Reagan's Prisoners

This is first feature film script I ever completed, but in spite of that, I think it is kind of interesting. Maybe even entertaining. It's a crime story set in a shitty Midwestern town. Write what you know, you know what mean?

Graphic:  [white words on black screen]"There's been a lot of drugs, hard knocks, and heartaches since then."

FADE IN

INT.  HIGH SCHOOL LUNCHROOM - NOON

ASHLEY JOHNSON, a young pretty fourteen year old girl, is in the cafeteria line pushing her tray down the cattle chute.

ASHLEY

No, please, none of that, whatever it is.

She heads further down the line and reaches for the last juice bottle, but an older GIRL reaches back and grabs it.

ASHLEY (CONT'D)

Hey, you can't take two.

GIRL

It's for my friend.

The girl rushes off and Ashley looks frustrated. She leaves her tray and walks off to a table where two of her friends are sitting. She sits down and her friends start in on her.

FRIEND 1

Where've you been, lunch is almost over?

Ashley starts to speak, but is cut off by FRIEND 2.

FRIEND 2

You know, I just don't know how the cops think they can tell us where we can hang out, it's just none of their business, you know?

FRIEND 1

Are you gonna eat something Ashley?

Ashley tries to explain what happened, but is interrupted by Friend 2.

FRIEND 2

You know she never eats lunch.

ASHLEY

That's not...

FRIEND 1 interrupts.

FRIEND 1

It's OK, there are lot's of times I just don't feel like eating.

FRIEND 2

I wouldn't want to eat much either if my older sister was as awesome as Jennifer is.

FRIEND 1

Hey, you want some of my pudding?

Friend 1 pushes her tray over towards Ashley. Ashley looks at the tray and shakes her head.

INT. LOCAL DENNY'S RESTAURANT - NOON

JENNIFER JOHNSON, decked out in her waitress uniform is working the lunch shift at Denny's Restaurant. She walks over to the kitchen area where the waitresses put the order tickets. A COOK from the kitchen area yells out towards Jennifer.

COOK

Jennifer!  The manager is looking for you.

JENNIFER

Sure thing.

Jennifer heads to a remote area of the restaurant where the MANAGER has a small office. Jennifer sneaks up behind the middle aged manager and puts her arms around

him, grasping at his crouch from behind.

MANAGER

Whoa.

The manager turns around quickly.

MANAGER (CONT'D)

Would you stop that...aren't you married or something?

JENNIFER

What do you care, Rob doesn't.

The manager stops to think for a second, then composes himself.

MANAGER

Look, I don't think I can put you on all evenings right now.

JENNIFER

What?  Jerry, you promised me.

She creeps up really close to him.

MANAGER

Well, there's just not much I can do really...

She starts to seductively kiss his face.

MANAGER (CONT'D)

I...I, uh, maybe you could go out with me on Friday or something.

She, with her arms around him, moves her head back.

JENNIFER

OK.

Jennifer leans in to kiss him. A fellow waitress, NATALIE walks in to the office. Natalie is about Jennifer's age, but about forty pounds heavier and has her hair tied back in a pony-tail. She is a timid person who tries never to say a bad word about anyone.

NATALIE

Hey, Jerry...Oh Jesus.

Jennifer wipes the lip gloss off of the manager.

INT. WATERBED STORE. DAY.

ROB THOMPSON, a young man in his late twenties lying spread eagle on his back on one of the waterbed displays in the store.  It is around noon-time and nobody on this side of customers are in the store. PARKER, a fellow salesman, is a man in his fifties and somewhat jaded.  He has a mustache and spends a lot of time getting his hair just perfect. He walks over to where Rob is lying and talks to Rob.  Parker eats a banana during the conversation.

PARKER

Hey, Rob you better get up before you fall asleep.

ROB

Whatever.

PARKER

You know, you never laugh anymore.

ROB

You're assuming I laughed before.

PARKER

What's the matter with you man.

Parker takes a big bite off his banana.

ROB

Some people rarely laugh, they're serious, intelligent, deep thinkers.

PARKER

We used to laugh all the time when you started working here, man.

ROB

I'm what all women want, I'm dark, brooding, and mysterious.

Parker laughs, spitting out some banana in the process.

PARKER

You're more like butt white, sad, and pathetic.

Rob finally looks over at Parker.

ROB

Anything else?

PARKER

Well, you're a crummy salesman.

Rob looks back up at the ceiling.

ROB

That much is true.  But my girlfriend is better looking than yours.

Parker takes a bite of his banana and speaks with his mouth full.

PARKER

Rob man, I don't have a girlfriend right now.

Rob sits up and looks at Parker.

ROB

Oh yeah, that's right, I forgot.

CROSSFADE:

Somewhere on the outskirts of nowhere--

INT. DINER - MORNING

It is the early 1990's near a medium sized midwestern city. Our attention is drawn from the tip of a cigarette to eventually the whole face of the man smoking. He is smoking Marlboro Reds. This is the brand he always smokes, when he can afford them. Slowly we change focus from the lonely man to the even lonelier truckstop restaurant in which he sits.

SOUND:  MUSIC ("TEENAGE RIOT" BY SONIC YOUTH) GRADUALLY FADES IN UNDER

DYLAN BRUNELL sits looking at the world around him. He is smoking and drinking a luke warm cup of coffee. There is a dog-eared notebook on the table sitting next to his lit cigarette, teetering on the edge of an ashtray on the edge of the table. We watch as a waitress walks up to his table and puts a check on top of his notebook. It is obvious, that even though Dylan's looks have roughened up over the last few years due to life-style at Mach speed, the waitress is attracted to him (she smiles wide eyed at him). The waitress is thirty something and a bit overweight, but with the hint of high school cheerleader lurking beneath the laugh lines and the trauma of five kids and two divorces. Dylan looks up at her and flashes her a smile, devilishly flirting.  He starts to get up and his hand reaches for the cigarette in the ashtray. Dylan's hand stamps out the cigarette to reveal the check still sitting next to the ashtray with his hand moving away.

SOUND:  MUSIC ("TEENAGE RIOT) BUILDS UP FULL.

CROSSFADE

INT. ROB'S HOUSE, ASHLEY'S ROOM - EARLY MORNING

Suddenly we are confronted with the meters on a stereo system bouncing violently to the beat of the music.

ASHLEY, a pretty, willowy teenager, dances enthusiastically to the music in the shorts and T-shirt she wore to bed the night before. She dances violently to the beat until suddenly we see her door slam open. We are confronted with the sight of her older sister JENNIFER standing in the doorway. She is half-dressed in her Denny's waitress uniform. Ashley quickly turns off the stereo.

SOUND:  MUSIC ("TEENAGE RIOT") IMMEDIATELY STOPS.

JENNIFER

(a bit perturbed)

Thanks...and please keep it that way.

Ashley hops on her bed and bounces up and down slightly as she looks at Jennifer with a look of disdain.

ASHLEY

Off?

JENNIFER

(sharply)

I don't care one way or another, as long as I don't have to have my ears ring at seven o'clock in the morning.  OK.?

ASHLEY

Jesus, sis. What's got up your ass on this beautiful morning?

JENNIFER

Hey, don't talk like that to me...(angrily) I don't want the baby picking up that kind of stuff around here.

ASHLEY

(sarcastically)

Sure Mom. He's not in the room and the door is shut, but I'll be sure and make a note of it to the local ACLU chapter for this egregious attack on free speech...

JENNIFER

(overlaps Ashley's diatribe)

I quit.

Jennifer slams the door, while Ashley leans back on the bed very quickly and looks towards the ceiling.

ASHLEY

I hate Mondays.

CROSSFADE TO

EXT. DINER PARKING LOT - MORNING

It is early morning, with the sun just creeping over the horizon. The parking lot is not paved, but filled with gravel. A strong billowy Midwestern wind blows out of the south and forces Dylan to squint to keep the dust from flying into his eyes. He slowly walks across the parking lot to a phone booth outside the diner.

Dylan steps into the phone booth, picks up the receiver and searches his dusty jeans pockets for a quarter, but none is to be found.

DYLAN

Shit.

Holding the receiver and opening the door to the phone booth, he looks around for god knows what. He finally drops the receiver, takes a few steps forward and sees a quarter half covered by gravel out of the corner of his eye. He smiles, picks up the quarter, dusts it off, goes back into the phone booth, picks up the receiver, puts the quarter in the slot and dials, muttering to himself.

DYLAN

(to himself)

Must be my lucky day.

DISSOLVE TO

INT.  ROB'S KITCHEN - MORNING

At the same time that Dylan is in the phone booth, morning has officially begun in the Thompson household. ROB THOMPSON, and his son, MICHAEL, are sitting at the kitchen/dining room table. The kitchen is small, lower middle class.  Rob is sitting in his shirt and tie. He is a water bed salesman, a job he has had since high school. He has a shirt with the name of the store "Good Sleep Waterbeds" and a name-tag that says "Robert". Mike and Rob sit at one of the shorter ends of the oval shaped table. Rob feeds the child while he attempts to eat his own cereal.

The phone rings. Rob groggily(it being Monday) starts to get up to answer it and fumbles with his lit, unfiltered Lucky Strike.  As he gets up, he tries to take a drink of coffee, answer the phone, and flick his cigarette into the ash tray at the same time. He is beaten to the phone by Ashley who comes flying in from her room.

ASHLEY

(accusingly before speaking into the phone.)

Doesn't anyone answer the phone around here?

She picks up the receiver and looks at Rob and puts her hand over receiver and tries not to laugh, rather badly.

She sees Rob wiping off hot coffee and ashes from his pants.

ASHLEY

(with hand still on receiver.)

Don't worry, (laughs) it's probably for me.  Hello...(she becomes more serious) Yeah, uh, he's right here.       (looking rather blank she      hands the phone to Rob)

It's for you.

Rob gets up and we see his pants are visibly stained by the coffee. Ashley impatiently holds the receiver out as far from her body as possible.

ROB

(to Ashley)

Don't you have to go to school?      (takes receiver from Ashley's hand)

Hello?...You're kidding?...Well, it's sure been awhile...

(somewhat put off by Dylan's abruptness on the phone)

I get off for lunch at noon...Hey, how'd about I meet you at the hill?...Yeah, you bring the bottle...OK...See ya man...Uh, hey, uh...nah forget it...no forget it, it wasn't important...Yeah, bye.

Jennifer walks into the kitchen with her Denny's uniform on, combing her long silky brown hair.

JENNIFER

Who was that,(half kidding) you get fired?

Rob leans on the counter remaining silent while reaching for his Lucky Strike unfiltered cigarette and taking a drag.

JENNIFER

No, really, who was it?

Rob coughs and wipes at the coffee stain on his pants with the hand that he is holding the cigarette with, spraying ashes on himself and the floor.

ROB

Uh, that was Dylan. He, uh, said he was in town.

JENNIFER

(ignoring the last remark)

Look what you...I thought he was never coming back. It's only been six years, what's wrong?

ROB

I don't know. I figured he'd run out of his grandmother's money, but he sounded pretty positive.

(sips on his coffee)

Anyway, I've got to go.

Jennifer puts her arm around him and looks mock-lovingly at him while smiling.

JENNIFER

Not in those pants, you're not.

She hands Rob his sack lunch, the same lunch he takes every day to save a few bucks.

ROB

(suddenly annoyed)

They're the only clean ones I have.

JENNIFER

They're not clean now.

Rob smiles sarcastically at Jennifer.

ROB

They'll dry...(looks at Michael)

Bye little man.  I'm late.

He leaves, slamming the door hard. Jennifer, standing next to the table, looks dejectedly at the slamming door. Ashley sits at the table looking at Jennifer, and Mike obliviously plays with his eggs.

CROSSFADE

INT. HIGH SCHOOL HALLWAY - MORNING

It is those few minutes before the first class starts at the high school that Ashley attends. The school hallway is one of those old high ceiling type of schools that were built in the twenties. The hallway is dark and very loud with all the kids running around before class. At the sound of the school bell, we see students milling about from all directions. Some in groups, some alone.

Ashley and her two friends maneuver through the throng to their lockers at the end of the hall. Ashley throws some books into her locker. Her two friends do the same, and they take out books and notebooks while they continue a conversation that they were having as they were journeying down the hallway.

FRIEND 1 leans with her back against the lockers while FRIEND 2 stands in front of her. Ashley stands to the side of the two friends as they have their conversation.  She glances quickly their way from time to time, paying a minimum amount of attention to their conversation; similar versions of which Ashley has heard maybe one too many times.

FRIEND 1

I can't believe it.  It's been two weeks and he hasn't even called you?

FRIEND 2

(defensively)

No. I went up to talk to him yesterday at lunch and all his friends started laughing.

FRIEND 1

So what did you do?

FRIEND 2

I just turned and walked away. For some reason, I kinda thought about running to the janitor's closet and crying, but I ended up in the bathroom

(pause with the other two girl's heads moving in towards friend 2)

puking.

FRIEND 1

Ick.

Ashley rolls her eyes, turns from her locker and faces the two friends.

ASHLEY

Fuck him.

The two friends react surprised to Ashley's remarks. She seldom speaks her mind on matters that deal with her friend's love life. Their reaction gives the impression that they thought that Ashley didn't care about their personal lives.

FRIEND 1

What?

Ashley shrugs and speaks in a tone that even though the friends are listening, Ashley knows that they probably  will never learn.

ASHLEY

(to friend 2)

Maybe you should have thought about this before you went and fucked a senior.

Ashley starts to walk away.

FRIEND 2

(looks at Ashley rather snobbishly)

Aren't you taking any books?

Ashley turns around and faces the friends.

ASHLEY

Why?

Ashley walks quickly down the hall and disappears into the throng of students.

FRIEND 1

(to friend 2)

Look at her. She just doesn't give a shit.

FRIEND 2

She thinks she was made for another time.

Friend 2 drops her notebook.

CUT TO

INT.  REMOTE AREA-SCHOOL - MORNING.

Ashley slowly walks into a remote cubby hole behind the school stage. She finally sits and lights up a Marlboro light.  She stares silently away.  The bell rings as Ashley exhales.

DISSOLVE

EXT.  OUTSIDE DRUG DEALER'S HOUSE - DAY

Rob drives up to a one story house much like his own, but in much worse condition. It is in the same general neighborhood, with trash in the yard and a beat up rusted out hull of a car sitting on blocks in the driveway.

Rob walks up to the door, knocks, and is greeted by a rough slimy looking character, GUY 1, who has obviously just been woken up by the knocking.

