12 and Holding

12 and hol di ng
by
Ant hony S. Ci pr i ano

4. 06. 04
Di r ect or : Mi chael Cuest a Copyr i ght 2004
Cont act : 212 343 0069 Reg@WGA West
516 909 4787
FADE I N:
EXT. NEI GHBORHOOD STREET - MORNI NG
TWI N BOYS, RUDY AND J ACOB CARGES ( 12) , r i de t hei r bi kes
t hr ough a subur ban nei ghbor hood.
Rudy, t he mor e at hl et i c of t he t wo, r i des at a br eakneck
pace. J acob r i des sl owl y due t o a HOCKEY MASK t hat he wear s
over hi s f ace. I t s maki ng i t di f f i cul t f or hi mt o see. The
boys t ur n down a DI RT PATH and r i de deep i nt o some WOODS.
I NT. WOODS - CONTI NUOUS
Rudy and J acob r i de t o t he edge of a CLEARI NG and st op.
Acr oss f r omt he cl ear i ng i s a l ar ge OAK TREE, whi ch has a
TREE HOUSE per ched hi gh up i n i t s br anches. The boys
caut i ousl y l ook ar ound and whi sper .
J ACOB
You see em?
RUDY
No. But t hat doesn t mean t hey r e
not her e.
Af t er a beat , Rudy get s of f hi s bi ke and st ar t s wal ki ng
t owar ds t he t r ee house. J acob st ays behi nd, eyei ng t hei r
saf et y.
RUDY ( CONT' D) ( cont d)
J acob, come on. I t s cool .
Suddenl y, a ROCK comes car eeni ng f r omof f scr een. I t hi t s
J acob i n t he head and knocks hi mt o t he gr ound.
Rudy dar t s f or t he oak t r ee as a hai l st or mof r ock and
debr i s come f l yi ng at hi m.
As J acob r i ses, a st r eamof bl ood pour s down t he f r ont of hi s
mask. He qui ckl y r uns f or t he t r ee.
TWO BOYS, J EFF AND KENNY ( 14) , t r ai l er par k, punks come
r unni ng out of t he woods, r ocks i n hand.
Rudy and J acob cl i mb t he t r ee, usi ng makeshi f t RUNGS t hat ar e
nai l ed i nt o t he t r unk. I n t he f l oor of t he t r ee house i s a
DOOR. Rudy r emoves a KEY f r oma chai n ar ound hi s neck and
unl ocks i t . He cl i mbs i nsi de and pul l s J acob i n af t er hi m.
I NT. TREE HOUSE - CONTI NUOUS
J acob l ooks back and sees J ef f and Kenny, r unni ng over . Rudy
cr osses t o t he door wi t h a BUCKET of l i qui d.
J ACOB
What t he hel l i s t hat ?
RUDY
Pi ss.
Rudy dumps t he pi ss ont o J ef f and Kenny.
EXT. TREE HOUSE - SAME TI ME
Now dr enched wi t h pi ss, J ef f and Kenny j ump f r omt he t r ee,
scr eami ng. They t r y t o shake t he ur i ne of f .
Kenny spi t s t he t ast e out of hi s mout h and angr i l y cal l s up
t o t he boys.
KENNY
You and your def or med br ot her ar e
dead!
I NT. TREE HOUSE - SAME TI ME
J acob r i ps t he hockey mask of f . ( A l ar ge STRAWBERRY
BI RTHMARK cover s t he r i ght si de of hi s f ace. ) He s i nsul t ed.
RUDY
( cal l i ng t o Kenny)
Anyt i me you r e r eady, di ckhead.
EXT. TREE HOUSE - SAME TI ME
J ef f and Kenny wal k of f .
KENNY
They r e f ucki ng dead!
J ef f r uns of f scr een and t hr ows up.
I NT. FI SHER HOME - KI TCHEN - MORNI NG
LEONARD FI SHER ( 12) , sever el y obese, si t s at t he di nner
t abl e, eat i ng pancakes.
Hi s FATHER, PATRI CK ( 35) and TWO YOUNGER SI STERS, HALEY ( 8)
and SARA ( 6) ar e seat ed wi t h hi m. They ar e al l over wei ght .
2.
( CONTI NUED)
LEONARD S MOTHER, GRACE ( 35) , t he l ar gest of t hemal l ,
cr osses t o t he t abl e, si t s and st ar t s eat i ng.
J UMP CUTS show t he pr ogr essi on of t hei r meal . Fr omgl obs of
syr up bei ng pl aced over pancakes t o t he mass consumpt i on of
omel et s and sausage. Caught up wi t h eat i ng, nobody speaks.
EST. EXT. CHUNG RESI DENCE - MORNI NG
A moder n, upper - cl ass home wi t h a l ar ge, wel l t ended yar d.
YACCO ( O. S. )
The check i s supposed t o be her e on
t he f i r st of t he mont h. . . She s
your daught er , you asshol e!
I NT. CHUNG HOME - UPSTAI RS HALLWAY - CONTI NUOUS
YACCO CHUANG ( 35) , Asi an- Amer i can, sexy, upt i ght ,
psychi at r i st , paces t he hal l way on t he phone.
HER DAUGHTER, MALEE ( 12) wi t h l ong, bl ack, br ai ded hai r and
t hi ck r i mmed gl asses, peeks her head out of t he bat hr oom.
MALEE
Mom, I need hel p.
YACCO ( I NTO PHONE)
( i gnor i ng her )
Any par ent i s par ent of t he year
next t o you, you sel f i sh pr i ck.
Yacco wal ks of f . Def l at ed, Mal ee r eent er s t he bat hr oom.
I NT. CHUNG HOME - BATHROOM - CONTI NUOUS
Mal ee i s wr apped i n a t owel and hol di ng a TAMPON. Conf used,
she gr abs t he TAMPON BOX and r eads t he di r ect i ons. Mal ee s
conf usi on qui ckl y t ur ns t o di sgust .
EXT. NEI GHBORHOOD ENTRANCE - LATER
Leonar d si t s upon a l ar ge r ock wi t h t he wor ds, LI NDSAY ACRES
i nscr i bed on t he cent er of i t . He eat s POPCORN. Hangi ng of f
t he t op r i ght hand cor ner of t he r ock i s a banner , whi ch
r eads, 5t h ANNUAL 4TH OF J ULY PI CNI C. ALL I NVI TED.
Mal ee r i des her bi ke up t o Leonar d. She HONKS her BI KE HORN
at ever y pedest r i an i n her pat h.
MALEE
Move i t , peopl e. Out t a my way!
3.
CONTI NUED:
( CONTI NUED)
She comes t o a scr eechi ng hal t an i nch i n f r ont of Leonar d.
LEONARD
( mout hf ul )
You r e l at e.
MALEE
Yeah wel l , I began menst r uat i ng
t hi s mor ni ng, and I had some
di f f i cul t y i nser t i ng t he t ampon.
( of f hi s di sgust ed l ook)
What ? I t s a nat ur al pr ocess. You
know, I coul d concei ve, car r y and
bi r t h a chi l d r i ght now.
LEONARD
Bi g deal . You won t .
MALEE
But I coul d. That s what mat t er s.
LEONARD
The t wi ns sai d, t hey d meet us at
t he spot .
Leonar d get s on hi s bi ke.
MALEE
Wanna r ace?
LEONARD
Nah, I mgood.
I NT. TREE HOUSE - LATER
J acob wi pes at hi s head wound, f r i ght ened.
J ACOB
Maybe I shoul d have moml ook at i t .
RUDY
I f you di dn t have t hat damn mask
on, you d have seen i t comi ng. Our
bi r t hday comes once a year , and you
ask f or a hockey mask. You don t
even pl ay.
J ACOB
J ason f r omFr i day t he 13t h wear s
one. He s bad ass.
4.
CONTI NUED:
( CONTI NUED)
RUDY
Exact l y. J ason woul dn t r un home
cause of a l i t t l e bl ood. He d get
back up, decapi t at e hi s vi ct i mand
move on.
J acob l ooks out t he makeshi f t wi ndow i n t he wal l .
J ACOB
You t hi nk J ef f and Kenny wi l l come
back?
RUDY
I dr opped pi ss on t hei r heads. I d
say t he odds ar e pr et t y good.
MALEE ( O. S. )
You di d what ?
Rudy and J acob t ur n t o f i nd Mal ee and Leonar d, ent er i ng t he
t r ee house.
RUDY
J ef f and Kenny wer e her e. I dumped
t he pi ss I ve been savi ng on t hei r
heads.
LEONARD
Why wer e you savi ng pi ss?
RUDY
J ust i ncase. Pr et t y smar t , huh?
J ACOB
No, i t s st upi d cause now t hey r e
gonna come back her e and ki ck al l
our asses.
RUDY
Don t be such a pussy.
LEONARD
Yeah, I coul d pr obabl y t ake t hem
bot h mysel f .
RUDY
What ar e you gonna do, Leonar d, eat
t hem?
J ACOB
Al l I msayi ng i s, who car es i f
t hey t ear i t down.
5.
CONTI NUED:
( CONTI NUED)
RUDY
Thi s i s OUR pl ace. We ve been
comi ng her e si nce we wer e seven.
J ACOB
Not hi ng l ast s f or ever .
RUDY
You r e such a but t - munch.
Rudy pushes J acob. J acob pushes back. The t wo st ar t
f i ght i ng.
MALEE
You guys, i t s your bi r t hday.
Coul d you t r y and get al ong?
Of f t he boy s f i ght i ng -
I NT. YACCO S OFFI CE - LATER THAT AFTERNOON
Yacco si t s acr oss f r omDEBBI E POOLE ( 42) , housewi f e,
conser vat i vel y dr essed.
DEBBI E
I don t t hi nk t her apy i s hel pi ng.
YACCO
Why do you say t hat ? Ar e you st i l l
cut t i ng?
Embar r assed, Maggi e l i f t s up her shi r t sl eeve. We see t hat
her ar mi s cover ed wi t h cut s. Dr i ed bl ood i s ever ywher e.
Yacco i s hor r i f i ed by t he si ght .
YACCO ( cont d)
Oh, Debbi e.
DEBBI E
I t f eel s much bet t er t han i t l ooks.
Real l y.
Suddenl y, Mal ee bur st s i nt o her mot her s of f i ce.
MALEE
Ma, I . . . Oops.
YACCO
Mal ee, out . Now.
MALEE
I msor r y.
6.
CONTI NUED: ( 2)
( CONTI NUED)
Mal ee qui ckl y exi t s t he of f i ce.
YACCO
Excuse me f or a moment .
I NT. YACCO S OFFI CE - RECEPTI ON AREA - CONTI NUOUS
Yacco ent er s t he r ecept i on ar ea. She i s obvi ousl y angr y.
YACCO
I t ol d you a 100 t i mes t o knock.
MALEE
I sai d, I was sor r y.
YACCO
Why ar en t you wi t h t he boys?
MALEE
Rudy and J acob went f or pi zza wi t h
t hei r par ent s.
Yacco cr osses t o a desk and r emoves a FLUTE f r oma dr awer .
YACCO
I f ound t hi s i n t he backseat of my
car t hi s mor ni ng. Do you know how
much f l ut es cost ? Go out si de, si t
on t he f r ont st eps and pr act i ce.
MALEE
But , mom.
YACCO
Now!
Anger ed, Mal ee gr abs t he f l ut e and exi t s.
EXT. FRONT OF YACCO S OFFI CE - CONTI NUOUS
Mal ee dr ops on t he st oop l i ke a t on of br i cks. Af t er a beat ,
she r el uct ant l y begi ns pl ayi ng her f l ut e.
A f ew pedest r i ans st op t o l i st en.
MALEE
Keep i t movi ng. Thi s ai n t a show.
I NT. TWI N S HOUSE - LI VI NG ROOM - NI GHT
Rudy and J acob st ar e i nt o t he camer a wi t h bi g gr i ns.
7.
CONTI NUED:
( CONTI NUED)
RUDY/ J ACOB
Cheese!
VFX: CAMERA FLASH
The boys r el ax t hei r poses as ASHLEY and J I M CARGES ( 30 s) ,
ent er t he shot . Ashl ey put s her camer a down on t he t abl e and
pi cks up a l ar ge PRESENT.
J I M
Okay, you got your smal l gi f t s t hi s
mor ni ng. Now f or t he bi g ones.
ASHLEY
Thi s one i s Rudy s.
Rudy r i ps i nt o t he pr esent , r eveal i ng a SONY PLAY STATI ON.
RUDY
Sony pl ay st at i on! Oh my God! Oh
my God! Yes! Too cool !
J I M
Si nce nei t her of you want ed a par t y
t hi s year , we wer e abl e t o spl ur ge.
Ashl ey r emoves an ENVELOPE f r omher pur se. She hands i t t o
J acob. Hi s ent husi asmsuddenl y t ur ns t o wor r y.
J ACOB
What i s i t ?
ASHLEY
Onl y one way t o f i nd out .
J acob r emoves a col or f ul PAMPHLET f r omt he envel ope.
J I M
Go ahead, r ead i t .
J ACOB
Pl ast i c Sur ger y. I sn t i t about
t i me?
( hor r i f i ed)
I don t get i t .
ASHLEY
Your f at her and I ar e goi ng t o pay
t o have your bi r t hmar k r emoved.
J I M
I sn t t hat gr eat .
8.
CONTI NUED:
( CONTI NUED)
J ACOB
You got me sur ger y f or my bi r t hday?
J I M
Not j ust one. A ser i es of t hem.
RUDY
( over compensat i ng)
Cool .
J ACOB
I t s not cool . I t t ot al l y sucks!
J acob dr ops t he envel ope, wal ks f r omt he r oom.
J I M
J acob?
I NT. TWI N S HOUSE - BOY S BEDROOM - LATER
Rudy ent er s t he dar kened r oomand cr osses over t o J acob, who
has hi s f ace pl ant ed i n hi s pi l l ow. J acob has been cr yi ng.
RUDY
Don t sweat i t . You can bor r ow my
pl ay st at i on anyt i me you want .
J ACOB
Thi s i sn t about t he pl ay st at i on.
I t s about t hi s t hi ng on my f ace.
Ever ybody hat es i t .
RUDY
I don t .
J ACOB
Who car es what you t hi nk? You r e
t he r eason f or al l of t hi s.
Per f ect you wi t h your per f ect ski n.
Ther e t o show t he wor l d what I m
supposed t o l ook l i ke.
( beat )
You know, somet i mes I j ust wi sh I
wasn t your t wi n.
RUDY
Scr ew you! Know what , I t ake i t
back, you can t use my pl ay
st at i on.
Rudy exi t s t he r oom, sl ammi ng t he door af t er hi m.
9.
CONTI NUED: ( 2)
EXT. NEI GHBORHOOD - NEXT DAY
I t s your t ypi cal f our t h of J ul y bl ock par t y. Fami l i es cr owd
t he st r eet s wi t h BBQ GRI LLS, cot t on candy and beer . Chi l dr en
r i de t hei r bi cycl es, whi ch ar e ador ned wi t h st r eamer s,
bal l oons and noi se maker s.
Of f t o t he si de, Mal ee and J acob si t , eat i ng SNOWCONES.
EXT. STREET - SAME TI ME
J i mCar ges t ends t o some bur ger s on hi s gr i l l . GABE ARTUNI ON
( 40) , r eal est at e agent , appr oaches.
GABE
30 acr es.
J I M
I al r eady t ol d you, Gabe, I mnot
sel l i ng t hat l and. Not 30 acr es
not f i ve.
GABE
I mwi l l i ng t o pay t op dol l ar .
J I M
I mnot gonna l et you t ear down
t hose woods, so you can st ack
t went y houses r i ght on t op of each
ot her .
GABE
I mgonna wr i t e down a number .
J I M
No! My ki ds. . . hel l , your ki ds
pl ay i n t hose woods al l t he t i me.
You can t put a pr i ce on t hat .
Gabe wr i t es down a number and hands i t t o J i m.
GABE
I bel i eve I can.
J i ml ooks at t he f i gur e and hi s eyes go wi de.
EXT. STREET - LATER
A l i ne of PI CNI C TABLES sur r ound near by GRI LLS. Leonar d s
f ami l y mi nus Leonar d si t , eat i ng as i f t her e s no t omor r ow.
10.
( CONTI NUED)
SOCCER MOM # 1 ( O. S. )
Look at t hem. So unheal t hy.
ON TWO SOCCER MOMS, wat chi ng Leonar d s f ami l y eat .
SOCCER MOM # 1 ( cont d)
You know, Gr ace can bar el y wal k
because of her wei ght .
SOCCER MOM # 2
Wher e do you t hi nk she f i nds
cl ot hes bi g enough t o f i t ?
The t wo woman wal k of f . As t hey di sper se, we see LEONARD,
st andi ng behi nd t hem. He has hear d ever y wor d.
Hur t , Leonar d l ooks down at hi s own pl at e, whi ch over f l ows
wi t h f ood. He f eel s embar r assed and di sgust ed.
Pat r i ck r i ses and cr osses over t o t he buf f et t abl e.
PATRI CK
Good eat i ng, huh son?
Pat r i ck gr abs t he l adl e and begi ns t o f i l l up hi s pl at e.
LEONARD
Maybe you shoul dn t have seconds,
Dad, you know?
PATRI CK
Who ar e you, Ri char d Si mmons?
C mon, enj oy t he day.
He wal ks of f wi t h hi s f ood. Leanar d l ooks down at t he f ood,
shr ugs, t hen hel ps hi msel f t o a heapi ng por i on.
EXT. ANOTHER PART OF THE STREET - DUSK
RUDY st r addl es hi s bi ke whi l e wat chi ng a gr oup of 8- year -
ol ds, havi ng a wat er bal l oon f i ght . J eal ous, he
r emi ni scences t o a t i me when he was one of t hose ki ds.
KENNY
( o. s. )
Me and J ef f ar e gonna pay t hat t r ee
house of your s a l i t t l e vi si t
t oni ght .
Rudy spi ns ar ound t o f i nd Kenny, st andi ng at hi s si de.
11.
CONTI NUED:
( CONTI NUED)
KENNY ( cont ' d)
When we r e t hr ough, i t l l be a pi l e
of scr ap.
RUDY
Why don t you t ake your smel l y ass
back t o t he t r ai l er par k?
KENNY
Fr ee count r y, asshol e.
RUDY
You got not hi ng bet t er t o do t han
pi ck on us al l t he t i me?
KENNY
I di d unt i l yest er day.
RUDY
I t hought you l i ked gol den
shower s. Oh no, t hat was your
mot her .
Kenny pushes Rudy t o t he gr ound and t hen j umps on t op of hi m.
Rudy st r uggl es t o get f r ee, but he s over power ed. A cr owd of
ki ds sur r ound t hem, chant i ng, FI GHT, FI GHT.
