Findingmr Mambrino 1

FINDING MR.
MAMBRINO
An Original Screenplay
By
Anthony Giorgio
Inspired by the work

Don Quixote
by Don Miguel de Cervantes
FIRST DRAFT April 11, 2017

FINDING MR. MAMBRINO 04/11/17 1.
FADE IN:
INT. SCHOOL HALLWAY -- MORNING
Open frame in black and white, on a desolate and

thoroughly empty high-school corridor. Through a
window into the courtyard, we see a rainy tumult, but
indoors, all is still. There is no commotion seemingly
anywhere in the school. There is no hub-bub, no
chaos--only silence made more lonely by the sound of
rain on glass. PAN DOWN from eye level to
approximately level with the floor as footsteps
approach slowly. A lone saxophone begins in a minor
key. The footsteps grow louder, closer--a boot enters
frame, disrupting the stillness. Our protagonist,
Daniel Quincy Joseph--QUINCE for short--comes fully
into frame, outfitted in a charcoal gray suit, with a
matching fedora and a trenchcoat: both of which look
as though they have just done long battle with the
onslaught of rain from the heavens, and the figure
drips remnants of the sky onto the pristine floor.
QUINCE is tall, a thin and lankish young man, and he
cuts a sharp figure as he walks down the hallway. He
begins in a gruff voice, sounding indeed far grizzled
and much older than his surroundings would lead us to
believe.
QUINCE (VO)
In a certain corner of a high
school, the name of which I do not
care to recall, I looked out the
window on a rainy September
morning. It was a wednesday. I
hate wednesdays. It was a
wednesday, and I, Daniel Quincy
Joseph, was 42 minutes early to my
second period class.
A second pair of boots enters the frame, QUINCE

doesnt react at first. From a closeup, we see him
look over his shoulder with a hint of concern.
Returning to the wide angle, the second figure is now
full-frame, and we see a man dressed like an MP,
complete with epaulettes and a sash that says HALL
MONITOR. He towers next to the camera over the
diminutive QUINCE, shrunken by perspective at his

position toward the end of the hall. The HALL MONITOR
stops, planting his feet at shoulder width apart in a
military stance. He speaks with a high, nasal voice.
HALL MONITOR #1
(authoritatively)
Joseph!
QUINCE freezes, and raises his hands slowly.
QUINCE (VO)
Unfortunately, that means I also
happened to be 48 minutes late for
my first period class.
He turns to face the HALL MONITOR, and we see a man

with a thin face, and intelligent eyes: the kind that
are sharp enough to pierce a mans soul and let the
air out of it.
HALL MONITOR #1
You got any clue what time it is,
Joseph?
QUINCE
Time for you to stop worrying
about the time the bus gets to my
house.
HALL MONITOR #1
The busses give you plenty of time
to get here when you ought to be.
QUINCE
(shrugs)
So what if I missed the first one?
HALL MONITOR #1
(beat)
I dont like your attitude.
QUINCE
My ex would like yours.
HALL MONITOR #1
Open your coat so I can search
you.
QUINCE
Again?
HALL MONITOR #1
(firmly)
Its mandatory.
QUINCE sighs and shakes his head gently. He

reluctantly unbuckles his coat, and opens it wide. He
raises his eyebrows as if to say See? Nothing. He
spreads his arms and legs to be searched. They HALL
MONITOR approaches and pats him down from the legs up.
When he comes to eye level with QUINCE, QUINCE winds
up and lands a hard left-hook straight across the HALL
MONITORs jaw. The HALL MONITOR stumbles into the
lockers. QUINCE charges for him, but the HALL MONITOR
catches him by the collar and throws him aside. He
mounts QUINCE, and lands two punches directly to the
face. Having taught his lessons, the HALL MONITOR
dismounts, and takes out his ticket pad. He writes
one, and throws it down at QUINCE.
HALL MONITOR #1
Thats for being late.
He repeats the action.
HALL MONITOR #1 (CONTD)

And thats for the attitude. Get
to class you scoundrel.
Once the HALL MONITOR walks away, QUINCE begins to

collect himself, and gets up from his position of
defeat on the ground.
QUINCE (VO)
It wasnt the first time he and I
had altercated like that. The
bastard had it out for me.
Sometimes I won and sometimes he
did, but it was my job to stand up
to guys like him. So thats what I

did. I stood up, dusted myself
off, put my hat back on my head,
and went on my way to Mr.
Mambrinos class.
He passes a trashcan, and as he does, he rips both

tickets in half and throws them away.
QUINCE (VO)
Mambrino was a stand-up guy, and I
mean that. Thats why I decided to
TA for him this year. He didnt
care if I was late so long that I
got my work done.
He approaches the class-room, and reaches for the door

handle, just as a familiar voice catches his
attention.
QUINCE (VO)
I almost go in, but Im distracted
by a familiar voice.
DONNA (OS)
Late again Danny?
QUINCE (VO)
Most people call me Quincy or
Quince, but never Donna.
QUINCE
Whats it to ya Donna?
The CAMERA TURNS to DONNA, a girl about QUINCEs age,

who sits at a table with a type-writer. She has
features which are far gentler than QUINCEs, and
almost complement his severity. Tight 40s-style
ringlets frame her face, the centerpiece of which is a
gentle, amused smile flashed in QUINCEs direction.
DONNA
Just lookin out for ya. Thought
you should know Mambrinos waitin
on those essays he gave ya on

Monday.
QUINCE
Noted. Thanks Donna.
QUINCE (VO)
I hate Wednesdays.
DONNA
Oh, I almost forgot: Happy
Wednesday Dan.
QUINCE (VO)
Donna knows I hate Wednesdays.
QUINCE
(beat)
Happy Wednesday Donna.
QUINCE opens the door and walks in, right in the

middle of MR. MAMBRINOs lecture. He hangs up his
trench coat and hat next to the door, and takes his
seat at the back of the class, next to a rather plump
young fellow, SAMPSON. QUINCE produces a vintage
trapper-keeper, and pulls out the essays he was
charged with, and he begins to alphabetize them.
MAMBRINOs lecture has continued during this brief
procession.
MAMBRINO
--exactly why Critical Thinking is
so important. Its the difference
between living in the fantasy
world of the masses, and knowing
the real world that lies
underneath it--at least thats
what they used to tell us back
when I was intrepid with the
Times. You ought to be able to
challenge the common knowledge,
challenge authority, because
things are not usually as people
would lead you to believe. (beat)
In fact, lately Ive been pursuing

a--
From the class we see one student sneak a couple puffs

off of a cigarette.
MAMBRINO(CONTD)
Excuse me, Mr. Wilder?
The student snaps to attention, hiding the cigarette

under his desk.
MAMBRINO
Not in my classroom.
He confiscates the cigarette and holds it in front of

the class.
MAMBRINO
This is exactly what Im talking
about: You think this is okay
because everyone takes part in it?
QUINCE has looked up from his papers, and appears to

have zoned out. SAMPSON reaches a hand in front of his
face and snaps. As he does so, the surroundings change
suddenly. Everything is suddenly in colour, and
everyone takes on a new visage. In the last frame,
black and white, all of the boys had perfectly slicked
hair, suits and ties all. The girls were all in
dresses, their hair tucked up in 40s style curls. All
together, they look now simply like students in a
modern classroom. QUINCE is snapped back to reality.
He too is no longer in a suit and tie, he instead
wears a plain white t-shirt and black jeans, with a
gray jacket and beanie where his trench-coat and
fedora once were. His formerly brylcreem-ed hair now
sits, dry and schoolboy-ish on his forehead. He looks
as though hes awoken from a dream.
SAMPSON
You cohesive?
QUINCE looks down at his desk, where he finds his

he Big Sleep
essays, his tardy ticket, and a copy of T
by Raymond Carter.
QUINCE
(beat)
Yeah Im good.
At the front of the classroom, MR. MAMBRINO is the

only man who seems unchanged, only there is now a
smartphone where he once held the cigarette.
MAMBRINO
You cant just stick your nose in
this and forget the world around
you. The real world is brimming
with controversy, you dont need
to make it up by arguing about...
whether Kim really deserves
Kanye. Break away from the herd,
stay out of made-up conflict. Go
after what matters, dont content
yourself in living out someone
elses life by obsessing over
their live Tweets. Go find your
own life to live. Make your own
way. Stop the delusion.
The bell to dismiss class rings.
MAMBRINO
Alright. Get outta here you
hooligans.
MAMBRINO crosses the room over to QUINCE, passing SAM

on his way out. He examines the title on QUINCEs
desk, and QUINCE hands him the essays to look through.
MAMBRINO
The Big Sleep huh? I love Carter
personally.
QUINCE
Really? I didnt think English

teachers would care much for Pulp
Fiction.
MAMBRINO
Dont get me wrong, I love poetry,
but theres something cathartic
about the stark realism, the
almost spartan prose. You ever
read Dashiell Hammett?
QUINCE
I have the Hammett collection on
my bookshelf at home.
MAMBRINO
Good man. Good work on these
papers, I can really use the help
with end-of-term coming up.
QUINCE
Its no problem. What about that
thing you mentioned earlier that
youre pursuing? You kinda got
cut off.
MAMBRINO
Oh its just a... its something
Im working on with the district.
It might just be the retired
reporter in me... Im actually not
sure what it is yet, Ill tell you
when I know more.
DONNA (OS)
You gonna be late for your next
class too Danny?
They turn to look at DONNA, who appears to have

undergone a similar transformation as everyone else.
Her long hair now sits about her shoulders. In place
of a typewriter, she carries a laptop under her arm,
yet she maintains her same spunky demeanor.
*********************************
INT. SCHOOL POD -- LUNCH -- COLOUR
NICHOLAS and CARDENIO arrive to greet an already

seated QUINCE and DONNA, as well friends LUCY and
DOROTHY--NICHOLAS and CARDENIO are bearing gifts. They
dole out some fast food they picked up.
NICHOLAS
The chicken sandwich to Luce--
LUCY
(with a lilt)
Thank you.
CARDENIO
The hot coffee, black and sweet,
Dorothy.
(winks)
DOROTHY
Thank you C.
NICHOLAS
The salad for Donna--
DONNA
Thanks Nick.
QUINCE
Damned vegetarians.
NICHOLAS
And for Quince, the burnt-ends.
QUINCE
Maybe Wednesdays not so bad all
of a sudden.
DONNA nudges him playfully for this concession.
DONNA
Quince was forty-some minutes late
to class this morning everyone.
LUCY
Oh, boy, what is that? A record
for you?
QUINCE
I prefer to think I was just extra
early for second period.
NICHOLAS
What happened? Car trouble?
QUINCE
Nah I just... guess I overslept.
CARDENIO
Hey man when the dreams are good,
why wake up, am I right?
DOROTHY
Amen to that.
*********************************
An intercom announcement cuts through the chatter.
PRINCIPAL (OS)
Students and Teachers, Im sorry
to interrupt your second period,
but at this time I would request
that you join me in the Main
Auditorium immediately.
Everyone at QUINCEs table looks at each other warily,

and rise to follow the instruction.
CUT TO
INT. AUDITORIUM
In the auditorium, students file into rows, unsure of

