12 and Holding

8/16/2019 12 and Holding

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12 and hol di ng

byAnt hony S. Ci pr i ano

4. 06. 04

Di r ect or : Mi chael Cuest a Copyr i ght 2004Cont act : 212 343 0069 Reg@WGA West 516 909 4787


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I NT. TREE HOUSE - CONTI NUOUS

J acob l ooks back and sees J ef f and Kenny, r unni ng over . Rudycr osses t o t he door wi t h a BUCKET of l i qui d.

J ACOB

What t he hel l i s t hat ?RUDY

Pi ss.

Rudy dumps t he pi ss ont o J ef f and Kenny.

EXT. TREE HOUSE - SAME TI ME

Now dr enched wi t h pi ss , J ef f and Kenny j ump f r om t he t r ee,scr eami ng. They t r y t o shake t he ur i ne of f .

Kenny spi t s t he t ast e out of hi s mout h and angr i l y cal l s upt o t he boys.

KENNY You and your def or med brot her ar edead!

I NT. TREE HOUSE - SAME TI ME

J acob r i ps t he hockey mask of f . ( A l ar ge STRAWBERRYBI RTHMARK cover s t he r i ght si de of hi s f ace. ) He’ s i nsul t ed.

RUDY( cal l i ng t o Kenny)

Anyt i me you’ r e r eady, di ckhead.

EXT. TREE HOUSE - SAME TI ME

J ef f and Kenny wal k of f .

KENNY They’ r e f ucki ng dead!

J ef f r uns of f scr een and t hrows up.

I NT. FI SHER HOME - KI TCHEN - MORNI NG

LEONARD FI SHER ( 12) , sever el y obese, si t s at t he di nnert abl e, eat i ng pancakes.

Hi s FATHER, PATRI CK ( 35) and TWO YOUNGER SI STERS, HALEY ( 8)and SARA ( 6) ar e seat ed wi t h hi m. They are al l over wei ght .

.

( CONTI NUED)


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LEONARD’ S MOTHER, GRACE ( 35) , t he l ar gest of t hem al l ,crosses t o t he t abl e, si t s and st ar t s eat i ng.

J UMP CUTS show t he pr ogr essi on of t hei r meal . Fr om gl obs ofsyr up bei ng pl aced over pancakes t o t he mass consumpt i on ofomel et s and sausage. Caught up wi t h eat i ng, nobody speaks.

EST. EXT. CHUNG RESI DENCE - MORNI NG

A moder n, upper - cl ass home wi t h a l arge, wel l t ended yard.

YACCO ( O. S. ) The check i s supposed t o be her e ont he f i r st of t he mont h. . . She’ syour daught er , you asshol e!

I NT. CHUNG HOME - UPSTAI RS HALLWAY - CONTI NUOUS

YACCO CHUANG ( 35) , Asi an- Amer i can, sexy, upt i ght ,psychi at r i st , paces t he hal l way on t he phone.

HER DAUGHTER, MALEE ( 12) wi t h l ong, bl ack, brai ded hai r andt hi ck r i mmed gl asses, peeks her head out of t he bat hroom.

MALEEMom, I need hel p.

YACCO ( I NTO PHONE)( i gnor i ng her )

Any par ent i s “par ent of t he year”next t o you, you sel f i sh pr i ck.

Yacco wal ks of f . Def l at ed, Mal ee r eent er s t he bat hroom.

I NT. CHUNG HOME - BATHROOM - CONTI NUOUS

Mal ee i s wr apped i n a t owel and hol di ng a TAMPON. Conf used,she grabs t he TAMPON BOX and r eads t he di r ect i ons. Mal ee’ sconf usi on qui ckl y t ur ns t o di sgust .

EXT. NEI GHBORHOOD ENTRANCE - LATER

Leonar d si t s upon a l ar ge rock wi t h t he wor ds, LI NDSAY ACRESi nscr i bed on t he cent er of i t . He eat s POPCORN. Hangi ng of f

t he t op r i ght hand cor ner of t he rock i s a banner , whi chr eads, 5t h ANNUAL 4TH OF J ULY PI CNI C. ALL I NVI TED.

Mal ee r i des her bi ke up t o Leonar d. She HONKS her BI KE HORNat ever y pedest r i an i n her pat h.

MALEEMove i t , peopl e. Out t a my way!

.CONTI NUED:

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She comes t o a scr eechi ng hal t an i nch i n f r ont of Leonar d.

LEONARD( mout hf ul )

You’ r e l at e.

MALEE Yeah wel l , I began menst r uat i ngt hi s mor ni ng, and I had somedi f f i cul t y i nser t i ng t he t ampon.

( of f hi s di sgust ed l ook)What ? I t ’ s a nat ur al pr ocess. Youknow, I coul d concei ve, car r y andbi r t h a chi l d r i ght now.

LEONARDBi g deal . You won’ t .

MALEEBut I coul d. That ’ s what mat t er s.

LEONARD The t wi ns sai d, t hey’ d meet us att he spot .

Leonard get s on hi s bi ke.

MALEEWanna r ace?

LEONARDNah, I ’ m good.

I NT. TREE HOUSE - LATER

J acob wi pes at hi s head wound, f r i ght ened.

J ACOBMaybe I shoul d have mom l ook at i t .

RUDYI f you di dn’ t have t hat damn maskon, you’ d have seen i t comi ng. Ourbi r t hday comes once a year , and you

ask f or a hockey mask. You don’ teven pl ay.

J ACOB J ason f r om “Fr i day t he 13t h” wear sone. He’ s bad ass.

.CONTI NUED:

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RUDYExact l y. J ason woul dn’ t r un home‘ cause of a l i t t l e bl ood. He’ d getback up, decapi t at e hi s vi ct i m andmove on.

J acob l ooks out t he makeshi f t wi ndow i n t he wal l . J ACOB

You t hi nk J ef f and Kenny wi l l comeback?

RUDYI dr opped pi ss on t hei r heads. I ’ dsay t he odds ar e pr et t y good.

MALEE ( O. S. ) You di d what ?

Rudy and J acob t ur n t o f i nd Mal ee and Leonard, ent er i ng t het r ee house.

RUDY J ef f and Kenny wer e her e. I dumpedt he pi ss I ’ ve been savi ng on t hei rheads.

LEONARDWhy wer e you savi ng pi ss?

RUDY J ust i ncase. Pr et t y smar t , huh?

J ACOBNo, i t ’ s st upi d cause now t hey’ r egonna come back her e and ki ck al lour asses.

RUDYDon’ t be such a pussy.

LEONARD Yeah, I coul d probabl y t ake t hembot h mysel f .

RUDYWhat ar e you gonna do, Leonar d, eatt hem?

J ACOBAl l I ’ m sayi ng i s , who car es i ft hey t ear i t down.

.CONTI NUED:

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RUDY Thi s i s OUR pl ace. We’ ve beencomi ng her e si nce we wer e seven.

J ACOBNot hi ng l ast s f or ever .

RUDY You’ r e such a but t - munch.

Rudy pushes J acob. J acob pushes back. The t wo st ar tf i ght i ng.

MALEE You guys, i t ’ s your bi r t hday.Coul d you t r y and get al ong?

Of f t he boy’ s f i ght i ng -

I NT. YACCO’ S OFFI CE - LATER THAT AFTERNOON

Yacco si t s acr oss f r om DEBBI E POOLE ( 42) , housewi f e,conser vat i vel y dr essed.

DEBBI EI don’ t t hi nk t her apy i s hel pi ng.

YACCOWhy do you say t hat ? Ar e you st i l l“cut t i ng”?

Embar r assed, Maggi e l i f t s up her shi r t sl eeve. We see t hather ar m i s cover ed wi t h cut s. Dr i ed bl ood i s ever ywher e.

Yacco i s hor r i f i ed by t he si ght .

YACCO ( cont ’ d)Oh, Debbi e.

DEBBI EI t f eel s much bet t er t han i t l ooks.Real l y.

Suddenl y, Mal ee bur st s i nt o her mot her ’ s of f i ce.

MALEEMa, I . . . Oops.

YACCOMal ee, out . Now.

MALEEI ’ m s or r y.

.CONTI NUED: ( 2)

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Mal ee qui ckl y exi t s t he of f i ce.

YACCOExcuse me f or a moment .

I NT. YACCO’ S OFFI CE - RECEPTI ON AREA - CONTI NUOUS

Yacco ent er s t he r ecept i on ar ea. She i s obvi ousl y angr y.

YACCOI t ol d you a 100 t i mes t o knock.

MALEEI sai d, I was sor r y.

YACCOWhy ar en’ t you wi t h t he boys?

MALEERudy and J acob went f or pi zza wi t ht hei r par ent s.

Yacco cr osses t o a desk and r emoves a FLUTE f r om a drawer .

YACCOI f ound t hi s i n t he backseat of mycar t hi s mor ni ng. Do you know howmuch f l ut es cost ? Go out si de, si ton t he f r ont st eps and pr act i ce.

MALEEBut , mom.

YACCONow!

Anger ed, Mal ee gr abs t he f l ut e and exi t s.

EXT. FRONT OF YACCO’ S OFFI CE - CONTI NUOUS

Mal ee dr ops on t he st oop l i ke a t on of br i cks. Af t er a beat ,she r el uct ant l y begi ns pl ayi ng her f l ut e.

A f ew pedest r i ans st op t o l i st en.

MALEEKeep i t movi ng. Thi s ai n’ t a show.

I NT. TWI N’ S HOUSE - LI VI NG ROOM - NI GHT

Rudy and J acob st ar e i nt o t he camer a wi t h bi g gr i ns.

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RUDY/ J ACOBCheese!

VFX: CAMERA FLASH

The boys r el ax t hei r poses as ASHLEY and J I M CARGES ( 30’ s) ,

ent er t he shot . Ashl ey put s her camera down on t he t abl e andpi cks up a l ar ge PRESENT.

J I MOkay, you got your smal l gi f t s t hi smorni ng. Now f or t he bi g ones.

ASHLEY Thi s one i s Rudy’ s.

Rudy r i ps i nt o t he pr esent , r eveal i ng a SONY PLAY STATI ON.

RUDYSony pl ay st at i on! Oh my God! Ohmy God! Yes! Too cool !

J I MSi nce nei t her of you want ed a par t yt hi s year , we wer e abl e t o spl ur ge.

Ashl ey r emoves an ENVELOPE f r om her pur se. She hands i t t o J acob. Hi s ent husi asm suddenl y t urns t o wor r y.

J ACOBWhat i s i t ?

ASHLEYOnl y one way t o f i nd out .

J acob r emoves a col or f ul PAMPHLET f r om t he envel ope.

J I MGo ahead, r ead i t .

J ACOB“Pl ast i c Sur ger y. I sn’ t i t aboutt i me?”

( hor r i f i ed)

I don’ t get i t .ASHLEY

Your f at her and I ar e goi ng t o payt o have your bi r t hmar k r emoved.

J I MI sn’ t t hat gr eat .

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J ACOB You got me sur ger y f or my bi r t hday?

J I MNot j ust one. A ser i es of t hem.

RUDY( overcompensat i ng)Cool .

J ACOBI t ’ s not “cool ” . I t t ot al l y sucks!

J acob drops t he envel ope, wal ks f r om t he r oom.

J I M J acob?

I NT. TWI N’ S HOUSE - BOY’ S BEDROOM - LATER

Rudy ent er s t he darkened r oom and cr osses over t o J acob, whohas hi s f ace pl ant ed i n hi s pi l l ow. J acob has been cr yi ng.

RUDYDon’ t sweat i t . You can bor r ow mypl ay st at i on anyt i me you want .

J ACOB Thi s i sn’ t about t he pl ay st at i on.I t ’ s about t hi s t hi ng on my f ace.Ever ybody hat es i t .

RUDYI don’ t .

J ACOBWho car es what you t hi nk? You’ r et he r eason f or al l of t hi s.Per f ect you wi t h your per f ect ski n.

Ther e t o show t he wor l d what I ’ msupposed t o l ook l i ke.

( beat ) You know, somet i mes I j ust wi sh Iwasn’ t your t wi n.

RUDYScr ew you! Know what , I t ake i tback, you can’ t use my pl ays tat i on.

Rudy exi t s t he room, sl ammi ng t he door af t er hi m.

.CONTI NUED: ( 2)


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SOCCER MOM # 1 ( O. S. )Look at t hem. So unheal t hy.