GUY 1

Hey man, come on in buddy.

ROB

Thanks.

Rob starts to walk in the doorway as Guy 1 leads the way.

CUT TO

INT. DRUGGIE'S HOUSE - DAY

Rob remains standing and we can see that Guy 1 has taken a seat already in a recliner to Rob's right.

GUY 1

Sit down man.

ROB

I, uh, can't, I'm already late.

GUY 1

(yawns)

Oh.

(he focuses in on Robs pants leg which still has an ugly coffee stain on his upper thigh.)

What the hell happened to your pants?

Rob who looks down, and notices the stain and quickly tries to change the subject.

ROB

Uh, just a little coffee. I just wanted to tell you and the other guys that I've got the stuff coming.

GUY 1

(soberly)

So you got the deal?

ROB

I just gotta wait for them to call me. Maybe today.

GUY 1

(burps)

So you don't definitely have the drugs?

Rob jiggles his keys in his right hand.

GUY 1

Did you ever go to college?

Rob doesn't answer. Guy 1 leans against a wall.

GUY 1

My parents wanted me to go to the state school here in town. I really don't know why, but I managed to do well on some tests.

ROB

Tests?

GUY 1

Tests. ACT...SAT. Duke gave me a partial scholarship so I decided that's where I was going.

ROB

Duke University?

GUY 1

Blue Devils. I had Biology with Mark Alarie.

ROB

Really?

GUY 1

My Mom and my Dad especially, were really fuckin' against the whole thing. I arranged student loans, I had a work study job, I basically could support myself. They still didn't care; according to them, I was gonna stay in town, which was the last thing I was ever gonna do.

Rob lights a Lucky Strike and coughs.

GUY 1

How  do you smoke those things?

ROB

I don't know.

GUY 1

I left for Carolina, they never visited or wrote or called more than once. I did nothing but work and study. I didn't even think about girls. I got my Pre-Med degree in three years. I was into my third semester of med school when my mother died.

GUY 1 (CONT'D)

I was fucked up anyway. The cliché would be burnout; I prefer to call it how Paul McCartney would have. Exhaustion. I moved back in with Dad and after awhile he suggested I get a job. He worked down at Mead. I had every intention of going back to school, you see. I had lots of intentions...until Mead laid me off last year. I was six months short of five years there.

Rob rocks back and forth, anxious to get back on topic.

ROB

(anxiously)

It's just a formality.  He said he just wanted to, uh, make sure, you know.  I've never dealt with him before and it is a lot of dope.

Guy 1 sits back in his chair.

GUY 1

Well, sure man.  We're counting on you.

ROB

Yeah.(pauses and nods head down) Well, see you later man.

GUY 1

(readjusts himself in his well worn recliner)

Yeah.

Rob quickly leaves the room and slams the door behind him.

CROSSFADE TO

INT. BAR - LATE MORNING.

The bar is very long and narrow with the bar stretching down most of one wall.  This is a popular hangout for a lot of the older locals in town.

A lot of old high school memorabilia is scattered about on the walls. This was one of the first bars built in the town's boom era(around the turn of the century).  You could hardly call this place a dump; a bit weathered and full of character would be more appropriate.

The BARTENDER, looking as old and weathered as the bar, is on the phone to his mother who is in her seventies and has trouble getting around. He is arguing with her about putting her in a nursing home. She doesn't want to live with a bunch of "old people." The bartender cleans glasses as he speaks to his mother. As the conversation becomes more heated, he rubs the glasses with more fervor.

BARTENDER

Mom, I think it may be time to think about moving out of the house. It doesn't matter what he would have thought anymore...I know, but you just can't take care of a place that big anymore. No one could. Jeannie knows a really nice retirement home that her great aunt lived at...

(he smiles)

Those "old people" are probably mostly younger than you Mom.(sighs)

He puts down the glass he is cleaning and opens up the register and begins counting bills. The door opens and we hear a familiar voice.

DYLAN

(off camera)

Need some help barkeep?

BARTENDER

(warily)

No thanks.

Dylan tentatively walks towards the bar.

DYLAN

Are you open? (doesn't get any response) I didn't see a sign or anything.

BARTENDER

Yeah.

(puts down money he was counting into open register drawer and because of the early hour, he forgets to shut the drawer)

What do you need?

DYLAN

How about the best seven and seven you've ever made.

Dylan sets a twenty dollar bill on bar.

The bartender walks down to the other end of the bar and begins to make the drink. Dylan watches the barkeep as his left hand reaches over the bar and takes the money out of the open drawer. At the other end of bar while this is happening the bartender yawns loudly. Dylan points to an old high school basketball uniform hanging opposite the register.

DYLAN

Hey is that Chuck Nover's old jersey.

The bartender turns and looks fondly at the dusty old jersey.

BARTENDER

Yeah it is. I still remember the forty-two he scored in the city championship.(pause) Man, what a set-shot he had.

Dylan pockets the money and the bartender turns around with the drink and walks towards Dylan. One could hardly call Dylan a pathological thief, but he takes the money because it is how he grew up, how he lives his life.  Dylan is a criminal, a con-man, a thief, but in a world full of criminals, Dylan is loyal. In a world full of con-men, Dylan is straightforward. In a world full of thieves, Dylan has always had the sense to be honest about it.

DYLAN

Whatever happened to old Chuck? He ever play pro?

The Bartender closes the drawer while he thinks about the wasted life of Chuck Nover.

BARTENDER

He got married, had a boy, got drafted...the army...(matter-of-factly) He was killed.

DISSOLVE TO

INT. WATERBED STORE - DAY.

It is a little before noon that same morning. Rob, impatient and anxious to meet Dylan at lunch, jingles the change in his pocket. He anxiously looks at his watch, and chain smokes his way through another pack of Lucky Strikes. He is dealing with Mrs. Whitacre, a fussy old customer who, in Rob's view, will never make a decision. Rob shows his impatience by unconsciously rolling his eyes during the conversation.

MRS. WHITACRE

I don't like this one. It's too much.

Rob takes voracious drags on his Lucky Strike.

ROB

Too much? (getting impatient and smoke vigorously)

Rob looks away from Mrs. Whitacre as if to find a helping hand. He is obviously getting nowhere with Mrs. Whitacre.

ROB

You liked this one didn't you?

Rob points to the queen size water bed next to the one they are standing by.

MRS. WHITACRE

But I want a twin. My husband, he won't sleep on a water bed. He says he had enough of life at sea when he was in the Navy and that they all leak.

ROB

(grimaces)

We don't have this particular model in a twin, but I must tell you, that this model here has a lifetime guarantee if anything goes wrong.  Including if it leaks.

MRS. WHITACRE

Uh huh. My doctor did tell me to make sure and get a good one. For my back you know.

ROB

I have to be honest with you Mrs. Whitacre, I own this particular model myself, and it's never leaked in the four years that I've had it.  Granted it is a little more than your basic water bed, but you'll never find anything as comfortable and soothing as this model. And the sale does end at closing today.

MRS. WHITACRE

I don't know.(Rob's eyes roll) I'll have to ask my husband about this.

Rob exhales a dense cloud of smoke from his cigarette.

ROB

(quickly)

To tell you the truth, this is the only bed of this style we have in stock. I know because we had a young couple in here earlier asking about it. Do you know the Davidmeyer's?

Well they were showing quite an interest in this bed, and they told me they would come back in later in the afternoon, although I warned them it might be gone by then.

MRS. WHITACRE

Well let me talk to Charlie. I do like this oak finish. It would match my night stand.

ROB

Where is your husband?

MRS. WHITACRE

(points to the parking lot)

He's in the car.

ROB

(to himself)

The car.

MRS. WHITACRE

He doesn't like single floor buildings with central air. He can't breathe in them. I'll go talk to him.

ROB

(as she walks away, he mutters)

You do that.

Rob looks up at the clock which reads 5 minutes to twelve, turns around and yells to Parker, his fellow salesman, sitting behind a desk reading the newspaper.

ROB

Hey Park.

PARKER

Hey man, you're in rare form today.

ROB

I don't know, I just don't wannabe here today.

PARKER

(laughing)

When have you ever wanted to be here?

ROB

You've got a point there.

PARKER

Problem solved.

ROB

(as he is walking towards desk.)

I'm going to lunch now, OK?

PARKER

What about your client?

Rob looks towards the storefront window. He watches as the Whitacres begin reversing their car out of the parking spot. He slowly turns around to look at Parker.

ROB

They're driving away. I guess Charlie doesn't like modern architectural cooling devices. (looks at watch.) I'm outta here. (hurriedly walks away)

CUT TO

EXT. BEHIND DEPARTMENT STORE - MID-MORNING

Dylan is sitting behind an old department store building. It is a big brick building in the run down part of downtown. It sits up on a hill with a view of the river below. While he sits staring at the river, he slugs out of a bottle of vodka and chain smokes Marlboro's out of a soft pack. Dylan is fairly drunk by this time. He has a pretty good buzz going. He thinks he is looking pretty cool as he takes a hit on the bottle but he drops the cigarette and spills some Vodka trying to catch it. He grumbles a bit, but regains his cool when he hears Rob's car pulling up.

Dylan looks to his left and sets the bottle down to his right, smiles with a small laugh as he sees Rob's beat up old Pinto, the butt of many jokes when they were in high school. He sits back and takes a drag on his cigarette.

Rob spots Dylan and pulls up near the building.

Dylan takes another hit on the bottle, sets the bottle down , bends his head down and takes a drag on his cigarette.

Rob walks up the slight incline towards the Dylan. He has a grocery bag with a twelve-pack of beer inside.

DYLAN

You still driving that heap?(laughs)  I can't believe it. It is somehow appropriate though. Have a seat.

He sits down next to Dylan.

ROB

Listen,

(pulls the twelve pack out of the grocery bag and begins to open it and take out a beer. He pops open the beer while talking.)

I've got the family to take care of now, so Jennifer gets the new car and I...

DYLAN

(interrupting)

Get the hunk of shit.

ROB

Basically.

DYLAN

Was it, a Gremlin?

ROB

No.

DYLAN

A Pacer.

ROB

It's a Pinto, but it doesn't really matter.

DYLAN

So who was that on the phone this morning?

ROB

That's Jen's sister, you remember her.

DYLAN

Not really.

ROB

She was just a kid when we were in school, but she's a Freshman at Central now.

DYLAN

So what's it like looking after a teenager? (takes big gulp from his bottle.)

Dylan tries to take a bigger gulp of his beer. He winces a little after the attempt.

ROB

Well, she's Jennifer's sister, so I just stay out of it mostly. It's not like the baby.

DYLAN

Baby? You and Jen have a kid.

(disappointment quivers in his      voice.)

Wow.

(takes a thoughtful swig from      bottle.)

CUT TO

INT. DENNY'S - DAY.

Jennifer's friend and co-waitress Natalie, is standing in the bus station in Denny's. This the space in the restaurant where they keep the coffee and various dishes and such.

Jennifer storms towards Natalie, who is standing pouring a cup of coffee.

JENNIFER

Goddammit, son-of-a-bitch!

Natalie finishes pouring the coffee and turns towards Jennifer, who is holding up a bicentennial quarter very near her face.

NATALIE

What's that.

Jennifer takes the quarter from Natalie's face, but is still holding it.

JENNIFER

That party of six I just had.

NATALIE

(nodding)

Uh huh.

JENNIFER

This is the tip. Twenty-five cents.  They didn't complain about the food, I got it to them on time, I checked on 'em several times, and this is all I'm worth. A fifty-eight dollar bill and the cheap bastards tip a quarter!

NATALIE

Maybe that's all they could afford.

JENNIFER

(cutting her off)

That's crap. They drove away in a BMW. I watched them leave.

Natalie lights a Kool Menthol cigarette.

NATALIE

Are you OK?

Jennifer looks at Natalie smoking the cigarette.

JENNIFER

How can you smoke those things?

NATALIE

I like to punish myself.(pause)By the way Ned Roderick called five times today before you got in.

JENNIFER

Great.  What'd he say?

Natalie takes a deep drag on her smoke before she speaks.

NATALIE

He wants to know why you never call him anymore.

JENNIFER

(trying to sluff it off)

Oh.

CUT TO

EXT.  NEAR BUILDING WHERE DYLAN AND ROB ARE - DAY

It is minutes later in Dylan's and Rob's conversation and they have moved closer down towards the river.

ROB

Having a family's not so great. I mean, the kid's awesome, but things have kinda died down with Jen and I.

Dylan looks at Rob, stands up and grabs a rock.

DYLAN

That sucks. OK, get up. First one to throw one in the river buys the next round.

Rob gets up slowly, with his cigarette hanging from his mouth. He picks up a rock, flips it in the air, catches it and turns to Dylan.

ROB

Don't take this the wrong way man, but why would you come back here after all this time?

DYLAN

I don't know, I guess, uh, I missed home a little.

Dylan throws the first rock, it falls way short of the river.

ROB

(laughing)

Bullshit!

Dylan pauses to take a drag on his Marlboro Red.

DYLAN

OK, you're right. I'll tell ya. I wanted to try and find something I lost a long time ago.

Rob throws his rock and it takes a bounce and plops in the river.

ROB

Yes!

DYLAN

No way, its gotta go in on the fly.

ROB

OK...You're not still hot for Julie Faraday are you?

DYLAN

I was tending bar and what not a couple of years ago in little town called, uh, it was Lincoln County in New Mexico.

ROB

Las Cruces.

DYLAN

No. It was where Billy the Kid was buried.

ROB

Albuquerque.

Dylan throws another rock and it falls way short again.

DYLAN

Shit...It doesn't matter. The point is that one weekend I was with some friends of mine in Phoenix.

ROB

Arizona.

Rob throws a rock and it barely misses.

DYLAN

(somewhat irritated)

Yeah...That was close...We'd been drinking since Friday morning and it was around two in the morning, the next Sunday.  For some ungodly reason, they've got me driving.

ROB

(interjecting)

Not good.

DYLAN

Anyway, this girl in the back who Jeff and Tom brought, you don't know them, this girl decides it would be hilarious if she'd take her hands...

Dylan gets behind Rob and puts his hands over Rob's eyes.

DYLAN

She takes her hands and puts them over my eyes. Tom's screaming "Use the force Luke, Use the Force" over and over, which was really annoying. So I slam on the brakes, we must have been going about seventy five-eighty, I rip her hands off me, I look up and I see black and white, like two feet in front of us.

ROB

A cop?

