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QUEST FOR MEANING IN THE MOJAVE
A Screenplay
By
Edith Cory Cooper
Copyright
2012
This screenplay may not be used or reproduced without the
express written permission of the author.
FADE IN:
EXT. CITY STREET - LATE AFTERNOON
In the industrial area of a city, workers are leaving their
jobs, hurrying along sidewalks or waiting at bus stops. At
the entrance to a mini storage yard, MILDRED, 42, appears
from inside the yard, pulling a wheeled cart filled with
pots, pans, and kitchen paraphernalia. Mildred, small, dark-
haired, and attractive, walks with a noticeable limp. She is
wearing a heavy coat and sturdy walking shoes.
She passes CHARLIE, 75, at the entrance to the storage yard.
He is talking with a young man who is behind the wheel of an
old SUV, the inside piled with furniture. Charlie is tall
and thin, his white hair thinning. His expression is
serious, to the point of being stern. As he hands the man a
key and waves him into the yard, Charlie turns to see Mildred
walking away down the sidewalk. He stands watching her until
a truck pulls up beside him.
EXT. RESIDENTIAL CITY STREET - 10:00 P.M.
Mildred, wearing the same heavy coat and sturdy walking shoes
shoes but now with a scarf over her head, disembarks from a
city bus on a quiet, residential street. As the bus pulls
away she stops under a street light to adjust her purse and
a shopping bag, carrying both in one hand. Moving on, she
walks slowly.
INT. KITCHEN IN MILDRED'S HOUSE - A FEW MINUTES LATER
The room is a large family kitchen, old-fashioned but
efficiently organized. A long table, able to seat eight,
fills the center of the room. A collection of backpacks is
hanging from pegs on one wall. JAMES, a thin, knobby boy of
ten, with a crown of light brown hair flattened over his
head, is alone in the room, seated at one end of the table,
books and papers spread out around him.
Mildred enters quietly. Deftly, although one arm hangs
uselessly, she removes her coat, revealing a thin body
clothed in a cotton dress and sweater. James looks up, then
quickly looks down. Laying her coat over a chair, Mildred
removes her head scarf, folds it, then places it inside her
purse. Although her face is attractive, with a warm
expression, she appears to be exceedingly tired.
JAMES
(mumbling)
Hello--
2.
She takes the shopping bag to the refrigerator, placing
several items on a shelf.
MILDRED
(turning on a burner
beneath a tea kettle)
That's it . . . ? Just "Hello"--
JAMES
Hello, mother.
MILDRED
You're up late, James.
An uncomfortable pause follows.
JAMES
Why aren't you home anymore?
MILDRED
(turning, eyebrows
raised)
I AM here . . . every day--
JAMES
(grudgingly)
Maybe. But late . . . After
everybody's gone upstairs.
MILDRED
I work, James.
JAMES
Dad says you don't have to.
MILDRED
Some things your father doesn't
understand.
JAMES
Like what?
MILDRED
Like I enjoy working where I do.
(then softly, almost
to herself)
Like I DON'T enjoy being
irrelevant.
James looks up, puzzled.
3.
MILDRED
(continuing)
That's what I am now . . .
Irrelevant in my own house.
(to James)
Some day you'll know what that
means.
JAMES
(impatiently)
Why can't you tell me now?
She stops, nodding her head slightly.
MILDRED
All right. "Not needed" . . .
"Pushed aside." That's what it
means.
JAMES
Oh.
MILDRED
What am I needed for? Your
grandmother cooks. She cleans.
She gets you all off to school.
She even goes to your teacher
conferences.
JAMES
Not mine, she doesn't.
As he pauses, she gives him a penetrating look.
MILDRED
I DID remember, you know.
(pause)
You thought I'd forgotten, didn't
you?
She waits for his response.
MILDRED
(continuing)
When I wasn't here for supper,
that's what you thought.
JAMES
(softly)
Maybe.
4.
MILDRED
Well, I didn't forget. But let's
say, shall we, if . . . For some
reason . . . I wasn't able to see
your teacher tomorrow, your
grandmother could go in my stead--
JAMES
No, she couldn't.
MILDRED
Why not?
JAMES
Because she doesn't much like me.
That's why.
MILDRED
Oh, James . . . That's not true.
Opening the refrigerator, she turns to James.
MILDRED
(continuing)
Would you like a sweet roll? I
brought some from the church.
James shakes his head.
JAMES
Well, anyway . . . She likes the
others better. Especially Donny.
MILDRED
Donny was just a baby when she
came here. So naturally they're
attached to each other. And being
the youngest--
JAMES
Being the youngest, he has lots of
E.S.T., which I don't have any of.
MILDRED
E.S.T.?
JAMES
Adam is the oldEST, which gives
him the most E.S.T. That's why he
gets to boss the rest of us
around. Bruce is the smartest--
(pause)
which I wish I was. And Henry's
the cutest.
5.
James and his mother exchange a smile.
JAMES
(continuing)
Only he gets mad if you call him
cute. He says he's the
handsomest.
James' expression turns pensive.
JAMES
(continuing)
Then here I come in the lineup,
with no E.S.T.
MILDRED
Who says so?
JAMES
They all do . . . Except Donny.
But someday, when he's older,
he'll start telling me, just like
the rest, that I haven't got any
E.S.T.
MILDRED
James, really, you mustn't say
things that--
JAMES
(interrupting)
But I made up an E.S.T. for
myself. "The determinedest."
Which they say isn't a word at
all, and even if it was, it would
be too hard to say. But I tell
them I don't care, it suits me
just fine, thank you.
She studies him thoughtfully for a moment.
MILDRED
"Honest" is an E.S.T. word. So is
"quickest."
(pause)
And don't forget that "Best" is an
E.S.T. word, too. Short and
sweet. Easy to say.
For a moment James grins broadly, pleased, but his face
suddenly grows serious as FRANK enters the room. Frank is
fifty, tall and husky, his hair and beard dark but beginning
to gray. He's wearing a worn bathrobe over pajamas.
6.
FRANK
Jiminy, your mother and I need to
talk.
MILDRED
His name is James.
FRANK
I KNOW what his name is. And I
also know that everybody calls him
Jiminy.
MILDRED
Not everybody.
FRANK
Almost everybody.
MILDRED
Only because his brothers do,
which they shouldn't. We gave him
a perfectly fine name.
JAMES
Mother, I don't mind. Jiminy--
(pause)
And when you say "Jiminy Crimini"--
MILDRED
WHO says "Jiminy Crimini"?
JAMES
Well . . . People, I guess. It's
a kind of mushroom.
MILDRED
I know what it is. But who told
you?
James pauses, uncertainly.
FRANK
Mildred--
JAMES
Well, Gram, I guess. But she was
just talking about mushrooms, you
know, naming them when she was
cooking. And Adam . . . Well, he
said, with my hair--
He runs his hand across the top of his head.
7.
JAMES
(continuing)
Maybe I do look like a mushroom.
Kind of. And crimini rhymes with
Jiminy. And it makes people laugh.
MILDRED
(quickly)
Don't EVER let people laugh at
you. NOT EVER.
JAMES
(abashed)
I'm sorry.
FRANK
Jiminy, will you go to bed--
Quickly James gathers his books and papers and goes into a
room next to the stove, leaving the door slightly ajar. The
room is furnished with a cot, and pushed against the cot is
a small table serving as a desk. Empty shelves line two of
the walls.
As James turns to look into the kitchen, he sees his father
striding across the room toward him. Suddenly the door is
closed from the outside, plunging the room into darkness. As
James turns on a small table lamp, the door is opened part
way, and James can again see into the kitchen. Mildred is
standing near the door.
MILDRED
He needs air.
FRANK
He shouldn't be sleeping there in
the first place. It's nothing but
a closet.
MILDRED
A pantry. A large pantry.
FRANK
A closet. With no window. Just a
cot and a makeshift desk. He
hangs his clothes on nails, for
God's sake.
MILDRED
It's a pantry. Which we don't
need.
(more)
8.
MILDRED (cont'd)
(pause)
Who needs a place to store
groceries when your mother shops
every day? Rain or shine . . .
She shops every day.
FRANK
Is something wrong with that? It
saves you the trouble--
MILDRED
It wouldn't be trouble. It never
WAS trouble.
FRANK
And now you're gone all day--
MILDRED
Not every day.
FRANK
Most days. And he waits up for
you. When he should be asleep
like his brothers and in a
bedroom, not a closet.
MILDRED
He likes to study late, and they
complain--
FRANK
He SHOULDN'T be studying late.
The others don't, and they do all
right.
MILDRED
He wants to do better than "all
right."
FRANK
And tell me, if you can, why he
goes to a special school.
MILDRED
It's a public school. A magnet
public school.
FRANK
Still special.
9.
MILDRED
Only because they concentrate on
writing. He loves to write. And
study. You should be grateful.
FRANK
I AM grateful. I wish all my boys
were as good in school.
MILDRED
Our boys.
FRANK
Are they?
MILDRED
Are they what?
FRANK
OUR boys--
MILDRED
(offended)
What makes you say things like
that--?
FRANK
They're hardly YOUR boys if you're
never around for them.
MILDRED
I've told you . . . I'm not needed
here.
FRANK
Aren't you?
MILDRED
The boys don't need me. YOU don't
need me.
FRANK
I don't?
MILDRED
Who needs a wife when you've got--
She stares at him during a long pause.
FRANK
(controlling his
anger)
If you're so set on working, at
least get a job that pays.
10.
MILDRED
I work where I'm needed.
Unseen by Frank and Mildred, GERTRUDE appears at the open
doorway. A stout woman of seventy-five with loosely hanging
grey hair, she is wearing a chenille bathrobe over a flannel
nightgown.
FRANK
And you're not needed here . . .?
With five boys?
MILDRED
I'm irrelevant.
FRANK
What's THAT supposed to mean?
Gertrude enters the room.
GERTRUDE
She means me.
FRANK
(turning)
Oh. Mother. You shouldn't have
heard that.
GERTRUDE
I just try to help.
MILDRED
You do everything. There's
nothing left for me--
FRANK
You should thank her . . . Instead
of complaining.
MILDRED
I WOULD thank her, if she didn't
do EVERYTHING.
GERTRUDE
But it's hard for you . . . Surely.
MILDRED
Why would it be hard for me?
GERTRUDE
Well--
MILDRED
Well . . . What?
11.
FRANK
Please, Millie--
MILDRED
I seem to have managed until you
came.
GERTRUDE
But five boys--
MILDRED
Five isn't much more than four.
So why DID you come?
GERTRUDE
You know that . . . To help.
MILDRED
Because Frank's father died and
you needed a place to live . . .
So I got pushed aside.
FRANK
You shouldn't begrudge her wanting
to live with family.
MILDRED
I don't begrudge her. I resent
her. There IS a difference. I
resent her taking over.
Mildred glances at Gertrude, then looks away.
GERTRUDE
I'll try, Mildred. I'll try.
Really I will.
MILDRED
And Frank . . . What about you?
FRANK
What about me?
MILDRED
I think you know.
He turns and leaves the room.
INT. KITCHEN IN MILDRED'S HOUSE - MORNING
Mildred is preparing breakfast, moving between the stove and
refrigerator. Five places have been set.
12.
BRUCE, 14, dark haired and tending toward heaviness, enters
first, followed closely by HENRY, 12, thin, blond, and good-
looking. They're puzzled.
BRUCE
Where's Gramma?
Mildred turns around, smiling.
MILDRED
'Morning--
BRUCE
Where's Gramma?
MILDRED
(turning back to her
cooking)
Sleeping in.
The boys, exchanging glances, sit down at the table.
HENRY
Is she sick?
MILDRED
No. Just resting.
ADAM, 15, enters. He is blond and thin like Henry but
taller, and his features are angular, less attractive.
ADAM
Who's resting?
MILDRED
Your grandmother.
ADAM
Why?
MILDRED
(at the stove)
Why does anyone rest?
The three boys exchange glances. As Adam looks at Bruce and
gestures with his head, Bruce gets up and leaves the room.
ADAM
Where's dad?
MILDRED
He left for work.
13.
ADAM
You had a fight--
James enters from his room on the left, hair tousled, sleepy-
eyed, clothes carelessly arranged.
HENRY
Jees! Look at Jiminy Crimini!
Something the cat dragged in--
MILDRED
Henry!
JAMES
We don't have a cat.
James goes to the sink and begins running water.
HENRY
Like a rat then. Bet you have
rats in your pantry. Like bats in
your belfry.
MILDRED
Henry!
HENRY
Hey, Guys . . . Jiminy DOES have
E.S.T. The rattiest. The
battiest.
MILDRED
Henry, did you hear me?
HENRY
Well, look at him--
Mildred walks to the sink, where James is washing his face.
As she hands him a towel, Bruce returns, with DONNY in tow.
Donny is five, with a cherubic face, a pudgy body, and a
babyish voice.
BRUCE
She's not sleeping in. She's
dressed and sitting in her room.
DONNY
Gramma says she's coming down
later.
MILDRED
(to Donny)
Scrambled eggs?
14.
DONNY
(shaking his head)
Gramma makes me breakfast.
Mildred takes a pan of biscuits from the oven.
MILDRED
Who wants biscuits with their
eggs?
ADAM
Why are you making breakfast?
MILDRED
If you remember, I made your
breakfast for years.
BRUCE
That was before Gramma came.
MILDRED
(looking from one to
the other)
Do you mind . . . Any of you?
ADAM
Did you and Gramma have a fight?
James, towel in hand, turns from the sink.
MILDRED
No.
ADAM
Yes, you did. Like the fights you
have with dad.
(turning to James)
Didn't she, Jiminy?
MILDRED
JAMES. His name is James!
JAMES
No. She didn't fight with anybody.
ADAM
LIAR--
MILDRED
Adam!
ADAM
His name is Jiminy, and he's a
liar!
15.
Mildred, holding back tears, limps hurriedly from the room.
HENRY
(calling after her)
What about our lunches?
JAMES
You always make her feel bad--
(pause)
all of you.
DONNY
(babyish chirping)
Not me! I don't--
James looks at Donny, opens his mouth to speak but doesn't.
BRUCE
What did WE do?
ADAM
It's not our fault if she takes
things the wrong way.
JAMES
Why couldn't you just eat
breakfast and keep your mouths
shut?
