Role Model

FADE IN:

EXT. HOUSE -- BACKYARD -- EARLY MORNING An old SWING SET made of rust covered bars. Chain links holds a rubber seat made out of an old tire.

INT. HOUSE/LIVING ROOM -- WINDOW -- DAY A WINDOW.

It’s covered by a deteriorating set of BLINDS.

A beam of SUNLIGHT peaks through the cracks of the blinds, lightening up the room just enough to see, JENKS (12). He stands, looking out through the blinds, shielding his eyes. He’s average looking. A little overweight. His shoulders are drooped over. MAN’S VOICE (O.S.) You gotta see this son. The blinds SHUT as he leaves the window.

INT. HOUSE/LIVING ROOM -- DAY FRANCIS, sixty two, sits in an old, worn out chair. A CIGARETTE dangles on his lips. His BOOTS are set by a night stand with three beer bottles on top. Jenks comes over and sits on a wooden CHAIR. He scoots it over, close to his dad, not getting in the way of the TV. A CLOUD OF SMOKE blows across his face. He squints his eyes, casually dodging the smoke the best way he can. FRANCIS Gary Cooper. He’s one of use. I love him in these westerns. Cool, quiet.

2.

Jenks watches his dad raise a GUN, barrel open, in front of his face, avoiding his lit cigarette. He examines it carefully. FRANCIS (CONT’D) I told it to you before, son. Don’t let anybody, and I mean nobody, from outside that room, know you’ve been there. It gets done, it’s clean. Francis takes a long draw off his cigarette, not taking his eyes away from his gun. Jenks watches the ASHES fall... eventually landing on his father’s right cowboy boot. FRANCIS (O.S.) (CONT'D) You listening son? Jenks looks up, directly into his father’s eyes - He made that mistake once before. A cigarette burn, on the top of his right hand, is a constant reminder of this. Francis reaches over to his side and grabs a bottle from the night stand. FRANCIS (CONT'D) You gonna do good work, I know it. Just like your old man. With the BOTTLE upright, almost pointing straight to the ceiling, the remaining liquid slides into Francis’s mouth. FRANCIS (O.S.) (CONT'D) We better get’cha going, I guess. School start’n soon and all. Jenks turns to watch the TV.

Francis gets up and leaves.

3.

FRANCIS (O.S.) (CONT'D) Your mother. She’d take care of this shit. Even these lunches of yours. Jenks goes back and forth between the TV and his dad in the other room. He doesn’t move as he watches a brown BAG land next to him.

INT. JENK’S HOUSE/LIVING ROOM -- DAY Jenks, now as an adult, 31, dressed in blue coveralls, hiding his muscular frame, stands in front of a similar looking window. This one is covered in WHITE SHADES. After a long beat, Jenks reaches out with his cigarette burnt hand, pushing the shades open. SUN blankets the room.

INT. JENK’S HOUSE/DINING ROOM A TABLE, set for two. A plate of toast, a glass of milk, and a jar with sugar and cinnamon sits. Jenks wipes a small amount of debris off the table, before... Walking down a short hallway into the...

THE FOYER A few feet from the front door is a long STAIRCASE. Jenks stops at the staircase and looks up. JENKS Susan! Come on honey. Your breakfast is ready. (Oops!) Oh, hey! Don’t forget mercury and Pluto. They should be right by your bed.

4.

He waits for a response but doesn’t get one. Turning around, Jenks walks back into the...

DINING ROOM He sits down on a chair at the table - the weight of the world on his shoulders. Hearing a noise upstairs, Jenks reaches out and grabs the jar from the table. He puts it behind his back. Seconds later, SUSAN, 5, with long and curly blonde hair, wearing a yellow formal dress, prances into the room. In one hand she has a purple ball, in the other is a yellow ball. She sets the two balls on the table and climbs up on a chair. Susan sits, frozen, just looking at the toast. JENKS (O.S.) What’s wrong honey? SUSAN Mommy would put cinnamon on my fingers. Jenks pulls the jar from behind his back. JENKS Like this? SUSAN Yay! A woman (Mommy), wearing a robe that covers her pajamas, slumbers into the room. This is ANN (29). Ann stops to rub Susan’s long hair as she walks past Jenks, like he doesn’t exits, and into the kitchen. Jenks sprinkles cinnamon on Susan’s toast that is cut into slices, length wise.

5.

JENKS This is a big day Sus’. SUSAN Miss Jackson says the solar eclipse’s thingy is gonna happen. Is that what you mean daddy? JENKS No, dear. I’m talking about the science project. SUSAN That’s in the bag. Except for Mercury and Pluto of course. I’ll put them on later. I’m sure it’s better than Marabelle’s. She says she’s gonna win but I don’t think so.

Oh yeah?

JENKS Is Marabelle your friend?

SUSAN Yeah, but she doesn’t like to be around us so much. I don’t know why. JENKS There’s nothing wrong with being a little shy sweetheart. Sounds from Ann opening and SHUTTING cupboards is heard in the other room. JENKS (CONT'D) It doesn’t matter how someone acts or how many friends they have, it’s what’s inside. Right? Ann, with a coffee cup in her hand, walks toward the window in the living room, shaking her head. She closes the shades. The room gets DARKER.

6.

Jenks twists around and looks at Ann.

He’s not happy.

ANN What? JENKS (O.S.) Are you ready honey? After eating a bite of her toast, Susan wipes her mouth with her arm and jumps out of her chair. SUSAN I’m... She straightens out her dress and picks up the two balls. SUSAN (CONT'D) Ready. JENKS We put those on the world, and like you said, it’s in the bag. (beat) Let’s go, dear. Susan, joyously, turns around and skips out of the room. Into...

THE FOYER Susan stops at the front door.

She waits.

ANN (O.S.) One thirty Jenks. Jenks, right behind Susan, gives her a quick nod. Susan opens the door and exits. ANN (CONT'D) Why do you do that, Jenks? I mean, let her open the door like that. Like nothing’s going to happen?

7.

JENKS I look after her, Ann. I protect her... and her friends. ANN Like her grandfather? JENKS Don’t. Don’t do that today, Ann. Can I take our daughter to school? ANN Yes, take her to school. JENKS Can you pick her up? ANN (irritated) I’m working Jenks. You know I’m at work all day. I told you two days ago about my schedule. You can, can’t you? JENKS You know I can’t give you promises, with what I do. ANN One thirty. It’s a time commitment, Jenks. JENKS You think I’d forget? ANN You’ve missed stuff like this before. JENKS One thirty, I’ll be there.

8.

ANN You’ll meet me there? JENKS Yes Ann, I will meet you there. As Jenks opens the door, he sees Susan who is waiting for her daddy. ANN (O.S.) Wait. Jenks makes sure Susan is okay before returning his attention to Ann. Beat. JENKS She has to go to school, Ann. I’ll make sure she gets their in good shape. She’ll be alright with me. The door starts to CLOSE.

Wait.

ANN Jenks.

JENKS (O.S.) I don’t want her to miss... The door locks, closed. Ann stands in the middle of the room. In disgust, she flings her robe around her waist.

EXT. STREET -- DAY A WHITE ‘69 MERCURY COUGAR, drives down a neighborhood street. After passing TWO SCHOOL BUSES, the car pulls over to the curb.

9.

INT. CAR -- DAY In the driver’s seat sits Jenks. A BIG BROWN BAG sits on her lap.

Alright.

In the back seat is Susan. Next to her is a lunch box.

JENKS We... made it.

Jenks looks in his rearview mirror at Susan. gather her stuff together.

He watches her

Susan leans forward. Her head is set directly next to her daddy’s. Her eyes are squinting, lips puckered up, ready to be kissed. Jenks doesn’t respond. SUSAN (whispering) Daddy, I’m waiting. Jenks turns to her and places a finger on her lips. JENKS Love. Susan opens her eyelids but something’s not right. SUSAN Are you okay? Did mommy tell you bad stuff again? Beat. JENKS You don’t want to late for school, do you honey? SUSAN No, dad. JENKS You better give me a kiss then.

10.

Susan puckers up again, right in front of her daddy’s face. SUSAN I’m ready again, daddy. Jenks places a finger on her lips. JENKS Love. SUSAN Love. Susan works her way out of the car. Jenks watches her walk across the street and join a group of KIDS that are on their way into school. Something catches Jenks’ eyes. JENKS POV A BOY runs alongside THREE OTHER KIDS running through the school playground.

EXT. SCHOOL -- DAY (FLASHBACK) Jenks, as a boy, runs across an empty school playground.

EXT. CAR -- DAY The same white ‘69 Mercury Cougar is stopped along side a curb adjacent to the playground. SMOKE, that has escaped through a small crack of the car’s window, runs up the car.

INT. CAR -- DAY Francis reaches over and rolls down the passenger side window. Smoke and the sounds of the radio leak out.

11.

He bends down, peering through the open window, waiting for Jenks. He straightens up as Jenks opens the door and sits down. Francis reaches under the seat and pulls out an old, ragged, stuffed animal. He throws it at Jenks and drives away.

There.

FRANCIS That’s for you.

The stuffed animal, bouncing off the dashboard, ends up under the car’s radio. As Jenks reaches down for the stuffed animal, he sees a GUN along his dad’s waistline. Right above the gun is a red BLOOD STAIN covering a small portion of his shirt. Francis notices Jenks looking at him and closes his jacket, covering the stain. ... on the radio... WOMAN’S VOICE (V.O) We interrupt the pregame show to bring you up to the minute news. (pause) A murder south Chicago this morning, nine thirteen. A well known... The radio STOPS. Francis goes on to drive a few blocks as we see Jenks waiting for the right time to ask his father... The car stops at a crosswalk. JENKS Why do you... FRANCIS What son?

12.

JENKS Why do you... you know, what you do? I mean... FRANCIS (casually, interrupting) You mean what we do son. JENKS I’m not like you. Francis PULLS the car over and parks along the curb. Francis SLAMS the car’s gear into park.

Beat.

FRANCIS What’ya think I been teaching you for? Jenks sits, not sure what to do or say. FRANCIS (CONT'D) Come on, son. I been teaching you, telling you about them folks Them dirty son of a bitches. JENKS Them bitches. FRANCIS They’re bad... JENKS Bad. FRANCIS And... JENKS They don’t care about us. FRANCIS Right... and...

13.

JENKS They sink down to our inner souls, tearing the fabric away from everything you built for us... and the ones before us - They’re beasts. FRANCIS Beasts. (re; his blood stained shirt) And you ask, do they deserve it? (beat) Shit, Jenks. Do they deserve it? Jenks cowards a bit but nods “yes” to his old man. FRANCIS (CONT'D) For fucks sake, boy. Sometimes I think you aren’t listening to me. JENKS (respectively) Yes, sir. I won’t forget. Jenks turns to look at his dad. A GUN - Right in front of his face. FRANCIS (O.S.) Take it. Don’t worry, nothings gonna happen. (proudly) The bullets are used up, I promise. Give it a try. Jenks, gradually, reaches out with both hands. With Francis letting go, the gun slides down Jenks’ little fingers and into the palms of his hands. Without thought, Jenks grips the gun in his right hand. left hand drifts away.

His

14.

