aftermath.
FADE IN:
INT. SMALL OFFICE - DAY
We FADE IN on a rather unorganized and stuffy office which
has not one habitant. As we scroll around we see pictures of
a man with his family, several trophies ranging from sports
to literature, and a framed diploma.
Mountains of paper lie piled on the desk. The text is blurred
so much that it looks like lines without words. A woman in
her mid-fourties ushers in HOMER [Peter Krause], a man in his
late thirties. He sits down at the one other chair in the
room, aside from the desk chair.
WOMAN
(As she closes the door)
Mr. Richardson is finishing up a
meeting. He'll be in momentarily.
HOMER
OK, thanks.
The WOMAN closes the door behind her. We get our first long
look at HOMER, a gruff looking man with a light beard and
short hair. His fingers bounce up and down on the handles of
the chair, an obvious nervous habit.
A balding older man walks in, dressed in a suit and tie. This
is MR. RICHARDSON. HOMER stands up quickly, grabbing MR.
RICHARDSON'S hand and shaking it vigorously
HOMER
Nice to meet you Sir.
RICHARDSON
Take a seat and we'll begin in a
moment.
RICHARDSON looks drained, covered in sweat and breathing hard
as he takes a few steps to his desk and sits. As he sits a
loud breath of pleasure can be heard from him. HOMER
straightens his posture quickly, trying to be very serious.
RICHARDSON
(Rummaging through papers)
Well, we'll just wing this. I can't
recall what job you were looking to
get with our company.
HOMER
I was hoping to become your
custodian.
RICHARDSON
Ahh. What is it that you believe
you could contribute to our
company?
HOMER
(Smiles)
Well, I think I'm a great worker.
I've had a decade of experience
doing this job for several
different establishments from
schools to bars. I can work the
late shifts and the early shifts,
whatever it is that you need. And
uh, I don't know, I'll just do
whatever it is you need. You won't
hear any complaints from me.
RICHARDSON
(Continues to look through
random papers)
Well... You certainly seem up for
the job.
(Picks up a paper)
Here it is. Your application. Just
let me look it over for a moment.
HOMER nods and stays quiet as
RICHARDSON looks over the
dirty, and coffee-stained paper. RICHARDSON finds something
interesting and squints his eyes to give a closer look.
RICHARDSON
(cont'd)
It says here you've been
incarcerated. Twice. What did these
run-ins involve?
HOMER
(Smiles nervously)
The ahh... the first was for
robbery in '92. I was in prison for
a two year stretch. The second was
a parole violation. I spent another
six months in prison after that.
Haven't been incarcerated for nine
years, so I put that period behind
me.
RICHARDSON
What did the parole violation
involve?
HOMER
(Scratches his head and
half-smiles)
It was, uh, assault. I got into a
scuffle that went a little too far.
Not that big of a deal, really.
RICHARDSON
We consider every violent offense a
big deal in our workplace.
HOMER
(Sits up)
I know, I know. I didn't intend
to... um...
RICHARDSON
You didn't intend to what?
HOMER
I didn't intend to sound like an
assault is not a big deal. I agree
totally. It is a very big deal. But
I've really worked to move myself
forward since you know, the
incident , and I think I have.
RICHARDSON
(Glances at his watch)
That's good to hear. What was your
last place of employment?
HOMER
I worked at an elementary school.
Riverside was the name.
RICHARDSON
Were you fired or did you resign?
HOMER
I was laid off. I worked in the
offices of a software company. They
had to cut back on spending, and
decided they only really needed one
custodian. I was the unlucky one.
RICHARDSON
It appears so. How long have you
been out of work?
HOMER
About a year now.
RICHARDSON
Are you married?
HOMER
I was formerly, but not now.
RICHARDSON
Divorce?
HOMER
No...my wife�my wife passed away.
RICHARDSON
I'm sorry to hear that. Children?
HOMER
I have a son named Toby. He's
fourteen years old. Beat.
RICHARDSON
(Groans)
That's about all I have to ask.
Frankly, I am sympathetic to your
situation. People in your
predicament have some trouble
getting work. But quite honestly, I
really doubt my colleagues will
hire you.
HOMER
(Quietly)
Well, thanks anyway.
RICHARDSON
(Stands up)
Keep at it.
HOMER
(Smirks)
Yeah, keep at it. HOMER nods
politely and leaves the room.
CUT TO:
SOUNDTRACK: SEBASTIEN TELLIER - FANTINO
INT. HOTEL ROOM
We see a large bed first, with a frame the size of a car. The
blankets are a smooth and pretty silk, and nothing about the
room indicates that it could be a hotel.
We scroll around the room, seeing a very large television set
that is playing a porno, a painting that is extremely diverse
and has no place in a hotel room, and a large bathroom with
the bath tub looking more like a jacuzzi. Inside the tub is a
white man with black hair, seemingly asleep.
CUT TO:
SUIT ON THE BED
We see a nametag which says "Hello, my name is..." with Kevin
scrolled on sloppy at the bottom.
CUT TO:
INT. BATHROOM
The man, KEVIN [Billy Crudup], soaks in the bath with his
eyes now open. He stares at the ceiling, with a look of utter
bore on his face. He sighs loudly and sinks further into the
bath, covering his head and body in the hot water.
LATER ON
INT. HOTEL ROOM
KEVIN sits, on the bed, in a bathrobe. He is flicking through
the channels on the TV, looking for something interesting.
With every click he seems to get angrier.
KEVIN
(Changes channel)
Nothing.
(Changes channel)
Nothing.
KEVIN half-heartedly throws the remote against the wall.
There is a knock at the door.
KEVIN
(Sighs)
Who is it?
JANIS
(O.S.)
It's me.
KEVIN
What do you want?
JANIS
(O.S.)
I just want to talk to you.
KEVIN
(Turns off the TV)
About what?
JANIS
(Opens up the door)
You gave me a key, remember?
KEVIN
I don't feel like talking to you
right now.
JANIS
(Sits down on a chair)
Don't make me to be a psychiatrist
right now. I'm not in the mood.
KEVIN
Good, I don't need a psychiatrist.
I need another drink.
JANIS [Helena Bonham Carter] looks over to a small counter,
where several small liquor bottles are emptied out.
JANIS
Jesues Kevin. Why are you doing
this today? I really thought you
would handle this a little bit
better.
KEVIN
Well, I'm not, so just deal with
it. I remember your little freak
out over toilet cleaner boy So
don't you dare tell me I don't get
one free freak-out after enduring
that.
JANIS
You're an asshole.
KEVIN
I agree with you there.
Beat.
JANIS
We're supposed to be five doors
down having a meeting with Newson.
KEVIN
(Chuckles)
That guy. He sure is a straight
shooter when he wants to be.
JANIS
What are you talking about?
KEVIN
I had a private meeting with him
last night in the bar downstairs.
Well, I actually just ran in to him
and we started talking. I asked
him, point blank, "will we still
have a place in this company?" He
said "No, we don't intend to
continue releasing products under
the name of your company." Asshole.
This was a buyout. Nothing more,
Nothing less. He just decided to
give us both a bit false hope.
Beat.
KEVIN
(CONT'D)
Now, were you expecting that?
JANIS
No.
KEVIN
Well, you should've. It's the
nature of this world that we're
living in. I've been sitting here
thinking about it all night.
Thinking of what would have been,
what could have been. But I've come
to the realization that it is, in
fact, all fucked up. I spent years
of my life dedicated to this one
venture, and for once, it worked.
It all finally clicked. It was
perfect.
Only for it all to come tumbling
down. Which, like I said, is the
nature of the world. No matter how
much we build and build, it will
all fall apart. It will all wither
away. No matter how much we make
the right choices, and live life
right, we will all die. And our
existences will all have meant
absolutely nothing to the world.
Isn't that a pleasant thought?
JANIS
Are you telling me the truth?
KEVIN
(Turns the TV back on)
Yes.
JANIS
(Angered)
Look at me!
KEVIN
(Leans forward and looks
JANIS square in the eyes)
I'm telling you the absolute truth.
JANIS
(Sighs and slouches in to
her chair)
I need a drink.
CUT TO:
INT. MAYBERRY FUNERAL HOME
A plethora of pine caskets fill a eerily dark room. The
caskets range from normal wooden box to a pretty, colorful
metal casket.
The small bit of light that comes through the room's high
windows gives the caskets a beautiful yet chilling
importance.
In walks MARIA [Nicole Kidman], dressed in black. Her blue
eyes hide behind brown locks of hair, but her most noticeable
trait is the sadness that one can see for only a split
seconds in her eyes before her hair falls over them again.
Hiding her from the world.
She walks quietly and elegantly through the room, studying
every casket. MARIA stops at a certain black wooden casket,
and looks it over for a moment.
BOB
(O.S.)
Ah, I see you are favoring that
one.
BOB walks in to the picture, trying to establish his salesman
presence.
MARIA
(Quietly)
Yes, it's nice.
BOB
Is there anything extra in
particular that you were looking to
add?
MARIA
Not really, I'm not very good at
this stuff.
BOB
Well, this would be ideal for all
ages as it can be customized for
free. How old was the deceased?
MARIA
Eleven.
BOB'S salesman attitude immediately turns to a rather sad
expression.
BOB
(Smiles)
I think we can take care of the
rest for you.
MARIA
Thank you.
BOB nods politely as MARIA leaves the store.
CUT TO:
EXT. OUTSIDE MAYBERRY FUNERAL HOME
MARIA approaches her car with a cell phone in hand.
MARIA
(Talking on the phone)
No, I'm fine. I'll see you at the
funeral.
MARIA hangs up the phone. She then turns on the car and
tries, unsuccessfully, to put the car in neutral. MARIA takes
a deep breath and then tries again, without success. MARIA
then violently does it over and over, still without success.
MARIA
(Talking to herself
quietly)
Come on Maria, just put the car in
reverse. You can't do this to
yourself. Just calm down, and put
the car in reverse.
MARIA starts up the car. She then softly grabs the stick
shift and puts it in neutral, without a problem.
MARIA
(cont'd)
There you go.
MARIA drives away with a half-smile on her face.
DISSOLVE TO:
INT. QUICKIE MART - DAY
We see the muggy, cold weather outside as MIKE [Jamie Foxx]
sits behind the service counter of a small quickie mart. MIKE
is a thin African-American man with a big sweatshirt on and a
beanie on his head. MIKE is watching a small TV set that is
next to his register.
He sits on a small black stool that has been duct-taped in
several spots. It makes a annoying squishy sound with every
move MIKE makes. Another African-American man walks in, with
a big winter coat on along with a white beanie. This is
NATHAN [Larenz Tate].
MIKE
Hey son, how you been?
NATHAN
I've been good, what about you?
MIKE
Same as always, same as always.
NATHAN
When do you close tonight?
MIKE
Eight.
NATHAN
You want to go out and get
something to eat? My girl's got
some old friends in town. Some of
'em are fine, you know?
MIKE
(Chuckles)
Sure, sounds good.
NATHAN hops up onto the counter, the only other place to sit
in the place.
MIKE
(cont'd)
Take it easy, man. Don't want this
shit to break. Got enough bills and
other shit to worry 'bout.
NATHAN
Come on Mike, you know my ass ain't
fat enough to break this counter.
You got people called you Big Mike
and I'm the one that's gonna break
the counter.
MIKE
I heard about enough people calling
my ass Big Mike. Why the hell would
I be Big Mike? I'm the skinniest
mother fucker on this block! Makes
no damn sense. Shit, no nicknames
make sense.
NATHAN
Whatever, man. Can I take a piece
of candy off your hands?
MIKE
You ain't got 50 cents?
NATHAN
Sure I got 50 cents, but I don't
want to spend two quarters on
candy..
MIKE
What the hell else are you gonna
buy with 50 cents?
NATHAN
(Glares at MIKE)
Fine.
(Gets down from the
counter)
Turn something good on the tube,
man.
