THE MAHOGANY BOX

By
Hassan Moore

Elmore Films
1531 Kearney St. Suite #B
El Cerrito, Ca. 94530
(510) 410-5016
[email protected]
EXT. QUIET NEIGHBORHOOD - EVENING
A yellow-cab rolls to a stop in front of a modest bungalow,
its brakes SCREECH as it lurches forward a bit.

A car door OPENS and SLAMS shut. The cab pulls away,
revealing JAMES LINCOLN (33), standing in front of the
house, his coat slung over his right shoulder. He pauses for
a moment and then walks toward the house, ascending a short
set of steps, as he digs around in his pockets for his keys.

INT. JAMES LINCOLN’S HOME - EVENING

The front door is swollen from moisture, so James forces the
door open with his shoulder as he turns the KEYS in the
lock. He stalks into the foyer apprehensively, opens the
door of the coat-closet, and tosses his coat in.
He walks into the living room and collects a bunch of
newspapers that are scattered across the coffee table. A
hospital identification bracelet is on his wrist, and his
skin is pale and anemic.

James forms the newspapers into a roll and places them in a

waste-bin, while turning his attention to his answering
machine, which flashes with the number three. He presses the
play button.

MIKE FERENCE (V.O.)

Hey, it’s Mike. Are you alright
man? I just heard what happened.
Angela and I wanted to come see
you, but we couldn’t get through
when we...
James CLICKS the delete button, and the next message begins.
DEBT COLLECTOR (V.O.)
This message is for... James
Lincoln. This is an attempt to
collect a debt, if this is...
He CLICKS delete again, this time with a tinge of
frustration. The next message plays.

JENNIFER LINCOLN (V.O.)

Jim...
James stares at the message machine intently, barely moving.

(CONTINUED)
THE MAHOGANY BOX 2.

JENNIFER LINCOLN (V.O.)

I don’t understand why you didn’t
call me. I have to hear that you’re
in the hospital from Angela?

James walks away from the answering machine, and paces to

the kitchen.
JENNIFER LINCOLN (V.O.)
I really hope this isn’t what it
looks like, Jim. You’re smarter
than this. You don’t have to scream
for help like this, you can just
ask for it. I’m still here for you.
James opens the fridge and peers inside for a moment before
SLAMMING the door.

INT. BATHROOM - EVENING

James stares at himself in the mirror above the bathroom
sink. He unfastens the top few buttons of his shirt, and
gently peels away the edge of light bandaging on his left
shoulder. A pair of dog-tags hang around his neck.
JENNIFER LINCOLN (V.O.)
Jim, I need you to call me. If you
don’t want to do that, then at
least stop drinking, just for a few
weeks. You’ve been through a lot.
James splashes water onto his face, and stares at himself in
the mirror again, watching beads of water roll down his
face.

JENNIFER LINCOLN (V.O.)

We’ve been through a lot.

EXT. JAMES LINCOLN’S HOUSE - NIGHT

James gets into the driver’s seat of his car, tossing his
jacket on the passenger seat. He starts the car, and
reverses out of his driveway.

He turns on his radio, and drives through town.

[Titles to appear in open area of windshield. Theme to play
on radio.]
James pulls into the parking lot of a convenience store,
parks, grabs his jacket, and exits the vehicle.
 3.

INT. CONVENIENCE STORE - NIGHT

James is standing in front of a fridge, considering what
brand of beer to buy. He looks around for a second, and his
gaze met by the suspicious stare of the gruff CLERK.

James looks away and grabs a six-pack of bottled beer from

the fridge, before turning on his heels, heading deeper into
the store.
A man in a sharp blue suit, ROBERT SMITH (29), storms
through the front door of the convenience store, a severe
expression etched onto his face. He approaches the front
counter, and gets the clerk’s attention.
James averts his gaze, but tries to stay within earshot. He
watches as Robert becomes more agitated, almost arguing with
the clerk. Robert shoots a piercing glance toward James, who
then walks even deeper into the store.
James rounds a corner and almost stumbles over a young
woman, ABIGAIL CONRAD (24), that is sitting on the ground,
her back against a shelf. Her body tenses, and she scrambles
a short distance away from James.
Abigail freezes, and stares at James, tears welling up in
her eyes.
ABIGAIL CONRAD
Please.
Abigail presses her finger to her mouth, and locks eyes with
James.
James looks toward the front counter, and sees Robert
turning to the door, and striding angrily into the parking
lot.
ABIGAIL CONRAD
Please, you have to help me get out
of here. He’s trying to hurt me.
James keeps his eyes high, and watches Robert has he walks
across the parking lot.
Abigail digs into the pocket of her jeans frantically.

ABIGAIL CONRAD
Here, I have money. Just help me
get some distance on him.

