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“STRANGER” by Alex J. Ferguson P.O. Box 282 DeKalb, IL 60115 815-787-2980 aferguson@tbc.net FADE IN: NARRATOR: (Over black) Well, hello there. It’s nice to talk to you again. It’s been a while since we last talked. Of course, you can’t see me, and you probably don’t recognize my voice. In fact, you wouldn‘t recognize me if you saw me, anyway. But that’s okay. Someday you will. WIPE TO: (Over Narration): Scenes of space, planets, and stars. NARRATOR: Of all the worlds I’ve been to, and of all the forms I’ve taken on, few of them compare to the planet earth and to the remarkable human race. WIPE TO: (Over Narration): Scenes of rivers, mountains, plains, deserts, and beaches. NARRATOR: This planet is so precious, and your life form is ever-advancing, yet you take both for granted. You’ve countless flaws, more than most advanced forms of life, and you’re prone to evil. Yet you’re also capable of great things--from acts of simple kindness to ideas that transcend your limited physical and spiritual forms. WIPE TO: (Over Narration): Scenes of highways, streets, sidewalks--all as the sun goes down. NARRATOR: Funny thing is, you’ve seen me many times before and you‘ll surely see me again. Maybe you’ve seen me through your local mail carrier, maybe the little kitten you had when you were twelve, or maybe the shirt you’re wearing on your back right now. Doesn’t matter. What will matter is when you do finally recognize me during your last image of, say, the sun going down right before you pass. WIPE TO: (OVER Narration): Scenes of crowds in movie theaters, restaurants, and libraries. NARRATOR: And sometimes, it’s when and where you least expect me--and through the most unlikely of forms--that I do the most good… CUT TO: INT. CITY HOSPITAL - DAYTIME TOMORROW With his back to the open doorway, BRIAN R. ROGERS, upper 20s, athletic build, stands outside room 568 in a hospital hallway, talking on his cell phone to an unknown person. His face is not in sight. BRIAN I know, it’s a really long story. We both know that. But we’re here now, right? Brian listens to an inaudible female voice, nodding along in agreement. He shuffles uncomfortably. BRIAN Yeah, I guess so--putting all the pieces together or whatever. Putting everything in it’s right place, I guess. Although in a really fucked up kind of way. Brian stands still, listening in anticipation to the caller. CAMERA focuses in tightly on the back of Brian‘s head before fading to: INT. BEDROOM - 9:37 P.M. PRESENT TIME With his back to the wall, Brian stands in only a pair of sporty boxers, confident. His face is still not in sight. Music plays in the background--industrial, jarring-type music building in tension--though only in the background. Brian grabs some black dressy socks and puts them on routinely. Then he grabs a pair of tight, fashionable looking jeans from a drawer under the mirror and continues the routine. Then he grabs a tight, fashionable-looking shirt from the next drawer up and slides it on. Finally, he grabs a small black bottle of body spray and sprays his wrists, then neck, then chest, and finally, under his pants. As the music BUILDS to a peak, Brian grabs a bottle of blue hair gel, rubs it in his hands, and begins working it through his hair as he steps in front of the mirror. As he slicks the gel confidently through his black hair, his stubbled face glows in the mirror, with a confident smirk and a pair of discreet earrings. His face is attractive enough, and with the adornments, he still fits in well at most clubs with women slightly younger than his near 30. Next Brian grabs his wallet from the dresser top, full of disheveled cash, two single condoms, and loose pieces of scratch paper. He fumbles through the pieces of paper with purpose. Briefly, he pulls out his ID while re-arranging it, and takes a quick look. The ID card claims the name Brian R. Rogers but the photo is almost unrecognizable. Focus directly on the ID photo. Brian then fishes a small piece of paper from the wallet, sets the wallet on the dresser top, and heads toward the phone, not before stopping for one more confident, smug, and false look in the mirror. Next he turns the stereo down to a low level. He grabs his cell phone from the counter, dials the number from the paper, waits for an answer, and speaks confidently. BRIAN Hey. What’s up? He waits impatiently as he hears a muffled female voice. BRIAN Yep. I love you. Of course I do--don’t you believe me? (A silent pause) Don’t you? He hears another muffled response, tries to quickly interrupt without success, and waits for the girl to finish. BRIAN Well, that’s why I called. I… (Interrupted briefly) No, I… (Another brief interruption) No, I’m not gonna be able to make it tonight. (A longer interruption as Brian gets visibly upset) Because I’m tired, and I’ve got that interview tomorrow. Remember? At that place… (Brief interruption) Over by the IBM building? The girl’s voice, still muffled, raises noticeably in an argumentative tone. BRIAN Yeah? Well, at least I’m trying. Don’t you want me to try? I mean… (Another brief, louder interruption) I would think so…but now it’s hard to say. (The same interruption) I don‘t know. I just don’t know about this whole…relationship here right now. (The same interruption again.) I don’t know…I just don’t. Brian listens to another round of muffled insults. BRIAN I DON’T KNOW WHY! Fuck. It is what it is. And if you can’t deal with it, then that’s not my problem. I’ve come too far to deal with…with petty bullshit like this. Like… (One more brief, heated interruption) Whatever. I‘m not gonna go in circles arguing about it. Brian waits for her response. This time it was louder, almost a yell. BRIAN Are you done yet? I just don’t have time for this shit anymore. I just don’t. (A brief, quiet interruption, and Brian pauses before responding) Whatever. If you wanna call me back tomorrow…then fine. If not, then I‘ll deal with it. All right? (Another quiet interruption) Okay…whatever. Brian waits for her response, but gets none. He checks his cell to make sure she didn’t end the call. He waits another moment without a response before continuing. BRIAN So, what? You’re not gonna talk to me now? Is that it? (A silent pause) You there? After a sizeable pause, Brian looks in the mirror with the same confident, false smirk on his face--seemingly unfazed--and continues. BRIAN All right. (An average pause) Have a nice life. He ends the call, flicks the phone onto the worn couch and puts his hands over his face as he slowly sits down. After a quick consideration, he puts himself together and heads over to the dresser again. He grabs the his wallet, tucks it into his front pocket, grabs a box of breath mints with little crystals in the middle, tucks them into the same pocket, and grabs the cell phone off the couch and puts it into his other pocket. Then he grabs a big set of keys from the dresser top and puts them in the pocket with the cell phone. Finally, with one more quick smirk in the mirror, he turns the stereo off, leaves the lights on, and SLAMS the door shut. Camera focuses a still shot on the room for a minute, catching Brian‘s lingering presence. INT. PARKSIDE GRILL - 9:44 P.M. JUDY DAWSON, late 30s, stands alone picking up some junk off a few tables in the Parkside Grill. Her hair is cut short, a few inches above her shoulders, and the cut looks cheaper the closer the camera gets. Her body has begun to fill in at the wrong spots, noticeably sagging at the bottom of her face and hips. She heads over to the large, octagonal bar, nearly empty, and starts cleaning up the few dirty areas. A faint noise briefly gets her attention as she looks up quick, then it fades. She sees one more dirty table and heads over. When she bends over to pick up a used napkin, one of the locals gives a little HOOT, annoying but not too noticeable, and she ignores it. She’s dressed a little too showing for her age and features--her clothes looked fashionable and fit better when she bought them several years back. But they still fit her with a little grace. A couple walks in the door loudly, and the woman greets Judy. WOMAN (Sounding a little drunk) Hey Judy darling. How’s life treatin’ ya? JUDY Same bar, different night. I guess that’ll never change. (Pauses) Things are all right here. How ‘bout you? WOMAN You all right? (Motions to the man, who takes a seat over at a booth) What’s wrong? JUDY Nothing. Why? (The woman looks at her consolingly) Don’t tell me it’s that obvious. WOMAN Come on, Judy. Right here. She motions Judy toward her for a hug. Judy hesitates, then accepts a warm, brief hug. WOMAN We both know how much shit you had to go through with that whole…thing with Frank. I know it isn’t easy, but you gotta try to get on with your life. JUDY I know. WOMAN Just forget about it…forget about it all, you know? JUDY Yes, I know. I’m tryin’. It’s just not that easy. WOMAN I know it’s not. Believe me. It’s not like I haven’t been through my fair share of bullshit in my life (Nods over toward her husband) Besides, if my life was so perfect, do you think I’d be spending my Friday night at the Parkside? No offense. JUDY I hear ya. I think we all gotta adjust…you know…move on at some point. I don’t know. WOMAN You got it, kid. Just don’t let it get the better of ya. I think for all womankind, it’s your obligation. JUDY (After a little chuckle) I hear ya. Thanks Karen. Back to work now. The woman gives her another quick, informal hug and heads over to the booth to sit with her husband. Judy moves on toward another set of tables, continuing with busy work around the large, mostly empty tavern.. INT. FOOD MART - 10:03 P.M. CHRISTOPHER CUTLER, early 30s, convenience store employee, stands in front of the cracked mirror in the restroom of the Food Mart. He combs over his greasy, receding black hair with a blackened smile. He tucks his work shirt into his pants and buckles his belt below his disproportionate gut. After a quick look in the mirror, he untucks the shirt, though his gut is still very noticeable. He looked physically older than his age but carried himself much younger, like a child. His glasses were uneven and bulky on his face, but they shielded people from his ugly, uneven stubble over his small double chin. His pants were too tight for him--they were a little old, and had some kind of faded cowboy sign on the back label. His shoes were worn heavily and had Velcro straps on the top. His nametag was also uneven on his shirt. The tag has the letters, “Hi, my name is” printed on it and he’d scratched “Chris” below it in pen. He wipes his nose quickly, rubs the snot under his armpit, and heads back out into the store. As he heads up toward the front counter, he passes a pair of college-aged girls with a little SNORT before getting to the counter. He comes up behind the counter and his co-worker, Erin Rae. He starts counting the bills and coins in his drawer. CHRIS Hey. How we doin’ tonight? ERIN Huh? CHRIS How we doin’? Where’s the big party at tonight? ERIN Nowhere. I don’t even have shit to do tonight. This sucks. CHRIS Don’t tell me you’re not goin’ out tonight, girl. I know you better than that. ERIN I don’t know. I’ll probably end up goin’ out with Paul or something. You remember Paul…? CHRIS Oh yeah. (Fake smile) You like that guy or what? ERIN I don’t know. He’s all right, I guess. CHRIS Just alright? ERIN Yeah, he’s fine. Just a little weird sometimes. CHRIS Waddya mean, weird? ERIN I’m not sure. (She starts ringing up a customer) He just acts a little…just a little odd for a guy sometimes. CHRIS Waddya mean? Like gay, or something? ERIN No! God…why would I be goin’ out with the guy if I thought he was gay? CHRIS Sorry. (Making a false defensive gesture with an ugly smile) But that was…uh…kind of how he was acting when you guys came in here last week. So, am I right or am I right or am I right? ERIN Shut up. Don’t start that shit now. CHRIS All right. (Another similar gesture) Jesus. Chris stands behind the fading white countertop, watching Erin ring up another customer. His eyes gaze a little too long in the wrong areas, Erin notices, then he catches himself and finishes counting his drawer. CHRIS All right. You about ready there? ERIN Just about. Give me a sec. CHRIS Let’s go. I ain’t got all night, girl. ERIN Call me girl again and I’m gonna kick you right in the nuts. I swear. CHRIS (Falsely) Sorry, ma’am. ERIN That’s better. Now I’m ready. She grabs a handful of checks and credit card receipts, along with her drawer, and sets them on the counter. Then she prints out a long receipt from the register and grabs all the items before heading to the back office. Chris puts his drawer in a few minutes after 10:00 as Erin walks away. He watches her from the corner of his eye as she hurries back to the office and closes the door. CAMERA focuses directly on Chris’s expression for a moment, catching the eerie mood of his fixed gaze. INT. POLICE CAR - 10:14 P.M. STAN McCLEARY, late 30s, sits inside the white police car-- with silver lettering reading “Braddock Police”--listening to a radio dispatch. The night is very dark and quiet around him. It’s small town America, minus the charm. He’s physically fit, with a neatly-trimmed brown mustache and hair, with a generous face and not unattractive features. The radio BUZZES again, and a female voice says something muffled over the radio waves. STAN Yep. I’m headin’ down 3rd steet now over by the old high school. (The dispatcher says something again) All right. No…not yet. Pretty slow tonight so far. What? (Another response) No, not really. Like I said, it’s been dead all night. But I’m sure it’ll pick up eventually. Just give it a couple hours. (Another response) Yeah, probably around midnight. (Then) All right. 10-4. He looks in the mirror briefly and sees some gray coming into his mustache and above his ears. With a frown, he continues down the quiet street. He comes to one of the few stoplights in town and alongside him pulls a big, black truck with two young men inside, listening to some kind of loud, angry-young-man music, acting obnoxiously. Stan watches them cautiously. The young man in the passenger side, around 30, glances over at Stan, then looks away quickly. Stan follows the truck a few blocks without noticing anything suspicious, then turns down another main street. Down the road is the Food Mart, a familiar stop, and he pulls slowly into the vacant parking lot. As he gets out, he glances back and sees his reflection shining off the car. STAN (Singing quietly, to himself) Give me one more night. Just one more night. He walks toward the Food Mart entrance with a sturdy, yet slightly vulnerable, gait. INT. BRIAN’S CAR - 10:15 P.M. Brian cruises down one of the main streets in town with the music BLARING in his silver sports car. The song has a hip-hop beat, and the lyrics are incomprehensible. He glances in the rearview mirror and sees the same, smug look on his face. Then he remembers the ID picture from years ago. CUT TO: Brian looking at the ID photo earlier in the night. CUT BACK TO: Brian looking still in the mirror. He looks in the mirror, and his face seems different. He has a shameful, disgusted look on his face now. CUT TO: INT. HIGH SCHOOL LIBRARY - DAYTIME FLASHBACK Brian, in his teens, sits across a table from a girl with long blonde hair. He has a nervous look on his face. CAMERA remains fixed behind the girl with Brian in a direct sight line. HIGH SCHOOL GIRL Prom? I have no idea yet. What about you? BRIAN I don’t know. Just been thinking about it a lot lately. HIGH SCHOOL GIRL Really? I can’t even think about tomorrow yet. BRIAN Well, I was kind of thinking…you know…maybe we’d just go together. As friends or whatever. HIGH SCHOOL GIRL (Chuckles lightly) Come on. Me and you? BRIAN Yeah. Me and you. Why not? HIGH SCHOOL GIRL I don’t think they allow best friends to go to the prom together. BRIAN It’s not against the rules, is it? HIGH SCHOOL GIRL (Nervously) I guess not. Can’t you just get someone to go…I mean, a real date? Not just some E & B thing this time. BRIAN B & E’s…but that’s not what I mean. Why not a real date? Me and you? HIGH SCHOOL GIRL Come on… (After an uncomfortable pause) I don’t wanna…I mean… BRIAN Don’t start with this now. HIGH SCHOOL GIRL Well, is there something wrong with being a real friend? Not some, “let’s be friends” or whatever, but a real friend? BRIAN I’m tired of all that. HIGH SCHOOL GIRL Brian…why does it have