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by Norm Roth and Jim Selleck (nwroth2000@yahoo.com)

Rated:

Genre: Drama User Review:

An advertising executive meets a homeless man and comes face to face with a past he's tried to forget.

WGA Registered

FADE IN:

INT. WHY NOT CLUB-YEAR 1979 - NIGHT

Glowing in red neon above the bar is, 'THE WHY NOT?'

Loud primal music fills the air of the late 70s punk-like
club. The dance floor is packed with BOBBING HEADS and
SLAMMING BODIES.

Emblazoned on the bass drum is THE NAMELESS FACES. No BAND
MEMBERS can be seen from above the waist as they perform.

A YOUNG MAN sits full back at an out of the way table. He
jots down notes on a legal pad as he watches the band.

EXT. CITY STREET-PRESENT TIME - DAY

Choking traffic packs the street. A river of nameless FACES
flows up and down the sidewalks.

A well dressed ‘suit’, a MAN (40s), moves against the flow
of the CROWD.

EXT. HOUSE - DAY

A small yet pleasant looking place, in what could be
described as a lower middle class neighborhood.

Posted on the front door is a NOTICE TO EVACUATE PREMISES.

INT. HOSPITAL-RECENT PAST - DAY

A WOMAN (40s) lies on top of the bed. She’s hooked up to
multiple tubes and monitors.

Her pallid completion gives her a ghostly appearance. Her
arms and legs are very frail and thin. On the lower part of
her left calf, just above the ankle, is a Vesica Pisces
(Jesus fish) tattoo.

A YOUNGER WOMAN (late 20s) comes into the room, sits down
next to the ailing woman, and takes her fragile hand into
her own.

INT. OFFICE - DAY

A PROFESSIONALLY dressed WOMAN sits behind her desk.
Opposite her is the young Woman from the previous scene,
RENEE ANDERSON, eyes downcast.

PROFESSIONAL WOMAN
Do you have any living relatives?

Renee, eyes still downcast, slowly shakes her head no.

EXT. CITY STREET-PRESENT TIME - DAY

The ‘suit’, who had been fighting his way up the crowded
sidewalk earlier, MARTIN DIGGORY, continues slogging along
amidst the sea of PEOPLE. His mobile phone rings; he pulls
it from his pocket—

MARTIN
Tell me a story I can believe in.

WALTER (O.S.)
Mr. Diggory?

MARTIN
Walter?

WALTER (O.S.)
Yeah.

MARTIN
What’s your problem?

WALTER (O.S.)
I’ve got lots of problems, be more
specific.

MARTIN
Calling me Mr. Diggory?

WALTER (O.S.)
That’s the way you’re supposed to
address a Vice President, Martin.

MARTIN
You’re such an ass.

WALTER (O.S.)
What do you call someone who lives
in a neighborhood he can't afford?

MARTIN
Shut up. Anyway, I might be able
to now.

WALTER (O.S.)
Yeah, great good. Hey, I stopped
by your new office this morning.

MARTIN
So, what do you think?

INT. MARTIN'S OFFICE-THAT MOMENT

WALTER (30s) is seated at Martin’s desk.

A framed photo of Martin shaking hands with a very well
dressed MAN at some formal event hangs on the wall.

Walter’s checking out the posh surroundings.

WALTER
What a dump. How are you ever
going to get used to it?

Walter messes about with a few objects on Martin’s desk, and
checks out the contents of the drawers.

MARTIN (O.S.)
It is kind of amazing, isn’t it?

WALTER
It’s all right.

EXT. CITY STREET-THAT MOMENT

Martin crosses a street with a herd of other PEDESTRIANS.

MARTIN
So what’s up anyway? I know you
didn’t call just to talk about my
office.

WALTER (O.S.)
Just wondering if you were coming
back here today?

MARTIN
That’s the plan. I’m meeting
Burkhart for breakfast—

WALTER (O.S.)
Why? You already got the HONEST
MARGARINE account.

MARTIN
And, I’d like to keep it.

WALTER (O.S.)
Yeah, I guess I’d be kissing his
ass too.

MARTIN
I’m not kissing his ass, I’m . . .
never mind. Anyway, I’ll be back
right after my meeting. And you
can tell Carol not to worry about
the party tonight, I’ll be there.

WALTER (O.S.)
The party’s supposed to be a
surprise.

MARTIN
Someone sent the details out about
it in a general memo.

WALTER (O.S.)
Oh . . . yeah . . .

MARTIN
Did you do that?

WALTER (O.S.)
Hey, the Empire Hotel’s a nice
place for the party, don’t you
think?

EXT. GRAVEYARD-RECENT PAST - DAY

A casket rests next to an open grave.

A MINISTER addresses a small group of MOURNERS.

Among those present is Renee Anderson. By her side, weeping
with her, is a GIRL (7-9), HAYDEN ANDERSON.

EXT. HOUSE - DAY

Posted on the front door is a NOTICE TO EVACUATE.

The door opens.

Renee emerges from the house with an armful of personal
items.

She lugs everything out to a rundown old car in the driveway
and packs the things in the trunk of the vehicle.

INT. CAR - DAY

Hayden sits in the passenger seat staring out the window. In
her embrace is a worn OLD DOLL. She hears the car trunk slam
shut.

Renee climbs into the driver’s side seat. She turns to
Hayden, forces a smile, and then starts the car up.

She looks down at the dashboard.

INSERT-FUEL GAUGE

Fuel gauge reads full.

BACK TO SCENE

She puts the car into drive and pulls away from the house.

EXT. CITY STREET-PRESENT TIME - DAY

Martin is passing by the entrance of an alleyway. As he does
he hears a commotion and a MAN calling out.

MAN (O.S.)
Could somebody help me out here?

Martin pauses. He slowly approaches the alley entrance.

WALTER (O.S.)
Martin, what’s going on?

INT. CAR-RECENT PAST - DAY

Renee drives down a long lonely stretch of highway.

She fishes a small slip of paper out of her. She looks at
it.

INT. LIVING ROOM-DAY-FLASHBACK

A MAN rests in an easy chair with a magazine before his
face.

A LITTLE GIRL (3) bounds into the room.

LITTLE GIRL
Daddy, we're monkeys.

The man lowers the magazine, his face is not revealed, and
turns his attention to the little girl.

DADDY
OK, honey.

BACK TO RECENT PAST

INT. CAR - DAY

Renee turns to Hayden who is sleeping in the next seat over
with arms wrapped tightly around her doll.

EXT. ALLEY-PRESENT TIME - DAY

Martin cautiously enters the alley.

MAN (O.S.)
Man, this isn’t right.

The voice is coming from inside a dumpster.

WALTER (O.S.)
Martin, are you OK?

MARTIN
Everything’s fine. I’ve got to go,
talk to you later.

Martin hangs up as he continues to move toward the dumpster,
mobile phone still in hand.

He nears the front opening of the trash container; a MAN’S
black-stocking cap-covered head pops up. He is MAXWELL NAIM
(40s).

MAXWELL
Hey, how you doing?

MARTIN
Shit!

Martin backs away quickly, bangs against the wall on the
other side of the alley dropping his phone in the process.

MAXWELL
You OK?

MARTIN
Yeah, you just surprised me a
little.

Martin picks up the phone and checks to see if it’s working.

MAXWELL
Is it broke?

MARTIN
I think so.

MAXWELL
Sorry.

MARTIN
Don’t worry about it.

MAXWELL
More than half of the world’s
population has never used a phone.

MARTIN
What?

Maxwell doesn’t respond. He disappears back down inside the
dumpster.

MAXWELL (O.S.)
(Inside dumpster)
I think I got a late start this
morning. I had to get all the way
inside this thing today.

Maxwell reemerges from inside the trash bin and hands Martin
a bag of onions. Martin hesitates before taking the bag.
He’s careful to keep it away from his clothes.

MARTIN
What do you want me to do with
this?

MAXWELL
Put it in that wagon over there.

Martin turns to see a large pull along wagon with a plastic
bag full of returnable deposit cans and bottles on one side,
and a variety of damaged food items heaped next to it.

Maxwell notices Martin staring at the food items.

MAXWELL
Most of it cleans up pretty good.

Maxwell disappears back down inside the rubbish bin.

Martin puts the bag of onions in the wagon.

            MAXWELL (O.S.)
      (Inside the
       dumpster)
Excellent!

He emerges from the bottom of the trash heap with a plastic
container in his grip. He hands it to Martin.

MAXWELL
Check that, huh?

MARTIN
(Reading the label)
Chicken Caesar Salad.

MAXWELL
It’s never even been opened. How
great is that?

MARTIN
Yeah, that’s . . . great.

Maxwell reaches his hand out to Martin. Again, Martin
hesitates before helping him work his way out of the
dumpster.

As they stand face to face, Maxwell's ‘rags’ are a stark
contrast to Martin’s immaculate suit and overcoat.

MAXWELL
Thanks.

MARTIN
No problem.

Martin hands the salad container back to Maxwell. He then
pulls a handkerchief from his pocket and wipes his hands
off.

Maxwell looks on.

MAXWELL
Sorry.

MARTIN
What?

Martin glances down at the handkerchief, then back at
Maxwell. He quickly stashes the handkerchief back into his
pocket.

Maxwell turns his attention to the salad container in his
hands. He opens it.

Martin watches him take a nibble of the lettuce, and a small
bite of chicken.

MAXWELL
Still pretty fresh.

MARTIN
Good.

MAXWELL
Do you got any dressing on you?

MARTIN
No.

Maxwell pops a couple of croutons in his mouth and crunches
down on them.

MAXWELL
Ah, man; the little pieces of
bread they put on the salad are
stale.

MARTIN
Those are croutons.

Ignoring Martin, Maxwell examines the top of the container.

MAXWELL
You'd think for four bucks they'd
put some fresh stuff on it,
wouldn't you?

EXT. HOMELESS SHELTER-RECENT PAST - DAY

Renee's car rattles down a side city street and comes to a
stop in front of an old building.

She checks out the building and its address.

10.

EXT. HOMELESS SHELTER-MOMENT LATER

Renee and Hayden stand together for a moment on the sidewalk
facing the place.

Renee reads, SISTERS OF MERCY SAFE HAVEN on the sign in
front of the building.

They climb the stairs leading up to the door.

EXT. ALLEY-PRESENT TIME - DAY

Martin and Maxwell stand together.

Maxwell’s focus is on the salad in the plastic container
he’s holding, as he eats bits and pieces of it with his
fingers.

Martin takes a good look at him for the first time.

Maxwell notices Martin stare at him.

MAXWELL
What?

MARTIN
Do I know you?

MAXWELL
Don’t think I can know that.

MARTIN
Yeah . . . Yeah, oh shit.

MAXWELL
What?

MARTIN
The Nameless Faces.

MAXWELL
Who?

MARTIN
Maxwell Naim, that’s who you are.

MAXWELL
Yes.

11.

MARTIN
You wrote some of the best songs
I’ve ever heard; ever; I mean of
all time.

MAXWELL
I don't think that's right.

MARTIN
I do. Just because you didn’t sell
millions of records or hell, any
records for that matter, doesn’t
mean those weren’t great songs.

MAXWELL
I got to go, Marty.

Maxwell heads for the wagon.

MARTIN
So, you remember me? You remember
the articles and all that?

Maxwell turns back to face Martin. He studies him for a
moment, shakes his head slowly, and then turns back to his
wagon.

MARTIN
But you just said my name?
Actually, I prefer to be called
Martin, not Marty, but still you—

MAXWELL
I have to go.

Maxwell grabs the handle of his wagon and starts to leave.

MARTIN
Maxwell, wait.

He stops.

Martin looks at the contents of the wagon, then at Maxwell.

MARTIN
You want to get some breakfast . .
. on me?

MAXWELL
OK.

12.

EXT. HOMELESS SHELTER-PRESENT TIME - DAY

Renee and Hayden come out of the building, descend the
stairs, and pause on the sidewalk.

They look lost.

Renee fights back tears while Hayden tightens her hold on
the doll in her arms.

EXT. CITY STREET - DAY

Martin and Maxwell come into view from the alley and move
onto the busy sidewalk.

Martin tries his mobile phone again.

