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astoriascripttms.pdf written by Mike Thompson

M
Mike Thompson

The script for 'Astoria' follows Tom Clark, a father and fisherman, as he navigates his relationship with his daughter, Flynn, amidst personal loss and a traumatic event at a mini-mart. After an innocent birthday celebration, their lives are upended by violence, leading Tom to confront the aftermath of a tragic shooting that results in Flynn's mother's death. The narrative weaves through meaningful moments between father and daughter, their struggles, and Tom's subsequent pursuit of justice.

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ASTORIA by Mike Thompson DRAFT T M S
FADE IN: EXT. PUGET SOUND - DUSK Twilight stars cascade over the murky depths of the ocean green. A lone fishing boat serenely bobs on the surface, a fishing line strewn from its stern into the descending darkness. Clutching its reel, TOM CLARK. Thirties, searching eyes, worn shoulders. He reels and casts, quietly contented. INT. BOAT - CABIN - SAME Young hands feverishly open drawers, compartments, searching. Finally, a box of matches. She shakes it -- empty. FLYNN CLARK, eleven going on twenty-five, radiant green eyes. She bites her lip, thinking. An idea -- ANGLE - A WICK to a stove top burner. A flame. Self-satisfied smile as she unwraps a cupcake and ceremoniously plants the candle atop. She jots down a message in a card and hits PLAY on an iPhone playlist -- ANGLE - STERN Tom's eyes alight to the strains of Townshend's Let My Love Open the Door. He spins to find her emerging -- FLYNN Anybody can just sing boring old Happy Birthday -- He sets down the rod, reads the birthday card -- TOM Aw, sweetie, you're a doll. Thank you. She offers him the cupcake, pats his belly -- FLYNN Best part -- it's fat free. TOM What're ya trying to say there, missy? T M S
2. FLYNN Somebody in this family's gotta make sure you eat right, young man. TOM Yes, Mother. FLYNN Now hurry up and make a wish 'fore it gets wax crud all over it. He considers, decides. Blows out the candle. FLYNN (CONT'D) Well...? TOM What more could I wish for? Favorite song, my best girl, can't get a bite out there to save my life... Perfecto. FLYNN Lame. She tidies up, heads back into the cabin. Tom smiles after. Returning to his reel, his eyes catch something. Sudden awe -- ANGLE - CABIN Flynn washing dishes in the sink. Tom hurries in -- TOM Can't tell you what I wished for, but it's not breaking the rules if I show ya, right? She raises a brow. He takes her by the hand -- TOM (CONT'D) Gotta close your eyes. Impatient, she rolls eyes -- FLYNN Yeah, yeah, yeah... He leads her outside, carefully guides her to the bow -- TOM Ready? 2. T M S
3. FLYNN (sarcastic) Beyond... TOM Open 'em. She opens her eyes. Instant wonderment washes over -- TOM (CONT'D) Ta daaa. FLYNN'S P.O.V. A dance of luminescent light swirls beneath the surface. Glowing, pulsating. Jellyfish. As far as the eye can see -- Flynn skips a breath, overcome. FLYNN They're so beautiful. TOM Not bad for your old man, eh? She hits him in the shoulder, enjoying. WE RISE UP, leaving the pair, feet dangling side by side beneath the rising moon... EXT. TOM'S HOUSE - NIGHT A modest Tudor on a quiet tree-lined street. INT. TOM'S HOUSE - FLYNN'S ROOM - NIGHT Dream-catchers on the bed post, Cobain posters. On her knees at the edge of the bed, Flynn silently prays. ANGLE - HALLWAY Passing, Tom pauses. Watches from afar. Pensive eyes. She climbs into bed. He enters, tucks her in -- TOM Thanks, kiddo. Lost without ya. Her eyes smile when WHUP! A wiry, gray Tabby cat leaps onto the bed, fights for territory -- 3. T M S
4. FLYNN Norman! TOM Guess I'm not the only one. FLYNN He's just lonely all day. He needs a playmate. Can we get a dog, please, please, please? TOM Keep praying, kid. He moves for the door, when -- FLYNN (O.S.) Oh my god -- Dad! I almost completely forgot! He spins to find her throwing off the covers, rushing to him -- FLYNN (CONT'D) In class, at school, we have this genealogy unit, where you look up your ancestors and stuff-- TOM Mmhmm, back you go -- He guides her bouncing frame back to bed -- FLYNN And guess who it says we're related to? TOM Tony the Tiger? FLYNN Don't be dumb -- He tucks her back in, mouth motoring a mile a minute -- FLYNN (CONT'D) Have you ever heard of Lewis and Clark? They were these explorers-- TOM Might ring a bell -- 4. T M S
5. FLYNN -- William Clark. He's like our great-great-great-great uncle or something like that -- TOM No kidding? FLYNN Yeah, isn't that cool? TOM Way cool. He taps his watch -- TOM (CONT'D) Bed time. See you tomorrow. FLYNN If I feel like it. She teases, rolling over. He shakes his head, amused. INT. TOM'S HOUSE - TOM'S ROOM - NIGHT Spartan. White walls. Tom readies for bed. Takes off his watch, sets it on the night stand. He picks up a lone framed photo: Tom and Flynn's mother holding the squirming toddler. Smiling bliss. Another time. He sighs. Longing. Through a crack in the door, Flynn heads for the bathroom. She pauses. Watches him there. Worry. Lights out. INT./EXT. TOM'S CAR - TRAVELING - DAY Dressed for work, Tom drives the neighborhoods. Flynn, head to toe in a Catholic school uniform, fiddles with a drug store word-puzzle book -- FLYNN ...Sports car -- dirty clothes -- German Shepherd-- TOM Things you wash! FLYNN You didn't let me finish -- 5. T M S
6. TOM Hey, gotta keep up with Mr. Brain. Exasperated, she flips the page -- FLYNN Firecrackers -- fresh garlic -- gasoline cans -- grass clippings -- lavender candle -- BBQ. Stumps him for a second -- TOM Wait -- He pulls to a stop in a driveway. St. Catherine's School says the sign. Flynn goes for the door -- FLYNN Duh -- things you smell. TOM Crap. (sets timer on watch) See you at 4? FLYNN (mock taps her wrist) On the dot. (climbs out) Have a good day, Mr. Brain. He winks and drives away. EXT. PARKING LOT - DAY Tom climbs out, grabs his bag, heads across the lot. WIDEN -- thousands of cars dot the vast expanse. Ant Tom trudges for the towering complex beyond, its masthead -- BOEING. INT. BOEING - CONFERENCE ROOM - DAY Tom and co-worker ALAN at a white-board before a team of skeptical ENGINEERS. Mad scientist equations and satellite drawings flowing from Tom's manic pen -- TOM And this produces antenna side-lobe levels well within the interference requirements of the system. 6. T M S
7. ENGINEER #1 What about noise power ratio? Aren't you forgetting an allocation for-- TOM That's why we went with the high bandwidth single carrier modulation. You can run the amplifiers into saturation and not generate any distortion. NPR's not an issue -- The Engineers consider. Can't poke any holes. Tom shares a gratified glance with Alan out the corner of his eye. INT. BOEING - HALLWAY - MOMENTS LATER Tom and Alan exit, restraining elation -- ALAN On our way, buddy. This one was all you. TOM No, no... One step at a time. ALAN You kidding me? He practically offered it to us right there. TOM Believe it when I see it. ALAN Well, don't know about you, but I'm gonna celebrate. Mocha frappucino? Tom shakes his head, amused. Mr. Brain indeed. EXT. ST. CATHERINE'S SCHOOL - DAY Bouncing red orbs by the hundreds. Floating balloons on strings. The late afternoon sun casts shadows across the play field as a hundred giddy STUDENTS and their PARENTS congregate with their balloons around a stage. Tom searches the throng. Spots Flynn, her back to him. She searches the crowd for him, nervous eyes. He sneaks up behind and...lifts her into the air -- 7. T M S
8. TOM Arrrgggg! She squeals with delight -- FLYNN Daddy, put me down! He brings her giggling self back to earth. She proudly takes him by the hand and leads him toward the stage. EXT. ST. CATHERINE'S SCHOOL - MOMENTS LATER Tom and Flynn dutifully hold her balloon as the PRINCIPAL speaks from the dais -- PRINCIPAL ...And so as we mourn the loss of so many souls that perished in the earthquake in India, we turn our sympathies to the children. Many of whom lost parents and have become the orphans of the world. Though they may be oceans away, it is to them that we release these balloons as a symbol of our solidarity. From child to child... Tom notices Flynn's balloon, scribbled with words and a dangling heart-shaped silver charm tied to the nub -- TOM What you got here? FLYNN Poem I wrote. But I also tied a heart on there in case they don't speak English. Everybody knows what a heart means, right? TOM Yeah. They sure do, honey. PRINCIPAL ...So on the count of three -- one, two, three! And so they soar, aloft into the sky en masse. A hundred tiny red pixels hitching a ride with the clouds. CHEERS and APPLAUSE from the ground. 8. T M S
9. Tom and Flynn quietly watch as hers fights for it's own place, dodging and surging, swirling higher and higher...until finally, it's gone. Flynn looks up to him, innocent eyes -- FLYNN Dad, do you really think they'll make it all the way to those kids in India? What to say? He considers. TOM Well. Since we'll never know for sure, why not choose to believe yes? She thinks on that. Agrees. INT./EXT. TOM'S CAR - TRAVELING - DAY Tom drives, Flynn at work on her puzzle book. Mariners baseball game on the RADIO. Something on her mind -- FLYNN Dad? (off him) Have you ever heard of...Match.com? TOM Yes...? Where have you? FLYNN Mina said her mom is on there all the time... TOM Jeez, ink ain't even dry and she's already back on the horse... FLYNN You think you'll ever...? He holds his breath, didn't see that coming. Diverts -- TOM Why would I wanna do that when I got my hands full with you? FLYNN Dad -- He smirks, enjoying. Finally, she catches his eyes, sincere -- 9. T M S
10. FLYNN (CONT'D) 'Cause it'd be alright with me if you did. He smiles. This girl. Squeezes her hand across the seat -- TOM Duly noted. (then) Hey, so your pop may have done good at work today. FLYNN How come? TOM Well, looks like they may let us work on the team that puts the satellites in the sky. FLYNN That's what you've been working so hard on with all your drawings? He nods, an ear on the game. Flynn spotting something -- FLYNN (CONT'D) Pull in here! He snaps to, pulls into a mini-mart parking lot -- TOM Wha?? FLYNN We have to celebrate. TOM Oh honey, we don't-- FLYNN Yes we do. Sparkling cider and Rainforest Crunch -- He smiles, resigns, goes for the door -- FLYNN (CONT'D) I can go -- Fine, he digs into his wallet, hands over bills -- TOM We need some toothpaste, too -- 10. T M S
11. She takes the money, heads out. Turns back, her puzzle book -- FLYNN By the time I get back -- pink lips, storybook, wedding veil, jewelry box, racing throttle, shining heart -- He accepts the challenge and off she goes. He turns up the game on the radio -- ANNOUNCER (ON RADIO) ...And Lopez steps to the plate. Miller on second, eyeing third... TOM ...Pink lips, storybook, jewelry box...? ANNOUNCER (ON RADIO) Dodd fires -- low and away... He casually glances at the mini-mart, waiting -- ANNOUNCER (ON RADIO) (CONT'D) -- and there goes Miller, the throw -- he's safe into third! TOM (searching) Things you -- things you --? BAM! BAM! BAM! Tom jerks -- GUNFIRE -- from the store. His face goes white -- ANGLE - MINI-MART Door BLASTS open -- GANGSTER THUG bursts out running, FIRING A GUN as he goes -- leaps into an El Camino -- BURNS RUBBER -- OWNER staggers out, blood oozing from his belly -- gun in hand -- FIRES! The El Camino disappears around the corner -- Owner collapses to the ground -- ANGLE - TOM Alternate reality. Can't believe his eyes. Shakes out the stars. Throws open the door. Runs. SILENCE. 11. T M S
12. Just TOM'S BREATHING. OVER-CRANKED. Step after step. Across the parking lot. Over the dying man -- INSIDE Panic. Tom’s eyes, frenzied search. Down the aisle -- a shattered cider bottle on the floor. Long hair swirled in liquid. Still. Tom's eyes close. Wishing it away. EXT. MINI-MART - NIGHT Police and ambulance. Lights and SIRENS. DETECTIVES, FORENSICS, yellow tape. All of it a blur. Tom catatonic on the curb. Just sits there. Crippled. EXT. PUGET SOUND - DAY City lights give way to dawn sun to city lights again... EXT. CEMETERY - DAY Lush sunshine rains down on spring flowers. Dozens of MOURNERS, young and old, surround a small grave. Flynn's headstone beside her mother's, Beloved Beth, 1991-2022. Retreating behind dark sunglasses, Tom sits in a chair beside the casket as the PRIEST recites the ceremony. EXT. CEMETERY - DAY The ceremony concludes. Mourners wish still-seated Tom well and meander for cars. Alan and his wife, MINDY, try to cajole Tom to his feet. Nothing doing. They usher their young SON and DAUGHTER along, head off. EXT. CEMETERY - DUSK A GROUNDSKEEPER loads chairs on a truck. Rolls up the turf. Tom still sits there. Not going anywhere. INT. TOM'S HOUSE - NIGHT Tom at the kitchen table in the dark. Eyes vacant. Half- eating Subway. The cat stares at him quizzically. SILENCE. 12. T M S
13. INT. TOM'S HOUSE - TOM'S ROOM - NIGHT Late. Dark. Tom lay rigid atop his still-made bed. Eyes wide open. Phone VIBRATES. Startles him. He answers -- TOM Hello? Face goes white. INT. SEATTLE POLICE HEADQUARTERS - LINE-UP - LATER Tom stands anxiously before glass. A pair of seen-it-all DETECTIVES at his side. Detective speaks into a com -- DETECTIVE Bring 'em in -- Through the glass, a UNI opens a door. A half-dozen SUSPECTS straggle in, line up on a platform. Detective, into the com -- DETECTIVE (CONT'D) Number one, please step forward. Tom feverishly scans the line -- eyes go wide -- red -- TOM It's the fourth one -- The THUG from the mini-mart. Smug nonchalance. Tom puts a fist to the glass, ready to smash through it. Stares daggers -- DETECTIVE You sure? Tom turns. Ice. TOM He's. The fucking. Guy. The Detectives exchange a look. Enough said. SMASH TO: FLASH! FLASH! NEWS CAMERAMEN and REPORTERS swarm a podium on the steps of the Federal Courthouse. Tom stands steely-eyed amongst the throng as a boy scout prosecutor, NORQUIST, steps to mics -- 13. T M S
(MORE) 14. NORQUIST ...We have arrested and charged Thien Nguyen on eleven federal counts, in addition to the possession and transport of Schedule narcotics. Security recordings confirm that Mr. Assad recognized Nguyen from a previously televised mug shot, and reached for his own weapon. In response, Nguyen fired six shots, two of which errantly struck Miss Clark, with one striking Mr. Assad. As the murders took place during the commission of the drug crimes, he has been charged under federal statutes and will be prosecuted to the full extent of the law. Questions? Reporters seize -- REPORTER #2 Will Mr. Clark be a witness for the prosecution? He catches eyes with Tom. Chin high. Jaw clenched. NORQUIST Mr. Clark will be providing eye witness testimony, yes. REPORTER #3 Mr. Clark -- what's a just outcome for the defendant? Norquist yields. All eyes on Tom. Mics shoved in his face. Clears his throat. Finally -- TOM Nothing short of the death penalty. The reporters go wild, firing questions -- MATCH TO: A TELEVISION LOCAL NEWS blaring tape of the presser, cuts to an ANCHOR -- ANCHOR (ON TV) ...With arraignment proceedings set for tomorrow morning. (MORE) 14. T M S
ANCHOR (ON TV) (CONT'D) 15. Nguyen has two prior convictions for drug-related offenses and is believed to be a low-level mule for the Tzen Tao cartel... ALAN (O.S.) Cheese or no cheese? Alan in the archway. Mindy prepares dinner in the kitchen beyond. Tom, eyes on the TV, doesn't look up. INT. TOM'S HOUSE - KITCHEN - LATER Dinner table. Burger barely touched, Tom scours the Seattle Times. Tidying up, Alan and Mindy exchange a look of concern -- MINDY You should eat, Tom. No response. ALAN Tom. TOM Huh? Oh, sorry. Thank you, for cooking, Mindy. Just not hungry. Returns to the paper. Consumed. TOM (CONT'D) They're saying he may not even be a U.S. citizen... Alan takes a seat next to him -- ALAN You thought about work yet? Might be good for you. Tom lowers the paper, resentful -- TOM Work? You kidding me? Back to the paper. They take their cue. She kisses Tom's head -- MINDY Call if you need anything. They head for the door. Alan sets down a business card. ANCHOR (ON TV) (CONT'D) 15. T M S
16. ALAN I'm leaving that guy's number. No shame in talking to somebody about all this. Tom throws him a nod, embarrassed. They head out. INT. TOM'S HOUSE - LAUNDRY ROOM - LATER Tom pulls Flynn's clothes from the dryer, neatly folds them. INT. TOM'S HOUSE - MOMENTS LATER Tom reaches the top of the stairs with the laundry basket. At Flynn's doorway. Just stands there. Staring at her bedside when -- WHACK! He snaps to -- Norman jumps from the nightstand, knocks books over, runs out past him. Tom moves inside to the nightstand, the wayward books. Flynn's puzzle book. He sits down, flips through it. Ache. Suddenly, his cell phone RINGS -- TOM Hello? A moment. He hurriedly leaps to his feet, rushes out -- EXT. FEDERAL COURTHOUSE - DUSK Promenade. Doors burst open. Tom marches out on a warpath. Rage. Randomly grabs a patio chair, violently hurls it into the trees. ONLOOKERS gawk. He takes off running. Venom. EXT. ALAN AND MINDY'S HOUSE - NIGHT Rain pisses from the sky. Porch lights illuminate a modest Colonial. Drenched, Tom staggers across the grass, bottle of Jim Beam in hand. Obliterated. Hits the DOORBELL, collapses to the stoop. A moment. Door opens -- Mindy, shock -- MINDY Jesus, Tom -- are you alright?? Alan appears behind her -- TOM (matter-of-fact) They flipped him. Made a deal. He skates. 16. T M S
17. INT. ALAN AND MINDY'S HOUSE - LATER Tom out cold on a guest room bed. Mindy turns out the lamp, meets Alan outside the door. Tears in her eyes. MINDY It's just not fair... Alan embraces her. Pain for their friend. INT. ALAN AND MINDY'S HOUSE - MORNING Mindy walks the hallway, toast and coffee in hand. Arrives at the guest room door, knocks -- MINDY Tom? How does coffee sound? No response. Opens the door. He's gone. INT. TOM'S HOUSE - NIGHT Tom enters, half there. Sets a plastic shopping bag on the counter. Sees MESSAGES on his phone screen. Hits PLAY -- PHONE MESSAGE (OVER PHONE) Hi Tom, it's Sharon Iverson from down the street. I wanted to bring over some casserole that-- (he skips) Tom, it's Alan. You gotta talk to me, man. Seriously, this is-- (skips) Hello, Mr. Clark, this is Daniel Norquist's office calling to inform you that Thien Nguyen's plea arraignment hearing is scheduled for 4:45 tomorrow afternoon in courtroom 3C should you wish to attend. We'll have a pass for you in the lobby. Call if you have any questions -- Tom writes down the details on a pad. Sets down the pen. Deep breath. Weight of the world. INT. TOM'S HOUSE - MORNING Dawn. Tom showers, catatonic... Gets dressed, jeans, long sleeved shirt... 17. T M S
18. Feeds Norman... Empties the contents of the refrigerator into a trash bag... Tapes up a moving box. Stacks in each room. Nothing but the boxes and furniture... Checks the locks on window after window, door after door... Loads a protesting Norman into a cat carrier, zips it up... One last look around. Double-takes. Flynn's puzzle book, on the chair. He moves to it, picks it up. Searches his memory. How the hell'd it end up here? Whatever, stuffs it into Norman's carrier and exits. His watch left behind on the counter. INT. ALAN AND MINDY'S HOUSE - MORNING Norman scrambles out of his carrier, navigates his new digs -- TOM Really appreciate you guys taking him off my hands for a while -- Mindy and Alan dressed for work in the kitchen -- MINDY Forget it -- the kids'll love having him. Tom watches as Norman nuzzles the kids in the b.g. Sweet kisses and giggles. He feels sick. Pulls his eyes away. MINDY (CONT'D) Where do you think you'll go? TOM Haven't thought about it, really. Just gonna get in the car and drive. ALAN Not crazy about this. TOM Doing the best I can. ALAN Well, just make sure you come back, hear me? 18. T M S
19. Tom nods, grateful. They put arms around him. Hug. Long. INT. DENNY'S - DAY Tom sits in a booth. Absentmindedly doodles with the kiddie crayons on a paper menu. A WAITRESS arrives with a tray, lays out a smorgasbord before him -- waffles with whipped cream, grilled ham and cheese, chicken fried steak, key lime pie, chocolate shake... He grabs a fork and goes to town on it. Waitress heads off, raised brow. EXT. DENNY'S - PARKING LOT - LATER Behind a dumpster, Tom wretches. Pukes it all up. Catches eyes with a repulsed ELDERLY COUPLE walking past. Wipes his mouth with his sleeve, heads to his car. EXT. FEDERAL COURTHOUSE - LOADING BAY - LATER Tom sits in his car, parked at the curb in the rear. Checks the rear view. Stone faced. Waiting. Just then, a Corrections van pulls up to the loading bay. Gate unlocks. It drives through the cyclone fence, parks -- Tom's eyes tremble, out of body. Heart pounding. Lost. Watching as orange-jumpsuit PRISONERS exit the van under ARMED GUARD, wrist and ankle shackles. He spots Nguyen climbing out. Tom throws open the car door -- leaps out -- WE REMAIN on the passenger seat -- the shopping bag he was carrying before: Wade's Eastside Guns. An open box of ammo -- ANGLE - STREET SILENCE THROUGHOUT. Tom sprints to the gate, throws his arm through the opening in the gate. Trains the gun sight on Nguyen -- finger on the trigger -- arm trembling -- cracking -- Nguyen looks up -- locks eyes with Tom -- goes white -- Tom blinks -- paralyzed -- can't pull the trigger -- Startled Guards spin -- clock Tom -- the gun -- reach for holsters, draw their guns -- 19. T M S
20. Tom drops the pistol, dives for the ground. He clutches his head. Guards BARK spit, dive on top of him, knees to his neck. Wrench his arms behind him, cuff him. It's over. EXT. COUNTY JAIL - DAY Rain pours down on a brass Lady Justice statue. Fallen leaves catch rides like boats on a stream to the gutter. INT. COUNTY JAIL - VISITOR CHAMBER - DAY Glass phone divider. Alan fidgets in a chair. Eyes jump, marvel as a DEPUTY leads an orange-jumpsuit, unshaven Tom to the opposite chair. They just stare at one another. Interminable. Finally, pick up the phones -- ALAN What am I supposed to say? TOM Don't know. He scratches his beard, detached. ALAN Jesus, Tom. I... TOM Go ahead. ALAN Not gonna judge you. But. TOM Why not. I have. I let her down. ALAN Christ, that's just the opposite-- TOM What's done is done. ALAN Yeah, including your life maybe -- that ever cross your mind?? TOM What life? No answer. Alan looks into his dead eyes. He's gone. Dispenses with it -- 20. T M S
21. ALAN God help you. What do you need me to do? CUT TO: A FOR SALE SIGN pounds into the grass. Alan and a REALTOR before Tom's house -- JUDGE (O.S.) ...As the crime was committed on federal grounds, you are hereby charged under federal statutes... CUT TO: A SIGNATURE Scribbles on a form. Alan shakes hands with a USED CAR DEALER in front of Tom's car. Hands him the keys -- JUDGE (O.S.) ...With the charges of first degree attempted murder, illegal brandishing of a firearm. Do you understand the nature of the charges against you, Mr. Clark? CUT TO: STENCILED GLASS Whitaker, Burns and Mayer -- Attorneys at Law. WE ARRIVE AT Alan amidst introductions with a pair of suited defense attorneys, WHITAKER and BURNS -- JUDGE (O.S.) ...And how do you plead? WHITAKER (O.S.) My client pleads not guilty by reason of temporary insanity, your honor... INT. FEDERAL COURTROOM - DAY Tom sits stoically in a suit at the defense table as Whitaker delivers his opening statement to the JUDGE and JURY -- 21. T M S
22. WHITAKER ...After witnessing the brutal, senseless murder of his young daughter, Mr. Clark essentially entered into a fugue state... He directs the jury to an easel, a collage of blown-up school photos of a smiling Flynn, soccer, ballet... WHITAKER (CONT'D) ...A near state of hypnosis, in which he was not remotely aware of, let alone in control of his moral faculties... The Jurors gaze mournfully upon the little girl's silent face. Welling eyes. Alan and Mindy watch hopefully. DISSOLVE TO: MEADOWLARK CHICKS squirm in a nest, reaching for their mother's worm bounty -- JUDGE (O.S.) Mr. Clark, you have been found guilty of the lesser charge of illegally brandishing a firearm on federal property. You are hereby sentenced to one to three years in federal prison. Effective immediately, you will be transported to United States Penitentiary in Leavenworth, Kansas... WIDEN TO REVEAL the sticks and straw roost meshed atop razor wire. A sprawling fence. Beyond, Leavenworth's federal prison complex stretches across the dusty Kansas plain. INT. LEAVENWORTH - CELL BLOCK - MORNING Steel and concrete. A BUZZER sounds. Cell doors auto-unlock. ARRIVE AT Tom alone in his cell. Full beard, heavy eyes. Donning prison blues, he steps out, takes his place in line... INT. LEAVENWORTH - CAFETERIA - LATER Tom trudges the chow line. Finds a table. Eats alone... 22. T M S
23. INT. LEAVENWORTH - LIBRARY - LATER Spartan book aisles, computer stations. Tom kneels, replacing books on a shelf. Prison librarian. EXT. LEAVENWORTH - YARD - LATER Tom lays in the blistered grass. Eyes closed. Sun beats down. SUPERIMPOSED: ONE YEAR ON BUZZER sounds. Up again... INT. LEAVENWORTH - CELL BLOCK - NIGHT Darkness. Tom lay rigid in his cot. Eyes escape to the bunk above. Wedged in the springs, a class photo of Flynn. Momentary reprieve. INT. LEAVENWORTH - OFFICE - DAY Tom appears in a doorway -- TOM You asked for me, sir? A bespectacled codger pops his head up from behind a desk. PERKINS, wiry frame, clerical collar. Prison chaplain. PERKINS Have a seat, Tom. He retrieves a file from a drawer -- PERKINS (CONT'D) Guessing you know what this is? (off Tom, raised brow) Time's up. Your release papers. Noon tomorrow. TOM Be honest, I stopped looking at the calendar a while ago. Perkins looks him over, knowing. PERKINS Well I guess it's time to start again. 23. T M S
24. TOM You say so. PERKINS Any idea what you'll do? Where you'll go? TOM Nope. Perkins, rises. Sits on the edge of his desk at Tom -- PERKINS I want you to know, Tom. That you can be forgiven. That you can find purpose again. All you-- TOM Father, I appreciate what you're trying to do here, I really do. But. I've had a lot of time to. Think about what I've done. And what's. Left for me out there. (then) All due respect. Just think 'purpose' is setting the bar a little high. He takes the file and out he goes. Perkins sighs, regret. INT. LEAVENWORTH - CELL BLOCK - NIGHT Lights out. Tom in his bunk, staring at Flynn. Suddenly, a drip hits his cheek. Startles him. Wipes it away, looks at his fingers. Red. Touches the mattress above, soaked in blood. He recoils, jumps out of bed. Tentatively peers onto the top bunk -- Flynn's pale, bloody body -- he spins -- Nguyen outside the cell -- points a finger at him like a gun -- shoots -- LAUGHS -- Tom lunges at him in a rage -- ANGLE - TOM Eyes burst open -- heaving, in a sweat. Still in his bunk. A nightmare. He reaches up to the mattress above. Dry. Catches his breath. Weary. Not the first time. INT. LEAVENWORTH - CELL BLOCK - MORNING Tom in front of the steel mirror, shaves off the beard. Barely recognizes himself. 24. T M S
25. INT. LEAVENWORTH - CHECK-OUT - DAY A by-the-numbers GUARD in a booth dumps the contents of a FedEx box. Tom, in street clothes, collects -- his passport, a cashiers check, Mariners key chain, and a note. He reads -- ALAN (V.O.) Tom, I know it's been months since we've spoken, but we wanted you to have a few essentials on your release. The check represents the remaining balance of your accounts. The key chain's just a little reminder of home. Where we hope to see you soon. Best wishes, Alan and Mindy. He looks at the check -- $2,136. He smirks. Shakes the box a last time -- a missed item spills out. Flynn's puzzle book. Hits him. Bittersweet. Tom nods, walks through the doors into the GLARING LIGHT... MATCH TO: THE BLINDING SUN shines down as a bus brakes to a stop on a street corner, door opens. Tom descends the steps to the sidewalk. Deep breath. Slowly takes in his surroundings. Free man. Small town mid-western facades and riverfront cafes. Leavenworth Union Bank says the sign across the street. He crosses, heads inside. EXT. LEAVENWORTH UNION BANK - DAY Tom emerges, counting a stack of twenties. Stuffs the wad into his pocket. Looks out to the street. The lone man, idle amongst the TOWNSFOLK with places to go, people to see. A flickering Budweiser neon down the block catches his eye -- INT. TAVERN - NIGHT Tom slouches on a stool at the bar, several drinks in. Takes a sloppy pull off his drink, crushing peanuts in his mitt. Waves down the BARKEEP -- TOM Get another? Double tall. 25. T M S
26. Barkeep nods. Down the bar, a drunk REDNECK COUPLE make a racket, playing pull tabs. Young love. REDNECK GIRL How many footballs do I need? REDNECK GUY Told ya, baby, three. Boyfriend paws her as she giggles, tears another tab. Tom leers, catches eyeballs with the kid. The kid stares him down, tough guy. Tom smirks, looks away. REDNECK GIRL I did it! Look -- three! REDNECK GUY Atta baby, you're rich. She does a little dance, excited -- REDNECK GIRL I told you the man upstairs was rooting for me! Catching her dance out the corner of his eye, Tom rolls eyes. The kid sees, puffs his chest -- REDNECK GUY Got a problem there? TOM Nope. No problem. The kid turns back, victor. Tom mumbles -- TOM (CONT'D) Don't think God gives a shit about your pull tabs, though... The kid turns around, moves down the bar -- REDNECK GUY Hell's your problem? TOM Already told ya I didn't have a problem. But if your lady there thinks there's some man in the clouds gives a flying fuck whether she gets two footballs or three, I'd say you're the one with the problem -- 26. T M S
27. Kid lunges at him -- Barkeep shoots an arm -- holds him up -- BARKEEP Easy -- take it outside -- The kid backs off, gestures Tom with his hands -- REDNECK GUY Gladly. TOM Quite comfortable right here, thanks. REDNECK GUY What I thought. He saunters back down the bar to his gal. Hero. Barkeep delivers Tom his drink -- BARKEEP And you might mind your business. TOM (wry) Good advice, good advice. Drunk, he chuckles it off. Swigs his drink, staggers off his stool for the head. Loses his balance, clumsily grabs a shoulder for support -- the Redneck girl on a stool. He realizes -- too late -- SMACK! Out of nowhere, a roundhouse to the nose. Falls flat on his ass, blood oozing. The Boyfriend stands over him, fist clenched. Tom can only snort -- SMASH TO: DOOR flies open, Barkeep shoves Tom onto the sidewalk. He stumbles to the building for balance. Slides down to his ass. Bad to worse. Just sits there. Bleeding. Lifts his head, spots a blurry sign across the street -- Leavenworth Inn. INT. LEAVENWORTH INN - ROOM - NIGHT Key in the lock. Door opens, Tom steps into his room. Bare bones faux wood and polyester. Collapses on the bed. Lays there. Eyes wide open. 27. T M S
