FADE IN:

EXT. HOUSE -- BACKYARD -- EARLY MORNING

An old SWING SET made of rust covered bars. Chain links holds
a rubber seat made out of an old tire.

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

A WINDOW. It’s covered by a deteriorating set of BLINDS.

A beam of SUNLIGHT peaks through the cracks of the blinds,

lightening up the room just enough to see,

JENKS (12). He stands, looking out through the blinds,

shielding his eyes. He’s average looking. A little
overweight. His shoulders are drooped over.

MAN’S VOICE (O.S.)

You gotta see this son.

The blinds SHUT as he leaves the window.

INT. HOUSE/LIVING ROOM -- DAY

FRANCIS, sixty two, sits in an old, worn out chair. A

CIGARETTE dangles on his lips. His BOOTS are set by a night
stand with three beer bottles on top.

Jenks comes over and sits on a wooden CHAIR. He scoots it

over, close to his dad, not getting in the way of the TV.

A CLOUD OF SMOKE blows across his face. He squints his eyes,

casually dodging the smoke the best way he can.

FRANCIS
Gary Cooper. He’s one of use. I
love him in these westerns. Cool,
quiet.
 2.

Jenks watches his dad raise a GUN, barrel open, in front of

his face, avoiding his lit cigarette. He examines it
carefully.

FRANCIS (CONT’D)
I told it to you before, son.
Don’t let anybody, and I mean
nobody, from outside that room,
know you’ve been there. It gets
done, it’s clean.

Francis takes a long draw off his cigarette, not taking his
eyes away from his gun.

Jenks watches the ASHES fall... eventually landing on his

father’s right cowboy boot.

FRANCIS (O.S.) (CONT'D)

You listening son?

Jenks looks up, directly into his father’s eyes - He made

that mistake once before. A cigarette burn, on the top of
his right hand, is a constant reminder of this.

Francis reaches over to his side and grabs a bottle from the
night stand.

FRANCIS (CONT'D)
You gonna do good work, I know it.
Just like your old man.

With the BOTTLE upright, almost pointing straight to the

ceiling, the remaining liquid slides into Francis’s mouth.

FRANCIS (O.S.) (CONT'D)

We better get’cha going, I guess.
School start’n soon and all.

Jenks turns to watch the TV. Francis gets up and leaves.

 3.

FRANCIS (O.S.) (CONT'D)

Your mother. She’d take care of
this shit. Even these lunches of
yours.

Jenks goes back and forth between the TV and his dad in the
other room. He doesn’t move as he watches a brown BAG land
next to him.

INT. JENK’S HOUSE/LIVING ROOM -- DAY

Jenks, now as an adult, 31, dressed in blue coveralls, hiding

his muscular frame, stands in front of a similar looking
window. This one is covered in WHITE SHADES.

After a long beat, Jenks reaches out with his cigarette burnt
hand, pushing the shades open. SUN blankets the room.

INT. JENK’S HOUSE/DINING ROOM

A TABLE, set for two. A plate of toast, a glass of milk, and

a jar with sugar and cinnamon sits.

Jenks wipes a small amount of debris off the table, before...

Walking down a short hallway into the...

THE FOYER

A few feet from the front door is a long STAIRCASE.

Jenks stops at the staircase and looks up.

JENKS
Susan! Come on honey. Your
breakfast is ready.
(Oops!)
Oh, hey! Don’t forget mercury and
Pluto. They should be right by
your bed.
 4.

He waits for a response but doesn’t get one.

Turning around, Jenks walks back into the...

DINING ROOM

He sits down on a chair at the table - the weight of the

world on his shoulders.

Hearing a noise upstairs, Jenks reaches out and grabs the jar
from the table. He puts it behind his back.

Seconds later, SUSAN, 5, with long and curly blonde hair,

wearing a yellow formal dress, prances into the room. In one
hand she has a purple ball, in the other is a yellow ball.

She sets the two balls on the table and climbs up on a chair.

Susan sits, frozen, just looking at the toast.

JENKS (O.S.)
What’s wrong honey?

SUSAN
Mommy would put cinnamon on my
fingers.

Jenks pulls the jar from behind his back.

JENKS
Like this?

SUSAN
Yay!

A woman (Mommy), wearing a robe that covers her pajamas,

slumbers into the room. This is ANN (29).

Ann stops to rub Susan’s long hair as she walks past Jenks,
like he doesn’t exits, and into the kitchen.

Jenks sprinkles cinnamon on Susan’s toast that is cut into

slices, length wise.
 5.

JENKS
This is a big day Sus’.

SUSAN
Miss Jackson says the solar
eclipse’s thingy is gonna happen.
Is that what you mean daddy?

JENKS
No, dear. I’m talking about the
science project.

SUSAN
That’s in the bag. Except for
Mercury and Pluto of course. I’ll
put them on later. I’m sure it’s
better than Marabelle’s. She says
she’s gonna win but I don’t think
so.

JENKS
Oh yeah? Is Marabelle your friend?

SUSAN
Yeah, but she doesn’t like to be
around us so much. I don’t know
why.

JENKS
There’s nothing wrong with being a
little shy sweetheart.

Sounds from Ann opening and SHUTTING cupboards is heard in

the other room.

JENKS (CONT'D)
It doesn’t matter how someone acts
or how many friends they have, it’s
what’s inside. Right?

Ann, with a coffee cup in her hand, walks toward the window
in the living room, shaking her head. She closes the shades.
The room gets DARKER.
 6.

Jenks twists around and looks at Ann. He’s not happy.

ANN
What?

JENKS (O.S.)
Are you ready honey?

After eating a bite of her toast, Susan wipes her mouth with
her arm and jumps out of her chair.

SUSAN
I’m...

She straightens out her dress and picks up the two balls.

SUSAN (CONT'D)
Ready.

JENKS
We put those on the world, and like
you said, it’s in the bag.
(beat)
Let’s go, dear.

Susan, joyously, turns around and skips out of the room.

Into...

THE FOYER

Susan stops at the front door. She waits.

ANN (O.S.)
One thirty Jenks.

Jenks, right behind Susan, gives her a quick nod.

Susan opens the door and exits.

ANN (CONT'D)
Why do you do that, Jenks? I mean,
let her open the door like that.
Like nothing’s going to happen?
 7.

JENKS
I look after her, Ann. I protect
her... and her friends.

ANN
Like her grandfather?

JENKS
Don’t. Don’t do that today, Ann.
Can I take our daughter to school?

ANN
Yes, take her to school.

JENKS
Can you pick her up?

ANN
(irritated)
I’m working Jenks. You know I’m at
work all day. I told you two days
ago about my schedule. You can,
can’t you?

JENKS
You know I can’t give you promises,
with what I do.

ANN
One thirty. It’s a time
commitment, Jenks.

JENKS
You think I’d forget?

ANN
You’ve missed stuff like this
before.

JENKS
One thirty, I’ll be there.
 8.

ANN
You’ll meet me there?

JENKS
Yes Ann, I will meet you there.

As Jenks opens the door, he sees Susan who is waiting for her
daddy.

ANN (O.S.)
Wait.

Jenks makes sure Susan is okay before returning his attention

to Ann. Beat.

JENKS
She has to go to school, Ann. I’ll
make sure she gets their in good
shape. She’ll be alright with me.

The door starts to CLOSE.

ANN
Wait. Jenks.

JENKS (O.S.)
I don’t want her to miss...

The door locks, closed.

Ann stands in the middle of the room. In disgust, she flings

her robe around her waist.

EXT. STREET -- DAY

A WHITE ‘69 MERCURY COUGAR, drives down a neighborhood

street.

After passing TWO SCHOOL BUSES, the car pulls over to the
curb.
 9.

INT. CAR -- DAY

In the driver’s seat sits Jenks. In the back seat is Susan.

A BIG BROWN BAG sits on her lap. Next to her is a lunch box.

JENKS
Alright. We... made it.

Jenks looks in his rearview mirror at Susan. He watches her

gather her stuff together.

Susan leans forward. Her head is set directly next to her

daddy’s. Her eyes are squinting, lips puckered up, ready to
be kissed.

Jenks doesn’t respond.

SUSAN
(whispering)
Daddy, I’m waiting.

Jenks turns to her and places a finger on her lips.

JENKS
Love.

Susan opens her eyelids but something’s not right.

SUSAN
Are you okay? Did mommy tell you
bad stuff again?

Beat.

JENKS
You don’t want to late for school,
do you honey?

SUSAN
No, dad.

JENKS
You better give me a kiss then.
 10.

Susan puckers up again, right in front of her daddy’s face.

SUSAN
I’m ready again, daddy.

Jenks places a finger on her lips.

JENKS
Love.

SUSAN
Love.

Susan works her way out of the car.

Jenks watches her walk across the street and join a group of
KIDS that are on their way into school.

Something catches Jenks’ eyes.

JENKS POV

A BOY runs alongside THREE OTHER KIDS running through the

school playground.

EXT. SCHOOL -- DAY (FLASHBACK)

Jenks, as a boy, runs across an empty school playground.

EXT. CAR -- DAY

The same white ‘69 Mercury Cougar is stopped along side a

curb adjacent to the playground.

SMOKE, that has escaped through a small crack of the car’s

window, runs up the car.

INT. CAR -- DAY

Francis reaches over and rolls down the passenger side

window. Smoke and the sounds of the radio leak out.
 11.

He bends down, peering through the open window, waiting for

Jenks.

He straightens up as Jenks opens the door and sits down.

Francis reaches under the seat and pulls out an old, ragged,
stuffed animal. He throws it at Jenks and drives away.

FRANCIS
There. That’s for you.

The stuffed animal, bouncing off the dashboard, ends up under

the car’s radio.

As Jenks reaches down for the stuffed animal, he sees a GUN

along his dad’s waistline. Right above the gun is a red
BLOOD STAIN covering a small portion of his shirt.

Francis notices Jenks looking at him and closes his jacket,

covering the stain.

... on the radio...

WOMAN’S VOICE (V.O)

We interrupt the pregame show to
bring you up to the minute news.
(pause)
A murder south Chicago this
morning, nine thirteen. A well
known...

The radio STOPS.

Francis goes on to drive a few blocks as we see Jenks waiting

for the right time to ask his father...

The car stops at a crosswalk.

JENKS
Why do you...

FRANCIS
What son?
 12.

JENKS
Why do you... you know, what you
do? I mean...

FRANCIS
(casually, interrupting)
You mean what we do son.

JENKS
I’m not like you.

Francis PULLS the car over and parks along the curb.

Francis SLAMS the car’s gear into park. Beat.

FRANCIS
What’ya think I been teaching you
for?

Jenks sits, not sure what to do or say.

FRANCIS (CONT'D)
Come on, son. I been teaching you,
telling you about them folks -
Them dirty son of a bitches.

JENKS
Them bitches.

FRANCIS
They’re bad...

JENKS
Bad.

FRANCIS
And...

JENKS
They don’t care about us.

FRANCIS
Right... and...
 13.

JENKS
They sink down to our inner souls,
tearing the fabric away from
everything you built for us... and
the ones before us - They’re
beasts.

FRANCIS
Beasts.
(re; his blood stained
shirt)
And you ask, do they deserve it?
(beat)
Shit, Jenks. Do they deserve it?

Jenks cowards a bit but nods “yes” to his old man.

FRANCIS (CONT'D)
For fucks sake, boy. Sometimes I
think you aren’t listening to me.

JENKS
(respectively)
Yes, sir. I won’t forget.

Jenks turns to look at his dad.

A GUN - Right in front of his face.

FRANCIS (O.S.)
Take it. Don’t worry, nothings
gonna happen.
(proudly)
The bullets are used up, I promise.
Give it a try.

Jenks, gradually, reaches out with both hands.

With Francis letting go, the gun slides down Jenks’ little
fingers and into the palms of his hands.

Without thought, Jenks grips the gun in his right hand. His
left hand drifts away.
 14.

