IT'S A WONDERFUL LIFE
"IT'S A WONDERFUL LIFE"
By
Frances Goodrich
Albert Hackett
Frank Capra
Jo Swerling
FADE IN:
NIGHT SEQUENCE
Series of shots of various streets and buildings in the town
of Bedford Falls, somewhere in New York State. The streets
are deserted, and snow is falling. It is Christmas Eve. Over
the above scenes we hear voices praying:
GOWER'S VOICE
I owe everything to George Bailey.
Help him, dear Father.
MARTINI'S VOICE
Joseph, Jesus and Mary. Help my friend
Mr. Bailey.
MRS. BAILEY'S VOICE
Help my son George tonight.
BERT'S VOICE
He never thinks about himself, God;
that's why he's in trouble.
ERNIE'S VOICE
George is a good guy. Give him a
break, God.
MARY'S VOICE
I love him, dear Lord. Watch over
him tonight.
JANIE'S VOICE
Please, God. Something's the matter
with Daddy.
ZUZU'S VOICE
Please bring Daddy back.
CAMERA PULLS UP from the Bailey home and travels up through
the sky until it is above the falling snow and moving slowly
toward a firmament full of stars. As the camera stops we
hear the following heavenly voices talking, and as each voice
is heard, one of the stars twinkles brightly:
FRANKLIN'S VOICE
Hello, Joseph, trouble?
JOSEPH'S VOICE
Looks like we'll have to send someone
down � a lot of people are asking
for help for a man named George
Bailey.
FRANKLIN'S VOICE
George Bailey. Yes, tonight's his
crucial night. You're right, we'll
have to send someone down immediately.
Whose turn is it?
JOSEPH'S VOICE
That's why I came to see you, sir.
It's that clock-maker's turn again.
FRANKLIN'S VOICE
Oh � Clarence. Hasn't got his wings
yet, has he? We've passed him up
right along.
JOSEPH'S VOICE
Because, you know, sir, he's got the
I.Q. of a rabbit.
FRANKLIN'S VOICE
Yes, but he's got the faith of a
child � simple. Joseph, send for
Clarence.
A small star flies in from left of screen and stops. It
twinkles as Clarence speaks:
CLARENCE'S VOICE
You sent for me, sir?
FRANKLIN'S VOICE
Yes, Clarence. A man down on earth
needs our help.
CLARENCE'S VOICE
Splendid! Is he sick?
FRANKLIN'S VOICE
No, worse. He's discouraged. At
exactly ten-forty-five PM tonight,
Earth time, that man will be thinking
seriously of throwing away God's
greatest gift.
CLARENCE'S VOICE
Oh, dear, dear! His life! Then I've
only got an hour to dress. What are
they wearing now?
FRANKLIN'S VOICE
You will spend that hour getting
acquainted with George Bailey.
CLARENCE'S VOICE
Sir... If I should accomplish this
mission � I mean � might I perhaps
win my wings? I've been waiting for
over two hundred years now, sir �
and people are beginning to talk.
FRANKLIN'S VOICE
What's that book you've got there?
CLARENCE'S VOICE
The Adventures of Tom Sawyer.
FRANKLIN'S VOICE
Clarence, you do a good job with
George Bailey, and you'll get your
wings.
CLARENCE'S VOICE
Oh, thank you, sir. Thank you.
JOSEPH'S VOICE
Poor George... Sit down.
CLARENCE'S VOICE
Sit down? What are...
JOSEPH'S VOICE
If you're going to help a man, you
want to know something about him,
don't you?
CLARENCE'S VOICE
Well, naturally. Of course.
JOSEPH'S VOICE
Well, keep your eyes open. See the
town?
The stars fade out from the screen, and a light,
indistinguishable blur is seen.
CLARENCE'S VOICE
Where? I don't see a thing.
JOSEPH'S VOICE
Oh, I forgot. You haven't got your
wings yet. Now look, I'll help you
out. Concentrate. Begin to see
something?
The blur on the screen slowly begins to take form. We see a
group of young boys on top of a snow-covered hill.
CLARENCE'S VOICE
Why, yes. This is amazing.
JOSEPH'S VOICE
If you ever get your wings, you'll
see all by yourself.
CLARENCE'S VOICE
Oh, wonderful!
EXT. FROZEN RIVER AND HILL � DAY � CLOSE SHOT
Group of boys. They are preparing to slide down the hill on
large shovels. One of them makes the slide and shoots out
onto the ice of a frozen river at the bottom of the hill.
BOY
(as he slides)
Yippee!!
CLARENCE'S VOICE
Hey, who's that?
JOSEPH'S VOICE
That's your problem, George Bailey.
CLARENCE'S VOICE
A boy?
JOSEPH'S VOICE
That's him when he was twelve, back
in 1919. Something happens here you'll
have to remember later on.
Series of shots as four or five boys make the slide down the
hill and out onto the ice. As each boy comes down the others
applaud.
CLOSE SHOT
George Bailey at bottom of slide.
GEORGE
(through megaphone)
And here comes the scare-baby, my
kid brother, Harry Bailey.
CLOSE SHOT � HARRY
On top of hill, preparing to make his slide.
HARRY
I'm not scared.
BOYS
(ad lib)
Come on, Harry! Attaboy, Harry!
MEDIUM SHOT
Harry makes his slide very fast. He passes the marks made by
the other boys, and his shovel takes him onto the thin ice
at the bend of the river. The ice breaks, and Harry disappears
into the water.
CLOSE SHOT � GEORGE
GEORGE
I'm coming, Harry.
MEDIUM SHOT
George jumps into the water and grabs Harry. As he starts to
pull him out he yells:
GEORGE
Make a chain, gang! A chain!
WIDER ANGLE
The other boys lie flat on the ice, forming a human chain.
When George reaches the edge with Harry in his arms, they
pull them both to safety.
JOSEPH'S VOICE
George saved his brother's life that
day. But he caught a bad cold which
infected his left ear. Cost him his
hearing in that ear. It was weeks
before he could return to his after-
school job at old man Gower's
drugstore.
DISSOLVE
EXT. MAIN STREET � BEDFORD FALLS � SPRING AFTERNOON
MEDIUM SHOT
Five or six boys are coming toward camera, arm in arm,
whistling. Their attention is drawn to an elaborate
horsedrawn carriage proceeding down the other side of the
street.
MEDIUM PAN SHOT
The carriage driving by. We catch a glimpse of an elderly
man riding in it.
CLOSE SHOT
The boys watching the carriage.
GEORGE
Mr. Potter!
CLARENCE'S VOICE
Who's that � a king?
JOSEPH'S VOICE
That's Henry F. Potter, the richest
and meanest man in the county.
The boys continue until they reach Gower's drugstore. The
drugstore is old-fashioned and dignified, with jars of colored
water in the windows and little else. As the kids stop:
GEORGE
So long!
BOYS
(ad lib)
Got to work, slave. Hee-haw. Hee-
haw.
INTERIOR DRUGSTORE � DAY
MEDIUM SHOT
George comes in and crosses to an old-fashioned cigar lighter
on the counter. He shuts his eyes and makes a wish:
GEORGE
Wish I had a million dollars.
He clicks the lighter and the flame springs up.
GEORGE
Hot dog!
WIDER ANGLE
George crosses over to the soda fountain, at which Mary Hatch,
a small girl, is seated, watching him. George goes on to get
his apron from behind the fountain.
GEORGE
(calling toward back
room)
It's me, Mr. Gower. George Bailey.
CLOSE SHOT
Mr. Gower, the druggist, peering from a window in back room.
We see him take a drink from a bottle.
GOWER
You're late.
MEDIUM SHOT
George behind soda fountain. He is putting on his apron.
GEORGE
Yes, sir.
WIDER ANGLE
Violet Bick enters the drugstore and sits on one of the stools
at the fountain. She is the same height as Mary and the same
age, but she is infinitely older in her approach to people.
VIOLET
(with warm friendliness)
Hello, George.
(then, flatly, as she
sees Mary)
'Lo, Mary.
MARY
(primly)
Hello, Violet.
George regards the two of them with manly disgust. They are
two kids to him, and a nuisance. He starts over for the candy
counter.
GEORGE
Two cents worth of shoelaces?
VIOLET
She was here first.
MARY
I'm still thinking.
GEORGE
(to Violet)
Shoelaces?
VIOLET
Please, Georgie.
George goes over to the candy counter.
VIOLET
(to Mary)
I like him.
MARY
You like every boy.
VIOLET
(happily)
What's wrong with that?
GEORGE
Here you are.
George gives Violet a paper sack containing licorice
shoelaces. Violet gives him the money.
VIOLET
(the vamp)
Help me down?
GEORGE
(disgusted)
Help you down!
Violet jumps down off her stool and exits. Mary, watching,
sticks out her tongue as she passes.
CLOSE SHOT � GEORGE AND MARY AT FOUNTAIN
GEORGE
Made up your mind yet?
MARY
I'll take chocolate.
George puts some chocolate ice cream in a dish.
GEORGE
With coconuts?
MARY
I don't like coconuts.
GEORGE
You don't like coconuts! Say,
brainless, don't you know where
coconuts come from? Lookit here �
from Tahiti � Fiji Islands, the Coral
Sea!
He pulls a magazine from his pocket and shows it to her.
MARY
A new magazine! I never saw it before.
GEORGE
Of course you never. Only us explorers
can get it. I've been nominated for
membership in the National Geographic
Society.
He leans down to finish scooping out the ice cream, his deaf
ear toward her. She leans over, speaking softly.
CLOSE SHOT
Mary, whispering.
MARY
Is this the ear you can't hear on?
George Bailey, I'll love you till
the day I die.
She draws back quickly and looks down, terrified at what she
has said.
CLOSE SHOT � GEORGE AND MARY
GEORGE
I'm going out exploring some day,
you watch. And I'm going to have a
couple of harems, and maybe three or
four wives. Wait and see.
He turns back to the cash register, whistling.
ANOTHER ANGLE
Taking in entrance to prescription room at end of fountain.
Gower comes to the entrance. He is bleary-eyed, unshaven,
chewing an old unlit cigar. His manner is gruff and mean. It
is evident he has been drinking.
GOWER
George! George!
GEORGE
Yes, sir.
GOWER
You're not paid to be a canary.
GEORGE
No, sir.
He turns back to the cash register when he notices an open
telegram on the shelf. He is about to toss it aside when he
starts to read it.
INSERT: THE TELEGRAM
It reads: "We regret to inform you that your son, Robert,
died very suddenly this morning of influenza stop. Everything
possible was done for his comfort stop. We await instructions
from you. EDWARD MELLINGTON Pres. HAMMERTON COLLEGE."
BACK TO SHOT
George puts the telegram down. A goodness of heart expresses
itself in a desire to do something for Gower. He gives the
ice cream to Mary without comment and sidles back toward
Gower.
INT. PRESCRIPTION ROOM OF DRUGSTORE � DAY
CLOSE SHOT
Gower, drunk, is intent on putting some capsules into a box.
GEORGE
Mr. Gower, do you want something...
Anything?
GOWER
No.
GEORGE
Anything I can do back here?
GOWER
No.
George looks curiously at Gower, realizing that he is quite
drunk. Gower fumbles and drops some of the capsules to the
floor.
CLOSE SHOT
Capsules spilling on floor at their feet.
BACK TO SHOT
George and Gower.
GEORGE
I'll get them, sir.
He picks up the capsules and puts them in the box. Gower
waves George aside, takes his old wet cigar, shoves it in
his mouth and sits in an old Morris chair in the background.
George turns a bottle around from which Gower has taken the
powder for the capsules. Its label reads "POISON." George
stands still, horrified.
GOWER
Take these capsules over to Mrs.
Blaine's. She's waiting for them.
George picks up the capsule box, not knowing what to do or
say. His eyes go, harassed, to the bottle labeled poison.
George's fingers fumble.
GEORGE
Yes, sir. They have the diphtheria
there, haven't they, sir?
GOWER
Ummmm...
Gower stares moodily ahead, sucking his cigar. George turns
to him, the box in his hand.
GEORGE
Is it a charge, sir?
GOWER
Yes � charge.
GEORGE
Mr. Gower, I think...
GOWER
Aw, get going!
GEORGE
Yes, sir.
INT. DRUGSTORE � DAY
MEDIUM SHOT
George comes out into main room. As he puts on his cap he
sees a Sweet Caporals ad which says:
INSERT
"ASK DAD HE KNOWS" � SWEET CAPORAL
BACK TO SHOT
With an inspiration, George dashes out the door and down the
street. Mary follows him with her eyes.
EXT. STREET � DAY
MEDIUM SHOT
George runs down the street until he comes opposite a two-
story building with a sign on it reading: "Bailey Building
and Loan Association." He stops. Potter's carriage is waiting
at the entrance. Suddenly he runs up the stairs.
INT. OUTER OFFICE BLDG. AND LOAN � DAY
FULL SHOT
The offices are ancient and a bit on the rickety side. There
is a counter with a grill, something like a bank. Before a
door marked:
"PETER BAILEY, PRIVATE", George's Uncle Billy stands,
obviously trying to hear what is going on inside. He is a
very good-humored man of about fifty, in shirt-sleeves. With
him at the door, also listening, are Cousin Tilly Bailey, a
waspish-looking woman, who is the telephone operator, and
Cousin Eustace Bailey, the clerk. The office vibrates with
an aura of crisis as George enters and proceeds directly
toward his father's office.
CLOSE SHOT
Uncle Billy listening at the door. As George is about to
enter his father's office, uncle Billy grabs him by the arm.
UNCLE BILLY
Avast, there, Captain Cook! Where
you headin'?
GEORGE
Got to see Pop, Uncle Billy.
UNCLE BILLY
Some other time, George.
GEORGE
It's important.
UNCLE BILLY
There's a squall in there that's
shapin' up into a storm.
During the foregoing, Cousin Tilly has answered the telephone,
and now she calls out:
COUSIN TILLY
Uncle Billy... telephone.
UNCLE BILLY
Who is it?
COUSIN TILLY
Bank examiner.
INSERT
CLOSEUP � UNCLE BILLY'S LEFT HAND There are pieces of string
tied around two of the fingers, obviously to remind him of
things he has to do.
BACK TO SHOT
Uncle Billy looking at his hand.
UNCLE BILLY
Bank examiner! I should have called
him yesterday. Switch it inside.
He enters a door marked: "WILLIAM BAILEY, PRIVATE". George
stands irresolute a moment, aware of crisis in the affairs
of the Bailey Building and Loan Association, but aware more
keenly of his personal crisis. He opens the door of his
father's office and enters.
INT. BAILEY'S PRIVATE OFFICE � DAY
MEDIUM SHOT
George's father is seated behind his desk, nervously drawing
swirls on a pad. He looks tired and worried. He is a gentle
man in his forties, an idealist, stubborn only for other
people's rights. Nearby, in a throne-like wheelchair, behind
which stands the goon who furnishes the motive power, sits
Henry F. Potter, his squarish derby hat on his head. The
following dialogue is fast and heated, as though the argument
had been in process for some time.
BAILEY
I'm not crying, Mr. Potter.
POTTER
Well, you're begging, and that's a
whole lot worse.
BAILEY
All I'm asking is thirty days more...
GEORGE
(interrupting)
Pop!
BAILEY
Just a minute, son.
(to Potter)
Just thirty short days. I'll dig up
that five thousand somehow.
POTTER
(to his goon)
Shove me up...
Goon pushes his wheelchair closer to the desk.
GEORGE
Pop!
POTTER
Have you put any real pressure on
those people of yours to pay those
mortgages?
BAILEY
Times are bad, Mr. Potter. A lot of
these people are out of work.
POTTER
Then foreclose!
BAILEY
I can't do that. These families have
children.
MEDIUM CLOSE SHOT � POTTER AND BAILEY
GEORGE
Pop!
POTTER
They're not my children.
BAILEY
But they're somebody's children.
POTTER
Are you running a business or a
charity ward?
BAILEY
Well, all right...
POTTER
(interrupting)
Not with my money!
CLOSE SHOT � POTTER AND BAILEY
BAILEY
Mr. Potter, what makes you such a
hardskulled character? You have no
family � no children. You can't begin
to spend all the money you've got.
POTTER
So I suppose I should give it to
miserable failures like you and that
idiot brother of yours to spend for
me.
George cannot listen any longer to such libel about his
father. He comes around in front of the desk.
GEORGE
He's not a failure! You can't say
that about my father!
BAILEY
George, George...
GEORGE
You're not! You're the biggest man
in town!
BAILEY
Run along.
He pushes George toward the door.
GEORGE
Bigger'n him!
As George passes Potter's wheelchair he pushes the old man's
shoulder. The goon puts out a restraining hand.
GEORGE
Bigger'n everybody.
George proceeds toward the door, with his father's hand on
his shoulder. As they go:
POTTER
Gives you an idea of the Baileys.
INT. OUTER OFFICE BLDG. AND LOAN � DAY
CLOSE SHOT
George and his father at the door.
GEORGE
Don't let him say that about you,
Pop.
BAILEY
All right, son, thanks. I'll talk to
you tonight.
Bailey closes the door on George and turns back to Potter.
George stands outside the door with the capsules in his hand.
WIPE TO:
BACK TO DRUGSTORE
INT. BACK ROOM � GOWER'S DRUGSTORE � DAY
CLOSE SHOT
Gower talking on the telephone. George stands in the doorway.
GOWER
(drunkenly)
Why, that medicine should have been
there an hour ago. It'll be over in
five minutes, Mrs. Blaine.
He hangs up the phone and turns to George.
GOWER
Where's Mrs. Blaine's box of capsules?
He grabs George by the shirt and drags him into the back
room.
GEORGE
Capsules...
GOWER
(shaking him)
Did you hear what I said?
GEORGE
(frightened)
Yes, sir, I...
Gower starts hitting George about the head with his open
hands. George tries to protect himself as best he can.
GOWER
What kind of tricks are you playing,
anyway? Why didn't you deliver them
right away? Don't you know that boy's
very sick?
GEORGE
(in tears)
You're hurting my sore ear.
INT. FRONT ROOM DRUGSTORE � DAY
CLOSE SHOT
Mary is still seated at the soda fountain. Each time she
hears George being slapped, she winces.
INT. BACK ROOM DRUGSTORE � DAY
CLOSE SHOT � GEORGE AND GOWER
GOWER
You lazy loafer!
GEORGE
(sobbing)
Mr. Gower, you don't know what you're
doing. You put something wrong in
those capsules. I know you're unhappy.
You got that telegram, and you're
upset. You put something bad in those
capsules. It wasn't your fault, Mr.
Gower...
George pulls the little box out of his pocket. Gower savagely
rips it away from him, breathing heavily, staring at the boy
venomously.
GEORGE
Just look and see what you did. Look
at the bottle you took the powder
from. It's poison! I tell you, it's
poison! I know you feel bad... and...
George falters off, cupping his aching ear with a hand. Gower
looks at the large brown bottle which has not been replaced
on the shelf. He tears open the package, shakes the powder
out of one of the capsules, cautiously tastes it, then
abruptly throws the whole mess to the table and turns to
look at George again. The boy is whimpering, hurt, frightened.
Gower steps toward him.
GEORGE
Don't hurt my sore ear again.
But this time Gower sweeps the boy to him in a hug and,
sobbing hoarsely, crushes the boy in his embrace. George is
crying too.
GOWER
No... No... No...
GEORGE
Don't hurt my ear again!
GOWER
(sobbing)
Oh, George, George...
GEORGE
Mr. Gower, I won't ever tell anyone.
I know what you're feeling. I won't
ever tell a soul. Hope to die, I
won't.
GOWER
Oh, George.
DISSOLVE TO:
INT. LUGGAGE SHOP � DAY � (1928)
MEDIUM SHOT
It is late afternoon. A young man is looking over an
assortment of luggage. Across the counter stands Joe Hepner,
the proprietor of the store � he is showing a suitcase.
JOE
An overnight bag � genuine English
cowhide, combination lock, fitted up
with brushes, combs...
CUSTOMER
Nope.
AS CAMERA MOVES UP CLOSER to him, he turns and we get our
first glimpse of George as a young man. CAMERA HAS MOVED UP
to a CLOSEUP by now.
GEORGE
Nope. Nope. Nope. Nope. Now, look,
Joe. Now, look, I... I want a big
one.
Suddenly, in action, as George stands with his arms
outstretched in illustration, the picture freezes and becomes
a still. Over this hold-frame shot we hear the voices from
Heaven:
CLARENCE'S VOICE
What did you stop it for?
JOSEPH'S VOICE
I want you to take a good look at
that face.
CLARENCE'S VOICE
Who is it?
JOSEPH'S VOICE
George Bailey.
CLARENCE'S VOICE
Oh, you mean the kid that had his
ears slapped back by the druggist.
JOSEPH'S VOICE
That's the kid.
CLARENCE'S VOICE
It's a good face. I like it. I like
George Bailey. Tell me, did he ever
tell anyone about the pills?
JOSEPH'S VOICE
Not a soul.
CLARENCE'S VOICE
Did he ever marry the girl? Did he
ever go exploring?
JOSEPH'S VOICE
Well, wait and see.
CLOSE SHOT � THE SCREEN
The arrested CLOSEUP of George springs to life again.
GEORGE
Big - see! I don't want one for one
night. I want something for a
thousand and one nights, with plenty
of room for labels from Italy and
Baghdad, Samarkand... a great big
one.
JOE
I see, a flying carpet, huh? I don't
suppose you'd like this old second-
hand job, would you?
He brings a large suitcase up from under the counter.
GEORGE
Now you're talkin'. Gee whiz, I could
use this as a raft in case the boat
sunk. How much does this cost?
JOE
No charge.
GEORGE
That's my trick ear, Joe. It sounded
as if you said no charge.
JOE
(indicating name on
suitcase)
That's right.
GEORGE
(as he sees his name)
What's my name doing on it?
JOE
A little present from old man Gower.
Came down and picked it out himself.
GEORGE
(admiring the bag)
He did? Whatta you know about that �
my old boss...
JOE
What boat you sailing on?
GEORGE
I'm working across on a cattle boat.
JOE
A cattle boat?
GEORGE
(as he exits)
Okay, I like cows.
WIPE TO:
INT. GOWER'S DRUGSTORE � DAY
MEDIUM SHOT
The place is practically the same except that it is now full
of school kids having sodas, etc. A juke box and many little
tables have been added. It has become the hangout of the
local small fry. There are now three kids jerking sodas.
Gower is a different man now � sober, shaven and good-humored.
He is behind the counter when George comes in. Gower's face
lights up when he sees George.
GEORGE
Mr. Gower... Mr. Gower... thanks
ever so much for the bag. It's just
exactly what I wanted.
GOWER
Aw, forget it.
GEORGE
Oh, it's wonderful.
GOWER
Hope you enjoy it.
George suddenly sees the old cigar lighter on the counter.
He closes his eyes and makes a wish.
GEORGE
Oh... Oh. Wish I had a million
dollars.
As he snaps the lighter the flame springs up.
GEORGE
Hot dog!
George shakes Gower's hand vigorously and exits.
EXT. MAIN STREET BEDFORD FALLS � DAY
PAN SHOT as George crosses the street, Uncle Billy, cousin
Tilly and Cousin Eustace are leaning out of the second floor
window of the Building and Loan offices.
UNCLE BILLY
Avast there, Captain Cook. You got
your sea legs yet?
COUSIN EUSTACE
Parlez-vous francais? Hey, send us
some of them picture postcards, will
you, George?
UNCLE BILLY
Hey, George, don't take any plugged
nickels.
COUSIN TILLY
Hey, George, your suitcase is leaking.
George waves up at them and continues
on across the street.
EXT. MAIN STREET � DAY
MEDIUM SHOT
As George crosses the street. He spots Ernie and his cab,
and Bert the motor cop, parked alongside.
GEORGE
Hey, Ernie!
ERNIE
Hiya, George!
GEORGE
Hi, Bert.
BERT
George...
GEORGE
Ernie, I'm a rich tourist today. How
about driving me home in style?
Bert opens the door of the cab and puts George's suitcase
inside.
ERNIE
Sure, your highness, hop in. And,
for the carriage trade, I puts on my
hat.
As George is about to enter the cab, he stops suddenly as he
sees Violet (now obviously a little sex machine) come toward
him. Her walk and figure would stop anybody. She gives him a
sultry look.
REVERSE ANGLE
The three men by the cab, but including Violet.
VIOLET
Good afternoon, Mr. Bailey.
GEORGE
Hello, Violet. Hey, you look good.
That's some dress you got on there.
CLOSE SHOT � VIOLET
She reacts to this.
VIOLET
Oh, this old thing? Why, I only wear
it when I don't care how I look.
CAMERA PANS WITH HER AS VIOLET SWINGS ON DOWN THE SIDEWALK.
REVERSE SHOT � CAB
As Violet goes by, George and Bert raise their heads above
the top of the cab.
MEDIUM SHOT
On Violet's back as she goes. As she crosses the street, an
elderly man turns to look at her and is almost hit by a car
that pulls up with screeching brakes.
CLOSE SHOT � GEORGE AND BERT AT CAB
Ernie sticks his head out form the driver's seat.
ERNIE
How would you like...
GEORGE
(as he enters cab)
Yes...
ERNIE
Want to come along, Bert? We'll
show you the town!
Bert looks at his watch, then takes another look at Violet's
retreating figure.
BERT
No, thanks. Think I'll go home and
see what the wife's doing.
ERNIE
Family man.
DISSOLVE TO:
INT. BAILEY DINING ROOM � NIGHT
MEDIUM SHOT
Pop Bailey is seated at the dinner table. Mrs. Bailey and
Annie, the cook, look up toward the vibrating ceiling. There
are SOUNDS of terrific banging and scuffling upstairs. Annie
pounds on the ceiling with a broom.
MOTHER
(calling out)
George! Harry! You're shaking the
house down! Stop it!
POP
Oh, let 'em alone. I wish I was up
there with them.
MOTHER
Harry'll tear his dinner suit. George!
ANOTHER ANGLE
Mrs. Bailey is calling up the stairs.
ANNIE
That's why all children should be
girls.
MOTHER
But if they were all girls, there
wouldn't be any... Oh, never mind.
(calling upstairs)
George! Harry! Come down to dinner
this minute. Everything's getting
cold and you know we've been waiting
for you.
GEORGE'S VOICE
Okay, Mom.
She goes up the stairs. Pop is smiling and poking his plate.
A commotion is heard on the stairs, the boys imitating fanfare
MUSIC. Down they come, holding their mother high between
them on their hands. They bring her into the dining room and
deposit her gracefully into Pop's lap.
BOYS
Here's a present for you, Pop.
Pop kisses her. Mother gives Pop a quick hug, then turns
with all the wrath she can muster on the two boys.
MOTHER
Oh, you two idiots! George, sit down
and have dinner.
HARRY
I've eaten.
MOTHER
Well, aren't you going to finish
dressing for your graduation party?
Look at you.
HARRY
I don't care. It's George's tux.
Annie crosses the room, holding her broom. Harry reaches out
for her.
ANNIE
If you lay a hand on me, I'll hit
you with this broom.
HARRY
Annie, I'm in love with you. There's
a moon out tonight.
As he pushes her through the kitchen door, he slaps her fanny.
She screams. The noise is cut off by the swinging door. George
and his mother sit down at the table.
GEORGE
Boy, oh, boy, oh, boy � my last meal
at the old Bailey boarding house.
MOTHER
Oh, my lands, my blood pressure!
CLOSE SHOT
Harry, as he sticks his head through the kitchen door.
HARRY
Pop, can I have the car? I'm going
to take over a lot of plates and
things.
MOTHER
What plates?
HARRY
Oh, Mom � I'm chairman of the eats
committee and we only need a couple
of dozen.
MOTHER
Oh, no you don't. Harry, now, not my
best Haviland.
She follows Harry into the kitchen, leaving Pop and George.
As she goes:
GEORGE
Oh, let him have the plates, Mother.
CLOSE SHOT
George and his father, eating at the table. There is a great
similarity and a great understanding between them.
POP
Hope you have a good trip, George.
Uncle Billy and I are going to miss
you.
GEORGE
I'm going to miss you, too, Pop.
What's the matter? You look tired.
POP
Oh, I had another tussle with Potter
today.
GEORGE
Oh...
POP
I thought when we put him on the
Board of Directors, he'd ease up on
us a little bit.
GEORGE
I wonder what's eating that old money
grubbing buzzard anyway?
POP
Oh, he's a sick man. Frustrated and
sick. Sick in his mind, sick in his
soul, if he has one. Hates everybody
that has anything that he can't have.
Hates us mostly, I guess.
MEDIUM SHOT
The dining room. Harry and his mother come out of the kitchen,
Harry carrying a pie in each hand and balancing one on his
head. CAMERA PANS WITH them as they cross.
HARRY
Gangway! Gangway! So long, Pop.
POP
So long, son.
GEORGE
Got a match?
HARRY
Very funny. Very funny.
MOTHER
Put those things in the car and I'll
get your tie and studs together.
HARRY
Okay, Mom. You coming later? You
coming later, George?
GEORGE
What do you mean, and be bored to
death?
HARRY
Couldn't want a better death. Lots
of pretty girls, and we're going to
use that new floor of yours tonight,
too.
GEORGE
I hope it works.
POP
No gin tonight, son.
HARRY
Aw, Pop, just a little.
POP
No, son, not one drop.
CLOSE SHOT
George and Pop at the table. Annie comes in with some dishes.
ANNIE
Boys and girls and music. Why do
they need gin?
She exits.
GEORGE
Father, did I act like that when I
graduated from high school?
POP
Pretty much. You know, George, wish
we could send Harry to college with
you. Your mother and I talked it
over half the night.
GEORGE
We have that all figured out. You
see, Harry'll take my job at the
Building and Loan, work there four
years, then he'll go.
POP
He's pretty young for that job.
GEORGE
Well, no younger than I was.
POP
Maybe you were born older, George.
GEORGE
How's that?
POP
I say, maybe you were born older. I
suppose you've decided what you're
going to do when you get out of
college.
GEORGE
Oh, well, you know what I've always
talked about � build things... design
new buildings � plan modern cities �
all that stuff I was talking about.
POP
Still after that first million before
you're thirty.
GEORGE
No, I'll settle for half that in
cash.
Annie comes in again from the kitchen.
POP
Of course, it's just a hope, but you
wouldn't consider coming back to the
Building and Loan, would you?
Annie stops serving to hear his answer.
GEORGE
Well, I...
(to Annie)
Annie, why don't you draw up a chair?
Then you'd be more comfortable and
you could hear everything that's
going on.
ANNIE
I would if I thought I'd hear anything
worth listening to.
GEORGE
You would, huh?
She gives George a look, and goes on out into the kitchen.
Bailey smiles and turns to George.
POP
I know it's soon to talk about it.
GEORGE
Oh, now, Pop, I couldn't. I couldn't
face being cooped up for the rest of
my life in a shabby little office.
He stops, realizing that he has hurt his father.
GEORGE
Oh, I'm sorry, Pop. I didn't mean
that remark, but this business of
nickels and dimes and spending all
your life trying to figure out how
to save three cents on a length of
pipe... I'd go crazy. I want to do
something big and something important.
POP
(quietly)
You know, George, I feel that in a
small way we are doing something
important. Satisfying a fundamental
urge. It's deep in the race for a
man to want his own roof and walls
and fireplace, and we're helping him
get those things in our shabby little
office.
GEORGE
(unhappily)
I know, Dad. I wish I felt... But
I've been hoarding pennies like a
miser in order to... Most of my
friends have already finished college.
I just feel like if I don't get away,
I'd bust.
POP
Yes... Yes... You're right, son.
GEORGE
You see what I mean, don't you, Pop?
POP
This town is no place for any man
unless he's willing to crawl to
Potter. You've got talent, son. You
get yourself an education. Then get
out of here.
GEORGE
Pop, do you want a shock? I think
you're a great guy.
To cover his embarrassment, he looks toward the kitchen door
and calls:
GEORGE
Oh, did you hear that, Annie?
CLOSE SHOT
Annie listening through glass in door.
ANNIE
I heard it. About time one of you
lunkheads said it.
CLOSE SHOT
George and his father at the table.
GEORGE
I'm going to miss old Annie. Pop, I
think I'll get dressed and go over
to Harry's party.
POP
Have a good time, son.
WIPE TO:
INT. HIGH SCHOOL GYM � NIGHT
MEDIUM CLOSE SHOT
At one end of the room an orchestra is playing. George wends
his way through the dancing couples toward a supper table.
He and Harry are carrying plates and pies.
GEORGE
Here you are.
Several of the boys take the plates from him. George looks
at them, feeling very grown up and out of place.
HARRY
(introducing George)
You know my kid brother, George. I'm
going to put him through college.
Sam Wainwright comes in behind Harry, waggles his hands at
his ears as he talks.
SAM
Here comes George. Hello, hee-haw!
George swings around, delighted to hear a familiar voice.
WIDER ANGLE
Including Sam and Marty Hatch. Sam is assured and breezy,
wearing very collegiate clothes.
GEORGE
Oh, oh. Sam Wainwright! How are you?
When did you get here?
SAM
Oh, this afternoon. I thought I'd
give the kids a treat.
GEORGE
Old college graduate now, huh?
SAM
Yeah � old Joe College Wainwright,
they call me. Well, freshman, looks
like you're going to make it after
all.
GEORGE
Yep.
Sam sees Harry and leaves George in the middle of a gesture.
SAM
(to Harry)
Harry! You're the guy I want to see.
Coach has heard all about you.
HARRY
He has?
SAM
Yeah. He's followed every game and
his mouth's watering. He wants me to
find out if you're going to come
along with us.
HARRY
Well, I gotta make some dough first.
SAM
Well, you better make it fast. We
need great ends like you � not broken
down old guys like this one.
George and Sam wiggle their fingers at their ears, saluting
each other.
GEORGE
Hee-haw!
SAM
Hee-haw!
An elderly, fussy school principal comes over to George.
PRINCIPAL
George, welcome back.
GEORGE
Hello, Mr. Partridge, how are you?
PRINCIPAL
Putting a pool under this floor was
a great idea. Saved us another
building. Now, Harry, Sam, have a
lot of fun. There's lots of stuff
to eat and drink. Lots of pretty
girls around.
Violet Bick comes into the scene and turns to face George.
She is waving her dance program at him.
VIOLET
Hey, George...
GEORGE
Hello, Violet.
VIOLET
Hello, what am I bid?
Marty Hatch enters scene.
MARTY
George.
GEORGE
Hiya, Marty. Well, it's old home
week.
MARTY
Do me a favor, will you, George?
GEORGE
What's that?
MARTY
Well, you remember my kid sister,
Mary?
GEORGE
Oh, yeah, yeah.
SAM
"Momma wants you, Marty." "Momma
wants you, Marty." Remember?
MARTY
Dance with her, will you?
GEORGE
Oh... me? Oh, well, I feel funny
enough already, with all these kids.
MARTY
Aw, come on. Be a sport. Just dance
with her one time and you'll give
her the thrill of her life.
SAM
Aw, go on.
MARTY
(calling off)
Hey, sis.
GEORGE
Well, excuse me, Violet. Don't be
long, Marty. I don't want to be a
wet nurse for...
He stops suddenly as he sees Mary, staring at her.
CLOSEUP � MARY HATCH
She is standing talking to one of the boys, Freddie, a glass
of punch in her hand. For the first time, she is wearing an
evening gown and she has gained assurance from the admiration
of the boy with her. She turns around and for the first time
she sees George. For a second she loses her poise, staring
at him.
FREDDIE'S VOICE
And the next thing I know, some guy
came up and tripped me. That's the
reason why I came in fourth. If it
hadn't been for that...
CLOSE SHOT
George, staring at Mary.
FREDDIE'S VOICE
...that race would have been a cinch.
I tried to find out who it was
later...
CLOSEUP � MARY
Still staring at George, and smiling.
FREDDIE'S VOICE
...but I couldn't find out. Nobody'd
ever tell you whoever it was because
they'd be scared. They know...
MEDIUM CLOSEUP
Mary and Freddie. Marty comes into scene, followed by George.
FREDDIE
...what kind of...
MARTY
(interrupting)
You remember George? This is Mary.
Well, I'll be seeing you.
GEORGE
Well... Well... Well...
FREDDIE
Now, to get back to my story, see...
Mary hands her punch cup to Freddie, and she and George start
dancing.
FREDDIE
Hey, this is my dance!
GEORGE
Oh, why don't you stop annoying
people?
FREDDIE
Well, I'm sorry. Hey!
MOVING SHOT
Following George and Mary as they dance.
GEORGE
Well, hello.
MARY
Hello. You look at me as if you didn't
know me.
GEORGE
Well, I don't.
MARY
You've passed me on the street almost
every day.
GEORGE
Me?
MARY
Uh-huh.
GEORGE
Uh-uh. That was a little girl named
Mary Hatch. That wasn't you.
A WHISTLE is heard offscreen, and the MUSIC stops.
CLOSE SHOT
Harry on the orchestra platform, whistle in hand.
HARRY
Oyez � oyez � oyez... The big
Charleston contest. The prize? A
genuine loving cup. Those not tapped
by the judges will remain on the
floor. Let's go!
CLOSEUP � GEORGE AND MARY
As the MUSIC starts and couples begin dancing once more,
they look at each other.
GEORGE
I'm not very good at this.
MARY
Neither am I.
GEORGE
Okay � what can we lose?
They start their Charleston. We see a SERIES OF SHOTS of
various couples doing their routines, some good, some bad.
CLOSEUP � FREDDIE
Leaning against the railing around the dance floor, looking
daggers at George. Mickey, a young punk who has had one too
many, is beside him.
MICKEY
What's the matter, Othello � jealous?
Did you know there's a swimming pool
under this floor? And did you know
that button behind you causes this
floor to open up? And did you further
know that George Bailey is dancing
right over that crack? And I've got
the key?
Freddie needs no more. He takes the key from Mickey and turns
the switch. The floor begins to part in the middle, each
half sliding under the bleacher seats. Pandemonium starts.
Dancers begin to scream as they try to get off. Some are so
engrossed in dancing they continue at top speed. Teachers
and elders start to scurry off. As the floor opens, it reveals
an attractive, lighted swimming pool. George and Mary are
so busy dancing they don't notice the floor opening.
Spotlights concentrate on them. They mistake the screams for
cheers.
CLOSE SHOT
George and Mary dancing.
GEORGE
They're cheering us. We must be good.
MEDIUM CLOSE SHOT
The crowd watching George and Mary dancing. They move
backwards until finally they reach the edge of the floor and
fall into the pool below.
SERIES OF SHOTS
George and Mary still trying to dance in the water � the
crowd on the edge cheering them � some of the crowd leap
into the pool � the principal trying to restore order, finally
clasps his hands like a diver and leaps in himself.
FADE OUT
FADE IN:
EXT. TREE-LINED RESIDENTIAL STREET � NIGHT
MEDIUM CLOSE SHOT
George and Mary. The night is warm with a bright moon. George
is dressed in jersey sweater and oversize football pants
that keep wanting to come down. Mary is in an old white bath
robe. Each is carrying their wet clothes tied into a bundle
that leaves a trail of dripping water. As they near the camera
we hear them singing:
GEORGE AND MARY
(singing)
Buffalo Gals can't you come out
tonight. Can't you come out tonight.
Can't you come out tonight. Buffalo
Gals can't you come out tonight and
dance by the light of the moon.
GEORGE
Hot dog! Just like an organ.
MARY
Beautiful.
CAMERA MOVES WITH them as they proceed down the street.
GEORGE
And I told Harry I thought I'd be
bored to death. You should have seen
the commotion in that locker room. I
had to knock down three people to
get this stuff we're wearing here.
Here, let me hold that old wet dress
of yours.
He takes the bundle of clothes from Mary. They stop and look
at each other.
MARY
Do I look as funny as you do?
GEORGE
I guess I'm not quite the football
type. You... look wonderful. You
know, if it wasn't me talking I'd
say you were the prettiest girl in
town.
MARY
Well, why don't you say it?
GEORGE
I don't know. Maybe I will say it.
How old are you anyway?
MARY
Eighteen.
GEORGE
Eighteen? Why, it was only last year
you were seventeen.
MARY
Too young or too old?
GEORGE
Oh, no. Just right. Your age fits
you. Yes, sir, you look a little
older without your clothes on.
Mary stops. George, to cover his embarrassment, talks quickly
on:
GEORGE
I mean, without a dress. You look
older... I mean, younger. You look
just...
In his confusion George steps on the end of the belt of Mary's
bath robe, which is trailing along behind her. She gathers
the robe around her.
GEORGE
Oh-oh...
MARY
(holding out her hand)
Sir, my train, please.
GEORGE
A pox upon me for a clumsy lout.
He picks up the belt and throws it over her arm.
GEORGE
Your... your caboose, my lady.
MARY
You may kiss my hand.
GEORGE
Ummmmm...
Holding her hand, George moves in closer to Mary.
GEORGE
Hey � hey, Mary.
Mary turns away from him, singing "Buffalo Gals":
MARY
(singing)
As I was lumbering down the street...
George looks after her; then picks up a rock from the street.
GEORGE
Okay, then, I'll throw a rock at the
old Granville house.
MARY
Oh, no, don't. I love that old house.
MEDIUM LONG SHOT � OLD HOUSE
It is a weather-beaten, old-fashioned two-storied house that
once was no doubt resplendent.
GEORGE
No. You see, you make a wish and
then try and break some glass. You
got to be a pretty good shot nowadays,
too.
MEDIUM CLOSEUP � GEORGE AND MARY
MARY
Oh, no, George, don't. It's full of
romance, that old place. I'd like to
live in it.
GEORGE
In that place?
MARY
Uh-huh.
GEORGE
I wouldn't live in it as a ghost.
Now watch... right on the second
floor there.
MEDIUM LONG SHOT � OLD HOUSE
George hurls the rock at the house. We hear the SOUND of a
window breaking.
EXT. FRONT PORCH OF HOUSE � NIGHT
CLOSE SHOT
We see a grumpy old man in shirt sleeves in a rocking chair
on the porch. He looks up as he hears the breaking glass.
EXT. STREET � NIGHT
CLOSEUP � GEORGE AND MARY
MARY
What'd you wish, George?
GEORGE
Well, not just one wish. A whole
hatful, Mary. I know what I'm going
to do tomorrow and the next day and
the next year and the year after
that. I'm shaking the dust of this
crummy little town off my feet and
I'm going to see the world. Italy,
Greece, the Parthenon, the Colosseum.
Then I'm coming back here and go to
college and see what they know...
and then I'm going to build things.
I'm gonna build air fields. I'm
gonna build skyscrapers a hundred
stories high. I'm gonna build bridges
a mile long...
As he talks, Mary has been listening intently. She finally
stoops down and picks up a rock, weighting it in her hand.
GEORGE
Are you gonna throw a rock?
MEDIUM LONG SHOT
The old deserted house. Mary throws her rock, and once more
we hear the SOUND of breaking glass.
GEORGE
Hey, that's pretty good. What'd you
wish, Mary?
Mary looks at him provocatively, then turns and shuffles off
down the street, singing as she goes. George hurries after
her.
MARY
(singing)
Buffalo Gals, can't you come out
tonight...
George joins her in the singing as they proceed down the
street.
MARY AND GEORGE
(singing)
...can't you come out tonight, can't
you come out tonight. Buffalo Gals
can't you come out tonight and dance
by the light of the moon.
GEORGE
What'd you wish when you threw that
rock?
CLOSE SHOT
Man on the porch of house, listening to George and Mary.
MEDIUM CLOSEUP � GEORGE AND MARY
They have stopped walking and now face one another.
MARY
Oh, no.
GEORGE
Come on, tell me.
MARY
If I told you it might not come true.
GEORGE
What is it you want, Mary? What do
you want? You want the moon? Just
say...
LONG SHOT
Full moon shining through the trees.
BACK TO SHOT � GEORGE AND MARY
GEORGE
...the word and I'll throw a lasso
around it and pull it down. Hey,
that's a pretty good idea. I'll give
you the moon, Mary.
MARY
I'll take it. And then what?
GEORGE
Well, then you could swallow it and
it'd all dissolve, see? And the
moonbeams'd shoot out of your fingers
and your toes, and the ends of your
hair.
(pauses)
Am I talking too much?
MEDIUM CLOSEUP � MAN ON PORCH OF HOUSE
As George finishes talking, he jumps up out of his chair:
MAN
Yes!! Why don't you kiss her instead
of talking her to death?
CLOSE SHOT � GEORGE AND MARY
GEORGE
How's that?
MEDIUM CLOSEUP � MAN ON PORCH
MAN
Why don't you kiss her instead of
talking her to death?
CLOSE SHOT � GEORGE AND MARY
GEORGE
Want me to kiss her, huh?
CLOSE SHOT � PORCH OF HOUSE
MAN
Aw, youth is wasted on the wrong
people.
As he speaks, the man leaves the porch and goes into his
house, slamming the front door.
CLOSE SHOT � GEORGE AND MARY
GEORGE
Hey, hey, hold on. Hey, mister, come
on back out here, and I'll show you
some kissing that'll put hair back
on your head. What are you...
Mary runs off scene. George has been once more standing on
the belt of her bath robe, so as she goes, her robe comes
off.
GEORGE
(looking around)
Mary...
He drops his bundle of clothes and picks up Mary's robe. He
cannot see her anywhere.
GEORGE
Okay, I give up. Where are you?
CLOSEUP � BUSH AT EDGE OF SIDEWALK
We see Mary's face peering out from the leaves.
MARY
Over here in the hydrangea bushes.
MEDIUM CLOSE SHOT � GEORGE AND MARY
George walks toward the bush.
GEORGE
Here you are. Catch.
He is about to throw her the robe, when a thought strikes
him.
GEORGE
Wait a minute. What am I doing? This
is a very interesting situation.
MARY
(from the bushes)
Please give me my robe.
GEORGE
Hmm... A man doesn't get in a
situation like this every day.
MARY
(impatiently)
I'd like to have my robe.
GEORGE
Not in Bedford Falls, anyway.
Mary thrashes around in the bushes. We hear her say:
MARY
Ouch!
GEORGE
Gesundheit. This requires a little
thought here.
MARY
(getting mad)
George Bailey! Give me my robe!
GEORGE
I've heard about things like this,
but I've never...
MARY
(interrupting)
Shame on you. I'm going to tell your
mother on you.
GEORGE
Oh, my mother's way up the corner
there.
MARY
(desperate)
I'll call the police.
GEORGE
They're way downtown. They'd be on
my side, too.
MARY
I'm going to scream!
GEORGE
(thoughtfully)
Maybe I could sell tickets. Let's
see. No, the point is, in order to
get this robe... I've got it! I'll
make a deal with you, Mary.
Headlights flash into the scene, and the old Bailey automobile
drives in, with Harry at the wheel, and Uncle Billy beside
him.
UNCLE BILLY
George! George! Come on home, quick!
Your father's had a stroke!
George throws Mary's robe over the bush and gets into the
car.
GEORGE
Mary... Mary, I'm sorry. I've got to
go.
HARRY
Come on, George, let's hurry.
GEORGE
Did you get a doctor?
UNCLE BILLY
Yes, Campbell's there now.
CLOSEUP � THE HYDRANGEA BUSH
As the car drives off, Mary, now wearing the robe, rises up
from the bush and follows the car with her eyes.
FADE OUT
FADE IN:
EXT. BAILEY BUILDING AND LOAN SIGN OVER ENTRANCE
INT. BAILEY BUILDING AND LOAN OFFICE � DAY
CLOSE SHOT � DIRECTORS MEETING
There are about twelve directors seated around a long table.
They are the substantial citizens of Bedford Falls: Dr.
Campbell, a lawyer, an insurance agent, a real estate
salesman, etc. Prominently seated among them is Henry F.
Potter, his goon beside his wheelchair. Uncle Billy and George
are seated among the directors. The Chairman of the Board is
Dr. Campbell. They have folders and papers before them, on
which they have been reporting. Before each of the directors
there are individual reports for them to study.
DR. CAMPBELL
I think that's all we'll need you
for, George. I know you're anxious
to make a train.
GEORGE
(rising)
I have a taxi waiting downstairs.
DR. CAMPBELL
I want the Board to know that George
gave up his trip to Europe to help
straighten things out here these
past few months. Good luck to you
at school, George.
GEORGE
Thanks.
DR. CAMPBELL
Now we come to the real purpose of
this meeting � to appoint a successor
to our dear friend, Peter Bailey.
POTTER
Mr. Chairman, I'd like to get to my
real purpose.
MAN
Wait just a minute now.
POTTER
Wait for what? I claim this
institution is not necessary to this
town. Therefore, Mr. Chairman, I
make a motion to dissolve this
institution and turn its assets and
liabilities over to the receiver.
UNCLE BILLY
(angrily)
George, you hear what that buzzard...
LAWYER
Mr. Chairman, it's too soon after
Peter Bailey's death to discuss
chloroforming the Building and Loan.
MAN
Peter Bailey died three months ago.
I second Mr. Potter's motion.
DR. CAMPBELL
Very well. In that case I'll ask the
two executive officers to withdraw.
Dr. Campbell rises from his seat. George and Uncle Billy
start to collect their papers and leave the table.
DR. CAMPBELL
But before you go, I'm sure the whole
board wishes to express its deep
sorrow at the passing of Peter Bailey.
GEORGE
Thank you very much.
DR. CAMPBELL
It was his faith and devotion that
are responsible for this organization.
POTTER
I'll go further than that. I'll say
that to the public Peter Bailey was
the Building and Loan.
Everyone looks at him surprised.
UNCLE BILLY
(trying to control
himself)
Oh, that's fine, Potter, coming from
you, considering that you probably
drove him to his grave.
POTTER
Peter Bailey was not a business man.
That's what killed him. Oh, I don't
mean any disrespect to him, God rest
his soul. He was a man of high
ideals, so-called, but ideals without
common sense can ruin this town.
(picking up papers
from table)
Now, you take this loan here to Ernie
Bishop... You know, that fellow that
sits around all day on his brains in
his taxi. You know... I happen to
know the bank turned down this loan,
but he comes here and we're building
him a house worth five thousand
dollars. Why?
George is at the door of the office, holding his coat and
papers, ready to leave.
GEORGE
Well, I handled that, Mr. Potter.
You have all the papers there. His
salary, insurance. I can personally
vouch for his character.
POTTER
(sarcastically)
A friend of yours?
GEORGE
Yes, sir.
POTTER
You see, if you shoot pool with some
employee here, you can come and borrow
money. What does that get us? A
discontented, lazy rabble instead of
a thrifty working class. And all
because a few starry-eyed dreamers
like Peter Bailey stir them up and
fill their heads with a lot of
impossible ideas. Now, I say...
George puts down his coat and comes around to the table,
incensed by what Potter is saying about his father.
GEORGE
Just a minute � just a minute. Now,
hold on, Mr. Potter. You're right
when you say my father was no business
man. I know that. Why he ever started
this cheap, penny-ante Building and
Loan, I'll never know. But neither
you nor anybody else can say anything
against his character, because his
whole life was... Why, in the twenty-
five years since he and Uncle Billy
started this thing, he never once
thought of himself. Isn't that right,
Uncle Billy? He didn't save enough
money to send Harry to school, let
alone me. But he did help a few people
get out of your slums, Mr. Potter.
And what's wrong with that? Why...
Here, you're all businessmen here.
Doesn't it make them better citizens?
Doesn't it make them better customers?
You... you said... What'd you say
just a minute ago?... They had to
wait and save their money before
they even ought to think of a decent
home. Wait! Wait for what? Until
their children grow up and leave
them? Until they're so old and broken-
down that they... Do you know how
long it takes a working man to save
five thousand dollars? Just remember
this, Mr. Potter, that this rabble
you're talking about... they do most
of the working and paying and living
and dying in this community. Well,
is it too much to have them work and
pay and live and die in a couple of
decent rooms and a bath? Anyway, my
father didn't think so. People were
human beings to him, but to you, a
warped, frustrated old man, they're
cattle. Well, in my book he died a
much richer man than you'll ever be!
POTTER
I'm not interested in your book. I'm
talking about the Building and Loan.
GEORGE
I know very well what you're talking
about. You're talking about something
you can't get your fingers on, and
it's galling you. That's what you're
talking about, I know.
(to the Board)
Well, I've said too much. I... You're
the Board here. You do what you want
with this thing. Just one thing more,
though. This town needs this measly
one-horse institution if only to
have some place where people can
come without crawling to Potter.
Come on, Uncle Billy!
George leaves the room, followed by the jubilant Uncle Billy.
Potter's face is grim with hatred. The "frustrated old man"
remark was gall in his veins.
POTTER
Sentimental hogwash! I want my
motion...
He is interrupted by a babble of talk, as the directors take
up the argument
INT. OUTER OFFICE � BUILDING AND LOAN � DAY
MEDIUM CLOSE SHOT
George, visibly shaken, is busy with his bag, his papers. He
is worried about the outcome of the meeting. Dissolving the
Building and Loan will alter his plans. Uncle Billy follows
him around, chattering.
UNCLE BILLY
Boy, oh, boy, that was telling him,
George, old boy. You shut his big
mouth.
(to Cousin Tilly and
Cousin Eustace)
You should have heard him.
COUSIN EUSTACE
What happened? We heard a lot of
yelling.
UNCLE BILLY
Well, we're being voted out of
business after twenty-five years.
Easy come, easy go.
COUSIN TILLY
(reading a newspaper)
Here it is, "Help Wanted � Female."
MEDIUM CLOSE SHOT � DOORWAY TO OFFICE
Ernie is in the doorway.
ERNIE
You still want me to hang around,
George?
MEDIUM CLOSE SHOT � GEORGE AND THE OTHERS
GEORGE
(looking at his watch)
Yeah, I'll be right down.
UNCLE BILLY
Hey, you'll miss your train. You're
a week late for school already. Go
on.
GEORGE
(indicating Board
room)
I wonder what's going on in there?
UNCLE BILLY
Oh, never mind. Don't worry about
that. They're putting us out of
business. So what? I can get another
job. I'm only fifty-five.
COUSIN TILLY
Fifty-six!
UNCLE BILLY
Go on � go on. Hey, look, you gave
up your boat trip, now you don't
want to miss college too, do you?
Dr. Campbell comes running out, all excited.
DR. CAMPBELL
George! George! They voted Potter
down! They want to keep it going!
Cousin Eustace, Cousin Tilly and Uncle Billy cheer wildly.
Dr. Campbell and George shake hands.
UNCLE BILLY
Whoopee!
DR. CAMPBELL
But they've got one condition � only
one condition.
GEORGE
What's that?
DR. CAMPBELL
That's the best part of it. They've
appointed George here as executive
secretary to take his father's place.
GEORGE
Oh, no! But, Uncle Billy...
DR. CAMPBELL
You can keep him on. That's all right.
As secretary you can hire anyone you
like.
GEORGE
(emphatically)
Dr. Campbell, now let's get this
thing straight. I'm leaving. I'm
leaving right now. I'm going to
school. This is my last chance. Uncle
Billy here, he's your man.
DR. CAMPBELL
But, George, they'll vote with Potter
otherwise.
LAP DISSOLVE
EXT. SKY � NIGHT
The same stars we saw in the opening sequence are once more
twinkling as we hear the voices form Heaven
CLARENCE'S VOICE
I know. I know. He didn't go.
JOSEPH'S VOICE
That's right. Not only that, but he
gave his school money to his brother
Harry, and sent him to college. Harry
became a football star � made second
team All American.
CLARENCE'S VOICE
Yes, but what happened to George?
LAP DISSOLVE
EXT. RAILROAD STATION � DAY � FOUR YEARS LATER
MEDIUM SHOT
Characteristic activity; a number of people waiting for the
train. Uncle Billy is seated on a baggage wagon eating
peanuts as George paces up and down in front of him.
JOSEPH'S VOICE
George got four years older, waiting
for Harry to come back and take over
the Building and Loan.
GEORGE
Oh, there are plenty of jobs around
for somebody that likes to travel.
Look at this.
(takes some folders
from his pocket)
There... Venezuela oil fields �
wanted, man with construction
experience. Here's the Yukon, right
here � wanted, man with engineering
experience.
The WHISTLE of the approaching train is heard.
GEORGE
Thar she blows. You know what the
three most exciting sounds in the
world are?
UNCLE BILLY
Uh-huh. Breakfast is served; lunch
is served; dinner...
GEORGE
No, no, no, no! Anchor chains, plane
motors, and train whistles.
UNCLE BILLY
Peanut?
WIPE TO:
EXT. TRAIN � DAY
MEDIUM SHOT
The train comes to a stop, and Harry is among the first to
get off, followed by an attractive girl about the same age
as he is. George rushes into the shot, and as the brothers
embrace:
GEORGE
(joyously)
There's the professor now! Old
professor, Phi Beta Kappa Bailey!
All American!
HARRY
Well, if it isn't old George
Geographic Explorer Bailey! What? No
husky dogs? No sled?
(to Uncle Billy)
Uncle Billy, you haven't changed a
bit.
UNCLE BILLY
Nobody ever changes around here. You
know that.
GEORGE
Oh, am I glad to see you.
HARRY
Say, where's Mother?
GEORGE
She's home cooking the fatted calf.
Come on, let's go.
HARRY
Oh, wait. Wait... Wait a minute.
CLOSE SHOT
The group, including Ruth Dakin. This is the young lady who
came off the train with Harry. In the excitement of greetings
she has been momentarily forgotten. She stands, smiling,
waiting.
GEORGE
Hello.
UNCLE BILLY
How do you do.
HARRY
Ruth Dakin.
RUTH
Ruth Dakin Bailey, if you don't mind.
George and Uncle Billy stare, astounded.
UNCLE BILLY
Huh?
HARRY
Well, I wired you I had a surprise.
Here she is. Meet the wife.
George is thunderstruck. He takes Ruth's hand.
UNCLE BILLY
Well, what do you know � wife.
GEORGE
Well, how do you do. Congratulations.
Congratulations. What am I doing?
He kisses Ruth. CAMERA MOVES WITH them down the platform.
GEORGE
Harry, why didn't you tell somebody?
(to Ruth)
What's a pretty girl like you doing
marrying this two-headed brother of
mine?
RUTH
(smiling)
Well, I'll tell you. It's purely
mercenary. My father offered him a
job.
George stops, with a sinking feeling. Uncle Billy and Ruth
continue out of shot. Harry stops with George.
UNCLE BILLY
(as he moves off)
Oh, he gets you and a job? Well,
Harry's cup runneth over.
HARRY
George... about that job. Ruth spoke
out of turn. I never said I'd take
it. You've been holding the bag here
for four years, and... well, I won't
let you down, George. I would like
to... Oh, wait a minute. I forgot
the bags. I'll be right back.
He runs out of the shot, George watching him.
CLOSE SHOT
George slowly moves after Uncle Billy and Ruth. He is thinking
deeply.
UNCLE BILLY'S VOICE
It was a surprise to me. This is the
new Mrs. Bailey, my nephew's wife.
Old, old friend of the family.
RUTH'S VOICE
Oh, of course. I've heard him speak
of you.
UNCLE BILLY'S VOICE
And I want to tell you, we're going
to give the biggest party this town
ever saw.
CAMERA MOVES WITH George as he comes into the scene. Ruth
detaches herself from the group and offers George some
popcorn.
RUTH
(to George)
Here, have some popcorn. George,
George, George... that's all Harry
ever talks about.
GEORGE
(quietly)
Ruth, this... what about this job?
RUTH
Oh, well, my father owns a glass
factory in Buffalo. He wants to get
Harry started in the research
business.
GEORGE
Is it a good job?
RUTH
Oh, yes, very. Not much money, but a
good future, you know. Harry's a
genius at research. My father fell
in love with him.
GEORGE
And you did, too?
Ruth nods, smiling.
WIPE TO:
EXT. FRONT PORCH � BAILEY HOME � NIGHT
MEDIUM CLOSE SHOT
Cousin Eustace is taking a photograph of the family group
assembled on the porch. Flash bulbs go off, and the group
breaks up. The crowd enters the front door of the house,
leaving George and Uncle Billy on the porch.
CLOSE SHOT � GEORGE AND UNCLE BILLY
The latter is tipsy. He feels very high.
UNCLE BILLY
Oh, boy, oh boy, oh boy. I feel so
good I could spit in Potter's eye. I
think I will. What did you say, huh?
Oh, maybe I'd better go home.
He looks around for his hat, which is on his head.
UNCLE BILLY
Where's my hat? Where's my...
George takes the hat from Uncle Billy's head and hands it to
him.
UNCLE BILLY
Oh, thank you, George. Which one is
mine?
GEORGE
(laughing)
The middle one.
UNCLE BILLY
Oh, thank you, George, old boy, old
boy. Now, look � if you'll point me
in the right direction... would you
do that? George?
GEORGE
Right down here.
They descend the porch steps, and George turns his uncle
around and heads him down the street.
UNCLE BILLY
Old Building and Loan pal, huh...
GEORGE
Now you just turn this way and go
right straight down.
UNCLE BILLY
That way, huh?
He staggers out of the scene, and as George turns away, we
hear Uncle Billy singing "My Wild Irish Rose." There is a
CRASH of cans and bottles, then:
UNCLE BILLY'S VOICE
I'm all right. I'm all right. "...
the sweetest flower that grows... "
EXT. HOUSE � NIGHT
MEDIUM CLOSE SHOT
George is standing at the garden gate. He takes some travel
folders from his pocket, looks at them and throws them away.
He is obviously disturbed about the latest turn of events.
His mother comes out of the house and kisses him.
GEORGE
Hello, Mom.
MRS. BAILEY
(as she kisses him)
That's for nothing. How do you like
her?
She nods toward the house, where Harry and Ruth, among a
crowd of other couples, are dancing to the MUSIC of a
phonograph, and can be seen through the front door.
GEORGE
She's swell.
MRS. BAILEY
Looks like she can keep Harry on his
toes.
GEORGE
Keep him out of Bedford Falls, anyway.
MRS. BAILEY
Did you know that Mary Hatch is back
from school?
GEORGE
Uh-huh.
MRS. BAILEY
Came back three days ago.
GEORGE
Hmmmm...
MRS. BAILEY
Nice girl, Mary.
GEORGE
Hmmmm...
MRS. BAILEY
Kind that will help you find the
answers, George.
GEORGE
Hmmm...
MRS. BAILEY
Oh, stop that grunting.
GEORGE
Hmmm...
MRS. BAILEY
Can you give me one good reason why
you shouldn't call on Mary?
GEORGE
Sure � Sam Wainwright.
MRS. BAILEY
Hmmm?
GEORGE
Yes. Sam's crazy about Mary.
MRS. BAILEY
Well, she's not crazy about him.
GEORGE
Well, how do you know? Did she discuss
it with you?
MRS. BAILEY
No.
GEORGE
Well then, how do you know?
MRS. BAILEY
Well, I've got eyes, haven't I? Why,
she lights up like a firefly whenever
you're around.
GEORGE
Oh...
MRS. BAILEY
And besides, Sam Wainwright's away
in New York, and you're here in
Bedford Falls.
GEORGE
And all's fair in love and war?
MRS. BAILEY
(primly)
I don't know about war.
GEORGE
Mother, you know, I can see right
through you � right back to your
back collar button... trying to get
rid of me, huh?
MRS. BAILEY
Uh-huh.
They kiss. Mrs. Bailey puts George's hat on his head.
GEORGE
Well, here's your hat, what's your
hurry? All right, Mother, old
Building and Loan pal, I think I'll
go out and find a girl and do a little
passionate necking.
MRS. BAILEY
Oh, George!
GEORGE
Now, if you'll just point me in the
right direction... This direction?
(as he leaves)
Good night, Mrs. Bailey.
WIPE TO:
EXT. MAIN STREET BEDFORD FALLS � NIGHT
CLOSE SHOT
George is standing in the middle of the street, hands in his
pockets. As a girl passes, he turns and watches her for a
moment. He is obviously undecided as to what he wants to
do.
EXT. VIOLET BICK'S BEAUTY SHOP � NIGHT
MEDIUM SHOT
Violet is locking up for the night. A couple of men are
crowding around her, each one bent on taking her out. There
is laughter, kidding and pawing. She looks up and sees George
standing there.
VIOLET
(to the two men)
Excuse me...
MAN
Now, wait a minute.
VIOLET
I think I got a date. But stick
around, fellows, just in case, huh?
MAN
We'll wait for you, baby.
CAMERA PANS WITH Violet as she crosses the street to George.
MEDIUM CLOSE SHOT � GEORGE AND VIOLET
VIOLET
Hello, Georgie-Porgie.
GEORGE
Hello, Vi.
He looks her over. Violet takes her beauty shop seriously
and she's an eyeful. She senses the fact that George is far
from immune to her attractions. She links her arm in his and
continues on down the street with him.
CLOSE MOVING SHOT � GEORGE AND VIOLET
VIOLET
What gives?
GEORGE
Nothing.
VIOLET
Where are you going?
GEORGE
Oh, I'll probably end up down at the
library.
They stop walking and face one another.
VIOLET
George, don't you ever get tired of
just reading about things?
Her eyes are seductive and guileful as she looks up at him.
He is silent for a moment, then blurts out:
GEORGE
Yes... what are you doing tonight?
VIOLET
(feigned surprise)
Not a thing.
GEORGE
Are you game, Vi? Let's make a night
of it.
VIOLET
(just what she wanted)
Oh, I'd love it, Georgie. What'll we
do?
GEORGE
Let's go out in the fields and take
off our shoes and walk through the
grass.
VIOLET
Huh?
GEORGE
Then we can go up to the falls. It's
beautiful up there in the moonlight,
and there's a green pool up there,
and we can swim in it. Then we can
climb Mt. Bedford, and smell the
pines, and watch the sunrise against
the peaks, and... we'll stay up there
the whole night, and everybody'll be
talking and there'll be a terrific
scandal...
VIOLET
(interrupting)
George, have you gone crazy? Walk in
the grass in my bare feet? Why, it's
ten miles up to Mt. Bedford.
GEORGE
Shhh...
VIOLET
(angrily)
You think just because you...
By this time a small crowd has collected to watch the above
scene. Violet is furious and talking in a loud voice, and
George is trying to quiet her. Finally:
GEORGE
Okay, just forget about the whole
thing.
As George stalks off, the crowd breaks into laughter, and we
WIPE TO:
EXT. RESIDENTIAL STREET � NIGHT
CLOSE SHOT
George is walking slowly past the Hatch home. He stares
meditatively at the simple dwelling, then he starts walking
ahead. But after a few steps he turns around and starts
back. He walks past the house a few yards, turns, and starts
back again.
INT. BEDROOM WINDOW � HATCH HOME � NIGHT
CLOSE SHOT
Mary is looking out the window, watching George walk back
and forth.
MARY
What are you doing, picketing?
George stops, startled, and looks up.
GEORGE
Hello, Mary. I just happened to be
passing by.
MARY
Yeah, so I noticed. Have you made up
your mind?
GEORGE
How's that?
MARY
Have you made up your mind?
GEORGE
About what?
MARY
About coming in. Your mother just
phoned and said you were on your way
over to pay me a visit.
EXT. STREET � NIGHT
MEDIUM LONG SHOT
George looks surprised at this.
GEORGE
My mother just called you? Well, how
did she know?
MARY
Didn't you tell her?
GEORGE
I didn't tell anybody. I just went
for a walk and happened to be passing
by...
But Mary has disappeared from the window.
GEORGE
(to himself)
What do you... went for a walk, that's
all.
INT. HATCH HOME � NIGHT
MEDIUM CLOSE SHOT
Mary is running down the stairs.
MARY
(calling off)
I'll be downstairs, mother.
MRS. HATCH'S VOICE
All right, dear.
Mary looks in a mirror at the bottom of the stairs and fixes
her hair. She is plainly excited at George's visit. She runs
into the parlor and puts a sketch on an easel.
INSERT: THE SKETCH
It is a caricature of George throwing a lasso around the
moon. Lettering on the drawing says: "George Lassos The
Moon."
BACK TO SHOT
Mary runs into the hall, opens the phonograph and puts on a
record of "Buffalo Gals." Then she opens the front door and
stands there waiting for George.
INT. DOORWAY � NIGHT
MEDIUM CLOSE SHOT
George is struggling with the gate � he finally kicks it
open and starts slowly up the path toward Mary.
MARY
Well, are you coming in or aren't
you?
GEORGE
Well, I'll come in for a minute, but
I didn't tell anybody I was coming
over here.
CLOSE SHOT
Mary and George are in the entrance hall.
GEORGE
When did you get back?
MARY
Tuesday.
GEORGE
Where'd you get that dress?
MARY
Do you like it?
GEORGE
It's all right. I thought you'd go
back to New York like Sam and Ingie,
and the rest of them.
MARY
Oh, I worked there for a couple of
vacations, but I don't know... I
guess I was homesick.
GEORGE
(shocked)
Homesick? For Bedford Falls?
MARY
Yes, and my family and... oh,
everything. Would you like to sit
down?
They go through the doorway into the parlor.
GEORGE
All right, for a minute. I still
can't understand it though. You know
I didn't tell anybody I was coming
here.
MARY
Would you rather leave?
GEORGE
No, I don't want to be rude.
MARY
Well, then, sit down.
George sees the cartoon on the easel and bends down for a
close look at it.
GEORGE
(indicating cartoon)
Some joke, huh?
CLOSE SHOT
George and Mary sitting on the divan. He is uncomfortable,
and she tries desperately to keep the conversation alive.
GEORGE
Well, I see it still smells like
pine needles in here.
MARY
Thank you.
There is silence for a moment, then Mary joins in singing
with the phonograph record which has been playing all through
the above scene:
MARY
(singing)
"And dance by the light..."
GEORGE
What's the matter? Oh, yeah... yeah...
He looks at his watch, as though about to leave.
GEORGE
Well, I...
MARY
(desperately)
It was nice about your brother Harry,
and Ruth, wasn't it?
GEORGE
Oh... yeah, yeah. That's all right.
MARY
Don't you like her?
GEORGE
Well, of course I like her. She's a
peach.
MARY
Oh, it's just marriage in general
you're not enthusiastic about, huh?
GEORGE
No, marriage is all right for Harry,
and Marty, and Sam and you.
INT. STAIRS
MEDIUM CLOSE SHOT
Mrs. Hatch, in a bathrobe, and with her hair in curlers, is
leaning over the banister as she calls:
MRS. HATCH
Mary! Mary!
INT. PARLOR � NIGHT
CLOSE SHOT
George and Mary seated on the divan.
MRS. HATCH'S VOICE
Who's down there with you?
MARY
It's George Bailey, Mother.
MRS. HATCH'S VOICE
George Bailey? What's he want?
MARY
I don't know.
(to George)
What do you want?
GEORGE
(indignant)
Me? Not a thing. I just came in to
get warm.
MARY
(to mother)
He's making violent love to me,
Mother.
George is aghast.
MRS. HATCH'S VOICE
You tell him to go right back home,
and don't you leave the house, either.
Sam Wainwright promised to call you
from New York tonight.
GEORGE
(heatedly)
But your mother needn't... you know
I didn't come here to... to... to...
MARY
(rising)
What did you come here for?
GEORGE
I don't know. You tell me. You're
supposed to be the one that has all
the answers. You tell me.
MARY
(terribly hurt)
Oh, why don't you go home?
GEORGE
(almost shouting)
That's where I'm going. I don't know
why I came here in the first place!
Good night!
As George leaves the room, the telephone in the hall starts
ringing.
MARY
(to George)
Good night!
MRS. HATCH'S VOICE
Mary! Mary! The telephone! It's Sam!
INT. HALL � NIGHT
MEDIUM CLOSE SHOT
Mary comes into the hall.
MARY
(almost weeping)
I'll get it.
As Mary comes into the hall, she stops by the phonograph,
which is still playing "Buffalo Gals," takes off the record
with a jerk, and smashes it against the machine. The phone
is still ringing.
MRS. HATCH
Mary, he's waiting!
MARY
Hello.
As Mary picks up the phone, George comes in from the front
porch.
GEORGE
I forgot my hat.
MARY
(overly enthusiastic)
Hee-haw! Hello, Sam, how are you?
SAM'S VOICE
Aw, great. Gee, it's good to hear
your voice again.
George has stopped, hat in hand, to hear the first greetings.
MARY
Oh, well, that's awfully sweet of
you, Sam.
(glances toward door,
sees George still
there)
There's an old friend of yours here.
George Bailey.
SAM
You mean old moss-back George?
MARY
Yes, old moss-back George.
SAM'S VOICE
Hee-haw! Put him on.
MARY
Wait a minute. I'll call him.
(calling)
George!
MRS. HATCH
He doesn't want to speak to George,
you idiot!
MARY
He does so. He asked for him.
(calling)
Geo... George, Sam wants to speak to
you.
She hands the instrument to George.
GEORGE
Hello, Sam.
INT. SAM'S NEW YORK OFFICE � NIGHT
MEDIUM CLOSE SHOT
Sam is seated at his desk, while a couple of his friends are
nearby, with highballs in their hands.
SAM
(into phone)
Well, George Baileyoffski! Hey, a
fine pal you are. What're you trying
to do? Steal my girl?
INT. HATCH HALL � NIGHT
MEDIUM CLOSE SHOT � GEORGE AND MARY
GEORGE
(into phone)
What do you mean? Nobody's trying to
steal your girl. Here... here's Mary.
SAM'S VOICE
No, wait a minute. Wait a minute. I
want to talk to both of you. Tell
Mary to get on the extension.
GEORGE
(to Mary)
Here. You take it. You tell him.
MARY
Mother's on the extension.
INT. UPPER HALLWAY � NIGHT
CLOSE SHOT � MRS. HATCH
As she hears this, she hastily hangs up the extension phone
on which she has been listening.
BACK TO SHOT � GEORGE AND MARY
MARY
We can both hear. Come here.
Mary takes the telephone from George and holds it so that of
necessity George's cheek is almost against hers. He is very
conscious of her proximity.
MARY
(on phone)
We're listening, Sam.
SAM'S VOICE
I have a big deal coming up that's
going to make us all rich. George,
you remember that night in Martini's
bar when you told me you read
someplace about making plastics out
of soybeans?
GEORGE
Huh? Yeah-yeah-yeah... soybeans.
Yeah.
SAM'S VOICE
Well, Dad's snapped up the idea.
He's going to build a factory outside
of Rochester. How do you like that?
Mary is watching George interestedly. George is very conscious
of her, close to him.
GEORGE
Rochester? Well, why Rochester?
SAM'S VOICE
Well, why not? Can you think of
anything better?
GEORGE
Oh, I don't know... why not right
here? You remember that old tool
and machinery works? You tell your
father he can get that for a song.
And all the labor he wants, too.
Half the town was thrown out of work
when they closed down.
SAM'S VOICE
That so? Well, I'll tell him. Hey,
that sounds great! Oh, baby, I knew
you'd come through. Now, here's the
point. Mary, Mary, you're in on this
too. Now listen. Have you got any
money?
GEORGE
Money? Yeah... well, a little.
SAM'S VOICE
Well, now listen. I want you to put
every cent you've got into our stock,
you hear? And George, I may have a
job for you; that is, unless you're
still married to that broken-down
Building and Loan. This is the biggest
thing since radio, and I'm letting
you in on the ground floor. Oh,
Mary... Mary...
MARY
(nervously)
I'm here.
SAM'S VOICE
Would you tell that guy I'm giving
him the chance of a lifetime, you
hear? The chance of a lifetime.
As Mary listens, she turns to look at George, her lips almost
on his lips.
MARY
(whispering)
He says it's the chance of a lifetime.
George can stand it no longer. He drops the phone with a
crash, grabs Mary by the shoulders and shakes her. Mary begins
to cry.
GEORGE
(fiercely)
Now you listen to me! I don't want
any plastics! I don't want any ground
floors, and I don't want to get
married � ever � to anyone! You
understand that? I want to do what I
want to do. And you're... and
you're...
He pulls her to him in a fierce embrace. Two meant for each
other find themselves in tearful ecstasy.
GEORGE
Oh, Mary... Mary...
MARY
George... George... George...
GEORGE
Mary...
CLOSE SHOT
Mrs. Hatch is at the top of the stairs. She practically faints
at what she sees.
WIPE TO:
INT. FRONT HALL BAILEY HOME � DAY � SEVERAL MONTHS LATER
CLOSEUP
Cousin Tilly's face fills the screen as she cries:
COUSIN TILLY
Here they come!
CAMERA PULLS BACK, and we hear the SOUND of the Wedding March.
People are crowded into the rooms: family, friends, neighbors.
There is a din of conversation. Mary and George appear at
the top of the stairs in traveling clothes, with Mrs. Hatch,
red-eyed, behind them. Mary throws her bouquet, which is
caught by Violet Bick. As they come out onto the porch, we
see that it is raining. Nevertheless, Cousin Eustace has
his camera equipment set up and is taking pictures of the
group. George and Mary dodge through the rain and a shower
of rice and get into Ernie's taxicab, which pulls away from
the curb.
EXT. PORCH OF BAILEY HOUSE � DAY
CLOSE SHOT
Mrs. Bailey and Annie, the maid.
MRS. BAILEY
First Harry, now George. Annie, we're
just two old maids now.
ANNIE
You speak for yourself, Mrs. B.
INT. ERNIE'S CAB � DAY
CLOSE SHOT � GEORGE, MARY AND ERNIE
George and Mary are in each other's arms.
ERNIE
If either of you two see a stranger
around here, it's me.
GEORGE
Hey, look! Somebody's driving this
cab.
Ernie reaches over and hands George a bottle of champagne
done up in gift wrappings.
ERNIE
Bert, the cop, sent this over. He
said to float away to Happy Land on
the bubbles.
GEORGE
Oh, look at this. Champagne!
MARY
Good old Bert.
ERNIE
By the way, where are you two going
on this here now honeymoon?
GEORGE
Where are we going?
(takes out a fat roll
of bills)
Look at this. There's the kitty,
Ernie. Here, come on, count it,
Mary.
MARY
I feel like a bootlegger's wife.
(holding up the money)
Look!
GEORGE
You know what we're going to do?
We're going to shoot the works. A
whole week in New York. A whole week
in Bermuda. The highest hotels � the
oldest champagne � the richest caviar
� the hottest music, and the prettiest
wife!
ERNIE
That does it! Then what?
GEORGE
(to Mary)
Then what, honey?
MARY
After that, who cares?
GEORGE
That does it � come here.
The cab passes the bank, and Ernie sees a crowd of people
around the door. He stops the cab.
LONG SHOT
Scurrying people under umbrellas, swarming around the bank
doors. Panic is in the air. Attendants are trying to close
down. Several people come running past the cab.
INT. CAB
CLOSE SHOT � GEORGE, MARY AND ERNIE
ERNIE
Don't look now, but there's something
funny going on over there at the
bank, George, I've never really seen
one, but that's got all the earmarks
of a run.
PASSERBY
Hey, Ernie, if you got any money in
the bank, you better hurry.
MARY
George, let's not stop. Let's go!
George gets out of the cab and looks down the street.
GEORGE
Just a minute, dear. Oh-oh...
MARY
Please, let's not stop, George.
GEORGE
I'll be back in a minute, Mary.
George runs off up the street, toward the Building and Loan.
EXT. BUILDING AND LOAN � DAY
CLOSE SHOT � SIDEWALK
An iron grill blocks the street entrance to the Building and
Loan. It has been locked. A crowd of men and women are
waiting around the grill. They are simply-dressed people, to
whom their savings are a matter of life and death. George
comes in with an assumed cheerful manner. The people look at
him silently, half shamefaced, but grimly determined on their
rights. In their hearts there is panic and fear.
GEORGE
Hello, everybody. Mrs. Thompson, how
are you? Charlie? What's the matter
here, can't you get in?
No one answers. He quickly unlocks the grill door and pushes
it open. Followed by the crowd, George runs upstairs and
into the outer offices of the Building and Loan.
INT. OUTER OFFICE � BUILDING AND LOAN � DAY
MEDIUM CLOSE SHOT
George, followed by the still-silent people, comes in. Uncle
Billy is standing in the doorway to his private office, taking
a drink from a bottle. He motions to George to join him.
GEORGE
What is this, Uncle Billy? A holiday?
UNCLE BILLY
George...
He points to George's office. George turns back cheerfully
to the crowd.
GEORGE
Come on in, everybody. That's right,
just come in.
George vaults over the counter.
GEORGE
Now look, why don't you all sit down.
There are a lot of seats over there.
Just make yourselves at home.
UNCLE BILLY
George, can I see you a minute?
The people ignore George and remain standing in front of the
teller's window. They all have their passbooks out. George
hurries into his office where Uncle Billy is waiting for
him.
INT. GEORGE'S OFFICE � DAY
CLOSE SHOT � GEORGE AND UNCLE BILLY
GEORGE
Why didn't you call me?
UNCLE BILLY
I just did, but they said you left.
This is a pickle, George, this is a
pickle.
GEORGE
All right now, what happened? How
did it start?
UNCLE BILLY
How does anything like this ever
start? All I know is the bank called
our loan.
GEORGE
When?
UNCLE BILLY
About an hour ago. I had to hand
over all our cash.
GEORGE
All of it?
UNCLE BILLY
Every cent of it, and it still was
less than we owe.
GEORGE
Holy mackerel!
UNCLE BILLY
And then I got scared, George, and
closed the doors. I... I... I...
GEORGE
The whole town's gone crazy.
The telephone rings. Uncle Billy picks it up.
UNCLE BILLY
Yes, hello? George... it's Potter.
GEORGE
Hello?
INT. POTTER'S LIBRARY � DAY
MEDIUM SHOT
Potter seated behind his desk, his goon alongside him.
Standing in front of the desk is a distinguished-looking
man, obviously the president of the bank. He is mopping his
brow with his handkerchief.
POTTER
George, there is a rumor around town
that you've closed your doors. Is
that true? Oh, well, I'm very glad
to hear that... George, are you all
right? Do you need any police?
INT. GEORGE'S OFFICE � DAY
CLOSE SHOT � GEORGE AND UNCLE BILLY
GEORGE
(on phone)
Police? What for?
INT. POTTER'S OFFICE � DAY
MEDIUM CLOSE SHOT � POTTER TALKING ON PHONE
POTTER
Well, mobs get pretty ugly sometimes,
you know. George, I'm going all out
to help in this crisis. I've just
guaranteed the bank sufficient funds
to meet their needs. They'll close
up for a week, and then reopen.
INT. GEORGE'S OFFICE � DAY
CLOSE SHOT � GEORGE AND UNCLE BILLY
GEORGE
(to Uncle Billy)
He just took over the bank.
INT. POTTER'S OFFICE � DAY
CLOSE SHOT � POTTER ON PHONE
POTTER
I may lose a fortune, but I'm willing
to guarantee your people too. Just
tell them to bring their shares over
here and I will pay them fifty cents
on the dollar.
INT. GEORGE'S OFFICE � DAY
CLOSE SHOT � GEORGE AND UNCLE BILLY
GEORGE
(furiously)
Aw, you never miss a trick, do you,
Potter? Well, you're going to miss
this one.
George bangs the receiver down and turns to meet Uncle Billy's
anxious look.
INT. POTTER'S OFFICE
CLOSEUP � POTTER ON PHONE
POTTER
If you close your doors before six
P.M. you will never reopen.
He realizes George has hung up, and clicks the phone
furiously.
INT. GEORGE'S OFFICE � DAY
CLOSE SHOT � GEORGE AND UNCLE BILLY
UNCLE BILLY
George, was it a nice wedding? Gosh,
I wanted to be there.
GEORGE
Yeah...
(looks at string on
Uncle Billy's finger)
...you can take this one off now.
An ominous SOUND of angry voices comes from the other room.
George and Uncle Billy exit from George's office.
INT. OUTER OFFICE � BUILDING AND LOAN � DAY
MEDIUM CLOSE SHOT
More people have crowded around the counter. Their muttering
stops and they stand silent and grim. There is panic in their
faces.
GEORGE
Now, just remember that this thing
isn't as black as it appears.
As George speaks, sirens are heard passing in the street
below. The crowd turn to the windows, then back to George.
GEORGE
I have some news for you, folks.
I've just talked to old man Potter,
and he's guaranteed cash payments at
the bank. The bank's going to reopen
next week.
ED
But, George, I got my money here.
CHARLIE
Did he guarantee this place?
GEORGE
Well, no, Charlie. I didn't even ask
him. We don't need Potter over here.
Mary and Ernie have come into the room during this scene.
Mary stands watching silently.
CHARLIE
I'll take mine now.
GEORGE
No, but you... you... you're thinking
of this place all wrong. As if I had
the money back in a safe. The money's
not here. Your money's in Joe's
house...
(to one of the men)
...right next to yours. And in the
Kennedy house, and Mrs. Macklin's
house, and a hundred others. Why,
you're lending them the money to
build, and then, they're going to
pay it back to you as best they can.
Now what are you going to do?
Foreclose on them?
TOM
I got two hundred and forty-two
dollars in here, and two hundred and
forty-two dollars isn't going to
break anybody.
MEDIUM CLOSE SHOT � ANOTHER ANGLE
GEORGE
(handing him a slip)
Okay, Tom. All right. Here you are.
You sign this. You'll get your money
in sixty days.
TOM
Sixty days?
GEORGE
Well, now that's what you agreed to
when you bought your shares.
There is a commotion at the outer doors. A man (Randall)
comes in and makes his way up to Tom.
RANDALL
Tom... Tom, did you get your money?
TOM
No.
RANDALL
Well, I did. Old man Potter'll pay
fifty cents on the dollar for every
share you got.
(shows bills)
CROWD
(ad lib)
Fifty cents on the dollar!
RANDALL
Yes, cash!
TOM
(to George)
Well, what do you say?
GEORGE
Now, Tom, you have to stick to your
original agreement. Now give us sixty
days on this.
TOM
(turning to Randall)
Okay, Randall.
He starts out.
MRS. THOMPSON
Are you going to go to Potter's?
TOM
Better to get half than nothing.
A few other people start for the door. CAMERA PANS WITH
George as he vaults over the counter quickly, speaking to
the people.
GEORGE
Tom! Tom! Randall! Now wait... now
listen... now listen to me. I beg of
you not to do this thing. If Potter
gets hold of this Building and Loan
there'll never be another decent
house built in this town. He's already
got charge of the bank. He's got
the bus line. He's got the department
stores. And now he's after us. Why?
Well, it's very simple. Because we're
cutting in on his business, that's
why. And because he wants to keep
you living in his slums and paying
the kind of rent he decides.
The people are still trying to get out, but some of them
have stood still, listening to him. George has begun to make
an impression on them.
GEORGE
Joe, you lived in one of his houses,
didn't you? Well, have you forgotten?
Have you forgotten what he charged
you for that broken-down shack?
(to Ed)
Here, Ed. You know, you remember
last year when things weren't going
so well, and you couldn't make your
payments. You didn't lose your house,
did you? Do you think Potter would
have let you keep it?
(turns to address the
room again)
Can't you understand what's happening
here? Don't you see what's happening?
Potter isn't selling. Potter's buying!
And why? Because we're panicky and
he's not. That's why. He's picking
up some bargains. Now, we can get
through this thing all right. We've
got to stick together, though. We've
got to have faith in each other.
MRS. THOMPSON
But my husband hasn't worked in over
a year, and I need money.
WOMAN
How am I going to live until the
bank opens?
MAN
I got doctor bills to pay.
MAN
I need cash.
MAN
Can't feed my kids on faith.
During this scene Mary has come up behind the counter.
Suddenly, as the people once more start moving toward the
door, she holds up a roll of bills and calls out
MARY
How much do you need?
George jumps over the counter and takes the money from Mary.
GEORGE
Hey! I got two thousand dollars!
Here's two thousand dollars. This'll
tide us over until the bank reopen.
(to Tom)
All right, Tom, how much do you need?
TOM
(doggedly)
Two hundred and forty-two dollars!
GEORGE
(pleading)
Aw, Tom, just enough to tide you
over till the bank reopens.
TOM
I'll take two hundred and forty-two
dollars.
George starts rapidly to count out the money. Tom throws his
passbook on the counter.
GEORGE
There you are.
TOM
That'll close my account.
GEORGE
Your account's still here. That's a
loan.
Mary turns and slips out through the crowd, followed by Ernie.
George hands the two hundred and forty-two dollars to Tom,
and speaks to Ed, the next in line.
GEORGE
Okay. All right, Ed?
ED
I got three hundred dollars here,
George.
Uncle Billy takes out his wallet and takes out all the cash
he's got.
GEORGE
Aw, now, Ed... what'll it take till
the bank reopens? What do you need?
ED
Well, I suppose twenty dollars.
GEORGE
Twenty dollars. Now you're talking.
Fine. Thanks, Ed.
(to Mrs. Thompson,
next in line)
All right, now, Mrs. Thompson. How
much do you want?
MRS. THOMPSON
But it's your own money, George.
GEORGE
Never mind about that. How much do
you want?
MRS. THOMPSON
I can get along with twenty, all
right.
GEORGE
(counting it out)
Twenty dollars.
MRS. THOMPSON
And I'll sign a paper.
GEORGE
You don't have to sign anything. I
know you'll pay it back when you
can. That's okay.
(to woman next in
line)
All right, Mrs. Davis.
MRS. DAVIS
Could I have seventeen-fifty?
GEORGE
Seven...
(he kisses her)
Bless your heart, Of course you can
have it. You got fifty cents?
(counting)
Seven...
WIPE TO:
INT. OUTER OFFICE BUILDING AND LOAN � NIGHT
CLOSE SHOT
George, Uncle Billy and Cousin Tilly are behind the counter,
watching the minute hand of a clock on the wall as George
counts off the seconds. Cousin Eustace is ready to close the
door.
UNCLE BILLY
(excitedly)
We're going to make it, George.
They'll never close us up today!
GEORGE
(counting)
Six... five... four... three... two...
one... Bingo!
Cousin Eustace slams and locks the door, and scurries around
the counter to join the others.