28. INT. LEAVENWORTH INN - ROOM - LATER Tom wide awake, watching infomercials. INT. LEAVENWORTH INN - HALLWAY - LATER Tom at the vending machine, buys a Milky Way and Cheetos. INT. LEAVENWORTH INN - ROOM - DAWN Candy bar and chips wrappers. Tom flips through the Bible, bored silly. Dawn sun pierces through a crack in the curtains. Sighs. Throws the book in the drawer. Gives up. EXT. LEAVENWORTH - DAY Tom walks the two-laner out of town. Vacant. Nowhere to be, no one to see. Suddenly, a RUMBLING moving van across the road catches his eye -- he double-takes -- TOM'S P.O.V. FLYNN'S TRANSAMERICA emblazoned across the side. As it clears, a road sign is revealed: Historic Lewis and Clark Trail. Visitor Center -- One Block Ahead. He rattles his brain, remembering -- TOM Gotta be kidding me... INT. LEWIS AND CLARK VISITOR CENTER - LATER Illuminated maps, drawings and photographs: the Corps, Seaman the expedition dog, Sacajawea. A spattering of TOURISTS quietly read the history. Tom stands in front of a pair of portraits: Meriwether Lewis and William Clark. He whimsically reads their biographies. ANGLE - SCREEN ...Clark was asked by Lewis to share command of President Thomas Jefferson's newly formed Corps of Discovery... ...The first American overland expedition to the Pacific Coast... 28. T M S
29. ...Three years after returning, Lewis was found with multiple gunshot wounds, believed by most historians to have been a suicide... Tom stops reading. Struck by that. Moves to a bank of photographs. Natural wonders along the route. Arrives at the trail's end -- a photo: the massive, modern day Astoria Bridge, stretching across the mouth of the Columbia river as it dumps into the Pacific Ocean. Two hundred feet high. His wheels start turning. Contemplates. Grabs a Trail map. INT. DRUG STORE - DAY Tom shops an aisle with resolve, loads a cart. Backpack, boots, underwear, toiletries, travel provisions... INT. DRUG STORE - LATER Tom at the check-out counter. A sweet-as-pie GRANDMA checker scans his items -- GRANDMA Looks like somebody's going on a little trip? TOM I'm going to follow the Lewis and Clark trail, all the way to the Pacific. GRANDMA Well doesn't that sound like an adventure. You know they passed right through here -- TOM Saw that. When I get to the end, I'm gonna jump off the Astoria Bridge. Oblivious to his macabre implication, she rings him up, charmed -- GRANDMA Just like a kid again, huh? TOM Something like that. 29. T M S
30. GRANDMA Well, you have fun. Nothing like a little road trip to wake up the senses. He smiles genially, collects his bags, and heads out. EXT. HIGHWAY - DAY Grain silos and corn fields. Black-eyed Tom hoofs it along the shoulder. SILENCE but for his own FOOTSTEPS, the distant HUM of insects. His face registers a kind of contentment. Of purpose. Almost cavalier. He spots a scarecrow deep in the adjacent field. Picks up a rock, aims...let's it fly. POW -- direct hit. Smiles. Twelve years old. He turns at the sound of an ENGINE. Throws his thumb up at an oncoming TRUCKER. Truck hits the hydraulics, pulls over. Tom runs to the cab, climbs in. EXT. TRUCK STOP - DUSK Cornhusker Fuel, Feed and Lodging says the sign. Nebraska. The semi parks in the huge lot alongside a dozen other rigs. Tom hops out with a wave, heads across the lot. Pats his hungry stomach, eye on the WAITRESS through the window with a tray full of food -- suddenly -- WHAM! SMASH TO: BLACK. FADE UP: TOM'S P.O.V. Numbed senses, blurry eyes slowly come to focus. Lips. Her lush pink mouth draped upon his own. A WOMAN. He wallows there, in a daze -- until -- WHAM! She rams down on his chest with both hands. Again. Again. Now back to the lips -- CPR. He realizes -- flutters his eyes open -- sits up -- TOM I'm -- okay -- I'm okay! She backs away, hands shaking -- 30. T M S
31. KAREN Oh shit -- thank God -- I'm so sorry -- KAREN. Late-twenties, dark brown trembling eyes, natural beauty beneath haphazard tresses. TOM What -- happened? He gathers his bearings -- an adjacent hatchback -- rear window cracked -- KAREN I was parking, didn't see you -- hit your head on the window -- fuck, are you bleeding?? She reaches for his scalp -- he jerks -- pain -- TOM Ah -- KAREN I'm sorry, I'm sorry -- are you alright -- should I call an ambulance?? He gets to his feet, sits on the bumper. Rubs the knot in his skull -- TOM Nah, just a lump. Be fine. (rubs his chest) Ribs are another thing... KAREN I thought you were dead -- was trying to give you CPR -- I'm so sorry -- TOM It's okay, really. Just knocked out for a sec. Probably shoulda watched where I was going. Manic intensity, she reaches into her bag for a cigarette, lights up -- KAREN After everything else, now I gotta go and run a guy over -- my kinda luck -- 31. T M S
32. TOM You and me both... She takes a deep drag, extends a hand -- KAREN To better luck -- Karen -- TOM (shakes) Tom. KAREN Gotta let me buy you something to eat. 'Least I can do. He considers. Looks her over. Fool not to. INT. TRUCK STOP DINER - NIGHT The pair at a booth. Karen dumping packet after packet of sugar into coffee. Tom just watches, bemused -- TOM Should have a little coffee with your sugar. KAREN I know, I know. I put it on everything. Some people go salt, I go sugar. She pulls her legs up, sits on them. Can't sit still, kid in a candy store. KAREN (CONT'D) You ever think -- what if we could put sugar on life, ya know? Make the whole rotten exercise a little sweeter -- TOM Can't say as I did. KAREN (teasing) Rhetorical, smart aleck. TOM (wry) Now I know. 32. T M S
33. KAREN Look at you. Got a comeback for everything? He doesn't answer. Off her -- TOM That wasn't rhetorical? She grins, enjoying. Down-home WAITRESS appears, sets down their food -- WAITRESS You're all set. Get you lovebirds anything else? TOM Oh, we're-- Karen affectionately squeezes his hand across the table -- KAREN -- fine. Thank you, though. Waitress smiles, heads on. Tom shakes, incredulous -- TOM You're a kook, know that? KAREN I'd say unconventional, but if you must judge... TOM Last person to judge. KAREN (playful) Oh yeah, why's that? Dead-beat dad, bank robber, ex-con? He goes quiet. Moving too fast. She catches. Eyes go wide -- KAREN (CONT'D) Holy shit -- you're not gonna like chop me into little pieces later, are ya? TOM You're the one tried to kill me. She smiles, run for her money -- 33. T M S
34. KAREN Point, Tom. Grabs the sugar, dumps it on her mashed potatoes. He chuckles, oddly charmed. EXT. TRUCK STOP DINER - NIGHT Karen digs into her purse for another smoke -- TOM Things'll kill ya, ya know. KAREN How do you know that's not what I'm trying to do? Way she said that. The irony strikes him. TOM Can think of faster ways. KAREN Maybe I'm just crying out for help, but nobody's listening. TOM I'm all ears. KAREN Wow, a man who listens. What are you still doing on the market? TOM Who says I am? KAREN Well, a man who's decent enough to listen is probably decent enough to wear his ring. TOM Yeah, what else you notice there, eagle eye? KAREN You tell me, black eye. He laughs self-consciously. They amble toward her car. KAREN (CONT'D) What? 34. T M S
35. TOM Nothing. KAREN No, you started it. TOM Just think it's funny. Way you must have me pegged. KAREN Well set me straight. TOM Too much to tell, too little time. KAREN See me holding a stopwatch? Too close to home, he diverts -- TOM You're the one driving like a bat outta hell. Where you headed? She quiets. Uncomfortable, shoe on the other foot. Then -- KAREN Idaho. TOM Home? KAREN No. That's a little town ya never heard of in Missouri. Making my way up to the I-90, gonna cut over. TOM What's waiting for ya? She shifts uneasily, goes for another cigarette. Mum. TOM (CONT'D) Hey, you started it. A moment. Finally -- KAREN Snake River. Fly fishing mecca of the world. TOM Now you're just messing with me. 35. T M S
36. KAREN (punches him) Am not! That's where I'm going -- TOM Well, whadya know, appears I may have judged you. (then) Thought they only let retired old curmudgeons fly fish? KAREN Well you thought wrong. (then) Hey, you know what time it is? He displays his naked wrist -- KAREN (CONT'D) Lotta good you are. They arrive at her car. And there they are. She goes inward, shy even. Too real. Moment stalls. He shuts it down -- TOM Well thank you. For dinner. KAREN No, thank you. For not dying. TOM Just this once. She retrieves her keys from her purse -- TOM (CONT'D) Oh, almost forgot -- He digs into his pocket, offers a handful of sugar packets -- TOM (CONT'D) For the road. Never know... Amused, she smiles, takes them. Oddly touched. TOM (CONT'D) Well, fly fisher Karen-- She impetuously grabs his face, kisses him passionately. Throws him for a loop. Just stands there, lets her. She pulls away, embarrassed. Jumps in her car, starts it up and drives away. 36. T M S
37. Tom watches her go. What the hell? Utterly discombobulated. But no complaints. INT. TRUCK STOP MOTEL - NIGHT Fleabag. Tom settles in, takes his backpack into the bathroom. Stares in the mirror. Eyes bloodshot tired. Reaches into the pack, pulls out toothpaste and a brush. Comes across Flynn's puzzle book -- INT. TRUCK STOP MOTEL - LATER Late. Tom sits on the bed, gently flipping through the pages. Stopping to trace a finger over every marker scribble, every dog-eared page. Remnants of a life. Despondent, he sets it down on the night stand. Weary eyes catch sight of the Lewis and Clark map sticking out of the bag. He shakes his head. Disgust, self-loathing. Grabs it, crumples it up and hurls it into the trash. Takes a deep breath. Summoning. And reaches into his bag. A disposable razor. Trembling fingers break the blade free of the plastic... Suddenly, a SCRATCHING. At the door. What in hell? He gets up, moves to the door. The SCRATCHING stops. He puts an eye to the hole. TOM'S P.O.V. Nothing there. Parking lot. Light poles. Odd. He turns -- the SCRATCHING again. Jumps out of his skin. Grabs the doorknob and -- pulls open the door! A DOG. Scruffy Newfoundland. Sits on his haunches staring at him, head cocked, tail wagging. Perplexed, Tom kneels to him, ruffles his ears affectionately -- TOM Hey boy, where'd you come from? Searches the lot for its owner. Empty. The dog nudges a wayward tennis ball toward him -- TOM (CONT'D) So that's how it is, huh? 37. T M S
38. He picks up the ball, hucks it across the lot. The dog takes off after it, scoops it up, and races right back. Drops it at his feet -- TOM (CONT'D) Why do I got the feeling you'll keep me at this all night? The dog pants, impatient. Tom picks it up again, hurls it. Off he goes. The ball bounces under a semi, disappears. The dog darts after. Moments pass. Longer. Tom waits, expectant. But no return. Finally, he shrugs his shoulders, turns to head back inside -- until -- a distant GIGGLE. He cocks his ear. There it is again. He instantly recognizes -- spins around -- TOM'S P.O.V. The parking lot. GLIMPSES -- a young GIRL weaving between the trucks, playing with the Newfoundland. Giggling joy as he fetches the ball for her -- Tom shakes out the stars, desperate. The girl tosses the ball before disappearing behind a trailer. Fido fetches for it as Tom sprints out, frenzied -- TOM Flynn...? He runs between the maze of parked rigs, searching high and low -- the GIGGLING persists -- he follows it, KNOCKS OVER A STACK OF HUBCAPS -- when -- WHAM! He slams into a opening cab door -- a SLEEPING TRUCKER sticks his head out -- SLEEPING Hell's wrong with you? TOM My -- my daughter -- she -- the dog -- did you see her?? SLEEPING Only thing I saw was sheep -- till you come barrelin' through here, bull in a china shop -- Tom stands there, catching his breath. SILENCE. Realizes. Feels the fool. TOM I'm -- sorry. Must be -- seeing things... 38. T M S
39. Disgusted with himself, he turns to go. But suddenly double- takes -- the trucker's uniform -- his name patch -- Lewis. TOM (CONT'D) Your name's Lewis? The trucker recoils, wary. Raised brow, Tom makes back for his room. Then his eyes catch the rig's license plate -- Oregon. Shakes his head, incredulous. EXT. TRUCK STOP MOTEL - MORNING Hands reach into the trash, retrieve the Lewis and Clark map. He uncrumples it, reverently places it back into his bag. Sleepless, Tom slings the pack over his shoulder, exits his room. Eagerly heads across the lot for the highway. INT./EXT. PICK-UP TRUCK - TRAVELING - DAY Dusty plains. A pick-up truck cruises down the barren highway, it's cab full with a trio of MIGRANT WORKERS. In the payload, hitchhiker Tom weathers the cross-winds, studying the map. He catches a sign whizzing by: Entering South Dakota -- EXT. HIGHWAY - LATER The truck idles at a lonely intersection. Tom hops out, thanks the migrants with a wave. The truck turns off the highway, heads down the road and disappears. Leaving Tom. EXT. HIGHWAY - LATER Tom trudges the shoulder. Blurry eyes. Sleep-deprived, giddy. Entertains himself, stir-crazy -- TOM (sings) ...Here's the story, of a lovely lady, who was bringing up three very lovely girls, all of them had hair of gold, like their mother-- Stops suddenly, spotting something in the gully. A rusty BMX bike. He seizes upon it like treasure, pulls it out of the weeds. Inspects it. Good to go. Climbs aboard, feet on the pedals, and away he goes -- 39. T M S
40. TOM (CONT'D) Here's the story, of a man named Brady, who was busy with three boys of his own... Man and bike on down the road. Oblivious, he passes a sign: Dakota Sioux Indian Reservation -- EXT. HIGHWAY - LATER Tom getting into it -- jumping curbs, popping wheelies. Catches sight of a gliding crow right next to him -- kicks it into high gear -- a race -- the crow flaps wings -- Tom raises off the seat, pumping -- neck and neck -- SMASH TO: EXT. HIGHWAY - LATER Breakdown. Tom kneels at the bike, slipped chain. Wrenches it back on the gears. Chain breaks, cuts his finger -- TOM Piece a shit! Pissed, he kicks the damn thing over. Stands there. Looks down the long hot road -- TOM (CONT'D) (mocking) 'I'm gonna follow the Lewis and Clark trail, all the way to the Pacific.' (then) Fucking idiot... Starts walking. Hears an ENGINE -- turns. A beat up Dodge approaching -- sticks out his thumb. The car pulls over -- SPEED METAL blaring on the stereo. He steps up to the window. A Native American girl behind the wheel. TAWNEY. Seventeen, black hair to her waist, braces -- TAWNEY Where you headed? TOM North. TAWNEY Your lucky day -- can take ya to the county line. Climb in -- 40. T M S
41. He grabs the door handle. Double-takes. The back seat. A CRYING BABY in a car seat. Okay then. Climbs in. INT./EXT. DODGE - TRAVELING - DAY Tawney drives as Tom takes in the heap. Fast food garbage all over the floor, Hello Kitty stickers affixed to the dash, dream catchers dangling from the rear view. IMAGES -- IN TOM'S MIND -- instantaneous flashes -- Flynn's bedroom -- dream catchers on the bedpost... TAWNEY What's your name? TOM Tom. You? TAWNEY Tawney. The baby continues to WAIL from the rear. Tawney appears deaf to it. Tom, on the other hand, keeps checking on him -- TAWNEY (CONT'D) That's Pie. Don't mind him. She turns up the SPEED METAL, drowns out his CRIES. And drives on down the road. Tom, disconcerted. INT./EXT. DODGE - TRAVELING - LATER The car cruises through the depressed Sioux community, run down trailers, cars on blocks, roadside STANDKEEPERS selling trinkets and fireworks. Tawney pulls off the highway, turns down a dirt road. Tom raises his voice over the MUSIC -- TOM Where are you going? TAWNEY Gotta make a pit stop. Tom squirms, circumspect. INT./EXT. DODGE - DAY Tawney pulls up to a ramshackle house beneath a grove of dogwoods. Kills the engine. 41. T M S
42. TAWNEY I'll be back in a few. You can watch Pie 'til I get back. TOM Whoa, wait a minute -- you don't even know me -- how do you know I'm not gonna steal your baby?? TAWNEY (amused) Are you gonna steal my baby? TOM No, but-- TAWNEY Then sit tight -- you want a ride or not? He looks around, middle of nowhere. Rolls eyes, whatever. She hops out, heads inside. Pie WAILS. Inconsolable. Tom just sits there, incredulous. Turns to the boy -- TOM Hey Pie -- it's okay, it's okay -- Nothing doing. Kid's on a rampage, tears streaming down his face. EAR-PIERCING. Wit's end, Tom reaches over the seat, unbuckles him and pulls him onto his lap. Cradles him awkwardly, in over his head -- TOM (CONT'D) You need a bottle, huh? You hungry? He searches about the refuse for a bottle. No dice. He turns him to his shoulder, tries burping him. Kid's eyes go wide and -- he pukes all over Tom's arm -- TOM (CONT'D) Oh shit -- Pie quiets for a moment. Tom sighs, victorious? TOM (CONT'D) There you go. Is that all you needed? Good boy. WAAAIIIL! Nothing doing. He starts right back up again. Helpless, Tom gazes out at the house for Tawney. Nothing. 42. T M S
43. TOM (CONT'D) (mumbling) Ridiculous -- what am I doing here... Then, he spots something on the floor -- a pop-up storybook. Three Little Pigs. Last ditch, he picks it up, opens it in front of Pie. Reads -- TOM (CONT'D) Once upon a time, there were three little pigs. Each built a house to live in... Three pink, folded pigs rise up from the page. Pie swats at the page, squirming -- TOM (CONT'D) The first little pig built a house out of straw... He turns the page -- a straw house emerges from the page. Pie starts to settle. Looks at Tom curiously -- who is this strange man? Tom nods, making headway -- TOM (CONT'D) You like that? Go ahead, touch it. He reaches Pie's hand onto the straw house. Pie smiles, intrigued -- TOM (CONT'D) The second little pig built a house out of sticks... Pie nestles into his arms exhausted from the crying -- TOM (CONT'D) The third little pig built a house out of bricks... Tom glances down. Pie's eyes waver closed, sleep. Sweet SILENCE. Tom just sits there, cradling the sleeping baby. In a beat-up Dodge. On an Indian reservation in the middle of nowhere. Can't help but smile. Moved. Ever so slightly. Then his eyes catch something on the seat. Pieces of aluminum foil strewn about. Picks one up. Crusted resin, burn marks. He realizes -- drugs. Disgust. Looks up at the house to see Tawney emerging, stuffing a baggie into her pockets. She climbs into the car, eyes glassy and red. High. 43. T M S
44. TAWNEY Hey -- you got him to sleep? TOM Yeah. Say why don't you let me drive. That way you can hold him while he sleeps. She thinks on it, head swaying from the buzz. Submits. TAWNEY Okay. INT./EXT. DODGE - TRAVELING - DAY Heavy eyes, Tawney points to a turnoff. Tom pulls the car through a barbed wire fence opening, down a grassy incline. Goats, chickens scatter as he pulls to a stop before a humble but well-kept double-wide and barn. Tawney passes out. A tall Native American emerges from the screen door. FRANK. Fifties, lean build, graying ponytail. Dubious eyes. Tom collects Pie, climbs out. Frank walks over, takes the baby. Spies Tawney out cold in the car. Barely contains his contempt. TOM Hitched a ride with her out on the highway. She made a stop along the way. 'Fraid she... FRANK I can see. A woman hurries out, Frank's wife. WINONA. Forties, turquoise jewelry, worried eyes. She gently takes the baby from Frank. Turns her ire on Tawney. Throws open the car door, grabs her by the arm -- WINONA Tawney -- wake up -- dammit -- Tawney stirs, been here before. Snaps to as the older woman shoves her along, embarrassed -- WINONA (CONT'D) Get inside -- right now -- The trio disappears into the house, leaving Tom and Frank -- FRANK Thank you...? 44. T M S
45. TOM Tom. FRANK (shakes) Frank. (then; embarrassed) I'm afraid my niece has gone wild on us. Shares her mother's addiction. Her aunt and I have tried... TOM Don't owe me an explanation. Just wanted to get the baby home. FRANK Good Samaritan, huh? TOM Don't know about that. FRANK Not just any stranger would involve themselves. You are a good man. Tom nods, humbled. Turns to go -- FRANK (CONT'D) Tom. Please stay. And eat. Then, I will take you wherever you are going. Tom looks up to the deserted road. The sincerity in the older man's eyes. INT. FRANK'S TRAILER - DUSK Tawney lay passed out in the back room. Tom eagerly cleans his plate as Frank and Winona look on -- WINONA Someone was hungry. TOM (abashed) Oh, yeah. Long day on the road I guess. Delicious, thank you. Frank's elderly father, MATO, sits quietly on a Barca-Lounger as Winona lovingly plays airplane with Pie, slipping a spoon into his mouth. Tom's curious -- 45. T M S
46. TOM (CONT'D) So...Pie? WINONA Cutie. Pie. First and middle. God love that girl but she's a little lost. Don't know what we're gonna do with her... Tom smiles, amused as the baby gurgles at him -- WINONA (CONT'D) He likes you. TOM We got to know each other a little. Frank takes a seat, curious -- FRANK So William Clark? That is something. Helluva trek. TOM If I make it -- haven't slept a wink in days. WINONA Why's that? TOM Not sure. Certainly not from a lack of trying. Lot on my mind, I guess. Mato's eyes narrow, curious -- FRANK Until the mind rests, the body won't follow. Tom nods, wary of saying too much. Until -- MATO (O.S.) Vision quest. They all turn. The old man piping up -- FRANK (abashed) Ah, pop. He don't even know what that means -- Tom raises a brow. Frank resists -- 46. T M S
47. FRANK (CONT'D) He sees the old ways in everything... Tom persists, curious. Finally -- FRANK (CONT'D) He thinks you are on a vision quest. In Sioux tradition, a man or boy goes on a spiritual quest alone in the wilderness, to find himself, a life direction. MATO Have you seen the animal yet? Frank smirks -- FRANK It is believed that after days of no food or sleep on the quest, one will begin having visions, and a guardian animal will appear to lead to the right direction. Tom goes pale, realizing. Dare he? Then -- TOM What, like a...dog, maybe? Frank nods, sure, why not? Tom feels silly, dismisses, wry -- TOM (CONT'D) Well, like I said, got the 'man alone, no sleep' part down. Mato finally turns to face him -- MATO Inipi. If you are searching, you will find your answers within. TOM Inipi? Off Tom's skeptical gaze -- CUT TO: STIRRUPS Tom's boot finds the hole -- 47. T M S
48. Frank hoists him up onto a saddle. Horses. Frank climbs onto his own stallion alongside Mato, and the trio head up a hilly trail behind the trailer. Tom gazes up at the stars through the trees, his colt quietly guiding him through the beautiful countryside. EXT. SIOUX RESERVATION - NIGHT The horses graze a grassy hillside. Fire burns in a pit overlooking the valley. Frank reaches into the blaze with metal tongs, removes a glowing red chunk of granite. He carries it into a domed hut, constructed of willow poles and buffalo skins. Sets it atop a pile of others, pours water over. Steam billows. Sweat lodge. Tom sits cross-legged in the dirt, perspiration pouring down his face. Pale. Awkward. What has he gotten himself into? Mato gently beats on a drum, quietly MURMURING a Sioux chant. Frank takes a seat across, closes his eyes meditatively. Tom just sits there, staring at the faithful men. Respectful, he closes his eyes. Peeks with one eye. Dubious. INT. SWEAT LODGE - LATER Drenched head to toe, Tom labors to breathe. Mato persists, CHANTING as Tom's head jerks in spasms. Eyes slits. Hypnotic. TOM'S P.O.V. Wild tracers swirl and dance. A CHILD'S LAUGHTER ECHOES. Tom moans, entranced. Mato guides him -- MATO What is it you are looking for? TOM (struggling) A sign. To know she's alright -- Frank opens his eyes. Looks across at him. Curious. Mato continues, sensing -- MATO Open yourself. Tom struggles, overwhelmed. The heat, the emotion -- 48. T M S
49. TOM I -- I -- can't -- TOM'S P.O.V. Stars twinkle against a velvet black canvass -- in the dreamland distance, Flynn appears. She sees him. Mysteriously points upward. Insistent. Tom reaches out, like smoke through fingers. Frustration -- TOM (to Flynn) What is it, baby -- what is it? His eyes roll back, gasping -- MATO Release what stands in your way. TOM'S P.O.V. Frustrated, Flynn persists -- pointing at an angle, up at the stars -- the celestial subject of her attention begins to shimmer, suddenly bursting with light -- then Flynn's finger, hand, arm, all of her is consumed with a white burst -- TOM I don't understand -- what are you trying to say?? Tom heaves, unbearable. Deep gasp -- he snaps out of the trance -- overtaken -- staggers out of the lodge. Retreat. He collapses in the cool grass outside, clutching his chest. Frank emerges, concern -- FRANK You alright? Tom stares up at the stars, calming down -- TOM What happened? FRANK You were in a trance. Heat got to ya. Struggling to remember, he nods. Frank pats his shoulder -- 49. T M S
50. FRANK (CONT'D) Not bad for a white man. Tom sucks in a deep breath, embarrassed. White man, indeed. INT. FRANK'S TRAILER - NIGHT Late. Everyone asleep. Tom sits in the Barca-Lounger, blanket and pillow. Wide awake. Haunted. Alone. Suddenly, Pie stirs from his baby pen. Stands, and stares warmly at him. Man and baby. Tom smiles, glad for the company. Suddenly remembers, digs into his bag. Moves to the boy, humbly offers the Mariners key chain. Pie gratefully takes hold of it, enthralled. INT./EXT. FRANK'S PICK-UP - MORNING I-90 Interchange says the sign. Frank pulls off the highway into a parking lot. Idles as Tom collects his things -- FRANK Thank you again. TOM No, thank you. Really. He goes for the door -- FRANK Tom. Who is 'she'? Tom turns, oblivious -- FRANK (CONT'D) In the hut. You said you needed a sign. To know 'she' was okay. Tom goes red. Right in the gut. Unexpected. TOM My -- daughter. Frank nods. Weighs that. Ponders -- FRANK Yesterday, I was leaving the house. Couldn't find my sunglasses. Searched top to bottom. Got so angry, I kicked over one of Winona's flower pots. Tom politely listens, unsure where this is going -- 50. T M S
51. FRANK (CONT'D) When she came out and saw what I had done, I explained why I was so angry. And do you know what she did? She started laughing, at what a fool I was. He lowers his shades from his head down over his eyes -- FRANK (CONT'D) Sitting on my nose the whole time. Tom smiles, amused. Grateful nod. FRANK (CONT'D) Good luck. They shake hands and Tom climbs out. Frank drives away. Tom gazes out at his surroundings. Before him -- a massive golden palace. Downright roadside Taj Mahal. Made of corn. INT. CORN PALACE - DAY Tourist Tom stands before a mural made of corn, grain -- Lewis and Clark crossing the Dakotas. A guided tour SPEAKER SYSTEM treats him and the myriad TOURISTS to an explanation -- SPEAKER ...When Lewis and Clark passed through these parts, Clark famously declared the terrain to be a 'desert suitable only for buffalo.' In the years following, South Dakotans have enshrined this palace as a direct challenge to those claims, proving that indeed the Dakota soil was rich and worthy of toil... Tom smirks, moves along. Stops cold. There, across the great hall -- catching eyes with him at the same instant -- Karen. She immediately looks away. Embarrassed. Tom holds his gaze. No escaping, she looks back. Throws up a halfhearted wave. They cross to one another -- KAREN Who knew we both had a thing for corn... He smiles, taking note of her nervousness -- KAREN (CONT'D) So? 51. T M S
(MORE) 52. TOM So. KAREN Well I broke down, what's your excuse? TOM Spent the night with some Indians, hung out in a sweat lodge, got dropped off here. KAREN Of course, of course. Mutual smiles. KAREN (CONT'D) Ya know, you never said. Where you were going? TOM Lotta good that did me. You still found me. KAREN You know, I am capable of slipping out of witty banter mode and engaging in an actual conversation once in a blue. TOM Oregon. I'm following the Lewis and Clark trail. KAREN O-kay, apparently you're not able to... TOM Scout's honor. KAREN Really? Well, that would explain the obligatory Corn Palace stop. TOM Done your homework. KAREN Heard it about ten times now -- been killing time in here all morning waiting on my car. (MORE) 52. T M S
KAREN (CONT'D) 53. Apparently radiators require coolant, something like that? TOM Ya don't say? KAREN Hey Mister, that's what dads are for. Cars and taxes. TOM Looks like dear old dad left ya in the lurch. She walked right into that. Goes off-kilter. And, her eyes begin to well. Confused, Tom immediately softens -- TOM (CONT'D) Hey -- I'm sorry -- are you -- She digs her purse for a tissue -- spills the whole thing onto the floor -- he kneels to help her -- grabs a stray pill bottle -- she sheepishly snatches it -- stands, looks at Tom -- regains her composure -- KAREN He -- just died. And I'm obviously. A wreck. So there you go. He takes her by the arm, gentle -- TOM Hey -- hey, let's get out of here -- EXT. DAIRY QUEEN - DAY Tom waits at a picnic table, double-fisting ice cream cones. INT. DAIRY QUEEN BATHROOM - DAY Karen stares at herself in the mirror, mascara running. Reaches into her purse for the pill bottle. Alprazolam. Unscrews the lid, dumps a pill into her hand. Visibly fights it. Dumps the pill back inside, screws the lid tight. EXT. DAIRY QUEEN - LATER Karen emerges from the bathroom, puts herself together -- KAREN (CONT'D) 53. T M S
54. KAREN I'm sorry. TOM No, no. Sit. He offers an ice cream -- KAREN Oh god, you must think I'm some five year old girl who's lost in the mall. TOM To the contrary, I happen to like ice cream. Cheers her a little. She takes the offering. TOM (CONT'D) Me and my big mouth-- KAREN No, you didn't know. She exhales. A release -- KAREN (CONT'D) My dad had Alzheimers. Got so bad, I moved in with him. Took care of him. Toward the end, he didn't know where he was, sometimes who I even was. Woke up one morning couple weeks ago, and found him on the floor. He'd hit his head on the corner of the counter. Severed his Medulla...something or other. TOM Jesus -- I'm sorry. KAREN He'd never hurt a fly. Was a pastor, everybody in town knew him, loved him. I was his good little Lutheran daughter. And then this disease. Just ravaged him. Tom drifts, his own demons at work. He focuses -- TOM So, Idaho? 54. T M S
