Finding Carrie Smirl

Finding Carrie Smirl
A screenplay
Andy Brown
irae1984@gmail.com
407-497-7587
© 2011
1
Finding Carrie Smirl
Black screen with title in white letters as music plays—Finding Carrie Smirl
INT. R.C. SWIFT’S HOUSE—MORNING—BEDROOM—BATHROOM
Camera focuses in on the dimly lit bedroom of R.C. and Tina Swift. The alarm clock on R.C. Swift‟s cell
phone goes off. He fumbles for it and turns it off. It is 5:00 a.m. and not quite light out yet. R.C. quietly
gets out of bed so as not to disturb his wife, TINA SWIFT, still asleep. R.C. grabs his biking clothes
(they are not spandex) that are hanging over the back of a chair by the armoire.
BATHROOM
R.C. is dressed in his biking clothes and is finishing brushing his teeth. He splashes his face with water,
wipes away the sleep, and dries his face and hands with a towel. R.C. is about 35 years-old and is of
average height and build. He‟s handsome, but handsome in that way a person grows to be handsome the
better you get to know them. He‟s an everyman.
EXT. R.C. SWIFT’S HOUSE—CITY STREETS
R.C. rides his bicycle away from the driveway of his and Tina‟s house in The Woodlands in Ormond
Beach, FL. The bike route goes south on Nova, right on Granada, left on Williamson, left on
International Speedway, left on Ridgewood Ave (US-1), left on Granada, and right on Nova going north
back towards R.C. and Tina‟s home in The Woodlands.
Shots of homes, schools, convenience stores, International Speedway, palm trees and restaurants along his
biking route. These are the principal shots that need to be taken:
1) View of runners on Williamson.

2) Construction workers putting cones out on International Speedway near a busy intersection.
3) Weary prostitutes and homeless people pan-handling on Ridgewood Ave.
EXT./INT. 7-ELEVEN CONVENIENCE STORE
R.C. parks his bicycle in front of the convenience store on Nova and walks in. There are a few people
getting coffee or smokes to start the day. A statuesque African-American woman with wild hair stands
behind the counter at the register. Her name is JANIE. The following dialogue occurs as R.C. is walking
to the cooler to get a Coca Cola.
R.C.
Mornin‟, Janie.
JANIE
You‟re running late, R.C.
R.C.
Give me a break. It‟s Monday!
2
R.C. grabs a 20 oz. Coca Cola from the cooler and takes it to the register. The following dialogue
happens as R.C. is paying for the Coke.
JANIE
Every morning it‟s the same damn thing. Coca Cola and your sweaty ass stinking
up my business.
R.C.
You know you like it. How‟re the kids?
JANIE
They keeping me on my toes. You want „em?
R.C.
I‟ll have to run that by Tina. I‟ll keep you posted.
JANIE
There ain‟t many people I‟d say this to, but you got the look of a daddy on you.
R.C.
Yeah, a sugar daddy.
JANIE
Uh-uh! (Laughs)
R.C.
You know it‟s true! (Laughs) I better get this home. School starts today,
and Volusia County isn‟t ready for an un-caffeinated Tina.
JANIE
See you tomorrow, sugar.
EXT. R.C. SWIFT’S HOUSE
R.C. rides his bicycle into the garage and parks it. A smile plays across his lips. Janie‟s comment made
an impact.
INT. R.C. SWIFT’S HOUSE—KITCHEN—BEDROOM—BATHROOM
R.C. puts the Coca Cola in the refrigerator and makes his way to the bedroom.
Tina is still in bed but moving. R.C. sits on her side of the bed, leans down, and kisses her forehead.
R.C.
Good morning. Your Coke is in the fridge.
TINA
Bless you. (Yawns) I don‟t wanna get up.
3
R.C.
I know. You want the shower first?
TINA
No. You go ahead.
R.C.
You could join me.
TINA
Someone‟s frisky.
R.C.
Always for you. Hey, I know you‟re going to be loaded down with back to school stuff,
but start thinking about what you‟d like to do this weekend for our anniversary.
TINA
What, you don‟t already have the itinerary planned?
R.C.
I wanted to keep it fluid. What‟s the gift for twelve years? Burlap?
TINA
Get in the shower already.
BATHROOM--BEDROOM
Camera pans out from exterior view of steamy shower. R.C. is inside, washing his hair, and singing a
tune, badly.
The next shot is of R.C. shaving in the mirror, towel wrapped around his waist. Tina, in a sage tank top,
and cotton pajama bottoms creeps past R.C. as he shaves to take her turn in the shower. He smiles at her
in the mirror.
The next shot is of R.C. sitting on the edge of the bed tying his shoes. He is dressed in khaki‟s and a
button-down shirt, sleeves rolled up. The bed is made. Tina is in the bathroom putting on make-up.
R.C. joins Tina at the mirror and watches her putting on her make-up.
R.C.
I‟m going. Good luck with the rugrats. Make „em sing pretty.
TINA
Don‟t I always?
