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In The Bedroom Movie Script

Writer(s) : Robert Festinger, Todd Field

Genres : Crime, Drama

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                                  IN THE BEDROOM



                                    Written by

                            Rob Festinger & Todd Field

                         

                         

                         FADE IN:

          THE SOUND OF WIND AND NOTHING ELSE

          EXT. GI'S POINT

          We are in the midst of a field of tall grass wild flowers.
          A long rutted road stretches into the distance. Faintly at
          first and then closer - we hear a woman squealing with
          laughter. We see her legs cut through the grass and fly up a
          hill. Close on her heels is a young man, a good ten years
          younger, in hot pursuit.
          Over the field - across the tops of blades, sits an ancient
          apple tree. We rise out of the grass and see the two young
          people under the tree. They are entwined - in a deep embrace.

                         CLOSER NOW
          We see them in glimpses:
          Their eyes - Lips - Hands
          Finally they part - the woman rests her head on his chest.
          She reaches out and strokes his hand.
          He stares at their fingers mingling together.
          The woman sighs.

                         WOMAN
          I Love it here.
          I know you do...

                         WOMAN
          I can feel my life - ya know.
          He stares up into the boughs above him and sHd.les.
          A legend appears: Il -_ 1
          THE SOUND OF BALLGAmE OVER:

          T. RURAL ROUTE 90 - PREDAWN
          A BLUE 1973 CHEW PICK-UP winds around a corner and
          disappears down a long stretch of road. "And that's it from
          Fenway the final score Oakland 3 t1 Redsox 7. You have been
          listening to the re-broadcast of last night's game. This
          broadcast is the sole property of -- -)r League Baseball and
          cannot be-" -

          EXT. EMERSON ROAD - S

          The truck pulls onto a small road flanked by rows of 100 year
          old clapboard two-story affairs.

                         

                         

                         

                         

                         2

          EXT. NATALIE'S HOUSE - S

          Standing. on the lawn in front of one of them is the woman from
          the opening scene, NATALIE STRUT, prett - eautifl actually
          with a little more sleep. She stands wit two small boys who
          are doing their best to stay warm in the morning air. Her son
          JASON 8 , and his brother DUNCAN 4, who has his face buried in
          his mother's coat--refusing to see or be seen.
          The truck comes to a stop and two men get out. One is young,
          early 20's, and even at this hour his step is lively, his
          face full of warmth. He walks over to Natalie and gives her a
          kiss. The young man from the opening scene, rRANK FOWLER.
          The other man leans back against the passenger door. He is
          in his early 50's. Kind face, good looking, athletic in his
          day - Frank's father, MATT. He smiles at Natalie.
          Natalie smiles back.

                         NATALIE
          Morn'in Dr. Fowler.

                         MATT
          Morn'in Natalie. How you doing boys?

                         JASON
          Great!
          Jason starts for the truck. Matt opens the door and the boy
          climbs inside the cab.
          Frank kneels down to Duncan.

                         F
          Hey buddy ... you upset that you're not
          coming?
          Frank reaches out and puts his hand on the boys shoulder.
          Duncan pulls away.
          Frank looks up to Natalie for help.

                         F
          He can come if he wants ...we can manage,
          really.
          She smiles and shakes her head.

                         NATALIE
          ahead. He wants to stay here.

                         F
          Don't worry Dunk. You can come next time.
          ,Qy
          Natalie kisses him and they're off.

          INTO TRUCK - SAME - MOVING
          Jason in the middle. He glances over to Frank - a trace of
          hero :worship in his face.

                         

                         

                         

                         

          I NT. STROUT & SONS CANNERY - DAWN
          Sardines are processed at lightening speed. We follow them on their
          journey, which ends with the sealed cans being packed into
          cardboard shipping boxes. They are taped shut by a young man we
          will meet later (TIM, 3 ) . The tops read STROUT & SONS.

          I NT. ATKINS LOBSTER CO-OP - DAWN
          A double-55-gallon-drum wood stove is humping. Several men turn their
          bodies rotisserie-fashion around the thing, while making morning
          small talk - The starting price of lobsters, the prospect of repairs
          to their equipment, and so on.
          A SCARRED HAND scribbles some figures on a wall that has been
          used as a scratch pad for years.
          Two scales are emptied of RED FISH into a PLASTIC PICKLE BUCKET.

          EXT. HARBOR - SAME

          A pair of CANVAS TENNIS SHOES shuffle down a gangway. The
          bucket sways directly over them. A small hand struggles with
          the weight of the thing. A pair of BEACON FALLS waders appear
          - the shoes stop. A strong hand grabs hold of the handle -
          the shoes pick up the pace.

          EXT. HARBOR - S

          Matt & Frank prepare the rig.
          Jason stands on the dock, taking it all in. A field of
          LOBSTER POTS stacked like cordwood and surrounded by a
          collection of SCARRED BUOYS, GRAPNEL and coiled FISHING GEAR
          stiff with sea salt - all so wildly unreasonable as to seem
          exotic.
          Jason's eyes find the hull of "GIGI" an old Boudreau built
          lobsterboat. Starboard side covered in barnacles.

                         F
          C'mon up Jace.

                         MATT
          Hold on a second. Need to know if he's
          ready first - Jason, can you tell me
          what's important?
          Jason hesitates.

                         F
          on tell h�

                         JASON

                         (NERVOUS)
          "A shaft of sunlight at the end of a dark
          afternoon, a note in music--

                         

                         

                         

                         

                         L
          He takes a breath.

                         JASON
          and the way the back of a baby's neck
          smells if its mother keeps it tidy."

                         MATT

                         (TO FRANK)
          You taught h' well.
          Jason beams.

                         MATT
          - come aboard sailor.
          Matt reaches down to give a hand up.
          Frank turns the engine over. It roars to life.

          EXT. HARBOR LATER

          The sun is fast climbing into the morning sky as "GIGI"
          glides out of the channel and past a LIGHTHOUSE that sits
          Just off the point of a good sized ISLAND.
          Jason shields his eyes with his hand. He gazes out at the
          island. Matt comes up beside him and sticks a baseball cap
          onto his head. The crown reads U.S.S. CONSTELLATION.

                         JASON
          Thank you.

                         MATT
          Ever been over there?

                         JASON
          No sir.

                         MATT
          It's beautiful. Isn't an island anymore
          though. It's a city. They have electric
          lights. Artesian wells, even a jail
          lighthouse isn't manned anymore - it's
          run by a computer When I lived there,
          had no ferry then` so we didn't even have
          cars, can you believe that?

                         JASON
          How'd you get back?

                         MATT
          Off the island?
          Jason nods.
          We rowed.
          Matt smiles at the memory.

                         

                         

                         

                         

                         5

                         MATT
          Then we got a little outboard. That was
          great. A seven and a half horsepower it
          was - we lived there until I was about
          your age - then we left and became
          "harbor people".
          Jason seems to be digesting this.

                         JASON
          I a "harbor person"?
          Matt hides a smile about to form.

                         MATT
          Yep, Jason - we all are.
          Jason is full of questions. Matt knows the answers and
          doesn't talk down to him. Something the boy is grateful for.

                         F
          At the helm. His eye s inted from glare and cold. He cuts
          back on the throttle s and heads for the winch.
          GLOVED HANDS pull up a BLUE-GREEN BUOY and slide the MANILA
          LINE into the WINCH.
          A POT surfaces and Frank sets it "Doors up" on the edge. He
          opens the doors. His hands work quickly and efficiently. He
          tosses a SMALL CRAB back into the water, pulls out a LOBSTER
          and measures the back. Too small. Then a nice sized LOBSTER
          is pulled out - it's missing the SCISSOR CLAW. He hands it to
          Matt. Baits the trap. Throws the winch and the next pot
          surfaces.
          Matt sits inside, Jason on his lap. He reaches into a WOODEN
          BOX of RUBBER BANDS with a BANDING WRENCH and bands the
          crustacean's remaining CRUNCHER CLAW.
          Jason stares at the disfigured creature.

                         MATT
          Oh boy you see what happened to
          this poor fel ow?

                         JASON
          .what?

                         MATT
          Well, the trap has nylon nets called
          heads--2 side heads at b ends, so the
          lobster can crawl in. The "Bedroom" head
          inside, holds the bait and keeps it from
          escaping--you know the old saying "two's
          company three-s a crowd"?
          Jason nods.

                         

                         

                         

                         

                         MATT
          Well{ it's like that. You get more than
          two in a bedroom and chances are
          something like this is going to happen.
          That's why Frank can't leave these traps
          for more than a day.
          Matt holds up another Lobster and turns it belly-up. There
          are black balls on both sides of the tail.

                         MATT
          Now the older females like this of gal,
          are the most dan erous - especially when
          they're growin' eyries.

                         JASON
          Berries?

                         MATT
          Eggs... .one of these can take out two
          males easy - Then you wind up with
          lobster you can't sell - and as for this
          fine lady, she gets off easy, the state
          says you have to let her go.
          Matt throws her back in the water. Holds up the other one to Jason.

                         TT
          Can you handle this?
          Jason nods.

                         MATT

                         (GENTLY)
          You sure?
          He really isn't. Matt hands it to him.

                         MATT
          Go ahead now, put it in the tank.
          Jason can't get the thing in the tank fast enough.

          EXT. FOWLER HOUSE - DAY

          Looking around, you see a big yard, double lot. The grass is
          manicured to per ection, someone takes a lot of pride in
          their garden. In the middle of this sits a two story cape,
          post Hopper/Wyeth, early 20th Century - simple, beautiful,
          d you on't freeze in the winter.
          The truck backs up into the driveway, Frank j s out, drops
          the gate. Resting on the bed is a LARGE BOX wit a line drawing
          of a SWING-SET.

                         Q

          FRANK O.S.
          Hey, dad can you give me a hand?
          The transistorized sounds of a baseball qame.

                         

                         

                         

                         

          EXT. FOWLER BACKYARD LATER

          Frank pushes Duncan, who sits proudly on his new swing-set.

                         D C
          Higher! HIGHER!
          SMALL CHILDREN are everywhere. A serious Super Soaker Squirt
          Gun fight in progress.

          ACROSS THE YARD
          a steaming hot grill, with a huge assortment of hot-dogs &
          burgers. A spatula flips a patty.
          The sounds of Fenwav park emanate from a chea Dort able
          radio.
          WILLIS GRINNEL, early 50's, a stout, silver-haired man, works
          the grill. Standing next to him is Matt, his best friend for
          forty plus years.
          Matt takes a pull off a can of Moxie. Sets it down and searches
          through a plastic bread bag.
          Willis looks past him, distracted.

                         MATT
          h, Ruth hates this kind.
          What?

                         MATT
          I bought the wrong buns.

                         WILLIS
          Maybe we can borrow hers.
          Matt follows Willis's gaze, to the object of his distraction:
          A PRETTY WOMAN IN TIGHT DENIM SHORTS. She-s bent over to wipe
          the ketchup-stained face of Jason (he's wearing Matt's cap).

                         WILLIS
          Ah, what I would give to have back my
          youth.

                         MATT
          Willis, you never had that in your youth.
          The woman turns around and catches Willis staring. It's
          Natalia.
          Willis looks down, nonchalantly rifling through the bun bag.
          Matt waves to a passing man in khaki shorts, FATHER OBERTI,

                         50-S-

                         

                         

                         

                         

                         MATT
          Father! You made it!

                         FATHER OBERTI
          Hey, if I don't see you fellas here, I
          don't get to see you at all.

                         ON F
          He backwards-hugs Natalie.

                         F
          You want a beer?

                         NATALIE
          I think I'll see if your Mom needs any
          help.

                         FRANK
          Good luck.
          She laughs-He grabs and tickles her but she breaks away and
          escapes inside the house.
          Matt watches on, and falls into a wistful daydream.

                         WILLIS
          Jealous?
          Matt turns to him and, to Willis's surprise, ever so slightly,
          nods.

          I NT. FOWLER HOUSE - LIVING ROOM - S
          Natalie walks in through the living room, pausing to examine
          a half finished ARCHITECTURAL MODEL that sits on a card-table
          next to a jigsaw puzzle.
          She looks toward the kitchen where a woman works at the sink.
          She takes a breath and starts there.

          I NT. FOWLER GARAGE - DAY

          OF THE GE
          Frank reaches into an old Westinghouse refrigerator. He pulls
          out a case of Schaeffer's and a six-pack of Moxie. He loads it
          all into a metal tub filled with ice.

          VOICE O.S.

                         YO0
          Frank, hunched over as he works, loo. ip at

          FRONT OF THE GARAGE
          TIM BRYSON, 22, still in his work clothes: He wears a White
          soiled smock. A� patch on his Right pocket says STROUT & SONS.
          Over the left sply TIM. A hair-net nests on his head.

                         

                         

                         

                         

                         F
          Thanks for coming by. Wooo, is that new
          cologne? You really oughta take a shower
          when you leave that place.

                         TIM
          Very funny.

                         F
          Take off that head dress, chief, and give
          me a hand?
          Tim reaches up and pulls the hair-net off his head.

          EXT - FOWLER HOUSE - DAY

          SIDE OF THE HOUSE
          Tim and Frank lug the heavy cooler around the house, heading
          toward the backyard.

                         TIM
          So, Mr. Strout mentioned you again.

                         FRANK
          I bet he did.

                         TIM
          Seriously, man. He still talks about you
          coming back. Says you're the best can
          packer he ever had.
          Be nods.

                         F
          He always was a nice guy.

                         TIM

                         (EXHAUSTED)
          Are we there yet?
          Tim and Frank emerge from the side of the house. Willis cuts
          them off, grabs two beers.

                         WILLIS
          Excuse me boys - an offering. Catch
          Father.
          He throws one to Father Oberti who sits talking with Willis's wife
          KATIE GRINNEL 50's, she is tal ing the priest's ear off.

                         KATIE
          Becky went to the hairdressing academy
          after high school, but aft she got
          married and had the boys, she decided she
          wanted to stay home - she still loves
          doing hair though. Where do you go
          Father?

                         FATHER OBERTI
          I just go to Super Cuts.

                         

                         

                         

                         

                         10

                         KATIE
          You can't request the same girl at Super
          Cuts - you have to take what you can get.
          They don't know your hair - how can you
          get a good cut i they don't know the
          air?
          Father Oberti has the patience of...well,of a priest.

          I NT. FOWLER HOUSE - DAY
          RUTH FOWLER 50, attractive, is washing and arranging
          vegetables on a plate. Natalie chops carrots on a cutting
          board.
          They barely make eye-contact. Natalie attempts small talk.

                         RUTH
          Can you hand me that bowl dear?
          She does.

                         RUTH
          Thank you.

                         NATALIE
          I'm looking forward to the concert on
          Labor day. The music is so...unusual
          haunting really..
          Ruth keeps chopping. Natalie chooses her words carefully.

                         NATALIE
          How did you learn about that particular
          style?

                         RUTH
          At Faro y thesis was on Eastern
          European .folk music.
          Natalie's lips tighten uncomfortably. The topic seems to int� date.

                         NATALIE

                         (LIGHTLY)
          I thought o becoming a teacher.

                         RUTH
          Why didn't you?
          The answer to Ruth's question (Duncan) wanders in. His cheeks
          as big as Dizzy Gillespie's.

                         NATALIE
          What are you eating?
          Duncan's mouth is so full he can hardly speak.

                         DUN
          .nothing.

                         

                         

                         

                         
          The two regard each other

                         NATALIE
          How is it?

                         D C

                         (SMILING)
          Good.
          He tugs on her shirt.

                         D C
          Swing me, Swing me.

                         NATALIE
          Okay, okay Dunk...
          She gets dragged out of the kitchen. The screen door slams.
          Ruth finishes arranging the plate. Matt enters, and starts
          opening up the cupboards loo
          king for something.
          He squats down, burrowing into a cabinet.

                         MATT
          It was nice of you to invite the boys.

                         RUTH
          She hasn't brought them before because
          she's embarrassed. She shouldn't be
          embarrassed.
          Matt looks up from the floor.

                         MATT

                         (TO RUTH)
          Nice view from down here.
          She ignores him, but smiles.

          EXT. FOWLER BACKYARD - DAY

          is hunched over, with his arms gentl wrapped around Jason,
          coaching him on the finer points of Kitting. While Tim pitches.

                         F
          There you go 0 . good, hands up, higher.
          That's it. Be - your knees

                         THE SWING-SET
          Duncan is being pushed by Natalie, Ruth, watches from the
          kitchen window.

          I NT. FOWLER HOUSE - DAY
          MATCH CUT: Ruth, staring out the window.

                         

                         

                         

                         

                         12

                         RUTH
          I don't know why you had to put that
          monstrosity up. You're just going to have
          to take it apart when they leave.
          Matt rises, a bottle of lighter fluid in hand.

                         MATT
          C'mon, Ruth, he's a kid. What did you
          expect? "Happy Birthday, here's a box.
          why don't you drag it around for a while?"
          He s a kid. He wants it now.
          Something across the yard catches her attention.

                         RUTH
          Oh, no.

          EXT. FOWLER HOUSE - DAY

          Matt exits the house.

          ACROSS THE YARD
          Duncan jumps off his swing and sprints.

                         TO RICHARD
          who has just arrived. He stays at the far end of the yard.
          Duncan does a running jump into his father's arms.

                         D C
          Daddy!
          Frank with Jason, looks up.
          Jason sees his father. He doesn't move.
          Natalie walks over to Frank, they exchange glances.

                         NATALIE
          C'mon Jason.

                         JASON
          No.

                          NATALIE
           Now.
           Shedgrabs his hand. Straining to appear casual, traverses the

                         YARD

                         C DUN
          Richard play-boxes Duncan.
          Duncan looks up at his mother.

                         D C
          Daddv's takino us to the arcade.

                         

                         

                         

                         

                         13
          Richard, eating Duncan's hot dog, rises to meet Natalie and
          Jason.

                         RIC
          Hey there buddy --.Come on over here Jace-
          Jason looks away.

                         DUN

                         (TO JASON)
          I told you held come uttface-
          Jason reaches over and whacks Duncan on the head.

                         RIC

                         (ANGRY)
          Hey Jason - Don't do that to your
          brother. You want me to do that to you?
          He probably has. Jason backs away.
          Frank makes his way over to Natalie.

          AT THE GRILL
          Matt watches on- absently flipping burgers.
          Ruth comes over to h�

                         RUTH

                         MATT

                         MATT

                         IT'S OK-
          Ruth shakes her head.
          Richard, Frank and Natalie are talking, but there are long pauses
          between words. Tim wanders over and says something to Richard
          Finally, Richard smiles, turns, and exits. Alone.
          Jason playfully chases Duncan across the yard.
          Frank and Natalie stay behind, talking quietly.
          Matt takes a breath, and exhales. He turns to Ruth with a
          comforting smile, but
          she's just entering the house. The screen door closes behind
          her.

          - FOWLER HOUSE - KITCHEN - S
          Ruth is at the counter pouring dressing onto a salad. Frank
          comes up behind her and hugs her.

                         F
          Thanks for doing this mom.

                         

                         

                         

                         

                         1

                         RUTH
          Are you alright?

