Screenplay
INT. HOUSE - HALLWAY
The hall is lined with photographs.
SEQUENCE OF SHOTS: Turn-of-the-century to present.
A sepia-tone shot of a young steel worker, his hands and face dark with soot.
PAUL (v.o.)
Like many sons, I chose the men in
my life as heroes. All vets. Great
grandpa Connor was born in an Irish
neighborhood of Pittsburgh in 1901
and never went anywhere ‘til he lied
about his age to drive a Red Cross
ambulance in the first world war.
The same young man, gaunt, with the side of his face bandaged, smokes in bed. Gathered about him are five of his Red Cross buddies.
PAUL (v.o.; cont’d)
In Alsace, he caught some shrapnel
in the face then conned the nurses
into smuggling menthol cigarettes
for the pain. I can’t remember a
picture of him without a smoke in
his mouth. Then there was gramps.
A young, uniformed infantryman leans from a train. Mother reaches for him.
PAUL (v.o.; cont’d)
Gramps was army. Battle of the
Bulge, one of the few to survive
the Malmedy Massacre. My most
prized possession is the sword he
brought back from a Belgium farm-
house he hid in for three
weeks. Can’t imagine.
The years have filled the once hollow face of the infantryman. The groom kisses his diminutive bride.
PAUL (v.o.; cont’d)
Gramps married his high school
sweetheart two days after returning,
and dad was born a year later.
He went to the academy, became an
aviator, and dropped his first
live bomb on Vietnam in ’67.
Father sits on a tractor, giving his boy a turn at the wheel.
PAUL (v.o.;cont’d)
After four tours, he bought a
farm two hours south of Cleveland
in a town called Ashland and
stayed put. Spent nine years
building this house. It’s the
only home I’ve ever known.
A framed purple heart.
PAUL (v.o.; cont’d)
I was born in ’72 ...almost four
years after my brother Cameron.
Dad didn't want us fighting another
war and did what he could to stop
us, but Cam didn't listen. He
died in Fallouja, spring of '03.
The portrait shows a young mother proud.
PAUL (v.o.; cont’d)
Mom was only forty seven. She
fell into a coma the day of Cam's
funeral, and died a week later.
At the local Y, four young boxers strike bold stances.
PAUL (v.o. cont’d)
I think I was just expected to be
good at everything. And I know
it was partly because of this that
I wasn’t. Dad never said anything
to me about it, but I think it
bothered him: My failures became
a reminder of what he’d lost.
(beat)
When the cancer got a hold of him,
dad started talking. His only
wish for me was to find something
I loved. It wasn’t until he was
gone that I really started looking.
A young man in his ROTC uniform.
PAUL (v.o.; cont’d)
I really stumbled through his ill-
ness, but a friend of dad’s helped
me get a navy scholarship. For an
education, I promised them four
years of my life. I married Katie
and Gwen was born while I was in
Afghanistan.
A framed newspaper clipping of two officers disembarking a military transport. They look to a third who kneels, kissing the ground.
PAUL (v.o.; cont’d)
Yeah, it was bad, but I had no
illusions. I was an officer, an
intelligence officer, and we had
the best of everything. My first
mission taught me that our maps
were worthless, the seals were
supermen, and when needed, I was
very good at killing people.
A simple Christmas portrait of father, mother, and a young daughter.
PAUL (v.o.; cont’d)
I’m Paul Conner. I’m forty-eight
years old. My daughter’s name is
Gwynneth. And until this winter,
the killings, the man I was,
were all but gone.
EXT. FULLER HOUSE - NIGHT
Blanketed in snow, a modest two-story colonial stands clear from a clutch of winter ash. The porch door swings open, sending a flock of plover to the air. Winsome GWYNNETH CONNOR (18) steps out, blonde curls escaping her woolen beret. Breathing the cold, she buttons an oversized P-coat, gazing over the trees, the stars. PAUL CONNOR (late 40s), with the square jaw of his father and diamond-hard eyes, steps to the porch. He pulls her near.
PAUL
Ready?
Gwynneth nods. The two huddle over the glow of dad’s watch, whispering the countdown.
PAUL AND GWYNNETH
Six...five...four...three...two...
one...
FRIENDS INSIDE
Happy New Year!
Over strains of “Auld Lang Syne”, Paul meets his daughter’s eyes. Gwynneth wells with tears, leaning forward until their foreheads touch. From the snow at their feet, Paul retrieves a bottle of champagne. He pours two glasses.
GWYNNETH
It doesn’t feel like eight years.
Paul hands her a glass, raising his.
PAUL
To Katie.
GWYNNETH
To mom.
They touch glasses.
EXT. DIRT ROAD – EARLY MORNING
A thin mist hovers over snowy fields. In worn Navy sweats, Paul jogs at a brisk pace. He passes the town water tower; the faded stencil reads: “Ashland…someplace special.”
EXT. TOWN – MINUTES LATER
Paul cuts through town square, grinning as he looks to the large banner stretching the width of the avenue: “The Ashland High Players Present OUR TOWN, Saturday, January 25th.”
INT. CHURCH – LATER THAT MORNING
A vaulted ceiling shelters the narrow sanctuary. Paul and Gwynneth step inside and are greeted by DEREK VUKOVICH (mid 20s, blond and well-muscled) and PASTOR GREGG (60s).
VUKOVICH
Morning. Morning, Gwen.
GWYNNETH
Morning.
Gwynneth holds back a smile as she shakes hands with Pastor Gregg.
INT. CHURCH – LATER THAT MORNING
Among the pews are Paul and his best friend, the broad-shouldered HANK FULLER (early 50s). Hank slips Paul a noisemaker. Paul grins.
PAUL
You thank Mary for me?
HANK
She worries about you.
(beat)
So do I.
Pastor Gregg gazes over the worshipers.
PASTOR GREGG
It is with great sadness that
I tell you of another death on
Highway 511 last night.
Gasps from the pews.
PASTOR GREGG (cont'd)
A Mansfield boy, sixteen, of
Presbyterian faith. Join me in
prayer for his parents, Judith
and Douglas.
The congregation bows their heads and the organ begins. The choir follows, Gwynneth moving to the foreground. Paul, Hank and Vukovich pass the collection plates as Gwynneth solos.
GWYNNETH
Holy, holy, holy,
Lord God almighty,
Early in the morning...
Paul turns to his daughter. All fall to silent reverence under Gwynneth’s silken voice.
INT. LYN-WAY RESTAURANT – LATER THAT MORNING
The 70s eatery boasts plastic seats and formica tables. Paul sits with his friends answering the trivia questions on his placemat. Across from him, Gwynneth covers a yawn. To either side of her are Hank’s wife MARY (40s, raven haired) and ANNE HARMON (late 40s, wide-hipped).
MARY
Case in point: K-Mart’s Leggs
Ultra Sheer for $2.99. Wally
World can’t beat K-Mart.
ANNE
It’s not all about price, Mare. It’s
about the experience. Yesterday,
I got Lou’s car thing done, grabbed
Subway, and got these highlights.
MARY
But it’s all the way to Mansfield.
LUCY
And worth it. Let it go, Mary.
’Scuse me, Gwen.
As the waitress, LUCY serves Gwynneth a plate of fish squares, Anne’s eyes follow.
GWYNNETH
Thanks, Lucy.
LUCY
You’re losing weight, darlin’.
PAUL
Too much, if you ask me.
MARY
As I was saying...
HANK
Mary...enough!
MARY
(defensive)
Well, I got your glasses there,
didn’t I? Didn’t I?
Hank rolls his eyes for Anne’s husband LOU (late 40s, bald and cherubic). Not a care in the world, Lou turns to him and grins, dipping his pancake into the gravy boat. As the rest of the food is served, the late arrival, GARRETT MCGOWAN (late 40s, lank and a bit tousled) pulls up a chair. As Gwynneth stands to greet him, he peels off his sunglasses.
GWYNNETH
Good grief!
Lucy circles to Garrett. His swollen eyes focus.
GARRETT
Coffee.
LUCY
I’d say.
ANNE
Missed you this morning.
GARRETT
Anne, when’s the last time you
saw me at church?
Anne thinks. Beat.
ANNE
Well...not since the dancer.
GARRETT
Let’s move on, shall we?
Garrett turns to Gwynneth, takes her steady hand, and extends it. He cracks a wry smile.
GARRETT (cont’d)
Biggest day of her life coming
up and look at her. Like ice!!
MARY
Yes, yes. Just three more weeks.
PAUL
Thank God.
ANNE
You must be so excited, Gwen!
GWYNNETH
(facetiously)
What’s in three weeks?
The others stop eating. Humming, Gwynneth takes a bite of fish and winks to her father.
INT. PAUL’S CAR – HALF HOUR LATER
Paul and Gwynneth pass through town square. Gwynneth sees the “Ashland High School Players present “Our Town”, January 25th” banner and scowls.
GWYNNETH
If we have to do something as
old as God, why not The Glass
Menagerie? Death of a Salesman.
Something with balls.
Paul covers a laugh.
PAUL
You told Bill Kramer this?
GWYNNETH
What do you think?
PAUL
So, what’d he say?
GWYNNETH
Not enough parts.
PAUL
He’s right.
Gwynneth playfully slaps his arm.
GWYNNETH
Whose side are you on? Our Town?
PAUL
They’d hate Willie Loman
and you know it.
GWYNNETH
(passionately)
Okay, but what about Menagerie?
I mean, it’s beautiful. And you
don’t need to understand the
fall of the old South to hear
the poetry...
PAUL
Okay, who’d you play? Mom or
Laura?
Gwynneth pauses.
GWYNNETH
Laura.
PAUL
God, she’s so tragic.
Gwynneth looks to the fallow fields.
GWYNNETH
It's just life, dad.
(beat)
That's what makes it beautiful...
She reaches for his hand.
INT. HIGHSCHOOL AUDITORIUM – DAY
Five hundred students bring the hall to a welter. Near the front, Gwynneth and her best friend ALISON FULLER (17, with her mother Mary’s sincerity) smile to the wild-haired but handsome KYLE BOOTH (18). Gwynneth brightens, removing her sweater from the next seat.
GWYNNETH
Hey, Kyle. Saved you a seat.
Kyle spies his buddies and moves on. Gwynneth sighs.
ALISON
You could do so much better.
Gwynneth throws her a burning stare. Eyes forward, Alison’s gaze fixes...
ALISON
THAT would be MUCH better.
Alison motions to the tall policeman, Vukovich (the church usher), who makes for center stage. He sets up an easel then taps the microphone.
VUKOVICH
Uh, good morning.
A peal of scorching feedback. Vukovich flinches, trying to shut off the mic. He looses a nervous laugh, and the students laugh with him.
ALISON
God, I love drug awareness week!
Gwynneth studies Vukovich, rapt.
GWYNNETH
Hottest camp counselor on earth.
ALISON
I still can’t believe Matilda is
his sister. I mean, talk about
your gene pool mysteries.
GWYNNETH
He was always really nice.
VUKOVICH
Okay. Can somebody tell me how
many beers it takes to get
legally drunk in Ohio?
KYLE
Not enough!
Laughter. Gwynneth rolls her eyes.
ALISON
Cute AND comes with his own
handcuffs.
GWYNNETH
Yeah, we’ll set you up with
his desk sergeant. Double date.
ALISON
Shut up.
Gwynneth smiles.
EXT. LAKE – NIGHT
The music of NF echoes off the frozen lake. Silhouetted against the moon, Kyle and his greasy, pock-faced buddy LARRY DERKHAM (17) scramble from a fishing ice shack. They double over laughing, slipsliding for the shore.
INT. LAKE HOUSE – SAME TIME
Spilling from the house, a hundred odd teens drink Milwaukee’s Best, swaying to the music. Gwynneth and Alison stand in the kitchen. Gwynneth eats gummi bears while Alison uses her smart phone to document the goings on.
GWYNNETH
Not everyone wants to be on the
internet, creeper.
ALISON
Call it my gift to the world.
Worried, Gwynneth scans the house.
ALISON
Will you relax? Geez!
GWYNNETH
Beer runs don’t take an hour.
ALISON
He’s with the aspiring serial
killer. He may never come back.
GWYNNETH
Shut up. It’s icy.
ALISON
Gwen, how many parties have we sat
around waiting for that dipshit?
I, for one, am sick of it.
GWYNNETH
Your dad doesn’t beat you up.
ALISON
And you’re gonna make it all
better?
Gwynneth sticks her tongue out at Alison. An EXPLOSION rocks the kitchen windows. The party goers rush to the back yard.
EXT. LAKE – SAME TIME
Kyle and Larry scream and pump their fists as flaming shards of the ice shack land about them.
INT. LAKE HOUSE – MINUTES LATER
Kyle and Larry stride through the party, giving out high-fives. As the party goers fall silent to an announcement from Kyle, Kyle turns to Larry:
KYLE
Think ya used enough dynamite
there, Butch?
The kids laugh out as Gwynneth storms up to Kyle.
GWYNNETH
You are such an asshole!
Kyle blinks, half stoned.
GWYNNETH
Do you know whose that was?
Do you even care!?
Kyle’s blank stare is broken by Larry, who dangles two beers and a beer bong in front of him.
LARRY
Bong’s away, dude.
KYLE
Lead the way, good doctor.
GWYNNETH
You go with that loser, you
don’t come back.
As the crowd oohs and aaahhs, Kyle flinches, drawing a step back. He looks to Larry, then back to Gwynneth.
KYLE
Chill out, Gwen!
LARRY
Yeah, take a chill pill, Gwen.
Kyle snatches a beer and walks away.
GWYNNETH
Good. I’m sure you and shithead
will be very happy together!!!
As Gwynneth brims with angry tears, Alison puts her arm about her.
ALISON
Grade-A prime asshole.
Gwynneth laughs, sniffling.
ALISON (cont’d)
They deserve each other.
(beat)
Fuck ’em. Let’s get drunk and
dance on tables.
Gwynneth offers a wounded smile.
INT. CONNOR DINING ROOM – SAME TIME
Dark, save for a table draped in green felt. Biting a fat cigar, Garrett swiftly deals cards to Paul, Lou, and Hank.
GARRETT
What’s with the Dow this week?
PAUL
It’s called a correction.
GARRETT
Six hundred points?
PAUL
Just some mild profit taking.
No need to worry.
GARRETT
No need? I got hammered.
Paul doesn’t even look up from his cards.
PAUL
Did you sell anything?
GARRETT
No.
PAUL
Then you didn’t lose anything.
GARRETT
Paul, six hundred points?
PAUL
Gare. I’m gonna have a
scotch. Okay? I need cards.
Cards go down and Garrett deals the draw. Beat.
GARRETT
So Nora tells me dinner was
going great...until you started
in about Katie.
PAUL
Just making conversation.
GARRETT
Well, as a rule my friend, dead
wives aren’t good ice breakers.
PAUL
Hank?
HANK
Paul doesn’t date.
GARRETT
Then why did he go out with her?
HANK
You said she needed help.
GARRETT
She does. Rick died and left her
with those weird-ass derivatives.
HANK
And Paul helped her out. Mission
accomplished.
GARRETT
What are you, his agent?
Garrett comes close to Paul.
GARRETT (cont’d)
You gotta admit. It was exciting,
right? Sitting across from some-
thing like that...C’mon Paul, fess
up. Tell me you’re not lonely.
HANK
Knock it off, Garrett.
GARRETT
He’s a big boy...Let him answer
for himself.
Garrett’s eyes fall on Paul.
PAUL
Your bet, Lou.
LOU
Five to you.
Lou throws in. Hank checks his cards.
HANK
I’m in.
PAUL
Count me out.
Paul throws in his cards, taking his scotch outside. Disappointed, Lou shakes his head at Garrett. In return, Garrett mouths “fuck you”.
INT. LAKE HOUSE – LATER THAT NIGHT
Gwynneth and Alison scream Mellencamp’s “Jack and Diane” into a spatula when flashing lights draw their attentions away. As the stereo quiets, a pounding comes at the front door.
INT. LAKE HOUSE – MINUTES LATER
Handcuffed, Kyle and Larry are led through the dead silent crowd by two policemen. Gwynneth meets Kyle’s eyes.
EXT. STREET – MOMENTS LATER
Gwynneth watches from the porch as Kyle is placed in the police car. Alison can only smirk as she catches all of it on her phone. Soon the police begin clearing the house. Taking the cue, Gwynneth and Alison make for their cars. Alison fumbles for her keys.
ALISON
Ride?
GWYNNETH
From you?
Alison touches her nose, tiptoeing haltingly down the centerline of the street. Smiling, Gwynneth climbs into her truck. Placing the keys in the ignition, she looses a long sigh, fogging the front windshield. She turns on the defroster when a tapping comes at the window. Rolling it down, she’s surprised to find Officer Vukovich.
VUKOVICH
Anything to drink tonight, Gwen?
Gwynneth shakes her head.
VUKOVICH (cont’d)
Well, you should know that if
you start that car, I have the
right to ask you to step out and
undergo a field sobriety test.
She fingers her keys.
VUKOVICH (cont’d)
Tell you what. If you’re not
sure, I’ll drive you home.
Gwynneth sits frozen. Beat.
GWYNNETH
Deal.
INT. SQUAD CAR – MINUTES LATER
Hands folded in her lap, Gwynneth studies the road.
GWYNNETH
Turn right up here, then it’s...
VUKOVICH
One more right way at the end, I
know. So, you know those clowns?
GWYNNETH
Yeah.
(nervous laugh)
One was my boyfriend.
VUKOVICH
Pizza face?
GWYNNETH
Yeah, right!
Vukovich turns up a long, hedged driveway. They emerge before a sprawling two-story farmhouse. Vukovich dims his lights, straining to take the whole of the house in.