Maxwell stares trance-like at the bumper to bumper traffic
in the street.

MAXWELL
There was only four cars in
America in 1894.

Martin’s phone still doesn’t work. He slips it back into his
pocket.

MARTIN
What?

Maxwell doesn’t respond.

Martin turns to see that Maxwell’s eyes are fixed on the
long line of cars before him.

Martin then turns his focus to the congested street too.

He gazes at the CARS creeping down the street through a grey
haze of exhaust.

He tunes into the harsh sound of ENGINES GROWLING, and the
rude noise of HORNS BLARING.

Maxwell’s attention drifts from the stand still traffic, to
the thousands of PEDESTRIANS traveling to and fro on the
sidewalks, and pouring back and forth across the streets.

MAXWELL
Ants never sleep . . .

13.

Martin’s attention shifts to the MASS OF hurried HUMANITY in
front of him as well.

MAXWELL
. . . Never ever; just scuttle
about, scuttle about, their whole
lives. Don’t sleep, don’t ever
sleep.

The mismatched pair stands side by side watching, and
listening to, this tiny pocket of the universe.

MAXWELL
I like the number two breakfast.

Maxwell turns and heads down the busy sidewalk, wagon in
tow. Martin just watches Maxwell for a couple of seconds,
and then follows after him.

INT. CAR - DAY

Renee and Hayden shiver in silence until Renee turns the
ignition key.

It takes her a couple of attempts to get the engine to fire
up.

When it does, she cranks up the heater and checks out the
gas gauge.

INSERT

GAS GAUGE. FUEL IS LOW.

Renee fishes out the slip of paper, she checked out earlier,
from her pocket which, has written on it—

INSERT

777 HUNTER LANE, BLOOMDALE
313-555-1282

She ponders over the slip of paper briefly.

HAYDEN (O.S.)
(Whisper)
Mommy?

Renee stashes the piece of paper back in her coat.

14.

She turns to Hayden.

The child lowers her eyes slightly, avoiding direct eye
contact with her mother.

RENEE
Hayden?

HAYDEN
I think I’m a little bit hungry.

INT. RESTAURANT - DAY

The CUSTOMERS are well dressed and are enjoying elegantly
prepared meals.

The MAN, who was shaking Martin’s hand in the photograph
that hung on the wall in his office earlier, HENRY BURKHART
(50-60s), enters. He’s clearly in his element here in the
plush surroundings.

The HOST hurries over to greet him.

HOST
Good morning, Mr. Burkhart.

BURKHART
Good morning. How are you doing
today?

HOST
Fine, thank you. We have your
usual table ready for you.

BURKHART
Excellent.

The host leads Burkhart to an exclusive table in the back.
It has a magnificent view of the river flowing by outside.

Burkhart sits down. The host pours him some coffee.

HOST
Are you still expecting a guest
this morning, sir?

BURKHART
Yes, a Martin Diggory.

HOST
Very good, sir.

15.

INT. DINER - DAY

A laminated cardboard menu is affixed to the wall of the
greasy-spoon sort of place. The #2 BREAKFAST reads: TWO
EGGS, BACON/HAM, HASH BROWNS, AND TOAST.

Martin and Maxwell are seated at a corner table.

MARTIN
I can’t tell you how often I still
think about you and the band, the
old ‘WHY NOT?’ club, and
everything. Man, I was really
disappointed when the band broke
up.

Maxwell dunks his toast in the yolks of his eggs.

MAXWELL
The average chicken lays about 260
eggs a year. You were in a band?

MARTIN
No. I never thought about how many
eggs a chicken lays. I was never
in a band. I’m talking about your
band.

MAXWELL
My band?

MARTIN
Yeah.

Martin takes a sip of coffee.

MAXWELL
It takes around 2,000 cherries to
make a pound a of coffee. I was in
a band?

MARTIN
Funny. Cherries?

MAXWELL
Coffee cherries. Did I play an
instrument like the drums or
something?

Martin looks at his coffee cup.

16.

MARTIN
I thought they were called beans?
You were the vocalist, and you
wrote the songs. OK, I see what’s
going on.

MAXWELL
It’s like the embryo of the cherry
that becomes the bean.

MARTIN
So they are beans?

Maxwell shrugs, and then nods.

MARTIN
Why are you doing this?

MAXWELL
Doing what?

Maxwell crunches into a piece of bacon.

MAXWELL
The average pig lives 15 years.

MARTIN
Cut the useless breakfast related
information bullshit, OK?

MAXWELL
OK.

MARTIN
Good times, huh? Big fun?

MAXWELL
What?

MARTIN
Fucking with the . . . oh, what
would so very cool you call me?
The sell-out asshole in the suit
or some shit?

MAXWELL
No.

MARTIN
Man, I can’t believe it; you
successfully made me feel like an
asshole again.

17.

MAXWELL
I don’t know what you’re—

MARTIN
Fuck you, all right? Just fuck
you.

EXT. SOUP KITCHEN - DAY

Painted on a plain wooden sign located above the doorway of
a building that has seen better days are the words, HOPE OF
THE GOOD SHEPHERD MISSION.

INT. SOUP KITCHEN-THAT MOMENT

IN THE KITCHEN

The STAFF prepares a simple meal, and fills steam table
warming pans with food.

IN THE DINING AREA

VOLUNTEERS set up and stock the serving area, and arrange
tables and chairs.

EXT. SOUP KITCHEN-THAT MOMENT

A line of PEOPLE stretching the length of the building waits
for the doors to open.

Scanning the length of the queue there are many lifeless
expressions and few smiles.

At the end of the line Hayden and Renee wait with the
others.

INT. RESTAURANT - DAY

SERVERS take care of PATRONS who are enjoying their lavish
meals.

AT BURKHART'S TABLE

He sips coffee, and checks his watch a few times. He then
pulls a mobile phone out from his suit jacket and checks it
for messages. There are none. A SERVER arrives at his table.

18.

SERVER
Did you want to wait a few more
minutes for your guest, or would
you like to order now, Mr.
Burkhart?

He checks his watch once again.

BURKHART
I suppose I will order now, thank
you.

INT. DINER - DAY

Martin checks his watch, and then pulls out his wallet.

MARTIN
I have to go. This was bullshit.

Martin gets up and throws a twenty dollar bill on the table.

MARTIN
There, that should cover
everything.

MAXWELL
Why are you so angry, Marty?

MARTIN
Martin. Martin, Martin, Martin; I
fucking told you that I prefer to
be called Martin, you asshole.

MAXWELL
I’m sorry, I forgot.

MARTIN
And what do you mean why am I so
angry? I really admired you, you
know? I just wanted to hang out
with you for a while and talk.

MAXWELL
I thought we were talking.

MARTIN
I didn’t want to talk about
chickens, or pigs, or coffee
cherry-bean fucking things, or
whatever the hell they are.

19.

MAXWELL
Then what, Marty?

MARTIN
Martin.

MAXWELL
Yeah, yeah sorry.

MARTIN
What the hell do you think I
wanted to talk about? The band
days, your songs, I want know what
the hell happened to you, I mean
you just disappeared. And, I want
to know why you blew off the
interview with me?

MAXWELL
I can’t talk about those things.

MARTIN
What do you mean?

MAXWELL
I don’t . . . can’t.

Maxwell turns back to his meal. As he eats with less zeal
for the food than before, Martin studies him.

Maxwell stops eating, puts down his fork and then rubs the
sides of head. He notices what he’s doing.

MAXWELL
Caterpillar has 248 muscles in its
head.

Martin nods.

MAXWELL
Got these . . . since the accident
. . . car accident . . . gaps . .
. got these gaps, Marty.

MARTIN
(Sotto voce)
Martin.

MAXWELL
I remember some stuff OK. There’s
other things I remember, or at
least know, but don’t know why or
how I do, or when or even if . . .

20.

MARTIN
Yeah.

MAXWELL
Other bits and pieces come to me
like the way dreams do. And then
there’s . . .

MARTIN
The gaps?

Maxwell nods slowly.

MAXWELL
Not so hungry anymore. It was good
though, thanks.

Martin nods. He checks his watch; thinks, and then sits back
down.

MAXWELL
Don’t you have to go?

INT. RESTAURANT - DAY

Burkhart eats his breakfast. He checks his watch, and then
shakes his head in disgust.

INT. SOUP KITCHEN - DAY

AT THE STEAM TABLE

VOLUNTEERS and STAFF serve the food, cafeteria style, to the
crowd of PEOPLE lined up.

IN THE DINING AREA

Hayden and Renee sit together at an over crowded table
eating the meager meal. Renee takes the bread roll on her
plate and slips it onto the side of Hayden’s.

INT. DINER - DAY

Martin and Maxwell are still seated at the same table.

MARTIN
Have you been to a doctor?

21.

MAXWELL
Use to have lots a doctors; I was
in this one hospital awhile.

MARTIN
Yeah?

MAXWELL
It got closed. I was supposed to
talk to . . . somebody after that
about . . . but . . .

MARTIN
What have you been doing since
then?

MAXWELL
Naucrates Ductor.

MARTIN
What's that?

MAXWELL
A pelagic fish of the Carangidae
family.

Martin considers Maxwell’s words for a moment. His
expression doesn’t indicate that any mental light bulbs have
been lit.

MAXWELL
Pilot fish; sharks don’t eat them.

MARTIN
Maxwell, do you want me to take
you someplace?

MAXWELL
Like where?

MARTIN
To a doctor, or maybe find that
somebody you were supposed to talk
to after the hospital closed.

MAXWELL
I don’t know? I’ve got some stuff
to do.

22.

MARTIN
What the hell could you possibly
have . . . sorry, OK. How about
after you’re done doing whatever
it is you have to do?

MAXWELL
You want to come with me?

Martin looks at his watch, sighs, and then nods.

INT. CAR - DAY

Renee's parked on a side street.

A drowsy Hayden hugs her doll close and rests her head
against the passenger side door.

The low humming sound of the car heater is abruptly drowned
out by the sound of CHILDREN shouting and laughing. Hayden
looks out the window.

EXT. SCHOOL PLAYGROUND - DAY

Beyond a fenced in, rundown basketball court, is the school
playground filled with CHILDREN running, playing, and
enjoying the free, fun-filled air of recess.

INT. CAR - DAY

Hayden watches the children play.

IN THE DRIVER’S SEAT

Renee considers the slip of paper with the address and phone
number on it for several moments before stashing it back
inside her coat.

Her focus shifts to the classified ads page in her lap. She
circles an ad, and then glances up at the fuel gauge.

INSERT--FUEL GAUGE

Fuel is getting dangerously low.

23.

EXT. CITY STREET - DAY

Martin and Maxwell, with his wagon trailing behind, draw
several curious looks from PEOPLE passing by as they make
their way down a busy sidewalk.

MARTIN
When you say you don’t remember
the band days, do you mean you
don’t remember anything at all
from that time?

Maxwell shrugs.

They pass a BOOKSTORE with a poster of THE WHITE HOUSE
hanging in the display case. They stop and look at it.

MAXWELL
There’s a 132 rooms in that house.
It’s hard to say.

MARTIN
What is? You mean just bedrooms,
or total rooms?

MAXWELL
There might be some ghosts from
the band time. I’m not sure, total
rooms I think.

MARTIN
Ghosts?

MAXWELL
And places, and sounds. Not clear
. . . people . . . like you,
maybe?

MARTIN
Maybe. I did go to a lot of your
shows.

MAXWELL
Yeah?

MARTIN
At least a few hundred.

MAXWELL
We were friends?

24.

INT. WHY NOT CLUB-FLASHBACK - NIGHT

The NAMELESS FACES are finishing up a set ending tune. Again
none of the BAND MEMBERS’ faces can be seen at any time.

The CLUB PATRONS cheer and shout.

The young man from the opening scene, Martin as a youth, is
on his feet, full back, clapping.

INT. WHY NOT CLUB HALLWAY-FLASHBACK - NIGHT

The band, surrounded by a group of admirers, strides toward
the dressing room. Among those following after the band is
young Martin, who is full back tagging along at the rear of
the group.

The band reaches the dressing door and allows several of the
admirers into the room with them. The band’s vocalist, a
young Maxwell, is heard from inside the room.