                         F
          Sure. Natalie and I want to take you and
          dad out tonight.

                         RUTH
          Oh that's very sweet dear, but we already
          have plans.

                         F
          You going over to the Grinnel's?
          Ruth shakes her head.

                         RUTH

                         (SMILES)
          Your father's taking me to the Strand.

                         FRANK
          Oh, what are you seeing?

                         RUTH
          The first film we ever saw together.

          THE SOUND OF PISTOL FIRE.

          INT. STRAND THEATER - NIGHT

          Matt & Ruth sit watching BARRY L DON. The duel between Barry
          Lord Bullingdon is on screen. Bullingdon's pistol misfires.

                         LORD BULLINGDON
          Sir Richard this pistol must be faulty -
          I must have another.

          AIDE TO RIC
          I'm sorry Lord Bullingdon but you must
          first stand your ground and allow Mr.
          Lyndon his turn to fire.

                         SIR RIC
          That is correct Lord Bullingdon - your
          pistol has fired and that counts as your
          shot--Mr. Lyndon are the rules of firing
          clear to you?

                         YES -

                         SIR RICHARD
          Lord Bullingdon are you rsdy to receive
          Mr- Lyndon's fire?

                         LORD BULLINGDON
          -.o yes -

                         

                         

                         

                         

                         15

                         SIR RIC
          very well then - Mr. Lyndon cock your
          pistol and prepare to fire.
          Bullingdon is overwrought. He looks like he may vomit.
          Ruth leans over to Matt.

                         RUTH
          Let's go.
          Ruth gets out of her seat. Matt looking confused follows.

          EXT. STRAND THEATRE - S

          Ruth heads out the doors with Matt on her heels.

                         MATT
          What's wrong?

                         RUTH
          I don't remember it being so tragic.

                         MATT
          O h h always felt sorry for Barry.

                         RUTH
          Please.

                         MATT
          No, I mean it - maybe I relate to him.

                         RUTH
          What are you talking about?

                         MATT
          Well, we both married above our station.

                         RUTH
          Don't start that again.
          A moment. He takes her in his arms and kisses her. Looks into
          her eyes.

                         MATT
          Happy anniversary.

                         RUTH

                         (SMILES)
          Happy anniversary.
          He buries his face in her hair.

                         9 G

                          MATT ` RUTH
          I love you. I know -

                         

                         

                         

                         

                         16

          I NT. FOWLER HOUSE BEDROOM - NIGHT
          Ruth sits at her bureau facing the mirror. She be ins a nightly
          ritual of removing the pins from her hair once ma e from the
          shells of tortoises and now the plastics of Dupont.
          Matt lies in bed reading. He lowers his book and watches her
          brush her tresses with on y, delicious strokes. She sets down
          her bsh and turns. Matt ooks back to his book.
          She climbs into bed next to him.

                         RUTH
          She's not divorced yet.

                         MATT
          It's the same thing. Maine has crazy
          laws, that's all...he likes the boys.

                         RUTH
          You don't think he's thinking about-

                         TT
          No...he's not going to marry her.

                         RUTH
          Then what's he doing with her?

                         MATT
          She probably loves him, Ruth. Girls
          always have. Why can't we just leave it
          at that?

                         RUTH
          Hmmmm. He won't listen to me. I asked him
          three times to dismantle that swing-set.

                         MATT
          Oh, let it stay up. Looks like a young
          couple lives here.

                         RUTH
          He needs his head in school. Not in her.

                         MATT
          So to speak.
          Ruth pinches his shoulder.

                         RUTH
          it would help if you were my side.

                         MATT

                         (PLAYFULLY)
          I'll get on your side.
          She laughs and pushes him away.

                         

                         

                         

                         

                         17

          INTO UNION CLINIC - WAITING ROOM - DAY
          A small waiting room with an alcove reception. ROCKWELL PRINTS
          adorn the walls, a long table covered with dog-eared periodicals,
          rests in front of a couch that has seen better days.
          ADAMSON 80's, glances over at her husband, ELWYN 80's,who
          vacantly thumbs through a HIGHLIGHTS MAGAZINE. He pauses to
          catch-up on the latest exploits of GOOFUS & GALLANT.
          The nurse, JANELLE 40's, calls out from the alcove.

          JANELLE O.S.
          Mr. and Mrs. Adamson?

          INT. UNION CLINIC - EXAMINATION ROOM

          Elwyn sits bare chested on a table. Matt finishes bandaging his
          elbow - then listens to his chest with a stethoscope. He is
          careful and thoughtful. Alma looks to him. Worried.

                         MATT
          You can put your shirt back on now.
          Alma stands and helps her husband dress.
          Yesterday he was up and around all
          afternoon, but toda - he tumbled. He's
          fallen down twice. have all I can do to
          get him up. He's weak and the longer you
          lay in bed - the weaker you get.

                         MATT
          Elwyn, you need to do those exercises,
          you promised me, twice a day.
          I know you miss the work -
          important. but it's

                         ALMA

                         TO MATT)
          Man idn't have ache nor pain--he's just
          gave up-said when he couldn't work no
          more, he didn't want to live. For a while
          he'd sit and just mend on nets - but he
          can't do that anymore.

                         ELWYN
          (speaks with difficulty)
          How's your dad Matt?
          I'm sorry Dr. now Elwyn you remember
          Jesse Fowler passed on somi&ime back, we
          were at the funeral. Remember?
          Elwyn nods.

                         

                         

                         

                         

                         18
          Matt knows. He's heard this before. Sometimes he feels more like
          a mechanic than a doctor, working on old cars with parts that
          have long been discontinued. He nods sympathetically.

          INT. MATT'S OFFICE HALLWAY LATER

          Matt pulls on his jacket. He passes Janelle in the hallway as
          he heads for the back door.

                         MATT
          I'll be back in an hour. Forgot my lunch.

                         JANELLE
          Starting to become a habit. I can get you
          something from Willis's.
          He's already out the door.

          EXT. HARBOR - SAME

          Matt trots down the gangway and up to where the "GIGI" is
          moored. He looks in. No sign of Frank. A VOICE BOOMS from a
          new 35ft. JONESPORTER - it belongs to HENRY OZAR 50's.

                         HENRY
          Just missed him Matt, he went home for
          lunch today.

                         MATT
          Right ...I forgot he's got that interview.

          I NT. FOWLER HOUSE - DAY
          Matt enters. Looks around. Calls up the stairs.

                         MATT
          Frank? Frank? Hello?

          FRANK O.S.
          Dad.
          Matt turns around, and sees Frank,

                         MATT
          Frank? .. What are you doin ? Thought you
          were driving to Boston for t at
          interview?
          rank slowly nos. His clothes are rumpled.

          FRANK V Q�
          yeah - he we rescheduled.

                         MATT

                         (KNOWING)
          uh huh.

                         

                         

                         

                         

                         19
          NATALIE - walks out, from a room in the hall. She combs her
          hair through with her fingers, but her skirt, on backwards, is
          somewhat of a giveaway.
          Frank rolls his eyes.

                         NATALIE
          Hello, Dr. Fowler.

                         MATT
          Hi, where are the boys?

                         NATALIE

                         (SHEEPISHLY)
          .with my mom.
          Then.

                         MATT

                         (TO NATALIE))
          oh-Like coleslaw?

          THE KITCHEN TABLE
          Matt sits across from Natalie and Frank. Sandwiches, iced tea
          and coleslaw are laid out.
          Frank looks to Matt for some kind of acknowledgement of his
          lunch-t�e activities. Matt seems more interested in the slaw.

          EXT. ELK'S FIELD - DAY


                         BLEACHERS
          Frank is sandwiched between Matt and Ruth. They are surrounded
          by dozens of young parents.
          Ruth doesn't look too tilled to be here.

                         FRANK
          Wave you guys.
          Matt and Ruth follows Frank's gaze, to:

                         DOWN BELOW
          Natalie has her hands full adjusting Jason's uniform while
          Duncan clings to her. She is waving up to the Fowlers amidst
          the chaos.

          THE BLEACHERS.
          The Fowlers wave back.

          %Q,
          Matt 's suddenly inspired. He leans in past Ruth, to Frank.

                         MATT
          Did you tell your Mom how good it was?

                         

                         

                         

                         

                         20

                         RUTH
          How good what was?

                         MATT
          Frank had quite a time this afternoon
          Loved your coleslaw. Ate enough for two.

                         RUTH
          That's what it's there for...
          Frank leans back behind Ruth to give his father the evil eye.
          He gets a grin from Matt for his trouble. Ruth almost catches
          it.
          Matt rises, shuffles past Ruth and Frank, whom he gives a firm
          pat on the knee.
          Hot dogs?

                         FRANK
          I'll take one.
          Ruth puts her arm around Frank.

                         RUTH
          (re: Duncan and Jason)
          So, how are the kids?
          Frank's caught off- guard. He shakes his head.

                         RUTH
          . things okay?

                         F
          Fine.

                         RUTH
          Good, good.
          Then.

                         RUTH
          How'd your interview go?

                         F

                         (TOO FAST)
          Great.

                         RUTH
          Oh, good.
          Ruth watches Natalie below.

                         RUTH
          She's such a brave girl.

                         

                         

                         

                         

                         2

                         F
          That's it. You' re driving e nuts, Ma.
          Really. I've had lots of girlfriends.

                         F
          I don't understand why this one is any
          different.

                         RUTH
          I know you don't.

                         FRANK
          Were not serious, Mom.

                         RUTH
          No?

                         F
          No. It's a summer thing.
          She would like to believe him.

                         RUTH
          I see.

          INT. NATALIE'S CAR - DAY

          Natalie drives down Emerson Road.
          As she approaches her house, she sees a Brown Suburban sitting
          in her driveway. She looks confused.

          INT. NAT IE'S HOUSE - DAY


                         THE KITCHEN
          Natalie enters with groceries.
          Richard is seated at the kitchen table. He's finishing the first half
          of a sandwich. He drains a glass of milk.
          Natalie sets her purse down on the counter, and starts cleaning
          up his mess.

                         NATALIE
          How'd you g et in this time?

                         RIC

                         (PLAYING ALONG)
          chimney.
          She takes the carton of milk that Richard, no doubt, left out. She pours
          the final drops into his glass

                         RIC
          Thank you.
          She throws the carton out. She takes a seat, and stares at him
          like a teacher counselling a troubled youth.

                         

                         

                         

                         

                         22

                         NATALIE
          What can I help you with?
          He kicks back the last of the milk, wipes his mouth.

                         RIC
          I was just dropping that off for Jason.

                         NATALIE
          What?

                         RIC
          That.
          He points to a BASEBALL TROPHY sitting on top of the microwave.
          inscription bears his name and "Rockland High School 1982
          Regional Championship."

                         RIC
          I didn't know where you'd want to put it.
          It was about time he got it. What am I
          going to do with it?
          Richard's wistful gaze stays locked on the trophy.
          For a moment, Natalie's and slips away.

                         NATALIE
          I think it will mean a lot to him,
          Richard. He's really been improving
          lately ...

                         RIC
          (a sharp turn)
          So I've heard.

                         NATALIE
          It would have been nice if you'd come to
          his game.

                         RIC
          I just got your message. Where are t
          with him?

                         NATALIE
          That's none of your business.

                         RIC
          I see. They're my kids but they're none of
          my business.

                         NATALIE
          You know what I mean.

                         E-??
          Richard presses his fingers to his eyes. He takes a long, heavy
          breath.

                         RIC
          I - - I was thinking about moving back.
           Here. With you and the boys.

                         

                         

                         

                         

                         23

                         NATALIE
          What are you talking about?

                         RIC
          What I talking about? I'm talking about
          moving back, that's what I'm talking
          about - I know what you're thinking, but
          it's different now.

                         NATALIE
          Oh reall ? How's the job? Your father
          t ake you back on at the cannery?

                         RIC

                         (DRILY)
          That's funny. You're still getting checks
          aren't you?
          She ignores him

                         RICHARD
          Ya see my new rig out there?
          Natalie looks annoyed.

                         NATALIE
          Yeah - it's real nice.

                         RIC
          It's not exactly new, I traded David the truck
          for it. It's got room for all of us - a good
          grocery gettin car.
          A moment.

                         RIC
          You wantta take a ride?

                         NATALIE

                         (LAUGHING)
          Jesus - you don't change, do you?.

                         RIC
          Change? No, I don't change. Everything
          around me changes. You change. You take my
          house, you take my kids, you fuck this
          other y- No, I don't change at all.

                         NATALIE
          It's not your house.

                         RIC
          Oh- No?
          NAT I o.?
          No- And as far as fucking oes - .who was it
          that answered your phone t %e other morning?

                         RIC
          She...

                         

                         

                         

                         

                         2-

                         NAT IE
          I don't care. Really, you can just stop
          now. It's not working.
          He takes a breath.

                         RIC
          I just want.. -a chance.

                         NATALIE
          For what? To fool them for a few days into
          thinking they have a real father, and then
          it's back to

                         RIC
          (cutting her off)
          I their father.

                         NATALIE

                         (VEHEMENT)
          No, Richard. You know what defines a
          father? It's what he does, not what he
          promises. It's being a positive,
          consistent presence.
          Richard eyes her suspiciously. 13

                         RIC
          (mimicking � her )
          "Positive consistent presence." Wow. What
          does that mean? I just don't get it. But
          I'm not fucking a college boy, am I?

                         NATALIE
          Look ...can you just go now? I really don't
          want you here when they get back.

                         RIC
          Oh, no, wouldn't want that.
          He doesn't budge.

                         NATALIE
          You have to leave.
          Finally, as if struck b some small discove . Richard places
          his large hands on the kitchen table and pus es himself up.
          He heads past Natalie without looking back. He closes the door
          firmly be ind him.

          'I. NAT IE' S HOUSE - FRONT YARD -,RUSK
          Frank's truck parked out front
          The lawn is littered with the boy's various plastic weapons
          a small wading pool.

                         

                         

                         

                         

                         25
          A children's television show is heard from inside.
          Natalie is sprawled out on a chaise lounge, nursing a beer, and
          sharing a cigarette with Frank, who is on his hands & knees
          finishing an elaborte structure with a set of FROEBEL wooden
          blocks.

                         NATALIE
          You know I've been ignoring our
          difference in age, but if you keep
          playing with those blocks, I'm gonna
          start to worry.

                         F
          They're not blocks - they're gifts.

                         NATALIE
          I'm sorry I know they're a gift and a
          very generous one. I'm gust concerned
          that Dunk. might think e's a little old
          to be playing with them.

                         FRANK
          They're not for playing - they're to learn about
          unity & balance. Froebel called them "Gifts."
          This is the second gift - a sphere, a cube, and a
          cylinder. A five year old can learn the
          difference in form depending on how they look at
          them.
          Why didn't he say so in the first place?

                         NATALIE
          Oh ou said second gift. How many are
          are there?

                         FRANK
          Twenty.
          A moment.

                         NATALIE
          You've been pla in with these - excuse
          me, working wit t ese for how long?

                         F
          Since I was about Dunk's age. My mom took
          me tough all twenty.
          So that's what a good mother does.

                         NATALIE
          .oh.

                         FRANK ??0
          Come on down here and take a look.
          She sets down her beer and Joins him. The small wooden structure
          looks like a home that could have been built by Lautner or Wright
          Frank looks pleased. Natalie is distracted.

                         

                         

                         

                         

                         26

                         NATALIE
          Your Mother gave you these Frank - I feel
          funny Duncan having them.

                         F
          Don't be silly, it was her idea.

                         NATALIE

                         (SCEPTICAL)
          Really?

                         F
          You're not looking at the house - look.
          It's not all mine, it's part Mack.
          Frank speaks excitedly, as he makes a quick sketch on a colored
          piece of construction paper using one of the boys' markers.

                         F
          See the whole ideal of what Mack was
          trying to achieve was a common area in the
          middle of the house. I mean - a large,
          common space wasn't uni e to Mack, but
          the idea of separating the family so that
          the kids were on one side and the parents
          on the other, so they would all spill into
          the center ...
          He looks over to Natalie, checking in.
          She smiles, and shifts her gaze.

                         F
          I'm boring you, aren't I?

                         NATALIE

                         (SOFTLY)
          No, not at all, I was just... . just
          thinking.

                         F
          About what?

                         NATALIE
          About you. . ,school,

                         F
          I'd rather talk about our house.

                         NATALIE
          I know you would.

                         F
          What if I wait a year?

                         NATALIE

                         R

                         F
          A year's not going to make a difference.

                         

                         

                         

                         

                         27

                         NATALIE
          You can't do that, Frank.

                         F
          I've thought a lot about this.

                         NATALIE
          But you told me it takes forever just to
          establish yourself.

                         F
          Exactl , so what's a year in forever?
          Know w at Duncan said today?
          She can't suppress a smile.

                         NATALIE
          You wouldn't be changing the subject
          would you?

                         FRANK
          Yes.

                         NATALIE
          What now?

                         F
          He said, "Frank, I don't think Jason
          really understands girls."

                         NATALIE

                         (LAUGHING)
          He didn't!

                         F
          He did ... "understands girls!"

                         NATALIE
          What did you say?

                         F
          I said, "give him time, Duncan."
          They both break up.

                         F
          I didn't know what to say! if this is how
          he is now - boy are we in trouble-
          He stops short. The word - We - hangs in the air. They watch each
          other, unsure of how to react. Changing the subject quickly. Frank
          reaches down to the grass and comes up with one of Duncan's toys. A
          real musclebound superhero. Somewhat grotesque.

                         F
          (reading the tag)

          ACTION MAN?

                         NATALIE
          Richard gave it to Dunk for his birthday.

                         

                         

                         

                         

                         28
          Frank sets it down.
          The HEADLIGHTS OF APPROACHING CAR rake across ACTION

          I NT. ROCKLAND HIGH SCHOOL MUSIC ROOM - NIGHT
          Half a dozen girls age 15 to 18, are gathered in Ruth's
          classroom. Desks and chairs are stacked up for summer recess.
          The girls are in shorts and T-shirts, one with a picture of
          the solar system, and another with the Pink Panther. Bri ht
          bathing-suit straps are visible around some of their nec s:
          This afternoon they were sw' �ng. A few look sleepy enough
          to be in bed already. Ruth stands with her arms up- keeping
          time and controlling the dynamics. A single girl sings "The
          Drone"` a low monotone one hears underneath the other voices.
          They sing the Balkan folk song "Oj Savice."

                         CHORUS (SUBTITLED)
          Oh, Sava, carry me across our quiet cool
          water. There is my dear village and in
          that village, the prettiest girl.
          Without embarrassment, they shriek they drone, and at their
          ease they whistle. The music transports these girls - who are
          normally pre-occupied with images of MTV and Brad Pitt, to a
          place of pure self. The song ends.

                         RUTH
          That was really good! OK it's 7:30
          we should stop.
          The girls gather up their things quickly.

                         RUTH
          Remember when you sing these words-
          The way we feel about the harbor, is how
          the Balkans felt about the river Sava.
          The girls start out of the room.

                         RUTH
          Listen to your tapes "Moilih Tan is still
          very rough and we've of a 40 minute
          program to get ready by Labor Day.

