<script>
  <scene>
    <scene_description>-</scene_description>
    <character>A HISTORY OF VIOLENCE</character>
    <dialogue>by</dialogue>
    <scene_description>Josh Olson July 18, 2003</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CALIFORNIA HIGHWAY - MORNING</stage_direction>
    <scene_description>A battered old motel by the side of the road. The roof is</scene_description>
    <character>-</character>
    <dialogue>chopped up, nasty looking. Paint peels from the walls. A large, pathetic green papier mache dinosaur - some toothless mental case's idea of a Tyrannosaurus Rex is situated in front of the office. A sign reads "Rooms $24.98 and up!"</dialogue>
    <dialogue>The door to one of the units opens and LELAND, a reedy looking guy, almost made out of beef jerky, steps out, small suitcase in hand and takes in the morning. A voice calls out from inside.</dialogue>
    <character>BILLY</character>
    <dialogue>You think maybe we could just turn around?</dialogue>
    <character>LELAND</character>
    <dialogue>Nah.</dialogue>
    <scene_description>BILLY - shorter, chunkier, wearing jeans and an old Johnny cash tee shirt - walks out, hefting a grubby backpack and lighting a cigarette.</scene_description>
    <character>LELAND</character>
    <dialogue>Life's all about choices, Billy. Ain't no video game where you get to hit the restart button any time you ain't happy.</dialogue>
    <scene_description>They walk over to a well worn old convertible. Leland takes the top down and throws his suitcase in the back. Billy does the same with his pack.</scene_description>
    <character>LELAND</character>
    <dialogue>We are who we are and we done what we done. Whatever.</dialogue>
    <character>BILLY</character>
    <dialogue>Yeah, I guess. I'm just tired, though.</dialogue>
    <character>LELAND</character>
    <dialogue>Yuh. Me, too.</dialogue>
    <scene_description>He tosses Billy the keys.</scene_description>
    <character>LELAND</character>
    <dialogue>Here. Warm 'er up and bring 'er on up to the office. I'm gonna go check us out.</dialogue>
    <character>BILLY</character>
    <dialogue>'kay.</dialogue>
    <scene_description>Leland walks towards the office as Bi Uy climbs into the car. Billy sits in the driver seat and looks around. - The sun beats down on the desert. low electric distance. No breeze, hum from the power lines Billy closes just a faint, that head off into the his eyes and enjoys the sun on his face. He sighs and puts the key in the ignition. The engine starts. Billy kieks it into gear and slowly pulls out. He drives the car up to the office and slows down, leaving the engine idling. He slides a casette tape - Johnny Cash - into the player and leans back, waiting patiently for his friend. A long beat, and then Leland walks out of the office.</scene_description>
    <character>BILLY</character>
    <dialogue>What took so long?</dialogue>
    <character>LELAND</character>
    <dialogue>Nothin'. Little trouble with the maid, but everything's fine now. Johnny!</dialogue>
    <character>BILLY</character>
    <dialogue>Johnny.</dialogue>
    <scene_description>Leland, humming along with Johnny, slides into the drivers seat as Billy slides over.</scene_description>
    <character>LELAND</character>
    <dialogue>Damn. Eight AM and already this hot.</dialogue>
    <character>BILLY</character>
    <dialogue>Yuh.</dialogue>
    <character>LELAND</character>
    <dialogue>We got any water?</dialogue>
    <character>BILLY</character>
    <dialogue>Prolly not enough.</dialogue>
    <character>LELAND</character>
    <dialogue>Yeah. There's a machine back in the office.</dialogue>
    <character>BILLY</character>
    <dialogue>I'll go.</dialogue>
    <scene_description>He climbs out of the car and Leland gets behind the wheel. Billy walks to the motel office. INT. MOTELOFFICE It's quiet. Billy walks in and looks around, sees what he's looking for. He walks across the room and as he goes, we see blood splattered on the wall. Pull back to reveal the MOTEL CLERK behind the desk, shot in the chest, dead. A MAID lies on the floor in a pool of blood, shot in the head. Billy steps over her and goes to a cooler against the wall and takes out three bottles of water. He hears a noise and freezes. Be turns to see the bathroom door against the far wall open, and a LITTLE GIRL steps out. She sees the tableau in front of her and gasps. Billy drops the bottles and pulls a revolver out of his waistband and points it at the girl. She looks at him in terror and opens her mouth to scream. Billy's finger tightens on the trigger. BLACK A scream rips through the silence.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MCKENNAHOUSE - TOM & EDIE'S BEDROOM- NIGHT</stage_direction>
    <scene_description>TOM MCKENNA, a slightly weathered husband and father of two, snaps awake at the sound of the scream and leaps out of bed, races to the door in the dark.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. MCKENNAHOUSE - SARAH'S ROOM</stage_direction>
    <scene_description>SARAH McKENNA - an adorable five year old girl - is sitting bolt upright in her bed, screaming. A light snaps on as Tom, wearing pajama bottoms and a worried look - comes racing in to save his daughter. He takes her in his arms.</scene_description>
    <character>TOM</character>
    <dialogue>Sarah! Honey! What's wrong? What is it?</dialogue>
    <scene_description>His daughter stops screaming and looks around blearily, then up at her father.</scene_description>
    <character>SARAH</character>
    <dialogue>Daddy? Daddy?</dialogue>
    <character>TOM</character>
    <dialogue>Daddy's here, baby. Daddy's here.</dialogue>
    <character>SARAH</character>
    <dialogue>There were monsters!</dialogue>
    <scene_description>• No, baby.</scene_description>
    <character>TOM</character>
    <dialogue>There's no such thing as monsters. It</dialogue>
    <scene_description>was just a bad dream. Daddy's here now. JACK McKENNA, 16, hair a mess, wearing a Beastie Boys tee shirt and boxers, walks in the door. ,lACK What's wrong, Dad?</scene_description>
    <character>TOM</character>
    <dialogue>Hey, kiddo. Sarah just had a bad dream.</dialogue>
    <character>SARAH</character>
    <dialogue>I saw monsters, Jack!</dialogue>
    <scene_description>Jack walks over to his sister's bed and sits down beside her~</scene_description>
    <character>JACK</character>
    <dialogue>Monsters! Cool! What kind?</dialogue>
    <scene_description>Tom shoots his son a dirty look. - I don't know~ They were in the shadows.</scene_description>
    <character>JACK</character>
    <dialogue>Hmrnm. Shadow monsters. They look pretty scary. But they can't really do anything. Especially when the lights are on. They're afraid of the light.</dialogue>
    <character>TOM</character>
    <dialogue>Jack!</dialogue>
    <scene_description>EDIE McKENNA, a strong and lovely woman, possibly a little younger than Tom, stands in the doorway in a robe.</scene_description>
    <character>EDIE</character>
    <dialogue>What happened?</dialogue>
    <character>TOM</character>
    <dialogue>Sarah had a bad dream about monsters. (Shoots a look at Jack) I'm telling her there are no monsters.</dialogue>
    <character>SARAH</character>
    <dialogue>Jack says shadow monsters are afraid of the light.</dialogue>
    <scene_description>Tom shakes his head. Edie smiles.</scene_description>
    <character>EDIE</character>
    <dialogue>It would seem there are two schools of thought on the matter.</dialogue>
    <scene_description>You could</scene_description>
    <character>TOM</character>
    <dialogue>say that.</dialogue>
    <scene_description>�:</scene_description>
    <character>SARAH</character>
    <dialogue>I'm going to turn on my night light, just in case.</dialogue>
    <character>EDIE</character>
    <dialogue>That sounds like a brilliant solution.</dialogue>
    <scene_description>Edie sits on the bed and hugs her daughter. Tom smiles and puts his arm around his son, who pulls away, embarrassed. He is, after all, 16°</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MCKENNA HOUSE</stage_direction>
    <scene_description>A large, sturdy farmhouse in the middle of a huge corn field - the house is at least a hundred years old, and well kept up. An old station wagon parked in front of a small barn. One barn door .i.s open, revealing an old pickup inside. A tricycle in front of the porch. A propane tank a few yards from the front of the house, off to the side~ Halfway across the field, a tiny shack that hasn't seen use in decades. On the other side of the house from the barn, a swing set and a small slide. Dawn's rosy fingers creep across the cornfield. Another day in Taylorville, Indiana.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HANK QUIGLEY'S HOUSE - MORNING</stage_direction>
    <scene_description>A small, dilapidated two bedroom house on the side of the road. Probably built around the same time as the McKenna house, the difference is nobody~s spent any time keeping this place up. Paint peels, boards are cracked and weathered, and the whole place looks two steps away from being abandoned.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HANK QUIGLEY'S BEDROOM</stage_direction>
    <scene_description>A small room, sparsely furnished~ A small dresser in the corner with a dirty, cracked mirror. A dozen different vials of prescription medicine are strewn around on it. The sun streams harshly through the small window. HANK QUIGLEY, late fifties/early sixties - once a rock of a man, now gone a little soft - sits on the bed in old boxers. He has two round scars on his upper chest. His eyes are moist as he looks at a wedding photo of Torn and Edie. A half empty bottle of whiskey sits on the night stand. Hank takes it, raises it to his lips, then pauses~ He puts it back on the stand, looks at it a beat, then puts down the photo and gets up, walks to the bathroom. Ile stops by the dresser, bends over and picks up a pill bottle, puts it on the dresser. • For the smaller first round time we see his back - there scars spread across it. are at l.east half a dozen He walks into the bathroom, and we hear the sound of a shower going on. INT. McKENNA HOUSE - KITCHEN - MORNING Edie, Tom and Sarah sit around a table, eating breakfast.</scene_description>
    <character>SARAH</character>
    <dialogue>I think .Jack's right about shadow monsters, Daddy.</dialogue>
    <character>TOM</character>
    <dialogue>Oh, really?</dialogue>
    <scene_description>She nods.</scene_description>
    <character>SARAH</character>
    <dialogue>But I think there's something he doesn't know.</dialogue>
    <scene_description>- What's that, honey?</scene_description>
    <character>SARAH</character>
    <dialogue>I think shadow monsters aren't as bad as other monsters. And I think when other monsters come, the shadow monsters beat them up.</dialogue>
    <character>TOM</character>
    <dialogue>Sort of protector monsters, then.</dialogue>
    <scene_description>She nods and eats a spoonful of cereal. Edie smiles, then looks over at the empty space on the table and frowns.</scene_description>
    <character>EDIE</character>
    <parenthetical>( Calling out)</parenthetical>
    <dialogue>Jack!</dialogue>
    <scene_description>Jack walks in, dressed for school.</scene_description>
    <character>JACK</character>
    <dialogue>What?</dialogue>
    <scene_description>Edie shakes her head. Jack sits down at the table, turns to Sarah. Jack Night light worked, didn • t it? She nods vigorously. Tom turns to Edie. �:</scene_description>
    <character>TOM</character>
    <dialogue>I'm running a bit late today. Can you drop me off on the way in?</dialogue>
    <character>EDIE</character>
    <dialogue>sure.</dialogue>
    <character>TOM</character>
    <dialogue>Great. Thanks. (Turns to Jack) What do you have going on today?</dialogue>
    <character>JACK</character>
    <dialogue>Nothing much. Math test in a few days. I think we're playing baseball in gym today, so I can look forward to sucking hard in right field.</dialogue>
    <character>TOM</character>
    <dialogue>You remember what I told you, right? Hang back. Never let the hitter get one over your head .•.</dialogue>
    <character>JACK</character>
    <dialogue>Unless it's over the fence.</dialogue>
    <character>TOM</character>
    <dialogue>Right!</dialogue>
    <scene_description>They continue their pleasant, familial chatter as we slowly pull back.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TAYLORVILLE - ROAD - DAY</stage_direction>
    <scene_description>The McKenna's station wagon tools down the road towards town. INT. McKENNA'S STATION WAGON Edie's at the wheel. Tom sits next to her, looking out the window. Edie notices the half smile on his face.</scene_description>
    <character>EDIE</character>
    <dialogue>What?</dialogue>
    <character>TOM</character>
    <dialogue>Hmm?Oh, just thinking about Jack and Sarah.</dialogue>
    <character>EDIE</character>
    <dialogue>They're pretty incredible.</dialogue>
    <scene_description>• That's</scene_description>
    <character>TOM</character>
    <dialogue>an understatement. Her whole theory about</dialogue>
    <scene_description>shadow monsters protecting her from worse monsters?</scene_description>
    <character>EDIE</character>
    <dialogue>Awful young for tt1at kind of moral relativity.</dialogue>
    <character>TOM</character>
    <dialogue>Yeah. I guess. She's just brilliant. They're both brilliant.</dialogue>
    <character>EDIE</character>
    <dialogue>God, it's amazing, isn't it?</dialogue>
    <character>TOM</character>
    <dialogue>what's that?</dialogue>
    <character>EDIE</character>
    <dialogue>One minute you're this dumb kid, running around</dialogue>
    <scene_description>like an idiot, getting into trouble, dreaming these impossible dreams, and then, all of a - sudden, you're this grown-up sitting around worrying about whether or not your children are gonna be okay.</scene_description>
    <character>TOM</character>
    <dialogue>I remember reading a book in high school that had a bit about that. Something about how one moment summer vacation's the longest stretch of time imaginable and an unhooked bra strap is as close to heaven as you can possibly imagine. The next, you're middle aged wondering where</dialogue>
    <scene_description>it all went.</scene_description>
    <character>EDIE</character>
    <dialogue>Don't be in such a hurry. We're not middle aged yet.</dialogue>
    <character>TOM</character>
    <dialogue>Yeah, I know.</dialogue>
    <character>EDIE</character>
    <dialogue>I don't feel like a real grown-up yet.</dialogue>
    <character>TOM</character>
    <dialogue>Yeah. You think we ever will?</dialogue>
    <character>EDIE</character>
    <dialogue>Yup. Everyone does, eventually. Sooner or later, you're gonna wake up and find out you've turned into that cranky old guy who yells out the window, "Keep that noise down, you goddam kids!"</dialogue>
    <character>TOM</character>
    <dialogue>God. Kill me before that happens, okay?</dialogue>
    <character>EDIE</character>
    <dialogue>Oh, honey, I'll have left you long before that.</dialogue>
    <scene_description>She smiles at him, and slows the car down. He leans towards her and they kiss. The kiss grows long and passionate - Edie is surprised, but happy. Tom's hand slides inside the back of her shirt and moves towards her bra. She pulls away, laughing.</scene_description>
    <character>EDIE</character>
    <dialogue>What are you doing?</dialogue>
    <character>TOM</character>
    <dialogue>You know, an unhooked bra is still pretty damn close to heaven.</dialogue>
    <character>EDIE</character>
    <dialogue>You're a nut.</dialogue>
    <scene_description>He smiles warmly at her.</scene_description>
    <character>EDIE</character>
    <dialogue>I'll be done early today. All I have is the Watson's will and Dave Ryan's tractor sale. Want me to come pick you up?</dialogue>
    <character>TOM</character>
    <dialogue>We can go to the drive-in and make out tonight.</dialogue>
    <character>EDIE</character>
    <dialogue>Tom, there hasn't been a drive-in in this town since the early nineties.</dialogue>
    <scene_description>He smiles and looks intently at her. She looks back with the same intensity. These two are still very much in love.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TAYLORVILLE OUTSKIRTS</stage_direction>
    <scene_description>Tom gets out of the car, and Edie drives away. Tom walks towards town.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TAYLORVILLE - CENTER</stage_direction>
    <scene_description>A small town, pleasant and clean. Shops line the streetsr and cars drive by - people on their way to work and school~ •rom walks down the street, clearly enjoying the sun on his face~ - A deep, thumping cruising towards bass fades up behind him, and Tom turns him, rap blasting out of it. to see a car</scene_description>
    <character>THREE HIGH SCHOOL KIDS</character>
    <dialogue>are in the car. Tom waves at the car as it goes by. The car slows, and JARED, the driver leans out the window.</dialogue>
    <character>JARED</character>
    <dialogue>Hey, Mr. McKenna!</dialogue>
    <character>TOM</character>
    <dialogue>Hey, Jared.</dialogue>
    <character>JARED</character>
    <dialogue>Charlotte told me to tell you she's gonna have to be half an hour late this afternoon.</dialogue>
    <character>TOM</character>
    <dialogue>Okay, Jared. Thanks.</dialogue>
    <character>JARED</character>
    <dialogue>No problem.</dialogue>
    <scene_description>The car peels out, music still pounding. Tom watches them go, smiling. - (To himself) Keep that noise down, you goddam kids. EXT. McKENNA'S DINER - DAY A very nice, clean diner on a well travelled street. A couple of LOCALS walk by and wave to Torn as he approaches the diner. He opens the door, then pauses when he sees something. He leans down and scrapes a smudge off the window with his finger, He walks into the diner. INT. McKENNA'S DINER PAT JOHNSON, a wiry man in his mid fifties in dusty overalls sits at the counter, sipping at a cup of coffee. He's the classic Midwestern farmer. MICK, the short order cook back in the kitchen waves as Tom comes in~</scene_description>
    <character>TOM</character>
    <dialogue>Morning Pat, Mick.</dialogue>
    <character>PAT</character>
    <dialogue>Who's the craziest woman you ever dated?</dialogue>
    <character>TOM</character>
    <dialogue>Whoa. 'scuse me?</dialogue>
    <character>PAT</character>
    <dialogue>Mick and me•s just talkin' about women we been</dialogue>
    <character>-</character>
    <dialogue>with. He once dated a woman used to attack him in the middle of the night.</dialogue>
    <character>TOM</character>
    <dialogue>She what?</dialogue>
    <character>MICK</character>
    <dialogue>She'd have these crazy goddam dreams where instead of her boyfriend, I was some kind of demented killer. I woke up one night she'd stuck a goddam fork in my arm.</dialogue>
    <character>TOM</character>
    <dialogue>Jesus.</dialogue>
    <character>MICK</character>
    <dialogue>I'm spurtin' blood and she's sittin' there, crying, gain' "Baby, I love you, I love you."</dialogue>
    <character>TOM</character>
    <dialogue>If she really loved you, she 1</dialogue>
    <scene_description>d have used a spoon.</scene_description>
    <character>-</character>
    <dialogue>Pat cracks up. Mick smiles.</dialogue>
    <character>TOM</character>
    <dialogue>You dumped her, right?</dialogue>
    <character>MICK</character>
    <dialogue>Nope. Married her. Lasted six years.</dialogue>
    <character>TOM</character>
    <dialogue>You married her?</dialogue>
    <character>MICK</character>
    <dialogue>Well, yeah. Nobody's perfect, Tom.</dialogue>
    <scene_description>Tom nods - he can't argue with that.</scene_description>
    <character>PAT</character>
    <dialogue>Yeah, well, I got that beat. I dated a psychiatrist in New York for a whole year.</dialogue>
    <character>MICK</character>
    <dialogue>Hard to top that.</dialogue>
    <character>PAT</character>
    <dialogue>I'm tellin• you, there's only one reason a person qets into that line of work, a.nd it's not to help crazy folks.</dialogue>
    <character>TOM</character>
    <dialogue>What the hell were you doing in New York?</dialogue>
    <character>PAT</character>
    <dialogue>You ain't the only one from out of town. I was born and raised there.</dialogue>
    <character>TOM</character>
    <dialogue>In New York?</dialogue>
    <character>PAT</character>
    <dialogue>Uh huh.</dialogue>
    <character>TOM</character>
    <dialogue>City?</dialogue>
    <character>PAT</character>
    <dialogue>well, sure.</dialogue>
    <character>MICK</character>
    <dialogue>Who's the craziest girl you ever went out with, Tom?</dialogue>
    <character>TOH</character>
    <dialogue>I dunno. I never really had any crazy girlfriends.</dialogue>
    <character>PAT</character>
    <dialogue>Sure wasn't Edie.</dialogue>
    <character>TOH</character>
    <dialogue>Ha. No. She's definitely the sanest woman I've ever known.</dialogue>
    <character>PAT</character>
    <dialogue>Honest, too.</dialogue>
    <character>TOH</character>
    <dialogue>Yup.</dialogue>
    <character>PAT</character>
    <dialogue>When she helped me sell the farm ...</dialogue>
    <character>TOH</character>
    <dialogue>I remember this.</dialogue>
    <character>PAT</character>
    <dialogue>That big combine tried to slide some shit in, some mumbo jumbo that'd have me paying the closing costs. They claimed it was just a little mistake, but she went on the warpath, I'm telling you.</dialogue>
    <character>PAT</character>
    <dialogue>These companies, they slip in a line here, a line there, hoping you don't catch it and they just screw you a little more.</dialogue>
    <character>TOM</character>
    <dialogue>Yeah, she hates that. Edie couldn't cheat someone if her life depended on it.</dialogue>
    <character>PAT</character>
    <dialogue>Good woman.</dialogue>
    <character>TOM</character>
    <dialogue>I remember we're out on our first date, and that song Me & Mrs. Jones comes on. (Tom chuckles) We're talking about the lyrics, how it's about this guy screwing some other guy's wife, and Edie? She's stunned. She always thought it was Mr. Jones singing about how great his wife was.</dialogue>
    <scene_description>Tom shakes his head in amusement, then spots something outside - Hank Quigley stands outside, looking in thoughtfully.</scene_description>
    <character>TOM</character>
    <dialogue>'scuse me, fellas.</dialogue>
    <scene_description>He walks to the door and opens it, just as a MIDDLE AGED WOMANwalks through.</scene_description>
    <character>MIDDLE AGED WOMAN</character>
    <dialogue>Morning, Tom.</dialogue>
    <character>TOM</character>
    <dialogue>Morning, Patty. I'll be right in to help you.</dialogue>
    <scene_description>She walks over to a booth and Tom steps outside. EXT. McKENNA'S DINER Hank stands a few feet away from the door. Tom approaches him.</scene_description>
    <character>TOM</character>
    <dialogue>Hank?</dialogue>
    <character>HANK</character>
    <dialogue>Yuh.</dialogue>
    <character>TOM</character>
    <dialogue>What, uh .... Can I help you?</dialogue>
    <character>HANK</character>
    <dialogue>Yuh. You got a minute?</dialogue>
    <character>TOM</character>
    <dialogue>Well ... It's just starting up in there, but ... Yeah. Sure. Come on in.</dialogue>