YOUNG MARTIN (O.S.)
Shit, man. We can’t let every
fucking leech come in here.

Young Martin, seen from behind, reaches the door. It slams
shut in his face.

BACK TO SCENE

EXT. CITY STREET-BOOKSTROE - DAY

Martin and Maxwell stand in front of the bookstore.

MARTIN
No, we weren’t really friends. I
just liked the music; the songs.

INT. STORE - DAY

Maxwell enters dragging the plastic bag full of returnable
deposit cans and bottles that was in his wagon. The STORE
CLERK, a gruff looking man, is by the cash register eating a
doughnut.

MAXWELL
The average American eats two
doughnuts a day.

25.

STORE CLERK
Well, I’m an over achiever.

The clerk turns to see Maxwell. He takes the doughnut in his
hand and whips it at him.

It hits Maxwell in the face and splatters jelly all over

STORE CLERK
How many times do I got to tell
you, you don’t come into my store,
you stinking parasite?

EXT. STORE - DAY

Martin’s standing in front trying his phone again. It still
doesn’t work. He slips the phone back in his coat pocket,
then checks his watch. Martin approaches a PASSERBY.

MARTIN
Excuse me, can you tell me where I
might find a pay phone around
here?

The passerby gives Martin the once over.

PASSERBY
I’m not telling you anything, cop.

The person continues down the sidewalk. Martin checks
himself out.

MARTIN
Cop? This is a $700 suit.

INT. RESTAURANT - DAY

Burkhart is finishing his meal. In between bites he checks
his watch. The server arrives.

SERVER
Will you be needing anything else,
sir?

BURKHART
Just the check please.

26.

INT. STORE - DAY

Martin pushes through the door to see Maxwell standing
before the clerk wiping jelly from his face and licking it
off his fingers.

STORE CLERK
(To Maxwell)
Are you as deaf as you are stupid?
I said get the hell out of my
store, you bum.

MARTIN
What’s the problem?

STORE CLERK
No problem, sir. This person was
just leaving.

MAXWELL
But, I have returnables.

STORE CLERK
I tell you every time, you waste
of life . . .

The clerk points at a hand written sign behind the counter
that reads, NO RETURNABLES IN PLASTIC BAGS-$10.00 LIMIT.

STORE CLERK
. . . No plastic.

Martin storms down the aisle, grabs the bag of returnables
from Maxwell’s hand and dumps it out onto the floor.

STORE CLERK
What's your problem?

MARTIN
There you go, they’re not in
plastic anymore.

STORE CLERK
Asshole! You want me to call the
cops?

Martin pulls his phone from his pocket and holds it out to
the clerk.

MARTIN
Go ahead.

Martin and the clerk are locked in a stare down.

27.

MAXWELL
Marty, did you forget your phone’s
broke?

MARTIN
Shut up, Maxwell.

MAXWELL
OK, just trying to be helpful.

MARTIN
(To Store Clerk)
So what’s it going to be?

STORE CLERK
This is bullshit.

The clerk points to a shopping cart at the end of the
counter.

STORE CLERK
Put them in there.

MARTIN
I’ll do it. Maxwell, go grab some
food and things.

MAXWELL
But, I don’t have any money. I
need the deposit—

MARTIN
Don’t worry about it, I have
money.

MAXWELL
Woodpecker scalps, porpoise teeth,
and giraffe tails have all been
used for money in the past.

MARTIN
I think we’ll just use dollars
today.

Maxwell nods and then heads down the aisle. Martin watches
him for a second.

STORE CLERK
Bum can’t be a bum without a
sponsor.

MARTIN
Shut up.

28.

EXT. VIDEO STORE - DAY

A HELP WANTED sign hangs in the window of the small store
front.

INT. CAR - DAY

Renee and Hayden are parked in front of the store. Renee
checks the classified ad she’s holding in her hand. She
turns to Hayden.

RENEE
Come on, sweetie.

INT. VIDEO STORE - DAY

The VIDEO CLERK is busy restocking the shelves when she
notices Renee and Hayden come in.

VIDEO CLERK
Hi.

RENEE
Hello.

The clerk moves behind the service counter.

VIDEO CLERK
Can I help you with something?

RENEE
I’d like to fill out an
application please.

VIDEO CLERK
Sure.

The clerk reaches out an application and pen from underneath
the back counter.

VIDEO CLERK
Here you go.

RENEE
Thank you.

She begins filling out the form. The clerk smiles at Hayden.

VIDEO CLERK
What’s your name?

29.

HAYDEN
Hayden.

VIDEO CLERK
That’s pretty.

HAYDEN
Thank you.

The clerk notices the doll cradled in Hayden’s arms.

VIDEO CLERK
What's your baby's name?

HAYDEN
Desiree. She used to be my Mom’s,
but then she gave her to me.

VIDEO CLERK
She seems real special.

HAYDEN
She is.

Renee fills out the application, but leaves the space for
the phone number and address blank.

She hands it to the clerk.

VIDEO CLERK
Great.

She reads it.

VIDEO CLERK
The manager wants these filled out
completely, with the address and
phone number and everything.

Renee takes the form back. She pauses, and then produces the
slip of paper with the address and phone number on it from
her coat.

She writes the address that’s on the piece of paper onto the
application form, but leaves the space for the phone number
blank.

She gives it back to the clerk, who checks it out.

VIDEO CLERK
Wow. You live in that part of
town, and you want a job here?

30.

Renee nods.

VIDEO CLERK
OK. The phone number’s still not
on here.

RENEE
Well . . . we just moved here and
the phone hasn’t been connected
yet.

The video clerk studies Renee and Hayden. They both avoid
eye contact with the woman.

VIDEO CLERK
How can the manager get a hold of
you for an interview?

Renee doesn’t respond.

VIDEO CLERK
The manager will be in tomorrow
morning at about ten. Can you be
here then?

Renee nods.

VIDEO CLERK
All right, I’ll make sure she gets
a look at your application before
then.

RENEE
Thank you.

EXT. STORE - DAY

Martin and Maxwell put the items they bought into the wagon.

MARTIN
So, are we ready to head to my car
now?

Maxwell grabs the handle of his wagon and starts down the
sidewalk.

MARTIN
Maxwell, come on. Where are you
going?

31.

Maxwell keeps walking.

Martin checks his watch, starts to reach for the phone in
his pocket but stops himself. He throws up his arms in
surrender and follows after Maxwell.

INT. CAROL'S OFFICE - DAY

A WOMAN (30s-40s), CAROL LINDLEY, is seated at the desk
talking on the phone.

CAROL
No, sir, he hasn’t been in yet . .
. I’m sorry, Mr. Burkhart, that’s
not at all like Mr. Diggory . . .
Of course, sir . . . Yes, I
apologize . . . I’ll have him
contact you as soon as I hear from
him . . . yes, sir . . . all
right, good-bye.

She hangs up; pauses, and then dials the phone.

INT. WALTER'S OFFICE - DAY

Walter’s at his desk. There’s a pile of crumbled up sheets
of paper in front of him. He takes one of the paper wads and
tries to shoot a basket in the waste can.

He misses. The floor around the trash container is littered
with paper wads.

The phone rings.

WALTER
Simmons here.

CAROL (O.S.)
Hi Walter, sorry to interrupt you.

Walter shoots another paper wad at the trash can and misses.

WALTER
It’s all right, I could use a
break.

CAROL (O.S.)
Have you talked to Martin this
morning?

32.

WALTER
Yeah, I had to work it real
subtly, but I made sure he’ll be
at the party.

CAROL (O.S.)
When did you talk to him?

Walter scoops up about five wads of paper in his hand and
flings them at the waste bin. They all miss.

WALTER
This morning. He was on his way to
breakfast with Mr. HONEST
MARGARINE.

CAROL (O.S.)
Well, Mr. Burkhart just called,
and he was furious. Martin never
showed for their meeting.

Walter is just about to pitch another handful of paper wads.
He stops short.

WALTER
What?

EXT. LUMBER YARD - DAY

A flatbed truck, with a load of plywood on it, idles in the
yard next to several pallets piled high with wood.

Maxwell is making his way through the yard toward a small
pole barn structure on the far side of the lot. Martin walks
a few steps behind him.

MARTIN
What are we doing here?

MAXWELL
Male Emperor Penguins stay for
weeks and weeks in the freezing
cold with the eggs of their babies
on their feet, tucked under a
protective flap, until the eggs
hatch.

MARTIN
Oh, that explains everything.

33.

INT. LUMBER MILL SHED - DAY

The jagged-tooth blade of a table saw glints in a small
stream of sunlight. A high whizzing, whine cuts through the
air, as the table saw is fired up. The spinning blade chews
through a rough piece of lumber that slides slowly into it.

TWO MILL HANDS work the table saw together.

One guides the piece of lumber through the saw blade, while
the other catches it on the opposite side.

The man catching the lumber notices someone behind his
partner.

MILL HAND
Jerry.

JERRY
Yeah?

The mill hand indicates that Jerry should look behind him.
He does.

He sees Maxwell and Martin standing by the door.

Jerry cuts the power to the saw off.

JERRY
Maxwell.

MAXWELL
Hi, Jerry.

The mill hand picks up some of the cut lumber and heads over
to a nearby pallet and stacks it.

Jerry approaches Maxwell and Martin. As he does, he pulls a
chocolate bar from his shirt pocket and begins to unwrap it.

MAXWELL
There’s about eight insect legs in
a candy bar.

Jerry smiles and takes a bite of the chocolate.

JERRY
Protein.

Jerry gives Martin the once over. Martin forces a smile
which, Jerry doesn’t return.

34.

JERRY
Who’s your fancy helper here,
Maxwell?

MAXWELL
Marty.

MARTIN
Martin, actually.

Martin extends his hand to Jerry who ignores it.

JERRY
How do you know each other?

MARTIN
Well, that’s kind of a long story
actually.

JERRY
Is it?

MARTIN
I’m afraid so.

JERRY
I’m not that crazy about short
stories, so let’s forget I asked.

Martin nods. The mill hand joins them.

MILL HAND
Maxwell, how’s it swinging?

MAXWELL
Hi, Ben.

Martin laughs. The others stare at him.

MARTIN
You guys are Ben and Jerry.

JERRY
Yeah.

MARTIN
That’s . . . never mind.

Ben and Jerry share a look.

35.

JERRY
(To Maxwell)
Ben and me are going to get a
coffee. You know the formula.

MAXWELL
Bag five, keep one.

JERRY
You got it.

BEN
My man.

MARTIN
It was nice meeting both of you.

JERRY
Yeah, it’ll be a special entry in
my diary tonight.

BEN
(To Jerry)
What a tool.

Ben and Jerry leave.

MARTIN
Nice guys.

Maxwell doesn’t respond. He heads over to a box by the wall
nearby, and pulls out a couple of burlap bags.

He comes back over to Martin and hands him one of the sacks.

MARTIN
What’s this for?

MAXWELL
Bag five, keep one.

Maxwell goes over to the table saw area where there is piles
of lumber cut offs lying about. He begins filling his bag
with wood scraps.

MAXWELL
Pinocchio was made of pine. But,
it’s not a good idea to make a
cooking fire out of pine.

MARTIN
Lucky for Pinocchio.

36.

Martin watches Maxwell stuff the bits and pieces of wood in
the bag for a moment.

He then sighs heavily, shakes his head, and joins Maxwell.

EXT. LUMBER MILL SHED - DAY

Maxwell stacks one of the burlap bags full of wood scraps
against the side of the building. Martin does likewise.

Above the bags, on the side of the building, is a sign that
reads, KINDLING $7.50 A BAG.

Martin pulls out his handkerchief and wipes his hands off,
while Maxwell places one of the bags of kindling in the
wagon.

Martin stashes his handkerchief away.

MARTIN
So, what are you going to with
that?

MAXWELL
People aren't penguins, Marty.

MARTIN
What?

Maxwell grabs the handle of his wagon and starts off across
the yard.

MARTIN
Maxwell? Where are you going?
Maxwell? Let's just go back to
the car. Maxwell?

Maxwell pay him no heed.

INT. CAR - DAY

Renee and Hayden are parked in front of the video store
where Renee applied for the job.