(CONTINUED)
THE MAHOGANY BOX 4.

Abigail grabs James’ hand, and curls his fingers around a

wad of twenty-dollar bills. He looks down at her and notices
lacerations around her wrists, and a sizable bruise on her
chest. When James looks up again, he can no longer see
Robert.
James purposefully knocks a small box off of the shelf, and
as he kneels down to pick it up, leans toward Abigail. He
hands the money back to her.

JAMES LINCOLN
I’m going to walk outside for a
moment, and see if he’s still
there. When I come back in, I’ll
keep the clerk’s attention

Abigail draws closer to James.

JAMES LINCOLN
Then you run to the black Dodge,
and wait for me. Okay?

Abigail nods her head. James stands back up, placing the box
back on the shelf and making his way up to the clerk.
JAMES LINCOLN
I left my wallet in my car. Can I
leave these beers here for a
minute?
CLERK
Go ahead.

James slides the six-pack onto the counter and walks out the
front door of the convenience store. He strolls to his car,
scanning his surroundings discreetly.
James turns on his heels, still searching for Robert, but
cannot spot him. He reenters the store, this time leaving
the door ajar.
JAMES LINCOLN
It was in my pocket the whole time.

James walks up, and stands as close to the counter as

possible, obscuring the clerk’s vision.
CLERK
What?

JAMES LINCOLN
The wallet. I had my wallet in my
pocket the whole time. It’s gunna’
be a long night I suppose.

(CONTINUED)
THE MAHOGANY BOX 5.

CLERK
Yeah, seems like it.
JAMES LINCOLN
Just those beers. Oh, do you have
cigars?

CLERK
We do. What brand do you want?
JAMES LINCOLN
Actually, those things are really
bad for you. I just got out of the
hospital too.
CLERK
Sorry to hear that. $7.50

James pulls his wallet out of his pocket, and pays for the
beer. He receives his change and leaves the store.
As he approaches his car he spots Abigail, huddled low
against the back driver’s side door of his car.

JAMES LINCOLN
Stay put one second.
James places his six-pack on the roof of his car, and walks
around to his trunk. He opens it, and pulls out his gym bag.
He SLAMS his trunk, and walks to the car door Abigail is
pressed against. She scuttles away as he opens the door.
While he is placing his gym bag on the back seat, she crawls
into the car.
James closes the passenger door, grabs his beers, and gets
into the driver’s seat. He pulls out of the parking lot.
ABIGAIL CONRAD
Thank you.

JAMES LINCOLN
Just stay down.
James checks his rear-view mirror for any pursuers, and then
adjusts it to look at his own eyes.

EXT. OPEN ROAD - NIGHT

James is driving down a suburban highway. His eyes are
heavy, and he rolls his fingers in anxious waves across the
rim of the steering wheel.

(CONTINUED)
THE MAHOGANY BOX 6.

JAMES LINCOLN
You can sit up now.
Abigail sits up in the center of the backseat, and stares at
James in the rear-view mirror for a second, and then
directly.

ABIGAIL CONRAD
I’m Abigail.
James pulls over, and puts the car in park.

JAMES LINCOLN
Get out, please.
ABIGAIL CONRAD
What?

JAMES LINCOLN
You asked me to get you out of the
store, and I did. Please, get out
of my car.

ABIGAIL CONRAD
Are you serious?
JAMES LINCOLN
Yes.

Abigail pauses, and then gets out of the car, onto the
sidewalk. She knocks on the front passenger side window.
James reluctantly rolls it down.
ABIGAIL CONRAD
What am I supposed to do now?

JAMES LINCOLN
I don’t know, that’s not my
responsibility.

ABIGAIL CONRAD
You asshole.
James rolls up his car window.
ABIGAIL CONRAD
Some guy you are! Leaving a young
woman by the side of the road.
James matches Abigail’s anger, and opens his car door,
stepping one foot onto the pavement and facing her.

(CONTINUED)
THE MAHOGANY BOX 7.

JAMES LINCOLN
Look lady, I don’t know you. I
don’t know who you are, or what
you’re running from. Quite frankly,
none of it is my business. I did my
part already.
ABIGAIL CONRAD
Well, what a good fucking Samaritan
you are. Filled your daily quota
for good deeds?

JAMES LINCOLN
I don’t owe you anything.
ABIGAIL CONRAD
You have no fucking idea what
you’re talking about!
Abigail’s voice carries loudly in the night air, and James
looks around to see if anyone has been roused by their
argument. During this pause, Abigail gets into the front
passenger seat of the car, since James neglected to lock the
doors.
Angered, James gets back into the driver’s seat.
JAMES LINCOLN
Get out of my car!