VUKOVICH
I’ve always loved this place.
Gwynneth pops the door and stands. She leans back in.
GWYNNETH
Twenty-seven rooms.
VUKOVICH
I should’ve been a broker.
GWYNNETH
My pop-pop built 50 years ago.
VUKOVICH
She’s beautiful.
GWYNNETH
Yup. Thanks for the ride, Derek.
Er… Officer Vukovich.
Gwynneth closes the car door, gives a soft wave, and skips for the house.
INT. CONNOR HOUSE – SECONDS LATER
In the living room, Paul reads by dim light. Quietly, Gwynneth enters the foyer, slipping up the stairs.
PAUL
Gwen?
Reluctant, she heads down to the living room. Leaning against the bannister, she meets her father’s gaze.
GWYNNETH
Early game tonight, huh?
PAUL
Tell me you didn’t drive.
GWYNNETH
I didn’t!
PAUL
Good.
Gwynneth nods and makes it up the stairs.
PAUL
(calling out)
Then who did?
Again, Gwynneth reluctantly makes it down the stairs.
GWYNNETH
It was a cop, okay?
PAUL
A cop drove you home?
GWYNNETH
It was Derek Vukovich. Can I
go to sleep now?
PAUL
We’ll talk in the morning.
Gwynneth makes it up the stairs as Paul turns off the light.
INT. GWYNNETH’S BEDROOM – MINUTES LATER
Stacks of playbills lie over stacks of books atop shelves of still more books. The walls are an odd collection of drama awards and shelves of stuffed bears. Gwynneth sits on her bed, rubbing her eyes. She takes in a deep breath. Drawn to a large aquarium, she finds a lone angel fish and rises to feed it.
GWYNNETH
Eat your dinner nice and slow,
Ophelia. Want you to grow up
and be a good, strong girl.
Gwynneth puts Billie Holiday on low, slips into bed, and turns off the light.
INT. BREAKFAST NOOK – NEXT MORNING
Gwynneth lingers over an empty plate, snatching furtive glances of her father.
PAUL (v.o.)
Half the night and all that
morning, I worked on what to say.
But how do you tell your daughter
she’s scaring the hell out of ya?
Paul sips his coffee.
PAUL (v.o.; cont’d)
She was probably just testing...
trying the limits.
Paul steals a glance of Gwynneth.
PAUL (v.o.; cont'd)
But is there a line? I mean, if
you look hard enough, can you see
them at it? Can you catch them
standing there and stop them?
Stop them from destroying
themselves?
INT. CONNOR KITCHEN – MINUTES LATER
Gwynneth stands at the sink, awaiting the morning’s dishes. By the time Paul brings them, she’s ready to burst.
GWYNNETH
We never eat without talking!
Gwynneth pulls up a chair, crosses her arms and waits.
PAUL
You know I don't like him.
GWYNNETH
Kyle? We broke up, dad. Be happy.
PAUL
Are you?
GWYNNETH
He’s lonely, dad.
PAUL
What is it with you and strays?
GWYNNETH
People can change.
PAUL
If they want to.
GWYNNETH
Everything’s so black and white
with you.
PAUL
Think so?
GWYNNETH
Yeah. You just write people off.
PAUL
I’ve seen a lot of things, Gwen.
There are some bad people out
there. Some of ’em just shouldn’t
be here.
Gwynneth swallows hard.
PAUL (cont’d)
One of Bill’s cows broke the
wire down by the pond. Fence
needs fixed. Wanna come?
GWYNNETH
No, you go.
(beat)
Lunch at one.
PAUL
I’ll be listening.
Paul kisses his daughter’s forehead, setting the plates before her.
EXT. CONNOR POND – EARLY AFTERNOON
Fishing line dangles from a branch stuck in the snow. Paces away, Paul repairs a barbed wire fence when a rustle draws his attention. He sets down his pliers and inches up, kneeling before the ice hole.
PAUL
Like brie, do ya’?
He places his finger on the line and gives a soft tug.
PAUL (cont’d)
C’mon, fat boy. C’mon.
The line snaps taut. In one swift strike, the line and branch are pulled under. Paul stares into the water as tiny bubbles rise to the surface. A distant bell finds his attention.
INT. BROKERAGE HOUSE – FOLLOWING WEEK
It’s near the close. A dozen brokers work the phones.
BROKER #1
You’ll see it ten points higher
come February. Trust me.
BROKER #2
Trust me, Ted. I know it’s hard,
but we gotta leverage.
Paul tidies his desk and rises. When the computers freeze at session’s end, Paul is walking for the door.
INT. SCHOOL MULTIPURPOSE ROOM – MINUTES LATER
On the stage are two sets. The first is a cemetery. The other is that of a turn-of-the-century kitchen and living room. From the edge of the kitchen, Gwynneth watches on as a thin girl with big teeth, MATILDA VUKOVICH, (16) rolls her hands. The tousled, cardigan wearing BILL KRAMER (45) rises. He approaches the stage, joining Gwynneth. The two study Matilda.
BILL KRAMER
Matilda. Mrs. Webb is preparing
breakfast...You’re mixing batter,
not reading Braille.
MATILDA
I know, I know.
BILL KRAMER
Believe me. Do it right now,
and it’ll look right later.
(beat)
Okay, please. Concentrate and
project. Mrs. Webb, pick it up
from “birthday or no birthday.”
Bill turns to Gwynneth.
BILL KRAMER
(low)
Patience, my dear.
Gwynneth nods, moving into position. Bill finds a seat away from the lights.
MRS. WEBB (MATILDA)
Birthday or no birthday, I want
you to eat your breakfast good
and slow. Want you to grow up
and be a good, strong girl...
EMILY (GWYNNETH)
That in the blue paper...
MRS. WEBB (MATILDA)
That in the blue paper is from
your Aunt Carrie.
Paul enters quietly, finding a seat beside Bill.
BILL KRAMER
What do you think of Gwen
playing all the parts?
PAUL
Don’t let her hear you say that.
EMILY (GWYNNETH)
Mama, mama just look at me one
minute as though you really
saw me. Fourteen years have
gone by. I’m dead. You’re a
grandmother, mama. I married
George Gibbs, mama. Wally’s
dead too. Mama, his appendix
burst on a camping trip to North
Conway. We all felt just terrible
about it, don’t you remember?
Paul mouths Gwynneth’s words, savoring the moment.
EMILY (o.s.; cont’d)
Just for a moment now we’re all
together. Just for a moment
we’re happy.
Patiently, Bill lets Paul finish then leans in.
BILL KRAMER
I think Bill Wenningham’s coming.
PAUL
Carnegie Mellon? That’s a lot
of pressure...
BILL KRAMER
She’s that good, Paul.
Gwynneth opens an imaginary present...
EMILY (GWYNNETH)
And this is from you. Why mama,
it’s lovely. And it’s just what
I wanted. It’s beautiful.
Hands trembling, Gwynneth lifts an imaginary dress, running the fabric over her cheek. Matilda watches on, her mouth agape. She looks down to and studies her own hands.
INT. CIRCLE K CONVENIENCE STORE – SATURDAY NIGHT
Escaping the cold, Gwynneth and Alison rush inside stomping snow from their shoes. They nod to the attendee, BRIAN (17), as they head towards the rear of the store. After gathering their Pepsis and Cheetos, they go to cash out as a long-haired goth in a trench-coat, GLENN (18), sidles up.
GWYNNETH
What's up, Glenn?
GLENN
Nothing. Sup, Alison?
ALISON
Hey. Missed you in Spanish
class yesterday.
GLENN
Spanish? On a Friday?
GWYNNETH
What did you do last night?
GLENN
Went to the Cav's game.
ALISON
They win?
GLENN
Are you high?
GWYNNETH
So, where are the parties?
Smiling, Glenn pulls his trench open, grabbing his crotch.
GLENN
In my pants, Gwen. And you
made the guest list.
GWYNNETH
Then there is a God.
Gwynneth makes for the front as Alison comes close to Glenn. She grabs his nuts, holding on. Squirming, Glenn buckles over.
ALISON
Donde estas las fiestas anoche?
GLENN
(mumbling)
I heard there was something on
Township 7563.
ALISON
Gracias.
Alison releases, Glenn letting loose a relieved sigh.
GLENN
Marry me, Alison Fuller.
Smiling, she heads to the front counter where Gwynneth settles up.
BRIAN
Sorry to hear about you and
Kyle, Gwen. You could do
better. He's kind of a jerk.
GWYNNETH
You're sweet. So, you goin'
to that party after work?
BRIAN
Nah. I'm gonna get stoned
and pass out on my couch.
GWYNNETH
Better you than me. Later.
BRIAN
Later.
Alison smiles to Brian and the girls depart.
EXT. PARTY HOUSE – LATER THAT NIGHT
Gwynneth and Alison approach warily. Alison stops to look back at the late model Dodges and one-ton Chevys.
ALISON
These cars are all new.
GWYNNETH
We drove out here. Might as
well look.
They turn up the walkway, stopping to listen at the door.
INT. PARTY HOUSE - MINUTE LATER
Masculine in décor. Gwynneth and Alison weave through the older crowd. They search among questioning eyes for someone they know.
ALISON
Can we get outta here?
GWYNNETH
One beer. I gotta pee.
Alison smirks, making for the kitchen.
INT. PARTY HOUSE BATHROOM – MINUTES LATER
Gwynneth stands before the mirror applying heavy lipstick. Beat. Laughing at herself, she wipes it off.
INT. PARTY HOUSE KITCHEN – MINUTES LATER
Gwynneth squeezes through the crowd to find Alison standing by the keg. Alison hands her a cup of beer.
GWYNNETH
See anyone?
ALISON
No.
Alison takes a quick look around. Her eyes stop on a group of clean-cut men.
ALISON (cont’d)
I think they’re cops.
From behind, Vukovich taps Gwynneth on the shoulder. Turning to him, she chokes on her beer and ditches her cup.
VUKOVICH
We gotta stop meeting like this.
GWYNNETH
Hi, Derek.
VUKOVICH
How’s your pyro boyfriend?
GWYNNETH
Ex-boyfriend!
VUKOVICH
Right.
(beat)
So what are you doing here?
ALISON
Yeah. What are we doing here?
Vukovich laughs. He comes close.
VUKOVICH
You really shouldn’t be here.
GWYNNETH
(softly)
So, you just gonna play Johnny
Law all the time now?
VUKOVICH
You’re a minor drinking my
alcohol in my house within
the sight of twenty cops.
GWYNNETH
I’m eighteen.
Alison tugs at Gwynneth’s blouse.
ALISON
We were just leaving. Love
the house... Very man-cavey.
Alison takes Gwynneth’s shoulders, turning her towards the door.
EXT. ALISON’S DRIVEWAY – LATER THAT NIGHT
Gwynneth pulls up. Alison pops the door and exits. She waves goodbye, rushing up the driveway and into her house.
INT. GWYNNETH’S TRUCK – FIFTEEN MINUTES LATER
The garage door closes, plunging her into darkness. Gwynneth feels around her seat, then flips on the truck light. Frustrated, she searches the center console, the passenger seat, and the floor.
GWYNNETH
No way!
EXT. PARTY HOUSE – HALF HOUR LATER
Gwynneth removes her glove and knocks. She’s rubbing away the cold when Vukovich opens the door to an empty house. Before he can speak, Gwynneth interjects.
GWYNNETH
Forgot my purse. Where is
everybody?
VUKOVICH
Party’s over. Sure you left
it here?
GWYNNETH
Yeah, pretty sure.
VUKOVICH
Good, you can help clean up.
Vukovich turns back inside, leaving the door to swing open.
INT. PARTY HOUSE – SAME TIME
Gwynneth steps in. Shedding her coat, she’s surprised by the music selection.
GWYNNETH
You like Billie Holiday?
From the kitchen comes the clatter of dishes. Vukovich loads the dishwasher with one hand, a beer in the other. Singing, she nears the kitchen.
GWYNNETH (cont’d)
Oooh, what a little moonlight
can do...
VUKOVICH
Where’s my manners?
He goes to the cabinet and finds a wine glass. Seizing a half-empty bottle of burgundy, he pours a glass and slides it towards Gwynneth. Gwynneth balks.
VUKOVICH (cont’d)
Don’t wait for me.
He drains his beer in one long draught. As Gwynneth reaches for her wine, Vukovich joins her, pouring himself a glass. He raises it to her, his eyes suddenly dark.
VUKOVICH (cont’d)
Looks like blood doesn’t it?
GWYNNETH
(confused)
I guess.
VUKOVICH
Here’s to exes. Yours and mine.
GWYNNETH
Drink to Kyle?
VUKOVICH
No. We drink ’cause they’re
gone.
They touch glasses.
INT. PARTY HOUSE LIVINGROOM – HALF HOUR LATER
Billie Holiday plays on. Vukovich sits cross-legged on the carpet, rapt. Before him, Gwynneth vamps in exquisite pantomime. As the last codas fade, she bows.
VUKOVICH
You do that very well.
His intensity gives Gwynneth a start. She’s girlish now, shy.
VUKOVICH (cont’d)
You remind me of my wife. Ex-wife.
You...move the way she does.
GWYNNETH
She pretty?
VUKOVICH
She’s beautiful.
GWYNNETH
So, does that make me beautiful?
VUKOVICH
But you’re not like her. You
wouldn’t whore around like that.
You’re the kind that stays with
with your man. Right?
GWYNNETH
Of course.
VUKOVICH
You’re not lying either, I can
tell. That’s something I could
always see you in, Gwen. You
should be proud of that.
GWYNNETH
I try to be good.
Vukovich nods, pouring the last of the wine into his glass.
VUKOVICH
But you’re not always an angel,
huh?
Gwynneth squints her eyes, questioning.
VUKOVICH (cont’d)
Matilda said she walked in on you
and the pyro at camp last year...
Shocked, Gwen covers her mouth.
VUKOVICH (cont’d)
...doing the nasty.
GWYNNETH
She swore she’d never tell.
VUKOVICH
That’s my little sister for ya’.
GWYNNETH
It was my first time.
VUKOVICH
Your secret is safe with me.
GWYNNETH
Thank you. I appreciate that
more than you know.
He comes in a little closer.
VUKOVICH
So. Did you enjoy it? I mean,
besides the part when my sister
crashed the party.
GWYNNETH
Huh?
VUKOVICH
Did you get off?
GWYNNETH
You know, I...I never did find
my purse.
VUKOVICH
Let’s look together, shall we?
Rising, he looks under a couch cushion.
VUKOVICH (cont’d)
It’s not under here.
He checks the fireplace.
VUKOVICH (cont’d)
Ain’t there either.
GWYNNETH
(unsteady)
I think it’s in the bathroom.
She cracks a nervous smile and heads for the bathroom.
INT. PARTY HOUSE BATHROOM – SECONDS LATER
Closing the door behind her, Gwynneth searches for and quickly finds her purse. She takes a deep breath before the mirror when the lights from the living room go out. Trembling, she turns to the bathroom window; she tries the clasp...stuck.
INT. PARTY HOUSE LIVINGROOM – SAME TIME
Vukovich stands at the entry to the hallway, holding two clean wine glasses and a fresh bottle of Chianti.
VUKOVICH
Gwynneth? Gwynneth Connor?
Beat. He puts his ear to the bathroom door, closing his eyes. As he reaches for the knob, the door cracks open. Startled, Gwynneth meets his eyes.
VUKOVICH (cont’d)
Chianti?
GWYNNETH
I told dad I was coming here an
hour ago. He’s probably
having a cow.
Gwynneth slides by him.
GWYNNETH
It was fun. I can’t wait to tell
my Alison I was actually here.
She’ll die. Where’s my coat?
VUKOVICH
You’re not leaving.
GWYNNETH
You’re scaring me...officer.
VUKOVICH
Officer? That’s good.
Vukovich sets down the wine and comes in close, backing her against the wall. Running his finger up her arm, he leans to kiss her.
GWYNNETH
Please, don’t. I don’t want to.
VUKOVICH
You wouldn’t be here if you didn’t.
He kisses her lips gently. Her breaths come quick and short.
VUKOVICH
Tell me this excites you. Tell
me.
GWYNNETH
It excites me.
He backs away, snarls, and slaps her hard.
VUKOVICH
Don’t lie to me!
His hands clamp her arms.
GWYNNETH
Derek, you’re hurting me!
VUKOVICH (cont’d)
Thought you liked it rough.
Gwynneth pinches her eyes shut as Vukovich grabs her jaw. She recoils, spittle dripping from her chin. His hand slides to her neck.
VUKOVICH (cont’d)
Open your eyes.
His hands move rough over her stomach.
VUKOVICH (cont’d)
Open them!
Gwynneth’s eyes shoot wide open. Vukovich presses his chest to hers, smothering.
VUKOVICH (cont’d)
Shhhh.
His hands slip down her pants. He rips her jeans open and tugs them down. As he forces her to the floor, she cries out.
VUKOVICH (cont’d)
Shut up! You’ve always wanted
this.
Clutching her neck, he goes to enter her. As he tears his way inside, Gwynneth winces, pinching the tears from her eyes.
VUKOVICH (cont’d)
Now you get your wish.
As he begins to thrust, he drives his thumbs under her chin.
VUKOVICH (cont’d)
Stick out your tongue! Stick
it out!
Gwynneth relents, her tongue lolls from her mouth. Vukovich sucks on it, tastes her saliva, then spits in her face.
VUKOVICH (cont’d)
Lying bitch!
(beat)
You fucking want it, you lying
bitch! See what happens when
you lie?
He thrusts harder, angrier.
VUKOVICH (cont’d)
Hurts, doesn’t it?
