"YOU CAN COUNT ON ME"
Screenplay by
Kenneth Lonergan
SHOOTING DRAFT
2000
FADE IN:
INT./EXT. A CAR (MOVING). NIGHT
The shifting lights from the odd passing car play over the
faces of MR. and MRS. PRESCOTT, a pleasant-looking couple in
their late thirties, dressed up for a night out. Mr. Prescott
drives them along a dark hilly two-lane highway.
MRS. PRESCOTT
Why do they always put braces on
teenage girls at the exact moment
when they're the most self-conscious
about their appearance?
Pause.
MR. PRESCOTT
I don't know.
UP AHEAD, near the top of the oncoming hill, a RED PICKUP
TRUCK is poking its nose out of the short exit lane.
MRS. PRESCOTT
Tom --
MR. PRESCOTT
I see him...
The PICKUP LURCHES into the road, with not nearly enough
time to spare.
MRS. PRESCOTT
Tom!
MR. PRESCOTT
Jesus!
Mr. Prescott swerves OVER the DOUBLE SOLID WHITE LINE and
clears the truck as --
Another pair of HEADLIGHTS from an oncoming truck RISES UP
over the HILL directly in FRONT of them --
MRS. PRESCOTT
(Screams)
Tom!
Mr. Prescott's FOOT STOMPS on the BRAKE. We BLACK OUT and
there is the SOUND of a terrible CRASH.
CUT TO:
EXT. THE PRESCOTTS' FRONT DOOR. NIGHT
The SHADOW of a big man looms up onto the front door. A big
finger RINGS the BELL.
A moment.
AMY, a thirteen-year-old baby-sitter with braces, opens the
door and looks up. In the b.g. we see TWO CHILDREN, SAMMY
(Samantha) and TERRY PRESCOTT, in their pajamas, lying on
their stomachs in the living room, watching television. Sammy
is eleven. Terry is eight.
REVERSE: DARRYL, the SHERIFF, a portly fellow with glasses
and a mustache, looks down at AMY.
SHERIFF
Hello, Amy.
AMY
(Puzzled)
Hi, Darryl.
SHERIFF
(Thinking)
Amy, would you please tell the kids
you'll be right back, and then shut
the door and come outside to talk to
us for a minute?
AMY
OK.
(To kids)
Be right back, you guys!
SAMMY
You're not supposed to go out, Amy.
TERRY
She's going to smoke a cigarette.
AMY closes the door and looks expectantly up at Darryl. Darryl
doesn't know how to start.
EXT. CHURCH. DAY
CREDITS BEGIN OVER a blustery April day. The steeple of the
little white church stands out against the sharp blue sky.
INT. TOWN CHURCH. DAY
It's a small church and a small congregation, but it's full.
There's a CHOIR of mostly SENIOR CITIZENS arrayed in the
back. TWO CLOSED CASKETS are laid out in front of the
MINISTER, a fiftyish woman with thick glasses and salt-and-
pepper hair, who is giving a eulogy MOS.
Among the mourners in the second row sit Terry and Sammy,
both redeyed, and uncomfortable in their dress-up clothes.
Their Aunt Ruth, a pinch-faced woman in her forties, sits
next to them.
Sammy and Terry are holding hands tightly. Terry wipes his
eyes with his free hand.
The Minister addresses her remarks to the children. Sammy is
hanging on the Minister's every word; Terry is shifting his
eyes and his seat as if it will kill him to sit still another
minute.
DISSOLVE TO:
EXT. SCOTTSVILLE CEMETERY. SIXTEEN YEARS LATER. DAY
On the beautiful hill overlooking the beautiful windy green
country, SAMMY, twenty-seven years old now, puts flowers on
her parents' graves with quick, practiced movements.
She is a nice-looking young woman of a neat appearance, saved
from primness by an elusive, pleasantly flustered quality.
An unsuccessfully neat person. She is dressed in office
clothes -- white blouse, dark skirt, high heels, light
raincoat over everything. She picks out a couple of weeds
and then bows her head and closes her eyes.
CREDITS END.
EXT. SCOTTSVILLE -- MAIN STREET. DAY
Scottsville is a small town. Main Street. Run-down old stores
next to a new bank, a couple of chain stores, a few
restaurants of varying ambitions. Civil War statue. World
War I statue. World War II statue. Residential streets
wandering away from Main Street up and down hills. You know
there's a minimall somewhere nearby. A fair amount of activity
during the daytime.
SAMMY'S CAR pulls up across the street from where an eight-
year-old BOY in a secondhand baseball jacket and a school
knapsack is waiting at the curb. This is her son, RUDY. SAMMY
calls out the car window.
SAMMY
Rudy, come on! I'm really late!
Rudy hurries across the street and gets in the car, slinging
his knapsack into the backseat.
INT. THE CAR (MOVING). DAY
SAMMY
How was school?
RUDY
Stupid.
SAMMY
Why do you say that?
RUDY
We're supposed to write a story for
English homework, but they didn't
tell us what it's supposed to be
about.
SAMMY
What do you mean?
RUDY
I mean they didn't tell us what it's
supposed to be about. They said do
whatever you want.
SAMMY
So what's wrong with that?
RUDY
Nothing. I just think it's
unstructured.
SAMMY
(Smiles)
Well, I'm sure you'll be able to
think of something. If you can't,
I'll help you.
INT./EXT. CAR/CAROL'S HOUSE. DAY
Sammy stops the car outside a heavily THICKETED DRIVEWAY
(CAROL'S HOUSE), and RUDY gets out.
SAMMY
Don't forget your backpack.
Rudy returns to take his knapsack out of the back.
RUDY
It's not a backpack, it's a knapsack.
SAMMY
Don't forget your knapsack.
Rudy hoists his knapsack out of the back.
SAMMY
Give me a kiss.
Rudy gives her a kiss and puts his arms around her and
squeezes her neck.
He withdraws, slams the door. As Sammy DRIVES AWAY, he slogs
up the long twisting driveway.
EXT. MERCHANTS NATIONAL TRUST -- PARKING LOT. DAY
Sammy gets out of her car, which is parked in one of the
half dozen spaces in the little parking lot allocated for
bank employees.
She hurries toward the employees' entrance, fixing her skirt
as she goes.
INT. MERCHANTS NATIONAL TRUST. DAY
Sammy hurries down the clean hallway in the back past MABEL,
a pleasant-faced fellow employee.
MABEL
Guess who's been asking for you?
SAMMY
Oh no, really?
Mabel nods and passes by.
SAMMY KNOCKS on a big door that says "Manager" and has half
the letters of the previous branch manager's name taken off
it.
BRIAN
(Inside)
Yeah, come in!
Sammy swings open the door. BRIAN EVERETT, the new branch
manager, is unpacking a box. Sammy is surprised to see he is
in his early thirties and very good-looking in a boyish sort
of way; he wears shirt-sleeves and tie, and a wedding ring.
SAMMY
Mr. Everett?
BRIAN
Yeah: Brian.
SAMMY
Brian. Hi. I'm Samantha Prescott --
I'm the lending officer?
BRIAN
Yeah, hi, how are you? Come on in.
Sit down.
Sammy comes into the office and sits.
SAMMY
I am so sorry I was late...
BRIAN
Yeah, we missed you before...
SAMMY
I got held up. Believe me, it is not
something I make a habit of...
BRIAN
I'm sure it's not. Actually -- could
you just, could you close that door
for me? Thanks.
Sammy gets up and closes the door.
INT. BRIAN'S OFFICE. LATER
Sammy sits in front of Brian's desk. Brian is behind the
desk listening.
SAMMY
-- so I always just run out at 3:15
to pick him up and then run him real
quick over to the sitter's house.
Anyway, Larry never minded about it
and I was just hoping it would be OK
with you too...
BRIAN
Well -- Samantha -- I realize that
Scottsville is not exactly a major
banking center...
SAMMY
No it's not...
BRIAN
No -- I know it's not... But it's
kind of a personal challenge to me
to see what we can do to bring local
service up to the same kinds of
standards we'd be trying to meet if
we were the biggest branch in the
state. And that means I don't want
anybody running out at 3:15 or 3:30,
or whenever the bus happens to come
in that day. Now is there anybody
else who can pick your son up after
school? Does your husband work in
the area? Do you --
SAMMY
Oh -- No -- Rudy Sr. isn't "on the
scene." So to speak.
BRIAN
Well, I can give you a couple of
days to make some other arrangement,
but...
SAMMY
Well -- Brian? I understand what
you're saying, and I think it's great.
I do. Because there's a lot of things
around here that could use some
attention. Believe me. But I've
honestly been meeting that bus every
day for four years now and it really
does take just fifteen minutes, and
if I take the time out of my lunch
hour...
BRIAN
I'd really prefer it if you would
make some other arrangement. OK?
SAMMY
(Brightly)
I'll do my best...!
Brian kicks back in his chair and puts his hands behind his
head.
BRIAN
How old's your son?
SAMMY
He's eight.
BRIAN
That's a terrific age.
INT. SAMMY'S CAR (MOVING). DUSK
Sammy and Rudy drive home in silence. The orange sunlight
flickers through the trees and onto their faces as they drive
along.
EXT. PRESCOTT (SAMMY'S) HOUSE. DUSK
The same house that Sammy grew up in, with sixteen years'
more wear on it.
Sammy's car swings expertly by the mailbox, and Rudy reaches
half his body out of the passenger window and gets the mail.
INT. SAMMY'S HOUSE. DUSK
Sammy comes into the house carrying two bags of groceries.
Rudy follows, looking through the mail. Sammy passes through
the house and goes into the kitchen.
RUDY
You got a letter from Uncle Terry.
SAMMY
What?!
Her whole face lights up and she grabs the letter. She tears
it open and reads it with growing excitement.
INT. SAMMY'S BEDROOM. LATER
Sammy opens her FILE DRAWER. Inside are tax files, household
files, miscellaneous files.
She puts Terry's letter away in a very full file marked "Terry --
Correspondence." The folder is stuffed with other letters,
on all different kinds of stationery from all over the
country, all from Terry.
INT. DINING ROOM. NIGHT
Sammy and Rudy are eating dinner. It's a biggish house for
just two people.
RUDY
Whose room is he gonna stay in?
SAMMY
He can stay in the little room.
(Pause)
But you know what? He's not going to
live here. He's only gonna stay for
a little while... And it's OK if you
don't remember him, because you were
only six the last time he was here...
But it'll be nice if you got a chance
to get to know each other a little
bit. Don't you think?
Rudy looks worried and doesn't answer.
INT. LIVING ROOM. LATER
Rudy is on the floor, writing in his school composition
notebook. Sammy comes downstairs.
SAMMY
Rudy? Would it distract you if I put
on some music?
RUDY
No.
She puts on a CD, sits down and picks up a book. She looks
at Rudy, who is writing away.
SAMMY
Did you think of a story?
RUDY
Uh huh.
SAMMY
What's it about?
RUDY
My father.
Pause.
SAMMY
What about your father?
RUDY
It's just a made-up story about him.
SAMMY
Can I read it when you're done?
RUDY
It's not very good.
SAMMY
Don't say that.
Rudy keeps writing.
INT. LIVING ROOM. LATER
Sammy is smoking a cigarette and drinking a glass of wine
and reading Rudy's story. It upsets her.
INT. SAMMY'S BEDROOM. LATER
Sammy sits on the edge of her bed, not dialing the phone.
She catches a glimpse of herself in her parents' floor-length
mirror with the worn, heavy wooden frame. Against her better
judgment she picks up the phone and dials.
INT. DAWSON'S GRILL. NIGHT
Sammy and BOB STEEGERSON are eating dinner at Dawson's, the
only fancy restaurant in town. Bob is in his mid-thirties, a
Realtor, a decent, ordinary guy.
SAMMY
Anyway, Bob, it's sort of this
adventure story, and Rudy's father
is this secret agent or something,
working for the government... And it
just made me feel weird. You know?
Because I never really say much to
him about Rudy Sr., because I don't
know what to say. And I don't know
whether I should just let him imagine
whatever he wants to imagine, or
whether I should sit him down sometime
and tell him, you know, that his
father is not such a nice person.
You know?
BOB
Well... I don't know, Sammy. What
have you told him already?
SAMMY
Not much. He knows I don't have the
highest opinion of him. And he knows
I don't want to see him or know
anything about him, ever. But I tried
to keep it kind of neutral. Anyway...
I could go into a lot more detail,
believe me.
BOB
Well... It's an interesting problem.
But I don't really know what to tell
you... It's a little outside my
personal field of expertise...
SAMMY
All right.
BOB
I'd be glad to give it some thought...
SAMMY
OK.
He is smiling at her.
SAMMY
What?
BOB
Nothing... I'm just glad to see you...
I'm glad you called me.
SAMMY
I bet you were surprised...!
BOB
Um -- a little.
Bob drains his wineglass. Sammy cuts at her steak.
INT. BOB'S BEDROOM. NIGHT
Sammy and Bob lie in Bob's bed, a few minutes after having
made love. They are very far away from each other, but trying
with difficulty not to let on.
SAMMY
I should get going...
BOB
Really?
SAMMY
Yeah... I've got the baby-sitter...
But... Thanks for a lovely evening.
BOB
Oh. Thank you.
She kisses him. She tries to make it sexy, but he's not into
it anymore and he politely restricts the kissing.
INT. SAMMY'S BATHROOM. NIGHT
Sammy stands in her slip brushing her teeth in front of the
mirror. She brushes vigorously, looking at herself while she
brushes.