ABIGAIL CONRAD
I’m not getting out of anything
until you wrap your head around
this. That guy that was looking for
me in the store, his name is
Robert, and if he finds me, he’s
going to kill me. We had a
relationship, but I want out, and
he’s not going to stop looking for
me until I’m far enough away.

It’s what he does, he hunts people.

All I’ve got is what I’m wearing,
and what’s in my pockets, and I
need to get to my half-sister in
Seattle. It’s the only option I
have left.
Something made you help me, and no
one else is going to. So think
about all that, and tell me right
now whether or not this is more
important than you getting back to
(MORE)
(CONTINUED)
THE MAHOGANY BOX 8.

ABIGAIL CONRAD
your house to drink yourself into
the ground.

JAMES LINCOLN
Why me?
ABIGAIL CONRAD
Why you, what?

JAMES LINCOLN
Why, of all the people that
could’ve walked into that store do
you need my help?
ABIGAIL CONRAD
Why did you help me get out?
James looks out the windshield for a moment, and lets
silence hang.

JAMES LINCOLN
Sac.
ABIGAIL CONRAD
What?

JAMES LINCOLN
Sacramento. I’ll take you to
Sacramento, but then you’re on your
own.
ABIGAIL CONRAD
That’s fine.
James shifts the car out of park and pulls away. He keeps
his gaze set on the road as they continue down the highway.
Abigail reaches into his six-pack, and pulls out a beer. She
opens it with a bottle opener that is a part of a key-chain
of trinkets on her belt, and takes a swig.
James grimaces slightly.
ABIGAIL CONRAD
So, what’s your name?
JAMES LINCOLN
James.

Abigail smiles.

(CONTINUED)
THE MAHOGANY BOX 9.

ABIGAIL CONRAD
I’m sorry I called you an asshole.

James remains silent.

EXT. WOODLAND HIGHWAY - EARLY MORNING

James stares out at the winding road, his eyes dilated as he
tries to keep focus through the growing morning light.
Abigail is asleep with her face resting against the
window-jam of her car door, her hands clasped together to
form a pillow. Three empty beer bottles litter the seat
around her.

Rays of warm sunlight cut through the trees and flash across
Abigail’s face. Eventually she starts to stir, uncomfortably
shifting in her seat.
James looks over at her, glancing at the exposed small of
her back, and then nervously switches his gaze back to the
road.
Abigail wakes, and sits up in her seat.
ABIGAIL CONRAD
The woods.
Abigail shifts around.
ABIGAIL CONRAD
Can we stop?

JAMES LINCOLN
We did a few times last night,
there’s a cup of coffee in the
cup-holder for you, from a diner a
ways back.
ABIGAIL CONRAD
You left me sleeping in the car,
while you went into a diner?

JAMES LINCOLN
I locked the doors.
Abigail smiles wryly.
ABIGAIL CONRAD
Well, I hoped you cracked the
windows too.
James resorts to his trademark silence.

(CONTINUED)
THE MAHOGANY BOX 10.

ABIGAIL CONRAD
Well, can we stop again? I feel
like I’ve been twisted up like a
pretzel all night. A little fresh
air might help with this headache
too.
JAMES LINCOLN
You got air when I cracked the
windows.

James turns down a dirt road and pulls into a small parking
lot in the woods. James pulls into a spot, the pair get out,
and meander down a park path.
ABIGAIL CONRAD
It’s so refreshing.

JAMES LINCOLN
It’s freezing.
ABIGAIL CONRAD
Oh, don’t be some glum, Jim.

James slightly recoils, and Abigail notices.

ABIGAIL CONRAD
You’re not a serial killer or
anything are you?

JAMES LINCOLN
Wouldn’t it be a little late to ask
that if I was?
ABIGAIL CONRAD
I’m a fast runner.
ABIGAIL CONRAD
Do you like the woods?

JAMES LINCOLN
I do, I use to spend a lot of time
in the forest actually.
ABIGAIL CONRAD
Where are you from?

JAMES LINCOLN
San Diego, originally, but I’ve
been all over.

(CONTINUED)
THE MAHOGANY BOX 11.

Abigail dances lightly, putting some distance between her

and James. She comes back towards him, and pulls him along
by the hand playfully, until he stops and lets her go on
without him.
The pair continue to walk through the woods until they come
to a high vantage point.
ABIGAIL CONRAD
Aren’t you going to ask me where
I’m from?
James stares at her, blowing air between his cupped hands to
warm them.

ABIGAIL CONRAD
I was born and raised in Missouri,
came out here in my teens. Right
away, I knew I wouldn’t want to
live anywhere else.

Have you ever been to Missouri?

JAMES LINCOLN
No, I havent. I’ve been to the East
Coast, and a couple foreign
countries. Never the midwest.

ABIGAIL CONRAD
I was so unhappy there. The sky
felt heavier, ya’ know?

