IN THE BEDROOM
Written by
Rob Festinger & Todd Field
FADE IN:
THE SOUND OF WIND AND NOTHING ELSE
EXT. GI'S POINT
We are in the midst of a field of tall grass wild flowers.
A long rutted road stretches into the distance. Faintly at
first and then closer - we hear a woman squealing with
laughter. We see her legs cut through the grass and fly up a
hill. Close on her heels is a young man, a good ten years
younger, in hot pursuit.
Over the field - across the tops of blades, sits an ancient
apple tree. We rise out of the grass and see the two young
people under the tree. They are entwined - in a deep embrace.
CLOSER NOW
We see them in glimpses:
Their eyes - Lips - Hands
Finally they part - the woman rests her head on his chest.
She reaches out and strokes his hand.
He stares at their fingers mingling together.
The woman sighs.
WOMAN
I Love it here.
I know you do...
WOMAN
I can feel my life - ya know.
He stares up into the boughs above him and sHd.les.
A legend appears: Il -_ 1
THE SOUND OF BALLGAmE OVER:
T. RURAL ROUTE 90 - PREDAWN
A BLUE 1973 CHEW PICK-UP winds around a corner and
disappears down a long stretch of road. "And that's it from
Fenway the final score Oakland 3 t1 Redsox 7. You have been
listening to the re-broadcast of last night's game. This
broadcast is the sole property of -- -)r League Baseball and
cannot be-" -
EXT. EMERSON ROAD - S
The truck pulls onto a small road flanked by rows of 100 year
old clapboard two-story affairs.
2
EXT. NATALIE'S HOUSE - S
Standing. on the lawn in front of one of them is the woman from
the opening scene, NATALIE STRUT, prett - eautifl actually
with a little more sleep. She stands wit two small boys who
are doing their best to stay warm in the morning air. Her son
JASON 8 , and his brother DUNCAN 4, who has his face buried in
his mother's coat--refusing to see or be seen.
The truck comes to a stop and two men get out. One is young,
early 20's, and even at this hour his step is lively, his
face full of warmth. He walks over to Natalie and gives her a
kiss. The young man from the opening scene, rRANK FOWLER.
The other man leans back against the passenger door. He is
in his early 50's. Kind face, good looking, athletic in his
day - Frank's father, MATT. He smiles at Natalie.
Natalie smiles back.
NATALIE
Morn'in Dr. Fowler.
MATT
Morn'in Natalie. How you doing boys?
JASON
Great!
Jason starts for the truck. Matt opens the door and the boy
climbs inside the cab.
Frank kneels down to Duncan.
F
Hey buddy ... you upset that you're not
coming?
Frank reaches out and puts his hand on the boys shoulder.
Duncan pulls away.
Frank looks up to Natalie for help.
F
He can come if he wants ...we can manage,
really.
She smiles and shakes her head.
NATALIE
ahead. He wants to stay here.
F
Don't worry Dunk. You can come next time.
,Qy
Natalie kisses him and they're off.
INTO TRUCK - SAME - MOVING
Jason in the middle. He glances over to Frank - a trace of
hero :worship in his face.
I NT. STROUT & SONS CANNERY - DAWN
Sardines are processed at lightening speed. We follow them on their
journey, which ends with the sealed cans being packed into
cardboard shipping boxes. They are taped shut by a young man we
will meet later (TIM, 3 ) . The tops read STROUT & SONS.
I NT. ATKINS LOBSTER CO-OP - DAWN
A double-55-gallon-drum wood stove is humping. Several men turn their
bodies rotisserie-fashion around the thing, while making morning
small talk - The starting price of lobsters, the prospect of repairs
to their equipment, and so on.
A SCARRED HAND scribbles some figures on a wall that has been
used as a scratch pad for years.
Two scales are emptied of RED FISH into a PLASTIC PICKLE BUCKET.
EXT. HARBOR - SAME
A pair of CANVAS TENNIS SHOES shuffle down a gangway. The
bucket sways directly over them. A small hand struggles with
the weight of the thing. A pair of BEACON FALLS waders appear
- the shoes stop. A strong hand grabs hold of the handle -
the shoes pick up the pace.
EXT. HARBOR - S
Matt & Frank prepare the rig.
Jason stands on the dock, taking it all in. A field of
LOBSTER POTS stacked like cordwood and surrounded by a
collection of SCARRED BUOYS, GRAPNEL and coiled FISHING GEAR
stiff with sea salt - all so wildly unreasonable as to seem
exotic.
Jason's eyes find the hull of "GIGI" an old Boudreau built
lobsterboat. Starboard side covered in barnacles.
F
C'mon up Jace.
MATT
Hold on a second. Need to know if he's
ready first - Jason, can you tell me
what's important?
Jason hesitates.
F
on tell h�
JASON
(NERVOUS)
"A shaft of sunlight at the end of a dark
afternoon, a note in music--
L
He takes a breath.
JASON
and the way the back of a baby's neck
smells if its mother keeps it tidy."
MATT
(TO FRANK)
You taught h' well.
Jason beams.
MATT
- come aboard sailor.
Matt reaches down to give a hand up.
Frank turns the engine over. It roars to life.
EXT. HARBOR LATER
The sun is fast climbing into the morning sky as "GIGI"
glides out of the channel and past a LIGHTHOUSE that sits
Just off the point of a good sized ISLAND.
Jason shields his eyes with his hand. He gazes out at the
island. Matt comes up beside him and sticks a baseball cap
onto his head. The crown reads U.S.S. CONSTELLATION.
JASON
Thank you.
MATT
Ever been over there?
JASON
No sir.
MATT
It's beautiful. Isn't an island anymore
though. It's a city. They have electric
lights. Artesian wells, even a jail
lighthouse isn't manned anymore - it's
run by a computer When I lived there,
had no ferry then` so we didn't even have
cars, can you believe that?
JASON
How'd you get back?
MATT
Off the island?
Jason nods.
We rowed.
Matt smiles at the memory.
5
MATT
Then we got a little outboard. That was
great. A seven and a half horsepower it
was - we lived there until I was about
your age - then we left and became
"harbor people".
Jason seems to be digesting this.
JASON
I a "harbor person"?
Matt hides a smile about to form.
MATT
Yep, Jason - we all are.
Jason is full of questions. Matt knows the answers and
doesn't talk down to him. Something the boy is grateful for.
F
At the helm. His eye s inted from glare and cold. He cuts
back on the throttle s and heads for the winch.
GLOVED HANDS pull up a BLUE-GREEN BUOY and slide the MANILA
LINE into the WINCH.
A POT surfaces and Frank sets it "Doors up" on the edge. He
opens the doors. His hands work quickly and efficiently. He
tosses a SMALL CRAB back into the water, pulls out a LOBSTER
and measures the back. Too small. Then a nice sized LOBSTER
is pulled out - it's missing the SCISSOR CLAW. He hands it to
Matt. Baits the trap. Throws the winch and the next pot
surfaces.
Matt sits inside, Jason on his lap. He reaches into a WOODEN
BOX of RUBBER BANDS with a BANDING WRENCH and bands the
crustacean's remaining CRUNCHER CLAW.
Jason stares at the disfigured creature.
MATT
Oh boy you see what happened to
this poor fel ow?
JASON
.what?
MATT
Well, the trap has nylon nets called
heads--2 side heads at b ends, so the
lobster can crawl in. The "Bedroom" head
inside, holds the bait and keeps it from
escaping--you know the old saying "two's
company three-s a crowd"?
Jason nods.
MATT
Well{ it's like that. You get more than
two in a bedroom and chances are
something like this is going to happen.
That's why Frank can't leave these traps
for more than a day.
Matt holds up another Lobster and turns it belly-up. There
are black balls on both sides of the tail.
MATT
Now the older females like this of gal,
are the most dan erous - especially when
they're growin' eyries.
JASON
Berries?
MATT
Eggs... .one of these can take out two
males easy - Then you wind up with
lobster you can't sell - and as for this
fine lady, she gets off easy, the state
says you have to let her go.
Matt throws her back in the water. Holds up the other one to Jason.
TT
Can you handle this?
Jason nods.
MATT
(GENTLY)
You sure?
He really isn't. Matt hands it to him.
MATT
Go ahead now, put it in the tank.
Jason can't get the thing in the tank fast enough.
EXT. FOWLER HOUSE - DAY
Looking around, you see a big yard, double lot. The grass is
manicured to per ection, someone takes a lot of pride in
their garden. In the middle of this sits a two story cape,
post Hopper/Wyeth, early 20th Century - simple, beautiful,
d you on't freeze in the winter.
The truck backs up into the driveway, Frank j s out, drops
the gate. Resting on the bed is a LARGE BOX wit a line drawing
of a SWING-SET.
Q
FRANK O.S.
Hey, dad can you give me a hand?
The transistorized sounds of a baseball qame.
EXT. FOWLER BACKYARD LATER
Frank pushes Duncan, who sits proudly on his new swing-set.
D C
Higher! HIGHER!
SMALL CHILDREN are everywhere. A serious Super Soaker Squirt
Gun fight in progress.
ACROSS THE YARD
a steaming hot grill, with a huge assortment of hot-dogs &
burgers. A spatula flips a patty.
The sounds of Fenwav park emanate from a chea Dort able
radio.
WILLIS GRINNEL, early 50's, a stout, silver-haired man, works
the grill. Standing next to him is Matt, his best friend for
forty plus years.
Matt takes a pull off a can of Moxie. Sets it down and searches
through a plastic bread bag.
Willis looks past him, distracted.
MATT
h, Ruth hates this kind.
What?
MATT
I bought the wrong buns.
WILLIS
Maybe we can borrow hers.
Matt follows Willis's gaze, to the object of his distraction:
A PRETTY WOMAN IN TIGHT DENIM SHORTS. She-s bent over to wipe
the ketchup-stained face of Jason (he's wearing Matt's cap).
WILLIS
Ah, what I would give to have back my
youth.
MATT
Willis, you never had that in your youth.
The woman turns around and catches Willis staring. It's
Natalia.
Willis looks down, nonchalantly rifling through the bun bag.
Matt waves to a passing man in khaki shorts, FATHER OBERTI,
50-S-
MATT
Father! You made it!
FATHER OBERTI
Hey, if I don't see you fellas here, I
don't get to see you at all.
ON F
He backwards-hugs Natalie.
F
You want a beer?
NATALIE
I think I'll see if your Mom needs any
help.
FRANK
Good luck.
She laughs-He grabs and tickles her but she breaks away and
escapes inside the house.
Matt watches on, and falls into a wistful daydream.
WILLIS
Jealous?
Matt turns to him and, to Willis's surprise, ever so slightly,
nods.
I NT. FOWLER HOUSE - LIVING ROOM - S
Natalie walks in through the living room, pausing to examine
a half finished ARCHITECTURAL MODEL that sits on a card-table
next to a jigsaw puzzle.
She looks toward the kitchen where a woman works at the sink.
She takes a breath and starts there.
I NT. FOWLER GARAGE - DAY
OF THE GE
Frank reaches into an old Westinghouse refrigerator. He pulls
out a case of Schaeffer's and a six-pack of Moxie. He loads it
all into a metal tub filled with ice.
VOICE O.S.
YO0
Frank, hunched over as he works, loo. ip at
FRONT OF THE GARAGE
TIM BRYSON, 22, still in his work clothes: He wears a White
soiled smock. A� patch on his Right pocket says STROUT & SONS.
Over the left sply TIM. A hair-net nests on his head.
F
Thanks for coming by. Wooo, is that new
cologne? You really oughta take a shower
when you leave that place.
TIM
Very funny.
F
Take off that head dress, chief, and give
me a hand?
Tim reaches up and pulls the hair-net off his head.
EXT - FOWLER HOUSE - DAY
SIDE OF THE HOUSE
Tim and Frank lug the heavy cooler around the house, heading
toward the backyard.
TIM
So, Mr. Strout mentioned you again.
FRANK
I bet he did.
TIM
Seriously, man. He still talks about you
coming back. Says you're the best can
packer he ever had.
Be nods.
F
He always was a nice guy.
TIM
(EXHAUSTED)
Are we there yet?
Tim and Frank emerge from the side of the house. Willis cuts
them off, grabs two beers.
WILLIS
Excuse me boys - an offering. Catch
Father.
He throws one to Father Oberti who sits talking with Willis's wife
KATIE GRINNEL 50's, she is tal ing the priest's ear off.
KATIE
Becky went to the hairdressing academy
after high school, but aft she got
married and had the boys, she decided she
wanted to stay home - she still loves
doing hair though. Where do you go
Father?
FATHER OBERTI
I just go to Super Cuts.
10
KATIE
You can't request the same girl at Super
Cuts - you have to take what you can get.
They don't know your hair - how can you
get a good cut i they don't know the
air?
Father Oberti has the patience of...well,of a priest.
I NT. FOWLER HOUSE - DAY
RUTH FOWLER 50, attractive, is washing and arranging
vegetables on a plate. Natalie chops carrots on a cutting
board.
They barely make eye-contact. Natalie attempts small talk.
RUTH
Can you hand me that bowl dear?
She does.
RUTH
Thank you.
NATALIE
I'm looking forward to the concert on
Labor day. The music is so...unusual
haunting really..
Ruth keeps chopping. Natalie chooses her words carefully.
NATALIE
How did you learn about that particular
style?
RUTH
At Faro y thesis was on Eastern
European .folk music.
Natalie's lips tighten uncomfortably. The topic seems to int� date.
NATALIE
(LIGHTLY)
I thought o becoming a teacher.
RUTH
Why didn't you?
The answer to Ruth's question (Duncan) wanders in. His cheeks
as big as Dizzy Gillespie's.
NATALIE
What are you eating?
Duncan's mouth is so full he can hardly speak.
DUN
.nothing.
The two regard each other
NATALIE
How is it?
D C
(SMILING)
Good.
He tugs on her shirt.
D C
Swing me, Swing me.
NATALIE
Okay, okay Dunk...
She gets dragged out of the kitchen. The screen door slams.
Ruth finishes arranging the plate. Matt enters, and starts
opening up the cupboards loo
king for something.
He squats down, burrowing into a cabinet.
MATT
It was nice of you to invite the boys.
RUTH
She hasn't brought them before because
she's embarrassed. She shouldn't be
embarrassed.
Matt looks up from the floor.
MATT
(TO RUTH)
Nice view from down here.
She ignores him, but smiles.
EXT. FOWLER BACKYARD - DAY
is hunched over, with his arms gentl wrapped around Jason,
coaching him on the finer points of Kitting. While Tim pitches.
F
There you go 0 . good, hands up, higher.
That's it. Be - your knees
THE SWING-SET
Duncan is being pushed by Natalie, Ruth, watches from the
kitchen window.
I NT. FOWLER HOUSE - DAY
MATCH CUT: Ruth, staring out the window.
12
RUTH
I don't know why you had to put that
monstrosity up. You're just going to have
to take it apart when they leave.
Matt rises, a bottle of lighter fluid in hand.
MATT
C'mon, Ruth, he's a kid. What did you
expect? "Happy Birthday, here's a box.
why don't you drag it around for a while?"
He s a kid. He wants it now.
Something across the yard catches her attention.
RUTH
Oh, no.
EXT. FOWLER HOUSE - DAY
Matt exits the house.
ACROSS THE YARD
Duncan jumps off his swing and sprints.
TO RICHARD
who has just arrived. He stays at the far end of the yard.
Duncan does a running jump into his father's arms.
D C
Daddy!
Frank with Jason, looks up.
Jason sees his father. He doesn't move.
Natalie walks over to Frank, they exchange glances.
NATALIE
C'mon Jason.
JASON
No.
NATALIE
Now.
Shedgrabs his hand. Straining to appear casual, traverses the
YARD
C DUN
Richard play-boxes Duncan.
Duncan looks up at his mother.
D C
Daddv's takino us to the arcade.
13
Richard, eating Duncan's hot dog, rises to meet Natalie and
Jason.
RIC
Hey there buddy --.Come on over here Jace-
Jason looks away.
DUN
(TO JASON)
I told you held come uttface-
Jason reaches over and whacks Duncan on the head.
RIC
(ANGRY)
Hey Jason - Don't do that to your
brother. You want me to do that to you?
He probably has. Jason backs away.
Frank makes his way over to Natalie.
AT THE GRILL
Matt watches on- absently flipping burgers.
Ruth comes over to h�
RUTH
MATT
MATT
IT'S OK-
Ruth shakes her head.
Richard, Frank and Natalie are talking, but there are long pauses
between words. Tim wanders over and says something to Richard
Finally, Richard smiles, turns, and exits. Alone.
Jason playfully chases Duncan across the yard.
Frank and Natalie stay behind, talking quietly.
Matt takes a breath, and exhales. He turns to Ruth with a
comforting smile, but
she's just entering the house. The screen door closes behind
her.
- FOWLER HOUSE - KITCHEN - S
Ruth is at the counter pouring dressing onto a salad. Frank
comes up behind her and hugs her.
F
Thanks for doing this mom.
1
RUTH
Are you alright?