Jenks takes a quick look at his dad... It’s okay. BACK to the gun. Slightly tilted down, the gun is pointed straight ahead. Jenks’ looks down the barrel.

His left eye closes.

FRANCIS (O.S.) (CONT'D) You look good son. You’re a natural beast killer. (beat) Take your time son. That there is a powerful thing. A lot of wrongs have been made right with that. Them rapists, robbers, child molester's? Them beasts are gone from this great earth of ours with that there in your hand. (beat) It will be yours one day. You’ll be just like your old man. Jenks’ turns to look back at his dad.

INT. CAR -- DAY (PRESENT DAY) Jenks sits in his car.

Dazed, staring.

BEEP! (A car horn)

EXT. STREET -- DAY Jenks’ car pulls away from the curb...

EXT. HOUSE -- DAY Jenk’s car pulls into the driveway of a small blue HOUSE, covered by a chain link fence.

15.

Weeds, growing through the gravel covered lawn, sprout in some areas but not in others. A screen door OPENS. A man, QUEENS, 25, smoking a cigarette, exits. Queens is wearing designer jeans and shiny, brand new, basketball shoes. Everything is top notch except his hoody sweatshirt.

INT. CAR -- DAY The passenger door OPENS. tired.

Queens gets in.

He rubs his eyes,

Jenks just stares at Queens. After a big inhale and a quick “fuck you” look, Queens FLICKS the cigarette out of the car and shuts the door. Jenks reaches in the backseat, grabs a pair of coveralls and throws it on Queens’ lap. JENKS Put this on. QUEENS You got to be, man - This is some early shit. You pulled me out of bed for this? JENKS What did I tell you? QUEENS Shit man, I don’t know. JENKS If you ain’t gonna be ready, I mean if you’re not up for it...

16.

QUEENS (covering his tracks) Look man, I’m just fucking with you. I’m tired that’s all. Jenks’ punches the car into gear and pulls out into the street. QUEENS (CONT'D) Shit man, you strung out. Tight. I mean you could... Oh, Fuck! The Mets, did they win? Tell me they didn’t lose by more than a run. Six to five? Five to four? Jenks ignores Queens.

He’s done this before.

EXT. SIDEWALK -- CLOSE ON AN OPEN NEWSPAPER DISPENSER -- DAY A HAND reaches in and grabs a NEWSPAPER. WE SEE Queens, with his hood over his head, now standing, frantically sifting through the various sections of the paper. Behind him, a RED FORD EXPLORER drives past Queens.

INT. CAR -- DAY Jenks sits in the front seat, staring off in the distance. His sight away from the street. With a couple empty coffee cups and some empty wrappers on the dashboard, it looks like they've been there for awhile.

EXT. STREET -- DAY Queens, dodging the oncoming traffic, runs across the street.

17.

EXT. SIDEWALK -- DAY Queens, hurriedly, walks down the block. He sheds each section of the newspaper by throwing it on the sidewalk.

INT. CAR -- DAY Jenks is briefly startled by Queens who opens the passenger car door. Jenks returns his attention to the window. Queens (OS) scrunches the newspaper and throws it out the window. Beat. JENKS The Yankees lost, didn’t they? QUEENS Two to one. Nah, they won. JENKS But you lost. QUEENS (beat) Yep.

EXT. PARKING LOT - DAY The red Ford Explorer pulls into a parking spot. JENKS (V.O.) You can’t keep doing this shit, Queens. You keep on betting on shit like you do, you’ll eventually lose - maybe everything. Ann, professionally dressed, gets out of the Ford Explorer, pulling a briefcase from the cars seat.

18.

QUEENS (V.O.) I win, sometimes. Sometimes big. Ann walks through a parking lot, down a long walkway.

INT. CAR -- CONTINOUOS Jenks sits in the driving seat. Queens digs through an old muffin wrapper, popping any bits of missed muffin into his mouth. QUEENS (muffled) I haven’t eaten like for-ever. JENKS I was there just last week. brought you groceries.

I

QUEENS It’s gone. JENKS How much on the game, Queens? QUEENS How much? JENKS No, I was talking about. Shit. know. How much coin?

You

QUEENS I don’t want to discuss it. JENKS You don’t want to talk about it? QUEENS I don’t...

19.

JENKS (interrupting) It’s tied to it, dude. QUEENS I was just saying I was hungry. JENKS (beat) If you want to talk about the food situation, you have to talk about why the food situation exists. QUEENS I ain’t worried about it - I ate good last week. Surf and turf. Appleby’s, just last Tuesday. JENKS The double header? QUEENS The fucking double header is right. Yankees fucked the Orioles that night. Covered the spread also. Didn’t bet it though. Jenks notices something across the street. He raises his hand signifying Queens to settle down and pay attention.

EXT. SIDEWALK -- DAY A SKINNY MAN (30’s), wearing stained, grubby jeans and a worn out T-shirt, walks down the block, holding a brown bag. He keeps looking inside, anticipating something good. QUEENS (V.O.) Is that our guy?

INT. CAR -- DAY Jenks and Queens in the car.

20.

Jenks reaches under his seat, grabs a dark cap, and places it on his head. JENKS We’ll wait. Let him settle in.

EXT. DOORWAY -- BLUE DOOR -- DAY Ann, dressed professionally, walks down a walkway toward a building. She eventually reaches, WOMAN’S VOICE (O.S.) Come on. BETH (30’s).

She holds a door open, waiting for Ann.

ANN (O.S.) Good morning to you too. Beth watches Ann pass by, not looking at her. routine to them. BETH (apathetically) We hate our jobs, don’t we?

INT. OFFICE -- HALLWAY -- DAY Ann waits in the hallway for Beth. ANN Did you forgot the coffee? BETH I got things planned for that. Let’s go. I don’t want to be late for work... especially late for, you know... (whispering) The boss.

It’s like a

21.

ANN Yeah, me neither.

God, I hate her.

Ann and Beth approach a LARGE DESK and a RECEPTIONIST sitting behind it. Above her is a large sign: PANTZLER AND ASSOCIATES. RECEPTIONIST Good morning, Miss Pantzler. Ann and Beth stop in their tracks, waiting for the other to make a move. BETH No drip... slash that. No foam, granola flavored, and a hint of cinnamon. ANN The usual black is fine for me. RECEPTIONIST Yes, Mrs. Pantzler. Ann and Beth walk in opposite directions.

INT. OFFICE -- DAY In her office, Ann sits at her DESK. Paper’s and files are everywhere. She’s deep into her work.

EXT. STREET Jenks and Queens, watching traffic, judge their way across the street, walking into an alley way.

INT. APARTMENT/LOBBY -- DAY The lobby of a once three star hotel back In 1960. Now it’s just a worn out apartment building. The same furniture, from day one, sits in its lobby.

22.

An OLD MAN sleeps in a chair, head down, with his arms folded along his waist. Jenks and Queens walk through the lobby. They enter an elevator.

The doors quickly CLOSE.

INT. APARTMENT/FIFTH FLOOR -- DAY The elevator doors OPENS. Jenks and Queens walk out and down a short hallway. Jenks looks around, paying attention to everything. JENKS There it is, five eleven. QUEENS This ain’t gonna take long, is it? JENKS You follow through like your supposed to, ten minutes top. QUEENS We gonna get some breakfast after this, kid? I could sure use some pancakes, butter too. Jenks STOPS. Turning around, Queens takes a step back. JENKS Don’t make me - Not today. you clear, focused.

I need

Queens pays strict attention, this is no joke. JENKS (CONT'D) Are you here? (pointing to his eyes) (MORE)

23. JENKS (CONT'D) Look at me. You listening? (beat) Don’t fuck this up.

Right.

QUEENS I’m cool.

Jenks turns around and walks away. him.

Queens is right behind

INT. APARTMENT/DOORWAY OF APARTMENT 511 - CONTINUOUS Jenks.

Queens.

DOOR.

Jenks takes another look around his surroundings. Queens.

He nods to

Queens knocks on the door. Moments later, the door opens about two inches wide. MAN’S VOICE (O.S.) What do you want? QUEENS Repair men sir, open up. MAN’S VOICE (O.S.) I didn’t call... Queens PUSHES the door with more than enough force that the man can’t control the motion of the door and now, the situation. The door CLOSES.

INT. ANN’S OFFICE -- DAY -- LATER Ann stands a couple feet from her DESK that is cluttered with papers, files, a computer, and an old breakfast sandwich. She is looking out of a window, arms folded, staring, lost in thoughts. The blinds are open.

24.

BETH (O.S.) You minx. The delivery guy, right?

Shut up.

ANN I wasn’t...

BETH Tuesdays, I know.

I like him too.

Beth joins Ann at the window. ANN You are so bad. BETH I know, right?

EXT. STREET -- DAY A large BROWN TRUCK is parked curb side. A DELIVERY DRIVER, 20’s, wheels down a hand truck full of boxes. BETH (O.S.) Watch this. This is so... ANN (O.S.) You are not going to do this. The delivery driver bends down from the waist, picking up a box off the hand truck.

INT. ANN’S OFFICE -- CONTINUOUS Ann reaches out and pulls the string of the window’s blinds. It SLAMS down on the window sill.

Closed.

ANN I was not looking for him. Beth turns and walks away, landing on a COUCH by the door.

25.

BETH I’m a Friday girl myself. Tall, dark hair. A bit slim, but I think he’s working out. Butch, or Billy. Something like that. I like him though. He doesn’t know yet. ANN (at her desk) I’m sure he’ll know it soon. Beat. BETH I told you, you should leave him. ANN I am not leaving my husband. You won’t stop with this, won’t you? BETH Let me ask you - I’m being serious. Where is this man of yours? ANN I don’t know. I mean... he’s at work. Any ways, I said we shouldn’t talk about stuff like this here. BETH Exactly. Exactly. You don’t know where he is. You don’t bring him in - not one to visit you, and you don’t even have a photo of him here, in this office, where you spend way too much time, if I may say so my self. Over seventy hours just this week alone. ANN I take care of him. (beat) (MORE)

26. ANN (CONT'D) I mean, we just can’t let Suzy... end up like, well, you know.

BETH I know, he’s a good father. always be a good father.

He’ll

...

INT. APARTMENT/LIVING ROOM -- LATER A dirty, unkept apartment. Dust built up for months, maybe years. Stains next to stains. Finished fast food bags, pizza boxes, and empty beer bottles are scattered throughout. Jenks sits on a COUCH full of holes and years of used fabric. In front of him, on a Formica coffee table, sits a bowl of cereal, a gallon carton of spoiled, separated milk, TWO MAGAZINES, and the scrunched up brown bag. Jenks pulls out a pack of cigarettes and takes out a cigarette. He reaches into his pocket, pulling out a lighter. He puts the cigarette in his mouth.

Beat.

He lights it just enough to get it started. Jenks looks down at one of the magazines... INSERT -- COVER -- TEEN BEAT MAGAZINE BACK TO SCENE Jenks FLIPS through the pages of the magazine watching dozens of pictures of young boys and girls go by. The pictures of all the young boys are circled. One page is stuck to another.

27.

Jenks slams the magazine shut and tosses it on top of the other magazine - PLAYGIRL. JENKS POV A BODY.

It lays flat on it’s back, DEAD.