          I NT. FOWLER HOUSE - NIGHT - LIVINGROOM
          Ruth enters. She's beat. She starts to put her purse down, when

                         SHE NOTICES:
          Matt, kneeling in front of the reclining chair. It's back is to
          her.

                         MATT
          Just hold still ...

                         

                         

                         

                         

                         29
          Ruth drops her purse and quickly comes around the recliner.
          Something stops her.

                         RUTH
          Oh my God.
          Matt holds Frank's jaw. He gently turns his face toward the
          lamp.
          Frank has stitches over his right eye. The blood under the
          white of the pupil oozing. Both lips are bright and swollen.

                         F

                         DAD

                         MATT
          Come on, Frank. Hold still.
          Ruth hovers, in shock.

                         RUTH
          This was her husband, wasn't it?
          Frank nods wearily.

                         F
          Ex, he dropped in.
          He takes the compress from Matt and gingerly applies it to his
          forehead.

                         MATT
          Press charges.

                         F
          No.

                         RUTH
          What's to stop him from doing it again?

                         MATT
          Did you hit him at all? Tell me you hit
          him! Enough so he won't want to next time?

                         F
          I don't think I touched him.
          Matt pulls up the skin around the bloody eye.

                         F
          ! Jesus, Dad!
          Ruth stares at the Hospital band around Frank's wrist.

                         8 -`V

                         MATT
          So what are you going to do?

                         F

                         (SMILING)
          Take Karate.

                         

                         

                         

                         

                         30

                         RUTH
          That's not the problem.

                         F
          You know you like her.

                         RUTH
          I like a lot of people. What about the
          boys? Did they see it?

                         F
          They were asleep.

                         RUTH
          Did you leave her alone with him?

                         FRANK
          He left first. She was yelling at ham. I
          believe she had a skillet in her hand.

                         RUTH
          Oh for God's sake.

                         (TO MATT)
          Did you call the police?
          Not yet.

                         RUTH
          You didn't call them?

                         MATT
          When was I going to call the police, Ruth?
          He just got in.
          Ruth scans the room.

                         RUTH
          Where's the phone?

                         F
          MOM! hold on a second,
          Calm down. Let's just talk about this.
          Ruth wavers.
          Now the cops'll go to her place first --
          and it'll scare the hell out of the kids.

                         RUTH
          Matt.

                         I

          MATT %Q,
          We have to call them Frank.

                         F
          It wasn't that serious.

                         

                         

                         

                         

                         31

                         RUTH
          Of course. Just like the relationship
          isn't serious.

                         HATT
          Ruth, this is not the time.

                         RUTH
          Well, when is the time? After he knocks
          him into a coma? This is stopping. Now.

                         F
          Oh really?

                         RUTH
          Come Fall, you're on a plane. Are you
          taking them with you? How- do you think the
          boys will feel when you disappear?

                         F

                         HEY A

                         RUTH
          This isn't just some sweetie from Vassar,
          that you'll see on holidays, Frank.
          You're not in this alone.
          Frank rises and leaves the room.

                         RUTH
          Please listen. The sooner you end this
          thing the better.
          Ruth exhales.
          She returns to Matt, who is leaning against the recliner, chin
          in hand, deep in thought.

                         RUTH
          What are we going to do?
          Matt deliberates.

                         MATT
          I don't know.

                         RUTH
          .you've got to talk to him.

                         HATT
          I don't ow.,,I think he's right about
          scaring the kids. Why don't we call it a
          night? We'll deal with it tomorrow.

                         RUTH
          Matt are you going to call the police or
          do I have to?
          You just ..s- Bd me what I think. if you
          want to call them. call them.

                         

                         

                         

                         

                         32
          Ruth looks at him, stupefied.
          Without warning, Ruth leaves and goes upstairs.

          I NT. FOWLER HOUSE - BEDROOM - NIGHT
          Ruth lies on her side reading. Matt comes in from the
          hallway.
          He stares at her.
          She ignores him.
          Finally, she turns over and faces him.

                         RUTH
          It's not the first time she's played
          around.
          Matt seems relieved that she's talking to him. He sits on the
          bed and starts taking off his shoes.

                         MATT
          She's not with the guy anymore.

                         RUTH
          I mean from before.

                         MATT
          What are you talking about?

                         RUTH
          Oh, come on - you've heard the same
          things I have.

                         MATT
          I think you forget. I don't take my lunch
          in the teachers lounge -

                         RUTH
          Maybe he still loves her.
          Matt looks from Ruth, out the bedroom door, and into the
          hallway. He sees Frank rounding the top of the stairs.
          He gets up and closes the bedroom door.

          I NT. F R HOUSE F 'S ROOM - S
          Frank enters the room, pulls off his T-shirt and drops it on
          the floor. He walks over and faces a wall mirror. He seems
          nonplussed by what he sees.

          INTO HENRY'S FISH SHACK - DAY
          Henry Czar sits holding court with Jason Frank, whose facial
          bruises have all but healed, the stitches replaced by a
          butterfly bandage. They eat cod tongues and cheeks. Drink soda
          pop from bottles.

                         

                         

                         

                         

                         33

                         HENRY
          Best part of the cod - but most
          outsi ers, they won't touch it.
          The shack is too warm and smells of cordage and paint,
          spilled beer and male sweat. Jason is in heaven.

                         HENRY
          The summer fishermen, the part-timers,
          like Frank here - get in your hair.

                         HENRY
          There's as many as 80 of em with licenses
           now - should put up a sign - "Fish your
           own backyard or lose your traps0"
          Frank smiles at Jason.

                         FRANK
          A lobster is simple enough Jason. But if
          the guy going after him is even simpler
          well he might as well give up.

                         HENRY
          Don't hurt my feelings any. Easy to talk
          Try fishing in the winter, cold as hell
          10, 12, 20 below - no matter Go, go,
          go, you've gotta go. You want your bread
          & flour, you gotta goo

                         F
          Henry's just sore cause I catch twice as
          much as he does, with an old second hand
          Boudreau.

                         HENRY
          Don't you listen to him son - that boat
          is fine. She was my first.
          Takes a sip of pop.

                         HENRY
          Kinda miss her sometimes, and that truck
          you're driving .when you headed back to
          school Frank?-
          For some reason this strikes both of them as funny and they
          crack up. Not Jason, he seems concerned by the question.
          Frank sees this.

          EXT. GANGWAY - DAY

          Jason heads off down the pier on his bicycle. He passes Matto

                         JASON
          Hi, Dr. Fowler
          Matt waves.

                         

                         

                         

                         

                         31+

          EXT. "GIGI" - S

          Frank is hosing down the hull, as Matt makes his way down the
          gangway.

                         MATT
          What'd you pull?
          Frank glances up, then continues with his work.

                         F
          Not too bad, about forty pounds.

                         MATT
          Haven't caught sight of you in days.

                         F
          You know where to find me.

                         MATT
          When you coming home?
          Frank turns off the spigot.

                         F
          Has it come to this?
          He jumps back into the boat and retrieves the bait bucket.

                         MATT
          Come to what?
          Frank hops back onto the dock and sets down the container.

                         F

                         (SMILES)
          You having to run errands for Mom.
          Matt ignores the jibe. Frank starts stacking holding crates.

                         F
          I'm thinking of building a couple hundred
          more traps - see if I can do better than
          break even.
          Matt doesn't comment. He picks up a crate and throws it up top.

                         MATT
          it'll take you two years to get a licence
          to fish off-season.

                         FRANK
          Right ...unless Henry takes me on as his
          ster an. % Q
          They continue stacking.

                         MATT
          You think he'd do that?

                         

                         

                         

                         

                         35

                         F
          Maybe ...it's as good a life as any. Good
          enough for your father - sometimes things
          skip a generation.

                         MATT
          (trying to sta calm)
          C'mon Frank - you ow ycu need something
          more.

                         F
          Why? So I can have an Ivy Lea e
          education like you? Christ, i it's so
          great - how come you sneak out of that
          office everyday to come down here?

                         MATT
          I like spending time with my son.

                         FRANK

                         (DUBIOUS)

                         UH HUHA

                         A MOMENTA
          Frank lugs up the last container and takes a seat on the
          stack. He's worn out - takes a breather.
          Frank shakes his head.

                         FRANK

                         (PAINFUL)
          I don't know dad---I don't know.
          Matt takes a seat next to him.
          A moment.

                         F
          She's a wonderful girl ...I see that.
          Frank looks lost.
          The silence is broken by a loud voice.

          HENRY O.S.
          Franks how lon you gonna be parked there
          I'd like to un oad.
          The two of them regard each other.

                         F

                         (TO MATT)
          Give me a hand?

                         TT

                         (SMILES)
          Sure.

                         

                         

                         

                         

                         36

          I NT. FOWLER HOUSE - NIGHT - STAIRWAY
          Ruth comes down the stairs, wrapping her bathrobe around her,
          The Dining room light is on.

                         THE DININGROOM
          Frank sits at the t lea His drafting tools are out. He's fully
          immersed in a sketch.
          Ruth enters quietly.

                         RUTH
          Your father is snoring. Don't mind me.
          She takes a container from the fridgge, smells it, makes a
          quenstioning face, then puts it back - grabs another container
          and opens a cupboard. Pulls out a loaf of bread.
          She quietly places a sandwich in front of him, and takes a
          seat.

                         RUTH
          Eat---you must be hungry.
          Frank doesn't look up. his tone is flat, removed.

                         F
          I'm not hungry.

                         RUTH
          Coffee?
          He doesn't answer. Ruth sits there, awkwardly.

                         RUTH
          So---you talked with her?

                         FRANK
          Yep.

                         RUTH
          d-,,how is she?

                         F

                         (SHARPLY)
          Oh, she's great.
          I just wanted to tell you that we
          I - liked her, Do like her. She's a

                         WONDERFUL GIRL
          Frank finally puts down his pencil,',-and looks at her,

                         F
          You're not reall going to have this
          conversation wit me now, Ma? Are you?
          Frank returns to his work. He doesn't look up again.

                         

                         

                         

                         

                         37
          She leaves the food for him. Like a zoo keeper.

          EXT. HARBOR - DAY

          Frank hauls traps. He appears lethargic, dull - the hands a
          little slower. The eyes tired. The joy of the work, replaced by
          dread.

          INT. HENRY'S FISH SHACK - DAY

          Hen sits alone at the wooden table. There are three plates of cod,
          and 3 soda-pops. Frank comes in exhausted. Henry looks up.

                         HENRY
          You're nn'in late.
          Frank nods. Takes a seat, and starts in on the cod.
          Henry looks at the empty seat next to Frank.

                         HENRY
          Where's our boy?
          Frank ignores the question.

          INT. FRANK'S TRUCK - DAY

          Frank drives. Traps stacked in the bed.
          He slows down to gaze out his window, as he passes

          NAT IE' S HOUSE.
          The truck crawls to a stop.
          He takes the moment, storin each detail: Folded up lounge
          chairs. Scattered toys on t 9e porch. A tipped-over tricyle.
          He idles, as if waiting for someone. After one last look he
          drives off.
          I NT. GRINNEL HOUSE - BASEMENT - E. ...g
          The sightsand sounds of men gathered around a poker table. A
          regular game. Everyone well into their umpteenth beer, with
          the exception of Matt, who nurses a can o Moxien,
          Matt frowns at his hand. He glances over to
          Frank r also at the table. Frank stares at his cards, but his
          nd is elsewhere.

                         WILLIS
          You can't hypnotize the cards into
          changing, Matt.
          , late 50's, peers above his readin glasses. He is a
          lobster man by trade but fancies himself a poet.

                         

                         

                         

                         

                         38

                         WILLIS
          For Christ's sake bet - or you know
          Carl's gonna start.
          Carl is indeed.
          "The be gar's do and widow's cat, Feed
          them an thou wi t grow fat. The gnat that
          sings his s er's song-
          Collective groans.
          Poison gets from slander's tongue. The
          poison of the snake and newt- Is the sweat
          of envy's foot. The poison of the honey
          bee. Is the artist's jealousy-"

                         MATT
          Alright Carl. Two bucks.
          Matt throws his two bucks in.

                         MATT
          Carl, you've really got to get off this
          Blake thing ... you're in a rut.
          Frank tries to smile.

                         HENRY
          Don't get him going Matt.

                         CARL
          When I do my own stuff, you guys bitch & moan.

                         WILLIS MATT
          That's not true. No! we like your stuff.
          The place breaks up with laughter.

                         WI IS
          Everybody in? Frankie you in?
          Frank calls.
          Hands are shown. All eyes to Frank.

                         F

                         (FORCED ENTHUSIASM)
          Guess I'm the winner.
          More groans, as Frank pulls in his winnings.

                         WILLIS
          Always the quiet ones.
          The game continues --.

                         

                         

                         

                         

                         39

          I NT. FOWLER HOUSE WAY. DAY
          Frank walks down the hallway�talking on a cordless phone. His
          tone casual but serious. He jots down notes in a sketch book.

                         F
          Sure. Right . I get in on the sixth. Oh,
          I'll send that out tomorrow, sir, no
          problem... Well, compared to your models
          no, they don't compare to your models

                         (LAUGHING)
          He enters the:

                         BEDROOM
          and plops down at his drafting table.

                         FRANK
          I'm getting another call. Can you hang on
          a second? Thanks.
          clicks on the other call.

                         F
          Face? Jace is that you? What's going on?
          He listens.

                         F
          I'll be right over.

                         (FIRMLY)
          Just stay put.

          - T IE'S HOUSE - DAY
          The house looks like a storm hit it: chairs tipped over, toys
          scattered, papers strewn across the floor.

                         G ROOM
          Frank looks around the room. Natalie, her hair atangled mess,
          her face streaked from tears, paces nervously.
          She looks up at Frank.
          looks to el-e.

                         NATALIE
          He.. just pushed me - he didn't hit me.

                         F
          Oh, he didn't hit you? Should we throw a
          party for him.

                         NATALIE
          rank.

                         

                         

                         

                         

                         40

                         F
          Enough of this. We have to call the
          police.

                         NATALIE
          I'm airs ht, Frank. I don't know what to
          do,aoka I hate this. I hate the kids
          seeing this.
          Frank eraces her. She buries her head in his neck.

                         F
          Its okay, now. Listen to me, I'm not
          going anywhere ...

          INT. JASON'S BEDROOM - UPSTAIRS

          Jason looks down from the window. He sees Richard's Suburban
          pull up front.

          JASON O.S.
          Mom!!!

                         DOWNSTAIRS

          A POUNDING AT THE FRONT DOOR
          Natalie gives a horrified look to Frank.

                         F
          Get them back upstairs.

                         NATALIE
          But...

                         FRANK
          Now.

                         NATALIE
          Come on, you guys.
          Natalie hustles the boys upstairs.

          THE POUNDING CONTINUES.
          Frank moves to the FRONT DOOR.
          He's about to check the doorknob when
          THE DOORKNOB JIGGLES from the other side. It's locked.

                         F
          Richard, just get away fr here-
          Silence.
          Frank turns, his eyes lock on

                         THE BACK-DOOR

                         

                         

                         

                         

                         1
          Frank races across the living room, just as THE DOOR FLIES

          OPEN.
          RICHARD. eves burning, marches in.

          I NT. JASON'S BEDROOM UPSTAIRS
          The boys huddle around Natalie.
          DUNCAN is wailing-
          JASON looks terrified-
          NAT IE strains to hear-

          SO THING CRASHES FROM DOWNSTAIRS-

          WE AND FRANK YELLING.
          NATALIE starts to the door-

                          NATALIE
          Listen kids - Stay here.
          D C won't let go of her sleeve. He starts to move with her.

                          NATALIE

                         (SCREAMING)
          I said stay here!
          He lets go and,
          JASON takes him up in his small arms.

                         JASON

                         (TO DUNCAN)
          It's OK Dunk .--Mommy's coming
          back.
          NATALIE hesitates - then heads out the door.
          We MOVE WITH HER out the bedroom to the,

          TOP OF THE STAIRS
          She slowly steps down the stairs.

          A GUNSHOT.

                         SHE SC

                         NATALIE
          She moves quickly down the stairs.

                         

                         

                         

                         

                         -2
          Cautiously - she looks over the landing.
          HER P.O.V.: From above, Richard stands, his back to her, his head hung.
          in his hand. a 9mm Pistol.
          Natalie lets out a plaintive wail.

                         NATALIE

          NO...
          Emotionless, Richard turns to her - looks down at the floor
          then starts toward the kitchen.
          Natalie races down the steps and stops.

          FRANKS'S BODY ON THE FLOOR. HIS FACE'IS HALF BLOWN AWAY.
          She's paralyzed, a scream trapped somewhere inside.
          She turns away.

           JASON O.S. DUNCAN O.S.

                          (SCREAMINQ) (CRVINQ)

          MO ! D C 'S COMING LET GO OF ! ! !

          DOWNSTAIRS!
          Richard sits at the kitchen table.
          The gun rests in front of him.
          His right sleeve splattered with Frank's blood.

                         BLACK

                         FADE IN:

          THE SCREEN FILLS WITH OPAQUE D E. LIGHT APPEARS.

          INT. UNION CLINIC ROOM - DAY

          att's face appears distorted behind the surface.

          JANELLE O.S.

                         (FRIGHTENED)
          Matt?
          He lowers what we now see to be X.Ray and kills the light.

                         TT'S OFFICE
          He hesitates, presses the blinking hold button, picks up the
          receiver.

                         MATT
          Hello? ...Hello? Natalie?

                         

                         

                         

                         

                         3
          The blood drains from his face.

          WE HEAR THE DISTANT SOUNDS OF MACEDONIA.

          INT. R C D HIGH SCHOOL L- DUSK

          Matt stands in the hallway outside of the auditorium that is
          Ruth's classroom. A banner across the hall reads HAVE A

          WONDERFUL SUMMER, SEE YOU IN THE FALL.
          The choir finishes the last strains. Ruth is happy the
          rehearsal has gone well. She smiles in a way that expresses
          the simple joy she will never know again.

                         RUTH
          Great.
          The girls gather their things and start out, laughing and
          running after each other. Matt stands in the hallway as they
          rush past.

                         BLACK

                         FADE IN:

          EXT. ST. FRANCIS CEMETERY - DAY

          Frank's casket is lowered into the ground.
          A large gathering of relatives and friends stand before Father
          Oberti as he finishes the eulogy.
          Matt's arm is tightly interlocked with Ruth's, beneath her
          eyes - swelling from three days of suffering. Their hands
          c enched to ether make one fist, both parents keeping the
          other uprig t. The rain glides down their faces, mixing easily
          with tears.
          Matt steps up to Frank's open grave.
          The gathering watches as Matt peers down into the hole,
          silently speaking to it. He reaches down, grabs a fistful of
          dirt. Then tosses it into the open grave.
          Matt pauses, staring down, into the hole ---
          He steps back, as Father Oberti delivers the end of his eulogy.
          Matt looks blankly around, noticing the family's many friends
          includin ; Carl and Henry from the game, Willis and Katie, and
          Frank's friend, T�
          Matt's eyes linger on someone behind T�

                         

                         

                         

                         
          A LONE FEMALE FIGURE IN BLACK, away from the crowd. Natalie.
          Their eyes meet.
          Matt, almost imperceptibly, nods.