to be something more? Aren’t there other girls out there…date girls? BRIAN What do you think? Have you ever seen me with a girlfriend? Do I ever sit over at the table with Peter and Malcom and all them? HIGH SCHOOL GIRL So what? You gotta hang out with the football players to have a girlfriend? BRIAN What about you? Are you too good for me, or what? HIGH SCHOOL GIRL Come on. Let’s talk about something else. BRIAN So what is it exactly about me that girls find so repulsive? HIGH SCHOOL GIRL Repulsive? You need help, really. BRIAN Seriously…if you’re really such a good friend, just tell me why I can’t get a girlfriend, then. And why you’re embarrassed to be seen with me. HIGH SCHOOL GIRL I’m not embarrassed to see you. Gimme a break. BRIAN What is it, then? What am I missing? HIGH SCHOOL GIRL Jesus. It’s not like there’s some magic answer or something. BRIAN Just give me any answer, then. CUT BACK TO: Brian looking in the rearview mirror, snapping out of his flashback by the BLARING sound of music coming from outside his car. He SLAMS on the brakes just before rear-ending a big black truck with heavy metal music BLARING inside. He stops for a second in the middle of the town’s intersection, gathering his thoughts. He wipes the sweat from his brow and drives quickly away down the road, past the big truck. INT. PARKSIDE GRILL - 10:27 P.M. Judy laughs at the bartender’s joke, picking up a handful of beer bottles and putting them on a tray. She walks over toward a group of three men in their 40s or so--one of them looks much older. She smiles as she reaches the table and notices the men giving her interested glances. JUDY Okay, here’s the Bud Light. And another. And here’s the Miller Lite. Can I get you guys anything else? The older man, in his mid 50s, with a handlebar mustache and outdoor apparel on, chimes in. He looks somewhat like an older version of Chris Cutler from the Food Mart. HANDLEBAR I think we’re all right. SECOND MAN Just fine. HANDLEBAR I just wondered why there wasn’t a ring on that finger there. (Nods toward Judy) JUDY Oh…long, long story. Anyway, you want something to eat? The grill’s closing in a few minutes. THIRD MAN No, we’re fine. HANDLEBAR HANDLEBAR Just wonderin’ was all. Didn‘t know if you were married or not. Or in between. No biggie. JUDY Nope. No ring right now. Ancient history. Know what I mean? HANDLEBAR You mean you wanna go out with me sometime? Maybe we’d make a pretty good team. The friends enjoy a playful laugh. JUDY Oh…thanks, but I don’t think I’ll be doing any of that for a while. HANDLEBAR Any of that? (Laughs inappropriately) Goddamn. There’s never a bad time for some of that. Right? JUDY Yeah, all right. So nothing to eat, then? HANDLEBAR No, really. I don’t bite. At least not too hard. JUDY I hear ya. And I remember when I was a kid we had this dog, this little brown cocker spaniel, the friendliest dog you’d ever imagine, and one day out of the blue my dad took it out to the cornfield and just shot it. THIRD MAN Shot it? Why? JUDY (To Handlebar) All because it bit me. Get the picture? HANDLEBAR Sorry. Why don’t ya just sit down and shoot the shit for a while? Doesn’t look like you got any other tables to take care of, anyway. JUDY Sure, what the hell. Judy pulls up a chair outside the booth and sits down hesitantly. She smiles politely. The group jokes amongst themselves briefly before handlebar speaks up. HANLDEBAR By the way, I’m Carl. (Sets hand out for Judy to shake and she notices a wedding ring on his finger) JUDY (Looking at the ring) Nice to meet you, Carl. CARL (Notices her looking at the ring) Don’t pay no attention to that, now. I mean, it don’t mean nothin’ right now, does it? JUDY So you have a wedding ring, but you’re not married…or am I missing something? CARL Well, I guess if you wanna get technical…I do happen to be married…right now…and I guess she’ll still be on my side come morning--just like every morning. But that don’t mean I can’t have a little fun here and there. JUDY Fun? No, don’t think I’m up for too much fun tonight. Sorry. (Gets up to leave) CARL Come on, now. Really. Just because you’re in a bad mood or whatever don’t mean you can’t just sit down, relax a little, and see where the night takes ya. JUDY Oh yeah? Where’s the night gonna take me, then? You seeem to have all the answers there, Carl. CARL Well…I guess that’d have to be up to you. But I got a few ideas up my sleeve right now… (Looks at her disgustingly and nods to his flanel shirt sleeve) CAMERA focuses directly on his leering, eerie smile. JUDY Oh, no. I don’t think so. (Gets up firmly and starts to walk away) Enjoy the drinks. Judy hurries away back over to the bar. Carl with the handlebar mustache yells something in the background. Camera focuses on Judy in the foreground walking away as Carl stares with a disgusting, angry look on his face. The other waitress, Liz, approaches her, concerned. LIZ You all right, Judy? What’s wrong? JUDY Oh…nothing. LIZ You sure? It don’t look like nothing. JUDY Can you do me a favor, Liz, and take care of that table over there? (Points to the guys) LIZ Which one? Them over there? What’s the problem? JUDY No problem. Just don’t let them hit on you too much. Especially the older one with that Hulk Hogan mustache. Looks like he‘s been drinking a lot. LIZ Sure thing. Judy stands still, beginning to crack a small smile. CUT TO: INT. RESTAURANT - NIGHTTIME FLASHBACK Judy smiles and tears well up in her eyes as she sits across the table from her boyfriend, Frank. JUDY Are you serious about this, Frank? (She continues to cry) Frank nods his head slowly. Then he, too, begins to well up in tears. He leans back and wipes a few tears from the corner of his eye. FRANK Big speech time, I guess. But really…I don‘t think I‘ve ever been happier than I am right now…right here. So I‘d like to keep this here forever. Okay, that was cheesy. But I think you get the point. JUDY Yep. FRANK Because it’s really how I feel. (Wipes away more tears from his eyes) JUDY I never thought the day would come when I see you cry…of all people. FRANK It‘s a good kind of cry, I think. I just don’t want this moment to end. JUDY Either do I. They kiss once more and sit in silence. CUT BACK TO: Judy standing at the bar, snapping back into reality with a song PLAYING on the jukebox. She goes back to her busywork and continues to wipe down the remaining dirty tables. INT. FOOD MART - 10:35 P.M. Chris sits behind the counter silently while the store is empty. He sits on a little round stool that awkwardly supports his frame, and his cheeks hang off the sides of the stool. He eats an ice cream sandwich from the freezer, while bits of the chocolate dry around the corners of his mouth, just like a child. CAMERA focuses directly on his mouth, with bits of chocolate crumbs drying around the corners. Suddenly the bell on the top of the entrance door CHIMES and in walks officer McCleary. He gives Chris a polite smile and heads to the coffee machine. STAN Mr. Cutler. How’s it goin’? CHRIS Stan the man. How we doin’ tonight? Any good stuff goin’ on out there yet? STAN Not really. Pretty slow so far. Stan continues to make his coffee with precise amounts of cream and sugar. CHRIS I tell ya, I ain’t hardly had a chance sit down since I’ve been here tonight. Been one after another, nonstop. STAN Where they all coming from? I don’t see much of anything goin’ on, not even at the bars. CHRIS I hear ya. Hey man, can you grab me one of those packs of bazooka gum over there while you’re up? (Points to lower shelf in candy isle) STAN Sure. (Looks down the shelf, grabs a pack, and brings it over to Chris) CHRIS (Smiling like a child) Thanks, man. I love these things. STAN Bazooka Joe, huh? I haven’t had this stuff since I was a kid. CHRIS Yeah, well, I still like ‘em. If it tastes good, it tastes good. Here…try a piece. (Holds out a wrapped piece of gum) STAN Nah…that’s all right. More for you. CHRIS Come on, Stan. Have a piece. Chris hands Stan a wrapped piece of gum. Stan smiles, then opens up the wrapper, chews the rock-hard gum, and looks at the comic inside the wrapper. STAN Cute comic. CHRIS Yeah. But what’s the fortune say? STAN What fortune? It’s just a comic. CHRIS No..the fortune at the bottom. (Shows Stan the print on the comic) In the little black print. Camera focuses directly on the comic print. At the bottom, in bold letters reads: “YOU WILL FIND LOVE.” STAN It says, “You will find love.” Cute. CHRIS Those things are so funny. I love readin’ ‘em. STAN You see this… (Jokingly) Now I’m gonna fall in love. How about that? (Puts the wrapper in his pocket) STAN (CONT.) So how’s your grandma doin’? She still gettin’ along okay? CHRIS Oh, I tell you, boy…that woman’s made of steel. She ain’t never gonna die as far as I can see. Absolutely amazing. STAN Good for her. I was wondering. Don’t see her around too much anymore. CHRIS Well, I been doin’ most of her shoppin’ and stuff for a while now. She still gets around the house okay and that, but this works out better for us--definitely for her. STAN That’s good to hear. I always liked your grandma. Real nice lady. Real nice. CHRIS Just too bad she don‘t have no one else to help out. But anyway…I’ll tell her you said that. She’d be happy to hear it. STAN Sounds good. Looks like my coffee’s getting’ cold. Can’t have that. CHRIS All right, Stan the man. Go out and catch all those criminals, and don’t be gettin’ yourself hurt. STAN Nope. Don’t think we’ll have any problem with that tonight. Take care now. Stan walks out the door, pauses, then turns back halfway toward Chris. STAN Oh, just a quick heads up. Probably not a big deal. But if you see any suspicious looking gentleman…let’s just say in a big, black truck. Not that there’s anything wrong here. But just keep an eye out in case. Big, black truck. All right? CHRIS All right. Big, black truck. Got it. As Stan turns around and walks out the door, another young kid walks in the other door. He looks at Chris, confused. YOUNG KID Hey…where’s the-- CHRIS Bathroom? Straight back, all the way to the left. Past the pop cooler. Outside, Stan walks toward the car, he reaches in his pocket and pulls out the comic wrapper. He opens it again, and chuckles to himself. STAN (To himself, with a smile) You will find love. INT. BRIAN’S CAR - 10:41 P.M. Brian drives quickly down the road in his silver car. He makes his way through the downtown and eventually pulls into the Food Mart parking lot for a quick pit stop. As he shuts the engine off, he glances in the mirror again, at his changing face. CUT TO: INT. BRIAN’S PARENT’S HOUSE - DAYTIME FLASHBACK Brian and his father stand almost chest-to-chest with angry looks on their faces. BRIAN How many times do I have to say it? It’s done. FATHER That’s it? No more school? You’re just gonna give up? BRIAN Yep. It’s too late, anyway. FATHER Too late for what? BRIAN You got me. FATHER Too late, huh? Too late to do right? BRIAN I already got the money back. So I’ll get a job, do what I can. Okay? FATHER No. Not okay. You can go back there and get enrolled again if you want to keep living here. BRIAN It‘s already done! All right? Maybe it wasn’t the best idea in the world--I don’t know--but it’s over now. FATHER It‘s not over. Not by a long shot. You can throw your life away if you want--you’re not a kid anymore. But if you wanna live here anymore, you’ll go back there and start your school again. I won’t have a failure living here. Understand? BRIAN (Getting up to leave) Fuck this. I’m outta here. FATHER You can give up now if you want--I can’t stop you anymore--but you’ll just end up being another failure, like… BRIAN Like what? Like Kevin? FATHER Nothing. Leave your brother out of it. BRIAN Besides, how do you know who‘s a failure and who isn‘t? FATHER Becau. BRIAN Because why? FATHER Because I’m looking at one right now. BRIAN (Leaving) Have a nice life. Brian storms out the door as his father looks on, stoic. CUT BACK TO: Brian sitting in his car in the Food Mart parking lot. He glances into the store, sees Chris Cutler, then glances back into the mirror. BRIAN (Singing quietly, to himself) I can feel it coming in the air tonight, oh Lord. INT. POLICE CAR - 10:45 P.M. Stan sits alongside the road, checking vehicles‘ speed with his radar gun. As traffic slows again, he looks into the mirror and sees his graying mustache and hair. A pink car comes SPEEDING by. CAMERA focuses directly on the radar gun, with “46” flashing over and over in red. He flicks on the cherries, pulls out and tracks down the pink car. INT. FOOD MART - 10:47 P.M. Chris snacks on some jerky from the little plastic tin at the front counter. Two young guys walk in, no more than 19 or 20, and head toward the pop cooler. The young guys pick up some energy drinks and chips and head up to the counter. Chris greets the guys. CHRIS Hey guys, how’s it goin’? One of the guys MUMBLES something under his breath. CHRIS (Ringing up the items together) $9.69, altogether. The taller of the two hands Chris the money. Chris hands him back the change awkwardly, clasping the guy’s hand for a moment. The guy looks up at Chris angrily. YOUNG GUY What the fuck? CHRIS (Turns away awkwardly) Sorry. The two kids walk out the door as Chris watches. He hears them mumbling something, and he hears the one kid say “Fuckin’ fag.” CUT TO: INT. HIGH SCHOOL LOCKER ROOM - DAYTIME FLASHBACK Chris SCREAMS loudly as two jock-looking kids grab him and carry him to the back of the locker room. CHRIS Just let me go! Let me go! JOCK #1 Not yet, buddy. JOCK #2 Not even close. The two jocks carry Chris over to a series of restroom stalls, then shove him into the last stall on the right. CHRIS What’d I do to you? JOCK #2 We don’t need little fags on our team. JOCK #1 Yeah. Starin‘ at our shit in the shower. CHRIS I’m not…gay. JOCK #1 Bullshit. I saw you fuckin’ starin‘ and watchin‘. Go play gymnastics or whatever and hang out with the rest of the queers. Not here. CHRIS I’m quitting. Just let me go! JOCK #1 Not yet, fucker. The jocks turn Chris upside down and dunk his head in the toilet. The first one holds him by his legs and the other one FLUSHES the toilet. Chris keeps SCREAMING, but is drowned out by the jock’s LAUGHTER. JOCK #2 You still gonna keep staring at everyone in the shower, fag? CHRIS I’m done! Just get me outta here! Please! JOCK #1 Not so fun now, is it? How does everyone look now? JOCK #2 Fuckin’ fag. The first jock lets up on the handle and pulls Chris’s head up--wet and dripping with toilet water. The second jock turns Chris back upright. Chris WEEPS loudly, almost sobbing. The jocks continue LAUGHING at his expense. CUT BACK TO: The two young guys heading out the door, CHUCKLING under their breath at Chris. As the young guys leave, the door opens immediately and another customer walks in. It’s Brian Rogers. CHRIS Hey, little Brian Rogers, how‘s it goin‘? BRIAN (Heading back to the cooler) Hey Chris. Keepin’ busy? CHRIS Yeah. Another day, another dollar. You know how it goes. BRIAN I hear ya. CHRIS You still livin’ around here? Haven’t seen ya for a while. BRIAN No. I live over in Table Grove. Got a little place there. Brian grabs a couple Red Bulls and heads up to the counter to pay. Chris still makes small talk. CHRIS Table Grove? That’s like an hour away. You workin’ out there, or still goin’ to school? BRIAN Shit, no. Dropped outta school like…six or seven years ago…been workin‘ off and on since then. But no more school…yet. CHRIS Me neither, as I’m sure you can tell. You’re brother would know that pretty well. BRIAN Yeah, I bet. CHRIS Old Kevin…football star. BRIAN So what’s new around these parts? CHRIS (Ringing up the purchase) Not much changes around here, buddy. We’re all just waitin’ for the next big thing that never seems to come around. BRIAN (Taking the Red Bulls and walking away.) Well then, maybe that big thing’s coming for you tonight. You never know. CHRIS Yeah, that’d be the day. Say hi to your brother for me. Brian walks out the door and toward his car. As he heads toward his car, a big, black truck pulls up into the lot with BLARING music and its bright headlights left on. Two men get out of the truck and hurry into the Food Mart. On his way out to the car Brian sees a large, uncovered pane of glass resting against the back side of the building. He takes a long glance at the glass, then continues out toward his car. Brian gets to his car and looks into his wallet once more. He fishes through the wallet until he finds a piece of scrap paper. He