J ef f hocks a phl egmwad ont o Rudy s f ace. Rudy scr eams as
t he st r eamof sal i va, dr i ps acr oss hi s nose and ont o hi s l i p.
NEI GHBORHOOD FATHER ( O. S. )
What s goi ng on over t her e?
Kenny l ooks up and sees a nei ghbor hood par ent comi ng over .
KENNY
I l l f i ni sh t hi s t oni ght !
Kenny pushes Rudy down once mor e and r uns of f . Rudy sl owl y
r i ses, wi pi ng t he sal i va f r omhi s f ace.
EXT. VACANT LOT - LATER THAT NI GHT
The ent i r e nei ghbor hood has descended upon a VACANT LOT.
They ar e awai t i ng t he annual , f i r ewor ks di spl ay.
We FI ND Leonar d, J acob and Mal ee si t t i ng on a l ar ge r ock,
whi ch gi ves t hema bi r ds eye vi ew of t he cr owd.
Rudy r uns over t o t he r ock and cl i mbs up t op.
12.
CONTI NUED:
( CONTI NUED)
RUDY
Kenny showed up. He sai d, J ef f and
hi mar e gonna t ear t he t r eehouse
down t oni ght . We got t a sneak out
and st op t hem.
J ACOB
Momand Dad woul d ki l l us.
RUDY
We can t l et hi mt ear i t down.
J ACOB
I t s j ust a t r eehouse.
RUDY
No, i t s not ! You know what , you
suck. I mgoi ng. Leonar d, you i n?
J ACOB
You don t have t o go i f you don t
want t o.
RUDY
Don t l i st en t o hi m. He s a pussy.
Leonar d l ooks bet ween J acob and Mal ee.
LEONARD
I l l go.
RUDY
Fi nal l y, someone wi t h bal l s.
I nsul t ed, J acob sl i des of f t he r ock and wal ks away. Mal ee
f ol l ows.
RUDY ( CONT' D) ( cont d)
Let t hemgo.
The f i r ewor ks di spl ay begi ns. As t hey t ur n t o wat ch i t . . .
I NT. TWI N S HOME - BOY S BEDROOM - MI DDLE OF THE NI GHT
We SCAN t he r oomand come t o a set of BUNK BEDS.
SFX: ELECTRI C WATCH ALARM
A body i n t he t op bunk si t s up and t ur ns on a smal l bed
l i ght . Reveal , i t s RUDY. Rudy gr abs hi s wat ch f r omt he
post and si l ences t he al ar m. J acob si t s up i n bed.
13.
CONTI NUED:
( CONTI NUED)
J ACOB
Rudy.
RUDY
Unl ess you r e comi ng wi t h me, I
don t want t o hear i t .
J acob l i es back i n bed, si l ent . Rudy j umps of f t he t op bunk,
get s dr essed and gr abs a BASEBALL BAT. Bef or e l eavi ng, Rudy
l ooks back at J acob and shakes hi s head, di sappoi nt ed.
RUDY ( cont d)
You know, you can t be a pussy al l
your l i f e.
J ACOB
What ?
RUDY
J ef f and Kenny pi ck on you al l t he
t i me, and you don t do shi t .
J ACOB
I t s my pr obl em.
RUDY
No, i t s mi ne t oo. Cause we r e
br ot her s. That s what br ot her s do.
They f i ght f or each ot her , ki l l f or
each ot her , di e f or each ot her .
J ACOB
I don t f eel t hat way.
RUDY
Cause you r e a pussy. So st ay
home, keep your head under t he
bl anket s. I mgonna f i ght .
Wi t h t hat , Rudy di sappear s out t he wi ndow.
FADE TO BLACK:
DARKNESS. . . SFX: CREAKI NG DOOR. A FLASHLI GHT i l l umi nat es t he
l ocat i on. We ar e. . .
I NT. TREEHOUSE - LATER THAT NI GHT
Leonar d and Rudy ent er wi t h t he hel p of a f l ashl i ght .
Leonar d r eaches i nsi de hi s backpack and r emoves a number of
SNACK CAKES f r omhi s backpack.
14.
CONTI NUED:
( CONTI NUED)
LEONARD
( r e: snack cakes)
Some pr ovi si ons.
RUDY
We r e onl y gonna be her e a coupl e
of hour s.
LEONARD
When t wo o cl ock r ol l s ar ound,
you l l be beggi ng f or one of t hese.
Rudy shakes hi s head, r emoves hi s BAT f r omhi s backpack.
LEONARD ( cont d)
( r e: basebal l bat )
I di dn t br i ng my gl ove.
RUDY
Mor on, t he bat i s f or J ef f and
Kenny. You know, t o scar e t hema
l i t t l e.
He swi ngs i t har d.
RUDY ( cont d)
Maybe i t s best i f we don t t al k.
J ust l i st en. Li st en f or t hem, and
don t f al l asl eep.
LEONARD
I mwi de awake. I coul d st ay up
al l ni ght .
EST. EXT. WOODS - LATER THAT NI GHT
The t r eehouse i s i l l umi nat ed by t he f ul l moon, whi ch r est s i n
t he sky above. The t hunder ous sound of a mi l l i on cr i cket s
f i l l s t he ai r .
I NT. TREEHOUSE - CONTI NUOUS
Bot h boys l i e asl eep. A mosqui t o f l i es i n t hr ough t he wi ndow
and buzzes past Leonar d s ear . He haphazar dl y swi pes at i t
i n hi s sl eep, wakes hi msel f up.
LEONARD
Oh, shi t .
Rudy j umps awake.
15.
CONTI NUED:
( CONTI NUED)
RUDY
What . . . What i s i t ? They her e?
LEONARD
No.
Leonar d r i ses, pi cks up hi s bag and opens t he TRAP DOOR i n
t he f l oor . He i s about t o exi t .
RUDY
Wher e you goi ng?
LEONARD
They r e not gonna show up, I m
goi n home. I t s t hr ee o cl ock-
Suddenl y, a FLAMI NG COCKTAI L comes f l yi ng t hr ough t he wi ndow.
I t hi t s Rudy i n t he head, expl odes and engul f s hi mi n f l ames.
EXT. TREEHOUSE - SAME TI ME
J ef f and Kenny st and a f ew yar ds away f r omt he t r eehouse.
Bot h l augh at t he si ght of t he f l ames i nsi de.
KENNY
Now your s. And ai mf or t he wi ndow.
J ef f l i ght s hi s COCKTAI L. I t mi sses t he wi ndow and smashes
i nt o t he si de of t he t r ee house.
KENNY ( CONT' D) ( cont d)
Ha ha, you suck.
J ef f and Kenny hear Leonar d and Rudy scr eami ng f r omi nsi de.
J EFF
You hear t hat ?
I NT. TREEHOUSE - SAME TI ME
Rudy, now cover ed i n f l ames, r ol l s on t he f l oor , scr eami ng.
RUDY
Put i t out ! Put i t out !
Leonar d st r uggl es t o put out t he f l ames wi t h hi s backpack,
but i t s of no use. He spi ns ar ound and f i nds t he wal l
behi nd hi m, engul f ed wi t h f l ames. He scr eams, t er r i f i ed.
J ef f and Kenny ar e f r ant i c.
16.
CONTI NUED:
( CONTI NUED)
J EFF
They r e i n t her e! They r e i n
t her e!
J ef f t ur ns ar ound and r uns back home t hr ough t he woods.
I NT. TREEHOUSE - SAME TI ME
Leonar d backs away f r omRudy. Unf or t unat el y, he doesn t
r eal i ze t hat t he door i n t he f l oor i s open.
We wat ch over Kenny s shoul der as Leonar d f al l s f r omt he
t r eehouse, smacks hi s head on t he t r ee t r unk and comes t o a
cr ash upon some r ocks. Kenny r uns over and f i nds Leonar d
unconsci ous.
KENNY
Wake up! Wake up, ki d!
Of f t he t r eehouse, whi ch i s now a t ower i ng i nf er no -
I NT. TWI N S HOUSE - PARENT S BEDROOM - SAME TI ME
Ashl ey j umps up f r oma deep sl eep. Ther e i s t er r or on her
f ace. She r ushes over t o her DESK and t ur ns on t he LAMP.
Ken i s awakened by her .
J I M
Ashl ey? What i s i t ?
ASHLEY
I f or got t o deposi t your paycheck
l ast week.
J I M
But I al r eady wr ot e some checks.
ASHLEY
I know. Wi t h t he cookout and
ever yt hi ng, I f or got . I l l deposi t
i t t omor r ow. The hol i day shoul d
buy us an ext r a day.
J I M
Wr i t e your sel f a not e so you don t
f or get agai n.
ASHLEY
I j ust di d.
17.
CONTI NUED:
( CONTI NUED)
Ashl ey t ur ns of f t he desk l amp and r et ur ns t o bed.
ASHLEY ( cont d)
Goodni t e.
FADE TO BLACK:
SFX OVER BLACK : TELEPHONE RI NGI NG
FADE I N:
EXT. GRAVEYARD - WEEKS LATER - AFTERNOON
ON J I M and ASHLEY, wat chi ng Rudy s casket as i t i s l ower ed
i nt o t he gr ound. The once spi r i t ed, coupl e now l ooks t i r ed
and pai ned. They ar e accompani ed by a number of mour ner s.
PRI EST
Rest i n pi ece, Rudol ph Eugene
Car ges. May God hol d you i n t he
pal mof hi s hand.
J acob st ands besi de hi s par ent s. Tear s st r eamf r omhi s eyes,
acr oss hi s bi r t hmar k and of f hi s chi n. So st r i cken wi t h
gr i ef , J acob bar el y has t o ener gy t o wi pe t he t ear s away.
We cont i nue on t hr ough t he cr owd and f i nd Mal ee. Embar r assed
by t he t ear s, she br i ngs a bl ack vei l down over her f ace.
I NT. YACCO S OFFI CE - LATER THAT DAY
Mal ee ent er s, st i l l wear i ng t he vei l . She cr osses t o t he
couch and si t s besi de A PATI ENT, GUS MAI TLAND ( 30) , l ong
hai r ed, hi ppi - t ype wi t h a moust ache and bear d. Gus eyes
Mal ee, i nt r i gued.
GUS
Fr i end or f ami l y?
MALEE
Huh?
GUS
The per son who di ed.
MALEE
Fr i end.
GUS
I msor r y. You l l l i ke Dr . Chung.
Thi s i s onl y my second sessi on, but
she s good.
18.
CONTI NUED:
( CONTI NUED)
MALEE
I mnot a pat i ent . I mher
daught er .
Mal ee l i f t s her vei l and l ooks at Gus.
GUS
Oh. I can see t he r esembl ance.
MALEE
Ar e you t r yi ng t o make me si ck?
Gus shoot s Mal ee a l ook j ust as Yacco exi t s her of f i ce.
YACCO
Mr . Mai t l and?
Gus r i ses and ent er s t he of f i ce.
YACCO ( CONT' D) ( cont d)
I l l be wi t h you i n a second.
Yacco cr osses t o Mal ee and si t s besi de her .
So, how was i t ?
MALEE
I t was a f uner al , Mom. How do you
t hi nk i t was?
YACCO
I msor r y I coul dn t make i t . Let
Rudy s par ent s know I mavai l abl e
i f t hey need t o t al k. I won t
char ge f or t he sessi ons.
Mal ee l ooks t o Yacco, st unned by her comment .
You know, i t s okay t o cr y.
MALEE
I know i t s okay t o cr y. I don t
need you t o t el l me, i t s okay t o
cr y. I f I want t o cr y, I l l cr y.
YACCO
Okay.
Yacco r e- ent er s her of f i ce. A beat .
19.
CONTI NUED:
( CONTI NUED)
Mal ee st ar t s t o cr y.
EXT. J ACOB S HOME - LATER THAT AFTERNOON
Car s f i l l t he dr i veway and l i ne t he st r eet i n f r ont of
J acob s house.
I NT. TWI N S HOME - LI VI NG ROOM - SAME TI ME
Mour ner s st and i n smal l gr oups, engaged i n hushed
conver sat i ons. J i msi t s i n hi s r ecl i ner , cr yi ng.
I NT. TWI N S HOME - KI TCHEN - SAME TI ME
A number of MOTHERS wat ch as Ashl ey obsessi vel y pr epar es a
pl at t er of devi l ed eggs. Concer ned, one of t hemcr osses over
t o her .
MOTHER
Ashl ey, t her e s mor e t han enough
f ood her e.
ASHLEY
No, Rudy l oved my devi l ed eggs.
I t s r i ght t hat I make t hem.
Wher e s t he papr i ka?
Ashl ey opens up her cupboar ds i n sear ch of t he papr i ka.
ASHLEY ( CONT' D) ( cont d)
J esus, you put somet hi ng down, and
i t di sappear s.
Now angr y, Ashl ey st ar t s t hr owi ng obj ect s out of t he
cupboar ds, haphazar dl y.
MOTHER # 1
Ashl ey.
Ashl ey sl ams her cupboar d door s shut . She l ooks ar ound and
spot s t he GARBAGE PAI L acr oss t he ki t chen.
ASHLEY
Maybe I t hr ew i t out .
Ashl ey cr osses t o t he gar bage. She l i f t s i t upsi de down and
dumps t he t r ash al l over t he f l oor . Ashl ey get s on her knees
and st ar t s sear chi ng.
The ot her women l ook t o each ot her , uncomf or t abl e. Mot her #
1 kneel s down besi de her .
20.
CONTI NUED: ( 2)
( CONTI NUED)
MOTHER # 1
Ashl ey.
Ashl ey i gnor es her . Mot her # 1 gr abs Ashl ey s hands and
l ooks her i n t he eye.
ASHLEY
I t s okay.
Ashl ey st ops col d. The gr i ef and hear t ache hi t once agai n.
ASHLEY ( CONT' D) ( cont d)
Not my baby! Pl ease God not my son!
The mot her s col l ect i vel y dr op t o t he f l oor and sur r ound
Ashl ey i n an at t empt t o comf or t her . They gi ve no car e t o
t he pi l e of gar bage t hey now si t i n.
I NT. LEONARD S HOSPI TAL ROOM - LATER THAT DAY
Leonar d l i es i n a bed, st ar i ng out t he wi ndow. Ther e i s a
BANDAGE wr apped ar ound hi s f or ehead. Pat r i ck si t s besi de hi m
i n a chai r .
Gr ace ent er s, car r yi ng bags of MCDONALD S f ood wi t h her .
GRACE
Thi s hospi t al i s a ni ght mar e. The
el evat or i s never t her e when you
need i t .
Pat r i ck cr osses over t o t he f ood and gr abs hi s l unch.
PATRI CK
Wher e ar e t he gi r l s?
GRACE
Hal ey t ook Sar a up t o t he mat er ni t y
war d.
Gr ace cr osses over t o Leonar d.
GRACE ( CONT' D) ( cont d)
How ar e you f eel i ng?
LEONARD
My head hur t s.
GRACE
You r e l ucky you di dn t get ki l l ed.
21.
CONTI NUED:
( CONTI NUED)
LEONARD
I t ol d you, I msor r y.
GRACE
You t r y bei ng awakened at f our
o cl ock i n t he mor ni ng by t he
pol i ce sayi ng, t hey have your son,
he s unconsci ous and on hi s way t o
t he hospi t al . I ve never been so
scar ed i n my l i f e. And poor Rudy.
Leonar d st ar t s cr yi ng.
GRACE ( cont d)
What ?
LEONARD
My best f r i end i s dead!
Gr ace hands Leonar d a doubl e cheesebur ger .
GRACE
Eat t hi s. I t l l make you f eel
bet t er .
LEONARD
I mnot hungr y. Besi des, I can t
t ast e anyt hi ng anyway.
GRACE
Hospi t al f ood i s al ways bl and.
Thi s has f l avor .
LEONARD
No, i t s because of my condi t i on.
I can t t ast e or smel l anyt hi ng
anymor e.
GRACE
What ar e you sayi ng, condi t i on?
What condi t i on?
LEONARD
( shr ugs)
My condi t i on.
I NT. DOCTOR S OFFI CE - MOMENTS LATER
Pat r i ck and Gr ace si t acr oss f r omt he DOCTOR ( 50 s) .
22.
CONTI NUED:
( CONTI NUED)
DOCTOR
Leonar d has a condi t i on. I t s
cal l ed Anosmi a.
GRACE
Oh my God! I s i t ser i ous?
DOCTOR
No. Anosmi a i s when a per son
l ooses t hei r sense of smel l . I t s
not uncommon i n pat i ent s who suf f er
ser i ous head i nj ur i es.
Unf or t unat el y, i t s al so af f ect i ng
hi s abi l i t y t o t ast e. Agai n, not
uncommon.
PATRI CK
I s i t per manent ?
DOCTOR
Depends on t he pat i ent .
GRACE
What do we do? He can t eat .
DOCTOR
He can eat . He j ust can t t ast e
what he s eat i ng.
PATRI CK
What she means i s, he won t eat .
DOCTOR
Leonar d s associ at i on wi t h f ood i s
no l onger about t ast e. I t s about
t ext ur e. Whi l e we may be par t i al
t o sweet or sal t y f oods, Leonar d
wi l l become par t i al t o cr unchy or
smoot h ones. Once he set t l es on a
t ext ur e he l i kes, hi s appet i t e wi l l
i ncr ease.
GRACE
I can t bel i eve t hi s i s happeni ng.
DOCTOR
Consi der i ng what Leonar d coul d have
suf f er ed, he s l ucky. Besi des, he
i s sever el y over wei ght . A l oss of
appet i t e may be a benef i t .
Gr ace and Pat r i ck shoot hi ma l ook of deat h.
23.
CONTI NUED:
I NT. LEONARD S HOSPI TAL ROOM - SAME TI ME
Leonar d l i es i n bed, st ar i ng out t he wi ndow. A NURSE ( 40)
ent er s and cr osses over t o hi s bedsi de t abl e.
NURSE
How d we do?
The nur se sees t hat Leonar d has bar el y t ouched hi s f ood.
NURSE ( CONT' D) ( cont d)
You have t o eat somet hi ng. I t may
not be gour met , but you don t l ook
t hat f i ni cky.
LEONARD
Thi s st uf f f eel s l i ke shi t i n my
mout h.
NURSE
I t s macar oni and cheese.
LEONARD
I t f eel s gr oss. Li ke t her e s a
f i l mon my t ongue.
The nur se gr abs t he t r ay of f ood. She r emoves an unt ouched
appl e and pl aces i t i n Leonar d s hand.
LEONARD ( CONT' D) ( cont d)
I don t l i ke appl es.
NURSE
So, you can t t ast e i t , r i ght ?
Maybe you l l l i ke t he cr unch.
