Screenwriter Community |
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by Lycan Davis (lycandavis75@hotmail.com)
Rated: 
Genre: Comedy
User Review: NOT YET
RATED
Mobster film crossed with films about starlets and orphans. Original, funny, and with heart. Goonies meets Get Shorty.
This screenplay is copyrighted to its author. All rights reserved. This screenplay may not be used or reproduced without the express written permission of the author.
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FADE IN:
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INT. DARRYL WORMSTROM'S WORKSHOP - DAY |
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A shack in the hills of Montana. One room, with a curtain
separating the front and back. TARA and TIMOTHY stand
against the wall in the back. They are both young and
impossibly good looking. DARRYL WORMSTROM, a small man with
darting eyes, runs to and fro. |
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DARRYL
Oh my, oh my. I can't believe how
close we are. I'm so excited. |
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He smooths down some of Tara's hair. |
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DARRYL
You're both so precious. Yes, you
are. It's all moving into place
and then, voila. |
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He looks at Timothy's eyebrows. |
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DARRYL
These are almost perfect, but not
quite. That's the key. They must
be perfect. One sixteenth of an
inch. That's the happy
measurement. Some are a bit short
and when those grow, then a few
are too long and we can't be
putting blades near your cobalt
blues. Perhaps we need to pluck
again. |
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He turns to Tara. |
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DARRYL
And dear, I think we need to get
you in the tanning bed again. Oh,
I know you don't like it, but too
yellow is too yellow. We want you
perfect. |
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She frowns. |
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DARRYL
Oh no, sweetie. You are perfect.
But you need to be more than
perfect. You need to be
everything to them. And I know
you will be. |
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2.
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He tickles her chin. She smiles. |
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DARRYL
Yes, my little ones. You will
both be everything. |
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He leaves and comes back with two sports bottles. One is
blue and one pink. |
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DARRYL
Look at me going on. You both
must be parched. |
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He hands the pink one to Timothy and the blue one to Tara.
They look at him, perplexed. He smiles and winks. |
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DARRYL
Oh, ho. You both thought I made a
mistake. |
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He laughs. They both smile. |
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DARRYL
Just a little joke I thought you'd
enjoy. |
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He swaps the bottles. The two start drinking. |
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He grabs one of his hands and inspects it closely. |
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Timothy gives him a questioning glance. |
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DARRYL
Have you been chewing this? I
thought we broke you of that
habit. Well, we'll have to start
wearing rubber gloves again. Yes,
we will. Ooh, I have a special
something for each of you. |
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He leaves the room, thought a curtain. Timothy looks at
Tara and puts his finger in his mouth. |
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3.
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INT. SKINNER CABIN - DAY |
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Living room. It's a modest house with several rooms. Kept
well. KATRINA SKINNER, eight years old, sits on a couch and
watches television. WARREN SKINNER, eleven, enters, grabs
the remote, and changes the channel. |
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KATRINA
Hey, I was watching that. |
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KATRINA
I was too. Gimme. |
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WARREN
Now, I'm watching this. |
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She reaches for the remote. He holds it up, away from her. |
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KATRINA
I'll tell Cameron. |
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WARREN
You'll tell him nothing. |
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WARREN
You do that and I'll feed your
gerbil to a hawk. |
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She gets a cross look on her face. |
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He smirks at her. She tackles him. |
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4.
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The two wrestle. The remote falls to the floor. They fight
for a bit. CAMERON SKINNER enters. He's eighteen years
old. His shirt is covered in blood. |
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CAMERON
Hey. Stop it, both of you. |
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They continue to fight. He picks up the remote and shuts
off the television. They stop fighting. |
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KATRINA
Hey, we were watching that. |
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CAMERON
Not anymore. I don't have time to
clean a deer and referee your
fights. |
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CAMERON
Not another word. Out. Both of
you. If I don't see two neat
little cut piles of wood at dinner
time, neither of you eat. Got it? |
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He leaves. |
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They leave. |
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EXT. MOUNTAIN ROAD - DAY |
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PETER and NICK are in a a car. Each are shadowy looking
men. Nick drives and is looks more intelligent. Peter is
bigger. |
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PETER
There, you see? That tree. I
could have sworn that we passed it
before. |
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5.
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NICK
Calm down. I know where I'm
going. |
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PETER
Yeah, that's what you say. You
said that with the job in Dallas.
We ended up halfway to Mexico
before you looked at a map. |
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NICK
Shush, you. Hang on a second. |
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He slows the car to a stop. |
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NICK
Was it mile marker 437? |
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NICK
Okay, then we turn here. And
never doubt my navigation skills
again. |
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He turns the car down the road. |
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NICK
Get out the folder. Tell me a
little something I might not know. |
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Peter takes out the folder. |
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PETER
Got some pics of him. |
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NICK
What's his name, again? |
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NICK
Darryl Wormstrom? Interesting. |
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PETER
Yeah, I guess he's a Hollywood
type. |
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NICK
Well, so is our boss, Peter. |
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6.
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PETER
Different circumstances, to be
sure. |
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NICK
All the same, Pete. When
Hollywood knocks, nobody ever
expects it. |
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EXT. FOREST - DAY |
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Warren and Katrina walk along. Each carries an armful of
sticks. |
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KATRINA
Why is Cameron like that? |
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KATRINA
Why does he yell at us? |
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WARREN
Well, you figure, he's raising us.
Nobody asked him if he wanted to
do it, just all of a sudden, boom.
we're his responsibility. He was
probably ready to start his life
and now we're his life. When we
fight it doesn't make it easy on
him. |
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They stop by a stream. Warren puts down his sticks. |
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KATRINA
Do you think Jane and Rick are
gone, then? |
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WARREN
I think they're long gone. How
long has it been since you've seen
them around? |
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KATRINA
It's been a bit. I don't know how
long. |
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WARREN
I do know. It's been about three
years. |
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7.
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KATRINA
But why did they leave? |
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WARREN
I think they might have gotten
bored with us. Or maybe they
wanted to move on with their
lives. |
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KATRINA
Do you think Cameron will get
bored with us sometime? |
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WARREN
Don't you say that. Don't even
think it. He wouldn't do that. |
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KATRINA
But did you think that Rick and
Jane would? |
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WARREN
Cameron's different. He actually
cares. |
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KATRINA
Didn't mom and dad care? |
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WARREN
No, Kat. Mom and dad didn't care.
We're better off without them.
We're better off without Rick and
Jane, too. You just don't
remember how it was. |
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KATRINA
We'll have to be better for
Cameron, then. |
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He looks up the hill. |
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WARREN
Put down your sticks and follow
me. |
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8.
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She does this and they move up the hill. |
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EXT. MOUNTAIN ROAD - DAY |
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Peter and Nick drive along. The brush is a little heavier
here. |
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PETER
Would you look at this? You sure
we're on the right road? |
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NICK
Yeah, this is it. I'd bet my
explorer scout's badge on it.
(beat)
Give me that folder. |
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Peter hands it to him. He looks at it while he drives. |
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NICK
Talent scout? This guy's got a
degree in modern dance. You think
he's a fag? |
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PETER
Man, you shouldn't be so
homophobic. |
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PETER
Just tossing around slurs like
that. it's a sign of hompohobia. |
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PETER
Really. Did you know, most
homophobes have a bit of gay in
them? |
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PETER
I didn't say you were gay. I just
said that you had a little in you. |
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9.
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NICK
I'm not gay. I don't have a
little in me. Heck, you know I
don't . I dated your sister,
didn't I? |
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PETER
Well, some gays like to date women
to keep up an image. I'm just
pointing it out. |
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NICK
So, you think I'm one of those
closet queers. |
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PETER
Again with the profanity? You
really need to get in touch with
your sensitive side. |
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NICK
I have a sensitive side and I'm in
touch with it right now. I'm
always in tough with it when
somebody says that I enjoy hairy
guys in my bed. |
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NICK
Very true. And I dated her for
two years. |
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He looks in the folder, then out the window. |
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He stops the car. |
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PETER
What? Did you get us lost? |
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Nick gets out of the car and looks around, into the woods. |
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NICK
Wow. Do you see that? |
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Peter gets out. |
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10.
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Nick points. |
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NICK
Over there. Dang, that thing is
hidden. Park the car. |
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NICK
Anywhere. I don't think we need
to worry about getting towed.
(beat)
Let's go pay a visit to this
faggot. |
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PETER
Why do you think this guy is gay? |
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INT. DARRYL WORMSTROM'S WORKSHOP - DAY |
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Tara and Timothy are still standing, smiling at one another.
They both take periodic sips from the bottles. Darryl
comes through the curtain, holding a bracelet and necklace. |
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DARRYL
Sparklies for my little ones! |
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They both smile as he puts the necklace on Tara and the
bracelet on Timothy. |
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DARRYL
Oh, look at you both. You are so
precious. I am so looking forward
to you both coming out. |
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EXT. MOUNTAIN ROAD - DAY |
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Peter and Nick finish walking up a hill and are at the door
of a secluded cabin. |
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PETER
You gonna ring or should I? |
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11.
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They both hold up a random number. Nick a three, Peter a
one. |
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NICK
Stay over there until I get in,
then follow. |
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Peter does as told. Nick reaches for the door. |
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INT. DARRYL WORMSTROM'S WORKSHOP - DAY |
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Darryl continues to gush over Tara and Timothy when somebody
knocks. All joy goes from his face. |
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DARRYL
Oh dear. Who could be here? Who
could? Nobody should be. |
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There is another knock. He moves to a cabinet and pulls out
a handgun. |
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DARRYL
(shouting)
I'll be right there. |
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He checks the gun. |
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DARRYL
(to Timothy and
Tara)
I'll be right back. |
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They smile. He moves through the curtain, slowly. |
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EXT. MOUNTAIN CABIN - DAY |
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Nick stands before the cabin. He knocks. |
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INT. DARRYL WORMSTROM'S WORKSHOP - DAY |
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Darryl, looking nervous, moves toward the door. When he's
about to open it, somebody on the other side knocks. He
jumps and recoils. |
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12.
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DARRYL
(shouting)
I'll be right there. |
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He holds the gun up and points it at the door. |
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He reaches for the door again. |
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EXT. MOUNTAIN CABIN - DAY |
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Nick is about to knock again when the door starts to open. |
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EXT. DARRYL WORMSTROM'S WORKSHOP - DAY |
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Darryl cracks the door. |
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Warren and Katrina are on the other side. |
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KATRINA
We live close and had never seen
this place before. |
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He opens the door all the way. |
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WARREN
We decided to come up and say
howdy. |
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He starts to close the door. |
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KATRINA
What's your name? |
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He stops closing it. |
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DARRYL
My name is Mr. Very Important. |
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KATRINA
Hi sir. My name is Katrina. This
is my brother, Warren. |
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13.
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WARREN
Like she said, we were out
gathering wood and saw your place. |
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DARRYL
Some job you're doing. Perhaps
you should get back to it. Maybe
you could improve a bit. |
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WARREN
Oh, we have some. We left it down
by the stream. |
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DARRYL
There's a stream down there? |
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DARRYL
Well, it's rude to bother people
who are just trying to be by
themselves. Didn't your parents
teach you that? |
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WARREN
Our parents are gone. |
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KATRINA
Why are you sweating? |
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DARRYL
Don't ask strangers questions.
Another thing your parents could
have taught you. Get back to your
wood and leave me alone. |
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He slams the door in their faces. |
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KATRINA
He wasn't very happy. |
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KATRINA
Perhaps he needs flowers or
something to cheer him up. |
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14.