their purpose. The PRINCIPAL takes the stage somberly,
and encourages everyone to find a seat as quickly as
possible. Once everyone seems settled, he taps the

microphone to test it. He begins slowly:
PRINCIPAL
Im not exactly sure what the
protocol is in situations like
this... I only knew that you all
deserve to be told face-to-face.
Weve been a bit blindsided with
some tragic news this morning. I
received a call only in the last
couple hours that our tenth grade
english teacher, Harry Mambrino,
was killed in a car accident on
Highway 6 last night.
There is immediately muttering and talking in the

audience. Some wailing is heard from the peripheries.
PRINCIPAL
For those of you that have a class
with Mr. Mambrino today, those
periods will be overseen by Mrs.
Berry, the 11th grade English
teacher.
The murmuring continues. CUT TO QUINCE and DONNA in

the audience.
DONNA
(under her breath)
Oh my god.
QUINCE
(stunned)
No...
DONNA turns toward QUINCE with concern.
DONNA
Are you okay?
QUINCE
(beat)
Somethings not right.
DONNA
Well Mr. M is... gone, of course
nothings right.
QUINCE
No but... what was he doing on
Highway 6? He doesnt live
anywhere near there.
A cliched suspenseful dunh DUNH plays at this

revelation.
DONNA
People drive... places?
QUINCE
Donna... I have a feeling in my
gut--Something is wrong.
DONNA
Other than that Mambrino crashed
his car last night?
QUINCE
(hurriedly)
It was a setup.
DONNA
(beat)
Who would want to kill Mambrino?
QUINCE
Have you met him?
DONNA
So what are we gonna do?
QUINCE
The police obviously already
didnt find anything, the case is
closed so... we should
investigate.
DONNA
What?
QUINCE
We should figure out whats going
on! Nobody else will.
DONNA
I dont know Dan...
QUINCE
If you dont want to, thats
fine--but somebody ought to.
DONNA looks torn. She seems to respect his moral duty,

and agrees that if anybody were to do this for anyone,
they would do it for MAMBRINO. Despite all this, she
doesnt want QUINCE in danger, and she wouldnt want
his idealism disappointed. She slowly cedes a
melancholy nod.
INT. QUINCES HOME -- AFTERNOON
Later that day, QUINCE gets home, obviously tired and

distressed. He takes his backpack off as he enters,
throwing it down on the couch. Worry creases his
forehead. He climbs the stairs, limbs looking heavier
than they did that morning. Once in his room, he looks
at the days crossed off of his calendar: Its October,
and its a Wednesday. The events of the day flash
through his mind--the announcement, the talk with
DONNA, back to the last time he remembers seeing
MAMBRINO, and back to the Critical Thinking speech, in
black and white. From his POV, we look around his
room, now in black and white. He looks to his
bookshelf, seeing his Dashiell Hammett collection. He
looks down at his hand, at his copy of The Big Sleep.
From a closeup on his face, we see a look of epiphany
cross it. Back to the POV, he crosses over to his
closet, and rummages all the way to the back... where
we find a familiar Charcoal Gray Suit. On the shelf
above is a matching classic fedora. He grabs both.
Seeing him now from the waist-up, he almost
frantically takes off his t-shirt and jeans, and
trades them for the suit. In the mirror, he admires
himself. A drumbeat begins, and the saxophone follows.

He flashes a subdued grin toward his reflection.
INT. SCHOOL COURT -- MORNING
Back at school, QUINCE walks amid the student body

looking very much like a man on a mission.
QUINCE (VO)
Students flooded in this morning
the way that bootleg alcohol
floods into a dry county. All of
them walking around like sheep,
not knowing the truth that they
ought to. So many were sitting,
morose--mourning Mambrinos
death... letting it paralyze them.
Dont get me wrong, Ill process
it... just in my own time.
He stands for a moment in the crowd, and absently

lights a cigarette. This is no shock to anybody else,
because theyre all smoking anyway.
QUINCE (VO)
So now I had to find a place to
start... I should probably get
someone else on the case. Donnas
great and all, but she seemed
hesitant to get her hands dirty.
Maybe thats for the best.
He spies SAMPSON in the distance.
QUINCE (VO)
I might just ask somebody in his
old class, maybe Sampson will take
up the charge..
He seems to move on to a new train of thought,

pontificating. He moves on literally, beginning to
walk.
QUINCE (VO)
I never understood how in the old

Noirs, leads just came to the
detectives, seemingly out of
nowhere. I had been on the case
for a full 20 hours and I had
nothing. Do I just wait for--
Suddenly, derailing his train of thought, he passes

the Financial Window, and an arm reaches out, grabs
him by the arm, and pulls him almost halfway into the
window.
QUINCE
Hey! Whats the big--
He then sees exactly who pulled him into the window so

brusquely. A buxom blonde girl, only a little older
than he. He looks suddenly... less apprehensive.
QUINCE
Pardon me... I forgot to pick up
my manners from the cleaners this
morning.
SALLY
(sassily)
Uh huh.
(seriously)
Youre the kid on the Mambrino
case, right?
QUINCE (VO)
Word spreads fast at this school.
QUINCE
So what if I am?
SALLY
Then maybe I got somethin for ya.
QUINCE
Well do you or not?
She glares at him. After a moment she pulls out a

large account book and opens it up in front of him.
SALLY
I took a personal day on Monday,
and when I came back Tuesday, I
noticed somethin in the books
that was a little strange, I
didnt think anything of it until
yesterday with... Mr. Mambrinos
passing.
QUINCE
Well damn it girl, spit it out!
SALLY
(overlapping him)
Im getting there! (pause) There
is a withdrawal from the school
account into Mambrinos personal
finances, (maybe to his wife?)
made two days before the mans
er... untimely death.
QUINCE
Was it a bribe to keep him quiet?
He refused and they killed him?
SALLY
If they didnt take the money then
it wouldnt be on the books.
QUINCE (VO)
Now that was peculiar.
QUINCE
Thats very peculiar.
SALLY
It is very peculiar.
QUINCE
Tell you what... Ill keep track
of that, and if anything new comes
up...
As though he has a sudden idea, he scribbles something

in the margins of the book.
QUINCE (CONTD)
Thats the number where you can
reach my secretary.
QUINCE (VO)
Secretary... that has a nice ring
to it.
SALLY
(seductively)
Ill be sure to call at the first
opportunity.
QUINCE lingers for a moment.
SALLY
Alright get off my counter Ive
got a line waiting behind you.
From a colour perspective, the people in line behind

QUINCE gawk and snicker at him. QUINCE looks back
toward SALLY and doffs his cap toward her.
QUINCE
(awkwardly)
Good morning.
QUINCE walks quickly off toward his next venture.
INT. MAMBRINOS CLASSROOM
In Mambrinos erstwhile classroom, QUINCE saunters in

just before the bell rings. MRS. BERRY looks over to
him.
MRS. BERRY
(melodramatically)
Oh, Quince, you must be the peer
tutor, thank god. I just... his
old classroom.
QUINCE
I know Mrs. Berry. It feels a

little like your hearts been hit
by a mack truck with an ice-pick,
doesnt it?
MRS. BERRY
(a bit shocked)
I mean... yes, I suppose it does.
(noticing his attire)
Is this a part of the job?--
QUINCE
(reassuringly)
--Dont worry about it Janna. I
can take over from here.
MRS. BERRY, a bit perplexed, leaves. Once gone, QUINCE

steps to the front of the room, where MAMBRINO used to
teach from, and takes command of the class. He cuts
out the chatter.
QUINCE
Alright listen up everyone!
The class snaps to attention.
QUINCE
Now, we got a problem here, see?
Your teacher Mr. Mambrino was
killed in a car accident, as far
as we know, yesterday night. Were
to assume the police have closed
the case, but I know something the
police dont. Mambrino was mixed
up in something, I dont know
what, but it was something he was
about to crack wide open. I think
his death was foul play, but like
I said, the police have closed the
case. Im going to finish what
Mambrino started, and find someone
culpable for his death, but I
cant do it alone.
He throws a large-ish wad of cash onto the table in

front of him as we CUT TO BLACK AND WHITE. The class
looks intrigued.
QUINCE (CONTD)
I need one of you to help me.
WILDER
How much is in the stack there?
QUINCE
(confidently)
One-hundred seventeen dollars in
small bills.
WILDER
For sticking our necks out to help
you close a case? A nut-case like
this one even?
QUINCE
Its a lot of money!
WILDER
Maybe in 1960 it was.
The class mutters in agreement.
QUINCE
(beat)
Fine. One-hundred seventeen
dollars, in cold, hard cash, AND
an A in the class.
One hand shoots up from the very back. It belongs to

SAMPSON.
SAMPSON
(sheepishly)
What? I could use a passing grade
in a couple classes.
QUINCE nods, and smirks slightly.
QUINCE
(beat)
Alright!
He turns to begin writing on the board.
QUINCE (CONTD)
So here... are... the facts: We
know that Mambrino was on Highway
6 last night. He was involved in
something... we dont know what...
FADE IN on DONNA, walking to find QUINCE in the

hallway once the bell rings. He walks over to her,
carrying the same smirk as before.
QUINCE
Donna, Ive got a new man on the
case.
DONNA
Who?
QUINCE
Sampson!
DONNA
(beat)
Who?
QUINCE
A kid in my English... class that
I... tutor... Hes kinda... (mimes
pudgy) no?
DONNA
Well I mean... Dan... Twos
company but threes a crowd,
right?
QUINCE
Well exactly... So I needed
someone else to investigate.
DONNA
Well I told you I would.
QUINCE
(awkwardly)
Well Donna... Its not exactly
womens work.
There is a beat. DONNA slaps QUINCE and brings him

back into modern day. The 21st century part of QUINCE
realises what he said. He mutters something resembling
an apology. The setting desaturates slowly as he
recovers, or perhaps de-covers, his wits.
DONNA
You wanna try again?
QUINCE
Just thought we could... use the
help.
DONNA
Thats better.
QUINCE
So were all three of us working
together?
DONNA
Yes.
QUINCE
Like... Spade & Archer.
DONNA
Sure...?
QUINCE
Sam Spade and his partner Miles
Archer from the Maltese Falcon.
DONNA
Yes that sounds like a plan?
QUINCE
Anyway, I thought Id talk with
our Principal today.
SWIPE FRAME TO
INT. PRINCIPALS OFFICE -- LATER
PRINCIPAL MILLER sits, apparently consumed by some

task. QUINCE walks in slowly, seeming almost to lurk.
QUINCE (VO)
He hadnt noticed me yet. Maybe I
should...
QUINCE
(suddenly)
Principal Miller!
PRINCIPAL
Jesus Christ! Quince, I didnt
hear you come in.
QUINCE
Thats why I... Got your...
attention.
PRINCIPAL
Well, sit down Quince. What can I
do for you?
QUINCE
I have some questions for you sir.
PRINCIPAL
Regarding?
QUINCE
The late Mr. Mambrino.
PRINCIPAL MILLER postures defensively.
PRINCIPAL
What about him?
QUINCE
What do you know about the
accident?
PRINCIPAL
Exactly what I told all of you.
QUINCE
I dont think it was an accident.
PRINCIPAL
(beat)
Why not?
QUINCE
Because there was a bonus paid to
him two days before he died.
PRINCIPAL
What does that prove?
QUINCE
It proves that someone in
administration knew!
PRINCIPAL
Does it?
They sit in silence for a moment.
PRINCIPAL
I wont indulge with this
conversation.
(to H.M.s off-screen)
Please escort Mr. Joseph to his
class.
One of the HALL MONITORS comes into the office.
HALL MONITOR #1
Uh... Principal Miller... school
is out.
PRINCIPAL
(beat)
Well then escort him from my
office.
HALL MONITOR #2
Yes sir, Principal Miller.
Two HALL MONITORS, dressed in their M.P. fashion and

behaving in much the same way. They seize QUINCE by
the shoulders, and we see the HALL MONITOR that
arrested QUINCE in the hallway a few wednesdays ago.
HALL MONITOR #1
Well if it isnt Mr. Joseph.
QUINCE
I thought I smelled something
obsequious when I came in this
office.
HALL MONITOR #1
Now look here Joseph!
HALL MONITOR #1 throws QUINCE against the wall of the

office. PRINCIPAL MILLER intervenes.
PRINCIPAL
Thats enough!
QUINCE is released, and he dusts himself

off.
PRINCIPAL
(cooly)
Suffice it to say Mr. Joseph:
Dont stick your nose where it
doesnt belong. This doesnt
concern you.
(beat)
Alright, get him out of here.
QUINCE is ushered out.
CUT TO
EXT. SCHOOL MAIN ENTRANCE -- B&W
QUINCE walks out in a huff, meeting up with DONNA and