dials the number on his cell and waits for several rings. MAN’S VOICE Hello? (Short pause) Hello? This is William. (Longer pause) Hello? Brian sits paralyzed, unable to respond. MAN’S VOICE Well, give me a break here. I can hear ya breathin’ into the phone. MAN’S VOICE (CONT.) Don’t wanna talk, huh? All right then, you can go to hell. The line goes dead and Brian sits still in the car. A second later he STARTS the ignition and FLOORS it out of the Food Mart parking lot and down 3rd street. INT. POLICE CAR - 10:50 P.M. Stan runs a registration check on the pink car and waits for the information to come back. He walks up to the car to write the ticket. Inside the car Stan notices a young woman and a young male passenger. The girl rolls down the window. STAN Good evening, ma’am. Do you know why I pulled you over? Stan recognizes Erin from the Food Mart. STAN (CONT.) Oh, Erin. It’s you. Not at work tonight? ERIN No…just got off about an hour ago. Sorry, I guess I was speeding a little. (She leans forward flirtatiously) How come I didn’t see you at the store this evening? STAN Don‘t know…I was just in and I ran into Chris. Anyway, Erin, you know you were going 46 in a 30 back there? ERIN Sorry, Stan. Guess I didn’t slow down in time. STAN Well…I’ll need your license and registration. I’m gonna hafta write you a citation for that. ERIN Come on, Stan… (Looks up directly at him) I won’t do it again. I promise. STAN Sorry Erin. I can’t help you out here. I’ll need your license and registration. She puts her hand on his gently and continues to flirt. CAMERA focuses directly on her hand gently grasping his. ERIN Stan, please…I promise I won’t do it again. STAN All right, here’s your-- ERIN (Rubbing her hand gently on his) Please, Stan. CUT TO: INT. LIQUOR STORE - NIGHTTIME FLASHBACK Stan stands behind the counter of a liquor store, talking with a young, attractive female customer. YOUNG FEMALE Come on, please. (Puts her hand on his gently) STAN I don’t think so. I can’t even get this stuff free for myself. Trust me. YOUNG FEMALE I don’t believe you. Maybe you just don’t like me. STAN No, no. I’d help ya if I could. YOUNG FEMALE I thought you were a friend, Stan. So how much is the friend’s discount? STAN Sorry, can’t help. It’s $10.99, plus tax. YOUNG FEMALE Really? (Rubs his hand gently) CAMERA focuses directly on her hand gently rubbing his. STAN $10.99...sorry, Erica. YOUNG FEMALE (Still with her hand on his) What about the friend’s discount, Stan? STAN Just bring me the money when you get it later. All right? YOUNG FEMALE Thanks, Stan. (Hurries away quickly) STAN Before 12:00! I need it before we close! The young female smiles condescendingly at Stan, who looks on, embarrassed. CUT BACK TO: Stan scribbling on his ticket, giving the warning back to Erin, along with her license. He looks on embarrassingly at as Erin grabs back her license. STAN (To Erin) All right, this is a warning. Next time keep it down through here. Got it? Stan walks away with a less sturdy gait and hurries back into the squad car. Inside the pink sporty car, Paul looks angrily at Erin. PAUL What the hell was that all about? ERIN Nothing. I just knew the cop from over at the Food Mart, so I guess that‘s why he let us off. PAUL Let us off? I saw you grab the guy’s hand. ERIN I didn’t grab his hand…I was just grabbing my license back. PAUL Bulllshit. What’s goin’ on here? ERIN Nothing. PAUL It didn’t look like nothing. ERIN Sorry, Paulie. I just can’t get another speeding ticket. So…you’re not gonna get into another little bitch fest again, are you? PAUL Whatever. Let’s just get the liquor. I need to get drunk. ERIN Sounds like a plan. We already passed Pierce, but The Food Mart sells beer for another hour or so. It’s up on the right here. Erin SPEEDS away again as the car passes a similar looking silver sports car on its way out from the Food Mart. INT. PARKSIDE GRILL - 11:02 P.M. Judy gets a quick break from the suddenly busy bar and heads back to the break room. She sits down and drinks a can of pop and snacks on a basket of fries and ketchup. The room is dingy, with calendars of naked women and old beer signs on the walls. She finishes some fries and calls a number on her cell phone. Her teenage daughter answers. DAUGHTER Hello. JUDY Hey honey, how’s it goin’? DAUGHTER Hey mom, all right. JUDY So, what you up to? DAUGHTER Nothin’. Just checking some MySpace stuff. JUDY Be careful. No internet predators, right? DAUGHTER I don’t think so. I just saw that on T.V. ealier. And I think they mighta caught dad. JUDY All right. Just be careful. DAUGHTER Is everything all right? JUDY Oh yeah, I’m fine. Just one of those… DAUGHTER One of those nights? JUDY Yep, pretty much. So I don’t think I’ll be gettin’ outta here ’til late again tonight. Maybe 12:30. You can stay up and wait for me if you want. DAUGHTER Okay, I’ll be up. Can you bring home some of those mozzarella sticks? JUDY Mozzarella bites? All right. I’ll bring home a bag for you and a bag for me. How’s that? DAUGHTER Cool. JUDY Okay. Everything else all right? DAUGHTER I’m fine, mom. Why don’t you get back to work? Sounds like it’s pretty busy tonight. JUDY Yes it is. Okay, so I’ll see ya in a couple. DAUGHTER I’ll be up. JUDY Love you, bye. DAUGHTER Love you too, bye. Judy ends the call and relaxes for a moment. A frown crosses her face. CUT TO: INT. JUDY’S HOUSE - NIGHTTIME FLASHBACK Judy stands behind Frank, CURSING and SLAPPING him on the back down the hallway. She SCREAMS incomprehensibly. Suddenly, Frank turns around in one swift motion, PUNCHES her squarely in the face, drawing blood, and stands above her. Both of them stand still in shock. Camera focuses directly on Judy’s stunned, bloody face while she’s speechless. FRANK (Shakes his head angrily) Goddamnit! JUDY (Crying uncontrollably, wiping blood off her nose and lip) Get out! (Pauses) Get the fuck out! Now! FRANK (Shocked, as Judy runs away) Judy, wait! Judy! I didn’t mean to hit you! Judy runs up the stairs and away from Frank. Frank runs after her. As he gets closer to her, she SLAMS a bedroom door in front of him and locks the door. FRANK Judy! I didn’t mean to hit you! (Pauses) JUDY (From behind the bedroom door) Get out! Get out! I don’t ever wanna see you again! FRANK Judy…please! It was an accident. I didn’t mean to hit you! Besides, you hit me first! JUDY Get out. Now! Frank begins to walk away, then stops and turns around. FRANK No, I’m not goin’ anywhere. It’s my fuckin’ place. So if you wanna sit and talk about this or whatever, that’s fine. But if not, then you can go ahead and leave. JUDY I’m taking her with me! FRANK Whatever. Go get here then, get the hell out of here…stay the hell away from here. And don’t come back, then. JUDY I won’t. Frank storms away, KNOCKING over a picture frame on his way down the stairs. In her bedroom, their young daughter clutches her pillow in fear while wiping away her tears. CUT BACK TO: Judy wiping away another tear as she picks up the can and snack, tossing them in the garbage. There’s a KNOCK on the door. The bartender, Jim, peeks inside. JIM Hey, Jude. Some guy out here wants to talk to you. JUDY Some guy? Who is it? JIM I don’t know. Just some guy…some younger guy. JUDY I don’t know any younger guys around here. What’s he look like? JIM I don’t know--like a guy. Now, come on out, unless there’s a problem. JUDY No. No problem. I’ll be out in a minute. Jim CLOSES the door. Judy sits up, straightens out her shirt and checks her makeup quickly. She looks at the mirror and lets out a nervous laugh. Then she walks out the door and into the main room. As she heads toward the bar, she smiles brightly. INT. FOOD MART - 11:06 P.M. Chris watches closely as two men get out of the big black truck and hurry side-by-side into the store toward the back beer cooler. He looks on nervously. CHRIS Hey, guys. TALL MAN Hey buddy, what’s up? CHRIS Not much. The men head back toward the liquor cooler, MUMBLING something unimportant between themselves obnoxiously. Chris watches on in suspicion. One man has a shaved head and the other has closely-cropped hair. Both have tattoos on their necks and arms, similar to neo-Nazi and Aryan nation logos. They grab a bottle of whiskey and a 12-pack of beer. Then they decide on a larger amount of beer, SHOVE the 12-pack back into the cooler, possibly breaking some of the bottles inside, and hurry up to the counter. Chris rings them up nervously. The short man looks at Chris curiously. SHORT MAN Hey, buddy. Where’s a good place to get a drink around this town? CHRIS Good place for a drink? Hmm…well, there’s the-- TALL MAN Where’s the best place to get laid? Not some old whores or housewives, though. Good looking women…white women. CHRIS I hear ya, I hear ya. The only decent place ‘round here after 11:00’d be the Parkside. That’s up off 3rd street here, ‘bout a mile east. Right in the downtown area…you can’t miss it. TALL MAN Lotsa women? Good lookin’ women? CHRIS Hell yeah, man. Lotsa women there. I think it usually starts pickin’ up ‘round now, too. SHORT MAN (Giving Chris the cash) Guess we’ll take your word for it, then. CHRIS Well…it seems like the kinda place you might like. TALL MAN The kinda place where we’re gonna get some pussy? No bullshit, here. CHRIS No…no bullshit. I think that’s your best bet if you‘re lookin‘ to get…laid or whatever. TALL MAN (Grabbing the liquor and walking out) And if we don’t, then I guess it’s your ass. SHORT MAN Yep. I never forget a face. The two men walk out loudly. They MUTTER something under their breath, possibly about Chris, while glancing back at him, then walk outside. As they walk outside, Chris glances down carefully and sees the local emergency contact numbers for the town police department. CAMERA focuses directly on the phone on the wall and the emergency numbers listed on top of the phone. As he goes to pick up the phone, Chris sees two more customers enter. It’s Erin and her boyfriend Paul. They act aloof and argumentative as they head to the beer cooler. CHRIS What’s goin’ on, kids? Erin doesn’t respond. She and Paul quibble quietly and eventually grab some mixed drinks and a little beer. They head up to the counter where Chris begins ringing them up. CHRIS (Looking at Paul‘s beer) Mmm…looks good. Mind if I have one? ERIN Nah, that’s all right, Chris. I don’t think we need two drunks working here. Chris bags the liquor and gives them a credit card receipt to sign. He also looks directly at Paul for a few seconds before breaking his gaze. ERIN (To Chris) Oh, Chris. That’s Paul. Remember, we were in before? Last week? CHRIS (Lying) Oh, o.k. Nice to meet you, Paul. Chris reaches out and gives Paul a falsely manly handshake. Camera focuses directly on the handshake. PAUL Nice to meet you. Chris, right? CHRIS Yep, that’s me. Good ‘ol Chris. PAUL Good ‘ol Chris? CHRIS Yep, good ‘ol Chris. That’s what all the regulars call me, at least. I thought I recognized ya when ya came in, but I wasn’t sure…I think these glasses are getting’ a little old. PAUL Oh yeah? (Chuckles) We’ll see ya later, then. Good ‘ol Chris. CHRIS Wasn’t really sure if I recognized ya, with all the guys she brings in here. You know…this one, then that one…then another for a while, and-- ERIN (To Chris) Whatever, Christopher. Now can I get that receipt to sign? CHRIS Patience. Patience. Chris gives Erin her credit card receipt, she signs it, and she and Paul walk out with their liquor. CHRIS See you two love birds later. ERIN (Sarcastically) Later, good old Chris. INT. PARKSIDE GRILL - 11:17 P.M. Judy walks over to the bar with a growing smile on her face as she sits next to Brian. He smiles as well. BRIAN So how’s the Parkside treatin’ ya? JUDY Brian…where the hell have you been? BRIAN Well…I’m here now. I don’t know…it’s been a pretty fucked up way to here, I guess. How ‘bout you? JUDY Pretty much the same. You know how this family always has something going on. BRIAN Yep. Getting’ off soon? JUDY Doesn’t look like it…startin’ to get busier now. So…how‘d you get out here, exactly? Not exactly a short walk out here to the old Parkside. BRIAN I don’t know…just bored, I guess. Something different for a change. JUDY Something different? Driving, what…an hour away? What’s it been…several years? BRIAN At least five…maybe six. JUDY So what’s up…really? BRIAN I don’t know…really. Just another night out on the town, I guess. Something different for a change. Is that okay? JUDY Okay…whatever works. I just don’t remember this bein’ your kind of place. I mean…shouldn’t you be dancing’ around with some glow sticks and some red drink in your hand? BRIAN Yeah. I guess so. But things change. At least…people change. JUDY So, how ya been? Jesus, Brian. BRIAN Well, I’m here now. That’s about all I know so far. JUDY And you come flyin’ in like prince valiant, Robin Hood or somethin’, and…and what’s the occasion, then? Who are you saving tonight? BRIAN Don’t know yet. But maybe I‘ll find her before the night‘s over. I don’t know…I guess I’m just takin’ it by the moment right now. Who knows what’ll happen? JUDY Sounds like my kind of night. BRIAN Exactly. And by the end of the night…you or I could be a whole new person. I don’t really know anymore, to be honest with you. JUDY Fair enough. I guess you-- BRIAN So how are things with you…feelin’ any better lately, since… JUDY Probably just about the same as you. Just good enough not to talk about it. BRIAN Point taken. JUDY So how are things with…uh…God Brian, I’m sorry I can’t remember-- BRIAN Desiree? JUDY Yeah, Desiree. Sorry. Are things… BRIAN Pretty much on the fritz right now. Bad night for that, I guess. Had a fight earlier, not even sure if we’ll be talkin’ much more after this. JUDY Sorry. Didn’t know. BRIAN That’s all right. I mean, I guess we were together for a while, now that I think about it. But for whatever reason…it…it just doesn’t feel that bad right now. Maybe it’ll settle in later, but I doubt it. JUDY Why not? BRIAN I’m not sure. I guess it just doesn’t feel like that big of a deal…even after a year or whatever. Maybe I am a real asshole after all. I don’t know. JUDY No more of an asshole than me. At least you’re gettin’ out with no strings attached. Right? BRIAN Yeah. I made sure of that. Just the typical unresolved issues and other…bullshit. Minor bullshit. JUDY Yeah, minor. (Laughs sarcastically) BRIAN So enough about me…I guess things have been pretty shitty around here lately, too? JUDY Oh…divorce and all? Well, no cakewalk, believe me. But…I mean, it’s more than that, too. You know…you’ve got the stress of being a single mother all of the sudden…no real income, other than a night job in this damn place. And after a while, it all just starts to build up, and then-- BRIAN (Drawing closer) And then it all comes apart, right at the worst possible time. Just when you don’t expect it. And you really can’t deal with it all. Right? JUDY Yep. That’s about it. I’m sure you know the feeling. BRIAN Sure do. JUDY So what about…I mean, have you talked to anyone else tonight? BRIAN Who else? My local priest? JUDY Mike and Leanne? Or the kids? BRIAN No…just you so far. But I’m thinking about it. One of these days, I guess, like they say. JUDY Then you haven’t… BRIAN Haven’t what? JUDY You haven’t talked to dad at all? BRIAN No! I was kinda hoping you wouldn’t bring that up. But…not yet, anyway. It’s just like… JUDY Are you planning on stopping by any time soon or not? BRIAN I said, I don’t know. JUDY It’s not like I’m sayin’ you have to go out there by any means. But…I do think it’d be a nice move on your part. BRIAN Nice move, huh? Since when was it my turn for a nice move? JUDY Well, turns aside, I just think it’d be a good move. The right move, I think. BRIAN Actually, I’ve been thinking of stopping by there for a while now. Quite a while. But I still haven’t decided yet. Brian cracks a slight smile before Judy responds. INT. POLICE CAR - 11:25 P.M. Stan drives around town slowly, partrolling the main streets. He drives past a movie theater with a line forming near the entrance door. A small gray kitten runs nearly out in front of his car--he SLAMS on the brakes quickly, and the kitten looks up at the car from the side of the road momentarily before running away. A dispatcher comes over the radio again, he takes the call, then heads away on a call. On his way, he passes the Parkside Grill and sees a parking lot full of cars and shakes his head in disbelief. He arrives at an older, unkept house near the edge of town and PULLS into the gravel driveway. He