DYLAN

Sheriff. Man, I got taken in, DWI, careless driving, resisting arrest, a whole bunch of shit.

ROB

Was anybody hurt?

DYLAN

We were too drunk to get hurt. So Tom calls his cousin that we were staying with to bail us out while I sit in the drunk tank trying to stay away from some psycho who kept pounding his face into the door.

Dylan throws another rock that falls way short.

ROB

Sure that wasn't you?

DYLAN

They finally bail me out and we all start walking across the parking lot to get in Tom's cousin's car. I'm lagging way behind, but as I saw them getting into the car I tripped over one of those cement parking dividers. Smack! I hit the pavement.  You can still see a little scar. (Points to his forehead). The next thing I know, I look up and they're gone.

Rob picks up another rock and takes a swig from Dylan's bottle.

ROB

They just left.

DYLAN

Just left me.

ROB

Did they come back for you?

DYLAN

Well I figured they had to, being that I was the protagonist for the night's adventure. They never came back. I waited until the sun came up, then I took a cab to the bus station.

He looks away from Rob.

ROB

Amazing.

Rob throws the rock and it makes it to the water on the fly.

DYLAN

Nice peg.

ROB

Thanks.

Dylan swallows a little harder than normal, either from the alcohol or for what he's trying to say.

DYLAN

I did want to ask you something. I might as well just come out and say it and skip all the bullshit. I need a little money. I've been fired in about every state in the union and...

ROB

(interrupting)

Including this one.

DYLAN

Yeah.(looks at Rob) Have some of this.(hands Rob his bottle)

ROB

Not that.

DYLAN

Why not?

ROB

I have to go back to work.

DYLAN

Alright. If you don't think you can handle it, then I'll...

ROB

(grabs bottle from Dylan's hand and takes big swig)

There.(suffering the effects.) Satisfied?

(hands Dylan the bottle back)

DYLAN

Sure.

(takes swig from bottle.)

Rob takes out one of his      unfiltered Lucky Strikes from his shirt pocket and lights it up with his personalized Zippo lighter.

DYLAN

Lucky Strikes? Those'll kill you.(they both laugh)

ROB

Good.

Rob takes drag, then takes bottle from Dylan and gulps down a shot and passes it back.

ROB

You know nobody hangs out here anymore.

DYLAN

Well people grow older they get jobs, families.

ROB

No, no man.  None of the kids hang out in this spot anymore.

DYLAN

Why?

ROB

The goddamn cops kept bustin' the kids for drugs all the time.

DYLAN

That's just damn ridiculous.

ROB

Damn ridiculous.

They sit drinking, in the background the muddy, murky river can be seen flowing purposefully as they look out over it. They pass the bottle back and forth a few times with Rob gulping down his beers in between shots.

DYLAN

Remember that song we always used to listen to in your car, the one about "we are the sons of no one".(pause) "Bastards of Young".

ROB

The Replacements, yeah. Good song.  Got to be in my top ten, top five of all time.

DYLAN

Yeah, that was a great song.(pause) It's like everything I've ever felt about what it was like to come from here, how screwed up growin' up when we did was. The fuckin' eighties were like a real violent time, underneath it all, you know.

ROB

What do you mean?

DYLAN

It's just a feeling I got. Everybody I know was either screwed up by their parents or themselves.(pause)  What do I know.

ROB

I don't feel like I know anything.

DYLAN

I know this, the two greatest things in life are love and cigarettes and both of them are supposed to kill you, but it's always something else.  Maybe. (pause) You know, we should go cruise around the town, just like the old days.

ROB

(speech a bit slurred)

Yeah. Where've you been?

DYLAN

Just to some bar downtown.

ROB

You know, we oughtta buy our own bar. I've got some money comin' in soon.

DYLAN

Bars never go out of style.

ROB

Wouldn't it be awesome though, we could go do whatever we wanted, and not have some boss telling us what to do.

DYLAN

That's perfect, we could have Jen watch the place and we could take off and go to California, Mexico, or wherever we wanted.

ROB

We could put up the big screens for the football games, and have live bands and shit.

DYLAN

Well let's see what's available.

Dylan gets up and picks up what's left of the twelve pack.

ROB

Let's go. Don't forget the bottle.

DYLAN

(examining the bottle)

It's almost gone.

Rob stumbles to his car and tries to fit the key in door. It is obvious that he is having a little difficulty. He looks back at Dylan.

ROB

We'll get another one.

Dylan walks to the car and goes around it to his door. Rob finally gets the key in and opens his door.

DYLAN

What about work?

ROB

(Not quite comprehending Dylan.)

It won't take long.

Rob gets into the car and opens Dylan's door.

Rob reverses quickly and peels out sending rocks and dirt flying as the car turns around and "roars" off.

DISSOLVE TO

INT. SCHOOL HALLWAY - NOON

It is later that day, shortly after noon. Ashley is walking with her two friends down the hallway of their school. As they walk down the long corridor they bump into people and people bump into them as the hallway is very crowded. They don't even notice it even though it would seem to be very distracting. Ashley lags behind as her friends turn around and speak to her.

FRIEND 1

Ashley, why don't you just ask him.

ASHLEY

I don't know. I don't even know if he likes me.

FRIEND 1

Do you want me to ask him for you?

ASHLEY

No.

FRIEND 2

What could happen?

FRIEND 1

(pointing in front of her)

Look, he's right over there. Just ask him what he's doing this weekend.

FRIEND 2

(to Friend 1) But its Monday.

They stop in the middle of the hallway causing some semblance of a traffic jam.

ASHLEY

OK, I'll do it.

Ashley takes a deep breath and walks over towards the boy's locker. The boy's name is BRAD. He is a good looking athletic type of kid. By his dress, one can tell, he is not interested in rocking the boat. She stands next to him, silent for what seems to be an eternity.

Brad turns around and sees Ashley staring at him.

BRAD

Can I help you?

Ashley stands there for a few seconds and then turns and runs off down the hallway as the bell rings.

Ashley continues to move down an ever emptying hallway from right to left.

DISSOLVE TO

INT. ROB'S CAR - DAY

Rob's Pinto has pulled up to a convenient mart. Rob and Dylan sit inside contemplating their next move.

Rob turns to Dylan.

ROB

Here's some money, I've gotta make a quick phone call over there.

(nods head towards phone booth near the liquor store.)

Rob rather unsteadily gets out of his car and moves towards the phone booth.

DYLAN

(from inside car)

Gonna call in sick huh?

Rob speaks to Dylan without turning to face him.

ROB

(unconvincing)

Yeah.  I'll be back in a second.

DYLAN

OK.

Dylan glances after Rob then opens his door and gets out. He walks into the convenience store.

CUT TO

EXT. OUTSIDE OF PHONE BOOTH - DAY

Rob lights a cigarette and walks into the phone booth on the sidewalk of the store as Dylan enters the store.  Rob puts a quarter in the phone and dials, but has to stop and think for a bit to remember a few of the digits.

He dials.

ROB

Hello is Scott there please?...Oh, hey man, this is Rob. (speaks quickly.) I didn't recognize you there.

He takes a deep drag on his cigarette.

ROB

Uh, hey, I just wanted to check on everything...Yeah...Yeah...I see, that's good...So when are you going to want the seven thousand?...No, no.  We agreed on seven...Uh huh, I know but, I told you already that I couldn't make ten so why do you want to stiff me for the first two...

(sarcastically) Well I'm sorry, (raises voice) but I got guys counting on me for this. (pauses)  So you found someone else huh?...OK well maybe you can tell my buyers that...No it is your problem.  Because you said it was no problem, seven thousand, no problem. Two up front, no problem. Unfamiliar dealers, no problem! This is a super fuckin' problem!

Rob pauses, hangs up the phone and stares away from us but we can still see his eyes.

ROB

Sorry Jen.

A shocked Rob walks back to the store and meets Dylan as he is coming out of the store's door.

ROB

Let's get out of here.

They start to get into the car and Dylan takes out a bottle of Absolut Vodka and turns to Rob.

DYLAN

Stole you a pack of smokes.

He throws them on Rob's lap. Rob shakes his head and gets in the open door of his car. In a burst of frustration, Rob peels out of the parking lot in reverse.

CROSSFADE TO

INT. CLASSROOM - DAY

Ashley is sitting near the front of a classroom with her two friends sitting behind her. Brad, the boy she tried to ask out sits in the back with a group of popular boys and chicks. Cheer leaders and jocks. The room is bathed in sunlight from the large open window on the right hand side of the room. The room is very large with very tall ceilings. By the markings and posters on the walls it is difficult to tell what subject is being taught in the room.

Brad is writing a note. He is wearing what could be called the average teenage boy outfit. T-shirt, clean stone-washed jeans, high top sneakers and very short hair.

We can see what Brad is writing on his note. "Ashley Johnson wants to fuck me" it says, "What should I do?...Brad."

Brad passes the note to the jock on his right. The jock reads the note, scribbles "Do her" on it and passes it to another jock sitting beside him.

The note eventually works its way up to the front of the classroom. It gets in the hands of most of the people in the room. Finally the note comes to rest in the hands of the stoner on Ashley's right who has no idea who Ashley or Brad is. When the TEACHER, who is oblivious to what's happening, turns to write something on the board, the stoner taps Ashley on the shoulder and tries to hand her the note.

Friend 1 sitting next to Ashley, sensing danger, since she wasn't allowed to see the note earlier, tries to intercept from behind but Ashley playfully pushes her arm away and grabs the note.

She turns quickly and hurriedly puts the note on her desk as the teacher turns around.

A simultaneous groan of laughter comes from the back of the room prompting the teacher to turn around.

TEACHER

Is there something going on back there?

BRAD

(jumps in)

Nothing, nothing at all.

Ashley stares at the note while voices in the background debate its content.

FRIEND 1

What does it say?

FRIEND 2

What is it?

FRIEND 1

What does it say?

Ashley calmly folds up the note, puts it in her jeans pocket, and raises her hand.

TEACHER

(off camera)

Yes.

ASHLEY

May I go to the rest room?

TEACHER

(off camera)

Sure.

She gets up and walks out of the room. A silent hush follows her as her classmates wait for her to do something.  She doesn't.

She walks out the door, closing it in our face.

Laughter by a few of the students can be heard as the door closes.

CROSSFADE

INT. ROB'S CAR - DAY

Rob and Dylan have obviously been to the liquor store. Between them sits two bottles of vodka and a case of beer. It's a couple of hours later and they are passing the bottle during the entire scene. Both are smoking their respective brands. They are very drunk, at least Dylan seems that way. He isn't as drunk as he is letting on. They pass a theater that reminds them of times that now seem nostalgic, fun, carefree. Neither one of them, in their drunkenness can comprehend the desperate aimlessness of those very times.

DYLAN

Hey, there's the town theater.

They both look to their right as they pass a dilapidated old movie-house theatre.

Rob looks back at Dylan.

ROB

It's closed up now. They've got a multiplex out by, uh, Washington now.

DYLAN

No way.

ROB

Yeah that place has eight screens and they still never show anything worth a damn.

DYLAN

(short pause) Hey, remember the time we were throwing ice cubes off the balcony, during that science fiction movie with the aliens with the antennas...

ROB

War of the Worlds.

DYLAN

...and  I hit our fifth grade teacher right on the temple,  and she told the manager, that fat fuckin' scumbag. Did you ever know his daughter Kelly?

ROB

No, she must have been older than me.

DYLAN

Yeah, I think so. I can't believe he kicked us out. Well I can believe it, but there was no way she could have known it was me.

ROB

Was that the same time Jeff puked in the aisle?

DYLAN

No man, I don't think so.

ROB

Oh, I remember. That was the same day I got my car.

DYLAN

The day you got your car, we went swimming with Jen at the rock quarry.

ROB

Oh yeah, that's right.

DYLAN

Maybe you weren't with us.

ROB

Maybe.

DYLAN

Those were pretty fun times.

ROB

Jen and I never do anything together any more.

DYLAN

I wonder if they still swim in that quarry.

ROB

Not since Michael was born.

DYLAN

What'd you say?

Rob grabs at his torso with a free hand.

ROB

Aargh!

DYLAN

What's the matter?

ROB

Just a severe chest pain, I'll probably live.

Dylan lets the moment pass by, almost.

DYLAN

What do you think happens when you die?

ROB

I'm not gonna die.

DYLAN

I'm pretty sure you are some day.

ROB

You're serious?

DYLAN

Yeah.

ROB

Well, I don't go to church or anything, but there must be some sort afterlife, something beyond our world.

DYLAN

What a cliche'd pile of crap, Rob.  Since you haven't given the inevitable much thought I'll let you in on what's gonna happen.

ROB

OK, What?

DYLAN

Nothing.

ROB

Nothing?

DYLAN

Nothing.

ROB

Sounds good.

Rob's attention to the road strays and they almost hit an oncoming car as he drifted over the center line.

DYLAN

Fuck!

ROB

Whoops.

There is a short pause then Dylan leans over and pokes Rob on his right shoulder.

DYLAN

Damn drunk drivers.

Rob smiles and takes a deep breath as he sees Jennifer's workplace, the local Denny's.

ROB

There's Denny's, lets go see Jen.

DYLAN

(off camera)

Sure.

Rob pulls the car into the Denny's parking lot.

CUT TO

INT. DENNY'S LOBBY - DAY

The lobby isn't very crowded. Actually there is hardly any customers in the Denny's at all. The lobby faces several windows, with the afternoon sunlight bathing the lobby, bright enough to almost make the workers and patrons squint as they look towards the doors.

Rob and Dylan walk in through the front doors and try to catch the attention of the hostess.  Rob stumbles as he crosses from the doorway. They are both visibly drunk.

ROB

(to Dylan)

Let me do the talking, cowboy.

Rob walks up to counter and casually leans up against it. He shrugs as he takes a drag on his cigarette.

The hostess comes up to greet him.

ROB

Uh, can I speak to Jennifer Jordan please?

The hostess turns and heads off to find Jennifer.

He turns around and gives Dylan the OK sign. Rob giggles. Dylan then walks up to Rob. They jab at each other for a few seconds.

Jennifer walks towards Rob and Dylan.  She is a little perturbed.

JENNIFER

(hands on hips)

What are you doing here Rob?(she looks at Dylan) With him.(thinks for a second.) Why aren't you at work?

ROB

I, uh, work.  Uh.

JENNIFER

(cutting him off.)

I can't believe you've been drinking.

Dylan looks at Jennifer and laughs loudly.

DYLAN

Jennifer, it's such a pleasure to see you after all this time.

