1. 1
LOVE ACCIDENTS
A 25­minute dramatic screenplay
By
Lea San Martano
FIRST DRAFT 3064 Weimer Hall
March 24, 2015 University of Florida
Gainesville, FL 32611
954­439­3290
lsanmartano@ufl.edu

2. 2
LOVE ACCIDENTS
FADE IN:
INT. BED IN A GIRL’S BEDROOM – NIGHT
KALEIDA,a 21 year old college student, lays in her bed
reading “The Sun Also Rises” by Ernest Hemingway.
Her mother, TINA, young looking 50 year old, walks in. She
is in a nice suit.
TINA
You’re stepfather says you were giving
him lip again.
KALEIDA
Weird, considering I haven’t left my room
all day.
TINA
I understand that it’s your spring break and
you want to rest, but maybe you could catch
up with old friends while you’re home.
KALEIDA
Should I hit up my friends who became drug
addicts or the ones who got knocked up?
TINA rolls her eyes at KALEIDA and leaves her bedroom.
CUT TO:
INT. LIVING ROOM – DUSK

3. 3
KALEIDA is watching TV. The fading light outside suggests
that it is the next day. Her stepfather, BILLY, a fat 40
year old man, sits down and changes the channel.
KALEIDA
I wasn’t watching that or anything.
BILLY
Good cause my show is on.
KALEIDA gets up to walk away but stops half way and looks
at BILLY.
KALEIDA
Are you serious? So are you just going
to live off my mom for the rest of your miserable
life or do you plan on getting the hell out of my
life soon?
BILLY
Your mom’s wealthy and hot. Looks like
I’m staying, kiddo.
KALEIDA storms in her room. She starts to change into jeans
and a nice top. She grabs her coat and leaves.
CUT TO:
EXT. BEACH BAR – NIGHT
KALEIDA arrives at a beach bar that is full of half dressed
spring breakers. She stands out in her jeans and coat.
Everyone there is intoxicated. KALEIDA finds part of the
bar that isn’t surrounded by people and sits on a bar
stool. She orders a Budweiser.
JOHN CARTER, a 22 years old boy, approaches her. He doesn’t
seem that intoxicated.
JOHN
Drinking a Budweiser? Someone’s not
worried about their spring break bod.

4. 4
KALEIDA shoots him a dirty look and ignores him.
JOHN
Let me buy you a drink.
KALEIDA
Whiskey, neat.
JOHN orders the drink. KALEIDA grabs it, chugs it, and
starts to get up.
JOHN
Wow, one drink is all it takes for
you to go home with me?
KALEIDA turns to the very INTOXICATED GIRL next to her and
goes to introduce her to JOHN.
KALEIDA
Meet my friend...uh..
JOHN
John’s the name.
A big guy comes and puts his arm around the INTOXICATED
GIRL and gives JOHN and KALEIDA a scary look. KALEIDA
giggles.
JOHN
Now you know my name, can I have yours?
KALEIDA
My name’s Kaleida and if you haven’t
gotten the hint yet, I’m really not interested.
JOHN
Look, I can tell this isn’t your scene
so why don’t we take a walk on the beach where
it’s quieter.
KALEIDA
Oh yeah totally. Let’s go where it’s dark
and no one will hear me if I scream.

5. 5
JOHN
Well, that got weird. I’m guessing
you’re not a trusting kind of person?
KALEIDA
I don’t trust anyone.
JOHN
The best way to find out if you can trust
somebody is to trust them.
KALEIDA gives him a weird puzzled looked.
JOHN
What? Is that too cheesy for you
or something?
KALEIDA
Do you even know who said that quote?
JOHN
Of course. My boy, Ernest Hemingway.
KALEIDA
He’s my favorite.
KALEIDA cracks a small smile. She grabs JOHN’s hand and
brings him down to the beach.
CUT TO:
EXT. BEACH ­ NIGHT
KALEIDA and JOHN sit on the sand talking as the audience
sees the night change and the sun begin to rise.
CUT TO:
INT. KALEIDA’S LIVING ROOM ­ AFTERNOON
KALEIDA is eating lunch on her living room table as she
hears a knock on the door. KALEIDA gets up to open the door
to find JOHN standing there with flowers.

6. 6
KALEIDA
Uhhhhh, can I help ya?
JOHN
Wanna go to the park or something?
KALEIDA
Not really.
KALEIDA shuts the door in JOHN’s face. JOHN proceeds to
knock again. KALEIDA opens the door, super annoyed.
KALEIDA
Seriously, what do you want?
JOHN
I just want to spend some time with you.
KALEIDA
I saw you yesterday….
JOHN
What can I say, I like you Kaleida.
KALEIDA
I think I just vomited. Please go away.
JOHN just looks down and starts to walk away. KALEIDA
closes the door. As JOHN walks down the driveway, TINA is
getting out of her car. TINA sees JOHN throw the flowers to
the ground.
TINA
Did you just bring flowers to Kaleida?
JOHN
Yes ma’m. You’re daughter is really special.
TINA
Oh,she’s special alright. But you clearly
don’t know her. Flowers are just going to
scare her away.