R.C. kisses Tina on the cheek, starts to leave but comes back and plants one on her lips.
R.C.
See you tonight.
4
TINA
Maybe I should‟ve taken you up on that shower invitation.
R.C.
Love you, too.
EXT. LASSITER-RAND ELECTRONICS
R.C. parks his car across the street from the building that houses Lassiter-Rand Electronics where he
works. It is a condo-style office building located within walking distance to the beach somewhere near
Ocean Shore Blvd. in Ormond Beach, FL. It‟s around 7:30 a.m.
INT. LASSITER-RAND ELECTRONICS
R.C. gets off the elevator on the Fifth Floor and goes to unlock the entrance to the office. It is already
unlocked. R.C. enters the office and smells coffee. R.C. makes his way to the break room. A pot of
coffee is already brewing, dark and thick, and probably looks more like motor oil than coffee. R.C. walks
over to inspect the pot when a voice startles him from behind. It is ALLEN BRASHEAR, VP of
Marketing, and R.C.‟s best friend. Allen is around 34, a little taller than R.C., in good physical shape and
ruggedly handsome.
ALLEN
It only took me five years, but I beat you here.
R.C.
If you made the coffee, Allen, I may have to skip it.
ALLEN
My coffee isn‟t that bad.
R.C.
It isn‟t that good, either. I‟m impressed. That you got here before me, not about
the coffee.
R.C. pours himself a cup of coffee.
ALLEN
Blair had an early flight, and her car‟s in the shop so I dropped her off at the airport
and came straight over.
R.C.
Walk with me. I‟m expecting an e-mail from Boston about the new retirement plan.
ALLEN
Ah, retirement. The dream of all gamers and layabouts.
Allen follows R.C. to R.C.‟s office and takes a seat across from him. R.C. does a quick scan of his e-
mail.
5
R.C.
Nothing yet. (Sips coffee, laughs) Jesus, Allen, this coffee is sludge. It‟s like Juan
Valdez took a dump and put it through a percolator.
ALLEN
So you‟re saying you don‟t like it.
R.C.
No, I‟m saying I‟m regular again. After I change my pants, I‟ll make a fresh pot.
ALLEN
How was Tina this morning?
R.C.
First day of school. You tell me. She‟s like Julie Andrews on crack with her students.
I can only imagine what she‟ll be like when we have our own.
ALLEN
Is there something you want to tell me, R.C.?
R.C.
Yes. I‟m pregnant. I haven‟t had a period in six weeks. I think it may be yours.
ALLEN
You little whore. I know you sleep around. Don‟t think you‟re going to pin this on me.
R.C.
And scene.
ALLEN
Wow. Children.
R.C.
Tina isn‟t pregnant, if that‟s what you‟re thinking. But I think we‟re ready. We‟ve
been married almost twelve years. We‟re comfortable. The more I think about it,
the more it feels right, you know?
ALLEN
Blair and I are waiting till we‟re forty. All the cool kids are doing it.
R.C.
Let‟s talk more later. I need to get ready for the meeting. You know how Roy likes to
wax philosophic on Mondays. Any word on the Portland account?
ALLEN
I think we got it. I just have to put the final touch on the numbers. See you there.
R.C.
I‟ll save you a seat by Rhonda.
6
ALLEN
Asshole.
INT. R.C.’s OFFICE
An hour has passed. R.C. has been pouring over paperwork when his cell phone rings. It‟s Tina.
R.C.
Hey, baby.
INT. TINA’s OFFICE
TINA
Hey, yourself. I forgot to mention that the exterminator will be spraying the house
late this afternoon, so if you have work to do there‟s no need to come straight home.
I‟ll be there to take care of it.
INT. R.C.’s OFFCE
R.C.
Are you sure? I can duck out early if you want.
TINA
Don‟t be silly. It‟s nothing.
R.C.
Then I will take it off my to-do list. Do you have a minute?
TINA
Sure. What‟s up?
R.C.
What do you think about children?
TINA
I think they‟re great as long as I get to send them home at three.

7
R.C.
Oh. I see. Just checking.
TINA
Wait, you‟re serious? You‟re serious.
R.C.
What? No. I just wanted to see if I could get a rise out of you.
TINA
Honey, let‟s talk about this tonight, okay?
R.C.
Sure. I shouldn‟t have sprung it on you like this.
TINA
Look, I‟ve got to go. Third graders. We‟ll talk tonight. I love you.
R.C.
Love you, too. Bye.
R.C. hangs up his cell phone, a little crestfallen. Before he has time to dwell on it, ROY RAND sticks his
head in. Roy is the CFO and co-founder of Lassiter-Rand Electronics. He is a stocky, 64 year-old man,
on the verge of retirement but still very much in the game.
ROY
R.C., what‟s shaking?
R.C.
Not much. Time for the meeting already?
ROY
We‟ve got an extra-full agenda today, so I wanted to start early.
R.C. grabs his paperwork for the meeting and follows Roy to the conference room.
8
R.C.