MIKE
Anyone with half a brain knows
there ain't shit to watch during
the day.
NATHAN
(O.S.)
Then why the hell you watching it!
CUT TO:
INT. QUICKIE MART - LATER
NATHAN has got himself a snickers bar, while MIKE has lit up
a cigarette. Both men are watching a soap opera, not
interested in the least.
NATHAN
I thought you weren't allowed to
smoke in a place like this?
MIKE
A place like what?
NATHAN
A place like this!
MIKE
Just because you don't see people
doing it doesn't mean they don't.
It just means that you haven't
witnessed it. Plus, I own this
place, you know that. Ain't nobody
gonna come in here and tell me
what's what in my own store.
NATHAN
So you're saying if a cop brings
his ass in here, and tells you to
stop smoking, you'd say, "Fuck you,
this is my place." That's what
you're telling me?
MIKE
No, I'm just saying that without a
complaint, I see no reason to stop.
If someone asks nicely, I'll
oblige. But I'm not going to stop
smoking out of fear that a cop will
walk in and ask me to stop. Beat.
MIKE
And why would he come in and ask me
to stop any fucking way?
NATHAN
Just forget about it.
MIKE
Good, I'm done the damn thing
anyway.
MIKE puts out his cigarette in an ashtray.
NATHAN
(Referring to the soap
opera)
What do you think's about to happen
here?
MIKE
Either someone will fuck or someone
will die.
MIKE changes the channel.
NATHAN
What are you doing?
MIKE
Turning on that Judge show. I've
seen enough soap opera today.
NATHAN
(Sighs)
This must be nice.
MIKE
What must be nice?
NATHAN
Working here. Sit and watch TV all
day and then go home.
MIKE
Believe it or not, there is some
amount of work involved. I come
here an hour before opening and
stock all this shit. And let's not
forget about the run-ins with those
damn criminals. I've been robbed
five times, Nate. Five times! In
two years! Shit man, I even got
shot last year.
NATHAN
You should get one of those
bulletproof type deals that some of
these stores around here have.
MIKE
Not worth the cash. Plus, what's to
stop some little fucker from coming
in and taking what he wants? I
wouldn't be able to run down
thieves. And that's the best part
of this job.
NATHAN
(Chuckles)
Fuck yeah, man.
MIKE
What time is it?
NATHAN glances at his gold watch for a moment, then looks
back up at MIKE blankly.
MIKE
Well?
NATHAN
I can't figure out the fuckin' I's
and the V's.
MIKE grabs NATHAN'S hand and looks at the watch himself.
MIKE
It's 12:36.
(Sighs)
Shit, I have a meeting with Nicole.
NATHAN
And her friendly suit-wearing
companions.
MIKE
Hey, I'll give you fifty bucks to
be the clerk for a few hours.
NATHAN
I'll do it for sixty.
MIKE
(Rolls his eyes)
Whatever, just don't do anything
stupid, okay?
MIKE walks out from behind the counter and puts on his
jacket.
NATHAN
(Grins)
I'll try.
CUT TO:
INT. BOARD ROOM - AFTERNOON
Two men dressed in black suits sit on either sides of NICOLE,
a beautiful black woman who, despite being dressed well,
looks very stressed and unfocused. On the other side of the
long table sits ROBERTO, MIKE'S lawyer.
SUIT #1
We're going to need to start soon.
ROBERTO
(Sighs)
He's never late like this, there
must be something wrong.
SUIT #1
Well, then Mr. Downey picked an
excellent time to start making a
habit of being tardy.
ROBERTO
Let's not be childish now, all
right?
SUIT #2
We'll wait another ten minutes.
ROBERTO
Thanks.
The door to the room swings open and MIKE speedily approaches
ROBERTO. MIKE nods in recognition to the two men and NICOLE.
NICOLE smiles very briefly at MIKE.
SUIT #2
We can begin now, then?
ROBERTO
(To MIKE, whispering)
You're a very lucky man.
MIKE
(Sits down)
Yeah? I guess my outlook on this
whole thing is wrong then. I should
be happy about it.
ROBERTO
I covered you. Just stay there and
be quiet.
(To SUIT #2)
We're all ready now.
SUIT #1
Okay, then let's start with
custody.
ROBERTO
My client believes, in the interest
of fairness, that custody of the
two children should be shared.
SUIT #1
Our client wants full custody.
ROBERTO
My client is a fine father, and
should be allowed more than the
occasional visit with his children.
SUIT #1
Your client lives in a rough
neighborhood and has a history of
alcoholism.
MIKE
Can I say something?
ROBERTO
(Disapprovingly)
Mike...
SUIT #2
Let him talk.
MIKE
First, I want to apologize for
being late. It won't happen again.
SUIT #1
I know it won't- this is the last
meeting we're having.
ROBERTO
What?
SUIT #1
You heard me. If your client has
any gripes with the setup after
this meeting ends, we'll just have
to go to court.
MIKE
Please, I just want a fair
settlement here.
SUIT #1
How is this not fair? My client
made the money, raised the kids,
and dealt with your drinking
problem. She believes she is
entitled to these things.
MIKE
(To NICOLE)
Why are you being so nasty about
this?
ROBERTO
Mike, let me handle this.
(To SUIT #1)
Let me tell you something, pal...
ROBERTO'S voice fades out, and we see MIKE now, a frustrated
look on his face. He looks over to NICOLE, who nearly has
tears in her eyes.
ROBERTO
(Voice fades in)
... And don't even get me started-
MIKE
(Interrupts)
No, stop. I'll agree to give Nicole
full custody of the children.
ROBERTO
Mike-
MIKE
What do I need to sign?
Beat. SUIT #1 scrambles in to a file folder and pulls out a
stack of forms.
ROBERTO
(Whispers To MIKE)
Don't do this, I can get you full
custody.
MIKE
(To ROBERTO, sternly)
I'm not going to court. SUIT #1
passes the papers across the table
to MIKE.
FADE OUT.
BLACK SCREEN.
CAPTION: BEFORE.
The sound of groups of wheels turning in unison can be heard.
The sound of worn down car engines racing down the road can
be heard.
TIM
(O.S.)
Hey. Hey Jimmy.
FADE IN:
INT. INSIDE CAR - NIGHT
We see a man in his 30s driving down the highway, with his 10
year old son sitting on the passenger's side. TIM [Peter
Sarsgaard] keeps close eye on the road as he attempts to get
the attention of his sleeping child.
TIM
(Shakes JIMMY a bit)
Are you all right?
JIMMY
(Quietly)
Where are we?
TIM
We're a few miles from home.
JIMMY
(Yawns)
Finally.
TIM
How are you feeling?
JIMMY
I'm OK. I feel better than before.
TIM
Before what?
JIMMY
Before we went to the doctor. Beat.
TIM
Listen. If this gets to be too
much, just let me know. This is for
you, son. If it doesn't help, then
you don't have to do it. If you
have anything to say - about
anything - just let me know.
JIMMY
I know, Dad. I'm fine, don't worry
so much.
There is a loud beep up ahead.
JIMMY
What was that?
TIM
Just someone looking for trouble.
Don't worry about it.
We now hear the shriek of tires stopping quickly and more
beeping horns.
JIMMY
What's that?
TIM quickly turns the wheel in a quick and physical flash.
DISSOLVE TO:
INT. MARIA'S APARTMENT, BEDROOM - LATE NIGHT
The phone in a darkened room begins to ring. MARIA, in her
sleep attire, pops up quickly. She picks up the phone, which
was sitting on a nearby end table.
MARIA
Hello?
GRUFF OLDER VOICE
I'm calling for Maria Beckett.
MARIA
Who is this?
GRUFF OLDER VOICE
I am a police officer, ma'am. Your
husband was in a car crash tonight,
he's being transported to the
hospital.
MARIA
(Sits up)
What?
GRUFF OLDER VOICE
Timothy Beckett, ma'am. He's been
taken to a hospital, would you like
the address?
MARIA
What about-?
GRUFF OLDER VOICE
The boy is fine. He's speaking with
us, and there doesn't appear to be
a scratch on him.
MARIA
What happened, I don't understand?
GRUFF OLDER VOICE
Mrs. Beckett, I suggest you head
over to Providence. Do you need
directions? A ride?
MARIA
No, no. I know where it is. I can
make it. Oh, God, will Jimmy be
there?
GRUFF OLDER VOICE
He's getting into a car now.
MARIA
OK, OK, I'm leaving now, thank you.
MARIA hangs up the phone, mostly in a state of shock. She
sits for a moment, trying to comprehend the situation. MARIA
gets up from the bed, and bolts out of the room.
JUMP CUT TO:
INT. PROVIDENCE HOSPITAL
The white walls of a crowded hospital are the first thing we
see. The white all around makes the place look strangely
heavenly. But the voices that soon overtake the color send
the thought of heavenly warmth away.
MARIA Emerges from two big doors, walking quickly. She
reaches the service desk, and tries to get the attention of
one of the working doctors.
MARIA
Excuse me?
WORKER
(With his back to MARIA)
Just a moment.
A not exactly comfortable silence passes, as the man does
something on a computer.
MARIA
I just-
WORKER
One moment.
MARIA
(Sighs)
Could you just please look up a
patient for me?
WORKER
(Looks MARIA over,
annoyed)
Name?
MARIA
Timothy Beckett.
The WORKER types in the name as two nurses look at MARIA with
compassionate looks on their faces.
WORKER
Mr. Beckett is in room 109. He will
be going in to surgery very soon,
so-
The WORKER looks up to see no MARIA.
CUT TO:
INT. HOSPITAL HALLWAYS
MARIA runs down the halls as several patients and doctors
give her strange looks. She begins to look at the numbers on
the doors as she passes, saying them aloud.
MARIA
(Running)
115... 114... 113... 112... 111...
110... 109.
MARIA stops running to catch her breath, and observes TIM
from a small crack in the door. She regains her composure and
enters the room.
CUT TO:
INT. HOSPITAL ROOM
As MARIA walks in, we see TIM lying on a hospital bed with
several people surrounding him. TIM lies on the bed a mess,
with all sorts of bandages covering his body. His body is in
horrible condition, limp and frail.
MARIA
Excuse me.
DOCTOR MEYERS
(From the doorway)
Are you Maria?
MARIA
Yes, what has happened to him? Is
he going to be all right?
DOCTOR MEYERS
Let's have a talk in the hall, OK?
INT. HOSPITAL HALLWAY
MEYERS guides MARIA to a small bench, where she sits down.
MEYERS stays standing, pacing back and forth as random people
walk the halls behind him.
MARIA
Well?
DOCTOR MEYERS
He'll go into surgery... with your
OK, in a few minutes.
MARIA
Yes, please, do whatever you can to
help him.
DOCTOR MEYERS
There is one thing I'm worried
about.
(Kneels down to MARIA)
There is a 70/30 chance he'll
suffer from brain damage for the
remainder of his life. You see, the
initial crash didn't cause him any
life-threatening injuries. But in a
pileup like this, that's not
surprising. It wasn't one car, but
two, that did this to your husband.
The surgery is not a safe option,
I'll tell you right now. But it is
the only way to attempt to ensure
his survival.
MARIA
You're telling me that he'll die if
he doesn't get the surgery and he
might die if he does? Jesus, just
do it.
DOCTOR MEYERS
I'm just trying to inform you of
the possibility.
MARIA
Well I'm sure your superiors
appreciate you following protocol,
but for god's sake, we're talking
about my husband. I can't let him
die, if there is any chance,
anything, just do it, god damn it.
DOCTOR MEYERS
Good, we'll bring him in to surgery
then. If you'd like to see him
before you best do it now.
DOCTOR MEYERS disappears down the hall. We now see JIMMY,
walking with an officer. He lets go of the officers hand and
runs to his mother. MARIA hugs him as he approaches her, and
begins to cry softly as she holds him.