Jenks takes a quick look at his dad...

It’s okay.

BACK to the gun.

Slightly tilted down, the gun is pointed straight ahead.

Jenks’ looks down the barrel. His left eye closes.

FRANCIS (O.S.) (CONT'D)

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

Jenks’ turns to look back at his dad.

INT. CAR -- DAY (PRESENT DAY)

Jenks sits in his car. Dazed, staring.

BEEP! (A car horn)

EXT. STREET -- DAY

Jenks’ car pulls away from the curb...

EXT. HOUSE -- DAY

Jenk’s car pulls into the driveway of a small blue HOUSE,

covered by a chain link fence.
 15.

Weeds, growing through the gravel covered lawn, sprout in

some areas but not in others.

A screen door OPENS.

A man, QUEENS, 25, smoking a cigarette, exits. Queens is

wearing designer jeans and shiny, brand new, basketball
shoes. Everything is top notch except his hoody sweatshirt.

INT. CAR -- DAY

The passenger door OPENS. Queens gets in. He rubs his eyes,
tired.

Jenks just stares at Queens.

After a big inhale and a quick “fuck you” look, Queens FLICKS
the cigarette out of the car and shuts the door.

Jenks reaches in the backseat, grabs a pair of coveralls and

throws it on Queens’ lap.

JENKS
Put this on.

QUEENS
You got to be, man - This is some
early shit. You pulled me out of
bed for this?

JENKS
What did I tell you?

QUEENS
Shit man, I don’t know.

JENKS
If you ain’t gonna be ready, I mean
if you’re not up for it...
 16.

QUEENS
(covering his tracks)
Look man, I’m just fucking with
you. I’m tired that’s all.

Jenks’ punches the car into gear and pulls out into the
street.

QUEENS (CONT'D)
Shit man, you strung out. Tight.
I mean you could... Oh, Fuck! The
Mets, did they win? Tell me they
didn’t lose by more than a run.
Six to five? Five to four?

Jenks ignores Queens. He’s done this before.

EXT. SIDEWALK -- CLOSE ON AN OPEN NEWSPAPER DISPENSER -- DAY

A HAND reaches in and grabs a NEWSPAPER.

WE SEE Queens, with his hood over his head, now standing,
frantically sifting through the various sections of the
paper.

Behind him, a RED FORD EXPLORER drives past Queens.

INT. CAR -- DAY

Jenks sits in the front seat, staring off in the distance.

His sight away from the street.

With a couple empty coffee cups and some empty wrappers on

the dashboard, it looks like they've been there for awhile.

EXT. STREET -- DAY

Queens, dodging the oncoming traffic, runs across the street.

 17.

EXT. SIDEWALK -- DAY

Queens, hurriedly, walks down the block. He sheds each

section of the newspaper by throwing it on the sidewalk.

INT. CAR -- DAY

Jenks is briefly startled by Queens who opens the passenger

car door.

Jenks returns his attention to the window.

Queens (OS) scrunches the newspaper and throws it out the

window.

Beat.

JENKS
The Yankees lost, didn’t they?

QUEENS
Two to one. Nah, they won.

JENKS
But you lost.

QUEENS
(beat)
Yep.

EXT. PARKING LOT - DAY

The red Ford Explorer pulls into a parking spot.

JENKS (V.O.)
You can’t keep doing this shit,
Queens. You keep on betting on
shit like you do, you’ll eventually
lose - maybe everything.

Ann, professionally dressed, gets out of the Ford Explorer,

pulling a briefcase from the cars seat.
 18.

QUEENS (V.O.)
I win, sometimes. Sometimes big.

Ann walks through a parking lot, down a long walkway.

INT. CAR -- CONTINOUOS

Jenks sits in the driving seat.

Queens digs through an old muffin wrapper, popping any bits

of missed muffin into his mouth.

QUEENS
(muffled)
I haven’t eaten like for-ever.

JENKS
I was there just last week. I
brought you groceries.

QUEENS
It’s gone.

JENKS
How much on the game, Queens?

QUEENS
How much?

JENKS
No, I was talking about. Shit. You
know. How much coin?

QUEENS
I don’t want to discuss it.

JENKS
You don’t want to talk about it?

QUEENS
I don’t...
 19.

JENKS
(interrupting)
It’s tied to it, dude.

QUEENS
I was just saying I was hungry.

JENKS
(beat)
If you want to talk about the food
situation, you have to talk about
why the food situation exists.

QUEENS
I ain’t worried about it - I ate
good last week. Surf and turf.
Appleby’s, just last Tuesday.

JENKS
The double header?

QUEENS
The fucking double header is right.
Yankees fucked the Orioles that
night. Covered the spread also.
Didn’t bet it though.

Jenks notices something across the street. He raises his

hand signifying Queens to settle down and pay attention.

EXT. SIDEWALK -- DAY

A SKINNY MAN (30’s), wearing stained, grubby jeans and a worn

out T-shirt, walks down the block, holding a brown bag. He
keeps looking inside, anticipating something good.

QUEENS (V.O.)
Is that our guy?

INT. CAR -- DAY

Jenks and Queens in the car.

 20.

Jenks reaches under his seat, grabs a dark cap, and places it
on his head.

JENKS
We’ll wait. Let him settle in.

EXT. DOORWAY -- BLUE DOOR -- DAY

Ann, dressed professionally, walks down a walkway toward a

building. She eventually reaches,

WOMAN’S VOICE (O.S.)

Come on.

BETH (30’s). She holds a door open, waiting for Ann.

ANN (O.S.)
Good morning to you too.

Beth watches Ann pass by, not looking at her. It’s like a
routine to them.

BETH
(apathetically)
We hate our jobs, don’t we?

INT. OFFICE -- HALLWAY -- DAY

Ann waits in the hallway for Beth.

ANN
Did you forgot the coffee?

BETH
I got things planned for that.
Let’s go. I don’t want to be late
for work... especially late for,
you know...
(whispering)
The boss.
 21.

ANN
Yeah, me neither. God, I hate her.

Ann and Beth approach a LARGE DESK and a RECEPTIONIST sitting

behind it. Above her is a large sign: PANTZLER AND
ASSOCIATES.

RECEPTIONIST
Good morning, Miss Pantzler.

Ann and Beth stop in their tracks, waiting for the other to
make a move.

BETH
No drip... slash that. No foam,
granola flavored, and a hint of
cinnamon.

ANN
The usual black is fine for me.

RECEPTIONIST
Yes, Mrs. Pantzler.

Ann and Beth walk in opposite directions.

INT. OFFICE -- DAY

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

EXT. STREET

Jenks and Queens, watching traffic, judge their way across

the street, walking into an alley way.

INT. APARTMENT/LOBBY -- DAY

The lobby of a once three star hotel back In 1960. Now it’s
just a worn out apartment building. The same furniture, from
day one, sits in its lobby.
 22.

An OLD MAN sleeps in a chair, head down, with his arms folded
along his waist.

Jenks and Queens walk through the lobby.

They enter an elevator. The doors quickly CLOSE.

INT. APARTMENT/FIFTH FLOOR -- DAY

The elevator doors OPENS.

Jenks and Queens walk out and down a short hallway.

Jenks looks around, paying attention to everything.

JENKS
There it is, five eleven.

QUEENS
This ain’t gonna take long, is it?

JENKS
You follow through like your
supposed to, ten minutes top.

QUEENS
We gonna get some breakfast after
this, kid? I could sure use some
pancakes, butter too.

Jenks STOPS.

Turning around, Queens takes a step back.

JENKS
Don’t make me - Not today. I need
you clear, focused.

Queens pays strict attention, this is no joke.

JENKS (CONT'D)
Are you here?
(pointing to his eyes)
(MORE)
 23.
JENKS (CONT'D)
Look at me. You listening?
(beat)
Don’t fuck this up.

QUEENS
Right. I’m cool.

Jenks turns around and walks away. Queens is right behind

him.

INT. APARTMENT/DOORWAY OF APARTMENT 511 - CONTINUOUS

Jenks. Queens. DOOR.

Jenks takes another look around his surroundings. He nods to

Queens.

Queens knocks on the door.

Moments later, the door opens about two inches wide.

MAN’S VOICE (O.S.)

What do you want?

QUEENS
Repair men sir, open up.

MAN’S VOICE (O.S.)

I didn’t call...

Queens PUSHES the door with more than enough force that the
man can’t control the motion of the door and now, the
situation.

The door CLOSES.

INT. ANN’S OFFICE -- DAY -- LATER

Ann stands a couple feet from her DESK that is cluttered with
papers, files, a computer, and an old breakfast sandwich.
She is looking out of a window, arms folded, staring, lost in
thoughts. The blinds are open.
 24.

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

ANN
Shut up. I wasn’t...

BETH
Tuesdays, I know. I like him too.

Beth joins Ann at the window.

ANN
You are so bad.

BETH
I know, right?

EXT. STREET -- DAY

A large BROWN TRUCK is parked curb side. A DELIVERY DRIVER,

20’s, wheels down a hand truck full of boxes.

BETH (O.S.)
Watch this. This is so...

ANN (O.S.)
You are not going to do this.

The delivery driver bends down from the waist, picking up a

box off the hand truck.

INT. ANN’S OFFICE -- CONTINUOUS

Ann reaches out and pulls the string of the window’s blinds.

It SLAMS down on the window sill. Closed.

ANN
I was not looking for him.

Beth turns and walks away, landing on a COUCH by the door.

 25.

BETH
I’m a Friday girl myself. Tall,
dark hair. A bit slim, but I think
he’s working out. Butch, or Billy.
Something like that. I like him
though. He doesn’t know yet.

ANN
(at her desk)
I’m sure he’ll know it soon.

Beat.

BETH
I told you, you should leave him.

ANN
I am not leaving my husband. You
won’t stop with this, won’t you?

BETH
Let me ask you - I’m being serious.
Where is this man of yours?

ANN
I don’t know. I mean... he’s at
work. Any ways, I said we
shouldn’t talk about stuff like
this here.

BETH
Exactly. Exactly. You don’t know
where he is. You don’t bring him
in - not one to visit you, and you
don’t even have a photo of him
here, in this office, where you
spend way too much time, if I may
say so my self. Over seventy hours
just this week alone.

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

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

...

INT. APARTMENT/LIVING ROOM -- LATER

A dirty, unkept apartment. Dust built up for months, maybe

years. Stains next to stains.

Finished fast food bags, pizza boxes, and empty beer bottles
are scattered throughout.

Jenks sits on a COUCH full of holes and years of used fabric.

In front of him, on a Formica coffee table, sits a bowl of

cereal, a gallon carton of spoiled, separated milk, TWO
MAGAZINES, and the scrunched up brown bag.

Jenks pulls out a pack of cigarettes and takes out a

cigarette. He reaches into his pocket, pulling out a
lighter.

He puts the cigarette in his mouth. Beat.

He lights it just enough to get it started.

Jenks looks down at one of the magazines...

INSERT -- COVER -- TEEN BEAT MAGAZINE

BACK TO SCENE

Jenks FLIPS through the pages of the magazine watching dozens

of pictures of young boys and girls go by. The pictures of
all the young boys are circled.

One page is stuck to another.

 27.

Jenks slams the magazine shut and tosses it on top of the

other magazine - PLAYGIRL.

JENKS POV

A BODY. It lays flat on it’s back, DEAD.

BACK TO SCENE

Jenks sitting, head down.

He takes a long look at the burning cigarette which is held

by the same hand with the cigarette burn his father gave him.

Streams of smoke rise upward. Jenks blows out a small breath

effecting the smokes path.

JENKS
One more beast finished. You
fucking ass hole.

QUEENS (O.S.)
Hey look, I found a burrito in the
freezer.

JENKS
(alert, engaged)
You touch that microwave, you’re
dead.

QUEENS (O.S.)
It’s a burrito. It needs eating.

Jenks, still sitting, turns around and looks at Queens.