GEORGE
We made it! Look...
(holds up two bills)
... look, we're still in business!
We've still got two bucks left!
Uncle Billy is taking a drink out of his bottle.
GEORGE
Well, let's have some of that. Get
some glasses, Cousin Tilly.
(to Uncle Billy)
We're a couple of financial wizards.
UNCLE BILLY
Those Rockefellers!
GEORGE
Get a tray for these great big
important simoleons.
UNCLE BILLY
We'll save them for seed. A toast!
They raise their glasses.
GEORGE
A toast! A toast to Papa Dollar and
to Mama Dollar, and if you want the
old Building and Loan to stay in
business, you better have a family
real quick.
COUSIN TILLY
I wish they were rabbits.
GEORGE
I wish they were too. Okay, let's
put them in the safe and see what
happens.
The four of them parade through the office; George puts the
two dollars in the safe.
CLOSE SHOT � GROUP AROUND THE SAFE DOOR
As George comes out:
COUSIN EUSTACE
(handing out cigars)
Wedding cigars!
GEORGE
(startled)
Oh-oh... wedding! Holy mackerel, I'm
married! Where's Mary? Mary...
(he runs around looking
for her)
Poor Mary. Look, I've got a train to
catch.
(looks at his watch)
Well, the train's gone. I wonder if
Ernie's still here with his taxicab?
George rushes into his office to look out the window.
COUSIN TILLY
(on telephone)
George, there's a call for you.
GEORGE
Look, will you get my wife on the
phone? She's probably over at her
mother's.
COUSIN TILLY
Mrs. Bailey is on the phone.
INT. GEORGE'S OFFICE
MEDIUM CLOSEUP � GEORGE IS THOROUGHLY RATTLED
GEORGE
I don't want Mrs. Bailey. I want my
wife. Mrs. Bailey! Oh, that's my
wife! Here, I'll take it in here.
(picks up phone)
Mary? Hello. Listen, dear, I'm
sorry... What? Come home? What home?
Three-twenty Sycamore? Well, what...
whose home is that? The Waldorf Hotel,
huh?
WIPE TO:
EXT. OLD GRANVILLE HOUSE � NIGHT
MEDIUM LONG SHOT
An old-fashioned, run-down house, unpainted and warped by
the weather. It once had class but has not been lived in for
years. This is the house that George and Mary will live in
from now on. The rain is pouring down. A faint glow of light
shines out from bottom windows. George hurries into scene.
He stops to make sure it is the right number before going up
the steps.
EXT. SIDE OF HOUSE � NIGHT
CLOSE SHOT
Bert and man working in rain, sorting through travel posters.
MAN
Hey, this is the company's posters,
and the company won't like this.
BERT
How would you like to get a ticket
next week? Haven't you any romance
in you?
MAN
Sure I have, but I got rid of it.
BERT
(reading poster)
Liver pills! Who wants to see liver
pills on their honeymoon? What? They
want romantic places, beautiful
places... places George wants to
go.
A sharp whistle is heard.
CLOSE SHOT � WINDOW OF HOUSE
Ernie is leaning from the window.
ERNIE
Hey, Bert, here he comes.
CLOSE SHOT � BERT AND MAN
BERT
Come on, we got to get this up. He's
coming.
MAN
Who?
BERT
The groom, idiot. Come on, get that
ladder.
MAN
(disgustedly)
What are they � ducks?
CLOSE SHOT � SIDE PORCH OF HOUSE
Bert and the man are putting up travel posters to cover up
the broken windows.
BERT
Get that ladder up here.
MAN
All right � all right.
BERT
Hurry up... hurry up... hurry up.
MAN
I'm hurrying.
MEDIUM CLOSE SHOT
George is approaching the front door of the house, on which
a sign is hanging: "Bridal Suite." Ernie looks out through
the curtain covering the broken glass of the front door.
ERNIE
Hiya... Good evening, sir.
Ernie opens the door, revealing himself as a homemade butler.
This has been accomplished by rolling up his pants and putting
on an old coachman's hat. George enters.
ERNIE
Entray, monsieur, entray.
INT. GRANVILLE HOUSE � NIGHT
CLOSE SHOT � GEORGE ENTERS
The house is carpetless, empty � the rain and wind cause
funny noises upstairs. A huge fire is burning in the
fireplace. Near the fireplace a collection of packing boxes
are heaped together in the shape of a small table and covered
with a checkered oil cloth. It is set for two. A bucket with
ice and a champagne bottle sit on the table as well as a
bowl of caviar. Two small chickens are impaled on a spit
over the fire. A phonograph is playing on a box, and a string
from the phonograph is turning the chickens on the spit. The
phonograph is playing "Song of the Islands." Mary is standing
near the fireplace looking as pretty as any bride ever looked.
She is smiling at George, who has been slowly taking in the
whole set-up. Through a door he sees the end of a cheap bed,
over the back of which is a pair of pajamas and a nightie.
Ernie exits and closes the door.
MARY
(tears in her eyes)
Welcome home, Mr. Bailey.
GEORGE
(overcome)
Well, I'll be... Mary, Mary, where
did you...
They rush into each other's arms and hold each other in
ecstasy.
EXT. SIDE OF HOUSE � NIGHT
CLOSE SHOT
Bert and Ernie, standing in the pouring rain, start singing
"I Love You Truly."
INT. HOUSE � NIGHT
CLOSE SHOT � GEORGE AND MARY
They remain embraced.
GEORGE
Oh, Mary...
MARY
Remember the night we broke the
windows in this old house? This is
what I wished for.
GEORGE
Darling, you're wonderful.
EXT. SIDE OF HOUSE � NIGHT
CLOSE SHOT � BERT AND ERNIE
They finish their song, and Ernie kisses Bert on the forehead.
Bert slams Ernie's hat on his head.
FADE OUT
FADE IN:
EXT. SLUM STREET BEDFORD FALLS � DAY � TWO YEARS LATER
MEDIUM CLOSE SHOT
In front of one of the miserable shacks that line the street
are two vehicles. One of them is George Bailey's rickety
car, and the other is an even more rickety truck piled high
with household goods. The Martini family is moving. The family
consists of Martini, his wife and four kid of various ages,
from two to ten. George and Mary are helping the Martinis
move. About a dozen neighbors crowd around. Martini and
George, assisted by three of the Martini children, are
carrying out the last of the furniture. As they emerge from
the house, one of the neighbors, Schultz, calls out:
SCHULTZ
Martini, you rented a new house?
MARTINI
Rent?
(to George)
You hear what he say, Mr. Bailey?
GEORGE
What's that?
MARTINI
I own the house. Me, Giuseppe Martini.
I own my own house. No more we live
like pigs in thisa Potter's Field.
Hurry, Maria.
MARIA
Yes...
GEORGE
Come on...
(to Mary)
Bring the baby.
(to Martini)
I'll bring the kids in the car.
MARTINI
Oh, thank you, Mr. Bailey.
Mary gets in the front seat of the car, with the baby in her
arms.
GEORGE
All right, kids � here � get in here.
Now get right up on the seat there.
Get the... get the goat!
The family goat gets in the back seat with the three kids.
MARTINI
Goodbye, everybody!
GEORGE
All in...
The rickety caravan starts off down the street, to the cheers
of the neighbors.
WIPE TO:
EXT. BAILEY PARK � DAY
CLOSE SHOT
Sign hanging from a tree "Welcome to Bailey Park." CAMERA
PANS TO follow George's car and the old truck laden with
furniture as they pass � we hear Martini's voice singing "O
Sole Mio." Bailey Park is a district of new small houses,
not all alike, but each individual. New lawns here and there,
and young trees. It has the promise when built up of being a
pleasant little middle class section.
WIPE TO:
EXT. MARTINI'S NEW HOUSE � DAY
MEDIUM CLOSE SHOT
George and Mary are on the porch of the new house, with the
Martinis lined up before them.
GEORGE
Mr. and Mrs. Martini, welcome home.
The Martinis cross themselves.
EXT. STREET � BAILEY PARK � DAY
CLOSE SHOT
Sam Wainwright is standing in front of his big black town
car. Sam is the epitome of successful, up-and-coming
businessman. His wife, in the car, is a very attractive,
sophisticated-looking lady, dripping with furs and jewels.
Sam is watching George across the street.
SAM
That old George... he's always making
a speech.
(to George)
Hee-haw!
(wiggles his hands)
EXT. NEW HOUSE � DAY
CLOSE SHOT � MARY AND GEORGE ON PORCH
GEORGE
(to Mary)
Sam Wainwright!
MARY
Oh, who cares.
(to Mrs. Martini,
giving her loaf of
bread)
Bread! That this house may never
know hunger.
Mrs. Martini crosses herself.
MARY
(giving her salt)
Salt! That life may always have
flavor.
GEORGE
(handing bottle to
Martini)
And wine! That joy and prosperity
may reign forever. Enter the Martini
castle!
The Martinis cross themselves, shaking hands all around. The
kids enter, with screams of delight. Mrs. Martini kisses
Mary.
INT. POTTER'S OFFICE IN BANK � DAY
CLOSE SHOT
Potter seated in his wheelchair at his desk, with his goon
beside him. His rent collector, Reineman, is talking,
pointing to maps spread out on the desk.
REINEMAN
Look, Mr. Potter, it's no skin off
my nose. I'm just your little rent
collector. But you can't laugh off
this Bailey Park any more. Look at
it.
A buzzer is heard, and Potter snaps on the dictaphone on his
desk.
SECRETARY'S VOICE
Congressman Blatz is here to see
you.
POTTER
(to dictaphone)
Oh, tell the congressman to wait.
(to Reineman)
Go on.
REINEMAN
Fifteen years ago, a half-dozen houses
stuck here and there.
(indicating map)
There's the old cemetery, squirrels,
buttercups, daisies. Used to hunt
rabbits there myself. Look at it
today. Dozens of the prettiest little
homes you ever saw. Ninety per cent
owned by suckers who used to pay
rent to you. Your Potter's Field, my
dear Mr. Employer, is becoming just
that. And are the local yokels making
with those David and Goliath
wisecracks!
POTTER
Oh, they are, are they? Even though
they know the Baileys haven't made a
dime out of it.
REINEMAN
You know very well why. The Baileys
were all chumps. Every one of these
homes is worth twice what it cost
the Building and Loan to build. If I
were you, Mr. Potter...
POTTER
(interrupting)
Well, you are not me.
REINEMAN
(as he leaves)
As I say, it's no skin off my nose.
But one of these days this bright
young man is going to be asking George
Bailey for a job.
Reineman exits.
POTTER
The Bailey family has been a boil on
my neck long enough.
He flips the switch on the dictaphone.
SECRETARY'S VOICE
Yes, sir?
POTTER
Come in here.
EXT. STREET IN BAILEY PARK � DAY
CLOSE SHOT
George and Mary are talking to Sam Wainwright in front of
the latter's car. Hs wife, Jane, is now out of the car.
SAM
We just stopped in town to take a
look at the new factory, and then
we're going to drive on down to
Florida.
GEORGE
Oh...
JANE
Why don't you have your friends join
us?
SAM
Why, sure. Hey, why don't you kids
drive down with us, huh?
GEORGE
Oh, I'm afraid I couldn't get away,
Sam.
SAM
Still got the nose to the old
grindstone, eh? Jane, I offered to
let George in on the ground floor in
plastics, and he turned me down cold.
GEORGE
Oh, now, don't rub it in.
SAM
I'm not rubbing it in. Well, I guess
we better run along.
There is handshaking all around as Sam and Jane get into
their car.
JANE
Awfully glad to have met you, Mary.
MARY
Nice meeting you.
GEORGE
Goodbye.
JANE
Goodbye, George.
SAM
So long, George. See you in the funny
papers.
GEORGE
Goodbye, Sam.
MARY
Have fun.
GEORGE
Thanks for dropping around.
SAM
(to chauffeur)
To Florida!
(to George)
Hee-haw!
GEORGE
Hee-haw.
The big black limousine glides away, leaving George standing
with his arm around Mary, gazing broodingly after it. They
slowly walk over to George's old car and look at it silently.
WIPE TO:
INT. POTTER'S OFFICE � DAY
CLOSE SHOT
Potter is lighting a big cigar which he has just given George.
The goon is beside Potter's chair, as usual.
GEORGE
Thank you, sir. Quite a cigar, Mr.
Potter.
POTTER
You like it? I'll send you a box.
GEORGE
(nervously)
Well, I... I suppose I'll find out
sooner or later, but just what exactly
did you want to see me about?
POTTER
(laughs)
George, now that's just what I like
so much about you.
(pleasantly and
smoothly)
George, I'm an old man, and most
people hate me. But I don't like
them either, so that makes it all
even. You know just as well as I do
that I run practically everything in
this town but the Bailey Building
and Loan. You know, also, that for a
number of years I've been trying to
get control of it... or kill it. But
I haven't been able to do it. You
have been stopping me. In fact, you
have beaten me, George, and as anyone
in this county can tell you, that
takes some doing. Take during the
depression, for instance. You and I
were the only ones that kept our
heads. You saved the Building and
Loan, and I saved all the rest.
GEORGE
Yes. Well, most people say you stole
all the rest.
POTTER
The envious ones say that, George,
the suckers. Now, I have stated my
side very frankly. Now, let's look
at your side. Young man, twenty-
seven, twenty-eight... married,
making, say... forty a week.
GEORGE
(indignantly)
Forty-five!
POTTER
Forty-five. Forty-five. Out of which,
after supporting your mother, and
paying your bills, you're able to
keep, say, ten, if you skimp. A child
or two comes along, and you won't
even be able to save the ten. Now,
if this young man of twenty-eight
was a common, ordinary yokel, I'd
say he was doing fine. But George
Bailey is not a common, ordinary
yokel. He's an intelligent, smart,
ambitious young man � who hates his
job � who hates the Building and
Loan almost as much as I do. A young
man who's been dying to get out on
his own ever since he was born. A
young man... the smartest one of the
crowd, mind you, a young man who has
to sit by and watch his friends go
places, because he's trapped. Yes,
sir, trapped into frittering his
life away playing nursemaid to a lot
of garlic-eaters. Do I paint a
correct picture, or do I exaggerate?
GEORGE
(mystified)
Now what's your point, Mr. Potter?
POTTER
My point? My point is, I want to
hire you.
GEORGE
(dumbfounded)
Hire me?
POTTER
I want you to manage my affairs, run
my properties. George, I'll start
you out at twenty thousand dollars a
year.
George drops his cigar on his lap. He nervously brushes off
the sparks from his clothes.
GEORGE
(flabbergasted)
Twenty thou... twenty thousand dollars
a year?
POTTER
You wouldn't mind living in the nicest
house in town, buying your wife a
lot of fine clothes, a couple of
business trips to New York a year,
maybe once in a while Europe. You
wouldn't mind that, would you, George?
GEORGE
Would I?
(looking around
skeptically)
You're not talking to somebody else
around here, are you? You know, this
is me, you remember me? George Bailey.
POTTER
Oh, yes, George Bailey. Whose ship
has just come in � providing he has
brains enough to climb aboard.
GEORGE
Well, what about the Building and
Loan?
POTTER
Oh, confound it, man, are you afraid
of success? I'm offering you a three
year contract at twenty thousand
dollars a year, starting today. Is
it a deal or isn't it?
GEORGE
Well, Mr. Potter, I... I... I know I
ought to jump at the chance, but
I... I just... I wonder if it would
be possible for you to give me twenty-
four hours to think it over?
POTTER
Sure, sure, sure. You go on home and
talk about it to your wife.
GEORGE
I'd like to do that.
POTTER
In the meantime, I'll draw up the
papers.
GEORGE
All right, sir.
POTTER
(offers hand)
Okay, George?
GEORGE
(taking his hand)
Okay, Mr. Potter.
As they shake hands, George feels a physical revulsion.
Potter's hand feels like a cold mackerel to him. In that
moment of physical contact he knows he could never be
associated with this man. George drops his hand with a
shudder. He peers intently into Potter's face.
GEORGE
(vehemently)
No... no... no... no, now wait a
minute, here! I don't have to talk
to anybody! I know right now, and
the answer is no! NO! Doggone it!
(getting madder all
the time)
You sit around here and you spin
your little webs and you think the
whole world revolves around you and
your money. Well, it doesn't, Mr.
Potter! In the... in the whole vast
configuration of things, I'd say you
were nothing but a scurvy little
spider. You...
He turns and shouts at the goon, impassive as ever beside
Potter's wheelchair.
GEORGE
...And that goes for you too!
As George opens the office door to exit, he shouts at Mr.
Potter's secretary in the outer office
GEORGE
And it goes for you too!
WIPE TO:
INT. BEDROOM � GEORGE AND MARY'S HOUSE � NIGHT
CLOSE SHOT � GEORGE ENTERS THE BEDROOM
The room is modestly furnished with just a cheap bed, a chair
or two, and a dresser. Mary is asleep in the bed. As George
comes in, his head is filled with many confusing thoughts,
relating to incidents in his past life.
POTTER'S VOICE
You wouldn't mind living in the nicest
house in town. Buying your wife a
lot of fine clothes, going to New
York on a business trip a couple of
times a year. Maybe to Europe once
in a while.
George takes off his hat and coat, moves over to the dresser
and stares at his reflection in the mirror.
GEORGE'S VOICE
I know what I'm going to do tomorrow
and the next day and next year and
the year after that. I'm shaking the
dust of this crummy little town off
my feet, and I'm going to see the
world... And I'm going to build
things. I'm going to build air fields.
I'm going to build skyscrapers a
hundred stories high. I'm going to
build a bridge a mile long.
While the above thoughts are passing through George's head,
his attention is caught by a picture on the wall near the
dresser:
INSERT: PICTURE ON THE WALL
It is the sketch of George lassoing the moon that we first
saw in Mary's living room. The lettering reads: "George Lassos
The Moon."
GEORGE'S VOICE
What is it you want, Mary? You want
the moon? If you do, just say the
word; I'll throw a lasso around it
and pull it down for you.
Mary is now awake, and starts singing their theme song:
MARY
(singing)
Buffalo Gals, won't you come out
tonight, won't you come out tonight,
won't you come out tonight.
George crosses over and sits on the edge of the bed.
GEORGE
Hi.
MARY
Hi.
GEORGE
Mary Hatch, why in the world did you
ever marry a guy like me?
MARY
To keep from being an old maid.
GEORGE
You could have married Sam Wainwright
or anybody else in town.
MARY
I didn't want to marry anybody else
in town. I want my baby to look like
you.
GEORGE
You didn't even have a honeymoon. I
promised you...
(does a double take)
...Your what?
MARY
My baby.
GEORGE
(incredulously)
You mean... Mary, you on the nest?
MARY
George Bailey lassos stork.
GEORGE
Lassos the stork! You mean you...
What is it, a boy or a girl?
Mary nods her head happily.
FADE OUT
FADE IN:
MONTAGE SEQUENCE
Over the following SERIES OF SHOTS we hear the voices of
Joseph and Clarence in Heaven.
EXT. MAIN STREET BEDFORD FALLS � NIGHT
MEDIUM SHOT
George is crossing the street, heading for the offices of
the Building and Loan.
JOSEPH'S VOICE
Now, you've probably already guessed
that George never leaves Bedford
Falls.
CLARENCE'S VOICE
No!
INT. HOSPITAL � DAY
CLOSE SHOT � NURSE HOLDING NEWBORN BABY
JOSEPH'S VOICE
Mary had her baby, a boy.
INT. SITTING ROOM � DAY
CLOSE SHOT
Mary sitting on the floor playing with a baby. A little boy
is in a playpen nearby.
JOSEPH'S VOICE
Then she had another one � a girl.
INT. GRANVILLE HOUSE � DAY
CLOSE SHOTS
Mary is busy hanging wallpaper and painting the old place.
JOSEPH'S VOICE
Day after day she worked away remaking
the old Granville house into a home.
INT. GRANVILLE HOUSE � NIGHT
CLOSE SHOT
George has just come into the hall. He is obviously tired
and discouraged as he starts up the stairs. The knob on the
banister comes off in his hand.
JOSEPH'S VOICE
Night after night George came back
late from the office. Potter was
bearing down hard.
WIPE TO:
EXT. RECRUITING GROUNDS � DAY
MEDIUM LONG SHOT
A group of men, obviously just drafted, marching along in a
camp.
JOSEPH'S VOICE
Then came a war.
INT. RED CROSS WORKROOM � DAY
CLOSE SHOT
Mrs. Bailey and other women in Red Cross uniforms busily
sewing, etc.
JOSEPH'S VOICE
Ma Bailey and Mrs. Hatch joined the
Red Cross and sewed.
EXT. TRAIN IN RAILROAD STATION � DAY
CLOSE SHOT
Mary, with portable U.S.O. pushcart, is serving coffee and
doughnuts to men leaning from the train.
JOSEPH'S VOICE
Mary had two more babies, but still
found time to run the U.S.O.
INT. FACTORY � DAY
CLOSE SHOT
Sam Wainwright showing set of blueprints to two Army officers.
JOSEPH'S VOICE
Sam Wainwright made a fortune in
plastic hoods for planes.
INT. FACTORY � DAY
CLOSE SHOT
Potter is wheeled in toward a long table around which several
men are seated.
JOSEPH'S VOICE
Potter became head of the draft board.
POTTER
(reading from papers)
One-A... One-A... One-A...
EXT. STREET IN BEDFORD FALLS � DAY
MEDIUM CLOSE SHOT
Gower and Uncle Billy are conducting a bond rally from the
top of an Army tank.
JOSEPH'S VOICE
Gower and Uncle Billy sold war bonds.
EXT. BATTLEFIELD � NIGHT
MEDIUM CLOSEUP
Bert, in uniform, moving cautiously with fixed bayonet. Smoke
and flashes of gunfire in background.
JOSEPH'S VOICE
Bert the cop was wounded in North
Africa. Got the Silver Star.
EXT. SKY � DAY
LONG SHOT
Hundreds of planes, flying overhead, with parachutes dropping
from them.
JOSEPH'S VOICE
Ernie, the taxi driver, parachuted
into France.
EXT. REMAGEN BRIDGE OVER THE RHINE � DAY
CLOSE SHOT
Marty in the foreground, beckoning to soldiers to come on.
JOSEPH'S VOICE
Marty helped capture the Remagen
Bridge.
INT. READY ROOM ON AIRCRAFT CARRIER � NIGHT
CLOSE SHOT
Harry is fastening the helmet of his flying clothes. He waves
as he exits through the door.
JOSEPH'S VOICE
Harry... Harry Bailey topped them
all. A Navy flier, he shot down
fifteen planes.
EXT. OCEAN FROM DECK OF CARRIER � NIGHT
LONG SHOT
A flaming plane crashes into the sea.
JOSEPH'S VOICE
...two of them as they were about to
crash into a transport full of
soldiers.
CLARENCE'S VOICE
Yes, but George...
INT. RATION OFFICE � DAY
CLOSE SHOT
George, behind the counter, is trying to quiet a crowd of
people all clamoring for more ration points.
JOSEPH'S VOICE
George? Four-F on account of his
ear, George fought the battle of
Bedford Falls.
George shouts.
GEORGE
Hold on... hold on... hold on now.
Don't you know there's a war on?
EXT. STRET � NIGHT
CLOSE SHOT
George, in the uniform of an air raid warden, is patrolling
his beat.
JOSEPH'S VOICE
Air raid Warden...
EXT. HOUSE � NIGHT
CLOSE SHOT
Man beside lighted window pulls down the shade as George
blows his whistle.
EXT. STREET � DAY
CLOSE SHOT
George is helping load his old car with scrap paper.
JOSEPH'S VOICE
...paper drives...
EXT. DUMP � DAY
CLOSE SHOT
Wheelbarrow full of junk being dumped onto pile.
JOSEPH'S VOICE
...Scrap drives...
EXT. STREET � DAY
MEDIUM CLOSE SHOT � CHILDREN WHEELING OLD TIRES
JOSEPH'S VOICE
...Rubber drives...
INT. CHURCH � DAY
MEDIUM SHOT � PEOPLE PRAYING IN CHURCH
JOSEPH'S VOICE
Like everybody else, on V-E Day he
wept and prayed.
EXT. CHURCH � ANOTHER ANGLE
MEDIUM CLOSE SHOT � PEOPLE ENTERING CHURCH
JOSEPH'S VOICE
On V-J Day he wept and prayed again.
FRANKLIN'S VOICE
Joseph, now show him what happened
today.
JOSEPH'S VOICE
Yes, sir.
EXT. BEDFORD FALLS STREET � WINTER � DAY
George is walking along the sidewalk reading a newspaper. It
is a raw, gusty day, and his overcoat and muffler flap in
the breeze. Draped around one arm is a large Christmas
wreath. Under his other arm are several more copies of the
paper.
JOSEPH'S VOICE
This morning, day before Christmas,
about ten A.M. Bedford Falls time...
George comes to where Ernie, the taxi driver, is standing on
the sidewalk.
GEORGE
(holding out paper)
Hi, Ernie, look at that.
INSERT: NEWSPAPER
The front page of the paper, the Bedford Falls Sentinel. The
headline reads: "PRESIDENT DECORATES HARRY BAILEY � LOCAL
BOY WINS CONGRESSIONAL MEDAL OF HONOR". The subhead tells of
a plan for a giant jubilee and parade, to be followed by a
banquet, in honor of Commander Harry Bailey, U.S.N. on his
way home from Washington after receiving the Congressional
Medal of Honor. There's a large picture of President Truman
pinning the coveted medal on Harry's bosom, in the midst of
dignitaries; a picture of the transport which Harry saved.
Practically the whole front page is devoted to the story.
CLOSE SHOT � GEORGE AND ERNIE
ERNIE
(kidding)
Gonna snow again.
GEORGE
(outraged)
What do you mean � it's gonna snow
again? Look at the headlines.
ERNIE
I know � I know � I know. I think
it's marvelous.
Gower comes running across the street from his drugstore and
joins them.
GEORGE
(reading)
Commander Harry Bailey. Mr. Gower,
look at this � the second page.
(gives them papers)
Now look, this is for you. This is
for you, this is for you.
(as he leaves)
See you again.
EXT. STREET � DAY
MEDIUM LONG SHOT
Uncle Billy is walking along the street, humming happily to
himself. He sees some men decorating the Court House with
banners and bunting � there is a huge sign reading: "Welcome
Home Harry Bailey"
UNCLE BILLY
(calls out)
Be sure you spell the name right.
INT. OUTER OFFICE BUILDING AND LOAN � DAY
FULL SHOT
The offices are unchanged, still small-time and old-fashioned.
The same office force, albeit a few years older: Cousin Tilly
and Cousin Eustace. Seated on a chair is a middle-aged man
with a brief case. The outer door opens and George enters:
GEORGE
Extra! Extra! Read all about it!
Cousin Tilly and Cousin Eustace are talking on the phone.
COUSIN EUSTACE
George! George! It's Harry now on
long distance from Washington!
GEORGE
Harry! What do you know about that?
COUSIN EUSTACE
He reversed the charges. It's okay,
isn't it?
GEORGE
What do you mean it's okay? For a
hero?
(takes the phone)
Harry! Oh, you old seven kinds of a
son of a gun. Congratulations! How's
Mother standing it?... She did? What
do you know...
(to Eustace)
Mother had lunch with the President's
wife!
COUSIN TILLY
Wait till Martha hears about this.
COUSIN EUSTACE
What did they have to eat?
GEORGE
(on phone)
What did they have to eat? Harry,
you should see what they're cooking
up in the town for you... Oh, are
they?
(to Eustace)
The Navy's going to fly Mother home
this afternoon.
COUSIN EUSTACE
In a plane?
GEORGE
What? Uncle Billy?
(to Eustace)
Has Uncle Billy come in yet?
COUSIN TILLY
No, he stopped at the bank first.
GEORGE
(on phone)
He's not here right now, Harry.
Cousin Eustace has turned away from George and caught a
glimpse of the man waiting in the chair. This is Carter, the
bank examiner, come for his annual audit of the books of the
Building and Loan.
GEORGE
(on phone)
But look...
COUSIN EUSTACE
(interrupting)
George...
GEORGE
(on phone)
...now tell me about it.
COUSIN EUSTACE
(interrupting)
...George, that man's here again.
GEORGE
What man?
COUSIN EUSTACE
(nervously)
Bank... bank examiner.
GEORGE
Oh...
(on phone)
Talk to Eustace a minute, will you.
I'll be right back.
He gives the phone to Eustace, puts down his wreath and goes
over to Carter.
CLOSE SHOT � GEORGE AND CARTER
They shake hands.
GEORGE
Good morning, sir.
CARTER
Carter � bank examiner.
GEORGE
Mr. Carter, Merry Christmas.
CARTER
Merry Christmas.
GEORGE
We're all excited around here.
(shows him paper)
My brother just got the Congressional
Medal of Honor. The President just
decorated him.
CARTER
Well, I guess they do those things.
Well, I trust you had a good year.
GEORGE
Good year? Well, between you and me,
Mr. Carter, we're broke.
CARTER
Yeah, very funny.
GEORGE
Well...
(leading him into
office)
...now, come right in here, Mr.
Carter.
CARTER
(as they go)
Although I shouldn't wonder when you
okay reverse charges on personal
long distance calls.
COUSIN TILLY
George, shall we hang up?
GEORGE
No, no. He wants to talk to Uncle
Billy. You just hold on.
CARTER
(in doorway)
Now, if you'll cooperate, I'd like
to finish with you by tonight. I
want to spend Christmas in Elmira
with my family.
GEORGE
I don't blame you at all, Mr. Carter,
Just step right in here. We'll fix
you up.
INT. BANK � DAY
CLOSE SHOT
Uncle Billy is filling out a deposit slip at one of the desks.
UNCLE BILLY
(writing)
December twenty-fourth...
He takes a thick envelope from his inside pocket and thumbs
through the bills it contains. It is evidently a large sum
of money.
UNCLE BILLY
Eight thousand...
MEDIUM SHOT � DOOR TO STREET
Potter is being wheeled in by his goon. Various bank officials
run over to greet him � he is reading a newspaper. Uncle
Billy has finished filling out his slip, and comes over to
taunt Potter, the envelope containing the money in his hand.
UNCLE BILLY
Well, good morning, Mr. Potter. What's
the news?
He grabs the paper from Potter's hand.
UNCLE BILLY(CONT'D)
Well, well, well, Harry Bailey wins
Congressional Medal. That couldn't
be one of the Bailey boys? You just
can't keep those Baileys down, now,
can you, Mr. Potter?
POTTER
How does slacker George feel about
that?
UNCLE BILLY
Very jealous, very jealous. He only
lost three buttons off his vest. Of
course, slacker George would have
gotten two of those medals if he had
gone.
POTTER
Bad ear.
UNCLE BILLY
Yes.
Uncle Billy folds Potter's paper over the envelope containing
his money, and flings his final taunt at the old man.
UNCLE BILLY
After all, Potter, some people like
George had to stay home. Not every
heel was in Germany and Japan!
In a cold rage, Potter grabs his paper and wheels off toward
his office. Uncle Billy smiles triumphantly and goes toward
deposit window with his deposit slip.
CLOSE SHOT
Uncle Billy and bank teller at the
window.
UNCLE BILLY
(still chuckling)
Good morning, Horace.
Uncle Billy hands the bank book over. The teller opens it,
starts to punch it with rubber stamps.
TELLER
I guess you forgot something.
UNCLE BILLY
Huh?
TELLER
You forgot something.
UNCLE BILLY
What?
TELLER
Well, aren't you going to make a
deposit?
UNCLE BILLY
Sure, sure I am.
TELLER
Well, then... it's usually customary
to bring the money with you.
UNCLE BILLY
Oh, shucks...
Uncle Billy searches through every pocket he has.
UNCLE BILLY
(looks bewildered)
I know I had...
The teller, knowing the old man's vagaries, points to one of
the numerous string tied around his fingers.
TELLER
How about that one there?
UNCLE BILLY
Hmm? Well, I...
INT. POTTER'S OFFICE � DAY
CLOSE SHOT
Potter is now behind his desk. He spreads the newspaper out
in front of him, muttering as he does so.
POTTER
Bailey...
He sees the envelope, looks inside at the money. Then, to
his goon, indicating the office door:
POTTER
Take me back there. Hurry up.
(as they go)
Come on, look sharp.
Potter opens the door just a little, and peers through into
the bank.
INT. BANK � DAY
CLOSE SHOT � DEPOSIT SLIP DESK
Uncle Billy looks around for the money envelope. It is not
there. He looks puzzled, thinks hard, then a look of concern
creeps into his eyes. He starts thumping his pockets, with
increasing panic, and looks in the waste paper basket on the
floor. He finally rushes through the door and out into the
street.
INT. POTTER'S OFFICE � DAY
CLOSE SHOT � POTTER WATCHING THROUGH THE DOOR
POTTER
(to goon)
Take me back.
The goon wheels him back to his desk. He is deep in thought,
with a crafty expression on his face.
EXT. STREET � DAY
MEDIUM CLOSE SHOT
Uncle Billy running across the street in the direction of
the Building and Loan.
INT. OUTER OFFICE � BUILDING AND LOAN � DAY
CLOSE SHOT
George coming from room where he has just left the bank
examiner.
GEORGE
Just make yourself at home, Mr.
Carter. I'll get those books for
you.
He sees Violet Bick standing there.
GEORGE
Oh, hello, Vi.
VIOLET
George, can I see you for a second?
GEORGE
Why, of course you can. Come on in
the office here.
He hears a noise, and sees Uncle Billy entering the office.
GEORGE
Uncle Billy, talk to Harry. He's on
the telephone.
George and Violet enter his private office. Uncle Billy comes
hurrying in.
COUSIN TILLY
Hurry, Uncle Billy, hurry. Long
distance, Washington.
COUSIN EUSTACE
Hey, here's Harry on the phone.
COUSIN TILLY
Harry, your nephew, remember?
COUSIN EUSTACE
(on phone)
Here he is.
Uncle Billy picks up the phone and speaks distractedly,
without knowing what he is saying.
UNCLE BILLY
(on phone)
Hello... hello... Yes, Harry � yes...
everything... everything's fine.
He hangs up agitatedly, muttering to himself as he goes into
his own office. Cousin Tilly and Cousin Eustace look after
him, dumbfounded.
UNCLE BILLY
I should have my head examined. Eight
thousand dollars. It's got to be
somewhere.
INT. GEORGE'S OFFICE � DAY
CLOSE SHOT � GEORGE AND VIOLET
George has just finished writing something, and is slipping
the paper into an envelope.
GEORGE
(hands it to her)
Here you are.
VIOLET
(bitterly)
Character? If I had any character,
I'd...
GEORGE
It takes a lot of character to leave
your home town and start all over
again. He pulls some money from his
pocket, and offers it to her.
VIOLET
No, George, don't...
GEORGE
Here, now, you're broke, aren't you?
VIOLET
I know, but...
GEORGE
What do you want to do, hock your
furs, and that hat? Want to walk to
New York? You know, they charge for
meals and rent up there just the
same as they do in Bedford Falls.
VIOLET
(taking money)
Yeah � sure...
GEORGE
It's a loan. That's my business.
Building and Loan. Besides, you'll
get a job. Good luck to you.
She looks at him, then says a strange thing.
VIOLET
I'm glad I know you, George Bailey.
She reaches up and kisses him on the cheek, leaving lipstick.
George opens the door for her.
INT. OUTER OFFICE � DAY
CLOSE SHOT
As George and Violet come through the door, they are being
watched by Cousin Tilly, Cousin Eustace and the bank examiner,
who is still waiting to go to work on the books.
GEORGE
Say hello to New York for me.
VIOLET
Yeah � yeah... sure I will.
GEORGE
Now, let's hear from you...
Violet sees the lipstick on George's cheek, and dabs at it
with her handkerchief.
GEORGE
What's the matter? Merry Christmas,
Vi.
VIOLET
Merry Christmas, George.
She exits.
MR. CARTER
Mr. Bailey...
GEORGE
Oh, Mr. Carter, I'm sorry. I'll be
right with you.
(to Cousin Tilly)
Uncle Billy in?
COUSIN TILLY
Yeah, he's in his office.
INT. DOORWAY TO UNCLE BILLY'S OFFICE � DAY
CLOSE SHOT
As George opens the door he sees Uncle Billy frantically
looking for the missing envelope. The office is in a mess,
drawers are opened, and papers scattered on the floor and on
the desk.
GEORGE
Unc... What's going on? The bank
examiner's here, and I...
UNCLE BILLY
(in dismay)
He's here?
GEORGE
Yeah, yeah. He wants the accounts
payable...
George stops short, suddenly aware of the tragic old eyes
looking up at him.
GEORGE
What's the matter with you?
Uncle Billy gestures nervously for George to come in. He
does so and closes the door.
INT. OUTER OFFICE � DAY
MEDIUM SHOT
Cousin Tilly is at her switchboard, and Cousin Eustace
standing beside her. Carter is still waiting in the doorway
to his office. Suddenly the door opens and George comes
striding out. He goes directly to the safe and starts
searching, but doesn't find the money. Then he goes to the
cash drawer in the counter, and looks through it.
GEORGE
Eustace...
EUSTACE
Yeah?
GEORGE
Come here a minute.
Cousin Eustace runs over to George.
GEORGE
Did you see Uncle Billy with any
cash last night?
COUSIN EUSTACE
He had it on his desk counting it
before he closed up.
EXT. MAIN STREET BEDFORD FALLS � DAY
MEDIUM SHOT
Uncle Billy and George are retracing the former's steps
through the snow, looking everywhere for the missing money.
They pause for a moment on the sidewalk.
GEORGE
Now look, did you buy anything?
UNCLE BILLY
Nothing. Not even a stick of gum.
GEORGE
All right. All right. Now we'll go
over every step you took since you
left the house.
UNCLE BILLY
This way.
They continue on down the street on their search.
EXT. WINDOW OF POTTER'S OFFICE IN BANK � DAY
CLOSE SHOT
Potter is peering through the slats of the Venetian blind,
watching them as they go.
EXT. MAIN STREET BEDFORD FALLS � DAY
MOVING SHOT
George and Uncle Billy continue their search.
WIPE TO:
INT. UNCLE BILLY'S LIVING ROOM
CLOSE SHOT
A shabby, old-fashioned, gas-lit room which has been turned
almost inside out and upside down in an effort to locate the
missing money. Drawers of an old secretary have been pulled
out and are on the floor. Every conceivable place which might
have been used by Uncle Billy to put the money has been
searched. George, his hair rumpled, is feverishly pursuing
the search. Uncle Billy is seated behind the desk, his head
on his hands.
GEORGE
And did you put the envelope in your
pocket?
UNCLE BILLY
Yeah... yeah... maybe... maybe...
GEORGE
(shouts)
Maybe � maybe! I don't want any maybe.
Uncle Billy, we've got to find that
money!
UNCLE BILLY
(piteously)
I'm no good to you, George. I...
GEORGE
Listen to me. Do you have any secret
hiding place here in the house?
Someplace you could have put it?
Someplace to hide the money?
UNCLE BILLY
(exhausted)
I've been over the whole house, even
in rooms that have been locked ever
since I lost Laura.
Uncle Billy starts sobbing hysterically. George grabs him by
the lapels and shakes him.
GEORGE
(harshly)
Listen to me! Listen to me! Think!
Think!
UNCLE BILLY
(sobbing)
I can't think any more, George. I
can't think any more. It hurts...
George jerks him to his feet and shakes him. Uncle Billy
stands before him like a frisked criminal, all his pockets
hanging out, empty. George's eyes and manner are almost
maniacal.
GEORGE
(screaming at him)
Where's that money, you stupid, silly
old fool? Where's the money? Do you
realize what this means? It means
bankruptcy and scandal, and prison!
He throws Uncle Billy down into his chair, and still shouts
at him:
GEORGE
That's what it means! One of us is
going to jail! Well, it's not going
to be me!
George turns and heads for the door, kicking viciously at a
waste basket on the floor as he goes. Uncle Billy remains
sobbing at the table, his head in his arms.
WIPE TO:
INT. GEORGE'S LIVING ROOM � NIGHT
CLOSE SHOT
Janie (aged eight) is seated at the piano playing "Hark, the
Herald Angels Sing," which she practices during the remainder
of this scene. There is a Christmas tree all decorated near
the fireplace. At a large table Mary is busy putting
cellophane bows and decorations on gift packages. At a small
table Pete (aged nine) is seated with pad and pencil in the
throes of composition. On the floor Tommy (aged three) is
playing with a toy vacuum cleaner. We hear the SOUND of a
door open and close. Mary turns and sees George enter the
hall, a slight powdering of snow on his head and shoulders.
INT. HALL � NIGHT
CLOSE SHOT
As George comes into the house.
MARY
Hello darling.
CHILDREN
Hello Daddy, hello daddy.
MARY
(indicating tree)
How do you like it?
George sneezes violently.
MARY AND CHILDREN
Bless you!
MARY
Did you bring the wreath?
PETE
Did you bring the Christmas wreath?
GEORGE
What? What wreath?
MARY
The Merry Christmas wreath for the
window.
GEORGE
(gruffly)
No. I left it at the office.
MARY
Is it snowing?
GEORGE
Yeah, just started.
MARY
Where's your coat and hat?
GEORGE
Left them at the office.
Mary stares at him, aware that something unusual has happened.
MARY
What's the matter?
GEORGE
(bitterly)
Nothing's the matter. Everything's
all right.
INT. LIVING ROOM � NIGHT
CLOSE SHOT
George slumps into an armchair and lifts Tommy onto his lap.
Mary is helping Pete decorate the Christmas tree.
MARY
Go on, Pete, you're a big boy. You
can put the star up. Way up at the
top. That's it. Fill in that little
bare spot right there. That's it.
(to George)
Isn't it wonderful about Harry?
We're famous, George. I'll bet I had
fifty calls today about the parade,
the banquet. Your mother's so excited,
she...
During this scene, George has been sitting in the chair,
hugging Tommy to him, and crying quietly. Mary realizes that
something is seriously wrong, and breaks off. Janie is
thumping away at the piano.
GEORGE
Must she keep playing that?
JANIE
(hurt)
I have to practice for the party
tonight, Daddy.
PETE
Mommy says we can stay up till
midnight and sing Christmas carols.
TOMMY
Can you sing, Daddy?
MARY
(to George)
Better hurry and shave. The families
will be here soon.
GEORGE
(rising from chair)
Families! I don't want the families
over here!
Mary leads him out toward the kitchen.
MARY
Come on out in the kitchen with me
while I finish dinner.
They exit with Tommy hanging onto George's coat-tails, and
pulling at him. CAMERA PANS WITH them.
TOMMY
Excuse me... excuse me...
INT. HALL � NIGHT
CLOSE SHOT
As they go toward kitchen.
MARY
Have a hectic day?
GEORGE
(bitterly)
Oh, yeah, another big red letter day
for the Baileys.
PETE
Daddy, the Browns next door have a
new car. You should see it.
GEORGE
(turns on him)
Well, what's the matter with our
car? Isn't it good enough for you?
PETE
Yes, Daddy.
TOMMY
(tugging at coat)
Excuse me, excuse me...
INT. KITCHEN � NIGHT
CLOSE SHOT
They come through the door.
GEORGE
(annoyed)
Excuse you for what?
TOMMY
I burped!
MARY
All right, darling, you're excused.
Now go upstairs and see what little
Zuzu wants.
Tommy leaves, and Mary turns to the stove.
GEORGE
Zuzu! What's the matter with Zuzu?
MARY
Oh, she's got a cold. She's in bed.
Caught it coming home from school.
They gave her a flower for a prize
and she didn't want to crush it so
she didn't button up her coat.
GEORGE
What is it, a sore throat or what?
MARY
Just a cold. The doctor says it's
nothing serious.
GEORGE
The doctor? Was the doctor here?
MARY
Yes, I called him right away. He
says it's nothing to worry about.
GEORGE
Is she running a temperature? What
is it?
MARY
Just a teensie one � ninety-nine,
six. She'll be all right.
George paces about the kitchen, worried.
GEORGE
Gosh, it's this old house. I don't
know why we don't all have pneumonia.
This drafty old barn! Might as well
be living in a refrigerator. Why did
we have to live here in the first
place and stay around this measly,
crummy old town?
MARY
(worried)
George, what's wrong?
GEORGE
Wrong? Everything's wrong! You call
this a happy family? Why did we have
to have all these kids?
PETE
(coming in)
Dad, how do you spell "frankincense"?
GEORGE
(shouts)
I don't know. Ask your mother.
George goes toward doorway.
MARY
Where're you going?
GEORGE
Going up to see Zuzu.
We hear his footsteps as he leaves. Mary looks after him,
puzzled and concerned, then comes over to Pete.
PETE
He told me to write a play for
tonight.
MARY
F-R-A-N-K-I-N...
INT. HALL � NIGHT
MEDIUM CLOSE SHOT � GEORGE STARTS UP THE STAIRS
The knob on the banister comes off in his hand, and for a
moment he has an impulse to hurl it into the living room.
Then, he replaces the knob, and goes on up the stairs.
INT. ZUZU'S BEDROOM � NIGHT
FULL SHOT
The SOUND of Janie at the piano can be heard, the same
monotonous rhythm over and over. Zuzu (aged six) is sitting
up in her bed, the lamp burning beside her. She is holding
her prize flower. George tiptoes in. Then, as he sees she's
awake, he comes over, sitting on the edge of her bed.
ZUZU
Hi, Daddy.
GEORGE
Well, what happened to you?
ZUZU
I won a flower.
She starts to get out of bed.
GEORGE
Wait now. Where do you think you're
going?
ZUZU
Want to give my flower a drink.
GEORGE
All right, all right. Here, give
Daddy the flower. I'll give it a
drink.
She shakes her head and presses the flower to her. A few
petals fall off. She picks them up.
ZUZU
Look, Daddy... paste it.
GEORGE
Yeah, all right. Now, I'll paste
this together.
She hands him the fallen petals and the flower. He turns his
back to Zuzu, pretending to be tinkering with the flower. He
sticks the fallen petals in his watch pocket, rearranges the
flower, and then turns back to Zuzu.
GEORGE
There it is, good as new.
ZUZU
Give the flower a drink.
George puts the flower in a glass of water on the table beside
her bed.
GEORGE
Now, will you do something for me?
CLOSEUP � GEORGE AND ZUZU
They whisper.
ZUZU
What?
GEORGE
Will you try to get some sleep?
ZUZU
I'm not sleepy. I want to look at my
flower.
GEORGE
I know � I know, but you just go to
sleep, and then you can dream about
it, and it'll be a whole garden.
ZUZU
It will?
GEORGE
Uh-huh.
She closes her eyes and relaxes on the bed. George pulls the
covers over her. He bends down and his lips touch a tendril
of the child's hair. Then he gets up and tiptoes out of the
room.
INT. LIVING ROOM � NIGHT
CLOSE SHOT
Janie is still pounding with grim determination at the piano.
Pete is seated at the table writing. Tommy is playing with
his toy vacuum cleaner. The telephone rings.
JANIE AND PETE
Telephone.
INT. LIVING ROOM � NIGHT
CLOSE SHOT
Mary comes in and picks up the phone.
MARY
I'll get it.
(on phone)
Hello. Yes, this is Mrs. Bailey.
George enters shot, and stands listening to her.
MARY
Oh, thank you, Mrs. Welch. I'm sure
she'll be all right. The doctor says
that she ought to be out of bed in
time to have her Christmas dinner.
GEORGE
Is that Zuzu's teacher?
MARY
(hand over receiver)
Yes.
GEORGE
Let me speak to her.
He snatches the phone from Mary.
GEORGE
(on phone)
Hello. Hello, Mrs. Welch? This is
George Bailey. I'm Zuzu's father.
Say, what kind of a teacher are you
anyway? What do you mean sending
her home like that, halfnaked? Do
you realize she'll probably end up
with pneumonia on account of you?
MARY
(shocked)
George!
She puts a restraining hand on his arm. He shakes it off.
She cannot know that George's tirade against Mrs. Welch is
really a tirade against the world, against life itself,
against God. Over the phone we hear Mrs. Welch's voice
sputtering with protest.
GEORGE
Is this the sort of thing we pay
taxes for � to have teachers like
you? Silly, stupid, careless people
who send our kids home without any
clothes on? You know, maybe my kids
aren't the best-dressed kids; maybe
they don't have any decent clothes...
Mary succeeds in wresting the phone from George's hand.
GEORGE
Aw, that stupid...
Mary speaks quickly in to the phone.
MARY
Hello, Mrs. Welch. I want to
apologize... hello... hello...
(to George)
She's hung up.
GEORGE
(savagely)
I'll hang her up!
But the telephone is suddenly alive with a powerful male
voice calling:
MR. WELCH'S VOICE
Now, who do you think you are?
George hears this and grabs the receiver from Mary.
GEORGE
(to Mary)
Wait a minute.
(on phone)
Hello? Who is this? Oh, Mr. Welch?
Okay, that's fine, Mr. Welch. Gives
me a chance to tell you what I really
think of your wife.
Mary once more tries to take the phone from him.
MARY
George...
GEORGE
(raving at her)
Will you get out and let me handle
this?
(into phone � shouting)
Hello? Hello? What? Oh, you will,
huh? Okay, Mr. Welch, any time you
think you're man enough... Hello?
Any...
But before he can think of an insult to top Welch's, we hear
a click on the phone.
GEORGE
Oh...
He hangs up the receiver, and turns toward the living room.
His face is flushed and wet.
PETE
Daddy, how do you spell "Hallelujah"?
GEORGE
(shouts)
How should I know? What do you think
I am, a dictionary?
He yells at Tommy, noisily playing with his vacuum cleaner.
GEORGE
Tommy, stop that! Stop it!
Janie is still practicing at the piano, monotonously.
GEORGE
(savagely)
Janie, haven't you learned that silly
tune yet? You've played it over and
over again. Now stop it! Stop it!
INT. LIVING ROOM � NIGHT
CLOSE SHOT
The room has suddenly become ominously quiet, the only SOUND
being George's labored breathing. George goes over to a corner
of the room where his workshop is set up � a drawing table,
several models of modern buildings, bridges, etc. Savagely
he kicks over the models, picks up some books and hurls them
into the corner. Mary and the children watch, horrified.
George looks around and sees them staring at him as if he
were some unknown wild animal. The three children are crying.
GEORGE
(gasping for breath)
I'm sorry, Mary, Janie. I'm sorry. I
didn't mean... you go on and practice.
Pete, I owe you an apology, too. I'm
sorry. What do you want to know?
PETE
(holding back his
tears)
Nothing, Daddy.
Mary and the children stare at him, stunned by his furious
outburst. There is silence in the room.
GEORGE
What's the matter with everybody?
Janie, go on. I told you to practice.
(shouts)
Now, go on, play!
Janie breaks into sobs.
JANIE
Oh, Daddy...
MARY
(in an outburst)
George, why must you torture the
children? Why don't you...
The sight of Mary and the children suffering is too much for
George.
GEORGE
Mary...
He looks around him, then quickly goes out the front door of
the house. Mary goes to the phone, picks it up.
MARY
Bedford, two-four-seven, please.
PETE
Is Daddy in trouble?
JANIE
Shall I pray for him?
MARY
Yes, Janie, pray very hard.
TOMMY
Me, too?
MARY
You too, Tommy.
(on phone)
Hello, Uncle Billy?
WIPE TO:
INT. POTTER'S OFFICE IN BANK � NIGHT � 8:00 P.M.
MEDIUM CLOSEUP
Potter is seated at his desk, his goon beside him. He is
signing some papers. George is seated in a chair before the
desk, without a hat or coat, covered lightly with snow.
GEORGE
I'm in trouble, Mr. Potter. I need
help. Through some sort of an
accident my company's short in their
accounts. The bank examiner's up
there today. I've got to raise eight
thousand dollars immediately.
POTTER
(casually)
Oh, so that's what the reporters
wanted to talk to you about?
GEORGE
(incredulous)
The reporters?
POTTER
Yes. They called me up from your
Building and Loan. Oh, there's a man
over there from the D.A.'s office,
too. He's looking for you.
GEORGE
(desperate)
Please help me, Mr. Potter. Help me,
won't you please? Can't you see what
it means to my family? I'll pay you
any sort of a bonus on the loan...
any interest. If you still want the
Building and Loan, why I...
POTTER
(interrupting)
George, could it possibly be there's
a slight discrepancy in the books?
GEORGE
No, sir. There's nothing wrong with
the books. I've just misplaced eight
thousand dollars. I can't find it
anywhere.
POTTER
(looking up)
You misplaced eight thousand dollars?
GEORGE
Yes, sir.
POTTER
Have you notified the police?
GEORGE
No, sir. I didn't want the publicity.
Harry's homecoming tomorrow...
POTTER
(snorts)
They're going to believe that one.
What've you been doing, George?
Playing the market with the company's
money?
GEORGE
No, sir. No, sir. I haven't.
POTTER
What is it � a woman, then? You know,
it's all over town that you've been
giving money to Violet Bick.
GEORGE
(incredulous)
What?
POTTER
Not that it makes any difference to
me, but why did you come to me? Why
don't you go to Sam Wainwright and
ask him for the money?
GEORGE
I can't get hold of him. He's in
Europe.
POTTER
Well, what about all your other
friends?
GEORGE
They don't have that kind of money,
Mr. Potter. You know that. You're
the only one in town that can help
me.
POTTER
I see. I've suddenly become quite
important. What kind of security
would I have, George? Have you got
any stocks?
GEORGE
(shaking his head)
No, sir.
POTTER
Bonds? Real estate? Collateral of
any kind?
GEORGE
(pulls out policy)
I have some life insurance, a fifteen
thousand dollar policy.
POTTER
Yes... how much is your equity in
it?
GEORGE
Five hundred dollars.
POTTER
(sarcastically)
Look at you. You used to be so cocky!
You were going to go out and conquer
the world! You once called me a
warped, frustrated old man. What are
you but a warped, frustrated young
man? A miserable little clerk crawling
in here on your hands and knees and
begging for help. No securities � no
stocks � no bonds � nothing but a
miserable little five hundred dollar
equity in a life insurance policy.
You're worth more dead than alive.
Why don't you go to the riff-raff
you love so much and ask them to let
you have eight thousand dollar? You
know why? Because they'd run you out
of town on a rail... But I'll tell
you what I'm going to do for you,
George. Since the state examiner is
still here, as a stockholder of the
Building and Loan, I'm going to swear
out a warrant for your arrest.
Misappropriation of funds �
manipulation � malfeasance...
George turns and starts out of the office as Potter picks up
the phone and dials.
POTTER
All right, George, go ahead. You
can't hide in a little town like
this.
George is out of the door by now. CAMERA MOVES CLOSER to
Potter.
POTTER
(on phone)
Bill? This is Potter.
EXT. MAIN STREET BEDFORD FALLS � NIGHT
MEDIUM CLOSE SHOT
George comes out of the bank into the falling snow. He crosses
the street, tugs at the door of his old car, finally steps
over the door, and drives off.
EXT. MARTINI'S BAR � NIGHT
MEDIUM CLOSE SHOT
An attractive little roadside tavern, with the name
"Martini's" in neon lights on the front wall.
INT. MARTINI'S BAR � NIGHT
CLOSE SHOT
The place is an Italian restaurant with bar. The bottles
sparkle. There are Christmas greens and holly decorating
the place. It has a warm, welcoming spirit, like Martini
himself, who is welcoming new arrivals. The booths and the
checkered-cloth-covered tables are full. There is an air of
festivity and friendliness, and more like a party than a
public drinking place. George is seated at the bar � he has
had a great deal to drink, far more than he's accustomed to.
MARTINI'S VOICE
(greeting new customers)
Merry Christmas. Glad you came.
MAN'S VOICE
How about some of that good spaghetti?
MARTINI'S VOICE
We got everything.
During this, CAMERA MOVES CLOSER to George. Nick, the
bartender, is watching him solicitously. Seated on the other
side of George is a burly individual, drinking a glass of
beer. George is mumbling:
GEORGE
God... God... Dear Father in Heaven,
I'm not a praying man, but if you're
up there and you can hear me, show
me the way. I'm at the end of my
rope. Show me the way, God.
NICK
(friendly)
Are you all right, George? Want
someone to take you home?
George shakes his head. Martini comes over to his side.
MARTINI
(worried)
Why you drink so much, my friend?
Please go home, Mr. Bailey. This is
Christmas Eve.
The ugly man next to George, who has been listening, reacts
sharply to the name "Bailey."
MAN
Bailey? Which Bailey?
NICK
This is Mr. George Bailey.
Without any warning, the burly man throws a vicious punch at
George, who goes down and out. Martini, Nick and several
others rush to pick him up.
MAN
(to George)
And the next time you talk to my
wife like that you'll get worse. She
cried for an hour. It isn't enough
she slaves teaching your stupid kids
how to read and write, and you have
to bawl her out...
MARTINI
(furious)
You get out of here, Mr. Welch!
Mr. Welch reaches in his pocket for money.
WELCH
Now wait... I want to pay for my
drink.
MARTINI
Never mind the money. You get out of
here quick.
WELCH
All right.
MARTINI
You hit my best friend. Get out!
Nick and Martini shove Welch out the door, then run back to
help George to his feet. George's mouth is cut and bleeding.
NICK
You all right, George?
GEORGE
(stunned)
Who was that?
MARTINI
He's gone. Don't worry. His name is
Welch. He don't come in to my place
no more.
GEORGE
Oh � Welch. That's what I get for
praying.
MARTINI
The last time he come in here. You
hear that, Nick?
NICK
Yes, you bet.
GEORGE
Where's my insurance policy?
(finds it in pocket)
Oh, here...
He starts for the door.
MARTINI
Oh, no, Please, don't go out this
way, Mr. Bailey.
GEORGE
I'm all right.
Nick and Martini try to stop him, but he shrugs them off.
MARTINI
Oh, no � you don't feel so good.
GEORGE
I'm all right.
MARTINI
Please don't go away � please!
George opens the door and exits to the street.
WIPE TO:
EXT. RESIDENTIAL STREET � NIGHT
MEDIUM SHOT
George's car comes along the empty street, through the falling
snow, suddenly swerves and crashes into a tree near the
sidewalk of a house. George gets out to look at the damage,
and savagely kicks at the open door of the car, trying to
shut it. The noise brings the owner of the house running
out.
OWNER
What do you think you're doing?
CLOSE SHOT
George stands unsteadily near the car, shaken by the accident.
The front lights are broken and the fender is ripped. George
stands dully looking at the damage. The owner comes up,
looking at his tree. He leans over to examine the damages.
OWNER
(with indignation)
Now look what you did. My
greatgrandfather planted this tree.
George staggers off down the street, paying no attention to
the man.
OWNER
Hey, you... Hey, you! Come back here,
you drunken fool! Get this car out
of here!
EXT. BRIDGE OVER RIVER � NIGHT
MEDIUM LONG SHOT
George is crossing the approach to the bridge when a truck
swings around the corner and nearly hits him.
DRIVER
Hey, what's the matter with you?
Look where you're going!
The truck turns onto the bridge, and George takes a narrow
catwalk at the railing.
CLOSE SHOT
George has stopped by the railing at the center of the bridge.
The snow is now falling hard.
EXT. RIVER � NIGHT
MEDIUM CLOSE SHOT
CAMERA SHOOTING DOWN from George's angle TO the water, dotted
with floating ice, passing under the bridge.
EXT. BRIDGE AT RAILING � NIGHT
CLOSEUP � GEORGE
He stares down at the water, desperate, trying to make up
his mind to act. He leans over looking at the water,
fascinated, glances furtively around him, hunches himself as
though about to jump.
MEDIUM CLOSE SHOT
From above George a body hurtles past and lands in the water
with a loud splash. George looks down, horrified.
VOICE
(from river)
Help! Help!
George quickly takes off his coat and dives over the railing
into the water.
CLOSER ANGLE
George comes up, sees the man flailing about in the water,
and CAMERA PANS WITH him as he swims toward the man.
MAN
Help! Help! Help!
EXT. TOLL HOUSE ON BRIDGE � NIGHT
CLOSE SHOT
The toll house keeper, hearing the cries for help, comes
running out on the bridge with a flashlight, which he shines
on the two figures struggling in the water below.
EXT. RIVER � NIGHT
CLOSE SHOT
The man in the water is Clarence, the angel whose voice we
have heard speaking from Heaven. George reaches him, grabs
hold of him, and starts swimming for shore.
WIPE TO:
INT. TOLL HOUSE ON BRIDGE � NIGHT
MEDIUM SHOT � GEORGE, CLARENCE, AND THE TOLLKEEPER
George is seated before a wood-burning stove before which
his clothes are drying on a line. He is in his long winter
underwear. He is sipping a mug of hot coffee, staring at
the stove, cold, gloomy and drunk, ignoring Clarence and the
tollkeeper, preoccupied by his near suicide and his unsolved
problems. Clarence is standing on the other side of the
stove, putting on his undershirt. This is a ludicrous
seventeenth century garment which looks like a baby's night
shirt � with embroidered cuffs and collar, and gathered at
the neck with a drawstring. It falls below his knees. The
tollkeeper is seated against the wall eyeing them
suspiciously. Throughout the scene he attempts to spit, but
each time is stopped by some amazing thing Clarence does or
says. Clarence becomes aware that his garment is amazing
the tollkeeper.
CLARENCE
I didn't have time to get some stylish
underwear. My wife gave me this on
my last birthday. I passed away in
it.
The tollkeeper, about to spit, is stopped in the middle of
it by this remark. Clarence, secretly trying to get George's
attention, now picks up a copy of "Tom Sawyer" which is
hanging on the line, drying. He shakes the book.
CLARENCE
Oh, Tom Sawyer's drying out, too.
You should read the new book Mark
Twain's writing now.
The tollkeeper stares at him incredulously.
TOLLKEEPER
How'd you happen to fall in?
CLARENCE
I didn't fall in. I jumped in to
save George.
George looks up, surprised.
GEORGE
You what? To save me?
CLARENCE
Well, I did, didn't I? You didn't go
through with it, did you?
GEORGE
Go through with what?
CLARENCE
Suicide.
George and the tollkeeper react to this.
TOLLKEEPER
It's against the law to commit suicide
around here.
CLARENCE
Yeah, it's against the law where I
come from, too.
TOLLKEEPER
Where do you come from?
He leans forward to spit, but is stopped by Clarence's next
statement.
CLARENCE
Heaven.
(to George)
I had to act quickly; that's why I
jumped in. I knew if I were drowning
you'd try to save me. And you see,
you did, and that's how I saved you.
The tollkeeper becomes increasingly nervous. George casually
looks at the strange smiling little man a second time.
GEORGE
(offhand)
Very funny.
CLARENCE
Your lip's bleeding, George.
George's hand goes to his mouth.
GEORGE
Yeah, I got a bust in the jaw in
answer to a prayer a little bit ago.
CLARENCE
(comes around to George)
Oh, no � no � no. I'm the answer to
your prayer. That's why I was sent
down here.
GEORGE
(casually interested)
How do you know my name?
CLARENCE
Oh, I know all about you. I've watched
you grow up from a little boy.
GEORGE
What are you, a mind reader or
something?
CLARENCE
Oh, no.
GEORGE
Well, who are you, then?
CLARENCE
Clarence Odbody, A-S-2.
GEORGE
Odbody... A-S-2. What's that A-S-2?
CLARENCE
Angel, Second Class.
The tollkeeper's chair slips out from under him with a crash.
He has been leaning against the wall on it, tipped back on
two legs. Tollkeeper rises and makes his way warily out the
door. From his expression he looks like he'll call the nearest
cop.
CLARENCE
(to tollkeeper)
Cheerio, my good man.
George rubs his head with his hand, to clear his mind.
GEORGE
Oh, brother. I wonder what Martini
put in those drinks?
He looks up at Clarence standing beside him.
GEORGE
Hey, what's with you? What did you
say just a minute ago? Why'd you
want to save me?
CLARENCE
That's what I was sent down for. I'm
your guardian angel.
GEORGE
I wouldn't be a bit surprised.
CLARENCE
Ridiculous of you to think of killing
yourself for money. Eight thousand
dollars.
GEORGE
(bewildered)
Yeah... just things like that. Now
how'd you know that?
CLARENCE
I told you � I'm your guardian angel.
I know everything about you.
GEORGE
Well, you look about like the kind
of an angel I'd get. Sort of a fallen
angel, aren't you? What happened to
your wings?
CLARENCE
I haven't won my wings yet. That's
why I'm an angel Second Class.
GEORGE
I don't know whether I like it very
much being seen around with an angel
without any wings.
CLARENCE
Oh, I've got to earn them, and you'll
help me, won't you?
GEORGE
(humoring him)
Sure, sure. How?
CLARENCE
By letting me help you.
GEORGE
Only one way you can help me. You
don't happen to have eight thousand
bucks on you?
CLARENCE
Oh, no, no. We don't use money in
Heaven.
GEORGE
Oh, that's right, I keep forgetting.
Comes in pretty handy down here,
bub.
CLARENCE
Oh, tut, tut, tut.
GEORGE
I found it out a little late. I'm
worth more dead than alive.
CLARENCE
Now look, you mustn't talk like that.
I won't get my wings with that
attitude. You just don't know all
that you've done. If it hadn't been
for you...
GEORGE
(interrupts)
Yeah, if it hadn't been for me,
everybody'd be a lot better off. My
wife, and my kids and my friends.
(annoyed with Clarence)
Look, little fellow, go off and haunt
somebody else, will you?
CLARENCE
No, you don't understand. I've got
my job...
GEORGE
(savagely)
Aw, shut up, will you.
Clarence is not getting far with George. He glances up, paces
across the room, thoughtfully.
CLARENCE
(to himself)
Hmmm, this isn't going to be so easy.
(to George)
So you still think killing yourself
would make everyone feel happier,
eh?
GEORGE
(dejectedly)
Oh, I don't know. I guess you're
right. I suppose it would have been
better if I'd never been born at
all.
CLARENCE
What'd you say?
GEORGE
I said I wish I'd never been born.
CLARENCE
Oh, you mustn't say things like that.
You...
(gets an idea)
...wait a minute. Wait a minute.
That's an idea.
(glances up toward
Heaven)
What do you think? Yeah, that'll do
it. All right.
(to George)
You've got your wish. You've never
been born.
As Clarence speaks this line, the snow stops falling outside
the building, a strong wind springs up which blows open the
door to the shack. Clarence runs to close the door.
CLARENCE
(looking upward)
You don't have to make all that fuss
about it.
As Clarence speaks, George cocks his head curiously, favoring
his deaf ear, more interested in his hearing than in what
Clarence has said.
GEORGE
What did you say?
CLARENCE
You've never been born. You don't
exist. You haven't a care in the
world.
George feels his ear as Clarence talks.
CLARENCE
No worries � no obligations � no
eight thousand dollars to get � no
Potter looking for you with the
Sheriff.
CLOSEUP � GEORGE AND CLARENCE
George indicates his bad ear.
GEORGE
Say something else in that ear.
CLARENCE
(bending down)
Sure. You can hear out of it.
GEORGE
Well, that's the doggonedest thing...
I haven't heard anything out of that
ear since I was a kid. Must have
been that jump in the cold water.
CLARENCE
Your lip's stopped bleeding, too,
George.
George feels his lip, which shows no sign of the recent cut
he received from Welch. He is now thoroughly confused.
GEORGE
What do you know about that... What's
happened?
MEDIUM CLOSE SHOT
George looks around, as though to
get his bearings.
GEORGE
It's stopped snowing out, hasn't it?
What's happened here?
(standing up)
Come on, soon as these clothes of
ours are dry...
CLARENCE
Our clothes are dry.
George feels the clothes on the line.
GEORGE
What do you know about that? Stove's
hotter than I thought. Now, come on,
get your clothes on, and we'll stroll
up to my car and get...
They start dressing. George interrupts himself.
GEORGE
Oh, I'm sorry. I'll stroll. You fly.
CLARENCE
I can't fly. I haven't got any wings.
GEORGE
You haven't got your wings. Yeah,
that's right.
WIPE TO:
EXT. STREET � NIGHT
MEDIUM SHOT
This is the same empty street where George's car swerved
into the tree near the sidewalk. George and Clarence come
into shot and up to the spot where George had left his car
smashed against the tree. George looks around, but his car
is nowhere to be seen, and the tree is undamaged.
CLARENCE
What's the matter?
GEORGE
(puzzled)
Well, this is where I left my car
and it isn't here.
CLARENCE
You have no car.
GEORGE
Well, I had a car, and it was right
here. I guess somebody moved it.
CLOSE SHOT � AT CURB
The owner of the house passes with some Christmas packages
under his arm.
OWNER
(politely)
Good evening.
GEORGE
Oh, say... Hey... where's my car?
OWNER
I beg your pardon?
GEORGE
My car, my car. I'm the fellow that
owns the car that ran into your tree.
OWNER
What tree?
GEORGE
What do you mean, what tree? This
tree. Here, I ran into it. Cut a
big gash in the side of it here.
The owner bends down to examine the trunk of the tree, then
straightens up and smells George's breath. He backs away.
OWNER
You must mean two other trees. You
had me worried. One of the oldest
trees in Pottersville.
GEORGE
(blankly)
Pottersville? Why, you mean Bedford
Falls.
OWNER
I mean Pottersville.
(sharply)
Don't you think I know where I live?
What's the matter with you?
The owner proceeds toward his house. George is completely
bewildered.
GEORGE
Oh, I don't know. Either I'm off my
nut, or he is...
(to Clarence)
...or you are!
CLARENCE
It isn't me!
GEORGE
Well, maybe I left the car up at
Martini's. Well, come on, Gabriel.
He puts his arm around Clarence, and they start off up the
road.
CLARENCE
(as they go)
Clarence!
GEORGE
Clarence! Clarence!
WIPE TO:
INT. NICK'S BAR � NIGHT
CLOSE SHOT
It is Martini's place, but almost unrecognizable. The cheerful
Italian feeling is gone. It is now more of a hard-drinking
joint, a honky-tonk. Same bar, tables have no covers. People
are lower down and tougher. Nick the bartender is behind the
bar. George and Clarence come in. George does not notice the
difference, but Clarence is all eyes and beaming. They go up
to the bar.
GEORGE
(as they come in)
That's all right. Go on in. Martini's
a good friend of mine.
Two people leave the bar as they approach.
GEORGE
There's a place to sit down. Sit
down.
MEDIUM CLOSEUP
Nick is wiping off the bar as they
sit down.
GEORGE
Oh, hello, Nick. Hey, where's Martini?
NICK
You want a martini?
GEORGE
No, no, Martini. Your boss. Where is
he?
NICK
(impatient)
Look, I'm the boss. You want a drink
or don't you?
GEORGE
Okay � all right. Double bourbon,
quick, huh?
NICK
Okay.
(to Clarence)
What's yours?
CLARENCE
I was just thinking...
(face puckers up with
delicious anticipation)
It's been so long since I...
NICK
(impatient)
Look, mister, I'm standing here
waiting for you to make up your mind.
CLARENCE
(appreciatively)
That's a good man. I was just thinking
of a flaming rum punch. No, it's not
cold enough for that. Not nearly
cold enough... Wait a minute...
wait a minute... I got it. Mulled
wine, heavy on the cinnamon and light
on the cloves. Off with you, me lad,
and be lively!
NICK
Hey, look mister, we serve hard drinks
in here for men who want to get drunk
fast. And we don't need any
characters around to give the joint
atmosphere. Is that clear? Or do I
have to slip you my left for a
convincer?
As he says this, Nick leans over the counter and puts his
left fist nearly in Clarence's eye. Clarence is puzzled by
this conduct.
CLARENCE
(to George)
What's he talking about?
GEORGE
(soothingly)
Nick � Nick, just give him the same
as mine. He's okay.
NICK
Okay.
Nick turns away to get the drinks.
GEORGE
What's the matter with him. I never
saw Nick act like that before.
CLARENCE
You'll see a lot of strange things
from now on.
GEORGE
Oh, yeah. Hey, little fellow � you
worry me. You got someplace to sleep?
CLARENCE
No.
GEORGE
You don't huh? Well, you got any
money?
Nick is listening suspiciously to this conversation.
CLARENCE
No.
GEORGE
No wonder you jumped in the river.
CLARENCE
I jumped in the river to save you so
I could get my wings.
Nick stops pouring the drinks, bottle poised in his hand.
GEORGE
Oh, that's right.
A cash register bell rings off stage. Clarence reacts to the
SOUND of the bell.
CLARENCE
Oh-oh. Somebody's just made it.
GEORGE
Made what?
CLARENCE
Every time you hear a bell ring, it
means that some angel's just got his
wings.
George glances up at Nick.
GEORGE
Look, I think maybe you better not
mention getting your wings around
here.
CLARENCE
Why? Don't they believe in angels?
GEORGE
(looking at Nick)
A... Yeah, but... you know...
CLARENCE
Then why should they be surprised
when they see one?
GEORGE
(to Nick)
He never grew up. He's...
(to Clarence)
How old are you, anyway, Clarence?
CLARENCE
Two hundred and ninety-three...
(thinks)
...next May.
Nick slams the bottle down on the counter.
NICK
That does it! Out you two pixies go,
through the door or out the window!
GEORGE
Look, Nick. What's wrong?
NICK
(angrily)
And that's another thing. Where do
you come off calling me Nick?
GEORGE
Well, Nick, that's your name, isn't
it?
NICK
What's that got to do with it? I
don't know you from Adam's off ox.
(sees someone come in)
Hey, you! Rummy! Come here! Come
here!
CLOSE SHOT
A small wreck of a man, with weak, watery eyes. Obviously a
broken-down panhandler, his hat in his hand.
CLOSEUP � GEORGE
He can hardly believe his eyes. It is Gower the druggist.
BACK TO SHOT � NICK AT THE BAR
NICK
(to Gower)
Didn't I tell you never to come
panhandling around here?
Nick picks up a seltzer bottle, and squirts Gower in the
face with it. The crowd laugh brutally. Gower smiles weakly
as the soda runs off his face.
CLOSE SHOT
George, horrified, leaps up and goes over to Gower.
GEORGE
Mr. Gower! Mr. Gower! This is George
Bailey! Don't you know me?
GOWER
No. No.
NICK
(to his bouncers)
Throw him out. Throw him out.
The bouncers throw Gower out the front door. George rushes
back to the bar.
GEORGE
(bewildered)
Hey, what is... Hey, Nick, Nick...
Isn't that Mr. Gower, the druggist?
NICK
You know, that's another reason for
me not to like you. That rumhead
spent twenty years in jail for
poisoning a kid. If you know him,
you must be a jailbird yourself.
(to his bouncers)
Would you show these gentlemen to
the door.
BOUNCER
Sure. This way, gentlemen.
EXT. NICK'S BAR � NIGHT
CLOSE SHOT
George and Clarence come flying through the door and land in
the snow.
INT. NICK'S BAR � NIGHT
CLOSE SHOT
Nick at the cash register, busily ringing the bell.
NICK
Hey! Get me! I'm giving out wings!
EXT. NICK'S BAR � NIGHT
CLOSE SHOT
George and Clarence lying in the snow. George has a strange,
puzzled look on his face. They remain for a moment as they
landed, looking at each other.
CLARENCE
You see, George, you were not there
to stop Gower from putting that poison
into the...
GEORGE
What do you mean, I wasn't there? I
remember distinctly...
George catches a glimpse of the front of the building with
the neon sign over the door. It now reads "NICK'S PLACE"
instead of "MARTINI'S."
George and Clarence get to their feet.
GEORGE
(exasperated)
What the... hey, what's going on
around here? Why, this ought to be
Martini's place.
He points to the sign, and looks at Clarence. Clarence sort
of hangs his head. George fixes him with a very interested
look.
GEORGE
Look, who are you?
CLARENCE
(patiently)
I told you, George. I'm your guardian
angel.
George, still looking at him, goes up to him and pokes his
arm. It's flesh.
GEORGE
Yeah, yeah, I know. You told me that.
What else are you? What... are you a
hypnotist?
CLARENCE
No, of course not.
GEORGE
Well then, why am I seeing all these
strange things?
CLARENCE
Don't you understand, George? It's
because you were not born.
GEORGE
Then if I wasn't born, who am I?
CLARENCE
You're nobody. You have no identity.
George rapidly searches his pockets for identification, but
without success.
GEORGE
What do you mean, no identity? My
name's George Bailey.
CLARENCE
There is no George Bailey. You have
no papers, no cards, no driver's
license, no 4-F card, no insurance
policy...
(he says these things
as George searches
for them)
George looks in his watch pocket.
CLARENCE
They're not there, either.
GEORGE
What?
CLARENCE
Zuzu's petals.
George feverishly continues to turn his pockets inside out.
CLARENCE
You've been given a great gift,
George. A chance to see what the
world would be like without you.
George is completely befuddled.
GEORGE
(shaking his head)
Now wait a minute, here. Wait a minute
here. As, this is some sort of a
funny dream I'm having here. So long,
mister, I'm going home.
He starts off. Clarence rises.
CLARENCE
Home? What home?
GEORGE
(furious)
Now shut up! Cut it out! You're...
you're... you're crazy! That's what
I think... you're screwy, and you're
driving me crazy, too! I'm seeing
things. I'm going home and see my
wife and family. Do you understand
that? And I'm going home alone!
George strides off hurriedly. Clarence slowly follows him,
glancing up toward Heaven as he goes.
CLARENCE
How'm I doing, Joseph. Thanks.
(pause)
No, I didn't have a drink!
WIPE TO:
EXT. STREET � NIGHT
MEDIUM SHOT � GEORGE MOVES INTO THE SCENE
The sign bearing the name of the town reads: "Pottersville."
George looks at it in surprise, then starts up the street
toward the main part of town. As he goes, CAMERA MOVES WITH
him. The character of the place has completely changed. Where
before it was a quiet, orderly small town, it has now become
in nature like a frontier village. We see a SERIES OF SHOTS
of night clubs, cafes, bars, liquor stores, pool halls and
the like, with blaring jazz MUSIC issuing from the majority
of them. The motion picture theatre has become a burlesque
house. Gower's drugstore is now a pawnbroker's establishment,
and so on.
CLOSE SHOT
George stops before what used to be the offices of the
Building and Loan. There is a garish electric sign over the
entrance reading: "Welcome Jitterbugs." A crowd of people
are watching the police, who are raiding the place, and
dragging out a number of screaming women, whom they throw
into a patrol wagon. George talks to one of the cops:
GEORGE
Hey... hey. Where did the Building
and Loan move to?
COP
The Building and what?
GEORGE
The Bailey Building and Loan. It was
up there.
COP
They went out of business years ago.
MEDIUM CLOSEUP
George sees the struggling figure of Violet Bick, arrayed as
a tart, being dragged into the patrol wagon.
GEORGE
Hey, Violet!
(to the cop)
Hey, listen � that's Violet Bick!
COP
I know. I know.
GEORGE
I know that girl!
The cop shoves George to one side. He looks around and sees
Ernie's taxi cruising slowly by.
GEORGE
Hey, Ernie � Ernie!
EXT. STREET � NIGHT
CLOSE SHOT
Ernie stops the cab, and George enters it.
GEORGE
Ernie, take me home. I'm off my nut!
ERNIE
(a much harder Ernie)
Where do you live?
GEORGE
Aw, now, doggone it, Ernie, don't
you start pulling that stuff. You
know where I live. Three-twenty
Sycamore. Now hurry up.
ERNIE
Okay. Three-twenty Sycamore?...
GEORGE
Yeah � yeah � hurry up. Zuzu's sick.
ERNIE
All right. He pulls down the flag
on the meter and starts the cab.
INT. CAB � NIGHT
MEDIUM CLOSEUP � GEORGE AND ERNIE
Ernie is puzzled by the stranger.
GEORGE
Look here, Ernie, straighten me out
here. I've got some bad liquor or
something. Listen to me now. Now,
you are Ernie Bishop, and you live
in Bailey Park with your wife and
kid? That's right, isn't it?
ERNIE
(suspiciously)
You seen my wife?
GEORGE
(exasperated)
Seen your wife? I've been to your
house a hundred times.
ERNIE
Look, bud, what's the idea? I live
in a shack in Potter's Field and my
wife ran away three years ago and
took the kid... And I ain't never
seen you before in my life.
GEORGE
Okay. Just step on it. Just get me
home.
Ernie turns to driving, but he's worried about his passenger.
As he passes the burlesque house he sees Bert the cop standing
beside his police car. Attracting his attention, he motions
to Bert to follow him, indicating he has a nut in the back.
Bert gets into his car and follows.
WIPE TO:
EXT. GEORGE'S HOUSE � NIGHT
MEDIUM LONG SHOT
The taxi pulls up to the curb and stops.
MEDIUM CLOSE SHOT
The cab is parked. George gets out and looks at the house.
ERNIE
Is this the place?
GEORGE
Of course it's the place.
ERNIE
Well, this house ain't been lived in
for twenty years.
EXT. HOUSE � NIGHT
MEDIUM SHOT
George is stopped momentarily by the appearance of the house.
Windows are broken, the porch sags, one section of the roof
has fallen, doors and shutters hang askew on their hinges.
Like a doomed man, George approaches the house.
EXT. CAB � NIGHT
MEDIUM CLOSE SHOT
The police car has pulled up beside the cab, and Bert and
Ernie stand watching George's actions.
BERT
What's up, Ernie?
ERNIE
I don't know, but we better keep an
eye on this guy. He's bats.
Ernie switches on the spotlight on his cab, and turns the
beam toward the old house.
INT. HALLWAY GEORGE'S HOUSE � NIGHT
CLOSE SHOT
The interior of the house is lit up here and there, ghostlike,
by Ernie's spotlight. No furniture, cobwebs, wallpaper hanging
and swinging � stairs are broken and collapsed. In a voice
that sounds like a cry for help, George yells out:
GEORGE
Mary! Mary! Tommy! Pete! Janie! Zuzu!
Where are you?
Clarence suddenly appears leaning against a wall.
CLARENCE
They're not here, George. You have
no children.
GEORGE
(ignoring him)
Where are you?
(then, to Clarence)
What have you done with them?
INT. DOORWAY � NIGHT
CLOSE SHOT
Bert is standing in the entrance, with his gun in his hand.
Ernie is a few feet behind him, ready to run.
BERT
All right, put up your hands. No
fast moves. Come on out here, both
of you.
GEORGE
Bert! Thank heaven you're here!
He rushes toward Bert.
BERT
Stand back.
GEORGE
Bert, what's happened to this house?
Where's Mary? Where's my kids?
ERNIE
(warningly)
Watch him, Bert.
BERT
Come on, come on.
GEORGE
(bewildered)
Bert � Ernie! What's the matter with
you two guys? You were here on my
wedding night. You, both of you,
stood out here on the porch and sung
to us, don't you remember?
ERNIE
(nervously)
Think I'd better be going.
BERT
Look, now why don't you be a good
kid and we'll take you in to a doctor.
Everything's going to be all right.
Bert tries to lead George away by the arm, but George
struggles with him, trying to explain.
GEORGE
Bert, now listen to me. Ernie, will
you take me over to my mother's house?
Bert, listen!
(gesturing to Clarence)
It's that fellow there � he says
he's an angel � he's tried to
hypnotize me.
BERT
I hate to do this, fella.
Bert raises his gun to hit George on the head. As he does
so, Clarence darts in and fixes his teeth in Bert's wrist,
forcing him to let George go.
CLARENCE
Run... George! Run, George!
George dashes out of the house and down the street, as Bert
grapples with Clarence, and they fall to the ground,
wrestling. We see Bert kneeling, trying to put handcuffs on
Clarence.
CLARENCE
Help! Joseph, help!
BERT
Oh, shut up!
CLARENCE
Help, oh Joseph, help! Joseph!
Suddenly Clarence disappears from under Bert's hands. Bert
gets up, amazed by his vanishing.
BERT
Where'd he go? Where'd he go? I had
him right here.
Ernie's hair is now standing on end with fright.
ERNIE
(stammering)
I need a drink.
He runs out of the scene.
BERT
Well, which way'd they go? Help me
find 'em.
EXT. BAILEY HOME � NIGHT
MEDIUM SHOT
George runs up the path to the front door of the house and
raps on the door. He rings the bell and taps on the glass,
when his attention is caught by a sign on the wall reading:
"Ma Bailey's Boarding House."
MEDIUM CLOSEUP � GEORGE AT THE DOOR
The door opens and a woman appears. It is Mrs. Bailey, but
she has changed amazingly. Her face is harsh and tired. In
her eyes, once kindly and understanding, there is now cold
suspicion. She gives no sign that she knows him.
MA BAILEY
Well?
GEORGE
Mother...
MA BAILEY
Mother? What do you want?
It is a cruel blow to George.
GEORGE
Mother, this is George. I thought
sure you'd remember me.
MA BAILEY
(coldly)
George who? If you're looking for a
room there's no vacancy.
She starts to close the door, but George stops her.
GEORGE
Oh, Mother, Mother, please help me.
Something terrible's happened to me.
I don't know what it is. Something's
happened to everybody. Please let me
come in. Keep me here until I get
over it.
MA BAILEY
Get over what? I don't take in
strangers unless they're sent here
by somebody I know.
GEORGE
(desperate)
Well, I know everybody you know.
Your brother-in-law, Uncle Billy.
MA BAILEY
(suspiciously)
You know him?
GEORGE
Well, sure I do.
MA BAILEY
When'd you see him last?
GEORGE
Today, over at the house.
MA BAILEY
That's a lie. He's been in the insane
asylum ever since he lost his
business. And if you ask me, that's
where you belong.
She slams the door shut in George's face.
EXT. HOUSE � NIGHT
MEDIUM CLOSE SHOT
George stands a moment, stunned. Then he turns and runs out
to the sidewalk, until his face fills the screen. His features
are distorted by the emotional chaos within him. We see
Clarence leaning on the mail box at the curb, holding his
volume of "Tom Sawyer" in his hand.
CLARENCE
Strange, isn't it? Each man's life
touches so many other lives, and
when he isn't around he leaves an
awful hole, doesn't he?
GEORGE
(quietly, trying to
use logic)
I've heard of things like this. You've
got me in some kind of a spell, or
something. Well, I'm going to get
out of it. I'll get out of it. I
know how, too. I... the last man I
talked to before all this stuff
started happening to me was Martini.
CLARENCE
You know where he lives?
GEORGE
Sure I know where he lives. He lives
in Bailey Park.
They walk out of scene.
WIPE TO:
EXT. CEMETERY � NIGHT
MEDIUM SHOT
George and Clarence approach the tree from which the "Bailey
Park" sign once hung. Now it is just outside a cemetery,
with graves where the houses used to be.
CLARENCE
Are you sure this is Bailey Park?
GEORGE
Oh, I'm not sure of anything anymore.
All I know is this should be Bailey
Park. But where are the houses?
The two walk into the cemetery.
CLARENCE
(as they go)
You weren't here to build them.
CLOSE MOVING SHOT
George wandering like a lost soul among the tombstones,
Clarence trotting at his heels. Again George stops to stare
with frightened eyes at:
CLOSE SHOT � A TOMBSTONE
Upon it is engraved a name, Harry Bailey. Feverishly George
scrapes away the snow covering the rest of the inscription,
and we read: "IN MEMORY OF OUR BELOVED SON � HARRY BAILEY �
1911-1919"
CLOSE SHOT � GEORGE AND CLARENCE
CLARENCE
Your brother, Harry Bailey, broke
through the ice and was drowned at
the age of nine.
George jumps up.
GEORGE
That's a lie! Harry Bailey went to
war! He got the Congressional Medal
of Honor! He saved the lives of every
man on that transport.
CLARENCE
(sadly)
Every man on that transport died.
Harry wasn't there to save them
because you weren't there to save
Harry. You see, George, you really
had a wonderful life. Don't you see
what a mistake it would be to throw
it away?
CLOSEUP � GEORGE AND CLARENCE
GEORGE
Clarence...
CLARENCE
Yes, George?
GEORGE
Where's Mary?
CLARENCE
Oh, well, I can't...
GEORGE
I don't know how you know these
things, but tell me � where is she?
George grabs Clarence by the coat collar and shakes him.
CLARENCE
I...
GEORGE
If you know where she is, tell me
where my wife is.
CLARENCE
I'm not supposed to tell.
GEORGE
(becoming violent)
Please, Clarence, tell me where she
is.
CLARENCE
You're not going to like it, George.
GEORGE
(shouting)
Where is she?
CLARENCE
She's an old maid. She never married.
GEORGE
(choking him)
Where's Mary? Where is she?
CLARENCE
She's...
GEORGE
Where is she?
CLARENCE
(in self-defense)
She's just about to close up the
library!
George lets Clarence go, and runs off. Clarence falls to the
ground, where he rubs his neck.
CLARENCE
(to himself)
There must be some easier way for me
to get my wings.
WIPE TO:
EXT. LIBRARY � NIGHT
CLOSE SHOT
Mary comes out the door, then turns and locks it. We see
George watching her from the sidewalk. Mary is very different
� no buoyancy in her walk, none of Mary's abandon and love
of life. Glasses, no make-up, lips compressed, elbows close
to body. She looks flat and dried up, and extremely self-
satisfied and efficient.
CLOSEUP
George, as he watches her.
CLOSE SHOT
George and Mary, on the sidewalk.
GEORGE
Mary!
She looks up, surprised, but, not recognizing him, continues
on.
GEORGE
Mary!
Mary starts to run away from him, and he follows, desperately.
GEORGE
Mary! Mary!
He catches up to her, grabs her by the arms, and keeps a
tight grip on her. She struggles to free herself.
GEORGE
Mary, it's George! Don't you know
me? What's happened to us?
MARY
(struggling)
I don't know you! Let me go!
GEORGE
Mary, please! Oh, don't do this to
me. Please, Mary, help me. Where's
our kids? I need you, Mary! Help me,
Mary!
Mary breaks away from him, and dashes into the first door
she comes to, the Blue Moon Bar.