MARIA
Oh, sweetie are you okay?
JIMMY
Yes. Where's Daddy?
MARIA
Are you sure, baby?
JIMMY
Yes.
MARIA looks JIMMY over a few times, looking for scratches or
wounds that anyone might have missed. She then looks up at
JIMMY, and for the first time, fully realizes the reality of
the situation.
MARIA
(Stands up)
Let's go see Daddy.
DISSOLVE TO:
INT. RANDOM BEDROOM - MORNING
The first thing we see is MARIA, looking lovely as she sleeps
on a big bed. She is halfway covered with the blankets, the
upper half not covered, and topless lying on her stomach. The
opening of a door can be heard, and quiet footsteps.
The footsteps grow louder, but still not waking MARIA. We see
the door to the bedroom open, and TIM walking in. He takes a
look at MARIA as she sleeps. TIM takes a walk to her side of
the bed, and sits at the end of it.
TIM sighs and rubs his hands through his hair, this motion
waking MARIA. Tired and out of it, MARIA looks up and sees
TIM. She makes not a move, but makes sure TIM knows she is
awake.
TIM
How long has this been going on?
MARIA doesn't respond.
TIM
(cont'd)
You don't want to talk about it.
MARIA again doesn't respond.
TIM
(cont'd)
Gather your things today. When I
return with Jimmy, you'll be gone.
We don't need a divorce now. You
can take as much time as you need,
just make sure you're out of our
house.
MARIA closes her eyes.
TIM
(cont'd)
I'm� I don't know. I'm sorry,
that's all. I wish I could have
loved you better.
TIM walks out of the room slowly, his footsteps quiet as a
whisper.
CUT TO:
INT. TIM'S HOSPITAL ROOM - LATE NIGHT
We see MARIA'S face first, realizing she was thinking about
what happened earlier that day. TIM is lying down in his bed
unconscious, breathing with the aid of a machine.
JIMMY is sleeping on the floor with only a blanket and
pillow, looking very exhausted. MARIA looks over to the door,
where DOCTOR MEYERS stands as he did before. With light black
circles under his eyes he smiles kindly and approaches MARIA.
He takes a seat on the ground.
MARIA
(Whispering)
What should I think?
DOCTOR MEYERS
(Whispering)
It went better than we thought, but
only time will tell. His heart
can't survive on it's own. He may
need a transplant.
We're lucky we got those results
before surgery, because things
could have gone wrong if we hadn't.
MARIA
I never asked before, how are the
others doing? How many were
involved?
DOCTOR MEYERS
There were five cars involved, but
only one other serious injury.
MARIA
How are they doing?
DOCTOR MEYERS
She'll be okay. No internal
injuries, no head injuries. She's
lucky.
Beat.
MARIA
I'm just glad Jimmy is fine. He's
so young, I don't know what I'd do
if he was hurt.
DOCTOR MEYERS
Yeah... I don't know what to make
of that.
MARIA
What do you mean?
DOCTOR MEYERS
I don't know if you want to hear
this, it might not be what you want
to hear right now. You've got
enough to worry about.
MARIA
No, go ahead.
DOCTOR MEYERS
I don't really know how to put
this. In so many words, Jimmy
should have been seriously injured.
He was on the passenger's side,
which in the event of a crash is
extremely dangerous due to the
airbag. But it didn't open. His
seatbelt broke.
It ripped as the car crashed, which
should've been... a very, very
horrible thing. But there was no
result. Jimmy got up and left the
car. The first thing the woman did
when she came to was ask about your
child. She saw him wandering around
after the wreck.
MARIA
You're trying to tell me it
could've been worse.
DOCTOR MEYERS
No, I don't mean... sorry. I'm not
thinking clear, I was just thinking
out loud. I need to get out of here
for a few hours.
MARIA
How long have you been working?
DOCTOR MEYERS
About 36 hours. It's not the
longest I've ever been awake. It's
just been a very unusual night.
MARIA
(Sighs)
Yes, yes it has.
DOCTOR MEYERS
Does he need anything?
MARIA
He's fine now, thanks. He wouldn't
go and stay with his grandmother,
so I just decided to let him stay.
I couldn't tell him that it was
wrong for him to want to be by his
father.
Beat.
DOCTOR MEYERS
(Stands up)
Well... try and get some sleep.
You'll be the first to know on any
developments, you have my word.
DISSOLVE TO:
INT. HOSPITAL HALLWAY - EARLY MORNING
Surrounded by vending machines MARIA sits on a bench, fading
in and out of consciousness. JIMMY is asleep with his head
lying softly on her thigh. Three hospital employees speed
past and disappear in to TIM'S room. MARIA'S eyes open up
wide. She delicately sets JIMMY down, trying not to disturb
his sleep.
CUT TO:
INT. TIM'S HOSPITAL ROOM
MARIA enters the room to see a identical scene to the night
she first saw TIM after the crash. Several doctors and nurses
surround him as he breathes hard, grimacing and moving in
utter pain.
MARIA is silent; she doesn't bother to ask what the problem
is. For the first time since the accident, TIM opens his
eyes. With tubes down his throat and in his veins he does not
speak, but stares forward at MARIA. A slight, faint smile
comes across his face, the only emotion he can show. His eyes
close shut once again and his heart stops.
A sound strangely familiar to the sound of an alarm clock
begins to go off. The doctors and nurses around him work
frantically with little to no result. MARIA looks hard at TIM
one more time, then leaves the room.
FADE OUT.
BLACK SCREEN.
The sound of someone knocking hard on a door can be heard.
HOMER
(O.S.)
Frank!
HOMER knocks on the door again.
HOMER
(O.S.)
It's 2 o'clock Frank! It's time to
wake up.
HOMER knocks on the door even harder now.
FADE IN:
INT. APARTMENT COMPLEX HALLWAY - AFTERNOON
HOMER is dressed nice, in a suit and tie, even if it is a
rather obvious knock-off suit and tie. His hair is combed
conservatively as well, showing he's obviously not planning
on staying in on this very day. HOMER goes to knock on the
door again, but he hears a man stumble to the door.
FRANK
(O.S.)
Just a minute!
FRANK, a tired man in his 50s, opens the door wearing a
dirty, old blue bath robe.
FRANK
(cont'd)
What is it?
HOMER
Toby needs to be taken to school in
an hour.
FRANK
So?
HOMER
By you.
FRANK
(Sighs)
I need some sleep, Homer.
HOMER
You've been sleeping since
midnight. I know, because that was
when I heard the loud bang of a man
falling out of his chair. If you're
hung over, drink some goddamn
coffee. If I find out Toby had to
walk to school, I'll be at your
door. Do you understand?
FRANK
Yeah, yeah. Calm down.
HOMER
This is a big day for me, I just
want to make sure everything is all
right.
FRANK
(Smiles awkwardly)
It's fine. I'll give the kid a
ride, don't worry about it.
HOMER
OK. Thanks, buddy.
HOMER walks a few steps across the hallway and in to his
apartment.
CUT TO:
INT. HOMER'S APARTMENT
HOMER rushes into a small apartment that is pretty normal and
clean. There are a few old couches, a table to eat at, and a
television set along with several other odd objects. HOMER
rushes around, picking up folders and pieces of mail off the
floor.
HOMER
(Yelling)
Toby!
TOBY
(O.S.)
What?
HOMER
Ten minutes!
TOBY
(O.S.)
I know!
HOMER walks into the KITCHEN, which is filled with dirty
dishes and several boxes of cereal are out. HOMER puts the
boxes away, and continues to look for something.
HOMER
Come on, come on.
HOMER rummages through a small box that is filled with pieces
of mail and bills. HOMER takes out a Ziplock bag, which has
about a dozen things in it.
HOMER
Here we are.
(Yelling)
I'm out of here, do we need
anything?
TOBY, a fourteen year old kid, walks into the kitchen. He has
short hair and is wearing a pair of ripped jeans and a Zero
skateboarding T-Shirt.
TOBY
(Takes out a small piece
of paper)
Toilet paper, shampoo, milk, and
butter. We need all of that. TOBY
hands HOMER the list.
HOMER
All right, I'll grab this stuff on
my way home. See you soon.
TOBY
Good luck.
HOMER
(Chuckles)
Yeah.
CUT TO:
INT. APARTMENT COMPLEX HALLWAY - AFTERNOON
HOMER leaves his room as a chubby man walks towards him.
HOMER turns and sees the man, which immediately causes him to
sigh in annoyance.
HOMER
I know, I'll have it to you as soon
as I can get it.
CHUBBY MAN
What kind of a guarantee is that?
The owner of the building has
informed me that it is my
responsibility to kick you out of
the building.
HOMER
Just wait-
CHUBBY MAN
No, you wait. You have one week to
get me the money. I realize that
you have been running around trying
to get a job, I realize that if you
had money you would pay me, and I
most of all realize that you are
not trying to disrespect me.
But this has to be done. It is my
job to get rid of people who can't
pay rent. If I was to let everyone
stay free, I wouldn't be doing my
job very well, now would I?
HOMER
A week?
CHUBBY MAN
A week. That is more than I've ever
given someone in your situation.
You are more past due than I've
ever allowed a renter to be. I am
giving you one last chance. Please
don't let me down.
HOMER
Thank you. I've got to get going.
CHUBBY MAN
One week. In seven days, men will
come and take you and your things
out of the apartment, do you
understand what I am telling you?
HOMER
One week, I understand.
CHUBBY MAN
Good, get going.
CUT TO:
INT. INSIDE A CAR - MORNING
HOMER glances at his watch, looking nervous. Outside the car,
we see the traffic is jammed for what seems like miles. Back
in the car, HOMER breaths heavily, the sun shining straight
on him.
HOMER
(To himself)
How many miles? What time is it?
9:15. I could walk it. HOMER looks
for a way out of the crowd.
CUT TO:
EXT. CITY STREET
HOMER is lightly jogging, looking at his watch every few
moments. HOMER stops hard.
HOMER
Wait.
HOMER studies the few buildings around him.
HOMER
(cont'd)
Where the hell am I?
CUT TO:
INT. SMALL OFFICE - DAY
HOMER has taken a seat in an office similar to the one we saw
earlier. A younger man with glasses on and an overly geeky
style sits across from him.
HOMER
I'm sorry I was a few minutes late.
GEEKY MAN
Not a problem.
HOMER
Um, what can I call you?
GEEKY MAN
(Smiles)
Yeah, that would be something I
should let you know. The name is
Brian Carney.
HOMER
Nice to meet you, Brian.
BRIAN
(Picks up a piece of
paper)
This is your r�sum�, I assume?
HOMER
It should be. If it has the name
Homer Jonathan Fields on it,
anyway.
BRIAN
Well Homer, I'm going to toss this
little piece of paper aside and
talk to you man to man. BRIAN
crumbles up the resume.
BRIAN
(CONT'D)
You've had some time in the prison
system, I know this. Quite frankly,
I don't see it as an issue as long
as I can look at you and see an
honest, hardworking man. Would you
consider yourself these things?
HOMER
Yes Sir, I would.
BRIAN
I was hoping you'd say that. How
much time have you spent doing this
job?
HOMER
I've held this job at one place or
another for around a decade. You'll
find that all my former employers
have good things to say about me.
BRIAN
All right. How much time have you
spent in prison?
HOMER
Two years for robbery, six months
for a parole violation. I've been
out of trouble for quite some time
now.
BRIAN
Good to hear. These next few
questions may be a little bit
personal, and you don't have to
answer if you don't feel up to it.
HOMER
(Smiles)
I'll answer anything you ask me as
honestly as I can.
BRIAN
Are you married?
HOMER
No.
BRIAN
Have you ever been?
HOMER
Yes. For three years. My wife died
five years ago.
BRIAN
Any children?
HOMER
One, yes. His name is Toby and he's
fourteen years old.
BRIAN
(Chuckles)
Watch out.