Renee contemplates the slip of paper with the address and
phone number on it again.

37.

INT. DINING ROOM-FLASHBACK - DAY

The little girl who proclaimed to her Dad, "We're monkeys"
earlier, Renee as a child, is eating dinner with her
family.

She picks up three green beans from off her plate with her
fingers and stuffs them into her mouth.

Her Dad, whose face isn't seen, notices Renee eating with
her fingers.

DADDY
Baby, use your fork to eat your
green beans.

YOUNG RENEE
Daddy, I'm just a baby monkey.

BACK TO SCENE

INT. CAR - DAY

Renee stashes the slip of paper away. She ponders a moment
longer, and then starts the car.

INT. COMMERCIAL KITCHEN - DAY

The stoves are covered with steaming pots, and sizzling
pans.

KITCHEN STAFF is busy cutting vegetables, working blenders,
food processors, and other kitchen equipment.

The CATERING STAFF focuses on preparing various platters of
food.

INT. BANQUET ROOM - DAY

Stacks of chairs are being brought into the room by several
CATERING STAFF MEMBERS.

Other EMPLOYEES are setting up, and arranging tables
throughout the room.

EXT. SIDE STREET - DAY

Martin follows Maxwell through a desolate neighborhood.

38.

He examines the rundown buildings, many of which are boarded
up.

His focus shifts to the trash strewn vacant lots.

MARTIN
What are we doing down here,
Maxwell?

MAXWELL
Aluminum’s the most abundant metal
in the Earth’s crust; mainly
bauxite I think.

MARTIN
Yeah, well we use a lot of it.
Maxwell, I don’t think it’s such a
good idea for us to be roaming
around here.

Martin keeps looking around nervously. He checks again, in
vain, to see if his phone’s working.

MAXWELL
The Chinese been making stuff with
it since the about fourth century.

MARTIN
What?

MAXWELL
Aluminum.

Martin's still messing with his phone.

MAXWELL
Western society didn’t start doing
that until the 19th. Century.
Marty, why do you keep trying to
use a broke phone?

MARTIN
I don’t know.

Martin bangs on the side of the phone with his hand.

MAXWELL
Does hitting the phone help?

Martin checks it again.

39.

MARTIN
Apparently not. They didn’t start
doing what in Western society
until the 19th. Century?

MAXWELL
Making stuff out of aluminum.

MARTIN
Oh, right aluminum. It’s going to
be dark before too long don’t you
think we should head back to my
car?

MAXWELL
Copper’s the second most used
metal.

Martin continues to look around anxiously.

MARTIN
Electric wiring, water pipes,
pennies. Don’t you think maybe we
should—?

MAXWELL
Alloys, bronze.

MARTIN
Yeah, that too. Maxwell, I’m
serious about us getting back.

MAXWELL
Rodin’s sculpture, ‘The Bronze
Age’ . . . that was in the 1870s .
. . late . . . it was called
something else first . . . I
forget . . . ‘The Vanquished’, I
think . . . No, it was mid-1870s .
. . The statue was so life-like
that critics thought he sacrificed
a human body in the cast to make
it.

MARTIN
Did he?

Maxwell doesn’t respond. He stops.

MARTIN
Maxwell, are you OK?

40.

MAXWELL
No.

MARTIN
What’s wrong?

MAXWELL
He didn’t . . .

MARTIN
Who?

MAXWELL
. . . Sacrifice a human.

MARTIN
Rodin?

MAXWELL
Yeah.

MARTIN
That's . . . good. Maxwell, let’s
go.

MAXWELL
He signed all his . . . everything
. . . over to the French
government . . . his statues
housed in different museums . . .

MARTIN
We can talk about this on the way
back to the car.

MAXWELL
He died in 1917 . . . the house
didn’t have heat . . . the pipes
froze and burst . . . don’t know
if they were copper?

MARTIN
Shouldn’t we go?

MAXWELL
Nobody’s perfect, Marty.

Maxwell grabs the handle of his wagon and moves on.

41.

INT. BANQUET ROOM - DAY

Carol and Walter stand together and look on as the catering
staff continues to prepare the room for the celebration.

One of the CATERING STAFF approaches them.

CATERER
Where would you like the banner
hung?

CAROL
(To Walter)
Over the head table, don’t you
think?

WALTER
I don’t know. Why don’t we have a
nice long meeting with the, ‘Who
Really Gives a Damn Committee’,
and see what they think about it.

Carol ignores the comment.

CAROL
(To Caterer)
Above the head table will be fine.

CATERER
That’s what I thought, but I
figured I should ask first.

CAROL
Thank you.

Caterer leaves.

WALTER
Sorry.

CAROL
Have you heard anything?

Walter shakes his head.

They turn to watch TWO STAFF MEMBERS hang the banner above
the head table on the far side of the room. It reads,
CONGRATULATIONS MARTIN.

42.

INT. CAR - DAY

Renee’s old ride looks out of place as she and Hayden cruise
through a very upscale neighborhood. Hayden can’t seem to
take her eyes off the houses.

Renee shifts between watching the road, and glimpsing down
at the map in her hand.

HAYDEN
Are these castles, Mommy?

RENEE
No, sweetie.

HAYDEN
Mansions?

Renee glances over at her daughter, pushes a smile across
her lips, and shakes her head no.

Hayden peers back out the window.

            HAYDEN
      (Whispers to her
       doll.)
Those are castles, Desiree. This
is a magic kingdom.

EXT. VACANT LOT - DAY

Maxwell rummages through the mounds of garbage heaped up in,
and about, the lot.

ON THE SIDEWALK

Martin hangs out. He paces, fidgets about, and checks his
watch seemingly ever other second.

Maxwell drags a piece of metal out from one of the trash
piles.

He lugs it out to the sidewalk, and deposits it in the wagon
next to the bag of kindling.

MARTIN
What are we doing with this stuff?

43.

MAXWELL
We?

He turns around and heads back into the vacant lot.

MARTIN
Shit.

A pimped ride cruises by. The DRIVER spots Martin on the
sidewalk and eyes him closely. The car slows down.

Martin watches as the vehicle does a U-turn.

MARTIN
Maxwell, I think we should go.

Maxwell’s nowhere to be seen.

The car pulls up to an abrupt stop in front of Martin.

TWO MEN, DEE and RONALD (20s-30s), climb out of the vehicle.
They’re big and intimidating looking.

Martin stands stiff.

The two men saunter up to Martin. They check him out. He’s
locked in a frozen stance as they continue to examine him.

DEE
You a cop?

Martin doesn’t respond.

RONALD
Hell no. This ain’t no
motherfucking cop. That is a $700
suit if it’s a motherfucking
nickel.

DEE
(To Martin)
You lost?

Still no response.

RONALD
My man asked you, if you’re lost?

MARTIN
Maybe?

44.

DEE
Maybe? You confused?

Martin nods. Ronald and Dee laugh.

MAXWELL (O.S.)
Hi, Dee. Hello, Ronald.

The guys, and Martin, turn to see Maxwell approaching them.
Dee and Ronald smile as they watch Maxwell drag a piece of
metal up to, and deposit it into the wagon.

DEE
Naucrates Ductor.

RONALD
Gleaning for Junk Man, Pilot Fish?

Maxwell nods, then indicates Martin.

MAXWELL
This is Marty.

MARTIN
Actually, it’s Martin . . . I mean
. . . never mind . . . it’s nice
to meet you both.

DEE
So, you swimming with Naucrates
Ductor?

MARTIN
I have no idea what that means.

RONALD
How you know The Pilot Fish?

MARTIN
I used to go to a lot of his
shows.

DEE
Shows?

MAXWELL
I don’t know what he’s talking
about.

MARTIN
I liked the songs he wrote, and I
wrote a few articles about him and
the band.

45.

DEE
Band? You was in a band,
Naucrates?

Maxwell doesn’t answer. He turns and heads back into the
vacant lot.

MARTIN
Maxwell, where are you going?

Maxwell doesn’t answer, he just walks on.

RONALD
Don’t get all nervous, Marty.
Ain’t nothing going to happen to
you.

DEE
Hell no.

RONALD
You swimming with the Pilot Fish.

Martin and the men turn to watch Maxwell picking through a
pile of trash.

RONALD (O.S.)
That is a holy man in exile.

MARTIN
I know.

RONALD
(To Dee)
Let’s roll on out of here.

DEE
Yeah, all right.
(To Martin)
You be careful, Marty.

RONALD
From today, if you’re down in
here, we’re down in here.

DEE
Hell yes.

MARTIN
Thanks.

Ronald and Dee head back to their car.

46.

Martin watches them drive off.

He turns around and joins Maxwell, helping him scrounge
around through the trash heaps picking out metal scraps.

INT. CAR - DAY

Renee pulls into a driveway in an expensive part of town.
The house is big and fairly elegant.

HAYDEN
Where is this place, Mommy?

Renee pulls out the slip of paper with the address and phone
number on it, that she’s been checking out off and on all
day.

INSERT PAPER--777 HUNTER LANE, BLOOMDALE
313-555-1282

The numbers attached to the house are the same as the
address on the piece of paper.

HAYDEN
Who lives here?

RENEE
Someone I kind of knew a long time
ago.

A CAT stretches in the huge bay window of the house. ANOTHER
CAT jumps up next to the first one and nuzzles it.

HAYDEN
Mommy, they have kitties . . .

A DOG pops its head into the picture.

HAYDEN
. . . And a doggy.

Renee says nothing. She just stares at the house.

The dog in the house darts out of view.

47.

EXT. HOUSE - DAY

The front door of the house opens, and a MAN, the DOG
WALKER, comes out with the dog on a leash. He sees Renee’s
car in the driveway and approaches.

AT THE CAR

DOG WALKER
Can I help you?

Renee rolls down the window.

DOG WALKER
Can I do something for you?

At a loss for words, she doesn't respond.

HAYDEN
Hi, I like your dog.

DOG WALKER
Thanks, but Max here isn’t my dog.
I just take care of him and the
cats for Mr. Diggory. He’s the one
who lives here.
(To Renee)
Is that who you’re looking for?

INT. BEDROOM-FLASHBACK-MORNING

Young Renee wakes in bed. She pulls her doll from off the
pillow and into her arms. The doll is Desiree, the same one
Hayden's been carrying around all day.

She climbs out of bed and heads for the door.

INT. HALLWAY-MOMENTS LATER

Young Renee pads her way toward an open door.

She peers inside.

YOUNG RENEE
Mommy?

She enters the room.

INT. BEDROOM-NEXT MOMENT

She sees the empty bed, then explores the room.

48.

YOUNG RENEE
Daddy?

INT. KITCHEN-MOMENTS LATER

From the doorway, Young Renee sees her mother, STEPHANIE,
seated full back at the table, weeping.

INT. LIVING ROOM-MOMENTS LATER

Young Renee scans the space.

YOUNG RENEE
Daddy?

She approaches the front window, and looks out into the
driveway.

It's empty.

BACK TO SCENE

EXT. MARTIN'S HOUSE-DAY

RENEE
(To Dog Walker)
I think I’ve made a mistake.

HAYDEN
(To Dog Walker)
Is it OK if I come out and pet
Max?

DOG WALKER
Sure.

RENEE
I don’t know?

DOG WALKER
He’s friendly.

HAYDEN
Please, Mommy.

Renee looks into Hayden’s eyes. She nods.

Hayden hops out of the car and rushes toward Max, who greets
her enthusiastically.

Renee watches Hayden pet and hug the dog.

49.

DOG WALKER
Looks like you made a new friend
today, Maxwell.

Hayden hugs Max again.

HAYDEN
You're the best dog in the world.
I wish you could be mine.

Hayden points to the big bay window.

HAYDEN
What's the kitties' names?

DOG WALKER
Iggy and Lou.

HAYDEN
Iggy’s a funny name. You really
got a lucky job.

DOG WALKER
Especially today.

Renee rolls down the car window.

RENEE
Hayden, we need to leave.

HAYDEN
(Heavy sigh)
Have to go.

DOG WALKER
Yeah. It was good to meet you.

HAYDEN
You too.

Hayden hugs Max one more time before heading back into the
car.