DISSOLVE TO:
EXT. STREET CORNER -- WORCESTER, MASS. DAWN
The corner window of a grim little apartment building on a
very grim street in a grim little city.
INT. TERRY'S APARTMENT -- WORCESTER, MASS. NIGHT
A tiny apartment with a bed, chair, table, fridge, and not
much else. One window has a broken pane and an old sheet
neatly thumbtacked over it to keep the wind out.
TERRY PRESCOTT comes in. He is twenty-five years old: a real
mess with a certain natural appeal. He wears old jeans, very
old hiking boots, and a lumberjack-style coat. He takes a
wool hat off his head. His hair is longish and dirty.
SHEILA SADLER is sitting at the table by the fridge. She is
barely eighteen, frail and damaged.
SHEILA
Hey, Terry.
TERRY
Hey.
Terry looks at her and smiles encouragingly. She smiles back.
SHEILA
Where'd you get the hat?
TERRY
Oh, I got it on the street for a
dollar.
SHEILA
It's nice.
TERRY
Well, you know, it's pretty much
your standard woolen hat.
SHEILA
Yeah, I had a very similar reaction
to it.
Sheila looks away. Silence.
TERRY
Can I get that money from you?
SHEILA
Yeah. Sorry.
As she opens her purse, Terry takes a few vague steps toward
her. She takes out a tiny hippie-ish woven wallet and gives
Terry all the money in it: a twenty and two ones.
TERRY
Is that all you have?
SHEILA
Yeah.
TERRY
Can you borrow some cash from your
brother?
SHEILA
Um, yeah, but that would involve
speaking to him.
TERRY
Well, I'm definitely gonna be gone
for a couple of days at least, Sheila.
SHEILA
Why do you have to stay so long?
TERRY
Because my sister is not a bank, you
know? I can't just show up and ask
her for --
SHEILA
You seem to think my brother's a
bank!
TERRY
Oh Sheila can we just cut out the
puerile crap?! I'll be back just as
soon as I can. OK? I am not the kind
of man that everyone says I am.
SHEILA
I know you're not.
TERRY
I'll call you tonight.
Pause.
SHEILA
Don't you wanna tell me you love me?
TERRY
I love you.
SHEILA
That was really convincing.
TERRY
Well... I think after this is over
you should seriously consider moving
back home.
SHEILA
(Short laugh)
Oh, yeah.
TERRY
(Gives up)
All right...
SHEILA
You gonna call tonight?
TERRY
Definitely.
She puts her arms around him and holds on.
EXT. NEW YORK STATE -- MOUNTAINS -- HIGHWAY. DAY
Wide open shot of hilly country and a big sky overhead. A
GREYHOUND BUS drives into the shot along the curve of the
highway.
INT. BUS (MOVING) -- BATHROOM. DAY
Terry is seated on the toilet seat in the cramped bathroom
smoking a joint. He takes a huge hit and holds it in for as
long as humanly possible. He blows out what's left, takes
another equally huge hit and holds it in.
EXT. LOCAL HIGHWAY. DAY
The BUS WHOOSHES along a smaller, heavily wooded roller-
coaster road.
INT. BUS (MOVING). DAY
Terry looks out the window at the passing scenery. The
sunlight flickers on his face.
POV TERRY: The bus rolls past the hilltop cemetery.
Terry shifts uncomfortably in his seat.
POV TERRY: THE "WELCOME TO SCOTTSVILLE" SIGN whizzes by.
Houses start dotting the side of the road.
Terry starts getting very agitated.
EXT. MAIN STREET. DAY
Terry stands at one end of Main Street, backpack over his
shoulder, as the BUS DRIVES OFF. He looks around at the town
going about its Saturday afternoon business.
INT. KITCHEN. SIMULTANEOUS
Loud country-western music is blaring as Sammy, wearing an
apron, sets a big vase of flowers on the kitchen table and
hurries to the oven. There are also cookies, a pie, evidence
of massive fancy cooking. She puts on her oven mitts and
takes a lasagna out of the oven, as the phone rings. She
picks up.
SAMMY
(Into phone)
Hello?... TERRY!...
EXT. SAMMY'S HOUSE. DAY
Sammy practically bursts out the front door. She has changed
into nice clothes.
EXT. ALLEY. DAY
Terry secrets himself in a small dark alley. He takes out
his carefully wrapped half joint and lights it. SMOKING, he
looks at the sunlit slant of street beyond the alley.
EXT. MAIN STREET. A FEW MOMENTS LATER
Terry, fairly well stoned, walks along Main Street. A skinny
man emerges from his hardware store to greet Terry and shake
hands. Terry says "Hi," but keeps on walking. He passes some
other people.
He almost runs right into SHERIFF DARRYL, sixteen years fatter
and grayer.
SHERIFF
Whoa there!
TERRY
Sorry.
The Sheriff recognizes Terry and breaks into a big smile.
SHERIFF
God damn! Terry Prescott! How you
doin'? Gimme a cuddle!
The Sheriff gives Terry a big bear hug. Terry is wasted and
selfconscious but smiling. He pats the Sheriff's back.
TERRY
How you doin', Darryl?
SHERIFF
Which way you headed?
TERRY
I'm just goin' to see Sammy at
Dawson's...
SHERIFF
Can I walk with you a little?
TERRY
Sure, yeah --
SHERIFF
So Sammy says you been out in
Alaska...?
TERRY
Yeah, I was workin' out there for a
little while...
EXT. MAIN STREET. A FEW MOMENTS LATER
The Sheriff walks along with Terry. Terry, very self-conscious
about smelling like pot, fumbles to light a cigarette. The
Sheriff does not seem to notice.
SHERIFF
-- Sammy says she's gettin' postcards
from all across the country.
TERRY
Yeah, I've been all over the place...
They stop outside Dawson's.
SHERIFF
Well, it's good to have you back
here, I'll tell you that.
TERRY
Thanks, Darryl. Keep enforcing the
peace.
SHERIFF
Well, that'll be a little harder now
that you're home, but I'll do what I
can.
TERRY
No, man, I'm reformed.
SHERIFF
Oh, yeah. Good to see you, kid.
TERRY
Thanks, Darryl.
Darryl walks away. Terry stands outside the restaurant looking
for Sammy.
Behind him in the restaurant Sammy is sitting at a table,
talking to the waitress.
She sees Terry and gets up immediately, smiling like crazy
as she threads her way through the tables toward the door.
Terry turns and sees her. He breaks into a big smile, tosses
his cigarette and goes into the restaurant. Through the window
we see them make their way toward each other.
Sammy throws her arms around him. He hugs her back with a
big involuntary smile as the GLASS DOOR slowly CLOSES.
INT. DAWSON'S -- AT THEIR TABLE. A FEW MOMENTS LATER
Terry is studying the menu, over-intently. Sammy is beaming
at him.
TERRY
Sorry about yesterday --
SAMMY
I don't care --
TERRY
I was studying the bus description...
and I just... I got on the wrong bus --
I mean I missed my stop --
SAMMY
I don't care, Terry. I'm just so
glad to see you...!
TERRY
I'm glad to see you too, Sammy. Um...
are you coming from work?
SAMMY
Um, no, it's Saturday...
TERRY
Yeah, no, it's just... you're dressed
so formally...
SAMMY
Oh. No. You know, I just thought I'd --
You know I thought it was a special
occasion... which it is...
TERRY
No, it's good. I thought I'd dress
up too.
He gestures to his shitty clothes.
SAMMY
That's OK. You look fine.
TERRY
(A strange,
unsuccessful joke)
Yeah, this is the haute cuisine of
garments.
SAMMY
What?
TERRY
Nothing, nothing... Um... So how are
you?
SAMMY
I'm fine.
TERRY
How's Rudy?
SAMMY
We're fine, Terry. How are you?
(Pause)
I mean --
TERRY
Yeah...
SAMMY
-- Where have you been lately, Terry?
TERRY
-- I know, I haven't been --
SAMMY
I got a postcard from you from
Alaska...?
TERRY
Yeah, I was up there for a while...
SAMMY
But that was in the Fall, Terry...
TERRY
Yeah, I know I've been out of touch...
SAMMY
I was a little worried.
(Pause)
I mean --
TERRY
Oh, I been a lotta different places...
Um... I went down to Florida for a
while... I was doing some work in
Orlando... I've been all over the
place.
SAMMY
Well... I just wish you would have
let me know you were OK...
TERRY
Yeah. I didn't realize it'd been so
long...
He looks around the restaurant.
SAMMY
(Beaming again)
Are you gonna stay in town for a
while?
TERRY
Well, I don't know... I got all these
things I gotta do back in Worcester...
SAMMY
Oh...
TERRY
...Yeah, so I'm probably not gonna
be able to stay more than a day or
so...
SAMMY
Oh... Well... That's all right...!
TERRY
...I'm kind of trying to keep to a
schedule of sorts. It's a long and
worthy story but I won't trouble you
with it right now.
He twists around and looks all over the restaurant. She
watches him.
SAMMY
Are you expecting someone?
TERRY
Who would I be expecting here?
SAMMY
You just keep looking around, that's
all.
TERRY
No, I was just wondering if we could
get some more refreshments, actually.
He laughs. Looks down. Silence. He looks up at her.
TERRY
I've actually got to confess to you,
Sammy... that the reason you may not
have heard from me for a little while
is that I've been kind of unable to
write... on account of the fact that
I was in jail for a little while.
SAMMY
You were what?
A couple of people in the restaurant look at them. Terry
notices but Sammy does not.
TERRY
Well, I did a little time, I guess,
in Florida. For, uh, just for
bullshit...
SAMMY
What?!
TERRY
It was just bullshit...
SAMMY
What did you do?
TERRY
I didn't do anything. Does it occur
to you that maybe I was wronged?
SAMMY
No!
TERRY
Well, could I please --
SAMMY
Oh my God! --
TERRY
Would you please let me --
SAMMY
-- What happened?!
TERRY
I got into a fight in a bar down in
Florida. Which I was not the one who
instigated it, at all. But they worked
up all this bullshit against me and
they threw me in the pen for three
months. I didn't write you because I
didn't want you to get all upset
about it. I just figured you'd figure
I was on the road for a little while.
I know it was stupid and I'm sorry.
I really didn't mean to make you
worry. But you know what? I can't
run around all the time doin' stuff
or not doin' stuff because it's gonna
make you worry! Because then I come
back here, and I tell you about my
fuckin'... traumas, and I get this
wounded little "I've Let You Down"
bullshit, over and over again, and
it really just -- cramps me! Like I
just want to get out from under it!...
And here I am back in this fuckin'
hole explaining myself to you again!
SAMMY
OK -- Can you please stop cursing at
me?
TERRY
I mean, I realize I'm in no position
to, uh, basically say anything, ever --
But it's not like I'm down there in
some redneck bar in Florida having
an argument with some stripper's
boyfriend and I suddenly think, "Hey!
Maybe this'd be a good time to really
stick it to Sammy and get myself
locked up for a few months."
SAMMY
I'm sorry.
TERRY
Me too, man. I mean "welcome home."
SAMMY
Hey -- You don't write me for six
months, I have no idea where you are --
TERRY
I'm sorry --
SAMMY
-- I don't know if you're alive or
dead --
TERRY
I'm sorry --
SAMMY
-- and then you show up out of nowhere
and tell me you were in jail?
TERRY
I'm sorry, I'm sorry, I'm sorry,
Sammy, I'm really sorry...!
The patrons are all either looking at them or trying not to
look. Silence.
TERRY
Sammy...
SAMMY
What?
TERRY
Um... I'm in the midst of a slight
predicament...
SAMMY
What do you need? Money?
TERRY
Um... Yeah... I'm broke. I gotta get
back to Worcester tomorrow. I got
this girl there, and she's kind of
in a bad situation...? I just need
to borrow some money. Whatever you
can spare.
(Pause)
I'll pay you back... I'll pay you
back, man.
SAMMY
I really wish Mom was here.
TERRY
So do I, man.
SAMMY
Nobody knows what to do with you.
TERRY
I know how they feel, man.
Silence, except for the sounds of the restaurant.
SAMMY
Terry? Can I ask you something?
TERRY
Sure.
SAMMY
(With some difficulty)
Well -- I mean, do you ever go to
church anymore?
TERRY
Come on, Sammy, can we not talk about
that shit?
SAMMY
Do you?
TERRY
Um -- No, Sammy. I don't.
SAMMY
Can you tell me why not?
TERRY
Um, yeah. Because I think it's
ridiculous.
SAMMY
Well -- can you tell me without like,
denigrating what I believe in?
TERRY
Because I think it's primitive, OK?
I think it's a fairy tale.
SAMMY
Well -- I mean, have you ever
considered that maybe that's part of
what's making things so difficult
for you?
TERRY
No.
SAMMY
-- That you've lost hold of -- well,
not just your religious feeling, but
lost hold of any kind of anchor, any
kind of trust in anything... I mean
no wonder you drift around so much.
What could ever stop you? How would
you ever know if you had found the
right thing?
TERRY
Well, uh, I'm not really looking for
anything, man. I'm just, like, trying
to get on with it.
The WAITRESS approaches with their salads.
WAITRESS
Here we go...
She sets them down on the table.
SAMMY and TERRY Thank you.
The WAITRESS leaves. Silence. Terry picks at his salad. Sammy
doesn't touch hers. She watches him miserably.
EXT. BANK -- ATM. DAY
Terry watches while Sammy inserts her card in the ATM and
punches in her code. Terry waits. She punches in $300. The
machine grinds out her cash. She gives him the money.
TERRY
Thank you, Sammy... I'm really gonna
pay this back.
She takes her card back and puts it back in her wallet.