JENKS
Don’t you see this guy? We just
buried a bullet in this dude. You
want your fucking prints on the
microwave? I said clean.

QUEENS
Clean? Shit. Dude, I’m hungry and
like I said, it needs eating.
 28.

QUEENS stands in the kitchen, burrito in hand...

Jenks approaches him.

JENKS
I know man, you’re doing it for me.
(beat)
I appreciate that. I just want you
to do what I told you.

Queens opens the freezer with his shirt covered elbow, flips
the burrito in the freezer and closes the door.

QUEENS
Right man. I said I’m cool.

JENKS
How long?

QUEENS
I forgot my watch.

JENKS
(beat)
So, I assume you’ve been counting?

QUEENS
Very funny.

JENKS
You think I’m funny?
(seriously)
Look. Seven minutes and thirty two
seconds. I’ve been counting. Do
you remember what happens if you
stay past seven minutes?

QUEENS
Success drops.

JENKS
If called, cops could be here any
second.
 29.

QUEENS (O.S.)
We’ve dealt with shit before, I
ain’t worried.

JENKS
Maybe, at some point, you should.

QUEENS
Start to worry? Not with you.
Besides, I don’t think anybody
heard...

A KNOCK on the door.

Jenks, calmly, extinguishes his cigarette by pushing it on

the counter top. He places the burnt cigarette butt in his
pocket.

As Jenks walks toward the door, he, in one smooth motion,

pulls down his hat close to his eyes, flips the room’s light
off, relocates his gun behind his back, and OPENS the DOOR.

INT. APARTMENT/FRONT DOOR/HALLWAY -- DAY

An OLD WOMAN, in a dirty lime green robe, stands in the

doorway.

Jenks sports a smile and a calm, casual demeanor. His gun

rests comfortably behind his back.

JENKS
Can I help you mam?

OLD WOMAN
I thought I might have heard a gun,
or a - Is he alright in there?

Queens walks over and stops next to, and slightly behind
Jenks. For the first time he has a serious look on his face.

JENKS
I think you better go back inside,
Mam.
 30.

The old woman moves her head and shoulders around, trying to
look into the apartment.

Jenks and Queens haven’t moved once.

The old woman, now scared, back pedals.

Jenks, slowly, closes the door in front of her.

EXT. STREET -- DAY

TWO POLICE CARS come screaming down a street, SIRENS on.

They pass several people including TWO MEN.

EXT. STREET -- DAY

Jenks and Queens walk down the sidewalk not wearing the
uniforms as before.

Queens lights a cigarette as he looks back, watching the

police cars drive past the apartment.

QUEENS
We’re gonna go back... quiet the
old woman?

JENKS
Nope.

QUEENS
And the, let know one know you been
there bullshit? Ain’t that what
you taught me - quiet?

JENKS
(cold and blunt)
I told you to be cool. Like all
them gangster movies you watch?
You liked that. Remember?

Queens stops. Jenks’ walks ahead.

 31.

QUEENS
We still gotta go back.

JENKS (O.S.)
No more killing today.

Surprised, Queens walks on.

INT. CAR -- DAY

Jenks sits in his car that is parked alongside a CEMETERY.

He takes out a cigarette and LIGHTS it.

EXT. CEMETERY -- STREET -- DAY

Jenks’ white Mustang is parked curb side.

SMOKE, from inside the car, rises up along the car.

EXT. GRAVEYARD -- DAY

A wooden, six foot BOX, resembling a casket, lays isolated in

the grass.

Several feet from the box stands Susan, Ann, and a PRIEST.

Susan turns around, seeing her daddy.

EXT. GRAVEYARD -- WALKWAY -- DAY

Jenks walks down a walkway in the middle of the graveyard.

He’s in no hurry.

Susan runs over and stops in front of her daddy. She raises
her arms like she wants to be picked up.

Jenks, slowly, reaches down and grabs one of Susan’s hands.

They continue to walk down the walkway, hand in hand.

 32.

EXT. GRAVEYARD -- DAY

Ann and the Priest wait close to the casket.

The Priest raises his hand.

PRIEST
Mister...

JENKS
Jenks. No formality necessary here
Father. Good to see you again.

They shake hands.

PRIEST
Sorry for your loss.

JENKS
Yeah, well, thanks, but...
Are we ready?

PRIEST
Yes, okay. Now, if we could
just...

Jenks, ignoring the Priest, walks over to Ann.

Ann reaches out her arms for Jenks. They hug and give each
other a quick kiss.

PRIEST (O.S.) (CONT'D)

In talking with Ann, she was
thinking that, maybe, what we
should do is - I say a few words
and then we can...

JENKS
(interrupting)
I don’t think that’s necessary
father.
 33.

ANN
(quiet, but forceful)
Jenks! I don’t think that’s
appropriate right now.

JENKS
Appropriate?

Ann takes a quick look at Susan and then at Jenks.

ANN
I’m sure Father here has other
services. Obligations.

Jenks looks down at Susan. She looks a little confused and

uncomfortable.

JENKS
(to the Priest)
Sorry. Whatever you need father.

PRIEST
Okay... So. If we would, kindly
have the family find a spot. Any
place is just fine.

Ann motions for Susan to come closer.

Susan stays with her father.

Ann moves to one area, isolated. Ann watches the Priest talk
to Jenks and Susan.

INT. CAR -- DAY

The car, driven by Ann, drives away from the curb.

Susan is buckled down in the back seat.

ANN
It was nice of you to join us - to
your father’s funeral.
 34.

JENKS
I was there, wasn’t I?

ANN
Can you see how upset this could
have caused our daughter?

JENKS
She’s okay.

Jenks looks in the rearview mirror at Susan.

JENKS (CONT'D)
Are you okay, honey.

SUSAN (O.S.)
Good, daddy.

JENKS
See? She’s fine. Can we get back
to my grieving for a second?

ANN
You only smoke when you’re thinking
about him, Jenks. Don’t you think
I can’t smell it?

No response. Beat.

The family stays quiet for the duration of the ride until the
car stops in front of their HOUSE.

Ann turns the car off...

The door (OS) SLAMS shut. Ann watches Jenks walk away.

ANN (CONT'D)
We’re home, dear. Do you want me
to help you?

SUSAN (O.S.)
No, I’m okay. Where did daddy go?
 35.

ANN
I don’t know, dear. Why don’t you
go and see that he’s alright?

Susan throws the seat belt away, OPENS the door and races to
the house.

Ann, in the front seat, looks like she would rather stay in
the car forever.

EXT. SCHOOL -- DUSK

A MAN and a WOMAN, holding hands, walks up some STAIRS toward

the entrance of a school.

INT. SCHOOL -- CAFETERIA -- NIGHT

FOLDING CHAIRS are set in rows in the middle of the school’s

cafeteria. About half of them are filled.

In front of the seats, are three, six foot banquet tables,

covered by cheap, worn out linen. A MICROPHONE sits on the
center table.

INT. SCHOOL -- CAFETERIA -- 11’TH ROW -- NIGHT

Ann and Jenks sit... waiting. Ann is wearing a “Hello my

name is” sticker, Jenks’ is not.

Ann, impatiently, looks over her shoulder and toward the

entrance, looking for something, seeing...

INT. SCHOOL -- CAFETERIA -- ENTRANCE -- NIGHT

The DOORS to the cafeteria OPEN. BRAD, 28, enters. He’s

tall, athletically built with beach blonde hair. He could
easily be a model.

He, proudly, SLAPS the name sticker on his chest.

 36.

WOMAN’S VOICE (O.S.)

Bradley? Wait.

Behind him an equally tall and attractive girl, PERCY, 27,

enters. She has long, perfectly tan legs barely covered by a
short skirt. Her jewelry sparkles in the light.

Head down, she searches for a place to put on her sticker,

not wanting to wrinkle her wardrobe.

INT. SCHOOL -- CAFETERIA -- 11’TH ROW -- NIGHT

Jenks and Ann sit, still waiting.

Sounds of people talking is heard behind them.

Ann looks up and over her left shoulder. She hopes it’s him
(Brad).

PERCY (O.S.)
I can’t believe...

BRAD (O.S.)
Shh.

Moments later, Brad and Percy sit behind Jenks and Ann.

Ann smiles as she flips her hair behind her ear.

INT. SCHOOL -- CAFETERIA -- NIGHT

JACKIE, 53, with dark, sun damaged withered skin, long grey
hair and no makeup or jewelry to speak of, walks over to the
microphone.

As she grabs the microphone, the people in the room start to

look in Jackie’s direction.

Jackie is sure to get every person’s attention, before...

 37.

JACKIE
Millions of kids...
(pause)
Millions of kids, everyday, look
for another way out. They never
find answers. What person here
wants to be forgotten from those
that love them?

Most of the crowd (OS) cringes, mumbling words...

JACKIE (CONT'D)
Kids, under the age of seven die
from violent death every year.
Some are taken from us,
figuratively, right out of our
arms.

Jackie gazes the crowd, getting sympathy.

JACKIE (CONT'D)
Just yesterday a young kid and his
father almost lost their lives from
violence on our streets - His dad
was just taking his boy to school.
Pow!

The crowd mumbles to one another, surprised.

JACKIE (CONT'D)
The were almost killed by gunfire.
Have I got your attention? Well I
hope so. Our community, our kids,
need our help, or attention. I ask
you, are we going to do anything
about this?
(silence)
I say, well...
(yelling)
Are we?

Some of the crowd stands and cheers.

 38.

Ann takes a look behind. She sees Brad clapping. Smiling.

He’s intrigued with his presence.

INT. POLICE STATION -- DAY

A big open space with multiple tables, chairs, and cubicles.

The hub of the action in this precincts’ police station.

A large man, FRANK, 62, barreled chest, grey hair and a big
belt buckle, walks through an open door.

In the corner of the room, THREE MEN, that appear to be

detectives, stand LAUGHING, kidding around with each other.

MAN #1
Hey Chief! I saw you on the news
the other day. Looking old sir.

FRANK
You’re one to talk Harrison.
You’ve taken most of the beatin’
from what I can see.

HARRISON (O.S.)
I’m Gerard.

FRANK
Harrison, Gerard. Who gives a
crap.
(beat; to the crowd)
There’s crime out there boys. Have
you seen it, been out there? You
stand here slapping each other on
the backs, telling jokes.

Frank waits for some response - getting nothing.

FRANK (CONT'D)
Well? Let’s go!

Frank turns and walks by a DESK with a young WOMAN, 20’s,

(Frank’s Assistant) who sits, stunned.
 39.

Next to the desk is Brad.

FRANK (O.S.) (CONT'D)

Alright Officer. Come on. Let’s
go.

INT. FRANK’S OFFICE -- DAY

Brad sits down in a chair across the room from Frank’s desk.
He is unflinching, confident.

Frank looks out of a window overlooking the Chicago skyline.

FRANK
Do you see that shit out there?

Brad starts to get out of his chair.

FRANK (CONT'D)
Sit down kid.

Brad sits. He’s attentive and straight.

FRANK (CONT'D)
I said, do you see what’s going on
out there?

BRAD
I...

FRANK
Chaos. Fucking chaos, is what’s
going on. Your uncle and I cleaned
that shit up for years. Sweat and
long hours is what it took.

Frank turns around, taking a couple steps toward his chair,

and sits down.

FRANK (CONT'D)
A decade, plus a couple. But we
did it, God bless him.
(beat)
(MORE)
 40.
FRANK (CONT'D)
The shit’s coming back, kiddo.
Mayor’s on my ass like it’s
Thursday of a short week.

BRAD
I’m sure it will turn around sir.

Frank looks around his desk and scatters some papers around
before picking up a manila file.

FRANK
That’s why you’re here officer.

Frank opens the file and takes a moment to look at it.

FRANK (CONT'D)
Number one in your class, just like
your uncle. I like that.

BRAD (O.S.)
Look, I don’t...