BACK TO SCENE Jenks sitting, head down. He takes a long look at the burning cigarette which is held by the same hand with the cigarette burn his father gave him. Streams of smoke rise upward. effecting the smokes path.

Jenks blows out a small breath

JENKS One more beast finished. fucking ass hole.

You

QUEENS (O.S.) Hey look, I found a burrito in the freezer. JENKS (alert, engaged) You touch that microwave, you’re dead. QUEENS (O.S.) It’s a burrito. It needs eating. Jenks, still sitting, turns around and looks at Queens. JENKS Don’t you see this guy? We just buried a bullet in this dude. You want your fucking prints on the microwave? I said clean. QUEENS Clean? Shit. Dude, I’m hungry and like I said, it needs eating.

28.

QUEENS stands in the kitchen, burrito in hand... Jenks approaches him. JENKS I know man, you’re doing it for me. (beat) I appreciate that. I just want you to do what I told you. Queens opens the freezer with his shirt covered elbow, flips the burrito in the freezer and closes the door.

Right man.

QUEENS I said I’m cool. JENKS

How long? QUEENS I forgot my watch. JENKS (beat) So, I assume you’ve been counting? QUEENS Very funny. JENKS You think I’m funny? (seriously) Look. Seven minutes and thirty two seconds. I’ve been counting. Do you remember what happens if you stay past seven minutes? QUEENS Success drops. JENKS If called, cops could be here any second.

29.

QUEENS (O.S.) We’ve dealt with shit before, I ain’t worried. JENKS Maybe, at some point, you should. QUEENS Start to worry? Not with you. Besides, I don’t think anybody heard... A KNOCK on the door. Jenks, calmly, extinguishes his cigarette by pushing it on the counter top. He places the burnt cigarette butt in his pocket. As Jenks walks toward the door, he, in one smooth motion, pulls down his hat close to his eyes, flips the room’s light off, relocates his gun behind his back, and OPENS the DOOR.

INT. APARTMENT/FRONT DOOR/HALLWAY -- DAY An OLD WOMAN, in a dirty lime green robe, stands in the doorway. Jenks sports a smile and a calm, casual demeanor. rests comfortably behind his back.

His gun

JENKS Can I help you mam? OLD WOMAN I thought I might have heard a gun, or a - Is he alright in there? Queens walks over and stops next to, and slightly behind Jenks. For the first time he has a serious look on his face. JENKS I think you better go back inside, Mam.

30.

The old woman moves her head and shoulders around, trying to look into the apartment. Jenks and Queens haven’t moved once. The old woman, now scared, back pedals. Jenks, slowly, closes the door in front of her.

EXT. STREET -- DAY TWO POLICE CARS come screaming down a street, SIRENS on. They pass several people including TWO MEN.

EXT. STREET -- DAY Jenks and Queens walk down the sidewalk not wearing the uniforms as before. Queens lights a cigarette as he looks back, watching the police cars drive past the apartment. QUEENS We’re gonna go back... quiet the old woman? JENKS Nope. QUEENS And the, let know one know you been there bullshit? Ain’t that what you taught me - quiet? JENKS (cold and blunt) I told you to be cool. Like all them gangster movies you watch? You liked that. Remember? Queens stops.

Jenks’ walks ahead.

31.

QUEENS We still gotta go back. JENKS (O.S.) No more killing today. Surprised, Queens walks on.

INT. CAR -- DAY Jenks sits in his car that is parked alongside a CEMETERY. He takes out a cigarette and LIGHTS it.

EXT. CEMETERY -- STREET -- DAY Jenks’ white Mustang is parked curb side. SMOKE, from inside the car, rises up along the car.

EXT. GRAVEYARD -- DAY A wooden, six foot BOX, resembling a casket, lays isolated in the grass. Several feet from the box stands Susan, Ann, and a PRIEST. Susan turns around, seeing her daddy.

EXT. GRAVEYARD -- WALKWAY -- DAY Jenks walks down a walkway in the middle of the graveyard. He’s in no hurry. Susan runs over and stops in front of her daddy. her arms like she wants to be picked up.

She raises

Jenks, slowly, reaches down and grabs one of Susan’s hands. They continue to walk down the walkway, hand in hand.

32.

EXT. GRAVEYARD -- DAY Ann and the Priest wait close to the casket. The Priest raises his hand. PRIEST Mister... JENKS Jenks. No formality necessary here Father. Good to see you again. They shake hands. PRIEST Sorry for your loss. JENKS Yeah, well, thanks, but... Are we ready? PRIEST Yes, okay. Now, if we could just... Jenks, ignoring the Priest, walks over to Ann. Ann reaches out her arms for Jenks. other a quick kiss.

They hug and give each

PRIEST (O.S.) (CONT'D) In talking with Ann, she was thinking that, maybe, what we should do is - I say a few words and then we can... JENKS (interrupting) I don’t think that’s necessary father.

33.

ANN (quiet, but forceful) Jenks! I don’t think that’s appropriate right now. JENKS Appropriate? Ann takes a quick look at Susan and then at Jenks. ANN I’m sure Father here has other services. Obligations. Jenks looks down at Susan. uncomfortable.

She looks a little confused and

JENKS (to the Priest) Sorry. Whatever you need father. PRIEST Okay... So. If we would, kindly have the family find a spot. Any place is just fine. Ann motions for Susan to come closer. Susan stays with her father. Ann moves to one area, isolated. to Jenks and Susan.

Ann watches the Priest talk

INT. CAR -- DAY The car, driven by Ann, drives away from the curb. Susan is buckled down in the back seat. ANN It was nice of you to join us - to your father’s funeral.

34.

JENKS I was there, wasn’t I? ANN Can you see how upset this could have caused our daughter? JENKS She’s okay. Jenks looks in the rearview mirror at Susan. JENKS (CONT'D) Are you okay, honey. SUSAN (O.S.) Good, daddy. JENKS See? She’s fine. Can we get back to my grieving for a second? ANN You only smoke when you’re thinking about him, Jenks. Don’t you think I can’t smell it? No response.

Beat.

The family stays quiet for the duration of the ride until the car stops in front of their HOUSE. Ann turns the car off... The door (OS) SLAMS shut.

Ann watches Jenks walk away.

ANN (CONT'D) We’re home, dear. Do you want me to help you? SUSAN (O.S.) No, I’m okay. Where did daddy go?

35.

ANN I don’t know, dear. Why don’t you go and see that he’s alright? Susan throws the seat belt away, OPENS the door and races to the house. Ann, in the front seat, looks like she would rather stay in the car forever.

EXT. SCHOOL -- DUSK A MAN and a WOMAN, holding hands, walks up some STAIRS toward the entrance of a school.

INT. SCHOOL -- CAFETERIA -- NIGHT FOLDING CHAIRS are set in rows in the middle of the school’s cafeteria. About half of them are filled. In front of the seats, are three, six foot banquet tables, covered by cheap, worn out linen. A MICROPHONE sits on the center table.

INT. SCHOOL -- CAFETERIA -- 11’TH ROW -- NIGHT Ann and Jenks sit... waiting. Ann is wearing a “Hello my name is” sticker, Jenks’ is not. Ann, impatiently, looks over her shoulder and toward the entrance, looking for something, seeing...

INT. SCHOOL -- CAFETERIA -- ENTRANCE -- NIGHT The DOORS to the cafeteria OPEN. BRAD, 28, enters. He’s tall, athletically built with beach blonde hair. He could easily be a model. He, proudly, SLAPS the name sticker on his chest.

36.

Bradley?

WOMAN’S VOICE (O.S.) Wait.

Behind him an equally tall and attractive girl, PERCY, 27, enters. She has long, perfectly tan legs barely covered by a short skirt. Her jewelry sparkles in the light. Head down, she searches for a place to put on her sticker, not wanting to wrinkle her wardrobe.

INT. SCHOOL -- CAFETERIA -- 11’TH ROW -- NIGHT Jenks and Ann sit, still waiting. Sounds of people talking is heard behind them. Ann looks up and over her left shoulder. (Brad).

She hopes it’s him

PERCY (O.S.) I can’t believe... BRAD (O.S.) Shh. Moments later, Brad and Percy sit behind Jenks and Ann. Ann smiles as she flips her hair behind her ear.

INT. SCHOOL -- CAFETERIA -- NIGHT JACKIE, 53, with dark, sun damaged withered skin, long grey hair and no makeup or jewelry to speak of, walks over to the microphone. As she grabs the microphone, the people in the room start to look in Jackie’s direction. Jackie is sure to get every person’s attention, before...

37.

JACKIE Millions of kids... (pause) Millions of kids, everyday, look for another way out. They never find answers. What person here wants to be forgotten from those that love them? Most of the crowd (OS) cringes, mumbling words... JACKIE (CONT'D) Kids, under the age of seven die from violent death every year. Some are taken from us, figuratively, right out of our arms. Jackie gazes the crowd, getting sympathy. JACKIE (CONT'D) Just yesterday a young kid and his father almost lost their lives from violence on our streets - His dad was just taking his boy to school. Pow! The crowd mumbles to one another, surprised. JACKIE (CONT'D) The were almost killed by gunfire. Have I got your attention? Well I hope so. Our community, our kids, need our help, or attention. I ask you, are we going to do anything about this? (silence) I say, well... (yelling) Are we? Some of the crowd stands and cheers.

38.

Ann takes a look behind. She sees Brad clapping. He’s intrigued with his presence.

Smiling.

INT. POLICE STATION -- DAY A big open space with multiple tables, chairs, and cubicles. The hub of the action in this precincts’ police station. A large man, FRANK, 62, barreled chest, grey hair and a big belt buckle, walks through an open door. In the corner of the room, THREE MEN, that appear to be detectives, stand LAUGHING, kidding around with each other. MAN #1 Hey Chief! I saw you on the news the other day. Looking old sir. FRANK You’re one to talk Harrison. You’ve taken most of the beatin’ from what I can see. HARRISON (O.S.) I’m Gerard. FRANK Harrison, Gerard. Who gives a crap. (beat; to the crowd) There’s crime out there boys. Have you seen it, been out there? You stand here slapping each other on the backs, telling jokes. Frank waits for some response - getting nothing.

Well?

FRANK (CONT'D) Let’s go!

Frank turns and walks by a DESK with a young WOMAN, 20’s, (Frank’s Assistant) who sits, stunned.

39.

Next to the desk is Brad. FRANK (O.S.) (CONT'D) Alright Officer. Come on. Let’s go.

INT. FRANK’S OFFICE -- DAY Brad sits down in a chair across the room from Frank’s desk. He is unflinching, confident. Frank looks out of a window overlooking the Chicago skyline. FRANK Do you see that shit out there? Brad starts to get out of his chair. FRANK (CONT'D) Sit down kid. Brad sits.

He’s attentive and straight. FRANK (CONT'D) I said, do you see what’s going on out there? BRAD I... FRANK Chaos. Fucking chaos, is what’s going on. Your uncle and I cleaned that shit up for years. Sweat and long hours is what it took.