INT. BLUE MOON � NIGHT
CLOSE SHOT
Small tables, booths, perhaps a counter. It is crowded. Many
of the people are the same who were present during the run
on the Building and Loan. Mary comes running in, screaming.
The place goes into an uproar. George comes in, practically
insane. Some of the men grab and hold on to him.
GEORGE
(shouting)
Mary...
(to men holding him)
Let me go! Mary, don't run away!
MAN
Somebody call the police!
ANOTHER MAN
Hit him with a bottle!
ANOTHER MAN
He needs a strait jacket!
MARY
(from back of room)
That man � stop him!
GEORGE
(recognizing some of
them)
Tom! Ed! Charlie! That's my wife!
Mary lets out a final scream, then faints into the arms of a
couple of women at the bar.
GEORGE
Mary!
MAN
Oh, no you don't!
GEORGE
(screaming)
Mary!
George can't fight through the men holding him. Desperately
he thinks of Clarence, and heads for the door.
GEORGE
Clarence! Clarence! Where are you?
EXT. SIDEWALK � NIGHT
CLOSE SHOT
Just as George breaks through the door, Bert arrives in his
police car. He gets out and heads for the door, to run into
George as he comes out.
BERT
Oh, it's you!
He grabs for George, who lets him have one square on the
button, knocking him down, then continues running down the
street yelling for Clarence. Bert gets up, takes out his gun
and fires several shots after the fleeing figure.
BERT
(to crowd)
Stand back!
Bert gets into the police car, and, siren screaming, sets
off in pursuit of George.
WIPE TO:
EXT. BRIDGE OVER RIVER � NIGHT
MEDIUM SHOT
The same part of the bridge where George was standing before
Clarence jumped in. The wind is blowing as it has all through
this sequence. George comes running into shot. He is
frantically looking for Clarence.
GEORGE
Clarence! Clarence! Help me, Clarence.
Get me back. Get me back. I don't
care what happens to me. Only get me
back to my wife and kids. Help me,
Clarence, please! Please! I want to
live again!
CLOSEUP
George leaning on the bridge railing, praying.
GEORGE
I want to live again. I want to live
again. Please, God, let me live again.
George sobs. Suddenly, toward the end of the above, the wind
dies down. A soft, gentle snow begins to fall.
CLOSE SHOT � GEORGE SOBBING AT THE RAILING
The police car pulls up on the roadway behind him, and Bert
comes into scene.
BERT
Hey, George! George! You all right?
George backs away and gets set to hit Bert again.
BERT
Hey, what's the matter?
GEORGE
(warningly)
Now get out of here, Bert, or I'll
hit you again! Get out!
BERT
What the Sam Hill you yelling for,
George?
GEORGE
Don't... George?
George talks hopefully � George touches Bert unbelievingly �
George's mouth is bleeding again.
GEORGE
Bert, do you know me?
BERT
Know you? Are you kiddin'? I've been
looking all over town trying to find
you. I saw your car piled into that
tree down there, and I thought
maybe... Hey, your mouth's bleeding;
are you sure you're all right?
GEORGE
What did...
George touches his lips with his tongue, wipes his mouth
with his hand, laughs happily. His rapture knows no bounds.
GEORGE
(joyously)
My mouth's bleeding, Bert! My mouth's
bleed...
(feeling in watch
pocket)
Zuzu's petals! Zuzu's... they're...
they're here, Bert! What do you know
about that? Merry Christmas!
He practically embraces the astonished Bert, then runs at
top speed toward town.
LONG SHOT
George runs away from camera yelling
GEORGE
Mary! Mary!
WIPE TO:
EXT. RESIDENTIAL STREET � NIGHT
CLOSE SHOT
George's wrecked car is smashed against the tree. He comes
running into shot, sees the car, lets out a triumphant yell,
pats the car, and dashes on.
EXT. MAIN STREET BEDFORD FALLS � NIGHT
CLOSE SHOT
George sees that the "POTTERSVILLE" sign is now replaced by
the original "YOU ARE NOW IN BEDFORD FALLS" sign.
GEORGE
Hello, Bedford Falls!
He turns and runs through the falling snow up the main street
of the town. As he runs, he notices that the town is back in
its original appearance. He passes some late shoppers on the
street
GEORGE
Merry Christmas!
PEOPLE
(ad lib)
Merry Christmas! Merry Christmas,
George!
EXT. THEATRE � NIGHT
PAN SHOT � AS GEORGE RUNS BY:
GEORGE
Merry Christmas, movie house!
EXT. BEDFORD FALLS EMPORIUM � NIGHT
PAN SHOT � AS GEORGE RUNS BY:
GEORGE
Merry Christmas, emporium!
EXT. BUILDING AND LOAN OFICES � NIGHT
PAN SHOT � AS GEORGE RUNS BY:
GEORGE
Merry Christmas, you wonderful old
Building and Loan!
EXT. BANK � NIGHT
CLOSE SHOT
George notices a light in Potter's office window, and races
across the street.
INT. POTTER'S OFFICE � NIGHT
CLOSE SHOT
Potter is seated working at his desk, his goon by his side.
George pounds on the window.
GEORGE
(from outside)
Merry Christmas, Mr. Potter!
George runs off as Potter looks up from his work.
POTTER
Happy New Year to you � in jail! Go
on home � they're waiting for you!
INT. GEORGE'S HOME � NIGHT
The lights are on. There is a fire in the fireplace. The
Christmas tree is fully decorated with presents stacked
around.
INT. ENTRANCE HALL � NIGHT
CLOSE SHOT
Carter, the bank examiner, a newspaper reporter and
photographer, and a sheriff, are waiting in the hall for
George. George comes dashing in the front door.
GEORGE
(excitedly)
Mary...
(sees the men)
Well, hello, Mr. Bank Examiner!
He grabs his hand and shakes it.
CARTER
(surprised)
Mr. Bailey, there's a deficit!
GEORGE
I know. Eight thousand dollars.
SHERIFF
(reaching into pocket)
George, I've got a little paper here.
GEORGE
(happily)
I'll bet it's a warrant for my arrest.
Isn't it wonderful? Merry Christmas!
The photographer sets off a flash bulb.
GEORGE
Reporters? Where's Mary?
(calling)
Mary!
George runs to the kitchen. He gets no answer. As he goes:
GEORGE
Oh, look at this wonderful old drafty
house! Mary! Mary!
He comes running back to the hall.
GEORGE
Have you seen my wife?
CHILDREN'S VOICES
Merry Christmas, Daddy! Merry
Christmas, Daddy!
INT. STAIRS � NIGHT
MEDIUM SHOT
The three children are at the top of the stairs. They are in
their pajamas.
GEORGE
Kids!
George starts to run up the stairs, and the old familiar
knob on the banister comes off in his hand. He kisses it
lovingly and puts it back, then continues up the stairs.
GEORGE
Pete � kids � Janie � Tommy.
(takes them in his
arms)
I could eat you up!
INT. TOP OF STAIRS � NIGHT
CLOSE SHOT
George and the kids. He is hugging them.
GEORGE
Where's your mother?
JANIE
She went looking for you with Uncle
Billy.
Zuzu comes running out of her bedroom. George crushes her to
him.
ZUZU
Daddy!
GEORGE
Zuzu � Zuzu. My little gingersnap!
How do you feel?
ZUZU
Fine.
JANIE
And not a smitch of temperature.
GEORGE
(laughing)
Not a smitch of temp...
INT. HALL � NIGHT
CLOSE SHOT
As Mary comes through the door, breathless and excited. The
four men are watching with open mouths.
GEORGE'S VOICE
Hallelujah!
MARY
(to the men)
Hello.
(sees George)
George! Darling!
INT. STAIRS � NIGHT
CLOSE SHOT
Mary races up the stairs, where George meets her in a fierce
embrace.
GEORGE
Mary! Mary!
MARY
George, darling! Where have you been?
George and Mary embrace tearfully.
MARY
Oh, George, George, George.
GEORGE
Mary! Let me touch you! Oh, you're
real!
MARY
Oh, George, George!
GEORGE
You have no idea what's happened to
me.
MARY
You have no idea what happened...
He stops her with a kiss. She leads him excitedly down the
stairs.
MARY
Well, come on, George, come on
downstairs quick. They're on their
way.
GEORGE
All right.
INT. LIVING ROOM � NIGHT
CLOSE SHOT
Mary leads George, who is carrying a couple of the kids on
his back, to a position in front of the Christmas tree.
MARY
Come on in here now. Now, you stand
right over here, by the tree. Right
there, and don't move, don't move. I
hear 'em now, George, it's a miracle!
It's a miracle!
She runs toward front door and flings it open. Ad lib SOUNDS
of an excited crowd can be heard. Uncle Billy, face flushed,
covered with snow, and carrying a clothes basket filled with
money, bursts in. He is followed by Ernie, and about twenty
more townspeople.
MARY
Come in, Uncle Billy! Everybody! In
here!
Uncle Billy Mary and the crowd come into the living room. A
table stands in front of George. George picks up Zuzu to
protect her from the mob. Uncle Billy dumps the basketful of
money out onto the table � the money overflows and falls all
over.
UNCLE BILLY
Isn't it wonderful?
The rest of the crowd all greet George with greetings and
smiles. Each one comes forward with money. In their pockets,
in shoe boxes, in coffee pots. Money pours onto the table �
pennies, dimes, quarters, dollar bills � small money, but
lots of it. Mrs. Bailey and Mrs. Hatch push toward George.
More people come in. The place becomes a bedlam. Shouts of
"Gangway � gangway" as a new bunch comes in and pours out
its money. Mary stands next to George, watching him. George
stands there overcome and speechless as he holds Zuzu. As he
sees the familiar faces, he gives them sick grins. Tears
course down his face. His lips frame their names as he greets
them.
UNCLE BILLY
(emotionally at the
breaking point)
Mary did it, George! Mary did it!
She told a few people you were in
trouble and they scattered all over
town collecting money. They didn't
ask any questions � just said: "If
George is in trouble � count on me."
You never saw anything like it.
Tom comes in, digging in his purse as he comes.
TOM
What is this, George? Another run on
the bank?
Charlie adds his money to the pile.
CHARLIE
Here you are, George. Merry Christmas.
Ernie is trying to get some system into the chaos.
ERNIE
The line forms on the right.
Mr. Martini comes in bearing a mixing bowl overflowing with
cash.
ERNIE
Mr. Martini! Merry Christmas! Step
right up here.
Martini dumps his money on the table.
MARTINI
I busted the juke-box, too!
Mr. Gower enters with a large glass jar jammed full of notes.
ERNIE
Mr. Gower!
GOWER
(to George)
I made the rounds of my charge
accounts.
Violet Bick arrives, and takes out the money George had given
her for her trip to New York.
GEORGE
Violet Bick!
VIOLET
I'm not going to go, George. I changed
my mind.
Annie, the colored maid, enters, digging money out of a long
black stocking.
ANNIE
I've been saving this money for a
divorce, if ever I get a husband.
Mr. Partridge, the high school principal, is the next donor.
PARTRIDGE
There you are, George. I got the
faculty all up out of bed.
(hands his watch to
Zuzu)
And here's something for you to play
with.
MAN
(giving money)
I wouldn't have a roof over my head
if it wasn't for you, George.
Ernie is reading a telegram he has just received.
ERNIE
Just a minute. Quiet, everybody.
Quiet � quiet. Now, this is from
London.
(reading)
Mr. Gower cables you need cash. Stop.
My office instructed to advance you
up to twenty-five thousand dollars.
Stop. Heehaw and Merry Christmas.
Sam Wainwright.
The crowd breaks into a cheer as Ernie drops the telegram on
top of the pile of money on the table.
MARY
(calling out)
Mr. Martini. How about some wine?
As various members of the family bring out a punch bowl and
glasses, Janie sits down at the piano and strikes a chord.
She starts playing "Hark! The Herald Angels Sing," and the
entire crowd joins in the singing. We see a SERIES OF SHOTS
of the various groups singing the hymn, and some people are
still coming in and dropping their money on the table. Carter,
the bank examiner, makes a donation; the sheriff sheepishly
looks at George and tears his warrant in small pieces. In
the midst of this scene, Harry, in Naval uniform, enters,
accompanied by Bert, the cop.
HARRY
Hello, George, how are you?
GEORGE
Harry... Harry...
HARRY
(as he sees the money)
Mary � looks like I got here too
late.
BERT
Mary, I got him here from the airport
as quickly as I could. The fool flew
all the way up here in a blizzard.
Mrs. Bailey enters scene.
MRS. BAILEY
Harry, how about your banquet in New
York?
HARRY
Oh, I left right in the middle of it
as soon as I got Mary's telegram.
Ernie hands Harry a glass of wine.
HARRY
Good idea, Ernie. A toast... to my
big brother, George. The richest man
in town!
Once more the crowd breaks into cheering and applause. Janie
at the piano and Bert on his accordion start playing "Auld
Lang syne," and everyone joins in.
CLOSE SHOT
George, still holding Zuzu in his arms, glances down at the
pile of money on the table. His eye catches something on top
of the pile, and he reaches down for it. It is Clarence's
copy of "Tom Sawyer." George opens it and finds an inscription
written in it: "Dear George, remember no man is a failure
who has friends. Thanks for the wings, Love Clarence."
MARY
(looking at book)
What's that?
GEORGE
That's a Christmas present from a
very dear friend of mine.
At this moment, perhaps because of the jostling of some of
the people on the other side of the tree, a little silver
bell on the Christmas tree swings to and fro with a silvery
tinkle. Zuzu closes the cover of the book, and points to the
bell.
ZUZU
Look, Daddy. Teacher says, every
time a bell rings an angel gets his
wings.
GEORGE
(smiling)
That's right, that's right.
He looks up toward the ceiling and winks.
GEORGE
Attaboy, Clarence.
The voices of the people singing swell into a final crescendo
for the
FADE OUT
THE END
AFTER.LIFE
Written by
Agnieska Wojtowicz-Vosloo
REVISED 10/07/08
INT. PAUL'S APARTMENT. BEDROOM - DAY
BLINDING WHITENESS
We hear a MAN GASPING softly. Rhythmically.
A LUMINOUS PALE SHAPE slowly forms out of the searing
whiteness. Gradually we realize we're moving across the
ALABASTER BODY of a WOMAN. Her skin translucent.
ON THE WOMAN'S FACE
Ethereal. Her eyes closed. Her face lifeless. Then...
...her eyes open. She looks straight at us with unseeing
pale blue eyes. This is ANNA (late 20s).
We pull back. PAUL (30s) makes love to Anna. Their
movements perfunctory. Passionless. He turns to look at
her. Realizes she's not there. He suddenly stops.
Rolls off her. Sits on the edge of the bed.
PAUL
What's wrong?
ANNA
Nothing.
Anna leans down and picks up her RED SLIP from the floor.
PAUL
(SIGHS WEARILY)
You used to enjoy it. Now it's...
He shakes his head. Frustrated. Lights a cigarette.
PAUL
...it's like fucking a corpse.
Paul immediately realizes he's gone too far. Turns to Anna.
PAUL
Shit. I'm sorry. That was--
Anna gets out of bed. Walks towards the bathroom. Paul
puts his head in his hands.
INT. PAUL'S APARTMENT. BATHROOM - MOMENTS LATER
Through the fogged shower partition we see the blurred
ghostly figure of Anna. Paul walks in.
PAUL
Anna. I'm sorry. That was a stupid
thing to say. But you know sometimes...
sometimes it's like you're not here
anymore. Like you're somewhere else.
2.
Anna doesn't reply.
PAUL
Is this about us?
ON ANNA
her head bowed as she lets the water wash over her.
ANNA
It's not about us.
PAUL (O.C.)
Then what is it?
ANNA
I don't know.
PAUL (O.C.)
I just want us to be happy.
Anna doesn't move. We sense the emptiness inside her.
PAUL (O.C.)
Are you happy?
She closes her eyes. Forces herself to reply.
ANNA
I'm happy.
A DROP OF BLOOD
falls into the water. Then another drop.
ON ANNA
her nose is bleeding. She touches her lips. Looks
impassively at the blood on her fingertips. The SOUND OF
WATER carries into the next scene...
FADE TO WHITE.
A STREAM OF CRYSTAL BLUE WATER
A MAN'S HANDS penetrate the water. Thin and elegant.
Perfectly manicured. Turning slowly as he washes them
meticulously. He picks up a crisply folded white towel.
Dries his hands carefully. Snaps on white latex gloves.
EXT. CEMETERY - MORNING
A beautiful morning. We move through a tranquil cemetery.
Pastoral and idyllic. Dappled light falls through old
trees onto statues of grieving angels.
3.
EXT. FUNERAL HOME - CONTINUOUS
A path leads to an old well-kept house. Amongst a blaze of
violet tulips we see a sign: Eliot Deane. Funeral Home.
INT. FUNERAL HOME. CASKET DISPLAY ROOM - MORNING
Sun streams into an elegant wood-panelled room. The
Funeral Director, ELIOT DEANE (40s) guides MRS. AYRES
(70s) past caskets tastefully arranged on faux-marble
pedestals. He's a serene man. Quiet and professional.
ELIOT
The Antique Carlisle. Solid cherry.
(strokes the wood lovingly)
Hand rubbed satin finish. Tufted
sovereign interior. Eternal-Rest
adjustable mattress with matching pillow.
He gestures to a metal casket.
ELIOT
Or perhaps the Aegean? Solid bronze
exterior. Hand brushed finish with
Grecian bronze highlights.
MRS. AYRES
The Antique Carlisle. Definitely the
Antique Carlisle.
ELIOT
(writes in his notebook)
Excellent choice.
Mrs. Ayres caresses the soft velvet trimming.
MRS. AYRES
An antique coffin for an antique lady.
We suit each other.
ELIOT
(SMILES)
You'll look beautiful.
(BEAT)
Now about the service. Would you like a
private visitation?
Mrs. Ayres is miles away.
ELIOT
Mrs. Ayres?
MRS. AYRES
I'm sorry. Yes. A private visitation.
(HESITATES)
Mr. Deane? What happens when we die?
4.
Eliot chooses his words carefully.
ELIOT
It's different every time. Each person
dies in their own way.
INT/EXT. ANNA'S CAR - MORNING
Anna drives past the strip malls of a small suburban town
in a GREEN TOYOTA. On the dashboard a KITSCHY BOBBLEHEAD
DOLL nods its head from side to side. Anna pulls up to a
red light. Glances across at the other cars. We see the
vacant faces of COMMUTERS staring blankly into space.
The light changes. Anna hasn't noticed. The car behind
her HONKS in frustration. She quickly pulls out...
... just as a SUV turns in front of her. She slams on
her brakes. Hard. Missing the SUV by inches. The
DRIVER screams at her. His face contorted in ugly rage.
EXT. ELEMENTARY SCHOOL. PARKING LOT - MORNING
Anna locks her car. Heads towards the main building.
INT. ELEMENTARY SCHOOL. CORRIDOR - MORNING
Classes have started. JACK (11), a serious looking boy,
walks through a silent corridor. Up ahead two OLDER
BOYS, a TALL KID and a KID with ACNE, push a GEEKY BOY
against a locker. Jack tries to pass by unnoticed.
TALL KID
Hey. Jack-off!
Jack walks faster. The two Older Boys set off after him.
He darts into a corridor. Ducks into an empty classroom.
INT. ELEMENTARY SCHOOL. BIOLOGY CLASSROOM - MOMENTS LATER
Jack waits anxiously by the door. It looks like he's
lost the bullies. Then a sudden rustling noise makes him
jump. He turns. TINY CHICKS huddle in a plastic
incubator on a table. Jack moves over to them.
TALL KID (O.C.)
Didn't you hear me Jack-off?
Jack swivels round. The Tall Kid walks towards him as
the Acne Kid guards the door. Jack doesn't reply.
ACNE KID
He must be deaf.
5.
TALL KID
You deaf Jack-off?
Jack ignores them. Irritating the Tall Kid even more.
TALL KID
Can't fucking speak either.
He pushes Jack against the table, toppling the incubator.
Panicked, the CHICKS scatter across the surface. Just
then the door opens. Anna walks in.
ANNA
What's going on?
She glances at the Older Boys then at Jack.
ANNA
Jack?
JACK
Nothing Miss Bryant.
ANNA
Nothing? The incubator didn't just
fall by itself.
The Older Boys stare at Jack. Waiting for his reaction.
JACK
I tripped. It was an accident.
Anna looks at Jack carefully. She knows he's lying.
ANNA
(to the Older Boys)
Show's over. Get to your classes.
(TO JACK)
Jack. Help me clear up.
Jack doesn't hear her. He's mesmerized by a SOLITARY
CHICK standing motionless in the corner of the incubator.
JACK
I think it's dead.
Anna reaches in. Tenderly picks up the chick.
ANNA
No. The poor thing's just scared.
INT. ELEMENTARY SCHOOL. TEACHERS' COMMON ROOM - DAY
School's over. Anna listlessly corrects a stack of
exercise books. She can't focus. Pulls out a BOTTLE OF
PILLS. Shakes a pill into her hand. Swallows it dry.
6.
INT. LAW OFFICE. CONFERENCE ROOM - DAY
Paul works with half a dozen COLLEAGUES around a large
conference table covered with documents and thick files.
He reaches across to a pizza box. It's empty.
PAUL
OK. Who took the last pepperoni?
A PREPPY GUY slides across another pizza box.
PAUL
Great. Broccoli.
(lifts out a slice)
Who the fuck ordered broccoli?
NEAL, a thin pallid guy, looks up.
NEAL
Oh that's just disgusting.
PREPPY GUY
What's wrong with vegetarian pizza? It's
healthy.
NEAL
Pizza isn't supposed to be healthy.
Paul glances at his watch. Suddenly realizes the time.
He quickly picks up his cell phone. Heads for the door.
NEAL
You ordering in another pizza?
PAUL
Yeah. With wheatgrass and alfalfa sprouts.
Everyone laughs.
PREPPY GUY
(MUTTERS)
Yeah. Yeah. Smart asses.
INT. LAW OFFICE. CORRIDOR - MOMENTS LATER
Paul walks into the corridor dialling his cell phone.
INT. ELEMENTARY SCHOOL. TEACHERS' COMMON ROOM - SAME TIME
Anna's cell phone rings as she closes her locker. She
fishes it out from her bag as she heads to the door.
Checks the ID. Hesitates. Then takes the call.
7.
INT. LAW OFFICE. CORRIDOR - SAME TIME
Paul cups his cell. Worried he'll be overheard.
PAUL
Hi baby. I'm really sorry about this
morning. I fucked up. I know.
INT. ELEMENTARY SCHOOL. CORRIDOR - SAME TIME
Anna steps into an empty corridor.
PAUL (O.S.)
(FILTERED)
We still on for tonight?
(BEAT)
Anna?
ANNA
I don't know Paul.
INT. LAW OFFICE. CORRIDOR - SAME TIME
Paul's anxious. We sense he's hiding something.
PAUL
Please Anna. It took me weeks to get the
table.
ANNA (O.S.)
(FILTERED)
Maybe we can change it to Thursday--
PAUL
No. It has to be tonight.
ANNA (O.S.)
(FILTERED)
Paul? What's the matter?
Paul tries hard to cover his nervousness. Forces a smile.
PAUL
Nothing. Don't worry. I just need... I
just want us to have dinner tonight.
INT. ELEMENTARY SCHOOL. CORRIDOR - SAME TIME
Despite Paul's reassurances Anna is clearly worried now.
ANNA
(HESITATES)
OK.
8.
PAUL (O.S.)
(FILTERED)
Great.
INT. LAW OFFICE. CORRIDOR - SAME TIME
Paul hesitates. Lowers his voice.
PAUL
And Anna. Everything's going to be fine.
ANNA (O.S.)
(FILTERED)
Promise?
PAUL
I promise.
INT. ELEMENTARY SCHOOL. CORRIDOR - MOMENTS LATER
Anna slips her phone back into her bag as she walks
through the deserted corridor. Her high heels echo
loudly in the eerie quietness.
Suddenly one of the fluorescent ceiling lights behind her
blows out with a loud WHUMPH. Anna starts. Turns.
WHUMPH. The next light dies. Anna quickens her step.
The lights go off one by one. The darkness quickly
creeping up behind her. There's only one light still on
as she reaches the exit. She looks up. The light
flickers. But then strangely stays on. Bathing her in a
cold pool of light.
Anna's unsettled. She turns and frantically pushes the
door. It doesn't open. She pushes hard with both hands.
Nothing. It's locked. She turns back slowly. The
darkness around her impenetrable. Almost viscous. She
reaches out...
... her hand DISAPPEARS into the thick blackness. Anna
snatches her hand back. Stares at it.
Then we hear the sound of SLOW FOOTSTEPS. Moving
deliberately towards her.
ANNA
(NERVOUSLY)
Hello?
Her voice echoes down the silent corridor. She glimpses
something move in the blackness.
ANNA
Is someone there?
9.
A BLACK SHAPE materializes inside the darkness. Silent.
Brooding. Anna can't move. Terrified. Suddenly the
corridor's flooded with a BLINDING WHITE LIGHT.
Anna's dazzled. Shades her eyes with her hand. As she
tentatively pulls her hand away...
...it's only Jack. His hand on the light switch.
ANNA
Jack!
JACK
Did I scare you Miss Bryant?
Jack moves over to the door.
ANNA
It's locked.
He gently pushes against the door. The door slowly opens.
EXT. ELEMENTARY SCHOOL - MOMENTS LATER
Anna, still shaken, walks with Jack towards the parking lot.
ANNA
Shouldn't you be home?
JACK
My mom's picking me up.
(BEAT)
It's my birthday. We're going to
MacDonald's. Then on Saturday my mom's
taking me to Busch Gardens. We're
going to ride the Alpengeist.
(EARNESTLY)
Continually voted one of the top ten roller
coaster rides in America, the Alpengeist is
a breathtaking avalanche of adventure.
ANNA
(tries to keep a straight-face)
I didn't know the park was open yet.
JACK
My mom's friends with the manager.
They're opening it specially for me.
She knows he's lying again. Smiles sadly.
ANNA
Sounds like fun.
JACK
Yes. It will be fun.
10.
They reach Anna's car. Stand in silence for a moment.
ANNA
Jack. Those boys. Do they bother you
a lot?
Jack hesitates. Then slowly nods his head.
ANNA
You know you can always talk to me about
it if you want to.
He nods. Anna's clearly worried about him.
ANNA
You sure you don't need a ride?
Jack shakes his head. Anna glances at her watch.
ANNA
Well. I better run.
JACK
Where are you going?
ANNA
(HESITATES)
I have to go to a funeral. My old piano
teacher.
JACK
(with sudden interest)
Can I come?
ANNA
No Jack. Funerals are very private
affairs.
JACK
I've never been to a funeral.
ANNA
It wouldn't be appropriate Jack. Anyway
wouldn't your mom worry about you?
JACK
(SHRUGS)
Not really.
ANNA
I'm sure she would. I'll see you
tomorrow in class. Have a wonderful
birthday.
Jack nods disappointed. Anna watches him walk away then
gets in her car.
11.
INT. ANNA'S CAR - MOMENTS LATER
Anna slips her key into the ignition. Loud music suddenly
blares from the car radio. She switches it off. Squeezes
the bridge of her nose. She pulls out a bottle of pills
from her bag. It's empty. She rummages in the glove
compartment. Finds another bottle. Empty. She sighs.
EXT. ELEMENTARY SCHOOL - MOMENTS LATER
Jack sits on the bench. Watches Anna drive away. Then
unzips his backpack. Something moves inside. A strange
jerky movement. Jack closes the backpack. Glances up
and down the empty street. Then walks away on his own.
EXT. STRIP MALL. PHARMACY - DAY
Anna steps out of the Pharmacy. As she washes down a pill
with a bottle of water she notices a small Hair Salon.
Looks critically at herself in the Pharmacy window.
Anna moves over to the Salon. Reaches for the door
handle... then hesitates. She's about to walk away when
the Salon door suddenly opens. Anna smiles shyly as a
freshly COIFFURED WOMAN politely holds the door for her.
INT. HAIR SALON - DAY
Anna leans back against a washbasin. Her neck tightly
cradled against the white porcelain. The light's harsh
and not particularly flattering. She closes her eyes.
Behind her the HANDS of a HAIRDRESSER in latex gloves
begin to rinse dye from Anna's hair.
ON SINK
Startling white. A stream of water flows into the sink.
Then after a moment the spiralling clear water gradually
turns a deep crimson red.
INT. MOTHER'S HOUSE. HALLWAY - DAY
Anna closes the front door behind her. She smiles as
she catches her reflection in the hallway mirror. Her
hair a dark vibrant red. Just then, from another room,
we hear an OLD WOMAN'S hacking cough.
OLD WOMAN (O.S.)
Anna? Is that you?
ANNA
Yes Mother.
12.
INT. MOTHER'S HOUSE. BEDROOM - MOMENTS LATER
Anna's mother, BEATRICE (50s), sits in bed, knitting with
swift, violent precision. The bedside table's stacked
with medication. She's clearly been bed-ridden for some
time. An electric wheelchair in the corner of the room.
Anna appears at the door. Beatrice scrutinizes her for a
second. Then returns to her knitting.
BEATRICE
Terrible color.
Anna moves to the beside table. Picks up a dirty plate.
ANNA
Can I get you something to eat?
BEATRICE
I'm not hungry.
ANNA
You have to eat.
BEATRICE
I don't have to do anything.
ANNA
The doctor said--
BEATRICE
The doctor's an idiot. He doesn't know
what he's talking about.
Anna sighs. Trying hard not to let her Mother provoke
her. Beatrice glances up. Anna avoids her look.
BEATRICE
Why did you do it? Today of all days.
ANNA
What have I done wrong this time?
Anna goes to the window. Draws back the curtains.
BEATRICE
You've forgotten haven't you?
ANNA
No I haven't forgotten. The service
isn't till six.
BEATRICE
Then you've got plenty of time to wash it
out.
13.
ANNA
It's permanent. You can't wash it out.
BEATRICE
Then dye it back. You can't show up at
the funeral looking like that. Like some
prostitute.
ANNA
I don't look--
BEATRICE
Don't argue with me. Why are you
constantly arguing with me?
Anna bites her tongue. Heads to the door.
BEATRICE
Where are you going?
ANNA
To do the washing up.
BEATRICE
The sheets need changing. They haven't
been changed in months.
ANNA
I changed them Monday.
Anna goes to the cupboard. Takes out clean sheets.
BEATRICE
You weren't here Monday. You never sleep
at home anymore. What if something
happened to me in the middle of the night?
ANNA
Nothing is going to happen to you.
ANYWAY DIANE--
BEATRICE
(SNORTS)
Fat lot of good she is. I wouldn't have
to pay for a Nurse if my only daughter
wasn't living in sin with that lawyer of
hers. Doing God knows what. They always
leave you in the end. You'll see. Just
like your father--
ANNA
That's enough Mother!
Anna dumps the sheets on the bed. As she turns to leave
Beatrice's hand darts out and grabs Anna's wrist.
BEATRICE
That's it. Go and cry to Paul.
14.
Anna pulls herself free. Moves to the door.
BEATRICE
Go and bitch to Paul about your mean old
mother.
INT. FUNERAL HOME. VIEWING ROOM - DAY
A warm intimate room. Peaceful. Rows of chairs filled
with ELDERLY MOURNERS. Eliot stands respectfully beside
a casket. FATHER GRAHAM (50s) reads at a lectern.
FATHER GRAHAM
We have entrusted our brother James
Hutton to God's mercy in sure and...
EXT. FUNERAL HOME. DRIVEWAY - CONTINUOUS
Anna, in a black dress, walks quickly along the gravel
driveway. She stops. Stares out over the cemetery.
FATHER GRAHAM (O.S.)
...certain hope of the resurrection to
eternal life through our Lord Jesus
Christ, who died and rose again for us.
INT. FUNERAL HOME. VIEWING ROOM - MOMENTS LATER
Anna slips into the back of the room. Eliot leads MRS.
HUTTON (60s) to the body of her husband, JAMES HUTTON
(70S), lying in the casket. Mrs. Hutton touches a
bouquet of white roses by the casket.
MRS. HUTTON
White roses. They were his favorite.
How did you know?
ELIOT
They just seemed appropriate somehow.
MRS. HUTTON
He looks so peaceful. As if he's only
sleeping.
Anna approaches Mrs. Hutton. She doesn't notice Eliot
watching her carefully.
ANNA
Mrs. Hutton. I'm so sorry.
MRS. HUTTON
Thank you Anna. You were always his
favorite student.
15.
Anna smiles awkwardly. Uncomfortable.
MRS. HUTTON
How's your mother?
ANNA
Fine. She sends her condolences.
MRS. HUTTON
You look tired dear.
ANNA
No. I'm fine. Everything's fine.
But we can see in her eyes that everything's not fine.
Mrs. Hutton nods, then turns to greet another MOURNER.
Anna steps nervously up to the coffin.
ANNA'S POV
James Hutton lies peacefully amongst the velvet trimming.
Suddenly his LIPS PART... as he GASPS SOFTLY.
VIEWING ROOM
Anna steps back terrified. Stares at Hutton. His face
serene again. It must have been her imagination. She
glances up quickly. Embarrassed.
Eliot's still observing her. He nods to her cordially.
INT. FUNERAL HOME. ELIOT'S ROOM - DAY
A spartan room at the top of the house. Eliot carefully
pins a POLAROID of Hutton lying in a coffin to the wall.
Next to Hutton's photograph, we briefly glimpse the edge
of ANOTHER POLAROID.
Eliot stares intently at Hutton's image for a moment,
then takes off his jacket and moves to the window.
ELIOT'S POV
Anna's by her car rummaging in a bag for her keys.
Getting increasingly frustrated.
EXT. FUNERAL HOME. DRIVEWAY - DAY
Anna suddenly looses it. Angrily dumps the contents of
her bag onto the driveway. She kneels down. Grabs the
keys. Throws the rest of her things back into the bag.
She stands. Leans against the car. She looks weary.
She glances up at the sky desperately trying to hold back
her tears. Black storm clouds gather on the horizon.
16.
Anna brusquely wipes away her eyes with the back of her
hand. Pulls herself together. Angry with herself.
INT. FUNERAL HOME. ELIOT'S ROOM - DAY
Eliot watches intently as Anna drives away.
INT. RESTAURANT - EVENING
Paul sits at a window table. It's raining hard outside.
He glances at his watch then nervously checks his
pockets. Pulls out a RING BOX. He looks at it for a
moment then slips it back into his pocket.
As he refills his glass, Anna appears outside holding her
raincoat above her head. She stares at Paul for a moment
through the window marbled with rain.
Paul suddenly notices Anna at the window. He starts.
Spills some of his red wine on his shirt.
CLOSE on the red stain. It unfurls like a flower.
Spreading out over the white material.
ANNA (O.C.)
Sorry about that.
Paul dabs the stain with a napkin.
PAUL
You scared the life out of me.
Anna laughs as she sits down. Paul looks up at her.
PAUL
Your hair.
ANNA
You don't like it.
PAUL
I didn't say that. It's just very...
red. I mean it's not really you is it?
A WAITER appears at the table before Anna can reply.
WAITER
Are you ready to order?
PAUL
Yes. We'll have the duck.
ANNA
Paul.
17.
PAUL
What? You always have the duck here.
ANNA
(picks up the menu)
I don't always have the duck.
Paul shrugs. Pours Anna some wine as she looks through
the menu. The Waiter taps his pen on his pad
impatiently. Anna sighs. Puts the menu aside.
ANNA
I'll have the duck.
Paul smiles as the Waiter leaves. Anna tries to ignore
him. But after a second she can't help smiling back.
PAUL
The duck is very good.
Anna's smile broadens. The tension between them broken
for the moment. Paul reaches across. Touches her hand.
PAUL
Let's not argue tonight. OK?
ANNA
OK.
Anna takes a sip of wine.
ANNA
This is good.
She picks up the bottle. Checks the label.
ANNA
And looks very expensive...
(SMILES QUESTIONINGLY)
What's the special occasion?
Paul's momentarily thrown. He tries to cover it by
rearranging his napkin. Anna notices.
PAUL
(suddenly very serious)
Actually there is something I need to
talk to you about.
Now Anna's nervous.
PAUL
I've been offered a transfer to head
office in Chicago.
Anna looks down. Stares at her hands on the table.
18.
PAUL
It'll mean more work of course. More
responsibility. A lot of changes. But
it's an incredible opportunity. I'd be
crazy to turn it down. And...
(NERVOUS)
...well I've been thinking. Maybe it's
time for us to...
Paul pauses as he reaches inside his jacket.
ANNA
(without looking up)
You're going to leave me.
Paul's stunned. Speechless. Before he can say anything--
ANNA
You could've just told me this morning.
You didn't need to buy me off with an
expensive meal.
Paul reaches for her hand. Anna gets up to leave.
PAUL
Anna wait.
ANNA
Why did you lie to me? You promised
everything was going to be OK.
PAUL
(INCREASINGLY FRUSTRATED)
Don't be ridiculous. Anna. You've got
it all wrong.
ANNA
I'm not being ridiculous. Why do you
always talk to me like I'm a small child?
PAUL
(as if talking to a small child)
Anna.
ANNA
See? There you go again. Do you know
how irritating that is?
PAUL
(LOSES IT)
Jesus. Can't we just have one fucking
meal without arguing--
ANNA
Fuck you!
The other DINERS turn and stare at them. Paul glances at
them embarrassed. Anna doesn't notice. Upset.
19.
PAUL
Keep your voice down, everyone's watching.
ANNA
FUCK YOU!
PAUL
You're crazy. You know that? Just like
your mother.
ANNA
I'm nothing like my mother!
Anna grabs her coat. Pushes her way through the restaurant.
PAUL
(STANDS)
I'm not running after you this time Anna.
ANNA
Good.
Paul's suddenly aware that everyone's looking at him. He
quickly sits down. Drains his glass of wine. Furious.
INT/EXT. ANNA'S CAR - NIGHT
Anna closes the car door. It's still raining hard outside.
Her hair, perfect minutes ago, is now bedraggled. Her make-
up's running. She places her hands on the steering wheel.
Trying desperately to pull herself together.
Suddenly. THUMP. Anna jumps. Turns. Paul's at the car
window. He thumps the glass again. Anna hits the locks.
EXT. RESTAURANT. PARKING LOT - CONTINUOUS
Paul grabs the door handle.
PAUL
Anna. Open the door. Please. I want
you to come with me. I want to...
INT/EXT. ANNA'S CAR - CONTINUOUS
Anna can't hear him above the sound of the RAIN HAMMERING
onto the car. She shakes her head. Puts the car in drive.
EXT. RESTAURANT. PARKING LOT - CONTINUOUS
Paul stumbles aside as Anna's car pulls away. She stops
at the parking lot exit a short distance away.
20.
INT/EXT. ANNA'S CAR - CONTINUOUS
Anna looks up into the rearview mirror.
ON REARVIEW MIRROR
Paul stands forlornly in the rain. Their eyes meet.
ANNA'S CAR
She hesitates. For a moment we think she might go back
to him...
EXT. RESTAURANT. PARKING LOT - CONTINUOUS
... but then Anna pulls out and drives away. Leaving Paul
alone in the parking lot. The rain pounding the asphalt.
INT/EXT. ANNA'S CAR. HIGHWAY - NIGHT
Anna peers through the blurred windshield as the wipers
battle with the TORRENTIAL DOWNPOUR. A LARGE TRUCK plows
past menacingly on the rain-slicked highway.
Anna's still upset. She wipes away her tears. On the
dashboard the kitschy doll bobs its head from side to
side. Anna picks up her cell phone. Glances down as she
dials a number. She looks up...
a WHITE VAN with black tinted windows cuts in front of her.
ANNA
Shit!
Anna swerves into the next lane. We hear the blaring
horn from the car behind her.
ANNA
(into rear-view mirror)
OK. OK. I saw you.
(MUTTERING)
Jerk.
The cell phone connects. We hear Paul's answering machine.
ANNA
Paul? You home yet? Can you pick up? I
just don't want it to end like this.
Anna drops the phone into her bag on the passenger seat.
Wipes away the mist on the inside of the glass.
A TRACTOR TRAILER shudders past loaded with metal pipes.
21.
ON METAL PIPES
The badly loaded pipes BANG OMINOUSLY against each other.
CUT TO BLACK.
INT. FUNERAL HOME. ELIOT'S ROOM - EARLY MORNING
Darkness. A bright light comes on.
CLOSE ON a MAN'S HANDS. Turning slowly under a stream of
crystal blue water. We pull back. Eliot dries his hands.
Opens a cabinet. Takes out a pair of latex gloves.
INT. FUNERAL HOME. PREP ROOM - EARLY MORNING
A large room. Tall vaulted ceilings. White tiles. Soft
morning light seeps in from a small round window set high
on one wall. The room is silent. Still. Like a chapel.
In the semi-darkness we see a BODY on a porcelain slab
covered with a white sheet.
We hear a key turn in a lock. Then another lock. The
room's suddenly flooded with a harsh white light.
Eliot steps inside the room. He takes off his jacket.
Carefully places it on a coat-hanger. Puts on a pale
blue smock then snaps on the latex gloves. His every
move meticulous. Measured. Like a ritual.
Eliot walks over to the slab, his surgery clogs softly
clacking against the tiled floor. He looks at the slab
for a moment then slowly pulls the sheet away
revealing...
ANNA'S BODY. Pale and lifeless. An ugly gash above her
eyebrow. Cracked violet lips. A rip in her black dress
soaked with a dark stain. She's only wearing one shoe.
Eliot gently takes off the watch from her stiff wrist.
Places it inside a brown paper bag. Eases off the shoe.
Picks up a scalpel from a tray of instruments on a steel
trolley. Delicately slices open her dress. Peels it off.
He's about to cut the straps of her RED SLIP when...
Anna OPENS HER EYES.
She looks straight at us with unseeing pale blue eyes.
Strangely Eliot's not surprised. He calmly steps back.
Watches her carefully.
Anna's eyes slowly focus on Eliot. She's groggy. Confused.
22.
ANNA
Where am I?
She talks with difficulty. Her breathe labored.
ELIOT
You're in a funeral home.
(BEAT)
You're dead.
Anna's vacant eyes widen in shock. She struggles to sit
up but she can't even raise her head. Her body stiff.
Rigid. Eliot speaks to her calmly. Soothingly.
ELIOT
You had a car accident. It was raining.
You hit a truck loaded with metal pipes.
She looks fearfully at the bloodied dress in Eliot's hand.
ANNA
I'm not dead.
ELIOT
You were pronounced dead eight hours ago.
Your blood no longer circulates through
your body. Your brain cells are slowly
dying. Your body's already decomposing.
ANNA
I'm not dead.
Eliot looks at her sadly for a moment. He places the
bloodied dress on the trolley. Then picks up a document.
Holds it up for her.
ON DOCUMENT
It's Anna's death certificate.
ELIOT (O.C.)
This is your death certificate. Cause of
death. Massive internal trauma. Time of
death. 8.23PM.
PREP ROOM
ELIOT
You were dead on arrival. The attending
physician signed here...
(points to document)
...at 9.45 last night. I picked up your
body from the hospital morgue at 12.10
this morning.
Anna stares with horror at her death certificate, then at
Eliot. He looks away. It pains him to see her so
distressed.
23.
ELIOT
I'm sorry.
Eliot picks up a sponge from the trolley. Wets it.
ANNA
Who are you?
Eliot delicately washes Anna's face. She doesn't flinch
as he dabs the wound above her eye brow.
ANNA
Don't touch me! Why are you touching me?
ELIOT
I'm preparing your body. You have to
look beautiful for your funeral.
ANNA
I'm not dead.
Eliot sighs wearily. As if he'd had this conversation
many times before.
ELIOT
You all say the same thing.
(BEAT)
I'm sorry. Maybe you should rest now.
Eliot peels off his latex gloves and heads for the door.
As he hangs his pale blue smock on the peg he turns and
looks at Anna for a moment.
ON ANNA
The lights go off. O.S. the door clicks shut as it locks
automatically behind Eliot.
ANNA
(SOFTLY)
I can't be dead. It's just a nightmare.
I'll wake up soon. Wake up.
INT. PAUL'S APARTMENT. BEDROOM - MORNING
Paul wakes up. Badly hung-over. Still in his clothes.
Sunlight streams into the room. Blinding him. He
reaches across. The bed's empty. He's surprised for a
moment then remembers the argument the night before.
He gets up. Sits on the edge of the bed. Lights a
cigarette. He notices his jacket on the floor. Leans
down. As he pulls out the BlackBerry from his jacket, the
RING BOX falls onto the floor. Paul doesn't notice.
24.
INT. PAUL'S APARTMENT. KITCHEN - LATER
Paul steps into the kitchen. Nervously checking his
BlackBerry. Nothing. Just then he sees the red light
blinking on his answer machine. He presses play.
ANNA
Paul? You home yet? Can you pick up? I
just don't want it to end like this.
Paul's relieved. He picks up the phone. Dials. We hear
the ringing on the other end.
INT. HOSPITAL MORGUE - SAME TIME
Two technicians, an OLD GUY and his YOUNG PALE ASSISTANT,
push a NAKED BODY wrapped in plastic through the morgue.
They jump as they hear the MUFFLED sound of a cell phone.
The ringing comes from a bag speckled with blood lying on
a table (we recognize it as Anna's bag). The Assistant
walks over. Takes out the cell phone.
ASSISTANT
It's the schoolteacher's. From the car
crash. Should I answer it?
The ringing stops abruptly. It's suddenly very silent.
ASSISTANT
Someone's in for a surprise.
OLD GUY
How many times do I have to tell you? You
can't leave their stuff laying around. It
should've been returned to the family.
ASSISTANT
I've been busy, OK.
(MUTTERING)
Like she's really going to need her
rollover minutes now.
As the Assistant reaches for the bag, he notices a
solitary shoe on the table. He picks it up.
ASSISTANT
What shall I do with this?
OLD GUY
Where's the other one?
The Assistant looks round. He can't see the other shoe
anywhere. He turns to the Old Guy and shrugs.
25.
OLD GUY
Just burn it. You can't send them back
one shoe. It's not respectful.
INT. PAUL'S APARTMENT. KITCHEN - SAME TIME
We hear a BEEP.
PAUL
(ON PHONE)
You got it all wrong baby. I want you to
come to Chicago with me. Look. I'll
swing by your place on my way to the
office. You know I love you.
EXT. MOTHER'S HOUSE - DAY
Paul pulls up to a suburban house. Walks quickly to the
door, a supermarket bouquet of flowers wrapped in
cellophane in his hand. He rings the bell. No-one
answers. He rings again. Knocks hard on the door.
PAUL
Anna!
Still no answer. Paul looks around. Notices the
driveway's empty. He heads back to his car.
INT/EXT. PAUL'S CAR - MOMENTS LATER
Paul's on his cell phone as he drives. He gets Anna's
voice mail again.
PAUL
(INTO PHONE)
It's me again. I must have just missed you
at home. Call me when you get this. OK?
INT. ELEMENTARY SCHOOL. CORRIDOR - DAY
Paul strides down an empty corridor. The flowers in his
hand. Searching for Anna's classroom.
INT. ELEMENTARY SCHOOL. BIOLOGY CLASSROOM - MOMENTS LATER
A TEACHER stands in front of the class holding a shell.
TEACHER
... the shell grows slowly...
The door opens. Paul steps into the classroom. His
smile fades as he realizes it's not Anna.
26.
PAUL
Oh hi. I'm looking for Anna Bryant.
The Teacher quickly moves over. Hustles Paul to the door.
TEACHER
(INDIGNANT)
I'm sorry but you just can't--
PAUL
I'm Anna's... fianc�e. Paul Conran. I
thought this was her class.
The Teacher glances suspiciously at the flowers in his hand.
PAUL
We had a little misunderstanding last
night.
TEACHER
(HESITATES)
She didn't come in today.
Jack's in the front row. Following the conversation.
PAUL
Did she call in sick?
TEACHER
She hasn't called in at all. It's not
like her. She always calls in.
Paul's worried now. Something's wrong.
INT. FUNERAL HOME. PREP ROOM - DAY
Anna lies rigidly on the slab. Her head turned to one
side. Staring blankly at the wall. Her eyes glazed.
Suddenly classical music fills the room. Anna frowns.
Disoriented. She moves her head with difficulty.
Nervously looks around.
For a moment she doesn't know where she is. Then she
sees Eliot by a CD player. She watches with trepidation
as he approaches her.
ANNA
Please don't hurt me.
ELIOT
(SMILES)
How can I hurt you? You're already dead.
ANNA
But I'm not dead.
27.
ELIOT
Then why are you here?
Anna doesn't know what to say. She turns her head away.
A tear falls down her cheek.
ANNA
Please. Just let me go. I won't go to
the police. I won't tell anyone.
Eliot moves her head back. Gently wipes away her tear.
ELIOT
You're still in denial. You have to
trust me. I'm only here to help you.
Eliot slides a wooden head-rest under her neck and studies
her wounds, touching them delicately. Thinking about how
to conceal them. He turns to a tray of instruments.
Picks up a needle. Leans over Anna.
The needle pierces her brow. Sliding cleanly through her
skin. She doesn't feel any pain as Eliot carefully sews
the wound. He's meticulous. Clearly very good at his job.
Eliot glances at his watch. Picks up a SYRINGE and an
AMPOULE OF AMBER LIQUID. Draws up the amber liquid.
Anna's alarmed. She tries to pull back.
ELIOT
Don't be scared.
ANNA
What are you doing?
ELIOT
This will relax your muscles. Stop the
rigor mortis setting in so I can work on
your body.
He INJECTS Anna in the neck. Just then we hear a car
pull up on the gravel driveway outside.
ELIOT
(TO HIMSELF)
Your mother's early.
Anna's eyelids feel very heavy. Slowly her eyes close.
Eliot pulls the white sheet over her body.
INT. FUNERAL HOME. HALLWAY - MOMENTS LATER
A Nurse, DIANE (30s) follows Beatrice in her wheelchair
as Eliot leads them through the hallway.
28.
ELIOT
I'm so very sorry Mrs. Bryant. It's
always so tragic when you lose a child.
BEATRICE
I lost her years ago.
He glances at her curiously. Then gestures to his office.
ELIOT
If you'd care to come to my office we can
discuss the arrangements.
BEATRICE
I want to see her.
ELIOT
But she hasn't been--
BEATRICE
I don't care. I want to see her.
It takes him a second to respond.
ELIOT
Of course.
INT. FUNERAL HOME. PREP ROOM - DAY
Beatrice leans against the slab staring at Anna's covered
body. Eliot stands respectfully to one side. In the b.g.
Diane shivers. The room's cold. Beatrice touches Anna's
hand through the white sheet. Then uncovers Anna's face.
The needle's still embedded in her eyebrow.
ELIOT
Ah. Forgive me.
Eliot quickly steps forward. Pulls out the needle. Cuts
the thread with a pair of large scissors.
ELIOT
As I said. I've only just started
preparing her.
BEATRICE
What's the point of preserving the body
if the soul's already left?
ELIOT
(quietly to himself)
No. The soul never leaves.
Beatrice stares at Anna.
29.
BEATRICE
It's us who are left behind. It's us who
suffer.
(TO ANNA)
Who's going to look after me now? Did
you think about that?
She nods to Diane. Diane helps her into the wheelchair.
ELIOT
I'll confirm the date with Father Graham
this afternoon. Friday as you requested.
BEATRICE
Just do what you think's best. It's just
details.
Beatrice whirs towards the door. She suddenly stops.
Turns to Eliot.
BEATRICE
Oh there is one thing.
ELIOT
Yes?
BEATRICE
Her hair. She was a brunette. I'd like
it back to that color.
EXT. FUNERAL HOME. DRIVEWAY - DAY
Eliot watches Beatrice's car drive away.
INT/EXT. PAUL'S CAR - DAY
Paul waits in his car outside the Mother's house. The
wilting flowers on the passenger seat beside him.
PAUL'S POV
Beatrice's car pulls up. Diane gets out. Pulls the
wheelchair out of the car.
PAUL'S CAR
Paul grabs the flowers.
EXT. MOTHER'S HOUSE - MOMENTS LATER
Paul strides over as Diane helps Beatrice into her
wheelchair.
30.
PAUL
Mrs. Bryant.
Beatrice doesn't acknowledge him. Paul turns to Diane.
PAUL
Hi Diane. I need to talk to Anna.
Diane can't look him in the eye.
PAUL
What's wrong?
DIANE
I think you better come in.
INT. MOTHER'S HOUSE. BEDROOM - MOMENTS LATER
Beatrice sits in her wheelchair with her back to the
door. Paul stops a short distance away.
PAUL
What happened? Where's Anna?
BEATRICE
(WITHOUT TURNING)
Anna was in a car accident last night.
My daughter's dead. That's what
happened.
Paul stares at Beatrice's back in disbelief.
PAUL
A car crash? When?
Beatrice turns her wheelchair round to face Paul.
BEATRICE
(IRRITABLY)
I don't know.
DIANE
They said it happened just before 8.30.
PAUL
But... we were at the restaurant...
Beatrice glares at him. She clearly blames him for
Anna's death.
BEATRICE
You shouldn't have let her drive in that
weather.
Paul looks down guiltily at the flowers in his hand.
31.
PAUL
No. She can't be dead. There must be
some mistake.
BEATRICE
There's no mistake. We just got back
from the funeral home.
Beatrice pushes a joystick on her wheelchair. As she
whirs past Paul she notices the flowers.
BEATRICE
(DRYLY)
Flowers? How appropriate.
Paul's not listening anymore. Stunned.
PAUL
Why didn't you call me?
BEATRICE
You took her away from me. I don't want
you anywhere near her.
INT. FUNERAL HOME. KITCHEN - DAY
Eliot turns on the taps. Fills a copper kettle.
INT. FUNERAL HOME. PREP ROOM - SAME TIME
Silence. O.S. a shuddering pipe bangs ominously. Anna
opens her eyes abruptly as if waking from a deep sleep.
She stares at us. Numb.
INT. FUNERAL HOME. KITCHEN - MOMENTS LATER
CLOSE ON an exploding BLUE FLAME from a gas ring.
We pull back. Eliot places a kettle on the ring. Then
measures out exactly two spoons of tea from an ornate tin
into a teapot. Meticulous in everything he does.
INT. FUNERAL HOME. PREP ROOM - SAME TIME
CLOSE ON Anna's hand. Her fingers FLEX slightly. She
pushes herself up awkwardly. Suddenly realizes
something. She touches her wrist. Desperately searching
for her pulse. Then frantically checks her neck.
Panicking. She can't find her heartbeat.
She stares at her hand. Then abruptly SLAMS it against
the slab. Hard. She feels no pain. She does it again.
Harder. Still nothing.
32.
ANNA
I must be in shock. That's all. It's
just shock.
She struggles to her feet. Stumbles groggily to the door.
Tries the door handle. It's locked. She bangs on the
door feebly. Then she hears something. She cocks her
head. Follows the sound of Eliot's footsteps upstairs.
ANNA
(HOARSE)
Let me out!
INT. FUNERAL HOME. ELIOT'S OFFICE - DAY
Eliot's by his desk. Checking his appointment book.
Whistling softly to himself. We can't hear Anna's cries.
He pours a cup of tea. Adds a drop of milk. As he stirs
his tea, he hears the sound of feet CRUNCHING on the
gravel outside. He glances out the window.
ELIOT'S POV
Paul stands in the middle of the driveway staring blankly
at the Funeral Home.
EXT. FUNERAL HOME. DRIVEWAY - MOMENTS LATER
Eliot steps out of the Funeral Home. Heads towards Paul.
ELIOT
Can I help you?
Paul turns to him. Pulled away from his thoughts.
PAUL
Mr. Deane?
ELIOT
Yes.
PAUL
My name's Conran. Paul Conran.
Eliot smiles. Holds out his hand.
ELIOT
Of course. The lawyer.
(off Paul's surprised look)
It's a small town. In my line of work
you get to know everyone eventually.
As they shake, Eliot looks at Paul's hand strangely. As
if he senses something.
33.
PAUL
I'm Anna Bryant's fianc�e.
ELIOT
That's strange. She wasn't wearing an
engagement ring.
PAUL
Well not quite fianc�e...
ELIOT
I'm very sorry for your loss Mr. Conran.
PAUL
I'd like to see her.
ELIOT
I'm afraid the viewing isn't until--
PAUL
I'd need to see her now. If that's
possible.
ELIOT
I'm sorry. It's not possible. You're
not family and--
PAUL
Please. It'd only take a minute.
ELIOT
I understand. But--
PAUL
NO. YOU DON'T UNDERSTAND!
INT. FUNERAL HOME. PREP ROOM - SAME TIME
Anna suddenly hears Paul's loud voice outside.
ANNA
(WEAKLY)
Paul! I'm here! Paul!
She frantically beats her fists against the door.
EXT. FUNERAL HOME. DRIVEWAY - SAME TIME
Paul quickly controls his anger. His eyes smart with tears.
PAUL
I tried to stop her. She didn't hear me.
Paul's voice breaks with emotion. He can't go on. Eliot
gently takes him by the elbow. Leads him back to his car.
34.
ELIOT
Mr. Conran. There really is nothing I
can do. I'm so sorry.
Paul looks defeated. He simply nods his head. Eliot
watches him get into his car and drive away.
INT. FUNERAL HOME. PREP ROOM - LATER
Anna sits by the door in the darkness. Suddenly the
room's flooded with light. Eliot walks in. Looks at
Anna for a moment. She just stares back at him coldly.
He heads over to the sink.
ANNA
Who was that?
ELIOT
No one.
ANNA
No one?
A long beat.
ELIOT
It was Paul.
ANNA
(CALMLY)
I know. I heard you talking to him.
Why didn't you let him see me?
Eliot smiles. Amused she caught him out. He continues
washing his hands.
ELIOT
Did you love him?
Anna looks up sharply. Eliot's clearly hit a nerve.
ANNA
That's none of your business.
Eliot shrugs. Dries his hands on a white towel.
ANNA
You weren't going to tell me Paul was
here, were you?
ELIOT
No.
ANNA
Why not?
35.
ELIOT
Because it would only hurt you. You have
to let go of the living. Just like they
have to let go of you.
ANNA
I don't believe you. Why are you doing
this to me?
He shakes his head as he drops the towel into a small bin.
ELIOT
You're all the same. You all blame me
for your death. As if it were my fault.
ANNA
No. You drugged me. So my mother
WOULDN'T--
ELIOT
The others. They just see you as a dead
body on a slab. Only I can see you as
you really are.
ANNA
You're crazy!
Eliot's taken aback. Hurt.
ELIOT
I'm a busy man. I don't have time for this.
He heads to the door. Pulls out his keys and unlocks it.
Just then he remembers something. Turns to her.
ELIOT
Oh I nearly forgot. How tall are you?
ANNA
What!?
He looks her up and down. Gauging her height.
ELIOT
Five seven.
ANNA
Why..?
ELIOT
I need to know how tall you are. For
your coffin.
Anna's stunned. Eliot looks at her for a moment. Then
switches off the main lights.
36.
ANNA
Wait!
He ignores her. The door CLICKS shut behind him.
INT. FUNERAL HOME. HALLWAY - MOMENTS LATER
Eliot steps into the hallway. Stops by a vase of
flowers. He plucks a dead petal. Crushes it. Curiously
sniffs his fingers. Then heads to the casket room.
INT. FUNERAL HOME. PREP ROOM - DAY
CLOSE ON Anna's face. She looks empty. Dispirited.
Just then something catches her attention...
The light from the window glints off a pair of LARGE
SCISSORS on the steel trolley. Anna stumbles to the
trolley. Feeling her way through the semi-darkness.
Grabs the scissors.
Just then she notices a BODY, covered with a white sheet,
lying on a gurney in the corner. She turns away.
Scared. But then, almost against her will, she
approaches the gurney. As if drawn to the body. She
slowly pulls the sheet away...
The dead body of an OLD WOMAN. Staring blindly at Anna
with cloudy opaque eyes. Long greasy gray hair. Shaken,
Anna pushes herself against the wall.
ANNA
Oh God. Please. I don't want to die.
INT. JACK'S HOUSE. KITCHEN - DAY
Jack carefully cuts something out of a local newspaper.
The loud sounds of a TV blare from another room.
ON NEWSPAPER
Schoolteacher Dies in Tragic Car Crash.
INT. JACK'S HOUSE. LIVING ROOM - MOMENTS LATER
The curtains are drawn. JACK'S MOTHER sits in an
armchair with her back to us watching TV. Jack walks in.
JACK
You were supposed to pick me up from
school yesterday.
His mother doesn't reply. Jack moves in front of the TV.
37.
JACK
I waited.
His mother doesn't respond.
EXT. STREETS - DAY
Jack furiously cycles through empty streets. Past
identical suburban houses with identical prim lawns. He
stops suddenly. Considering something. Then turns and
cycles away purposely.
EXT. FUNERAL HOME - DAY
Eliot walks out of the funeral home. We pull back. Jack
stands by his bicycle in the bushes watching him. Eliot
looks up. As if sensing someone was spying on him. Jack
steps back quickly behind a tree.
INT. POLICE STATION - DAY
A POLICE OFFICER talks on the phone as Paul walks in.
POLICE OFFICER
(INTO PHONE)
Hang on a sec.
(TO PAUL)
Mr. Conran. Heard about your girlfriend.
I'm sorry.
Paul nods. Clearly doesn't want to talk about it.
PAUL
Is Tom in?
POLICE OFFICER
The captain just stepped out. He won't
be long. You can wait in his office if
you want.
PAUL
Thanks. I'll just go and grab a coffee.
As Paul walks away, the Officer returns to the phone.
POLICE OFFICER
(INTO PHONE)
A buddy of the captain's. Poor guy...
INT. POLICE STATION. CORRIDOR - MOMENTS LATER
Paul slides a dollar bill into a coffee machine. Presses
his selection. Nothing.
38.
PAUL
Come on.
He pushes the button repeatedly. Then angrily slams the
side of the machine. Nothing.
PAUL
You piece of shit.
As Paul turns away, he notices a door with a sign on it:
AUTHORIZED PERSONNEL ONLY. Paul glances around. Then
quickly walks over to the door.
INT. POLICE STATION. GARAGE - MOMENTS LATER
A dozen wrecked cars. Twisted metal. Paul's footsteps
echo through the empty garage. It's dark. Out the
corner of his eye Paul glimpses a SHAPE move quickly
around a pillar. He stops. Unsettled.
Just then we hear a WOMAN'S FOOTSTEPS. Her high-heels
clicking on the concrete floor. There's something
strange about the sound. UNNATURAL. Paul listens
nervously. The footsteps grow fainter. Then fade away.
The garage is silent again. Too quiet.
Paul moves apprehensively over to Anna's GREEN TOYOTA.
The car's a mess. One side's completely caved in. He
touches the car. Pulls open the door. Squeezes into
the driver's seat.
ANNA'S CAR
Glass everywhere. Paul glances at the KITSCHY BOBBLEHEAD
DOLL on the dashboard flecked with blood. He places his
hands on the steering wheel. Suddenly he hears a strange
noise. He looks up...
The KITSCHY DOLL. Its head NODDING SLOWLY. Its smiling
face now unnaturally sinister. Turning towards us until
it abruptly stops. Staring straight at us.
Paul looks at the doll transfixed. Just then a PALE
WOMAN'S HAND slowly reaches through the window... and
touches Paul's shoulder. He jumps. Turns.
ANNA stands by the car. Staring blankly at him. The
color drains from Paul's face.
MAN'S VOICE (O.C.)
Paul?
The Police Captain, Tom Peterson, stands by the car where
Anna was a second ago. He pulls his hand away from
Paul's shoulder. Looks at him with concern.
39.
Paul gathers his composure. He must have just imagined
Anna was there. He shoves the door open. He's about to
step out when he turns back and grabs the Kitschy Doll.
GARAGE
Paul gets out awkwardly. He can't look Tom in the eye.
TOM
You OK?
PAUL
(UNCONVINCING)
I'm fine.
TOM
I just found out. I'm so sorry Paul. If
you need anything--
PAUL
I need to see Anna.
TOM
(PUZZLED)
What do you mean?
PAUL
The funeral director won't let me see her
Tom. He says I'm not family. Can you
talk to him? Put some pressure on him.
TOM
I can't do that.
PAUL
Tom. You're my friend.
TOM
Paul. I can't do it.
Paul nods slowly. Tom notices the Kitschy Doll.
TOM
You sure you're OK?
PAUL
I fucked up.
TOM
Paul. It was an accident. You should
get some rest. Let me drive you home.
PAUL
I always fuck everything up.
40.
INT. FUNERAL HOME. BASEMENT CORRIDOR - DAY
Eliot stops by a thermostat. Studies it for a moment.
Turns it lower. He glances at his watch. Takes out his
keys from his jacket and moves over to the Prep Room door.
INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER
Anna sits on the slab. Her hands behind her back. She
carefully watches Eliot as he pulls on his pale blue
smock then walks over to a cabinet.
BEHIND ANNA'S BACK
her hands clutch the large scissors.
PREP ROOM
Eliot opens a cabinet full of boxes of hair dye with
photographs of smiling women. As he prepares the dye he
looks across at Anna. She's staring at something behind
him. Eliot turns. Sees the uncovered body of the Old
Woman on the gurney. He quickly walks over. Carefully
pulls the white sheet over the Old Woman.
ANNA
Who is she?
ELIOT
Mrs. Whitehall.
He mixes the dye in a bowl as he moves over to Anna.
ELIOT
You shouldn't be afraid of her. The dead
can't harm the dead.
ANNA
(FORCEFULLY)
But I'm not dead!
Anna's hand suddenly FLIES UP... she slashes at Eliot's
face with the SCISSORS.
The sharp edge misses his cheek by inches. Eliot drops
the bowl. Stumbles back against the steel trolley.
Instruments crash to the floor.
Anna staggers to the door. Her legs weak. Her long lank
hair falling over her eyes. She frantically wrenches at
the door handle but it's locked. Eliot gets up. Slowly
moves towards Anna. She turns. Raises the scissors.
ANNA
Stay where you are.
41.
ELIOT
(holds out his hand)
Give me the scissors. I only want to
help you.
ANNA
Don't come any closer. I swear to God
I'll kill you.
Eliot walks right up to her. His face now inches from hers.
ELIOT
(CALMLY)
Go ahead.
Anna doesn't move. Eliot looks her steadily in the eye.
He reaches for her hand. Slowly. Deliberately. He brings
the scissors to his cheek. Then lets go of Anna's hand.
CLOSE ON ELIOT'S FACE
The sharp tip pushes into his skin.
ELIOT
Go on.
PREP ROOM
For a moment we think she might do it. But then she wavers.
ELIOT
What are you waiting for?
Anna's confidence falters. She slowly lowers her hand.
The scissors fall onto the floor. Anna looks down
defeated. Her breath labored. Suddenly she realizes...
ANNA
I'm breathing!
(raises her head)
Look. I'm still alive!
ELIOT
You think you're still alive because
you're still attached to life. It's
normal. You're just imagining you still
have symptoms of life.
She's not listening. Eliot takes a roll of paper towels.
Kneels down, picks up the bowl of dye and mops up the mess.
ANNA
Maybe I was in some kind of coma. The
doctors made a mistake. They're always
making mistakes.
ELIOT
You died. Everyone dies.
42.
ANNA
How can I be dead if we're talking?
He stands up. Sighs wearily.
ELIOT
We're talking not because you're alive.
But because I have a gift.
(BEAT)
I can talk to those between life and death.
ANNA
Why?
ELIOT
To help them make the transition.
Anna's stunned. For the first time we sense a seed of
doubt in her mind.
ANNA
Is this what happens when you die?
ELIOT
It depends on how you lived your life.
ANNA
What do you mean?
ELIOT
Not everyone needs my help. Some let
go as soon as their body dies. Others
don't let go until long after they're
in the grave.
ANNA
Am I a ghost? Is that why I'm here?
ELIOT
You're here so I can bury you.
Anna's silent. Trying to make sense of what she's just
heard. Eliot takes her arm. Leads her to the slab.
ELIOT
Come. We've wasted enough time already.
She lies down submissively. Suddenly very tired. Eliot
leans over her to apply what's left of the dye.
ANNA
(WHISPERS)
No. Please. I don't want--
ELIOT
You're a corpse. Your opinion doesn't
count anymore.
43.
ANNA
But I can breathe. I must be alive.
She weakly pushes him away. Anger flashes across Eliot's
face, but just as quickly he controls it.
ELIOT
You people. You all think that if you
breathe, shit, piss you're alive.
Anna doesn't know what to say.
ELIOT
You clutch onto life as if your life was
worth clutching onto. Was your life
worth clutching onto Anna?
Anna turns her head away. Clearly he's struck a chord.
ELIOT
Was it? Maybe you died a long time ago.
Eliot rips off his latex gloves. Tosses them into a bin.
ELIOT
I have to tell you I'm surprised you're
still arguing with me. You don't have
much time left.
(gestures to the Old Women)
Look. She's accepted her death. Her
life has been examined. She has no more
regrets. And now she's at peace. She
used her time well. You still have so
much to learn.
ANNA
I have nothing to learn!
ELIOT
Are you sure?
Eliot stands in the doorway. He switches off the light.
His body silhouetted by the light from the hallway.
ELIOT
Your funeral's in three days. Soon
you'll be enclosed in a coffin. Then
buried in the ground. No-one will hear
you then. No-one will talk to you there.
The door clicks shut behind him. Anna doesn't move.
Clearly unsettled by Eliot's words. After a moment she
looks at the Old Woman. She moves over. Hesitantly
pulls away the white sheet. Stares at the Old Woman
curiously. Then tentatively touches her cheek.
ANNA
Are you cold?
44.
She takes the Old Woman's hand. Strokes her paper-thin skin.
ANNA
I'm so cold.
Anna notices the Old Woman's plastic ankle tag.
ON PLASTIC ANKLE TAG
Name: Carol Whitehall. Sex: F. DOB: 11.02.30.
PREP ROOM
ANNA
You had a long life.
Anna turns back. Studies the Old Woman's serene face.
ANNA
You look so peaceful.
(BEAT)
Aren't you scared?
Anna's eyes fill with tears.
ANNA
I'm scared. I'm so scared.
INT. JACK'S HOUSE. BEDROOM - NIGHT
Jack lies in bed staring at the ceiling. On his bedside
table an alarm clock reads 2.38AM. He looks across at an
Anglepoise lamp in the corner of the room bent over an open
shoebox. He gets up. Walks towards the muted light.
The SMALL CHICK huddles in the shoebox. It looks dead even
though it's eyes are open. Jack's about to reach into the
box. Then changes his mind. He looks at the lamp. Switches
it off. After a moment he switches it back on again.
INT. PAUL'S APARTMENT. LIVING ROOM - NIGHT
Paul stands motionless in the middle of the room. Staring
blankly into space. The room feels empty and depressing.
He suddenly looks around. Not quite sure why he came into
the room in the first place. He moves over to a CD player.
Mechanically switches it on. Music fills the room. He
turns the volume higher. Then all the way up. The music's
unbearably loud but Paul just stands there. Numb.
ON PAUL
The music's strangely distorted now. Almost silent. As
if we were inside Paul's head.
45.
INT. FUNERAL HOME. PREP ROOM - NIGHT
Anna lies on the slab. Curled in a fetal position. O.S.
we hear the UNNATURALLY LOUD metallic drip of a faulty
faucet. Slow. Rhythmical. Anna opens her eyes. Stares
at us. Terrified. Then she turns her head.
The Old Woman sits on the other slab. Slowly brushing
her tangled gray hair with a silver backed brush.
Anna looks around anxiously. The room is strangely
larger. The perspective not quite right. Certain
objects look absurdly small or abnormally large. She
notices a TINY DOOR. Half hidden by a steel trolley.
The door's slightly ajar. Anna's surprised.
The Old Woman shakes her head. Staring blindly at Anna
with opaque eyes. Anna ignores her. Moves quickly to
the tiny door. As she approaches, the door seems to grow
to normal size.
Then we realize it's Anna who has shrunk. The steel
trolley now towers high above her. The massive
instruments on the trolley look like menacing insects
cast in surgical steel. She opens the door. Revealing a
solid wall of DARKNESS.
FROM INSIDE THE DARKNESS
the small shape of Anna in the doorway. The huge dark
space engulfs her. The only light comes from the Prep
Room behind her.
PREP ROOM
Anna reaches forward. Her hand disappears into the thick
blackness. She snatches her hand back. Scared. Then...
...a CHILD'S HAND darts out of the darkness. Grabs Anna's
wrist. Pulling her in with surprising strength. Anna
struggles to free herself. But the hand drags her deeper
into the darkness. The door slams shut behind her.
INT. DARKNESS
Anna stands in the black empty space.
GIRL'S VOICE (O.S.)
I'm disappointed with you.
An innocent looking YOUNG GIRL (6) materializes out of
the blackness. She looks like a young Anna.
ANNA
Who are you?
46.
The Young Girl walks slowly towards Anna.
GIRL
You promised me so many things.
(AMUSED)
You don't recognize me?
Anna shakes her head.
GIRL
I am you. I've been waiting for you.
You shouldn't have disappointed me.
The Girl now looks strangely malevolent. Anna steps back
terrified. Turns. But there's no door anymore.
INT. FUNERAL HOME. PREP ROOM - SAME TIME
The Old Woman stands alone in the middle of the room.
Braiding her long hair.
OLD WOMAN
You're not ready.
CUT TO A SEARING WHITENESS.
INT. FUNERAL HOME. VIEWING ROOM - DAY
A small congregation of MOURNERS sit in the white chairs.
"AVE MARIA" plays quietly in the b.g. A MAN leans over
the casket paying his respects.
ON CASKET
The Old Woman. Her long hair braided. She looks serene.
INT. FUNERAL HOME. PREP ROOM - SAME TIME
"AVE MARIA" filters into the room. Anna opens her eyes.
She's confused. She gets up awkwardly. Looks around the
room. The other slab's empty. The Old Woman's gone.
Anna stumbles over to the trolley. Pushes it aside.
Desperately searching for the tiny door. She touches the
wall. There's nothing there. Frustrated she turns to a
counter crowded with instruments. She sweeps her arm
across the counter top in rage. Sending everything
crashing to the floor.
INT. FUNERAL HOME. VIEWING ROOM - DAY
The funeral's over. Eliot takes out a wilted bouquet of
flowers from a vase.
47.
In the b.g. Jack stands half-hidden in the doorway.
Glancing around in fascination. A flower in his hand.
ELIOT
(to Jack without looking up)
Can I help you?
Jack steps back timidly. Eliot looks up. Smiles.
ELIOT
Then perhaps you can help me.
(holds up the withered flowers)
Could you throw these away for me?
Jack nods hesitantly. Moves over and takes the flowers.
ELIOT
Thank-you.
Eliot turns and arranges fresh flowers in the vase.
ON JACK
as he looks at the wilted flowers. He crushes a petal
then sniffs his fingers.
ELIOT (O.C.)
There's no life left in them.
VIEWING ROOM
Jack looks up. Eliot's watching him carefully.
ELIOT
They belong in the garbage.
Jack turns to leave.
ELIOT
I've seen you round here before.
Jack's suddenly nervous.
ELIOT
Did you know Mrs. Whitehall?
JACK
I thought it was Miss Bryant's funeral.
ELIOT
Ah. Miss Bryant. No. Her funeral's not
until Friday.
JACK
Where is she now?
Eliot considers the question for a moment.
48.
ELIOT
She's downstairs.
JACK
Why?
ELIOT
Why? Because she's not ready.
(BEAT)
Is the flower for her?
JACK
(NODS)
She was my teacher.
ELIOT
And you are?
JACK
Jack.
Jack holds out his hand. A serious look on his face.
Eliot's amused. He shakes Jack's hand.
ELIOT
Well Jack. What did you think?
JACK
About what?
ELIOT
Mrs. Whitehall's funeral. Did you find
it interesting?
JACK
(SHRUGS)
It was OK I guess.
ELIOT
Oh. I see.
JACK
Are all funerals the same?
ELIOT
No Jack. They're never the same. Each
one is special. The dead always speak to
us in different ways.
JACK
(CURIOUS NOW)
What do you mean?
Eliot finished arranging the flowers. He glances at his
watch. Smiles at Jack.
ELIOT
It was a pleasure talking to you Jack.
49.
Jack's intrigued. He watches Eliot walk out of the room.
INT. FUNERAL HOME. BASEMENT CORRIDOR - MOMENTS LATER
As Eliot heads to the Prep Room, we hear a MUFFLED CRASH
from inside. Eliot quickly pulls out his keys. Moves to
the door. Just then Eliot hears a creaking sound behind
him. He turns. Jack's at the top of the stairs.
Staring down curiously at the Prep Room door.
Eliot observes him cautiously. Did Jack hear the sound
as well? Jack looks back at Eliot. Smiles. Then
without a word, turns and heads back up the stairs.
INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER
Anna sits on the floor in the middle of the room.
Hugging her legs to her chest. Rocking to and fro.
Surrounded by broken glass, torn papers and instruments.
Eliot enters the room. Coldly surveys the destruction.
ELIOT
(ANGRY)
Why did you do this?
Anna ignores him. Eliot strides over to her.
ELIOT
WHY DID YOU DO THIS?
Anna stares at him blankly.
ANNA
Is this the afterlife? Am I in heaven?
Or am I in hell?
Strangely Eliot's not surprised. He nods his head. His
anger gone now.
ANNA
The door...
(POINTS DISTRACTEDLY)
There was a door. Just there.
ELIOT
(GENTLY)
It won't be long now.
ANNA
I used to believe in God. I thought I'd
see him when I died. Instead I saw you.
Eliot softly strokes her hair. Comforting her.
50.
ANNA
(WHISPERS)
Maybe you are God.
ELIOT
You'll be at peace soon. I promise.
For a moment we see a deep sadness in Eliot's eyes. He's
conflicted. But then abruptly he pulls himself together.
Moves away and starts clearing up. Anna closes her eyes.
Hugs her legs closer to her chest.
ANNA
Paul.
She lets out a DESPONDENT SIGH. The SIGH carries into
the next scene...
EXT. CEMETERY - DAY
The tall trees stand motionless amongst the graves. A
sudden GUST OF WIND bends the dense foliage. Their
leaves ripple. Languid and fluid like a wave. RUSTLING
EERILY. The sound almost malevolent.
INT. PAUL'S APARTMENT. BEDROOM - DAY
Paul's red-rimmed eyes snap open. He lies on his bed
fully clothed. An empty bottle of bourbon on the bedside
table. Behind him the curtains stir.
The KITSCHY DOLL'S head begins to slowly nod. Turning
towards us. We hear the eerie rustling sound again.
Like a MURMURING WHISPER...
ANNA (O.S.)
(WHISPERS)
Paul.
Paul turns quickly. Sees the open window. It's only the
wind. He shivers. It suddenly got very cold. He gets
up and closes the window. The WHISPERING starts again.
This time from the bathroom.
Paul walks over to the bathroom door. As he touches the
door handle... the whispering STOPS. Paul hesitates.
The room's strangely silent. He slowly opens the door...
INT. PAUL'S APARTMENT. BATHROOM - CONTINUOUS
Nothing. The bathroom's empty. Paul looks around
nervously. He catches the reflection of his pallid face
in the mirror. Leans wearily against the washbasin.
51.
Water DRIPS from a leaky pipe. The fluorescent bulb over
the mirror CRACKLES softly. Paul turns on the taps.
Splashes cold water on his face. He's about to reach for
a towel when he senses something. He cocks his head
slightly. A feeling.
He turns and checks out the bathroom. Nothing. Paul
dries his face. As he replaces the towel... the sound of
dripping water ABRUPTLY STOPS. Silence.
Suddenly the SHOWER STARTS RUNNING.
Paul's paralyzed with fear. Steam wreathes the room in a
cloud of vapor. He turns slowly towards the shower.
PAUL'S POV
Anna stands in front of the shower with her back to him.
She slips off her bathrobe and hangs it on a hook. Then
her hand moves to her chest. There's a STRANGE WET
SUCKING sound...
...as Anna rips out her heart and hangs it casually on
the hook next to her bathrobe.
ON THE STILL BEATING HEART
dripping crimson blood onto the bone white tiles.
BATHROOM
PAUL
(WHISPERS)
Anna.
Anna turns slowly. Her skin's like alabaster. Unnaturally
translucent. A bloody gash where her heart used to be.
The steam from the shower curls around her like a mist.
She looks hauntingly beautiful. Mesmerizing. A line of
thick black fluid trickles from her nose. Paul turns
away. Horrified. When he turns back a second later
Anna's not there. The bathroom's empty. The shower's
not even running.
INT. JACK'S HOUSE. KITCHEN - EVENING
Jack opens the fridge. It's almost empty. He takes out
a carton of milk. Sniffs it. Recoils from the smell.
From the living room we hear the LOUD sound of a TV.
JACK
(SHOUTS)
Mom! We're out of milk.
There's no reply. Jack grabs his jacket.
52.
INT. FUNERAL HOME. PREP ROOM - EVENING
Anna's still sitting on the floor. The place is clean
and ordered again. She watches Eliot unzip a garment
bag. He lifts out a plain black dress.
ANNA
What's that?
ELIOT
It's your dress. For your funeral. Your
mother brought it round this morning.
As Eliot takes out a pair of shiny black shoes from a
plastic bag, Anna moves haltingly over to the dress. She
touches the material puzzled.
ANNA
This isn't my dress.
(realizes with shock)
This is my mother's dress! It was
supposed to be for her funeral. Why has
she given it to me?
Eliot starts folding the plastic bag. He notices
something else inside. He opens the bag. Hesitates then
takes something out.
ON ELIOT'S HAND
An old-fashioned wooden rosary.
PREP ROOM
Eliot looks at it for a moment. Then glances over at
Anna. She's still staring at the dress. He opens a
drawer beneath the counter. It's full of rosaries and
printed Holy cards. He quickly drops the rosary into the
drawer. Closes it. Then turns back to Anna.
ANNA
It should have been her not me.
(turns to Eliot)
She was the one dying. Not me.
Eliot unlocks the door. Jams it open with a door stop.
Slips his keys back into his jacket pocket. Takes off
his jacket and hangs it up. He moves over to a
collapsible gurney folded on the floor. Bends down and
snaps open the side-rails. Anna looks at the open door.
ANNA
I'm not ready to die.
Eliot looks up at Anna sadly.
53.
ELIOT
Why are you still struggling?
ANNA
(PLAINTIVELY)
I'm not ready to die. Not yet.
She glances at the open door again. Eliot follows her look.
ELIOT
There's nothing out there for you
anymore.
As Eliot turns back to the gurney, Anna notices Eliot's
jacket hanging beside her. Realizes the KEYS are in the
pocket. She quickly glances back at Eliot. He's still
busy adjusting the gurney. She leans over to his jacket.
ON ELIOT
as he gets up and turns to Anna.
PREP ROOM
Anna looks at him calmly. We can't tell if she managed to
get his keys or not. Eliot pulls on his jacket and wheels
the gurney through the door. He steps back into the room.
Nudges the door stop away with his foot.
ELIOT
I'll be back soon.
The door locks behind him with a CLICK.
EXT. FUNERAL HOME. DRIVEWAY - MOMENTS LATER
Eliot pushes the gurney to a WHITE VAN with black tinted
windows (Note: The same kind of van that cut in front of
Anna just before the accident).
INT. FUNERAL HOME. PREP ROOM - SAME TIME
Anna listens anxiously to the CRUNCH of Eliot's feet on
the gravel outside. After a moment she hears the van
drive away. She unfurls her fist revealing Eliot's keys.
INT/EXT. ELIOT'S VAN. STREETS - MOMENTS LATER
As Eliot slides in a CD he notices the fuel gauge. He's
low on gas. He glances into his rear-view mirror and
makes a left turn.
54.
INT. FUNERAL HOME. PREP ROOM - SAME TIME
Anna staggers to the door. There's at least a dozen keys.
She frantically chooses one and shoves it into the lock.
ANNA
(begging the door to open)
Please.
It doesn't fit. She's panicking. She fumbles for
another key. It almost fits. She forces it. The key
SNAPS OFF LOUDLY in the lock.
ANNA
No!
Anna looks around desperately. Sees a tray of instruments
on the steel trolley. She scrambles over. Finds a pair of
surgical pliers. She moves back to the door.
EXT. GAS STATION - LATER
Eliot replaces the pump nozzle. Walks over to the cashier.
CASHIER
Thirty-four fifty.
In the b.g. Jack, a carton of milk in his hand, steps out
of the gas station. Eliot doesn't notice him as he pulls
out a roll of notes. Hands over two twenties. Then he
frowns. Something's wrong. He checks his pockets again.
He can't find his keys. He walks quickly away.
CASHIER
Sir. Your change.
Eliot ignores him. Scrambles into his van. Intrigued,
Jack watches Eliot drive away. Then unlocks his bicycle.
INT. FUNERAL HOME. PREP ROOM - SAME TIME
Anna's still trying to pry out the broken key.
ANNA
(DESPERATELY)
Come on. Come on.
INT/EXT. ELIOT'S VAN. STREETS - SAME TIME
Eliot's at a red light. Drumming his fingers in
frustration as he waits for the light to change.
55.
INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER
Finally Anna pulls out the broken key. Quickly chooses
another. Turns it gently. Again it doesn't fit. Anna's
hysterical now. She tries the next key. It fits! She's
stunned for a second. Then pulls open the door.
INT/EXT. ELIOT'S VAN. STREETS - SAME TIME
Eliot turns sharply into a small road by the cemetery.
INT. FUNERAL HOME. ENTRANCE HALL - NIGHT
Anna staggers to the front door. She pulls at the door.
It won't open. Frantically she finds the key. Unlocks the
door, leaving the keys in the lock. As she opens the door,
HEADLIGHTS sweep across the hallway.
ANNA'S POV
Eliot's van pulls up in front of the house.
ENTRANCE HALL
Anna's trapped. We hear the CRUNCH of Eliot's footsteps
on the gravel outside. Anna looks round desperately.
EXT. FUNERAL HOME. DRIVEWAY - NIGHT
Eliot reaches the front door. It's slightly ajar. He
pushes it open. Steps warily inside.
INT. FUNERAL HOME. ENTRANCE HALL - CONTINUOUS
Eliot looks around. The entrance hall's empty. Then he
notices the keys in the lock.
INT. FUNERAL HOME. KITCHEN - MOMENTS LATER
It's dark. Anna pulls at the back door. It won't budge.
She panics. Sees a kitchen knife on the counter.
Quickly grabs it. As she steps back, she knocks over a
metal bucket. The sound's DEAFENING in the silent house.
INT. FUNERAL HOME. ENTRANCE HALL - CONTINUOUS
Eliot hears the NOISE. Smiles. He calmly locks the door
and puts the keys into his pocket. Moves down the
hallway towards the kitchen.
56.
INT. FUNERAL HOME. KITCHEN - MOMENTS LATER
Eliot switches on the light. The kitchen's empty. He
steps back into the hallway.
INT. FUNERAL HOME. HALLWAY - CONTINUOUS
He stands very still. Watching. Waiting. We pull back.
JUST AROUND THE CORNER
Anna pushes herself against the wall clutching the knife.
HALLWAY
Eliot turns towards her... then at the last moment
changes his mind. Heads in the opposite direction
towards the viewing room.
INT. FUNERAL HOME. VIEWING ROOM - MOMENTS LATER
Eliot steps carefully into the viewing room. Looks
around. Just then we hear the sound of bare feet
STAMPING along the hallway behind him.
INT. FUNERAL HOME. ENTRANCE HALL - SAME TIME
Anna runs to the front door. It's locked. She glances
around anxiously. Sees a staircase leading upstairs.
She weakly stumbles up the stairs.
INT. FUNERAL HOME. UPSTAIRS CORRIDOR - MOMENTS LATER
Anna walks along the corridor. She peers into a room.
Notices a TELEPHONE on a table. She moves over to the
telephone. The door CREAKS closed behind her.
INT. FUNERAL HOME. ENTRANCE HALL - SAME TIME
Eliot hears the CREAKING DOOR upstairs. He cocks his
head upwards. Straining to listen.
INT. FUNERAL HOME. UPSTAIRS ROOM - MOMENTS LATER
Anna frantically punches the buttons on the phone.
INT. PAUL'S APARTMENT. KITCHEN - SAME TIME
A telephone RINGS in the empty kitchen.
57.
INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME
Anna rocks back and forth as she anxiously listens to the
RINGING on the other end.
ANNA
(DESPERATELY)
Please pick up. Please pick up.
INT. FUNERAL HOME. STAIRS - SAME TIME
Eliot slowly climbs the stairs.
INT. PAUL'S APARTMENT. KITCHEN - SAME TIME
The phone continues to RING. We pull back. Paul stares
at the phone blankly. A drink in his hand. He looks
worse than before. Dark circles under his eyes.
INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME
Anna glances back to the door in panic.
ANNA
Paul. Please pick up.
INT. PAUL'S APARTMENT. KITCHEN - SAME TIME
Finally Paul reaches across and picks up the phone.
INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME
Anna cups her hand around the mouthpiece.
ANNA
(FRENZIED WHISPER)
Paul. I'm here.
INT. PAUL'S APARTMENT. KITCHEN - SAME TIME
ANNA (O.S.)
(FILTERED)
Help me Paul.
Anna's HOARSE DISTORTED VOICE sounds almost malevolent.
Paul's stunned. He stares at the phone as if it was
possessed. Then slowly puts it down.
PAUL
Leave me alone.
58.
INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME
Anna looks at the phone in disbelief. The MONOTONOUS
TONE DRONES in the ear piece. She doesn't notice Eliot
appear in the doorway.
ANNA
Paul.
Suddenly the light comes on.
ELIOT
I'm the only one who can hear you now.
Anna drops the phone. Backs away towards a window. Eliot
walks over and calmly replaces the phone.