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WARREN
I don't think that's what he
needs. |
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They start to walk away from the cabin. |
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WARREN
Let's get the rest of the wood and
get back to the farm. I think I
remember seeing some down by the
meadow. |
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KATRINA
Can I get some flowers? |
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WARREN
If you want. You have to carry
them. |
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INT. DARRYL WORMSTROM'S WORKSHOP - DAY |
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Darryl sits on the floor, leaning against the wall. He sets
the gun down and closes his eyes. |
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DARRYL
Oh God. You handled that well.
You didn't know what it was going
to be, but you did great. Now,
just need a little time. Pull
myself together. Can't let them
see you like this. Can't show
weakness. |
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He stands and does a little dance around the room. |
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DARRYL
There. Feeling better already. |
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There is another knocks on the door. Darryl charges at it,
with authority. |
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DARRYL
I told you to leave me alone. |
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He opens the door and is met by Nick and Peter. |
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They both push in. He watches with a terrified look on his
face. |
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15.
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NICK
You don't mind if we come in, do
you? |
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Darryl looks from one, to the other, then back. He can't
speak. |
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NICK
You see, the thing is, we work for
this guy. And this guy loaned you
some money a few years back. He
was counting on seeing some more
money. But you haven't been
holding up your end. Do you know
who I'm talking about? |
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Darryl nods. |
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NICK
You can't talk. I understand.
These situations can be stressful.
Anyway, continuing, he sent us to
see if we could ask you for the
money, if you please. Now, it was
tough to find you. We went to
eight different states, looking
for you. Eight states? Why so
many? It's almost as if you were
trying to hide from your debts. |
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The whole time, Nick and Peter move forward, backing Darryl
against the wall. Peter pulls his gun and puts it into
Darryl's mouth. |
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NICK
Our boss doesn't like people who
hide from what they owe him. It
makes him nervous. It's not good
to make your investors nervous.
So, he sends out collections
agents like ourselves. Then, we
go to your address. You're not
there. We go to your forwarding
address. You're still not there.
We have to talk to people. We
have to do research. |
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PETER
We even got lost and knocked on an
old hermit's door this morning.
Nice guy. Let us know that we
(MORE)
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16.
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PETER (cont'd)
were on the wrong side of the
mountain. |
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NICK
Big mountain here. It's a lot of
work we have to do just to collect
a debt. Starts to bother me. I
wonder, if we find him, will he
even have the money to pay the
boss. Then, we find you here.
Here, in Montana. Up in the
mountains. You're not even in a
cabin. You're in a shack in the
woods. What are the chances that
somebody in here will be able to
pay what they owe? Should we just
do our job and forget the debt? |
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Darryl starts to cry. |
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NICK
So, you tell me. Do we do our job
or do you pay what is owed? |
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Peter pulls the gun out of his mouth. |
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DARRYL
Please, please. It's so close. So
close. One week. Two tops. Then,
everything. |
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He sobs. |
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NICK
Start talking sense. |
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DARRYL
Wait, I'll show you. Please. Come
with me. |
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He gets up. |
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DARRYL
Right through here. |
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He motions to the curtain. |
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His gun on Darryl, Nick motions to Peter. |
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17.
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NICK
Put your head through there. Make
sure it's not a trap. |
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Peter glances in. |
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PETER
It's good. I think you might be
right about him being gay, though. |
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Nick motions for Darryl to go in. |
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They go through the curtain. |
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DARRYL
It's only the future of the
entertainment industry. |
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NICK
Nah. Boss wants money. You give
us money or we take more. |
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DARRYL
No, please. You have to see it in
the proper context. Watch. Step
forward, Timothy. |
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Timothy steps forward as Darryl moves to the side of the
room and turns on a spotlight. |
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DARRYL
Behold. The unveiling of
America's newest hunk. In awe,
gaze upon the smile. |
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Timothy smiles. |
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DARRYL
The cobalt blue stare. |
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Timothy fixes a stare at the two. |
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Timothy flexes his muscles. |
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18.
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Timothy winks. |
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Timothy kicks. While going through this presentation,
Darryl's hand is slowly moving under the spotlight. He
pulls out a gun. |
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DARRYL
The world doesn't know what is
about to be unleashed on it. What
will take it by storm. Yes, it's
Timothy. |
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|
He raises the gun and points it at Nick. |
|
|
| |
DARRYL
And it's all mine. All mine! |
|
|
|
He pulls the trigger and nothing happens. He pulls it again
with the same result. |
|
|
| |
DARRYL
Oh God. They sold me a bad gun. |
|
|
|
Peter punches him in the face. He drops the gun. Nick picks
it up and slaps Darryl across the face with it. |
|
|
| |
NICK
Nice gun. But you need to switch
off the safety. |
|
|
|
He turns off the safety, spins, and shoots Timothy in the
head. Timothy falls, dead. |
|
|
|
|
|
|
| |
NICK
What else do you have? Better
get to producing or we'll assume
you have nothing. |
|
|
|
| |
DARRYL
No no. Wait. Tara. Step forward
dear. |
|
|
|
She steps forward. He puts the spotlight on her. Peter
stands directly behind Darryl. |
|
|
19.
|
| |
DARRYL
Look in awe upon America's next
sweetheart. It's Tara. Take note
of the smile. |
|
|
|
|
She smiles. |
|
|
|
|
|
|
|
She bats her eyes. |
|
|
|
|
|
|
She gnashes her teeth. Nick motions to Peter. He moves
forward, gun drawn. He points it at her. Darryl jumps
forward, frantic. |
|
|
| |
DARRYL
No. Please don't. Please. Not
both of them. She's the only one
left. Do you have any idea?
There's only maybe two perfect
specimens on the earth at a time
and I found them both. Don't
deprive the world of both of them.
Please don't. Kill me, but let
her live. |
|
|
|
|
Peter and Nick look at one another. |
|
|
| |
|
EXT. FOREST - DAY |
|
|
|
Warren and Katrina walk along, each with a handful of wood. |
|
|
| |
KATRINA
This way is rough. |
|
|
|
| |
WARREN
But it's the fastest. |
|
|
|
| |
KATRINA
Let's take the road. |
|
|
|
| |
WARREN
You up for making the hike? |
|
|
|
|
|
|
|
20.
|
|
|
|
|
| |
|
EXT. MOUNTAIN ROAD - DAY |
|
|
|
Peter and Nick drive along. Tara is in the back seat. |
|
|
| |
NICK
I can't believe we're doing this. |
|
|
|
| |
PETER
You saw her there. She looked
helpless. |
|
|
|
| |
NICK
You like puppies, don't you? |
|
|
|
|
|
|
|
| |
NICK
Boss said bring back money or kill
him. He didn't say anything about
bringing back a girl. |
|
|
|
| |
PETER
You heard him. He said that she
was worth billions. |
|
|
|
| |
NICK
Yeah, well it was that or his
life. |
|
|
|
| |
PETER
I'm sure that the boss will be
pleased. |
|
|
|
| |
NICK
I don't know about this. It is a
witness, you know? |
|
|
|
| |
PETER
Ooh, I hadn't thought about that. |
|
|
|
| |
NICK
Well, get to thinking.
(to Tara)
Hey, chippy. If we let you go,
would you tell anybody about this
whole thing? |
|
|
|
|
She looks at him with vacant yet cheerful eyes. |
|
|
21.
|
| |
PETER
You really going to let her go? |
|
|
|
| |
NICK
It's either that or kill her. It
would have been so much easier if
we'd just finished the job. Pull
the car over. |
|
|
|
| |
|
INT. DARRYL WORMSTROM'S WORKSHOP - DAY |
|
|
Darryl sits on the floor, sobbing. He sniffles, looking
around. |
|
|
| |
DARRYL
So perfect. Two weeks and it was
there. So perfect. |
|
|
|
|
He picks up the gun and points it at his head. |
|
|
| |
DARRYL
Nothing to go on for. Can't start
from scratch again. |
|
|
|
He pulls the trigger. There is a dry click. He looks at
the gun. He throws it and it discharges. He screams in
shock. |
|
|
| |
DARRYL
Oh God. Nothing going right. Oh
Timothy. Your cobalt blues. Your
cobalt blues. |
|
|
|
|
He sobs. Then, he looks up suddenly. |
|
|
| |
DARRYL
I got it. I've got it! You will
be forgotten, Timothy, but I
won't. Not yet! And neither
shall Tara. |
|
|
|
|
He picks up a phone. |
|
|
| |
DARRYL
And, I need his phone number! |
|
|
|
|
He starts looking around. |
|
|
| |
22.
|
|
EXT. MOUNTAIN ROAD - DAY |
|
|
Tara sits on the shoulder of the road. The car drives off.
Nick and Peter still sit in the front seat. |
|
|
| |
PETER
That was a nice thing you did
there. Very nice. |
|
|
|
| |
NICK
Thank you. I like to think of
myself as somewhat charitable. |
|
|
|
| |
PETER
What'll we tell the boss? |
|
|
|
| |
NICK
The truth. That we killed him.
It's not like he'll be coming
around again. We don't have to
deal with her and are one hundred
percent in the clear. |
|
|
|
|
|
|
|
| |
NICK
Hopefully the next job will be in
sunny Florida. Some place without
mountains. |
|
|
|
| |
|
EXT. FOREST - DAY |
|
|
|
Warren and Katrina climb up to the road. |
|
|
|
|
|
|
|
Warren studies the sky. |
|
|
|
|
|
|
|
They start walking. |
|
|
| |
KATRINA
Do you think we have enough wood? |
|
|
|
| |
WARREN
I think it's a little late to
worry about that one. |
|
|
|
23.
|
| |
KATRINA
Do you think he'll still be mad? |
|
|
|
| |
WARREN
I doubt it. You know how Cam is.
He just yells and then is cool
later. |
|
|
|
| |
KATRINA
Hope so. Should we bring him
something? |
|
|
|
| |
WARREN
We are. What do you think you're
holding? |
|
|
|
| |
KATRINA
Oh yeah. What's that? |
|
|
|
|
|
|
|
| |
KATRINA
On the road up there. What's
that? |
|
|
|
| |
WARREN
I don't know. Let's check it out. |
|
|
|
They approach Tara, who still sits on the side of the road,
as if waiting. |
|
|
| |
WARREN
Hello there. What're you doing
here? |
|
|
|
|
She looks at them, without saying a word. |
|
|
| |
KATRINA
Do you think she was hit by a car? |
|
|
|
| |
WARREN
Hard to say.
(to Tara)
Do you speak English? |
|
|
|
|
She still doesn't respond. She does shiver a bit. |
|
|
| |
KATRINA
Aww, look at her. I bet she's
freezing. Can we bring her home? |
|
|
|
24.
|
| |
WARREN
I don't think she's a dog. |
|
|
|
| |
KATRINA
But she could stay the night.
Maybe after she has food in her,
she'll be a little more chatty. We
can't just leave her out here. |
|
|
|
| |
WARREN
Maybe.
(to Tara)
Do you want to come home with us? |
|
|
|
|
She nods. |
|
|
| |
KATRINA
Good, it's settled. I never had a
sister. Well, other than Jane.
And she doesn't really count. |
|
|
|
|
|
|
|
|
Tara rises and the three start walking down the road. |
|
|
| |
|
INT. CAFE - DAY |
|
|
ALVIN sits, perusing a menu. REGINALD, a waiter, stands
close by. |
|
|
| |
ALVIN
The weather is wonderful today,
Reginald. |
|
|
|
|
|
|
|
| |
ALVIN
It reminds me of Venice. Have you
been to Venice? |
|
|
|
| |
REGINALD
I have not, sir. But wish to do
so one day. |
|
|
|
| |
ALVIN
Don't wish your life away. |
|
|
|
| |
REGINALD
Sage advice, sir. |
|
|
|
25.
|
|
WENDI enters and approaches the table. |
|
|
|
|
|
|
|
Alvin lowers his menu to look at her. |
|
|
| |
WENDI
You son of a bitch. You killed my
husband. I know it. You might
not have pulled the trigger, but
you know who did, I'm sure. I
can't do anything about it, but I
hope you rot in hell. |
|
|
|
Alvin considers her for a moment. He answers her with
genuine compassion. |
|
|
| |
ALVIN
I'm sorry. I'm sorry.