JAMES LINCOLN
And you’re happy here?
Abigail smiles moderately.
ABIGAIL CONRAD
I could be.
JAMES LINCOLN
Don’t do that.
ABIGAIL CONRAD
What am I doing?
JAMES LINCOLN
You’re not being authentic. You’re
calculating outcomes, searching for
the beginnings of chapters, and
there aren’t any.
Abigail looks away.

(CONTINUED)
THE MAHOGANY BOX 12.

JAMES LINCOLN
Our biggest flaw is seeking
patterns.
We walk around, always scanning for
faces that we know. We read by
assuming the next letter. I don’t
want to live in a predetermined
world.
ABIGAIL CONRAD
Well I’m sorry to be a
disappointment to you, Holden
Caulfield. I was just trying to
make the most of all this.
JAMES LINCOLN
I’m sorry.
ABIGAIL CONRAD
It’s alright. I get it, I’m in a
vulnerable position. It’s natural
for you to feel superior.

JAMES LINCOLN
That’s not it at all.
ABIGAIL CONRAD
Isn’t it? I’ve made some bad
decisions in my life, and now you
get to determine how I’m supposed
to act? Don’t tell me you haven’t
made mistakes of your own.

Abigail storms away from James, he pursues her.

JAMES LINCOLN
Wait.
ABIGAIL CONRAD
You know what, James? I see
patterns too. I’ve been seeing it
my whole life. It’s always "Abigail
is too sweet" or "Abigail is too
open," and in pours the abuse. This
is exactly why I spent my night
huddled in the front seat of a
fucking stranger’s car.
JAMES LINCOLN
Just-

(CONTINUED)
THE MAHOGANY BOX 13.

ABIGAIL CONRAD
Just nothing, okay. Just fucking
nothing. I don’t know why it’s such
a crime, to just enjoy life. Even
when it’s bad, what’s the fucking
point if you’re not even able to
accept the smallest victory?
JAMES LINCOLN
I’ll take you to Seattle.

ABIGAIL CONRAD
What?
JAMES LINCOLN
I wish that I had a place to go.
You do, and I want to make sure you
get there.
Abigail smiles and embraces James warmly.

EXT. OPEN ROAD - MORNING

Robert Smith drives along highway.

EXT. OPEN ROAD - MORNING

James drives down a winding road, as Abigail cuts her hand

through the air, hanging her arm out the window.
MONTAGE
- James and Abigail stop at the parking lot of a state
beach.
- James and Abigail walk on the beach, Abigail lies down,
and James does so beside her.

- James and Abigail bear the brunt of a chilly sandstorm, as

the sun sets over a rough Pacific.
END OF MONTAGE

EXT. CITY STREETS - EVENING

JENNIFER LINCOLN (25), drives through city streets until she
pulls into the driveway of James’ house.
 14.

INT. JAMES LINCOLN’S HOME -- EVENING

Jennifer uses her key, and enters the house.
JENNIFER LINCOLN
Jim?

She takes a few steps into the house, listening intently.

JENNIFER LINCOLN
Put some clothes on, I’m coming in.

Jennifer walks into the living room, and is surprised to see

that James isn’t home.
JENNIFER LINCOLN
Damnit, Jim. Where are you?

Jennifer digs into her coat pocket and pulls out a

CELLPHONE, she dials, and brings it to her ear.
JENNIFER LINCOLN
Hey. Where are you? Just...

Jennifer stops and looks at a picture of Jim and herself,

laughing together.
JENNIFER LINCOLN
Just let me know that you’re okay.
A text or something would be nice.
I know it probably sounds
condescending, but I’m worried
about you, Jim. We’ve known
each-other for years, you don’t get
to just pack it all up and leave.

Jennifer collapses onto James’ couch, and rests her head

back on the cushion.
JENNIFER LINCOLN
I need to talk to you, about a lot
of things. I feel like you’re not
even on this planet anymore, like
I’m leaving messages in a time
capsule. Let me know you’re still
here.

JENNIFER LINCOLN
Please.
Jennifer hangs up, and lets her arm fall down to her side.
 15.

INT. DINER - EVENING

James sits in the booth of a diner, a cup of coffee on the
table in front of him. He looks at the face of his phone
until Abigail slides onto the seat across from him. He stows
his phone in his jacket pocket.

ABIGAIL CONRAD
You alright?
JAMES LINCOLN
Yeah, I’m fine.
Abigail reaches across the table and takes a sip of James’
coffee.
ABIGAIL CONRAD
Is she who calls you "Jim"?
JAMES LINCOLN
What?
Abigail places the coffee-cup back where she found it.

ABIGAIL CONRAD
You don’t like being called "Jim".
I figured there must be some bad
memories there.

JAMES LINCOLN
They’re not all bad ones.
ABIGAIL CONRAD
Oh.