I may have found a better prescription drug program for us. Lower co-pay and
more bang for our…
R.C. trails off when he walks into the conference room and sees the entire staff and management team
standing under a large banner that reads, “Congratulations!”
R.C.
What‟s going on, Roy?
ROY
For the past six years you have given diligent service as this company‟s director of
human resources. That is why effective immediately, you are being promoted to
Vice President of Human Resources and Training. Congratulations.
The staff and management team explode in applause.
R.C.
Thank you, Roy. I‟ll make sure you don‟t regret it.
The staff and management team come to congratulate R.C.
INT. STAVRO’S PIZZA HOUSE—LUNCH
R.C. and Allen are sitting at a booth eating pizza. The place is pretty busy with lunch traffic.
R.C.
You knew, didn‟t you?
ALLEN
I can neither confirm nor deny any prior knowledge.
R.C.
Some friend you are.
ALLEN
At least I wasn‟t off in la-la land during the meeting. You don‟t have a very good
poker face.
R.C.
I texted Tina and my friend Frankie about the promotion while Rhonda was going on
about the quality control report.
ALLEN
Don‟t get me started on Rhonda. Quality control. The woman is incompetent.
R.C.
She‟s easy on the eyes.
9
ALLEN
I think you mean she‟s easy.
R.C.
That‟s what the programmers say. I wouldn‟t know. Hey, do you think I should send
Tina flowers…to celebrate?
ALLEN
Only if you want to make the rest of us husbands in America look like creeps.
Lifetime is going to make a movie about you if you keep this up.
R.C.
Not possible. Lifetime only makes movies about abusive husbands or dysfunctional
relationships.
ALLEN
We‟re all a little dysfunctional, R.C. Look at it this way. You‟re likely to see
a pay increase with the new title. That‟ll go a long way towards turning one of
your guest rooms into a nursery.
R.C.
I had thought about that. You‟re right. Forget the flowers. I‟ll just go deal with
the exterminator this afternoon, so Tina won‟t have to.
A server stops by the table in a hurry with their check. R.C. reaches for it, but Allen grabs it up.
ALLEN
Not today, buddy. Lunch is on me. Congratulations.
INT. LASSITER-RAND—AFTERNOON—VARIOUS
R.C. walks to Roy‟s office door and gives it a tap. It‟s around 3:30 p.m.
ROY
Come on in. What‟ve you got for me?
R.C.
Proposal for the new prescription drug program.
R.C. hands it to Roy. Roy gives it a quick scan.
ROY
Looks good. Keep it up.
R.C.
Will do. You don‟t mind if I cut out early. Exterminator is coming to spray the
house, and I want to make sure everything is squared away.
10
ROY
Do what you gotta do. I hate the stuff. Bug sprays give me headaches. We‟ll
see you in the morning.
EXT. R.C.’s CAR
R.C. is driving from work towards his house.
INT. R.C.’s CAR
R.C. pulls out his cell phone and dials FRANKIE BURTON. Frankie is around 31 years-old, attractive
and athletic. Frankie answers.
INT. FRANKIE’s KITCHEN
FRANKIE
Hello, Mr. Double Vice-President.
INT. R.C.’s CAR
R.C.
Hello, hot soccer mom.
FRANKIE
My boys don‟t play soccer.
INT. R.C.’s CAR
R.C.
I‟m sure it‟s just a matter of time.
FRANKIE
You‟re calling early. Were reduced hours part of your spiffy, new promotion?
INT. R.C.’s CAR
R.C.
Nope. The exterminator is coming to the house, and I thought it would be a
good excuse to knock off early on a Monday afternoon.
FRANKIE
What about the other news? I recall getting two texts from you. Something
about big news?
11
INT. R.C.’s CAR
R.C.
Maybe. I‟m not sure yet.
FRANKIE
That‟s cryptic.
INT. R.C.’s CAR
R.C.
I don‟t want to jinx it. Okay, basically I might have mentioned to Tina that I
was ready to start a family.
FRANKIE
Shut up! That‟s great. I can tell you I don‟t care much for delivering them, but
I sure do like making them.
INT. R.C.’s CAR
R.C.
Miss Burton, please. You‟re getting me excited.
FRANKIE
Right. That‟s Tina‟s job. Tell her I said hi. I miss you guys so much.
INT. R.C.’s CAR
R.C.
Will do. Oh, it looks like Tina‟s home already.
EXT. R.C.’s HOUSE
R.C. sees Tina‟s car in the driveway along with a black Mustang. There‟s no exterminator truck around.
FRANKIE
I‟ll let you go then. You two should celebrate your…
INT. R.C.’s CAR
R.C.
Shit.
12
EXT. R.C.’s HOUSE
R.C. sees Tina kissing a man on the front steps of their home. That man is STEVE CANTRELL,
Principal of Tomoka Elementary School where Tina works. Steve is a stout fellow, once athletic, a good
deal taller than R.C. R.C. abruptly turns the car around and speeds away from their house.
FRANKIE
What is it?
INT. R.C.’s CAR
R.C.