The nur se exi t s. Leonar d eyes t he appl e i n hi s hand. A
beat . He r el uct ant l y t akes a bi t e. The appl e makes a l oud
CRUNCH. Leonar d st ar t s chewi ng. Af t er a f ew seconds, a
smi l e comes t o hi s f ace. He l i kes i t .
I NT. J ACOB S BEDROOM - SAME TI ME
J acob l i es i n bed, hol di ng Rudy s ol d basebal l GLOVE. He
br i ngs t he gl ove t o hi s nose, and a f l ood of ol d memor i es
come back t o hi m.
J acob r i ses, cr osses over t o t he cl oset and r emoves a met al
LOCK BOX. He sel ect s 666 f or t he combi nat i on and t he box
opens. J acob r emoves t he cont ent s; basebal l car ds, some
f i r ecr acker s, a f ew t i cket st ubs and a PHOTOGRAPH of he and
Rudy at age 5. He can t hel p but smi l e.
24.
I NT. J ACOB S HOME - LI VI NG ROOM - SAME TI ME
Gabe Ar t uni an cr osses over t o J i m.
GABE
I ml eavi ng, J i m. Agai n, so sor r y.
As Gabe t ur ns t o l eave.
J I M
Gabe, ar e you st i l l i nt er est ed i n
buyi ng t he l and? Because I accept
your of f er .
GABE
Thi s i s har dl y t he t i me t o t al k
busi ness.
J I M
Buy t he woods, Gabe, pl ease. Tear
t hemdown and bui l d. Bui l d houses,
condos, a 7- 11, I don t car e. I
j ust don t want t o r ecogni ze i t
ever agai n.
Of f Gabe s l ook -
SFX OVER SHOT: BUZZI NG CHAI N SAW
SMASH CUT TO:
EXT. WOODS - THREE WEEKS LATER - AFTERNOON
TI GHT ON a CHAI N SAWchoppi ng down a t r ee.
WI DEN t o REVEAL a CONSTRUCTI ON CREW, t ear i ng down t he l ast of
t he woods. Rows and r ows of STUMPS make i t l ook l i ke a
gr aveyar d f or t r ees.
MALEE ( O. S. )
I t s gone! I t s al l gone!
We FI ND Mal ee and J acob, st r addl i ng t hei r bi kes a f ew f eet
away f r omt he si t e. Leonar d i s besi de t hemon a scoot er . He
as a band- ai d on hi s f or ehead.
MALEE ( CONT' D) ( cont d)
I f Rudy was al i ve, he d be f r eaki ng
out r i ght now.
Leonar d shoot s Mal ee a l ook. She si l ences her sel f .
25.
( CONTI NUED)
LEONARD
You hol di ng up al r i ght , J acob?
J acob shr ugs.
I msor r y. I wi sh I coul d have
done somet hi ng.
J ACOB
J ef f and Kenny wer e t he ones t hat
st ar t ed t he f i r e. I t was t hei r
f aul t . Or maybe mi ne. I shoul d of
been t her e.
MALEE
You woul dn t have been abl e t o do
anyt hi ng. And i t coul d have been
you who di ed.
J ACOB
I wi sh i t was. You know t he l ast
t hi ng Rudy sai d t o me? He sai d, I
can t be a pussy al l my l i f e. He
was r i ght , I am. And Rudy mi ght be
dead because of i t .
MALEE
Don t say t hat .
( beat )
Why don t you t al k t o your par ent s
about t hi s?
J ACOB
They can t hel p me.
MALEE
Gi ve t hemt i me. I t l l get bet t er .
J ACOB
What i f i t doesn t ? My dad hasn t
gone back t o wor k yet . What i f he
l oses hi s j ob. We coul d l ose our
house. I coul d be homel ess.
MALEE
Then you l l st ay wi t h me.
LEONARD
Or me.
26.
CONTI NUED:
( CONTI NUED)
J ACOB
We r e best f r i ends. We. . .
Suddenl y, somet hi ng cat ches Mal ee s at t ent i on of f scr een.
I t s GUS, st andi ng besi de a BULLDOZER.
MALEE
Oh my God.
J ACOB
What ?
MALEE
That guy. I l i ke know hi m. He s
one of my mot her s pat i ent s.
LEONARD
So?
MALEE
I ve never seen a pat i ent of her s
act ual l y out and about .
( beat )
Shoul d we go over and say hi ?
J ACOB
I j ust want t o get out of her e.
Leonar d and J acob st ar t headi ng of f .
Mal ee st ays f or a beat , eyei ng Gus as he r emoves hi s T- shi r t
and exposes hi s r ock abs. She i s obvi ousl y t ur ned on.
LEONARD
You comi ng, Mal ee?
I NT. LEONARD S HOME - KI TCHEN - LATER THAT AFTERNOON
Leonar d ent er s t o f i nd Gr ace, pl aci ng a casser ol e di sh on t he
t abl e. The t abl e i s f i l l ed wi t h a cor nucopi a of f ood.
LEONARD
Ar e we havi ng company?
GRACE
No, t hi s i s al l f or you. Your
f avor i t es; f r i ed chi cken,
spaghet t i , pi zza, f r ench f r i es, and
chocol at e cheesecake f or desser t .
I made ever yt hi ng ext r a spi cy, so
you can t ast e i t .
27.
CONTI NUED: ( 2)
( CONTI NUED)
LEONARD
Ma, i t doesn t mat t er how spi cy t he
f ood i s.
GRACE
So you r e not even gonna t r y i t ?
LEONARD
I msur e i t s del i ci ous.
GRACE
For get i t . Don t eat .
Gr ace put s t he pl at e of f ood i nt o t he si nk.
GRACE ( cont d)
You can t j ust eat appl es al l t he
t i me.
LEONARD
Why not ?
GRACE
( beat , sear chi ng)
I t s unheal t hy.
Of f Leonar d s conf usi on -
SFX OVER SHOT: SCHOOL BELL
EXT. J EFFERSON J UNI OR HI GH SCHOOL - DAYS LATER - MORNI NG
St udent s make t hei r way i nsi de f or t he f i r st day of school .
Ther e i s a si gn out f r ont , whi ch r eads: WELCOME BACK.
I NT. CLASSROOM - SAME TI ME
A TEACHER wal ks al ong t he l i ne of desks, showi ng st udent s
t hei r assi gned seat s.
TEACHER
Tommy Wal l ace.
Tommy t akes hi s seat .
TEACHER ( CONT' D) ( cont d)
J acob Car ges.
J acob t akes hi s seat .
Rudy Car ges.
28.
CONTI NUED:
( CONTI NUED)
J acob al ong wi t h hi s cl assmat es ar e shocked t o di scover t hat
Rudy s name hasn t been r emoved f r omt he at t endance sheet .
The t eacher i s unawar e of t he mi st ake.
Rudy Car ges. Hel l o?
Tommy l ooks t o J acob. Si nce Rudy s not sayi ng anyt hi ng, he
wi l l .
TOMMY
He s not i n t hi s cl ass anymor e.
TEACHER
How do you know?
J ACOB
Cause he s dead.
TEACHER
I r eal i ze bei ng new at t hi s school
put s me at a di sadvant age, but
j oki ng about a f el l ow cl assmat e s
deat h i s anyt hi ng but f unny, Mr . . . .
The t eacher checks her at t endance sheet .
TEACHER ( cont d)
. . . Car ges. Wai t , ar e you. . .
J ACOB
I mhi s br ot her . Was. And I mnot
j oki ng. He s dead.
The t eacher l ooks ar ound at t he ot her st udent s, r eal i zi ng
J acob i s t el l i ng t he t r ut h.
TEACHER
I mso sor r y. Wow, t hi s i s
awkwar d. Woul d you l i ke t he seat
l ef t empt y?
J ACOB
Why?
TEACHER
I n memor y.
Of f J acob s l ook -
29.
CONTI NUED:
I NT. SCHOOL GYMNASI UM - LATER THAT DAY
COACH GI LMORE ( 55) , over wei ght , gymt eacher , dr essed i n a
j oggi ng sui t , snaps gumwhi l e addr essi ng hi s st udent s.
The cl ass of boys st and up agai nst t he wal l . Leonar d i s
amongst t hem. Hi s gymuni f or mbar el y f i t s.
COACH
Al r i ght , l adi es, wel come t o gym.
We wi l l be st ar t i ng t hi ngs of f t hi s
year wi t h t he Uni t ed St at es
St andar di zed Fi t ness Test .
The ent i r e cl ass gr oans.
COACH ( CONT' D) ( cont d)
I msur e you al l r emember i t f r om
l ast year . I wi l l be t est i ng you
i n a number of physi cal f i t ness
ar eas.
As coach speaks, Leonar d l ooks as i f he s goi ng t o t hr ow up.
SMASH CUT TO:
ON CHI N UP BAR - MOMENTS LATER
A STUDENT per f or ms chi n ups wi t h gr eat ease.
COACH ( V. O. )
The st at e s r equi r ement f or upper
body st r engt h i s t en chi n ups.
The st udent f i ni shes hi s r un wi t h a count of t wel ve. He hops
of f t he bar and cr osses over t o hi s cl assmat es.
Leonar d, you r e up.
Leonar d cr osses t o t he chi n- up bar , gr abs a hol d of i t and
begi ns st r uggl i ng t o l i f t hi msel f up. Unf or t unat el y, he can
onl y manage 1/ 8t h of an i nch. Leonar d dr ops of f t he bar ,
exhaust ed.
What ar e you doi ng, l et s go!
LEONARD
That was as f ar as I coul d pul l
mysel f up.
30.
( CONTI NUED)
A f ew st udent s l augh. Coach shakes hi s head, di sgust ed.
SMASH CUT TO:
ON A STUDENT DOI NG SI TUPS - LATER
Coach st ands over t he boy, t i mi ng hi mwi t h a st op wat ch.
COACH
Ten seconds. You need f or t y t o
pass.
The st udent i ncr eases hi s speed.
Ti me. 42. Good j ob.
The st udent r i ses of f t he mat and wal ks over t o t he ot her
boys. Leonar d ent er s f r ame and dr ops on t he mat l i ke a t on
of br i cks.
( r ol l i ng hi s eyes)
Go!
Leonar d st r uggl es t o l i f t hi msel f up but , he can t do i t .
Come on, son, f i ght i t .
Leonar d s f ace t ur ns r ed. He cl enches hi s t eet h.
Unf or t unat el y, due t o t he pr essur e he i s exer t i ng, he bl ows a
l oud f ar t . The gymer upt s wi t h l aught er .
EXT. SCHOOL GROUNDS - TRACK - LATER
The coach and hi s st udent s st and at t he begi nni ng of t he
t r ack, wai t i ng f or Leonar d t o f i ni sh hi s l aps.
Leonar d sl owl y wal ks over . He i s soaki ng wet and br eat hi ng
heavy.
COACH
23 mi nut es.
LEONARD
Not bad.
COACH
The goal was 8.
The cl ass can t hel p but l augh.
31.
CONTI NUED:
( CONTI NUED)
Hi t t he shower s.
The cl ass wal ks of f .
COACH ( cont d)
Not you Leonar d.
Leonar d t ur ns back and cr osses over t o t he coach.
Cent er . That s t he posi t i on you l l
be pl ayi ng i n t wo year s.
LEONARD
Foot bal l ?
COACH
You don t l i ke f oot bal l ?
LEONARD
I l ove i t . I t s j ust I l l never
make t he wei ght r equi r ement . Pop
War ner l eague woul dn t l et me pl ay
f or f i ve year s because of i t .
COACH
Ther e s no wei ght r equi r ement i n
hi gh school bal l , son.
The coach bends down and r i f l es t hr ough hi s GYM BAG. He
r emoves 2 books and hands t hemt o Leonar d.
These ar e your new bi bl es.
LEONARD
Books?
COACH
One i s on nut r i t i on, t he ot her
exer ci se. You do what t hey say,
and you can pl ay f or me once you
get t o hi gh school .
LEONARD
Thanks.
Leonar d begi ns wal ki ng back t o t he gym. Af t er a f ew st eps,
he st ops and t ur ns back.
32.
CONTI NUED:
( CONTI NUED)
Coach, why ar e you doi ng t hi s f or
me?
COACH
Because I ve never seen a chi l d so
out of shape i n my l i f e.
I NT. SCHOOL AUDI TORI UM - LATER THAT DAY
The school BAND i s on st age and pl ayi ng a par t i cul ar l y
hor r endous r endi t i on of t he STAR SPANGLED BANNER. We FI ND
MALEE i n t he f l ut e sect i on, pl ayi ng her hear t out .
The CONDUCTOR, MR. FARMER ( 40) over l y ener get i c and dor ky,
waves hi s bat on, si l enci ng t he band.
MR FARMER
( annoyed)
Di d anyone pr act i ce over t he
summer ?
The band si t s si l ent .
MR. FARMER
Gr eat . Wel l , we st i l l have a f al l
r eci t al comi ng up. I f anyone woul d
l i ke t o per f or ma sol o, si gn up on
t he sheet out si de my of f i ce. Cl ass
di smi ssed.
Of f Mal ee, wei ghi ng t he deci si on i n her mi nd.
I NT. SCHOOL HALLWAY - MOMENTS LATER
Mal ee st ands out si de Mr . Far mer s of f i ce, st ar i ng at t he SI GN
UP SHEET on hi s door . Af t er a beat , she l i f t s her pen t o
si gn her name. Bef or e she wr i t es i t , she st ops, qui ckl y
t ur ns ar ound and wal ks away.
Af t er a beat , Mal ee r et ur ns t o t he si gn up sheet and st ar t s
wr i t i ng her name. Hal f way t hr ough, she st ops, scr at ches out
her name and wal ks of f .
We r emai n on t he si gn up sheet . Af t er a f ew seconds, Mal ee s
hand ent er s t he shot and wr i t es i n her name.
I NT. J ACOB S HOME - DEN - EVENI NG
J acob ent er s t o f i nd J i mand Ashl ey f i ght i ng.
33.
CONTI NUED: ( 2)
( CONTI NUED)
ASHLEY
No, t hey r e wr ong. Cal l t hemback.
J I M
Ashl ey, I t al ked t o t he l awyer . He
woul dn t l i e.
J ACOB
What s goi ng on?
ASHLEY
Thi s i s al l your f aul t .
J I M
Me?
ASHLEY
I f we had gone t o t he hear i ngs l i ke
I sai d, t hi s woul dn t be happeni ng.
J I M
We agr eed i t woul d be t oo pai nf ul .
ASHLEY
You agr eed.
J ACOB
Mom, what happened?
Ashl ey t ur ns t o J acob as i f r eal i zi ng hi s pr esence f or t he
f i r st t i me.
ASHLEY
Tel l hi m. Tel l your son.
J I M
The boys who ki l l ed Rudy cut a
deal . They got a year i n j uvi ni l e
hal l and f i ve year s pr obat i on.
ASHLEY
A year . That ' s what your br ot her s
l i f e i s wor t h. A damn year !
J I M
Ashl ey, cal mdown!
ASHLEY
How can you be so unaf f ect ed by
t hi s! How? Our son was mur der ed!
34.
CONTI NUED:
( CONTI NUED)
J I M
( measur ed)
I t was an acci dent , and t he boys
ar e j uveni l es.
ASHLEY
So t hat makes i t okay?
Ashl ey st or ms out of t he r oom. J acob l ooks t o hi s f at her ,
unner ved by t he si ght of hi s mot her so upset .
J i mj ust t ur ns and wal ks i nt o t he l i vi ng r oom.
FADE TO BLACK:
SFX OVER BLACK: ALARM CLOCK
FADE I N:
I NT. LEONARD S BEDROOM - EARLY MORNI NG
Leonar d awakens and si l ences t he al ar m. He si t s up i n bed
f or a moment and comes t o hi s senses.
EXT. LEONARD S HOME - MOMENTS LATER
Dr essed i n a sweat sui t and sneaker s, Leonar d spr i nt s down
t he dr i veway and t o t he st r eet . Hi s sweat sui t i s so t i ght ,
Leonar d l ooks l i ke a st uf f ed sausage.
Wi t h each st ep he t akes, Leonar d br eat hi ng becomes heavi er
and heavi er . Sweat f or ms on hi s f or ehead and dr i ps down hi s
f ace.
Wi t hi n seconds, Leonar d s pace t aper s of f . He st r uggl es t o
cont i nue but i s so out of shape, st oppi ng i s i nevi t abl e.
Leonar d l eans over , gaspi ng f or ai r . He l ooks back and
r eal i zes t hat he onl y r an about one hundr ed yar ds. I n f act ,
hi s house i s st i l l i n vi ew.
Leonar d t ur ns ar ound and st ar t s wal ki ng back home. Af t er a
f ew st eps, he st ops and t hr ows up.
EXT. CONSTRUCTI ON SI TE - DAYS LATER - AFTERNOON
Gus st ands i nsi de of a shal l ow di t ch, di ggi ng out t he r oot s
of an ol d t r ee.
MALEE ( O. S. )
Don t I know you?
35.
CONTI NUED: ( 2)
( CONTI NUED)
Gus t ur ns and sees Mal ee behi nd hi m, hol di ng a PI CNI C BASKET.
GUS
Dr . Chung s daught er .
MALEE
You r emember ed. We wer e never
i nt r oduced. My name i s Mal ee.
GUS
Gus.
They shake hands.
GUS ( CONT' D) ( cont d)
What ar e you doi ng her e?
MALEE
I was i n t he mood f or a pi cni c. I
t hought t hi s woul d be a ni ce pl ace
t o have one.
Gus l ooks ar ound, conf used. Thi s l ocat i on i s anyt hi ng but
pi cni c f r i endl y. Bul l dozer s pl ough t hr ough t he scene,
bl ast i ng exhaust i nt o t he ai r . Men scr eamat each ot her .
WORKER ( O. S. )
Asshol e, move your f ucki ng t r uck!
MALEE
Woul d you l i ke t o j oi n me? Ther e s
pl ent y of f ood.
GUS
I don t go t o l unch f or anot her t en
mi nut es.
MALEE
I l l wai t . Meet me by t he cement
mi xer when you r e r eady.
Mal ee wal ks of f . Gus wat ches as she makes her way t hr ough
t he const r uct i on si t e.
EXT. CONSTRUCTI ON SI TE - ANOTHER AREA - TEN MI NUTES LATER
Gus and Mal ee si t on a checker ed bl anket , eat i ng Chi nese f ood
wi t h chopst i cks. A l ar ge CEMENT MI XER st ands behi nd t hem.
36.
CONTI NUED:
( CONTI NUED)
GUS
The l ast t i me I saw you, you had
j ust come f r oma f uner al . How ar e
you doi ng?
MALEE
Okay. Deat h i s l i ke so wei r d. I
mean, i t s sad, but I al so f eel
l i ke I ve been gi ven t hi s si gn. A
si gn whi ch i s t el l i ng me, l i f e i s
shor t , so you got t a do what makes
you happy. You got t a t ake chances.