F
Sure. Natalie and I want to take you and
dad out tonight.
RUTH
Oh that's very sweet dear, but we already
have plans.
F
You going over to the Grinnel's?
Ruth shakes her head.
RUTH
(SMILES)
Your father's taking me to the Strand.
FRANK
Oh, what are you seeing?
RUTH
The first film we ever saw together.
THE SOUND OF PISTOL FIRE.
INT. STRAND THEATER - NIGHT
Matt & Ruth sit watching BARRY L DON. The duel between Barry
Lord Bullingdon is on screen. Bullingdon's pistol misfires.
LORD BULLINGDON
Sir Richard this pistol must be faulty -
I must have another.
AIDE TO RIC
I'm sorry Lord Bullingdon but you must
first stand your ground and allow Mr.
Lyndon his turn to fire.
SIR RIC
That is correct Lord Bullingdon - your
pistol has fired and that counts as your
shot--Mr. Lyndon are the rules of firing
clear to you?
YES -
SIR RICHARD
Lord Bullingdon are you rsdy to receive
Mr- Lyndon's fire?
LORD BULLINGDON
-.o yes -
15
SIR RIC
very well then - Mr. Lyndon cock your
pistol and prepare to fire.
Bullingdon is overwrought. He looks like he may vomit.
Ruth leans over to Matt.
RUTH
Let's go.
Ruth gets out of her seat. Matt looking confused follows.
EXT. STRAND THEATRE - S
Ruth heads out the doors with Matt on her heels.
MATT
What's wrong?
RUTH
I don't remember it being so tragic.
MATT
O h h always felt sorry for Barry.
RUTH
Please.
MATT
No, I mean it - maybe I relate to him.
RUTH
What are you talking about?
MATT
Well, we both married above our station.
RUTH
Don't start that again.
A moment. He takes her in his arms and kisses her. Looks into
her eyes.
MATT
Happy anniversary.
RUTH
(SMILES)
Happy anniversary.
He buries his face in her hair.
9 G
MATT ` RUTH
I love you. I know -
16
I NT. FOWLER HOUSE BEDROOM - NIGHT
Ruth sits at her bureau facing the mirror. She be ins a nightly
ritual of removing the pins from her hair once ma e from the
shells of tortoises and now the plastics of Dupont.
Matt lies in bed reading. He lowers his book and watches her
brush her tresses with on y, delicious strokes. She sets down
her bsh and turns. Matt ooks back to his book.
She climbs into bed next to him.
RUTH
She's not divorced yet.
MATT
It's the same thing. Maine has crazy
laws, that's all...he likes the boys.
RUTH
You don't think he's thinking about-
TT
No...he's not going to marry her.
RUTH
Then what's he doing with her?
MATT
She probably loves him, Ruth. Girls
always have. Why can't we just leave it
at that?
RUTH
Hmmmm. He won't listen to me. I asked him
three times to dismantle that swing-set.
MATT
Oh, let it stay up. Looks like a young
couple lives here.
RUTH
He needs his head in school. Not in her.
MATT
So to speak.
Ruth pinches his shoulder.
RUTH
it would help if you were my side.
MATT
(PLAYFULLY)
I'll get on your side.
She laughs and pushes him away.
17
INTO UNION CLINIC - WAITING ROOM - DAY
A small waiting room with an alcove reception. ROCKWELL PRINTS
adorn the walls, a long table covered with dog-eared periodicals,
rests in front of a couch that has seen better days.
ADAMSON 80's, glances over at her husband, ELWYN 80's,who
vacantly thumbs through a HIGHLIGHTS MAGAZINE. He pauses to
catch-up on the latest exploits of GOOFUS & GALLANT.
The nurse, JANELLE 40's, calls out from the alcove.
JANELLE O.S.
Mr. and Mrs. Adamson?
INT. UNION CLINIC - EXAMINATION ROOM
Elwyn sits bare chested on a table. Matt finishes bandaging his
elbow - then listens to his chest with a stethoscope. He is
careful and thoughtful. Alma looks to him. Worried.
MATT
You can put your shirt back on now.
Alma stands and helps her husband dress.
Yesterday he was up and around all
afternoon, but toda - he tumbled. He's
fallen down twice. have all I can do to
get him up. He's weak and the longer you
lay in bed - the weaker you get.
MATT
Elwyn, you need to do those exercises,
you promised me, twice a day.
I know you miss the work -
important. but it's
ALMA
TO MATT)
Man idn't have ache nor pain--he's just
gave up-said when he couldn't work no
more, he didn't want to live. For a while
he'd sit and just mend on nets - but he
can't do that anymore.
ELWYN
(speaks with difficulty)
How's your dad Matt?
I'm sorry Dr. now Elwyn you remember
Jesse Fowler passed on somi&ime back, we
were at the funeral. Remember?
Elwyn nods.
18
Matt knows. He's heard this before. Sometimes he feels more like
a mechanic than a doctor, working on old cars with parts that
have long been discontinued. He nods sympathetically.
INT. MATT'S OFFICE HALLWAY LATER
Matt pulls on his jacket. He passes Janelle in the hallway as
he heads for the back door.
MATT
I'll be back in an hour. Forgot my lunch.
JANELLE
Starting to become a habit. I can get you
something from Willis's.
He's already out the door.
EXT. HARBOR - SAME
Matt trots down the gangway and up to where the "GIGI" is
moored. He looks in. No sign of Frank. A VOICE BOOMS from a
new 35ft. JONESPORTER - it belongs to HENRY OZAR 50's.
HENRY
Just missed him Matt, he went home for
lunch today.
MATT
Right ...I forgot he's got that interview.
I NT. FOWLER HOUSE - DAY
Matt enters. Looks around. Calls up the stairs.
MATT
Frank? Frank? Hello?
FRANK O.S.
Dad.
Matt turns around, and sees Frank,
MATT
Frank? .. What are you doin ? Thought you
were driving to Boston for t at
interview?
rank slowly nos. His clothes are rumpled.
FRANK V Q�
yeah - he we rescheduled.
MATT
(KNOWING)
uh huh.
19
NATALIE - walks out, from a room in the hall. She combs her
hair through with her fingers, but her skirt, on backwards, is
somewhat of a giveaway.
Frank rolls his eyes.
NATALIE
Hello, Dr. Fowler.
MATT
Hi, where are the boys?
NATALIE
(SHEEPISHLY)
.with my mom.
Then.
MATT
(TO NATALIE))
oh-Like coleslaw?
THE KITCHEN TABLE
Matt sits across from Natalie and Frank. Sandwiches, iced tea
and coleslaw are laid out.
Frank looks to Matt for some kind of acknowledgement of his
lunch-t�e activities. Matt seems more interested in the slaw.
EXT. ELK'S FIELD - DAY
BLEACHERS
Frank is sandwiched between Matt and Ruth. They are surrounded
by dozens of young parents.
Ruth doesn't look too tilled to be here.
FRANK
Wave you guys.
Matt and Ruth follows Frank's gaze, to:
DOWN BELOW
Natalie has her hands full adjusting Jason's uniform while
Duncan clings to her. She is waving up to the Fowlers amidst
the chaos.
THE BLEACHERS.
The Fowlers wave back.
%Q,
Matt 's suddenly inspired. He leans in past Ruth, to Frank.
MATT
Did you tell your Mom how good it was?
20
RUTH
How good what was?
MATT
Frank had quite a time this afternoon
Loved your coleslaw. Ate enough for two.
RUTH
That's what it's there for...
Frank leans back behind Ruth to give his father the evil eye.
He gets a grin from Matt for his trouble. Ruth almost catches
it.
Matt rises, shuffles past Ruth and Frank, whom he gives a firm
pat on the knee.
Hot dogs?
FRANK
I'll take one.
Ruth puts her arm around Frank.
RUTH
(re: Duncan and Jason)
So, how are the kids?
Frank's caught off- guard. He shakes his head.
RUTH
. things okay?
F
Fine.
RUTH
Good, good.
Then.
RUTH
How'd your interview go?
F
(TOO FAST)
Great.
RUTH
Oh, good.
Ruth watches Natalie below.
RUTH
She's such a brave girl.
2
F
That's it. You' re driving e nuts, Ma.
Really. I've had lots of girlfriends.
F
I don't understand why this one is any
different.
RUTH
I know you don't.
FRANK
Were not serious, Mom.
RUTH
No?
F
No. It's a summer thing.
She would like to believe him.
RUTH
I see.
INT. NATALIE'S CAR - DAY
Natalie drives down Emerson Road.
As she approaches her house, she sees a Brown Suburban sitting
in her driveway. She looks confused.
INT. NAT IE'S HOUSE - DAY
THE KITCHEN
Natalie enters with groceries.
Richard is seated at the kitchen table. He's finishing the first half
of a sandwich. He drains a glass of milk.
Natalie sets her purse down on the counter, and starts cleaning
up his mess.
NATALIE
How'd you g et in this time?
RIC
(PLAYING ALONG)
chimney.
She takes the carton of milk that Richard, no doubt, left out. She pours
the final drops into his glass
RIC
Thank you.
She throws the carton out. She takes a seat, and stares at him
like a teacher counselling a troubled youth.
22
NATALIE
What can I help you with?
He kicks back the last of the milk, wipes his mouth.
RIC
I was just dropping that off for Jason.
NATALIE
What?
RIC
That.
He points to a BASEBALL TROPHY sitting on top of the microwave.
inscription bears his name and "Rockland High School 1982
Regional Championship."
RIC
I didn't know where you'd want to put it.
It was about time he got it. What am I
going to do with it?
Richard's wistful gaze stays locked on the trophy.
For a moment, Natalie's and slips away.
NATALIE
I think it will mean a lot to him,
Richard. He's really been improving
lately ...
RIC
(a sharp turn)
So I've heard.
NATALIE
It would have been nice if you'd come to
his game.
RIC
I just got your message. Where are t
with him?
NATALIE
That's none of your business.
RIC
I see. They're my kids but they're none of
my business.
NATALIE
You know what I mean.
E-??
Richard presses his fingers to his eyes. He takes a long, heavy
breath.
RIC
I - - I was thinking about moving back.
Here. With you and the boys.
23
NATALIE
What are you talking about?
RIC
What I talking about? I'm talking about
moving back, that's what I'm talking
about - I know what you're thinking, but
it's different now.
NATALIE
Oh reall ? How's the job? Your father
t ake you back on at the cannery?
RIC
(DRILY)
That's funny. You're still getting checks
aren't you?
She ignores him
RICHARD
Ya see my new rig out there?
Natalie looks annoyed.
NATALIE
Yeah - it's real nice.
RIC
It's not exactly new, I traded David the truck
for it. It's got room for all of us - a good
grocery gettin car.
A moment.
RIC
You wantta take a ride?
NATALIE
(LAUGHING)
Jesus - you don't change, do you?.
RIC
Change? No, I don't change. Everything
around me changes. You change. You take my
house, you take my kids, you fuck this
other y- No, I don't change at all.
NATALIE
It's not your house.
RIC
Oh- No?
NAT I o�?
No- And as far as fucking oes - .who was it
that answered your phone t %e other morning?
RIC
She...
2-
NAT IE
I don't care. Really, you can just stop
now. It's not working.
He takes a breath.
RIC
I just want.. -a chance.
NATALIE
For what? To fool them for a few days into
thinking they have a real father, and then
it's back to
RIC
(cutting her off)
I their father.
NATALIE
(VEHEMENT)
No, Richard. You know what defines a
father? It's what he does, not what he
promises. It's being a positive,
consistent presence.
Richard eyes her suspiciously. 13
RIC
(mimicking � her )
"Positive consistent presence." Wow. What
does that mean? I just don't get it. But
I'm not fucking a college boy, am I?
NATALIE
Look ...can you just go now? I really don't
want you here when they get back.
RIC
Oh, no, wouldn't want that.
He doesn't budge.
NATALIE
You have to leave.
Finally, as if struck b some small discove . Richard places
his large hands on the kitchen table and pus es himself up.
He heads past Natalie without looking back. He closes the door
firmly be ind him.
'I. NAT IE' S HOUSE - FRONT YARD -,RUSK
Frank's truck parked out front
The lawn is littered with the boy's various plastic weapons
a small wading pool.
25
A children's television show is heard from inside.
Natalie is sprawled out on a chaise lounge, nursing a beer, and
sharing a cigarette with Frank, who is on his hands & knees
finishing an elaborte structure with a set of FROEBEL wooden
blocks.
NATALIE
You know I've been ignoring our
difference in age, but if you keep
playing with those blocks, I'm gonna
start to worry.
F
They're not blocks - they're gifts.
NATALIE
I'm sorry I know they're a gift and a
very generous one. I'm gust concerned
that Dunk. might think e's a little old
to be playing with them.
FRANK
They're not for playing - they're to learn about
unity & balance. Froebel called them "Gifts."
This is the second gift - a sphere, a cube, and a
cylinder. A five year old can learn the
difference in form depending on how they look at
them.
Why didn't he say so in the first place?
NATALIE
Oh ou said second gift. How many are
are there?
FRANK
Twenty.
A moment.
NATALIE
You've been pla in with these - excuse
me, working wit t ese for how long?
F
Since I was about Dunk's age. My mom took
me tough all twenty.
So that's what a good mother does.
NATALIE
.oh.
FRANK ??0
Come on down here and take a look.
She sets down her beer and Joins him. The small wooden structure
looks like a home that could have been built by Lautner or Wright
Frank looks pleased. Natalie is distracted.
26
NATALIE
Your Mother gave you these Frank - I feel
funny Duncan having them.
F
Don't be silly, it was her idea.
NATALIE
(SCEPTICAL)
Really?
F
You're not looking at the house - look.
It's not all mine, it's part Mack.
Frank speaks excitedly, as he makes a quick sketch on a colored
piece of construction paper using one of the boys' markers.
F
See the whole ideal of what Mack was
trying to achieve was a common area in the
middle of the house. I mean - a large,
common space wasn't uni e to Mack, but
the idea of separating the family so that
the kids were on one side and the parents
on the other, so they would all spill into
the center ...
He looks over to Natalie, checking in.
She smiles, and shifts her gaze.
F
I'm boring you, aren't I?
NATALIE
(SOFTLY)
No, not at all, I was just... . just
thinking.
F
About what?
NATALIE
About you. . ,school,
F
I'd rather talk about our house.
NATALIE
I know you would.
F
What if I wait a year?
NATALIE
R
F
A year's not going to make a difference.
27
NATALIE
You can't do that, Frank.
F
I've thought a lot about this.
NATALIE
But you told me it takes forever just to
establish yourself.
F
Exactl , so what's a year in forever?
Know w at Duncan said today?
She can't suppress a smile.
NATALIE
You wouldn't be changing the subject
would you?
FRANK
Yes.
NATALIE
What now?
F
He said, "Frank, I don't think Jason
really understands girls."
NATALIE
(LAUGHING)
He didn't!
F
He did ... "understands girls!"
NATALIE
What did you say?
F
I said, "give him time, Duncan."
They both break up.
F
I didn't know what to say! if this is how
he is now - boy are we in trouble-
He stops short. The word - We - hangs in the air. They watch each
other, unsure of how to react. Changing the subject quickly. Frank
reaches down to the grass and comes up with one of Duncan's toys. A
real musclebound superhero. Somewhat grotesque.
F
(reading the tag)
ACTION MAN?
NATALIE
Richard gave it to Dunk for his birthday.
28
Frank sets it down.
The HEADLIGHTS OF APPROACHING CAR rake across ACTION
I NT. ROCKLAND HIGH SCHOOL MUSIC ROOM - NIGHT
Half a dozen girls age 15 to 18, are gathered in Ruth's
classroom. Desks and chairs are stacked up for summer recess.
The girls are in shorts and T-shirts, one with a picture of
the solar system, and another with the Pink Panther. Bri ht
bathing-suit straps are visible around some of their nec s:
This afternoon they were sw' �ng. A few look sleepy enough
to be in bed already. Ruth stands with her arms up- keeping
time and controlling the dynamics. A single girl sings "The
Drone"` a low monotone one hears underneath the other voices.
They sing the Balkan folk song "Oj Savice."
CHORUS (SUBTITLED)
Oh, Sava, carry me across our quiet cool
water. There is my dear village and in
that village, the prettiest girl.
Without embarrassment, they shriek they drone, and at their
ease they whistle. The music transports these girls - who are
normally pre-occupied with images of MTV and Brad Pitt, to a
place of pure self. The song ends.
RUTH
That was really good! OK it's 7:30
we should stop.
The girls gather up their things quickly.
RUTH
Remember when you sing these words-
The way we feel about the harbor, is how
the Balkans felt about the river Sava.
The girls start out of the room.
RUTH
Listen to your tapes "Moilih Tan is still
very rough and we've of a 40 minute
program to get ready by Labor Day.
I NT. FOWLER HOUSE - NIGHT - LIVINGROOM
Ruth enters. She's beat. She starts to put her purse down, when
SHE NOTICES:
Matt, kneeling in front of the reclining chair. It's back is to
her.
MATT
Just hold still ...