    <scene_description>Hank looks uncertainly at the door. Tom nods and opens it for him, and Hank walks in. INT. McKENNA'S DINER Tom leads Hank to a corner booth.</scene_description>
    <character>TOM</character>
    <dialogue>Mickr take care of Patty, would you?</dialogue>
    <scene_description>Mick waves acknowledgement and Tom sits down across from Hank~</scene_description>
    <character>HANK</character>
    <dialogue>I know I got no call to come to you like this, Tom. we don't have nothing even looks like a relationship.</dialogue>
    <scene_description>-</scene_description>
    <character>TOM</character>
    <dialogue>Well, no, but, you know, come on. We're like family ... What can I ... ?</dialogue>
    <character>.... HANK</character>
    <dialogue>No. Farnily 1</dialogue>
    <scene_description>s more than just names.</scene_description>
    <character>TOM</character>
    <dialogue>Well ... Yeah. I guess. But still .... What's on your mind?</dialogue>
    <character>HANK</character>
    <dialogue>How's Edie doin'?</dialogue>
    <character>TOM</character>
    <dialogue>She's good, Hank. She's really good.</dialogue>
    <scene_description>Hank nods.</scene_description>
    <character>TOM</character>
    <dialogue>You know, maybe you should, you know, come by or something. Some time.</dialogue>
    <character>HANK</character>
    <dialogue>Yeah. That's what I wanted to talk to you about.</dialogue>
    <scene_description>Tom waits patiently for Hank to collect his thoughts. Pat walks by, heading for the door, looking at Hank.</scene_description>
    <character>BANK</character>
    <dialogue>And the kids. Jack and ...</dialogue>
    <scene_description>Sarah's the</scene_description>
    <character>TOM</character>
    <dialogue>youngest. They're fine. You'd be</dialogue>
    <character>-</character>
    <dialogue>proud.</dialogue>
    <character>HANK</character>
    <dialogue>I've been proud. Everything I ever lost, I lost to pride, and the things it got me ... well, I coulda just gone down to the five and dime and bought 'em. I made a mess of my life, Torn. A real mess. You know Edie and I ain't exactly been close.</dialogue>
    <character>TOM</character>
    <dialogue>Yeah.</dialogue>
    <character>HANK</character>
    <dialogue>I want to try to make some things up to her. I'd like to get to know my grandchildren before ... Before they're not children anymore.</dialogue>
    <character>TOM</character>
    <dialogue>I think they'd like that.</dialogue>
    <character>HANK</character>
    <dialogue>You think? I ain't the best person. But I'd like</dialogue>
    <character>-</character>
    <dialogue>to try to make up for that.</dialogue>
    <character>TOM</character>
    <dialogue>I'll bring it up to Edie, Hank. I'll see what I can do.</dialogue>
    <scene_description>Hank nods.</scene_description>
    <character>TOM</character>
    <dialogue>can I get you\_ anything? You want some breakfast?</dialogue>
    <character>HANK</character>
    <dialogue>Naw. I ate already. I best be moving along.</dialogue>
    <character>TOM</character>
    <dialogue>Okay.</dialogue>
    <scene_description>Hank gets up and walks to the door. He stops, turns to Tom, and nods in gratitude. Tom nods back, then gets up and walks back to the counter.</scene_description>
    <character>MICK</character>
    <dialogue>Hank Quigley, huh? Man, he used to be one mean old son of a bitch.</dialogue>
    <character>TOM</character>
    <dialogue>That's what I hear.</dialogue>
    <character>-</character>
    <dialogue>- Oh, shit.</dialogue>
    <character>MICK</character>
    <dialogue>Yeah. Of course. I heard he got all</dialogue>
    <scene_description>kinds of shot up over in 'nam. Heard this one story . ...</scene_description>
    <character>TOM</character>
    <dialogue>M:ick. we have customers, and Charlotte's corning in late today.</dialogue>
    <character>MICK</character>
    <dialogue>Right. Right. I'm on it.</dialogue>
    <character>INT.</character>
    <dialogue>TAYLORVILLE HIGH - BASEBALL FIELD - DAY</dialogue>
    <scene_description>Gym class - A softball game in progress. Jack sits on a bench by the wire fence, watching his team at bat. He and his teammates wear red gym shirts. The other team wears blue. JUDY DANVERS - same age as Jack and a real alterna-chick - walks up behind him and hits the fence. Jack turns.</scene_description>
    <character>JACK</character>
    <dialogue>Hey.</dialogue>
    <scene_description>- Hey. How's it going?</scene_description>
    <character>JACK</character>
    <dialogue>Same old crap. What do they have you guys doing?</dialogue>
    <character>JUDY</character>
    <dialogue>Sprints. I'd rather be playing ball.</dialogue>
    <scene_description>Jack shrugs.</scene_description>
    <character>,JUDY</character>
    <dialogue>What position you playing?</dialogue>
    <character>JACK</character>
    <dialogue>Coach has me playing deep right field. Real exciting.</dialogue>
    <character>JUDY</character>
    <dialogue>What 1 s the score?</dialogue>
    <character>JACK</character>
    <dialogue>We're up by one. But they have one more inning~</dialogue>
    <scene_description>The batter strikes out, and the COACH blows his whistle. ,Jack Well, gotta get out to the boondocks. Catch ya later.</scene_description>
    <character>JUDY</character>
    <dialogue>Yeah. Wanna work on math stuff later?</dialogue>
    <character>JACK</character>
    <dialogue>Suret</dialogue>
    <scene_description>He runs out to deep right field, putting on his glove. Judy goes back to join the other girls.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TAYLORVILLE HIGH - BASEBALL FIELD - LATER</stage_direction>
    <scene_description>Jack stands out in deep right field bored out of his mind. In the distance, on the track, ~Judy runs past and waves. BOBBY JORDAN, class jock and all round tough guy, walks up to bat. One man's already on third base.</scene_description>
    <character>BOBBY</character>
    <dialogue>One winning run, coming up.</dialogue>
    <scene_description>His teammates cheer - i,Go get 'em, Bobby!" etc. The PITCHER winds up and pitches. Ball. Bobby sidesteps it. The pitcher winds up again and fires. Jack steps back, deeper into right field. Bobby swings, and hits with a loud crack. The ball sails through the air right towards Jack. Bobby races towards first. Jack races back and forth, glove ready, trying to get under the ball. CLOSE ON - Bobby, smirking arrogantly. He knows Jack's gonna miss. THWAP! Jack catches the ball. The KIDS on Jack's team cheer loudly. Bobby looks furious. Jack looks down at his glove, slightly amazed - this kid is NOT the big athlete. He looks up and sees his teammates cheering him. COACH walks out on the field.</scene_description>
    <character>COACH</character>
    <dialogue>Game over. Reds win!</dialogue>
    <scene_description>Jack looks around and smiles. Bobby storms off the field, furious. A couple of clack' s teammates run up to him and pat him on the back. "Way to go, McKenna!" �:</scene_description>
  </scene>
  <scene>
    <stage_direction>- INT. TAYLORVILLE HIGH - BOY'S LOCKER ROOM</stage_direction>
    <scene_description>The boys getting back into civvies. Jack stands at his locker, putting on a shirt. Bobby walks over to him, a pair of his BUDDIES with him,</scene_description>
    <character>BOBBY</character>
    <dialogue>I guess you think you're hot shit, McKennu.</dialogue>
    <character>JACK</character>
    <dialogue>What? No. I don't.</dialogue>
    <character>BOBBY</character>
    <dialogue>Little superstar, here, huh? Little hero saves the day at the last minute, right?</dialogue>
    <character>JACK</character>
    <dialogue>What? Bobby, it's just a game. It's just stupid gym class.</dialogue>
    <character>BOBBY</character>
    <dialogue>Who you callin' stupid?</dialogue>
    <character>JACK</character>
    <dialogue>No, I said gym class was stupid.</dialogue>
    <scene_description>- "No, I said to this</scene_description>
    <character>BOBBY</character>
    <parenthetical>(To his Buddies)</parenthetical>
    <dialogue>little</dialogue>
    <character>JACK</character>
    <dialogue>gym class</dialogue>
    <scene_description>faggot. was stupid." Listen Yes, you're right. I'm both little and a faggot. you got me dead to rights. Bobby pushes Jack up against his locker with a thud.</scene_description>
    <character>BOBBY</character>
    <dialogue>Come on, chickenshit. Let's do it.</dialogue>
    <character>JACK</character>
    <dialogue>What would be the point?</dialogue>
    <character>BOBBY</character>
    <dialogue>What?</dialogue>
    <character>JACK</character>
    <dialogue>I mean, we've already established that I'm little, that I'm a faggot and that I'm chickenshit. What's the ooint of pumme}ing me mercilessly? -</dialogue>
    <character>BOBBY</character>
    <dialogue>What?</dialogue>
    <character>JACK</character>
    <dialogue>J mean you win. You've established your alpha male standing. You've established my unworthiness. Doing violence to me just seems pointless and cruel, don't you think?</dialogue>
    <scene_description>Some of the other kids are laughing now, which pisses off the confused Bobby. This is NOT the response he expected.</scene_description>
    <character>BOBBY</character>
    <dialogue>Corne on, you punk ass bitch.</dialogue>
    <character>JACK</character>
    <dialogue>Shouldn't that be "Little punk ass chickenshit faggot bitch"?</dialogue>
    <character>BOBBY</character>
    <dialogue>God!</dialogue>
    <scene_description>He pushes Jack against the locker and storms away, pissed off. A few kids laugh. Jack breathes a sigh of relief and turns back to his locker.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TAYLORVILLE HIGH</stage_direction>
    <scene_description>Jack walks out of the gym and looks up as a few fat drops of rain plunk down. ALEX, another student, walks over to Jack.</scene_description>
    <character>ALEX</character>
    <dialogue>That was hilarious. How'd you do that?</dialogue>
    <character>JACK</character>
    <dialogue>Do what?</dialogue>
    <character>ALEX</character>
    <dialogue>You like ... you beat him by agreeing with him.</dialogue>
    <character>JACK</character>
    <dialogue>I dunno. It beats the alternative, I guess.</dialogue>
    <character>ALEX</character>
    <dialogue>{Chuckling)</dialogue>
    <scene_description>I'll say. That was really great.</scene_description>
    <character>JACK</character>
    <dialogue>Thanks.</dialogue>
    <scene_description>Alex walks away~ Jack shakes his head and smiles, then walks towards school as it starts to rain.</scene_description>
  </scene>
  <scene>
    <stage_direction>- EXT. TWO LANE BLACKTOP - DUSK</stage_direction>
    <scene_description>Johnny Cash sings as a light rain comes down on the road.</scene_description>
    <character>INT.</character>
    <dialogue>LELAND AND BILLY'S</dialogue>
    <scene_description>Leland behind the wheel, Billy looking out the window, both of them silently singing along with Johnny. It's a different car than they were driving earlier. Billy sees something on the side of the road as they pass and sits up.</scene_description>
    <character>BILLY</character>
    <dialogue>Holy shit!</dialogue>
    <character>LELAND</character>
    <dialogue>What?</dialogue>
    <character>BILLY</character>
    <dialogue>Did you see that?</dialogue>
    <character>LELAND</character>
    <dialogue>By the side of the road?</dialogue>
    <scene_description>- What.</scene_description>
    <character>BILLY</character>
    <dialogue>we gotta go back.</dialogue>
    <character>LELAND</character>
    <dialogue>We what?</dialogue>
    <character>DILLY</character>
    <dialogue>Look, trust me. I'll be quick.</dialogue>
    <character>EXT. TWO LANE BLACKTOP</character>
    <dialogue>A VERY ATTRACTIVE YOUNG WOMANleans over the hood of a broken down car, frustrated. Her jeans are low slung and tight. She wears an old flannel shirt, half buttoned over a tight fitting jacket.</dialogue>
    <dialogue>Leland and Billyfs car slows down as it passes herr then pulls over a few yards in front of her. She looks up, a little nervous.</dialogue>
    <character>INT.</character>
    <dialogue>LELAND AND BILLY'S</dialogue>
    <scene_description>Leland shakes his head.</scene_description>
    <character>T,ELAND</character>
    <dialogue>Jesus Christ, Billy.</dialogue>
    <scene_description>Shejs</scene_description>
    <character>BILLY</character>
    <dialogue>something, isn't she?</dialogue>
    <character>-</character>
    <dialogue>LELAND</dialogue>
    <scene_description>Yeah, she is. (Looks at his watch) Just be quick.</scene_description>
    <character>BILLY</character>
    <dialogue>You don't want to come?</dialogue>
    <character>LELAND</character>
    <dialogue>I'm too tired.</dialogue>
    <character>BILLY</character>
    <dialogue>Suit yourself.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TWO LANE BLACKTOP</stage_direction>
    <scene_description>Billy hitches up his pants as he walks towards the woman.</scene_description>
    <character>BILLY</character>
    <dialogue>Car broke down, huh?</dialogue>
    <character>YOUNGWOMAN</character>
    <dialogue>-</dialogue>
    <scene_description>I think it's overheated. Do you know anything about engines?</scene_description>
    <character>BILLY</character>
    <dialogue>I know something about some things. Sure is a nice night.</dialogue>
    <character>YOUNGWOMAN</character>
    <dialogue>Um•.. Yeah. It is. I'm supposed to be ..• My husband's expecting me home any minute, you know.</dialogue>
    <character>BILLY</character>
    <dialogue>Bad place for a breakdown, y'know. Out here 1 middle of nowhere ...</dialogue>
    <scene_description>He bends over and looks at her engine, still smiling. She watches nervously from the side. Billy gestures to her.</scene_description>
    <character>BILLY</character>
    <dialogue>It ain't the engine, it's the carburator. C'mere, take a look.</dialogue>
    <scene_description>She cautiously steps closer~ His eyes run up and down her body - he's practically licking his lips.</scene_description>
    <character>BILLY</character>
    <dialogue>Yeah, you got a leak here, see?</dialogue>
    <scene_description>She looks down and sees steam leaking from a pipe.</scene_description>
    <character>BILLY</character>
    <dialogue>Shouldn't be driving a car in this condition, you know. Need to tie something around this.</dialogue>
    <scene_description>He looks her up and down and smiles.</scene_description>
    <character>BILLY</character>
    <dialogue>Take off that shirt.</dialogue>
    <character>YOUNGWOMAN</character>
    <dialogue>My shirt?</dialogue>
    <scene_description>Re nods. She hesitates, then takes off her flannel shirt. Billy reaches into his back pocket, eyes gleaming.</scene_description>
    <character>INT.</character>
    <dialogue>Leland leans back in the cigarette burned down to</dialogue>
    <character>LELAND AND BILLY'S</character>
    <dialogue>driver's the filter</dialogue>
    <scene_description>A loud thump and the passenger door opens and Billy heaves - himself into the seat. Leland pushes back his hat.</scene_description>
    <character>LELAND</character>
    <dialogue>You done?</dialogue>
    <character>BILLY</character>
    <dialogue>Yeah.</dialogue>
    <character>LELAND</character>
    <dialogue>No more stops tonight.</dialogue>
    <character>BILLY</character>
    <dialogue>No more stops tonight.</dialogue>
    <character>LELAND</character>
    <dialogue>Alright, then.</dialogue>
    <scene_description>He starts the car and peels out, not looking back.</scene_description>
    <character>INT. ATTRACTIVE YOUNGWOMAN'SCAR</character>
    <dialogue>The young woman sits behind the wheel, smiling, as she drives down the road. She's not wearing her flannel, and we see the image on the front of her tee shi.rt for the first time - an angry Johnny Cash flipping the bird at the photographer.</dialogue>
    <scene_description>- EXT. McKENNA'S DINER - DUSK</scene_description>
    <character>-</character>
    <dialogue>Tom stands outside the diner, stretching after a long day. Edie pulls up in the station wagon. The rain is letting up.</dialogue>
    <character>EDIE</character>
    <dialogue>Hey, good looking.</dialogue>
    <character>TOM</character>
    <dialogue>Hey.</dialogue>
    <scene_description>He climbs in. INT. McKENNA'S STATION WAGON Edie starts up and drives down the street.</scene_description>
    <character>TOM</character>
    <dialogue>Aw, noA Do we hav0 to go to the store?</dialogue>
    <character>EDIE</character>
    <dialogue>We're not going to the store.</dialogue>
    <character>TOM</character>
    <dialogue>We're not?</dialogue>
    <character>EDIE</character>
    <dialogue>Jack's studying over at Judy Danvers' house, and Martha's taking care of Sarah.</dialogue>
    <character>TOM</character>
    <dialogue>Oh yeah?</dialogue>
    <character>EDIE</character>
    <dialogue>Yeah.</dialogue>
    <character>TOM</character>
    <dialogue>So where are we going?</dialogue>
    <character>EDIE</character>
    <dialogue>We never got to be teenagers together.</dialogue>
    <character>TOM</character>
    <dialogue>Uh huh.</dialogue>
    <character>EDIE</character>
    <dialogue>I 1 m going to fix that.</dialogue>
    <scene_description>Tom cocks an eyebrow.</scene_description>
    <character>TOM (O.S.)</character>
    <dialogue>Cannonball!</dialogue>
    <scene_description>- ~--</scene_description>
    <character>EXT.</character>
    <dialogue>POND - NIGHT</dialogue>
    <scene_description>The McKenna's station wagon sits near an idyllic pond. A cooler full of beer sits nearby, and a small boom box sits on the hood, blasting late seventies rock and roll. Edie is in the water, naked. A naked Tom flies through the air, curled in a ball, and lands with a huge splash. Edie laughs, and Tom swims up to her and they kiss. A loud buzzing, and Tom breaks the kiss to swat at a mosquito.</scene_description>
    <character>TOM</character>
    <dialogue>Damn!</dialogue>
    <character>EDIE</character>
    <dialogue>Yeah, that's kind of the downside.</dialogue>
    <character>TOM</character>
    <dialogue>That and the freezing water.</dialogue>
    <scene_description>- sort of makes it hard to achieve the desired effect, huh?</scene_description>
    <character>TOM</character>
    <dialogue>Honey, there's nothing hard within a mile of this place.</dialogue>
    <scene_description>Another mosquito buzzes by and Edie swats at it.</scene_description>
    <character>TOM</character>
    <dialogue>You ever think maybe kids didn't come here because it was so perfect but because they didn't have anywhere else to make out?</dialogue>
    <scene_description>She looks at him thoughtfully, then smiles.</scene_description>
    <character>EXT.</character>
    <dialogue>POND - TWENTY SECONDS LATER</dialogue>
    <scene_description>Edie and Tom, now loosely dressed, leap into the car and peel out. INT. McKENNA HOUSE - TOM AND EDIE'S BEDROOM - NIGHT Edie comes out of the bathroom in her nightgown. She lays down next to him and kisses him warmly on the mouth.</scene_description>
    <character>EDIE</character>
    <dialogue>That was great.</dialogue>
    <dialogue>Tom smiles and runs his fingers through her hair. He seems a little distant.</dialogue>
    <character>EDIE</character>
    <dialogue>What is it?</dialogue>
    <scene_description>He rolls over takes her head in his hands and looks intently into her eyes.</scene_description>
    <character>TOM</character>
    <dialogue>It's so amazing. I remember the moment I knew you were in love with me. I saw it in your eyes in an instant. I can still see it.</dialogue>
    <character>EDIE</character>
    <dialogue>Of course you can. I still love you.</dialogue>
    <character>TOM</character>
    <dialogue>I am the luckiest son of a bitch alive.</dialogue>
    <scene_description>He eases back, petting her head, eyes looking off in the distance.</scene_description>
    <character>EDIE</character>
    <dialogue>What is it, honey? What's wrong?</dialogue>
    <character>TOM</character>
    <dialogue>You' re gonna hate my bming.</dialogue>
    <character>EDIE</character>
    <dialogue>What?</dialogue>
    <character>TOM</character>
    <dialogue>Your father came by the diner today.</dialogue>
    <scene_description>She tenses at this.</scene_description>
    <character>EDIE</character>
    <dialogue>What did he want?</dialogue>
    <character>TOM</character>
    <dialogue>He wants to see you, honey. He wants to meet the kids.</dialogue>
    <scene_description>She sits up, tense, tight and hard.</scene_description>
    <character>EDIE</character>
    <dialogue>We all want what we can~t have.</dialogue>
    <character>TOM</character>
    <dialogue>Edie ... Honey,~ .. I guess it's none of my busjness, but ....</dialogue>
    <character>{CONTINUED)</character>
    <dialogue>- You're</dialogue>
    <character>EDIE</character>
    <dialogue>right. It's none of .....</dialogue>
    <scene_description>She stops, shakes her head.</scene_description>
    <character>EDIE</character>
    <dialogue>I'm sorry, baby. I'm sorry. Don't let me be that girl.</dialogue>
    <scene_description>He smiles.</scene_description>
    <character>EDIE</character>
    <dialogue>I don't want to see him. I don't want him near my kids ..</dialogue>
    <character>TOM</character>
    <dialogue>He was a drunk. He used to hit you, I know. Nothing good comes out of that. But he seems •..</dialogue>
    <character>EDIE</character>
    <dialogue>No. I don't care. I don't care why he did what he did. I don't want to see him, and I don't want him near my children.</dialogue>
    <scene_description>- I don't five times</scene_description>
    <character>TOM</character>
    <dialogue>know the man. We've met maybe</dialogue>
    <scene_description>was the longest in eighteen man who came into beaten Edie. we ever years, talked. the diner down. He knows he screwed He wants to make amends, and today But the today was up, I think.</scene_description>
    <character>EDIE</character>
    <dialogue>He canrt.</dialogue>
    <character>TOM</character>
    <dialogue>Honey .... People change.</dialogue>
    <character>EDIE</character>
    <dialogue>I know that, Tom. People change every day. You hear people talk, and !lank Quigley was the nicest man in town before the war. But what happened over there sure as hell changed him.</dialogue>
    <character>TOM</character>
    <dialogue>It changed a lot of people.</dialogue>
    <character>EDIE</character>
    <dialogue>My mother tried for years. She did everything she could to help him, to look past what he'd become.</dialogue>
    <scene_description>-</scene_description>
    <character>EDIE</character>
    <dialogue>But he didn't change. Now he has, maybe, but it's too late.</dialogue>
    <character>TOM</character>
    <dialogue>It's just ... I wish the kids had grandparents. I didn't exactly provide well on that front.</dialogue>
    <scene_description>She leans down and runs her hand down his cheek.</scene_description>
    <character>EDIE</character>
    <dialogue>You're the best man I've ever known, Torn McKenna, and you provide for this family every single day.</dialogue>
    <scene_description>She rolls over and hits the switch on the bedside lamp. It flickers on and off, and she grimaces~ Tom smiles and leans over her and shakes it, and the light snaps on in full. She kisses him on the cheek in gratitude, and picks up some papers and starts to read. Tom looks at his wife thoughtfully. A smile spreads across his face, and he rolls aver to go to sleep.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TAYLORVILLE - AFTERNOON</stage_direction>