          INT - FOWLER HOUSE - DAY
          A large casserole is placed on a long table with many assorted
          dishes. A HAND REACHES IN, scoops up some of the casserole onto
          a small plate, and carries it to

          A SMALL CLUSTER OF PEOPLE
          standing in the middle of a much larger gathering, the reception
          after the funeral.
          Matt stands in the downstairs hallway. He looks around the
          room, as if it is all a dream.
          Children getting soda pop. Others in conversation. The odd
          person looks up at him, then turns away.
          Willis steps up to Matt.
          His wife, Katie, stands nearby.
          Matt doesn't seem to notice Willis.
          Willis puts a gentle hand on his friend's arm.

                         WILLIS

                         (SOFTLY)
          Can I get you anything?
          Matt suddenly looks up at them, as if confused.

                         MATT
           ere-s Rut h?

                          KATIE
           She went to lie down, Matt.
          He turns d heads upstairs. Willis and Katie watch him go.

                         UPSTAIRS
          Matt approaches their bedroom. The door is a

                         BEDROOM
          He steps in, to Ruth, who is on the bed. Her back is to him,
          a arently sleeping. Crumbled tissues litter the bed, the
          f oor,
          Matt ietl moves to her. He reaches down, about to touch her
          head. Something stops h�

                         

                         

                         

                         

                         1-5
          He turns, and leaves.

                         UPSTAIRS
          Frank's room is facing him. Instinctively, he goes to open the
          door, then pauses.

                         'S ROOM
          Matt slowly enters. He looks around, as if freezing the room in
          his memory.
          The place is untouched. Frank's many sketches are still pinned to the
          wall. Some clothes lie scattered on the floor. His fishing cap.
          Matt starts to pick up. He takes Frank's clothes from the floor
          and places them on his bed.
          He looks at a dirty T-shirt in his hand. He brings it to his face. He
          inhales deeply, able to smell his son's lingering scent-
          Finally, he sets the shirt on the bed. Wanders around. Strays
          near Frank's drafting table-
          He reaches out, touching the table, grazing�the topogra h of
          scattered pencils - drawings strewn across it- The Froe e Gifts.
          He takes a seat at the table. Feeling its frame, the sketches,
          the seat below-
          And without warning he is overcome. He lurches forward,
          burying his face in his hands. The sobs come unrestrained,
          violently, like a sudden tidal wave.

          INT. FOWLER HOUSE - DEN - NIGHT - 2 WEEKS LATER

          A LAUGH-TRACK fills the air.
          Ruth in pajamas and bathrobe, watches a stand-up comic on TV.
          She sips tea from a mug.
          Matt appears at the door, kettle in hand.

                         MATT
          Some more?
          Ruth looks up and nods.

          T . FOWLER HOUSE - DAY

          THE FRONT LAWN
          Matt stands atop a ladder underneath a large Maple, he
          struggles with a pair of pruning shears. At war with a large
          br c - the branch seems to be winning.

                         

                         

                         

                         

                         46

          INT. FOWLER HOUSE - UPSTAIRS

          Ruth, still dressed in her robe, pads down the hallway.
          Stops to glance out the window at
          NATT - working.

          EXT. FOWLER HOUSE

          Ruth stands transfixed. REFLECTED IN THE WINDOW PANE BELOW

          HER FACE: SEE
          QuJ glimpses through branches, of a small boy scampering up a
          tree. Flashes of arms, legs, a smile.
          We can make out the GIGGLES of the child, but they are
          distorted, wobbly, as if deteriorated by memory.
          The tree shudders as the boy climbs higher.

          MATT O.S. RUTH O.S.
          Okay - watch it now, Frank. Frank, listen to your father.
          That's high enough ...
          The tree continues shaking.
          Ruth allows the memory, then turns back and pads back down the
          hallway.

          INT. UNION CLINIC MATT'S OFFICE - DAY

          Matt sits behind his desk catching up on some paperwork.
          Janelle appears in the doorway.

                         JANELLE
          I'm going to lunch Dr. Fowler--
          .alright
          She continues smiling as though ting to extend her tenderness. Matt
          avoids eye-contact. cie Leaves. Matt looks relieved.

          . GRINNEL'S CR W-S NEST - DAY
          Willis opened this place after serving as a chief petty officer
          in the Vietnam War. The theme, if there is one, is definitely
          nautical. Snapshots of longtime customers are stapled on the
          walls between the booths and tables, two are framed, and
          prominent. They are from Willis' - -, days; The first an
          entry photo of A YOUNG WILLIS front of the ha f. The
          second a sun faded color photo of : att and Willis. Both ook
          to be in their twenties, both dressed in Navy Whites.
          The trade here is mostly ve early breakfast, and then lunch
          for the men who work at the leather and shoe factories.

                         

                         

                         

                         

                         47
          A MUTED news show plays on a ceiling at the far end of the
          booths. A sign on the wall reads T your "Forget about lunch"
          breakfast.
          Willis carries over two plates with omelettes, parks them on
          the table, and takes a seat across from Matt.

                         WILLIS
          Don't worry, I didn't make em.
          Matt takes a bite. He winces.

                         WILLIS
          What? Oh, that's mine.
          He switches plates.

                         WILLIS
          Sorry.
          Matt takes another bite. Better,

                         WILLIS
          You got back to work so quick, Matt. It's
          not too soon?

                         MATT
          I can't stay home. So, how's business?

                         WILLIS
          Oh,.you know, same old crap. Got held up
          again, you knew that.

                         MATT
          No. I didn't.

                         WILLIS
          yeah...they got seventy five bucks.

                         MATT
          Were you on the till?
          Willis chuckles, shakes his head.

                         WILLIS
          They would have gotten something else if
          I'd been on the till.
          Matt nods.

                         WILLIS
          How you doin', Matt?
          You on't write, you don't call. Where'd
          the love go? '0-'

                         MATT
          Nag nag nag.
          Matt glances at an old clipping from the BOSTON GLOBE stapled
          to the wall. It's a photo from the 67 Redsox dream to

                         

                         

                         

                         

                         48
          Petrocelli, Yaztrems i and Reggie Smith, each hold u two
          fingers, they are s �ling after hitting consecutive omeruns.
          Matt remembers. Happier days.

                         WILLIS
          They set the bail hearing yet?

                         MATT
          Sometime in the next few days.ye ,

                         WI IS
          Are you going?

                         MATT
          I don't ow. Davis says it's a formallity
          really. I haven't talked to Ruth about
          weather she thinks we should go or not.

                         WILLIS
          If it's too much for Ruth, I'll come with
          you Matt.

                         MATT
          Thanks, but I'm sure it'll be alright-
          Davis says it's a formallity really.

                         WILLIS
          The criminal trial set yet?

                         MATT
          October.

                         WILLIS
          October?

                         MATT
          That's what they tell me, anyway.

                         WILLIS
          Christ, they take their time.

                         MATT
          .yeah, well, he's in there now.

                         WILLIS
          They're keeping him busy, I'm sure - You
          know where they'll move h once he's
          sentenced?
          Matt shifts the focus to his omelette.

                         MATT
          You have any Tabasco sauce?
          Willis pauses. He looks around, ca `out to the kitc hen.

                         WILLIS
          Hey, Pete. Tabasco. Pete! Ah, shit.
          He heads to the back. Matt looks out the window. A refrigera ted
          truck with the STROUT logo on it's side pulls to a stop at the
          light. Willis returns with sauce in hand.

                         

                         

                         

                         

                         49
          He takes a seat. Shifts his tone again.

                         WILLIS
          Next weekend Matt- We really want you to
          come up to the c p- Katie's insisting.
          Not to pressure you or anything. But if
          you don't come se's going to invite her
          sister and that idiot and I know I'm
          going to wind up insulting him again.
          Matt considers this.

                         WILLIS
          The future of my family is in your hands.

                         MATT
          Let me ask Ruth.

                         WILLIS
           You know, your seat is getting cold at the
           game. We have Carl's kid subbing for you.
           Not that we mind - he loses every time
           But we'd rather take your money.

          MA T T T

                         (SMILING)
          Thanks.
          Matt stares aimlessly out the window.
          Willis goes back to his eggs.
          Both men comfortable enough with each other to be silent.

                         WILLIS
          How's Ruth doing?

                         MATT
          Alright. Her...her car broke down.

                         WILLIS
          Always something.

          T PHONE RINGS OVER:

          I NT. FOWLER HOUSE - LIVING ROOM DAY
          The phone continues to ring. Then sto s- Ruth lies on the
          couc , dressed in her robe. Her hair looks neglected. She
          stares at the television. ad for Su ay Chevrolet comes on
          the screen - a testimonial from a bald man saying "The best
          thing about the sales people is they're not pushy." A large
          graphic nla s over the an' s face NOT PUSHY - WE HEAR a c
          ul into t e driveway. Ruth doesnt eem to notice. ad
          or a long-term residential nursing retirement center. Ruth
          looks interested.
          The front door opens and Matt comes in with groceries.

                         

                         

                         

                         

                         50

                         RUTH
          (not looking up)
          How was your day?
          Matt carries the bags into the kitchen.

          MATT .S.
          Fine. Saw Willis-

                         RUTH
          My day was fine, too, thanks.
          Matt comes out of the kitchen.

                         MATT
          Sorry. ,how was your day?
          Tried calling - thought you might have
          gone out. The Grinnel's invited us up to
          the camp next weekend. Said I'd check with
          you, if we had other plans

                         RUTH
          That sounds fine.
          He turns, a little surprised.

                         MATT
          We don't have to.
          She looks up at him.

                         RUTH
          You don't want to go?

                         TT

                         (WEAKLY)
          No, I want to

                         RUTH
          Great. Tell them yes.

                         MATT

                         (HOPEFUL)
          I thoug t you might be busy getting the
          girls ready.
          answer. She's back into her show.

                         THE KITCHEN
          The sink still has the plates and cups from breakfast. Matt starts
          to clean u Reaching for a dishrag on the counter, he notices the
          blinking o the answering machine. There are a half dozen messages.
          He hits play. Nothing. He finds th ,ol e.

          V. 0-
          Hello, Mr. & Mrs. Fowler, this is Regina
          at the District attorney's office
          Mr.Davis would like to speak with you
          both just as soon as possible.

                         

                         

                         

                         

                         51

          INT. OX COUTY COURTHOUSE - DAY

          A windowless rotunda. JUDGE WILLIAM WILKENSON presides.

                         CLOSE WILKENSON

                         WILKENSON
          Mr. Strout has been in the custody�of The
          Knox County Sherrif's department since
          August second, held without bail.The
          court is obliged to hold a bail hearing
          within two weeks of incarceration , which
          is the purpose of our procedings here
          today. Given the schedule considerations
          on this docket, the court feels that we
          should conduct the probable cause hearing
          in tandem. Witnesses will be called at
          this time. Unless there are any
          objections to the contrary this court
          will recess until 2:00 p.m.

          EXT. KNOX COUNTY COURTHOUSE - DAY

          Natalie comes up the brick walk and enters the building.

          INT. OX COUNTY COURTHOUSE LATER

          A gray concrete room, washed out by the buzzing overhead
          florescent.
          Matt and Ruth sit on metal fold-out chairs, alongside twenty or
          so spectators, and a smattering of reporters, in the gallery.
          Richard unkempt and dressed in an ORANGE JUMPSUIT, sits
          patientiy next to one of his two attorneys.
          Matt and Ruth glance over at
          NATHAN STROUT, 62, sitting directly behind Richard.
           Nathan's two other sons, both big men like Richard, sit at his
          side.
          Nathan feels the Fowlers, stares. His eyes stay focused on the
          front of the room.
          Richard's trial attorney, MARLA S, 301s, smart, expensive, and a
          long way from her home in Boston, stands in the COURT WELL.
          Natalie Strout in the witness box.
          So, Mr. Fowler had asked you to go
          upstairs with your chil, ?z s your
          husband was trying to enter...
          DISTRICT ATTORNEY WILLIAM DAVIS, 40, rises.

                         

                         

                         

                         

                         52

                         DAVIS
          objection. Mrs. Strout's police interview
          is already documented, the defense has a
          copy of it. There's no reason to waste
          anymore of the court's time . - .

                         KEYES
          Your Honor, we just want to review exactly
          what s. Strout saw on the afternoon of
          July 17th. Isn't that why we're here?
          The Judge nods.

                         JUDGE
          overruled.

                         (TO NATALIE)
          Please continue.
          Natalie tries to recapture her place. Keyes nods.

                         MARLA KEYES

                         (RECAPPING)
          So you were bringing your children up to
          their bedroom ...
          Natalie's glance wanders to the gallery, to Matt and Ruth.
          She,sits on her hands to keep them from shaking.

                         NATALIE
          0 Right. I was in Jason and Dunk's room I
          didn't know what was happening downstairs. I was
          getting worried. I asked Jason to read Dunk a
          story. He didn't want a story - He wanted to come
          with me ... so I sat him back down on the bunk
          and I left them in the room.

                         KEYES
          You left "them"?

                         NATALIE
          My boys.
          She starts to cry.

                         KEYES

                         (SOFTLY)
          Of course - I'm sorry. on.

                         NATALIE
          I closed the door...I moved down the hall. I
          looked back to make sure they weren't behind me.
          I had just started down the stairs, when I heard
          the shot. I ran down...
          A deep sob ...

                         NATALIE
          .and Richard...

                         

                         

                         

                         

                         53

                         KEYES
          I'm sorry, can we just back up? You said
          you "heard the shot"?

                         NATALIE
          Yes.

                         KEYES
          You "heard"? s- Strout, did you witness
          the accident?
          Prosecutor Davis jumps up.

                         DAVIS
          b`ection. There are no grounds to
          in icate this was an "accident"
          The Judge nods.

                         JUDGE

                         (TO STENOGRAPHER)
          Please strike "accident" from the record.
          (to Marla Keyes)
          Ms. Keyes, please rephrase the question.
          Marla Keyes hasn't taken her eyes off Natalie. They both know
          what's next.

                         KEYES

                         (GENTLY)
          Mrs. Strout ...did you actually see the
          sidearm discharge?

          I NT. DISTRICT ATTORNEY'S OFFICE - DAY
          Davis hands a cup of coffee to Matt, who sits on a faux leather
          couch with Ruth.

                         DAVIS
          (to Ruth re: coffee)
          You sure you don't want?

                         RUTH
          I'm fine.
          Davis takes a seat across from them.

                         DAVIS
          You see, we can't appeal bail - It's just
          not set up that way.
          RUTH - -y
          You let that bastard walk out and we're
          supposed to just sit here? Don't tell us
          there's nothing to do about this.

                         DAVIS
          It's not us, s. Fowler. The state's bail
          code is to ensure future court appearances

                         

                         

                         

                         

                         54

                         DAVIS
          In this case Strout's family was prepared to
          put up a substantial amount of property as
          bail - That, along with his ties to the
          community made it hard for us to convince the
          judge of a serious "Risk of Flight".

                         RUTH
          Oh - I see.

                         DAVIS
          It's not just your case. Now you can file a civil
          suit. I recommend it. But not now, wait till
          after the crimminal trial.
          Matt stares at a small cartoonish statue on Davis's desk. It is
          one of those things that were popular in the 70's. A little man
          chasing an ambulance. It reads "World's Greatest Lawyer."

                         RUTH
          And when will that be? Next week, next
          month?

                         DAVIS
          Well... honestly - anywhere between twelve
          and eighteen months?

                         RUTH
          I thought you said there would be a jury
          trial sometime in October!?

                         DAVIS
          If he was incarcerated the udge would
          move for an October date - basically to
          save the County the cost of housing and
          feeding him as an inmate - But with bail
          the court date, unfortunately, is always
          later.

                         RUTH
          Oh my god, oh my god.
          Matt jumps in.

                         MATT
          But you're confident you'll be able to put
          him away for good then... Right?
          Davis looks uncomfortable with the question.
          Ruth sees this. She gathers herself.

                         ??

                         RUTH EJ
          The things she said in there ...what is the
          damage?

                         DAVIS
          Manslaughter.

                         

                         

                         

                         

                         55

                         RUTH DAVIS
          What? Oh, Jesus Christ! The wav this is going, that'd
          be my bet - especially since
          Nathan Strout brought up that
          barracuda from Boston - she's
          very smart.

                         RUTH
          This was no accident. Be killed our son in
          cold blood.
          Ruth.

                         RUTH
          What?

                         MATT
          How long would he be sent away for?

                         DAVIS
          Hard to say really. Anywhere between five
          to fifteen years. We think we have a good
          shot at the max - fifteen. Even with good
          behavior, he'd do a full ten.

                         RUTH
          Ten years? Five years? Are you out of your
          mind!? He killed my son. Does anyone know
          this?
          Matt looks at his shoes, as Ruth glares down Davis.
          Davis sits back, a little shook up.

                         DAVIS
          I'm sorry, s. Fowler. I understand.
          Unfortunately, in situations like this
          when there is no eye witness, there ...
          well, there's not a lot we can do.

          INT. MATT'S CAR - DAY - MOVING

          Matt drives. Ruth looks out the windshield.
          Both in their own worlds.
          Ruth turns to look out her side window.

          T CANNERY'S STACKS ARE HUMPING.

                         RUTH
          You took the whole day?
          Matt nods.

          CAR DRIVES PAST T SITE.

                         

                         

                         

                         

          EXT. FOWLER HOUSE - DAY

          A handful of reporters and photographers lingering on the
          lawn, are galvanized by the arrival of the Fowlers.

          I NT. FOWLER HOUSE DAY
          Ruth is just entering, jostled, relieved to be home.
          She turns. Matt's not there. She looks out the front door to

                         SEE

          MATT AT THE BASE OF THE
          surrounded by reporters.

                         REPORTER #1
          Dr. Fowler, how do you feel about
          Richard's Strout's bail?

                         REPORTER #2
          Do you plan to take any further legal
          action, Dr. Fowler?

                         REPORTER #3
          Dr. Fowler, have you had any contact with
          Mr- Strout?
          Matt stands paralyzed, a deer caught in the headlights.

                         THE KITHCHEN
          Matt enters as Ruth takes the plates to the sink. She keeps her
          back to him. He pulls off his coat.

                         MATT
          Can you believe this? I ask those idiots to
          leave. No one budges. Not one. What the hell
          are we supposed to do, bring them sandwiches?

                         RUTH
          (her back to h�
          What are you asking or?
          What?
          Ruth turns to h

                         RUTH

                         (SHARPLY)
          If you want them to leave. Tell them to
          leave.

          INTO FOWLER HOUSE - BEDROOM - NIGHT
          Ruth is aslee Matt stares at the ceiling. He turns to the s
          clock. It- a ter three.

                         

                         

                         

                         

                         57

                         KITCHEN
          He opens a cupboard door and grabs some Fig Newtons. He
          stands there eating them, the door of the cupboard is long,
          the kind you see in old capes. Matt stares at the inside of
          the door. His finger slides down the length, he kneels down.
          We see what he's looking at. Pen and pencil marks straight
          lines each about two inches apart - each with Frank's name
          and aqe.

