUT CRASH, CHILD SURVIVES-

- LODGES CHILD CLAIMS OTHER CAR INVOLVED IN ACCIDENT -

(CONTINUED)


21/23

CONTINUED: 20.

- CONFUSION SURROUNDS CHILDS VERSION OF CRASH -

- COPS END CRIMINAL INVESTIGATION OF CT CRASH -

The piano stops and Toby stands raking his finger down thekeys, notes cascade. He walks to the open piano lid, reachesin to pluck a string causing loud and reverberating noise.

Uncertainty and worry washes over Kelleys face, tearsflowing down, reverb from the piano string continuing.

EXT. SYMPHONY HALL - NIGHT

Ambient sounds of busy city street, vibrant sidewalkactivity, parked limos and taxis lined up.

Marquee reads:

- TONIGHT ONLY - SOLOIST, CHRISTOPHER HENRY GREENBURGH -

Under the marquee, several people are milling around, anattendant 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, elegantlobby with ushers standing near closed door.

INT. SYMPHONY HALL - CONTINUOUS

A sophisticated black tie crowd is quietly watching Tobyperform. He is playing gracefully and with passion, underbright stage lighting.

VFX - TOBYS FLASHBACKS / MENTAL VISIONS - SERIES

Toby pulls a string from under the lid of his piano, loudsnapping sound resonates.

Sneaking up on Kelley from behind, wraps string around herneck.

Reflective butcher knife cutting flesh, blood.

Kelleys bloody hand reaching for Toby.

Newspaper headlines, flashes with photographs of familytogether, mother playing piano.

Grandmother angry, looking down, pointing finger.


22/23

21.


The audience watches. Toby is calm, eyes rolled back lookingtoward stage light, fingers flying, piano reaches crescendo.

VFX05 - TOBYS FLASHBACKS / MENTAL VISIONS - SERIES

Kelleys bloody hand holding Tobys.

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.


Audience in the background, Tobys fingers moving rapidly onkeys, entranced, final haunting chords ringing out.

VFX06 - TOBYS FLASHBACKS / MENTAL VISIONS - SERIES

In sync with piano, Toby dances wildly near the piano inlibrary while holding a reflective, bloodied knife.

Kelley in the library, crying, pleading.

Toby looking down at Kelley, pointing at her with knife.


Toby reaches the end of his solo. The audience is silent fora 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 thepiano, bows and walks off stage.

Approaching the side stage, he is greeted by multiple cameraflashes and a large group of people waiting, adoring.

While rushing to leave, he sees his grandmother waving herarms for his attention. He approaches, whispers in her earand quickly heads away from the crowd. She appears shockedand immediately starts to follow him but is stopped bysecurity.


23/23

22.

EXT. SYMPHONY HALL, REAR EXIT - NIGHT

A luxurious car is standing idle in an alley. Elroy opensthe rear door as Toby approaches. They look at each otherand smile.

As Toby gets in, he blocks being able to see the person inthe rear waiting on him, wearing a red dress, gentlyclapping.

Elroy is smiling as he closes Tobys door and walks to theother side. He gets in and drives the limo away.

THE END

toby screenplay draft 7

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