SAMPSON who seem to have been waiting for him.
DONNA
That good huh?
SAMPSON
(reprimanding)
Donna! It obviously didnt go
well. What happened boss?
QUINCE
He dodged my questions and sent me
away. Its like our school is a
police state all of a sudden.
DONNA
One of their premiere teachers
just died you know. Everyones a
little on edge.
QUINCE stops fuming. He paces for a moment. He turns

sharply toward DONNA.
QUINCE
I need you to talk to Mambrinos
widow.
DONNA
Youre sure its not too soon?
QUINCE
We only have so much time before
they put him in the ground.
DONNA
Okay... I guess I can do that.
Ill get on my way.
She walks briskly over to her car.
SAMPSON
Are we gonna do something?
QUINCE
Yes. You and I are going to go to
the District Building. I think the
principal must be in on it, but it

could go up the ladder.
SAMPSON
Do you drive?
QUINCE
(beat)
I don't. (pause) And I suppose you
dont either.
SAMPSON
(Cheerily)
Hey, dont worry about it Quince,
I can call my mom.
CUT TO
INT. SAMPSONS MOM(JANINES) CAR -- COLOUR
QUINCE sits in the back with SAMPSON, seeming

apparently to be slightly disgruntled. He looks quite
out of place in a moment of colour, while he sits in
the back in his full suit and fedora. SAMPSON looks
around, seeming quite content with his problem-solving
skills. JANINE takes it upon herself to make friendly
conversation.
JANINE
So Sampson honey, whats your
friends name?
QUINCE
The names Daniel Quincy Joseph
maam, but you can call me Quince.
JANINE
How nice.
An awkward pause.
JANINE
So why are you two headed to the
District Building?
SAMPSON QUINCE
Were investigating! Were applying for a
Grant...
QUINCE
Were uh... inquiring on how to
apply for a grant...
JANINE
Oh? A grant for what--if you dont
mind my asking?
QUINCE
Our um... school robotics team...
CUT TO
EXT. THE MAMBRINO HOME -- B&W
DONNA pulls into the driveway of the MAMBRINO HOME.

The house is small, the sky is overcast, and there is
a drizzling sort of rain. She gets out of her car and
pulls her coat tight around her. There is another car
parked across the street, and DONNA takes mental note
of this. She walks to the porch and rings the
doorbell. After a moment, a woman in black answers the
door, seeming a bit hurried.
MRS. MAMBRINO
Hello? Can I help you?
DONNA
Yes--um, assuming you are the
widow of Mr... Harry Mambrino? Im
one of his former students.
MRS. MAMBRINO
Whats your name dear?
DONNA
Donna Winters maam.
MRS. MAMBRINO
Oh yes, please, come in.
DONNA thanks MRS. MAMBRINO, and looks back at the car

before she walks in.
CUT TO
INT. JANINES CAR -- B&W
We see a shot similar to what last we saw, but

everyone looks much more comfortable where they
are--the interior of the car appears to be less
minivan, more taxicab. They slow, and then stop.
JANINE
Is this it?
QUINCE
Yes maam.
SAMPSON
Thanks mom.
QUINCE
Thanks Janine, and uh...
He takes out money and puts it in the glove

compartment. JANINE looks perplexed.
QUINCE (CONTD)
For the fare.
SAMPSON and QUINCE exit the car together and walk

toward the District building.
SAMPSON
So whats the plan Quince? We
gonna give em the old one-two,
rough-em up a little?
QUINCE
Actually, were going to ask
questions.
SAMPSON
Wait... thats it?
QUINCE (VO)
I didnt regret recruiting Sam...
he may be a bit too eager though.
We walk into the offices. Im
greeted by the smell of expo
marker and disinfectant.
CUT TO
INT. THE DISTRICT OFFICE
QUINCE and SAMPSON walk into building and look around.

The receptionist makes eye-contact with them, and
looks back down at her work to try to study.
QUINCE (VO)(CONTD)
Id seen dames like this before.
Cold, quiet, but untamed like a
desert night. The desert doesnt
respond to you, you adapt to the
desert.
They make their way to the desk, and she continues to

ignore them. QUINCE makes the first overture.
QUINCE
Hello Ms... (looking for a name
tag) Asman.
MS. ASMAN
(sigh)
Can I help you?
QUINCE (VO)
Dry as a desert night too.
QUINCE
Yes, I believe you can.
SAMPSON
We wanted to esquire about a
district employee: Mr. Harry
Mambrino.
MS. ASMAN
I filed a claim on him a couple

days ago... wasnt he killed in a
car accident?
SAMPSON
Do you know anything about that?
MS. ASMAN
Um... yes... he was killed in a
car accident. He had his insurance
through the district.
SAMPSON
Well we think you were in on it!
QUINCE
Hey, Sam... calm down. Be cool.
SAMPSON thinks for a moment and composes himself.
SAMPSON
Wed like to ask you some more
questions.
CUT TO
INT. MAMBRINO HOME
MRS. MAMBRINO and DONNA sit across from each other,

DONNA with her notepad out, much like a classic Nancy
Drew reporter. They seem cordial, MRS. MAMBRINO seems
only now to be calming down.
DONNA
Id like to ask you a few
questions.
MRS. MAMBRINO
Well go right ahead dear, how can
I help?
DONNA
Um... well how have you been
holding up lately?
MRS. MAMBRINO
Its been terrible, frankly. Im
still... coming to terms with it.
DONNA
Believe me, the school is too.
(beat) So... Im actually
investigating the possibility that
your husbands murder was a
setup--
MRS. MAMBRINO
Hon, he died in a car accident--
DONNA
Yes, yes I know the details but...
well its complicated, you see.
MRS. MAMBRINO considers this for a moment.
MRS. MAMBRINO
I um... I remember the process
from my husbands days as a
reporter. Youd probably like to
know if he had any...
DONNA
Enemies, people who might hold a
grudge?
MRS. MAMBRINO
Uh... yes, perhaps. He was
certainly a very opinionated man.
He would never back down from what
he knew was right... even when he
was wrong... and when youre an
investigative journalist that gets
you in some tight spots.
DONNA
What about his... most recent job?
MRS. MAMBRINO
Occasionally there would be some
friction, not with co-workers but
usually bosses--he hated the

bureaucracy of teaching, and
wasnt often fond of authority
that wasnt his own.
DONNA
Anyone in particular?
MRS. MAMBRINO
(beat)
A couple times he really butted
heads with the principal, but his
most vocal protests were against
the district.
DONNA
Whys that?
MRS. MAMBRINO
Well... he always had a feeling
that there were politics involved
that didnt belong in education.
That it was maybe more crooked
than they let on.
DONNA
Is that so?
MRS. MAMBRINO
In fact, he was actually...
MRS. MAMBRINO walks into the kitchen and retrieves

some things from their China Cabinet. Some envelopes,
packets and pamphlets, and brings them over to DONNA.
MRS. MAMBRINO(CONTD)
...he was actually working on a
story of sorts before he died.
DONNA
Really?
MRS. MAMBRINO
Yes, he was investigating district
funding. In recent years, theyve
been cutting arts and humanities

funding little by little.
DONNA
Yeah, Ive noticed that actually.
MRS. MAMBRINO
There are countless studies--all
of them are in there--that show
how much arts education benefits
schools as a whole, and all of
these were in the district
library, so he was trying to
figure out why they were cutting
funding, when if anything, they
should have been providing
additional funds.
DONNA lays it all out in front of her on the coffee

table and looks, almost in awe.
DONNA
So this is all... evidence or,
um... research he collected?
MRS. MAMBRINO
Yes dear, it is.
DONNA
Wow... uh--could I trouble you for
a glass of water.
MRS. MAMBRINO
Oh yes, of course. Ill get that
while you look these over.
MRS. MAMBRINO goes back into the kitchen, and going

over to the sink, DONNA notices her attempting
inconspicuously to take not one but two empty glasses
of wine, and slide them into the sink, out of sight,
while she fills a glass with water for DONNA. DONNA
pulls out her notebook with a look of apprehension and
takes note. She puts it away before MRS. MAMBRINO
comes back, and she thanks MRS. MAMBRINO for the
water.
CUT TO
BACK TO SHOT--INT. DISTRICT OFFICES
QUINCE and SAMPSON sit across from the receptionist at

her desk, apparently more than a bit frustrated.
SAMPSON
So what youre telling me is you
had no prior knowledge of his
impending murder?
QUINCE(VO)
What Sam had going for him in
tubbiness and charm, he more than
lost in tact. Honestly, Ive seen
wild chimpanzees with more social
finesse.
MS. ASMAN
(slowly, deliberately)
Mr. Peterson, I promise you that
Mr. Mambrinos death was not in
any way premeditated by the
district!
QUINCE
Sam, maybe uh... let me handle
this. Look here Ms. Asman--whats
your first name? Kyla? Can I call
you Kyla?
MS. ASMAN
You most certainly may not.
QUINCE
Look Kyla. My pal and I here are
just looking for any information
that could be useful in
investigating the death of our
beloved teacher.
MS. ASMAN
Well, Daniel. I dont have any

information for you.
QUINCE(VO)
Nobody called me Daniel. Not my
teachers, not Donna, not my own
mother, not my grandmother. Even
when Im in confession, the Father
calls me Quince. This dame was
askin for it.
QUINCE
Alright lady, tell you what? Hows
about Sam and I come back here
every day and ask these same
questions, say Sam maybe puts on
some muscles, and say maybe were
not so amicable next time, and say
maybe--
MS. ASMAN
Say maybe I call the police?
QUINCE
Okay say maybe not that.
QUINCE(VO)
Heres a method called
carrot-and-stick, see?
QUINCE
I see how it is. Hows about...
QUINCE digs in his suit pocket for a moment.
QUINCE(CONTD)
Hows about one-hundred-seventeen
dollars in cold, hard cash?
SAMPSON
Hey! Thats--
QUINCE
--Quiet Sam, this is