29
Ruth drops her purse and quickly comes around the recliner.
Something stops her.
RUTH
Oh my God.
Matt holds Frank's jaw. He gently turns his face toward the
lamp.
Frank has stitches over his right eye. The blood under the
white of the pupil oozing. Both lips are bright and swollen.
F
DAD
MATT
Come on, Frank. Hold still.
Ruth hovers, in shock.
RUTH
This was her husband, wasn't it?
Frank nods wearily.
F
Ex, he dropped in.
He takes the compress from Matt and gingerly applies it to his
forehead.
MATT
Press charges.
F
No.
RUTH
What's to stop him from doing it again?
MATT
Did you hit him at all? Tell me you hit
him! Enough so he won't want to next time?
F
I don't think I touched him.
Matt pulls up the skin around the bloody eye.
F
! Jesus, Dad!
Ruth stares at the Hospital band around Frank's wrist.
8 -`V
MATT
So what are you going to do?
F
(SMILING)
Take Karate.
30
RUTH
That's not the problem.
F
You know you like her.
RUTH
I like a lot of people. What about the
boys? Did they see it?
F
They were asleep.
RUTH
Did you leave her alone with him?
FRANK
He left first. She was yelling at ham. I
believe she had a skillet in her hand.
RUTH
Oh for God's sake.
(TO MATT)
Did you call the police?
Not yet.
RUTH
You didn't call them?
MATT
When was I going to call the police, Ruth?
He just got in.
Ruth scans the room.
RUTH
Where's the phone?
F
MOM! hold on a second,
Calm down. Let's just talk about this.
Ruth wavers.
Now the cops'll go to her place first --
and it'll scare the hell out of the kids.
RUTH
Matt.
I
MATT %Q,
We have to call them Frank.
F
It wasn't that serious.
31
RUTH
Of course. Just like the relationship
isn't serious.
HATT
Ruth, this is not the time.
RUTH
Well, when is the time? After he knocks
him into a coma? This is stopping. Now.
F
Oh really?
RUTH
Come Fall, you're on a plane. Are you
taking them with you? How- do you think the
boys will feel when you disappear?
F
HEY A
RUTH
This isn't just some sweetie from Vassar,
that you'll see on holidays, Frank.
You're not in this alone.
Frank rises and leaves the room.
RUTH
Please listen. The sooner you end this
thing the better.
Ruth exhales.
She returns to Matt, who is leaning against the recliner, chin
in hand, deep in thought.
RUTH
What are we going to do?
Matt deliberates.
MATT
I don't know.
RUTH
.you've got to talk to him.
HATT
I don't ow.,,I think he's right about
scaring the kids. Why don't we call it a
night? We'll deal with it tomorrow.
RUTH
Matt are you going to call the police or
do I have to?
You just ..s- Bd me what I think. if you
want to call them. call them.
32
Ruth looks at him, stupefied.
Without warning, Ruth leaves and goes upstairs.
I NT. FOWLER HOUSE - BEDROOM - NIGHT
Ruth lies on her side reading. Matt comes in from the
hallway.
He stares at her.
She ignores him.
Finally, she turns over and faces him.
RUTH
It's not the first time she's played
around.
Matt seems relieved that she's talking to him. He sits on the
bed and starts taking off his shoes.
MATT
She's not with the guy anymore.
RUTH
I mean from before.
MATT
What are you talking about?
RUTH
Oh, come on - you've heard the same
things I have.
MATT
I think you forget. I don't take my lunch
in the teachers lounge -
RUTH
Maybe he still loves her.
Matt looks from Ruth, out the bedroom door, and into the
hallway. He sees Frank rounding the top of the stairs.
He gets up and closes the bedroom door.
I NT. F R HOUSE F 'S ROOM - S
Frank enters the room, pulls off his T-shirt and drops it on
the floor. He walks over and faces a wall mirror. He seems
nonplussed by what he sees.
INTO HENRY'S FISH SHACK - DAY
Henry Czar sits holding court with Jason Frank, whose facial
bruises have all but healed, the stitches replaced by a
butterfly bandage. They eat cod tongues and cheeks. Drink soda
pop from bottles.
33
HENRY
Best part of the cod - but most
outsi ers, they won't touch it.
The shack is too warm and smells of cordage and paint,
spilled beer and male sweat. Jason is in heaven.
HENRY
The summer fishermen, the part-timers,
like Frank here - get in your hair.
HENRY
There's as many as 80 of em with licenses
now - should put up a sign - "Fish your
own backyard or lose your traps0"
Frank smiles at Jason.
FRANK
A lobster is simple enough Jason. But if
the guy going after him is even simpler
well he might as well give up.
HENRY
Don't hurt my feelings any. Easy to talk
Try fishing in the winter, cold as hell
10, 12, 20 below - no matter Go, go,
go, you've gotta go. You want your bread
& flour, you gotta goo
F
Henry's just sore cause I catch twice as
much as he does, with an old second hand
Boudreau.
HENRY
Don't you listen to him son - that boat
is fine. She was my first.
Takes a sip of pop.
HENRY
Kinda miss her sometimes, and that truck
you're driving .when you headed back to
school Frank?-
For some reason this strikes both of them as funny and they
crack up. Not Jason, he seems concerned by the question.
Frank sees this.
EXT. GANGWAY - DAY
Jason heads off down the pier on his bicycle. He passes Matto
JASON
Hi, Dr. Fowler
Matt waves.
31+
EXT. "GIGI" - S
Frank is hosing down the hull, as Matt makes his way down the
gangway.
MATT
What'd you pull?
Frank glances up, then continues with his work.
F
Not too bad, about forty pounds.
MATT
Haven't caught sight of you in days.
F
You know where to find me.
MATT
When you coming home?
Frank turns off the spigot.
F
Has it come to this?
He jumps back into the boat and retrieves the bait bucket.
MATT
Come to what?
Frank hops back onto the dock and sets down the container.
F
(SMILES)
You having to run errands for Mom.
Matt ignores the jibe. Frank starts stacking holding crates.
F
I'm thinking of building a couple hundred
more traps - see if I can do better than
break even.
Matt doesn't comment. He picks up a crate and throws it up top.
MATT
it'll take you two years to get a licence
to fish off-season.
FRANK
Right ...unless Henry takes me on as his
ster an. % Q
They continue stacking.
MATT
You think he'd do that?
35
F
Maybe ...it's as good a life as any. Good
enough for your father - sometimes things
skip a generation.
MATT
(trying to sta calm)
C'mon Frank - you ow ycu need something
more.
F
Why? So I can have an Ivy Lea e
education like you? Christ, i it's so
great - how come you sneak out of that
office everyday to come down here?
MATT
I like spending time with my son.
FRANK
(DUBIOUS)
UH HUHA
A MOMENTA
Frank lugs up the last container and takes a seat on the
stack. He's worn out - takes a breather.
Frank shakes his head.
FRANK
(PAINFUL)
I don't know dad---I don't know.
Matt takes a seat next to him.
A moment.
F
She's a wonderful girl ...I see that.
Frank looks lost.
The silence is broken by a loud voice.
HENRY O.S.
Franks how lon you gonna be parked there
I'd like to un oad.
The two of them regard each other.
F
(TO MATT)
Give me a hand?
TT
(SMILES)
Sure.
36
I NT. FOWLER HOUSE - NIGHT - STAIRWAY
Ruth comes down the stairs, wrapping her bathrobe around her,
The Dining room light is on.
THE DININGROOM
Frank sits at the t lea His drafting tools are out. He's fully
immersed in a sketch.
Ruth enters quietly.
RUTH
Your father is snoring. Don't mind me.
She takes a container from the fridgge, smells it, makes a
quenstioning face, then puts it back - grabs another container
and opens a cupboard. Pulls out a loaf of bread.
She quietly places a sandwich in front of him, and takes a
seat.
RUTH
Eat---you must be hungry.
Frank doesn't look up. his tone is flat, removed.
F
I'm not hungry.
RUTH
Coffee?
He doesn't answer. Ruth sits there, awkwardly.
RUTH
So---you talked with her?
FRANK
Yep.
RUTH
d-,,how is she?
F
(SHARPLY)
Oh, she's great.
I just wanted to tell you that we
I - liked her, Do like her. She's a
WONDERFUL GIRL
Frank finally puts down his pencil,',-and looks at her,
F
You're not reall going to have this
conversation wit me now, Ma? Are you?
Frank returns to his work. He doesn't look up again.
37
She leaves the food for him. Like a zoo keeper.
EXT. HARBOR - DAY
Frank hauls traps. He appears lethargic, dull - the hands a
little slower. The eyes tired. The joy of the work, replaced by
dread.
INT. HENRY'S FISH SHACK - DAY
Hen sits alone at the wooden table. There are three plates of cod,
and 3 soda-pops. Frank comes in exhausted. Henry looks up.
HENRY
You're nn'in late.
Frank nods. Takes a seat, and starts in on the cod.
Henry looks at the empty seat next to Frank.
HENRY
Where's our boy?
Frank ignores the question.
INT. FRANK'S TRUCK - DAY
Frank drives. Traps stacked in the bed.
He slows down to gaze out his window, as he passes
NAT IE' S HOUSE.
The truck crawls to a stop.
He takes the moment, storin each detail: Folded up lounge
chairs. Scattered toys on t 9e porch. A tipped-over tricyle.
He idles, as if waiting for someone. After one last look he
drives off.
I NT. GRINNEL HOUSE - BASEMENT - E. ...g
The sightsand sounds of men gathered around a poker table. A
regular game. Everyone well into their umpteenth beer, with
the exception of Matt, who nurses a can o Moxien,
Matt frowns at his hand. He glances over to
Frank r also at the table. Frank stares at his cards, but his
nd is elsewhere.
WILLIS
You can't hypnotize the cards into
changing, Matt.
, late 50's, peers above his readin glasses. He is a
lobster man by trade but fancies himself a poet.
38
WILLIS
For Christ's sake bet - or you know
Carl's gonna start.
Carl is indeed.
"The be gar's do and widow's cat, Feed
them an thou wi t grow fat. The gnat that
sings his s er's song-
Collective groans.
Poison gets from slander's tongue. The
poison of the snake and newt- Is the sweat
of envy's foot. The poison of the honey
bee. Is the artist's jealousy-"
MATT
Alright Carl. Two bucks.
Matt throws his two bucks in.
MATT
Carl, you've really got to get off this
Blake thing ... you're in a rut.
Frank tries to smile.
HENRY
Don't get him going Matt.
CARL
When I do my own stuff, you guys bitch & moan.
WILLIS MATT
That's not true. No! we like your stuff.
The place breaks up with laughter.
WI IS
Everybody in? Frankie you in?
Frank calls.
Hands are shown. All eyes to Frank.
F
(FORCED ENTHUSIASM)
Guess I'm the winner.
More groans, as Frank pulls in his winnings.
WILLIS
Always the quiet ones.
The game continues --.
39
I NT. FOWLER HOUSE WAY. DAY
Frank walks down the hallway�talking on a cordless phone. His
tone casual but serious. He jots down notes in a sketch book.
F
Sure. Right . I get in on the sixth. Oh,
I'll send that out tomorrow, sir, no
problem... Well, compared to your models
no, they don't compare to your models
(LAUGHING)
He enters the:
BEDROOM
and plops down at his drafting table.
FRANK
I'm getting another call. Can you hang on
a second? Thanks.
clicks on the other call.
F
Face? Jace is that you? What's going on?
He listens.
F
I'll be right over.
(FIRMLY)
Just stay put.
- T IE'S HOUSE - DAY
The house looks like a storm hit it: chairs tipped over, toys
scattered, papers strewn across the floor.
G ROOM
Frank looks around the room. Natalie, her hair atangled mess,
her face streaked from tears, paces nervously.
She looks up at Frank.
looks to el-e.
NATALIE
He.. just pushed me - he didn't hit me.
F
Oh, he didn't hit you? Should we throw a
party for him.
NATALIE
rank.
40
F
Enough of this. We have to call the
police.
NATALIE
I'm airs ht, Frank. I don't know what to
do,aoka I hate this. I hate the kids
seeing this.
Frank eraces her. She buries her head in his neck.
F
Its okay, now. Listen to me, I'm not
going anywhere ...
INT. JASON'S BEDROOM - UPSTAIRS
Jason looks down from the window. He sees Richard's Suburban
pull up front.
JASON O.S.
Mom!!!
DOWNSTAIRS
A POUNDING AT THE FRONT DOOR
Natalie gives a horrified look to Frank.
F
Get them back upstairs.
NATALIE
But...
FRANK
Now.
NATALIE
Come on, you guys.
Natalie hustles the boys upstairs.
THE POUNDING CONTINUES.
Frank moves to the FRONT DOOR.
He's about to check the doorknob when
THE DOORKNOB JIGGLES from the other side. It's locked.
F
Richard, just get away fr here-
Silence.
Frank turns, his eyes lock on
THE BACK-DOOR
1
Frank races across the living room, just as THE DOOR FLIES
OPEN.
RICHARD. eves burning, marches in.
I NT. JASON'S BEDROOM UPSTAIRS
The boys huddle around Natalie.
DUNCAN is wailing-
JASON looks terrified-
NAT IE strains to hear-
SO THING CRASHES FROM DOWNSTAIRS-
WE AND FRANK YELLING.
NATALIE starts to the door-
NATALIE
Listen kids - Stay here.
D C won't let go of her sleeve. He starts to move with her.
NATALIE
(SCREAMING)
I said stay here!
He lets go and,
JASON takes him up in his small arms.
JASON
(TO DUNCAN)
It's OK Dunk .--Mommy's coming
back.
NATALIE hesitates - then heads out the door.
We MOVE WITH HER out the bedroom to the,
TOP OF THE STAIRS
She slowly steps down the stairs.
A GUNSHOT.
SHE SC
NATALIE
She moves quickly down the stairs.
-2
Cautiously - she looks over the landing.
HER P.O.V.: From above, Richard stands, his back to her, his head hung.
in his hand. a 9mm Pistol.
Natalie lets out a plaintive wail.
NATALIE
NO...
Emotionless, Richard turns to her - looks down at the floor
then starts toward the kitchen.
Natalie races down the steps and stops.
FRANKS'S BODY ON THE FLOOR. HIS FACE'IS HALF BLOWN AWAY.
She's paralyzed, a scream trapped somewhere inside.
She turns away.
JASON O.S. DUNCAN O.S.
(SCREAMINQ) (CRVINQ)
MO ! D C 'S COMING LET GO OF ! ! !
DOWNSTAIRS!
Richard sits at the kitchen table.
The gun rests in front of him.
His right sleeve splattered with Frank's blood.
BLACK
FADE IN:
THE SCREEN FILLS WITH OPAQUE D E. LIGHT APPEARS.
INT. UNION CLINIC ROOM - DAY
att's face appears distorted behind the surface.
JANELLE O.S.
(FRIGHTENED)
Matt?
He lowers what we now see to be X.Ray and kills the light.
TT'S OFFICE
He hesitates, presses the blinking hold button, picks up the
receiver.
MATT
Hello? ...Hello? Natalie?
3
The blood drains from his face.
WE HEAR THE DISTANT SOUNDS OF MACEDONIA.
INT. R C D HIGH SCHOOL L- DUSK
Matt stands in the hallway outside of the auditorium that is
Ruth's classroom. A banner across the hall reads HAVE A
WONDERFUL SUMMER, SEE YOU IN THE FALL.
The choir finishes the last strains. Ruth is happy the
rehearsal has gone well. She smiles in a way that expresses
the simple joy she will never know again.
RUTH
Great.
The girls gather their things and start out, laughing and
running after each other. Matt stands in the hallway as they
rush past.
BLACK
FADE IN:
EXT. ST. FRANCIS CEMETERY - DAY
Frank's casket is lowered into the ground.
A large gathering of relatives and friends stand before Father
Oberti as he finishes the eulogy.
Matt's arm is tightly interlocked with Ruth's, beneath her
eyes - swelling from three days of suffering. Their hands
c enched to ether make one fist, both parents keeping the
other uprig t. The rain glides down their faces, mixing easily
with tears.
Matt steps up to Frank's open grave.
The gathering watches as Matt peers down into the hole,
silently speaking to it. He reaches down, grabs a fistful of
dirt. Then tosses it into the open grave.
Matt pauses, staring down, into the hole ---
He steps back, as Father Oberti delivers the end of his eulogy.
Matt looks blankly around, noticing the family's many friends
includin ; Carl and Henry from the game, Willis and Katie, and
Frank's friend, T�
Matt's eyes linger on someone behind T�
A LONE FEMALE FIGURE IN BLACK, away from the crowd. Natalie.
Their eyes meet.
Matt, almost imperceptibly, nods.
INT - FOWLER HOUSE - DAY
A large casserole is placed on a long table with many assorted
dishes. A HAND REACHES IN, scoops up some of the casserole onto
a small plate, and carries it to
A SMALL CLUSTER OF PEOPLE
standing in the middle of a much larger gathering, the reception
after the funeral.