Frank looks up, a little annoyed.

BRAD (CONT’D)
Sorry to interrupt you Chief. I
don’t mean, you know, but I want
you to know I’m ready to do
whatever you ask of me.

Brad re-adjusts in his seat, growing more confident with each

second.

BRAD (CONT’D)
I’ll tell you three things sir.
(pause)
Potential officer of the year.
Before that, three tours in Iraq,
squad leader. Before that, all
state QB, laid at age twelve.

FRANK
You said three things.
 41.

BRAD
I added the getting laid part.
(beat)
Look sir... seriously. I think of
nothing but this department. I’ll
do whatever you need. I’m ready.

FRANK
Whatever I need? Fucking balls on
these kids. Okay, listen officer.
Number one, you got arrests.
Number two, I see, looking at you,
great things are coming your way.
Shit, you look the part.

BRAD
I said I’m ready.

FRANK
Your uncle was a good man, kiddo.
If you got half of my old partner
in you, I’m sure you’ll be perfect.

Brad smiles. He leans in.

BRAD
Let me tell you Chief. My uncle...
my uncle was one great mother
fucker.
(beat)
I don’t mean to but...

Frank nods in encouragement.

BRAD (CONT’D)
I remember him.

FRANK
Yeah?
 42.

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

Frank adjust in his seat. He waits.

BRAD (CONT'D)
Big. A big smile, full of
confidence. Huge confidence.
You know why?

FRANK
Why?

BRAD
He would say...
(for his audience)
My partner got my back. Nothings
going to happen to me out there.

Frank smiles for the first time.

Brad, confidently, stands up.

BRAD (CONT'D)
Sir?

Frank leans back in his chair.

Brad points to the window, motioning for Frank to join him.

BRAD (CONT’D)
Come with me.

Frank stands up as Brad approaches him.

Brad puts his hand on Frank’s shoulder, leading him to the

window.

BRAD (CONT'D)
I came on a little bit too much,
earlier, I’m sorry. Not
professional I guess.
(MORE)
 43.
BRAD (CONT'D)
(beat)
What I will not apologize for is,
is my commitment, sir. That chaos,
you mentioned earlier? You got
pressure? You need arrests? I
will get those bastards, sir. You
and my uncle did it, so will I.

FRANK
I know you will, son.
(beat)
Shoot. We better getch’a out on
them streets. Give it your most
solid effort.

Brad motions for Frank to lead the way, toward the door.

INT. POLICE STATION -- DAY

Frank’s Assistant is at her desk. Laughter is heard OS.

Brad confidently walks out of Frank’s office, giving his

Assistant a wink and a smile, as he passes by.

Frank is right behind Brad, stopping at the doorway. He

watches Brad walk across the detective filled room and out
the door.

Frank smiles, giving Brad one last wave of goodbye.

The Detectives and office employees watch in amazement at

Frank. He is, actually, smiling.

EXT. HOUSE -- DAY

SUN shines on a BIG BRICK HOUSE.

An AMERICAN FLAG waves above the front door.

Brad walks down a long walkway to the front door.

 44.

INT. BRAD’S HOUSE/ENTRANCE -- DAY

Brad jaunts into his house. He is greeted by Percy, who

wears clothes that match her freshly done red nails.

PERCY
I got take out for us. Even
Marabelle. You want some?

Percy turns around and heads for the kitchen. It’s a few
feet from the front door.

Brad follows her.

BRAD
I got some big news Babe.

Percy slows down, paying half of her attention to Brad, as

they head for the kitchen.

INT. BRAD’S HOUSE/DINING ROOM -- DAY

The dining room is next to the Kitchen.

MARABELLE, 8, sits, holding a sandwich. It’s made for an

adult. A large plastic container with multi colored lettuce
and a WHOLE ORANGE sits next to her sandwich.

She looks around for help as her father, Brad, walks past.

PERCY (O.S.)
Don’t touch anything. The maid,
that dark skinned girl, was here
today.

INT. BRAD’S HOUSE/KITCHEN -- CONTINOUS

Brad stands in the kitchen as Percy fiddles with the take out
food.

Brad looks through the stack of mail that is set on a

counter. He is trying to be coy.
 45.

PERCY
Are you going to tell me or not?

BRAD
What?

PERCY
Big news?

BRAD
(beat)
Detective.

PERCY
What?

BRAD
They’re gonna give me a shield.
Can you believe that?

PERCY
Are you kidding?

BRAD
I never thought my good for nothing
uncle...

PERCY
You don’t have an uncle.

BRAD
The chief thinks so.

PERCY
Well then, congratulations.

BRAD
Apparently the Chief has his head
up his ass - He worshipped this
Uncle of mine.

PERCY
What?
 46.

BRAD
The dudes living in the past. The
best partner he ever had, he said.
Some bullshit like that. Whatever,
who cares. The dude, whomever he
is, helped me get the shield.
(excited)
Huh, right?

A DOORBELL RINGS.

MARABELLE (O.S.)
I’ll get it.

Percy and Brad hug.

Percy, immediately, lets go of his clutch.

PERCY
So this means I can get that
necklace I wanted? You know, the
one with the big...

INT/EXT. BRAD’S HOUSE/DOORWAY -- DAY

Marabelle OPENS the front door.

A tall, creepy MAN stands in the door way. He is dressed in

a mailman’s uniform, including a big blue hat.

MAILMAN (MAN)
(affectionate; making
every word count)
This is quite the surprise.
Usually I just push the mail in the
little slot, but here you are.

The mailman hands Marabelle a letter sized ENVELOPE.

MARABELLE
Thanks sir.
 47.

MAILMAN
You are quite welcome. What a nice
young lady you are. Give it to
your daddy, alright honey?

The mailman backs away, keeping an eye on Marabelle the whole

time.

Marabelle stands holding a large envelope in her small hands.

MARABELLE
Yes, sir.

PERCY (O.S.)
Who is it Marabelle?

MARABELLE
It’s just the mailman, mom.

Marabelle, slowly, closes the door. Something’s not right.

INT. BRAD’S HOUSE/KITCHEN -- DAY

Brad and Percy stand in the kitchen hugging and kissing.

Marabelle walks into the room and stands a few feet away from
mommy and daddy.

BRAD
What is it?

Marabelle raises the envelope up toward her dad.

MARABELLE
He wanted me to give this to you.

Brad looks at the envelope and then at Percy.

BRAD
(to Marabelle)
Why don’t you go play outside? In
the backyard, okay?
 48.

MARABELLE
Outside? Again? But there’s
nothing to play with.

BRAD
Play with the weeds or something.

Brad watches Marabelle walk away.

PERCY
What was that for?

BRAD
Didn’t you hear me? I made
Detective! I need you all by
myself.

Brad leans in, grabbing Percy, pulling her closer.

BRAD (CONT’D)
Why don’t we, you know, head
upstairs?

PERCY
What about...

BRAD
Belle?

PERCY
No, lunch.

Brad grabs Percy by the arm, guiding her out the door.

INT. BRAD’S HOUSE/STAIRWAY -- CONTINUOUS

Brad and Percy slither up the stairs.

Percy, ahead of Brad, STOPS. She turns around and starts to

unbutton her blouse.
 49.

PERCY
You’re going to have the night of
you life there detective.

Brad raises the envelope in front of Percy and waves it front

of her face.

BRAD
(smiling; beat)
Icing on the cake.

Brad gives Percy a friendly push, leading her upstairs.

Percy stops, regathering herself.

PERCY
And the diamond necklace?

BRAD
You didn’t say anything about
diamonds.

Percy TEARS her shirt off, exposing her bra.

PERCY
I deserve diamonds.

Percy, followed by Brad, goes into the bedroom. They don’t

close the door.

Percy walks to her left as she reaches behind her back,

unhooking her bra. Brad heads the other direction.

PERCY (O.S.) (CONT'D)

What grade do want tonight dear?

INT. BRAD’S HOUSE/BEDROOM -- CONTINUOUS

Brad is kneeling in front of a big, open ARMOIRE. The DOORS

of a separate space, at the bottom, are swung open.

Brad opens the envelope given to him earlier. He pulls out a

WHITE DVD CASE.
 50.

Greg looks at a sticker on the cover of the DVD case.

INSERT -- SUSAN BLONDE 13

BACK TO SCENE

He opens the DVD case.

BRAD
This is going to be good dear.

PERCY (O.S.)
I hope she’s a redhead. I know how
you like the redheads.

BRAD
Yes I do.

Brad does a little dance with his shoulders as his finger

glides over, pushing the eject button of the DVD player.

BRAD (CONT’D)
(happy with himself)
Yes I do.

He holds the disc in his left hand, balancing it with one

finger.

With a little toss, the DVD flies in the air, gently landing
in the cradle of the DVD player.

Brad, with the empty case in one hand, peruses a long line of
white DVD cases. All of them are imprinted the same way.

His finger, slowly, GLIDES along each one.

INSERT -- ALISON BLONDE 11, BETHANY REDHEAD 14, ANDREA BLONDE

14, DANICA 10 BLACK, JACKIE BLACK 13...

Brad FLIPS the DVD case on top of the others.

He closes the doors, pulls a KEY from his pocket, locking it.
 51.

Brad stands up and flips the key up in the air. After

catching it, he looks up.

Percy stands, across the room, in a small, tight lingerie

number. Her hair is up in pony tails.

EXT. BRAD’S HOUSE/BACKYARD -- DAY

Marabelle sits alone at a play table. The table is set for

three for tea.

INT. JENKS’ HOUSE/BASEMENT -- DAY

An old WASHER (RUNNING) and DRYER with a BASKET of dirty kids

clothes on top, is set in the corner.

Jenks sits alone at a desk. On the desk are several

MAGAZINES and a BIG CARDBOARD BOX.

He digs around in the box as a LIGHT turns on.

Jenks notices that Ann is in the room but doesn’t look up.

JENKS
What is it, Ann?

ANN (O.S.)
I should have known you’d be down
here.

Jenks continous to search through the box.

ANN (O.S.) (CONT'D)

Susan will be back from school any
minute. Get her will ya?

JENKS
(excited, looking up for
the first time)
Susan’s back from school?
 52.

Jenks jumps up from his chair, scurrying past Ann, who has
her hands on her hips, and up the stairs.

Ann, with a look of frustration and a lack of patience, flips

her arms down and walks toward the desk.

The washer BEEPS (OS).

Ann, obviously interested, peruses the desktop, ignoring the

washer.

She picks up a handful of magazines and filters through them.

ANN’S POV

First magazine, PARENTING. The second, (leading magazine for

construction). The third, ENTERTAINMENT MAGAZINE.

Ann tosses them on his desk, eventually landing next to a

SMALL WHITE BOOKLET and a book (a self help book about mother
and father being better parents).

Ann reaches down at the two books and grabs the small white
booklet.

INSERT - “DOLL HOUSE OF THE FUTURE”

BACK TO SCENE

Ann now stands, looking at the white booklet as she holds the
book on Parenting in the other.

EXT. STREET -- DAY

Jenks walks down a sidewalk.

A SCHOOL BUS drives by.

Jenks watches the bus drive by. His smile gets bigger with
every step.
 53.

EXT. STREET -- BUS STOP -- DAY

The bus stops at the end of the block.

The doors swing open as THREE KIDS, including Susan, come

running out.

JENKS (O.S.)
Susan!

Susan stops and looks around.

JENKS (O.S.) (CONT'D)

Over here.

Susan see her daddy for the first time and runs until she
reaches Jenks.

Jenks, kneeling down on one knee, waits for Susan to run into
his arms. They hug.

JENKS (CONT'D)
It is so good to see you. I’ve
been waiting all day for this. You
want to play when we get home?

Susan pulls off her backpack and sets it on the ground.

She pushes stuff around, eventually pulling out a LARGE

ENVELOPE.

SUSAN
Here dad.

Jenks takes the envelopes, opens it, and...

