Two broken lovers fight for sanity and redemption against mysterious intruders, salacious secrets and twisted time.

SYNOPSIS:

Jennifer Pace is an icon. So was Bradley Cancer.

She readies herself in the solitude of her boudoir. Stepping into her living room she demands her ex-husband, Bradley Cancer, zip up her dress. It’s contemptible for a former star but he’s living in the spare room of their once home, so he obliges.

Under the surface lies a tempest of guilt and accusation swimming between the former lovers. When her date for the evening shows up it’s open season on long kept secrets and buried emotions.

Richard, in insouciant fan of both actors, realizes he’s in the company of greatness and gets a little star struck. Or does he? He is soon the object of Bradley’s aggression and fights back verbally. Jennifer tries to calm the situation as Bradley gets a drink. A back and forth ensues about Bradley’s addiction which in turn reveals how Jennifer lost their baby in a skiing accident. But, that’s not the whole story.

A knock at the door interrupts the discord and inserts the Chauffeur. A creature of oblique sexuality, the Chauffeur appears mute. Richard is stunned when he/she/it refuses to leave and takes up a post at the door. Jennifer demands Chauffeur return to the car of be fired. At which, Chauffeur sits and hands them a note. Seven PM.

It’s 5:45. Richard tries to shove past Chauffeur but is quickly dropped on his back by a skillful martial artist. As Bradley sits on his hands, Jennifer takes matters upon herself. After which she is quickly marginalized in the same manner. Now, it’s a hostage situation. Or so they think.

Chauffeur answers another knock. It’s Grant. They kiss. Then, he turns his attention to the three. His enigmatic knowledge of Jen and Brad reveals a cover up years in the offing. Seems Jennifer’s loss was no accident, it was abortion. Brad had no idea.

To make it worse, the baby had multiple defects, perhaps cognitive. Jennifer chose to sidestep the trial of an imperfect child. Bradley excoriates her. His work done, Grant leaves, with Chauffeur. Just like that. Except the doors are locked and there’s no escape. The three prisoners rail to high heaven until sleep overcomes them.

Upon waking, Jennifer and Bradley are alone. Richard is gone. A scratch at the door turns them to Grant, Chauffeur and four other Chauffeurs. They surround them threateningly before Grant ushers them to the nursery where formerly mute Chauffeur waits. Katherine, having revealed herself, spins a tale about long held delusions that don’t tell the story. Jennifer, it seems, could have saved the baby. In his righteous indignation, Brad learns the deformities were his fault. Alcohol and drug abuse. Now, who’s to blame?

Richard returns from inside the house he claims never to have left. He and Bradley argue, devolving into a fight during which Richard stabs Bradley in the chest. It’s only a prop and Richard thinks it’s a joke. Until Jennifer knocks him out with an Emmy.

Waking, he’s tied to a chair. Jennifer and Bradley have no intention of letting him free, so he frees himself and takes command of the cadre of Chauffeurs and Grant newly resurfaced. Is it betrayal, or is it the plan?

Before she leaves, Katherine disrobes to her undergarments, revealing a stunted arm and stunted leg. In fact, all the Chauffeurs display the signs. They’re a coterie of crusaders led by Jennifer and Bradley’s daughter. They leave the beleaguered parents emotionally castigated.

It’s all too much for Jennifer and Bradley and they seek comfort and reconciliation in each other. Then a beat, a knock at the door. Jennifer opens it to Richard. With flowers. To pick her up. At 5:45.