Shit. Shit. How could I be so stupid?
FRANKIE
R.C., you‟re scaring me. What the hell happened?
INT. R.C.’s CAR
R.C.
I just saw my wife kissing her goddamn boss!
EXT. R.C.’s CAR
R.C. pulls the car into the parking lot of a Publix grocery store and brings the car to a stop. He opens the
door, sticks his head out, and wretches.
FRANKIE
R.C., are you alright? Talk to me.
INT. R.C.’s CAR
R.C. wipes his mouth with his shirt sleeve and puts the phone up to his ear.
R.C.
I‟m alright. Sorry I spewed on the phone with you.
FRANKIE
You can spew with me anytime.
INT. R.C.’s CAR

13
R.C.
I‟m a damn fool, Frankie. Christ, I can‟t breathe. How did this happen? What
the fuck did I do wrong?
FRANKIE
Romulus Creighton Swift, you didn‟t do a damn thing wrong! Tina‟s the one who
messed up here, not you.
INT. R.C.’s CAR
R.C.
I don‟t know what to do.
FRANKIE
Just say the word, and I‟ll come down to Florida and kick Tina‟s ass.
INT. R.C.’s CAR
R.C.
Could you? (Laughs) I can‟t think, Frankie. I should let you go. I‟m gonna go for
a drive, clear my head. Maybe I‟ll see if Allen will meet me at the Shell House.
FRANKIE
Alright. But call me if you need anything. I‟ll be on the next plane down.
INT. R.C.’s CAR
R.C.
Thanks.
EXT. SHELL HOUSE—EVENING
The Shell House is a restaurant on US-1 Northbound about ten miles north of Ormond Beach. It looks
like a shack but has a reasonable dining space inside as well as a deck out back. R.C.‟s car is parked near
the building. The sun is starting to set, its golden rays extending out onto the beach as waves crash and
the tide rolls in. Locals and tourists are out on the beach.
EXT. SHELL HOUSE—EVENING—BACK DECK
R.C. is seated at a table nursing a Modelo Especial. He is wearing sunglasses even though the sun isn‟t
shining on the deck any longer. He is looking out at the ocean when Allen approaches the table. The
following dialogue occurs as Allen sits across from R.C.
14
ALLEN
I got here as soon as I could. What‟s up?
R.C.
You know the good thing about Modelo Especial? You don‟t need a lime to enjoy
it. Not like a Corona. I can‟t touch Corona without a lime. But with Modelo, you
can go either way.
ALLEN
What‟s wrong?
R.C. takes off his sunglasses and puts them on the table. His face is a little raw from the sun and tears.
R.C.
You can‟t tell Blair about this. Not just yet.
ALLEN
R.C., tell me what happened already.
R.C.
Tina…(he can‟t finish the sentence, takes a sip of Modelo)
ALLEN
Has there been an accident?
R.C.
Only if you want to call the last twelve years of my life an accident.
A server walks up to the table, a little too tan and with several tattoos running up her arms.
SERVER
Can I get you something?
ALLEN
A Killian‟s for me. And bring my friend another Modelo.
R.C.
Make that a Maker‟s on the rocks.
The server looks to Allen for approval. He nods, and she heads off.
ALLEN
You know I‟m going to need your keys, buddy.
R.C. reaches into his pocket and tosses them across the table to ALLEN.
R.C.
You want my wedding band, too? Doesn‟t look like I‟ll be needing it much longer.
15
ALLEN
That bad.
R.C.
Not at all. I left work early to meet the exterminator and saw my wife kissing Steve
Cantrell. The sonuvabitch is a walking jock strap, and my wife is fucking him!
ALLEN
You caught them?
R.C.
No. But it stands to reason…
ALLEN
Look. The only thing you know for sure right now is that you saw Tina kissing another
man.
R.C.
You don‟t believe that‟s all it is.
ALLEN
I‟m not here to tell you what I think happened. Only Tina can tell you that.
R.C.
The truth can‟t be half as grisly as what I‟ve manufactured.
ALLEN
I know. You‟re your own worst enemy when it comes to that.
The server approaches with their drinks and sets them down on the table.
ALLEN
Thank you.
SERVER
Anything to eat?
ALLEN
Not just yet. We‟re going to be here for a while.
SERVER
Just flag me down when you‟re ready, sugar.
The server walks off to attend to other people in her station.
R.C.
I don‟t know what to do, Allen.
16
ALLEN
Yeah.
R.C.
If I go home now, it means it really happened. And if it‟s as bad as I‟ve imagined
then I‟m going to have to make a tough decision.
ALLEN
What if it was just a kiss?
R.C.
I don‟t know that I believe there‟s such a thing. You don‟t think I haven‟t been
tempted?
ALLEN
You‟re a loyal man. I would say probably not.
R.C.
Yeah, I‟m loyal. I‟m a goddamn lap dog. It doesn‟t mean I‟m dead. Believe it or not
some women still find me attractive.
ALLEN
I find you attractive.
R.C.