ELIOT
I'd be very careful if I were you. The
dead have such a hold over the living.
ANNA
What do you mean?
ELIOT
(nods to the phone)
He still feels your presence. You're
only causing him more pain. If you
really loved him, you'd accept your death
and let him go.
ANNA
Then prove to me I'm really dead.
ELIOT
You people. You always need proof.
Eliot places his hands on her shoulders. Turns her
towards a tall mirror.
ON MIRROR
A PALE CADAVEROUS WOMAN. Sunken eyes. A blood-stained
tear in the side of her RED SLIP.
UPSTAIRS ROOM
Anna's stunned. She moves closer to the mirror. Touches
her reflection through a thin layer of dust.
ANNA
Why do I look like a corpse?
ELIOT
Because you are a corpse.
59.
ON MIRROR
Anna stares blankly at her image in the mirror.
ELIOT (O.C.)
It's time you finally accepted the truth.
You are dead. You will never live again.
ANNA
I am dead.
UPSTAIRS ROOM
Eliot smiles. Like a father proud of his child's first
step. Just then he notices something outside. We see a
brief flicker of unease in Eliot's eyes.
ELIOT'S POV
Jack stands in the driveway holding his bicycle. Looking
up at the Funeral Home. Transfixed.
EXT. FUNERAL HOME. DRIVEWAY
JACK'S POV
Anna in her RED SLIP by the mirror. She looks frightening
in the harsh light. Deathly pale. Like a ghost.
DRIVEWAY
Strangely Jack isn't scared. He continues staring up at
the window. Calmly. Curiously.
INT. FUNERAL HOME. UPSTAIRS ROOM - SAME TIME
Eliot coolly turns back to Anna. She hasn't noticed
Jack. Still staring at her reflection in the mirror.
INT. PAUL'S APARTMENT. KITCHEN - MOMENTS LATER
Paul stares at the telephone. After a moment he slowly
pulls the telephone plug out of the wall. Mechanically
grabs a plastic bin liner from underneath the sink.
INT. PAUL'S APARTMENT. BEDROOM - MOMENTS LATER
Paul opens the wardrobe. Pulls out Anna's clothes. Stuffs
them into the bin liner. He notices the Kitschy Doll.
Shoves it in with Anna's clothes.
60.
INT. FUNERAL HOME. PREP ROOM - DAY
Anna lies on the slab. She stares at us blankly. Her
face emotionless. Resigned. Eliot rinses her hair now
dyed back to brown. She slowly closes her eyes.
CLOSE ON RED DYE draining into the sink.
Eliot picks up the scissors. Carefully slices open
Anna's red slip. Delicately peels the slip off her body.
Anna doesn't react.
CLOSE ON Anna. She opens her eyes. Confused. She turns
her head... she's in PAUL'S BEDROOM.
INT. PAUL'S APARTMENT. BEDROOM - CONTINUOUS
Paul lies in bed next to her watching her intently. He
looks different. Clean shaven. Sober.
ANNA
(RELIEVED)
Oh God.
PAUL
Bad dream?
ANNA
I was dead. I had a car accident. Did
you ever dream you were dead?
Paul doesn't reply. She turns... the bed's empty.
ANNA
Paul?
PAUL (O.C.)
Yes?
Anna looks up. Paul's in the doorway. She gets up.
Suddenly the light goes off.
ANNA
Paul.
The light comes back on. Paul stands by the light switch.
ANNA
What are you doing?
PAUL
(puts his finger to his lips)
Ssh. Don't talk so loud. You'll wake
the neighbors.
61.
Anna's getting nervous. Something's not right.
ANNA
What neighbors? You don't have any
neighbors.
Suddenly he looks at her reproachfully.
PAUL
Did you ever love me Anna?
CLOSE ON Anna's face. She looks away guiltily.
PAUL (O.C.)
Did you?
Anna closes her eyes. Unable to answer.
PAUL (O.C.)
Say it. Say you love me.
Suddenly we hear the strident ringing of a phone.
ANNA
Aren't you going to pick it up?
PAUL (O.C.)
Me? No. It's probably for Eliot.
Anna's eyes snap open in shock...
INT. FUNERAL HOME. PREP ROOM - CONTINUOUS
Eliot stands over her. We're back in the PREP ROOM. We
hear the faint ringing of a phone from upstairs.
ANNA
Is it always like this?
ELIOT
What do you mean?
ANNA
I thought when you died you wouldn't
feel anything. You wouldn't feel any
more pain. You wouldn't have to
struggle anymore.
(BEAT)
But it just doesn't stop does it?
Upstairs the phone keeps on ringing.
62.
INT. FUNERAL HOME. ELIOT'S OFFICE - MOMENTS LATER
Eliot takes notes as he talks on the phone. He looks at
a day calendar on his desk. Idly flips over the page
from Tuesday to Wednesday.
ELIOT
No. It's no problem at all.
He glances at his watch.
ELIOT
I'll pick up the deceased from the
hospital. Yes. This afternoon? That'll
be fine. It's my pleasure Mr. Merano.
INT. HOSPITAL MORGUE - DAY
GRAY BODIES lie on steel tables. Eliot moves over to one
of the CORPSES. Examines it with professional interest.
Just then the Old Guy walks in with the Pale Assistant
pushing a gurney with a BODY wrapped in plastic sheeting.
OLD GUY
Well here he is. Frank Merano.
The Old Guy hands Eliot a clipboard. The Assistant
unties the rope. Pulls the plastic sheeting away.
ON BODY
FRANK (40s), the top half of his head has been flattened.
His head split open. Grotesquely distorting his face.
ASSISTANT (O.C.)
Ouch. That had to hurt.
MORGUE
Eliot glances at the Assistant with disdain. Signs the
release form and hands the clipboard back to the Old Guy.
INT. ELEMENTARY SCHOOL. TEACHERS' COMMON ROOM - DAY
Paul stands by a PRINCIPAL as they watch a JANITOR snap
off the padlock on Anna's locker.
PRINCIPAL
(TO PAUL)
I'll leave you to sort out her things.
PAUL
Thank you.
63.
The Principal and Janitor walk away. Paul reaches inside
the locker. Pulls out a stack of exercise books. An
empty pills bottle. Then he notices something in the
back of the locker. He pulls it out.
It's a PHOTOGRAPH of Paul and Anna together on vacation.
Smiling. Happy. Paul looks at it for a moment. Trying
hard to hold back his emotions.
INT. ELEMENTARY SCHOOL. CORRIDOR - LATER
The DEAFENING NOISE of schoolchildren. Paul weaves his
way through the crowded corridor.
JACK (O.C.)
Mr. Conran?
PAUL
(TURNS)
Yes?
JACK
My name's Jack. Miss Bryant was my
teacher.
(BEAT)
I saw her last night.
Paul looks at Jack coldly for a second. Then walks away.
Jack follows him.
JACK
I was going past the funeral home. Miss
Bryant stood there. In the window. In a
red dress.
PAUL
(IRRITATED)
Anna doesn't have a red dress.
JACK
You think I'm lying. I'm not lying.
Paul stops. Turns to Jack angrily.
PAUL
Look...
(trying to remember his name)
Jack. I'm in no mood--
JACK
She needs your help.
PAUL
(SHOUTS)
Jack. Anna's dead.
Paul's words ECHO loudly. The bustling corridor goes silent.
64.
PAUL
(almost to himself)
I can't help her anymore.
Paul turns and walks away. Jack grabs his arm.
JACK
Maybe you just don't love her anymore?
Paul turns and hits Jack with the back of his hand. Jack
falls to the ground. Paul stands over him enraged.
PAUL
You little fuck. You think this is funny?
He's about to hit Jack again when a STOCKY TEACHER grabs
him. Paul tries to struggle loose.
STOCKY TEACHER
Hey!
The CHILDREN stare at Paul. A SECURITY GUARD runs across
talking into a walkie-talkie. Another TEACHER bends down.
TEACHER
Are you alright sweetie?
Jack nods numbly. Looking up all the time at Paul. The
Security Guard grabs Paul's arm.
SECURITY GUARD
The police are on their way.
Paul watches Jack stand shakily. Realizes what he's
done. He reaches out to Jack.
PAUL
Jack... I'm sorry...
SECURITY GUARD
Step back sir.
INT. ELEMENTARY SCHOOL. SECURITY ROOM - DAY
Paul sits at a table. Staring blankly at a row of CCTV
monitors. The door opens. Tom walks in.
TOM
You're lucky.
PAUL
Am I?
TOM
They're not pressing charges.
65.
Paul doesn't look up. He's miles away.
TOM
What the hell's wrong with you?
(holds his fingers close together)
You're this close to fucking up your
career.
PAUL
(suddenly looks up)
You know what he told me? He told me
Anna's alive.
TOM
You didn't believe him did you?
PAUL
No. Of course not.
Tom's relieved. Paul turns back to the monitors. The
ghostly figure of a YOUNG FEMALE TEACHER drifts
hypnotically across the screen.
PAUL
It's just... I'm having these...
TOM
What?
PAUL
Nothing. Forget it.
INT. FUNERAL HOME. PREP ROOM - DAY
Eliot leans over Frank's body on the slab. Rolling a
ball of wax in his hands to warm it up. He gently moves
Frank's head to one side. In the b.g. Anna lies on her
slab watching Eliot work.
ANNA'S POV
Frank stares back at her with open dull eyes. His face
partially reconstructed with plaster of Paris.
PREP ROOM
Eliot smooths the wax over the plaster to give Frank's
face a more natural texture. Then picks up a piece of
wire with a fishhook-like barb at each end.
ANNA (O.C.)
What's that for?
Eliot looks up surprised. Anna stands beside him. He
leans down. Peels back Frank's upper lip.
66.
ELIOT
His mouth. To keep it closed.
Eliot imbeds one barb into the upper gum then pries back
Frank's lower lip. He attaches the other barb into the
lower gum, then twists the wires tightly together. He
picks up two plastic caps covered in small knobs.
ELIOT
Now his eyes.
He inserts the caps into Frank's eyes. Pulls his eyelids
over them. Glues the eyelids together.
ANNA
Is this how you'll prepare my body?
Eliot looks at her for a moment. Smiles reassuringly.
ELIOT
No. There's no need. I had to rebuild
his face. You're still beautiful.
ANNA
Does he have family?
ELIOT
Yes. A brother. He's coming in later.
Anna touches the white sheet covering Frank's body.
ANNA
My mother... She didn't cry did she?
When she came to see me?
ELIOT
(shakes his head)
I'm sorry.
ANNA
And Paul?
ELIOT
It's not important anymore.
ANNA
I need to know.
ELIOT
(HESITATES)
No. He didn't cry.
We see a brief flicker of pain in Anna's eyes.
67.
ANNA
I knew he wouldn't. He always got
upset when I cried. He said crying
never helped.
Anna suddenly looks very weary. She leans heavily
against the slab. As if she's about to fall.
ELIOT
You should rest.
He guides her back to the slab. Helps her lie down.
ELIOT
You're getting weaker. It's almost time.
Eliot strokes her hair tenderly. She looks up at him.
ANNA
Can I ask you something?
ELIOT
Yes. Of course.
ANNA
Why do we die?
A long beat.
ELIOT
To make life important.
Anna's fingers curl around his hand. Like a vulnerable
child. Totally trusting in him. Eliot looks down at Anna
sadly. We sense he's conflicted. Confused. Wavering.
But then reluctantly he reaches for a SYRINGE filled with
AMBER LIQUID on the steel trolley. He injects her gently
in the neck. Watches over her for a moment. Then moves
to the window. He picks up a window pole. Pulls the
shutter across the window plunging the room into darkness.
INT. FUNERAL HOME - DAY
Eliot moves through the Funeral Home pulling heavy drapes
over the windows and closing doors. It feels like a
ritual. The once airy sunlit rooms are darker now. More
ominous. Claustrophobic.
INT. FUNERAL HOME. ELIOT'S ROOM - DAY
CLOSE ON a stream of crystal blue water. We pull back.
Eliot picks up a white towel. Dries his hands. Deep in
thought. He moves to his desk. Picks up a Polaroid.
68.
ON POLAROID
The Old Woman, Mrs. Whitehall, lying in her casket.
ELIOT (O.C.)
Mrs. Whitehall. Susan. I hope you found
what you were looking for.
ROOM
Suddenly Eliot looks up sharply. As if someone had spoken
to him.
ELIOT
Think nothing of it Mr. Houseman. No
need to apologize.
Eliot moves over to the wall.
ELIOT
I really enjoyed our time together.
We pull back slowly. Eliot's talking to a POLAROID of an
OLD MAN. We pull back further... the wall's covered in
HUNDREDS OF POLAROIDS of BODIES in open coffins.
Most of them have closed eyes but we glimpse some with
their eyes wide open. Eerily staring at us. Eliot
touches the Polaroid of a YOUNG MAN. We see the fear in
the Young Man's eyes.
ELIOT (O.C.)
Anthony. Anthony. Always confused.
Just then we hear the doorbell ringing downstairs. Eliot
moves to the window.
ELIOT'S POV
A POLICE OFFICER stands at the front door. A SQUAD CAR
parked on the driveway.
ELIOT'S ROOM
Eliot steps back. Calmly continues to dry his hands.
INT. FUNERAL HOME. HALLWAY - DAY
Eliot leads the Police Officer through the hallway.
ELIOT
How can I help you Officer?
OFFICER
I'd like to see the body.
69.
Eliot stops. We see a brief flicker of unease in his eyes.
OFFICER
Frank Merano. I'm his brother. Vincent
Merano? I called this morning.
ELIOT
Mr. Merano. Yes. Of course.
VINCENT (OFFICER)
I hope it's no trouble. I'd just like to
see him before the funeral.
Eliot glances at his watch. Smiles at Vincent.
ELIOT
It's no trouble at all.
INT. FUNERAL HOME. PREP ROOM - MOMENTS LATER
Eliot leads Vincent to Frank's covered body. Vincent
looks over at Anna. The white sheet only comes to her
shoulders, her head facing straight upwards.
ELIOT
Your brother's here.
Vincent turns back to Eliot. We're not sure if Eliot was
speaking to Frank or to Vincent. Eliot pulls the sheet
away. Frank's face is flawless. No sign of any damage.
VINCENT
He looks so peaceful. You've done a
beautiful job. Thank-you.
ELIOT
You should remember him as he used to be.
Suddenly we hear a FAINT RUSTLING sound. Vincent glances
again at Anna's body. Her head is now turned to one side.
Wasn't she facing upwards a moment ago? Vincent's puzzled
for a second then shrugs. Must have been his imagination.
VINCENT
That's the schoolteacher isn't it?
Eliot pulls the sheet over Anna's face.
ELIOT
(QUICKLY)
Yes. Very tragic. Now is there anything
else I can help you with?
Vincent frowns. Turns back to Eliot.
70.
VINCENT
Something's not right here.
ELIOT
(looks up sharply)
Not right?
Vincent nods towards Frank's body.
VINCENT
His smile. It was a bit more...
Vincent raises his fingers to his mouth, trying to find
the right word.
VINCENT
...smiley.
ELIOT
Smiley.
ON FRANK'S MOUTH
Eliot manipulates Frank's lips.
VINCENT (O.C.)
A touch more.
PREP ROOM
VINCENT
That's much better. Thank-you.
ELIOT
I'm glad I could help.
VINCENT
Do you mind if I have a couple of minutes
alone with him?
Eliot hesitates. Then smiles.
ELIOT
No. Not at all. I'll wait outside.
As Eliot leaves, Vincent looks at Frank's body. After a
moment he glances at Anna again. Then at the door. He
quickly moves over to Anna. Looks at her curiously then
pulls down the sheet. He reaches over... and CARESSES
HER BREAST. Mesmerized by her naked body.
As Vincent's hand moves down her body, he bumps against
the trolley. Instruments CRASH to the floor. He pulls
back the sheet just as Eliot enters the room.
VINCENT
I'm sorry. I didn't see...
71.
Eliot notices the sheet covering Anna's body is slightly
askew. He reaches over and straightens it. Then looks
coldly at Vincent. There's an uncomfortable silence.
VINCENT
Well. I guess I should be off then. I'll
see you at the service. Thanks again.
Vincent glances one last time at Anna then leaves. The
door locking shut behind him. Eliot stares at the door.
ELIOT
I just told you. That was your brother.
(turns to Frank)
You had an accident. You're dead. Why
do you people never listen to me?
Frank doesn't move. His mouth still wired shut.
ELIOT
No. It's not a gift. It's a curse.
Eliot picks up a compact. Roughly layers Frank's cheeks
with thick rouge. With every word he gets more agitated.
ELIOT
I take care of each of you as if you were
my children. I wash the shit from your
bodies. I dress you. I do everything to
make you look more beautiful than when
you were alive. And what do you do?
Eliot's extremely irritated now. He grabs a garish red
lipstick. Smears Frank's lips.
ELIOT
You argue with me. As if it were my fault
you're dead. As if I was to blame.
(slams down the lipstick.)
What? You're not talking to me now? You
don't want to?
ON FRANK'S FACE
The crudely drawn bright red lips. Clown-like circles of
rouge. Gaudy and macabre.
ELIOT (O.S.)
You don't talk because you have nothing
to say. And you have nothing to say
because you're a corpse.
PREP ROOM
From Eliot's reaction it seems as if Frank has started to
talk again.
72.
ELIOT
No. Now I don't want to talk to you
anymore.
INT. JACK'S HOUSE. LIVING ROOM - DAY
The curtains are drawn. Jack's Mother, still motionless,
in front of the blaring TV. Jack stops in the doorway.
JACK
I'm off to school now.
His mother doesn't reply. Jack leaves. After a moment
she slowly turns her head. Stares at the empty doorway.
EXT. CEMETERY - LATER
Jack cycles through the cemetery. He pulls up by a bush.
Stares at the Funeral Home in the distance.
INT. FUNERAL HOME. VIEWING ROOM - MOMENTS LATER
The service hasn't started yet. Jack walks nervously
through the empty room to an open casket. He glances
back, then leans over the coffin.
JACK'S POV
Frank Merano lies nestled in the velvet interior. His
face placid. No sign of the gaudy make-up.
VIEWING ROOM
Jack stares in fascination at Frank's body. He reaches
into the casket. Touches Frank's cold hand.
In the b.g. Eliot walks into the viewing room. He stops
surprised. Watches Jack intently.
ON JACK
JACK
(TO FRANK)
What's it like? Are you afraid?
ELIOT (O.C.)
Jack.
VIEWING ROOM
Jack turns quickly. Eliot stands over him.
73.
ELIOT
You have empathy with the dead. You're
drawn to them. Just as they're drawn to
you. It's a rare gift.
Jack can't look Eliot in the eye.
ELIOT
I know you saw Anna.
Jack hesitates. Then nods his head.
ELIOT
You're frightened by it. I was scared
too the first time. But you shouldn't
be. Christ had the same gift. He raised
Lazarus and spoke to the dead.
JACK
(INTRIGUED)
You spoke to Miss Bryant?
ELIOT
Yes.
JACK
You've spoken to others?
ELIOT
Yes. Many others.
JACK
Who was the first one you spoke to?
A long beat.
ELIOT
My mother.
Jack looks up sharply. Eliot's words have clearly struck a
chord.
ELIOT
You shouldn't be afraid.
(BEAT)
The others. They won't understand. They
don't see what we see.
(BEAT)
I can help you. I can teach you.
INT. FUNERAL HOME. PREP ROOM - DAY
Anna stares vacantly at the ceiling. Eliot places a bunch
of tulips on the trolley. Turns on a CD. CLASSICAL MUSIC
fills the room as before. He moves over to Anna. Gently
Pulls away the sheet.
74.
ANNA
Your fingernails are dirty.
Eliot smiles. Examines his nails.
ANNA
Your hands are normally so clean.
ELIOT
I've been gardening.
He walks over to the sink. Scrubs his nails.
ANNA
Is it sunny outside?
Eliot fills a bowl with water. Carries it to the slab.
ELIOT
Yes. The tulips love the sun.
ANNA
I miss the sun.
Anna glances up at the shuttered window. Eliot snaps on
his latex gloves. Picks up a sponge and wets it in the
bowl of water. Anna turns to the tulips.
ANNA
Are they your favorite flower?
ELIOT
Tulips? Yes. I think so.
Eliot raises Anna's arm. Delicately washes her armpit.
Along the length of her arm. Her skin pale.
ANNA
I thought it'd be lilies. White lilies.
Don't they symbolize death?
ELIOT
No. They symbolize purity.
He moves to her breasts, following the contours of her
body. Pausing every now and then to rinse the sponge.
ANNA
And tulips?
Eliot hesitates for a second before replying.
ELIOT
Unrequited love.
(BEAT)
What's your favorite flower?
75.
ANNA
Violets.
Eliot softly washes her legs.
ELIOT
A beautiful flower. They need shade and
lots of water.
ANNA
What do they symbolize?
ELIOT
Faithfulness.
ANNA
(DISTRACTEDLY)
Do they?
Eliot puts down the sponge. Dries her body with a towel.
ANNA
Roses are red, violets are blue...
He reaches over to the CD player to switch it off.
ANNA
No. Leave it on. It's so peaceful.
Eliot smiles. Leaves the music on.
INT/EXT. PAUL'S CAR. STREETS - DAY
Paul drives aimlessly past strip malls. He stops at a
red light. Lights a cigarette. Just then he notices
something across the street. He looks puzzled.
EXT. STREET/STORE WINDOW - CONTINUOUS
Paul gets out of his car. Quickly walks over to the
store window.
ON STORE WINDOW
A RED-SLIP on a mannequin. Just like ANNA'S RED SLIP.
STREET
The light's turned green. The DRIVERS HONK angrily.
Paul doesn't hear them. He places his hand against the
plate glass. Stunned.
76.
EXT. FUNERAL HOME. DRIVEWAY - DAY
Eliot prunes a low hedge by the front door.
PAUL (O.C.)
Deane.
Eliot turns. Paul's clearly agitated.
ELIOT
Mr. Conran. A pleasure.
Eliot stands stiffly. Rubs his back.
ELIOT
I love gardening, but I'm not sure
gardening loves me anymore.
PAUL
She's not dead is she?
ELIOT
(AMUSED)
Mr. Conran.
PAUL
Someone saw her.
ELIOT
I'm sorry?
PAUL
One of Anna's students.
(nods towards the funeral home)
In the window.
ELIOT
Do you mean Jack?
Paul's momentarily taken aback.
PAUL
You know him?
ELIOT
Of course I know him. He's often round
here. He seems to have a strange
fascination with death. He's eleven
years old Mr. Conran. And like all young
boys has a vivid imagination. Now if
you'll excuse me--
PAUL
I don't think he imagined it. I think he
really saw her.
77.
ELIOT
Maybe you just want to believe he saw her.
PAUL
Fuck you.
Paul pushes past Eliot and strides into the Funeral Home.
ELIOT
Mr. Conran!
INT. FUNERAL HOME. HALLWAY - MOMENTS LATER
Paul moves quickly through the hallway.
PAUL
(SHOUTS)
Anna!
Eliot calmly heads towards Paul.
ELIOT
Mr. Conran. I think you should leave
before I call the police.
Paul notices the stairs leading down to the Prep Room.
PAUL
What's down there?
INT. FUNERAL HOME. BASEMENT CORRIDOR - MOMENTS LATER
Paul runs over to the Prep Room door. He grabs the handle.
It's locked. Eliot appears behind him. Paul turns.
PAUL
She's in here isn't she? Give me the
key.
Eliot stares at Paul with pity.
PAUL
Give me the fucking key.
Paul turns back. POUNDS the door in rage.
INT. FUNERAL HOME. PREP ROOM - SAME TIME
The POUNDING echoes through the room. Anna awkwardly
sits up. Struggling with her emotions. She wants to
call out but knows she has to let Paul go.
PAUL (O.S.)
Anna!
78.
Anna gets up. Hesitates. Weakly stumbles to the door.
INT. FUNERAL HOME. BASEMENT CORRIDOR - SAME TIME
PAUL
I'm here Anna.
(DESPERATE)
I'm sorry. Please Anna.
He places the palm of his hand against the door.
INT. FUNERAL HOME. PREP ROOM - SAME TIME
Anna places her palm against the door. As if touching
Paul's hand. A tear falls down her cheek.
PAUL (O.S.)
We'll be happy again. I promise.
INT. FUNERAL HOME. BASEMENT CORRIDOR - SAME TIME
PAUL
I can't live without you.
Eliot looks up at Paul with sudden interest.
INT. FUNERAL HOME. PREP ROOM - SAME TIME
Anna shakes her head. Takes her hand away from the door.
Walks back to her slab.
INT. FUNERAL HOME. BASEMENT CORRIDOR - SAME TIME
PAUL
Anna!
Eliot gently puts his hand on Paul's shoulder.
ELIOT
Mr. Conran. She's dead.
Paul pushes him away.
ELIOT
I know what you're going through.
Denial's a natural part of grieving...
INT. FUNERAL HOME. PREP ROOM - SAME TIME
Anna lies down on the slab. Closes her eyes. ELIOT'S
VOICE seems far away now. Receding.
79.
ELIOT (O.S.)
...but you've got to accept she's gone.
INT. FUNERAL HOME. BASEMENT CORRIDOR - CONTINUOUS
PAUL
She needs my help.
Eliot looks at him for a moment.
ELIOT
You can't help her anymore. Believe me.
INT. POLICE STATION - DAY
An open plan office. Paul weaves quickly through the
rows of desks. He seems unbalanced. Manic. DETECTIVES
cautiously watch Paul approach Tom sitting at his desk,
his head bent over paperwork.
PAUL
I need you to issue a search warrant.
Tom looks up. He's shocked by Paul's appearance.
PAUL
(LOUDLY)
I need a fucking search warrant. Now are
you going to help me or what?
JEFF (20s) a Young Detective at a nearby desk stands.
Tom nods to him. It's under control.
TOM
Paul. Sit down.
Paul hesitates for a second.
TOM
(FIRMLY)
Sit. Down.
Paul sits. Tom leans forward. He's not amused.
TOM
Just what the hell do you think you're
doing? I got a call from Eliot Deane.
Are you out of your fucking mind?
PAUL
Anna's not dead Tom. He won't let me see
her. He's keeping her there--
80.
TOM
Anna was in a car accident. Her car was
wrecked Paul. Remember? It's downstairs.
PAUL
She's not dead.
Tom calmly gets up. Moves to a filing cabinet. Takes
out a file. Hands it to Paul.
TOM
Here's the Coroner's report.
Paul manically rifles through the file.
PAUL
Look.
(shows file to Tom)
The paramedics phoned it in. They only
checked for eye dilation and pulse. The
doctor signed the death certificate
without even seeing her body.
TOM
(IRRITATED)
So? That's standard procedure.
PAUL
There was no EEG. Nothing. He could
have drugged her to make it look like she
was dead.
TOM
Drugged her? Are you serious?
Jeff looks up eagerly from his desk.
JEFF
There are drugs like that chief.
Hydronium Bromide. Total paralysis
within seconds. The heartbeat slows to
almost nothing.
Tom shoots Jeff a look.
PAUL
See? I'm telling you. She's not dead.
The boy at school. Jack. He saw her.
VINCENT (O.C.)
I saw her.
Paul turns hopefully. Finally someone believes him.
Vincent Merano stands by Jeff's desk.
VINCENT
She was on the slab. Dead.
81.
PAUL
No!
VINCENT
I've seen dead bodies. Believe me, she
was definitely dead.
PAUL
Tom. Just go down there and check the
place out.
TOM
On what grounds Paul? Do you have any
evidence?
PAUL
No. But--
TOM
Do you have anything?
Paul hesitates. We sense his uncertainty.
PAUL
I think she called me.
TOM
Called you?
PAUL
(WEAKLY)
On the telephone.
Jeff snickers. Paul's beginning to realize how absurd
this all sounds.
VINCENT
Collect or long distance?
Jeff snorts with laughter.
TOM
First you hit a fucking kid. Then you
attack Deane. And now you're telling me
your dead girlfriend called you? What the
fuck's going on? You're loosing it Paul.
Merano and Jeff shake their heads, looking at Paul as if
he were crazy. Tom's voice softens.
TOM
I know you feel guilty but you've got to
pull yourself together.
Paul slumps in the chair. Rubs his face.
82.
PAUL
Maybe you're right. But why won't he let
me see her?
Tom signals to Merano and Jeff. Merano walks back to his
desk. Jeff turns back to his work.
TOM
Look Paul. The funeral's tomorrow.
You'll see her then. It'll help. It
will give you closure. Trust me.
EXT. CEMETERY - LATE AFTERNOON
The sun's low on the horizon. Eliot whistles softly to
himself as he digs a grave. Working meticulously. Like
everything else he does. Suddenly a SHADOW falls over
Eliot. He calmly looks up. The sun's behind the figure.
For a moment Eliot can't tell who it is.
JACK
You said you could teach me.
Eliot smiles. Gestures to Jack to come inside the grave.
Jack steps back. The grave terrifies him.
ELIOT
It's only a hole in the ground. I'm
digging it for--
JACK
Miss Bryant.
ELIOT
Exactly. For Anna. She belongs here.
JACK
Because she's dead.
ELIOT
No. Because there's no life left in her.
Jack carefully considers Eliot's words.
ELIOT
Don't you see? I have no choice. I'm
the only one who can see all these
corpses. Wandering the earth
aimlessly. All they do is piss and
shit. Suffocating us with their
stench. Doing nothing with their
lives. Taking the air away from those
who actually want to live. I have to
bury them all. I have no choice.
(BEAT)
Now there's two of us.
83.
Eliot holds up the shovel. Jack looks at him for a
moment then reaches for the shovel.
INT. FUNERAL HOME. PREP ROOM - EVENING
Anna watches Eliot brush an invisible speck off her
mother's black dress.
ELIOT
You did well this morning.
ANNA
This morning?
She talks with difficulty now. Her voice SLURRED and
HOARSE. Her words muddled and rambling. Her eyes even
more sunken. Her skin even more pale.
ELIOT
When Paul came. You did the right thing.
You let him go.
ANNA
He'll be all right now? Won't he?
Eliot looks away. Doesn't reply. He drapes the dress
over his arm, picks up a pair of shiny black shoes and
moves over to her.
ANNA
(CONFUSED)
Why do I have to get dressed?
ELIOT
Tomorrow's your funeral.
Eliot lifts Anna's arms and puts them through the sleeves
of the dress. Her body's stiff and unyielding.
ANNA
Already?
ELIOT
I told you. You only had three days.
He delicately turns her onto her side. Buttons up the dress.
ELIOT
I told you to use your time well.
Anna frowns. As if trying to remember something. Eliot
gently lifts her legs. Pulls on a pair of black tights.
ANNA
I need to... I have so many regrets. I
have nothing but regrets.
84.
She looks up at him. Suddenly realizing.
ANNA
That's why I'm here isn't it? To be
judged.
Eliot picks up Anna's shoes. Slips them onto her stiff feet.
ELIOT
You're here to understand your life. So
you can finally be at peace.
ANNA
I wanted a different life.
Eliot picks up a nail-clipper. Gently holds Anna's hand
as he carefully cuts her long nails.
ELIOT
Then why didn't you do anything about it?
ANNA
No matter what I did everything just
stayed the same. I'd wake up. I'd
shower. Sit in the same traffic
everyday on my way to work. Go home.
Go to sleep. Then wake again.
Eliot stops clipping her nails. Irritated.
ELIOT
What did you really want from life?
ANNA
I just wanted to be happy.
ELIOT
(DERISIVELY)
Happy? You all say you wanted to be happy.
What does it mean Anna? To be happy?
ANNA
I don't know. Don't you understand?
That's the whole point. I don't know.
ELIOT
Yes you do! You're just too scared to
admit it to yourself.
Anna turns away ashamed. She knows he's right.
ANNA
I don't want to talk about it anymore. I
just want this to be over.
ELIOT
What did you want from life?
85.
ANNA
I don't fucking know!
ELIOT
WHAT DID YOU WANT ANNA?
ANNA
(SCREAMS BACK)
I WANTED LOVE! OK!
Anna's stunned. She's finally admitted it.
ANNA
(QUIETLY)
I wanted love.
ELIOT
You had love. Paul loved you.
ANNA
No. You don't understand. I was scared.
I wanted to love but I didn't know how.
I was...
(BEAT)
When I was a child... my mother.
Anna struggles to pull together her thoughts.
ANNA
When I was a child. I learnt that love.
That when you love someone. You get
hurt. So I learned not to love. That
way no one could ever hurt me again.
She looks down at the slab. Touches the cold marble.
ANNA
I was always pushing Paul away. He
thought I didn't love him.
ELIOT
Did you?
ANNA
He was the only one I ever loved. But I
never told him that. And then he stopped
loving me.
Eliot stares at her intently. Comes to a decision.
ELIOT
What would you do if you had another
chance?
Anna's puzzled. Eliot goes to the door and unlocks it.
Moonlight floods in from upstairs. Washing it with a cold
light. Anna doesn't move.
86.
ELIOT
Well? Isn't this what you wanted?
Eliot holds out his hand. Anna takes it hesitantly and
rises from the slab.
EXT. FUNERAL HOME - NIGHT
Mist drifts through the cemetery. Anna stands in the
driveway. Pale and ghoulish in her black funeral dress
and shiny black shoes. She starts walking.
EXT. MOTHER'S HOUSE - NIGHT
Anna approaches her mother's house. Paul opens the door.
He's not surprised to see her.
Beatrice stands just behind him. A black shawl over her
head and arms.
INT. MOTHER'S HOUSE. HALLWAY - NIGHT
In the candlelight we can see the house is full of OLD
WOMEN. Their faces deeply lined. Wearing identical
black shawls. They stare at Anna, whispering in
different rhythms. Unintelligible words undulating like
an ANCIENT PRAYER.
INT. MOTHER'S HOUSE. BEDROOM - NIGHT
Paul and Beatrice lead Anna to the bed. As she lies down
we realize the bed is full of BLACK SOIL. Clouds of ugly
flies hang in the air. BUZZING noisily.
The Old Women surround Anna in a tight circle. Leaning
over her. Making her feel claustrophobic. She can smell
their rotting breath as their prayers grow LOUDER.
Through the chaos of words we begin to make out...
OLD WOMEN
Spit it out.
Anna doesn't understand. Then she feels something in her
mouth. Growing. Gagging her. The Women are SCREAMING.
OLD WOMEN
Spit it out.
Anna spits out... white maggots. She gags again. Closes
her eyes. Shakes her head.
ANNA
No.
87.
INT. FUNERAL HOME. PREP ROOM - NIGHT
Anna's eyes snap open. She's still in the Prep Room.
She steps back from the doorway. Terrified.
ELIOT
I thought you were different. You all
say you're scared of death. But the
truth is you're more scared of life.
Eliot switches off the lights.
ANNA (O.C.)
I'm glad I'm dead. I'm glad it's over.
EXT. ROAD BY FUNERAL HOME - NIGHT
Paul sits in his car. Staring out at the Funeral Home as
he nervously smokes a cigarette. The light in Eliot's
room goes off. Paul waits for a moment. Then gets out
of his car. Stubs out his cigarette.
EXT. FUNERAL HOME - MOMENTS LATER
Paul treads carefully along the side of the Funeral Home.
It's a full moon. The trees rustle ominously in the
wind. Casting eerie shadows against the dark house.
He finds a window. Tries to open it. It won't budge.
Just then he hears a noise in the bushes. He crouches
down quickly. Listens hard. Nothing.
FROM THE BUSHES
Someone watches Paul tentatively move to another window.
FUNERAL HOME
Paul strains to open the window when suddenly... he's
caught in a circle of bright light. Paul turns quickly.
A DARK FIGURE stands over him. Menacing.
MAN'S VOICE
What the fuck are you doing here?
The Figure lowers the flashlight. It's Tom.
TOM
I'm taking you home.
EXT. JACK'S HOUSE. GARDEN - NIGHT
CLOSE ON black earth. A trowel digs into the soil.
88.
We pull back. Jack's just finished digging a hole in the
flower bed. A shoebox beside him. He takes off the lid.
The Chick trembles in the corner of the box. Jack slowly
replaces the lid. Puts the box into the grave. He
pushes the earth over it. The box jerks. We hear the
faint RUSTLING of the Chick inside.
JACK
Don't be scared. It's better this way.
INT. FUNERAL HOME. ELIOT'S ROOM - DAWN
Eliot lies on his bed. Dressed in a dark suit. He hasn't
slept at all. His eyes rimmed red. He checks the clock on
the bedside table. It's 4.30am. He glances to the
window. Dawn light seeps into the room.
EXT. FUNERAL HOME - DAWN
Eliot walks through the garden. A pair of small secaters
in his hand. He stops by a bed of violets. Still
covered in morning dew. He kneels and starts cutting the
delicate flowers.
INT. FUNERAL HOME. PREP ROOM - DAWN
Anna lies on the slab in her burial dress. Her eyes closed.
Eliot enters the room. He doesn't lock the door behind
him. Doesn't turn the lights on. Doesn't change into
his mortician smock.
He approaches the slab. The violets in his hand. Pulls
over a chair and sits next to Anna. Places the violets
on the steel trolley beside her.
He looks at her intently. For the first time he seems
uncertain. Vulnerable. As if questioning himself.
After a while he suddenly gets up and heads towards the
door. He's about to close the door behind him...
ANNA (O.C.)
I don't even know your name.
ON ANNA
Her eyes still closed.
ON ELIOT
Eliot pauses. Too confused to look back at her.
89.
ELIOT
It's...
(BEAT)
It's not important.
He closes the door.
INT. BEATRICE'S HOUSE. BEDROOM - DAY
CLOSE ON Beatrice's face. Her eyes closed.
A HAND delicately powders her forehead. As if she's
being prepared for her own funeral. We pull back.
Beatrice, dressed in black, sits in front of a mirror.
Diane applies her make-up. Beatrice opens her eyes.
INT. PAUL'S APARTMENT. BATHROOM - DAY
Paul, badly shaven, leans against the washbasin. Wearing
a crumpled black suit. Staring vacantly in the mirror.
INT. FUNERAL HOME. PREP ROOM - DAY
Anna lies in a casket as Eliot arranges her hair.
ELIOT
(GENTLY)
It's time now.
She looks up smiling. Eliot positions her hands,
entwining her fingers.
ELIOT
You have to look beautiful for your
funeral.
He picks up a SYRINGE and an ampoule of AMBER LIQUID.
Fills the syringe.
ON AMPOULE
We glimpse the label: HYDRONIUM BROMIDE.
ELIOT (O.C.)
This will relax your muscles. Make your
skin radiant. As if you were still
alive. Just sleeping.
PREP ROOM
ELIOT
This is how they'll all remember you.
90.
ANNA
Can I see myself for the last time?
Eliot smiles. Picks up a mirror. Hands it to Anna.
ON MIRROR
Anna looks peaceful. Beautiful. Serene.
ANNA
Is this the end?
ELIOT (O.C.)
The last part is the most difficult.
You'll have to face it alone. But you'll
be at peace soon.
Anna nods. SIGHS deeply... her BREATH FOGS the mirror.
She frowns. Touches the SMALL CIRCLE OF CONDENSATION on
the glass. Looks up at Eliot in shock.
PREP ROOM
Eliot glances anxiously at the fogged mirror, then at Anna.
ANNA
You lied to me.
ELIOT
Anna. We've been through this before.
You're just imagining--
ANNA
You lied to me.
Eliot injects her in the side of the neck. Anna tries to
raise her hand to push him away but she's too weak.
ELIOT (O.C.)
You're still clutching onto life. Don't
give in to your fears. You're so close.
Anna's fading away. Her hand drops limply to her side.
ANNA
(WHISPERS)
Why did you lie to me?
She stops struggling. Stares blankly at us.
Eliot looks at her for a moment. Sadly. Regretfully.
He picks up a Polaroid camera. The flash explodes in a
blinding white light. He pulls out the Polaroid. Peels
off the front and fans it in the air. Then...
91.
ON ANNA
...delicately closes Anna's eyelids.
ELIOT (O.C.)
Good bye Anna.
INT. FUNERAL HOME. VIEWING ROOM - LATE AFTERNOON
Anna's funeral is in progress. Eliot stands by her
casket. Surrounded by wreathes of tulips and lilies.
Beatrice, in her wheelchair, in the front row. Diane
beside her. A SCHOOLTEACHER sits behind them with Jack
and other CHILDREN.
FATHER GRAHAM (O.C.)
I am the resurrection and the life.
Those who believe in me, even though they
die, will live.
Tom and Paul appear at the door. Tom guides Paul to a
seat near the back.
FATHER GRAHAM (O.C.)
They that sleep in the earth will awake
and shout for joy; and the earth will
bring those long dead to birth again.
ON CASKET
Anna lies in an open casket. Her eyes closed. She can
hear the DISTORTED VOICE of the Priest.
FATHER GRAHAM (O.C.)
We have come here today to remember
before God our sister Anna. To give
thanks for her life.
ON ANNA'S FACE
We see an almost imperceptible frown.
VIEWING ROOM
Eliot gestures to Beatrice. Diane wheels her to the casket.
Beatrice looks at Anna for a moment, then touches the
violets in Anna's hands.
DIANE
Violets. They were her favorite flowers.
(turns to Eliot)
How did you know?
ELIOT
Violets just seemed appropriate somehow.
92.
Next we see Mrs. Hutton at the casket. Then Jack. He
stares at Anna's body before being moved on by the
Schoolteacher. Finally Paul and Tom approach the coffin.
PAUL'S POV
Anna looks serene.
VIEWING ROOM
Paul takes out the ring box from his pocket. Gently
slides the engagement ring onto Anna's stiff finger.
Suddenly he looks alarmed. Turns quickly to Tom.
TOM
(WHISPERS)
What is it?
PAUL
She's so cold.
Paul turns back to Anna. Tears prick his eyes. He
touches her cheek again. Finally accepting her death.
PAUL
I'm sorry Anna.
He kisses her lips. Eliot watches him carefully. It's
almost as if he's jealous. Jack notices Eliot's look
then turns and stares at Paul.
As Paul and Tom walk away Eliot closes the casket.
Begins to screw down the lid.
INT. INSIDE THE CASKET - SAME TIME
It's dark. We hear the screws TIGHTENING. Anna's eyes
FLICKER OPEN then close again.
INT. FUNERAL HOME. VIEWING ROOM - SAME TIME
Just then Paul turns back sharply. As if he sensed
Anna's reaction inside the casket. Tom gently stops him.
TOM
(shakes his head)
She's at peace now.
Paul glances at the casket again, then reluctantly allows
Tom to lead him away.
Eliot tightens the last screw. His back to the room.
Suddenly the screwdriver slips. Gashes his finger.
93.
ON COFFIN
A drop of blood falls onto the polished wood.
VIEWING ROOM
Eliot stares at the blood for a moment. Takes out a
pristine white handkerchief. Carefully wipes off the
blood. Then places his hand on the coffin.
ELIOT
(SOFTLY)
Don't be scared. It's better this way.
Eliot turns. Signals to the PALLBEARERS standing nearby.
EXT. CEMETERY. ANNA'S GRAVE - LATE AFTERNOON
The Pallbearers slowly lower Anna's casket into the open
grave. The casket lurches as it settles in the grave.
INT. INSIDE THE CASKET - SAME TIME
Anna's eyes SNAP OPEN in terror. She tries to scream out.
But only a SOFT RATTLING WHISPER escapes from her throat.
EXT. CEMETERY. ANNA'S GRAVE - SAME TIME
The TEACHER throws a handful of earth onto the coffin.
Jack steps up. Looks down curiously. As if he could
sense Anna. Then slowly pours the soil from his hand.
FATHER GRAHAM (O.C.)
We have but a short time to live. Like a
flower we blossom and then wither. In
the midst of life we are in death.
INT. INSIDE THE CASKET - SAME TIME
Blackness. Earth CLATTERS HEAVILY onto the wooden lid.
Anna GASPS softly. Hyperventilating. The earth keeps
falling. The sound becoming SOFTER with each shovelful.
She struggles. Bangs her fists against the wood.
EXT. CEMETERY. ANNA'S GRAVE - LATER
The grave's covered with a stone slab now. Votive candles
flicker on top. In the b.g. MOURNERS head to their cars.
Paul and Tom stand by the grave.
TOM
You sure you're going to be OK?
94.
PAUL
Yeah. Thanks Tom.
Tom squeezes Paul's shoulder then walks away.
INT. FUNERAL HOME. ELIOT'S ROOM - SAME TIME
Eliot carefully pins Anna's Polaroid to the wall.
ON POLAROIDS
We pan slowly across the other photographs we saw before.
But now we look at them differently. In some faces there
is the glimmer of life. In some a despairing pleading
look. In others passive resignation.
ELIOT'S ROOM
Eliot moves towards the window.
ELIOT'S POV
The dark cemetery. In the distance flickering candles
illuminate Anna's grave.
ELIOT (O.C.)
Imagine Anna. The whole world, your
mother, your fianc�e, your friends.
Everyone has buried you. They've placed
a stone above your body.
ELIOT'S ROOM
ELIOT
They've said their good byes and gone
back to their TV dinners and shopping
malls. Thinking that this is never going
to happen to them. Until it's their turn
to be buried. Think about it Anna...
Eliot glances at his watch.
ELIOT
...think about it while you still can.
EXT. FUNERAL HOME. DRIVEWAY - MOMENTS LATER
Paul unlocks his car. He's about to open the car door
when he feels someone watching him. He turns. Jack's
observing him carefully.
PAUL
You said she was alive.
95.
JACK
I never said she was alive. I just said
I saw her.
Paul simply nods his head. Too drained of emotion to react.
PAUL
You need a ride?
Jack shakes his head.
PAUL
OK. See you.
Paul opens the car door.
JACK
Mr. Conran?
(PAUL TURNS)
Don't forget to fasten your seat belt.
Paul nods. Gets in his car. Jack looks up at the
Funeral Home.
JACK'S POV
Eliot stands in the window smiling at him.
INT. MOTHER'S HOUSE. DINING ROOM - NIGHT
We're at Anna's wake. PEOPLE talk quietly in small groups.
Paul fills a glass with whiskey. Knocks it back in one.
PEOPLE stare disapprovingly. WHISPERING to each other.
ELIOT (O.C.)
Don't you think you've had enough to
drink?
Paul turns. Eliot stands beside him. Paul pours himself
another drink.
PAUL
Go to hell.
An ELDERLY COUPLE shake their heads and walk away.
ELIOT
(AMUSED)
Mr. Conran. We're at a wake. You should
show more respect.
PAUL
I know she wasn't dead.
96.
ELIOT
Wasn't she?
Eliot's suddenly tired of Paul's allegations.
ELIOT
Mr. Conran. You come to my Funeral
Home, making wild accusations. You have
no idea what happens when someone dies.
What happens to their body. What
happens to their soul.
(TAUNTING)
You think Anna was alive after the
accident? Maybe you're right.
Paul's stunned.
ELIOT
Maybe she's still alive. You obviously
don't believe a word I say. So why don't
you go and find out for yourself Mr. Conran.
Find out whether she's alive or dead.
Paul grabs Eliot by his lapels. Shoves him against the wall.
PAUL
(LOUDLY)
You twisted fuck.
The room's SILENT. Everyone turns towards Paul. Eliot
whispers in Paul's ear.
ELIOT
You don't have much time left.
Father Graham puts his hand on Paul's arm.
FATHER GRAHAM
Please. Paul. You're not well.
Paul pushes his hand away. Eliot shakes his head sadly.
Everyone looks at Paul with pity as he runs out.
EXT. MOTHER'S HOUSE - NIGHT
Paul sprints across the lawn to his car.
INT. PAUL'S CAR - NIGHT
Paul slips his key into the ignition. His hand's shaking.
EXT. MOTHER'S HOUSE - NIGHT
Eliot watches Paul's car ROAR OFF.
97.
INT. INSIDE THE CASKET - SAME TIME
We can't see a thing. But we can hear Anna's SHORT
SHALLOW GASPS. And the sound of her nails desperately
SCRATCHING at the coffin lid.
INT/EXT. PAUL'S CAR. ROAD - NIGHT
Paul drives fast. Accelerating then quickly braking as
he weaves through heavy traffic. He comes up behind a
slow Tractor-Trailer. Hits the HORN.
PAUL
Come on. Come on.
He swerves into the middle of the road. There's a blind
curve ahead... suddenly an SUV comes out of the corner.
A bright white light sweeps through his car. Paul's
momentarily blinded.
THE SCREEN FLASHES TO WHITE.
Paul opens his eyes. The ROAD'S EMPTY. No sign of any
traffic. He's confused. The road was busy a moment ago.
Just then flashing red and orange lights illuminate the
car. Paul looks in his rear-view mirror.
ON REARVIEW MIRROR
An AMBULANCE moves quickly towards him. Blasts past.
CAR
Paul looks through the front windshield. Nothing. He
frowns. Where did the ambulance go?
UP AHEAD
We see the Funeral Home. Bone white in the moonlight.
The cemetery next to it.
EXT. ROAD - NIGHT
Eliot's White Van sits by the side of the road.
EXT. CEMETERY. PARKING LOT - NIGHT
Paul's car slams to a halt. He jumps out. In the
distance the candles still burn on Anna's grave.
98.
EXT. CEMETERY. ANNA'S GRAVE - MOMENTS LATER
Paul grabs a shovel by the grave. Starts digging. Then
the shovel clunks against wood. He kneels down. Scrapes
away the earth from the coffin. Then pulls open the lid.
Anna's eyes are WIDE OPEN. Her fingernails torn and bloody.
Paul grabs her shoulders. Pulls her out of the grave. Her
body slumps limply like a rag doll.
PAUL
Anna. I'm here. Please God. Anna.
He desperately tries to revive her. But there's no life
left in her. He's about to give up when...
Anna's hand TWITCHES. Then after a moment she GASPS.
Her eyes slowly focus on Paul.
ANNA
Paul?
PAUL
Baby. Thank God.
Paul gently helps Anna to her feet. She looks round.
Dazed. Turns back to Paul.
ANNA
You came back for me.
PAUL
I came back for you. You're safe now.
ANNA
Promise?
PAUL
(SMILES)
Promise.
Just then Paul hears a rustling sound behind him. He
turns. Nothing. He cocks his head slightly. There's
something unnerving about the silence.
Suddenly a CROW rises noisily into the air. Paul starts.
Then watches, relieved, as the crow disappears into the
dark sky. He turns back to Anna... she's not there.
PAUL
Anna?
Paul looks round desperately. Runs between the stone
crosses and statues of grieving angels searching for her.
99.
PAUL
Anna!
Just then he glimpses SOMETHING MOVE among the trees.
Runs over. Nothing. The cemetery is empty. The trees
appear to SHIMMER for a moment. Paul shivers. Pulls his
jacket around him. He doesn't notice the candles on
Anna's grave behind him suddenly BLOW OUT.
INT/EXT. ELIOT'S VAN. ROAD - NIGHT
We hear the sound of a SIREN. The AMBULANCE blasts past.
Eliot slides a disc into the player. CLASSICAL MUSIC
fills the van. He strums the wheel. Enjoying the music.
EXT. CEMETERY. PARKING LOT - NIGHT
Paul frantically runs into the parking lot. Still
calling out for Anna.
PAUL
Anna!
Suddenly the interior light in his car comes on. Paul
looks at the car nervously.
He heads over to it. Apprehensive. Then... the car door
slowly CLICKS open.
Paul stops. Stares into the car. There's no one there.
INT. PAUL'S CAR - MOMENTS LATER
Through the windshield we see Paul approach the car.
He peers in nervously. Then cautiously gets in. As he
switches the interior light off, the camera moves slowly
around him revealing...
... ANNA sitting in the passenger seat.
ANNA
Are we going home?
Paul turns sharply. Stunned. Anna moves towards him.
ANNA
Or do you want to make love here?
PAUL
Where did you go?
Anna puts her fingers on Paul's lips. Clearly turned on.
We hear the sound of something being UNZIPPED.
100.
ANNA
(WHISPERS)
I've been waiting for you. I missed you
so much.
A line of BLOOD trickles from his nose. He touches his
lips. Looks blankly at the blood on his fingertips. A
drop of blood falls on Paul's white shirt. It unfurls
like a flower. Spreading out over the material.
ANNA
I love you. I always did.
Anna hungrily kisses him. He responds passionately.
Suddenly we hear a SHARP METALLIC SOUND.
PAUL
(ALARMED)
What was that?
Anna responds as if it was nothing strange.
ANNA
It's only the scissors...
We see the growing anxiety in Paul's eyes. Anna's just
interested in his lips.
PAUL
Scissors? What scissors?
ANNA
Scissors. For your clothes. Eliot just
put them on the table.
Paul pulls back. Terrified.
ANNA
You're safe now. We're finally together.
A strong bright light sweeps across Paul's face. Like
the headlights of the car on the blind curve earlier.
FADE TO SEARING WHITENESS.
Paul blinks as he gradually gets used to the harsh light.
Slowly the room comes into focus...
INT. FUNERAL HOME. PREP ROOM - NIGHT
Eliot stands over Paul holding a pair of BLOODY SCISSORS.
Paul looks down. His white shirt soaked with blood, the
material sliced open.
PAUL
Where am I?
101.
He talks with difficulty. His breath labored.
ELIOT
You're in a funeral home.
(BEAT)
You're dead.
PAUL
I'm not dead.
Jack appears at Eliot's side.
ELIOT
You had a car accident. You swerved off
the road. On the way to the cemetery.
Hit a tree.
PAUL
I saw Anna. You buried her alive.
ELIOT
I'm sorry Mr. Conran. You never made it
to the cemetery. You never saw Anna.
You're dead.
Paul's glazed eyes widen in shock.
PAUL
I'm not dead.
Eliot speaks calmly. Soothingly.
ELIOT
Your skull was crushed. Your spinal cord
pulverized. Your brain cells are slowly
dying. Your body's already decomposing.
PAUL
I'm not dead.
Eliot sighs wearily. He's had this conversation many
times before.
ELIOT
You people. You all say the same thing.
Eliot's voice, with each word, fades further and further
away. Paul closes his eyes.
FADE TO SEARING WHITENESS.
PAUL (O.S.)
I'm not dead.
FADE OUT.
"LIFE"
Screenplay by
Robert Ramsey and Matthew Stone
SHOOTING DRAFT
1999
FADE IN:
EXT. PRISON CEMETERY -- DAY
A handful of people are gathered in an open field under a
fierce Mississippi sun. A couple of young inmates, JAKE and
LEON, lean on their shovels. They are waiting to bury two
identical CASKETS with inmate numbers stenciled on the
pinewood lids.
A GUARD rests the butt of his rifle on the ground and takes
a long, healthy pull from his canteen. He offers it to the
PRISON CHAPLAIN, who is much obliged. SUPERINTENDENT BILL
BURKE, a 40-year-old black man, glances at his watch and
loosens his tie. Sure is hot.
MARY HUMPHRIES, an elderly white woman in a nurse's uniform,
stands behind WILLIE LONG, an ancient inmate sleeping
peacefully in a wheelchair. She readjusts an umbrella to
shield the old black man from the blistering sun.
Burke dabs his forehead with a handkerchief. He gives the
nod to the chaplain, who steps forward and cracks his bible.
The men remove their hats.
CHAPLAIN
In accordance with the regulations
of the State of Mississippi, we gather
here today to lay to rest the remains
of inmates R. Gibson, number 4316,
and C. Banks, number 4317. Ashes to
ashes, dust to dust. May God have
mercy on their souls.
BURKE
Go ahead, fellas.
The young inmates plunge their shovels into the dirt. One by
one, the mourners head back toward a prison van parked on a
nearby dirt road.
NURSE HUMPHRIES
I'll come back for you in a little
while, Willie...
She leaves Willie alone with Jake and Leon. He rolls his
chair up to the edge of the graves and gazes at the pinewood
caskets.
JAKE
These two guys friends of yours, old
man?
WILLIE
We spent some time together.
LEON
Why do I get the feeling when you
say some time, you mean some time.
WILLIE
I was already here a good many years
when they came in in 1932.
LEON
1932? That's like, that's like...
WILLIE
Sixty-five years ago. They always
said the farm couldn't hold 'em
forever. Looks like you're finally
free, boys.
Willie pulls a bottle of moonshine from his jacket and takes
a swig in their honor.
JAKE
Hey, the dude's holdin'.
LEON
Come on, old-timer, hook the brothers
up.
Willie passes the bottle to Leon, who takes a swig and winces
from the unexpected kick.
LEON
Hell of a way to get out. Heard they
burned up in that fire yesterday.
JAKE
I seen the bodies before they sealed
'em up. Them fellas sizzled up good.
Looked like some shit from the X-
Files.
(taking a swig from
the bottle)
Damn, that shit's nasty.
WILLIE
Ray's special recipe. He always had
exacting standards where the hooch
was concerned.
LEON
What were they, bootleggers?
Willie holds up the bottle, checking the clarity of the
liquor.
WILLIE
Something like that.
MATCH CUT TO:
EXT. SPANKY'S BACK ALLEY (1932) -- NIGHT
RAY GIBSON holds up a similar bottle of liquor to a light
over a door. Music comes from within. He takes a swig and
stashes the bottle in his belt. He adjusts his tie, polishes
his shoes on the back of his pants and raps on the door.
INT. SPANKY'S -- NIGHT
The speakeasy is jumping, jammed with people. Up on stage a
hot JAZZ BAND is playing backup for a seductive CHANTEUSE.
Well-heeled PATRONS enter through doors near the stage.
In the back, at the end of a long hallway, a BOUNCER cracks
open the door and Ray squeezes inside.
BOUNCER
Oh, no, Ray. Not tonight. Spanky's
not happy with you.
RAY
Is Spanky here?
BOUNCER
No, but...
RAY
Then what's the problem?
BOUNCER
Do yourself a favor and find another
place where they let you in the front
door.
RAY
But this is where the action is and
I have to be where the action is.
Look, when your old lady wanted those
alligator shoes, didn't I come through
for you? Ain't she stepping in style
now?
BOUNCER
Yeah...
RAY
Well, alright then. What do you think
about this new tie?
BOUNCER
Sharp.
RAY
I look good tonight. And I feel lucky,
too.
Ray heads inside.
BOUNCER
Anyone asks, it wasn't me who let
you in.
Ray slides through the crowd, pausing at the bar to nibble
on the neck of a COCKTAIL WAITRESS.
COCKTAIL WAITRESS
Don't even try it.
RAY
When do you get off?
COCKTAIL WAITRESS
I get off at two, but you ain't never
getting off.
She carries a tray of drinks into the crowd. Ray shakes his
head in wonderment at her departing form. The BARKEEP steps
up as Ray pulls out his bottle.
BARKEEP
You can't drink that in here, Ray.
RAY
I sure can't drink that watered-down
swill you're serving. Give me a glass
of ice.
BARKEEP
I can't give you a glass of ice. I
can't give you anything until you
pay your damn tab.
Disregarding the warning, Ray tilts the bottle back. Shaking
his head, the barkeep moves on to a paying customer. Ray's
eyes follow a bottle of French Champagne as it is delivered
to a nearby table.
Here sits the straight-laced CLAUDE BANKS with his girlfriend,
DAISY. She's enjoying the show. He's polishing the silverware.
The WAITER pours two glasses of champagne and leaves the
bottle on ice. Claude regards his glass skeptically.
CLAUDE
For the kind of money they charge
here, you'd think they could hire
somebody to actually wash the dishes.
DAISY
Claude. Here's to your new job down
at the bank. I always knew you'd
make something of yourself.
CLAUDE
Know what I'm going to buy with my
first pay check?
Daisy thinks she does. She leans in, eyes twinkling.
CLAUDE
Season tickets to the Yankees. Right
there on the first base line.
(off her disappointment)
What's wrong, baby?
DAISY
I was hoping you were gonna say an
engagement ring, Claude.
French Champagne shoots out of Claude's nose.
CLAUDE
Engagement ring!
DAISY
That's what respectable folks do.
Get a job, get married, start having
babies. That's what you want, isn't
it?
CLAUDE
Sure it is. I just don't see any
reason to rush into things. Damn,
look at this shirt. I'll be right
back.
Claude leans in to kiss Daisy on the lips. She offers her
cheek. He departs.
OVER BY THE BAR
Ray watches Claude make a beeline for the men's room.
INT. MEN'S ROOM -- NIGHT
Claude steps into the bathroom and approaches the sink. A
big hand falls on his shoulder and yanks him backwards into
a stall...
INT. STALL -- NIGHT
Claude is shoved down on the toilet by two BAG MEN in suits.
Suddenly, it's crowded in here.
BAG MAN #1
Congratulations, Claude. We understand
you finally got yourself a job.
BAG MAN #2
Guess that means you can pay Mr.
Riley the fifty bucks you owe him.
They rifle through Claude's jacket and quickly find his
wallet.
CLAUDE
Now wait a second, guys. I've got a
bill to pay out there.
BAG MAN #1
Twenty-two dollars. Not bad for a
start.
They toss back his empty wallet.
CLAUDE
Come on, fellas, that's two weeks
pay. I'm here with my girl. You gotta
leave me something.
BAG MAN #2
How about your legs?
CLAUDE
My legs? Those are good, I'll keep
the legs...
The stall door swings shut as the bag men depart.
INT. SPANKY'S -- NIGHT
On his way into the Men's Room, Ray squeezes past the bag
men on their way out.
INT. MEN'S ROOM -- NIGHT
Glancing around, Ray spots Claude's feet under the stall
door. He steps up to the sink, washes his hands and takes a
towel from the ATTENDANT. Scanning the assortment of grooming
products, he selects a bottle of cologne and takes a sniff.
RAY
(displeased)
You have any of that French stuff?
As the attendent bends down to retrieve a bottle of the good
stuff, Ray palms a coin from the tip basket.
ATTENDENT
Here you go.
Ray offers the quarter, a gesture of uncommon generosity.
RAY
Keep the change.
ATTENDENT
Why, thank you, sir!
Ray pats the cologne on his face. A toilet flushes and Claude
steps over to the sink. Ray catches his eye in the mirror.
RAY
Don't I know you?
CLAUDE
I don't think so.
RAY
Sure I do. What's your name again?
CLAUDE
Claude Banks.
RAY
Claude Banks. How could I forget
that? You've got to remember me. Ray
Gibson. We went to high school
together.
CLAUDE
You went to Monroe?
RAY
(beaming)
That's right! Good old Monroe...
Ray throws his arms around Claude, deftly snatching his
wallet. Claude extracts himself from Ray's embrace.
CLAUDE
Well, I went to Jefferson, so you
must have a different Claude Banks
in mind.
Claude straightens his jacket and heads for the door. Ray
stashes the stolen wallet in his jacket.
RAY
Sorry, man. My mistake.
INT. SPANKY'S -- NIGHT
On the stage, the chanteuse has downshifted into a sultry
number about back-door lovers and broken dreams.
Ray steps out of the men's room and is instantly collared by
BULLETHEAD, a man who makes his living being large and
threatening.
RAY
Watch the threads, Bullethead. If
this is about my tab, I've got it
covered.
Pressed up against the wall, Ray reaches into his jacket and
produces Claude's wallet. Bullethead snatches it, inspects
it and is not impressed.
BULLETHEAD
This ain't about your tab, Ray. You've
got bigger problems than that.
He stuffs the wallet back into Ray's jacket and hustles Ray
out the back door past the bouncer who let him in.
BOUNCER
Is that Ray Gibson? Who the hell let
him in here?
BACK AT CLAUDE'S TABLE
Claude returns to the table where Daisy is sipping champagne.
He takes the glass out of her hand.
CLAUDE
Come on, honey, let's get out of
here.
DAISY
But I'm having a good time...
WAITER
Excuse me, sir, I believe you forgot
this.
The waiter presents Claude with the bill.
CLAUDE
The bill. Of course, the bill. We
couldn't leave without paying the
bill. Especially such an incredibly
large bill.
INT. VAN -- NIGHT
Claude is shoved into the back of the van and the doors are
slammed behind him. He bangs and shouts, but it's no use.
RAY
Save your energy, Claude. You're
gonna need it.
Ray is stretched out against the back wall. Claude is knocked
to the floor as the van lurches into motion.
RAY
Here, this belongs to you.
(tossing Claude his
wallet)
It was empty when I found it.
CLAUDE
Good old Monroe.
Ray swigs from his bottle and offers it to Claude, who isn't
interested.
RAY
What I want to know is what happened
to your cush between the time that
you got up from the table and when I
caught up with you in the Johnny?
CLAUDE
I don't see where that's any of your
business.
RAY
Did those two muscle heads shake you
down? Swear I've seen them down at
the track with Sure-shot Riley. That's
it, ain't it? A gambling debt.
Busted, Claude snatches the bottle and carefully wipes off
the neck before tilting it high. Ray gets a good chuckle out
of this straight cat in the bow tie.
CLAUDE
Where they taking us, anyway?
RAY
Probably to Spanky's headquarters
down at the pier.
CLAUDE
Good, I'm looking forward to meeting
this Spanky. Give me a chance to
straighten out this whole mess.
RAY
I can't wait to see that. You slay
me, man.
EXT. PIER -- NIGHT
The van pulls into a the loading bay of a warehouse at the
end of a short pier on the Harlem River.
INT. WAREHOUSE -- NIGHT
Bullethead and a HENCHMAN pull Ray and Claude from the back
of the van. They find themselves in a dark warehouse filled
with crates of contraband.
CLAUDE
(sotto)
What are they gonna do to us?
RAY
You? Dine and ditch, right?
(Claude nods)
Over ten bucks?
(he nods again)
You're probably looking at a thumb.
CLAUDE
A thumb? What do you mean, like cut
it off? For ten bucks?
(Ray nods)
That include the tip?
Claude shoves his hands under his armpits at the sound of
approaching FOOTSTEPS echoing across the vast space. Claude
and Ray peer into the darkness.
SPANKY
(from the darkness)
You picked the wrong night to fuck
with me, Ray. I just lost three men
and a truck full of Canadian whiskey.
You know what that kind of thing
does to my business? It makes me
want to lash out and hurt somebody.
SPANKY JOHNSON emerges into the light. He uses a small silver
spoon to take an ample snort of cocaine into each nostril.
He glances at Claude.
SPANKY
Who's he? Friend of yours, Ray?
CLAUDE
I never saw this man before tonight.
He's a lowlife degenerate who lurks
in bathrooms. I'm a professional
man, an upstanding citizen. I go to
church on Sunday.
SPANKY
Then what are you doing here?
BULLETHEAD
Failure to pay.
CLAUDE
(rattled)
Look, Mr. Johnson, you seem like a
reasonable man. I got a good job
starts Monday. I'll pay you back
with my first pay check. With
interest. I don't want to tell you
how to conduct your business, but if
you cut off my finger you won't get
jack. Working an adding machine, I
gotta be whole.
(his fingers dancing
over imaginary keys)
I need my thumbs and all my fingers
for praying and doing good...
Spanky holds up a hand, silencing Claude.
SPANKY
The choirboy wants to keep his
fingers. Who am I to argue? Drop
him.
CLAUDE
Drop him? What does drop him mean?
Claude protests loudly as Bullethead and the henchman bind
his hands and feet. Spanky turns to Ray.
SPANKY
You gotta lotta balls showing your
face around my club. If a man's gonna
run numbers on my side of Broadway,
you think he'd have the common sense
to keep a low profile. But not Ray
Gibson.
The goons hoist Claude up on another pulley and dangle him
head first over a hole in the floor. Several feet down, the
Harlem River laps against the wooden pylons.
CLAUDE
No, not down there! That water's
filthy! Help me out here, man!
Shrugging, Ray pinches his nose and puffs out his cheeks.
The goons release the rope and Claude plunges into the water.
Spanky turns back to Ray.
RAY
You don't have to drown that fella,
Spanky. You already scared him half
to death. He didn't know who he was
fucking with.
SPANKY
But you do. What does that say about
you, Ray? What does that say about
me? I've given you a lot of leeway
over the years on account of your
father. But he didn't last long enough
to teach you the meaning of the word
respect so I guess I'm gonna have to
school you myself.
RAY
Come on, Spank, I'm just trying to
get by here. You remember how it was
when you were starting out.
The henchman yanks on the rope. Claude emerges from the hole,
gasping for breath.
CLAUDE
I was supposed to wear this suit on
Monday!
The henchman releases the rope, sending Claude back into the
water. Ray reaches into his jacket. Bullethead pulls a gun
and presses it into Ray's temple. Ray gives him a look and
cautiously pulls out his bottle.
SPANKY
What's that, some of your bathtub
brew?
RAY
Puerto Rican rum. See for yourself.
Ray tosses him the bottle. Spanky uncorks, sniffs, samples
the goods. He's impressed.
SPANKY
Where'd you get this?
RAY
Comes up the Mississippi. I can get
more. A lot more. I was thinking
about going into business for myself,
but under the circumstances, I'd be
willing to take on a partner.
Once again, the henchman yanks on the rope and Claude comes
up sucking air desperately. He releases the rope, submerging
Claude for a third time.
SPANKY
I'm interested. Keep talking.
RAY
All I need is the front money and a
truck. I could be back in two, three
days tops if I had somebody to share
the driving.
Spanky considers the terms. Can he afford to trust Ray? Can
he afford not to?
SPANKY
If you fuck me on this one, I'll
spare no expense.
RAY
Understood.
SPANKY
Alright, Ray, you've got a deal.
Pick your man and get going.
Ray glances around. The pulley rope is still twitching in
the water.
RAY
I'll take the little choirboy, if
you don't mind.
SPANKY
If I was you, I'd want somebody who
can handle himself in a tight spot.
RAY
I just want somebody who won't put a
bullet in my back once the truck is
full.
Spanky sees Ray's point. He nods to the henchman, who hoists
Claude's limp body out of the water and onto the cement.
Spanky plants a foot on Claude's chest and applies pressure.
A geyser of Harlem River water shoots from Claude's mouth as
he sputters back to life.
SPANKY
For your sake, I hope you can drive.
Somebody give him some dry clothes.
CUT TO:
THE SPINNING WHEEL OF A TRUCK
The CAMERA MOVES UP the side of the old Ford truck to find
Claude sitting pensively in the passenger seat.
INT. TRUCK (MOVING) -- NIGHT
Ray palms the wheel.
RAY
Tell me about that hot sketch you
were hypin' last night. She was a
choice bit of calico. You two been
seeing each other a long time? Gonna
slap the handcuffs on her and stroll
down the aisle one of these days?
Tight-lipped, Claude shifts in his seat.
RAY
Sometimes I wish I could find me a
sheba to settle down with. Suppose
I'm just a tomcat by nature.
(trying to fill the
silence)
This little rum run is gonna seriously
improve my relationship with Spanky.
He's a good man to have on your side.
He's got the capital and the
connections. That's what you got to
have in that business. Spanky's place
is pretty plush, but one of these
days I'm gonna open up my own
establishment. Ray's Boom-Boom Room.
You like that? Ray's Boom-Boom Room.
That's in the groove, don't you think?
If Claude does like it, he's not letting on.
RAY
Come on, daddy-o. You haven't said a
word since we started. Least you
could do is make some friendly
conversation.
CLAUDE
Look, man, I don't want friendly
conversation. I don't want to be
your friend. I've seen your friends
and I don't like them. I just want
to do this thing and get back to New
York in time to start my job.
RAY
Start your job? What kind of job?
CLAUDE
Well, if you must know, bank teller
at First Federal of Manhattan. I'm
responsible for keeping track of
hundreds, occasionally thousands of
dollars.
RAY
That's some long green.
CLAUDE
Damn straight, it is. I got my own
set of keys because I'm supposed to
open up. So if I ain't there 8 a.m.
Monday morning, there's gonna be
hell to pay.
Beat of silence. Ray laughs to himself.
CLAUDE
What?
RAY
Nothing.
CLAUDE
No, tell me what's so funny.
RAY
I don't know. Bank teller. Sounds
like ladies work to me.
CLAUDE
Well, maybe I should dig around in
other people's clothes for money.
It's obviously been highly successful
for you.
RAY
Hey, you'd be surprised what you
find in other people's pockets. Just
gotta avoid them deadbeat bank
tellers. Get you every time.
CLAUDE
I didn't start out to be a bank
teller. I was gonna be a ballplayer.
Even had an offer to play short for
the Newark Eagles.
RAY
Why didn't you take it?
CLAUDE
The Negro League don't pay so good.
And you're always on the road. That
don't wash with Daisy.
RAY
You gave up baseball to be a bank
teller? I can't latch on to that.
CLAUDE
At some point a man's got to get
serious about his future. I'm sure
you have no idea what I'm talking
about.
RAY
You're talking about giving up
baseball to be a bank teller.
CLAUDE
Bank teller's just a start. I got
plans. Real plans. Not opening some
Zoom-Boom Room. This time next year
I'll be a loan officer.
RAY
A loan officer?
CLAUDE
That's right, a loan officer.
RAY
So you mean, if I needed some jack
to get my nightclub up and running,
I'd have to hype some square like
you?
CLAUDE
Uh-huh.
Ray pulls out his pocket watch. A mechanical tune plays as
he checks the time.
RAY
How would I get a loan, anyway?
CLAUDE
You need collateral.
RAY
(re: watch)
Like this?
CLAUDE
That thing? Who'd you steal it from?
RAY
My daddy gave me this watch.
CLAUDE
Yeah? Who'd he steal it from?
RAY
My daddy is dead so watch your mouth.
You can say what you want about me,
but don't be dragging my daddy into
it. This watch means the world to
me. Solid gold. Keeps perfect time.
CLAUDE
Looks like a fake to me. Loan denied!
Ray stuffs his daddy's watch back in his pocket.
RAY
Ah, go chase yourself. I'll take my
business elsewhere. And for future
reference, you are no longer welcome
at Ray's Boom-Boom Room.
CLAUDE
There is no Boom-Boom Room.
RAY
When there is, you can forget about
it. And I swear to God, you ever
talk about my daddy again I'm gonna
kick your bank-telling, loan-denying
ass, you got me?
CLAUDE
Oooh...
RAY
I think I liked you better when you
kept your trap shut.
EXT. ROADSIDE DINER -- DAY
The truck veers off the highway and jerks to a halt in front
of the rundown establishment.
INT. ROADSIDE DINER -- DAY
A dozen WHITE FOLKS look up as Ray and Claude push through
the door.
RAY
Man, something smells good in here.
How's everybody doing?
Nothing but sullen stares from all corners of the room.
CLAUDE
(sotto)
Maybe we oughta find another place.
RAY
Are you kidding? Tell me you don't
want a slice of that pie right over
there.
CLAUDE
I must have left my appetite outside,
which is where I think we ought to
be right now.
Claude tugs Ray towards the door but Ray won't be dissuaded.
He boldly addresses a YOUNG MAN in an apron behind the
counter.
RAY
Good evening, Billy. We'd like some
coffee and a couple of slices of
that homemade pie you've got
advertised.
BILLY
How you know my name's Billy?
RAY
It says so right there on your shirt.
BILLY
(glancing down)
That what that says?
Billy's MAMA sets a piping hot pie on the back counter and
steps up next to her son. She casts a disparaging glance at
Claude's suit.
MAMA
If you boys can read so good, how
come you missed that sign in the
window?
Claude considers the sign she's pointing to.
CLAUDE
You mean this sign? The one that
says "No Coloreds Allowed." That's a
good question. Ray, how come we missed
the sign?
RAY
Look, ma'am, we've been driving all
day. We'd just like to purchase one
of those pies and we'll be on our
way.
MAMA
Those are whites-only pies.
RAY
Got any nigger pies?
Claude jabs him.
CLAUDE
Any fool could see those are whites-
only, not-for-blacks, come-on-let's-
get-the-fuck-outta-here pies. Thank
you very much.
Claude starts tugging Ray toward the door.
RAY
(sotto)
Thanks for backing me up here, Uncle
Claude.
CLAUDE
(sotto)
Don't Uncle Claude me. You get a
load of those crackers? Couldn't be
a mouthful of teeth among the bunch
of 'em. Why you want to pick a fight
with people like that for?
RAY
You're soft.
CLAUDE
What'd you say?
Diner patrons stare.
RAY
I said you're soft.
CLAUDE
Hey, man, don't ever call me that.
RAY
I call it like I see it, and what I
see is definitely soft.
Claude narrows his eyes.
CLAUDE
Alright. You want some pie?
RAY
Yeah, I want some pie.
CLAUDE
Okay then, I'm gonna walk over to
that counter and get us some fucking
pie.
Resolved, Claude stomps over to the counter.
CLAUDE
Excuse me, ma'am, I bet a brick will
turn that one right there into a
colored pie.
Claude lays down a dollar bill. Mama casually pulls a shotgun
from under the counter.
MAMA
And I bet this right here will turn
you into a colored pie.
CLAUDE
Okay, Ray, I think we can go now.
Much obliged...
Ray gives the whole place a cool once-over as Claude pulls
him out the door. Mama turns to Billy, still studying the
stitching on his shirt.
MAMA
Don't be concentrating so hard, baby.
You're liable to seize yourself again.
EXT. DOCKS -- NIGHT
The truck rolls up to the waters edge. Ray kills the engine
and flashes the lights twice. In the passenger seat, Claude
is fast asleep. After a few moments, a FAT MAN appears,
shining a flashlight into the cab.
RAY
How you doing? We're looking for
Slim.
SLIM
You found him.
Ray cocks an eyebrow.
EXT. DOCKS -- NIGHT
Under cover of darkness, a couple of MEN finish loading crates
into the bed of the truck. Ray and Claude keep their eyes
peeled for the law. Down by the river, they can see lights
and hear music from a district of rowdy juke joints. SLIM
steps up, wiping his hands.
SLIM
That's it, fellas. Thirty six cases
of Puerto Rico's finest. At five
bucks a case, that's $180.
Ray pulls out a wad and slaps it in Slim's sweaty palm. The
fat man starts counting it out.
RAY
Man, that music is hot. What goes on
down there, Slim?
SLIM
That's Natchez-under-the-Hill.
RAY
Blacks welcome there?
SLIM
Green's the only color that matters
under the hill. They got gambling,
girls. You oughta check it out.
RAY
Maybe we will. Nice meeting you.
Slim slips into the shadows.
CLAUDE
Nice meeting you? You've been here
before, haven't you?
RAY
What gave you that idea?
CLAUDE
Oh, I don't know, maybe because our
lives depend on it, I just sort of
thought you knew what you were doing!
RAY
Don't get all agitated on me. I bought
a bottle of rum from a couple of
dudes, I heard 'em talking...
CLAUDE
Let me get this straight. We drove
all the way down to Klan country
'cause you heard a couple of guys
talking?
RAY
What are you complaining about? It
worked out. Everything's cool. Now,
come on, let's head down there and
see what's shaking. We deserve a
little reward.
CLAUDE
(dubious)
Reward?
RAY
There are people down there having
fun. I want to be one of them. I
want you to be one of them. On Monday
you can be a bank teller if you want,
but tonight you're a bootlegger with
a truck full of Puerto Rican rum and
a fistful of cash.
A look of excitement crosses Claude's face, but he quickly
shakes it off.
CLAUDE
That's gas money.
Exasperated, Ray stuffs a few bills into Claude's pocket.
RAY
There's your gas money. You stay
here and watch the truck. And don't
worry, I've got the keys.
Left alone, Claude mutters and kicks at the dirt. He leans
against the truck.
UP AHEAD/EXT. JUKE JOINT -- NIGHT
Ray emerges from the woods and heads down the hill toward
the juke joint. Claude hustles up next to him.
CLAUDE
I'm just gonna keep an eye on you,
make sure you don't do nothing stupid.
INT. JUKE JOINT -- NIGHT
A ramshackle den of iniquity on the banks of the Mississippi.
The band is laying down some serious Delta blues, creating
an inviting atmosphere for sin and moral corruption.
On a far side of the room, Ray is playing poker with some
LOCALS. He seems to be having a bad night. WINSTON HANCOCK,
a formidable black man, sweeps in another big pot and puffs
happily on his cigar.
OVER AT THE BAR
Perched on a stool, Claude shoots a dark look at Ray and
motions for the door. Ray waves him off and returns to his
game. Claude becomes aware of a soft, young female hand on
his shoulder.
SYLVIA
I've never seen you in here before.
CLAUDE
(staring at the hand)
That's because I've never been here
before.
SYLVIA
I'm Sylvia. What's your name?
Against his better judgement, Claude's gaze follows the long,
slender arm up past a bare shoulder and settles on SYLVIA'S
angelic face. He is struck dumb.
SYLVIA
Can't you remember your own name?
CLAUDE
I know it begins with a "C"...
SYLVIA
Well, Mr. "C", how about buying a
girl a drink?
(to the bartender)
Two bourbons.
CLAUDE
I really shouldn't. I gotta keep an
eye on my friend.
SYLVIA
He looks like he can take care of
himself.
The drinks arrive. She places a shot glass in Claude's
reluctant hand. She winks provocatively and slowly pours the
whiskey down her throat. Instinctively, Claude tosses back
his shot.
CLAUDE
Claude. That's my name. Claude. That's
never happened before.
SYLVIA
You're cute. You have any money,
Claude?
CLAUDE
Ten dollars. But I need it to get
home.
SYLVIA
Why would you want to go home? It's
so early.
The bartender refills their glasses.
BACK AT THE POKER TABLE
Winston considers his cards, hardly looking up as a WAITRESS
lays down a cocktail napkin and sets a drink down on top of
it. He glances at Ray, who casually considers his cards.
RAY
I'll take two.
The dealer tosses Ray a couple of cards.
INSERT -- Ray fans his cards to reveal a full house.
After considering the other players at the table, Ray pushes
what's left of his money into the center of the table. The
three other PLAYERS fold with disgust. Winston squints long
and hard at Ray, then pushes everything he has into the center
of the table.
WINSTON
I'll see that...
Winston reaches into his jacket and throws down some more
money on the pile.
WINSTON
And while we're at it, let's sweeten
the pot.
RAY
Looks like my sugar bowl's empty,
Mr. Hancock.
WINSTON
(reaching for the pot)
That's just too damn bad, ain't it?
RAY
Now, hang on, slick. I ain't through
with you yet.
Ray checks his cards again. He looks at the pot, it's a lot
of money. With this hand, there's no way he can lose. He
places his daddy's pocket watch on top of the pile. Winston
checks the time piece.
WINSTON
That'll cover it.
Ray lays down his hand.
RAY
Full boat, ladies doing the paddling.
WINSTON
Four threes.
Ray sits back, stunned. Winston rakes in his winnings. The
game is over for the night. The three other players head to
the bar.
WINSTON
Don't take it too hard, New York.
Have a round on me.
Winston tosses a silver dollar to Ray, who snatches it out
of the air. Winston drops his hat on his head and moves
through the crowd and out the door.
WAITRESS
Can I get you something?
Ray shakes his head. Carefully, she begins to clear the table.
Suddenly, he grabs her wrist. Winston's glass tips over. Ray
flips over the cocktail napkin to reveal an extra pile of
cards.
RAY
Looks like he had a whole lot of
nothing in his hand until you came
along.
WAITRESS
(wrenching free)
You're hurting my arm.
EXT. JUKE JOINT -- NIGHT
Ray dashes into the street, glancing both ways. No sign of
Winston. Damn.
EXT. BACK ALLEY -- NIGHT
Winston produces Ray's pocket watch and pops it open. A smile
crosses his face as the mechanical tune plays.
A sheriff's sedan rounds a corner, illuminating Winston in
its headlights. The car pulls up and SHERIFF WARREN PIKE
steps out. Distinguished by a casual cruelness, he's a young
white man who loves his uniform.
PIKE
If it isn't Winston Hancock.
Winston tries to move past Pike, but the sheriff blocks his
path with a night stick. As Winston backs off, another squad
car pulls up behind him. TWO DEPUTIES step from the car,
guns drawn.
PIKE
I thought we agreed that you were
gonna leave town.
WINSTON
I tried to leave, Sheriff Pike. But
your wife begged me to stay.
Pike slams Winston with his club, sending the black man to
his knees. As Winston struggles back to his feet, a stiletto
flashes and he lunges for the sheriff, slashing his cheek.
The deputies grab Winston from behind, holding him by both
arms. The long knife clatters to ground. Pike touches his
face, examining the blood on his fingers.
PIKE
You just committed suicide, boy.
INT. BORDELLO HALLWAY -- NIGHT
Ray walks slowly down the hallway to Room 13. He is about to
knock when he hears the sound of lovemaking from within.
INT. SYLVIA'S BEDROOM -- NIGHT
Ray opens the door and peeks in. Sylvia's on top and in
charge. Claude is concentrating real hard. Ray smiles to
himself and closes the door.
INT. JUKE JOINT -- NIGHT
Claude hitches up his suspenders as he comes down the stairs.
He finds Ray having a drink at the now-empty bar.
CLAUDE
Hey, Ray. I've been looking for you.
RAY
Here I am.
CLAUDE
Guess we better get going, huh?
RAY
Still got that ten dollars?
CLAUDE
Well, not exactly. See, I met this
girl. Real nice girl. God-fearing
girl. Her name's Sylvia.
RAY
That jelly you were talking to right
here?
CLAUDE
She's in a tight spot. Her mama needs
this operation, and they ain't got
the money for it. Their church took
up a collection but they were still
short...
RAY
So you made a generous contribution.
CLAUDE
What can I say? When the spirit moves
me.
RAY
That was mighty charitable of you,
Claude. Looks like we both got fucked
tonight.
CLAUDE
What are you talking about?
RAY
While you were upstairs doing God's
work, I was getting jack-legged by a
fool with four threes.
CLAUDE
You lost all our money in a card
game?
RAY
He even got my daddy's watch.
CLAUDE
Fuck that cheap-ass watch --
(off Ray's glare)
I mean, how the hell are we gonna
get home without any money?
RAY
We've still got 36 cases of rum.
That's better than money.
EXT. BACK ALLEY -- NIGHT
Ray and Claude head down the alley.
CLAUDE
You sure the truck's this way?
(looking over his
shoulder)
I swear it was back that way.
Suddenly, the bloodied figure of Winston Hancock lurches
from the shadows and grabs Claude by the lapels. Claude is
too scared to scream, staggering backward. But the man's
grip loosens and he slips to the ground.
CLAUDE
(croaking)
Ray... Yo, Ray...!
Ray turns back to find Claude trembling with fear and covered
in blood. He just points down. Ray eyes widen. He kneels
down and turns Winston's body over.
CLAUDE
I think he's hurt pretty bad.
RAY
He's dead.
CLAUDE
Oh, man, I've never seen a dead body
before!
Much to Claude's horror, Ray starts rifling through Winston's
pockets.
CLAUDE
What do you think you're doing?! The
man's been dead for two seconds!
Don't you have any respect?
RAY
It ain't here.
CLAUDE
What ain't there?
RAY
My daddy's watch. This is the dude I
was telling you about --
Suddenly, the glare of two bright headlights from a pickup
truck freeze Ray and Claude in a guilty tableau. FIVE WHITE
MEN appear at the end of the alley.
MAN WITH LANTERN
What's going on here?
Ray gingerly releases Winston's lifeless body.
MAN WITH LANTERN
What's wrong with that one?
RAY
Him? He's just drunk.
CLAUDE
Yeah, nobody puts 'em away like old
what's-his-name.
RAY
Winston. His name's Winston.
CLAUDE
Come on, Ray, better get Winston
back to the truck.
Claude and Ray hoist Winston's body to its feet. The man
raises his lantern, takes a closer look at Winston's face.
MAN WITH LANTERN
This fella looks dead.
Ray and Claude check for themselves.
CLAUDE
Would you look at that, Ray. Winston
up and died on us.
RAY
Hell with him then. If he can't share
the driving, he can't ride in the
truck.
MAN WITH LANTERN
He can ride with us.
Suddenly, the men all have guns. And they're pointed at Ray
and Claude.
MAN WITH LANTERN
So can you.
INT. NATCHEZ JAIL -- NIGHT
In a holding cell, Ray tests the window bars. Solid.
Meanwhile, Claude sits on a cot brooding darkly. Through the
bars, we see the rednecks laughing and passing around a bottle
of bootleg rum with the DEPUTY on duty.
RAY
Man, this is gonna delay everything.
Spanky's gonna be pissed.
CLAUDE
Spanky's gonna be pissed? Poor Spanky.
Fuck Spanky! What the hell kind of a
name is Spanky, anyway? You're
responsible for this situation. I
blame you for everything. If it wasn't
for you, I'd be home having a hot
meal right now.
RAY
If it wasn't for me, you'd be washing
up on the beach at Coney Island right
now.
(mocking Claude)
"I need all my thumbs and fingers
for praying and doing good."
The jailhouse door opens and Sheriff Pike walks in. He pauses
to give the prisoners the once-over. There's a fresh bandage
over the cut on his cheek.
PIKE
What do we have here?
DEPUTY
Billy Bob and the boys found them
down down under the hill with Winston
Hancock. He was dead. Looks like
murder.
PIKE
You don't say.
DEPUTY
Looks like they was running rum. Got
thirty six cases of evidence out
back. You want I should call in the
federal prosecutor?
PIKE
Let's not drag the feds into this. I
can think of better uses for that
rum than letting it collect dust in
some government warehouse up in
Nashville.
Pike winks at his deputy, then turns to regard the prisoners.
PIKE
Besides, why bother with bootlegging
when we got us a clear cut case of
murder?
RAY
Excuse me, sheriff. As we explained
to your associate here, there's been
a mistake. We didn't kill anybody.
Now, as for the bootlegging, we happen
to work for a very important man in
New York.
CLAUDE
That's right. Does the name Spanky
Johnson mean anything to you?
PIKE
Afraid not.
RAY
Mr. Johnson is very well connected.
If you were to let us go, I guarantee
he would show you his appreciation,
if you know what I mean.
PIKE
Are you offering me a bribe?
RAY
I'm just trying to pay the toll on
the road to justice.
PIKE
You may be able to buy your way out
of trouble up in New York City, but
down here we take murder seriously.