Rob and Dylan laugh at their fumbling sarcasm.

JENNIFER

Get out of here, Rob. Both of you.  And Rob, if you're not home, sober, at seven o'clock tonight, don't bother coming home.

Dylan leans toward Rob and speaks into his ear.

DYLAN

Hey Rob, I think we better go.

Rob pushes at Dylan.

ROB

What! Fuck this! (in direction of Jennifer.) Fuck that!

DYLAN

C'mon.

He grabs Rob and pushes him towards the door.

He turns and looks at Jennifer.

DYLAN

Nice seein' ya, Jen.

He turns and walks toward Rob who is still hanging around the doorway.  They both leave the Denny's,

stumbling as they make their way to the car.

CROSSFADE

INT. ROB'S HOUSE - EARLY EVENING

The sound of an old episode of Andy Griffith with Barney Fife greets us as we glance around the living room at Rob and Jenny's house. The old clock on the wall shows

it is 7:45 and Rob hasn't shown up yet.  Little Michael is playing with his toys on the floor in front of the television his mother is trying to watch. Jennifer sits on the couch eating Chocodiles, trying hard not to cry or get too pissed off. She is still in her work uniform, although it is pretty ruffled and stained from the days work. Ashley walks in to the living room and heads for the door with her locked wooden box.

JENNIFER

(looking back at Ashley)

Where you going, kid?

ASHLEY

Out.

JENNIFER

Don't stay out so late.

ASHLEY

Where's Rob?

JENNIFER

(concentrating hard on the television)

I don't know.

Ashley, sensing something is wrong, slowly walks towards Jennifer.

ASHLEY

(surprised)

Are you crying?

Jennifer sits up in the couch.

JENNIFER

No.

ASHLEY

Oh, I didn't realize Andy Griffith was so emotional.

JENNIFER

You'd be surprised.

ASHLEY

(shruggs her shoulders)

See ya Mom.

Ashley opens the door and goes out. The door closes behind her.

DISSOLVE TO

EXT. SIDEWALK IN THE DOWNTOWN AREA OF THE CITY.  NIGHT.

Rob and Dylan are walking down the street headed for another bar.

DYLAN

You ready for some more?

ROB

Yeah, I know another place around here that has a some nice pool tables.

DYLAN

You got a cigarette?

ROB

Yeah here.

He hands him a cigarette. Dylan looks at him for a second and Rob realizes he needs a match as well.

ROB

Here.

Rob hands Dylan his lighter. They stop on the sidewalk as Dylan lights the cigarette. A person walking down the sidewalks bumps in to Rob, pretty hard.

ROB

Hey, watchit!

While this happens, Dylan pockets Rob's lighter. After taking a few initial puffs on his cigarette, he taps Rob on the shoulder to get his attention.

DYLAN

So what are you going to do about your problem?

ROB

I don't know. I could come up with a few grand, it would probably shut

everybody up.

DYLAN

You know I could help you out, I still know some people around here,

There's a guy that lives in some little piece of shit town around out in B.F.E....

Rob interrupts.

ROB

No...no way.  I don't need your help and really I don't want it. You're

not going to bail me out of another mess.

Rob takes a deep breath and looks at his watch.

ROB

Man, I gotta go meet someone, I'm sorry.  I'll see ya tomorrow or something.

DYLAN

You sure you can handle this?

Rob appears a bit agitated.

ROB

Uh, yeah.  Of course.

He looks around for second.

ROB

Where's the car?

DYLAN

It's over on fourth street...Hang in there man.

Dylan walks down the street, Rob pauses for a second looks at Dylan and walks in the opposite direction.

CROSS FADE

EXT. NEAR BUILDING WHERE ROB AND DYLAN WERE - NIGHT

We see a policeman in his squad car talking on a pay phone to who knows who. We overhear his conversation from a distance as several cars pass him without him even noticing them.

COP

No there's nothing going on here.  We pretty much stopped all that stuff after the mayor's kid offed himself.

This is the spot where Dylan and his cohorts (including Rob) used to come to drink when they were in high school. This was the favorite drinking spot for the kids from this part of town for as far back as anyone can remember. Or at least since the sixties. A couple of years ago a kid from a neighboring town overdosed on a combination of methamphetamine and cocaine. This of course caused the expected uproar in the paper and with the city council. The mayor ordered the city police to patrol the area nightly to prevent a sad event like this from happening again. Of course it was also to prevent any more offspring of wealthy white businessmen from dying on public property. This initiative faded out over the last year and although the high school kids have found other spots, Ashley prefers the solitude of this, formerly infamous spot.

We see Ashley as she walks through a barren residential neighborhood, every once in a while catching peeks at the night sky through the tree lined street. Soon she arrives at the same spot where Rob and Dylan first met that afternoon.

She sits down cross-legged, setting her box down in front of her. She opens the box and pulls out a pack of Marlboro Lights from the locked box. She lights her Marlboro Light 100 cigarette and takes a long slow drag.

ASHLEY

I tried to talk to  him again today and...(her voice fades)

Gradually we see her silhouetted against a full moon as she continues to talking to the night sky. Suddenly her body is illuminated by car headlights. Inside the car we see her two friends from school.

Ashley turns suddenly while quickly stuffing her box into her purse. Friend #1 leans out of the driver's side window of her parent's Oldsmobile and yells at Ashley.

FRIEND #1

There you are! Jesus, do you wanna go to that party or not?

Ashley sits for a moment pondering what the evening may hold for her.

FRIEND #2 (O.C.)

Ashley, let's go!

Ashley starts to smile, looks at her cigarette and puts it forcefully out on her palm.

FRIEND #1 (O.C.)

Jesus Girl!

Ashley turns and jumps into the car and they pull away into the night towards the party.

SLOW CROSSFADE TO

SOUND:  MUSIC (BON JOVI, "BAD MEDICINE) IS UP FULL AND FADES OUT INTO NEXT

SCENE.

INT.  DRUGGIE'S HOUSE - NIGHT

Rob is talking to Guy 1. A couple of his friends are laying around drinking and smoking dope. We slowly look around the drab room and its lounging druggies. There is a feeling of decay and primitive fear in the room. We can see Rob and Guy 1 speaking in the kitchen. Guy 1 is just partly visible behind a doorway and Rob fully visible.

GUY 1

So you're trying to tell me that you blew the whole deal, the whole shebang?

ROB

No, I'm trying to tell you that we're getting stiffed by this guy and I don't know what I can do about it. He swears he has the cocaine, but he's raised the price way out of our range. Somebody had to offer a lot more money or something for Terrence to break his word. I've never done anything quite like this before, but Terrence Foley was a legend when I was a kid. My Dad bought drugs from this guy.

Guy 1 puts a cigarette in his mouth.

GUY 1

You gotta light?

ROB

Yeah, hold on.

Rob fumbles around his pockets looking for his lighter.

GUY 1

I've got a match.

He lights the cigarette.

GUY 1

Well if you think you're gonna just walk away from this one, you're sadly mistaken, you know.

ROB

No, I don't know. What exactly are you trying to say?

GUY 1

I personally don't care all that much, but there are other guys who gave up a lot of their hard earned cash for this score, and they're gonna want their money back no matter what. You know there's gonna be a lot of really pissed off dangerous people. And the fact is I stood up for you. They would ask me, "man", they'd say, "man, why are you trusting this new guy?", and I'd tell 'em...

-MORE-

GUY 1 (CONT'D)

"He's my man, he's smart, he's a man of action, he's got the connections, he's fuckin' Steve McQueen". So apparently now you don't, and there's nothing I can do.

ROB

I'll get the stuff somehow, I guess.

GUY 1

It's up to you.

Rob nods and turns to walk away.

CROSSFADE

INT.  LIVING ROOM ROB'S HOUSE - NIGHT

Jennifer's TV plays snow. We follow Jennifer as she walks over to Michael, asleep on the couch.  She is wearing her work uniform.

JENNIFER

(leaning over him and nudging him gently)

Michael, its time for bed.

The little toddler ignores his mother.

JENNIFER

Come on. (she picks up Michael)I'll put your toys up later.

Jennifer carries Michael down the hallway and into his room.

CUT TO

INT. MICHAELS BEDROOM - NIGHT

Jennifer gently lays him on the bed and takes off his pants and shirt and covers him up. She softly kisses him good night, pausing to stroke his hair.

Suddenly she hears a loud knock on the front door and turns and whispers to Michael.

JENNIFER

That's your father. He probably forgot his keys. Now go to sleep.

Michael attempts a grin, but is exhausted as usual from a full day of day care, cartoons, etc...

JENNIFER

(Lovingly looking at her son)

'night.

Jennifer gets up from the bed and walks over to the light and turns the switch off. She pauses for a second or two to gather herself.

CUT TO

INT. LIVING ROOM, ROB'S HOUSE - NIGHT

The livingroom is empty as Jennifer walks in from the bedroom. She slowly walks to the front door and opens it. Dylan stands in the doorway looking a little worse for wear.

JENNIFER

Dylan!?

Dylan quietly enters the house and takes a seat on the couch. His ever present bottle is absent. He is still pretty drunk, but seems to know what he is doing. He appears to be serious.

DYLAN

(turns to Jennifer who has remained at the doorway, a little shocked)

Hi.

He pulls out a cigarette and lights it.

Jennifer closes the door and quickly walks over to a chair and sits attentively on the edge of the seat.

JENNIFER

Where's Rob?

DYLAN

I don't know.  He dumped me awhile back. I think he's out walking the streets. The man lives to brood.

JENNIFER

Some friend you are.

Dylan takes a big drag on his cigarette.

DYLAN

Friendship can only go so far once you realize you're alone.

She looks very exasperated.

JENNIFER

(exasperated)

How can you be alone and know what friendship is?

DYLAN

You'd be surprised.

JENNIFER

I can't believe this is happening, well, yes I can, I guess.

DYLAN

We've got to talk about Rob. He seems real preoccupied tonight. I think he feels trapped, Jen. I think he's trying to break the chains.

JENNIFER

What?

Dylan makes himself more comfortable on the couch, and flicks his ashes on the floor.

DYLAN

Well, I've known Rob since we were ten. The first time we met, I saved him from getting beat up by a couple of fifth graders. He didn't want me to, he still thought he could take 'em. His face was a sea of blood, his nose was broken, but he still kept getting back up. You should have seen him, it was unbelievable.

Dylan takes a long drag from his cigarette. looking off in the distance. He finally focuses on Jennifer and continues.

DYLAN

I just ran at 'em and scared them off. They were probably just tired of hitting him, to tell you the truth. He wiped his face, I gave him a smoke, and we talked about football.(pause)

-MORE-

DYLAN (CONT'D)

I'm trying to save him again. He's suffocating under this...family, or whatever you call it.

JENNIFER

Look, I'm his...

He sits up as he begins to talk.

DYLAN

(interrupting)

His what?  You're sure not his wife, Jennifer Jordan. Something tells me it's not Rob that doesn't want to get married.

(He looks at Jennifer with a questioning glare.)

Why is that now?  Maybe you still have feelings for someone else.  Someone you haven't seen for awhile. (looks her in the eye) You never told Rob about us, did you?

Jennifer stares into space.

DYLAN

You didn't.

JENNIFER

(softly)

There wasn't any reason to.

Jennifer moves to the edge of the chair.

DYLAN

Rob thinks I'm here because I need money or at least that's what I told him. The truth is that I've got a good job in Mexico. After all this time, all the hammers to the skull that life gives you, I still want you. Think of it, warm summer sun twenty-four hours a day, the ocean breeze.

Jennifer rolls her eyes at him.

DYLAN

You can bring your son with you and send your sister off to your Mother wherever the hell she is now. You'd be doing Rob a favor. I mean, he's never cheated on you since your first date when you were a sophomore in high school. Can you say that?

She gets up from the chair with tears in her eyes and points to the door.

JENNIFER

Get out.  Please!

Dylan gets up and moves towards Jennifer. He tries to grab her arms.

DYLAN

Oh come on.

She pushes at him violently away.

JENNIFER

Get out!

He heads towards the television as Jennifer points towards the door. He looks at her and stops, laughing.

DYLAN

(looks left towards TV)

You guys got cable?

Jennifer throws a pillow at Dylan.

DYLAN

Sure I'll go, but just tell me one thing. Is that kid of yours Rob's?  Because I met a guy at JoJo's today who told me you've screwed everything in town but the fire hydrant at 14th and Main.

Jennifer gets up and storms over to Dylan.

JENNIFER

Listen, I want you out of here now.  I want you away from Rob, away from

this town, and away from my little boy!

Dylan walks towards the door, with Jennifer following him.

JENNIFER

Get out!

DYLAN

Wait a second.

Jennifer pushes him towards the door.

JENNIFER

There is no up from knowing you, only down.

DYLAN

Jen, give me a chance...

JENNIFER

Maybe you can get a little lower, but I can't and no one is going to screw up my family but me.

Jennifer opens the door, pushes Dylan out and slams it in his face. She turns around and falls on the couch and begins to angrily punch it.

CROSSFADE TO

EXT. BRAD'S HOUSE - NIGHT

We find ourselves outside a middle income suburban home. Not much activity is going on accept a young teenager peeing into the front bushes. Loud music can be heard coming from the house.

CUT TO

INT. BRAD'S HOUSE BATHROOM - NIGHT

Brad stands over a sink with his face buried in his hands. He exhales forcefully, looks into the mirror and shakes his head at his image. He feels his life, the party, and his physical well being are spinning out of control. Suddenly the door opens and Ashley walks in. Brad turns and speaks to her.

BRAD

Sorry, I thought I locked the door.

ASHLEY

That's OK, I locked it.

Brad, exhausted and feeling a bit uneasy sits on the toilet in the cramped little bathroom.

BRAD

What?(pause) Hey, uh, Ashley right? I'm sorry about today.

ASHLEY

Today?

BRAD

Today in English class. Some of my friends get a little out of control.

Ashley moves closer to Brad, standing over him seductively.

ASHLEY

Like tonight?

BRAD

Yeah sure, I guess.

Ashley sits on Brad's lap putting her hands on his shoulders, making Brad, the supposed lady's man, quite uncomfortable.

ASHLEY

Do you want to fuck me?

BRAD

Huh?

ASHLEY

You heard me.

They both stand up and begin tentatively then frantically shedding their clothes. Ashley undoes Brad's jeans and pulls them down to his ankles. Brad uncomfortably fiddles with her bra. Ashley suddenly pulls Brad backwards and they fall through the shower curtain and into the bathtub. Brad knocks his head hard into the porcelain, gashing his head. Ashley begins screaming at the top of her lungs.