Matt stands in the downstairs hallway. He looks around the
room, as if it is all a dream.
Children getting soda pop. Others in conversation. The odd
person looks up at him, then turns away.
Willis steps up to Matt.
His wife, Katie, stands nearby.
Matt doesn't seem to notice Willis.
Willis puts a gentle hand on his friend's arm.
WILLIS
(SOFTLY)
Can I get you anything?
Matt suddenly looks up at them, as if confused.
MATT
ere-s Rut h?
KATIE
She went to lie down, Matt.
He turns d heads upstairs. Willis and Katie watch him go.
UPSTAIRS
Matt approaches their bedroom. The door is a
BEDROOM
He steps in, to Ruth, who is on the bed. Her back is to him,
a arently sleeping. Crumbled tissues litter the bed, the
f oor,
Matt ietl moves to her. He reaches down, about to touch her
head. Something stops h�
1-5
He turns, and leaves.
UPSTAIRS
Frank's room is facing him. Instinctively, he goes to open the
door, then pauses.
'S ROOM
Matt slowly enters. He looks around, as if freezing the room in
his memory.
The place is untouched. Frank's many sketches are still pinned to the
wall. Some clothes lie scattered on the floor. His fishing cap.
Matt starts to pick up. He takes Frank's clothes from the floor
and places them on his bed.
He looks at a dirty T-shirt in his hand. He brings it to his face. He
inhales deeply, able to smell his son's lingering scent-
Finally, he sets the shirt on the bed. Wanders around. Strays
near Frank's drafting table-
He reaches out, touching the table, grazing�the topogra h of
scattered pencils - drawings strewn across it- The Froe e Gifts.
He takes a seat at the table. Feeling its frame, the sketches,
the seat below-
And without warning he is overcome. He lurches forward,
burying his face in his hands. The sobs come unrestrained,
violently, like a sudden tidal wave.
INT. FOWLER HOUSE - DEN - NIGHT - 2 WEEKS LATER
A LAUGH-TRACK fills the air.
Ruth in pajamas and bathrobe, watches a stand-up comic on TV.
She sips tea from a mug.
Matt appears at the door, kettle in hand.
MATT
Some more?
Ruth looks up and nods.
T . FOWLER HOUSE - DAY
THE FRONT LAWN
Matt stands atop a ladder underneath a large Maple, he
struggles with a pair of pruning shears. At war with a large
br c - the branch seems to be winning.
46
INT. FOWLER HOUSE - UPSTAIRS
Ruth, still dressed in her robe, pads down the hallway.
Stops to glance out the window at
NATT - working.
EXT. FOWLER HOUSE
Ruth stands transfixed. REFLECTED IN THE WINDOW PANE BELOW
HER FACE: SEE
QuJ glimpses through branches, of a small boy scampering up a
tree. Flashes of arms, legs, a smile.
We can make out the GIGGLES of the child, but they are
distorted, wobbly, as if deteriorated by memory.
The tree shudders as the boy climbs higher.
MATT O.S. RUTH O.S.
Okay - watch it now, Frank. Frank, listen to your father.
That's high enough ...
The tree continues shaking.
Ruth allows the memory, then turns back and pads back down the
hallway.
INT. UNION CLINIC MATT'S OFFICE - DAY
Matt sits behind his desk catching up on some paperwork.
Janelle appears in the doorway.
JANELLE
I'm going to lunch Dr. Fowler--
.alright
She continues smiling as though ting to extend her tenderness. Matt
avoids eye-contact. cie Leaves. Matt looks relieved.
. GRINNEL'S CR W-S NEST - DAY
Willis opened this place after serving as a chief petty officer
in the Vietnam War. The theme, if there is one, is definitely
nautical. Snapshots of longtime customers are stapled on the
walls between the booths and tables, two are framed, and
prominent. They are from Willis' - -, days; The first an
entry photo of A YOUNG WILLIS front of the ha f. The
second a sun faded color photo of : att and Willis. Both ook
to be in their twenties, both dressed in Navy Whites.
The trade here is mostly ve early breakfast, and then lunch
for the men who work at the leather and shoe factories.
47
A MUTED news show plays on a ceiling at the far end of the
booths. A sign on the wall reads T your "Forget about lunch"
breakfast.
Willis carries over two plates with omelettes, parks them on
the table, and takes a seat across from Matt.
WILLIS
Don't worry, I didn't make em.
Matt takes a bite. He winces.
WILLIS
What? Oh, that's mine.
He switches plates.
WILLIS
Sorry.
Matt takes another bite. Better,
WILLIS
You got back to work so quick, Matt. It's
not too soon?
MATT
I can't stay home. So, how's business?
WILLIS
Oh,.you know, same old crap. Got held up
again, you knew that.
MATT
No. I didn't.
WILLIS
yeah...they got seventy five bucks.
MATT
Were you on the till?
Willis chuckles, shakes his head.
WILLIS
They would have gotten something else if
I'd been on the till.
Matt nods.
WILLIS
How you doin', Matt?
You on't write, you don't call. Where'd
the love go? '0-'
MATT
Nag nag nag.
Matt glances at an old clipping from the BOSTON GLOBE stapled
to the wall. It's a photo from the 67 Redsox dream to
48
Petrocelli, Yaztrems i and Reggie Smith, each hold u two
fingers, they are s �ling after hitting consecutive omeruns.
Matt remembers. Happier days.
WILLIS
They set the bail hearing yet?
MATT
Sometime in the next few days.ye ,
WI IS
Are you going?
MATT
I don't ow. Davis says it's a formallity
really. I haven't talked to Ruth about
weather she thinks we should go or not.
WILLIS
If it's too much for Ruth, I'll come with
you Matt.
MATT
Thanks, but I'm sure it'll be alright-
Davis says it's a formallity really.
WILLIS
The criminal trial set yet?
MATT
October.
WILLIS
October?
MATT
That's what they tell me, anyway.
WILLIS
Christ, they take their time.
MATT
.yeah, well, he's in there now.
WILLIS
They're keeping him busy, I'm sure - You
know where they'll move h once he's
sentenced?
Matt shifts the focus to his omelette.
MATT
You have any Tabasco sauce?
Willis pauses. He looks around, ca `out to the kitc hen.
WILLIS
Hey, Pete. Tabasco. Pete! Ah, shit.
He heads to the back. Matt looks out the window. A refrigera ted
truck with the STROUT logo on it's side pulls to a stop at the
light. Willis returns with sauce in hand.
49
He takes a seat. Shifts his tone again.
WILLIS
Next weekend Matt- We really want you to
come up to the c p- Katie's insisting.
Not to pressure you or anything. But if
you don't come se's going to invite her
sister and that idiot and I know I'm
going to wind up insulting him again.
Matt considers this.
WILLIS
The future of my family is in your hands.
MATT
Let me ask Ruth.
WILLIS
You know, your seat is getting cold at the
game. We have Carl's kid subbing for you.
Not that we mind - he loses every time
But we'd rather take your money.
MA T T T
(SMILING)
Thanks.
Matt stares aimlessly out the window.
Willis goes back to his eggs.
Both men comfortable enough with each other to be silent.
WILLIS
How's Ruth doing?
MATT
Alright. Her...her car broke down.
WILLIS
Always something.
T PHONE RINGS OVER:
I NT. FOWLER HOUSE - LIVING ROOM DAY
The phone continues to ring. Then sto s- Ruth lies on the
couc , dressed in her robe. Her hair looks neglected. She
stares at the television. ad for Su ay Chevrolet comes on
the screen - a testimonial from a bald man saying "The best
thing about the sales people is they're not pushy." A large
graphic nla s over the an' s face NOT PUSHY - WE HEAR a c
ul into t e driveway. Ruth doesnt eem to notice. ad
or a long-term residential nursing retirement center. Ruth
looks interested.
The front door opens and Matt comes in with groceries.
50
RUTH
(not looking up)
How was your day?
Matt carries the bags into the kitchen.
MATT .S.
Fine. Saw Willis-
RUTH
My day was fine, too, thanks.
Matt comes out of the kitchen.
MATT
Sorry. ,how was your day?
Tried calling - thought you might have
gone out. The Grinnel's invited us up to
the camp next weekend. Said I'd check with
you, if we had other plans
RUTH
That sounds fine.
He turns, a little surprised.
MATT
We don't have to.
She looks up at him.
RUTH
You don't want to go?
TT
(WEAKLY)
No, I want to
RUTH
Great. Tell them yes.
MATT
(HOPEFUL)
I thoug t you might be busy getting the
girls ready.
answer. She's back into her show.
THE KITCHEN
The sink still has the plates and cups from breakfast. Matt starts
to clean u Reaching for a dishrag on the counter, he notices the
blinking o the answering machine. There are a half dozen messages.
He hits play. Nothing. He finds th ,ol e.
V. 0-
Hello, Mr. & Mrs. Fowler, this is Regina
at the District attorney's office
Mr.Davis would like to speak with you
both just as soon as possible.
51
INT. OX COUTY COURTHOUSE - DAY
A windowless rotunda. JUDGE WILLIAM WILKENSON presides.
CLOSE WILKENSON
WILKENSON
Mr. Strout has been in the custody�of The
Knox County Sherrif's department since
August second, held without bail.The
court is obliged to hold a bail hearing
within two weeks of incarceration , which
is the purpose of our procedings here
today. Given the schedule considerations
on this docket, the court feels that we
should conduct the probable cause hearing
in tandem. Witnesses will be called at
this time. Unless there are any
objections to the contrary this court
will recess until 2:00 p.m.
EXT. KNOX COUNTY COURTHOUSE - DAY
Natalie comes up the brick walk and enters the building.
INT. OX COUNTY COURTHOUSE LATER
A gray concrete room, washed out by the buzzing overhead
florescent.
Matt and Ruth sit on metal fold-out chairs, alongside twenty or
so spectators, and a smattering of reporters, in the gallery.
Richard unkempt and dressed in an ORANGE JUMPSUIT, sits
patientiy next to one of his two attorneys.
Matt and Ruth glance over at
NATHAN STROUT, 62, sitting directly behind Richard.
Nathan's two other sons, both big men like Richard, sit at his
side.
Nathan feels the Fowlers, stares. His eyes stay focused on the
front of the room.
Richard's trial attorney, MARLA S, 301s, smart, expensive, and a
long way from her home in Boston, stands in the COURT WELL.
Natalie Strout in the witness box.
So, Mr. Fowler had asked you to go
upstairs with your chil, ?z s your
husband was trying to enter...
DISTRICT ATTORNEY WILLIAM DAVIS, 40, rises.
52
DAVIS
objection. Mrs. Strout's police interview
is already documented, the defense has a
copy of it. There's no reason to waste
anymore of the court's time . - .
KEYES
Your Honor, we just want to review exactly
what s. Strout saw on the afternoon of
July 17th. Isn't that why we're here?
The Judge nods.
JUDGE
overruled.
(TO NATALIE)
Please continue.
Natalie tries to recapture her place. Keyes nods.
MARLA KEYES
(RECAPPING)
So you were bringing your children up to
their bedroom ...
Natalie's glance wanders to the gallery, to Matt and Ruth.
She,sits on her hands to keep them from shaking.
NATALIE
0 Right. I was in Jason and Dunk's room I
didn't know what was happening downstairs. I was
getting worried. I asked Jason to read Dunk a
story. He didn't want a story - He wanted to come
with me ... so I sat him back down on the bunk
and I left them in the room.
KEYES
You left "them"?
NATALIE
My boys.
She starts to cry.
KEYES
(SOFTLY)
Of course - I'm sorry. on.
NATALIE
I closed the door...I moved down the hall. I
looked back to make sure they weren't behind me.
I had just started down the stairs, when I heard
the shot. I ran down...
A deep sob ...
NATALIE
.and Richard...
53
KEYES
I'm sorry, can we just back up? You said
you "heard the shot"?
NATALIE
Yes.
KEYES
You "heard"? s- Strout, did you witness
the accident?
Prosecutor Davis jumps up.
DAVIS
b`ection. There are no grounds to
in icate this was an "accident"
The Judge nods.
JUDGE
(TO STENOGRAPHER)
Please strike "accident" from the record.
(to Marla Keyes)
Ms. Keyes, please rephrase the question.
Marla Keyes hasn't taken her eyes off Natalie. They both know
what's next.
KEYES
(GENTLY)
Mrs. Strout ...did you actually see the
sidearm discharge?
I NT. DISTRICT ATTORNEY'S OFFICE - DAY
Davis hands a cup of coffee to Matt, who sits on a faux leather
couch with Ruth.
DAVIS
(to Ruth re: coffee)
You sure you don't want?
RUTH
I'm fine.
Davis takes a seat across from them.
DAVIS
You see, we can't appeal bail - It's just
not set up that way.
RUTH - -y
You let that bastard walk out and we're
supposed to just sit here? Don't tell us
there's nothing to do about this.
DAVIS
It's not us, s. Fowler. The state's bail
code is to ensure future court appearances
54
DAVIS
In this case Strout's family was prepared to
put up a substantial amount of property as
bail - That, along with his ties to the
community made it hard for us to convince the
judge of a serious "Risk of Flight".
RUTH
Oh - I see.
DAVIS
It's not just your case. Now you can file a civil
suit. I recommend it. But not now, wait till
after the crimminal trial.
Matt stares at a small cartoonish statue on Davis's desk. It is
one of those things that were popular in the 70's. A little man
chasing an ambulance. It reads "World's Greatest Lawyer."
RUTH
And when will that be? Next week, next
month?
DAVIS
Well... honestly - anywhere between twelve
and eighteen months?
RUTH
I thought you said there would be a jury
trial sometime in October!?
DAVIS
If he was incarcerated the udge would
move for an October date - basically to
save the County the cost of housing and
feeding him as an inmate - But with bail
the court date, unfortunately, is always
later.
RUTH
Oh my god, oh my god.
Matt jumps in.
MATT
But you're confident you'll be able to put
him away for good then... Right?
Davis looks uncomfortable with the question.
Ruth sees this. She gathers herself.
??
RUTH EJ
The things she said in there ...what is the
damage?
DAVIS
Manslaughter.
55
RUTH DAVIS
What? Oh, Jesus Christ! The wav this is going, that'd
be my bet - especially since
Nathan Strout brought up that
barracuda from Boston - she's
very smart.
RUTH
This was no accident. Be killed our son in
cold blood.
Ruth.
RUTH
What?
MATT
How long would he be sent away for?
DAVIS
Hard to say really. Anywhere between five
to fifteen years. We think we have a good
shot at the max - fifteen. Even with good
behavior, he'd do a full ten.
RUTH
Ten years? Five years? Are you out of your
mind!? He killed my son. Does anyone know
this?
Matt looks at his shoes, as Ruth glares down Davis.
Davis sits back, a little shook up.
DAVIS
I'm sorry, s. Fowler. I understand.
Unfortunately, in situations like this
when there is no eye witness, there ...
well, there's not a lot we can do.
INT. MATT'S CAR - DAY - MOVING
Matt drives. Ruth looks out the windshield.
Both in their own worlds.
Ruth turns to look out her side window.
T CANNERY'S STACKS ARE HUMPING.
RUTH
You took the whole day?
Matt nods.
CAR DRIVES PAST T SITE.
EXT. FOWLER HOUSE - DAY
A handful of reporters and photographers lingering on the
lawn, are galvanized by the arrival of the Fowlers.
I NT. FOWLER HOUSE DAY
Ruth is just entering, jostled, relieved to be home.
She turns. Matt's not there. She looks out the front door to
SEE
MATT AT THE BASE OF THE
surrounded by reporters.
REPORTER #1
Dr. Fowler, how do you feel about
Richard's Strout's bail?
REPORTER #2
Do you plan to take any further legal
action, Dr. Fowler?
REPORTER #3
Dr. Fowler, have you had any contact with
Mr- Strout?
Matt stands paralyzed, a deer caught in the headlights.
THE KITHCHEN
Matt enters as Ruth takes the plates to the sink. She keeps her
back to him. He pulls off his coat.
MATT
Can you believe this? I ask those idiots to
leave. No one budges. Not one. What the hell
are we supposed to do, bring them sandwiches?
RUTH
(her back to h�
What are you asking or?
What?
Ruth turns to h
RUTH
(SHARPLY)
If you want them to leave. Tell them to
leave.
INTO FOWLER HOUSE - BEDROOM - NIGHT
Ruth is aslee Matt stares at the ceiling. He turns to the s
clock. It- a ter three.
57
KITCHEN
He opens a cupboard door and grabs some Fig Newtons. He
stands there eating them, the door of the cupboard is long,
the kind you see in old capes. Matt stares at the inside of
the door. His finger slides down the length, he kneels down.
We see what he's looking at. Pen and pencil marks straight
lines each about two inches apart - each with Frank's name
and aqe.
T DEN
Matt sits in his chair. The plays, muted. He �s looks at it,
but he's not watching.
Finally, he rises, clicks the off, with the remote, and
flicks off the light.
EXT. RIC STROUT'S DUPLEX - NIGHT
A small development of modest, duplex apartment buildings. The
architecture is outdated, the landscape unkempt.