55. KAREN He used to take me fishing. When I was a little girl. All his life, he always talked about retiring and fishing the Snake. Catching the big one. Had a cap full of fly hooks, ready to go. The Alzheimers got to him before he had the chance. Tom sits with that. Weight of it washing over. Too close to home. She shakes it off, uncomfortable -- KAREN (CONT'D) So that, my friend, is why I'm a wreck. Surely why I impetuously kissed a man I don't even know. And, why probably many more exciting and irrational incidents await me on my journey west... He struggles, presently ill-equipped. She reigns it in -- KAREN (CONT'D) God, what a load to dump on a complete stranger, listen to me-- TOM No. It's just, I'm not exactly... (stops; clinical) I think it's great that you're carrying out his wishes. And I hope it -- gives you what you need. KAREN So you don't think I'm crazy? TOM I didn't say that... She punches him in the arm. TOM (CONT'D) You're very violent. She brightens, feels better. Looks at his tired eyes -- KAREN You look tired. TOM Yeah, haven't slept in days. 55. T M S
56. KAREN Days?? Why the hell not? TOM Trust me, I'm not going for a record. KAREN Okay, you need to back up -- Lewis and Clark Trail? He considers the full meal deal. Hedges -- TOM I recently learned that I'm a descendant of William Clark. Thought it'd make for an amusing last hurrah... KAREN Last hurrah? Before what? No answer. Her eyes widen, concern -- KAREN (CONT'D) Jesus, you're not -- sick or something are you?? TOM No, nothing like that. KAREN Good, 'cause I've had about all the death I can handle for one lifetime. He registers that. Makes two of them. KAREN (CONT'D) Hey, what time is it? Car's s'posed to be ready at eleven. TOM Stopped paying attention to clocks a long time ago... KAREN Okay, Buddha. She spies a clock inside -- KAREN (CONT'D) Hey, you got time for one more favor? 56. T M S
57. INT. AUTO SHOP - DAY Karen steps up to the counter, Tom hangs back. PIPSQUEAK grease monkey greets her at the register -- PIPSQUEAK You're all ready to go. (tallies) Took care of the radiator issue, but we had to replace the intake manifold from the overheating. Noticed your air filter needed replacing, put in a new set of plugs, just to be on the safe side-- Tom steps up -- TOM I believe if my wife wanted a new air filter and plugs, she would have asked for them. Pipsqueak shrinks a little -- Tom peruses her invoice -- PIPSQUEAK Oh -- well, the car's gonna run better if-- Tom points to the invoice -- TOM Says right here in your contract that you promise to contact the customer before doing any work outside the original estimate? In a corner, Pipsqueak relents -- PIPSQUEAK Fine, we can comp those -- if you’ll just sign here, please. Karen squelches a smile, pays. EXT. AUTO SHOP - LATER Ebullient, Karen and Tom walk to her car -- KAREN Had a feeling that might happen -- thanks, hubby. 57. T M S
58. TOM All in a day's work. She pulls out her keys -- KAREN So. I was thinking. Lewis and Clark Trail... Tom averts his eyes, sensing where this is going -- KAREN (CONT'D) We're both headed west. And well -- I'm not on a clock... He sincerely struggles with it -- TOM I appreciate the offer -- really -- it's just -- between last night and -- well, I'm not so sure this trip's even such a good idea for me -- and pulling you into it would just-- Suddenly, a dog BARKS -- Tom turns -- double-takes -- TOM'S P.O.V. Brief glimpses -- the Newfoundland dog and the little girl -- skipping between cars through the parking lot, into McDonalds -- Tom's eyes widen, mutters -- TOM Flynn... Determined to get to the bottom of this -- he rushes away -- Karen stares after, dumbfounded -- ANGLE - MCDONALDS Tom strides up to the door -- as little feet round the corner through the window -- He pushes inside -- bounds after them -- GIGGLING, feet skip into the bathroom, close the door. He arrives at the bathroom door -- turns the handle -- KNOCKS on the door -- TOM Excuse me -- hello? Hello?? 58. T M S
59. A bit of a commotion -- ONLOOKERS raise brows -- Tom yanks the handle, puts a shoulder into it, crunches open -- A LITTLE BOY at the urinal -- frightened -- Tom shakes out the stars -- crestfallen -- confused -- FATHER (O.S.) The hell are you doing?! The boy's FATHER appears behind Tom -- shoves him out of the way to shelter his boy -- TOM I -- I'm sorry -- I -- He turns -- sees Karen at the door -- taken aback. A POLICE OFFICER at a booth looks up from his meal. Stands. EXT. MCDONALDS - LATER From across the street, WE SEE Tom in the back of a POLICE CRUISER, interrogated by the Officer. Head hung low, humiliated. Karen waits expectantly by her car. EXT. MCDONALDS - LATER Tom parts ways with the Officer, makes his way over to Karen. Curious to say the least. TOM It was -- a misunderstanding. She nods, waiting for more. Last thing he wants to do. TOM (CONT'D) I thought I -- saw someone. Lack of sleep -- I must be... KAREN Who's Flynn? He wants to. But can't go there. Not now -- TOM I want to tell you, Karen. And I appreciate that you care enough to ask. But. I think it'd be best -- for both of us -- if I just went about my way -- 59. T M S
60. KAREN So that's it? I spill my guts out to you and you just -- take a pass? He averts his eyes, impossible -- TOM Like you said. We're complete strangers. Hits her in the gut. She stiffens. There they are. Finally -- KAREN Okay. You gonna be alright? He nods. No. A mess. Helpless, she pulls out her keys -- KAREN (CONT'D) Well, I guess -- this is goodbye, then. She opens the car door to leave -- sticks out a hand. Lamenting, he shakes. Hurt, she climbs in. Just then, the father and son from inside exit. Catch eyes with Tom -- TOM I'm sorry again -- Uninterested, the father hustles his kid into their mini van, starts it up and pulls away. Tom's eyes widen -- a college bumper sticker affixed to the rear: L & C Pioneers Booster Club -- Literally rubs his surely lying eyes -- TOM (CONT'D) (to self) Jesus, you're losing it -- Oblivious, Karen starts up her car, pulls away -- TOM (CONT'D) Karen -- wait -- Off her brake lights -- EXT. HOSPITAL - DAY Small town medical center. Karen idles in her car outside the emergency room entrance. Tom can't look her in the eye -- 60. T M S
61. TOM Thank you, for the ride. (then) For everything. He goes for the door -- KAREN I don't know what's going on with you. But. Out here, in the middle of nowhere. You listened to me. So. I'm gonna go across the street to that coffee shop. When you come out, if you feel like talking, I'll be there. If not. I hope you find what you need. Her kindness overwhelms him. He chokes back emotion, nods. INT. HOSPITAL - ER - LATER Tom sits on an exam bench. DOCTOR shines a light in his eyes -- DOCTOR ...Ya ever heard of REM sleep? Rapid Eye Movement. S'when we have our most vivid dreams -- He finishes -- DOCTOR (CONT'D) It's also when the body engages its restorative processes. Biological, no way around it. So if ya don't sleep, the body finds a way of taking care of things anyway. These 'hallucinations' you're having are dreams. Only you're awake. Not only is it not healthy, it's potentially dangerous -- He scribbles down a prescription -- DOCTOR (CONT'D) Can get this filled down the hall. One pill before bedtime. Get some sleep, Mr. Clark. Tom nods, takes the scrip. 61. T M S
62. INT. HOSPITAL - LATER Tom heads through the ER, his prescription in hand. Gazes out the doors, across the road at the coffee shop. Then at the open road leading out of town. Eats at him. Finally, grabs a clipboard from a check-in counter, sits in a chair with a sigh. Ink to paper... INT. COFFEE SHOP - LATER Karen sits in the corner, nursing a black coffee. Thumbs through the local Pennysaver. Suddenly, a folded paper drops onto her table. Tom. TOM Gonna grab a coffee -- (her cigarettes) Borrow one of these? She hides a smile, slides them across. He indicates the paper -- TOM (CONT'D) Careful what you wish for. He heads off. Leaving her and the paper. She opens it. EXT. COFFEE SHOP - LATER Tom on the curb, coffee and cigarette. Karen emerges, quietly takes a seat beside him. Puts an arm around his shoulder -- KAREN Thank you. I'm so sorry, Tom. He nods. And the pair just sits there, contemplative. Then -- KAREN (CONT'D) What are the odds of me backing my car into you? TOM Assure you, it's not lost on me. KAREN Coincidence? TOM Wouldn't be the first one. 62. T M S
63. KAREN Ah, but what's it all mean? TOM Well, that question would imply that there's meaning to anything. Which would imply that there's something more to all this. KAREN And? TOM And believing in that in the absence of proof is an exercise in masochism. KAREN So what's the alternative? TOM (considers; wry) Masochistic realism. She smirks. He downs his coffee, stands to throw it away -- KAREN Well, before your masochistic realism sent you running into that McDonalds, I was making you a proposition. He holds up the prescription bag -- TOM Sleep deprivation, thank you very much. KAREN Duly noted. And the proposition? He smiles. This woman. INT./EXT. KAREN'S CAR - TRAVELING - DAY Karen gazes out at the winding Missouri River as she drives. Car whizzes past a sign: North Dakota State Line. Trail map in hand, Tom glimpses fishing rods and tackle boxes in the rear. Reaches back for her father's fishing cap, pin cushioned with fly hooks -- TOM Not kiddin' around. 63. T M S
64. She notices, snatches it from him -- violated -- KAREN Hey -- snoopy -- He throws up his hands -- TOM May I? She retracts. Tentatively hands it over. Holy grail. He gently inspects the flies -- KAREN I'm sorry. It's just. Objects become all you have. Tom deliberates. Reaches into his pack, reveals Flynn's puzzle book. Kinship. She softens, disarmed -- KAREN (CONT'D) Flynn's? (he nods; then) If I'm not asking questions, it's not because I don't care. Just. Can't even imagine what doesn't sound stupid to say. (then) Do you have a picture? He hesitates. Finally reaches into his bag, hands her the school photo. She holds it. Perfect innocence. Her eyes well. KAREN (CONT'D) She's beautiful. (then) What do you think you'll do. When you reach the end of the trail? He stares at his shoes. Not in a million years. Lies -- TOM Haven't thought that far ahead. KAREN Is all this. Why you stopped keeping time? He shrugs. Yes. She hands back the photo -- 64. T M S
65. KAREN (CONT'D) I don't blame you, ya know. For wanting to kill him. Not for one second. TOM (quiet) Anybody could have wanted... Strikes her. The implication. KAREN You don't -- still regret...? I mean -- she wouldn't have wanted you to... TOM All I know is he's still breathing. She's not. He quietly diverts his eyes out the window. Uncomfortable. Concerned, she leaves it alone. EXT. GAS STATION - DUSK Lonely highway pit stop, Karen's car at a pump. Tom gasses up while Karen hits the Coke machine. Suddenly, a ROAR. A Harley Davidson RUMBLES by. Then ANOTHER. ANOTHER. DOZENS. HELL'S ANGELS. DEAFENING. Tom and Karen just stand frozen, beholding the sight. Modern buffalo migration. He turns to her, shared smiles. Electric... INT. ROADSIDE MOTEL - TOM'S ROOM - NIGHT Tom sits up in bed, wide awake. TV droning. Old hat... INT. ROADSIDE MOTEL - KAREN'S ROOM - NIGHT Other side of the wall. Karen in the bathroom, out of the shower. Brushes her hair. Deep melancholy taking hold. INT./EXT. KAREN'S CAR - TRAVELING - MORNING Tom studies the map, tracing his finger along the trail as it crosses into Montana. The radio BLARES EIGHTIES POP. Then, GOLDEN OLDIES. Then, MEXICAN POLKA. He glances up to see Karen furiously switching through stations -- while puffing on a cigarette -- while swigging Coke -- while readjusting her seat -- 65. T M S
66. KAREN (mile a minute) Did you know that Mexican music with the accordions and all this started with German Polka? TOM Uh...nope. She changes the station, takes a swig of Coke. Racing -- KAREN I read somewhere that there's enough acid in this crap to dissolve a nail in like four days... She continues -- switching, puffing, swigging. Swerves the car, mid-switch -- TOM Hey, watch the road there, tiger. KAREN Yeah, yeah, yeah... She glances over at him -- sees the concern on his face -- KAREN (CONT'D) What?? TOM You hit the crack pipe when I wasn't looking? KAREN (over the top) What the hell's that supposed to mean? Tom eases off, slightly disturbed -- TOM Nothing, just -- nothing. KAREN What? 'Cause I can't find a station I like?? TOM (playful) That -- and the trivia -- cigarette -- coke -- more trivia-- 66. T M S
(MORE) 67. KAREN Well, excuse me -- this from Mr. I'm the Last to Judge -- TOM Hey, whoa, Karen. I'm just playing -- KAREN No you're not -- you're picking me apart! TOM Karen -- stop -- you got this all wrong-- SCREECH! The car swerves onto the shoulder -- Tom snaps to -- grabs the wheel -- gravel goes flying -- Karen slams on the brakes -- panic -- car does a 180 -- skids to a halt -- A dust cloud consumes them, the car half road, half shoulder. Air Supply BLARING. A moment. Stomach's in their throats. Karen punches the radio off, humiliated. Tears. She grabs her purse, throws open her door and stomps across the road -- Tom just sits there, watching. Baffled. Finally, he climbs out. Tentatively makes his way across the road to her. A hawk CRIES overhead amidst the SILENCE. She stares out across a canyon, shaking. Angry with herself. Tom sidles up beside, glimpses the pill bottle in her hands. KAREN I'm sorry. TOM Hey, I didn't mean to-- KAREN Got nothing to do with you. She hands him the pill bottle. He reads the label. She struggles, embarrassed -- KAREN (CONT'D) I. Haven't been taking them. TOM Alprazolam...? A moment. Then -- KAREN Anxiety. Panic attacks. Nuts. Take your pick. (MORE) 67. T M S
KAREN (CONT'D) 68. (then) You just got a front row seat. He swallows. Unsure. Finally -- TOM You're not nuts, okay? (then) Why haven't you been taking them? She shakes her head. Hard time. KAREN Because. On this trip. I wanted to feel. TOM Feel? KAREN Something. Anything. I feel pathetic enough needing them. But since he died... They just. Make me feel...weak. And I need to be strong. (turns to him) Does that make any sense? He puts an understanding arm around her shoulder. Warm. TOM All the sense in the world. (then) But how's about I drive? She manages a small smile. Punches his arm for good measure. They turn back for the car. A little lighter. INT./EXT. KAREN'S CAR - TRAVELING - DUSK Desolate canyon country. Tom drives, searching ahead. Karen with the map now -- KAREN Mile marker 37 -- should be right up here -- there it is, turn, turn! He swerves off the highway, down a single lane road. Up ahead, a massive rock formation pushes up from the earth. A KAREN (CONT'D) 68. T M S
69. lone monument amidst empty fields. Tom parks in a small lot. CUT TO: SANDSTONE W. Clark July 25 1806. Inscribed in stone. Tom and Karen stand amongst a smattering of TOURISTS. Karen reads from an accompanying plaque -- KAREN Pompey's Pillar. Says this is the only remaining evidence of the expedition. Clark named it after Sacagawea's baby, he nicknamed Pomp. Tom gazes into the rock, transported. Runs his fingers over the carved grooves. TOM Two-hundred-twenty years... And here I stand. Breathing. KAREN Some pervasive sperm the man had. He turns, can't help but laugh. EXT. KAREN'S CAR - LATER Karen and Tom approach the car, darkness setting in. Tom lingers, affected. Taking in the pink sunset. Karen goes for the door, stops -- KAREN What? TOM I dunno. It's beautiful here. Musta looked just the same. To them. KAREN You got a look in your eye...? TOM Well. If you're gonna do the Lewis and Clark trail, seems to me, ya gotta do it right. 69. T M S
70. Off her raised brow -- CUT TO: FIRE Across a distant field. The Pillar towering beyond beneath a kaleidoscope of stars. ARRIVE AT Tom stoking a campfire. Karen arrives, dumps more branches for reserve -- KAREN Worst case, this runs out we can sleep in the car. TOM It's warm, we'll be good. Sit. She takes a load off. Digs into her pack for sandwiches -- KAREN Ham or turkey? TOM You pick. She unwraps one, tosses him the other -- KAREN Don't imagine they had gas station sandwiches back then? TOM Hey man, don't buzzkill my reenactment. Shared smiles. EXT. POMPEYS PILLAR - LATER Late. The pair lay side by side staring up at the stars. Blankets and backpack pillows. KAREN We're not gonna get eaten by bears or anything, are we? Tom dumps crumbs from an empty Doritos bag -- 70. T M S
71. TOM Don't think we got anything they'd want. She moves closer to him for warmth. He feels the heat of her breath. Swallows. Nervous. KAREN That's got to be the brightest moon I've ever seen. He rubs his bloodshot eyes. Half-delirious. She notices -- KAREN (CONT'D) Add some sheep jumping over it and you might just have a shot. (then) Wait -- your sleeping pills! Did you leave 'em in the car? I'll go get 'em -- She rises to go -- TOM No, it's okay. KAREN Whaddya mean? TOM Just been thinking. Gonna think I'm nuts. KAREN Try me. TOM Well. I can't stay awake forever. So in the mean time. If I happen to see her again... That's pretty okay by me. Melts her. She innocently kisses his cheek. KAREN You're a very smart man, Mr. Clark. (then) Hey -- look -- He sits up. In the distance, a fragile doe approaches in the moonlight -- TOM It's a deer. 71. T M S
72. KAREN Oh my god, how perfect. They watch as wobbly legs hesitantly creep toward them. Mesmerized by its beauty. Closer, closer... Until, Karen suddenly realizes -- KAREN (CONT'D) Oh no -- Blood pours from its hind quarters, it's abdomen crushed -- TOM Christ -- it must have been hit by a car -- The dying animal staggers to within yards of them, collapses to the ground. Karen leaps up, rushes to it. The deer heaves in pain, foaming at the mouth. Trembling in fear. Karen kneels, cradles its head, tears streaming down her face -- KAREN Oh Tom, she's dying... He joins her, cracking. The sight of it too much. Karen gently strokes the poor creature's neck. Compassion pouring out of her. Tom inspects the wounds, helpless -- TOM I don't think there's anything we can do... KAREN Water? He rushes over to the fire, grabs a water bottle. Hurries back. Delicately wets the deer's tongue. Can barely watch, overcome. KAREN (CONT'D) That's it, girl. We're here. I know, it hurts. I'm sorry, baby... The animal slowly calms, breathing slows. Submitting. Tom looks into its eyes. Watches...as she dies. Haunting. Karen cradles its head. Weeping. Gently lets go. It's over. Moments pass. Finally, Tom stands. Searching his emotions. Arrives at angry -- 72. T M S
73. TOM Godammit! What was the point of that?? Why us? KAREN (confused) What do you-- TOM I mean seriously -- if there is a god, he's a sadistic sonofabitch! Just pile it on! No, I haven't gotten enough -- gimme more! Fuck! Just take me out and get this over with! He kicks over the firewood, enraged. Concerned, Karen rises, tries to take his arm -- KAREN Tom-- He yanks it away -- TOM No! Let me be angry! I have a right to be angry!! He paces it out, coming apart. She gives him room. Understands. He stews. Stands apart from her. Finally -- KAREN (soft) Yes. You do. And so do I. But. We have a choice. We decide how to feel about this. TOM What possible way is there to feel about that other than deep, inconsolable despair?? Our lives, all of this, means nothing -- can't you see that?! KAREN That's your right. And I'm not gonna tell you how to feel. But I'll tell you what I saw. I saw an innocent animal who for whatever reason died tonight. But instead of dying a horrible death out there in the dark, all alone. It found its way to us. It wasn't alone. Maybe. That means something. 73. T M S
74. He fights it. Unwilling. TOM Yeah, yeah, and it's god's footprints in the sand when times are worst. And the one baby that survives an earthquake when hundreds died is a miracle -- bullshit. Its greeting card bullshit we come up with to make ourselves feel better. It's weak. She bristles -- KAREN So you're being strong? TOM Oh just forget it... He storms off into the dark -- KAREN Where are you going? She watches as he disappears from the moonlight. Worry. EXT. POMPEYS PILLAR - LATER Tom climbs, furiously heaving as he hikes up the plateau. Helpless anger with every step. Moonlight shining down on the ant as he ascends. EXT. POMPEYS PILLAR - LATER Tom emerges from the rough, steps out onto the ridge, a hundred and fifty feet up. Lungs burning. Gasping for air. Depleted, he ambles to the edge. Gazes out. TOM'S P.O.V. LSD trip. Stars swirling like tracers. Trees reaching out to him. The earth breathing. He tries to shake it off. No luck. So he relents. Just stands there and closes his eyes. Futilely mashing them together. Calms himself. Breathing slows. Finally, he opens his eyes. 74. T M S
75. And there she is. In the field below, running through the tall grass with the Newfoundland. Flynn. Fully aware of the illusion, he just watches her play. Eyes brimming. EXT. POMPEYS PILLAR - LATER Exhausted, Tom meanders back up to the dwindling campfire. Sees rocks piled over the deer. And Karen, laying by the fire. He lays down next to her. And holds her tight. EXT. POMPEYS PILLAR - MORNING Dawn sun washes over the wilds, light glistening off the babbling Yellowstone River. INT./EXT. KAREN'S CAR - TRAVELING - DAY Back on the road, past a sign: Leaving Billings, Come Again! Tom drives as Karen munches into McDonalds drive-through -- KAREN Forgot to ask, you get any sleep last night? TOM (shakes no) 0 for five. KAREN Man, I don't know how you're still standing. TOM It's weird. Sometimes I feel like I'm gonna pass out, but then all of a sudden I just get these bursts of energy like my senses are on overdrive or something. Every sound, every smell... KAREN Like you're pregnant. TOM (smiles) I s'pose... (then) Why, you ever been pregnant? KAREN Never found the right donor. 75. T M S
76. TOM Married? KAREN One in the same. TOM What is it you do exactly? For work, back home? KAREN Before my dad got sick, I did accounting for a vet. TOM Ah, so that explains... KAREN Well I did the books, not exactly like I know how to treat animals. But I do love them. Quiet as they reflect on last night. TOM I'm sorry. For losing it. KAREN You needed to. Besides, I'm glad. Now I'm not the only crazy one. He smirks, takes a bite of his Egg McMuffin. INT./EXT. KAREN'S CAR - TRAVELING - LATER Karen surveys the map. Swallows. KAREN Looks like we'll make Idaho by tomorrow. She bites her lip, nerves. TOM You okay? KAREN Can't turn back now. (then) I never asked. Will you. Go to the river with me? 76. T M S
77. TOM Have to check my schedule. She punches -- but he catches it this time -- she giggles -- TOM (CONT'D) I'm hip to your moves, woman. KAREN Hey -- look -- Road sign: Dinosaur Park. Karen lights up like a kid -- KAREN (CONT'D) Can we go, can we go?? Tom turns off. EXT. DINOSAUR PARK - DAY The pair walk through a canyon park. Fossilized dinosaur remains in stone outcrops, skeletal models. Giddy TOURIST CHILDREN run wild. TOM Look at 'em. Not a care in the world. KAREN They got plenty of time for that. Tom stumbles, woozy. Karen clutches him -- KAREN (CONT'D) You alright? TOM Depends. Am I the only one seeing those Pterodactyls flying up there? She smiles, guides him along -- KAREN Come on, sleepy. (then) How 'bout you. What'd you do, before? TOM Engineer. For Boeing. Put satellites in the sky. 77. T M S
78. KAREN A-ha. Mr. Science, eh? TOM Rhetorical? KAREN Maybe. Just makes sense. Why you're in your head so much. TOM (wry) Thanks, here's my nickel, Lucy. She smirks. They round a bend, come upon a large gathering. Chairs, flowers, candles. GUESTS in suits and dresses. A wedding, mid-ceremony. The BRIDE and GROOM stand at the altar beneath the massive rib cavity of a towering T-Rex -- Awe-struck, Tom and Karen quietly pick up the rear as the MINISTER presides -- TOM (CONT'D) What on earth...? An OLD BIRD in the last row turns, whispers -- OLD BIRD They're both paleontologists. Isn't it romantic? Realizing, Tom and Karen nod, smile. Oddly endeared. ANGLE - ALTAR The Minister closes his book -- MINISTER ...And by the powers vested in me, I now pronounce you husband and wife. You may kiss the bride. Tears stream down the young woman's face as the groom opens her veil. His eyes sparkle as he kisses his wife. ANGLE - TOM AND KAREN The sudden genuineness of the moment catches them both off guard. Their hands find each other. Clasp. The CROWD lets loose a WHOOP of APPLAUSE, CHEERS as the happy couple descends the aisle beneath a hail of rice and flowers. 78. T M S
79. Tom and Karen just marvel as they pass. Brightened. SERIES: ...Champagne glasses toast. Tom and Karen crash the festive reception... ...Tom talks up the Old Bird at a table. He smiles, spying Karen chasing giggling ring bearer boys, velociraptor- style... ...Bride and Groom cut the Brontosaurus cake. Tom shoves a hunk of tail from his plate into Karen's unsuspecting mouth... ...Tom and Karen at the sound system, conferring with the DJ. He nods, loads up a song -- Tom grabs the mic -- TOM Ladies and gentlemen, in the spirit of the proceedings, I give you T. Rex -- Revelers excitedly hit the dance floor as T. Rex's Bang A Gong, Get It On BLARES from the speakers... END SERIES. EXT. MISSOULA - DUSK Old West Main Street. Boot cobbler, sewing machine repair. Tom parks the car on the street in front of the historic Palace Hotel. They climb out, stretch legs -- TOM I'll go get us a couple rooms if you wanna walk around. KAREN You sure? Meet you in the lobby in fifteen? He winks and heads inside. Karen meanders down the busy block, heads into an antique jewelry store... INT. PALACE HOTEL - NIGHT All cleaned up, Tom idles in the lobby, waiting. DING. Elevator arrives. He turns to see Karen emerge in a dress, hair just so. Beautiful. He lights up -- 79. T M S
80. TOM Wow. You look... He can't find the words. But she sees it in his face. KAREN (demure) Clean up pretty good yourself there, cowboy. He offers his arm, and they make for the night. EXT. MISSOULA - SIDEWALK - NIGHT The streets are uncommonly ABUZZ as the pair strolls. BIKERS on hogs, TEENS in pick-ups cruising the streets. MUSIC from radios, revelry -- KAREN You'd think we were in Times Square -- wonder what's going on? They round a corner, come upon a row of barriers cordoning off the street. Block party. TOM Asked and answered. They both laugh -- a banner stretching across the street: 41st Annual Testicle Festival! CUT TO: ROCKY MOUNTAIN OYSTER EATING CONTEST! Says the booth -- CLANG! The cowbell is rung. Karen watches in amazement as COWBOYS, BIKERS, and TOURISTS feverishly race to shove deep fried bull's balls into their mouths. Tom returns with beers, offers one -- TOM Heard it tastes like chicken -- KAREN Take your word for it. They move along, navigating the cavalcade of odd REVELERS. A VENDOR hawks rubber car bumper bull's balls. Drunken TEEN TARTS flash for beads. 80. T M S
81. TOM Welcome to Montana... KAREN I love it! A BIBLE THUMPER stands atop a milk crate with a sign: Deuteronomy 6:16 -- BIBLE THUMPER Jesus saves! Karen smirks. Tom catches -- TOM What? KAREN 'Do not put the Lord your God to the test.' Deuteronomy. TOM Look at you, Sunday School. KAREN Some kids got Curious George, I got Old Testament. He swigs down his beer -- TOM Pretty convenient racket -- don't doubt me and don't ask any questions. KAREN Careful, Mister. My dad devoted his life to that 'racket.' TOM Stupid. Sorry. KAREN (shrugs) So, you never, were religious? Before he can answer, a face in the crowd -- Tom double-takes -- TOM'S P.O.V. Locking eyes with him. A man. Stricken, pale. Drenched. Blown retinas. Face and arms bludgeoned black and blue. Undead. It’s himself. Tom's doppelgänger -- 81. T M S
82. Tom recoils, horrified. Blinks his eyes. The man gone. KAREN You alright? TOM (covering) Yeah, yeah. Let's get another drink. CUT TO: SHOTS slam down onto a bar -- Tom and Karen throw 'em back. Raucous biker bar, LYNYRD SKYNYRD COVER BAND onstage. Tom motions the BARTENDER for two more -- KAREN (tipsy) For the record, cross my heart and hope to die, I have never kissed a stranger in a parking lot. TOM Well, now that that's settled. KAREN Seriously! I'm not like that. TOM That supposed to be a good thing? She smiles, coy. The band kicks into Sweet Home Alabama. Karen lights up, drags him -- KAREN Holy shit -- come on! TOM Ain't enough money in the world. She pouts, puppy dog. Thick. He relents, downs his shot. Follows her onto the crowded dance floor. And they dance. Karen lets loose, laughing and spinning. Tom can't help but smile as he watches her. ALL SOUND DISSIPATES. SILENCE as he twirls her around and around. Drinking in her joy. The tiniest hint of life returns to his eyes. 82. T M S
83. EXT. MISSOULA - SIDEWALK - NIGHT Feeling no pain, Tom and Karen make for the hotel. Decked out in festival gear, a renewed lilt in their step -- KAREN (singing) Sweeeeet Home Alabama... TOM Ever been there? KAREN Nope -- but tonight, it's my home -- She takes his hand, makes him twirl her. She spins around, tumbles to her butt laughing -- TOM Okay, Dancing With the Stars-- Amused, he offers a hand up -- but her smiling face suddenly goes white. Cold water in the face -- KAREN Hey -- ? Oh my god-- TOM What? She leaps up from the curb -- panic -- sprints across the street for the hotel -- TOM (CONT'D) Where are you--? Worry, he runs after. She SCREAMS. Hysterical. Tom rushes up to her side. Broken glass at the curb. Her car. Gone. KAREN It's gone -- oh my god, it's gone!! Tom tries to process -- realizing -- speechless -- TOM Are you sure-- He searches the line of cars on the street -- KAREN Yes I'm sure -- it was right here! 83. T M S