gets out of the car and heads over to the door with a firm KNOCK. Several moments later a man with a worn-out, stained professional sports team t-shirt and tight jeans comes to the door. It’s Judy’s ex-husband Frank. STAN Hello sir, I’m officer McCleary with the Braddock police department. We received a call about a domestic disturbance here. FRANK (Frustrated, SMUG look on his face) Oh…yeah, I think that’s all taken care of now, officer. Just a little misunderstanding. STAN Sir, is your girlfriend here now? FRANK Yeah, she’s inside getting dressed. She’ll be a few minutes. I really think we have thinks taken care of here. STAN Could you get her out here now, please? FRANK I told ya, she’s still getting’ dressed. This whole thing just got…uh…blown out of proportion here. Not a big deal. STAN Sir, your girlfriend called in a little while ago and reported a domestic violence incident. Is she still here, sir? A woman comes in behind Frank slowly and stands by him at the door. She’s dressed in an old robe, smoking, and she has her uncombed hair pulled halfway over the left side of her face suspiciously. She also has a small cut on her lower lip. CAMERA focuses directly on her face, showing her swollen lower lip and her hair covering another bruise. STAN Are you all right, ma’am? Is everything okay here now? BATTERED GIRLFRIEND Listen, I’m sorry about all this. Things just got a little out of hand, and-- STAN You mind if I step in for just a second, ma’am? Make sure we get things squared away here? BATTERED GIRLFRIEND That’s fine. But I think everything’s okay now. Stan moves inside past Frank and the battered wife and stands inside their tattered living room area. Toys are strewn across the dingy carpets in no particular order, the T.V. plays low in the background. The smell of cigarette smoke is very strong. Stan finds a small spot by the wall and stands firmly, filling out a form. STAN So, you called in a little while ago. Said a glass vase was broken, and a few other items. You sure everything’s okay now? BATTERED GIRLFRIEND Yeah, I think we got it all straightened out. Just a misunderstanding’s all. FRANK No need to drag you all the way out here in the first place, officer. STAN (To the gilfriend) Now, according to this report, you claim Mr. Dawson…right? Became upset at you over some comments, went to strike you, and-- BATTERED GIRLFRIEND And now it’s all taken care of, officer. We had a fight, both said some things and did some things we shouldn’t of…but I think it’s all taken care of now. STAN You folks been doin’ some drinking tonight? BATTERED GIRLFRIEND Yeah…I guess we had a little too much to drink. But we’re all done now. STAN Now ma‘am, you also said you were afraid for your life. Is that correct? FRANK (Interrupting) Now, that’s enough, officer. We’ve got this straightened out, so why don’t you just leave it be now. Right, Angie? STAN Mr. Dawson, if you’ll be quiet for just another minute, we’ll get this all straightened out. Now just be patient with me. BATTERED GIRLFRIEND I don’t know what exactly we all said. It just got…real ugly for a few minutes, and I panicked. Called in, now you came out…and now we got it all under control. STAN Are you sure, ma’am? No more problems? BATTERED GIRLFRIEND No…no more problems. I think we both had too much to drink tonight. I mighta said a few things I hadn’t, then it all got out of hand for a while. But like I said, we’re all done now, and we got it all under control. FRANK (To Stan) So that’s about it. All squared away, then? STAN Okay, then. I don’t wanna have to come back down here tonight. BATTERED GIRLFRIEND It’s all right. Really. STAN All right, then. I’ve still got some papers I need to get filled out, then I’ll be on my way. BATTERED GIRLFRIEND Okay. Just let me get dressed here and I’ll be right back. (Heads over to the bedroom and pushes the door mostly shut) Frank and Stan stand side-by-side, awkwardly for Frank. He looks up very briefly at Stan and forces an awkward smirk. FRANK Women…whaddya gonna do? First they say one thing…then another. I guess you can’t do a whole lot about it. STAN I guess not, sir. FRANK I guess you can‘t say anything to ‘em anymore, now. I mean…everything’s supposed to be so equal and out in the open and all that. But it don’t seem too equal anymore. Not for a man. Guess I’m just a little old fashioned or something. Don’t make a whole lotta sense to me. STAN (With suppressed anger) Yeah. I guess so. Stan stands by the man, filling out his form in quiet anger. The man stands firmly by Stan, defiant. INT. PINK CAR - 11:28 P.M. Erin DRIVES quickly down the road and sips quickly from her mixed vodka drink. Paul drinks one of the same in the passenger seat. ERIN So what the fuck is your problem? I didn’t even say anything about that. PAUL You don’t hafta say anything. I think it’s pretty obvious what you’re thinking about, anyway. ERIN How the hell do you know what I’m thinking? You a fuckin‘ psychic? PAUL Come on. I can tell exactly what you’re thinking when you get all pissed off like this for no reason. And I wasn’t even pissed at all until you started going off the handle for no reason. ERIN So what? So it’s all my fault because I got pissed after you started sayin‘ shit about me? PAUL Whatever. No big deal. Why don‘t you just let it die? Or are you gonna keep on going on and on? ERIN Sounds like you’re the one that keeps on rambling on about all this…all…now I can’t even remember what we were arguing about. You got me so pissed off and goin’ on that I can’t even remember what the problem was. PAUL (Pauses for a moment) All right…now you see my point. So now that you had your say, I’m going to make my point. ERIN Go ahead then, psychic. PAUL You just said you can’t even remmeber what we were arguing about in the first place. So you finally said it right for once. I mean…you keep going on and on about nothing basically, to the point that you forgot what you were so pissed about in the first place. It’s like you want to fight. Now…maybe if you had something more important to say in the first place, I’d start listening some more myself. But I don’t think that’s ever gonna happen. He puts his empty bottle under the seat and grabs another. ERIN (Pauses) No way. Fuck this. Why don’t you just go home and do…whatever it is you wanna do. All right? PAUL Can’t be much worse than this. Go ahead an drop me off, then. ERIN Guess you don’t know what you’re missing out on, do you? PAUL Guess not. (Then) Erin…you ever read much Shakespeare? ERIN Shakespeare? I don’t know. Why? PAUL Cause one of my favorite lines of his kind of reminds me of you in a way. ERIN What are you talking about? Shakespeare? What’s that hafta do with me? PAUL Full of sound and fury. Signifying nothing. Get it? ERIN No. No, I don’t get it. I’m full of nothing. Is that it? PAUL I guess so. I mean…there’s a little something called intelligence…and brains. And guys like me…not all guys, of course…but some…they want a girl that brings something more to the table than just good looks and a body. ERIN Oh. So past my looks, I‘ve got nothing to offer? I’m just another dumb bitch, or what? PAUL No, that’s not it. But…you don’t think guys actually go out with you for your personality, do you? ERIN Who the fuck cares about that? PAUL I do! Some guys do. I guess I’m just not the typical guy you expected, that goes from one girl to another, fuckin’ around and nothin’ else but one-nighters. ERIN I never thought you were. But… PAUL You think I wanna go out with someone that gets stared at by every guy around but doesn’t have anything…anything underneath all that? I don’t. It’s not all about fuckin’ looks. ERIN How the hell would I know? PAUL Because probably every guy you’ve ever gone out with just waited as long as they could before finally getting in your pants. And after that, they didn’t care about shit. ERIN Not all guys. PAUL Whatever. ERIN So, can’t you like me for something else, then? PAUL But there isn’t anything else! Not so far as I can see. And if there is anything else underneath all that…then it’s been buried away so deep that no one’s ever gonna find it. ERIN Paul, Paul Paul. (Shaking her head) There’s a lot more to me than what you see here. Whether you wanna believe it or not. PAUL I wanna believe it. Trust me. But it‘s lookin‘ pretty weak right now. Besides, the effort isn’t even worth it, anyway. ERIN Believe what you want. I don’t give a shit--I’m not gonna twist your arm anymore. So, you giving up on this, then? PAUL (Pauses briefly) I guess so. Yeah, I guess so. ERIN Okay, then. I’m goin’ to the bar. Erin WHIPS a U-Turn in the middle of the main drag toward the median. As she crosses the median, a big, black truck comes up quickly behind them and HONKS its horn loudly. She completes the U-Turn and SPEEDS back toward where the car came from. INT. FOOD MART - 11:37 P.M. Chris listens to the phone as he waves goodbye to an old couple leaving the store. He pauses in a disturbed manner, then continues. CHRIS Yeah, Stan. A big, black truck. That was them. A real big, black truck. INT. PARKSIDE GRILL - 11:41 P.M. Brian walks back to the restroom through a crowd on the dance floor until he wiggles into the men’s restroom door. He stops in front of the mirror, checking his hair and his shirt. Then he catches the same reflection he caught in the car earlier. CUT TO: Brian sitting at a chain restaurant booth across from a college girl. They’re both in their late teens, drinking pops and eating burgers. Camera focuses on the girl‘s back and keeps Brian directly in the sight line. COLLEGE GIRL Can‘t it ever just be good enough like it is? BRIAN I guess not. I mean…can’t it ever be something more? Something better? COLLEGE GIRL I think you’re just too easy to get along with. That’s your major crime. BRIAN So that’s all you want? A self-centered asshole? Nothin‘ else? COLLEGE GIRL No…I want a friend. A real friend, like I told you before. Is that so selfish to ask for? BRIAN Guess not. But I think the next time you see me I might just be that selfish asshole you’re lookin’ for. How’s that sound? COLLEGE GIRL No way. That sounds like shit. Just be yourself. There’s nothing wrong with it. Besides, I don’t think the world needs another selfish asshole. BRIAN We’ll see. I guess I just came in a little late to the show, that’s all. COLLEGE GIRL I guess you’re not gonna listen to me no matter what, anyway. BRIAN You told me what I needed to hear. So maybe… COLLEGE GIRL Maybe you’ll realize you don’t need to change, and you’ll stay the way you are? BRIAN No. Maybe, after I change just like the world says I need to…get a fancy haircut, wear designer clothes, expensive cologne, whatever…maybe after that’s done, we’ll come across each other someday down the road and see where it goes from there. COLLEGE GIRL That’s it, then? No more regular Brian? BRIAN Not anymore. COLLEGE GIRL Well…good luck to you, then…I guess. BRIAN Thanks. COLLEGE GIRL So, the next time I see you, am I gonna recognize you, or what? BRIAN Probably not. Brian looks distantly past his friend as he takes out his credit card to pay for the food. CUT BACK TO: Brian standing in front of the mirror. Brian looks into the mirror, pauses, SPLASHES some water on his face a few times, and finally heads back out to the bar with a genuine smirk on his changing face. INT. PARKSIDE GRILL - 11:46 P.M. The bar door OPENS, and Erin stumbles a bit inside with a false smile on her face. She makes her way through a surprisingly large crowd to the bar. She sidles up to a few younger men and makes friendly. ERIN (To the shorter of the two) Ben, who the hell let you in here? BEN Me? I’m not the one people need to be worryin’ about? How’d you get in? ERIN Not sure…haven’t been by in a while, I guess. BEN Where’s the boyrfriend? ERIN Boyfriend? What boyfriend? BEN’S FRIEND What’s your name? ERIN Erin. You friends with Ben? BEN’S FRIEND Yeah. I’m John. So what about the boyfriend? ERIN I’m not real sure right now. What about your girlfriends? BEN You think we’d be in a dump like this if we had girlfriends right now? Or at least decent girlfriends? ERIN Probably not. Guess that’s why I came by…something different for a change. BEN So no boyfriend then, I take it. Something different. ERIN Well…we’ll see. Erin smiles coyly at the two men. INT. POLICE CAR - 11:45 P.M. Stan sits inside the car, parking in a semi-hidden spot behind a schoolyard building, facing a secondary road in town. A young woman and her friend pass by close to the car. He gives them a friendly cop-wave, and they ignore him. He looks again in the mirror and shakes his head slightly. Then he glances down at a piece of scratch paper with his black ink printed in large, bold letters: “BIG BLACK TRUCK.” INT. PARKSIDE GRILL - 11:49 P.M. Brian stands on the edge of the dance floor with two attractive women in their early 20s. BRIAN So, you two best friends or what? ATTRACTIVE WOMAN #2 Why…is it that obvious? BRIAN Only to an expert observer. Have you ever had the best friends test? ATTRACTIVE WOMAN #2 Best friends test? What’s that? BRIAN Well, I don’t know if it’d work for you two. You have to be totally intuned to your senses and inner voices. ATTRACTIVE WOMAN #1 Come on. How hard is it? BRIAN All right. Look me in the eyes…both of you…and don’t look at each other until I‘m done here. The women both laugh, and look attentively at Brian. BRIAN Okay, I’m gonna ask you five questions, and if you answer honestly…and only honestly…then I’ll be able to tell exactly what type of friends you really are. Okay? ATTRACTIVE WOMAN #1 Okay. Let’s go. BRIAN Okay now. The first question: Do either of you keep your tampons or pads at the others’ house? ATTRACTIVE WOMEN #1 & #2 (Looking at each other, then together) No! BRIAN Okay. You both passed the test. ATTRACTIVE WOMAN #2 What do you mean, we passed the test? BRIAN You’re definitely best friends. ATTRACTIVE WOMAN #1 Wait a minute…that was only one question. How’d you figure it out? ATTRACTIVE WOMAN #2 Yeah. Maybe we’re not best friends at all. BRIAN It’s too late. You already passed the test. See, you both looked at each other before you answered, then you answered together, at the same time. Only best friends do that. ATTRACTIVE WOMAN #2 Cool. (Sidling up beside Brian) Show us another trick. BRIAN Whoah, whoah. (Turning slightly away) This shit ain’t free. ATTRACTIVE WOMAN #1 (To Brian) You’re too funny. We should hang out sometime. BRIAN (To woman #1) Maybe sometime. I’m still not sure. Besides, what do you have going for yourself besides your good looks? ATTRACTIVE WOMAN #1 Me? I’m funny, and smart…and I’ve got a lot of career ambitions. BRIAN That’s good. Because I’m not just looking for some one-night stand, but something more serious. You can’t believe how hard it is to explain that to girls when they see this package (pointing to himself jokingly) ATTRACTIVE GIRL #2 (Sarcastically) Oh, so you’re just so good looking and irresistible that women are blinded and can’t see what you’ve got inside? BRIAN Well, I guess it’s just been a while since anyone bothered to look inside here… (Pointing to his heart) …to see what I was really all about. Brian’s confident smile cracks a little and shows some vulnerability as he waits for the girls’ response. CAMERA pans over toward the other side of the bar, where Judy watches Brian woo the women with ease. She wipes off another table and continues to watch Brian from a distance. Brian can’t see her. He stands in front of the women and presses some buttons on his cell phone as they continue talking, seemingly programming in their number. Judy laughs, shaking her head slightly, and walks over to another busy table. INT. MUSTANG - 11:54 P.M. Paul DRIVES down 3rd street alone and back in his Mustang. He speeds toward a yellow light, getting ready to pass through the red, until he notices a cop car parked ahead of the light on the side of the road. It’s the car that pulled him and Erin over earlier. He stops at the red light, grabs his cell phone, and places a call--it goes to voicemail. PAUL Hey Steph, it’s Paul. It’s around 12:00. Just seein’ what you got goin’ on tonight. I’m bored off my ass still and alone for a change. Give me a call if you’re around. Later. He hears a beep from the car and notices the red light gas gauge nearing empty. After he passes the stoplight and continues for a few more blocks, he sees the first gas station approaching. It’s the Food Mart. On his way toward the turn, a large black cat starts running out