JENKS
You can’t be serious.
(beat)
First place in the science project?
You actually won?

Susan, with a smile, nods.

 54.

A POLICE CAR (O.S.) drives down the street. It slows down as

it approaches Jenks and Susan.

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

Jenks walks down the block. Susan chases behind him.

INT. POLICE STATION/LOBBY -- DAY

The main entrance of a busy Police Station.

The front door opens. A POLICE OFFICER, escorting a MAN in

handcuffs, continues straight ahead.

Brad, with a smug smile, struts in behind them carrying a

CARDBOARD BOX.

INT. POLICE STATION/GREG’S OFFICE -- DAY

TWO MEN in coveralls are putting up a sign on a door as Greg

walks past them and into his new office.

INT. BRAD’S OFFICE -- DAY

Brad sets down the cardboard box on a desk. A TROPHY falls

out.

Frank comes rumbling into the office.

FRANK
You settling in alright Champ?

BRAD
Yes sir.

FRANK
Listen kid. First day and all, but
I’m sending you out.
 55.

BRAD
What do you got, sir?

Brad turns around, making sure the trophy is back upright.

FRANK
I need you to meet up with Lou, the
lead detective on the case.

BRAD
Case?

FRANK
He’ll be the guy with the foul look
on his face. He’ll be happy to see
you. He loves rookies.

BRAD
I’ll take care of it Frank.

As he exits, Brad gives Frank a friendly slap on the

shoulder.

INT. APARTMENT/HALLWAY/FIFTH FLOOR -- DAY

Two POLICE OFFICERS and a detective, LOU, 50’s, a short and

disheveled man with messed up hair, dressed from the decade
prior, are investigating the crime scene.

BRAD
Sorry I’m late Lou.

LOU
(looking down at the
floor)
Watch your feet kid. Jesus Christ.

BRAD
Where do you want me Lou?

LOU
I want you to keep out the fucking
way...
(MORE)
 56.
LOU (CONT'D)
(under his breath)
Rookies.

Lou starts to walk away. Brad stands still.

LOU (O.S.) (CONT'D)

Well? Ya’ coming or not?

INT. APARTMENT -- CONTINUOUS

Lou and Brad walk into apartment 511 and over to a DEAD BODY.
A POLICE OFFICER stands about ten feet from the body and Lou.

Lou kneels down on one knee. He points at the head of the

man’s body.

LOU
Pow. And then, pow. Right in the
forehead, close range.

POLICE OFFICER
He was only shot once there sir.

LOU
If I didn’t know what I was doing,
I would be wearing that silly hat
of yours. Do you see a uniform on
me kid?

POLICE OFFICER
Yes sir. I mean, no sir.

LOU
Than shut the fuck up.
(to Greg)
The body, clean. No sign of a
fight, no bruises, nothing.

BRAD
What do we know about this guy?
 57.

POLICE OFFICER (O.S.)

Man’s name is Franklin Howell the
Third. Also known as Franky the
Faggot. Seems as though he took a
liking for the young boys, if you
know what I mean.

BRAD
Disturbing.

LOU
I know. Any ways, he just got out
of prison five days ago, serving
only a year of a five year stint.

BRAD
(looking around)
The apartment?

LOU
Clean as a fucking whistle. No
finger prints and nothing
disturbed. If there was a fight,
you’d never know. Only a fresh
cigarette burn on the kitchen
counter and an old woman in the
hallway.

BRAD
Old woman?

LOU
Three doors down. Loony tunes if
you ask me. She say’s she saw ‘em.

BRAD
Them?

LOU
Two she says. She also said
President Johnson would take care
of it.
 58.

INT. APARTMENT/HALLWAY -- DAY

Brad walks out of the room and into the hallway.

LOU (O.S.)
Them cops that draw them pictures
are in there with her.

Seconds later, A POLICE OFFICER, with a large note pad, walks

out the door of apartment number 508, followed by the old
woman.

OLD WOMAN
I haven’t seen this much crime
since the Wilson Administration.
We need a constitution is what we
need.

The old woman walks back into her apartment and SHUTS the
door.

GREG
What we got officer?

The police officer goes to Brad...

LOU
I got this, rook.
(to the police man)
Give me those.

Lou grabs the pictures out of the police officer’s hands.

LOU (CONT'D)
Just as I thought.
(beat)
It’s our boy.

BRAD
You’ve seen him before?
 59.

LOU
Do I know him? Have I seen him?
Like I said, it’s our boy. Enough
said, rook.

BRAD
It’s our case though, right?

LOU
I said... enough said. Look at you
with the hard on.
(looking for agreement)
It must be great to live with such
arrogance.

Two police officers (OS) CHUCKLE with each other.

LOU (CONT'D)
Another rapist, slash child
molester, off the street and we
have nothing to do but to clean up
after him. Frank’s gonna love this
result.

POLICE OFFICER (O.S.)

Can we leave this shit?

LOU
Yep. Pack it up, fellas.
(looking around)
You can’t much colder than this.

Several MEN IN CORONER OUTFITS walk into the apartment.

EXT. STREET -- DAY

Two GARBAGE MEN throw BAGS OF GARBAGE into the garbage TRUCK
that is parked curb side.

Jenks walks past them, down the sidewalk.

 60.

INT. CAR -- DAY

Brad drives down a street in a black Ford Explorer. His head

is on a swivel, looking for possible prey.

EXT. STREET -- DAY

KIDS, twelve of them. They’re walking in a straight line,

down a sidewalk.

Brad’s big black car, slowly, drives by.

Behind the kids is Ann.

EXT. STREET -- DAY

Brad’s SUV pulls alongside a curb and parks.

EXT. STREET/SIDEWALK -- DAY

Ann gives a quick smile toward a LITTLE BOY as she turns to

her right and opens up a door.

EXT. STREET -- DAY

Brad jogs across a street, ignoring traffic but keeping an

eye on the class of six graders, half a block down.

INT. RESTAURANT/DINER -- LATER

Ann sits at a table set for two. Her head is down reading a
paperback BOOK, a romance novel.

A GLASS OF WATER is placed in front of her.

She looks up, seeing a familiar face.

 61.

BRAD
(in a semi-loud voice)
Jenny! Come please.

A WAITRESS (Jenny), a couple tables away, is picking up a

dirty dish. She takes a double take at Brad.

With arms full of dirty dishes, Jenny, cautiously, walks over

to their table. She keeps an eye on Brad the whole time.

WAITRESS (O.S.)
How did you know my name is Jenny?

BRAD
It’s your name right?

WAITRESS
But I forgot my name tag today.

BRAD

Jenny, with a heavy tray of dishes, takes a couple, careful,

steps toward the kitchen.
 62.

INT. HOUSE -- LIVING ROOM -- DAY

Jenks enters a dark, overly spacious room with expensive

furniture and antiques. He’s carrying a cell phone in one
hand and a cigarette in the other.

Jenks flips his cell phone closed.

Bright red flames, from a fireplace, lights part of the room.

A MAN, 50’s, is gagged and blindfolded with his hands tied

together in front of his body. He sits on his knees, four
feet from the fire.

Above the fireplace, on the mantel, are framed pictures of

the man and his family of three.

Queens sits across the room, waiting for what’s next.

Jenks tosses the barely lit cigarette into the fire.

JENKS
(to Queens)
Get me a glass of water, will ya?

As Queens gets up and exits the room, Jenks slowly drags over
a table and sits down.

JENKS (CONT'D)
You know... I use to think
positively toward people like you
sir. But now, I don’t know.
(Beat)
I really don’t know anymore.

Queens walks in with a bottle of water.

JENKS (CONT'D)
You got some matches there friend?

Queens pulls out an single box of matches from his pocket.

He SHAKES the box, RATTLING the wooden sticks.
 63.

JENKS (CONT'D)
Do you like westerns Sir?

Jenks glances up at Queens.

Queens tosses Jenks the box of matches.

JENKS (CONT'D)
I was watching a movie the other
day right? In this movie, this
dude, like they always do, comes
into town, you know, a stranger and
all. Later, after a couple bar
fights and a stand off or two, we
get to know why he’s there.

Jenks, slowly, pulls out a cigarette and places it between

his lips.

Jenks pushes the box of matches open and takes one out.

He strikes the match, lights the cigarette, and flips the

burnt match past the man’s left ear, into the fireplace.

JENKS (CONT'D).
Do you know why he came into town?
I’ll give you a couple seconds...
your Honor. He came to get
revenge. Someone fucked with his
family. In this case, they just
beat up his sister, but he had to
get revenge, in honor of his
family.

Even though the room is very warm, the man’s body moves like
he’s shivering.

JENKS (CONT'D)
I like to think in those terms.
I’m here, sir, to keep my family
safe. My family depends on me.
They, my kids, depend on me... to
keep them safe.
(MORE)
 64.
JENKS (CONT'D)
(Beat)
You’re not helping with that sir.

Jenks strikes another match.

He moves the lit match under the man’s hands, holding it

there.

JENKS (CONT'D)
You want your kids safe, don’t you
your honor?

Before it gets too close to his fingers, Jenks flicks it out.

JENKS (CONT'D)
(to Queens)
You got that water there friend?

Queens walks over and hands Jenks the bottle of water.

Jenks slowly twists off the cap and takes a long drink.

JENKS (CONT'D)
I think we would all agree, sir,
that child molesters are bad for
society.

Jenks takes out another match from the box and strikes it.

JENKS (CONT'D)
But you sir...

Jenks places it under the same hand as before.

JENKS (CONT'D)
(whispering close to the
man’s ear)
You let a convicted child molester
go free.
(beat)
Free, into my neighborhood. Where
my kids play.
 65.

Jenks throws the match into the fire before it burns his
fingers.

JENKS (CONT'D)
I changed my mind.
(pause)
The Judge here seems to like giving
people lighter sentences.

Jenks pulls out a silver cased LIGHTER from his pocket.

Jenks opens the cover and strikes it.

The man’s head moves up.

JENKS (CONT'D)
Listen to me Judge.
(beat)
The next child molester that comes
before your courtroom, or I should
say, my courtroom... put him where
he belongs. You hearing me Judge?

Jenks moves the lighter down the man’s body.

The Judge squirms and grimaces.

JENKS (CONT'D)
I don’t want to come back for
revenge.

Queens stands up, stretches his arms behind his head like he
was tired, and walks across the room. He steps over a SMALL
DOLL HOUSE and other TOYS pushed against a wall.

Muffled sounds of pain and discomfort are heard in the

background.

EXT. STREET/SIDEWALK -- NIGHT

An isolated and dark street.

Queens paces around on the curb, smoking. He’s irritated.

 66.

Down the block is Jenks. He is more agitated and more

disgruntled.

A white, four door white car drives past.

INT. GRADE SCHOOL -- DAY

Recess time at a large grade school. Several CHILDREN are

playing in a classroom.

A TEACHER, younger female, is walking around the room being

pulled in all directions by the children.

INT. GRADE SCHOOL -- DAY

Marabelle and Susan sit, playing with THREE DOLLS in the

corner of the room, on a small table.

SUSAN
What are you doing?

MARABELLE
Playing house.
(pointing at each doll as she goes
by)
Here’s the Daddy... The Mommy...
(beat)
That’s me, the kid.

SUSAN
Where are the other children?

MARABELLE
Other kids don’t belong in this
family, there’s just me.

Marabelle takes one of the male dolls and lays it on the

smaller female doll. She pushes the dolls together.

Susan isn’t quite sure what to do. She knows something’s not
right.
 67.

WOMAN’S VOICE (O.S.)

Okay kids. Jany. Susan.

Susan looks up.

BACK down at the table. Susan sees the dolls are all
standing upright.

WOMAN’S VOICE (O.S.) (CONT'D)

Why don’t you girls head out?
Stretch your legs.

SUSAN
Okay Ms. Jackson.

Susan stands up,

MARABELLE
I wanna stay here.
(beat)
By myself.