Gwynneth looses a choked scream as he climaxes. Beat. He rises above her, zipping up then wiping off his mouth.
VUKOVICH (cont’d)
Get the fuck out!
GWYNNETH
(whimpering)
How could you do this?
He kicks her in the ribs, and she crumples. Beat.
VUKOVICH
You tell a soul, you’re dead.
No one will believe you anyway,
camp slut.
Slowly, she gets to her feet and pulls her jeans on. Avoiding his cold stare, she finds her purse on the floor and stumbles for the door. She pulls at the doorknob.
INT. GWYNNETH’S TRUCK – MINUTES LATER
Her blouse torn open, Gwynneth shivers at the wheel.
INT. GWYNNETH’S BEDROOM – LATER
Curled under the covers, Gwynneth watches Ophelia circle the tank. She runs a hand over her ribs, closing her eyes.
INT. CONNOR HOUSE – NEXT MORNING
Paul rushes up the staircase, fixing his tie. He makes down the hall for Gwynneth’s room and knocks.
PAUL
Honey?
He opens the door; she’s not in bed. He taps at the bathroom door.
PAUL
Ten minutes, Gwen.
GWYNNETH (o.s.)
I’m sick, dad.
PAUL
Sick? You got a temperature?
GWYNNETH (o.s.)
Yeah.
PAUL
Get you something?
GWYNNETH (o.s.)
No.
PAUL
Okay. There’s Tylenol in the
medicine cabinet. Want some
Theraflu?
GWYNNETH (o.s.)
No.
PAUL
Okay. I’ll be back after church.
Don’t worry, Susie’ll sing.
Just get some rest. Love you.
GWYNNETH (o.s.)
Bye.
Paul leaves.
INT. GWYNNETH’S BATHROOM – SAME TIME
Wincing, Gwynneth checks her bruised ribs. Starting the shower, she catches her reflection and nears the mirror; her neck bears two rose-colored marks, shadows of his hands.
INT. GWYNNETH’S BATHROOM – MINUTE LATER
Gwynneth steps under the flow. She reaches to the sill for the shampoo, her eyes going to the window. Slowly, her face crimps her eyes into slits; she crumples to the tile.
INT. BROKERAGE HOUSE – NEXT DAY
The brokers work the phones as Paul slips out.
EXT. CONNOR BACK PORCH – SAME TIME
Gwynneth places the clothes she wore Saturday onto the barbecue. Soaking them with lighter fluid, she sets them aflame, tending the fire until every thread burns to cinder.
INT. SCHOOL AUDITORIUM – HALF HOUR LATER
On stage, Bill Kramer repositions Matilda.
BILL KRAMER
Remember. Mister Webb’s home from
his trip. Okay, take it from
“Children, Wally, Emily.”
He’s sitting as Paul arrives.
BILL KRAMER
You know she’s not here!?
PAUL
She was sick yesterday. Didn’t
think it was that bad. She
should be back tomorrow.
BILL KRAMER
There is a God. Hey, I got
something that’ll cheer her up.
Bill’s definitely coming.
PAUL
No!
Paul grins. He stands and shakes Bill’s hand.
PAUL
That’ll cheer her up, all right.
Thanks Bill. Thanks much.
VUKOVICH (o.s.)
Matty!! Time to go.
Uniformed, Vukovich stands at the door. Paul squeezes by and shakes his hand.
PAUL
Howdy, Derek.
VUKOVICH
Mr. Conner. Where’s Gwen?
PAUL
Caught that bug going around.
VUKOVICH
Sorry to hear. Come on, Matty!
Paul rushes out the back as Matilda comes up to Derek and gives her brother a big, gleeful hug.
INT. GWYNNETH’S BEDROOM – SAME TIME
Gwynneth is asleep when the doorbell rings. She snaps awake, moving to the window. At the front door is a deliveryman. He rings again then steps back, looking her way. Gwynneth ducks below the sill, hiding until the truck rolls away.
EXT. CONNOR FRONT PORCH – MINUTE LATER
The door cracks a notch. On the porch lies a plain-wrapped package. Gwynneth slips out, snatches the package, and hurries back in, bolting the door behind her.
INT. CONNOR HALLWAY – SAME TIME
Bewildered, she unwraps the package to find a golden teddy bear. Attached, the unsigned card reads “FORGIVE ME.” Gwynneth drops the bear and runs for the kitchen.
INT. CONNOR KITCHEN – SAME TIME
Gwynneth heaves over the sink. Eyes wet, she looks over the snowy porch to the fields.
EXT. CONNOR BACK PORCH – MINUTES LATER
Gwynneth burns the bear on the barbecue.
INT. CONNOR HOUSE – THAT EVENING
Paul climbs the stairs with a tray of Chinese take-out. He sets it at Gwynneth’s door and knocks.
PAUL
Honey? Madame Wu’s!
GWYNNETH (o.s.)
Not hungry.
PAUL
Gwynneth. You gotta eat.
GWYNNETH (o.s.)
Please just leave it.
PAUL
You ready for some good news?
No answer. He sets down the tray.
PAUL (cont’d)
Remember Bill Wenningham? From
Carnegie Mellon? He’ll be there.
He’s coming to see you. Isn’t
that great?
GWYNNETH (o.s.)
Sure.
Paul looks down to the tray of food.
PAUL
Well, your food’s out here when
you want it. I’ll check in on
ya’ later. Love you.
GWYNNETH (o.s.)
Love you too, dad.
INT. CONNOR’S UPSTAIRS - MIDNIGHT
Paul stands before Gwynneth’s door: Gwynneth’s food lies untouched. He stoops to lift the tray and makes down the stairs.
PAUL (v.o.)
I should’ve seen through the
closed doors.
(beat)
I just grew up thinking the
really horrible things happened
to someone else. But then I saw
war. And death all around me.
Paul reaches the foot of the stairs; a picture of his father stills him.
PAUL (v.o.; cont’d)
(beat)
Even now, the boy in me, wishing
so hard for everything to be
all right, misses things that
are plain as day.
INT. CONNOR KITCHEN – NEXT MORNING
Dressed in a turtleneck for school, Gwynneth tends a skillet of pancakes. Paul walks in, briefcase in hand.
PAUL
You’re up early.
GWYNNETH
I’m so behind.
PAUL
It’s one day, Gwen.
Paul sits at the table, noting the one place setting.
PAUL
You gonna eat?
GWYNNETH
I already had something.
PAUL
Just a little something with me?
GWYNNETH
Dad!
She serves him.
PAUL
You look fine.
Paul takes two quick bites and stands.
PAUL
You have the rest.
GWYNNETH
Okay.
On his way to the door, Paul leans to kiss her on the cheek and she reels from him. He questions.
GWYNNETH (cont’d)
You wanna get sick?
Playfully, he emphatically shakes his head as he closes the door behind him. Gwynneth lets down, her pain instantly reappearing.
INT. BROKERAGE HOUSE – LATER THAT DAY
Paul is on the phone.
PAUL
Then why the hell am I your
broker, Gare? You keep
everything I tell you to sell.
SECRETARY (o.s.)
Paul, JoEllen Sandergaard is
on line three.
PAUL
Sandergaard...Sandergaard?
SECRETARY (o.s.)
Gwen’s principal.
Paul’s eyes widen.
PAUL
I’ll call you later, Garrett.
Remember, it’s what I do for
a living.
(switches lines)
Paul Connor.
(beat)
Yes. She’s been sick.
(beat)
I’ll make sure you know. Thanks.
Hanging up, he takes in a picture of Gwynneth. He picks up the phone again and dials. The phone rings without end.
EXT. CONNOR HOUSE – HALF HOUR LATER
Alison stands at the front door ringing the doorbell. She steps back, looking to Gwynneth’s window.
ALISON
Hey Gwen!
INT. GWYNNETH’S BEDROOM – SAME TIME
Gwynneth lies in bed, eyes on Ophelia.
ALISON (o.s.)
GWEN!!
EXT. CONNOR HOUSE – SAME TIME
Alison checks her phone, her texts to Gwynneth remain unanswered. As she makes for her car, Paul pulls up.
PAUL
You seen Gwen?
ALISON
Not since Saturday. She won’t
answer my calls, texts, nothing.
PAUL
She won’t, huh?
ALISON
Here. This is most of it.
Alison hands him a stack of schoolbooks.
PAUL
I’ll have her call you. Tell
your mom she’s off the hook.
Game’s over here this week.
ALISON
Thank God. Who’s putting out
cigars in the tuna dip?
Paul offers Alison a raised eyebrow as she makes for her car.
INT. CONNOR HOUSE – LATER
Paul climbs the stairs to Gwynneth’s room. He knocks at her door.
PAUL
Gwen?
(beat)
Gwen, we need to talk.
No answer. Paul tries the door; it’s locked.
PAUL (cont’d)
I’m not going to talk to you
through this door. I want you
to come out here, now.
Beat. The door opens. Gwynneth stands before her father, eyes down.
PAUL
You lied to me.
GWYNNETH
I was gonna go, but I got
sick again.
PAUL
I’m calling Doc Harper.
He turns for the phone.
GWYNNETH
Dad. Dad! It’s nothin’.
PAUL
Nothing!? You skip school and
lie to me about it? What’s
going on with you?
GWYNNETH
I don’t know.
PAUL
I don’t know what’s going on
or I don’t know if I want to
tell you?
GWYNNETH
I don’t know.
PAUL
What would you do in my shoes?
GWYNNETH
I don’t know.
Paul squares up on Gwynneth; her distance fills the quiet.
PAUL
Since we’re getting nowhere
here, I’m going back to work.
Paul descends the stairs.
PAUL (cont’d)
Call Cat. She’s worried
about you. I love you.
GWYNNETH
I love you, dad.
He slips on his jacket and leaves.
INT. BROKERAGE HOUSE – HOUR LATER
Focused at the computer, Paul’s eyes move to a figure in his periphery. Gwynneth stands before him.
GWYNNETH
Hug?
Paul rises and embraces her long, then holds her at arms-length.
PAUL
I know....Movie?
GWYNNETH
DVD's busted.
PAUL
Let’s go out. DiCaprio’s gotta be
in something.
GWYNNETH
He can’t act. Hollywood was
garbage.
PAUL
Well DeNiro can.
Gwynneth nods.
EXT. MOVIE THEATER – THAT EVENING
Holding hands, Paul and Gwynneth file into the street with the other movie-goers. They stop beneath the marquee.
PAUL
Can you think of one bad
movie he’s done?
Gwynneth looks to the marquee. She turns to her father, at a loss. Beat.
GWYNNETH
“The Fan”.
PAUL
Ooh, forgot about that one.
GWYNNETH
Lyn-Way?
PAUL
Of course.
Together, they make for the parking lot. At the car, Gwynneth freezes: across the lot, Vukovich helps a woman (20s) into his truck. Stricken, Gwynneth’s hands go to her stomach; her eyes draw wide.
PAUL
Gwen?
Paul follows her gaze, but Vukovich is out of sight.
PAUL (cont’d)
Honey?! What is it?
Gwynneth falls to her knees, vomiting in convulsions. Paul rushes to her.
PAUL (cont’d)
We’re getting you to a hospital.
GWYNNETH
It’s my fault, dad. It’s my
fault.
PAUL
Honey, you’re sick.
GWYNNETH
I shouldn’a gone back.
Paul kneels to her.
PAUL
Gone back? What are you saying?
GWYNNETH
I just thought I was safe.
PAUL
Safe? What safe? Honey?
GWYNNETH
I was raped, dad! I was raped!
Shattered, Gwynneth turns to her father. Paul studies his daughter’s face, frozen as if under a spell. In heaving sobs, she collapses in his arms.
INT. PAUL’S CAR – MINUTES LATER
Through fading tears, Gwynneth rests her head on the passenger side window. His teeth clenched, Paul turns to her.
PAUL
Gwen… Who did this?
GWYNNETH
I can’t tell you.
PAUL
Was it Kyle? That little son
of a bitch!!
Gwynneth turns quickly to her father.
GWYNNETH
No, dad… It wasn’t Kyle. He
would never do that to me.
PAUL
Then who?? Who, Gwen?
Gwynneth rests her head back on the window and closes her eyes. He reaches for her hand, but she pulls it away.
INT. PAUL’S BEDROOM – LATE THAT EVENING
Paul sits huddled over the phone. A notepad rests on his lap.
VOICE (o.s.; over phone)
And how long ago did this happen?
PAUL
(hushed voice)
About four days.
VOICE (o.s.; over phone)
Then a rape kit won’t help much.
PAUL
Do I take her to a doctor?
VOICE (o.s.; over phone)
Was she beaten?
PAUL
I can’t tell.
VOICE (o.s.; over phone)
If she wants to, take her, but
don’t force her. Eventually,
she’ll want to know if she’s
pregnant or contracted an STD.
Paul cups the receiver, pinching his eyes closed.
VOICE (o.s.; over phone)
Paul? Paul?
PAUL
Yeah, I’m here.
VOICE (o.s.; over phone)
What she needs most, Paul, is to
know that you love her and that
it’s not her fault.
PAUL
Okay. But what do I say to her?
VOICE (o.s.; over phone)
Nothing you say can fix it, Paul.
Just be there for her.
Paul draws in a deep breath, nodding.
INT. GWYNNETH’S BEDROOM – SAME TIME
Tucked in bed, Gwynneth watches Ophelia circle the tank.
VOICE (o.s.; over phone)
Have you contacted the police?
PAUL (o.s.; over phone)
No.
INT. PAUL’S BEDROOM – SAME TIME
VOICE (o.s.; over phone)
If she thinks he’ll come after
her, you should. But whatever
you do, Paul, don’t try
contacting him. That just makes
it worse on her. Understand?
Paul nods, writing it down.
INT. CONNOR KITCHEN – NEXT MORNING
Dressed for school, Gwynneth descends the stairs to find Paul standing at the stove in his sweats. Stunned, she inches forward.
GWYNNETH
What are you doing?
PAUL
Making you breakfast.
Gwynneth nears. She snatches the spatula.
GWYNNETH
Don’t do that!
She pushes him aside.
GWYNNETH (cont’d)
Go get dressed.
PAUL
I’m staying home.
GWYNNETH
Then you’re staying here alone
’cause I’m going to school.
PAUL
I really don’t think...
GWYNNETH
Quit babying me!
PAUL
I love you.
Gwynneth turns from him.
PAUL (cont’d)
Gwen...it wasn’t your fault.
She flushes red.
GWYNNETH
Will you please just sit down?!
She fights back tears, dumping the skillet of eggs into the sink.
GWYNNETH (cont’d)
It’s French Toast on Thursdays.
It’s always French Toast!
She cracks a couple eggs, adds milk, and beats them hurriedly.
INT. CONNOR LIVINGROOM – THAT AFTERNOON
Gwynneth and Paul sit in the living room, reading. She looks up, meeting his gaze. He grins, then goes back to his book.
GWYNNETH
You’ve been giving me that look
all day.
PAUL
What look?
GWYNNETH
Like you wanna ask me something.
He plays it off. The phone rings.
PAUL
Paul Connor.
BILL KRAMER (o.s.; over phone)
Paul...Bill Kramer.
PAUL
I’m reading your mind, Bill.
BILL KRAMER (o.s.; over phone)
Tell me she’s gonna make it.
PAUL
The Percival girl knows Emily,
right?
Gwynneth sits up.
BILL KRAMER (o.s.; over phone)
Oh my God.
PAUL
Bill, you know how much she
wants this. I’m sorry.
BILL KRAMER (o.s. over phone)
Yeah. Well, give her a hug.
G’night Paul.
Paul sets down the receiver. Eager, Gwynneth meets his eyes.
PAUL
It’s too soon.
GWYNNETH
What about what I think?
PAUL
Not on this.
GWYNNETH
We made a deal.
PAUL
Don’t do that. Not now.
GWYNNETH
Then when? You said we were
partners.
PAUL
Honey, it’s too much.
GWYNNETH
I need this, dad.
She nears him, suddenly desperate.
GWYNNETH (cont’d)
Don’t take this from me. Please!
Paul rises to hold her. Over her shoulder his eyes are fixed.
PAUL
Who did this Gwen? I have
to know.
Gwynneth wiggles free from their embrace to hold her father’s face. She pulls in close.
GWYNNETH
I’m sorry, dad.
She slowly turns and heads up the stairs, leaving Paul numb.
INT. PAUL’S CAR – NEXT MORNING
Paul slows before Ashland High School. Gwynneth pops the door, pausing to watch the students walk by.
GWYNNETH
This is so weird.
PAUL
You don’t have to go.
GWYNNETH
No...You dropping me off.
I feel like a freshman.
Paul cracks a concerned smile. She turns to him.
PAUL
Break a leg.
GWYNNETH
Sell some stock.
Gwynneth climbs from the car and shuts the door. Paul eases away.
INT. CONNOR DINING ROOM – FRIDAY NIGHT
Bathed in cigar smoke, the men play stud poker. Lou is dealt a seven, his second seven showing. He has a hard time holding back a smile. Garrett deals to Hank.
GARRETT
And a little lady to God’s
whipping boy.
Paul gets a five. He tosses in, his thoughts miles away.
GARRETT (cont’d)
Host gets no help, better luck
next time, Smiley. And the
dealer, who is the man of the
hour, pulls a bullet, second one
showing. Might as well
call me bacon, boys, ’cause
I’m sizzling.
Both Garrett and Hank look to the grinning Lou.
HANK
I’m out.
Garrett rechecks his hole card.
GARRETT
Thank you, Mr. Poker Face.
Dealer folds with minimal damage.
Lou, I’d give you some tips on
how to play this game if I didn’t
love money so much.