    <scene_description>Tom walking down the street. Town's a little more crowded than last time - it's Saturday afternoon. A pair of kids race by Tom. One kid has plastic Wolverine claws, the other is wearing huge green Hulk fistsA He smiles as they pretend to duke it out. INT. McKENNA'S DINER The place is crowded. Charlotte is delivering a meal to a table. Mick is cranking away at a dozen orders. Tom walks in. SAM CARNEY, the local sheriff, sits at the counter sucking down some coffee. Tom slaps him on the back.</scene_description>
    <character>TOM</character>
    <dialogue>Hey, Sam.</dialogue>
    <character>SAM</character>
    <dialogue>Afternoon, Tom.</dialogue>
    <character>TOM</character>
    <dialogue>How's things?</dialogue>
    <character>SAM</character>
    <dialogue>Good. Good. Gettin' ready for Saturday night.</dialogue>
    <character>TOM</character>
    <dialogue>Yuh. Expecting trouble tonight?</dialogue>
    <scene_description>- Just the</scene_description>
    <character>SAM</character>
    <dialogue>usual. Drunk assholes. Cow tipping.</dialogue>
    <character>TOM</character>
    <dialogue>Don't forget UFO abduction.</dialogue>
    <character>SAM</character>
    <dialogue>Right. How's Edie?</dialogue>
    <character>TOM</character>
    <dialogue>Good as ever.</dialogue>
    <scene_description>Sam nods.</scene_description>
    <character>EXT. TOWN SQUARE - NIGHT</character>
    <dialogue>The town square~s a nice piece of land. Well kept, a few treesf with City Hall - the nicest building in town - right in the center. Kids in cars drive around and around, music blasting from every windowo</dialogue>
    <dialogue>Jack and Judy sit alongside the building, passing a joint back and forth, watching the kids go round and round.</dialogue>
    <character>JUDY</character>
    <dialogue>You ever wonder what kids did for fun on a Saturday night a hundred years ago?</dialogue>
    <character>JACK</character>
    <dialogue>I dunno. I always figured they got into their parents' wagon and went cruising around their town square playing loud banjo music and acting like idiots.</dialogue>
    <character>JUDY</character>
    <dialogue>So you think this is as good as it gets?</dialogue>
    <character>JACK</character>
    <dialogue>For us? Yeah. For now. Eventually we grow up and get jobs and have affairs and eventually become alcoholics.</dialogue>
    <scene_description>Judy looks at him a long beat, then takes a hit off the joint.</scene_description>
    <character>JUDY</character>
    <dialogue>Ya know, sometimes you depress me.</dialogue>
    <scene_description>Jack srnileso</scene_description>
    <character>INT.</character>
    <dialogue>Bobby and his beer in a bag Jack and Judy</dialogue>
    <character>BOBBY'S CAR</character>
    <dialogue>pals around. and frowns.</dialogue>
    <character>BUDDY#1</character>
    <dialogue>Hey, isn't that that McKenna faggot?</dialogue>
    <character>BOBBY</character>
    <dialogue>Yeah.</dialogue>
    <character>BUDDY#1</character>
    <dialogue>You should go kick his ass.</dialogue>
    <character>BOBBY</character>
    <dialogue>I'm thinkin' about it.</dialogue>
    <scene_description>He swerves into the next lane, and a horn honks loudly at him. He hits the brake and looks back, sees he's almost driven into another car - a battered old pickup. He flips the truck the finger- Leland and Billy sit inside the truck. Billy gives Bobby a very cold glare and Bobby pulls back his finger, scared. Billy nods and they drive on.</scene_description>
    <character>BUDDY#1</character>
    <dialogue>Who the fuck was that?</dialogue>
    <character>BOBBY</character>
    <dialogue>I don't know. And I don't want to.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LELAND AND BILLY'S TRUCK</stage_direction>
    <scene_description>Billy's looking back at Bobby's car.</scene_description>
    <character>BILLY</character>
    <dialogue>can I just say how sick I am of these podunk towns and the goddam podunks who live in them?</dialogue>
    <character>LELAND</character>
    <dialogue>You think if you keep saying that it's gonna change anything?</dialogue>
    <character>BILLY</character>
    <dialogue>I'm just sick of this shit.</dialogue>
    <character>LELAND</character>
    <dialogue>Yeah, you made that clear about ten thousand miles ago, Billy. Until you come up with a better idea, I don't want to hear about it anymore.</dialogue>
    <character>BILLY</character>
    <dialogue>Well, we could stop for some pie.</dialogue>
    <character>LELAND</character>
    <dialogue>Yeah, we could. I'm goddarn hungry.</dialogue>
    <character>BILLY</character>
    <dialogue>Typical small town shit hole. There's got to be a diner 1</dialogue>
    <scene_description>round here somewhere.</scene_description>
  </scene>
  <scene>
    <stage_direction>- EXT. TOWNSQUARE</stage_direction>
    <scene_description>Jack and Judy, still sitting. Judy looks over to the street and sees Bobby climbing out of his car.</scene_description>
    <character>JUDY</character>
    <dialogue>Oh, shit.</dialogue>
    <character>JACK</character>
    <dialogue>What?</dialogue>
    <character>JUDY</character>
    <dialogue>Bobby.</dialogue>
    <character>,JACK</character>
    <dialogue>What the hell is the matter with that guy? Let's get out of here.</dialogue>
    <scene_description>They get to their feet and walk the opposite direction. INT. McKENNA'S DINER Mick's behind the stove, cleaning and closing the place down, Charlotte's wiping down a table. JEFF and LISA, a pair of high school - kids sit at a booth, eating counter, Pat slaps talking Good as some bills ice cream. Tom is sitting to ever, Pat,</scene_description>
    <character>PAT</character>
    <dialogue>who's</dialogue>
    <scene_description>Tom. down on the behind the finishing counter up his and heads dinner. for the door. He waves to Mick, who waves back.</scene_description>
    <character>PAT</character>
    <dialogue>See you in church, Tom.</dialogue>
    <character>TOM</character>
    <dialogue>Ayuh~ Have a good evening.</dialogue>
    <scene_description>Pat opens the door to walk out, and bumps smack into Leland.</scene_description>
    <character>PAT</character>
    <dialogue>Oh, excuse me.</dialogue>
    <character>LELAND</character>
    <dialogue>S'alright, old man.</dialogue>
    <scene_description>He holds the door open for Pat and lets him out, smiling coldly. Pat looks at him, troubled. Billy walks in after Leland, watching Pat go. Billy and Leland walk up to the counter.</scene_description>
    <character>TOM</character>
    <dialogue>Just closing up, fellas.</dialogue>
    <character>LELAND</character>
    <dialogue>Coffee. Black.</dialogue>
    <character>BILLY</character>
    <dialogue>Same. And some pie. Gimme some pie.</dialogue>
    <character>TOM</character>
    <dialogue>Guys, I told you we're just closing up.</dialogue>
    <character>LELAND</character>
    <dialogue>I said coffee!</dialogue>
    <scene_description>Charlotte looks up at this, worried. J-eff and Lisa look over, interested. Tom looks at Leland a beat, then nods.</scene_description>
    <character>TOM</character>
    <dialogue>Okay. I think we can handle that.</dialogue>
    <scene_description>He walks over to the coffee machine and picks up a pot.</scene_description>
    <character>TOM</character>
    <dialogue>Charlotte, you can go home now if you want.</dialogue>
    <character>LELAND</character>
    <parenthetical>(Nods to the door)</parenthetical>
    <dialogue>Billy.</dialogue>
    <scene_description>Billy walks over to the door, cutting off Charlotte.</scene_description>
    <character>BILLY</character>
    <dialogue>I think you're gonna stick around a while, honey.</dialogue>
    <character>CHARLOTTE</character>
    <dialogue>Tom?</dialogue>
    <scene_description>Torn looks at her, worried, then over to Jeff and Lisa, who look scared. He turns to Leland.</scene_description>
    <character>TOM</character>
    <dialogue>We don't carry much money here, but you're welcome to all of it. Let's just do this quickly, okay?</dialogue>
    <character>LELAND</character>
    <dialogue>We'll do it however we want to, asshole.</dialogue>
    <scene_description>Be pulls out a gun and points it at Tom, who stands with the coffee pot in his hand. Billy pulls out his gun and points it at Charlotte. Lisa screams.</scene_description>
    <character>LELAND</character>
    <dialogue>Shut up, bitch!</dialogue>
    <scene_description>- She stops, men in fear. terrified. Jeff puts his arm around her, looking at the two</scene_description>
    <character>LELAND</character>
    <dialogue>Show this asshole we mean business, Billy.</dialogue>
    <character>BILLY</character>
    <parenthetical>(Nodding to Charlotte)</parenthetical>
    <dialogue>What, her?</dialogue>
    <character>LELAND</character>
    <dialogue>Yeah, her. Fuck her. Do it.</dialogue>
    <character>TOM</character>
    <dialogue>No! Don't!</dialogue>
    <scene_description>Billy shrugs and pulls the trigger. Click. Billy looks at the gun, puzzled. Leland looks to Billy - what the fuck? -- Without even thinking, Torn lashes out with the coffee pot, smashing it into Leland's face, the glass shattering. Leland cries out and drops his gun, falls to the floor. Tom leaps over the counter and picks up Leland's gun. Billy quickly ratchets another bullet into the chamber of his gun and turns to Tom. Tom fires, hitting Billy in the chest, sending him spinning. Lisa screams. Leland grabs a knife from the floor and slams it into Tom's foot. Tom screams in pain and whirls, sees Leland on the floor, the knife in his hand, and fires down, through the top of Leland's head. Leland's face explodes in a shower of gore. Billy staggers towards Tom, clutching his bloody chest, his gun in his other hand.</scene_description>
    <character>BILLY</character>
    <dialogue>MOTHERFUCKER l ! !</dialogue>
    <scene_description>He raises the gun to fire again. Torn whips the gun up and fires, hitting Billy in the stomach and sending him crashing through the diner window in a shower of glass. Lisa stops screaming. Mick walks out from the kitchen, stunned. Charlotte stands there, in shock. Tom slowly gets to his feet and surveys the carnage. Leland lays on the floor, his head a bloody mess. Billy lays outside on the sidewalk, dead, one of his feet propped up on the shattered window. Outside, people yell and shout and scream. Torn struggles to stand upright, blood gushing from his foot. Mitch runs over to him and holds him up. The rest is a swirl of disconnected images from Tom's POV: Sam, the local sheriff, bursts into the diner, gun in hand. An ambulance in front of the diner. A crowd of people watching as PARAMEDICSlead Tom to the ambulance. Jack and Judy in front of the crowd, watching in shock. Jack reaches out to touch his father's hand. The back of the ambulance. Tom being laid down. Edie bursts through the doors and hugs her husband.</scene_description>
    <character>FADE TO BLACK.</character>
    <dialogue>A long beat</dialogue>
    <character>FADE IN:</character>
    <dialogue>EXT. McKENNA'S DINER - ON TV - TOM'S POV A LOCAL REPORTER stands in front of the diner, the window still shattered. A crowd of people in the background. The image is blurry, coming slowly into focus.</dialogue>
    <character>REPORTER</character>
    <dialogue>... where Tom McKenna, the owner of this diner, fought off two savage criminals. The two men, Leland Devore and William "Billy" Orser, were wanted by Texas and California police for two weeks in conjunction with several murders in those states. McKenna, a family man with long standing ties to the community ..••</dialogue>
    <character>EDIE (O.S.)</character>
    <dialogue>Hi, honey.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL ROOM- DAY</stage_direction>
    <scene_description>The TV is on the wall. Tom lays on the bed. Edie sits by him. Sarah sits on the floor~ playing with a doll. Jack walks over from the windowsill. - Hey! Dadl</scene_description>
    <character>JACK</character>
    <dialogue>You're back!</dialogue>
    <character>TOM</character>
    <dialogue>Hey, honey. Jack. What's up? How long have I been out?</dialogue>
    <character>EDIE</character>
    <dialogue>Just overnight. Sam's outside. He wants to talk to you.</dialogue>
    <character>TOM</character>
    <dialogue>Is everyone okay?</dialogue>
    <character>EDIE</character>
    <dialogue>Yes. Everyone's fine.</dialogue>
    <character>JACK</character>
    <dialogue>Except those two sons of bitches. Man, you killed the hell out of them, Dadl</dialogue>
    <scene_description>Tom flinches at this. Edie shoots her son a sharp look.</scene_description>
    <character>EDIE</character>
    <dialogue>Jack! Stop it.</dialogue>
    <character>JACK</character>
    <dialogue>Well, okay. But it's true. You're a hero, Dad!</dialogue>
    <scene_description>Sam sticks his head in.</scene_description>
    <character>SAM</character>
    <dialogue>Sleeping beauty awakes.</dialogue>
    <character>TOM</character>
    <dialogue>Hey, Sam.</dialogue>
    <character>SAM</character>
    <dialogue>Everything okay here?</dialogue>
    <character>TOM</character>
    <dialogue>Everything's fine (Gesturing to TV), but what is this? This is nuts.</dialogue>
    <character>SAM</character>
    <dialogue>Sorry, nothing I can do there. Tom, I hope you don't mind. I need to ask you a few questions.</dialogue>
    <character>TOM</character>
    <dialogue>Sure. No problem. I mean ... (Smiles at Edie) if it's alright with my attorney.</dialogue>
    <character>EDIE</character>
    <dialogue>Go ahead, Sam. Jack, get your sister.</dialogue>
    <scene_description>Jack picks up Sarah and the three of them head out while Sam questions Tom. TELEVISION A reporter interviews Jeff and Lisa and their parents. Switch A reporter interviews Mitch. switch A reporter interviews Charlotte. Switch</scene_description>
  </scene>
  <scene>
    <stage_direction>TV - INT. STUDIO - THE RUNYANREPORT</stage_direction>
    <scene_description>A slick, dark studio. A flinty eyed man in his fifties, wearing a dark blue suit and a red tie sits behind a desk. A picture of Tom is being</scene_description>
    <character>-</character>
    <dialogue>projected behind him, the words "American Hero" written across it.</dialogue>
    <character>RUNYAN</character>
    <dialogue>Three days ago, Tom McKenna was just another hard working business owner, the manager of McKenna•s Diner in Taylorville, Indiana. But now, thanks only to his true American character, he 1 s a hero to all of us. When he found himself in a ...</dialogue>
    <scene_description>The screen goes black.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL ROOM- DAY</stage_direction>
    <scene_description>Tom sits on the edge of the bed, fully dressed, and switches the TV off in disgust. Edie walks in, an ORDERLYbehind her, pushing a wheelchair.</scene_description>
    <character>EDIE</character>
    <dialogue>Honey?</dialogue>
    <character>TOM</character>
    <dialogue>God. Are you as sick of hearing about me as I am?</dialogue>
    <character>EDIE</character>
    <dialogue>I'll never be slck of you, honey. They're here to check you out.</dialogue>
    <scene_description>- Thank</scene_description>
    <character>TOM</character>
    <dialogue>God for small favors.</dialogue>
    <scene_description>He stands up and looks at the wheelchair.</scene_description>
    <character>ORDERLY</character>
    <dialogue>Regulations, sir. You have to let us wheel you out~</dialogue>
    <character>EDIE</character>
    <dialogue>It's true. Just do it, honey.</dialogue>
    <scene_description>Tom chuckles and gets in the wheelchair.</scene_description>
    <character>INT.</character>
    <dialogue>HOSPITAL WAITING AREA</dialogue>
    <scene_description>Tom is wheeled out to find dozens of locals and well wishers waiting for him. They pat him on the back. "Way to go, Tommy!u Jack, carrying Sarah, comes over to his father. Tom warmly squeezes his son's shoulder and kisses him on the forehead~</scene_description>
    <character>JACK</character>
    <dialogue>Geez, Dad. Not in front of people.</dialogue>
    <scene_description>Tom smiles. EXT. McKENNA HOUSE - DUSK A PERKY FEMALE REPORTER stands outside Tom's house, a CAMERAMANshooting her.</scene_description>
    <character>PERKY REPORTER</character>
    <dialogue>We're in Taylorville, outside the home of American hero Tom McKenna, who .is just now returning from the hospital with his family.</dialogue>
    <scene_description>The car pulls down the lot and stops. The reporter races over to Tom as he climbs out of the car, limping slightly.</scene_description>
    <character>PERKY REPORTER</character>
    <dialogue>Mr. McKenna, Jenny Wyeth, K~WANews. How did it feel when you saw those ruthless killers' guns pointed at you?</dialogue>
    <scene_description>Tom pauses a moment, struck by the stupidity of the question.</scene_description>
    <character>TOM</character>
    <dialogue>HOW did it feel?</dialogue>
    <scene_description>• ( CONTINUED) Yes, sir.</scene_description>
    <character>PERKY REPORTER</character>
    <dialogue>-</dialogue>
    <character>TOM</character>
    <dialogue>Not very good. Is this a slow news day?</dialogue>
    <character>PERKY REPORTER</character>
    <dialogue>Well, sir, we ....</dialogue>
    <character>TOM</character>
    <dialogue>I mean, what I did ..• Anyone would have done that. It was just a terrible thing, and I think we'll all be better off when we get past it.</dialogue>
    <character>PERKY REPORTER</character>
    <dialogue>Yes, but ...</dialogue>
    <character>TOM</character>
    <dialogue>I really need to go be with my family. Thank you.</dialogue>
    <scene_description>Be turns and walks into his house.</scene_description>
    <character>PERKY REPORTER</character>
    <dialogue>Uh ... From Taylorville, this is Jenny Wyeth, and, uh ....</dialogue>
    <scene_description>INT. McKENNA BOUSE - LIVING ROOM Tom storms in, followed by Jack and Sarah, then Edie. He looks out the window and sees the news van peeling out. He plops down into his armchair.</scene_description>
    <character>TOM</character>
    <dialogue>God. It's good to be home. I hope there won 1 t be much more of that.</dialogue>
    <character>JACK</character>
    <dialogue>They just want an interview, Dad. You're a hero.</dialogue>
    <character>TOM</character>
    <dialogue>No, I'm not. I got lucky. Very lucky. What I did was stupid and wrong.</dialogue>
    <character>JACK</character>
    <dialogue>And it saved the lives of everyone in the diner.</dialogue>
    <scene_description>Tom frowns. - EDIE This will all blow over as soon as they have some other hot story.</scene_description>
    <character>TOM</character>
    <dialogue>Maybe the Lydons will have another two headed cow.</dialogue>
    <character>JACK</character>
    <dialogue>That would be cool! I never got to see the last one.</dialogue>
    <scene_description>Tom rolls hls eyes and smiles. Edie looks out the window.</scene_description>
    <character>EDIE</character>
    <dialogue>Those goddam reporters.</dialogue>
    <character>TOM</character>
    <dialogue>They still out there?</dialogue>
    <character>EDIE</character>
    <dialogue>There$s a car parked across the field. They're just sitting there.</dialogue>
    <scene_description>-- Legally them? I don't honey.</scene_description>
    <character>TOM</character>
    <dialogue>speaking,</dialogue>
    <character>EDIE</character>
    <dialogue>think</dialogue>
    <scene_description>Let's that have am I allowed to shoot would be a good idea, some dinner~ She walks into the kitchen. Tom stands up and walks to the window and looks out. TOM'S POV - EXT. McKENNA HOUSE A dark sedan is parked on the other side of the field, by the road, its lights on dim. INT. McKENNA HOUSE - LIVING ROOM Tom looks thoughtfully at the car and frowns. INT. McKENNA HOUSE - TOM AND EDIE'S BEDROOM- LATER Tom sits on the bed, looking out at the night. Edie walks in in her nightgown and puts her arms around him.</scene_description>
    <character>EDIE</character>
    <dialogue>YOU okay, baby?</dialogue>
    <scene_description>I just keep</scene_description>
    <character>TOM</character>
    <dialogue>thinking .••.</dialogue>
    <character>-</character>
    <dialogue>EDIE</dialogue>
    <scene_description>About the diner?</scene_description>
    <character>TOM</character>
    <dialogue>I killed two men.</dialogue>
    <character>EDIE</character>
    <dialogue>Two really bad men.</dialogue>
    <character>TOM</character>
    <dialogue>I know. I know.</dialogue>
    <character>EDIE</character>
    <dialogue>They would have killed you.</dialogue>
    <character>TOM</character>
    <dialogue>Yeah, probably. I can't help thinking that ••.. I dunno •.. If I'd just managed to take them down. Sam could have arrested them. Maybe they could have earned another chance ... Made up for what they did?</dialogue>
    <character>EDIE</character>
    <dialogue>You can't think about that, Tommy.</dialogue>
    <character>TOM</character>
    <dialogue>There's always hope for change, you know? People can change.</dialogue>
    <character>EDIE</character>
    <dialogue>No. Not this again. Some people are just plain bad. Period.</dialogue>
    <character>TOM</character>
    <dialogue>Do you really believe that?</dialogue>
    <character>EDIE</character>
    <dialogue>Yes. I do. I think there's good, there's bad, and there 1 s a lot of gray areas in between~ But right is right, Tom. Some situations are simple. Some people are bad and some are just plain good, and I got me one of the good ones, and I'm not gonna let this crap eat him alive. so come to bed, and let me show you how we treat good men.</dialogue>
    <scene_description>She kisses his cheek, and he turns and kisses her back.</scene_description>
  </scene>
  <scene>
    <stage_direction>- EXT. TAYLORVILLE OUTSKIRTS - MORNING</stage_direction>
    <scene_description>Edie drives along the road, alone, and pulls over by the side. INT. McKENNA'S STATION WAGON Edie leans back and addresses the pile of sheets in the back.</scene_description>
    <character>EDIE</character>
    <dialogue>Okay, Mr. Fugitive. We're here.</dialogue>
    <scene_description>Tom sticks his head out of the pile.</scene_description>
    <character>TOM</character>
    <dialogue>Nobody followed us?</dialogue>
    <character>EDIE</character>
    <dialogue>Nope. You're in the clear. For now.</dialogue>
    <character>TOM</character>
    <dialogue>Thanks, baby.</dialogue>
    <character>EDIE"</character>
    <dialogue>You sure you really want to go back to work so soon?</dialogue>
    <character>TOM</character>
    <dialogue>I have to, babe. It's my job.</dialogue>
    <character>EDIE</character>
    <dialogue>You're such a roan.</dialogue>
    <character>TOM</character>
    <dialogue>The manliest.</dialogue>
    <scene_description>They kiss, and he climbs out. EXT. TAYLORVILLE Tom walks down the sidewalk. A car slows down as it passes him and a MIDDLE AGED MAN sticks his head out.</scene_description>
    <character>MIDDLE AGED MAN</character>
    <dialogue>Hey, Tommy! Way to go!</dialogue>
    <character>TOM</character>
    <dialogue>Thanks, Hector. Come by the diner. Have some breakfast.</dialogue>
    <character>MIDDLE AGED MAN</character>
    <dialogue>Will do, Tommy!</dialogue>