ON TWO SOCCER MOMS, wat chi ng Leonar d’ s f ami l y eat .

SOCCER MOM # 1 ( cont ’ d)

You know, Gr ace can bar el y wal kbecause of her wei ght .

SOCCER MOM # 2Where do you t hi nk she f i ndscl ot hes bi g enough t o f i t ?

The t wo woman wal k of f . As t hey di sper se, we see LEONARD,st andi ng behi nd t hem. He has hear d every wor d.

Hur t , Leonard l ooks down at hi s own pl at e, whi ch over f l owswi t h f ood. He f eel s embar r assed and di sgust ed.

Pat r i ck r i ses and cr osses over t o t he buf f et t abl e.

PATRI CK Good eat i ng, huh son?

Pat r i ck gr abs t he l adl e and begi ns t o f i l l up hi s pl at e.

LEONARDMaybe you shoul dn’ t have seconds,Dad, you know?

PATRI CK Who are you, Ri char d Si mmons?C’ mon, enj oy t he day.

He wal ks of f wi t h hi s f ood. Leanard l ooks down at t he f ood,shr ugs, t hen hel ps hi msel f t o a heapi ng por i on.

EXT. ANOTHER PART OF THE STREET - DUSK

RUDY st r addl es hi s bi ke whi l e wat chi ng a gr oup of 8- year -ol ds, havi ng a wat er bal l oon f i ght . J eal ous, her emi ni scences t o a t i me when he was one of t hose ki ds.

KENNY

( o . s . )Me and J ef f ar e gonna pay t hat t r eehouse of your s a l i t t l e vi s i tt oni ght .

Rudy spi ns around t o f i nd Kenny, st andi ng at hi s si de.

.CONTI NUED:

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RUDYKenny showed up. He sai d, J ef f andhi m ar e gonna t ear t he t r eehousedown t oni ght . We got t a sneak outand st op t hem.

J ACOBMom and Dad woul d ki l l us.

RUDYWe can’ t l et hi m t ear i t down.

J ACOBI t ’ s j ust a t r eehouse.

RUDYNo, i t ’ s not ! You know what, yousuck. I ’ m goi ng. Leonar d, you i n?

J ACOB You don’ t have t o go i f you don’ twant t o.

RUDYDon’ t l i st en t o hi m. He’ s a pussy.

Leonar d l ooks bet ween J acob and Mal ee.

LEONARDI ’ l l go.

RUDYFi nal l y, someone wi t h bal l s.

I nsul t ed, J acob sl i des of f t he r ock and wal ks away. Mal eef ol l ows.

RUDY ( CONT' D) ( cont ’ d)Let t hem go.

The f i r ewor ks di spl ay begi ns. As t hey t urn t o wat ch i t . . .

I NT. TWI N’ S HOME - BOY’ S BEDROOM - MI DDLE OF THE NI GHT

We SCAN t he r oom and come t o a set of BUNK BEDS.SFX: ELECTRI C WATCH ALARM

A body i n t he t op bunk si t s up and t ur ns on a smal l bedl i ght . Reveal , i t ’ s RUDY. Rudy gr abs hi s wat ch f r om t hepost and si l ences t he al ar m. J acob si t s up i n bed.

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J ACOBRudy.

RUDYUnl ess you’ r e comi ng wi t h me, Idon’ t want t o hear i t .

J acob l i es back i n bed, si l ent . Rudy j umps of f t he t op bunk,get s dressed and grabs a BASEBALL BAT. Bef or e l eavi ng, Rudyl ooks back at J acob and shakes hi s head, di sappoi nt ed.

RUDY ( cont ’ d) You know, you can’ t be a pussy al lyour l i f e.

J ACOBWhat ?

RUDY J ef f and Kenny pi ck on you al l t het i me, and you don’ t do shi t .

J ACOBI t ’ s my pr obl em.

RUDYNo, i t ’ s mi ne t oo. Cause we’ r ebr ot her s. That ’ s what br ot her s do.

They f i ght f or each ot her , ki l l f oreach ot her , di e f or each ot her .

J ACOBI don’ t f eel t hat way.

RUDYCause you’ r e a pussy. So st ayhome, keep your head under t hebl anket s. I ’ m gonna f i ght .

Wi t h t hat , Rudy di sappear s out t he wi ndow.

FADE TO BLACK:

DARKNESS. . . SFX: CREAKI NG DOOR. A FLASHLI GHT i l l umi nat es t he

l ocat i on. We ar e. . .I NT. TREEHOUSE - LATER THAT NI GHT

Leonar d and Rudy ent er wi t h t he hel p of a f l ashl i ght .

Leonar d r eaches i nsi de hi s backpack and r emoves a number ofSNACK CAKES f r om hi s backpack.

.CONTI NUED:

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LEONARD( r e: snack cakes)

Some pr ovi si ons.

RUDYWe’ r e onl y gonna be her e a coupl e

of hour s.LEONARD

When t wo o’ cl ock r ol l s ar ound,you’ l l be beggi ng f or one of t hese.

Rudy shakes hi s head, r emoves hi s BAT f r om hi s backpack.

LEONARD ( cont ’ d)( r e: basebal l bat )

I di dn’ t br i ng my gl ove.

RUDYMor on, t he bat i s f or J ef f andKenny. You know, t o scar e t hem al i t t l e.

He swi ngs i t hard.

RUDY ( cont ’ d)Maybe i t ’ s best i f we don’ t t al k.

J ust l i st en. Li st en f or t hem, anddon’ t f al l asl eep.

LEONARDI ’ m wi de awake. I coul d st ay upal l ni ght .

EST. EXT. WOODS - LATER THAT NI GHT

The t r eehouse i s i l l umi nat ed by t he f ul l moon, whi ch r est s i nt he sky above. The t hunder ous sound of a mi l l i on cr i cket sf i l l s t he ai r .

I NT. TREEHOUSE - CONTI NUOUS

Bot h boys l i e asl eep. A mosqui t o f l i es i n t hr ough t he wi ndowand buzzes past Leonard’ s ear . He haphazar dl y swi pes at i t

i n hi s sl eep, wakes hi msel f up.LEONARD

Oh, shi t .

Rudy j umps awake.

.CONTI NUED:

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RUDYWhat . . . What i s i t ? They her e?

LEONARDNo.

Leonar d r i ses, pi cks up hi s bag and opens t he TRAP DOOR i nt he f l oor . He i s about t o exi t .

RUDYWhere you goi ng?

LEONARD They’ r e not gonna show up, I ’ mgoi n’ home. I t ’ s t hr ee o’ cl ock-

Suddenl y, a FLAMI NG COCKTAI L comes f l yi ng t hrough t he wi ndow.I t hi t s Rudy i n t he head, expl odes and engul f s hi m i n f l ames.

EXT. TREEHOUSE - SAME TI ME

J ef f and Kenny st and a f ew yards away f r om t he t r eehouse.Bot h l augh at t he si ght of t he f l ames i nsi de.

KENNYNow your s. And ai m f or t he wi ndow.

J ef f l i ght s hi s COCKTAI L. I t mi sses t he wi ndow and smashesi nt o t he si de of t he t r ee house.

KENNY ( CONT' D) ( cont ’ d)Ha ha, you suck.

J ef f and Kenny hear Leonar d and Rudy scr eami ng f r om i nsi de.

J EFF You hear t hat ?

I NT. TREEHOUSE - SAME TI ME

Rudy, now cover ed i n f l ames, r ol l s on t he f l oor , scr eami ng.

RUDYPut i t out ! Put i t out !

Leonard st r uggl es t o put out t he f l ames wi t h hi s backpack,but i t ’ s of no use. He spi ns ar ound and f i nds t he wal lbehi nd hi m, engul f ed wi t h f l ames. He scr eams, t er r i f i ed.


J ef f and Kenny ar e f r ant i c.

.CONTI NUED:

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J EFF They’ r e i n t her e! They’ r e i nt her e!

J ef f t urns ar ound and r uns back home t hrough t he woods.

I NT. TREEHOUSE - SAME TI MELeonard backs away f r om Rudy. Unf or t unat el y, he doesn’ tr eal i ze t hat t he door i n t he f l oor i s open.


We wat ch over Kenny’ s shoul der as Leonard f al l s f r om t het r eehouse, smacks hi s head on t he t r ee t r unk and comes t o acr ash upon some r ocks. Kenny r uns over and f i nds Leonar dunconsci ous.

KENNYWake up! Wake up, ki d!

Of f t he t r eehouse, whi ch i s now a t ower i ng i nf er no -

I NT. TWI N’ S HOUSE - PARENT’ S BEDROOM - SAME TI ME

Ashl ey j umps up f r om a deep sl eep. Ther e i s t er r or on herf ace. She r ushes over t o her DESK and t ur ns on t he LAMP.Ken i s awakened by her .

J I MAshl ey? What i s i t ?

ASHLEYI f or got t o deposi t your paycheckl ast week.

J I MBut I al r eady wr ot e some checks.

ASHLEYI know. Wi t h t he cookout andeveryt hi ng, I f orgot . I ’ l l depos i ti t t omor r ow. The hol i day shoul dbuy us an ext r a day.

J I MWr i t e your sel f a not e so you don’ tf or get agai n.

ASHLEYI j ust di d.

.CONTI NUED:

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Ashl ey t ur ns of f t he desk l amp and r et ur ns t o bed.

ASHLEY ( cont ’ d)Goodni t e.

FADE TO BLACK:

SFX OVER BLACK : TELEPHONE RI NGI NG

FADE I N:

EXT. GRAVEYARD - WEEKS LATER - AFTERNOON

ON J I M and ASHLEY, wat chi ng Rudy’ s casket as i t i s l ower edi nt o t he gr ound. The once spi r i t ed, coupl e now l ooks t i r edand pai ned. They ar e accompani ed by a number of mourner s.

PRI ESTRest i n pi ece, Rudol ph EugeneCar ges. May God hol d you i n t hepal m of hi s hand.

J acob st ands besi de hi s par ent s. Tear s st r eam f r om hi s eyes,acr oss hi s bi r t hmar k and of f hi s chi n. So st r i cken wi t hgr i ef , J acob bar el y has t o ener gy t o wi pe t he t ear s away.

We cont i nue on t hrough t he cr owd and f i nd Mal ee. Embar r assedby t he t ear s, she br i ngs a bl ack vei l down over her f ace.

I NT. YACCO’ S OFFI CE - LATER THAT DAY

Mal ee ent er s, st i l l wear i ng t he vei l . She crosses t o t hecouch and si t s besi de A PATI ENT, GUS MAI TLAND ( 30) , l onghai r ed, hi ppi - t ype wi t h a moust ache and bear d. Gus eyesMal ee, i nt r i gued.

GUSFri end or f ami l y?

MALEEHuh?

GUS The per son who di ed.

MALEEFr i end.

GUSI ’ m sor ry. You’ l l l i ke Dr. Chung.

Thi s i s onl y my second sessi on, butshe’ s good.

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MALEEI ’ m not a pat i ent . I ’ m herdaught er .

Mal ee l i f t s her vei l and l ooks at Gus.

GUSOh. I can see t he r esembl ance.

MALEEAr e you t r yi ng t o make me si ck?

Gus shoot s Mal ee a l ook j ust as Yacco exi t s her of f i ce.

YACCOMr . Mai t l and?

Gus r i ses and ent er s t he of f i ce.

YACCO ( CONT' D) ( cont ’ d)I ’ l l be wi t h you i n a second.

Yacco cr osses t o Mal ee and si t s besi de her .

YACCO ( CONT' D) ( cont ’ d)So, how was i t ?

MALEEI t was a f uner al , Mom. How do yout hi nk i t was?

YACCOI ’ m sor r y I coul dn’ t make i t . LetRudy’ s par ent s know I ’ m avai l abl ei f t hey need t o t al k. I won’ tchar ge f or t he sessi ons.

Mal ee l ooks t o Yacco, st unned by her comment .

YACCO ( CONT' D) ( cont ’ d) You know, i t ’ s okay t o cr y.

MALEEI know i t ’ s okay t o cry. I don’ t

need you t o t el l me, i t ’ s okay t ocr y. I f I want t o cr y, I ’ l l cr y.

YACCOOkay.

Yacco r e- ent er s her of f i ce. A beat .

.CONTI NUED:

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Mal ee st ar t s t o cr y.