7. 7
JOHN
So what should I do to show her I care?
TINA
Well, whatever you’re doing is working.
JOHN
I don’t mean to be disrespectful, but she
just slammed the door in my face, I don’t
exactly think that’s a good sign.
TINA
Oh, dear, the more she pushes you away,
the more she cares.
JOHN
Well, this will be fun…
CUT TO:
INT. KALEIDA’s BEDROOM ­ DAY TIME
KALEIDA is packing up her stuff to go back to school.
CUT TO:
INT. KALEIDA’s COLLEGE APARTMENT’S LIVING ROOM ­ DAY TIME
KALEIDA is sitting at her living room table studying. Her
ROOMMATE comes in.
ROOMMATE
There’s a letter for you. Think it’s
from a boy!
The ROOMMATE throws the letter on the table and makes a
face at KALEIDA. KALEIDA rolls her eyes and grabs the
letter.
The letter is read in JOHN’s voice as a VOICEOVER.

8. 8
JOHN
​You know that fiction, prose rather, is
possibly the roughest trade of all in writing.
You do not have the reference, the old important
fff​reference. You have the sheet of blank paper,the
pencil and the obligation to invent truer than
things can be true. You have to take what is
not palpable and make it completely palpable and
also have it seem normal and so that it can become
a part of experience of the person who reads it.
P.S: I’m trying to write a love story for a class
and I was wondering if we could make this love
story nonfictional so I’d have a reference.
­John Carter
KALEIDA is smiling and shaking her head at the letter.
ROOMMATE
Ouuu, look at that smile. What does it say?
KALEIDA
He thinks he’s clever and put a Hemmingway
quote and made some dumb pun on it.
ROOMMATE
Can’t have been that dumb, you’re
smiling like an idiot.
KALEIDA
Oh shush. Not like I’m going to answer him.
CUT TO:
INT. KALEIDA’S APARTMENT’S BEDROOM ­ EVENING
KALEIDA’s ROOMMATE comes into her room. KALEIDA is curled
up in bed reading “The Old Man and the Sea”. The calendar
next to her bed shows that time has gone by.
ROOMMATE
You got another letter from lover boy.

9. 9
The ROOMMATE throws the letter at KALEIDA and leaves her
room.
KALEIDA opens the letter trying not to smile.
JOHN’s voice is heard reading the letter as KALEIDA gets up
and goes to her desk.
JOHN
Forget your personal tragedy. We are all
bitched from the start and you especially have to
be hurt like hell before you can write seriously.
But when you get the damned hurt use
it — don't cheat with it.
P.S: I know you’ve been hurt in your life;
hhhhhhhhh​therefore, I know you can write. So why don’t
you pick up a pen and show me your skills?
­John Carter
KALEIDA pulls out notebook paper and a pen and starts to
write excitedly.
CUT TO:
EXT. LAWN ON A COLLEGE CAMPUS ­ DAY TIME
JOHN is sitting on the lawn opening the letter.
The letter is read by KALEIDA’s inner voice as a VOICEOVER.
KALEIDA
When you really love someone,
it can certainly give you hell.
P.S: ​You know it makes one feel rather
good deciding not to be a bitch.
­KW
CUT TO:

10. 10
INT. KALEIDA’S BEDROOM BACK AT HOME ­ NIGHT TIME
KALEIDA is unpacking her clothes for summer with a very
unhappy face.
BILLY walks in.
BILLY
Already time for you to be back home, huh?
KALEIDA
I really can’t handle this right now. Please
leave me alone.
BILLY
Oh c’mon. Let’s do some father­daughter bonding.
KALEIDA
You’re not my father.
BILLY
Well, I haven’t seen your father in years.
KALEIDA begins to cry. She storms past BILLY. She starts
running to the beach bar.
CUT TO:
EXT. BEACH BAR ­ NIGHT TIME
KALEIDA is sitting at a stool by the bar.
KALEIDA
Make it a double and keep them coming please.
As KALEIDA hands the bartender money in exchange for her
drink, JOHN sits next to her.

11. 11
JOHN
Is this a Deja Vu?
KALEIDA shots him the dirtiest look. She chugs her drink
and starts to get up.
JOHN
Now this is really a Deja Vu.
KALEIDA
Let me guess. Now we go down to the beach.
We exchange our deepest thoughts. We don’t talk
for the rest of the summer, but when I get back
to school you write me sweet letters till I reply.
Of course, once I give you attention, you disappear.
JOHN
You scare me, Kaleida.
KALEIDA
Well then, grow a pair.
KALEIDA starts to walk away.
JOHN
The love you can’t have lasts the longest,
feels the strongest and hurts the most.
KALEIDA turns around. JOHN walks up to her and passionately
kisses her. JOHN grabs her face and looks her in the eyes.
JOHN
I’m scared to have you because I
know I couldn’t bear losing you.
A tear rolls down KALEIDA’s cheek. KALEIDA reaches for
JOHN’s hand.

12. 12
JOHN
Let me drive you home.
KALEIDA and JOHN walk to his car holding hands in a calming
silence.
CUT TO:
INT. JOHN’S CAR ­ NIGHT TIME
KALEIDA
John. . . you know if two people love
each other, there can be no happy ending.
As JOHN turns to look at KALEIDA all he sees is a bright
light from an oncoming car.
CUT TO:
EXT. GRAVEYARD ­ DAY TIME
JOHN is standing in front of a gravestone. He drops the
same type of flowers he had brought to KALEIDA’s house. As
he walks away, the gravestone is shown.
It reads: “No one you love is ever truly lost. In loving
memory of KALEIDA HEMINGWAY.”
FADE TO BLACK