    <dialogue>The car pulls out and drives away. The kids who were playing Wolverine vs. Hulk earlier come racing by, one of them firing an invisible gun at the other two.</dialogue>
    <character>KID</character>
    <dialogue>This is my diner, you punks! Blam blam blam!</dialogue>
    <scene_description>Tom flinches at this, and the kid runs smack into his legs. Tom helps the kid up, and the kid looks at Tom in awe.</scene_description>
    <character>TOM</character>
    <dialogue>You okay?</dialogue>
    <scene_description>The kid nods, and Tom pushes him on his way, disturbed. EXT. McKENNA'S DINER A large piece of wood covers the broken window. Tom unlocks the door and walks in. The place is quiet. He looks around, the first time hers been here since then .... He looks down at the floor and bends over, picks up a piece of glass, and looks at it a long moment, turning it over and over. Finally, he throws it in the trash. Mick walks out of the kitchen.</scene_description>
    <character>TOM</character>
    <dialogue>Hey, Mick.</dialogue>
    <scene_description>Mick throws his arm around Tom and hugs him hard. Tom's a little taken aback.</scene_description>
    <character>MICK</character>
    <dialogue>Hey, boss. Back to work, huh?</dialogue>
    <character>TOM</character>
    <dialogue>Uh .•. Yeah. Back to work.</dialogue>
    <character>MICK</character>
    <dialogue>Good.</dialogue>
    <scene_description>Charlotte walks up to them.</scene_description>
    <character>TOM</character>
    <dialogue>Hey, Charlotte.</dialogue>
    <scene_description>She hugs him.</scene_description>
    <character>TOM</character>
    <dialogue>Hey, you guys. I'm your boss.</dialogue>
    <scene_description>(CONTINUED}:</scene_description>
    <character>-</character>
    <dialogue>- We'll</dialogue>
    <scene_description>okay?</scene_description>
    <character>CHARLOTTE</character>
    <dialogue>go back to hating you next week,</dialogue>
    <character>TOM</character>
    <dialogue>Okay.</dialogue>
    <scene_description>INT. McKENNA'S DINER Tom turns on the lights and looks around. Mick nods to the window.</scene_description>
    <character>MICK</character>
    <dialogue>Good as new, huh?</dialogue>
    <character>TOM</character>
    <dialogue>Yeah.</dialogue>
    <character>MICK</character>
    <dialogue>You sick of seeing yourself on TV?</dialogue>
    <character>TOM</character>
    <dialogue>Ayuh.</dialogue>
    <character>CHARLOTTE</character>
    <dialogue>It's good just to go back to something normal. I am not going to miss all those cameras.</dialogue>
    <character>MICK</character>
    <dialogue>You sure made certain those cameras didn't miss you. How tall is Larry King, really?</dialogue>
    <scene_description>Charlotte glares at him.</scene_description>
    <character>CHARLOTTE</character>
    <dialogue>I'll start the coffee machine.</dialogue>
    <character>TOM</character>
    <dialogue>Good.</dialogue>
    <character>MICK</character>
    <dialogue>Turn on the backup, too. We're gonna need a lot today.</dialogue>
    <character>TOM</character>
    <dialogue>You expecting a lot of customers?</dialogue>
    <character>MICK</character>
    <dialogue>Expecting? Nope .... They're already here.</dialogue>
    <dialogue>He nods to the door, and Tom turns to see a HUGE crowd has gathered outside - all locals.</dialogue>
    <character>TOM</character>
    <dialogue>Jesus.</dialogue>
    <character>MICK</character>
    <dialogue>You're a hero, boss. Good for business. Gonna let 'em in?</dialogue>
    <scene_description>Tom looks at Charlotte, who smiles at him. He nods and goes to the door and opens it. The crowd swarms in, people patting Tom on the arm, shaking his hand, just happy to see him. Torn is overwhelmed by the reaction. INT. McKENNA'S DINER - AFTERNOON Every table is filled. There are a few empty seats at the counter. Tom behind the counter, sorting through some checks" Edie walks in. Several of the customers wave to her and greet her. She smiles and nods back. She walks up to her husband and plants a big kiss on his cheek. Hey, honey. Hey' baby.</scene_description>
    <character>TOM</character>
    <dialogue>EDIE</dialogue>
    <character>TOM</character>
    <dialogue>-</dialogue>
    <scene_description>What brings you by?</scene_description>
    <character>EDIE</character>
    <dialogue>Just wanted to see how you were doing.</dialogue>
    <character>TOM</character>
    <dialogue>Doing good. Business is great. I oughta shoot someone every week.</dialogue>
    <scene_description>She gives him a slightly worried look, but he smiles back at her - everything's okay. The door opens and three men - very out of place - walk in. ALDO & CHARLIE are beefy guys in suits. Mid thirties, tough as hell. In between them is GIUSEPPI TORRINO, an older man wearing shades and a black suit. A scar runs down from the right side of his forehead down to his cheek. 'l'he three men stop at the door, ignoring the looks they' re getting from everyone, and look intently at Tom. • More</scene_description>
    <character>EDIE</character>
    <dialogue>reporters?</dialogue>
    <character>TOM</character>
    <dialogue>I didn't know gravediggers had their own network.</dialogue>
    <scene_description>The three men make their way to the counter and sit. There are only two seats, so Aldo stands behind Torrino and Charlie, like a guard. Torn puts menus down in front of them, hands one to Aldo, who ignores it.</scene_description>
    <character>TOM</character>
    <dialogue>would you gentlemen like some coffee?</dialogue>
    <character>TORRINO</character>
    <dialogue>You're the hero.</dialogue>
    <character>TOM</character>
    <dialogue>Oh, I don't know about that, sir. I just ...</dialogue>
    <character>TORRINO</character>
    <dialogue>The big hero. You sure took care of those two bad men.</dialogue>
    <character>TOM</character>
    <dialogue>I really don't like talking about it, sir. We're just trying to get back to normal here. Can I offer you gentlemen some coffee?</dialogue>
    <character>TORRINO</character>
    <dialogue>Sure. Give me some coffee. Make it black, Joey.</dialogue>
    <character>TOM</character>
    <dialogue>Yes, sir. And your friend .•.. Excuse me?</dialogue>
    <character>TORRINO</character>
    <dialogue>I said make it black. Joey.</dialogue>
    <character>TOM</character>
    <dialogue>Who's Joey?</dialogue>
    <character>TORRINO</character>
    <dialogue>You are.</dialogue>
    <character>TOM</character>
    <dialogue>My name's Tom, sir.</dialogue>
    <character>TORRINO</character>
    <dialogue>Of course it is. Just one cup.</dialogue>
    <scene_description>- Edie watches, troubled. Tom walks over to the coffee machine and pours a cup. He puts it in front of Torrino who picks it up, takes a long sip.</scene_description>
    <character>TORRINO</character>
    <dialogue>Good coffee.</dialogue>
    <character>TOM</character>
    <dialogue>Thank you.</dialogue>
    <character>TORRINO</character>
    <dialogue>Hard to find coffee this good in Philadelphia. But you know that, don't you 1 ..,Tom."</dialogue>
    <character>TOM</character>
    <dialogue>I don't really remember~ I've only been to Philly once. For a day. Passing through. Is that where you gentlemen are from?</dialogue>
    <character>CHARLIE</character>
    <dialogue>Like you don't know.</dialogue>
    <character>TOM</character>
    <dialogue>I'm sorry. Do we know each other?</dialogue>
    <character>TORRINO</character>
    <dialogue>You tell me.</dialogue>
    <scene_description>He takes off his sunglasses, revealing that his right eye, the one with the scar above and below it, is white, milky and dead. Edie gasps. Torn looks at him, puzzled.</scene_description>
    <character>TOM</character>
    <dialogue>Sir, I'm very sorry. You seem to think you know me, and I wish I could help you. I really have no idea where we would have met.</dialogue>
    <character>CHARLIE</character>
    <dialogue>Come onr Joey. Cut the crap.</dialogue>
    <character>TOM</character>
    <dialogue>My name is Tom.</dialogue>
    <scene_description>Edie steps up.</scene_description>
    <character>EDIE</character>
    <dialogue>If you aren't going to order anything, my husband and I would appreciate it if you men would be on your way.</dialogue>
    <scene_description>- Charlie on Tom. turns to her and smiles. Torrino keeps his gaze fixed</scene_description>
    <character>TORRINO</character>
    <dialogue>We ate on the road.</dialogue>
    <character>TOM</character>
    <dialogue>Sir, we really are busy. If you're not eatingf we should give your seats to paying customers.</dialogue>
    <scene_description>Torrino nods, and Aldo reaches into his jacket pocket. Tom and Edie tense. Aldo pulls out a wallet, takes out a fifty dollar bill, and puts it on the counter. Charlotte notices what's happening and looks on, concerned.</scene_description>
    <character>ALDO</character>
    <dialogue>Now we're paying customers.</dialogue>
    <character>TOM</character>
    <dialogue>I can't take this.</dialogue>
    <scene_description>-</scene_description>
    <character>TORRINO</character>
    <dialogue>It shouldn't be a problem for you.</dialogue>
    <character>TOM</character>
    <dialogue>Look, mister. I've been exceedingly polite to you, but if I have to, I'll call the authorities and we can take this up with them. I will not have anyone come into my business and threaten me.</dialogue>
    <character>CHARLIE</character>
    <dialogue>Mr. Torrino's just making conversation.</dialogue>
    <character>TOM</character>
    <dialogue>Whatever you want to call it. This conversation is over.</dialogue>
    <character>CHARLIE</character>
    <dialogue>He wants us to leave, Mr. Torrino.</dialogue>
    <character>ALDO</character>
    <dialogue>You know what he does when he don't like people, Mr. Torrino.</dialogue>
    <character>CHARLIE</character>
    <dialogue>Yeah. I'm scared. We should leave before he goes all Dirty Harry on us.</dialogue>
    <scene_description>Very well.</scene_description>
    <character>TORRINO</character>
    <dialogue>•</dialogue>
    <scene_description>He stands up.</scene_description>
    <character>TORRINO</character>
    <dialogue>Thank you for the coffee, Joey. It really is very good.</dialogue>
    <character>TOM</character>
    <dialogue>It's Tom. Tom McKenna.</dialogue>
    <scene_description>For the first time, 'l'orrino smiles. He and his men head for the door. Torn watches them go. Edie picks up the phone and dials.</scene_description>
    <character>EDIE</character>
    <dialogue>Hello, Molly? This is Edie McKenna. Is he in?</dialogue>
    <scene_description>Torn turns to her.</scene_description>
    <character>TOM</character>
    <dialogue>You calling Sam?</dialogue>
    <character>EDIE</character>
    <dialogue>Yeah.</dialogue>
    <character>TOM</character>
    <dialogue>Isn't that overreacting?</dialogue>
    <character>EDIE</character>
    <dialogue>These days? No. Do you know those men?</dialogue>
    <character>TOM</character>
    <dialogue>No. Of course not.</dialogue>
    <character>EDIE</character>
    <dialogue>For all we know, they're friends of the men who tried to rob you.</dialogue>
    <scene_description>Tom nods.</scene_description>
    <character>EDIE</character>
    <dialogue>Hello, Sam?</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TAYLORVILLEOUTSKIRTS</stage_direction>
    <scene_description>A black sedan drives slowly down the street. A Sheriff's car pulls up behind it, lights flashing. The sedan pu11s over. Sam gets out of the sheriff's car and walks up to the sedan. The window rolls down, and Aldo sticks his head out.</scene_description>
    <character>�</character>
    <dialogue>Charlie sits next to him. A shadowy figure - Torrino, we assume - sits in the back.</dialogue>
    <character>ALDO</character>
    <dialogue>There a problem with my driving, officer?</dialogue>
    <character>SAM</character>
    <dialogue>May I see your license, sir?</dialogue>
    <character>ALDO</character>
    <dialogue>Sure. (Hands Sam the license) I thought I was under the limit.</dialogue>
    <scene_description>Sam looks at the license, then walks back to his car. Aldo turns to Charlie, who looks impassively ahead. Sam walks back to the car and hands Aldo the license.</scene_description>
    <character>SAM</character>
    <dialogue>Step out of the car, sir.</dialogue>
    <scene_description>Aldo steps out.</scene_description>
    <character>SAM</character>
    <dialogue>Place your hands on the hood, sir.</dialogue>
    <scene_description>Aldo does as he's told, and Sam pats him down.</scene_description>
    <character>ALDO</character>
    <dialogue>I ain't carrying anything, officer.</dialogue>
    <character>SAM</character>
    <dialogue>What's your business in Taylorville, sir?</dialogue>
    <character>ALDO</character>
    <dialogue>We're tourists.</dialogue>
    <character>SAM</character>
    <dialogue>What business did you have at McKenna's Diner today?</dialogue>
    <character>ALDO</character>
    <dialogue>We heard the coffee was terrific.</dialogue>
    <character>SAM</character>
    <dialogue>Well, let me make something clear you, Mr. Lazorko. This is a nice town. We have nice people here. We take care of our</dialogue>
    <scene_description>nice people. Do you understand me?</scene_description>
    <character>ALDO</character>
    <dialogue>Sure.</dialogue>
    <character>SAM</character>
    <dialogue>Don't let me see you around again.</dialogue>
    <character>ALDO</character>
    <dialogue>Keep up the good work, officer.</dialogue>
    <character>SAM</character>
    <dialogue>I'm not an officer. I'm the sheriff.</dialogue>
    <character>ALDO</character>
    <dialogue>I'll remember that.</dialogue>
    <character>SAM</character>
    <dialogue>You're not going to need to. You're leaving town.</dialogue>
    <scene_description>Aldo shrugs and gets back in the car.</scene_description>
    <character>ALDO</character>
    <dialogue>You lettin' us off with a warning, officer? Sheriff?</dialogue>
    <character>SAM</character>
    <dialogue>Yeah. A warning.</dialogue>
    <character>ALDO</character>
    <dialogue>Thanks. You have a great day.</dialogue>
    <scene_description>They pull out and take off. Sam watches them go, troubled.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. GAS STATION - DAY</stage_direction>
    <scene_description>Torrino•s sedan pulls into the station and Torrino gets out and heads for the men's room. Aldo starts pumping gas. Charlie gets out and stretches.</scene_description>
    <character>CHARLIE</character>
    <dialogue>What do you think?</dialogue>
    <character>ALDO</character>
    <dialogue>About what?</dialogue>
    <character>CHARLIE</character>
    <dialogue>All this. Joey.</dialogue>
    <character>ALDO</character>
    <dialogue>I dunno. It's been twenty years. I mean, yeah, boss says the guy looks kinda like Joey, but you know, I look kinda like Mel Gibson and you look a lot like Godzilla.</dialogue>
    <character>CHARLIE</character>
    <dialogue>Funny asshole.</dialogue>
    <scene_description>- ALDO I mean, for all we know Joey's put on eighty pounds, gone bald and dresses like a ballet dancer these days. He could be anywhere.</scene_description>
    <character>CHARLIE</character>
    <dialogue>Yeah. What if he's wrong?</dialogue>
    <character>ALDO</character>
    <dialogue>We do our job. Right or wrong don't really enter into it.</dialogue>
    <scene_description>Charlie nods. Torrino walks out of the men's room.</scene_description>
    <character>TORRINO</character>
    <dialogue>What're you talking about?</dialogue>
    <character>ALDO</character>
    <dialogue>Game last night. Atlanta kicked some ass.</dialogue>
    <scene_description>INT. McKENNA HOUSE Torn and Edie doing the dishes. The doorbell rings.</scene_description>
    <character>TOM</character>
    <dialogue>I'll get it.</dialogue>
    <scene_description>He goes to the door, opens it to find Sam.</scene_description>
    <character>TOM</character>
    <dialogue>Sam. Everything okay?</dialogue>
    <character>SAM</character>
    <dialogue>You mind if I come in, Torn?</dialogue>
    <character>TOM</character>
    <dialogue>No, of course not. Come on in. We just finished putting Sarah to bed, so we have to keep it low for a bit.</dialogue>
    <scene_description>They walk in and sit in the living room. Edie joins them.</scene_description>
    <character>SAM</character>
    <dialogue>Edie.</dialogue>
    <character>EDIE</character>
    <dialogue>Sam. What's going on?</dialogue>
    <character>SAM</character>
    <dialogue>Those men who came in to see you this morning . ...</dialogue>
    <character>EDIE</character>
    <dialogue>G<Jd. Yes. Thank you for that.</dialogue>
    <character>SAM</character>
    <dialogue>Well, I did a little digging this afternoon. Tom.... You don't know these fellas, do you?</dialogue>
    <character>TOM</character>
    <dialogue>Jesus, Sam. No. I've never seen them in my life.</dialogue>
    <character>SAM</character>
    <dialogue>Okay. Because these are some bad men. (Takes out a notepad) Charles Olivieri, out of New York. Indicted on three counts of murder. Aldo Lazorko, Philadelphia. Indicted on one count of murder, questioned in relation to dozens of acts of violence you do not want to hear about. Both men work for Giuseppi Torrino, the fella with the eye. Spent fifteen years in prison on several accounts of assault. Suspected in half a dozen murders and more disappearances. Tom, these guys are organized crime from the East Coast. They're the real thing. The bad men.</dialogue>
    <character>EDIE</character>
    <dialogue>Jesus. Jesus, Tom.</dialogue>
    <scene_description>Torn looks at her, worried.</scene_description>
    <character>SAM</character>
    <dialogue>I have to ask you a question, and you have to know that I've known you as long as you been here, and Edie and I go back to high school. If there's one person in this town outside your family you can trust, it's me.</dialogue>
    <character>TOM</character>
    <dialogue>I know that, Sam.</dialogue>
    <character>SAM</character>
    <dialogue>Are you in some kind of witness protection plan?</dialogue>
    <scene_description>Tom is a little surprised, a little taken aback by the question.</scene_description>
    <character>{CONTINUED)</character>
    <dialogue>- Wha ...</dialogue>
    <character>TOM</character>
    <dialogue>Some kind of ... Are you ... ?</dialogue>
    <scene_description>He laughs.</scene_description>
    <character>SAM</character>
    <dialogue>It's no laughing matter, Torn.</dialogue>
    <character>EDIE</character>
    <dialogue>Of course he's not, Sam.</dialogue>
    <character>SAM</character>
    <dialogue>I'd just like to hear Torn tell me that, Edie.</dialogue>
    <character>TOM</character>
    <dialogue>Sam. God. I love that. It's hilarious. No. No. I'm not in some kind of witness protection program. Those men just have the wrong guy. They saw me on TV, I reminded them of someone ... Johnny ....</dialogue>
    <character>EDIE</character>
    <dialogue>Joey.</dialogue>
    <character>TOM</character>
    <dialogue>Joey something. Lord, the idea of me •...</dialogue>
    <scene_description>Edie smiles.</scene_description>
    <character>SAM</character>
    <dialogue>I honestly didn't believe it, Tom. But I had to ask. Men like this come to our town, start harassing a citizen .... I dunno ... You read about these things in the paper, you know?</dialogue>
    <character>TOM</character>
    <dialogue>Sure. Of course. I understand.</dialogue>
    <scene_description>Sl'.M So, look, I talked to Torrino and his men today. Made it real clear that if they didn't have business here, they weren't welcome in town. You let me know if you see them corning around, okay?</scene_description>
    <character>TOM</character>
    <dialogue>Of course.</dialogue>
    <scene_description>Sam stands up to go. Would you</scene_description>
    <character>EDIE</character>
    <dialogue>like some pie, Sam?</dialogue>
    <character>-</character>
    <dialogue>SAM</dialogue>
    <scene_description>Aw, no thanks, Edie. I'd love some, but I have to get back to work. Tom walks him to the door and shakes his hand.</scene_description>
    <character>TOM</character>
    <dialogue>Sam. Thank you. It's good to know you're keeping an eye out for us.</dialogue>
    <character>SAM</character>
    <dialogue>Come on, Tom. You know we look out for our own here.</dialogue>
    <scene_description>Tom smiles and pats Sam on the back as he leaves. He closes the door and turns to face a troubled Edie.</scene_description>
    <character>TOM</character>
    <dialogue>Don't worry. They have the wrong guy. They're leaving. It's over and done with. Hey, I was on TV all across the country. I'm sure there'll be other folks think they recognize me. Rey, maybe someone'll mistake me for a guy who won the lottery.</dialogue>
    <character>EDIE</character>
    <dialogue>I hope you're right.</dialogue>
    <character>TOM</character>
    <dialogue>I am. You're the one said it - this'll all blow over soon enough. Someone'll fall down a well, or some farmer will get abducted by a UFO, and we'll go right back to being anonymous.</dialogue>
    <scene_description>They hug.</scene_description>
    <character>EDIE</character>
    <dialogue>Wanna have some anonymous sex?</dialogue>
    <scene_description>Torn smiles warmly. INT. McKENNA'S DINER Tight on Leland, looking straight at us.</scene_description>
    <character>LELAND</character>
    <dialogue>I'm gonna kill you and everyone you know and your whole goddam family.</dialogue>
    <character>-</character>
    <dialogue>A loud roar and Leland is hit in the chest by a shotgun blast and flung across the room.</dialogue>
    <dialogue>Tom walks across to him, smoking shotgun in hand. He looks over the body, but Leland has become Torrino. He lays on the floor in a pool of blood, his chest ripped open, laughing. Torn looks at him, puzzled, and Torrino slowly raises a gun towards Tom and squeezes the trigger. BLAM!</dialogue>
    <character>INT.</character>
    <dialogue>Tom's eyes Edie wakes the window</dialogue>
    <character>MCKENNAHOUSE - TOM AND EDIE'S</character>
    <dialogue>snap open and he cries out. He's bathed in sweat. up, sees him, and holds him tight. at the dark night.</dialogue>
    <character>EDIE</character>
    <dialogue>What is it, baby?</dialogue>
    <character>TOM</character>
    <dialogue>God .... A dream ... Just a dream ... Jesus ..•</dialogue>
    <character>EDIE</character>
    <dialogue>Are you okay?</dialogue>
    <character>TOM</character>
    <dialogue>Yeah. Yeah, I will be. God, Edie ... There's so much ... So many things happening ... It's all just .•.</dialogue>
    <character>EDIE</character>
    <dialogue>It's okay, baby. It's okay.</dialogue>
    <scene_description>She holds him tight.</scene_description>
    <character>TOM</character>
    <dialogue>Edie ... I'm only gonna say this one time. It's your business. Your decision. But your father ... I know you're mad. But he's your family. Some day he'll be gone, and you might find you wish you'd given him a chance.</dialogue>
    <character>EDIE</character>
    <dialogue>Tom. Please.</dialogue>
    <character>TOM</character>
    <dialogue>That's all I want to say .</dialogue>
    <scene_description>• ( CONTINUED) She rolls onto her back and sighs.</scene_description>
    <character>�</character>
    <dialogue>EDIF.</dialogue>
    <scene_description>Tom ... I can't.</scene_description>