EXT. J ACOB’ S HOME - LATER THAT AFTERNOON

Car s f i l l t he dr i veway and l i ne t he st r eet i n f r ont of J acob’ s house.

I NT. TWI N’ S HOME - LI VI NG ROOM - SAME TI ME

Mour ner s st and i n smal l groups, engaged i n hushedconver sat i ons . J i m si t s i n hi s r ecl i ner, cryi ng.

I NT. TWI N’ S HOME - KI TCHEN - SAME TI ME

A number of MOTHERS wat ch as Ashl ey obsess i vel y prepar es apl at t er of devi l ed eggs. Concer ned, one of t hem cr osses overt o her .

MOTHERAshl ey, t here’ s more t han enoughf ood her e.

ASHLEYNo, Rudy l oved my devi l ed eggs.I t ’ s r i ght t hat I make t hem.Where’ s t he papr i ka?

Ashl ey opens up her cupboar ds i n search of t he papr i ka.

ASHLEY ( CONT' D) ( cont ’ d) J esus, you put somet hi ng down, andi t di sappear s.

Now angr y, Ashl ey st ar t s t hr owi ng obj ect s out of t hecupboar ds, haphazar dl y.

MOTHER # 1Ashl ey.

Ashl ey sl ams her cupboar d door s shut . She l ooks ar ound andspot s t he GARBAGE PAI L acr oss t he ki t chen.

ASHLEYMaybe I t hr ew i t out .

Ashl ey cr osses t o t he gar bage. She l i f t s i t upsi de down anddumps t he t r ash al l over t he f l oor . Ashl ey get s on her kneesand st ar t s sear chi ng.

The ot her women l ook t o each ot her , uncomf or t abl e. Mot her #1 kneel s down besi de her .

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MOTHER # 1Ashl ey.

Ashl ey i gnores her . Mot her # 1 gr abs Ashl ey’ s hands andl ooks her i n t he eye.

ASHLEYI t ’ s okay.

Ashl ey st ops col d. The gr i ef and hear t ache hi t once agai n.

ASHLEY ( CONT' D) ( cont ’ d)Not my baby! Pl ease God not my son!

The mot her s col l ect i vel y drop t o t he f l oor and sur r oundAshl ey i n an at t empt t o comf or t her . They gi ve no care t ot he pi l e of gar bage t hey now si t i n.

I NT. LEONARD’ S HOSPI TAL ROOM - LATER THAT DAY

Leonar d l i es i n a bed, st ar i ng out t he wi ndow. Ther e i s aBANDAGE wr apped around hi s f orehead. Pat r i ck si t s besi de hi mi n a chai r .

Gr ace ent er s, car r yi ng bags of MCDONALD’ S f ood wi t h her .

GRACE Thi s hospi t al i s a ni ght mar e. Theel evat or i s never t her e when youneed i t .

Pat r i ck crosses over t o t he f ood and gr abs hi s l unch.

PATRI CK Wher e ar e t he gi r l s?

GRACEHal ey t ook Sara up t o t he mat er ni t ywar d.

Gr ace cr osses over t o Leonard.

GRACE ( CONT' D) ( cont ’ d)How ar e you f eel i ng?

LEONARDMy head hur t s.

GRACE You’ r e l ucky you di dn’ t get ki l l ed.

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LEONARDI t ol d you, I ’ m sor r y.

GRACE You t r y bei ng awakened at f ouro’ cl ock i n t he mor ni ng by t he

pol i ce sayi ng, t hey have your son,he’ s unconsci ous and on hi s way t ot he hospi t al . I ’ ve never been soscar ed i n my l i f e. And poor Rudy.

Leonar d st ar t s cr yi ng.

GRACE ( cont ’ d)What ?

LEONARDMy best f r i end i s dead!

Gr ace hands Leonar d a doubl e cheeseburger .

GRACEEat t hi s. I t ’ l l make you f eelbetter.

LEONARDI ’ m not hungr y. Besi des, I can’ tt ast e anyt hi ng anyway.

GRACEHospi t al f ood i s al ways bl and.

Thi s has f l avor .

LEONARDNo, i t ’ s because of my condi t i on.I can’ t t ast e or smel l anyt hi nganymor e.

GRACEWhat ar e you sayi ng, condi t i on?What condi t i on?

LEONARD( shr ugs)

My condi t i on.I NT. DOCTOR’ S OFFI CE - MOMENTS LATER

Pat r i ck and Gr ace si t acr oss f r om t he DOCTOR ( 50’ s) .

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DOCTORLeonar d has a condi t i on. I t ’ scal l ed Anosmi a.

GRACEOh my God! I s i t ser i ous?

DOCTORNo. Anosmi a i s when a personl ooses t hei r sense of smel l . I t ’ snot uncommon i n pat i ent s who suf f erser i ous head i nj ur i es.Unf or t unat el y, i t ’ s al so af f ect i nghi s abi l i t y t o t ast e. Agai n, notuncommon.

PATRI CK I s i t per manent ?

DOCTORDepends on t he pat i ent .

GRACEWhat do we do? He can’ t eat .

DOCTORHe can eat . He j ust can’ t t ast ewhat he’ s eat i ng.

PATRI CK What she means i s, he won’ t eat .

DOCTORLeonar d’ s associ at i on wi t h f ood i sno l onger about t ast e. I t ’ s aboutt ext ur e. Whi l e we may be par t i alt o sweet or sal t y f oods, Leonar dwi l l become par t i al t o cr unchy orsmoot h ones. Once he set t l es on at ext ur e he l i kes, hi s appet i t e wi l li ncrease.

GRACEI can’ t bel i eve t hi s i s happeni ng.

DOCTORConsi der i ng what Leonar d coul d havesuf f er ed, he’ s l ucky. Besi des, hei s sever el y over wei ght . A l oss ofappet i t e may be a benef i t .

Gr ace and Pat r i ck shoot hi m a l ook of deat h.

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I NT. LEONARD’ S HOSPI TAL ROOM - SAME TI ME

Leonard l i es i n bed, st ar i ng out t he wi ndow. A NURSE ( 40)ent er s and cr osses over t o hi s bedsi de t abl e.

NURSE

How’ d we do? The nur se sees t hat Leonar d has bar el y t ouched hi s f ood.

NURSE ( CONT' D) ( cont ’ d) You have t o eat somet hi ng. I t maynot be gour met , but you don’ t l ookt hat f i ni cky.

LEONARD Thi s st uf f f eel s l i ke shi t i n mymout h.

NURSEI t ’ s macaroni and cheese.

LEONARDI t f eel s gr oss. Li ke t her e’ s af i l m on my t ongue.

The nur se grabs t he t r ay of f ood. She r emoves an unt ouchedappl e and pl aces i t i n Leonar d’ s hand.

LEONARD ( CONT' D) ( cont ’ d)I don’ t l i ke appl es .

NURSESo, you can’ t t ast e i t , r i ght ?Maybe you’ l l l i ke t he cr unch.

The nur se exi t s. Leonar d eyes t he appl e i n hi s hand. Abeat . He r el uct ant l y t akes a bi t e. The appl e makes a l oudCRUNCH. Leonard st ar t s chewi ng. Af t er a f ew seconds, asmi l e comes t o hi s f ace. He l i kes i t .

I NT. J ACOB’ S BEDROOM - SAME TI ME

J acob l i es i n bed, hol di ng Rudy’ s ol d basebal l GLOVE. He

br i ngs t he gl ove t o hi s nose, and a f l ood of ol d memor i escome back t o hi m.

J acob r i ses, cr osses over t o t he cl oset and r emoves a met alLOCK BOX. He sel ect s 666 f or t he combi nat i on and t he boxopens. J acob r emoves t he cont ent s; basebal l car ds, somef i r ecr acker s, a f ew t i cket st ubs and a PHOTOGRAPH of he andRudy at age 5. He can’ t hel p but smi l e.

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I NT. J ACOB’ S HOME - LI VI NG ROOM - SAME TI ME

Gabe Ar t uni an cr osses over t o J i m.

GABEI ’ m l eavi ng, J i m. Agai n, so sor r y.

As Gabe t ur ns t o l eave.

J I MGabe, ar e you st i l l i nt er est ed i nbuyi ng t he l and? Because I acceptyour of f er .

GABE Thi s i s har dl y t he t i me t o t al kbusi ness.

J I MBuy t he woods, Gabe, pl ease. Teart hem down and bui l d. Bui l d houses,condos, a 7- 11, I don’ t car e. I

j ust don’ t want t o r ecogni ze i tever agai n.

Of f Gabe’ s l ook -

SFX OVER SHOT: BUZZI NG CHAI N SAW

SMASH CUT TO:

EXT. WOODS - THREE WEEKS LATER - AFTERNOON

TI GHT ON a CHAI N SAW choppi ng down a t r ee.

WI DEN t o REVEAL a CONSTRUCTI ON CREW, t ear i ng down t he l ast oft he woods. Rows and r ows of STUMPS make i t l ook l i ke agr aveyar d f or t r ees.

MALEE ( O. S. )I t ’ s gone! I t ’ s al l gone!

We FI ND Mal ee and J acob, st r addl i ng t hei r bi kes a f ew f eetaway f r om t he si t e. Leonar d i s besi de t hem on a scoot er . He

as a band- ai d on hi s f or ehead.MALEE ( CONT' D) ( cont ’ d)

I f Rudy was al i ve, he’ d be f r eaki ngout r i ght now.

Leonar d shoot s Mal ee a l ook. She si l ences her sel f .

.

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LEONARD You hol di ng up al r i ght , J acob?

J acob shrugs.

LEONARD ( CONT' D) ( cont ’ d)

I ’ m sor r y. I wi sh I coul d havedone somet hi ng.

J ACOB J ef f and Kenny wer e t he ones t hatst ar t ed t he f i r e. I t was t hei rf aul t . Or maybe mi ne. I shoul d ofbeen t her e.

MALEE You woul dn’ t have been abl e t o doanyt hi ng. And i t coul d have beenyou who di ed.

J ACOBI wi sh i t was. You know t he l astt hi ng Rudy sai d t o me? He sai d, Ican’ t be a pussy al l my l i f e. Hewas r i ght , I am. And Rudy mi ght bedead because of i t .

MALEEDon’ t say t hat .

( beat )Why don’ t you t al k t o your par ent sabout t hi s?

J ACOB They can’ t hel p me.

MALEEGi ve t hem t i me. I t ’ l l get bet t er .

J ACOBWhat i f i t doesn’ t ? My dad hasn’ tgone back t o wor k yet . What i f hel oses hi s j ob. We coul d l ose ourhouse. I coul d be homel ess.

MALEE Then you’ l l st ay wi t h me.

LEONARDOr me.

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J ACOBWe’ r e best f r i ends. We. . .

Suddenl y, somet hi ng cat ches Mal ee’ s at t ent i on of f scr een.I t ’ s GUS, st andi ng besi de a BULLDOZER.

MALEEOh my God.

J ACOBWhat ?

MALEE That guy. I l i ke know hi m. He’ sone of my mot her ’ s pat i ent s.

LEONARDSo?

MALEEI ’ ve never seen a pat i ent of her sact ual l y out and about .

( beat )Shoul d we go over and say “hi ”?

J ACOBI j ust want t o get out of her e.

Leonar d and J acob st ar t headi ng of f .

Mal ee st ays f or a beat , eyei ng Gus as he r emoves hi s T- shi r tand exposes hi s r ock abs. She i s obvi ousl y t ur ned on.

LEONARD You comi ng, Mal ee?

I NT. LEONARD’ S HOME - KI TCHEN - LATER THAT AFTERNOON

Leonar d ent er s t o f i nd Gr ace, pl aci ng a casser ol e di sh on t het abl e. The t abl e i s f i l l ed wi t h a cor nucopi a of f ood.

LEONARDAre we havi ng company?

GRACENo, t hi s i s al l f or you. Yourf avor i t es ; f r i ed chi cken,spaghet t i , pi zza, f r ench f r i es, andchocol at e cheesecake f or desser t .I made ever yt hi ng ext r a spi cy, soyou can t ast e i t .

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LEONARDMa, i t doesn’ t mat t er how spi cy t hef ood i s.

GRACESo you’ r e not even gonna t r y i t ?

LEONARDI ’ m s ur e i t ’ s del i ci ous.