Dog walker comes up to Renee’s window.

DOG WALKER
Do you want me to let Mr. Diggory
know you came by? I could have him
give you a—

RENEE
No thanks.

50.

DOG WALKER
Are you sure?

RENEE
Yes, I’m sure.

She abruptly backs out of the driveway.

INT. CAR-DAY

Renee keeps her eyes fixed on the road, as if willing
herself not to see the homes drifting past her window, one
by one.

Hayden turns to her Mom.

HAYDEN
I wish we could have a dog and
some kitties.

RENEE
Don’t be stupid. What would we do
with pets?

Hayden is immediately quiet. She hugs her doll to her chest
and stares out the window. Unlike her mother, she can’t seem
to take her eyes off the homes in the neighborhood.

INT. BANQUET ROOM - DAY

Carol looks on as –

Some of the catering staff covers the dining tables with
white clothes.

Other staff follows behind them, putting in place and
arranging, the center pieces.

ON THE FAR SIDE OF THE ROOM

Another group of workers sets up the serving tables.

Carol glances up at the clock and sighs.

INT. WALTER'S OFFICE - DAY

The mound of crumpled papers around Walter’s trash can has
grown.

51.

He dials the phone. Waits. No answer. He hangs up. He grabs
a paper wad and whips it at the wall.

EXT. SIDE STREET - DAY

Martin and Maxwell are on a different street, but similar to
the one they met Ronald and Dee on. It’s an inhospitable
environment.

Martin’s holding his phone.

            MARTIN
      (Referring to the
       phone)
I should just throw this thing
away.

MAXWELL
You might need it.

MARTIN
It’s broken.

Maxwell shrugs. Martin puts the phone back in his pocket.

MARTIN
Who were those guys?

MAXWELL
Ronald and Dee.

MARTIN
I mean, how do you know them?

MAXWELL
I know them fine.

Martin shakes his head.

MARTIN
Where are we?

MAXWELL
The ‘You Are Here’, marker on a
map is called an ideo locator.

MARTIN
Well this ‘ideo’ doesn’t have one
of those maps. Where are we going
anyway?

52.

MAXWELL
You’re a writer?

MARTIN
What? Where did that come from?

MAXWELL
You told Ronald and Dee that you
wrote articles.

INT. CAFE-FLASHBACK - DAY

This is no Starbuck’s. It’s a funky little place.

Young Martin, seen from the shoulders down, sips coffee, and
smokes.

The seat opposite him is empty.

Written on the legal pad in front of him is--

INSERT-LEGAL PAD: INTERVIEW-MAXWELL NAIM.

BACK TO SCENE

EXT. SIDE STREET - DAY

MARTIN
I wrote for a small magazine a
long time ago.

MAXWELL
What do you do now?

MARTIN
Advertising.

MAXWELL
The first television commercial
for a toy was shown in 1946. So,
you write stuff now to get people
to buy things they don’t need?

MARTIN
No. I give consumers information
about products, to help them make
better choices about things they
need, or might want to buy. What
toy was the commercial for?

53.

MAXWELL
Mr. Potato Head. So, like what
products?

MARTIN
HONEST MARGARINE is my biggest
account.

MAXWELL
I’ve heard of that stuff.

            MARTIN
      (Sounding like a
       commercial)
HONEST MARGARINE—‘It tastes just
like butter, Honest.’

Maxwell stares at him.

MARTIN
What?

MAXWELL
Marty, you can call that stuff,
SWEAR TO GOD, it’s never going to
taste like butter.

INT. CAR - DAY

Road noise is the only sound heard in the car as Renee and
Hayden ease down the side street of a much rougher looking
neighborhood than the one they were in before.

The car begins to miss, and sputter. Renee hits the steering
wheel with her fist.

RENEE
No, no, no, you piece of shit.

Hayden hugs her doll close and hides her face behind its
head.

RENEE
Oh, God no.

The car stalls and stops next to an auto junkyard.

Renee notices it, and smiles. The smile quickly fades. She
rests her head against the steering wheel.

54.

RENEE
Dear, God, why did we come here?

HAYDEN
What happened, Mommy?

RENEE
We’re out of gas.

HAYDEN
What are we going to do?

Renee turns to Hayden, and then looks outside.

Snow is coming down pretty hard.

RENEE
I don’t know.

Renee and Hayden are startled by a tap on the driver side
window.

Renee turns to see the face of a STRANGE MAN outside.

STRANGE MAN
You having car problems, maim?

Renee rolls down the window.

STRANGE MAN
Car troubles?

RENEE
We ran out of gas.

STRANGE MAN
This isn’t the best neighborhood
for that to happen.

Renee looks outside of the car at the surroundings. It does
look like a menacing place to be stranded.

STRANGE MAN
Some pretty scary customers hang
around here. You want me to give
you a ride somewhere?

RENEE
No, thanks.

Strange Man notices Hayden. He looks her up and down.

55.

STRANGE MAN
(To Hayden)
You’re pretty. What’s you’re name.

HAYDEN
Hayden.

STRANGE MAN
I like that.

HAYDEN
Thank you.

STRANGE MAN
(To Renee)
Are you sure you don’t want a
ride? Gas station?

Renee shakes her head.

Strange Man ogles Hayden some more. He notices the doll in
her arms.

STRANGE MAN
Your dolly have a name?

HAYDEN
Desiree.

STRANGE MAN
Nice.

STRANGE MAN
(To Renee)
Gas station’s not far from here.

RENEE
I really can’t afford that at the
moment.

STRANGE MAN
You need money?

RENEE
That’s kind, but I really
couldn’t.

Strange man leers at Hayden again. Renee notices.

STRANGE MAN
How about twenty dollars?

56.

RENEE
No thank you.

Strange Man’s breathing quickens. His eyes are still glued
on Hayden.

Hayden looks away from Strange Man. Hiding her face behind
her doll’s head.

STRANGE MAN
Thirty dollars?

RENEE
I said no thank you.

STRANGE MAN
That would fill up your tank.

Renee begins to roll up the window. Strange Man tries to
stop her.

RENEE
Stop it.

STRANGE MAN
You name the price, then.

RENEE
Get out of here.

STRANGE MAN
What? Come on.

Renee smacks him in the face, and then gets the window
rolled up.

She locks the doors.

EXT. CAR/STREET-A MOMENT LATER

Strange Man pounds on the roof of Renee’s car.

STRANGE MAN
Fine. Like I give a shit, bitch.

INT. CAR-THAT MOMENT

Renee’s arms are wrapped around Hayden, who is crying and
screaming.

57.

EXT. CAR/STREET-THAT MOMENT

Strange Man keeps pounding on the car.

STRANGE MAN
Go ahead freeze to death. Freeze
to death you motherfucking cunt.

He kicks Renee’s car. He turns and heads for his own
vehicle. He turns back to Renee’s ride—

STRANGE MAN
I hope you die, bitch. I hope you
fucking die.

He climbs into his car, starts the engine and drives away.

INT. CAR-MOMENT LATER

Renee has Hayden cradled in her arms. Hayden is crying.

RENEE
He’s gone. He’s gone, baby. It’s
OK. It’s OK, baby. It’s OK.

INT. BANQUET ROOM - DAY

Carol surveys the SERVING STAFF putting buffet style warming
pans in place on the tables.

Walter enters and approaches Carol.

WALTER
He’s still not answering his
phone.

CAROL
Maybe Mr. Burkhart was mistaken
about the meeting time, and Martin
got tied up with another client?

WALTER
No, Burkhart is who he said he was
meeting. And he knows about this.
So, I don’t know what to think.

CAROL
He knows about the party?

WALTER
Be real.

58.

EXT. GERONIMO'S PLACE - DAY

A junk covered yard surrounds an old, rundown, little house.

Amidst the scrap on the ground are small clearings here and
there, wherein stands metal sculptures of questionable
quality, and aesthetic value.

A person, GERONIM0 (50s-60s), wearing a protective mask is
occupied with welding small, wing shaped pieces of metal
onto the end of thick, heavy strands of wire. He stops when
he sees—

Maxwell and Martin come into the yard.

Geronimo removes his mask. He’s a groovy looking dinosaur
that has not evolved beyond 1969 it seems.

GERONIMO
Maxwell, man. What have you got
for me today?

Martin stays near the sidewalk, while Maxwell pulls his
wagon up near Geronimo.

He parks it there and starts to unload the metal scraps that
were gathered from the vacant lot.

Maxwell points down at the heap of metal he just unloaded,
before grabbing another piece from off the wagon.

GERONIMO
Whoa, far out. Maxwell, you are
scavenger extraordinaire, man. You
are like the salvage deity, dude.

Geronimo checks out Martin who’s still hanging out by the
sidewalk.

GERONIMO
Hey, Maxwell. Who’s the suit, man?

Maxwell waves Martin over.

Martin joins them.

Geronimo gives Martin the once over. Martin returns the
favor.

59.

MAXWELL
You both have a lot in common . .
.

They don’t look as if they could possibly have anything in
common.

MAXWELL
. . . You both sell junk.

GERONIMO
Maxwell, why you always busting my
chops, man?

Maxwell ignores the question.

MAXWELL
(To Geronimo)
This is Marty.

MARTIN
I prefer Martin, actually.

GERONIMO
Righteous, right on, man. I think
people should be called what they
prefer to be called.

MAXWELL
(To Martin)
This is Bradley.

GERONIMO
That’s what I’m talking about,
man. How many times do I got to
tell you that’s not my name
anymore?

Again, Maxwell ignores the question and continues unloading
the salvaged metal from the wagon.

GERONIMO
(To Martin)
Bradley was my birth name, man. It
was my unenlightened name.

MARTIN
So, what do you prefer being
called now?

GERONIMO
Geronimo.

60.

MAXWELL
The name given him by Mexican
soldiers. It’s a Spanish version
of Jerome. He was born Goyathalay
in 1829—

GERONIMO
Yeah, in New Mexico, man.

Maxwell shrugs and turns back to unloading the wagon.

MARTIN
Why did you choose the name
Geronimo?

GERONIMO
He had mystical powers, man. The
dude could see into future for
real. He could walk anywhere
without leaving footprints, just
like a spirit. And he could even
delay the dawn from coming if he
and his people needed the cover of
night for protection, man.

MARTIN
So, you took his name because you
admire him.

GERONIMO
It’s a lot deeper than that, man.

MAXWELL
I’m sure it’s going to get a lot
deeper than that, man.

MARTIN
(To Geronimo)
How do you mean, deeper?

GERONIMO
I had this mind-blowing experience
twenty-five years ago in New
Mexico, man.

MAXWELL
Did you make tuna sandwiches?

GERONIMO
Don’t I always?

61.

Maxwell shrugs and nods.

Geronimo's train of thought is lost.

MARTIN
New Mexico.

GERONIMO
Right on. Me and these native
brothers were hooked into this
whole spiritual ceremony trip,
man. Peyote, the whole thing.

MAXWELL
You’ll have to make another one
for Marty.

GERONIMO
What?

MAXWELL
Tuna sandwich.

GERONIMO
I will.

He turns back to Martin. He's lost again.

MARTIN
Spiritual ceremony, peyote.

GERONIMO
Yeah, we were led by this shaman--

MAXWELL
Do you like tuna fish, Marty?

MARTIN
It’s fine. Let Geronimo finish his
story.

MAXWELL
OK.

MARTIN
(To Geronimo)
You were led by this shaman.

GERONIMO
That's right. We were led by this
shaman who guided us through these
righteous rituals, man. We sang
songs and prayed all night.

62.

MAXWELL
The Apache quit using peyote in
shamanistic rituals way before
that.

GERONIMO
You don't know, man.

Maxwell rolls his eyes, then turns to finish unloading the
wagon.

GERONIMO
So like I was saying, we sang and
prayed all night. Then, just
before dawn, I fell into a dream,
man; a vision more like . . .

MARTIN
Vision?

Geronimo nods solemnly.

GERONIMO
It was at that time that the
spirit of the great Apache warrior
Geronimo appeared to me. He merged
his spirit with mine, dude. Right
then and there, man, I ceased
being just Bradley Linford, and
became in essence, the great
Geronimo.

MARTIN
Wow.