84. It sinks in -- incredulous -- Karen, inconsolable tears -- TOM Unbelievable -- Karen goes berserk -- KAREN Sonofabitch! Who does this?! Who fucking does this?! She kicks a car -- pounds its hood violently -- Tom tries to restrain her -- TOM It's just a car, honey -- it's just a car-- Out of control, she throws him off -- KAREN I don't care about the car! Fuck the car!! Then, he realizes -- TOM Oh no -- your father's-- The weight of it washes over -- KAREN The rods, the flies -- all of it! She CRIES in pain. Falling to pieces. Staggering, crumbles to her knees in the middle of the road. HONK! A car swerves. Tom rushes to her -- she fights him -- manic -- another person -- TOM Karen -- come on -- KAREN No -- leave me alone! More cars. HONKING. No choice, he manhandles her -- scoops her up -- carries her to a doorway -- fighting and kicking -- TOM Karen, calm down -- calm down -- She lets loose a BLOOD-CURDLING ANIMAL SCREAM. Complete madness. Unbridled tear-streaming hyperventilating. Tom recoils, afraid. Helpless. Ill-equipped. ONLOOKERS gawk. 84. T M S
85. TOM (CONT'D) Where's your medicine -- you need your medicine-- She smashes her hand into the glass door -- KAREN Fuck that!! The glass shatters -- blood oozes from her hand -- TOM Oh Jesus -- He pulls out a handkerchief -- tries to wrangle her hand -- A HOTEL DESK CLERK sticks her head out the door, shakes her head in disgust. Slips back inside. Karen goes fetal, mumbling -- incoherent -- lost -- KAREN I'm a terrible person. TOM No, you're not-- KAREN Yes, I am -- I couldn't handle it -- he's dead because of me-- TOM No he's not, what are you talking-- KAREN I lied -- I left! I wasn't strong enough -- he spit out the oatmeal, okay?? All over me -- I freaked out and I left -- got in my car and left! Never would've fallen if I'd been there... He just cradles her as she trembles wildly -- afraid for her -- KAREN (CONT'D) (sobs) Wasn't there to call the ambulance... I'm so weak. Be alive if I wasn't so pathetic... TOM No, honey, no... 85. T M S
86. KAREN You don't know, you don't know... Suddenly lights, a SIREN CHIRP. Sheriff's vehicle pulls up. SHERIFF steps out, ambles up -- SHERIFF Got ourselves a problem here? TOM No, officer -- she's just-- KAREN I'm the problem! Lock me up! She pushes Tom away -- resurgent -- he grabs for her -- she falls at the Sheriff's feet -- TOM She's sick, officer -- she needs her prescription-- KAREN Stop saying that!! I don't need anything!! Just leave me alone! She lurches up -- the Sheriff grabs her -- EXT. PALACE HOTEL - LATER PARAMEDICS strap Karen to a gurney, load her into an ambulance. Exhausted tears, trying to reach out -- KAREN Don't let them drug me, Tom -- please -- don't let them -- Tom stands with the Sheriff, can barely watch. Heartbroken. EXT. HOSPITAL - NIGHT A quiet, old owl serenely gazes down from his weather vane perch at the regional hospital grounds. Moon on high. CUT TO: TOM'S SPIDER-WEB RED EYES In the mirror. Men's room. He splashes water in his face. Stands there, taking stock. Fraying at the seams. 86. T M S
87. INT. HOSPITAL - MOMENTS LATER Tom in the hall outside a door. Through glass, he spies Karen in bed, out cold. I.V., bandages on her hand. Sedated. DOCTOR (O.S.) Pardon -- He turns to find a tired DOCTOR in between rounds -- DOCTOR (CONT'D) You're her friend, is that right? He nods, shakes. DOCTOR (CONT'D) I'm Doctor Lee. She suffered what's called a rapid onset acute manic episode, basically like an anxiety attack times a hundred. We have her sedated and she's going to be fine. We'll just let her sleep it off tonight. I understand she hasn't been taking her anxiety meds? (Tom shakes no) Well, when she wakes up tomorrow, as her friend, I highly encourage you to get her back on her course of medication. The fragility of her current mental state is manageable, but she has to see her treatment through. TOM I will. Thank you. The doctor bids him well, heads off. INT. HOSPITAL - LATER Tom in a waiting room chair. Staring at nothing. Then -- SHERIFF Mr. Clark? He snaps to. The Sheriff approaching. 87. T M S
88. EXT. HOSPITAL - PARKING LOT - MOMENTS LATER The Sheriff and Tom standing over Karen's car. Smashed driver side window. Otherwise, in tact -- SHERIFF Found it about a mile outside of town. Looks like it was just a joyride, kids. Tom peers into the rear -- the fishing gear still there. Sigh of all sighs. SHERIFF (CONT'D) We can fill out a report, do the whole song and dance, but if you're just passing through...? TOM No, it's fine. Thank you. For bringing it here. They shake -- SHERIFF I'd say 'come again', but we didn't exactly put our best foot forward. TOM No, you've been...very understanding. Thank you again. A nod and the Sheriff climbs in his car, heads off. Tom reaches in, grabs the fishing gear. INT. HOSPITAL - KAREN'S ROOM - LATER The poles placed just so on a chair. Tom folds a note, sets it down beside. Just stands over Karen. Loss for words. Upside down inside. Runs a finger down her arm. TOM Scared the shit outta me, kid. (then) Never counted on feeling that way again. (then) Thing is. Where I'm going. Well. Best you don't follow. He leans down, kisses her cheek -- 88. T M S
89. TOM (CONT'D) Hope you catch the old man a whopper. And with that, he disappears out the door. EXT. HIGHWAY - NIGHT A semi's hydraulics FIRE, brake lights. Passenger door throws open. Hitcher Tom hurries up from the shoulder, climbs in. INT./EXT. SEMI TRUCK - TRAVELING - LATER The DRIVER and Tom drive the lonely highway, COUNTRY TWANG serenading on the radio. Tom's eyes are absentmindedly drawn to the cupholder between them, an empty 7-11 coffee cup stuffed with used sugar packets. He pulls a packet wrapper from the cup, gazes into it. Regret. Deep sigh. Semi brake lights illuminate as it pulls to the shoulder. INT. HOSPITAL - KAREN'S ROOM - MORNING Morning sunlight bathes the sterile room. Karen's eyes flutter open. Take in her surroundings. Dread. Regret. Until -- she turns -- sees the poles. She throws back the sheets, rushes to the chair. Instant joy. TOM (O.S.) Abra cadabra. She spins. Tom, sitting in the corner chair. KAREN How did they--? TOM Don't worry about it. Now get dressed, we got places to be. She smiles. Profoundly grateful. CUT TO: WELCOME TO IDAHO - HOME OF THE IDAHO POTATO says the sign. Karen's car zooms past. 89. T M S
(MORE) 90. INT./EXT. KAREN'S CAR - TRAVELING - DAY Karen sits silently as Tom drives -- TOM Been pretty quiet. No response. He turns to her, pushes with his eyes. Finally -- KAREN Figure I did more than my share of talking last night. (then) Pretty shocked you're still around actually. TOM Don't go giving me a medal just yet. (beat; then) I left. KAREN (surprise) Why'd you come back? TOM You ever smelled the inside of a semi's cab? KAREN Seriously. He gives it a moment. Genuine -- TOM I don't know. Just did. She hides a small smile. An emerging bond. EXT. SNAKE RIVER - DAY Monarch butterflies dance the sun-drenched riverbanks. Karen's car sits parked down a dirt road, hatch open. Tom and Karen rest on the bumper, readying the rods and reels. She carefully selects just the right fly from her father's cap. He deliberates for words. Then -- TOM Had a few hours before you woke up. Talked to a trauma specialist in the ER. (MORE) 90. T M S
TOM (CONT'D) 91. (then) Medulla Oblongata. Controls the lungs and heart. If it's severed, it causes instant death. Faraway look in her eyes. Chills. Right back in that kitchen. TOM (CONT'D) Ambulance couldn't have saved him. And he could've just as easily fallen if you were standing right there. KAREN But-- TOM But nothing. Had nothing to do with you. It's not your burden. And I'm not gonna listen for another second that it is. She releases a long-held breath. Weeks of shame. Exhaled. A moment. Eyes welling, she turns to him, embraces him. KAREN (meek) Thank you. He just holds her there. Finally -- TOM (matter of fact) Let's go fishing. EXT. SNAKE RIVER - DAY Soaring mountains cascade to the water's edge. The pair stand ankle deep in the babbling flats. Tom casts, reels. KAREN Look like you know your way around that thing. He gazes out, remembering. Diverts -- TOM Wasn't gonna say anything 'cause I didn't wanna show you up when I haul in the big one. TOM (CONT'D) 91. T M S
(MORE) 92. KAREN Ah, a ringer, huh? She casts. Peeks at him out the corner of her eyes. TOM (distant) Used to take her out, on our boat. KAREN That's sweet. TOM Did the best I could. Guess I was hoping to make up for her gettin' cheated out of a mom. KAREN When did she...? TOM When Flynn was just two. Breast cancer. KAREN Poor thing... He goes quiet, surprised at himself. She senses. Gives him room. Then -- KAREN (CONT'D) Ya know, you never answered my question. If you were ever religious? He chuckles. KAREN (CONT'D) Thought you were gonna get away on that one, huh? TOM Persistent, I'll give ya that. He casts, reels. Avoids. She picks up a rock, throws it down near his feet. He relents -- TOM (CONT'D) Religious? She and her mother were. S'pose I considered myself spiritual. Agnostic, maybe. Who knows... (then) (MORE) 92. T M S
TOM (CONT'D) 93. After my wife died, I started paying attention. Looking for a sign, ya know? Something. To hold onto. When it never came, I resigned myself that I could see her in Flynn's eyes. And that was enough. (then) Now. It's not enough. Not even close. The bitterness rises in his chest. She edges downstream to him. Gentle -- KAREN When I was a teenager, used to have knock-down drag-outs with my dad. How it's just a crutch. Bunch of made-up stories to quell the masses -- all that smug enlightenment that atheists pride themselves in. But he never pushed. He just used to tell me, 'Karen, we'll never know if there's something more out there, so why not choose to believe there is.' Familiar. He smiles. KAREN (CONT'D) What? TOM Nothing. Just rings a bell. Cast and reel... EXT. SNAKE RIVER - LATER The sun drops in the early evening sky. Eagles soar overhead, hungrily circling rapids. Tom and Karen, still empty-handed. TOM Gonna be dark soon. KAREN I know. I was just hoping to... TOM Hey, I'll sit out here all night if it means getting a bite. TOM (CONT'D) 93. T M S
94. She bites her lip, conflicted -- KAREN Is it completely sacrilegious if I say my feet are freezing? He smiles, reels in his line -- TOM Come on. Any real fisherman knows it's about the day on the water, not the catch. Reassured, she nods, reels in her line. Head for the banks. EXT. SNAKE RIVER - LATER The pair ambles the gravel road for the car, refreshed, if a little disappointed -- KAREN Well, at least we made it, right? TOM He'd understand. KAREN Oh you don't know my dad. He was the first one on the water and the last one off-- THWACK! An object plunges from the sky, smack dab in front of them. Two feet long. Flopping on the rocks. Last breath. Dead. A Steelhead Trout! TOM What the--? They gaze up -- a circling eagle overhead -- Karen slowly turns to Tom. Pie-eyed amazement. Unmitigated awe. Tom will have nothing to do with it -- TOM (CONT'D) Oooh no. 94. T M S
95. (MORE) TOM (CONT'D) (then) You do realize that eagles drop their catch to the ground, to kill it? KAREN (joy) Uh-huh. TOM And there's nothing unusual about it happening here, now. KAREN (mile wide smile) Not a thing. He lets her have it. They laugh in disbelief. Scoop up the "catch", enchanted. Karen holds it overhead, dances a jig -- KAREN (CONT'D) (sings) We caught a fii-ish, we caught a fii-ish! CUT TO: THE TROUT sizzling on a grill -- Tom grabs an order number stand, carries drinks on a tray OUTSIDE. Vera's Famous U Catch We Fry BBQ emblazoned on a sign overhead. Quaint fisherman's roadhouse on stilts over the river. He joins Karen at a picnic table on the deck -- TOM Grilling as we speak. KAREN Mmm, I can smell it. (wry) Heavenly -- TOM Stop it. 95. T M S
96. KAREN Okay, Doubting Thomas. Not even Tom's skepticism can douse her glee. Renewed. As he butters bread, she just watches him. Enamored. Reaches into her purse, sets down a small, ribboned jewelry box before him. He looks up, surprise -- TOM What's this? KAREN Just a little something I got you. To say thanks. For everything. TOM When did you--? KAREN In Missoula -- open it. Embarrassed, he unties the ribbon -- TOM You didn't have to-- Opens the lid. An antique copper timepiece. TOM (CONT'D) Whoa... KAREN No more excuses. Touched, he flips open the cover. Inside, opposite the clock- face, his photo of Flynn. He skips a breath. Unexpected. KAREN (CONT'D) Hope you don't mind. I snuck it when you weren't looking. This way, you have a reason to keep time again. Knocks him in the gut. Heart in his throat. Deeply moved. Can barely speak. TOM Thank you. It's -- incredibly thoughtful. KAREN You're welcome. 96. T M S
97. She leans across the table. Takes his face in her hands. And kisses him. Long. Sweet. Loving. She releases, sits -- KAREN (CONT'D) And lest there be any confusion. I'm back on my meds. He smiles. Laughs with her. Deeply affected. Just as the WAITER arrives with their fish. They throw up hands in anticipation -- TOM/KAREN Booyah -- there she be -- As they excitedly dig in, WE PULL AWAY, LEAVING them to their torch-lit fish fry... EXT. MOTEL - NIGHT Cookie-cutter travelers motel on the Palouse strip. Clarkston Inn says the florescent. INT. MOTEL - NIGHT Doorknob RATTLES, the door flings open. Tom and Karen fumble their way inside, entwined in embrace, passionately kissing. They fall to the bed, desperate. She pulls off his shirt, feels the warmth of his skin. Consuming one another... All too much, he pries himself away. Overcome. Embarrassed -- TOM I -- I'm sorry... KAREN It's okay. She understands. Eases herself up, tenderly strokes his hair. Eyes magnetic -- KAREN (CONT'D) Not in a million years. Could I have imagined this. He quietly looks up at her. KAREN (CONT'D) Where did you come from? TOM Auto accident. 97. T M S
98. She smiles. KAREN Well I, for one, don't think it was necessarily an accident. His eyes twitch ever so slightly, nerves -- TOM Tell that to my skull. KAREN Poor baby. She gently rubs the lump on his head -- KAREN (CONT'D) When we get to Astoria tomorrow, I'll buy you a helmet, so you never have to be scared of me again. Astoria. The mention of it. Strikes him. He covers his unease -- TOM I must smell like a fish market. (off her) Gonna grab a shower, 'kay? He slides out from under. Unaware, she readjusts -- KAREN Sure. I'll hold down the fort. INT. MOTEL - BATHROOM - MOMENTS LATER Tom stands in front of the mirror. Just stares at himself. Breathing heavy. Pale. Swallows. Anxiety taking hold. Shakes it off, climbs into the shower. INT. MOTEL - LATER Cleaned up, Tom emerges from the bathroom. The room empty. Karen gone. A note on the desk. He picks it up, reads: Tom, Ran out for cigarettes. Back in a jiff. XOXO Karen. But she's drawn little hearts in place of the O's. Tom stands paralyzed -- 98. T M S
99. IMAGES -- TOM'S MIND -- instantaneous flashes -- Flynn on the boat, handing over his birthday card. He reads: Happy Birthday Daddy! XOXO Flynn. Little hearts in place of the O's. It knocks him back. He looks up, the room closing in on him. Overwhelmed, he instinctively grabs his pack, moves for the door. Stops. Returns to scribble a note. Slips into the hallway. Stares back at the door. Heart in knots. Hates himself. Heads down the hall. EXT. MOTEL - NIGHT Tom hurries blindly through the parking lot. Down an alley. Faster, faster. Runs. Into the darkened neighborhoods. Further, further away. Lungs heaving. Legs burning. Until he can run no more. TOM Fuck fuck fuck! Comes apart. Helpless to himself... EXT. NEIGHBORHOOD - LATER Tom trudges down the middle of the street. Lost. More ways than one. Double-takes. A driveway. An old motorcycle parked at the curb. FOR SALE -- $500 or Best Offer says the attached sign. He glances up at the open garage, CLASSICAL MUSIC wafting from a radio. A BALD MAN kneels at an antique desk on a tarp, laying stain. Tom doesn't think twice, marches straight for him -- TOM S'cuse me? Bald glances up, turns down the radio -- BALD Evening. TOM Bike still for sale? Bald stands, looks out at the quiet darkness whence Tom came -- BALD You from the neighborhood...? 99. T M S
(MORE) 100. TOM No -- just -- passing through. BALD (confused) And you happened to see the bike and wanna buy it? Just like that? TOM Just like that. Bald takes stock of him. Sees the desperation -- BALD Ain't in some kinda trouble are ya? Tom pulls out cash from his pocket, offers -- TOM No. Bald considers, sets down the brush -- BALD Well have a seat, let me grab the title. Tom edges into the garage as the man moves to a cabinet -- BALD (CONT'D) (friendly) What brings ya to Clarkston? TOM (impatient) Lewis and Clark -- I'm doing the trail. BALD Well no kiddin'? We're named after Clark, ya know? Lewiston across the river, for Lewis. Tom nods, mind elsewhere. Bald returns with the title and key, hands them to Tom. Counts the cash. Tom regrets -- TOM I'm sorry -- I'm just -- having a hard time. BALD Happens to the best of us. (then) (MORE) 100. T M S
BALD (CONT'D) 101. Things are looking up for you though. Off Tom, the man indicates -- the bike -- BALD (CONT'D) She's my baby. Seen a lotta pavement with her over the years. TOM Oh yeah? Why ya selling? The man moves to the cabinet, puts away the cash -- BALD Oh, wouldn't wanna burden ya. TOM No burden... BALD Well, I'd guess they call it 'getting my affairs in order.' Tom registers, on his heels -- TOM Your...affairs? BALD (smiles) Think I'd choose this haircut? Tom stutters, at a loss -- BALD (CONT'D) Pancreas. Got about a month. TOM I -- I'm -- sorry. BALD Oh don't be sorry. I'm not. Way I see it, I had fifty-three blessed years, beautiful wife, daughter. All that time, I never asked why I had things so good, not about to complain why I'm hitting a rough stretch now. The man is downright cheerful. Sincere. Disarms Tom. BALD (CONT'D) Anyway, probably rude of me... BALD (CONT'D) 101. T M S
102. TOM No, no. It's alright... He gazes past him at the desk. Admires -- TOM (CONT'D) It's beautiful. Antique? Bald turns, smiles on it -- BALD Ain't it ever. 1896. Had to refinish it, replace the drawer. (then) Got a grand-baby on the way. Gonna need someplace to do her schoolwork. The simplicity of the statement. Crushes Tom. About all he can take. Nods for the bike -- TOM Well, uh, thank you. I'll take good care of it. BALD (smiles) Got a feeling you will. SMASH TO: WHEELS Spinning on pavement. Wind through his hair, Tom opens the throttle, races the desolate road through the darkness. Alive. The lone headlight carves a path alongside the vast Columbia River. INTERCUT - KAREN arriving back in the motel room, reading Tom's note: Karen, Thank you. More than you know. I'm sorry. You deserve better. Tom. She sinks. Confused. Hurt. Hole in her heart. EXT. COLUMBIA RIVER - NIGHT Middle of nowhere. Tom approaches a towering bridge over the river. Lewis and Clark Bridge. He veers off the two-laner, takes a service road down beneath. 102. T M S
103. Parks the bike, wanders to the water's edge. Stares two hundred feet up at the road surface. Foreboding. Chill runs through. A moment. Suddenly, his eyes are drawn to the water -- TOM'S P.O.V. A darkened mass floating in the current -- a jacket -- a man face down -- TOM Hey -- hey! Aghast, Tom rushes to the bank -- the body floating by. Incredulous, Tom lunges into the water, knee-deep -- reaches out for him -- horror. He's got him -- flips him over -- Suddenly, the man opens his eyes -- Tom's doppelgänger from the festival -- blown retinas, bludgeoned black and blue -- Tom startles -- shock -- recoils -- double-takes -- It's nothing -- a garbage bag full of discarded clothes -- Tom backs away -- realizes -- hanging by a thread. He strides back to the bike -- starts it up, SCREECHES the hell out of there. Afraid for his sanity. EXT. ASTORIA - DAY Dawn sunlight creeps over the Oregon Coast Range. Tom sits on the shoulder above the river. Stares out at the green beast. The Astoria Bridge. Four miles long, two hundred feet high. A massive Chinese tanker churns the river's mouth beneath the trusses. He closes his eyes. Arrival. EXT. ASTORIA - DAY Tom Sunday-drives the main drag through the tiny port town. Ancient Victorians gaze down from the bluffs to The Finnish Men's Club and Annie's Tavern and Dancers. Gazing up the hill, he catches something out the corner of his eye, accelerates up the incline. EXT. CHURCH - ASTORIA - DAY St. Mary Star of the Sea, Roman Catholic Church says the sign, a high-steepled chapel. Tom's bike parked at the curb. 103. T M S
(MORE) 104. INT. CHURCH - ASTORIA - DAY Tom sits quietly in the shadows of the confessional. Waiting. The other side opens, and the PRIEST takes a seat. Clears his throat. Awkward, Tom searches for words -- TOM I -- I'm not Catholic -- not sure what the protocol is here...? PRIEST (O.S.) Why don't you tell me why you're here. TOM I -- don't believe in -- your god -- or any other for that matter. Don't presume to know anything about -- what happens -- after... PRIEST (O.S.) You're certainly not alone in that view. But something has brought you here now? Tom trembles, no way to say it but to say it -- TOM I'm going to jump. Off the bridge. And I'm scared as hell. PRIEST Son, you-- TOM (cracking) Please let me finish. (then) I was scared before. And I couldn't go through with it. It was the least she deserved. And I was a coward. I can't live with myself. And... I just had to say it. To somebody. He exhales. All he has left to say. Swallows, ashamed. The priest digests. Then -- PRIEST Son, perhaps scripture is of no influence to you, but I believe the proof of the divine is all around us. In the beauty of nature. (MORE) 104. T M S
PRIEST (CONT'D) 105. The kindness of strangers. It's revealed to us every day in ways that we ignore or take for granted. In the coincidences. You just have to look for them. And recognize them for what they are... The priest waits. No response. PRIEST (CONT'D) Son? Concerned, he exits the confessional -- the opposite door just clacking shut, empty -- Tom gone. Did he hear? Suddenly, he hears an ENGINE -- rushes to the entrance -- throws open the doors -- to see Tom speeding away on the bike -- EXT. LAMPLIGHTER INN - DAY Tom's motorcycle parked outside of a riverfront motel in the shadow of the bridge. INT. LAMPLIGHTER INN - DAY Drapes closed. Darkened but for a nightstand lamp. Tom sits on the edge of his bed. Contemplating the phone. Finally picks it up, dials -- RINGS -- voicemail -- ALAN'S VOICE (ON PHONE) Hi, you've reached Alan, please leave a message at the tone -- TOM Uh -- hi -- Alan -- it's Tom -- Clark. Long time, huh? I just wanted to call -- to say thank you -- for you and Mindy, being my friends -- for supporting me through it all. Just wanted you to know -- I didn't take it for granted. Guess that's it -- take care. He hangs up the call. Then stares at it. Considering. Unable. INT. MOTEL - CLARKSTON - DAY Karen at the edge of the bed, willing the phone to ring. Heart in knots. PRIEST (CONT'D) 105. T M S
106. INT. LAMPLIGHTER INN - NIGHT Tom upright on the bed, Domino's pizza in his lap. Stares into space eating a slice. Last meal. Matter-of-fact. INT. LAMPLIGHTER INN - NIGHT Tom lays on the bed, wide awake. Uncomfortable, he rolls over. And there she is. Flynn, head on the opposite pillow. Sweet smile. Tears in his bloodshot eyes, he reaches out, tucks her hair behind an ear. A moment. Bliss. Until -- a CAR ALARM BLARES outside -- Tom snaps to -- sits up -- Flynn gone. He realizes. Light streams through the curtains. Morning. He was dreaming. Slept through the night. Rubs his eyes, marveling. Looks at the nightstand alarm clock -- flashing 12:00. He gets up, reaches into his bag. Karen's timepiece. Opens it -- 7:30AM. He runs his hands across it fondly. Regret. Gently closes it and slips it back into the bag. EXT. LAMPLIGHTER INN - MORNING Tom exits the room, bag slung over his shoulder. Gazes up at the bridge. And starts for it. Across the parking lot. Across the road... EXT. ASTORIA BRIDGE - MORNING Steady, determined gait, Tom makes his way along the platform. Further, further out. Arrives at the peak. Stops. A spattering of DRIVERS obliviously speed by as he peers over the edge. The black murk swirls forever below. Taunting. Vertigo. He grabs hold of the rail. Knuckles white with fear. Muscles clenched. The moment. Upon him. He lifts a leg to the rail. Lungs pumping. Sheer will... Until -- suddenly -- a FLASH across his eyes. He squints from the GLARE. On the riverbank. From high in the trees. A SHIMMERING beacon. Insistent. Unrelenting. He's drawn to it. Can't turn away. Mesmerized. Hypnotic. SMASH TO: 106. T M S
107. TOM'S P.O.V. - FLASHBACK FLASH! Flynn in the dreamland distance -- mysteriously pointing at an angle, up at the glimmering star -- insistent -- brighter, brighter... BACK TO: EXT. ASTORIA BRIDGE - SAME Tom slowly lowers his leg. Pulls his hands from the rail. And strides. A fish to a lure. Back off the platform. Faster. Down the steps. The GLIMMER finding his eyes. Feet hit mud. He rushes along the riverbank, fighting through brush and driftwood. Reaches the towering grove of evergreens. Gazes up. The LIGHT calling out to him. Instinctively, he climbs. Hand over foot. Branch after branch. Higher, higher. And then. He sees it. Tangled up in pine needles. Sun- faded, torn rubber now a faint shade of red. The unmistakable silver charm still dangling from its tie. A heart. Sparkling in the sunlight. Flynn's balloon. He nearly swallows his tongue. Can't breathe. Shock. Impossible. And yet, here it is. Shaking hands carefully peel it from its long-dormant hiding place. Tom slowly descends the tree, carefully protecting the dime store rubber like ancient antiquity. He reaches the ground. Stands there, clutching it. Mind still catching up with his eyes. Suddenly, a look of recollection stirs, then puzzlement. Realizing, he furiously grabs his bag from the dirt, whips out Flynn's puzzle book -- flips through the pages, frenzied -- And then he finds it -- the words humbly printed right there on paper. All this time. Tears flood from his eyes. SMASH TO: INT./EXT. TOM'S CAR - MINI-MART - DAY - FLASHBACK Flynn takes the money from Tom and heads out. Turns back, her puzzle book -- FLYNN By the time I get back -- pink lips, storybook, wedding veil, jewelry box, racing throttle, shining heart. 107. T M S
108. He accepts the challenge and off she goes... SMASH TO: EXT. RIVERBANK - SAME Tom's memory washes over -- a kaleidoscope in his mind -- E.C.U. of the puzzle book -- PINK LIPS... SMASH TO: EXT. TRUCK STOP - NIGHT - FLASHBACK TOM'S P.O.V. Numbed senses, blurry eyes slowly come to focus. Lips. Her lush pink mouth draped upon his own. A WOMAN. He wallows there, in a daze -- until -- WHAM! She rams down on his chest with both hands. Again. Again. Now back to the lips -- CPR. He realizes -- flutters his eyes open -- sits up -- TOM I'm -- okay -- I'm okay! She backs away, hands shaking -- KAREN Oh shit -- thank God -- I'm so sorry -- SMASH TO: EXT. RIVERBANK - SAME Tom reeling -- E.C.U puzzle book -- STORYBOOK... SMASH TO: INT./EXT. DODGE - DAY - FLASHBACK Pie WAILS. Inconsolable. Tom just sits there, incredulous. Turns to the boy -- TOM Hey Pie -- it's okay, it's okay -- 108. T M S
109. Nothing doing. Then, he spots something on the floor -- a pop-up storybook. Three Little Pigs. Last ditch, he picks it up, opens it in front of Pie. Reads -- TOM (CONT'D) Once upon a time, there were three little pigs... Tom glances down. Pie's eyes waver closed, sleep. Sweet SILENCE. Tom just sits there, cradling the sleeping baby. Can't help but smile... SMASH TO: EXT. RIVERBANK - SAME E.C.U. puzzle book -- WEDDING VEIL... SMASH TO: EXT. DINOSAUR PARK - DAY - FLASHBACK Tom and Karen round a bend. Chairs, flowers, candles. A wedding, mid-ceremony. The BRIDE and GROOM stand at the altar beneath the massive rib cavity of a towering T-Rex -- MINISTER ...I now pronounce you husband and wife. You may kiss the bride. Tears stream down the young woman's face as the groom opens her veil. His eyes sparkle as he kisses his wife. Tom and Karen's hands find each other. Clasp... SMASH TO: EXT. RIVERBANK - SAME E.C.U. puzzle book -- JEWELRY BOX... SMASH TO: EXT. VERA'S BBQ - DUSK - FLASHBACK Karen reaches into her purse, sets down a small, ribboned jewelry box before him. He looks up, surprise -- TOM What's this? 109. T M S
110. Embarrassed, he unties the ribbon -- opens the lid. An antique copper timepiece. TOM (CONT'D) Whoa... KAREN No more excuses. Touched, he flips open the cover. Inside, opposite the clock, his photo of Flynn. He skips a breath... SMASH TO: EXT. RIVERBANK - SAME E.C.U. puzzle book -- RACING THROTTLE... SMASH TO: EXT. HIGHWAY - NIGHT - FLASHBACK Wheels spinning on pavement. Wind through his hair, Tom opens the throttle, races the open road through the darkness. Alive. The lone headlight carves a path alongside the vast Columbia River... SMASH TO: EXT. RIVERBANK - SAME E.C.U puzzle book -- SHINING HEART... Tom holds the charm heart in his open palm. Her last words. Whispers to himself, transformed -- TOM Things you open... His legs go wobbly. He crumbles to the ground. Disbelief. Belief. Heart overflowing. WE RISE UP FROM the tiny man on the riverbank, PAST the looming Astoria Bridge, INTO the bright blue. Warren Zevon's Keep Me In Your Heart stirs as -- INT. DRUG STORE - LATER Shoes on linoleum. Tom at the register. Serene resolve upon his face as the teen CHECKER rings up his total... 110. T M S
111. EXT. BEACH - MOMENTS LATER Bare feet stroll across wet sand into the trickling surf. Assured hands tie a fresh white ribbon to Flynn's familiar heart charm. WIDEN as Tom raises his hand to the sky, a brand new red balloon aloft. Exhale...and he lets it go. He quietly watches as the tiny red pixel hitches a ride on the clouds, dodging and surging, swirling higher and higher...until finally, it's gone. EXT. ASTORIA - DAY Tom in a gas station phone booth. Dials. INT. MOTEL - DAY A cell phone buzzes on a nightstand. Karen rushes from the bathroom, grabs it -- KAREN Hello? She wells at his voice -- SMASH TO: WHEELS spinning on pavement -- Tom on his motorcycle, cranking the throttle, racing down the yellow lines along the great Columbia. Townshend's Let My Love Open the Door as he speeds past -- Clarkston -- 50 Miles says the sign... FADE OUT: THE END. 111. T M S

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astoriascripttms.pdf written by Mike Thompson