ADAM
(belligerently)
Is there a law says we can't know
what's going on?
JAMES
NOTHING'S going on. If she wants
to make breakfast once in a while,
what's wrong with that?
HENRY
Maybe we like things the way they
are.
JAMES
You hurt her feelings.
BRUCE
Well, we didn't mean to.
JAMES
She embarrasses you.
ADAM
Cut it out, Jiminy--
16.
JAMES
She's pretty, and she's smart.
That's what I think.
(pause)
And I don't mind about the other.
Adam, opening his mouth to respond, is grateful to see
Gertrude appear in the doorway.
GERTRUDE
(looking at the boys)
I saw your mother going to her
room.
DONNY
Grammy, can I have a waffle?
GERTRUDE
Of course, sweetheart.
Going to the stove, she sees Millie's unfinished breakfast
preparations.
GERTRUDE
(continuing)
You haven't had breakfast? Any of
you?
JAMES
She started to, but--
BRUCE
(interrupting)
She didn't make our lunches either.
JAMES
(mumbling)
So who gave her a chance?
GERTRUDE
Did something happen?
ADAM
No.
(looking at James)
I guess she wasn't feeling so good.
James goes into his room, closing the door loudly.
EXT. BUS STOP - 7 O'CLOCK THE SAME MORNING
James and his mother arrive on the outskirts of a crowd of
school children waiting for buses. Adam, Bruce, and Henry
are at a distance, laughing and joking with other children.
17.
The boys see James and their mother and with brief nods
acknowledge their presence.
INT. SCHOOL HALLWAY - 8 O'CLOCK THE SAME MORNING
At the open door to an empty classroom, James and his mother
are standing with James' teacher, MRS. PETERSON, a tall, thin
woman of thirty-five.
MRS. PETERSON
I wish all my students were as
motivated and could write as well.
It's a pleasure to have James in
my class.
MILDRED
Thank you.
James smiles.
MRS. PETERSON
I'm happy to have met you, Mrs.
Chappell. Good-bye.
James and his mother turn to leave as Mrs. Peterson enters
the classroom, closing the door after herself.
JAMES
Thank you for coming, mother.
MILDRED
She likes you. That's good.
JAMES
Are you going home?
MILDRED
No.
JAMES
Why not?
MILDRED
I have work to do at the church.
JAMES
What church?
MILDRED
Just a church. You wouldn't know
it.
(pause)
There's a rummage sale next week.
18.
JAMES
Will you be home for dinner
tonight?
MILDRED
I'll try.
(pause)
I really will.
JAMES
Promise?
MILDRED
Yes. I promise--
He nods as she smiles and starts down the path to the bus
stop.
EXT. BUS STOP - A FEW MINUTES LATER
James is surreptitiously following his mother. Close to the
bus stop he watches from behind a parked truck as she boards
a bus. When the bus has pulled away, James approaches a man
waiting at the stop.
JAMES
What number was that bus?
The man shrugs.
WOMAN
(approaching, out of
breath)
It was a twenty-two.
JAMES
Are you sure?
WOMAN
I'm sure. It was my bus. Now
I'll be late.
JAMES
Thanks. And I'm sorry you missed
your bus.
James turns to go back to the school. He stops and addresses
the woman.
JAMES
(continuing)
Where does the twenty-two go?
19.
WOMAN
The East Side.
INT. CITY BUS - THIRTY MINUTES LATER
Mildred is sitting on a crowded bus, looking out the window.
As the bus enters the industrial district, it stops across
the street from the mini storage yard. Mildred watches
Charlie as he stands in front of the storage yard talking
with two men. They enter the office as the bus moves on.
INT. CHURCH KITCHEN - LATE AFTERNOON
In the church kitchen Mildred is working at the stove,
cooking on several burners. The kitchen is cheerful and well-
appointed, but the appliances have seen years of use. AGNES,
70, short and thin, is washing vegetables at the sink. She
stops to watch Mildred.
AGNES
Those kitchen things you brought
from storage yesterday--
Mildred looks up.
AGNES
(continuing)
It was quite a load. You should
have let me bring the car around.
MILDRED
I like walking . . . Gives me time
to think. Plan the meals.
AGNES
(smiling)
How you keep so many things going
all at once, Mildred--
(shaking her head)
On the stove. In the oven.
MILDRED
I like cooking here . . . It's--
(pause)
Well, pleasant. Relaxing.
AGNES
And not at home?
MILDRED
My husband's mother--
(pause)
Well . . . It's complicated.
20.
Agnes hears a tone in Mildred's voice and turns back to
working at the sink.
AGNES
Now me . . . You'd think I could
have learned to cook. Raising my
own kids and foster kids.
(smiling)
As soon as they could reach the
stove, they took over, one after
the other. But watching people
eat, that I love to do. The kids
. . . Especially watching kids eat.
(shaking her head)
It's kids going hungry that gets
to me. Especially the little
ones. It cuts me all up inside.
Mildred nods.
AGNES
(continuing)
My parents . . . Well growing up,
we were poor. But we always had
enough to eat. I can't imagine
being so hungry . . . Like the
kids who come here. Can you?
When Mildred doesn't answer:
AGNES
(continuing)
Mildred?
MILDRED
When my parents separated, my
mother and I were poor. Very very
poor. As poor as you can imagine.
I had a piece of bread in the
morning.
AGNES
Oh, Mildred--
MILDRED
No butter. No jam. And nothing
else until school lunch. A free
lunch. But no seconds.
AGNES
And supper--?
21.
MILDRED
Supper?
(shrugging, she
shakes her head)
My mother cleaned houses all day.
At night she cleaned offices. She
needed to eat, more than I did, so
I told her I ate a big lunch at
school. But I was always hungry.
For years I was always hungry.
AGNES
But your father--
MILDRED
He and my brother disappeared.
Before the divorce was final, they
vanished. We never saw them again.
INT. KITCHEN IN MILDRED'S HOUSE - EVENING
Gertrude is apportioning food onto plates and setting the
plates on the table, as Adam, Bruce, and Henry, who is
holding Donny by the hand, straggle in and take their places.
James enters, out of breath and taking off his backpack. He
stops, looking at Gertrude.
JAMES
Where's mother?
GERTRUDE
(shrugging)
I haven't seen her.
(turning to the boys)
Have you?
JAMES
She said she'd be home--
ADAM
I thought she went to see your
teacher.
JAMES
She did. Then she got on a bus.
ADAM
Well, maybe she's riding around
the city.
JAMES
She was going to work.
22.
BRUCE
So, whizzo, you answered your own
question. She's working.
James takes the plate of food Gertrude has put at his place
on the table and goes to his room, closing the door.
INT. KITCHEN IN MILDRED'S HOUSE - LATE THE SAME EVENING
James, alone, is seated at the kitchen table, homework spread
out around him. The dishes have been washed, the kitchen
cleared. Mildred comes in, tired, takes off her coat, which
she lays over a chair. After a surreptitious glance, James
keeps his head bowed over his homework.
MILDRED
I'm sorry, James. But--
JAMES
(interrupting)
You promised--
MILDRED
What did I promise?
Mildred takes two mugs from the cupboard.
JAMES
(head still down)
You promised you'd be here. For
dinner.
MILDRED
I promised I'd try.
JAMES
A promise is a promise.
Mildred begins heating milk in a saucepan.
MILDRED
You need to listen to what's being
promised.
She takes a tin of cocoa from the cupboard.
JAMES
(mumbling)
Maybe YOU need to be home more.
As she pauses in her work of spooning cocoa into the cups,
her body seems to shrink. James looks at her, then down at
his homework.
23.
JAMES
(continuing;
contritely)
There's leftovers.
Mildred returns to spooning cocoa.
MILDRED
I ate at the church.
(pause)
After work.
(turning)
Where's dad?
JAMES
I haven't seen him.
MILDRED
Didn't you eat?
JAMES
In my room.
MILDRED
You should eat with the others.
James does not respond.
MILDRED
(continuing)
And try to be happy.
James continues to stare down at the table.
MILDRED
(continuing)
Because that's what life is all
about. Being happy.
She pours milk into the two mugs, stirs the cocoa mixture,
and places one of the mugs in front of James. She sits down,
wrapping both her hands around the second mug.
MILDRED
(continuing)
And it's about forgiving.
James looks at her and slowly nods.
MILDRED
(continuing)
OK?
24.
JAMES
OK.
MILDRED
It's late . . . Isn't it?
Nodding, he gathers up his papers and books. Balancing his
cup of chocolate on top, he goes into his room, leaving the
door ajar.
INT. KITCHEN IN MILDRED'S HOUSE - EARLY MORNING
Frank enters the kitchen, dressed in work clothes. Mildred
is sitting at the kitchen table, much as she was when James
left her.
FRANK
Where did you sleep last night?
MILDRED
I didn't.
FRANK
All right then. Where did you
spend the night?
MILDRED
Here.
FRANK
You sat here all night--?
MILDRED
Pretty much. I checked on the
boys.
(pause)
And I heard you sleeping.
Actually, talking in your sleep.
Frank sighs, shakes his head.
FRANK
Where's it going to end, Millie?
(pause)
WHEN is it going to end?
He waits for a response.
FRANK
You owe me an answer.
MILDRED
Do I?
25.
FRANK
And a lot more.
MILDRED
Like marrying me in the first
place. Whatever could you--
FRANK
(Interrupting)
DON'T.
MILDRED
Whatever could you been thinking
of?
FRANK
I wasn't thinking of anything. I
loved you.
After a long silence:
MILDRED
We're having a rummage sale.
FRANK
Who is?
MILDRED
The church . . . Where I work.
FRANK
The mystery church.
MILDRED
Don't start in--
FRANK
There's a church two blocks away.
MILDRED
I go where spirit directs me.
FRANK
(shugging)
Really. And couldn't spirit
direct you to the church here? In
your own neighborhood?
MILDRED
Would that make you happy?
Feeling the way you do about
churches . . . All churches.
She waits for him to respond. When he doesn't:
26.
MILDRED
(continuing)
If you'd let the boys go to
services--
She searches his face, her expression pleading.
MILDRED
(continuing)
They need something . . .
Something to believe in. A faith.
FRANK
I'm talking about CHURCHES. You
don't need a church to have faith.
MILDRED
We tried that, if you remember.
Praying at home. Reading the
Bible. You thought it was a
waste--
(pause)
Good churches do good things.
FRANK
All right. Tell me where this
church is. I'd like to see some
of these good things.
MILDRED
And go there to fight with me.
FRANK
Tell me, or I'll find it on my
own! So help me--!
MILDRED
Don't do this, Frank--
FRANK
You'll probably start sleeping
there!
MILDRED
What difference would it make?
FRANK
None! Not one little bit--!
MILDRED
You're right, of course.
27.
FRANK
You should be here . . . With your
family. Not with a bunch of pious
. . . Whatevers . . . taking
advantage of you! You should be
with the boys--
She picks up her coat and begins putting it on.
FRANK
(continuing)
Millie! Don't! Don't leave this
house!
She looks at him defiantly.
FRANK
(continuing)
If you do . . . Don't come back--!
Ever!
With a stricken look, Frank watches Mildred pick up her
purse.
FRANK
(continuing)
Not ever!
She leaves the room. Soon an outside door is heard to close
firmly.
FRANK
(continuing)
I loved you, Millie.
(his voice catching)
I love you . . . Still.
INT. BEDROOM - AFTERNOON
Although not large, the bedroom accommodates a bed, a bureau,
and a dressing table. The door to a hallway is partly ajar.
James is standing at a closet door, looking inside. Gertrude
walks into the room carrying an armload of folded clothes.
Startled, James turns.
GERTRUDE
You shouldn't be in your dad's
room . . . Going through things.
JAMES
I'm not touching anything. And
it's mother's room, too.
28.
GERTRUDE
Well, it's not YOUR room, is it--
She waits for him to respond.
GERTRUDE
(continuing)
So what, exactly, ARE you doing?
JAMES
Nothing.
GERTRUDE
Doesn't look like "nothing" to me
. . . Not with the closet door
open.
JAMES
Just looking.
GERTRUDE
Looking for what?
JAMES
She hasn't been home in a week,
and everything's still here. Even
her heavy sweater--
GERTRUDE
So--?
JAMES
Well . . . What's she wearing? I
mean, except for the clothes she
had on--
GERTRUDE
Clothes can always be got.
JAMES
Why would she get different
clothes?
GERTRUDE
To start over . . . A fresh start.
James looks at her, opens his mouth as if to speak but
doesn't.
GERTRUDE
(continuing)
People do funny things.
29.
JAMES
Somebody should look for her.
(pause)
The police--
GERTRUDE
She'll come back when she's ready.
That's what they'd say.
JAMES
Why doesn't dad look for her?
She turns away and begins putting clothes in bureau drawers.
GERTRUDE
He has. I asked him.
INT. CITY BUS - LATE AFTERNOON
James is sitting in the first row of the bus, near the door.
He has his head down, studying a book on his lap. His
backpack is on the floor at his feet. The bus slows and
stops. The door opens, and after several people disembark,
others begin getting on, handing tickets to the driver.
Suddenly the driver turns toward James, moving his head to
see past the passengers boarding.
DRIVER
James!
James looks up.
DRIVER
(continuing)
James! Look there--!
JAMES
What?
DRIVER
That woman with the cane--!
JAMES
(looking)
Oh--
(disappointed)
Not her.
DRIVER
No--?
JAMES
My mother's not that old. And she
doesn't use a cane.
30.
DRIVER
Ah.
JAMES
But thanks.
(pause)
And she might be using a cane,
now. Who knows.
INT. KITCHEN IN MILDRED'S HOUSE - LATE EVENING
James has finished his homework and is putting books and
papers into his backpack. As his father enters, James looks
up.
FRANK
Jiminy, we need to have a talk--
(pause)
But maybe you'd rather I call you
James?
JAMES
(warily)
No. Jiminy's okay. Mother minded
. . . But--
FRANK
It's ABOUT your mother--
JAMES
(quickly)
Is she all right?
FRANK
Well, it's not that. I don't know
if she's all right. I don't even
know where she is.
JAMES
(disappointed)
Oh.
FRANK
We ALL miss her, Jiminy.
Looking away, James shrugs, shaking his head slightly. Frank
suppresses the anger that flashes across his face.