Don‟t make me laugh, asshole. (Laughs and chokes back tears, sips on drink) I‟m
supposed to be angry now. Don‟t turn it into a joke.
ALLEN
Drink your bourbon. Send Tina a text. I‟ll drive you home.
R.C.
I took a vow, Allen. And that wasn‟t an easy thing for me to do. You know my
track record.
ALLEN
I know.
R.C. finishes the rest of his bourbon and lifts the glass to the server. She nods and goes off to get him a
refill.
R.C.
You‟re not buying my drinks. You already covered lunch.
ALLEN
Whatever you say.
17
R.C.
I got sick after. I pulled into the parking lot at Publix and just threw up. Frankie
was on the phone for it all.
ALLEN
I‟m glad you weren‟t completely alone then.
R.C.
Yeah. Frankie‟s already offered to fly down and kick Tina‟s ass.
ALLEN
That‟s hot. After tonight, you might want to take her up on it.
R.C.
I don‟t know. I‟d settle for some sympathy sex.
The server drops off another Marker‟s on the rocks for R.C. and takes the empty glass off.
ALLEN
I can‟t help you there. Here‟s what we‟re gonna do. You‟re going to drink your
bourbon, and I‟m going to order us up a couple of rot-gut seafood platters.
R.C.
I am hungry.
ALLEN
It‟s going to be okay. You‟ll see.
Allen flags down the server as R.C. takes a pull on his drink.
EXT. R.C.’s HOUSE—NIGHT
It is close to ten o‟ clock, and Allen‟s car is pulling into R.C.‟s driveway.
INT. ALLEN’s CAR
ALLEN
You‟re welcome to stay with me and Blair.
R.C.
Thanks. I‟ll let you know.
EXT. R.C.’s HOUSE
R.C. gets out of Allen‟s car and watches as Allen drives off. R.C. very deliberately walks to the front
door of his house. He unlocks the door and steps inside.
INT. R.C.’s HOUSE—VARIOUS

18
R.C. closes the door and leans against it, as if for support. He takes in the familiar smells of his and
Tina‟s home. He is still a little buzzed.
TINA (O.S.)
R.C., is that you?
R.C.
Yeah, baby. Where are you?
TINA (O.S.)
In the kitchen.
R.C.
With Dinah?
TINA (O.S.)
Yes. I‟m strumming on the ole banjo as we speak.
R.C. musters a pained smile at her response as he walks to the kitchen. He stands in the archway for
support. Tina is standing over the dishwasher in the sage tank top and cotton pajama bottoms she was
wearing at the beginning of the day. Her sandy hair is pulled back in a ponytail, and she has her glasses
on.
R.C.
Hi.
Tina comes to greet him with a kiss.
TINA
Hi, yourself. Someone has been drinking bourbon. Feeling frisky?
R.C.
Not just yet. I think I‟ll have a seat.
R.C. takes a seat at the kitchen table.
TINA
You look tired. Why don‟t you get out of your clothes. I‟m just going to unload the
dishwasher, and then I‟ll be in to congratulate you properly on your promotion.
R.C.
I‟ll wait.
Tina continues unloading the dishwasher. R.C. plays with a napkin holder on the table.
TINA
You‟re quiet. Penny for your thoughts?
19
R.C.
I was just thinking about our wedding day.
TINA
That was a beautiful day. We should watch the video this weekend.
R.C.
I was thinking about how it almost didn‟t happen.
TINA
What do you mean?
R.C.
Don‟t you remember? You told me on our honeymoon that you got cold feet. You
almost left me at the altar.
TINA
I wasn‟t serious.
R.C.
I was just wondering how different our lives would‟ve been if you had been serious,
if you had left me at the altar.
TINA
Remind me to call Allen tomorrow and chew him out for bringing you home drunk.
You need to get some sleep.
R.C.
I should‟ve ordered the flowers.
TINA
Flowers. What‟re you talking about?
R.C.
I was going to send you flowers when I got the promotion. To celebrate. Allen
talked me out of it.
TINA
That‟s sweet, honey, but you always get me stargazers, and the house reeks of them
for weeks.
R.C.
I thought you liked them.
Tina closes the dishwasher and leans against the sink.
TINA
I do. But you shouldn‟t go to the trouble.
20
R.C.
You‟re right. It‟s foolish for a husband to express his love with something that‟s
just going to die. Tell me something. Does Steve Cantrell ever buy you flowers?
TINA
Excuse me?
R.C.
I can‟t do that. I came home early today so I could be here for the exterminator. All
I saw was you kissing your boss. Tell me I‟m wrong.
TINA
Oh, R.C., I…
R.C.
Tell me I‟m wrong.
TINA
I can‟t.
R.C.
I think I‟ll go to our bedroom now.
R.C. rises and leaves the kitchen.
INT. R.C.’s HOUSE—BEDROOM
Tina enters the bedroom. R.C. has his suitcase open on the bed and is throwing socks and underwear out
of the armoire into it.
TINA
You‟re packing?
R.C.
I can‟t stay here. Not in that bed with you. You fucked him, didn‟t you?