Lou’s smile grows as he turns over his cards...all he has is that pair of sevens. Hank laughs, smacking Garrett on the back.
GARRETT (cont’d)
You bald piece of shit!
Lou, Hank, and finally Garrett burst into laughter. Paul’s silence is conspicuous.
HANK
Lou did something funny, Paul.
PAUL
(flatly)
Sorry, Lou. It was funny.
(beat)
My deal?
GARRETT
No, Paul. It’s Lou’s.
Clockwise. What is with you?
PAUL
I gotta check on Gwen.
LOU
She’s home?
Paul slips upstairs.
LOU (cont’d)
Then where’s the food?
Garrett leans over the table, hushed.
GARRETT
God, she must be sick as hell.
Poor kid.
HANK
I don’t know.
GARRETT
Alison’s her best friend, yeah?
HANK
She’s been trying to get a hold
of her all week. Gwen won’t
call her back.
LOU
Oh...the play. It’s tomorrow.
GARRETT
That’s it. Jeez. Shitty break.
Paul comes back downstairs and sits down.
PAUL
What’s the game, Lou?
LOU
Draw. Like always.
PAUL
So let’s see ’em, already.
Lou deals, his eyes on Paul.
GARRETT
She okay?
PAUL
No, Garrett. She’s not.
GARRETT
She gonna be in the play?
PAUL
(loudly)
I could give a shit about the
play!
GARRETT
Didn’t mean anything by it.
Just know how much it means to
her. Didn’t mean anything by it.
PAUL
Deal the fucking cards, Lou!
HANK
Paul? Paul?
Paul pushes away from the table and rises.
PAUL
See you all tomorrow. I’m
gonna hit the sack.
Picking up his drink, he leaves the room and his friends bewildered.
INT. PAUL’S CAR – SATURDAY NIGHT
Hands on the wheel, Paul looks to Gwynneth, then back up the line of cars waiting to enter the high school’s parking lot.
PAUL
You ready?
Gwynneth is resolute.
GWYNNETH
Yeah. Time to get ‘er done.
PAUL
I’m proud of you, Gwen. You’re
strong. You know, I was waiting
all day for you to change your
mind.
GWYNNETH
Why? You knew I wouldn’t.
PAUL
Yup.
In the headlights comes a flash of Vukovich directing traffic. He meets Gwynneth’s gaze. Paul notices the exchange. Gwynneth turns to Paul and seizes his hand.
GWYNNETH
Thanks, dad. For everything.
When the car stops, Gwynneth exits, vanishing before the door closes. Paul looks to Vukovich who smiles, waving back. As Paul exits and heads to the school, Vukovich’s smile fades quickly.
INT. SCHOOL AUDITORIUM – MINUTES LATER
Flanked by the Harmons and Fullers, Paul looks to the entrance. Through the swarm of eager parents, he finds Bill Kramer escorting the sweater-vested BILL WENNINGTON (50s) to his fifth-row seat.
PAUL
He’s here.
INT. GREEN ROOM – SAME TIME
Cast members flit about nervously, primping costumes and checking makeup. Gwynneth sits isolated...meditative.
INT. SCHOOL AUDITORIUM – SAME TIME
As the lights dim, Garrett arrives.
ANNE
You’re early.
GARRETT
Have a drink, Anne.
Garrett offers her his flask, and she rolls her eyes. He tries Paul to no avail.
INT. GREEN ROOM – SAME TIME
Bill Kramer stands before his nervous cast; his eyes flash from face to face.
BILL KRAMER
My God! Look at you all!!
(beat)
All right, on the count of three,
I want you all to laugh.
The cast members trade confused looks, a chortle, a stray cough.
BILL KRAMER
No, I mean it! Okay. One...
two...three...
A patter of half-hearted laughter forces out from the cast.
BILL KRAMER
You’re nervous, it’s natural,
but I swear, these are the times
that you’ll wish you could go
back to and live again. This is
the shit! Make it count. So, on
three, I want you to really laugh.
He points in the audience’s direction.
BILL KRAMER (cont’d)
So hard that they wonder out
there. Okay? One...two...
INT. SCHOOL AUDITORIUM – SECONDS LATER
The muffled peal of shrieking laughter turns heads. The audience falls silent and a bit mortified.
INT. GREEN ROOM – SAME TIME
Gwynneth sits alone. The waves of laughter driving her to the brink of tears.
INT. STAGE – MINUTES LATER
Before a mock-up of a turn-of-the-century home, The NARRATOR (17, but made to look much older) stands.
NARRATOR
The public school is over yonder,
highschool still further over.
Quarter of nine, noontime, morn-
ings and three o’clock afternoons,
the whole town can hear the
screamin’ from those schoolyards.
Nice town, know what I mean?
Nobody very remarkable ever come
out of it, as far as we know.
INT. GREEN ROOM – SAME TIME
Gwynneth dries her face before the well-lit Hollywood vanity mirror. Pulling close, she confronts her reflection.
NARRATOR (o.s.; cont’d)
The first act shows a day in our
town. The day is May 7, 1901.
The time is just before dawn.
Yeah, the sky is beginning to
show some streaks of light over
in the east there behind our
mountain. Morning star always
gets wonderful bright the minute
before it has to go, dudnit?
INT. STAGE - MINUTES LATER
In a night gown, EMILY WEBB (Gwynneth) sits wistfully at her upstairs window when her father, MR. WEBB, enters.
MR. WEBB
Who’s that up there? That you
Myrtle?
EMILY
Oh no, it’s me, papa.
MR. WEBB
Why aren’t you in bed?
EMILY
I don’t know. Just can’t sleep
yet, Papa. The moonlight’s so
wonderful. The smell of Mrs.
Gibbs’ heliotrope. Can’t you
smell it?
MR. WEBB
Haven’t any troubles on your
mind, have you Emily?
EMILY
Troubles, papa? No.
MR. WEBB
Well, enjoy yourself. Don’t
Let your mother catch ya.
G’night, Emily.
EMILY
G’night, papa.
Paul smiles.
INT. SQUAD CAR, SCHOOL PARKING LOT – SAME TIME
Vukovich sets his coffee on the dashboard, fingering through a justice department report of Paul Connor. He goes through Paul’s military records: two tours in counterintelligence, a bronze star, a distinguished service cross. Vukovich’s eyes lift slowly from the papers, shifting to the auditorium.
INT. SCHOOL AUDITORIUM – LATER IN THE PLAY
As the town breaks into applause, Anne leans to Paul. She motions to Wennington.
ANNE
I think he likes it.
PAUL
Watch the play, Anne.
(to self)
Atta girl. Doin' fine.
INT. STAGE – LATER IN THE PLAY
The stage is set for a wedding with the players frozen in their places. In the foreground stand the bride Emily and her father, Mr. Webb.
EMILY
(desperately)
Don’t you remember what you used
to say to me? All the time you
used to say. All the time. That
I was YOUR girl.
Paul closes his eyes.
EMILY
There must be lots of places
we can go to. I’ll work for ya.
I can keep house!
MR. WEBB
Now you musn’t think of such
things. You’re just nervous,
Emily. You’re marrying the best
young fella in the world. George
is a fine fella. George? George,
will you come here a minute?
George approaches.
MR. WEBB
I’m giving away my daughter,
George. You think you can take
care of her?
GEORGE
Mister Webb. I want to. I want
to try. Emily, I’ll do my best.
EMILY
Then love me and help me. All
I want is someone to love me.
GEORGE
I will.
EMILY
If ever I’m sick or in trouble,
I mean. I mean forever, do you
hear? Forever and ever.
From the director’s pit, Bill Kramer turns to Wennington with wide eyes. Wennington mouths “WOW”.
INT. STAGE - MINUTES LATER
Pacing before an aerial perspective of the town, the narrator traces the river.
NARRATOR
Now, I’m gonna tell you some
things that you know already.
EXT. ASHLAND LANDSCAPE – SAME TIME
The Mohican river whispers through the snow: a black ribbon alive with stars.
NARRATOR (v.o.)
You know ’em as well as I do,
but you don’t take ’em out and
look at ’em very often. I don’t
care what they say with their
mouths.
EXT. CONNOR LAND – SAME TIME
An icy wind sweeps over the fields, dusting the house with frost.
NARRATOR (v.o.; cont’d)
Everybody knows that somethin’
is eternal...and it ain’t houses
and it ain’t names and it ain’t
earth...and it ain’t even the
stars. Everybody knows in their
bones that somethin’ is eternal.
INT. CONNOR HALLWAY – SAME TIME
Tight on a portrait of Katie Connor, baby Gwynneth in her arms.
NARRATOR (v.o.; cont’d)
And that somethin’ has to do with
human bein’s. All the greatest
people ever lived have been tellin’
us that for five thousand years,
and yet you’d be surprised at how
people are always losin’ hold of it.
INT. GWYNNETH’S BEDROOM – SAME TIME
Close on Gwynneth’s aquarium; Ophelia floats dead.
NARRATOR (v.o.; cont’d)
There’s something way down deep
that’s eternal about every human
bein’.
INT. STAGE – LATER IN THE PLAY
The stage is set as a cemetery. In the foreground, Emily lies in a casket; a procession of mourners bids her farewell. As the last flower drops, Emily rises to walk among the dead citizens of the town, all of whom are seated and gazing peacefully over the dispersing funeral. Finding Mrs. Gibbs, Emily stops.
EMILY
Mother Gibbs, one can go back
there again, into living, I feel
it, I know it. Why just then,
for a moment, I was thinkin’
about the farm and for a minute
I was there and my baby was on
my lap as plain as day...
MOTHER GIBBS
Yes, of course you can, dear.
EMILY
I can go back there and live all
those days over again. Why not?
MOTHER GIBBS
All I can say is Emily, don’t.
EMILY
But I won’t live over a sad day.
I’ll choose a happy one. I’ll
choose the day I first knew that
I loved George. Why should that
be painful?
Paul’s hand covers his mouth as he begins to well. Next to him, Hank notices.
INT. GREEN ROOM – MOMENTS BEFORE THE PLAY
Gwynneth stands in full costume. Breathing long and deep, a virgin ease falls over her. The smile she wears is one we have not seen: she IS Emily Webb.
GWYNNETH
Troubles, Papa? No.
INT. STAGE – LATER IN THE PLAY
Gwynneth and the Narrator hold hands as he leads her to her parents’ home as it was years before.
EMILY
I love it so. Are they inside?
NARRATOR
Yes, your mother’s gonna be
coming downstairs any minute
to make breakfast.
Anxious, Emily awaits Mrs. Webb.
MRS. WEBB
(calling out)
Children? Wally, Emily.
Time to get up.
Gwynneth traces the entrance of Mrs. Webb (Matilda) when a flash draws her eyes off stage. Pressing over the audience, she fixes upon a dark figure silhouetted against the theatre wall. She shudders as the features emerge. It is Vukovich.
MRS. WEBB
Coffee’s ready when you want it.
Charles, don’t forget, it’s
Emily’s birthday. Did you
remember to get her something?
MR. WEBB
Oh, I’ve got something here.
Where’s my girl? Where’s my
birthday girl?
Gwynneth steels her trembling hands and approaches.
MRS. WEBB
Don’t interrupt her now, Charles,
you can see her at breakfast.
She’s slow enough as it is.
Hurry up children...
Shattered, Emily turns to the Narrator. He balks at the sight of her, but recovers. Wennington is captivated, but a bit confused.
EMILY
(quavering)
She’s so young and beautiful.
Why do they ever have to get old?
(to Mrs. Webb)
Mama, I’m here. I’m grown up.
I love you all. Everything. Oh,
I can’t look at everything hard
enough! Good morning mama!
Mrs. Webb sees her and grins. But she also catches a glimpse of her brother Derek in the back. Matilda breaks character and excitedly waves to her brother. The audience turns Derek’s way and laughs warmly as he returns a little wave himself. Matilda gathers herself.
MRS. WEBB
Well now dear, a very happy birth-
day to my girl and many happy
returns. There’s some surprises
waiting for you on the kitchen
table.
EMILY
Oh, mama you shouldn’t have.
Drawing in a deep breath, Emily sits at the kitchen table.
MRS. WEBB
Birthday or no birthday, I want
you to eat your breakfast good
and slow. Want you to grow up
and be a good, strong girl. That
in the blue paper is from your
Aunt Carrie, and I reckon you
can guess who brought the post-
card album. I found it on the
doorstep when I brought in the
milk. George Gibbs. Must have
come over in the cold pretty
early. Right nice of him.
VUKOVICH (o.s.; from back)
Wooooo, Matty!
The audience again laughs warmly, some scattered applause. While Matilda curtsies, beside herself, Gwynneth needs a moment to compose as she again looks at Vukovich. Paul notices.
EMILY
(growing quiet)
George. I’d forgotten that.
MRS. WEBB
Chew that bacon good and slow.
It’ll help keep you warm on a
cold day.
EMILY
Mama...
Gwynneth pauses, struggling to collect herself.
EMILY (cont’d)
Mama just look at me one minute
as though you really saw me...
The audience strains as Gwynneth’s words fall away. Paul’s face draws wide in fear.
PAUL
Oh God, no.
Gwynneth covers her face. Eyes fixed upon his daughter, Paul stands and moves for the aisle. Stumbling over Lou, his gaze casts over the audience, falling at last upon Vukovich. Their eyes meet. Expressionless, Vukovich turns and walks for the exit.
ANNE
Paul, what’s wrong?
Awaiting the next line, Mrs. Webb stops her mixing. Gwynneth fights to continue. As Vukovich exits, she shudders. Paul sees all.
EMILY
(fumbling)
Mama, fourteen years have gone by.
I’m dead. You’re a grandmother,
mama. I married George Gibbs,
mama. Wally’s dead, too. Mama,
his appendix burst on a camping
trip to North Conway. We all
felt just terrible about it, don’t
you remember? Just for a moment,
now, we’re all together. Just for
a moment we’re...we’re...happy.
Flushed, Gwynneth’s mouth goes wide. There follows a long silence as the players struggle to stay in character. When Gwynneth puts her head to the table and begins to weep in earnest, her fellow players can only stand before the audience as what they are: shocked and suddenly helpless kids. Bill signals wildly for the curtains. As they draw, Paul leaps onto the stage.
BILL KRAMER
Bobby? BOBBY!
The Narrator steps up, clearly confused.
BILL KRAMER
Finish it!
EXT. SCHOOL AUDITORIUM – MINUTES LATER
It snows lightly. Through their shattered circle of friends and the entire town, Paul carries Gwynneth to the car, her face buried in his embrace.
INT. SQUAD CAR – SAME TIME
Vukovich watches on.
INT. PAUL’S CAR – LATER
Under heavy snowfall, Paul strains to see the road. Beside him, Gwynneth stares into the blackness.
PAUL
Derek Vukovich.
Gwynneth turns to her father, numb to his discovery. Paul spins the car around.
GWYNNETH
Where are you going?
PAUL
We need to report him. Now.
GWYNNETH
Dad, we can’t! No. No!!!
PAUL
Why? Did he threaten you?
Gwynneth swallows hard, grabbing her father’s hand.
GWYNNETH
Just trust me. Please.
PAUL
Then we should move.
She turns to him, questioning.
PAUL (cont'd)
You’re gonna see him again.
GWYNNETH
I’m staying.
PAUL
What about Carnegie Mellon?
GWYNNETH
You saw me tonight. It’s over.
She turns back to the road.
INT. CONNOR HOUSE – MINUTES LATER
The front door swings wide, and Gwynneth bounds upstairs.
INT. GWYNNETH’S BEDROOM – SECONDS LATER
She storms in, stopping before her many acting awards. With a terrible patience she pulls each one down. Catching a glimpse of her fish tank, she stops.
INT. GWYNNETH’S BEDROOM – LATE THAT NIGHT
Paul leans over the sleeping Gwynneth, his hand pressed to her cheek. He slowly removes it and rises, noticing the barren shelves that once displayed her acting awards.
EXT. CONNOR HOUSE – MINUTE LATER
A light snow peppering his hair, Paul pulls his hood up. Nearing the trash can at the end of the driveway, he opens the lid. One by one, he gently sets Gwynneth’s awards in the snow.
INT. CONNOR GARAGE – MINUTES LATER
Paul mask-tapes a bulging cardboard box. Searching for a place in the tightly packed rafters, he reaches for his Navy crate and hauls it to the garage floor. Sliding the lid off, he reaches inside, lifting out a pair of dress black shoes. Soon, his uniform, two framed pictures, a folded flag, his grandfather’s WWII sword, and an old Luger pistol lie beside the shoes. Gently, Paul places Gwynneth’s awards into the crate.
INT. CONNOR HALLWAY – MINUTE LATER
Paul studies the photo of him and his father on the tractor.
PAUL (v.o.)
Sometimes I close my eyes and Dad
lifts me off the ground, and I’m
laughing ’cause it’s fun and it
tickles and because I love him.
He takes in the portrait of his mom.
PAUL (v.o.; cont’d)
He used to say, “Mom’s with Cam
now so you can be all mine.”
His eyes fall last upon his wife; Katie grins, infant Gwynneth in her arms.
PAUL (v.o.; cont’d)
I’ve always wanted it that way
for Gwen.
INT. CONNOR KITCHEN – NEXT MORNING
Gwynneth stirs batter as Paul enters the kitchen.
PAUL (v.o.; cont’d)
The days after the play are so
clear: fragile like when she was
a newborn. I don’t remember saying
anything, just the shape of her
eyes, her mouth, the noises she
made without knowing.
Paul sits at the kitchen table. Eyes closed, he breathes deep.
INT. PAUL’S CAR - MINUTES LATER
Passing by the police station, Paul’s grip tightens on the wheel.