FRANK
(continuing)
I know I miss her. And your
brothers miss her. They just don't
show it.
31.
James does not respond.
FRANK
(continuing)
You're spending a lot of time away
from home. Staying at school?
JAMES
Sometimes.
FRANK
And other times--?
JAMES
I just ride buses.
FRANK
Why?
Frank waits.
JAMES
I keep having a dream . . . The
same one--
(pause)
I keep dreaming that I'm riding a
bus, and I see mother.
FRANK
Dreams don't mean anything.
James nods.
FRANK
(continuing)
School's more important than
riding around on buses because you
have a dream.
JAMES
(defensively)
But it's okay. I study on the
buses.
FRANK
(skeptically)
Do you?
JAMES
I've got good at tuning things
out. People talking. Radios.
Cell phones.
32.
FRANK
You can't study and look for
mother at the same time. Can you?
James hesitates, biting his lip.
JAMES
The drivers are mostly very nice.
Frank looks puzzled.
JAMES
(continuing)
They say if they see her, they'll
call out--
FRANK
How would they know her?
He suddenly realizes the answer.
FRANK
(continuing; a bit
sharply)
I'm not sure I like you riding all
over the city.
JAMES
Just the East Side.
FRANK
Why there?
James shrugs, looking away.
FRANK
(continuing)
I didn't mean what I said, you
know. When I told her not to come
back. Ever.
James nods, turning his gaze back to his father.
JAMES
Maybe she's in a hospital.
FRANK
They'd have told us.
JAMES
Maybe somebody stole her purse.
Maybe they don't know who she is,
and she can't talk. Maybe you
should tell the police.
33.
FRANK
I did.
JAMES
Oh.
FRANK
They think she went away because
she wanted to.
JAMES
She DIDN'T want to. I know she
didn't--
FRANK
Jiminy--
(pause)
There's something else I need to
talk to you about.
After a long pause:
FRANK
(continuing)
It's something we have to face.
(pause)
The fact is, she might not come
back.
James bites his lip to keep the tears back.
JAMES
You should have made her stay.
FRANK
Jiminy--
JAMES
You should have made her be happy.
INT. CHURCH THRIFT SHOP - AFTERNOON
Mildred is in a room cluttered with used objects: piles of
clothes, garden tools, kitchen utensils, dishes, toys.
Mildred and several other women are sorting and pricing,
working quietly, intently. Soon Mildred picks up a pile of
clothes that have been folded and stacked neatly. She walks
to JOLENE, a short, stocky woman with spiky hair.
MILDRED
Jolene--
The woman looks up.
34.
JOLENE
Yes--?
MILDRED
I'd like to buy these.
JOLENE
Oh, Mildred, no--
Mildred looks abashed.
MILDRED
I understand. They're needed for
the sale.
JOLENE
What I mean is you needn't pay for
them. Not with all the work you
do here.
MILDRED
Oh, I couldn't.
JOLENE
You most certainly can. You take
those and not another word.
MILDRED
But--
JOLENE
Not another word.
MILDRED
Thank you. I appreciate your
kindness.
As Mildred turns to walk back to her work station:
JOLENE
Mildred, I've been meaning to ask--
MILDRED
Yes--?
JOLENE
You're here so much. And your
boys--
MILDRED
They're fine.
JOLENE
Surely--
35.
MILDRED
My mother-in-law is there.
JOLENE
But surely it's not the same.
MILDRED
They're big boys . . . With
friends, school, soccer--
JOLENE
But the youngest--
MILDRED
He's much attached to his
grandmother.
Having reached an impasse, neither seems to know how to end
the conversation.
JOLENE
Maybe if you talked with someone.
MILDRED
About what?
JOLENE
About you being away from home so
much.
MILDRED
There's no need.
JOLENE
If you're sure.
MILDRED
I'm sure, Jolene. I'm sure.
INT. KITCHEN IN MILDRED'S HOUSE - LATE EVENING
Gertrude is alone in the kitchen, finishing cleanup. Frank
hurries in, dressed in work clothes.
FRANK
Sorry I'm late. The truck broke
down.
Gertrude turns to him, nods, and begins taking food from the
refrigerator.
FRANK
(continuing)
What's wrong?
36.
GERTRUDE
(truculently)
Nothing.
She pauses in her work, waiting for him to pursue the matter.
When he doesn't, she turns to face him.
GERTRUDE
(continuing)
Jiminy had one of her oatmeal bars.
Puzzled, Frank looks at her.
GERTRUDE
(continuing)
The kind that's his favorite.
FRANK
So?
GERTRUDE
Where did he get it?
Frank nods toward Jiminy's door, which is ajar.
FRANK
Please . . . Keep your voice down--
GERTRUDE
(without moderating
her voice)
I'll TELL you where he got it.
Frank gets up, closes James' door.
GERTRUDE
(continuing)
He took it out of his backpack.
I saw him.
FRANK
Well, what's wrong with that?
Squirreling it away.
GERTRUDE
He was SURPRISED. I saw his
expression. And he tried to hide
the bar.
FRANK
(amused)
She sneaks in here and cooks? Is
that what you're saying?
37.
GERTRUDE
Of course not. Wherever she's
LIVING, she's cooks.
FRANK
So you think he sees her--
GERTRUDE
No, I don't think he sees her.
Otherwise she would have just
given it to him, not hide it in
his backpack.
(pause)
She's coming here at night . . .
When we're asleep.
Bemused, Frank shakes his head.
GERTRUDE
(continuing)
I'm sure of it.
As he smiles:
GERTRUDE
(continuing)
It's not funny. You need to
change the locks on the doors.
FRANK
No.
GERTRUDE
It's dangerous. Somebody sneaking
around.
FRANK
You're afraid of her?
GERTRUDE
I'm AFRAID that somebody could get
hold of her key.
Sighing, Frank does not respond.
GERTRUDE
(continuing)
Well, do as you like. But you put
a lock on MY bedroom--
FRANK
What if you got sick in the night?
38.
GERTRUDE
Donny could unlock the door.
FRANK
(shaking his head)
If you must . . . Prop a chair
against the door. But no lock.
GERTRUDE
Find out what's going on.
FRANK
I will.
GERTRUDE
Either YOU have a talk with
Jiminy. Or I will.
FRANK
(testy)
Don't interfere--
She leaves the room, without preparing his dinner.
FRANK
(continuing; calling
after her)
Mother . . . You hear what I'm
saying?
INT. KITCHEN IN MILDRED'S HOUSE - EARLY MORNING
Frank, dressed in work clothes, is drinking coffee at the
kitchen table. He looks toward James' closed door.
FRANK
(calling out)
Jiminy--
James appears in the doorway, wearing pajamas.
FRANK
(continuing)
You heard what your grandmother
said last night?
James nods.
FRANK
(continuing)
How did the cookie get in your
backpack?
39.
JAMES
I don't know.
FRANK
Do you think your mother's coming
here at night?
James shrugs.
FRANK
(continuing)
You don't see her? Hear her?
JAMES
No.
FRANK
Don't know where she is?
JAMES
No.
As he sips his coffee, Frank studies James.
FRANK
I believe you.
JAMES
It's true.
Frank nods.
EXT. ENTRANCE TO CHURCH COMMUNITY ROOM - EVENING
Mildred, standing at the covered entrance to the church
community room, is pulling a scarf over her head as Agnes
comes outside. They both stand watching heavy rain washing
down the steps toward them.
AGNES
Mildred, I'll give you a lift.
MILDRED
It's not far, Aggie. Just two
blocks to the bus stop.
AGNES
Far enough to get soaked.
Starting up the steps, Agnes calls over her shoulder.
40.
AGNES
(continuing)
I'll bring the car around! You
wait--
MILDRED
Really, Agnes--
AGNES
Two minutes!
While Mildred is waiting, two women come out of the community
room and stop briefly next to Mildred.
MAXINE
You okay, Mildred?
MILDRED
Agnes is giving me a ride.
Waving, the two women run up the steps, sharing an umbrella.
When a car drives up and stops at the curb, Mildred hurries
to the car and gets in on the passenger side, nodding to
Agnes. They drive through pelting rain until they arrive
soon at a bus stop that is across the street in front of
several lighted shops.
AGNES
I'll wait till your bus comes,
Mildred.
MILDRED
Oh, no, Aggie, I'll just stand in
the deli entrance. I'll be fine.
AGNES
You're sure--?
Smiling, Mildred gets out, crosses the street, and waves good-
bye to Agnes. Waving back, Agnes drives away. When the car
is out of sight, Mildred crosses back to the other side of
the street and continues walking in the direction the car had
taken.
INT. BUS - EARLY AFTERNOON
James is again sitting in the first row of the bus on the
aisle seat. He is deeply absorbed in a magazine. The bus is
crowded, and people are standing. The driver turns briefly
toward James.
DRIVER
James! JAMES!
41.
When James does not respond, the driver directs his words to
the passenger sitting next to James.
DRIVER
(continuing)
Would you give him a nudge--
The passenger taps James on the arm.
JAMES
(to passenger)
What?
The passenger beckons toward the driver.
DRIVER
James . . . Two stops and you need
to get off. Time to pack up and
go home.
JAMES
Oh! Thanks--
James begins zipping up his backpack. The driver shakes his
head, as he stops to let passengers off and on.
DRIVER
How you can study . . . With all
this noise--
JAMES
I don't know. I just do.
PASSENGER
Wish I could.
The driver nods.
PASSENGER
(continuing)
Then I wouldn't hear my wife
yelling at me.
James gets up, slinging his backpack over one shoulder.
Clutching the magazine in one hand, he holds onto a post near
the door with the other hand.
JAMES
Not hearing things . . . It feels
good. Like being someplace else
than where you are. So you can't
worry.
42.
DRIVER
You don't give up easy, do you,
James?
JAMES
No.
DRIVER
You must know every bus schedule
by heart--
JAMES
Only the East Side.
DRIVER
(surprised)
You're sure about the East Side?
JAMES
I'm sure.
(pause)
Well, almost sure.
DRIVER
How long you been looking now?
JAMES
Since January.
DRIVER
Winter. Spring. And now summer
soon.
JAMES
I know.
DRIVER
Still be looking?
James nods.
DRIVER
(continuing)
Must have a lot of things you'd
rather do than ride buses--
JAMES
No. I like buses.
DRIVER
Better than baseball? Girls?
Video games?
43.
JAMES
When I grow up I'll travel all
over. South America. Asia.
Europe. Africa.
DRIVER
(smiling)
By bus?
JAMES
Maybe some.
DRIVER
You have a plan to pay for all
that? Marry some rich girl--?
JAMES
Write articles for magazines--
(waving the magazine
in his hand)
Like this one--
DRIVER
Hope they pay good.
The bus stops, and James jumps down the steps onto a dark
street.
INT. KITCHEN IN MILDRED'S HOUSE - EVENING
Frank is sitting in the kitchen, drinking coffee, as Gertrude
washes dishes. James hurries into the room, breathless.
FRANK
I thought I told you, home by
dark--
Gertrude dries her hands.
JAMES
I know.
FRANK
By DARK--
James nods, as he hangs his backpack on one of the pegs.
Gertrude, after taking food from the refrigerator, goes to
the stove.
FRANK
(continuing)
It's not safe.
44.
JAMES
I'm sorry. But it's just now
dark--
FRANK
And you make extra work for your
grandmother.
JAMES
(to Gertrude, whose
back is turned)
Really, it's okay. I'll eat it
cold.
GERTRUDE
(turning to look at
James)
You will NOT.
FRANK
Mother--
As she turns back to the stove, James sits down anxiously at
the table.
INT. CITY BUS - LATE AFTERNOON
James is seated in his usual place at the front of the bus,
with his head down, studying a book. The bus is crowded and
noisy.
DRIVER
James! JAMES . . . Out the
window! That the lady you're
looking for? Could it be?
James looks out the window, pushes the book into his
backpack, and jumps off the bus at the next stop.
JAMES
(calling back to the
driver)
Thanks!
EXT. CITY STREET - CONTINUING
James sees his mother limping along the crowded sidewalk.
She is wearing her old coat, and with her good arm she is
carrying a cloth bag with worn handles. James follows her,
keeping well back. As the crowd thins, he stays close to the
buildings, moving from one doorway to another.
45.
Eventually, as dusk begins to turn into darkness, the
storefronts end, and the area becomes one of car repair shops
and small manufacturing shops. He passes a body and fender
shop, beyond which is a wrecking yard filled with old cars.
Next to the old cars is a small house, and beyond that is the
enclosed mini storage yard.
Seeing his mother stop, he ducks into the wrecking yard.
After waiting for a minute, he cautiously leaves his hiding
place. Looking ahead, he hesitates, puzzled, unable to see
her. He begins walking hurriedly along the sidewalk in the
direction she had taken. With nothing except barren lots
beyond the storage yard, which is locked, he slowly
backtracks, his eyes searching.
Stopping at the small house, where lights have been turned
on, darkness having fallen, he hesitates, then begins making
his way down a narrow woodchip walkway beside the house. A
wooden fence abuts the mini storage buildings on one side of
the walkway, and on the other side a chainlink fence prevents
access to the wrecking yard. Small trees and shrubs line
both sides of the woodchip walkway.
James follows the walkway the length of the storage yard,
until access beyond is barred by another chainlink fence.
Looking through the fence, he sees, by the light of a full
moon, a long dog run with a large doghouse at the far end.
Beside the large doghouse is a smaller one. An open field
can be seen through the chainlink fence that runs the length
of the dog run on the far side.
Seeing or hearing nothing, he retraces his steps until he
again approaches the house. There Charlie stands watching
him. His face is stern.
CHARLIE
What's that you're doing?
JAMES
Sir--?
CHARLIE
I SAID what's that you were doing
back there--
JAMES
(after a pause,
stammering)
Lo . . . Looking for m . . . My
dog.
Charlie shines a flashlight on James, studying him. Then he
grunts.
46.
CHARLIE
Didn't find him--
JAMES
No, sir.
CHARLIE
This walk, in case you're
interested, is on private property.
James studies the house, as if trying to see into the lighted
interior.
CHARLIE
(continuing)
What's that you're staring at?
JAMES
It's just--
CHARLIE
Just what?
JAMES
I thought I saw somebody go in
there.
CHARLIE
(gruffly)
Did you really? And who would
that have been? Somebody stealing
your dog?