  • 2. FADE IN: EXT. PUGET SOUND - DUSK Twilight stars cascade over the murky depths of the ocean green. A lone fishing boat serenely bobs on the surface, a fishing line strewn from its stern into the descending darkness. Clutching its reel, TOM CLARK. Thirties, searching eyes, worn shoulders. He reels and casts, quietly contented. INT. BOAT - CABIN - SAME Young hands feverishly open drawers, compartments, searching. Finally, a box of matches. She shakes it -- empty. FLYNN CLARK, eleven going on twenty-five, radiant green eyes. She bites her lip, thinking. An idea -- ANGLE - A WICK to a stove top burner. A flame. Self-satisfied smile as she unwraps a cupcake and ceremoniously plants the candle atop. She jots down a message in a card and hits PLAY on an iPhone playlist -- ANGLE - STERN Tom's eyes alight to the strains of Townshend's Let My Love Open the Door. He spins to find her emerging -- FLYNN Anybody can just sing boring old Happy Birthday -- He sets down the rod, reads the birthday card -- TOM Aw, sweetie, you're a doll. Thank you. She offers him the cupcake, pats his belly -- FLYNN Best part -- it's fat free. TOM What're ya trying to say there, missy? T M S
  • 3. 2. FLYNN Somebody in this family's gotta make sure you eat right, young man. TOM Yes, Mother. FLYNN Now hurry up and make a wish 'fore it gets wax crud all over it. He considers, decides. Blows out the candle. FLYNN (CONT'D) Well...? TOM What more could I wish for? Favorite song, my best girl, can't get a bite out there to save my life... Perfecto. FLYNN Lame. She tidies up, heads back into the cabin. Tom smiles after. Returning to his reel, his eyes catch something. Sudden awe -- ANGLE - CABIN Flynn washing dishes in the sink. Tom hurries in -- TOM Can't tell you what I wished for, but it's not breaking the rules if I show ya, right? She raises a brow. He takes her by the hand -- TOM (CONT'D) Gotta close your eyes. Impatient, she rolls eyes -- FLYNN Yeah, yeah, yeah... He leads her outside, carefully guides her to the bow -- TOM Ready? 2. T M S
  • 4. 3. FLYNN (sarcastic) Beyond... TOM Open 'em. She opens her eyes. Instant wonderment washes over -- TOM (CONT'D) Ta daaa. FLYNN'S P.O.V. A dance of luminescent light swirls beneath the surface. Glowing, pulsating. Jellyfish. As far as the eye can see -- Flynn skips a breath, overcome. FLYNN They're so beautiful. TOM Not bad for your old man, eh? She hits him in the shoulder, enjoying. WE RISE UP, leaving the pair, feet dangling side by side beneath the rising moon... EXT. TOM'S HOUSE - NIGHT A modest Tudor on a quiet tree-lined street. INT. TOM'S HOUSE - FLYNN'S ROOM - NIGHT Dream-catchers on the bed post, Cobain posters. On her knees at the edge of the bed, Flynn silently prays. ANGLE - HALLWAY Passing, Tom pauses. Watches from afar. Pensive eyes. She climbs into bed. He enters, tucks her in -- TOM Thanks, kiddo. Lost without ya. Her eyes smile when WHUP! A wiry, gray Tabby cat leaps onto the bed, fights for territory -- 3. T M S
  • 5. 4. FLYNN Norman! TOM Guess I'm not the only one. FLYNN He's just lonely all day. He needs a playmate. Can we get a dog, please, please, please? TOM Keep praying, kid. He moves for the door, when -- FLYNN (O.S.) Oh my god -- Dad! I almost completely forgot! He spins to find her throwing off the covers, rushing to him -- FLYNN (CONT'D) In class, at school, we have this genealogy unit, where you look up your ancestors and stuff-- TOM Mmhmm, back you go -- He guides her bouncing frame back to bed -- FLYNN And guess who it says we're related to? TOM Tony the Tiger? FLYNN Don't be dumb -- He tucks her back in, mouth motoring a mile a minute -- FLYNN (CONT'D) Have you ever heard of Lewis and Clark? They were these explorers-- TOM Might ring a bell -- 4. T M S
  • 6. 5. FLYNN -- William Clark. He's like our great-great-great-great uncle or something like that -- TOM No kidding? FLYNN Yeah, isn't that cool? TOM Way cool. He taps his watch -- TOM (CONT'D) Bed time. See you tomorrow. FLYNN If I feel like it. She teases, rolling over. He shakes his head, amused. INT. TOM'S HOUSE - TOM'S ROOM - NIGHT Spartan. White walls. Tom readies for bed. Takes off his watch, sets it on the night stand. He picks up a lone framed photo: Tom and Flynn's mother holding the squirming toddler. Smiling bliss. Another time. He sighs. Longing. Through a crack in the door, Flynn heads for the bathroom. She pauses. Watches him there. Worry. Lights out. INT./EXT. TOM'S CAR - TRAVELING - DAY Dressed for work, Tom drives the neighborhoods. Flynn, head to toe in a Catholic school uniform, fiddles with a drug store word-puzzle book -- FLYNN ...Sports car -- dirty clothes -- German Shepherd-- TOM Things you wash! FLYNN You didn't let me finish -- 5. T M S
  • 7. 6. TOM Hey, gotta keep up with Mr. Brain. Exasperated, she flips the page -- FLYNN Firecrackers -- fresh garlic -- gasoline cans -- grass clippings -- lavender candle -- BBQ. Stumps him for a second -- TOM Wait -- He pulls to a stop in a driveway. St. Catherine's School says the sign. Flynn goes for the door -- FLYNN Duh -- things you smell. TOM Crap. (sets timer on watch) See you at 4? FLYNN (mock taps her wrist) On the dot. (climbs out) Have a good day, Mr. Brain. He winks and drives away. EXT. PARKING LOT - DAY Tom climbs out, grabs his bag, heads across the lot. WIDEN -- thousands of cars dot the vast expanse. Ant Tom trudges for the towering complex beyond, its masthead -- BOEING. INT. BOEING - CONFERENCE ROOM - DAY Tom and co-worker ALAN at a white-board before a team of skeptical ENGINEERS. Mad scientist equations and satellite drawings flowing from Tom's manic pen -- TOM And this produces antenna side-lobe levels well within the interference requirements of the system. 6. T M S
  • 8. 7. ENGINEER #1 What about noise power ratio? Aren't you forgetting an allocation for-- TOM That's why we went with the high bandwidth single carrier modulation. You can run the amplifiers into saturation and not generate any distortion. NPR's not an issue -- The Engineers consider. Can't poke any holes. Tom shares a gratified glance with Alan out the corner of his eye. INT. BOEING - HALLWAY - MOMENTS LATER Tom and Alan exit, restraining elation -- ALAN On our way, buddy. This one was all you. TOM No, no... One step at a time. ALAN You kidding me? He practically offered it to us right there. TOM Believe it when I see it. ALAN Well, don't know about you, but I'm gonna celebrate. Mocha frappucino? Tom shakes his head, amused. Mr. Brain indeed. EXT. ST. CATHERINE'S SCHOOL - DAY Bouncing red orbs by the hundreds. Floating balloons on strings. The late afternoon sun casts shadows across the play field as a hundred giddy STUDENTS and their PARENTS congregate with their balloons around a stage. Tom searches the throng. Spots Flynn, her back to him. She searches the crowd for him, nervous eyes. He sneaks up behind and...lifts her into the air -- 7. T M S
  • 9. 8. TOM Arrrgggg! She squeals with delight -- FLYNN Daddy, put me down! He brings her giggling self back to earth. She proudly takes him by the hand and leads him toward the stage. EXT. ST. CATHERINE'S SCHOOL - MOMENTS LATER Tom and Flynn dutifully hold her balloon as the PRINCIPAL speaks from the dais -- PRINCIPAL ...And so as we mourn the loss of so many souls that perished in the earthquake in India, we turn our sympathies to the children. Many of whom lost parents and have become the orphans of the world. Though they may be oceans away, it is to them that we release these balloons as a symbol of our solidarity. From child to child... Tom notices Flynn's balloon, scribbled with words and a dangling heart-shaped silver charm tied to the nub -- TOM What you got here? FLYNN Poem I wrote. But I also tied a heart on there in case they don't speak English. Everybody knows what a heart means, right? TOM Yeah. They sure do, honey. PRINCIPAL ...So on the count of three -- one, two, three! And so they soar, aloft into the sky en masse. A hundred tiny red pixels hitching a ride with the clouds. CHEERS and APPLAUSE from the ground. 8. T M S
  • 10. 9. Tom and Flynn quietly watch as hers fights for it's own place, dodging and surging, swirling higher and higher...until finally, it's gone. Flynn looks up to him, innocent eyes -- FLYNN Dad, do you really think they'll make it all the way to those kids in India? What to say? He considers. TOM Well. Since we'll never know for sure, why not choose to believe yes? She thinks on that. Agrees. INT./EXT. TOM'S CAR - TRAVELING - DAY Tom drives, Flynn at work on her puzzle book. Mariners baseball game on the RADIO. Something on her mind -- FLYNN Dad? (off him) Have you ever heard of...Match.com? TOM Yes...? Where have you? FLYNN Mina said her mom is on there all the time... TOM Jeez, ink ain't even dry and she's already back on the horse... FLYNN You think you'll ever...? He holds his breath, didn't see that coming. Diverts -- TOM Why would I wanna do that when I got my hands full with you? FLYNN Dad -- He smirks, enjoying. Finally, she catches his eyes, sincere -- 9. T M S
  • 11. 10. FLYNN (CONT'D) 'Cause it'd be alright with me if you did. He smiles. This girl. Squeezes her hand across the seat -- TOM Duly noted. (then) Hey, so your pop may have done good at work today. FLYNN How come? TOM Well, looks like they may let us work on the team that puts the satellites in the sky. FLYNN That's what you've been working so hard on with all your drawings? He nods, an ear on the game. Flynn spotting something -- FLYNN (CONT'D) Pull in here! He snaps to, pulls into a mini-mart parking lot -- TOM Wha?? FLYNN We have to celebrate. TOM Oh honey, we don't-- FLYNN Yes we do. Sparkling cider and Rainforest Crunch -- He smiles, resigns, goes for the door -- FLYNN (CONT'D) I can go -- Fine, he digs into his wallet, hands over bills -- TOM We need some toothpaste, too -- 10. T M S
  • 12. 11. She takes the money, heads out. Turns back, her puzzle book -- FLYNN By the time I get back -- pink lips, storybook, wedding veil, jewelry box, racing throttle, shining heart -- He accepts the challenge and off she goes. He turns up the game on the radio -- ANNOUNCER (ON RADIO) ...And Lopez steps to the plate. Miller on second, eyeing third... TOM ...Pink lips, storybook, jewelry box...? ANNOUNCER (ON RADIO) Dodd fires -- low and away... He casually glances at the mini-mart, waiting -- ANNOUNCER (ON RADIO) (CONT'D) -- and there goes Miller, the throw -- he's safe into third! TOM (searching) Things you -- things you --? BAM! BAM! BAM! Tom jerks -- GUNFIRE -- from the store. His face goes white -- ANGLE - MINI-MART Door BLASTS open -- GANGSTER THUG bursts out running, FIRING A GUN as he goes -- leaps into an El Camino -- BURNS RUBBER -- OWNER staggers out, blood oozing from his belly -- gun in hand -- FIRES! The El Camino disappears around the corner -- Owner collapses to the ground -- ANGLE - TOM Alternate reality. Can't believe his eyes. Shakes out the stars. Throws open the door. Runs. SILENCE. 11. T M S
  • 13. 12. Just TOM'S BREATHING. OVER-CRANKED. Step after step. Across the parking lot. Over the dying man -- INSIDE Panic. Tom’s eyes, frenzied search. Down the aisle -- a shattered cider bottle on the floor. Long hair swirled in liquid. Still. Tom's eyes close. Wishing it away. EXT. MINI-MART - NIGHT Police and ambulance. Lights and SIRENS. DETECTIVES, FORENSICS, yellow tape. All of it a blur. Tom catatonic on the curb. Just sits there. Crippled. EXT. PUGET SOUND - DAY City lights give way to dawn sun to city lights again... EXT. CEMETERY - DAY Lush sunshine rains down on spring flowers. Dozens of MOURNERS, young and old, surround a small grave. Flynn's headstone beside her mother's, Beloved Beth, 1991-2022. Retreating behind dark sunglasses, Tom sits in a chair beside the casket as the PRIEST recites the ceremony. EXT. CEMETERY - DAY The ceremony concludes. Mourners wish still-seated Tom well and meander for cars. Alan and his wife, MINDY, try to cajole Tom to his feet. Nothing doing. They usher their young SON and DAUGHTER along, head off. EXT. CEMETERY - DUSK A GROUNDSKEEPER loads chairs on a truck. Rolls up the turf. Tom still sits there. Not going anywhere. INT. TOM'S HOUSE - NIGHT Tom at the kitchen table in the dark. Eyes vacant. Half- eating Subway. The cat stares at him quizzically. SILENCE. 12. T M S
  • 14. 13. INT. TOM'S HOUSE - TOM'S ROOM - NIGHT Late. Dark. Tom lay rigid atop his still-made bed. Eyes wide open. Phone VIBRATES. Startles him. He answers -- TOM Hello? Face goes white. INT. SEATTLE POLICE HEADQUARTERS - LINE-UP - LATER Tom stands anxiously before glass. A pair of seen-it-all DETECTIVES at his side. Detective speaks into a com -- DETECTIVE Bring 'em in -- Through the glass, a UNI opens a door. A half-dozen SUSPECTS straggle in, line up on a platform. Detective, into the com -- DETECTIVE (CONT'D) Number one, please step forward. Tom feverishly scans the line -- eyes go wide -- red -- TOM It's the fourth one -- The THUG from the mini-mart. Smug nonchalance. Tom puts a fist to the glass, ready to smash through it. Stares daggers -- DETECTIVE You sure? Tom turns. Ice. TOM He's. The fucking. Guy. The Detectives exchange a look. Enough said. SMASH TO: FLASH! FLASH! NEWS CAMERAMEN and REPORTERS swarm a podium on the steps of the Federal Courthouse. Tom stands steely-eyed amongst the throng as a boy scout prosecutor, NORQUIST, steps to mics -- 13. T M S
  • 15. (MORE) 14. NORQUIST ...We have arrested and charged Thien Nguyen on eleven federal counts, in addition to the possession and transport of Schedule narcotics. Security recordings confirm that Mr. Assad recognized Nguyen from a previously televised mug shot, and reached for his own weapon. In response, Nguyen fired six shots, two of which errantly struck Miss Clark, with one striking Mr. Assad. As the murders took place during the commission of the drug crimes, he has been charged under federal statutes and will be prosecuted to the full extent of the law. Questions? Reporters seize -- REPORTER #2 Will Mr. Clark be a witness for the prosecution? He catches eyes with Tom. Chin high. Jaw clenched. NORQUIST Mr. Clark will be providing eye witness testimony, yes. REPORTER #3 Mr. Clark -- what's a just outcome for the defendant? Norquist yields. All eyes on Tom. Mics shoved in his face. Clears his throat. Finally -- TOM Nothing short of the death penalty. The reporters go wild, firing questions -- MATCH TO: A TELEVISION LOCAL NEWS blaring tape of the presser, cuts to an ANCHOR -- ANCHOR (ON TV) ...With arraignment proceedings set for tomorrow morning. (MORE) 14. T M S
  • 16. ANCHOR (ON TV) (CONT'D) 15. Nguyen has two prior convictions for drug-related offenses and is believed to be a low-level mule for the Tzen Tao cartel... ALAN (O.S.) Cheese or no cheese? Alan in the archway. Mindy prepares dinner in the kitchen beyond. Tom, eyes on the TV, doesn't look up. INT. TOM'S HOUSE - KITCHEN - LATER Dinner table. Burger barely touched, Tom scours the Seattle Times. Tidying up, Alan and Mindy exchange a look of concern -- MINDY You should eat, Tom. No response. ALAN Tom. TOM Huh? Oh, sorry. Thank you, for cooking, Mindy. Just not hungry. Returns to the paper. Consumed. TOM (CONT'D) They're saying he may not even be a U.S. citizen... Alan takes a seat next to him -- ALAN You thought about work yet? Might be good for you. Tom lowers the paper, resentful -- TOM Work? You kidding me? Back to the paper. They take their cue. She kisses Tom's head -- MINDY Call if you need anything. They head for the door. Alan sets down a business card. ANCHOR (ON TV) (CONT'D) 15. T M S
  • 17. 16. ALAN I'm leaving that guy's number. No shame in talking to somebody about all this. Tom throws him a nod, embarrassed. They head out. INT. TOM'S HOUSE - LAUNDRY ROOM - LATER Tom pulls Flynn's clothes from the dryer, neatly folds them. INT. TOM'S HOUSE - MOMENTS LATER Tom reaches the top of the stairs with the laundry basket. At Flynn's doorway. Just stands there. Staring at her bedside when -- WHACK! He snaps to -- Norman jumps from the nightstand, knocks books over, runs out past him. Tom moves inside to the nightstand, the wayward books. Flynn's puzzle book. He sits down, flips through it. Ache. Suddenly, his cell phone RINGS -- TOM Hello? A moment. He hurriedly leaps to his feet, rushes out -- EXT. FEDERAL COURTHOUSE - DUSK Promenade. Doors burst open. Tom marches out on a warpath. Rage. Randomly grabs a patio chair, violently hurls it into the trees. ONLOOKERS gawk. He takes off running. Venom. EXT. ALAN AND MINDY'S HOUSE - NIGHT Rain pisses from the sky. Porch lights illuminate a modest Colonial. Drenched, Tom staggers across the grass, bottle of Jim Beam in hand. Obliterated. Hits the DOORBELL, collapses to the stoop. A moment. Door opens -- Mindy, shock -- MINDY Jesus, Tom -- are you alright?? Alan appears behind her -- TOM (matter-of-fact) They flipped him. Made a deal. He skates. 16. T M S
  • 18. 17. INT. ALAN AND MINDY'S HOUSE - LATER Tom out cold on a guest room bed. Mindy turns out the lamp, meets Alan outside the door. Tears in her eyes. MINDY It's just not fair... Alan embraces her. Pain for their friend. INT. ALAN AND MINDY'S HOUSE - MORNING Mindy walks the hallway, toast and coffee in hand. Arrives at the guest room door, knocks -- MINDY Tom? How does coffee sound? No response. Opens the door. He's gone. INT. TOM'S HOUSE - NIGHT Tom enters, half there. Sets a plastic shopping bag on the counter. Sees MESSAGES on his phone screen. Hits PLAY -- PHONE MESSAGE (OVER PHONE) Hi Tom, it's Sharon Iverson from down the street. I wanted to bring over some casserole that-- (he skips) Tom, it's Alan. You gotta talk to me, man. Seriously, this is-- (skips) Hello, Mr. Clark, this is Daniel Norquist's office calling to inform you that Thien Nguyen's plea arraignment hearing is scheduled for 4:45 tomorrow afternoon in courtroom 3C should you wish to attend. We'll have a pass for you in the lobby. Call if you have any questions -- Tom writes down the details on a pad. Sets down the pen. Deep breath. Weight of the world. INT. TOM'S HOUSE - MORNING Dawn. Tom showers, catatonic... Gets dressed, jeans, long sleeved shirt... 17. T M S
  • 19. 18. Feeds Norman... Empties the contents of the refrigerator into a trash bag... Tapes up a moving box. Stacks in each room. Nothing but the boxes and furniture... Checks the locks on window after window, door after door... Loads a protesting Norman into a cat carrier, zips it up... One last look around. Double-takes. Flynn's puzzle book, on the chair. He moves to it, picks it up. Searches his memory. How the hell'd it end up here? Whatever, stuffs it into Norman's carrier and exits. His watch left behind on the counter. INT. ALAN AND MINDY'S HOUSE - MORNING Norman scrambles out of his carrier, navigates his new digs -- TOM Really appreciate you guys taking him off my hands for a while -- Mindy and Alan dressed for work in the kitchen -- MINDY Forget it -- the kids'll love having him. Tom watches as Norman nuzzles the kids in the b.g. Sweet kisses and giggles. He feels sick. Pulls his eyes away. MINDY (CONT'D) Where do you think you'll go? TOM Haven't thought about it, really. Just gonna get in the car and drive. ALAN Not crazy about this. TOM Doing the best I can. ALAN Well, just make sure you come back, hear me? 18. T M S
  • 20. 19. Tom nods, grateful. They put arms around him. Hug. Long. INT. DENNY'S - DAY Tom sits in a booth. Absentmindedly doodles with the kiddie crayons on a paper menu. A WAITRESS arrives with a tray, lays out a smorgasbord before him -- waffles with whipped cream, grilled ham and cheese, chicken fried steak, key lime pie, chocolate shake... He grabs a fork and goes to town on it. Waitress heads off, raised brow. EXT. DENNY'S - PARKING LOT - LATER Behind a dumpster, Tom wretches. Pukes it all up. Catches eyes with a repulsed ELDERLY COUPLE walking past. Wipes his mouth with his sleeve, heads to his car. EXT. FEDERAL COURTHOUSE - LOADING BAY - LATER Tom sits in his car, parked at the curb in the rear. Checks the rear view. Stone faced. Waiting. Just then, a Corrections van pulls up to the loading bay. Gate unlocks. It drives through the cyclone fence, parks -- Tom's eyes tremble, out of body. Heart pounding. Lost. Watching as orange-jumpsuit PRISONERS exit the van under ARMED GUARD, wrist and ankle shackles. He spots Nguyen climbing out. Tom throws open the car door -- leaps out -- WE REMAIN on the passenger seat -- the shopping bag he was carrying before: Wade's Eastside Guns. An open box of ammo -- ANGLE - STREET SILENCE THROUGHOUT. Tom sprints to the gate, throws his arm through the opening in the gate. Trains the gun sight on Nguyen -- finger on the trigger -- arm trembling -- cracking -- Nguyen looks up -- locks eyes with Tom -- goes white -- Tom blinks -- paralyzed -- can't pull the trigger -- Startled Guards spin -- clock Tom -- the gun -- reach for holsters, draw their guns -- 19. T M S
  • 21. 20. Tom drops the pistol, dives for the ground. He clutches his head. Guards BARK spit, dive on top of him, knees to his neck. Wrench his arms behind him, cuff him. It's over. EXT. COUNTY JAIL - DAY Rain pours down on a brass Lady Justice statue. Fallen leaves catch rides like boats on a stream to the gutter. INT. COUNTY JAIL - VISITOR CHAMBER - DAY Glass phone divider. Alan fidgets in a chair. Eyes jump, marvel as a DEPUTY leads an orange-jumpsuit, unshaven Tom to the opposite chair. They just stare at one another. Interminable. Finally, pick up the phones -- ALAN What am I supposed to say? TOM Don't know. He scratches his beard, detached. ALAN Jesus, Tom. I... TOM Go ahead. ALAN Not gonna judge you. But. TOM Why not. I have. I let her down. ALAN Christ, that's just the opposite-- TOM What's done is done. ALAN Yeah, including your life maybe -- that ever cross your mind?? TOM What life? No answer. Alan looks into his dead eyes. He's gone. Dispenses with it -- 20. T M S
  • 22. 21. ALAN God help you. What do you need me to do? CUT TO: A FOR SALE SIGN pounds into the grass. Alan and a REALTOR before Tom's house -- JUDGE (O.S.) ...As the crime was committed on federal grounds, you are hereby charged under federal statutes... CUT TO: A SIGNATURE Scribbles on a form. Alan shakes hands with a USED CAR DEALER in front of Tom's car. Hands him the keys -- JUDGE (O.S.) ...With the charges of first degree attempted murder, illegal brandishing of a firearm. Do you understand the nature of the charges against you, Mr. Clark? CUT TO: STENCILED GLASS Whitaker, Burns and Mayer -- Attorneys at Law. WE ARRIVE AT Alan amidst introductions with a pair of suited defense attorneys, WHITAKER and BURNS -- JUDGE (O.S.) ...And how do you plead? WHITAKER (O.S.) My client pleads not guilty by reason of temporary insanity, your honor... INT. FEDERAL COURTROOM - DAY Tom sits stoically in a suit at the defense table as Whitaker delivers his opening statement to the JUDGE and JURY -- 21. T M S
  • 23. 22. WHITAKER ...After witnessing the brutal, senseless murder of his young daughter, Mr. Clark essentially entered into a fugue state... He directs the jury to an easel, a collage of blown-up school photos of a smiling Flynn, soccer, ballet... WHITAKER (CONT'D) ...A near state of hypnosis, in which he was not remotely aware of, let alone in control of his moral faculties... The Jurors gaze mournfully upon the little girl's silent face. Welling eyes. Alan and Mindy watch hopefully. DISSOLVE TO: MEADOWLARK CHICKS squirm in a nest, reaching for their mother's worm bounty -- JUDGE (O.S.) Mr. Clark, you have been found guilty of the lesser charge of illegally brandishing a firearm on federal property. You are hereby sentenced to one to three years in federal prison. Effective immediately, you will be transported to United States Penitentiary in Leavenworth, Kansas... WIDEN TO REVEAL the sticks and straw roost meshed atop razor wire. A sprawling fence. Beyond, Leavenworth's federal prison complex stretches across the dusty Kansas plain. INT. LEAVENWORTH - CELL BLOCK - MORNING Steel and concrete. A BUZZER sounds. Cell doors auto-unlock. ARRIVE AT Tom alone in his cell. Full beard, heavy eyes. Donning prison blues, he steps out, takes his place in line... INT. LEAVENWORTH - CAFETERIA - LATER Tom trudges the chow line. Finds a table. Eats alone... 22. T M S
  • 24. 23. INT. LEAVENWORTH - LIBRARY - LATER Spartan book aisles, computer stations. Tom kneels, replacing books on a shelf. Prison librarian. EXT. LEAVENWORTH - YARD - LATER Tom lays in the blistered grass. Eyes closed. Sun beats down. SUPERIMPOSED: ONE YEAR ON BUZZER sounds. Up again... INT. LEAVENWORTH - CELL BLOCK - NIGHT Darkness. Tom lay rigid in his cot. Eyes escape to the bunk above. Wedged in the springs, a class photo of Flynn. Momentary reprieve. INT. LEAVENWORTH - OFFICE - DAY Tom appears in a doorway -- TOM You asked for me, sir? A bespectacled codger pops his head up from behind a desk. PERKINS, wiry frame, clerical collar. Prison chaplain. PERKINS Have a seat, Tom. He retrieves a file from a drawer -- PERKINS (CONT'D) Guessing you know what this is? (off Tom, raised brow) Time's up. Your release papers. Noon tomorrow. TOM Be honest, I stopped looking at the calendar a while ago. Perkins looks him over, knowing. PERKINS Well I guess it's time to start again. 23. T M S
  • 25. 24. TOM You say so. PERKINS Any idea what you'll do? Where you'll go? TOM Nope. Perkins, rises. Sits on the edge of his desk at Tom -- PERKINS I want you to know, Tom. That you can be forgiven. That you can find purpose again. All you-- TOM Father, I appreciate what you're trying to do here, I really do. But. I've had a lot of time to. Think about what I've done. And what's. Left for me out there. (then) All due respect. Just think 'purpose' is setting the bar a little high. He takes the file and out he goes. Perkins sighs, regret. INT. LEAVENWORTH - CELL BLOCK - NIGHT Lights out. Tom in his bunk, staring at Flynn. Suddenly, a drip hits his cheek. Startles him. Wipes it away, looks at his fingers. Red. Touches the mattress above, soaked in blood. He recoils, jumps out of bed. Tentatively peers onto the top bunk -- Flynn's pale, bloody body -- he spins -- Nguyen outside the cell -- points a finger at him like a gun -- shoots -- LAUGHS -- Tom lunges at him in a rage -- ANGLE - TOM Eyes burst open -- heaving, in a sweat. Still in his bunk. A nightmare. He reaches up to the mattress above. Dry. Catches his breath. Weary. Not the first time. INT. LEAVENWORTH - CELL BLOCK - MORNING Tom in front of the steel mirror, shaves off the beard. Barely recognizes himself. 24. T M S
  • 26. 25. INT. LEAVENWORTH - CHECK-OUT - DAY A by-the-numbers GUARD in a booth dumps the contents of a FedEx box. Tom, in street clothes, collects -- his passport, a cashiers check, Mariners key chain, and a note. He reads -- ALAN (V.O.) Tom, I know it's been months since we've spoken, but we wanted you to have a few essentials on your release. The check represents the remaining balance of your accounts. The key chain's just a little reminder of home. Where we hope to see you soon. Best wishes, Alan and Mindy. He looks at the check -- $2,136. He smirks. Shakes the box a last time -- a missed item spills out. Flynn's puzzle book. Hits him. Bittersweet. Tom nods, walks through the doors into the GLARING LIGHT... MATCH TO: THE BLINDING SUN shines down as a bus brakes to a stop on a street corner, door opens. Tom descends the steps to the sidewalk. Deep breath. Slowly takes in his surroundings. Free man. Small town mid-western facades and riverfront cafes. Leavenworth Union Bank says the sign across the street. He crosses, heads inside. EXT. LEAVENWORTH UNION BANK - DAY Tom emerges, counting a stack of twenties. Stuffs the wad into his pocket. Looks out to the street. The lone man, idle amongst the TOWNSFOLK with places to go, people to see. A flickering Budweiser neon down the block catches his eye -- INT. TAVERN - NIGHT Tom slouches on a stool at the bar, several drinks in. Takes a sloppy pull off his drink, crushing peanuts in his mitt. Waves down the BARKEEP -- TOM Get another? Double tall. 25. T M S
  • 27. 26. Barkeep nods. Down the bar, a drunk REDNECK COUPLE make a racket, playing pull tabs. Young love. REDNECK GIRL How many footballs do I need? REDNECK GUY Told ya, baby, three. Boyfriend paws her as she giggles, tears another tab. Tom leers, catches eyeballs with the kid. The kid stares him down, tough guy. Tom smirks, looks away. REDNECK GIRL I did it! Look -- three! REDNECK GUY Atta baby, you're rich. She does a little dance, excited -- REDNECK GIRL I told you the man upstairs was rooting for me! Catching her dance out the corner of his eye, Tom rolls eyes. The kid sees, puffs his chest -- REDNECK GUY Got a problem there? TOM Nope. No problem. The kid turns back, victor. Tom mumbles -- TOM (CONT'D) Don't think God gives a shit about your pull tabs, though... The kid turns around, moves down the bar -- REDNECK GUY Hell's your problem? TOM Already told ya I didn't have a problem. But if your lady there thinks there's some man in the clouds gives a flying fuck whether she gets two footballs or three, I'd say you're the one with the problem -- 26. T M S
  • 28. 27. Kid lunges at him -- Barkeep shoots an arm -- holds him up -- BARKEEP Easy -- take it outside -- The kid backs off, gestures Tom with his hands -- REDNECK GUY Gladly. TOM Quite comfortable right here, thanks. REDNECK GUY What I thought. He saunters back down the bar to his gal. Hero. Barkeep delivers Tom his drink -- BARKEEP And you might mind your business. TOM (wry) Good advice, good advice. Drunk, he chuckles it off. Swigs his drink, staggers off his stool for the head. Loses his balance, clumsily grabs a shoulder for support -- the Redneck girl on a stool. He realizes -- too late -- SMACK! Out of nowhere, a roundhouse to the nose. Falls flat on his ass, blood oozing. The Boyfriend stands over him, fist clenched. Tom can only snort -- SMASH TO: DOOR flies open, Barkeep shoves Tom onto the sidewalk. He stumbles to the building for balance. Slides down to his ass. Bad to worse. Just sits there. Bleeding. Lifts his head, spots a blurry sign across the street -- Leavenworth Inn. INT. LEAVENWORTH INN - ROOM - NIGHT Key in the lock. Door opens, Tom steps into his room. Bare bones faux wood and polyester. Collapses on the bed. Lays there. Eyes wide open. 27. T M S