Geronimo spreads his arms and gazes up to the heavens.

GERONIMO
I was born on the prairies where
the wind blew free and there was
nothing to break the light of the
sun. I was born where there were
no enclosures . . .

MAXWELL
You were born in a hospital, in
Ypsilanti.

GERONIMO
. . . I was warmed by the sun,
rocked by the winds and sheltered
by the trees . . .

63.

MAXWELL
You’re actually quoting Geronimo
right now, Bradley. You’re
stealing his words.

GERONIMO
I’m a conduit, man, a source, I’m
connected—

MAXWELL
It’s new age, channeling, bullshit
talk that’s rolling out of your
pretentious, old hippie head.

GERONIMO
For the past twenty-five years I
have shared his life and he has
shared mine. I—like Geronimo . .
.

He glares at Maxwell.

GERONIMO
. . . . . . In his own words, was
living peaceably when people began
to speak bad of me . . .

MAXWELL
Are you talking about me right
now, or the people who’ve been
riding your ass to clean up your
yard?

GERONIMO
. . . And like Geronimo, I have
defied federal authorities for
twenty-five years. I have not
allowed this oppressive government
to crush me, man.

MAXWELL
Crush you? You’ve collected more
unemployment checks than anybody I
know.

GERONIMO
Dude—

MAXWELL
And, as far as I know there’s
never been any federal authorities
oppressing you, or trying to crush
you. There’s just been some local
(MORE)

64.

MAXWELL (cont'd)
officials pressing you to clear
the junk from your yard, because
it’s ugly.

GERONIMO
No, it's because they don't
understand art, man.

MAXWELL
Art?

GERONIMO
Yeah, art. I’m an artist, man. You
know that. I take junk and
transform it into truth and
beauty, man.

MAXWELL
How much of this truth and beauty
have you sold?

GERONIMO
What does that matter? Sweet God
in heaven, what does that matter?
Van Gogh only sold one painting in
his lifetime, man.

MAXWELL
You’re comparing yourself to Van
Gogh?

GERONIMO
Well, we both used different
mediums. He painted and I create
sculptures. But, art is art--

MAXWELL
Exactly, art is art.

Maxwell moves to one of the sculptures.

MAXWELL
This is not art.

Maxwell trashes it and moves to another.

MAXWELL
This is not art.

He destroys that one as well before moving to yet another.

65.

MAXWELL
And this is not art. You don’t
take junk and transform it into
truth and beauty, you fucking
liar, you fucking phony.

Maxwell wildly goes about the business of demolishing all of
Geronimo's work.

MAXWELL
None of this shit compares to a
doodle of Van Gogh’s. None of it.

Martin watches Maxwell in strange fascination.

Geronimo looks numb and blank.

MAXWELL
You take junk and rearrange it
into different junk.

Maxwell annihilates the last piece.

He looks dazed. He drops to his knees and doubles over. He's
shaking.

Geronimo slowly moves to Maxwell's side and kneels down next
to him.

GERONIMO
I’ve got cheese, Maxwell. I could
make tuna melts. I could heat them
real nice on the George Foreman
grill.

INT. BANQUET ROOM - NIGHT

The room looks almost ready for Martin's celebration.

Candles on the centerpieces are being lit, while platters of
hors duevres are being brought in from the kitchen, and
warming pans filled with steaming food are placed on the
serving tables.

INT. GERONIMO'S PLACE - NIGHT

66.

IN THE LIVING ROOM

Maxwell and Martin sit on the couch eating sandwiches and
sipping tea.

An empty plate rests on the coffee table located in front of
them.

Opposite them, Geronimo puffs on a pipe as he gently sways
back and forth in a rocking chair.

            MAXWELL
      (Without looking
       up)
440 hours is the world record for
rocking non-stop in a rocking
chair.

GERONIMO
That’s something I should go
after. It’s one thing I'm truly
good at.

Maxwell avoids looking Geronimo in the face by focusing
intently on his sandwich.

            MARTIN
      (Indicating the
       sandwich)
This is good.

Geronimo smiles.

Martin scans Geronimo’s place. It’s surprisingly clean and
cozy.

MARTIN
I like your place.

GERONIMO
It’s small. But, I figure you can
only be in one room at a time
anyway. You know what I mean, man?

MARTIN
Yeah.

GERONIMO
Besides, it’s only me here.

MARTIN
Well, I think it's comfortable.

67.

GERONIMO
You married, Martin?

MARTIN
What?

GERONIMO
You married?

INT. WHY NOT CLUB-FLASHBACK - DAY

The band members of the Nameless Faces, who are only seen
from the neck down, are moving down a hallway. They’re
surrounded by a group of admirers, with Young Martin, full
back, tagging along behind the throng.

When the band reaches the dressing room, several of the
admirers are allowed admittance into the room with the band.

From inside the dressing room--

YOUNG MARTIN
Shit, man. We can’t let every
fucking leech come in here.

Young Martin, seen from behind, reaches the door. It slams
in his face.

INT. WHY NOT CLUB-MOMENTS LATER

Martin is moving slowly down the hallway, away from the
dressing room.

THE DRESSING ROOM

Door opens.

A woman, STEPHANIE, emerges seen from the neck down.

On her left calf is the Vesica Pisces tattoo. She follows
after Martin down the hallway.

STEPHANIE
Hey.

Martin stops and turns around, his face unseen. Stephanie
stashes a slip of paper in his hand.

She then turns and runs back to the dressing room.

Martin unfolds the piece of paper and reads it.

68.

INSERT-PIECE OF PAPER

Steff-A-Knee 313-555-5757 CALL ME!!!!!!!

BACK TO SCENE

INT. GERONIMO'S HOUSE - NIGHT

Geronimo examines Martin who seems lost in thought.

GERONIMO
Martin? You OK?

MARTIN
No, no I'm not married.

GERONIMO
Me neither. Never could find
anyone who could share the vision
and put up with the reality at the
same time.

Martin smiles.

MAXWELL
We should go, Marty.

MARTIN
OK.

GERONIMO
Wait, man.

Geronimo disappears from the room.

MARTIN
I’m a little lost, Maxwell. Do you
know how to get back to the car?

Maxwell nods.

Geronimo comes back into the room carrying a wool hat,
scarf, and mittens, as well as a couple of blankets. He
hands Martin the hat, scarf, and mittens.

69.

GERONIMO
They’re not real fancy or nothing,
man. But, it’s going to be
unrighteous cold out there
tonight. They might help out a
little.

MARTIN
Thanks.

Martin starts putting on the hat, scarf, and mittens.

Geronimo turns to Maxwell, who still can’t look Geronimo in
the face.

GERONIMO
We’re all right, man.

Maxwell looks up at Geronimo and forces a smile. Geronimo
stuffs the blankets into Maxwell’s arms.

Geronimo turns back to Martin.

GERONIMO
Martin, dude.

MARTIN
Thanks for everything.

GERONIMO
Nothing to thank, man.

Martin offers his hand to Geronimo. Geronimo ignores it and
embraces him.

GERONIMO
Take care yourself, Martin.

MARTIN
You too.

Geronimo steps back and checks out Martin in the gear he
gave him.

GERONIMO
Damn, you look goofy, man.

INT. BANQUET ROOM - NIGHT

Many of the GUESTS have arrived.

70.

They're scattered about the room in various groups.
Smoozing, sipping cocktails, and nibbling hors duevres.

Carol and Walter stand apart from the others with drinks in
their hands.

WALTER
I tried again about ten minutes
ago.

CAROL
Maybe he accidentally turned his
phone off.

WALTER
It’s possible, I guess. I'm
wondering if I should I call the
police, or the hospital maybe?

CAROL
I don’t think the police will do
anything for twenty-four hours.
The hospital . . . I don’t know?

WALTER
Oh, bite my ass.

CAROL
What?

WALTER
Mr. HONEST, fucking, MARGARINE.

Carol turns to see Burkhart heading their way.

WALTER
(To Burkhart)
Henry . . .

Burkhart joins them.

WALTER
. . . It's good to see you again.

BURKHART
Your name again?

Walter shakes Burkhart's hand.

WALTER
Simmons, Walter Simmons.

71.

BURKHART
Yes.

It's clear Burkhart has no idea who Walter is.

Burkhart turns to Carol.

BURKHART
Ms. Lindley, it’s nice to see you
again.

CAROL
Thank you, Mr. Burkhart--

BURKHART
Call me Henry.

CAROL
All right; and please call me
Carol. It’s so nice of you to join
us tonight.

BURKHART
Not at all.

He checks out the room.

BURKHART
You’ve done a wonderful job
putting all this together tonight.

CAROL
Thank you.

WALTER
Yes, thank you, Henry.

Burkhart flashes Walter, A LOOK.

WALTER
Uh, Mr. . . . Burkhart.

Burkhart turns back to Carol.

BURKHART
So, where is our man of the hour?
I’d like to have a word with him.

CAROL
I’m afraid he hasn’t arrived yet.

72.

BURKHART
Is that so? Tell me, is Mr.
Diggory always so, unreliable?

CAROL
No sir, not at all. It has us a
little concerned to be honest.

WALTER
Honest, like your margarine.

Burkhart glares at Walter. Yes, the insect is still present.
He turns back to Carol.

BURKHART
I wouldn't be too concerned,
Carol. If anything serious had
happened, I'm sure you would have
been notified by now.

CAROL
I'm sure you're right.

INT. CAR - NIGHT

Renee and Hayden shiver in the dark, despite being bundled
up in blankets.

Renee pulls a small packet of saltine crackers from her
pocket and opens it. She hands one to Hayden.

Hayden crunches into the cracker.

HAYDEN
Aren’t you going to have one,
Mommy?

RENEE
I’m not hungry, sweetie.

EXT. SIDE STREET - NIGHT

Maxell is moving down the sidewalk with his wagon as Martin
trails behind.

MARTIN
Maxwell, this doesn’t look like
the way back to the car.

Maxwell doesn’t respond.

73.

MARTIN
We’ve been walking around forever.

MAXWELL
It takes a snail 33 hours to crawl
a mile.

MARTIN
When are we going back to the car?

Maxwell looks up at the sky and points.

MAXWELL
Capella.

Martin looks up.

MAXWELL
Were you ever?

Martin’s eyes are still skyward.

MARTIN
What’s Capella? Was I ever what?

MAXWELL
Of the twenty brightest stars in
the night sky, Cappella is the
furthest north. You told Bradley
you’re not married.

Martin points up at the sky.

MARTIN
Is it that one? I’m not.

MAXWELL
Yeah, out the billions of stars up
there, that’s one of the few we’ve
given a name to. Not even because
it’s the brightest one.

Martin's still eyeing the star.

MARTIN
Just because of where it is?

MAXWELL
In relationship to us. Were you
ever married, Marty?

74.

INT. BEDROOM-FLASHBACK - NIGHT

Young Martin is seen from behind, sitting on the floor of a
sparsely decorated room, pecking away at an old electric
typewriter.

A pair of bare feet and legs appears and enters the room.

On the lower portion of the left calf, just above the ankle,
is the familiar Vesica Pisces tattoo.

Martin doesn’t notice Stephanie come in.

STEPHANIE
Marty?

YOUNG MARTIN
Yeah?

He keeps writing.

She stands in silence.

Martin stops typing after a few moments, turns to her, his
face unseen.

YOUNG MARTIN
Stephanie? Is something wrong?

Stephanie, whose face is also unseen, is frozen in the same
spot she was in when she entered the room.

STEPHANIE
I’m going to have a baby.

AWKWARD SILENCE.

YOUNG MARTIN
What are you going to do?

STEPHANIE
I just told you.

Martin turns around and starts writing again.

BACK TO SCENE

EXT. SIDE STREET - NIGHT

Martin and Maxwell stand beneath the starry sky.

75.

MARTIN
Yeah, I was married. Just for a
few years. That was a long time
ago.

MAXWELL
Charles de Gaulle’s final words
were, “It hurts.”

INT. BANQUET ROOM - NIGHT

The guests are all seated at various tables.

Many look somewhat restless.

Burkhart’s seated next to Carol at the head table. He checks
his watch and then turns to her.

BURKHART
The guests seem to be growing
somewhat impatient.