Frank turns around, taking a couple steps toward his chair, and sits down. FRANK (CONT'D) A decade, plus a couple. But we did it, God bless him. (beat) (MORE)

40. FRANK (CONT'D) The shit’s coming back, kiddo. Mayor’s on my ass like it’s Thursday of a short week.

BRAD I’m sure it will turn around sir. Frank looks around his desk and scatters some papers around before picking up a manila file. FRANK That’s why you’re here officer. Frank opens the file and takes a moment to look at it. FRANK (CONT'D) Number one in your class, just like your uncle. I like that. BRAD (O.S.) Look, I don’t... Frank looks up, a little annoyed. BRAD (CONT’D) Sorry to interrupt you Chief. I don’t mean, you know, but I want you to know I’m ready to do whatever you ask of me. Brad re-adjusts in his seat, growing more confident with each second. BRAD (CONT’D) I’ll tell you three things sir. (pause) Potential officer of the year. Before that, three tours in Iraq, squad leader. Before that, all state QB, laid at age twelve. FRANK You said three things.

41.

BRAD I added the getting laid part. (beat) Look sir... seriously. I think of nothing but this department. I’ll do whatever you need. I’m ready. FRANK Whatever I need? Fucking balls on these kids. Okay, listen officer. Number one, you got arrests. Number two, I see, looking at you, great things are coming your way. Shit, you look the part. BRAD I said I’m ready. FRANK Your uncle was a good man, kiddo. If you got half of my old partner in you, I’m sure you’ll be perfect. Brad smiles.

He leans in.

BRAD Let me tell you Chief. My uncle... my uncle was one great mother fucker. (beat) I don’t mean to but... Frank nods in encouragement. BRAD (CONT’D) I remember him. FRANK Yeah?

42.

BRAD My dad would bring his big brother, your partner, around the family. You know what I saw? Frank adjust in his seat.

He waits.

BRAD (CONT'D) Big. A big smile, full of confidence. Huge confidence. You know why? FRANK Why? BRAD He would say... (for his audience) My partner got my back. Nothings going to happen to me out there. Frank smiles for the first time. Brad, confidently, stands up. BRAD

(CONT'D)

Sir? Frank leans back in his chair. Brad points to the window, motioning for Frank to join him. BRAD Come with me.

(CONT’D)

Frank stands up as Brad approaches him. Brad puts his hand on Frank’s shoulder, leading him to the window. BRAD (CONT'D) I came on a little bit too much, earlier, I’m sorry. Not professional I guess. (MORE)

43. BRAD (CONT'D)

(beat) What I will not apologize for is, is my commitment, sir. That chaos, you mentioned earlier? You got pressure? You need arrests? I will get those bastards, sir. You and my uncle did it, so will I. FRANK I know you will, son. (beat) Shoot. We better getch’a out on them streets. Give it your most solid effort. Brad motions for Frank to lead the way, toward the door.

INT. POLICE STATION -- DAY Frank’s Assistant is at her desk.

Laughter is heard OS.

Brad confidently walks out of Frank’s office, giving his Assistant a wink and a smile, as he passes by. Frank is right behind Brad, stopping at the doorway. He watches Brad walk across the detective filled room and out the door. Frank smiles, giving Brad one last wave of goodbye. The Detectives and office employees watch in amazement at Frank. He is, actually, smiling.

EXT. HOUSE -- DAY SUN shines on a BIG BRICK HOUSE. An AMERICAN FLAG waves above the front door. Brad walks down a long walkway to the front door.

44.

INT. BRAD’S HOUSE/ENTRANCE -- DAY Brad jaunts into his house. He is greeted by Percy, who wears clothes that match her freshly done red nails. PERCY I got take out for us. Even Marabelle. You want some? Percy turns around and heads for the kitchen. feet from the front door.

It’s a few

Brad follows her. BRAD I got some big news Babe. Percy slows down, paying half of her attention to Brad, as they head for the kitchen.

INT. BRAD’S HOUSE/DINING ROOM -- DAY The dining room is next to the Kitchen. MARABELLE, 8, sits, holding a sandwich. It’s made for an adult. A large plastic container with multi colored lettuce and a WHOLE ORANGE sits next to her sandwich. She looks around for help as her father, Brad, walks past. PERCY (O.S.) Don’t touch anything. The maid, that dark skinned girl, was here today.

INT. BRAD’S HOUSE/KITCHEN -- CONTINOUS Brad stands in the kitchen as Percy fiddles with the take out food. Brad looks through the stack of mail that is set on a counter. He is trying to be coy.

45.

PERCY Are you going to tell me or not? BRAD What? PERCY Big news? BRAD (beat) Detective. PERCY What? BRAD They’re gonna give me a shield. Can you believe that? PERCY Are you kidding? BRAD I never thought my good for nothing uncle... PERCY You don’t have an uncle. BRAD The chief thinks so. PERCY Well then, congratulations. BRAD Apparently the Chief has his head up his ass - He worshipped this Uncle of mine. PERCY What?

46.

BRAD The dudes living in the past. The best partner he ever had, he said. Some bullshit like that. Whatever, who cares. The dude, whomever he is, helped me get the shield. (excited) Huh, right? A DOORBELL RINGS. MARABELLE (O.S.) I’ll get it. Percy and Brad hug. Percy, immediately, lets go of his clutch. PERCY So this means I can get that necklace I wanted? You know, the one with the big...

INT/EXT. BRAD’S HOUSE/DOORWAY -- DAY Marabelle OPENS the front door. A tall, creepy MAN stands in the door way. He is dressed in a mailman’s uniform, including a big blue hat. MAILMAN (MAN) (affectionate; making every word count) This is quite the surprise. Usually I just push the mail in the little slot, but here you are. The mailman hands Marabelle a letter sized ENVELOPE. MARABELLE Thanks sir.

47.

MAILMAN You are quite welcome. What a nice young lady you are. Give it to your daddy, alright honey? The mailman backs away, keeping an eye on Marabelle the whole time. Marabelle stands holding a large envelope in her small hands. MARABELLE Yes, sir. PERCY (O.S.) Who is it Marabelle? MARABELLE It’s just the mailman, mom. Marabelle, slowly, closes the door.

Something’s not right.

INT. BRAD’S HOUSE/KITCHEN -- DAY Brad and Percy stand in the kitchen hugging and kissing. Marabelle walks into the room and stands a few feet away from mommy and daddy. BRAD What is it? Marabelle raises the envelope up toward her dad. MARABELLE He wanted me to give this to you. Brad looks at the envelope and then at Percy. BRAD (to Marabelle) Why don’t you go play outside? the backyard, okay?

In

48.

MARABELLE Outside? Again? But there’s nothing to play with. BRAD Play with the weeds or something. Brad watches Marabelle walk away. PERCY What was that for? BRAD Didn’t you hear me? I made Detective! I need you all by myself. Brad leans in, grabbing Percy, pulling her closer. BRAD (CONT’D) Why don’t we, you know, head upstairs? PERCY What about... BRAD Belle? PERCY No, lunch. Brad grabs Percy by the arm, guiding her out the door.

INT. BRAD’S HOUSE/STAIRWAY -- CONTINUOUS Brad and Percy slither up the stairs. Percy, ahead of Brad, STOPS. unbutton her blouse.

She turns around and starts to

49.

PERCY You’re going to have the night of you life there detective. Brad raises the envelope in front of Percy and waves it front of her face. BRAD (smiling; beat) Icing on the cake. Brad gives Percy a friendly push, leading her upstairs. Percy stops, regathering herself. PERCY And the diamond necklace? BRAD You didn’t say anything about diamonds. Percy TEARS her shirt off, exposing her bra. PERCY I deserve diamonds. Percy, followed by Brad, goes into the bedroom. close the door.

They don’t

Percy walks to her left as she reaches behind her back, unhooking her bra. Brad heads the other direction. PERCY (O.S.) (CONT'D) What grade do want tonight dear?

INT. BRAD’S HOUSE/BEDROOM -- CONTINUOUS Brad is kneeling in front of a big, open ARMOIRE. The DOORS of a separate space, at the bottom, are swung open. Brad opens the envelope given to him earlier. WHITE DVD CASE.

He pulls out a

50.

Greg looks at a sticker on the cover of the DVD case. INSERT -- SUSAN BLONDE 13 BACK TO SCENE He opens the DVD case. BRAD This is going to be good dear. PERCY (O.S.) I hope she’s a redhead. you like the redheads.

I know how

BRAD Yes I do. Brad does a little dance with his shoulders as his finger glides over, pushing the eject button of the DVD player. BRAD (CONT’D) (happy with himself) Yes I do. He holds the disc in his left hand, balancing it with one finger. With a little toss, the DVD flies in the air, gently landing in the cradle of the DVD player. Brad, with the empty case in one hand, peruses a long line of white DVD cases. All of them are imprinted the same way. His finger, slowly, GLIDES along each one. INSERT -- ALISON BLONDE 11, BETHANY REDHEAD 14, ANDREA BLONDE 14, DANICA 10 BLACK, JACKIE BLACK 13... Brad FLIPS the DVD case on top of the others. He closes the doors, pulls a KEY from his pocket, locking it.

51.

Brad stands up and flips the key up in the air. catching it, he looks up.

After

Percy stands, across the room, in a small, tight lingerie number. Her hair is up in pony tails.

EXT. BRAD’S HOUSE/BACKYARD -- DAY Marabelle sits alone at a play table. three for tea.

The table is set for

INT. JENKS’ HOUSE/BASEMENT -- DAY An old WASHER (RUNNING) and DRYER with a BASKET of dirty kids clothes on top, is set in the corner. Jenks sits alone at a desk. On the desk are several MAGAZINES and a BIG CARDBOARD BOX. He digs around in the box as a LIGHT turns on. Jenks notices that Ann is in the room but doesn’t look up. JENKS What is it, Ann? ANN (O.S.) I should have known you’d be down here. Jenks continous to search through the box. ANN (O.S.) (CONT'D) Susan will be back from school any minute. Get her will ya? JENKS (excited, looking up for the first time) Susan’s back from school?

52.

Jenks jumps up from his chair, scurrying past Ann, who has her hands on her hips, and up the stairs. Ann, with a look of frustration and a lack of patience, flips her arms down and walks toward the desk. The washer BEEPS (OS). Ann, obviously interested, peruses the desktop, ignoring the washer. She picks up a handful of magazines and filters through them. ANN’S POV First magazine, PARENTING. The second, (leading magazine for construction). The third, ENTERTAINMENT MAGAZINE. Ann tosses them on his desk, eventually landing next to a SMALL WHITE BOOKLET and a book (a self help book about mother and father being better parents). Ann reaches down at the two books and grabs the small white booklet. INSERT - “DOLL HOUSE OF THE FUTURE” BACK TO SCENE Ann now stands, looking at the white booklet as she holds the book on Parenting in the other.

EXT. STREET -- DAY Jenks walks down a sidewalk. A SCHOOL BUS drives by. Jenks watches the bus drive by. every step.

His smile gets bigger with

53.

EXT. STREET -- BUS STOP -- DAY The bus stops at the end of the block. The doors swing open as THREE KIDS, including Susan, come running out. JENKS (O.S.) Susan! Susan stops and looks around. JENKS (O.S.) (CONT'D) Over here. Susan see her daddy for the first time and runs until she reaches Jenks. Jenks, kneeling down on one knee, waits for Susan to run into his arms. They hug. JENKS (CONT'D) It is so good to see you. I’ve been waiting all day for this. You want to play when we get home? Susan pulls off her backpack and sets it on the ground. She pushes stuff around, eventually pulling out a LARGE ENVELOPE. SUSAN Here dad. Jenks takes the envelopes, opens it, and... JENKS You can’t be serious. (beat) First place in the science project? You actually won? Susan, with a smile, nods.