CLAUDE
Look, man, how many times we gotta
tell you people, we didn't kill that
guy!
PIKE
Well, if that's the case, then you
don't have anything to worry about,
do you?
Pike turns his back on the prisoners and checks the time on
a gold pocket watch -- Ray's pocket watch. But from his cell,
Ray can't hear the mechanical tune.
PIKE
Time to get home to the missus. See
y'all in the morning.
In the cell, Claude turns to Ray.
CLAUDE
The man's gotta point. We're innocent,
after all. I just gotta get a good
night's sleep on this filthy mattress.
Keep our heads on straight, stay
cool, what's the worst thing that
could happen to us?
SMASH CUT TO:
INT. COURTROOM -- DAY
The CAMERA Scorseses in on the JUDGE'S face...
JUDGE
Life!
The gavel comes down with a thundering crash. Stunned, Ray
and Claude resist the BAILIFFS' efforts to remove them from
the courtroom.
RAY
Life?! How long is life? We were
just walking back to the truck. We
didn't do nothing! Fuck life!
CLAUDE
Life?! What's life mean? There's no
way I can do life. I got a job starts
Monday morning!
They continue to protest loudly as they are dragged bodily
through the door.
EXT. COUNTRYSIDE -- DAY
Blues music kicks in as a prison transport bus rolls down a
dirt road cutting through the bleak Mississippi Delta.
INT. BUS (MOVING) -- DAY
LONG-CHAIN CHARLIE, a white prison sergeant, sits behind the
wheel. A shot gun hangs within easy reach.
The CAMERA MOVES BACK past grim-faced PRISONERS with their
hands and feet shackled. We arrive at Ray and Claude sitting
in grim silence as the bus lurches along.
EXT. PRISON -- DAY
The bus veers off the country road and passes under a sign:
MISSISSIPPI STATE PENITENTIARY. Sgt. Dillard's voice PLAYS
OVER.
DILLARD (V.O.)
Welcome to the farm. Here you will
be provided with ample opportunity
to repay your debt to society through
the rigors of hard labor...
Ray and Claude stare out the window, getting their first
look at the harsh reality that awaits them. Cotton fields
stretch to the horizon in every direction. HOE-GANGS till
the earth under the watchful gaze of TRUSTY SHOOTERS...
DILLARD (V.O.)
In between harvest and planting season
we got fields need clearing, roads
need building and ditches need
digging. You will eat only what you
can grow. Your crop don't come in,
you'll go hungry. If you die, don't
worry 'bout us none. We'll find
somebody to replace you...
Along the road, CONVICTS cast hard looks at the new men as
the cart passes. A WHITE SERGEANT on horseback shifts his
rifle and casually spits tobacco juice in the dirt...
EXT. CAMP 8 -- DAY
A low-slung, single-story bunkhouse surrounded by a dirt
yard. Two shooter shacks sit at diagonal corners of the yard.
In each shack, two trusties with rifles keep vigilant watch
over the camp. SGT. FRED DILLARD paces down the line of new
men as HOPPIN' BOB, an uncommonly ugly trusty, unlocks their
leg irons.
DILLARD
This here is Camp 8. Camp 8 is for
incorrigibles, so whatever you've
done to get here, believe me, we're
not impressed. You new men are
probably noticing that we have no
fences here at Camp 8. We don't need
no fences, we have the gun line. It
runs from shack to shack clear around
the yard. You are now inside the gun
line. If you step outside the gun
line without my permission, you will
be shot. If you trip and fall over
the gun line, you will be shot. If
you spit, if you pee, if you stick
your ass out and take a dump over
the gun line, you will be shot.
Dillard plucks a hat off one of the new prisoners and tosses
it over the gun line. SHOTS ring out from the nearest shack.
The hat is torn to shreds.
DILLARD
One of my trusties puts a bullet in
you when you're trying to run, I'm
liable to give him a pardon for saving
me the trouble of tracking you down,
so you can bet their aim is true.
Dillard puts a cigarette in his mouth. Hoppin' Bob is right
there with the flame.
DILLARD
My name is Sgt. Dillard. In the
unlikely event that you need to
address me, you call me boss. You
already met this handsome fella right
here. Hoppin' Bob's my ace boon coon.
You run afoul of Hoppin' Bob, you
run afoul of me.
Nodding to Bob, Dillard saunters off.
HOPPIN' BOB
New men, strip down!
Ray and Claude share a look. Self-consciously, the men begin
to undress.
INT. BUNKHOUSE -- DAY
Double bunks line the walls, with a footlocker for each
inmate. As usual, there's a poker game going on.
HOPPIN' BOB
Okay, ladies, got some fresh meat
for ya!
All activity comes to a halt as the new men shuffle into the
cage wearing their prison-issue "ring-arounds." Hoppin' Bob
slams the metal doors shut behind them.
HOPPIN' BOB
We ain't got no wallflowers at Camp
8. Everybody gotta dance eventually.
But don't worry, they won't try
nothing tonight. That would take all
of the fun outta the courtship.
The INCORRIGIBLES hungrily eye the new men in total silence.
Claude sticks close to Ray as they shuffle toward their
assigned bunks. The CAMERA SETTLES on a much younger WILLIE
LONG.
EXT. COUNTRY ROAD -- MORNING
The inmates jump down from the mule cart and grab hoes and
shovels. Because he can't count, Hoppin' Bob keeps track of
the men using a system all his own -- a PEBBLE in his pocket
for each man. Dillard stands by with his shotgun.
DILLARD
Got three miles of ditch to clear
today. Let's keep it moving!
EXT. DITCH -- DAY
The men of Camp 8 labor under the brutal mid-day sun. JANGLE
LEG, a handsome, muscular man, sings a verse to set the work
tempo. Up and down the line, a mighty chorus responds. The
CAMERA FINDS Ray and Claude swinging pick axes, sweating
profusely.
CLAUDE
I don't believe this before Abe jive.
I didn't go to night school to sing
in no Mississippi Boys Choir!
Claude stops to catch his breath and take off his shirt.
RAY
I wouldn't do that if I was you.
CLAUDE
Shut up. It's too damn hot. What do
you know, anyway?
A SHOT rings out. Claude hits the ground as a bullet kicks
up some dust nearby.
RAY
Told ya.
Claude looks up to see Dillard cracking pistachio nuts as
Hoppin' Bob puts another round in the chamber of his rifle.
DILLARD
Why ain't his pick swinging?
HOPPIN' BOB
(echoing)
Why ain't that pick swinging?
CLAUDE
It's too hot, boss. I'm tired.
HOPPIN' BOB
He says it's too hot, boss.
DILLARD
Too hot, huh? Well, you tell that
lazy jiggaboo the state of Mississippi
ain't interested in his meteorological
assessments.
HOPPIN' BOB
Listen up, jiggaboo! State of
Mississippi ain't interested in
your... in your...
(off Dillard's look)
metropolitan assets!
DILLARD
Tell him the state of Mississippi is
only interested in getting this ditch
cleared by sundown.
HOPPIN' BOB
State of Mississippi wants this ditch
cleared by sundown. You got that?!
CLAUDE
I got it... boss.
DILLARD
He don't sound like he's from 'round
here.
HOPPIN' BOB
He's from New York City. That one,
too.
DILLARD
New York. That's up north, ain't it?
They'll find we do things different
down here.
RAY
We noticed.
Annoyed, Dillard jabs the butt of his rifle into Ray's solar
plexus. Ray sinks to his knees in the dirt.
DILLARD
Looks like we got a couple of live
ones. How long these boys in for?
HOPPIN' BOB
Judge gave 'em the long ride.
DILLARD
Life, huh? They step outta line again,
we'll shorten up that sentence real
fast.
Dillard swaggers off, dogged at the heels by the ever faithful
Hoppin' Bob. Resigned, Ray and Claude return to their labor.
EXT. DITCH -- DAY
The men rest in the ditch as BISCUIT, a slight inmate with a
red bandanna tied around his head, dispenses water, one ladle
per man.
BISCUIT
Drink it up!
Willie exchanges two cigarettes for a second ladle. POKER
FACE pulls a crumpled envelope from his shirt. His expression
never changes, hence the name.
POKER FACE
Either of you new fellas know how to
read? I've had this letter four months
now.
CLAUDE
You can't read? None of these guys
can read?
WILLIE
Last fella who could read made parole
'round Christmas.
POKER FACE
I don't even know who this is from.
RAY
Here, gimme that.
Ray unfolds the letter and scans it.
RAY
It's from your mama's neighbor, Mrs.
Tidwell. She thought you oughta know
that your second cousin Bo died.
The prisoners express their condolences. "Sorry, man." "That's
some bad news." "I know you loved Bo like a brother..."
RAY
And your other cousin, Sally, on
your daddy's side, she died.
More sympathy from the men. "Ooh. Twice in one letter." "Rough
break, Poker Face..."
RAY
Apparently, your sister died.
POKER FACE
Jenny?
RAY
No, it says Marleen here.
Relief all around. "Thank goodness."
RAY
Oh, wait, looks like Jenny died,
too.
"Bad luck, man." "That's harsh..."
RAY
Then it goes on for a while about
how the crop didn't come in on
accounta the frost.
(flips over the page)
She finishes up with something about
a tornado and how your mama and your
daddy died in that. But don't worry
none. She'll take care of the dog.
That is, if it gets over the worms.
The prisoners share dark looks. Ray folds up the letter and
hands it back to Poker Face.
POKER FACE
Appreciate it.
RAY
Anybody else need anything read?
"No, man, we're good." The men shake their heads and return
letters and cards to their pockets. Jangle Leg nods and
switches places with one of the convicts, parking next to
Claude.
JANGLE LEG
How you doin'?
CLAUDE
I'm all right.
JANGLE LEG
You ever done time before?
CLAUDE
You kidding? I've been in and out of
prison my entire life. Mostly in.
I'm hard-core.
JANGLE LEG
Then you won't have no problem making
the adjustment. You need anything,
help of any kind, gimme a holler.
Name's Jangle Leg.
CLAUDE
'Preciate it. Claude.
As they shake, Jangle Leg inspects Claude's hand thoroughly.
JANGLE LEG
Soft and supple. Like a lady's.
CLAUDE
(eyes narrowing)
I try to moisturize regularly.
HOPPIN' BOB
(over his shoulder)
Hey, Jangle Leg, what'd I tell you
about pitching woo on the job?
JANGLE LEG
Sorry, Cap'n.
Claude snatches back his hand and gives Jangle Leg a hard
look.
HOPPIN' BOB
Break's over! Back to work!
As the men grab their tools and return to work, Claude leans
over to Ray.
CLAUDE
Why do you think they call him Jangle
Leg?
RAY
Somebody just told me he wins the
three-legged race every year.
CLAUDE
So?
RAY
He does it all by himself.
INT. MESS HALL -- DUSK
Wincing with each movement and covered in grime from the
day's labors, the new men bring up the back of the chow line.
COOKIE, the grub-slinger, slaps a large dollop of an
unidentifiable substance onto Ray's tray.
RAY
What is that?
COOKIE
Creamed chip beef on toast. Except
we're outta beef, so I had to
improvise.
RAY
Can't I get one of those steaks you
got grilling back there?
COOKIE
Those are for trusties, unless you
got thirty cents or two packs of
cigs.
Another prisoner lays down some tobacco and gets a juicy
steak. Ray grabs a hunk of corn bread and makes his way to
the back of the room. Claude steps up, holds out his tray
for Cookie.
CLAUDE
Excuse me, I don't like it when the
food touches each other, so if you
could just --
(SPLAT!)
-- keep everything separate.
Disappointed, Claude turns to discover that the only seat
left is next to Ray. Scowling, he limps toward it.
Jangle Leg's eyes follow Claude as he approaches the table.
Biscuit smacks him.
BISCUIT
Eyes front, mister!
Claude sits down and promptly goes to work scraping his burnt
toast with his knife. The irritating sound slowly brings the
entire room to dead silence. All eyes fall on Claude. Scratch,
scratch, scratch...
COOKIE
(stepping up)
Problem with the toast?
CLAUDE
It's fine now.
Cookie glowers and takes a seat.
RAY
Stop aggravating people. Just eat
your food.
As the room returns to normal, Claude starts polishing his
fork with his shirttail. Irritated, Ray shoots him a look.
CLAUDE
This fork is filthy.
RAY
The fork is the least of your worries,
Claude.
Undeterred, Claude breathes on his fork and polishes it some
more. Disgusted, Ray pushes aside his plate.
RAY
What's your name?
WILLIE
Me? Willie Long.
RAY
What are you in for, Willie?
WILLIE
That's a long story...
RADIO
When he was 13 years old he killed a
son-of-a-bitch with a claw hammer.
WILLIE
They never proved that.
CLAUDE
What a second, you've been in here
since you were thirteen?
RAY
What about you, Radio?
RADIO
Armed robbery.
JANGLE LEG
Damn liar. Bitch killed his sister
with an axe.
RADIO
She was my half-sister. Shit, I ain't
the son-of-a-bitch who poisoned my
own parents.
BISCUIT
(protective)
They deserved it. Very strict.
POKER FACE
What about you, Biscuit? You nearly
skinned your poor old landlady alive.
COOKIE
At least he didn't kill Santa Claus
with his bare hands.
RAY
You killed Santa Claus?
BISCUIT
(scolding)
On Christmas Eve.
POKER FACE
He wasn't the Santa Claus, he was
just wearing the suit and ringing a
bell.
WILLIE
What did you guys do?
The whole table waits expectantly for their reply.
RAY
I kinda lost track of how many people
we killed that night. Must have been
15 or twenty -- not counting women
and children. It was a real bloodbath.
All that screaming...
CLAUDE
Pack of lies. Don't listen to him.
We didn't kill nobody. We were
railroaded. And we gonna prove that.
RAY
He just blocked it out. Nigger's
crazy. He's the one who did all the
stabbing. He's capable of some heinous
shit.
(thumbing down the
table)
How 'bout him down there?
At the end of the table, GOLDMOUTH, a hulking specimen, snarls
menacingly, flashing a glittering set of teeth.
WILLIE
Goldmouth? They say he was born out
back behind the shithouse. That's
what they say.
RAY
You all been here a long time. Doesn't
anybody ever escape from this place?
WILLIE
They run but they never get too far.
RADIO
Couple years back, Cookie made it
clear to Greenville.
RAY
Greenville, that the nearest town?
WILLIE
(nodding)
It's a two-day walk if you don't get
lost. Take a mighty cagey country
boy to navigate the woods and bayous
between here and there.
BISCUIT
Those dogs they got can sniff a skid
mark in your underpants from a half-
mile off.
RAY
Alright, well, let's say you make it
to Greenville. What's there, anyway?
COOKIE
Grandma Dodi's Pork Rib Joint.
POKER FACE
That's where they nabbed him.
COOKIE
Didn't even get to have my peach
cobbler.
WILLIE
The most important thing they got in
Greenville is a train that heads up
north.
Just then, Goldmouth stands up, casting a shadow over Claude.
GOLDMOUTH
Hey, girl, you gonna eat your corn
bread?
Claude looks up, considering his options.
CLAUDE
No, man. I want you to have it.
RAY
Wait up there, Claude. You give that
guy your corn bread and the next
thing you know you'll be ironing his
shirts and clipping his toenails.
GOLDMOUTH
Maybe I oughta eat your corn bread.
RAY
My corn bread? Oh no, my friend. I
love corn bread.
Ray picks up his corn bread and takes a huge bite out of it,
rolling his eyes with enthusiasm.
RAY
I thought my mama made good corn
bread but this is really something
special.
Ray looks at the faces around the room, smiles broadly.
Goldmouth is getting embarrassed.
RAY
Who knew I'd have to come all the
way down to this here prison, deep
in the asshole of the great state of
Mississippi, to find such a tasty
piece of corn bread?
The prisoners begin to laugh. Ray's got them now.
RAY
And who knew that in this great corn
bread-making institution I'd come
face to face with the biggest,
ugliest, stinkiest, ugliest gold-
mouthed negro in the entire world.
Now get out of my face before I lose
my appetite!
EXT. CAMP 8 YARD -- DUSK
A punch sends Ray sprawling in the dust. Goldmouth looms
over him. The incorrigibles form a circle around the
combatants. Poker Face, the camp bookie, is taking all bets.
GOLDMOUTH
How you like your corn bread now,
New York?
Goldmouth and Ray square off. Goldmouth swings, Ray ducks
and counters with a swift jab to the gut. Goldmouth just
flashes a shiny grin and clobbers Ray with a fist the size
of a Thanksgiving turkey. Ray sinks to the dust. Radio drops
down near him.
RADIO
Come on, New York, you can do better
than that! Get up and show him how
they do it in Harlem!
Ray shakes his head and staggers back to his feet. He circles
the big man and gets in a couple of good shots, much to the
crowd's approval. Goldmouth shakes his head and wipes the
blood from his nose. Now he's mad. He grabs Ray by the shirt
and delivers a crushing blow. Ray reels backward into Cookie's
arms.
COOKIE
I appreciate you going to all this
trouble over my corn bread. I don't
get a lot of compliments in my line
of work.
Cookie shoves Ray back into the ring for more punishment.
Claude emerges from the mess hall, munching on a piece of
corn bread. He squeezes in between Poker Face and Willie.
WILLIE
Your pal's getting the tar whipped
out of him on your account.
CLAUDE
How many times I got to tell you? He
ain't my pal. Besides, he looks like
he knows what he's doing.
Just then Claude winces as Goldmouth delivers a jaw-crushing
uppercut that knocks Ray on his back. Claude bristles under
the incriminating looks coming at him from all directions.
CLAUDE
Alright, alright...
Claude crouches down as Ray rolls over on his stomach and
pushes himself up onto all fours. His eyes are swollen shut,
his face covered with blood.
CLAUDE
Hey, Ray, I think you made your point,
whatever that is. Maybe now's a good
time to throw in the towel. You know
what I'm saying?
Ray manages a smile and staggers to his feet.
RAY
(slurring)
Shit, Goldmouth. Back in New York, I
know bitches who hit harder than
you.
Goldmouth pulls back his fist and lets it fly. Ray hurtles
through the crowd, collapsing in the dust. Willie steps in.
WILLIE
The man's taken enough of a beating.
Let's get him inside.
Cookie, Radio and Poker Face raise Ray to his feet. Goldmouth
slings him over his shoulder and carries him toward the
bunkhouse. Dazed, Ray catches Claude's eye.
RAY
Got him good, huh, Claude? He won't
be bothering us anytime soon.
A quick elbow jab from Goldmouth and Ray is out for good.
Disgusted with himself, Claude tosses what's left of the
corn bread to the mangy dog, who makes short work of it.
BISCUIT
(wagging a finger)
Shame, shame, that's your name.
FADE TO BLACK:
INT. MESS HALL -- DAY
On Sundays, the mess hall also serves as a chapel. From a
makeshift pulpit, the blind REVEREND CLAY and his DAUGHTER
lead the congregation of convicts in a rousing chorus of
"Down by the Riverside."
EXT. CAMP 8 YARD -- DAY
The gospel music filters into the yard, where the prisoners
mingle with kinfolk.
EXT. SGT. DILLARD'S HOUSE -- DAY
MRS. DILLARD hums along with the gospel music as she places
a couple of freshly-baked pies on the window sill to cool.
EXT. CAMP 8 YARD -- DAY
The CAMERA FINDS Claude and Daisy walking hand in hand toward
a simple shack just beyond the gun line. This is the TONK
HOUSE and Dillard is the gate keeper.
CLAUDE
Request permission to go to the tonk,
boss.
Dillard considers Daisy.
DILLARD
I don't see no wedding ring, Banks.
Conjugal visits are for married
prisoners only.
CLAUDE
You think you could make an exception
just this once, boss? She came all
the way down from New York.
DILLARD
I don't need the Baptists on my back,
but I suppose I could issue a
temporary marriage license for a
nominal fee.
Daisy gets the picture. She reaches into her purse and hands
Dillard a couple of dollars.
DILLARD
I now pronounce you man and wife.
(calling to the shooter
shack)
Claude Banks going to the tonk!
Claude takes Daisy's hand and leads her over the gun line.
ACROSS THE YARD
Ray watches Claude and Daisy step into the tonk house. Then
he returns to a game of horseshoes, tossing a ringer. Nearby,
Biscuit gives Jangle Leg a haircut.
RAY
Biscuit, when you're done with Jangle
Leg, you think you could squeeze me
in?
BISCUIT
Thought you'd never ask. Biscuit
needs some gravy.
RAY
I'm talking about a haircut.
BISCUIT
Cost you a pair of nylons.
POKER FACE
Hey, Ray, Goldmouth don't believe
me. Ain't it so they got trains up
in New York City that run under the
streets?
RAY
They're called subways. A nickel
will take you from one end of
Manhattan to the other. Helluva ride,
too.
Radio looks up from a vacuum tube receiver he's busy
repairing.
RADIO
Hey, Ray, you ever been to the Cotton
Club?
RAY
Sure I've been to the Cotton Club.
It's pretty sweet. But it don't hold
a candle to the Boom Boom Room. That's
where the real action is.
WILLIE
What's the Boom Boom Room?
RAY
That's my joint. The swinginest
nightclub in town.
COOKIE
You got your own nightclub?
RAY
Well, not yet. It's still in the
planning stages.
GOLDMOUTH
So it don't exist.
RAY
Just because it's in my mind,
Goldmouth, don't mean it ain't real.
Everything worth anything starts
with a dream.
Hoppin' Bob calls to Ray from the gun line.
HOPPIN' BOB
Gibson! Got yourself a visitor!
Ray turns to find his MOTHER, a handsome woman in a floral
dress, coming toward him.
RAY
Mama?
MAMA GIBSON
Rayford!
The incorrigibles elbow each other and repeat the name
"Rayford" as Mama Gibson envelops her son in a fleshy embrace,
smothering him with kisses.
RAY
What are you doing here, mama?
MAMA GIBSON
I heard some things so I went to see
Spanky Johnson. He told me what
happened and gave me some money to
get down here. What happened to your
face?
RAY
Don't worry about that. Hey, fellas,
this here is my mama. These are some
of my friends. That's Willie, there's
Poker Face, Radio, Cookie, Goldmouth,
Biscuit, Jangle Leg.
The motley crew gathers around, nodding politely. Goldmouth
flashes a golden grin. Willie gallantly doffs his cap.
WILLIE
Mrs. Gibson. Shame on Rayford here
for failing to mention that he had
such a beautiful mama.
Mama manages a half-hearted smile, clutching her bag.
MAMA GIBSON
Nice to meet you all.
GOLDMOUTH
How was your train ride?
MAMA GIBSON
Quite comfortable, thank you.
COOKIE
Them cookies in there?
MAMA GIBSON
Yes, oatmeal.
RADIO
'Scuse me, you got any batteries on
you?
MAMA GIBSON
No. No I don't.
Biscuit sides up, fingering her dress.
BISCUIT
That's a lovely dress. Make it
yourself?
MAMA GIBSON
(vaguely unsettled)
Yeah...
EXT. PORCH -- DAY
Ray and his mama sit in the shade.
RAY
This is a big surprise, mama. I sure
didn't expect to see you down here.
A long, uncomfortable beat. Mama's lip starts to tremble.
MAMA GIBSON
Rayford, I wanted so much more for
you than this.
RAY
Don't cry, mama. This place ain't so
bad as it looks. Sure, we work hard,
but there's plenty fresh air and
sunshine... And you know something
else, I've taken to going to church
regular. They got services every
Sunday right there in the mess hall.
MAMA GIBSON
Don't you lie to me, Rayford.
(composing herself)
You still have your daddy's watch?
(Ray shakes his head)
Well, this is all I can give you. I
wish it was more.
She puts some money in his hand.
RAY
I can't take that, mama.
MAMA GIBSON
Don't argue with me. You need it
more than I do. I know how a little
money can help in a place like this.
Reluctantly, Ray stashes the money in his pocket.
RAY
I can't believe this. I always said
I'd never end up like this. I thought
I'd make something of myself, do
something with my life. You know, be
successful. Have a big house, a
family. Now I'm gonna end up just
like daddy.
MAMA GIBSON
Don't say that, Rayford. Don't ever
say that. He gave up hope. That's
where you gotta be different.
RAY
They gave me life, mama.
MAMA GIBSON
I gave you life. And they can't take
it away from you. Remember that.
You'll get outta here someday. I
believe that. You gotta believe it,
too.
INT. TONK HOUSE -- DAY
Reclining on a straw mattress, Claude watches intently as
Daisy gets dressed. The rickety door reverberates with a
loud pounding.
HOPPIN' BOB
(off)
Time's up, Banks! We got a crowd
gathering out here!
Claude leaps from the bed and slams his fist against the
door.
CLAUDE
Woman came all the way from New York,
goddamnit! We'll come out when we're
good and ready!
Daisy quickly buttons up her dress.
CLAUDE
Did you go see my cousin Maynard
like I asked you in my letter?
DAISY
Of course I did. He said he'd file
an appeal right away. You didn't
tell me he was so good looking.
CLAUDE
Yeah, that side of the family has
all the looks and none of the brains.
I hope he don't mess things up.
DAISY
He seemed like a pretty good lawyer
to me. His offices take up an entire
floor of that big, new building on
125th Street, and he was using all
these words I never heard before. He
even offered me a job.
CLAUDE
A job, huh? Well, that's nice, real
nice. You won't have to work long.
I'll be back soon enough. After I
start work at First Federal Bank of
Manhattan, I'll be keeping you in
style. Everything will get back to
normal again. That's a promise.
Daisy smiles weakly and looks away. She doesn't have much
faith in this promise.
DAISY
Listen, Claude, Maynard wanted to
know if he should file the appeal on
behalf of your friend, too.
CLAUDE
Ray Gibson?
(thinks about it)
No, no. He's the reason I'm in here,
Daisy. For all I know, he's got a
record a mile long. I got a better
shot of getting out of here on my
own. You tell Maynard to think about
me, concentrate on me. Understand?
DAISY
Sure, Claude, whatever you say.
EXT. COUNTRY ROAD -- DAY
The prisoners jump down from the cart and grab hammers and
pick axes as Hoppin' Bob keeps count with pebbles.
DILLARD
We lost yesterday on accounta the
rain. That means we gotta make up
for it today, so put your backs to
it.
HOPPIN' BOB
You heard the boss! Let's move!
Ray and Claude jump down after Willie.
WILLIE
(squinting at the sun)
Looks like a scorcher.
RADIO
I bet the son of a bitch goes over a
hundred and ten.
POKER FACE
I'll take that action.
EXT. FIELD -- DAY
The long line levels a road to a work tune being sung by
Jangle Leg.
Dillard checks the thermometer on the truck -- 90 degrees
and rising. Mopping his brow, he starts down the line.
The sun arcs overhead, a blazing inferno... Heat rises off
the road... The men sweat profusely... "Taking it off here,
boss!" echoes up and down the line.
Biscuit has his work cut out for him, lugging a water bucket
from man to man, offering the ladle.
The sun... the hammer... the ladle... the axe... the sun...
the hammer... the ladle... the axe... The mercury hits 110
degrees...
A NEW GUY lets his hammer slip from his fingers, collapses
in the dirt. Radio nods to Poker Face, who hands him a pack
of cigs.
WILLIE
Man down, boss!
Dillard uses his foot to roll the stricken man over. He's
still alive. Barely.
DILLARD
You two, put him on the truck!
Ray and Claude drop their tools, grab the man by his arms
and legs and lug him up to the road. Once out of earshot,
Ray whispers to Claude.
RAY
Cookie drew me a map to Greenville.
CLAUDE
So?
RAY
You know what I'm saying.
CLAUDE
Yeah, I know what your saying. And
I'm saying if you made it that far,
they'd be watching every train that
pulls out of that station.
RAY
That's why we won't take the train.
Cookie showed me where there's a
farm house. They got a boat there.
CLAUDE
What do you know about boats? I bet
you can't even swim.
They reach the truck. With effort, they swing the man back
and forth and launch him into the back of the truck.
RAY
What I know about boats is they take
you to freedom. Come on, man. I think
we can do this.
CLAUDE
Why are you always talking about we?
There is no we. There is a me, there
is a you. But there is no we between
us.
HARD CUT TO:
INT. BUNKHOUSE WASHROOM -- DAY
Ray and Claude continue their conversation as they lather up
for a shave.
RAY
You want out of this place, don't
you? Don't tell me you're starting
to like it here.
CLAUDE
No, I don't like it here. Look around.
There's nothing but ass. Male ass!
Balls and ass! Believe you me, I'm
getting out of here.
RAY
What does that mean?
CLAUDE
Forget it.
RAY
I'm not gonna forget it. What does
that mean? If you've got a plan, I
think I have a right to know about
it. I told you my plan.
CLAUDE
Getting a map from a chubby chef
named Cookie? Dragging our asses
through the swamps in search of some
worm-eaten boat? That ain't a plan,
that's a vacation for two in the
hole. When you've got a map to New
York City, you get back to me.
Claude splits. Scowling, Ray finishes up his shave.
INT. BUNKHOUSE -- NIGHT
Moonlight streams through the barred windows of the cage.
Exhausted from the day's work, each man stretches out
painfully in his bunk.
JANGLE LEG
Sure was hot out there today.
COOKIE
Still too hot to sleep.
RADIO
Every bone in my body feel like a
big son-of-a-bitch dog got hold of
it.
GOLDMOUTH
I can't wait 'til Sunday.
CLAUDE
What's so great about Sunday? Monday's
right after it.
Restless, Radio rolls over.
RADIO
Hey, Ray, what's the name of that
nightclub of yours?
RAY
You mean the Boom-Boom Room?
RADIO
That's it. The Boom-Boom Room. Sure
would like to see that place when
you get it up and running.
RAY
You should have come by last night,
Radio. You woulda had yourself some
fun.
WILLIE
Last night? What are you talking
about, Ray?
RAY
I'm talking about old Satchmo nearly
blew the roof off the joint.
POKER FACE
Who?
RAY
Satchmo.
GOLDMOUTH
You mean Louis Armstrong?
RAY
He's a good friend of mine. Drops by
the club whenever he's in town.
CLAUDE
Hey, do we have to listen to this
bullshit? I'm trying to get some
sleep around here.
"Shut up, Claude!" echoes around the room. Irritated, Claude
thumps his pillow and turns his back on the room.
RAY
Yeah, things were hot last night,
but you'll never guess who's playing
tonight.
BLAM! A high horn note sounds.
SMASH CUT:
CLOSE-UP -- Biscuit, all dolled up and flashing a million-
dollar smile. She begins to sing.
BISCUIT
A tisket a tasket...
Biscuit is up on a makeshift platform in the bunkhouse,
lipsyncing to Ella Fitzgerald. But its not the depressing
bunkhouse anymore, it has transformed into Ray's Boom-Boom
Room. PULL OUT SLOWLY as Ray, decked out in a sleek tuxedo
steps in front of the CAMERA. He speaks into the CAMERA as
he walks...
RAY
That's right, fellas. Catch any cab
heading uptown. All the drivers know
Ray's Boom-Boom Room.
GOLDMOUTH (O.S.)
Hey, Ray...
Ray looks to his left, sees Goldmouth in the old bunkhouse.
GOLDMOUTH
Where am I at, man?
RAY
(in nightclub)
C'mon, Goldmouth, somebody's gotta
watch the front door.
The CAMERA PANS off Ray to Goldmouth, in a tuxedo, at the
front door of the nightclub with two lovely ladies. He waves
to himself, sitting on his bunk. Himself waves back, smiling
like a kid in a candy store.
Willie is behind the bar, serving drinks to three gorgeous
SKIMMIES.
WILLIE
Hey, Ray, I could get used to this!
CLOSE ON Cookie sitting a table eating a huge porterhouse.
The CAMERA DOLLIES around to find Ray eating with him.
COOKIE
Ray, my man, this steak is like
butter!
RAY
Made just for you, Cookie.
COOKIE
How about some steak sauce?
RAY
No problem. Oh, boy!
Ray motions to a busboy clearing a table. It's Claude.
RAY
How about some Worchestershire sauce!
And clean that damn table.
Claude grimaces.
CUT TO:
Willie laughing, Goldmouth laughing, Poker Face in the bunk
laughing.
POKER FACE
Hey, Ray, I know you got some
gambling!
CUT TO:
Ray at a craps table holding a pair of dice. He looks at
Poker Face on his bunk.
RAY
C'mon, Poker Face, what's a club
without some dice?
The CAMERA PULLS BACK as Ray throws the dice. A perfect seven.
The CAMERA PANS UP to Poker Face in a tux clutching a fistful
of cash.
POKER FACE
Lucky seven! My nigger! Let it ride!
Across the room, Jangle Leg, in a tux, sits at the piano.
Radio, also in a tux, beats on the drums.
JANGLE LEG
Sing, girlfriend!
Biscuit sings the song, smiling lovingly at her man. Everyone
is having a great time in Ray's Boom-Boom Room, until...
Whistles blow. At the front door, Hoppin' Bob appears with
FIVE TRUSTIES dressed in police outfits. The incorrigibles
scatter.
RADIO
Hey, Ray, looks like trouble!
A hard white light from Hoppin' Bob's flashlight shines
directly into the CAMERA.
CLOSE ON Ray, in his bed, back in the old bunkhouse. The
music stops abruptly. He shields his eyes from the harsh
light. Hoppin' Bob is looming over him. It's back to reality.
HOPPIN' BOB
You don't shut up, you're gonna spend
the rest of the night in the hole,
Gibson! That goes for the rest of
you girls, too. I don't want to hear
another peep about no Boom-Boom
fucking Room!
A loud burst of flatulence cuts through the darkness. Hoppin'
Bob turns his flashlight on Cookie.
COOKIE
Sorry, Cap'n.
Scowling, Hoppin' Bob steps out of the cage and locks the
door behind him. The men slowly settle back in.
RADIO
(whispering)
Pretty good story, Ray. Didn't much
care for the ending though.
Lights out at Camp 8.
EXT. CAMP 8 -- YARD -- DAY
Claude's playing pepper with Radio, Jangle Leg and Poker
Face.
DILLARD
Mail call!
The incorrigibles quickly gather around as he calls off names,
passing cards and letters through the crowd.
DILLARD
Craddock!... Williams... Henshaw!...
Banks!
CLAUDE
Here!
Dillard hands the letter to Ray, who glances at it before
passing it back to Claude.
RAY
(reading)
Maynard Banks, Esquire. Attorney at
law.
CLAUDE
Gimme that. That doesn't concern
you.
RAY
I'm sure it don't.
INT. CAMP 8 BUNKHOUSE -- DAY
Claude rips open the letter. A profound disappointment settles
over him as he reads the news from cousin Maynard. Bitterly,
he crumples up the letter and tosses it down.
EXT. FIELD - DAY
Dillard strolls down the line with his rifle over his
shoulder. Under his watchful gaze, hoes rise and fall. After
he passes, Claude moves a little closer to Ray.
CLAUDE
What's up, Ray?
RAY
(cool)
Claude.
CLAUDE
Sure is hot today. Think it'll rain
later?
RAY
What do you want, Claude?
CLAUDE
What do I want? What makes you think
I want something?
RAY
My daddy always said when a man starts
talking about the weather keep you
hand on your wallet.
CLAUDE
Your daddy must have been a helluva
guy, a deep man, a wise man. Sure
wish I could have met him --
RAY
Cut the bullshit. What do you want,
Claude?
CLAUDE
(clearing his throat)
You still got that map?
RAY
Yeah.
CLAUDE
Well, if you're still thinking about
booking it, I want in. I think we
can make it.
RAY
We? Did I hear you say we? As I
recall, you're the one who said there
is no we. Guess we got some bad news
in that letter, huh?
CLAUDE
Look, my cousin Maynard is a lawyer.
He filed an appeal on my behalf --
RAY
On your behalf. What happened to we?
CLAUDE
The appeal was denied. Then Daisy
went and fell for Maynard. They're
engaged to be married, can you believe
that?
RAY
Well, let's just think about that
for a moment. He's a successful lawyer
up in New York City and you're down
here with a bright future in the
cotton picking business. Eeny, meeny,
miney, Maynard.
CLAUDE
Come on, man. Don't shut me out. I'm
telling you, you and me, that map,
we can go places.
RAY
You know what, Claude? This whole
time we've been down here, you've
done nothing but think about yourself,
acting like this whole thing is my
fault. That plan with your cousin,
did that include me?
A long beat.
CLAUDE
No.
RAY
At least you're honest for once. So
now you want to be my friend? Well,
let me tell you something, Claude-my-
shit-don't-stink-Banks. You got a
lot to learn about friendship.
CLAUDE
Does that mean I'm in?
RAY
I don't think so, Claude. You'd just
slow me down. We'd have to stop every
five minutes so you could polish
your silverware. There's no way around
it, you're soft.
CLAUDE
What'd you say?
RAY
I said you're soft.
CLAUDE
Don't call me that. You know I hate
it when you call me that.
Ray gets in Claude's face and silently mouths the word --
"soft." Claude throws down his hoe and sinks his fist deep
into Ray's gut.
CLAUDE
Damn, that felt good. I should have
done that the first time I met you.
Ray touches the blood coming from his nose. Eyes blazing, he
tackles Claude, dragging him to the ground. The two men roll
around, trying to strangle each other.
Hoppin' Bob hustles down the hill and drags Ray off of Claude.
But Claude comes back for more. Hoppin' Bob finds himself in
the middle of the fray.
That's when the cavalry arrives. Two trusties use their rifles
to crack Ray and Claude over the backs of their heads, sending
them both down for the count.
Hoppin' Bob empties his canteen over their faces. They sputter
back to consciousness.
HOPPIN' BOB
Now you girls set aside your
differences and get back to work or
I'll see to it --
RAY
-- we'll spend a night in the hole.
We heard this shit before.
Ray and Claude stagger to their feet and pick up their tools.
Hoppin' Bob and the trusties head back up the hill. Ray starts
to chuckle.
CLAUDE
What the fuck are you laughing about?
Ray opens his palm to reveal TWO PEBBLES. Claude regards Ray
with new-found respect.
EXT. COUNTRY ROAD -- SUNDOWN
One by one, the prisoners of Camp 8 climb into the mule carts
under the watchful eye of Hoppin' Bob. As each man passes,
he removes a pebble from his pocket. The last one in is
Willie. Hoppin' Bob's pocket is now empty.
HOPPIN' BOB
All in, boss!
DILLARD
Move it out.
HOPPIN' BOB
Movin' it out, boss.
Dillard spurs his horse, escorting the mule carts back to
camp.
EXT. FIELD -- SUNDOWN
As the carts fade into the distance, Ray and Claude pop up
from a roadside ditch and take off for a grove of trees in
the opposite direction.
EXT. WOODS -- SUNDOWN
Running for all they're worth, Ray and Claude crash through
the bramble. Claude trips over a root and sprawls face first
in the bushes. Ray turns around and helps him to his feet.
Claude is still laughing giddily. He throws his arms around
Ray.
CLAUDE
You did it, man! You got us out!
Next stop, New York City!
RAY
New York's a long way's off. Let's
just keep moving, okay?
As Ray and Claude disappear into the woods...
DISSOLVE TO:
INT. BUNKHOUSE -- NIGHT
Radio's pulling in some jazz music out of New Orleans.
Prisoners hit their bunks as the floorwalker does the nightly
head count. He stops at Claude and Ray's empty bunks, glancing
around, puzzled.
EXT. DILLARD'S PORCH -- NIGHT
Dillard smokes a cigarette on the swing. His wife steps out
with a fresh bourbon and ice. Suddenly, SIRENS start to wail
and emergency floodlights blaze to life at Camp 8.
EXT. FIELD -- NIGHT
Hounds scramble down from the back of a truck and gather
around the DOG BOY. He holds out a handful of soiled laundry
and a dozen snouts sniff it thoroughly.
Nearby, Dillard gathers a DOZEN MEN with rifles and
flashlights into a posse. He puts a cigarette in his mouth.
Hoppin' Bob lights it for him.
EXT. WOODS -- NIGHT
Trees rise ominously around Ray and Claude as they push
through dense underbrush.
CLAUDE
I know these trees all look the same,
but I'm getting an awful familiar
vibration from this one right here.
You sure you know where we're going?
RAY
Absolutely. The map is very clear.
CLAUDE
Let me take a look at that map.
Claude considers it from various angles.
CLAUDE
You call this a map? What was Cookie
smoking when he drew this?
RAY
Cookie didn't draw it. I did.
CLAUDE
You drew this?!
RAY
I knew you wouldn't come if I didn't
have a map.
CLAUDE
That gripes my soul, man. We're out
here in the middle of nowhere. There
is shit nibbling at my balls! Don't
tell me you don't know where we're
going!
Ray shrugs and presses on. Dumbfounded, Claude considers the
map again, then tears it to shreds. The braying of hounds
echoes through the trees.
CLAUDE
Hey, wait up!
EXT. THE WOODS -- NIGHT
Ray and Claude race through the underbrush.
EXT. THE WOODS -- NIGHT
Dillard and his men follow the dogs through the woods, hot
on the scent.
EXT. THE WOODS -- NIGHT
Ray and Claude race up to a chain-link fence. On the other
side, an old Ford is parked on a dirt road. Hearing the posse
closing in behind them, Ray and Claude fling themselves onto
the fence.
EXT. THE WOODS -- NIGHT
The posse is gaining ground. Dillard takes two men off to
the left, sending the rest of the men straight ahead.
EXT. THE WOODS -- NIGHT
Claude clears the fence first and scrambles for the old Ford.
Ray's shirt snags on a piece of wire as he drops down from
the fence. Stuck, he dangles helplessly a few feet off the
ground.
INT. FORD -- NIGHT
Claude yanks open the door and jumps behind the wheel. TWO
WHITE TEENAGERS bolt up in the backseat where they were
necking. After a beat -- group scream. The half-dressed
teenagers dive from the car and scramble off down the road.
Claude twists the key in the ignition and the engine roars
to life.
CLAUDE
Come on, Ray, time to go!
RAY
I'm stuck!
Claude sees Ray caught up on the fence, then hears the sounds
of the approaching posse. If he floored it right now, he
might make it. But he can't just leave Ray hanging there.
EXT. FENCE -- NIGHT
Claude runs up and grabs Ray's legs, pulling for all he's
worth. The shirt rips free, sending Ray and Claude tumbling
to the ground. They leap to their feet and turn toward the
car -- running smack into the barrel of Dillard's shotgun.
EXT. SUPERINTENDENT'S MANSION -- DAY
An OLD BLACK PRISONER delivers a frosty mint julep to
SUPERINTENDENT ABERNATHY who rocks slowly in his chair. At
his feet, his 10-year-old daughter MAE ROSE is playing jacks.
Her long blonde hair makes her look like a little angel.
MAE ROSE
Look, daddy. They caught those two
men who escaped last night.
Mae Rose is pointing down the drive, where Dillard and a
couple of trusties march Ray and Claude toward the house.
ABERNATHY
They ain't men, Mae Rose. They're
convicts. And nigger convicts to
boot. Can you say nigger?
MAE ROSE
Nagger?
ABERNATHY
No, nigger.
MAE ROSE
Nigger.
ABERNATHY
That's my girl.
Bound by leg irons and handcuffs, Ray and Claude are deposited
at the bottom of the stairs.
DILLARD
Here they are, Superintendent. We
tracked 'em all the way to the
Tallahachie.
ABERNATHY
That's quite a ways. I'm glad you
New York boys could see some of our
lovely countryside while you're down
here. What do you say, Mae Rose? How
should we teach these two a lesson?
Mae Rose considers their faces. Ray and Claude look like
they've been to hell and back.
MAE ROSE
A night in the hole?
ABERNATHY
Better make it a week.
Dillard nods and turns Ray and Claude around. As they march
back down the drive, Abernathy takes sip of his mint julep
and affectionately pats Mae Rose on the head.
EXT. CAMP 8 -- DAY
The incorrigibles of Camp 8 gather at the gun line, watching
silently as Dillard and a couple of trusties march Ray and
Claude toward the hole.
EXT. THE HOLE -- DAY
The trusties shove them each into a small, dank cell and
slam the doors behind them. Dillard secures both doors with
an iron bar.
DILLARD
See you in a week, boys.
OMITTED
Sequence omitted from original script.
INT. RAY'S CELL -- DAY
Ray slumps to the floor, propping his feet against the wall.
RAY
Hey, Claude. I just want to say thanks
for coming back for me.
INT. CLAUDE'S CELL -- DAY
Claude considers his bleak surroundings. It's a small,
uncomfortable space, not even big enough to lie down. Just a
tin bucket for a toilet.
CLAUDE
Don't mention it.
RAY
(off)
Hell, you'd probably be half way to
New York by now...
CLAUDE
I'm serious, man. Don't mention it.
Ever.
EXT. THE HOLE -- DAY
The sun beats down on the tin roofs...
INT. BUNKHOUSE -- CAGE -- NIGHT
The prisoners are gathered around a table, laying out money.
As usual, Poker Face is keeping tabs.
COOKIE
I'll take Claude to die on Wednesday
for fifty cents.
POKER FACE
Wednesday for two bits. And don't
forget you already owe me a steak.
BISCUIT
I'll take Claude for Friday. That's
my birthday.
With an ear to his receiver, Radio slaps his money on the
table.
RADIO
Weatherman says a heat wave's coming.
I say neither one of 'em son of
bitches gonna last past Thursday.
POKER FACE
I told you before, I don't take
pennies. Two cigarettes or one nickel
minimum. What about you, Willie?
Gonna get in on this action?
WILLIE
I got a crispy new dollar bill says
both of them gonna make it.
This gives the men pause. Willie tosses his money on the
table.
POKER FACE
Now that's what I call a bet.
GOLDMOUTH
It's a mighty long shot, Willie.
Nobody ever made it a week in the
hole.
JANGLE LEG
Not in August, anyway.
But Willie leaves the money where it is.
POKER FACE
Who else has some guts around here?
Poker Face makes notations as the betting resumes.
EXT. FIELD -- DAY
Work goes on as usual for the prisoners of Camp 8. Trusties
keep their eyes peeled for slackers.
EXT. THE HOLE -- DAY
The brick shacks bake in the noonday sun.
EXT. FIELD -- DAY
Biscuit moves down the line offering the ladle to the men as
they struggle under a crushing heat wave.
EXT. THE HOLE -- DAY
Superintendent Abernathy strides up and gives the nod to
Dillard, who unlocks the doors. Huddled in their respective
cells, Ray and Claude shrink from the bright sunlight. Then,
slowly and painfully, they rise to their feet.
In the background, the incorrigibles gather at the gun line
as word spreads that the fellows are still alive. Abernathy
glances at the crowd with annoyance.
ABERNATHY
I don't think these boys have learned
their lesson. Let's give 'em another
week for good measure.
DILLARD
Sure you want to do that, sir?
ABERNATHY
Don't you ever question me, Sgt.
Dillard. When I give an order, you
jump to it, or I'll kick you and
that first-cousin you call a wife
outta that pretty little house so
fast it'll make your pin-head spin.
You got that?
DILLARD
Yes, sir.
Dillard slams the doors on Ray and Claude and clamps shut
the padlocks. Abernathy smiles at the incorrigibles, who
regard him with undisguised hatred.
AT THE GUN LINE
A somber Poker Face offers Willie a wad of bills.
POKER FACE
Well, they made it a week. Looks
like you win, Willie.
WILLIE
Let it ride.
INT. CLAUDE'S CELL -- NIGHT
A slot at the bottom of the door opens. A tin plate of mush
slides through and the slot closes. Slumped in the corner,
Claude reaches for the food -- but a RAT beats him to it,
scampering out of the shadows and leaping onto the dish.
INT. RAY'S CELL -- NIGHT
A commotion and wild screams come from Claude's cell. Ray
leaps to his feet, shouting through the wall.
RAY
Claude? You alright?!
INT. CLAUDE'S CELL -- NIGHT
Claude continues to stomp the rat.
CLAUDE
Can't take it no more, Ray! Die,
motherfucker! Gotta get the fuck
outta here!
Claude pounds against the door, raising a holy racket. We
continue to cut back and forth between cells as needed.
RAY
Keep it together, Claude. You wake
up the man, he'll shoot you for sure.
CLAUDE
He'd be doing me a favor. I'm getting
outta here one way or the other!
Goddamn rats and shit! Fuck!
Claude continues shouting and pounding.
RAY
All right, man, just settle down.
We'll get outta here, Claude. We'll
get outta here real soon.
CLAUDE
How the fuck are we gonna do that,
Ray?!
Ray looks around his cell. Claude's pounding is bound to
wake up somebody soon.
RAY
We'll just get off at the next stop.
CLAUDE
(stops pounding,
confused)
Say what?
RAY
That's right, we'll get off at the
next stop. The train's pulling into
the station right now.
CLAUDE
The hell you talking about? What
train?
RAY
We're in the Bronx, my man. Hundred
and Sixty First Street.
Claude focuses on what Ray is saying and starts to breathe
easier.
CLAUDE
Hundred and Sixty First Street? That's
Yankee Stadium.
RAY
Hell, yes, Yankee Stadium. Bombers
are playing a double-header against
the Red Sox.
CLAUDE
Red Sox... Who's on the mound?
RAY
I don't know. Who do you want?
CLAUDE
Allie Reynolds. He's my boy.
RAY
Sure, it says Allie Reynolds right
here in the program. He's warming up
right now. Man, we're so close to
the field I need cleats. How'd you
get such good seats?
CLAUDE
I know people.
RAY
They must be the right people. Whoa,
there goes the hot dog man. Let's
get a couple. Damn, that smells good.
Nothing like a ballpark hot dog,
huh?
CLAUDE
You get ketchup?
RAY
Ketchup? Who eats ketchup on a hot
dog? Mustard's what you want.
CLAUDE
I can't eat it with mustard.
EXT. THE HOLE -- NIGHT
Dillard strides toward the hole, shotgun in hand. He pauses
to listen to the argument, cocking an eyebrow in befuddlement.
RAY
(off)
Give me back that hot dog. I'll eat
it myself.
CLAUDE
(off)
What am I gonna eat?
RAY
(off)
You can starve to death for all I
care. Now shut up, the game's about
to start.
CLAUDE
(off)
Hey, man, is Babe Ruth in the lineup
today?
RAY
(off)
Of course, he's in the lineup. There
he goes right there. Hey, Babe...!
Dillard shakes his head, shoulders his gun and heads back
toward his house.
EXT. THE HOLE -- DAY
Abernathy gives the nod to Dillard, who unlocks the doors.
Two trusties drag Ray and Claude out of their cells.
INT. BUNKHOUSE -- DAY
The men crowd around the windows.
RADIO
What's going on? Are they alive or
dead?
GOLDMOUTH
Don't look too good.
POKER FACE
They're not moving.
EXT. THE HOLE -- DAY
Slowly, Claude opens his eyes, squinting in the harsh light
of day. Summoning his strength, he staggers to his feet.
CLAUDE
Hey, Ray...
Ray's eyes blink open. Claude holds out a hand and helps him
stand up. They share a look. They made it.
ABERNATHY
(scowling)
Sergeant Dillard, make sure these
two are out in the fields first thing
in the morning.
Abernathy turns on his heels. Dillard considers the two tough
guys standing before him.
DILLARD
Go on, get inside.
Ray and Claude stagger toward the bunkhouse as the
incorrigibles gather on the porch and help them in out of
the sun.
DISSOLVE TO:
INSERT -- TIME PASSAGE
(Note: This montage is mixed with 16mm and Super 8 footage.
A beautiful 1940s song plays over.)
A. King Kong is machined-gunned off the top of the Empire
State Building...
B. FDR introduces his New Deal...
C. The incorrigibles chop weeds...
D. With Willie and Claude standing guard, Ray samples a batch
of moonshine from a secret still in his footlocker...
E. At the height of the depression, poor people line up in
front of a soup kitchen...
F. Ray and the crew sit around the poker table playing cards
and laughing...
G. Ray opens a letter and pulls out a snapshot of his mama
which he places over his bunk.
H. The incorribles level a road...
I. Jesse Owens wins the 100 meter race at the 1936 Olympics
in Berlin...
J. Benny Goodman sets the kids dancing with wild abandon in
the aisles of the Paramount Theater...
K. The Hindenburg bursts into flames...
L. Claude writes a letter, "Dear Sylvia"...
M. In the juke joint, Sylvia reads the letter and smiles.
She shows it to a few other WORKING GIRLS...
N. Adolf Hitler stabs the air in front of a foreboding sea
of Nazis...
O. The 1939 World's Fair opens in New York...
P. Ray nails a sign to the side of the bunkhouse: RAY'S BOOM
BOOM ROOM. He steps back to admire the effect. Behind him,
Sylvia and her friends mingle with the incorrigibles in the
yard... Dillard takes his cut as Claude and Sylvia head for
the tonk house. Ray and his date step up...
Q. Lou Gehrig is honored at Yankee Stadium. "Today I consider
myself the luckiest man on the face of the Earth..."
R. With a pillow stuffed under a home-made Santa outfit, Ray
distributes chocolate to the incorrigibles while Claude and
Willie decorate the saddest little Christmas tree you ever
saw.
S. The 1940 Oldsmobile is introduced...
T. Japanese Zeros bomb Pearl Harbor...
U. FDR declares "a day that will live in infamy."...
V. A WWII newsreel shows American G.I. s storming a beach in
the South Pacific...
INT. MESS HALL (1943) -- NIGHT
The inmates of Camp 8 cheer for the American soldiers up on
a makeshift movie screen. Instead of black and white stripes,
the prisoners now wear blue twill. In an audience of new
faces, the CAMERA FINDS some familiar ones. Ray and Claude
are surrounded by their crew -- Willie, Radio, Poker Face,
Cookie, Biscuit, Jangle Leg and Goldmouth. A decade has
passed.
EXT. CAMP 8 YARD -- DAY
A line of NEW PRISONERS stands before Dillard, now 10 years
older.
DILLARD
...Camp 8 is for incorrigibles, so
whatever you've done to get here,
believe me, we are not impressed.
You new men are probably noticing
that we have no fences here at Camp
8. We don't need no fences, we have
the gun line. It runs from shack to
shack clear around the yard --
Dillard pauses in front of a big country boy who can't be
more than 18 years old. The kid is bouncing a rubber ball.
DILLARD
What the hell you think you're doing?
The kid don't answer. An OLD GUY steps forward.
OLD GUY
Excuse me, boss. That kid don't talk.
Something wrong with his head, just
can't get right, boss.
DILLARD
Can't get right, huh? We'll see how
long he last. Now, where was I?
HOPPIN' BOB
We don't need no fences at Camp 8,
boss.
DILLARD
That's right. We don't need no fences,
we have the gun line. It runs from
shack to shack clear around the yard.
You are now inside the gun line...
INT. BUNKHOUSE -- DAY
Ray and some of the fellas are playing poker. Dillard's voice
drifts in through the open window.
RAY
(mouthing along)
If you step outside the gun line
without my permission, you will be
shot. If you trip and fall over the
gun line, you will be shot. If you
spit, if you pee, if you stick your
ass out and take a dump over the gun
line, you will be shot...
He lays down his cards and rakes in the pot.
EXT. BASEBALL FIELD -- DAY
Jangle Leg pitches to Radio, who swings and misses. Behind
the plate, Goldmouth tosses the ball back to Jangle Leg. On
the sideline, Ray teaches three-card monte to CAN'T GET RIGHT.
Claude paces nearby.
CLAUDE
I try to teach 'em the finer points
of the game, share my wisdom, but I
don't know why I bother. They don't
listen, they sure don't learn...
Another pitch, another strike.
RAY
What you're dealing with here is a
complete lack of talent.
CLAUDE
I'm sick of watching Camp 12 win the
championship. Every year they get to
roast the victory pig and we get
dick. This year I want that pig.
Radio knocks a grounder up the middle.
CLAUDE
Alright, Radio, there you go. Who
wants to hit next?
Can't Get Right looks at Ray.
RAY
You want to hit?
(to Claude)
Yo, Claude. Give Can't Get Right a
shot.
CLAUDE
(skeptical)
Him?
RAY
Can't be worse than any of these
other fools.
CLAUDE
All right, grab the bat. Let's see
what you can do.
Can't Get Right shuffles to the plate. Goldmouth hands him
the bat.
CLAUDE
Jangle Leg's gonna throw the ball
nice and easy. You just go ahead and
take a swing.
Jangle Leg tosses the ball. Can't Get Right swings and
connects with a mighty CRACK! The incorrigibles crane their
necks as the ball disappears into the sky. They turn to look
at Can't Get Right. Ray gives Claude a significant look,
then tosses another ball out to Jangle Leg on the mound.
CLAUDE
Okay. Let's try that again. This
time give it a little juice.
Jangle Leg nods, winds up and delivers a whistling fast ball.
Can't Get Right clobbers it. Once again, the incorrigibles
track the departing projectile.
RAY
Told ya.
Can't Get Right smiles for the first time.
EXT. SUPERINTENDENT'S MANSION -- DAY
The men of Camp 8 paint a fence along the drive leading up
to the big house.
RADIO
I heard Camp 12 got themselves a son-
of-a-bitch used to pitch for the Mud
Hens.
GOLDMOUTH
That boy got a year for jay-walking.
RAY
Judge must have money riding on the
championship.
CLAUDE
Don't matter who Camp 12 puts on the
mound. All I know is when this
season's over Camp 8's gonna have
pork chops.
Just then a U. S. Army Jeep swerves past the men and parks
in front of the mansion. Young CAPT. TOM BURNETTE helps MAE
ROSE out of the car. The prisoners stare furtively at her
long legs and curly blonde tresses.
POKER FACE
Looks like little Mae Rose has grown
up.
BISCUIT
And out.
COOKIE
Mmm-mm, that girl's got gams.
CLAUDE
She's got it all. And it's firm and
round and fully packed.
RAY
You shred it, wheat. That there is
fresh water.
Next to them, Can't Get Right stares openly, mesmerized by
her beauty. Ray nudges him.
RAY
Be cool, man. You can look, just
don't drool.
Up at the mansion, Abernathy and his WIFE come out onto the
porch, all smiles.
ABERNATHY
How was the honeymoon? Am I gonna be
a grandaddy soon?
MRS. ABERNATHY
Don't pay attention to the
superintendent, Tom. You're going to
stay for supper, aren't you?
TOM
Afraid not. I'm shipping out this
afternoon.
The prisoners steal glances as Mae Rose kisses her new husband
goodbye. She gives them quite a show, raising her leg behind
her just like Betty Grable. Then Tom climbs into the Jeep
and pulls away.
Mae Rose takes a long glance at the prisoners. The men all
look away -- except Can't Get Right who stands there smiling
innocently. Mae Rose gives him a little wink, then turns her
back and bounces up the steps.
EXT. BASEBALL FIELD -- DAY
A plump PIG roots about in a small pen. A sign dangles from
a post -- "First Prize." The incorrigibles of Camp 8 limber
up for the big game with the inmates of Camp 12 across the
field.
POKER FACE
Think you can handle something that
big, Cookie?
COOKIE
I handled your mama, didn't I? Don't
y'all worry. I got plans for that
bad boy. Ain't none of him going to
waste.
Beyond the fence, a late-model sedan rolls up. STAN BLOCKER,
in a straw hat and a rumpled suit, climbs out and stretches
his legs. Irritated, he smacks a mosquito and exchanges a
few words with Dillard.
DILLARD
Banks! Get over here!
Claude hustles over, removing his hat.
DILLARD
This is Stan Blocker. Scout for the
Nigger Leagues.
BLOCKER
Negro Leagues, actually. Pittsburgh
Crawfords. Ever hear of us?
CLAUDE
We get the games on the radio
sometimes.
BLOCKER
We played down in Jackson yesterday.
Heard a rumor you've got a boy up
here who can hit the ball a ton.
CLAUDE
You probably mean Can't Get Right.
That's him over there.
BLOCKER
Can't Get Right? That's the kid's
name? Can I talk to him?
CLAUDE
You can try, but you won't get too
far. Why you interested?
BLOCKER
Crawford's are always looking for
new talent.
CLAUDE
Maybe you didn't notice, but this is
a prison.
BLOCKER
There are ways around that. Right
sergeant?
Blocker winks at Dillard, then glances at the incorrigibles
practicing in the field. Goldmouth, Cookie, Poker Face,
Biscuit -- they don't exactly inspire confidence.
BLOCKER
Nice looking squad. See you after
the game.
Blocker takes a seat on the bench.
EXT. BASEBALL FIELD -- DAY
The inmates of Camp 12 are in the field. Our boys from Camp
8 cheer for Cookie digging in at the plate. Ray taunts the
opposition from the third base line.
The PITCHER winds up and releases a fast ball. Cookie swings
and connects for a base hit up the middle.
IN THE STANDS
Mrs. Abernathy and Mrs. Dillard share a box of Cracker Jack.
MRS. ABERNATHY
Of course, the superintendent's hoping
for a boy, but personally, I'd prefer
a girl.
MRS. DILLARD
Whatever it is will be a little gift
from heaven. Look at the way she
glows.
Mae Rose sits next to them. She is SIX MONTHS PREGNANT. She
removes her sunglasses and coyly bites a fingernail when she
spots Can't Get Right in the on-deck circle.
DOWN ON THE FIELD
Can't Get Right smiles shyly. Sensing trouble, Claude ushers
Can't Get Right toward the plate, massaging his shoulders.
CLAUDE
You're my boy, just keep what little
mind you have focused on the game.
If you hit that ball the way I know
you can, you might just be our ticket
off this farm.
Can't Get Right digs in. Claude returns to the sidelines and
appeals to the gods. The pitcher winds up and releases a
fast ball. Can't Get Right connects with that familiar CRACK!
Blocker stands up and watches the ball clear the fence and
just keep going.
With his team cheering him on, Can't Get Right trots around
the bases. But he's still looking at Mae Rose.
EXT. CAMP 8 YARD (LATER) -- DAY
Cookie slowly turns the pig on a spit over an open fire. The
incorrigibles are savoring a victory feast. As always, trusty
guards keep an eye on things.
Off to the side, Blocker is laughing with Ray and Claude. He
takes a hit off Ray's bottle of shine. It's not his first,
either.
BLOCKER
Mark my words, within five years
there's gonna be a colored man playing
in the majors.
RAY
Come on, the world hasn't changed
that much.
BLOCKER
Maybe not yet. But it will. And I'll
be out of a job. Damn, that's some
tasty hooch.
CLAUDE
It's amazing what Ray here can do
with a couple of pounds of potato
skins and some molasses.
RAY
So, Blocker, what do you think of
our boy?
BLOCKER
I think that boy could be the next
Josh Gibson. I'm gonna talk to the
front office about him, you can bet
on that. Damn, it's getting late. We
got a game in Memphis tomorrow.
Blocker starts for his car, parked just beyond the gun line.
CLAUDE
What about us? Don't forget to mention
us.
RAY
We're like his handlers. He can't
function without us.
BLOCKER
I'll put in a good word for you.
You've done a good job with that
boy. Thanks for your hospitality.
Ray and Claude's eyes gleam with hope as Blocker's car rumbles
off down the road.
EXT. SUPERINTENDENT'S MANSION -- NIGHT
Inside, a woman screams in agony. Then, the HEALTHY CRIES of
a new-born baby.
INT. MAE ROSE'S BEDROOM -- NIGHT
Superintendent Abernathy paces anxiously in front of a white
curtain surrounding Mae Rose's bed. Suddenly, Mrs Abernathy
staggers out from behind the curtain with a stricken look on
her face. She tries to speak, but words fail her. Her legs
go wobbly and she faints dead away.
ABERNATHY
Uh, doctor...
The DOCTOR steps from behind the curtain, drawing it behind
him. He checks Mrs. Abernathy's pulse.
DOCTOR
She'll be fine. She just had a bit
of a shock.
ABERNATHY
Is Mae Rose okay?
DOCTOR
She's doing just fine.
ABERNATHY
And the baby?
DOCTOR
(vague)
He's a big one.
ABERNATHY
It's a boy! Well, let's get a look
at him.
Abernathy pushes past the doctor and yanks open the curtain.
Mae Rose is propped up in bed, looking exhausted.
ABERNATHY
Well, where is he? Where's my new
grandson?
The NURSE turns around, cradling the baby in her arms.
Abernathy gently pulls back the soft blanket. His eyes widen
with horror upon discovering that the newest member of the
Abernathy family is black.
EXT. CAMP 8 YARD -- DAY
Can't Get Right bounces his rubber ball off the wall, catching
it on the rebound.
INT. BUNKHOUSE CAGE -- DAY
Ray passes around his latest batch of buck as the men discuss
Can't Get Right's professional prospects. The thump-thump of
the ball on the wall outside plays over.
POKER FACE
You really think they'll let him out
of here just to play baseball?
WILLIE
Why not? Boy's got God-given talent.
CLAUDE
God may have given it, but Claude
Banks spotted it and nurtured it.
RAY
Damn straight. I expect those
Pittsburgh Crawdads to remember that.
CLAUDE
Crawfords.
RAY
Whatever.
COOKIE
(glancing out the
window)
Heads up, here comes trouble.
EXT. CAMP 8 YARD -- DAY
Abernathy drives his sedan up to the bunkhouse. All of his
worldly possessions are strapped to the roof. It appears
that the Abernathys are leaving town. In the back seat, Mae
Rose cradles her baby. Her mother sits next to her. Dillard
steps out into the yard to confer with the Superintendent,
then turns to address the inmates.
DILLARD
Alright, listen up! I want every man
lined up out here in the yard on the
double! Let's move it!
HOPPIN' BOB
You heard what the man said! Move
it!
EXT. CAMP 8 YARD -- DAY
Abernathy holds his newborn grandson up next to Ray's face.
Hmm. Scowling, he moves a little further down the line,
scrutinizing the features of each man. He pauses in front of
Claude, holds up the baby. Maybe. Abernathy stops in front
Goldmouth. Holds up the baby. The possibility makes him
shudder. He moves on to Can't Get Right. His eyes narrow.
ABERNATHY
I know it was somebody from this
camp. I can feel it in my bones.
Disgusted, Abernathy hands the baby back to Mae Rose. Then
he turns, walks back to Can't Get Right and places a revolver
against his head.
ABERNATHY
Do you know who the father of that
little chocolated baby is?
Can't Get Right nods slowly. Abernathy smiles.
ABERNATHY
Well, then, who is it?
Up and down the line, the men brace themselves for the worst.
Can't Get Right just grins. Enraged, Abernathy cocks the
revolver. That's when Ray steps forward.
RAY
The baby's mine, boss.
Stunned, Abernathy lowers the gun and approaches Ray. Then
Claude steps forward.
CLAUDE
He's lying, boss. I'm the father of
that baby.
Confused, Abernathy looks back and forth between the two
men. Then Willie steps forward.
WILLIE
Actually, it was me, boss. I know I
may look old...
BISCUIT
Any fool could see that baby's mine,
boss.
COOKIE
I beg to differ. That cute little
rascal belongs to me...
POKER FACE
I'm the father...
RADIO
I'm the father, boss...
GOLDMOUTH
I'm the father...
JANGLE LEG
I'm the father...
And so it goes down the line, until every last man of Camp 8
has stepped forward to claim kinship with the Superintendent.
Even hard-ass Dillard can't help cracking a smile. Disgusted,
confused and thoroughly fed up, Abernathy jams the revolver
into his belt and climbs into the car. As he guns the engine,
Mae Rose gazes out the back window, smiling one last time at
the father of her baby. Can't Get Right smiles back.
DISSOLVE TO:
EXT. CAMP 8 YARD -- DAY
It's visiting Sunday and Ray's Boom Boom Room is in full
swing. Sylvia's girls are everywhere. Down at the gunline,
Dillard takes his cut from inmates lined up for their turn
in the tonk. A FIVE-PIECE PRISON BAND is playing the blues.
Nearby, Willie is dispensing Ray's moonshine from a bunkhouse
window. He raises a jar in a toast.
WILLIE
To Superintendent Abernathy. May he
have many more grandchildren!
The incorrigibles erupt in boisterous agreement. Claude grabs
Can't Get Right and shakes him.
CLAUDE
What I want to know is where? When?
How?
WILLIE
Wasting your breath, Claude. He ain't
the type to kiss and tell.
Just then, Rev. Clay and his daughter emerge from the mess
hall and start across the yard. It's a good thing the old
man is blind because he wouldn't want to see how far his
flock has strayed. The Reverend inhales deeply as one of
Sylvia's girls passes nearby.
REV. CLAY
There's a sweet fragrance in the air
today.
CLAY'S DAUGHTER
The magnolias are blooming early
this year, daddy.
Blissed out incorrigibles enjoy a last dance as the band
downshifts into a slow, sultry number. In the midst of the
dancers, Claude clings to Sylvia. Nearby, Jangle Leg dances
intimately with a YOUNG WOMAN.
Up on the porch, Ray refreshes Biscuit's drink. Biscuit has
been crying and it shows. The liquor probably isn't helping.
RAY
Don't take it so hard, Biscuit. She
don't mean nothin' to him.
BISCUIT
Hell with him. It ain't that.
He pulls some folded sheets of paper from his pocket, passes
them to Ray.
RAY
These are free papers.
BISCUIT
(devastated)
What am I gonna do out there, Ray? I
can't go home to my mama like this.
I'll get the strap for sure.
RAY
Come on, Biscuit, this is good news.
Your mama's gonna break down in tears
when you show up on her doorstep.
Poker Face leans in.
POKER FACE
(sotto)
I'll give you three to one she gives
him the strap.
Ray gives Poker face a shove, then turns back to Biscuit.
RAY
It's 1945. It's a different world
now.
BISCUIT
Not for me, it ain't.
RAY
Well you can't stay here, Biscuit.
This ain't no life for a man. Any
one of these fellas would give their
right arm to be in your shoes. I
sure know I would.
Ray hands back the papers and heads off to dance with a PRETTY
YOUNG WOMAN lingering nearby. Left alone, Biscuit polishes
off his moonshine and checks his reflection in the bunkhouse
window.
BISCUIT
No life on the inside, no life on
the outside...
He crumples the discharge papers and drops them. Then he
steps down from the porch and walks calmly past the dancing
prisoners toward the gun line.
Ray lifts his head off his date's shoulder. Something about
the way Biscuit is walking suggests that he isn't going to
stop.
RAY
Hey, Biscuit...!
But it's too late. Biscuit crosses the gun line and keeps
walking, his eyes focused on the horizon.
TRUSTY
Man over the line!
The band stops playing, the dancers grow still. Dillard turns
around and squints.
DILLARD
Goddamnit, Biscuit, get back here!
But Biscuit isn't paying attention. He breaks into a run.
Dillard nods to Hoppin' Bob who raises his rifle and draws a
bead. But he can't pull the trigger. He lowers his gun.
Shots ring out from the shooter shacks. Biscuit reels from
the impact of the bullets and looks down sadly at the blood
spreading across his ring-arounds...
Prisoners silently gather at the gunline. Jangle Leg pushes
his way through the crowd and crosses the gunline without
hesitation. Dillard indicates for the shooters to hold their
fire. They train their rifles on Jangle Leg as he strides
toward his fallen companion. Jangle Leg gently lifts Biscuit's
lifeless body into his big arms and somberly carries him
back toward the camp. The CAMERA RISES HIGH OVERHEAD as the
prisoners make way for Jangle Leg to cross back over the
gunline.
INT. BUNKHOUSE -- DAY
A dark mood hangs over the men. Jangle Leg sits stoically as
Radio fiddles with his receiver. Nearby, Poker Face and Ray
play a listless game of gin rummy. Claude is thumbing
distractedly through a dog-eared copy of Baseball Digest.
RADIO
Hey, fellas, I got Chicago.
But nobody can muster much enthusiasm for this news. Radio
shrugs and drops down on his bunk.
Just then, Can't Get Right walks past heading for the door.
He's dressed in civilian clothes, his bindle slung over his
shoulder.
CLAUDE
Hey, Can't Get Right, where you going?
Why you dressed like that?
Can't Get Right holds out a piece of paper which Ray
scrutinizes.
RAY
It's a pardon from the governor.
CLAUDE
Let me see that.
The incorrigibles gather around for a glimpse at Can't Get
Right's ticket to freedom.
CLAUDE
Where'd you get this?
Can't Get Right nods out the window. Stan Blocker is waiting
by his car.
EXT. CAMP 8 YARD -- DAY
Claude storms across the yard and stops at the gun line. Ray
is a few steps behind.
CLAUDE
Yo, Blocker, what's going on here?
BLOCKER
Kid's getting out. I got him a pardon.
CLAUDE
Yeah, but what about me and Ray? I
didn't see our names on that pardon.
You said you were gonna put in a
good word for us.
BLOCKER
I did, Claude. I mentioned you. I
mentioned you both. But the fact is,
pardons don't come cheap. The kid
can hit. What can you do?
This hits Claude hard.
RAY
Let it go, Claude.
CLAUDE
I'm not gonna let it go. The man
needs to explain himself. Makin'
promises.
BLOCKER
Look, I am truly sorry about this.
I'd like to help you...
CLAUDE
But you can't.
BLOCKER
At least the kid's getting out. Isn't
this what you wanted?
Claude looks around as the incorrigibles begin to gather.
He's on the spot. Dillard approaches with Can't Get Right.
Claude looks into the big kid's eyes.
CLAUDE
(resigned)
Yeah. Of course it is.
Steeling himself to the reality of the situation, Claude
gives Can't Get Right a hug.
CLAUDE
You show them Crawfords how to play
ball.
RAY
Make 'em throw strikes.
Can't Get Right nods. He steps up to the gun line and looks
at both shooter shacks.
DILLARD
It's alright. You're a free man now.
Can't Get Right steps across the gun line. Blocker opens the
car door for him. But before he climbs in, Can't Get Right
reaches into his pocket and pulls out his rubber ball. With
a smile, he tosses it to Claude, who snatches it out of the
air.
BLOCKER
Don't worry, we'll take good care of
him.
Blocker tips his hat and climbs behind the wheel. Claude and
Ray watch Blocker's car drive off under a red Mississippi
sunset. Slowly, the inmates drift back toward the bunkhouse
until Ray an Claude are left alone at the gun line.
RAY
One of the new kids said they're
farming those acres just north of
the swamp. He said he saw a crop
duster flying around the place.
CLAUDE
I'm not in the mood right now, Ray.
RAY
He said they keep it parked out behind
the barn. Can't be that hard to fly
a plane. Lots of people do it.
CLAUDE
They're called pilots! I'm serious,
Ray. I'm not in the mood for one of
your stupid, fucked-up plans right
now.
RAY
I don't see you coming up with any
plans.
CLAUDE
(getting mad)
My plan is on his way to Pittsburgh
right now. That congenital idiot
just got himself a pardon signed by
the governor thanks to us, but we
can't seem to do nothing for
ourselves. Don't you feel a little
disgusted right now?
RAY
Crop duster.
CLAUDE
I ain't getting in no airplane with
you. I'm finally wrapping my mind
around the concept. They threw us in
this shithole for life. Don't you
get it, Ray? We're gonna die here!
Might as well head up to the cemetery,
pick a plot and start digging.
Suddenly enraged, Ray hauls off and knocks Claude down with
a solid right. Surprised, Claude touches his bloody lip.
RAY
My daddy died in prison. He gave up
hope and hung himself. What you're
talking about is the same damn thing.
That ain't how I'm going.
CLAUDE
Maybe you're fooling yourself, Ray.
Maybe you're just a chip off the old
block.
RAY
Take that back or we ain't friends
no more, Claude Banks.
CLAUDE
Here's a news flash, Ray. We never
were friends. We've just been stuck
together for 12 years. It's been
nothing but bad luck since the moment
I ran into you. Every time I look at
you I get sick to my stomach thinking
about what my life could have been
if I'd never bumped into Ray Gibson.
A hard look comes to Ray's eyes as Claude rises to his feet.
RAY
Better watch yourself Claude, before
you say something you regret.
CLAUDE
The only thing I regret is the day I
met you.
RAY
Well, if that's the way it is...
CLAUDE
That's the way it is.
RAY
Then I have nothing left to say to
you.
Ray walks away, leaving Claude to nurse his split lip.
CLAUDE
You never said nothing of value
anyway.
INSERT -- TIME PASSAGE
A. In his Pittsburgh Crawfords uniform, Can't Get Right lays
into a fast ball, sending it soaring into the bleachers...
B. People dance in the street in Time Square, marking the
end of WWII...
C. Hoppin' Bob drops a package on Ray's bunk. Ray rips off
the brown paper to reveal a book: "So You Want to Learn to
Fly..."
D. Claude and Sylvia make love in the tonk house...
E. In the mess hall, Ray pointedly carries his tray past a
table where Claude sits with Willie...
F. An A-bomb explodes in the Bikini Atolls...
G. Jimmy Stewart hugs his wife and children at the end of
"It's a Wonderful Life"...
H. Jackie Robinson slides across home plate at Ebbets Field...
I. Ray runs full tilt across a field toward a barn. Sure
enough, there's the single engine crop duster parked right
where he said it would be...
J. Claude and another INMATE repair a hole in the bunkhouse
roof. They dive for cover as Ray's crop duster swoops low
overhead and dips out of sight beyond the trees. A puff of
smoke rises into the sky...
K. Soot-stained, Ray is marched to the hole and shoved
inside...
L. Newly elected president Harry Truman holds up a copy of
the Chicago Tribune baring the headline "Dewey Defeats
Truman"...
M. RCA unveils the first color television...
N. Cars pull up next to speaker poles in front of a drive-in
movie screen...
O. In the bunkhouse, early rock and roll plays on a modern
1950s radio that sits where the old vacuum tube receiver
used to be. A YOUNG TOUGH now occupies Radio's old bunk...
P. At the poker table, Poker Face slumps forward onto his
pile of chips, revealing a straight flush. The other men
quickly fold...
Q. With a TRUSTY standing guard, Claude and Ray silently
shovel dirt into Poker Face's grave. The CAMERA MOVES past
gravemarkers -- Biscuit, Jangle Leg, Radio...
R. Marilyn Monroe's skirt rises on a blast of subway air in
"The Seven-Year Itch"...
S. Rosa Parks is arrested for refusing to sit in the back of
the bus...
T. Elvis Presley creates a sensation on the Ed Sullivan
Show...
U. School children learn to "duck and cover" in the event of
nuclear attack...
V. The inmates of Camp 8 work to level a road. Ray's on one
side, Claude's on the other...
W. Prisoners mingle with friends and family on visiting
Sunday. Claude waits on the bunkhouse steps. His face
brightens when Sylvia appears...
X. Blacks sit-in at lunch counters in Greensboro, N.C...
Y. Kennedy is elected...
Z. OMITTED...
AA. Martin Luther King delivers his "I have a dream" speech
at the Lincoln Memorial...
BB. The Zapruder footage of Kennedy being shot...
CC. American soldiers jump down from helicopters and run for
the jungles in Vietnam...
DD. Ford introduces the 1965 Mustang...
EE. The assassination of Malcolm X...
FF. Muhammad Ali looms over Sonny Liston, asking "What's my
name?"...
GG. The CAMERA MOVES past more gravemarkers -- Hoppin' Bob,
Goldmouth -- to find Claude and Ray silently shoveling dirt
over another casket. Ray pounds a simple marker into the
ground: Cookie. Briefly, they lock eyes. But neither one
speaks and the moment passes...
HH. Go-Go dancers...
II. Mao Tse Tung...
JJ. Jimi Hendrix at the Monterey Pop Festival...
KK. TV's Batman and Robin battle the forces of evil in Gotham
City...
LL. Black Panthers...
MM. Peace Protesters...
NN. The death of Martin Luther King...
OO. Robert Kennedy...
PP. Neil Armstrong sets foot on the moon...
QQ. Vida Blue rears back and fires a pitch in the 1972 World
Series...
EXT. CAMP 8 YARD -- DAY
On the porch, Willie, now in his 70s, sits in a wheelchair
watching the ball game on a black-and-white television. A
TRUSTY waits nearby. Ray, now in his mid-60s, emerges from
the bunkhouse lugging a duffle bag.
RAY
Alright Willie, I think I got
everything. I'll talk to Dillard,
see if I can get up to the infirmary
and check up on you. Make sure they're
changing your diapers regular.
WILLIE
They'll be sending you up there soon
enough. And not just for a visit,
neither.
RAY
(leaning in)
I slipped in a couple of bottles of
my latest batch. Help wash down all
them pills they'll be giving you.
He gives Willie a slap on the back and nods to the trusty.
The trusty wheels the old man across the yard where YOUNG
PRISONERS mingle with WIVES and FAMILY MEMBERS sporting the
fashions of the early '70s -- Afros, mutton chops, paisley
prints and bell-bottom pants.
ACROSS THE YARD
Looking old-style, Claude sits on the mess hall steps waiting
for Sylvia. He catches Willie's eye. The two men nod to each
other, an unspoken farewell. Then Claude turns to find Ray
looking at him from the bunkhouse steps. Ray and Claude hold
each others gaze for a moment. Then Ray heads back into the
bunkhouse.
YVETTE
(off)
Are you Claude Banks?
Claude turns to face YVETTE, a pretty young woman.
CLAUDE
Yeah.
YVETTE
My name's Yvette. Sylvia sent me.
You look just like she said.
CLAUDE
She's alright, isn't she?
YVETTE
Oh, she's fine. She's just not coming
today.
CLAUDE
Why not?
YVETTE
She got married last month.
CLAUDE
Married?
YVETTE
Real nice guy, too. Trumpet player.
They moved down to New Orleans.
Claude takes this in, staring off into space.
YVETTE
She always said that if you were on
the outside...
CLAUDE
But I'm not on the outside. I'm in
here.
YVETTE
I know she's sorry she won't be seeing
you anymore. Anyway, she wanted me
to take care of you.
CLAUDE
Take care of me?
YVETTE
You know, go to the tonk or whatever.
CLAUDE
I'm too old for you. Besides, I'm
not much in the mood.
YVETTE
Want me to come back some other time?
CLAUDE
(shaking his head)
Nice girl like you don't belong in a
place like this. But if you talk to
Sylvia, tell her old Claude said
congratulations.
EXT. CAMP 8 YARD -- DAY
Claude stands at the gun line, staring across at the Dillard
house. Mrs. Dillard places a couple of pies on the windowsill
to cool.
CLAUDE
Whites-only pies...
Suddenly, he makes a break for the Dillard house.
TRUSTY
Man over the line!
Ray turns to see Claude dashing across no-man's land. Shots
ring out from the shooter shack, kicking up dirt around
Claude's feet as he serpentines across the field.
EXT. DILLARD'S HOUSE -- DAY
Breathless, Claude makes it to the kitchen window and digs
his hand into the golden-brown crust, shoving a sloppy fistful
of pie into his mouth. More shots ring out. Bullets PING all
around him. Grabbing the pie, he darts around the side of
the building, out of range. Back against the wall, he drops
down on his haunches, snarfing pie like a hungry wolf.
EXT. CAMP 8 YARD -- DAY
A case of empty Coke bottles sits in the middle of the yard,
glinting in the hot sun. His face smeared with boysenberry,
Claude finishes taking off his boots and socks and steps
barefoot onto the bottles.
DILLARD
Comfortable?
CLAUDE
As a pair of fur-lined bedroom
slippers, boss.
DILLARD
We'll see what those slippers feel
like after, say, 24 hours. And if
you step down off them bottles -- if
one toe so much as touches the dirt --
one of these boys is gonna shoot you
dead. Let's see. We need a special
man for this job.
He takes a trusty's rifle and moves among the inmates, who
have gathered around. He stops when he gets to Ray.
DILLARD
How about it, Ray?
Ray glances at Claude, then back at Dillard.
DILLARD
I'll make you trusty right now. If
that pie-eatin' son of a bitch falls
off those bottles and you have to
shoot him, I'll see to it you get a
pardon. Hell, I'll personally escort
you out the gate.
Dillard offers the rifle to Ray, who doesn't have to think
too long.
RAY
You don't want to give me a gun,
boss. I'm liable to use it on you.
EXT. CAMP 8 YARD -- SUNDOWN
Ray's been given the same treatment as Claude. Barefoot,
balanced on Coke bottles, the two men stand a few feet apart
facing each other. A trusty with a rifle keeps an eye on
them. After years of silence, the tension reaches the breaking
point...
CLAUDE
You're a sucker. I'd have taken that
deal.
RAY
Excuse me? Are you talking to me?
CLAUDE
I'd have knocked you off those
bottles, put a bullet in your ass
and be half way to New York right
now.
RAY
After all these years of blissful
silence, I almost forgot how annoying
the sound of your voice can be.
CLAUDE
I hope you don't think I owe you
anything. Because I don't owe you a
damn thing.
RAY
I didn't do if for you, anyway. I
just ain't no boot-licking trusty,
that's all.
The trusty tightens his grip on his rifle. He'd love the
opportunity.
CLAUDE
I was sorry to hear about your mama
passing.
RAY
That was five years ago.
CLAUDE
I know, but since we're talking, I
thought I'd mention it.
RAY
We're not talking, you're talking,
and doing too damn much of it, if
you ask me.
They stand in stony silence. Then Ray starts to laugh. A
long, low belly laugh.
CLAUDE
What?!
RAY
You sure looked funny running for
those pies, bullets flying all around
you.
CLAUDE
Bullets weren't the problem. That
pie was too hot. Burned my tongue.
The two men start to laugh. Really laugh. Nearly a decade's
worth of laughter comes welling up out of them, and they
nearly lose their balance, which only makes them laugh harder.
EXT. CAMP 8 YARD -- DAY
A trusty bangs the rap iron. Young prisoners pour from the
bunkhouse and line up for breakfast. Claude and Ray bring up
the rear, the elder statesmen of the bunch. By a long shot.
DILLARD
Fourteen acres today and only 12
hours of daylight! Eat up and move
it out! Gibson! Banks! Get your sorry
asses over here!
Claude and Ray step out of line and approach Dillard.
DILLARD
Every morning I wake up praying that
Ray Gibson and Claude Banks have
died in their sleep and every morning
you disappoint me.
RAY AND CLAUDE
Sorry, boss.
DILLARD
I stand before you a defeated man.
Try as I might, I can't seem to break
you. I swear, if they dropped a
nuclear bomb on this camp, you and
the cockroaches would be the only
things left. But starting today at
least I won't have to endure your
presence any longer. You've got
fifteen minutes to clear out your
footlockers. You're both being
reassigned to the Superintendent's
mansion. And I, for one, will not
miss you.
Ray and Claude share a look. Then Ray embraces Dillard, who
stoically endures the breach of his personal space.
RAY
I always wanted to do that.
(sighing)
There is so much love inside of this
man.
EXT. SUPERINTENDENT'S MANSION -- DAY
Up on the porch, Claude brings a tray of minted iced tea to
Superintendent Wilkins, who sets aside his bible and washes
down a couple of pills.
Before going back inside, Claude can't resist taunting Ray,
busy trimming a hedge out in the hot sun.
CLAUDE
Oh, yard boy, these pansies could
use some attention over here. Perhaps
some fertilizer would restore their
exuberance.
EXT. MARSH -- DAY
Claude and Ray beat the bulrushes with switches, rustling a
couple of pheasants from their hiding spot. As the birds
take wing, Wilkins aims his shot gun and fires twice in rapid
succession. Both birds fall from the sky in a flutter of
feathers.
OMITTED
Sequence omitted from original script.
OMITTED
Sequence omitted from original script.
INT. SUPERINTENDENT'S MANSION -- DAY
Claude fills Wilkins' water glass as the Superintendent takes
a bite of lamb chop and winces in pain.
WILKINS
Damn dentures slipping again.
Everything falls apart when you grow
old, eh, Claude? Time sure marches
on.
CLAUDE
Yes, boss.
WILKINS
You know, I'm fixing on retiring at
the end of the summer, gonna try to
enjoy what few years I have left.
What do you think of this place?
It's one of those new retirement
communities down on the Gulf.
Claude glances at a glossy brochure. From outside, Ray peers
suspiciously through the dining room window as he hacks at a
rose bush.
CLAUDE
Ocean views, palm trees, two heated
swimming pools and a golf course --
sounds a damn sight better than that
infirmary across the way where I'm
gonna end up.
Claude returns the brochure.
WILKINS
I apologize, Claude. That was rude
of me.
CLAUDE
That's alright, boss. Takes a lot
more than a colorful brochure to
hurt my feelings.
WILKINS
You been on the farm for quite a
spell, haven't you?
CLAUDE
Over forty years now. Me and Ray
Gibson out there.
Wilkins glances over at the window. Ray ducks out of view.
WILKINS
Forty years. That's a long time for
any crime, even murder.
CLAUDE
It's a hell of a lot longer when
you're innocent.
WILKINS
Half the men in this prison swear
they're innocent. Don't you think
that's kinda funny?
CLAUDE
You have to forgive me if I don't
laugh.
Claude pushes back into the kitchen, leaving Wilkins to think
this one over.
INT. SERVANTS' QUARTERS -- NIGHT
Ray and Claude are getting ready for bed.
RAY
You and Wilkins sure are getting
chummy. You two planning on going
steady, or something?
CLAUDE
He's just a lonely old man. He likes
to talk.
RAY
Hey, I'm a lonely old man. I like to
talk, too. So why don't we start by
talking about what kind of a plan
you're working on?
CLAUDE
I'm not working on a plan.
RAY
You can't fool me, Claude. I know
you got something brewing.
CLAUDE
Goodnight, Ray.
Claude punches his pillow and turns off the light.
EXT. SUPERINTENDENT'S MANSION -- DAY
Ray hacks a rose bush down to the nub. From the garage comes
the sound of an engine turning over. Wilkins' 1973 Lincoln
Continental convertible lurches down the drive with Claude
at the wheel. He screeches to a halt inches from Ray's legs
and climbs from the car.
RAY
What the hell are you doing?
CLAUDE
Don't touch that car.
Claude pulls out a hanky and buffs Ray's finger print off
the hood.
CLAUDE
Wilkins' driver's got the flu, so he
asked me to fill in for him.