                         T DEN
          Matt sits in his chair. The plays, muted. He �s looks at it,
          but he's not watching.
          Finally, he rises, clicks the off, with the remote, and
          flicks off the light.

          EXT. RIC STROUT'S DUPLEX - NIGHT

          A small development of modest, duplex apartment buildings. The
          architecture is outdated, the landscape unkempt.
          CLOSER ON one corner unit. The lights are off; there is no sign
          of life.
          A Brown Suburban sits in the driveway
          WE HEAR the RADIO "The following is a re-broadcast of last
          nights game, the third in a four game series{ between the
          Boston Red Sox and the Cleveland Indians. This broadcast is
          the property of Major League Baseball etc."

          INT. TT'S CAR - NIGHT

          Matt wearing a light coat over his pajamas, sits behind the
          wheel of his car listening to the game.
          He glances down at a piece of paper with an address. Then back
          out his windshield, looking at the corner duplex unit.

          INT. FOWLER HOUSE - KITCHEN - DAY

          Ruth sits at the table in her bathrobe. Smoking. The CAMDEN
          HERALD in one hand. The COURIER GAZETTE, and THE WORKING
          WATERFRONT within easy reach.
          Matt enters, fully dressed in jeans and a sweater. He winces at
          the smoke.

                         RUTH
          You slept late. For you.
          Matt pours himself some coffee.

                         MATT
          I took one of your pills.

                         

                         

                         

                         

                         58

                         RUTH
          You never do that.
          She turns the page, absorbed in an article.
          Shaking her head, she slaps the paper down.

                         RUTH
          Well there it is in black and white. You
          should read some of the things he says.
          Unbelievable.
          Matt takes a sip of coffee. He glances down at the paper.
          He nods, without really looking.

                         MATT
          yeah.
          He checks his watch.

                         MATT
          I should get going.

                         RUTH
          Where? It's Saturday.

                         MATT
          I won't be gone long.
          He bends, kisses her lightly on the cheek.

                         MATT
          I'm meeting Willis. I'll tell him we're
          coming.
          She stares at the kitchen doorway long after he exits.
          Finally, she pulls the paper back and resumes reading.

          . CANDY'S QUICK SHOP - DAY
          Natalie stands behind the only counter cf a small MOM AND POP
          STORE whose specialty is cold beer, wine, cigarettes, and fish
          & Game Licenses. She rings up some items for a couple of
          teenagers.
          Matt enters the place, keeping his distance, a few feet from
          the counter.
          Natalie sees him.
          She pauses, as if quickly trying to-,gather her thoughts, the
          teenagers are waiting for their chang .
          She counts it back to them, and they exit.
          Matt steps forward.

                         

                         

                         

                         

                         59
          Hi.

                         NATALIE
          . Hi.
          elderly woman places a half -gallon of milk, a dozen eggs,
           i s t er cou nter
          d a carton of L&M cigarettes down or. the reg
          Natalie quickly rings up the items and bags them.

                         ELDERLY WOMAN
          Can you break a fifty?
          Natalie takes the bill, places it in a drawer underneath the
          register, and hands the woman her change, with a smile.

                         ELDERLY WOMAN
          Thank you, dear.

                         NATALIE
          You're welcome.

                         ELDERLY WOMAN
          Could I possibly get another bag?
          Natalie quickly double bags the woman's groceries.
          There is a break in the customer flow. Natalie steps to the end
          of the counter.

                         MATT
          I just wanted to see how you're doing. I
          tried reaching you ...

                         NATALIE
          Oh. We're at my mother's house now. I'm
          sorry, I wanted to call you ...

                         MATT
          It's okay.
          She looks over. A man hovers over some ina?azines near the
          re inter.

                         NATALIE

                         (ALMOST WHISPERING)
          Dr. Fowler ..-I' so...I don't even know
          how to begin...

                         MATT
          You don't have to.
          NATALIE ? er
          I didn't lie the first time, I didn't,
          it's just - how it came out. I'm so sorry.
          matt nods, as if he had assumed as much.

                         

                         

                         

                         

                         60

                         NATALIE
          Is s- Fowler .-- does she know you're
          here?
          The Man places a 12- ack of beer on the counter. Natalie looks
          to Matt, who shakes his head no.
          Natalie steps back to the register and rings up the beer.
          Her chin quivers. She makes a mistake on the register, has to
          start over.
          A few more customers gather on line.

                         NATALIE

                         (TO CUSTOMER)
          Can I get you anything else?
          She rings him up. Makes change as another customer steps up.
          Matt steps near her, trying to maintain privacy.

                         MATT

                         (QUIETLY)
          How are the boys? Are they okay?
          Natalie, choked by emotion, cannot respond. Near tears, she
          puts her hand up, unable to speak.
          Matt reaches out to touch her arm.
          His gesture is interrupted as:
          She pulls the cigarettes from an overhead rack. The Man pays.
          Matt stays a moment longer. There's nothing else to say.
          He leaves.
          She returns to her job.

          EXT. ST. FRANCIS CEMETERY ADJACENT CHUR CH

          We see Ruth from a good distance away, watched from afar. She
          places some potted daisies on a grave. She kneels down.

          EXT. ST. FRANCIS CHURCH - PARKING LOT LATER

          Ruth walks through an empty lot and heads for her c

                         RUTH'S
          She opens the door. Suddenly there .-.. hand on her shoulder.
          She is startled.
          She turns around. It's Father Oberti.

                         

                         

                         

                         

                         61

          EXT. ST. FRANCIS CEMETERY LATER

          Ruth and Father Oberti sit smoking on a bench.

                         RUTH
          It comes in waves, .and then nothing. Like
          a rest in music. No sound - but so loud.
          A moment.

                         RUTH
          I don't know what to do.
          Father Oberti nods.

                         RUTH
          I feel so ang
          Father Oberti looks off in the distance.

                         FATHER OBERTI
          Louise McVey lost a child a few years
          back. Maybe you remember.

                         RUTH

                         (SEARCHING)
          mmmm she had four - it was the youngest
          girl, wasn't it?

                         FATHER OBERTI
          Yes. She told me about a vision she had
          when she found out her daughter had
          died ...she saw herself at a great
          distance from the earth encircling
          it, an endless line - as she got closer
          she saw that it was made up of mothers
          traveling forward. She fell into line,
          and began walking with them. When they
          reached a certain point, the line
          divided. She said she knew - that all the
          millions of women on her side - were the
          mothers who had lost children-she
          seemed to find great comfort in that.
          Ruth doesn't react.

                         RUTH
          How did she die?

                         FATHER OBERTI
          A drowning ... some kind of swimming
          accident.

                         RUTH
          oh.

          FOWLER HOUSE - DAY
          mower moves across the lawn, spitting up a shower of grass.
          Matt pushes the mower.

                         

                         

                         

                         

                         62

          INT. 'S SPECIALTY SHOPPE - DAY

          A small bouti e frequented by mature women. Blouses with a flair,
          pantsuits, an nice dresses han from the racks. The sort of place a
          woman can still buy a pair Joze a white gloves. The front of the store
          is devoted to footwear.
          Ruth sits while YVONNE, 45, kneels in front of her, holding
          Ruth's stockinged foot. She slips on a dress shoe.

                         YVONNE
          Oh, they're beautiful on you Ruth.
          Ruth stands up, takes a few steps.
          She stares at the shoes.
          They are a rich black.

                         RUTH
          Do you have them in brown?

                         YVONNE
          I think so, let me check.
          Yvonne disappears into the back.
          Ruth walks to the front of the store, browsing.
          She moves to the display window and brings a pair of very
          young pumps u to her nose, and inhales. She smiles and sets
          the shoes bac on the ledge.
          Something OUTSIDE catches her attention.

          EXT. YVONNE'S SPECIALTY SHOPPE - SAME TIME

          The REFLECTION OF A COUPLE, walking down the sidewalk, can be
          glimpsed in the window, their movement WASHES ACROSS RUTH'S

          FACE.

          ON THE COUPLE.
          a YOUNG BLOND WO holding hands with a dark haired, young
          he turns to smile at her. We see his face.

                         RIC
          Oblivious to Ruth's presence.

          INT. O 61 S SPECIALTY SHOPPE - E-" TI

          Ruth looks disoriented.

          YVONNE O.S.
          I'm sorry Ruth - there's only the black.

                         

                         

                         

                         

                         63
          She turns from the window. Yvonne stands next to her, an open
          shoe box in her hands.

          EXT. FOWLER HOUSE - DRIVEWAY - LATER

          Two Hefty bags are dragged along the walk. Matt tosses one
          next to a garbage that sits just inside the garage. He picks
          up the other bag tossing it inside.
          The bottom splits and grass spills out onto the drive-way. He
          goes inside and returns with a broom.
          He sweeps the rass into a pile. Picking up handfuls and
          refilling the gay. He takes the broom and sweeps what's left
          back toward the la . He stops, stares down at his feet.
          IN THE CEMENT; A child's handprints�and writing, Frank 82
          Ruth's car pulls into the driveway.
          She gets out, almost slamming the car door.
          Without a word, she moves past Matt, and into the house.
          Matt continues sweeping.

          I NT. FOWLER HOUSE - BEDROOM - NIGHT - LATER
          Ruth wakes to the sound of metal on metal. She looks over to
          Matt, he's not there.

                         RUTH

                         (SCARED)
          Matt?
          She steps to the window, pulls back the shears and looks out.
          Through the window, in the dark, alone, flashlight in hand.
          Matt is dismantling the swin set.

          - GRINNEL CABIN - DAY
          A four room dwelling, surrounded by a wrap around porch that
          looks out over a canopy of forest below. The place was built
          before insulation was practical. Planks, beams , and studs are
          exposed. There is a bathroom, two bedrooms, and a common room
          consisting of a kitchen/dining area, and living room, with a
          ge, river stone fireplace.
          There are two oil burning 1 ps hanging from cross beams at
          each end of the room. Ruth sits next to Katie at a table in
          the middle of the room. Katie is ouring over a stack of
          snapshot books, descibin her chid "h and r dchildren in
          eac pose. The photos, w ile many, are all from a single trip
          that the family made to Florida. There is a clear dif erence
          in vernacular between the two women, Katie also has a voice
          that has been trained to reach anyone who might be in the f
          corners of her house.

                         

                         

                         

                         

                         9 +

                         KATIE
          s lil Charles down at the
          Oh and here'
          pool - He figured out how to get down to
          the pool on the elevator all by himself.

                         RUTH

                         (PATIENTLY)
          He must of been very proud.

                         KATIE

                         LINE
          Oh yeah. Oh here's Shannon waitin in
          for that rollercoaster - You know the
          one?
          Ruth has no idea.

                         RUTH

                         (POLITELY)
          Were the lines very long?

                         KATIE
          Well some of em. yeah - sixty minutes
          and upward-Unless of coarse ya got the
          "Fast-Pass."

                         RUTH
          What's the fast pass?

                         KATIE

                         MS"
          Well ya got all the different "Kingdo -
          there---and so you take the fast pass
          it's a kind of a laminated card and you
          put it intah a machine and it tells you
          what time to come back - so you can go
          right in without waitin in lane. You guys
          ever go down to Florida?
          Ruth smiles at the thought and shakes her head-

                         RUTH
          0 -.no0 How many grandchildren do yo u
          have now?
          Katie turns from the snapshots and takes a breath while
          holding up her fingers to count-She is genuinely unsure.

                         KATIE
          (under her breath
          Well there's lil Charles, Shannon, the
          three older ones and the babies ... eleven.

                         RUTH
          That must wonderful.

                         Q 0-??
          Katie smiles and nods - it is a

                         KATIE
          (by rote) "I
          Well. Willis always says guess there's
          no danger of us dying off -

                         

                         

                         

                         

                         65
          She catches herself. Too late. She looks at Ruth. Embarrassed.

                         KATIE
          I'm sorry - I wasn't...
          Ruth waves her off good naturedly-

                         RUTH
          I wanted to have more ..abut we had Frank,
          and Matt was just starting his practice..
          - - -I guess it made sense.

                         KATIE

                         (GUILELESS)
          Well sometimes I wished I was an only
          child - let me tell you. When I was
          little, my big sister could get me to do
          anything. More than once she got me to
          throw m self down the stairs by telling
          inc the blanket she wrapped me in was a
          magic car et- Naturally, not being that
          swift, I believed her. Plus which, on
          this trip to Florida, we was in one of
          the Kingdoms there, and she was going on
          about how's we had to go on this one ride
          that was in this sort of mountain.
          I said -"K as long as it's not a roller
          coaster- on account of my back-" Well,
          we get strapped intah the little car
          there she starts laughing - Oh it's a
          rollercoaster alright - that one there.
          She points to the pictures.

                         KATIE (CONT'D)
          A ride in the dark, no less.

          EXT. GRINNEL CABIN - S

          A great, endless, expanse of Fir trees.
          We are f up, looking out at this timbered landscape that
          seems to stretch forever.
          Matt stands before the edge of a cliff, d.ressr ` "- a short
          sleeved shirt. He takes a deep breath of the ( ri. . -ountain
          A steady CHOPPING rhythm is heard in the background.
          Matt turns. Willis is chopping the last of some firewood.

                         MATT
          How much of this is yours?
          Willis plants his in the stump.

                         

                         

                         

                         

                         WILLIS

                         (SMILING)
          You ask me that eve t� e. You know the cove, the
          other side of the c in?
          yeah ...?

                         WILLIS
          All the way to the other shoreline.
          Matt turns to him, grinning.

                         WILLIS
          Almost three hundred and fifty acres.
          Know what it went for when I bought it?
          You don't want to know.
          Matt continues surveying, awed.
          Willis turns, starts walking back to his chore.

                         WILLIS
          Come on, I'll let you help me.
          Matt joins him. Together, they bundle up the wood.

          TRAIL TO GRINNEL CABIN - DAY

                         TO
          Matt and Willis load the wood into a small trailer attached
          a GREEN POLARIS MAGNUM 500 ATV.

                         WILLIS
          Only got 1/2 a chord of Oak left at home
          and you know how much that bastard Daniels
          charges - least I can stack this up to the
          cabin ... have something to burn this fall.

          TRAIL TO CABIN - SAME - MOVING

                         THE
          Matt sits behind Willis on the ATV as they pull the wood up
          road. The trees clear and we see the cabin. A GREEN SUBARU
          FORESTER is parked in front.

          I NT. GRINNEL CABIN - DAY
          Willis, Katie, Matt and Ruth, sit around a copious holiday
          spread, well into their meal.

                         KATIE
          It's a wonderful product and the treat you
          pretty good. It was on account oz, selling Mary
          Kay, that we got the new Subaru.

                         RUTH

                         (SMALL TALK)
          The ride up was very comfortable. It's a
          very nice car.

                         

                         

                         

                         

                         67

                         WILLIS
          Well it's not really a car, it's got four-wheel drive.
          It's a little SUV.
          The Grinnel's custom, is to loudly, and with very little effort,
          finish each others sentences. This is how they have fun.

                         KATIE
          What the hell is that S crap?

                         WILLIS
          Sports utillity vehicle.

                         KATIE
          (to Matt and Ruth)
          It's a little jeep. S , ATV, C - what's
          with all these .--?
          She searches for the word. Little help? Anyone, anyone?

                         RUTH

                         (FINALLY )
          Acronyms.

                         KATIE
          Yeah, guess it's too much trouble to just
          say what something is anymore.

                         WILLIS
          (to the table)
          What does PMS stand for?

                         KATIE
          Yeah well,I was an army brat.
          I grew up with jeeps. Willy is just
          uncomfortable that I know more about one
          masculine thing than he does.
          Just one?
          The pty chuckles.

                         WILLIS
          Thanks, buddy.
           Matt hel s himself to the last of the wine- Re se s to have
          a ite bit
          Ruth watches as he drains the bottle.
          She shoots him a look.
          He catches it - , V o-,
          A moment.

                         

                         

                         

                         

                         68

                         RUTH

                         (LOOKING AWA )
          You've done a suc a nice job here, Katie.
          Don't tell me you made those drapes
          yourself ...is that antique linen?

                         KATIE

                         (LAUGHING)
          Sort of..
          She walks over to the window and fingers the fabric.

                         KATIE
          They're pillowcases from our first house.
          Ruth smiles at the memory. Katie sits back down at the table.

                         KATIE
          Oh, I've saved every knick=knack & whim-wham we
          ever had.

          EXT. DIRT ROAD - DAY

          A post stands proudly at the end of a dirt and gravel road.
          Attached to it are two signs. One reads PRIVATE ROAD. The
          other, NO HUNTING.
          It butts up against two lanes of blacktop - a small logging
          road.
          Headlights cut through the early evening.
          Willis's idea of a S a green, SUBARU FORESTER, kicks up some
          rocks. it pauses briefly before taking a right onto the pavement.

          IN/EXT. SUBARU - TREVETT SWING BRIDGE - DAY

          The car is stopped behind a wooden guard arm. A swing bridge
          opens for a large fishing boat. The bridge is operated by one
          man. Be uses a long metal tool, that he loops into a pulley
          system, which lies beneath a grid in the center of the
          bridge.

          EXT. TREVITT BRIDGE - SUBARU - DAY

          Ruth asleep in the back seat, it-s been a long weekend. Matt
          glances over at her, then up to the front
          We are outside the car as it waits for the Drawbridge to
          close, so it may continue. We hear the following from
          perspective.

                         I

                         MATT 1?? 0`1
          How's David doing up there in Castine?

                         WILLIS
          Well he dunnit want to go overseas - oh
          no...he told them he'd Reep doinit as
          long as he could stay in Maine or Vermont-

                         

                         

                         

                         

                         69

                         KATIE

                         (INTER PTIN )
          But David says if theyy want him to go out
          to New Mexico or California, he'll go
          back to infantry - he don't care. Long as
          he stays out here. He's not about to--

                         WI IS
          Course he don't like working in
          recruitment anyhow's - Christ he gets
          them bo s come down to to the office at
          the mal - he gets them half-way
          processed and they decide they want that
          delayed entry thing - Christ I could't do

                         IT--

                         TIE
          Or they decide not to join up at all and--

                         WI IS
          Well, like that one kid - he had him all
          the way through the works and then - Oh

                         CHRIST-

                         KATIE
          His folks called David and said that the
          boy wanted out so bad -- that he'd taken
          his own life.
          They all look at each other. How did this conversation get so
          depressing?

                         WILLIS
          Yeah well something like that gets to you
          Christ, I couldn't do it.

          INT. FOWLER HOUSE - KITCHEN - DAY

          Ruth is at the table, alone, dressed for rehearsal, hair done.
          She finishes her breakfast as she pours through the weekend's
          mail.
          Matt in a suit, steps in to say goodbye.

                         MATT
          I'm going now.
          She looks up.

                         RUTH

                         (FLAT)
          Okay.

                         MATT
          You ready to go back?

                         RUTH

                         

                         

                         

                         

                         70

                         MATT

                         (T IN )
          You loo nice.