You got t a get cr azy.
GUS
What ar e you doi ng t o get cr azy?
MALEE
I pl ay t he f l ut e.
GUS
( l aughs)
Yeah, t hat s t ot al l y nut s.
MALEE
No, not t hat . See, ever y year my
school has t hi s r eci t al . I ve
al ways been t oo scar ed t o pl ay a
sol o i n f r ont of peopl e, but t hi s
year I ve deci ded t o do i t .
GUS
Good f or you. When i s i t ?
MALEE
Why do you car e?
GUS
Cause I mgonna go.
MALEE
What ? You can t go! Nobody goes
t o t hese t hi ngs. I don t even
t hi nk my momi s goi ng.
GUS
You got t a have somebody r oot i ng f or
ya. Besi des, I l i ke musi c, and I
owe you f or br i ngi ng me l unch.
37.
CONTI NUED:
( CONTI NUED)
MALEE
( l aughs, embar r assed)
Okay. Tuesday at 8: 30 i n t he
j uni or hi gh school audi t or i um.
GUS
I l l be t her e.
MALEE
( vul ner abl e)
Don t say i t i f you don t mean i t .
GUS
I l l be t her e. Fr ont r ow.
Mal ee smi l es. She s got a maj or cr ush on Gus now.
CUT TO:
TI GHT ON TV: VI DEO GAME - HALO. Two sol di er s f i r e at each
ot her wi t h super soni c weapons. One sol di er i s par t i cul ar l y
anni hi l at ed. GAME OVER appear s.
I NT. CARGES LI VI NG ROOM. DAY
REVEAL J acob and Leonar d i n f r ont of t he TV. Mal ee of f t o t he
si de, r eadi ng a book.
LEONARD
I can t bel i eve how much you suck
at t hi s game.
J acob t hr ows hi s r emot e down.
You wanna pl ay agai n?
J ACOB
No.
The boys si t i n si l ence f or a beat .
LEONARD
You wanna shoot some hoops?
J ACOB
No.
( beat )
The sent enci ng t hi ng t ot al l y upset
my mom. She was up hal f t he ni ght ,
cr yi ng.
38.
CONTI NUED: ( 2)
( CONTI NUED)
Mal ee cl oses her book, l ooks over at Leanor d.
LEONARD
I can t bel i eve i t ei t her . A year
ai n t shi t ! Rudy i s dead f or ever .
J ACOB
I want t hemdead. I want t o ki l l
t hem. I coul d handl e a year i n
J uvy hal l .
MALEE
Whoa, what t hose guys di d was an
acci dent . I f you wer e t o ki l l
t hem, i t s pr emedi cat ed. You d get
20 year s t o l i f e at l east .
J ACOB
So I mj ust supposed t o si t her e
and t ake i t ? Be l i ke you guys.
LEONARD
What i s t hat supposed t o mean?
J ACOB
You seemt o have gone on wi t h l i f e
pr et t y easi l y. Don t you mi ss hi m?
Don t you car e?
MALEE
I t s not t hat we don t car e. I t s
j ust . . .
J ACOB
Li f e goes on.
MALEE
I t does. You have t o deal wi t h i t .
I f you don t , i t coul d l i ke eat you
al i ve f or ever . 90 per cent of
peopl e s pr obl ems i s due t o t hei r
i nabi l i t y t o get over t he past .
LEONARD
How do you know?
MALEE
My momt el l s t hat t o al l her
pat i ent s. I ve eavesdr opped on
some of her t her apy sessi ons.
39.
CONTI NUED:
( CONTI NUED)
LEONARD
That s awesome. Can I l i st en i n
somet i me?
MALEE
No. Anyway, she says, i f a per son
want s cl osur e, t hey got t a deal wi t h
t hei r pr obl ems head on. Go see
t hese guys and l et t hemknow how
you f eel .
J ACOB
I don t t hi nk my par ent s woul d be
up f or t hat .
MALEE
Go al one. J uvy hal l i s onl y l i ke
f or t y mi nut es f r omher e. Take t he
bus.
Of f J acob, t hi nki ng-
I NT. J ACOB S PARENT S BEDROOM - LATER THAT AFTERNOON
The bedr oomdoor sl owl y opens. J acob peeks hi s head i nsi de
t he dar kened r oomand qui et l y ent er s. He t i p t oes over t o
hi s par ent s bed. Ashl ey l i es asl eep, wr apped up i n a bundl e
of bl anket s.
J acob cr osses t o her ni ght st and and opens t he t op dr awer .
He r emoves her pur se, unzi ps i t and st eal s some cash, whi ch
t ot al s ar ound 60 dol l ar s.
I NT. CARGES LI VI NG ROOM - MOMENTS LATER
J i msi t s i n hi s chai r , st ar i ng of f i nt o space. J acob ent er s
and cr osses t o t he f r ont door .
J ACOB
Bye, Dad.
EXT. BUS STATI ON - MOMENTS LATER
Wi t h t he hel p of t he BUS DRI VER, J acob l oads hi s bi ke i nt o
t he l uggage compar t ment under neat h t he bus. Then he hands
t he dr i ver a t i cket and boar ds.
J acob t akes a seat up f r ont . Af t er a f ew moment s, t he dr i ver
boar ds, st ar t s t he engi ne and dr i ves of f .
40.
CONTI NUED: ( 2)
I NT. J UVI NI LE HALL - CONVERSATI ON BOOTH - LATER
J acob and Kenny si t , st ar i ng at each ot her t hr ough a pl at e of
gl ass. Kenny pi cks up t he ONE WAY PHONE. J acob does al so.
J ACOB
Wher e s J ef f ?
KENNY
He s si ck. I t hi nk he. . .
J ACOB
( i nt er r upt i ng)
I hat e you. You know t hat ? You
bast ar d.
KENNY
Rudy knew we wer e goi ng t o be
t her e. He never shoul d have come.
You want t he t r ut h, al l t hi s
happened cause of you.
J ACOB
Me?
KENNY
Yeah, you def or med r et ar d! The
onl y r eason we st ar t ed pi cki ng on
you guys i n t he f i r st pl ace was
because of t hat t hi ng on your f ace.
J ACOB
Ever y ni ght , I l i e i n bed and pl an
your mur der .
KENNY
I mshaki ng.
J ACOB
Fi r st I mgoi ng t o t ake a ki t chen
kni f e and chop of f your f i nger s
t hen your nose t hen your t ongue.
Then I mgonna poke out your eyes
wi t h t he end of a br oomst i ck.
Wel l , not r eal l y poke t hemout , but
I mgonna push t hemback i nt o your
br ai n. Then I mgonna t ake
sci ssor s and cut of f your ear s.
When t hey f i nd you, i t s gonna be
l i ke put t i ng a j i gsaw puzzl e back
t oget her .
41.
( CONTI NUED)
KENNY
I f you ki l l me, you come her e.
J ACOB
So? What do I have t o l ook f or war d
t o? You ve al r eady dest r oyed my
l i f e.
KENNY
What happened was an acci dent .
J ACOB
Ther e ar e no acci dent s. You r e
gonna pay f or what you di d. And
i t s gonna hur t l i ke hel l .
I NT. LEONARD S BEDROOM - NI GHT
Leonar d si t s, r eadi ng t hr ough nut r i t i onal manual s.
We see t hat he i s wr i t i ng t hi ngs down on a pi ece of paper .
The wor ds wr i t t en ar e: Sugar , cor n syr up, sal t , gum.
I NT. LEONARD S HOME - HALLWAY/ KI TCHEN - LATER
Gr ace wal ks t hr ough t he hal l way hal f asl eep. She ent er s t he
ki t chen and f i nds Leonar d, si t t i ng on t he f l oor , sur r ounded
by boxes of f ood. Al l of t he ki t chen cupboar ds ar e open and
packages l i ne t he count er t ops.
GRACE
What t he hel l i s t hi s?
LEONARD
I mr eadi ng t he l i st of i ngr edi ent s
i n our f oods.
GRACE
Why?
LEONARD
Resear ch. Do you know t he damage
t hese chemi cal s can do t o t he human
body?
GRACE
Leonar d, put ever yt hi ng back.
LEONARD
Thi s i s ser i ous. You can t keep
buyi ng t hi s cr ap. Don t you car e
t hat you r e i ngest i ng gar bage?
42.
CONTI NUED:
( CONTI NUED)
GRACE
J ust put ever yt hi ng back and go t o
sl eep.
Of f Leonar d s l ook -
EXT. STREET - NEXT DAY - AFTERNOON
Mal ee i s r i di ng her bi ke on t he si dewal k when she sees Gus,
exi t hi s car and ent er her mot her s of f i ce.
I NT. STAI RWELL/ HALLWAY - MOMENTS LATER
Mal ee r uns up a f l i ght of st ai r s. She get s of f at t he second
f l oor and ent er s an open, unoccupi ed of f i ce.
I NT. UNOCCUPI ED OFFI CE - CONTI NUOUS
Mal ee r uns over t o t he heat i ng gr at e and put s her ear t o i t .
YACCO ( FROM BELOW)
How was your week?
GUS ( FROM BELOW)
Same. St i l l can t sl eep. When I
do, ni ght mar es.
I NT. YACCO S OFFI CE - SAME TI ME
Yacco and Gus si t acr oss f r omeach ot her .
YACCO
Post t r aumat i c st r ess i s ver y
common i n your l i ne of wor k. Many
f i r e f i ght er s go t hr ough t hi s.
GUS
Yeah. But why now? I haven t
f ought f i r es i n t en year s.
YACCO
Somet i mes we exper i ence somet hi ng
so hor r i f i c, our memor y bl ocks i t
out . That way we won t have t o
r el i ve t he pai n. I t s cal l ed
r epr essi on. Our bodi es ar e not so
f or gi vi ng, however . I nsi de, we
f eel t he ef f ect s of t r auma even
when we don t know why.
GUS
What does t hat mean?
43.
CONTI NUED:
( CONTI NUED)
YACCO
Somet hi ng st i r r ed your unconsci ous.
I f we f i nd out what t hat was, we
can begi n t he heal i ng pr ocess.
Gus l ooks t o her , conf used.
You t ol d me l ast week, t he
ni ght mar es st ar t ed about t he t i me
you moved her e. Let s l ook at
t hat . Why di d you move her e?
GUS
A f r i end was maki ng good money wi t h
const r uct i on. He got an of f er t o
bui l d t hat ext ensi on of f Li ndsay
Acr es. He suggest ed I come i nt o
t own and wor k f or a whi l e.
I NT. UPSTAI RS OFFI CE - SAME TI ME
Mal ee i s on t he edge of her seat , l i st eni ng. We see t hat she
has wr i t t en t he f ol l owi ng wor ds i n her not ebook: GUS -
NI GHTMARES - FI RE.
YACCO ( FROM BELOW)
Ar e t her e any ot her r eoccur r i ng
el ement s i n your dr eams. Per haps,
a f ace or . . .
I NT. YACCO S OFFI CE - SAME TI ME
GUS
Li ght my Fi r e i s al ways pl ayi ng.
YACCO
What ?
GUS
Li ght my f i r e. The Door s song.
( si ngi ng)
Da da somet hi ng. . . wal l ow i n t he
mi r e. . . Da, da. . . we coul dn t get
much hi gher . Come on baby l i ght my
f i r e.
Yacco st ar es at Gus. He i s suddenl y sel f consci ous.
YACCO
I nt er est i ng.
44.
CONTI NUED:
I NT. UPSTAI RS OFFI CE - SAME TI ME
Mal ee ci r cl es t he wor ds Li ght My Fi r e agai n and agai n and
agai n.
I NT. J ACOB S HOME - UPSTAI RS HALLWAY - DAYS LATER - EVENI NG
SFX: CLANGI NG POTS AND PANS, comi ng f r omdownst ai r s.
J acob exi t s hi s r oomand goes t o i nspect t he noi se.
I NT. J ACOB S HOME - KI TCHEN - MOMENTS LATER
J i mst ands on a chai r , cl eani ng out t he ki t chen cupboar ds.
Pot s and pans l i ne t he count er t ops, di shes cover t he t abl e
and non per i shabl e f oods ar e spr ead out acr oss t he f l oor .
J acob ent er s and i s t aken aback by t he si ght of J i mst andi ng
on a chai r and wear i ng an APRON and RUBBER GLOVES.
J ACOB
Dad?
J I M
J acob.
J ACOB
You okay?
J I M
Fant ast i c.
J i mr i ps t he r ubber gl oves of f wi t h hi s t eet h.
J I M ( CONT' D) ( cont d)
You know, f or t he past f ew weeks, I
sat i n t hi s house. I coul dn t
move. Ever yt hi ng r emi nded me of
Rudy. Then f r omout of nowher e I
had a r evel at i on. I amal i ve!
Your mot her i s al i ve! I became
over come wi t h j oy because I
r eal i zed how l ucky we ar e t o st i l l
have you.
J ACOB
Me?
J I M
J acob. I l ove you.
45.
( CONTI NUED)
J i mgr abs J acob and hugs hi mt i ght l y. J acob pul l s away,
unset t l ed and bi t f r i ght ened.
J I M ( CONT' D) ( cont d)
( hal f cr azed)
I went t o wor k t oday. For t he
f i r st t i me i n weeks. I t was as i f
I had j ust got t en out of col l ege!
I was f ear l ess! I went af t er
account s I had avoi ded f or year s
because I t hought t hey wer e out of
my l eague. I spoke t o pr esi dent s,
vi ce pr esi dent s, busi ness manager s,
sal es r eps. I was amazi ng. I was
magi c. But when I came home t o
shar e t he news wi t h your mot her , I
di scover ed her asl eep. When I
l ooked ar ound t he house, I r eal i zed
t hat her of f i ce, f or l ack of a
bet t er wor d, was al so pi l ed up.
So, I t ook t o t he house. I have
made i t my dut y t o cl ean t hi s pl ace
f r omt op t o bot t om. Even i f i t
t akes me al l ni ght , I don t car e.
J acob?
J ACOB
( f r i ght ened)
Yeah?
J I M
Wi l l you j oi n me? J oi n me i n t hi s
cel ebr at i on of l i f e. A symbol i c
gest ur e of cl eani ng out t he ol d and
br i ngi ng i n t he new.
J ACOB
Do I have t o?
J I M
( t hr own f or a l oop)
No, you don t have t o.
J ACOB
Good ni ght , Dad.
Of f J i m s l ook -
EXT. J UNI OR HI GH SCHOOL AUDI TORI UM - DAYS LATER - NI GHT
Par ent s and st udent s f i l e i nsi de. A l ar ge SI GN above t he
door r eads, J EFFERSON J UNI OR HI GH FALL RECI TAL.
46.
CONTI NUED:
I NT. SCHOOL AUDI TORI UM - CONTI NUOUS
A packed audi ence l i st ens t o A GI RL ( 12) , st andi ng cent er
st age and si ngi ng The Rose. She i s not near l y as good as
she t hi nks she i s, but she si ngs f ul l t hr ot t l e.
We FI ND Mal ee, si t t i ng i n t he f l ut e sect i on and pl ayi ng al ong
wi t h t he r est of t he or chest r a. She l ooks t o t he f r ont r ow,
but Gus i s no wher e t o be f ound.
The gi r l f i ni shes her song, and t he cr owd pol i t el y appl auds.
Mr . Far mer cr osses t o t he mi cr ophone.
MR. FARMER
I msur e Bet t e Mi dl er woul d be most
i mpr essed wi t h t hat r endi t i on.
The cr owd l aughs. Mr . Far mer di dn t mean f or i t t o be a
j oke.
MR. FARMER ( CONT' D) ( cont d)
Anyway, our next sol oi st i s Mal ee
Chung. She wi l l pl ay t he t heme
f r omLove St or y on t he f l ut e.
The cr owd appl auds as Mal ee r i ses and cr osses t o t he
mi cr ophone.
MALEE
Thank you, Mr . Far mer .
Mal ee spot s Gus, wal ki ng down t he ai sl e. He scur r i es i nt o
t he f r ont r ow and si t s. Mal ee l i ght s up.
Ther e s act ual l y been a change.
I mnot goi ng t o pl ay t he t heme
f r omLove St or y. Um. . . t hi s i s a
song. . .
Mr . Far mer , waves t o Mal ee f r omof f st age. Mal ee l ooks at
hi m. Mr . Far mer mout hs somet hi ng t o her .
MALEE ( I NTO MI CROPHONE) ( CONT' D)
( t o Mr . Far mer )
What ? I can t hear you?
Mr . Far mer t hr ows up hi s hands.
47.
( CONTI NUED)
Anyway. Thi s i s a song by The
Door s.
At t he ment i on of The Door s, Gus smi l e i nst ant l y f ades. The
coi nci dence i s j ust t oo gr eat .
Mal ee st ar t s t o pl ay Li ght My Fi r e. She i s good. Mr .
Far mer and t he audi ence seempl eased by her euphoni ous
per f or mance. Even Gus i s won over . He appear s ent r anced by
t he musi c.
I NT. SCHOOL AUDI TORI UM - LATER THAT NI GHT
The r eci t al i s over . Most of t he audi ence has f i l ed out . A
f ew r emai n, of f er i ng t hei r congr at ul at i ons t o t he musi ci ans.
Mal ee st ands wi t h Leonar d.
MALEE
Wher e s J acob?
LEONARD
Coul dn t make i t . He. . .
GUS ( O. S. )
Mal ee.
Mal ee spot s Gus, headi ng t owar ds her .
MALEE
Oh my God! He s comi ng over .
LEONARD
Who?
MALEE
Shut up! Leave now.
Mal ee pushes Leonar d behi nd her j ust as Gus appr oaches.
GUS
You wer e awesome.
MALEE
Real l y? Be honest . I d r at her you
t el l me I sucked t hen l i e.
GUS
You wer e gr eat .
Leonar d peeks ar ound Mal ee s back.
48.
CONTI NUED:
( CONTI NUED)
MALEE
Excuse me f or a second.
Mal ee t ur ns ar ound and pi nches Leonar d.
LEONARD
Ow, ow, ow al r i ght . I mgoi ng.
Leonar d wal ks of f . Mal ee t ur ns back ar ound wi t h a bi g smi l e
on her f ace. She pl ays coy.
MALEE
So you r eal l y enj oyed i t ?
GUS
Yeah. Good song. What made you
pi ck i t ?
MALEE
( cover i ng)
Oh, uh. . . my mot her was hummi ng i t
al l l ast week. Bi g Door s f an.
GUS
Real l y? I s she her e?
MALEE
No.
GUS
She mi ssed out .
MALEE
You r e so sweet .
GUS
Yeah wel l , I have t o go, but t hanks
agai n. I had a gr eat t i me.