54.

A POLICE CAR (O.S.) drives down the street. it approaches Jenks and Susan.

It slows down as

JENKS (CONT'D) Let’s go Susan. I got your favorite game set up for us inside. Jenks walks down the block.

Susan chases behind him.

INT. POLICE STATION/LOBBY -- DAY The main entrance of a busy Police Station. The front door opens. A POLICE OFFICER, escorting a MAN in handcuffs, continues straight ahead. Brad, with a smug smile, struts in behind them carrying a CARDBOARD BOX.

INT. POLICE STATION/GREG’S OFFICE -- DAY TWO MEN in coveralls are putting up a sign on a door as Greg walks past them and into his new office.

INT. BRAD’S OFFICE -- DAY Brad sets down the cardboard box on a desk. out.

A TROPHY falls

Frank comes rumbling into the office. FRANK You settling in alright Champ? BRAD Yes sir. FRANK Listen kid. First day and all, but I’m sending you out.

55.

BRAD What do you got, sir? Brad turns around, making sure the trophy is back upright. FRANK I need you to meet up with Lou, the lead detective on the case. BRAD Case? FRANK He’ll be the guy with the foul look on his face. He’ll be happy to see you. He loves rookies. BRAD I’ll take care of it Frank. As he exits, Brad gives Frank a friendly slap on the shoulder.

INT. APARTMENT/HALLWAY/FIFTH FLOOR -- DAY Two POLICE OFFICERS and a detective, LOU, 50’s, a short and disheveled man with messed up hair, dressed from the decade prior, are investigating the crime scene. BRAD Sorry I’m late Lou. LOU (looking down at the floor) Watch your feet kid. Jesus Christ. BRAD Where do you want me Lou? LOU I want you to keep out the fucking way... (MORE)

56. LOU (CONT'D) (under his breath) Rookies.

Lou starts to walk away.

Well?

Brad stands still.

LOU (O.S.) (CONT'D) Ya’ coming or not?

INT. APARTMENT -- CONTINUOUS Lou and Brad walk into apartment 511 and over to a DEAD BODY. A POLICE OFFICER stands about ten feet from the body and Lou. Lou kneels down on one knee. man’s body.

He points at the head of the

LOU Pow. And then, pow. Right in the forehead, close range. POLICE OFFICER He was only shot once there sir. LOU If I didn’t know what I was doing, I would be wearing that silly hat of yours. Do you see a uniform on me kid?

Yes sir.

POLICE OFFICER I mean, no sir.

LOU Than shut the fuck up. (to Greg) The body, clean. No sign of a fight, no bruises, nothing. BRAD What do we know about this guy?

57.

POLICE OFFICER (O.S.) Man’s name is Franklin Howell the Third. Also known as Franky the Faggot. Seems as though he took a liking for the young boys, if you know what I mean. BRAD Disturbing. LOU I know. Any ways, he just got out of prison five days ago, serving only a year of a five year stint. BRAD (looking around) The apartment? LOU Clean as a fucking whistle. No finger prints and nothing disturbed. If there was a fight, you’d never know. Only a fresh cigarette burn on the kitchen counter and an old woman in the hallway. BRAD Old woman? LOU Three doors down. Loony tunes if you ask me. She say’s she saw ‘em. BRAD Them? LOU Two she says. She also said President Johnson would take care of it.

58.

INT. APARTMENT/HALLWAY -- DAY Brad walks out of the room and into the hallway. LOU (O.S.) Them cops that draw them pictures are in there with her. Seconds later, A POLICE OFFICER, with a large note pad, walks out the door of apartment number 508, followed by the old woman. OLD WOMAN I haven’t seen this much crime since the Wilson Administration. We need a constitution is what we need. The old woman walks back into her apartment and SHUTS the door. GREG What we got officer? The police officer goes to Brad... LOU I got this, rook. (to the police man) Give me those. Lou grabs the pictures out of the police officer’s hands. LOU (CONT'D) Just as I thought. (beat) It’s our boy. BRAD You’ve seen him before?

59.

LOU Do I know him? Have I seen him? Like I said, it’s our boy. Enough said, rook. BRAD It’s our case though, right? LOU I said... enough said. Look at you with the hard on. (looking for agreement) It must be great to live with such arrogance. Two police officers (OS) CHUCKLE with each other. LOU (CONT'D) Another rapist, slash child molester, off the street and we have nothing to do but to clean up after him. Frank’s gonna love this result. POLICE OFFICER (O.S.) Can we leave this shit? LOU Pack it up, fellas. (looking around) You can’t much colder than this. Yep.

Several MEN IN CORONER OUTFITS walk into the apartment.

EXT. STREET -- DAY Two GARBAGE MEN throw BAGS OF GARBAGE into the garbage TRUCK that is parked curb side. Jenks walks past them, down the sidewalk.

60.

INT. CAR -- DAY Brad drives down a street in a black Ford Explorer. is on a swivel, looking for possible prey.

His head

EXT. STREET -- DAY KIDS, twelve of them. down a sidewalk.

They’re walking in a straight line,

Brad’s big black car, slowly, drives by. Behind the kids is Ann.

EXT. STREET -- DAY Brad’s SUV pulls alongside a curb and parks.

EXT. STREET/SIDEWALK -- DAY Ann gives a quick smile toward a LITTLE BOY as she turns to her right and opens up a door.

EXT. STREET -- DAY Brad jogs across a street, ignoring traffic but keeping an eye on the class of six graders, half a block down.

INT. RESTAURANT/DINER -- LATER Ann sits at a table set for two. paperback BOOK, a romance novel.

Her head is down reading a

A GLASS OF WATER is placed in front of her. She looks up, seeing a familiar face.

61.

BRAD (in a semi-loud voice) Jenny! Come please. A WAITRESS (Jenny), a couple tables away, is picking up a dirty dish. She takes a double take at Brad. With arms full of dirty dishes, Jenny, cautiously, walks over to their table. She keeps an eye on Brad the whole time. WAITRESS (O.S.) How did you know my name is Jenny? BRAD It’s your name right? WAITRESS But I forgot my name tag today. BRAD

Jenny, with a heavy tray of dishes, takes a couple, careful, steps toward the kitchen.

62.

INT.

HOUSE -- LIVING ROOM -- DAY

Jenks enters a dark, overly spacious room with expensive furniture and antiques. He’s carrying a cell phone in one hand and a cigarette in the other. Jenks flips his cell phone closed. Bright red flames, from a fireplace, lights part of the room. A MAN, 50’s, is gagged and blindfolded with his hands tied together in front of his body. He sits on his knees, four feet from the fire. Above the fireplace, on the mantel, are framed pictures of the man and his family of three. Queens sits across the room, waiting for what’s next. Jenks tosses the barely lit cigarette into the fire. JENKS (to Queens) Get me a glass of water, will ya? As Queens gets up and exits the room, Jenks slowly drags over a table and sits down. JENKS (CONT'D) You know... I use to think positively toward people like you sir. But now, I don’t know. (Beat) I really don’t know anymore. Queens walks in with a bottle of water. JENKS (CONT'D) You got some matches there friend? Queens pulls out an single box of matches from his pocket. He SHAKES the box, RATTLING the wooden sticks.

63.

JENKS (CONT'D) Do you like westerns Sir? Jenks glances up at Queens. Queens tosses Jenks the box of matches. JENKS (CONT'D) I was watching a movie the other day right? In this movie, this dude, like they always do, comes into town, you know, a stranger and all. Later, after a couple bar fights and a stand off or two, we get to know why he’s there. Jenks, slowly, pulls out a cigarette and places it between his lips. Jenks pushes the box of matches open and takes one out. He strikes the match, lights the cigarette, and flips the burnt match past the man’s left ear, into the fireplace. JENKS (CONT'D). Do you know why he came into town? I’ll give you a couple seconds... your Honor. He came to get revenge. Someone fucked with his family. In this case, they just beat up his sister, but he had to get revenge, in honor of his family. Even though the room is very warm, the man’s body moves like he’s shivering. JENKS (CONT'D) I like to think in those terms. I’m here, sir, to keep my family safe. My family depends on me. They, my kids, depend on me... to keep them safe. (MORE)

64. JENKS (CONT'D)

(Beat) You’re not helping with that sir. Jenks strikes another match. He moves the lit match under the man’s hands, holding it there. JENKS (CONT'D) You want your kids safe, don’t you your honor? Before it gets too close to his fingers, Jenks flicks it out. JENKS (CONT'D) (to Queens) You got that water there friend? Queens walks over and hands Jenks the bottle of water. Jenks slowly twists off the cap and takes a long drink. JENKS (CONT'D) I think we would all agree, sir, that child molesters are bad for society. Jenks takes out another match from the box and strikes it. JENKS (CONT'D) But you sir... Jenks places it under the same hand as before. JENKS (CONT'D) (whispering close to the man’s ear) You let a convicted child molester go free. (beat) Free, into my neighborhood. Where my kids play.

65.

Jenks throws the match into the fire before it burns his fingers. JENKS (CONT'D) I changed my mind. (pause) The Judge here seems to like giving people lighter sentences. Jenks pulls out a silver cased LIGHTER from his pocket. Jenks opens the cover and strikes it. The man’s head moves up. JENKS (CONT'D) Listen to me Judge. (beat) The next child molester that comes before your courtroom, or I should say, my courtroom... put him where he belongs. You hearing me Judge? Jenks moves the lighter down the man’s body. The Judge squirms and grimaces. JENKS (CONT'D) I don’t want to come back for revenge. Queens stands up, stretches his arms behind his head like he was tired, and walks across the room. He steps over a SMALL DOLL HOUSE and other TOYS pushed against a wall. Muffled sounds of pain and discomfort are heard in the background.

EXT. STREET/SIDEWALK -- NIGHT An isolated and dark street. Queens paces around on the curb, smoking.

He’s irritated.

66.

Down the block is Jenks. disgruntled.

He is more agitated and more

A white, four door white car drives past.

INT. GRADE SCHOOL -- DAY Recess time at a large grade school. playing in a classroom.

Several CHILDREN are

A TEACHER, younger female, is walking around the room being pulled in all directions by the children.

INT. GRADE SCHOOL -- DAY Marabelle and Susan sit, playing with THREE DOLLS in the corner of the room, on a small table. SUSAN What are you doing? MARABELLE Playing house. (pointing at each doll as she goes by) Here’s the Daddy... The Mommy... (beat) That’s me, the kid. SUSAN Where are the other children? MARABELLE Other kids don’t belong in this family, there’s just me. Marabelle takes one of the male dolls and lays it on the smaller female doll. She pushes the dolls together. Susan isn’t quite sure what to do. right.

She knows something’s not

67.

WOMAN’S VOICE (O.S.) Okay kids. Jany. Susan. Susan looks up. BACK down at the table. standing upright.

Susan sees the dolls are all

WOMAN’S VOICE (O.S.) (CONT'D) Why don’t you girls head out? Stretch your legs. SUSAN Okay Ms. Jackson. Susan stands up, MARABELLE I wanna stay here. (beat) By myself.