INT. SAMMY'S CAR. DAY
Sammy and Terry get in the car. Sammy isn't saying anything.
TERRY
Where we going?
SAMMY
To pick up Rudy.
She puts on her glasses and her seat belt. She won't look at
him.
TERRY
Well... do you not even want me to
visit now? 'Cause I can catch the
bus at five o'clock if that's what
you want.
SAMMY
Well, of course I want you to visit,
you idiot! I've been looking forward
to seeing you more than anything!
I've been telling everyone I know
that you were coming home! I cleaned
the whole fucking house so it would
look nice for you! I thought you
were gonna stay for at least a few
days! It didn't occur to me that you
were just broke again. I wish you
would have just sent me an invoice!
She stops. Terry is now totally contrite.
INT. BATHROOM. NIGHT
Terry sits in the tub. Water drips from the faucet. He is
staring blankly up at the pristine blue-and-white tiled wall
and the neatly folded matching towels.
INT. LIVING ROOM. LATER
Sammy and Rudy are in the living room. Rudy is playing with
a Game Boy type game. In the b.g., TERRY is dialing the PHONE.
He looks clean and shaved, his hair is neatly combed.
TERRY
(Into phone)
Hi, is that Malcolm?... Hi, this is
Terry Prescott?... I been trying to
get ahold of Sheila and there's no
answer, and I was just wondering if
she -- She what?...
He sits down.
TERRY
(Into phone)
When?... Well -- Is she all right?...
Well, could I talk to her?... Well,
could you give her a message that I --
CLICK. He is hung up on. He slowly HANGS UP.
Sammy notices that something's wrong. He looks at her from
across the room.
TERRY
That girl I'm with tried to kill
herself.
SAMMY
What?
TERRY
She tried to kill herself.
INT. TERRY'S ROOM. NIGHT
Terry is sitting on the bed, addressing an envelope to SHEILA.
He puts the $300 in the ENVELOPE and seals it. He sees Sammy
standing in the doorway. He starts to unlace his boots.
SAMMY
Do you have everything you need?
TERRY
I think so.
Sammy comes into the room and sits next to him. He is very
busy with his laces.
SAMMY
What are you going to do?
TERRY
I don't know. Send the money I guess.
SAMMY
Maybe you should stay home for a
little while, Terry.
TERRY
Yeah, maybe that'd be a good idea.
He starts crying. Sammy pats him.
EXT. SCOTTSVILLE CHURCH. DAY
A bright, clear, blue-skied Sunday morning in Scottsville.
Inside the little white church they're singing.
EXT. CHURCH. DAY
People are filing out of the church. We also see a couple of
the bank employees, including BRIAN and his very pretty six
months' PREGNANT wife, NANCY. We find SAMMY and RUDY. Sammy
is chatting to some neighbors. Rudy is bored out of his mind,
waiting for her.
INT. SAMMY'S HOUSE -- LIVING ROOM. DAY
Terry is lying on the sofa, smoking, with his feet up and
boots on, watching Sunday morning TV. On the coffee table
are his dirty ashtray, dirty bowl and spoon, Rice Krispies
box and a milk carton.
EXT. SAMMY'S HOUSE. NIGHT
Crickets buzz loudly outside the house.
INT. STAIRS. NIGHT
Sammy, in her bathrobe, comes down the stairs into the living
room. Terry is on the sofa playing with Rudy's Game Boy. He
barely looks up when she speaks to him.
SAMMY
I'm going to bed. Do you have
everything you need?
TERRY
Yeah. Thanks.
SAMMY
Good night.
TERRY
Good night.
Pause.
SAMMY
Terry, I'm really glad you're home.
Terry tries to smile at her.
TERRY
Yeah, me too, Sammy.
He goes back to his game. She hesitates, then heads back up
the stairs.
INT. SAMMY'S KITCHEN. DAY
Sammy, Terry and Rudy sit at the kitchen table. Sammy is
dressed for work. Rudy is dressed for school. Terry is also
fully dressed, drinking the last dregs of a mug of coffee.
He is tired, but listening to Sammy very carefully, as if
receiving difficult and critical instructions.
SAMMY
OK. So we'll drop Rudy off at the
bus, then all you have to do is drop
me off at the bank, and just pick
Rudy up at 3:30 in front of town
hall, and drive him over to Carol's
house. And that's it. She's on Harvey
Lane, right past where the Dewitts
used to live.
TERRY
OK.
SAMMY
Rudy knows where she lives.
Terry glances at Rudy, then back at Sammy.
TERRY
OK.
INT. BANK -- MABEL'S DESK. DAY
Sammy walks past MABEL'S DESK, carrying a big stack of files.
She drops three of them on the desk. MABEL is typing away at
her PC. The colors are a garish PURPLE background with GREEN
letters.
SAMMY
God, Mabel, don't those colors hurt
your eyes?
MABEL
Oh no, they keep me fresh.
Sammy proceeds down the hall and into --
INT. BRIAN'S OFFICE. DAY
Brian is at his desk, busy working between stacks of papers.
She knocks on the open door.
BRIAN
Yeah!
(Looks up)
Hi, Sammy. What can I do for you?
SAMMY
Um, Brian? Did you want us to turn
this time sheet in at the end of the
day, or do you want it at the end of
the week...?
BRIAN
Oh, yeah, end of the day'll be fine.
SAMMY
Seems like an awful lot of extra
paperwork...
Brian hesitates, shrugs and smiles.
BRIAN
I like paperwork.
Sammy looks at him with a blank smile.
INT. BANK -- SAMMY'S DESK. A MOMENT LATER
Sammy sits down at her desk and notices the time: 3:30. She
reaches for the phone, then decides not to call.
EXT. SCOTTSVILLE -- MAIN STREET. DAY
The CLOCK on the front of the TOWN HALL reads 3:31.
The SCHOOL BUS pulls up across from the town hall and
disgorges a handful of kids. Rudy comes out with his knapsack,
looking around...
POV RUDY: Terry, across the street, sits on the hood of
Sammy's car, smoking.
Rudy walks over to him.
RUDY
You showed up.
TERRY
Looks that way.
INT. SAMMY'S CAR (MOVING). DAY
Terry and Rudy drive in silence. Terry glances at Rudy.
TERRY
Put on your seat belt.
RUDY
It pushes on my neck.
TERRY
What?
RUDY
It pushes on my neck. It's
uncomfortable.
TERRY
Well, when somebody slams into us
and you go sailin' through the
windshield, that's liable to be
uncomfortable too. So put on your
seat belt.
Rudy puts on his seat belt.
RUDY
Mom's parents died in a car accident.
TERRY
I know. They're my parents too.
RUDY
They are?
TERRY
Well, yeah. Your mom is my sister.
RUDY
Yeah, I know.
TERRY
So that means we have the same
parents.
RUDY
Oh yeah.
They drive in silence for a moment. Terry glances down at
Rudy.
INT. BANK -- SAMMY'S DESK. DAY
Sammy, laden with files, plops down at her desk as Mabel is
passing by. Mabel puts a phone message down in front of her.
MABEL
Um -- Carol just called. She said
Terry and Rudy never showed up at
her house?
SAMMY
You've got to be kidding me.
A MOMENT LATER: Brian, talking to an employee, sees Sammy,
across the bank, hurrying out the employees' exit.
BRIAN
Hey, Sammy?
Sammy doesn't hear and exits.
EXT. ORRIN'S BACKYARD. DAY
Terry and Rudy are banging nails with RAY, a young guy Terry's
age. Terry, hammering with swift, accurate blows, glances up
and watches Rudy for a second. Rudy is hammering away with
no great skill.
TERRY
Hey. Look.
He moves Rudy's hand down toward the end of the handle.
TERRY
You hold it further down, you're
gonna get a lot more power. You should
be able to put that nail down with
two or three hits. Look:
With two swift strokes he drives the nail flush into the
wood.
TERRY
Try it.
RUDY
That's not the way I hold it.
TERRY
Well, the way you hold it is wrong.
RUDY
Why can't I just do it my own way?
Terry looks at him unsympathetically for a moment.
TERRY
(Shrugs)
You can.
He goes back to work. Rudy resumes hammering. After a moment
he switches his grip and starts hammering Terry's way. Terry
looks up and watches him.
EXT. IN FRONT OF ORRIN'S HOUSE. A MOMENT LATER
Sammy pulls up, fast, and gets out of the car. Hearing the
hammering from the backyard, she walks quickly around the
side of the house and stops short when she sees Rudy hammering
happily away with Terry and Ray.
She watches them working, unobserved, with mixed annoyance
and relief, and finally with quiet pleasure, because it's a
very cheerful sight.
INT. BANK. DAY
Half the staff has gone home. Sammy, in her coat, picks a
NOTE up off her CHAIR. It reads:
"SAMMY, PLEASE SEE ME A.S.A.P!!! -- BRIAN"
INT. BRIAN'S OFFICE. A MOMENT LATER
Sammy stands in front of Brian's desk.
SAMMY
Brian? Did you want to see me?
BRIAN
Yeah. I was kind of wondering what
happened to you today.
SAMMY
Oh -- Didn't Mabel -- I had a false
alarm about my son...
BRIAN
Yeah, I kind of thought you were
gonna work that out.
SAMMY
Well, I did work it out -- more or
less --
BRIAN
Then why're you running outta here
in the middle of the day without a
word of explanation to me, Sammy?
SAMMY
Brian, don't yell at me.
BRIAN
I'm -- I'm not yelling. I'm just
gettin' a little frustrated here.
SAMMY
Well Brian:
BRIAN
Sorry, could you close the door
please?
Sammy closes the door.
INT. DINING ROOM. NIGHT
Sammy, Terry and Rudy sit at dinner. The atmosphere is lively
and cheerful.
SAMMY
...And Eddy Dwyer lives in Buffalo,
with his wife and two sons, if you
can believe it.
TERRY
That is depressing.
SAMMY
Why?
TERRY
He just never struck me as the
marrying type, that's all.
RUDY
Who are you talking about?
TERRY
Wild kids we used to know.
RUDY
Were you a wild kid?
TERRY
Not compared to your Mom.
RUDY
Yeah, right.
TERRY
You don't believe me?
RUDY
No.
TERRY
Ask her.
RUDY
Mom, were you?
SAMMY
No comment.
Rudy is amazed. Terry looks at him like, "Told you so."
INT. SAMMY'S BEDROOM. NIGHT
Sammy is asleep in bed.
INT. RUDY'S BEDROOM. NIGHT
Rudy is asleep in bed.
INT. BAR. NIGHT
Terry sits at the bar, drinking beer. There are a few locals
in the place, but it's pretty dead. He looks around; his
energy is too restless for the near-empty bar.
INT. RUDY'S BEDROOM. NIGHT
The DOOR OPENS, and TERRY COMES IN, smoking a cigarette.
He's plastered. He looks around the room. Looks at Rudy's
toys. Picks up some superhero comics and sits on Rudy's bed.
Then he spies Rudy's COMPOSITION BOOK, picks it up and starts
reading it.
RUDY (O.C.)
What are you doing?
Terry looks up. Rudy is half-sitting up in bed.
TERRY
Oh -- Just readin' some of your
compositions.
RUDY
Why are you smoking?
TERRY
Um... Because it's bad. Don't ever
do it.
RUDY
I won't.
TERRY
You know this used to be my room?
RUDY
Yeah...
(Pause)
Do you want it back?
TERRY
No.
Rudy is very relieved. Terry keeps reading. Rudy watches
him.
RUDY
Did you fight in Vietnam?
TERRY
No. I wasn't even born yet.
RUDY
Were you ever in the army?
TERRY
No.
RUDY
My father was in the army.
TERRY
I know. Unfortunately he didn't fight
in Vietnam either.
RUDY
Were you friends with him?
TERRY
Not really. We had some friends in
common, I guess... I didn't like him
very much.
RUDY
Why not?
TERRY
Well, he wasn't very likable.
RUDY
Why do you say that?
TERRY
I don't know. He was always -- He
always had to be better than you at
everything. You know. Like if you
were all playing basketball or
something, everybody's havin' like a
friendly game and he's like ready to
kill somebody if his team didn't
win. Or like if you told like a joke
or a story, he always had to tell a
better one? Kinda gets annoying after
a while. Plus it was pretty scummy
how he split on your mom and you...
He was a prick. Probably still a
prick. Fortunately for you though,
your mom is like, the greatest. So
you had some bad luck and you had
some good luck.
(Pause)
You mind if I ask you a personal
question?
RUDY
I don't know.
TERRY
Do you like it here? I mean, in
Scottsville?
RUDY
Yeah...?
TERRY
Why?
RUDY
I don't know. My friends are here...
I like the scenery... I don't know.
TERRY
I know, I know, but it's so... There's
nothing to do here.
RUDY
Yes there is.
TERRY
No there isn't, man! It's narrow.
It's dull. It's a dull, narrow town
full of dull, narrow people who don't
know anything except... what things
are like right around here. They
have no perspective whatsoever. No
scope. They might as well be living
in the nineteenth century because
they have no idea what's going on,
and if you try to tell 'em that,
they wanna fuckin' kill you.
RUDY
What are you talking about?
TERRY
I don't know...
Terry lies on his back and smokes.
TERRY
You're a good kid.
INT. BANK -- SAMMY'S DESK. MORNING
There's a NOTE on Sammy's chair.
"SAMMY, PLEASE SEE ME -- BRIAN"
Sammy, just arrived at work and still in her coat, looks
down at the note.
INT. BANK -- BRIAN'S OFFICE. DAY
Sammy listens to Brian.