HOMER
Yeah, that's what they tell me.
BRIAN
OK... What else is there? Well, I
guess I'll give you some further
information on the job. You would
be responsible for cleaning the
school after hours. The pay is
minimum wage, with the possibility
of raises further down the road.
HOMER
Sounds good.
BRIAN
That'll be about it. I'm trying to
get all of these interviews done
today, as quickly as fucking
possible. So sorry if the interview
has been rather brief.
HOMER
I understand. I just wanted to get
my name out there. I hope we can
meet again.
BRIAN
Good. We'll see you soon, Homer.
HOMER stands up and shakes BRIAN's
hand.
HOMER
Thank you.
SOUNDTRACK: RADIOHEAD - NICE DREAM
HOMER leaves the room. BRIAN smirks, then gets back to work.
CUT TO:
EXT. OUTSIDE LINCOLN ELEMENTARY SCHOOL - AFTERNOON
Standing beside a beat-up Chevy is MIKE, who looks equally
beat-up. The school bell rings, and the sounds of footsteps
running down the halls can be heard loudly. Suddenly we see
children of all sizes exiting the front doors of the school,
generally aging from seven to twelve years old.
We see two children leave the school together, the young NICK
(7) and the older ELLIOTT (13). They see MIKE standing by his
car and become esthetic, sprinting to the car where he is
standing.
ELLIOTT
(Yelling)
What are you doing here?
MIKE
(Laughs softly)
I figured you boys could use a
ride.
(Brief pause)
And a bite to eat?
NICK
I want pizza hut!
MIKE
(Smiles)
We can do that. But first I need a
hug.
MIKE kneels down and hugs both of his boys at the same time,
the look on his face being of total relief.
NICK
Shotgun!
MIKE
(Chuckles)
I need to stop by and see your Mom
first.
NICK and ELLIOTT's smiles quickly turn to frowns.
ELLIOTT
I don't think she wants to talk to
you, Dad.
MIKE
I know, Elliott. I just don't want
her to worry about you guys.
ELLIOTT
Okay.
MIKE
All right, let's get going.
CUT TO:
EXT. OUTSIDE NICOLE'S HOUSE
MIKE knocks three times and looks back to his car, making
sure his children are fine. He's very obviously nervous,
tapping his food against the ground repeatedly and sweating
quite a bit. The door opens, and NICOLE looks at MIKE with a
confused anger.
NICOLE
(Frustrated)
What are you doing here?
MIKE
I was wondering if it would be okay
for me to take the boys out for
some pizza and a few games.
NICOLE turns her head in annoyance and looks past MIKE to the
car.
NICOLE
Why are you doing this?
MIKE
(Wipes the sweat from his
forehead)
They're still my children, Nicole.
I didn't ask for this, but I've
complied with your every wish. Now
all you want to do is leave me and
never see me again. All I want to
do is see my kids first.
NICOLE
It's only going to make it harder
on them.
MIKE
Yeah? Well, that's not my fault.
You've made this choice. I didn't
beat you, I wasn't a drunk, I
didn't do drugs, I had a job. I'm
the most dependable person you
know, so don't do this right now.
In a week they'll be all yours, and
you'll never have to deal with them
seeing me again. I just want this
one day.
NICOLE
(Sighs)
Fine. Bring them back by 9 o'clock.
MIKE
(Exhaustively smiles)
Thank you.
NICOLE
(Nods)
Thank you.
MIKE nods again in appreciation and NICOLE flashes an
unlikely smile and waves to the boys.
CUT TO:
INT. INSIDE MIKE'S CAR
NICK and ELLIOTT play 'thumb war' as MIKE enters the car and
sits down.
ELLIOTT
What did she say?
MIKE
We have until nine.
ELLIOTT
Cool!
MIKE
What do you say we go on over to
the arcade after we eat?
NICK
Yeah!
CUT TO:
EXT. OUTSIDE NICOLE'S HOUSE - NIGHT
NICK and ELLIOTT walk into the house as MIKE walks away from
it, smiling. NICOLE emerges from the house slowly, standing
on the porch watching MIKE walk away. MIKE reaches his car
and gets in, still not noticing that NICOLE is watching. From
the outside we see him start the car and shift it in to
drive. He stops for a moment instead of driving away and his
head begins to tilt downwards.
SOUNDTRACK: IRON & WINE - LION'S MANE
MIKE softly smacks his head against the steering wheel a few
times and then looks back to the porch, where he sees NICOLE.
She waves 'goodbye' to him and then goes back in to the
house.
CUT TO:
INT. SHOPPING MALL - EARLY MORNING
The mall has just opened and there are little to no people
shopping. We see KEVIN wandering around with no particular
location in mind. There are two levels to the massive
shopping mall and KEVIN is on the top.
He looks down to the few people below him, most of them being
old married couples. Amongst them we see a blonde-haired
woman wandering around, just as KEVIN, with no location in
mind. We see a brief glimpse of her face; it is MARIA. KEVIN
pulls away from the rail and begins to walk in the other
direction.
CUT TO:
INT. HOMER'S MOTHER'S HOUSE - MORNING
An older woman with shoulder-length white hair opens her
front door to see HOMER smiling back at her with flowers in
his hand.
HOMER
Hello Mommy.
BONNIE (OLDER WOMAN)
Hello darling, come on in.
BONNIE steps aside and allows HOMER to walk past, a smile
permanently on her face. She takes the flowers from HOMER and
disappears into the kitchen. HOMER takes a seat in the living
room of the old-fashioned looking house.
BONNIE
(O.S.)
Where is that beautiful child of
yours?
HOMER
He's at school, he picked out the
flowers just for you.
BONNIE
(O.S.)
He's a sweet kid. Just like his
daddy.
BONNIE enters the living room with the flowers and a vase.
She sets them down on a small table and sits next to HOMER.
HOMER
So how are you doing these days,
Mom?
BONNIE
I'm doing very well. That young
cutie Jenny has been driving me
around. She even comes with me to
play bingo. I told her about you.
HOMER
(Smiles)
Oh yeah? I don't think I have much
time to be dating, Mom. I've been
running around a lot looking for a
job.
BONNIE
How is that going?
HOMER
Not very well so far, but I know
I'll find something. My landlord
has been on my about rent money for
the last few weeks.
BONNIE
You know I would help you if I had
the money.
HOMER
Oh, of course Mom, don't you worry
about it one bit. It'll work out.
BONNIE
What grade is Toby in?
HOMER
He's in Seventh grade. Middle
School.
BONNIE
That's nice. Seems like he's
growing up so fast.
HOMER
Yeah, he really is. He's so smart.
So much smarter than I ever was.
He's really got a great future
ahead of him.
Beat.
BONNIE
You've heard about your brother, I
assume?
HOMER
Yes, he's getting out in a few
days.
BONNIE
Are you picking him up?
HOMER
Yeah, of course.
BONNIE
Don't let him do anything wrong,
Homer. At least while he's with
you. I don't want you in any
trouble because of him. He's always
doing something he shouldn't, you
know? You're in a good place. Don't
let him get you in to anything.
HOMER
I appreciate your concern, but I
think he's going to be fine.
I think he finally learned his
lesson.
BONNIE
I sure hope so.
HOMER
Well, are you ready to go shopping?
BONNIE
Of course. Just let me get my coat.
BONNIE gets up slowly and leaves the room. HOMER looks over
to a side table where several pictures of his deceased father
sit. He picks up one in particular and smiles. The picture is
of his younger parents in Hawaii, soaking up the sun. He
chuckles for a moment, then puts it back.
BONNIE
(O.S.)
Ready!
FADE OUT.
FADE IN:
FLASHBACK:
INT. EMPTY OFFICE - NIGHT
We first see HOMER, sweeping up an empty office clean.
Another older man with a grey hair empties out small trash
bind into a large trash can that is on a large cart he is
rolling around. We will know him as PHIL. Both men are
wearing street clothes, their appearance obviously not a big
deal in their line of work.
HOMER
Did you enjoy yourself tonight?
PHIL
(Let's out a quiet sigh)
We don't belong at an occasion like
this. I ain't never worked this job
and been invited to a office party.
We're nocturnal, we shouldn't be
around all these day people.
HOMER
I thought it was a nice gesture.
PHIL
That it was. But why now?
HOMER
What are you talking about?
PHIL
I just find it odd that we're
coming to office parties and
hanging out with people making
triple what we make on the job.
HOMER
You think something's going on?
PHIL
I personally have found, throughout
the years, that people like to
shake your hand before they cut it
off.
HOMER
Huh?
PHIL
I think you understand what I'm
saying.
HOMER
They're not going to fire us.
They've been doing this since the
beginning. Every so often they have
a little office party, they invite
everyone.
PHIL walks away from his cart and sits down next to HOMER,
who has taken a seat on a bench.
PHIL
Sure was an eventful night.
HOMER
Yep.
DISSOLVE TO:
CAPTION: THE OFFICE PARTY
INT. THE OFFICE - EVENING
The office from before is now filled with people chatting it
up about everything imaginable. We see PHIL, who is sitting
at a table with seven other workers, and listening to every
moronic word that comes out of their mouths.
JANIS and HOMER are in one of the four corners of the small
office, sitting on the hard ground with spiked punch drinks
in hand. Neither of them seem effected at all by the drinks.
JANIS
What department did you say you
worked in?
HOMER
(Nervously chuckles)
I'm actually one of the custodians
around here. Phil, at the end of
the table over there, he's the
other. We thought we'd try to mask
our identities for the first few
hours of the party.
JANIS
I've never seen you working during
the day...
HOMER
We do most of the cleaning at
night.
JANIS
Well, I'll try to refrain from
making too big of a mess.
HOMER
Don't worry about it. What about
you?
JANIS
What about me?
HOMER
What's your job here?
JANIS
Oh, I'm the third part of the three
headed monster. I don't know much
about computers, I just invested.
HOMER
Then why are you here so much?
JANIS
Tim brought me in as a supervisor.
But my job isn't really that
interesting.
HOMER
Oh, you fire people!
JANIS
How did you know that?
HOMER
You always do it at the end of the
day, that's when I usually come in.
I've seen lots of teary-eyed people
leaving your office.
JANIS
Well, someone has to do it.
HOMER
How is that not interesting?
JANIS
I guess certain people might find
it to be an interesting or maybe
even important job. Me? I know the
truth.
HOMER
And the truth is?
JANIS
They're just too weak willed to do
it themselves. That's the only
reason I'm here.
HOMER
Tim and... I forgot the other
head's name...
JANIS
Kevin.
CUT TO:
INT. TIM'S OFFICE
We hear the distant voices of people talking outside the
door, but their words are too quiet to understand. TIM sits
on his desk, no shoes, and drinks from his spiked punch.
KEVIN has set up two chairs so that it allows him to lie
down. He seems to have had one too many drinks.
TIM
Sorry kid, I didn't realize it was
that strong.
KEVIN
(Rubs his forehead)
No, don't worry about it. I just
have bad reactions to alcohol.
(Beat)
And stop calling me kid. I'm a year
younger than you are.
TIM
(Chuckles)
So what do you think?
KEVIN
About what?
TIM
About the company. You're the
businessman here, how are we doing?
KEVIN
(Sits up)
We're doing great, really. With you
around there's never a shortage of
ideas either. I never thought we'd
be making this much money.
TIM
If you guys are having trouble
figuring out what to spend the
money on, I'm always up for another
raise.
KEVIN
I'll keep that in mind.
TIM
(Smiles)
Sure thing, boss.
KEVIN
Don't call me that either.
TIM
Then what do I call you?
KEVIN
As you can see on the front door of
my office, my first name is Kevin.
TIM
I'll try and remember that. Beat.
TIM
So, Kevin, how are you doing these
days?
KEVIN
Just fine. Why do you ask?
TIM
Just curious.
KEVIN sighs.
KEVIN
What?