(to Reginald)
I've decided on the soup. I'll go
with the bisque. |
|
|
|
| |
REGINALD
Excellent choice, sir. |
|
|
|
| |
WENDI
(screaming)
I hope you're torn apart by dogs,
you monster! |
|
|
|
| |
ALVIN
(to Reginald)
I said I was sorry. What more
does the woman want? |
|
|
|
|
She stomps away. |
|
|
| |
ALVIN
A cold hearted woman, Reginald. |
|
|
|
|
|
|
|
|
Reginald walks away as Alvin's phone rings. He answers. |
|
|
| |
ALVIN
(into phone)
It's ten minutes to my food
getting here. I'd like to eat it
while it's warm. Please be brief.
(pause)
Oh yes. That's wonderful.
(MORE)
|
|
26.
|
| |
ALVIN (cont'd)
(pause)
Well, that's to be expected.
(pause)
Well, I'm sure they'll do a
wonderful job with it.
(pause)
Of course I do. Utmost faith.
(pause)
Perhaps you should come down here.
We'll do lunch. I'll even buy.
(pause)
Good day. |
|
|
|
|
He hangs up. |
|
|
| |
|
INT. SKINNER CABIN - DAY |
|
|
|
Tara sits on a couch. Warren and Katrina look at her. |
|
|
| |
WARREN
I didn't know he was going to go
to town. |
|
|
|
| |
KATRINA
Do you want to tell him? |
|
|
|
| |
WARREN
It was your idea to bring her
home. |
|
|
|
| |
KATRINA
But you're older. He can relate
to you. |
|
|
|
| |
WARREN
And he thinks you're as cute as a
button. |
|
|
|
|
|
|
|
| |
WARREN
I heard a car pull up. Now get
out there. |
|
|
|
|
|
|
|
| |
WARREN
Why are you being such a brat? |
|
|
|
27.
|
| |
CAMERON (os)
I have groceries. Get your butts
out here and help me. |
|
|
|
| |
KATRINA
He always likes it when you help
him with that stuff. |
|
|
|
|
|
|
|
| |
KATRINA
I'm cute as a button. |
|
|
|
|
|
|
|
|
He gets up and goes outside. |
|
|
| |
KATRINA
(to Tara)
We can get away with anything when
we're cute, can't we? |
|
|
|
|
She says nothing. |
|
|
| |
KATRINA
You're not a conversationalist,
are you? |
|
|
|
|
Nothing. |
|
|
| |
|
INT. DARRYL WORMSTROM'S WORKSHOP - DAY |
|
|
|
Darryl sits, sobbing. |
|
|
| |
DARRYL
That son of a bitch. He knows it
all. I pour out my heart and he
invites me to lunch. |
|
|
|
|
He sniffles and looks around. |
|
|
| |
DARRYL
But, he did say he was going to
pay. |
|
|
|
|
He rises, then looks back at Timothy. |
|
|
| |
DARRYL
Would it be wrong? They were the
utmost perfect shade. |
|
|
|
| |
28.
|
|
INT. SKINNER CABIN - NIGHT |
|
|
It's starting to get late. Tara sits on the couch, staring
forward. She is flanked by Warren and Katrina. Cameron
paces in front of them all. |
|
|
| |
CAMERON
I want to hear it again. |
|
|
|
| |
KATRINA
Okay. We were walking back from
getting wood. You know that I
prefer the road to the forest.
Anyway, we went up to the road and
we had so much wood. You won't
have to get more for six months,
at least. And we though it'd be
nice to bring you some flowers, so
we went up to the road so we could
get to a good place where the
flowers grow and there she was, on
the road. She was shivering and
you can see she's not dressed for
the weather, so we decided to
bring her home. |
|
|
|
|
|
|
|
| |
WARREN
I know, Cam. I was telling her
that. |
|
|
|
| |
CAMERON
Yeah, you said that already. |
|
|
|
| |
KATRINA
She won't be in the way. And
she's really smart. |
|
|
|
| |
CAMERON
I said, she's not a dog. |
|
|
|
|
|
|
|
| |
CAMERON
Well, she's here now. Why aren't
we speaking to her? |
|
|
|
|
|
|
|
29.
|
|
Katrina shrugs. Cameron moves in front of Tara. |
|
|
| |
CAMERON
(to Tara)
Hello there. |
|
|
|
|
She looks up at him and smiles. |
|
|
| |
CAMERON
Do you speak English. |
|
|
|
|
Again, she just smiles. |
|
|
| |
CAMERON
Do you speak anything? |
|
|
|
Just smiling. He gets up and runs his hand through his
hair. |
|
|
| |
CAMERON
(to self)
Great. You guys brought home a
Stepford wife. |
|
|
|
| |
KATRINA
What's a Stepford? |
|
|
|
| |
CAMERON
Warren, this one falls on you. |
|
|
|
|
|
|
|
| |
CAMERON
Because you're supposed to keep an
eye on your sister. |
|
|
|
| |
WARREN
But she doesn't listen to. |
|
|
|
| |
CAMERON
I know she doesn't listen to you.
You're supposed to do it anyway.
And no, before you say it, it's
not fair. |
|
|
|
| |
WARREN
Well, at least we can agree on
that. |
|
|
|
| |
CAMERON
Okay, here's what we're going to
do. She gets to stay. |
|
|
|
30.
|
|
|
|
|
| |
CAMERON
Only because it's painfully
obvious that to send her out would
be the same as murdering her. I
doubt she'd survive the night.
Just like everybody else, she will
have to earn her keep. Have her
help you with chores. She can
wear some of Jane's clothes.
She'll stay in the attic. |
|
|
|
|
Katrina jumps up and hugs him. |
|
|
|
|
|
|
| |
CAMERON
Hey, you are responsible for
feeding her. |
|
|
|
|
|
|
|
| |
CAMERON
And if anybody comes looking for
her, she goes with them. |
|
|
|
|
|
|
|
|
He walks out of the room. |
|
|
| |
KATRINA
(to Warren)
I told you that I get what I want
because I'm cute. |
|
|
|
|
|
|
|
| |
|
EXT. DESERT HIGHWAY - DAY |
|
|
Nick and Peter drive along. They are in the middle of
California. It is early in the day. |
|
|
| |
NICK
You know, that was a great
breakfast buffet. |
|
|
|
31.
|
|
Peter bristles. |
|
|
| |
NICK
What? Do you have a problem with
hotel breakfast buffets? |
|
|
|
| |
PETER
Yeah. All the little kids. They
handle the bacon and then put it
back. All over the place. |
|
|
|
| |
NICK
Why didn't you tell me that? We
could have found a Denny's or
something. |
|
|
|
| |
PETER
You were excited and I didn't want
to break your mood. |
|
|
|
| |
NICK
Oh, well I want to be considerate
of you, though. Next time, speak
up and we'll do something
different.
(beat)
Is there something else on your
mind? |
|
|
|
| |
PETER
I don't know. I just got a
feeling that the job ain't done.
Ya' know? |
|
|
|
| |
NICK
Probably just missing home. Two
more hours and we're there. |
|
|
|
| |
PETER
That's not it. I mean, I miss my
bed, but it's something else. |
|
|
|
| |
NICK
Don't worry about it. |
|
|
|
|
They drive on. |
|
|
On another part of the highway walks Darryl, who is
shuffling along the road. His right hand is in his coat
pocket. He sticks his left thumb out to a car and it passes
by. |
|
|
32.
|
| |
DARRYL
Nobody stops. Never stop. It's
okay. We'll be there soon. it's
alright. If we get a ride, maybe
sooner. Either way, you'll be
alright. I promise. Nothing will
happen to you. Well, nothing
more, at least. |
|
|
|
|
A semi truck passes. He sticks his thumb out again. |
|
|
| |
|
EXT. SKINNER CABIN - DAY |
|
|
Warren, Katrina, and Tara exit the cabin. Warren carries an
axe. Tara's hair, for the first time, is somewhat askew. |
|
|
| |
KATRINA
Why do we have to help? |
|
|
|
| |
WARREN
Because Cam says so. |
|
|
|
| |
KATRINA
But it's so early. |
|
|
|
| |
WARREN
And it's high time for her to earn
her keep. |
|
|
|
| |
KATRINA
But she just got here.
(to Tara)
It's not right that you should
have to work so soon. |
|
|
|
| |
WARREN
This is the wood pile. Do you
know how to split firewood? |
|
|
|
|
She looks at him with doe eyes. |
|
|
| |
WARREN
Okay, here's what yo do. Set up
the logs vertically like such. |
|
|
|
|
He sets a log up vertically. |
|
|
| |
WARREN
Then, you split it. |
|
|
|
He swings the axe and hits it off-center. The log falls
over. Katrina giggles. |
|
|
33.
|
|
|
|
|
Tara giggles a bit, too. He pulls the axe free and resets
the log. |
|
|
| |
WARREN
Yeah, well do that, but don't
knock it over. |
|
|
|
| |
KATRINA
Could you show us how to do that? |
|
|
|
He strikes the log again, this time splitting it down the
center. |
|
|
| |
WARREN
Like that. You do one. |
|
|
|
He hands the axe to Tara. She stares at it, and then him.
He takes it back. |
|
|
| |
WARREN
Perhaps another demonstration. |
|
|
|
| |
|
EXT. DESERT HIGHWAY - DAY |
|
|
Darryl rides in the cab of an eighteen wheeler. Driving is
SHERMAN. Darryl talks to his pocket. |
|
|
| |
DARRYL
Oh yes. One look at you and Alvin
will be mesmerized. Just like the
rest of the world should have
been. |
|
|
|
| |
SHERMAN
Who're you talking to? |
|
|
|
|
|
|
|
| |
SHERMAN
Since I picked you up, you've been
muttering to your pocket. What
gives? |
|
|
|
| |
DARRYL
Oh, just a pet mouse. |
|
|
|
|
|
|
|
34.
|
|
|
|
|
| |
SHERMAN
With cobalt blue eyes? |
|
|
|
|
|
|
|
| |
SHERMAN
You called him that. |
|
|
|
| |
DARRYL
Oh yeah. My pet mouse with cobalt
blue eyes. The most beautiful
you've ever seen. |
|
|
|
|
|
|
|
|
|
|
|
| |
SHERMAN
Can I see your mouse with cobalt
blue eyes? |
|
|
|
| |
DARRYL
Oh, no. Not at all. He doesn't
like the sunlight. |
|
|
|
|
|
|
|
| |
DARRYL
No, doesn't like it one bit. |
|
|
|
| |
|
INT. SKINNER CABIN - DAY |
|
|
|
Cameron works on breakfast while the three enter. |
|
|
| |
CAMERON
How'd it go with the logs? |
|
|
|
|
Katrina and Tara go into the bathroom. |
|
|
| |
WARREN
Done. No thanks to those two. |
|
|
|
|
|
|
|
35.
|
| |
WARREN
Yeah. Katrina's small. I get
that. But the other one, it's
like she's never done a day of
hard work in her life. |
|
|
|
|
|
|
|
| |
WARREN
That's the weird thing. Not a
single word. She understands what
we say to her, but says nothing. |
|
|
|
|
|
|
|
| |
WARREN
I think I know her name, though.