BRIAN
Yeah. This doesn't apply to you
directly, Sammy, but I've noticed
that some of the employees have their
PC monitors set with all kinds of
crazy colors... Purple and polka
dots or what have you. And it's not
a big deal, but really, this is a
bank. You know? It's not really
appropriate. So I'm just asking that
people stick to a more quote unquote
normal range of colors in future...
Sammy looks at him blankly.
BRIAN
Like I say, it doesn't really apply
to you.
SAMMY
No, my computer palette's pretty
conservative.
INT. BANK -- MABEL'S DESK. DAY
Mabel is typing angrily at a GRAY SCREEN with BLACK LETTERS.
Sammy walks by. Mabel is so mad she doesn't even look up.
INT. BANK -- SAMMY'S DESK. DAY
Sammy sits agitated for a moment. She makes a decision, picks
up the phone and dials.
INT. BOB'S OFFICE. SIMULTANEOUS
Bob is in his little realty office with two CLIENTS, a husband
and wife. He picks up his RINGING PHONE.
BOB
(Into phone)
Bob Steegerson.
SAMMY
(On phone)
What are you wearing?
BOB
(Into phone)
Mom?
Sammy LAUGHS.
INT. SAMMY'S HOUSE -- DOWNSTAIRS HALL. NIGHT
Terry is holding a broom looking up at the ceiling. Sammy
passes by and stops.
SAMMY
What's up?
Terry taps the broom handle against the ceiling.
TERRY
Do you know you have an enormous
leak from the upstairs hall?
He pokes again. A portion of the ceiling collapses on his
head in wet chunks of plaster and muck.
SAMMY
Um, yeah, thanks, I did.
INT. SAMMY'S ROOM. NIGHT
Sammy, in front of the mirror, finishes dolling herself up
for her date. O.C. we hear loud banging. Sammy puts on her
earrings and goes into --
INT. HALL. CONTINUOUS
SAMMY
Are you guys sure you're gonna be
OK?
TERRY
Yes. Yes.
Sammy approaches RUDY and TERRY. They are bent over a big
nasty trench in the floorboard. There are wood shavings and
greasy pipe segments all over, and black smeary smudges on
the walls nearby.
SAMMY
What is happening here?
TERRY
It's just -- The problem is that the
pipe is corroded all the way along
the length of the hall. So every
time I put in a new piece it starts
leaking further down.
SAMMY
Why don't I just call the plumber?
TERRY
Why? He's not gonna do anything
different than what I'm doing.
RUDY
(Happily)
Yeah. We're making it worse!
TERRY
No we're not. Shut up.
Terry yanks the wrench and a SPRAY of FILTHY WATER comes out
of the pipe and splatters the wallpaper and pictures and
Sammy with gritty gray water. She looks at them.
SAMMY
Thank you. Thank you both.
INT. HALLWAY. NIGHT
Bob and Sammy -- cleaned up and wearing a different outfit --
are bustling out the front door. Terry stands by.
SAMMY
Now, call if there's any problem,
and if I'm not there, I'm either on
my way or on my way back home.
TERRY
OK.
Sammy gets into her coat. Bob opens the front door.
SAMMY
(To TERRY)
So lights out at ten... and don't
spend the whole night watching TV.
TERRY
Nice to meet you, Bob.
BOB
You too.
TERRY
(To SAMMY)
What's your idea of the whole night?
SAMMY
Two hours tops.
Bob holds the door for Sammy and smiles at her. There is
some confusion about who should go out first. Finally she
goes and Bob follows. The atmosphere between them is fairly
awkward.
INT. SAMMY'S HOUSE. NIGHT
Terry and Rudy are watching TV from the sofa.
TERRY
What's your feeling about Bob?
RUDY
I don't really know him that well.
Terry looks at his watch.
TERRY
I have bad news for you.
He picks up the remote...
RUDY
No...!
...and turns off the TV. They sit there in the sudden silence.
RUDY
Great. What are we supposed to do
now?
TERRY
Do you know how to play pool?
RUDY
I've played it.
EXT. THE WILD MOOSE. NIGHT
The Wild Moose is a noisy roadside bar sitting under the
stars. Terry and Rudy get out of the car. Rudy looks
apprehensive.
RUDY
I don't think they let kids in there.
TERRY
Well, we're not allowed to watch any
more TV, so it's this or nothing...
But if we run into any trouble, let
me do the talking.
RUDY
OK.
Terry swings the door open.
INT. THE WILD MOOSE. NIGHT
POV RUDY: A lot of men and women at the bar or in booths,
eating and drinking. Smoky, crowded and very loud. As he
follows Terry through the crowd various patrons notice him --
some of the looks are friendly, some blank, some cold, i.e.,
what's a kid doing in here?
AT THE POOL TABLE: Terry and Rudy stand side by side facing
the players and waiting players gathered around the table.
Terry waves a few bills.
TERRY
I got a hundred bucks here says me
and my nephew can beat anybody in
here. Only we gotta get the next
game 'cause he's gotta be in bed by
ten o'clock.
A MOMENT LATER: RUDY, very nervous, and the 1st Pool Player
are side by side shooting for break. Terry is behind Rudy
coaching him.
TERRY
Just hit it nice and soft... Nice
and soft.
They hit the balls. Rudy just clips his ball and it doesn't
go anywhere. 1st Pool Player's ball hits the opposite bank
and comes almost all the way back.
RUDY
(To TERRY)
Sorry.
TERRY
God damn, Rudy. I thought you said
you could play.
Rudy doesn't answer. Terry winks at him.
A MOMENT LATER: 1ST POOL PLAYER BREAKS -- WHACK! -- The balls
scatter. Nothing drops. TERRY steps up to the table, chalking
up his cue.
TERRY
Boys, it's all over but the cryin'.
QUICK CUTS: Of Terry running the table and everyone watching.
Three-ball in the side. One-ball in the corner. Nine-ball
off three cushions and into the corner, and the eleven-ball
into the side. Rudy watches him.
INT. BOB'S APARTMENT. NIGHT
Bob and Sammy sit at Bob's dining room table. The little
bachelor apartment looks pretty good. Tablecloth, candles,
wine, everything. Bob has just dropped a huge bombshell.
SAMMY
Bob... Are you serious?
BOB
Yeah.
SAMMY
I... I don't know what to say. I --
BOB
I mean, I know I haven't exactly
been the most... decisive... guy. In
the past... I don't know: I'm tired
of foolin' around. And I love you.
SAMMY
I... I'm totally... I don't know
what to say.
BOB
Well, you could always say "Yes."
(Pause)
Or you could think about it first.
SAMMY
That's it: I want to think about it.
BOB
OK... Fair enough.
INT. WILD MOOSE. NIGHT
Terry has sunk everything but the eight ball. He leans over
to sink it. It's a fairly easy shot. He lines it up carefully,
and deliberately shoots it so it stops two inches from the
corner pocket.
TERRY
Ohhhh!
A FEW MOMENTS LATER: Terry and Rudy sit side by side watching
as the 2nd Pool Player passes back and forth between them
and the camera, running the table. "Oohs" and "All rights"
emit from the spectators.
Sudden silence. Then the clack of the balls connecting. A
great common GROAN goes up. RUDY looks up at Terry.
TERRY
It's all yours, baby.
Rudy looks at the TABLE: The eight-ball is two inches off
the corner. The cue ball is a few inches away from it. A
piece of cake, for an adult. Rudy looks deeply unconfident.
He gets up and tries to line up the eight-ball. Terry is
right next to him.
TERRY
Just make sure to hit it really
gentle. But firm. And hit it a little
low so you get some backspin. Don't
even hit it. Just kiss it.
A long moment.
RUDY
What do you mean, kiss it?
TERRY
I mean tap it. Firm but very, very
softly. And don't shoot until you
know it's going in. OK?
RUDY
OK.
Everyone is relatively quiet. Rudy takes a few practice
strokes and then hits the cue ball, straight, but too softly.
It crawls toward the eight and taps it toward the corner,
slower and slower, hangs there, and DROPS.
A GENERAL "HEYYY!" GOES UP and everyone claps and cheers.
Terry grabs Rudy. Rudy smiles, ecstatic.
TERRY
That was great!
AT THE BAR: Darryl the SHERIFF, in his civvies, drinking a
pint of beer, notices Rudy and Terry.
AT THE POOL TABLE: Terry picks Rudy up and turns him upside
down. Rudy laughs.
EXT. SAMMY'S HOUSE. NIGHT
The house is dark. Terry and Rudy are walking from the car
to the house.
RUDY
We creamed those guys! We creamed
them!
TERRY
(Stopping suddenly)
Ssh...! Don't move.
They listen. A CAR is COMING.
TERRY
It's them!
They break for the door, Terry fumbling for his key. He gets
the door open.
TERRY
Go! Go! Go!
He and Rudy run inside the house. The lights go on. BOB'S
CAR pulls into the DRIVEWAY.
INT. THE HOUSE -- FRONT DOOR. SIMULTANEOUS
Rudy runs up the stairs.
TERRY
Wait a minute, gimme your jacket!
Rudy tries to take his jacket off fast but gets his arm caught
in the sleeve. He tries to shake it off.
TERRY
What are you doing?
RUDY
I can't get my sleeve out...!
They HEAR Bob's CAR DOORS SLAM. Terry makes a comic panicked
face and leaps up the stairs two at a time.
OUTSIDE THE HOUSE: Sammy waves to Bob. Bob waves back as he
drives off. Sammy goes to the front door, opens it:
Terry and Rudy are in a giggly tangled panicked heap at the
top of the stairs, shaking Rudy's arm and sleeve, frantically
trying to get the jacket off.
Sammy comes in. They freeze.
SAMMY
What is going on in here?
TERRY
Um -- We were just out doing some
star-gazing, and, uh, Rudy lost track
of the time. Which I totally warned
him about.
(To Rudy)
You are a bad kid.
INT. BATHROOM. LATER
Rudy is brushing his teeth. Terry pokes his head in.
TERRY
(In a low voice)
Hey: I think it's OK. Just don't
tell her where we went, 'cause she'll
be really mad at me. OK?
RUDY
I won't.
TERRY
(Suddenly dark)
Hey -- I'm not kidding, Rudy.
RUDY
I won't!
Terry gives him a "You better not" look, then leaves. Rudy
continues brushing his teeth.
INT. RUDY'S ROOM. NIGHT
Sammy is tucking Rudy in, stroking his hair.
SAMMY
Did you know my Mommy used to take
me and Uncle Terry out at night to
look at the constellations?
RUDY
Yeah.
SAMMY
Did you see that one, what's the one --
It looks like a big "W"? Cassiopeia?
RUDY
Yeah.
INT. HALL. NIGHT
Sammy comes out of Rudy's room, smiling. It's dark. She sees
a LIGHT on under TERRY'S DOOR. She walks toward it and steps
into the TRENCH, falling down violently.
SAMMY
Ow! Shit!
INT. BATHROOM. NIGHT
Terry is putting a butterfly Band-Aid on Sammy's wound. It's
a nasty, bloody gash, just shy of needing stitches.
SAMMY
I've got a great idea. Why don't you
let me call the plumber?
TERRY
Do whatever you want.
SAMMY
Oh, does that make you mad?
TERRY
No...
INT. SAMMY'S ROOM. NIGHT
RAIN patters on the ROOF as Sammy LIMPS back and forth across
the room changing into her nightgown.
EXT. TERRY'S WINDOW. NIGHT
Terry is smoking pot with his head and shoulders stuck outside
the window. RAIN FALLS on his HEAD.
DISSOLVE TO:
EXT. BANK. MORNING
Early morning. The RAIN is still falling. Only a few cars
are in the employee parking lot yet.
INT. BANK -- BRIAN'S OFFICE. DAY
The RAIN runs down Brian's office window. BRIAN, in a wet
raincoat, turns on his light.
A MOMENT LATER: Brian turns on his PC. The SCREEN lights up.
The COLORS are a garish GREEN and ORANGE.
CUT TO:
LATER: SAMMY and BRIAN are both on their feet. The door is
closed.
SAMMY
Brian, get off my ass!
BRIAN
Excuse me?
SAMMY
I didn't change the colors on your
stupid computer screen.
BRIAN
Well, that's all you gotta say!
SAMMY
(On "that's")
There is nothing wrong with the work
I do here. I have been doing just
fine, the whole time before you came
here -- And if you think that riding
people in this petty, ridiculous way
is the way to improve service in
this bank or anywhere else I think
you're out of your mind!
Pause.
BRIAN
I didn't say there was. Could I please --
Could I please -- May I respond?
SAMMY
No, that's really all I have to --
BRIAN
May I respond?
(Beat)
First of all, I don't appreciate
being spoken to with that kind of
language. That's not the way I talk
to you, and I'd appreciate it if you
wouldn't talk that way to me --
SAMMY
Well --
BRIAN
Second of all, if you say you didn't
change the colors on my computer
screen, then of course I accept your
answer. But you and I are gonna have
to find a way to work together --
SAMMY
Brian --
BRIAN
But that's not gonna happen with the
attitude, it's not gonna happen with
the lateness, it's not gonna happen
by fighting me every step of the way --
OK, well not you, you're not late,
but too much of that stuff goes on
around here --
SAMMY
I am not late and I do not have an
attitude -- Well then don't tell me
I'm late if I'm not late!
BRIAN
I'd really like to finish!
OUTSIDE BRIAN'S OFFICE: The whole staff is listening to the
muffled raised VOICES from inside the office.
MABEL especially is listening guiltily.
EXT. MAIN STREET. DAY
The rain falls on Main Street.