    <character>TOM</character>
    <dialogue>I understand.</dialogue>
    <character>EDIE</character>
    <dialogue>No. You really don't. But there's a reason ... something you donrt know. Something I've never told you ..•.</dialogue>
    <character>TOM</character>
    <dialogue>My God. Did he •.•. ?</dialogue>
    <character>EDIE</character>
    <dialogue>No. Worse. My mother didn't die in a car crash visiting her sister •... She didn't drive off the road. She parked the car in front of that train. Parked it, Tom. She couldn't take it anymore. She couldn't stop him from hurting us. She couldn't change him. I'd just left for college ...</dialogue>
    <character>�</character>
    <dialogue>I guess she was waiting until I was safely out of the house for good •...</dialogue>
    <character>TOM</character>
    <dialogue>My God •...</dialogue>
    <character>EDIE</character>
    <dialogue>Sam's father was sheriff then. He'd grown up with my father, and he didn't want my mother's memory being destroyed by gossip and scandal. He took care of it. But Tom ... As far as I'm concerned, my father killed her. He left her no other choice, no other exit. I don't want anything to do with him, ever.</dialogue>
    <character>TOM</character>
    <dialogue>Jesus, Edie. Jesus.</dialogue>
    <character>EDIE</character>
    <dialogue>You're nothing like that son of a bitch, Tom. Thatfs one of the reasons I love you. Now please ... Let's go to sleep.</dialogue>
    <scene_description>He takes her in his arms and holds her tight. llXT. McKENNA HOUSE - DAWN Torn quietly walks out the front door and walks down the road.</scene_description>
    <character>�</character>
    <dialogue>EXT. McKENNA'S DINER - EARLY MORNING</dialogue>
    <dialogue>Tom unlocks the door and walks in. A figure approaches him, and he turns to see Hank.</dialogue>
    <character>TOM</character>
    <dialogue>Hey. Hank.</dialogue>
    <character>HANK</character>
    <dialogue>Tom.</dialogue>
    <character>TOM</character>
    <dialogue>What are you doing up this early?</dialogue>
    <character>HANK</character>
    <dialogue>Morning walk. Try to do it every day. How are you?</dialogue>
    <character>TOM</character>
    <dialogue>I'm okay.</dialogue>
    <character>HANK</character>
    <dialogue>can I come in?</dialogue>
    <scene_description>Hank nods, and Tom leads him inside. INT. McKENNA'S DINER The broken window has been replaced. Tom turns on the lights and walks behind the counter.</scene_description>
    <character>HANK</character>
    <dialogue>Opening earlier than normal.</dialogue>
    <character>TOM</character>
    <dialogue>Yeah. I couldn't sleep. Figured I'd come in, get some paperwork done.</dialogue>
    <character>HANK</character>
    <dialogue>You did good the other day, Tom. Don't tell yourself otherwise.</dialogue>
    <character>TOM</character>
    <dialogue>Yeah1 I know.</dialogue>
    <scene_description>Hank grabs his arm firmly.</scene_description>
    <character>HANK</character>
    <dialogue>No. You don't. You did good. You come to a situation likg that, him or you, and there's no easy way out.</dialogue>
    <character>HANK</character>
    <dialogue>If you hadn't done what you did, Edie'd be a widow, and your kids wouldn't have a father. You did good and you just live with that.</dialogue>
    <scene_description>Torn looks intently at Hank, then nods.</scene_description>
    <character>TOM</character>
    <dialogue>Thank you.</dialogue>
    <character>HANK</character>
    <dialogue>Anyway. I just came by to tell you that.</dialogue>
    <scene_description>He gets up to leave.</scene_description>
    <character>TOM</character>
    <dialogue>Hank •.. I talked to Edie. The night you came by.</dialogue>
    <scene_description>Hank turns to face Torn.</scene_description>
    <character>TOM</character>
    <dialogue>I don't know.</dialogue>
    <character>HANK</character>
    <dialogue>She's</dialogue>
    <dialogue>Yeah.</dialogue>
    <scene_description>pretty</scene_description>
    <character>TOM</character>
    <dialogue>You could</dialogue>
    <character>HANK</character>
    <dialogue>angry.</dialogue>
    <scene_description>say that. I fucked it all up, Tom. Everything. I</scene_description>
    <character>-</character>
    <dialogue>can't fix what I've done. I can't change it. I just want one chance at making up for it a little.</dialogue>
    <scene_description>Hank walks out. Torn goes to the door to close it, then freezes. Torrino's black sedan is sitting in the middle of the street, engine running. Tom steps outside.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MCKENNA'SDINER</stage_direction>
    <scene_description>Torn stands looking at the sedan a long beat. The sedan shifts into gear and slowly pulls off down the street. Tom watches the sedan roll down the street and turn at the corner. He runs after it.</scene_description>
  </scene>
  <scene>
    <stage_direction>- EXT. TAYLORVILLE - STREET</stage_direction>
    <scene_description>Torn comes to the end of the street and watches the sedan slowly drive down the street 1 towards the outskirts.</scene_description>
    <character>TOM</character>
    <dialogue>Jesus.</dialogue>
    <scene_description>He runs after it, desperate and scared, hobbling on his injured foot. He pulls his cell phone out of his pocket and punches a number as he runs.</scene_description>
    <character>INT.</character>
    <dialogue>MCKENNA HOUSE - TOM AND EDIE'S</dialogue>
    <scene_description>Edie sleeps as the morning sun peeks through the curtains. The phone by the side of the bed rings and she rolls over.</scene_description>
    <character>EDIE</character>
    <parenthetical>(Eyes closed)</parenthetical>
    <dialogue>Honey, get that.</dialogue>
    <scene_description>She realizes Tom,s not there, and rolls over to answer the phone.</scene_description>
    <character>EDIE</character>
    <dialogue>Hello? .... Tom? Where are .... ? What? Coming here? Tom ... Hang on. What? Are you serious?</dialogue>
    <character>EXT. TAYLORVILLE OUTSKIRTS</character>
    <dialogue>Tom, running desperately down the street, talking on the phone.</dialogue>
    <character>TOM</character>
    <dialogue>The shotgun, Edie. Get the shotgun. They're coming to the house!</dialogue>
    <scene_description>INT. McKENNA HOUSE - TOM AND EDIE'S BEDROOM Edie slams the phone down and runs to the closet. A rifle and a double barreled 12 gauge shotgun lean side by side against the wall. She grabs the 12 gauge, and races out of the room. INT. McKENNA HOUSE - LIVING ROOM Edie tears down the stairs, holding the shotgun. She runs to the front door and peers out the window. Nothing. -</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TAYLORVILLE OUTSKIRTS</stage_direction>
    <character>-</character>
    <dialogue>Torn, running frantically, in horrible pain, sweat pouring down his face, his legs cramping, his injured foot killing him. In the far distance, he sees the sedan turn down a small road.</dialogue>
    <character>TOM</character>
    <dialogue>No! Nol</dialogue>
    <scene_description>He runs, harder. Breath comes in short, pained bursts, gasps. His left leg cramps and he cries out in pain, but keeps going. Down the road, through the field. Across the field. Panting. Gritting his teeth. Screaming. Through the field, through the corn. Falls. Hard. WHI\M! Staggers He comes tank, Quiet. to to comes to the No car. his the feet end and of house. He stops, the burns field, panting, on. leaps red, over damp with the propane sweat,</scene_description>
    <character>-</character>
    <dialogue>dirty.</dialogue>
    <dialogue>He cautiously approaches the front door.</dialogue>
    <dialogue>Which whips open, to reveal ....</dialogue>
    <dialogue>Edie. Holding the gun. Confused.</dialogue>
    <character>EDIE</character>
    <dialogue>Tom?</dialogue>
    <scene_description>He staggers to her and wraps her up in his arms.</scene_description>
    <character>EDIE</character>
    <dialogue>Tom, what's going on?</dialogue>
    <character>TOM</character>
    <dialogue>l don't know, baby. I don't know.</dialogue>
    <character>EDIE</character>
    <dialogue>I' 11 call Sam.</dialogue>
    <character>�</character>
    <dialogue>TOM</dialogue>
    <scene_description>No. Don't. I don't even know ... I don't even know if it was them. she looks at him, worried. He staggers into the house. INT. McKENNAHOUSE - BATHROOM Tom in the shower, washing it all off. He steps out, and sees Edie standing there.</scene_description>
    <character>TOM</character>
    <dialogue>Hey.</dialogue>
    <scene_description>He takes a towel and starts drying off.</scene_description>
    <character>TOM</character>
    <dialogue>I think I'm losing my mind.</dialogue>
    <character>EDIE</character>
    <dialogue>No, you're not. You've been through some serious trauma. And these men are just making it worse. I'm here, baby. We're all here. We all love you. It's going to be okay.</dialogue>
    <scene_description>They hug and Tom kisses his wife. The door opens, and a bleary eyed Jack stands there in his pajama bottoms.</scene_description>
    <character>JACK</character>
    <dialogue>Ew. Gross.</dialogue>
    <character>EXT. TAYLORVILLEMALL- DAY</character>
    <dialogue>A typical Midwestern mall. The McKenna's station wagon pulls into the parking lot and Edie gets out, gets Sarah, and the two of them head into the mall. Behind them, in the distance, a familiar black sedan pulls into the parking lot and sits. INT. TAYLORVILLEMl\LL - SHOE STORE Edie sits in a chair while a SHOE SALESWOMAN</dialogue>
    <scene_description>helps her try on a pair of shoes. Sarah is roaming around the store, bored.</scene_description>
    <character>SALESWOMAN</character>
    <dialogue>How do they feel?</dialogue>
    <character>EDIE</character>
    <dialogue>Gcod. I like them.</dialogue>
    <character>SALESWOMAN</character>
    <dialogue>l have a pair of these myself. They look great, and they really last.</dialogue>
    <character>EDIE</character>
    <dialogue>Okay. I'll take them. Now we need a new pair for her.</dialogue>
    <scene_description>They both turn to look, but Sarah's gone. Edie gets up.</scene_description>
    <character>EDIE</character>
    <dialogue>Sarah?</dialogue>
    <scene_description>No Sarah. worried, Edie walks to the door and looks out into the mall. The Saleswoman follows.</scene_description>
    <character>SALESWOMAN</character>
    <dialogue>M'am?</dialogue>
    <scene_description>Edie turns, and the woman nods to her feet. Edie is still wearing the new shoes.</scene_description>
    <character>EDIE</character>
    <dialogue>I have to find my daughter.</dialogue>
    <character>SALESWOMAN</character>
    <dialogue>I'm sorry, m'am. I canft let you leave the store with those.</dialogue>
    <scene_description>Edie kicks off the shoes in exasperation and walks briskly out of the store. A hand grabs her shoulder and she whirls. It's Charlie, Torrino's man. Edie gasps.</scene_description>
    <character>CHARLIE</character>
    <dialogue>Mrs. McKenna.</dialogue>
    <character>EDIE</character>
    <dialogue>Oh my God. My daughter! Where is she?</dialogue>
    <scene_description>Charlie nods, and Edie follows his look to see Sarah standing outside the toy store, looking in the window. Torrino and Aldo sit on a bench across from her. Edie walks to her daughter, followed by Charlie.</scene_description>
    <character>EDIE</character>
    <dialogue>Sarah! NEVER do that again!</dialogue>
    <character>SARAH</character>
    <dialogue>I'm sorry, Mommy. But look! They have the new Kimberly!</dialogue>
    <character>TORRINO</character>
    <dialogue>No need to worry, Mrs. McKenna. We were keeping an eye on her.</dialogue>
    <character>EDIE</character>
    <dialogue>You stay the fuck away from my family, you son of a bitch.</dialogue>
    <character>TORRINO</character>
    <dialogue>There's no need for that kind of language, Mrs. McKenna.</dialogue>
    <character>EDIE</character>
    <dialogue>Look, I don't know what you want, and I don't care. If I see you again, this will be police business.</dialogue>
    <character>TORRINO</character>
    <dialogue>Yes, you're an attorney, aren't you? You have some strong ties to the local law enforcement community. I respect that. But we're not here to break any laws, Mrs. McKenna. I just want what's mine.</dialogue>
    <character>EDIE</character>
    <dialogue>My husband is not the man you think he is.</dialogue>
    <character>TORRINO</character>
    <dialogue>That's certainly possible. Please. Have a seat. Let me tell you a story.</dialogue>
    <scene_description>She glares at him, not moving.</scene_description>
    <character>TORRINO</character>
    <dialogue>Mrs. McKenna. This is a crowded shopping mall. Even if I was the bad man you seem to think I am, what could I do here? Please. Sit.</dialogue>
    <character>EDIE</character>
    <dialogue>I'll stand.</dialogue>
    <scene_description>Torrino sighs and nods.</scene_description>
    <character>TORRIN�</character>
    <parenthetical>(To Charlie)</parenthetical>
    <dialogue>Never argue with a woman. Especially a woman lawyer ..</dialogue>
    <scene_description>Charlie smiles.</scene_description>
    <character>TORRINO</character>
    <dialogue>I don't know what your friend the sheriff told you about me, Mrs. McKenna. I have no doubt he did some digging. I'm not a private man.</dialogue>
    <scene_description>-</scene_description>
    <character>TORRINO {</character>
    <dialogue>It's easy to get information on me. But how does that old song go? "Believe half of what you see and none of what you</dialogue>
    <dialogue>hear 11 ? That's good advice. It's true I've been on the wrong side of the law a few times. I come from a tough town. Life</dialogue>
    <dialogue>doesn't always give us the choices we'd like. But if you come to my neighborhood and ask the people, they'll tell you it's me they come to when they have problems, not the police. You watch the news. You know about big city police.</dialogue>
    <character>EDIE</character>
    <dialogue>I don't have time for this.</dialogue>
    <character>TORRINO</character>
    <dialogue>I'm sorry. I'm an old man. It's pretty easy to drift off subject. I'll keep this brief. I have a little shop in South Philadelphia. We sell cheeses from all over the world. You'd like it, Mrs.</dialogue>
    <dialogue>McKenna. Everybody comes there, and even if they're not buying, it's a place to come together with your friends and neighbors. It makes me happy to own such</dialogue>
    <dialogue>a place. It's an essential part of the community.</dialogue>
    <character>EDIE</character>
    <dialogue>What does this have to do with my husband?</dialogue>
    <character>TORRINO</character>
    <dialogue>Your husband? I think your husband's real name is Joey Behan. He ran with a bad</dialogue>
    <dialogue>group of kids. Troublemakers. He was what you'd call the Alpha male these days. He</dialogue>
    <dialogue>was really good at getting his friends to do things for him. People like you and me, Mrs. McKenna, we respect community. We understand how important it is to have a place where people can come together and be part of a bigger thing. But not Joey.</dialogue>
    <character>EDIE</character>
    <dialogue>You have to know how wrong you are. My husband has nothing but respect for ...</dialogue>
    <character>TORRINO</character>
    <dialogue>People change.</dialogue>
    <character>EDIE</character>
    <dialogue>Not that much, they don't. Besides, Tom grew up in Portland, Oregon.</dialogue>
    <character>TORRINO</character>
    <dialogue>Yes, yes. Of course. But Joey Behan didn't, and he and a little friend of his, Richie Federici, decided one day that what was mine should be theirs. It's never been hard to get ahold of guns in Philadelphia, and one evening, as we were closing shop, Joey and his friend Richie came in armed to the teeth.</dialogue>
    <character>EDIE</character>
    <dialogue>This is crazy.</dialogue>
    <character>TORRINO</character>
    <dialogue>Yes. It was crazy. So crazy, nobody was ready for it. Joey and his friend had no compunction about firing wild. Five of my friends were hit. Of the three who lived, one of 'em can't use his arm anymore. Another is permanently brain damaged, Mrs. McKenna, and I started the day with two good eyes. These two young men made off with a very large sum of money, and disappeared. Friends of mine, I have to tell you,they wanted to spend a lot more time looking. Me, I just wanted to get on with my life. Learn from my mistakes and move forward. But when I turned on my television the other day and saw Joey</dialogue>
    <scene_description>Behan staring me in the face, I knew I had to do something. You say he's the wrong man. He's not .Joey Behan. Perhaps this is true. Anything's possible. But would you forget the man who took your eye, Mrs. McKenna? I doubt it. Edie looks at Torrino calmly for a long beat.</scene_description>
    <character>EDIE</character>
    <dialogue>Mr. Torrino, let me tell you how I'm going to spend the rest of my day. I'm going to take my daughter and we're going to buy her a pair of new shoes. Then I'm going to my office and calling Judge Lane. He's the toughest judge in the county, but he has a crush on me a mile wide, and I'm going to push through a restraining order against you and your .... associates.</dialogue>
    <scene_description>-</scene_description>
    <character>EDIE</character>
    <dialogue>If I see you or them within five hundred feet of me, my children or my husband, I'm going to have you arrested. If you come anywhere near my home, I'm going to shoot you. Can I possibly make myself clearer to you?</dialogue>
    <scene_description>Torrino smiles.</scene_description>
    <character>TORRINO</character>
    <dialogue>No, Mrs. McKenna. You can't. I want to thank you for your time. You have an enchanting daughter.</dialogue>
    <scene_description>Edie reaches out her hand to Sarah, who takes it. They turn and walk away. Her back turned to Torrino, Edie's face cracks - in spite of her tough facade, she's terrified.</scene_description>
    <character>TORRINO</character>
    <dialogue>Mrs. McKenna.</dialogue>
    <scene_description>She turns.</scene_description>
    <character>TORRINO</character>
    <dialogue>Don't forget your shoes.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. TAYLORVILLE HIGH - HALLWAY- DAY</stage_direction>
    <scene_description>Jack and Judy How's walking</scene_description>
    <character>JUDY</character>
    <dialogue>your dad?</dialogue>
    <scene_description>out of a class.</scene_description>
    <character>-</character>
    <dialogue>JACK</dialogue>
    <scene_description>I dunno. A little weird.</scene_description>
    <character>JUDY</character>
    <dialogue>What he went through? That would freak anyone out.</dialogue>
    <character>JACK</character>
    <dialogue>Yeah. I guess.</dialogue>
    <scene_description>Jack is pushed from behind and staggers forward, dropping his books. He and Judy turn to see Bobby and his buddies standing there.</scene_description>
    <character>BOBBY</character>
    <dialogue>So you're old man's some kind of tough guy. What's he think of his wimp son?</dialogue>
    <scene_description>Jack glares at Bobby. ( CON'l'INUED) - BOBBY You think he'd take this shit? You think he'd make jokes? Come on, bitch. Say something funny.</scene_description>
    <character>JUDY</character>
    <dialogue>Leave him alone, Bobby.</dialogue>
    <character>BOBBY</character>
    <dialogue>Shut up, skank.</dialogue>
    <scene_description>Jack glares at Bobby.</scene_description>
    <character>BOBBY</character>
    <dialogue>Ooh. He's getting mad.</dialogue>
    <character>JUDY</character>
    <dialogue>Come on, Jack~ Let's get out of here.</dialogue>
    <scene_description>Jack doesn't move.</scene_description>
    <character>JUDY</character>
    <dialogue>Jack, come on. He's an asshole. You know that. He doesn't mean shit. Let's go.</dialogue>
    <character>BOBBY</character>
    <dialogue>Yeah, puss. Run away. God DAMN, but your daddy must be real shamed by you.</dialogue>
    <scene_description>Jack takes a step towards Bobby, angry.</scene_description>
    <character>BOBBY</character>
    <dialogue>Say something funny, bitch. Make me laugh.</dialogue>
    <scene_description>Jack turns to walk away. Bobby smiles. Without warning Jack whirls and grabs the larger boy by the shirt and hurls him into a locker. He dives into Bobby, fists swinging, and pummels him mercilessly. Blood spurts from Bobby's nose. Jack punches him hard in the stomach, then kicks him in the balls. With a cry, Bobby falls to the ground, and Jack savagely kicks him in the stomach and head. Judy tries to pull him off, but he pushes her away.</scene_description>
    <character>JACK</character>
    <dialogue>Are you laughing? Are you laughing now? Are you fucking laughing, you motherfucking cocksucking piece of shit?</dialogue>
    <dialogue>Judy and Bobby's furious, possessed.</dialogue>
    <scene_description>buddies try A TEACHER steps to pull out Jack of back, but a classroom he's and</scene_description>
    <character>-</character>
    <dialogue>sees what's happening, grabs Jack and yanks him off of the battered, bleeding Bobby.</dialogue>
    <dialogue>INT. McKENNA HOUSE - LIVING ROOM- AFTERNOON</dialogue>
    <dialogue>Tom confronts his son.</dialogue>
    <character>TOM</character>
    <dialogue>What the hell were you thinking?</dialogue>
    <character>JACK</character>
    <dialogue>Dad, he's been riding me all year. He's a jerk.</dialogue>
    <character>TOM</character>
    <dialogue>"He's a jerkz,? That's it? That's no excuse. You stand up to him. You don't nearly put him in the hospital.</dialogue>
    <character>JACK</character>
    <dialogue>Oh, big deal. It's the best thing anyone could have done to him.</dialogue>
    <character>TOM</character>
    <dialogue>This is serious, Jack.</dialogue>
    <character>JACK</character>
    <dialogue>Whatever.</dialogue>
    <character>TOM</character>
    <dialogue>Goddammit. In this family, we do not solve problems by hitting people.</dialogue>
    <character>JACK</character>
    <dialogue>No. In this family, we shoot them.</dialogue>
    <scene_description>Before he can even think, Tom lashes out and smacks Jack across the face. Jack staggers back, stunned. A horrified look crosses Tom's face. Tears streaming down his face, Jack turns and runs out of the house ..</scene_description>
    <character>TOM</character>
    <dialogue>Jack .... Oh, no .... Jack .•..</dialogue>
    <scene_description>He stands there, looking at the open door, appalled at what he did.</scene_description>
    <character>-</character>
    <dialogue>- INT. McKENNAHOUSE - TOM AND EDIE'S BEDROOM- AFTERNOON</dialogue>
    <scene_description>Tom lays on the bed in the dark, very upset. He hears the door open downstairs and rolls to his feet and heads for the door. INT. LIVING ROOM Tom comes down the stairs.</scene_description>
    <character>TOM</character>
    <dialogue>Honey. Something really .••.</dialogue>
    <character>EDIE</character>
    <dialogue>Tom. You have to listen to me.</dialogue>
    <character>TOM</character>
    <dialogue>What? What's wrong, baby?</dialogue>
    <scene_description>He comes down the stairs and takes his wife in his arms.</scene_description>
    <character>TOM</character>
    <dialogue>Are you okay?</dialogue>
    <scene_description>-- followed</scene_description>
    <character>EDIE</character>
    <dialogue>I'm okay. We're fine. Torrino</dialogue>