Gus gi ves Mal ee an i nnocent ki ss on t he check and t hen wal ks
of f . Mal ee mel t s. She st ands f r ozen, cl ut chi ng ont o her
f l ut e i n ecst acy.
EXT. STREET - MORNI NG
Wi t h f i r e and det er mi nat i on, Leonar d j ogs. Unf or t unat el y, he
i s qui ckl y wi nded by t he r un. He bends over , gaspi ng.
SUPERI MPOSE SHOT OVER SHOT: Leonar d appear s, r unni ng past
hi s ol d, weaker sel f . St r onger , he makes a f ew mor e yar ds
and t hen i s f or ced t o st op.
49.
CONTI NUED:
( CONTI NUED)
He l eans over f or ai r , and we SUPERI MPOSE anot her SHOT OVER
SHOT of Leonar d, weeks l at er , r unni ng past hi s weaker sel f .
( Thi s ser i es of shot s r epeat s a f ew mor e t i mes, i l l ust r at i ng
t he pr ogr essi on of t i me and wei ght l oss. )
I NT. LEONARD S HOME - STAI RCASE/ KI TCHEN - DAY
Leonar d r uns up and down t he st ai r s, sweat i ng l i ke cr azy.
Gr ace appear s, wat chi ng hi mar ound t he cor ner . She shakes
her head and t hen r et ur ns t o t he ki t chen.
GRACE
That boy i s goi ng t o br i ng t he
ent i r e house down.
PATRI CK
Let hi mbe. He s l ooki ng good.
I mpr oud of hi m.
GRACE
( t o t he gi r l s)
Gi r l s, have you deci ded what you r e
goi ng t o go as f or Hal l oween?
SARA
Ei t her a wi t ch or a pr i ncess.
GRACE
That s ni ce. Hal ey?
HALEY
I mgoi ng t o go as a mar bl e.
GRACE
What do you mean, a mar bl e?
HALEY
You know, l i ke a bag of mar bl es,
but j ust one mar bl e.
I NT. J UVY HALL - CONVERSATI ON BOOTHS - LATE AFTERNOON
J acob and J ef f si t acr oss f r omeach ot her on t he phone. J ef f
has t wo bl ack eyes and a f at l i p. He i s cr yi ng pr of usel y.
J acob doesn t appear at al l sympat het i c.
J EFF
I mr eal l y sor r y, man. I . . .
50.
CONTI NUED:
( CONTI NUED)
J ACOB
You j ust t hi nk about what I sai d.
Get out of my si ght . And send
Kenny i n on your way out .
J ef f r i ses and wal ks t o a door , l eadi ng t o t he j ai l . A
moment l at er , Kenny ent er s, l ooki ng pi ssed of f . He si t s
acr oss f r omJ acob and pi cks up t he phone.
KENNY
What di d you say t o hi m?
J ACOB
I t hought you d bot h l i ke t o know
t hat Hal l oween was Rudy s f avor i t e
hol i day.
J acob pi cks up some pi ct ur es and pr esses t hemagai nst t he
gl ass.
J ACOB ( CONT' D) ( cont d)
These ar e pi ct ur es f r omever y
si ngl e Hal l oween si nce we wer e
f i ve. You see how happy he was?
KENNY
St op i t .
J ACOB
Af t er we d go t r i ck or t r eat i ng,
we d si t i n our r oomand swap t he
candy we hat ed. Rudy l oved
Sni cker s, I Al mond J oys.
KENNY
Al mond J oy sucks.
J ACOB
What sucks i s t hat I l l never get
t o si t i n my r oomand swap candy
wi t h my br ot her ever agai n. Thanks
t o you.
KENNY
Why ar e you doi ng t hi s?
J ACOB
To r emi nd you.
51.
CONTI NUED:
( CONTI NUED)
KENNY
How coul d we f or get ? You been
comi ng her e f or mont hs t o r emi nd
us.
J ACOB
No one i s f or ci ng you t o t al k t o
me.
KENNY
Anyt hi ng t o get out of my cel l .
J ACOB
I s your cel l smal l ?
KENNY
Yes.
J ACOB
So i s a cof f i n.
KENNY
You r e not t he onl y one who wi shes
he was st i l l al i ve. I d do
anyt hi ng t o br i ng hi mback, but I
can t . I t s not easy bei ng i n
her e. Hel l , you saw J ef f .
J ACOB
What happened t o hi m?
KENNY
He pi ssed of f t he wr ong guy of f .
J ef f i s t ot al l y f ucked r i ght now.
J ACOB
Good.
KENNY
Don t come back her e ever agai n.
J ACOB
Fr ee count r y. I l l come i f I want .
KENNY
Don t expect me t o show up.
Kenny sl ams down t he phone and exi t s. J acob smi l es, havi ng
shaken hi m.
52.
CONTI NUED: ( 2)
I NT. LEONARD S HOME - FRONT DOOR - THAT NI GHT
Gr ace hands out candy t o a f ew t r i ck or t r eat er s at her door .
GRACE
Be car ef ul now. Have a good ni ght .
I NT. KI TCHEN - CONTI NUOUS
Gr ace cr osses t o t he ki t chen t abl e wher e Pat i s doi ng a
cr osswor d puzzl e.
GRACE
Ki ds keep comi ng l at er ever y year .
SFX: FRONT DOOR, openi ng and cl osi ng.
Hal ey and Sar a st or mi nt o t he ki t chen i n t ear s. Hal ey i s
dr essed as a MARBLE, and Sar a i s dr essed as a WI TCH.
HALEY
I hat e hi m! I hat e hi m!
GRACE
Who? What happened?
HALEY
Leonar d! He t hr ew away al l our
Hal l oween candy.
GRACE/ PATRI CK
What ?
SARA
He gr abbed our bags and j ust t hr ew
t hemdown a gut t er .
Leonar d ent er s. Hal ey and Sar a r un out of t he ki t chen.
PATRI CK
What t he hel l i s goi ng on? Why di d
you t hr ow away t hei r candy?
LEONARD
Because t hei r sugar i nt ake i s
compl et el y unheal t hy. Besi des,
Hal l oween i s supposed t o be a
cel ebr at i on of evi l . How di d candy
get wr apped i nt o i t ?
53.
( CONTI NUED)
GRACE
I amgoi ng t o ask you t hi s once,
and I want a st r ai ght answer . Ar e
you i n a cul t ?
PATRI CK
Gr ace!
GRACE
Thi s i s what happens when ki ds j oi n
cul t s. The f i r st t hi ng t hey change
i s t hei r di et s.
LEONARD
I mnot i n a cul t . Thi s i s al l
i nf or mat i on you can f i nd i n books.
GRACE
The i ssue her e i s t hat you have
st ol en one of t he most exci t i ng
ni ght s of t he year f r omyour
si st er s.
PATRI CK
I f anybody had done t hi s t o you
when you wer e a chi l d, we never
woul d have hear d t he end of i t .
LEONARD
I wi sh somebody had done i t t o me.
I wi sh ei t her one of you had gi ven
a shi t about my wei ght .
Leonar d st or ms out of t he ki t chen. Pat r i ck and Gr ace ar e
speechl ess.
I NT. LEONARD S ROOM - MOMENTS LATER
Leonar d l i es on t he f l oor , doi ng si t - ups. He can act ual l y do
a f ew now. Pat r i ck bur st s i nt o t he r oom.
PATRI CK
I do not car e f or your l anguage.
LEONARD
I monl y t r yi ng t o hel p you guys.
Leonar d st ops exer ci si ng.
LEONARD ( cont d)
You r e f at dad. Momi s f at . Us
ki ds ar e f at .
54.
CONTI NUED:
( CONTI NUED)
PATRI CK
What s your poi nt ?
LEONARD
Dad, you and momar e goi ng t o di e
young i f you keep eat i ng as poor l y
as you do.
PATRI CK
What i s t hi s obsessi on you have
wi t h wei ght ?
LEONARD
The coach f or J ef f er son Hi gh i s
al so my gymt eacher . He t ol d me
t hat i f I got i nt o shape, I coul d
st ar t as cent er f or t he Fr eshman
t eamwhen I get t o hi gh school .
PATRI CK
Cent er i s a gr eat posi t i on.
Toughest guy on t he f i el d. A good
cent er can make or br eak a t eam.
LEONARD
I know. That s why I mt r yi ng so
har d t o get i nt o shape. You guys
shoul d t o. At t he r at e you r e
goi ng, you won t make i t t o your
60 s.
PATRI CK
Look, Leonar d. Your mom, t o her , a
t ast y meal i s j ust a way of showi ng
she car es.
LEONARD
She doesn t ! Toni ght she ser ved
spaghet t i and meat bal l s f r oma can.
The amount of sodi umal one can
wr eck havoc on a per son s bl ood
pr essur e. Not t o ment i on. . .
PATRI CK
Leonar d, peopl e j ust don t dr op
dead f r omeat i ng meat bal l s.
Of f Leonar d s l ook -
EXT. CONSTRUCTI ON SI TE - DAYS LATER - AFTERNOON
Mal ee hands Gus her bag of Hal l oween Candy.
55.
CONTI NUED:
( CONTI NUED)
GUS
I can t t ake your Hal l oween candy.
MALEE
You l l be doi ng me a f avor .
Chocol at e gi ves you zi t s. Besi des,
i f I want t o keep t hi s f i r mass as
an adul t , I got t a devel op good
eat i ng habi t s now.
GUS
( uncomf or t abl e)
Maybe j ust a sni cker s.
Gus opens a sni cker s bar and st ar t s eat i ng.
MALEE
So wor k i s good?
GUS
To be honest , I can t wai t t i l l
t hi s j ob i s f i ni shed. Thi s pl ace
i s cr eepy. You know, a boy di ed
her e l i ke r i ght bef or e we st ar t ed
wor ki ng.
MALEE
Rudy. Hi s name was Rudy.
GUS
You knew hi m?
MALEE
He was one of my best f r i ends.
Remember t hat f uner al I went t o?
GUS
That was hi m?
MALEE
I t hought you knew. Two boys t hr ew
a f l ami ng cockt ai l at hi m. Can you
i magi ne ki l l i ng someone l i ke t hat ?
How evi l can you get ?
Gus eyes Mal ee, compl et el y unset t l ed.
I NT. APARTMENT BUI LDI NG - NI GHT
Obvi ousl y dr unk, Gus st umbl es t o hi s f r ont door . He f umbl es
f or hi s keys and ent er s.
56.
CONTI NUED:
I NT. GUS S APARTMENT - BEDROOM - LATER
Gus l i es i n bed wi t h a bot t l e of whi skey i n one hand and a
GUN i n t he ot her . Di st r aught and at t he poi nt of t ear s, Gus
opens t he chamber and l oads t he gun wi t h a si ngl e bul l et .
Then he spi ns t he chamber and l ocks i t . Gus put s t he gun t o
hi s head and f i r es. NOTHI NG. He t hr ows t he gun acr oss t he
r oom, gr abs t he bot t l e of whi skey and dr i nks i t t i l l i t s
gone.
I NT. J ACOB S HOME - KI TCHEN - NEXT MORNI NG
Ashl ey st ands wi t h a bi g smi l e on her f ace.
ASHLEY
J ef f Laskey i s dead.
J i mand J acob l ook up, st unned.
J I M
What ?
ASHLEY
He commi t t ed sui ci de i n hi s j ai l
cel l l ast ni ght . Sal l y Yngve
cal l ed j ust now t o t el l me.
J i mand J acob si t , st unned. Thei r shock t ur ns t o i nt r i gue as
Ashl ey, appear i ng unaf f ect ed by t he news, cr osses t o t he
ki t chen t abl e, opens a near by box of donut s and begi ns
eat i ng. She i s smi l i ng.
J ACOB
Why ar e you smi l i ng? A boy di ed.
ASHLEY
No, a monst er t hat mur der ed my son
di ed. J ust i ce i s ser ved; end of
st or y.
Ashl ey cr osses t o t he ki t chen si nk. She r ol l s up her sl eeves
and begi ns cl eani ng. J i mcr osses over t o her and t hey ki ss
as i f not hi ng happened. J acob i s baf f l ed by t hei r behavi or .
I NT. J UVY HALL - COMMUNI CATI ON BOOTH - LATER THAT NI GHT
J acob and Kenny ar e on t he phone t oget her . Kenny l ooks gaunt
and t i r ed. J ef f s deat h has obvi ousl y af f ect ed hi m.
57.
( CONTI NUED)
KENNY
He used hi s bed sheet , wai t ed unt i l
l i ght s out and t hen j umped.
J ACOB
That s t er r i bl e.
KENNY
Hi s cel l mat e l et hi mhang t her e
t he ent i r e ni ght .
J ACOB
I msor r y, Kenny.
KENNY
Li ke you even gi ve a shi t . I bet
when you hear d, you st ar t ed
danci ng.
J ACOB
No.
KENNY
I knew he woul dn t make i t . I t s
my f aul t t oo. J ef f wasn t a sai nt
when I met hi m, but he sur e as hel l
wasn t headed her e.
( t ear i ng up)
That f ucki ng asshol e!
Kenny dr ops t he phone and begi ns cr yi ng i n hi s ar ms. J acob
wat ches t hr ough t he gl ass, t ouched by Kenny s r eact i on.
MUSI C OVER SHOT: UPBEAT CHRI STMAS MUSI C
I NT. J ACOB S HOME - LI VI NG ROOM - CHRI STMAS MORNI NG
J acob si t s on t he f l oor , sur r ounded by boxes and wr appi ng
paper . Sant a has obvi ousl y been good t o hi m.
J i msi t s on t he couch, dr i f t i ng i n and out of sl eep.
Ashl ey, dr essed i n her f i nest Chr i st mas sweat er , per uses t he
f i r epl ace mant el and al l of t he decor at i ons t hat l i ne i t .
She i s a dr ast i cal l y di f f er ent woman t han t he l ast t i me we
saw her . She l ooks upbeat and pr et t y.
J ACOB
An I POD! Sweet !
Ashl ey l ooks at J acob and smi l es. He has j ust unwr apped an
I POD.
58.
CONTI NUED:
( CONTI NUED)
ASHLEY
You l i ke i t ?
J ACOB
I l ove i t . You guys went cr azy
t hi s year .
Ashl ey smi l es at her son. I t s a bi t t er sweet moment f or her .
J I M
I mgoi ng t o shower .
ASHLEY
J i m, J acob st i l l has one mor e
pr esent .
J I M
I t hought we wer e goi ng t o wai t .
J ACOB
No, do i t now! Now!
Ashl ey cr osses t o t he couch and si t s besi de J i m. They hol d
each ot her s hands.
ASHLEY
Af t er ser i ous debat e, your f at her
and I have deci ded. . . t o adopt A
BABY!
J ACOB
What ?
J I M
We r e gonna adopt a baby.
Hopef ul l y a boy.
Of f J acob s shock -
I NT. LEONARD S HOME - DI NI NG ROOM - DAY
Leonar d s ext ended f ami l y si t s at t he ki t chen t abl e, eat i ng
Chr i st mas di nner . Hi s ext ended f ami l y i s j ust as over wei ght
as hi s i mmedi at e. Leonar d bar el y t ouches hi s own pl at e, t oo
di sgust ed t o eat . He r i ses.
LEONARD
May I be excused?
The ent i r e f ami l y st ops eat i ng and t ur ns t o hi m.
59.
CONTI NUED:
( CONTI NUED)
GRACE
No!
Leonar d si t s back down. Hi s f ami l y qui ckl y r esumes eat i ng.
I NT. MALEE S HOME - DEN - EVENI NG
Mal ee does her homewor k, Yacoo f l i ps t hr ough a f ashi on
magazi ne.
MALEE
Why do I have t o do t hi s? I t s
Chr i st mas br eak.
YACCO
You l l be one st ep ahead i n
J anuar y.
MALEE
J ust because you r e an at hei st , I
don t get t o cel ebr at e t he
hol i days.
Yacco shoot s Mal ee t he l ook of deat h.
Don t you f i nd i t har d not
bel i evi ng i n anyt hi ng?
YACCO
Mal ee.
MALEE
I mgoi ng f or a bi ke r i de.
YACCO
Ther e s a f oot of snow out si de.
MALEE
The st r eet s ar e pl oughed. Besi des,
I l i ke l ooki ng at al l t he l i ght s.
YACCO
Be home i n an hour . Be car ef ul .
EXT. 7- 11 PARKI NG LOT - LATER THAT NI GHT
Mal ee f l i ps t hr ough a TELEPHONE BOOK. She comes t o Gus name
and r i ps out t he page.
60.
CONTI NUED:
I NT. GUS APARTMENT BUI LDI NG - OUTSI DE HI S DOOR - LATER
Mal ee knocks on Gus door , but he doesn t answer . Then Mal ee
spot s a WELCOME MAT. She ki cks i t asi de and di scover s a
SPARE KEY under neat h.
I NT. GUS S APARTMENT - CONTI NUOUS
Mal ee caut i ousl y ent er s, shut t i ng t he door behi nd her . A
beat . She al l ows t he exci t ement t o set t l e i n. I t s your
t ypi cal bachel or pad. St r ay beer bot t l es decor at e ever y
shel f and end t abl e. Di r t y cl ot hes dr ape acr oss an ol d
couch. Mal ee cont i nues on t o t he ki t chen.
I NT. GUS APARTMENT - KI TCHEN - CONTI NUOUS
Mal ee f i nds t he ki t chen mor e of a mess t han t he l i vi ng r oom.
Pot s, pans and st acks of TV di nner s l i ne t he count er t op.
I NT. GUS S APARTMENT - BEDROOM - MOMENTS LATER
Mal ee ent er s and st ops col d at t he si ght of t he bed. I t s
unmade and t he sheet s and bl anket s ar e ent angl ed i n a bal l .
Ar oused, Mal ee si t s on t he bed and t hen l i es back i n ecst acy.
EXT. FRONT OF GUS APARTMENT BUI LDI NG - SAME TI ME
Gus dr i ves up, par ks al ong t he si dewal k, and get s out .
I NT. GUS S APARTMENT - BEDROOM - SAME TI ME
Mal ee goes t hr ough a phot o al bum. We see pi ct ur es of Gus,
dr essed i n a f i r ef i ght er s uni f or m. He appear s much younger
and cl ean cut .
As Mal ee r et ur ns t he al bumt o t he ni ght st and, she not i ces a
an open dr awer and peeks i nsi de.
I NT. APARTMENT BUI LDI NG - STAI RWELL - SAME TI ME
Gus l azi l y makes hi s way upst ai r s.
Mal ee hol ds Gus gun. Compl et e wi t h sound ef f ect s, she
pr et ends t o shoot a beer bot t l e of f t he dr esser .
Mal ee l aughs and t hen j umps acr oss t he bed l i ke a Char l i e s
Angel .
61.
I NT. APARTMENT BUI LDI NG - GUS S FRONT DOOR - SAME TI ME
Gus f umbl es f or hi s keys.