wheel-greasing money and youre
greasy enough already.
SAMPSON quiets himself.
QUINCE
So?
MS. ASMAN
(very unamused)
How about if I tell you
anything--and I mean anything I
know about Harry Mambrino, you
guys leave here and dont come
back unless I call you back, sound
good?
QUINCE
Youll call us?
MS. ASMAN
Ill think about it. You wont
come back until then?
QUINCE
I swear we wont--detectives
honour.
QUINCE whips out a small black notebook and licks the
tip of his pencil as he turns to a new page ready to
scrawl the new lead.
SAMPSON
Yeah, what he said, defectives
honour.
MS. ASMAN
(beat)
Right. So there was an open audit
file on Mambrino. Thats literally
all I know, now get the hell out.
QUINCE
Theres an audit file?
SAMPSON
Its open?
QUINCE
Is it in the building?
MS. ASMAN
Get out of this building you
little defectives!
SAMPSON and QUINCE scurry out.
QUINCE
But youll call us if you find
anything?
A black high-heeled shoe hits the wall just

a foot left of QUINCE.
QUINCE
Thank you for your time Kyla.
CUT TO
INT. SCHOOL POD -- COLOUR
A chessboard sits in the foreground. A knight moves forward

into the center of the board. PAN UP toward the people
playing. Two of QUINCES FRIENDS, NICHOLAS and DOROTHY sit
at the board, and continue playing as the scene unfolds.
CARDENIO and LUCY lounge on the couch. CARDENIO freestyles
to pass the time.
CARDENIO
Lucy drop a beat!
LUCY
You know I cant...
CARDENIO
Come on Luce, its your birthday/
go Lucy, its your birthday/ I can
rhyme pretty fly without a beat,/
but I admit its your voice/
thatd make this tune complete--
DOROTHY
Dyou mind? Im trying to
concentrate.
LUCY
Does anybody know where Quince is?
NICHOLAS
Im sure hes off with Donna
somewhere play-acting his Pulp
Fiction novels.
LUCY
Dude Pulp Fiction was such a good
movie.
CARDENIO & LUCY

Say what again!
DOROTHY
Is anybody else really worried
about him?
NICHOLAS
Is nobody worried about Donna?
There is silence while they consider this. They are,

admittedly, a bit taken aback by the thought of DONNA
in any danger.
LUCY
I mean whats so wrong with
investigating Mambrino? We all
handle grief in different ways--
DOROTHY
Denial is one thing, delusion is
another.
NICHOLAS
Im with Dorothy. I think we
should tell the counselors or
something.
CARDENIO
Is that really necessary?
DOROTHY
Maybe not, but what happens when
he hurts himself and gets that
poor underclassman into trouble?
LUCY
Couldnt we talk to him first?
NICHOLAS
Well somebody ought to talk to
someone because right now nobodys
talking to anybody.
(beat)
Check.
CUT TO
EXT. DISTRICT BUILDING -- B&W
Outside, QUINCE and SAMPSON collect themselves. QUINCE

paces a bit, looking at the sky, noticing the evening
has risen since they came out. SAMPSON collects KYLAs
shoes and lays them nicely in front of the door.
QUINCE
Check the time, would you?
QUINCE (VO)
It gets dark real early this time
of year.
SAMPSON
Its ah... two bones after six.
QUINCE
(beat)
Its what?
SAMPSON
Im... Im really not sure. Its
6:20.
QUINCE mulls this over in his mind.
QUINCE
Well get an early start on this
tomorrow, make a plan to get that
audit file. But for now you should
get some rest Sam. Ill catch a
cab home.
SAMPSON
I should start taking my bike
places... can I meet you in the
War Room tomorrow morning?
QUINCE
The war...?
QUINCE silently realises.
QUINCE (VO)
Im almost certain he means
Mambrinos classroom. Wouldnt be
such a bad idea to have a mission
central, a cookie jar for all our
evidence. Maybe the kids smarter
than I gave him credit for.
QUINCE
Yeah, the War Room. Well catch
up with Donna, see what shes
found. Night Sam.
SAMPSON
Night Quince.
QUINCE walks to the curb, hails a cab, and

immediately, one appears. As he gets in:
QUINCE
Hey, get some rest Sampson,
tomorrow comes early.
Inside the cab, QUINCE takes off his hat, and broods
in silence. The streetlights flood the car,
illuminating every crack and crevice through the

window, then recede, leaving it in darkness. He looks
through his notes, furrows his brow, then sighs in
frustration. Getting home, he mounts the steps,
unlocks the front door, suddenly all is in colour.
QUINCES MOM, LINDA calls out to him from the kitchen.
LINDA (OS)
Your dinner is cold.
QUINCE
Yeah, sorry mom.
LINDA (OS)
Where have you been all afternoon.
QUINCE
I was at a friends house.
LINDA (OS)
Doing what?
QUINCE
Working on a project for Mr.
Mambrino.
LINDA enters the room, and looks at him sadly,

remembering and considering the events of the last few
days.
LINDA
Oh, hon.
She touches his face, in the tender and familiar way

only mothers can.
LINDA (CONTD)
Howve you been holding up kiddo?
I know you really liked him.
QUINCE
Im fine--Ill be fine. Dont
worry about me.
LINDA
(noticing his clothes)

This is new, I like this. Does it
have anything to do with...?
QUINCE
Yeah uh, the teachers and
secretaries and everyone have been
dressing in...
QUINCE pulls on his clothes, gesturing mourning

black, but avoiding saying it.
QUINCE (CONTD)
I was actually gonna go, take
these off...
QUINCE turns away and walks upstairs. LINDAs forlorn,

pitiful sort of supportive smile crosses her face as
she watches him do so.
When QUINCE gets upstairs, he drops his hat on his

dresser, peels off his coat, loosens his tie, turns on
a solitary lamp. Thinking for a moment, he pulls a
manilla folder from his desk. He scans its contents
briefly--an old essay--dumps it out, and lays it open
on his bed. He grabs some loose-leaf lined paper, and
copies his notes more cleanly, filing them under
headings like DISTRICT SCENE DETAILS and
SUSPECTS. All at once, the day hits him, and in a
moment he is exhausted. His eyelids fall slowly
closed, and he opens them quickly, trying to stay
awake. He looks back down at his notes, which are now
spread out over the bed. He turns them over, and finds
one word written large on each: STOP, THE,
DELUSION. He looks up, and we return to BLACK &
WHITE. The room stretches before him, and at the end
of what now is a hallway standing in the door, there
looms a tall, slim figure, in fedora and trenchcoat.
He walks away, still visible, and the door closes
behind him. QUINCE runs toward the door, and where his
bedroom door should be is now the type one finds
installed at schools, at his school in fact. He opens
it and finds himself in MAMBRINOs room. There is a
makeshift police line-up drawn on the whiteboard.
PRINCIPAL MILLER, MRS. MAMBRINO, KYLA and one more are
lined up against the board. A spotlight comes up on

the last figure, and it is MR. MAMBRINO in a suit of
armour, and with a blank, dead look on his face. He
holds up an empty bottle of rye, and points toward
QUINCE. Hesitantly, QUINCE takes it from him, smells
it and pulls a face. He looks through it like a
spyglass, and sees through the windshield of a car in
the midst of a heavy rain, and the wipers struggle to
even make a difference.
PAN OUT, and he is in the drivers seat, the steering

wheel turning back and forth with a mind of its own.
He dives out through the door, knowing its going to
crash. He stands. The rain is stopped, in fact the
earth is dry, and all is quiet. It is early morning,
and there is a soft blue cast on the world, suddenly
in COLOUR once more. There is a man playing saxophone
in the middle of the road. QUINCE stands in front of a
highway median, and sees tire streaks on the road,
with no car in sight. He sees blood on the median, it
is fresh. He puts his fingers on it, tastes it. He
looks puzzled.
QUINCE (VO)
Ketchup?
He turns, and seeing something in the distance, his

eyes widen, and he throws himself flat against the
median. A semi-truck careens by, only nearly missing
him, and papers fly out around him as he does. He
catches one from midair: a memorandum on district
spending. Looking at the truck driving away, the
School District logo is emblazoned on the back. He
puts his hand absently on the median for support, and
from the corner of his eye he sees the bottle of rye
has appeared atop it.
He grabs it, and is immediately transported back the

classroom, where MAMBRINO was originally, and is now
holding it again. QUINCE lets go. He hears laughing.
He turns around, and sees his friends, NICHOLAS,
DOROTHY, LUCY and CARDENIO laughing at him. NICHOLAS
pulls out a stack of books by Raymond Chandler,
Raymond Carver, Dashiell Hammett, and other assorted
Pulp Fiction titles and novelists. On top, LUCY places
a large binder labelled evidence. CARDENIO drenches

the stack in gasoline, humming to himself in a minor
key. Finally, DOROTHY places a cigarette in her still
smirking mouth. She pulls a zippo out, lights it,
takes a short puff, drops the lighter over the books,
and the stacks are engulfed in flame. The class, now
full, pays no attention to the near-bonfire in the
middle of the room, they are all on their phones. He
looks on in horror, and a hand shoots up from the back
of the class. SAMPSON stands, and makes direct eye
contact with QUINCE. He smiles a warm smile, in direct
contrast to the mocking grins all around. It is
trusting... naive almost. From a distance off,
echoing, he hears DONNAs voice.
DONNA (OS)
Danny? Danny? I believe you.
QUINCE is in his room. Lit by the same one lamp, and

in a close up shot, DONNA is there too, alone with
him. Her forehead pressed to his, holding his face in
her hands, she looks in his eyes and whispers:
DONNA
I believe you Dan.
She closes her eyes and a tear rolls down her cheek.
It falls down and splashes on QUINCEs perfectly
polished shoe. He looks at her, she opens her eyes,
and they embrace. There is trust here. She pulls away,
retrieving his manilla evidence folder from his desk.
She pulls out the papers, and arranges them on his bed
just the way they were before. She guides him to his
bed, urges him to lay down. He does as she asks, lays
down on top of the papers. DONNA kisses him on the
cheek, gently, and he closes his eyes. As soon as he
does, the light changes. It comes not from his lamp,
but rather is pouring in through his window. His alarm
clock goes off. It is morning, and a new day. He
rises, groggy, and turns off his alarm clock. Well
isnt this embarrassing. He yawns. Straightens his tie
in the mirror, runs his hand through his hair. He
gathers his now wrinkled papers into the manilla
folder, puts his hat on, and the scene desaturates as
he puts his hat on and head out--off to his meeting in

the war room.
CUT TO
INT. MAMBRINOS CLASSROOM -- BEFORE SCHOOL -- B&W
The room is dim, and mostly empty, except for SAMPSON