                         ANGLE
          Who looks to Ruth for some kind of reaction. Nothing.
          Matt heads out the door.
          Ruth continues sorting the mail.
          She stops on one piece. Seems stunned, repeatedly reading it.

                         THE ENVELOPE
          It's from Publisher's Clearinghouse.
          In oversized block letters, it reads,

          FRANK FOWLER, YOU MAY HAVE ALREADY WON $10,000,000!
          She stares at the piece for a long time.
          Looks off. Smiles. And starts giggling. She can't stop.
          The giggles quickly flow into a deep laughing fit, harder and
          harder as the tears rain down.

          INT. MATT'S OFFICE - DAY

          Matt is in his office, on the phone.

                         MATT

                         (INTO PHONE
          Well that's totall unacceptable isn't
          it? - Well what did he say? uh huh
          well, we can't allow that m I guess
          we're gonna have to show him how the cow
          eats the cabbage.
          Janelle knocks on the door.

                         MATT
          Hold on a second.
          He puts his mouth over the speaker and lowers the phone.
          Nods to Janelle and she enters.

                         JANELLE
          Dr. Fowler, I'm sorry. There's someone '
          Ryan Collit. His mother`N brought him
          in. He doesn't have an appointment but--
          I'm sorry bL _; you'll have to re-schedule.
          Janelle's a little taken aback.

                         

                         

                         

                         

                         71

                         JANELLE
          He's Ann Collit's son. I thought. Well, you know, I
          thought you might want to

                         MATT
          (into the phone)
          I'll call back later.
          He hangs up.
          He gets up and grabs his jacket

                         MATT
          Sorry Janelle, I'll be back at four.

                         JANELLE

                         (UNCOMFORTABLE)
          .o.k.
          Matt leaves her standing there.

          I NT. DISTRICT ATTORNEY'S OFFICE - DAY

                         LOBBY
          William Davis's secretary, REGINA, 40, sits at her desk. She is
          on a call, Matt stands waiting.

                         REGINA

                         (HANGING UP)
          I'm Sorry, Dr. Fowler, you just missed
          him.

                         MATT
          I really need to see him.He go to lunch?

                         REGINA
          That's right.
          She senses something in his tone.

                         REGINA
          He's across the street.
          I NT. kUURRET ON MAIN RESTAURANT DAY
          A bustling dining room, packed with businessmen. The nice
          place in town
          it's lunch hour.
          The doors open. Matt enters.
          He scans the room. His eyes set on

                         WILLIAM DAVIS
          sitting at a table with colleagues, sharing a laugh.

                         

                         

                         

                         

                         72
          Matt makes his way over to the table.
          Davis sees h'

                         DAVIS
          Hey, Matt.
          Matt stands awkwardly, as Davis' companions look on.

                         DAVIS

                         (POLITE)
          Have a seat.
          Matt hesitates, takes a seat next to Davis.
          Manages an obligatory smile to the others. The conversation
          resumes.

          EXT - MARKET ON MAIN RESTAURANT - STREET LATER
          On the street outside the restaurant, walking.

                         DAVIS
          We're doing all we can, Matto I promise
          you that.

                         MATT
          What can I do Bill?

                         DAVIS
          There's nothing...
          Matt takes Davis' arm.

                         MATT
          It can't be manslaughter. There's got to
          be something - isn't there something you
          can find? A piece of evidence? That
          happens - doesn't that happen?
          He realizes he's holding Davis' arm. He lets goo
          Davis looks at Matt sympathetically.

                         DAVIS
          We really are doing everything we can,
          Matt - But I'm not going to lie to you -
          We've got no witnesses - only Strout - who
          claims there was a struggle - and forensic
          can't determine if there was a struggle.
          because of the condition the house was in
          when Frank got there.
          Matt says nothing. �Q.,
          They come to the corner.
          Matt steps under an awning and into the shade.

                         

                         

                         

                         

                         73
          Davis stops. He shifts feet a couple of t�es. Pla ing with
          the change in his pocket, the way people do when they're
          uncomfortable.

                         DAVIS
          I'm sorry att. if it helps, we all want
          this guy put away. We have kids, too.
          Matt nods, without looking at him.
          Matt looks at Davis's hand moving the change. He becomes
          hypnotized by the sound.
          Davis continues talking. Matt can't hear a word of it,
          though. All he hears is the clinking of the coins in the
          pocket.

          EXT. GIGI HARBOR - DAY

          Matt stands in the wheelhouse, he brings the helm about,.cuts
          back on the throttle and heads for the winch, the stern is
          stacked with four high rows of Frank's empty traps.
          Matt pulls up a string of pots. Opens the door and pulls out
          a young male. He flinches and drops it. His finger goes to
          his mouth.

          EXT. GIGI HARBOR LATER

          Loaded up to the gills with pots. She turns toward harbor.

          EXT. GIGI HARBOR - S

          Matt at the wheelhouse heading in. His hand on the wheel,
          blood trickles from his finger. He sucks on it again, reaches
          down underneath his feet and pulls a band-aid from a box and
          applies it to the finger.

          EXT. "GIGI" LATER

          Matt unloads Frank's traps onto the landing.
          He stops. Seems to sense something. He looks back up the gangway.
          Jason sits on his bicycle watching.
          The two regard each other for a moment. Then without a word
          Jason rides off.

          I NT. GRI L'S CROW'S NEST - DAY
          Willis dries a glass. He keeps an eye on
          Matt sitting at a booth in the front?f the diner, silhouetted
          by a window. He pushes a half-eaten burger away, drains a
          bottle of beer. It's not the first.

                         T BOOTH

                         

                         

                         

                         
          Willis sets down a cup of coffee for himself. Takes a seat
          across from h'
          They both gaze absently out the window.

          I NT. ROCELAND HIGH SCHOOL - RUTH'S OFFICE - DAY
          Ruth is alone at her desk, she wears headphones and is busy
          making notations on a sheet of manuscript paper.
          There's a KNOCK on her door. She doesn't look up.

                         RUTH
          (taking off the phones)
          Yes?
          There's a pause, then the door slowly opens.
          Natalie takes a step in.
          Ruth looks up. If she's surprised, she doesn't show it,

                         NATALIE
          I - -a I hope this is okay.
          Ruth says nothing. Natalie moves closer.

                         NATALIE
          I've been hoping we might be able to get
          together - to talk.
          Ruth watches her as she approaches the desk. Natalie bends and
          cautiously extends her hand for Ruth to hold.

                         NATALIE
          I just want to tell you how -e-
          And in a flash Ruth SLAPS Natalie across the face with her open
          hand.
          Natalie springs back, paralyzed with shock.
          She tries to catch her breath, staring directly at Ruth.
          Eyes ablaze, Ruth says nothing.
          - The two women look at each other for a very long time
          And final , as if she finally somehow got the resolution she
          came for, lead held high, Natalie turns and walks out.

          E X T STROUT & SONS CANNERY T
          cyclone fence surrounds the lace. sign reads "Strout

                         SONS"-
          it is the end of the day.

                         

                         

                         

                         

                         75
          A grow of workers file out, gabbing, starting to strip
          the eves of their smocks and hair-nets.
          Tim, Frank's friend, exits with his co-workers.
          He climbs into his mini pick-up, and pulls out of the lot.
          A few seconds later, from outside the lot, Matt's car pulls

                         AWAY-

          INT. SHOW & TELL - AFTERNOON - LATER

          A crowded working class tavern. Video oker machines, beef jerky at
          the bar, Schaeffer's on tap. We're in fuck. it's happy-hour.
          Tim sits around a table with a couple of buddies, laughing.

                         CHARLES
          We lost a few strings and we had a fair
          idea it was him who was doing it - so's I
          just flat out asked him "No wasn't me."
          You should of seen what he tried to pull
          last wintah. He was up to the island there
          - and he claimed our traps were in his
          part of the cove - Bobb was up to the
          tavern on the head and e d him shooting
          his mouth off about how he and his
          stet an was gonna take a bat to the old
          man & me - so's I told the old man about
          it and he says "Don't hurt my feelings
          none."He says "Go on down to the Walmart
          and buy a couple of plastic bats."
          Next day the old man walks intah the
          office at the market - near the scales -
          where he know's the son of a bitch is
          gonna come in with his catch. He's got two
          six penny nails a hammer, and the bats
          o'coarse, so he nails those things right
          intah the wall. The guy at the scales
          looks at him like he's nuts "Whatta ya
          doing there Ivan" he says "Just sending a
          message" and the old man walks out. I come
          in and I could see what he wrote across
          them things.
          The door to the bar opens.

                         TIM
          What?

                         CHARLES
          "Here's the bats - if you got the balls."
          Tim and the others crack up.

                         CHARLES
          Didn't touch our traps aftah that.
          stops mid sentence.

                         

                         

                         

                         

                         76
          Matt is passing by his table.

                         TIM
          Dr. Fowler?
          Matt flinches, "surprised" to see Tim.

          A FEW MINUTES LATER
          Matt and Tim have moved to another booth.
          Matt leans heavily on his elbows, listening to Tim.

                         TIM
          No - no, I don't even see Richard anymore.
          And he'd never tell me anything, believe
          Me.
          Matt takes a pull of beer.

                         MATT
          Sure, of course. I was just wondering, you
          know, maybe there was something you
          heard, through the grapevine, maybe one
          of his buddies said something ---

                         TIM

                         (SEARCHING MEMORY)
          No -a-

                         MATT
          I was thinking, Richard's brothers,
          they're still working with you, right?
          They must talk.
          Tim throws a nervous look over to the table where his friends
          ea They're oblivious to the conversation.
          He looks back to Matt, shifting in his seat.
          Matt leans forward. He speaks in an intense whisper.

                         MATT
          I'm just saying, Tim, if we could find
          something, something concrete. If you
          could just ... it could be just a slip of
          the tongue ---
          Tim looks into Matt's eyes, feeling the torment.

                         TIM
          I'll keep my ears open.
          Matt looks at him, dissatisfied.

                         TIM
          It's funny running into you here, Dr.
          Fowler.
          Matt looks at Tim blankly, then finishes his beer.

                         

                         

                         

                         

                         77

          IN/EXT. TT�S CAR - AFTERNOON - LATER

          Matt drives end of highway.

                         NEXT LIGHT
          Matt pulls into the left-hand turn lane and signals.
          There is a car in front of h� Above the licence plate is a
          yellow sticker which reads "Student Driver-" The plate itself
          is a vanity plate it says P Y4US-
          A 73 BLUE PICK- truck eases to a stop in the right lane, next
          to Matt's car.
          Matt glances over, for a moment he half expects to see Frank.
          He cracks the passenger side window, for a better look.
          He stares at the driver's window.
          Their window rolls down.
          attractive girl with short brunette hair stares back at
          Matt.
          Lost in the absurdity, he doesn't look away.
          The light changes.
          The girl smiles sweetly and blows him a kiss, before
          continuing through the light.
          Matt watches her go - he smiles - as if somehow relieved.
          The car behind him gives a polite toot - Matt makes the
          left.

          - SOUTH END MARKET - S
          Ruth enters, passing the empty front register.
          She strolls down an aisle, pulling some items from the shelves.
          TWO N CHAT from the next aisle.

          E #1 0-S-
          yeah, man, I - d better get back to the
          grind ---

           MALE #2 O.S.
           Alright, pal ---

           E #1 0-S-
           Just don't ste al anything.
          NIC, 301S, wearing a clerk-s apron, price gun, and plastic tag tha:
           says IC, rounds the end of the aisle. As he does, he spots -

                         

                         

                         

                         

                         78
          RUTH, moving down the aisle toward him. He freezes
          A nervous smile - He throws a quick look to the other
          aisle.

                         NICK
          (a little too loudly)
          Good evening, s - Fowler.

          AT THE COUNTER
          Ruth pulls out her purse as Nick rings her up.

                         RUTH
          Oh, and a pack of Marlboro Lights,

                         NICK
          Sure,
          As NICK reaches up to the overhead cigarette area, he can't
          help but glance past Ruth.
          Ruth catches this, she turns, and sees -

                         RIC
          appear from a far aisle - he makes a BEELINE FOR THE DOOR,

          SHE TURNS WHITE.
          he leaves, LOOKS BACK,

          THEIR ES HEET - AND THEN HE'S GONE.
          It's a long time before Ruth moves.
          Finally, she turns back to Nick.
          He looks at her, embarrassed, awaiting her reaction.
          She just stares at h�

          - FOWLER HOUSE- THE DEN - DUSK
          Hatt sits comfortably, feet up, beer in hand, deep into the
          book ORTE DIURBAN by J-F Rowers,
          He EMARS the front door S
          He doesn't move.
          most immediately, he hears the banging of cupboards opening
          d closing.

                         

                         

                         

                         

                         79

                         KITCHEN
          Ruth is putting groceries away, ignoring, or trying to, Matt
          who has appeared in the doorway.
          She puts milk in the refrigerator and stares into it for a long
          time, trying to decide what to do. He can feel her judging

                         H'
          F'inall , .having resolved something in her mind, she closes
          the refrigerator door- revealing, taped to it, several
          newspaper articles on the case, gathered by her, no doubt,
          including one with a picture of Frank.

                         MATT
          How did it go today?
          She doesn't answer.

                         MATT
          Something wrong?
          She doesn't turn around.

                         RUTH
          Wrong? Like what, Matt? What could be
          wrong?
          She continues "straightening up", starts recklessly washing
          dishes.
          Matt doesn't leave.
          A plate SHATTERS in the sink.
          This stops her. She stares at it, then feels his presence. She
          turns around.

                         RUTH
          What do you want?
          He looks unsure of himself.

                         MATT
          I want to know what's going on.

                         RUTH
          Right.

                         MATT
          You're obviously upset. If there's
          something you want to talk about ...

                         RUTH
          Talk? Who, us? Oh, you mean to each other?
          What if somebod waked in? They wouldn't
          recognize us. They'd think they had the
          wrong house.

                         

                         

                         

                         

                         80
          Matt takes this in. He breathes deeply.

                         MATT
          Do you want to talk or not?

                         RUTH

                         ("SEARCHING" )
          Talk, talk ... oh, you must mean about our
          dead son. No, we haven't before, why
          should we bother now?
          They stare at each other across the kitchen.

                         MATT

                         (SLOW BURN)
          What can I do, Ruth?
          Ruth looks at him for a long time.

                         RUTH
          Forget it, Matt. Why don't you just go ...

                         MATT

                         (BUILDING)
          What do you want from me?

                         RUTH
          I want you to stop acting like nothing's
          happened! That's what I want.

                         MATT
          Why? because I'm not bouncing off the
          walls?

                         RUTH
          No, Matt, That would require feelings. We
          don't want you to hurt yourself.

                         MATT
          Do me a favor, Ruth. You want to have a
          grieving contest, go find someone else.
          He starts to turn.

                         RUTH
          yeah, I know how you grieve. have
          another beer.
          He spins back.

                         MATT
          WHAT DO YOU OW? WHAT? You know nothing!
          You know nothing about me. What I go
          through every day - ever lousy,
          stinking day.

                         RUTH
          No, I don't know, Matt. I don't know what
          you go through, or if you go through
          ything. But that's your choice, dear,
          not mine...

                         

                         

                         

                         

                         81

                         MATT
          You're goddamn right it is. My choice is
          to not scream at the world. Maybe one of
          us has to be reasonable here, did you ever
          think of that?

                         RUTH
          Reasonable? e, Matt, I don' t know about
          you, but I ss my son. I'm glad you have
          time for reason. That's what you imparted
          to Frank, That sense of reason - Oh, he
          thought you were very reasonable.

                         MATT
          What the hell is that supposed to mean?
          She is about to say something, but stops short.

                         RUTH
          Nothing.
          She turns back to the dishes.
          He moves in on her, seething.

                         MATT
          What are you really trying to say anyway?
          She says nothing, picking up the broken plates.

                         TT
          .that I'm the one responsible?
          She drops the pieces back in the sink and exits.

                         THE HALL
          He's fast on her heels. She heads for the bedroom.

                         MATT
          Let me tell you something. Let me tell you
          something!
          She throws the door closed behind her, but he bangs it open
          with his palm.

                         MATT
          You of it backwards. I know what you
          think. That I was too lenient, that I let
          him get away with ...

                         RUTH
          Everything. Everything!
          She exits into

                         THE
          He's right behind her.

                         

                         

                         

                         

                         82

                         MATT
          Oh, really?!? Why do you think he never
          came to you?

                         RUTH
          He wouldn't talk to me, Matt. He didn't
          trust me. You made sure of that.

          LIVING ROOM.

                         MATT
          Why would he talk to you, Ruth? You never
          listened!

                         RUTH
          No. But you did. You were winking at him
          the whole time. You encouraged him. You
          wanted what he had. Her.

                         MATT
          You've got to be kidding...

                         RUTH
          You know it. Come on. You wanted it, and you
          couldn't get it - that's why you didn't stop him
          so you could get your kicks through your son.
          You know that's what happened. And now you can't
          cope with it. You can't admit the truth - To me,
          or to yourself - You can't admit that he died for
          ygur fantasy piece of ass.
          Matt, stunned, reels for a second
          And then, finally, explodes.

                         TT
          You want to know why our son is dead,
          Ruth? He wasn't with her because of me, he
          went there because of you. Because you
          were so controllins, so overbearing, so
          angry that he was it, that he was our only
          one.

                         RUTH
          That is not true.

                         MATT
          It is! From the time he was little you
          were telling him why he was wrong.
          Everything he did was wrong. What was
          wrong with him, Ruth?
          She stares at him, dumbfounded.

                         1 011

                         MATT
          You are so unfor ivinge You are. That's
          what he said. Ana you're playing the same
          shit out with me - That's a horrible way to
          be! Horrible. You're bitter, Ruth. You
          can point your finger at me all you want

                         

                         

                         

                         

                         83

                         MATT
          .but you better take a good look at
          yourself first.
          She already has, of course.

                         RUTH

                         (WE )
          I just wanted to talk about what happened,
          Matt.

                         MATT
          You expect me just to open up to you?
          Embrace you? You scare me. How can I talk
          to you? I can't even look at you.
          They suddenly become aware of the DOORBELL, ringing, over and
          over.
          They watch each other, both reeling, both out of breath. The
          DOORBELL continues.

                         MATT

                         (COMPLETELY DRAINED)
          That's probably ... the police.

                         THE DOOR
          Matt opens it. There is no cop, just Kristen Gellar, 12, a young
          gymnast who'd like to compete in Hawaii.

                         KRISTEN

                         (REHEARSED)
          Hi there. I'm Kristen Gellar from the
          Rockland Gymnastics Association - Today
          we're selling brand name candy. Each
          purchase is matched by the Tandy
          corporation to help us meet our goal of
          travelling to Oahu to compete in the
          East/West conference.
          Matt's in another world. He stares at her.

                         MATT
          I... ...sure. I'll take some.

                          KRISTEN
           Terrific, how many? We have a special
          today, 6 bars for ten dollars.
          Ok...sure.
           if by rote, Matt pulls out his wallet and hands her a ten.