EXT. ORRIN'S BACKYARD. DAY
The rain comes down hard on Orrin's construction project.
Tarps cover everything. No work today.
EXT. MAIN STREET -- LUNCH PLACE. DAY
The rain comes down on the SHERIFF, looking through the
restaurant WINDOW at SAMMY, eating lunch alone at the counter.
He goes inside, shakes the rain off himself and goes over to
her. They start talking. We HEAR:
SAMMY
They were where?
INT. SAMMY'S HOUSE -- LIVING ROOM. DAY
The RAIN on the roof makes a sleepy, pleasant country sound.
TERRY is lying on the sofa, smoking a joint, watching TV, in
a funk. O.C. we LOUD BANGING ON THE PIPES.
LATER: A YOUNG PLUMBER, about Terry's age, comes thumping
down the stairs and goes into the living room, carrying his
toolbox. Terry looks up at him.
PLUMBER
OK, you're all set.
Terry glares at him. The plumber turns and goes out.
EXT. BUS STOP. DAY
RUDY is WAITING in a doorway for Terry. He is wet and cold.
The RAIN pours down.
INT. BANK. DAY
Brian is showing his wife, NANCY, the bank. He is very
solicitous of her, nervously introducing her to the employees,
who are not responding very warmly. Nancy is not in a warm
mood either; she's very testy with Brian.
BRIAN
This is Chuck. Chuck, this is my
wife, Nancy.
CHUCK
Hello.
NANCY
Nice to meet you.
BRIAN
This is Mabel...
MABEL
Hi.
NANCY
Nice to meet you.
SAMMY, at her desk, watches Brian and Nancy make their
progress through the bank. Nobody is being very friendly,
and Brian suddenly seems awkward and vulnerable. Brian and
Nancy reach Sammy's desk.
BRIAN
This is Sammy, our lending officer.
Sammy, this is my wife, Nancy.
SAMMY
(Friendly)
Hi. It's nice to meet you.
NANCY
Brian -- I gotta sit down.
BRIAN
Sure -- Let's go in my office.
He glances nervously at Sammy as he leads Nancy away from
her desk and toward his office. He murmurs something to Nancy,
who responds in a low but very testy voice:
NANCY
I'm fine...!
She roughly pulls her arm away from his. Sammy watches them
go into his office.
EXT. MAIN STREET. DAY
Rudy trudges resolutely through the pouring rain toward the
center of town. He is completely drenched.
INT. BRIAN'S OFFICE. DAY
Sammy knocks on Brian's open door.
SAMMY
Brian...?
BRIAN
Yeah.
RUDY (O.C.)
Mom!
Sammy sees to her left, down the hallway --
SAMMY
Rudy!
Rudy is at the end of the hall, drenched and shivering, but
cheerful.
EXT. EMPLOYEE PARKING LOT. DAY
Rudy is in the car, somewhat dried off, waiting. Sammy and
Terry stand in the employee entrance doorway.
SAMMY
Look, I'm glad you guys are getting
along so well -- like, you have no
idea -- but if I can't rely on you
to remember to get him once a day...
TERRY
You can!
SAMMY
-- And what are you doing taking him
to play pool in the middle of the
night, and then telling him to lie
to me about it?
Pause.
TERRY
I don't know.
INT./EXT. SAMMY'S CAR/CAROL'S DRIVEWAY. DAY
Terry and Rudy pull up in front of the driveway. Terry is in
a silent rage. The rain has let up.
TERRY
Get out of the car.
RUDY
What are we doing?
TERRY
You're going to Carol's house and
I'm going home.
RUDY
Why can't I come with you?
TERRY
Because if you're such a baby you
gotta tell your Mommy about us playin'
pool when I totally asked you not
to, and I gotta listen to her shit
all day, then you're goin' to the
baby-sitter's so you can stay at the
baby house.
RUDY
But I didn't tell her!
TERRY
You know what? Don't even fuckin'
talk to me.
RUDY
I didn't!
TERRY
Just get out of the car.
He leans over Rudy roughly and pushes open the door. Rudy
gets out of the car and marches down the long driveway. He
bursts into tears.
Terry watches him go, then drives off.
INT. BANK -- HALL. A FEW MOMENTS LATER
Sammy walks through the empty bank hall and into Brian's
office. Brian is at his desk.
BRIAN
You're working late.
SAMMY
How did your wife like the bank?
BRIAN
Oh, fine. She wasn't feeling so great.
SAMMY
That's too bad.
BRIAN
No -- I don't mean -- She's not ill.
She's just... I don't know...
SAMMY
Pregnant?
BRIAN
That's it. She's pregnant.
SAMMY
It can make you kind of cranky.
BRIAN
Yeah...
Pause.
BRIAN
Listen, I'm sorry we've been stepping
on each other's toes -- I -- I'm not
actually that bad a guy --
SAMMY
Yeah, I am too... I know you're not,
Brian, but you're driving everybody
crazy.
BRIAN
Well, I -- I'm just trying to do my
best here -- And I'm gettin' it from
all sides.
SAMMY
I know you are...
BRIAN
Anyway... We'll work it out...
SAMMY
Well... I could use a beer.
BRIAN
I could use a tranquilizer.
INT. PUB. NIGHT
Brian and Sammy sit at a table in the corner of the dimly
lit pub. It's a medium noisy place with various locals
drinking beers and eating hamburgers and chicken dinners.
SAMMY
Last I heard, Rudy's Dad was living
over in Auburn. But that was last
year.
BRIAN
Must be so tough raising a kid on
your own... Although I'm beginning
to get the idea my wife wouldn't
mind a crack at it.
SAMMY
Oh... It's just the hormones.
BRIAN
Well, no, it isn't. But never mind.
The waitress brings them two boilermakers.
SAMMY and BRIAN Thanks.
She leaves. Sammy and Brian pick up their shots.
BRIAN
Well, here's to improved employee-
management relations.
SAMMY
Amen.
They click shot glasses and drink.
SAMMY
You can't judge all of Scottsville
by the people in that bank, believe
me.
BRIAN
Well -- Let's -- Let's not talk about
the bank.
SAMMY
OK.
BRIAN
Let's just forget about the bank for
tonight.
SAMMY
Good idea.
They sip their drinks, smiling. Sammy looks at him
appraisingly.
INT./EXT. BRIAN'S CAR/WOODED ROAD. NIGHT
Sammy and Brian are making out in the front seat of his car.
This goes on for a while, getting heavier and heavier.
BRIAN
Sammy?
SAMMY
Yeah?
BRIAN
I want you to tell me who changed
the colors on my computer screen.
SAMMY
I'll never tell.
They start kissing again in the cramped space. Brian bangs
his head. They laugh.
EXT. OUTSIDE THE CAR. CONTINUOUS
We pull back and away from the car. The sodden trees spout
faucets of water down on the car.
INT. KITCHEN. NIGHT
The kitchen is dark. Sammy comes in, her hair a little wet,
and turns on the light. She goes to the telephone.
There's a NOTE in Terry's handwriting:
"BOB CALLED."
TERRY (O.C.)
Where were you?
Sammy jumps, startled. Terry is in the kitchen doorway.
SAMMY
Nowhere. I had dinner with my boss.
TERRY
Kind of a late dinner, ain't it?
SAMMY
Yeah. How was Rudy?
TERRY
Fine.
SAMMY
Did the plumber come?
TERRY
Yes, the fucking plumber came.
SAMMY
Terry -- Give me a break!!!
Pause.
TERRY
What's the matter with you?
SAMMY
Nothing. I'm just tired.
TERRY
You want to smoke some pot?
SAMMY
No I don't. Why, you got some?
EXT. PORCH. NIGHT
Sammy and Terry stand side by side on the porch, passing a
joint back and forth. It has stopped raining but the trees
and roof are still dripping. The crickets are chirping loudly.
SAMMY
So... Bob asked me to marry him.
TERRY
Wow.
(Pause)
Are you going to?
SAMMY
I don't know. If he'd've asked me
this time last year I would have
probably said yes. But the minute he
said it, I don't know, I felt like
somebody was trying to strangle me.
TERRY
Well... bad sign.
SAMMY
I know.
(Pause)
Plus, Terry...
(Whispers)
I fucked my boss...!
TERRY
What?
SAMMY
I know! And his wife is six months
pregnant.
TERRY
Jesus Christ, Sammy...!
SAMMY
I know, I know.
He passes her the joint. She declines. He puffs away. The
water drips off the porch and the crickets chirp. She puts
her head on his shoulder. He puts one arm around her and
puffs away with the joint in his free hand.
SAMMY
Terry, I'm sorry I got so mad before.
I just don't want him, you know --
terrified of "telling," if there's --
TERRY
Uh, well, that's not really his
problem, Sammy.
Sammy straightens up.
SAMMY
Oh really? What's his problem?
TERRY
His problem is that he's like totally
sheltered because you treat him like
he's three, instead of eight, so
that's how he behaves.
SAMMY
Oh yeah? And how do you think he
should behave?
TERRY
I think he shouldn't have to run and
tell his Mommy every time he does
something she might not like, for
one thing.
SAMMY
Uh huh. And what do you --
TERRY
(On "and")
I mean I took him to play pool! It
was a little clandestine thing we
did for fun! It wasn't like a big
secret, I mean who cares? I was
actually trying to be nice to him.
But he's so freaked out that he
disobeyed your orders that he has to
fuckin' squeal on me and I have to
listen to your fuckin' shit all day
when I didn't even fuckin' do
anything!
SAMMY
First of all, he didn't tell me
anything: Darryl did. OK? Second of
all, I don't really give a shit if
you took him to play pool: I was mad
at you because you left him standing
at the bus stop in the rain. But no,
I don't want you telling him not to
squeal, because I don't want him put
in that position!
TERRY
(Losing ground)
Well... that... is a perfect example
of what I'm talking about.
SAMMY
You are in idiot.
They stand apart now. Silence.
TERRY
Darryl told you?
SAMMY
Yes!
They stand there. The rain gutters drip.
INT. BANK. MORNING
Sammy, coat on, arrives at her desk and puts her purse down.
There's a NOTE on her CHAIR.
"SAMMY -- PLEASE SEE ME."
INT. BANK -- HALLWAY. A MOMENT LATER
TRACKING SAMMY, coat off, carrying a stack of folders, as
she walks from her desk, around the corner, down the hall,
past a couple of employees and to BRIAN'S OPEN DOOR. She
taps on it. Brian is at his desk.
SAMMY
Morning.
BRIAN
Yeah, good morning. Could you get
the door?
OUTSIDE THE OFFICE: Sammy shuts the door. MABEL and DORIS,
standing near the door, look at each other: i.e., Sammy's in
trouble again.
INSIDE THE OFFICE: Sammy stands by the closed door. Brian
comes out around his desk.
SAMMY
Listen -- I just --
Brian kisses her. She drops her folders and they make out
against the door.
OUTSIDE THE OFFICE: The employees click away at their PCs.
Mabel exchanges a quiet word with Chuck.
INSIDE THE OFFICE: Brian has Sammy pressed against the wall
with her skirt hiked up and is trying to get both of their
underwear out of the way. It's not so easy in their office
clothes. Sammy tears away.
SAMMY
Brian, that's enough.
BRIAN falls back, breathless.
BRIAN
OK. Sorry.
He lunges at her again. They kiss some more.
OUTSIDE THE OFFICE. A MOMENT LATER: Sammy comes out of the
office, more or less composed, carrying her folders. She
heads down the hall past the other employees, including Mabel,
and surreptitiously readjusts her scrunched-up underwear.
INT. DAWSON'S. DAY
Sammy and Bob sit at lunch. Sammy is picking at her food.
BOB
You're awfully quiet.
SAMMY
I'm sorry.
BOB
Um... Have you thought at all about
what I said?
SAMMY
Of course I've been thinking about
it.
BOB
So... Any decisions? Or -- do you
still want to think about it some
more...?
SAMMY
Well -- I mean -- I don't know, Bob.
I mean, we haven't exactly been going
steady the last few months, if you
know what I mean --
BOB
Yeah, no, I know --
SAMMY
-- and then we see each other twice
and you suddenly say you want to get
married? I mean...
BOB
No, you're right, you're right --
SAMMY
What are you talking about?
Pause.
BOB
I don't know... I... Maybe this is...
Last year I sort of thought you were
possibly interested in that... idea...
but I was the one who, you know,
wasn't "ready" at that point -- So
that's why I thought things kind of
slowed down with us...
SAMMY
Don't make me feel bad for you.
BOB
(Bristling)
I don't want you to feel bad for me.
INT. LIVING ROOM. NIGHT
Sammy, Terry and Rudy are all watching TV. Sammy and Rudy
are in pajamas. Nobody's happy and nobody's talking.
The PHONE RINGS. Sammy goes to it and picks up, surprised
because of the hour.
SAMMY
(Into phone)
Hello?
BRIAN
(On phone)
It's Brian.
Sammy turns away and lowers her voice so Terry and Rudy won't
overhear her.
SAMMY
Brian. Where are you?
EXT. GAS STATION. SIMULTANEOUS
Brian is on the pay phone outside a gas station.
BRIAN
I'm buying milk. I just thought I'd
say hello.
WE CUT BETWEEN THEM. Sammy doesn't say anything.
BRIAN
Look, I know it's probably too late,
but is there any way you can come
out for a little while?
SAMMY
Brian, I think you're going crazy.
BRIAN
I know I am. Can you meet me?
SAMMY
Um, OK.
INT. LIVING ROOM. NIGHT
SAMMY comes down the stairs, fully dressed, into the living
room, where Terry and Rudy are still watching TV.