and DONNA, with her typewriter out, waiting for
QUINCE. Only one bank of lights is turned on--all they
really need anyway. QUINCE enters, and though his
clothes are wrinkled, he seems remarkably fresh.
DONNA
Danny! Good morning.
SAMPSON
Mornin Quince.
QUINCE
Morning Donna, morning Sam, where
are we at?
DONNA
Well I saw the Mambrino widow last
night, and on my way home I
stopped at the police station.
Pulled eyes on an officer, he gave
me some of the case details.
QUINCE
So that means you know where the
scene of the crash is... thats
perfect! I think we need to--
At this moment, CARDENIO walks into the classroom,

making good on his suggestion to the others that they
ought to talk to QUINCE before they jumped to
conclusions.
CARDENIO
(genuinely)
Oh, sorry, was I interrupting?
SAMPSON
Maybe you were but whats it to

you?
QUINCE
(to SAMPSON)
Watch your manners. Cardenio,
havent seen you in a hot minute.
CARDENIO
Yeah man, aint seen you around at
lunch for a couple days.
QUINCE
Weve been busy with the case.
CARDENIO
Right... the case. Hows that
been going?
DONNA
(jumping in)
Its been going very well, thank
you Cardenio.
CARDENIO
So uh... wheres the rest of the
precinct?
QUINCE
(beat)
Precinct?
(beat)
What the hell are you talking
about?
CARDENIO
Theres no precinct?
QUINCE
Were private detectives brother,
we dont consort with police if we
can help it.
(privately to DONNA and
SAMPSON, re: CARDENIO)
Man, can you believe this guy? So

as I was saying, I think we need
to investigate the scene of the
crash.
SAMPSON
We get to see the crime scene?
(giddily)
Oh boy!
Their conversation fades out as CARDENIO walks slowly

away. He exits the classroom into the pod, in colour,
where the other three cohort are waiting for the
verdict. CARDENIO sighs.
CARDENIO
I... well... Hes gone, guys..
SWIPE TO
EXT. HIGHWAY 6 MEDIAN -- MORNING -- B&W
DONNAs car pulls over, and we recognise the setting

from QUINCEs dream. They step out and SAMPSON eagerly
pulls out a magnifying glass and begins inspecting.
QUINCE looks around casually, brooding while cars pass
by. They are on Highway 6, and there is a housing
development in the distance, flanked by a few rows of
wind-energy turbines--windmills.
QUINCE (VO)
Donna and I discussed her
impression of the newly-widowed
Mrs. Mambrino on the way over. An
affair? All this on top of a
district audit... This case was
beginning to look more tangled
than three pairs of legs in a
shanghai whorehouse.
QUINCE
(to DONNA)
You think theres any way all this
is connected?
DONNA
(beat)
Is it possible the Missus was in
on it?
QUINCE
Bingo! She must have been. That
would explain why she was so
skittish when you came over!
SAMPSON
Wait... Mrs. Mambrino was in on
it? She could be just be Scottish
because she has to deal with
funeral arrangements. And what
does an audit have to do with her?
If she really wanted to put him
away why wouldnt she just testify
for the audit?
QUINCE
Youre right, damn it. It doesnt
line up...
QUINCE thinks for a moment, pulls out a cigarette, as

does DONNA.
SAMPSON
What if it was just an accident?
What if none of this is related?
QUINCE
Of course its related Sampson...
I just dont know how yet...
QUINCE has a brief flashback to his exchange with the

accounts clerk at school. He remembers the money that
went to MRS. MAMBRINO.
QUINCE
The stipend!
SAMPSON
Yeah! The stipend!... What
stipend?
DONNA
Quince, what are you talking
about?
QUINCE
The dame at the accounting window,
she showed me there was a large
sum of money transferred to the
widow only a day or two before the
crash.
DONNA
(beat)
So Mrs. Mambrino... could have
been paid off?
QUINCE
Could be.
DONNA
(beat)
This is way above our pay-grade...
crazy is what it sounds like.
QUINCE
Is it?
SAMPSON
(interrupting)
Are you sure this is where the
crash happened?
DONNA
Yes, Im positive. The police
officer told me where, and I took
note of it.
QUINCE
Were pretty sure, why Sam?
SAMPSON
Well wouldnt the wall be dinged
up at least? And there are no tire
marks anywhere? I could be

wrong... I am sometimes...
RICARDO (OS)
There was a crash.
The three detectives look around, trying to determine

where the voice came from. A small rock is propelled
up over the median. They look over the edge and see a
landscaper on the hill below--a hispanic gentleman,
probably in his mid-fifties.
RICARDO (CONTD)
I seen it a coupla nights ago. It
was a weird one too. I was working
down over by those houses--
He gestures to the nearby development, where there are

large, energy-harnessing windmills casting a long
shadow over them.
RICARDO (CONTD)
And I heard it. The only thing is,
is it was kinda slow, well, slow
for the highway. I didnt think he
wouldve died, but the cops said
he did. The cops showed up real
fast too, somebody in the
neighbourhood mustve called right
when it happened.
QUINCE
Did you see the driver?
RICARDO
I mean yeah, sorta. He had one of
those hats on like youre wearing,
I couldnt see his face though. I
think he mighta been drunk, he was
slumped kinda over the steering
wheel and I found this on the hill
down there a ways.
He pulls a large wad of grocery bag paper out of his

satchel and unwraps it, revealing what is left of the
bottle of rye in QUINCEs dream. RICARDO hands it to

QUINCE, who turns it over in his hands, recognising
it.
QUINCE
This only showed up on the night
of the night of the crash, not
before or after?
RICARDO
Only then. Im out here every day,
aint seen it before that night.
QUINCE (VO)
I couldnt believe it... fantasy
and dreams were blending somehow
into reality.
QUINCE
Thank you, erm...
RICARDO
--The names Ricardo.
QUINCE takes out his notebook.
QUINCE
Last name?
RICARDO
Aint got one as far as youre
concerned.
DONNA
Well, thank you very much for your
time and your help, sir.
SAMPSON
Was there anything else that could
have... put you off?
RICARDO
Oh sure! The whole thing was
weird, but there was another
something... when the police came,
there were no sirens or nothing,

and theres usually two officers
to a car, but there were three
this time. The third guy was in
plainclothes, I couldnt get a
good look at his face.
DONNA, QUINCE and SAMPSON look at each other

perplexedly.
QUINCE
Youre... youre positive there
were three of them?
RICARDO
You accusin me of seeing things?
QUINCE
Not so long as I can help it. But
if your story isnt straight--
RICARDO
Its straighter than your friend
over there. (re: SAMPSON)
SAMPSON shrugs.
QUINCE
Well... thank you, mister, for
your time.
RICARDO
Id say it was an even trade.
RICARDO stalks off back to work. The trio take their

cue and start walking back to DONNAs car. SAMPSON
appears deep in thought.
SAMPSON
Are we sure he wasnt imagining
things? I mean three cops, sure,
but in one car?
DONNA
Maybe they had some budget cuts.
SAMPSON
And the rye bottle is supposed to
just fly out of the car? Because
Mambrino was drinking? Did you
smell that guy? He smelled like
booze enough for--
QUINCE
--I trust him.
SAMPSON
Because hes honest or because you
want him to be?
They all stop. QUINCE squints at SAMPSON against the

sun. SAMPSON looks back toward the wind turbines, in
the distance.
SAMPSON(CONTD)
Maybe those windmills are a sign.
QUINCE
(beat)
Maybe youre imagining things.
Cmon, lets get back to base.
INT. THE COUNSELORS OFFICE -- MIDMORNING -- COLOUR
DOROTHY, NICHOLAS, CARDENIO and LUCY sit around

COUNSELOR JONES desk. They appear solemn.
COUNSELOR JONES
So... you said this is about
Quince?
DOROTHY
Were worried hes not well.
COUNSELOR JONES
Is that why he isnt at school
today?
LUCY
Well he isnt... sick, hes...

it seems hes having a bit of a
mental break.
CARDENIO
Wait, you mean hes not at school
today, like he hasnt shown up to
any of his classes?
JONES nods.
CARDENIO(CONTD)
Im-a call him.
CARDENIO pulls out his cell phone and leaves the room.
COUNSELOR JONES
Would this have anything to do
with Mr. Mambrinos recent
passing?
Outside the office, CARDENIO listens to the dial tone.

We see QUINCEs cell phone, plugged in on his desk at
home, ringing out.
********************
EXT. THE DISTRICT BUILDING -- NIGHT -- B&W
From the edge of the property, near the chain link

fence which separates the bus yard from the sidewalk,
the District Building takes on the appearance of a
heavily guarded compound, with searchlights roving the
parking lot in front. The lights in the halls are
still on, but the building seems to be mostly
deserted. PAN DOWN on QUINCE and SAMPSON at the gate
to the bus yard, where SAMPSON fiddles with the
padlock on the gate. He is trying to pick the lock.
SAMPSON
Nah I promise Ive got it.
QUINCE waits for a moment, allowing SAMPSON to

continue struggling for a moment. At length, he
reaches into a bag at his hip, rummages, pulls out
bolt cutters. He edges in slowly in front of SAMPSON,

and snips the padlock.
SAMPSON
(a bit let down)
I guess that works too.
QUINCE
Cmon, weve got no time to lose.
They open the gate, slowly and surreptitiously. They

sneak between the busses, hoping it will provide them
a bit of cover as a searchlight passes overhead.
SAMPSON looks a tad nervous--QUINCE remains
steely-eyed. They come to the end of the row of
busses, and all that is between them and the building
is a stretch of wide open parking lot. A spotlight
traces in front of them as QUINCE counts to three on
his fingers: a signal to SAMPSON. He mouths one...
two... three! and in turn, they make a mad dash to
the main entrance, which is... locked.
SAMPSON
(whispering)
Oh. Well, so much for that, I
guess we ought to--
He turns to leave. QUINCE puts an arm across SAMPSONs

chest, barring him.
QUINCE
Did you think we were gonna waltz
in through the front?
SAMPSON gulps.
They make their way around the corner of the building,

looking in each window they pass, for any sign of
life, or any way in. All the way to the back,
beginning to feel discouraged, they find another door,
a backway, which is also... locked. Thankfully, they
notice a car parked near it, and a light on in an
office further on. They walk hurriedly over, and peer
in. They see KYLA, apparently burning the midnight
oil, and MAMBRINOs audit file laying open on her

desk.
SAMPSON
There it is! And its Kyla!
QUINCE shushes him, and they duck as KYLA looks up

from her desk.
SAMPSON
(whispering)
So whats the plan?
QUINCE (VO)
That was a very good question.
QUINCE
(whispering)
The plan is... the plan is: we
wait for her to come out, catch
the door before it closes behind
her, then we go into her office
and grab the file.
SAMPSON
(beat)
That seems a bit simple--
QUINCE
Can it! Shes coming out!
KYLA walks out, and the door closes slowly on its

hydraulic hinge. QUINCE and SAMPSON rush to it, stop
it before it latches, and slink in, closing it behind
them. Past cubicles, they find a hallway leading to
where KYLAs office must be. They find her name on the
door, which is locked as well.
QUINCE
Damn it!
SAMPSON
Look, maybe we should come back
another time.
QUINCE
No! There must be some way to...
He notices the floor, which is so

shiny he can see his reflection
faintly in it.
QUINCE (VO)
Freshly buffed...
QUINCE
The janitors! The janitors must
still be here.
SAMPSON
Hows that gonna help us? They
arent going to let us into her
office just because we say so.
QUINCE
They might... Ill distract him,
and you grab his keys off his
belt.
QUINCE walks out into the hallways, despite SAMPSONs