EXT. GRADE SCHOOL -- PLAYGROUND -- DAY Several children are running around in a big playground. Susan walks, slowly, through crowds of happy children before STOPPING... As she looks up, rain drops land on her face.

EXT. GRADE SCHOOL -- PARKING LOT -- DAY Brad, holding an umbrella, waits for Marabelle to come outside of the schoolhouse. As Marabelle exits, putting on her jacket, Brad looks past her to find Susan trying to her best to get inside, away from the rain. BRAD Over here, darling?

68.

Marabelle looks up to see her dad wave at her. her dad, a way out of the rain.

She goes to

BRAD (CONT'D) Come on! MARABELLE I’m here, daddy. BRAD Get in the car. As Marabelle gets in the car, Brad hasn’t pulled his eyes away from Susan who is getting closer. BRAD (CONT’D) Come on, get inside. MARABELLE (O.S.) I am inside. BRAD Not you. Susan gets closer and closer. Brad, with a big smile, opens the back door, exposing Marabelle who waits inside.

INT. BRAD’S HOUSE -- MARABELLE’S ROOM -- DAY Marabelle and Susan play in Marabelle’s room. SUSAN You’re dad is really cool. Marabelle starts to pull away. BRAD (O.S.) Can I get you girls anything? Are you hungry, or something? Juice, milk?

69.

MARABELLE (yelling) No thanks, dad. SUSAN You don’t call him daddy? MARABELLE Only if I have too. SUSAN My mommy likes when I call her mommy. I think she wants me to do that, especially my daddy. MARABELLE I don’t like it. (beat) Don’t make me do that, will you? SUSAN I was just... (uncomfortable) Maybe I should call my mom. MARABELLE You probably should. I don’t think you would like it here. Susan looks around the room... SUSAN Mommy always keeps a phone in every room. I didn’t know why - now I do. MARABELLE (pointing) It’s in the other room. I don’t like that room, it’s bad. Now, increasingly uncomfortable, maybe scared even, Susan wonders outside of the room.

70.

INT. BRAD’S HOUSE -- UPSTAIRS -- HALLWAY -- DAY Susan peaks over a railing and DOWN at the lower floor. can hear voices, maybe singing, coming from below.

She

INT. BRAD’S HOUSE/BEDROOM -- CONTINUOUS Susan walks past a large, closed armoire and towards a PHONE that sits on the night stand. Picking up the phone, Susan quickly dials... SUSAN Mom? BRAD (O.S.) I have some treats for you girls. They’re my favorites.

INT. BRAD’S HOUSE -- MARABELLE’S BEDROOM -- DAY Marabelle continuous to play with the same dolls. it doesn’t seemed like she moved once.

In fact,

Susan walks into the room and sits next to Marabelle, before, Brad walks into Marabelle’s bedroom, glancing down the hallway and over to the doorway to his bedroom. BRAD I told you not to take your friends into my room. Didn’t I, Belle? MARABELLE Yes, dad. You did. BRAD And did you follow my rules? MARABELLE Of course daddy.

71.

Brad, in disgust, looks at Marabelle hiding his anger for her calling him daddy. MARABELLE (CONT'D) Susan was just thirsty. I told her about the bathroom. Beat. BRAD I guess that’s alright, but tell me please. SUSAN Has my mom called? BRAD And why would your mother call? Beat. MARABELLE She didn’t, dad. I told her not to call out loud for her mommy, or daddy. BRAD That’s enough. SUSAN (quickly thinking) Can I have some juice? BRAD Of course you can. But, when I return, can we play a game? MARABELLE Can we play that game I like? BRAD Of course, honey. As long as we entertain our guests, properly.

72.

MARABELLE Can we play the guessing game? Brad stops in the doorway. BRAD (looking at Susan) Of course we can. As soon as Brad turns, Marabelle points to the WINDOW that looks out onto the front yard. Susan RUNS to the window. MARABELLE (O.S.) I hope she gets here soon. BRAD (O.S.) Don’t worry, kids. I’ll be back for our games soon.

INT. BRAD’S HOUSE/STAIRWELL -- DAY Brad walks up the stairwell, holding a plate of sandwiches. As he gets about half way, a DOORBELL RINGS. Brad pauses, almost to a complete stop. A beat, as Brad continues his way up the stairwell. MARABELLE (O.S.) I’m hungry, daddy. The doorbell RINGS twice more. Brad can’t ignore the doorbell anymore.

INT/EXT. BRAD’S HOUSE/ENTRANCE -- DAY The front door OPENS. Ann stands in the doorway.

Brad faces her.

73.

ANN I hear Susan is here. her?

Can I get

BRAD I don’t know. ANN You don’t, know? BRAD I mean, if you weren’t there to pick her up at school, she could be waiting for you there. ANN I was there, only about ten minutes late. Thank goodness you were there to save her. BRAD I didn’t save her. ANN But you tried, right? BRAD I’m only here to help the community. ANN The community goes here for saving? BRAD You should know. Beat. ANN I know Susan called me and asked me to pick her up. So, where is she? Silence.

Ann grows more and more impatient.

74.

ANN (CONT’D) Where is Susan? My daughter? BRAD Well... inside of course, where it’s safe. (beat) Good luck I’m with the police. Who knows what could happen outside these doors. Susan comes running out of the house and into Ann’s arms. Ann pulls her daughter away from the house. BRAD (CONT’D) The question, I would ask is... where is the father. Doesn’t he care about his children? As Ann and Susan walk away from the house, Susan turns around and looks up at the window that over looks Marabelle’s bedroom. The shades... close.

INT/EXT. CAR -- DUSK Jenks sits alone in a car parked next to a graveyard. his eyes closed, his head lays against the headrest. RAINDROPS bounce off the car.

With

The windows are fogged over.

EXT. GRAVEYARD/STREET -- DAY The White ‘69 Mercury Cougar. The front door OPENS. Jenks, with a bottle of whiskey, moves unsteadily out of his car.

75.

EXT. GRAVEYARD/WALKWAY -- DAY Jenks walks down the walkway. Puddles.

Mud.

Gravel.

GRAVESTONES EVERYWHERE

EXT. GRAVEYARD -- LATER Jenks stands in rain soaked clothes. even harder than before.

Rain continues to fall,

Five feet in front of Jenks is a HEADSTONE of his father’s. On top of the headstone is the bottle of whiskey. JENKS That’s for you dad. Jenks reaches into his pocket and pulls out a pack of cigarettes. JENKS (CONT'D) I figure... after, at least thirty years of not missing a day of your smokes... He takes his time to open the pack and takes one out. JENKS (CONT'D) ... you’d be wanting one or two. Jenks takes out a cigarette and burns it. After a long draught, straight from the lower part of the lungs, Jenks returns his attention to his father’s gravestone. JENKS (CONT'D) I can’t do this dad. (beat) (MORE)

76. JENKS (CONT'D) No matter what I do, I can’t shake what I’ve done - what you made me become. I can’t continue to commit such acts when nothing I do seems to matter.

Jenks notices a woman holding a umbrella walk by. JENKS (CONT'D) I don’t know my mother, dad. I won’t let you take her away me... and my daughter. (beat) See? You made me be you. You made me forget what matters. I just can’t allow myself to be the father you were to me. It’s over.

INT. POLICE STATION -- NIGHT A CEREMONY.

Police everywhere.

Formal.

Brad stands, proud, amongst FIVE OTHER OFFICERS. Frank walks along the line until he reaches the center of the room. FRANK Among us here, stands the best. The best of the best. They are here to serve, serve they have. With pride. Brad breaks into a smile.

MONTAGE - JENKS AND BRAD (FATHERS) -- EXT. GRAVEYARD - DUSK -- Jenks walks alone. Despair.

Rain.

77.

-- INT. POLICE STATION - NIGHT -- A ceremony. Police Officers, in uniform, are everywhere. Blue. Brad stands proud, in line with the other officers. -- INT. JENKS’ HOUSE - ENTRANCE - NIGHT -- Jenks walks into his house. Not sure if he belongs. -- INT. POLICE STATION - NIGHT -- Frank walks to Brad. pins a shield on his lapel.

He

-- INT. BAR - NIGHT -- Brad and a bar full of police officers in complete party mode. -- INT. JENKS’ HOUSE - SUSAN’S ROOM - DOORWAY - NIGHT -Susan lays, sprawled out across her bead. Dolls are everywhere. We see Jenks, covered in rain soaked clothing, looking at his beloved daughter. -- EXT. BRAD’S HOUSE - WALKWAY - NIGHT -- Brad stumbles to his front door. -- INT. JENKS’ HOUSE - BEDROOM - NIGHT -- A bed. Ann sleeps. Jenks crawls in, moving the sheets around. He settles next to her. -- INT. BRAD’S HOUSE - BELLE’S BEDROOM - NIGHT -- In bed, Marabelle lies on her side. Her TEDDY BEAR is held tightly between both arms, against her chest. The door OPENS. LIGHT streams inside her room, uncovering Marabelle’s little silhouette. Brad, in uniform, disheveled, after an evening with the fellows, stands proud in the doorway. He looks at her, starting from her head and then, slowly, down her body. TEARS run down her face as she, gently, places the teddy bear on the floor.

78.

She shifts in her bed toward her father. DISSOLVE TO:

INT. BAR -- NIGHT A local, blue collar, neighborhood Chicago bar. standing room only tonight.

It’s

The bartender, FREDDY, is busy filling drink orders.

INT. BAR -- ENTRANCE -- NIGHT Brad walks through the front door. MAN’S VOICE (O.S.) Sluggo!

INT. BAR -- CONTINOUS Everybody, in the area, turns around. Several people, immediately, RAISE their drinks. MAN’S VOICE #2 (O.S.) The detective ladies and gentleman.

INT. BAR -- ENTRANCE -- CONTINOUS Brad WAVES.

He does a long, drawn out bow.

Several people gather around Brad. Several slaps on the back and shakes of the hands are done. People around the room smile and look at him. MAN’S VOICE #2 (O.S.) Brad! This fuck face thinks you couldn’t do it. ...

79.

Brad, with his head on a swivel, notices TWO YOUNG WOMEN enter the bar. Fake ID’s or not, they look twenty at best. BRAD (O.S.) Gotta go. We’ll talk, later. Brad follows the two young girls into the other room.

INT. BAR -- LATER More than half of the seats are empty now. MUSIC, from the overloaded jukebox, lives on. Brad STAGGERS in from the other room. BRAD Freddy! ‘Nother one dude. on the fucking ice.

Light

INT. BEHIND THE BAR -- NIGHT Freddy stands stoically. It’s been a long night and a long thirty years of bartending. Brad lands on a bar stool in front of him. Freddy, gradually, moves down the bar to the necessary bottle. FREDDY You know Brad? You keep chasing them young’ins, it could come up and bite you in the balls someday. BRAD Let me tell you about kids, Fred... Young em’s you say. (beat) Kids are people Freddy. I’m a people person, you know that.

80.