GRACEFor get i t . Don’ t eat .

Gr ace put s t he pl at e of f ood i nt o t he si nk.

GRACE ( cont ’ d) You can’ t j ust eat appl es al l t het i me.

LEONARDWhy not ?

GRACE( beat , sear chi ng)

I t ’ s unheal t hy.

Of f Leonar d’ s conf usi on -

SFX OVER SHOT: SCHOOL BELL

EXT. J EFFERSON J UNI OR HI GH SCHOOL - DAYS LATER - MORNI NG

St udent s make t hei r way i nsi de f or t he f i r st day of school . Ther e i s a si gn out f r ont , whi ch r eads: WELCOME BACK.

I NT. CLASSROOM - SAME TI ME

A TEACHER wal ks al ong t he l i ne of desks, showi ng st udent st hei r assi gned seat s.

TEACHER Tommy Wal l ace.

Tommy t akes hi s seat .

TEACHER ( CONT' D) ( cont ’ d) J acob Car ges.

J acob t akes hi s seat .

TEACHER ( CONT' D) ( cont ’ d)Rudy Car ges.

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J acob al ong wi t h hi s cl assmat es ar e shocked t o di scover t hatRudy’ s name hasn’ t been removed f r om t he at t endance sheet .

The t eacher i s unawar e of t he mi st ake.

TEACHER ( CONT' D) ( cont ’ d)

Rudy Car ges. Hel l o? Tommy l ooks t o J acob. Si nce Rudy’ s not sayi ng anyt hi ng, hewi l l .

TOMMYHe’ s not i n t hi s cl ass anymor e.

TEACHERHow do you know?

J ACOBCause he’ s dead.

TEACHERI r eal i ze bei ng new at t hi s schoolput s me at a di sadvant age, but

j oki ng about a f el l ow cl assmat e’ sdeat h i s anyt hi ng but f unny, Mr . . . .

The t eacher checks her at t endance sheet .

TEACHER ( cont ’ d). . . Car ges. Wai t , ar e you. . .

J ACOBI ’ m hi s br ot her . Was. And I ’ m not

j oki ng. He’ s dead.

The t eacher l ooks ar ound at t he ot her st udent s, r eal i zi ng J acob i s t el l i ng t he t r ut h.

TEACHERI ’ m so sor r y. Wow, t hi s i sawkwar d. Woul d you l i ke t he seatl ef t empt y?

J ACOB

Why? TEACHER

I n memor y.

Of f J acob’ s l ook -

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I NT. SCHOOL GYMNASI UM - LATER THAT DAY

COACH GI LMORE ( 55) , overwei ght , gym t eacher , dr essed i n a j oggi ng sui t , snaps gum whi l e addressi ng hi s st udent s.

The cl ass of boys st and up agai nst t he wal l . Leonar d i s

amongst t hem. Hi s gym uni f or m bar el y f i t s.COACH

Al r i ght , l adi es, wel come t o gym.We wi l l be st ar t i ng t hi ngs of f t hi syear wi t h t he Uni t ed St at esSt andar di zed Fi t ness Test .

The ent i r e cl ass groans.

COACH ( CONT' D) ( cont ’ d)I ’ m sur e you al l r emember i t f r oml ast year . I wi l l be t est i ng youi n a number of physi cal f i t nessar eas.

As coach speaks, Leonar d l ooks as i f he’ s goi ng t o t hr ow up.

SMASH CUT TO:

ON CHI N UP BAR - MOMENTS LATER

A STUDENT per f or ms chi n ups wi t h gr eat ease.

COACH ( V. O. ) The st at e’ s r equi r ement f or upperbody st r engt h i s t en chi n ups.

The st udent f i ni shes hi s r un wi t h a count of t wel ve. He hopsof f t he bar and cr osses over t o hi s cl assmat es.

COACH ( CONT' D) ( cont ’ d)Leonar d, you’ r e up.

Leonar d cr osses t o t he chi n- up bar , gr abs a hol d of i t andbegi ns st r uggl i ng t o l i f t hi msel f up. Unf or t unat el y, he canonl y manage 1/ 8t h of an i nch. Leonar d dr ops of f t he bar ,exhaust ed.

COACH ( CONT' D) ( cont ’ d)What ar e you doi ng, l et ’ s go!

LEONARD That was as f ar as I coul d pul lmysel f up.

.

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A f ew st udent s l augh. Coach shakes hi s head, di sgust ed.

SMASH CUT TO:

ON A STUDENT DOI NG SI TUPS - LATER

Coach st ands over t he boy, t i mi ng hi m wi t h a st op wat ch.COACH

Ten seconds. You need f or t y t opass.

The st udent i ncr eases hi s speed.

COACH ( CONT' D) ( cont ’ d) Ti me. 42. Good j ob.

The st udent r i ses of f t he mat and wal ks over t o t he ot herboys. Leonard ent ers f r ame and dr ops on t he mat l i ke a t onof br i cks.

COACH ( CONT' D) ( cont ’ d)( r ol l i ng hi s eyes)

Go!

Leonar d st r uggl es t o l i f t hi msel f up but , he can’ t do i t .

COACH ( CONT' D) ( cont ’ d)Come on, son, f i ght i t .

Leonar d’ s f ace t ur ns r ed. He cl enches hi s t eet h.Unf or t unat el y, due t o t he pr essure he i s exer t i ng, he bl ows al oud f ar t . The gym er upt s wi t h l aught er .

EXT. SCHOOL GROUNDS - TRACK - LATER

The coach and hi s st udent s st and at t he begi nni ng of t het r ack, wai t i ng f or Leonar d t o f i ni sh hi s l aps.

Leonard sl owl y wal ks over . He i s soaki ng wet and br eat hi ngheavy.

COACH23 mi nut es.

LEONARDNot bad.

COACH The goal was 8.

The cl ass can’ t hel p but l augh.

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COACH ( CONT' D) ( cont ’ d)Hi t t he shower s.

The cl ass wal ks of f .

COACH ( cont ’ d)

Not you Leonar d.Leonar d t ur ns back and cr osses over t o t he coach.

COACH ( CONT' D) ( cont ’ d)Cent er . That ’ s t he posi t i on you’ l lbe pl ayi ng i n t wo year s.

LEONARDFoot bal l ?

COACH You don’ t l i ke f oot bal l ?

LEONARDI l ove i t . I t ’ s j ust I ’ l l nevermake t he wei ght r equi r ement . PopWar ner l eague woul dn’ t l et me pl ayf or f i ve year s because of i t .

COACH Ther e’ s no wei ght r equi r ement i nhi gh school bal l , son.

The coach bends down and r i f l es t hrough hi s GYM BAG. Her emoves 2 books and hands t hem t o Leonar d.

COACH ( CONT' D) ( cont ’ d) These ar e your new bi bl es.

LEONARDBooks?

COACHOne i s on nut r i t i on, t he ot herexer ci se. You do what t hey say,and you can pl ay f or me once youget t o hi gh school .

LEONARD Thanks.

Leonard begi ns wal ki ng back t o t he gym. Af t er a f ew st eps,he st ops and t ur ns back.

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LEONARD ( CONT' D) ( cont ’ d)Coach, why ar e you doi ng t hi s f orme?

COACHBecause I ’ ve never seen a chi l d so

out of shape i n my l i f e.I NT. SCHOOL AUDI TORI UM - LATER THAT DAY

The school BAND i s on st age and pl ayi ng a par t i cul ar l yhor r endous r endi t i on of t he STAR SPANGLED BANNER. We FI NDMALEE i n t he f l ut e sect i on, pl ayi ng her hear t out .

The CONDUCTOR, MR. FARMER ( 40) over l y ener get i c and dor ky,waves hi s bat on, si l enci ng t he band.

MR FARMER( annoyed)

Di d anyone pr act i ce over t hesummer ?

The band si t s si l ent .

MR. FARMERGr eat . Wel l , we st i l l have a f al lr eci t al comi ng up. I f anyone woul dl i ke t o per f or m a sol o, si gn up ont he sheet out si de my of f i ce. Cl assdi smi ssed.

Of f Mal ee, wei ghi ng t he deci si on i n her mi nd.

I NT. SCHOOL HALLWAY - MOMENTS LATER

Mal ee st ands out si de Mr . Far mer ’ s of f i ce, st ar i ng at t he SI GNUP SHEET on hi s door . Af t er a beat , she l i f t s her pen t osi gn her name. Bef or e she wr i t es i t , she st ops, qui ckl yt ur ns ar ound and wal ks away.

Af t er a beat , Mal ee r et ur ns t o t he si gn up sheet and st ar t swr i t i ng her name. Hal f way t hr ough, she st ops, scr at ches outher name and wal ks of f .

We r emai n on t he si gn up sheet . Af t er a f ew seconds, Mal ee’ shand ent ers t he shot and wr i t es i n her name.

I NT. J ACOB’ S HOME - DEN - EVENI NG

J acob ent er s t o f i nd J i m and Ashl ey f i ght i ng.

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ASHLEYNo, t hey’ r e wr ong. Cal l t hem back.

J I MAshl ey, I t al ked t o t he l awyer . Hewoul dn’ t l i e.

J ACOBWhat ’ s goi ng on?

ASHLEY Thi s i s al l your f aul t .

J I MMe?

ASHLEYI f we had gone t o t he hear i ngs l i keI sai d, t hi s woul dn’ t be happeni ng.

J I MWe agr eed i t woul d be t oo pai nf ul .

ASHLEY You agr eed.

J ACOBMom, what happened?

Ashl ey t ur ns t o J acob as i f r eal i zi ng hi s pr esence f or t hef i r s t t i me.

ASHLEY Tel l hi m. Tel l your son.

J I M The boys who ki l l ed Rudy cut adeal . They got a year i n j uvi ni l ehal l and f i ve year s pr obat i on.

ASHLEYA year . That ' s what your br ot her ’ sl i f e i s wor t h. A damn year !

J I MAshl ey, cal m down!

ASHLEYHow can you be so unaf f ect ed byt hi s! How? Our son was murder ed!

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J I M( measur ed)

I t was an acci dent , and t he boysar e j uveni l es.

ASHLEY

So t hat makes i t okay?Ashl ey st or ms out of t he r oom. J acob l ooks t o hi s f at her ,unner ved by t he si ght of hi s mot her so upset .

J i m j ust t urns and wal ks i nt o t he l i vi ng r oom.

FADE TO BLACK:

SFX OVER BLACK: ALARM CLOCK

FADE I N:

I NT. LEONARD’ S BEDROOM - EARLY MORNI NG

Leonar d awakens and si l ences t he al arm. He si t s up i n bedf or a moment and comes t o hi s senses.

EXT. LEONARD’ S HOME - MOMENTS LATER

Dr essed i n a sweat sui t and sneaker s, Leonard spr i nt s downt he dr i veway and t o t he st r eet . Hi s sweat sui t i s so t i ght ,Leonar d l ooks l i ke a st uf f ed sausage.

Wi t h each st ep he t akes, Leonar d breat hi ng becomes heavi erand heavi er . Sweat f orms on hi s f orehead and dr i ps down hi sf ace.

Wi t hi n seconds, Leonar d’ s pace t aper s of f . He st r uggl es t ocont i nue but i s so out of shape, st oppi ng i s i nevi t abl e.

Leonard l eans over , gaspi ng f or ai r . He l ooks back andr eal i zes t hat he onl y r an about one hundr ed yar ds. I n f act ,hi s house i s st i l l i n vi ew.

Leonard t ur ns ar ound and st ar t s wal ki ng back home. Af t er af ew st eps, he st ops and t hrows up.

EXT. CONSTRUCTI ON SI TE - DAYS LATER - AFTERNOONGus st ands i nsi de of a shal l ow di t ch, di ggi ng out t he r oot sof an ol d t r ee.

MALEE ( O. S. )Don’ t I know you?

.CONTI NUED: ( 2)

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Gus t urns and sees Mal ee behi nd hi m, hol di ng a PI CNI C BASKET.

GUSDr . Chung’ s daught er .

MALEE

You r emember ed. We wer e neveri nt r oduced. My name i s Mal ee.

GUSGus.

They shake hands.

GUS ( CONT' D) ( cont ’ d)What ar e you doi ng her e?

MALEEI was i n t he mood f or a pi cni c. It hought t hi s woul d be a ni ce pl acet o have one.