CAROL
What do you think I should do?

Burkhart indicates the podium located at the center of the
head table.

BURKHART
Perhaps a few words.

CAROL
Yes.

She seems hesitant.

BURKHART
Would you prefer I do it?

CAROL
Thank you, no. I really should.

BURKHART
Relax, you'll be fine.

Carol makes her way to the podium.

AT THE PODIUM

Carol turns on the microphone.

76.

CAROL
Good evening, everyone. I’d like
to thank all of you for coming
tonight to honor our newest vice
president, Martin Diggory.

There's a smattering of tentative applause.

CAROL
This is supposed to be a surprise
celebration for him. Well, the
surprise seems to be on us. I’m
afraid the guest of honor has not
yet arrived.

There’s a slight murmur amongst the guests.

CAROL
But, we can all take heart in the
knowledge that we obviously keep
company secrets quite well.

EXT. UNDER THE BRIDGE - NIGHT

Martin and Maxwell stop by the river side.

Maxwell grabs one of the blankets that Geronimo gave him
from out of the wagon, lays it on the ground and sits down.

MARTIN
What are we doing here?

Maxwell points to the wagon.

MAXWELL
In the second bag.

Martin goes over to the wagon and reaches into the bag
Maxwell pointed to. He pulls out a bottle of cheap vodka.

He laughs.

MARTIN
I didn’t even notice you grabbed
this stuff at the store. I haven’t
had any of this nasty shit in over
twenty-five years.

MAXWELL
At any given moment, there are
about 560,000,000 people in the
world who are drunk.

77.

INT. BANQUET ROOM - NIGHT

A MAN sitting with a group of PEOPLE at Martin’s celebration
swills a scotch.

AT ANOTHER TABLE

A WOMAN sips champagne, while Walter sits opposite her
hunched over a beer.

He pulls out his mobile phone and dials it. There’s no
answer. He hangs up and then downs the rest of his beer.

EXT. UNDER THE BRIDGE - NIGHT

Martin fishes around inside the bag that held the vodka and
pulls out two paper cups. He pours some of the rot gut into
each one.

Martin walks over to Maxwell and gives him one of the cups.

Martin takes a sip from his cup and makes a face.

MARTIN
Oh yeah, this is every bit as good
as I remember it.

Maxwell gazes out over the river. Heavy flakes of snow drift
down into the water and disappear.

MAXWELL
Holstein spots are all different.
What happened, Marty?

MARTIN
I don’t know what you mean. Cows?

MAXWELL
No two cows have the same spot
patterns.

Martin looks up, and focuses on a few snow flakes swirling
about in the wind.

MARTIN
Like snow flakes.

MAXWELL
Fingerprints.

78.

MARTIN
Everyone different.

MAXWELL
And still pretty much the same.
Why aren’t you married anymore,
Marty?

Martin takes a drink.

INT. LIVING ROOM-FLASHBACK - NIGHT

Young Martin is seated; face unseen, on the edge of a couch
in the living room of a typical middle-class suburban home.

Stephanie, whose face is also unseen, paces the floor in
front of him.

STEPHANIE
I can’t believe you’re even
thinking about doing this.

YOUNG MARTIN
It’s just for a few days,
Stephanie.

STEPHANIE
A few days that your boss did not
agree to give you off. You just
started the job, Martin. I thought
we moved away from there because
you were sick of the whole thing.

YOUNG MARTIN
This is different. They’re going
into the studio in less than two
weeks to start recording their
debut album for a pretty major
label. That’s newsworthy.

STEPHANIE
There’s no guarantee that anyone
will care about the album.

YOUNG MARTIN
Those are some of the greatest
songs I’ve ever heard.

79.

STEPHANIE
You’re willing to risk everything
we have to try and sell one
article?

YOUNG MARTIN
It’s an exclusive interview.
Maxwell promised me that.

STEPHANIE
You actually believe him? Even
after the way he’s treated you?

YOUNG MARTIN
Yes.

STEPHANIE
Unbelievable.

YOUNG MARTIN
Come on, Stephanie, I could sell
something this to ‘Creem’, or
maybe even ‘Rolling Stone.’

STEPHANIE
It’s still just one article. And
how many times do I have to say
it, Martin? Your boss did not give
you the time off to do it. You
could lose your job.

YOUNG MARTIN
I think you’re being a little
overly dramatic here, Stephanie.

STEPHANIE
And I think you’re being
completely selfish, and
irresponsible. You have a job, a
house, and a daughter. Don’t you
think it’s time you get out of the
sandbox and just let the kids
play?

BACK TO SCENE

EXT. UNDER THE BRIDGE - NIGHT

Martin downs his drink.

80.

MARTIN
Sometimes things don’t turn out
the way you plan.

Maxwell is still parked on the blanket by the river.

MAXWELL
George Crum.

Martin pours another drink.

MAXWELL
He was a chef in Sarasota, New
York in 1853.

Martin takes a sip. He grimaces.

MARTIN
Oh, please tell me more.

MAXWELL
A customer complained that the
French fries he made were too
thick. So he cut some thinner
but, the guy said they were still
too thick.

Martin finishes his drink and pours another.

MARTIN
This is fascinating the hell out
me.

MAXWELL
George Crum got annoyed with the
customer, so he cut some potatoes
so thin they couldn’t be eaten
with a fork after he fried them
up. He did that to irritate the
guy . . .

MARTIN
He could have just told him a
long, boring, pointless story.

81.

MAXWELL
But, it didn't work. He wasn't
annoyed by the super thin fried
potatoes. He loved them. And
people have been eating potato
chips ever since.

MARTIN
Once again you’ve made everything
so much clearer.

Martin takes another drink.

MAXWELL
What about the writing?

MARTIN
What writing?

MAXWELL
Your writing. Why did you stop
doing that?

INT. CAFE-FLASHBACK - DAY

Young Martin, seen from the neck down, sips coffee, and
smokes. He flicks the ashes from is cigarette off into the
ashtray.

The seat opposite him is empty.

Written on the legal pad in front of him, on the table is--

INSERT LEGAL PAD-INTERVIEW-MAXWELL NAIM.

INT. CAFE-FLASHBACK-LATER - DAY

Martin, still seen from the neck down, finishes his cup of
coffee, and then butts his smoke out in the ashtray, which
is now full.

The legal pad on the table in front of him is full of
doodles underneath the heading.

Martin tears the sheet off from the notepad and crumples it
up.

He pulls a five dollar bill from his pocket and lays it down
on the table.

82.

Martin gathers up his things, pitches the crumpled sheet of
paper in the waste can, and leaves.

BACK TO SCENE

EXT. UNDER THE BRIDGE - NIGHT

Maxwell watches Martin gaze out across the water.

MAXWELL
Marty, you OK?

MARTIN
How many times today have I told
you I prefer to be called Martin?

MAXWELL
I keep forgetting.

MARTIN
That’s convenient.

MAXWELL
I don’t know what you’re talking
about?

MARTIN
You seemed pretty damn lucid at
Geronimo’s, but you still kept
calling him Bradley.

MAXWELL
Come on, do you really believe
that the spirit of Geronimo merged
with his?

MARTIN
No, but he’s not hurting anyone.

MAXWELL
He’s disrespecting the spirit of
the real Geronimo, and the Apache
people.

Martin takes another drink.

MARTIN
I didn’t think about that. But,
that doesn’t have anything to do
with you trashing out his art.

83.

MAXWELL
Art? You saw that shit. That
wasn’t art. He’s running a junk
relocation program there.

MARTIN
It was cruel.

Maxwell takes a drink. He nods.

MAXWELL
He didn’t deserve that.

MARTIN
And art or no art, at least he’s
still doing it. Hell, I don’t
write . . . You don’t write . . .
You don’t perform . . . nothing.

Maxwell turns his attention out over the water, and the snow
falling from the heavens into the river.

MARTIN
I used to think of you in the same
way that Geronimo talks about
himself.

Maxwell turns back to Martin.

MAXWELL
That’s insane.

MARTIN
Yeah, but it’s true. When I used
to watch you . . . your shows . .
. I was sure you were connected to
something more . . . bigger . . .
beyond all this.

Martin indicates the surroundings, the city, the world.

MARTIN
Seeing you on stage . . . the way
you jumped, twitched, jerked like
a fish on a line that refused to
be caught and held by anything as
mundane and profane as this world
. . . and that sound . . .

MAXWELL
That was the band.

84.

MARTIN
They were great . . . They were so
great . . . but, I’m talking about
you’re sound . . . calling you a
singer is wrong . . . because it
implies things—

MAXWELL
Like being able to actually sing?

MARTIN
Yeah, your voice wasn’t actually
an instrument of music . . . it
was more . . . so much more . . .
primal . . . ancient . . . I was
sure you were connected to the
source of all things . . . a
source of revelation . . . like
one of Vishnu’s avatars . . . A
savior . . .

MAXWELL
Stop it.

Maxwell stares out over the water.

Martin takes a deep long drink.

MARTIN
But, you just turned out to be an
asshole . . . just an asshole. You
treated people who admired you
like shit, asshole. You alienated,
and pissed off club owners,
asshole. You had a serious deal
with a serious record label that
you just walked away from,
asshole—

MAXWELL
You don’t understand—

MARTIN
No, I don’t understand. You can’t
help what happened to you since
then, with the accident and
everything . . . But, those songs
. . . It’s like they never were
now . . . They were so fucking
good . . . Those songs were so
good . . . But now they’re gone .
. . Because you just walked away .
. . You walked away from it all,
(MORE)

85.

MARTIN (cont'd)
and you blew off my interview . .
. You just blew it off . . . You
did that too . . . You just walked
away.

MAXWELL
Haven’t you ever done that? Just
walked away from something?

INT. BEDROOM-FLASHBACK - NIGHT

Stephanie is lying on her stomach in bed asleep.
Her left leg is on top of the covers.

A sliver of moonlight shines on her Vesica Pisces tattoo.

Young Martin, seen from the waste down, stands by the door
with a suitcase on the floor next to him.

He picks up the travel bag and leaves.

INT. HOUSE-HALLWAY-MOMENTS LATER-NIGHT

Seen from behind, Martin tip toes along, luggage in hand.

He stops in front of a closed door. He opens it.

INT. BEDROOM-THAT MOMENT

A splash of light floods into the room when the door opens.

Sleeping in the bed is, Young Renee. Her back is to the
door. In the crook of her arm is a doll whose face points
toward the door.

It’s the same doll that Hayden has been carrying around all
day.

Martin enters the room and takes a few steps toward Renee
but stops short.

He watches her sleep for a few moments.

He turns around and leaves, shutting the door behind him.

The room is swallowed up in darkness.

BACK TO SCENE

86.

EXT. UNDER THE BRIDGE - NIGHT

Maxwell rises from the blanket and slowly moves toward
Martin.

Martin turns his back to Maxwell’s approach. Maxwell rests
his hand on Martin’s shoulder from behind. Martin recoils.

MARTIN
Don't.

Martin strides away. As he does he throws down the vodka
bottle, breaking it.

MAXWELL
What are you doing?

MARTIN
Walking away.

Maxwell watches Martin disappear into the night.

MAXWELL
I’m sorry, Martin.

Maxwell bends down to pick up the broken glass left from the
bottle Martin smashed.

EXT. STREET - NIGHT

Martin walks through a less than desirable part of town.

Thoughts swirl in Martin's mind.

87.

SERIES OF FLASHBACK SHOTS

A) NIGHT CLUB-The Nameless Faces perform on stage.

B) CLUB DRESSING ROOM-The door slams in Young Martin’s face.

C) CLUB HALLWAY-Stephanie gives Young Martin her phone
number.

D) BEDROOM-Young Martin writes on the floor. Stephanie’s
bare feet and legs enters the room.

E) CAFE-Young Martin gathers his things and leaves.

F) BEDROOM-Stephanie sleeps; focus on her Vesica Pisces
tattoo.

G) BEDROOM-Little Renee sleeps with her doll; focus on
doll’s face.

END SERIES OF SHOTS

Martin approaches a night club with loud music playing
inside.

INT. BANQUET ROOM - NIGHT

Burkhart and Carol are talking.

CAROL
This is so embarrassing.