INT. PAUL’S CAR - MOMENTS LATER
Paul sits at a stop light, his eyes pressed into slits. At the green Paul doesn’t move. Soon, a horn prompts him. He makes a U-turn.
EXT. POLICE STATION – MINUTES LATER
Standing outside the station, Paul watches the entrance. As two OFFICERS exit, he nears, blocking their path.
OFFICER #1
Hi, Paul. Can I help you?
PAUL
Nope.
Paul turns to the entrance. Beat. He moves up the walkway and into the station.
INT. POLICE STATION – MINUTES LATER
With Paul standing before him, the desk sergeant, SONNY ANDRESEN (40s), flips on the intercom.
ANDRESEN (intercom)
Vukovich, someone at the front
to see you. Itch! Front and
center.
(to Paul)
How’ve you been, Paul?
Paul's words lose form as several officers file by: Torgler, Frederickson, Stone, Pierce, Vukovich. Paul tenses, his eyes diamond hard.
ANDRESEN
Itch, Mr. Connor here is looking
for you.
VUKOVICH
Oh yeah? Hi, Mr. Connor. Missed
you on Sunday.
Paul doesn’t answer.
VUKOVICH (cont’d)
Mr. Conner?
PAUL
(quiet)
Can we step outside?
VUKOVICH
(laughs)
Step outside?
PAUL
It’s private.
VUKOVICH
Okay. Someplace private but warm.
Vukovich gives Andresen a “get this guy” look.
VUKOVICH (cont’d)
Follow me.
Vukovich leads Paul through the station.
INT. INTERROGATION ROOM – MINUTE LATER
Following Vukovich in, Paul moves to the two-way glass. He narrows his eyes, straining to pierce the mirror.
VUKOVICH
Don’t worry, no one’s there.
Paul's chill air sets Vukovich on edge.
VUKOVICH (cont’d)
What’s this all about, Mr. Conner?
PAUL
You know.
VUKOVICH
Can’t say I do.
Flashing with anger, Paul turns from Vukovich to pace the room, fists clenched. A long exhale and he returns.
PAUL
Gwen trusted you.
Vukovich meets Paul with a blank stare.
PAUL (cont’d)
How could you rape my little girl?
Vukovich eyes flare wide.
VUKOVICH
Whoa, whoa, whoa. Sir, I
did NOT rape Gwen. Oh my God!
PAUL
My daughter doesn’t lie.
VUKOVICH
That’s a serious accusation.
PAUL
Goddamn right it is.
VUKOVICH
Mr. Connor, if Gwen was raped,
you gotta get her down here
and file a report. Then we can
find this guy.
PAUL
Oh, I found him, Mr. Vukovich.
(coming close)
What happened up to you up in
Cleveland? Who the hell are you?
VUKOVICH
This is fucking crazy.
PAUL
Here's how we do this, officer.
VUKOVICH
Mr. Connor?
PAUL
You’re gonna give my daughter her
life back. You’re gonna leave.
VUKOVICH
Sir, I feel for you, but I’m not
the guy you’re looking for.
PAUL
First, I want to hear you say it.
Then I want you out of Ashland.
Vukovich feels the threat; he backs away.
VUKOVICH
Mr. Conner, you’d better leave.
Vukovich makes for the door, but Paul interposes. Vukovich’s hand moves to his pistol.
VUKOVICH (cont’d)
Back away, Mr. Connor.
Beat. Paul steps back. The two lock eyes, neither willing to go first.
VUKOVICH (cont’d)
And sure as shit, Mr. Connor.
I’m not going anywhere.
At last, Paul nods, cracks the door and leaves. Vukovich exhales deeply.
INT. HARDWARE STORE – LATER THAT DAY
Paul approaches the counter with a home security system under his arm.
PAUL (v.o.)
That morning was when I knew
I’d take her out of school.
The owner rings Paul up.
INT. GWYNNETH’S BEDROOM – FRIDAY NIGHT
Gwynneth is reading a book when she receives a Snap from an anonymous caller. Her phone reads, “You don’t listen too good”. An image flashes over the phone of her father leaving his workplace. She covers her mouth. In an instant, that pic is replaced by one of Paul carrying her away from the play. Beat. She’s no longer in shock. She grows angry when something outside draws her attention.
EXT. CONNOR BACK PORCH – SAME TIME
In the frozen dark, Hank sits on the porch swing next to Paul. Lou stands holding a deck of cards while Garrett sips his drink, all gazing over the snowbound fields.
GARRETT
So why are we out here freezing
our balls off?
LOU
Yeah, let’s get the game started.
I’ve been hot lately.
GARRETT
Piece of shit.
HANK
Gwen okay? Haven’t seen her
since the play.
LOU
That sure wasn’t like her.
Paul straightens up and draws a deep breath.
PAUL
Gwen was raped a couple weeks ago.
HANK
Sweet Jesus.
The cards slip from Lou’s grasp as Hank covers his face. Garrett downs the rest of his scotch.
PAUL
It was a cop.
HANK
What? One of ours?
PAUL
Derek Vukovich.
Leaning against the post, Hank runs his fingers roughshod through his hair as Lou begins to tear up.
PAUL (cont’d)
He denied it. Looked me in the
eyes and denied it.
(beat)
It won’t be tomorrow, or next
week, maybe not for a while,
but one day when he thinks it’s
all behind him, I’m gonna kill him.
A long silence follows.
GARRETT
Well, just make sure you do it
on a Friday night so we can cover
for ya’.
HANK
That’s not funny, Garrett.
Garrett eyes Hank, unamused.
PAUL
As God is my witness, I didn’t
think I’d have to kill again.
Paul pinches his eyes tight as Garrett pats him on the back.
INT – CONNER HOUSE – SAME TIME
Spying through the drapes, Gwynneth pulls back from the window. As the voices outside grow dim, she studies her hands. She slowly moves for the staircase, pausing briefly to view the picture of Paul kissing the ground upon his arrival back from war.
EXT. CONNOR BACK PORCH – SAME TIME
LOU
It’s too cold out here.
HANK
It’s not worth prison.
GARRETT
Okay, Hank. Some fuck rapes
Alison! Whatta YOU do?
LOU
I’m going inside.
Lou retreats indoors.
GARRETT
Come on, Hank. Whatta you do?
HANK
Could take a while, but I’d have
to find a way to forgive him.
GARRETT
Bullshit, Hank! You beat that
guy’s head in for a fucking lot
less than that.
Hank stands, nearing Garrett.
HANK
That’s right. And I’m telling
you from someone who’s been
there, it’s not worth it!!
GARRETT
Fine. And when this piece of
shit does it again, then what?
With that, Paul stands. Calmly, he lays his hands on them, and all goes quiet.
INT. GWYNNETH’S BEDROOM – SAME TIME
“Why Not Take All of Me” by Billie Holiday plays on her turntable. Kneeling to her bed, Gwynneth prays.
INT. CONNOR HOUSE – THAT NIGHT
Paul checks on the sleeping Gwynneth, then makes down the stairs to the front door. He pauses at the newly installed security system, activates it, then heads up to bed.
INT. CONNOR HOUSE – HALF HOUR LATER
Gwynneth is at the security system controls… She shuts it off.
INT. GWYNNETH’S TRUCK - HALF HOUR LATER
Parked across from the police station, Gwynneth notes Vukovich’s arrival.
INT. GWYNNETH’S TRUCK – TEN MINUTES LATER
Gwynneth starts her truck. Her eyes move to Vukovich’s squad car as it rolls from the lot.
INT. GWYNNETH’S TRUCK – MINUTES LATER
Few cars travel Main St. after midnight. Gwynneth keeps her distance.
GWYNNETH (v.o.)
Hey, mom.
(beat)
I know it’s been a while...
As Gwynneth strains to track Vukovich’s taillights through the light snowfall, she passes under the banner for “Our Town”.
GWYNNETH
(to self)
Please take that damn thing down.
INT. GWYNNETH’S TRUCK – MINUTES LATER
Gwynneth stops the truck as Vukovich turns into the Prairie Meadow housing tract. She waits.
GWYNNETH (v.o.)
You remember Derek?
(beat)
Camp counselor Derek?
INT. LYN-WAY RESTAURANT – HALF HOUR LATER
The lone waitress, Lucy, drifts off, snapping awake to the opening door. Vukovich shakes off the snow, then reaches over the counter to pour himself a cup of coffee. Lucy smirks.
VUKOVICH
Lucy, my love. Why don’t I steal
you away from all of this?
He takes her in his arms, planting a kiss on her cheek.
LUCY
You’re handsome and all, Derek.
But you ain’t got no class.
VUKOVICH
Takes it to know it, sweetheart.
He pops a doughnut in his mouth. Seizing the day’s paper, he makes for the restroom.
VUKOVICH
Hold my calls.
Lucy shakes her head as he disappears behind the swinging doors.
INT. GWYNNETH’S TRUCK – SAME TIME
Staked outside the Lyn-Way, Gwynneth rubs her hands.
GWYNNETH (v.o.)
He moved up to Cleveland. Got
married. Became a cop.
INT. GWYNNETH’S TRUCK – HALF HOUR LATER
Gwynneth follows as Vukovich patrols the warehouse district.
GWYNNETH (v.o.; cont’d)
But his wife left him.
EXT. THE BUFFALO CLUB (A GENTLEMAN’S CLUB) – AN HOUR LATER
Vukovich parks in the handicapped space. At the front door, he greets the bouncer and slips in. Gwynneth parks in the vacant field across the street.
GWYNNETH (v.o.; cont’d)
So he’s back. Back in Ashland.
He’s really violent now, mom.
(beat)
A violent...policeman.
INT. THE BUFFALO CLUB – SAME TIME
Vukovich makes his way past the stage to the bar. He greets the bartender, MARILYN (50), with a wide smile.
MARILYN
(to patrons)
Last call!
She sets a coffee mug before him and pours. Vukovich takes a moment to take in the gyrating dancer on stage.
VUKOVICH
Phil left his lights on.
MARILYN
Jacobsen?
VUKOVICH
Better tell him before his
wife has to come fetch him.
As Marilyn departs, Vukovich turns to the man next to him: Garrett.
VUKOVICH (cont’d)
You could bounce pennies off that
ass.
Garrett turns to Vukovich, eyes flashing over the name on his badge.
VUKOVICH (cont’d)
Fix that girl’s teeth up and
I’d marry her.
Measuring Vukovich, Garrett rises.
GARRETT
That’s my girlfriend...asshole.
Garrett angles for the bathrooms, slipping out the back door.
EXT. THE BUFFALO CLUB – SAME TIME
Garrett finds a thick bottle by the garbage bin, breaks it, then hides it under his coat. He pops in a smoke, and loiters in the shadows near the entrance.
CUT TO
INT. PARTY HOUSE LIVING ROOM - NIGHT OF THE RAPE
Billie Holiday playing, Vukovich watches on as Gwyn vamps in exquisite pantomime.
GWYNNETH (v.o.)
Me? What about me, mom?
(voice unsteady)
Your daughter’s a slut.
BACK TO
EXT. THE BUFFALO CLUB – CONTINUOUS
When Vukovich emerges, Garrett follows him, reaching into his jacket. As Garrett closes on him, two men burst from the club. Garrett quickly backs away.
GWYNNETH (v.o.; cont’d)
And that’s why he raped me.
Now dad wants to kill him.
(beat)
But dad’s healed now, mom.
Off the pain killers.
Someone else has to do it.
INT. GWYNNETH’S TRUCK – SAME TIME
Amazed, Gwynneth grips her steering wheel. Losing Garrett in the shadows, she misses her cue to follow Vukovich back towards town.
INT. CONNOR HOUSE – NEXT MORNING
Gwynneth picks up the ringing phone as Paul finishes the dishes.
GWYNNETH
Hello?
(beat)
Oh, hi Mrs. Johansson. He’s on
vacation this week.
Paul nods vehemently. Gwynneth listens.
GWYNNETH (cont’d)
Dad, Mrs. Johansson wants to know
if she should sell Bristol Myers
Squib.
Paul shrugs, mouthing “Ask God.”
GWYNNETH (cont’d)
Consult God, Mrs. Johansson.
(beat)
Okay, I’ll tell him.
Gwynneth hangs up and grabs a dish towel.
GWYNNETH (cont’d)
She said not funny and Pastor
Gregg can meet with you at 3:30.
Council Meeting?
Paul exits without a response.
INT. PASTOR GREGG’S OFFICE – AFTERNOON
Paul’s face shakes pastor Gregg to the quick.
PASTOR GREGG
Last time I saw that look was
when Katie died.
Paul sits.
PAUL
I’m having dreams.
Paul studies his hands.
PAUL (cont’d)
I find this Afghan captain in a
whorehouse and I’m chasing
him down an alley and he’s
not wearing any pants, which is
the way it happened, and we
get to this place where it’s
real narrow and he dives into
this doorway. I’m wondering
if he’s pulling a gun or praying
or what when I see his shadow
on the concrete. So I swap copper
for the hollow points and try to
bounce ’em off the cement and one
hits him. When I get to him, he’s
screaming, holding his guts in,
and this is when it changes.
Instead of this guy cussing at me
in Pashto or Dari or whatever, he
says to me in perfect English,
“Blessed are the merciful.” And
I grease him anyway, which I did.
Beat.
PASTOR GREGG
So, you’re feeling guilty?
PAUL
No, Charlie, I’m having crazy
dreams.
PASTOR GREGG
Okay, then why are you here?
PAUL
I never felt sorry for it.
PASTOR GREGG
Did you hate him?
PAUL
No.
Pastor Gregg stands. He paces behind his desk.
PASTOR GREGG
Well, if a man doesn’t kill out
of hate, or greed, or personal
gain...Time to kill, you know.
There’s self-defense, war,
the preservation of a moral
society...
PAUL
Blah, blah, blah.
Pastor Gregg looks Paul in the eyes: Paul starts to simmer.
PAUL (cont’d)
Not much of an answer, Charlie.
PASTOR GREGG
You’re a man who loves God.
Ask Him.
PAUL
Yeah? Think he’d listen?
PASTOR GREGG
What? Of course.
PAUL
(lightly sarcastic)
Sure. He’d never give me any
more than I can handle, right?
Katie, my mom...dad...Cam.
Now this.
PASTOR GREGG
This?
Paul abruptly stands.
PAUL
Gotta get home.
PASTOR GREGG
How’s Gwen?
PAUL
Miserable.
PASTOR GREGG
Anything I can do?
PAUL
Pray for her, I guess.
Paul offers a hand to his concerned pastor.
PASTOR GREGG
How 'bout you?
PAUL
Too late.
Pastor Gregg rounds his desk to give Paul a firm hug.
INT. CONNOR LIVINGROOM – SAME TIME
Gwynneth nears the door and checks the peephole. Hesitant, she opens the door; there stands Alison. Gwynneth gazes past her to the falling snow.
ALISON
You know everyone thinks you’re
in rehab. And here I am defending
you in front of that bitch Madison
and her bitch friends and you don’t
even bother to call me back!
Gwynneth looks to the books in Alison’s hand.
ALISON (cont’d)
Here’s your homework.
She hands her the books and turns for the car as Gwynneth closes the door.
EXT. CONNOR PORCH – SAME TIME
Alison double times it to the car but halts in mid stride. She turns back, eyes on the door, waiting.
INT. CONNOR ENTRYWAY – LATE THAT NIGHT
Dressed in his winter coat, Paul slips down the stairs. He pauses before the security system, entering the code.
GWYNNETH (o.s.)
Where you going?
Paul freezes. Turning to the voice, he presses into the dark living room. In his chair sits Gwynneth.
PAUL
Honey. Can’t sleep?
GWYNNETH
Don’t want to.
PAUL
Want some hot chocolate?
GWYNNETH
No.
(beat)
I just wanna sleep.
PAUL
Okay.
GWYNNETH
I’m tired, I’m really tired, but
someone’s screaming. She stops
when I wake up.
Paul moves to her, taking her hand.
GWYNNETH (cont’d)
So where you going?
Paul studies her pale eyes. He turns away.
PAUL
See Garrett. Have a beer.
Gwynneth’s sigh is deep and long.
PAUL (cont'd)
It’s not important.
Paul takes off his jacket and walks into the kitchen.
GWYNNETH
Shouldn’t you call him?
PAUL (o.s.)
He’d be there anyway.
(beat)
Marshmallows?
GWYNNETH
Yeah. Thank you.
Gwynneth curls up in the chair as Paul returns, lifts an afghan from the couch, and lays it over her.
INT. AND EXT. – MONTAGE – NIGHT AND DAY
Gwynneth is outside Prairie Meadow, checking her watch...Paul pacing his living room, quizzing Gwynneth on French...she counts down her watch outside Lyn-Way and looking up to find Vukovich arriving on cue...Another Snap on Gwynneth’s phone simply reads, “bad choice”... Gwynneth retches, holding Paul’s hand...Paul eyeing the painkillers in his medicine cabinet...The last cut is a low shot -- a child's view as a woman plays piano, singing in mute.
GWYNNETH (v.o.)
It's too quiet now, mom.
(beat)
You were the singer, not me.
(beat)
I just acted it out...
The music halts. A SCREAM pierces the brief silence. The woman collapses. Blood on the keys.
EXT. WAREHOUSE DISTRICT – NIGHT
Gwynneth is parked down and across the street. When Vukovich patrols by, he spots a sleeping vagrant and pulls to the curb of a textile plant.
GWYNNETH (v.o.; cont’d)
Dad said something about it...
About how I don't sing any more.
(beat)
I don't remember singing.
Vukovich gets out, hand firm on his night stick. As the vagrant stirs, Vukovich nudges him, soliciting little response. He looks about, and seeing they are alone, kicks the man in the stomach. The vagrant rolls over, clutching his side. Turning to face the street, Vukovich beats him with unchecked fury.