All the regulars are paying attention, at lease partially. They all appear to be drunk. BRAD (CONT’D) There are winners and losers, Fred. There are... standards. MAN’S VOICE #3 (O.S.) Standards? What the fuck are you talking about? BRAD Some people are below standards. Me? I’m not below... but look. (beat) I give her lessons, the young people. She has to learn. Some people get screwed over all the time. I got screwed several times growing up. Now, like me, I’m lucky to be part of society that is accepted. Freddy stands, now getting a second wind. A glass dangles in his right hand. He is engaged with what Brad is saying. BRAD (CONT’D) There are winners and losers. (beat) Look at me, I’m a winner... star detective age twenty six. That’s all I’m saying.

EXT. QUEENS HOME -- BACKYARD -- DAY Sun shines through a chain link fence upon a very small lawn. Queens sits, eyes closed, in a plastic lounge chair with HEADPHONES on. A half empty vodka bottle, an open pack of cigarettes, and a four hundred page paperback book sits next to him.

81.

INT. QUEENS HOME -- FRONT DOOR -- DAY A door OPENS. Jenks stands in the door way, carrying a full grocery bag.

INT. QUEENS HOME -- KITCHEN A counter top and a refrigerator from the 1970’s. resembling a normal kitchen.

Nothing

Jenks sets the bag on a counter next to the refrigerator. He remembers the front door is not shut. He looks back. Beat.

EXT. QUEENS HOME -- DRIVEWAY -- DAY -- (FLASHBACK) The white Mustang, driven by Francis, with a young Jenks’ in the passenger seat, stops in front of Queen’s house. Francis turns the car toward a HOUSE across the street. backs the car, in reverse, up in the driveway.

He

CUT TO:

INT. QUEENS HOME -- KITCHEN -- (PRESENT DAY) Jenks, as an adult, watches his father, through the open door, get out of the car, motioning to Jenks as a kid to ‘stay in the car’. Francis checks his pocket for this gun.

INT. CAR -- (FLASHBACK) Jenks as a kid, watches his father approach the front door of Queen’s house. All of the windows are open. Everyone who drives or walks by could see inside. Jenks watches his father KNOCK on the door until it OPENS.

82.

QUEEN’S MOTHER (26) stands in front. Francis, surprised to see her, turns back to look at his son. Something is not right. Jenks, in the car, looks down and reaches for the door handle, before STOPPING. Looking up, the young Jenks sees the door CLOSE, followed by all of the blinds to each window close... one by one. Jenks sees his father close the last blind.

EXT. QUEENS HOME -- FRONT DOOR (FLASHBACK CONT.) Jenks, as a kid, pushes the front door and peaks into the house. He, eventually, stops in the kitchen. POW!!

POW!!

Gunshots are heard throughout the house. CUT TO:

INT. QUEENS HOME -- KITCHEN -- (PRESENT DAY) Jenks, grown up, stands next to the bag of groceries.

INT. QUEENS HOME -- LIVING ROOM A COUCH, a used NIGHT STAND, a FLOOR LAMP, a TV, and a XBOX 360 sits on worn out carpet. Jenks walks toward the floor lamp that stands between him and an OPEN SCREEN DOOR leading to the backyard.

EXT. QUEENS HOME -- BACKYARD Queens, startled by Jenks, looks up, adjusting his eyes to the sun. He pulls his headphones off.

83.

JENKS (O.S.) Mozart this time, Queens? QUEENS Tichavsky. Mom’s favorite. Jenks walks outside. Queens points over to a lawn chair across the lawn. QUEENS (CONT'D) Get yourself, you know. As Jenks walks over to the chair, he pauses. QUEENS (CONT'D) Careful. We don’t want for you to stub your toe or anything. JENKS One time. One time I did that. was what, back in grade school?

It

QUEENS It’s third base. JENKS It’s a big block of concrete. QUEENS (looking around) What else would be third? natural corner.

It’s a

JENKS I couldn’t walk for a week. QUEENS Maybe you shouldn’t have tested my arm at home. JENKS (pointing) What, the sprinkler head?

84.

Jenks, slowly, drags the chair over and sits next to Queens. Jenks takes out a cigarette from the open pack next to Queens. He lights it and hands it to Queens. JENKS (CONT'D) Cubs won. QUEENS Nah, they lost. JENKS I heard it on the news. oh shit. How much?

I saw...

QUEENS One... two. Three I think. JENKS Shit Queens. QUEENS I’ll get it back. Tonight in fact. Yankees giving only a run in a half. (leaning back in his chair) It’s a lock. JENKS Tell me Queens. QUEENS It’s a lock. JENKS No, growing up. Remember? (in reflection) How many times did your Mom catch you? QUEENS Moms?

85.

JENKS The card games, the fucking dice? What was it? Oh yeah, it was sixth grade. You remember, right? (beat) You’d bet that shit head in dodgeball? You would say, Hey! Little Kenny? Blue balls. Tag me. (pause) Fucker tagged you every time. QUEENS (seriously; beat) Without asking, you took care of him. JENKS He had you pegged. He would wait... like a panther. Just when you’d fake like you touched the base, BAM! The best thing you could have done was to actually play by the rules. The kid deserved the beating though, cheating on your cheating. QUEENS If I remember, it was you being pulled to the principals office what seemed like every week. JENKS Between you and me, your mom probably been to our school maybe a dozen times picking us up. QUEENS They never did figure out why moms would pick us both up, did they? Beat.

86.

JENKS Your mom? She would walk into a room, any room. When I say walk, I mean... she was there. If happy, you knew she was happy. Angry? Forget about it. QUEENS Grade school, you remember? Third grade, before... Anyway, mom came into class - Career day it was. JENKS I remember. QUEENS She came in, bringing bags full of things to show off to class. It took her over ten minutes to set it up. (beat) She was only a data entry clerk for god’s sake. What the fuck, right? JENKS Staci, that skank. Behind fourth row? The one that always wore them leg warmers? She blew that shit up. QUEENS We took care of that right? JENKS She didn’t wear leg warmers again. QUEENS We never did hear from her after that. JENKS Fuck her, and that stupid eighties shit.

87.

Laughter... JENKS (CONT’D) Your moms liked that decade though. QUEENS Lived through that one. JENKS (beat) I never did tell you how sorry I was. QUEENS You didn’t know that would happen.

Of course.

JENKS I mean, I could have...

QUEENS You were just a boy, like me. Queens looks at Jenks like he’s done so many times before. Today, Jenks, seems different to him. QUEENS (CONT'D) You couldn’t have known what was going to happen that day.

Right.

JENKS Yeah, you’re right...

Jenks takes a long beat. JENKS (CONT'D) Francis... fucked up as he was, shouldn’t have done that to your mom. She wasn’t supposed to be there. QUEENS But she was. She should have left that dirt bag of a father, years before.

88.

JENKS No one deserves to be treated that way. QUEENS She beat me, he beat her. Aren’t we all screwed up in some way? Shit dude - We fuck shit up because they brought us into their fucked up world. Strange justice I’m thinking. (beat) But you Jenks? You got a little kid. She won’t be like us and she sure as hell won’t be like your bullshit father. JENKS I’m thinking a doctor or a scientist. QUEENS She’s good at science, right? JENKS (proudly) Damn straight she is. She brought home first place in the science project. QUEENS She goes to class?

Like you?

JENKS I stay on top of her teachers. QUEENS (jokingly) I’m sure you do. Queens gets up, grabbing a cigarette out of his pack.

89.

JENKS Fuck you. QUEENS Fuck me? JENKS Give me one of those. QUEENS You don’t smoke... unless we’re on a job. JENKS Today, I do. Jenks grabs a cigarette out of the pack on the ground. QUEENS Listen man. I know you don’t want to do this shit anymore. JENKS Maybe I’ll get a job. QUEENS Your old lady makes enough. JENKS She regrets it though. QUEENS Listen man... and I’m serious. I did the shit you taught me - Since we were teenagers. I didn’t know better. You looked out for me. Your a good role model, Jenks. And them good for nothings deserve it. Suzy is better, in a better place, because of you. JENKS And Ann?

Beat.

90.

QUEENS Fuck man! I ain’t no Doctor Phil and shit. Work out that on your own free time. JENKS

QUEENS Better? Shit man. I’m employed, I got a roof over my head, that’s paid for, and the boys at the local pub lend me command of the remote almost every second visit. I’m mucho contento. JENKS You know what you do from here on out has nothing to do with me? QUEENS I can take care of myself. employed.

I’m

JENKS Home Depot? QUEENS I got the prime, senior assistant to the hardware manager gig at the biggest Home Depot in the Midwest. I’m golden. JENKS Yes you are. Beat. QUEENS Should we hug?

91.

JENKS Fuck you.

DISSOLVE TO:

INT. JENKS’ HOUSE/DINING ROOM -- DAY Ann, dressed in her robe, sits alone. The Front door SHUTS in the other room. Ann turns her head to face the entrance. JENKS (O.S.) I saw Queens today. ANN You saw Queens? JENKS I told him I wouldn’t - I wouldn’t see him for awhile. I’m through with the whole thing - what we do. ANN You’re actually done with it? Really? How did he take it? JENKS The way he does everything I guess. ANN (beat) You know he needs you. JENKS He needs a lot of things Ann. Distant from me and our past is one of them. ANN Don’t say that Jenks.

92.

JENKS He doesn’t deserve what I’ve caused him... (beat) He was just a kid. ANN You were a kid too Jenks. JENKS I could have done something. ANN Your father could have done something. You were just there, watching it, where he wanted you to be. You are not your father. JENKS I just sat there, silent, every time. (beat) Do you know how hard it is to hear gunshots from the other room as you sit there, not doing anything about it? ANN Jenks! Look at me. You are not your father. You did not have a choice. (beat) Do you see your daughter? She is, maybe, the happiest person in the world. You make sure that things are safe out there, the best you can, of course. You volunteer, play with kids. The time you spend in the community.

93.

JENKS (interrupting) Do you remember your second birthday? ANN (taken a back) Second birthday? JENKS Yeah, your second birthday. ANN Who remembers their second birthday? JENKS I do. That was the last time I remember. ANN Remember what? JENKS My mother. ANN Oh, Jenks. JENKS She was actually smiling. ANN Smiling? JENKS Ear to ear. She was special. ANN Memories are powerful Jenks. can take you a long way.

They

94.

JENKS Like the first time I quit my job after I met you and starting this stuff I do? You remember that? ANN I remember the good things. Like... JENKS Like? ANN Like the first day you told me? Before you asked me to marry you? I was horrified. JENKS What were you thinking? ANN Right, what was I thinking? ANN (CONT'D) I have memories too Jenks. I have a memory of the first time... JENKS The first time? Us? ANN Us. JENKS I felt rushed. You can’t hold that against me. ANN Quiet Jenks. You know being funny is not one of your strong points. Jenks, as usual, is uncomfortable. (Especially after a failed joke)

95.

ANN (CONT'D) I remember you telling me about your father JENKS I had to tell you... you know that. ANN I was in so much love with you. I probably didn’t realize just what you were saying, but now I do. JENKS Now? ANN I have been so mad at you Jenks. JENKS You should be. ANN I’ve done things I’m not proud of. JENKS Listen Ann. Stop there. ANN No, I should... JENKS If you do, it could start more things than we want. I’ve failed, Ann. As a person, a father, and a husband, I caused this marriage to be the way it is, not you. I want to start over. ANN You’re willing? JENKS Willing to throw away stuff?