BURKHART
You needn't be embarrassed. You’ve
done a wonderful job. Everyone’s
had a perfectly lovely evening.

CAROL
That's kind, thank you.

BURKHART
You can't be held responsible for
Mr. Diggory’s irresponsibility and
lack of consideration.

CAROL
To be fair, this was a surprise
celebration.

He gives her an, “Oh, really”, look.

88.

CAROL
Well, it's likely that he did know
about the party. Which, is all the
more reason for me to be concerned
that something may have happened
to him. Despite your comforting
words regarding his safety
earlier.

EXT. NIGHT CLUB - NIGHT

Loud music thumps away inside the place as Martin passes by
its entrance.

Just outside the front door are TWO MEN smoking. They check
Martin out very closely.

Martin avoids eye contact with the men as he moves past them
down the sidewalk.

The two men continue to scope Martin out. They then nod to
each other and then head back inside.

EXT. AUTO JUNKYARD - NIGHT

Maxwell pulls his wagon down a path leading through the
mountains of trashed autos.

EXT. STREET - NIGHT

Martin is about a half block past the night club.

He turns around to see TWO SHADOWY FIGURES emerge from the
club, and begin to follow him. It's the same men who eyed
him so closely as he passed the club moments earlier.

Martin reaches into his pocket for his phone, dials, but it
still doesn’t work.

INT. BANQUET ROOM - NIGHT

Walter sits alone at a table with his mobile phone to his
ear.

Nothing.

He hangs up, flips the phone onto the table, and takes
another drink.

89.
EXT. MAXWELL'S CAMP - NIGHT

Maxwell enters a clearing on the edge of the auto junkyard. He parks his wagon next to an old abandoned car. There are two fire pits in the clearing. One fairly large one with some embers still burning in it. There’s a neatly stacked pile of wood next to it. A short distance to the side of the large burn pit is a smaller one. There’s an elevated grill grate covering it. Maxwell unloads the bag of kindling and dumps it between the two fire pits.


EXT. STREET - NIGHT

Martin turns see that the two men following him are drawing closer. He quickens his pace; they quicken theirs.


EXT. MAXWELL'S CAMP - NIGHT

Fires blaze in the two burn pits. On a fold out card table near the old abandoned car rests a milk jug full of fresh water, a cutting board, and a knife. Next to the cutting board is some of the salvaged food Maxwell gathered earlier in the day. Maxwell comes into view with some of the food purchased from the store. He deposits the things on the table, and begins cleaning up some of the salvaged produce.


EXT. STREET - NIGHT

The two men from the nightclub continue to pursue Martin. They draw even closer. Martin runs. The men chase after him.

90.

A PAIR OF HEADLIGHTS APPEARS DOWN THE STREET BEHIND MARTIN

The car stops abruptly next to the two men who are following
Martin. They immediately stop running, approach the vehicle,
and then climb into the back seat.

INT. CAR - NIGHT

Renee and Hayden, huddled together beneath a couple of
blankets, shiver in the dark.

EXT. MAXWELL'S CAMP - NIGHT

Maxwell cuts up vegetables and tosses them into the stew pot
on the table.

EXT. STREET - NIGHT

Martin is running down the sidewalk.

The car containing the four men is cruising up the road
behind him. One of the men yells from inside the auto.

MAN #1
Yo, hold up, man.

Martin stops. He stands stiff beneath a streetlight.

The car screeches to a halt just out of reach of the light.
The four men pile out of the vehicle.

One of them speaks.

MAN #2
Yeah, that's him.

The men step into the light. Two of them are Ronald and Dee.

RONALD
Martin.

MARTIN
Hi.

91.

            RONALD
      (Indicating the
       two men who were
       following Martin)
This is Antoine and Ray.

Martin and the men exchange nods.

DEE
They called and told us you was
walking around down in here by
yourself. Are you a damn fool?

Martin nods.

ANTOINE
We’re going to head on back.

RONALD
Yeah, all right; thanks.

RAY
Ain’t no thing.

Antoine and Ray head back down the street toward the club.

DEE
So where is Naucrates Ductor?

MARTIN
I don't know?

RONALD
You swam off from the Pilot Fish?
You are one silly-ass
motherfucker.

MARTIN
I just wanted to help. Find a
doctor or something, but . . .
Shit.

Ronald and Dee shake their heads.

They start heading back to the ride. Dee turns back to
Martin.

DEE
Well, come on.

92.

EXT. MAXWELL'S CAMP - NIGHT

Maxwell is tending to the pot of stew that’s cooking away on
top of the grate over the smaller fire pit. He looks up to
see—

Martin, Dee, and Ronald standing next to the old abandoned
car.

Dee and Ronald give Maxwell a nod.

Maxwell smiles and nods.

Dee and Ronald leave.
Martin and Maxwell just look at each other for a moment.

Maxwell points next to the side of the big burn pit, where a
small bonfire dances in the night. Next to it are several
milk crates turned upside down with hunks of Styrofoam on
top.

INT. CAR - NIGHT

Hayden's teeth chatter in the dark. Her Mom pulls her close
into her embrace.

Renee looks out over the auto junkyard across the street to
see a glow in the sky above it.

EXT. MAXWELL'S CAMP - NIGHT

Martin sits on one of the crates gazing into the bonfire.

He and Maxwell are both eating a bowl of stew in silence.

Maxwell looks out beyond the blaze.

MAXWELL
No room at the shelter?

Renee and Hayden stand next to the old abandoned car. Renee
shakes her in response to Maxwell’s question.

RENEE
Not tonight.

Martin looks up to see who Maxwell is talking to. He looks
as if he’s seen a ghost.

Martin fixes his eyes on Hayden’s doll. He then studies her.

93.

She avoids eye contact with him.

Martin then turns his attention to Renee.

She looks at Martin. It’s her turn to appear as if she’s
seen a ghost. She turns away to avoid making eye contact
with him as well.

EXT. MAXWELL’S CAMP-LATER

Renee helps Maxwell make ‘beds’ with piles of blankets on
the seats of the old abandoned car.

Hayden is seated on one of the milk crates finishing a bowl
of stew next to Martin, who is also seated on one of the
crates.

Martin notices her staring into the empty bowl in her hands.

MARTIN
Would you like some more?

HAYDEN
(Whisper)
Yes please.

Martin gets her another serving of the stew, and hands it to
her.

HAYDEN
Thank you.

Martin watches the child eat for a moment.

MARTIN
What’s your name?

            HAYDEN
      (Without looking
       up)
Hayden.

MARTIN
Where are you from, Hayden?

HAYDEN
Chicago. Well, we used to be.

MARTIN
I lived in Chicago for a few
years.

94.

Hayden turns to Martin.

HAYDEN
Really?

Martin nods.

HAYDEN
Mommy and me used to live with my
Grandma there.

Martin turns to watch Renee making up the sleep spaces in
the car with Maxwell.

He turns back to Hayden.

MARTIN
Why don’t you still live with her?

HAYDEN
She got sick and . . .

She looks Martin over.

HAYDEN
I like your pretty clothes.

Martin smiles.

He eyes Hayden's doll.

MARTIN
Where did you get that nice dolly?

HAYDEN
From my Mommy. It was hers.

Martin again turns his attention to Renee for a few seconds
before turning back to Hayden.

MARTIN
That’s nice. And what’s her name.

HAYDEN
Desiree.

Maxwell approaches Martin and Hayden.

MAXWELL
(To Martin)
I’m ready.

95.

MARTIN
What?

MAXWELL
I’m ready to go to the car now.

MARTIN
Oh, right . . .

Martin looks at Hayden.

He then shifts his focus onto Renee by the old car. She
doesn’t look at him.

He looks back up at Maxwell.

MARTIN
. . . OK.

Martin rises up from the milk crate.

He turns to Hayden. They just look at each other for a
second.

MARTIN
It was nice talking to you Hayden.

HAYDEN
What’s your name?

He forces a smile.

MARTIN
You can call me Marty.

HAYDEN
Bye, Marty.

MARTIN
Good bye.

EXT. STREET - NIGHT

Martin and Maxwell approach the intersection where Martin
received Walter's call that morning.

MAXWELL
Cardinal Richelieu had fourteen
cats.

MARTIN
Inside the house?

96.

MAXWELL
I think so. When he died, he left
everything he had to those cats.

MARTIN
At least he was good to animals.

INT. MARTIN'S HOUSE - NIGHT

IN THE KITCHEN

Martin’s cats, Iggy and Lou, are chowing down at their food
dishes.

MAXWELL (V.O.)
People in America spend more money
on pet food than baby food each
year.

MARTIN (V.O.)
Children only eat baby food for a
couple years. Pets eat their food
their whole lives.

MAXWELL (V.O.)
That’s true.

IN THE LIVING ROOM

Martin’s dog, Max, is curled up in the easy chair.

MAXWELL (V.O.)
Every year about a million dogs
are named sole beneficiaries of
their owners estates.

EXT. STREET-THAT MOMENT

Martin and Maxwell near the entrance of the alley were they
met that morning.

MARTIN
That’s a little crazy.

Maxwell shrugs.

MAXWELL
You wrote more than articles,
didn’t you?

97.

MARTIN
What?

MAXWELL
You wrote stories too.

MARTIN
How do you know that?

MAXWELL
They were good. You should do that
again. Write stories.

MARTIN
I’m a little too old to start
swimming upstream again.

MAXWELL
Are you? Grandma Moses sold her
first painting when she was 70.

MARTIN
Yeah?

MAXWELL
I’m sorry about the interview,
Martin.

MARTIN
Call me Marty.

MAXWELL
How far is your car from here?

MARTIN
A couple of minutes.

MAXWELL
What time is it, Marty?

Martin turns away from Maxwell to raise is wrist into the
street light to check his watch.

MARTIN
It’s about 9:30.

Martin turns back to Maxwell.

He's gone.

MARTIN
Maxwell? Maxwell?

98.

Martin takes a step toward the alley.

MARTIN
Maxwell?

His phone rings.

He pulls it from his pocket and answers it.

MARTIN
Tell me a story I can believe in.

INT. BANQUET ROOM - NIGHT

Walter has his phone to his ear.

WALTER
Martin? Where have you been all
day?

MARTIN (O.S.)
I’ll tell you later. I’m fine, my
phone just hasn't been working
worth a shit. Is Carol mad?

Walter gets up from his seat and begins to stumble toward
the head table.

AT THE HEAD TABLE

Carol, still seated next to Burkhart, sees Walter approach.

Walter indicates to her that it’s Martin on the line.

WALTER
No, we’ve barely noticed you
weren’t here. It’s a damn good
party. You want to talk to Carol?

MARTIN (O.S.)
Yeah.

WALTER
Yeah.

MARTIN (O.S.)
Yeah.

Walter reaches the table and hands the phone to Carol.

99.

CAROL
Martin?

EXT. PARKING LOT-THAT MOMENT

Martin approaches his car.

MARTIN
Hi, I’m really sorry about being
so late. How’s everything going?

CAROL (O.S.)
Fine. Are you all right?

MARTIN
Yeah, I just got a little
sidetracked, and my phone’s been
giving problems all day. Did
Burkhart show up there tonight?

CAROL (O.S.)
He did. He’s sitting here with me
right now.

MARTIN
Can I talk to him?

CAROL (O.S.)
Sure.

INT. BANQUET ROOM-THAT MOMENT

Carol hands the phone to Burkhart.

CAROL
It's Martin.

Burkhart takes the phone.

BURKHART
Martin.

INT. CAR-THAT MOMENT

Martin leans back in the driver's seat.

MARTIN
Mr. Burkhart. I just wanted to
sincerely apologize for missing
our meeting this morning. I ran
into an old colleague in need of
some help today.

100.

BURKHART (O.S.)
Is that so? Did everything turn
all right?

MARTIN
I hope so. I tried to contact you
let you know what was happening,
but my phone was dead all day.

BURKHART (O.S.)
I understand. These things happen.
Where are you right now?

INT. CAR-THAT MOMENT - NIGHT

MARTIN
I’ve just arrived at my car.

BURKHART (O.S.)
We can still chat for a bit
tonight. How long will it take you
to get here?

MARTIN
About a half an hour.