James shrugs.
CHARLIE
(continuing)
Well, be on your way.
James begins to walk away, as Charlie turns toward the house,
taking a fistful of keys out of his pocket.
CHARLIE
(continuing)
You can be sure nothing but me
goes in this house . . . Neither
two-legged or four-legged. Nobody
but me lives here. And nobody but
me has a key.
Turning onto the sidewalk James looks over his shoulder to
see Charlie go into the house.
47.
EXT. SIDEWALK - LATE AFTERNOON
Late in the afternoon, the sun having gone down, James is
again approaching the car repair shop, his backpack slung
over one shoulder. He sees, farther ahead, Charlie standing
by the entrance to the mini storage yard, his back turned as
he talks to a man in an idling pickup truck. Quickly James
disappears among the old cars. He is still waiting as dusk
begins to fall.
Finally, still concealed, James sees his mother slowly
limping down the street in his direction. Before reaching
James' hiding place, she slips beside the office of the body
and fender shop, now closed, just a few yards from James'
hiding place. She sits down on some cast-off car cushions,
as if she is accustomed to doing this.
After the truck has driven into the storage yard, Charlie
continues to stand by the entrance. Later, in near darkness,
the pickup truck drives out with boxes piled high in the
back. Finally, when it is fully dark, Charlie pulls the gate
closed, padlocks it, and goes into the house.
When lights come on in the house, James sees his mother
emerge from beside the office and walk along the sidewalk
toward the house. Quickly leaving his hiding place, he
follows her, watching as she turns onto the woodchip walkway
beside the house. She stoops over as she passes a lighted
window.
After she has disappeared beyond the house, James follows her
from a distance. He sees her push through a thin stand of
shrubbery, and hearing a faint noise he carefully moves
closer. He sees that she has parted loose fence boards and
is slipping through into the storage yard. From inside the
storage yard, the boards are pushed back in place.
James hurries to where she has slipped through and carefully
pushes aside one of the boards. As he looks through the
small opening, he sees a figure dimly outlined in the
moonlight and then recognizes his mother as she passes under
a bright security light. He watches as she raises the
overhead door on one of the storage units. When she steps
inside and pulls the door closed from the inside, James is
alarmed.
JAMES
(calling softly but
stridently)
Mother, no! You can't breathe in
there!
Shaking, he stands up and takes several deep breaths.
48.
JAMES
(continuing)
Okay. Think about it, Jiminy.
It's no different than your
bedroom. You don't have any
windows there, do you?
He hunkers down again, and for a long while he crouches,
staring through the fence. Finally, pushing the loose board
back into place, he emerges from the shrubbery and slowly
walks away.
INT. CITY BUS - EARLY MORNING
Night has not yet turned into dawn, and rain is pounding the
windows of the bus as James climbs on. Holding out a card
for the driver to punch, his hand shivers. He is wearing a
rain slicker and carrying his backpack.
DRIVER
Well, James . . . Early for you to
be out, especially on a rainy
Saturday.
JAMES
(trying to control
his excitement)
I FOUND HER--
DRIVER
(with a brief glance
at James)
Really--!
(pause)
Talk to her?
JAMES
Not yet.
DRIVER
Maybe today.
JAMES
Maybe.
The driver hands James a thermos.
DRIVER
Better have some of this. Perk
you up a bit.
49.
EXT. OLD CAR LOT - DAWN
James has again hidden himself among the old cars, in a place
where he can see the house and mini storage yard. The rain
has turned into light drizzle. As the sky lightens toward
daybreak, Charlie emerges from his house and walks to the
storage yard, where he unlocks the gate and pushes it open.
As he is doing this, James' mother slips out of the side yard
and hides herself beside the body and fender office until
Charlie has returned to his house. Then she begins hurriedly
limping away.
James follows her at a safe distance. After a few blocks he
sees her approach a large brick church. At the side of the
church she edges her way through a group of waiting people.
He sees her walk down a few steps, holding onto a rail. At
the bottom, she knocks on a door and is let in. James
loiters around the outskirts of the group, until a man and
woman with a couple of children about his own age join the
group. He sidles close to them.
When the door opens, James keeps close to the two children.
The boy is about James' age, the girl a year or two older.
When they are inside he can see that all these people have
come for a free breakfast. James waits in line, taking a
tray and picking up a knife, fork, and spoon.
When he sees his mother, as she brings food out from the
kitchen, he keeps his eyes down. Someone reaches out and
places a plate of scrambled eggs and a slice of buttered
toast on his tray. Farther down the line, he picks up a
small container of orange juice. Then he follows the
children and their parents to the far side of the room, where
he sits down at their table and starts to eat. The parents
look at James suspiciously.
JAMES
(to the children)
My name's Jiminy--
They continue eating.
JAMES
(continuing)
Not my real name. My name is
really James. Do you have
nicknames?
The boy looks at the girl, then both shyly shake their heads.
50.
JAMES
(continuing)
I do some of my homework on buses--
(pause)
What grades are you in?
The boy and girl look apprehensively at their parents.
JAMES
(continuing)
Where do you go to school?
Their father leans across the table toward James.
FATHER
You ask too many questions.
Embarrassed, James eats silently. After the family has
eaten, they get up without a word and leave. Raising his
eyes slightly from time to time, he glances at his mother.
At one point he catches her looking at him and realizes that
she has seen him. There is no longer a line, and the women
behind the counter are cleaning up. James' mother takes a
cloth and plastic bin and comes to his table. She puts the
plates and utensils in the bin and wipes away crumbs and bits
of food before sitting down opposite James.
MILDRED
How are you?
JAMES
Okay.
MILDRED
I miss you.
(pause)
Is everyone all right?
JAMES
(shrugging)
I guess.
MILDRED
Are you mad at me?
James shakes his head.
JAMES
I just wish you were home.
(pause, thinking)
Do you come to the house at night,
sometimes? When we're asleep--
51.
MILDRED
Not anymore.
JAMES
Do you mind if I come here?
(pause)
I mean . . . sometimes--
MILDRED
I'd like that.
James nods.
MILDRED
(continuing)
Does your father know where I am?
JAMES
No.
(pause, thinking)
I mean . . . I guess not.
MILDRED
I wish you wouldn't tell him.
James nods again.
MILDRED
(continuing)
I like working here. I like
helping poor people.
(pause)
Does dad talk much about me?
James blushes and looks away, not knowing how to respond.
MILDRED
(continuing)
That's all right. Really.
JAMES
He did talk about you once. To me.
She looks at him questioningly.
JAMES
(continuing)
He said you might not come back.
Ever.
(then, hoping to
please her)
And he said maybe he should call
me James now. Like you did.
(more)
52.
JAMES (cont'd)
(pause)
I mean, like you do.
MILDRED
(after a long pause)
Would you like to come for church
service tomorrow?
James nods.
MILDRED
(continuing)
It's a good church. The
minister's a lady--
James looks surprised.
MILDRED
(continuing)
Church is at eleven.
(pause)
But before you come here . . .
You'd better have breakfast at
home. Dad might wonder--
She stands up to leave.
MILDRED
(continuing)
James, I'd like to know . . . how
you found me here.
JAMES
I saw you when I was riding a bus.
MILDRED
(raised eyebrows)
That bus was a long way from home.
James nods.
JAMES
I like riding buses. I even do my
homework there.
She looks at him as if she understands his long search.
MILDRED
Now that you've found me, maybe
you should stop riding the buses
so much. Maybe you should come
here for breakfast on Saturdays.
(more)
53.
MILDRED (cont'd)
How would that be? And Sundays
for church.
James bites his lower lip, looking uneasy.
MILDRED
(continuing)
You don't have to worry. I'll be
here. Really I will.
Tentatively James nods, his apprehension somewhat eased.
INT. KITCHEN IN MILDRED'S HOUSE - EVENING
Adam, Bruce, Henry, and James are sitting at the table with
Frank, as Gertrude washes dishes. Donny is on a stool beside
Gertrude, wiping dishes.
HENRY
I wish every night was Friday
night.
FRANK
(to the older boys)
Anything special tomorrow?
ADAM
Carnival at school.
DONNY
(turning)
Can I go?
ADAM
No.
FRANK
Adam--
ADAM
Well, in half an hour he'd be
whining to come home.
FRANK
Then bring him home and go back.
Adam nods grudgingly.
FRANK
(continuing)
James, are you going?
James shakes his head.
54.
FRANK
(continuing)
Why not?
JAMES
Maybe in the afternoon.
BRUCE
Jiminy takes off every Saturday.
Early.
HENRY
Big secret.
JAMES
I eat breakfast with someone.
That's all.
FRANK
Oh? Where's that?
A long pause follows, as James looks down, embarrassed.
JAMES
Her place.
ADAM
HER place--?
JAMES
Well, sort of her place. And we
go over homework . . . Things I'm
having trouble with.
BRUCE
(singsong)
Jiminy's got a girlfriend--
The other boys take up the refrain.
HENRY
What's her name?
JAMES
None of your business.
BRUCE
(chanting)
What's her name? What's her name?
The other boys take up the chant.
FRANK
Okay, boys. Let it be.
55.
BOYS
(chanting)
What's her name? What's her name?
What's--
FRANK
(loudly)
I SAID, let it be--!
EXT. SIDEWALK - EARLY MORNING
Mildred and James are walking along the sidewalk near the
mini storage.
MILDRED
Did I hurry you at breakfast?
JAMES
No. It's okay.
(pause)
What's wrong?
They stop in front of Charlie's house.
MILDRED
The man who owns the storage yard
lives here. He's an old man. His
name is Charlie--
(correcting herself)
Mr. Palinovich.
(pause)
I use one of the storage sheds.
James nods.
MILDRED
(continuing)
He's always around. But I haven't
seen him since yesterday morning
when he opened the gate. He
didn't close the gate last night,
and his house was dark--
Embarrassed, she turns to look at James.
MILDRED
(continuing)
I'm often around here at night.
Getting things I need.
JAMES
Maybe he went to see someone.
56.
MILDRED
He never goes anywhere.
They begin walking around the perimeter of the house, peering
in windows when they can get close enough. Reaching the back
porch, Mildred cups her hands against a window next to the
door, trying to see inside. James leans over the porch
railing, looking to the side of the house.
JAMES
There's a tree close to the house.
I think I can climb it.
James hurries down the porch steps and begins climbing a tree
at the side of the house. Hanging out on one limb, he looks
inside.
JAMES
(continuing)
I can see a bed.
(pause)
If I can get a little closer--
Mildred comes from the porch to stand underneath the tree.
MILDRED
Be careful--
JAMES
I can see someone.
MILDRED
Is it him?
JAMES
I think so.
James leans a bit farther toward the house.
JAMES
(continuing)
Yes. He's on the floor beside the
bed.
MILDRED
Does he look awake?
JAMES
He's face down. He's not moving.
Mildred begins hurrying down the walk.
57.
MILDRED
We need an ambulance! I'll find
someone!
(calling back to
James)
Careful getting down!
EXT. WALKWAY - A FEW MINUTES LATER
Mildred and James are standing at the bottom of the porch.
From the back door, which is open, two paramedics emerge
carrying a stretcher on which Charlie lies, a blanket
covering him. He tries to talk, but his mouth just opens and
closes without sound. When the stretcher reaches the bottom
of the stairs, Mildred leans toward Charlie and follows for
a few steps.
MILDRED
Don't worry! I'll look after
things--
Charlie begins thrashing around. When he succeeds in
throwing off the blanket, the paramedics pause to retrieve
it. Charlie reaches clumsily into his pocket and extracts a
set of keys, which he holds out to Mildred but accidentally
drops. After stooping to pick up the keys, she follows the
paramedics, talking to them as they load the stretcher in the
ambulance. James comes to stand beside her.
JAMES
What will you do?
MILDRED
Lock the house. Lock the storage
yard tonight. Unlock it in the
morning.
The ambulance pulls away, leaving them standing at the curb.
JAMES
How much does it cost?
MILDRED
Cost?
JAMES
To rent a storage unit . . . Like
the one you rent.
MILDRED
The church rents it.
JAMES
Why?
58.
She looks warily at James.
MILDRED
For things they don't have room
for in the church.
INT. HOSPITAL ROOM - AFTERNOON
Mildred is leaning over the bed on which Charlie lies, his
eyes closed. James is standing uneasily in back of his
mother.
MILDRED
Mr. Palinovich . . . Can you hear
me?
Startled, he opens his eyes.
MILDRED
(continuing)
It's Sunday. You've been here
since yesterday . . . In the
hospital.
He tries to speak but cannot. His surprised look turns to
anger.
MILDRED
(continuing)
I've locked your house. And I'll
lock the yard at night and unlock
it in the morning.
He closes his eyes and turns his head away.
MILDRED
(continuing)
And your garden . . . I'll water
the plants.
(pause)
Should I let someone know?
Family? A friend?
(pause)
Mr. Palinovich . . . ?
When he makes no response, she turns to look at James,
shrugging her shoulders.
INT. HOSPITAL ROOM - AFTERNOON SEVERAL DAYS LATER
Mildred and James are again in Charlie's hospital room.
James is standing next to his mother. Charlie is awake, his
eyes focused on the ceiling.
59.
MILDRED
You ARE better. They said you
were--
Charlie directs his gaze at Mildred, then lets it rest on
James.
CHARLIE
Who's that?
MILDRED
James . . . My boy.
CHARLIE
Where does he live?
MILDRED
With his father.
CHARLIE
I thought he must.
MILDRED
Yes.
CHARLIE
With his father. Somewhere--
MILDRED
Yes. In another part of town.
CHARLIE
That's good then.
Charlie continues to look at James.
CHARLIE
(continuing)
I've seen him around.
MILDRED
(surprised)
Have you?
CHARLIE
When he loses his dog.
Puzzled, Mildred turns to James.
JAMES
(shrugging)
It's okay. I'll tell you about it.
60.
MILDRED
(to Charlie)
We've brought your mail.
(looking at James)
James--
James hands a plastic grocery sack to Charlie, who flings it
to the floor.
CHARLIE
Junk.
James picks up the sack, places at the end of the bed.
CHARLIE
(continuing)
Terrible--
MILDRED
(puzzled)
What's terrible?
CHARLIE
Terrible place, this--
(pause)
Always waking you up for
something. Pills. X-rays.