TINA
Yes.
R.C. crosses to the closet, pulls out several pairs of dress pants, jeans, dress shirts, and drops them onto
the bed.
TINA
Let me help you.
R.C.
No.
21
TINA
Move over. You can‟t pack for shit.
Tina pushes R.C. down on the bed and takes over, arranging all his clothes.
R.C.
When did it happen?
TINA
Two years ago. That‟s when Steve…
R.C.
Please don‟t...
TINA
That‟s when he was hired on as principal for Tomoka. He‟s a perpetual bachelor. I
didn‟t see it going anywhere.
R.C.
And now?
TINA
I don‟t know. But at least there‟s no guilt with him.
R.C.
What the fuck is that supposed to mean?
TINA
Christ, R.C., the man didn‟t need me. He used me for his pleasure. He didn‟t build
his world around me. He didn‟t make me feel guilty for not loving him as much as
you love me.
R.C.
I am sorry if I give a damn about your personal well-being. But you‟re wrong about
one thing. I have a world beyond you. I have my work. I have my friends. And I
will not apologize for loving you and showing it. Dammit!
TINA
Then why did it take you twelve years to ask me about children?
R.C.
I didn‟t think we were ready! Look at what we‟ve done together. We‟ve been all over
the world. We couldn‟t have done that with children. And we both work long hours.
I thought it was enough at the time. You were enough for me!
TINA
But you weren‟t enough for me!
Tina arranges the last of R.C.‟s clothes in his suitcase.

22
R.C.
I see.
TINA
I needed more to live for than a job or a husband. I wanted a family to build a life
with.
R.C.
You‟re thirty-four years old. It‟s not too late.
TINA
It is for us. Don‟t forget your toiletry bag.
Tina leaves the room. R.C. gathers the rest of his things and makes his way to the entry hall. He leaves
them there and goes to the living room where Tina is sitting in the dark.
R.C.
I love you.
TINA
You love me too much.
R.C.
Bullshit. What does that mean?
TINA
It means that your sun rises or sets in the realm of my happiness or sorrow.
R.C.
What if that‟s true? Why is that so wrong?
TINA
Because I don‟t want that responsibility! I don‟t want to carry you!
R.C.
And Steve?
TINA
He‟s not you.
R.C.
Don‟t you want children anymore?
TINA
I do. I just don‟t want them by you.
R.C.
Things like this don‟t happen in one day.
23
TINA
It didn‟t happen in one day, R.C. It‟s been coming for a few years now. I
just didn‟t have the courage to walk away.
R.C.
But you do now.
TINA
I can‟t pretend anymore.
R.C. walks out of the living room and stops at the front door. Tina follows him.
R.C.
As soon as I find a place of my own, I‟ll come by for my things.
TINA
I don‟t want anything from you. Let‟s just split everything down the middle. Make
it a clean break.
R.C.
There‟s nothing clean about this break.
Tina crosses to R.C., kisses him on the cheek, and walks away towards their bedroom. She stops and
turns to R.C.
TINA
I‟m sorry.
Tina exits. R.C. pulls out his cell phone and dials Allen. Allen picks up almost immediately.
ALLEN (O.S.)
Hello?
R.C.
It‟s R.C. I was wondering if I could ask a favor.
ALLEN (O.S.)
Anything.
R.C.
I need a place to crash for a few days. Just til I can find a place of my own.
ALLEN (O.S.)
Of course. You can stay as long as you need.
R.C.
I‟m all packed. I just need a lift.
24
ALLEN (O.S.)
Open your front door.
R.C. opens the front door and Allen‟s car is sitting in the driveway.
EXT. R.C.’s HOUSE
R.C. closes the door behind him and goes to the trunk of Allen‟s car. Allen is there to help him.
R.C.
Thanks.
ALLEN
Blair has the guest room all made up for you.
R.C.
You think Roy will give me a few days off to find a new place?
ALLEN
I‟m sure you won‟t even have to ask.
R.C. and Allen climb into Allen‟s car and drive off.
INT. ALLEN’s CAR
R.C.
It‟s over, Allen. My marriage is over. What do I do now?
Allen doesn‟t answer, only gives R.C. a reassuring grip on his shoulder as they drive down the road in
silence.
BLACKOUT
25
INT. R.C.’s OFFICE—MORNING
It is Wednesday of the following week. R.C. sits at his desk pouring over work. He has dark stubble, the
beginnings of a beard with a little gray in his chin. It‟s quite becoming. As he works on paperwork, he
can‟t keep focused. He keeps fixating on the following images. The black and white images are not what
have happened but what R.C. imagines taking place:
1) Tina kissing Steve Cantrell on the front steps of their home.

2) Tina and Steve making love in their bed (in black and white).
3) R.C. kissing Tina in the bathroom while she was getting ready for school.
The images whirl through his mind rapid-fire until a voice stirs him from his reverie.
ROY
You got a minute, R.C.?
R.C.
Of course. Come on in.
Roy sits across from R.C.