ASHLEY

Help! Rape!

She continues screaming as she gets up and unlocks the door. Friend 1 and some older boys come in to check out what's happening. They find Ashley leaning against the wall, jeans unzipped, shirt on and bra undone and still screaming.

FRIEND 1

What's the matter Ash?

Ashley, holding back the tears, looks at her.

ASHLEY

He tried to rape me.

Brad, dazed by the blow to the head, rolls over slowly, only now beginning to comprehend what is going on.

PARTY DUDE

This is not cool dude. This is not cool at all man.

FRIEND 1

Let's go home Ash. what a jerk!

Ashley zips up her pants and she her friend leave while the Party Dude slams the door leaving Brad to soak up what has just happened.

CUT TO

INT. LIVING ROOM - NIGHT

It is now after one o'clock the same night. Most of the lights are off, save for the light of the television which is now showing only snow. We see Jennifer, still wearing her Denny's uniform, asleep on the couch.

CUT TO

EXT. ROB AND JENNIFER'S HOUSE - NIGHT

Rob's Pinto slowly rolls to a stop in front of the house. He gets out and stumbles to the front door. We watch as he stands at the door fumbling with his keys and the lock. Finally he opens the lock and opens the door.

CUT TO

INT. LIVING ROOM - NIGHT

Rob opens the front door, walks in and sees Jennifer asleep on the couch. He walks over to her and bends to one knee. He looks as though he has been through a war.  His hair is rustled and his clothes are tattered.  He has sobered up a bit and is starting to feel it. He starts to gently caress Jennifer's hair.

ROB

Honey, wake up.

He sits on edge of couch facing Jennifer.

JENNIFER

(rolls over)

Rob?

ROB

Please, let me talk.

(thinks for a second, since he      hasn't really thought any of    this through)

I've been driving around for hours, thinking about us and our life, and...and all I can figure out is that I, I...whatever happens, it just doesn't matter.

Rob winces and gets up off couch and stands.

Jennifer sits up on couch.

JENNIFER

(a little groggy)

I can't believe him.  He probably lied about everything you know.

ROB

Who lied?  What do you mean?

JENNIFER

Dylan.

Rob looks relieved she didn't find out somehow about his botched drug deal.

ROB

Oh Dylan, well you know how he is.

JENNIFER

Rob.

ROB

(sadly looking at Jennifer)

Can we ever be how it's supposed to be.

JENNIFER

It's up to you.

Rob, feeling a puke coming on, speaks as quickly as he can. Jennifer puts her arm around him, which makes Rob feel good, but he looks uncomfortable.

ROB

I just wanted to say that, that well, maybe you and me, maybe, I don't know.

He looks pale and gets up very quickly and walks a few steps to the hallway.

JENNIFER

Where are you going?

He is walking to the bathroom and he stops when she asks him the question and turns partly to her.

ROB

You're my life, but I've got to puke...

Walks a few steps and says with back to Jennifer.

ROB

Again.

Rob heads into the bathroom. Jennifer stares after him with a look of concern and despair on her face.

DISSOLVE TO

EXT. BAR - NIGHT

It is a clear dark night and a little wet from a late night mist that has blanketed the town with a light covering of moisture.

CUT TO

INT. SAME BAR - NIGHT

Inside the bar a smattering of people sit at the bar with a few others quietly milling about.

SOUND:  MUSIC (DEEP PURPLE, "SMOKE ON THE WATER") UP FULL.

Dylan can be vaguely seen at the opposite end of the long bar.

As we look around the bar, our attention once again becomes focused on Dylan and we can see that his choice of drink at this moment is tequila.  He has a local patron, who happens to be Guy 1, entranced by his drunken stories of his past escapades. We can't hear Dylan, but as the music plays we can see Dylan telling very animated stories, while Guy 1 buys him another drink. Guy 1 is enthralled at all the seemingly exotic places that Dylan can describe in vivid detail with seeming accuracy. This time, Dylan is really very drunk and is getting worse. The bar is crowded, but is quickly thinning out.

DYLAN

(turning to his new friend)

You got a cigarette.

GUY 1

Yeah sure.

He reaches into his coat and pulls out his pack of Pall Mall unfiltered. He hands one to Dylan who puts the cigarette in his mouth, pulls out Rob's Zippo lighter and lights it. He takes a big soothing drag and coughs.

DYLAN

Like I was saying, this job in Mexico is the perfect gig. These guys own the local cops, I can't get hurt. Plus the tourists who run through Cancun (sighs) It's astronomical.

GUY 1

(pauses)

No shit.

DYLAN

Yeah, but the coolest thing is I can help out some friends from down there, you know what I mean?

GUY 1

Cool.

DYLAN

I'd need some dough up front though, but I guarantee you'd get it back in

spades.

GUY 1

How much are we talking about?

DYLAN

A few grand, but I'd need it tomorrow...I'm leaving in the evening.

Dylan pauses for a few seconds and looks around the bar.

As we look with Dylan, we see several seedy looking characters dancing a slow dance with their women.  Others are just standing around. No one seems to be talking. A silence takes over the bar.

Dylan gets up from his seat and walks towards the toilet.  On his way past Guy 1, he puts his hand on Guy 1's shoulder and speaks.

DYLAN

Be back in minute.

As Dylan walks towards the toilet things begin to seem a bit surreal. The crowd around him moves in slow motion, they're conversations seeming distorted.  Only the music is clear.  Dylan looks flushed and appears to be

sweating like he has just run a few wind sprints.

He opens the door to the men's toilet.  What he sees is not the men's room, but his grandmother's living room.

CUT TO

INT. GRANDMA'S HOUSE.  NIGHT.

Dylan's GRANDMA sits in a rocking chair working on a needle point.  His grandmother wears a house coat and slippers.  She is a woman who appears older than her sixty-two years.

GRANDMA

Where have you been?  This is the last time you're gonna be out all night. You here me?  I'm calling the police next time.

DYLAN

Fuck off, you old bitch!  Why are you still on my case.

Grandma is hurt by his language.

GRANDMA

If your father was here, you wouldn't talk like that to me.

DYLAN

Look, OK, I'm sorry, but Dad is never coming back and I don't give a shit if he does...and what are you doing here, what am I doing here?  You're dead.

GRANDMA

Why did you leave me like that?  I never could remember to take those pills on my own.

DYLAN

Aw shit.

GRANDMA

Now Dylan!

DYLAN

How can you put that on me?  Jesus, I'm sorry, I'm sorry, sorry...Sorry!

CUT TO

INT. MEN'S ROOM, BAR.  NIGHT.

Dylan turns and sees that he is back in the men's room.  A young man finishes peeing at urinal, looks at him kind of strange and leaves quickly. Dylan trying to make up for the weird scene he's put on, gives the fellow his best crazy look.

DYLAN

Sorry man!

Dylan forgets that he has to pee. He turns on the water in the sink and splashes some water on his face. Then he heads back out to the bar area.

CUT TO

INT. SAME BAR - NIGHT

Dylan walks into the bar and sits back down next to guy 1.

GUY 1

Saved your seat.

Dylan nods.

DYLAN

When I left home I didn't even tell my Grandma why.

GUY 1

Huh?

DYLAN

I left her a note.  Most of which I plagiarized from an After school Special.

GUY 1

Wow.  So what happened to granny?

DYLAN

She died.

GUY 1

Hey, sorry man.  That kind of stuff it's part of life, you know...

SOUND:  GUY 1'S VOICE QUICKLY FADES OUT.  ALL BAR SOUNDS AND MUSIC ("SMOKE ON THE WATER") FADES OUT TO TOTAL SILENCE.

Dylan gets up from his bar stool, his pal is mid-sentence, he looks down, picks up his empty shot glass and thinks to himself. He slowly rubs his fingers around the top of the glass. Suddenly he fires his best fastball at the mirror behind the bar. He gets the bartender's attention in an instant. The silence of the bar is shattered with the sound of breaking glass and the oddly silent bar and crowd noises come flooding back.

BARTENDER

(off camera)

That's it, you're out of here!

Dylan has already started towards the door. Just before he gets to the door, a bouncer grabs him from behind.  Dylan turns his head back.

DYLAN

(snorts)

Fuck you, I'm going.

CUT TO

EXT. OUTSIDE SAME BAR

The big muscled bouncer pushes him out the door. Dylan falls hard on the concrete sidewalk. He gets up quickly and starts to scream.

DYLAN

(screaming at the top of his lungs)

Fuck!  Fuck!  Fuck!

As he stumbles from the bar, at the edge of the small parking lot, Dylan spots a long metal rod. He takes the rod and proceeds to smash the windows and tail lights of several cars on the edge of the lot, until he spots someone opening the bar's door. The door opens slightly. In his drunkenness, he doesn't realize the amount of noise he has made at this late hour, but he does take off running, not realizing that his actions have been witnessed and a small posse has been formed. Dylan runs for a block or two, but exhausted, he slows, and begins walking aimlessly. His body is brightened by car lights from two sides, as several cars converge on him. He glances, panicking, around at his situation. Several angry men surround him. He could run, as there is an opening. But he remains still as if accepting his fate. Suddenly he dives on the hood of the car to his left and just lays there. The men peel him off, drop him on the ground and beat him severely. Kicking and punching him again and again. Dylan only moans and raises his arms to say stop, but they don't. After awhile, he appears half dead, so the men get in their cars and leave.

The street lamps around him illuminate his limp body.

He lays in a fetal position. After a few seconds, he reaches into his pocket and pulls out a rather beat up and bent cigarette. His hand shakes as he sits up and puts it into his mouth and lights it. His face is bleeding and he has trouble inhaling. He sighs.

CROSSFADE

INT.  ROB'S KITCHEN - NIGHT

Ashley is reading and smoking at the kitchen table with the back door open so that the smoke will go out it. It is nearing three o'clock in the morning. Her box is on the table. The door is very close to the table with Ashley's back to the door.

Behind Ashley, we can see a slumping, limping Dylan opening the screen door. He slinks in.

DYLAN

(Looks to his left sees Ashley and says cautiously.)

Hi.

Startled, she gasps and turns around.

ASHLEY

Uhhh.

DYLAN

Don't worry I'm an old friend of Rob's and Jennifer's.

Ashley's first instinct would be to run, but she doesn't. She is strangely absent of panic, even though she hasn't seen Dylan in many years. She knows who he is, but can't remember exactly. She can see that Dylan is in obvious pain and his mouth is still bleeding.

ASHLEY

Are you alright? Jesus.

Dylan walks over to the table and pulls out a chair next to Ashley.

DYLAN

Yeah well, you should see the other guy.  I think I'll sit down though.  (he sits)  You don't look so hot yourself.

Dylan looks up at the bruise that is beginning to show on her cheek from her adventure in the bathroom.

ASHLEY

(sarcastically)

Thanks. It's nothing.

DYLAN

Hey, do you mind raidin' the liquor cabinet for me?

ASHLEY

Anything in particular?

DYLAN

Whatever.

Ashley gets up and goes over to the liquor cabinet and pulls out a bottle. She sets the bottle in front of Dylan on table and then goes over to another cabinet, and opens it.

ASHLEY

We're out of clean glasses.

He takes a swig out of the bottle.

DYLAN

Don't worry about it.

Ashley takes the dirty glass and pours some water in from the sink. She takes the glass with her and returns to the table and sits. Dylan notices Ashley's lit cigarette setting in an ashtray next to her box.

DYLAN

Mind if I borrow one of your smokes?

ASHLEY

You can have them all. I quit today.

Dylan grabs her pack and takes a cig out, rips off the filter and lights it in one quick swoop.

DYLAN

(exhaling)

Yeah sure. I don't care what you do.

Ashley tries to be charming and make funny wise cracks, but they aren't really funny.

ASHLEY

I know a lot of guys that feel that way, but you're the first that has come right out and said it.

DYLAN

Well I've never been one to follow.

ASHLEY

Do you want me to go get Rob?

DYLAN

I did want to see your sister, but I changed my mind.

ASHLEY

Are you going to stay here in town now?

DYLAN

I thought what I wanted, what I needed, I'd find here. But it didn't turn out that way. It doesn't matter, how often do long shots come in anyway?

There is a pause while Dylan leans back in his chair and takes a big drink of whiskey. Ashley stares intently at him, as Dylan acts oblivious to this.

ASHLEY

You know, I know you.

DYLAN

Oh yeah.

ASHLEY

You were the guy with the really long hair who used to hang around our old house when Jen was in high school.

DYLAN

Can't deny it.

ASHLEY

(pauses for a moment)

Did you ever feel like you wanted to tell or do something, and you just couldn't?  I mean...

DYLAN

(interrupting)

I don't know.

Dylan winces in pain.

ASHLEY

Are you OK?

DYLAN

Yeah, I'm fine.

Dylan tries not to grab at his side, but his right hand lurches in that direction.

ASHLEY

Are you sure?

DYLAN

Yes.

He shakily pours some liquor into the glass Jennifer cleaned. He stares at it for a second and takes a big drink.

ASHLEY

What do you do then?

DYLAN

Huh?

ASHLEY

What do you do when you want to do something and you just can't.

DYLAN

You get over it.

ASHLEY

What?

DYLAN

I don't know.

Dylan pours another drink and takes a big drag on his smoke. He reaches over to her box and grabs it.

DYLAN

Hey, what's this?

Ashley grabs for her box, trying to get it back.

ASHLEY

Nothing.

Dylan playfully bumbles with the box and laughs cruelly.

DYLAN

C'mon let me see it.  What's in it?

Ashley gets a hold of an end of the box and they desperately play tug of war with it until Dylan knocks it out of her hands and it falls on the floor and comes open. In slow motion, the box hits the floor and a picture of her and her mother and father flies out lays face up beside the fallen box and its contents.

Ashley is near tears as she scrambles to floor to quickly pick up the box and its contents. While she is doing this, Dylan gets up to leave and winces in pain.

He takes drag on his cigarette and stamps it out in the ashtray. He is angry and drunk. He picks up the copy of Wuthering Heights, she was reading when he came in.

DYLAN

You like this book?

Standing up with her box in her arms, she is very upset. She doesn't understand much of what has taken place.

ASHLEY

(hesitantly)

I'm reading it for school, but I really like it.

Dylan walks towards door, looks at book, turns and throws it at the table.

DYLAN

I used to think I was a writer. A long time ago. Stupid poems and stories about a lot of crap I thought was cool.