INT. GWYNNETH’S TRUCK – SAME TIME
Fists white on the wheel, Gwynneth can only watch. She can’t hold back the streaming tears.
GWYNNETH (v.o.; cont’d)
What’s to sing about anyway?
INT. FULLER BASEMENT – NIGHT
A bare bulb glows above an old water heater. Flanking the heater is the poker table where Paul, Hank, Lou, and Garrett sit. The boys buy in, and Lou portions the chips. Paul wears a wry grin.
GARRETT
What are you smiling at?
PAUL
Just feeling lucky.
GARRETT
Man’s feeling lucky. I love it.
He tanks when he’s cocky. You
know the game, gentlemen. Follow
the queen. Buck ante. Start
you ladies out cheap.
The guys throw in as Alison comes down with chips and dip. She places them on the table, eyeing Garrett’s cigars. The phone rings upstairs.
ALISON
(to Garrett)
So, it’s you! You know just how
sick ashes and tuna smell?
Garrett turns to Hank.
HANK
Don’t even go there.
MARY (o.s.)
Cat, it’s Gwen.
Perplexed, Alison turns to Paul. She smiles, running upstairs.
INT. GWYNNETH’S BEDROOM – MOMENTS LATER
Phone to her ear, Gwynneth stands at the window.
GWYNNETH
Can you come over?
(beat)
Please?
INT. HANK’S BASEMENT – HALF HOUR LATER
A thick layer of smoke envelops the players. Grinning, Paul reaches forward and pulls in a healthy pot. Light on chips, Garrett throws in his cards, kicks away his chair, and points his finger guns at Paul.
GARRETT
You rat bastard cheating son
of a bitch FUCK!!!
The men burst out laughing.
GARRETT (cont’d)
I’m gonna catch you.
HANK
Lady Luck’s smiling, Paul.
GARRETT
More like she’s spreading her
legs.
HANK
Speaking of, you taking the
dancer out for Valentine’s?
GARRETT
I’m too old for that shit!
And she’s a respectable girl,
Hank. She’s going to college.
HANK
Divinity school?
PAUL
Hank, the cards are coolin’.
Hank grabs the deck, holding back his giddiness.
INT. CONNOR HOUSE – MINUTES LATER
Gwynneth runs to the door. She pauses, collects herself, then opens it. It’s Alison. They stand looking at each other for an extended beat before Gwynneth throws her arms about her.
INT. GWYNNETH’S BEDROOM – FIFTEEN MINUTES LATER
Gwynneth and Alison sit on the bed, dozens of old snapshots strewn before them. Gwynneth lifts one: They pose, no older than eight, in tacky white leotards. Smiling, she flashes it before Alison. Alison shrieks.
ALISON
Oh my God! What the hell’s that?
GWYNNETH
Christmas, your house. We did
“The Nutcracker.”
Alison’s hand is over her face.
ALISON
That’s just not right.
Alison fishes out another photo of the two of them at a Cleveland Indians game, eating the same hot dog.
ALISON (cont’d)
Remember this?
GWYNNETH
Yeah, mom took it.
(beat; sifts through
more pictures)
Thanks by the way.
ALISON
For what?
GWYNNETH
For waiting.
Gwynneth meets Alison’s smile with a frightened giddiness. They hug again, and over Gwynneth’s shoulder, Alison eyes the empty bookshelf.
ALISON
Hey, where’s all your trophies?
Gwynneth comes away trembling. Beat.
GWYNNETH
That night we ended up at the
party at Derek Vukovich’s house...
ALISON
Yeah?
GWYNNETH
I went back.
INT. HANK’S BASEMENT – SAME TIME
Paul stands, setting the last of his chips before Hank.
PAUL
That’s two twenty-five.
His pile of chips decimated, Garrett throws up his hands.
GARRETT
You’re kidding. That’s it?
PAUL
You betcha.
GARRETT
It’s eleven o’clock, you greedy
fuck. Takes our money all week
and doesn’t even give us a chance.
Come on, double or nothing.
HANK
Where are you going, Paul?
PAUL
What is it to ya’, Hank?
Hank shifts in his seat and leans in.
HANK
Haven’t really heard you talk
much about…you know, the thing.
PAUL
About getting it done?
Hank nods. Paul squares up on him.
PAUL (cont’d)
You know what it’s like.
Hank expels a breath; his eyes go to the ground.
PAUL (cont’d)
First, you want to kill him, but
you get over it because they tell
you to. And your daughter, she’s
tough, and she looks like she’s
getting better. You’re praying
she’s getting better.
(pacing; upset)
You tell yourself it’s a test,
Right? The worst is over.
But she won’t eat.
Lou looks to Garrett, stricken.
PAUL (cont’d)
And you go to the punk who did
it and he’s slick, like he
knows he’s gonna slide, like
he’s saying “Fuck you and fuck
your daughter!”
(beat)
And every time she sees him,
she’s sick, like physically sick.
And this is my daughter twisting
out there, but it’s not like
Katie...’Cause now I can do
something about it.
GARRETT
Fuckin’ A right, Paul.
Paul looks Garrett over. He nods.
HANK
I don’t believe this shit.
Hank looks to Lou, pleading for some sanity in the room.
HANK (cont’d)
You hearing this?
LOU
Yup.
Paul pulls back, and pats Garrett on the back.
PAUL
So in response to your question,
Gare, I really need to get home.
I’ve got a daughter.
GARRETT
Well, so do I.
HANK
Then go see her for a change.
Garrett abruptly stands.
GARRETT
Who the fuck are you?
HANK
Okay, sorry!
GARRETT
No! Who the fuck do you think
you are?!!
Paul slides the night’s winnings into his pocket, nods knowingly to Lou, and heads upstairs.
INT. GWYNNETH’S BEDROOM – SAME TIME
Alison sits before Gwynneth, eyes drawn wide.
GWYNNETH
We had this bottle of wine left
and I was drinking and he was
drinking and...
ALISON
Wait. You were drinking wine...
with him?
Gwynneth sighs deeply.
GWYNNETH
He had Billie Holiday on...
So I started playing out the
song, you know...like I do...
Alison nods. Gwynneth shudders.
GWYNNETH (cont’d)
...But he, he like all of a
sudden got really weird, talking
about his wife and how I looked
like her...
(beat)
I was hoping he was just weird
and I’d go home and tell you
about it in the morning...
She meets Alison’s gaze. All at once, Gwynneth’s face twists.
INT. CONNER HOUSE – LATER THAT NIGHT
Paul walks in the front door as Alison is leaving. He gives her a hug as he shuts the door and sets the security system. Gwynneth is at the top of the stairs watching as he turns off the light.
GWYNNETH (v.o.)
So I got outta there, went to
the bathroom to grab my purse.
(chokes up)
He shut off the lights.
INT. ALISON’S BEDROOM – HOURS LATER
Sitting on her bed, Alison looks to her laptop...waiting. When the clock strikes 1:15, she logs on.
GWYNNETH (v.o.; cont’d)
I couldn’t get out the window.
The fucking window wouldn’t
open!!
(beat)
Listen, I need you to do
something for me.
ALISON (v.o.)
Sure, yeah. Anything.
GWYNNETH (v.o.)
At 1:15 tonight. Sharp.
ALISON (v.o.)
Of course I will.
INT. SQUAD CAR – SAME TIME
Springsteen on his mp3 player, Vukovich taps to the beat on the steering wheel, scanning the warehouse district.
GWYNNETH (v.o.)
I want you to record something.
ALISON (v.o.)
What?
GWYNNETH (v.o.)
You’ll see.
ALISON (v.o.)
Gwen. What happened?
Vukovich spots a familiar body in the snow.
EXT. WAREHOUSE DISTRICT – SAME TIME
He pulls to the curb. The vagrant sleeps in the darkened doorway of the textile plant, newspapers as his covers.
GWYNNETH (v.o.; cont’d)
...He told me I wasn’t leaving.
I tried but then he hit me hard.
I couldn’t see.
INT. SQUAD CAR – SAME TIME
Vukovich turns off the music. Killing the lights, he cracks the door.
GWYNNETH (v.o.; cont’d)
He raped me, Cat.
INT. ALISON’S ROOM – SAME TIME
Over her computer, she witnesses the vagrant sleeping in the shadows of the textile plant. Confused, Alison squints to make out more detail. Vukovich comes in to view as he approaches the man. Alison brings her hand to her mouth, shocked.
EXT. WAREHOUSE DISTRICT – SAME TIME
Vukovich nears the vagrant, peeling back the newspapers.
GWYNNETH (v.o.; cont’d)
(struggling)
And then he kicked me. He
kicked me so hard...
The vagrant faces away, sound asleep. Vukovich backs away, looks around, then takes one hop step and kicks the man square in the ribs. The vagrant looses a high-pitched groan.
VUKOVICH
That’s what I wanna hear.
GWYNNETH (v.o.)
...so hard I couldn’t breathe.
INT. ALISON’S ROOM – SAME TIME
Utterly beside herself, Alison watches Vukovich kicking him again. Vukovich grins.
VUKOVICH
Hurts, doesn’t it?
EXT. WAREHOUSE DISTRICT – SAME TIME
Vukovich backs away for another kick. As he drives into the vagrant’s ribs, the vagrant turns over and fires a pistol, the shot hitting Vukovich’s ankle, sending him face first into the snow. Screaming, Vukovich reaches for his gun, but the press of cold metal to his neck stops him.
VAGRANT
(strange voice)
Don’t.
Vukovich rasps in pain, a knee to the small of his back.
INT. ALISON’S ROOM – SAME TIME
Alison is frozen at the sight on her computer.
VAGRANT (on computer)
Using your thumb and index finger
only, slowly pinch the handle of
your gun, ease it out of the
holster and toss it here…
EXT. WAREHOUSE DISTRICT – SAME TIME
Vukovich complies and the pressure on his back eases. The vagrant rises and snatches up Vukovich’s gun.
VAGRANT (cont’d)
Lock your hands above your head.
Slowly, Vukovich brings his hands above his head.
VAGRANT (cont’d)
Turn over.
Vukovich turns over, straining to see his captor. The vagrant slides the hood from her face. Vukovich’s eyes brim with the sight of Gwynneth aiming both guns at his face.
INT. ALISON’S ROOM – SAME TIME
Horrified, Alison yelps as she begins to rock back and forth, literally losing her mind.
EXT. WAREHOUSE DISTRICT – SAME TIME
Enraged, Vukovich clenches his jaw. Gwynneth is calm as she clears her throat.
GWYNNETH
You’re not touching my father.
(beat)
I will have my life back.
VUKOVICH
(wincing)
You just shot a cop, little girl.
Your life’s over.
GWYNNETH
Some people just shouldn’t be here.
VUKOVICH
Fuck you, bitch!! You deserved
everything you got.
GWYNNETH
Hmmm. You know, I’ve played out
this moment hundreds of times.
(beat)
You did it all wrong.
VUKOVICH
What?
GWYNNETH
Everything. You’re a cop. You
took a vow to uphold the law,
keep society safe… You failed.
Vukovich seethes.
GWYNNETH (cont’d)
You took a vow to love your wife.
What’d you do with that?
VUKOVICH
She cheated on me!!
GWYNNETH
You couldn’t satisfy her.
VUKOVICH
FUCK YOU!!
GWYNNETH
So you crawled back home… Back to
Ashland. Like it would save you.
VUKOVICH
I need to go to the hospital.
GWYNNETH
You used your strength on me.
The only advantage you had.
But you didn’t break me.
That cuts deep, doesn’t it?
(beat)
There’s nothing left for you.
Vukovich’s breaths are faster, deeper… Gywnneth’s phone pings. Reaching into her pocket, she swaps Vukovich’s gun for her phone. Pulling off her tattered glove, she takes a quick look, then flashes the phone to Vukovich.
GWYNNETH (cont’d)
Ashland will know what you did
to me…
She pushes play, and the video Vukovich watches is of him where he currently lies in the snow.
VUKOVICH (on phone video)
Fuck you, bitch!! You deserved
everything you got.
As Vukovich’s face flushes with fear, Gwynneth speaks to the phone.
GWYNNETH
Thanks for sending. Love you.
She turns the phone off, stuffs it back in her pocket and slips her glove back on.
GWYNNETH (cont’d)
You’ll disgrace the department.
Your mom and dad will be sick,
devastated. Probably forever.
Vukovich’s glowers, chest heaving.
GWYNNETH (cont’d)
And your sister. She looks up
to you. She worships you.
(beat)
This will crush her.
He chokes back a retort.
GWYNNETH (cont’d)
And now you’ll live out your days
in a 5 by 5 cell. And you know
the best part?
Vukovich says nothing.
GWYNNETH (cont’d)
You’re a rapist. And they’ll know
it. An ex-cop, with no protection.
Your life will be hell on earth.
Vukovich abruptly sits up, Gwynneth going to two hands on the grip of her gun.
VUKOVICH
(blasting)
Then fucking kill me, bitch!
What are you waiting for??
Moving slowly with gun always on Vukovich, she gathers the newspapers, scanning for anything left behind.
GWYNNETH
I don’t need to pull this trigger.
(beat; sighs)
It’s much better you live.
Reaching in her pocket, she tosses his gun to the snow. He eyes it.
GWYNNETH (cont’d)
I’m going to your station to
report what you did to me. And
you’ll have the rest of your so-
called life to atone for what
you fucked up...so royally.
She turns and walks away. Vukovich quickly crawls for his gun.
INT. ALISON’S ROOM – SAME TIME
Alison sees Vukovich nearing his gun.
ALISON
(feebily)
Gwen!! Gwen!!! Gwen!!
EXT. WAREHOUSE DISTRICT – SAME TIME
Breaking stride, Gwynneth reaches down and plucks her hidden laptop from under a crate. She continues walking on, clutching her laptop tightly as Vukovich rises to his feet behind her, his gun aimed squarely at Gwynneth, but the aim is unsteady.
Cringing, she pinches her eyes shut. A GUNSHOT buckles her legs, dropping her to her knees. Her eyes shoot open, out of breath. Beat. She slowly looks back...back to Vukovich’s lifeless body lying in the blood-stained snow. Beat. As her breathing slows, she quickly stands when her phone rings. She picks it up and Alison’s frantic screams burst through the receiver.
GWYNNETH
I’m okay. I’m okay.
She continues moving swiftly towards the street, clutching her side.
EXT. CONNOR PORCH – HOUR LATER
From their swing, Gwynneth gazes over the fields, holding one of her prized stuffed bears. The clothes she wore that night burn on the barbeque.
INT. CONNOR KITCHEN – NEXT MORNING
Gwynneth attends to the stove, as Paul comes in, kissing her on the forehead.
PAUL
Morning.
GWYNNETH
Could I have my trophies back?
Paul pulls back from her, surprised.
PAUL
How did you know I saved them?
GWYNNETH
Saw you that night, picking them
out of the trash.
He cracks a smile and ruffles her hair.
INT. CONNER GARAGE – MINUTES LATER
Paul reaches for his Navy crate tucked in the tightly packed rafters and hauls it to the garage floor. Sliding the lid off, he moves his Luger from off the top of the bulging cardboard box holding Gwynneth’s trophies. He pauses. He studies the Luger, the place where it rested in the crate. He sits on the garage floor, thinking, staring at the Luger.
INT. FULLER KITCHEN – SAME TIME
Watching the small TV on the counter, Mary prepares breakfast. At the table, Hank is engrossed in the Ashland Times-Gazette sports page; flipping the page, he frowns over another Ashland High defeat. Quiet, Alison walks past her father, opens a cupboard, and retrieves plates.
MARY
Well, good morning!
ALISON
G’morning.
Alison fumbles the silverware. She makes for the kitchen table, clumsily setting four places.
MARY
Your sister’s already out and
about, Cat. So how’s Gwen?
ALISON
She’s okay. Why?
MARY
What did she have anyway?
ALISON
Mom, can we talk about something
else?
MARY
I just wanted to know...
HANK
Please!
Alison and Mary turn to Hank. He’s riveted to the TV. A reporter stands outside the textile mill.
REPORTER
...and it’s here where Ashland
police officer Derek Vukovich
was slain late last night. Police
aren’t providing any more details.
Alison shrieks, her hands covering her mouth.
MARY
Oh, that’s so sad. Vukovich,
Vukovich. Did we know him?
Wait. He’s an usher at church.
ALISON
The drug awareness cop.
Hank stands and turns off the TV.
HANK
No reason to watch this.
The phone rings.
MARY
Hello.
(beat)
Sure is. Just a minute, Lou.
Slowly, Hank moves towards the phone. He takes it.
HANK
Yeah?
(beat)
Yeah.
INT. FULLER BEDROOM – MINUTES LATER
Closing the door, Hank takes the phone into the bathroom.
INT. FULLER BATHROOM – SECONDS LATER
Hank paces, awaiting an answer.
PAUL (o.s.’ over phone)
Paul Connor.
HANK
God, Paul. Tell me you didn’t.
PAUL (o.s.)
Morning, Hank.
HANK
Have you seen the news?
PAUL (o.s.)
Nope. Making breakfast.
HANK
Your cop is dead. You hear me?
(beat)
Paul?
PAUL (o.s.)
What are you talking about?
HANK
Don’t feed me that bullshit!!
Hank hangs up. He looks at the receiver for a moment, then throws the phone against the tub.
INT. CONNOR KITCHEN – MINUTES LATER
Gwynneth places two plates of piping hot grits and eggs on the table and sits down. Squirmish, Paul quickly enters and flips on the TV.
GWYNNETH
Dad, can you leave it off? Let’s
have a nice, quiet morning.