TIM
Why is it that you're the rich man,
and I'm the one that's happy?
KEVIN
When did I say I wasn't happy? I
really would like to know where you
get this information.
TIM
You didn't, but I know you.
KEVIN
Everytime you have a few drinks you
start to act like you've got the
answers to everyone's existential
problems. Give it a rest.
TIM
You need to start enjoying this.
You're young, live all this up.
KEVIN
I'm as old as you are!
TIM
But I'm an older soul.
KEVIN
You always get on me about the same
shit. Aren't you the guy that's in
front of the computer all day?
First guy in, last guy out. You
have a wife that's pregnant and a
child that's been on the earth a
month. Shouldn't you be somewhere
else?
TIM
So you're trying to lecture me now?
KEVIN
Weren't you just trying to do the
same to me?
Beat.
TIM
I've never been much of a family
man, Kevin. I've known you longer
than I have her, so you should know
that. I just feel more alive here.
That's the truth, OK? You caught
me. I have more fun here than I do
at home.
KEVIN
You need to sit down and re-think
what you're doing, Tim. Your
priorities are all out of whack.
TIM
I'm giving my family a future.
KEVIN
Maybe, but you're sure not giving
them happiness.
TIM
Maria is fine.
KEVIN
She should be better than fine,
Tim.
TIM
(Sighs)
I don't know what to say to that,
Kevin. I don't want to talk about
this right now.
KEVIN
You can dish it out but you can't
take it, can you?
TIM
(Smirks and shakes his
head)
Fuck you.
KEVIN
(Chuckles)
Yeah, you too.
FADE OUT.
FADE IN:
PRESENT DAY.
INT. CLASSY PUB - EVENING
We glide through a full pub that has only the most upscale of
guests, all of whom seem to be wearing a expensive designer
suit. In a quiet corner of the bar, KEVIN sits alone with a
beer in front of him. He is dressed in a suit, his tie is on
the table. KEVIN seems rather out of it, staring at his half
full beer. A figure comes and sits across to him. It's JANIS.
KEVIN looks up, surprised to see her.
KEVIN
This is the last place I'd expect
to see you.
JANIS
(Smiles)
Is that why you're here?
KEVIN
Maybe.
JANIS
So the company is now in Wayne
Newson's hands.
KEVIN
(Holds up his beer)
Cheers to that. KEVIN takes a
drink.
JANIS
Why don't you get me a drink?
KEVIN
Yeah, sure. What would you like?
Water, milk, or soda?
JANIS
Don't be a smart ass.
KEVIN gets up with a grin on his face and walks to the bar.
JANIS takes out a pack of cigarettes. KEVIN returns with two
beers, he gives one to JANIS.
KEVIN
There you go.
JANIS
You haven't even finished your
first, why did you get another?
KEVIN
Just in case I'm man enough to
drink a whole bottle of beer, I'm
going to celebrate with another. If
not, you can have it.
JANIS
(Lights up a cigarette)
So Kevin, are you seeing anyone?
KEVIN
(Smiles)
I'm looking at you right now.
JANIS
Come on.
KEVIN
No, I'm not currently dating
anyone. And I'd actually rather
keep it that way. How about you?
JANIS
Same. Although I do try.
KEVIN
Going for an A for effort, eh?
JANIS
At least I try.
KEVIN
It's funny, dating. There is one
thing that turns me off about it,
and that is enough. Enough to keep
me from going on any dates
whatsoever.
JANIS
What is it?
KEVIN
I feel like I'm out in a club, or a
bar, or a restaurant, or any other
social gathering place and I'm
talking to the same person every
time. They aren't literally the
same person, but every girl has the
same likes and dislikes as the one
before. "I like to dance, I want to
be an actor, I want to be a model,
did I say I like to dance?" That's
the typical woman talking about
herself. It gives me the most
intense headache.
JANIS
Well, on behalf of my sex, thanks
for the compliment.
KEVIN
You know I'm not talking about you.
Beat.
KEVIN
(cont'd)
How about you?
JANIS
There isn't much to tell.
KEVIN
Come on, I told you plenty. You've
got to have something for me.
JANIS
OK. I've met lots of men lately,
and none have done anything for me.
Just hasn't clicked.
KEVIN
What are you looking for? What
would make it click?
JANIS
A smart, sensitive, and good
looking man who has his head in the
right place.
KEVIN
And where would that be?
JANIS
On work and family.
KEVIN
Work before family?
JANIS
Family before work.
KEVIN
So having a great job is not that
big of a deal for you?
JANIS
No, not really.
KEVIN
You dated the janitor, didn't you?
JANIS
What are you talking about?
KEVIN
I knew it! I knew you were with the
janitor.
JANIS
Oh, stop it. It didn't escalade
past a few talks and a few drinks.
He was a nice guy.
KEVIN
You know he was an ex-con?
JANIS
Are you serious?
KEVIN
Very.
JANIS
Well, that would have been a more
informative thing to tell me a few
months ago, Kevin.
KEVIN
I didn't know that sort of thing
turned you off.
JANIS chuckles and takes a drink. Her eyes wander to the bar,
where she sees MARIA talking with the BARTENDER.
JANIS
Maria.
KEVIN
What?
JANIS
Tim's wife, she's over by the bar.
KEVIN
Please don't-
JANIS
(Yelling)
Maria! It's me, Janis!
MARIA shows only a forced half smile when she sees JANIS.
MARIA walks over to the table slowly as KEVIN attempts to act
casual. She stops as she approaches the edge of the table.
KEVIN
(Smiles nervously)
Hi Maria.
MARIA
Hi.
Beat.
JANIS
Out for a drink?
MARIA
No, my father owns this place. I'm
just here to talk with him. He's
not here yet, though.
JANIS
Do you want to join us?
MARIA
Um...
(Looks at KEVIN)
Sure...
MARIA takes a seat next to JANIS, who is sitting across from
KEVIN. KEVIN gives JANIS an annoyed look while MARIA is
looking away.
JANIS
So how are you doing, Maria?
MARIA
I'm in a bit of a fog. I'm not
really all that sure how I feel,
you know?
JANIS
I know exactly what you mean. JANIS
looks at KEVIN.
KEVIN
What?
JANIS
How are you doing?
KEVIN
(Scratches his head)
I'm doing fine.
JANIS
(To MARIA)
Did you hear about the sale?
MARIA
Yes. It was sad to hear.
KEVIN
Tim was the only thing that kept
that company going. We could never
find another guy like him. Beat.
MARIA
So... What are you guys going to do
now?
KEVIN
Pfft... Well... I'll find
something. I've been looking for a
few months. You ever feel like you
need something new? Like what you
have just... isn't doing it for
you?
MARIA
Heh, I know exactly what you mean.
KEVIN
So how about you, Janis? You
haven't told me what you're going
to do after all this is over.
JANIS
(Takes a long drink from
her beer)
Is it not over already?
KEVIN
Not until the fat lady sings.
JANIS
Well, the fat lady is Wayne Newson,
and trust me, he's singing.
KEVIN
(Raises his beer)
To Wayne Newson being an overweight
female!
JANIS
(Raises her beer)
To Wayne Newson!
JANIS and KEVIN take drinks of their beers as MARIA chuckles
at them.
MARIA
So losing the company hasn't had an
effect on you yet, then?
KEVIN
Well, to be honest, I was going to
go and shoot myself in the face
after this little get-together.
JANIS
Come on now, Kevin. You've got
money, what are you going to dabble
in next? Can we get the scoop
straight from the man himself?
KEVIN
I didn't know you were that excited
about it.
JANIS
Well, I am, so tell us.
KEVIN
(Sighs)
I told the truth earlier. I have no
idea. We had a good thing going. It
was too bad it had to end. MARIA
looks over at the bar.
MARIA
That is my father.
KEVIN
Well, give him hell for being late.
MARIA
(Smiles)
I'll be sure to.
JANIS
Hopefully we'll run into each other
again one of these days.
MARIA
I hope so too.
MARIA shakes JANIS' hand. She then eyes KEVIN, who puts out
his hand. MARIA shakes it, and begins to stare KEVIN straight
in the eye. She lets go slowly.
MARIA
Well then, goodbye.
MARIA walks away from the two. JANIS gives KEVIN a look of
suspicion.
JANIS
What was that all about?
KEVIN
(Takes out a pack of
cigarettes)
What do you mean?
JANIS
She looked like she had a thing for
you.
KEVIN
(Lights up a cigarette)
What, a present?
JANIS
Could you stop being a smartass?
KEVIN
(Chuckles)
OK, look.
JANIS
Look at what?
KEVIN
At me.
JANIS
(Staring at KEVIN)
And what am I looking for?
KEVIN
Why do you find it so hard to
believe a woman would like me like
that?
JANIS
I don't, actually. I just find it
strange that a woman who's husband
and son have died in the past year
would be looking at a man like
that.
KEVIN
Yeah?
JANIS
Yeah.
KEVIN
Well, maybe some people need
comfort and some need to be left
alone.
JANIS
I guess so.
KEVIN lets his eyes wander as JANIS speaks to him, the words
fading to nothing. He looks over to the other side of the
room, where MARIA and her FATHER sit talking. MARIA looks
back at KEVIN, smiling. KEVIN slowly lets half smile come to
his face, along with a look of defeat.
DISSOLVE TO:
EXT. OUTSIDE MIKE'S HOUSE - NIGHT
MIKE sits alone on the porch of his house, reading a book. A
car pulls into his driveway and out walks SOPHIE, a woman in
her late 20s. She walks over to the porch and sits next to
MIKE, who doesn't say a word to her, but nods at her in
recognition.
MIKE
(Shuts his book)
So, what are you doing way over
here on my side of town?
SOPHIE
Why don't you call me anymore?
MIKE
I haven't had the time, I guess.
I'm not making a point of it.
SOPHIE
Then why don't you pick up your
phone when I call?
MIKE
I'm not trying to avoid you,
Sophie.
SOPHIE
Yes you are.
Beat.
MIKE
Then I am.
SOPHIE
I found out about the divorce.
MIKE
I figured that was why you came all
the way over here.
SOPHIE
(Caring)
What happened?
MIKE
You're the last person on the earth
I want to talk to about this.
SOPHIE
Why?
MIKE
She was your friend. You wouldn't
understand how a divorce could
happen if it wasn't my fault.
SOPHIE
I'm not passing judgement on you,
Mike, I just want to know.
MIKE
Like I said, I don't want to talk
about this.
MIKE stands up.
SOPHIE
Do you blame her for what happened?
MIKE
(Whispering angrily)
No! She blames me for what
happened, if you can believe that.
I don't care anymore, Sophie. I was
beginning to get on with my life,
and then you came around here
looking for satisfying answers for
your naive questions. I'm not in
the mood, Sophie. In fact, scratch
that, I'll never be in the mood.
SOPHIE
I'm just trying to help.
MIKE
(Turns to his front door)
I can't think of one thing you
could say or do that would help
anything. It's over, and that's
that.
(Quietly as he enters his
house)
I'll see you in another year.
SOPHIE sits on the porch for a moment after MIKE slams his
door shut. She shakes her head with a concerned look on her
face.
FADE OUT.
BLACK SCREEN.
We hear a car stop. Someone gets out and begins to walk. They
walk into some sort of building, we can hear an assortment of
chatter going on as he enters, which stops immediately.
FADE IN:
FLASHBACK:
INT. OFFICE BUILDING - MORNING
We see now that KEVIN is the one we've been following, and he
has a rather grim look on his face as several workers stare
him down as he passes. He walks into an office.
CUT TO:
INT. KEVIN'S OFFICE
KEVIN sits at his desk, his hands on his face, on the verge
of tears. There is a knock at his door.
JANIS
(O.S.)
I'm coming in.
JANIS walks into KEVIN'S OFFICE. She sits at the nearest
chair.
KEVIN
Yeah?
JANIS
I need to know how we are going to
go about handling this situation.