Mal ee st ands i n f r ont of t he mi r r or , posi ng.
MALEE
Fr eeze! That s r i ght .
Mal ee l aughs i n spi t e of her sel f . I n t he pr ocess, she
unknowi ngl y cocks t he t r i gger . Mal ee pl aces t he gun t o her
f or ehead and pr et ends t o shoot her sel f .
TI GHT ON TRI GGER, a hai r away f r omf i r i ng -
SFX: BAM!
I NT. GUS APARTMENT - FRONT DOOR - SAME TI ME
The l oud bang we hear d was t he f r ont door sl ammi ng shut . Gus
opens i t and i nspect s t he door f r ame.
I NT. GUS APARTMENT - KI TCHEN/ BEDROOM - SECONDS LATER
Gus r emoves a beer f r omt he f r i dge. We f ol l ow hi mi nt o hi s
bedr oom. He st ops col d as i f f eel i ng t he pr esence of some
one el se t her e, but Mal ee i s nowher e t o be f ound.
Gus begi ns get t i ng undr essed. We f ol l ow hi s shi r t t o t he
f l oor and SEE Mal ee, hi di ng under neat h hi s bed.
SFX: FOOTSTEPS, DOOR OPENI NG, SHOWER RUNNI NG
Mal ee l ooks out f r omunder neat h t he bed. She wat ches as t he
now naked Gus ent er s t he shower st al l i n t he bat hr oom.
As t he wat er f al l s upon Gus, Mal ee r i ses f r omunder neat h t he
bed and cr osses over t o hi m.
I NT. GUS APARTMENT - BATHROOM - CONTI NUOUS
Fr omover Gus s shoul der , we see Mal ee appr oachi ng. An i nch
away f r omGus, Mal ee r eaches out her hand t o t ouch hi m.
Suddenl y, Gus br eaks down and st ar t s cr yi ng.
Unset t l ed, Mal ee sl owl y r et r eat s out of t he bat hr oom.
I NT. J ACOB S HOME - BEDROOM - NEXT DAY
Mal ee, Leonar d and J acob si t , pl ayi ng LI FE, t he boar d game.
62.
( CONTI NUED)
LEONARD
Don t wor r y, whi t e mal e i nf ant s ar e
t he har dest t o come by. 60 mi nut es
di d a whol e st or y on i t .
MALEE
Si nce when do you wat ch 60 mi nut es?
LEONARD
Si nce I was i n t he hospi t al . They
sai d, any adopt i on agency wor t h i t s
sal t has at l east a t hr ee year
wai t i ng l i st . By t he t i me your
par ent s get a ki d, you l l be i n
col l ege. You t hi nk t hey l l want t o
st ar t over agai n wi t h t hat baby
shi t ?
J ACOB
No, but i t s l i ke t hey r e t r yi ng t o
r epl ace Rudy.
LEONARD
I t doesn t mat t er cause i t s not
gonna happen.
Mal ee has been si l ent t hi s ent i r e t i me. Seei ng a moment , she
speaks up.
MALEE
I mt hi r st y.
( t o Leanar d)
Can you get us some dr i nks?
LEONARD
Why me?
MALEE
Because i t s t he gent l emanl y t hi ng
t o do.
J ACOB
I l l get t he dr i nks.
MALEE
I l l go wi t h you.
LEONARD
Why ar e you al l of a sudden goi ng
t o get t he dr i nks?
63.
CONTI NUED:
( CONTI NUED)
MALEE
( bi t chy)
Because you ve upset me, and I
don t want t o see you r i ght now.
Leonar d l ooks t o J acob.
LEONARD
Fi ne, I l l get t he dr i nks.
Leonar d exi t s. Mal ee t ur ns t o J acob.
MALEE
I need a f avor . I t s bi g. I need
you t o hi de somet hi ng f or me.
J ACOB
Hi de what ?
Mal ee r eaches i nt o her back pack.
MALEE
Pr omi se, you won t f r eak.
J ACOB
I won t .
Mal ee r emoves Gus gun.
J ACOB ( cont d)
Hol y shi t !
MALEE
You sai d, you woul dn t f r eak!
J ACOB
That s a gun.
MALEE
I know.
J ACOB
Wher e d you get i t ?
MALEE
I can t t el l you. I j ust need you
t o hi de i t f or a whi l e. When al l
i s cool , I l l come f or i t .
J ACOB
Why can t you keep i t ?
64.
CONTI NUED: ( 2)
( CONTI NUED)
MALEE
My mot her i s a t ot al snoop. She
goes t hr ough my st uf f l i ke al l t he
t i me.
( beat )
Pl ease, J acob. Somebody s l i f e
mi ght depend on i t .
J acob cr osses t o hi s cl oset , r emoves hi s met al LOCK BOX and
opens i t . J acob t akes t he gun and pl aces i t i nsi de.
J ACOB
I s i t l oaded?
MALEE
No, but I do have some bul l et s.
Mal ee r eaches i nt o her backpack and r emoves t he bul l et s.
J acob t akes t hemout and put s t hemi n t he l ock box.
Sur e your par ent s won t f i nd i t ?
J ACOB
Nobody has t he combi nat i on, but me.
Besi des, I coul d be bui l di ng a bomb
i n her e, and t hey woul dn t even
know.
Of f J acob, l ocki ng t he box up.
FADE TO BLACK:
FADE I N:
EXT. STREET - MONTHS LATER - MORNI NG
ON TWO FEET, r unni ng. We REVEAL t hat i t s LEONARD. Hi s once
ski n t i ght sweat sui t , hangs of f of hi m. Mor e t han j ust
ski nny, Leonar d i s i n per f ect shape. He r uns f ast , car ef ul l y
avoi di ng puddl es of mel t i ng snow. ( Spr i ng i s f ast on t he
hor i zon. )
I NT. J UVY HALL - CONVERSATI ON BOOTH - NEXT DAY
J acob and Kenny t al k vi a one way phone. Thei r demeanor has
changed si nce l ast we saw t hem. No l onger f r aught wi t h
cont empt and acr i mony, t hey speak l i ke t wo ol d f r i ends.
J ACOB
I sent i n some comi cs f or ya. The
X- men one i s pr et t y sweet .
65.
CONTI NUED: ( 3)
( CONTI NUED)
KENNY
That l ast bat ch was awesome.
J acob checks hi s wat ch.
J ACOB
I bet t er get goi ng, I don t want t o
mi ss my bus.
KENNY
Bef or e you go, I got some news.
Appar ent l y, t he par ol e boar d f eel s
I ve been a model pr i soner , so
t hey r e gi vi ng me ear l y r el ease.
J ACOB
What ? How can t hey do t hat ?
KENNY
I don t know. They j ust di d.
You r e pi ssed, ar en t you? I knew
you woul d be.
( of f J acob s si l ence)
I t was an acci dent , J acob.
J ACOB
So you r e get t i ng out . Gonna head
back t o school , or . . .
KENNY
Fuck school . I mgoi ng t o l i ve
wi t h my Dad i n New Mexi co. He s
wor ki ng on a r anch out t her e.
J ACOB
You can t l eave t he st at e. That
vi ol at es your pr obat i on. You l l
have t o. . .
KENNY
My dad won t t el l anyone. No one
wi l l even car e I mout t her e.
J ACOB
Your momwi l l .
KENNY
J acob, i n t he ent i r e t i me I ve been
l ocked up, you wer e t he onl y one
who came t o see me. Tr ust me, she
won t car e.
66.
CONTI NUED:
I NT. MALEE S HOME - KI TCHEN - AFTERNOON
Mal ee f ans out a f i st f ul l of t went y dol l ar bi l l s.
MALEE
200 dol l ar s! Dad sent me 200
dol l ar s!
Yacco, smi l i ng, get s r eady f or wor k.
I have t o cal l hi m.
YACCO
No!
( cover i ng)
Your f at her . . . went out . He s not
home r i ght now.
Mal ee eyes her mot her , suspi ci ous.
MALEE
You r e act i ng wei r d. What s goi ng
on?
YACCO
Not hi ng.
MALEE
Wel l , do you want t o come wi t h me
t o t he mal l and spend i t ?
YACCO
I d pr ef er i t i f you d put t hat
money i n t he bank.
( of f Mal ee s l ook)
Fi ne, spend i t . You l l have t o do
i t al one t hough. I have a pat i ent
t hi s af t er noon. Have a good day.
Yacco exi t s t he ki t chen. Mal ee l ooks at her cash and smi l es.
I NT. LEONARD S HOME - KI TCHEN - SAME TI ME
Leonar d, Pat r i ck and Gr ace si t at t he ki t chen t abl e.
PATRI CK
Her e s t he deal . You know how my
company f l i es me t o Fl or i da ever y
Apr i l ?
67.
( CONTI NUED)
LEONARD
You and I have been goi ng si nce I
was ei ght . I t s t he guy s week
of f .
PATRI CK
Thi s year , I mt aki ng t he gi r l s.
J ust t he gi r l s. You r e st ayi ng
home.
LEONARD
Why can t we al l go?
GRACE
I mnot st ayi ng her e al l al one.
Besi des, you sai d i t your sel f ,
you ve been goi ng f or year s. Gi ve
your si st er s a chance.
Leonar d eyes hi s mot her wi t h hat r ed.
LEONARD
What ever .
( beat )
I need money.
PATRI CK
What f or ?
LEONARD
Cl ot hes. Not hi ng I have f i t s
anymor e.
GRACE
Your f at her and I ar en t r i ch. You
can t get a new war dr obe anyt i me
you want .
LEONARD
What amI supposed t o do, go t o
school naked?
GRACE
Wear a bel t .
PATRI CK
I l l gi ve hi msome cash, he can get
some cl ot hes.
GRACE
No. He s gonna gai n al l hi s wei ght
back i n a f ew mont hs.
68.
CONTI NUED:
( MORE)
( CONTI NUED)
Then what , we have t o buy hi mnew
cl ot hes al l over agai n?
Obvi ousl y hur t , Leonar d st or ms out of t he ki t chen.
PATRI CK
Gr ace.
GRACE
What ? I t s t r ue.
Gr ace exi t s t he ki t chen.
J ACOB ( O. S. )
I t hought you hat ed goi ng t o
Fl or i da?
EXT. J ACOB S FRONT LAWN - LATER
Leonar d and J acob pl ay cat ch wi t h a f oot bal l .
LEONARD
When I was f at . Now I don t have
t o wear a T- shi r t when I go
swi mmi ng. Who knows, maybe I coul d
even get l ucky.
J ACOB
You r e st i l l ugl y, t hough.
Leonar d punches J acob s ar mi n f un.
LEONARD
I don t under st and what my mot her s
pr obl emi s. I t s l i ke t he t hi nner
I get , t he mor e she hat es me.
J ACOB
She s pr obabl y j eal ous. Maybe you
shoul d put her on t hat di et .
LEONARD
Anyt i me I ment i on i t , my mot her
goes cr azy.
J ACOB
I f you r eal l y want her t o dr op a
f ew t ons, put her i n j ai l . Kenny s
l ost about 30 pounds si nce he s
been i ncar cer at ed, and he was
al r eady t hi n.
69.
CONTI NUED: ( 2)
GRACE ( cont ' d)
( CONTI NUED)
LEONARD
Real l y?
J ACOB
Yeah. J ai l i s t he per f ect wei ght
l oss pr ogr am. You t ake a f at t ub,
t hr ow t hemi n a r oomand f or ce t hem
t o eat r i ght and exer ci se. Don t
l et t hemout t i l l t hey do.
Of f Leonar d, t hi nki ng-
I NT. MALEE S HOME - BEDROOM - NI GHT
Yacco ent er s Mal ee s r oom.
YACCO
Mal ee, di nner !
Yacco not i ces a number of depar t ment st or e bags st r ewn
ever ywher e.
YACCO ( cont d)
Mal ee?
( not i ci ng somet hi ng)
Oh my God!
REVEAL MALEE, st andi ng acr oss t he r oom. She i s no l onger t he
gawky, adol escent gi r l . Rat her , she has been t r ansf or med
i nt o a beaut i f ul young woman. Her gl asses have been r epl aced
by cont act s, and her br ai ded pi g t ai l s by a quaf f of chi n
l engt h cur l s.
What di d you do?
MALEE
I got a new l ook. You know, f or
Spr i ng. What do you t hi nk?
Mal ee spi ns ar ound, gi vi ng Yacco t he f ul l pi ct ur e.
YACCO
You l ook. . .
MALEE
Beaut i f ul ?
YACCO
Di f f er ent . What happened t o your
gl asses?
70.
CONTI NUED:
( CONTI NUED)
MALEE
Cont act s. I t t ook me l i ke f or t y
f i ve mi nut es t o get t hemi n, but
beaut y i s pai n.
YACCO
Honey, i n t he f ut ur e, I d l i ke t o
know i f you r e goi ng t o r adi cal l y
change your appear ance. Cl ean your
st uf f up and come down f or di nner .
Yacco exi t s. Mal ee l ooks i n t he mi r r or , def l at ed.
EXT. CONSTRUCTI ON SI TE - AFTERNOON
Gus wat ches a CEMENT TRUCK, dumpi ng cement i nt o a f oundat i on.
Once t he cement i s pour ed, t he t r uck pul l s f or war d. Mal ee i s
r eveal ed, st andi ng t her e and hol di ng a pi cni c basket .
Gus sees t he new and i mpr oved Mal ee f or t he f i r st t i me. Hi s
j aw dr ops.
GUS
Mal ee? My God, you l ook. . .
MALEE
Di f f er ent ?
GUS
Beaut i f ul . You l ook beaut i f ul .
Of f Mal ee s smi l e -
EXT. CONSTRUCTI ON SI TE - ANOTHER AREA - LATER
Gus and Mal ee eat t hei r l unch.
MALEE
I f el t l i ke I needed a change, you
know?
GUS
I bet you r e dr i vi ng t he boys at
school wi l d.
MALEE
Boys my age ar e so i mmat ur e. I m
mor e at t r act ed t o ol der gent l emen.
Mal ee smi l es at Gus. He knows wher e t hi s i s goi ng, and he s
suddenl y ner vous.
71.
CONTI NUED:
( CONTI NUED)
GUS
You don t want somebody t hat much
ol der t han you. An age di f f er ence
can cause pr obl ems.
MALEE
What ki nd of pr obl ems?
GUS
A l ot of t i mes when a coupl e has an
age di f f er ence, t hey wi nd up
spl i t t i ng up because t hey want
di f f er ent t hi ngs.
MALEE
You mean sex.
GUS
No.
Gus cat ches a l ook of r el i ef on Mal ee s f ace.
GUS ( cont d)
I mean, yeah. You may be 13, but a
boy even t hr ee year s ol der t han you
i s pr obabl y mor e exper i enced.
Boys can be i mpat i ent about t hat
sor t of t hi ng.
MALEE
Ar e you i mpat i ent ?
GUS
No, but when I was a ki d.
MALEE
Why don t you have a gi r l f r i end?
GUS
I di d, but i t di dn t wor k out .
MALEE
How ol d was she?
GUS
About my age.
MALEE
See t hat , age wasn t an i ssue, yet
you st i l l want ed di f f er ent t hi ngs.
I don t t hi nk i t s about age.
72.
CONTI NUED:
( MORE)
( CONTI NUED)
I t hi nk when t wo peopl e connect ,
t hey connect f or ot her r easons.
And si nce soul mat es ar e et er nal ,
t hey have no age.
Gus i s st umped.
EXT. LEONARD S DRI VEWAY - NEXT DAY
Leonar d wat ches Pat r i ck and hi s si st er s dr i ve of f i n a
TAXI CAB.
LEONARD
( cal l i ng af t er t hem)
Have a good f l i ght !
The t axi cab di sappear s down t he st r eet .
As Leonar d t ur ns back ar ound, he sees Gr ace, st ar i ng at hi m
f r omt he wi ndow. They l ock eyes f or a moment and t hen Gr ace
di sappear s i nt o t he dar k r ecesses of t he home.
I NT. LEONARD S HOME - BASEMENT - NI GHT
Leonar d descends t he st ai r case and begi ns l ooki ng ar ound at
t he set t i ng. Boxes of j unk cl ut t er t he f l oor al ong wi t h ol d
f ur ni t ur e and bi cycl es.
He cr osses t o t he basement door , whi ch l eads out t o t he
backyar d. As Leonar d unl ocks and opens t he door , a mass of
cobwebs st r et ch acr oss t he f r ame l i ke el ast i c bands. Leonar d
gr abs a near by br oomand st ar t s wi pi ng away t he cobwebs.
I NT. J ACOB S HOME - BEDROOM - DAYS LATER
J acob si t s at hi s desk, r eadi ng t he PLASTI C SURGERY PAMPHLET
hi s par ent s had gi ven hi mf or hi s bi r t hday l ast year .
The bedr oomdoor opens and Ashl ey st i cks her head i n.
ASHLEY
We r e home.
J ACOB
Hi .
ASHLEY
Coul d you come downst ai r s f or a
mi nut e. We have a sur pr i se f or
you.
73.
CONTI NUED: ( 2)
MALEE ( cont ' d)
I NT. J ACOB S HOME - KI TCHEN - MOMENTS LATER
J acob st ands i n f r ont of KEI TH GARDNER ( 10) , Af r i can
Amer i can, sweet f aced and dr essed i n a shi r t and t i e. He has
l uggage wi t h hi m.
Ashl ey and J i mst and behi nd t he boys, beami ng.
J I M
Thi s i s Kei t h Gar dner . You r e new
br ot her . Kei t h our son, J acob.
Kei t h ext ends hi s hand.
KEI TH
I t s ni ce t o meet you.
I NT. J ACOB S HOME - BEDROOM - LATER
J acob l eads Kei t h i nsi de.
J ACOB
You get t op bunk.
KEI TH
I mki nd of af r ai d of hei ght s.
J ACOB
Sucks t o be you.
Kei t h l et s J acob s at t i t ude pass.
No of f ence, but I never t hought my
f ut ur e br ot her woul d be a. . . wel l ,
a br ot her .
KEI TH
I never t hought my f ut ur e br ot her
woul d have a KOOL AI D st ai n,
smear ed acr oss hi s f ace.
J ACOB
Fuck you, i t s a bi r t hmar k!
KEI TH
We r e get t i ng of f on t he wr ong
f oot .
74.
( CONTI NUED)
J ACOB
When my par ent s sai d t hey wer e
t aki ng i n an or phan, I pi ct ur ed a
baby. So what happened, your
par ent s di e or somet hi ng?
KEI TH
I was gi ven up at bi r t h.
J ACOB
You gonna t r y and f i nd your mot her
when you r e 18?
KEI TH
As f ar as I mconcer ned, t he f act
she had me was enough. I don t
need t o show up one day and di sr upt
her l i f e.