She has a necklace that says Tara. |
|
|
|
|
|
|
|
| |
WARREN
Yeah. Maybe we can call her that
until she says otherwise. |
|
|
|
|
|
|
|
| |
WARREN
Katrina wants to call her Rusty. |
|
|
|
|
Cameron breaks out laughing. Warren joins him. |
|
|
| |
CAMERON
Just call her Tara. She'll get
the point, eventually. |
|
|
|
| |
WARREN
What do you think about her not
talking? |
|
|
|
| |
CAMERON
Give it time. Perhaps she's a bit
shy. |
|
|
|
| |
WARREN
But what does she do? |
|
|
|
36.
|
| |
CAMERON
Maybe she'll be good at cleaning,
or something. |
|
|
|
| |
|
EXT. LOS ANGELES STREET - DAY |
|
|
The truck pulls up and Darryl gets out. His hands are still
in his pocket and he's still muttering. |
|
|
| |
DARRYL
Oh my. Three years since we were
here last. And how it has
changed. Nothing stays the same.
Need to find the cafe. He said
he'd buy me a lunch, at least. And
my, how Tara must need her juice
by now. |
|
|
|
|
He wanders off. |
|
|
| |
|
INT. SKINNER CABIN - DAY |
|
|
Katrina sits at a desk with Tara. She has a doll in her
hand. |
|
|
| |
KATRINA
And this is Miss Prissy. She has
golden hair. Just like you,
Rusty. |
|
|
|
|
Tara smiles. |
|
|
| |
KATRINA
Would you like to hold her, Rusty? |
|
|
|
|
Katrina puts her in Tara's hand. |
|
|
| |
KATRINA
Here. Just be careful with her,
okay? She's very delicate. Just
like a flower.
(beat)
Would you like to comb her hair? |
|
|
|
|
Tara smiles. |
|
|
|
|
|
|
|
She puts a comb in her hand. |
|
|
37.
|
| |
KATRINA
Now, you stroke the hair like
this. |
|
|
|
She takes her by the hand and uses it on the doll's hair.
Katrina lets her hand go. Tara continues combing. |
|
|
| |
KATRINA
You're good at that. |
|
|
|
Tara continues to comb, smiling, then stops. Her hand goes
to her head. She screams at the top of her lungs and starts
crying. She squeezes the doll hard. |
|
|
| |
KATRINA
Rusty, are you alright? If you're
going to act like that, you can't
play with Miss Prissy. |
|
|
|
She drops the doll and both hands go to her head. Warren
and Cameron enter. |
|
|
| |
WARREN
What happened to Tara? |
|
|
|
| |
KATRINA
Her name is Rusty. |
|
|
|
| |
WARREN
Tara. It says so on her necklace. |
|
|
|
| |
KATRINA
She's mine and I call her Rusty. |
|
|
|
| |
CAMERON
Shut up, both of you. What's
going on? |
|
|
|
| |
KATRINA
She was combing Miss Prissy's hair
and all of a sudden, this. |
|
|
|
| |
WARREN
You didn't do anything? |
|
|
|
|
|
|
|
|
They all look at her as she cries. |
|
|
| |
CAMERON
(to Tara)
Do you want something to drink? |
|
|
|
38.
|
|
She continues to scream and cry. |
|
|
| |
CAMERON
(to Warren)
Get her something to drink. |
|
|
|
|
|
|
|
| |
CAMERON
I don't care. Just something. |
|
|
|
He grabs her sports bottle and holds it to her. She looks
at it, cries, and won't take it. |
|
|
|
|
|
|
| |
KATRINA
You're doing it wrong. |
|
|
|
| |
WARREN
And how should I do it? |
|
|
|
|
|
|
|
|
She takes the bottle. |
|
|
| |
KATRINA
Now Rusty. Would you like the
drink? |
|
|
|
| |
WARREN
We don't even know what's in that. |
|
|
|
| |
KATRINA
Shush. She's parched.
(to Tara)
Would you like some? |
|
|
|
|
Tara has stopped screaming and nods. |
|
|
| |
KATRINA
Then here you go. |
|
|
|
She hands it to her and she gulps greedily at it. Katrina
takes it back from her. |
|
|
| |
KATRINA
Now now. Not too much. |
|
|
|
|
She hands it to Warren, who sniffs it. |
|
|
39.
|
| |
WARREN
Uggh. This is horrible. |
|
|
|
|
He hands it to Cameron. |
|
|
| |
WARREN
What do you think is in it? |
|
|
|
|
Cameron smells. |
|
|
|
|
|
|
| |
WARREN
You think it's a good idea to let
her drink it? |
|
|
|
| |
CAMERON
It seems to have worked. |
|
|
|
|
Tara is smiling again. |
|
|
| |
|
INT. SKINNER CABIN - DAY |
|
|
Kitchen. Warren and Cameron enter. Cameron still holds the
bottle. |
|
|
|
|
|
|
|
|
|
|
| |
WARREN
Do you think she's dangerous when
she's like that? |
|
|
|
| |
CAMERON
She seemed scared. Like she
didn't know where she was. |
|
|
|
|
|
|
|
| |
|
INT. CAFE - DAY |
|
|
|
Alvin again sits. Reginald is nearby. |
|
|
| |
ALVIN
Are you familiar with the Battle
of Agincourt? |
|
|
|
40.
|
| |
REGINALD
I can't say tha tI am, sir. |
|
|
|
| |
ALVIN
Well, it's a fascinating battle.
Shakespeare wrote of it in his
play Henry V. |
|
|
|
|
|
|
|
| |
ALVIN
I do. In the Battle of Agincourt,
the English longbows carried the
day, Reginald. It's something to
keep in mind. File in your
memory, if you will. |
|
|
|
|
|
|
|
|
Alvin takes a sip of coffee. Wendi approaches again. |
|
|
| |
WENDI
You son of a bitch. I have you
now! |
|
|
|
| |
ALVIN
Excuse me, ma'am, but what's this
about? |
|
|
|
| |
WENDI
I did a little research and it's
worse than I thought. You'll
never clean the blood off your
hands, you monster. |
|
|
|
|
|
|
|
| |
WENDI
Don't give me that you're sorry. I
know a lie when I hear it. |
|
|
|
|
|
|
|
|
She screams incoherently and stomps away. |
|
|
| |
ALVIN
(to Reginald)
How does she keep getting in here
and what is it that she wants? |
|
|
|
41.
|
| |
REGINALD
It's hard to say, sir. |
|
|
|
| |
ALVIN
I need more baguette. |
|
|
|
|
|
|
|
He walks away. Alvin starts reading the paper. Darryl
approaches with a paper bag in hand. |
|
|
|
|
|
|
|
He continues to read. |
|
|
|
|
|
|
|
He reads. Darryl stands at the table. |
|
|
| |
DARRYL
(a little louder)
Excuse me. |
|
|
|
|
Alvin puts down the paper and glances at Darryl. |
|
|
| |
ALVIN
Darryl! When did you get here? |
|
|
|
| |
DARRYL
I was here for several. |
|
|
|
| |
ALVIN
Please, have a seat and tell me
how you've been. |
|
|
|
|
He sits. Reginald approaches with a fresh baguette. |
|
|
| |
ALVIN
Reginald, do you know Darryl? |
|
|
|
| |
REGINALD
I can't say that I do, sir. |
|
|
|
| |
ALVIN
Well he looks a bit starved,
wouldn't you say? Bring him a
baguette of his own. |
|
|
|
| |
DARRYL
No, you don't have to. |
|
|
|
42.
|
| |
ALVIN
Nonsense, it's my treat. |
|
|
|
|
Reginald leaves. |
|
|
| |
ALVIN
So, tell me Darryl, what line of
business have you been in these
days? |
|
|
|
| |
DARRYL
Well, I've been a talent scout. |
|
|
|
| |
ALVIN
Splendid. How's that going? |
|
|
|
| |
DARRYL
Well, I found some raw talent and
was in the process of molding them
into the next big thing, when. |
|
|
|
|
Reginald approaches with a baguette. |
|
|
| |
ALVIN
Please, no business right now. Eat
up, Darryl. |
|
|
|
| |
DARRYL
Actually, I'm not hungry. |
|
|
|
| |
ALVIN
Well, I can't do business with
somebody who I haven't supped
with. Please, eat. |
|
|
|
|
Darryl looks around. |
|
|
| |
DARRYL
Well, I suppose I am a bit hungry. |
|
|
|
|
He takes a bite. |
|
|
| |
ALVIN
Splendid. It's a wonderful
baguette, wouldn't you say? |
|
|
|
|
|
|
|
| |
ALVIN
Now, tell me how you've been. |
|
|
|
|
Darryl sets down the roll. |
|
|
43.
|
| |
DARRYL
Actually, I've not been well. |
|
|
|
|
|
|
|
| |
DARRYL
No. It's been very stressful,
lately. |
|
|
|
| |
ALVIN
Why ever would that be? |
|
|
|
| |
DARRYL
Your men, they visited me. |
|
|
|
| |
ALVIN
They did? Was it pleasant? |
|
|
|
| |
DARRYL
No. It was not pleasant. It most
certainly was not pleasant. |
|
|
|
| |
ALVIN
I'm sorry to hear that. |
|
|
|
| |
DARRYL
Well, the thing is. |
|
|
|
|
Peter and Nick enter. |
|
|
| |
NICK
Hey boss. What you got for us
today? |
|
|
|
| |
PETER
Hey, it's that little squeaky guy. |
|
|
|
Darryl is petrified. He clings tightly to the bag and
stares at both men. |
|
|
| |
ALVIN
Darryl here was just telling me
about his work. Won't you both
have a seat?
(to Reginald)
Two baguettes, please. |
|
|
|
|
He leaves. |
|
|
| |
ALVIN
Darryl, would you please bring
these two up to speed? |
|
|
|
| |
44.
|
|
INT. SKINNER CABIN - DAY |
|
|
Living room. Katrina and Tara sit on the couch, Katrina
with Tara's bottle in hand. Warren is in an easy chair.
Cameron enters. |
|
|
|
|
|
|
| |
CAMERON
It's not about fair. |
|
|
|
| |
KATRINA
But she'll die. Rusty will die. |
|
|
|
| |
CAMERON
One, she won't die. Two, her name
isn't Rusty. So quit calling her
that. |
|
|
|
|
|
|
|
|
She hugs the bottle close to her. |
|
|
| |
CAMERON
Because whatever is in that bottle
acts like a drug. Look at her. It
makes her catatonic. |
|
|
|
|
|
|
|
| |
CAMERON
It's one thing to have a weird
girl in the house. One who can't
communicate or do anything but bat
her eyes and stare blankly is a
whole other. |
|
|
|
|
He holds out his hand. |
|
|
|
|
|
|
| |
KATRINA
You're not the boss of us. |
|
|
|
| |
CAMERON
Oh, I disagree. I'm paying for
this roof over your head. I work
to put food in your belly. Just
because you don't call me dad
doesn't mean that I'm not the boss
(MORE)
|
|
45.
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
KATRINA
But you saw her. What if that
happens again? |
|
|
|
| |
CAMERON
Then we'll wait for it to stop.
Other than her screaming, I don't
think she was hurt at all. If she
really is in trouble, we'll take
her to a hospital. |
|
|
|
| |
WARREN
How are we going to pay for that? |
|
|
|
| |
CAMERON
That's not for you to worry about.
However, there is plenty for you
be concerned with. Such as.
(to Warren)
You owe me some math and science
homework.