  • 29. 28. INT. LEAVENWORTH INN - ROOM - LATER Tom wide awake, watching infomercials. INT. LEAVENWORTH INN - HALLWAY - LATER Tom at the vending machine, buys a Milky Way and Cheetos. INT. LEAVENWORTH INN - ROOM - DAWN Candy bar and chips wrappers. Tom flips through the Bible, bored silly. Dawn sun pierces through a crack in the curtains. Sighs. Throws the book in the drawer. Gives up. EXT. LEAVENWORTH - DAY Tom walks the two-laner out of town. Vacant. Nowhere to be, no one to see. Suddenly, a RUMBLING moving van across the road catches his eye -- he double-takes -- TOM'S P.O.V. FLYNN'S TRANSAMERICA emblazoned across the side. As it clears, a road sign is revealed: Historic Lewis and Clark Trail. Visitor Center -- One Block Ahead. He rattles his brain, remembering -- TOM Gotta be kidding me... INT. LEWIS AND CLARK VISITOR CENTER - LATER Illuminated maps, drawings and photographs: the Corps, Seaman the expedition dog, Sacajawea. A spattering of TOURISTS quietly read the history. Tom stands in front of a pair of portraits: Meriwether Lewis and William Clark. He whimsically reads their biographies. ANGLE - SCREEN ...Clark was asked by Lewis to share command of President Thomas Jefferson's newly formed Corps of Discovery... ...The first American overland expedition to the Pacific Coast... 28. T M S
  • 30. 29. ...Three years after returning, Lewis was found with multiple gunshot wounds, believed by most historians to have been a suicide... Tom stops reading. Struck by that. Moves to a bank of photographs. Natural wonders along the route. Arrives at the trail's end -- a photo: the massive, modern day Astoria Bridge, stretching across the mouth of the Columbia river as it dumps into the Pacific Ocean. Two hundred feet high. His wheels start turning. Contemplates. Grabs a Trail map. INT. DRUG STORE - DAY Tom shops an aisle with resolve, loads a cart. Backpack, boots, underwear, toiletries, travel provisions... INT. DRUG STORE - LATER Tom at the check-out counter. A sweet-as-pie GRANDMA checker scans his items -- GRANDMA Looks like somebody's going on a little trip? TOM I'm going to follow the Lewis and Clark trail, all the way to the Pacific. GRANDMA Well doesn't that sound like an adventure. You know they passed right through here -- TOM Saw that. When I get to the end, I'm gonna jump off the Astoria Bridge. Oblivious to his macabre implication, she rings him up, charmed -- GRANDMA Just like a kid again, huh? TOM Something like that. 29. T M S
  • 31. 30. GRANDMA Well, you have fun. Nothing like a little road trip to wake up the senses. He smiles genially, collects his bags, and heads out. EXT. HIGHWAY - DAY Grain silos and corn fields. Black-eyed Tom hoofs it along the shoulder. SILENCE but for his own FOOTSTEPS, the distant HUM of insects. His face registers a kind of contentment. Of purpose. Almost cavalier. He spots a scarecrow deep in the adjacent field. Picks up a rock, aims...let's it fly. POW -- direct hit. Smiles. Twelve years old. He turns at the sound of an ENGINE. Throws his thumb up at an oncoming TRUCKER. Truck hits the hydraulics, pulls over. Tom runs to the cab, climbs in. EXT. TRUCK STOP - DUSK Cornhusker Fuel, Feed and Lodging says the sign. Nebraska. The semi parks in the huge lot alongside a dozen other rigs. Tom hops out with a wave, heads across the lot. Pats his hungry stomach, eye on the WAITRESS through the window with a tray full of food -- suddenly -- WHAM! SMASH TO: BLACK. FADE UP: TOM'S P.O.V. Numbed senses, blurry eyes slowly come to focus. Lips. Her lush pink mouth draped upon his own. A WOMAN. He wallows there, in a daze -- until -- WHAM! She rams down on his chest with both hands. Again. Again. Now back to the lips -- CPR. He realizes -- flutters his eyes open -- sits up -- TOM I'm -- okay -- I'm okay! She backs away, hands shaking -- 30. T M S
  • 32. 31. KAREN Oh shit -- thank God -- I'm so sorry -- KAREN. Late-twenties, dark brown trembling eyes, natural beauty beneath haphazard tresses. TOM What -- happened? He gathers his bearings -- an adjacent hatchback -- rear window cracked -- KAREN I was parking, didn't see you -- hit your head on the window -- fuck, are you bleeding?? She reaches for his scalp -- he jerks -- pain -- TOM Ah -- KAREN I'm sorry, I'm sorry -- are you alright -- should I call an ambulance?? He gets to his feet, sits on the bumper. Rubs the knot in his skull -- TOM Nah, just a lump. Be fine. (rubs his chest) Ribs are another thing... KAREN I thought you were dead -- was trying to give you CPR -- I'm so sorry -- TOM It's okay, really. Just knocked out for a sec. Probably shoulda watched where I was going. Manic intensity, she reaches into her bag for a cigarette, lights up -- KAREN After everything else, now I gotta go and run a guy over -- my kinda luck -- 31. T M S
  • 33. 32. TOM You and me both... She takes a deep drag, extends a hand -- KAREN To better luck -- Karen -- TOM (shakes) Tom. KAREN Gotta let me buy you something to eat. 'Least I can do. He considers. Looks her over. Fool not to. INT. TRUCK STOP DINER - NIGHT The pair at a booth. Karen dumping packet after packet of sugar into coffee. Tom just watches, bemused -- TOM Should have a little coffee with your sugar. KAREN I know, I know. I put it on everything. Some people go salt, I go sugar. She pulls her legs up, sits on them. Can't sit still, kid in a candy store. KAREN (CONT'D) You ever think -- what if we could put sugar on life, ya know? Make the whole rotten exercise a little sweeter -- TOM Can't say as I did. KAREN (teasing) Rhetorical, smart aleck. TOM (wry) Now I know. 32. T M S
  • 34. 33. KAREN Look at you. Got a comeback for everything? He doesn't answer. Off her -- TOM That wasn't rhetorical? She grins, enjoying. Down-home WAITRESS appears, sets down their food -- WAITRESS You're all set. Get you lovebirds anything else? TOM Oh, we're-- Karen affectionately squeezes his hand across the table -- KAREN -- fine. Thank you, though. Waitress smiles, heads on. Tom shakes, incredulous -- TOM You're a kook, know that? KAREN I'd say unconventional, but if you must judge... TOM Last person to judge. KAREN (playful) Oh yeah, why's that? Dead-beat dad, bank robber, ex-con? He goes quiet. Moving too fast. She catches. Eyes go wide -- KAREN (CONT'D) Holy shit -- you're not gonna like chop me into little pieces later, are ya? TOM You're the one tried to kill me. She smiles, run for her money -- 33. T M S
  • 35. 34. KAREN Point, Tom. Grabs the sugar, dumps it on her mashed potatoes. He chuckles, oddly charmed. EXT. TRUCK STOP DINER - NIGHT Karen digs into her purse for another smoke -- TOM Things'll kill ya, ya know. KAREN How do you know that's not what I'm trying to do? Way she said that. The irony strikes him. TOM Can think of faster ways. KAREN Maybe I'm just crying out for help, but nobody's listening. TOM I'm all ears. KAREN Wow, a man who listens. What are you still doing on the market? TOM Who says I am? KAREN Well, a man who's decent enough to listen is probably decent enough to wear his ring. TOM Yeah, what else you notice there, eagle eye? KAREN You tell me, black eye. He laughs self-consciously. They amble toward her car. KAREN (CONT'D) What? 34. T M S
  • 36. 35. TOM Nothing. KAREN No, you started it. TOM Just think it's funny. Way you must have me pegged. KAREN Well set me straight. TOM Too much to tell, too little time. KAREN See me holding a stopwatch? Too close to home, he diverts -- TOM You're the one driving like a bat outta hell. Where you headed? She quiets. Uncomfortable, shoe on the other foot. Then -- KAREN Idaho. TOM Home? KAREN No. That's a little town ya never heard of in Missouri. Making my way up to the I-90, gonna cut over. TOM What's waiting for ya? She shifts uneasily, goes for another cigarette. Mum. TOM (CONT'D) Hey, you started it. A moment. Finally -- KAREN Snake River. Fly fishing mecca of the world. TOM Now you're just messing with me. 35. T M S
  • 37. 36. KAREN (punches him) Am not! That's where I'm going -- TOM Well, whadya know, appears I may have judged you. (then) Thought they only let retired old curmudgeons fly fish? KAREN Well you thought wrong. (then) Hey, you know what time it is? He displays his naked wrist -- KAREN (CONT'D) Lotta good you are. They arrive at her car. And there they are. She goes inward, shy even. Too real. Moment stalls. He shuts it down -- TOM Well thank you. For dinner. KAREN No, thank you. For not dying. TOM Just this once. She retrieves her keys from her purse -- TOM (CONT'D) Oh, almost forgot -- He digs into his pocket, offers a handful of sugar packets -- TOM (CONT'D) For the road. Never know... Amused, she smiles, takes them. Oddly touched. TOM (CONT'D) Well, fly fisher Karen-- She impetuously grabs his face, kisses him passionately. Throws him for a loop. Just stands there, lets her. She pulls away, embarrassed. Jumps in her car, starts it up and drives away. 36. T M S
  • 38. 37. Tom watches her go. What the hell? Utterly discombobulated. But no complaints. INT. TRUCK STOP MOTEL - NIGHT Fleabag. Tom settles in, takes his backpack into the bathroom. Stares in the mirror. Eyes bloodshot tired. Reaches into the pack, pulls out toothpaste and a brush. Comes across Flynn's puzzle book -- INT. TRUCK STOP MOTEL - LATER Late. Tom sits on the bed, gently flipping through the pages. Stopping to trace a finger over every marker scribble, every dog-eared page. Remnants of a life. Despondent, he sets it down on the night stand. Weary eyes catch sight of the Lewis and Clark map sticking out of the bag. He shakes his head. Disgust, self-loathing. Grabs it, crumples it up and hurls it into the trash. Takes a deep breath. Summoning. And reaches into his bag. A disposable razor. Trembling fingers break the blade free of the plastic... Suddenly, a SCRATCHING. At the door. What in hell? He gets up, moves to the door. The SCRATCHING stops. He puts an eye to the hole. TOM'S P.O.V. Nothing there. Parking lot. Light poles. Odd. He turns -- the SCRATCHING again. Jumps out of his skin. Grabs the doorknob and -- pulls open the door! A DOG. Scruffy Newfoundland. Sits on his haunches staring at him, head cocked, tail wagging. Perplexed, Tom kneels to him, ruffles his ears affectionately -- TOM Hey boy, where'd you come from? Searches the lot for its owner. Empty. The dog nudges a wayward tennis ball toward him -- TOM (CONT'D) So that's how it is, huh? 37. T M S
  • 39. 38. He picks up the ball, hucks it across the lot. The dog takes off after it, scoops it up, and races right back. Drops it at his feet -- TOM (CONT'D) Why do I got the feeling you'll keep me at this all night? The dog pants, impatient. Tom picks it up again, hurls it. Off he goes. The ball bounces under a semi, disappears. The dog darts after. Moments pass. Longer. Tom waits, expectant. But no return. Finally, he shrugs his shoulders, turns to head back inside -- until -- a distant GIGGLE. He cocks his ear. There it is again. He instantly recognizes -- spins around -- TOM'S P.O.V. The parking lot. GLIMPSES -- a young GIRL weaving between the trucks, playing with the Newfoundland. Giggling joy as he fetches the ball for her -- Tom shakes out the stars, desperate. The girl tosses the ball before disappearing behind a trailer. Fido fetches for it as Tom sprints out, frenzied -- TOM Flynn...? He runs between the maze of parked rigs, searching high and low -- the GIGGLING persists -- he follows it, KNOCKS OVER A STACK OF HUBCAPS -- when -- WHAM! He slams into a opening cab door -- a SLEEPING TRUCKER sticks his head out -- SLEEPING Hell's wrong with you? TOM My -- my daughter -- she -- the dog -- did you see her?? SLEEPING Only thing I saw was sheep -- till you come barrelin' through here, bull in a china shop -- Tom stands there, catching his breath. SILENCE. Realizes. Feels the fool. TOM I'm -- sorry. Must be -- seeing things... 38. T M S
  • 40. 39. Disgusted with himself, he turns to go. But suddenly double- takes -- the trucker's uniform -- his name patch -- Lewis. TOM (CONT'D) Your name's Lewis? The trucker recoils, wary. Raised brow, Tom makes back for his room. Then his eyes catch the rig's license plate -- Oregon. Shakes his head, incredulous. EXT. TRUCK STOP MOTEL - MORNING Hands reach into the trash, retrieve the Lewis and Clark map. He uncrumples it, reverently places it back into his bag. Sleepless, Tom slings the pack over his shoulder, exits his room. Eagerly heads across the lot for the highway. INT./EXT. PICK-UP TRUCK - TRAVELING - DAY Dusty plains. A pick-up truck cruises down the barren highway, it's cab full with a trio of MIGRANT WORKERS. In the payload, hitchhiker Tom weathers the cross-winds, studying the map. He catches a sign whizzing by: Entering South Dakota -- EXT. HIGHWAY - LATER The truck idles at a lonely intersection. Tom hops out, thanks the migrants with a wave. The truck turns off the highway, heads down the road and disappears. Leaving Tom. EXT. HIGHWAY - LATER Tom trudges the shoulder. Blurry eyes. Sleep-deprived, giddy. Entertains himself, stir-crazy -- TOM (sings) ...Here's the story, of a lovely lady, who was bringing up three very lovely girls, all of them had hair of gold, like their mother-- Stops suddenly, spotting something in the gully. A rusty BMX bike. He seizes upon it like treasure, pulls it out of the weeds. Inspects it. Good to go. Climbs aboard, feet on the pedals, and away he goes -- 39. T M S
  • 41. 40. TOM (CONT'D) Here's the story, of a man named Brady, who was busy with three boys of his own... Man and bike on down the road. Oblivious, he passes a sign: Dakota Sioux Indian Reservation -- EXT. HIGHWAY - LATER Tom getting into it -- jumping curbs, popping wheelies. Catches sight of a gliding crow right next to him -- kicks it into high gear -- a race -- the crow flaps wings -- Tom raises off the seat, pumping -- neck and neck -- SMASH TO: EXT. HIGHWAY - LATER Breakdown. Tom kneels at the bike, slipped chain. Wrenches it back on the gears. Chain breaks, cuts his finger -- TOM Piece a shit! Pissed, he kicks the damn thing over. Stands there. Looks down the long hot road -- TOM (CONT'D) (mocking) 'I'm gonna follow the Lewis and Clark trail, all the way to the Pacific.' (then) Fucking idiot... Starts walking. Hears an ENGINE -- turns. A beat up Dodge approaching -- sticks out his thumb. The car pulls over -- SPEED METAL blaring on the stereo. He steps up to the window. A Native American girl behind the wheel. TAWNEY. Seventeen, black hair to her waist, braces -- TAWNEY Where you headed? TOM North. TAWNEY Your lucky day -- can take ya to the county line. Climb in -- 40. T M S
  • 42. 41. He grabs the door handle. Double-takes. The back seat. A CRYING BABY in a car seat. Okay then. Climbs in. INT./EXT. DODGE - TRAVELING - DAY Tawney drives as Tom takes in the heap. Fast food garbage all over the floor, Hello Kitty stickers affixed to the dash, dream catchers dangling from the rear view. IMAGES -- IN TOM'S MIND -- instantaneous flashes -- Flynn's bedroom -- dream catchers on the bedpost... TAWNEY What's your name? TOM Tom. You? TAWNEY Tawney. The baby continues to WAIL from the rear. Tawney appears deaf to it. Tom, on the other hand, keeps checking on him -- TAWNEY (CONT'D) That's Pie. Don't mind him. She turns up the SPEED METAL, drowns out his CRIES. And drives on down the road. Tom, disconcerted. INT./EXT. DODGE - TRAVELING - LATER The car cruises through the depressed Sioux community, run down trailers, cars on blocks, roadside STANDKEEPERS selling trinkets and fireworks. Tawney pulls off the highway, turns down a dirt road. Tom raises his voice over the MUSIC -- TOM Where are you going? TAWNEY Gotta make a pit stop. Tom squirms, circumspect. INT./EXT. DODGE - DAY Tawney pulls up to a ramshackle house beneath a grove of dogwoods. Kills the engine. 41. T M S
  • 43. 42. TAWNEY I'll be back in a few. You can watch Pie 'til I get back. TOM Whoa, wait a minute -- you don't even know me -- how do you know I'm not gonna steal your baby?? TAWNEY (amused) Are you gonna steal my baby? TOM No, but-- TAWNEY Then sit tight -- you want a ride or not? He looks around, middle of nowhere. Rolls eyes, whatever. She hops out, heads inside. Pie WAILS. Inconsolable. Tom just sits there, incredulous. Turns to the boy -- TOM Hey Pie -- it's okay, it's okay -- Nothing doing. Kid's on a rampage, tears streaming down his face. EAR-PIERCING. Wit's end, Tom reaches over the seat, unbuckles him and pulls him onto his lap. Cradles him awkwardly, in over his head -- TOM (CONT'D) You need a bottle, huh? You hungry? He searches about the refuse for a bottle. No dice. He turns him to his shoulder, tries burping him. Kid's eyes go wide and -- he pukes all over Tom's arm -- TOM (CONT'D) Oh shit -- Pie quiets for a moment. Tom sighs, victorious? TOM (CONT'D) There you go. Is that all you needed? Good boy. WAAAIIIL! Nothing doing. He starts right back up again. Helpless, Tom gazes out at the house for Tawney. Nothing. 42. T M S
  • 44. 43. TOM (CONT'D) (mumbling) Ridiculous -- what am I doing here... Then, he spots something on the floor -- a pop-up storybook. Three Little Pigs. Last ditch, he picks it up, opens it in front of Pie. Reads -- TOM (CONT'D) Once upon a time, there were three little pigs. Each built a house to live in... Three pink, folded pigs rise up from the page. Pie swats at the page, squirming -- TOM (CONT'D) The first little pig built a house out of straw... He turns the page -- a straw house emerges from the page. Pie starts to settle. Looks at Tom curiously -- who is this strange man? Tom nods, making headway -- TOM (CONT'D) You like that? Go ahead, touch it. He reaches Pie's hand onto the straw house. Pie smiles, intrigued -- TOM (CONT'D) The second little pig built a house out of sticks... Pie nestles into his arms exhausted from the crying -- TOM (CONT'D) The third little pig built a house out of bricks... Tom glances down. Pie's eyes waver closed, sleep. Sweet SILENCE. Tom just sits there, cradling the sleeping baby. In a beat-up Dodge. On an Indian reservation in the middle of nowhere. Can't help but smile. Moved. Ever so slightly. Then his eyes catch something on the seat. Pieces of aluminum foil strewn about. Picks one up. Crusted resin, burn marks. He realizes -- drugs. Disgust. Looks up at the house to see Tawney emerging, stuffing a baggie into her pockets. She climbs into the car, eyes glassy and red. High. 43. T M S
  • 45. 44. TAWNEY Hey -- you got him to sleep? TOM Yeah. Say why don't you let me drive. That way you can hold him while he sleeps. She thinks on it, head swaying from the buzz. Submits. TAWNEY Okay. INT./EXT. DODGE - TRAVELING - DAY Heavy eyes, Tawney points to a turnoff. Tom pulls the car through a barbed wire fence opening, down a grassy incline. Goats, chickens scatter as he pulls to a stop before a humble but well-kept double-wide and barn. Tawney passes out. A tall Native American emerges from the screen door. FRANK. Fifties, lean build, graying ponytail. Dubious eyes. Tom collects Pie, climbs out. Frank walks over, takes the baby. Spies Tawney out cold in the car. Barely contains his contempt. TOM Hitched a ride with her out on the highway. She made a stop along the way. 'Fraid she... FRANK I can see. A woman hurries out, Frank's wife. WINONA. Forties, turquoise jewelry, worried eyes. She gently takes the baby from Frank. Turns her ire on Tawney. Throws open the car door, grabs her by the arm -- WINONA Tawney -- wake up -- dammit -- Tawney stirs, been here before. Snaps to as the older woman shoves her along, embarrassed -- WINONA (CONT'D) Get inside -- right now -- The trio disappears into the house, leaving Tom and Frank -- FRANK Thank you...? 44. T M S
  • 46. 45. TOM Tom. FRANK (shakes) Frank. (then; embarrassed) I'm afraid my niece has gone wild on us. Shares her mother's addiction. Her aunt and I have tried... TOM Don't owe me an explanation. Just wanted to get the baby home. FRANK Good Samaritan, huh? TOM Don't know about that. FRANK Not just any stranger would involve themselves. You are a good man. Tom nods, humbled. Turns to go -- FRANK (CONT'D) Tom. Please stay. And eat. Then, I will take you wherever you are going. Tom looks up to the deserted road. The sincerity in the older man's eyes. INT. FRANK'S TRAILER - DUSK Tawney lay passed out in the back room. Tom eagerly cleans his plate as Frank and Winona look on -- WINONA Someone was hungry. TOM (abashed) Oh, yeah. Long day on the road I guess. Delicious, thank you. Frank's elderly father, MATO, sits quietly on a Barca-Lounger as Winona lovingly plays airplane with Pie, slipping a spoon into his mouth. Tom's curious -- 45. T M S
  • 47. 46. TOM (CONT'D) So...Pie? WINONA Cutie. Pie. First and middle. God love that girl but she's a little lost. Don't know what we're gonna do with her... Tom smiles, amused as the baby gurgles at him -- WINONA (CONT'D) He likes you. TOM We got to know each other a little. Frank takes a seat, curious -- FRANK So William Clark? That is something. Helluva trek. TOM If I make it -- haven't slept a wink in days. WINONA Why's that? TOM Not sure. Certainly not from a lack of trying. Lot on my mind, I guess. Mato's eyes narrow, curious -- FRANK Until the mind rests, the body won't follow. Tom nods, wary of saying too much. Until -- MATO (O.S.) Vision quest. They all turn. The old man piping up -- FRANK (abashed) Ah, pop. He don't even know what that means -- Tom raises a brow. Frank resists -- 46. T M S
  • 48. 47. FRANK (CONT'D) He sees the old ways in everything... Tom persists, curious. Finally -- FRANK (CONT'D) He thinks you are on a vision quest. In Sioux tradition, a man or boy goes on a spiritual quest alone in the wilderness, to find himself, a life direction. MATO Have you seen the animal yet? Frank smirks -- FRANK It is believed that after days of no food or sleep on the quest, one will begin having visions, and a guardian animal will appear to lead to the right direction. Tom goes pale, realizing. Dare he? Then -- TOM What, like a...dog, maybe? Frank nods, sure, why not? Tom feels silly, dismisses, wry -- TOM (CONT'D) Well, like I said, got the 'man alone, no sleep' part down. Mato finally turns to face him -- MATO Inipi. If you are searching, you will find your answers within. TOM Inipi? Off Tom's skeptical gaze -- CUT TO: STIRRUPS Tom's boot finds the hole -- 47. T M S
  • 49. 48. Frank hoists him up onto a saddle. Horses. Frank climbs onto his own stallion alongside Mato, and the trio head up a hilly trail behind the trailer. Tom gazes up at the stars through the trees, his colt quietly guiding him through the beautiful countryside. EXT. SIOUX RESERVATION - NIGHT The horses graze a grassy hillside. Fire burns in a pit overlooking the valley. Frank reaches into the blaze with metal tongs, removes a glowing red chunk of granite. He carries it into a domed hut, constructed of willow poles and buffalo skins. Sets it atop a pile of others, pours water over. Steam billows. Sweat lodge. Tom sits cross-legged in the dirt, perspiration pouring down his face. Pale. Awkward. What has he gotten himself into? Mato gently beats on a drum, quietly MURMURING a Sioux chant. Frank takes a seat across, closes his eyes meditatively. Tom just sits there, staring at the faithful men. Respectful, he closes his eyes. Peeks with one eye. Dubious. INT. SWEAT LODGE - LATER Drenched head to toe, Tom labors to breathe. Mato persists, CHANTING as Tom's head jerks in spasms. Eyes slits. Hypnotic. TOM'S P.O.V. Wild tracers swirl and dance. A CHILD'S LAUGHTER ECHOES. Tom moans, entranced. Mato guides him -- MATO What is it you are looking for? TOM (struggling) A sign. To know she's alright -- Frank opens his eyes. Looks across at him. Curious. Mato continues, sensing -- MATO Open yourself. Tom struggles, overwhelmed. The heat, the emotion -- 48. T M S
  • 50. 49. TOM I -- I -- can't -- TOM'S P.O.V. Stars twinkle against a velvet black canvass -- in the dreamland distance, Flynn appears. She sees him. Mysteriously points upward. Insistent. Tom reaches out, like smoke through fingers. Frustration -- TOM (to Flynn) What is it, baby -- what is it? His eyes roll back, gasping -- MATO Release what stands in your way. TOM'S P.O.V. Frustrated, Flynn persists -- pointing at an angle, up at the stars -- the celestial subject of her attention begins to shimmer, suddenly bursting with light -- then Flynn's finger, hand, arm, all of her is consumed with a white burst -- TOM I don't understand -- what are you trying to say?? Tom heaves, unbearable. Deep gasp -- he snaps out of the trance -- overtaken -- staggers out of the lodge. Retreat. He collapses in the cool grass outside, clutching his chest. Frank emerges, concern -- FRANK You alright? Tom stares up at the stars, calming down -- TOM What happened? FRANK You were in a trance. Heat got to ya. Struggling to remember, he nods. Frank pats his shoulder -- 49. T M S
  • 51. 50. FRANK (CONT'D) Not bad for a white man. Tom sucks in a deep breath, embarrassed. White man, indeed. INT. FRANK'S TRAILER - NIGHT Late. Everyone asleep. Tom sits in the Barca-Lounger, blanket and pillow. Wide awake. Haunted. Alone. Suddenly, Pie stirs from his baby pen. Stands, and stares warmly at him. Man and baby. Tom smiles, glad for the company. Suddenly remembers, digs into his bag. Moves to the boy, humbly offers the Mariners key chain. Pie gratefully takes hold of it, enthralled. INT./EXT. FRANK'S PICK-UP - MORNING I-90 Interchange says the sign. Frank pulls off the highway into a parking lot. Idles as Tom collects his things -- FRANK Thank you again. TOM No, thank you. Really. He goes for the door -- FRANK Tom. Who is 'she'? Tom turns, oblivious -- FRANK (CONT'D) In the hut. You said you needed a sign. To know 'she' was okay. Tom goes red. Right in the gut. Unexpected. TOM My -- daughter. Frank nods. Weighs that. Ponders -- FRANK Yesterday, I was leaving the house. Couldn't find my sunglasses. Searched top to bottom. Got so angry, I kicked over one of Winona's flower pots. Tom politely listens, unsure where this is going -- 50. T M S
  • 52. 51. FRANK (CONT'D) When she came out and saw what I had done, I explained why I was so angry. And do you know what she did? She started laughing, at what a fool I was. He lowers his shades from his head down over his eyes -- FRANK (CONT'D) Sitting on my nose the whole time. Tom smiles, amused. Grateful nod. FRANK (CONT'D) Good luck. They shake hands and Tom climbs out. Frank drives away. Tom gazes out at his surroundings. Before him -- a massive golden palace. Downright roadside Taj Mahal. Made of corn. INT. CORN PALACE - DAY Tourist Tom stands before a mural made of corn, grain -- Lewis and Clark crossing the Dakotas. A guided tour SPEAKER SYSTEM treats him and the myriad TOURISTS to an explanation -- SPEAKER ...When Lewis and Clark passed through these parts, Clark famously declared the terrain to be a 'desert suitable only for buffalo.' In the years following, South Dakotans have enshrined this palace as a direct challenge to those claims, proving that indeed the Dakota soil was rich and worthy of toil... Tom smirks, moves along. Stops cold. There, across the great hall -- catching eyes with him at the same instant -- Karen. She immediately looks away. Embarrassed. Tom holds his gaze. No escaping, she looks back. Throws up a halfhearted wave. They cross to one another -- KAREN Who knew we both had a thing for corn... He smiles, taking note of her nervousness -- KAREN (CONT'D) So? 51. T M S
  • 53. (MORE) 52. TOM So. KAREN Well I broke down, what's your excuse? TOM Spent the night with some Indians, hung out in a sweat lodge, got dropped off here. KAREN Of course, of course. Mutual smiles. KAREN (CONT'D) Ya know, you never said. Where you were going? TOM Lotta good that did me. You still found me. KAREN You know, I am capable of slipping out of witty banter mode and engaging in an actual conversation once in a blue. TOM Oregon. I'm following the Lewis and Clark trail. KAREN O-kay, apparently you're not able to... TOM Scout's honor. KAREN Really? Well, that would explain the obligatory Corn Palace stop. TOM Done your homework. KAREN Heard it about ten times now -- been killing time in here all morning waiting on my car. (MORE) 52. T M S
  • 54. KAREN (CONT'D) 53. Apparently radiators require coolant, something like that? TOM Ya don't say? KAREN Hey Mister, that's what dads are for. Cars and taxes. TOM Looks like dear old dad left ya in the lurch. She walked right into that. Goes off-kilter. And, her eyes begin to well. Confused, Tom immediately softens -- TOM (CONT'D) Hey -- I'm sorry -- are you -- She digs her purse for a tissue -- spills the whole thing onto the floor -- he kneels to help her -- grabs a stray pill bottle -- she sheepishly snatches it -- stands, looks at Tom -- regains her composure -- KAREN He -- just died. And I'm obviously. A wreck. So there you go. He takes her by the arm, gentle -- TOM Hey -- hey, let's get out of here -- EXT. DAIRY QUEEN - DAY Tom waits at a picnic table, double-fisting ice cream cones. INT. DAIRY QUEEN BATHROOM - DAY Karen stares at herself in the mirror, mascara running. Reaches into her purse for the pill bottle. Alprazolam. Unscrews the lid, dumps a pill into her hand. Visibly fights it. Dumps the pill back inside, screws the lid tight. EXT. DAIRY QUEEN - LATER Karen emerges from the bathroom, puts herself together -- KAREN (CONT'D) 53. T M S
  • 55. 54. KAREN I'm sorry. TOM No, no. Sit. He offers an ice cream -- KAREN Oh god, you must think I'm some five year old girl who's lost in the mall. TOM To the contrary, I happen to like ice cream. Cheers her a little. She takes the offering. TOM (CONT'D) Me and my big mouth-- KAREN No, you didn't know. She exhales. A release -- KAREN (CONT'D) My dad had Alzheimers. Got so bad, I moved in with him. Took care of him. Toward the end, he didn't know where he was, sometimes who I even was. Woke up one morning couple weeks ago, and found him on the floor. He'd hit his head on the corner of the counter. Severed his Medulla...something or other. TOM Jesus -- I'm sorry. KAREN He'd never hurt a fly. Was a pastor, everybody in town knew him, loved him. I was his good little Lutheran daughter. And then this disease. Just ravaged him. Tom drifts, his own demons at work. He focuses -- TOM So, Idaho? 54. T M S
