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 résumé, 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