(to Katrina)
And you owe me an essay on
Shakespeare. And have you
practiced your clarinet yet today? |
|
|
|
|
|
|
|
| |
CAMERON
Now get to it. And give me the
bottle. |
|
|
|
|
She gives it to him. |
|
|
| |
CAMERON
Trust me. Now get to work. |
|
|
|
| |
|
EXT. LOS ANGELES STREET - DAY |
|
|
In their car, Nick drives while Peter rides shotgun. Darryl
rides in the back seat, bag in hand, muttering to himself. |
|
|
46.
|
| |
NICK
I can't believe he did that. |
|
|
|
| |
PETER
It was a bit of a shocker, to be
sure. |
|
|
|
| |
NICK
But right in front of the boss? |
|
|
|
| |
PETER
I thought he was going to shoot
him. |
|
|
|
| |
NICK
I almost threw up.
(to Darryl)
Do you hear me? |
|
|
|
| |
DARRYL
You wouldn't understand. Take a
right. |
|
|
|
|
He turns the car right. |
|
|
|
|
|
|
| |
DARRYL
I did what I had to do. |
|
|
|
| |
NICK
Yeah, but in a restaurant? |
|
|
|
|
|
|
|
He pulls the car up to the curb, in front of a store called
'Rocky's Boutique'. |
|
|
| |
DARRYL
I did what I had to do. |
|
|
|
| |
|
INT. ROCKY'S BOUTIQUE - DAY |
|
|
An upscale clothing store. Darryl speaks with a counter
person, apparently arguing from a distance. We can't hear
what he says. Nick and peter sit in a coffee shop area.
PERI and CANDY, two transsexual men, sit at the next table. |
|
|
47.
|
| |
PERI
I'm telling you. Look at his
eyebrows. They're perfect. |
|
|
|
| |
CANDY
I think he could use a little bit
of a trim. |
|
|
|
| |
PERI
Nonsense. They're perfect. |
|
|
|
|
Nick looks a bit uncomfortable. |
|
|
| |
PETER
They seem to like your eyebrows. |
|
|
|
|
|
|
|
| |
PETER
Doesn't make you nervous, does it? |
|
|
|
|
|
|
|
|
|
|
|
|
HARLAN, an effete waiter, approaches with two coffees. |
|
|
| |
HARLAN
These are for you. Compliments of
the next table. |
|
|
|
| |
PETER
Thank you. Thank you very much.
(to Nick)
You see, it's alright that they
admire your eyebrows from a
distance. There is no reason to
take that as a threat. |
|
|
|
| |
HARLAN
Oh no, dear. It's not his that
they were admiring. |
|
|
|
|
|
|
|
|
|
|
|
48.
|
Nick laughs. Peter puffs up and raises a cup to the table.
Harlan walks away. |
|
|
| |
NICK
I suppose you like that? |
|
|
|
| |
PETER
I'm flattered, yes. |
|
|
|
| |
NICK
Look at this place. I still say
that the guy is a fag. |
|
|
|
|
Darryl has approached the table. |
|
|
| |
DARRYL
Your eyebrows are fabulous, if
only one sixteenth of an inch too
long. I'm not a fag. |
|
|
|
| |
NICK
Well, I didn't mean like those
guys. |
|
|
|
|
He motions to the transsexuals. |
|
|
|
|
|
|
ROCKY, a flamboyantly dressed man struts from the back of
the store with a pink crock jar in hand. |
|
|
| |
ROCKY
Oh honey! I knew you'd be back. |
|
|
|
| |
DARRYL
(whispering to
Nick)
That is a fag. |
|
|
|
|
Rocky approaches the table. |
|
|
| |
ROCKY
So you lost your little starlet? |
|
|
|
| |
NICK
That's one way of looking at it. |
|
|
|
| |
ROCKY
And this one is a sure thing,
honey? |
|
|
|
49.
|
| |
DARRYL
As sure as they get. Money in the
bank. |
|
|
|
| |
ROCKY
And she's an acceptable payment
for your debt? |
|
|
|
| |
PETER
The boss wants her back. Your
friend's argument was a bit
compelling. |
|
|
|
| |
ROCKY
Oh yes. I heard about that one.
Let me see them. |
|
|
|
|
Darryl hands him the paper bag. Rocky looks inside. |
|
|
| |
ROCKY
Oh dear. What a color. |
|
|
|
|
|
|
|
| |
ROCKY
I would have died to see the face
these were in. |
|
|
|
|
|
|
|
| |
ROCKY
Such a deep shade of cobalt blues,
too. |
|
|
|
| |
DARRYL
Yes. It's for him that I need to
get her back. |
|
|
|
|
|
|
|
| |
DARRYL
But I have nothing. |
|
|
|
|
|
|
|
|
|
|
|
50.
|
|
|
|
|
| |
DARRYL
Oh sweetie. Surely you can be
more gracious. |
|
|
|
| |
ROCKY
For you? No. Either half or no
special recipe. |
|
|
|
| |
DARRYL
Fine. Half of this girl is
wonderful still. |
|
|
|
| |
ROCKY
And don't forget to dilute it. The
last thing you need is a jabbering
half-wit drooling all over her
chin. |
|
|
|
|
|
|
|
| |
ROCKY
Is somebody talking? |
|
|
|
| |
DARRYL
He just doesn't know. |
|
|
|
| |
NICK
Hey, I'm right here and asked you
what this stuff does. |
|
|
|
| |
DARRYL
It just adjusts her attitude a
little. Makes her more
manageable. |
|
|
|
| |
ROCKY
Yes, silly boy. Though your
friend has magnificent eyebrows,
you obviously know very little
about taking care of starlets. |
|
|
|
| |
PETER
Thanks. And what happens if she
doesn't get some? |
|
|
|
| |
51.
|
|
INT. SKINNER CABIN - DAY |
|
|
Late day. Kitchen. Warren sits at the table, head in
hands. He has an open book in front of him. Cameron walks
around, cleaning. From another room, Tara screams
incoherently. Cameron pretends not to notice. |
|
|
| |
WARREN
Are you going to do something
about this? |
|
|
|
|
|
|
|
| |
WARREN
She sounds like she's dying. |
|
|
|
|
|
|
|
| |
WARREN
Can't you just give her the bottle
again? |
|
|
|
|
|
|
|
| |
WARREN
Sheesh. It's hard to study in
these conditions. I'm going for a
walk. |
|
|
|
|
He picks up his book and leaves. Katrina enters, harried. |
|
|
| |
KATRINA
Water. We need water. |
|
|
|
|
|
|
|
| |
KATRINA
No. You won't help Rusty when she
needs it most. |
|
|
|
|
She starts running water into a wash cloth. |
|
|
| |
CAMERON
And what do you want me to do? |
|
|
|
| |
KATRINA
I want you to help Rusty. |
|
|
|
52.
|
|
|
|
|
| |
KATRINA
Give her her bottle. Sheesh. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
She spins on him. |
|
|
| |
KATRINA
You didn't just say what you said. |
|
|
|
| |
CAMERON
It's in the draw. |
|
|
|
|
She turns to go outside, opening the door. |
|
|
| |
CAMERON
Stop right there. |
|
|
|
|
|
|
|
|
He grabe her and closes the door. |
|
|
| |
CAMERON
Get back here. Sit down and look
at me. |
|
|
|
|
She does so. He crouches in front of her. |
|
|
| |
CAMERON
Nothing bad will happen to her.
She'll be fine. |
|
|
|
|
|
|
|
| |
CAMERON
Hush. She's sweating that crap
out of her system right now. You
just have to be patient. |
|
|
|
53.
|
The screaming stops. They stare at one another. Katrina's
eyes get big. |
|
|
|
|
|
|
| |
CAMERON
Let's go take a look. |
|
|
|
|
He tosses her the wash cloth. |
|
|
| |
CAMERON
You take care of her. |
|
|
|
|
She stands. They both slowly walk out of the room. |
|
|
| |
|
EXT. MOUNTAIN ROAD - DAY |
|
|
A BMW drives along. RICK, a yuppie looking man, drives. He
wears a suit. JANE rides shotgun. She looks disinterested
and smokes a cigarette. |
|
|
| |
RICK
Welcome home. In a few hours. |
|
|
|
|
|
|
|
|
|
|
|
| |
|
INT. SKINNER CABIN - DAY |
|
|
|
Tara sleeps. Katrina towels her head. |
|
|
|
|
|
|
| |
KATRINA
No, but I think these sheets are
going to have to be changed. She
sweat right through them. |
|
|
|
| |
CAMERON
Probably. We'll worry about that
later. |
|
|
|
| |
KATRINA
Okay.
(beat)
Cam? |
|
|
|
54.
|
|
|
|
|
| |
KATRINA
Do you think she'll be the same
when she wakes up? |
|
|
|
| |
CAMERON
What do you think? |
|
|
|
| |
KATRINA
I think she'll be different. I
think she'll be different and want
to leave. I think she'll wake up
and want to leave. |
|
|
|
| |
CAMERON
And what do you want? |
|
|
|
| |
KATRINA
I want her to be happy. If
leaving makes her happy, then I
want her to go. |
|
|
|
| |
CAMERON
I think you've grown up a bit. |
|
|
|
She continues to towel Tara's face, wordlessly. Cameron
looks on. |
|
|
| |
|
INT. UTAH BAR - DAY |
|
|
Darryl sits at the bar, drinking heavily, a bowl of peanuts
bnearby. On each side of him stand Peter and Nick. |
|
|
|
|
|
|
|
|
|
|
|
He sets him up with another shot, which Darryl disposes of. |
|
|
| |
PETER
Come on. We're wasting time. |
|
|
|
| |
DARRYL
I'm sorry. Please don't let me
inconvenience you. |
|
|
|
|
He tosses a peanut at Peter. |
|
|
55.
|
| |
DARRYL
And quit crowding me. |
|
|
|
| |
NICK
I don't see what the big deal is. |
|
|
|
| |
DARRYL
Don't see what the big deal is?
You don't see what the big deal
is? |
|
|
|
He throws a peanut at him with each line. He then tosses a
whole handful. |
|
|
| |
DARRYL
I can't believe that the
neanderthal doesn't know what the
big deal is.
(Yelling)
You left her by the side of the
damned road. That's what the big
deal is. |
|
|
|
| |
PETER
I'm sure she'll be fine. |
|
|
|
| |
DARRYL
Do you have any idea what you've
done? I mean, really. Why don't
you just go to the zoo and toss
some newborn infants into the
lion's den?
(Yelling)
These teen idols are very fragile.
They have no known natural
defense mechanisms. You might as
well have skinned her alive. It
would surely have been more
humane. |
|
|
|
| |
NICK
We remember where we left her.
We'll just swing by there and pick
her up. |
|
|
|
| |
DARRYL
If she's still alive. Oh God, you
have no idea. |
|
|
|
|
He sinks back into his drink. Nick pulls Peter aside. |
|
|
56.
|
| |
NICK
Hey, you know, I was thinking. You
don't think this is one of those,
ya' know? |
|
|
|
|
|
|
|
| |
NICK
Well, like one of those gay bars.
you don't think this is one of
those, do you? |
|
|
|
| |
PETER
Well, I can't say I'd know. |
|
|
|
| |
NICK
Not that such a thing would matter
to me. |
|
|
|
|
Darryl stands and starts to stride out. |
|
|
| |
DARRYL
Moron, this isn't a gay bar. There
are posters of bikini clad women
on the walls. Besides, as I told
you, I'm not gay. Now get moving
and drive me. In for a penny, in
for a pound. Might as well see
this thing through. |
|
|
|
| |
PETER
As long as you don't cut out her
eyes if something happened. |
|
|
|
|
They all leave. |
|
|
| |
|
EXT. SKINNER CABIN - DAY |
|
|
Rick and Jane's car pulls up to the house. Warren reads a
book under a tree and watches as they arrive. His eyes are
wide. The car stops and they get out. Jane looks at
Warren. |
|
|
| |
JANE
Oh little Warby. It's you! |
|
|
|
She approaches him. Rick smokes a cigarette and takes in
the surroundings. All cats and dogs seem to avoid the two
new arrivals. |
|
|
57.
|
| |
JANE
Don't you recognise me? It's me,
your big sister Jane. |
|
|
|
| |
WARREN
Oh, I recognize you. |
|
|
|
| |
JANE
Then no hugs or kisses? |
|
|
|
|
|
|
|
| |
JANE
And what are you studying, little
Warby? |
|
|
|
| |
WARREN
Pre-college calculus. |
|
|
|
| |
JANE
Oh wow. That's so cute. Don't
you think so, Rick? |
|
|
|
| |
RICK
Let's make this fast. Where's
Cameron? |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
RICK
Well then, why don't you get off
your shiftless butt and tell them
that we're here? |
|
|
|
| |
JANE
Now Ricky, was that called for?