in front of him--he PUMPS the brakes lightly as the cat keeps running in front of him all the way to the other side of the road, before disappearing down the block. He pulls into the Food Mart and gets out to pump the gas. The pay-at-the-pump has a hand-written “out-of-order” sign taped over the credit card slot. As he starts pumping gas, he sees Chris staring at him from inside the store on his little stool. Paul gets an apprehensive look on his face. INT. PARKSIDE GRILL - 11:56 P.M. Erin sits at the bar alone, checking her messages and sipping a Mojito drink. An attractive man approaches the her from the side, unassuming. It’s Brian Rogers. BRIAN (Grabbing a long hair off the barstool next to her) Is this yours? Looks like it’s gray. ERIN No! Does it look like I have gray hair? BRIAN Not sure. Can’t really see too well in the dark. Anyone sitting here? ERIN (Pulls the seat out for him) Not until now. Brian sits in the stool beside her and turns away from her with a disinterested look on his face. Erin has a half angry and half intrigued look on her face. ERIN And you are…? BRIAN I’m thirsty. You wanna buy me one of those Mojitos? With a little more rum in it? ERIN Buy you a drink? BRIAN Well, at least you can buy me a drink before you start hitting on me. ERIN Who said I was going to hit on you? BRIAN No one. Hey, since you pulled up the chair for me, I need a female opinion on something, if you’ll bear with me for a minute. ERIN Okay. I‘ve got a minute. BRIAN Well, my friend’s waiting outside, but I told him I’d finish one more drink while he fights with his girlfriend on his cell. Anyway, it sounds like they’re basically breaking up now over the phone, and-- ERIN Whattya mean, over the phone basically? Either they’re breaking up or they’re not. BRIAN Well, that’s the thing. From what I can gather, it’s officially a break-up. And they’ve been together for over a year now. But…you never know for sure with these things. ERIN Yeah. Tell me about it. BRIAN Okay, I will. So, if I take him out and show him a good time tonight…I mean, if he meets the girl of his dreams, even though he only broke up with his girlfriend a few hours before, is that immoral? Or maybe legitimate? ERIN Whatya mean? Legitimate or illegitimate? BRIAN What I mean is…say he’s been goin’ out with some girl for a long time but…but there was never really any spark there…then, all of the sudden tonight, for example, it just clicks completely with a girl out of blue…is that just some illusion? Or can it be something real? Something tangible? ERIN Good question. So why are they breaking up? (Then) God, you look familiar for some reason. BRIAN See, this girl talked about settling down, but deep down, down inside he knew she just wasn’t the one, so he kept things casual as long as he could. And now…now it finally came to a head. ERIN So he doesn’t even wanna be with her in the first place? I don’t understand. BRIAN Well, the thing is…he’s been having a lot of fun with her for a while until it started getting too serious. Then he realized that if he was gonna settle down and get serious, it’d hafta be with the right woman. Not just any woman. ERIN I’m confused. (Then) Who is this, anyway? BRIAN I don‘t know. But maybe that person inside isn’t just the one-night stand type anymore. Maybe now that he’s free again, maybe it’s finally time for him to settle down for good with the right woman, you know? The perfect woman. ERIN Now you’re losing me. What’s the point of this story? (Then) Do I know you? BRIAN Do you know me? I don’t know. Do we really know anyone, when you get right down to it? Now, the point I’m trying to make is, should he feel an obligation to his soon-to-be ex-girlfriend to wait things out, out of courtesy. (Then) Or should he follow his heart and his guts and go for what feels is right…illogical and all? ERIN I guess he should just follow his heart. And whatever happens, at least he knew he did what he thought was right. BRIAN That’s a good point. And I think I agree with you. ERIN So what’s your name? BRIAN Oh, I completely forgot about that. Sorry, uh… (points to Erin) ERIN I’m Erin. And who are you? BRIAN Well, first things first. I hafta confess a small lie. But I think you might forgive me once you know the reason. See, the friend I was telling you about outside. Well, he doesn’t really exist. ERIN So you broke up with your girlfriend tonight? And now you’re hitting on me why? BRIAN I’m not hitting on you. Everything else I told you was completely true. And the reason I asked you those questions is because you may just know who the right woman is for me. ERIN All right. So who are you, and how the hell would I know anything about your love life? BRIAN You sure you wanna know? ERIN Tell me now, or I’m leaving. This is getting old. BRIAN Well, my face probably caught your eye because you’ve seen me many times before, but not for many years, and not like this. And my name might also ring a bell, if you remember it… ERIN Well out with it, then. BRIAN I’m Brian Rogers. EXT. FOOD MART - 12:01 A.M. Paul finishes pumping gas, rounding up to the nearest dollar amount, and heads inside. He notices Chris turn away from him finally. He also briefly notices a large, uncovered pane of glass leaning against the back of the store. As he walks inside to pay, Chris waddles from his litte stool to the counter with a get-up in his step. CHRIS Hey, there he is. What’s goin’ on? PAUL Not much, man. Keepin’ busy? CHRIS Pretty busy for around these parts, I guess. So where’s the woman? PAUL Who? Erin? CHRIS Yeah. Don’t tell me you done finished her off already. PAUL No…we just got in a fight. No biggie. CHRIS Sorry to hear that. PAUL No, man. No big deal, really. CHRIS So what happened? PAUL Nothin’. I mean…kind of a long story. CHRIS Well…I got plenty of time, if you do. PAUL (Getting a little flustered) Long story, like, I don’t wanna get into it all now. Nothin’ against you. (Then) I guess she was just bein’ a bitch. Probably no surpise to you, right? CHRIS I hear ya. (Rings up Paul’s credit card and gives him the receipt to sign) PAUL It’s just…she just pisses me off a certain way, and she knows it, too. But then she won’t stop. That’s the problem. CHRIS No surprise here. I’ve been workin’ with the girl for almost a year. I got plenty of experience with it. PAUL Yep. (Takes his receipt, then stops before walking out) Hey man, can I ask you something? CHRIS Sure. I got no place to go. What’s up? PAUL Well, is it just me…and don’t take this the wrong way…but is it just me or do you have a thing for Erin? CHRIS For Erin? PAUL Yeah. I mean…don’t take it the wrong way or nothing, but it seemed like the whole time we were here earlier, you couldn’t keep your eyes off her. I don’t know…maybe it’s just me. But that’s the way it seemed. CHRIS Not really, man. Musta gave the wrong impression or somethin’. PAUL Maybe, I guess. Just seemed like there was something there…maybe you two had something going before--I don’t know. I‘m sorry--things are just a little fucked up right now, so I don‘t really know what‘s goin‘ on. CHRIS That’s funny. That’s really funny. PAUL What’s funny? CHRIS Nothin’, I’m just imagining you two walkin’ in here, and ‘ol Erin with her hair done up like this, and her perfume, and that little walk… PAUL So, you think she’s pretty hot, then? Not that I’m pissed or nothing--hell, I may not even see her again after tonight. But…just curious, I guess. CHRIS No, I don’t think so. I guess I mighta had a thing for her or something when she started workin’ here last year. But that was a long time ago. Things change, I guess. She is still pretty…hot, I guess. PAUL Yeah, that she is. I’ll give her credit there. But man…for someone that damn hot, she just acts like such a stubborn little bitch so much of the time that it’s really not worth it…no matter how nice that piece of ass is. Know what I mean? CHRIS (Fidgets slightly) Yeah…I guess so. Pretty hot…but not worth it, either. PAUL So be honest…would you do her, or not? CHRIS Would I do her? PAUL Yeah, man. Would you fuck her? If she wanted a little quickie after work or somethin’? CHRIS I don’t know…I guess I’d…I mean…I guess I probably wouldn’t do her. PAUL Really? Not at all? (Making sex gestures) Not even if she came back to the break room like some wild animal and started goin‘ down on you? Not even then? CHRIS I don’t know, man. I just…I guess I just don’t think she’s that hot after all. PAUL No shit? Well, I guess, to each their own. I always thought that was the one thing she had goin’ for her. So, you’re not even attracted to her a little, in the back of your mind or anything? CHRIS No…not really. She’s just not the type I’m lookin’ for these days. Sorry. PAUL All right, I was just givin’ ya a little shit. But I swear I thought I saw you standin’ back there earlier watchin’ us with this look on your face… (Mocks Chris’s excited look) …like you were about to explode or something. CHRIS Yeah…I guess I was. PAUL You were what? CHRIS I guess I was about ready to explode, now that you mentioned it. PAUL (Makes a zigzag motion with his arms to convey his confusion) Wait a minute…I’m confused now. You just said you didn’t think she was hot at all. Now, you’re sayin’ you were gonna explode in your pants? So you do think she’s hot? CHRIS Buddy, I ain’t gonna sit here and spell it all out for ya. PAUL Spell what out? CHRIS Never mind. Nothin’. PAUL No, what is it? I’m totally lost here. CHRIS Forget about it. I was just…sayin’ shit. No big deal. PAUL All right. CHRIS Let’s just say that what you don’t know can’t hurt you. INT. PARKSIDE GRILL - 12:06 A.M. Judy watches Brian romance yet another drunk young woman at the bar with apparent ease. CAMERA pans back over to Erin and Brian. Erin sits in shock for a moment before finally regaining her composure. Her facial expression changes from curiosity to confusion, to slow regognition and then to excitement. ERIN Brian Rogers? That’s not you. BRIAN Sorry, babe. That’s my name. ERIN But you’re not…I mean, I don’t even recognize you. BRIAN Yeah. I’ve heard that one before. ERIN You’re not the Brian Rogers I know. BRIAN I’ve heard that one before, too. Does this mean you’re not trying to hit on me anymore? ERIN This is weird. So…am I gonna have to ask for an ID or something? BRIAN Relax, Erin. It’s me. Things have just changed a little. ERIN (Chuckles) A lot, apparently. I still don’t even recognize you. I’m serious. BRIAN Wanna see something funny? ERIN Sure. BRIAN Hold on a sec. (Pulls out his wallet and grabs his old ID card and hands it to Erin) I kept this when I got my new license after turning 21, and I still hold onto it just for the hell of it. ERIN Now there’s Brian Rogers! So…who the hell are you? BRIAN I’m everything I wanted to be back in high school…all that bullshit…pomp and circumstances, whatever….and now that I’m here, I couldn’t care less about any of it. Does that make any sense? ERIN Sure. I remember we were, like, best friends and everything back then. What the hell happened? I can’t remember. BRIAN I don’t know. I think you weren’t ready to be the teacher to my pupil or something. And now we’re here ten years later, and you’re trying to seduce me. ERIN I wasn’t trying to seduce you! I just couldn’t figure out who the hell you were. But now it all adds up…kind of. So what the hell are you doing here now…tonight? BRIAN I don’t know. I guess something just snapped, and I told myself that I had to go back home and fix some things. ERIN Fix what? BRIAN I’m not sure yet. But now that you’re here…some of those things are coming to mind. I mean…I remember back then, and I know it was a long time ago, but…do you even realize how much I liked you back then? ERIN I don’t know…I guess so. That was a long time ago. BRIAN Yeah, I know it was. And I’m not one of these losers that lives in the past. But I think that whole rejection was one of the things that turned me into what I am now…for better or worse. ERIN I’m sorry…I just…we were just kids back then. BRIAN That’s okay, I wouldn’t expect you to remember much. But some of that stuff still sticks with me now. ERIN Like what? BRIAN Nothing specific. But just so you know…what happened between you and me back then, all the way back then…I guess it had more of an effect on me than you could ever understand. INT. POLICE CAR - 12:10 A.M. Stan sees the ubiquitous big, black truck drive by again and stop at a light in his car’s view. He takes down the license plate. STAN 10-4, I need a license check on Illinois plate number NLP0568. INT. PARKSIDE GRILL - 12:14 A.M. Judy stands idle by the bar as a pair of blaring headlights shine in directly at the bar. The headlights finally cut as she sees two younger men get out of the large truck and enter the bar with seeming force. She watches as they take a seat at one of her booths. They chatter quickly and one lights a cigarette. She heads to the table to wait on the men. JUDY How you guys doin’ tonight? SHORT MAN Doin’ all right. TALL MAN Better now that you’re here. JUDY All right, then. What can I get you guys? SHORT MAN What’s everybody else ordering tonight? JUDY Oh, I don’t know. Guess mostly Bud Light for the guys…some Miller Light. SHORT MAN So, what do you recommend, then? JUDY Doesn’t matter to me…two Bud Lights all right for you guys? TALL MAN I think you’d be all right for both of us. How’s that sound? JUDY Sounds like two Bud Lights. (Starts walking away) I’ll be right back. SHORT MAN Hold on, now. My friend, here, gets a little too far ahead of himself sometimes. Now, on a lighter note, you haven’t been with two men before, I take it? JUDY No As Judy starts walking away, the tall man grabs her hand a little forcefully. TALL MAN What he’s tryin’ to say is, two Bud Lights will do for now, and then you can do for later, whenever you’re good and ready. As Judy pushes her hands away from the tall man, she notices the bulge in his jacket, similar to a handgun. CAMERA focuses directly on a handgun-shaped bulge in the tall man’s pocket. JUDY Your drinks will be here in a minute. TALL MAN (Grabs her arm again) Now wait a second. I don’t want nothing to drink now…I think I just want you if that’s all right. JUDY (Points to the bar with her other hand) Look sir, you want me to go get that bartender over there? SHORT MAN No need for that now, honey. JUDY So, whaddya want for drinks, then? TALL MAN I don’t want no fuckin’ drinks! I just wanna sit here with my buddy and have a fuckin’ conversation! Is there something wrong with that, or are you gonna have Mr. Big Shot over there (points to Jim, the bartender) Kick me out? Now why don’t you just go back to your little job and leave me the fuck alone? All right? The tall man reaches toward his jacket near the bulge. CAMERA focuses on his hand reaching to his jacket. Judy hurries away toward the bar, where the bartender, Jim, takes notice of the men before Judy reaches the bar. He holds her shoulders and tries to calm her. JIM Jude, what‘s goin‘ on over there? JUDY I don’t know, Jim. I mean… I don’t think I can take all this bullshit anymore. Just forget about it. (Starts walking away) JIM Wait a minute…what’d they say? JUDY I think the tall one‘s got a gun. JIM All right. I’ll take care of this. JUDY No, don’t. Just give them a couple beers and shut ‘em up. And I’m not going back there again. JIM No way. I’m getting’ these fuckheads outta here now. JUDY (As Jim hurries away) Just leave them alone! Jim ignores Judy’s call and heads over aggressively to the table. CAMERA pans to Brian and Erin walking together, side-by-side into separate restrooms. Brian walks confidently into the men’s restroom and shuts the door. He notices the condom machine, continues walking, and stands in front of the mirror, rearranging a few hairs with a still-confident smile. Next, he RIFLES through his wallet checking for money. He comes across the boyish picture on his old driver’s license. CUT TO: INT. BRIAN’S PARENTS’ BASEMENT - NIGHTTIME FLASHBACK Brian sits in front of a computer in his parents’ basement, TYPING. He looks younger, just as he did in the boyish driver’s license photo. He types a blank document quickly, with mistakes, but in a free-flow-form, as follows: Life Change How is it that at eighteeen years old a girl could have this much of an effect on me? I’ve got my wholle life ahead of me. My whole life. Who the hell is h she, anyway? Where does she get off saying these things about me? That I don’t try hard enough to impress girls…that I’m better as a friend