ROY
How‟s it going?
R.C.
Good. I was just about to look at some of the resumes for potential programmers.
ROY
When do you find time to breathe?
R.C.
I breathe.
ROY
Look, I know what you‟re going through. You‟ve gotten more work done in a
week and a half than most people do in a month. You gotta slow down. Have
you found a new place yet?
R.C.
I‟m still looking. Haven‟t found the right one yet.
ROY
You could take some time off.
26
R.C.
Roy, you know I do better when I have something to accomplish. Isn‟t there anything
you could push my way?
ROY
Well, you know Rhonda could always use the help in Quality Control.
R.C.
You‟re joking. Rhonda?
ROY
August is a busy month for her. We‟ve got to get the games ready for the holiday rush.
R.C.
Allen‟s gonna give me hell for this. (Laughs) Alright, I‟ll check in with her after
lunch.
ROY
I‟m going to level with you. Your job is secure. If at any time you need to take
a leave of absence, say the word. Get out of Ormond for a while.
R.C.
Thank you, Roy. I‟ll keep that in mind. Really.
INT. SEASIDE GRILL—LUNCH
R.C. and Allen are seated at a high-top table having sushi. The Seaside Grill is a posh bar and grill that
caters to business people, the party crowd, and tourists alike. The décor is hip and even at noon the
ambiance is chill.
ALLEN
I would take the time off. Hell, anything to avoid having to work with Rhonda.
R.C.
It won‟t be that bad. Basically, I‟ll be playing video games with her all day. I
could think of worse ways to while away the time.
ALLEN
Better you than me. I can‟t stand her laugh. It‟s like a hyena. Have you talked
with Tina?
R.C.
We‟re playing phone tag now. I promise I‟ll be out of your and Blair‟s hair by the
end of the week.
27
ALLEN
Don‟t sweat it. We like the company.
R.C.
Bullshit. I‟m killing your sex life.
ALLEN
We were actually going to ask you to join us.
R.C.
Check, please.
R.C. and Allen laugh as they continue eating their lunch and camera pulls away from their table.
INT. RHONDA’s OFFICE—AFTERNOON
Rhonda Claxton is sitting at her desk reading over some e-mails when R.C. taps on her open door.
Rhonda is 30 years-old, buxom, and the VP of Quality Control. She dresses provocatively but with some
degree of taste.
R.C.
Knock, knock.
RHONDA
Afternoon, sir. What can I do ya for?
R.C.
Roy told me you could use an extra hand. I‟m ahead of schedule on my projects
for the month.
RHONDA
Sounds to me like someone‟s gunning for Employee of the Year.
R.C.
Not at all. I just need a lot more distractions these days.
RHONDA
I heard. Come on in.
R.C. enters the office and takes a seat across from Rhonda. Rhonda pulls her chair around the desk and
sits very close to R.C. She takes his hands in hers.
28
RHONDA
I just want you to know if you need anything…anything…all you have to do is ask.
R.C.
Thanks, Rhonda. I‟ll be fine.
RHONDA
Oh, you‟re so brave.
R.C.
So. Quality Control. What‟ve you got for me?
Rhonda flinches, taken aback. Then lets loose of R.C.‟s hands with her hyena laugh.
RHONDA
It‟s going to be next week before I can get down to business with that. Tell you what,
why don‟t we get together this weekend and make out our own little plan of attack?
R.C.
I don‟t know. I‟m still trying to find a new place for myself.
RHONDA
Well, if you change your mind, I‟ll keep Friday night open for you.
Rhonda pats R.C.‟s knee and her hand lingers longer than appropriate. R.C. stands to leave.
R.C.
Thanks.
EXT. SEASIDE GRILL—LATE AFTERNOON
R.C. is walking along Beach Street in Daytona Beach. He ventures out onto the beach, his slacks rolled
up and his dress shoes in his left hand. R.C. walks north on the beach for a while taking in the birds, the
tourists, and the joggers.
As R.C. meanders along the beach, he notices a string of condos on his left. One, in particular, draws his
attention. It is a modest structure with a finished back deck that has a gas grill and faces the ocean. By
the looks of it, the place is probably a two bedroom, one and a half bathroom condo. More appealing than
the gas grill is the “For Sale” sign posted by the back deck. R.C. walks up to the placard and spies the
number. He pulls out his cell phone and dials the number.
EXT. ABC WINE & SPIRITS—EARLY EVENING
The camera follows R.C.‟s car as it parks in a parking space near the entrance to the package store.
29
INT. ABC WINE & SPIRITS
The store is full of people on their way home from work. R.C. crosses immediately to the red wine
section. A table is set up near the California Reds, and a man stands behind it serving samples. His name
is CARL.
R.C.
Carl, my savior. Blair is making duck. Help.
CARL
Who are you trying to fool? You just want free samples.
R.C.
It is happy hour. Make me happy.
CARL
Here. Try this.
Carl pours R.C. a sample of a Cabernet Sauvignon. R.C. drinks it.
R.C.
Nice. What is it?