(to Warren)
Why don't you run inside and fetch
them? |
|
|
|
He rolls his eyes, closes his book, rises, and moves toward
the house. |
|
|
|
|
|
|
58.
|
| |
RICK
And tuck in your shirt. |
|
|
|
|
Warren looks exasperated. Cameron comes out on the porch. |
|
|
| |
WARREN
Jane and Rick are here. |
|
|
|
| |
CAMERON
When did they get here? |
|
|
|
| |
WARREN
Just now. I'm going in. I think
I'm going to be sick. |
|
|
|
|
He enters the house. Cameron looks at them, hesitantly. |
|
|
| |
RICK
Did you know he had a math book
out here? |
|
|
|
| |
CAMERON
Hey Rick. No, I didn't. |
|
|
|
| |
RICK
Well, I don't care that much, but
those things cost money. If he
gets it dirty, then you have to
pay for it. |
|
|
|
| |
CAMERON
We already paid for it. Well, in
a round about way. He has a
scholarship. |
|
|
|
| |
RICK
Oh, so since it's free, he can be
careless about it? That's my tax
dollars there, sporto. |
|
|
|
| |
CAMERON
Actually, it's from a foundation.
They pay for all the books. |
|
|
|
| |
RICK
Don't take that tone with me. |
|
|
|
| |
CAMERON
What tone is that? |
|
|
|
| |
RICK
Quit being a smart ass. |
|
|
|
59.
|
| |
JANE
Now boys. Stop fighting. We are
here for business, Ricky. Let's
keep that in mind. |
|
|
|
| |
RICK
Yeah yeah. I need a drink. |
|
|
|
|
He pushes past Cameron and into the house. |
|
|
| |
CAMERON
Are you guys just back to insult
us? |
|
|
|
|
|
|
|
|
She walks up and caresses his cheek. |
|
|
| |
JANE
You always have misconstrued us.
Silly boy, what you think of as
insults is that he loves the
children and family so much, he
gets upset when he sees the little
ones raise badly. |
|
|
|
|
|
|
|
| |
JANE
Of course, you aren't totally to
blame. You do what you can.
However, you're just a kid
yourself. |
|
|
|
|
Cameron is silent. He looks insulted and chastened. |
|
|
| |
JANE
Oh, don't cry. I didn't mean it
that way. You just don't know
wany better. |
|
|
|
She smiles. Rick exits the house, carrying a bottle of
Sunny D, from which he periodically takes swigs. |
|
|
| |
RICK
Hey little brother. Who's that
little chippy in the bedroom? She
looks cute. Can I ask her for a
date? |
|
|
|
|
Katrina exits the house. She moves quickly, right at Rick. |
|
|
60.
|
| |
KATRINA
No, you cannot ask her for a date.
You stay away from her. And give
me back my juice. |
|
|
|
He holds the juice above his head and uses his other hand to
keep her at an arm's length. He takea another swig. |
|
|
| |
RICK
You need to learn some manners.
(to Cameron)
Is this the kind of home you are
keeping? |
|
|
|
|
He laughs and takea snother swig. |
|
|
| |
RICK
I see what must be done. |
|
|
|
|
He tosses the bottle over the side of the porch. |
|
|
|
|
|
|
|
He grabs her by the wrist and pulls her over his knee. |
|
|
| |
RICK
You need to learn manners. |
|
|
|
|
She starts to cry. |
|
|
|
|
|
|
| |
JANE
Now, it's because he loves her. |
|
|
|
| |
CAMERON
No. Don't do that. |
|
|
|
|
|
|
|
| |
CAMERON
I said, don't do that. Let her
go. |
|
|
|
He pushes her off his knee. She runs to the bottle. Rick
walks up to Cameron. |
|
|
| |
RICK
Oh. Big tough guy now, eh? |
|
|
|
61.
|
He pushes him. Katrina picks up the bottle. It's covered
in dirt and there's little drink left. |
|
|
| |
KATRINA
Most of it spilled. He spilled
most of the drink. |
|
|
|
| |
RICK
So, that's the type of kid you're
raising my little sister to be? A
little urchin that drinks other
people's garbage? |
|
|
|
|
He pushes him again. |
|
|
|
|
|
|
|
Katrina, still holding the bottle, hides behind Cameron. |
|
|
| |
KATRINA
Make them stop, Cam. Make them
stop. |
|
|
|
| |
RICK
Yeah Cam. Make me stop. |
|
|
|
| |
CAMERON
Did you two come back after all
this time just to pick a fight
with me? Because if that's the
case, go ahead and beat me up. |
|
|
|
|
|
|
|
| |
CAMERON
I happen to know the constable and
would gladly give him a call and
ask him to join us. |
|
|
|
|
Rick composes himself. He moves away from Cameron. |
|
|
| |
JANE
We came to talk business in a
civil manner. |
|
|
|
| |
CAMERON
You have a funny way of being
civil. |
|
|
|
62.
|
| |
JANE
I explained all that to you. Now,
let's talk business. We have been
talking with a developer. He
loves the mountains and is
enamored with some pictures we
showed him of the place. |
|
|
|
| |
RICK
Yeah. And bottom line, he wants
to buy it. Going to turn it into
a gas station or something. |
|
|
|
| |
JANE
And we wanted to come to let you
know in person. |
|
|
|
| |
CAMERON
Hang on a second. You can't sell
this place. This is our home. |
|
|
|
| |
JANE
When mom and dad left, the
property went to the adult left
behind. And that was Rick. He
was eighteen. |
|
|
|
| |
CAMERON
But then you both left. It's been
three years. You just went. We've
created a home. We need to stay
here until they graduate. After
that, you can do with the place
what you may. |
|
|
|
| |
RICK
You know, you've become quite the
pest in the interim. Two things,
sport. One, I'm going to date
sleeping beauty. Two, we're
selling this place. It doesn't
matter whether or not we have your
consent. |
|
|
|
| |
JANE
We won't leave you high and dry.
You're an adult. We'll make sure
you are properly compensated for
your part. |
|
|
|
|
|
|
|
63.
|
| |
JANE
You know, they're not really your
kids. With the money you are
going to get, you can pay for your
college. There's always social
services for them. |
|
|
|
|
Katrina hugs Cameron tightly. |
|
|
| |
TARA (os)
I'm not dating him. |
|
|
|
All heads turn. Tara stands in the doorway. She is rubbing
her eyes, as if she has just awaken from a deep sleep. |
|
|
|
|
|
|
| |
RICK
That's the girl I told you about. |
|
|
|
| |
TARA
I'm not a skank and I'm not dating
that asshole. |
|
|
|
|
Katrina runs from behind Cameron, to Tara. |
|
|
|
|
|
|
|
She gives her a big hug. |
|
|
| |
RICK
Remember what I said. You don't
have a choice in this matter.
We'll be bringing the papers by in
the next few days. As soon as
they're written up, officially. |
|
|
|
Jane fixes a poisonous glare on Tara. The two get in the
car and drive off. |
|
|
| |
TARA
Those were happy people. |
|
|
|
| |
CAMERON
Fortunately, they're not around
much.
(beat)
How long have you been there? |
|
|
|
64.
|
| |
TARA
A few minutes. He has a whiney
voice that carries. Makes it hard
to sleep. |
|
|
|
| |
KATRINA
He was the first born. |
|
|
|
| |
CAMERON
Yeah. Pushy from the beginning. |
|
|
|
| |
TARA
What do you have to eat? |
|
|
|
| |
|
EXT. MOUNTAIN ROAD - DAY |
|
|
An SUV is pulled to the side of the road. Alvin and
Reginald stand near. |
|
|
|
|
|
|
|
|
|
|
| |
ALVIN
Unbelievable. How did we ever get
so far without remembering to fill
up? |
|
|
|
| |
REGINALD
It's a mystery, sir. |
|
|
|
| |
ALVIN
Amazing. Simply amazing. |
|
|
|
|
He sticks his head into the car. |
|
|
| |
ALVIN
We're still tracking them. |
|
|
|
|
He approaches Reginald. |
|
|
| |
ALVIN
I hate to bother you, seeing as
how you've come this far, but
we'll be needing to use your cell
phone. |
|
|
|
| |
REGINALD
I don't have one, sir. |
|
|
|
65.
|
| |
ALVIN
Egads. Are you serious? |
|
|
|
|
|
|
|
| |
ALVIN
Well, that takes it. We walk. |
|
|
|
| |
REGINALD
Do you not have a phone, sir? |
|
|
|
| |
ALVIN
Of course not, Reginald. I was
the one watching the GPS, keeping
my employees in sight this time. I
spent three hours outside of a
seedy bar and another two at a
boutique, just so we can observe
and intercede if necessary. Now,
due to a fluke situation, we are
out of gasoline. I can't consider
everything, my friend. |
|
|
|
| |
REGINALD
Of course not, sir. |
|
|
|
| |
ALVIN
Hence, we walk. You and I. We
walk until we can find a farmhouse
or gas station. There are so few
of either up in these mountains. |
|
|
|
He pulls a coat from the car, then the GPS device. The two
start to walk away, Alvin staring at the device. A car
pulls up from behind. |
|
|
| |
ALVIN
Do you see, Reginald. Providence
smiles upon us. |
|
|
|
|
Wendi gets out. She walks up to the two, with a purpose. |
|
|
|
|
|
|
| |
WENDI
You bastard. I've seen plenty in
my time, but this is outrageous.
You have the gaul to just stand
there, that look on your face? Do
you have anything to say in your
defense? |
|
|
|
66.
|
| |
ALVIN
I'm sorry. I'm sorry.
(beat)
We need to use your car. |
|
|
|
|
|
|
|
| |
ALVIN
Your car. Ours ran out of gas. We
need you to give us a ride. |
|
|
|
|
|
|
|
| |
ALVIN
We're not sure, as yet. Just
drive up the mountain. |
|
|
|
|
The three get in the car. |
|
|
| |
WENDI
You're paying for gas. |
|
|
|
| |
ALVIN
Yes, yes. Of course I will.
(to Reginald)
A cold woman, Reginald. |
|
|
|
|
|
|
|
| |
|
INT. SKINNER CABIN - DAY |
|
|
Kitchen. Tara sits with a plate of pancakes in front of
her. She eats ravishingly and drinks milk straight from the
bottle. Warren and Katrina just watch her. Cameron is at
the stove. |
|
|
| |
WARREN
Wow. That's amazing. |
|
|
|
| |
KATRINA
You must have been hungry. |
|
|
|
| |
TARA
You don't know the half of it. |
|
|
|
| |
KATRINA
Do you feel alright now? |
|
|
|
67.
|
| |
TARA
Oh yeah. I'm just incredibly
hungry. It's as if I haven't had
an appetite for months. |
|
|
|
| |
WARREN
And now, here you are. |
|
|
|
|
|
|
|
| |
KATRINA
I told you guys that Rusty wasn't
sick. |
|
|
|
| |
WARREN
We never thought she was. |
|
|
|
|
|
|
|
| |
KATRINA
And now you're well. You see,
guys? |
|
|
|
| |
CAMERON
Well, eat up. We don't always
feast like this. |
|
|
|
| |
KATRINA
Don't be that way with Rusty. |
|
|
|
| |
TARA
Why does she keep calling me that? |
|
|
|
| |
WARREN
It's what she named you. |
|
|
|
| |
TARA
Oh.