EXT. GRADE SCHOOL -- PLAYGROUND -- DAY

Several children are running around in a big playground.

Susan walks, slowly, through crowds of happy children before

STOPPING...

As she looks up, rain drops land on her face.

EXT. GRADE SCHOOL -- PARKING LOT -- DAY

Brad, holding an umbrella, waits for Marabelle to come

outside of the schoolhouse.

As Marabelle exits, putting on her jacket, Brad looks past

her to find Susan trying to her best to get inside, away from
the rain.

BRAD
Over here, darling?
 68.

Marabelle looks up to see her dad wave at her. She goes to

her dad, a way out of the rain.

BRAD (CONT'D)
Come on!

MARABELLE
I’m here, daddy.

BRAD
Get in the car.

As Marabelle gets in the car, Brad hasn’t pulled his eyes

away from Susan who is getting closer.

BRAD (CONT’D)
Come on, get inside.

MARABELLE (O.S.)
I am inside.

BRAD
Not you.

Susan gets closer and closer.

Brad, with a big smile, opens the back door, exposing

Marabelle who waits inside.

INT. BRAD’S HOUSE -- MARABELLE’S ROOM -- DAY

Marabelle and Susan play in Marabelle’s room.

SUSAN
You’re dad is really cool.

Marabelle starts to pull away.

BRAD (O.S.)
Can I get you girls anything? Are
you hungry, or something? Juice,
milk?
 69.

MARABELLE
(yelling)
No thanks, dad.

SUSAN
You don’t call him daddy?

MARABELLE
Only if I have too.

SUSAN
My mommy likes when I call her
mommy. I think she wants me to do
that, especially my daddy.

MARABELLE
I don’t like it.
(beat)
Don’t make me do that, will you?

SUSAN
I was just...
(uncomfortable)
Maybe I should call my mom.

MARABELLE
You probably should. I don’t think
you would like it here.

Susan looks around the room...

SUSAN
Mommy always keeps a phone in every
room. I didn’t know why - now I
do.

MARABELLE
(pointing)
It’s in the other room. I don’t
like that room, it’s bad.

Now, increasingly uncomfortable, maybe scared even, Susan

wonders outside of the room.
 70.

INT. BRAD’S HOUSE -- UPSTAIRS -- HALLWAY -- DAY

Susan peaks over a railing and DOWN at the lower floor. She
can hear voices, maybe singing, coming from below.

INT. BRAD’S HOUSE/BEDROOM -- CONTINUOUS

Susan walks past a large, closed armoire and towards a PHONE

that sits on the night stand.

Picking up the phone, Susan quickly dials...

SUSAN
Mom?

BRAD (O.S.)
I have some treats for you girls.
They’re my favorites.

INT. BRAD’S HOUSE -- MARABELLE’S BEDROOM -- DAY

Marabelle continuous to play with the same dolls. In fact,

it doesn’t seemed like she moved once.

Susan walks into the room and sits next to Marabelle, before,

Brad walks into Marabelle’s bedroom, glancing down the

hallway and over to the doorway to his bedroom.

BRAD
I told you not to take your friends
into my room. Didn’t I, Belle?

MARABELLE
Yes, dad. You did.

BRAD
And did you follow my rules?

MARABELLE
Of course daddy.
 71.

Brad, in disgust, looks at Marabelle hiding his anger for her

calling him daddy.

MARABELLE (CONT'D)
Susan was just thirsty. I told her
about the bathroom.

Beat.

BRAD
I guess that’s alright, but tell me
please.

SUSAN
Has my mom called?

BRAD
And why would your mother call?

Beat.

MARABELLE
She didn’t, dad. I told her not to
call out loud for her mommy, or
daddy.

BRAD
That’s enough.

SUSAN
(quickly thinking)
Can I have some juice?

BRAD
Of course you can. But, when I
return, can we play a game?

MARABELLE
Can we play that game I like?

BRAD
Of course, honey. As long as we
entertain our guests, properly.
 72.

MARABELLE
Can we play the guessing game?

Brad stops in the doorway.

BRAD
(looking at Susan)
Of course we can.

As soon as Brad turns, Marabelle points to the WINDOW that

looks out onto the front yard.

Susan RUNS to the window.

MARABELLE (O.S.)
I hope she gets here soon.

BRAD (O.S.)
Don’t worry, kids. I’ll be back
for our games soon.

INT. BRAD’S HOUSE/STAIRWELL -- DAY

Brad walks up the stairwell, holding a plate of sandwiches.

As he gets about half way, a DOORBELL RINGS.

Brad pauses, almost to a complete stop.

A beat, as Brad continues his way up the stairwell.

MARABELLE (O.S.)
I’m hungry, daddy.

The doorbell RINGS twice more.

Brad can’t ignore the doorbell anymore.

INT/EXT. BRAD’S HOUSE/ENTRANCE -- DAY

The front door OPENS.

Ann stands in the doorway. Brad faces her.

 73.

ANN
I hear Susan is here. Can I get
her?

BRAD
I don’t know.

ANN
You don’t, know?

BRAD
I mean, if you weren’t there to
pick her up at school, she could be
waiting for you there.

ANN
I was there, only about ten minutes
late. Thank goodness you were
there to save her.

BRAD
I didn’t save her.

ANN
But you tried, right?

BRAD
I’m only here to help the
community.

ANN
The community goes here for saving?

BRAD
You should know.

Beat.

ANN
I know Susan called me and asked me
to pick her up. So, where is she?

Silence. Ann grows more and more impatient.

 74.

ANN (CONT’D)
Where is Susan? My daughter?

BRAD
Well... inside of course, where
it’s safe.
(beat)
Good luck I’m with the police. Who
knows what could happen outside
these doors.

Susan comes running out of the house and into Ann’s arms.

Ann pulls her daughter away from the house.

BRAD (CONT’D)
The question, I would ask is...
where is the father. Doesn’t he
care about his children?

As Ann and Susan walk away from the house, Susan turns around
and looks up at the window that over looks Marabelle’s
bedroom.

The shades... close.

INT/EXT. CAR -- DUSK

Jenks sits alone in a car parked next to a graveyard. With

his eyes closed, his head lays against the headrest.

RAINDROPS bounce off the car. The windows are fogged over.

EXT. GRAVEYARD/STREET -- DAY

The White ‘69 Mercury Cougar.

The front door OPENS.

Jenks, with a bottle of whiskey, moves unsteadily out of his

car.
 75.

EXT. GRAVEYARD/WALKWAY -- DAY

Jenks walks down the walkway.

Puddles. Mud. Gravel.

GRAVESTONES EVERYWHERE

EXT. GRAVEYARD -- LATER

Jenks stands in rain soaked clothes. Rain continues to fall,

even harder than before.

Five feet in front of Jenks is a HEADSTONE of his father’s.

On top of the headstone is the bottle of whiskey.

JENKS
That’s for you dad.

Jenks reaches into his pocket and pulls out a pack of

cigarettes.

JENKS (CONT'D)
I figure... after, at least thirty
years of not missing a day of your
smokes...

He takes his time to open the pack and takes one out.

JENKS (CONT'D)
... you’d be wanting one or two.

Jenks takes out a cigarette and burns it.

After a long draught, straight from the lower part of the

lungs, Jenks returns his attention to his father’s
gravestone.

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

Jenks notices a woman holding a umbrella walk by.

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

INT. POLICE STATION -- NIGHT

A CEREMONY. Police everywhere. Formal.

Brad stands, proud, amongst FIVE OTHER OFFICERS.

Frank walks along the line until he reaches the center of the
room.

FRANK
Among us here, stands the best.
The best of the best. They are
here to serve, serve they have.
With pride.

Brad breaks into a smile.

MONTAGE - JENKS AND BRAD (FATHERS)

-- EXT. GRAVEYARD - DUSK -- Jenks walks alone. Rain.

Despair.
 77.

-- INT. POLICE STATION - NIGHT -- A ceremony. Police

Officers, in uniform, are everywhere. Blue.

Brad stands proud, in line with the other officers.

-- INT. JENKS’ HOUSE - ENTRANCE - NIGHT -- Jenks walks into

his house. Not sure if he belongs.

-- INT. POLICE STATION - NIGHT -- Frank walks to Brad. He

pins a shield on his lapel.

-- INT. BAR - NIGHT -- Brad and a bar full of police officers

in complete party mode.

-- INT. JENKS’ HOUSE - SUSAN’S ROOM - DOORWAY - NIGHT --

Susan lays, sprawled out across her bead. Dolls are
everywhere.

We see Jenks, covered in rain soaked clothing, looking at his

beloved daughter.

-- EXT. BRAD’S HOUSE - WALKWAY - NIGHT -- Brad stumbles to

his front door.

-- INT. JENKS’ HOUSE - BEDROOM - NIGHT -- A bed. Ann

sleeps. Jenks crawls in, moving the sheets around. He
settles next to her.

-- INT. BRAD’S HOUSE - BELLE’S BEDROOM - NIGHT -- In bed,

Marabelle lies on her side. Her TEDDY BEAR is held tightly
between both arms, against her chest.

The door OPENS. LIGHT streams inside her room, uncovering

Marabelle’s little silhouette.

Brad, in uniform, disheveled, after an evening with the

fellows, stands proud in the doorway.

He looks at her, starting from her head and then, slowly,

down her body.

TEARS run down her face as she, gently, places the teddy bear
on the floor.
 78.

She shifts in her bed toward her father.

DISSOLVE TO:

INT. BAR -- NIGHT

A local, blue collar, neighborhood Chicago bar. It’s

standing room only tonight.

The bartender, FREDDY, is busy filling drink orders.

INT. BAR -- ENTRANCE -- NIGHT

Brad walks through the front door.

MAN’S VOICE (O.S.)

Sluggo!

INT. BAR -- CONTINOUS

Everybody, in the area, turns around.

Several people, immediately, RAISE their drinks.

MAN’S VOICE #2 (O.S.)

The detective ladies and gentleman.

INT. BAR -- ENTRANCE -- CONTINOUS

Brad WAVES. He does a long, drawn out bow.

Several people gather around Brad. Several slaps on the back

and shakes of the hands are done. People around the room
smile and look at him.

MAN’S VOICE #2 (O.S.)

Brad! This fuck face thinks you
couldn’t do it.

...
 79.

Brad, with his head on a swivel, notices TWO YOUNG WOMEN

enter the bar. Fake ID’s or not, they look twenty at best.

BRAD (O.S.)
Gotta go. We’ll talk, later.

Brad follows the two young girls into the other room.

INT. BAR -- LATER

More than half of the seats are empty now.

MUSIC, from the overloaded jukebox, lives on.

Brad STAGGERS in from the other room.

BRAD
Freddy! ‘Nother one dude. Light
on the fucking ice.

INT. BEHIND THE BAR -- NIGHT

Freddy stands stoically. It’s been a long night and a long

thirty years of bartending.

Brad lands on a bar stool in front of him.

Freddy, gradually, moves down the bar to the necessary

bottle.

FREDDY
You know Brad? You keep chasing
them young’ins, it could come up
and bite you in the balls someday.

BRAD
Let me tell you about kids, Fred...
Young em’s you say.
(beat)
Kids are people Freddy. I’m a
people person, you know that.
 80.

All the regulars are paying attention, at lease partially.

They all appear to be drunk.

BRAD (CONT’D)
There are winners and losers, Fred.
There are... standards.

MAN’S VOICE #3 (O.S.)

Standards? What the fuck are you
talking about?

BRAD
Some people are below standards.
Me? I’m not below... but look.
(beat)
I give her lessons, the young
people. She has to learn. Some
people get screwed over all the
time. I got screwed several times
growing up. Now, like me, I’m
lucky to be part of society that is
accepted.

Freddy stands, now getting a second wind. A glass dangles in

his right hand. He is engaged with what Brad is saying.

