Separation Page #3
- TV-MA
- Year:
- 2013
- 81 min
- 202 Views
I HELPED!
PUMPKIN PIE -- IT'S GRANDMA'S
ANCIENT RECIPE.
LITTLE LADY?
YES!
YOUR MOTHER'S YOUNGER SISTER.
[ Laughing ] OH-OH, JACKIE!
[ EXHALES ]
[ LAUGHS ]
MOMMY, DON'T BE SILLY.
TODAY'S SUNDAY.
NO, IT ISN'T.
[ SUSPENSEFUL MUSIC PLAYS ]
THEY TOOK HER, LIZ.
THEY TOOK HER BECAUSE YOU'RE A
TERRIBLE MOTHER.
F***ING CRAZY!
I-I DON'T KNOW WHAT'S
HAPPENING!
I DON'T --
HAPPENING 'CAUSE YOU'RE F***ING
CRAZY!
[ CRIES ]
THAT'S NOT -- THAT'S NOT FAIR.
YOU -- YOU TOLD THEM TO CUT ME
OPEN.
HAVE LIVED.
COULD HAVE.
YEAH.
I COULDN'T LOSE YOU.
THIS.
THIS, BABE.
IT DOESN'T HAVE TO BE LIKE THIS.
IT WILL BE.
YOURSELVES?
Oh, f***!
MOM!
JUST GO AWAY!
I'm sorry.
JACK, JACK, WHY WON'T YOU TALK
TO ME?
TALK TO ME.
Do you see that?
STAY HERE.
PLEASE, JACK, DON'T -- DON'T.
STUPID PRANK.
WHO'S THERE?!
[ SIGHS ]
[ GASPS ]
AAH!
JACK, SOMEONE'S HERE!
Shh, sweetie!
Jack!
Liz?
LIZ?
WHAT IS IT?
GONE.
THEY'RE GONE.
OH, SHE'LL LOVE IT, BABY.
OH, SHE'LL LOVE IT.
LOVE IT?
YEAH, SHE'LL LOVE IT, BABY.
[ SUSPENSEFUL MUSIC PLAYS ]
Shh! Shh-shh-shh-shh-shh!
MR. APPLETON?
MR. APPLETON.
Don't!
I HAVE A BIG SELL TOMORROW, AND
BUSINESS IS GOOD.
[ CHUCKLES ]
I KNOW!
MY ASSISTANT'S ON VACATION, AND
I'M STUCK DOING ALL THE GRUN WORK.
THE LAST MINUTE, BUT I GET I SOLD.
RUNNING AROUND HERE?
NO.
NEIGHBOR TROUBLES?
SOMETHING LIKE THAT.
UH, ACTUALLY, I'M GLAD YOU'RE
AWAKE.
I HAVE A CONFESSION TO MAKE.
EMBARRASSING.
I PRIDE MYSELF ON PROFESSIONAL
ETHICS, BUT I JUST COULDN'T LE THIS ONE GO.
LET WHAT GO?
THERE'S MOLD, MR. APPLETON.
INSPECTOR -- HE DIDN'T SEE IT,
'CAUSE IT WASN'T ON HIS REPORT.
BUT IT'S QUITE DANGEROUS,
ESPECIALLY TO CHILDREN.
I'M REALLY SORRY.
SO, I-IT'S UPSTAIRS ON THE TOP
FLOOR IN A VERY PARTICULAR AREA.
TOP FLOOR.
YEAH.
WELL, ACTUALLY, IT STARTED OU HERE, ON THE ROOF.
SHOW YOU BOTH EXACTLY WHERE I IS.
YOU JUST HAVE TO GO RIGHT AROUND
THE SIDE --
I -- MR. APPLETON, LOOK.
I'LL OBVIOUSLY PAY FOR THE MOLD
[ PANTING ]
WHO ARE YOU, GUY?
WHO ARE YOU?!
F*** YOU!
Listen. I'm sorry, baby.
I'm sorry. You were right.
We're gonna get out of here,
okay?
Okay, okay. Okay.
Ollie, ollie, ollie,
oxen free
We're gonna go, okay?
Okay, baby?
You got to snap out of this,
babe.
You got to snap out of this,
okay?
STAY HERE.
F***!
HERE. TRY THIS.
I FORGIVE YOU, JACK.
[ VEHICLE APPROACHING ]
HELLO, JACK.
GEOFFREY.
AND NOW I'M GONNA SLICE OFF YOUR
F***ING FACE.
GOOD.
YOU'RE GOOD.