JAMES LINCOLN
Should we order some pie or
something too?
ABIGAIL CONRAD
No way buddy, you’re telling me the
story. I didn’t want to be a jerk
and ask what happened, but you’re
forcing me here.
JAMES LINCOLN
There isn’t much to tell really.
It’s kind of a cliche story.
JAMES LINCOLN
We met in college, started dating a
few weeks later. We were both
horrible students, but we helped
(MORE)
(CONTINUED)
THE MAHOGANY BOX 16.

JAMES LINCOLN
each-other out. She got her degree,
I dropped out.

She got a job in New York, I hated

the snow. I visited her a few times
in the first couple months, then we
took a break. About a year later,
things kinda’ fell apart for her,
and she ended up back out here. We
picked up where we left off, like
nothing happened.
ABIGAIL CONRAD
So, where do the bad parts come in?

JAMES LINCOLN
Well, like I said, things got real
bad for her. She took it really
hard, lost all her motivation, and
I wanted to be there for her. But I
chose a road that would take me
away from her in the process.
ABIGAIL CONRAD
The Army?

JAMES LINCOLN
Marine Corps. How did you know?
ABIGAIL CONRAD
I saw your dog-tags on the beach. I
figured you probably served, since
you don’t strike me as the Ed Hardy
type.
JAMES LINCOLN
Yeah, I served. When I got back,
she wasn’t waiting for me. She’d
done a pretty good job of keeping
our home together, only she wasn’t
in it.
ABIGAIL CONRAD
That’s miserable. That must’ve been
really hard to deal with. Is that
what made you start drinking?
James averts his eyes.

ABIGAIL CONRAD
I’m sorry, that was rude. I just-

(CONTINUED)
THE MAHOGANY BOX 17.

JAMES LINCOLN
I drank a lot when she was in New
York too. Not a drop when I was in
the Corps. But drinking kept me
calm this time.

ABIGAIL CONRAD
There are healthier ways to deal
with it. Talking it out, for one.
James leans across the table toward Abigail.

JAMES LINCOLN
Do you want to know a secret?
ABIGAIL CONRAD
Sure.

JAMES LINCOLN
When I first got back from the
Corps, I went digging through all
my things. I didn’t know what I was
looking for, but I searched.
Finally I came across an old
mahogany box that use to belong to
my dad.
I remember when I was a little kid,
I’d see him sitting in his study,
holding the lid open and staring
inside. After he died, Jenn and I
went to his place to collect some
of his personal effects, and I took
it.

For years it just sat in my attic,

and not once did I open it. It was
almost like I was scared to look
inside.

ABIGAIL CONRAD
Did you open it this time?
JAMES LINCOLN
I did.

ABIGAIL CONRAD
What was inside?
A soft and distant roll of THUNDER sounds.

(CONTINUED)
THE MAHOGANY BOX 18.

JAMES LINCOLN
Pictures. Dozens of pictures, some
of my folks when they were a young,
a few of cousins and aunts. But
what got to me was at the bottom of
the box.
Abigail shifts closer.
JAMES LINCOLN
A silver revolver, coated with
dust, loaded. Even now, I’m not
sure why it scared me so much.
All those years, what was my dad
thinking of? What was calling him
in that box, the pictures, or the
gun?
A WAITRESS walks over and drops a plastic bag full of
packaged food on the table, startling James and Abigail.
WAITRESS
Will that be all for you guys?
JAMES LINCOLN
We’re fine.

INT. JAMES LINCOLN’S HOME - NIGHT

Jennifer is asleep, in the same positions she was in when
she hung up from leaving a message for James. She is roused
by a light series of KNOCKS at the front door, and the soft
pitter-patter of RAIN.

Another KNOCK rings from the front door, and Jennifer

groggily gets to her feet.
MIKE FERENCE (O.S.)
James, open up brother!
Jennifer hustles to the door and opens it. MIKE FERENCE (25)
is standing at the door, his coat pulled over his head like
a tent.

MIKE FERENCE
Jennifer, what’re you doing here?
Jennifer backs into the house, and ushers Mike in. He lowers
his coat from above his head, and takes it off.

(CONTINUED)
THE MAHOGANY BOX 19.

JENNIFER LINCOLN
You’re soaked.

MIKE FERENCE
I’m fine, is James here?
JENNIFER LINCOLN
No, I was hoping you might know
where he is?

MIKE FERENCE
Is that your car in the driveway?
JENNIFER LINCOLN
Yeah.

MIKE FERENCE
Oh, I thought he might have a new
one. His car wasn’t here when you
came over?

Jennifer shakes her head.

MIKE FERENCE
I’m starting to get worried now.
JENNIFER LINCOLN
Me too.
Jennifer retreats into the house, making her way into the
kitchen.
JENNIFER LINCOLN
Come on, I’ll put on the kettle.