BRAD (CONT’D)
There are winners and losers.
(beat)
Look at me, I’m a winner... star
detective age twenty six. That’s
all I’m saying.

EXT. QUEENS HOME -- BACKYARD -- DAY

Sun shines through a chain link fence upon a very small lawn.

Queens sits, eyes closed, in a plastic lounge chair with

HEADPHONES on.

A half empty vodka bottle, an open pack of cigarettes, and a

four hundred page paperback book sits next to him.
 81.

INT. QUEENS HOME -- FRONT DOOR -- DAY

A door OPENS.

Jenks stands in the door way, carrying a full grocery bag.

INT. QUEENS HOME -- KITCHEN

A counter top and a refrigerator from the 1970’s. Nothing

resembling a normal kitchen.

Jenks sets the bag on a counter next to the refrigerator. He

remembers the front door is not shut. He looks back. Beat.

EXT. QUEENS HOME -- DRIVEWAY -- DAY -- (FLASHBACK)

The white Mustang, driven by Francis, with a young Jenks’ in

the passenger seat, stops in front of Queen’s house.

Francis turns the car toward a HOUSE across the street. He

backs the car, in reverse, up in the driveway.

CUT TO:

INT. QUEENS HOME -- KITCHEN -- (PRESENT DAY)

Jenks, as an adult, watches his father, through the open

door, get out of the car, motioning to Jenks as a kid to
‘stay in the car’.

Francis checks his pocket for this gun.

INT. CAR -- (FLASHBACK)

Jenks as a kid, watches his father approach the front door of

Queen’s house. All of the windows are open. Everyone who
drives or walks by could see inside.

Jenks watches his father KNOCK on the door until it OPENS.

 82.

QUEEN’S MOTHER (26) stands in front.

Francis, surprised to see her, turns back to look at his son.

Something is not right.

Jenks, in the car, looks down and reaches for the door
handle, before STOPPING.

Looking up, the young Jenks sees the door CLOSE, followed by
all of the blinds to each window close... one by one. Jenks
sees his father close the last blind.

EXT. QUEENS HOME -- FRONT DOOR (FLASHBACK CONT.)

Jenks, as a kid, pushes the front door and peaks into the
house. He, eventually, stops in the kitchen.

POW!! POW!! Gunshots are heard throughout the house.

CUT TO:

INT. QUEENS HOME -- KITCHEN -- (PRESENT DAY)

Jenks, grown up, stands next to the bag of groceries.

INT. QUEENS HOME -- LIVING ROOM

A COUCH, a used NIGHT STAND, a FLOOR LAMP, a TV, and a XBOX

360 sits on worn out carpet.

Jenks walks toward the floor lamp that stands between him and
an OPEN SCREEN DOOR leading to the backyard.

EXT. QUEENS HOME -- BACKYARD

Queens, startled by Jenks, looks up, adjusting his eyes to

the sun.

He pulls his headphones off.

 83.

JENKS (O.S.)
Mozart this time, Queens?

QUEENS
Tichavsky. Mom’s favorite.

Jenks walks outside.

Queens points over to a lawn chair across the lawn.

QUEENS (CONT'D)
Get yourself, you know.

As Jenks walks over to the chair, he pauses.

QUEENS (CONT'D)
Careful. We don’t want for you to
stub your toe or anything.

JENKS
One time. One time I did that. It
was what, back in grade school?

QUEENS
It’s third base.

JENKS
It’s a big block of concrete.

QUEENS
(looking around)
What else would be third? It’s a
natural corner.

JENKS
I couldn’t walk for a week.

QUEENS
Maybe you shouldn’t have tested my
arm at home.

JENKS
(pointing)
What, the sprinkler head?
 84.

Jenks, slowly, drags the chair over and sits next to Queens.

Jenks takes out a cigarette from the open pack next to

Queens. He lights it and hands it to Queens.

JENKS (CONT'D)
Cubs won.

QUEENS
Nah, they lost.

JENKS
I heard it on the news. I saw...
oh shit. How much?

QUEENS
One... two. Three I think.

JENKS
Shit Queens.

QUEENS
I’ll get it back. Tonight in fact.
Yankees giving only a run in a
half.
(leaning back in his
chair)
It’s a lock.

JENKS
Tell me Queens.

QUEENS
It’s a lock.

JENKS
No, growing up. Remember?
(in reflection)
How many times did your Mom catch
you?

QUEENS
Moms?
 85.

JENKS
The card games, the fucking dice?
What was it? Oh yeah, it was sixth
grade. You remember, right?
(beat)
You’d bet that shit head in
dodgeball? You would say, Hey!
Little Kenny? Blue balls. Tag me.
(pause)
Fucker tagged you every time.

QUEENS
(seriously; beat)
Without asking, you took care of
him.

JENKS
He had you pegged. He would
wait... like a panther. Just when
you’d fake like you touched the
base, BAM! The best thing you
could have done was to actually
play by the rules. The kid
deserved the beating though,
cheating on your cheating.

QUEENS
If I remember, it was you being
pulled to the principals office
what seemed like every week.

JENKS
Between you and me, your mom
probably been to our school maybe a
dozen times picking us up.

QUEENS
They never did figure out why moms
would pick us both up, did they?

Beat.
 86.

JENKS
Your mom? She would walk into a
room, any room. When I say walk, I
mean... she was there. If happy,
you knew she was happy. Angry?
Forget about it.

QUEENS
Grade school, you remember? Third
grade, before... Anyway, mom came
into class - Career day it was.

JENKS
I remember.

QUEENS
She came in, bringing bags full of
things to show off to class. It
took her over ten minutes to set it
up.
(beat)
She was only a data entry clerk for
god’s sake. What the fuck, right?

JENKS
Staci, that skank. Behind fourth
row? The one that always wore them
leg warmers? She blew that shit
up.

QUEENS
We took care of that right?

JENKS
She didn’t wear leg warmers again.

QUEENS
We never did hear from her after
that.

JENKS
Fuck her, and that stupid eighties
shit.
 87.

Laughter...

JENKS (CONT’D)
Your moms liked that decade though.

QUEENS
Lived through that one.

JENKS
(beat)
I never did tell you how sorry I
was.

QUEENS
You didn’t know that would happen.

JENKS
Of course. I mean, I could have...

QUEENS
You were just a boy, like me.

Queens looks at Jenks like he’s done so many times before.

Today, Jenks, seems different to him.

QUEENS (CONT'D)
You couldn’t have known what was
going to happen that day.

JENKS
Right. Yeah, you’re right...

Jenks takes a long beat.

JENKS (CONT'D)
Francis... fucked up as he was,
shouldn’t have done that to your
mom. She wasn’t supposed to be
there.

QUEENS
But she was. She should have left
that dirt bag of a father, years
before.
 88.

JENKS
No one deserves to be treated that
way.

QUEENS
She beat me, he beat her. Aren’t
we all screwed up in some way?
Shit dude - We fuck shit up because
they brought us into their fucked
up world. Strange justice I’m
thinking.
(beat)
But you Jenks? You got a little
kid. She won’t be like us and she
sure as hell won’t be like your
bullshit father.

JENKS
I’m thinking a doctor or a
scientist.

QUEENS
She’s good at science, right?

JENKS
(proudly)
Damn straight she is. She brought
home first place in the science
project.

QUEENS
She goes to class? Like you?

JENKS
I stay on top of her teachers.

QUEENS
(jokingly)
I’m sure you do.

Queens gets up, grabbing a cigarette out of his pack.

 89.

JENKS
Fuck you.

QUEENS
Fuck me?

JENKS
Give me one of those.

QUEENS
You don’t smoke... unless we’re on
a job.

JENKS
Today, I do.

Jenks grabs a cigarette out of the pack on the ground. Beat.

QUEENS
Listen man. I know you don’t want
to do this shit anymore.

JENKS
Maybe I’ll get a job.

QUEENS
Your old lady makes enough.

JENKS
She regrets it though.

QUEENS
Listen man... and I’m serious. I
did the shit you taught me - Since
we were teenagers. I didn’t know
better. You looked out for me.
Your a good role model, Jenks. And
them good for nothings deserve it.
Suzy is better, in a better place,
because of you.

JENKS
And Ann?
 90.

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

JENKS

QUEENS
Better? Shit man. I’m employed, I
got a roof over my head, that’s
paid for, and the boys at the local
pub lend me command of the remote
almost every second visit. I’m
mucho contento.

JENKS
You know what you do from here on
out has nothing to do with me?

QUEENS
I can take care of myself. I’m
employed.

JENKS
Home Depot?

QUEENS
I got the prime, senior assistant
to the hardware manager gig at the
biggest Home Depot in the Midwest.
I’m golden.

JENKS
Yes you are.

Beat.

QUEENS
Should we hug?
 91.

JENKS
Fuck you.

DISSOLVE TO:

INT. JENKS’ HOUSE/DINING ROOM -- DAY

Ann, dressed in her robe, sits alone.

The Front door SHUTS in the other room.

Ann turns her head to face the entrance.

JENKS (O.S.)
I saw Queens today.

ANN
You saw Queens?

JENKS
I told him I wouldn’t - I wouldn’t
see him for awhile. I’m through
with the whole thing - what we do.

ANN
You’re actually done with it?
Really? How did he take it?

JENKS
The way he does everything I guess.

ANN
(beat)
You know he needs you.

JENKS
He needs a lot of things Ann.
Distant from me and our past is one
of them.

ANN
Don’t say that Jenks.
 92.

JENKS
He doesn’t deserve what I’ve caused
him...
(beat)
He was just a kid.

ANN
You were a kid too Jenks.

JENKS
I could have done something.

ANN
Your father could have done
something. You were just there,
watching it, where he wanted you to
be. You are not your father.

JENKS
I just sat there, silent, every
time.
(beat)
Do you know how hard it is to hear
gunshots from the other room as you
sit there, not doing anything about
it?

ANN
Jenks! Look at me. You are not
your father. You did not have a
choice.
(beat)
Do you see your daughter? She is,
maybe, the happiest person in the
world. You make sure that things
are safe out there, the best you
can, of course. You volunteer,
play with kids. The time you spend
in the community.
 93.

JENKS
(interrupting)
Do you remember your second
birthday?

ANN
(taken a back)
Second birthday?

JENKS
Yeah, your second birthday.

ANN
Who remembers their second
birthday?

JENKS
I do. That was the last time I
remember.

ANN
Remember what?

JENKS
My mother.

ANN
Oh, Jenks.

JENKS
She was actually smiling.

ANN
Smiling?

JENKS
Ear to ear. She was special.

ANN
Memories are powerful Jenks. They
can take you a long way.
 94.

JENKS
Like the first time I quit my job
after I met you and starting this
stuff I do? You remember that?

ANN
I remember the good things.
Like...

JENKS
Like?

ANN
Like the first day you told me?
Before you asked me to marry you?
I was horrified.

JENKS
What were you thinking?

ANN
Right, what was I thinking?

ANN (CONT'D)
I have memories too Jenks. I have
a memory of the first time...

JENKS
The first time? Us?

ANN
Us.

JENKS
I felt rushed. You can’t hold that
against me.

ANN
Quiet Jenks. You know being funny
is not one of your strong points.

Jenks, as usual, is uncomfortable. (Especially after a failed

joke)
 95.

ANN (CONT'D)
I remember you telling me about
your father

JENKS
I had to tell you... you know that.

ANN
I was in so much love with you. I
probably didn’t realize just what
you were saying, but now I do.

JENKS
Now?

ANN
I have been so mad at you Jenks.

JENKS
You should be.

ANN
I’ve done things I’m not proud of.

JENKS
Listen Ann. Stop there.

ANN
No, I should...

JENKS
If you do, it could start more
things than we want. I’ve failed,
Ann. As a person, a father, and a
husband, I caused this marriage to
be the way it is, not you. I want
to start over.

ANN
You’re willing?

JENKS
Willing to throw away stuff?
 96.