Gus l ooks ar ound, conf used. Thi s l ocat i on i s anyt hi ng butpi cni c f r i endl y. Bul l dozer s pl ough t hr ough t he scene,bl ast i ng exhaust i nt o t he ai r . Men scr eam at each ot her .

WORKER ( O. S. )Asshol e, move your f ucki ng t r uck!

MALEEWoul d you l i ke t o j oi n me? Ther e’ spl ent y of f ood.

GUSI don’ t go t o l unch f or anot her t enmi nut es.

MALEEI ’ l l wai t . Meet me by t he cementmi xer when you’ r e r eady.

Mal ee wal ks of f . Gus wat ches as she makes her way t hrought he const r ucti on si t e.

EXT. CONSTRUCTI ON SI TE - ANOTHER AREA - TEN MI NUTES LATERGus and Mal ee si t on a checker ed bl anket , eat i ng Chi nese f oodwi t h chopst i cks. A l ar ge CEMENT MI XER st ands behi nd t hem.

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GUS The l ast t i me I saw you, you had j ust come f r om a f uner al . How ar eyou doi ng?

MALEE

Okay. Deat h i s l i ke so wei r d. Imean, i t ’ s sad, but I al so f eell i ke I ’ ve been gi ven t hi s si gn. Asi gn whi ch i s t el l i ng me, l i f e i sshor t , so you got t a do what makesyou happy. You got t a t ake chances.

You got t a get cr azy.

GUSWhat ar e you doi ng t o “get cr azy”?

MALEEI pl ay t he f l ut e.

GUS( l aughs)

Yeah, t hat ’ s t ot al l y nut s.

MALEENo, not t hat . See, every year myschool has t hi s reci t al . I ’ veal ways been t oo scar ed t o pl ay asol o i n f r ont of peopl e, but t hi syear I ’ ve deci ded t o do i t .

GUSGood f or you. When i s i t ?

MALEEWhy do you car e?

GUSCause I ’ m gonna go.

MALEEWhat ? You can’ t go! Nobody goest o t hese t hi ngs. I don’ t event hi nk my mom i s goi ng.

GUS You got t a have somebody r oot i ng f orya. Besi des, I l i ke musi c, and Iowe you f or br i ngi ng me l unch.

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Mal ee cl oses her book, l ooks over at Leanord.

LEONARDI can’ t bel i eve i t ei t her . A yearai n’ t shi t ! Rudy i s dead f or ever .

J ACOBI want t hem dead. I want t o ki l lt hem. I coul d handl e a year i n

J uvy hal l .

MALEEWhoa, what t hose guys di d was anacci dent . I f you wer e t o ki l lt hem, i t ’ s pr emedi cat ed. You’ d get20 year s t o l i f e at l east .

J ACOBSo I ’ m j ust supposed t o si t her eand t ake i t ? Be l i ke you guys.

LEONARDWhat i s t hat supposed t o mean?

J ACOB You seem t o have gone on wi t h l i f epr et t y easi l y. Don’ t you mi ss hi m?Don’ t you car e?

MALEEI t ’ s not t hat we don’ t car e. I t ’ s

j ust . . .

J ACOBLi f e goes on.

MALEEI t does. You have t o deal wi t h i t .I f you don’ t , i t coul d l i ke eat youal i ve f or ever . 90 per cent ofpeopl e’ s pr obl ems i s due t o t hei ri nabi l i t y to get over t he past .

LEONARD

How do you know?MALEE

My mom t el l s t hat t o al l herpat i ent s. I ’ ve eavesdr opped onsome of her t her apy sessi ons.

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LEONARD That ’ s awesome. Can I l i st en i nsomet i me?

MALEENo. Anyway, she says, i f a per son

want s cl osur e, t hey got t a deal wi t ht hei r pr obl ems head on. Go seet hese guys and l et t hem know howyou f eel .

J ACOBI don’ t t hi nk my parent s woul d beup f or t hat .

MALEEGo al one. J uvy hal l i s onl y l i kef or t y mi nut es f r om her e. Take t hebus.

Of f J acob, t hi nki ng-

I NT. J ACOB’ S PARENT’ S BEDROOM - LATER THAT AFTERNOON

The bedroom door sl owl y opens. J acob peeks hi s head i nsi det he dar kened r oom and qui et l y ent er s. He t i p t oes over t ohi s par ent ’ s bed. Ashl ey l i es asl eep, wr apped up i n a bundl eof bl anket s.

J acob cr osses t o her ni ght st and and opens t he t op drawer .He r emoves her pur se, unzi ps i t and st eal s some cash, whi cht ot al s ar ound 60 dol l ar s.

I NT. CARGES LI VI NG ROOM - MOMENTS LATER

J i m si t s i n hi s chai r , st ar i ng of f i nt o space. J acob ent er sand cr osses t o t he f r ont door .

J ACOBBye, Dad.

EXT. BUS STATI ON - MOMENTS LATER

Wi t h t he hel p of t he BUS DRI VER, J acob l oads hi s bi ke i nt o

t he l uggage compar t ment under neat h t he bus. Then he handst he dr i ver a t i cket and boar ds.

J acob t akes a seat up f r ont . Af t er a f ew moment s, t he dr i verboar ds, st ar t s t he engi ne and dr i ves of f .

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I NT. J UVI NI LE HALL - CONVERSATI ON BOOTH - LATER

J acob and Kenny si t , st ar i ng at each ot her t hrough a pl at e ofgl ass . Kenny pi cks up t he ONE WAY PHONE. J acob does al so.

J ACOB

Wher e’ s J ef f ?KENNY

He’ s s i ck. I t hi nk he. . .

J ACOB( i nt er r upt i ng)

I hat e you. You know t hat ? Youbast ar d.

KENNYRudy knew we wer e goi ng t o bet her e. He never shoul d have come.

You want t he t r ut h, al l t hi shappened cause of you.

J ACOBMe?

KENNY Yeah, you def or med r et ar d! Theonl y r eason we st ar t ed pi cki ng onyou guys i n t he f i r st pl ace wasbecause of t hat t hi ng on your f ace.

J ACOBEver y ni ght , I l i e i n bed and pl anyour murder .

KENNYI ’ m shaki ng.

J ACOBFi r st I ’ m goi ng t o t ake a ki t chenkni f e and chop of f your f i nger st hen your nose t hen your t ongue.

Then I ’ m gonna poke out your eyeswi t h t he end of a br oomst i ck.

Wel l , not r eal l y poke t hem out , butI ’ m gonna push t hem back i nt o yourbr ai n. Then I ’ m gonna t akesci ssor s and cut of f your ear s.When t hey f i nd you, i t ’ s gonna bel i ke put t i ng a j i gsaw puzzl e backt oget her .

.

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KENNYI f you ki l l me, you come her e.

J ACOBSo? What do I have t o l ook f or war dt o? You’ ve al r eady dest r oyed my

l i f e.KENNY

What happened was an acci dent .

J ACOB Ther e ar e no acci dent s. You’ r egonna pay f or what you di d. Andi t ’ s gonna hur t l i ke hel l .

I NT. LEONARD’ S BEDROOM - NI GHT

Leonar d si t s, r eadi ng t hr ough nut r i t i onal manual s.

We see t hat he i s wr i t i ng t hi ngs down on a pi ece of paper . The wor ds wr i t t en ar e: Sugar , cor n syr up, sal t , gum.

I NT. LEONARD’ S HOME - HALLWAY/ KI TCHEN - LATER

Gr ace wal ks t hr ough t he hal l way hal f asl eep. She ent er s t heki t chen and f i nds Leonar d, si t t i ng on t he f l oor , sur r oundedby boxes of f ood. Al l of t he ki t chen cupboar ds ar e open andpackages l i ne t he count er t ops.

GRACEWhat t he hel l i s t hi s?

LEONARDI ’ m r eadi ng t he l i st of i ngr edi ent si n our f oods.

GRACEWhy?

LEONARDResear ch. Do you know t he damaget hese chemi cal s can do t o t he humanbody?

GRACELeonard, put ever yt hi ng back.

LEONARD Thi s i s ser i ous. You can’ t keepbuyi ng t hi s cr ap. Don’ t you car et hat you’ r e i ngest i ng gar bage?

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GRACE J ust put ever yt hi ng back and go t osl eep.

Of f Leonar d’ s l ook -

EXT. STREET - NEXT DAY - AFTERNOONMal ee i s r i di ng her bi ke on t he si dewal k when she sees Gus,exi t hi s car and ent er her mot her ’ s of f i ce.

I NT. STAI RWELL/ HALLWAY - MOMENTS LATER

Mal ee r uns up a f l i ght of st ai r s. She get s of f at t he secondf l oor and ent er s an open, unoccupi ed of f i ce.

I NT. UNOCCUPI ED OFFI CE - CONTI NUOUS

Mal ee runs over t o t he heat i ng gr at e and put s her ear t o i t .

YACCO ( FROM BELOW)How was your week?

GUS ( FROM BELOW)Same. St i l l can’ t sl eep. When Ido, ni ght mares.

I NT. YACCO’ S OFFI CE - SAME TI ME

Yacco and Gus si t acr oss f r om each ot her .

YACCOPost t r aumat i c st r ess i s ver ycommon i n your l i ne of wor k. Manyf i r e f i ght er s go t hr ough t hi s.

GUS Yeah. But why now? I haven’ tf ought f i r es i n t en year s.

YACCOSomet i mes we exper i ence somet hi ngso hor r i f i c, our memor y bl ocks i tout . That way we won’ t have t o

r el i ve t he pai n. I t ’ s cal l edr epr essi on. Our bodi es ar e not sof or gi vi ng, however . I nsi de, wef eel t he ef f ect s of t r auma evenwhen we don’ t know why.

GUSWhat does t hat mean?

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YACCOSomet hi ng st i r r ed your unconsci ous.I f we f i nd out what t hat was, wecan begi n t he heal i ng pr ocess.

Gus l ooks t o her , conf used.

YACCO ( CONT' D) ( cont ’ d) You t ol d me l ast week, t heni ght mares st ar t ed about t he t i meyou moved her e. Let ’ s l ook att hat . Why di d you move her e?

GUSA f r i end was maki ng good money wi t hconst r uct i on. He got an of f er t obui l d t hat ext ensi on of f Li ndsayAcr es. He suggest ed I come i nt ot own and work f or a whi l e.

I NT. UPSTAI RS OFFI CE - SAME TI ME

Mal ee i s on t he edge of her seat , l i st eni ng. We see t hat shehas wr i t t en t he f ol l owi ng words i n her not ebook: GUS -NI GHTMARES - FI RE.

YACCO ( FROM BELOW)Ar e t her e any ot her r eoccur r i ngel ement s i n your dreams. Per haps,a f ace or . . .

I NT. YACCO’ S OFFI CE - SAME TI ME

GUS“Li ght my Fi r e” i s al ways pl ayi ng.

YACCOWhat ?

GUSLi ght my f i r e. The Door s song.

( si ngi ng)“Da da somet hi ng. . . wal l ow i n t hemi r e. . . Da, da. . . we coul dn’ t get

much hi gher . Come on baby l i ght myf i r e.

Yacco st ar es at Gus. He i s suddenl y sel f consci ous.

YACCOI nt er est i ng.

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I NT. UPSTAI RS OFFI CE - SAME TI ME

Mal ee ci r cl es t he wor ds “Li ght My Fi r e” agai n and agai n andagai n.

I NT. J ACOB’ S HOME - UPSTAI RS HALLWAY - DAYS LATER - EVENI NG

SFX: CLANGI NG POTS AND PANS, comi ng f r om downst ai r s.

J acob exi t s hi s r oom and goes t o i nspect t he noi se.

I NT. J ACOB’ S HOME - KI TCHEN - MOMENTS LATER

J i m st ands on a chai r , cl eani ng out t he ki t chen cupboar ds.

Pot s and pans l i ne t he count er t ops, di shes cover t he t abl eand non per i shabl e f oods ar e spr ead out acr oss t he f l oor .

J acob ent er s and i s t aken aback by t he si ght of J i m st andi ngon a chai r and wear i ng an APRON and RUBBER GLOVES.

J ACOBDad?

J I M J acob.

J ACOB You okay?

J I MFant ast i c.

J i m r i ps t he r ubber gl oves of f wi t h hi s t eet h.