ASHLEY

Why did you stop?

DYLAN

It all sucked, so I threw it away.

Ashley says nothing as Dylan opens the back door.

He turns to her with a sad, resigned look on his face.

DYLAN

Ashley, make a note. The world is a place where people go to die.

Dylan leaves out the back door.  It is around two-thirty or three o'clock and Ashley yawns, leans back and opens up her book.

CROSSFADE

EXT.  COUNTRY ROAD - DAWN

We see Dylan walking down a country road on the outskirts of town. The rising sun can be seen behind Dylan as he walks towards us. A pickup truck emerges from the horizon. When it gets near Dylan, he turns and thumbs a ride. The farmer's truck stops up ahead of him.  We can see that the farmer yells something at Dylan and he barks something back and painfully hops in the bed of the truck. The truck drives down the road into the morning mist.

DISSOLVE TO

INT. ROB'S KITCHEN - DAY

Ashley has her head on the kitchen table, sleeping with her book beneath her face. We watch as Jennifer walks into the room and looks down on her sister. She tries to wake up Ashley.

JENNIFER

Ashley.

Jennifer nudges her again. She sees the whisky bottle on the table and several cigarettes in the ashtray.

JENNIFER

Wake up. Tough night?

Ashley looks up at Jennifer. She looks like shit.

ASHLEY

I'm up.

JENNIFER

You do realize that passing out on the kitchen table is not the recommended way to achieve a good night's sleep.

Ashley leans back and tries to gain some semblance of humanity.

ASHLEY

Thanks mom.

JENNIFER

You better hurry up for school.

She walks over to the sink and starts to clean some dirty dishes left over from last night.

ASHLEY

(off camera)

Your friend was here last night.

Jennifer turns around.

JENNIFER

Friend, what friend?

ASHLEY

Dustin, Daimon, uhh...

JENNIFER

(off camera)

Dylan?

ASHLEY

(rubbing hands on her face)

Bingo.

Jennifer leans against the sink counter.

JENNIFER

He was in here?  Where is he?

Ashley slowly gets up.

ASHLEY

(yawning)

I guess he left town...I've gotta take a shower.

Jennifer quickly walks over to the table and leans on it for support.

JENNIFER

(raising her voice)

Wait a minute.  He said he was leaving for good?

Ashley stops near the kitchen table.

ASHLEY

That's the way it sounded. I don't know. Somebody beat him up pretty bad, it looked like. His face was swollen and he had blood on his shirt.

JENNIFER

Why didn't you get me?  You should have come to me.  I could have helped or something. (pauses)  How can you just let a strange man walk into the house like that and not try and tell someone?

ASHLEY

I think you just answered your own question.

JENNIFER

My own question?

ASHLEY

Yes that's right.

JENNIFER

What's right?

Ashley looks away from Jennifer.

ASHLEY

I don't think Mom is ever coming back.

JENNIFER

There have been times when I've wanted mom back.

ASHLEY

I never read poetry anymore.

JENNIFER

The pain of her existence here is only equaled by her absence.

ASHLEY

You always called her Janet.

JENNIFER

Whatever. You don't know what Dylan could have done. He could have been on drugs or something.

ASHLEY

Whatever.

Ashley walks towards the hallway and to the bathroom.

JENNIFER

(to Ashley, but more to herself)

You don't know what he could have done.

DISSOLVE TO

EXT. SMALL TOWN - DAY

It is fairly early in the morning and Dylan isn't in that great of shape. The truck Dylan hitched a ride in stops at the edge of a small rural town. The town's sign is in the shot with population around one thousand or so. It is very quiet out.

The town is not only small but looks in very bad shape due to great poverty in the area. People in town park their trucks in their front yard, ignoring driveways.

DRIVER

(yells back at Dylan)

End of the line.

Dylan hops out of the back of the truck and winces in pain. The truck drives off quickly trailing twin spires of dust.

DYLAN

(mutters)

Thanks.

He looks around and randomly picks a direction to start walking into town.

Unbeknownst to Dylan, a strange looking local watches Dylan from a distance.

CUT TO

INT. WATERBED STORE, BACK-ROOM.- DAY

Rob is talking on the phone and trying to keep his voice down. He is taking his break and has broken into the sack lunch lying on the table, a bit early.

ROB

See, but I will get you the extra money if you give me some time...two weeks...huh...Look, its kind of hard to hear you...two weeks...I'm not shouting.  huh...I'm at work...(to himself) damn...

Rob puts a finger in his ear, turns and walks away from where he thinks the noise is coming from.

ROB

I have a friend who I can get the money from, but it'll take a while to get cash...huh...the cash, the money is in...

Rob pauses to think where this non-existent money is going to be coming from.  He looks around, somewhat tangling himself in the phone-cord, and sees a poster on the wall that says, "Visit Sunny California".

ROB

The money...my friend lives in California.

Rob sees his open lunch sack, with an orange laying half-way out of it.

ROB

Out in Orange county. He just can't wire this kind of money and...yeah...I know...I know...but we had a deal before...OK, OK...really...Thanks Terrence...You've heard this before, but you won't be sorry...I, uh...

Terrence hangs up.

CUT TO

INT. TERRENCE'S PLACE - DAY

We find ourselves looking around a very nice room in a very nice house. It isn't ritzy, but has many more gadgets than Rob's place. This is Terrence's place.

Terrence is sitting in a chair, on the phone, and is facing a guy sitting in a chair opposite Terrence. He keeps his back to us. We never completely see this person, but he is a sidekick of Terrence's. Terrence is talking to Rob. It is the other end of the previous conversation. Terrence is sipping from a Hi-C fruit juice box. He is a man who aspires to look like a modern day mobster, but his hairdo being a near crew-cut on top and long in the back, suggests either a big Metallica fan(which he is) or a television hockey analyst.

TERRENCE

Well how much time do you need then?...What did you say?

Terrence mouths the words to his unseen henchman.

TERRENCE

(mouths)

I can't hear him.

Terrence kind of hears Rob now.

TERRENCE

Two?!

Terrence moves the phone from his ear.

TERRENCE

Look, you don't have to shout that loud...If you're in a hurry, get to the point...What?

Terrence mouths words again.

TERRENCE

(mouths)

I can't hear him.

Terrence rolls his eyes again and speaks to Rob.

TERRENCE

I'm getting bored, you either can get the money I'm asking for or I'm going to sell to someone else..

(a little agitated)

I never said we had a deal, I said it was possible if you could get three thousand dollars, but prices change, its like the stock exchange.  Right now, its a bull market.

(deep breath)

I'll give you some time, but if I get a better offer than five thousand, then you lose.

Terrence makes mocking face to unseen guy.

TERRENCE

That's all I can do.

Terrence hangs up on Rob and takes the last noisy slurp from the straw of the Hi-C fruit drink box.

CUT TO

EXT.  SMALL TOWN SQUARE - DAY

Dylan reaches the city square (downtown). The sun is out. A strong Midwestern wind blows Dylan's unkempt hair into his face. The square is typical for this part of the country, with the city hall in the middle, shops and bars surrounding it, with the town's one stoplight guarding in the northwest intersection.

The pain of his many wounds becomes too great and Dylan falls to the ground. He manages to crawl up against a brick wall of a building near him. He reaches into his jacket for a cigarette, but none is to be found.

Across the street a man watches as Dylan falls to the ground. He is a dirty, bearded, all-around dusty character who looks much older than he actually is. He approaches Dylan.

Dylan moans as he sees this character coming towards him. His name is T-BONE. T-Bone is the character in every small town that in reality is a pain in the ass, but because of his disabilities, everyone puts up with him.

T-Bone is a regular fixture at the three bars in the town and is basically always drunk. He is mildly retarded, walks with limp, and stutters badly. He wears the same clothes for days and only bathes when someone in town invites them to their home in acts of pseudo Christian kindness. T-Bone always wants to be friends with everyone.

T-BONE

(he stutters)

Looks like yyyyou're in bad shape, ccccccowboy.

Dylan looks up at his savior in disbelief at his luck.  His look says "now what?".

DYLAN

I'm OK.

T-BONE

SSSSSSure you are.  Aaarrrrr, where are you goin'?

The thought just occurred to Dylan.

DYLAN

You know, I'm not really sure. I guess I'm a runaway.

T-BONE

Fffffrom where?

DYLAN

Not where, when.

T-BONE

Wwwwh, wwwhen?

DYLAN

When.  A time.  A place.

T-BONE

What yyyyyou need is a drink.

DYLAN

You give me a cigarette and I'll buy the first round.

T-BONE

I don't smoke.

T-Bone quickly reaches down and helps Dylan up.  The pain of being helped up quickly replaces thoughts of disappointment for the lack of smokes. T-Bone puts Dylan's arm around his neck. They begin to walk slowly towards the bar.

T-BONE

My nnnnnname is Kkkkkkkken, but everyone ccccccalls me T-Bone cccccause I work at the meat plant.

DYLAN

(looking towards T-Bone)

Lead us to the well T-Bone.

They continue to walk down the square.

CROSSFADE

INT.  LIVING ROOM, ROB'S HOUSE - DAY

It's mid morning and Ashley is laying on the living room couch with headphones on, listening to music that the we can also hear. She is holding her box.

SOUND:  MUSIC (BLACK FLAG, "I LOVE YOU")  UP FULL.

Rob opens the front door and walks carefully in the livingroom. He walks over to Ashley and tries to get her attention, but she is oblivious. He pulls the headphones off her head and the music disappears. As is his habit, Rob sucks on a Lucky Strike cigarette throughout his entire conversation with Ashley.

ROB

Jesus, Ashley.  You should be in school.

ASHLEY

Jesus, Rob.  You should be at work.

Rob looks towards the ceiling.

ROB

Fair enough.

ASHLEY

My story's easy, I'm in high school, so what's yours?

ROB

(sits down on edge of the couch)

Believe it or not, I'll tell ya. The day was going pretty good, considering I didn't feel so good...

ASHLEY

Hangover?

ROB

Uh, yeah.  Then my boss, Jim, comes and starts giving me a lot of flack about never coming back from lunch yesterday.

DISSOLVE TO

INT. FLASHBACK TO WATERBED STORE - DAY

The BOSS confronts Rob out on the floor with Parker watching and smiling as Rob reacts to the boss.

The Boss is obviously upset with him. The boss is a man in his early thirties. He got to his hallowed position by holding on until his father retired. Even though the boss's father still owns the store, Parker felt that he should have been given the job as manager.

Rob doesn't really care about the office politics and bickering yet often finds himself caught in the middle. Unfortunately this is one of those times when Parker should have covered for him but chose to squeal instead.

BOSS

I don't know what to do.  You're late all the time, you're hung over when you're here, and yesterday you go to lunch and never come back.

We continue to see the Boss bitching out Rob as he continues to tell Ashley the story.

ROB

(voice-over, to Ashley)

I'm thinking, you know, this is understandable.  But I don't know how he found out about it, unless Parker told him, that SOB...I know he told him.  Anyway, he's yelling at me, throwin' out all this crap about responsibility, teamwork, and stuff,

The Boss shakes his finger at Rob.

BOSS

You need to show responsibility. When you do this stuff you let down the team.  If you let down the team, everybody loses.

ROB

(voice-over to Ashley)

And while he was talking, my mind just started to drift.  And I just kept thinking what bullshit it all was.  And I looked up at him, stared him right in the eye, and just went...

Rob gives Boss the finger.

ROB

"Fuck you!"

The Boss stares at Rob incredulously.

ROB

(voice-over to Ashley)

So he goes,

The Boss looks at him angrily.

BOSS

"What?".

ROB

(voice-over to Ashley)

So...I don't know...it was like someone else was taking over my body or something, because I gave him the finger, leaned forward, close to his face and told him again, this time louder,

Rob leans towards the Boss and puts his middle finger right on the Boss' face.

ROB

"Fuck you!".

DISSOLVE TO

INT. ROB'S LIVING ROOM - DAY

ROB

Unbelievable.

ASHLEY

Then what?

ROB

Then I left.  I didn't bother to stick around after that.

(looks away and thinks for a second, then tells Ashley)

Look, I don't care if you didn't go to school or anything today, just let me tell Jennifer about the, uh, incident, when I'm ready.

ASHLEY

Sure.

ROB

Sure?

ASHLEY

Sure.

ROB

OK.

Rob gets off couch and heads into kitchen. We hear him rummaging through the cabinets. Ashley looks after him with a tired, curious look on her face.

ROB

(off camera)

Where's my bottle of Southern Comfort?

Ashley hurriedly puts her headphones back on and lays back on the couch.

CUT TO

EXT. PARKING LOT OF THE WATERBED STORE.  DAY.

Flash back to the scene of Rob's firing.  We see Rob's Pinto leaving the parking lot.  Parker and the Boss stand outside the front door. Parker turns to the Boss.

PARKER

Are we looking for a new salesman now?

BOSS

Nah, He'll be back tomorrow.

CUT TO

EXT. OUTSIDE THE SMALL TOWN - DAY

A gruff looking, very large BIKER dude is standing next to his broken down Harley.  The biker looks unusually stressed. He is sweating profusely as he tries to thumb a ride. An OLD LADY in a very big seventies era Oldsmobile pulls up. Before he gets into the car he kicks his bike.

CUT TO

INT. LADY'S CAR - DAY

The biker gets in the car but it doesn't move.

BIKER

Hi. Uh...

The farmer's wife interrupts him.

OLD LADY

Before we go anywhere, who are you?

The biker wipes his brow.

BIKER

That's a pretty tough question.

The car continues to sit there.

BIKER

OK, Look lady, I don't know, can't you just take me into town so I can get some gas.

OLD LADY

My family's been in this county for over one hundred and fifty years and I could tell you exactly who each and every one was, including myself.  I'm a grandmother, a wife, a Christian, and a pretty darn good cook.

BIKER

I'm a complete failure.

OLD LADY

Let's go then.

The car pulls away into town.

CUT TO

INT.  COUNTRY BAR - DAY

Dylan and T-Bone are sitting at a table in a far corner of the local tavern. They both quickly suck down their brew and Dylan smokes like a fiend. The real big Biker looking guy sits in the bar. He is the only other patron in the bar. The bartender stands behind the bar looking incredibly bored. Dylan takes a big gulp of his beer.

DYLAN

You probably know this, but I'll say it any way. Women just don't know what they really want. And I'm not just talking about sex, I'm  talking about everything from where they want to eat, what shoes to wear, what man to be with, to what the hell they want to do with their whole goddamn life. They bitch and moan on the Donahue show or whatever all the time about how they want men to communicate and tell 'em how they feel, so you open up, tell your true feelings, just a hint, and what happens...