  • 56. 55. KAREN He used to take me fishing. When I was a little girl. All his life, he always talked about retiring and fishing the Snake. Catching the big one. Had a cap full of fly hooks, ready to go. The Alzheimers got to him before he had the chance. Tom sits with that. Weight of it washing over. Too close to home. She shakes it off, uncomfortable -- KAREN (CONT'D) So that, my friend, is why I'm a wreck. Surely why I impetuously kissed a man I don't even know. And, why probably many more exciting and irrational incidents await me on my journey west... He struggles, presently ill-equipped. She reigns it in -- KAREN (CONT'D) God, what a load to dump on a complete stranger, listen to me-- TOM No. It's just, I'm not exactly... (stops; clinical) I think it's great that you're carrying out his wishes. And I hope it -- gives you what you need. KAREN So you don't think I'm crazy? TOM I didn't say that... She punches him in the arm. TOM (CONT'D) You're very violent. She brightens, feels better. Looks at his tired eyes -- KAREN You look tired. TOM Yeah, haven't slept in days. 55. T M S
  • 57. 56. KAREN Days?? Why the hell not? TOM Trust me, I'm not going for a record. KAREN Okay, you need to back up -- Lewis and Clark Trail? He considers the full meal deal. Hedges -- TOM I recently learned that I'm a descendant of William Clark. Thought it'd make for an amusing last hurrah... KAREN Last hurrah? Before what? No answer. Her eyes widen, concern -- KAREN (CONT'D) Jesus, you're not -- sick or something are you?? TOM No, nothing like that. KAREN Good, 'cause I've had about all the death I can handle for one lifetime. He registers that. Makes two of them. KAREN (CONT'D) Hey, what time is it? Car's s'posed to be ready at eleven. TOM Stopped paying attention to clocks a long time ago... KAREN Okay, Buddha. She spies a clock inside -- KAREN (CONT'D) Hey, you got time for one more favor? 56. T M S
  • 58. 57. INT. AUTO SHOP - DAY Karen steps up to the counter, Tom hangs back. PIPSQUEAK grease monkey greets her at the register -- PIPSQUEAK You're all ready to go. (tallies) Took care of the radiator issue, but we had to replace the intake manifold from the overheating. Noticed your air filter needed replacing, put in a new set of plugs, just to be on the safe side-- Tom steps up -- TOM I believe if my wife wanted a new air filter and plugs, she would have asked for them. Pipsqueak shrinks a little -- Tom peruses her invoice -- PIPSQUEAK Oh -- well, the car's gonna run better if-- Tom points to the invoice -- TOM Says right here in your contract that you promise to contact the customer before doing any work outside the original estimate? In a corner, Pipsqueak relents -- PIPSQUEAK Fine, we can comp those -- if you’ll just sign here, please. Karen squelches a smile, pays. EXT. AUTO SHOP - LATER Ebullient, Karen and Tom walk to her car -- KAREN Had a feeling that might happen -- thanks, hubby. 57. T M S
  • 59. 58. TOM All in a day's work. She pulls out her keys -- KAREN So. I was thinking. Lewis and Clark Trail... Tom averts his eyes, sensing where this is going -- KAREN (CONT'D) We're both headed west. And well -- I'm not on a clock... He sincerely struggles with it -- TOM I appreciate the offer -- really -- it's just -- between last night and -- well, I'm not so sure this trip's even such a good idea for me -- and pulling you into it would just-- Suddenly, a dog BARKS -- Tom turns -- double-takes -- TOM'S P.O.V. Brief glimpses -- the Newfoundland dog and the little girl -- skipping between cars through the parking lot, into McDonalds -- Tom's eyes widen, mutters -- TOM Flynn... Determined to get to the bottom of this -- he rushes away -- Karen stares after, dumbfounded -- ANGLE - MCDONALDS Tom strides up to the door -- as little feet round the corner through the window -- He pushes inside -- bounds after them -- GIGGLING, feet skip into the bathroom, close the door. He arrives at the bathroom door -- turns the handle -- KNOCKS on the door -- TOM Excuse me -- hello? Hello?? 58. T M S
  • 60. 59. A bit of a commotion -- ONLOOKERS raise brows -- Tom yanks the handle, puts a shoulder into it, crunches open -- A LITTLE BOY at the urinal -- frightened -- Tom shakes out the stars -- crestfallen -- confused -- FATHER (O.S.) The hell are you doing?! The boy's FATHER appears behind Tom -- shoves him out of the way to shelter his boy -- TOM I -- I'm sorry -- I -- He turns -- sees Karen at the door -- taken aback. A POLICE OFFICER at a booth looks up from his meal. Stands. EXT. MCDONALDS - LATER From across the street, WE SEE Tom in the back of a POLICE CRUISER, interrogated by the Officer. Head hung low, humiliated. Karen waits expectantly by her car. EXT. MCDONALDS - LATER Tom parts ways with the Officer, makes his way over to Karen. Curious to say the least. TOM It was -- a misunderstanding. She nods, waiting for more. Last thing he wants to do. TOM (CONT'D) I thought I -- saw someone. Lack of sleep -- I must be... KAREN Who's Flynn? He wants to. But can't go there. Not now -- TOM I want to tell you, Karen. And I appreciate that you care enough to ask. But. I think it'd be best -- for both of us -- if I just went about my way -- 59. T M S
  • 61. 60. KAREN So that's it? I spill my guts out to you and you just -- take a pass? He averts his eyes, impossible -- TOM Like you said. We're complete strangers. Hits her in the gut. She stiffens. There they are. Finally -- KAREN Okay. You gonna be alright? He nods. No. A mess. Helpless, she pulls out her keys -- KAREN (CONT'D) Well, I guess -- this is goodbye, then. She opens the car door to leave -- sticks out a hand. Lamenting, he shakes. Hurt, she climbs in. Just then, the father and son from inside exit. Catch eyes with Tom -- TOM I'm sorry again -- Uninterested, the father hustles his kid into their mini van, starts it up and pulls away. Tom's eyes widen -- a college bumper sticker affixed to the rear: L & C Pioneers Booster Club -- Literally rubs his surely lying eyes -- TOM (CONT'D) (to self) Jesus, you're losing it -- Oblivious, Karen starts up her car, pulls away -- TOM (CONT'D) Karen -- wait -- Off her brake lights -- EXT. HOSPITAL - DAY Small town medical center. Karen idles in her car outside the emergency room entrance. Tom can't look her in the eye -- 60. T M S
  • 62. 61. TOM Thank you, for the ride. (then) For everything. He goes for the door -- KAREN I don't know what's going on with you. But. Out here, in the middle of nowhere. You listened to me. So. I'm gonna go across the street to that coffee shop. When you come out, if you feel like talking, I'll be there. If not. I hope you find what you need. Her kindness overwhelms him. He chokes back emotion, nods. INT. HOSPITAL - ER - LATER Tom sits on an exam bench. DOCTOR shines a light in his eyes -- DOCTOR ...Ya ever heard of REM sleep? Rapid Eye Movement. S'when we have our most vivid dreams -- He finishes -- DOCTOR (CONT'D) It's also when the body engages its restorative processes. Biological, no way around it. So if ya don't sleep, the body finds a way of taking care of things anyway. These 'hallucinations' you're having are dreams. Only you're awake. Not only is it not healthy, it's potentially dangerous -- He scribbles down a prescription -- DOCTOR (CONT'D) Can get this filled down the hall. One pill before bedtime. Get some sleep, Mr. Clark. Tom nods, takes the scrip. 61. T M S
  • 63. 62. INT. HOSPITAL - LATER Tom heads through the ER, his prescription in hand. Gazes out the doors, across the road at the coffee shop. Then at the open road leading out of town. Eats at him. Finally, grabs a clipboard from a check-in counter, sits in a chair with a sigh. Ink to paper... INT. COFFEE SHOP - LATER Karen sits in the corner, nursing a black coffee. Thumbs through the local Pennysaver. Suddenly, a folded paper drops onto her table. Tom. TOM Gonna grab a coffee -- (her cigarettes) Borrow one of these? She hides a smile, slides them across. He indicates the paper -- TOM (CONT'D) Careful what you wish for. He heads off. Leaving her and the paper. She opens it. EXT. COFFEE SHOP - LATER Tom on the curb, coffee and cigarette. Karen emerges, quietly takes a seat beside him. Puts an arm around his shoulder -- KAREN Thank you. I'm so sorry, Tom. He nods. And the pair just sits there, contemplative. Then -- KAREN (CONT'D) What are the odds of me backing my car into you? TOM Assure you, it's not lost on me. KAREN Coincidence? TOM Wouldn't be the first one. 62. T M S
  • 64. 63. KAREN Ah, but what's it all mean? TOM Well, that question would imply that there's meaning to anything. Which would imply that there's something more to all this. KAREN And? TOM And believing in that in the absence of proof is an exercise in masochism. KAREN So what's the alternative? TOM (considers; wry) Masochistic realism. She smirks. He downs his coffee, stands to throw it away -- KAREN Well, before your masochistic realism sent you running into that McDonalds, I was making you a proposition. He holds up the prescription bag -- TOM Sleep deprivation, thank you very much. KAREN Duly noted. And the proposition? He smiles. This woman. INT./EXT. KAREN'S CAR - TRAVELING - DAY Karen gazes out at the winding Missouri River as she drives. Car whizzes past a sign: North Dakota State Line. Trail map in hand, Tom glimpses fishing rods and tackle boxes in the rear. Reaches back for her father's fishing cap, pin cushioned with fly hooks -- TOM Not kiddin' around. 63. T M S
  • 65. 64. She notices, snatches it from him -- violated -- KAREN Hey -- snoopy -- He throws up his hands -- TOM May I? She retracts. Tentatively hands it over. Holy grail. He gently inspects the flies -- KAREN I'm sorry. It's just. Objects become all you have. Tom deliberates. Reaches into his pack, reveals Flynn's puzzle book. Kinship. She softens, disarmed -- KAREN (CONT'D) Flynn's? (he nods; then) If I'm not asking questions, it's not because I don't care. Just. Can't even imagine what doesn't sound stupid to say. (then) Do you have a picture? He hesitates. Finally reaches into his bag, hands her the school photo. She holds it. Perfect innocence. Her eyes well. KAREN (CONT'D) She's beautiful. (then) What do you think you'll do. When you reach the end of the trail? He stares at his shoes. Not in a million years. Lies -- TOM Haven't thought that far ahead. KAREN Is all this. Why you stopped keeping time? He shrugs. Yes. She hands back the photo -- 64. T M S
  • 66. 65. KAREN (CONT'D) I don't blame you, ya know. For wanting to kill him. Not for one second. TOM (quiet) Anybody could have wanted... Strikes her. The implication. KAREN You don't -- still regret...? I mean -- she wouldn't have wanted you to... TOM All I know is he's still breathing. She's not. He quietly diverts his eyes out the window. Uncomfortable. Concerned, she leaves it alone. EXT. GAS STATION - DUSK Lonely highway pit stop, Karen's car at a pump. Tom gasses up while Karen hits the Coke machine. Suddenly, a ROAR. A Harley Davidson RUMBLES by. Then ANOTHER. ANOTHER. DOZENS. HELL'S ANGELS. DEAFENING. Tom and Karen just stand frozen, beholding the sight. Modern buffalo migration. He turns to her, shared smiles. Electric... INT. ROADSIDE MOTEL - TOM'S ROOM - NIGHT Tom sits up in bed, wide awake. TV droning. Old hat... INT. ROADSIDE MOTEL - KAREN'S ROOM - NIGHT Other side of the wall. Karen in the bathroom, out of the shower. Brushes her hair. Deep melancholy taking hold. INT./EXT. KAREN'S CAR - TRAVELING - MORNING Tom studies the map, tracing his finger along the trail as it crosses into Montana. The radio BLARES EIGHTIES POP. Then, GOLDEN OLDIES. Then, MEXICAN POLKA. He glances up to see Karen furiously switching through stations -- while puffing on a cigarette -- while swigging Coke -- while readjusting her seat -- 65. T M S
  • 67. 66. KAREN (mile a minute) Did you know that Mexican music with the accordions and all this started with German Polka? TOM Uh...nope. She changes the station, takes a swig of Coke. Racing -- KAREN I read somewhere that there's enough acid in this crap to dissolve a nail in like four days... She continues -- switching, puffing, swigging. Swerves the car, mid-switch -- TOM Hey, watch the road there, tiger. KAREN Yeah, yeah, yeah... She glances over at him -- sees the concern on his face -- KAREN (CONT'D) What?? TOM You hit the crack pipe when I wasn't looking? KAREN (over the top) What the hell's that supposed to mean? Tom eases off, slightly disturbed -- TOM Nothing, just -- nothing. KAREN What? 'Cause I can't find a station I like?? TOM (playful) That -- and the trivia -- cigarette -- coke -- more trivia-- 66. T M S
  • 68. (MORE) 67. KAREN Well, excuse me -- this from Mr. I'm the Last to Judge -- TOM Hey, whoa, Karen. I'm just playing -- KAREN No you're not -- you're picking me apart! TOM Karen -- stop -- you got this all wrong-- SCREECH! The car swerves onto the shoulder -- Tom snaps to -- grabs the wheel -- gravel goes flying -- Karen slams on the brakes -- panic -- car does a 180 -- skids to a halt -- A dust cloud consumes them, the car half road, half shoulder. Air Supply BLARING. A moment. Stomach's in their throats. Karen punches the radio off, humiliated. Tears. She grabs her purse, throws open her door and stomps across the road -- Tom just sits there, watching. Baffled. Finally, he climbs out. Tentatively makes his way across the road to her. A hawk CRIES overhead amidst the SILENCE. She stares out across a canyon, shaking. Angry with herself. Tom sidles up beside, glimpses the pill bottle in her hands. KAREN I'm sorry. TOM Hey, I didn't mean to-- KAREN Got nothing to do with you. She hands him the pill bottle. He reads the label. She struggles, embarrassed -- KAREN (CONT'D) I. Haven't been taking them. TOM Alprazolam...? A moment. Then -- KAREN Anxiety. Panic attacks. Nuts. Take your pick. (MORE) 67. T M S
  • 69. KAREN (CONT'D) 68. (then) You just got a front row seat. He swallows. Unsure. Finally -- TOM You're not nuts, okay? (then) Why haven't you been taking them? She shakes her head. Hard time. KAREN Because. On this trip. I wanted to feel. TOM Feel? KAREN Something. Anything. I feel pathetic enough needing them. But since he died... They just. Make me feel...weak. And I need to be strong. (turns to him) Does that make any sense? He puts an understanding arm around her shoulder. Warm. TOM All the sense in the world. (then) But how's about I drive? She manages a small smile. Punches his arm for good measure. They turn back for the car. A little lighter. INT./EXT. KAREN'S CAR - TRAVELING - DUSK Desolate canyon country. Tom drives, searching ahead. Karen with the map now -- KAREN Mile marker 37 -- should be right up here -- there it is, turn, turn! He swerves off the highway, down a single lane road. Up ahead, a massive rock formation pushes up from the earth. A KAREN (CONT'D) 68. T M S
  • 70. 69. lone monument amidst empty fields. Tom parks in a small lot. CUT TO: SANDSTONE W. Clark July 25 1806. Inscribed in stone. Tom and Karen stand amongst a smattering of TOURISTS. Karen reads from an accompanying plaque -- KAREN Pompey's Pillar. Says this is the only remaining evidence of the expedition. Clark named it after Sacagawea's baby, he nicknamed Pomp. Tom gazes into the rock, transported. Runs his fingers over the carved grooves. TOM Two-hundred-twenty years... And here I stand. Breathing. KAREN Some pervasive sperm the man had. He turns, can't help but laugh. EXT. KAREN'S CAR - LATER Karen and Tom approach the car, darkness setting in. Tom lingers, affected. Taking in the pink sunset. Karen goes for the door, stops -- KAREN What? TOM I dunno. It's beautiful here. Musta looked just the same. To them. KAREN You got a look in your eye...? TOM Well. If you're gonna do the Lewis and Clark trail, seems to me, ya gotta do it right. 69. T M S
  • 71. 70. Off her raised brow -- CUT TO: FIRE Across a distant field. The Pillar towering beyond beneath a kaleidoscope of stars. ARRIVE AT Tom stoking a campfire. Karen arrives, dumps more branches for reserve -- KAREN Worst case, this runs out we can sleep in the car. TOM It's warm, we'll be good. Sit. She takes a load off. Digs into her pack for sandwiches -- KAREN Ham or turkey? TOM You pick. She unwraps one, tosses him the other -- KAREN Don't imagine they had gas station sandwiches back then? TOM Hey man, don't buzzkill my reenactment. Shared smiles. EXT. POMPEYS PILLAR - LATER Late. The pair lay side by side staring up at the stars. Blankets and backpack pillows. KAREN We're not gonna get eaten by bears or anything, are we? Tom dumps crumbs from an empty Doritos bag -- 70. T M S
  • 72. 71. TOM Don't think we got anything they'd want. She moves closer to him for warmth. He feels the heat of her breath. Swallows. Nervous. KAREN That's got to be the brightest moon I've ever seen. He rubs his bloodshot eyes. Half-delirious. She notices -- KAREN (CONT'D) Add some sheep jumping over it and you might just have a shot. (then) Wait -- your sleeping pills! Did you leave 'em in the car? I'll go get 'em -- She rises to go -- TOM No, it's okay. KAREN Whaddya mean? TOM Just been thinking. Gonna think I'm nuts. KAREN Try me. TOM Well. I can't stay awake forever. So in the mean time. If I happen to see her again... That's pretty okay by me. Melts her. She innocently kisses his cheek. KAREN You're a very smart man, Mr. Clark. (then) Hey -- look -- He sits up. In the distance, a fragile doe approaches in the moonlight -- TOM It's a deer. 71. T M S
  • 73. 72. KAREN Oh my god, how perfect. They watch as wobbly legs hesitantly creep toward them. Mesmerized by its beauty. Closer, closer... Until, Karen suddenly realizes -- KAREN (CONT'D) Oh no -- Blood pours from its hind quarters, it's abdomen crushed -- TOM Christ -- it must have been hit by a car -- The dying animal staggers to within yards of them, collapses to the ground. Karen leaps up, rushes to it. The deer heaves in pain, foaming at the mouth. Trembling in fear. Karen kneels, cradles its head, tears streaming down her face -- KAREN Oh Tom, she's dying... He joins her, cracking. The sight of it too much. Karen gently strokes the poor creature's neck. Compassion pouring out of her. Tom inspects the wounds, helpless -- TOM I don't think there's anything we can do... KAREN Water? He rushes over to the fire, grabs a water bottle. Hurries back. Delicately wets the deer's tongue. Can barely watch, overcome. KAREN (CONT'D) That's it, girl. We're here. I know, it hurts. I'm sorry, baby... The animal slowly calms, breathing slows. Submitting. Tom looks into its eyes. Watches...as she dies. Haunting. Karen cradles its head. Weeping. Gently lets go. It's over. Moments pass. Finally, Tom stands. Searching his emotions. Arrives at angry -- 72. T M S
  • 74. 73. TOM Godammit! What was the point of that?? Why us? KAREN (confused) What do you-- TOM I mean seriously -- if there is a god, he's a sadistic sonofabitch! Just pile it on! No, I haven't gotten enough -- gimme more! Fuck! Just take me out and get this over with! He kicks over the firewood, enraged. Concerned, Karen rises, tries to take his arm -- KAREN Tom-- He yanks it away -- TOM No! Let me be angry! I have a right to be angry!! He paces it out, coming apart. She gives him room. Understands. He stews. Stands apart from her. Finally -- KAREN (soft) Yes. You do. And so do I. But. We have a choice. We decide how to feel about this. TOM What possible way is there to feel about that other than deep, inconsolable despair?? Our lives, all of this, means nothing -- can't you see that?! KAREN That's your right. And I'm not gonna tell you how to feel. But I'll tell you what I saw. I saw an innocent animal who for whatever reason died tonight. But instead of dying a horrible death out there in the dark, all alone. It found its way to us. It wasn't alone. Maybe. That means something. 73. T M S
  • 75. 74. He fights it. Unwilling. TOM Yeah, yeah, and it's god's footprints in the sand when times are worst. And the one baby that survives an earthquake when hundreds died is a miracle -- bullshit. Its greeting card bullshit we come up with to make ourselves feel better. It's weak. She bristles -- KAREN So you're being strong? TOM Oh just forget it... He storms off into the dark -- KAREN Where are you going? She watches as he disappears from the moonlight. Worry. EXT. POMPEYS PILLAR - LATER Tom climbs, furiously heaving as he hikes up the plateau. Helpless anger with every step. Moonlight shining down on the ant as he ascends. EXT. POMPEYS PILLAR - LATER Tom emerges from the rough, steps out onto the ridge, a hundred and fifty feet up. Lungs burning. Gasping for air. Depleted, he ambles to the edge. Gazes out. TOM'S P.O.V. LSD trip. Stars swirling like tracers. Trees reaching out to him. The earth breathing. He tries to shake it off. No luck. So he relents. Just stands there and closes his eyes. Futilely mashing them together. Calms himself. Breathing slows. Finally, he opens his eyes. 74. T M S
  • 76. 75. And there she is. In the field below, running through the tall grass with the Newfoundland. Flynn. Fully aware of the illusion, he just watches her play. Eyes brimming. EXT. POMPEYS PILLAR - LATER Exhausted, Tom meanders back up to the dwindling campfire. Sees rocks piled over the deer. And Karen, laying by the fire. He lays down next to her. And holds her tight. EXT. POMPEYS PILLAR - MORNING Dawn sun washes over the wilds, light glistening off the babbling Yellowstone River. INT./EXT. KAREN'S CAR - TRAVELING - DAY Back on the road, past a sign: Leaving Billings, Come Again! Tom drives as Karen munches into McDonalds drive-through -- KAREN Forgot to ask, you get any sleep last night? TOM (shakes no) 0 for five. KAREN Man, I don't know how you're still standing. TOM It's weird. Sometimes I feel like I'm gonna pass out, but then all of a sudden I just get these bursts of energy like my senses are on overdrive or something. Every sound, every smell... KAREN Like you're pregnant. TOM (smiles) I s'pose... (then) Why, you ever been pregnant? KAREN Never found the right donor. 75. T M S
  • 77. 76. TOM Married? KAREN One in the same. TOM What is it you do exactly? For work, back home? KAREN Before my dad got sick, I did accounting for a vet. TOM Ah, so that explains... KAREN Well I did the books, not exactly like I know how to treat animals. But I do love them. Quiet as they reflect on last night. TOM I'm sorry. For losing it. KAREN You needed to. Besides, I'm glad. Now I'm not the only crazy one. He smirks, takes a bite of his Egg McMuffin. INT./EXT. KAREN'S CAR - TRAVELING - LATER Karen surveys the map. Swallows. KAREN Looks like we'll make Idaho by tomorrow. She bites her lip, nerves. TOM You okay? KAREN Can't turn back now. (then) I never asked. Will you. Go to the river with me? 76. T M S
  • 78. 77. TOM Have to check my schedule. She punches -- but he catches it this time -- she giggles -- TOM (CONT'D) I'm hip to your moves, woman. KAREN Hey -- look -- Road sign: Dinosaur Park. Karen lights up like a kid -- KAREN (CONT'D) Can we go, can we go?? Tom turns off. EXT. DINOSAUR PARK - DAY The pair walk through a canyon park. Fossilized dinosaur remains in stone outcrops, skeletal models. Giddy TOURIST CHILDREN run wild. TOM Look at 'em. Not a care in the world. KAREN They got plenty of time for that. Tom stumbles, woozy. Karen clutches him -- KAREN (CONT'D) You alright? TOM Depends. Am I the only one seeing those Pterodactyls flying up there? She smiles, guides him along -- KAREN Come on, sleepy. (then) How 'bout you. What'd you do, before? TOM Engineer. For Boeing. Put satellites in the sky. 77. T M S
  • 79. 78. KAREN A-ha. Mr. Science, eh? TOM Rhetorical? KAREN Maybe. Just makes sense. Why you're in your head so much. TOM (wry) Thanks, here's my nickel, Lucy. She smirks. They round a bend, come upon a large gathering. Chairs, flowers, candles. GUESTS in suits and dresses. A wedding, mid-ceremony. The BRIDE and GROOM stand at the altar beneath the massive rib cavity of a towering T-Rex -- Awe-struck, Tom and Karen quietly pick up the rear as the MINISTER presides -- TOM (CONT'D) What on earth...? An OLD BIRD in the last row turns, whispers -- OLD BIRD They're both paleontologists. Isn't it romantic? Realizing, Tom and Karen nod, smile. Oddly endeared. ANGLE - ALTAR The Minister closes his book -- MINISTER ...And by the powers vested in me, I now pronounce you husband and wife. You may kiss the bride. Tears stream down the young woman's face as the groom opens her veil. His eyes sparkle as he kisses his wife. ANGLE - TOM AND KAREN The sudden genuineness of the moment catches them both off guard. Their hands find each other. Clasp. The CROWD lets loose a WHOOP of APPLAUSE, CHEERS as the happy couple descends the aisle beneath a hail of rice and flowers. 78. T M S
  • 80. 79. Tom and Karen just marvel as they pass. Brightened. SERIES: ...Champagne glasses toast. Tom and Karen crash the festive reception... ...Tom talks up the Old Bird at a table. He smiles, spying Karen chasing giggling ring bearer boys, velociraptor- style... ...Bride and Groom cut the Brontosaurus cake. Tom shoves a hunk of tail from his plate into Karen's unsuspecting mouth... ...Tom and Karen at the sound system, conferring with the DJ. He nods, loads up a song -- Tom grabs the mic -- TOM Ladies and gentlemen, in the spirit of the proceedings, I give you T. Rex -- Revelers excitedly hit the dance floor as T. Rex's Bang A Gong, Get It On BLARES from the speakers... END SERIES. EXT. MISSOULA - DUSK Old West Main Street. Boot cobbler, sewing machine repair. Tom parks the car on the street in front of the historic Palace Hotel. They climb out, stretch legs -- TOM I'll go get us a couple rooms if you wanna walk around. KAREN You sure? Meet you in the lobby in fifteen? He winks and heads inside. Karen meanders down the busy block, heads into an antique jewelry store... INT. PALACE HOTEL - NIGHT All cleaned up, Tom idles in the lobby, waiting. DING. Elevator arrives. He turns to see Karen emerge in a dress, hair just so. Beautiful. He lights up -- 79. T M S
  • 81. 80. TOM Wow. You look... He can't find the words. But she sees it in his face. KAREN (demure) Clean up pretty good yourself there, cowboy. He offers his arm, and they make for the night. EXT. MISSOULA - SIDEWALK - NIGHT The streets are uncommonly ABUZZ as the pair strolls. BIKERS on hogs, TEENS in pick-ups cruising the streets. MUSIC from radios, revelry -- KAREN You'd think we were in Times Square -- wonder what's going on? They round a corner, come upon a row of barriers cordoning off the street. Block party. TOM Asked and answered. They both laugh -- a banner stretching across the street: 41st Annual Testicle Festival! CUT TO: ROCKY MOUNTAIN OYSTER EATING CONTEST! Says the booth -- CLANG! The cowbell is rung. Karen watches in amazement as COWBOYS, BIKERS, and TOURISTS feverishly race to shove deep fried bull's balls into their mouths. Tom returns with beers, offers one -- TOM Heard it tastes like chicken -- KAREN Take your word for it. They move along, navigating the cavalcade of odd REVELERS. A VENDOR hawks rubber car bumper bull's balls. Drunken TEEN TARTS flash for beads. 80. T M S
  • 82. 81. TOM Welcome to Montana... KAREN I love it! A BIBLE THUMPER stands atop a milk crate with a sign: Deuteronomy 6:16 -- BIBLE THUMPER Jesus saves! Karen smirks. Tom catches -- TOM What? KAREN 'Do not put the Lord your God to the test.' Deuteronomy. TOM Look at you, Sunday School. KAREN Some kids got Curious George, I got Old Testament. He swigs down his beer -- TOM Pretty convenient racket -- don't doubt me and don't ask any questions. KAREN Careful, Mister. My dad devoted his life to that 'racket.' TOM Stupid. Sorry. KAREN (shrugs) So, you never, were religious? Before he can answer, a face in the crowd -- Tom double-takes -- TOM'S P.O.V. Locking eyes with him. A man. Stricken, pale. Drenched. Blown retinas. Face and arms bludgeoned black and blue. Undead. It’s himself. Tom's doppelgänger -- 81. T M S
  • 83. 82. Tom recoils, horrified. Blinks his eyes. The man gone. KAREN You alright? TOM (covering) Yeah, yeah. Let's get another drink. CUT TO: SHOTS slam down onto a bar -- Tom and Karen throw 'em back. Raucous biker bar, LYNYRD SKYNYRD COVER BAND onstage. Tom motions the BARTENDER for two more -- KAREN (tipsy) For the record, cross my heart and hope to die, I have never kissed a stranger in a parking lot. TOM Well, now that that's settled. KAREN Seriously! I'm not like that. TOM That supposed to be a good thing? She smiles, coy. The band kicks into Sweet Home Alabama. Karen lights up, drags him -- KAREN Holy shit -- come on! TOM Ain't enough money in the world. She pouts, puppy dog. Thick. He relents, downs his shot. Follows her onto the crowded dance floor. And they dance. Karen lets loose, laughing and spinning. Tom can't help but smile as he watches her. ALL SOUND DISSIPATES. SILENCE as he twirls her around and around. Drinking in her joy. The tiniest hint of life returns to his eyes. 82. T M S
  • 84. 83. EXT. MISSOULA - SIDEWALK - NIGHT Feeling no pain, Tom and Karen make for the hotel. Decked out in festival gear, a renewed lilt in their step -- KAREN (singing) Sweeeeet Home Alabama... TOM Ever been there? KAREN Nope -- but tonight, it's my home -- She takes his hand, makes him twirl her. She spins around, tumbles to her butt laughing -- TOM Okay, Dancing With the Stars-- Amused, he offers a hand up -- but her smiling face suddenly goes white. Cold water in the face -- KAREN Hey -- ? Oh my god-- TOM What? She leaps up from the curb -- panic -- sprints across the street for the hotel -- TOM (CONT'D) Where are you--? Worry, he runs after. She SCREAMS. Hysterical. Tom rushes up to her side. Broken glass at the curb. Her car. Gone. KAREN It's gone -- oh my god, it's gone!! Tom tries to process -- realizing -- speechless -- TOM Are you sure-- He searches the line of cars on the street -- KAREN Yes I'm sure -- it was right here! 83. T M S
