Concussion Page #5

BENNET:

I am a physician, papa.

BENNET’S FATHER/PHONE

You bury the dead.

BENNET:

I help families understand why

people die. I help the living and

the dead.

(a long silence)

I am very good at what I do, Papa.

There is an art to what I do.

(even to himself he sounds

plaintive, and hates it)

And now a long pause. Bennet can hear his father’s breathing.

CHERRY PAGES 1.21.15 21.

BENNET’S FATHER/PHONE (OVER)

It is time to leave the classroom,

leave the books. Join the world of

the living. With a wife, children.

Bennet Onyemalukwube Omalu: it is

time to grow up and do something-

(and the SOUND of a phone

being banged down--)

And our eyes follow Bennet’s to the wall. Where portraits of

his parents hang. His father imposing; a chieftain’s kaftan.

His mother wrapped in loud blazing colors.

Bennet carefully folds a clipping from the Pittsburgh Post-

Gazette:
“Saved From Execution”, and a photo of himself.

Slips it into an envelope: “Chief John Donatus Omalu, 90

Secondary School Road, Enugwu-Ukwu, Nigeria”. Seals it.

MR. SCOTT (PRE-LAP)

--and you have dominion over all.

In your hand are power and might--

35 EXT. ST. BENEDICT’S - PITTSBURGH - DAY - ESTABLISHING

Sturdy brick cathedral. Massive crucified black saint

broadcasting from the belltower.

MR. SCOTT (PRE-LAP)

--it is yours to give greatness and

strength to all-

36 INT. ST. BENEDICT’S - PITTSBURGH - DAY

Saturday Mass. Black and immigrant congregation of 200. One

by one standing in pews, offering prayers of gratitude.

MR. SCOTT

--Our God, we give you thanks and

we praise the majesty of your name.

FEMALE CONGREGANT

I thank you, Lord, with all my

heart; in the presence of the

angels to you I sing. I praise your

name for your mercy and

faithfulness--

Bennet STOPS. Turns toward that clarion female voice. African

lilt. Beautiful girl. Delicate profile. Bennet stares, then-

CHERRY PAGES 1.21.15 22.

His turn. He doesn’t speak his prayer, he sings it in that

big melodic heartbreaking voice-

BENNET:

On the day I cried out, you

answered; you strengthened my

spirit. All the kings of earth will

praise you, Lord, when they hear

the words of your mouth. Though I

walk in the midst of dangers, you

guard my life when my enemies rage.

(as the congregation claps,

feeding off his energy--)

EXT. ST. BENEDICT’S - PITTSBURGH - DAY

Services letting out. CONGREGANTS approach Bennet, shake his

hand, want to be near. PASTOR and CHURCH SECRETARY hunting

for-

FATHER D’AMICO

Bennet! A moment?

We notice - but Bennet wouldn’t - two Steelers lapel pins on

his frock:
“10 - Stewart” & “92 - Harrison”.

MRS. SCOTT

We have a new member, a young lady

from Kenya. She came to us a few

weeks ago. She needs our help.

BENNET:

Of course. How much do you need?

FATHER D’AMICO

She needs shelter, Bennet, until we

find her something permanent.

BENNET:

Father. I’m studying, I work long

hours. My books are everywhere--

MRS. SCOTT

What about that studio you sub-let?

Isn’t that open now--?

Points out the girl with the clarion voice. PREMA MUTISO, 24.

BENNET:

Who is she?

CHERRY PAGES 1.21.15 23.

FATHER D’AMICO

She’s a nice girl, from Nairobi,

went to a British school. And she

wants to work. We’re letting her

tidy up around the church.

(Bennet silent, so--)

We’re asking you, because we know

she’ll be safe and cared for. I

feel God in you, Bennet--

MRS. SCOTT

You know how this congregation

looks up to you.

(as Bennet takes her in--)

Lovely, isn’t she?

(yes she is, and we find

them--)

A37 EXT. ST. BENEDICT’S/EXT. BENNET’S CONDO

Walking from the church to Bennet’s - separated by a parking

lot. A strip of generic faux-Americana row-houses. Bennet,

striding fast, slightly in front-

INT. BENNET’S CONDO - DAY

Bennet shows Prema in. All she has in that small bag. They

stand together in his little kitchen.

Her nearness like an electrical pulse. He is awkward. She is

less so. Her first act is to unpack her bible. We take her

in:
no makeup, she is simple, clear, gorgeous.

BENNET:

What kind of music do you like?

PREMA:

I don’t know.

BENNET:

How are you for money?

(no reply)

Need is not weak. Need is need. I

know where you are--

(and hands her some money -

which she at first

refuses)

For anything you might need.

Clothes.

(she gives him a look)

You are here now. You have to be a

better version of yourself.

(MORE)

CHERRY PAGES 1.21.15 23A.

BENNET (CONT'D)

If you don’t know what that is,

pick something and fake it.

CHERRY PAGES 1.21.15 24.

She takes the money. He shows her to an autonomous efficiency

within, “Usually sublet this out--”. Shows her a door. Hands

her a key-

BENNET (CONT’D)

There’s a lock on your door. No one

can get in. You have your own

bathroom-

(and hands her a key)

She’s not moving. She’s looking at his crisp suit, shoes.

With a look of bemusement.

PREMA:

What did you pick - to fake?

BENNET:

An older bald white man.

PREMA:

(bemused--)

Why an older bald white man?

BENNET:

(and gets the joke. But

still-)

He is the best at what he does. He

is brilliant at what he does. That

is why.

(she’s turns, starts to go,

stops, then--)

PREMA:

I was a registered nurse. At the

Aga Khan Hospital, in Nairobi.

(now Prema takes the keys

and leaves, and--)

INT. FURNACE/INDUSTRIAL RUINS - DAY

Webster barefoot, shirtless, awash in sweat.

Manic pull-ups off the piping of a fallowed iron blaster.

Aircraft-carrier size mountain of steel. His biceps and

shoulders jacked.

Now cradling a cracked pipe. Lifting and snatching it

overhead, ropy muscles taught, palms it chest level. Cleanand-

jerk.

Then crashes the log down. And stares. Paralytic. And now-

CHERRY PAGES 1.21.15 25.

40 INT. CHEVY PICK-UP TRUCK - LATER

Webster sweating in a haze of pain. Piles of notes to self

have grown. Enough of whatever this is and reaches for the

Taser. Pants already off. Eyeing the crucifix dangling-

The heads charge -- CRACK! -- he cooks his thigh. Blasted

against the window. Rag-dolls to the floor. Spasming.

Then all slows. All of him. Every molecule of him exhales.

And we cut to black. And hear a light switch click on, and

we’re

41 OMIT

42 INT. BENNET’S CONDO - SAME

Bennet finds Prema in his kitchen, “Oh, you’re in here”, and

a decluttered home. Chaos of books systemized by subject.

He moves around her awkwardly. She more comfortable than he.

Breakfast awaits. Local fare from “back there”. Chapati.

Ugali. He stops. Because-

The microscope has been moved. From table to counter.

And the TV on.

Unclear to him how much he likes any of this.

He eats reading a business school text. Stealing glances at

Prema as she moves around the table, tidying. He is about to

stop her, or suggest, stops himself, as-

We PUSH PAST him to TV NEWS FOOTAGE: Webster’s truck.

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