Nocturnal Animals Page #2

CHRISTOPHER:

There’s a note.

SUSAN:

It’s okay. You can read it.

Christopher reads the note aloud.

CHRISTOPHER:

Dear Susan,

I’ve written a novel that will be

published in the spring. It’s

different than the kind of things

that I was writing when we were

together.

Christopher pauses and looks up.

SUSAN:

Go ahead.

CHRISTOPHER:

In the end you left me with the

inspiration that I needed to write

from the heart. I wanted you to be

the first to read it so I am

sending along a proof.

(MORE)

6.

CHRISTOPHER (CONT'D)

I will be in LA until Wednesday on

business and it would be good to

see you after so long.

My cell number and e-mail address

are below.

Edward.

Susan stands stunned for a moment.

SUSAN:

Thanks.

Christopher places the note back on the box and leaves the

room. Susan’s gaze is transfixed as she stares down at the

note.

She picks up the box and carries it into the kitchen.

10 INT. MORROW RESIDENCE - KITCHEN. MORNING -- CONTINUOUS. 10

HUTTON MORROW, 44 years old, tall, athletic and well groomed,

dressed in a crisp white button down shirt, blue blazer and

grey pants, enters the room. Hutton’s face gives away the

fact that he has not slept.

Susan is washing the cut on her finger at the sink.

HUTTON:

Good morning.

SUSAN:

Good morning.

HUTTON:

What is that?

SUSAN:

It’s a manuscript that Edward sent

me. He wrote a novel.

HUTTON:

Edward who?

SUSAN:

Edward, my first husband. Remember

him?

7.

HUTTON:

I didn’t know he could write.

SUSAN:

Yes you did. He was writing a novel

when you and got together, you just

don’t remember.

HUTTON:

Have you even talked to him in 20

years?

SUSAN:

19. No. I tried calling him a

couple of times a few years ago but

he just hung up on me. I think he’s

teaching English at some prep

school in Dallas. It’s sad really.

He never remarried.

Hutton is not really listening. He is putting a Nespresso pod

into the coffee machine.

SUSAN (CONT’D)

Where were you last night? You

didn’t come by the gallery.

HUTTON:

I’m sorry. Really. By the time I

left the office I was late for my

dinner...

SUSAN:

It would have taken you 15 minutes.

15 minutes and it would have meant

a lot to me. (Pause) Never mind.

She turns away from him.

SUSAN (CONT’D)

You didn’t come to bed last night.

HUTTON:

I didn’t want to wake you up.

SUSAN:

Well, I wasn’t asleep. I was too

wound up from the opening.

8.

Hutton tosses his newspaper on the counter and begins to

read.

SUSAN (CONT’D)

It went well by the way.

Apparently.

HUTTON:

Good.

Susan crosses the room to Hutton.

SUSAN:

Look. Why don’t you and I go to the

beach. We can go tonight and come

back on Monday. Maybe if we just

spent some time, just the two of

us...

Susan glances up at him.

SUSAN (CONT’D)

Why are you wearing this blazer on

a Saturday?

HUTTON:

Because I have to go to the office

and then I have to go to the

airport and then I have to go back

to New York.

SUSAN:

You just came from there.

HUTTON:

Yes, I know. But I have to go if I

want to get this deal done. I don’t

want to have to sell anything else.

Hutton is ripping a packet of sweetener open and he spills it

on the counter.

HUTTON (CONT’D)

Sh*t.

Susan begins sweeping it away.

SUSAN:

It’s okay.

9.

Susan looks at crate in the hall.

SUSAN (CONT’D)

You know, the strange thing is that

I don’t really care about all of

this art.

HUTTON:

That doesn’t sound like you.

SUSAN:

I know. But it’s true.

HUTTON:

I care. It pisses me off.

SUSAN:

I know you do.

She pauses a moment.

SUSAN (CONT’D)

Don’t worry, I can fill the walls

with some new LA artists and people

will think we’re ahead of the curve

instead of going broke. You won’t

have to be embarrassed.

Hutton glares at her as she walks away.

11

EXT. HOLT RESIDENCE, BEL AIR CALIFORNIA. THAT NIGHT. 11

Susan and Hutton get out of their car. A black vintage

Bentley coupe. There are several impressive and flashy cars

parked in front of the door.

12

INT. HOLT RESIDENCE, BEL AIR CALIFORNIA. NIGHT --12

CONTINUOUS.

We enter the house. It is beautiful and expensive. The art on

the walls is staggering and the mix of contemporary art with

18th century furniture and the modern architecture of the

house itself is eccentric in the extreme. A butler leads us

into a room filled with a small group of people. All know

each other well. Susan and Hutton are greeted with cheek

kisses.

10.

Susan stands talking with ALESSIA HOLT, 38, dressed in a

kaftan and covered in gold and turquoise jewelry. She is

tall, pale and her eyes are darkened with heavy liner and

even heavier shadow so that she almost has the appearance of

a raccoon. She moves her hands wildly when she speaks. She is

flamboyant but there is a kindness and gentle quality about

her. The two women are clearly close as is evident by their

easy rapport.

ALESSIA:

Are things a little better?

SUSAN:

He’s just having a hard time with

his business right now.

They glance across the room at Hutton who is speaking with

CARLOS HOLT early 50’s, silver hair, tall and elegant.

ALESSIA:

Carlos told me.

SUSAN:

I’m surprised. I thought we were

hiding it pretty well. Hutton would

be very upset to find out that

anyone knew. He just hates not to

win.

She looks over at him.

ALESSIA:

Are you sleeping? Did you call my

psychopharmacologist?

She takes a sip of her martini.

ALESSIA (CONT’D)

Did you call him? You should

because he’s a genius.

Hutton has pulled away from Carlos and stepped into the hall.

He is on his phone. Susan watches him.

Alessia reaches out and touches Susan’s arm.

ALESSIA (CONT’D)

Susan, I’m worried about you.

11.

Susan is focused on Hutton who is still on his phone.

ALESSIA (CONT’D)

Seriously, look at me. You scared

me the last time that we talked.

She looks at Alessia and her shoulders droop. She feels

comfortable enough with Alessia to let a certain fragility

show.

SUSAN:

I’m fine. I’m fine. I just can’t

believe I told you all of those

things. I feel embarrassed about

it. What right do I have to not be

happy? I have everything. I feel

ungrateful not to be happy.

ALESSIA:

As much right as anyone Susan. As

much right as anyone because it’s

all relative. You’re just awfully

hard on yourself.

Susan looks across the room at Carlos.

SUSAN:

How do you do it?

ALESSIA:

You mean with Carlos? I’m totally

cool with it. Having a gay husband

is not such a bad thing. We’re best

friends. We love each other

completely. I’m certainly the only

woman in his life. And that lasts

longer than lust doesn’t it? It’s

forever really.

Alessia glances towards Hutton.

SUSAN:

Hutton and I don’t have that.

ALESSIA:

Did you ever?

12.

SUSAN:

I think we just want different

things. Or maybe I want different

things.

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