INT. JAMES LINCOLN’S KITCHEN - NIGHT

Jennifer fills a kettle with water in the sink, and then

puts it onto an already raging burner on the stove. A pair
of cups with tea-bags in them are on the counter. Jennifer
turns to face Mike, who is sitting in a chair at small table
in the kitchen.

JENNIFER LINCOLN
Would you like something to eat,
Mike?
MIKE FERENCE
Come on Jenn, relax. I’m just a
little rained-on.
Mike gets up, and walks toward Jennifer.

(CONTINUED)
THE MAHOGANY BOX 20.

MIKE FERENCE
You’re always trying to find some
chore to do when you’re worried.
Mike takes her by the shoulders lightly.

MIKE FERENCE
Have a seat, I’ll make something.
Jennifer starts to object, but stops short after looking
Mike in the eyes, and has a seat where he was sitting. Mike
washes his hands in the sink, and then dries them with a
kitchen towel sitting on the counter.
JENNIFER LINCOLN
Where is he, Mike?

MIKE FERENCE
You know how James gets, he’s
probably just out for a drive.
JENNIFER LINCOLN
In this rain?

Mike shrugs, and then turns to open the fridge.

MIKE FERENCE
Whoa! James must’ve done some
serious shopping the day he got
back, this fridge is packed.
JENNIFER LINCOLN
Actually, that was me. I didn’t
want him coming back to an empty
house. I paid the bills and stocked
him up on food.
Mike pulls a carton of eggs out of the fridge.
MIKE FERENCE
I’m sure Ken wasn’t too happy about
that.
JENNIFER LINCOLN
Yeah, he wasn’t. I actually ended
up staying here a few nights before
Jim got back.
MIKE FERENCE
Trouble in paradise already?

(CONTINUED)
THE MAHOGANY BOX 21.

JENNIFER LINCOLN
Don’t be cruel, Mike.
MIKE FERENCE
I’m sorry. Do you want an omelet?

Mike holds up an egg and it shatters in his hand.

JENNIFER LINCOLN
Uh... no thanks.

Mike grabs the kitchen towel and wipes the egg off of his
hand. The kettle whistles, and he turns off the fire.
JENNIFER LINCOLN
I feel so much guilt, Mike.

Mike turns his back to Jennifer, and pours hot water from
the kettle into the cups.
JENNIFER LINCOLN
I mean, Jim and I never had a
perfect relationship.

Mike drags a glass jar of brown sugar toward him, opens it,
and spoons sugar into the cups.
MIKE FERENCE
Tell me about it.

JENNIFER LINCOLN
Maybe I was wrong about how I did
it though.
Mike grabs one of the cups and walks it over to Jennifer, he
places it on the table in front of her.
MIKE FERENCE
I’m not gunna’ lie and say you
chose the best way. He waited for
you when you were in New York, and
he was with you at your lowest
point when you got back. The guy
wasn’t prepared for this.
Mike walks back to his cup of tea on the counter, and rests
against it, staring at Jennifer.
JENNIFER LINCOLN
I didn’t plan any of this, Mike.
You’re right, he was here when I
got back, but when I needed him the
most he was half the world away.
(MORE)
(CONTINUED)
THE MAHOGANY BOX 22.

JENNIFER LINCOLN
This isn’t my fault, this is his
doing!

MIKE FERENCE
That’s not how you feel.
Jennifer runs her hand through her hair in frustration.

JENNIFER LINCOLN
This isn’t what I wanted, Mike. Not
at all.
MIKE FERENCE
You don’t have to explain yourself
to me. I’m an accountant, I don’t
really accept confession.
JENNIFER LINCOLN
Where is he?

MIKE FERENCE
Finding his own path, like he
always does.

INT. HOTEL ROOM - NIGHT

James climbs onto a bed that Abigail is already sitting on,

carrying a package of food. The pair shuffle and then rest
their backs against the head-board. The sound of RAIN purrs
in the distance, mixed with the CHATTER of a television set.

ABIGAIL CONRAD
Oh my God. Yes, I’m starving. Have
you even had any food this whole
trip?

Abigail digs into the bag and pulls out a white container of
food, she cracks it open and pinches out a tuft of fries.
JAMES LINCOLN
Well, I had some pretty good eggs
while you were asleep in the car.

Abigail stuffs the fries into her mouth.

ABIGAIL CONRAD
Jerk.

James reclines a bit against the head-board and drifts into

thought. Abigail ferociously rips through packaging and
consumes massive mouthfuls of food, ignoring James for a few
moments.

(CONTINUED)
THE MAHOGANY BOX 23.

ABIGAIL CONRAD
You’re not hungry?
James snaps out of his stupor.
JAMES LINCOLN
Nah, don’t really have much of an
appetite I guess.
ABIGAIL CONRAD
What, are you on drugs?