J I M ( CONT' D) ( cont ’ d) You know, f or t he past f ew weeks, Isat i n t hi s house. I coul dn’ tmove. Ever yt hi ng r emi nded me ofRudy. Then f r om out of nowher e Ihad a r evel at i on. I am al i ve!

Your mot her i s al i ve! I becameover come wi t h j oy because Ir eal i zed how l ucky we ar e t o st i l l

have you. J ACOB

Me?

J I M J acob. I l ove you.

.

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J i m gr abs J acob and hugs hi m t i ght l y. J acob pul l s away,unset t l ed and bi t f r i ght ened.

J I M ( CONT' D) ( cont ’ d)( hal f crazed)

I went t o wor k t oday. For t he

f i r st t i me i n weeks. I t was as i fI had j ust got t en out of col l ege!I was f ear l ess! I went af t eraccount s I had avoi ded f or year sbecause I t hought t hey were out ofmy l eague. I spoke t o pr esi dent s,vi ce pr esi dent s, busi ness manager s,sal es r eps. I was amazi ng. I wasmagi c. But when I came home t oshar e t he news wi t h your mot her , Idi scover ed her asl eep. When Il ooked ar ound t he house, I r eal i zedt hat her “of f i ce”, f or l ack of abet t er wor d, was al so pi l ed up.So, I t ook t o t he house. I havemade i t my dut y t o cl ean t hi s pl acef r om t op t o bot t om. Even i f i tt akes me al l ni ght , I don’ t car e.

J acob?

J ACOB( f r i ght ened)

Yeah?

J I MWi l l you j oi n me? J oi n me i n t hi scel ebr at i on of l i f e. A symbol i cgest ur e of cl eani ng out t he ol d andbr i ngi ng i n t he new.

J ACOBDo I have t o?

J I M( t hr own f or a l oop)

No, you don’ t have t o.

J ACOB

Good ni ght , Dad.Of f J i m’ s l ook -

EXT. J UNI OR HI GH SCHOOL AUDI TORI UM - DAYS LATER - NI GHT

Par ent s and st udent s f i l e i nsi de. A l ar ge SI GN above t hedoor r eads, J EFFERSON J UNI OR HI GH FALL RECI TAL.

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I NT. SCHOOL AUDI TORI UM - CONTI NUOUS

A packed audi ence l i st ens t o A GI RL ( 12) , st andi ng cent erst age and si ngi ng “The Rose”. She i s not near l y as good asshe t hi nks she i s, but she si ngs f ul l t hr ot t l e.

We FI ND Mal ee, si t t i ng i n t he f l ut e sect i on and pl ayi ng al ongwi t h t he r est of t he or chest r a. She l ooks t o t he f r ont r ow,but Gus i s no wher e t o be f ound.

The gi r l f i ni shes her song, and t he cr owd pol i t el y appl auds.

Mr . Far mer cr osses t o t he mi cr ophone.

MR. FARMERI ’ m sure Bet t e Mi dl er woul d be mosti mpr essed wi t h t hat r endi t i on.

The cr owd l aughs. Mr . Far mer di dn’ t mean f or i t t o be a j oke.

MR. FARMER ( CONT' D) ( cont ’ d)Anyway, our next sol oi st i s Mal eeChung. She wi l l pl ay t he t hemef r om “Love St or y” on t he f l ut e.

The cr owd appl auds as Mal ee r i ses and cr osses t o t hemi cr ophone.

MALEE Thank you, Mr . Far mer .

Mal ee spot s Gus, wal ki ng down t he ai sl e. He scur r i es i nt ot he f r ont r ow and si t s. Mal ee l i ght s up.

MALEE ( CONT' D) ( cont ’ d) Ther e’ s act ual l y been a change.I ’ m not goi ng t o pl ay t he t hemef r om “Love St or y”. Um. . . t hi s i s asong. . .

Mr . Far mer , waves t o Mal ee f r om of f st age. Mal ee l ooks athi m. Mr . Far mer mout hs somet hi ng t o her .

MALEE ( I NTO MI CROPHONE) ( CONT' D)( t o Mr . Far mer )What ? I can’ t hear you?

Mr . Farmer t hrows up hi s hands.

.

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MALEE ( CONT' D) ( cont ’ d)Anyway. Thi s i s a song by TheDoor s.

At t he ment i on of The Door s, Gus’ smi l e i nst ant l y f ades. Thecoi nci dence i s j ust t oo gr eat .

Mal ee st ar t s t o pl ay “Li ght My Fi r e”. She i s good. Mr .Far mer and t he audi ence seem pl eased by her euphoni ousper f or mance. Even Gus i s won over . He appear s ent r anced byt he musi c.

I NT. SCHOOL AUDI TORI UM - LATER THAT NI GHT

The r eci t al i s over . Most of t he audi ence has f i l ed out . Af ew r emai n, of f er i ng t hei r congr at ul at i ons t o t he musi ci ans.

Mal ee st ands wi t h Leonar d.

MALEEWhere’ s J acob?

LEONARDCoul dn’ t make i t . He. . .

GUS ( O. S. )Mal ee.

Mal ee spot s Gus, headi ng t owar ds her .

MALEEOh my God! He’ s comi ng over .

LEONARDWho?

MALEEShut up! Leave now.

Mal ee pushes Leonar d behi nd her j ust as Gus appr oaches.

GUS You wer e awesome.

MALEEReal l y? Be honest . I ’ d r at her yout el l me I sucked t hen l i e.

GUS You wer e great .

Leonar d peeks ar ound Mal ee’ s back.

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MALEEExcuse me f or a second.

Mal ee t urns ar ound and pi nches Leonar d.

LEONARD

Ow, ow, ow al r i ght . I ’ m goi ng.Leonard wal ks of f . Mal ee t ur ns back around wi t h a bi g smi l eon her f ace. She pl ays coy.

MALEESo you r eal l y enj oyed i t ?

GUS Yeah. Good song. What made youpi ck i t ?

MALEE( cover i ng)Oh, uh. . . my mot her was hummi ng i t

al l l ast week. Bi g Door s f an.

GUSReal l y? I s she her e?

MALEENo.

GUSShe mi ssed out .

MALEE You’ r e so sweet .

GUS Yeah wel l , I have t o go, but t hanksagai n. I had a gr eat t i me.

Gus gi ves Mal ee an i nnocent ki ss on t he check and t hen wal ksof f . Mal ee mel t s. She st ands f r ozen, cl ut chi ng ont o herf l ut e i n ecst acy.

EXT. STREET - MORNI NG

Wi t h f i r e and det er mi nat i on, Leonar d j ogs. Unf or t unat el y, hei s qui ckl y wi nded by t he r un. He bends over , gaspi ng.

SUPERI MPOSE SHOT OVER SHOT: Leonar d appear s, r unni ng pasthi s ol d, weaker sel f . St r onger , he makes a f ew more yar dsand t hen i s f or ced t o st op.

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He l eans over f or ai r , and we SUPERI MPOSE anot her SHOT OVERSHOT of Leonard, weeks l at er , r unni ng past hi s weaker sel f .( Thi s ser i es of shot s r epeat s a f ew mor e t i mes, i l l ust r at i ngt he pr ogr essi on of t i me and wei ght l oss. )

I NT. LEONARD’ S HOME - STAI RCASE/ KI TCHEN - DAY

Leonard r uns up and down t he st ai r s, sweat i ng l i ke cr azy.Gr ace appear s, wat chi ng hi m around t he cor ner . She shakesher head and t hen r et ur ns t o t he ki t chen.

GRACE That boy i s goi ng t o br i ng t heent i r e house down.

PATRI CK Let hi m be. He’ s l ooki ng good.I ’ m pr oud of hi m.

GRACE( t o t he gi r l s )Gi r l s, have you deci ded what you’ r egoi ng t o go as f or Hal l oween?

SARAEi t her a wi t ch or a pr i ncess.

GRACE That ’ s ni ce. Hal ey?

HALEYI ’ m goi ng t o go as a mar bl e.

GRACEWhat do you mean, a mar bl e?

HALEY You know, l i ke a bag of mar bl es,but j ust one mar bl e.

I NT. J UVY HALL - CONVERSATI ON BOOTHS - LATE AFTERNOON

J acob and J ef f si t acr oss f r om each ot her on t he phone. J ef fhas t wo bl ack eyes and a f at l i p. He i s cryi ng pr of usel y.

J acob doesn’ t appear at al l sympat het i c. J EFF

I ’ m r eal l y sor r y, man. I . . .

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J ACOB You j ust t hi nk about what I sai d.Get out of my si ght . And sendKenny i n on your way out .

J ef f r i ses and wal ks t o a door , l eadi ng t o t he j ai l . A

moment l at er , Kenny ent er s, l ooki ng pi ssed of f . He si t sacr oss f r om J acob and pi cks up t he phone.

KENNYWhat di d you say t o hi m?

J ACOBI t hought you’ d bot h l i ke t o knowt hat Hal l oween was Rudy’ s f avor i t ehol i day.

J acob pi cks up some pi ct ures and presses t hem agai nst t hegl ass.

J ACOB ( CONT' D) ( cont ’ d) These ar e pi ct ur es f r om ever ysi ngl e Hal l oween si nce we weref i ve. You see how happy he was?

KENNYSt op i t .

J ACOBAf t er we’ d go t r i ck or t r eat i ng,we’ d si t i n our r oom and swap t hecandy we hat ed. Rudy l ovedSni cker s, I Al mond J oys.

KENNYAl mond J oy sucks.

J ACOBWhat sucks i s t hat I ’ l l never gett o si t i n my r oom and swap candywi t h my br ot her ever agai n. Thankst o you.

KENNY

Why are you doi ng t hi s? J ACOB

To r emi nd you.

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KENNYHow coul d we f or get ? You beencomi ng her e f or mont hs t o “r emi ndus”.

J ACOB

No one i s f or ci ng you t o t al k t ome.

KENNYAnyt hi ng t o get out of my cel l .

J ACOBI s your cel l smal l ?

KENNY Yes.

J ACOBSo i s a cof f i n.

KENNY You’ r e not t he onl y one who wi sheshe was s t i l l al i ve. I ’ d doanyt hi ng t o br i ng hi m back, but Ican’ t . I t ’ s not easy bei ng i nher e. Hel l , you saw J ef f .

J ACOBWhat happened t o hi m?

KENNYHe pi ssed of f t he wr ong guy of f .

J ef f i s t ot al l y f ucked r i ght now.

J ACOBGood.

KENNYDon’ t come back her e ever agai n.

J ACOBFr ee count r y. I ’ l l come i f I want .

KENNYDon’ t expect me t o show up.

Kenny sl ams down t he phone and exi t s. J acob smi l es, havi ngshaken hi m.

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I NT. LEONARD’ S HOME - FRONT DOOR - THAT NI GHT

Gr ace hands out candy t o a f ew t r i ck or t r eat er s at her door .

GRACEBe car ef ul now. Have a good ni ght .

I NT. KI TCHEN - CONTI NUOUS

Gr ace cr osses t o t he ki t chen t abl e wher e Pat i s doi ng acr osswor d puzzl e.

GRACEKi ds keep comi ng l at er ever y year .

SFX: FRONT DOOR, openi ng and cl osi ng.

Hal ey and Sar a st or m i nt o t he ki t chen i n t ear s. Hal ey i sdr essed as a MARBLE, and Sara i s dr essed as a WI TCH.

HALEYI hat e hi m! I hat e hi m!

GRACEWho? What happened?

HALEYLeonar d! He t hrew away al l ourHal l oween candy.

GRACE/ PATRI CK What ?

SARAHe gr abbed our bags and j ust t hrewt hemdown a gut t er .

Leonar d ent er s. Hal ey and Sara r un out of t he ki t chen.

PATRI CK What t he hel l i s goi ng on? Why di dyou t hrow away t hei r candy?

LEONARD

Because t hei r sugar i nt ake i scompl et el y unheal t hy. Besi des,Hal l oween i s supposed t o be acel ebr at i on of evi l . How di d candyget wr apped i nt o i t ?

.

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GRACEI am goi ng t o ask you t hi s once,and I want a st r ai ght answer . Ar eyou i n a cul t ?

PATRI CK

Gr ace!GRACE

Thi s i s what happens when ki ds j oi ncul t s. The f i r st t hi ng t hey changei s t hei r di et s .

LEONARDI ’ m not i n a cul t . Thi s i s al li nf or mat i on you can f i nd i n books.