(to Katrina)
Ma'am. My name isn't Rusty. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
68.
|
|
|
|
|
|
|
|
|
| |
TARA
But, if you want to nickname me
Rusty, that's alright. |
|
|
|
|
|
|
|
| |
CAMERON
I have a few questions for you,
too. After you guys have eaten. |
|
|
|
|
|
|
|
| |
KATRINA
You have to be nice to her. |
|
|
|
|
|
|
|
| |
TARA
I'm sure he'll be nice to me. |
|
|
|
| |
CAMERON
(to Warren and
Katrina)
Why aren't you eating? |
|
|
|
| |
KATRINA
We want to be polite. |
|
|
|
| |
WARREN
Move over. I'm starving. |
|
|
|
| |
|
INT. MOUNTAIN MOTEL - DAY |
|
|
It's a typical motor inn type motel. Two beds in the room.
Nick and Peter sit on one. IN a corner of the room, Darryl
sits and meditates. |
|
|
|
|
|
|
|
|
|
|
69.
|
| |
PETER
I think it's great that he's in
touch with his roots. |
|
|
|
| |
NICK
What's with the ohmmmm? |
|
|
|
| |
PETER
He's finding his center. |
|
|
|
|
|
|
|
| |
PETER
You know. The center of his
being. |
|
|
|
| |
NICK
The center of his being? |
|
|
|
|
The phone rings. |
|
|
|
|
|
|
|
It rings again. |
|
|
| |
DARRYL
Would one of you answer that,
please? I'm trying to find my
center. |
|
|
|
|
|
|
|
| |
DARRYL
Very good. You know what I'm
doing. It's hard enough to find
with you two chattering.
Insufferable with that phone
ringing. |
|
|
|
|
Peter picks it up. |
|
|
| |
PETER
(into phone)
Hello?
(to Nick)
Hey, it's the boss.
(into phone)
Hey boss. How'd you find us?
(pause)
That makes sense.
(to Nick)
(MORE)
|
|
70.
|
| |
PETER (cont'd)
He used the GPS device. Says
we're in room 45 right now.
(into phone)
We stopped for Darryl. He said
his aura was feeling uneasy.
(pause)
Oh of course. I don't see why
that would be a problem.
(to Nick)
He's out on the road and is gonna
come by. |
|
|
|
|
|
|
|
| |
PETER
(into phone)
You want to keep an eye on us?
That would be awesome.
(beat)
Sure we'll get you a room
reserved. How many beds?
(beat)
I can't wait to see you boss. |
|
|
|
|
He hangs up. |
|
|
| |
PETER
This is going to be great! |
|
|
|
| |
|
INT. SKINNER CABIN - NIGHT |
|
|
Kitchen. Early evening. Cameron does the dishes. Tara
approaches him. |
|
|
|
|
|
|
|
|
|
|
| |
TARA
I never got a chance to thank you
for the dinner. I love breakfast
at seven in the evening. |
|
|
|
|
|
|
|
| |
TARA
Can I help you with the dishes? |
|
|
|
71.
|
| |
CAMERON
Sure. You can dry. |
|
|
|
|
She grabs a towel. |
|
|
| |
CAMERON
It's nice to see you as a human
being for a change. |
|
|
|
| |
TARA
Huh? Oh. Yeah. I think I know
what you are talking about. |
|
|
|
| |
CAMERON
Do you have any idea how you were
acting? |
|
|
|
| |
TARA
I have an idea. It's as if I was
trapped under the ground and could
hear others shouting down from
time to time. |
|
|
|
| |
CAMERON
You remember a little? |
|
|
|
| |
TARA
Just a little. I know that the
names of the people who live here
are Katrina, Warren, and Cameron.
I know that I was left by the side
of the road. I have an idea that
I was rather vapid. I knew Tim. |
|
|
|
|
She pauses. |
|
|
| |
TARA
I think something bad happened to
him. |
|
|
|
| |
CAMERON
I don't know Tim, but you're on
about everything else. |
|
|
|
|
|
|
|
| |
CAMERON
I have clipped toenails that knew
more than you did. |
|
|
|
|
|
|
|
72.
|
| |
CAMERON
Do you remember anything else? |
|
|
|
| |
TARA
I remember I used to live in a
small town in Kentucky. Beyond
that, the rest is swiss cheese. |
|
|
|
| |
CAMERON
Well, that's something.
(beat)
You're welcome to stay here until
you remember more. |
|
|
|
| |
TARA
Thanks. But what if those two
keep their promise and take your
farm? |
|
|
|
| |
CAMERON
You mean Rick and Jane? |
|
|
|
| |
TARA
Was that their names? |
|
|
|
| |
CAMERON
Yeah. They're probably just
blowing hot air. Running out of
money and this is the last thing
they can try to grab before having
to get jobs. |
|
|
|
|
|
|
|
| |
CAMERON
Me? I get by. I raise those two.
Right now, that consumes my life.
Our parents left us about five
years ago. Rick and Jane, about
three. The farm is free and
clear. We live off the land. To
pay taxes and bills, we trap and
raise crops. |
|
|
|
| |
TARA
That's amazing. How old are you? |
|
|
|
|
|
|
|
|
|
|
|
73.
|
|
|
|
|
| |
TARA
So you have been raising them
since you were fifteen? |
|
|
|
| |
CAMERON
Well, that's when it became
official. If it is official, I
guess. |
|
|
|
|
|
|
|
|
|
|
|
| |
TARA
I wish I could tell you more about
me, but it appears that's
something we'll both just have to
learn together. |
|
|
|
|
Warren enters. |
|
|
| |
WARREN
Cameron. Katrina's crying. She
says something about Rick and Jane
taking the farm and putting us up
for adoption. |
|
|
|
| |
CAMERON
(to Tara)
I'll be right back. |
|
|
|
| |
|
INT. MOUNTAIN MOTEL - NIGHT |
|
|
A one bed room. Reginald lies in bed. He sleeps on his
back. To his left lies Alvin. he tosses and turns. |
|
|
| |
REGINALD
Is this necessary, sir? |
|
|
|
| |
ALVIN
Excuse me, Reginald? Of course.
It's absolutely necessary. |
|
|
|
| |
REGINALD
But I would gladly pay for a
double room, sir. |
|
|
|
74.
|
| |
ALVIN
Out of the question. You've been
inconvenienced enough. I wouldn't
think of asking you. You will be
driving tomorrow, after Darryl
finds his center. We need you to
be sharp and well rested. Then,
we'll all leave together. |
|
|
|
|
|
|
|
| |
ALVIN
No buts, Reginald. I didn't get
rich by overpaying for boarding. |
|
|
|
|
|
|
|
|
Wendi lies to Alvin's left. |
|
|
| |
WENDI
It's true, Reginald. He keeps his
money this way. |
|
|
|
| |
ALVIN
Listen to her Reginald. |
|
|
|
| |
WENDI
That's how we can afford this life
that we both love. |
|
|
|
| |
ALVIN
And how I can keep my little
pookie happy. How long has it
been, honey? |
|
|
|
|
|
|
|
| |
ALVIN
Do you see Reginald? Twelve years
of marital bliss. A cold woman
and a hard man. That's how love
survives, Reginald. You have to
keep it fresh. |
|
|
|
|
|
|
|
75.
|
| |
DARRYL (os)
(through wall)
Hold it down in there! I'm trying
to find my center. |
|
|
|
| |
PETER (os)
(through wall)
He's close. He's so very close. |
|
|
|
| |
NICK (os)
(through wall)
Somebody shoot me. |
|
|
|
| |
ALVIN
Do you see, Reginald? While
fretting, we made the little fag
lose his center. |
|
|
|
| |
DARRYL (os)
(through wall)
I'm not a fag! |
|
|
|
| |
ALVIN
I'm sorry Darryl.
(to Reginald)
Now, no more fretting. We must
slumber before continuing as a
caravan. |
|
|
|
|
|
|
|
|
|
|
|
He reaches across Reginald and turns out the light. Wendi
cuddles closer to Alvin, who tosses an arm over Reginald.
Reginald still wears the same look. |
|
|
| |
REGINALD
Good night, sir. |
|
|
|
| |
|
EXT. FOREST - DAY |
|
|
Morning. Warren and Katrina move along, picking berries.
Warren carries a bucket. Each eat as they work. |
|
|
| |
WARREN
Don't let me forget, Cam wanted us
to swing by the stream to get a
fish, after we're done here. |
|
|
|
76.
|
| |
KATRINA
Gotcha'.
(beat)
Do you think this is the way she
is? |
|
|
|
|
|
|
|
| |
KATRINA
Yeah. Rusty. Do you think she's
usually this way? |
|
|
|
| |
WARREN
I guess so. Why do you ask? |
|
|
|
| |
KATRINA
Well, it's because she's really
nice. And she seems to get along
with Cam. |
|
|
|
| |
WARREN
And you think they make a cute
couple? |
|
|
|
| |
KATRINA
Well, since she's better, he seems
better, too. |
|
|
|
| |
WARREN
Maybe he's just a little less
stressed. |
|
|
|
| |
KATRINA
What if he decides that he likes
her and wants to be with her and
lets Jane and Rick take the house
and then we go up for adoption? |
|
|
|
| |
WARREN
Do you really think that's going
to happen? |
|
|
|
| |
KATRINA
No. But I never think we're going
to be abandoned until we are. |
|
|
|
| |
WARREN
Cam loves us. I don't think he'll
ever let them take us. |
|
|
|
77.
|
| |
KATRINA
I hope not. Do you think they'll
take us anyway? |
|
|
|
| |
WARREN
I hope not. I really hope not. |
|
|
|
| |
|
INT. DARRYL WORMSTROM'S WORKSHOP - DAY |
|
|
A little later in the morning. Darryl, Peter, Nick, and
Alvin enter. Darryl strides around. Alvin covers his face
with a handkerchief. |
|
|
| |
ALVIN
Ewww Gods man. You lived here? |
|
|
|
| |
DARRYL
Yes. It worked quite well for
some time. |
|
|
|
| |
ALVIN
And who's the corpse? |
|
|
|
| |
DARRYL
Nobody at all without his cobalt
blues. |
|
|
|
| |
ALVIN
That's the man whose eyes you
stole? But he has half a head. |
|
|
|
|
Darryl grabs a stack of pictures. |
|
|
| |
ALVIN
Darryl, you need help. |
|
|
|
| |
DARRYL
Tell me something I don't know.