than anything else…that she has no feelings for me. After I’ve basically been in love with her for the last three years. Umbelievable! I’m an 18 year old man with my life ahead of me. As mucyh as I wanto admit it, though, she’s right, I Guess. More so than I can even admit to myself. Look at me. I’m 18 years old. Out of high school A man, pretty much. But I don[t look like a man…I don’t act alike a man…and I don’t even feel like a man. It’s time to change, change right now, and starging from today I’m going to be a new person. I’m goin gto be a man. If she wants somebody to go out and gry to impress her, if that’s what girls want…then I’m gonna do it. It’s just gonna be a big change. But I can do it. Out wilth the little boy haircut, it never looked that good anyway, only to people over 50. In with a professional hair cut, and a heap of hair gel. Out with thse kiddie chothes, no more T-shirts with sports logos on them and no more jeans from Wal-mart and Target. In with mall clothing, seventy dollar pants, and specialty shirts with fancy designs on them. It’s a whole new look, but I can pull it off. I know I can pull it foff. I’ve already seen people do the same thing before, alsl I have to do is follow their examples. Simple, absolutely simple. Just so lont as I don’t sell my soul oi nthe process…but that won’t ever happen, hopefully. Above all else, I’ve gotta give credit where credit is due. This girl sitting right next to me, my best friend for so many years, said what needed to be said and helped me. It doesn’t matter if she’s hanging out with the bitchy girls from the school. She got what she wanted and her popularity is now undeniable. And she set me straight just when I needed it. It’s time for a change, and someday this girl is gonna realize that she missed out on something good. Someday, after I come back from college and find her home again, still waiting for the perfect man to come along. She’s never gonna know what happened to me. But her impact here today is completely life-changing. And I must thank her for turning me into a man Thans, Erin. Thanks for changing my life. Brian Rogers September 6, 1997 CUT BACK TO: Brian standing in front of mirror. He smirks once more, then pops another couple breath mints while staring in the mirror. Suddenly, he’s jolted by a woman’s scream--it sounds like his sister‘s scream, and it alerts him. INT. FOOD MART - 12:19 A.M. Paul looks at Chris in a hurried manner. PAUL All right, man. Time to get goin’. CHRIS Okay. Take care, then. You hear? PAUL You too. Paul walks out the door toward his car, STARTS it, but doesn’t leave yet. He sits in his car for a minute, turns off the engine, and walks back inside. CHRIS Forget something? PAUL Windshield wiper fluid’s completely empty. Almost forgot. CHRIS Should be right out front. Did you see it when you walked in? PAUL No. Looks like there was a display there, but it was moved or something. CHRIS Damn, that’s right. It’s all gone. You want a bucket of water or something for now? PAUL That’s fine. You got a spigot or something outside? CHRIS Yeah, around the side of the store, out by the storage shed. Lemme show ya. Chris comes out from behind the counter, heads over to the coffee island, grabs a bucket from under the counter, and heads outside ahead of Paul. As they walk around the side of the store, Chris leads the way, making more small talk. CHRIS Yeah, I don’t know why they moved that display. Then, they got the water faucet all the way out here on the side of the store. Don’t make much sense. PAUL Yeah. As long as I can get something to use for now‘s all. They come along the side of the store and see a window with duct tape holding parts together, and the tape peels around the corners. Underneath the window is the large pane of glass leaning against the outside store wall. CHRIS Now, that damn thing’s been sitting there for three days. Talk about your liability issues. Owner’s too lazy to get it put in yet. PAUL Looks like it. CHRIS Just like my old man…so I’ve heard. Laziest bastard the town’s ever seen. Such a drunk he can‘t even keep a steady job, but still finds time for his huntin’ and bar hoppin’. Chris shakes his head to himself in embarrassment. CUT TO: INT. LIVING ROOM - NIGHTTIME FLASHBACK A man stands toward his girlfriend and infant son. The décor of the room, and their dress, is from the 1970s. CAMERA focuses from behind the man and keeps the girlfriend directly in the sight line. MAN All right. I’m outta here. 1970s GIRLFRIEND What about him? (Points to boy of about age one, sitting in a baby chair) You gonna leave us both alone? MAN He don’t need me, anyway. Be the best thing for him, probably. 1970s GIRLFRIEND Are you that much of a monster? MAN Yes. I am. 1970s GIRLFRIEND What am I gonna do, then? (Pointing to their infant son) What are we gonna do? MAN We’re… (Pointing to him and his girlfriend) …over. There ain’t no doubt about that. And you…you’re gonna go back to that shit name of yours, and you two are gonna be Cutlers from now on. End of story. GIRLFRIEND And what about you? You just leavin’ for good then? Some deadbeat dad bullshit, or what? MAN As far as I’m concerned, that boy don’t have a dad anymore. The infant looks on, screaming in his bouncy chair. CAMERA focuses directly on the screaming infant. CUT BACK TO: Chris and Paul heading to the back of the store. PAUL Trust me, man. I know how that shit goes. They walk back toward the storage shed and to the water spigot. Chris hands Paul the bucket, and Paul starts to fill it slowly with water. Some water SPLASHES on his hands. PAUL Goddamn! This stuff’s cold as hell. CHRIS That time of the year. PAUL Yep. Anyway, thanks for the help. (Waits for Chris to walk away) CHRIS No problem. Glad to help someone out…someone who I can just bullshit with and not feel like some kind of asshole or something. PAUL (Stops the spigot and turns back) No need to feel like an asshole. I think Erin just likes to talk shit sometimes. CHRIS Yeah. She’s always sayin’ some thing or another about me bein’ weird or whatever. PAUL Yeah, well…everybody’s got their things, I guess. I wouldn’t worry about Erin too much, if I was you. (Goes back to filling up water slowly) CHRIS You think I’m weird? PAUL (Looking back quickly) I don’t know. We’re all weird in our own way, I guess. I wouldn’t worry about it. CHRIS Guess I just never got along with a lot of people growin‘ up and stuff, always sayin’ shit and calling me names. PAUL Hey man, I never even had a girlfriend ‘til I was a senior in high school. And even that only lasted, like, a few weeks. Besides, what kind of names could they’ve been calling you that still mean shit to you now? CHRIS I don’t know. Like…gay and shit. PAUL (Finishes filling up the bucket, picks it up, and turns toward Chris) Gay? Why would they say that? Chris lunges toward Paul and makes an awkward attempt to kiss him. Paul PUSHES Chris away forcefully, DROPPING the bucket, which spills half the water on the ground. PAUL What the fuck was that?! CHRIS I’m sorry…I just… Chris leans forward again and again attempts to kiss Paul, FORCING himself on Paul with more aggressiveness. Paul PUSHES Chris away with more force and begins hurrying away quickly. PAUL Stay the fuck away from me! CHRIS I’m sorry man! Paul, wait. Please! Paul hurries quickly away from Chris, not looking back. Chris grabs the bucket and begins chasing Paul around to the front of the store. CHRIS Hold on! Paul…wait! Chris hurries to catch up to Paul, who walks back around to the front of the store. Chris reaches out for Paul and catches a piece of Paul’s sleeve by his shoulder, pulling too hard on the shirt. CAMERA focuses on Chris’s hand grasping at, grabbing, then holding on to and RIPPING Paul’s shirt in slow motion. Paul slips up mid-stride as Chris lets go of his shirt. Chris loses control of the bucket, which spills water in Paul’s footsteps. Paul loses his balance from Chris’s pull, then slips and falls completely in the water spill to his side by the store. As he falls toward the store, Chris sees his falling path. CAMERA focuses on Paul falling in slow motion over the water spill onto the pane of glass. CHRIS NO! Paul falls directly onto the middle portion of the large pane of glass. His midsection STRIKES the glass squarely, and the force SHATTERS the glass into two sections. The bottom section falls to the ground, SPLINTERING into smaller shards. Paul then falls onto the ground with his chest catching on the upper piece of glass. He falls onto the glass with a loud THUD. The glass does not shatter under him. Chris stands over Paul, frozen. CHRIS (After a long pause) Paul…Paul! Chris grabs Paul by the same shoulder and turns Paul over onto his back. Paul’s body is lifeless; his lower chest has a large gash from one side of his rib cage to the other. Several other wounds spurt small puddles of blood from his midsection, and from his lifeless mouth corner flows another small puddle of dark blood. CAMERA tilts from his midsection slowly upward to catch the escalating goriness until finally resting on a close-up of Paul’s lifeless face. Chris stands directly beside the body, still out of sight from cars along the main street. Tears begin to form in his eyes as he sees a larger wound below Paul’s adam’s apple; this wound is deeper than along his chest, and the blood pooled deeper at the ground by his neck. Paul’s eyes remained wide open, in fear and shock. CAMERA again focuses on Paul’s lifeless face, frozen in a state of shock. Chris puts his head in his hands and pauses for another long moment. Camera focuses directly on his hands covering his head. CHRIS No! No…no! Chris puts his hands down to his side and his crying hysterics continue to escalate. INT. POLICE CAR - 12:50 A.M. Stan drives down the road quickly, scanning and searching streets where convenient for the big, black truck. Suddenly, he spots the truck parked out-of-place in the parking lot of the Parkside Grill. He WHIPS the car around and hurries into the parking lot. As he arrives in the parking lot, he scans the area for anything out of place. Then he brings his flashlight over to the truck. He flashes in and out of the truck for anything unusual. He sees several empty beer cans strewn about and an empty gun rack. He continues looking for anything suspicious in the truck. Camera focuses inside the truck and tilts up and down throughout. Suddenly, on the floor, he spots several silver bullets spread across the driver’s side floor. CAMERA focuses directly on the bullets. He looks back up at the empty gun rack, then shuts off the flashlight. He walks briskly in toward the Parkside Grill with a sudden get-up in his step. STAN (Singing quietly, to himself) Like a river to the sea I will always be with you. INT. PARKSIDE GRILL - 12:54 A.M. Judy tenses as a man’s hand clenches down upon hers with large force. She looks up and sees a man glaring up at her with a vile look on his face. He locks his focus on her before addressing her a moment later. It’s Carl, the man with the handlebar mustache. CAMERA focuses directly on Carl’s ugly face. CARL I told ya I had something up my sleeve, lady. Ready to see it now, goddamnit? (Points to a gun shaped bulge in his jacket pocket) Most of the bar patrons have looked over toward Judy and Carl after her scream a moment ago. Carl pulls the gun from his jacket and places it firmly against Judy’s temple. CARL I told ya I didn’t bite too hard. Maybe I lied. Let’s see how this bites. He COCKS the trigger with his thumb and places his thumb back on the butt of the pistol, preparing to pull the trigger. CAMERA focuses on his thumb cocking the trigger in slow motion. Suddenly, the front door BURSTS open behind Judy and Carl. Carl wheels around toward the door with his gun still held toward Judy. Stan BURSTS through the door with his gun already pointed at Carl. He catches him slightly off-balance. STAN FREEZE! POLICE! Carl firms his position of the handgun on Judy’s temple. He fixes his gaze on Stan, unflinching. STAN Put your hands in the air! Now! CARL I ain’t movin’ ‘til someone moves me! (Looks around the bar) Anyone here got the balls to make a move? Go ahead! I’ll see ya in hell! From the corner of his eye, Stan sees the short man from the big, black truck exit the men’s restroom stealthily behind Carl. CAMERA zooms directly to the short man in slow motion. The short man approaches quickly and quietly behind Carl and, as Carl stands ready to pull the trigger, the short man KNOCKS his arm down forcefully. Carl squeezes the trigger errantly, FIRING and STRIKING Judy near her right shoulder. The tall man from the big, black truck comes from nowhere and TACKLES Carl. A bottle of brown liquor falls from his jacket pocket and SHATTERS on the floor. CAMERA focuses in slow motion on the bottle of liquor fall out of his pocket and SHATTER on the floor. As the tall man TACKLES Carl, the handgun FIRES one more errant shot, KNOCKING OVER a chandelier near the main bar. The chandelier falls loudly, SHATTERING glass everywhere as the bar staff and near tables crowd away for cover. Stan comes in quickly over Carl and KICKS the gun away from his hand. The bouncer runs over and grabs the gun, placing it out of reach. Then Stan grabs his cuffs to handcuff Carl. STAN Stay right there! Don’t move! Stan handcuffs a stunned Carl as people watch on. He rushes Carl quickly toward the exit as the tall and short man watch on. STAN (To the tall and short men) God bless you both. As Stan and Carl begin to leave, Brian comes running from near the restroom toward Judy. CAMERA pans back to the restroom to catch Brian running out, then follows him toward Judy at the bar. As he gets to Judy, the other waitress, Liz, and the bouncer surround them. BRIAN Are you okay? Judy…you okay? Jim hands Brian a towel, and he makes a small tourniquet out of it, placing it around Judy’s shoulder. JUDY I’m fine. Is everybody else okay? LIZ We’re all fine, Jude. Someone already called 911. Just stay calm. You’ll be fine. Brian continues to apply pressure with the makeshift tourniquet. Judy flinches. JUDY Be careful with that thing! It hurts like hell! BRIAN All right, all right. But I still gotta keep some pressure on here to keep down the bleeding. The door BURSTS open again, and again in rushes Stan--this time briefly. He looks at Judy, concerned for her well-being. STAN You all right, Judy? You gonna be okay? JUDY I’m fine, Stan. Thanks for the help…you’re a hell of a guy. STAN Don’t say that. Just relax, Judy. An ambulance should be here real soon. Just relax, and you’ll be fine. JUDY (With a sudden smile on her face) I’m fine, Stan. Now go take care of the bad guy for me. STAN I hope you get through this okay. JUDY I’ll be fine, Stan. Don’t worry ‘bout me. STAN Good luck, then. See you soon. Stan rushes out the door quickly, not before looking Judy directly in the eyes with a look of endearment. The crowd begins CHATTERING loudly as the bar staff surrounds Judy and Brian in concern. EXT. FOOD MART - EARLY MORNING The morning sun begins to come up through fog at the Food Mart parking lot. The traffic outside the store is slow, but many cars SLOW DOWN in front of the drama at the store. As a police car--with Officer McCleary inside--pulls away, two other armed police officers carry Chris Cutler into another police car parked alongside the Food Mart. He tries to bury his head inside his hands as he heads into the police car. CAMERA focuses directly on Chris’s hands and face as he tries to hide them. The police car waits at the exit, then takes away down the main street discreetly into the Saturday morning fog. INT. CITY HOSPITAL - MORNING Judy sits up in her hospital bed next to her mother and father, who are sitting up to leave. JUDY (To her father) So he came in out of nowhere with his gun by his side, just like out of a movie, ready to save me. FATHER Guess he’s got a knack for timing. At least it all worked out. MOTHER And no one got hurt…at least not seriously. Thank God. JUDY I still can’t believe it. I mean…just one thing wrong one way or another, I might not even be here. MOTHER Don’t even say that. Don’t think like that. You’re alive, thank God, and that’s all that matters right now. FATHER All right, Jude. You keep getting better, now. We’ll see you later this afternoon. MOTHER Bye, Jude. Love you. JUDY Love you, too, mom. Thanks for coming. Judy’s mother gives her a hug, and her mother and father walk out. A moment later, a nurse with horn-rimmed