JAMES LINCOLN
No, I just-
Abigail looks over at James, and spots a bit of bandaging,
exposed beneath his shirt.

ABIGAIL CONRAD
Whoa, are you injured?
Abigail tosses her food back into the container.

JAMES LINCOLN
What?
ABIGAIL CONRAD
You got shot, didn’t you?

JAMES LINCOLN
Yeah, that’s how I came back.
Abigail turns to face James, sitting on the balls of her
feet.

ABIGAIL CONRAD
Wait a second. So all that stuff
you talked about in the diner,
happened recently?

JAMES LINCOLN
Yeah, most of it.
Abigail pauses for a minute, looking past James. Soon her
eyes dart back to James.

ABIGAIL CONRAD
Can I see it?
JAMES LINCOLN
The wound?

(CONTINUED)
THE MAHOGANY BOX 24.

ABIGAIL CONRAD
Yeah, I wanna’ see if it’s gross.

JAMES LINCOLN
No.
ABIGAIL CONRAD
Why not?

JAMES LINCOLN
Because, you’re eating.
ABIGAIL CONRAD
So what?

James stares at her. Finally she gives up and rolls back

into a seated position.
ABIGAIL CONRAD
Fine, keep your bullet-hole to
yourself.

Abigail resumes the conquest of her meal, and James stares

at her. After a few seconds she matches his gaze.
ABIGAIL CONRAD
What’s on your mind, James?

JAMES LINCOLN
What happened to your wrists, and
chest?
Abigail chews.

ABIGAIL CONRAD
Friends of Robert, sick bastards.
Not the worst thing that’s ever
happened to me, and I got away.

JAMES LINCOLN
I’m sorry.
Abigail tosses her food into the container again.

ABIGAIL CONRAD
Hey, save your sympathy. If you
think these bloody bracelets are
bad, you haven’t seen shit.
Abigail slides off the bed, tosses her jacket onto the
floor, and pulls her tee-shirt up and over her head.
James shifts across the bed towards Abigail. She turns her
back toward James, and he traces his gaze up her spine.

(CONTINUED)
THE MAHOGANY BOX 25.

Abigail’s back is adorned with bruises and lacerations of

various sizes. She stands perfectly still as James draws
closer to her, and runs his fingertips across one of the
larger bruises.
James stands up behind Abigail, his arms encircling, but not
touching her. She turns to face him, and the pair slowly
fall back onto the bed.

Abigail shrinks into James’ enveloping embrace, crawling

slightly up his chest to kiss him softly.

INT. HOTEL ROOM - MORNING

Abigail lies alone in bed, partially covered by the sheets.

The sound of WATER pouring into the basin of the bathroom
sink rouses her.
James stands in front of the bathroom sink, the air
thickened by steam. He is wearing a towel around his
midsection, and beads of water run down his skin as he
stares at himself in the mirror.
James hears a rustling outside the bathroom door.
JAMES LINCOLN
Abby?
James listens for an answer.
JAMES LINCOLN
You alright?
James turns off the faucet, and pauses for a moment before
opening the bathroom door and peering out.
Abigail is no longer in bed, and the door to the hotel room
is slowly closing.
James storms out into the bedroom area of the hotel room and
grabs his pants from the floor beside the bed.

INT. HOTEL STAIRCASE - MORNING

James rapidly descends a set of stairs, buttoning his shirt
as he bounds down them. He hears Abigail’s voice and slows
almost to a stop.

ABIGAIL CONRAD (O.S.)

...not running anymore. This isn’t
working, I’m not sure why I thought
it would.

(CONTINUED)
THE MAHOGANY BOX 26.

James creeps down the stairs until he gets a clear view of

Abigail, who is standing close to a payphone, the handset
pressed to her ear against her shoulder.
ABIGAIL CONRAD
There’s this diner in town, on
Redwood Drive. I’ll come there in
half an hour, okay?
Let’s just stop this, I can’t...

James launches himself down the stairs and glides toward

Abigail. He snatches the phone from her ear, and slams it
down on the receiver. She recoils, startled, and presses her
back against the wall next to the phone.
JAMES LINCOLN
What the hell do you think you’re
doing?
ABIGAIL CONRAD
James, this...

JAMES LINCOLN
No. Stop it. Just...
James does a full turn on his heels, frenzied, and yanks the
phone off the receiver. He holds it for a second, and then
pounds it down on the receiver repeatedly, Abigail
retreating a bit with each impact.
James stares at her for a moment as she slightly cowers.
ABIGAIL CONRAD
I’m sorry.
JAMES LINCOLN
Why are you doing this?
ABIGAIL CONRAD
James, I can’t keep running from
him.
JAMES LINCOLN
Yes, you can. It’s not that fucking
difficult.