These are her. |
|
|
|
|
He hands a picture to Alvin. |
|
|
| |
ALVIN
What a looker. She's a sure fire
star if I've ever seen one. But
before we move another inch, give
the man his eyes back. Let him
rot in peace. |
|
|
|
| |
DARRYL
Well, I don't suppose they'll get
any bluer. |
|
|
|
78.
|
|
He takes out the bag and sets it beside Tim's corpse. |
|
|
| |
DARRYL
Yes. It's for the best. |
|
|
|
|
He sniffles, then stands up and exits the cabin. |
|
|
| |
|
INT. SKINNER CABIN - DAY |
|
|
|
Living room. Tara washes windows. Cameron enters. |
|
|
| |
CAMERON
Wow. You're a self-starter. |
|
|
|
| |
TARA
These had some smudges on them. I
like to keep a tidy house, I
guess. |
|
|
|
| |
CAMERON
Another thing we've found out
about you. |
|
|
|
| |
TARA
Yeah. Do they go out every
morning? |
|
|
|
| |
CAMERON
Chores. Try to teach them
responsibility and all. |
|
|
|
| |
TARA
Who maintains this place? |
|
|
|
| |
CAMERON
You're looking at him. |
|
|
|
| |
TARA
You could run a rag over these
panes from time to time, you know? |
|
|
|
| |
CAMERON
Hey, I don't do windows. |
|
|
|
|
|
|
|
| |
CAMERON
No. I mow the lawn, kill the
deer, cook the meals, plant the
vegetables, water the vegetables,
weed the vegetables, pick the
vegetables, can the vegetables,
(MORE)
|
|
79.
|
| |
CAMERON (cont'd)
vacuum the floors, feed the dogs,
feed the cats, feed the
everything, but I don't do
windows. |
|
|
|
| |
TARA
Well then, I guess you're
slacking. |
|
|
|
|
She snaps him with the towel. |
|
|
| |
CAMERON
Silly girl. You don't know the
half of it. |
|
|
|
| |
TARA
But seriously, how do you guys pay
for this place? |
|
|
|
|
|
|
|
|
|
|
|
| |
CAMERON
I know of a huge field. We sell
them about five crops a year to a
local chef. Pays for any bills we
need. Also, we're thrifty. |
|
|
|
|
|
|
|
| |
CAMERON
Thank you m'lady. Now, as time is
wasting, I need to take on my
duties as a seamstress and mend
some jeans.
(beat)
Oh, and you missed a spot. |
|
|
|
He takes her towel, wipes a small piece of window, snaps
her, then gives it back to her. He leaves. She watches him
go. |
|
|
| |
|
EXT. MOUNTAIN ROAD - DAY |
|
|
Nick, Peter, Reginald, Alvin, Wendi, and Darryl stand on the
shoulder. Their cars are pulled onto the side of the road. |
|
|
80.
|
| |
ALVIN
You're sure this is where you left
her? |
|
|
|
|
|
|
|
| |
ALVIN
Because we have to be certain.
This is where the trail begins. |
|
|
|
| |
PETER
Yeah boss. This is the place. |
|
|
|
| |
DARRYL
I still can't believe you just
left her by the side of the road. |
|
|
|
| |
NICK
It's not like she is a dog. |
|
|
|
| |
DARRYL
Of course not. A dog can think
for itself. She's a starlet. They
have people primping them. There
is a reason they have so many
personal assistants. It's because
they can't survive without
somebody giving them constant
attention. |
|
|
|
| |
PETER
Well, I think she was smart. |
|
|
|
| |
REGINALD
I'm going to the car, sir. |
|
|
|
|
|
|
|
| |
ALVIN
This is important stuff and you
both are taking off? |
|
|
|
|
|
|
|
|
|
|
|
|
Reginald and Wendi leave. |
|
|
81.
|
| |
ALVIN
That's understandable. The rest
of you, look closely. We need to
find this girl so my investment in
Darryl will pay off. |
|
|
|
| |
DARRYL
Yes. Watch closely. |
|
|
|
| |
ALVIN
I don't want to have to kill him,
so look at it as if we're saving
his life here. |
|
|
|
| |
DARRYL
Yes. It's my life we're saving. |
|
|
|
From the woods come Warren and Katrina. They approach the
road. |
|
|
| |
KATRINA
I want to put her hair in pig
tails. |
|
|
|
| |
WARREN
You know, she's not a dog and
she's not a doll, either. |
|
|
|
| |
KATRINA
Yes, but I think that beautiful
blonde hair of hers would look
great in pig tails. |
|
|
|
| |
DARRYL
Like hell it would. |
|
|
|
|
They both stop and stare up at the men on the road. |
|
|
| |
DARRYL
You will not put my little
starlet's hair in pig tails. |
|
|
|
| |
WARREN
You. Do we know you? |
|
|
|
| |
DARRYL
Yes you do. Now where is she? |
|
|
|
|
|
|
|
|
The two take off into the woods. |
|
|
82.
|
| |
DARRYL
What are you waiting for? Shoot
them. |
|
|
|
|
Nick starts to pull his gun. Alvin steps in. |
|
|
| |
ALVIN
My God, man. Have you lost your
mind? We are not shooting a
little girl. |
|
|
|
|
|
|
|
| |
ALVIN
No. If you shoot her, we won't
know where our girl is. Now
follow them. |
|
|
|
| |
DARRYL
Yes. Follow them. Get them. |
|
|
|
|
Nick and Peter descend from the road. Alvin follows. |
|
|
| |
ALVIN
(shouting)
Honey. Reginald. We shall
return. |
|
|
|
|
Darryl looks down, hesitantly. |
|
|
| |
ALVIN
Well, what are you waiting for? |
|
|
|
| |
DARRYL
The forest. The bugs. I can't. |
|
|
|
| |
ALVIN
Nick. Shoot him in the leg. |
|
|
|
|
|
|
|
|
He slowly descends. The four enter the forest, in pursuit. |
|
|
| |
|
EXT. SKINNER CABIN - DAY |
|
|
Tara bundles some sticks in the dooryard. She carries them
toward a shed. Katrina and Warren run into the yard. |
|
|
| |
WARREN
Tara, where's Cam? |
|
|
|
83.
|
| |
KATRINA
By gosh, you should have seen it.
Bad men. |
|
|
|
| |
WARREN
We really need to talk with Cam. |
|
|
|
| |
KATRINA
They were up on the road, where we
found you, Rusty. |
|
|
|
| |
WARREN
Really. Where is Cam? |
|
|
|
| |
KATRINA
Guns. They had guns. That mean
man was there, too. |
|
|
|
| |
TARA
Wait. Wait. I can't follow. |
|
|
|
| |
WARREN AND KATRINA
(shouting at the
same time)
They're coming for you! |
|
|
|
|
|
|
|
| |
KATRINA
Them. They are coming for you. |
|
|
|
| |
WARREN
Do you know where Cam is? |
|
|
|
| |
TARA
Behind the house. He's in the
woods. Looking for fallen wood in
the forest. |
|
|
|
| |
KATRINA
That's where they are. |
|
|
|
| |
TARA
You guys came from that way. He's
back there. |
|
|
|
| |
KATRINA
The woods are the woods. |
|
|
|
| |
WARREN
Tara's right. Let's go. |
|
|
|
84.
|
|
They go behind the house. |
|
|
| |
KATRINA
Where is he? I don't see him. |
|
|
|
|
She starts to cry. |
|
|
| |
WARREN
He's back here. Where is he? |
|
|
|
|
He also starts to cry. |
|
|
| |
TARA
Hey. No tears. Be strong. |
|
|
|
|
She moves a little into the woods. |
|
|
| |
KATRINA
Be careful. Please, don't leave
us. |
|
|
|
Tara doesn't make a sound. She moves further, then motions
for them to follow her. |
|
|
In front of the house, Nick and Peter enter the dooryard.
They stop and look around. Peter is sweating and breathing
heavily. Alvin enters next. |
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| |
ALVIN
Wrong. You see a home. That's
what this is. And do you know
what that means? |
|
|
|
|
|
|
|
|
|
|
|
85.
|
| |
ALVIN
It means that this is where they
will be hiding her. Spread out.
Look sharp. |
|
|
|
| |
|
EXT. FOREST - DAY |
|
|
|
Tara leads the two. |
|
|
|
|
|
|
|
|
|
|
| |
KATRINA
But what if he's not? What if
they got him? What if he's gone? |
|
|
|
|
Tara holds her close. |
|
|
| |
TARA
Then I'll protect you both. With
my life, I'll protect you if he
can't. |
|
|
|
| |
|
EXT. SKINNER CABIN - DAY |
|
|
In the dooryard. It is empty. A car pulls in. Jane and
Rick step out. Jane carries some papers. |
|
|
| |
RICK
I've been waiting for this for
three years. |
|
|
|
| |
JANE
I always hated that little
self-righteous brat. |
|
|
|
| |
RICK
Yeah. Then he has a new
girlfriend. |
|
|
|
| |
JANE
I wanted to be nice. To be
merciful. But then he has her,
wearing my clothes. Defiling our
parents good names. |
|
|
|
|
|
|
|
86.
|
They approach the house. Cameron comes around the corner, a
branch in hand. |
|
|
| |
CAMERON
Hey! Don't go in there! |
|
|
|
| |
RICK
Listen up, sporto. This is it. No
more nice siblings. Here's the
paperwork. You sign sporto. Right
now. |
|
|
|
| |
JANE
Or he'll beat you until you do. |
|
|
|
|
|
|
|
| |
JANE
That will teach you to be the good
one. |
|
|
|
| |
RICK
Mr. Morals. Caring more about the
kids than yourself. |
|
|
|
| |
JANE
Have a live in girlfriend. |
|
|
|
| |
CAMERON
Get off our property. Out of our
home. Right now. |
|
|
|
| |
|
EXT. FOREST - DAY |
|
|
Tara, Warren, and Katrina come to a clearing. There is a
big rock, upon which Darryl sits. |
|
|
|
|
|
|
|
|
|
|
| |
DARRYL
Oh yes. Me. Here with your
drink. |
|
|
|
|
He holds up a sports bottle. |
|
|
87.
|
| |
DARRYL
All you have to do is take a sip
or two and you'll be back on track
for stardom. |
|
|
|
|
|
|
|
| |
DARRYL
Shut up you little twerp. |
|
|
|
| |
TARA
Don't call her that. |
|
|
|
| |
DARRYL
Oh my. Have you gotten a little
attitude. Why don't you just have
a sip? |
|
|
|
| |
WARREN
Don't drink that stuff. |
|
|
|
| |
DARRYL
Oh yes. Drink up. You have any
idea how good it's been to you?
Before I found you, you were
working at a convenience store
outside of Frankfort. I saw you.
The jewel inside the stone. I saw
it. Others didn't. They saw the
girl who gave them cigarettes. The
girl who rang them up on pump
five. The girl they went to when
the bathroom was out of toilet
paper. I saw so much more. And
yes, I gave you this. |
|
|
|
|
He holds up the drink. |
|
|
| |
DARRYL
I gave you the world and was going
to give you to the world. Oh yes.
So close. |
|
|
|
| |
TARA
(to Warren)
Take Katrina and hide. |
|
|
|
|
|
|
|
|
|
|
|
88.
|
|
They go. |
|
|
| |
DARRYL
Yes, let them go. We have a lot
to discuss, me and you. |
|
|
|
|
|
|
|
| |
DARRYL
Yes, me. It was I that took you
under my wing. Made you what you
could be. |
|
|
|
| |
TARA
You. You let him die. |
|
|
|
|
|
|
|
| |
TARA
You let him die. Did nothing for
him. Right in front of you. Then,
you pushed me in between you and
the gun. I remember you. |
|
|
|
|
|
|
|
| |
TARA
Yes. You are a coward. |
|
|
|
| |
DARRYL
I am the bravest thing that has
ever happened to you and don't you
forget it. |
|
|
|
|
|
|
|
| |
DARRYL
Yes. I coddled you. I coddled
you both. Because I have use of
you. Never forget though, who
works for who. Never lose touch
that I'm the one who holds the
whip. |
|
|
|
| |
TARA
You are a disgusting, worthless
little toad. |
|
|
|
|
He hops down from the rock and approaches her. |
|
|
89.
|
| |
DARRYL
You ungrateful little. |
|
|
|
He slaps her, then grabs her by the arm, shaking her. She
punches him in the face. He falls. |
|
|
| |
|
EXT. SKINNER CABIN - DAY |
|
| | |