SAMMY
Um -- I have to go out for a minute.
Do you want anything?
TERRY
Like what?
SAMMY
I don't know.
RUDY
Where are you going?
TERRY
Yeah, where are you going?
SAMMY
I just have to go out for a little
while.
RUDY
Where?
TERRY
Yeah, where?
SAMMY
I just have to go to Mabel's house.
RUDY
Why?
SAMMY
You know what, Rudy? It's personal.
This is a personal matter that has
to do with Mabel. I just have to go
see her for a little while.
Terry gives Sammy a look like, "You've got to be kidding."
Sammy tries to shush him with a conspiratorial look back.
She goes out.
LATER. Terry and Rudy sit in front of the TV, alone.
TERRY
Listen. Listen. I'm sorry I said you
squealed on me. I was totally out of
line, and I really owe you an apology.
(Pause)
Did you hear what I said?
RUDY
(Staring at the TV)
I don't care.
INT. SAMMY'S CAR (MOVING). NIGHT
Sammy drives, listening to music. She shakes her head at
herself.
EXT. MOTEL. NIGHT
Sammy's car and Brian's car are parked side by side outside
a roadside motel.
INT. MOTEL ROOM. NIGHT
In the motel room, Sammy and Brian, half-clothed, make love
rather hurriedly on top of the unmade creaky bed.
EXT. MOTEL. NIGHT
Outside the motel, Sammy and Brian get into their respective
cars and start their motors.
INT. SAMMY'S CAR (MOVING). NIGHT
Sammy drives in the other direction. She breaks into a smile,
and then she laughs. Then she stops.
INT. SAMMY'S BEDROOM. NIGHT
Sammy lies awake plagued by guilty feelings.
EXT. CHURCH -- RECTORY. DAY
Sammy heads toward the little white church building.
INT. CHURCH -- RECTORY -- OFFICE. DAY
RON the MINISTER and Sammy drink coffee in silence.
RON
(Gently)
What's on your mind, Sammy?
SAMMY
Well, a lot. But principally... I
was just wondering if you had an
opinion. If you know someone, in
your family, or just someone you
really care about, and they just
can't seem to get ahold of
themselves...
EXT. MAIN STREET. DAY
The SUN SHINES on Main Street.
INT. SPORTING GOODS STORE. DAY
Rudy watches wide-eyed as Terry places on the sales counter
two rods and reels, a bunch of lures, two fishing hats, a
box of swivels, a knife and a fish scaler.
TERRY
You know who this is for?
RUDY
Me!
TERRY
That's right, my little friend.
(To the saleslady)
Hello. We're going fishing.
INT. SAMMY'S HOUSE -- KITCHEN. DAY
Sammy, Terry and Rudy are all putting away the groceries.
Everybody seems to be getting along.
RUDY
I got a new rod and reel, five lures,
I got a hat, I got a knife and I got
a fish scaler.
SAMMY
That's great, honey.
O.C., the DOORBELL RINGS. Sammy starts to move toward the
door, but Terry is closer.
TERRY
I'll get it.
Sammy watches him go.
INT./EXT. FRONT DOOR. DAY
Terry opens the door. It's Ron, the minister, in his civvies.
EXT. FRONT YARD. DAY
Rudy is playing basketball by himself.
INT. SAMMY'S HOUSE -- LIVING ROOM. DAY
Terry, Sammy and RON sit in the living room. Sammy and Ron
are drinking coffee. Through the window we see occasional
glimpses of Rudy playing basketball in the backyard. There
is a heavy silence in the room.
TERRY
Well... I'm not really sure why you're
here, Ron. I mean, I realize I haven't
exactly been a model citizen since I
got here, but compared to how things
have been goin' for me lately, I
thought I was doing pretty well.
He turns to Sammy.
TERRY
And I also find it kind of
discouraging that you seem to think
I need some kind of spiritual
counseling or what have you, so much
so that you're willing to disregard
the fact that I don't believe in any
of this stuff at all --
SAMMY
Well... I didn't mean to discourage
you --
TERRY
I mean it's really kind of insulting.
RON
Can I say something here?
(Pause)
Sammy asked me to come and talk to
you, because it's her opinion that
you're not gonna find what you're
looking for the way you're looking
for it --
TERRY
How would she know?
RON
But I'm really not here to try to
get you to do anything, or to believe
anything. And I'll tell you the same
thing I told her, which is that as
far as I'm concerned the only way
she can help you is by her example --
by trying to be a model for you, by
the way she lives her life...
Terry smiles.
RON
And that doesn't mean she's supposed
to be a saint, either, if that's
what you're smiling about.
TERRY
I didn't realize I was smiling.
A moment.
RON
You know, Terry, a lot of people
come to see me with all kinds of
problems. Drugs, alcohol, marital
problems, sexual problems, health
problems --
TERRY
Great job you got.
RON
Well... I like it. Because even in
this little town, I feel like what I
do is very connected with the real
center of people's lives. I'm not
saying I'm always Mr. Effective, but
I don't feel like my life is off to
the side of what's important. You
know? I don't feel my happiness and
comfort are based on closing my eyes
to trouble within myself or trouble
in other people. I don't feel like a
negligible little scrap, floating
around in some kind of empty void,
with no sense of connectedness to
anything around me except by virtue
of whatever little philosophies I
can scrape together on my own...
TERRY
Well --
RON
Can I ask you, Terry: Do you think
your life is important?
TERRY
You mean -- Like, me personally, my
individual life?
RON
Yeah.
TERRY
Well... I'm not sure -- What do you
mean? It's important to me. I guess.
And like, to my, you know, the people
who care about me...
RON
But do you think it's important?
TERRY
I --
RON
Do you think it's important in the
scheme of things? Not just because
it's yours, or because you're
somebody's brother. Because I don't
really get the impression that you
do.
TERRY
Well, I don't think... I don't
particularly think anybody's life
has any particular importance besides
whatever -- you know -- whatever we
arbitrarily give it. Which is fine.
I mean we might as well... I think
I'm as important as anybody else...
Silence.
TERRY
I don't know: A lot of what you're
saying has a real appeal to me, Ron.
A lot of the stuff they told us when
we were kids... But I don't want to
believe something or not believe it
because I might feel bad. I want to
believe it because I think it's true
or not... I'd like to think that my
life is important... Or that it's
connected to something important...
RON
Well, isn't there any way for you to
believe that without calling it God,
or religion, or whatever term it is
you object to?
TERRY
Yes. I believe that.
INT. DINING ROOM. NIGHT
Sammy, Terry and Rudy are all eating dinner. Terry is drinking
a beer. His mood is dark.
TERRY
So Sammy, what example will you be
setting for us tonight?
Sammy doesn't answer.
INT. LIVING ROOM. NIGHT
Terry, Sammy and Rudy are watching TV. Terry has another
beer.
RUDY
What time are we getting up to go
fishing?
TERRY
We're not going fishing.
SAMMY
What do you mean?
RUDY
Why not?
TERRY
I think you should go fishing with
Father Ron.
RUDY
I don't want to go fishing with Father
Ron.
TERRY
Well, I'm not takin' you.
Sammy starts to say something to Terry, stops herself.
SAMMY
I'll take you, sweetie.
Rudy doesn't answer.
INT. HALLWAY. NIGHT
Sammy and Terry are in the hallway. Sammy holds a stack of
folded sheets.
SAMMY
I realize that you're mad at me --
TERRY
(Deadpan)
I'm not mad at you...
SAMMY
-- but he didn't do anything to you.
And you cannot promise a little boy
that you're gonna --
TERRY
(On "boy")
...I just, you know, after all that
religious conversation, I just
realized it's probably not so good
for him to be spending so much time
with someone like me who doesn't
believe his life is important in the
scheme of things --
SAMMY
Would you please...
TERRY
I'm serious.
SAMMY
(Practically choking)
Listen.
(Pause)
I am sure, if you put your mind to
it, you can think of some other way
of getting back at me besides this.
So would you please just give it
some thought, and take him fishing
tomorrow?
TERRY
I would, Sammy, I just don't think
it'd be good for him.
Pause.
SAMMY
You suck.
She throws the sheets at him and storms away. Terry walks
through the living room and OUT the front door, SLAMMING it
behind him.
INT. SAMMY'S ROOM. NIGHT
Sammy sits by the phone in her bathrobe. She picks it up and
DIALS.
INTERCUT: BRIAN'S LIVING ROOM. NANCY, watching TV on the
sofa with Brian, picks up the RINGING PHONE.
NANCY
(Into the phone)
Hello?
SAMMY HANGS UP. She gets up, walks around, sits down again.
Picks up the phone and DIALS. It RINGS.
INTERCUT: BOB'S KITCHENETTE. Bob, making a sandwich for
himself, picks up the phone.
BOB
(Into the phone)
Hello?
SAMMY HANGS UP. Pause. She sweeps the TELEPHONE and ANSWERING
MACHINE OFF the nightstand. Pause. She calms down and puts
them back. The ancient answering machine is CLICKING
convulsively. She WHACKS IT and it stops.
EXT. CHURCH. DAY
The congregation is coming out of the church and milling
around at the steps. SAMMY, with Rudy at her side, is saying
good-bye to some neighbors. She watches pregnant NANCY and
BRIAN go down the steps.
POV SAMMY: Beyond Brian and Nancy, TERRY pulls up at the
curb in her car. He rummages around and produces FISHING
RODS which he waves, somewhat sheepishly.
REVERSE: At top speed, Rudy runs away from Sammy and the
church, toward Terry and the car. Terry and Sammy exchange a
look from the distance.
EXT. RECTORY. DAY
Services are over. Everyone has gone home.
INT. RON'S OFFICE. LATER
Sammy sits with Ron.
SAMMY
Anyway... I don't know what the
church's position is on adultery and
fornication these days, but I felt
really hypocritical not saying
anything to you about it before,
so... What is the official position
on that stuff these days?
RON
Well... it's a sin.
SAMMY
Good: I think it should be.
RON
...but we don't tend to focus on
that aspect of it, right off the bat --
SAMMY
Why not?
RON
Well --
SAMMY
I think you should.
RON
Well --
SAMMY
Maybe it was better when you came in
and they screamed at you for having
sex with your married boss, and were
really mean to you, and told you
what a terrible thing it was. Maybe
it'd be better if you told me how
I'm endangering my immortal soul,
and if I don't quit I'm going to
burn in hell. Don't you ever think
that?
RON
Um... No.
SAMMY
Well, it's a lot better than all
this "Why do you think you're in
this situation" psychological bullshit
you hear all the time.
RON
Well... Why do you think you're in
this situation?
SAMMY
With which one?
RON
All of them.
Pause.
SAMMY
I feel sorry for them.
(Pause)
Isn't that ridiculous?
Ron shrugs: i.e., "not necessarily."
EXT. STREAM -- BRIDGE. DAY
Terry and Rudy are side by side on a small footbridge over a
wide running stream, fishing. The sunlight slants through
the canopy of trees; the birds are chattering; it's gorgeous
and peaceful.
RUDY
I've never been so bored in my life.
TERRY
Yeah... We really shoulda been out
here around seven or eight A.M.
RUDY
What time is it now?
TERRY
Two-thirty.
Silence. The birds sing.
RUDY
Was my father a good fisherman?
TERRY
Yeah, your father was good at all
that stuff. He knew everything about
the woods, everything about fishing,
everything about hunting and
everything about cars. If he wasn't
such a pain in the ass he would've
been a lot of fun to be around.
RUDY
Maybe he's nicer now.
TERRY
I doubt it.
RUDY
Well, I think he is.
TERRY
How would you know? Did you ever
meet him?
RUDY
No.
TERRY
Were you ever curious to meet him?
RUDY
I guess so.
TERRY
Well, he doesn't live very far from
here.
RUDY
I thought he lived in Alaska.
TERRY
No -- I lived in Alaska. Your dad
lives in Auburn. Far as I know.
(Pause)
We could look him up in the phone
book. Wanna try?
RUDY
All right.
TERRY
OK -- But -- I'm sure I don't have
to say this, but I'm not kidding,
man: Don't -- tell -- your -- mother.
INT. BOB'S APARTMENT. DAY
BOB is standing by his kitchenette, extremely nervous. Sammy
sits on his sofa.
BOB
Do you want to go for a walk, or a
drive? It's really nice out.
SAMMY
No. I'm not gonna stay long. Bob, I
don't want to get married.
Pause.
BOB
OK.
SAMMY
I've really thought about it a lot,
and if you had asked me last year
I'm sure I would have said yes.
BOB
Oh. Thank you.
SAMMY
But I'm not sure it would have been
a good idea then either. I'm going
through a really hard time right now
and I just think that getting engaged
to you or anyone would be just about
the stupidest most self-destructive
thing I could possibly do.
BOB
OK.
SAMMY
And I really think you have to grow
up.
BOB
Well, how about we fix up my
personality some other time?
SAMMY
OK.
(Pause)
I really hope we can still be friends.
BOB
(Quietly sarcastic)
Oh, yes, me too.
She looks at him miserably.
SAMMY
Bob... This is so crazy... I mean...
I don't even understand why you... I
don't even get it.
BOB
What do you want me to say? Everything
you said about me was true, Sammy. I
was just a big chickenshit jerk, and
now I'm payin' the price.
SAMMY
Bob...!
She goes over to him. He gets up.
BOB
What?
SAMMY
Well -- I don't know...
BOB
I don't know. Sammy, I love you. I
wish I could say it in a more
interesting way. I just -- I love
you.