KEVIN
(Loudly)
This situation? He's fucking dead,
Janis. This is a little more than
the average situation. JANIS pulls
her chair closer.
JANIS
(Quietly)
If you don't mind, I came in here
to have a private conversation with
you. These people outside of this
door have been working here for a
long time and they deserve to know
what is happening.
KEVIN
OK, I'm sorry, I know. It's just...
JANIS
Really fucked up, I know.
KEVIN
What are we going to do, Janis?
JANIS
First we need to talk to everyone.
Can you handle that, or do you need
me to do it?
KEVIN
(Quietly)
No.
(Louder)
No, wait, yes. I mean yes.
JANIS
Okay, I'll get everyone together.
KEVIN
Okay.
JANIS stands up and walks to the door.
JANIS
Are you sure you can handle this?
KEVIN
I'm sure.
CUT TO:
INT. SMALL OFFICE GATHERING AREA
The whole of the workers at the small software company have
gathered at some tables, and are so quiet you could hear a
pin drop. KEVIN is standing in front of them, looking like
he'd rather be somewhere else.
KEVIN
Are most of you here?
WORKER #1
We're all here.
KEVIN
Good, good. I don't know how to
tell this to you, so I'll just come
out and say it. For those of you
who haven't been informed, the lead
programmer of our company, Tim,
died last night in a car crash. He
was one of the founder's of this
company, and put everything he had
into it. But we love him for who he
was. And we will always remember
him. No matter how much we miss
him, we must move on. The search
for a new programmer begins now,
and if we get someone with a tenth
of what Tim had, that should be
more than enough.
(Beat)
Do any of you have any questions
whatsoever?
The crowd stays silent.
KEVIN
(CONT'D)
OK. If any of you need time off, or
would rather talk about anything in
private, both Janis and I will be
glad to answer any questions. Thank
you.
CUT TO:
INT. KEVIN'S OFFICE
KEVIN and JANIS are sitting very formally in KEVIN'S office.
JANIS
Why are you so convinced that the
company is done, Kevin? I'd really
like to know.
KEVIN
You know how sometimes people say
you need several elements to create
success? Well we only needed- and
for that matter only had- one.
JANIS
So you think this is it?
KEVIN
No, but I know that we can't last
long where we are. We've got
companies waiting for software that
will never be finished. We have a
lot of shit to worry about.
JANIS
As well as the loss of a friend,
Kevin.
KEVIN
I loved Tim more than any friend
I've ever had. But I'm in a shit
situation, and I've got things to
sort out. Grieving isn't one of
them. Maybe later, but not now.
FADE TO BLACK.
CAPTION: ONE MONTH LATER
FADE IN:
INT. EMPTY OFFICE - NIGHT
PHIL sits by an office alone in the near dark as HOMER comes
walking into the room.
PHIL
Where have you been?
HOMER
I'm late?
PHIL
No.
HOMER
Then why do you ask?
PHIL
Just wondering.
HOMER
I'll be back in a second, Janis
said she wanted to speak with me on
my way in.
PHIL
I'll be waitin'.
HOMER nods and walks away. PHIL'S eyes wander around the room
for a bit, then they begin to close. A door slams shut as
PHIL'S eyes do the same. Footsteps approach him.
HOMER
Let's get started.
PHIL
(Opens his eyes)
What did she want?
HOMER
She wanted to... uh... fire me,
actually.
PHIL
Are you serious?
HOMER
Yes. She said I could finish the
day and that's it.
(Beat)
That's it.
CUT TO:
EXT. CITY PARK - EARLY MORNING
In a rainy, dirty park we see MARIA, sitting on an old bench.
She has a large coat on, and every time we see her breath, or
anyone else's for that matter, a white fog comes out. MARIA
glances at her watch once, looking like she'd rather be
somewhere else. Just as she is getting up to leave, KEVIN
comes forth. He and MARIA share a long silence, which is
broken by the two shaking hands.
KEVIN
Hey.
MARIA
Hey.
KEVIN sits down next to MARIA.
KEVIN
How are you?
MARIA
I don't know. Stuck, maybe. Jimmy
has taken it really hard. I'm
starting to worry about him.
(Pulls out a pack of
cigarettes)
"God spared his life," he says. And
then he asks me, "Why?" Aside from
the fact that our little thing here
would definitely send me to hell if
there is a God, I also like to
think that he doesn't exist because
of how cruel he would be. MARIA
searches through her purse for
something.
KEVIN
(Pulls out a lighter)
Light?
MARIA
Yeah, thank you.
KEVIN kneels forward and lights MARIA'S cigarette, forcing
the two to maintain eye contact for the first time. They both
quickly shrug off each other.
KEVIN
Why are we here?
MARIA
We need to sort some things out.
KEVIN
Like?
MARIA
You and I. I'm forfeiting what
little Software that he owned. I
don't want anything to do with it.
That means you too.
KEVIN
Don't you think you're
overreacting?
MARIA
No, I don't. This shouldn't have
happened, Kevin. I betrayed him,
Kevin. Do you know what that means?
KEVIN
It was bound to happen sooner or
later. You didn't love him.
MARIA
(Whispering angrily)
Yes I did!
Beat.
KEVIN
Then why did you do it? Why did
this ever happen if you never had
any feelings for me?
MARIA
It was an affair, not a marriage.
KEVIN
How often did we have sex?
MARIA
Not very often. Why does that even
matter?
How does that figure in to the fact
that I want you out of my life?
KEVIN
It figures in because all we did
was talk. And kiss. All we did was
be together. It wasn't about sex
and it wasn't about Tim, and you
know it.
MARIA
What do you want me to say?
KEVIN
I want you to tell me the truth.
MARIA
What's the truth, Kevin?
KEVIN
We fell in love. MARIA shakes her
head and stands up.
MARIA
I don't want to be involved with
you anymore, and I'm not going to
try and defend that.
KEVIN
(Stands up)
If this is the way you want it, I
can't change your mind.
MARIA
That's right.
There is a long silence as the two stare at each other.
KEVIN
Don't feel guilty about it. He
married you and then chose work
over family. It wasn't your fault
that you aren't as numb as he was
to feeling.
MARIA
I'm leaving now.
KEVIN
(Nods)
If you ever change your mind-
MARIA
I won't.
MARIA turns and walks away from KEVIN.
FADE OUT.
FADE IN:
PRESENT DAY.
INT. CLASSY PUB - EVENING
We see that we are back in the pub from before. KEVIN, JANIS,
and MARIA are in mid-conversation.
JANIS
(To MARIA)
Did you hear about the sale?
MARIA
Yes. It was sad to hear.
KEVIN
Tim was the only thing that kept
that company going. We could never
find a guy like him to keep it
going.
We pull away quickly to the bar, where a rough looking skinny
man sits alone with a beer. This is JEFF [Josh Lucas]. HOMER
enters the picture and sits next to JEFF.
JEFF
(Looks at HOMER and
smiles)
Look what the wind blew in.
HOMER
So that's it.
JEFF
Yes indeed, that is it.
HOMER
It must feel great to be out, man.
How are you feeling?
JEFF
(Takes a sip of his beer)
I couldn't be better.
HOMER
Aren't you on probation?
JEFF
Yep.
HOMER
I'm guessing that means you're
violating it by being here.
JEFF
Who fucking cares? I doubt alcohol
is going to drive me to rob another
HOMER
Which reminds me, I never got to
tell you how great of an idea that
was.
JEFF
Oh shut up. Get a beer.
HOMER
Even if I had the money, I don't
drink anymore.
JEFF
Why?
HOMER
Why drink?
JEFF
Whatever, man. I need some money,
Homer. Some asshole named Johnny
Bondi says I owe him five thousand
dollars.
HOMER
Well, do you?
JEFF
I don't know! It's been eight years
since I've been out, why would I
remember some bookie from Queens?
HOMER
I would remember someone I owed
that kind of money.
JEFF
Well I'm not you, so there. The
asshole has the nerve to meet me
outside that gates.
Literally the first thing I see
after being released from hell is
Satan himself. That, brother, is
fucked.
HOMER
I thought you didn't remember
him...
JEFF
I... sort of remember him.
HOMER
What's the plan?
JEFF
I don't know. I'll just try and
negotiate with the guy. Either that
or I'll just get the hell out of
here. I was able to get him to
allow me to make payments. But 400
bucks every two weeks? I don't have
a job, man.
HOMER
You'll get arrested if you do that.
JEFF
Do what?
HOMER
Leave the city.
JEFF
Yeah? Well this guy might kill me.
HOMER
We'll figure out something.
JEFF
Is that kid still running around
your house?
HOMER
He's calmer now, but yeah.
JEFF
That's crazy. I never thought you'd
have a kid.
HOMER
(Smiles)
And I never thought you'd do a
seven year stretch.
JEFF
But shit happens.
HOMER
How was that anyway?
JEFF
What?
HOMER
Doing that much time.
JEFF
You get used to it. Some days are
better than others, believe it or
not. There are some good people in
there, you just have to look hard
for them.
HOMER
Sorry I didn't visit that much, it
was hard to get the cash to drive
out there.
JEFF
No problem, man. That shit's done.
You talk to Mom lately?
HOMER
Yeah, I was over at her house a few
days ago.
JEFF
She hates me.
HOMER
No, she doesn't hate you. She was
just disappointed.
JEFF
How is she doing?
HOMER
She's fine. I think she's a little
more lonely than she says she is,
though. After Dad died she's been
alone in that house. She won't move
closer to me, she won't even sell
that house.
JEFF
Do you think she'll talk to me?
HOMER
(Chuckles)
She's your mother, Jeff. Of course
she'll talk to you. Beat.
JEFF
Did you not get any sleep last
night? You look pretty tired.
HOMER
No, I'm just in a fucked up spot. I
need money, just like you. Though
mine is for rent, not gambling
debts.
JEFF
How much do you owe?
HOMER
Six fifty.
JEFF
Are they kicking you out?
HOMER
I don't know how much longer
they'll let me stay.
JEFF
I thought you had a job at the
Software place?
HOMER
No, they closed down.
JEFF
Damn, I feel for you. Is it me or
does it seem like you have to do
something really awful to get by
these days?
HOMER
What do you mean, "something
awful?"
JEFF
Like sticking up somebody.
HOMER
(Shakes his head)
It's just the way things are.
JEFF
It shouldn't be that way, though.
HOMER
No, it shouldn't.
JEFF
I sure as hell don't want to serve
another seven but the idea of
robbing somebody is becoming more
and more inevitable.
HOMER
You've been out 12 hours, it'll
pass.
JEFF
I have a feeling that a certain
bookie from Queens won't let it
pass.
HOMER sighs.
HOMER
You need a place to stay?
JEFF
Yeah. You got an extra bed?
HOMER
For you I do.
DISSOLVE TO:
EXT. GRAVEYARD - DAY
In a new looking graveyard MARIA stands at the foot of a
certain grave with two people. On her right side is EVAN, a
balding man with a sad look on his face who is her father and
FRANK, her younger brother. The three people all study the
grave intensely, staring at it as if something is bound to
happen sooner or later. MARIA kneels down slowly and puts a
beautiful red rose down on the grave-marker. She stands up
now, and flashes a smile at her father that seems less force
than we've seen before.
MARIA
Frank can take me home, Dad.
EVAN
(Smiles)
Are you sure I'm no longer needed?
MARIA
You've done more than enough.
EVAN gives MARIA a loving hug and then walks away from the
two, waving as he does so.
MARIA
(Quietly)
Coffee?
FRANK
Sure.
CUT TO:
INT. CLASSY PUB - EVENING
A third time around we find ourselves in the same CLASSY PUB
as before. The camera takes a small tour of the action. We
see KEVIN and JANIS laughing at a table alone, and further
forward we see HOMER and JEFF talking.