YOU F***ING PSYCHO?
WELL, HERE I AM!
JACK?
LIZZIE?
CLOSE THE DOOR!
Right.
[ GASPS ]
[ CHOKES ]
[ CHOKES ]
She's out.
WHAT DO YOU WANT ME TO DO WITH
HER?
AAH!
AAH!
AAH!
YOU B*TCH!
Jack?
[ GASPS ]
Jack?
AAH!
WHERE IS SHE?
DO YOU...
...LOVE YOUR HUSBAND?!
Yes.
GOOD.
Good.
[ CRIES ]
LIVE?
ANSWER ME.
[ PANTING ]
ANSWER ME!!
MOM.
THIS.
BUT IT IS.
WHAT'S -- WHAT'S GONNA HAPPEN
TO ME?
I'M NOT SURE.
RAAHHH!
YOU'RE SAFE NOW.
9-1-1. What's your emergency?
Um...I think I just saw that
lady.
What is your name, sir?
Guy -- Guy Sellers.
Okay, Mr. Sellers.
You say you saw a lady -- what
lady?
The lady, you know.
She looks like in the sketch in
the papers.
I swear it's her!
It's the serial lady.
Oh, my God!
She's in a house I sold.
I'm ruined!
Oh, my God!
Calm down, Mr. Sellers.
Calm down.
Where are you now?
Mr. Sellers?
Who is this?
Detective Robinson,
Metro Homicide.
I'm calling 'cause we need your
help.
I've told you everything I
know.
We want you to go back to the
house and do something for us.
I'm not going back into that
f***ing house.
Don't worry.
We'll keep you safe.
You'll be a hero.
WELCOME BACK TO:
"THE NIGHT SHIFT."
I'M YOUR HOST,
VALERIE McDONALD.
TONIGHT, A REAL HOT TOPIC -- A
NATION.
THE KIDNAP KILLER'S RAMPAGE HAS
COME TO AN END, BUT AT WHA COST?
TWO DETECTIVES -- ONE TOO CLOSE
REAL-ESTATE AGENT GUY SELLERS.
CITY.
OVERTURNING A RECOMMENDATION
BENCH.
COMMISSIONER MARTIN.
LINES.
THIS ONE.
JUST A REMINDER TO THE VIEWERS
OUT THERE -- LET'S TRY TO KEEP
IT CIVILIZED.
ROAD, PLEASE.
OKAY, DADDY!
HAVE FUN!
BYE! YAY!
OH!
HI, THERE.
HI.
THE ROAD?
YEAH, YEAH.
SHE'S JUST TAKING A BIKE RIDE.
HI.
SHE'S SO PRETTY.
Translation
Translate and read this script in other languages:
Select another language:
- - Select -
- 简体中文 (Chinese - Simplified)
- 繁體中文 (Chinese - Traditional)
- Español (Spanish)
- Esperanto (Esperanto)
- 日本語 (Japanese)
- Português (Portuguese)
- Deutsch (German)
- العربية (Arabic)
- Français (French)
- Русский (Russian)
- ಕನ್ನಡ (Kannada)
- 한국어 (Korean)
- עברית (Hebrew)
- Gaeilge (Irish)
- Українська (Ukrainian)
- اردو (Urdu)
- Magyar (Hungarian)
- मानक हिन्दी (Hindi)
- Indonesia (Indonesian)
- Italiano (Italian)
- தமிழ் (Tamil)
- Türkçe (Turkish)
- తెలుగు (Telugu)
- ภาษาไทย (Thai)
- Tiếng Việt (Vietnamese)
- Čeština (Czech)
- Polski (Polish)
- Bahasa Indonesia (Indonesian)
- Românește (Romanian)
- Nederlands (Dutch)
- Ελληνικά (Greek)
- Latinum (Latin)
- Svenska (Swedish)
- Dansk (Danish)
- Suomi (Finnish)
- فارسی (Persian)
- ייִדיש (Yiddish)
- հայերեն (Armenian)
- Norsk (Norwegian)
- English (English)
Citation
Use the citation below to add this screenplay to your bibliography:
Style:MLAChicagoAPA
"Separation" Scripts.com. STANDS4 LLC, 2024. Web. 21 Nov. 2024. <https://www.scripts.com/script/separation_17799>.
Discuss this script with the community:
Report Comment
We're doing our best to make sure our content is useful, accurate and safe.
If by any chance you spot an inappropriate comment while navigating through our website please use this form to let us know, and we'll take care of it shortly.
Attachment
You need to be logged in to favorite.
Log In