CLOSER ON one corner unit. The lights are off; there is no sign
of life.
A Brown Suburban sits in the driveway
WE HEAR the RADIO "The following is a re-broadcast of last
nights game, the third in a four game series{ between the
Boston Red Sox and the Cleveland Indians. This broadcast is
the property of Major League Baseball etc."
INT. TT'S CAR - NIGHT
Matt wearing a light coat over his pajamas, sits behind the
wheel of his car listening to the game.
He glances down at a piece of paper with an address. Then back
out his windshield, looking at the corner duplex unit.
INT. FOWLER HOUSE - KITCHEN - DAY
Ruth sits at the table in her bathrobe. Smoking. The CAMDEN
HERALD in one hand. The COURIER GAZETTE, and THE WORKING
WATERFRONT within easy reach.
Matt enters, fully dressed in jeans and a sweater. He winces at
the smoke.
RUTH
You slept late. For you.
Matt pours himself some coffee.
MATT
I took one of your pills.
58
RUTH
You never do that.
She turns the page, absorbed in an article.
Shaking her head, she slaps the paper down.
RUTH
Well there it is in black and white. You
should read some of the things he says.
Unbelievable.
Matt takes a sip of coffee. He glances down at the paper.
He nods, without really looking.
MATT
yeah.
He checks his watch.
MATT
I should get going.
RUTH
Where? It's Saturday.
MATT
I won't be gone long.
He bends, kisses her lightly on the cheek.
MATT
I'm meeting Willis. I'll tell him we're
coming.
She stares at the kitchen doorway long after he exits.
Finally, she pulls the paper back and resumes reading.
. CANDY'S QUICK SHOP - DAY
Natalie stands behind the only counter cf a small MOM AND POP
STORE whose specialty is cold beer, wine, cigarettes, and fish
& Game Licenses. She rings up some items for a couple of
teenagers.
Matt enters the place, keeping his distance, a few feet from
the counter.
Natalie sees him.
She pauses, as if quickly trying to-,gather her thoughts, the
teenagers are waiting for their chang .
She counts it back to them, and they exit.
Matt steps forward.
59
Hi.
NATALIE
. Hi.
elderly woman places a half -gallon of milk, a dozen eggs,
i s t er cou nter
d a carton of L&M cigarettes down or. the reg
Natalie quickly rings up the items and bags them.
ELDERLY WOMAN
Can you break a fifty?
Natalie takes the bill, places it in a drawer underneath the
register, and hands the woman her change, with a smile.
ELDERLY WOMAN
Thank you, dear.
NATALIE
You're welcome.
ELDERLY WOMAN
Could I possibly get another bag?
Natalie quickly double bags the woman's groceries.
There is a break in the customer flow. Natalie steps to the end
of the counter.
MATT
I just wanted to see how you're doing. I
tried reaching you ...
NATALIE
Oh. We're at my mother's house now. I'm
sorry, I wanted to call you ...
MATT
It's okay.
She looks over. A man hovers over some ina?azines near the
re inter.
NATALIE
(ALMOST WHISPERING)
Dr. Fowler ..-I' so...I don't even know
how to begin...
MATT
You don't have to.
NATALIE ? er
I didn't lie the first time, I didn't,
it's just - how it came out. I'm so sorry.
matt nods, as if he had assumed as much.
60
NATALIE
Is s- Fowler .-- does she know you're
here?
The Man places a 12- ack of beer on the counter. Natalie looks
to Matt, who shakes his head no.
Natalie steps back to the register and rings up the beer.
Her chin quivers. She makes a mistake on the register, has to
start over.
A few more customers gather on line.
NATALIE
(TO CUSTOMER)
Can I get you anything else?
She rings him up. Makes change as another customer steps up.
Matt steps near her, trying to maintain privacy.
MATT
(QUIETLY)
How are the boys? Are they okay?
Natalie, choked by emotion, cannot respond. Near tears, she
puts her hand up, unable to speak.
Matt reaches out to touch her arm.
His gesture is interrupted as:
She pulls the cigarettes from an overhead rack. The Man pays.
Matt stays a moment longer. There's nothing else to say.
He leaves.
She returns to her job.
EXT. ST. FRANCIS CEMETERY ADJACENT CHUR CH
We see Ruth from a good distance away, watched from afar. She
places some potted daisies on a grave. She kneels down.
EXT. ST. FRANCIS CHURCH - PARKING LOT LATER
Ruth walks through an empty lot and heads for her c
RUTH'S
She opens the door. Suddenly there .-.. hand on her shoulder.
She is startled.
She turns around. It's Father Oberti.
61
EXT. ST. FRANCIS CEMETERY LATER
Ruth and Father Oberti sit smoking on a bench.
RUTH
It comes in waves, .and then nothing. Like
a rest in music. No sound - but so loud.
A moment.
RUTH
I don't know what to do.
Father Oberti nods.
RUTH
I feel so ang
Father Oberti looks off in the distance.
FATHER OBERTI
Louise McVey lost a child a few years
back. Maybe you remember.
RUTH
(SEARCHING)
mmmm she had four - it was the youngest
girl, wasn't it?
FATHER OBERTI
Yes. She told me about a vision she had
when she found out her daughter had
died ...she saw herself at a great
distance from the earth encircling
it, an endless line - as she got closer
she saw that it was made up of mothers
traveling forward. She fell into line,
and began walking with them. When they
reached a certain point, the line
divided. She said she knew - that all the
millions of women on her side - were the
mothers who had lost children-she
seemed to find great comfort in that.
Ruth doesn't react.
RUTH
How did she die?
FATHER OBERTI
A drowning ... some kind of swimming
accident.
RUTH
oh.
FOWLER HOUSE - DAY
mower moves across the lawn, spitting up a shower of grass.
Matt pushes the mower.
62
INT. 'S SPECIALTY SHOPPE - DAY
A small bouti e frequented by mature women. Blouses with a flair,
pantsuits, an nice dresses han from the racks. The sort of place a
woman can still buy a pair Joze a white gloves. The front of the store
is devoted to footwear.
Ruth sits while YVONNE, 45, kneels in front of her, holding
Ruth's stockinged foot. She slips on a dress shoe.
YVONNE
Oh, they're beautiful on you Ruth.
Ruth stands up, takes a few steps.
She stares at the shoes.
They are a rich black.
RUTH
Do you have them in brown?
YVONNE
I think so, let me check.
Yvonne disappears into the back.
Ruth walks to the front of the store, browsing.
She moves to the display window and brings a pair of very
young pumps u to her nose, and inhales. She smiles and sets
the shoes bac on the ledge.
Something OUTSIDE catches her attention.
EXT. YVONNE'S SPECIALTY SHOPPE - SAME TIME
The REFLECTION OF A COUPLE, walking down the sidewalk, can be
glimpsed in the window, their movement WASHES ACROSS RUTH'S
FACE.
ON THE COUPLE.
a YOUNG BLOND WO holding hands with a dark haired, young
he turns to smile at her. We see his face.
RIC
Oblivious to Ruth's presence.
INT. O 61 S SPECIALTY SHOPPE - E-" TI
Ruth looks disoriented.
YVONNE O.S.
I'm sorry Ruth - there's only the black.
63
She turns from the window. Yvonne stands next to her, an open
shoe box in her hands.
EXT. FOWLER HOUSE - DRIVEWAY - LATER
Two Hefty bags are dragged along the walk. Matt tosses one
next to a garbage that sits just inside the garage. He picks
up the other bag tossing it inside.
The bottom splits and grass spills out onto the drive-way. He
goes inside and returns with a broom.
He sweeps the rass into a pile. Picking up handfuls and
refilling the gay. He takes the broom and sweeps what's left
back toward the la . He stops, stares down at his feet.
IN THE CEMENT; A child's handprints�and writing, Frank 82
Ruth's car pulls into the driveway.
She gets out, almost slamming the car door.
Without a word, she moves past Matt, and into the house.
Matt continues sweeping.
I NT. FOWLER HOUSE - BEDROOM - NIGHT - LATER
Ruth wakes to the sound of metal on metal. She looks over to
Matt, he's not there.
RUTH
(SCARED)
Matt?
She steps to the window, pulls back the shears and looks out.
Through the window, in the dark, alone, flashlight in hand.
Matt is dismantling the swin set.
- GRINNEL CABIN - DAY
A four room dwelling, surrounded by a wrap around porch that
looks out over a canopy of forest below. The place was built
before insulation was practical. Planks, beams , and studs are
exposed. There is a bathroom, two bedrooms, and a common room
consisting of a kitchen/dining area, and living room, with a
ge, river stone fireplace.
There are two oil burning 1 ps hanging from cross beams at
each end of the room. Ruth sits next to Katie at a table in
the middle of the room. Katie is ouring over a stack of
snapshot books, descibin her chid "h and r dchildren in
eac pose. The photos, w ile many, are all from a single trip
that the family made to Florida. There is a clear dif erence
in vernacular between the two women, Katie also has a voice
that has been trained to reach anyone who might be in the f
corners of her house.
9 +
KATIE
s lil Charles down at the
Oh and here'
pool - He figured out how to get down to
the pool on the elevator all by himself.
RUTH
(PATIENTLY)
He must of been very proud.
KATIE
LINE
Oh yeah. Oh here's Shannon waitin in
for that rollercoaster - You know the
one?
Ruth has no idea.
RUTH
(POLITELY)
Were the lines very long?
KATIE
Well some of em. yeah - sixty minutes
and upward-Unless of coarse ya got the
"Fast-Pass."
RUTH
What's the fast pass?
KATIE
MS"
Well ya got all the different "Kingdo -
there---and so you take the fast pass
it's a kind of a laminated card and you
put it intah a machine and it tells you
what time to come back - so you can go
right in without waitin in lane. You guys
ever go down to Florida?
Ruth smiles at the thought and shakes her head-
RUTH
0 -.no0 How many grandchildren do yo u
have now?
Katie turns from the snapshots and takes a breath while
holding up her fingers to count-She is genuinely unsure.
KATIE
(under her breath
Well there's lil Charles, Shannon, the
three older ones and the babies ... eleven.
RUTH
That must wonderful.
Q 0-??
Katie smiles and nods - it is a
KATIE
(by rote) "I
Well. Willis always says guess there's
no danger of us dying off -
65
She catches herself. Too late. She looks at Ruth. Embarrassed.
KATIE
I'm sorry - I wasn't...
Ruth waves her off good naturedly-
RUTH
I wanted to have more ..abut we had Frank,
and Matt was just starting his practice..
- - -I guess it made sense.
KATIE
(GUILELESS)
Well sometimes I wished I was an only
child - let me tell you. When I was
little, my big sister could get me to do
anything. More than once she got me to
throw m self down the stairs by telling
inc the blanket she wrapped me in was a
magic car et- Naturally, not being that
swift, I believed her. Plus which, on
this trip to Florida, we was in one of
the Kingdoms there, and she was going on
about how's we had to go on this one ride
that was in this sort of mountain.
I said -"K as long as it's not a roller
coaster- on account of my back-" Well,
we get strapped intah the little car
there she starts laughing - Oh it's a
rollercoaster alright - that one there.
She points to the pictures.
KATIE (CONT'D)
A ride in the dark, no less.
EXT. GRINNEL CABIN - S
A great, endless, expanse of Fir trees.
We are f up, looking out at this timbered landscape that
seems to stretch forever.
Matt stands before the edge of a cliff, d.ressr ` "- a short
sleeved shirt. He takes a deep breath of the ( ri. . -ountain
A steady CHOPPING rhythm is heard in the background.
Matt turns. Willis is chopping the last of some firewood.
MATT
How much of this is yours?
Willis plants his in the stump.
WILLIS
(SMILING)
You ask me that eve t� e. You know the cove, the
other side of the c in?
yeah ...?
WILLIS
All the way to the other shoreline.
Matt turns to him, grinning.
WILLIS
Almost three hundred and fifty acres.
Know what it went for when I bought it?
You don't want to know.
Matt continues surveying, awed.
Willis turns, starts walking back to his chore.
WILLIS
Come on, I'll let you help me.
Matt joins him. Together, they bundle up the wood.
TRAIL TO GRINNEL CABIN - DAY
TO
Matt and Willis load the wood into a small trailer attached
a GREEN POLARIS MAGNUM 500 ATV.
WILLIS
Only got 1/2 a chord of Oak left at home
and you know how much that bastard Daniels
charges - least I can stack this up to the
cabin ... have something to burn this fall.
TRAIL TO CABIN - SAME - MOVING
THE
Matt sits behind Willis on the ATV as they pull the wood up
road. The trees clear and we see the cabin. A GREEN SUBARU
FORESTER is parked in front.
I NT. GRINNEL CABIN - DAY
Willis, Katie, Matt and Ruth, sit around a copious holiday
spread, well into their meal.
KATIE
It's a wonderful product and the treat you
pretty good. It was on account oz, selling Mary
Kay, that we got the new Subaru.
RUTH
(SMALL TALK)
The ride up was very comfortable. It's a
very nice car.
67
WILLIS
Well it's not really a car, it's got four-wheel drive.
It's a little SUV.
The Grinnel's custom, is to loudly, and with very little effort,
finish each others sentences. This is how they have fun.
KATIE
What the hell is that S crap?
WILLIS
Sports utillity vehicle.
KATIE
(to Matt and Ruth)
It's a little jeep. S , ATV, C - what's
with all these .--?
She searches for the word. Little help? Anyone, anyone?
RUTH
(FINALLY )
Acronyms.
KATIE
Yeah, guess it's too much trouble to just
say what something is anymore.
WILLIS
(to the table)
What does PMS stand for?
KATIE
Yeah well,I was an army brat.
I grew up with jeeps. Willy is just
uncomfortable that I know more about one
masculine thing than he does.
Just one?
The pty chuckles.
WILLIS
Thanks, buddy.
Matt hel s himself to the last of the wine- Re se s to have
a ite bit
Ruth watches as he drains the bottle.
She shoots him a look.
He catches it - , V o-,
A moment.
68
RUTH
(LOOKING AWA )
You've done a suc a nice job here, Katie.
Don't tell me you made those drapes
yourself ...is that antique linen?
KATIE
(LAUGHING)
Sort of..
She walks over to the window and fingers the fabric.
KATIE
They're pillowcases from our first house.
Ruth smiles at the memory. Katie sits back down at the table.
KATIE
Oh, I've saved every knick=knack & whim-wham we
ever had.
EXT. DIRT ROAD - DAY
A post stands proudly at the end of a dirt and gravel road.
Attached to it are two signs. One reads PRIVATE ROAD. The
other, NO HUNTING.
It butts up against two lanes of blacktop - a small logging
road.
Headlights cut through the early evening.
Willis's idea of a S a green, SUBARU FORESTER, kicks up some
rocks. it pauses briefly before taking a right onto the pavement.
IN/EXT. SUBARU - TREVETT SWING BRIDGE - DAY
The car is stopped behind a wooden guard arm. A swing bridge
opens for a large fishing boat. The bridge is operated by one
man. Be uses a long metal tool, that he loops into a pulley
system, which lies beneath a grid in the center of the
bridge.
EXT. TREVITT BRIDGE - SUBARU - DAY
Ruth asleep in the back seat, it-s been a long weekend. Matt
glances over at her, then up to the front
We are outside the car as it waits for the Drawbridge to
close, so it may continue. We hear the following from
perspective.
I
MATT 1?? 0`1
How's David doing up there in Castine?
WILLIS
Well he dunnit want to go overseas - oh
no...he told them he'd Reep doinit as
long as he could stay in Maine or Vermont-
69
KATIE
(INTER PTIN )
But David says if theyy want him to go out
to New Mexico or California, he'll go
back to infantry - he don't care. Long as
he stays out here. He's not about to--
WI IS
Course he don't like working in
recruitment anyhow's - Christ he gets
them bo s come down to to the office at
the mal - he gets them half-way
processed and they decide they want that
delayed entry thing - Christ I could't do
IT--
TIE
Or they decide not to join up at all and--
WI IS
Well, like that one kid - he had him all
the way through the works and then - Oh
CHRIST-
KATIE
His folks called David and said that the
boy wanted out so bad -- that he'd taken
his own life.
They all look at each other. How did this conversation get so
depressing?
WILLIS
Yeah well something like that gets to you
Christ, I couldn't do it.
INT. FOWLER HOUSE - KITCHEN - DAY
Ruth is at the table, alone, dressed for rehearsal, hair done.
She finishes her breakfast as she pours through the weekend's
mail.
Matt in a suit, steps in to say goodbye.
MATT
I'm going now.
She looks up.
RUTH
(FLAT)
Okay.
MATT
You ready to go back?
RUTH
70
MATT
(T IN )
You loo nice.
ANGLE
Who looks to Ruth for some kind of reaction. Nothing.
Matt heads out the door.
Ruth continues sorting the mail.
She stops on one piece. Seems stunned, repeatedly reading it.
THE ENVELOPE
It's from Publisher's Clearinghouse.
In oversized block letters, it reads,
FRANK FOWLER, YOU MAY HAVE ALREADY WON $10,000,000!