protests, and begins looking down each successive
hallway, looking for a janitor. He finds one, a short,
elderly man mopping. He startles, and QUINCE
approaches him. He pulls out his wallet and flashes
his student i.d., conveniently emblazoned with the
school district logo.
QUINCE
Hello sir, Im from the district,
and Id like to ask you a couple
questions.
JANITOR
From the... were in the district.
QUINCE
Excuse me, did I say this
district? No, not this district,
the district.
JANITOR
(beat)
Of Columbia?
QUINCE
Yes, actually... Im from the
government.
JANITOR
The American government?
QUINCE
No sir, the Colombian. You see...
QUINCE continues stalling while SAMPSON, ever so

carefully, unhooks the carabiner from the janitors
belt from which hang the keys to KYLAs office. PAN
RIGHT, following SAMPSON all the way back and to the
office door. He takes the key on top, inserts it in
the lock with confidence, turns the handle and... the
knob doesnt turn. It is the wrong key. He glances
worriedly at QUINCE, and begins fumbling through each
of the keys in turn, trying to find the right key by
process of trial and error. Finally, the door unlocks,
but amid the ruckus and jangling of keys, the janitor
notices something awry. Grunting out a Hey! in
SAMPSONs direction, he bum-rushes KYLAs office, and
QUINCE makes a dash outside. Inside said office,
SAMPSON managed to find the file, and when faced with
the JANITOR, now getting on his radio to spread word
of the intruders, SAMPSON elects to toss the file out
the window, in the hopes that if he escapes, he can
pick them back up later. He begins to panic because
just now, looking around, hes realised he doesnt
know where QUINCE is.
JANITOR
Youre in some real trouble, son.
SAMPSON
No, you dont understand, Im a
detective, my partner and I are
instigating my--I mean my
investigate and me are detecting
my partner--no, wait I--
At that moment, two hands appear from outside the

window--the one the files were thrown out of--and
reach around SAMPSON to grab him by the lapels,
subsequently whisking him out the window and to
safety, in much the way one would pull a drowning man
from the sea.
EXT. DISTRICT BUILDING -- B&W
Outside, they square up and collect themselves.
QUINCE
Ive got the files, that was quick
thinking Sam!
SAMPSON
(breathing heavily)
You really saved my hide back
there, I was sure I was a gopher.
QUINCE
A goner?
SAMPSON
Sure.
The JANITOR interrupts their momentary reprieve,

bursting through the door and shouting as he runs
toward them.
QUINCE
(beginning to run)
Were not in the clear yet, come
on!
SAMPSON, with a look of not this again, reluctantly

follows QUINCE and picks up speed. Off in the
background, we hear the JANITOR say into his radio,
seriously: Weve got a 2319, send the boys in
pursuit.
Running across the parking lot again, with no regard

for the searchlights this time, QUINCE and SAMPSON
escape with the files, and hearing sirens in the
distance, they run down the street and turn the corner
into an alley. They catch their breath for a moment.
SAMPSON
Well, go on, I didnt stick my
neck out for nothin. Whats in
the file?
Opening the file, QUINCE thumbs through the papers and

reads aloud what he finds.
QUINCE
Harry Mambrino, age 58... English
10 teacher at... purpose of audit:
establish evidence of incompetence
and inappropriate workplace
behaviour. Possible notes:
Alcoholism, shirking
responsibility of grading to TA in
violation of state FERPA
addenda... my god, Sam, it says
here they knew he was
investigating their plans to cut
the arts programs... and it looks
like this audit was a way to
discredit him and stop his
findings from ever being
published... but they couldnt
gather enough evidence...
SAMPSON
So they... they...
QUINCE
They shut him up Sam. They kept
him quiet.
SAMPSON
(beat)
What do we do?
QUINCE
We gather the evidence that he
couldnt. We gather the evidence
on this... disgrace. We keep

looking for the truth.
From in the darkness of the alley we suddenly see a

man in a trenchcoat, with his hat pulled over his
eyes. He has brought a friend. His hand is in his
pocket, the fabric makes the shape of a gun inside.
The first man speaks in a low, gruff voice.
MAN #1
Hands in the sky, and nobody gets
hurt.
QUINCE does as he is told, as does SAMPSON, who starts

shaking.
QUINCE
We dont mean trouble. You want my
wallet?
MAN #2
Well take it.
(knowingly)
Whats in the file?
QUINCE
None of your business.
SAMPSON
Quince, dont be tough!
MAN #1
Shut up!
MAN #1 punches SAMPSON in the stomach, and SAMPSON

drops to the ground, where there is a follow-up rap
from MAN #1 across SAMPSONs head. QUINCE retaliates,
slugging MAN #2 across the jaw to get to MAN #1. MAN
#1 grapples with QUINCE, until pinning him against the
wall, he says:
MAN #1
Youre in big trouble kid. Too big
for you. Stay out of it before
someone gets hurt.
With that, the assailants flee into the night... with

the seemingly insignificant file and no wallet. QUINCE
immediately turns to check up on SAMPSON, who at first
glance appears fine. The violence was simply old
hollywood-style dance and show.
QUINCE
Sam, you took those hits like a
real man, you sure showed them.
SAMPSON
(groggily)
Yeah... we showed them.
(beat)
Hey Quince?
QUINCE
Yeah kid?
SAMPSON
You should probably call
someone...
QUINCE looks closer at SAMPSON and a look of shock

crosses his face. He stands and begins shouting, but
we hear his voiceover instead.
QUINCE (VO)
The problem with break-ins, is
that to do them right, you do them
when nobodys around. Its a job
for just you and your partner in
crime, that not even your closest
friend knows about.
CUT TO
INT. DONNAS ROOM -- COLOUR
DONNA, looking concerned, texts SAMPSON saying where

are you??
CUT TO
EXT. ALLEYWAY -- COLOUR
With a view of the alley from the street, we see the

cause of QUINCEs alarm. SAMPSON lies slumped against
the alley wall, and there is blood on his face--the
kind that wouldnt have shown up in the classic noirs,
certainly not in Old Hollywood.
QUINCE (VO)(CONTD)
Theres no one around. And I mean
no one.
QUINCE
(shouting)
Anyone?
CUT TO
INT. HOSPITAL HALLWAY -- COLOUR
QUINCE sits, presumably waiting outside SAMPSONs

room, with his head in his hands. He is fully,
painfully aware of the real world, and so even with
his anachronistic clothing, he does not attract much
attention. The hospital itself seems old, with the
sterile green walls seeming to age even while we
watch. DONNA appears at the end of the hallway,
seemingly after ages. She finds, and runs toward
QUINCE.
DONNA
Daniel! My god, what happened?
QUINCE
I... Donna I dont know. Those
crooks at the district must have
sent goons to get their files on
Mambrino back--I tell you, it was
all there Donna, it was damning if
Ive ever seen--
DONNA shushes him, not to shut him up, just to stop

him from getting more worked up.
DONNA
Dan. Danny. Im just glad youre

okay. Is Sam--
A nurse walks out the door that QUINCE has waited so

attentively next to, and he stands immediately.
NURSE
Hes a little out of it, but you
can see him now.
DONNA thanks the nurse while QUINCE bum-rushes past

them both. As DONNA walks in, she sees SAMPSONs
bruised, swollen face for the first time. She gasps
slightly and walks in slowly. QUINCE is anxious to get
to see SAMPSON, who doesnt make eye-contact as he is
spoken to.
QUINCE
Sam, buddy I didnt--
SAMPSON
Have you talked to the police
about what happened?
QUINCE
(beat)
No, I...
SAMPSON
Good, the pigs would just cover it
up anyway.
QUINCE
I guess so... thats good
thinking.
SAMPSON
I cant believe they beat up a
couple of kids for as many manila
folders.
QUINCE
Well you saw what was in--
SAMPSON
Yeah. Its damning.
QUINCE looks for a moment at DONNA, as if to say I

told you.
SAMPSON (CONTD)
Quince.
QUINCE
Yes pal?
SAMPSON
Youre gonna catch these bastards.
Youve got to. Youve got to catch
them with their hands dirty, and
youve got to clear Mambrinos
name.
QUINCE
And find Mambrino...
At length, SAMPSON looks at QUINCE.
SAMPSON
If theres anything to find.
(to DONNA)
You should get him out of here.
DONNA
Yeah, I... I will.
SAMPSON
My parents will be here soon. Ill
tell them I was out late. Ran
into... skaters, I dont know.
QUINCE
No, Sam, I... a real detective
would--
SAMPSON
--youre not. To hell with the
detectives code. To hell with Sam
Spade and all the others. If
youre a real detective, youll do
what you have to in the name of

the truth. Im doing this, you go
do your part.
QUINCE
(beat)
Thank you Sam.
SAMPSON
Go before I get up and throw you
out.
QUINCE and DONNA leave him to rest, and DONNA gives

him one last, meaningful look before she closes the
door. As the door falls closed and latches, we
CUT TO
EXT. DONNAS CAR, DRIVEWAY -- NIGHT -- B&W
DONNA exits her car and shuts the door.
DONNA
Ill call your folks to let them
know youre...
She looks at his face, which, while far better off

than SAMPSONs, has its share of small cuts and
scrapes.
DONNA (CONTD)
Mostly alright.
She unlocks the door to her home, and lets QUINCE in.
They are quiet, so as not to disturb the rest of the
house.
DONNA (CONTD)
Ill be back. You stay put.
QUINCE stands in the foyer, illuminated only by

moonlight, his silhouette parcelled and sliced by
venetian blinds. He leaves his hands in his trenchcoat
pockets, absently takes his hat off and scratches his
head, sniffs the air.
QUINCE (VO)
Her home smelled familiar, like
lilacs or maybe shampoo. Maybe
like Donna, or she just smells
like her home.
He stands idly for only a moment more, when DONNA

returns with a bottle of water, some rubbing alcohol,
and a rag.
DONNA
Lets fix you up, soldier.
They mosey downstairs, where DONNA can turn on a light

and not fear discovery. She sits QUINCE down on a
couch, takes off his jacket. She hands him the water,
and moistens the rag with the rubbing alcohol. QUINCE
winces as she applies it to his cuts.
DONNA
Whatd you expect? Mothers milk?
QUINCE
(beat, thinking)
Scotch?
DONNA
Same thing--Drinking or applying?
QUINCE
Same thing?
DONNA
Funny kid.
She finishes cleaning him up. The wounds are still

there, at least he looks better.
DONNA
There. Now get some shut-eye Dan.
Its late, and tomorrow comes
early.
QUINCE
Thanks Donna.
DONNA pulls out some blankets and bedding for his

night on the couch, she hands them to him, and he
stretches out on the couch, pulling the blanket over
him: out like a light. DONNA turns off the light and
heads upstairs.
CUT TO
EXT. QUINCES HOME -- EARLY MORNING -- B&W
DONNAs car pulls into the driveway, and in the

foreground, a note which is taped to QUINCEs front
door flutters in the breeze. QUINCE notices it as he
steps out, and hurries toward it. DONNA follows suit.
QUINCE
(reading)
Seven oclock sharp, room 209, be
there. Donna too.
DONNA
I dont understand.
QUINCE
Neither do I. Whats going on
today?
DONNA
If I knew dont you think Id
understand at least a little
better than you?
QUINCE
Point taken.
DONNA
Go inside, get your fresh linens
on, chop chop. Dont want to be
seen at seven with you looking
like a mop.
QUINCE
Yes maam.
QUINCE hurries in to change.
SWIPE TO
INT. A SMOKY CLUB(ROOM 209) -- MORNING -- B&W
DONNA and QUINCE walk in, the latter with a fresh

shirt and a lighter gray suit, unsure of what to
expect, QUINCE checks his watch. An upright piano
plays somewhere, simple bluesy bar-tunes. There is a
small-ish microphone setup on the stage, and stepping
up to it is NICHOLAS, who has emerged from the crowd.
NICHOLAS
Thank you all for coming, uh... we
know its hard to... Principal
Miller and, er, the widow Mambrino
have been gracious enough to
provide their help, their ear,
this space so that we can... talk
about whats happened in the last
weeks.
QUINCE and DONNA slowly realise what this event is:

grief counseling. DONNA sighs, and QUINCE looks ever
so slightly disgusted.
QUINCE
Hes not even six deep and already
the bastards have got a grief
group for him.
CARDENIO and DOROTHY walk toward QUINCE and DONNA.