We continue on to the entrance of the pub. MIKE and NATHAN
enter, both with defeated looks on their faces. MIKE waves to
HOMER and continues walking. We now see JANIS and KEVIN leave
the pub behind MIKE and NATHAN. MIKE and NATHAN take a seat
where JANIS and KEVIN sitting before.
MIKE
What is this place?
NATHAN
It's a bar.
MIKE
I've never been here before.
NATHAN
Neither have I. Theresa told me
about it yesterday.
MIKE
(Sighs)
As good a place as any to drink off
this shitty night.
NATHAN
How in the hell did we get burned
this bad? Did you see this shit
coming?
MIKE
You set it up, friend.
NATHAN
And you fucked it up, friend.
MIKE
You knew I didn't have a car. The
walk was short, they should've
fucking waited for us. Especially
your girly friend.
NATHAN
Whatever, whatever. I'm going to
get a beer, you want one?
MIKE
No thanks.
NATHAN
You're in a bar, Mike.
MIKE
Whatever, just get me a beer.
NATHAN
There you go.
NATHAN gets up and walks to the bar. MIKE looks across the
room at the group of people in the bar. He stops at MARIA,
who is sitting at the bar alone. He suddenly tightens up and
attempts to casually cover his face.
By now, however, MARIA has seen him. She stares at MIKE with
neither anger or happiness, she just stares blankly. NATHAN
puts down a beer next to MIKE as he sits back down.
MIKE
Oh, thanks.
NATHAN
No problem. Five dollars for a
beer, it better taste like fucking
gold.
MIKE
(Still agitated)
Yeah, heh, uh, I think I need to
head out soon.
NATHAN
We just got here!
MIKE
I'll stay for the drink, but after
that I'm leaving.
NATHAN
(Sighs)
OK, whatever.
NATHAN and MIKE both take drinks from their beers.
MIKE
I think I'm going to sell the
market.
NATHAN
Yeah, why's that?
MIKE
Aside from constant robberies and
shit profits, I just don't feel
like waking up at six AM anymore.
I'm just fucking sick of doing the
same thing over and over. I don't
want to be that old guy who runs
the small mini-market his whole
life and then just fucking dies of
boredom.
NATHAN
I didn't know you could die of
boredom.
MIKE
Well, shit, you can. And I'm a few
months away from it.
NATHAN
If it ain't worth it, it ain't
worth it. You can always do
something else.
MIKE
Exactly. I think I'll buy a sign on
the way home.
NATHAN
You think you'll move away?
MIKE
Probably. I hate that neighborhood.
Just a bunch of fucking drug
dealers, crackheads, and old folks
turning the blind eye to it.
And the police. They actually think
that I'm running a drug operation
through the store. It's bullshit,
I'm associated with all these dumb
fucks just because I live next door
to them. I'm fucking fed up.
NATHAN
Big Mike is not happy.
MIKE
Damn right.
NATHAN
You know you can always call your
cousin Nate if you need someone to
sleep on your couch, right?
MIKE
Nothing I appreciate more, my man.
MIKE downs the rest of his beer.
MIKE
(Stands up)
I'm leaving.
NATHAN
OK, catch up with you sometime
soon.
MIKE
Keep it real, kid.
NATHAN
You know I will.
MIKE
Later.
MIKE walks away from the table, eyeing MARIA as he approaches
the door. He leaves slowly, looking back as he opens the
door, contemplating speaking to her. He turns away though,
and leaves.
FADE OUT.
BLACK SCREEN.
KEVIN
(O.S.)
Tss... Tsss... Tssss... Milk,
bread, ketchup, hamburger...
FADE IN:
INT. GROCERY STORE - LATE NIGHT
In a typical grocery store KEVIN stands in an isle looking
over his grocery list. The store is florescent lit, giving
everything a strange shine, and making KEVIN look very pale.
For the first time he is dressed in casual attire, with a
simple shirt and pair of jeans.
KEVIN walks to the right side of the isle and takes a bag of
potato chips off a display case. The cart is filled with
several odd items, mostly junk food and soda. Another cart
approaches KEVIN, who is right in the middle of the isle,
unknowingly denying anyone a chance to pass him. The cart
stops moving just behind KEVIN.
WOMAN'S VOICE
(O.S.)
Excuse me?
KEVIN
(Looking over his list)
Yeah?
WOMAN'S VOICE
Can I get by?
KEVIN
Oh, sorry.
KEVIN finally glances at the woman, and sees that it is
actually MARIA.
KEVIN
(Smiles)
Hey! What are you doing here?
MARIA
Shopping.
Beat.
KEVIN
I meant I've never seen you here-
MARIA
(Sighs and shakes her
head)
I'm sorry, that was mean.
KEVIN
Don't worry about it. It's about 2
AM, I don't think I'll remember
anything you say. Or that we even
saw each other here tonight.
MARIA
That's reassuring.
KEVIN
Do you usually come here during the
zombie hours?
MARIA
No, this is the first time I've
been here in a year or so. I've
been living off of McDonalds and
Chinese food for a while.
KEVIN
I always come here with a list.
(Shows MARIA the list)
I always ending up getting a bunch
of stuff I don't need and only
about half the stuff on the list.
I'm trying to break the habit
tonight.
MARIA
(Smiles)
Good luck with that.
KEVIN
Would it be all right if I join
you?
MARIA
Um... yeah, sure.
CUT TO:
SOUNDTRACK: ELLIOTT SMITH - THE LAST HOUR
INT. GROCERY STORE - LATER
MARIA and KEVIN ride through the dairy isle silently, every
so often picking up things off shelves.
KEVIN
Do you still live down at 34th
street?
MARIA
Yeah, haven't moved yet.
KEVIN
Yet? You're moving?
MARIA
Yeah, I feel like a change. I don't
feel like being in that house will
keep me alive. It's just a house,
you know? It's not a body part.
KEVIN
I moved last month.
MARIA
(Picks up a gallon of
milk)
Oh yeah, where?
KEVIN
Let me get one of those.
KEVIN picks up a gallon of milk and places it in his cart.
KEVIN
(CONT'D)
Yeah, I moved into a real house.
Three rooms and two bathrooms. A
lot of space I don't need. I live
in a family neighborhood too. Lots
of arguing at all hours of the
night, lots of invitations to get
togethers. I think I should move, I
feel like I'm robbing some middle
class family of their first home.
MARIA
What do you use the two rooms for?
KEVIN
One has a bunch of boxes in it, the
other is like an office.
Though I don't use it, I have a
computer downstairs.
MARIA
Just a lot of empty space then?
KEVIN
Exactly. I might move back to New
Jersey. I set up a theater in my
hometown two months ago, it's
starting to do good business. So
how about you?
MARIA
I'll just be happy to not have to
see the same sad faces. Anywhere
would be better than here. I feel
like I'm in limbo or something,
like I'm between what I was and
what I'm going to be. I don't want
to keep reliving the same tragedies
over and over, I just want to...
leave it all behind. 'Cause lord
knows I don't need it anymore.
KEVIN
My father moved us here when I was
seven years old. Same sort of
thing, I guess. His mother and
father had died in the span of one
year. He just couldn't stand being
there anymore. So he came here and
made himself a fortune. Maybe the
same is in store for you.
MARIA
Yeah, maybe. I could invent
something.
KEVIN
That's one way to go. You could
create a telepathic light switch.
Those would sell like hotcakes.
MARIA
Thanks for the advice.
CUT TO:
EXT. GROCERY STORE PARKING LOT
KEVIN helps MARIA load her things into the trunk of her car.
As he puts in the final bag, they both flash a smile at each
other.
KEVIN
I guess that's it.
MARIA
(Closes her trunk)
Maybe we can do this again
sometime.
KEVIN
It would be my pleasure.
MARIA
Bye.
KEVIN
Bye.
KEVIN pushes his cart away slowly, looking back at MARIA'S
car as he does so. MARIA backs out, and drives away as KEVIN
begins to load his groceries into the back of his car. He
stops loading his groceries for a moment and smiles brightly.
He chuckles quietly for a moment and then gets back to
loading his car.
DISSOLVE TO:
INT. HOMER'S APARTMENT - LATE NIGHT
The lights are out in the house, the only bit of shine coming
from the television set, which is on mute. JEFF is lying down
on the couch, falling asleep, as HOMER silently walks into
the room and takes a seat on a recliner.
HOMER
(Whispering)
Hey, you awake?
JEFF
(Opens his eyes)
Yeah.
HOMER
Do you think you could help me with
something?
JEFF
(Yawns)
Yeah, sure.
HOMER
(Nods)
I'm going to do something...
something awful, I guess.
JEFF
(Sits up)
Wait- I wasn't trying to say-
HOMER
(Interrupts)
No, it wasn't anything you said.
JEFF
Then why?
HOMER
I have rent due, Jeff. I have rent
due in two days.
JEFF
We can't just rush in to this, man.
This kind of shit takes a lot of
fucking planning.
HOMER
I know, and I have.
JEFF
You have what?
HOMER
I've planned. For the last two
weeks I've passed by a market, at
all times of the day. It's one guy,
and he's been robbed three times in
the last year.
JEFF
For how much?
HOMER
The first guy got seven hundred,
the second guy got something like
six hundred, and the last guy to do
it got six fifty.
JEFF
That would only be enough for you,
Homer.
HOMER
And I would give you a place to
stay. I know I just need one month,
Jeff, just one more month and I can
get over this hump. This streak of
bad luck has to end sometime, man.
I'd return the favour, if need be.
JEFF
(Frustrated)
No, you don't need to do that.
HOMER
It's like you said in the bar, man.
Sometimes you have to do something
awful to get by. And I think this
thing to really turn things around
for me, man.
JEFF
Just stop, okay? HOMER nods.
HOMER
If you don't want to, that's fine.
JEFF
I'll do it.
HOMER
(Smiles)
Okay.
JEFF
Wipe that goofy smile off your face
and tell me you have everything
handled.
HOMER
I have two guns and a few ski
masks.
JEFF
Okay, then we'll do it.
HOMER
Okay.
JEFF
Go back to sleep, Homer.
DISSOLVE TO:
EXT. INSIDE A CAR - MORNING
JEFF and HOMER sit outside a small mini-market in the early
morning hours, taking a look at the place.
JEFF
No.
HOMER
Come on, it's an easy job.
JEFF
I said no.
HOMER
I need your help with this, Jeff. I
can't do this alone.
JEFF
I can't help you this time, Homer.
I'm not going to take this chance
again.
HOMER
(Quietly)
Okay.
JEFF
There are better ways to get the
money, Homer.
HOMER
Yeah? Well none of those are
available to me at the present
time.
JEFF
I'm sorry, Homer.
HOMER
No, don't be. You just got out, it
was stupid for me to drag you into
this.
JEFF
Just don't do it, Homer.
HOMER
Okay, I won't do it. HOMER pulls
out a gun and puts it on the dash.
JEFF
Is that Dad's gun?
HOMER
Yeah.
Beat.
JEFF
Look at us. He's probably so
disappointed in us.
HOMER
(Sighs)
Yeah? Then maybe he should put in a
good word for us, maybe do us a
favor or two.
JEFF
I need to go see the bookie. Could
you drop me off?
HOMER
Yeah, sure.
CUT TO:
INT. KEVIN'S HOUSE - NIGHT
A wide-awake KEVIN sits on his couch, drinking a pepsi and
watching television. He takes the last drink from the can,
and then tosses on to the ground.
As he puts his arms in the air, stretching and yawning, he
takes a look at his watch. KEVIN stands up and walks into the
kitchen, we stay in the living room.
There is a few clanking noises as KEVIN rummages through the
refrigerator. After a few moments, he shuts it. He comes back
into view, taking another look at his watch.
KEVIN
Fuck it.
KEVIN picks his keys up off a table and leaves the house.
DISSOLVE TO:
MONTAGE
SEQUENCE:
1. KEVIN stops at a small market. He approaches the door. As
he does, the neon open sign is turned off.