RAY
You haven't driven in 40 years, you
ain't even got a license. Man's taking
his life in his hands, putting you
behind the wheel! Where you taking
him?
CLAUDE
Greenville. We're picking up the new
Superintendent at the bus station.
Ray scowls as Claude straightens his chauffeur uniform and
heads up the path to the mansion.
EXT. GREENVILLE BUS STATION -- DAY
Claude pulls up in front of the station, steps out of the
car and holds the door for Wilkins, who checks his watch.
WILKINS
You know I trust you, Claude.
CLAUDE
Yes, sir.
WILKINS
I'll be right back.
Wilkins heads into the station, leaving Claude alone with
the Continental. All around him are the sights, sounds and
smells of the free world. A woman rushes into the arms of a
man as he climbs off a bus. Across the street is Grandma
Dodi's Pork Rib Joint where Cookie never made it to the peach
cobbler. A young brother with a boom box walks by. In the
street, kids crowd around the back of an ice cream truck.
Then Claude catches his reflection in the car window and
frowns. When did he get this old? Unnerved, he moves around
to the back of the car and pops open the trunk.
RAY
(sitting up)
Damn, it was getting hot in there.
CLAUDE
What the hell are you doing in that
trunk?!
RAY
You didn't think I was gonna let you
escape alone, did you?
CLAUDE
I ain't escaping! We're picking up
the new super just like I told you.
RAY
Then you're lucky I came along.
Doesn't take a visionary to spot a
golden opportunity like this. Now
help me out of this trunk.
CLAUDE
You ain't getting out of that trunk.
RAY
Come on, man, I'm starting to cramp
up here.
(Ray struggles out of
the trunk)
We have the chance right here, right
now, I say we go!
CLAUDE
Go where, Ray?
RAY
Back to New York for starters.
CLAUDE
And what will we do when we get there?
I'm sixty-five years old, Ray. So
are you. What are we gonna do out
here? Get married, have kids, settle
down? That boat sailed without us,
man.
RAY
This boat's gonna sail without you,
too. I don't care if I last one day
out here. At least it's one day of
freedom. Now gimme those keys.
CLAUDE
Forget about that. You run if you
want to, but you're not taking this
car.
RAY
Claude, man, I'm serious. Give me
those keys.
CLAUDE
I ain't spending a month in the hole
so you can take a joy ride.
RAY
Don't make me take them away from
you.
CLAUDE
Hey, there's Wilkins!
Ray looks, Claude clocks him. Ray slumps back into the trunk.
Claude stuffs Ray's legs back into the trunk and slams the
lid.
CLAUDE
Who's driving now, bitch?
He looks up just as Wilkins and the new superintendent exit
the bus station. Warren Pike's hair has gone grey and he's
40 years older, but there's no mistaking the former sheriff
of Natchez County. He still bears a nasty scar on his cheek
from a wound inflicted long ago.
CLAUDE'S POV -- Pike appears as a young man in his sheriff's
uniform striding slowly toward him.
Claude blinks and looks again. Pike has returned to his old
self as he and Wilkins step up.
PIKE
(dropping his bags)
There you go, boy.
Oblivious, Pike climbs into the back seat. Wilkins nods to
Claude.
WILKINS
Come on, Claude, time to go.
Claude snaps to it, grabbing the bags. He considers opening
the trunk, but decides to carry them around to the front
seat with him.
EXT. KITCHEN PORCH -- DUSK
Backs to the CAMERA, Ray and Claude urinate, presumably off
the porch.
RAY
You sure it was him?
CLAUDE
Some faces you just don't forget.
Warren Pike's is one of 'em.
RAY
I don't like it, I don't like it one
bit. We shoulda taken that car when
we had the opportunity. We'd be half
way to New York by now.
CLAUDE
We'd be in the hole by now. Hey,
man, you're peeing on my shoe.
RAY
I know. Simultaneously, they shake
and zip. Claude bends down and picks
up a bowl of gumbo, placing it on a
tray next to an identical one.
INT. DINING ROOM -- NIGHT
Wilkins pours a frosty drink and offers it to Pike.
WILKINS
Lemonade?
PIKE
I prefer bourbon.
WILKINS
I'm sorry, I don't keep any liquor
in the house.
PIKE
Well, fortunately, I carry my own.
Pike pulls a flask from his jacket and tilts it high. Claude
enters from the kitchen with the two steaming bowls of gumbo.
WILKINS
Hunting's been pretty good on the
farm the last few years. It's one of
the perks of the job. If you're
interested, tomorrow I could show
you some of my favorite spots.
PIKE
You don't have to twist my arm.
(digging in)
Say now, that gumbo has quite a kick.
WILKINS
Thank you, Claude. That'll be all
for tonight.
CLAUDE
Goodnight, Mr. Wilkins. Mr. Pike.
WILKINS
Goodnight, Claude.
Pike nods coldly. Claude steps back into the kitchen.
PIKE
If you don't mind my saying, you
seem mighty familiar with your house
boy.
WILKINS
I believe in treating the convicts
with respect, if that's what you
mean.
PIKE
(sarcastic)
Respect? Well, isn't that progressive.
WILKINS
If somebody deserves respect, Mr.
Pike, they receive it from me, convict
or no convict.
Pike curls his lip with disdain before taking a healthy
spoonful of gumbo.
EXT. MARSH -- DAY
Claude and Ray beat the bullrushes with switches. Amid a
flutter of wings, three pheasants take to the air. Wilkins
fires first, knocking one out the sky. Pike pulls off two
rounds, playing clean up.
EXT. FIELD -- DAY
Ray and Claude dump their game bags into the back of a pickup
truck. Nearby, Pike drains his flask while Wilkins scrapes
mud off his boots. The breeze picks up, clouds fill the sky.
WILKINS
Well, that's a pretty good haul.
What do you say, Mr. Pike? Ready to
call it a day?
Pike pulls a gold watch from his pocket and releases the
face plate. A familiar mechanical tune floats on the gathering
breeze. Ray turns around slowly. His eyes fall on the watch
in Pike's hand. His daddy's watch. In Pike's hand.
PIKE
Yeah, it's getting late. I could
sure use a bath.
RAY
That's a real nice watch you got
there, sir. Fancy old thing even
plays a little tune.
PIKE
Yeah, it's special. They don't make
'em like this anymore.
RAY
Sure don't. Mind if I ask where you
got it?
PIKE
Why, my wife gave it to me on our
anniversary some years back.
Claude looks at the watch, then at Ray. Uh oh.
RAY
Must have been some time ago. Maybe
forty years?
PIKE
(eyes narrowing)
Something like that, yes.
RAY
She give you that scar, too?
Pike thrusts the barrel of his gun up under Ray's chin.
PIKE
I oughta shoot you for that comment,
boy.
RAY
Like you shot Winston Hancock?
Wilkins turns to see Pike holding Ray at gunpoint.
WILKINS
What's going on here?
PIKE
I'm afraid I'm gonna have to teach
this uppity nigger a lesson in
manners.
RAY
That's Mr. Uppity Nigger to you.
Ray grabs the barrel of the shotgun and slams it into Pike's
face. Pike rolls over and freezes, staring down the barrel
of his own gun now in Ray's hands. Confused, Wilkins points
his gun at Ray.
CLAUDE
Cool it, Ray. You're gonna get us in
a lot of trouble.
WILKINS
He's right, Gibson. Put down the gun
and we'll work this out.
RAY
I'm gonna work this man's brains out
the back of his head.
PIKE
Shoot him, Wilkins!
CLAUDE
Don't shoot, sir. I can deal with
this.
(cautiously)
Ray, buddy, you don't want to shoot
this white man. See, you do that,
they'll kill you for sure. And it's
not that I like you or anything, but
I've kinda gotten used to having you
around.
RAY
He's got my daddy's watch, Claude. I
always knew whoever took that watch
killed Winston Hancock. And that was
you, Mr. Pike.
PIKE
He's crazy. Don't listen to him,
Wilkins.
WILKINS
Do you realize what your saying,
Gibson?
RAY
That watch was the only thing my
daddy ever gave me. It meant the
world to me.
PIKE
Goddamn it, Wilkins, would you please
just shoot the nigger!
RAY
He shoots me, I swear I'll take you
with me! I just want to hear you say
it.
WILKINS
Is there any truth to what he's
saying, Pike?
PIKE
What difference does it make? Natchez
was better off without Winston
Hancock! Who cares if a couple of no-
account bootleggers went to jail for
his killing? At least the state of
Mississippi got 40 years of cheap
labor out of the deal!
CLAUDE
Forty years of cheap labor! Gimme
that gun.
Claude grabs for the gun.
RAY
No, I'm gonna kill him --
CLAUDE
No, believe me, I'm gonna kill him!
Claude yanks the gun free and points it right in Pike's face.
Wilkins trains his gun on Claude. But the moment passes.
Claude lowers the gun. Bewildered, Wilkins does the same.
CLAUDE
I can't do it.
RAY
That's because you're soft. Gimme
the gun.
CLAUDE
What'd you say?
RAY
I said you're soft.
CLAUDE
Don't call me soft, I hate it when
you call me that.
Ray mouths the word -- "soft." Claude clenches his jaw, points
the gun and pulls the trigger. Click.
Pike smirks and pulls a small gun from his boot. But as he
raises it -- BLAM! Pike is hurled backward by a shotgun blast.
Shocked, Ray and Claude look at Wilkins, his gun still smoking
in his hands.
After a significant beat, Ray reaches down and gingerly
retrieves his daddy's gold pocket watch.
RAY
I believe this is mine.
EXT. SUPERINTENDENT'S MANSION -- DAY
A gurney carrying Pike's body is lifted into the back of a
van by two COUNTY CORONERS. Nearby, a distraught Wilkins
tells his story to a couple of SHERIFF'S DEPUTIES.
WILKINS
...I was drawing a bead on a bird
when Mr. Pike just stepped into my
line of fire.
DEPUTY #1
Where were the two convicts when the
shot was fired?
WILKINS
They were busy loading up the truck.
We got him back here as quick as
possible, but... I just feel terrible
about this...
INT. MANSION -- DAY
Ray and Claude watch through the window as Wilkins talks to
the deputies.
CLAUDE
Why don't he just tell 'em the truth?
RAY
He knows nobody wants to hear the
truth.
One of the deputies pats Wilkins sympathetically on the back.
Then he and his partner put away their notebooks and head
for their vehicle. Wilkins heads up the steps and into the
house.
WILKINS
Well, I think they bought it. One of
the deputies belongs to my church.
Visibly shaken, Wilkins takes a seat, wiping the sweat from
his brow with a handkerchief.
WILKINS
I realize there's no way... There's
nothing I can say to make up for
forty years... I'll have Charlotte
prepare those pardon papers right
away.
Wilkins winces and swallows a couple of pills from his box.
WILKINS
Claude, mind helping me to the
bathroom?
CLAUDE
(giving him a hand)
Sure, boss.
WILKINS
I'm not your boss. Not anymore.
EXT. PRISON CEMETERY (PRESENT) -- DAY
Jake looks at Willie expectantly.
JAKE
So Ray and Claude got their pardons,
right?
LEON
(smacking him)
No, they didn't get their pardons,
you dumb shit! If they'd got their
pardons way back then, we wouldn't
be burying them today, would we?
JAKE
(chewing on it)
Oh, right. Well, why didn't they get
those pardons?
WILLIE
Old man Wilkins' never came out of
that bathroom. Died right there on
the crapper.
LEON
Just like Elvis.
WILLIE
Of course nobody believed Ray and
Claude.
JAKE
That musta messed 'em up pretty bad.
LEON
What happened to 'em after that,
Willie?
WILLIE
After that? Well, let's see. After
that they got old. We all got old.
EXT. INFIRMARY -- DAY
Ray and Claude, now in their nineties, sit under a tree in
the courtyard listening to a Yankees game on a transistor
radio.
RAY
Nurse Humphries was checking my
prostate this morning. I got an
erection.
CLAUDE
An erection, huh? Haven't had one of
those in a while.
RAY
Tell me about it. Scared me at first.
Then, before I could figure out what
to do with it, it was gone. Imagine
my disappointment.
On the radio, the announcer voice rises in pitch as the
Yankees score. Ray and Claude share a satisfied look.
CLAUDE
Sure would like to see the house
that Ruth built one more time.
RAY
Well, Ruth shoulda built it a little
better. Damn thing's falling to
pieces. Gonna hurt somebody.
CLAUDE
What do you expect? It's almost as
old as we are.
RAY
They oughta tear that shit down and
ship them Yankees cross the river to
Jersey.
CLAUDE
Remember what that place looked like
on a sunny spring day? More beautiful
than any church I was ever in.
TWO ORDERLIES push a DEAD BODY past on a squeaking gurney.
CLAUDE
Looks like old Jonesy finally got
his walking papers.
Ray tips his flask in a simple salute.
RAY
Over to the morgue and up the hill
to the cemetery. Never thought I'd
admit it, Claude, but you were right.
CLAUDE
'Course I was right. About what?
RAY
You're the one who said that
boneyard's the only way we're getting
out of here. We're gonna join all
the rest of 'em soon enough. Jangle
Leg, Biscuit, Goldmouth, Poker Face,
Cookie, Radio -- yes sir, pick a
plot and start digging...
Ray closes his eyes and settles in for a nap. Claude turns
to watch Jonesy squeaking away. Something about what Ray
just said has given him an idea.
INT. INFIRMARY -- DAY
"Oprah" blares on the television. Old convicts linger about
in various states of repose and decay. A young ORDERLY pops
to the music on his Walkman as he pushes a cart through the
ward.
Over at a table, Ray and Claude play poker with Willie, a
SHAKY OLD JUNKIE and TWO YOUNG GANG BANGERS. The currency on
the table isn't poker chips, it's pills of various sizes and
colors.
GANG BANGER #1
Two Percodan.
CLAUDE
I'll raise you.
GANG BANGER #1
What the fuck are those?
CLAUDE
Keeps your cholesterol down.
GANG BANGER #1
I look like I give a shit about my
cholesterol?
GANG BANGER #2 takes a quick hit of cocaine from a bullet.
He notices Ray staring at him.
GANG BANGER #2
You want a bump, G?
RAY
I wouldn't be putting that shit up
my nose. That came in in somebody's
ass. It's like you're sniffin' ass.
Maybe that's your thing, but it ain't
mine.
Ray pushes his bet to the center of the table. The shaky
junkie folds. Willie tosses in some pills and turns to Gang
Banger #2.
WILLIE
Looks like it's up to you, stinky
ass sniffer.
Glaring, Gang Banger #2 flips a big pill into the pot.
CLAUDE
Thorazine? Well, that's a little
rich for my blood.
He tosses down his cards. The shaky junkie attempts to light
a cigarette. The match slips from his trembling fingers and
falls into his lap.
CLAUDE
Damn fool gonna set this place on
fire one of these days.
Gang Banger #1 folds. It's back to Ray.
RAY
I got three stool softeners left.
(to Gang Banger #2)
That oughta be right up your alley.
The remaining players match the pot. Gang Banger #2 reveals
his cards. Willie frowns. Ray lays down his cards and
victoriously sweeps his winnings into a paper cup. Across
the room, Nurse Humphries enters with a tray of snacks. She,
too, is showing the years.
NURSE HUMPHRIES
Who wants Jell-O?
The magic word. The poker players join a stampede of oldsters
in a clatter of canes, walkers and artificial limbs. Ray and
Claude are left alone at the table.
RAY
Hey, where you going? We got money
on the table here!
Claude glances around to ensure that he's not overheard.
CLAUDE
You know, Ray, I've been chewing on
what you said this afternoon. I think
I got a plan.
Ray gives Claude a long look.
RAY
Are you trying to tell me after all
this time you finally have a plan
for busting out of here?
CLAUDE
Shh! Is that so hard to believe?
RAY
Don't tell me, I don't want to hear
it. It's probably all fucked up,
anyway.
CLAUDE
You don't want to hear it, you don't
want to hear it. There's no shame in
that.
RAY
It's too late for plans.
CLAUDE
Never thought I'd hear Ray Gibson
say that. Hell with you then. You'd
only slow me down anyway.
Ray turns away as Claude walks off. A DODDERING INMATE stands
nearby slurping on Jell-O. His robe hangs open.
RAY
Hey, man, cover that shit up!
Disgusted, Ray discards his own Jell-O. He pulls out his
daddy's pocket watch and checks the time. The little
mechanical tune nags at him. He snaps the lid shut and
considers the watch resting in the palm of his hand.
OMITTED
Sequence omitted from original script.
EXT. INFIRMARY -- NIGHT
The building is dark. But then, through a first-floor window,
we see the unmistakable orange glow of a fire.
INT. INFIRMARY -- NIGHT
An ALARM BLARES as the place fills with smoke. Wearing a
robe and slippers, Nurse Humphries runs among the prisoners,
helping them out the door.
EXT. INFIRMARY -- NIGHT
Coughing and disheveled, Ray emerges onto the lawn pushing
Willie in the wheelchair. As other prisoners evacuate the
building, Ray looks around for Claude, but he doesn't see
him. Nurse Humphries takes a quick head count.
NURSE HUMPHRIES
Is everyone here?
RAY
Hey, where's Claude? I don't see
Claude!
NURSE HUMPHRIES
Stay calm, Ray. We'll find him.
Claude! Has anyone seen Claude?
RAY
He must still be in there.
Grimly, Ray starts toward the burning infirmary. Nurse
Humphries holds him back.
NURSE HUMPHRIES
Wait for the firemen!
RAY
It'll be too late.
NURSE HUMPHRIES
You can't go in there, Ray! You'll
never make it!
RAY
I'm going in for him. He'd do the
same for me.
Ray shakes her off and runs up the steps, disappearing into
the burning building.
INT. INFIRMARY -- NIGHT
Ray dodges flames as he presses into the inferno.
EXT. INFIRMARY -- NIGHT
Nurse Humphries, Willie and the rest of the inmates watch
grimly as flames engulf the building. Nobody could survive
this blaze. From the highway comes the siren wail of
approaching fire engines. But it's too late. Sparks erupt
into the night sky as the roof collapses...
EXT. INFIRMARY -- DAWN
Fire trucks pull away from the smoldering ruins. A local
REPORTER interviews witnesses. INVESTIGATORS comb through
the wreckage, making notes. COUNTY CORONERS pull a couple of
gurneys from the back of their van.
EXT. INFIRMARY RUINS -- DAY
Superintendent Bill Burke is led through the destruction by
a FIRE INSPECTOR. They approach the coroners as they finish
zipping up two body bags.
BURKE
How did it start?
FIRE INSPECTOR
Probably old wires. The place was a
tinderbox just waiting to go.
BURKE
I guess we should have torn this old
building down a long time ago.
FIRE INSPECTOR
Gibson made it this far before he
was probably overcome by smoke. From
the look of things, Banks never even
made it out of bed.
Burke watches solemnly as the coroners wheel the bodies past
him.
EXT. PRISON CEMETERY -- DAY
Jake and Leon shake their heads and look at the two fresh
graves.
LEON
Man, you really bummed me out. That's
a terrible story.
(looking at Jake)
Nigger, you crying?
JAKE
Hell, no! I just got something in my
eye.
WILLIE
It's alright for a man to cry once
in awhile. Just don't make a habit
of it.
LEON
Hey, Willie, what was Claude's plan,
anyway?
WILLIE
Nothing to it, really. Claude figured
they could steal a couple of bodies
from the morgue. They got a couple
of crackers working there don't know
their asses from their elbows. Then
they was gonna set fire to the
infirmary and make it look like those
bodies was them that got stuck inside.
Claude figured during the commotion,
it wouldn't be too hard to slip onto
one of the fire trucks and hang tight
until it rolled right on out of here
in the morning.
The young inmates share a look, then glance into the graves,
then look back at Willie.
JAKE
What makes you think it didn't work?
WILLIE
I never said it didn't work.
Leon and Jake do the arithmetic. You can almost hear the
gears grinding under the strain.
LEON
You trying to tell us that's not Ray
and Claude in those boxes?
Willie starts to chuckle and sets his electric wheel chair
on auto-pilot, leaving the young inmates to guess at the
truth.
JAKE
What do you think about that?
LEON
I think that old man lost his marbles
about a hundred years ago. Come on,
let's get this over with.
They pick up their shovels and go back to work burying the
caskets.
INT. GREENVILLE FIRE STATION -- DAY
The CAMERA MOVES PAST a FIREMAN hosing down the truck, past
another group of soot-stained FIREMEN eating breakfast, and
pauses in front of two lockers. A couple of FIREMEN emerge
from the showers wrapped in towels and open their lockers.
They share a look.
FIREMAN #1
(to the room)
Alright, which of you hambones took
our clothes?
EXT. YANKEE STADIUM -- DAY -- WIDE SHOT
Scalpers sell tickets. Vendors hawk souvenirs. Fans stream
up from the subway and through the gates. Somebody is singing
"The Star-Spangled Banner."
EXT. STANDS -- DAY
In the middle of a capacity crowd, a VENDOR fixes two hot
dogs and passes them to a KID at the end of an aisle. The
kid passes them to the MAN next to him, and so on down the
line.
The CAMERA FOLLOWS the hot dogs from face to face, some old,
some young, some black, some white -- it's New York City,
after all -- and finally the hot dogs arrive in a pair of
old, calloused black hands. Ray passes one of the dogs to
Claude.
CLAUDE
I can't eat this.
RAY
Why the hell not?
CLAUDE
I saw that hot dog guy in the bathroom
urinating. He didn't wash his hands.
Ray and Claude glance around confused as the wave rolls
through their section of the bleachers. What the fuck? Claude
inspects his hot dog.
RAY
Just put some mustard on it and eat
it.
CLAUDE
You didn't get ketchup?
RAY
Gimme that damn thing.
Ray snatches back the hot dog.
CLAUDE
What am I gonna eat?
Ray is suddenly young again.
RAY
Have my ice cream.
Claude takes the ice cream. He, too, is suddenly young again.
CLAUDE
Thanks.
They look at each other and share a laugh.
RAY
Hell of a day for a ballgame, huh,
Claude?
CLAUDE
Hell of a day, Ray. Yankees are on
fire.
Claude pops the top on his ice cream. Suddenly, they are
both old again.
CLAUDE
No, this ain't gonna work either.
It's half chocolate, half vanilla.
RAY
So?
CLAUDE
They're touching.
The CAMERA begins to pull back.
RAY
If you don't eat that ice cream right
now, I'm gonna strangle you until
you are completely dead.
CLAUDE
Yeah? You and what army?
RAY
Next thing, you're gonna be
complaining about the seats.
CLAUDE
Well, if you must know, they could
be closer.
RAY
Damn, I shoulda let Spanky Johnson
drown you in the river when I had
the chance.
"Pipe downs" etc. from the people around them.
CLAUDE
(glancing around)
I know you're not talking to me...
RAY
I'm sorry, he's on medication...
The CAMERA PULLS BACK as the arguing continues, just like
the old days. MUSIC UP.
THE END
SEXUAL LIFE
Written by
Ken Kwapis
Draft: 08/03
FADE IN:
EXT. CITY SKYLINE - DAY
From an AERIAL VIEW we see the outline of a city. Any city will
do. Mirrored high rises. Sprawling apartment complexes. A
lot of people live here...whoever they are.
As we move closer we discover that this is not a real city at
all, but a scale model of one.
Everything is in miniature -- the buildings, parks, and freeways.
GLIDING over this tabletop metropolis, we find that none of
the buildings have roofs, allowing us to peak inside.
VARIOUS CLOSE ANGLES
We FLOAT through miniature coffee shops, offices, and bedrooms,
where toy figures are arranged in tableau of everyday life
A man dines alone. A woman walks her dog. Two kiss on the street.
One waits for a bus.
Over this we HEAR Marianne Faithful's smoky-voiced cover of the
standard "When We're Alone"
Just picture a penthouse Way up in the sky, With hinges on chimney
For stars to go by, A sweet slice of heaven For just you and
I, When we're alone.
From all of society We'll stay aloof, And live in propriety There
on the roof, Two heavenly hermits We'll be in true, When we're
alone.
As the song ends we find a miniature girl who lies on a miniature
bed.
CUT TO:
INT. LORNA'S APARTMENT BEDROOM - DAY
A cramped one-room studio. Asleep on a futon is a slender girl
of nineteen -- LORNA. Her blood red toenails give the place
its only color. An alarm clock rings it's twelve noon. Lorna
uses her foot to turn it off.
LORNA
Terri. Why did you let me sleep so late?
Lorna looks over to an empty pull-out sofa, its only occupant
a skinny kitten.
LORNA (CONT'D) (cont'd)
Terri?
(to the cat)
She must already be at work, huh?
The cat meows -- very non-committal.
CUT TO:
INT. LORNA'S KITCHEN - DAY
Still in her T-shirt and panties, Lorna opens a can of cat food
as the kitten looks on.
LORNA
She probably forgot what day it is, right Arthur? Some friend
she turned out to be. Not like you. You remember what day it
is, don't you?
(off the cat's blank stare)
I'm not giving you any food until you tell me.
Arthur the cat responds with a pitiful meow. Lorna smiles and
sets down the food.
LORNA (CONT'D) (cont'd)
That's right. I knew you'd remember.
CUT TO
OMITTED
EXT. STREET - DAY
Lorna, dressed casually, walks to the bus stop. Reading the
crossword puzzle in the paper, she doesn't see the curb and trips,
spilling her purse.
Embarrassed, she gathers her things, then takes a seat next to
a Latino Woman. Lorna smiles and resumes work on the puzzle.
Stumped by a clue, she turns to the Woman.
LORNA
Hmm. Simon and Garfunkel hit. Eight letters. Any thoughts?
The Woman shrugs and looks off.
Suddenly, Lorna's phone rings. She reaches into her purse but
it's not there. Then, she spots it...in the street. But the
moment she goes to get it, a truck roars past and smashes it
to smithereens.
LORNA (CONT'D) (cont'd)
Oh my god.
But as she scoops up the pieces in her hand a smile creeps across
her face.
LORNA (CONT'D) (cont'd)
No, this is right. This is exactly right.
CUT TO
INT. COFFEE SHOP - DAY
A few notches up from a greasy spoon. Lorna sits at the counter,
stirring her coffee. A WAITRESS approaches.
LORNA
Excuse me, whatever happened to that sign, the one that used
to hang next to the pies?
The Waitress looks over her shoulder.
WAITRESS
What sign?
LORNA
The one that said, "Today is the first day of the rest of your
life."
WAITRESS
That thing? We got rid of it.
LORNA
Oh.
WAITRESS
Have you decided?
Before Lorna can speak, we hear--
WOMAN
She'll have the steak and egg special.
Lorna turns as TERRI, her roommate, joins her at the counter.
A little older than Lorna, Terri is cute but a little dangerous.
TERRI
Look at her, she needs protein. Lots of protein.
LORNA
(to the Waitress)
White toast. Dry.
The Waitress leaves.
LORNA
Working early today, huh?
TERRI
No, I had something important to do...
Terri opens her bag and pulls out a small, gift-wrapped box.
TERRI
...Miss nineteen.
LORNA
I knew you'd remember.
Terri gives Lorna a kiss on the lips.
TERRI
Of course I remembered. Go on, open it.
LORNA
No, no. I wasn't born until ten minutes before midnight. And
that's when I'll open it.
TERRI
You better like it. I don't want to tell what I had to do to
pay for it.
LORNA
Ooh. It must be good.
TERRI
So what's the plan, Stan? Something special today? Other than
splurging on toast.
LORNA
Yes. There is something.
TERRI
Good. Count me in.
LORNA
No. Something big. Something I've been thinking about for a
long time.
Terri sighs -- she knows exactly where this is going.
LORNA
I can't do this forever, Terri. Look...
Lorna points to the corner of her eye.
LORNA
Crow's feet! I'm nineteen! Crow's feet! I know I keep talking
about it, but this time I'm going to do it. In fact, I did it.
This is my last day.
TERRI
Okay...
LORNA
I called them. I told them I was out.
TERRI
You did not.
LORNA
Uh-huh. I have one more appointment. Then, I'm...free.
TERRI
Give me your cell phone. I'm calling them back right now.
Lorna smiles and pours the shattered remnants of her phone on
the counter.
LORNA
A bus ran over it. Isn't that perfect? It's a perfect sign.
Terri pops a cigarette in her mouth as the Waitress delivers
the toast.
WAITRESS
(to Terri)
Can't do that here, Miss.
TERRI
I know, I know. I'm not going to light the damn thing.
(beat)
Fuck me.
LORNA
Look, I'm good for next month's rent.
This takes Terri by surprise.
TERRI
What, you're leaving too?
LORNA
Maybe. Get out of town for a while. I really feel good about
this.
(beat)
I appreciate everything you've done for me this year, Terri.
TERRI
I wish you'd talked to me first.
LORNA
I didn't because...I knew you'd try to talk me out of it.
TERRI
That's because I'm looking out for you. It's because there is
so much opportunity here.
(beat)
And it's because I'm your friend.
Lorna fiddles with her toast.
LORNA
I know.
(beat)
Listen, I'm late.
Lorna leaves some change on the counter, picks up her gift and
gives Terri a hug.
LORNA
Thanks.
TERRI
Well...Happy Birthday.
As Lorna goes, the Waitress reappears.
WAITRESS
Your friend comin' back?
TERRI
Hard to say.
CUT TO
INT. TODD'S APARTMENT - DAY
Someone is flipping through a stack of wedding photos. Festive
shots of various couples. At the altar. Cutting the cake.
Posing with relatives.
CUT TO
We're in --
A living room, Lorna sits on the couch browsing the wedding photos.
She has a quizzical look, as if the photos were of some incomprehensible
alien culture. The apartment is cluttered but not dirty. The
decor suggests an occupant of modest means and bohemian taste.
The occupant is TODD, who ENTERS counting a wad of money. Late
twenties. Unshaven. By turns, cocky and nervous.
He sets the money in front of Lorna.
TODD
Seventy-five, right? For the half-hour.
LORNA
Not including tip.
She smiles. Todd paces uneasily.
TODD
And, typically, the size of the tip is...
LORNA
Depends on how generous you feel.
TODD
Of course.
LORNA
Is...this your first appointment?
TODD
No. I've done this before.
Lorna thinks otherwise. She pats the seat next to her.
LORNA
Come over here, you're making me nervous.
He plops down next to her.
LORNA
So, how much extra do you feel like spending?
TODD
I don't know. Another fifty dollars?
LORNA
Uh-huh.
She thumbs through the wedding photos.
LORNA
So, this is what you do. Weddings.
TODD
It pays the rent.
LORNA
These are good. You're really a good photographer.
TODD
Well, somebody thinks so. I get a lot of work.
LORNA
And you can only spend another fifty on me?
Todd walked right into that one.
LORNA (CONT'D) (cont'd)
Maybe you'll feel more generous once you get to know me.
Lorna smiles. Her face has an open, unguarded beauty.
TODD
You have a great smile, do you know that?
LORNA
Yeah, I've heard.
TODD
And I like your name. Lorna. Like the cookie.
LORNA
Gee, I've never hear that one before.
She laughs at him. But it's not unkind.
LORNA (CONT'D) (cont'd)
I have a friend who makes photos. She's had some stuff in magazines.
Really dirty stuff, though. Worse than dirty. Sick, really.
You probably wouldn't like it.
TODD
Hey, I'm not afraid of sick images. In fact, it's what I aspire
to do, create pictures that are edgy, that really assault you,
that reach out and slap you in the face.
Lorna considers this.
LORNA
Why?
TODD
Well...I don't know. Shake people out of their...complacency.
Your friend would understand. What's her work like?
LORNA
She photographs people pissing on each other.
TODD
Uh-huh.
LORNA
Yeah...disgusting.
TODD
Maybe that's the point.
LORNA
But who would want to look at that? I mean, bathrooms have doors
for a reason.
TODD
What do you like?
LORNA
I like things that make me happy. Like this.
Lorna holds up a photo of a beautiful, smiling bride.
LORNA
I bet she's going to have a very happy life.
She lingers over the photo.
LORNA
I don't think I'm the marrying kind, though.
TODD
Me, neither. Marriage, it's so...medieval. Sometimes when I'm
doing a wedding I look at the bride and groom and think, "What
a couple of lemmings."
LORNA
I'm not sure people can be true, that's all.
TODD
Right. That, too.
Lorna puts down the photos.
LORNA
Well...Now that we've gotten to know each better, maybe we should
get started.
CUT TO
INT. TODD'S BATHROOM - DAY
Alone, Lorna prepares. She tears open a condom wrapper, stares
into the mirror and runs her lines.
LORNA
Oh, you really have a big cock...My, you really have a big cock...God,
what a big cock you have.
CUT TO
INT. TODD'S BEDROOM - DAY
Lorna and Todd are having sex. She's on top, her movements slow
and hypnotic. Occasionally, Lorna offers a moan, some are more
convincing than others.
NOTE: Throughout the scene, our ANGLES generally exclude Todd
from view. We may HEAR him, but our focus is on --
LORNA
As she goes about her work, Lorna wears a vaguely puzzled expressions.
In fact, puzzles are on her mind.
LORNA
Forty-two across...Simon & Garfunkel hit...eight letters...begins
with 'I'...I...I'm A Loser...Did they sing that?...Susie used
to play Mom's Simon & Garfunkel records all the time...I scratched
one once and she pulled my hair...I haven't spoken to her for
almost a year...Her little kid must be walking by now...Maybe
I should give Susie a call...Nah, fuck that! She's perfectly
capable of calling me...I mean, I'm listed...I'm...I am a rock...that's
it!...I Am A Rock, that's the answer...I am a--
Suddenly, Lorna remembers the job at hand.
LORNA
(flatly)
God, you really have a big cock.
Like Pavlov's proverbial dog, Todd MOANS and the whole thing
is quickly over.
Lorna gives Todd a look -- it's an astonishing impersonation
of tenderness.
LORNA
Wow. That was something.
TODD
Yeah...was it?
LORNA
Let me tell you...that was something.
TODD
Really.
LORNA
Cut the modesty. You really know what you're doing.
CUT TO
INT. TODD'S KITCHEN - DAY
Lorna, dressed, is dialing the kitchen phone. From the kitchen
window she can see a school playground across the way. It's
recess. Girls in uniforms perform a jump rope cadence.
LORNA
(into phone)
Hey, it's Lorna...I'm clocking out for the last time...No, I'm
not done for the day, I'm done...Wait, I don't think you heard
me...Well, just give it to one of the other girls. Give it to
Terri...I don't care if he's an important client, I told you
I'm...Well, you'll just have to cancel it, won't you?...I don't
care what it pays, it's not my fuckin'--
She turns to find Todd in the doorway, listening.
LORNA
(into phone)
Hold on...
(to Todd)
What?
TODD
Nothing. Are you alright?
LORNA
I'm fine. The cab fare will be another twenty.
TODD
You never said anything about cab fare.
LORNA
Of course I did. Are you calling me a liar?
TODD
No. I swear, you didn't say a word about it.
Lorna slowly brings the phone to her ear.
LORNA
(into phone)
Alright. Where is it?
CUT TO
INT. TODD'S CAR - MOVING - DAY
Todd is at the wheel of his vintage Buick. Lorna sits on the
passenger side. She looks off, distracted. On the seat between
them is the gift from Terri, still unopened.
TODD
You haven't told me where we're going yet.
LORNA
Make a right at the light.
He does.
TODD
Can I ask you a question?
(without a beat)
No, forget it...it's stupid.
LORNA
Go on, ask.
TODD
Well, after we...after we did it, you didn't really mean what
you said, did you? About me being so good.
Lorna looks at him like he's the biggest fool in the world.
This is not lost on him.
TODD
(back-peddling)
I'm only asking because I'm fascinated by this whole scene you're
in. So, don't worry about sparing my feelings or anything.
I'm just curious.
LORNA
Pull over.
TODD
What?
LORNA
Pull over here.
He does. Up the block is a high-rise, luxury hotel. Limos and
cabs line the driveway. Uniformed doormen guard the entrance.
LORNA
You see that hotel? In one of those rooms, there's a man waiting...he's
waiting for me. I don't know what his name is or what he looks
like. He may have bad skin. He may be really ugly. But no
matter how he looks, or how bad he smells, or whether he makes
weird wheezing sounds when he comes, I tell him the same thing...the
same thing I told you.
TODD
Right...Well, that's what I thought. I mean, a guy would have
to be pretty lame to think that...
Todd knows better than to even finish.
LORNA
To think what?
TODD
Nothing.
Quite out of the blue, she leans over and kisses him on the cheek.
LORNA
It's Todd, right.
TODD
Yeah.
LORNA
Well, Todd, you're alright.
(beat)
And that I don't say that to everyone.
She opens the door, starts out--
TODD
If I wanted to see you again--
LORNA
No. You can't. You can't see me again.
(beat)
But thanks for asking.
OMITTED
INT. TODD'S CAR - DAY
Lorna closes the door and starts for the hotel. Todd drives
past, watching her recede in the rear-view mirror.
The moment she disappears, Todd looks down and sees the gift
box from Terri -- Lorna left it on the seat.
Without missing a beat, Todd slams on the brakes, jumps out and
races back to where he left her. Looking everywhere--
TODD
Lorna! Lorna!
But Lorna is gone.
CUT TO
OMITTED
CUT TO
INT. PHOTOGRAPHY STUDIO - DAY
A business that specializes in sentimental portraits -- weddings,
graduations, anniversaries...even beloved pets.
A photo shoot in progress. Todd and his colleague PHIL -- mid-30s,
are doing an engagement portrait.
The couple -- very straight and suburban -- are just of out Todd
and Phil's earshot.
PHIL
(to the couple)
Beautiful, just beautiful.
(to Todd)
You used a rubber, I hope.
TODD
Of course.
PHIL
And how much did this afternoon delight set you back?
TODD
Oh. About a buck and a quarter.
(to the couple)
We just need to reload.
As they do--
PHIL
Since when do you have a hundred and twenty-five dollars to throw
away?
TODD
I'm sure you spend just as much on porn rentals.
PHIL
There's no comparison. Here, I'll do the math for you.
Phil pulls a calculator out of his camera bag.
PHIL (CONT'D) (cont'd)
(punching in numbers)
A video rents for $2.65. That's a two-day rental. That means
you can get off at least a couple times before it's due. $125
divided by $2.65 equals approximately 47. 47 X 2 = 94. I can
get off ninety-four times for the same amount you paid to get
off once. Now tell me who gets the better deal.
TODD
You're right. I can't argue with that.
PHIL
Anyway, I stopped watching porno.
TODD
You did? Why?
PHIL
They kinda depress me.
(beat)
When I want to get off now, you know what I use?
TODD
What?
Phil taps his forehead.
PHIL
My imagination.
(to the couple)
Okay, folks. It's magic time.
LATER.
The couple is gone. Phil and Todd wrap some equipment.
Phil (cont'd)
What I don't understand is, aren't you getting enough action
from that Sarah?
TODD
What's Sarah got to do with it?
PHIL
You're seeing her, aren't you?
TODD
Sarah...that's a whole different situation.
PHIL
But you're doing it with her, right?
TODD
I like Sarah a lot. And I don't want to blow it by pushing too
hard.
Phil stares.
PHIL
You mean, you haven't...
TODD
Technically? No.
PHIL
She won't put out?
TODD
No, no, no. You don't get it. You can't equate the two. What
I did with Lorna--
PHIL
Lorna?
TODD
That's her name. Lorna. I mean, that's the name she gave me.
What I did with her...that was like going to some exotic place.
For a visit. Haven't you ever wondered what that kind of
person is like? What that world is like? I was just...doing
research. The lower depths...
(beat)
You think I'm full of shit, don't you?
PHIL
I didn't say anything.
CUT TO:
OMITTED
CUT TO
EXT. MOVIE THEATER - NIGHT
A revival house in a college neighborhood. The ticket seller
hangs a "Sold Out" sign in the box office window, just as Todd
and SARAH come running down the sidewalk.
SARAH
Shit! Sold out!
Sarah, at twenty-five, is cute, brainy, articulate, and hopelessly
insecure.
They lean against the wall and catch their breath.
SARAH
I am so sorry.
TODD
That's alright. I hear it's really overrated. And long.
SARAH
I could just kill him! This is not the first time he's done
this, either.
TODD
Done what?
SARAH
Cooked up some phony emergency, right as I'm getting on the elevator.
TODD
He's your boss. Being an asshole is part of the job description.
SARAH
We're talking about the most self-centered man I have ever met.
God forbid I should have a life, right?
(beat)
But I'm not going to let him do it.
TODD
Do what?
SARAH
Ruin my evening. Our evening.
(without a beat)
You know, he also thinks he's God's gift to women. I'm surprised
he hasn't been sued by now...Okay, okay. Stop me.
He takes her by the shoulders.
TODD
Sarah. Take a breath.
SARAH
Okay. I'm taking a breath.
And she does.
TODD
Now, take another one.
SARAH
I like you. Have I told you that?
TODD
Not today.
SARAH
You know what I want to do? I want to go shopping.
TODD
Shopping? For what?
SARAH
For a house.
TODD
(completely thrown)
Just what I was thinking.
CUT TO
INT. TODD'S CAR - MOVING - NIGHT
Todd drives Sarah through a neighborhood full of beautifully-maintained
old homes. She is a kid in a candy store--
SARAH
Look at the detail on that one. Wow. Every one of these is
a gem. Makes the stuff I work on look pretty shabby by comparison.
She shifts to get a better look. In doing so, her foot hits
an object on the floor.
SARAH
What's this?
She lifts up Lorna's birthday gift -- still unwrapped.Todd reacts
-- he forgot to get rid of it -- and Sarah reacts to Todd.
SARAH
Obviously, not for me.
TODD
Something...somebody left in front the studio. I just picked
it up.
Sarah nods -- she seems to buy it -- and promptly opens the box.
TODD
What are you doing?
SARAH
Maybe we can find out whose it is.
Inside is a silver bracelet, and a hand-written note.
SARAH
(reading)
"Lorna. Remember, I'm in your corner. Love, Terri." Pretty
cool bracelet. You just found this.
TODD
Stupid of me...I should've left it.
SARAH
Lorna. That's a name you don't hear very much. Lorna. Like
the cookie.
(off Todd's look)
What? You've never had a Lorna Doone?
TODD
No.
SARAH
Terri and Lorna. Sisters, maybe? Lovers, more like it. Or...witches.
And this bracelet is some sort of talisman.
TODD
You have a perverse mind.
(beat)
...which I like, by the way.
SARAH
Or...perhaps Terri killed Lorna, and this "gift" provides her
with an alibi.
TODD
Maybe you should put it back.
SARAH
What, aren't you a little curious?
Todd pulls over and stops.
TODD
Sarah...I don't know how to put this. This is our fourth night
out, and I feel a lot of pressure...for this to work.
SARAH
I want it to work, too.
(off his look)
Oh. Is this about sex?
TODD
Don't you think we're being a little...methodical about the whole
thing? Maybe we should just...
SARAH
What? Get it over with?
TODD
Not exactly.
SARAH
Don't you think it's better to be sure of each other first?
To have a little bit of trust?
Sarah absently fingers the bracelet that's not hers.
TODD
You can trust me.
SARAH
I know, I know.
(beat)
But you're not sleeping with anyone else, right?
TODD
Of course not.
SARAH
It's not such a strange thing to ask. Sometimes relationships...overlap.
I just need to feel--
TODD
I told you. I'm not.
Beat.
SARAH
You haven't asked me if I'm seeing anyone.
TODD
Is that bad?
SARAH
It's silly, I know, but it makes me feel like you couldn't imagine
anyone being interested in me.
TODD
What? You should be flattered I don't ask. I respect you enough
to assume you'd tell me if you're involved with someone.
Sarah considers this.
SARAH
Hmm. Ask me, anyway.
TODD
Are you serious?
(off her look)
Alright. Are you seeing anyone?
SARAH
Absolutely not.
Todd takes the bracelet, puts it on the dash, then leans to kiss
Sarah.
SARAH
I do want to make love tonight.
TODD
I'm just worried that all this talk is going to kill the spontaneity--
She presses her finger to his lips--
SARAH
I think spontaneity is overrated.
CUT TO
INT. SARAH'S APARTMENT BEDROOM - NIGHT
Todd and Sarah are making out in her bedroom. To expedite matters,
they're also trying to undress. It's not very practical. Todd
can't quite kick off his shoes. Sarah can't quite get her blouse
unbuttoned.
Finally--
SARAH
Todd, the light.
He switches it off. They sit side by side and undress down to
their underwear. They look at each other.
SARAH
Wait. Don't say anything.
TODD
Okay.
Beat.
SARAH
What were you going to say?
TODD
I wasn't going to say anything.
SARAH
Oh.
TODD
You look beautiful--
SARAH
No, don't say that. Let's get under the covers.
They climb into bed and move into each other's arms.
SARAH
Let's go slowly.
They kiss, caress, shedding their inhibitions. Then--
SARAH
Oh. Oww!
TODD
What happened?
SARAH
Dammit...my foot. I've got one of those...what's the word?
TODD
A bunion
SARAH
Not a bunion. A spasm.
TODD
Oh, a foot spasm. Here let me--
He throws back the covers and massages her foot.
SARAH
Oww! No, stop! It hurts! I hate this!
TODD
What can we do?
SARAH
Nothing, it's fine, it's fine. Lemme just walk it off.
She gets out of bed and hobbles into--
INT. SARAH'S HALLWAY - NIGHT
Dressed in bra and panties, Sarah hops up and down the hall,
desperate to relieve her pain.
Todd appears in the doorway and watches her mad little dance.
His thoughts--
TODD
She has a better-looking body than I imagined...Breasts are definitely
bigger than I thought. You can just never tell with breasts,
can you?...I don't know what to make of this foot problem...Maybe
she gets a spasm every time she has sex...I've heard of people
with problems like that...People who can't have sex without laughing,
or burping...Oh, God, what if she's one of them...
Sarah looks up from her hopping.
SARAH
I am so embarrassed. Trust me, this doesn't happen all the time.
TODD
The thought never crossed my mind.
CUT TO
INT. SARAH'S BEDROOM - NIGHT
Sarah and Todd, back under the covers, making love. Todd is
on top, moving slowly. Sarah bites her lip and closes her eyes.
Todd looks at her and wonders --
TODD
She won't look at me. Why won't she look at me?..I'll bet she's
preoccupied with her foot. She's praying she won't get another
spasm, another foot freak-out...She's being awfully quiet, too...Why
is she so quiet?...Maybe she needs to concentrate...Some women
need to concentrate...I read that in a magazine at the grocery
store...That blonde check-out girl who works there is really
cute...I love the way she says, "Paper or plastic?"...
Todd lets out an excited gasp. Sarah opens her eyes with alarm.
SARAH
Todd! Shhh...
Todd stops. Everything stops.
TODD
What's the matter?
SARAH
These walls, they're paper-thin. This building is so poorly
built. Everyone can hear you.
Todd rolls off of her.
TODD
Is that why you're so quiet?
SARAH
Yes, the walls are...What are you saying?
TODD
It's hard for me to tell if you're enjoying this.
SARAH
Of course, I am. I'm sorry if I'm not vocal enough for you.
TODD
That's not what I...Sarah, I just want to make sure I'm doing
something right here.
SARAH
There's no right or wrong way to do this.
TODD
I know. I just want to make sure I'm...you know, in the ballpark.
Sarah stares at him.
SARAH
Todd, I don't expect you to do everything right the first time...Sorry,
that didn't come out the way I meant it...
They roll away from each other and stare at the ceiling. We
hear a distant siren -- a fire engine, maybe. Somewhere there's
a five-alarm fire blazing. Not here.
TODD
You didn't like it.
SARAH
No, I didn't say that. I was just...Let's be still for a while.
Alright?
FADE OUT:
FADE IN:
INT. SARAH'S BEDROOM - LATER - NIGHT
Sarah and Todd haven't moved. It's not clear how much time has
elapsed.
SARAH
Everyone expects fireworks the first time you do it. But that's
just a myth.
TODD
A myth. You're right.
SARAH
Let's not be too hard on ourselves.
TODD
I agree.
SARAH
Our expectations were a little high, that's all.
Todd nods his agreement.
TODD
And at the end of the day, sex is only one part of the picture.
SARAH
True. What do you mean?
TODD
I know this couple. They had nothing in common but good sex.
They went at it like a pair of rabbits. And guess how long
it lasted? A month. They were hot for each other...but there
was nothing else.
SARAH
Right.
(beat)
There's got to be something else.
And they stare at the ceiling.
FADE OUT:
FADE IN:
INT. SARAH'S BEDROOM - STILL LATER - NIGHT
They still haven't moved, but unbeknownst to Sarah, Todd has
fallen asleep.
She looks at him. She caresses his face. Then, her hand slides
down under the sheets. She tries to arouse him, but after a
while she stops. He's very much asleep.
Sarah lies back. She slides her hand between her legs and begins
to touch herself.
Quietly.
FADE OUT:
FADE IN:
EXT. STREET - DAY
Early morning. The air is cool and crisp as Sarah, wearing sweats
and a T-shirt, jogs through the neighborhood.
She turns down a side street, heading for--
EXT. SARAH'S GRANDPARENTS HOUSE - DAY
A nondescript house with a faded American flag hanging off the
front porch. Sarah climbs the steps where an elderly man --
her GRANDFATHER, sits with the morning paper in his lap, unread.
Sarah gives him a kiss.
SARAH
Morning, Pappy. How's she doing today?
GRANDFATHER
Don't pay her any mind, Sarah. The things she says, they get
stranger by the day.
Sarah pays him no mind and heads into the house.
CUT TO
EXT. BACK PORCH - DAY
Sarah and her GRANDMOTHER sit on the back porch, which offers
a splendid view of...other people's back porches.
Sarah's Grandmother has a sense of mischief that's quite at odds
with her deteriorating frame.
The two drink coffee.
GRANDMOTHER
They keep telling me I'm doing fine, that I'm even improving.
Why do they have to lie? At my age? What are they trying to
protect me from?
SARAH
Maybe they know something you don't.
GRANDMOTHER
Like hell.
She pulls out a pack of American Spirit cigarettes and lights
one. Sarah reacts.
SARAH
Nan.
GRANDMOTHER
What? One in the morning with coffee. One at night with cocktails.
Where was I?
(beat)
Oh, yes. My story is coming to an end, Sarah--
SARAH
Oh, please.
GRANDMOTHER
Your story, that's the one I want to hear.
SARAH
I wish I had a story to tell.
GRANDMOTHER
Hmm. The last time there was talk of an admirer.
SARAH
All you want is dirt, Nan. Admit it.
GRANDMOTHER
The world is made of dirt, Sarah. So, please, dish. No detail
is too small.
SARAH
I...I'm sleeping with two different men.
GRANDMOTHER
Hmm. Continue.
SARAH
One of them is a good man. He's good for me.
GRANDMOTHER
Like vitamins.
SARAH
Sort of. The other one, he can be a complete ass. A total jerk.
GRANDMOTHER
In other words...he excites you.
SARAH
He does. And I hate it. I hate him. And, on top of that, I
can't have him.
GRANDMOTHER
Can you see your Pappy?
Sarah looks back over her shoulder. She catches a glimpse of
her Grandfather. He's still on the front porch.
SARAH
He hasn't moved.
GRANDMOTHER
Good. Keep an eye on him.
SARAH
Why?
GRANDMOTHER
Because I'm going to tell you something he shouldn't hear. Something
no one knows. Once, I had two lovers. One was your grandfather.
He had prospects, then. He had a car and we drove everywhere
and people would look at us and say, "Now, there goes a couple."
He never pushed me. He told me he respected my virginity.
And I liked that.
They hear a loud creak.
SARAH
Don't worry. He's not moving.
GRANDMOTHER
The other man -- he was a boy, really -- he had no prospects.
And he had no car. And he had no respect...for anything. He
certainly had no respect for my virginity. And I liked that,
too.
She takes a long, luxurious drag.
GRANDMOTHER
But I had to make a choice. I chose your grandfather. The day
before the wedding, I went to let the other boy down. Met him
by a river where we used to swim. Well, one thing led to another,
and when I returned home that night, I'd left my virginity back
in the tall grass by that river.
Sarah sits on the edge of her chair.
GRANDMOTHER
But I did bring something back. A bite mark. That sonuvabitch
left on my neck, the size of a peach pit.
SARAH
Did Pappy see it?
GRANDMOTHER
He did and he didn't. On the wedding night -- in this house
-- I managed to squeak by. It was dark. We were shy. He took
me in his arms and said, "I'm glad you waited for me." In other
words, I lost my virginity twice in the same week.
They both laugh.
SARAH
No small feat.
GRANDMOTHER
It's an accomplishment. But the next morning, your Pappy saw
it. He demanded an explanation. And, Sarah, do you know how
I got out of that pickle?
SARAH
You lied.
GRANDMOTHER
Damn right. I said, "What, you don't remember giving me this?"
He said, "No." And I said, "Well, you were so fired up last
night, it's a wonder you can remember anything."
(beat)
And the beast was tamed.
Sarah considers the story.
SARAH
And you've never been tempted to...
GRANDMOTHER
What? Come clean with your Pappy? Why should I tell him? He
had nothing to do with it.
SARAH
Right.
GRANDMOTHER
It's mine. Not his.
SARAH
I wonder what became of that boy.
GRANDMOTHER
Never saw him again. I don't regret a thing, if that's what
you're wondering.
SARAH
I was, in fact.
GRANDMOTHER
Look what I have. I have you.
(beat)
And you know what else? I have the tall grass by that river.
And those clouds. From where I was laying the clouds looked
really beautiful that day.
CUT TO
INT. THE MODEL CITY/OFFICE - DAY
The same model we saw at the start of our story. We glide toward
a miniature suburban development. Row upon row of houses, each
no different than the next.
Over this --
SARAH
I don't believe it. You're actually asking my opinion. You
really want to know what I think?
We TILT UP to reveal that we're in--
The well-appointed office of the well-heeled JOSH, an architect
in his early 40s. Josh studies the model like a boy with a train
set. Sarah stands beside him.
JOSH
To tell you the truth, no. I just wanted to hear your voice.
You've barely said "boo" to me all morning.
SARAH
(shrugs)
Boo.
JOSH
Alright, what do you think of it?
SARAH
You'd have to pay me to live in that neighborhood.
(off his look)
Hey, what do I know? I'm just the assistant.
JOSH
What are they going to think? That's all that matters.
SARAH
To paraphrase you, this is going to give them a major hard-on.
Not the women, of course.
JOSH
You haven't met these women.
Sarah laughs, catches herself and stops.
CUT TO
INT. OFFICE CORRIDOR - DAY
Sarah and Josh move down a hall toward the elevators. Josh is
in micro-management mode --
JOSH
The champagne order?
SARAH
Done. Dom Perignon. Fifteen cases.
JOSH
Invitations?
SARAH
A messenger is meeting us at the site with the proofs.
JOSH
Good.
He reaches behind her and pats her butt.
SARAH
Stop it.
JOSH
I can't.
SARAH
Have you never heard of the phrase "impulse control"?
They reach the elevators.
JOSH
I love it when you're full of contempt.
She just glares.
SARAH
People are starting to notice, Josh. I work very hard to act
completely indifferent toward you. The least you could do is
to keep your hands to yourself.
JOSH
I've got a better idea.
SARAH
What?
JOSH
Why don't I distribute a memo, informing everyone that you and
I are not sleeping together?
SARAH
Josh, just for the sake of variety, could you take me seriously
for a moment?
JOSH
Alright, alright. I have another idea.
SARAH
Please, don't...
JOSH
Let's just end it.
Beat.
SARAH
Yes. I think we should.
Josh didn't expect this. The elevator arrives. He steps aboard
and holds the door for her.
JOSH
Coming?
SARAH
I'm going to take the stairs.
Josh shrugs and lets the doors close.
A beat. Sarah considers the stairs, then hits the down button
again.
CUT TO
EXT. OFFICE BUILDING - DAY
Sarah and Todd eat lunch on a bench in a busy promenade. Deli
sandwiches in wax paper rest on their laps.
SARAH
I can't put my finger on it...I just don't feel it's happening
with us.
TODD
You don't want it work out, that's what you're saying.
SARAH
I do. I mean, I did. It's no one's fault. It's chemistry.
Beat.
TODD
You want your pickle?
SARAH
Do you want your pickle?!
TODD
You know what the problem is? The first night we went out, we
should've just fucked. Right away. Without thinking. Two dumb
bunnies. Without any history, any baggage. A pair of blank
slates. Fucking. It could've been perfectly meaningless. You
want chemistry? The less you think, the better the chemistry.
Less talk, more action.
SARAH
I'm sorry. It's just not happening for me.
TODD
The least you can do is give me your goddam pickle.
They look away from each other. Todd eats in silence. The pickle
sits between them.
CUT TO
EXT. SUBURBAN DEVELOPMENT - DAY
Josh's model come to life. A fallow stretch of land lined with
unfinished houses, some more skeletal than others.
At one site we find two parked cars. A gold Lincoln Navigator
and an old BMW convertible.
CUT TO
INT. HOUSE - DAY
A house-in-progress. The walls are in place, but little else.
Stray two-by-fours, saw horses, electrical cable. And...no
roof.
In an upstairs room -- what will soon be the master bedroom,
Josh confers with a construction supervisor. Nearby, Sarah talks
on her cell phone.
SARAH
(into phone)
I don't care if it costs the same, if it's not Dom Perignon tell
them we don't want it, alright?...Good. Anybody else call?
Nobody, huh...Okay.
As she hangs up the construction supervisor exits. Sarah and
Josh are alone.
SARAH
Guess I'll be heading back...
JOSH
Wait.
(beat)
About the other day...Are you having any second thoughts?
SARAH
(shrugs)
No. None.
JOSH
You're angry I called it quits, aren't you? You can admit it.
SARAH
No. In fact, I want to thank you.
JOSH
For what?
SARAH
For sparing me from the most unhealthy relationship I've ever
had in my life. For that, I thank you.
Josh raises his hands in surrender.
JOSH
Touch�.
SARAH
Are you having seconds thoughts?
JOSH
No. I say, let's make a clean break. Let's just walk away from
it.
Sarah smiles. She extends her hand.
JOSH
What are you doing?
SARAH
Let's seal the deal. Shake.
It's a little awkward, but they do.
JOSH
Alright. Now that we've put that behind us, there's one problem
left.
SARAH
What?
JOSH
Where do we put the bed?
Josh gestures to the empty room. Sarah smiles -- it's a familiar
game.
SARAH
Oh, the bed. Let's put it against this wall. Away from the
morning sun.
JOSH
Wrong. It's got to go here. So you can see the hallway.
They head out.
As Josh and Sarah leave the house, they "decorate" several rooms.
INT. ANOTHER BEDROOM -- DAY
SARAH
Not enough height for bunk beds.
JOSH
Why do you assume there will be two children?
SARAH
There has to be. They need to keep each other company.
INT. THE KITCHEN -- DAY
SARAH
Definitely not enough space for two people to cook.
JOSH
I prefer to eat out.
INT. THE LIVING ROOM -- DAY
They size up the space, enjoying their play. Sara walks around
imaginary furniture.
SARAH
Oh, no. I wouldn't put the ottoman there.
JOSH
Where would you put it?
SARAH
It needs to go over...
She waves her hand, accidentally brushing against Josh's chest.
She lets her hand linger...
SARAH
Hmmm.
JOSH
What?
...and linger. They both know what's happening.
SARAH
We have another problem.
JOSH
And that would be...?
SARAH
What do we do with the elephant in the room?
JOSH
You're very clever.
She rubs his chest.
SARAH
We shouldn't be rude to an elephant.
She lets her hand drop to his crotch.
SARAH
They can get very annoyed...if you ignore them.
She pulls Josh to her and kisses him. Josh fairly attacks her,
his hands all over her body.
After a few lustful beats, he lifts her and she wraps her legs
around him.
SARAH
Josh. The door.
It's an absurd request -- the room is completely exposed, but
Josh carries her to the front door and kicks it closed.
--as the door slams, obscuring our view.
ON JOSH AND SARAH
With Sarah's back against the door, Josh enters her.
CLOSE ON SARAH
She looks up. With no roof above them, she has a brilliant view
of...the clouds. They float past as she thinks--
SARAH (V.O.) (cont'd)
...Let's not put a roof on this house today...let's leave the
walls unfinished...it's okay not to know where the sofa goes...The
colors? We can choose them another day...I like it the way it
is... undone... undecided...a work in progress...
She moans -- there's nothing quiet about her at all.
Fade out.
FADE IN:
INT. THE LIVING ROOM - LATER - DAY
Josh and Sarah have finished. He tucks in his shirt. She puts
on a shoe.
JOSH
I have to tell you, that was the best "break-up" sex I've ever
had.
Sarah considers this. Nods.
SARAH
It was, wasn't it?
(beat)
Closure is important.
jOSH
Now you can move on. You can meet someone who...
sarah
What? Someone who's not a prick like you.
Josh reacts -- slightly offended.
joSH
No. Someone who's...free.
sarah
Oh. Right.
(beat)
As if that would have made any difference in this...what is this
thing called again? A relationship?
She's fishing -- she hates herself for it.
sarah (cont'd)
It wouldn't have made any difference, right?
jOSH
I'm surprised you have to ask.
sarah
I'm not asking.
He'll answer, anyway.
joSH
If my hands weren't tied...it might have made all the difference.
Beat.
sarah
I said I wasn't asking. And that's the worst answer you could've
given.
cUT TO
EXT. HOUSE - DAY
Josh and Sarah get into their respective cars -- her BMW, his
Navigator.
Josh looks at himself in the rear-view mirror. He reacts--
JoSH
What the hell is this?
Sarah looks over.
joSH (cont'd)
You bit me on the neck! I've got a goddam hickey!
Sure enough, there is a bright red mark on his neck.
Sarah comes over. She reacts with shock, embarrassment, then...laughter.
joSH (cont'd)
What's so goddam funny? You did this on purpose, didn't you?
sarah
I did not. I was just...I didn't mean to...I was caught up in
the moment.
And she laughs again.
jOSH
What the hell are we going to do about this?
sARAH
Josh, you are a big boy. You can take care of this on your own.
Josh glares at her, starts his engine, and leaves her in the
dust.
cUT TO:
INT. TODD'S APARTMENT - DAY
Todd is on the kitchen phone. Lorna's bracelet sits on the counter.
TODD
(into phone)
No, no, no. You don't understand. I don't want an appointment,
I just need to get in touch with her...She left a package here
by mistake, a gift...No, I'd rather give it to her myself...Lorna,
but I assume none of you use your real names...What? But she
was working last week?...And you don't have a forwarding number?
...Look, it's really important that I get this back to her,
so--
The line goes dead.
TODD
Dammit.
He dials again. Then, a knock at the door. Todd reacts -- he's
not expecting anyone.
He opens the door and finds--
SARAH
Still dressed in the clothes she wore earlier. She holds a small
paper bag.
TODD
Sarah...
SARAH
I brought you something.
She hands him the bag. He looks inside.
TODD
Pickles. Huh.
(beat)
What's in your hair?
She touches her hair.
SARAH
Oh. Sawdust. Lots of sawdust at the job site.
(beat)
Can I come in?
Todd puts the bag of pickles on the kitchen counter. He sees
Lorna's bracelet...and slides it into a trash can.
CUT TO
INT. PHARMACY - NIGHT
Josh, still sporting his hickey, approaches the humorless teenage
GIRL behind the counter.
GIRL
Need some help?
JOSH
Yes, I have a problem. I need some...something to cover up a...Hell,
just take a look.
Josh shows the Girl his hickey.
GIRL
Yeah. You're fucked.
JOSH
I can do without the attitude, thank-you.
GIRL
Try concealer. Aisle three.
JOSH
(impatient)
But what do I do with it?
GIRL
Just put it on. And call your lawyer.
She smiles.
CUT TO
EXT. JOSH'S HOUSE - NIGHT
In the driveway of his fashionable home are two parked cars.
Josh's Mercedes S430 and his wife's Lexus RX300.
In the Mercedes, Josh finishes applying the concealer to his
neck. He checks himself in the mirror -- the hickey is completely
gone.
His hands, however, have concealer all over them.
CUT TO
INT. JOSH'S BATHROOM - NIGHT
Josh washes his hands in the master bathroom. He double-checks
his neck in the mirror. From the adjoining bedroom, we hear
-- but do not see -- his wife GWEN.
GWEN
Unbelievable.
JOSH
What?
GWEN
I'm reading a stupid article in a stupid magazine.
JOSH
If it's stupid, why read it?
GWEN
(ignores this)
The whole issue is devoted to famous couples who are breaking
up. Listen to this...Remember the blonde doctor on that show
you hate?
JOSH
Yeah. She's a bore.
GWEN
She's breaking up with her husband of twenty years. Said a friend,
"Her show's in syndication, she's thin, she's rich and she wants
to play." Josh dries his hands.
JOSH
Some poor tree gave its life so we could know that.
GWEN
It's comforting, reading about these broken marriages.
Josh opens the door into the--
INT. JOSH'S BEDROOM - NIGHT
Gwen sits under the covers with her magazine. In her late 30s,
she is a refined, patrician beauty. As Josh undresses for bed--
JOSH
Why?
GWEN
It's not enough for our marriage to succeed. Everyone else's
must fail.
JOSH
Is this going to be one of those nights?
GWEN
What?
JOSH
One of those nights we talk.
GWEN
No. There's no need to talk, because there's no problem.
He gets into bed next to her.
JOSH
I've been under a lot of stress.
GWEN
You don't have to apologize. There's nothing wrong with the
slump we're going through. In fact, it's a good thing.
JOSH
How's that?
He turns off the side light. We can't see them -- the room is
completely dark.
GWEN
Too much passion can ruin a marriage. Look at Eric and Sylvia.
At the beginning, you couldn't pry them apart. They were joined
at the genitals. And, then...total burn-out. A marriage cannot
sustain that kind of intensity. It's good for people to grow
bored with each other. That way, they can meet and fall in love
again.
She snuggles up to him, strokes his back.
GWEN
In case you hadn't noticed...I'm trying to seduce you.
JOSH
I can feel that.
GWEN
You're welcome to reciprocate.
Josh turns on the light and sits up.
JOSH
I can't.
GWEN
It's alright.
JOSH
To seduce...to be seduced, there needs to be an element of surprise.
I know all your moves. You know mine. How can there be any
surprise?
Gwen sits up, throws back the sheet.
GWEN
Rub my feet.
He does.
GWEN
I think we should have an affair.
JOSH
What?
GWEN
With each other.
JOSH
That makes no sense.
GWEN
You pick me up at a bar...
JOSH
And, what? Pretend I don't know you?
GWEN
(ignores him)
Or we could meet at a hotel. I'll register under my maiden name.
Just like THE GRADUATE.
JOSH
THE GRADUATE is about a married woman having an affair with a
college boy.
GWEN
When I met you, you were a college boy.
JOSH
Gwen, THE GRADUATE is a story about a very unhappy woman who
has an affair out of wedlock. As I recall, it turns out rather
badly for her.
GWEN
Alright. Bad example.
(rethe foot rub)
You can stop.
JOSH
Actors pretend. That's what they do. I'm not an actor. And
I love you the way you are.
GWEN
I love you, too.
And he turns out the light again.
JOSH
Pretending to be strangers is not going to solve the problem.
Beat.
GWEN
Who said there was a problem?
CUT TO
INT. OFFICE BUILDING - NIGHT
A cocktail party at Josh's firm. Josh is the center of attention,
greeting investors, fielding compliments. Gwen stands beside
him, drinking champagne -- Dom Perignon, after all.
JOSH'S POV
Through the crowd he spots Sarah, entering with her date -- Todd.
GWEN
Your lovely assistant is here.
(reTodd)
You didn't tell me she had a new boyfriend.
JOSH
I don't ask her about her personal life.
Sarah and Todd arrive.
SARAH
Hey, you two. Todd, this is my boss Josh, and his wife Gwen.
Todd and Josh shake hands.
TODD
Sarah's told me a lot about you.
Josh is not sure how to take that.
GWEN
Sarah, you look great. You've been keeping my boy on his best
behavior?
SARAH
It's a dirty job, but somebody's got to do it.
GWEN
I know he asks to go above and beyond the call of duty.
SARAH
He can be tough.
JOSH
But fair.
GWEN
Josh, I'm trying to thank Sarah for all the extra attention she
gives you.
SARAH
You're welcome.
GWEN
We should really have you over for dinner, Sarah. It's been
too long. You can bring...
TODD
Todd.
GWEN
Sorry. I'm hopeless when it comes to names.
JOSH
Especially after two glasses of champagne.
GWEN
Hey, I'm still working on the first, thank you.
(to Todd)
So, are you two living together?
TODD
Living together? No.
Sarah and Todd both laugh.
SARAH
We've only known each other a few weeks.
Josh reacts -- he knew nothing of this.
GWEN
You two seem to fit. It only took me a few days to know with
Josh. In fact, I knew after the first date.
SARAH
You knew what?
GWEN
That he was the one for me.
JOSH
(to Sarah)
She loves to embarrass me.
SARAH
(to Gwen)
Don't stop. I want to hear about this first date.
GWEN
Well, it was the cheapest date I've ever been on.
JOSH
I was broke.
GWEN
Do you know the Chinese place on Third? That little hole-in-the-wall?
TODD
I know it. Used to be a cool dive. Now it's ultra-hip and overpriced.
This news gives Gwen pause.
GWEN
Really? I think our first dinner cost a grand total of ten dollars.
JOSH
Gwen loves to dissect our first date.
GWEN
It was a momentous night. Babe, we should really go back there.
Josh gestures to the bar.
JOSH
Gwen, why don't you continue your stroll down memory lane while
I drink? Todd, you up for it?
TODD
Sure.
They move away toward--
INT. OFFICE BUILDING - THE BAR - NIGHT
As Josh and Todd sidle up--.
JOSH
(to bartender)
Gin. Straight up. Olives.
(Todd)
What are you having?
TODD
I'm fine, thanks.
JOSH
So...Sarah's an attractive girl.
TODD
Very.
JOSH
You two serious?
TODD
(shrugs)
Hard to say.
JOSH
She wants to play the field, right?
TODD
No, that's not it.
JOSH
I see. You want to fuck around.
Todd reacts.
JOSH
C'mon, we're guys. I know the drill.
Todd considers his audience, then decides to open up--
TODD
We dated a few times, and to be honest, I was on the fence about
Sarah. I liked her, but I didn't think we were in a good groove.
Then, a couple weeks ago, her grandmother died. Things changed.
JOSH
I didn't know.
(beat)
She didn't say a thing about it.
TODD
It wasn't unexpected, but Sarah took it really hard. So where
did that leave me? I was ambivalent about things, right? But
then my ambivalence had to take a back seat. I had to be there
for her. Completely. And, ready or not, our relationship became...a
real relationship.
Josh simply listens.
TODD
You know, I wasn't ready to be that involved with anybody. I
don't know...Death has a funny way of making you get outside
yourself.
Josh looks past Todd--
JOSH'S POV
Gwen is still chatting with Sarah. Gwen makes eye contact with
Josh and sends him a warm smile.
CUT TO
INT. JOSH'S CAR - MOVING - NIGHT
Josh and Gwen drive home in silence. Gwen notices something
out the window.
GWEN
You missed the on-ramp.
JOSH
I know.
GWEN
Why?
JOSH
Somewhere we need to go first.
CUT TO
EXT. CHINESE RESTAURANT - NIGHT
The Mercedes pulls up to the "Happiness Chinese Restaurant."
Josh and Gwen get out and take in the sight--
GWEN
We don't have to do this tonight.
JOSH
Yes, we do.
She peers in the window.
GWEN
We can't go in here. Everything's different.
He opens the door for her.
JOSH
That's okay. We're different, too.
CUT TO
INT. CHINESE RESTAURANT - NIGHT
Upscale lighting. Modern, non-Chinese decor. Anything but a
hole-in-the-wall.
Josh and Gwen are in a booth--
GWEN
Sarah's a very interesting girl. Did you know she's training
for the marathon?
JOSH
I don't want to talk about Sarah.
GWEN
What do you want to talk about, then?
JOSH
I want to talk about me...
A beat.
JOSH
...and what a fool I've been.
Gwen is not prepared for this.
JOSH
I thought if we came here tonight we could...start again.
GWEN
(flustered)
But I thought you were over this place. And, look...There's
nothing left. Not one remnant of our first date...anywhere.
Josh sees a plate of fortune cookies on the next table -- somebody
left without eating them.
JOSH
(brightens)
The fortune cookies haven't changed.
He brings over the plate.
GWEN
You're supposed to wait--
JOSH
I can't wait. I have to know.
He opens the first.
JOSH
(reading)
"You are on the verge of success"...in bed.
Gwen laughs, opens one herself.
GWEN
(reading)
"You will have a change of plans"...in bed.
Josh reacts, opens a third.
JOSH
(reading)
"You are very creative"...in bed.
GWEN
Hmm. That's what I've heard.
JOSH
The last cookie. Go ahead.
GWEN
No. You open it.
He slowly cracks in open.
JOSH
It's blank.
(checks both sides)
I got a blank.
GWEN
Blank...in bed. That's disappointing.
JOSH
No, it's perfect. Blank...no problems, no history, nothing...in
bed.
He takes her hand.
CUT TO
EXT. CHINESE RESTAURANT - NIGHT
Josh and Gwen approach their car. It's late. Behind them, the
restaurant is closing.
JOSH
By the way, I didn't get your name.
GWEN
What?
(off his smile)
Oh, my name.
She glances across the street. A shop window sign reads, "Bail
Bonds."
GWEN
My name is Gail. Gail Bonds.
JOSH
Well, Gail, I'm not usually this forward on a first date, may
I take you to my car and ravish you?
GWEN
Hmm. On one condition.
JOSH
What's that?
GWEN
That you tell me your name.
JOSH
Oh, I thought everyone knew my name. I'm Bill Gates. Billionaire.
She laughs.
INT. JOSH'S CAR -- NIGHT
They get into the back seat and begin to kiss.
GWEN
Is it true what they say, Bill, about billionaires? That all
the wealth is just a way to compensate...for size?
JOSH
People are jealous.
GWEN
I can imagine. It must be so lonely at the top.
He reaches between her knees.
GWEN
What are you doing?
JOSH
What do you think I'm doing?
(beat)
The fortune cookie said you're on the verge of success...in bed.
GWEN
We're not in a bed.
JOSH
You shouldn't read fortune cookies too literally.
Josh swings Gwen onto his lap. They go at each other like...a
couple of college kids.
CLOSE ON JOSH
As he makes love to his wife, he thinks--
JOSH
...Can anyone see us?...Is anyone looking?...Why should it bother
you? You're alone...with your wife...That's the way it's supposed
to be...You know every inch of her...every smell...every sigh...every
freckle...the shape of her ass...the mole under her nipple...the
whole history of her body...And, you know that if you really
concentrate, you can succeed...in imagining...she's someone you
don't know...
He puts his mind to it--
FADE OUT:
FADE IN:
INT. GWEN'S HOUSE - DAY
Gwen and her mother JOANNE are in the living room looking at
samples of fabric. At sixty, Joanne is robust and shrewd.
GWEN
Color. That's the problem with this room, it needs color. Think
of...the vibrant colors of Haiti.
JOANNE
Personally, Haiti does nothing for me. When your father and
I were there -- this was before you were born, I almost died
from a piece of lettuce, and I wouldn't want anything to remind
me of that trip.
(beat)
Anyway, quit changing the subject.
Gwen puts down the swatches.
GWEN
Alright. I didn't say anything.
JOANNE
Because you're not sure?
GWEN
No, I'm sure. I'm sure he's sleeping with her.
(beat)
And I may have to kill him.
JOANNE
Hmm.
GWEN
What? You think I should just forget about it?
JOANNE
Yes, I do.
GWEN
Mother, don't you think honesty is essential in a marriage?
JOANNE
It depends. It can be quite detrimental.
Gwen begins to pace in exasperation.
JOANNE
Alright. Confront him. You know where it will get you. Your
whole marriage will unravel, and you'll have nothing. All the
things you take for granted -- month-long vacations in St. Lucia
-- they'll disappear. You'll be a divorced woman in her late
30s. Lonely.
GWEN
Why did I invite you over? You make me feel like shit.
JOANNE
That's my job.
The phone rings.
GWEN
The machine can get it.
JOANNE
I don't monitor calls. It makes me feel like I'm hiding in my
own home.
BEEP. From the answering machine--
VOICE
Gwen, this is David Warren. Hopefully, a welcome voice from
your past. My show's on hiatus and I'm in town for the weekend.
I'd love to catch up. Are you free for coffee...or something?
JOANNE
Pick up the phone.
Gwen just stares at the machine.
VOICE
I have no idea what you're up to...I hope life is treating you
well. I heard through a friend of a friend of a friend that
you're still married. Congratulations. If you want, give me
a call. I'm crashing at my sister's. The number is -- hold
on-- the number is 235-4511. Hope to hear from you.
CLICK.
GWEN
Wow.
JOANNE
How long has it been?
GWEN
College.
JOANNE
Have you ever seen his show? It's absolutely dreadful. I never
miss it.
GWEN
If Josh isn't home, I'll watch it.
JOANNE
Hmm. It's Kismet, then.
GWEN
What?
JOANNE
A brief liaison with an old flame. The perfect way to deal with
your anger.
GWEN
You're insane. You're an insane mother.
JOANNE
It'll be good for your self-esteem.
GWEN
Did it occur to you that maybe he just wants to have coffee?
Joanne crosses to the answering machine. Rewinds the tape.
Hits play.
DAVID'S VOICE
...on hiatus and I'm in town for the weekend. Are you free for
coffee...or something?
She hits stop.
JOANNE
"Coffee...or something." He's flirting, admit it. Coffee...or
something.
GWEN
He's stammering. He's nervous. He's calling out of the blue!
Joanne gathers her purse.
JOANNE
You're wrong. I'm right, and I'm going. But take a tip from
someone who's been there. Opportunity is knocking, Gwen. You
have a chance to level the playing field.
(beat)
You have a chance to do something good for your marriage.
Joanne exits.
CUT TO
INT. GWEN'S BATHROOM - DAY
Morning. Gwen, fresh from the shower, studies her face in the
mirror as Josh -- unseen, in the bedroom -- dresses for work.
JOSH
You're right. We could use some more color in the living room.
(beat)
Gwen?
GWEN
Yes?
JOSH
I said you're right.
GWEN
About what?
JOSH
About more color in the living room.
GWEN
Oh. I'm glad you think so.
She leans closer to inspect a new wrinkle.
CUT TO
INT. HOTEL LOBBY - DAY
An upscale hotel. Gwen, in a sheer blouse and a slim leather
skirt, fills out the registration card at the front desk. The
DESK CLERK looks up from his computer.
DESK CLERK
And how many nights will you be staying with us?
GWEN
One.
DESK CLERK
We do have a two-night minimum.
GWEN
Then...two.
She hands him the card.
GWEN
I'd like to pay in cash.
DESK CLERK
That won't be a problem. We just need a credit card imprint
for your incidentals...
Gwen reacts. The Desk Clerk puts her at ease.
DESK CLERK
...which we tear up when you check out.
Gwen smiles.
DESK CLERK
Will you be needing more than one key?
GWEN
Two, please.
CUT TO
INT. HOTEL RESTAURANT - DAY
Gwen and DAVID lunch in the hotel's elegant dining room. David
is quite the draw, turning heads across the room. And, it's
no wonder. He has real magnetism.
DAVID WARREN
I'm still reeling. It was the most humbling experience of my
life. Getting raked over the coals by a bunch of sixteen-year
old drama students! At my own alma mater!
GWEN
I'm surprised they weren't all over you.
DAVID WARREN
They were, with knives drawn.
GWEN
What did they say?
DAVID WARREN
Basically, why am I working on a piece of shit like MALIBU NIGHTS
when I should be doing Shakespeare or Chekhov?
(beat)
It was brutal.
A WAITER delivers a bottle of champagne to David.
WAITER
Compliments from the table in the corner.
The Waiter gestures. David and Gwen turn. In the corner three
middle-aged women are smiling.
David mouths a gracious "thank you" their way.
GWEN
See? Those women are happy you're not doing Shakespeare.
Beat.
DAVID WARREN
Gwen. You look great. You haven't changed a bit.
GWEN
I don't think I'm MALIBU NIGHTS material.
DAVID WARREN
Those women! Walking boob jobs. They're appalling.
GWEN
You look like you enjoy kissing them.
DAVID WARREN
It's very simple. I close my eyes and imagine I'm kissing someone
else.
GWEN
Hmm. Someone else in particular?
DAVID WARREN
Yes.
GWEN
If she's as tan as you, I don't want to hear about it.
David reaches for his wallet.
DAVID WARREN
Here, take a look...
He hands her a photo. In it, we see David standing with a distinguished
man in his mid-40s. With them is a smiling boy, about eleven.
Gwen is nonplussed.
DAVID WARREN
What's wrong with this picture, huh?
She smiles.
GWEN
Well...Let's start with the man, upper left.
DAVID WARREN
Andy. My partner. And the best thing that's ever happened to
me.
GWEN
Okay. And the boy?
DAVID WARREN
Eric. He's Andy's son from a marriage that -- needless to say
-- didn't work. Andy came out when Eric was just five. Great
kid.
GWEN
And when did you...?
DAVID WARREN
Come out? About fifteen years ago.
(off Gwen's look)
Is this too much information?
GWEN
No. But fifteen years ago...That was right after--
DAVID WARREN
You and me.
GWEN
Was I the last woman?
David nods.
GWEN
Was I that bad?
David laughs.
DAVID WARREN
No, you were fantastic. I was completely confused.
Gwen quickly gulps down some champagne.
DAVID WARREN
What's the matter?
GWEN
Nothing. I'm very happy for you. And, I have to confess, I'm
relieved.
DAVID WARREN
Why?
Beat.
GWEN
Oh -- what the hell -- we're friends, right?
DAVID WARREN
I'm listening.
GWEN
I had this ridiculous idea that you wanted to get together to
have a...
DAVID WARREN
Oh.
GWEN
You know...for old time's sake.
DAVID WARREN
Uh-huh.
GWEN
And, frankly, I wasn't looking forward to turning you down.
Which I would have, of course. Had you...asked. Which you're
not, because you're...you're...
DAVID WARREN
Married.
GWEN
Right.
DAVID WARREN
Happily.
GWEN
Right.
She slides her empty glass toward him.
GWEN
Would you pour me a little more, David?
CUT TO
INT. HOTEL LOBBY -DAY
Gwen leans against the front desk. Tipsy. The Desk Clerk approaches.
DESK CLERK
Can I help you, ma'am?
Gwen looks lost.
DESK CLERK
Are you okay?
GWEN
I'd like to check out.
DESK CLERK
Was there a problem?
GWEN
Yes. I was stood up...by the past.
Beat.
DESK CLERK
I'm sorry. We won't charge you for the room.
GWEN
No, you don't understand.
DESK CLERK
Yes. I do.
(beat)
More than you might think.
Gwen stares at him.
DESK CLERK
Shall I close out the account?
GWEN
No. I need the room after all.
(beat)
Will you show me the way there?
The Desk Clerk looks at her with no apparent interest.
DESK CLERK
You're in luck. I was just about to take my break.
CUT TO
INT. ELEVATOR - DAY
The Desk Clerk and Gwen ride in the elevator. Silently. There
is no discernible connection between them.
CUT TO
INT. HOTEL HALLWAY - DAY
The Desk Clerk leads Gwen to the room. It couldn't look more
business-like.
CUT TO
INT. HOTEL ROOM - DAY
They enter. He locks the door. She surveys the room.
DESK CLERK
Something from the mini-bar?
GWEN
No.
DESK CLERK
How's the air conditioning?
GWEN
Fine.
DESK CLERK
Shall I pull down the covers?
GWEN
I suppose.
DESK CLERK
Do you want to know my name?
GWEN
No.
He takes her in his arms.
DESK CLERK
You're shaking.
GWEN
I'll be fine.
(beat)
This could get you in trouble. You could lose your job, right?
DESK CLERK
I don't care.
GWEN
You don't even know me.
DESK CLERK
You're right.
GWEN
We have nothing in common.
Beat.
DESK CLERK
That's where you're wrong.
He begins to unbutton her blouse. Without touching. Without
affection. After a beat, she begins to unbutton his shirt.
CUT TO
INT. HOTEL HALLWAY - DAY
A little later. A maid vacuums the carpet as the Desk Clerk
emerges, followed by Gwen. They cross to the elevator, as business-like
as before.
DESK CLERK
(to the Maid)
Buenas tardes, se�ora.
CUT TO
INT. ELEVATOR - CONTINUOUS
Gwen and the Desk Clerk board the elevator. He presses "L" for
lobby. She presses "P" for parking.
GWEN
Thank you for taking care of the room.
DESK CLERK
Your welcome.
And they ride in silence.
In Gwen's mind--
GWEN
...And now the score is tied...Oh my God, what will I tell my
mother? I did it with a desk clerk. Hardly the affair to remember...Of
course, she will disapprove. "Is English even his first language?
This is your idea of a liaison? Your idea of leveling the playing
field? You don't even know the boy's name--"
Gwen touches the Desk Clerk's arm.
GWEN
What's your name?
DESK CLERK
David.
GWEN
What? You're kidding me.
Gwen laughs -- she can't help it.
DAVID
No. What's so funny?
GWEN
Nothing, it's just--
She laughs even harder. The elevator door opens. David gets
out and looks at her oddly.
GWEN
Sorry, I just...I didn't think you'd be named David.
INT. HOTEL LOBBY - DAY
The door closes on Gwen, leaving David in the lobby. A bit befuddled.
INT. HOTEL FRONT DESK - DAY
David resumes his post. DESK CLERK #2 works beside him. He
leans to David--
DESK CLERK #2
There's a woman waiting to see you. She's been here for half
an hour.
He points to a lobby chair, where we find ROSALIE -- 22, spunky,
mercurial. In short...trouble.
She and David made eye contact. She springs up and advances
toward him.
DAVID
Why are you here?
ROSALIE
You weren't going to return my calls.
DAVID
Don't you have more important things to do? Picking flowers,
honeymoon reservations...
ROSALIE
Is there somewhere we can talk?
The desk phone rings. David picks it up.
DAVID
(into phone)
Front desk, David speaking...No, sir. Tap water is very drinkable
in this city...Of course, sir. We'll send up some bottled water
right away.
He hangs up.
ROSALIE
Is there somewhere we can talk?
DAVID
What's wrong with here?
ROSALIE
Privately.
DAVID
But here, I won't be tempted to raise my voice or do something
rash. That's the first lesson of hotel management. Never lose
your cool, no matter how annoying the guest is. Not that I plan
to go into hotel management. I don't have ambitions in that
direction. Or any direction, if I recall you correctly.
The desk phone rings again. Exasperated, David grabs it.
DAVID
(into phone)
Front desk, David speaking...Yes, ma'am, the restaurant has a
smoking section...Well, I didn't make the policy...If it's any
consolation, the smokers are seated in a little corner of the
patio, and they feel very bad about themselves.
He hangs up. And gives Rosalie a very deliberate look.
DAVID
Rosie, you'd better leave. Before I get myself fired.
She starts to protest. Thinks better of it, and exits.
CUT TO
INT. EMPLOYEE BREAK ROOM - DAY
David hangs his uniform shirt in his locker. He gathers his
personal things. A jacket, a knapsack, and...a violin case.
The HOTEL MANAGER approaches.
HOTEL MANAGER
Yo, fiddler on the roof.
David reacts -- this is the last person he wants to deal with.
HOTEL MANAGER
(regards the violin)
Wish I could play an instrument. Chicks really dig that stuff.
Tried the guitar in high school. What can I say? No discipline.
DAVID
Discipline. Always a struggle.
HOTEL MANAGER
I hear you. For instance, it takes a certain discipline to know
that when you're working at the hotel, when you're on the clock...
(shrugs)
...you shouldn't fuck the guests.
David was not expecting this.
HOTEL MANAGER (cont'd)
You want to bring your girlfriend here on your day off? That's
a different story. I'll even give you the corporate rate on
a room.
(beat)
Just don't do it while you're on the clock. You hear me?
DAVID
It won't happen again.
HOTEL MANAGER
Good.
David marches away.
CUT TO
INT. MUSIC CONSERVATORY - DAY
In a sun-lit practice room, a string quartet rehearses. Four
men -- David included, perform an energetic movement from a Beethoven
quartet.
NOTE: Throughout the film, we've heard this string quartet as
underscore. Now...we meet the soundtrack.
David plays with emotion and a physicality we haven't seen in
him -- truly, this is where he lives.
CUT TO
INT. CONSERVATORY HALLWAY - DAY
After the rehearsal. Violin at his side, David trudges through
the exit. Music emanates from every room. He turns a corner,
runs smack into--
ROSALIE.
She's been waiting.
DAVID
Jesus!
She simply picks up where they left off--
ROSALIE
I want you to be there on Sunday.
DAVID
No.
ROSALIE
You told me we'd always be friends.
DAVID
I lied.
ROSALIE
You're an important part of my life, David. There's so much
history between us. I don't want to trash it simply because--
DAVID
Because what? Because you're getting married?
Beat.
DAVID
Rosie, I want you to be happy. I do. And someday, we'll be
friends. Someday, we'll all go out to dinner. The four of us.
ROSALIE
The four of us?
DAVID
Sure. Me, you, Jerry, and whatever pale imitation of you I can
dig up to be my date.
ROSALIE
Stop it.
But he's on a roll--
DAVID
And the check will come and Jerry will pick up the tab and I'll
protest, but not too much. Then, you'll give me a kiss on the
cheek, and some dim memory will stir in me, but not for too long.
And we'll say, "It was great to see you." And it will be great
to see you...
(beat)
...then. But, until then....good-bye.
David exits, leaving Rosalie alone in the cacophonous hall.
CUT TO
INT. APARTMENT - DAY
A clean, modern apartment that Rosalie shares with JERRY -- late
20s, upstanding, sturdy good looks.