    <scene_description>us to the mall.</scene_description>
    <character>TOM</character>
    <dialogue>He what? Jesus Christ. to call. ...</dialogue>
    <scene_description>Call and his Sam. We have men</scene_description>
    <character>EDIE</character>
    <dialogue>I took care of it, honey. I called Sam. I went to the courthouse, and we got a restraining order.</dialogue>
    <character>TOM</character>
    <dialogue>For all the good that will do ...</dialogue>
    <character>EDIE</character>
    <dialogue>It's something. If he comes around again, we can have him arrested. But I have to tell you something ..•.</dialogue>
    <character>TOM</character>
    <dialogue>What?</dialogue>
    <scene_description>She leads him over to the sofa.</scene_description>
    <character>EDIE</character>
    <dialogue>This man Torrino ... He really believes you' re this ~Toey something.</dialogue>
    <scene_description>off. EDlE He told me a story this afternoon ... Some crazy thing about these kids ripping He's certain it's you. We have to him</scene_description>
    <character>-</character>
    <dialogue>find a way to convince him itrs not.</dialogue>
    <character>TOM</character>
    <dialogue>I don't know how to do that, honey. He won't believe the truth.</dialogue>
    <character>EDIE</character>
    <dialogue>I know. It's just ... It's crazy. It's crazy. Why can't we just have our lives back?</dialogue>
    <scene_description>Sarah looks at her mother, upset. Torn kneels by his daughter.</scene_description>
    <character>TOM</character>
    <dialogue>Hey, baby. Everything's okay. Don't worry. Mommyand Daddy are just having a tough week. Why don't you go play upstairs.</dialogue>
    <character>SARAH</character>
    <dialogue>Okay, Daddy.</dialogue>
    <scene_description>He hugs her go, his then us? daughter, turns</scene_description>
    <character>EDIE</character>
    <dialogue>God. I'm so sorry.</dialogue>
    <scene_description>to his and she wife. scampers What's Edie upstairs. is crying. happening to Torn watches</scene_description>
    <character>-</character>
    <dialogue>TOM</dialogue>
    <scene_description>The bad stuff. Honey, look at rne. Look at me. This is what happens to remind us how good things are the rest of the time. We'll get through this. We're a good family. A strong family. These guys have the wrong man. They'll realize that, and all this will pass. We'll be okay, okay? She nods, and they hug.</scene_description>
    <character>EDIE</character>
    <dialogue>Where I</dialogue>
    <scene_description>s Jack? Torn looks at her soberly, gearing up to tell her. A knock on the door.</scene_description>
    <character>EDIE</character>
    <dialogue>Tom?</dialogue>
    <scene_description>- Hang on.</scene_description>
    <character>TOM</character>
    <dialogue>Stay here.</dialogue>
    <scene_description>He races upstairs.</scene_description>
    <character>INT. TOM AND EDIE'S</character>
    <dialogue>Tom runs shotgun,</dialogue>
    <character>BEDROOM</character>
    <dialogue>into tears</dialogue>
    <character>INT. LIVING ROOM</character>
    <dialogue>Tom leaps down the stairs and runs to the door. He puts the rifle down against the wall, and, keeping the shotgun hidden, he cracks the door open to find •.. Hank.</dialogue>
    <character>TOM</character>
    <dialogue>Jesus. Hank.</dialogue>
    <character>HANK</character>
    <dialogue>Tom. I'm sorry. Is this a bad time?</dialogue>
    <character>EDIE</character>
    <dialogue>Yes~ It is.</dialogue>
    <scene_description>Tom turns to see Edie standing behind him. Hank looks at her - the first time he's made eye contact with his daughter in more than fifteen years.</scene_description>
    <character>TOM</character>
    <dialogue>Hank. I ....</dialogue>
    <character>HANK</character>
    <dialogue>I just want to say something. Then I'll leave. Please, Edie. Just this one time.</dialogue>
    <scene_description>A long, uncomfortable beat, Tom stuck in between the two of them. Edie glaring, Hank not breathing. Edie finally eases back.</scene_description>
    <character>EDIE</character>
    <dialogue>Come in. Be quick.</dialogue>
    <scene_description>Hank exhales and walks in.</scene_description>
    <character>TOM</character>
    <dialogue>I'll, uh, I'll leave you two to ...</dialogue>
    <character>EDIE</character>
    <dialogue>Stay here.</dialogue>
    <dialogue>Tom nods. Edie turns to Hank.</dialogue>
    <character>EDIE</character>
    <dialogue>So. What do you want to say to me, Hank?</dialogue>
    <character>HI\NK</character>
    <dialogue>Edie ....</dialogue>
    <scene_description>She looks at him coldly, not giving him anything. He looks at Tom, then back at her. He can't say anything.</scene_description>
    <character>TOM</character>
    <dialogue>Hank?</dialogue>
    <character>HANK</character>
    <dialogue>No. I. .. I can't.</dialogue>
    <scene_description>He turns and stumbles to the door and steps out. Tom looks at his wife, then turns and heads out the door after Hank.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MCKENNAHOUSE</stage_direction>
    <scene_description>Hank walks ,away from the house. Tom rushes up behind him and gently takes his arm.</scene_description>
    <character>TOM</character>
    <dialogue>Hank.</dialogue>
    <scene_description>Hank turns to face him. TOM (cont, d) You have to do this. I can't.</scene_description>
    <character>TOM</character>
    <dialogue>Then why the hell did you come all the way out here?</dialogue>
    <scene_description>HllliK She's just going to listen to me then tell me to leave.</scene_description>
    <character>TOM</character>
    <dialogue>Yeah. She might. But at least she'll listen.</dialogue>
    <scene_description>Hank looks at him thoughtfully.</scene_description>
  </scene>
  <scene>
    <stage_direction>- INT. LIVING ROOM</stage_direction>
    <scene_description>Eank stands in front of Edie. She's still not giving him anything. Tom hands him a glass of water, and he takes a long sip, then puts the glass down on the mantle.</scene_description>
    <character>HANK</character>
    <dialogue>When I was growing up, we didn't talk a lot about how to be a man. It was just something your daddy was supposed to pass on to you. The things my daddy passed on to me ... Well, I guess it wasn't enough. Sure, it helped me make it through that war, but nothing he taught me helped me know how to make it back home. Yo~r momma did her best, Edie. She stood by me when she should have taken you and just gone, and I paid her back by treating her worse than a dog. I can blame the booze, and I can blame the war, but you want to know the truth, it's this - it ain't none of those things made me what I was. They just opened the doors, and it was easier to go through them than close 'em. If I'd loved her the way I should •.• If I'd loved you the way I should ...• I don't know.</dialogue>
    <scene_description>Edie looks shaken at this.</scene_description>
    <character>HANK</character>
    <dialogue>We never were no kind of family. I was like a lot of people. I never thought much about what family meant. It's nothing more than a word and it don't mean shit unless you fill it with love and commitment. You and Tom here ... It looks like you done that. I envy that. I truly do.</dialogue>
    <character>EDIE</character>
    <dialogue>Hank •.. .?</dialogue>
    <character>HANK</character>
    <dialogue>Yeah?</dialogue>
    <character>EDIE</character>
    <dialogue>Why are you here?</dialogue>
    <character>HANK</character>
    <dialogue>I just wanted to tell you some things. I want you to know I haven't been sitting around the last fifteen years telling myself I'm some kind of victim. I know I took the easy route, and I know I ain't even begun to pay for that, and I want you to know that bad things do happen to bad people, and if that's the case then maybe good things will happen to you and yours.</dialogue>
    <scene_description>A long beat. Nobody says anything.</scene_description>
    <character>HANK</character>
    <dialogue>That's really all. I know you're happy here with this man. That makes me happy. Not that that matters to you. It shouldn't matter to you. You done good, Edie. You could have gone the easy road, and you didn't, and you prove that sometimes good can come from bad. That's all I want to say to you.</dialogue>
    <scene_description>He gets up and walks to the door and opens it.</scene_description>
    <character>EDIE</character>
    <dialogue>Dad .•..</dialogue>
    <scene_description>Hank stops, and a smile slowly spreads across his face. A warm, beatific, loving smile. Then something outside catches his eye. Hank whirls, and grabs the shotgun from its place against the wall. But before he can fully make it, a bullet slams into him, sending him sprawling back onto the floor. Edie and Tom flinch at the sound of the shot. A beat - everything is frozen. Hank holds himself up by the door, looking down in dumbfounded surprise at the hole in his chest. He looks out at the field, then falls to the ground, dead. Tom snaps out of it first.</scene_description>
    <character>TOM</character>
    <dialogue>Hit the floor!</dialogue>
    <scene_description>Edie is in shock. She doesn't move. - Daddy?</scene_description>
    <character>EDIE</character>
    <dialogue>Tom dives across the room and knocks her down.</dialogue>
    <dialogue>Dazed, Edie gets back on her feet and heads for her father. Tom tackles her and drags her down again. She doesn't even seem to notice - she's fixated on her father's body lying on the floor.</dialogue>
    <character>TOM</character>
    <dialogue>Edie! Stay down.</dialogue>
    <scene_description>She looks at him blankly.</scene_description>
    <character>EDIE</character>
    <dialogue>That's my daddy.</dialogue>
    <scene_description>Tom shakes her hard. Her eyes seem to re-focus, and she looks at Tom, confused.</scene_description>
    <character>EDIE</character>
    <dialogue>Tom?</dialogue>
    <character>TOM</character>
    <dialogue>Edie. You have to stay down.</dialogue>
    <scene_description>She looks around, looks at her father, then at the open door.</scene_description>
    <character>TOM</character>
    <dialogue>Stay here.</dialogue>
    <scene_description>He scrambles across the floor to the door - the rifle leans against the wall next to the shotgun. He grabs the rifle and slams the door closed - but Hank's in the way. Tom doesn't let himself look at the dead man, but scrambles back across the floor, rifle in hand. He makes it to the window and carefully peers out, ready for anything. Except what he sees.</scene_description>
    <character>TOM</character>
    <dialogue>Jesus Christ.</dialogue>
    <scene_description>Edie crawls over to him.</scene_description>
    <character>EDIE</character>
    <dialogue>Oh, God. What is it? What is it, 'J'om?</dialogue>
    <scene_description>- EXT. McKENNAHOUSE</scene_description>
    <character>�</character>
    <dialogue>Torrino, Aldo and Charlie stand out at the edge of the field. Charlie has a rifle in his hand. Aldo has his hands on the shoulders of Jack, who looks terrified.</dialogue>
    <character>TORRINO</character>
    <dialogue>Joey. Come out. Let's end this now and nobody else will get hurt.</dialogue>
    <scene_description>A long beat, and then Torn appears in the door, rifle in one hand, shotgun in the other.</scene_description>
    <character>TOM</character>
    <dialogue>Let my son go.</dialogue>
    <character>TORRINO</character>
    <dialogue>Come down here, Joey. Let's talk.</dialogue>
    <character>TOM</character>
    <dialogue>My name is not Joey. You have the wrong man. You have my son. You're trespassing.</dialogue>
    <scene_description>Torrino shakes his head.</scene_description>
    <character>TORRINO</character>
    <dialogue>You know I'm a serious man, Joey. You've seen what I'm willing to do. Stop the game.</dialogue>
    <scene_description>Tom whips the rifle up and aims.</scene_description>
    <character>TOM</character>
    <dialogue>This isn't a game, you son of a bitch!</dialogue>
    <scene_description>He fires, hitting the propane tank, which EXPLODES, shooting fire everywhere, sending Torrino, his men and Jack sprawling to the ground. Aldo takes the brunt of it, his back protecting Jack. Tom dives to the ground, rifle in hand.</scene_description>
    <character>TOM</character>
    <dialogue>Jack! Run!</dialogue>
    <scene_description>Jack scrambles to his feet, and Tom fires at Charlie and Torrino, covering his son. Jack makes it to the field, dives into the corn, vanishing. Charlie and Torrino fire wildly at the house. Tom hits the ground and rolls off the side of the porch.</scene_description>
    <character>INT.</character>
    <dialogue>LIVING</dialogue>
    <scene_description>Edie curls up on the floor, screaming as bullets slam into the walls and the furniture.</scene_description>
    <character>SARAH (O.S.)</character>
    <dialogue>Mommy?</dialogue>
    <character>EDIE</character>
    <dialogue>Stay down, baby! Mommy's coming! But stay downl</dialogue>
    <scene_description>She crawls towards the stairs. EXT. McKENNA HOUSE Tom crouches by the side of the house, rifle in hand. Be checks the load - one bullet left. He peers up at the porch, sees the shotgun lying there, and frowns. A bullet zings past his face, and he dives back, scrambles behind the house. The circle of fire where the tank was is expanding. The field is starting to burn. Charlie and Torrino crouch down. Torrino nods towards Aldo, who lays face down, his back ripped to shreds, on fire. Charlie shakes his head - "no." Torrino grimaces. He points to the other side of the house, gestures for Charlie to head that way. Charlie scuttles off. Behind the house, Torn straightens up, back to the wall, and slides towards the other side of the house. He creeps around the corner, alongside the porch, and looks up. The shotgun's gone. Charlie creeps around the side of the porch and bumps right into Tom. The two men scramble to bring their guns up, but they're in too tight. Torn drops the rifle and goes for Charlie's throat. The two men roll on the ground, pounding the shit out of each other. Tom bites Charlie's hand hard, until blood squirts out. Charlie screams in pain. Tom rolls on top of him and punches his throat hard, over and over. Charlie chokes and gurgles and dies. Tom keeps pounding. Tom cries out in pain as a bullet tears through his shoulder, knocking him forward~ He rolls over to find Torrino standing over him, gun in hand, glaring in rage. Torrino cocks his gun and points it right at Tom's head. You have</scene_description>
    <character>TORRINO</character>
    <dialogue>anything to say before I kill</dialogue>
    <character>-</character>
    <dialogue>you, you miserable prick?</dialogue>
    <scene_description>Tom stares back, hatred in his eyes, clutching his wounded shoulder.</scene_description>
    <character>TOM</character>
    <dialogue>I should have killed you back in Philly.</dialogue>
    <scene_description>Torrino smiles, relieved. Finally! Tom clenches his jaw, ready for the shot. BLAM! Blood splatters all over Tom as Torrino's chest explodes~ Torrino staggers forward and falls to the ground. Tom rolls out of the way and sees Jack standing there, a dazed look on his face, the shotgun in his hands. Tom staggers towards Jack and takes the shotgun from him. Jack is frozen, non-responsive. He just stares at the dead man on the ground. Edie steps out the front door, Sarah briskly towards her husband and son. Is it over?</scene_description>
    <character>EDIE</character>
    <dialogue>Oh my God~ Tom? Are you okay?</dialogue>
    <scene_description>in her arms, Is it over? and walks</scene_description>
    <character>-</character>
    <dialogue>She rushes over and hugs her her son tight. Tom stands, looking at his family for a moment. Edie looks back at him, a mixture of conflicting emotions on her face, but mostly anger. Tom hesitantly steps toward them, then takes them all in his arms. Outside, the fire in the field rages.</dialogue>
    <scene_description>In the distance, sirens.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. MCKENNAHOUSE - LATER</stage_direction>
    <scene_description>A fire truck parked in the field, FIREMEN putting out the last of the fire. Tom sits on the back of an ambulance as the Paramedic bandages his shoulder. Sam is questioning him as Edie stands by, still holding the dazed Sarah. Jack stands off in the distance, looking at the spot where Torrino lay. • TOM They had the wrong man, Sam. They had the wrong man.</scene_description>
    <character>SAM</character>
    <dialogue>I know. I'm going to have to come back later and ask you some formal questions, but it's going to be okay, Tom. You did what you had to.</dialogue>
    <scene_description>Tom nods. Sam turns to Edie.</scene_description>
    <character>SAM</character>
    <dialogue>Edie. rrm so sorry about your father ...</dialogue>
    <scene_description>Edie nods, still a little in shock. The Paramedic finishes up Tom's shoulder.</scene_description>
    <character>PARAMEDIC</character>
    <dialogue>Sir, we're going to have to take you to the hospital now.</dialogue>
    <character>TOM</character>
    <dialogue>Wait a minute.</dialogue>
    <scene_description>He gets up and walks to Jack, puts his hand on his son's shoulder.</scene_description>
    <character>TOM</character>
    <dialogue>Jack?</dialogue>
    <scene_description>No answer.</scene_description>
    <character>TOM</character>
    <dialogue>Jack. You did the right thing. I know it's hard to believe, but you did.</dialogue>
    <scene_description>Jack turns slowly to face his father.</scene_description>
    <character>TOM</character>
    <dialogue>It's not going to be easy, the next few days, or weeks. It could take a long time to get right with what happened.</dialogue>
    <scene_description>Jack stares intently at his father, looking for something.</scene_description>
    <character>TOM</character>
    <dialogue>Jack ... What is it?</dialogue>
    <scene_description>~Tack shaketc; his head and walks over to his mother, leaving Tom alone. The Paramedic approaches him. Sir? We have</scene_description>
    <character>PARAMEDIC</character>
    <dialogue>to go now.</dialogue>
    <character>�</character>
    <dialogue>He gently puts a hand on Tom's good arm and guides him to the ambulance. Sam turns to Edie.</dialogue>
    <character>SAM</character>
    <dialogue>We can take the kids with us if you want to ride with him, Edie.</dialogue>
    <scene_description>She looks at Sam and smiles faintly in gratitude.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. AMBULANCE</stage_direction>
    <scene_description>Tom lays back on the stretcher. Edie climbs in and sits beside him, a distant look on her face. She holds his hand, but doesn't look at him. The ambulance takes off.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL ROOM - NIGHT</stage_direction>
    <scene_description>Tom lays in the bed in the dark, staring at the ceiling. The door opens, and Edie walks in. He reaches out to her. She steps Edie .... back, away</scene_description>
    <character>TOM</character>
    <dialogue>Honey ...</dialogue>
    <scene_description>from</scene_description>
    <character>EDIE</character>
    <dialogue>him.</dialogue>
    <scene_description>Are you okay?</scene_description>
    <character>�</character>
    <dialogue>Tell me the truth.</dialogue>
    <scene_description>Tom looks at her a long beat, then hangs his head.</scene_description>
    <character>TOM</character>
    <dialogue>You heard.</dialogue>
    <character>EDIE</character>
    <dialogue>No. I saw. Those men ... Torrino •. ~ He wasn't wrong. You're the man he was looking for. You're Joey Behan. That's your real name. You didn't grow up in Portland. And you never talked about your adopted parents because you didn't have any. You killed men .... You killed them so you could steal their money ...</dialogue>
    <character>TOM</character>
    <dialogue>Edie ... It wasn't like that.</dialogue>
    <scene_description>- What was it like,</scene_description>
    <character>EDIE</character>
    <dialogue>Tom? Make me understand</dialogue>
    <scene_description>what it was, so I can be okay with having given almost twenty years of my life to a lie.</scene_description>
    <character>TOM</character>
    <dialogue>It wasn't a lie.</dialogue>
    <character>EDIE</character>
    <dialogue>Are you going to sit there and tell me it depends on what your definition of the word II</dialogue>
    <scene_description>is" is? Goddam it, Tam ... Joey .... Shit! Whoever you are! The lie is over. It's dead. I want to know the truth right now.</scene_description>
    <character>TOM</character>
    <dialogue>Edie •.•.</dialogue>
    <scene_description>She glares at him, furious.</scene_description>
    <character>TOM</character>
    <dialogue>My brother Steve and I •.. he was older than me .... we were raised in an orphanage in Philadelphia. When he got old enough to leave, Steve ran errands for Torrino. I guess he thought it was a way into being a player some day. Torrino found out Steve was skimming off some of his runs. Steve ... Steve was the only family I'd ever had. Torrino ... He's exactly what he looks like, Edie. Guys like him, they kill you over nothing. Cops found Steve in a dumpster. Everyone knew who it was, but nobody could prove</dialogue>
    <scene_description>anything. You never can. Richie Federici was my best friend, a year younger than me ... He loved Steve, too. I came up with the idea of hitting Torrino's cheese shop ... Get some payback. Make it look like a robbery.</scene_description>
    <character>EDIE</character>
    <dialogue>Make it look like. . . . You were going to kill them.</dialogue>
    <character>TOM</character>
    <dialogue>He killed my brother, Edie. We got some</dialogue>
    <scene_description>guns ... That wasn't hard. And we waited until the store was closing up. Just Torinno and a few guys in the back, smoking, drinking, playing cards. -</scene_description>
    <character>{MORE)</character>
    <dialogue>TOM</dialogue>
    <scene_description>Whatever the hell they did. We hit the shit out of them. We didn't know what we were doing, so we just shot at everything. And somehow .... Edie, I don't know how we survived, but we did. Somehow, we made it out with a money box. Something like five thousand dollars.</scene_description>
    <character>EDIE</character>
    <dialogue>What happened to Richie? Did he just leave, too?</dialogue>
    <character>TOM</character>
    <dialogue>No.</dialogue>
    <scene_description>She looks at him, waiting for an answer.</scene_description>
    <character>TOM</character>
    <dialogue>Richie ... He ... We'd fucked up. Torrino was still alive. We were gonna leave town together, but they caught him before we could get our shit together. They tied him to the hood of a car and drove up and down the neighborhood, looking for me. Edie ... He was my best friend ..• and if I went to help him they were going to kill both of us. I knew that.</dialogue>
    <character>EDIE</character>
    <dialogue>Jesus~</dialogue>
    <character>TOM</character>
    <dialogue>There was no other way with these guys. So I had to either kill myself, or just turn my back on the whole thing.</dialogue>
    <character>EDIE</character>
    <dialogue>You left.</dialogue>
    <scene_description>Tom nods, holding back the tears.</scene_description>
    <character>TOM</character>