J ACOB
Oh, but i t s okay t o j ust show up
one day and di sr upt mi ne?
Of f Kei t h s hur t l ook -
I NT. LI BRARY - LATER
Mal ee st ands at t he car d cat al ogue, f l i ppi ng t hr ough t he S
sect i on. She comes t o car ds wi t h t he wor d SEX i n t he t i t l e.
I NT. MALEE S HOME - BEDROOM - EARLY EVENI NG
Mal ee ent er s her r oom, l ocks t he door behi nd her and empt i es
her bag of SEX books on t he bed. The f i r st one she per uses
i s t he KARMA SUTRA. At f i r st gl ance, Mal ee s eyes go wi de
i n shock. She gr abs her backpack and r emoves a number of
i ndex car ds. Mal ee st ar t s t aki ng not es.
I NT. J UVY HALL - COMMUNI CATI ON BOOTHS - NEXT DAY
J acob i s on t he one way phone wi t h Kenny.
J ACOB
He s not some baby. He s l i ke 10.
KENNY
You r e bl ami ng me f or t hi s?
J ACOB
No. But can you bel i eve i t ?
75.
CONTI NUED:
( CONTI NUED)
KENNY
Maybe t hi s i s t he onl y way t hey can
get over Rudy s deat h.
J ACOB
He s a per son not a f ucki ng vase.
KENNY
I know.
J ACOB
I got t a get out of t her e. I can t
l i ve i n t hat house f or one mor e
day. I want t o go wi t h you t o New
Mexi co.
KENNY
No way. You ve never even been
out on t he r oad.
J ACOB
So.
KENNY
I t s not easy. Af t er f i r st ni ght
f al l s, you l l be pi ssi ng your sel f .
J ACOB
No, I won t .
KENNY
You don t need me t o r un away f r om
home.
J ACOB
That s not what t hi s i s about .
KENNY
Yes, i t i s.
( beat )
And you want t o come wi t h ME of al l
peopl e. Ar e you f or get t i ng, I was
t he one who ki l l ed Rudy!
J ACOB
That was an acci dent .
Kenny appear s st unned. J acob has never accept ed t hat t r ut h.
76.
CONTI NUED:
( CONTI NUED)
I l l be hel pf ul . I can get
ever yt hi ng we l l need t oget her . As
soon as you r e r el eased, we can go.
Kenny appear s t o be wei ghi ng t he deci si on.
Pl ease.
KENNY
I f t hi s i s what you want . Al r i ght .
I NT. MALEE S HOME - KI TCHEN - SAME TI ME
Yacco i s on t he phone wi t h her ex- husband.
YACCO ( I NTO PHONE)
. . . I mnot aski ng f or much. J ust
cal l her f r omt i me t o t i me. . .
Because she needs t o know her
f at her car es. . . Cal l col l ect .
Mal ee ent er s t he ki t chen.
MALEE
I s t hat Dad? Can I t al k t o hi m?
YACCO
Take some r esponsi bi l i t y f or
your sel f and gr ow. . . Hel l o?. . .
Yacco sl ams t he phone down.
He hung up.
MALEE
Wel l , what do you expect ? Al l you
ever do i s yel l at hi m.
YACCO
Mal ee, you don t under st and.
MALEE
He s my Dad! I msor r y i f i t
bot her s you, but I l ove hi m. You
keep t hi s up t hen one day, when I m
ol d enough, I l l l eave her e and go
and st ay wi t h hi m.
Mal ee r uns out of t he r oom, l eavi ng a di sappoi nt ed Yacco.
77.
CONTI NUED: ( 2)
I NT. LEONARD S HOME - BASEMENT - NI GHT
Leonar d hammer s a pi ece of wood over t he basement door , whi ch
i s now ent i r el y boar ded up.
REVEAL t he basement . Now cl ean. Boxes, f ur ni t ur e and t r ash
ar e pi l ed neat l y i n a cor ner . Onl y a mat t r ess r emai ns on t he
f l oor i n t he cent er of t he r oom.
Leonar d gr abs a gr ocer y bag and cr osses t o a bat hr oomat t he
opposi t e end of t he basement .
I NT. LEONARD S HOME - BASEMENT BATHROOM - CONTI NUOUS
Leonar d t ur ns on t he l i ght , r eveal i ng a shower , t oi l et and
si nk. He r emoves t oi l et r i es f r omt he gr ocer y bag and pl aces
t hemi nsi de.
I NT. LEONARD S HOME - DEN - SAME TI ME
Gr ace wat ches FAMI LY FEUD whi l e eat i ng cake.
LEONARD ( O. S. )
( scr eami ng)
Hel p! Oh God, Ma! Hel p!
Gr ace dr ops her f or k.
GRACE
Leonar d?
Gr ace j umps up and r uns out of t he r oom.
I NT. LEONARD S HOME - HALLWAY - CONTI NUOUS
Gr ace opens t he door t o t he st ai r case, whi ch l eads t o t he
basement .
GRACE
( scr eami ng)
Leonar d, what s wr ong?
LEONARD ( O. S. )
I t s on t op of me. I can t get up!
Oh, t her e s so much bl ood!
GRACE
I mcal l i ng 9- 1- 1!
LEONARD ( O. S. )
Get i t of f me f i r st ! I mbl eedi ng.
78.
( CONTI NUED)
GRACE
I f I go downst ai r s, I won t be abl e
t o make i t back up. Let me cal l
9- 1- 1 f i r st , okay?
Leonar d doesn t answer her .
Leonar d?
Si l ence.
Oh, J esus!
Gr ace begi ns wal ki ng downst ai r s. Due t o her si ze, she has
di f f i cul t l y maneuver i ng t hr ough t he t i ght space. Her
i nabi l i t y t o see her f eet i sn t hel pi ng mat t er s.
Gr ace makes i t downst ai r s, but Leonar d i s nowher e i n si ght .
Leonar d?
Suddenl y, Leonar d bur st s t hr ough t he bat hr oomdoor wi t h a
hammer i n hand. He r uns past Gr ace and up t he st ai r s.
What t he hel l ?
Hal f way up t he st ai r s, Leonar d st ops and pr i es t wo of t he
st eps of f t he st ai r case wi t h hi s hammer . Thi s cr eat es a
GAP, maki ng i t vi r t ual l y i mpossi bl e f or Gr ace t o ascend.
What ar e you doi ng? I can t cl i mb
up now!
Leonar d r uns upst ai r s and sl ams t he door af t er hi m.
Leonar d! Leonar d!
EXT. GUS APARTMENT BUI LDI NG - SAME TI ME
Mal ee wat ches as Gus ent er s hi s car and dr i ves of f .
I NT. APARTMENT BUI LDI NG - HALLWAY - SECONDS LATER
Mal ee cr osses t o Gus door wi t h a GROCERY BAG i n hand. She
ki cks t he wel come mat asi de, pi cks up t he spar e key and
ent er s.
79.
CONTI NUED:
I NT. GUS APARTMENT - KI TCHEN - CONTI NUOUS
Mal ee ent er s and r emoves a pai r of r ubber gl oves, a bot t l e of
ammoni a and t r ash bags. She st ar t s cl eani ng.
I NT. LEONARD S HOME - BASEMENT - LATER THAT DAY
Leonar d descends t he st ai r case, hol di ng a t r ay of f ood.
Gr ace i nst ant l y r i ses.
LEONARD
I hope someone i s hungr y.
GRACE
Get me out of her e now!
LEONARD
No j oke, Ma. For t he next t wo
weeks whi l e Dad and t he gi r l s ar e
away, you wi l l be kept down her e.
I l l pr ovi de you wi t h nut r i t i ous
meal s and pl ent y of wat er . You,
mot her , wi l l l ear n what i t means t o
be heal t hy.
GRACE
That s what t hi s i s about , f ood?
LEONARD
I mt r yi ng t o save your l i f e, mom.
Tr yi ng t o gi ve you a l i f e. Cause I
l ove you.
GRACE
My l i f e i s f i ne. I don t need you
t o save me.
Leonar d l ooks at hi s mot her , sympat het i c.
LEONARD
You don t even r eal i ze how si ck you
ar e. I t s a pr obl emwhen an
ot her wi se heal t hy woman can t dr ag
her ass up a f l i ght of st ai r s
because she s so obese. You r e
st ayi ng down her e.
Leonar d t ur ns and cr osses back t o t he st ai r case.
Oh, and no ci gar et t es ei t her .
80.
I NT. GUS APARTMENT - KI TCHEN - EVENI NG
The ki t chen i s now spot l ess. Mal ee r emoves TWO TV DI NNERS
f r omt he oven. She cr osses over t o t he ki t chen t abl e and
pl aces t he f ood ont o pl at es.
The t abl e i s set t o t he ni nes. A smal l candl e bur ns i n t he
cent er . Once t he t abl e i s set and t he f ood ser ved, Mal ee
t akes a st ep back and smi l es.
I NT. GUS APARTMENT - BATHROOM - LATER
Mal ee st r i ps of f her cl ot hes and put s on a l ong, si l k r obe.
EXT. GUS APARTMENT BUI LDI NG - SAME TI ME
Gus dr i ves up, get s out of hi s car and ent er s t he bui l di ng.
I NT. APARTMENT BUI LDI NG - HALLWAY - MOMENTS LATER
Gus appr oaches hi s door . As he t akes out hi s key, he not i ces
t hat t he wel come mat has been pushed of f t o t he si de. Gus
l i f t s t he mat up and sees t hat hi s spar e key i s gone.
I NT. GUS S APARTMENT - FRONT ENTRANCE/ KI TCHEN - CONTI NUOUS
Gus ent er s. He knows someone el se i s i n t her e.
GUS
Hel l o?
We f ol l ow hi mi nt o t he ki t chen and FI ND MALEE, st andi ng
besi de t he t abl e and dr essed onl y i n her r obe.
What t he hel l i s t hi s?
MALEE
I made di nner , my l ove. And I have
a sur pr i se.
GUS
You ve been i n my apar t ment bef or e,
haven t you?
Mal ee dr ops her r obe, r eveal i ng her naked body. Gus qui ckl y
l ooks away.
Mal ee, put your cl ot hes on now!
81.
( CONTI NUED)
MALEE
Don t you l i ke my body?
Mal ee st ar t s wal ki ng t owar ds hi m.
GUS
Mal ee, st op.
MALEE
I t s okay because I l ove you.
Gus doesn t answer . Mal ee i s r i ght behi nd hi mnow. She put s
her head on hi s back.
Touch me.
Gus sl owl y t ur ns ar ound and l ooks at Mal ee f or a l ong,
pr egnant beat . I t s a t ense moment , and we ar e unsur e of
what he s goi ng t o do. Then Gus moves past her and cr osses
t o t he l i vi ng r oom.
MALEE ( cont d)
Wher e ar e you goi ng?
GUS
To go cal l your mot her .
Gus exi t s. Mal ee st ands t he f ool .
MALEE
But we r e soul mat es.
Now embar r assed and cr ushed, she st ar t s t o cr y.
EXT. GUS S APARTMENT - LATER THAT NI GHT
Mal ee, now wr apped i n a l ar ge over coat , i s l ed by Yacco out
of t he bui l di ng and over t o her car .
I NT. YACCO S CAR - CONTI NUOUS
Yacco and Mal ee si t i n si l ence. Af t er a beat .
YACCO
I don t know what t o say t o you.
I NT. J ACOB S HOME - BEDROOM - AFTERNOON
J acob shoves cl ot hes i nt o hi s backpack.
Kei t h ent er s wi t h Rudy s basebal l gl ove on hi s hand.
82.
CONTI NUED:
( CONTI NUED)
KEI TH
Wanna pl ay some cat ch?
J acob not i ces t he gl ove. He r ushes over t o Kei t h, yanks i t
of f hi s hand and pushes Kei t h t o t he gr ound.
J ACOB
Wher e t he hel l di d you get t hi s?
KEI TH
The cl oset . Ow, what s wr ong?
Kei t h st r uggl es t o get f r ee, but J acob i s t oo st r ong.
KEI TH ( CONT' D) ( cont d)
You r e hur t i ng me.
J ACOB
Di d I say you coul d pl ay wi t h t he
gl ove? Di d I ?
KEI TH
No, I j ust . . .
J ACOB
Ever yt hi ng, and I mean, EVERYTHI NG
i n t hi s r oomi s mi ne. You ar e not
al l owed t o t ouch a t hi ng,
especi al l y t he gl ove.
KEI TH
Okay, okay.
J acob get s of f of Kei t h and cr osses t o hi s cl oset . He pul l s
out t he l ock box, unl ocks i t and r emoves t he gun. He poi nt s
i t at Kei t h.
J ACOB
I f you t el l my par ent s what I sai d,
I l l ki l l you. I l l shoot you i n
t he f ucki ng f ace, I swear i t !
Kei t h nods, pet r i f i ed. J acob put s t he gun back i n t he l ock
box, t hr ows i t i n t he cl oset and st or ms out of t he r oom.
I NT. J ACOB S HOUSE - KI TCHEN - MOMENTS LATER
Ashl ey si t s at t he ki t chen t abl e, l ooki ng at a pi ct ur e of
Rudy and J acob when t hey wer e i nf ant s. Her eyes ar e f i l l ed,
but she s not cr yi ng.
83.
CONTI NUED:
( CONTI NUED)
J acob ent er s and cr osses t o t he f r i dge. He spot s Ashl ey and
i s t aken aback by her st at e.
J ACOB
( col d)
What s wr ong now?
ASHLEY
I was l ooki ng at a pi ct ur e of you
and Rudy when you wer e bor n. God,
I mi ss hi m.
J ACOB
But you have Kei t h now
Ashl ey i s st r uck by J acob s comment .
ASHLEY
What t he hel l does t hat mean?
J ACOB
You have Kei t h. Two boys agai n.
Ever yt hi ng i s f i ne.
ASHLEY
We di dn t adopt Kei t h t o r epl ace
Rudy.
J ACOB
Di dn t you?
ASHLEY
For your i nf or mat i on, your f at her
and I di scussed adopt i ng f or year s.
J ACOB
( not buyi ng i t )
Ri ght . Maybe i f i t was me who
di ed, you woul dn t need anot her ki d
t o get over i t .
ASHLEY
How can you say t hat ? I never
want ed ei t her of my chi l dr en t o
di e.
J ACOB
But one of us di d. I f you had t o
choose whi ch one, I bet you wi sh i t
was me.
84.
CONTI NUED:
( CONTI NUED)
ASHLEY
I know you t hi nk we f avor ed Rudy. . .
J ACOB
You di d! Admi t i t .
ASHLEY
I admi t he was easi er t o r ai se, but
we di dn t l ove hi mmor e. J acob,
l i st en t o me. You came wi t h a
di f f er ent set of chal l enges.
J ACOB
My bi r t hmar k.
ASHLEY
I t s not easy bei ng di f f er ent . . .
J ACOB
( scr eams)
I mnot di f f er ent ! ! You al ways
made me f eel l i ke somet hi ng was
wr ong. Ther e s not hi ng wr ong wi t h
me.
ASHLEY
I know. . .
J ACOB
No, you don t ! I t s l i ke you don t
know how t o deal wi t h me. You
never di d.
ASHLEY
I msor r y i f t hat i s how you f eel .
You do t he best you can as a
par ent . You don t al ways know
what s r i ght . But you r e my son.
I d do anyt hi ng f or you. I d f i ght
f or you, I d ki l l f or you, I d di e
f or you.
J ACOB
Rudy used t o say t hat exact same
t hi ng.
ASHLEY
I t s t r ue. And as unchr i st i an as
i t sounds, I st i l l want t he boy
t hat ki l l ed Rudy dead. Someday,
when you gr ow up, you l l under st and
what I mean. Someday.
85.
CONTI NUED: ( 2)
I NT. LEONARD S HOME - BASEMENT - SAME TI ME
SFX: TOI LET FLUSHI NG
Gr ace exi t s t he bat hr oomand begi ns wal ki ng ar ound t he
basement , l ooki ng f or a way out . She cr osses t o t he boar ded
up door and t r i es t o pul l t he boar ds of f . Unsuccessf ul , she
r et ur ns t o t he bed and si t s.
Af t er a beat , Gr ace spot s t he t r ay of f ood, whi ch i s st i l l
unt ouched. Angr y and di sgust ed, she t akes i t and t hr ows i t
at t he wal l .
CUT TO:
LATER THAT NI GHT -
Gr ace paces ner vousl y whi l e bl abber i ng t o her sel f .
GRACE
When Pat cal l s, and I don t answer ,
he l l know somet hi ng i s wr ong.
He l l know. I l l be f i ne.
CUT TO:
LATER THAT NI GHT -
Gr ace ner vousl y r ocks back and f or t h. Sweat cover s her body.
She gl ances at t he t r ay of f ood, whi ch r est s on t he f l oor .
CUT TO:
LATER THAT NI GHT -
Gr ace st ands at t he base of t he st ai r wel l , scr eami ng.
GRACE
Open t hi s door now! Let me out ,
God damn i t ! Leonar d!
CUT TO:
LATER THAT NI GHT -
Gr ace i s cr yi ng. She cat ches si ght of t he meal t hat she
t hr ew on t he f l oor .
Af t er a beat , Gr ace cr awl s over t o i t and st ar t s shovi ng i t
down her t hr oat . She doesn t seembot her ed by t he f act t hat
her di nner i s cover ed wi t h di r t .
86.
I NT. YACCO S OFFI CE - RECEPTI ON AREA - NEXT DAY - AFTERNOON
Yacco exi t s her of f i ce t o f i nd Gus wai t i ng f or hi s sessi on.
They speak not a wor d. He r i ses and ent er s t he of f i ce. She
f ol l ows, shut t i ng t he door behi nd her .
I NT. YACCO S OFFI CE - CONTI NUOUS
Gus and Yacco si t i n t hei r r espect i ve seat s.
YACCO
Bef or e we begi n, I want t o
apol ogi ze. I shoul d have known
what was goi ng on wi t h Mal ee.
GUS
I t s my f aul t . I knew she had a
cr ush on me. I guess, I f el t bad
f or her . She s a ver y unhappy
gi r l .
Yacco l ooks down, embar r assed.
I f i t s any consol at i on, t he whol e
t hi ng was ver y t her apeut i c f or
me.
( of f Yacco s l ook)
Sor r y. That was a ver y sel f i sh
t hi ng t o say.
YACCO
Thi s i s your t her apy. Not mi ne.
Why was i t t her apeut i c?
GUS
I sl ept l ast ni ght . I can t
r emember t he l ast t i me I sl ept so
deep or so sound. I don t r emember
dr eami ng or anyt hi ng.
YACCO
Why do you t hi nk t hat i s?