GRACE The i ssue her e i s t hat you havest ol en one of t he most exci t i ngni ght s of t he year f r om yoursi st er s .

PATRI CK I f anybody had done t hi s t o youwhen you wer e a chi l d, we neverwoul d have hear d t he end of i t .

LEONARDI wi sh somebody had done i t t o me.I wi sh ei t her one of you had gi vena shi t about my wei ght .

Leonard st orms out of t he ki t chen. Pat r i ck and Gr ace ar espeechl ess .

I NT. LEONARD’ S ROOM - MOMENTS LATER

Leonar d l i es on t he f l oor , doi ng si t - ups. He can act ual l y doa f ew now. Pat r i ck bur st s i nt o t he r oom.

PATRI CK I do not car e f or your l anguage.

LEONARDI ’ m onl y t r yi ng t o hel p you guys.

Leonar d st ops exer ci si ng.

LEONARD ( cont ’ d) You’ r e f at dad. Mom i s f at . Uski ds ar e f at .

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PATRI CK What ’ s your poi nt ?

LEONARDDad, you and mom ar e goi ng t o di eyoung i f you keep eat i ng as poor l y

as you do.PATRI CK

What i s t hi s obsessi on you havewi t h wei ght ?

LEONARD The coach f or J ef f er son Hi gh i sal so my gym t eacher . He t ol d met hat i f I got i nt o shape, I coul dst ar t as cent er f or t he Fr eshmant eam when I get t o hi gh school .

PATRI CK Cent er i s a gr eat posi t i on. Toughest guy on t he f i el d. A goodcent er can make or break a t eam.

LEONARDI know. That ’ s why I ’ m t r yi ng sohard t o get i nt o shape. You guysshoul d t o. At t he r at e you’ r egoi ng, you won’ t make i t t o your60’ s .

PATRI CK Look, Leonar d. Your mom, t o her , at ast y meal i s j ust a way of showi ngshe car es.

LEONARDShe doesn’ t ! Toni ght she ser vedspaghet t i and meat bal l s f r om a can.

The amount of sodi um al one canwr eck havoc on a per son’ s bl oodpr essur e. Not t o ment i on. . .

PATRI CK

Leonar d, peopl e j ust don’ t dr opdead f r om eat i ng meat bal l s.

Of f Leonar d’ s l ook -

EXT. CONSTRUCTI ON SI TE - DAYS LATER - AFTERNOON

Mal ee hands Gus her bag of Hal l oween Candy.

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KENNYHe used hi s bed sheet , wai t ed unt i ll i ght s out and t hen j umped.

J ACOB That ’ s t er r i bl e.

KENNYHi s cel l mat e l et hi m hang t her et he ent i r e ni ght .

J ACOBI ’ m sor r y, Kenny.

KENNYLi ke you even gi ve a shi t . I betwhen you hear d, you st ar t eddanci ng.

J ACOBNo.

KENNYI knew he woul dn’ t make i t . I t ’ smy f aul t t oo. J ef f wasn’ t a sai ntwhen I met hi m, but he sur e as hel lwasn’ t headed here.

( t ear i ng up) That f ucki ng asshol e!

Kenny dr ops t he phone and begi ns cr yi ng i n hi s arms. J acobwat ches t hr ough t he gl ass , t ouched by Kenny’ s r eact i on.

MUSI C OVER SHOT: UPBEAT CHRI STMAS MUSI C

I NT. J ACOB’ S HOME - LI VI NG ROOM - CHRI STMAS MORNI NG

J acob si t s on t he f l oor , sur r ounded by boxes and wr appi ngpaper . Sant a has obvi ousl y been good t o hi m.

J i m si t s on t he couch, dr i f t i ng i n and out of sl eep.

Ashl ey, dr essed i n her f i nest Chr i st mas sweat er , per uses t hef i r epl ace mant el and al l of t he decor at i ons t hat l i ne i t .

She i s a dr ast i cal l y di f f er ent woman t han t he l ast t i me wesaw her . She l ooks upbeat and pr et t y.

J ACOBAn I POD! Sweet !

Ashl ey l ooks at J acob and smi l es. He has j ust unwr apped anI POD.

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ASHLEY You l i ke i t ?

J ACOBI l ove i t . You guys went cr azyt hi s year .

Ashl ey smi l es at her son. I t ’ s a bi t t er sweet moment f or her .

J I MI ’ m goi ng t o shower .

ASHLEY J i m, J acob st i l l has one mor epr esent .

J I MI t hought we were goi ng t o wai t .

J ACOBNo, do i t now! Now!

Ashl ey cr osses t o t he couch and si t s besi de J i m. They hol deach ot hers hands.

ASHLEYAf t er ser i ous debat e, your f at herand I have deci ded. . . t o adopt ABABY!

J ACOBWhat ?

J I MWe’ r e gonna adopt a baby.Hopef ul l y a boy.

Of f J acob’ s shock -

I NT. LEONARD’ S HOME - DI NI NG ROOM - DAY

Leonar d’ s ext ended f ami l y si t s at t he ki t chen t abl e, eat i ngChr i st mas di nner . Hi s ext ended f ami l y i s j ust as over wei ghtas hi s i mmedi at e. Leonar d barel y t ouches hi s own pl at e, t oo

di sgust ed t o eat . He r i ses.LEONARD

May I be excused?

The ent i r e f ami l y st ops eat i ng and t urns t o hi m.

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GRACENo!

Leonard si t s back down. Hi s f ami l y qui ckl y r esumes eat i ng.

I NT. MALEE’ S HOME - DEN - EVENI NG

Mal ee does her homework, Yacoo f l i ps t hr ough a f ashi onmagazi ne.

MALEEWhy do I have t o do t hi s? I t ’ sChr i st mas br eak.

YACCO You’ l l be one st ep ahead i n J anuar y.

MALEE J ust because you’ r e an at hei st , Idon’ t get t o cel ebr at e t hehol i days.

Yacco shoot s Mal ee t he l ook of deat h.

MALEE ( CONT' D) ( cont ’ d)Don’ t you f i nd i t har d notbel i evi ng i n anyt hi ng?

YACCOMal ee.

MALEEI ’ m goi ng f or a bi ke r i de.

YACCO Ther e’ s a f oot of snow out si de.

MALEE The st r eet s ar e pl oughed. Besi des,I l i ke l ooki ng at al l t he l i ght s .

YACCOBe home i n an hour . Be caref ul .

EXT. 7- 11 PARKI NG LOT - LATER THAT NI GHT

Mal ee f l i ps t hr ough a TELEPHONE BOOK. She comes t o Gus’ nameand r i ps out t he page.

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I NT. GUS’ APARTMENT BUI LDI NG - OUTSI DE HI S DOOR - LATER

Mal ee knocks on Gus’ door , but he doesn’ t answer . Then Mal eespot s a WELCOME MAT. She ki cks i t asi de and di scover s aSPARE KEY under neat h.

I NT. GUS’ S APARTMENT - CONTI NUOUSMal ee caut i ousl y ent er s, shut t i ng t he door behi nd her . Abeat . She al l ows t he exci t ement t o set t l e i n. I t ’ s yourt ypi cal bachel or pad. St r ay beer bot t l es decor at e ever yshel f and end t abl e. Di r t y cl ot hes dr ape acr oss an ol dcouch. Mal ee cont i nues on t o t he ki t chen.

I NT. GUS’ APARTMENT - KI TCHEN - CONTI NUOUS

Mal ee f i nds t he ki t chen mor e of a mess t han t he l i vi ng room.Pot s, pans and st acks of TV di nner s l i ne t he count er t op.

I NT. GUS’ S APARTMENT - BEDROOM - MOMENTS LATER

Mal ee ent er s and st ops col d at t he si ght of t he bed. I t sunmade and t he sheet s and bl anket s ar e ent angl ed i n a bal l .Ar oused, Mal ee si t s on t he bed and t hen l i es back i n ecst acy.

EXT. FRONT OF GUS’ APARTMENT BUI LDI NG - SAME TI ME

Gus dr i ves up, par ks al ong t he si dewal k, and get s out .

I NT. GUS’ S APARTMENT - BEDROOM - SAME TI ME

Mal ee goes t hrough a phot o al bum. We see pi ct ures of Gus,dr essed i n a f i r ef i ght er ’ s uni f or m. He appear s much youngerand cl ean cut .

As Mal ee r et ur ns t he al bum t o t he ni ght st and, she not i ces aan open dr awer and peeks i nsi de.

I NT. APARTMENT BUI LDI NG - STAI RWELL - SAME TI ME

Gus l azi l y makes hi s way upst ai r s.


Mal ee hol ds Gus’ gun. Compl et e wi t h sound ef f ect s, shepr et ends t o shoot a beer bot t l e of f t he dr esser .

Mal ee l aughs and t hen j umps acr oss t he bed l i ke a Char l i e’ sAngel .

.


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I NT. APARTMENT BUI LDI NG - GUS’ S FRONT DOOR - SAME TI ME

Gus f umbl es f or hi s keys.


Mal ee st ands i n f r ont of t he mi r r or , posi ng.MALEE

Fr eeze! That ’ s r i ght .

Mal ee l aughs i n spi t e of her sel f . I n t he pr ocess, sheunknowi ngl y cocks t he t r i gger . Mal ee pl aces t he gun t o herf or ehead and pr et ends t o shoot her sel f .

TI GHT ON TRI GGER, a hai r away f r om f i r i ng -

SFX: BAM!

I NT. GUS’ APARTMENT - FRONT DOOR - SAME TI ME

The l oud bang we hear d was t he f r ont door sl ammi ng shut . Gusopens i t and i nspect s t he door f r ame.

I NT. GUS’ APARTMENT - KI TCHEN/ BEDROOM - SECONDS LATER

Gus r emoves a beer f r om t he f r i dge. We f ol l ow hi m i nt o hi sbedr oom. He st ops col d as i f f eel i ng t he pr esence of someone el se t her e, but Mal ee i s nowhere t o be f ound.

Gus begi ns get t i ng undr essed. We f ol l ow hi s shi r t t o t hef l oor and SEE Mal ee, hi di ng under neat h hi s bed.

SFX: FOOTSTEPS, DOOR OPENI NG, SHOWER RUNNI NG

Mal ee l ooks out f r om underneat h t he bed. She wat ches as t henow naked Gus ent er s t he shower st al l i n t he bat hr oom.

As t he wat er f al l s upon Gus, Mal ee r i ses f r om under neat h t hebed and crosses over t o hi m.

I NT. GUS’ APARTMENT - BATHROOM - CONTI NUOUS

Fr om over Gus’ s shoul der , we see Mal ee appr oachi ng. An i nch

away f r om Gus, Mal ee r eaches out her hand t o t ouch hi m.Suddenl y, Gus breaks down and st ar t s cr yi ng.

Unset t l ed, Mal ee sl owl y r et r eat s out of t he bat hr oom.

I NT. J ACOB’ S HOME - BEDROOM - NEXT DAY

Mal ee, Leonard and J acob si t , pl ayi ng LI FE, t he boar d game.

.

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MALEE( bi t chy)

Because you’ ve upset me, and Idon’ t want t o see you r i ght now.

Leonar d l ooks t o J acob.

LEONARDFi ne, I ’ l l get t he dr i nks .

Leonar d exi t s. Mal ee t ur ns t o J acob.

MALEEI need a f avor . I t ’ s bi g. I needyou t o hi de somet hi ng f or me.

J ACOBHi de what ?

Mal ee r eaches i nt o her back pack.

MALEEPr omi se, you won’ t f r eak.

J ACOBI won’ t .

Mal ee r emoves Gus’ gun.

J ACOB ( cont ’ d)Hol y shi t !

MALEE You sai d, you woul dn’ t f r eak!

J ACOB That ’ s a gun.

MALEEI know.

J ACOBWher e’ d you get i t ?

MALEEI can’ t t el l you. I j ust need yout o hi de i t f or a whi l e. When al li s cool , I ’ l l come f or i t .

J ACOBWhy can’ t you keep i t ?

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MALEEMy mot her i s a t ot al snoop. Shegoes t hr ough my st uf f l i ke al l t het i me.

( beat )Pl ease, J acob. Somebody’ s l i f e

mi ght depend on i t . J acob cr osses t o hi s cl oset , r emoves hi s met al LOCK BOX andopens i t . J acob t akes t he gun and pl aces i t i nsi de.