CARDENIO shakes QUINCEs hand, the latter not being
completely sure why. DOROTHY touches QUINCEs arm
affectionately, to which he recoils.
CARDENIO
Im glad you could make it--both
of you.
DONNA
Cardenio, mind telling us what the
hell this is?
DOROTHY
Its a way for Quince to deal with
his... stress in a healthy way.
DONNA
The stress of actually doing
something when all of you just sit
around, resigned to the party
line?
DOROTHY
Oh dont tell me you believe this
shit hes told you.
DONNA
No, I believe what Ive seen, and
what Ive seen tells me even if
Mambrino is dead, it didnt happen
the way we think it did.
CARDENIO
Jesus Christ Donna the man was an
alcoholic--
Is it so hard to
believe that he could have...
QUINCE
(overlapping CARDENIO)
-- well so are you on
any given weekend!
DOROTHY
Look at him, justifying--and you,
youre enabling him. Youre the
smartest of any of us, why the
charade?
DONNA
Oh, Im the bad guy? Im
responsible for his actions? How
about ask him about the charade?
None of you even stuck it out to
see if he was making sense--
CARDENIO
Because he isnt, Donna.
CUT TO
INT. ROOM 209 -- MORNING -- COLOUR
The scene changes, with everyone standing as they

were, in heated conversation, with everyone but QUINCE
in their modern school clothes. The piano has
stopped... there is no piano. They are in a school
multi-purpose room, there is lemonade and refreshments
on a table against the wall.
CARDENIO
Where does he think we--
(to QUINCE)
Where do you think we are right
now?
QUINCE
Were in Room 209.
CARDENIO
What is Room 209?
QUINCE
(beat)
What do you want from me? Its a
piss-poor excuse for a gin joint
if Ive ever seen one.
Those around him sigh disappointedly.
CARDENIO
(to DONNA)
We didnt hear him out? We dont
need to, a shrink needs to.
QUINCE
Now what the hell is that supposed
to mean?
CARDENIO
It means that youre a crazy

bastard! It means youre bat-shit
crazy, and that Mambrino is dead--
QUINCE
I never said he wasnt, I just had
to get to why--
CARDENIO
Because hes a daffy old man that
crashed his car! I loved him
Quince but Id hate to see you end
up like him, stop with this
delusion.
QUINCE stops for a moment, he thinks. He spits on the

ground to his side.
QUINCE
You first. Ive got a case to
close.
CARDENIO
If thats what you want to call
it.
DONNA
Alright, zip up kids.
A phone rings an antique ring. It is a standard office

landline, ringing mechanically rather than digitally.
CARDENIO and DOROTHY look at it... at a loss. QUINCE
crosses to it, picks it up.
QUINCE
(hesitantly)
Yeah?
A distorted voice answers.
DEEP-THROAT
Glad you made it.
QUINCE
Who the hell is this?
DEEP-THROAT
Have you ever seen All the
Presidents Men?
QUINCE
Of course.
DEEP-THROAT
Youve followed the money. Follow
the car.
The line drops, DEEP-THROAT has hung up. Though

remaining in COLOUR, the piano music, without the
physical piano, picks up again, and a faster tempo,
turning from blues to jazz.
QUINCE
Follow the car?
DONNA
(an epiphany)
There were no pictures of the car.
QUINCE
What?
DONNA
There were no pictures of the car
in evidence.
QUINCE
(beat)
Why not?
DONNA
Did they say anything else?
QUINCE
Glad you made it?
DONNA
(beat)
I think we ought to find
Mambrinos car.
QUINCE
Where on earth would we do that?
DONNA
The impound yard?
They motion to leave. The HALL MONITOR from the first

scene blocks their path.
HALL MONITOR
Pardon me... Mr. Joseph. Donna. If
you leave the premises now and
arent back before school starts,
you will officially be considered
truant, based on the precedent of
the last few days. Ill remind you
that truancy is a legal offense,
and--
DONNA
Is this the guy thats always
harassing you?
QUINCE
Yeah this is the guy.
DONNA
(to the HALL MONITOR)
Christ Im sick of you.
CUT TO
INT. A SMOKY CLUB(ROOM 209) -- MORNING -- B&W
DONNA punches the HALL MONITOR in the jaw, knocking

him all the way to the ground. DONNA and QUINCE
continue past him.
DONNA
You have no idea how good that
felt.
QUINCE
Im sure I do.
CUT TO
INT. MAMBRINOS CAR -- DAY -- B&W
The shot opens on a screen of only uniform gray. PAN

OUT slowly to reveal we are looking at an overcast
sky, through the windshield of MAMBRINOs car. A
fedora crowns at the bottom of the frame. QUINCE
appears, and so does DONNA after a moment.
QUINCE
This is it huh?
DONNA
You tell me.
QUINCE
Yeah, this is the one Ive hauled
file boxes out to.
They begin to circle and inspect the car. DONNA

gestures to the right-front quarter panel.
DONNA
So that... looks like the point of
impact.
QUINCE
It certainly looks like it
crashed.
DONNA
I know...
The right side of the hood is smashed all to hell with

long, deep gashes down the entire right side.
QUINCE
Is that it? All there is?
DONNA
It cant be... Dan maybe were
looking too hard at whats there.
QUINCE
Well doesnt that just sum up the
whole damn predicament?
DONNA
Dan... theres no blood.
Anywhere... the windows are all
intact... the airbags arent
deployed.
QUINCE
My god, youre right.
QUINCE peers in through the windows. Just to check, he

jiggles the door handle, which is unlocked. He opens
the door, and looks inside. Remembering his dream, he
takes a deep breath, and sits down in the drivers
seat.
QUINCE (VO)
What are you hiding from me
Mambrino?
He reaches for the glove compartment, which is locked.
QUINCE
Damn!
DONNA
What is it?
QUINCE
The damn thing is locked.
DONNA
Oh.
She takes off her heels, lines one of them up against

the lock, hits it full-force with the heel of her
hand, and we hear a loud snap. She pulls her shoe
away, in tact, and opens the glove compartment. QUINCE
looks up at her in a moment of reverence and begins
rummaging.
QUINCE
That was uh... thank you.
He pulls out a small pink slip. It is an excusal note

from a very long time ago, with a phone number written
on the back. Something catches DONNAs eye, and she
reaches deep into the glove compartment to pull out a
burner flip phone. They look at each other, unsure,
and DONNA dials the number. They place their heads
close to the speaker to hear it. It rings for a
moment. Someone picks up on the other end.
VOICE
Who the hell is this?
DONNA and QUINCE remain silent.
VOICE
How did you get a hold of this
phone? This is stolen property,
and its not too smart to call a
police officer from a stolen
phone.
QUINCE
(beat)
Youre police?
The VOICE on the other end hangs up.
DONNA
I think I recognise his voice...
Do I...
CUT TO
INT. MAMBRINOS CAR -- DAY -- COLOUR
The scene changes to colour as DONNA pulls out her

phone. She scrolls through the contacts. She selects
one contact, and calls. Her phone rings, but this time
the other line is picked up much more quickly. The
same voice speak. It seems to be trying to calm down.
OFFICER MILLER
Hey Donna, any leads on Mambrino?
DONNA
Um... yes, I think we may have
just made a breakthrough.
OFFICER MILLER
Well come down by the station this
afternoon and be sure to tell me
about it. If you think the
evidence changes anything...
DONNA
Yeah... it might. Thanks Officer
Miller.
She hangs up.
QUINCE
Officer Miller? Like Principal
Miller? You didnt think that
might be an important detail?
DONNA
I figured it was just a
coincidence that he was the
Principals brother-- I talked to
him because hes the one that
responded to the call when
Mambrino crashed so...
They realise at once.
QUINCE
He didnt respond to the call--
DONNA
He knew ahead of time--
QUINCE
Which means--
DONNA
It was planned, and Mambrino was
in on it--
QUINCE
And Mambrino... probably isnt
dead.
DONNA stares in shock.
QUINCE (CONTD)
What do we do?
DONNA
We... we blow the whistle on the
district, the arts, the cuts,
embezzling? We bring out
everything that Mambrino was
working on, and Quince, weve got
to find Mr. Mambrino.
QUINCE
Where... where do we...
A police car pulls up outside the the impound yard,

sirens off. A civilian car parks behind them.
SAMPSONS MOTHER, JANINE, gets out out of the latter,
followed by PRINCIPAL MILLER, looking concerned. She
points at QUINCE, identifying him to the officer. The
officer begins walking toward QUINCE and DONNA, in a
nonthreatening manner. JANINE pulls out her cell phone
and calls QUINCEs home. QUINCES MOTHER answers: we
hear her voice saying where is he? Thank god hes
okay... a mans voice saying possibly a danger to
himself and others, DONNA telling him not to run,
they have nothing to hide. CLOSE UP on QUINCE,
beginning to look overwhelmed.
CUT TO
INT. SQUAD CAR -- MINUTES LATER -- B&W
The CLOSE UP remains on QUINCE, now in his fedora,

looking steely and ever so slightly smug. He sits next
to PRINCIPAL MILLER in the backseat. The police
officer from the impound yard is driving. PRINCIPAL
MILLER lights a cigarette. DONNA is in COUNSELOR
JONES office, being interviewed for details of
QUINCEs mental lapse while OFFICER MILLER stands at
the door. DONNA gives COUNSELOR JONES the cold

shoulder. We hear the patter of rain on the roof of
the squad car. At length, PRINCIPAL MILLER speaks to
QUINCE.
PRINCIPAL MILLER
I want you to know, as of right
now youre only in trouble with
the school. Legally you could get
reckless endangerment for that
stunt with Mr. Peters, but
depending on how this goes, youll
be in the clear.
QUINCE
If thats really the case, take me
back to school. If Im really not
tangled up with the fuzz, then I
dont need to be here. Then its
between you, me, and Harry
Mambrino.
PRINCIPAL MILLER
Its really not that simple.
QUINCE
The three of us isnt simple.
Theres the matter of your brother
the cop, for example: I think he
knows something. And if he does,
it lines up with what I found.
None of this official story
garbage youve been spreading
around.
PRINCIPAL MILLER
This investigation of yours has
really been quite the crusade--
QUINCE
Drop the front Miller. I know you
were in on it. I know were on the
same side, I dont know why youre
fighting me. Your brother the cop
responded to Mambrinos call, you
gave his wife the back-pay she

needed to get through his
unemployment and everything went
through to make him disappear so
things could cool down long enough
to blow the whistle on the
district. I know Officer Miller is
in on it. I know Mrs. Mambrino is
in on it, even though at first I
thought there was an affair in the
works, and you two had conspired
to snuff out poor Harry. Where are
we going, by the way?
PRINCIPAL MILLER
So in these scenarios Im either
the orchestrator of Mr. Mambrinos
death, or the arbiter of a massive
cover-up. I suppose I should be
flattered.
They sit in silence for another moment. PRINCIPAL