(looks at T-Bone and questions loudly.)

What happens?

T-Bone looks surprised that Dylan is really talking to him. T-Bone is a tad smashed.

T-BONE

(slurring)

I don't know.

DYLAN

OK, I'll tell ya what happens, they piss on you. You try and be Mr. Sensitive, and it's not like I actually meant it, you understand, but I'd thought that's what she'd want to hear. Anyway, so when I do, she looks at me, and tells me to shut up. I mean, some things just aren't worth the trouble (pause.) I guess.

T-BONE

(looks puzzled)

I hear ya.

DYLAN

(looking more puzzled)

What happened to your stutter?

T-BONE

I guess it goes away when I'm drunk.

DYLAN

No shit. You should drink more often.

T-BONE

(slowly.)

That's what I keep telling my Mom.

DYLAN

(takes a drag and looks in his pocket. He coughs rather badly, and winces.)

Hey man, this is my last two bucks, you got any money?

T-BONE

Yeah.

DYLAN

How about you gettin' the next few?

T-BONE

Sure.

T-Bone walks over to the bar and orders two beers.

Dylan has a slight grin. T-Bone spills the newly filled beers a little as the bartender hands them back to him, trips over a bar stool, is knocked off balance and finally runs into the Biker. He looks at the Biker and tries to say something.

T-BONE

Ssssss-ssssssorrrrry.

BIKER

Stuttering motherfucker.

T-Bone stumbles his way to his seat.

DYLAN

Why don't you leave the man alone, he was just apologizing.

BIKER

Maybe you wanna take this outside.

DYLAN

(to T-Bone, but loudly so the thug can hear it.)

This is the dumbest thing I've heard in my life.

(pauses, feels his gut, and looks at the thug.)

But I'm gonna kick your mother fuckin' ass anyway.

BIKER

Fine.

The big Biker gets up, turns around and stubs his toe on the table in front of him. It makes a big noise as leftover beer glasses crash to the floor. As we watch the Biker go, we can hear T-Bone laughing tentatively.

Dylan slowly gets up from the table. Outside of an occasional wince, his face is totally blank.

CUT TO

EXT. OUTSIDE COUNTRY BAR - DAY

Dylan and the Biker leave the bar and walk out onto the gravel covered, dusty parking area. Dylan puts up his dukes. The Biker smiles and reaches with his fat grubby arm into his jeans jacket and pulls out a .38 pistol. Dylan looks from the gun to the Biker. He seems almost pleased.

He leans forward slowly and heads towards the thug in an act of suicide. But he is too slow. His injuries prevent him from achieving his goal.

BIKER

(raising up the gun)

Your dead!

T-Bone suddenly jumps onto the thug and tries to grab his gun. The two men go down with Dylan feebly trying to separate them. The gun goes off and T-Bone is thrown towards Dylan. Dylan tries desperately to catch him, but is knocked over.

T-Bone lies across Dylan with a ragged hole in the middle of his chest. Seeing what he has done, the Biker gets up and runs away. Dylan begins to struggle under the weight of T-Bone's huge bloody mess of a body. In his struggle to get out from under the body, he gets blood all over him. Hearing the shot, the bartender runs out to see what has happened.

BARTENDER

(looking at T-Bone's bloody chest)

What happened?

Dylan screams inaudibly.

BARTENDER

I'm calling the sheriff.

Dylan pushes T-Bone off him and leans over his limp dead body. He shakes his head.

DYLAN

Should've been me.  (whispers)Should've been me.

Dylan sits back and relaxes himself.

DYLAN

It's the loneliness. It hurts to be alone. It hurts to be alone when it's cold outside. It hurts to be alone when it's cold inside. It hurts to be alone when it hurts to be alone.

Dylan sits still for a second, regains his thoughts, reaches into T-Bone's pocket and removes his wallet. He takes the money out and puts the wallet back into

T-Bone's pocket.

T-Bone begins to come to.

T-BONE

What happened?

DYLAN

You got shot, but you'll be OK, I think.

T-Bone tries to get up, but Dylan forces him back down.

DYLAN

Would you just lie still, you idiot.  I've gotta get out of here.

T-Bone coughs.

Dylan gets up as fast as he can and begins to leave.

The bartender sees Dylan leaving and yells after him.

BARTENDER

(off camera with his shadow over T-Bone's body)

You better not leave, the sheriff'll be here any minute.

Dylan runs away, up an alley, past the bar.

BARTENDER

Stupid bastard.

The bartender looks down at T-Bone's ravaged body and slowly turns and walks back to the bar. As he leaves we watch his shadow cross the body and recede into the distance.

The blood continues to form an ever larger puddle around the body.

Dylan runs through the alley.  He runs for a few more seconds and then, looking at the blood on his shirt.

He stops, takes a deep breath, winces in pain and buttons up his jacket to hide the blood. He then takes off running again.

In the distance we can hear the sound of police sirens as they make their way to the bar.

CROSSFADE

EXT. FRONT PORCH OF ROB'S HOUSE - DAY

Rob is sitting on the front step of his house late in the afternoon, smoking a cigarette and waiting for Jennifer to come home from work. We can see her car come up the road and pull into the driveway.

ROB

(to himself)

Just be calm.(takes deep breath)

Jennifer gets out of her car and looks up at Rob. She slams the car door. It's obvious that she already knows of Rob's firing. She walks quickly towards him.

Rob opens his mouth, but Jennifer beats him to it.

JENNIFER

(off camera)

Don't even say it.

Rob opens his mouth to offer an explanation but thinks better of it and closes it again. He look as if he would rather be anywhere else at this point.

JENNIFER

Your boss came into work today, telling some really funny stories about your last day at work.

Rob sits quietly for a second, takes a deep breath and plunges in.

ROB

Please just calm down and I'll try to explain everything.

JENNIFER

Explain! Something tells me that you yourself can't even explain this.  Can you think of one reason why you thought you could talk to your boss that way?

Exasperated, all of Rob's prepared speech has now gone out the window.

ROB

To tell you the truth, I don't ...but, uh,

JENNIFER

(interrupts)

Can you tell me then, how you are gonna support your son? You have no college degree and my salary amounts to very little. I mean, what's the matter with you lately Rob?  It can't just be Dylan.

Jennifer sits on porch next to Rob and grabs Rob's cigarette and takes a drag.

JENNIFER

I know you didn't like your job. I told you a few weeks ago that you should start looking around for something else. I know you hurt, I know you feel pain, its good. The pain is good, it means you've finally started life. The only problem is that it only gets worse.  (pause) So Michael was unexpected, but you can't run away from your responsibilities now.  You just can't.(her speech starts to tail off) You can't do...this.

Jennifer stops and looks at Rob. He doesn't look at her, but takes the cigarette from her and looks straight ahead after taking a contemplative puff.

JENNIFER

Is what Dylan told you really bothering you this much?

Jennifer is wrong about what she thinks Rob knows. Rob does know about Jennifer and Dylan in high school, but he doesn't know that Michael isn't his baby.

ROB

At first, yeah, I thought it was.  But this goes much deeper.(pause)

Do you think I care if you screwed around in high school with my best friend?  OK, it bugs me, but I don't know. It's everything. I thought things would just be different.

JENNIFER

Well they aren't.

ROB

I can't explain it. I want to be happy, but my parents weren't happy, my grandparents weren't happy, I'm pretty sure their parents weren't happy; for all I know, throughout time the Thompsons have never been happy. So maybe it's not my fault.

JENNIFER

Are you serious?

ROB

I'm going for a drive.

He flicks his cigarette away and walks out to his Pinto.

Jennifer sits on the porch looking thoroughly perplexed and disgusted.

JENNIFER

Walk away Rob. That'll help.

Rob guns his car and roars away, as best it can.

Jennifer yells in frustration and walks inside the house.

CROSSFADE

EXT. ROB'S CAR ON COUNTRY ROAD - LATE EVENING

Rob drives his car from the edge of city, into the country. We watch his car as it careens around corners and hurtles towards some unknown destination.

CUT TO

INT.  ROB'S CAR - DUSK

RADIO DJ

Here's a blast from the past and a classic from the late great Replacements with "Bastards of Young".

Rob reaches over and turns up the radio.

The sound of "Bastards of Young" by the Replacements vibrates through the car. Suddenly he squints to see something on the side of the road.

.

CUT TO

EXT. ROB'S CAR ON COUNTRY ROAD - LATE EVENING

Rob flips the cars headlights on. A lump of something on the side of the road catches the headlights glare. Slowly he brings his car to a halt next to the lump.

We can now see that it is a body silhouetted against the headlights.

Through the windshield, we can see Rob looking in horror at the body. It is Dylan.

ROB

Jesus.

Rob jumps out of car and over to Dylan. He tries to help him up.

ROB

Dylan, what happened?

Rob cradles Dylan in his arms.

DYLAN

(laughs tentatively)

You should see the other guy.

(he laughs louder)

ROB

And I thought I had problems. Uh, can you walk to the car?

DYLAN

Sure.

Rob puts Dylan's arm around his neck and they try to stand. Dylan falls down, knocking Rob to the ground in the process.

DYLAN

Whoops.

ROB

C'mon man.

Rob picks Dylan up and drags him to the door and after some struggle, he finally opens it and Dylan falls in.  Rob pushes Dylan's feet in and shuts the door. He then runs around the front of the car and gets in.

CUT TO

INT.  ROB'S CAR - NIGHT

Slamming the door, Rob leans over to Dylan and makes sure he's as comfortable as you can possibly be in a Pinto.

ROB

I've got to get you to a hospital man.

Dylan's mouth is getting very dry, because of his wounds.

DYLAN

No. I just wanna lay down. Man I'm thirsty.

The song on the radio fades into the distance as Rob turns the car around and heads for town. Rob looks over at Dylan and shakes his head.

ROB

Shit.

DYLAN

You're mad. (pause) You probably hate me don't you?

ROB

(off camera)

No.

DYLAN

(ignoring Rob's remark)

I gotta tell you, what I did, I gave you your freedom back. In school, you would've died if someone told you that you would have a nice little family, and a nice little job in sales now. (winces) You wanted out of there, that's for sure. I just did what you always talked about.

ROB

I got fired today.

Dylan looks at Rob and laughs.

ROB

(off camera, sarcastically)

That's hilarious.

DYLAN

I don't know how to tell you this.

ROB

Then don't. When someone begins a sentence with 'I don't know how to tell you this', besides from being a cliché, always precedes bad news.

DYLAN

(softly while Rob is talking)

I'm in love with Jennifer.

ROB

(not hearing Dylan)

I've had it up here with bad news.  I mean I'm in big trouble Dylan. I don't know what to do.

DYLAN

(a little louder)

I slept with Jennifer for a year up until I left.

Rob begins to hear Dylan, but can't comprehend the words yet.

ROB

I've got two weeks to come up with two thousand dollars. I don't have two thousand dollars. No one I know has two thousand dollars. I just wanted to make some money, so things could be different for Jen and me.

The gravity of Dylan's words finally penetrate his consciousness.  His eyes become teary.

ROB

What was I thinking!

DYLAN

See, (takes deep breath) I want to be honest with you Rob. I didn't come here because of money, I came here to take Jennifer with me to Mexico.

Rob is stunned. He looks over at Dylan hardly believing what he has just heard.

ROB

Mexico.

DYLAN

Yeah, Cancun. A friend of mine from Colorado bought a night club down there, a discotheque. To, uh kind of liquidize some assets to a friendlier respite, is how he puts it. I was going to help manage it.

ROB

No kidding.

DYLAN

(winces in pain)

Well it's all shot to hell now.

ROB

I'll get you some help, just hang in there.

(looks at Dylan and then concentrates on the road)

Dylan turns to his side and looks toward his window.

Rob looks intensely at the road.

ROB

I kinda feel a little stupid right now, a little embarrassed, slightly enraged. I don't forgive you. I can understand it I guess.

Rob wipes his nose which has gotten a little runny.

ROB

You know, you might be right. I just feel so trapped with everything here. It's like, I go to work, come home, go to work, come home. That's not really what I pictured in High School. I love my son, but I just feel like saying, "Fuck it all."

Dylan doesn't react. He isn't breathing or moving. Rob continues to talk, not noticing this.

ROB

...and just run, until I can't run anymore.  That would feel good.  (pause)  Man Dylan, you should have seen me this morning at work.

...You would have been proud. You'da died laughing.  My boss was giving me all kinds of shit about yesterday. And I just, it was like your soul entered my body, and I looked him in the eye and just told him where to go. It was incredible, I felt bad, but then I didn't, you know? You know? Dylan?

Looks over at Dylan's limp body.

ROB

Dylan!

Rob quickly pulls his car over to side of the road.

ROB

Oh man, wake up.

He slaps Dylan's face and it doesn't move. He leans over and opens up Dylan's jeans jacket. His stomach is covered with blood. A ragged bloody hole can be seen in his shirt.

ROB

(near hysteria)

You bastard.  There was so much...

Starts the car and guns it.

ROB

God dammit!  You were my only fucking friend and you left. You cocksucker, you left me by myself and look what happened. (whispers)  This isn't what I wanted.

CUT TO

EXT. OUTSIDE HOSPITAL - NIGHT

Rob brings his car to a sliding halt in front of the hospital. He jumps out of the car practically getting hit by an ambulance screaming away from the entrance.

CROSSFADE

INT.  HOSPITAL EMERGENCY ROOM.- NIGHT.

We find ourselves in the dreary waiting room area of the local emergency room. Rob is on the phone at one side of the room.

ROB

Ashley?...Get Jennifer on...Just do it...Jen?  Look, its Dylan...Huh?  It doesn't look good...yeah.

CUT TO

INT. ROB'S KITCHEN - NIGHT

Jennifer is hanging up the phone in the kitchen, with Ashley standing next to her. Ashley is leaning against a counter.

ASHLEY

What's up?

JENNIFER

(rather deadpan)

I've got to go to the hospital.

ASHLEY

I'm coming with you.

JENNIFER

Why?

ASHLEY

He's hurt isn't he?

JENNIFER

I not going to argue, go get Michael.

CROSSFADE

INT.  HOSPITAL WAITING ROOM - NIGHT

The waiting room only has two other people besides Rob, Jen, Michael and Ashley. One a teenage boy, the other a pregnant woman in her thirties. Rob is smoking with Ashley trying to keep as much distance from him as possible.