People gawking at you. And the
food. Garbage.
MILDRED
I'll bring you some food tomorrow.
What would you like?
CHARLIE
Hamburger. Chocolate shake.
MILDRED
I'll cook something.
CHARLIE
I've got money.
MILDRED
That's all right.
CHARLIE
(testy)
I TELL you . . . I've got money.
In my house. In the freezer.
Take one of the "soybean curd"
containers. Look inside.
Mildred laughs.
61.
CHARLIE
(continuing)
What's so funny? Who would steal
soybean curd?
MILDRED
Maybe somebody who knows you don't
freeze tofu.
Charlie snorts derisively.
CHARLIE
Soybean turd . . . That's what
they'd think it spells. Wouldn't
mess with it.
James tries to conceal a smile.
CHARLIE
(continuing; to James)
And what strikes YOU so funny?
JAMES
Nothing.
MILDRED
Should we let someone know you're
here? Family?
CHARLIE
No.
MILDRED
No one? No family?
CHARLIE
No family.
Mildred nods, without responding.
CHARLIE
(continuing)
I had a wife once.
(looking at James)
And a boy.
Charlie pauses for a long time, remembering.
CHARLIE
(continuing)
Then she died. And when the boy
was sixteen he took off.
(more)
62.
CHARLIE (cont'd)
(remembering)
That was the last I saw of him.
A long time ago. Long long time--
His voice trails off, and his eyes close. Soon his breathing
becomes heavy and regular.
JAMES
(quietly)
Why did he say that . . . ?
(looking at his
mother)
I mean, why did he say it's good
I live with dad--?
MILDRED
(as if to herself)
I didn't know he knew.
JAMES
Knew what?
MILDRED
Oh. Nothing.
For a moment Mildred is silent, thinking.
MILDRED
(continuing)
Well, you see, James . . . I live
in a--
(pause)
Well, some people would say I live
in a strange way. I didn't think
anyone knew . . . Least of all him.
JAMES
I know.
MILDRED
(surprised)
You do?
JAMES
I followed you. Before you saw me
at the church.
Mildred smiles, shaking her head.
INT. HOSPITAL ROOM - AFTERNOON
Charlie is awake, watching Mildred set out food on his beside
table.
63.
CHARLIE
Where's my hamburger? My
chocolate shake?
MILDRED
Try this.
CHARLIE
(testy)
Looks like hospital food.
MILDRED
Something I made.
She hands him a fork, and he begins eating.
CHARLIE
Okay. Better than hospital food.
But not like a hamburger. What's
in it?
MILDRED
Different things.
CHARLIE
Cost more than a hamburger? You
find the money?
MILDRED
I didn't need money. I cook for
the church . . . People who are
hungry and can't afford--
CHARLIE
I can afford.
MILDRED
Good. When you're well, you can
give a donation.
INT. CHURCH DINING ROOM - MORNING
Women are cleaning up after the breakfast crowd has left.
Mildred is sitting opposite James, who is finishing his
breakfast.
MILDRED
I brought Mr. Palinovich home
yesterday.
JAMES
How is he?
64.
MILDRED
Cranky. And he has to use a cane.
They exchange a smile.
MILDRED
(continuing)
But he did say I took good care of
everything. And he gave me a
donation for the church.
(pause)
And he asked me--
JAMES
What?
MILDRED
Well, first he TOLD me . . .
She shakes her head, sighing.
MILDRED
(continuing)
He told me to stop living in the
storage unit. He said he couldn't
look the other way anymore.
JAMES
(softly)
Where will you go?
(eyes pleading)
You could come home.
MILDRED
No, James. I don't think so. Not
while things--
(shrugging)
Not yet anyway.
(pause)
But Mr. Palinovich did say I could
live in his house and help him.
James nods.
JAMES
And will you?
MILDRED
Well . . . Living in a house
again. With windows. And a
bathroom.
JAMES
So you won't ever come home again--
65.
MILDRED
I don't know, James. I really
don't.
INT. KITCHEN IN CHARLIE'S HOUSE - AFTERNOON
James is sitting at the kitchen table reading a book, while
Mildred stands at the sink cleaning vegetables. She glances
around occasionally to look at James.
MILDRED
James--
He looks up.
MILDRED
(continuing)
I've talked to Mr. Palinovich--
(drying her hands)
And he says--
James waits for his mother to continue.
MILDRED
(continuing)
He says it would be all right if
you might like to live here. I
mean, with Mr. Palinovich and me--
James starts to speak, hesitates. A long pause follows.
MILDRED
(continuing)
It's all right. I understand.
You'd miss your father and
brothers.
JAMES
I'd rather live here . . . With
you.
She smiles.
INT. JAMES' ROOM OFF THE KITCHEN - EVENING
The door to James' room is open. He is sitting on his bed,
looking apprehensive. Voices can be heard in the kitchen.
James stands up and walks to the door, where he sees his
father and brothers.
JAMES
Dad. Could I talk to you?
66.
FRANK
Sure. What is it?
JAMES
I mean . . . In here.
His brothers stop talking. When his father enters the small
room, James closes the door.
FRANK
What's wrong?
JAMES
Nothing . . . Really. But I
wanted to tell you something.
FRANK
Okay.
JAMES
It's just--
(pause)
I know where mother is.
FRANK
(eyebrows raised)
Do you?
James hesitates.
FRANK
(continuing)
And where is she?
After a long pause:
JAMES
She asked me not to tell.
Shrugging his shoulders, Frank looks away.
JAMES
(continuing)
But that was before--
(pause)
So it's okay now. I'll tell you.
FRANK
Only if you want to.
JAMES
The thing of it is . . . She said
I could come live with her . . .
Where she is.
67.
FRANK
I see.
They stand for a long moment looking at each other.
FRANK
(continuing)
And will you?
JAMES
Only if--
FRANK
If what?
JAMES
If you think it's a good idea.
FRANK
How would I know if it's a good
idea?
JAMES
I mean, it's a nice enough house.
It's small . . . But that's all
right. It's this old man's house,
and she helps him. He has one of
those mini storage places. And
when she isn't helping Charlie,
she cooks at a church--
Frank shrugs his shoulders.
JAMES
(continuing)
So I'd like to--
(pause)
I mean . . . I'd be sorry to, you
know . . . Leave--
James stops lamely, unable to finish the sentence.
FRANK
I know you don't get along with
your brothers--
JAMES
Well, sometimes.
FRANK
And what about school?
68.
JAMES
I can still go to the same school.
Take a bus . . . Just a little
longer.
FRANK
I'd have to know where you are.
James extracts a small piece of paper from one of the books
on his bed.
JAMES
So you don't mind?
James hands the piece of paper to his father, who looks at
it, then folds it and carefully puts it in his shirt pocket.
JAMES
(continuing)
I'll come back sometimes. To see
you. And everybody.
Frank nods.
JAMES
(continuing)
You won't . . . I mean . . . Come
to this old man's house.
FRANK
Not unless I'm invited. Which
doesn't seem likely.
After a pause:
FRANK
(continuing)
Well, we'd better tell your
brothers and grandmother.
INT. KITCHEN IN MILDRED'S HOUSE - MORNING
James and his brothers are in the kitchen. James is wearing
his backpack and carrying several plastic sacks. Donny comes
to James and wraps his arms around James' leg.
JAMES
You can come see me . . . Anytime.
All of you--
Donny releases James, who walks toward the door.
69.
EXT. STREET NEAR CHARLIE'S STORAGE YARD - EARLY EVENING
Millie and James are walking toward Charlie's house, each
carrying several grocery sacks. Charlie can be seen locking
the storage yard.
INT. KITCHEN IN CHARLIE'S HOUSE - LATE EVENING
Mildred, James, and Charlie are seated at the kitchen table,
eating. When James has finished eating, he takes his empty
plate and glass to the sink. Charlie continues to eat while
Mildred drinks a cup of coffee.
MILDRED
Charlie, I'm just wondering--
(pause)
When you cooked for yourself--
He looks up.
MILDRED
(continuing)
What food did you eat?
CHARLIE
Didn't cook. Picked up a
hamburger, maybe chicken, at the
fast food. Sometimes bought a
frozen pizza at the store.
Smiling, James leaves the room.
MILDRED
Vegetables? Salad?
CHARLIE
Lettuce in hamburgers. Tomatoes
sometimes.
MILDRED
Breakfast?
CHARLIE
Coffee, toast.
MILDRED
So . . . Where'd you get the tofu
containers . . . The ones in your
freezer?
CHARLIE
Found them in garbage cans.
70.
MILDRED
Did you ever taste tofu?
CHARLIE
You kidding?
Smiling, Mildred shakes her head.
CHARLIE
(continuing)
I know this is extra work, you
bringing food from the church and
have to heat it up for me.
MILDRED
It's okay. You can't leave the
yard until you lock up.
(pause)
Maybe Sunday breakfast. You could
eat early at the church, before
you open the yard.
He shrugs.
INT. CHURCH DINING ROOM - MORNING
In the church dining room that is filled with people eating,
Mildred and James are sitting next to each other, facing
Charlie across the table. They are finishing breakfast.
MILDRED
(to Charlie)
Did your family go to church?
Charlie shakes his head, looking at the MINISTER, who is
circulating among the tables. She is forty-five with an
angular, sensitive face.
MILDRED
(continuing)
Your wife . . . Son?
CHARLIE
Wife went to church, when she got
sick. For all the good it did her.
MILDRED
How do you know? Maybe it did her
good.
The minister, having reached their table, stops, directing
her attention to James.
71.
MINISTER
So this is--?
MILDRED
James, my next to youngest.
MINISTER
I'm happy to meet you, James.
MILDRED
And Charlie you know. From the
mini storage.
MINISTER
Of course. It's good to see you
here, Charlie.
Called away to another table, she leaves.
CHARLIE
James . . . Too formal for a kid.
Jimmy, that's what you should call
him. Then, when he's grown, he
can call himself Jim.
Pushing his plate away, he stands up.
CHARLIE
(continuing)
Time to open up the yard.
He leaves, wending his way through the tables to the door.
INT. KITCHEN IN CHARLIE'S HOUSE - MORNING
Charlie is seated at the kitchen table, drinking coffee,
scraps of toast left on his plate. Mildred and James arrive.
Nodding to Charlie and smiling, James leaves the room as
Mildred begins taking food from the refrigerator. Opening a
cupboard, she takes out a child's plastic lunch box.
MILDRED
(Running her hands
over the cupboard
door)
Beautiful cupboards.
CHARLIE
Kenny made them all. Everything
in the house, everything that's
wood, he made. Cabinets, beds,
dressers--
72.
MILDRED
You taught him?
CHARLIE
No. The boy had a gift.
MILDRED
You mean he made everything, all
this? But he left home young, you
said. Sixteen.
CHARLIE
He started making things at
eleven, the time his mother got
sick. I bought him tools, wood.
He kept himself busy, all those
years she was sick.
MILDRED
Did he take woodshop in school?
CHARLIE
He never went to school. Oh,
first grade. One year. Then she
taught him at home. Taught him
good, I'll give her that. Won't
give her much else, though.
MILDRED
Why?
CHARLIE
An alley cat . . . That's what she
was. Coming home night after
night bruised, beaten, sometimes
so badly--
(pause)
Even after she got sick.
MILDRED
Oh.
CHARLIE
But for all that she thought she
was too good for me. Because she
was educated. Her father a
banker. A decent man, though. He
lent me money to buy this place.
MILDRED
Still . . . she married you.
CHARLIE
I was available.
73.
MILDRED
Available?
CHARLIE
To marry her when she was
pregnant.
MILDRED
Oh.
(pause)
So Kenny--?
Charlie nods.
MILDRED
(continuing)
Did Kenny know?
CHARLIE
Not until she was dying. Then she
told him.
MILDRED
Oh. I'm sorry. Why would she do
that?
Charlie shakes his head.
CHARLIE
He was all mixed up then. Poor
kid. He didn't know whether to
call me "dad" anymore. And when
she died, he left. After I'd
raised him, just as much as she
did.
MILDRED
Maybe he went looking--
(pause)
Did he know who--? I mean, his
father--
CHARLIE
(shrugging)
If SHE even knew. I just wonder
where he is--
Mildred nods.
74.
CHARLIE
(continuing)
What kind of life he's had.
(sighs, heavily)
Maybe someday I'll go looking for
him . . . Find him, if I'm lucky.
INT. KITCHEN IN MILLIE'S HOUSE - MIDDAY
James is seated at the kitchen table with his brothers,
father, and Gertrude as they eat lunch.
GERTRUDE
It's good to have all my boys here.
(to James)
Maybe you could come every
Saturday for lunch. I'll make
something special.
JAMES
I'll try.
When everyone has finished eating, Gertrude gets up to begin
clearing the table.
ADAM
(standing up)
Can we go, dad? Hockey practice.
FRANK
Jimin--
(pause)
James, want to go with them?
JAMES
No. Thanks.
Adam, Bruce, and Henry gather up backpacks and hockey sticks
and leave. Donny is helping Gertrude with the dishes.
FRANK
(to James)
You doing all right?
JAMES
Fine.
FRANK
Mother doing all right?
James nods.
75.
FRANK
(continuing)
School?
JAMES
It's okay. Good. Yes, good.
FRANK
Longer bus ride.
(pause)
You like living at this place, the
storage yard? With the old man?
JAMES
(nodding)
I have my own room. It was
Kenny's.
FRANK
Kenny?
JAMES
Charlie's son. He left a long
time ago.
FRANK
And your mother? She has her own
room?
Gertrude stop working to listen.
JAMES
(nodding)
It was Kenny's mother's, before
she died.
FRANK
And where does this Charlie sleep?
JAMES
He has his own room, too.
FRANK
You like Charlie?
JAMES
He's okay. Sometimes he gets
cranky. But he's funny, too.
(pause)
And he cheats at cards.
(smiling)
He doesn't think we know.
76.
INT. KITCHEN IN CHARLIE'S HOUSE - LATE EVENING
Mildred, Charlie, and James are seated at the kitchen table,
playing cards. Mildred and Charlie sip occasionally from
cups. James is drinking a glass of milk. As the game ends,
Charlie begins gathering up the playing cards.
CHARLIE
(winking, to James)
Hey. Maybe you win next time.