    <dialogue>I left my best friend to die.</dialogue>
    <character>EDIE</character>
    <dialogue>And you came here.</dialogue>
    <character>TOM</character>
    <dialogue>I went a lot of places. It takes a long time to shed your skin, Edie. I didn't lie to you. J killed Joey Behan. I didn't have any other choice. I went out to the desert and I killed him. And I spent the next few years becoming 'l'om McKenna.</dialogue>
    <character>TOM</character>
    <dialogue>Edie, you have to know this. I was born again when I met you. You ... this town •.. these people ... you gave me what I needed to start over, to become decent.</dialogue>
    <character>EDIE</character>
    <dialogue>Decent? A decent man doesn't lie to his family, Tom. A decent man doesn't give his children a made up name.</dialogue>
    <character>TOM</character>
    <dialogue>Edie ....</dialogue>
    <character>EDIE</character>
    <dialogue>We never lie to each other, Tom. That was the deal, remember? Our love can get us through anything. My God. You never told me anything BUT lies.</dialogue>
    <character>TOM</character>
    <dialogue>We can start again. This is over. We can just go back to normal. It's so easy, you' 11 see.</dialogue>
    <character>EDIE</character>
    <dialogue>You sound just like my father. But you know something, Tom? For all his shit, all that evil crap he dished out to my mother and me ... He never pretended to be anything but what he was. The only person he ever lied to was himself.</dialogue>
    <character>TOM</character>
    <dialogue>Edie ..•</dialogue>
    <character>EDIE</character>
    <dialogue>I have to think, Tom. I have to go think very long and very hard about all of this.</dialogue>
    <scene_description>She turns and heads to the door. He reaches out and touches her arm.</scene_description>
    <character>TOM</character>
    <dialogue>Joey's dead, Edie.</dialogue>
    <scene_description>She walks out.</scene_description>
    <character>INT. TAYLORVILLE HIGH - HALLWAY- DAY</character>
    <dialogue>Jack walks down the hallway to his locker. The other k1ds make a point of not staring at him until he passes. He goes to his locker and opens it. Bobby walks by and Jack turns and looks at him. Bobby looks away .</dialogue>
    <scene_description>•</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction>
    <scene_description>Tom finishes dressing and an ATTENDANT helps him into a wheelchair and wheels him to the door.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TAYLORVILLE HIGH - CLASSROOM</stage_direction>
    <scene_description>A TEACHER drones on about geography. Jack sits in his seat, looking out the window.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. HOSPITAL - DAY</stage_direction>
    <scene_description>Tom gets into a cab, which slowly pulls out.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. TAYLORVILLE HIGH - BASEBALL FIELD - DAY</stage_direction>
    <scene_description>The boys' class is playing ball. Jack sits on the bench and watches the girls' class running around the track. He sees Judy and waves to her. She nods, but doesn 1 t come over. Jack walks over to the track, walks up to Judy.</scene_description>
    <character>JACK</character>
    <dialogue>Hey.</dialogue>
    <character>JUDY</character>
    <dialogue>Hey.</dialogue>
    <character>JACK</character>
    <dialogue>What's going on?</dialogue>
    <character>JUDY</character>
    <dialogue>Nothing. Running laps. Coach notices you're gone, you'll get into trouble.</dialogue>
    <character>JACK</character>
    <dialogue>Who cares?</dialogue>
    <scene_description>A long, awkward, silent beat.</scene_description>
    <character>JUDY</character>
    <dialogue>Well •.. I have to finish my laps.</dialogue>
    <scene_description>She smiles uncomfortably at him.</scene_description>
    <character>JACK</character>
    <dialogue>Yeah. Okay. Fine.</dialogue>
    <scene_description>He turns and walks away. She watches him, troubled, then turns to go after him, to s.ay sorn0.th ing - anything. rrhe GIRLS' COACH blows her whistle. -' Danvers!</scene_description>
    <character>GIRLS' COACH</character>
    <dialogue>Get back on the track!</dialogue>
    <scene_description>Judy sighs in frustration and goes back to running.</scene_description>
    <character>EXT. TAYLORVILLE - STREET</character>
    <dialogue>Tom's taxi rolls down the road. Tom looks out the window at the town. EXT. MCKENNA'S DINER Through the window, Tom can see Charlotte waiting on some CUSTOMERS. Business as usual. EXT. MCKENNAHOUSE - DAY A big chunk of the field is black from the fire. The taxi pulls up in front and Tom gets out and walks to the front door. Jack sits on the porch.</dialogue>
    <character>TOM</character>
    <dialogue>Hey.</dialogue>
  </scene>
  <scene>
    <stage_direction>,</stage_direction>
    <scene_description>• Jack looks up at him .</scene_description>
    <character>JACK</character>
    <dialogue>What am I supposed to call you now?</dialogue>
    <character>TOM</character>
    <dialogue>What? Jack, please. You have to ...</dialogue>
    <character>JACK</character>
    <dialogue>I have to what, Dad? What do I have to do? This isn't a normal life, so I don't have any idea what I have to fucking do anymore. If I go rob Miliken's Drug Store, will you ground me if I don't give you a piece of the action? What, Dad? You tell me?</dialogue>
    <character>TOM</character>
    <dialogue>Jack, I know you're upset.</dialogue>
    <character>JACK</character>
    <dialogue>Upset? Shit. Upset would be a nice change around here. You know what you are, Dad?</dialogue>
    <scene_description>Tom looks at his son, not answering. Jack You're the monster in Sarah's closet. ',.\_ Tom frowns. Jack You can't tell me anything. He gets up and walks away, leaving Tom standing therer upset. INT. McKENNA HOUSE Tom walks into the empty house. He looks around. It's still. Tom walks around the house, looking into the empty rooms. INT. McKENNA HOUSE - SARAH'S ROOM Torn sits on his daughter's bed and picks up one of her dolls. He gently puts it back on the bed and looks out the window.</scene_description>
    <character>INT.</character>
    <dialogue>TOM AND EDIE'S</dialogue>
    <scene_description>Torn stands in the doorway, looking. Nothing has changed, but nothing's the same.</scene_description>
    <character>EXT. MCKENNA HOUSE</character>
    <dialogue>Tom slowly</dialogue>
    <dialogue>corn husks</dialogue>
    <scene_description>walks outside and bits The sheriff's and looks walks to the shed in the back and gets takes it to the field, starts of metal. car loading rolls at the devastation. out a wheelbarrow it up with burnt down the driveway and Sam steps He out out. and</scene_description>
    <character>-</character>
    <dialogue>SAM</dialogue>
    <scene_description>Heyr Tom. Good to see you up and around.</scene_description>
    <character>TOM</character>
    <dialogue>Hey, Sam.</dialogue>
    <character>SAM</character>
    <dialogue>I could sure go for some of Edie's lemonade.</dialogue>
    <character>TOM</character>
    <dialogue>Come on in.</dialogue>
    <character>INT.</character>
    <dialogue>LIVING ROOM</dialogue>
    <scene_description>Sam is pacing around the living room. Tom walks in with two glasses of lemonade and hands one to Sam, who takes a deep long sip.</scene_description>
    <character>TOM</character>
    <dialogue>So what brings you out here, Sam?</dialogue>
    <scene_description>- CONTINUED: Well,</scene_description>
    <character>SAM</character>
    <dialogue>you know. I just wanted to see how</dialogue>
    <scene_description>you were doing.</scene_description>
    <character>TOM</character>
    <dialogue>I'll be okay.</dialogue>
    <scene_description>Sam nods.</scene_description>
    <character>TOM</character>
    <dialogue>There's something else.</dialogue>
    <character>SAM</character>
    <dialogue>Yeah. There is. Tom ... I've been running through it all for the last couple days, and it just doesn't fit.</dialogue>
    <character>TOM</character>
    <dialogue>What doesn't fit?</dialogue>
    <character>SAM</character>
    <dialogue>None of it ..</dialogue>
    <scene_description>Tom nods. He looks out the window and sees the station wagon rolling up.</scene_description>
    <character>SAM</character>
    <dialogue>Edie home?</dialogue>
    <character>TOM</character>
    <dialogue>Yeah.</dialogue>
    <character>SAM</character>
    <dialogue>We don't have to do this now.</dialogue>
    <character>TOM</character>
    <dialogue>Might as well.</dialogue>
    <scene_description>The door opens, and Edie walks in with Sarah in her arms.</scene_description>
    <character>SARAH</character>
    <dialogue>Daddy!</dialogue>
    <character>TOM</character>
    <dialogue>Hey, baby.</dialogue>
    <scene_description>Tom hugs his daughter. He and Edie kiss very perfunctorily. Sam notices.</scene_description>
    <character>EDIE</character>
    <dialogue>Hey, Sam .</dialogue>
    <character>SAM</character>
    <dialogue>Edie. How're you doing?</dialogue>
    <character>EDIE</character>
    <dialogue>I dunno. Okay, I guess.</dialogue>
    <character>SAM</character>
    <dialogue>I'm sorry about your father.</dialogue>
    <character>EDIE</character>
    <dialogue>Thanks.</dialogue>
    <scene_description>Sarah trots upstairs to her room.</scene_description>
    <character>SARAH</character>
    <dialogue>Daddy, will you come up and play with me later?</dialogue>
    <character>TOM</character>
    <dialogue>Sure, honey.</dialogue>
    <scene_description>They all watch her go. Edie turns to Sam.</scene_description>
    <character>EDIE</character>
    <dialogue>•</dialogue>
    <scene_description>What brings you out here, Sam?</scene_description>
    <character>SAM</character>
    <dialogue>Tom and I were just talking about that, Edie.</dialogue>
    <scene_description>Edie looks to Tom, who's close-mouthed and glum looking. She nods.</scene_description>
    <character>EDIE</character>
    <dialogue>I'd like to hear it.</dialogue>
    <character>SAM</character>
    <dialogue>Well .... It's just that none of this adds up. I can buy Torrino thinking you might be this Joey fella. But these are serious men. They may not live within the law, but they recognize it, and they don't go outside of it without consideration. He wouldn't go to the extreme of pulling a trigger if he wasn't dead certain he had the right man.</dialogue>
    <scene_description>Tom doesn't say anything. Edie looks at Tom, then back to Sam.</scene_description>
    <character>EDIE</character>
    <dialogue>What are you saying, Sam?</dialogue>
    <character>�</character>
    <dialogue>CONTINUED: ( 3)</dialogue>
    <character>SAM</character>
    <dialogue>I'm saying I think Tom hasn't been real upfront with me. I'm saying I think I need to know the truth.</dialogue>
    <dialogue>The truth.</dialogue>
    <character>SAM</character>
    <dialogue>You owe it to the people of this town, Tom.</dialogue>
    <character>EDIE</character>
    <dialogue>Sam.</dialogue>
    <character>SAM</character>
    <dialogue>Hmm?</dialogue>
    <scene_description>Tom looks at Edie anxiously.</scene_description>
    <character>EDIE</character>
    <dialogue>You've got too much time on your hands.</dialogue>
    <character>SAM</character>
    <dialogue>Sorry?</dialogue>
    <character>EDIE</character>
    <dialogue>I don't know why those men were so convinced Tom was this Joey person, and frankly, I don~t care. You're the one who said we look out for our own around here, and if Tom McKenna isn't one of our own, I don't know who is. Tom is who he says he is, and that's all that matters, Sam. Hasn't this family suffered enough?</dialogue>
    <scene_description>Sam looks at her a long beat.</scene_description>
    <character>SAM</character>
    <dialogue>Well, goddam, Edie.</dialogue>
    <scene_description>He finishes his lemonade, puts it down, and gives her a slow smiles and nods.</scene_description>
    <character>SAM</character>
    <dialogue>I guess I'll be on my way.</dialogue>
    <scene_description>He heads to the door, then stops.</scene_description>
    <character>SAM</character>
    <dialogue>You folks give a ring if you need anything.</dialogue>
    <scene_description>·"--- SAM Tom, you need some help fixing up the field this weekend, you let me know, alright? Tom nods. Sam touches his hat and walks outside. Tom and Edie stand alone, watching Sam get into his car and drive off.</scene_description>
    <character>TOM</character>
    <dialogue>Edie ....</dialogue>
    <scene_description>She slaps him hard.</scene_description>
    <character>EDIE</character>
    <dialogue>Fuck you, Joey.</dialogue>
    <scene_description>She walks out of the room, up the stairs. Tom follows her. INT, TOM AND EDIE'S BEDROOM Edie walks in, followed by Tom.</scene_description>
    <character>TOM</character>
    <dialogue>Edie. What do you want?</dialogue>
    <character>EDIE</character>
    <dialogue>What do I want? I want it all back. I want the life I thought we had. I loved that life. I loved it. I thought it was real. So maybe you're right. Maybe you have to live with a lie until you forget and it becomes the truth. I don't know if I can do that, but I want to try, because I guess it beats the alternative. Right now, I don't know who you are. I don't know if I'm talking to Tom McKenna or Joey Behan, or some monstrous thing that isn't even a man to begin with. Remember how we used to say we'd never lie to each other? That's all we're going to do from</dialogue>
    <scene_description>here on out. I'm not going to let you tear this family apart, So you be Tom, I'll be Edie, and maybe someday it'll start to feel real again. You can't live with that, you leave right now. Tom nods. EXT. TRAIN TRACKS- DUSK Jack sits on the tracks, a bottle in a brown paper bag in his hands. He watches the sun set over the trees.</scene_description>
    <character>JUDY (OS)</character>
    <dialogue>Hey.</dialogue>
    <character>�</character>
    <dialogue>- He turns to see Judy.</dialogue>
    <character>JACK</character>
    <dialogue>Hey.</dialogue>
    <character>JUDY</character>
    <dialogue>Since when did you start drinking?</dialogue>
    <character>JACK</character>
    <dialogue>I don 1 t.</dialogue>
    <scene_description>A long beat. Jack It tastes like shit. He chucks the bottle. She sits down next to him.</scene_description>
    <character>JUDY</character>
    <dialogue>want to smoke a joint?</dialogue>
    <character>JACK</character>
    <dialogue>Nah. Thanks.</dialogue>
    <scene_description>Judy shrugs and lights up, takes a deep hit. They sit in silence for a long beat.</scene_description>
    <character>JUDY</character>
    <dialogue>So Mr. Beezer said "Shit" today.</dialogue>
    <character>JACK</character>
    <dialogue>Beezer?</dialogue>
    <character>JUDY</character>
    <dialogue>Yeah. He slammed his thumb with a hammer in class.</dialogue>
    <character>JACK</character>
    <dialogue>Beezer never curses.</dialogue>
    <character>JUDY</character>
    <dialogue>Right. I know. We're all, like, whoa! Dude!</dialogue>
    <scene_description>Jack nods.</scene_description>
    <character>JUDY</character>
    <dialogue>You know, Bobby Jordan's mellowed out a lot the last couple days. Seems like getting his ass kicked might have done him some good.</dialogue>
    <scene_description>Jack doesn't respond.</scene_description>
    <character>JUDY</character>
    <dialogue>Some people just need a good whupping sometimes. It's a good thing someone was around to provide for him. World might just be a better place for it.</dialogue>
    <scene_description>Jack smiles faintly. Judy smiles back, warmly. She puts her arm around him, and he buries his head in her shoulder.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. CEMETARY - DUSK</stage_direction>
    <scene_description>A PRIEST stands over an open grave, lowering a casket into the ground as Edie stands by watching, holding Sarah's hand. Tom stands alongside them. Except for the GRAVEDIGGER off to the side, there's nobody else there.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. TOM AND EDIE'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Edie sleeps on one side. Tom, on the other, stares at the ceiling, uncomfortable in his own bed. He finally rolls over and closes his eyes. BLACK. A phone rings.</scene_description>
    <character>TOM</character>
    <dialogue>Hello?</dialogue>
    <character>MAN'S VOICE (O.S.)</character>
    <dialogue>Help me, Joey ....</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. TOM AND EDIE'S BEDROOM - NIGHT</stage_direction>
    <scene_description>Tom sits on the side of the bed, shaken to the core. Edie sits up behind him.</scene_description>
    <character>EDIE</character>
    <dialogue>What is it, Tom?</dialogue>
    <character>TOM</character>
    <dialogue>Richie's alive.</dialogue>
    <character>EDIE</character>
    <dialogue>What?</dialogue>
    <character>TOM</character>
    <dialogue>He ... I don't know how ... He must have gotten away from them.</dialogue>
    <scene_description>- ·---- Tom, what</scene_description>
    <character>EDIE</character>
    <dialogue>the hell are you talking about?</dialogue>
    <character>TOM</character>
    <dialogue>Richie, Edie. Richie is still alive. They didn't kill him.</dialogue>
    <character>EDIE</character>
    <dialogue>Thatrs good, isn't it?</dialogue>
    <character>TOM</character>
    <dialogue>No. I mean, yes. But •.. Dammit. Dammit to hell.</dialogue>
    <character>EDIE</character>
    <dialogue>What?</dialogue>
    <character>TOM</character>
    <dialogue>They have him, Edie. They found him.</dialogue>
    <character>EDIE</character>
    <dialogue>Torrino's dead, Tom. Who's "they"?</dialogue>
    <character>TOM</character>
    <dialogue>Torrino's friends. His organization. They must have tracked down Richie, too.</dialogue>
    <character>EDIE</character>
    <dialogue>How, Tom? Finding you makes sense, but have you seen Richie on the evening news in the last few days? Did he change his name, too? Are you even listening to yourself?</dialogue>
    <character>TOM</character>
    <dialogue>I don't know. It doesn't matter. All that matters is that it isn't over yet.</dialogue>
    <character>EDIE</character>
    <dialogue>No, it's over.</dialogue>
    <character>TOM</character>
    <dialogue>Richie has a wife and kids, too. They said they were going to ...</dialogue>
    <character>EDIE</character>
    <dialogue>I don't want to hear it.</dialogue>
    <character>TOM</character>
    <dialogue>Edie. I have to deal with this.</dialogue>
    <character>EDIE</character>
    <dialogue>No, you don't. You're Tom, not Joey.</dialogue>
    <character>TOM</character>
    <dialogue>Do you want to spend the rest of our lives running and hiding from these people? Edie, listen to me. They have Richie. They're going to kill him and his family unless ..••</dialogue>
    <character>EDIE</character>
    <dialogue>Unless what?</dialogue>
    <character>TOM</character>
    <dialogue>Unless I go to them.</dialogue>
    <character>EDIE</character>
    <dialogue>So they can kill you?</dialogue>
    <character>TOM</character>
    <dialogue>That's what they want.</dialogue>
    <character>EDIE</character>
    <dialogue>What are you going to do?</dialogue>
    <character>TOM</character>
    <dialogue>Edie, I have to go.</dialogue>
    <dialogue>To die?</dialogue>
    <dialogue>No. To put</dialogue>
    <character>EDIE</character>
    <dialogue>TOM</dialogue>
    <scene_description>an end</scene_description>
    <character>EDIE</character>
    <dialogue>to this.</dialogue>
    <character>-</character>
    <dialogue>What does that mean, Tom?</dialogue>
    <scene_description>Tom gets up and starts to get dressed.</scene_description>
    <character>EDIE</character>
    <dialogue>Tom, what does that mean?</dialogue>
    <character>TOM</character>
    <dialogue>It means I have to go.</dialogue>
    <character>EDIE</character>
    <dialogue>Goddammit, Tom. You can't.</dialogue>
    <character>TOM</character>
    <dialogue>For twenty years I've run from this. I let my best friend die. I thought I couldn't do a thing to stop it, but now it turns out T can~</dialogue>
    <scene_description>- And make yourself</scene_description>
    <character>EDIE</character>
    <dialogue>feel better in the</dialogue>
    <scene_description>bargain .•</scene_description>
    <character>TOM</character>
    <dialogue>Dammit, Edie, it's not about me. It's not about feeling better about what happened. It's about fixing something I did.</dialogue>
    <character>EDIE</character>
    <dialogue>You don't have to do it.</dialogue>
    <character>TOM</character>
    <dialogue>Yeah, I do. I have to.</dialogue>
    <character>EDIE</character>
    <dialogue>So you'll give up your family for that?</dialogue>
    <character>TOM</character>
    <dialogue>Is that what it means?</dialogue>
    <character>EDIE</character>
    <dialogue>That's what it means.</dialogue>
    <scene_description>Tom frowns and buttons his shirt. He turns to her.</scene_description>
    <character>TOM</character>
    <dialogue>When they've done something that's so bad they can't live with it, some people end it all. They just shut off, they kill</dialogue>
    <scene_description>themselves, or get lost in drugs or booze ... Others ... We just shut it out, we push it aside, as far as we can, every time until it stops coming. I thought it had gone away forever, Edie. I thought that so many of my cells had died and been replaced that I'd become someone else completely, and I guess even that's a lie, because the truth is, I didn't think about it at all. I'd buried it. Until this happened. And that's when I learned that it'd never gone away. It's always been there, just waiting for a chance to come out. The only way I can bury it, the only way I can be Tom McKenna and stay Tom McKenna is to face this thing and kill it.</scene_description>
    <character>EDIE</character>
    <dialogue>That's just bullshit, Tom. All you have to do is choose.</dialogue>
    <scene_description>There's</scene_description>
    <character>TOM</character>
    <dialogue>no choice for me.</dialogue>
    <character>-</character>
    <dialogue>EDIE</dialogue>
    <scene_description>We won't be here when you get back.</scene_description>
    <character>TOM</character>
    <dialogue>I hope you are.</dialogue>
    <scene_description>He walks out of the room without looking back. Edie drops onto the bed, slightly in shock. She reaches over to turn on the lamp, and it flickers off and on. She shakes it, but it doesn't do anything. In a flash of rage, she lashes out, slamming the lamp against the wall, where it shatters. EXT. McKENNAHOUSE The barn in the back. Tom opens the doors and goes inside. There's a roar of an engine, and a moment later, a big, battered pickup drives out. He swerves around the station wagon and disappears down the road.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. PHILADELPHIA - NIGHT</stage_direction>
    <character>-</character>
    <dialogue>The city looks alive at night. The skyline is brightly lit and beautiful. Tom - let's call him Joey now, because that's who he is - sits in the shadows of the steps of the Art</dialogue>
    <dialogue>Museum looking over it. It's been a long time. His hair's scruffy and he hasn't shaved in a couple days.</dialogue>
    <dialogue>A loud roar, and two souped up cars blast past the museum, a late night street race. Joey smiles faintly in recognition and stands, heads down the stairs to his truck.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. CAFE DES ARTISTES - NIGHT</stage_direction>
