Ben’s Jeep and Stephanie’s BMW are in the driveway.
STEPHANIE
Promise me you’ll be OK?
BEN
I promise. Promise you will, too?
STEPHANIE
I love you, Ben.
BEN
I love you, Steph.
After hugging, they drive their separate ways.
EXT. OLD HARBOR, BLOCK ISLAND - THAT EVENING
With sunset near, Ben drives off the ferry — only to find Serena in her Mustang. She is on the passenger side, a manila envelope in her lap.
SERENA
Would it help if I said I’m sorry about your dad?
BEN
You’d be lying.
SERENA
You’re better off now, Ben. I know that seems harsh, but it’s true.
BEN
Did you come here to lecture me?
SERENA
I came to thank you for these. In my wildest dreams,
I couldn’t have hoped for anything better.
Serena pulls photographs from the envelope.
CLOSE ON: PHOTOGRAPHS IN SERENA’S HANDS
SERENA
This one especially.
CLOSE ON: SWIMSUIT SHOT FROM RECENT SHOOT
BEN
How’d you get those?
SERENA
Your studio door was unlocked again. You must be getting careless. But there you go again with details.
(a beat)
I brought you a present. Does this bring back any memories?
We see a cooler at Serena’s feet. Serena opens it and takes out a bottle of champagne.
FLASHBACK
EXT. BLOCK ISLAND - NIGHT
Young Ben and Serena are celebrating their one-month anniversary. They are driving the Mustang wildly around the island, trading swigs from a bottle of champagne.
END FLASHBACK
EXT. OLD HARBOR, BLOCK ISLAND - EVENING
Serena and Ben, again. Serena hands the car keys to Ben.
SERENA
Drive.
Ben gets in. As they race off, Serena uncorks the champagne.
EXT. SUMMER HOUSE - LATE EVENING
The sun has set and the last color is draining from the sky. The lights are on in the summer place.
INT. SUMMER HOUSE - LIVING ROOM - LATE EVENING
The windows are open to the sound of SURF. Serena has set up her decanter of absinthe and two glasses.
Ben is standing at the wall, taking down most of the photographs of his father and packing them in a box. Among the few photos Ben leaves up are those of his own wedding and reception. He does not touch — yet — any of Houghtie’s trophies, the mounted fish, or the glass-encased model ship Ben made in the eighth grade.
Serena watches with great interest.
BEN
Photographs say so much about a person. And they say nothing at all. The lying truth, I call them.
SERENA
What will you do with them?
BEN
Carol will take them.
SERENA
The walls look so bare now.
BEN
They won’t for long. Tomorrow, I’m hanging my own work.
SERENA
You could start with this.
Serena hands Ben a photograph from a manila envelope.
INSERT - PHOTO FROM RECENT SHOOT - SERENA TOPLESS
SERENA
Or this.
She hands Ben another photograph.
INSERT - PHOTO FROM RECENT SHOOT - BEN AND SERENA TOGETHER
SERENA
It’s your finest work. And I don’t say that because I’m the subject. The light, the composition, the feel — you really have become an artist. You belong in a Manhattan gallery.
But Ben’s thoughts are somewhere else.
BEN
I don’t get it.
SERENA
Don’t get what?
BEN
I made another set of prints, from some old negatives I had.
SERENA
What are they of?
BEN
You. From the summer we met.
SERENA
I’m flattered that you saved them.
BEN
I wanted to see if I really remembered what you looked like 17 years ago. I did. The old shots were identical to last week’s. Identical. You’d need the FBI to tell them apart.
SERENA
Is this your idea of a compliment?
BEN
No one looks the same after almost 20 years, Serena. It’s biologically impossible.
SERENA
I already told you: I take good care of myself. No sun, a good diet, plenty of sleep, lots and lots of exercise — you’d be surprised what living right will do for you.
BEN
But you haven’t aged. It’s like you came out of a time machine.
SERENA
I thought men your age would do anything for a younger woman.
BEN
But you haven’t aged.
Serena takes the photographs from Ben, casts them aside, puts her arms around him, and brings his face to hers.
SERENA
You’re still hung up on the details, still trying to analyze and explain. You men with your logic. Why can’t you just accept what is and go with it?