Rob pauses in mid drag as the DOCTOR walks into the waiting room, looks around and spots his newest patients friends.

DOCTOR

I'm sorry.  He had too many internal injuries that had been hemorrhaging for too long. There wasn't much we could do.

Rob turns to Jennifer.

ROB

He just gave up.

(Rob continues to talk while the doctor speaks)

He just quit.  It was always a fuckin' front, I'm tough, I'm bad, I can handle anything, and when the end came, he just rolled over like it was just an afternoon nap.  Always rapped up in the formalities of whatever was cool.

The doctor continues as Rob goes on with the speech above.

DOCTOR

Apparently he was shot in the abdominal region some time ago. We need to know from someone what the circumstances are surrounding the injury, because we're going to have to notify the police. I'm not suggesting anything here, it's merely standard procedure.

The Doctor and Rob end their speeches at the same time.

DOCTOR

Does he have any family we could contact.

JENNIFER

No.

ROB

If he didn't have insurance, we could help out.

DOCTOR

His grandmother's estate is sporting the bill.

Rob nods his head absently. MUSAC softly plays in the background. Rob's cigarette burns, forgotten.

Jennifer puts her arm around Rob and pulls him closer With her other hand she clings tightly to Michael. Ashley sits lost in her thoughts staring off into space.

CROSSFADE

INT. LIVING ROOM, ROB'S HOUSE - MORNING

Rob walks in from the hallway into the living room, where Jennifer is dressed for work. Michael has been bundled up and is ready for day care and sitting on the floor impatiently.  Jennifer tries to pick up Michael, having difficulty picking him up as Rob sits down on his couch and turns on the television, absently clicking the remote. Finally he notices the minor commotion for the first time and looks over at Jennifer as she is hurrying to leave.

Rob yawns and says innocently.

ROB

What's going on?

JENNIFER

(a little shocked)

I'm leaving for work.

ROB

Where's Michael going?

She pushes Michael towards the door.

JENNIFER

(sloughs it off)

To day care.

ROB

I can take care of him. He is my son you know.

JENNIFER

Let's not argue about this, OK?

ROB

Alright. (pause) No, it's not alright. I can watch him.

Jennifer starts to leave with Michael.

JENNIFER

C'mon. I'm not going to interrupt his daily routine. Good-bye.

Jennifer shuts the door. Rob slouches further on the couch and stares at the closed door.

ROB

(to himself, out loud)

We had to have been able to talk to each other at some point in our lives.

Ashley comes into the room and quietly walks over to the couch where Rob is lounging.

ASHLEY

Wrong.

ROB

(not in the least bit startled)

Thank you.

(off camera,  sarcastically)

Where are you going?

ASHLEY

To school.

Rob drops the remote and halfheartedly reaches for it while Ashley quietly giggles.

ROB

You're kidding.

ASHLEY

Nope. Bye.

Ashley leaves the room and goes out the door.

Rob strains himself to reach the remote without getting off the couch, finally gets it, gets himself comfortable and begins to stare at the television.

SLOW DISSOLVE

INT. SAME LIVING ROOM - DAY

Several days pass which is evident by the speeded up comings and goings of people in the house and the alternating of light and dark in the windows in super fast speed.

The family goes through its everyday routine several times in this fast speed as Rob seems to move at normal speed on the couch rarely moving. The only thing that does seem to move is his growing beard. Occasionally he rolls over or changes the channel on the television. During this time the other three people in the house never approach him.

The fast motion comes to a halt after the fourth day. Rob is staring at the television in the same robe with four days growth of a beard. Rob hears something from his position on the couch. He slowly turns his head around to see Dylan sitting in the chair. Dylan is clean and healthy looking. In fact we have never seen him look this good.

ROB

Where the hell have you been?

DYLAN

Well to tell you the truth,(smiles)  I had a couple of things to do.

ROB

(thinks for a second)

Do you have a cigarette, man?

DYLAN

Sure, here.

Dylan throws it to him. Rob catches the cig. Seconds later, Dylan's (really Rob's) Zippo comes flying at Rob who clumsily catches it looks curiously at the lighter and begins to light his cigarette. But the television catches his eye and he points towards it in interest.

ROB

Hey look. This is a great episode.

(Points his hand holding the remote and his smoke at the TV.)

Rob Petrie locks his wife in the bathroom, it's hilarious.

DYLAN

I really don't know what I'm supposed to say to you. You look terrible.

ROB

(attention mostly on TV)

It's your fault. My whole life, its always been you.

DYLAN

I don't think any of this has anything to do with me. I was always spouting bullshit left and right.

He smiles and takes a drag on his cigarette. Finishing it, he reaches over and puts his cigarette out on the table beside him.

The phone on the coffee table starts ringing. Rob comes out of a daze and back to reality as the Dick Van Dyke show plays in the background. He reaches and picks up the phone. Before he hears who is on the other line, he yells...

ROB

Look, quit bugging me. I'm getting you your money....Oh, hello...yeah, he's

Rob shakes his head.

ROB

I mean, no.  No he's not, who is this?...Well he died a few weeks ago...Yeah, he told me about the club. No, I hadn't seen him since High School, but we were, I knew him then...He told you?...Uh, oh really?  I couldn't...I guess I could think about it...

VOICE ON PHONE

Look, Dylan told me he was going to the states to find his friend Rob and bring him back to help with the club. If he's really dead the least I could do is offer you his share, but I'd need you down here Wednesday, which means you'd have to leave today.

ROB

Today?

ROB

I don't know much Spanish...Yeah I guess I'll learn...No, I can get a ticket. Bye.

Rob hangs the phone up gently. With renewed energy, he gets out some paper and begins writing a note. Finished, he puts it on the table and sets his crumpled up half filled pack of Marlboro's on top of the letter.

The scene dissolves into a falling shot of Ashley's Mom's picture intercut with a falling postcard from Cancun.

SLOW DISSOLVE

INT. ROB'S HOUSE - EARLY EVENING.

We hear the sound of a plane taking off as Jennifer comes home and puts groceries on top of the letter, smashing the cigarettes.

CUT TO

INT. PAWN SHOP - EARLY EVENING.

Rob walks into a pawn shop. He asks the SHOP OWNER if they have any 9mm automatics.

SHOP OWNER

Here's one we just got in.

Rob looks at it quickly and sets it down.

ROB

I'll take it.

SHOP OWNER

OK, Just sign this background check.

Rob quickly checks off no on all the questions and hands it back with a wad of cash.

The shop owner glances over the application, looks at Rob and silently rings up the purchase. He hands Rob the weapon and a box of ammo. The shop owner looks at the ammo and asks Rob if it's the right kind. Rob nods and hurriedly shuffles out of the place.

DISSOLVE TO

EXT.  COUNTRY ROAD - DAY

Rob passes a sign which shows he is now in Oklahoma, a few hours away from home. He is obviously on his way to Mexico.

EXT.  OUTSIDE DAY CARE -DAY

Jennifer goes about her daily ritual of picking up Michael from the day care and going home. For Jennifer it is several days later.

ROB (VO)

Dear Jennifer: I don't know what to say.

CUT TO

EXT.  COUNTRY ROAD - DAY

Rob's car is speeding past a sign for some small town in Texas along an empty country highway.

ROB (VO)

I'll send money, but I know that's not enough.

CUT TO

INT. JENNIFER'S CAR - DAY

Jennifer is riding in her car in the middle of a traffic jam at a light. She slams hands on the steering wheel in frustration.

ROB (VO)

I don't want Michael to hate me, but he probably will.

CUT TO

INT. ROB'S CAR - DAY

Rob continues down the open highway, he bends down to his cigarette lighter and lights his Lucky Strike.

ROB (VO)

I wanted a life, but I couldn't stand the hours. Before you tear the note to shreds please know that even in the end I loved you.

CUT TO

INT. JENNIFER'S CAR - DAY

Jennifer has pulled her car in the driveway and is having trouble getting Michael out of the car, he is tired. She points impatiently towards the house, but Michael ignores her and she has to drag him to the door.

ROB (VO)

Maybe you never loved me or even if you did, would love have conquered all?  Could it have conquered my boredom, your sleeping around, or this town?

CUT TO

EXT. ROB'S CAR - DAY

In our view through Rob's windshield, we can see Rob looking up at his rear view mirror. Past the car we see a truck coming up fast. Rob also sees it. He looks somewhat puzzled.

ROB (VO)

It's all rushing by so quick for me now.

From the side of Rob's car a truck drives recklessly by him, speeding up to over 90 M.P.H. and passing Rob in the passing lane on the two lane highway.

ROB (VO)

I think, no, I know,

Rob leans forward to see who is in the truck. He shakes his head at the crazy driver.

CUT TO

INT. JENNIFER'S HOUSE - DAY

Jennifer sits Michael down in front of the TV and turns it on for him.

ROB (VO)

I would have married you, if you would have wanted to. But even that seems wrong now.

CUT TO

INT. ROB'S CAR - DAY

Rob speeds up as fast as he can. His speedometer slowly quivers to about 80 M.P.H. And the car begins to shake.  He is determined to chase after the truck. Suddenly he slams on his brakes to avoid hitting the truck which slows down very rapidly in front of him.

ROB (VO)

Nothing is clear cut, nothing is black and white, but at least it's warm in Cancun. Love: Robert Thompson

CUT TO

EXT. BACKYARD AT JENNIFER'S HOUSE - DAY

Jennifer shakes out one of Rob's cigarettes and walks out the back door of the house. Ashley, swinging on an old swing, turns to Jennifer.

ASHLEY

I called Mom.

JENNIFER

Oh yeah. What did she say?

ASHLEY

I don't know, she wasn't there

JENNIFER

She never is.

ASHLEY

I, uh, I.

Ashley turns and fiddles with her stuff.

JENNIFER

What?

ASHLEY

Huh?

JENNIFER

You were going to say something.

ASHLEY

Uh, never mind.

Ashley begins swinging again, enjoying being young for the first time in many years. From this point on childhood can only be approximated, it can never be regained again, but in her smile we can see that she has let go of what she has been clinging to.

CROSSFADE

INT.  ROB'S CAR, COUNTRY ROAD - DAY.

Rob reaches into the glove compartment and pulls out his piece and puts it into his lap. The truck ahead of him speeds up. He looks down to check if the gun is loaded.

He then cocks the gun and looks up to see where the truck is. What he sees is a very slow moving tractor.

Reacting quickly he steps on the brakes. In the process, his gun falls to the floor. Rob looks down quickly at it, but has to forget about it and looks up. Then at the last second, he passes the tractor barely avoiding a car coming at him in the opposite lane.

CUT TO

EXT. ROB'S CAR, COUNTRY ROAD - DAY

As he avoids the oncoming car, his car skids off the road and rolls to a stop.

CUT TO

INT. ROB'S CAR, COUNTRY ROAD - DAY

Rob sighs and looks around to see if everything is in one piece. He tries to start the car, but it won't move because he has bent the axle.

Suddenly he notices the sound of a truck coming his way. He looks toward the road and follows the truck as it recklessly fly's past him. Desperately, Rob looks around the floor for his gun. Finding it, he looks up just in time to see the truck barely avoiding the slow tractor. He hears more car noises and panics. Spins around in his car and unloads the clip as he shoots out every window in his car. He screams louder with each pull of the trigger.

Realizing he is out of bullets, his anger fades and he looks around at the destruction he has wrought on his car. He leans back into his seat and sighs. The world around him falls totally silent.

CUT TO

EXT. ROB'S CAR AND COUNTRY ROAD - DAY

A white Caddie pulls up in front of Rob's car. Two men get out of the Caddie. One of the men is the unseen man we met earlier at Terrence's apartment.

CUT TO

INT. ROB'S CAR AND COUNTRY ROAD - DAY

Rob lowers himself in the front seat and realizing his gun is empty, quickly reloads.

Only seeing one of the guys, Rob fires at him as the man walks towards the car. He puts two bullets into the guy and watches as the guy falls to the ground. Pleased with himself, Rob smiles.

The other man sneaks around the side of car. He steps on some rock and Rob hears him and fires first, but his gun jams and the man puts a bullet through Rob's brain, opens the car door and takes Rob's duffel bag full of money. He walks back towards the Caddie.

The man standing away from the action looks at Rob's lifeless body and yells at the man with the gun.

MAN

Jesus Marty, all we wanted to do is talk to him.

The man with gun shrugs and heads back to the Caddy.

CUT TO

INT.  ROB'S HOUSE - DAY

Jennifer comes out the back door and sits on the back porch. She settles in between Ashley and Michael. She grabs a lighter from Ashley and lights one of Rob's cigarettes. She takes one long, slow, desperate drag on the butt. It's obvious this won't be the last.

CUT TO

EXT. ROB'S WRECKAGE AREA, COUNTRY HIGHWAY - DUSK

We see Rob's body and his car in the ditch along the highway as the sun sets.

DISSOLVE TO

EXT. ROB'S WRECKAGE AREA, COUNTRY HIGHWAY - NIGHT

The county sheriff and ambulance are here along with some fire trucks. It's been a slow day for the emergency services.

DISSOLVE TO

EXT. ROB'S WRECKAGE AREA, COUNTRY HIGHWAY - NIGHT

Later that night, some local TV anchors show up and do a stand up report.

DISSOLVE TO

EXT. ROB'S WRECKAGE AREA, COUNTRY HIGHWAY - DAY

It is a beautiful morning, as a tow truck hauls away Rob's car.

DISSOLVE TO

EXT. ROB'S WRECKAGE AREA, COUNTRY HIGHWAY - DAY.

Days later in the spot where Rob was killed it looks as if nothing had ever happened there.

DISSOLVE TO

EXT. ROB'S WRECKAGE AREA, COUNTRY HIGHWAY - DAY.

A month or two later the place has become a popular hangout for teens to come and drink. Urban legend rules on. It is near evening and the six kids lean against their two cars. They all take big gulps of their beers.

The camera focuses on a boy and a girl in the group who take out a couple of Marlboro Reds and light up.

ASHLEY (VO)

I tell my friends now who don't understand that we were Reagan's prisoners. They'll wince, but it's not a political thing really. Just a bunch of kids who wanted to be somebody else...no causes to rally around, no wars to fight...just bastards of young.

As the camera slowly cranes into an ever widening shot of the party, we hear The Replacements and "Bastards of Young". The screen fades with the music.

SOUND:  SONG ("BASTARDS OF YOUNG" BY THE REPLACEMENTS) FADES UP FULL.

FADE OUT.

CREDITS.