2. KEVIN stops at a grocery store. He walks to the door, and
attempts to push it open, it's locked.
3. KEVIN, now looking annoyed, stops the car at a last
market, now the furthest away from his home as can be. It's
closed.
4. KEVIN stops the car in a rough looking neighborhood. He
pulls into the parking lot of MIKE'S mini-market.
CUT TO:
SOUNDTRACK: ELLIOTT SMITH - NEEDLE IN THE HAY
INT. HOMER'S APARTMENT - NIGHT
As TOBY watches television silently in the next room, HOMER
sits alone at a small coffee table, his father's .32 caliber
pistol in his hand. He puts the pistol into his jacket, along
with a black ski mask. HOMER stands up, picks up his keys,
and walks to the door. TOBY walks into the room.
TOBY
Where are you going?
HOMER
The store.
TOBY
Can you get some milk?
HOMER
Yeah, sure.
TOBY
Thanks.
HOMER
Bye.
HOMER leaves the house, leaving TOBY with a confused look on
his face.
CUT TO:
INT. INSIDE HOMER'S CAR
HOMER enters the car swiftly and sits down in the driver's
seat. He takes the pistol out of his coat and puts it on the
passenger's seat. HOMER studies the pistol for a moment,
thinking over his options. He looks over to the apartment
building where he lives and sighs.
Several voices HOMER has heard at one time or another begin
to echo through his head.
VOICE
(O.S.)
It looks like you were in some
trouble here a few years ago.
VOICE #2
(O.S.)
What did you learn from that
experience?
VOICE #3
(O.S.)
We'd like to know exactly what
happened. In detail.
HOMER
Fuck it.
HOMER starts up the car and drives away.
CUT TO:
INT. QUICKIE MART - NIGHT
MIKE has his feet propped up on to the counter as KEVIN walks
in. MIKE is reading a magazine, and never pays much attention
to KEVIN.
MIKE
We're closing in three minutes.
KEVIN
OK.
KEVIN walks to the back of the store, where the beverages are
located. There he is surprised to find MARIA, filling up a
small cup with coffee.
KEVIN
Maria?
MARIA
(Turns around)
You again?
KEVIN
(Smiles)
Yeah, me again.
MARIA
What are you doing here?
KEVIN
I went a few places closer to my
house first, they were all closed.
I remembered this place, my father
owned a apartment complex around
here a while back. What are you
doing here?
MARIA
I was just...
(Looks over to MIKE)
My brother lives over here. He
didn't have any coffee.
KEVIN
Well, it's good to see you again,
anyway.
MARIA
Yeah, same here. I'm not sure if I
thanked you the other night for
helping with my groceries. That was
nice of you.
KEVIN
I was just happy to see you again.
MARIA
I think I was happy to see you as
well. After all that happened... I
was surprised you didn't hate me.
KEVIN
I tried, it didn't work out.
Another anonymous MAN walks into
the store.
MIKE
Please get your stuff quick, I want
to get out of here.
MAN
No problem, man.
CUT TO:
EXT. OUTSIDE THE QUICKIE MART
HOMER'S car slowly pulls in to the front of the store. Inside
the car, HOMER bobs his head up and down, the lingering
feeling of fear getting to him. He pulls the ski mask out of
his jacket and puts it on. HOMER sits for a few moments, his
hand on the handle, trying to get himself to leave the car.
HOMER
Come on. What are you doing? You
fucking idiot. You're a grown man,
what are you doing?
Beat.
HOMER
(cont'd)
What am I doing?
HOMER violently hits the steering wheel. He then pulls off
the ski mask, and tosses it on to the passenger's seat. He
turns the car back on, and backs out. As he pulls into the
street, he stops.
HOMER
(Disgusted)
Milk.
HOMER pulls the car back in, and parks it. He exits the car,
his shoulders down and a look of disappointment on his face.
As he reaches for the handle of the entrance, a gunshot blast
rings throughout and HOMER goes flying a few feet and on to
the black pavement.
JUMP CUT TO:
INT. QUICKIE MART - AFTERNOON
We now see the anonymous MAN with a gun pointed at MIKE, as
KEVIN and MARIA lie on the ground together in the back, their
hands on their heads.
MAN
Fuck! You see what you did?
MIKE
(Nervously)
It's OK, it's OK, I'll give you the
money, just don't-
A loud gunshot is heard again, this time it is of a bullet
piecing through the MAN'S head. The gunshot causes the MAN'S
unsteady trigger finger to squeeze, and he shoots MIKE in the
chest.
The MAN and MIKE fall to the ground in unison. HOMER sprints
into the store, his ski mask now on, and takes every dollar
from the opened cash register. MARIA and KEVIN stay put, not
knowing if the standoff has ended. HOMER runs out the door,
stepping on the broken glass as he does so. The car's engine
can be heard revving up and speeding away.
SOUNDTRACK: BRIAN ENO - AN ENDING (ASCENT)
MARIA
(Whispering)
What should we do?
KEVIN
I'm going to go over there, stay
here.
KEVIN rises as slowly and silently as possible. He tiptoes
out of the small isle, and into the open, where he sees the
MAN bleeding from his shot jaw, and MIKE behind the counter,
unconscious and bleeding profusely from his chest.
KEVIN
(To MIKE)
Are you OK?
MIKE grunts loudly and opens his eyes. KEVIN looks back to
the MAN, who is now wide awake and sitting up with his gun
pointed at KEVIN.
KEVIN
(Freezes up)
No, don't do that.
MAN
(Coughs)
Get me the money.
KEVIN
He took it.
MAN
Who took it?
KEVIN
The man who shot you.
The MAN keeps his pistol trained on KEVIN. A devilish grin
comes across his face, knowing he still has power over the
situation.
KEVIN
(Breathing hard)
Please.
The MAN smirks. He drops the pistol, lies down, and closes
his eyes. KEVIN picks up the pistol immediately after the MAN
drops it.
MIKE
What the fuck are you doing?
KEVIN
(Looks at the gun he's
holding)
Oh, no, I'm not-
MIKE
(Woozy)
I need to get to a hospital, man. I
think I'm in a little trouble here
if I don't.
CUT TO:
EXT. OUTSIDE THE QUICKIE MART
KEVIN loads MIKE into the back of his car with MARIA, who
tries her best to comfort him as they drive away.
CUT TO:
INT. INSIDE CAR
KEVIN weaves down an empty street as MIKE moans loudly in the
back seat, incoherent ramblings coming from his mouth.
KEVIN
We'll be there in one minute, stay
awake back there.
MIKE
(Staring out a car window)
Just hurry up, man.
MARIA
(Quietly)
It's going to be okay. We'll be at
the hospital soon enough.
MIKE'S breathing becomes heavier and heavier as he jolts
uncomfortably and yells. He suddenly stops moving, and moans
softly. MARIA kisses him on his forehead and smiles. CU of
his face, looking out the window.
CUT TO:
FLASHBACK:
INT. INSIDE MIKE'S CAR - NIGHT
MIKE is at the wheel, and NICOLE sits in the passengers seat.
She stares out the window as MIKE was before, looking at
passing cars and the inhabitants of those automobiles.
MIKE
(Yawns)
Are you awake?
WOMAN
Yeah. Do you need me to drive?
MIKE
We only have a few minutes left to
go, I can handle it.
WOMAN
OK.
MIKE
(Rubs his eyes)
What's that up there?
WOMAN
What?
The car bashes into another, both of the people inside hit
the dash with their heads, it knocks out NICOLE. The car
stops, and MIKE'S eyes open. In an outright daze, he watches
JIMMY climb out of his father's car, unscathed.
CUT TO:
BACK TO PRESENT
DAY.
INT. INSIDE CAR
Back inside the car again, KEVIN pulls into the hospital
parking lot, and stops at the entrance, where several nurses
and orderlies wait. They open the back door, and pull out
MIKE quickly. MARIA gets out and accompanies them. They put
him on a stretcher, and disappear into the hospital, except
for one NURSE.
NURSE
Sir, what happened?
KEVIN
Me?
NURSE
Yes.
KEVIN
I uh... we uh... I think he got
robbed. And shot. We were on the
ground, we couldn't see.
NURSE
What happened to the shooter?
KEVIN
He uh... he got shot in the face. I
think he's dead.
NURSE
Where is he?
KEVIN
We left him.
NURSE
OK, come inside.
KEVIN
Could I have a minute, please?
NURSE
Of course.
The NURSE walks away. KEVIN walks back and forth from left to
right a few times, whispering to himself and scratching his
head. He stops.
KEVIN drops to his knees, and sits on the cold pavement. He
puts his hands in his face, and begins to sob. MARIA'S car
arrives. She jumps out and runs to KEVIN, who is still on the
pavement. She stops, and looks at him, tears in his eyes.
After a moment, she continues on to the hospital.
FADE OUT.
SOUNDTRACK: WILCO - JESUS, ECT.
FADE IN:
EXT. PARKING LOT
As the music blares, we get a CU of KEVIN, who is sitting on
a small bench waiting. He glances at his watch every so
often, his demeanor calm and reserved. He stands up and looks
off camera.
CUT TO:
INT. HOSPITAL ROOM
MIKE sits on a large hospital bed, staring at the ceiling of
his room. At his side is NICOLE, who holds his hand now
lovingly. He looks to her and smiles. His words are muted.
The WOMAN walks away from the bed, and everything turns into
SLOW MOTION. As we get a CU of MIKE'S still smiling face,
lights flash inside the room. We pull back, and see a mob of
reporters and photographers approach the bed in SLOW MOTION.
CUT TO:
INT. JANIS' OFFICE
JANIS sits across from a man wearing glasses, talking to him
in a reassuring way. The MAN takes off his glasses slowly and
begins to sob like a newborn.
JANIS stands up and walks across her desk and lovingly hugs
the MAN, rubbing his back softly as she does so.
CUT TO:
INT. APARTMENT COMPLEX HALLWAY
HOMER and TOBY exit their apartment with suitcases in hand,
talking it up with happy expressions on their faces. They
arrive at the end of the hallway, where the CHUBBY MAN
(Landlord) stands. They walk past, not even giving him a
second look.
CUT TO:
INT. GROCERY STORE - NIGHT
In the distance we see KEVIN walking beside MARIA.
CUT TO:
INT. INSIDE CAR
HOMER is at the wheel, driving on a back road without another
car in sight. TOBY sits on the passenger's side, asleep with
his head up against the glass of the window.
HOMER looks over to TOBY and smiles. The camera turns to
HOMER'S rough face, his expression of happiness changing his
image dramatically. He looks forward now, to the road ahead,
and continues to drive further and further from home.
FADE TO BLACK.
BLACK SCREEN.
KEVIN
(O.S.)
Is that everything?
INT. INSIDE KEVIN'S CAR - EARLY MORNING
KEVIN sits in the driver's seat of a small car that is packed
with suitcases and boxes. MARIA sits beside him on the
passenger's side, smiling.
MARIA
Yes.
KEVIN
(Smiles)
Okay.
SOUNDTRACK: ELLIOTT SMITH - A FOND FAREWELL
KEVIN starts the car and puts on his seatbelt, as does MARIA.
He then turns to her and watches her for a moment as she
looks through old photographs of her and her family.
KEVIN
You ready?
MARIA
Yeah.
FADE OUT.
Directed by STEPHEN frears
Produced by pink MOON
Executive Producers
DOMINATIN & ZERO
Creative Work by
ZERO
Edited by
eric M.
Starring (In Order Of Appearance)
PETER krause..............................HOMER
billy CRUDUP..............................KEVIN
HELENA bonham CARTER..............................JANIS
nicole KIDMAN..............................MARIA
JAMIE foxx..............................MIKE
lorenz TATE..............................NATHAN
JADA pinkett SMITH..............................NICOLE
peter SARSGAARD..............................TIM
JOSH lucas.............................JEFF