PAUL
I gotta see something.
GWYNNETH
Was that Hank?
PAUL
Yeah.
GWYNNETH
You want me to go to the store?
Paul watches the muted television… an official picture of a uniformed Vukovich and the crime scene taped off below it. He has to sit down.
PAUL
(to self)
God dammit, Gare…
(to Gwynneth)
Gwen.
She looks up from her plate. His grave face worries her.
PAUL (cont'd)
Derek Vukovich was killed
last night.
She stops chewing, setting her fork down. Eyes growing wet, she pushes away her plate.
GWYNNETH
Killed? Good.
She stands, her breaths short. Opening her mouth as if to say something, she finds no words. At last she stands, hands over her mouth, and runs for the bathroom.
INT. CONNOR BATHROOM – SAME TIME
Splashing water on her face, Gwynneth fights for control.
EXT. WAREHOUSE DISTRICT – SAME TIME
Several patrol cars block off the road leading to the textile mill. A Lincoln towncar and a coroner’s van pull up to the blockade, and a tall, crew cut man in a sharp suit and overcoat, DETECTIVE BROWNING MEYER (50s) emerges from the towncar. Meyer directs an Ashland cop to move his car. Checking his watch, Sergeant Andresen comes storming up with four of his men as Meyer and his two assistants exit the sedan.
ANDRESEN
About fucking time. You Meyer?
MEYER
Where’s the body?
ANDRESEN
Over there, frozen solid.
MEYER
Cold morning.
Meyer rubs his hands, leading the way. Andresen and his men follow, seething. A good twenty feet from the body, Meyer signals the men to stop. Studying the ground, he walks a wide circle around the body and Vukovich’s car.
MEYER
Who found the body?
ASHLAND COP
That was me.
MEYER
Those your footprints?
ASHLAND COP
Yes, sir.
MEYER
You smoke?
ASHLAND COP
No.
MEYER
Who’s the smoker?
ASHLAND COP #2
Me.
MEYER
So some of those prints are
yours, too. Great. Anyone
else walk inside this circle?
Another Ashland officer signals.
MEYER (cont’d)
Anyone touch the car?
The officers shift on their feet. Meyer points to his blonde assistant.
MEYER (cont’d)
Bleach, get these guys’ shoes
and fingerprints.
(to other assistant)
Smitty, we’re on.
ANDRESON
Why the fire drill, huh? It was
suicide.
MEYER
Was it?
Meyer’s photographer takes pictures of several large, well-defined tracks. Pulling a dictaphone from his jacket, Meyer kneels to the blanketed body. Lifting the frozen blanket, he studies what’s left of Vukovich’s face and his frozen grip on the gun.
MEYER (cont’d)
Apparent self-inflicted gunshot
wound to the face. Two visible
head wounds, one entry, one very
large exit.
(beat)
Spray pattern suggests victim was
standing.
Meyer looks to another body imprint in the snow, blood at the base.
MEYER (cont’d)
But he was lying down over there
with blood at the feet.
(looking at Vukovich)
Wait. There’s a shot in the
foot. The right ankle.
ANDRESEN
Yeah, saw that. Strange.
Andresen approaches, looking over Meyer’s shoulder.
MEYER
I knew this kid up in Cleveland.
ANDRESEN
Don’t think he liked it up
there much. He came back home.
Meyer moves to Vukovich’s feet and takes a long once over.
MEYER
He wore out his welcome.
Find any shell casings?
ANDRESEN
No, why?
MEYER
Smaller caliber shot in the ankle.
ANDRESEN
Holy shit! You’re right.
(beat)
He didn’t do it.
MEYER
(standing)
Those tracks. Boots is our man.
ANDRESEN
Hey, look, I’m sorry about the
guys. They’ve never really seen
anything like this.
MEYER
Yup. Real big city shit.
Meyer signals over the coroner, then leads the photographer to the mill doorway.
EXT. APARTMENT BUILDING – SAME TIME
The door opens and a disheveled Garrett eases out, glancing back inside. Hank and Lou stand before him, grave.
GARRETT
Who died?
EXT. CONNOR FIELDS – HALF HOUR LATER
Shotgun held low, Paul halts, listening. A rustle from the low trees and he shoulders his rifle, taking aim. Two quail rise, climbing to the sun, and Paul fires twice. Both birds drop to the snow.
EXT. CONNOR POND – MINUTES LATER
Quail at his side and gun in his lap, Paul tugs at a fishing line when he notices three figures approaching. Hank, Garrett, and Lou near. Paul rises as Lou puts his hand on his shoulder.
LOU
So, you figure you were playing
poker with us ’til what? Two?
PAUL
It wasn’t me.
Paul steals a glance at Garrett.
HANK
Lou. Lou! You fucking crazy?
Lou looks to the water. His gaze rises to meet Hank square.
LOU
Nope.
HANK
You know what can happen?
LOU
Yup. Capital crime. We could
fry right with him... It was
clean. Right, Paul?
PAUL
Like I said, Lou, it wasn’t me.
HANK
What?
PAUL
I wanted to. Was planning to.
Someone beat me to the punch.
(turns to Garrett)
Someone did.
Lou and Hank turn to Garrett, shocked. Garrett steps back.
GARRETT
Whoa. Whoa.
HANK
Bullshit!
(turns to Paul)
So you’re gonna blame him?
I won’t do it. Count me out.
Garrett grasps Hank’s shoulder and spins him around.
GARRETT
What do you mean ‘count me out’?
There’s no counting out here,
Hank!
LOU
Hank?
Hank searches deep into Lou’s eyes, then Paul’s. He turns from Garrett and heads for the house. At the foot of the porch, Gwynneth watches on. They’re all loud enough to hear.
PAUL
(curtly to Garrett)
It was my job. Not yours!
GARRETT
Paul, I’ve got your back. What
the fuck are you doin’?
Paul’s index finger drives into Garrett’s chest.
PAUL
What are YOU doing?!?
As Lou pulls his friends apart, Gwynneth approaches the pond. She takes Hank’s hand, turns him around, and leads him back to the other men. Seeing her, they all back away from each other and settle down.
GWYNNETH
(calmly, quietly)
It was a horrible shot, but the
ankle actually worked out fine.
The men don’t know what to make of it.
GARRETT
Ankle?
GWYNNETH
It was a gamble. But I liked
the odds.
As the men remain bewildered, Gwynneth turns to Garrett.
GWYNNETH
Just make sure it’s done on a
Friday night, right? You almost
did it on a Saturday night.
The men catch on. Garrett breaks first. Then Lou. They all turn to Paul. His mouth hangs open, but nothing is uttered. Paul reaches for his daughter’s hand, but then quickly huddles her.
PAUL
My God, Gwen. Why would you
do this?
GWYNNETH
Well, I didn’t exactly.
Paul slowly separates from his daughter.
INT. CHURCH – NEXT MORNING
Shaken, Pastor Gregg steps to the podium.
PASTOR GREGG
Let us pray for Derek’s family.
As the worshipers kneel, Gwynneth catches a glimpse of Hank a few pews away.
GWYNNETH (v.o.)
We both have ghosts now, mom.
(beat)
Dad sees grandma Claire a lot.
She's in front of Lawson's in a
summer hat.
The worshipers stand; the organist begins; offering plates are gathered.
GWYNNETH (v.o.; cont’d)
I see Derek at the river sometimes.
When he was young...and nice.
Hank spots Gwynneth sitting alone.
GWYNNETH (v.o.; cont’d)
But I see you everywhere, mom.
Hank meets Gwynnneth’s eyes but quickly looks away.
INT. POLICE STATION – WEEKS LATER
An exhausted Detective Meyer fills a black valise with the last of his papers. Lieutenant Andresen approaches.
ANDRESEN
What did ballistics say?
MEYER
7.65 slug in the ankle. Old
Swiss Luger. 1900. Good luck
tracing that. No prints. No
good fibers anywhere.
ANDRESEN
I still don’t get it. Someone
shot him, then he killed himself.
MEYER
He pulled the trigger on himself,
all right. The question is,
“Did he have a choice?”
ANDRESEN
What did he do in Cleveland?
MEYER
He got under a lot of people’s
skin. After he left, we found
out about a lot more.
ANDRESEN
You don’t think this was just
some guy?
MEYER
You can check the boots when
they come in. My guess is they
weren’t his size anyway. Let
me know if you get anything.
Andresen is bewildered.
ANDRESEN
This isn’t Cleveland. I mean,
this is a scary thing around
these parts.
MEYER
And...
ANDRESEN
And am I ever gonna find this guy?
MEYER
Doubt it. But leak it out
it’s now a homicide. See if
something comes out of the
woodwork.
ANDRESEN
What about his family?
MEYER
Call ‘em if you like.
Meyer offers his hand. Reserved, Andresen shakes it.
EXT. CONNOR LAND – THAT MAY
Morning: the sun peers over the greening fields. Breathing the chrysanthemums, Gwynneth stands on the back porch, eyes on the horizon.
GWYNNETH (v.o.)
February was cold and most of
March. We planted come April:
some corn, squash. I was back
in school by then, going half
days then meeting dad at the
office. We didn’t do much...
late lunch, maybe a movie.
Gwynneth steps from the porch to walk the fields.
GWYNNETH (v.o.; cont’d)
Most of us, though we don’t know
the depth of it, say “I love you”
to someone every day. Our pains
are small: bills are overdue,
pipes burst, and over them we say
“I love you” and we’re healed.
Gwynneth emerges from the rows at her father’s fishing hole. She kneels to it to find her reflection.
GWYNNETH (v.o.; cont’d)
For greater troubles, it still
works the same, only the words are
heavier. They come slow at first,
from your stomach. And when they
cut the air, they explode.
Eyes to the sky, Gwynneth stands and approaches the back porch.
PAUL (o.s.)
Gwen? Gwen!?
INT. CONNOR HOUSE – SAME TIME
Gwynneth enters to find Paul struggling to hang a handpainted “Congraduations Class of 2021” banner across the entryway.
PAUL
I’m losing it!
Gwynneth rushes to catch the opposite end. She holds it up, rising onto her toes.
GWYNNETH
How’s that?
PAUL
Should’ve waited for your
basketball buddies.
Paul moves to Gwynneth, lifting her end two feet higher.
PAUL (cont’d)
Is Helen gonna show?
GWYNNETH
She may make an “appearance.”
PAUL
Gwynneth Connor...Jealous?
GWYNNETH
Please.
PAUL
All right. You’re valedictorian.
Whole town’s watching and you say?
GWYNNETH
I certainly don’t give ‘em
that “we are the future” crap.
PAUL
We’re waiting.
Paul pulls up his foot stool and crosses his arms.
GWYNNETH
Okay, breathe. No, really,
breathe. A deep one.
Paul looks at her askance, then entertains her, breathing long and deep.
GWYNNETH (cont’d)
Now blow it out, all out, now
stop! Just feel your empty lungs.
Paul exhales and holds. And holds. She waits until her father registers pain.
GWYNNETH (cont’d)
Scary, isn’t it? Now, breathe.
Feel how wonderful it is?
Paul sucks in a deep breath. Beat. Catching his breath, Paul looks to his daughter in wonder.
GWYNNETH (cont’d)
I’d tell them to look around.
To really look at the people
around them. Life kills your mom.
If you live long enough, it’ll
take everything you love...But
it’s still an adventure. They
need to know that.
Paul embraces her, gazing over the fields.
PAUL
Nice day.
GWYNNETH
Best I can remember.
Gwynneth’s smile is true; father pulls her tight. He kisses her forehead, smells her hair.
INT. BOREMAN’S STORE – HALF HOUR LATER
Paul pushes a shopping cart full of party supplies. Dropping streamers, he bends to pick them up. When he stands, he’s face-to- face with Hank.
PAUL
Where you been, stranger?
HANK
Around.
PAUL
Friday nights. Everyone’s there
but you.
HANK
You know why.
PAUL
It was suicide, Hank.
HANK
Then go report it.
Paul comes in closer, now with hushed tones.
PAUL
She shot him first. And now
they’re calling it homicide.
She’ll go away for a long time.
It won’t change anything.
HANK
I’m still guilty.
PAUL
Of what??
HANK
You gotta understand, Paul...
God is it for me, number one
above all else: family, friends,
everything. I knew Derek was
gonna wind up dead. And I
did nothing about it.
PAUL
But you killed that guy.
HANK
Yeah, and I’m sorry for it.
Been every day since.
PAUL
So the truth will set you free,
huh? Don’t take that out on
Gwen. Don’t do that.
HANK
It’s still wrong, Paul. And
now I have to carry that too.
PAUL
He didn’t belong here, Hank.
HANK
He had a soul.
PAUL
I talked to him...He’d do it
again. And maybe the next girl,
she isn’t as strong as Gwen.
It was a blessing.
HANK
You’re not God.
Closing his eyes, Paul pulls Hank close and they embrace.
Long beat. Separating, Hank rubs his eyes.
PAUL
Listen. Gwen’s grad party.
You should be there.
HANK
Let’s make a deal. I come,
you come back to church.
PAUL
I’ll see what I can do.
Paul pats Hank on the back and moves to the cash register.
INT. CONNOR HOUSE – EARLY EVENING
With a serving tray, Gwynneth weaves amid the swarm of classmates, pausing to chat with a few of them. When she sees Garrett, she brightens, waving the tray before him.
GWYNNETH
A treat, milord?
GARRETT
Aye, lass.
Garrett reaches for the hors d’ ouvres, but Gwynneth playfully denies him.
GWYNNETH
Sing for your supper!
GARRETT
So be it.
Nearby, Alison rolls her eyes.
ALISON
C’mon Gwen. We’re leaving.
GARRETT
(singing, Irish lilt)
Great-grandfather wasted his
talents in Cork...
He holds the note, waiting for Gwynneth.
GARRETT/GWYNNETH
There he sang to his mother
in fine flaxen tenor. The
tremors ascending his blood-
billowed throat.
Lou and Hank watch on. As Paul emerges from the kitchen, most of the party is moving for the door. Paul throws his arm about Hank.
GARRETT (cont’d)
When whippoorwill crooning to
lovely Amanda, he charmed from
her seamstress’s fingers the
pain.
ALISON
We’re leaving without you, you
thespian geek.
GARRETT/GWYNNETH
In woolens they wed on a darkling
November, and fled for the warmth
of a Midleton plain.
Garrett falls to his knees and Gwynneth feeds him. Mouth full, Garrett kisses her hand. Laughing, Gwynneth turns to the departing Alison, a gentle and unspoken moment shared between best friends. As the remaining guests applaud, Hank leans to Paul.
HANK
NYU’s perfect. She’ll love it.
PAUL
She’ll miss Cat.
HANK
They’ll keep up.
Paul smiles, proud.
PAUL
They’re leaving us, Hank.
HANK
Two more souls given to fate.
She’s beautiful, Mister Connor.
Hank offers his hand, congratulatory. Paul clasps it and the two shake heartily.
PAUL
Tomorrow’s Friday, you know.
HANK
Aw. Don’t know about that.
PAUL
Lou’s been losing a lot lately.
A lot.
Hank cracks a grin.
HANK
Where?
PAUL
Here.
HANK
Seven-thirty?
PAUL
Of course.
HANK
A lot, huh?
Paul grins knowingly as Hank follows the last of the grads out the front door.
INT. CONNOR DINING ROOM – NEXT EVENING
Humming, Gwynneth moves to the dining room table holding a steaming bowl of dip. She sets it before Hank. He pats his stomach, taking a deep nose full.
HANK
Artichoke.
GWYNNETH
Mmm hmm. Watch it. It’s hot.
Lou slides his chair next to Hank’s, his cracker poised.
HANK
Pete’s sake, Lou!
Lou steals a scoop. Popping it in his mouth, he writhes.
LOU
Iss goot, Gwem!
Impatient, Paul checks his watch.
HANK
Garrett knew I was coming?
PAUL
He wants you to come.
HANK
He didn’t say a word to me.
PAUL
That’s him.
HANK
We should just start telling
him an hour earlier.
PAUL
Then what would you complain
about?
HANK
True.
A knock turns them to the door. Paul rises, but Gwynneth beats him to the hallway. Beat. Arm around Garrett, she shows him to the table. Paul checks the clock.
PAUL
Fifty-five minutes. Lou wins.
Paul and Hank pass Lou his winnings as Garrett hovers over the dip.
GARRETT
Oooh!
GWYNNETH
No cigars.
GARRETT
That wasn’t me!
GWYNNETH
Dad doesn’t smoke, Hank doesn’t
lie, and Lou wouldn’t waste dip.
Garrett smiles, reaches into his pocket, and tosses five twenties onto the table. Chips already counted, Paul slides a stack in front of Garrett as Hank starts dealing. Garrett cracks open his bottle and takes a hefty swig. Scowling, he turns to Hank.
GARRETT
Hey, stranger.
HANK
Garrett. Didn’t get much
a chance to talk last night.
GARRETT
Right. Saw your piece of shit
Taurus yesterday.
HANK
It’s a lemon.
GARRETT
Try praying over it.
HANK
How’s the dancer?
GARRETT
Back in school.
HANK
Eighth grade now?
Garrett glares at Hank, Hank trying to hold back a smile. Finally, Garrett grins, throwing in two cards.
GARRETT
Remind me to kick your ass.
Hit me.
Hank flips Garrett two cards and looks to Paul.
PAUL
One.
GARRETT
You fucking with me?
Paul offers no response, retrieving his one card. The doorbell rings.
PAUL
Gwen?
GWYNNETH
It’s Cat.
Gwynneth pads for the door and opens it, finding Detective Browning Meyer and Lieutenant Andresen. Meyer holds a large paper bag.