BEN
Because I don’t know what this is.
Serena breaks the embrace and crosses the living room to the door to the oceanfront porch. She stops and looks back at Ben. There is the sound of POUNDING SURF, louder than before.
SERENA
I’m going for a swim. Will you join me?
Before Ben can answer, Serena is gone.
A WIDE SHOT OF THE OCEAN AND RACE FLOAT
It is dark now — but there is a bright moon, which casts the water in silver. The flags on the float flutter in the breeze. Houghtie’s speedboat, tied to the dock, is lit by electric lanterns. A dreamscape.
SUDDENLY, just in front of the float, Ben and Serena surface — laughing.
They hang for a moment on the side.
BEN
I’ve never seen the ocean this warm.
SERENA
It’s a sign.
BEN
You and your signs. What kind of sign?
SERENA
Silly — a sign of welcome. All that matters here is us. I love you, Ben. With my heart and with my soul.
Serena kisses Ben, deeply, and this time he puts up no resistance. Mid-kiss, Serena pulls away and climbs onto the float. She is gloriously naked.
BEN
Come back here!
SERENA
Catch me if you can!
Serena arches her body and dives into the water, leaving barely a ripple. Ben looks in the direction of where she went under. When she doesn’t surface, he turns anxious.
Still seeing no sign of Serena, Ben hoists himself onto the float.
BEN
Serena!
There is no answer, only the sound of surf.
BEN (CONT’D)
Serena!
Ben is pacing as he scans the horizon. He is becoming more anxious by the second.
CLOSE ON BEN’S LEGS
A hand shoots out of the water and grabs his ankle. Ben screams. Serena rockets onto the float. She is laughing hysterically. Ben captures her in a bear hug.
BEN
Don’t ever do that again.
SERENA
Were you worried?
BEN
I was scared shitless.
SERENA
Because of what Stephanie would say when they found the body? Come on, Ben. Let me set you free.
INT. SUMMER HOUSE - BEN’S BEDROOM - MIDNIGHT
Ben and Serena are making love. The SOUNDTRACK is Justin Timberlake’s 2007 hit Summer Love.
INT. SUMMER HOUSE - KITCHEN - THE NEXT DAY
Ben and Serena are packing a picnic basket of lobster salad, cheeses, bread, champagne, etc. They leave the hous
e for the dock.
EXT. HOUGHTON DOCK - DAY
Ben and Serena are in Houghtie’s Glory. Serena casts them off and they head into a calm, warm, cloudless summer day.
EXT. HOUGHTIE’S GLORY - AFTERNOON
Ben is gunning the boat while Serena stands on the bow, in imitation of a masthead — except for the half-empty bottle of champagne she hoists over her head. With her other hand, Serena bares her top. This is quite a day.
Serena leaves the bow and wraps her arms around Ben. They make out as the boat roars along at top speed, passing other boaters — many of whom blare their horns in approval. Soon, they are on the deck, Serena straddling Ben, the boat pilotless . . .
DISSOLVE TO:
INT. SUMMER HOUSE - BEN’S BEDROOM - NIGHT
Ben and Serena are making love again.
FADE TO:
INT. SUMMER HOUSE - BEN’S BEDROOM - MORNING
Ben wakes up to discover that he’s alone. Leaving his bedroom, he wanders the house, but sees no sign of Serena. In the study, he notices the red light is lit on the answering machine. There is one message, which he plays.
STEPHANIE (O.S.)
Hi, it’s me. Just calling to say I love you. You’re probably walking the beach. No need to call me back tonight, I’m exhausted and already in bed. We have opening arguments tomorrow. Wish me luck. Call me. Sweet dreams, Ben.
In the kitchen, Ben finds a fresh pot of coffee — and a note taped to the table.
INSERT - NOTE FROM SERENA
As he reads, Serena NARRATES.
SERENA (V.O.)
Dear Ben:
I waited 17 years for this. I have unexpected business today, but nothing tonight... nothing but you. I’ll see you as the sun sets and the sea beckons us with her warm embrace.
Love, your Serena
EXT. THE ATLANTIC HOTEL - MORNING
Ben parks in front of The Atlantic, the old hotel where he spotted Serena the first time. Carrying a manila envelope, he goes up the stairs and inside, to the registration desk. It is manned by a CLERK, an older, responsible-looking woman.