glasses and a grandmotherly look walks into the room. NURSE Mrs. Dawson, you’ve got another visitor. Would you like him to come in? JUDY Who is it? NURSE Officer McCleary. He was with you last night. He has some flowers. JUDY (Hesitates) Okay. Let him in. NURSE Your breakfast will be in soon. The nurse walks out slowly and deliberately. She motions out to the hallway. In walks Stan with a large bouquet of carnations and a get-well balloon shaped like a heart. He smiles and sets the flowers down on a table near Judy’s bed. STAN Hello, Judy. JUDY Hello, Officer McCleary. INT. ERIN’S BEDROOM - MORNING Brian awakes slowly to see the digital clock reading “6:39.” He fumbles around the bed--it’s not his bed. He stretches his arms and looks over to the other side of the bed and sees Erin lying comfortably, just awake. They both smile warmly. BRIAN Good morning. ERIN Very good morning, Brian Rogers. BRIAN Yep. Thanks for letting me stay. ERIN Well…you sleep with the tenant, I guess the stay is for free, then. BRIAN Everything’s fine over at the hospital, like I said. Just a shoulder wound. She’ll be out later today, probably. ERIN Mr. hero, right? At least she’s okay…coulda been a lot worse. BRIAN Coulda been, for sure. I guess she musta had karma on her side or something. ERIN Maybe. So, whatya say, Brian Rogers? BRIAN I’d say: “I think we have a lot of talking to do.” ERIN I’d say, “You’re exactly right.” INT. CITY HOSPITAL - MORNING Stan arranges the flower bouquet on the table beside Judy, then ties his balloon to the table leg. He sits down in a chair beside the bed. STAN So, how’s everything goin’? JUDY Well…better than before, I guess. Better than last night. Thanks for the flowers…those are really sweet. STAN Oh…that’s the least I could do. Just glad you made it out okay. JUDY Thanks to you. STAN Not just me. You remember anything from last night? Or is it still a little fuzzy? JUDY Still fuzzy. But I remember most of it ‘til I got to the ambulance. STAN Well, as much as I’d like to be the big hero and all-- JUDY You are the hero. STAN Far from it. If it wasn’t for those skinhead looking guys, I might not have been able to save you. I think they must have been sent from heaven or something…I swear. JUDY I guess you can’t judge a book by its cover, huh? STAN Not at all. Your shoulder feel any better yet? JUDY It’s getting better. The painkiller stuff’s helping. They said I should be out this afternoon, if everything goes all right. STAN Good. (Pauses for a few moments) I mean…this whole thing’s just so unbelievable…how it all happened…even to me. JUDY You’ve never been on a standoff, or on the scene of a shooting or anything before? STAN Well, yeah. But this was different. Just the timing and circumstances of it all. JUDY You’re telling me. Never thought I’d be hear in the hospital of all places the morning after a shift at the Parkside. STAN Yeah. Never thought I’d be hear the morning after a shift, either. Guess it’s one of those curveballs life throws at you when you least expect it. JUDY Yeah…I’ve had plenty of those in my life. Hopefully this one turns out a little better. STAN (Pats her on her good shoulder) I hope so, too. JUDY Definitely coulda been a whole lot worse for everybody there, from what I remember. STAN Definitely. So, you planning on going back there anytime soon? JUDY I’m not sure yet. It’s not real high on my list of priorities right now. STAN I don’t blame you there. You heard what happened out at that gas station last night? JUDY Which one? The Fast Break? STAN No, the Food Mart. Down on 3rd street. JUDY No. What happened? STAN Well, it’s kinda hard to say right now. They haven’t exactly figured out all the details yet. JUDY Details? What…another shooting? STAN No. But…still pretty complicated. Probably a little too much to get into right now, with your state and all. JUDY I’m fine. So, what happened there? STAN Well…a guy got killed there, right outside the store, I guess. JUDY Killed? What happened? STAN Well, we’re still not sure if he was killed, or if it was accidental, or whatever happened yet. But a guy did die out by the store there. JUDY What happened? Who was it? STAN Nobody you’d know, probably. A younger guy. I can’t remember his name. Lived over in Colchester. JUDY Doesn’t ring a bell. So what happened to him? STAN Tripped over some glass, I believe. Fell on top of a big pane of glass and it cut open one of his arteries. Killed him pretty quick. (THEN) Sorry. Probably not what you need to be hearing right now. JUDY No, that’s fine. Guess it just doesn’t make much sense…falling on a pane of glass? STAN Yeah…he was running by the side of the store I guess and tripped, supposedly, over a big piece of glass, a new window, and it cut him up pretty bad. Killed him before the ambulance even arrived. JUDY My God. But what was he running from? I don’t get it. STAN Well, that’s the part we can’t figure out, yet. The guy that was working there helped him fill up some water for his washer fluid, then said he heard his car alarm go off and started hurryin’ over there. Then he says the guy tripped over the glass, and it went from there. JUDY And it just killed him, then? STAN Cut him right across the chest where he fell on it. And across his neck, too. Then he bled to death. Anyway, two big incidents in one night here. Who woulda thought it? JUDY Not me. Well, at least I got out of it with just a gunshot wound. STAN Yeah. Thank the lord. JUDY So, my would-be killer is behind bars, and my knight in shining armor’s here, flowers and all. STAN Of course I’m here. And of course, you probably don’t need to hear a whole lot about him right now. JUDY Not really. Not yet, at least. STAN I hear ya. So anyway, I just thought I’d stop by and see how you’re doing. I hope you’re feelin‘ better now. JUDY Thanks, Stan. I think I’m doing better now that you’re here. STAN Okay. So I hope you feel better, then. Take care. (Gets up to leave) JUDY Stan, wait! STAN (Turning back to Judy) What is it? JUDY I don’t want you to leave yet. INT. ERIN’S BEDROOM - MORNING Brian and Erin continue to talk peacefully under the sheets of Erin’s bed. ERIN All right. So run this by me one more time, then. Would ya? BRIAN I’d be glad to. ERIN From the beginning, now. So I don’t get too confused again. BRIAN Okay. But first…could you at least pull the covers back over your chest, or put a shirt on, or something? I can’t concentrate. ERIN (Grabs a t-shirt of Brian’s from beside the bed and pulls it over herself) All right. Happy? BRIAN Much better. So now…I’m thinking…you remember back in high school at all, right around prom? ERIN Senior year…right? BRIAN Yeah, that’s right. ERIN Wasn’t that when you… BRIAN When I asked you out, finally. After bein‘ friends for so long. ERIN So all those years, you really wanted to go out with me, then? BRIAN After a while, yeah. I guess so. ERIN And so when you finally got up the nerve to ask me out, I was a total bitch about it all…right? BRIAN Not really. I mean…I suppose you coulda sugar-coated it differently or whatever, but overall I think your message pretty much hit home. ERIN My message? What are you talkin’ about? BRIAN You know…the whole, “You’re a nice guy, but I really want an asshole,” thing? Ring a bell? ERIN I think you got it all wrong. BRIAN Maybe so. But that’s how I took it at the time. ERIN So let me get this straight…you wanna go out with me, I tell you no…politely…and you just assume that I didn’t like you because you weren’t some kind of typical macho asshole or something? That’s it? BRIAN Not exactly. I mean…yes, in a way. But there’s more to it than that. ERIN What, then? How’d you get from there to…to last night, then? BRIAN That’s where it gets complicated. I mean…after that whole thing, that whole time period…I guess I just started to change, and things started to change around me, too. ERIN We all change. But why you? Why would something I said to you ten years ago or whatever mean anything to you now? BRIAN I don’t know. But it stuck with me. (THEN) So then things just started to change. ERIN And then you turned into this player pick-up artist overnight, or what? BRIAN No. Not really. Little by little, I guess. But it all started back then. ERIN So why are you back in Braddock then? And why me? I mean…you’ve got a life of your own, I’ve got a life…what’s this all about now? BRIAN I don’t know yet. But I guess it just feels right so far. ERIN I agree. But how did we get from where we were all the way to here? I’m sure you didn’t just show up like a magician and wave some magic wand that put us here again, down the road here and into my bed. BRIAN That’s another long story. But I think it started when I saw you last…ten years ago, or whatever. ERIN When we went to college? BRIAN Yeah. After I left, I remember just being so fed up with all the bullshit I was getting from all the girls back in school. You know…“You’re a nice guy” and all that shit. ERIN Yeah. I know. BRIAN So one day, I just snapped, and decided to stop being a nice guy. To go in the opposite direction. Like that episode of Seinfeld. And it all pretty much changed from there. ERIN So because of me you became some kind of womanizing asshole? Is that it? BRIAN It’s not that simple. But I’d say you were the main catalyst. Then it went on from there. ERIN And then you somehow end up here ten years later…at this exact moment and this exact time? BRIAN There’s no perfect time. I mean…I can’t speak for you, but for me, some kind of switch all of the sudden just went off. And I decided it was time to clear my head, come back home here and make peace with some things. ERIN Make peace with what? I mean…you just happened to come into the Parkside the only night I’ve been there in years? BRIAN I guess that was a coincidence, believe it or not. But I did finally decide to come back to town last night and to see what happened from there. ERIN So everything is just some big coincidence, then? No fate…or God’s will, or whatever? BRIAN I don’t know, Erin. It is what it is, and I did what I did. But we’re both here now, so who gives a shit? What about you, though? What’s your story? How’d you end up here? ERIN Brian, I’m much less interesting, trust me. I mean, I’m still the one living here in town, right? Working at the damn Food Mart. BRIAN But I can tell there’s more to you than that. I mean…you’ve still got something inside, right? The same something you had when we were kids? ERIN Yeah, Brian. (Sarcastically) I’m still waiting to open up that gas station we talked about. What was it? E & B’s? BRIAN B & E’s. ERIN Okay. So I’m here, and you’re out there wherever. BRIAN Nothing too sexy, trust me. Just out in Table Grove makin’ fuckin’ garage door openers for a living. So we’re both pretty much in the same boat. ERIN Never finished school, then? I thought I’d heard that before. BRIAN Shit…I never made it through the second year. You? ERIN Still going, I guess. I’ve got more credits than my younger brother, and he’s got a degree, and I’ve still got nothing but a gas station job. BRIAN And I’ve still got nothing to do but go out to clubs and bars looking for something that isn’t even there anymore…but then… ERIN But then last night happens. BRIAN And life throws one of those curveballs at you…when you least expect it. Not fate…but just random circumstances and chance encounters. ERIN You say chance encounters, and I say fate. BRIAN Either way. So this thing last night…where does it go from here? ERIN I don’t know yet. Maybe it’s just one of those twisty paths that we gotta go down and see where destiny takes us of whatever. Not that that makes any sense. BRIAN I don’t ever think it’ll make sense. I mean…sometimes life takes you where you want, and sometimes it just sucks. ERIN Or maybe our minds and bodies are being led the whole time, and we don’t even realize it. BRIAN Who knows? But we’re here now. And I don’t really know what to think. ERIN Me either. BRIAN And I’ve just got all these strange thoughts going through my head from one direction and another. And…I don’t know where they’re coming from exactly. Not to mention where they’re going. ERIN Exactly. Where one thought contradicts another, then another, and another, before they all finally add up to one big, strange conclusion that somehow makes perfect sense? BRIAN Exactly. So through all the bullshit…I’ve been thinking about a lot of different things. ERIN Like what? BRIAN A lot of things. (THEN) Like getting on with my life finally…finishing my degree, getting a better job, moving out of here to a better area. And settling down finally. More and more all the time. INT. CITY HOSPITAL - MORNING Stan and Judy continue to sit together. JUDY I didn’t know if you had anything to get back to yet…or anybody. STAN No…not really. I came because I wanted to see how you were. So…I guess I wouldn‘t mind sticking around for a while longer, as long as long as that’s okay with you. JUDY Thanks. So you don’t have anyone to get back to right now? STAN Anyone? Like…no. No, not now. JUDY I’m sorry…that probably sounded a little up front and-- STAN Pushy? No, it wasn’t. And I’m glad you asked me. Listen Judy, I know this probably isn’t the best time, given all the stuff going on, but-- JUDY Maybe it is the best time. I mean, we always say this isn’t the best time and that isn’t the best time. But sometimes, maybe it’s just best to say what you think, and let things fall where they may. STAN I guess so. So when you got hurt last night and I had to go… (THEN) I just didn’t want to leave. I didn’t want to go without knowing you were okay and taken care of. That’s why I came here as soon as I finished work and changed. And maybe that sounds weird or whatever, but-- JUDY It doesn’t sound weird. STAN Good. So I just felt this deep feeling of caring…and concern. Or maybe something different. I don’t know for sure. JUDY I don’t know either. STAN So I came here not really knowing what to expect, and pretty scared, but…but I wanted to come anyway. And I wanted to see where it might go. JUDY So the last few years you’ve been afraid to ask me out, or what? Or am I misreading the signs here? If so, blame the medication, not me STAN No, you’re not misreading any of that. And…and I guess I was just too afraid before. During a better time than this. JUDY Enough with the better times, Stan. We’re here now, right? Together? STAN It’s just…I’m just not good at things like this, Judy. I’ve been alone for almost four years now, and this isn’t exactly my specialty here. JUDY That’s all right. I don’t need a Don Juan. I’m just looking for a regular, honest person to have some fun with. Sounds like a bad personals ad. STAN I understand. I think I know where you’re coming from. JUDY Probably. It‘s been hard for me the last couple of years, since I got divorced. STAN I can imagine. JUDY So sometimes it’s like there’s just a big empty spot there…just empty… STAN And it keeps growing a little more every day. JUDY Yeah. I mean…I’ve been out with some guys here and there. Some nice ones, too. But there’s still just this overwhelming feeling I keep feeling that…that-- STAN That you know there’s gotta be something more out there. Someone out there. But you’re not sure where they’re at. And you’re not sure if and when you’re ever going to find them. JUDY Sounds about right. So I’m not the only one, then. STAN Nope. But…at least you got to feel that togetherness of marriage for a while, and to have children and all that. Even though it didn’t work out, of course. JUDY Don’t worry, you’re not missing out on much there. The marriage part, at least. STAN Yeah. I guess so. It’s just this feeling I’ve had for so long, pretty much eating me up. Wanting for something greater, something with more meaning. (THEN) Sorry. I guess I went too far there. JUDY No. Not at all. It’s nice to hear a guy talk like this. STAN Like what? JUDY Like he says what he feels. Regardless or how it comes out, or how embarrassing it may seem. I like that. STAN Thanks. I was starting to worry that I was scarin’ you off already. JUDY Stan, I think you’re thinking too much. Why don’t you just relax and follow your instincts? They’ve gotten you to a pretty good place so far, right? STAN Yeah. So maybe we could spend some time together and see where it goes from there. A date. Dinner. Whatever. JUDY That sounds good. STAN (Stands up to leave) All right, I‘ll leave you alone with your breakfast. I was only supposed to be here a few minutes. (Checks his watch) And it looks like