She stares at the piece for a long time.
Looks off. Smiles. And starts giggling. She can't stop.
The giggles quickly flow into a deep laughing fit, harder and
harder as the tears rain down.
INT. MATT'S OFFICE - DAY
Matt is in his office, on the phone.
MATT
(INTO PHONE
Well that's totall unacceptable isn't
it? - Well what did he say? uh huh
well, we can't allow that m I guess
we're gonna have to show him how the cow
eats the cabbage.
Janelle knocks on the door.
MATT
Hold on a second.
He puts his mouth over the speaker and lowers the phone.
Nods to Janelle and she enters.
JANELLE
Dr. Fowler, I'm sorry. There's someone '
Ryan Collit. His mother`N brought him
in. He doesn't have an appointment but--
I'm sorry bL _; you'll have to re-schedule.
Janelle's a little taken aback.
71
JANELLE
He's Ann Collit's son. I thought. Well, you know, I
thought you might want to
MATT
(into the phone)
I'll call back later.
He hangs up.
He gets up and grabs his jacket
MATT
Sorry Janelle, I'll be back at four.
JANELLE
(UNCOMFORTABLE)
.o.k.
Matt leaves her standing there.
I NT. DISTRICT ATTORNEY'S OFFICE - DAY
LOBBY
William Davis's secretary, REGINA, 40, sits at her desk. She is
on a call, Matt stands waiting.
REGINA
(HANGING UP)
I'm Sorry, Dr. Fowler, you just missed
him.
MATT
I really need to see him.He go to lunch?
REGINA
That's right.
She senses something in his tone.
REGINA
He's across the street.
I NT. kUURRET ON MAIN RESTAURANT DAY
A bustling dining room, packed with businessmen. The nice
place in town
it's lunch hour.
The doors open. Matt enters.
He scans the room. His eyes set on
WILLIAM DAVIS
sitting at a table with colleagues, sharing a laugh.
72
Matt makes his way over to the table.
Davis sees h'
DAVIS
Hey, Matt.
Matt stands awkwardly, as Davis' companions look on.
DAVIS
(POLITE)
Have a seat.
Matt hesitates, takes a seat next to Davis.
Manages an obligatory smile to the others. The conversation
resumes.
EXT - MARKET ON MAIN RESTAURANT - STREET LATER
On the street outside the restaurant, walking.
DAVIS
We're doing all we can, Matto I promise
you that.
MATT
What can I do Bill?
DAVIS
There's nothing...
Matt takes Davis' arm.
MATT
It can't be manslaughter. There's got to
be something - isn't there something you
can find? A piece of evidence? That
happens - doesn't that happen?
He realizes he's holding Davis' arm. He lets goo
Davis looks at Matt sympathetically.
DAVIS
We really are doing everything we can,
Matt - But I'm not going to lie to you -
We've got no witnesses - only Strout - who
claims there was a struggle - and forensic
can't determine if there was a struggle.
because of the condition the house was in
when Frank got there.
Matt says nothing. �Q.,
They come to the corner.
Matt steps under an awning and into the shade.
73
Davis stops. He shifts feet a couple of t�es. Pla ing with
the change in his pocket, the way people do when they're
uncomfortable.
DAVIS
I'm sorry att. if it helps, we all want
this guy put away. We have kids, too.
Matt nods, without looking at him.
Matt looks at Davis's hand moving the change. He becomes
hypnotized by the sound.
Davis continues talking. Matt can't hear a word of it,
though. All he hears is the clinking of the coins in the
pocket.
EXT. GIGI HARBOR - DAY
Matt stands in the wheelhouse, he brings the helm about,.cuts
back on the throttle and heads for the winch, the stern is
stacked with four high rows of Frank's empty traps.
Matt pulls up a string of pots. Opens the door and pulls out
a young male. He flinches and drops it. His finger goes to
his mouth.
EXT. GIGI HARBOR LATER
Loaded up to the gills with pots. She turns toward harbor.
EXT. GIGI HARBOR - S
Matt at the wheelhouse heading in. His hand on the wheel,
blood trickles from his finger. He sucks on it again, reaches
down underneath his feet and pulls a band-aid from a box and
applies it to the finger.
EXT. "GIGI" LATER
Matt unloads Frank's traps onto the landing.
He stops. Seems to sense something. He looks back up the gangway.
Jason sits on his bicycle watching.
The two regard each other for a moment. Then without a word
Jason rides off.
I NT. GRI L'S CROW'S NEST - DAY
Willis dries a glass. He keeps an eye on
Matt sitting at a booth in the front?f the diner, silhouetted
by a window. He pushes a half-eaten burger away, drains a
bottle of beer. It's not the first.
T BOOTH
Willis sets down a cup of coffee for himself. Takes a seat
across from h'
They both gaze absently out the window.
I NT. ROCELAND HIGH SCHOOL - RUTH'S OFFICE - DAY
Ruth is alone at her desk, she wears headphones and is busy
making notations on a sheet of manuscript paper.
There's a KNOCK on her door. She doesn't look up.
RUTH
(taking off the phones)
Yes?
There's a pause, then the door slowly opens.
Natalie takes a step in.
Ruth looks up. If she's surprised, she doesn't show it,
NATALIE
I - -a I hope this is okay.
Ruth says nothing. Natalie moves closer.
NATALIE
I've been hoping we might be able to get
together - to talk.
Ruth watches her as she approaches the desk. Natalie bends and
cautiously extends her hand for Ruth to hold.
NATALIE
I just want to tell you how -e-
And in a flash Ruth SLAPS Natalie across the face with her open
hand.
Natalie springs back, paralyzed with shock.
She tries to catch her breath, staring directly at Ruth.
Eyes ablaze, Ruth says nothing.
- The two women look at each other for a very long time
And final , as if she finally somehow got the resolution she
came for, lead held high, Natalie turns and walks out.
E X T STROUT & SONS CANNERY T
cyclone fence surrounds the lace. sign reads "Strout
SONS"-
it is the end of the day.
75
A grow of workers file out, gabbing, starting to strip
the eves of their smocks and hair-nets.
Tim, Frank's friend, exits with his co-workers.
He climbs into his mini pick-up, and pulls out of the lot.
A few seconds later, from outside the lot, Matt's car pulls
AWAY-
INT. SHOW & TELL - AFTERNOON - LATER
A crowded working class tavern. Video oker machines, beef jerky at
the bar, Schaeffer's on tap. We're in fuck. it's happy-hour.
Tim sits around a table with a couple of buddies, laughing.
CHARLES
We lost a few strings and we had a fair
idea it was him who was doing it - so's I
just flat out asked him "No wasn't me."
You should of seen what he tried to pull
last wintah. He was up to the island there
- and he claimed our traps were in his
part of the cove - Bobb was up to the
tavern on the head and e d him shooting
his mouth off about how he and his
stet an was gonna take a bat to the old
man & me - so's I told the old man about
it and he says "Don't hurt my feelings
none."He says "Go on down to the Walmart
and buy a couple of plastic bats."
Next day the old man walks intah the
office at the market - near the scales -
where he know's the son of a bitch is
gonna come in with his catch. He's got two
six penny nails a hammer, and the bats
o'coarse, so he nails those things right
intah the wall. The guy at the scales
looks at him like he's nuts "Whatta ya
doing there Ivan" he says "Just sending a
message" and the old man walks out. I come
in and I could see what he wrote across
them things.
The door to the bar opens.
TIM
What?
CHARLES
"Here's the bats - if you got the balls."
Tim and the others crack up.
CHARLES
Didn't touch our traps aftah that.
stops mid sentence.
76
Matt is passing by his table.
TIM
Dr. Fowler?
Matt flinches, "surprised" to see Tim.
A FEW MINUTES LATER
Matt and Tim have moved to another booth.
Matt leans heavily on his elbows, listening to Tim.
TIM
No - no, I don't even see Richard anymore.
And he'd never tell me anything, believe
Me.
Matt takes a pull of beer.
MATT
Sure, of course. I was just wondering, you
know, maybe there was something you
heard, through the grapevine, maybe one
of his buddies said something ---
TIM
(SEARCHING MEMORY)
No -a-
MATT
I was thinking, Richard's brothers,
they're still working with you, right?
They must talk.
Tim throws a nervous look over to the table where his friends
ea They're oblivious to the conversation.
He looks back to Matt, shifting in his seat.
Matt leans forward. He speaks in an intense whisper.
MATT
I'm just saying, Tim, if we could find
something, something concrete. If you
could just ... it could be just a slip of
the tongue ---
Tim looks into Matt's eyes, feeling the torment.
TIM
I'll keep my ears open.
Matt looks at him, dissatisfied.
TIM
It's funny running into you here, Dr.
Fowler.
Matt looks at Tim blankly, then finishes his beer.
77
IN/EXT. TT�S CAR - AFTERNOON - LATER
Matt drives end of highway.
NEXT LIGHT
Matt pulls into the left-hand turn lane and signals.
There is a car in front of h� Above the licence plate is a
yellow sticker which reads "Student Driver-" The plate itself
is a vanity plate it says P Y4US-
A 73 BLUE PICK- truck eases to a stop in the right lane, next
to Matt's car.
Matt glances over, for a moment he half expects to see Frank.
He cracks the passenger side window, for a better look.
He stares at the driver's window.
Their window rolls down.
attractive girl with short brunette hair stares back at
Matt.
Lost in the absurdity, he doesn't look away.
The light changes.
The girl smiles sweetly and blows him a kiss, before
continuing through the light.
Matt watches her go - he smiles - as if somehow relieved.
The car behind him gives a polite toot - Matt makes the
left.
- SOUTH END MARKET - S
Ruth enters, passing the empty front register.
She strolls down an aisle, pulling some items from the shelves.
TWO N CHAT from the next aisle.
E #1 0-S-
yeah, man, I - d better get back to the
grind ---
MALE #2 O.S.
Alright, pal ---
E #1 0-S-
Just don't ste al anything.
NIC, 301S, wearing a clerk-s apron, price gun, and plastic tag tha:
says IC, rounds the end of the aisle. As he does, he spots -
78
RUTH, moving down the aisle toward him. He freezes
A nervous smile - He throws a quick look to the other
aisle.
NICK
(a little too loudly)
Good evening, s - Fowler.
AT THE COUNTER
Ruth pulls out her purse as Nick rings her up.
RUTH
Oh, and a pack of Marlboro Lights,
NICK
Sure,
As NICK reaches up to the overhead cigarette area, he can't
help but glance past Ruth.
Ruth catches this, she turns, and sees -
RIC
appear from a far aisle - he makes a BEELINE FOR THE DOOR,
SHE TURNS WHITE.
he leaves, LOOKS BACK,
THEIR ES HEET - AND THEN HE'S GONE.
It's a long time before Ruth moves.
Finally, she turns back to Nick.
He looks at her, embarrassed, awaiting her reaction.
She just stares at h�
- FOWLER HOUSE- THE DEN - DUSK
Hatt sits comfortably, feet up, beer in hand, deep into the
book ORTE DIURBAN by J-F Rowers,
He EMARS the front door S
He doesn't move.
most immediately, he hears the banging of cupboards opening
d closing.
79
KITCHEN
Ruth is putting groceries away, ignoring, or trying to, Matt
who has appeared in the doorway.
She puts milk in the refrigerator and stares into it for a long
time, trying to decide what to do. He can feel her judging
H'
F'inall , .having resolved something in her mind, she closes
the refrigerator door- revealing, taped to it, several
newspaper articles on the case, gathered by her, no doubt,
including one with a picture of Frank.
MATT
How did it go today?
She doesn't answer.
MATT
Something wrong?
She doesn't turn around.
RUTH
Wrong? Like what, Matt? What could be
wrong?
She continues "straightening up", starts recklessly washing
dishes.
Matt doesn't leave.
A plate SHATTERS in the sink.
This stops her. She stares at it, then feels his presence. She
turns around.
RUTH
What do you want?
He looks unsure of himself.
MATT
I want to know what's going on.
RUTH
Right.
MATT
You're obviously upset. If there's
something you want to talk about ...
RUTH
Talk? Who, us? Oh, you mean to each other?
What if somebod waked in? They wouldn't
recognize us. They'd think they had the
wrong house.
80
Matt takes this in. He breathes deeply.
MATT
Do you want to talk or not?
RUTH
("SEARCHING" )
Talk, talk ... oh, you must mean about our
dead son. No, we haven't before, why
should we bother now?
They stare at each other across the kitchen.
MATT
(SLOW BURN)
What can I do, Ruth?
Ruth looks at him for a long time.
RUTH
Forget it, Matt. Why don't you just go ...
MATT
(BUILDING)
What do you want from me?
RUTH
I want you to stop acting like nothing's
happened! That's what I want.
MATT
Why? because I'm not bouncing off the
walls?
RUTH
No, Matt, That would require feelings. We
don't want you to hurt yourself.
MATT
Do me a favor, Ruth. You want to have a
grieving contest, go find someone else.
He starts to turn.
RUTH
yeah, I know how you grieve. have
another beer.
He spins back.
MATT
WHAT DO YOU OW? WHAT? You know nothing!
You know nothing about me. What I go
through every day - ever lousy,
stinking day.
RUTH
No, I don't know, Matt. I don't know what
you go through, or if you go through
ything. But that's your choice, dear,
not mine...
81
MATT
You're goddamn right it is. My choice is
to not scream at the world. Maybe one of
us has to be reasonable here, did you ever
think of that?
RUTH
Reasonable? e, Matt, I don' t know about
you, but I ss my son. I'm glad you have
time for reason. That's what you imparted
to Frank, That sense of reason - Oh, he
thought you were very reasonable.
MATT
What the hell is that supposed to mean?
She is about to say something, but stops short.
RUTH
Nothing.
She turns back to the dishes.
He moves in on her, seething.
MATT
What are you really trying to say anyway?
She says nothing, picking up the broken plates.
TT
.that I'm the one responsible?
She drops the pieces back in the sink and exits.
THE HALL
He's fast on her heels. She heads for the bedroom.
MATT
Let me tell you something. Let me tell you
something!
She throws the door closed behind her, but he bangs it open
with his palm.
MATT
You of it backwards. I know what you
think. That I was too lenient, that I let
him get away with ...
RUTH
Everything. Everything!
She exits into
THE
He's right behind her.
82
MATT
Oh, really?!? Why do you think he never
came to you?
RUTH
He wouldn't talk to me, Matt. He didn't
trust me. You made sure of that.
LIVING ROOM.
MATT
Why would he talk to you, Ruth? You never
listened!
RUTH
No. But you did. You were winking at him
the whole time. You encouraged him. You
wanted what he had. Her.
MATT
You've got to be kidding...
RUTH
You know it. Come on. You wanted it, and you
couldn't get it - that's why you didn't stop him
so you could get your kicks through your son.
You know that's what happened. And now you can't
cope with it. You can't admit the truth - To me,
or to yourself - You can't admit that he died for
ygur fantasy piece of ass.
Matt, stunned, reels for a second
And then, finally, explodes.
TT
You want to know why our son is dead,
Ruth? He wasn't with her because of me, he
went there because of you. Because you
were so controllins, so overbearing, so
angry that he was it, that he was our only
one.
RUTH
That is not true.
MATT
It is! From the time he was little you
were telling him why he was wrong.
Everything he did was wrong. What was
wrong with him, Ruth?
She stares at him, dumbfounded.
1 011
MATT
You are so unfor ivinge You are. That's
what he said. Ana you're playing the same
shit out with me - That's a horrible way to
be! Horrible. You're bitter, Ruth. You
can point your finger at me all you want
83
MATT
.but you better take a good look at
yourself first.
She already has, of course.
RUTH
(WE )
I just wanted to talk about what happened,
Matt.
MATT
You expect me just to open up to you?
Embrace you? You scare me. How can I talk
to you? I can't even look at you.
They suddenly become aware of the DOORBELL, ringing, over and
over.
They watch each other, both reeling, both out of breath. The
DOORBELL continues.
MATT
(COMPLETELY DRAINED)
That's probably ... the police.
THE DOOR
Matt opens it. There is no cop, just Kristen Gellar, 12, a young
gymnast who'd like to compete in Hawaii.
KRISTEN
(REHEARSED)
Hi there. I'm Kristen Gellar from the
Rockland Gymnastics Association - Today
we're selling brand name candy. Each
purchase is matched by the Tandy
corporation to help us meet our goal of
travelling to Oahu to compete in the
East/West conference.
Matt's in another world. He stares at her.
MATT
I... ...sure. I'll take some.
KRISTEN
Terrific, how many? We have a special
today, 6 bars for ten dollars.
Ok...sure.
if by rote, Matt pulls out his wallet and hands her a ten.
KRISTEN
Great! " particular brands you like? We
have , Goobers, Hershey's-
Anything. Anything is fine ...
81+
She finally hands him an assortment.
MATT
Okay ---
He's about to close the door.
KRISTEN
if you could just sign this. I have to
give you a receipt. I'm sorry .this pen--
Matt hands her one from his pocket.