JAMES
(smiling)
I doubt it.
MILDRED
Homework?
James stands up.
JAMES
Not much. Did most of it on the
bus.
(with a slight wave)
'Night.
He leaves the room. As Mildred gets up, Charlie waves her to
sit back down.
CHARLIE
You don't have to be working all
the time. Sit. Rest.
MILDRED
(sitting down)
I like being busy. Useful.
CHARLIE
But don't you get tired?
MILDRED
Of course. Everyone does.
CHARLIE
I mean, your arm . . . Your leg.
It takes more effort, surely.
MILDRED
(touching her
unusable arm)
I wouldn't know. I was born this
way.
77.
CHARLIE
You do very well.
Getting up, Mildred removes the cups from the table, takes
them to the sink.
CHARLIE
(continuing)
Does James miss his brothers?
MILDRED
Probably.
(pause)
In a way. But they teased him.
CHARLIE
I never had brothers or sisters.
MILDRED
Neither did Frank. I had a
brother, but we weren't close.
Then he went with my father, and
I stayed with my mother, when they
separated.
CHARLIE
It must be good, sharing thoughts
with somebody.
MILDRED
You didn't with your wife?
CHARLIE
Thoughts? No. Argued a lot.
MILDRED
About what?
CHARLIE
Everything. Kenny not going to
school. She not home nights.
Being a lousy cook. Never
cleaning the house.
(pause)
You and Frank argue?
MILDRED
Not much. Well, not in the
beginning anyway.
CHARLIE
Talked though? Shared thoughts?
78.
MILDRED
We used to.
Nodding, Charlie looks away, preoccupied.
CHARLIE
Where? Sitting at the table after
dinner? Relaxed--
MILDRED
Well, yes.
CHARLIE
Laying in bed?
MILDRED
Sometimes, yes.
CHARLIE
Laying in bed. Relaxed. Feeling
. . . connected. Close to
somebody.
After a long pause:
CHARLIE
(continuing)
So would you?
Mildred turns to study Charlie.
MILDRED
Would I what?
CHARLIE
I wouldn't touch you. I'm too old
. . . Too far in the past for
that. Not that I ever--
(pause)
Anyway--
Mildred raises her eyebrows.
CHARLIE
(continuing)
Not share at night. Just lie side
by side sometimes. When James
isn't home. Not every day. Just
talk.
79.
MILDRED
Oh, Charlie . . . I don't know.
(Slowly, after a long
pause)
Well, yes. We could do that, I
suppose. What harm would it do?
CHARLIE
No harm at all.
INT. CHARLIE'S BEDROOM - EARLY AFTERNOON
Charlie and Mildred are lying on their backs side by side on
a double bed, in a sparsely furnished bedroom. They are
several inches apart, eyes open, staring at the ceiling.
CHARLIE
You've been happy? I mean with
your husband?
MILDRED
Yes.
(pause)
Until--
CHARLIE
Until his mother came to live.
Mildred sighs, shakes her head slightly.
MILDRED
To be honest, before that--
Charlie turns his head briefly to look at her.
MILDRED
(continuing)
There was a woman. And when it
was over, he was sorry. Truly
sorry. He begged me to forgive
him. And I did. I thought . . .
These things happen, even in happy
marriages. And we did have a
happy marriage. He worked hard.
We had a nice home. Wonderful
boys. We had good times, all of
us. But--
CHARLIE
But?
80.
MILDRED
But then there was another. And
another. Nothing that lasted
long. Still . . . I had to think
. . . Why?
(pause)
Why?
(a longer pause)
And when I thought long enough,
when I thought hard enough, I knew
why. I knew it was my fault--
Charlie turns his head sharply to look at her and continues
to study her.
MILDRED
(continuing)
I loved him, you see. Yes, I did
love him. But not enough. Never
madly, never with my heart
pounding in my ears, thinking of
no one, nothing else. Never
consumed thinking about him. And
somehow, he knew that. So he went
looking . . . Elsewhere--
CHARLIE
And betrayed you.
MILDRED
Did he? I guess you'd have to
call it that. And I was angry, of
course. I still am. But I'm sad,
too. Very sad. For him . . . As
well as for me.
Charlie turns back to stare at the ceiling.
MILDRED
(continuing)
Well, I don't know if you've ever
been madly in love . . . The kind
that sweeps you away, like a tidal
wave . . . Lets you think of
nothing else.
She turns briefly to glance at Charlie.
MILDRED
(continuing)
It happened to me once. Long
before I met Frank.
81.
CHARLIE
Lucky . . . This long-ago man.
MILDRED
Boy, really. We were teenagers.
CHARLIE
And this boy then . . . How did he
feel about you?
MILDRED
He didn't know I existed. But,
somehow, I could never forget him.
Even when I lost track of him.
When I had no idea where he was.
Silly really. Just one of those
things that happens, I guess.
Happened to me . . . That you
don't have control over. But you
keep looking and looking--
CHARLIE
I know.
MILDRED
Do you?
Mildred sits up, wearily, and stares out the window, as
Charlie watches her.
MILDRED
(continuing)
And finally you meet someone.
Someone good and steady. And you
settle for him. Who wasn't this
boy you'd been crazy over. Long
before. Long, long before.
INT. KITCHEN IN CHARLIE'S HOUSE - LATE AFTERNOON
Mildred has just poured two cups of coffee and sits down
across the table from an elderly man. He is dressed rather
flamboyantly, like an aging hippie. He has thick, dark hair,
almost shoulder length, and a full, dark moustache. James
comes in from outside, backpack over his shoulder, carrying
a book in his hand.
JAMES
(seeing his mother
and the stranger.)
Oh. I'm sorry.
MILDRED
It's all right, James.
82.
JAMES
Where's Charlie?
MILDRED
Around.
JAMES
Around where?
James looks at the stranger, puzzled.
MILDRED
Close by.
James puts his backpack down on the counter, lays the book on
top.
JAMES
If he's locking up, I'll help--
Turning to go outside, James sees the man touch his
moustache, smooth it, then begin peeling it away.
Astonished, James watches as the man slowly touches his hair
and begins sliding a wig away from his head, revealing
Charlie, laughing. James smiles, shaking his head. Charlie
gets up, does a few dance steps around his cane.
MILDRED
Charlie, why do you still carry
the cane? You don't need it.
CHARLIE
Going on the stage, I am.
MILDRED
Oh?
CHARLIE
(to James)
So. Jimmy, you're supposed to
say, "What stage?"
JAMES
(shrugging)
Okay. What stage?
CHARLIE
(laughing)
First stage out of town.
83.
INT. KITCHEN IN MILDRED'S HOUSE - EARLY MORNING
The three older boys are seated at the table, talking amiably
while Gertrude cooks, with Donny sitting on a stool near the
stove. When a wall phone rings, Adam gets up to answer it.
ADAM
Gram, it's for you.
Surprised, wiping her hands on her apron, Gertrude walks to
the phone.
GERTRUDE
(to Adam)
Watch the hotcakes.
As Adam goes to the stove, she picks up the phone, listens.
GERTRUDE
(continuing)
Dorothy, I can't understand a word
you're saying. Please . . . Slow
down.
(pause)
That's better.
Frank enters, dressed in work clothes. He looks at Adam, who
shrugs.
GERTRUDE
(continuing)
Oh, Dorothy. Sweetie, I'm so
sorry . . . I can't believe--
She listens.
GERTRUDE
(continuing)
Yes, of course I will.
INT. KITCHEN IN CHARLIE'S HOUSE - A FEW MINUTES LATER
Mildred is hanging up the phone. James and Charlie are
seated at the table, watching her.
MILDRED
(to James)
That was your father. His Uncle
Joe died, and your grandmother has
to leave for a while.
CHARLIE
How long?
84.
Distracted, she doesn't answer immediately.
JAMES
Mother? How long?
MILDRED
Well, I don't know. But a few
days at most, I would think.
Maybe a week.
JAMES
Will we go home?
As Mildred nods, James looks at Charlie.
JAMES
(continuing)
Maybe I stay here?
CHARLIE
Why not, Mildred?
JAMES
Would that be okay, mother?
MILDRED
Well, I don't know--
CHARLIE
I might even show him how to win
at cards. Maybe see how he looks
in a moustache and wig.
JAMES
(smiling)
Mother?
CHARLIE
We can go to church for dinner.
MILDRED
His school lunches?
CHARLIE
We can manage.
MILDRED
Well, I suppose. But dad will be
disappointed.
JAMES
I can come visit maybe. After
school. Charlie can come with me.
85.
CHARLIE
(gruffly)
NO. Most certainly not.
INT. KITCHEN IN MILDRED'S HOUSE - EARLY MORNING
The three older boys are finishing breakfast, while Mildred
sits at the table drinking coffee. Donny is fiddling with
his breakfast.
MILDRED
When your gram's back, you all can
come visit. Have lunch with us.
James misses you.
BRUCE
We will. Thanks.
The boys get up one after the other and take their backpacks
from the pegs on the wall. Waving, they start for the door.
MILDRED
Your lunches--
They turn and pick up lunch sacks from the counter.
ADAM
See you, mom!
They leave, as Frank enters.
DONNY
(to Mildred)
Mama, why can't I go to school?
MILDRED
You do, Donny.
DONNY
Not a real school.
MILDRED
Well, it's a start. You're
learning to spell.
FRANK
(to Mildred)
And what about US, Millie?
MILDRED
What ABOUT us?
86.
FRANK
Can we make a start . . . Try to
begin over?
Mildred gets up and takes her coffee cup to the sink.
FRANK
(continuing)
It's like old times . . . Just
you, me, and the boys.
Mildred looks at him, without answering.
MILDRED
Have you heard from your mother?
FRANK
Not today.
(pause)
Will you think about it?
MILDRED
I don't know.
(pause)
Yes, I'll think about it. Of
course.
FRANK
Church has been getting along
without you, has it?
MILDRED
I never said I was indispensable.
FRANK
No. You never did.
INT. KITCHEN IN MILDRED'S HOUSE - AFTERNOON
Mildred is working in the kitchen. The table has been set.
She stops to listen as a door opens and closes. Frank and
Gertrude enter, Frank in work clothes, Gertrude in street
dress.
MILDRED
Frank?
(pause)
Gertrude, I didn't know--
FRANK
Mother will explain.
(to Gertrude)
I'll bring the boxes upstairs.
87.
Frank leaves the room.
MILDRED
Boxes? What's going on? Frank
didn't tell me--
GERTRUDE
He didn't know--
MILDRED
Know what?
GERTRUDE
And neither did I.
(pause)
I won't be coming back, Mildred.
MILDRED
Why not? Because of me? What I
said?
GERTRUDE
(tears springing to
her eyes)
No.
MILDRED
Oh.
(pause)
Your sister--
Gertrude regains her composure.
GERTRUDE
She's in the hospital.
MILDRED
I'm sorry.
GERTRUDE
She had a stroke.
MILDRED
Oh!
GERTRUDE
She'll never be . . . Never be
able to live alone. And I
couldn't put her in a nursing
home. I couldn't do that.
MILDRED
No.
88.
GERTRUDE
And it's best for you--
Suddenly Donny bursts into the room, wearing street clothes,
carrying a child's lunch pail.
DONNY
Grammy! Grammy!
GERTRUDE
(hugging him)
How's my boy?
DONNY
You're back!
GERTRUDE
Only for a while, sweetie--
(as he looks puzzled)
Do something for me, will you?
DONNY
What?
GERTRUDE
Go up to our room . . . Yours and
mine, and help daddy.
DONNY
Do what?
GERTRUDE
He'll show you. Will you do that?
Nodding his head but obviously still puzzled, he leaves the
room.
GERTRUDE
(continuing; to
Mildred)
I'm sorry we couldn't have been
friends. I often wondered why you
didn't like me. I just tried--
MILDRED
Maybe . . . Maybe because of the
way you looked at me.
(as Gertrude appears
puzzled)
Not pity exactly. Though that was
part of it. You were always
wondering, I thought--
(pause)
Well, it doesn't matter.
89.
GERTRUDE
Wondering? What was I wondering?
MILDRED
Why couldn't he have done better.
Embarrassed, Gertrude looks away.
GERTRUDE
I'm truly sorry that I forced you
away.
MILDRED
It wasn't you, Gertrude. Not
entirely--
GERTRUDE
(surprised)
But you said--
MILDRED
You were interfering. That's what
you were doing. And I resented
it. But even more I resented,
well . . . something else . . .
Something with Frank.
GERTRUDE
If you mean the women--
Mildred raises her eyebrows in surprise.
MILDRED
I didn't think you knew.
GERTRUDE
They were nothing, Mildred.
MILDRED
Weren't they?
GERTRUDE
Nobodies.
MILDRED
I wish I could be sure. I wish--
(pause)
Still. Whatever they were . . .
It's hard to forget.
They stop talking as a door slams, and the raucous voices of
the older boys are heard.
90.
INT. KITCHEN IN MILDRED'S HOUSE - LATER THAT DAY
The table is cluttered with the remains of dinner. Frank and
Donny are seated at the table, as Mildred begins clearing
away dishes.
DONNY
Won't we ever see her again?
FRANK
Of course we'll see her. We'll go
visit her, in fact. It's not that
far.
DONNY
When?
FRANK
When Aunt Dorothy is feeling
better.
MILDRED
Donny, would you help me with the
dishes?
Donny gets up and begins helping to clear away dishes.
FRANK
(to Mildred)
It will be better now, Millie.
Without mother.
Mildred shrugs.
FRANK
(continuing)
I promise.
(pause)
I won't interfere with your church
work. I know it's important to
you.
(pause)
And the boys can go to church.
(pause)
As for me, I'll take a solemn
oath--
(pause)
About the other.
Mildred studies him for a long moment. As she nods, Frank
begins helping to clear the table.
91.
FRANK
(continuing; to Donny)
Aren't we happy to have mother
back?
Nodding, Donny smiles timidly and looks at Mildred.
INT. JAMES' BEDROOM AT CHARLIE'S HOUSE - AFTERNOON
Mildred and James are standing in James' bedroom, with
Charlie watching them from the doorway.
MILDRED
James, you can have Gram's room.
JAMES
But what about Donny?
MILDRED
Would it be so bad sharing?
JAMES
No. I guess not.