MILLER continues smoking. QUINCE grows anxious.
P. MILLER (CONTD)
The reason were not going to the
police station is because you
havent broken any laws, and
youre with me because the
greatest danger you pose is to
yourself. I can help with that.
QUINCE
All I wanted was the truth.
PRINCIPAL MILLER
People treat the truth like its
so abstract. Its concrete. The
truth is the reality of whatever
situation youre in. The truth
youre looking for... its just
too big. The truth you have is
that Mr. Mambrino is gone.
QUINCE
I dont accept that--
PRINCIPAL MILLER
Its been a week since the
accident.
QUINCE
Accident.
QUINCE (VO)
It had been a week since the
accident. It was a wednesday. God
I hate wednesdays.
A saxophone plays, dirge-like, as the car slows to a

halt. PRINCIPAL MILLER puts out his cigarette, puts on
his hat, opens the door, and gestures to QUINCE follow
him.
CUT TO
INT. COUNSELOR JONES OFFICE -- B&W
The counselors office, where before it was simple,

pedestrian, inviting, is now stark, almost like an
interrogation room. There is one harsh light on DONNA,
OFFICER MILLER stands imposingly at the door.
COUNSELOR JONES reclines, waiting for DONNA to open
up. It is a battle of wills. DONNA loses.
DONNA
Theres nothing to say.
COUNSELOR JONES
(saccharin)
Theres always something to say.
DONNA recognises her mistake, resumes her defiant

silence.
COUNSELOR JONES
Were on the same side here, you
dont need to fight me.
DONNA
What can you tell me that I dont

already know?
COUNSELOR JONES
You really believe him dont you?
DONNA
Its not about him, why does
everyone think that?
COUNSELOR JONES
Youre a good friend--
DONNA
Dont you think I know that?
COUNSELOR JONES
(beat)
They say its not what you dont
know that can hurt you, its what
you know for certain that just
aint so.
DONNA says nothing.
COUNSELOR JONES (CONTD)

Do you think reality is malleable,
Donna? Do you think you can flex
and bend it as you please?
DONNA
Im certain you cant. Thats why
I wanted to know who was trying to
bend the truth and why its
breaking.
COUNSELOR JONES
Clever, arent you?
(beat)
If youre so smart, why didnt you
see through this... smoke? This
ruse, this denial, these airs that
Quince was putting on, its all so
absurd--
DONNA
--Mambrino died and hardly anybody
blinked, thats absurd. Danny
noticed something wrong, something
that didnt line up. Thats
concrete, thats logical, thats--
COUNSELOR JONES
Misguided. Hes ill, Donna. Hes
internalising his grief over Mr.
Mambrino and he cant handle it.
Hes created this whole other
world where Mambrino is alive,
just to compensate.
DONNA
(beat)
Mambrino is alive.
COUNSELOR JONES sighs. She waves OFFICER MILLER over.

He places a manila folder on the desk in front of her,
and puts a comforting hand on DONNAs shoulder, which
she shrugs off.
OFFICER MILLER
(softly)
Im sorry kid.
COUNSELOR JONES opens the folder, which is filled with

8 by 11 inch glossy photographs. The kind you see of
crime scenes. We see her lay them out in front of
DONNA. Her expression is, at first, one of disbelief,
then grief, sadness and panic all at once. She can
hardly process. The scene does not change much, but it
saturates. DONNA is in colour.
COUNSELOR JONES
Its difficult to take in, I
know--
DONNA
My god, where is Dan? Where did
they take him? What are you doing?
This is sick, its sick is what it
is. Where is he?
COUNSELOR JONES
(beat)(sadly)
I suppose you could say theyre
visiting Mr. Mambrino.
DONNA calculates for a moment, then rushes to the

door, angry and worried, keys in hand. As she runs out
the door, we PAN DOWN and see the crime scene photos
of MAMBRINOs crash. They are very real, and there is
a lot of red.
CUT TO
EXT. CEMETERY -- B&W
PRINCIPAL MILLER walks

purposefully along the fence, with
QUINCE in tow. It is raining hard,
and they are getting slowly
drenched. Headstones begin to
enter frame.
QUINCE
Miller what the hell are we doing
here?
PRINCIPAL MILLER
Im helping you, trust me.
QUINCE
How is this--
PRINCIPAL MILLER
You want the truth? This is the
truth.
They stop. PRINCIPAL MILLER gestures to QUINCE to walk

out toward a fresh headstone. With trepidation, QUINCE
does so.
QUINCE (VO)
I hate wednesdays.
COLOUR flows back into the scene, and QUINCE looks

aghast at the headstone in front of him. PAN DOWN to
see:
HARRY MAMBRINO
Husband, Teacher, Seeker of Truth.
1942 - 2017
QUINCE stands, stupefied into utter silence. Silence

of speech, of action, of thought. PRINCIPAL MILLER, in
the background, walks closer to him.
PRINCIPAL MILLER
Im sorry Quince. I really am. I
didnt know what other way to...
Im sorry.
QUINCE does not react.
P. MILLER (CONTD)
Ill... give you a minute...
alone.
QUINCE (VO)
Turns out... the truth isnt what
I thought. Turns out... I didnt
know what I was looking for.
Trying to catch smoke in my hand,
chasing a shadow. The truth isnt
ever what you think.
PRINCIPAL MILLER pulls his jacket close and walks back

to the car. After a moment, QUINCE falls to his knees.
He takes off his hat, places it on the gravestone. It
is still fresh, not yet worn or dirty. It is marble.
The camera centers on his face. In the background,
DONNA runs out of her car toward QUINCE. She runs past
PRINCIPAL MILLER.
ROLL CREDITS
CUT TO
INT. HOSPITAL HALLWAY -- DAY -- COLOUR
QUINCE and DONNA, dressed nicely, but in modern

clothes, QUINCE in a plain oxford button up, DONNA in
a dress. QUINCE is back to his former self, his sane
self, his casual schoolboy hair.
QUINCE
He gets checked out today, right?
DONNA
Yeah, yeah he does.
QUINCE
Do you think he even wants to see
me?
DONNA
I know he does. Especially
since... we found out--
QUINCE
Lets... forget about that.
DONNA
(sad beat)
Well, are you ready?
QUINCE
Yeah.
They open the door to SAMPSONs hospital room.
CUT TO
INT. SAMPSONS HOSPITAL ROOM -- DAY -- COLOUR
It is full daylight outside, and QUINCE opens the door

slowly, avoiding glare from the window. We see SAMPSON
and he is grinning widely.
SAMPSON
Quince! I figured out the case!
PAN LEFT from SAMPSON to QUINCE and DONNA at the door,

still not quite all the way open. QUINCE looks let
down, as though he didnt want to have to go through
this again. DONNA steps forward, fully into the room.
DONNA
Sampson, didnt you hear...
She trails off, distracted by something entirely too

much to process, at the other end of the room from
SAMPSON. A voice addresses her from offscreen.
MR. MAMBRINO (OS)

Hear what? You havent been
talking to my buddy Miller have
you, I tell you, the man can keep
up a secret.
The camera still on DONNA and QUINCE, now both shocked

into submission, they stand just outside the shadow of
the window frame, and the silhouette of a tall, thin
man in a fedora cuts between the shadow of venetian
blinds.
MR. MAMBRINO(OS)(CONTD)
Mr. Joseph. I hear youve been
looking for me.
THE END

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Findingmr Mambrino 1

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FINDING MR.

Inspired by the work

FIRST DRAFT April 11, 2017

INT. SCHOOL HALLWAY -- MORNING

Open frame in black and white, on a desolate and

A second pair of boots enters the frame, QUINCE

diminutive QUINCE, shrunken by perspective at his

QUINCE freezes, and raises his hands slowly.

He turns to face the HALL MONITOR, and we see a man

QUINCE sighs and shakes his head gently. He

He repeats the action.

HALL MONITOR #1 (CONTD)

Once the HALL MONITOR walks away, QUINCE begins to

to guys like him. So thats what I

He passes a trashcan, and as he does, he rips both

He approaches the class-room, and reaches for the door

The CAMERA TURNS to DONNA, a girl about QUINCEs age,

on those essays he gave ya on

QUINCE opens the door and walks in, right in the

In fact, lately Ive been pursuing

From the class we see one student sneak a couple puffs

The student snaps to attention, hiding the cigarette

He confiscates the cigarette and holds it in front of

QUINCE has looked up from his papers, and appears to

QUINCE looks down at his desk, where he finds his

At the front of the classroom, MR. MAMBRINO is the

The bell to dismiss class rings.

MAMBRINO crosses the room over to QUINCE, passing SAM

Really? I didnt think English

They turn to look at DONNA, who appears to have

INT. SCHOOL POD -- LUNCH -- COLOUR

NICHOLAS and CARDENIO arrive to greet an already

DONNA nudges him playfully for this concession.

An intercom announcement cuts through the chatter.

Everyone at QUINCEs table looks at each other warily,

In the auditorium, students file into rows, unsure of

possible. Once everyone seems settled, he taps the

There is immediately muttering and talking in the

The murmuring continues. CUT TO QUINCE and DONNA in

DONNA turns toward QUINCE with concern.

A cliched suspenseful dunh DUNH plays at this

DONNA looks torn. She seems to respect his moral duty,

INT. QUINCES HOME -- AFTERNOON

Later that day, QUINCE gets home, obviously tired and

himself. A drumbeat begins, and the saxophone follows.

INT. SCHOOL COURT -- MORNING

Back at school, QUINCE walks amid the student body

He stands for a moment in the crowd, and absently

He spies SAMPSON in the distance.

He seems to move on to a new train of thought,

I never understood how in the old

Suddenly, derailing his train of thought, he passes

He then sees exactly who pulled him into the window so

She glares at him. After a moment she pulls out a

As though he has a sudden idea, he scribbles something

QUINCE lingers for a moment.

From a colour perspective, the people in line behind

QUINCE walks quickly off toward his next venture.

INT. MAMBRINOS CLASSROOM

In Mambrinos erstwhile classroom, QUINCE saunters in

I know Mrs. Berry. It feels a

MRS. BERRY, a bit perplexed, leaves. Once gone, QUINCE

The class snaps to attention.