An elderly couple walk into the lobby, and stare at James.

James turns his back to Abigail.

(CONTINUED)
THE MAHOGANY BOX 27.

JAMES LINCOLN
Go upstairs.
ABIGAIL CONRAD
What?

JAMES LINCOLN
Just go upstairs and wait for me.
Abigail pauses and then walks past James toward the
staircase.

EXT. JAMES LINCOLN’S CAR - MORNING

James opens the trunk of his car, and pulls out a mahogany
box. He tucks it under his arm and slams the trunk.

He walks to the drivers seat, hops into his car, and places
the mahogany box on the seat beside him. He turns the key in
the ignition, and roars out of the hotel parking lot.

INT. DINER - MORNING

James sits in a booth at the diner, his hand palming a
steaming cup of coffee.
The waitress comes over to him.

WAITRESS
You doin’ alright hun?
JAMES LINCOLN
I’m fine.

WAITRESS
Where’s your girlfriend?
James ignores the waitress and focuses his attention on
Robert, who has just entered the diner, and takes a seat on
a stool at the counter.
WAITRESS
You sure you’re alright?

JAMES LINCOLN
May I have the check please?
WAITRESS
You got it.

(CONTINUED)
THE MAHOGANY BOX 28.

The waitress leaves James alone, who watches Robert from the
corner of his eye. Robert places an order with another
waitress and checks his watch.
James closes his eyes for a moment. When he reopens them he
sees Robert heading for the bathroom.
The waitress brings James his check, but he stands and
pushes past her, to follow Robert.
James enters the hallway leading to the bathroom, and sees
Robert washing his hands at the sink as the door swings
shut.
James pulls a revolver from his jacket pocket and cocks the
hammer. After a moment, Robert comes out the bathroom door,
and pauses when he sees James standing in front of him.

ROBERT SMITH
Don’t I know-
James levels the gun at Robert’s chest. A shot RINGS out.

EXT. DINER - MORNING

James forces his way past three people trying to enter the
diner. He marches to his car, gets in, and pulls out of the
parking lot. A group of frantic patrons come out of the
diner and watch as he speeds away.

INT. HOTEL ROOM - MORNING

Abigail paces around the room, and is startled by James
erupting through the front door.
JAMES LINCOLN
We need to go.
ABIGAIL CONRAD
Okay, I’ll just get-
JAMES LINCOLN
No, we need to go now.

James stands off to one side of the doorway. Abigail stares

at him for a moment and then walks past him out the door, he
follows closely.
 29.

INT. JAMES LINCOLN’S HOME -- EVENING

Mike is asleep on the couch as Jennifer walks past him into
the kitchen. She hears the BUZZING of her phone on the
kitchen counter. She walks over to her phone and sees that
she has a voicemail from James.

She picks up her phone and stares at the screen for a second
before playing the message and placing the phone to her ear.
JAMES LINCOLN (V.O.)
Hey Jenny, thanks for your
messages. I’m fine.
I just wanted to let you know not
to worry. It doesn’t really suit
you, and I’ll be fine. Tell Mike
that I’m not doing anything too
crazy and that I’ll be home soon.
Take care of yourself.
The message ends, and Jennifer takes the phone away from her
ear. She pauses for a moment, staring at the screen. She
bring the phone back to her ear.
JAMES LINCOLN (V.O.)
Hey Jenny, thanks for your
messages. I’m fine -

EXT. DINER - EVENING

Police tape sections off the area in front of the diner.
Police officers and detectives buzz around the front of the
diner, talking and going over reports.
MARK PERKINS (31), a spry detective in a gray overcoat,
makes his way through the circus of peace officers. He
approaches RACHEL WILKOS (23), a frenetic police officer,
scribbling notes onto a pad.

MARK PERKINS
Are you Officer Wilkos?
RACHEL WILKOS
Yes, I am.
MARK PERKINS
Have you seen the body?

(CONTINUED)
THE MAHOGANY BOX 30.

RACHEL WILKOS
Yeah, It’s the Marshall.
MARK PERKINS
Do we know what happened?

Rachel flips two pages back in her notebook, and starts to

recount her notes.
RACHEL WILKOS
US Marshall Robert Smith, in
pursuit of escaped convict Abigail
Anne Conrad...

EXT. HIGHWAY - MORNING

A group of police officers, with guns drawn, move in on

James Lincoln’s car, which is parked on the side of the
highway.
RACHEL WILKOS (V.O.)
...Violated protocol to meet
privately, without back up, with
Conrad in order to bring her in.
Accosted and killed by an unknown
accomplice.

Officers surround the car, but find that it is abandoned.

RACHEL WILKOS (V.O.)
Suspects still at large.

THE END