SAMMY
Well -- I mean -- I love you too --
He puts his arms around her and kisses her. She responds
very warmly. Just as things are heating up, she suddenly
remembers something and jolts away.
SAMMY
Oh shit.
BOB
What's the matter?
SAMMY
I gotta go. I'm sorry --
BOB
Where do you have to go?
SAMMY
(Off the top of her
head)
I'm supposed to -- I gotta get Mabel
back her car.
BOB
Well... I don't understand. How are
we leaving things?
SAMMY
Oh God, I don't know. Call me later.
INT. MOTEL. DAY
Brian sits on the edge of one of the beds watching some
daytime Sunday show on the motel TV. There is a knock at the
door. He gets up, turns off the TV and opens the door. It's
Sammy.
SAMMY
Sorry I'm so late.
BRIAN
Yeah, I was just about to give up on
you.
SAMMY
Well -- maybe it would've been better
if you had...
She comes into the room and starts walking around briskly
and nervously.
SAMMY
I mean -- Look, I don't mean to be
unsympathetic about your domestic
situation, whatever it is, but I'm
just beginning to think that if people
tried a little harder to stick to
their commitments and started taking
a little responsibility for their
actions, they might end up having a
lot less trouble generally. That's
all.
BRIAN
Hey, that's what I've been trying to
tell you guys at the bank.
SAMMY
Well, I really don't think I can do
this anymore.
BRIAN
OK.
INT. MOTEL ROOM. LATER
Brian and Sammy lie under the starchy sheets. Brian's eyes
are shut. Sammy is very upset with herself.
SAMMY
This is incredible.
BRIAN
Mmmm.
SAMMY
That is not what I mean.
INT. SAMMY'S CAR (MOVING). DAY
Terry and Rudy drive along. Terry looks down at Rudy and
smiles. Rudy is tense and won't look at him.
OVER TERRY AND RUDY'S SHOULDERS as Terry drives slowly past
dilapidated little houses in a very depressed residential
area. Terry is scanning the house numbers.
RUDY
Maybe we should call first.
TERRY
Well -- We're right here.
He pulls up outside a small, plain, run-down ranch-style
house with a lot of junk out front, and gets out of the car.
Rudy stays in.
TERRY
Come on.
Rudy gets out of the car and comes around. Terry waits for
him, and then they walk up to the front door. The buzzer
says "KOLINSKI."
TERRY
There he is.
RUDY
His last name is Kolinski?
TERRY
Yeah. Ring the bell.
Rudy pushes the doorbell. They wait. There's some noise inside
and some voices. The sound of WALKING.
THE DOOR OPENS. JANIE, a tired-looking young woman around
Terry's age, opens the door.
JANIE
Yes?
TERRY
Hi. We're looking for Rudy?
JANIE
Who should I say is calling?
TERRY
An old friend.
RUDY SR. (O.C.)
Who is it?
JANIE
He says an old friend!
RUDY SR. (O.C.)
How old is he?
RUDY SR. appears behind Janie. He's around thirty, wiry,
dressed in jeans and an old shirt. He doesn't look good. He
recognizes Terry.
RUDY SR.
Hey!
TERRY
Hey, Rudy.
Rudy Sr. sees Rudy, who is looking up at him. His face falls.
RUDY SR.
Hey.
Rudy doesn't answer.
TERRY
(To JANIE)
Hi, I'm Terry.
JANIE
Hello.
TERRY
And this is Rudy.
JANIE
You don't say.
TERRY
Rudy, meet Rudy.
Rudy Sr. looks away, shaking his head. JANIE moves away from
the door.
JANIE
I'll just be in the kitchen.
TERRY
Nice to meet you.
Janie goes into the kitchen. Rudy Sr. watches her go.
TERRY
OK if we come in for a minute?
RUDY SR.
What the hell are you doin'?
TERRY
What do you mean what am I doin' --
Rudy Sr. starts walking toward Terry to make him go back out
the door.
RUDY SR.
Could you step away from the door
please?
TERRY
Well we just wanna --
RUDY SR.
Could you step away from the door
please?
TERRY
All right, all right.
They all go outside. Rudy Sr. pulls the door closed behind
him.
RUDY SR.
What are you doin' here?
TERRY
I just wanted the kid to see you --
RUDY SR.
Well, now he saw me.
(He looks at Rudy)
Now you saw me. OK?
(To Terry)
Now would you mind?
TERRY
Man, you are really --
RUDY SR.
Look: I'm tryin' to be polite. So
would you just take off? It's OK:
Just take off.
TERRY
I just wanna --
RUDY SR.
Do you know what you're doin'? Just
get outta here!
TERRY
You know what, man? You're still a
fuckin' asshole.
RUDY SR.
I'm an asshole? Get outta here!
Rudy Sr. shoves Terry. Terry belts him, and suddenly they
are throwing wild punches at each other. Rudy goes sprawling
in the dirt.
Terry knocks Rudy Sr. down and starts pummeling him brutally.
Janie comes out of the house and jumps on his back, trying
to pull him off.
JANIE
Get your fuckin' hands off him...!
Terry throws Janie off him, grabs Rudy Sr. again and resumes
beating him up. Janie jumps back on top of him.
Two neighbors run toward the melee to break it up.
CUT TO:
A FEW MOMENTS LATER: The cops have arrived. The 1ST COP is
talking to Rudy and Janie. The 2ND COP is talking to Terry.
Rudy Sr.'s face looks puffy and beaten up. A 3RD COP stands
apart with Rudy, who is watching the whole thing. WE CUT
rapidly and jerkily through this section:
1ST COP
And you're not the boy's legal
guardian?
RUDY SR.
I don't even know if that's my kid!
JANIE
They just showed up! We never seen
them before...
RUDY SR.
I used to know his sister --
TERRY
I just came down here to talk to the
guy and all of a sudden he starts
shovin' me!
2ND COP
Listen up. Listen up. You're gonna
have to step back and just calm down --
TERRY
(To RUDY SR.)
You're a lyin' fuckin' piece of shit.
2ND COP
(To TERRY)
You're gonna have to step back.
JANIE
We have a right to protect ourselves.
What else do you need to know?
A MOMENT LATER: The 2ND COP puts handcuffs on Terry. Rudy
watches.
2ND COP
Now give me your right hand...
TERRY
This is such bullshit. He started
the whole thing and you're arresting
me?
2ND COP
Listen up. Now -- Listen up! Stop
talkin'. Terry, stop talkin'.
CUT TO:
A MOMENT LATER: As the 3RD COP walks Rudy to one cop car,
Rudy watches the 2ND COP guide the HANDCUFFED TERRY into the
other car.
Rudy gets in the back of the car and looks out at RUDY SR.
and JANIE talking to the 1ST COP. Rudy Sr. is looking at him
over the 1st cop's shoulder.
2ND COP
-- idea where we might be able to
contact his mother?
RUDY SR.
No, because he's not my Goddamn kid.
The cop cars' doors slam first on Terry and then on Rudy.
INT. MOTEL ROOM. NIGHT
The room is dark. Sammy and Brian are asleep, half under the
covers. SAMMY WAKES with a START.
SAMMY
What time is it?
BRIAN
(Startled awake)
What's the matter?
Sammy looks at the clock radio. 9:20.
SAMMY
Oh my gosh.
A FEW MOMENTS LATER: Sammy and Brian are on opposite sides
of the bed, getting dressed.
BRIAN
Hey, you know, Nancy's gonna be gone
for the rest of the week...
SAMMY
You know... Brian...
BRIAN
Yeah?
SAMMY
Well, I don't want to... I mean,
couldn't we just... I mean, could we
give it a rest?
Pause.
BRIAN
Um -- Yeah. Sure. If you want to.
SAMMY
I mean... I just think... I don't
know: We had a great little fling.
You know? Let's not push it.
(Pause)
I mean, is that OK? I just --
BRIAN
Yeah. Sure. OK. You're right.
Pause.
SAMMY
So are we still friends?
BRIAN
(Nods tersely)
Mm hm. Sure.
SAMMY
All right. Good...!
EXT. SAMMY'S HOUSE. NIGHT
The crickets are chattering. The phone is ringing inside the
house.
INT. SAMMY'S BEDROOM. SIMULTANEOUS
The PHONE is ringing on the NIGHTSTAND. The battered answering
machine CLICKS convulsively but does not pick up.
INT. SAMMY'S KITCHEN. NIGHT
Sammy is on the phone in her bathrobe.
SAMMY
Around two o'clock this afternoon...
Yeah, a ninety three Toyota Tercel.
New York plates V127AC... Please.
INT. SAMMY'S HOUSE -- FRONT DOOR. NIGHT
Sammy, dressed now, opens the door for BOB. She is very
anxious.
SAMMY
Thanks for coming over. I just want
to have a car handy just in case.
BOB
No problem.
INT. KITCHEN. NIGHT
Sammy is on the phone. Bob sits at the table.
SAMMY
(Into the phone)
Well -- what about other towns?...
Yes! Yes! I called the highway patrol
four times... Well what am I supposed
to do all night?
INT. SAMMY'S LIVING ROOM. LATER
Sammy and Bob sit silently in the living room, waiting. She
is smoking. The CLOCK READS 12:40. Sammy is going crazy with
anxiety.
EXT. SAMMY'S HOUSE. MORNING
The PHONE rings inside the house as the early morning sun
slants through the trees around the house.
INT. LIVING ROOM. SIMULTANEOUS
The RINGING PHONE wakes BOB, on the sofa in his clothes --
INT. SAMMY'S BEDROOM. SIMULTANEOUS
-- and Sammy, half asleep on top of her bed, also in her
clothes. She GRABS the PHONE.
SAMMY
(Into phone)
Hello?
INT. BOB'S CAR (MOVING). DAY
Bob drives Sammy along the highway. She stares out the window.
She turns and watches Bob drive for a long moment.
INT. BANK. DAY
Brian walks through the morning bank activity and stops at
Mabel's desk.
BRIAN
Anyone hear from Sammy this morning?
MABEL
I didn't.
BRIAN
Uh huh. Well, if anyone ever hears
from her ever again, will you let me
know?
MABEL
Yes.
EXT. AUBURN POLICE STATION. DAY
On the steps of the police station, Sammy, Rudy and Bob wait
as Sheriff Darryl shakes hands with the Auburn Sheriff. The
Auburn Sheriff goes inside. Darryl comes over to Sammy.
SHERIFF
It's gonna be all right... We got on
the phone and talked to Rudy Sr. a
little bit and he's calmed down,
just wants to forget about the whole
thing...
SAMMY
Darryl, I really appreciate this...
The Sheriff nods, but he's not thrilled to be here.
INT. SAMMY'S LIVING ROOM. DUSK
The PHONE IS RINGING. Sammy comes in the front door, Terry
and Rudy behind her. She snaps on the lights, hurries to the
phone and picks up.
Behind her, Rudy goes upstairs and Terry plunks down on the
sofa and turns on the TV.
SAMMY
Hello?
INTERCUT WITH BRIAN, AT THE BANK.
BRIAN
Yeah, it's Brian.
SAMMY
Brian --
BRIAN
What the hell happened to you today,
lady?
SAMMY is about to answer, but she just HANGS UP instead.
BRIAN is stunned into sheer gaping fury. Feverishly he hangs
up and dials again. It RINGS.
Sammy picks up.
SAMMY
Hello?
BRIAN
You're fired!
SAMMY
GOOD!
She hangs up again.
INT. RUDY'S ROOM. NIGHT
Sammy is tucking Rudy into bed.
SAMMY
Rudy?
RUDY
Yeah?
SAMMY
Is there anything you want to ask
me, about your father?
RUDY
Oh, that wasn't my father.
SAMMY
What?
RUDY
That wasn't him. I heard him tell
the cops.
SAMMY
No -- Rudy -- that was him. But that
was him. I wish it wasn't, but it
was.
RUDY
(Very quiet)
No it wasn't.
SAMMY
Rudy. Yes it was. Your father's name
is Rudy Kolinski. He lives in
Auburn...
INT. HALLWAY. NIGHT
Sammy comes out of Rudy's room, shutting the door softly. We
HEAR the TV going downstairs. She stands at the top of the
stairs for a moment.
INT. LIVING ROOM. NIGHT
Terry is watching TV on the sofa with his feet up on the
coffee table. Sammy comes down the stairs and into the living
room. He keeps watching TV. She doesn't sit. She is trembling.
SAMMY
Could you turn that off for a minute
please?
He turns off the TV.
TERRY
You don't have to say anything, Sammy.
SAMMY
I want you to leave.
Terry looks at her.
TERRY
What do you mean?
SAMMY
I mean I don't think you should live
here anymore. I don't think you know
how to behave around an eight-year-
old and I don't know how to make you
stop, so I think you shouldn't live
here. I don't know what else to say.
TERRY
I don't know how to behave around an
eight-year-old?
SAMMY
That's right --
TERRY
I think you don't know how to behave
around an eight-year-old.
SAMMY
Are you out of your MIND!?!
Silence.
SAMMY
Now you just listen to me. I may not
be the greatest mother in the world,
but I'm doing the best I know how.
And he doesn't need you to rub his
face in shit because you think it's
good for him. He's going to find out
the world is a horrible place and
that people suck soon enough, and
without any help from you. Believe
me!
Sammy tries to get ahold of herself. Her voice is shaking.
SAMMY
I think you should get your own place.
I thought, if you want, you could --
I'll be glad to help you out
financially --
TERRY
What do you mean, Get my own place?
SAMMY
I mean I --
TERRY
You mean in Scottsville?
SAMMY
Yes.
TERRY
Why would I do that? Why don't I
just leave, period?