Rosalie and Jerry sit in the living room, meeting with their
WEDDING PLANNER -- a highly efficient woman in her mid-50s.
WEDDING PLANNER
We've got a few more things to cover. The photos. There's
a courtyard behind the church. It's a popular backdrop. Our
photographer says the light is gorgeous. We need twenty minutes
before the ceremony for singles.
(beat)
Oh. Jerry, your father's press secretary insists on sending
someone from the papers. I told him you want to keep this as
private as possible, but...What could I do?
JERRY
I know. It is an election year.
WEDDING PLANNER
Exactly what he said.
ROSALIE
It's okay.
WEDDING PLANNER
Right. The guest list. We have a few more no-show's.
She consults a list.
WEDDING PLANNER
Mr. and Mrs. Bennett send their regrets. Also, Ms. Rothman will
no be attending.
ROSALIE
Oh. David Freeman. He's not coming.
Jerry reacts.
JERRY
He's not?
ROSALIE
No. He's not.
JERRY
After all that shit you put me through, now he's not even coming.
The Wedding Planner smiles politely.
WEDDING PLANNER
So, if there are any last-minute--
JERRY
(ignores her)
I guess that means you've been talking with him.
ROSALIE
Yes, I talked to him. And I...
(to Wedding Planner)
Would you excuse us for a minute?
WEDDING PLANNER
Take your time.
Rosalie gets up and leads Jerry into--
INT. APARTMENT KITCHEN -- DAY
Once they are out of earshot--
ROSALIE
I talked to David. And...I uninvited him.
JERRY
What?
ROSALIE
I told him it wasn't right. I told him he shouldn't be at our
wedding.
JERRY
When did you decide this?
ROSALIE
I don't know...I just realized I don't want our wedding to be
about where I've been. I want it to be about where you and I
are going.
JERRY
What did he say?
ROSALIE
Jerry...
JERRY
I want to know.
ROSALIE
He was disappointed--
JERRY
Of course he was. He's still in love with you.
ROSALIE
But he understands. I drew the line, honey.
JERRY
Thank-you.
ROSALIE
I did it for us.
Rosalie gives him a kiss.
CUT TO
INT. DAVID'S APARTMENT - NIGHT
Amidst a clutter of unpaid bills, take-out cartons, and laundry,
David practices the violin. He plays a Bach Partita -- not for
the easily intimidated.
The phone rings. He lets it ring a while before picking up.
DAVID
(into phone)
What do you want, Rose?
ROSALIE
Were you sleeping?
DAVID
Yes. I was.
ROSALIE
Liar. You're practicing. I can hear you.
He moves to the window.
DAVID'S POV
Rosalie -- on her cell -- waves to him from the sidewalk, three
stories below.
ROSALIE
It's so sad. Why do you always play sad songs?
DAVID
I don't write 'em, Rose.
(beat)
Is our conversation over now?
ROSALIE
Please let me in.
DAVID
No.
She laughs mischievously.
ROSALIE
You don't trust me?
DAVID
No.
(beat)
Stay there. I'll be right...Wait a minute. This is insane.
I'm not coming down. Go home, Rose. I mean it.
ROSALIE
I'm going to wait here for one minute. Sixty seconds.
DAVID
You do that.
ROSALIE
Then, I'm gone. You won't see me again.
She hangs up. He hangs up.
DAVID'S POV
Rosalie sits on the front steps. Stubborn.
DAVID
(to himself)
Be my guest. Sit there all night.
David turns from the window. He accidentally knocks his metronome
to the floor, setting it off. Click...click...click...
David shuts it off, goes to the door.
His hand on the knob--
DAVID
If I go down those stairs...it will only lead to one place...right
back here...the two of us...a short, brilliant moment...one more
to add to the gallery...then, empty-handed again, with nothing
to show for it but an emotional hangover...I'm not going to open
this door... Discipline... Like the man said, don't fuck the
guests...
CUT TO
EXT. DAVID'S APARTMENT - NIGHT
Rosalie is on the front steps. She smiles as she hears the door
open -- it's David.
He joins her.
DAVID
I've got nothing to say to you.
ROSALIE
Fine. I'll talk...
A beat.
ROSALIE
The reason I won't just leave you alone is not because I'm "confused."
My feelings are perfectly clear. I know you find it incomprehensible
that I can love Jerry and love you. And that one love has nothing
to do with the other. But it's true.
DAVID
Rose...
ROSALIE
What?
DAVID
This is bullshit. I can't spell it out any more plainly. It's
impossible!
ROSALIE
Why?
DAVID
Because I can't be this close to you...and not want to touch
you.
ROSALIE
That's it?
DAVID
That's...it.
And he does touch her. He puts his hand on her leg.
DAVID
And if I can't do that, I don't want to be your friend. Not
now. Not ever.
ROSALIE
Don't be so mean.
David flashes an angry look. Then, he pulls Rosalie close to
him.
DAVID
The bottom line is...If I'm with you, I have to touch you, to
kiss you. That doesn't work for friends, does it?
She doesn't answer -- she lets him stroke her leg.
DAVID
When I'm not with you -- this is more than you need to know...If
I touch myself, I can only think about one person. You. No one
else. Just you.
(beat)
Friends...that's bullshit.
ROSALIE
What do we do?
DAVID
What do you mean "we"? This is your problem.
(beat)
My only problem is how to get you out of my mind. How to erase
you...Delete every bit of you...
(presses an imaginary key)
Into the ether...
ROSALIE
Stop...
She kisses him. He engulfs her in his arms.
DAVID
You have to say good-bye.
ROSALIE
I don't know how...
CUT TO
INT. DAVID'S BEDROOM - NIGHT
David and Rosalie have sex on the single bed in his spartan room.
She's on top of him -- they face each other.
The lovemaking is both fierce and tender -- longing and leaving,
rolled into one.
As Rosalie grows more aroused, she begins to cry. Tears quietly
stream down her cheeks.
David reacts--
DAVID
Should we stop?
Rosalie is too choked up to answer -- she shakes her head "no."
And they continue -- tears and sex.
CUT TO
INT. DAVID'S BEDROOM - LATER - NIGHT
David sits in bed alone, while Rosalie showers in the adjoining
bathroom.
ROSALIE
David, will you hand me my shampoo? It's in my purse.
David opens Rosalie's purse and finds a travel-size bottle of
shampoo.
He just shakes his head.
CUT TO
INT. ROSALIE'S CAR - MOVING - NIGHT
Rosalie drives home. Checks herself in the mirror -- her hair
is still damp. She rolls down the window to "blow dry" it.
She turns on the radio, finds a rock-and-roll station. Noisy,
mindless, perfect.
In her mind--
ROSALIE
Hail Mary, full of Grace, blessed be the fruit of thy womb Jesus...Holy
Mary, Mother of God, pray for us sinners, now and at the hour
of our death, Amen...Hail Mary, full of Grace, blessed be the
fruit of...
CUT TO
INT. ROSALIE'S APARTMENT - NIGHT
After midnight. Rosalie slips inside the door. No sign of Jerry.
She removes her shoes and tiptoes into--
INT. ROSALIE'S BEDROOM - NIGHT
The television is on -- the sound is muted. An infomercial is
playing. Jerry is sleeping.
ON ROSALIE
She nudges him. He doesn't stir. Rosalie sits at the foot of
the bed. She grabs the remote and "un-mutes" the sound.
INT. ROSALIE'S BEDROOM - ON TV - NIGHT
A physical fitness EXPERT is talking.
EXPERT
...And the change is not just physical. You'll be amazed how
quickly your whole outlook will--
INT. ROSALIE'S BEDROOM - NIGHT
She flicks off the TV.
Rosalie undresses and climbs into bed. She starts to kiss Jerry.
Slowly, he wakes.
JERRY
Hey...
ROSALIE
Hey...
JERRY
What time is it?
ROSALIE
Late.
He looks at the time.
JERRY
It is late. What happened?
ROSALIE
Oh. The girls. Wedding talk. We could've gone on all night.
She rubs his chest.
ROSALIE
Jerry...
JERRY
What?
ROSALIE
We need to make love now.
JERRY
Okay...why now?
ROSALIE
I can't explain it. We just need to make love now.
He nods. He kisses her neck, her breasts.
Suddenly she stops him, taking his face in her hands.
JERRY
What's the matter?
ROSALIE
I just need to fix this moment in my mind.
A long beat. She studies his face.
ROSALIE
I love you. Totally. Completely. I don't want to spend another
minute of my life without you.
(off his reaction)
You don't have to say anything.
She climbs on top of him.
JERRY
You're forgetting something.
ROSALIE
No, I'm not.
He laughs uncomfortably.
JERRY
Don't you think...
ROSALIE
No, I don't. Let's not use it tonight.
(beat)
I'm ready.
A beat.
JERRY
If you're ready, so am I.
She straddles him, rocking back and forth. With grim determination.
ROSALIE
Jerry?
JERRY
What?
ROSALIE
Talk to me...
FADE OUT:
FADE IN:
OMITTED
INT. PHOTOGRAPHY STUDIO - DAY
Jerry and Rosalie -- dressed informally -- pose for a publicity
photo.
The photographer is Todd.
Each click of his camera brings a blinding FLASH.
todd
Very good...you both look great...perfect shot for the paper.
rOSALIE
(to Jerry, sotto voce)
I didn't mean to put pressure on you.
jeRRY
Babe, you're making too much out of this.
(beat)
It's not like I didn't enjoy making love.
FLASH!
rOSALIE
I know.
(beat)
But I also know you would've enjoyed it more if I hadn't...
jeRRY
Raised the stakes?
roSALIE
I wasn't going to put it that way.
(beat)
But it's true.
jeRRY
Maybe it is. But, please don't read too much into it.
FLASH...FLASH!
rOSALIE
I won't. I promise.
cUT TO:
INT. CHURCH - NIGHT
High ceiling. Stained glass windows. Dark mahogany pews.
At the altar, Jerry and Rosalie confer with their PRIEST -- late
60s, doctrinaire. They're rehearsing.
PRIEST
A lot of young couples prefer "husband and wife" to the traditional
"man and wife." Personally, I don't feel the phrase "man and
wife" gives the woman a diminutive status. But I leave the choice
in your hands. Do you have a--
ROSALIE
Husband and wife. Definitely.
Jerry simply nods.
PRIEST
Good.
(to Jerry)
After the blessing, I'll instruct you to kiss the bride. Keep
it simple. No slobbering.
ROSALIE
That could be tough. For him.
The Priest feigns amusement.
PRIEST
Remember, this is God's house. And there will be prominent people
here as well. Not to mention the press. So, let's keep things
on the up-and-up.
JerRY
Right.
CUT TO:
INT. TOBACCO SHOP - DAY
Jerry accompanies his FATHER -- late 50s, on a cigar-buying expedition.
Tobacco enthusiasts relax in leather chairs. Wafts of smoke
hang in the air -- expensive smoke.
Jerry's Father finds a brand he likes.
FATHER
Here we are. Bahia Gold. Two hundred a box.
JERRY
You don't have to do this, Dad.
FATHER
If I can't come to the bachelor party, I want to be there in
spirit.
(beat)
The boys will like these. Classic.
JERRY
Thank-you.
FATHER
I remember my bachelor night. Frankly, I wish I didn't. Not
a night I'm particularly proud of...I'll leave it at that.
JERRY
Why are you sharing this?
FATHER
Reminiscing. That's all.
JERRY
Or warning me.
FATHER
Nonsense. I know you. You won't make an ass out of yourself.
(beat)
Oh...A little something from your mother and me.
He reaches into his pocket, hands Jerry a key.
JERRY
What's this?
FATHER
It's a key.
(smiles)
There's a new housing development, just west of here. I've been
giving the developer a lot of breaks, and...now he's giving me
one in return. I'm almost embarrassed to say how little this
cost me.
JERRY
I can't accept this.
FATHER
Yes, you can.
(beat)
C'mon. Make your old man happy.
Jerry says nothing.
FATHER
Uh-huh. I get it. This is Rosalie's domain. She should have
a say in where you two settle down. But don't worry, you won't
be forcing her hand. Know why? Because she's going to love
it.
Jerry just nods.
FATHER
Let's ring these babies up.
CUT TO
INT. TOWNHOUSE - NIGHT
Bachelor party in progress. In the living room, a dozen guys
smoke Cuban-rolled cigars, drink shots of Tequila, and watch
a Stripper perform.
The least boisterous of the group is Jerry, who watches the action
with a drunken glow.
The party's host, Jerry's BEST FRIEND, enters and summons Jerry
into--
INT. TOWNHOUSE FOYER -- NIGHT
The Best Friend aims Jerry toward the stairs.
BEST FRIEND
Alright, my man. You ready?
JERRY
Do I have a choice?
BEST FRIEND
No.
JERRY
Then, I'm ready.
BEST FRIEND
The guys pitched in for this...
He pats Jerry on the back.
BEST FRIEND
So go up there and get our money's worth.
Jerry starts up--
CUT TO
INT. TOWNHOUSE HALLWAY - NIGHT
Jerry approaches the bedroom door with a fateful air. He touches
the door knob.
In his mind--
JERRY
Why am I stopping?...There's a hot girl waiting on the other
side of the door...Why worry? Everyone cuts you slack for this
kind of thing...This is supposed to happen...It's a tradition,
a time-honored ritual...Losing your tooth, losing your virginity,
losing the championship...If I walk through this door, what am
I losing? Nothing...My father was here, and his father was here,
and his father's father was here, hand on the door...What am
I waiting for...
He pushes it open.
CUT TO
INT. TOWNHOUSE BEDROOM - NIGHT
Jerry enters. The room is dark, except for a shaft of moonlight
that silhouettes a girl on the bed.
Her foot dangles off the side, the toenails painted blood red.
Jerry turns on a lamp to meet --
LORNA
Sitting on the bed in a tank-top and a short skirt. As fetching
as ever.
LORNA
You must be the groom.
Jerry laughs.
LORNA
The guys were right. You're a looker.
JERRY
Did they also tell you I don't usually do this kind of thing.
She pulls off the tank-top, revealing a black brassiere.
LORNA
All the better. I like challenges.
She crosses to face him.
LORNA
Getting married tomorrow, huh?
JERRY
Yes, I am.
LORNA
Love, honor, and obey. That's the drill, isn't it?
JERRY
Yes. Tomorrow, I take the vows.
Without much ceremony, she starts massaging his crotch.
LORNA
Tomorrow...So, technically, this doesn't count.
JERRY
How's that?
LORNA
You can't break a vow you haven't taken, can you?
JERRY
You sound like my lawyer.
Lorna kneels down before him. She unzips his pants.
LORNA
I've done my share of lawyers. They spend most of the hour negotiating
the tip.
(beat)
That's a joke.
JERRY
I got it.
She pulls down his pants, looks up at him.
LORNA
Something bothering you?
JERRY
I don't know if I should be doing this.
She starts to stroke him.
LORNA
Want my philosophy? If we don't make mistakes now and then,
how are we ever going to learn from them?
JERRY
Now you sound like my priest.
LORNA
I've done a few of them, too.
JERRY
Priests?
LORNA
Lousy tippers. They spend most of the hour feeling bad about
what they're doing. But they do it anyway. Then, they shortchange
you on the tip. One of them absolved me once, before he left.
That's something, I guess.
JERRY
Who are the best tippers?
LORNA
The guys who can least afford it. Guys with families.
JERRY
And the worst?
LORNA
Hands-down. Politicians.
Jerry reacts.
JERRY
Politicians?
LORNA
Sure. Both parties. I don't discriminate. Besides, a penis
doesn't know from politics. A penis is the most politically
incorrect part of the body. It has a simple agenda.
(rehis erection)
He knows what he wants.
And she proceeds to give him a blow-job. Jerry guides her with
his hands. He tries to relax. He tries...
But he can't. He yanks her away from him.
JERRY
Stop it. I can't do it.
LORNA
Don't worry about it.
JERRY
I can't...I'm sorry.
Lorna instinctively puts a little distance between herself and
Jerry.
LORNA
Hey, it's no sweat. I get paid either way.
JERRY
No, you don't understand. I can't fucking go through with it!
(off Lorna's non-reaction)
I can't get married!
All at once, his face fills with rage. Jerry swings his fist
into the wall, punching a hole in it.
JERRY
Jesus!
Adrenaline pumping, he doesn't even notice the blood on his hand.
ON LORNA
She shakes her head -- she's completely nonplussed.
LORNA
That was smart. Now, you're bleeding. Here...
She takes him by the arm into--
INT. TOWNHOUSE BATHROOM -- NIGHT
She runs cold water over his hand -- it's really banged up.
Then, she wraps a towel around it.
LORNA
Better?
JERRY
Yeah...
LORNA
Do you love her?
JERRY
I don't know.
LORNA
C'mon. Let's sit down.
They return to--
INT. TOWNHOUSE BEDROOM -- NIGHT
Lorna and Jerry sit on the floor, their backs resting against
the bed.
Now the mood is intimate.
JERRY
She wants to have a baby. That's the way it's supposed to be,
right?
LORNA
I wouldn't know.
JERRY
My parents approve of her. Her parents approve of me. Everybody
approves...
LORNA
What's wrong with a little approval?
Jerry gives her a hard look.
JERRY
That's my whole life. My whole goddam carrot-and-stick-life.
Ever since I can remember, I've been chasing after this person
or that person's approval. Playing one role, then another.
Then another! The good student. The good son. The industrious
boy. Good grades. High ambitions. Pats on the back. Handshakes
from people who matter! The good boyfriend, getting on his knees
and proposing to the good girlfriend. The dutiful bachelor,
receiving the traditional blow-job from a...
Jerry stops himself.
LORNA
(lets him off the hook)
Professional.
JERRY
I've lost count of all the roles, there's so many of them.
(beat)
I have no idea who I'm playing now.
LORNA
Huh.
A beat.
LORNA
I don't see what the big deal is. I play roles all the time.
JERRY
And you want to do that your entire life? You can't...you...
(beat)
I don't even know your name.
LORNA
Lorna. And I'll do whatever the hell I want.
JERRY
Well, I can't live somebody else's version of my life anymore.
Do you understand?
LORNA
Sure. I do.
She gets up and crosses to the window. Lifts it up.
LORNA
Here's your chance.
JERRY
What?
LORNA
It's not too far a drop to the lawn. You have gas in your car?
Then, go. It's the first day of the rest of your life...Go.
I promise you, this opportunity will not come around twice.
(beat)
Go.
Jerry stands. He looks out the window--
HIS POV
The suburbs at night. Cozy, warm-lit.
JERRY
I'm going to do it.
He smiles at Lorna. Then, he climbs out the window.
LORNA'S POV
She watches him hit the ground, hobble across the lawn, and get
into his car. And he's gone.
INT. TOWNHOUSE BEDROOM -- NIGHT
LORNA
See? Easy.
She sits on the bed, takes in the room. It seems ordinary and
strange, all at once.
Lorna spots the bloody towel -- Jerry left it on the floor.
She folds it neatly, concealing the blood.
CUT TO
OMITTED
INT. COFFEE SHOP - NIGHT
Later. The wee hours. The only person at the counter is Lorna.
She pours cream in her coffee, watches it swirl. Clouds.
Something else catches her eye.
LORNA'S POV
Behind the counter lies a crumpled newspaper.
LORNA
(to Waitress)
Mind if I have that?
WAITRESS
It's yesterday's. Morning paper should be here any minute.
LORNA
I just want the crossword puzzle.
The Waitress puts the paper in front of her. It falls open to
the Metro section, where Lorna sees a photo of Jerry and Rosalie
-- the one Todd shot.
The accompanying headline"Deputy Mayor's Son to Wed Tomorrow."
LORNA
Oh my...
The Waitress cranes her neck to see.
WAITRESS
There's a catch, alright.
CUT TO
INT. LORNA'S APARTMENT - DAY
Morning. Terri -- still under the covers -- studies the torn
clipping from the paper. Lorna brushes her teeth.
TERRI
Hello...It's the oldest condition known to man. Cold feet.
LORNA
You're wrong. I'm telling you he's two states away by now.
(beat)
He made a clean break. I know it.
Terri shakes her head.
TERRI
If you're wrong, you're paying for drinks tonight.
CUT TO
EXT. STREET - DAY
Lorna and Terri walk briskly down the sidewalk. They round a
corner to see--
EXT. CATHEDRAL -- DAY
A magnificent Catholic church. A white limousine -- decorated
with streamers -- sits in front, surrounded by expensive cars.
TERRI
Well, what do you know...
Lorna can't believe it -- she almost feels betrayed.
TERRI
Told you we should've dressed up.
LORNA
C'mon...we're going inside.
TERRI
What for? Wait...
But Lorna is bounding toward the cathedral.
CUT TO
INT. CATHEDRAL VESTIBULE - DAY
Lorna and Terri enter. The vestibule looks empty. Suddenly,
they are startled by a FLASH.
They turn to find a photographer checking a bulb -- it's Todd.
TERRI
Lorna, we shouldn't be here.
Hearing her name Todd looks up. Then, he gathers his gear and
starts inside.
But Lorna intercepts him.
LORNA
Excuse me, could you tell me who's getting married in...
(beat)
Hey, I know you. The wedding guy.
TODD
I'm sorry. Have we met?
LORNA
Yeah. You don't remember me?
TODD
You must be thinking of somebody else.
Lorna reacts. Stops herself.
LORNA
Right. I must be thinking of someone else. Sorry.
TODD
Excuse me...
And he disappears into the church.
TERRI
What was that all about?
LORNA
Nothing.
TERRI
Nothing, my ass.
LORNA
Alright, alright. I slipped.
TERRI
Slipped? You broke the cardinal rule of the trade.
(pedantic)
Never acknowledge a client in public.
LORNA
What is this? Hooking For Dummies? C'mon...
Lorna grabs Terri by the wrist and slips into--
INT. CATHEDERAL -- DAY
They take a seat in the last pew.
LORNA'S POV
The front pews are packed, all eyes focussed on the wedding party
at the altar. Jerry and Rosalie face the priest, who blesses
the ring.
PRIEST
The wedding ring is a powerful symbol. It is a circle, with
no beginning and no end. It is also the circle that encloses
your love for each other--
TERRI
I'll bet that dress is Vera Wang.
LORNA
Shhh...
Jerry and Rosalie turn to face each other.
PRIEST
Do you, Rosalie, take this man, to have and to hold, in sickness
and in health, till death do you part?
ROSALIE
I do.
PRIEST
And do you, Jerry, take this woman, to have and to hold, in sickness
and in health, till death do you part?
A beat.
Lorna studies Jerry's face for any sign, any hint of his real
feelings.
JERRY
I do.
PRIEST
Then, by the power invested in me by Christ, Our Lord, I now
pronounce you husband and wife.
(to Jerry)
You may kiss the bride.
They kiss. Lorna leans forward. She's moved, despite herself.
Terri looks over.
TERRI
You're crying, I can't believe it.
LORNA
No, I'm not.
(beat)
Weddings make me cry.
The congregation applauds. Jerry shakes hands with the best
man -- his Father. He gives his son an approving pat on the
back.
Suddenly, a SECURITY GUARD appears in Lorna's face.
SECURITY GUARD
Ladies, this event is strictly for invited guests.
TERRI
We're with the groom's party.
SECURITY GUARD
Ma'am...Let's not do this. You're not with the groom.
Terri points to Lorna.
TERRI
She had his cock in her mouth last night. Doesn't that count?
Lorna bursts out laughing. Laughing through her tears. The
Guard is not amused.
CUT TO
EXT. CATHEDERAL - DAY
Lorna and Terri race down the church steps, giggling like school
girls.
EXT. STREET - DAY
They turn a corner, lean against a wall. Catching her breath,
Terri lights a cigarette.
LORNA
I don't know why he came back.
(beat)
It wasn't love.
TERRI
Guess you'll never know for sure.
They start down the sidewalk--
TERRI
Remember the guy I told you about -- the writer?
LORNA
Yeah. He said he wanted to immortalize you. What a line.
TERRI
He's been steady work. Every Tuesday for the past month. Well,
get this. Yesterday, he called and asked me out.
LORNA
On a date?
TERRI
Yeah. A date.
LORNA
A non-paying date.
TERRI
No money will be exchanged. You want to hear the weird part?
I said yes.
LORNA
You're right. That is weird.
TERRI
You gotta keep an open mind, Lorna.
(beat)
You never know with people.
They wait at the crosswalk. Lorna idly glances at the window
of a brownstone apartment.
WHAT LORNA SEES
A Man finishing a cigarette. He catches Lorna looking his way.
A Woman comes up behind the Man and casually embraces him.
The Man gives Lorna a last look before pulling the curtains closed.
The light has changed. Terri starts walking.
TERRI
C'mon, what are you waiting for?
ON LORNA
She lingers at the curb for a moment, pondering her next move.
FADE OUT:
THE END
THIS BOY'S LIFE
Written by
ROBERT GETCHELL
Based on the book by
TOBIAS WOLFF
March 1992 Draft
FOR EDUCATIONAL
PURPOSES ONLY
THIS BOY'S LIFE
FADE IN:
1 EXT. HIGHWAY - DAY 1
It is 1957, and we are in the deserts of Utah. TONY
BENNETT sings "Rags to Riches" on the SOUNDTRACK.
Breath-taking scenery stretches out on either side of a
highway.
The CAMERA MOVES to reveal a Nash Ambassador as it labors
up a hill. Twelve cars are caught behind the thirty-mile-
per-hour pace. Two cars decide to ignore safety and
cross the solid yellow line to pass the pokey car.
2 INT. NASH AMBASSADOR - PARALLEL TIME 2
Two people are in the straining car -- a woman and her
son. The woman is CAROLINE WOLFF. Somewhere in her 30s,
she is a pretty woman who can look beautiful if she works
at it. (Just now, though, her prettiness is marred by a
fading bruise on her right cheekbone.) She is bright and
energetic and lively. Even more important than these
qualities, though, is her humor. And most important of
all is a sensual quality she exudes. Her sensuality is
effortless -- as natural to her as the color of her eyes
and hair. Men turn on the street to stare at her.
The boy is TOBY WOLFF. A pleasant-faced boy with won-
derful eyes, he is 13 -- teetering on the brink of
adolescence, so that one moment he seems like a self-
assured teenager, and the very next like a ten-year-old
kid.
Just now the ten-year-old kid has the upper hand: bored
and weary with the long trip, Toby has been arguing with
Caroline, who is ignoring him.
TOBY
... Well, I mean it. I'm serious
-- I do. You promise and promise,
and then you change your mind,
just like that.
CAROLINE
(totally oblivious)
... Uh-huh.
TOBY
You wait 'til you ask me for
something. Just wait. See if you
get it.
(CONTINUED)
2.
2 CONTINUED: 2
CAROLINE
(as above)
Toby, hush. Let me just...
So concentrated on her driving she doesn't even finish
her sentence, she nurses the car upward. Finally the car
crests the hill and starts down. Caroline sighs with
relief. She turns to Toby with a smile.
CAROLINE
What'd you say?
TOBY
I said -- for the twentieth time
-- if a person promises somebody
something, they can't just turn
around and take it back.
CAROLINE
Oh, honey, Jesus. Don't start
with that again.
TOBY
Why not?
CAROLINE
Because I'm the mother, and I
get to tell you what to do every
minute of your life 'til you're
eighteen. Seriously, we've got no
money. I can't buy you the
moccasins.
TOBY
I bet if you'd promised Roy some
moccasins he'd of got 'em.
CAROLINE
No talk about Roy, okay? And ditto
the moccasins. We, can't, afford,
them.
TOBY
Yeah, but you did promise...
CAROLINE
Sue me. Take me to court. Oh,
Toby, I know you're disappointed,
but...
TOBY
Jack. Call me Jack.
(CONTINUED)
3.
2 CONTINUED: (2) 2
CAROLINE
You're going to drive me to an
early grave: I'm never going to
make Salt Lake City.
TOBY
Seriously. If a person can't get
a stinking miserable pair of
moccasins, at least he ought to be
able to choose his own name...
(loud)
... and I wanna be called Jack!
CAROLINE
Fine. And you can call me...
(she thinks)
... Jeanette. Jeanette Marie.
TOBY
Oh, you're so stupid sometimes,
I...
The BAWLING of an AIRHORN interrupts him. Both of them
look through the back window and see a huge tractor-
trailer truck, out of control, bearing down on them.
Caroline brakes and steers a hard right, SKIDDING the
NASH safely onto the side of the road.
The truck, its HORN BLASTING steadily, shimmies and
slides past them, and then, hideously, fails to make the
next curve: it smashes through the guard rails and into
empty space, its HORN still BLARING.
Caroline and Toby look at each other, then scramble out
of the car.
3 EXT. BROKEN GUARD RAIL - DAY 3
Other drivers have stopped to look: hundreds of feet
below, the truck lies on its back among boulders.
Caroline glances, then turns away. She pulls Toby
away, one arm around his shoulder.
4 EXT. NASH AMBASSADOR - MINUTES LATER 4
Caroline fills the Nash's steaming radiator with a can of
water.
CAROLINE
(not much heat)
Goddamn thing.
(CONTINUED)
4.
4 CONTINUED: 4
She glances back to where a larger crowd of people stare
avidly down at the truck. She bites her lip.
CAROLINE
Oh, that poor man.
There is a pause. Then Toby speaks:
TOBY
I hope to hell this isn't some
kind of omen.
Caroline turns to Toby, her face worried. Then she sees
the look in Toby's eyes -- he's ragging her. She grins
and gives his shoulder a light, affectionate shove.
5 INT. NASH AMBASSADOR - NIGHT 5
Toby (feet up on the dashboard wearing a brand-new pair
of Indian moccasins) and Caroline sing "Mood Indigo"
together. Toby holds a complicated-looking, black con-
traption which looks something like an antique flashlight.
TOBY
How's this thing work, anyway?
CAROLINE
(not confident)
It makes a black light that, uh,
causes uranium traces to glow.
TOBY
And we just walk along the street
and find this glowing uranium?
CAROLINE
Well, it was everywhere in Moab,
they say -- just like gold in the
gold-rush days.
TOBY
But we were too late in Moab, and
that guy at the office said
nobody'd found any uranium in Salt
Lake City.
CAROLINE
Well, that means we'll have the
place pretty much to ourselves,
huh? Honey, this could be a big
break for us. If this works out,
oh, just think: we'll get us a
house, get rid of this damn Nash
Ambassador -- no money worries...
It'll be like heaven on a June day.
5.
6 INT. CAR - DAWN 6
We hear "MOOD INDIGO" on the car RADIO and see that a
weary Caroline has driven through the night and Toby is
slumped against the passenger door. Toby stirs, then
opens his eyes.
CAROLINE
Ask me how far we are from Salt
Lake City.
Toby is instantly awake, excited. Caroline points to a
small highway sign and both she and Toby yell out.
CAROLINE/TOBY
Forty-seven miles to go!
Both of them are laughing with excitement. Toby claps
his hands together once, very hard, and Caroline yells --
7 EXT. HIGHWAY - MORNING 7
Well, hell. The Nash Ambassador sits by the side of the
road, its hood up, its radiator steaming. Caroline and
Toby sit in a patch of shade by the car.
CAROLINE
If I could have one wish right
now -- only one wish -- you know
what I'd like? I'd like to burn
this damn Nash Ambassador to a
crisp.
(as Toby laughs)
I'm serious. I hate it. I hate
the factory that produced it, and
I hate the man who invented it.
TOBY
It almost makes me want to see Roy
-- he was the only one could make
the thing stop overheating.
(a beat)
My God, he was boring. Boring and
mean: you sure got crappy taste in
boyfriends.
At the mention of Roy's name, Caroline lightly touches
the bruise on her right cheekbone. Not enjoying the talk
about Roy, she pours the water into the radiator, and
speaks directly to the car.
CAROLINE
I'd like to burn you to the ground.
(to Toby; big smile)
Let's go get rich in Salt Lake
City!
6.
8 EXT. SALT LAKE CITY (DOWNTOWN) - DAY 8
Toby waits beside the Nash Ambassador, looking toward a
three-story concrete building. He holds a portable
RADIO, which PLAYS DEAN MARTIN singing "Volare."
9 INT. BUILDING - PARALLEL TIME 9
Caroline, holding the imitation Geiger counter, stands
across the counter from a MAN who is looking at her
very strangely.
MAN
You're pulling my leg, right?
CAROLINE
No, I came here to look for
uranium.
MAN
My God, lady. If you're looking
for uranium, why didn't you go to
Moab?
CAROLINE
We went there, but everybody'd
beaten us there. We were too late.
MAN
So you came here just on the
chance you'd find uranium?
Listen, you mind me saying
something to you might sound rude?
Lady, you got more courage than
you got common sense.
10 EXT. NASH AMBASSADOR - DAY 10
Caroline exits the building, dumps the Geiger counter in
a trash can and strides to the car. She gets in, and
says two words:
CAROLINE
Don't ask.
11 INT. NASH AMBASSADOR - DAY 11
Caroline turns the key in the ignition and gets only a
maddening RER-RER-RER-RER noise from the ENGINE:
wearily, she rests her forehead on the steering wheel.
7.
12 EXT. NASH AMBASSADOR - TWENTY MINUTES LATER 12
Caroline and Toby have the hood up and are peering into
the engine.
TOBY
That mechanic in Colorado said it
needed points.
CAROLINE
I know. Don't tell me what I
already know. This thing's a
bottomless pit. I don't know what
to do. No matter how much money I
pour into it...
Suddenly a WOMAN in pedal-pushers and a thin, inexpensive
sweater stops. She's vaguely low-class, but friendly and
sympathetic.
WOMAN
I'd rather be whipped with a belt
than have car trouble. 'Course
these days I don't have to worry
about that. My husband got laid
off at the mill, and they
repossessed the car, so wherever
I wanna go, I just have to hoof
it, you know?
Caroline smiles, then her face changes.
CAROLINE
You don't have a car?
(as the Woman
shakes her head)
You want this one?
Shocked, the Woman says --
WOMAN
I... uh... I...
TOBY
You're gonna give our car away?
CAROLINE
(to the Woman)
Seriously. It needs points, and
it overheats constantly, but you
can have it if you want it,
because my hand to God, I can't
look at it one more minute.
WOMAN
Well, sure...
(CONTINUED)
8.
12 CONTINUED: 12
CAROLINE
Get the bags out. Get the owner's
slip out of the glove compartment.
We're rid of this son-of-a-bitch
pink and white albatross. You
don't mind taking a car with a big
dent in the passenger door?
WOMAN
Hell, no.
(she looks)
There's no dent there...
Caroline draws back her leg and delivers a terrific,
flat-footed kick to the door, leaving a dent the size
of a dish-pan.
CAROLINE
Oh, yes there is!
Toby hands the Woman the owner's slip, Caroline gives her
the keys.
WOMAN
... you really just giving me this
car?
CAROLINE
It's done. It's yours. You got
yourself a Nash Ambassador!
(to Toby)
Let's go!
Both of them pick up two bags apiece -- all they have in
the world -- and off they go, feeling good.
13 EXT. CITY STREET - DAY (FEW MINUTES LATER) 13
1957 is all around us: gas is 29.9 cents a gallon; bread
is 19 cents a loaf; cars are curved and heavily chromed;
people occasionally nod and smile at strangers; children
carry hula hoops. In all, a gentler time. Caroline and
Toby stride along briskly, as if they knew where they
were going.
CAROLINE
... find ourselves a cheap room
someplace, we'll get you into
school, I'll brush up on my typing
and get a job, and things'll start
looking up. I feel it: the good
times are coming. And at least
we're rid of that damn Nash
Ambassador!
(CONTINUED)
9.
13 CONTINUED: 13
TOBY
Yeah, and like Dad used to say,
'We may be broke, but we're never
poor.' And later, if we get a
house with a big yard, I could
get a collie, you know? One like
Lad or Grey Dawn. And someday
maybe a palomino. And I'm going
to try harder in school, too...
The two of them walk on -- a bit foolish, but, in an
odd way, brave as hell.
14 INT. VICE PRINCIPAL'S OFFICE - DAY 14
A subdued Toby sits in front of the VICE PRINCIPAL.
VICE PRINCIPAL
... like to give new boys the
benefit of the doubt, but this
is the second time in two weeks
that you've been in front of me,
and I don't like that.
(picks up a telephone)
Now I think you better just call
your mother and tell her to come
down here.
TOBY
She works. She's working.
Silent, the man continues to hold out the telephone to
Toby. Finally he takes it and dials.
15 EXT. SCHOOL - AFTERNOON 15
Caroline and Toby exit. Toby sullen; Caroline angry.
TOBY
It wasn't me broke their stupid
windows.
CAROLINE
Liar.
TOBY
Gee, thanks a lot, Mom -- believe
them instead of me.
CAROLINE
If you care anything about me at
all, you'll shut up.
(CONTINUED)
10.
15 CONTINUED: 15
TOBY
Yeah, well if you'd stayed married
to Dad none of this would've ever
happened.
CAROLINE
Look, don't you put that on my
back: I can't make your father
call you. I can't make your
brother write you. They dumped
you. Yes. But it's not my fault.
16 INT. CAROLINE AND TOBY'S ROOM - AFTERNOON 16
The place is pretty bleak: a room and a half, Murphy
beds, linoleum floors, and a bath down the hall.
Caroline and Toby enter. She pulls down the Murphy
bed and falls onto it fully dressed, saying:
CAROLINE
My head is killing me.
Toby heads for his room.
16A SAME SCENE - DUSK 16A
Caroline wakes up with a start, then sees Toby sitting
in a chair, watching her.
CAROLINE
What time is it?
TOBY
Seven. Almost.
CAROLINE
Why didn't you wake me?
TOBY
I started dinner. The potatoes
are frying, and I'm heating up the
hot dogs.
Caroline sees that he's trying to make it up to her, and
pats the bed for him to sit down next to her. He moves
to sit beside her.
CAROLINE
Hold your mother's hand.
(CONTINUED)
11.
16A CONTINUED: 16A
TOBY
I'm sorry.
CAROLINE
I know you are, honey. Ah, well
-- it wasn't fire, and nobody
bled, so I guess we're okay.
The TELEPHONE RINGS and she answers it. When she hears
the VOICE on the other end she once again touches her
right cheekbone with a finger -- the spot where the
bruise had been. She sags back against a wall.
CAROLINE
Yes...
(listens)
Yes...
(listens)
Yes, I know...
(listens)
You're right...
(listens)
All right, yes... in an hour,
then.
Caroline hangs up.
TOBY
Who was that?
She closes her eyes.
TOBY
Who was that?
Caroline laughs aloud, then slides down the wall until
she's on the floor still laughing.
CAROLINE
We've got a guest for dinner:
it's Roy. He tracked us down.
Toby groans and falls full-length onto the sofa.
17 INT. CAROLINE AND TOBY'S KITCHEN - ONE HOUR LATER 17
Caroline, Toby and ROY are eating at the tiny table. Roy
is good-looking in a meaty, hairy-chested sort of way.
Though he is on his very best behavior just now, there is
a mean streak in him.
Toby, delighted, holds a Winchester .22 rifle across his
lap -- a peace-making gift from Roy.
(CONTINUED)
12.
17 CONTINUED: 17
ROY
... I found me a room, but it's
clear the hell and gone 'cross
town. And I think I got a job
lined up doin' tune-ups in a
Texaco station. How you like it
at Winstead's?
CAROLINE
How do you know where I work?
ROY
I been here almost a week.
CAROLINE
You followed me around? For a
week? Watching?
Roy doesn't answer. He just wiggles his eyebrows like
Groucho Marx.
CAROLINE
And how did you ever find me?
Again, Roy does the Groucho Marx. He turns to Toby.
ROY
You like the rifle, Toby? 'Jack,'
I mean.
TOBY
It's the best present I ever got.
I just love it.
(to Caroline)
I'm going to pretend I'm shooting.
CAROLINE
Don't point that thing at anybody
or I won't teach you to shoot.
TOBY
It's not loaded!
CAROLINE
You heard me: anybody or any
thing.
TOBY
It's got no bullets, for God's
sake.
CAROLINE
Don't make me speak to you again.
(CONTINUED)
13.
17 CONTINUED: (2) 17
TOBY
I'll point it at the sky, then.
Caroline sighs. Toby opens a screenless window and
points the gun up into the night sky, pretending to fire
it over and over. Caroline starts to clear the table.
Roy jumps up to help her.
18 INT. LIVING ROOM - TWO HOURS LATER 18
Caroline and Roy are kissing on the sofa, and he is all
over her: his hands are on her breasts, her thighs,
everywhere. Aroused in spite of herself, Caroline pulls
away, indicating the light in the other room.
CAROLINE
Don't. Toby's still up.
Roy leans back, smiling, and eyes Caroline.
ROY
You are one sweet thing, baby:
just the sight of you makes my
dick hard.
He pulls her to him, starting to kiss her. She fends him
off, looking worriedly toward the room where Toby's light
burns.
ROY
Aw, he won't hear anything.
Again he pulls her toward him; again she turns her head
from the kiss.
Then it happens.
A spasm of anger passes across his face and he shoves
Caroline away from him. It's a hard shove, but nothing
that could really hurt her. Violence has happened before
between these two, and they recognize it. Caroline is
immediately on guard, and Roy is apologetic.
ROY
Shit, baby, I'm sorry. I didn't
mean that. I'm just so glad to
see you.
He slides toward Caroline, kisses her. This time she
accepts the kiss -- feels she has no choice.
14.
19 INT. KITCHEN - PARALLEL TIME 19
Dressed for bed, Toby stands by an open window. He can
hear every WORD of ROY'S, who continues to apologize
between kisses. The room is illuminated by a nearby
streetlamp. The frosty air from the open window causes
his breath to steam. He raises two fingers to his lips,
pretends to take a drag on a cigarette and blows out the
steam from his breath. The VOICES in the other room grow
a bit LOUDER, almost to an argument, and then SUBSIDE
again. Toby takes another drag from his pretend cig-
arette. He looks very young.
20 EXT. RESIDENTIAL STREET - AFTERNOON 20
Toby wanders toward the rooming house. He stops to watch
TWO fiftyish WOMEN who are working in a garden. One
Woman looks up.
WOMAN #1
Hi.
TOBY
Hello.
The Woman stops to take a breather, lights a cigarette,
pokes her companion.
WOMAN #1
My Lord, look at the eyes on
him -- won't he be a heartbreaker
in three, four years?
WOMAN #2
Bedroom eyes.
Toby smiles.
WOMAN #1
You live in the neighborhood,
sweetie?
TOBY
Over there.
(a beat)
I won't be here long, though,
'cause my dad's coming to get me.
WOMAN #1
Oh, yes?
TOBY
Yeah. I'm gonna live on his
ranch in Phoenix. The "Lazy B,"
it's called.
(CONTINUED)
15.
20 CONTINUED: 20
WOMAN #2
That sounds like fun.
TOBY
It is. I've got a palomino horse
and a collie, and Dad lets us go
on hunts all by ourselves. He
gave me this Winchester .22, and
last year I shot a mountain lion
with it. And Lad -- that's my
dog -- found a nest of rattlesnakes
one time, and killed all twelve
of them...
The two Women exchange a glance. It's obvious the boy
is lying.
21 INT. CAROLINE AND TOBY'S ROOMS - AFTERNOON (SAME DAY)21
Toby enters. Four packed suitcases lie on the bed behind
Caroline.
TOBY
What're you doing home so --
(as he sees
suitcases)
We going someplace?
CAROLINE
We sure are.
TOBY
Where?
CAROLINE
I don't know. Got any suggestions?
TOBY
Phoenix.
CAROLINE
Good. I was thinking of Phoenix
or Seattle -- lots of opportunities
in both those places.
TOBY
What about your fabulous
boyfriends? What about the
fabulous, boring Roy? Is he
coming, too?
(CONTINUED)
16.
21 CONTINUED: 21
CAROLINE
Not if I can help it. I looked
out the window at work today, and
he was parked across the street,
watching.
TOBY
Roy's so uncool. So boring.
CAROLINE
You liked him well enough last
night.
(imitating Toby)
'Oh, Roy, I just love my rifle
so much! It's the bestest present
ever!'
TOBY
Oh, shut up.
But he's smiling, completely unbothered.
Suddenly Caroline laughs, stands up, and begins to close
the suitcases. Toby laughs, too.
TOBY
Now? We're going now? What about
all the food?
CAROLINE
Leave it.
TOBY
Even the canned stuff?
CAROLINE
Leave it!
They grab the four heavy suitcases and head out the door.
Both of them are laughing.
22 INT. BUS STATION - AFTERNOON 22
Caroline and Toby stand at a ticket counter,
disappointed.
TOBY
Well, ask him when the next one
to Phoenix is.
TICKET SELLER
Tomorrow morning, eleven
forty-five.
(CONTINUED)
17.
22 CONTINUED: 22
Toby and Caroline groan, then Caroline brightens.
CAROLINE
What about Seattle?
TICKET SELLER
(consults a list)
Leaves in nine minutes.
They look at each other.
23 EXT. BOARDING AREA 23
Toby and Caroline hurry onboard a Greyhound bus with
Seattle as its destination.
CAROLINE
... I've always had a good head
for figures, and if I could get
my C.P.A. license, I believe we
could make a real go of it in
Seattle. I'll advertise for
roommates, and I bet we find us
a real cute house to rent.
TOBY
If there's a big yard, can I get
a collie?
CAROLINE
Sure. Oh, honey, I feel a wind
at my back: I think this is
going to work out good.
TOBY
(as they board
bus)
Yeah -- like heaven on a June day.
The DOORS of the bus close. WHOOSH! The bus begins to
move. Caroline and Toby's faces are at the window:
Seattle or bust.
DISSOLVE TO:
24 EXT. TRACT HOUSE (SEATTLE, WASHINGTON) - AFTERNOON 24
The house is a nasty little thing with peeling paint.
From inside we hear:
(CONTINUED)
18.
24 CONTINUED: 24
CAROLINE (O.S.)
... and if you cut school again
I'll just wear you out -- do you
hear me? I'm tired of it!
TOBY (O.S.)
Yeah, yeah...
Toby exits the house.
But, Jesus, what a new Toby: he's turned cool. A few
months have passed. He now wears T-shirts and jeans
which ride way low on his hips. As he walks along, he
combs his hair into a duck's ass in back, and forward
into a curl at the center of his forehead. He's 1957 hip
-- or thinks he is. He strolls on, feeling cool.
24A EXT. TRACT HOUSE/FURTHER DOWN STREET - AFTERNOON 24A
From one of the houses TERRY TAYLOR emerges, falling into
step with Toby. He's Toby's age, and is almost an exact
replica of him.
TOBY
Hey, Terry.
TERRY TAYLOR
Hey, Jack. What'd your mom say
about skipping school today?
TOBY
Who listens?
TERRY TAYLOR
You go over to Wanda's house last
night?
(as Toby nods)
You make out good?
(as Toby nods again)
How good?
TOBY
I fucked her 'til her nose bled.
TERRY TAYLOR
Sure you did! Oh, Wolff, you're
rich.
25 INT. APARTMENT - AFTERNOON 25
TERRY SILVER opens the door to admit Toby and Terry
Taylor. Silver is a clone of both Toby and Terry Taylor.
19.
26 INT. LIVING ROOM - AFTERNOON 26
As the three boys troop through the room, they pass Terry
Silver's two SISTERS, who are sprawled sensually on a
sofa.
SISTER #1
Oh look -- it's Elvis, Elvis,
and Elvis.
TERRY TAYLOR
Excuse me, but does your face
hurt? 'Cause it's killing me.
With that piece of high wit, they're out of the room.
27 INT. TV ROOM - AFTERNOON 27
The boys light up three cigarettes (opening a window so
the smoke will disappear), then throw themselves onto the
floor in front of a black-and-white TV.
Superman is ON. When Lois Lane comes on, Terry Taylor
starts moaning as if sexually aroused; Terry Silver jumps
to his knees and licks the TV screen repeatedly, also
moaning. Toby closes his eyes, also as if in sexual
transport.
TOBY
Oh, Lois. Oh, baby, come here --
I got six hot inches just waiting
for you.
TERRY TAYLOR
Man, look at her! Look at that
body-y-y-y.
TERRY SILVER
(continues licking
screen)
Um-m-m-m. M-M-M. Oh, Annette, I
want you. I want you so bad.
TOBY
Oh, babybabybabybabybaby...
You make my dick hard!
The three carry on for a few more seconds.
THREE OF THEM
Yum, yum, yum.
(CONTINUED)
20.
27 CONTINUED: 27
Making wet kissing noises, or just rocking their heads
back and forth as if tempted beyond endurance. Then,
slowly, they shut up and lie back down.
27A SAME SCENE - LATER 27A
And this is what they really wanted: absolutely silent,
all three boys stare fixedly at the screen. They are
totally absorbed, caught up in the sweetness and warmth
of the show.
Not one of these boys has ever touched a girl's breast;
all three are at least two years from their first shave;
all three are pre-pubescent, and their sexuality is all
bravado -- now we see them for what they are: three
skinny-armed 13-year-olds, fascinated by Superman.
28 INT. TOBY AND CAROLINE'S KITCHEN - DUSK 28
Caroline pirouettes for her two roommates, KATHY, a
diffident, sweet-faced young woman, and MARIAN, a
heavyset, loud, red-faced woman who eats compulsively
from a package of oatmeal cookies. Both of the women ooh
and aah over Caroline's dress.
KATHY
That belt just makes it.
CAROLINE
It does pick up the green, doesn't
it?
MARIAN
And you say he's getting serious
already?
CAROLINE
Yes, I think. He keeps talking
about marriage, keeps saying he
wants to meet Toby.
MARIAN
Well, that's it -- three dates and
you got 'im good.
CAROLINE
I don't know if I want him --
She stops as Toby enters the kitchen.
(CONTINUED)
21.
28 CONTINUED: 28
TOBY
Don't want who?
KATHY
(about Toby)
Little pitchers...
MARIAN
Well, it's the tough guy who can't
be bothered to go to school.
CAROLINE
(to Toby)
Oh, it's nothing -- we were
talking about Dwight. I told you
about Dwight.
TOBY
He the one drives down from the
boondocks? The mechanic? Dwight.
What a stupid name.
(he draws the name
out)
Dwiiiight. Duhhhhwight.
Dwight-tah-h-h-h. Dwighttahhhhh.
There is a KNOCK on the front door. Toby sticks his head
around the door, looking into the living room. A man is
outlined against the sunset, only his black silhouette is
visible. It is our first glimpse of DWIGHT.
Has the man heard him? Toby doesn't know for sure.
Caroline brings Dwight into the kitchen. He is older
than her, an attractive-enough man. He is well-built,
has a full head of brown hair, and very white teeth.
Those are his good points. On the minus side: his over-
eagerness to please, his nervous smiles and his clothes.
He wears two-tone shoes, a hand-painted tie, and a
monogrammed handkerchief, folded beyond perfection, in
the pocket.
Caroline introduces him to Marian and Kathy. Then she
introduces Dwight to Toby.
Dwight is all smiles.
CAROLINE
Would you like coffee before we
go? Or a Coke?
DWIGHT
You know, I believe I could stand
a cup of java.
(CONTINUED)
22.
28 CONTINUED: (2) 28
As Caroline pours the coffee, Dwight turns to Toby.
DWIGHT
So you're Toby.
TOBY
No.
DWIGHT
You're not Toby?
TOBY
No.
CAROLINE
Oh, he wants to be called 'Jack.'
It's so silly... ever since he
read Jack London.
DWIGHT
Well, I'll call him anything he
wants.
(to Toby,
confidential)
I always say people can call me
anything they want, long as they
don't call me late for supper!
Kathy and Marian think it's pretty funny. They laugh.
Caroline smiles. Toby just stares.
DWIGHT
So, Jack, you like school?
TOBY
No.
MARIAN
He might like it if he ever went
there and tried it.
TOBY
Oh, have another cookie, Marian --
keep your strength up.
MARIAN
I'd like to just yank that nasty
tongue of yours out by the roots.
CAROLINE
(to Dwight, light)
My son's decided to try to drive
me into an early grave. Truly.
(MORE)
(CONTINUED)
23.
28 CONTINUED: (3) 28
CAROLINE (CONT'D)
(to Toby; not so
light)
You straighten up and be polite,
you hear me?
Dwight takes a swallow of the coffee. His eyes widen.
DWIGHT
Who made this?
CAROLINE
I did...
DWIGHT
Well, well, well, all I can say is
that you people are pretty lucky
to live in a house where -- oh.
Marian puts a cigarette into her mouth. Dwight jumps up,
pulls a velvet case from his pocket and extracts a mono-
grammed Zippo. He snaps open the top of the lighter
against his leg, and holds the flame in front of Marian's
face. She lights her cigarette. Then Dwight perform the
Zippo drama in reverse.
What a conversation stopper. Finally, Kathy speaks to
Toby.
KATHY
I hear you're invited up to
Dwight's next week for
Thanksgiving.
DWIGHT
Aw, you'll love it. Great air,
great water. For scenery, all you
have to do is step outside your
front door and open your eyes.
And there's a turkey shoot
Thanksgiving Day. Your mom said
you might like it, so I signed you
up.
Toby sits up, eager.
TOBY
Really? I can shoot my Winchester?
Great! I bet I could be the one
to get the turkey.
(CONTINUED)
24.
28 CONTINUED: (4) 28
CAROLINE
Well, amazing: it can sit up and
talk like a normal human being.
(notices the time)
Dwight, we're going to be late.
She grabs her coat (which Dwight jumps up to hold for
her) and they exit. As Dwight leaves he kisses his hand,
then throws the kiss toward Marian and Kathy. The
instant the front door slams:
TOBY MARIAN KATHY
What a geek. I love a man knows He's so appealing.
how to dress.
29 EXT. RESIDENTIAL STREET - AFTERNOON 29
We hear SCREAMING. Toby and Terry Taylor race BY the
CAMERA on stolen tricycles, yelling as if they're attack-
ing Indians. Behind them comes Terry Silver, on foot.
Atop a small hill, both boys jump off, letting the
TRICYCLES SMASH into a parked car. Then they run like
hell with Terry Silver bringing up the rear.
30 INT. CAROLINE AND TOBY'S LIVING ROOM - MORNING 30
Caroline is dressed casually. Toby has on a shirt and
sweater. He is pretending that he's buck-toothed.
Caroline finishes packing a small suitcase.
CAROLINE
I want you to be polite to Dwight
this weekend.
TOBY
(buck-toothed speech)
Okay.
CAROLINE
I mean it, now.
TOBY
(buck-toothed speech)
I said 'Okay,' didn't I?
CAROLINE
Hey, c'mon, maybe the weekend'll
be fun... maybe Concrete will be
pretty.
(CONTINUED)
25.
30 CONTINUED: 30
TOBY
(buck-toothed speech)
Oh, Concrete, my favorite town.
Welcome to beautiful Concrete!
CAROLINE
And stop that.
TOBY
(buck-toothed speech)
Stop what?
CAROLINE
Sometimes I could kill you as free
as I could eat a bite.
TOBY
(buck-toothed speech)
Ditto.
A car stops and through a window, we see Dwight.
Caroline turns to Toby.
CAROLINE
Please be nice.
Toby stops the buck-toothed thing and speaks normally.
TOBY
All right.
31 EXT. ROAD - MORNING 31
We see Dwight driving his shiny Buick, Caroline and Toby
beside him. As the CAMERA TRACKS the car with VARIOUS
SHOTS, we hear:
DWIGHT (V.O.)
... air like wine at my place, and
I don't mind saying I wouldn't
live anywhere else, and that's the
God's honest truth. There's good
schools, honest people, and some
of the best fishing in the world.
Ted Williams -- you like baseball,
Toby? That is, Jack, I mean --
you like baseball? 'Cause Ted
Williams, whom I believe is one of
the all-time greats, is also a
world-class angler. Many's the
day he and I've talked over the
best way to get a fish to say yes
to a hook.
(MORE)
(CONTINUED)
26.
31 CONTINUED: 31
DWIGHT (V.O.) (CONT'D)
(a beat)
Hunting, too: there's game
everywhere you look. I don't
think I flatter myself by saying
that I'm something of a whiz with
a rifle, and Concrete gives me
every opportunity to prove it...
32 EXT. SMALL BRIDGE - DAY 32
The three stand by the edge of the bridge, looking down
into the water.
They see salmon fighting the last few yards of their
yearly battle to spawn. Against the rapid current, they
leap again and again. Long strips of flesh hang from
their bodies.
DWIGHT
They always show you salmon
fighting to get upstream, but they
never show you what they look like
when they get there.
Her face strained, Caroline leans over for a closer look.
The salmon swim in slow, stunned circles, some with an
eye missing or hanging by a membrane, a hideous sight.
CAROLINE
It's pitiful. Awful.
DWIGHT
They'll spawn, and then they'll
die. They're dying now.
As Toby and Caroline move to the passenger side of the
car, Toby speaks so Dwight can't hear:
TOBY
I hope to hell it's not an omen.
Caroline has to fight back a smile.
A33 EXT. CONCRETE SILO - DAY A33
The Buick drives into town past an enormous disused
Concrete silo where "Welcome To Concrete" is painted in
huge faded letters.
(CONTINUED)
26A.
A33 CONTINUED: A33
DWIGHT
So here we go. Welcome to
Concrete. Dwight's home sweet
home. Finest people in the whole
state of Washington, you ask me.
Lots of churches, too. A neighbor
of mine says, "Looking for nice
churches, come to Concrete.
Looking for sin, go to hell." I
think that's funny...
Caroline and Toby are severely underimpressed with their
first impression of Concrete.
33 EXT. DWIGHT'S HOUSE - DAY 33
Dwight's Buick pulls to a stop; Dwight, Caroline, and
Toby get out. The scenery is as beautiful as Dwight said
it was.
DWIGHT
All the houses are converted Army
barracks, made into duplexes --
Three children exit the house. SKIPPER, a pleasant boy
who is average in every way, is 17. NORMA is 18, slow-
spoken and sensual, Toby cannot take his eyes off her.
The third is PEARL, two years younger than Toby. Pearl
has a bald spot the size of a dollar, high on the side of
her head.
DWIGHT
Well. Let's see here. Kids, this
is my pretty friend, Caroline
Wolff, and her boy To...
(MORE)
(CONTINUED)
27.
33 CONTINUED: 33
DWIGHT (CONT'D)
(he catches himself)
Jack Wolff. These are my kids:
Skipper, Norma and my baby, Pearl.
Everybody says hello, shakes hands, then they all head
into the house.
34 INT. DWIGHT'S LIVING ROOM - DAY 34
They enter and look around: well, it's not awful, but
it sure as hell isn't wonderful. The room is dark, on
the small side, and shows the lack of a woman's hand.
Caroline looks a bit taken aback, but tries to hide it
by saying the word "nice" over and over.
The CAMERA FOLLOWS them FROM room TO room:
DWIGHT
Okay, so that was the living room;
over here is the kitchen -- I plan
on getting all new fixtures in
here -- and down that hall are the
three bedrooms and the bath.
He stops at an extra, no-particular-purpose, nondescript
room furnished only by two easy chairs and a card table.
DWIGHT
This is sort of a lounging area.
(as nobody says
anything)
You know, just in case you want
to...
He searches, can't think of how to finish the sentence in
any impressive way. He gives up, finishes weakly:
DWIGHT
... lounge.
Skipper snorts with laughter, but cuts it off when Dwight
gives him a look. Toby, trying to be good, bites his lip
to keep from laughing.
35 EXT. BUSINESS STREET - DAY 35
The business area is small and rather forlorn. The six
of them walk in pairs -- Dwight and Caroline, Skipper and
Norma, and last, Toby and Pearl. (Toby's eyes are glued
to the movement of Norma's body.)
(CONTINUED)
28.
35 CONTINUED: 35
DWIGHT
(about a gas station)
And over there's where I work.
CAROLINE
(to Skipper and Norma)
How about you guys? You like it
here?
They glance at each other.
SKIPPER NORMA
Fine. Yeah, it's fine.
NORMA
It's a little isolated, is all.
DWIGHT
Not that isolated.
NORMA
Well, maybe not that isolated.
Pretty isolated, though.
DWIGHT
Aw, there's plenty to do in
Concrete if you kids would take a
little initiative. When I was
growing up we didn't have T.V. --
we used our imaginations. We read
the classics. We played musical
instruments. You show me a bored
kid, I'll show you a lazy kid.
CAROLINE
I didn't know you played an
instrument, Dwight. What do you
play?
DWIGHT
(one-half second's
hesitation)
Sax. Tenor sax.
Skipper and Norma glance at each other, then look away.
Caroline takes a cigarette from her purse. Again Dwight
jumps to her service: we are once more treated to the
mini-drama of Dwight unsheathing the Zippo from its
velvet case, opening the top on his pants leg, etc.
CAROLINE
(back to Skipper and
Norma)
How's the school here?
(CONTINUED)
29.
35 CONTINUED: (2) 35
SKIPPER
There isn't one. We go to
Chinook.
NORMA
Chinook High.
DWIGHT
It's a few miles downriver.
SKIPPER
Forty miles.
DWIGHT
Come off it -- it's not that far.
SKIPPER
Yeah, I clocked it: thirty-nine
miles.
In spite of the fact that he's eager for this day to go
well, Dwight's bottom teeth begin to show.
DWIGHT
Ah, you'd bellyache if the goddam
school was in your fugging
back yard. Just shut your god-
damn pie-hole.
They all shut their pie-holes. The six walk in a tense,
uncomfortable silence for five full beats. Then Pearl
tries to help out:
PEARL
I'm in fifth grade.
Nobody seems to care.
36 INT. DWIGHT'S LIVING ROOM - HOUR LATER 36
Dwight has recovered his good mood. Dressed in a
marksman's coat with a padded shoulder, Dwight is laughing
as he attempts to assemble Toby's Winchester .22.
(CONTINUED)
30.
36 CONTINUED: 36
DWIGHT
'Turkey shoot' is just a figure of
speech.
TOBY
There's no real turkey?
DWIGHT
No, it's just regulation paper
targets. It's a test of skill.
(a beat)
And, Jack, I just found out
yesterday that they won't let
kids shoot.
TOBY
But you said I could!
DWIGHT
I know, but they got it all
screwed up somehow and told me
wrong at first.
Toby starts to argue, but Caroline touches his arm.
CAROLINE
Dwight, you did tell him.
DWIGHT
(an edge)
I don't make the rules, Caroline.
If I made the rules, I might make
different ones, but I don't make
the rules.
37 EXT. OPEN FIELD - DAY 37
A sullen Toby stands with Pearl. Dwight is giving his
name and the entry fee to a MAN. As the Man moves away,
Caroline stops him and holds out some money.
CAROLINE
Wolff. Caroline Wolff.
MAN
You mean you want to enter? I
think it's against the rules.
(CONTINUED)
31.
37 CONTINUED: 37
CAROLINE
Well, that sign says this is an
N.R.A. club, and I'm a dues-paying
N.R.A. member. That gives me the
right to participate in the
activities of other chapters.
MAN
You'll be the only woman shooting.
Caroline just smiles. The Man shrugs, takes her money
and writes down her name.
38 EXT. SHOOTING RANGE - DAY 38
The shooting match has begun. The contestants have ten
turns to fire ten shots apiece at a large paper bull's-eye
fifty yards away. The scores and rankings are on a
portable scoreboard.
A contestant finishes SHOOTING. There is a pause.
Everyone watches as his score is raised from behind the
concrete wall on which the bull's-eye hangs.
The score comes: 84.
There is a smattering of applause, and it's Dwight's
turn.
From his stance, Dwight looks as if he is a pretty good
shot. He's nervous, though, because Caroline is going
to shoot, and he squeezes off his TEN SHOTS in RAPID
SUCCESSION, hardly pausing to breathe. A pause, and then
his score is raised: 73. Dwight smiles an inappropriate
smile and hands the Winchester to Caroline.
There are a couple of whistles as Caroline takes her
position, and someone in the crowd yells out, "Oh, Mama,
shake that thang!" Caroline ignores it, taking her
shooting stance, which is surprisingly graceful and
professional-looking.
She SHOOTS her TEN BULLETS, taking time to breathe once,
deeply, between each shot. The pause, and her score is
raised: 93. There is a moment of surprised silence, and
then the crowd gives Caroline a sincere round of
applause.
SAME SCENE - LATER
Dwight looks stunned, and Toby is almost equally
surprised.
(CONTINUED)
32.
38 CONTINUED: 38
On the scoreboard, we see that Caroline is in second
place and by only two shots. As the next-to-last round
finishes, Caroline is surrounded by a few people who are
complimenting her shooting. Dwight's smile is even
bigger: Oh, he wanted to be the one to win.
The last round starts. A MAN, evidently the one in first
place, heads to the shooting alley for his turn. As he
passes Caroline, trying to rattle her, he speaks
confidently.
MAN
That second-place trophy ain't
bad, honey.
CAROLINE
(big smile)
Then you won't feel too bad about
carrying it home, will you?
Several people laugh, and the Man, bested, turns away.
Everyone turns quiet to watch the Man shoot. He is
evidently the one who's nervous, though, for after he
SHOOTS and waits, the score is raised: 95. There is
an immediate stir -- Caroline can win if she shoots a
virtually perfect round.
Dwight's name is called. He takes his position, but
clowns around, SHOOTING first left-handed, then right-
handed, then with both eyes closed.
His score is raised: 24. There is scattered laughter,
and Dwight leads it -- hell, it's all a joke to him, his
attitude says.
Caroline takes her stance. Rock-steady, she SHOOTS her
TEN SHOTS and waits. And then it comes: 98. She's won.
The second-place Man wheels away angrily, but everyone
else congratulates the laughing Caroline, as an official
presents her with a small trophy of a gold rifle on a
pedestal, and a huge ham.
In the midst of the hubbub, Toby manages to get close
enough to congratulate his mother. Caroline glances
toward Dwight as she whispers to Toby:
CAROLINE
That was for you, honey.
TOBY
(impressed)
I didn't know you were a member of
the N.R.A.
(CONTINUED)
33.
38 CONTINUED: (2) 38
CAROLINE
I'm a little behind in my dues --
Thirty-six years behind.
39 INT. DWIGHT'S KITCHEN - DAY 39
Caroline, Toby and Pearl enter. Norma is cooking
Thanksgiving dinner. Dwight WALKS HEAVILY down the hall
to his bedroom and SLAMS the DOOR.
NORMA
What gives?
TOBY
Mom won the turkey shoot.
NORMA
Oh, boy. Now we're in for it --
he thinks he's some kind of big
hunter.
PEARL
Well, he killed a deer once.
NORMA
That was with the car.
They all laugh.
40 INT. DINING ROOM - AFTERNOON 40
Though there are some occasional sentences like "Could I
have the potatoes, please?" or "This dressing is really
delicious," mostly there is just silence and the noise
of SILVERWARE ON PLATES. Dwight is working hard on the
wine.
DWIGHT
I got just one thing to say.
(as everyone
stiffens)
I'm sitting at the table with the
best damn shot in the county!
Everybody relaxes, and general conversation begins.
41 INT. DWIGHT'S LIVING ROOM - NIGHT 41
Norma plays "Blue Monday" on an upright piano whilst Toby
sings it. After finishing the song, Norma launches into
"On Moonlight Bay." Everybody joins in.
(CONTINUED)
34.
41 CONTINUED: 41
Toby and Caroline glance at each other and smile.
41A SAME SCENE - MIDDLE OF NIGHT 41A
Caroline, who is sleeping on the sofa bed, returns from
the bathroom. She sees that Toby's awake on his pallet
on the floor. She sits on the floor beside him. (The
whole conversation is conducted in whispers.)
CAROLINE
So what do you think?
TOBY
They're okay. What's that bald
spot on Pearl's head? Ugh.
CAROLINE
Some sort of infection.
TOBY
Norma's nice.
CAROLINE
They're all nice, but Dwight keeps
rushing me, keeps talking about
marriage. And I don't really want
to get married -- not now anyway.
TOBY
That's fine with me.
(a beat; new tone)
I wish you would've stayed married
to Dad.
CAROLINE
Oh, don't wish Duke back on me.
God.
TOBY
That woman he married? Is she
really rich?
CAROLINE
Like King Midas. Okay, look,
we'll go back to Seattle and see
how things go. I've been thinking
about taking a course in
stenotyping. A court reporter's
pay is real high. Kathy got
engaged, so either I find us
another roommate or I've got to
make some more money. And this
stenotyping thing sounds just
right. This could turn out good,
honey.
35.
42 INT. BOYS' BATHROOM AT SCHOOL - DAY 42
Toby, Terry Silver and Terry Taylor lounge against the
wall, smoking.
TOBY
I mean I blew it off, man -- I
blew his fuckin' turkey's head
off.
Terry Silver takes a long slow drag on his cigarette.
The other boys glance at each other: they don't buy it.
TERRY TAYLOR
With a .22.
TOBY
Fuckin' A. Winchester .22. Pump.
TERRY TAYLOR
Wolff, you are so full of shit.
TOBY
Don't believe me -- see if I care.
TERRY TAYLOR
All a .22 bullet would do is make
a hole in his head.
Toby takes a drag on his cigarette.
TOBY
One bullet, maybe.
TERRY TAYLOR
Oh. Oh, I see -- you hit the
turkey more than once. While he
was flying. In the head.
Toby nods. Silver and Taylor howl with laughter.
Furious, Toby says "Fuck you" over and over. He pulls
out a rat-tail and scratches the words "FUCK YOU" onto
the soft paint of the bathroom wall.
43 EXT. RESIDENTIAL STREET - AFTERNOON 43
Toby stands at the top of a small hill with Terry Silver
and Terry Taylor. They are too casual, their faces too
innocent: something's up.
They wait until a middle-aged man raking leaves turns
and disappears around a corner. Then the three of them
open the door of a car, take off the emergency brake, and
start it rolling down the hill.
(CONTINUED)
36.
43 CONTINUED: 43
The car rolls silently down the hill. It CRASHES into
another car at the bottom, making a LOUD NOISE.
The three boys run like the wind out of sight.
44 INT. CAROLINE AND TOBY'S KITCHEN - NIGHT 44
Caroline, Toby, Marian and Kathy sit at the table eating
dinner.
KATHY
... exactly what I wanted for my
dress. It's a Simplicity pattern,
and I'm pretty sure I can make it
myself. It's got big puff
sleeves...
Caroline takes out a cigarette. Then everybody jumps
as Toby yells and jumps up knocking his chair over
backwards.
TOBY
Oh!
Toby grabs Caroline's lighter, and begins to imitate
Dwight: saying, "Oh!" and "Oh, yes!" and Oh, my!"
and "Here, let me!" and "I'll do that!"
It's a mean, accurate imitation of Dwight. All three
women laugh in spite of themselves. Caroline keeps
saying "Jack, that's enough," and Marian says, "Dwight's
not that bad." But they can't help laughing. Toby
offers the other two women a light, then offers a broom,
the back door, and the refrigerator a light.
45 INT. PRINCIPAL'S OFFICE - DAY 45
The principal, MR. SHIPPY, sits behind his desk. Toby,
looking scared, sits across from him. A secretary lets
Caroline into the room. Mr. Shippy rises and introduces
himself. Caroline doesn't respond to the introduction.
CAROLINE
What did he do?
MR. SHIPPY
He violated the school property
and flouted the law.
CAROLINE
Can you say that in English?
(CONTINUED)
37.
45 CONTINUED: 45
MR. SHIPPY
He wrote obscene words on the
wall.
CAROLINE
(to Toby)
Did you do it?
(as he shakes his
head "no")
He didn't do it.
MR. SHIPPY
(strong)
He wrote obscene words on the wall.
CAROLINE
What obscene words?
MR. SHIPPY
(after a beat)
'Fuck you.'
CAROLINE
That's one obscene word.
Mr. Shippy looks stymied. There is a pause.
MR. SHIPPY
Look, Mrs. Wolff, Jack's teachers,
like him but they think he's fallen
in with the wrong kind of friends.
(peers at Toby's
hand)
Is that nicotine stain on your
fingers?
(as Toby shakes his
head "no")
I hope not. Let me tell you a
story: I started smoking in
college. Two packs a day. I ate
'em.
(a beat)
One night I went to have a
cigarette and lo and behold, the
pack was empty. I went downstairs
and started to rummage through the
garbage cans. But as I reached
down -- I mean, right down into a
garbage can -- I suddenly thought,
'Whoa. Hold on right there,
Buster.' I went back to my room
and to this day I haven't smoked
another cigarette.
(MORE)
(CONTINUED)
38.
45 CONTINUED: (2) 45
MR. SHIPPY (CONT'D)
(a beat)
After that, every day I saved the
exact amount of money I would've
spent on cigarettes. In three
years, I put it all together, and
you know what I bought? I bought
myself...
(a dramatic pause;
big finish)
... a Nash Ambassador.
Caroline gives a bark of laughter. She brings out a
handkerchief and coughs, as if she has a cold. Mr.
Shippy looks puzzled.
MR. SHIPPY
Well, back to the point: I think
two weeks' suspension.
46 INT. CAROLINE AND TOBY'S HOUSE - SAME DAY (LATER) 46
Caroline and Toby enter the house. Caroline goes into
the bedroom, shuts the door. Toby sits on the couch.
46A SAME SCENE - NIGHT 46A
Late afternoon sun slants through the venetian blinds.
Toby sits exactly as he sat before. Then Caroline comes
out of the bedroom, ominously calm. She sits down.
CAROLINE
So what shall we do?
TOBY
What do you mean?
CAROLINE
Ever since Duke and I got divorced,
you're a different boy. I know
he never calls you and I could
kill him for it -- but that's how
Duke is. And Gregory's in
Princeton now, so I guess...
(refocusing)
So what shall we do? Because this
isn't working.
(a beat)
We barely have enough money,
Kathy's moving out, and on top of
it all, you've gone wild. You
lie...
(CONTINUED)
39.
46A CONTINUED: 46A
TOBY
No I don'...
CAROLINE
Yes, you do. You steal from
Marian's purse -- I just can't
handle you anymore, and it scares
me. I don't know what to do.
So, you tell me what to do.
TOBY
(he means it)
I can be better. I will be.
(it bursts out of
him)
And I hate the way I am anymore!
I don't know why I do it!
(a beat)
What about that stenotyping
thing you were gonna do?
With peculiar intensity, Caroline speaks in a soft,
odd voice:
CAROLINE
It won't happen. It won't happen.
It won't happen. Things aren't
going to turn out well, things
aren't going to start looking up,
and it's never going to be like
heaven on a June day. There is
no uranium. There is no
stenotyping. There is no C.P.A.
license. There isn't...
She stands for a few moments as if listening for a
far-off sound.
CAROLINE
... I talked to Dwight: after
Christmas, he wants you to come
up to Concrete and live with him
for a few months -- go to school
there.
TOBY
What are you going to do, just
give me away to him?
CAROLINE
If you two can get along, if it
works out, then I guess he and I
might get married.
(CONTINUED)
40.
46A CONTINUED: (2) 46A
The two stare at each other.
CAROLINE
I can't think of anything else to
do. But first I want your
approval.
Again the two stare at each other.
TOBY
All right.
Caroline nods, turns away.
47 INT. CAROLINE'S LIVING ROOM - DAY 47
Christmas is over: a few scattered pieces of wrapping
paper lie scattered on the floor, and a small Christmas
tree with bubble-lights glows in a corner.
Caroline shuts a suitcase and looks at Toby.
CAROLINE
I put in both your sweaters. You
wear them now, the nights are so
chilly up there.
TOBY
Okay. I will.
CAROLINE
You don't have to go if you don't
want to, honey.
TOBY
No, it's okay. I'll go.
O.S. we hear a KNOCKING and Dwight's cheery voice.
DWIGHT (O.S.)
Here I am, you lucky people!
48 EXT. CAROLINE AND TOBY'S HOUSE - DUSK 48
Dwights hustles the bags into the trunk, tells Toby to
kiss his mother, and hops into the car, all smiles, all
cheeriness. The Buick pulls away, leaving Caroline
white-faced and miserable.
41.
49 INT. BUICK - NIGHT 49
Dwight takes a pull from a pint bottle of whiskey and
gives Toby a sneering, contemptuous look. Toby reaches
over, SNAPS ON the RADIO. Immediately Dwight SNAPS IT
off. Then, in the headlight's glare, Toby sees a dark
shape.
TOBY
Hey, look: is that a raccoon or
a beaver.
Dwight swerves deliberately to hit the animal. There is
a sickening THUMP, and Dwight stops. As he backs up:
DWIGHT
Go get it -- the pelt's worth
fifty bucks, minimum.
TOBY
That thing's probably got rabies...
DWIGHT
(low)
Get it!
50 EXT. ROAD - NIGHT 50
Toby moves to where the dead beaver lies on its back,
its eyes open, in the red glow of the taillights. Toby
picks the thing up and lugs it back toward Dwight, who
has the trunk open.
51 INT. BUICK - NIGHT 51
Dwight is still drinking, between swallows, he gives Toby
sneering glances. Dwight is driving very fast. The
road begins a series of curves. Dwight doesn't slow
down, and the TIRES begin to SCREAM on the curves.
The road runs along a steep gorge. Dwight increases
the speed, and the car begins to fishtail.
TOBY
I'm a little sick to my stomach.
DWIGHT
Sick to your stomach? A hotshot
like you?
TOBY
I'm not a hotshot.
(CONTINUED)
42.
51 CONTINUED: 51
DWIGHT
That's what I hear. I hear you're
a real hotshot. Come and go where
you please, do what you please.
Isn't that right? Yeah, regular
man about town. Performer, too.
That right, Jack? You a performer?
TOBY
No, sir.
DWIGHT
That's a goddamned lie.
Dwight keeps glancing from the road to Toby, and back
again.
DWIGHT
If there's one thing I can't
stomach, it's a liar.
TOBY
I'm not a liar.
DWIGHT
Sure you are. You or Marian. Is
Marian a liar? She says you're
quite the little performer. Is
that a lie? You tell me that's a
lie and we'll drive back to Seattle
so you can call her a liar to her
face. You want me to do that?
TOBY
No.
DWIGHT
Then you must be the one's a liar,
right?
(as Toby nods)
And you're a performer?
TOBY
I guess.
DWIGHT
You guess? You guess? Let's see
your act. Go on. Do your act.
(when Toby is silent)
I'm waiting.
TOBY
I can't.
(CONTINUED)
43.
51 CONTINUED: (2) 51
DWIGHT
Sure you can.
TOBY
No, sir.
DWIGHT
Do me. I hear you do me.
Again Toby shakes his head, and then gasps as the CAR
SKIDS hideously close to the cliff's edge. Dwight is
oblivious to the danger.
DWIGHT
Yeah, I hear you're good at doing
me. Here. Do me with the lighter.
Go on. Take it.
Dwight holds out the velvet-covered Zippo, driving with
one hand, and the car is all over the road. Dwight puts
the lighter back into his pocket. The car slows a bit.
DWIGHT
Hotshot. You pull that hotshot
stuff around me and I'll break
every bone in your body. You
understand me?
(a beat)
You're in for a change, mister.
You got that? Huh? You got that
good?
(so scary)
You're in for a whole 'nother
ballgame.
52 EXT. DWIGHT'S HOUSE - NIGHT 52
Dwight's Buick pulls to a stop as Norma, Skipper and
Pearl come out to meet them. Dwight is calmer now.
DWIGHT
Skipper, go get that washtub out
back, and Pearl, bring the hose
around and fill it up. Hotshot
and me hit a beaver. We'll salt
him down.
Skipper and Pearl move out on the run. Dwight slits the
beaver from throat to testicles, guts it, then pulls the
skin off.
(CONTINUED)
44.
52 CONTINUED: 52
DWIGHT
I know you think you're better
than me. Caroline told me all
about your rich daddy and your
prep-school brother, but your
fancy days are over: you're a
Concrete boy now. I'm gonna give
you a big injection of Concrete.
That's right -- inoculate you.
Oh, my, yes. You're gonna find
out that in Concrete we have to
be able to do more than sing Fats
Domino songs, we work...
Skipper and Pearl bring the tub with four blue stars
painted on its side, Dwight plops the skinned beaver
into the water. The hairless carcass stands in the
tub, its chin on the edge. Pearl shudders and turns
away.
53 INT. DWIGHT'S KITCHEN - SAME NIGHT (LATER) 53
Dwight, Toby, Norma, Skipper and Pearl are eating dinner
at the kitchen table. Norma speaks to Toby.
NORMA
You'll be in Miss Graham's class?
TOBY
Yeah, is she nice?
NORMA
She's okay. She's pretty.
TOBY
I hate changing schools.
DWIGHT
Speaking of changing, I had a talk
with Jack on the way up here, and
he says he wants to be a better
boy. And that's good, 'cause
things weren't going well for him
in Seattle: the police actually
came to his house to talk to
Caroline about him. Uh-huh, the
police.
PEARL
(very low; to Toby)
Criminal.
(CONTINUED)
45.
53 CONTINUED: 53
DWIGHT
So here's what I think: I think
idle hands are the devil's
workshop, and so I found our Jack
a little something to do.
(to Toby)
I picked up two barrels of horse-
chestnuts in the park. You can
spend your evenings hulling 'em.
And I enrolled you in the Boy
Scouts, and you've got a paper
route, starting Monday, every
afternoon from three to six-thirty
-- pays fifty-five bucks a month.
What d'you say?
Toby glances around the table, he is subdued.
TOBY
I'll do it.
(means it)
I want to be... better.
DWIGHT
That's what I like to hear. Okay,
you guys get these dishes cleaned
up. Let's show Jack how we do it
in Concrete.
54 INT. SCHOOL ROOM - DAY 54
MISS GRAHAM stands in front of the class. Toby is midway
back in the room.
MISS GRAHAM
(reading)
'Of course I prayed -- and did God
care? He cared as much as on the
air a bird had stamped her foot
and cried, "Give me".' Now. What
is the tone of this short poem?
GIRL
Is it religious?
MISS GRAHAM
No -- even though it talks about
God, I wouldn't say it was
religious.
BOY
It's sad.
(CONTINUED)
46.
54 CONTINUED: 54
MISS GRAHAM
Well, closer, maybe. But no.
There is a pause. Finally, Toby raises his hand.
MISS GRAHAM
Jack?
TOBY
It's angry, sort of bitter.
MISS GRAHAM
Very good, Jack. Bull's-eye.
From the front of the room, a tall, thin, effeminate
boy, ARTHUR GAYLE, turns to look at Toby and holds
the gaze for three full beats, then turns around and
faces the front. What the hell does it mean?
55 INT. SKIPPER AND TOBY'S BEDROOM - NIGHT 55
The room is dark. Skipper is asleep. Toby lies in a
cot. Dwight leans against the wall near the head of
Toby's bed. He speaks in a low, reasonable voice:
DWIGHT
... 'cause I don't believe that
crap, you know? I believe there
is such a thing as a bad boy --
bad clear through. And it's gonna
be my job to turn you around, to
kill or cure. Kill. Or. Cure.
Understand? And I'm up to the
job, oh yes, believe me, hotshot,
I am ready, willing and able to
take you on -- you and that
jibagoo music you like to sing.
I'm just the guy to knock that
music out of your head and put in
some respect and obedience.
(a pause)
Now your mother has just about
washed her hands of you -- that's
obvious, 'cause she's shipped you
off up here. I mean, she has had
it with you. She told me: she
said 'Dwight, I just can't handle
him anymore.' So don't go crying
to Mama, 'cause Mama won't listen.
Mama is sick to death of her baby
boy.
(MORE)
(CONTINUED)
47.
55 CONTINUED: 55
DWIGHT (CONT'D)
(a beat)
And your rich Daddy Warbucks and
your Princeton brother don't give
a shit about you, 'cause Caroline
told me they haven't even written
in over two years. So it looks
like I'm all you got now -- it's
just you and me. Feels sort of
inevitable, doesn't it, hotshot?
It's like we were fated for each
other, like I'm the one guy on
Earth could set you straight.
And don't you ever think I won't
enjoy doing it, 'cause...
DISSOLVE TO:
SERIES OF SHORT SCENES TO INDICATE TIME PASSING
55 A) (AFTERNOON) Toby delivers papers in a sack filled 55
with papers slung over one shoulder which thuds
against his hip with every step making him tilt
to one side against the weight.
55 B) (NIGHT) Toby sits in a utility porch. The floor 55
around him is two feet deep in horse chestnuts. With
a knife and a pair of pliers he husks the chestnuts.
His hands are covered with scrapes and cuts and the
chestnut hulls bleed a juice that has dyed them a
bright yellow.
CAROLINE (V.O.)
Dear Toby, I sure do miss you,
honey -- the house is like a tomb
since you left. So quiet. My
only entertainment tonight was
watching Marian eat a whole pint
of ice cream. I hope you're
liking it up in Concrete. I just
know you'll try hard in school and
be good and mind Dwight. I worry
about you so much, and I hope this
will be just what you need.
55 C) (DAY) Toby rubs futilely at his yellow hands with 55
a cloth and watches Norma, who is drying her hair
in her bedroom. She bends over so her head is in
a patch of sunlight. Toby is riveted by the girl
and her hair gleaming in the sunlight.
(CONTINUED)
48.
55 CONTINUED: (2) 55
55 D) (AFTERNOON) Again see Toby delivering his papers. 55
He sees Arthur Gayle coming toward him in the
street. His hips sway as he walks, and his head
tilts to one side. As he and Toby pass one another,
he raises one arm and points at Toby. The he walks
on.
TOBY (V.O.)
Dear Mom, Thanks for the birthday
present. It fit fine. You don't
have to worry so much. I'm okay
here. The weather is nice, and I
like Scouts a lot. Dwight took us
all to see Bridge on the River
Kwai. I liked it. So things are
all right with me, except for
stupid Pearl, who I hate. Don't
worry all the time...
55 E) (NIGHT) Dwight introduces Toby at a Scout 55
meeting. All the other boys have on Scout
uniforms.
55 F) (DAY) Toby is on the utility porch husking the 55
horse chestnuts. His hands are now orange. Pearl
stands in the doorway watching him work. Norma
appears beside Pearl. Norma's face turns
sympathetic.
NORMA
You remind me of that boy in the
fairy tale who had to spend twenty
years sifting sand to find a
golden needle. Remember that one?
Toby doesn't answer. The two girls move away. Toby
sighs, and picks up another chestnut.
55 G) (DAY) Toby, keeping an eye on the door to make 55
sure he's unobserved, reaches under the mattress
of Skipper's bed and pulls out several billfold-sized
black and white pornographic photographs. The hair
styles of the women in them are decades old.
Toby takes the photographs into the bathroom,
shutting the door behind him.
CAROLINE (V.O.)
Dear Toby, Just a note before
going to bed. Dwight tells me
that the two of you are getting
along like a house afire. I'm
so glad. I wanted this to work
out for you. You left your sock
cap here. Do you need it...?
(CONTINUED)
49.
55 CONTINUED: (3) 55
55 H) (NIGHT) Skipper is asleep in his bed. Across the 55
room, Toby lies with his portable RADIO against his
head. We hear, very, very softly, ROSEMARY CLOONEY
crooning "Hey, There." He's tired. He's lonely.
He's miserable.
DISSOLVE TO:
56 INT. DWIGHT'S LIVING ROOM - AFTERNOON 56
Toby and Pearl are playing a card game called "Slap-
Jack." Toby slaps a card down hard, yelling "I win
again!" and Pearl pouts.
PEARL
That's no fair. You make me sick.
I don't know why you have to live
here, anyway. Daddy says we
should think of it like you were
a charity kid.
Toby takes out his comb, combs his hair a bit, then
holds it out to Pearl, an exaggerated look of innocence
on his face.
TOBY
Wanna comb your hair, Pearl?
Pearl covers her bald spot with one hand.
TOBY
Probably you do, since you've
got such pretty hair. I know if
I had hair as pretty as yours,
Pearl, I'd comb it all the time.
Pearl is on the verge of tears. There are THREE TREMEN-
DOUSLY LOUD FLAT-FOOTED KICKS against the front door.
DWIGHT (O.S.)
Open the hell up! I got us a
treat!
Pearl opens the door revealing a beaming Dwight holding
two dishpans piled high with snow. We see through the
doorway that the sun is shining and there isn't snow
anywhere.
PEARL
We're gonna have snowcream!
50.
57 INT. DWIGHT'S KITCHEN - LATER 57
Dwight, Toby, Skipper, Norma, and Pearl are enjoying
the snowcream.
DWIGHT
... heard there was a fresh snow
this morning, so I drove up to
the mountains. I stopped in a
field where it was all clean. I
was finished packing it up high
when somebody said...
(prissy voice)
This's private property, in case
you're interested.
(normal voice)
I turned around and there was this
woman...
(he shudders)
Yechh! Ugliest woman I ever saw
-- ugly as a madman's ass she was.
And frowning on top of it.
Everybody laughs.
NORMA
Oh, Daddy!
DWIGHT
She was!
TOBY
(to Pearl; soft;
happy)
You're ugly as a madman's ass.
PEARL
No, you are.
SKIPPER
What'd you say to the ugly woman?
DWIGHT
I didn't say nothin' -- I ran.
Everybody laughs again. They eat in silence for a beat.
DWIGHT
I'm gonna get you a Scout uniform,
Jack.
TOBY
(surprised, pleased)
Really?
(CONTINUED)
51.
57 CONTINUED: 57
PEARL
Can I join the Girl Scouts?
DWIGHT
I'm getting one for me, too.
Don't believe in doing anything
halfway. If you're serious about
the Scouts...
(as Toby nods)
... then I want you to do it right.
We'll do it right together.
Dwight takes out a magazine entitled Boy's Life. He
hands it to Toby.
DWIGHT
I got you a subscription to this.
I'll take the price out of your
paper route money.
TOBY
Boy's Life?
DWIGHT
It's the official Scout magazine.
Tells about what it means to be a
Scout, what kind of boy you need
to be, and, oh, about merit badges
and stuff like that.