Matt waits as the girl fills out and hands him the receipt.
He closes the door before she can thank h�
THE LIVING ROOM
Ruth is curled up on the couch.
Matt stands over her, unsure of which way to go.
He stares absently into the small mountain of candy in his
hands - sets it on the coffee table
He takes a seat at the other end of the couch.
MATT
Ruth...
RUTH
(SOFTLY)
Yes?
MATT
Ruth .001 had no right. . .what I said -0. no
one, no one should ever have to hear
that...
RUTH
(BARELY AUDIBLE)
I'm so sorry...
He looks at her, as she starts to cry.
He moves closer to her.
MATT
It's okay...
RUTH
No, you're right, Matt, You are
am-.. horrible. ?-`
MATT
Please--.
85
RUTH
I don't blame you, Matt. I just...
that girl came by. She came by the
school, and I couldn't forgive her. I was
so...
She lets go, crying hard.
He lifts her head onto his lap.
He reaches out, stroking her head, pulling her matted hair from
her forehead as she sobs into his lap.
RUTH
I'm sorry. I have been so an - I keep
seeing him, Matt. I've seen him.
Matt nods, but he's not really clear.
MATT
(CONFUSED)
..Oh I know - up in his room - Sometimes
I swear Frank's in there - on the way home
just now - at a stop light - for a second
I COULD'VE--
RUTH
(SOFTLY)
Not Frank.
Matt freezes.
Then.
RUTH
Richard...
She breaks into sobs.
RUTH
.and I don't know what to do.
MATT
Where did you see him?
RUTH
Eve here - Downtown, and the market. I
saw at South End. He smiled at me,
Matt - I keep running into him ... he
s �led.
Matt still strokes her hair.
But he's in another world.
86
INTO GRINNEL HOUSE - BASEMENT - NIGHT
The game has just started. Willis deals. Henry, Carl & Willis
pick up the old banter as if Matt had onl been away on
vacation; but he can see the affection an courtesy.in their
eyes.
WILLIS
The ne of the game is Texas Chase'
He groans.
WILLIS
Is there a problem?
HENRY
Why do you delude yourself with that
crap?
WILLIS
What are you talking about?
HENRY
Look we're not in Vegas. It's five card
draw, or seven card stud.
WILLIS
(ENJOYING THIS)
That's what I said five card draw - jacks
to open - Carl?
HENRY
Asshole,
Matt smiles. He's missed these guys.
CARL
I'll open with a dollar.
HENRY
Raise a buck.
The bet's to Matt. He stares at his cards for a very long
time. Willis looks to say something, when Henry hits his arm.
This stops him.
Matt looks up. He sees the patience they are all exercising
for his typical indecisiveness. This bothers him.
He stares back down at his cards. Stalling, waiting for
someone to bust him.
He looks u at Willis - Henry - Carl. They all sort of smile
uncomfortably. He can't take it.
TT
Oh, for Christ sake say something!
This wakes them up.
87
MATT
Quit pussy footing around me d 't! You
just gonna let me stare at these cards
all night!?
No one wants to make the first move.
This upsets Matt even more.
MATT
O.K. fine!
He stares back down at his cards.
Finally it is Carl who speaks.
There are things of which I may not speak;
There are dreams that cannot die;
There are thoughts that make the strong heart weak,
And bring a pallor into the cheek,
And a mist before the eye.
And the words of that fatal song
come over me like a chill:
A boy's will is the wind's will,
And the thoughts of youth are long, long thoughts.
Matt looks up from his cards into Carl's eyes.
The two men regard each other.
EXT. GRINNEL HOUSE - FRONT PORCH - NIGHT
The game has ended. Matt says goodnight to Henry and Carl, as
the two of them pull out of Willis Is driveway. Matt is about to
leave. Just climbing in the front seat. When Willis puts a hand
on his shoulder.
WILLIS
Come back in for a drink.
I NT. GRINNEL HOUSE- ENTRY HALL - NIGHT
Willis and Matt step back in, closing the door behind them.
KATIE O.S.
Honey, are you coming to bed now?
Willis moves to the steps leading upstairs.
WILLIS
Soon baby, Matt's still here.
KATIE 0.S. 11 %-?.:
Oh f hi Matt - Hone , would you mind
bringing me my pit s? They're downstairs
from when the kids were here.
WILLIS
I'll be right there.
I NT. GRINNEL HOUSE - BASEMENT - NIGHT
A few minutes later.
Matt sits alone in the room. Be gets up to examine a picture
hanging on the opposite wall. He's not particularly
interested, he's seen it a million times, he's just killing
time. A corner of the room devoted to Naval memories. A
pristine version of Matt's U.S.S. CONSTELLATION cap serves as
the center piece.
Willis comes down from upstairs.
WILLIS
She's all set - now what can I get you?
MATT
I'm fine thanks.
Willis nods and takes a seat.
WILLIS
- you back on the wagon?
He is.
WILLIS
Sit down Matt you're making me nervous.
Matt takes a seat.
WILLIS
I'm glad you came tonight.
MATT
Me too.
WILLIS
Boy, Carl really laid on the verse huh?
MATT
(CHUCKLING)
ye ..ye he did. Got me thinking
OUT-
e stops himself.
WILLIS
What?
MATT
I don't know - sort of silly really.
WILLIS
C'mon what is it?
89
MATT
This thing with - with Frank when he was
about three, I guess. We were over at my
folkls house.
MATT
Mom always liked little dogs - this one
was a - Pekingese, I think. I remember
hearing this yelp, and then a scream.
Frank ran out pointing to his finger. I
looked at it couldn't see an thino. Mom
said Frank must have "cornered the dog"
and I knew she was probably right. We
were driving home, and Ruth noticed Frank
itching his a ..she pulled back his
sleeve, and there were these two deep,
bloody, puncture marks...
WILLIS
Why do you think he pointed to his
finger?
Matt shakes his head.
TT
(SEARCHING)
.I cruess he didn't want us to ow.
He stares into his hands, as the memory crystallizes.
Willis looks confused, and somewhat uncomfortable.
WILLIS
He gets up and heads to the bar.
MATT
(TO HIMSELF)
.had to put that dog down.
Willis throws some ice in a tumbler.
WILLIS
I was thinking just the other day about
the last time Frankie was-
Matt cuts him off.
His name was Ar k. Not Frankie.
Willis looks stunned.
WILLIS
.I'm sorry Matt.
I don't care ...he just never liked being
called that.
90
WILLIS
O.K.
Matt nods. He looks away.
MATT
She didn't tell me, Willis. She never
said a word - She saw him at South End.
WILLIS
Christ.
MATT
She's seen him before. It's killing her
I didn't think about bail. I thought I
wouldn't have to worry about him for
YE S-
WILLIS
You know what I heard? He's tending bar
up to Old Orchard Beach.
Matt looks up.
WILLIS
For a friend. Ever notice even the worst
bastards have friends? Nobody knows him
over there. If they�do, they don't care.
They drink what he mixes
Willis sets a can of Moxie down in front of Matt.
WILLIS
(referring to the can)
I don't know how you drink this stuff
it's what drove me to beer as a child.
He sits down with his own drink.
A moment.
WILLIS
I hate him, Matt. My boys went to school
with h� He was the same thei.,- Know
what he' 11 do? Five at the most - And
then you' 11 e bumping into h all over
AGAIN
I ow.
WILLIS
Remember that woman about seven years
a o? Shot her husband sopped him of f
t e bridge in the St - Gac-: with a
hundred pound sack of cement and said the
whole way through it nobody helped her.
Know where she is now? She's in Sears ort
now, a secretary. And whoever helped her,
where the hell is he?
91
WILLIS
it'd break my heart Matt, it would, but -
you ever think about just - moving away?
Matt nods. Stares into his hands for a long time.
MA,TT
yeah, we have.
Finally, he looks up, his eyes meeting Willis I s.
MATT
It wouldn't matter.
THE SOUND OF A LONE F VOICE - SINGING
EXT. CAMDEN AMPHITHEATER - MAGIC HOUR
The voice is joined by another and becomes a duet. We turn to
find the voices and see we are at the foot of a small knoll.
A steeple in the distance pokes thorough the last blue husk
as the sun dies. Looking around we see an ancient gazebo -
then stairs leading up to a stone library - A boulder at the
foot of another knoll - above - descending toward us -
The girls, each holding a single candle,dressed in brightly
embroidered smocks, enter in procession singing -Jennie Mae
Mama. "
The effect is beautiful and feels like a sort of quickening.
The group proceeds down the hill and blossoms into an -
AMPHITHEATER which faces the harbor. Ruth stands at the
bottom of the proscenium - her arms up - directing the choir.
The place is filled with half the town.
ANGLE MATT
Trying to take it all in. But not really present.
Suddenly he turns and leaves.
EXT. OLD ORCHARD BEACH- NIGHT
The town goes to sleep for the night. The signs businesses
power down.
EXT- PETER'S NIGHT
The establishment's various Beer Signs & interior lights turn
off.
EXT. PETER'S - NIGHT
A LARGE CHAIN OF KEYS Turns the tumbler of a deadbolt lock.
Two cars are all that's left.
A WAITRESS emerges from the bar. Richard is fast on her heels.
He exits, making conversation as he quickly locks the doors.
92
RIC
Hey -o- wait up.
WAITRESS
Good night, Richard. See ya tomorrows
She starts to walk to her car- He catches up to her,
accompanying her to her car.
RIC
You want to come over for a drink? Just a
drink.
She stops in front of her car.
WAITRESS
No, thanks. Maybe some other night.
He stands in front of his Brown Suburban, watching as the
Waitress gets in her car, pulls away and leaves.
RICHARD
Fuckin' bitch.
He turns and freezes.
Matt Fowler stands a few feet away, an Ortaies calibre
7.65 automatic directly at Richard's face. His gloved hand poin
grips the gun tightly.
RICHARD
Dr. Fowler?
MATT
Don't talk. Unlock it and get in.
RIC
He . wait a minute. Let's, let's just
calm down...
Matt COCKS the gun.
RIC
Alright! Shit.
Richard obeys. He unlocks both doors.
Matt opens the back door, but stays planted, the gun trained on
Richard.
Richard gets in the driver's seat. Matt climbs in the back.
He presses the gun's muzzle against the back of Richard's head.
V 0-,
MATT
Is there any one at your place?
RIC
(IRONICALLY)
NOT TONIGHT
93
MATT
Good. Drive there.
Richard looks over his shoulder to back the car up.
Matt aims at his temple, but does not look at his eyes.
Richard finishes backing up and puts it into drive.
MATT
Drive slowly - don't try to get stopped.
EXT. PETER'S PARKING LOT ALLEY
Matt can see the ocean. He uncocks the revolver.
Matt cracks the window.
Matt leans down in his seat. He transfers the gun into his
left hand, removes the glove from his right, and wipes the
sweat from his bare palm onto his pantleg. He puts the glove
back on, gripping the gun.
Richard's Brown Suburban drives down an alley adjacent to Fun
Park and turns onto a deserted Main Street.
INT/EXT. BROWN SUBURBAN - NIGHT
They drive back through town, the sea wall on their left hiding
the beach.
on the right are the places, most with their neon signs off,
that do so much business in s er: the lounges and cafes and
pizza houses. The street itself empty of traffic.
RICHARD
He was making it with my wife.
His voice is careful, not pleading.
Matt presses hard with the muzzle against Richard's head.
Richard flinches and moves his head forward.
Matt lowers the gun to his lap.
MATT
Don-t talk.
/EXT. BROWN SUBURBAN RICHARD S TROUT'S DUPLEX - NIGHT
The Brown Suburban slowly pulls up to the front.
Matt leans forward. Th. muzzle grazing Richard's head.
Drive it to the back.
91+
RIC
You wouldn't have it cocked, would you?
For when I put on the brakes.
Matt COCKS it.
It is now.
Richard tenses. He drives around the side of the building.
EXT. RICHARD STROUT'S DUPLEX BACK YARD - NIGHT
The Brown Suburban inches forward toward the garage and
brakes. The engine shuts off.
Matt keeps the cocked gun firmly trained on Richard. He gets
out and shuts the door with his hip.
MATT
All right.
Richard looks at the gun, then gets out. He moves across the
grass.
Matt closely behind, looking at the row of small backyards on
either side of them and scattered tall trees.
He glances from house to house. Looking for signs of one
insomniac neighbor, some man or woman sitting alone watching
the all-night channel from Boston. All is quiet.
They move up the back walk and to the side kitchen door.
Matt stands directly behind Richard as he opens the door.
It-s pitch black inside the duplex.
MATT
Turn on the light.
Richard flips the wall switch.
in the light.
Matt stares at his wide back, and long reach.
I NT. RICHARD S TROUT'S DUPLEX - KITCHEN NIGHT
Richard stops just inside the kitchen. Matt closes the door
softly behind gim.
MATT
Where-s you r suitcase?
Richard almost turns around.
RIC
My suitcase?
95
Matt grips the gun tighter, straining to keep it from
ling.
MATT
Where is it?
RIC
in the bedroom closet.
MATT
That's where were going then. When we get
to a door you stop and turn on the light.
They cross the kitchen.
Matt can't help but glance at the sink and stove and
refrigerator: no dishes in the sink or even the dish rack
beside it, no grease splashings on the stove, the refrigerator
clean and white.
Matt becomes momentarily 2reoccupied with one of Duncan's
drawings taped to its door.
MATT
Wait.
Richard stops.
Matt looks conflicted. Doubt has crept into his face For a
moment he seems to have lost his resolve.
RICHARD O.S.
(IRRITATED)
.Jesus.
Matt looks to Richard with a renewed sense of purpose.
TT
.keep going.
LIVING ROOM
A light flicks on. They take the hall past the living room.
Matt doesn't want to see anymore of Richard's life. But he
can't help h� elf. He takes it all in: Magazines and
newspapers in a wicker basket, clean ashtrays, a stereo,
CD's neatly shelved next to it.
They continue down a hallway.Richard stops outside a door.
RIC
There's no wall switch.
MATT
Where's the light?
RIC
the bed.
96
Let's go.
Richard steps into the darkness. Matt is careful to stay a
pace behind. Richard leans over by the bed. Matt braces.
lick. A small bedside lamp turns on.
The bed, a double one, is neatly made; the ashtray on the
bedside table clean the bureau top dustless and no
photographs- prob ly so the girl - who is scae? - won't have
to see Natalie in the bedroom she believes is theirs. But
because Matt is a father and a husband, thou h never ex-
husband, he knows (and does not want to ow that this
bedroom has never been theirs alone.
Richard turns around; Matt looks at his lips, his wide jaw.
RICHARD
I wanted to work things out with her.
Try to get together with her again.
But I couldn't even talk to her.
He was always with her.
Dr. Fowler, I'm going to jail for it.
I am going to jail. If I ever get out
I'll be an old man. Isn't that enough ?
MAXT
You're not going to jail.
Pack clothes for warm weather.
RIC
What's going on? You're not gonna let me
go!
Matt looks away. He doesn't answer.
RICHARD
Dr. Fowler?
MATT
You're jumping bail.
RIC
.Dr. Fowler.
Matt points the pistol at Richard's face. The barrel trembles
a little.
Richard reaches up into his closet and pulls out two large
canvas bags. He places them on the - He pulls a third
bag, a small, red, woman's suitcase, Natalie's no doubt, next
to the others.
He moves to the bureau.
MATT
It's the trial. We can't go through that,
my wife and me. So you're leaving. I've
got you a ticket. My wife keeps seeing
you. I can't have that anymore...
97
RIC
He was making it with my wife.
I'd go pick up my kids and he'd be there.
Sometimes he spent the night. Duncan
told me.
He doesn't look at Matt as he speaks. He opens the to
ewer. Matt steps closer so he can see Richard's hangs.
underwear and the socks rolled, the underwear folded and
stacked. Richard arranges them neatly in the suitcase. The
kitchen the livin room the clothes. Matt is struck b
this man's sense of order, o iscio ine.
Matt watches the absurdity of Richard sorting clothes by
season. He even packs a small instamatic camera. He packs
the things a man accumulates and become part of him.
MATT
(re: the suitcases)
Okay, that's enough.
RICHARD
I need some things from the bathroom.
MATT
alright.
THE BATHROOM
Richard steps just inside the bathroom door and stops.
MATT
Keep going.
RICHARD
Gotta pee.
Matt realizes Richard means to have privacy.
He pushes him into the room. Takes a step back and pulls the
door so it is only slightly ajar. He keeps his foot between
the jam and the door.
He eyes Richard's back reflected in the mirror. He can hear
him make water. He looks like he wonders about allowing this
courtesy.
Mattes glances at:
A picture on the wall outside of the bathroom: Natalie
Richard and their two boys, in front of someone's house.
Smiling. She looks happy.
C
looks around the room frantically - his eyes find nothing
that will help his situation - he flushes the toilet - Matt
swings the door fully open - Richard fills a travel kit with
toiletries.
98
RICHARD'S BEDROOM
Richard tucks the travel kit into a bag. Matt keeps the gun
on him.