    <scene_description>A corner restaurant in the middle of the city. Joey walks up to it and looks at the sign hanging outside. He walks in.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. CAFE DES ARTISTES</stage_direction>
    <scene_description>A nice boho kind of joint. College kids and young urban professionals enjoy vegetarian meals in a delicate, pretty decor. A maitre'd approaches him.</scene_description>
    <character>MAITRE'D</character>
    <dialogue>How many in your party, sir?</dialogue>
    <character>JOEY</character>
    <dialogue>What happened to Murph's?</dialogue>
    <character>MAITRE'D</character>
    <dialogue>Sir?</dialogue>
    <scene_description>- JOEY This place used to be Murphy's Tavern. Christ, I mean, forever. Since the forties, at least.</scene_description>
    <character>MAITRE'D</character>
    <dialogue>Oh, Murphy's. They were shut down at least six years ago.</dialogue>
    <character>JOEY</character>
    <dialogue>For what?</dialogue>
    <character>MAITRE'D</character>
    <dialogue>They were serving minors.</dialogue>
    <scene_description>Joey shakes his head.</scene_description>
    <character>JOEY</character>
    <dialogue>Yeah, that figures,</dialogue>
    <character>MAITRE'D</character>
    <dialogue>Will you be having dinner, sir?</dialogue>
    <character>JOEY</character>
    <dialogue>No. I don't think so. Thanks.</dialogue>
    <scene_description>He stops, then turns back.</scene_description>
    <character>JOEY</character>
    <dialogue>Track and Turf still around?</dialogue>
    <character>MAITRE'D</character>
    <dialogue>That place on 45th? Yeah. I think so.</dialogue>
    <scene_description>Joey nods and walks out. INT. TRACKAND TURF - LATER A real dive bar. A broken neon sign in the window reads "Track & Turf" backwards. A battered old bar in the middle. A few booths, a couple tables with mismatched old chairs. A decent sized, albeit ratty crowd fills the place. Joey walks in and looks around. He looks in the corner and sees a decrepit old slide bowling machine and smiles. He walks to the bar and sits. The bartender walks over to him.</scene_description>
    <character>JOEY</character>
    <dialogue>Genny Cream.</dialogue>
    <scene_description>The bartender puts a bottle in front of Joey, who takes a long pull and looks around the place. He spots a MANsitting in a booth in the back and gets up and walks over to him. Where's</scene_description>
    <character>JOEY</character>
    <dialogue>Ruben?</dialogue>
    <character>-</character>
    <dialogue>MAN</dialogue>
    <scene_description>Ruben? Shit. Ruben's been dead for ten years, man. Joey nods and turns to walk away. illlN The man is gone, but his tradition lives on.</scene_description>
    <character>JOEY</character>
    <dialogue>Yeah?</dialogue>
    <scene_description>The man nods. Joey sits down across from him.</scene_description>
    <character>JOEY</character>
    <dialogue>I'm looking to buy.</dialogue>
    <character>MAN</character>
    <dialogue>You bought from Ruben?</dialogue>
    <character>JOEY</character>
    <dialogue>Yeah. Once. Long time ago.</dialogue>
    <character>MAN</character>
    <dialogue>What you lookin' for?</dialogue>
    <character>JOEY</character>
    <dialogue>T don't know. Something in a semi- automatic. I need two of them. Major stopping power. And ammo. Couple more items. I need to see what you've got.</dialogue>
    <scene_description>The man nods.</scene_description>
    <character>MAN</character>
    <dialogue>You a cop?</dialogue>
    <character>JOEY</character>
    <dialogue>Do I look like a cop?</dialogue>
    <character>MAN</character>
    <dialogue>Shit. You look like a farmer on vacation.</dialogue>
    <scene_description>Joey smiles.</scene_description>
  </scene>
  <scene>
    <stage_direction>- EXT. TORRINO'S CHEESE SHOP - NIGHT</stage_direction>
    <scene_description>Joey stands across the street, in the shadows, looking at the old cheese shop. He pulls a gun out of his jacket, cocks it, and walks determinedly towards the store. INT. TORRINO'S CHEESE SHOP An OLD MAN stands behind the counter, wrapping a large block of cheese in wax paper with one hand. Except for him, the store is empty. The door slams open and Joey barrels in, gun in hand, face grim. The Old Man flinches, but doesn't look up.</scene_description>
    <character>OLD MAN</character>
    <dialogue>You'd be Joey Behan.</dialogue>
    <character>JOEY</character>
    <dialogue>I am.</dialogue>
    <scene_description>The Old Man continues wrapping, not making eye contact with Joey.</scene_description>
    <character>OLD MAN</character>
    <dialogue>You're in the wrong place.</dialogue>
    <character>JOEY</character>
    <dialogue>Where are they keeping Richie?</dialogue>
    <character>OLD MAN</character>
    <dialogue>You know the old beach house?</dialogue>
    <character>JOEY</character>
    <dialogue>The one in Surf City?</dialogue>
    <scene_description>The Old Man nods.</scene_description>
    <character>JOEY</character>
    <dialogue>You got the address?</dialogue>
    <scene_description>The old man puts down the block of cheese, picks up a pencil and writes the address down on a piece of brown paper. Joey notices that his other arm doesn't seem to work.</scene_description>
    <character>JOEY</character>
    <dialogue>How many men there?</dialogue>
    <character>OLD MAN</character>
    <dialogue>Ain't more than five of them left.</dialogue>
    <scene_description>Who are</scene_description>
    <character>JOEY</character>
    <dialogue>you?</dialogue>
    <character>-</character>
    <dialogue>OLD MAN</dialogue>
    <scene_description>I just run the shop.</scene_description>
    <character>JOEY</character>
    <dialogue>Torrino's gone, you know.</dialogue>
    <character>OLD MAN</character>
    <dialogue>I know.</dialogue>
    <scene_description>Joey nods towards the man's dead arm.</scene_description>
    <character>JOEY</character>
    <dialogue>What happened to your arm?</dialogue>
    <scene_description>The Old Man turns to face Joey for the first time.</scene_description>
    <character>OLD MAN</character>
    <dialogue>You know, Joey.</dialogue>
    <scene_description>Joey's jaw tightens. He takes the piece of paper and nods grimly, walks out of the shop. The Old Man goes back to his · cheese ..</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. SURF CITY STREET - DAWN</stage_direction>
    <scene_description>Waves crash on the beach as the sun peeks over the horizon~ Joey's truck is pulled over by the side of the road.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. JOEY'S TRUCK</stage_direction>
    <scene_description>Joey sits in the driver seat, sipping coffee from a "World's Greatest Dad" mug. He's fully strapped - crisscrossing underarm holsters with guns. A huge knife in a strap-on holster sits next to him. He finishes the coffee, slips the strap on around his leg under his pants, and puts a jacket on over the holsters. He gets out.</scene_description>
  </scene>
  <scene>
    <stage_direction>EXT. BEACH HOUSE</stage_direction>
    <scene_description>A big old beach house sits at the edge of the dunes. It's seen better days. Three or four cars are parked at random angles in the driveway. A large man in a football jersey - Thug #1 - stands by the front door, casually keeping an eye out. He hears a slight sicuff.ling noise and whirls, producing a gun out of nowhere. Nothing.</scene_description>
    <character>-</character>
    <dialogue>He eases back just as Joey appears behind him, knife in hand. Joey whips a hand over the man's mouth and slams the knife into his back again and again. Thug #1 sags to the ground. Joey watches him drop, blood staining his jacket. He turns to the house. INT. BEACH HOUSE THUG #2 and #3 sit around a coffee table, drinking coffee, guns sitting in front of them. Thug #2 reads a paper.</dialogue>
    <character>THUG #2</character>
    <dialogue>You ever read the funnies?</dialogue>
    <character>THUG #3</character>
    <dialogue>Not anymore. Nothing funny left.</dialogue>
    <character>THUG #2</character>
    <dialogue>Ain't that the goddam truth. I can't believe how bad this Cathy shit is. Someone should strangle this bitch.</dialogue>
    <scene_description>The front door opens.</scene_description>
    <character>THUG #2</character>
    <dialogue>Yo, Marvin. What's up. You're supposed to ....</dialogue>
    <scene_description>They look up and see Joey standing there, a gun in each hand. The two men scramble for their guns, but Joey fires first. Thug #2 goes down in a spray of blood. Thug #3 dives to the floor, knocking the table over. The coffee, cups, newspaper and guns crash to the floor and he scrambles for a gun. Joey moves quickly and leaps on the man's back, slams his gun in his ear.</scene_description>
    <character>JOEY</character>
    <dialogue>Where's Richie?</dialogue>
    <character>THUG #3</character>
    <dialogue>Downstairs. We got a basement. He's down there.</dialogue>
    <scene_description>Joey nods.</scene_description>
    <character>JOEY</character>
    <dialogue>I'm sorry about this.</dialogue>
    <character>THUG #3</character>
    <dialogue>Fuck you.</dialogue>
    <scene_description>ELAM!</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT</stage_direction>
    <scene_description>THUG #4 leans against a wall, gun in hand, waiting. The basement door slams open and something crashes down. Thug #4 whips out from behind the wall blasting. He steps out to see that he's shot the hell out of an old armchair.</scene_description>
    <character>THUG #4</character>
    <dialogue>Shit.</dialogue>
    <scene_description>Joey pops up in the basement door and blasts away, nailing the Thug, Joey cautiously creeps down the stairs, ready for anything. He's stained with the blood of the men he's killed. He steps down into the dark basement and looks around. Hits a switch on the wall and the lights go on. The basement is empty. He hears a sound, and looks - across the room is a door leading into a smaller area. Joey cautiously steps towards it.</scene_description>
    <character>JOEY</character>
    <dialogue>Alright. Whoever's in there ... Come on out.</dialogue>
    <scene_description>A long beat. Then ....</scene_description>
    <character>MAN'S VOICE (O,S.)</character>
    <dialogue>Joey?</dialogue>
    <character>JOEY</character>
    <dialogue>Richie?</dialogue>
    <character>MAN'S VOICE (O.S.)</character>
    <dialogue>Joey! Help me. I'm all alone in here.</dialogue>
    <scene_description>Joey cautiously approaches the door. Takes a deep breath and pushes it open.</scene_description>
  </scene>
  <scene>
    <stage_direction>INT. BASEMENT- SMALL ROOM</stage_direction>
    <scene_description>RICHIE, a good looking man the same age as Joey, sits on a chair in the middle of the room, his hands tied behind his back. Joey steps in, gun in hand.</scene_description>
    <character>JOEY</character>
    <dialogue>Jesus. Richie.</dialogue>
    <character>-</character>
    <dialogue>• Joey!</dialogue>
    <character>RICHIE</character>
    <dialogue>Oh my God. Joeyl</dialogue>
    <character>JOEY</character>
    <dialogue>How many here?</dialogue>
    <character>RICHIE</character>
    <dialogue>What? Those guys? Just four.</dialogue>
    <character>JOEY</character>
    <dialogue>I was expecting five.</dialogue>
    <character>RICHIE</character>
    <dialogue>I dunno. I only know four. Jesus, Joey! You came! Untie me!</dialogue>
    <scene_description>Joey holsters his guns and walks over to Richie and leans down. Except Richiets hands aren't tied. Richie whips out a gun and points it at Joey's head. Joey freezes.</scene_description>
    <character>RICHIE</character>
    <dialogue>Oh, yeah. There were five.</dialogue>
    <scene_description>Richie stands up, gun still pointed.</scene_description>
    <character>RICHIE</character>
    <dialogue>I knew you'd come. Didn't think you'd make it this far, though. I was hoping for a little less bloodshed, Joey. Jesus, you're good with the killing, aren't you?</dialogue>
    <scene_description>Joey glares at him.</scene_description>
    <character>RICHIE</character>
    <dialogue>Why do you think that is? You think it's genetic? You think your old man was some kind of killer? Or is it just chance?</dialogue>
    <character>JOEY</character>
    <dialogue>They didn't track you down.</dialogue>
    <character>RICHIE</character>
    <dialogue>Oh, hell no. I've always been here, Joey. Right here where you left me.</dialogue>
    <scene_description>cTOEY What happened?</scene_description>
    <character>RICHIE</character>
    <dialogue>Do you have any idea what it takes to</dialogue>
    <character>�</character>
    <dialogue>talk one of these wiseguy fucks out of killing you?</dialogue>
    <scene_description>Joey shakes his head.</scene_description>
    <character>RICHIE {</character>
    <dialogue>I told him the whole story, man. I told him how you talked me out of going away to school so I could help you kill him. He liked that loyalty thing, you know? He liked that I'd give up what I wanted for a friend, Joey~ Or Torn. You prefer Tom? You're starting to look like a Torn, you know? Yeah, well, anyway, after a while, he started letting me do some work for him. Made me do the dirtiest goddam jobs he had. Lots of fun shit. I got good at it, too. You wouldn't believe how easy it is to just slide into Bad. Oh, hell. Yeah, you would.</dialogue>
    <scene_description>Joey doesn't respond. Ile steps the gun. forward Joey's</scene_description>
    <character>RICHIE</character>
    <dialogue>You got nothing to say? Huh? You just gonna sit there and listen?</dialogue>
    <scene_description>and smacks Joey head snaps back, in the head with the butt of but he doesn't say anything.</scene_description>
    <character>-</character>
    <dialogue>RICHIE</dialogue>
    <scene_description>Hey! I'm talkin' here! He smacks him again, this time drawing blood. Joey wipes the blood from his forehead and responds quietly and evenly.</scene_description>
    <character>JOEY</character>
    <dialogue>I'm listening.</dialogue>
    <character>RICHIE</character>
    <dialogue>Yeah. You better. You fuckin' better.</dialogue>
    <scene_description>He steps back and composes himself a beat.</scene_description>
    <character>RICHIE {</character>
    <dialogue>All that really matters is that it got to</dialogue>
    <scene_description>the point where Torrino actually trusted me, and when you bumped the old man, that left me in charge of what was left of his shit. - Course,</scene_description>
    <character>RICHIE</character>
    <dialogue>now you've</dialogue>
    <scene_description>I'm gonna have to go work for the New York guys, start taken over at the bottom. Like care of that, so I don't owe you for enough as it is. Goddam you, Joey, I could have had a real life, I was going to go to fucking college, man. Guys like us, how many of us make it that far? You did this, Joey, You did this to my life. Joey steps toward Richie,</scene_description>
    <character>JOEY</character>
    <dialogue>I guess I kinda knew some of that. They just found you out of the blue, the same time they found me? Didn't make sense.</dialogue>
    <character>RICHIE</character>
    <dialogue>Then why'd you come back?</dialogue>
    <character>JOEY</character>
    <dialogue>I came here to save you.</dialogue>
    <character>RICHIE</character>
    <dialogue>You missed your chance a long time ago.</dialogue>
    <scene_description>Joey steps closer. Richie raises the gun, pointing it at his head.</scene_description>
    <character>JOEY</character>
    <dialogue>I thought I could live with what I'd done to you, Richie. In the end, I couldn't. I wanted to believe I could save you, but I guess this'll have to do.</dialogue>
    <scene_description>He sticks his forehead up against the barrel of Richie's gun.</scene_description>
    <character>JOEY</character>
    <dialogue>You do what you have to.</dialogue>
    <character>RICHIE</character>
    <dialogue>I want you to beg for me.</dialogue>
    <character>JOEY</character>
    <dialogue>Not gonna happen. Just end it.</dialogue>
    <character>RICHIE</character>
    <dialogue>Alright. Then beg for your family.</dialogue>
    <character>JOEY</character>
    <dialogue>My family ..• ?</dialogue>
    <character>( CONTINUEO)</character>
    <dialogue>RICHIE</dialogue>
    <scene_description>I seen your wife on TV. She's got a real bloom to her. I think I'll fuck her before I kill her. How about that? You willing to beg for that? Without warning, Joey whips his head to the left, causing Richie's gun to slide forward, past his head. Richie staggers forward, and grunts in surprise. The gun goes off, but Joey knocks it out of his hand with his free hand. Richie slowly looks down and sees Joey's other hand - it's wrapped around the knife sticking into Richie's belly. Richie staggers back, clutching the knife, blood gushing. Joey calmly pulls out one of his guns and points it at Richie.</scene_description>
    <character>JOEY</character>
    <dialogue>I'm willing to kill for that, Richie.</dialogue>
  </scene>
  <scene>
    <stage_direction>EXT. BEACH HOUSE</stage_direction>
    <scene_description>Joey walks towards the beach, battered and blood soaked. He walks down to the edge of the water and hurls his revolvers as far as they'll go. He takes the bloody knife out of its</scene_description>
    <character>-</character>
    <dialogue>holster and throws it after them. He tears off the knife holster and the underarm holsters and throws them into the sea as well.</dialogue>
    <dialogue>He rips his bloody shirt off and throws it in after the weapons, then falls to the sand arid sits, staring out as the sun rises over the horizon, water lapping closer and closer to his feet.</dialogue>
    <dialogue>He sits a long, long time.</dialogue>
    <dialogue>EXT. McKENNA HOUSE - DUSK</dialogue>
    <dialogue>Tom's pickup pulls up in front of the house. Tom gets out and looks at the house, sees the station wagon parked in front.</dialogue>
    <dialogue>The field has been cleaned up, all remnants of the propane tank are gone ..</dialogue>
    <dialogue>Tom walks to the front door and opens it.</dialogue>
  </scene>
  <scene>
    <stage_direction>INT. LIVING ROOM</stage_direction>
    <scene_description>Empty. Tom hears a sound in another room, and heads for the kitchen.</scene_description>
    <character>-</character>
    <dialogue>INT. KITCHEN</dialogue>
    <dialogue>Edie sits at the head of the table, dishing out dinner to Jack and Sarah. Jack and Sarah look up when he walks in, then go back to their meals. Edie doesn't look up. Tom stands in the doorway a long beat, then sits in his chair. A long beat as the family eats. Tom looks around at his family, who don't return his look. He closes his eyes and fights back the tears. Sarah looks around the table, at her mother and brother, then her father. She's thinking hard. Sarah gets up and walks over to the counter and picks up a plate and some silverware and puts them in front of her father, her face very straight. Tom looks at her, his eyes wet, and smiles. She shoots him an uncertain smile, then goes back to her seat. Jack, chewing his dinner, looks at the serving plate in the middle of the table. He swallows, then pushes the plate over in front of his father, not making eye contact. Tom smiles in gratitude. He looks across the table at Edie, who stares intently at the food in front of her. After a long beat, she looks up at her husband, her face impassive. He looks back, no idea what she's thinking, no idea what the future holds. But he sees something in her eyes, and for now, that's enough.</dialogue>
    <dialogue>There's hope.</dialogue>
    <scene_description>FADE TO BLACK: •</scene_description>
  </scene>
</script>

Summary: Tom Stall is a diner owner who lives in the fictional small town of Millbrook, Indiana, with a loving wife Edie, teenage son Jack, and daughter Sarah. One night, two spree killers attempt to rob the restaurant. When a waitress is threatened, Tom deftly kills both robbers with surprising skill and precision. He is hailed as a hero by his family and the townspeople, and the incident makes him a local celebrity. Tom is visited by scarred gangster Carl Fogarty, who alleges that Tom is actually a Philadelphia professional hitman named Joey Cusack who had dealings with organized crime in Philadelphia. Tom vehemently denies this, but Carl remains persistent and begins to stalk the Stall family. Under pressure from Carl and his newfound fame, Tom's relationships with his family become strained. Following an argument with his father over the use of violence on a bully at his school, Jack runs away. He is caught by Carl, who, with Jack as his hostage, goes with his men to the Stall house and demands that "Joey" return to Philadelphia with them. After the gangsters release Jack, Tom is slow to join them in their car, so they attempt to force him to cooperate. Tom kills one of the two henchmen with the same precision he used against the robbers and severely injures the other, but Carl shoots Tom before he can do the same to him. As the gangster stands over Tom, preparing to kill him, Tom finally drops the façade and admits he is indeed Joey. However, before Carl can deliver a coup de grâce, Jack kills him with the family's shotgun. At the hospital, Edie confronts Tom, claiming that while he was attacking Carl's men, she saw "the real Joey" that the gangster was talking about. Tom shocks Edie by admitting that he is actually Joey Cusack, and that he has killed for both money and pleasure. He tells Edie that he ran away from Philadelphia to escape his violent criminal past. This admission deepens the tensions in their marriage. After Tom gets out of the hospital, Sam, the local sheriff, pays a visit. Sam expresses confusion about everything that has happened. He tells Tom and Edie that these mobsters would never go to so much trouble unless they were certain that they had the right man. Just when Tom is about to confess, Edie lies to Sam, claiming that Tom is who he says he is, and that their family has suffered enough. At a loss for words after Edie breaks down into tears, Sam leaves. Edie and Tom then start slapping and hitting each other, their fight eventually culminating in violent sex on the stairs. Afterward, Edie and Jack continue to further distance themselves from Tom, leaving him isolated. He receives a call from his brother, crime boss Richie Cusack, who also demands his return to Philadelphia, or else he will come to Indiana to find him. After traveling to meet his brother, Tom learns that the other mobsters whom he had offended in Philadelphia took out their frustrations on Richie, penalizing him financially and delaying his advancement in the organization. Tom offers to make peace, but Richie orders his men to kill his brother. Tom manages to kill most of the guards and escape. As Richie and his last henchman are hunting for him, Tom kills the henchman, takes his gun, and confronts Richie outside; stunned, Richie says "Jesus, Joey" before Tom kills him with a single gunshot to the head, responding "Jesus, Richie". Tom returns home, where the atmosphere is tense and silent as the family sits around the dinner table. His young daughter eventually hands him a dinner plate. Some moments later, his son offers him a communal plate of food and Edie looks at Tom with tears in her eyes.