MILDRED
He goes to sleep early. Nothing
wakes him up. It will be almost
like having your own room. You'll
see--
JAMES
What about my old room?
MILDRED
Dad doesn't like you sleeping
there. And he's right. You
should have a proper room, with
windows. And a bathroom nearby.
INT. MILDRED'S BEDROOM AT CHARLIE'S HOUSE - A FEW MINUTES
LATER
Mildred and Charlie are alone in the room, as Mildred packs
her belongings in boxes.
CHARLIE
Once, a long time ago, when I was
adrift in life, I was on a train,
for what reason I can't remember
after all these years. As I
looked out into the darkness, all
I knew was that we were racing
along in the Mojave Desert.
(more)
92.
CHARLIE (cont'd)
Then, about two in the morning, an
earthquake struck. A large one,
7.6, and you suddenly have this
definite feeling that the train
has left the tracks. And as we
bumped along wildly, wheels on the
desert sand, I thought, "Just like
this train, my life has left its
tracks."
Mildred looks up from her packing.
CHARLIE
(continuing)
As we waited for rescuers to come
. . . Not able to walk around
because the train might tip over
. . . Sitting . . . Waiting all
those hours, I searched my mind,
trying to figure out where I had
gone wrong . . . How I could make
things right.
MILDRED
(shaking her head)
I'm sorry, Charlie. I understand.
CHARLIE
So when the chance came, I
married. And we raised Kenny,
who's out there somewhere, God
willing. Maybe a grandfather now.
Smiling, Mildred returns to her packing.
CHARLIE
(continuing)
So that was over . . . That part
of my life over. And I started
searching again. Hoping. Looking
. . . For you. Which I should
have done in the first place.
Puzzled, Mildred looks up.
MILDRED
Charlie, what are you talking
about?
93.
CHARLIE
All these years, I looked for you.
I waited and hoped and then, when
I thought . . . nothing will
change . . . I'll be here alone
until I die--
MILDRED
Charlie, I'm asking you--
CHARLIE
Just listen. I'm trying to tell
you--
MILDRED
Tell me what?
CHARLIE
That I can't let you go.
Mildred shakes her head.
MILDRED
Really, Charlie, you don't have
any choice in the matter.
CHARLIE
Well, you're wrong there.
MILDRED
You're going to choose my life for
me?
CHARLIE
You chose to live here, a peaceful
life. Right?
MILDRED
And now I choose to live with my
family.
CHARLIE
So here I am, at seventy-five.
I've finally found you, and I'm
shaken to my roots. More even
than on that train . . . Sent off
its tracks in an earthquake.
MILDRED
I have a family, Charlie. A
family that needs me.
94.
CHARLIE
You walked in here. Hiding,
thinking I didn't notice--
MILDRED
You need to let go, Charlie. Some
things you just have to let go of.
CHARLIE
No.
MILDRED
We'll be friends, Charlie.
Always. We'll see each other--
CHARLIE
What I feel for you--
MILDRED
Don't, Charlie--
CHARLIE
Something I thought I'd never feel.
MILDRED
We'll see each other. I promise.
CHARLIE
I want you here. Living here.
MILDRED
You know I can't. Not now. Not
leaving my boys without someone to
look after them.
Charlie sighs, shaking his head.
INT. JAMES' BEDROOM AT CHARLIE'S HOUSE - A FEW MINUTES LATER
Mildred and Charlie have entered James' room, where he is
gathering his clothes in plastic bags. A box, partly filled
with books, sits nearby.
MILDRED
Oh, James . . . Not finished.
JAMES
No. Sorry.
MILDRED
That's all right. You can stay and
finish. I've got things to do at
home.
95.
CHARLIE
THIS is your home, Mildred--
MILDRED
(to James)
Then tonight, when your dad's home
from work, we'll come back--
CHARLIE
Don't bring him here! I warn you!
That scumbag!
MILDRED
Charlie! Please--
CHARLIE
I mean it!
MILDRED
All right, Charlie. James and I
can manage--
(to James)
Just pile your things by the
kitchen door. I'll call a friend
when we're ready to leave.
INT. KITCHEN IN MILDRED'S HOUSE - LATER THAT DAY
The table has been set and preparations for dinner have been
started. As Mildred is putting on her coat, Adam enters.
MILDRED
Tell your dad James and I'll back
by five-thirty. Tell him--
(pause)
Well, just be sure he doesn't come
over to Charlie's house.
Adam nods as Mildred leaves.
INT. KITCHEN IN CHARLIE'S HOUSE - LATE AFTERNOON
Charlie is sitting at the kitchen table, drinking coffee, as
Mildred enters from the outside. She looks around the room.
MILDRED
I don't see his things.
She starts toward the hall, calling out.
MILDRED
(continuing)
James!
96.
CHARLIE
He's not here.
MILDRED
(turning back)
Where is he then?
CHARLIE
Maybe he's gone to the church.
MILDRED
Why would he do that?
CHARLIE
(Shrugging)
To say goodbye?
Mildred goes to the phone, dials.
MILDRED
(speaking into the
phone)
Agnes, this is Millie. Is James
there?
(pause)
Oh? No, but thanks.
Puzzled, she turns to Charlie.
MILDRED
(continuing)
He's not there. He hasn't been
there.
CHARLIE
(shrugging)
Oh, well, just playing around
somewhere.
MILDRED
Playing around? When he knew we
were leaving? Charlie, what's
going on? Are you and James up to
something?
CHARLIE
What would we be up to?
MILDRED
It's so unlike him. I don't
understand.
CHARLIE
You worry too much.
97.
MILDRED
Why shouldn't I be worried?
CHARLIE
Because he's fine.
MILDRED
How could you know that?
CHARLIE
I just know. That's all.
Mildred looks at him suspiciously.
MILDRED
I asked you . . . How could you
know?
CHARLIE
I told you . . . I know. Plain
and simple.
MILDRED
It's not plain. And it's not
simple.
CHARLIE
You need to tell that husband of
yours that you aren't coming back
to live with him.
MILDRED
We're talking about James.
CHARLIE
Yes. I know what we're talking
about.
Sudden realization crosses Mildred's face.
MILDRED
You know where James is. Don't
you?
CHARLIE
You need to tell your husband--
MILDRED
I've already told him I'll be
coming home. James and I.
CHARLIE
Well, you just have to tell him
you've changed your mind.
98.
MILDRED
This is crazy, Charlie.
CHARLIE
Go see the scumbag. Go now. The
sooner the better, and tell him--
MILDRED
No. YOU tell ME. You tell me
where James is. Now! This minute!
CHARLIE
I can't do that. Not until you
agree--
MILDRED
Agree, Charlie? How can I agree?
CHARLIE
It's a simple thing, Mildred. So
don't get excited.
Charlie crosses the room to pour coffee into an empty cup.
MILDRED
You know where James is, and
you're keeping him . . . Somewhere.
CHARLIE
You're acting badly, Mildred.
Have a cup of coffee. You'll feel
better.
MILDRED
Tell me now! This minute! Where
James is!
CHARLIE
You need to tell your husband--
MILDRED
Stop saying that! I want my boy!
CHARLIE
I need assurance.
MILDRED
You wouldn't lock him in one of
the storage sheds! You wouldn't!
CHARLIE
Check them . . . every one. You
know where the master key is.
99.
MILDRED
It won't work, Charlie. It's
crazy. You can't keep me here.
Unless--
As he approaches her holding out the coffee cup, she pushes
him away.
MILDRED
(continuing)
You're not going to let him go.
Are you?
CHARLIE
I will. Of course I will. You
couldn't think that.
MILDRED
How can I believe you?
CHARLIE
I'm an honest man. You know that.
MILDRED
(another thought)
And once James is with me--
(pause)
What would keep me from leaving--?
During a long pause that follows, each waits for the other to
speak.
CHARLIE
You have other boys--
MILDRED
(softly)
Oh, God.
CHARLIE
So you see--
MILDRED
Yes, Charlie. I see.
CHARLIE
Good.
MILDRED
But right now . . . It's James.
I don't even know if he's all
right.
Charlie hands her a pen and paper.
100.
CHARLIE
Here. You ask him something. When
you come back, you'll have James'
answer.
Hesitantly, standing at the counter, Mildred writes a few
words on the paper and hands it to Charlie.
CHARLIE
(continuing)
And don't bring the scumbag here.
I'll have a weapon . . . And you
never know--
INT. KITCHEN IN MILDRED'S HOUSE - LATER THAT DAY
Adam, Bruce, and Henry are seated at the kitchen table
talking as Mildred stands at the stove, cooking. When Frank
enters in his work clothes, the boys look up and smile.
Mildred turns to face the boys.
MILDRED
Boys, would you wait upstairs
until dinner. It won't be long.
Puzzled, the boys leave, as Frank looks at Mildred.
MILDRED
(continuing)
Frank, I'm sorry, but I've
decided--
She stops, shakes her head.
FRANK
Decided what?
MILDRED
Decided this isn't going to work.
FRANK
What isn't?
MILDRED
That I come back here.
Puzzled, Frank stares at her.
FRANK
Why, Millie? I don't understand.
MILDRED
I'm happy there.
101.
FRANK
And not here? I thought you were
happy to be home. I thought we
were happy . . . you and me . . .
together . . . the boys.
MILDRED
It wasn't easy . . . to decide.
But I have to do this. To live
away.
FRANK
And how am I supposed to manage.
Without you . . . now that mother--
MILDRED
You'll find someone to move in.
Some friend . . . a woman friend.
FRANK
I HAVE no women friends!
MILDRED
Oh, Frank--
FRANK
Nobody who's meant anything to me.
Nobody I want to live with . . .
raise our boys with. They were
just--
MILDRED
Just . . . what?
FRANK
Just someone to fill the gap. The
distance that came between us.
After a pause:
FRANK
(continuing)
And James?
MILDRED
He'll stay with me. He's happy
there, too.
FRANK
I need to hear it from him.
MILDRED
Don't make trouble, Frank. Please.
102.
INT. KITCHEN IN CHARLIE'S HOUSE - LATE AFTERNOON, SAME DAY
Charlie and Mildred are standing in his kitchen as he hands
her a piece of paper. She reads.
CHARLIE
So . . . does James sound all
right?
Slowly she nods.
CHARLIE
(continuing)
Didn't I tell you he's all right.
MILDRED
He's NOT all right as long as he's
hidden away somewhere.
From a drawer he removes a folder, which he hands to her.
She opens the folder and glances at the papers inside.
CHARLIE
Look at them. See what they are?
Deed to the house, the storage
yard. Everything. All for you.
She tries to hand the folder back. When he won't take it,
she lays it on the table.
CHARLIE
(continuing; taking
papers out of the
folder)
See. They're in your name. All
legal. Notarized.
MILDRED
I don't want them!
CHARLIE
If anything happens to me, they'll
be here. You'll find them.
MILDRED
I just want James.
CHARLIE
And you will. Soon. Just be
patient.
MILDRED
For how long?
103.
CHARLIE
Not long. Just until things get
back to normal.
MILDRED
Normal, Charlie? What's normal?
What will ever be normal?
CHARLIE
Normal like before. With the
three of us together. Happy.
MILDRED
Happy?
CHARLIE
We were happy.
(his tone slightly
threatening)
Say we were happy, Mildred. Say
it.
MILDRED
(reluctantly, feeling
pressured)
Yes. We were happy.
CHARLIE
And we will be again We've just
had a little bump in the road.
Hearing a car door slam, Mildred hurries to the side window.
Then:
MILDRED
Oh, God! It's Frank!
CHARLIE
Send him away--!
Mildred starts to walk across the room, but before she can
reach the door, Frank bursts into the room, with Donny
trailing behind.
MILDRED
Frank, please--!
He glances angrily at Charlie before approaching Mildred.
FRANK
(to Mildred)
I've come to get Jiminy!
104.
MILDRED
No, Frank--
FRANK
He needs to grow up with his
brothers! Not way out here . . .
in the middle of nowhere. No
other kids. Repair shops. Old
dilapidated yards. Rotten
neighborhood to live in. And a
long way from school.
MILDRED
We'll talk later, Frank. We'll
work it out.
FRANK
No! We won't talk later! We'll
work it out now! So just call
him--
MILDRED
He's not here.
FRANK
So where is he? School was out
hours ago.
MILDRED
He's just . . . Not here.
FRANK
I don't believe you.
(calling out)
Jiminy!
As he pushes past her toward the hall, Charlie takes a long
pipe wrench from next to the refrigerator and holds it in a
threatening manner.
CHARLIE
Like Mildred said, he's not here!
And this is not your house! So
just get out!
Mildred moves to stand between Frank and Charlie.
MILDRED
Frank! Please--
DONNY
(to Mildred)
Can I go outside? Mother? You're
all yelling. Can I?
105.
MILDRED
(without turning)
All right, Donny. But stay on the
porch.
FRANK
So where IS James?
As Donny goes outside, Mildred is able to urge Frank to move
a few feet from Charlie.
CHARLIE
As I've told Mildred, he's fine.
FRANK
So where IS he?
CHARLIE
I told you. He's fine.
FRANK
What's that supposed to mean? OK,
what's going on here? Millie?
CHARLIE
He's gone away for a bit, that's
all.
FRANK
Gone where?
CHARLIE
Well, that's for me to know, isn't
it?
FRANK
What are you saying, dammit!
When Charlie doesn't answer, he turns to Mildred.
FRANK
(continuing)
Millie--? Where's Jiminy?
MILDRED
(her voice catching)
I don't know. I don't know, Frank.
FRANK
(to Mildred)
Are you saying . . . Are you
saying--!
(to Charlie)
106.
FRANK
(continuing)
Good God! You've taken him!
Millie, call the police!
Frank takes a few steps toward Charlie, who threatens to hit
him with the pipe wrench. But before Charlie can strike a
blow, Frank grabs the pipe wrench and holds it, threatening
Charlie.
FRANK
(continuing)
You tell me this minute!
CHARLIE
Okay, scumbag! Knock me over the
head!
FRANK
I JUST MIGHT!
CHARLIE
But think about it, scumbag! I
know where he is! Only me!
FRANK
(to Mildred)
Millie! For God's sake, call the
police!
CHARLIE
And what good will that do? You
think they can make me talk? What
if they lock me up? Poor boy.
Only I know where he is. Think
twice, Frank!