CLERK
Good morning, Ben. I heard about your father. I’m sorry.
BEN
Thanks, Ruthie. He was a very sick man. Looking at it that way, it was a blessing.
CLERK
These things often are. What can I do for you?
BEN
I’m looking for someone who’s staying here.
Her name is Serena Fisher.
CLERK
Serena Fisher... Serena Fisher... doesn’t ring a bell.
When did she check in?
BEN
Two and a half, three weeks ago.
Ben removes the photo-shoot contract from his envelope and shows the clerk.
INSERT - CONTRACT
It is Ben’s professional letterhead. At the bottom, beneath the job estimate, Serena has written:
Serena Fisher, Room 13, The Atlantic Hotel.
BEN
See?
The clerk studies the note.
CLERK
We don’t have any Room 13 — superstition, you know. But let me double-check the guest list.
(laughs)
At my age, you know, the memory starts to slip.
The clerk looks through cards, and comes up with nothing.
CLERK (CONT’D)
‘Fraid you’re out of luck. Nobody by that name since we opened Memorial Day weekend.
BEN
This is a picture of her.
Ben shows the clerk a photograph of Serena.
CLERK
Good-looking girl — I’d remember a one like her. Haven’t seen her, Ben. She hasn’t been staying here.
BEN
Will you do me a favor? If she comes by will you give me a call? Here’s my cell phone number.
CLERK
Let me guess: She stiffed you.
BEN
Yes.
The clerk shakes her head in disgust.
CLERK
College kids. You better believe we get more than our share of them, too. They trash their rooms — and then sneak out without paying. Oh, yes. I know how you feel. I hope you find her.
A SERIES OF SHOTS
Of Ben driving onto the ferry, off the ferry after crossing to the mainland, and along an interstate highway north toward Boston. He exits the Mass. Turnpike and proceeds along the Charles River to Harvard Square, where he finds Professor Bergman’s house: a white ivy-covered Georgian.
EXT. PROFESSOR BERGMAN’S HOUSE - LATE MORNING
Having answered the bell, a HOUSEKEEPER is at the door. Ben is standing outside, holding his manila envelope. The housekeeper is in her early 60s, conservatively dressed, gray hair. She speaks with an English accent.
HOUSEKEEPER
Do you have an appointment?
BEN
No.
HOUSEKEEPER
Whom may I say is calling, then?
BEN
Ben Houghton. Professor Bergman was a friend of my father’s.
HOUSEKEEPER
Do come in.
INT. PROFESSOR BERGMAN’S HOUSE - LATE MORNING
The housekeeper shows Ben to Bergman’s study, crammed with books, papers, wall maps, and antiques, and featuring a massive oak desk with a computer and large-screen monitor. The housekeeper summons Bergman, who wheels himself into the room a short while later.
BERGMAN
I have been expecting you.
(a beat)
Last night, I had a dream. In it, I heard the siren’s song. You were with her. Her name is Serena, is it not?
BEN
Yes.
BERGMAN
Serena Fisher. Terrible pun on her part, but an appropriate description.
Ben takes photographs out of the manila envelope.
BEN
I’ve brought photos.
BERGMAN
How extraordinary! To my knowledge, they are the first ever taken of her — or her kind. Our impressions of them until now have been drawn entirely from personal narratives and drawings.
Bergman takes the photos and wheels himself to his desk. With a magnifying glass, he examines them.
BERGMAN (CONT’D)
She’s stunning, isn’t she? The sight of her takes an old man’s breath away.
Bergman goes to his computer and calls up files of professionally rendered drawings of the human form.
BERGMAN (CONT’D)
What would you guess she weighs?
BEN
A hundred fifteen, a hundred twenty pounds, something like that.
BERGMAN
And how tall?
BEN
About five-ten. Maybe a shade taller.
Bergman clicks on the drawing that most closely matches Ben’s description. It is the outline of a woman standing. Measurements of hands, legs, waist, neck, etc. are displayed in a drop-down menu.
BERGMAN
Because it deals so extensively with uniforms,
Vapors: The Essential G. Wayne Miller Fiction Vol. 2 Page 20