96.

ANN Willing to make sure Susan has a mother and a father? A father that won’t be taken away from her? Sounds are heard in the other room. SUSAN (O.S.) Daddy! ANN We’re in here, honey. Jenks can break open a small smile. Susan runs into Ann’s arms. Ann looks at Jenks like she did several years ago.

Susan?

JENKS Why don’t we go downstairs?

SUSAN I don’t want to play downstairs. It’s dark. JENKS Don’t worry, I’ll... I mean, we’ll be with you. Jenks walks over to a door that leads downstairs. He opens it.

INT. JENKS’ HOUSE -- STAIRWAY -- DAY Jenks reaches around the door frame, turning on a LIGHT that shines on a long staircase leading downstairs. JENKS Go ahead honey. Susan runs down the steps.

97.

Jenks follows her. Ann, smiling, watches Jenks go down stairs, before, She GRIMACES, grabbing her belly.

INT. JENKS’ HOUSE -- BASEMENT -- DAY Susan stands in front of a humongous DOLL HOUSE. Behind the doll house are several DOLLS, all sizes and shapes. Everything in the room is covered or decorated in the same colors. JENKS What’s wrong honey? SUSAN I don’t like dolls. JENKS Dolls? They’re your favorite. I built this doll house, for you. Ann comes down the stairs, hiding her discomfort. ANN What’s wrong? JENKS Susan says she doesn’t play with dolls anymore. ANN Susan, honey? What’s wrong? Susan moves over to the corner of the room, peaking at some dolls as she walks away. Ann and Jenks looks at each other, obviously concerned.

98.

Jenks walks over and kneels next to Susan. JENKS Are you okay, honey? Susan squirms away. JENKS (CONT'D) Look at me, please. Susan, eventually and hesitantly, turns and looks at her daddy. JENKS (CONT'D) I don’t know what’s wrong. I worked on this doll house for you. I thought you’d like it. (beat) Do you see what I made for you? ANN (O.S.) Jenks? Jenks pauses but doesn’t look at Ann. JENKS (to Susan) I just thought you’d like it. you like it darling?

Do

SUSAN (faintly) Marabelle doesn’t like... JENKS Excuse me, Suzy? Susan turns, violently, around. SUSAN Marabelle says people are evil. Jenks is taken a back.

99.

SUSAN (CONT'D) She says... JENKS You can tell me, I mean, us anything. SUSAN Marabelle says her daddy lays on her. JENKS Lays on her? SUSAN You don’t lay on me dad.

No.

JENKS No, I don’t honey.

Jenks GRABS Susan.

He holds her tight.

Ann, hesitantly, hugs Jenks and Susan around the shoulders.

INT. DOCTOR’S OFFICE -- DAY Behind the glass, separating the office from the reception area, sits an OVERWEIGHT FEMALE (20’s). She’s lost in her paper work as phones continue to ring around and behind her. Ann, in a hurry, stops in front of the window, looking painfully at the overweight female. ANN Sorry, but I need to see the doctor. OVERWEIGHT FEMALE Sorry.

100.

ANN Sorry? OVERWEIGHT FEMALE Only you can say that. ANN (angrily) Excuse me? OVERWEIGHT FEMALE You’re only pregnant. ANN Pregnant? OVERWEIGHT FEMALE You saw “Juno”, right? ANN No... I didn’t... I... OVERWEIGHT FEMALE There’s no emergency here, Mam. Give me your card with the insurance information and we can get on with it. ANN To see the doctor? OVERWEIGHT FEMALE Yes, Mam. You will see the doctor. Now, take a seat.

INT. DOCTOR’S OFFICE -- WAITING ROOM -- DAY Ann sits in a small waiting room, trying to read a magazine. The entrance OPENS as TWO MOTHERS enter the waiting room. Behind them are THREE KIDS.

101.

MOTHER #1 Quiet. Can’t you two be quiet for more than two seconds? The kids ignore her and scoot by the couch Ann’s sitting on and a small TABLE, rubbing her knees together to get to a small play area stuffed away in the corner. The two mothers, talking to each other, take their seats as far as they can from on of their kids. OVERWEIGHT FEMALE (O.S.) Misses Jenkins? ANN (quickly) Here!

INT. DOCTOR’S OFFICE -- EXAMINATION ROOM -- DAY Ann, now dressed in a (what you wear in a doctor’s office) lays on a TABLE (name for table where patient’s lay down) staring at the door. The door OPENS. A large man (THE DOCTOR), who looks similar to the receptionist, walks into the room holding a FILE. LARGE MAN Good news Miss Jenkins. You’re pregnant. (beat) You should be expecting for a loved one in a few months. (looking at his files) You’re daughter will be so excited. ANN Where’s my doctor.

102.

LARGE MAN Doctor Lazerus is on vacation. Luckily for me, I have the knowledge, taught to me in medical school... when a female is carrying a child. ANN But... LARGE MAN Do you want daddy to join the party?

DISSOLVE TO:

EXT. STREET -- DAY A red convertible MUSTANG, driven by Brad, drives down a street as the sun shines on him.

EXT. SIDEWALK -- DAY A MAILMAN, with an inconspicuous BROWN BAG, walks down the sidewalk. He starts to walk down a long walkway toward an American flag that waves in front of the door of a house. HONK!

Sound of a car horn.

The mailman stops.

EXT. DRIVEWAY -- DAY Brad’s car parks in the driveway of his house. In a hurry, Brad get’s out.

103.

Hey!

BRAD Wait. I’ll take that.

EXT. WALKWAY -- DAY The mailman waits as Brad approaches. Pulling back, we see Queens, dressed as the mailman, hand extended, holding an ENVELOPE. QUEENS (smiling) Here you are. Enjoy. Without looking at Queens, Brad reaches and grabs the envelope and runs, hopping over the front step. He stops in front and OPENS the front door. BRAD (O.S.) Honey, I’m home.

EXT. STREET -- DAY A grey, non descriptive CAR is parked in front of Brad’s house.

INT. CAR -- CONTINUOUS Jenks sits in the car, paying attention to everything. He looks to his left.

His look goes blank.

JENKS’ POV Marabelle stands in the front yard, staring at Jenks. to her is a bike.

Next

BACK TO SCENE After a short beat, Jenks reaches over and opens his car door.

104.

EXT. SIDEWALK -- DAY Jenks stands on a sidewalk. He is still looking around the area. He watches Queens walk up and stop at the front door of Brad’s house. Marabelle, on her bike, slowly rides up and stops close to Jenks. Jenks, with an understanding but solace look on his face, gives Marabelle a faint smile, as Queens walks into the house. JENKS Come here, kiddo. Marabelle, grudgingly, pushes her bike with her feet toward Jenks who waits in the front seat of the car. The door is open. JENKS (CONT’D) You don’t have to be scared of me, darling. It will be alright... MARABELLE My dad calls me darling. I don’t like to be called darling. JENKS Then I won’t call you that. (beat) What would you like me to call you? MARABELLE By my name. JENKS Alright, Marabelle. by your name.

I’ll call you

105.

MARABELLE I want to be called Mary. I know Mary at school. She’s happier than me. Can I be happy? Beat. JENKS Will your dad being gone make you happy? MARABELLE Yes, mister. (beat) Can you do that? JENKS Only if you promise not to grow up so fast. You should try your hardest to be a little girl again. Stay that way. Will you do that for me? Marabelle nods in a timid way - almost child like, as she hops back on her bike, pushing it away from Jenks and the house in the distance. Jenks watches her ride away, periodically taking quick looks at the house and around the area. Marabelle takes one last look over her shoulder at Jenks before pedaling faster and faster down the street.

INT. BRAD’S HOUSE - LIVING ROOM - DAY Queens, careful not to be seen, stands to the side of a window that overlooks the front yard. He pulls the string, closing the length size shades until no sunlight can get inside.

106.

Queens can now hear noises coming from upstairs. faint, but getting louder.

It’s very

Queens’ is careful not to make any noise as moves away from the window and approaches a STAIRCASE. A LIGHT turns ON upstairs.

UPSTAIRS - HALLWAY Brad, NAKED, walks down a short hallway from his bedroom. is oblivious of Queens who waits on the first step of the staircase.

He

STAIRWELL Queens, quietly, walks up the stairs as he hears Brad singing in a room with the door closed that must be the bathroom. The water STOPS. Brad exits the bathroom not noticing Queens that had just backed into a small bedroom. MARABELLE’S BEDROOM The bedroom of a small child. A small bed, little toys. (Description of Marabelles’ bedroom. The opposite of Susan’s). The SOUNDS OF A TV is heard in the other room.

INT. BRAD’S HOUSE - UPSTAIRS - BEDROOM A large room with an, equally, large WINDOW. Sun shines in on Brad who lays on a couch that faces a big screen TV. He is still naked, “enjoying” himself. Brad reaches for the remote control and turns up the volume before... The CLICK of a GUN.

107.

JENKS (O.S.) I got this. QUEENS (O.S.) I was quiet. Brad reacts, looking up at Jenks and Queens who stands across the room holding guns by their sides. JENKS (looking at Brad) Yes you were. QUEENS (O.S.) Can I do this? JENKS No. Jenks raises his gun and points it at Brad.

EXT. NEIGHBORHOOD STREET -- DAY Several HOUSES line the newly paved pavement with fresh painted yellow lines. SERIES OF SHOTS

EXT. HOUSE -- DAY Being painted.

EXT. HOUSE -- DAY Kids playing basketball.

EXT. HOUSE -- DAY Man walking down the walkway wearing a suit.

108.

EXT. HOUSE -- DAY A CAR drives into a two door garage.

EXT. HOUSE -- DAY A PREGNANT LADY is bending down, the best she can, down at full bed of FLOWERS. DISSOLVE TO:

EXT. PARK -- DAY Ann carries an old, and used (plastic thing people carry for picnics, usually two colors.) down a small hill. Susan runs in front of her, bright eyed, full of youthful spirit.

EXT. PARK -- PLAYGROUND -- DAY Susan plays with other kids on a large PLAY STRUCTURE (details of large playground). WOMAN’S VOICE (O.S.) Spring.

EXT. PARK -- DAY Ann sits on a BENCH watching Susan who plays in the distance. ANN Sorry? WOMAN’S VOICE (O.S.) I think spring is way more important than the other seasons. Ann turns, shielding her eyes from the SUN, at the woman’s voice in front of her.

109.

ANN Spring? A WOMAN (40’s) sits next to Ann. done this before.

She is casual like she’s

WOMAN I don’t know. It just seems like kids can’t wait until spring comes you know, April and May. I don’t count June. I don’t know how many pop in June but I don’t think it’s as many as April and May. I mean, that’s why so many kids are named April, right? Ann, not expecting... ANN I’m sorry. I don’t know your name... WOMAN You got one in the oven. Ann sees that she has been rubbing her belly throughout the whole conversation. As she TURNS to face the woman, Ann sees Jenks off in the distance.

In the distance WE SEE Susan running away from the playground. She sees her daddy walking toward her. WOMAN (O.S.) (CONT'D) That must be the father. Ann’s POV - Jenks kneeling down as Susan runs into his arms.

110.

ANN (O.S.) Her role model. FADE OUT.