FRANK
(to Millie)
So that's why . . . That's what
this is all about . . . All this
"It won't work, Frank, my coming
home."
CHARLIE
And it won't. She's happy here.
Jimmy has been happy.
FRANK
Millie, what can we do?
She shows him James' note, which he reads quickly.
107.
MILDRED
Frank, please . . . just go home.
FRANK
Home! How could I go home?
MILDRED
Because, I'm sure, in a few days--
FRANK
A few days--!
MILDRED
Please. He wouldn't hurt James.
FRANK
Just keep him hidden. Does he
have food? Water? Is he tied up
like some animal?
CHARLIE
Is that what you think? You think
I'm some monster?
MILDRED
It won't be for long, Frank. I'm
sure.
CHARLIE
AM I?! Am I a monster?!
Donny returns from outside.
DONNY
Mommy--
MILDRED
Please, Donny--
DONNY
Can I see the dog?
MILDRED
What dog, Donny?
He points to Charlie.
DONNY
His dog.
MILDRED
Donny, not now--
108.
DONNY
Mister, can I--
FRANK
Donny, please, we're talking. Go
back outside.
DONNY
(to Charlie)
Mister, can I see your dog?
CHARLIE
I don't have a dog.
DONNY
But--
MILDRED
Donny--
DONNY
But I--
CHARLIE
No. I told you. I don't have a
dog.
(turning to Frank)
Here's something--
He picks up the manilla folder from the table and holds it
out to Frank.
CHARLIE
(continuing)
Like I told Mildred . . . This is
a deed to the property. In her
name--
DONNY
D-O-G. Spells "dog." I learned
that in school. Didn't I, mommy?
FRANK
(ignoring the paper
Charlie tries to
give him)
So now we're into bribery!
Kidnapping isn't enough!
DONNY
Mister, there's a place for a dog.
A sign says something--
109.
CHARLIE
Little boy, please! It says,
"Beware of dog!"
DONNY
There's a yard and a doghouse.
Two doghouses. A big one and a
little one. A really really big
doghouse.
CHARLIE
(to Frank)
I want Mildred to have this. A
good business. A good piece of
property.
FRANK
And I want my son! Now!
DONNY
A big doghouse. Really really
big.
Charlie looks distractedly at Donny. Finally, in the
silence, he answers.
CHARLIE
We had a big dog. Two dogs. One
big, one small. My son's dogs.
They left with him. So now will
you just--
DONNY
(interrupting)
But I heard noises.
CHARLIE
Kid. There are lots of noises
around here. Rats. Mice. Other
people's dogs.
MILDRED
Donny, please--
DONNY
I know rats and mice . . . I've
heard them--
FRANK
Donny, you heard what your mother
said.
110.
DONNY
Daddy, I know mice. Remember
when--
MILDRED
(interrupting)
Donny, we need to talk to Mr.
Charlie.
DONNY
But the noises. Funny noises.
Inside the doghouse. The big
doghouse.
CHARLIE
Don't be a pest, little boy! Go
outside and play!
DONNY
Mama--
Mildred and Frank exchange glances.
FRANK
What kind of noises, Donny?
DONNY
I don't know. Something.
He taps on the pipe wrench Frank is holding.
DONNY
(continuing)
Like something metal.
FRANK
Donny, where's this doghouse?
DONNY
(pointing)
Way back there.
FRANK
Can you show us?
CHARLIE
Later, for heaven's sake! We'll
all go out later!
Frank looks closely at Charlie.
111.
CHARLIE
(continuing)
We'll look--we'll all look--after
we've finished talking. What we
have here is a litle boy with a
big imagination.
FRANK
No. I think we'll look now.
CHARLIE
An old doghouse . . . Rotting
away. That's all. What we need
right now is to talk.
Still carrying the pipe wrench, Frank starts walking toward
the door.
CHARLIE
(continuing)
Stop! This minuite! You hear me?!
As Frank opens the door, he beckons to Donny.
FRANK
Donny. Show us.
Donny walks past Frank onto the porch and starts down the
stairs. Mildred follows Frank to the door.
CHARLIE
You have to pay attention! To
listen to what I'm saying!
Frank and Mildred look back at Charlie.
CHARLIE
(continuing)
I'm going to get angry, and when
I get angry I stop talking. Is
that what you want?
MILDRED
(hesitating)
Frank--
FRANK
(walking out the
door, to Charlie)
I think we'll take that chance.
Mildred follows Frank out the door and down the steps. They
hurry to follow Donny along the woodchip walkway toward the
rear.
112.
CHARLIE
(yelling after them)
You'll regret this! I swear you
will!
As they overtake Donny, he turns to Frank.
DONNY
Daddy, can I have a dog? Just a
little dog. I'll take care of it.
I promise.
FRANK
Later, Donny! We'll talk later!
CHARLIE
(calling after them)
One last time! Leave this
property! Or I call the police!
FRANK
(over his shoulder as
he continues walking)
Good! You do that!
Mildred stops, looking back.
MILDRED
Oh, Frank. I don't know--
FRANK
Come on, Millie!
Together they continue hurrying down the side yard as Charlie
watches them from the porch. When they near a chainlink
fence that blocks their path, Charlie turns back into the
house, slamming the door.
EXT. REAR OF CHARLIE'S HOUSE - CONTINUING
Frank and Mildred are standing with Donny, who has stopped at
the padlocked gate to the chainlink fence. The fence
encloses a long dog run. At the far end of the dog run, they
see two beautifully built doghouses, a small one and next to
it a very large one. The small doghouse looks like a
miniature garden cottage. The large one has a covered porch,
a closed door, and stairs at the side leading to a roof deck.
FRANK
(turning to Mildred)
What do you make of those?
113.
MILDRED
His son loved woodworking . . .
Making things.
DONNY
Maybe Mister Charlie will give us
the small doghouse. Then we can
get a dog.
FRANK
Donny, where'd you hear noises?
Donny begins walking along the fence, with Frank and Mildred
following. He stops at the far end of the fence near the
doghouses.
DONNY
Can't we, daddy? Get a dog?
FATHER
Donny, the noise you heard--
DONNY
Here. The noises were here.
They listen.
FRANK
I don't hear anything.
(to Mildred)
Do you?
She shakes her head.
DONNY
I called the dog. That's when I
heard it.
FRANK
I don't see a dog. He says he
doesn't have a dog.
DONNY
(calling loudly)
Doggy! Here doggy!
They listen. As Frank begins to shake his head, they hear a
faint metallic noise coming from the large doghouse.
DONNY
(continuing)
See--
114.
As the noise continues, Frank hands the pipe wrench to
Mildred and begins climbing the chainlink fence. Almost at
the top he slips and falls to the ground. Taking the wrench
from Mildred, he limps hurriedly to the gate and begins
hitting the lock with the wrench. After several blows, the
lock breaks free and falls to the ground. Frank opens the
gate and hurries to the large doghouse. Mildred and Donny
follow him.
The door to the doghouse has been secured with a wooden
latch, which Frank easily removes, allowing the door to be
opened. He peers into the dark interior, listening. He
hears a muffled sound and the same metallic noise heard from
outside the fence, only louder. Standing behind Frank,
Mildred also listens.
DONNY
(continuing)
I told you. Didn't I?
Mildred turns to quiet him as Frank inches his way inside,
his eyes slowly adjusting to the darkness. As his eyes
adjust even more, he sees a large, metal cage built to
confine animals. The cage is rocking back and forth.
FRANK
My God!
MILDRED
Frank! What is it?
FRANK
(calling into the
darkness)
Jiminy!
As he rushes to the cage, Mildred follows him, stumbling.
MILDRED
I can't see!
(stopping)
Frank--?
FRANK
Jiminy! Are you okay?!
A muffled sound comes from the cage.
MILDRED
Frank, where is he?
FRANK
In a cage! A goddam cage!
115.
Mildred approaches Frank, who is rattling a padlock that
secures the cage door.
MILDRED
(now able to see)
James!
She kneels close to the cage, near where James is sitting, a
gag over his mouth. Frank begins hitting on the lock with
the pipe wrench. It breaks open as had the lock on the
chainlink fence. Rushing inside, he grabs James in his arms.
James mumbles through the gag, which Frank removes.
JAMES
Dad!
Frank begins bringing James out of the cage.
FRANK
Locked up like an animal!
MILDRED
Frank! Please! Bring him outside!
Frank half carries, half pulls James outside. James sinks to
the ground, throwing his arm across his face. Frank and
Mildred kneel beside him, as Donny stands a few feet away.
MILDRED
(continuing)
James? What's the matter?
JAMES
It's just the light. It's so
bright.
FRANK
Are you hurt?
JAMES
No. I'm okay. Really.
Tentatively James removes his arm from his face.
FRANK
Can you stand up?
Frank and Mildred help James as he slowly rises to his feet.
JAMES
I'm okay. I wasn't in the cage
all the time. Not much, really.
116.
FRANK
Anytime was too much!
JAMES
He said it wouldn't be for long.
Mother would make it all right.
MILDRED
I was trying, James.
JAMES
Most of the time I was just locked
in the doghouse, not in the cage.
Frank, shaking his head angrily and without a word, turns and
begins walking rapidly away.
MILDRED
Frank--
FRANK
I'll kill the bastard!
MILDRED
No, Frank. Please!
Limping severely, she follows Frank, trying to catch up.
MILDRED
(continuing; calling)
Frank! Wait!
Donny approaches James, and together they begin walking
toward the house.
DONNY
Lucky I heard you. Wasn't it?
JAMES
Very lucky, Donny. Very lucky.
(smiling)
I'm the luckiest.
DONNY
Jiminy, can I ask you something?
Donny tugs at James' arm.
JAMES
Sure.
DONNY
Where'd you go potty?
117.
JAMES
I'll tell you later. If you do
something--
DONNY
What?
JAMES
Don't call me Jiminy anymore.
Call me Jimmy. Just plain Jimmy.
Can you do that?
DONNY
Okay, Jimin--
(stops)
Jimmy.
(continuing under his
breath)
Jimmy Jimmy Jimmy.
INT. KITCHEN IN CHARLIE'S HOUSE - CONTINUING
Mildred is alone in the kitchen, standing at the table
reading papers she has removed from the manilla folder.
Nodding to James and Donny as they enter the kitchen, she
puts the papers back in the folder. Opening the regrigerator
she looks into the freezer compartment. At that moment Frank
hurries in from the hall.
FRANK
He's not in the house! Hiding
somewhere! Storage yard probably.
(to Mildred)
Millie, come and help me.
Mildred closes the freezer compartment and begins removing
food from the refrigerator.
MILDRED
In a minute. As soon as I make
James a sandwich.
Frank, about to protest, turns instead and goes outside.
After he has left, Mildred again opens the freezer
compartment and takes out tofu packages, which are empty.
James watches as she throws the cartons in a garbage
container under the sink.
INT. CHARLIE'S BEDROOM - CONTINUING
Standing in the doorway, Mildred scans the room, seeing the
open closet door and the window half open. As she closes the
window, she sees the screen lying on the ground outside.
118.
Then, turning from the window, she sees that the clothes
Charlie was wearing have been discarded and are lying in a
heap beside the bed. Next to the clothes lies Charlie's
cane. She kicks the clothes and cane out of sight under the
bed.
INT. KITCHEN IN CHARLIE'S HOUSE - LATER
Frank is standing near the open door to the porch, next to a
uniformed policeman who is writing in a notebook. Mildred
and James are sitting quietly at the kitchen table, James
with an uneaten sandwich in front of him. Donny can be seen
walking in circles on the porch, bored.
FRANK
He'll get away--
POLICEMAN
Sir, we've got everything covered.
Bus depot, trains, cars--
FRANK
He didn't have a car.
POLICEMAN
Hitchhiking maybe--
FRANK
Oh.
POLICEMAN
Is there anything you can add to
his description?
(reading)
"Blue shirt, heavy material."
MILDRED
Worn. Very worn.
The policeman nods.
POLICEMAN
(reading)
Faded jeans. Work shoes.
Thinning gray hair, clean shaven,
mid-seventies--"
MILDRED
Walks with a cane.
The policeman jots this in his notebook, snaps it shut.
119.
INT. BUS LEAVING DEPOT - LATER
Charlie, dressed in clean, pressed clothes, is seated toward
the rear of a half-filled bus, an oversized backpack lying on
the seat beside him. He is wearing his fake moustache and
wig. As he stares out the window, he sighs deeply and shakes
his head, almost imperceptibly.
INT. KITCHEN IN CHARLIE'S HOUSE - LATE AFTERNOON
Mildred and Frank are sitting quietly at the kitchen table
drinking coffee as they watch James eat. Donny is playing
with cards on the floor. Mildred gets up to pour more coffee
into Frank's cup.
JAMES
You know, dad, it wasn't so bad.
FRANK
Tomorrow you'll think different--
JAMES
Worst thing was he talked a lot.
I kept falling asleep.
MILDRED
Did you have your books?
JAMES
No. But we played cards.
(smiling)
He showed me how he cheats.
With a disgusted look Frank shakes his head.
JAMES
(continuing)
Last night we watched the stars
from up on the roof. The roof of
the doghouse. He knows a lot
about stars. He said his son had
a telescope.
MILDRED
(to Frank)
His son went missing a long time
ago. Left after his mother died.
JAMES
(to Mildred)
Charlie . . . Will they catch him,
do you think?
120.
MILDRED
I don't know. Maybe not.
(to Frank)
Would that be so awful?
When Frank doesn't answer:
MILDRED
(continuing)
He's not a criminal, you know.
Not a bad person. Just--
FRANK
Crazy.
MILDRED
Just someone who lost his way. It
happens. Could happen to anybody.
Frank shrugs as he picks up his coffee cup.
MILDRED
(continuing)
Then something happens . . .
Making you think . . . And think.
Something as explosive as an
earthquake in the desert. Or as
quiet as letting go--
(pause)
Letting go of old wounds . . . Old
loves. That maybe were never much
to begin with.
Studying Mildred, Frank holds his coffee cup without
drinking. Mildred goes to the sink with her cup and empties
the contents.
MILDRED
(continuing)
We'd better be getting home.
She crosses the room and takes a key from inside a cupboard.
MILDRED
(continuing)
Storage yard needs locking up.
(pause)
Our yard, now.
FADE OUT
THE END
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