                          KRISTEN
          Great! " particular brands you like? We
          have , Goobers, Hershey's-
          Anything. Anything is fine ...

                         

                         

                         

                         

                         81+
          She finally hands him an assortment.

                         MATT
          Okay ---
          He's about to close the door.

                         KRISTEN
          if you could just sign this. I have to
          give you a receipt. I'm sorry .this pen--
          Matt hands her one from his pocket.
          Matt waits as the girl fills out and hands him the receipt.
          He closes the door before she can thank h�

          THE LIVING ROOM
          Ruth is curled up on the couch.
          Matt stands over her, unsure of which way to go.
          He stares absently into the small mountain of candy in his
          hands - sets it on the coffee table
          He takes a seat at the other end of the couch.

                         MATT
          Ruth...

                         RUTH

                         (SOFTLY)
          Yes?

                         MATT
          Ruth .001 had no right. . .what I said -0. no
          one, no one should ever have to hear
          that...

                         RUTH

                         (BARELY AUDIBLE)
          I'm so sorry...
          He looks at her, as she starts to cry.
          He moves closer to her.

                         MATT
          It's okay...

                         RUTH
          No, you're right, Matt, You are
          am-.. horrible. ?-`

                         MATT
          Please--.

                         

                         

                         

                         

                         85

                         RUTH
          I don't blame you, Matt. I just...
          that girl came by. She came by the
          school, and I couldn't forgive her. I was
          so...
          She lets go, crying hard.
          He lifts her head onto his lap.
          He reaches out, stroking her head, pulling her matted hair from
          her forehead as she sobs into his lap.

                         RUTH
          I'm sorry. I have been so an - I keep
          seeing him, Matt. I've seen him.
          Matt nods, but he's not really clear.

                         MATT

                         (CONFUSED)
          ..Oh I know - up in his room - Sometimes
          I swear Frank's in there - on the way home
          just now - at a stop light - for a second

                         I COULD'VE--

                         RUTH

                         (SOFTLY)
          Not Frank.
          Matt freezes.
          Then.

                         RUTH
          Richard...
          She breaks into sobs.

                         RUTH
          .and I don't know what to do.

                         MATT
          Where did you see him?

                         RUTH
          Eve here - Downtown, and the market. I
          saw at South End. He smiled at me,
          Matt - I keep running into him ... he
          s �led.
          Matt still strokes her hair.
          But he's in another world.

                         

                         

                         

                         

                         86

          INTO GRINNEL HOUSE - BASEMENT - NIGHT
          The game has just started. Willis deals. Henry, Carl & Willis
          pick up the old banter as if Matt had onl been away on
          vacation; but he can see the affection an courtesy.in their
          eyes.

                         WILLIS
          The ne of the game is Texas Chase'
          He groans.

                         WILLIS
          Is there a problem?

                         HENRY
          Why do you delude yourself with that
          crap?

                         WILLIS
          What are you talking about?

                         HENRY
          Look we're not in Vegas. It's five card
          draw, or seven card stud.

                         WILLIS

                         (ENJOYING THIS)
          That's what I said five card draw - jacks
          to open - Carl?

                         HENRY
          Asshole,
          Matt smiles. He's missed these guys.

                          CARL
          I'll open with a dollar.

                         HENRY
          Raise a buck.
          The bet's to Matt. He stares at his cards for a very long
          time. Willis looks to say something, when Henry hits his arm.
          This stops him.
          Matt looks up. He sees the patience they are all exercising
          for his typical indecisiveness. This bothers him.
          He stares back down at his cards. Stalling, waiting for
          someone to bust him.
          He looks u at Willis - Henry - Carl. They all sort of smile
          uncomfortably. He can't take it.

                         TT
          Oh, for Christ sake say something!
          This wakes them up.

                         

                         

                         

                         

                         87

                         MATT
          Quit pussy footing around me d 't! You
          just gonna let me stare at these cards
          all night!?
          No one wants to make the first move.
          This upsets Matt even more.

                         MATT
          O.K. fine!
          He stares back down at his cards.
          Finally it is Carl who speaks.
          There are things of which I may not speak;
          There are dreams that cannot die;
          There are thoughts that make the strong heart weak,
          And bring a pallor into the cheek,
          And a mist before the eye.
          And the words of that fatal song
          come over me like a chill:
          A boy's will is the wind's will,
          And the thoughts of youth are long, long thoughts.
          Matt looks up from his cards into Carl's eyes.
          The two men regard each other.

          EXT. GRINNEL HOUSE - FRONT PORCH - NIGHT

          The game has ended. Matt says goodnight to Henry and Carl, as
          the two of them pull out of Willis Is driveway. Matt is about to
          leave. Just climbing in the front seat. When Willis puts a hand
          on his shoulder.

                         WILLIS
          Come back in for a drink.

          I NT. GRINNEL HOUSE- ENTRY HALL - NIGHT
          Willis and Matt step back in, closing the door behind them.

          KATIE O.S.
          Honey, are you coming to bed now?
          Willis moves to the steps leading upstairs.

                         WILLIS
          Soon baby, Matt's still here.

           KATIE 0.S. 11 %-?.:
          Oh f hi Matt - Hone , would you mind
          bringing me my pit s? They're downstairs
          from when the kids were here.

                         WILLIS
          I'll be right there.

                         

                         

                         

                         

          I NT. GRINNEL HOUSE - BASEMENT - NIGHT
          A few minutes later.
          Matt sits alone in the room. Be gets up to examine a picture
          hanging on the opposite wall. He's not particularly
          interested, he's seen it a million times, he's just killing
          time. A corner of the room devoted to Naval memories. A
          pristine version of Matt's U.S.S. CONSTELLATION cap serves as
          the center piece.
          Willis comes down from upstairs.

                         WILLIS
          She's all set - now what can I get you?

                         MATT
          I'm fine thanks.
          Willis nods and takes a seat.

                         WILLIS
          - you back on the wagon?
          He is.

                         WILLIS
          Sit down Matt you're making me nervous.
          Matt takes a seat.

                         WILLIS
          I'm glad you came tonight.

                         MATT
          Me too.

                          WILLIS
          Boy, Carl really laid on the verse huh?

                         MATT

                         (CHUCKLING)
          ye ..ye he did. Got me thinking

                         OUT-
          e stops himself.

                          WILLIS
          What?

                         MATT
          I don't know - sort of silly really.

                         WILLIS
          C'mon what is it?

                         

                         

                         

                         

                         89

                         MATT
          This thing with - with Frank when he was
          about three, I guess. We were over at my
          folkls house.

                         MATT
          Mom always liked little dogs - this one
          was a - Pekingese, I think. I remember
          hearing this yelp, and then a scream.
          Frank ran out pointing to his finger. I
          looked at it couldn't see an thino. Mom
          said Frank must have "cornered the dog"
          and I knew she was probably right. We
          were driving home, and Ruth noticed Frank
          itching his a ..she pulled back his
          sleeve, and there were these two deep,
          bloody, puncture marks...

                         WILLIS
          Why do you think he pointed to his
          finger?
          Matt shakes his head.

                         TT

                         (SEARCHING)
          .I cruess he didn't want us to ow.
          He stares into his hands, as the memory crystallizes.
          Willis looks confused, and somewhat uncomfortable.

                         WILLIS
          He gets up and heads to the bar.

                         MATT

                         (TO HIMSELF)
          .had to put that dog down.
          Willis throws some ice in a tumbler.

                         WILLIS
          I was thinking just the other day about
          the last time Frankie was-
          Matt cuts him off.
          His name was Ar k. Not Frankie.
          Willis looks stunned.

                         WILLIS
          .I'm sorry Matt.
          I don't care ...he just never liked being
          called that.

                         

                         

                         

                         

                         90

                         WILLIS

          O.K.
          Matt nods. He looks away.

                         MATT
          She didn't tell me, Willis. She never
          said a word - She saw him at South End.

                         WILLIS
          Christ.

                         MATT
          She's seen him before. It's killing her
          I didn't think about bail. I thought I
          wouldn't have to worry about him for

                         YE S-

                         WILLIS
          You know what I heard? He's tending bar
          up to Old Orchard Beach.
          Matt looks up.

                         WILLIS
          For a friend. Ever notice even the worst
          bastards have friends? Nobody knows him
          over there. If they�do, they don't care.
          They drink what he mixes
          Willis sets a can of Moxie down in front of Matt.

                         WILLIS
          (referring to the can)
          I don't know how you drink this stuff
          it's what drove me to beer as a child.
          He sits down with his own drink.
          A moment.

                         WILLIS
          I hate him, Matt. My boys went to school
          with h� He was the same thei.,- Know
          what he' 11 do? Five at the most - And
          then you' 11 e bumping into h all over

                         AGAIN
          I ow.

                         WILLIS
          Remember that woman about seven years
          a o? Shot her husband sopped him of f
          t e bridge in the St - Gac-: with a
          hundred pound sack of cement and said the
          whole way through it nobody helped her.
          Know where she is now? She's in Sears ort
          now, a secretary. And whoever helped her,
          where the hell is he?

                         

                         

                         

                         

                         91

                         WILLIS
          it'd break my heart Matt, it would, but -
          you ever think about just - moving away?
          Matt nods. Stares into his hands for a long time.

          MA,TT
          yeah, we have.
          Finally, he looks up, his eyes meeting Willis I s.

                         MATT
          It wouldn't matter.

          THE SOUND OF A LONE F VOICE - SINGING

          EXT. CAMDEN AMPHITHEATER - MAGIC HOUR

          The voice is joined by another and becomes a duet. We turn to
          find the voices and see we are at the foot of a small knoll.
          A steeple in the distance pokes thorough the last blue husk
          as the sun dies. Looking around we see an ancient gazebo -
          then stairs leading up to a stone library - A boulder at the
          foot of another knoll - above - descending toward us -
          The girls, each holding a single candle,dressed in brightly
          embroidered smocks, enter in procession singing -Jennie Mae
          Mama. "
          The effect is beautiful and feels like a sort of quickening.
          The group proceeds down the hill and blossoms into an -
          AMPHITHEATER which faces the harbor. Ruth stands at the
          bottom of the proscenium - her arms up - directing the choir.
          The place is filled with half the town.

                         ANGLE MATT
          Trying to take it all in. But not really present.
          Suddenly he turns and leaves.

          EXT. OLD ORCHARD BEACH- NIGHT

          The town goes to sleep for the night. The signs businesses
          power down.

          EXT- PETER'S NIGHT
          The establishment's various Beer Signs & interior lights turn
          off.

          EXT. PETER'S - NIGHT

          A LARGE CHAIN OF KEYS Turns the tumbler of a deadbolt lock.
          Two cars are all that's left.
          A WAITRESS emerges from the bar. Richard is fast on her heels.
          He exits, making conversation as he quickly locks the doors.

                         

                         

                         

                         

                         92

                         RIC
          Hey -o- wait up.

                         WAITRESS
          Good night, Richard. See ya tomorrows
          She starts to walk to her car- He catches up to her,
          accompanying her to her car.

                         RIC
          You want to come over for a drink? Just a
          drink.
          She stops in front of her car.

                         WAITRESS
          No, thanks. Maybe some other night.
          He stands in front of his Brown Suburban, watching as the
          Waitress gets in her car, pulls away and leaves.

                         RICHARD
          Fuckin' bitch.
          He turns and freezes.
          Matt Fowler stands a few feet away, an Ortaies calibre
          7.65 automatic directly at Richard's face. His gloved hand poin
          grips the gun tightly.

                         RICHARD
          Dr. Fowler?

                         MATT
          Don't talk. Unlock it and get in.

                         RIC
          He . wait a minute. Let's, let's just
          calm down...
          Matt COCKS the gun.

                         RIC
          Alright! Shit.
          Richard obeys. He unlocks both doors.
          Matt opens the back door, but stays planted, the gun trained on
          Richard.
          Richard gets in the driver's seat. Matt climbs in the back.
          He presses the gun's muzzle against the back of Richard's head.

          V 0-,

                         MATT
          Is there any one at your place?

                         RIC

                         (IRONICALLY)

                         NOT TONIGHT

                         

                         

                         

                         

                         93

                         MATT
          Good. Drive there.
          Richard looks over his shoulder to back the car up.
          Matt aims at his temple, but does not look at his eyes.
          Richard finishes backing up and puts it into drive.

                         MATT
          Drive slowly - don't try to get stopped.

          EXT. PETER'S PARKING LOT ALLEY

          Matt can see the ocean. He uncocks the revolver.
          Matt cracks the window.
          Matt leans down in his seat. He transfers the gun into his
          left hand, removes the glove from his right, and wipes the
          sweat from his bare palm onto his pantleg. He puts the glove
          back on, gripping the gun.
          Richard's Brown Suburban drives down an alley adjacent to Fun
          Park and turns onto a deserted Main Street.

          INT/EXT. BROWN SUBURBAN - NIGHT

          They drive back through town, the sea wall on their left hiding
          the beach.
          on the right are the places, most with their neon signs off,
          that do so much business in s er: the lounges and cafes and
          pizza houses. The street itself empty of traffic.

                         RICHARD
          He was making it with my wife.
          His voice is careful, not pleading.
          Matt presses hard with the muzzle against Richard's head.
          Richard flinches and moves his head forward.
          Matt lowers the gun to his lap.

                         MATT
          Don-t talk.

          /EXT. BROWN SUBURBAN RICHARD S TROUT'S DUPLEX - NIGHT

          The Brown Suburban slowly pulls up to the front.
          Matt leans forward. Th. muzzle grazing Richard's head.
          Drive it to the back.

                         

                         

                         

                         

                         91+

                         RIC
          You wouldn't have it cocked, would you?
          For when I put on the brakes.
          Matt COCKS it.
          It is now.
          Richard tenses. He drives around the side of the building.

          EXT. RICHARD STROUT'S DUPLEX BACK YARD - NIGHT

          The Brown Suburban inches forward toward the garage and
          brakes. The engine shuts off.
          Matt keeps the cocked gun firmly trained on Richard. He gets
          out and shuts the door with his hip.

                         MATT
          All right.
          Richard looks at the gun, then gets out. He moves across the
          grass.
          Matt closely behind, looking at the row of small backyards on
          either side of them and scattered tall trees.
          He glances from house to house. Looking for signs of one
          insomniac neighbor, some man or woman sitting alone watching
          the all-night channel from Boston. All is quiet.
          They move up the back walk and to the side kitchen door.
          Matt stands directly behind Richard as he opens the door.
          It-s pitch black inside the duplex.

                         MATT
          Turn on the light.
          Richard flips the wall switch.
          in the light.
          Matt stares at his wide back, and long reach.

          I NT. RICHARD S TROUT'S DUPLEX - KITCHEN NIGHT
          Richard stops just inside the kitchen. Matt closes the door
          softly behind gim.

                         MATT
          Where-s you r suitcase?
          Richard almost turns around.

                         RIC
          My suitcase?

                         

                         

                         

                         

                         95
          Matt grips the gun tighter, straining to keep it from
          ling.

                         MATT
          Where is it?

                         RIC
          in the bedroom closet.

                         MATT
          That's where were going then. When we get
          to a door you stop and turn on the light.
          They cross the kitchen.
          Matt can't help but glance at the sink and stove and
          refrigerator: no dishes in the sink or even the dish rack
          beside it, no grease splashings on the stove, the refrigerator
          clean and white.
          Matt becomes momentarily 2reoccupied with one of Duncan's
          drawings taped to its door.

                         MATT
          Wait.
          Richard stops.
          Matt looks conflicted. Doubt has crept into his face For a
          moment he seems to have lost his resolve.

          RICHARD O.S.

                         (IRRITATED)
          .Jesus.
          Matt looks to Richard with a renewed sense of purpose.

                         TT
          .keep going.

                         LIVING ROOM
          A light flicks on. They take the hall past the living room.
          Matt doesn't want to see anymore of Richard's life. But he
          can't help h� elf. He takes it all in: Magazines and
          newspapers in a wicker basket, clean ashtrays, a stereo,
          CD's neatly shelved next to it.
          They continue down a hallway.Richard stops outside a door.

                         RIC
          There's no wall switch.

                         MATT
          Where's the light?

                         RIC
          the bed.

                         

                         

                         

                         

                         96
          Let's go.
          Richard steps into the darkness. Matt is careful to stay a
          pace behind. Richard leans over by the bed. Matt braces.
          lick. A small bedside lamp turns on.
          The bed, a double one, is neatly made; the ashtray on the
          bedside table clean the bureau top dustless and no
          photographs- prob ly so the girl - who is scae? - won't have
          to see Natalie in the bedroom she believes is theirs. But
          because Matt is a father and a husband, thou h never ex-
          husband, he knows (and does not want to ow that this
          bedroom has never been theirs alone.
          Richard turns around; Matt looks at his lips, his wide jaw.

                         RICHARD
          I wanted to work things out with her.
          Try to get together with her again.
          But I couldn't even talk to her.
          He was always with her.
          Dr. Fowler, I'm going to jail for it.
          I am going to jail. If I ever get out
          I'll be an old man. Isn't that enough ?

                         MAXT
          You're not going to jail.
          Pack clothes for warm weather.

                         RIC
          What's going on? You're not gonna let me
          go!
          Matt looks away. He doesn't answer.

                         RICHARD
          Dr. Fowler?

                         MATT
          You're jumping bail.

                         RIC
          .Dr. Fowler.
          Matt points the pistol at Richard's face. The barrel trembles
          a little.
           Richard reaches up into his closet and pulls out two large
          canvas bags. He places them on the - He pulls a third
          bag, a small, red, woman's suitcase, Natalie's no doubt, next
          to the others.
          He moves to the bureau.

                         MATT
          It's the trial. We can't go through that,
          my wife and me. So you're leaving. I've
          got you a ticket. My wife keeps seeing
          you. I can't have that anymore...

                         

                         

                         

                         

                         97

                         RIC
          He was making it with my wife.
          I'd go pick up my kids and he'd be there.
          Sometimes he spent the night. Duncan
          told me.
          He doesn't look at Matt as he speaks. He opens the to
          ewer. Matt steps closer so he can see Richard's hangs. 
          underwear and the socks rolled, the underwear folded and
          stacked. Richard arranges them neatly in the suitcase. The
          kitchen the livin room the clothes. Matt is struck b
          this man's sense of order, o iscio ine.
          Matt watches the absurdity of Richard sorting clothes by
          season. He even packs a small instamatic camera. He packs
          the things a man accumulates and become part of him.

                         MATT
          (re: the suitcases)
          Okay, that's enough.

                         RICHARD
          I need some things from the bathroom.

                         MATT
          alright.

                         THE BATHROOM
          Richard steps just inside the bathroom door and stops.

                         MATT
          Keep going.

                         RICHARD
          Gotta pee.
          Matt realizes Richard means to have privacy.
          He pushes him into the room. Takes a step back and pulls the
          door so it is only slightly ajar. He keeps his foot between
          the jam and the door.
          He eyes Richard's back reflected in the mirror. He can hear
          him make water. He looks like he wonders about allowing this
          courtesy.
          Mattes glances at:
          A picture on the wall outside of the bathroom: Natalie
          Richard and their two boys, in front of someone's house.
          Smiling. She looks happy.