SAMMY
(Quietly)
Well... If that's what you want to
do, that's fine. But that's not what
I'm saying. You are a very important
person to Rudy, and you are the most
important person to me. But I'm saying
that I can't take any more of this --
TERRY
Well --
SAMMY
-- I thought -- maybe you could sell
your half of the house to me, and I
could pay you whatever it is over a
certain amount of time, and that way --
TERRY
No, you know what? I'll just go.
He turns the TV back on.
SAMMY
(Very quietly)
Well -- that's not what I'm saying.
Terry shrugs and watches TV.
INT. TERRY'S ROOM. NIGHT
Terry is packing his bag. Rudy is watching.
RUDY
Where are you going?
TERRY
I don't know. I just want to get out
of this town. And if you've got any
sense when you get old enough you'll
get out of here too. Your Mom's gonna
live in this town for the rest of
her life, and you know why? Because
she thinks she has to. Don't ask me
why, but that's the truth. She thinks
there's all these things she has to
do, but you want to know one thing
about your Mom? She's a bigger fuck-
up than I ever was. I mean, I know I
messed up. You think I enjoy getting
thrown in jail because I wanted you
to face that prick your Dad like a
little man and see what kind of a
guy he is? I know I got a little
carried away, and I lost my temper
just a little bit -- which is not
the end of the world either, by the
way, just for future reference --And
now she's kickin' me out of my own
house because -- you know, because I
fucked up a little bit. Which I
totally admit. I was like -- totally
ready to admit that.
He is finished stuffing his clothes into his backpack.
RUDY
I could go with you.
TERRY
Well, thanks, man. But I, uh, I can't
really take care of you.
INT. LIVING ROOM. NIGHT
Sammy is flipping channels on the TV. The DOORBELL RINGS.
She is surprised. She gets up. Terry comes thundering down
the stairs, carrying his backpack.
SAMMY
Is that for you?
TERRY
Yeah, I'm just gonna stay at Ray's
till I take off.
SAMMY
You don't have to do that.
TERRY
Yeah. Well, that's what I wanna do,
so --
SAMMY
Well but -- Are you gonna come back
to say good-bye?
TERRY
No -- I'm just gonna take off. I'll
see you later.
SAMMY
Well --
Terry opens the door. RAY is there. Terry closes the door
behind him. Sammy listens to the PICKUP TRUCK DRIVE OFF. The
sound FADES.
INT. RAY'S HOUSE. NIGHT
Terry is bunked down on Ray's horrible sofa. In the b.g.,
there is a light on in the bedroom. Terry fluffs his pillow
and shuts his eyes.
EXT. SAMMY'S HOUSE. DAY
Dressed for work and school, Sammy and Rudy walk to the car.
SAMMY
Look. I know you're upset about Uncle
Terry leaving, and so am I. But he's
just not in control of himself, and
I don't want him hurting your feelings
anymore -- or mine. And you may not
like it, but that's how it's gotta
be. OK?
RUDY
I don't care.
SAMMY
You don't care. I don't care either.
INT. BRIAN'S OFFICE. DAY
Sammy sits in front of Brian's desk.
BRIAN
Well... I'm sorry you're havin' all
this trouble...
SAMMY
Thank you.
BRIAN
But you made a pretty good speech to
me yesterday about people sticking
to their commitments...
SAMMY
Yeah...?
BRIAN
Well... you made a commitment to
this bank, Sammy. To this job.
SAMMY
I know I'd --
BRIAN
And to working things out with this
tough new son of a bitch boss of
yours. And whatever might have passed
between us after hours doesn't mean
you just walk away from that
commitment -- yeah, even when you
have a legitimate family emergency.
SAMMY
I'm really sorry I didn't --
BRIAN
Which is why I think in the calm
cold light of day, we should both
think real hard about whether or not
you really want to continue on here
at Merchants National Trust.
SAMMY
You're not serious.
BRIAN
...you're not happy, I'm not happy,
it's not good for you and it sure as
heck isn't good for the bank.
Pause.
SAMMY
You know you're the worst manager
we've ever had?
BRIAN
Come on, Sammy...
SAMMY
By far the worst.
BRIAN
...I don't wanna trade insults with
you.
SAMMY
Well, I don't want to be fired, Brian.
I've been working here for seven
years.
BRIAN
Well --
SAMMY
And if I were you I'd be a little
nervous about firing an employee I
just had an affair with. OK?
BRIAN
That's -- Don't threaten me, Sammy:
I'm not threatening you. I -- It's
just an area I think we should
explore.
SAMMY
I'm not thr -- You explore it. I'm
going back to work.
She heads for the door, stops.
SAMMY
Oh, and I have to pick up Rudy today
because there's no one else to do
it. But I'll find someone as soon as
I have time.
BRIAN
Yeah. Fine. Why don't you just take
over the whole bank?
Sammy hesitates in the doorway. This thought has never
occurred to her before. She goes out.
INT. LUNCH PLACE. DAY
THROUGH THE WINDOW we see Sammy and Bob having lunch. Sammy
watches him eat, full of mixed feelings about him.
INT. KITCHEN. DAY
Sammy is at the stove, making pancakes. She puts a last
pancake onto Rudy's plate and brings it to him.
SAMMY
Well, I called where Uncle Terry
said he was gonna stay, and there
was no answer, so I don't know if
he's still in town or not.
Rudy doesn't answer.
SAMMY
Rudy? Are you not speaking to me?
Rudy doesn't answer.
SAMMY
Well, I'm sorry you're so mad at me,
but I only did what I thought I had
to do, and I hope you don't stay mad
at me for the rest of your life.
He opens the maple syrup and pours it on the pancakes.
SAMMY
Rudy, that's too much.
He keeps pouring. She grabs the bottle from him and upsets
some of the dishes on the table.
SAMMY
You gotta cut this out!
RUDY
What did I do?
SAMMY
You don't know what you're talking
about! There was nothing else I could
do! I can't explain it better than
that, but you can't go on like this
because you don't know anything about
it and you don't know what you're
doing!
RUDY
(Frightened)
OK, I'm sorry!
SAMMY
I don't want you to be sorry, I just
want you to STOP IT!
RUDY
I will! I will! I'm stopping, I'm
sorry.
He comes around the table to her.
RUDY
See? I'm stopping! I'm not doing it.
See? I'm not.
He's very alarmed. Sammy looks at him for a long moment.
EXT. CEMETERY. DAY
Terry walks through the little cemetery gate and makes his
way up the hill through the tombstones. He reaches his
parents' graves. He looks at the tombstones for a moment. He
puts his hand on top of one headstone, then the other.
He sits down and smokes. He looks up at the SKY. It's a
beautiful deep blue sky dotted with billowy white clouds.
He looks out over the hilly scenery. After a moment he shakes
his head a few times. He doesn't even know he's doing it. He
sits there.
INT. RAY'S HOUSE. DAY
The PHONE IS RINGING as Terry walks into the house. He walks
past it, to the fridge, gets a beer and opens it. It KEEPS
RINGING. He picks it up.
TERRY
(Into phone)
Ray's house.
INT. BANK -- SAMMY'S DESK. DAY
Sammy is at her desk on the phone.
SAMMY
Hi.
WE CUT BETWEEN THEM. Terry doesn't say anything.
SAMMY
I didn't know if you left yet.
TERRY
No -- I'm leavin' tomorrow.
SAMMY
Well -- What time?
TERRY
There's a bus at nine.
SAMMY
Well -- Can I -- I'd like to see you
before you go. I mean, can I give
you a lift? Or do you want to have
breakfast or anything? And I think
Rudy would really like to say good-
bye.
TERRY
Yeah -- I don't know... I mean --
SAMMY
Terry, you can't just leave like
this. I --
TERRY
All right, all right. I'll come by
in the morning.
SAMMY
All right -- But just -- We have to
be out of the house by eight, so --
I don't want to tell Rudy you're
coming unless you really think you
can make it --
TERRY
Yeah -- No -- I'll be there.
SAMMY
All right.
TERRY
All right.
INT. KITCHEN. MORNING
Sammy is clearing the breakfast dishes. Rudy is finishing up
his cereal. The clock reads 7:50.
SAMMY
You should get your sneakers on.
EXT. HOUSE. A MOMENT LATER
Sammy comes out and looks up and down the road.
INT. LIVING ROOM. A FEW MOMENTS LATER
Rudy sits in the living room in his baseball jacket. His
knapsack is on the floor beside him. He looks at the CLOCK:
8:06. Sammy comes into the living room and looks at him.
SAMMY
Sweetie, I'm sorry, we have to go.
RUDY
Why can't I miss school one day?
They HEAR the PICKUP PULL UP OUTSIDE, O.C. Rudy gets up
immediately.
EXT. THE HOUSE. A MOMENT LATER
Terry jumps out of RAY'S PICKUP. Sammy opens the front door
and Rudy runs out toward Terry.
RUDY
Hi!
TERRY
Hey, how's it goin', man?
Rudy stops short in front of Terry. Terry looks at Sammy, in
the doorway.
TERRY
Sorry I'm late.
EXT./INT. CAR. DAY
The car stops across the street from the BUS. The LAST KIDS
are getting in. SAMMY HONKS for the bus driver, and Sammy,
Terry and Rudy all get out.
TERRY
So Rudy... If I write you a letter,
will you write me back?
RUDY
Yeah.
TERRY
OK, well, that's gonna be pretty
nice for you, because I write a pretty
Goddamn interesting letter.
RUDY
Yeah, we'll see.
TERRY
All right. Well, say good-bye.
RUDY
Bye.
Rudy hugs Terry. Terry hugs him back. He is suddenly overcome
and presses his lips to the top of Rudy's head.
Rudy walks to the BUS and gets on. The bus pulls away.
Alone now, Sammy and Terry are not that comfortable. He moves
to get back in the car, and she does the same.
EXT. BENCH. DAY
Sammy and Terry sit on a bench near the bus stop. Terry's
backpack is by his side.
SAMMY
Do you need some cash for the bus?
TERRY
No, I got a few bucks... Aren't you
gonna be late for work?
SAMMY
Oh -- Yeah. That's OK.
(Pause)
Terry, I don't even know where you're
going.
TERRY
Oh, well, I didn't really have a
concrete plan yet. I have to go back
to Worcester and get my stuff...
SAMMY
Oh, are you gonna try to see that
girl?
TERRY
Well... Yeah... You know... Thought
maybe I'd try to show my face... Let
her brother have a crack at me...
SAMMY
What?
TERRY
No...
SAMMY
...I don't want anyone to have a
crack at you.
TERRY
I'm just kidding. I just thought...
Just thought I'd check up on her...
(Pause)
Anyway, after that, I don't really
know. I've been thinking about Alaska
a lot. I still got some friends out
there. I don't really know. Anyway,
I'll write you.
SAMMY
You will?
TERRY
Sure, Sammy. Of course I will. You
know that.
Pause.
SAMMY
What is gonna happen to you?
TERRY
Nothing too bad... But I gotta tell
you, I know things didn't work out
too well this time...
SAMMY
Well, Terry --
TERRY
...but it's always really good to
know that wherever I am, whatever
stupid shit I'm doing, you're back
at my home, rooting for me.
SAMMY
I do root for you.
She starts crying, and looks down.
TERRY
Come on, Sammy. Everything's gonna
be all right... Comparatively... And
I'll be back this way...
SAMMY
I feel like I'm never gonna see you
again...!
TERRY
Of course you will, Sammy. You never
have to worry about that.
SAMMY
Please don't go till you know where
you're going. Please...!
TERRY
I do know where I'm going. I'm going
to Worcester and I'm gonna try to
see that girl. And then depending on
what happens there, I thought I'd
try to see if there's any work for
me out West. And if there is, I'm
gonna head out there for the summer
and try to make some money. And if
there isn't, I'll figure something
else out. Maybe I'll stay around the
East. I don't know... I really liked
it in Alaska. It was really beautiful.
You just -- It made me feel good.
And before things got so messed up I
was doin' pretty well out there.
Seriously. But I couldn't stay here
long, Sammy: I don't want to live
here. But I'm gonna stay in touch.
And I'll be back. 'Cause I want to
see you and I want to see Rudy. I'll
come home for Christmas. How about
that? We'll have Christmas together.
(Pause)
Come on, Sammy. You can trust me...
Still looking down, Sammy shakes her head, tears leaking
down her cheeks.
TERRY
Come on, Sammy... Look at me... Look
at me...
She looks at him.
TERRY
Hey, Sammy... Remember when we were
kids, remember what we always used
to say to each other . . .?
(Pause)
Remember when we were kids?
SAMMY
Of course I do...!
She throws her arms around his neck. He pats her gently.
INT./EXT. BUS. DAY
The DOORS OPEN and Terry comes up the steps and into the
bus. Outside, Sammy watches him pay the driver and move
through the bus toward his seat. The BUS DOORS CLOSE.
EXT. BUS. CONTINUOUS
Sammy waves till the BUS DRIVES all the way down MAIN STREET,
turns a corner and is gone.
INT. BUS. CONTINUOUS
Terry, in his seat, turns forward and watches the view go
by. He smiles a little.
INT. SAMMY'S CAR (MOVING). DAY
The morning sunlight flickers through the windshield into
the car as Sammy drives along toward work. She passes the
TOWN HALL CLOCK and sees that it's 9:20.
She dries her damp cheek with a forearm and rolls down her
window to let the morning breeze blow through.
Squaring her shoulders a little, she drives through town at
a slow and easy pace.
THE END
|
| You Can Count On Me
Writers : Kenneth Lonergan
Genres : Drama
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