Richard closes the suitcase, and faces Matt. He looks at the
Matt moves around behind him. Now Richard is between Matt
and the lighted hall. Richard carries a canvas bag in each
hand. Matt pulls another glove from his pocket. He uses it
to turn off the bedside lamp. Richard now d'_lhouetted in
the doorway.
Let's go.
Richard steps into the hall. Matt follows, carrying the small
suitcase in one hand, the gun in the other.
They start down the hallway. Matt turns off lights with his
elbow as they go. Past the living room into the kitchen.
Wait.
Richard tenses, he stops at the kitchen door.
Matt sets the suitcase down. He uses that hand to reach into
his jacket. He pulls out a red, white, and blue piece of
paper. He drops it on the counter top. Words on the paper
read AMT RACK.
Matt picks up the suitcase again. He steps closer to him.
Presses the gun into Richard's back.
MATT
open the door.
Richard's reaches down and carefully turns the knob. He
slowly pulls the door open. Matt takes a step back.
MATT
Get the light.
Richard reaches down and hits the switch. Click. The two men
now in silhouette.
Richard exits first. Matt close behind.
EXT. RIC S DUPLEX - S
Matt sets the case down, reaches bacjcan gently closes the
door. They walk down the two brick steps to the lawn. s
the cross the lawn. Matt's eves and ears once a ain alert
for any sign of life. Not Eng. They reac the garage
walk to the back of the Brown Suburban.
Richard drops the two bags near the rear bumper.
99
Matt keeps the gun steady as Richard pops open the hatch and
loads the bags. Matt sets the small suitcase at Richard's feet.
He reaches down and loads it last.
/EXT. BROWN SUBURBAN S
Richard gets into the driver's seat. Matt in the back.
Richard looks up in the rear-view. For a moment, Matt connects
with the desperate eyes.
RIC
They'll catch me. They'll check passenger
lists.
MATT
I didn't use your name.
RIC
They'll figure that out too. You think I
wouldn't have done it myself if it was
that easy?
Silence.
He starts it up, slides into reverse. He looks back over his
shoulder as they back down the driveway. Matt averts his stare.
Looking down at the gun barrel but not at the profiled face
beyond it.
MATT
You were alone. We've got it worked out.
RIC
.who's we?
Good estion. Matt doesn't answer though. Richard shifts
into drive.
EXT. RICHARD'S CONDO - PARKING LOT - S
The Brown Suburban pulls out of the lot and onto the street.
I NT. BROWN SUBURBAN - S
RIC
There's no planes this time of night, Dr.
Fowler.
MATT
back through town. Then north on 73.
RIC
The airport's South...
MATT
Somebody's going to keep you for a while.
They'll take you to the airport - turn on
the radio. Find the game.
100
RIC
It's after three
MATT
They run it again.
Matt leans back, quietly uncorking the hammer.
MATT
No more talking.
Richard tries to read Matt �s face in the mirror, but it -s now
in shadows. Richard fumbles with the radio, surfing the
stations. Matt is right. The game is on.
Nomar Garcia arra hits a long drive to left with runners in scoring
position "A cinch to collect 200 hits this season."
Richard sets his eyes on the road.
EXT. BROWN SUBURBAN - HIGHWAY 1 SOUTH - NIGHT
The Brown Suburban heads away from Old orchard, onto a small
two lane rural hi hwayy. The road is flanked on both sides by
open fields, and lonely capes. Few cars on the road.
INT BROWN SUB /WISSC SET BRIDGE
They come up over the high bride over the channel: to the left
the smacking curling white at the breakwater and beyond that
the dark sea and a full moon, and down to the right the small
fishing boats bobbing at anchor in the cove.
Swirling colors from behind catch their attention.
Richard and Matt both look in the rear-view.
A state trooper's car with its gumballs flashing races up in
the distance behind them.
Matt jams the gun into Richard's ribs and slouches down.
MATT
(Trying to stay ca
ri ht take it easy - pull over to the
shoo der.
Matt & Richard sit tight waiting for the inevitable. The
light gains in intensity, as the cab fills with crimson.
EXT. WISCASSET BRIDGE
The cruiser tears right past them. Quickly fading into the
distance. ? e
I NT. BROWN S - S
Matt leans back he looks shaken. Richard watches his chance
DISAPPE
101
EXT. OWLS HEAD - NIGHT
the vague outline of mountains, It is almost pitch black. Onl
hi d' the moon. Then, from far off, a pair of headlights move
tow us, fighting through the thick night
.BROWN SUBURBAN 73 NORTH JUNCTION
Richard sees the sign for the 73 North. He glances back at
Matt in the rearview mirror. He makes the turn.
EXT. OWL'S HEAD GRANGE - S
The Brown Suburban makes the turn.
I NT. BROWN SUBURBAN - S
Matt & Richard check out their surroundings.
EXT. SMALL BRIDGE - NIGHT TREVETTE BRIDGE
The Brown Suburban drives across a small steel bridge that
covers a salt river. The tires make a low thumping sound on
the grid.
I NT. BROWN SUBURBAN - B Y C ROAD (OWLS HEAD) - NIGHT
They have left the 73 and are driving on a small rural route.
Matt leans forward, the gun rests against the top of Richard's
seat.
He looks around, trying to get a bearing.
MATT
Turn around.
RICHARD
Why?
MATT
We missed it. Turn around. back and
turn in at the last road.
EXT. R ROUTE - SAME - NIGHT
Richard slows, and makes a U-turn.
His lights illuminate
PRIVATE -ROAD and NO HUNTING signs.
He takes a right, onto a dirt road flanked on both sides by fir
trees.
E .DIRT ROAD
We track with the Brown Suburban as fir trees strobe in the
foreground.
1 02
IN/EXT. BROWN SUBURBAN - DIRT ROAD
RIC
There's nothing back here Dr. Fowler? I
donut understand why you don-t just
MATT
It's for you're car. You don't think we'd
leave it at the airport do you?
MATT WATCHES RIC S LARGE, BIG KNUCKLED HANDS TIGHTEN ON THE WHEEL.
They crawl up the trail, the wheels crunching the gravel, the
headlights shining into the dense woods.
The road seems endless. Richard cringes as they bounce over a
bump.
Both of them eagerly peer beyond the windshield.
Finally, at a great distance, the tiny lit windows of a cabin
come into view. A BLUE CHEVY PICKUP is parked in front of the
place.
MATT
Stop here.
The Brown Suburban crawls to a stop. Richard keeps the engine
running. Matt presses the gun hard against his neck. He
straightens in his seat and looks in the rearview mirror.
Matt's eyes meet his in the glass for an instant before
focusing on the hair at the end of the gun barrel.
TT
Turn it off.
Richard does. The ball game disappears, and the silence is
strangely a anent. He continues to hold the w eel with both
hands. He ooks in the mirror.
RIC
I'll do twenty years, Dr. Fowler,
I'll be fifty-four years old.
MATT
That's two years younger than I
EXT. DIRT ROAD - S
Matt gets out and k�cks the door shut. Richard opens his
door. He doesn't move. Just sits in the interior light.
His face now pleading. Matt can see it in his lips.
MATT
Get the bags.
RIC-
(TERRIFIED )
Where are we Dr. ?owler?
103
MATT
Almost there.
Richard carefully gets out. Instinctively, he raises his hands
about shoulder level. They move to the back of the Brown
Suburban. Richard pops the hatch.
He pulls out the two canvas bags. He sets them on the ground.
He reaches in and pulls out the small suitcase.
We hear a SCREEN DOOR slam shut. Richard looks surprised.
He turns back to Matt.
C'mon now.
Richard reaches down and picks up the bags. He struggles to
carry all three.
Matt grabs the small suitcase from him.
MATT
That way.
Richard lugs the bags toward the cabin.
We hear HEAVY CRUNCHING FOOTSTEPS OF SOMEONE APPROACHING.
Richard stops.
WILLIS APPEARS FROM DOWN THE PATH.
He nods to Matt.
RIC
Mr. Grinnel?
WILLIS
I'll get them, son.
Willis takes the bags from Richard, turns, and carries them up
the long path back to the cabin.
RICHARD LOOKS S r �E' RELIEVED.
He waits a moment, u-sure of what to do.
Finally, he starts wal'-.ing up the path after Willis.
1
Wait.
Richard stops, �d-step. He tenses, waiting.
MATT
You can carry this one.
Richard turns.
LO
He reaches out to take the bag from Matt.
Matt keeps it at his side, and takes a step back, his gun
trained on Richard.
RICHARD CONNECTS WITH TT'S EYES.
KNOWS.
RICHARD DUCKS AND TAKES ONE STEP THAT'S THE BEGINNING OF A SPRINT.
BOOM
THE GUN KICKS IN MATT'S HAND.
THE GUN'S REPORT ECHOES FOR ETERNITY.
MATT STANDS ABSOLUTELY STILL.
STILL HOLDS THE LITTLE SUITCASE.
LOOKS DOWN AT RICHARD STROUT SQUIRMING ON HIS BELLY. KICKING
ONE LEG BEHIND HIM, PUSHING HIMSELF FORWARD, TOWARD THE WOODS.
MATT WATCHES DISPASSIONATELY.
STEPS FORWARD, RAISES THE GUN AND FIRES ONE MORE SHOT.
RICHARD STOPS MOVING.
Matt stands there motionless.
We hear FOOTSTEPS.
Willis runs up to Matt.
STOPS AT RICHARD'S CORPSE.
WILLIS
(BREATHLESS)
MATT
The two men look into each others eyes. Matt seems to be somewhe re else
He looks back down at the body.
WILLIS
This isn't what we talked out,
MATT
He tried to run.
Willis looks at the gun still in Matt's hand, the little
suitcase in the other.
WILLIS
We were going to wait, and take him out in
the woods.
Matt raises his head. He looks at Willis flatly.
105
MATT
I coul �t wait.
BODY -
a d in a BLUE TARP, is suddenly dragged away by the ATV. It
es quite a racket.
We follow it as it scrapes along, the road back into the woods
WOODS -
They have roved the body from the ATV and are now draggin it
deep into the wood. The only sound is the breaking of brans es
and their continual grunting.
The stop�at the top of a small knoll, panting and sweating.
Wil is quietly removes a small mass of branches, revealing a o t
large, well-dug hole. Together, they drag the body t he edge
of the hole. Move behind it. Lift the legs, and push it in.
THE WOODS - LATER -
Willis and Matt come up from the woods. They carry Richard's
lug age. Willis drops the canvas bags into the hole. Matt
loo s at the suitcase and then drops it in.
Willis takes a couple of steps away, and grabs two shovels
leaning against a small birch. He hands one to Matt.
Together, they begin filling in the hole.
SAME PLACE - LATER -
Matt holds the flashlight as Willis sprinkles leaves and
branches over the hole.
Willis freezes, as if he has heard something. Matt cuts the
light.
They hear some footsteps approaching, closer, then they see it -
A DEER
not 30 yards distant watchin them A Buck with a splendid rack,
a deep chestsnowy white, a l of him in his prime His flag up
d twitching. His eyes u Quin
Then he bounds off and is gone.
WOODS LATER -
The walk through the woods. The light on the ground. They
bot look up through the trees where they end at the lake.
Neither of them speak, only the sounds of their hea breathing
and clumsy strides through the low brush and over fa len
branches.
106
EXT. BOW
Wide and dark, lap ing softly at the bank, a small island near
it's middle, with black, tall evergreens.
Matt, gun in hand, takes two steps back, he strides with the
throw and goes to one knee as he follows through. The dark
shapeless object arcing downward, splashing.
T DIRT ROAD, T BROWN SUBURBAN.
/EXT. BROWN S - TREVETT SWINGBRIDCD - NIGHT
Matt in the Brown Suburban, is stopped behind the wooden
and arm, Willis in his own car behind. The swing bridge is
open for the 5:00a.m. fishing boats. The operator uses his
long metal tool, the bridge swings back around. The arm
rises.
MATT
Seems somewhere else.
WILLIS
WILLIS
(ANGRY)
C'mon g M tt.
O A
Matt drives the Brown Suburban over the bridge. The operator
gives him a friendly nod. Waves to Willis in the Ford.
EXT. WISCASSET BRIDGE - PRE-DAWN
Willis's truck & Richard's S travel towards us away from
Wiscasset. On their way to Cheesy Town Island.
I NT. FORD - OLD ORCD STATION - PRE-DAWN
Willis watches out his windshield as the Brown Suburban parks
in the station�s lot.
Matt gets out of the Brown Suburban and locks the driver�s door. Be walks
the Ford, and gets in the passenger side. They drive off.
/EXT- WISSC SET BRIDGE - S
Willis's car moves slowly over the channel bridge, back to
Wiscasset.
Matt rolls down his window. Be tosses Richard�s keys over the side of
the brad e . The trim shapes of lobster boats and smal craft anchored
in t he hExbor below, loo like old toys in a bathtub,
He rolls up the window as the car continues across.
Both men silent, lost in thought, staring out the windshield at
the road ahead.
107
WILLIS
{SOFTLY)
What time is it?
Matt checks his watch.
MATT
Ten to six. We lost an hour. Sorry.
Willis's jaw tightens.
WIILLIS
(almost losing his temper)
Yep...high tide. Can't stop people from
fish'in Matt - uck'in brides
Matt looks over at Willis.
MATT
I'm sor Willis.
Willis looks at Matt. He knows. Eyes back to the road.
WILLIS
(FORCED CALM)
Stopped in to his little shed there once
place reeked ...the guy's spilled more
whiskey than we've ever drunk. Just pray
he's already three sheets to the wind.
Matt doesn't reply.
WILLIS
Katie's pill will be wearing off soon.
I /EXT.FO MAIN STREET ROCKLAND - DAWN
They drive down the empty streets of a sleeping Rockland.
PAST THE
IMER OF ROCKLAND CIVIL W MEMORIAL, TWO SENTRYS STAND GU,
PAST
HIGH SCHOOL.
PAST
ROCIULAMPOLICE DEPT.
PAST
3TONNE'S SPECIALTY SHOPPE
Something catches Matt's attention in the store front.
The anne ins in the window They seem to be staring at h�
108
STRUT & SONS CANNERY
PAST -
AWEEN ARCH
EXT. SIDE STREET - MATT'S NEIGHBORHOOD DAWN
The Ford pulls up to the curb. Matt gets out.
Willis drives away.
Matt starts walking.
EXT. F RSTREET -S
The STREET LIGHTS suddenly turn off',.
The world is waking up now.
EXT. FOWLER STREET - S
In the distance, Matt can see his house.
The birds all seem to wake at once.
Matt gazes up into the trees overhead, the first light just
kissing their branches, the sky now a husky blue. The
surrounding houses with the windows still dark, asleep.
He picks up his pace.
I NT. FOWLER HOUSE - B.
Matt enters.
T LAUNDRY ROOM - S
He roves his tennis shoes, his pants, he starts unbuttoning
his shirt. Now in his T-shirt and boxers, he examines his
clothes and shoes carefully, before putting them into the
washer - He pours detergent inside - and starts the cycle.
He steps to a little sink and washes up.
DINING ROOM
The light has been left on, he kills it and heads upstairs.
UPSTAIRS - S.
Matt slowly walks down the hall, to
BEDROOM -S
And stands in the doorway. He pauses, seeing only
the orange ember of Ruth's cigarette, in the dark.
0
109
RUTH
(UNSEEN)
Did you do it?
He doesn-t answer. He walks in and comes to bed, climbing in as
Ruth moves over.
RUTH
Are you all right?
He lies down. FACES THE WINDOW, AWAY FROM HER.
She is on her side, she props herself up on her elbow -
watching him.
He waits a longtime before speaking
MATT
There was a picture with Natalie and the
boys hanging on his wall -
Ruth looks at him strangely.
RUTH
(GENTLY)
.what is it, Matt?
MATT
- the way she was smiling.
RUTH
What?
MATT
I don't know -
Ruth looks at the back of Matt's head.
RUTH
Matt?
He doesn't move. He says nothing else.
She continues to stare at him.
Uncertainty beginning to form on her face. She looks lost. If only
things cou d be as t ey were.
Then.
RUTH
at I thinking - you must be hungry.
She waits for a response, but gets e. She gets out of bed,
leaves the room and heads down stairs.
LONG EMPTY WAY.
WE EEAR RUTH downstairs in the kitchen.
110
RUTH 0. S.
Matt?
Matt just lies there, in another world.
RUTH
Matt dear, do you want coffee?
Be doesn't respond. Instead he looks at his finger.
The bandage wet from washing up.
He slides it off easily, like oversized ring.
The skin has healed.
LATER NOW
Sun light creeps in through the curtains, onto Matt's face.
Ruth lies sleeping on his chest.
A breakfast tray at his bedside which he hasn't touched
Matt is cede awake. He stares at the ceiling Reliving it
His eyes full of an unspeakable sadness.
The lids heavy. If only he could sleep.
But he won't. Not today.
There is a small crack in the ceiling.
He'll have to fix that.
BLACK
- THE FAINT SOUNDS FADE UP
THE END