I’ve been here over half an hour. Take care, now. JUDY It’s okay. Stay as long as you want. I could use the company. STAN All right. Just let me know if you want me to leave. JUDY (Reaches over toward Stan and puts her hand on his) I don’t want you to leave. Stan and Judy stand together for a moment in silence. Stan’s face turns red as Judy grabs his hand. A few more tears trickle down Judy‘s face. CAMERA focuses first on Stan and Judy holding hands, then pans slightly to Judy’s tearful face. INT. BEDROOM - MORNING Brian and Erin lay side-by-side in bed. BRIAN So let me get this straight: you didn’t like me-I mean really like me--when I was a normal guy back in high school. But then you brought me back here last night without any reservations. So did you like that act more than the real me? ERIN Brian, I was drunk. I’m not proud of it. But we all do stupid things when we’re drunk. It‘s embarrassing, to be honest. But whatever. BRIAN I guess I’ve had my fair share of embarrassments myself over the last few years, or however long it’s been. ERIN So then…are you going back to the “real” Brian now, or what? BRIAN What’s the “real” Brian? ERIN Are you dropping the whole look, the attitude, all this pickup bullshit and going back to the normal you? BRIAN Good question. Yeah…I think that’s exactly what I’m gonna do. Be the real me again. No more bullshit. But I’m gonna miss all the fun--believe me. ERIN You’ll live. Trust me. Besides…now that I’m sober and halfway thinking again, the “real” Brian sounds like a pretty good idea. BRIAN Why now? I mean…last time I remember, you always fell for guys the opposite of me--the real me, I mean--you know, cocky assholes. Just like last night. ERIN Well…you’re not the only one who had a revelation last night. I just blew it with a guy just really recently because of…because of being me. I mean, he was cute…smart…funny…pretty much everything I could ask for. BRIAN So why’d you blow it? ERIN Because I pissed him off and he left when I was still acting like some little college girl. Some little bitch. And I know you always thought--I think--that I was basically one of those girls. BRIAN What girls? ERIN You know…one of those party girls. Bitchy party girls. Good looks, no substance or whatever. Probably the kind you’ve been goin’ out with lately. BRIAN Yeah. Pretty much. ERIN But if you remember me at all from when we were younger, you’d probably remember I‘ve never really been like that. BRIAN I used to think that. But then I figured once you got to be older you just turned into one of those girls, and then there was no turning back. ERIN Brian, I got corrupted a lot earlier than you. But we both went through the same bullshit. I mean…we both pretty much sold our souls for the same things: popularity, social acceptance, or whatever you wanna call it. BRIAN I call it an empty existence. ERIN So I understand what you’re goin’ through. Because I guess I‘ve been goin‘ through the same thing. BRIAN Okay, I’ll buy that. But what I‘m wonderin‘ is: if I’ve come back full circle and all, to my old self, then what about you? ERIN What about me? I mean, I’d like to come back. But it wouldn’t be easy. BRIAN Erin… (Gets closer to her) Just come back with me. All right? No more bullshit. ERIN I want to. I really want to. But I fell so far into this rut now, that I don’t even know how to get out. BRIAN Well…I guess I’m just sayin’ I’d like it to be like it was way back when before you went and did your thing, and I did mine. ERIN So what…friends again? Or you wanna hang out a little? Or what? BRIAN Let me ask you this: If I said I wanted to start seeing you again on a regular basis, what would you say? ERIN I don’t know. I’d probably say…let’s try it out slowly and see where it goes. BRIAN Okay. Now, what if I said that after we met last night, things suddenly clicked so well there at the Parkside and this morning that…that I’d like to take it to another level--beyond just seeing where it goes. ERIN I don’t know. I guess…I guess I’d say I might be interested, too. Why? BRIAN (After a long pause) Because I just wanted to see whether you liked the “real” me you remembered ten years ago…or if you’d fall for the whole pickup act from last night. ERIN I don’t understand. BRIAN (Begins getting dressed) Well…you gave me the answer I was looking for--unfortunately. ERIN What is all of this? What are you talking about? BRIAN Don’t you understand? Last night was the complete opposite of what I am…what I really am. ERIN So what? BRIAN So the fact that you fell for that little act and not the real me--all the way here, nonetheless. It says that, unless I’m wrong here…that you’re still interested in a life that no longer exists. At least not to me. ERIN But we’re here talking right now, aren’t we? And isn’t this the “real” you here now? BRIAN Yeah. But we never would have made it here if I hadn’t been a big act last night. You never would have fell for me and gotten here in the first place if I wasn’t completely false to begin with. ERIN So this big act is the ultimate decider? And the “real” you here means nothing. What is the “real” you anyway? BRIAN I don’t know what’s real and what’s not anymore. But I just think you’d be happier off in another time and another place. Not here. And not with me now. ERIN How would you know what the hell I want? BRIAN (Finishes dressing) Because I’ve known for ten years now. ERIN All right…why don’t you just go? I opened up my fucking heart to you, and you shit on it like I’m some little girl. BRIAN (Begins to leave) Maybe you are. And maybe you aren’t. And maybe, I guess I’ll never know. ERIN If you’re really as evolved and forward thinking as you act like, you’d know the answer. BRIAN Yeah. You’re probably right. ERIN So if you ever wanna find it out, then you can drop the arrogance and condescension and we’ll start from there. How’s that sound? BRIAN That sounds like a plan. ERIN Well…good luck with your life, then. BRIAN You too. ERIN And maybe in another time and place…past all this bullshit here…it may go somewhere. BRIAN Maybe. Brian walks out the door, not slowly but not quickly, without looking back. He SHUTS the door quietly. INT. INTERROGATION ROOM - LATE MORNING Chris sits across a small table from an officer with a tie. CHRIS Okay, I guess I’ll just get this over with. Explain it all from the start. OFFICER Are you sure? CHRIS Yes, officer. I’m sure. OFFICER No more contradictions? No more back-and-forth changes this time? CHRIS No. None of that anymore. OFFICER I respect that. So let’s go ahead and see what exactly happened out there last night for real. CHRIS All right. I just wanna get this all over with, if that’s possible. I just wanna get this behind me, and off my chest. OFFICER Okay, then. CHRIS Well…I guess I’ll…I’ll just start from the beginning. INT. CAR - LATE MORNING Brian drives down the road with a genuine smile on his face. He drives by the city hospital and turns around in the middle of the street, pulls into the parking lot and parks his car. He gets out of the car, drops his wallet, picks up the pictures inside, and notices the young picture of himself again. He finally lets out a little smile at the picture and continues on into the hospital. He shakes his head. BRIAN (Singing quietly, to himself) I’ve been waiting for this moment all my life, oh Lord INT. INTERROGATION ROOM - DAY CHRIS So that’s about it, I guess. Nothin’ more I can think of. OFFICER Is that it? All of it? CHRIS (Nods slowly) Yeah. That’s all of it. OFFICER Okay. I’m glad you finally got that all out of the way. CHRIS Me too. So, does that take care of everything, then? OFFICER Just about. Unless there’s anything else you wanna get out of the way…anything you might have forgotten. CHRIS (Shakes his head quickly) No, that’s all of it. That’s all I can remember. The officer takes down a few notes to himself for a moment, then stands up. OFFICER I’ll be right back, Mr. Cutler. Hang on here for just a second if you will. CHRIS Yes sir. The officer walks away. Chris waits nervously, kicking his feet under the table. A minute later, the officer comes back in and stands before Chris. OFFICER Okay, Mr. Cutler. I just had two more questions for you. (Pulls out a photo of Carl) Have you ever seen this man before? CUT TO: INT. LIVING ROOM - NIGHTTIME FLASHBACK Man in outdoors apparel (Carl, Chris’s father) and girlfriend (Chris’s mother) continue arguing in front of an infant Chris in the mid 1970s. GIRLFRIEND Get the hell out of here! And may God have mercy on your soul. CARL There ain’t damn God involved here nowhere. If there was some God lookin’ out us, then why‘d we all end up in this shithole? GIRLFRIEND Just leave, Carl! He don’t need to hear you talk like that. CARL That boy ain’t never gonna hafta worry about no God bein’ on his side. Never was for me, never will be for him. GILFRIEND Maybe not for you. But you bet your bottom he’ll always be on his (Pointing to Chris) Side. From today on. Carl rushes out and slams the door behind himself. CUT BACK TO: Chris staring at the photo of Carl in front of the officer. CHRIS Nope. No idea who that is, never seen him before. That someone I should know, or what? OFFICER It’s no one. And the second question I had was, Mr. Cunningham, from last night…he had a small piece of fabric from his shirt missing…right above his left shoulder blade. Looks like it might have been ripped or torn off somehow. Do you recall seeing anything unusual about his shirt, or anything out of the ordinary that might have happened there? CHRIS To his shirt? OFFICER Yes. Do you have any idea what might have happened to that piece of fabric? CHRIS No, officer. I have no idea about any of that. OFFICER No recollection of that? No ideas at all? CHRIS No, officer. No idea at all. OFFICER Okay then. We’ve still got some paperwork for you to take care of, and a few formalities. But other than that, I think we’re all set, then. CAMERA pans slowly from the officer’s face down and back eventually to Chris’s backside. CAMERA then zooms slowly up to inside Chris’s left pocket, to the deep bottom, to the little wadded ball of T-shirt fabric stuffed away inside Chris‘s pocket. INT. CITY HOSPITAL - DAY Brian walks down the hospital hallway and arrives at room 568. He knocks on the door a few times, hears his sister yell, “COME ON IN,” then heads inside. Inside, his sister sits up in bed with a bright smile on her face and a bandage over her shoulder. Next to her in a little chair sits Stan. Stan holds Judy’s hand, and he greets Brian. STAN Well, hello. And how are we this morning? BRIAN Oh…I’m all right, I guess. JUDY (Jumps in, to Brian) Where’s your friend? BRIAN Oh…her. She didn’t-- JUDY Didn‘t make it over this time? BRIAN Yeah. Something like that. STAN (Chuckling) (To Brian) Was that your girlfriend in here earlier? BRIAN No, I don’t think so. Just a little…something I had to take care of. STAN Oh. Okay. BRIAN (Looking over toward Judy) So…how’s everything goin’? Feeling any better yet? You’re looking better. JUDY A little better all the time, I guess. BRIAN Good…good. So you still worried about someone coming in here and trying to shoot you? JUDY What? BRIAN (Pointing over at Stan) (To Judy) I didn’t know they had police protection around here today. (Chuckles) JUDY Oh, no. More of personal protection for now. BRIAN Good. Nothing wrong with that. JUDY Not at all. BRIAN How long before you get outta here, then? JUDY I think they said sometime later this afternoon. Hopefully by then. BRIAN (Jokingly) So, you goin’ back in to work tonight? JUDY (Sarcastically) Yeah, right away, ass. I don’t even think that place is cleaned up all the way yet. BRIAN Probably not. JUDY (Still holds Stan’s hand) (To Brian) No…I don’t think I’ll be goin’ back there any time soon, if I can get away with it. STAN That shouldn’t be too much of a problem. JUDY I think Stan here’s gonna be takin’ care of me for a while. Helpin’ out a little. As long as he can put up with me and my shoulder. STAN That shouldn’t be too much of a problem, either. BRIAN (Covering his eyes) Enough already. I don’t think I can take any more drama for one day. Out the window, a series of police sirens blare as three police cars speed by down the road. CAMERA pulls out to a wide shot of the three looking out the window while the police cars zooming down the road remain slightly out of focus. JUDY So…I’m not trying to pry here, but…what was that last night? Something substantial? Or just… BRIAN (Laughs) Don’t you remember her? Erin Rae? I used to be friends with her back in school. Back in high school. JUDY No, I didn’t recognize her. Some old flame, or what? BRIAN No, not really. Just an old friend. Kind of. JUDY From the looks of it, she was more than just a friend. But maybe that’s just me. BRIAN (Shakes his head) Well, it’s kind of a long story, but there’s a little more to it than that. Not that I wanna get into it all right now. So we’ll just leave it at that. JUDY Fair enough. Sorry to pry. BRIAN (Takes a long pause) Let’s just say that what happened last night taught me an important lesson or two. JUDY And what’s that? BRIAN Well…with all the bullshit going on over the last several years, I think it took something like last night, between what happened with me--not to mention your incident--to kind of wake me up and punch me in the face. JUDY Whatya mean? BRIAN I guess it all just opened up my eyes. I mean…I realize now a lot of the things I did wrong in the past and the things I didn’t do, and now I think I know what I need to change. It probably sounds like a bunch of b.s., but that’s how I feel. JUDY So what changes are we expecting now? BRIAN It’s a long story, trust me. But…I guess…first of all, I’m done with these one night things…these little, insignificant flings and things. It was okay for a while--for years, actually--but they’ve just run their course…besides, think I’ve got bigger fish to fry now. JUDY Bigger fish to fry. Sounds good. BRIAN (Checking his cell phone as it rings, concerned but not answering the phone) I guess what I mean is…grand speech time and all…I guess it’s finally time to move on and do something significant for a change. Something lasting…whatever that means. JUDY That’s good. And uh…I don’t wanna be the one to say it…but I guess I always am, anyway. It looks like you’re finally starting to realize what the problem was, and a lot of people never even get that far--at least not at your age. So I’m happy for you. BRIAN That’s it. It’s like I’ve been playing some game all these years and I didn‘t even know what the rules were, let alone who was making them up. So now I guess I need to go back and fix all the things that got screwed up in the first place. God only knows all the things I‘ve screwed up already-- STAN Haven’t we all? BRIAN Damn right. But it’s not too late to fix it, is it? I mean…can’t we all just step back for a second and start putting all the right pieces in the right places for a change. Destiny…fate…whatever. (THEN) But can’t we all just get ahold of the wheel finally and steer things back onto the right course? JUDY I don‘t know. Can you? BRIAN That’s a good question. (His cell begins ringing again, and he gets up to walk to the hallway) Hold that thought for a second, I really need to get this. Brian heads out to the hallway to get his call. With a quick and anxious “HELLO” he steps into the hallway and stands with his back to Stan and Judy. CAMERA stays in a still shot as Brian heads further away from the hospital room, into the hallway and slightly out of focus. He stands in the hallway for several moments, still out of focus, still talking on the cell phone. EXT. HOUSE PORCH - EVENING FLASHFORWARD An old man and woman, probably in their 80s, sit together on the front porch of a house, watching the sun slowly begin to go down. As the mail carrier drops off their mail in the box at the end of the driveway, he and them exchange a wave. The old man reaches down and pets a small gray kitten as the kitten nibbles playfully at his hand. The kitten scurries away down the steps and out of view. The old man and woman sit quietly together, still holding hands, watching the sun continue to go slowly down. The old man stares at the fading sun with a content smile. WIPE TO: (Over Narration): Scene of the sun going slowly down. NARRATOR: Well, hello there again. It’s nice to talk to you once more. So did you finally recognize me there at all? Maybe not. But that’s okay. (OVER BLACK) Someday you will. FADE OUT