ANN
Willing to make sure Susan has a
mother and a father? A father that
won’t be taken away from her?

Sounds are heard in the other room.

SUSAN (O.S.)
Daddy!

ANN
We’re in here, honey.

Jenks can break open a small smile.

Susan runs into Ann’s arms.

Ann looks at Jenks like she did several years ago.

JENKS
Susan? Why don’t we go downstairs?

SUSAN
I don’t want to play downstairs.
It’s dark.

JENKS
Don’t worry, I’ll... I mean, we’ll
be with you.

Jenks walks over to a door that leads downstairs.

He opens it.

INT. JENKS’ HOUSE -- STAIRWAY -- DAY

Jenks reaches around the door frame, turning on a LIGHT that

shines on a long staircase leading downstairs.

JENKS
Go ahead honey.

Susan runs down the steps.

 97.

Jenks follows her.

Ann, smiling, watches Jenks go down stairs, before,

She GRIMACES, grabbing her belly.

INT. JENKS’ HOUSE -- BASEMENT -- DAY

Susan stands in front of a humongous DOLL HOUSE.

Behind the doll house are several DOLLS, all sizes and
shapes.

Everything in the room is covered or decorated in the same

colors.

JENKS
What’s wrong honey?

SUSAN
I don’t like dolls.

JENKS
Dolls? They’re your favorite. I
built this doll house, for you.

Ann comes down the stairs, hiding her discomfort.

ANN
What’s wrong?

JENKS
Susan says she doesn’t play with
dolls anymore.

ANN
Susan, honey? What’s wrong?

Susan moves over to the corner of the room, peaking at some

dolls as she walks away.

Ann and Jenks looks at each other, obviously concerned.

 98.

Jenks walks over and kneels next to Susan.

JENKS
Are you okay, honey?

Susan squirms away.

JENKS (CONT'D)
Look at me, please.

Susan, eventually and hesitantly, turns and looks at her

daddy.

JENKS (CONT'D)
I don’t know what’s wrong. I
worked on this doll house for you.
I thought you’d like it.
(beat)
Do you see what I made for you?

ANN (O.S.)
Jenks?

Jenks pauses but doesn’t look at Ann.

JENKS
(to Susan)
I just thought you’d like it. Do
you like it darling?

SUSAN
(faintly)
Marabelle doesn’t like...

JENKS
Excuse me, Suzy?

Susan turns, violently, around.

SUSAN
Marabelle says people are evil.

Jenks is taken a back.

 99.

SUSAN (CONT'D)
She says...

JENKS
You can tell me, I mean, us
anything.

SUSAN
Marabelle says her daddy lays on
her.

JENKS
Lays on her?

SUSAN
You don’t lay on me dad.

JENKS
No. No, I don’t honey.

Jenks GRABS Susan. He holds her tight.

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

INT. DOCTOR’S OFFICE -- DAY

Behind the glass, separating the office from the reception

area, sits an OVERWEIGHT FEMALE (20’s).

She’s lost in her paper work as phones continue to ring

around and behind her.

Ann, in a hurry, stops in front of the window, looking

painfully at the overweight female.

ANN
Sorry, but I need to see the
doctor.

OVERWEIGHT FEMALE
Sorry.
 100.

ANN
Sorry?

OVERWEIGHT FEMALE
Only you can say that.

ANN
(angrily)
Excuse me?

OVERWEIGHT FEMALE
You’re only pregnant.

ANN
Pregnant?

OVERWEIGHT FEMALE
You saw “Juno”, right?

ANN
No... I didn’t... I...

OVERWEIGHT FEMALE
There’s no emergency here, Mam.
Give me your card with the
insurance information and we can
get on with it.

ANN
To see the doctor?

OVERWEIGHT FEMALE
Yes, Mam. You will see the doctor.
Now, take a seat.

INT. DOCTOR’S OFFICE -- WAITING ROOM -- DAY

Ann sits in a small waiting room, trying to read a magazine.

The entrance OPENS as TWO MOTHERS enter the waiting room.

Behind them are THREE KIDS.
 101.

MOTHER #1
Quiet. Can’t you two be quiet for
more than two seconds?

The kids ignore her and scoot by the couch Ann’s sitting on
and a small TABLE, rubbing her knees together to get to a
small play area stuffed away in the corner.

The two mothers, talking to each other, take their seats as

far as they can from on of their kids.

OVERWEIGHT FEMALE (O.S.)

Misses Jenkins?

ANN
(quickly)
Here!

INT. DOCTOR’S OFFICE -- EXAMINATION ROOM -- DAY

Ann, now dressed in a (what you wear in a doctor’s office)

lays on a TABLE (name for table where patient’s lay down)
staring at the door.

The door OPENS.

A large man (THE DOCTOR), who looks similar to the

receptionist, walks into the room holding a FILE.

LARGE MAN
Good news Miss Jenkins. You’re
pregnant.
(beat)
You should be expecting for a loved
one in a few months.
(looking at his files)
You’re daughter will be so excited.

ANN
Where’s my doctor.
 102.

LARGE MAN
Doctor Lazerus is on vacation.
Luckily for me, I have the
knowledge, taught to me in medical
school... when a female is carrying
a child.

ANN
But...

LARGE MAN
Do you want daddy to join the
party?

DISSOLVE TO:

EXT. STREET -- DAY

A red convertible MUSTANG, driven by Brad, drives down a

street as the sun shines on him.

EXT. SIDEWALK -- DAY

A MAILMAN, with an inconspicuous BROWN BAG, walks down the

sidewalk.

He starts to walk down a long walkway toward an American flag

that waves in front of the door of a house.

HONK! Sound of a car horn.

The mailman stops.

EXT. DRIVEWAY -- DAY

Brad’s car parks in the driveway of his house.

In a hurry, Brad get’s out.

 103.

BRAD
Hey! Wait. I’ll take that.

EXT. WALKWAY -- DAY

The mailman waits as Brad approaches.

Pulling back, we see Queens, dressed as the mailman, hand

extended, holding an ENVELOPE.

QUEENS
(smiling)
Here you are. Enjoy.

Without looking at Queens, Brad reaches and grabs the

envelope and runs, hopping over the front step. He stops in
front and OPENS the front door.

BRAD (O.S.)
Honey, I’m home.

EXT. STREET -- DAY

A grey, non descriptive CAR is parked in front of Brad’s

house.

INT. CAR -- CONTINUOUS

Jenks sits in the car, paying attention to everything.

He looks to his left. His look goes blank.

JENKS’ POV

Marabelle stands in the front yard, staring at Jenks. Next

to her is a bike.

BACK TO SCENE

After a short beat, Jenks reaches over and opens his car
door.
 104.

EXT. SIDEWALK -- DAY

Jenks stands on a sidewalk. He is still looking around the

area. He watches Queens walk up and stop at the front door
of Brad’s house.

Marabelle, on her bike, slowly rides up and stops close to

Jenks.

Jenks, with an understanding but solace look on his face,

gives Marabelle a faint smile, as Queens walks into the
house.

JENKS
Come here, kiddo.

Marabelle, grudgingly, pushes her bike with her feet toward

Jenks who waits in the front seat of the car. The door is
open.

JENKS (CONT’D)
You don’t have to be scared of me,
darling. It will be alright...

MARABELLE
My dad calls me darling. I don’t
like to be called darling.

JENKS
Then I won’t call you that.
(beat)
What would you like me to call you?

MARABELLE
By my name.

JENKS
Alright, Marabelle. I’ll call you
by your name.
 105.

MARABELLE
I want to be called Mary. I know
Mary at school. She’s happier than
me. Can I be happy?

Beat.

JENKS
Will your dad being gone make you
happy?

MARABELLE
Yes, mister.
(beat)
Can you do that?

JENKS
Only if you promise not to grow up
so fast. You should try your
hardest to be a little girl again.
Stay that way. Will you do that
for me?

Marabelle nods in a timid way - almost child like, as she

hops back on her bike, pushing it away from Jenks and the
house in the distance.

Jenks watches her ride away, periodically taking quick looks

at the house and around the area.

Marabelle takes one last look over her shoulder at Jenks

before pedaling faster and faster down the street.

INT. BRAD’S HOUSE - LIVING ROOM - DAY

Queens, careful not to be seen, stands to the side of a

window that overlooks the front yard.

He pulls the string, closing the length size shades until no

sunlight can get inside.
 106.

Queens can now hear noises coming from upstairs. It’s very
faint, but getting louder.

Queens’ is careful not to make any noise as moves away from

the window and approaches a STAIRCASE.

A LIGHT turns ON upstairs.

UPSTAIRS - HALLWAY

Brad, NAKED, walks down a short hallway from his bedroom. He

is oblivious of Queens who waits on the first step of the
staircase.

STAIRWELL

Queens, quietly, walks up the stairs as he hears Brad singing

in a room with the door closed that must be the bathroom.

The water STOPS.

Brad exits the bathroom not noticing Queens that had just
backed into a small bedroom.

MARABELLE’S BEDROOM

The bedroom of a small child. A small bed, little toys.

(Description of Marabelles’ bedroom. The opposite of
Susan’s).

The SOUNDS OF A TV is heard in the other room.

INT. BRAD’S HOUSE - UPSTAIRS - BEDROOM

A large room with an, equally, large WINDOW. Sun shines in

on Brad who lays on a couch that faces a big screen TV. He
is still naked, “enjoying” himself.

Brad reaches for the remote control and turns up the volume
before...

The CLICK of a GUN.

 107.

JENKS (O.S.)
I got this.

QUEENS (O.S.)
I was quiet.

Brad reacts, looking up at Jenks and Queens who stands across

the room holding guns by their sides.

JENKS
(looking at Brad)
Yes you were.

QUEENS (O.S.)
Can I do this?

JENKS
No.

Jenks raises his gun and points it at Brad.

EXT. NEIGHBORHOOD STREET -- DAY

Several HOUSES line the newly paved pavement with fresh

painted yellow lines.

SERIES OF SHOTS

EXT. HOUSE -- DAY

Being painted.

EXT. HOUSE -- DAY

Kids playing basketball.

EXT. HOUSE -- DAY

Man walking down the walkway wearing a suit.

 108.

EXT. HOUSE -- DAY

A CAR drives into a two door garage.

EXT. HOUSE -- DAY

A PREGNANT LADY is bending down, the best she can, down at

full bed of FLOWERS.

DISSOLVE TO:

EXT. PARK -- DAY

Ann carries an old, and used (plastic thing people carry for
picnics, usually two colors.) down a small hill.

Susan runs in front of her, bright eyed, full of youthful

spirit.

EXT. PARK -- PLAYGROUND -- DAY

Susan plays with other kids on a large PLAY STRUCTURE

(details of large playground).

WOMAN’S VOICE (O.S.)

Spring.

EXT. PARK -- DAY

Ann sits on a BENCH watching Susan who plays in the distance.

ANN
Sorry?

WOMAN’S VOICE (O.S.)

I think spring is way more
important than the other seasons.

Ann turns, shielding her eyes from the SUN, at the woman’s
voice in front of her.
 109.

ANN
Spring?

A WOMAN (40’s) sits next to Ann. She is casual like she’s

done this before.

WOMAN
I don’t know. It just seems like
kids can’t wait until spring comes -
you know, April and May. I don’t
count June. I don’t know how many
pop in June but I don’t think it’s
as many as April and May. I mean,
that’s why so many kids are named
April, right?

Ann, not expecting...

ANN
I’m sorry. I don’t know your
name...

WOMAN
You got one in the oven.

Ann sees that she has been rubbing her belly throughout the
whole conversation.

As she TURNS to face the woman, Ann sees Jenks off in the
distance.

In the distance WE SEE Susan running away from the

playground.

She sees her daddy walking toward her.

WOMAN (O.S.) (CONT'D)

That must be the father.

Ann’s POV - Jenks kneeling down as Susan runs into his arms.
 110.

ANN (O.S.)
Her role model.

FADE OUT.