                         C
          looks around the room frantically - his eyes find nothing
          that will help his situation - he flushes the toilet - Matt
          swings the door fully open - Richard fills a travel kit with
          toiletries.

                         

                         

                         

                         

                         98

                         RICHARD'S BEDROOM
          Richard tucks the travel kit into a bag. Matt keeps the gun
          on him.
          Richard closes the suitcase, and faces Matt. He looks at the
          Matt moves around behind him. Now Richard is between Matt
          and the lighted hall. Richard carries a canvas bag in each
          hand. Matt pulls another glove from his pocket. He uses it
          to turn off the bedside lamp. Richard now d'_lhouetted in
          the doorway.
          Let's go.
          Richard steps into the hall. Matt follows, carrying the small
          suitcase in one hand, the gun in the other.
          They start down the hallway. Matt turns off lights with his
          elbow as they go. Past the living room into the kitchen.
          Wait.
          Richard tenses, he stops at the kitchen door.
          Matt sets the suitcase down. He uses that hand to reach into
          his jacket. He pulls out a red, white, and blue piece of
          paper. He drops it on the counter top. Words on the paper
          read AMT RACK.
          Matt picks up the suitcase again. He steps closer to him.
          Presses the gun into Richard's back.

                         MATT
          open the door.
          Richard's reaches down and carefully turns the knob. He
          slowly pulls the door open. Matt takes a step back.

                         MATT
          Get the light.
          Richard reaches down and hits the switch. Click. The two men
          now in silhouette.
          Richard exits first. Matt close behind.

          EXT. RIC S DUPLEX - S

          Matt sets the case down, reaches bacjcan gently closes the
          door. They walk down the two brick steps to the lawn. s
          the cross the lawn. Matt's eves and ears once a ain alert
          for any sign of life. Not Eng. They reac the garage
          walk to the back of the Brown Suburban.
          Richard drops the two bags near the rear bumper.

                         

                         

                         

                         

                         99
          Matt keeps the gun steady as Richard pops open the hatch and
          loads the bags. Matt sets the small suitcase at Richard's feet.
          He reaches down and loads it last.

          /EXT. BROWN SUBURBAN S

          Richard gets into the driver's seat. Matt in the back.
          Richard looks up in the rear-view. For a moment, Matt connects
          with the desperate eyes.

                         RIC
          They'll catch me. They'll check passenger
          lists.

                         MATT
          I didn't use your name.

                         RIC
          They'll figure that out too. You think I
          wouldn't have done it myself if it was
          that easy?
          Silence.
          He starts it up, slides into reverse. He looks back over his
          shoulder as they back down the driveway. Matt averts his stare.
          Looking down at the gun barrel but not at the profiled face
          beyond it.

                         MATT
          You were alone. We've got it worked out.

                         RIC
          .who's we?
          Good estion. Matt doesn't answer though. Richard shifts
          into drive.

          EXT. RICHARD'S CONDO - PARKING LOT - S

          The Brown Suburban pulls out of the lot and onto the street.

          I NT. BROWN SUBURBAN - S

                         RIC
          There's no planes this time of night, Dr.
          Fowler.

                         MATT
          back through town. Then north on 73.

                         RIC
          The airport's South...

                         MATT
          Somebody's going to keep you for a while.
          They'll take you to the airport - turn on
          the radio. Find the game.

                         

                         

                         

                         

                         100

                         RIC
          It's after three

                         MATT
          They run it again.
          Matt leans back, quietly uncorking the hammer.

                         MATT
          No more talking.
          Richard tries to read Matt �s face in the mirror, but it -s now
          in shadows. Richard fumbles with the radio, surfing the
          stations. Matt is right. The game is on.
          Nomar Garcia arra hits a long drive to left with runners in scoring
          position "A cinch to collect 200 hits this season."
          Richard sets his eyes on the road.

          EXT. BROWN SUBURBAN - HIGHWAY 1 SOUTH - NIGHT

          The Brown Suburban heads away from Old orchard, onto a small
          two lane rural hi hwayy. The road is flanked on both sides by
          open fields, and lonely capes. Few cars on the road.

          INT BROWN SUB /WISSC SET BRIDGE
          They come up over the high bride over the channel: to the left
          the smacking curling white at the breakwater and beyond that
          the dark sea and a full moon, and down to the right the small
          fishing boats bobbing at anchor in the cove.
          Swirling colors from behind catch their attention.
          Richard and Matt both look in the rear-view.
          A state trooper's car with its gumballs flashing races up in
          the distance behind them.
          Matt jams the gun into Richard's ribs and slouches down.

                         MATT
          (Trying to stay ca
          ri ht take it easy - pull over to the
          shoo der.
          Matt & Richard sit tight waiting for the inevitable. The
          light gains in intensity, as the cab fills with crimson.

          EXT. WISCASSET BRIDGE

          The cruiser tears right past them. Quickly fading into the
          distance. ? e

          I NT. BROWN S - S
          Matt leans back he looks shaken. Richard watches his chance

                         DISAPPE

                         

                         

                         

                         

                         101

          EXT. OWLS HEAD - NIGHT

          the vague outline of mountains, It is almost pitch black. Onl
          hi d' the moon. Then, from far off, a pair of headlights move
          tow us, fighting through the thick night

          .BROWN SUBURBAN 73 NORTH JUNCTION
          Richard sees the sign for the 73 North. He glances back at
          Matt in the rearview mirror. He makes the turn.

          EXT. OWL'S HEAD GRANGE - S

          The Brown Suburban makes the turn.

          I NT. BROWN SUBURBAN - S
          Matt & Richard check out their surroundings.

          EXT. SMALL BRIDGE - NIGHT TREVETTE BRIDGE

          The Brown Suburban drives across a small steel bridge that
          covers a salt river. The tires make a low thumping sound on
          the grid.

          I NT. BROWN SUBURBAN - B Y C ROAD (OWLS HEAD) - NIGHT
          They have left the 73 and are driving on a small rural route.
          Matt leans forward, the gun rests against the top of Richard's
          seat.
          He looks around, trying to get a bearing.

                         MATT
          Turn around.

                         RICHARD
          Why?

                         MATT
          We missed it. Turn around. back and
          turn in at the last road.

          EXT. R ROUTE - SAME - NIGHT

          Richard slows, and makes a U-turn.
          His lights illuminate
          PRIVATE -ROAD and NO HUNTING signs.
          He takes a right, onto a dirt road flanked on both sides by fir
          trees.

          E .DIRT ROAD
          We track with the Brown Suburban as fir trees strobe in the
          foreground.

                         

                         

                         

                         

                         1 02

          IN/EXT. BROWN SUBURBAN - DIRT ROAD


                         RIC
          There's nothing back here Dr. Fowler? I
          donut understand why you don-t just

                         MATT
          It's for you're car. You don't think we'd
          leave it at the airport do you?

          MATT WATCHES RIC S LARGE, BIG KNUCKLED HANDS TIGHTEN ON THE WHEEL.
          They crawl up the trail, the wheels crunching the gravel, the
          headlights shining into the dense woods.
          The road seems endless. Richard cringes as they bounce over a
          bump.
          Both of them eagerly peer beyond the windshield.
          Finally, at a great distance, the tiny lit windows of a cabin
          come into view. A BLUE CHEVY PICKUP is parked in front of the
          place.

                         MATT
          Stop here.
          The Brown Suburban crawls to a stop. Richard keeps the engine
          running. Matt presses the gun hard against his neck. He
          straightens in his seat and looks in the rearview mirror.
          Matt's eyes meet his in the glass for an instant before
          focusing on the hair at the end of the gun barrel.

                         TT
          Turn it off.
          Richard does. The ball game disappears, and the silence is
          strangely a anent. He continues to hold the w eel with both
          hands. He ooks in the mirror.

                         RIC
          I'll do twenty years, Dr. Fowler,
          I'll be fifty-four years old.

                         MATT
          That's two years younger than I

          EXT. DIRT ROAD - S

          Matt gets out and k�cks the door shut. Richard opens his
          door. He doesn't move. Just sits in the interior light.
          His face now pleading. Matt can see it in his lips.

                         MATT
          Get the bags.

                         RIC-

                         (TERRIFIED )
          Where are we Dr. ?owler?

                         

                         

                         

                         

                         103

                         MATT
          Almost there.
          Richard carefully gets out. Instinctively, he raises his hands
          about shoulder level. They move to the back of the Brown
          Suburban. Richard pops the hatch.
          He pulls out the two canvas bags. He sets them on the ground.
          He reaches in and pulls out the small suitcase.
          We hear a SCREEN DOOR slam shut. Richard looks surprised.
          He turns back to Matt.
          C'mon now.
          Richard reaches down and picks up the bags. He struggles to
          carry all three.
          Matt grabs the small suitcase from him.

                         MATT
          That way.
          Richard lugs the bags toward the cabin.
          We hear HEAVY CRUNCHING FOOTSTEPS OF SOMEONE APPROACHING.
          Richard stops.

          WILLIS APPEARS FROM DOWN THE PATH.
          He nods to Matt.

                         RIC
          Mr. Grinnel?

                         WILLIS
          I'll get them, son.
           Willis takes the bags from Richard, turns, and carries them up
           the long path back to the cabin.
          RICHARD LOOKS S r .E' RELIEVED.
          He waits a moment, u-sure of what to do.
          Finally, he starts wal'-.ing up the path after Willis.

                         1
          Wait.
          Richard stops, �d-step. He tenses, waiting.

                         MATT
          You can carry this one.
          Richard turns.

                         

                         

                         

                         

                         LO
          He reaches out to take the bag from Matt.
          Matt keeps it at his side, and takes a step back, his gun
          trained on Richard.

          RICHARD CONNECTS WITH TT'S EYES.

          KNOWS.

          RICHARD DUCKS AND TAKES ONE STEP THAT'S THE BEGINNING OF A SPRINT.


                         BOOM

          THE GUN KICKS IN MATT'S HAND.

          THE GUN'S REPORT ECHOES FOR ETERNITY.

          MATT STANDS ABSOLUTELY STILL.

          STILL HOLDS THE LITTLE SUITCASE.

          LOOKS DOWN AT RICHARD STROUT SQUIRMING ON HIS BELLY. KICKING

          ONE LEG BEHIND HIM, PUSHING HIMSELF FORWARD, TOWARD THE WOODS.

          MATT WATCHES DISPASSIONATELY.

          STEPS FORWARD, RAISES THE GUN AND FIRES ONE MORE SHOT.

          RICHARD STOPS MOVING.
          Matt stands there motionless.
          We hear FOOTSTEPS.
          Willis runs up to Matt.

          STOPS AT RICHARD'S CORPSE.

                         WILLIS

                         (BREATHLESS)

                         MATT
          The two men look into each others eyes. Matt seems to be somewhe re else
          He looks back down at the body.

                         WILLIS
          This isn't what we talked out,

                         MATT
          He tried to run.
          Willis looks at the gun still in Matt's hand, the little
          suitcase in the other.

                         WILLIS
          We were going to wait, and take him out in
          the woods.
          Matt raises his head. He looks at Willis flatly.

                         

                         

                         

                         

                         105

                         MATT
          I coul �t wait.

                         BODY -
          a d in a BLUE TARP, is suddenly dragged away by the ATV. It
          es quite a racket.
          We follow it as it scrapes along, the road back into the woods

                         WOODS -
          They have roved the body from the ATV and are now draggin it
          deep into the wood. The only sound is the breaking of brans es
          and their continual grunting.
          The stop�at the top of a small knoll, panting and sweating.
          Wil is quietly removes a small mass of branches, revealing a o t
          large, well-dug hole. Together, they drag the body t he edge
          of the hole. Move behind it. Lift the legs, and push it in.

          THE WOODS - LATER -
          Willis and Matt come up from the woods. They carry Richard's
          lug age. Willis drops the canvas bags into the hole. Matt
          loo s at the suitcase and then drops it in.
          Willis takes a couple of steps away, and grabs two shovels
          leaning against a small birch. He hands one to Matt.
          Together, they begin filling in the hole.

          SAME PLACE - LATER -
          Matt holds the flashlight as Willis sprinkles leaves and
          branches over the hole.
          Willis freezes, as if he has heard something. Matt cuts the
          light.
          They hear some footsteps approaching, closer, then they see it -

                         A DEER
          not 30 yards distant watchin them A Buck with a splendid rack,
          a deep chestsnowy white, a l of him in his prime His flag up
          d twitching. His eyes u Quin
          Then he bounds off and is gone.

          WOODS LATER -
          The walk through the woods. The light on the ground. They
          bot look up through the trees where they end at the lake.
          Neither of them speak, only the sounds of their hea breathing
          and clumsy strides through the low brush and over fa len
          branches.

                         

                         

                         

                         

                         106

          EXT. BOW

          Wide and dark, lap ing softly at the bank, a small island near
          it's middle, with black, tall evergreens.
          Matt, gun in hand, takes two steps back, he strides with the
          throw and goes to one knee as he follows through. The dark
          shapeless object arcing downward, splashing.

          T DIRT ROAD, T BROWN SUBURBAN.

          /EXT. BROWN S - TREVETT SWINGBRIDCD - NIGHT

          Matt in the Brown Suburban, is stopped behind the wooden
          and arm, Willis in his own car behind. The swing bridge is
          open for the 5:00a.m. fishing boats. The operator uses his
          long metal tool, the bridge swings back around. The arm
          rises.

                         MATT
          Seems somewhere else.

                         WILLIS

                         WILLIS

                         (ANGRY)
          C'mon g M tt.

                         O A
          Matt drives the Brown Suburban over the bridge. The operator
          gives him a friendly nod. Waves to Willis in the Ford.

          EXT. WISCASSET BRIDGE - PRE-DAWN

          Willis's truck & Richard's S travel towards us away from
          Wiscasset. On their way to Cheesy Town Island.

          I NT. FORD - OLD ORCD STATION - PRE-DAWN
          Willis watches out his windshield as the Brown Suburban parks
          in the station�s lot.
          Matt gets out of the Brown Suburban and locks the driver�s door. Be walks
          the Ford, and gets in the passenger side. They drive off.

          /EXT- WISSC SET BRIDGE - S
          Willis's car moves slowly over the channel bridge, back to
          Wiscasset.
          Matt rolls down his window. Be tosses Richard�s keys over the side of
          the brad e . The trim shapes of lobster boats and smal craft anchored
          in t he hExbor below, loo like old toys in a bathtub,
          He rolls up the window as the car continues across.
          Both men silent, lost in thought, staring out the windshield at
          the road ahead.

                         

                         

                         

                         

                         107

                         WILLIS

                         {SOFTLY)
          What time is it?
          Matt checks his watch.

                         MATT
          Ten to six. We lost an hour. Sorry.
          Willis's jaw tightens.

                         WIILLIS
          (almost losing his temper)
          Yep...high tide. Can't stop people from
          fish'in Matt - uck'in brides
          Matt looks over at Willis.

                         MATT
          I'm sor Willis.
          Willis looks at Matt. He knows. Eyes back to the road.

                         WILLIS

                         (FORCED CALM)
          Stopped in to his little shed there once
          place reeked ...the guy's spilled more
          whiskey than we've ever drunk. Just pray
          he's already three sheets to the wind.
          Matt doesn't reply.

                         WILLIS
          Katie's pill will be wearing off soon.

          I /EXT.FO MAIN STREET ROCKLAND - DAWN

          They drive down the empty streets of a sleeping Rockland.

                         PAST THE

          IMER OF ROCKLAND CIVIL W MEMORIAL, TWO SENTRYS STAND GU,

                         PAST

          HIGH SCHOOL.

                         PAST

          ROCIULAMPOLICE DEPT.

                         PAST

          3TONNE'S SPECIALTY SHOPPE
          Something catches Matt's attention in the store front.
          The anne ins in the window They seem to be staring at h�

                         

                         

                         

                         

                         108

          STRUT & SONS CANNERY

                         PAST -

                         AWEEN ARCH

          EXT. SIDE STREET - MATT'S NEIGHBORHOOD DAWN

          The Ford pulls up to the curb. Matt gets out.
          Willis drives away.
          Matt starts walking.

          EXT. F RSTREET -S

          The STREET LIGHTS suddenly turn off',.
          The world is waking up now.

          EXT. FOWLER STREET - S

          In the distance, Matt can see his house.
          The birds all seem to wake at once.
          Matt gazes up into the trees overhead, the first light just
          kissing their branches, the sky now a husky blue. The
          surrounding houses with the windows still dark, asleep.
          He picks up his pace.

          I NT. FOWLER HOUSE - B.
          Matt enters.

          T LAUNDRY ROOM - S
          He roves his tennis shoes, his pants, he starts unbuttoning
          his shirt. Now in his T-shirt and boxers, he examines his
          clothes and shoes carefully, before putting them into the
          washer - He pours detergent inside - and starts the cycle.
          He steps to a little sink and washes up.

                         DINING ROOM
          The light has been left on, he kills it and heads upstairs.

          UPSTAIRS - S.
          Matt slowly walks down the hall, to

                         BEDROOM -S
          And stands in the doorway. He pauses, seeing only
          the orange ember of Ruth's cigarette, in the dark.

                         0

                         

                         

                         

                         

                         109

                         RUTH

                         (UNSEEN)
          Did you do it?
          He doesn-t answer. He walks in and comes to bed, climbing in as
          Ruth moves over.

                         RUTH
          Are you all right?
          He lies down. FACES THE WINDOW, AWAY FROM HER.
          She is on her side, she props herself up on her elbow -
          watching him.
          He waits a longtime before speaking

                         MATT
          There was a picture with Natalie and the
          boys hanging on his wall -
          Ruth looks at him strangely.

                         RUTH

                         (GENTLY)
          .what is it, Matt?

                         MATT
          - the way she was smiling.

                         RUTH
          What?

                         MATT
          I don't know -
          Ruth looks at the back of Matt's head.

                         RUTH
          Matt?
          He doesn't move. He says nothing else.
          She continues to stare at him.
          Uncertainty beginning to form on her face. She looks lost. If only
          things cou d be as t ey were.
          Then.

                         RUTH
          at I thinking - you must be hungry.
          She waits for a response, but gets e. She gets out of bed,
          leaves the room and heads down stairs.

          LONG EMPTY WAY.
          WE EEAR RUTH downstairs in the kitchen.

                         

                         

                         

                         

                         110

          RUTH 0. S.
          Matt?
          Matt just lies there, in another world.

                         RUTH
          Matt dear, do you want coffee?
          Be doesn't respond. Instead he looks at his finger.
          The bandage wet from washing up.
          He slides it off easily, like oversized ring.
          The skin has healed.

                         LATER NOW
          Sun light creeps in through the curtains, onto Matt's face.
          Ruth lies sleeping on his chest.
          A breakfast tray at his bedside which he hasn't touched
          Matt is cede awake. He stares at the ceiling Reliving it
          His eyes full of an unspeakable sadness.
          The lids heavy. If only he could sleep.
          But he won't. Not today.
          There is a small crack in the ceiling.
          He'll have to fix that.

                         BLACK

          - THE FAINT SOUNDS FADE UP

                         THE END