GUS
One of t he l ast f i r es I ever f ought
was a br ownst one, beaut i f ul . The
pl ace was bur ned f r omr oof t o
basement . Whol e f ami l y was wi ped
out . When I was upst ai r s,
i nspect i ng, I f ound a gi r l . She
coul dn t have been mor e t han 12.
87.
( MORE)
( CONTI NUED)
The whol e r i ght si de of her f ace
was bur nt of f , but her eyes wer e
open. She was al i ve. The pai n must
have been excr uci at i ng. She was
beggi ng f or me t o. . . ki l l her .
YACCO
What di d you do?
GUS
Exact l y what she want ed. I pl aced
my hand over her mout h and what was
l ef t of her nose, and I . . . I ki l l ed
her . I t ol d mysel f i t was t he
r i ght t hi ng t o do, but I ve never
been sur e.
YACCO
What does t hi s have t o do wi t h
Mal ee?
GUS
When I saw her l ast ni ght , she had
t he same l ook on her f ace as t hat
gi r l . She j ust want ed me t o t ake
away her pai n.
Yacco si t s, ponder i ng al l of t hi s.
Doct or ?
YACCO
Woul d you mi nd i f we. . . cut out
ear l y t oday? No char ge.
GUS
I under st and.
Gus r i ses and exi t s.
Yacco si t s al one and st ar t s cr yi ng.
I NT. LEONARD S HOME - KI TCHEN - MOMENTS LATER
Leonar d i s at t he ki t chen si nk, ar r angi ng a f r ui t sal ad.
SUDDENLY, he hear s t he sound of wat er boi l i ng over f r omt he
st ove. Leonar d qui ckl y t ur ns t he gas l ow, ext i ngui shi ng t he
f l ame. He r emoves t he pot f r omt he bur ner , gr abs a st r ai ner
and r emoves poached EGG WHI TES f r omt he wat er .
88.
CONTI NUED:
GUS ( cont ' d)
( CONTI NUED)
Leonar d gr abs a di sh t owel and begi ns wi pi ng t he wat er of f
t he st ove. Pr eoccupi ed, he doesn t r eal i ze t hat when he
wi pes t he oven knob dr y, he t ur ns t he gas on hi gh. ( Si nce
t he over f l owi ng wat er , ext i ngui shed t he pi l ot l i ght , he i s
unawar e t hat gas i s now bei ng emi t t ed f r omt he bur ner . ) I n
hi s condi t i on, HE WON T BE ABLE TO SMELL I T.
Leonar d gr abs t he pl at es of f ood and exi t s t he ki t chen.
SFX: GAS LEAKI NG
I NT. LEONARD S HOME - BASEMENT - MOMENTS LATER
Leonar d pl aces t he f ood by Gr ace s bed. She i s sl eepi ng.
I NT. LEONARD S HOME - KI TCHEN - MOMENTS LATER
Leonar d si t s on t he couch, wat chi ng TV. Suddenl y, he st ar t s
coughi ng, har d. The f i t subsi des and Leonar d r esumes
wat chi ng TV, t hi nki ng not hi ng of i t .
I NT. MALEE S HOME - KI TCHEN - EVENI NG
SFX: TELEPHONE
Mal ee ent er s t he ki t chen and answer s t he phone.
MALEE ( I NTO PHONE)
Hel l o?. . . Daddy! . . . No, she s not
home. . . Can I ask you somet hi ng?
Can I vi si t you f or a whi l e?. . . A
week. . . But I can f l y al one. . . No,
I under st and. . . Yeah. . . I l ove y. . .
Hel l o?. . .
Mal ee hangs up t he phone. Tear s swel l i n her eyes. She
pl aces her head i n her ar ms and st ar t bawl i ng.
YACCO ( O. S. )
Honey?
Mal ee l ooks t o f i nd Yacco st andi ng behi nd her .
MALEE
( t hr ough her t ear s)
Why does he hat e me?
Yacco wal ks t o Mal ee and hugs her t i ght . I t s a l ong,
over due hug.
89.
CONTI NUED:
I NT. LEONARD S HOME - BASEMENT - LATER THAT DAY
Gr ace awakens f r omher nap. Suddenl y, she sni f f s at t he ai r .
Gr ace r i ses and cr osses over t o t he f oot of t he basement
st ai r s. She sees t hat t he upst ai r s door i s wi de open.
GRACE
Leonar d!
Si l ence.
Leonar d, I smel l gas!
I NT. LEONARD S HOME - DEN - SAME TI ME
Leonar d i s sl umped over , unconsci ous.
I NT. LEONARD S HOME - BASEMENT - SAME TI ME
Gr ace coughs har d.
GRACE
Leonar d, don t you smel l t hat . . . ?
( sot t o)
Oh God, he can t . Leonar d!
Leonar d, t he gas i s on!
Gr ace gr abs a hol d of t he r ai l i ng and st ar t s cl i mbi ng t he
st ai r s. Af t er a f ew st eps, she st ops t o r est , wheezi ng.
Wi t h t he hel p of t he r ai l i ng, Gr ace pul l s her sel f up t o t he
GAP i n t he st ai r case. I n one f or cef ul exer t i on, she pr opel s
her body up and f or war d. The r ai l i ng i nst ant l y becomes
separ at ed f r omt he wal l . Gr ace l ands i n a heap.
Lucki l y, t he t op hal f of her body made i t t o t he ot her si de.
Wi t h al l of her mi ght , Gr ace pul l s her sel f up t o t he l andi ng.
I NT. LEONARD S HOME - KI TCHEN - CONTI NUOUS
Exhaust ed and wheezi ng, Gr ace dr ags her sel f over t o t he st ove
and shut s t he gas of f . She l ooks ar ound f or Leonar d and sees
hi mi n t he l i vi ng r oom, sl umped over and unconsci ous.
GRACE
No!
Gr ace f r ant i cal l y shuf f l es over t o t he l i vi ng r oom.
90.
( CONTI NUED)
Leonar d, wake up! Leonar d!
I NT. HOSPTI AL ROOM - NI GHT
Leonar d sl owl y comes t o i n a hospi t al bed. The same nur se
f r omear l i er i s by hi s si de.
NURSE
I t s al i ve!
LEONARD
What happened?
NURSE
Gas l eak.
LEONARD
My mom, she s. . .
NURSE
She s f i ne. They ve t aken her i nt o
sur ger y. She bl ew out her knees
somehow. We r e t r yi ng t o get your
f at her on t he phone r i ght now.
LEONARD
I . . .
NURSE
Shh. You need your r est .
Ever yt hi ng i s f i ne now.
EXT. CONSTRUCTI ON SI TE - DAY
J acob st r addl es hi s bi ke, wat chi ng a cr ew spr ead cement over
t he f oundat i on of a house. J acob appear s l ost i n t hought .
He l ooks at a pi ct ur e of Rudy and hi msel f t oget her .
J acob t ouches hi s f ace i n t he phot ogr aph. He t r aces hi s
f i nger al ong t he out l i ne of hi s bi r t hmar k.
KENNY ( O. S. )
Toni ght , we r i de.
EXT. TRAI LER PARK - BESI DE KENNY S TRAI LER - DUSK
J acob and Kenny shar e a ci gar et t e.
KENNY
We got sl eepi ng bags, a t ent ,
cant eens and a l ant er n.
91.
CONTI NUED:
( MORE)
( CONTI NUED)
I hear d i t s supposed t o r ai n, so
I l l br i ng ponchos.
J ACOB
( hal f hear t ed)
Cool .
Kenny eyes J acob.
KENNY
You r e act i ng wei r d. You gonna
chi cken out ?
J ACOB
No.
KENNY
You bet t er not . I al r eady packed
t wi ce t he amount of shi t . I can t
car r y i t al l al one.
J ACOB
I l l be t her e.
KENNY
Good. I mt el l i ng you, man. I t s
gonna be gr eat .
J ACOB
I guess.
KENNY
Come on. You can t be a pussy al l
your l i f e.
J ACOB
( beat , haunt i ngl y)
I know.
KENNY
I l l see you t oni ght . Don t be
l at e.
Kenny r i des of f . J acob wat ches hi mgo. He has a l i f el ess,
al most cal cul at i ng l ook i n hi s eyes.
I NT. HOSPI TAL ROOM - NI GHT
Gr ace l i es i n a hospt i al bed, wat chi ng TV. Leonar d ent er s,
dr essed i n a hospi t al gown. Gr ace t ur ns t o hi m, smi l i ng.
GRACE
Leonar d!
92.
CONTI NUED:
KENNY ( cont ' d)
( CONTI NUED)
LEONARD
I msor r y, mom. I di dn t mean t o
l eave t he gas on. I t was an
acci dent . And ever yt hi ng t hat
happened, I . . . I j ust t hought t hat
maybe, I coul d hel p you.
GRACE
Leonar d, my mot her di ed at 52. We
had t o cr emat e her body because
t hey di dn t make a cof f i n bi g
enough f or her t o f i t i n. Even i f
t hey had, no one coul d have car r i ed
i t .
( t ear i ng up)
I l oved her so much. I don t want
t hat t o happen t o me.
LEONARD
I t doesn t have t o.
GRACE
Even i f I can manage t he f ood. . .
Can you honest l y see me, r unni ng a
mar at hon?
LEONARD
You don t have t o r un a mar at hon.
You j ust have t o r un t o t he end of
t he bl ock. I t s not so har d as you
t hi nk i t i s.
GRACE
I l l t r y.
Leonar d l eans over and ki sses hi s mot her s f or ehead.
GRACE ( cont d)
I spoke t o your f at her . He and t he
gi r l s caught a f l i ght . They shoul d
be her e by mor ni ng.
LEONARD
Di d you t el l hi mwhat happened?
GRACE
I t ol d hi mt her e was a gas l eak.
LEONARD
I meant . . .
93.
CONTI NUED:
( CONTI NUED)
GRACE
I know what you meant . I di dn t
t el l hi m. I don t t hi nk I wi l l .
Leonar d smi l es.
I NT. J ACOB S HOME - BEDROOM - MI DDLE OF THE NI GHT
J acob l i es awake, st ar i ng out t he wi ndow. A heavy wi nd
bl ows.
SFX: WATCH ALARM
J acob si t s up and si l ences hi s wat ch al ar m.
Kei t h awakens as wel l , but r emai ns si l ent . He wat ches as
J acob gr abs a bag and exi t s t he house t hr ough t he wi ndow.
Once he s gone, Kei t h get s of f t he t op bunk, cr osses t o t he
wi ndow and wat ches as J acob r uns of f .
I mmedi at el y, Kei t h cr osses t o t he cl oset . He r emoves t he
l ock box and begi ns t r yi ng combi nat i ons t o open i t .
EXT. CONSTRUCTI ON SI TE - SHORT TI ME LATER
A heavy r ai n begi ns t o f al l as J acob r i des up. He sees
Kenny, st andi ng i nsi de of a par t i al l y, const r uct ed house.
KENNY
You r e l at e.
J ACOB
I mher e.
Kenny t hr ows J acob a PONCHO.
KENNY
Put t hi s on.
J acob r emoves hi s backpack and put s on t he poncho. Then he
opens hi s backpack and r emoves hi s HOCKEY MASK. ( The same
mask he was wear i ng at t he begi nni ng of t he movi e. )
What t he f uck i s t hat ?
J ACOB
I f peopl e see me r i di ng ar ound i n
t he mi ddl e of t he ni ght , we r e
scr ewed. You di dn t br i ng a
di sgui se?
94.
CONTI NUED: ( 2)
( CONTI NUED)
KENNY
Who gi ves a shi t what I mup t o.
The boys st ar t r i di ng of f i n opposi t e di r ect i ons.
The mai n r oad i s t hi s way.
J ACOB
Yeah, but i f we cut t hr ough t he
const r uct i on si t e, we l l hi t t he
r ai l r oad t r acks. I t s f ast er and
no one wi l l bot her us.
KENNY
Good poi nt .
Kenny f i l es i n behi nd J acob, and t he boys make t hei r way deep
i nt o t he const r uct i on si t e. Thunder and l i ght ni ng cr ash.
I NT. J ACOB S HOME - BEDROOM - SAME TI ME
Kei t h has f or gone openi ng t he l ock box vi a a combi nat i on and
now t r i es t o pr y t he t op open wi t h a SCREWDRI VER. He wor ks
f r ant i cal l y, f ear i ng J acob s r et ur n.
EXT. CONSTRUCTI ON SI TE - SAME TI ME
J acob and Henr y make t hei r way t o t he edge of t he
const r uct i on si t e. Suddenl y, J acob st ops i n hi s t r acks.
KENNY
What s wr ong?
J acob l i f t s t he hockey mask.
J ACOB
I can t do t hi s.
KENNY
What ?!
J acob begi ns r ummagi ng t hr ough hi s backpack.
I NT. J ACOB S HOME - BEDROOM - SAME TI ME
Kei t h pr i es t he box open. I t s EMPTY. No gun or bul l et s.
95.
CONTI NUED:
EXT. CONSTRUCTI ON SI TE - SAME TI ME
KENNY
Son of a bi t ch! I knew i t . I knew
you d chi cken. . .
J acob r i ses, hol di ng t he gun. He poi nt s i t at Kenny.
What t he f uck?
J acob shakes, f r i ght ened and r el uct ant t o do what he bel i eves
he has t o do.
J ACOB
I can t l et you l eave, Kenny. You
have t o pay f or what you di d.
KENNY
Whoa, whoa hol d on. Al r i ght , I . . .
I won t go. I l l st ay her e. I l l
do my pr obat i on.
J acob cocks t he gun. Tear s st r eamdown hi s checks.
J ACOB
You ki l l ed hi m. I got t a do t hi s. . .
f or my f ami l y. I t s t he onl y way.
KENNY
J acob, I t ol d ya, i t . . . i t was an
acci dent . I swear . Pl ease, don t .
Thi s i sn t you.
J ACOB
I know. But I can t be a pussy al l
my l i f e.
J acob f i r es. Kenny i s hi t i n t he head. He dr ops t o t he
gr ound i nst ant l y.
The f or ce of t he gun, knocks J acob t o t he gr ound. As he
f al l s, t he hockey mask comes down over hi s f ace.
J acob si t s f or a beat , st ar i ng at Kenny s l i f el ess body.
Li ght ni ng f l ashes, i l l umi nat i ng hi s bl ue eyes t hr ough t he
hockey mask.
EXT. CONSTRUCTI ON SI TE - SHORT TI ME LATER
J acob i s i nsi de one of t he UNPAVED house f oundat i ons, di ggi ng
a hol e. He cr i es, st r uggl i ng t o f i ni sh what he has done.
96.
( CONTI NUED)
Once a hol e i s dug, J acob t hr ows Kenny s body i nsi de and
st ar t s cover i ng i t up wi t h di r t .
I NT. J ACOB S HOME - BEDROOM - LATER THAT NI GHT
J acob cl i mbs t hr ough hi s wi ndow, soaki ng wet . He cr osses t o
hi s cl oset and begi ns t o change. Kei t h l i es i n bed, wat chi ng.
J acob r emoves t he gun f r omhi s pocket and pl aces i t back
i nsi de t he l ock box. Hi s hands shake vi ol ent l y. As he put s
t he box back i nsi de t he cl oset . He f i nds Rudy s gl ove. He
smel l s t he l eat her and smi l es.
J acob t akes t he gl ove and cr osses over t o hi s bed. He pl aces
t he gl ove besi de Kei t h.
KEI TH
I t hought I wasn t supposed t o
t ouch t hi s.
J ACOB
You r e awake.
KEI TH
Yeah.
J ACOB
I t s your s. J ust don t l eave i t
out si de. I f i t get s wet , t he
l eat her wi l l cr ack.
KEI TH
I l l t ake good car e of i t . I know
t hi s was Rudy s.
J acob l i es down on hi s bed.
KEI TH ( cont d)
Why do you have a gun?
J ACOB
J ust a b- b gun. I r et ur ned i t t o a
f r i end of mi ne.
( beat )
I msor r y f or bei ng such an asshol e
t o ya.
KEI TH
Does t hi s mean we r e br ot her s now?
97.
CONTI NUED:
( CONTI NUED)
J ACOB
( beat , t or n apar t )
Yeah. We r e br ot her s.
Kei t h l i es back i n bed, smi l i ng. J acob r ol l s over , st i l l
unner ved by what he i s done. He l l never be t he same, and he
knows i t .
EXT. CONSTRUCTI ON SI TE - DAY
Gus l oads ci nder bl ocks i nt o a wheel bar r ow.
MALEE ( O. S. )
Gus?
Gus spi ns ar ound, and f i nds Mal ee, st andi ng t her e.
Bef or e you f r eak out , I want t o
t el l you, I msor r y. And t o gi ve
you t hi s.
Mal ee opens her backpack and r emoves Gus GUN. Gus snat ches
i t f r omher .
GUS
Mal ee?
MALEE
Don t be mad. I was j ust wor r i ed
about you. Now I mout of your
l i f e f or ever . Goodbye. Thanks f or
not pr essi ng any char ges.
Mal ee wal ks of f . Gus hol ds t he gun i n awe.
EXT. STREET - BESI DE THE CONSTRUCTI ON SI TE - SAME TI ME
TI GHT ON J ACOB, st ar i ng at t he const r uct i on si t e. We ZOOM
OUT and f i nd hi m, st r addl i ng hi s bi ke.
Mal ee appear s, wal ki ng over .
MALEE
Qui t e a st or ml ast ni ght .
They st and f or a moment , wat chi ng t he bui l der s.
MALEE ( cont d)
Di d you hear about Leonar d?
J acob nods, YES.
98.
CONTI NUED:
( CONTI NUED)
MALEE ( cont d)
Onl y hi m. I was gonna go and vi si t
hi mat t he hospi t al . You want t o
come?
J acob doesn t answer . He i s pr eoccupi ed wi t h wat chi ng a
TRUCK pour cement i nt o t he f oundat i on wher e Kenny i s bur i ed.
I t s a bi t t er sweet moment . Whi l e r el i eved by t he f act t hat
hi s cr i me wi l l be hi dden, t he gui l t over whel ms hi m.
MALEE ( cont d)
Ear t h t o J acob. You comi ng?
J ACOB
Huh? Oh, yeah.
J acob t ur ns hi s bi ke ar ound, and t he t wo r i de of f t oget her .
MALEE
You know, your bi r t hday s comi ng
up. Any hi nt s as t o what you mi ght
l i ke?
J ACOB
What ever you get me wi l l be f i ne.
MALEE
( annoyed)
Ri ght .
Mal ee eyes J acob, sensi ng t hat somet hi ng i s wr ong.
Ar e you okay?
J ACOB
( l yi ng)
Never bet t er .
BACK ON t he f oundat i on. Gus ent er s f r ame and begi ns
spr eadi ng cement over Kenny s gr ave.
FADE TO BLACK:
THE END
99.
CONTI NUED:

12 and Holding

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