J ACOBI s i t l oaded?

MALEENo, but I do have some bul l et s.

Mal ee r eaches i nt o her backpack and r emoves t he bul l et s. J acob t akes t hem out and put s t hem i n t he l ock box.

MALEE ( CONT' D) ( cont ’ d)Sur e your par ent s won’ t f i nd i t ?

J ACOBNobody has t he combi nat i on, but me.Besi des, I coul d be bui l di ng a bombi n here, and t hey woul dn’ t evenknow.

Of f J acob, l ocki ng t he box up.

FADE TO BLACK:

FADE I N:

EXT. STREET - MONTHS LATER - MORNI NG

ON TWO FEET, r unni ng. We REVEAL t hat i t ’ s LEONARD. Hi s onceski n t i ght sweat sui t , hangs of f of hi m. Mor e t han j ustski nny, Leonar d i s i n per f ect shape. He r uns f ast , car ef ul l yavoi di ng puddl es of mel t i ng snow. ( Spr i ng i s f ast on t hehor i zon. )

I NT. J UVY HALL - CONVERSATI ON BOOTH - NEXT DAY

J acob and Kenny t al k vi a one way phone. Thei r demeanor haschanged si nce l ast we saw t hem. No l onger f r aught wi t hcont empt and acr i mony, t hey speak l i ke t wo ol d f r i ends.

J ACOBI sent i n some comi cs f or ya. TheX- men one i s pr et t y sweet .

.CONTI NUED: ( 3)

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KENNY That l ast bat ch was awesome.

J acob checks hi s wat ch.

J ACOB

I bet t er get goi ng, I don’ t want t omi ss my bus.

KENNYBef or e you go, I got some news.Appar ent l y, t he par ol e boar d f eel sI ’ ve been a model pr i soner , sot hey’ r e gi vi ng me ear l y rel ease.

J ACOBWhat ? How can t hey do t hat ?

KENNYI don’ t know. They j ust di d. You’ r e pi ssed, ar en’ t you? I knewyou woul d be.

( of f J acob’ s s i l ence)I t was an acci dent , J acob.

J ACOBSo you’ r e get t i ng out . Gonna headback t o school , or . . .

KENNYFuck school . I ’ m goi ng t o l i vewi t h my Dad i n New Mexi co. He’ sworki ng on a r anch out t her e.

J ACOB You can’ t l eave t he st at e. Thatvi ol at es your pr obat i on. You’ l lhave t o. . .

KENNYMy dad won’ t t el l anyone. No onewi l l even car e I ’ m out t her e.

J ACOB

Your mom wi l l .KENNY

J acob, i n t he ent i r e t i me I ’ ve beenl ocked up, you were t he onl y onewho came t o see me. Tr ust me, shewon’ t car e.

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I NT. MALEE’ S HOME - KI TCHEN - AFTERNOON

Mal ee f ans out a f i st f ul l of t went y dol l ar bi l l s.

MALEE200 dol l ar s! Dad sent me 200

dol l ar s! Yacco, smi l i ng, get s r eady f or wor k.

MALEE ( CONT' D) ( cont ’ d)I have t o cal l hi m.

YACCONo!

( cover i ng) Your f at her . . . went out . He’ s nothome r i ght now.

Mal ee eyes her mot her , suspi ci ous.

MALEE You’ r e act i ng wei r d. What ’ s goi ngon?

YACCONot hi ng.

MALEEWel l , do you want t o come wi t h met o t he mal l and spend i t ?

YACCOI ’ d pref er i t i f you’ d put t hatmoney i n t he bank.

( of f Mal ee’ s l ook)Fi ne, spend i t . You’ l l have t o doi t al one t hough. I have a pat i entt hi s af t er noon. Have a good day.

Yacco exi t s t he ki t chen. Mal ee l ooks at her cash and smi l es.

I NT. LEONARD’ S HOME - KI TCHEN - SAME TI ME

Leonar d, Pat r i ck and Gr ace si t at t he ki t chen t abl e.PATRI CK

Her e’ s t he deal . You know how mycompany f l i es me t o Fl or i da everyApr i l ?

.

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LEONARD You and I have been goi ng si nce Iwas ei ght . I t ’ s t he guy’ s weekof f .

PATRI CK

Thi s year , I ’ m t aki ng t he gi r l s. J ust t he gi r l s. You’ r e st ayi nghome.

LEONARDWhy can’ t we al l go?

GRACEI ’ m not st ayi ng her e al l al one.Besi des, you sai d i t your sel f ,you’ ve been goi ng f or years. Gi veyour si st er s a chance.

Leonar d eyes hi s mot her wi t h hat r ed.

LEONARDWhat ever .

( beat )I need money.

PATRI CK What f or ?

LEONARDCl ot hes. Not hi ng I have f i t sanymor e.

GRACE Your f at her and I ar en’ t r i ch. Youcan’ t get a new war drobe anyt i meyou want .

LEONARDWhat am I supposed t o do, go t oschool naked?

GRACEWear a bel t .

PATRI CK I ’ l l gi ve hi m some cash, he can getsome cl ot hes.

GRACENo. He’ s gonna gai n al l hi s wei ghtback i n a f ew mont hs.

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Then what , we have t o buy hi m newcl ot hes al l over agai n?

Obvi ousl y hur t , Leonar d st or ms out of t he ki t chen.

PATRI CK Gr ace.

GRACEWhat ? I t ’ s t r ue.

Gr ace exi t s t he ki t chen.

J ACOB ( O. S. )I t hought you hat ed goi ng t oFl or i da?

EXT. J ACOB’ S FRONT LAWN - LATER

Leonar d and J acob pl ay cat ch wi t h a f oot bal l .

LEONARDWhen I was f at . Now I don’ t havet o wear a T- shi r t when I goswi mmi ng. Who knows, maybe I coul deven get l ucky.

J ACOB You’ r e st i l l ugl y, t hough.

Leonard punches J acob’ s arm i n f un.

LEONARDI don’ t under st and what my mot her ’ sprobl em i s . I t ’ s l i ke t he t hi nnerI get , t he mor e she hat es me.

J ACOBShe’ s pr obabl y j eal ous. Maybe youshoul d put her on t hat di et .

LEONARDAnyt i me I ment i on i t , my mot hergoes cr azy.

J ACOBI f you r eal l y want her t o dr op af ew t ons, put her i n j ai l . Kenny’ sl ost about 30 pounds s i nce he’ sbeen i ncar cer at ed, and he wasal r eady t hi n.

.CONTI NUED: ( 2)

GRACE ( cont ' d)

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LEONARDReal l y?

J ACOB Yeah. J ai l i s t he per f ect wei ghtl oss pr ogr am. You t ake a f at t ub,

t hr ow t hem i n a room and f or ce t hemt o eat r i ght and exer ci se. Don’ tl et t hem out t i l l t hey do.

Of f Leonar d, t hi nki ng-

I NT. MALEE’ S HOME - BEDROOM - NI GHT

Yacco ent er s Mal ee’ s r oom.

YACCOMal ee, di nner !

Yacco not i ces a number of depar t ment st or e bags st r ewneverywhere.

YACCO ( cont ’ d)Mal ee?

( not i ci ng somet hi ng)Oh my God!

REVEAL MALEE, st andi ng acr oss t he r oom. She i s no l onger t hegawky, adol escent gi r l . Rat her , she has been t r ansf or medi nt o a beaut i f ul young woman. Her gl asses have been r epl acedby cont act s, and her br ai ded pi g t ai l s by a quaf f of chi nl engt h cur l s.

YACCO ( CONT' D) ( cont ’ d)What di d you do?

MALEEI got a new l ook. You know, f orSpr i ng. What do you t hi nk?

Mal ee spi ns ar ound, gi vi ng Yacco t he f ul l pi ct ur e.

YACCO You l ook. . .

MALEEBeaut i f ul ?

YACCODi f f er ent . What happened t o yourgl asses?

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MALEECont act s. I t t ook me l i ke f or t yf i ve mi nut es t o get t hem i n, butbeaut y i s pai n.

YACCO

Honey, i n t he f ut ur e, I ’ d l i ke t oknow i f you’ r e goi ng t o r adi cal l ychange your appear ance. Cl ean yourst uf f up and come down f or di nner .

Yacco exi t s. Mal ee l ooks i n t he mi r r or , def l at ed.

EXT. CONSTRUCTI ON SI TE - AFTERNOON

Gus wat ches a CEMENT TRUCK, dumpi ng cement i nt o a f oundat i on.Once t he cement i s pour ed, t he t r uck pul l s f or war d. Mal ee i sr eveal ed, st andi ng t her e and hol di ng a pi cni c basket .

Gus sees t he new and i mpr oved Mal ee f or t he f i r st t i me. Hi s j aw dr ops.

GUSMal ee? My God, you l ook. . .

MALEEDi f f er ent ?

GUSBeaut i f ul . You l ook beaut i f ul .

Of f Mal ee’ s smi l e -

EXT. CONSTRUCTI ON SI TE - ANOTHER AREA - LATER

Gus and Mal ee eat t hei r l unch.

MALEEI f el t l i ke I needed a change, youknow?

GUSI bet you’ r e dr i vi ng t he boys atschool wi l d.

MALEEBoys my age ar e so i mmat ure. I ’ mmore at t r act ed t o ol der gent l emen.

Mal ee smi l es at Gus. He knows where t hi s i s goi ng, and he’ ssuddenl y ner vous.

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GUS You don’ t want somebody t hat muchol der t han you. An age di f f er encecan cause pr obl ems.

MALEE

What ki nd of probl ems?GUS

A l ot of t i mes when a coupl e has anage di f f er ence, t hey wi nd upspl i t t i ng up because t hey wantdi f f er ent t hi ngs.

MALEE You mean sex.

GUSNo.

Gus cat ches a l ook of r el i ef on Mal ee’ s f ace.

GUS ( cont ’ d)I mean, yeah. You may be 13, but aboy even t hree year s ol der t han youi s pr obabl y more “exper i enced”.Boys can be i mpat i ent about t hatsor t of t hi ng.

MALEEAr e you i mpat i ent ?

GUSNo, but when I was a ki d.

MALEEWhy don’ t you have a gi r l f r i end?

GUSI di d, but i t di dn’ t wor k out .

MALEEHow ol d was she?

GUSAbout my age.

MALEESee t hat , age wasn’ t an i ssue, yetyou st i l l want ed di f f er ent t hi ngs.I don’ t t hi nk i t ’ s about age.

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I t hi nk when t wo peopl e connect ,t hey connect f or ot her r easons.And si nce soul mat es ar e et er nal ,t hey have no age.

Gus i s st umped.

EXT. LEONARD’ S DRI VEWAY - NEXT DAYLeonar d wat ches Pat r i ck and hi s si st er s dr i ve of f i n a

TAXI CAB.

LEONARD( cal l i ng af t er t hem)

Have a good f l i ght !

The t axi cab di sappear s down t he st r eet .

As Leonar d t ur ns back ar ound, he sees Gr ace, st ar i ng at hi mf r om t he wi ndow. They l ock eyes f or a moment and t hen Gr acedi sappear s i nt o t he dark r ecesses of t he home.

I NT. LEONARD’ S HOME - BASEMENT - NI GHT

Leonard descends t he st ai r case and begi ns l ooki ng around att he set t i ng. Boxes of j unk cl ut t er t he f l oor al ong wi t h ol df ur ni t ur e and bi cycl es.

He cr osses t o t he basement door , whi ch l eads out t o t hebackyar d. As Leonar d unl ocks and opens t he door , a mass ofcobwebs st r et ch acr oss t he f r ame l i ke el ast i c bands. Leonar dgr abs a near by br oom and st ar t s wi pi ng away t he cobwebs.

I NT. J ACOB’ S HOME - BEDROOM - DAYS LATER

J acob si t s at hi s desk, r eadi ng t he PLASTI C SURGERY PAMPHLEThi s par ent s had gi ven hi m f or hi s bi r t hday l ast year .

The bedroom door opens and Ashl ey st i cks her head i n.

ASHLEYWe’ r e home.

J ACOBHi .

ASHLEYCoul d you come downst ai r s f or ami nut e. We have a sur pr i se f oryou.

.CONTI NUED: ( 2)

MALEE ( cont ' d)


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I NT. J ACOB’ S HOME - KI TCHEN - MOMENTS LATER

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