  • 85. 84. It sinks in -- incredulous -- Karen, inconsolable tears -- TOM Unbelievable -- Karen goes berserk -- KAREN Sonofabitch! Who does this?! Who fucking does this?! She kicks a car -- pounds its hood violently -- Tom tries to restrain her -- TOM It's just a car, honey -- it's just a car-- Out of control, she throws him off -- KAREN I don't care about the car! Fuck the car!! Then, he realizes -- TOM Oh no -- your father's-- The weight of it washes over -- KAREN The rods, the flies -- all of it! She CRIES in pain. Falling to pieces. Staggering, crumbles to her knees in the middle of the road. HONK! A car swerves. Tom rushes to her -- she fights him -- manic -- another person -- TOM Karen -- come on -- KAREN No -- leave me alone! More cars. HONKING. No choice, he manhandles her -- scoops her up -- carries her to a doorway -- fighting and kicking -- TOM Karen, calm down -- calm down -- She lets loose a BLOOD-CURDLING ANIMAL SCREAM. Complete madness. Unbridled tear-streaming hyperventilating. Tom recoils, afraid. Helpless. Ill-equipped. ONLOOKERS gawk. 84. T M S
  • 86. 85. TOM (CONT'D) Where's your medicine -- you need your medicine-- She smashes her hand into the glass door -- KAREN Fuck that!! The glass shatters -- blood oozes from her hand -- TOM Oh Jesus -- He pulls out a handkerchief -- tries to wrangle her hand -- A HOTEL DESK CLERK sticks her head out the door, shakes her head in disgust. Slips back inside. Karen goes fetal, mumbling -- incoherent -- lost -- KAREN I'm a terrible person. TOM No, you're not-- KAREN Yes, I am -- I couldn't handle it -- he's dead because of me-- TOM No he's not, what are you talking-- KAREN I lied -- I left! I wasn't strong enough -- he spit out the oatmeal, okay?? All over me -- I freaked out and I left -- got in my car and left! Never would've fallen if I'd been there... He just cradles her as she trembles wildly -- afraid for her -- KAREN (CONT'D) (sobs) Wasn't there to call the ambulance... I'm so weak. Be alive if I wasn't so pathetic... TOM No, honey, no... 85. T M S
  • 87. 86. KAREN You don't know, you don't know... Suddenly lights, a SIREN CHIRP. Sheriff's vehicle pulls up. SHERIFF steps out, ambles up -- SHERIFF Got ourselves a problem here? TOM No, officer -- she's just-- KAREN I'm the problem! Lock me up! She pushes Tom away -- resurgent -- he grabs for her -- she falls at the Sheriff's feet -- TOM She's sick, officer -- she needs her prescription-- KAREN Stop saying that!! I don't need anything!! Just leave me alone! She lurches up -- the Sheriff grabs her -- EXT. PALACE HOTEL - LATER PARAMEDICS strap Karen to a gurney, load her into an ambulance. Exhausted tears, trying to reach out -- KAREN Don't let them drug me, Tom -- please -- don't let them -- Tom stands with the Sheriff, can barely watch. Heartbroken. EXT. HOSPITAL - NIGHT A quiet, old owl serenely gazes down from his weather vane perch at the regional hospital grounds. Moon on high. CUT TO: TOM'S SPIDER-WEB RED EYES In the mirror. Men's room. He splashes water in his face. Stands there, taking stock. Fraying at the seams. 86. T M S
  • 88. 87. INT. HOSPITAL - MOMENTS LATER Tom in the hall outside a door. Through glass, he spies Karen in bed, out cold. I.V., bandages on her hand. Sedated. DOCTOR (O.S.) Pardon -- He turns to find a tired DOCTOR in between rounds -- DOCTOR (CONT'D) You're her friend, is that right? He nods, shakes. DOCTOR (CONT'D) I'm Doctor Lee. She suffered what's called a rapid onset acute manic episode, basically like an anxiety attack times a hundred. We have her sedated and she's going to be fine. We'll just let her sleep it off tonight. I understand she hasn't been taking her anxiety meds? (Tom shakes no) Well, when she wakes up tomorrow, as her friend, I highly encourage you to get her back on her course of medication. The fragility of her current mental state is manageable, but she has to see her treatment through. TOM I will. Thank you. The doctor bids him well, heads off. INT. HOSPITAL - LATER Tom in a waiting room chair. Staring at nothing. Then -- SHERIFF Mr. Clark? He snaps to. The Sheriff approaching. 87. T M S
  • 89. 88. EXT. HOSPITAL - PARKING LOT - MOMENTS LATER The Sheriff and Tom standing over Karen's car. Smashed driver side window. Otherwise, in tact -- SHERIFF Found it about a mile outside of town. Looks like it was just a joyride, kids. Tom peers into the rear -- the fishing gear still there. Sigh of all sighs. SHERIFF (CONT'D) We can fill out a report, do the whole song and dance, but if you're just passing through...? TOM No, it's fine. Thank you. For bringing it here. They shake -- SHERIFF I'd say 'come again', but we didn't exactly put our best foot forward. TOM No, you've been...very understanding. Thank you again. A nod and the Sheriff climbs in his car, heads off. Tom reaches in, grabs the fishing gear. INT. HOSPITAL - KAREN'S ROOM - LATER The poles placed just so on a chair. Tom folds a note, sets it down beside. Just stands over Karen. Loss for words. Upside down inside. Runs a finger down her arm. TOM Scared the shit outta me, kid. (then) Never counted on feeling that way again. (then) Thing is. Where I'm going. Well. Best you don't follow. He leans down, kisses her cheek -- 88. T M S
  • 90. 89. TOM (CONT'D) Hope you catch the old man a whopper. And with that, he disappears out the door. EXT. HIGHWAY - NIGHT A semi's hydraulics FIRE, brake lights. Passenger door throws open. Hitcher Tom hurries up from the shoulder, climbs in. INT./EXT. SEMI TRUCK - TRAVELING - LATER The DRIVER and Tom drive the lonely highway, COUNTRY TWANG serenading on the radio. Tom's eyes are absentmindedly drawn to the cupholder between them, an empty 7-11 coffee cup stuffed with used sugar packets. He pulls a packet wrapper from the cup, gazes into it. Regret. Deep sigh. Semi brake lights illuminate as it pulls to the shoulder. INT. HOSPITAL - KAREN'S ROOM - MORNING Morning sunlight bathes the sterile room. Karen's eyes flutter open. Take in her surroundings. Dread. Regret. Until -- she turns -- sees the poles. She throws back the sheets, rushes to the chair. Instant joy. TOM (O.S.) Abra cadabra. She spins. Tom, sitting in the corner chair. KAREN How did they--? TOM Don't worry about it. Now get dressed, we got places to be. She smiles. Profoundly grateful. CUT TO: WELCOME TO IDAHO - HOME OF THE IDAHO POTATO says the sign. Karen's car zooms past. 89. T M S
  • 91. (MORE) 90. INT./EXT. KAREN'S CAR - TRAVELING - DAY Karen sits silently as Tom drives -- TOM Been pretty quiet. No response. He turns to her, pushes with his eyes. Finally -- KAREN Figure I did more than my share of talking last night. (then) Pretty shocked you're still around actually. TOM Don't go giving me a medal just yet. (beat; then) I left. KAREN (surprise) Why'd you come back? TOM You ever smelled the inside of a semi's cab? KAREN Seriously. He gives it a moment. Genuine -- TOM I don't know. Just did. She hides a small smile. An emerging bond. EXT. SNAKE RIVER - DAY Monarch butterflies dance the sun-drenched riverbanks. Karen's car sits parked down a dirt road, hatch open. Tom and Karen rest on the bumper, readying the rods and reels. She carefully selects just the right fly from her father's cap. He deliberates for words. Then -- TOM Had a few hours before you woke up. Talked to a trauma specialist in the ER. (MORE) 90. T M S
  • 92. TOM (CONT'D) 91. (then) Medulla Oblongata. Controls the lungs and heart. If it's severed, it causes instant death. Faraway look in her eyes. Chills. Right back in that kitchen. TOM (CONT'D) Ambulance couldn't have saved him. And he could've just as easily fallen if you were standing right there. KAREN But-- TOM But nothing. Had nothing to do with you. It's not your burden. And I'm not gonna listen for another second that it is. She releases a long-held breath. Weeks of shame. Exhaled. A moment. Eyes welling, she turns to him, embraces him. KAREN (meek) Thank you. He just holds her there. Finally -- TOM (matter of fact) Let's go fishing. EXT. SNAKE RIVER - DAY Soaring mountains cascade to the water's edge. The pair stand ankle deep in the babbling flats. Tom casts, reels. KAREN Look like you know your way around that thing. He gazes out, remembering. Diverts -- TOM Wasn't gonna say anything 'cause I didn't wanna show you up when I haul in the big one. TOM (CONT'D) 91. T M S
  • 93. (MORE) 92. KAREN Ah, a ringer, huh? She casts. Peeks at him out the corner of her eyes. TOM (distant) Used to take her out, on our boat. KAREN That's sweet. TOM Did the best I could. Guess I was hoping to make up for her gettin' cheated out of a mom. KAREN When did she...? TOM When Flynn was just two. Breast cancer. KAREN Poor thing... He goes quiet, surprised at himself. She senses. Gives him room. Then -- KAREN (CONT'D) Ya know, you never answered my question. If you were ever religious? He chuckles. KAREN (CONT'D) Thought you were gonna get away on that one, huh? TOM Persistent, I'll give ya that. He casts, reels. Avoids. She picks up a rock, throws it down near his feet. He relents -- TOM (CONT'D) Religious? She and her mother were. S'pose I considered myself spiritual. Agnostic, maybe. Who knows... (then) (MORE) 92. T M S
  • 94. TOM (CONT'D) 93. After my wife died, I started paying attention. Looking for a sign, ya know? Something. To hold onto. When it never came, I resigned myself that I could see her in Flynn's eyes. And that was enough. (then) Now. It's not enough. Not even close. The bitterness rises in his chest. She edges downstream to him. Gentle -- KAREN When I was a teenager, used to have knock-down drag-outs with my dad. How it's just a crutch. Bunch of made-up stories to quell the masses -- all that smug enlightenment that atheists pride themselves in. But he never pushed. He just used to tell me, 'Karen, we'll never know if there's something more out there, so why not choose to believe there is.' Familiar. He smiles. KAREN (CONT'D) What? TOM Nothing. Just rings a bell. Cast and reel... EXT. SNAKE RIVER - LATER The sun drops in the early evening sky. Eagles soar overhead, hungrily circling rapids. Tom and Karen, still empty-handed. TOM Gonna be dark soon. KAREN I know. I was just hoping to... TOM Hey, I'll sit out here all night if it means getting a bite. TOM (CONT'D) 93. T M S
  • 95. 94. She bites her lip, conflicted -- KAREN Is it completely sacrilegious if I say my feet are freezing? He smiles, reels in his line -- TOM Come on. Any real fisherman knows it's about the day on the water, not the catch. Reassured, she nods, reels in her line. Head for the banks. EXT. SNAKE RIVER - LATER The pair ambles the gravel road for the car, refreshed, if a little disappointed -- KAREN Well, at least we made it, right? TOM He'd understand. KAREN Oh you don't know my dad. He was the first one on the water and the last one off-- THWACK! An object plunges from the sky, smack dab in front of them. Two feet long. Flopping on the rocks. Last breath. Dead. A Steelhead Trout! TOM What the--? They gaze up -- a circling eagle overhead -- Karen slowly turns to Tom. Pie-eyed amazement. Unmitigated awe. Tom will have nothing to do with it -- TOM (CONT'D) Oooh no. 94. T M S
  • 96. 95. (MORE) TOM (CONT'D) (then) You do realize that eagles drop their catch to the ground, to kill it? KAREN (joy) Uh-huh. TOM And there's nothing unusual about it happening here, now. KAREN (mile wide smile) Not a thing. He lets her have it. They laugh in disbelief. Scoop up the "catch", enchanted. Karen holds it overhead, dances a jig -- KAREN (CONT'D) (sings) We caught a fii-ish, we caught a fii-ish! CUT TO: THE TROUT sizzling on a grill -- Tom grabs an order number stand, carries drinks on a tray OUTSIDE. Vera's Famous U Catch We Fry BBQ emblazoned on a sign overhead. Quaint fisherman's roadhouse on stilts over the river. He joins Karen at a picnic table on the deck -- TOM Grilling as we speak. KAREN Mmm, I can smell it. (wry) Heavenly -- TOM Stop it. 95. T M S
  • 97. 96. KAREN Okay, Doubting Thomas. Not even Tom's skepticism can douse her glee. Renewed. As he butters bread, she just watches him. Enamored. Reaches into her purse, sets down a small, ribboned jewelry box before him. He looks up, surprise -- TOM What's this? KAREN Just a little something I got you. To say thanks. For everything. TOM When did you--? KAREN In Missoula -- open it. Embarrassed, he unties the ribbon -- TOM You didn't have to-- Opens the lid. An antique copper timepiece. TOM (CONT'D) Whoa... KAREN No more excuses. Touched, he flips open the cover. Inside, opposite the clock- face, his photo of Flynn. He skips a breath. Unexpected. KAREN (CONT'D) Hope you don't mind. I snuck it when you weren't looking. This way, you have a reason to keep time again. Knocks him in the gut. Heart in his throat. Deeply moved. Can barely speak. TOM Thank you. It's -- incredibly thoughtful. KAREN You're welcome. 96. T M S
  • 98. 97. She leans across the table. Takes his face in her hands. And kisses him. Long. Sweet. Loving. She releases, sits -- KAREN (CONT'D) And lest there be any confusion. I'm back on my meds. He smiles. Laughs with her. Deeply affected. Just as the WAITER arrives with their fish. They throw up hands in anticipation -- TOM/KAREN Booyah -- there she be -- As they excitedly dig in, WE PULL AWAY, LEAVING them to their torch-lit fish fry... EXT. MOTEL - NIGHT Cookie-cutter travelers motel on the Palouse strip. Clarkston Inn says the florescent. INT. MOTEL - NIGHT Doorknob RATTLES, the door flings open. Tom and Karen fumble their way inside, entwined in embrace, passionately kissing. They fall to the bed, desperate. She pulls off his shirt, feels the warmth of his skin. Consuming one another... All too much, he pries himself away. Overcome. Embarrassed -- TOM I -- I'm sorry... KAREN It's okay. She understands. Eases herself up, tenderly strokes his hair. Eyes magnetic -- KAREN (CONT'D) Not in a million years. Could I have imagined this. He quietly looks up at her. KAREN (CONT'D) Where did you come from? TOM Auto accident. 97. T M S
  • 99. 98. She smiles. KAREN Well I, for one, don't think it was necessarily an accident. His eyes twitch ever so slightly, nerves -- TOM Tell that to my skull. KAREN Poor baby. She gently rubs the lump on his head -- KAREN (CONT'D) When we get to Astoria tomorrow, I'll buy you a helmet, so you never have to be scared of me again. Astoria. The mention of it. Strikes him. He covers his unease -- TOM I must smell like a fish market. (off her) Gonna grab a shower, 'kay? He slides out from under. Unaware, she readjusts -- KAREN Sure. I'll hold down the fort. INT. MOTEL - BATHROOM - MOMENTS LATER Tom stands in front of the mirror. Just stares at himself. Breathing heavy. Pale. Swallows. Anxiety taking hold. Shakes it off, climbs into the shower. INT. MOTEL - LATER Cleaned up, Tom emerges from the bathroom. The room empty. Karen gone. A note on the desk. He picks it up, reads: Tom, Ran out for cigarettes. Back in a jiff. XOXO Karen. But she's drawn little hearts in place of the O's. Tom stands paralyzed -- 98. T M S
  • 100. 99. IMAGES -- TOM'S MIND -- instantaneous flashes -- Flynn on the boat, handing over his birthday card. He reads: Happy Birthday Daddy! XOXO Flynn. Little hearts in place of the O's. It knocks him back. He looks up, the room closing in on him. Overwhelmed, he instinctively grabs his pack, moves for the door. Stops. Returns to scribble a note. Slips into the hallway. Stares back at the door. Heart in knots. Hates himself. Heads down the hall. EXT. MOTEL - NIGHT Tom hurries blindly through the parking lot. Down an alley. Faster, faster. Runs. Into the darkened neighborhoods. Further, further away. Lungs heaving. Legs burning. Until he can run no more. TOM Fuck fuck fuck! Comes apart. Helpless to himself... EXT. NEIGHBORHOOD - LATER Tom trudges down the middle of the street. Lost. More ways than one. Double-takes. A driveway. An old motorcycle parked at the curb. FOR SALE -- $500 or Best Offer says the attached sign. He glances up at the open garage, CLASSICAL MUSIC wafting from a radio. A BALD MAN kneels at an antique desk on a tarp, laying stain. Tom doesn't think twice, marches straight for him -- TOM S'cuse me? Bald glances up, turns down the radio -- BALD Evening. TOM Bike still for sale? Bald stands, looks out at the quiet darkness whence Tom came -- BALD You from the neighborhood...? 99. T M S
  • 101. (MORE) 100. TOM No -- just -- passing through. BALD (confused) And you happened to see the bike and wanna buy it? Just like that? TOM Just like that. Bald takes stock of him. Sees the desperation -- BALD Ain't in some kinda trouble are ya? Tom pulls out cash from his pocket, offers -- TOM No. Bald considers, sets down the brush -- BALD Well have a seat, let me grab the title. Tom edges into the garage as the man moves to a cabinet -- BALD (CONT'D) (friendly) What brings ya to Clarkston? TOM (impatient) Lewis and Clark -- I'm doing the trail. BALD Well no kiddin'? We're named after Clark, ya know? Lewiston across the river, for Lewis. Tom nods, mind elsewhere. Bald returns with the title and key, hands them to Tom. Counts the cash. Tom regrets -- TOM I'm sorry -- I'm just -- having a hard time. BALD Happens to the best of us. (then) (MORE) 100. T M S
  • 102. BALD (CONT'D) 101. Things are looking up for you though. Off Tom, the man indicates -- the bike -- BALD (CONT'D) She's my baby. Seen a lotta pavement with her over the years. TOM Oh yeah? Why ya selling? The man moves to the cabinet, puts away the cash -- BALD Oh, wouldn't wanna burden ya. TOM No burden... BALD Well, I'd guess they call it 'getting my affairs in order.' Tom registers, on his heels -- TOM Your...affairs? BALD (smiles) Think I'd choose this haircut? Tom stutters, at a loss -- BALD (CONT'D) Pancreas. Got about a month. TOM I -- I'm -- sorry. BALD Oh don't be sorry. I'm not. Way I see it, I had fifty-three blessed years, beautiful wife, daughter. All that time, I never asked why I had things so good, not about to complain why I'm hitting a rough stretch now. The man is downright cheerful. Sincere. Disarms Tom. BALD (CONT'D) Anyway, probably rude of me... BALD (CONT'D) 101. T M S
  • 103. 102. TOM No, no. It's alright... He gazes past him at the desk. Admires -- TOM (CONT'D) It's beautiful. Antique? Bald turns, smiles on it -- BALD Ain't it ever. 1896. Had to refinish it, replace the drawer. (then) Got a grand-baby on the way. Gonna need someplace to do her schoolwork. The simplicity of the statement. Crushes Tom. About all he can take. Nods for the bike -- TOM Well, uh, thank you. I'll take good care of it. BALD (smiles) Got a feeling you will. SMASH TO: WHEELS Spinning on pavement. Wind through his hair, Tom opens the throttle, races the desolate road through the darkness. Alive. The lone headlight carves a path alongside the vast Columbia River. INTERCUT - KAREN arriving back in the motel room, reading Tom's note: Karen, Thank you. More than you know. I'm sorry. You deserve better. Tom. She sinks. Confused. Hurt. Hole in her heart. EXT. COLUMBIA RIVER - NIGHT Middle of nowhere. Tom approaches a towering bridge over the river. Lewis and Clark Bridge. He veers off the two-laner, takes a service road down beneath. 102. T M S
  • 104. 103. Parks the bike, wanders to the water's edge. Stares two hundred feet up at the road surface. Foreboding. Chill runs through. A moment. Suddenly, his eyes are drawn to the water -- TOM'S P.O.V. A darkened mass floating in the current -- a jacket -- a man face down -- TOM Hey -- hey! Aghast, Tom rushes to the bank -- the body floating by. Incredulous, Tom lunges into the water, knee-deep -- reaches out for him -- horror. He's got him -- flips him over -- Suddenly, the man opens his eyes -- Tom's doppelgänger from the festival -- blown retinas, bludgeoned black and blue -- Tom startles -- shock -- recoils -- double-takes -- It's nothing -- a garbage bag full of discarded clothes -- Tom backs away -- realizes -- hanging by a thread. He strides back to the bike -- starts it up, SCREECHES the hell out of there. Afraid for his sanity. EXT. ASTORIA - DAY Dawn sunlight creeps over the Oregon Coast Range. Tom sits on the shoulder above the river. Stares out at the green beast. The Astoria Bridge. Four miles long, two hundred feet high. A massive Chinese tanker churns the river's mouth beneath the trusses. He closes his eyes. Arrival. EXT. ASTORIA - DAY Tom Sunday-drives the main drag through the tiny port town. Ancient Victorians gaze down from the bluffs to The Finnish Men's Club and Annie's Tavern and Dancers. Gazing up the hill, he catches something out the corner of his eye, accelerates up the incline. EXT. CHURCH - ASTORIA - DAY St. Mary Star of the Sea, Roman Catholic Church says the sign, a high-steepled chapel. Tom's bike parked at the curb. 103. T M S
  • 105. (MORE) 104. INT. CHURCH - ASTORIA - DAY Tom sits quietly in the shadows of the confessional. Waiting. The other side opens, and the PRIEST takes a seat. Clears his throat. Awkward, Tom searches for words -- TOM I -- I'm not Catholic -- not sure what the protocol is here...? PRIEST (O.S.) Why don't you tell me why you're here. TOM I -- don't believe in -- your god -- or any other for that matter. Don't presume to know anything about -- what happens -- after... PRIEST (O.S.) You're certainly not alone in that view. But something has brought you here now? Tom trembles, no way to say it but to say it -- TOM I'm going to jump. Off the bridge. And I'm scared as hell. PRIEST Son, you-- TOM (cracking) Please let me finish. (then) I was scared before. And I couldn't go through with it. It was the least she deserved. And I was a coward. I can't live with myself. And... I just had to say it. To somebody. He exhales. All he has left to say. Swallows, ashamed. The priest digests. Then -- PRIEST Son, perhaps scripture is of no influence to you, but I believe the proof of the divine is all around us. In the beauty of nature. (MORE) 104. T M S
  • 106. PRIEST (CONT'D) 105. The kindness of strangers. It's revealed to us every day in ways that we ignore or take for granted. In the coincidences. You just have to look for them. And recognize them for what they are... The priest waits. No response. PRIEST (CONT'D) Son? Concerned, he exits the confessional -- the opposite door just clacking shut, empty -- Tom gone. Did he hear? Suddenly, he hears an ENGINE -- rushes to the entrance -- throws open the doors -- to see Tom speeding away on the bike -- EXT. LAMPLIGHTER INN - DAY Tom's motorcycle parked outside of a riverfront motel in the shadow of the bridge. INT. LAMPLIGHTER INN - DAY Drapes closed. Darkened but for a nightstand lamp. Tom sits on the edge of his bed. Contemplating the phone. Finally picks it up, dials -- RINGS -- voicemail -- ALAN'S VOICE (ON PHONE) Hi, you've reached Alan, please leave a message at the tone -- TOM Uh -- hi -- Alan -- it's Tom -- Clark. Long time, huh? I just wanted to call -- to say thank you -- for you and Mindy, being my friends -- for supporting me through it all. Just wanted you to know -- I didn't take it for granted. Guess that's it -- take care. He hangs up the call. Then stares at it. Considering. Unable. INT. MOTEL - CLARKSTON - DAY Karen at the edge of the bed, willing the phone to ring. Heart in knots. PRIEST (CONT'D) 105. T M S
  • 107. 106. INT. LAMPLIGHTER INN - NIGHT Tom upright on the bed, Domino's pizza in his lap. Stares into space eating a slice. Last meal. Matter-of-fact. INT. LAMPLIGHTER INN - NIGHT Tom lays on the bed, wide awake. Uncomfortable, he rolls over. And there she is. Flynn, head on the opposite pillow. Sweet smile. Tears in his bloodshot eyes, he reaches out, tucks her hair behind an ear. A moment. Bliss. Until -- a CAR ALARM BLARES outside -- Tom snaps to -- sits up -- Flynn gone. He realizes. Light streams through the curtains. Morning. He was dreaming. Slept through the night. Rubs his eyes, marveling. Looks at the nightstand alarm clock -- flashing 12:00. He gets up, reaches into his bag. Karen's timepiece. Opens it -- 7:30AM. He runs his hands across it fondly. Regret. Gently closes it and slips it back into the bag. EXT. LAMPLIGHTER INN - MORNING Tom exits the room, bag slung over his shoulder. Gazes up at the bridge. And starts for it. Across the parking lot. Across the road... EXT. ASTORIA BRIDGE - MORNING Steady, determined gait, Tom makes his way along the platform. Further, further out. Arrives at the peak. Stops. A spattering of DRIVERS obliviously speed by as he peers over the edge. The black murk swirls forever below. Taunting. Vertigo. He grabs hold of the rail. Knuckles white with fear. Muscles clenched. The moment. Upon him. He lifts a leg to the rail. Lungs pumping. Sheer will... Until -- suddenly -- a FLASH across his eyes. He squints from the GLARE. On the riverbank. From high in the trees. A SHIMMERING beacon. Insistent. Unrelenting. He's drawn to it. Can't turn away. Mesmerized. Hypnotic. SMASH TO: 106. T M S
  • 108. 107. TOM'S P.O.V. - FLASHBACK FLASH! Flynn in the dreamland distance -- mysteriously pointing at an angle, up at the glimmering star -- insistent -- brighter, brighter... BACK TO: EXT. ASTORIA BRIDGE - SAME Tom slowly lowers his leg. Pulls his hands from the rail. And strides. A fish to a lure. Back off the platform. Faster. Down the steps. The GLIMMER finding his eyes. Feet hit mud. He rushes along the riverbank, fighting through brush and driftwood. Reaches the towering grove of evergreens. Gazes up. The LIGHT calling out to him. Instinctively, he climbs. Hand over foot. Branch after branch. Higher, higher. And then. He sees it. Tangled up in pine needles. Sun- faded, torn rubber now a faint shade of red. The unmistakable silver charm still dangling from its tie. A heart. Sparkling in the sunlight. Flynn's balloon. He nearly swallows his tongue. Can't breathe. Shock. Impossible. And yet, here it is. Shaking hands carefully peel it from its long-dormant hiding place. Tom slowly descends the tree, carefully protecting the dime store rubber like ancient antiquity. He reaches the ground. Stands there, clutching it. Mind still catching up with his eyes. Suddenly, a look of recollection stirs, then puzzlement. Realizing, he furiously grabs his bag from the dirt, whips out Flynn's puzzle book -- flips through the pages, frenzied -- And then he finds it -- the words humbly printed right there on paper. All this time. Tears flood from his eyes. SMASH TO: INT./EXT. TOM'S CAR - MINI-MART - DAY - FLASHBACK Flynn takes the money from Tom and heads out. Turns back, her puzzle book -- FLYNN By the time I get back -- pink lips, storybook, wedding veil, jewelry box, racing throttle, shining heart. 107. T M S
  • 109. 108. He accepts the challenge and off she goes... SMASH TO: EXT. RIVERBANK - SAME Tom's memory washes over -- a kaleidoscope in his mind -- E.C.U. of the puzzle book -- PINK LIPS... SMASH TO: EXT. TRUCK STOP - NIGHT - FLASHBACK TOM'S P.O.V. Numbed senses, blurry eyes slowly come to focus. Lips. Her lush pink mouth draped upon his own. A WOMAN. He wallows there, in a daze -- until -- WHAM! She rams down on his chest with both hands. Again. Again. Now back to the lips -- CPR. He realizes -- flutters his eyes open -- sits up -- TOM I'm -- okay -- I'm okay! She backs away, hands shaking -- KAREN Oh shit -- thank God -- I'm so sorry -- SMASH TO: EXT. RIVERBANK - SAME Tom reeling -- E.C.U puzzle book -- STORYBOOK... SMASH TO: INT./EXT. DODGE - DAY - FLASHBACK Pie WAILS. Inconsolable. Tom just sits there, incredulous. Turns to the boy -- TOM Hey Pie -- it's okay, it's okay -- 108. T M S
  • 110. 109. Nothing doing. Then, he spots something on the floor -- a pop-up storybook. Three Little Pigs. Last ditch, he picks it up, opens it in front of Pie. Reads -- TOM (CONT'D) Once upon a time, there were three little pigs... Tom glances down. Pie's eyes waver closed, sleep. Sweet SILENCE. Tom just sits there, cradling the sleeping baby. Can't help but smile... SMASH TO: EXT. RIVERBANK - SAME E.C.U. puzzle book -- WEDDING VEIL... SMASH TO: EXT. DINOSAUR PARK - DAY - FLASHBACK Tom and Karen round a bend. Chairs, flowers, candles. A wedding, mid-ceremony. The BRIDE and GROOM stand at the altar beneath the massive rib cavity of a towering T-Rex -- MINISTER ...I now pronounce you husband and wife. You may kiss the bride. Tears stream down the young woman's face as the groom opens her veil. His eyes sparkle as he kisses his wife. Tom and Karen's hands find each other. Clasp... SMASH TO: EXT. RIVERBANK - SAME E.C.U. puzzle book -- JEWELRY BOX... SMASH TO: EXT. VERA'S BBQ - DUSK - FLASHBACK Karen reaches into her purse, sets down a small, ribboned jewelry box before him. He looks up, surprise -- TOM What's this? 109. T M S
  • 111. 110. Embarrassed, he unties the ribbon -- opens the lid. An antique copper timepiece. TOM (CONT'D) Whoa... KAREN No more excuses. Touched, he flips open the cover. Inside, opposite the clock, his photo of Flynn. He skips a breath... SMASH TO: EXT. RIVERBANK - SAME E.C.U. puzzle book -- RACING THROTTLE... SMASH TO: EXT. HIGHWAY - NIGHT - FLASHBACK Wheels spinning on pavement. Wind through his hair, Tom opens the throttle, races the open road through the darkness. Alive. The lone headlight carves a path alongside the vast Columbia River... SMASH TO: EXT. RIVERBANK - SAME E.C.U puzzle book -- SHINING HEART... Tom holds the charm heart in his open palm. Her last words. Whispers to himself, transformed -- TOM Things you open... His legs go wobbly. He crumbles to the ground. Disbelief. Belief. Heart overflowing. WE RISE UP FROM the tiny man on the riverbank, PAST the looming Astoria Bridge, INTO the bright blue. Warren Zevon's Keep Me In Your Heart stirs as -- INT. DRUG STORE - LATER Shoes on linoleum. Tom at the register. Serene resolve upon his face as the teen CHECKER rings up his total... 110. T M S
  • 112. 111. EXT. BEACH - MOMENTS LATER Bare feet stroll across wet sand into the trickling surf. Assured hands tie a fresh white ribbon to Flynn's familiar heart charm. WIDEN as Tom raises his hand to the sky, a brand new red balloon aloft. Exhale...and he lets it go. He quietly watches as the tiny red pixel hitches a ride on the clouds, dodging and surging, swirling higher and higher...until finally, it's gone. EXT. ASTORIA - DAY Tom in a gas station phone booth. Dials. INT. MOTEL - DAY A cell phone buzzes on a nightstand. Karen rushes from the bathroom, grabs it -- KAREN Hello? She wells at his voice -- SMASH TO: WHEELS spinning on pavement -- Tom on his motorcycle, cranking the throttle, racing down the yellow lines along the great Columbia. Townshend's Let My Love Open the Door as he speeds past -- Clarkston -- 50 Miles says the sign... FADE OUT: THE END. 111. T M S