ANDRESEN
Hi, Gwynneth.
Gwynneth is mute.
ANDRESEN (cont’d)
Your dad home?
INT. CONNOR DINING ROOM – SECONDS LATER
Andresen and Meyer approach the poker table. Paul sets his cards down.
ANDRESEN
Hey, Paul...Lou.
PAUL
Sonny. Deal you in?
ANDRESEN
Actually, this is official.
GARRETT
So, you do work?
ANDRESEN
(laughing; to Meyer)
That one. He’s the troublemaker.
(beat)
This here’s Detective Meyer.
Down from Cleveland.
PAUL
Cleveland? You lost?
MEYER
I’m following up on the
Vukovich murder.
The boys are speechless. Gwynneth goes sallow.
MEYER (cont’d)
Nobody remembers?
PAUL
Of course. He was a cop.
Belonged to our church.
He was my daughter’s camp
counselor way back when.
MEYER
Really? Hmm.
GARRETT
Thought he committed suicide.
MEYER
We all know that’s not true.
LOU
How do you know? I mean, how
do you know?
Garrett looks to Lou, “really?” Meyer nods, turning slowly to Paul.
MEYER
Just need to ask your daughter a
few questions, if you don’t mind.
PAUL
Have at it.
Meyer looks to Gwynneth.
MEYER
Alone?
Gwynneth smiles nervously and leads him towards the hallway. Andresen follows, but Meyer turns to him.
MEYER (cont’d)
Catch up with your buddies.
We’ll be just be a minute.
Andresen nods. Gwynneth leads Meyer through the hallway. He pauses, looking to the framed newspaper clipping of Paul kissing the ground.
MEYER
That your father?
GWYNNETH
Yes.
MEYER
God, I remember this. I was
in Waubaums having a cup of
coffee...
He studies it momentarily before following Gwynneth up the staircase.
INT. GWYNNETH’S BEDROOM – MOMENTS LATER
Meyer looks about the room as Gwynneth sits on her bed, hands folded between her knees. He looks to the wall, at her drama awards.
MEYER
Who’s your favorite actress?
GWYNNETH
Sorry, what?
MEYER
Actress? Stage.
Gwynneth thinks a moment.
GWYNNETH
Helen Mirren.
MEYER
Mirren...I don’t know her.
GWYNNETH
She’s British.
MEYER
Hmm...Why her?
GWYNNETH
She’s pretty, but not in an obvious
way. And her timing is perfect.
MEYER
Yeah...timing.
He sees her teddy bear collection.
MEYER
Which one did he give you?
GWYNNETH
Who?
MEYER
Officer Vukovich. Bought it
off Amazon. Found the shipping
receipt to this address.
(beat)
It was for you, right?
Beat.
GWYNNETH
I burned it.
MEYER
I see.
Meyer pulls a chair to Gwynneth’s side and sits down. He opens the paper bag, producing Gwynneth’s p-coat. Gwen’s eyes flare. He looks to the label.
MEYER
G.C. This yours?
GWYNNETH
Yup.
MEYER
We found it in his closet.
GWYNNETH
I forgot it.
MEYER
When?
GWYNNETH
Think it was January. He had
a party. Lots of cops there.
MEYER
Why would you want to go to
that?
GWYNNETH
My friend and I thought it was
a highschool party. So we got
out of there quick.
MEYER
Must’ve been freezing. Gwynneth,
how could you forget it? Why
did you burn the bear?
Gwynneth swallows hard. She turns to him.
GWYNNETH
Because he gave me the creeps.
INT. CONNOR DINING ROOM – SAME TIME
Leaning in, Andresen kibitzes Lou’s hand. Lou throws down three cards. Hands shaking ever so slightly, he tosses in a couple chips.
INT. GWYNNETH’S BEDROOM – SAME TIME
Gwynneth’s voice is shaky.
GWYNNETH
It’s the way he looked at me.
The way he asked me for my
number...like I had no choice.
I just wanted out.
MEYER
So why’d he send you the bear?
GWYNNETH
I told him I collected them.
MEYER
Dangerous. This guy gives
you the creeps and you tell him
about stuff in your bedroom?
GWYNNETH
I trust people unless they give
me some other reason. I mean,
he was a cop.
MEYER
Yeah, Gwynneth. But this cop
beat his wife. Says her.
Gwynneth covers her mouth, ashen.
MEYER (cont’d)
(softly)
What did he do to you?
GWYNNETH
Nothing...Just scared me.
Gwynneth begins to cry. Meyer moves to the night table and draws a tissue for her. She trades the tissue for her p-coat.
GWYNNETH (cont’d)
You take it, ’cause I’m just
gonna burn it.
Meyer smiles and slips it back into the bag.
MEYER
How old are you, Gwynneth?
GWYNNETH
Eighteen.
MEYER
Do you remember where you were
on Friday night, February 1st?
Gwynneth doesn’t have to think.
GWYNNETH
Friday night? Waiting on my
dad and his poker buddies.
MEYER
Until what time?
Gwynneth squints, jogging her memory.
GWYNNETH
Like 2 or 3 a.m. I think…
They go pretty late.
Meyer nods as he opens the bedroom door.
INT. CONNOR DINING ROOM – MOMENTS LATER
Meyer descends the stairs; Gwynneth follows, drying her eyes. Paul meets them at the foot of the stairs.
PAUL
What’s this is about, detective?
MEYER
Your daughter’s jacket was found
at the victim’s house, sir.
Paul looks to Gwynneth, astonished.
PAUL
You’re in Derek’s house?
A thirty-year-old cop?
GWYNNETH
It was a party, dad.
PAUL
I don’t give a rat’s ass...
Jesus, Gwen!
MEYER
Mr. Connor, I do have to ask
you a couple questions.
PAUL
Fine. In the kitchen?
MEYER
No, no. Have a seat.
Paul sits back at the table, the deck before him. He snatches it, shuffling rapidly. Hank, Lou, and Garrett watch Gwynneth clear plates and slip away to the kitchen. She observes through the passthrough.
MEYER
We were going through Officer
Vukovich’s belongings and we
found these.
He tosses a bundle of papers onto the table: Paul’s military records. Paul drops the cards to study them. He turns the pages in disbelief.
PAUL
How’d he get these?
MEYER
Why would he want ’em?
PAUL
I do not know.
ANDRESEN
And Paul. Why did you meet with
him at the station that one day?
Beat.
PAUL
Oh, I’m sure he didn’t tell you.
Andresen shakes his head.
PAUL (cont’d)
It was church related. I saw
him stealing from the plate.
So I called him on it.
ANDRESEN
Wow. You tell Charlie?
PAUL
Nope. I figured I’d spare
Officer Vukovich, and your
department, the embarrassment.
Nodding, Andresen turns to Meyer.
ANDRESEN
Betcha that’s why Vuke was
checking up on Paul.
Meyer nods subtly to Andresen “let me take care of it”.
MEYER
Your picture in the hall,
one in the newspaper.
PAUL
Yeah?
MEYER
You carried a Luger. An old one.
Gwynneth drops a plate in the sink, but it doesn’t break. Clearing his throat, Paul sets down the cards.
PAUL
It was my great grandfather’s.
MEYER
Still have it?
PAUL
Wish I did.
MEYER
Hmmm. Everyone thinks Officer
Vukovich put a bullet in his
own head. I don’t.
PAUL
Where is all this going?
MEYER
He was slain by his own gun. But
he was also shot in the ankle by
a 765 Luger. Just a very odd
and unique weapon, you know?
Paul nods. Without a shift of emotion, he casts his eyes to Gwynneth. She doesn’t meet his look. Hank takes the cards, dealing Paul out.
MEYER (cont’d)
Mr. Connor, can you account for
your whereabouts on Saturday,
February 1st, between midnight
and two A.M.?
PAUL
I think I was playing cards.
MEYER
You think?
PAUL
It was a while ago.
MEYER
So, you can’t?
PAUL
Give me a chance here.
Paul pinches his eyes shut. Beat.
GARRETT
We were at Hank’s.
MEYER
Who was?
PAUL
Us...Hank, Lou, me.
LOU
Every Friday night poker.
MEYER
At 2 a.m.?
GARRETT
Damn right. Two hundred of my
money!
PAUL
Two twenty-five.
Meyer squares up on Garrett.
MEYER
And you’d testify to that?
GARRETT
Why wouldn’t I?
Meyer turns to Lou.
MEYER
You?
LOU
He was there.
Meyer turns to Hank, as do all.
MEYER
Mister Fuller, right?
Hank nods. Beat.
HANK
That’s right.
MEYER
You’re a deacon at the church
Officer Vukovich attended, yes?
Hank is frozen in his seat.
MEYER (cont’d)
You need some help?
INT. CONNOR KITCHEN – SAME TIME
In the dark, Gwynneth trembles over the sink. She sets her rinsing aside, choking back a scream.
INT. CONNOR DINING ROOM – SAME TIME
Eyes narrowed, Hank runs his fingers over the cards.
MEYER
Mister Fuller? Were Paul and
his daughter at your house that
night until 2 a.m.?
HANK
Oh, was Gwen there?
Meyer nods. Hank steals a glance into the dark kitchen; Gwynneth stands cold and still. Long beat. At last, his eyes meet Meyer’s.
HANK
Paul was there and Gwen and
Cat were cleaning up the kitchen
until at least 1:30. Satisfied?
MEYER
And Cat is your daughter?
HANK
Alison, yes. Alley Cat. Cat.
Nodding, Meyer turns from Hank to study the faces: Lou, Garrett, and Paul return his stare evenly. Meyer abruptly straightens.
MEYER
Thank you, gentlemen. Lieutenant?
ANDRESEN
Sorry, Paul. Guys, have a
good evening.
Andresen and Meyer make for the door, letting themselves out. Wordless, Hank collects the cards, shuffles, and deals. Hank looks to Paul.
HANK
Jacks or better.
Paul studies his hand and sets three chips out. Lou passes. So does Garrett. Hank looks to Paul...
HANK (cont’d)
Count me in.
Paul smiles to Hank, but then his eyes flash to the kitchen. Gwynneth enters, locking eyes with her father. He wells with tears, bringing his hands to his face.
CUT TO
INT. CHURCH – A FUTURE NIGHT
Alone, Gwynneth stands over the votive candles. Striking a match, she lights a candle of her own. After a moment of quiet prayer, she moves for the Pastor Gregg’s office. She pulls in a long breath, enters, and sits opposite him. He is perplexed.
GWYNNETH
Forgive me father, for I have
sinned. It has been...five
months since my last confession.
PASTOR GREGG
We’re not Catholic, Gwen.
Gwynneth’s face twists.
GWYNNETH
I don’t know where to start...
Pastor Gregg’s muffled shift draws Gwynneth’s attention.
PASTOR GREGG
Just try from the beginning.
Gwynneth looks to her hands. She flexes her fingers.
GWYNNETH
With dad it was...well, we just
always had guns around, and I...
The diamond-hard eyes of her father soften. We have seen these eyes before in the face of Gwynneth at an earlier time.
GWYNNETH (cont’d)
Like many children, I chose my
father as one of my heroes...
CUT TO
INT. CONNOR DINING ROOM – FRIDAY NIGHT
Gwynneth nears her father as the men look on. Fully weeping, Paul reaches for his daughter’s hand and caresses it against his cheek.
Hank finds Gwynneth at his side, arms spread wide, eyes wet. Captivated, Hank rises from his chair to meet her, and Gwynneth falls into his arms. Fighting to calm herself, Gwynneth gasps, clutching Hank yet firmer. In the quiet, she searches the room, only to sink into his grasp. She takes a long breath, holds it, then looses a flood of heaving tears. The friends are bound fast, cards clutched in halted fingers, when Hank opens his eyes. He finds Lou first, then Garrett, and finally Paul. At long and patient last, Gwynneth and the brothers of the Ashland YMCA weep.
FIN
The bids come in triplicate.
None more sacred
for this moment...
For that day with you.
Seven years and another seven and
your sister
and mine
see us.
I'll have you know this:
I met your mime, and she speaks:
"Char my insides. I am made for this."
This tree I burn for you.
For me.
For you.
Gwen shoots him in ankle… He turns over…
He does… She reveals herself.
I’ve played out this moment 1000s of times- each time, the pain you feel is deep and prolonged. The agony on your face…every line. Every look, your fear… is magnified as you wait for the moment you meet hell, your truth.
That’s quite a performance, little girl.
Pariah - You’re a taker… you suck the life from others.
Each person either makes the world better or worse. Think about it. You know where you stand.
You’re a cop.. You took a vow to uphold the law… You have failed that promise miserably.
You took a vow to love, cherish, adore your wife. You failed that promise miserably… Why else would she “whore” around like that? She was unsatisfied, Derek. You couldn’t satisfy your own wife.
So you crawled back home… Back to Ashland. Like it would save you.
Then you imposed your physical strength on me, because it’s the only advantage you have on your prey… On me, on the homeless. In highschool, you beat Robert Snyder to a pulp…because he’s epileptic.
What do you have left? But you have no mental strength…You’re simple. Like a small child.
Ashland will know what you did to me… You’ll disgrace the police department.
You’ll disgrace your mother and father, Charlene and Ted. They’re so kind. They deserved better.
You’ll disgrace your sweet sister, Matilda…who looks up to you, who loves you, who thinks the sun rises and sets w/ you… Who will she look up to now? She’ll be cut to ribbons at school.
He can start losing it here…really losing it.
As I now look into your soulless eyes, your empty life. The agony you breathe in and out. Your pain, your internal pain- cuts so deep. Doesn’t it? The wake of your rage inflicted on me. Only left me stronger. I lived. I’m breathing-my soul lives. And you…you’ll live out your days in a 5 by 5 cell. Getting raped yourself. It’s rather poetic actually.
Maybe he says, ‘then just kill me’… What are you waiting for?
You hate that you didn’t break me- I’m standing here with all of the power. You didn’t win. I win, you lose… And you know how I win? Letting you live…
No-this is too easy.. You want me to kill you. I don’t blame you. You’re begging me to release you from your demons. Your hatred.
Seeing your blood spill out from a bullet I sent into you…that wouldn’t give me satisfaction like it would you. What will give me satisfaction? Letting you live…continuing to live your tortured, pathetic, and meaningless life. You did not break me. Not even close. I don’t need to pull this trigger. You’re already dead.
She makes sure the scene is clean. She tosses his gun back to the snow, a short distance away from his feet.
So now, I go to your station to report what you did to me. And you’ll now have the rest of your pathetic life to think about ways to apologize to those who loved you so dearly.
She turns and walks away. She doesn’t break stride… She’s a bit anxious, bracing for would could be a disastrous outcome. She anticipates…
A gunshot buckles her legs, dropping her to her knees…thinking it could have been meant for her… But it doesn’t and she lets out a huge sigh as that immense gamble pays off…
Gwen shoots him in ankle… He turns over…
GWYN
Using your thumb and index finger only, slowly pinch the handle of your gun, ease it out of the holster… and toss it here… He does… She reveals herself. He’s quite shocked
VUKE
You just shot a cop, Gwynneth… Your dreams, your life is over.
GWYN
I’ve played out this moment hundreds of times now – and each time, the pain you have is deep and prolonged. Your agony, your fear magnified as you wait for the moment you meet hell, your truth.
VUKE
That’s quite a performance, little girl.
GWYN
You either make the world better or worse. Let’s take inventory...
You’re a cop.. You took a vow to uphold the law, keep society safe… You have failed that promise so miserably.
You took a vow to love, cherish, adore your wife. You failed that promise miserably… She cheated on you because she was unsatisfied, Derek. You couldn’t satisfy your own wife.
VUKE
FUCK YOU!!
GWYN
So you crawled back home… Back to Ashland. Like it would save you.
Then you imposed your physical strength on me, because it’s the only advantage you have on your prey… On me, on the homeless. What’s left for you?
Vuke is seething…his breaths are deep…
Ashland will know what you did to me… You’ll be the disgrace of the department.
You’ll disgrace your mother and father, Charlene and Ted. They’re so kind. They deserved better.
Vuke begins to break here…
You’ll disgrace your sweet sister, Matilda…who looks up to you, who loves you, who thinks the sun rises and sets w/ you… Who will she look up to now? How will she turn out?
He’s losing it here…really losing it.
As I now look into your soulless eyes, your empty life. The agony you breathe in and out. Your pain, your internal pain- cuts so deep, doesn’t it? The wake of your rage inflicted on me only left me stronger. You hate that you didn’t break me. I lived. I’m breathing-my soul lives. And you…you’ll live out your days in a 5 by 5 cell. Getting raped yourself. It’s rather poetic actually.
Maybe he says, ‘then just kill me’… What are you waiting for?
You hate that you didn’t break me- I’m standing here with all of the power. You didn’t win. I win, you lose… And you know how I win? Letting you live…
You want me to. I don’t blame you. You’re begging me to release you from your demons. Your hatred.
Seeing your blood spill out from a bullet I sent into you…that wouldn’t give me satisfaction. You know what would? Letting you live…continuing to live your tortured, pathetic, and meaningless life. You did not break me. Not even close. I don’t need to pull this trigger. You’re already dead.
She makes sure the scene is clean. She tosses his gun back to the snow, a short distance away from his feet.
So now, I go to your station to report what you did to me. And you’ll now have the rest of your so-called life to think about ways to apologize to those who loved you so dearly…that you will hurt ever so deeply.
She turns and walks away. She doesn’t break stride… She’s a bit anxious, bracing for would could be a disastrous outcome. She anticipates…
A gunshot buckles her legs, dropping her to her knees…thinking it could have been meant for her… But it doesn’t and she lets out a huge sigh as that immense gamble pays off…