Toby opens the book at random, reads from it.
TOBY
'Suggested good turns a Scout can
do: assist a foreign boy with
some English grammar. Help put
out a burning field. Give water
to a crippled dog.' I could do
those.
DWIGHT
Hell, yes, you could. You're a
bright kid. I want this Scout
thing done right, okay?
Toby nods, enthusiastic, happy.
58 INT. TOBY AND SKIPPER'S BEDROOM - AFTERNOON 58
Toby stands in front of a full-length mirror wearing a
huge Scout uniform that's been unsuccessfully cut down
for him.
(CONTINUED)
52.
58 CONTINUED: 58
The shirt-sleeves have been shortened but the shoulders
extend two inches beyond the ends of his shoulders. The
pants legs have been cut off and hemmed but the crotch of
the trousers hangs down three inches too low, giving him
a stumpy, dwarfish look. Toby yells to someone O.S.
TOBY
I'm not going.
DWIGHT (O.S.)
The hell you say.
TOBY
I'm not. Cut down Skipper's old
stuff, and he's twice as big as
me -- I'm gonna stay home.
DWIGHT (O.S.)
You're gonna shit and fall back in
it -- that's all you're gonna do.
Now get out here.
59 INT. DWIGHT'S LIVING ROOM - AFTERNOON 59
As Pearl watches Dwight also stands in front of a mirror,
adjusting his hat. He is resplendent in a brand-new
Scout uniform. Toby stalks into the room. Pearl laughs
loudly.
DWIGHT
(to Pearl)
Shut your pie-hole.
(to Toby)
You look fine.
TOBY
I look like an idiot.
DWIGHT
You act like an idiot, you look
fine.
TOBY
You said you'd get me a new
uniform.
DWIGHT
I said I'd try to get you a new
uniform. Beside, this one is new
-- new to you.
(CONTINUED)
53.
59 CONTINUED: 59
TOBY
But look at the sleeves and how it
hangs down between my legs!
DWIGHT
Oh piss and moan -- all you can do
is piss and moan.
TOBY
Yeah, piss and moan -- I notice
you're all jazzed up in new stuff.
DWIGHT
They didn't have second-hand
uniforms in my size.
TOBY
Oh, yeah, pull the other leg, it's
got bells on it!
Toby throws himself down on the sofa.
DWIGHT
And what're you gonna tell
Caroline this weekend? You gonna
say you wouldn't join the Scouts
because... him didn't wike his
widdle uniform?
Dwight picks up the copy of Boy's Life and thumbs through
it, He reads:
DWIGHT
'No boy given over to dissipation
or negativity can stand the gaff.
He quickly tires and gives up. He
is the type who usually lacks
courage at the crucial moment. He
cannot take punishment and come
back smiling.'
Dwight looks at Toby expectantly. Toby hesitates, then
gives up.
TOBY
All right, but this stinks.
Toby walks outside. Dwight follows.
DWIGHT
Hotshot, you don't know it yet,
but me and Concrete are in your
blood. We're going to make a
man of you yet -- and in years to
come you'll thank me. You'll
remember me. Me and Concrete.
54.
60 EXT. CAROLINE'S HOUSE - DAY 60
Dwight's Buick pulls up and Caroline bursts out the front
door. She runs to the car and hugs Toby.
CAROLINE
Oh, I missed you!
TOBY
Me, too.
CAROLINE
You look good. How are you?
TOBY
I'm okay. I'm fine.
Dwight comes around the car, kisses Caroline, and the
three head into the house.
CAROLINE
I said to hell with the budget and
bought a roast. I made dumplings --
God, what's wrong with your hands?
TOBY
It's just juice from some
chestnuts -- it'll wear off.
CAROLINE
I hope so. My, your hair's short.
61 INT. CAROLINE'S LIVING ROOM - DAY 61
Dwight, Caroline and Marian are having a drink. Toby
plays FATS DOMINO'S "Blue Monday" on the RADIO, the
VOLUME LOW.
MARIAN
(to Dwight)
Well, it's done him a world of
good to be up there with you.
DWIGHT
Oh, we have us some pretty good
times. Don't we, Jack? Have us
some good times?
Toby, not looking away from the radio, nods.
DWIGHT
We go to the Scouts together every
week. He's got a good start
already on merit badges...
(MORE)
(CONTINUED)
55.
61 CONTINUED: 61
DWIGHT (CONT'D)
(to Toby)
... though he does concentrate too
much on the easy ones, like the
one for dental hygiene...
(to Caroline)
... and we had snowcream one
night, and, oh, just lots of
stuff.
Caroline glances at Toby, then at Dwight, then back
again.
62 EXT. CAROLINE'S HOUSE - AFTERNOON 62
Toby and Caroline walk slowly, idly down the rail tracks.
Toby avoids her eyes.
CAROLINE
How is it in Concrete?
TOBY
It's fine.
CAROLINE
School?
TOBY
School's school. My grades are
okay.
CAROLINE
You haven't been in any trouble?
(as he shakes his
head)
Good. How're you and Dwight?
TOBY
He made us all snowcream, like he
said.
CAROLINE
Stop that, honey.
TOBY
What?
CAROLINE
(stops walking)
Well, you've got your eyes out of
focus. Look at me. Now, are
things all right?
(CONTINUED)
56.
62 CONTINUED: 62
TOBY
I'm fine.
CAROLINE
You swear? You act odd.
TOBY
No, I'm fine.
CAROLINE
Well, good. I'd feel awful if it
hadn't worked out.
A pause.
CAROLINE
I told Dwight I'd marry him. In
two weeks. I don't know what else
to do. I mean, he's been helping
me with the rent since Kathy left.
And you need a father. I think
it's the best thing all the way
around -- what d'you think?
There is a pause as they look at each other.
TOBY
I think it's the best thing.
CAROLINE
I think it's the best thing, too.
Caroline smiles, smooths his hair, then goes into the
house. Toby continues to walk. Suddenly, he spins
around and tears out toward the house. By God, he'll
tell her just what's been going on. He bangs through the
front door and up the stairs.
63 INT. LIVING ROOM - DAY 63
Toby stops dead as he sees Dwight and Caroline locked
in a busy kiss. He stops dead and shrinks back into the
hallway, defeated.
DISSOLVE TO:
64 INT. SKIPPER AND TOBY'S BEDROOM - NIGHT 64
Toby is alone in the room in his Boy Scout shirt and hat
in front of a mirror. A copy of Boy's Life magazine is
open in front of him with drawings of Indians performing
sign language. Watching himself in the mirror, Toby
makes a sign.
(CONTINUED)
57.
64 CONTINUED: 64
TOBY
Hungry.
He makes another sign.
TOBY
Food.
He makes another sign.
TOBY
Want.
He makes another sign.
TOBY
Great mystery.
He makes another sign.
TOBY
Father.
He stares silently at himself in the mirror.
A65 INT. DWIGHT'S LIVING ROOM - DAY A65
Tarpaulins are everywhere. Toby stands surrounded by
seven five-gallon cans of paint. Carrying paintbrushes,
Dwight enters, dressed in old clothes singing "In The
Still Of The Night."
DWIGHT
Now that's a song. Not all this
Elvis Presley shit. Elvis sings
about like I do brain surgery.
He imitates Elvis -- moves his hips slightly and sings a
few notes:
DWIGHT
'... uh-huh-huh, my blue suede
shoes.'
Dwight gives Toby a flash of his teeth and Toby smiles
back.
DWIGHT
Let's get this place ready for
Caroline.
They begin painting. After only a few strokes, though,
Toby looks doubtful.
(CONTINUED)
58.
A65 CONTINUED: A65
TOBY
It's so white.
DWIGHT
I got a good deal on this paint.
(stands back;
appraises)
It'll darken up when it dries.
65 SAME SCENE - LATER 65
The walls and ceiling are almost finished, but the paint
has not darkened.
As he paints, he absentmindedly sings "Blue Suede Shoes."
Then he stops painting, as he notices Toby looking at the
walls.
DWIGHT
What? I like it. It looks clean.
TOBY
Yeah, but it makes everything else
look so dark.
Dwight's face changes. He has an idea.
MONTAGE
65 A) SAME SCENE - LATER 65
On the SOUNDTRACK, ELVIS BLASTS OUT "Blue Suede
Shoes." Dwight and Toby paint the coffee table and
lamp base white.
65 B) SAME SCENE - LATER 65
Dwight and Toby, working faster, are painting the
end tables white.
65 C) INT. DINING ROOM - LATER 65
The walls and ceiling are white, Dwight and Toby are
painting the dining table white.
65 D) OMITTED 65
(CONTINUED)
59.
65 CONTINUED: (2) 65
65 E) INT. KITCHEN - LATE NIGHT 65
Dwight and Toby are painting the cabinets and kitchen
table white.
65 F) INT. LIVING ROOM - NEXT MORNING 65
Everywhere we look is white, the walls, ceiling,
furniture -- all of it. Only the old Baldwin upright
piano has escaped painting. Dwight eyes it
suspiciously.
DWIGHT
Sort of stands out, doesn't it?
TOBY
Yeah, you could say that.
65 G) SAME SCENE - LATER 65
They paint the Baldwin white. Dwight hesitates, then
starts to paint the foot pedals.
65 H) SAME SCENE - LATER 65
Dwight's face tells us that something still doesn't
suit him. He glances at Toby, Toby nods, and they
converge on the piano.
65 J) SAME SCENE - LATER 65
Very carefully, Dwight and Toby finish painting the
dark ivory keys to match the rest of the room. ELVIS
SCREAMS OUT the last line, "You can do anything, but
stay off of my blue suede shoes!"
They stand up, look around -- Arctic white is every-
where. Dwight likes it. Toby is less sure.
The MONTAGE ENDS.
66 EXT. DWIGHT'S HOUSE - DAY 66
Skipper and Norma are carrying Caroline's suitcases into
the house from Dwight's Buick. From inside the house we
hear a WOMAN'S LAUGHTER.
67 INT. DWIGHT'S LIVING ROOM - PARALLEL TIME 67
Caroline is trying to stifle her laughter, as she stares
at the wilderness of white. Dwight and Toby, Skipper,
Norma, and Pearl all stand watch.
(CONTINUED)
60.
67 CONTINUED: 67
CAROLINE
Oh! Oh, I'm so sorry... don't
know what's the matter with me...
you're right... it does look
clean...
But she can't stop laughing. Her laughter has just a
tinge of hysteria.
68 INT. SMALL CHURCH - MORNING 68
Dwight and Caroline are being married. Caroline wears
a pale blue suit, and Dwight looks good in a navy single-
breasted. Aside from Toby and Dwight's children, the
only guests are Marian, Kathy, and three people we
haven't seen before -- friends of Dwight's.
69 INT. DWIGHT AND CAROLINE'S BEDROOM - LATE NIGHT 69
The bed is a rat's nest of twisted sheets as Dwight and
Caroline make love. He takes his lips away from
Caroline's breast and moves so that his head is at the
bottom of the bed. Holding her foot up, he kisses the
instep, then runs his tongue over the same spot and then
down under the arch of her foot. A sexy scene.
DWIGHT
M-m-m. There's not a straight
line on you -- everything's
curved.
Caroline draws him up to her, and they kiss. Then
Dwight turns Caroline on her side, away from him, pre-
paring to enter her. Caroline makes a small sound of
protest, turning back toward him.
CAROLINE
Oh, Dwight, not like that. Not
this time -- not tonight.
DWIGHT
It's good this way.
CAROLINE
But I want to see your face while
we make love.
DWIGHT
(uncomfortable laugh)
Oh, no -- I just don't... uh...
like that way.
(CONTINUED)
61.
69 CONTINUED: 69
Dwight continues to stroke Caroline, his hands everywhere,
but now she is unresponsive.
CAROLINE
You mean you don't like to make
love face to face?
DWIGHT
(same laugh)
No, I don't like it. I can't
handle it -- I don't like to see
the face.
CAROLINE
You mean ever?
Dwight murmurs an assent. Caroline is appalled.
CAROLINE
But that's grotesque...
DWIGHT
(stung; flares up)
Look, you can get it doggie-style
or you can get it laying on your
side -- those are your only
choices. This is my house, and I
get to say. Wherever McGinty sits
is the head of the table, you
know?
Disgusted, Caroline turns back away from Dwight. He
shifts down on the bed a few inches, again preparing to
enter her.
70 INT. KITCHEN - NEXT MORNING 70
Toby is eating toast at the kitchen table. Norma has
made a big breakfast, and she hurriedly pours the coffee
when she hears Dwight and Caroline's bedroom DOOR OPEN.
NORMA
Happy Wedding Breakfast!
Caroline's eyes are red and swollen. Dwight turns ON a
RADIO, sips his coffee, and chats with Norma. Toby gives
Norma's rear-end an appreciative glance, then comes up
behind Caroline, speaking sotto voce:
TOBY
So how's the bride?
(CONTINUED)
62.
70 CONTINUED: 70
CAROLINE
Don't.
TOBY
The bride doesn't want to chat?
CAROLINE
Stop it.
TOBY
Well, the bride is sure snotty
this morning.
Smiling, Toby waits for some response to his teasing,
but there is none. She turns away and sits at the table.
71 EXT. RESIDENTIAL NEIGHBORHOOD - AFTERNOON 71
Toby, his news bag slung over his shoulder, stands
talking idly with two boys from school, OSCAR BOOKER and
JIMMY VOORHEES. One of them says, "Uh-oh," and jerks his
head to indicate where Toby and the other boy should
look.
They look in the direction indicated, and see Arthur
Gayle coming down the road toward them, followed by a
small black dog called Pepper. As the boys watch
Arthur's approach:
TOBY
What's his name again?
OSCAR
Arthur Gayle.
JIMMY
What a homo.
TOBY
He sure walks like a girl.
JIMMY
And runs like one and talks like
one and throws like one. Probably
takes a pee like one too -- just
squats right down.
TOBY
He smarted off to me the other
day -- told me I was a bourgeois.
JIMMY
What the frig's a bourgeois?
(CONTINUED)
63.
71 CONTINUED: 71
OSCAR
(to Toby)
Call him a sissy.
TOBY
Why?
OSCAR
Just see what he says.
JIMMY
Yeah, do it.
By this time Arthur is next to them. Smiling a superior
smile, he stops and glances at all three of them as if
they were just the oddest things he's ever seen. Then
his eye falls on Toby's yellow hands.
ARTHUR
Oh, my, my -- look at all that
yellow: Didn't your mama teach you
to wash your hands after you pee?
TOBY
Oh, shut up.
ARTHUR
(rolls his eyes;
heavily sarcastic)
Now that's what I like -- an
insult with some originality.
Did you just make that up? Just
now? So clever.
TOBY
Why don't you take a long walk
off a short pier?
ARTHUR
(though he's not
nearly close enough
to smell Toby's
breath)
Excuse me, but has anyone ever told
you your breath would gag a maggot?
Both of Toby's friends laugh.
TOBY
Well, at least I'm not a great
big sissy!
Two things happen instantly: the superior smile vanishes
from Arthur's face, and Toby's friends exchange a single
expectant look: "Here it comes."
(CONTINUED)
64.
71 CONTINUED: (2) 71
Without warning, Arthur swings a fist at Toby, catching
him on the ear. Arthur's second blow hits him in the
back of the head.
The fight is on.
Arthur throws punches sidearm, with lots of wrist action,
but there are so many of them. Before Toby can react,
Arthur has hit him four times, including one wild haymaker
that puts Toby on his knees.
While Toby's still on his knees, Arthur tries to kick
him in the stomach. The kick is deadened by the papers
in Toby's bag, Arthur bends over Toby, screaming as if he
has lost his mind:
ARTHUR
GET UP! GET UP, YOU SON OF A
BITCHING MAGGOT GAGGER! I'LL
STOMP YOUR GUTS OUT! I'LL KILL
YOU!
Toby gets up, and again Arthur sails in with those wild
roundhouse swings. Then Toby gets in a solid punch to
Arthur's face that rocks the bigger boy back on his
heels. Arthur grabs his head and roars like a wounded
buffalo. Almost immediately Arthur's eye puffs and
begins to swell shut. Snot streaming from both nostrils,
still roaring, Arthur flies at Toby again. Toby closes
with him, to hold those flailing arms still, and the
two stagger around the street like drunken dancers.
They separate, exchange a few blows, then grapple with
each other again.
Then Arthur hooks Toby's leg, trips him, and the two
roll off the shoulder of the road and down an embankment.
They hit the muddy bottom of the gully still hitting,
flailing, kicking -- first Toby is on top, then Arthur,
then Toby, then Arthur. By now they are panting, each
breath is a heave, a gasp. Then, suddenly, Arthur gives
out completely -- he falls on top of Toby, pressing him
deeper into the mud. With his last bit of strength Toby
throws the bigger boy off him and sits up, while PEPPER
BARKS FURIOUSLY at him and threatens to nip his leg.
Toby staggers to his feet and starts to climb the gully.
He looks relieved -- at least it's over.
No, it's not.
From behind him he hears three words.
ARTHUR
Take it back.
(CONTINUED)
65.
71 CONTINUED: (3) 71
Toby turns to see a bloody-faced, swollen-eyed Arthur
clambering up the hill after him, like some monster
that won't die. Both boys reach the top and stand
facing one another.
ARTHUR
Take it back.
Arthur's words are not angry anymore. Toby's worn out
too...
TOBY
Okay.
ARTHUR
Say it.
TOBY
Okay. I take it back.
ARTHUR
No, say 'You're not a sissy.'
Toby glances at Oscar and Jimmy. Their faces are gleeful
but he doesn't care what the hell they think.
TOBY
You're not a sissy.
Arthur immediately turns and walks away, but Toby ignores
them and walks away in the opposite direction, delivering
his hated newspapers.
72 INT. DWIGHT AND CAROLINE'S LIVING ROOM - LATE AFTERNOON 72
Caroline is painting the white walls a soothing buff
color. On the sofa lie half-finished curtains she's
making. She is totally focused. She hears Toby, turns,
sees his filthy clothes. Her shoulders sag.
CAROLINE
I won't do it, you know. I won't
be a referee between the two of
you.
TOBY
Who asked you?
CAROLINE
You both do. You do. Just by
coming home like this you ask me
to take your side when he raises
hell.
(MORE)
(CONTINUED)
66.
72 CONTINUED: 72
CAROLINE (CONT'D)
Well, the answer's 'No.' I'm going
to make this marriage work. No
fights.
TOBY
Oh, the bride is calm. Who the
hell cares?
Caroline refuses to argue. She picks up a piece of
material and holds it up to the window to see if her
choice of color was a good one.
CAROLINE
(to herself)
... seems like this place is so
ugly. Seems like everywhere I
look there's something... ugly.
73 INT. SKIPPER AND TOBY'S ROOM - EVENING 73
A worried Toby sits dreading Dwight's arrival. Behind
him, on the wall, Toby has pinned the covers of fifteen
copies of the Scout magazine: so that, above Toby's
head are the words BOY'S LIFE fifteen times.
There is a MURMUR of VOICES, and FOOTSTEPS COMING toward
Toby. Toby expects the worst. But, surprisingly, Dwight
is beaming.
DWIGHT
Who won?
TOBY
(surprised)
Uh, well, uh... he's the one can't
see out of one eye.
DWIGHT
Hot damn! You actually gave
little Lord Gayle a black eye?
TOBY
Well, it wasn't black yet.
DWIGHT
But it was all puffed up?
(as Toby nods)
Then it was a shiner.
(CONTINUED)
67.
73 CONTINUED: 73
Dwight sits down next to Toby, eager for details.
DWIGHT
How'd it start?
TOBY
I called him a sissy.
Dwight hoots with laughter and slaps his leg.
DWIGHT
Well, he sure's hell can't sue you
for slander. That boy fights for
the pink team. Did you make him
cry?
TOBY
Well... he was just ready to. I
called him a big-assed, squat-
to-pee sissy.
(as Dwight slaps his
leg again)
I'd have won bigger except he hit
me when I wasn't looking.
DWIGHT
(suddenly serious)
He dry-gulched you. Now that's
your fault. You gotta keep your
guard up. There's no excuse for
getting dry-gulched. I'll show
you a couple moves after supper
that'll leave Miss Arthur Gayle
wondering what month it is.
74 INT. DINING ROOM - EVENING 74
Still excited, Dwight is holding forth for the whole
family. (We hear THUNDER of an approaching storm)
DWIGHT
... so he says, 'You and who
else's army?' 'Just the three of
us,' I say. 'Me, myself and I.'
(a beat)
Well, after school he's waiting
for me and he yells something -- I
tell you, with people like that,
you got to hurt 'em, gotta inflict
pain, or they'll never leave you
alone.
(MORE)
(CONTINUED)
68.
74 CONTINUED: 74
DWIGHT (CONT'D)
(a beat)
So it was real hot out, okay? And
there were these horse turds laying
all over the place. I picked one up
and went up to him, but not acting
tough, okay? Acting more like, 'Oh
gee, I'm so scared, please don't
hurt me.' Sort of like this:
Dwight slumps his shoulders, drops his chin, and looks up
through his eyebrows, a simpering expression on his face.
DWIGHT
So I say, 'Excuse me, but what's
the problem?' And he starts in on
me again, blah, blah, blah, and I
jam a horse turd right into that
big mouth. Then I give him a
sucker punch in the breadbasket,
and he goes down like a...
Dwight goes on, relishing the story.
75 EXT. UTILITY PORCH - NIGHT 75
A steady downpour falls outside the porch. Dwight and
Toby, both stripped to the waist, are boxing. Dwight is
totally serious about this, absolutely sincere.
The sweat streaming off the two, Dwight patiently corrects
Toby's movements, or catches the boy's fist to suggest
better form. Their feet shuffle, squeak on the floor.
DWIGHT
No, no. From the shoulder.
Straight.
(demonstrates)
Like this. This. Otherwise you
leave yourself wide open.
(as Toby tries)
Yeah, better, better... and keep
those feet moving, shuffle,
shuffle, that's right... now try
for my face... good...
76 INT. LIVING ROOM - PARALLEL TIME 76
Caroline is on the telephone, her voice low. (Behind
her, through a doorway, we can see Dwight and Toby
boxing.)
(CONTINUED)
69.
76 CONTINUED: 76
CAROLINE
... not good, to tell you the
truth not good at all.
(listens)
No, he's not mean to me...
(listens again)
No, he's good about that: comes
home right after work every night.
(listens again)
Oh, Marian, I don't know -- maybe
I just got my hopes too high,
although I don't think so. All I
want is a little...
(searches)
... a little son-of-a-bitching
sweetness. That's all.
(listens; laughs)
You think so, huh? You always did
have an eye for Dwight, didn't
you?
(leans back; watches
Dwight and Toby)
The thing is, he's out on the
porch teaching Jack to box right
now. I keep thinking if I can
hang on, things'll settle down.
If I can just hang on long enough,
it'll work out and my kid'll have
a father. You know?
77 EXT. UTILITY PORCH - LATER 77
Both Dwight and Toby sweating heavily. They lean against
a wall, resting.
TOBY
You said you'd show me how to
dry-gulch somebody.
DWIGHT
Okay. Now you can always kick
somebody in the balls, but I like
this one better: What you do is
hit 'em in the throat with the
side of your forearm. You wait
'til -- hah!
Without warning, Dwight lunges at Toby and swings the
side of his arm toward Toby's throat. Toby dodges
wildly, falling backward over a box of sports equipment.
(CONTINUED)
70.
77 CONTINUED: 77
DWIGHT
Now that's dry-gulching. Hit 'em
in the throat, but do it before
they're expecting it. Now you try.
TOBY
I'm afraid I'll hurt you.
DWIGHT
You won't.
TOBY
But I might.
Finally Toby gives a half-hearted "Hah!" and swings the
side of his forearm toward Dwight's throat. Dwight
catches the arm easily.
DWIGHT
Come onnn. You're not trying.
Again Toby hesitates, again he says "Hah!" and gives a
lukewarm swing at Dwight's throat.
DWIGHT
Well, don't go all shy and delicate
on me -- you're as sissy as little
Miss Arthur Gayle. Yeah -- I'll just
call you 'Little Miss Jackie Wolff.'
Ooh, my, yes -- Hello, Jackie.
Toby's eyes flare up, then he lowers his head, biting
his lip, sniffling a bit.
DWIGHT
Aw, Jesus Christ, if you're gonna --
Without warning, Toby lunges at Dwight, screaming "HAH!"
trying for the man's throat. Caught off guard, Dwight
stops the main force of Toby's arm, but is slammed onto
the ground stunned.
TOBY
You just about got dry-gulched, my
man.
Dwight manages a grin, but he is not happy to have been
bested.
78 INT. DWIGHT AND CAROLINE'S BEDROOM - NIGHT 78
Dwight and Caroline lie on the bed, kissing passionately.
It is clear that Caroline is as excited as Dwight.
(CONTINUED)
71.
78 CONTINUED: 78
CAROLINE
I know you may think this is
silly, Dwight, but it seems
like... I don't know, like an
emblem or something. I want to
be able to see your face when we
make love. How else can we be
cl --
The rest of the word is jerked out of her as Dwight turns
her onto her side, away from him, and proceeds to make
love again in his favorite manner.
DWIGHT
You just don't know what's good,
Sugar. You're too tense. You
just relax and Dwight'll take you
on a little trip. Okay? You'll
have a good time.
Caroline closes her eyes.
78A SAME SCENE - HOURS LATER 78A
Dwight leans back against the headboard of the bed.
Caroline sits between his legs, her back against his
chest. With one hand, Dwight strokes Caroline's hair.
The other hand is curled around her throat.
DWIGHT
... are the prettiest thing I've
ever seen. I mean it. You are.
The way your hair curls up right
there. So pretty. I just love
you so much. I don't know what
I'd do if you ever left me. I
couldn't take it.
(smiles)
Guy I knew in the Navy had a
saying: 'If you love her, here's
what to do: Let her go visit
places new. If she loves you,
she'll come back to you. If
she don't come back... hunt the
bitch down and kill her.'
(laughs)
That's awful, I guess. I don't
feel that way, but close. My
pretty thing...
We see that Caroline realizes the enormity of her
mistake.
72.
79 INT. DWIGHT AND CAROLINE'S LIVING ROOM - MUCH LATER 79
Smoking a cigarette and wearing a nightgown, Caroline
walks to the front door.
She opens the front door and stands looking out. Then
she puts her finger on the door and slowly pushes it shut
with one finger. She does this once more. Then she does
it again. She turns, walks toward Toby's room.
80 INT. SKIPPER AND TOBY'S BEDROOM - NIGHT 80
Caroline enters and stands by Toby's bed. She bends over
the boy and she starts to touch his hair, decides not to.
She stares at Toby for a few beats.
81 INT. DWIGHT AND CAROLINE'S BEDROOM - NIGHT 81
Caroline enters, looks down at the sleeping Dwight. She
gets back into the bed and Dwight throws a sleepy hand
over her. Caroline hesitates, but forces herself to put
a hand over Dwight's.
82 INT. DWIGHT AND CAROLINE'S KITCHEN - MORNING 82
THROUGH a window, Dwight, dressed in his coveralls,
leaves for work. Caroline is sewing on a machine whilst
Toby leans against the kitchen sink.
TOBY
... but ask him again, why don't
you? I hate it so much.
CAROLINE
(never stops sewing)
I asked him a week ago, I asked
him this morning -- he wants you
to keep the paper route.
TOBY
Then make him give me the money.
It's mine, I earned it. It's
$220.00 already.
CAROLINE
He won't. He says he'll keep it
for when you really need it.
TOBY
That's not fair. I ought to be
able to have my own money.
(as Caroline shrugs)
But it's mine.
(CONTINUED)
73.
82 CONTINUED: 82
CAROLINE
You remind me of a baby bird --
you know those frantic little
things with their mouths wide
open, wanting, wanting.
TOBY
Well, at least ask him about my
gym shoes again. I can practice
barefoot but for games I gotta
have shoes.
CAROLINE
I'm not a referee. I won't do
it.
TOBY
Oh, we know, we know: the bride
won't argue. The bride won't
raise her voice.
CAROLINE
Well, I'll tell you what the bride
will do: the bride will get up
and walk over there and slap hell
out of the bride's son. Now does
the bride's son want his face
slapped?
TOBY
Oh, I hate it here! I wish we
could just get up and go.
CAROLINE
I don't have another 'get up and
go' left in me! You understand?
I'm telling you I've hit a god-
damn wall. I can't run anymore.
Now this whole thing isn't perfect
for me, either... let me impress
that on you real strong, okay? I
don't wake up singing every morning.
But I'm going to make this marriage
work -- I won't join in any fights,
you got that? I won't even raise
my voice!
Caroline points to the sink.
CAROLINE
See those two roses? He picked
them for me on his way home last
night.
(CONTINUED)
74.
82 CONTINUED: (2) 82
TOBY
Big deal.
CAROLINE
I'm trying to concentrate on the
good stuff.
Norma appears in the kitchen door, wearing her cap and
gown. She strikes a pose.
NORMA
What d'ya think? I think I look
like a fool.
(shrugs)
Who cares? Six weeks to graduation,
and California, here I come!
Norma snaps her fingers and goes back to her bedroom.
CAROLINE
(lamely)
Seriously: you have to
concentrate on the good stuff.
Caroline turns her attention back to the curtains.
83 INT. DWIGHT AND CAROLINE'S LIVING ROOM - SAME NIGHT 83
(LATER)
"The Lawrence Welk Show" is ON the TELEVISION. Dwight,
Caroline, Skipper, Norma and Pearl and Toby watch an
Irish tenor sing a lugubrious ballad. Dwight stands in a
corner of the room, his saxophone to his lips. He's
playing along with the MUSIC, but silently.
Occasionally he gets overcome and accidentally causes
the saxophone to squawk.
The Irish ballad ends, and Lawrence Welk's Champagne
Orchestra strikes up a lively polka. Dwight takes a sip
of his drink and grabs Caroline, pulls her to her feet,
and begins to dance with her.
A polka can be a decorous, contained dance. He dances
Caroline vigorously around the living room, out into the
kitchen, around the table, and then back again.
Dwight is really good, and Caroline matches him every
step of the way. Skipper turns the VOLUME UP and Dwight
kicks the dance into an even higher, wilder gear: The
kids clap on the beat, the two whirl and stamp and spin.
(CONTINUED)
75.
83 CONTINUED: 83
Faster and faster -- Caroline's heel catches an end table
and sends it spinning and faster they go. Caroline's
head is thrown back; she's laughing with pleasure.
As the MUSIC reaches its CLIMAX, Dwight spins Caroline
back to the sofa, lets her go, and WHAM! she lands back
where she was seated exactly on the last note of the
song. Amid the general laughter and applause, Caroline
smiles at Toby.
CAROLINE
(breathy)
Try to find the good stuff, honey.
84 INT. DWIGHT AND CAROLINE'S LIVING ROOM - AFTERNOON 84
Dwight and Toby face one another in the living room.
Both wear their Scout uniforms. Dwight holds a box of
chocolate-coated cherries in one hand.
TOBY
I'm telling you I didn't.
DWIGHT
And I know damn well you did.
TOBY
Well, you're wrong.
DWIGHT
About some things, yeah. Not
about this. You're a goddam hog,
and I proved it.
TOBY
How do you know Skipper didn't eat
it? Or Norma? Or Pearl?
DWIGHT
I told all three of them to stay
away from this candy for twenty-
four hours.
TOBY
Well, how do you know I even ate
any?
DWIGHT
(a triumphant smile)
I counted them. You hogged down
eleven chocolate covered cherries
since yesterday afternoon.
(CONTINUED)
76.
84 CONTINUED: 84
TOBY
So what?
DWIGHT
So that makes you a hog. I just
wanted to establish that fact, and
now I have.
Caroline and Skipper enter, carrying throw pillows and
materials.
DWIGHT
(to Caroline and
Skipper)
Hey. Mr. Hotshot Hog and I've
just been establishing some facts,
and what we come up with is this:
One, he's a pig who gobbles down
everybody's candy; two, he lies
about it; three, he lays around
on his lazy ass day and night
reading, reading; and four, he's
not getting any ten-dollar gym
shoes. That's about what we've
come up with so far.
SKIPPER
Oh, Dad...
DWIGHT
(a high, mincing
voice)
Oh, Dad!
Skipper leaves the room. Caroline sits down, begins to
try various materials as coverings for the pillows.
TOBY
(to Caroline)
Why don't you ever take up for me?
DWIGHT
(to Caroline)
Why don't you ever help me
straighten that boy out?
Caroline doesn't even look up. She threads a needle and
begins to sew. Whilst Dwight paces around the room.
DWIGHT
All he does is read or listen to
records or sing.
(MORE)
(CONTINUED)
77.
84 CONTINUED: (2) 84
DWIGHT (CONT'D)
(he sings five seconds
of a grotesque
"Blue Monday")
I'm so sick of that shit! And
when he isn't singing, he's
watching T.V.
(to Toby)
And don't say you don't 'cause
when I come home I always put my
hand on top of it to see if it's
warm, and it always is. This is
the news, kid -- I'm wise to you.
TOBY
Oh, big, big deal, who cares, and
as long as we're passing out news
here, I don't want to do my paper
route anymore.
DWIGHT
I bet you don't -- big lazy candy
hog like you'd rather lay on his
ass and read, wouldn't you?
Let me tell you something: you're
gonna deliver those papers if I
have to walk behind you with a
horsewhip ever' step of the way.
TOBY
Then give me the money I earn!
DWIGHT
Hell, no. I'm putting that in the
bank for you for when you really
need it -- cuss me now, thank me
later.
TOBY
Mom, won't you at least make him
let me have the shoes for gym?
How can I play basketball without
gym shoes? I'm the only one who --
Toby stops suddenly. He looks at Dwight for a beat or
two, and then speaks in a different tone:
TOBY
It's not the shoes, is it? Or the
candy. It's me, isn't it? You
just can't stand the fact of me.
Dwight glances at Caroline, who still looks at her
sewing.
(CONTINUED)
78.
84 CONTINUED: (3) 84
DWIGHT
I, well, no, it's not that -- I
just want you to be well-behaved.
Your rich daddy 'Duke' doesn't
care anything about you, and so
somebody's got to train you, and
one of the things you've gotta be
trained about is not to be a hog
and eat everybody's candy like a --
Dwight stops short as Caroline says one word.
CAROLINE
Oh.
Dwight and Toby glance at each other nervously. What
is this?
CAROLINE
(her eyes still on
her sewing; soft)
Oh.
DWIGHT
What's the matter, honey?
CAROLINE
(louder)
Oh.
TOBY DWIGHT
Are you sick, Mom? Don't you feel good?
CAROLINE
OH-H-H-H!
A furious Caroline raises her head, doubles up both
fists, and yells.
CAROLINE
I. Will. Not. Referee.
DWIGHT
(taken aback)
Jack, I think you've made your
mother nervous, so why don't we
just go on to Scouts and let her
rest?
(to Caroline)
You lay down and rest awhile.
Dwight and Toby grab their caps and hotfoot it out the
door.
79.
85 INT. SCOUT MEETING - NIGHT 85
Father and son photographs are being taken. Dwight is
the only father who wears a complete uniform and cap.
When Dwight and Toby's turn comes, Dwight puts on a big
smile and throws an arm around Toby's shoulder.
DWIGHT
Check for the tongue tonight --
you forgot it last week.
Otherwise you won't get your
life-saving badge.
85A SAME SCENE - LATER 85A
Six boys are lying on the floor pretending unconscious-
ness. Six other boys, Toby among them, are going through
several life-saving steps such as turning the bodies
over, checking for pulses, etc.
The BOY on whom Toby is working is a heavy, pimple-faced
lout.
Toby checks if the Boy's breathing is obstructed.
Gingerly, he tugs on the Boy's chin, starting to open the
Boy's mouth.
Suddenly the Boy opens his mouth wide, exposing a half-
chewed mass of cheese n' crackers. Toby gives the lout
a knee in the ribs.
TOBY
Bastard. Swallow that.
BOY
(laughing)
Give my pud a big squeeze while
you're at it, why don't you?
Toby and the life-savers on either side of him laugh a
bit.
86 EXT. SCOUT HALL - NIGHT 86
As Toby kneels down to tie his shoelace, a small black
dog runs up to him. Toby pets it. Arthur Gayle, his
black eye healed, stands ten feet away.
ARTHUR
You like my dog?
TOBY
Yeah, he's nice.
(CONTINUED)
80.
86 CONTINUED: 86
ARTHUR
Smart, too -- he can talk.
TOBY
(smiles)
Sure -- I just about believe you.
ARTHUR
Hey, Pepper -- what's on a tree?
As PEPPER BARKS TWICE:
ARTHUR
Bark! Way to go, Pepper -- pretty
smart. Oh, I was wondering,
Pepper -- I wanted to ask you
something: how's the world
treating you?
As PEPPER BARKS ONCE:
ARTHUR
Rough! Yeah, I know what you
mean.
TOBY
That's dumb. A little funny,
though. How come your dad never
comes to meetings with you?
ARTHUR
I don't have a dad. Never did. I
sprang full-blown from my mother's
forehead. You want to walk home
with me and Pepper?
TOBY
Sure -- compared to a ride home
with Dwight, it'll be like heaven
on a June day.
87 EXT. RESIDENTIAL STREET - NIGHT 87
Toby and Arthur are eating ice cream cones and smoking
cigarettes at the same time. They walk slowly,
desultorily. Though still effeminate, Arthur has dropped
much of the flounciness that he uses in public.
ARTHUR
... Tobias? Your real name is
Tobias? Toby... Tobias... I like
it -- it's very elegant.
(MORE)
(CONTINUED)
81.
87 CONTINUED: 87
ARTHUR (CONT'D)
My real parents would probably have
given me an elegant name, too.
I say 'real parents' because I
suspect I'm a foundling. Somebody
royal -- or at least very, very
beautiful had me and gave me to
my poor but honest mother.
(a beat)
Tell me more about you.
TOBY
(shrugs)
Every day of my life feels like
a mile on the Bataan Death March.
ARTHUR
(laughs)
I knew I'd like you.
TOBY
Why'd you point at me that day?
ARTHUR
Because you're an alien. You don't
belong in Concrete any more than I
do. This place would like to kill
us because we're different.
TOBY
Oh, come on, Arthur. That's a
little dramatic.
ARTHUR
Think so? You know what chickens
do if one chicken's born with a
little difference? With a few
black feathers on its head, say?
They peck at the black spot 'til
the chicken's dead -- they can't
stand the fact that it's
different. Now we're both
different. Your difference is
something other than...
(husky-voiced
actress)
... my difference...
(normal tone)
But we're both aliens here.
TOBY
I don't exactly feel like an
alien. I've got friends here.
(CONTINUED)
82.
87 CONTINUED: (2) 87
ARTHUR
Yes, and they're fools. And you
act like a fool when you're around
them. A prediction: if you stay
in Concrete, you'll wind up working
at the A&P -- either that or you'll
go on a rampage with a hunting rifle.
TOBY
Yeah, and you'll wind up a recluse
that everybody says likes to dress
up in his mama's old clothes.
ARTHUR
(laughs)
Maybe, maybe, but no matter how
many times I have to repeat: my
primary goal's to get out of
Concrete.
TOBY
Burma-Shave!
Arthur and Toby laugh. As they walk on, though, Toby's
face is thoughtful.
88 INT. SCHOOL GYMNASIUM - NIGHT 88
Toby and ten other boys are practicing lay-ups. All the
boys, Toby included, wear basketball uniforms. All the
other boys wear gym shoes. Toby is barefooted. He is
however, a smooth, skillful player.
89 EXT. EDGE OF TOWN - AFTERNOON 89
Toby tosses his last newspaper into a yard, folds his
sack, and stands wearily for a few beats.
90 INT. UTILITY PORCH - EARLY EVENING 90
A large, ugly DOG next to the box of baseball bats and
gloves GROWLS and snaps at Toby as he goes past.
91 INT. DWIGHT AND CAROLINE'S LIVING ROOM - EARLY EVENING 91
As Toby enters the room, Norma exits, wearing theatrical
makeup and a gypsy costume. Behind her, drink in hand,
sits Dwight, wearing a suit and tie, watching the
TELEVISION NEWS with the SOUND VERY LOW.
TOBY
Whose dog is that on the porch?
(CONTINUED)
83.
91 CONTINUED: 91
DWIGHT
Yours.
TOBY
Mine?
DWIGHT
You said you wanted a dog.
TOBY
A collie, though. Not this one.
DWIGHT
Well, he's yours. You paid for him.
Go get ready for Norma's play.
TOBY
What d'you mean I paid for him?
But Dwight doesn't answer. Toby waits, then shrugs and
leaves the room.
92 INT. SKIPPER AND TOBY'S ROOM - AFTERNOON 92
Toby gets out his book of Indian signs. He reaches up
for his rifle, but it is gone.
93 INT. LIVING ROOM - AFTERNOON 93
Toby walks in, Dwight is petting the dog.
TOBY
My Winchester's gone.
DWIGHT
(eyes never leaving
the TV)
This dog is pure-bred Weimaraner.
A champion.
TOBY
I don't want it.
DWIGHT
(as above)
Well, you're purely out of luck,
aren't you, 'cause that rifle's
on its way to Seattle.
TOBY
I want my rifle!
(CONTINUED)
84.
93 CONTINUED: 93
DWIGHT
Well, want in one hand and shit in
the other -- see which gets full
first.
TOBY
But, Dwight, that Winchester was
mine.
DWIGHT
And Champ's your dog. Jesus, I
trade some old piece of crap for
a valuable hunting dog, and all
you can do is piss and moan.
TOBY
I'm not pissing and moaning.
DWIGHT
The hell you aren't. You can just
make your own deals from now on.
94 EXT. HOUSE - AFTERNOON 94
Toby sits on the front stoop. Caroline approaches
carrying groceries. She notices Toby's expression.
CAROLINE
What's wrong?
TOBY
Dwight traded my rifle for a dog.
He says the dog's for me, but it's
some stupid dog he wanted.
For a moment Caroline doesn't respond. Then she nods her
head.
CAROLINE
All right. Okay, Dwight. You
stay here. Don't come inside.
Toby nods. Caroline heads inside, loaded for bear.
95 INT. KITCHEN - AFTERNOON 95
Norma, dressed up for her play, and Pearl are setting the
table. Dwight is fixing himself another drink. Caroline
enters, puts down the groceries, and goes to the dish
cabinet. Calmly, in total control, she takes a PLATE and
SMASHES it against the countertop.
(CONTINUED)
85.
95 CONTINUED: 95
CAROLINE
(calm)
Get his rifle back.
DWIGHT
But that dog's a champion!
Caroline calmly SMASHES another PLATE on the countertop.
CAROLINE
Get his rifle back.
DWIGHT
Am I supposed to go clear to
Seattle just to get...
Before he finishes the sentence, Caroline SMASHES a GLASS
on the countertop.
CAROLINE
Get his rifle back.
DWIGHT
Jesus Christ, woman, I don't even
know the guy's last name.
Caroline picks up a bowl.
DWIGHT
All right, all right. The guy's
supposed to send the A.K.C. papers.
When he sends 'em, I'll know his
name and address, and I'll go get
the god-damn rifle back. Jesus.
Caroline exits leaving Dwight, Norma, and Pearl with
their mouths open.
96 EXT. HOUSE - EVENING 96
Caroline walks to Toby, sits next to him on the stoop.
CAROLINE
Well, I did it -- and the bride
didn't even raise her voice: he
says he'll get the rifle back as
soon as the guy who sold him the
dog sends the papers.
Toby nods. Caroline looks up at the evening sky and then
shrugs.
(CONTINUED)
86.
96 CONTINUED: 96
CAROLINE
'Course, having seen that dog, I
wouldn't suggest you hang by your
thumbs 'til those papers come. I
mean, that dog is ugly.
Toby gives her a dirty look, but Caroline's smile makes
Toby grin.
CAROLINE
That's nice -- I haven't seen a
real smile out of you in a month.
TOBY
Oh, Mom, can't we leave here? I
hate it so much. You don't like
it either -- all you do is stick
your head in a sewing machine
night and day. Let's just leave
and start over someplace else.
CAROLINE
'Start over.' Do you know how
many times I've started over,
sweetheart? I don't want to do
it anymore. This is as far as I
want to go. This place. I have
to make this work somehow. We do.
You're fourteen now -- you have
to help me.
TOBY
But if...
CAROLINE
But me no buts, honey. I told
you: I've hit a wall. And
besides, it's not so bad here,
if you just try to --
TOBY
If you say 'look for the good
stuff,' I'm gonna get Dwight's
30/30 and shoot myself!
CAROLINE
Seriously, though: give the place
a chance. Give him a chance.
TOBY
Great. Just great. What a life:
I gotta live with Dwight... I got
a sissy for a new best friend...
(MORE)
(CONTINUED)
87.
96 CONTINUED: (2) 96
TOBY (CONT'D)
I got no rifle... I got no gym
shoes...
CAROLINE
Well, look on the bright side...
You got a dog.
In spite of his disappointment over the rifle, in spite
of all that Caroline had said about staying with Dwight,
Toby is happy to see Caroline completely back to her old
self again, joking with him. He grins and, with the palm
of his hand, he gives her shoulder a gentle shove. She
returns the gesture. And the two of them sit on the
steps, staring into the twilight.
97 INT. ARTHUR GAYLE'S LIVING ROOM - DAY 97
Arthur is playing the piano. He and Toby sing an old song
called "I Wandered Today To the Hill, Maggie." Both of
them are enjoying it. As they finish the song, Arthur
says a dry "Will you be able to use your musical
abilities at the A&P?" Toby laughs and gives him a hard
elbow in the ribs.
98 INT. TOBY'S ROOM - NIGHT 98
Toby is using a nail clipper over a wastebasket when he
hears:
DWIGHT (O.S.)
Heh Hotshot!
He looks up just in time to see a flashlight fly through
the air toward him. He catches it. Dwight stands in
the doorway.
DWIGHT
If you can tear yourself away from
your pedicure, I want you to fetch
me some of that paint from the
attic.
Dwight switches the room light off.
TOBY
Yeah.
DWIGHT
Is now too soon.
TOBY
God!
88.
99 INT. DWIGHT'S ATTIC 99
Dwight and Toby are looking for something. They both
shine flashlights around the dark attic, illuminating
old magazines, dolls, etc. Dwight says, "I know I put
'em up here somewhere." Then Toby's flashlight lands
on the unusual tub with the four blue stars which had
held the beaver. Forgotten all this time, the beaver
has transmogrified into a weird, two-foot high pile of
what looks like cotton candy. And, hideously enough,
the cloud-like stuff is still in the shape of the beaver.
Then Dwight says, "Shit -- the roof must've leaked on
'em." Toby turns to where Dwight shines his flashlight
on the ten boxes of chestnuts.
Also forgotten, the chestnuts are covered with mold,
too -- but a different kind: this is wet, slick-looking
stuff that rises off the chestnuts like dough in a
breadpan. A spasm of rage crosses Toby's face, and he
turns and bangs out of the attic.
100 INT. DWIGHT AND CAROLINE'S LIVING ROOM - NIGHT (LATER) 100
A drink in one hand, idly fondling Champ's ears with the
other, Dwight is watching the NEWS.
On the TELEVISION we see a distraught Lana Turner and
her daughter, Cheryl Crane, as the teenaged girl is
led into a tall building. While we see this, and then
a photograph of a stockily handsome Italian man, we hear:
NEWSCASTER (V.O.)
... Cheryl Crane, daughter of Lana
Turner, was held for questioning
today in the stabbing death of
Johnny Stompanato, Miss Turner's
companion. A spokesman for Miss
Turner said today that the
stabbing was an accident, and that
Miss Turner's daughter will not
spend even one night in jail for
what the spokesman called a
'tragic accident.'
Suddenly aware of another presence in the room, Dwight
turns and sees Toby, who is standing in the doorway,
also listening to the NEWSCAST. Toby is not watching
the television, though, he is staring fixedly at
Dwight.
Dwight reacts then glances back at the set, where the
Stompanato murder story continues. He turns slowly back
to Toby, whose eyes are still locked onto his face. The
SOUND on the TV FADES.
89.
101 INT. GYMNASIUM - NIGHT 101
A WHISTLE FADES UP.
Toby's basketball game against the Van Horn team is
starting. Alone among all the other players, Toby wears
his street shoes. Heavy squarish brogans, they CLOMP,
and THUD as Toby runs up and down the court.
The leather soles slip like skates on the highly-polished
floor, and Toby falls repeatedly. At first the crowd is
silent, collectively embarrassed at the boy wearing these
strange shoes. Then Toby takes a particularly hard fall,
and somebody laughs. The crowd in general takes it up,
and soon there is GENERAL LAUGHTER whenever Toby's shoes
SQUEAL particularly loudly, or whenever the shoes trip
him up or cause another boy to stumble.
Soon one WOMAN'S HIGH-PITCHED LAUGH DOMINATES the
gymnasium. The laugh is hideous, shrill and mindless,
like some ringer planted in the audience of a situation
comedy.
Toby sees Norma necking with some guy and is horrified.
Toby slips and slides, falls and rises. All the while
his expression is hard as stone: he will get through
this or die. And, like a mantra, he mutters one phrase
over and over: "gotta get out, gotta get out, gotta get
out, gotta get out." Finally he makes a basket. One
VOICE from the audience YELLS out "Okay, kid -- way
to go!" and then two or three people APPLAUD. Instants
later, Toby catches a rebound and makes another basket.
The fickle crowd decides to love an underdog and APPLAUDS
heartily for the boy in the funny shoes. But Toby's
expression never changes.
102 INT. DWIGHT'S GARAGE - SAME NIGHT (VERY LATE) 102
The Buick, rolls silently down the driveway pushed by a
straining but cautious Toby. Champ runs into the street,
Toby tries to shoo him away. The DOG BARKS ONCE, and
Toby quickly opens the car door and lets him in, STARTING
the ENGINE.
103 INT. BUICK - LATE NIGHT 103
Toby drives fast leaving Concrete behind. He turns the
RADIO ON, and a VOICE bawls out "Oh, Maybelline," Toby
turns the VOLUME UP, turns it UP AGAIN, so that the MUSIC
is DISTORTED. Toby begins to accelerate. The needle
creeps past ninety, and hovers close to one hundred.
(CONTINUED)
90.
103 CONTINUED: 103
Trees flash past in the headlights, occasional cars are
overtaken and passed in an instant. Toby starts laughing
hysterically and sings loudly along with the THROBBING
MUSIC.
The Buick begins to shudder and wobble -- Toby hits the
brakes but the Buick spins and goes sideways into the
ditch. SILENCE.
104 EXT. BUICK - LATE NIGHT 104
The car is caught so that two of the wheels are off the
ground, and can get no purchase. Toby starts walking
back toward Concrete.
105 EXT. ROAD - LATE NIGHT 105
Toby and Champ have been walking a long time. A truck
comes from behind Toby, pulls over.
DRIVER
That your car in the ditch back
there?
(as Toby nods)
How'd you do that, anyway?
TOBY
It's hard to explain.
DRIVER
Get in.
106 EXT. BUICK - VERY LATE NIGHT 106
The man is winching the Buick out of the ditch.
107 EXT. DWIGHT AND CAROLINE'S HOUSE - DAWN 107
Toby silently closes the garage door, the Buick
inside and heads for the house.
107A SKIPPER AND TOBY'S ROOM - NOON 107A
The clock shows noon. Toby is in bed reading Boy's Life,
holding a sandwich and trying to stay awake. Suddenly
Dwight appears. Dwight puts his hands into his pockets,
leans against the doorway.
(CONTINUED)
91.
107A CONTINUED: 107A
DWIGHT
Your mother said you were sick.
Feeling better?
TOBY
Yeah, I am.
DWIGHT
Good, good. Get some sleep, did
you?
TOBY
Yeah, I slept about four hours.
DWIGHT
Must've needed it.
A pause:
DWIGHT
Oh, by the way, you didn't happen
to hear a funny pinging noise in
the engine, did you?
TOBY
What engine?
DWIGHT
I was downtown with Champ a few
minutes ago, and I met a guy who
recognized him. Said he'd seen
my dog this very morning. Told me
an interesting story of how he and
the dog happened to meet. What
d'you think about that?
TOBY
I don't know what you --
Suddenly Dwight is across the floor and onto the bed.
He straddles Toby and slaps him across the face with the
left hand then the right, again and again.
Toby holds a forearm protectively across his face.
Dwight holds both Toby's hands with one of his and, slaps
the boy's face again and again.
Finally Toby manages to get his right hand loose. He
slams his forearm across Dwight's throat.
Dwight rears back, choking and gagging. Toby throws off
the covers and tries to run. Still choking, Dwight
grabs the back of Toby's hair and forces the boy's face
down against the mattress.
(CONTINUED)
92.
107A CONTINUED: (2) 107A
Then he doubles up his fist and slams it into the back
of Toby's neck. Toby goes rigid with pain. Dwight
stumbles up gasping for breath.
DWIGHT
Only me. On this whole earth, to
straighten you out. And I will do
it kill or cure. Now get your ass
up -- you're going to school.
108 EXT. HIGH SCHOOL - NOON 108
A BELL RINGS as Dwight's BUICK SCREECHES to a stop and
Toby gets out. As he heads toward the doors. Toby then
turns to stare at Dwight's car. They lock eyes, then
Dwight smirks and pulls away. Toby watches the car
disappear, then spins around and walks into the school.
FADE OUT.
FADE UP TO:
108A SAME SCENE - AFTERNOON 108A
The CAMERA is in the EXACT SAME SPOT.
The school seems a bit seedier, and two newly-planted
saplings established in the previous scene are both eight
feet taller, with wide spreading branches.
Students pour out the door. Among them Toby, taller and
a bit heavier, he now wears black leather boots, and a
pack of cigarettes rolled into the sleeve of his T-shirt.
His hair is still pure Elvis.
Toby comes back out the door with four very different
friends. CHUCK BOLGER, the most reasonable-looking of
Toby's companions, is the son of a minister. A second
boy, known as PSYCHO, is a hulking boy with a tendency
toward sadism. JERRY HUFF is handsome in a pouty, heavy-
lidded way. His Elvis pompadour is even higher than
Toby's. ARCH COOK is an amiable simpleton who sometimes
talks to himself or laughs for no reason.
Toby and his four friends pile into Chuck Bolger's '53
CHEVY, and they PEEL OUT.
109 INT. CHUCK BOLGER'S CAR - NOON 109
As the car barrels through downtown Concrete, we see a
movie marquee reading...
(CONTINUED)
93.
109 CONTINUED: 109
... The Apartment, and a five foot poster that says,
"ELECT JOHN KENNEDY, 1960."
In the back seat, Psycho pours vodka into a half empty
can of Hawaiian punch, then takes a huge swig.
PSYCHO
(screams it)
Ag-Hhh! Gorilla blood.
JERRY
Oh, Psycho, shut up.
CHUCK
(pointing)
Oh, look -- there goes Carol
Baumgarten. Ain't she sweet?
She's hot for Wolff.
TOBY
I wish.
CHUCK
Won't do her any good, though --
Jack's saving himself for Rhea
Clark.
TOBY
Knock it off.
JERRY
You know what he said about Rhea?
Said even the inside of her arm
turned him on. You slay me,
Wolff. She is pretty though.
ARCH
(after a pause;
wistful)
I'd sure like to eat Rhea Clark's
pussy.
There is general laughter, mixed with groans.
JERRY PSYCHO CHUCK
God, here we Eatin' pussy Jesus, give it
go again. is all that a rest, Arch.
man knows.
ARCH
No, I mean it. I'd like to get
down and really grovel on it.
Spend about a week with my face
right in it.
(CONTINUED)
94.
109 CONTINUED: (2) 109
There is a pause while all the boys dwell on this thought.
It sounds good to them.
PSYCHO
Aghhh, pussy!
110 EXT. DWIGHT AND CAROLINE'S HOUSE - LATE AFTERNOON 110
Chuck Bolger's CAR SCREECHES to a halt, and Toby exits,
followed by an empty Hawaiian Punch can which someone
tosses after him. Toby gives a wave, starts toward the
house, and the CAR LAYS RUBBER, while OVER that we hear
Psycho SCREAMING, "AGH-H-H!"
111 INT. DWIGHT AND CAROLINE'S KITCHEN - LATE AFTERNOON 111
Pearl is setting the table and singing the Everly
Brothers hit, "Bye, Bye, Love." The passage of two years
has improved Pearl. Her bald spot has grown back in, and
she has learned to fix her hair and use makeup. She smiles
and nods to Toby, never stopping her singing for a moment.
Toby stands next to her and sings harmony for a few notes.
It is clear that their relationship has improved. Toby
stops singing.
TOBY
Where's Mom?
Still singing, Pearl points to the living room.
112 INT. LIVING ROOM - EARLY EVENING 112
Caroline is watching a newscast of John Kennedy and Harry
Truman at a press conference outside Truman's Missouri
office. She hears Toby, turns to him.
We see that the last two years have marked her. She's
changed. Her expression is fixed, almost as if she were
wearing a mask. Even the words are cheerful, but some of
the old optimism is gone.
CAROLINE
Oh, honey, good news -- Truman's
going to campaign for him.
(lowers her voice)
I gave twenty-five dollars to his
campaign office today. I've been
thinking I'd like to work...
She is interrupted by Dwight's voice O.S.
(CONTINUED)
95.
112 CONTINUED: 112
DWIGHT (O.S.)
Here I am, you lucky people!
Toby and Caroline exchange a glance. It speaks volumes.
113 INT. KITCHEN - NIGHT 113
Dwight, Caroline, Toby and Pearl sit at the table, eat-
ing. Champ sits by Dwight's chair -- obviously his dog.
Dwight seems unchanged by the two years.
Just now, Dwight is in the middle of telling another of
his "Dwight Is The Best" stories. From the bored faces
around the table, this is another in a long series.
DWIGHT
... So the S.O.B. had been on my
back for a week at work, okay?
Sayin' I stole his wrench, an'
poured oil all over his tools, as
if! Anyway, he went just one step
too far with old Dwight, okay?
Spat on the floor as I walked by.
I turned around and walked back
to him, acting so dainty and
humble and scared, you know, all
innocent -- and the minute he took
his eyes off me, BLAM, I dry
gulched him! I shut his water off
good! Never gave me another
second's grief to this very day.
There is a pause. One more story. Nobody has much of a
reaction.
CAROLINE
I heard Kennedy on the news again
tonight -- I don't know: I hate
the Democrats and the Republicans,
but then once in a while somebody
comes along who doesn't seem
like...
(she searches)
... a liar.
DWIGHT
Kennedy -- the senator from Rome.
CAROLINE
He gives me hope.
DWIGHT
I know what he gives you, and it
sure as hell isn't hope.
(CONTINUED)
96.
113 CONTINUED: 113
CAROLINE
(laughs)
It's true he is attractive! And
it may just be those white teeth
that I respond to. But I don't
think so.
(a beat)
I'm going to work for his campaign.
DWIGHT
No. Too many Republicans in this
town. They hear my wife's working
for the Democrats, they'll take
their cars someplace else to be
fixed. Bad idea. No.
There is a brief silence. Suddenly Caroline leans across
the table and speaks to Dwight in a loud, exaggerated
disappointed whine:
CAROLINE
Oh, Rickyyy!
(louder; same whine)
Oh, Ricky-y-y! Please let me
come down and work at the club!
DWIGHT
What the hell are you doing?
CAROLINE
Well, you treat me like Lucy,
I'll act like her. I'll be
working for Kennedy's campaign.
114 INT. LIVING ROOM - SAME NIGHT (LATER) 114
The four of them are watching "The Untouchables." We
watch as a frightened man speaks to Al Capone, who sits
behind a large desk.
FRIGHTENED MAN (V.O.)
(on T.V.)
... please, Mr. Capone, it'll never
happen again, I swear it. It was
an accident. I can promise you
faithfully it won't be repeated.
Finally Al Capone speaks. He leans across his desk, bugs
out his eyes, and hisses:
(CONTINUED)
97.
114 CONTINUED: 114
AL CAPONE (V.O.)
(on T.V.)
Why don't you take a little ride
with Frank?
The man's eyes bulge with fear, and he cries, "No! No!"
as two men escort him out the door.
In the next shot we see a long black car parked on a
country road, and we hear a SHOT.
115 INT. BATHROOM - SAME NIGHT (LATER) 115
Toby is brushing his teeth when Dwight enters.
TOBY
I'll be through in a minute.
Dwight looks around.
DWIGHT
You left the lid off the damn
toothpaste again.
TOBY
(not looking at him)
Oh, Dwight, is that the best you
can come up with?
Angered, but keeping his voice low. He pushes Toby's
shoulder.
DWIGHT
This is my bathroom, and I say
about the toothpaste, got it?
(pushes again)
Huh? Have you? Huh? Now if you
lived with your daddy Duke and
his rich wife, maybe things'd be
different, but he's not here now,
is he?
(high, flutey voice)
Oh, Duke? Duke, are you here?
Dukie? Oh, how sad -- Duke's not
here. Oh, boo hoo!
(normal voice)
My bathroom. I get to say. Got
that?
Still Toby doesn't respond -- Dwight reaches out and
pinches the skin on Toby's waist, hard. Toby still
doesn't respond, when Dwight begins to twist it. Toby
spins around, eyes blazing.
(CONTINUED)
98.
115 CONTINUED: 115
DWIGHT
Come on. Oh, come on. Give me
an excuse.
Toby hesitates, then leaves the bathroom, humiliated.
116 INT. HALLWAY - NIGHT 116
Toby exits the bathroom, then sees Caroline in a doorway.
She's heard it all. They look intently at each other.
Toby nods and walks on down the hall.
117 INT. TOBY'S ROOM - INSTANTS LATER 117
Furious, Toby throws himself onto the bed, and snaps on
a reading light.
(Behind him, the wall is now completely papered with
the front pages of the Scout magazine, so that we see
the words BOY'S LIFE BOY'S LIFE BOY'S LIFE BOY'S LIFE
repeated one hundred and twenty times.) Then Toby takes
a slick brochure from under his pillow -- it's a bro-
chure of Princeton. Photographs of beautifully tended
lawns, and students on their way to class. Toby stares
at the photographs, smoothing the pages carefully, long-
ing in his face.
118 INT. SCHOOL BUS - NEXT MORNING 118
Toby bangs onto the bus, throws himself into a seat
beside Arthur. He hands a grade card to Toby.
ARTHUR
You didn't pick this up yesterday
-- congratulations, you got
nothing higher than a C.
TOBY
Shut up.
He signs the grade card, saying, "Presto."
ARTHUR
You're gonna get caught some day.
(as Toby laughs a
moronic laugh)
You act more like those morons you
hang around with every day. Aghhh!
I'm psycho! I'm retarded!
(CONTINUED)
99.
118 CONTINUED: 118
It's a good imitation of Psycho, and Toby laughs.
TOBY
He hears you do that, you're
dead. Hey, lemme copy your math
homework.
ARTHUR
No, but I'll show you how to work
the problems.
TOBY
I tell you I'm thirsty, you offer
me a sandwich thank you and fuck
you.
ARTHUR
Oh, Jack.
TOBY
Oh, Jaaack!
ARTHUR
I take it back you don't act like
Psycho, you act like Dwight.
TOBY
(new tone)
I know it. He's winning. I do
act like him. I feel like him
sometimes. I've gotta get out of
this place or I'm a dead one.
ARTHUR
I know, but you've said that for
two years.
TOBY
I mean it. I may go live with my
brother Gregory in Princeton.
ARTHUR
You mean the brother Gregory in
Princeton who never calls you?
That brother Gregory?
TOBY
He wrote me.
ARTHUR
And he asked you to live with him?
(CONTINUED)
100.
118 CONTINUED: (2) 118
TOBY
No. But I'm going. Or maybe I
could go to a prep school like
Gregory did. Like my dad did.
ARTHUR
What about your grades? And what
would you use for money?
TOBY
I don't know. Dwight owes me
over twelve hundred bucks! If I
hadn't let him keep my paper
route money, I'd be okay.
ARTHUR
If the dog hadn't stopped to pee,
he'd have caught the rabbit.
Suddenly Toby is angry. He stands up, moves to another
seat.
TOBY
I think Dwight was right about
you I think you fight for the pink
team.
Toby falls into another seat, then, pulls his head back
and bangs it against the window. Then does it again,
harder.
119 EXT. RESIDENTIAL NEIGHBORHOOD - AFTERNOON 119
His mood even fouler, Toby toils at his paper route. He
throws the papers against the houses with all his might.
Suddenly Chuck Bolger's CAR SCREECHES to a stop next to
Toby. We hear Psycho's "Arghhh!" and Toby climbs into
the car.
120 EXT. DERELICT CRUSHER PLANT - NIGHT 120
We see the Concrete silo dimly-lit in the distance. We
can read "Welcome To Concrete" on it. Toby is leaning
against a wall in a large derelict Concrete plant staring
at the silo. Behind him is a small campfire where the
other guys are slumped around talking. Toby takes a
long, angry pull on a bottle of whiskey, then turns
around and heads toward them.
(CONTINUED)
101.
120 CONTINUED: 120
ARCH
Nobody in your family ever even
been in a Corvette, let alone
owned one.
CHUCK
You wait and see if I don't get
one. I'm gonna move down to
Seattle, get a job at Bendix and
drive a 'Vette to work every day.
JERRY
My uncle can have any car he
wants. He makes big bucks as an
electrician.
ARCH
Yeah? How big?
JERRY
Hundred seventy-five a week, take
home.
PSYCHO
Bullshitter!
JERRY
Fuck you, it's true.
CHUCK
Even the supervisors at Bendix
don't make that.
JERRY
So how are you ever gonna make
enough to drive a 'Vette then,
fuck-face?
The others all laugh at Chuck. Toby has reached the
group and stands on the lip of the large wooden platform
that they are on and listens while leaning on a large
hook.
PSYCHO
I'm gonna drive a T-bird, someday.
CHUCK
An' I'm gonna own a Corvette if I
have to hold up the Bendix payroll
to get it.
JERRY
Fuck you.
(CONTINUED)
102.
120 CONTINUED: (2) 120
ARCH
Me. I want to eat a big
red-haired pussy.
The others all laugh at him. Toby regards them with a
sneer.
TOBY
Losers. What a bunch of losers.
CHUCK
Who you calling a loser,
fuck-face?
TOBY
All of you.
(to Chuck)
You're gonna drive a Fairlane
just like your daddy does.
(to Psycho)
How you ever going to drive a
Thunderbird when you're a janitor
like the rest of your family?
(to Jerry)
An' you can forget being an
electrician, you can't even pass
tenth grade math.
JERRY
Well fuck you. Who died an' made
you King Shit?
PSYCHO
Yeah, you're no better than us.
TOBY
I know that, Psycho. That's my
point: Ha, ha, ha. You guys are
my buddies. You guys are my pals.
And my dear old dad's called
Dwight.
(he spreads his
arms wide)
Welcome to Concreeee...
Toby topples over and falls down a bank of rubble. The
other burst out laughing and hooting. The CAMERA MOVES
off them and CRANES DOWN to a spread-eagled Toby's face.
The LAUGHTER ECHOES around the building. Toby begins to
laugh, but it soon turns to bitter tears.
DISSOLVE TO:
121 OMITTED 121
103.
122 INT. KENNEDY CAMPAIGN OFFICE - DAY 122
Toby enters the small office where Caroline is running
hundreds of flyers on a duplicating machine. Surprised
she sees Toby's expression.
CAROLINE
What is it?
TOBY
I called Gregory at Princeton.
(as Caroline reacts)
He's sending me applications for
prep schools. I need you to
take me to Seattle to take some
entrance exams.
CAROLINE
Would a prep school take you
with, uh, your school record?
TOBY
I've got to get out of here, Mom.
I've got to. I've got to get
away.
CAROLINE
When are the tests?
TOBY
Saturday.
CAROLINE
You'll be there.
TOBY
He won't let you have the Buick.
CAROLINE
You'll be there!
123 EXT. LAKESIDE SCHOOL IN SEATTLE - DAY 123
Graceful buildings, green lawns, a CARILLON CHIMING.
Toby walks toward a large building.
124 INT./EXT. TESTING ROOM - DAY 124
Twenty-three boys and Toby stand waiting restlessly for
the tests to begin. Toby looks very different from the
other intelligent looking, well-bred boys in his Elvis
hairdo.
103A.
124A SAME SCENE - LATER 124A
All the boys are taking the test, working hard.
125 INT. DWIGHT'S BUICK - LATE AFTERNOON 125
Caroline turns as Toby gets into the car.
CAROLINE
How was it?
TOBY
Hard. I think I did okay. I'll
know Monday.
104.
126 INT. DWIGHT AND CAROLINE'S KITCHEN - EVENING 126
Dwight sits at the table, a drink in his hand. Caroline
hurriedly prepares dinner. She tosses a milk carton into
a brimming waste basket, then speaks to Toby, who enters
the room.
CAROLINE
Take that trash out for me,
honey.
Toby grabs the trash and exits.
127 EXT. REAR OF DWIGHT AND CAROLINE'S HOUSE - EVENING 127
Toby opens a metal trash can, dumps the trash, puts the
lid back on, and then hesitates. He lifts the lid again
and peers into the trash can, almost hidden, are the tips
of four white envelopes made of heavy, expensive paper.
He pulls them up and, though covered with tomato seeds,
are undamaged.
128 INT. KITCHEN - EVENING 128
Toby walks in, fans out the four envelopes, speaks to
Caroline.
TOBY
My application forms must've come
today, and he threw them away.
DWIGHT
Hey, I thought I was helping
him -- thought I'd save him some
trouble 'cause he's got no chance
of getting into some fancy prep
school.
CAROLINE
You've always got your nose
pressed up against the bake shop
window, don't you, Dwight?
DWIGHT
What?
CAROLINE
You feel like everybody else is
inside, and you're stuck on the
outside. It turns you mean. It
turns you ugly. And one day do
you hear me, Dwight? One day all
that ugliness is going to snap
back and hit you in the face.
(CONTINUED)
105.
128 CONTINUED: 128
DWIGHT
Ooooooh, oh, I'm so scared. Oooh.
129 INT. TOBY'S BEDROOM - SAME NIGHT 129
Toby has the applications open in front of him. We
see the words "Official Transcript Required" on one
application. On another we see spaces for the ap-
plicant to list "Community Services" and "Athletic
Achievements" and "Foreign Travel" and "Languages." Toby
looks despairingly at the forms.
130 INT. SCHOOL HALLWAY - MORNING 130
Between classes, Toby and Arthur are at a row of lockers.
ARTHUR
I won't do it.
TOBY
But why? You work right in the
office -- nobody'll ever know.
ARTHUR
I'm surprised you'd want help from
anybody who fights for the pink
team.
TOBY
I'm asking you to help me, man.
I got word yesterday that I did
really well on those tests -- but
that's not enough. I've got to
cheat and lie -- but I don't care:
this is my one chance to get out
of here!
ARTHUR
No. Why should you get to be the
one? Why not me?
131 INT. SCHOOL WORKSHOP - DAY 131
Toby is working with a table saw. Suddenly a two-inch-
thick manilla envelope plops down beside him. He looks
up to see Arthur standing beside him. Glancing around to
see that he's unobserved, he checks the contents of the
envelope: we see school stationery, blank transcript
forms, and a stack of official envelopes. Toby closes
his eyes. He's saved.
(CONTINUED)
106.
131 CONTINUED: 131
TOBY
You could leave too, you know.
ARTHUR
No, I've grown progressively fond
of Concrete. I think I'll stay
here all alone and dress up in my
mama's old clothes sometimes --
like you said.
Arthur turns and swishes away. Toby pats the manilla
envelope, turns back to the saw. Suddenly he jerks,
looks down, and sees that the ring finger of his left
hand is spurting blood. Toby says a mild, astonished
"Hey," and sinks to his knees.
132 INT. TYPING LAB - SAME DAY (AFTERNOON) 132
With his hand bandaged Toby sits at a typewriter with
a blank transcript. He carefully types "TOBIAS WOLFF."
Then, he begins to type the letter "A" in every slot for
grades.
133 EXT. STREET - EVENING 133
Toby mails five letters.
134 INT. TOBY'S BEDROOM - DAY 134
Toby lies in bed reading the paper. He still holds his
hand in the air (the white bandage is now dingy).
Caroline appears in the doorway.
CAROLINE
Come help me stuff envelopes.
TOBY
I'll do some this afternoon.
CAROLINE
No, I need to take them with me.
TOBY
I'll be in in a minute. Let me
finish this article.
(CONTINUED)
107.
134 CONTINUED: 134
CAROLINE
Boy, you irritate me.
(new tone)
I think maybe you ought to...
Yeah -- I think maybe you should
just...
(hisses)
... TAKE A LITTLE RIDE WITH
DWIGHT.
Toby laughs, and gets up to help her.
135 EXT. DWIGHT AND CAROLINE'S HOUSE - EARLY EVENING 135
Toby starts up the sideway, Pearl exits the house with
several letters in her hand.
PEARL
'You got letters from those
schools!'
Toby grabs them as if they were the very stuff of life.
Pearl stands expectantly. Toby notices her, then walks
off holding the letters to his chest.
136 EXT. FIELD - EARLY EVENING 136
Three letters lie crumpled on the ground. Toby sits with
his back against a tree trunk. Slowly Toby opens the
fourth letter. Another refusal. Toby tosses it onto
the ground with the others, leans his head back against
the tree trunk, and closes his eyes.
137 INT. DWIGHT AND CAROLINE'S LIVING ROOM - NIGHT 137
Dwight, Caroline and Toby read the papers. Caroline
notices Toby's sad face.
CAROLINE
Maybe that last school will
come through.
DWIGHT
Yeah, or maybe he'll get a
contract in the mail asking him
to be a singing star on T.V.
(on Caroline's look)
Well, he's got about as much
chance of one as of the other.
Toby gets up and leaves.
108.
138 EXT. CONCRETE - SAME NIGHT 138
A beauty shop with a tired sign... "ARLENE'S GOLDEN COMB
BEAUTY SALON," a beer joint, a pool hall, a woman's
clothing store with headless mannequins.
Toby surveys the scene, with an expression of despair.
Toby catches his reflection in a store window. He
stares at himself.
TOBY
A Concrete boy.
139 INT. A&P GROCERY STORE - EVENING 139
Toby, wearing khakis, a shirt and a tie stands before
the store manager.
MANAGER
We only take boys who really want
to work hard. Is that you?
(as Toby nods)
I'd want you to start evenings
now, and I'd want you all summer
-- no vacations.
(as Toby nods)
Food service work isn't easy.
It's not something that comes to
you in a year or two. So. You
think you have what it takes to
be an A&P management trainee?
TOBY
(straight)
That's exactly what I've got.
139A SAME SCENE - LATER 139A
Toby now wears a regulation black bow tie and an apron.
An employee is showing him how to price, stamp, and stack
canned goods. Toby's face is expressionless.
140 INT. DWIGHT AND CAROLINE'S LIVING ROOM - LATE AFTERNOON 140
Dwight is listening to a PERRY COMO ALBUM. Caroline and
Pearl work on a jigsaw puzzle. Toby enters the kitchen,
coming from his paper route. He puts down his paper sack
and immediately puts on his black bow tie, preparing to
go to the A&P.
(CONTINUED)
109.
140 CONTINUED: 140
PEARL
I can't find where this green piece
goes -- it's gotta be grass.
Dwight sighs with irritation at the interruption of his
listening pleasure, and turns UP the VOLUME on the record.
CAROLINE
(to Toby)
Don't go off without eating.
TOBY
I'll get a sandwich after work.
Exasperated that conversation is continuing when he's
trying to listen, Dwight reaches over, presses his hand
down on the arm of the record player, then SCRAPES it
back and forth on the record. It's a violent action, and
it makes a GROTESQUE SOUND. The NEEDLE BOUNCES around
on the scarred record. As the three of them stare at
him, Dwight speaks calmly:
DWIGHT
I was trying to listen to a
record.
Dwight rises, walks outside into the back yard. Then
the TELEPHONE RINGS. Pearl answers it, listens, then
says,
PEARL
"Yeah, he's here,"
She holds the receiver out to Toby, whispering, "Are
you Tobias?"
TOBY
Hello? All right. Tomorrow, then.
Goodbye.
Toby hangs up, turns to Caroline, quietly:
TOBY
It's Hill School -- the last one
I applied to. They haven't
accepted me, but they're sending
somebody up to interview me.
Caroline upsets the puzzle getting up to hug Toby.
110.
141 INT. DRUGSTORE - AFTERNOON 141
Toby is sitting in a booth with MR. HOWARD, a man in his
late thirties.
Toby has made a real attempt to look good. His hair is
modified, and he wears a tie and a suit.
TOBY
... Yeah, I enjoy my classes,
especially the ones that are
advanced, but I've been feeling
a little restless lately. It's
hard to explain.
MR. HOWARD
Well, you're probably bored. Not
being challenged. Your application
was very good, Toby, but we have
many boys who want to go to Hill.
Not everybody is comfortable at a
prep school.
TOBY
I think I would be. My father
and brother went to prep schools.
MR. HOWARD
Is that right? Where?
TOBY
Deerfield and Choate.
Mr. Howard is impressed.
MR. HOWARD
I see. Well, maybe you'd like it.
Hill was difficult for me, though
-- classes were hard, and the boys
seemed cold -- interested in money
and social position.
(laughs)
And I hated those snowy
Pennsylvania winters! But then
in my last year, something changed.
The guys in my class grew close,
so close that I still think of
them as a second family.
TOBY
(honest)
I want that. I do, and --
(CONTINUED)
111.
141 CONTINUED: 141
He stops talking as we hear, O.S., "AG-H-H-H!" Psycho and
Arch have entered the drugstore. Toby's back is to the
door, and he slouches deeper into the booth, praying that
he won't be seen.
Arch and Psycho buy cigarettes.
ARCH
... so she said, 'No, I don't want
you to do that,' and I said 'Oh,
baby, let me get down and grovel
on it.' I mean, I ate her pussy
'til my tongue was calloused, and
then...
Arch moves toward the back of the store toward the area
where Toby sits. Toby inches down a bit farther into the
booth. Arch stops at a sunglass rack five feet from Toby
and tries on a couple of pairs.
ARCH
... so anyway, she went off like a
Roman candle -- I mean that woman
can scream. I said, 'You liked
that, didn't you, baby?' I said,
'You liked the old Arch Cook
special, didn't you?'
Arch decides to let the sunglasses go. He and Psycho
move toward the front of the store, he talks about pussy.
Toby exhales.
MR. HOWARD
Toby, boys at Hill talk roughly
sometimes too -- you'd have to
be ready for that. I can see
you've had sort of a sheltered
life.
Toby nods his head.
142 EXT. DRUGSTORE - AFTERNOON 142
Mr. Howard shakes Toby's hand.
MR. HOWARD
You seem like a fine boy, and
I'll give you a good report
tomorrow. But there are lots of
boys applying, and we'll just
have to wait and see whether --
From O.S., we hear Dwight's voice, and Toby goes rigid.
(CONTINUED)
112.
142 CONTINUED: 142
DWIGHT (O.S.)
Ohh, it's the Hotshot Boy.
Both Mr. Howard and Toby turn to see Dwight, wearing
his coveralls, ten feet away.
DWIGHT
Yeah, it's the guy who thinks he
knows everything. Thinks he's so
smart, but fella, what you don't
know would fill a book.
(glances at Mr.
Howard's new
Chevrolet; offhand)
General Motors makes shit cars.
Dwight turns and enters the drugstore.
TOBY
(weakly)
That's, uh, that's this guy...
he's a mechanic... did some bad
work on our car...
It's not much of an explanation, but Mr. Howard seems to
buy it. He says goodbye to Toby, gets into his car,
drives away. Toby stares after him.
DISSOLVE TO:
143 INT. A & P GROCERY STORE - NIGHT 143
A few weeks have passed. Toby (his Elvis hairdo further
modified) again prices and stacks food. His face is
serious, his manner industrious.
144 INT. DWIGHT AND CAROLINE'S KITCHEN - AFTERNOON 144
Toby walks in; his Elvis hair disappearing. Pearl, who
is boiling hot dogs, turns:
PEARL
I know something'll make you feel
good: that man called -- you got
the scholarship.
Toby grits his teeth and clenches both fists victoriously.
He's won.
(CONTINUED)
113.
144 CONTINUED: 144
PEARL
He said they're gonna give you two
thousand three hundred dollars a
year and it costs two thousand
five hundred dollars... so you
gotta come up with the other two
hundred. Great, huh?
(sympathetic)
I'm making hot dogs -- I'll make
one for you. Can you put mustard
on some bread for us?
Toby gets a jar of mustard from a cupboard, but it's
empty, so he tosses it on top of the trash can, gets a
new jar and starts to open it.
Dwight enters.
PEARL
What're you doing home so earl...
Oh! Toby he got that scholarship
-- two thousand and three hundred
dollars!
Dwight makes himself a drink, takes two large swallows,
then turns to Toby.
DWIGHT
Hey, leopard. I say, 'Hey,
leopard.' I know you, leopard --
I can see those spots you can't
change.
(laughs)
Thinks he can go to some fancy
prep school and fool everybody.
Not a chance. I know a thing or
two about a thing or two.
Toby won't rise to the bait, and Dwight falls silent, he,
looks around and sees the jar of mustard on top of the
trash.
DWIGHT
Who threw that away?
TOBY
I did.
DWIGHT
Why?
TOBY
Because it was empty.
(CONTINUED)
114.
144 CONTINUED: (2) 144
Dwight retrieves the bottle. There are a few streaks
of mustard under the neck of the bottle. He holds it
close to Toby's face.
DWIGHT
Empty? That look empty to you?
PEARL
It looks empty to me.
TOBY
It looks empty to me, too.
Dwight pushes the jar against Toby's eye, leaving mustard
stains on the boy's face.
DWIGHT
Look again, hotshot. Is it empty?
Toby jerks his head away, not answering. Dwight slams
down the jar of mustard, grabs Toby by the back of the
hair and forces his face down against the mustard jar.
PEARL
Dad!
DWIGHT
(to Toby)
Now. Now, Mr. Big-Time Prep-
School fucker, is it empty?
Toby struggles, but Dwight has the strength of anger:
trying always to protect his throbbing finger, Toby
pulls free and jumps up from the table. Dwight is too
quick for Toby, though: he grabs an even bigger handful
of hair and forces Toby's face down onto the mustard
jar again and again. And again. Each time he asks if
the jar is empty. Finally, Toby gives up.
TOBY
(muffled)
No, it wasn't empty.
DWIGHT
(lets him go)
All right -- clean it out.
His face smeared with mustard, Toby's expression is
murderous. He picks up a knife and scrapes at the mus-
tard, trying to get up under the neck. He manages to
get a few brown and yellow smudges on the knife, which
he transfers to the edge of a plate. Dwight watches.
(CONTINUED)
115.
144 CONTINUED: (3) 144
DWIGHT
Now. Was it empty?
Slowly he stands up and faces Dwight.
TOBY
Yes!
Dwight slaps Toby across the mouth and the battle is on.
As Pearl stands frozen, Toby lunges at Dwight, they
grapple and stagger around the room. GLASS SHATTERS, the
kitchen table CRASHES over, and their feet STAMP and
SHUFFLE but Toby is a wild man. Even though he has
only one good hand. He lands a blow between Dwight's
eyes that bangs the man back against the wall.
Dwight grabs the pan with the hot water from the hotdogs,
flings it at Toby. Most of it misses. Again they
grapple. Toby manages to throw Dwight down, then grabs a
broom that has fallen to the floor, presses it against
Dwight's throat, using his good hand and one knee.
Dwight's mouth gapes wide, his eyes bulge, and he jerks
himself frantically trying to dislodge Toby, but Toby
hangs on like grim death. Desperate, Dwight grabs Toby's
bandaged hand, bringing it close to his own face, and
bites the stump of Toby's injured finger as hard as he
can.
Toby and Pearl scream simultaneously. Pearl in horror,
Toby in pain. Pearl runs into her bedroom. Toby reels
back in pain, holding his freshly-bleeding hand. Dwight
takes his chance, grabs Toby by the throat, forces him
down onto the floor and begins to choke the boy. Toby's
eyelids begin to flutter. He's losing consciousness.
WHAM!
From out of nowhere a baseball bat hits Dwight flat
across the shoulder blades, knocking the breath out of
him, stunning him momentarily. As he looks up, we see
Caroline, one of the baseball bats from the utility porch
drawn back, aimed at Dwight's head, ready to strike again.
CAROLINE
(level)
Get away from him or I will kill
you.
Toby manages to stand up, Caroline speaks to both of them.
CAROLINE
What is this?
(CONTINUED)
116.
144 CONTINUED: (4) 144
TOBY
I got the scholarship and he went
nuts. He's crazy, and I'm leaving.
(screams it)
I'm leaving!
DWIGHT
Great. Go!
TOBY
Give me my paper route money, and
you'll never have to see my face
again.
DWIGHT
(manages a smile)
That money is gone with the wind.
(as Toby stares)
That's right. I spent it as you
made it. It's gone. Poof.
Toby starts for Dwight again. Caroline grabs him, saying,
"No. No. No," over and over, literally dragging Toby
away from Dwight.
Caroline looks at Dwight.
CAROLINE
It's not so much that you're
disappointing -- it's that you're
consistently disappointing.
DWIGHT
Oh, fancy, fancy talk -- fancy
talk for a whore. I know a thing
or two about a thing or two. I
got friends in this town that tell
me things, and I found out some man
down at that campaign headquarters
found you a job in Washington, D.C.
Gonna run off with him, aren't
you, Miss Whore?
CAROLINE
He's just a friend.
DWIGHT
Miss Liar. Miss Whore Liar.
TOBY
I'm leaving, Mom. You can leave,
too. You don't have to stay here.
(CONTINUED)
117.
144 CONTINUED: (5) 144
Caroline takes three full beats and then her face
changes. She speaks wonderingly:
CAROLINE
I don't, do I?
TOBY
No, you don't.
CAROLINE
I could leave with you, couldn't
I?
TOBY
Yes, you could!
DWIGHT
What about me?
CAROLINE
I could just walk right out that
door, couldn't I?
TOBY
Yes, you could!
Caroline takes a deep breath, a weight has been lifted.
CAROLINE
My God... the lightness.
DWIGHT
What about me?
CAROLINE
I'm leaving, too.
DWIGHT
No.
CAROLINE
Oh, Dwight, why do you want me to
stay? You don't even like me,
not really.
DWIGHT
You're not leaving!
CAROLINE
(gentle)
Look again, Dwight -- I'm already
gone.
(CONTINUED)
118.
144 CONTINUED: (6) 144
Dwight makes a terrible noise of frustration and rage,
doubles his fists, and starts toward Caroline.
Immediately Toby grabs the baseball bat and holds it
out, ready to strike, as the two begin to back toward
the door.
DWIGHT
... you two've always sided in
against me, always thought you
were better than me. I tried. I
did the best I could. What about
me? Am I supposed to just crawl
off in a ditch someplace and die?
I've always been the nigger.
Everybody's nigger. Ever since I
was little.
Caroline and Toby are at the door, run across the yard
and down the street. Dwight stands in the doorway,
yelling:
DWIGHT
What about me? When is it ever
Dwight's turn for some
consideration? What about me?
I'll tell you one thing --
you'll remember me!
145 EXT. FIELD - MINUTES LATER 145
Caroline and Toby slow to a walk after running, laughing,
and catch their breaths.
CAROLINE
Man, oh man.
TOBY
Man, oh man, oh man.
CAROLINE
Well, we're out.
TOBY
Great, isn't it?
CAROLINE
Yes. It's great. And you got the
scholarship! Congratulations,
honey.
(CONTINUED)
119.
145 CONTINUED: 145
TOBY
Yeah, I'm out! I'm outta here!
Maybe I'll crash and burn, but
it's a chance, so I'm gone! I'm
history, Histoire. Nobody's
gonna tell me what to do now,
nobody. I'm free as a bird.
Sayonara nest.
(yells it; really
bawls it out)
Heaven on a June day!
Caroline's smile becomes fixed during Toby's speech and
she begins to regard him oddly.
CAROLINE
(weakly)
Yeah, heaven on a June day...
TOBY
What'd he say about you having a
job in D.C.?
CAROLINE
Oh, Helen found me something in a
real estate office, but...
TOBY
So now you can go! Oh. Oh! I am
so damn glad to get out of this
place! I'll be in 'fourth form.'
Doesn't that sound great? And if
you get a two-bedroom place in
D.C., I can come for vacations and
summers. I'm out. I'm out!
Caroline's eyes well up, and she lights a cigarette.
TOBY
(notices she's upset)
What? Oh, don't cry -- he's not
worth it.
As sad as she is, Caroline smiles...
TOBY
She holds Toby at arm's length and studies him.
CAROLINE
My you've grown, haven't you.
Then clutches him to her fiercely. Smiling, the two
walk on through the sunny afternoon, singing softly to
each other.
120.
146 EXT. BUS STATION - DAY 146
Caroline and Toby stand next to a bus as the driver
STARTS the ENGINE. She is close to tears.
CAROLINE
Are you sure you'll be all right?
TOBY
(nice)
Get on the bus.
CAROLINE
(stuffing bills into
his pocket)
I borrowed money from everybody I
know -- it's the two hundred you
need for the tuition, and an extra
fifty. Buy yourself a blazer.
Oh, God. I'll miss you. I'll
write you. You sure your hand's
okay?
TOBY
Get on the bus, Mom.
Caroline puts her arms around Toby, kisses his cheek
hard, then whispers something into his ear. When Toby
speaks, his words are full of love:
TOBY
I know that, Mom. I've always
known that.
Caroline gets onto the bus, the DOORS CLOSE, WHOOSH and
the bus pulls away. We see Caroline's face at a window.
As the bus recedes, Toby turns and walks in another
direction. His face is shining, incandescent with
happiness. He breaks into a wide grin.
FADE OUT.
THE END