CARL
Eight-fifty. Now if you want something that wasn‟t made from dregs, follow me.
R.C. follows Carl to the South American section. Carl pulls a bottle from the rack and shows it to R.C.
R.C.
Carmenere?
CARL
Twelve dollars. Drinks like it cost fifty. If you don‟t walk away with at least two
bottles tonight, I will be ashamed to call you friend.
R.C.
You don‟t call me friend.
CARL
I will be ashamed to call you lush.
R.C.
Fine. Give me two bottles.
30
CARL
You know you get a 15% discount when you buy six.
R.C.
Don‟t push it, Carl. And it better make the duck fly off the damn plate.
CARL
See you tomorrow.
R.C. smiles and walks off to pay for the wine.
INT. ALLEN’s HOUSE—VARIOUS
KITCHEN
R.C. is uncorking the wine as Blair pulls the duck out of the oven. Allen is setting the dinner table in the
next room. R.C. pours three glasses of wine and samples a bit of his own.
R.C.
When Carl is right, he‟s right. This is good. Blair, you better not have a glass of
this before you fly the friendly skies.
BLAIR
Cute. R.C., could you bring in the asparagus? And the wine.
R.C.
Yes, ma‟am.
DINING ROOM
R.C. follows behind Blair with a tray of oven-roasted asparagus and dill. He hurries back for the wine
glasses and manages to set all three down on the table without spilling a drop.
Allen, Blair, and R.C. sit around the table passing around dishes under the following dialogue.
ALLEN
Babe, everything smells delicious.
R.C.
Yes. Tina wouldn‟t know what to do with a duck if it was her principal. Too soon?
They laugh despite themselves, an awkward laughter.

31
BLAIR
Did you pregame again?
R.C.
Carl was giving out free samples. But I just had one.
BLAIR
I know it‟s tough. You still haven‟t heard from her?
R.C.
Not a word. But that‟s alright. She‟s going to have to see me when I move my
things out on Friday.
ALLEN
Move out. Wait, you found a place?
R.C.
It‟s true. No tears, Allen. I couldn‟t bear it.
Allen and R.C. reach their hands out to each other. Blair swats at them.
BLAIR
Alright, boys. Don‟t make me put on my stern face.
ALLEN
Ouch. Oh, R.C., tell her about Rhonda.
R.C.
Please. I still feel dirty.
BLAIR
Rhonda from work? Spill it.
R.C.
I‟m caught up on all my projects for the month, so I asked Roy if he had anything
for me to do. He sent me to Rhonda. She got all touchy-feely. I think she asked
me out on a date.
ALLEN
Gross.
R.C.
And you‟re right. She does laugh like a hyena.
32
BLAIR
So tell us about this new place.
R.C.
I was out for a walk along Beach Street and went out on the beach. Sure enough
I saw a condo for sale. So I called the owner, told him my situation, and he‟s going
to do month-to-month rental for me. He lives up in Maine and won‟t be back down
until November. I should have a permanent place by then.
BLAIR
You think you and Tina might try and work things out?
ALLEN
Blair…
R.C.
No, it‟s alright. I don‟t think she wants to.
BLAIR
Do you?
R.C.
I‟m so angry right now. I don‟t know what I want.
ALLEN
More wine is what you want, buddy.
Allen tops off all the glasses.
R.C.
Thank you, sir. I still love her, Blair. How could I not? But what she‟s done…
BLAIR
You might not want to hear this, but before you sign papers and it‟s final, you
should see if Tina‟s willing to consider marriage counseling for the two of you.
R.C.
I know you‟re right. But she seems so far away right now. Like I never knew her
at all, you know?
ALLEN
What time are we moving you on Friday?
33
R.C.
We? I don‟t recall asking you.
ALLEN
You didn‟t have to. Besides, I could use a long weekend.
R.C.
I didn‟t even have to rent a truck. The condo is furnished, so all I have to move
are my clothes. But if you‟re dying to help me get settled, we‟ll leave the office after
lunch. I wanted to put in a half day, slacker.
ALLEN
Sounds to me like someone is gunning for Employee of the Year.
R.C.
Wow, you‟ll never guess who said the exact same thing to me this afternoon.
Your buddy Rhonda.
ALLEN
Cover your ears, babe.
Allen flips R.C. off.
R.C.
Speaking of delicious meat, the duck is amazing, Blair.
BLAIR
Children. Don‟t make me send you to bed without dessert.
ALLEN
I can‟t remember the last time I had dessert. Oh, yes I do. It was the night before
R.C. moved in. Thanks, buddy.
Blair swats Allen‟s arm. R.C.‟s phone rings. It‟s Frankie.
R.C.
It‟s Frankie. I should take this.
R.C. excuses himself from the table and hurries outside.
EXT. ALLEN’s HOUSE
R.C.
Hello.
34
INT. FRANKIE’s HOUSE—LIVING ROOM
FRANKIE
Hola. Did I catch you at a bad time?
R.C.
No. We were just having dinner. I‟m glad you called. I‟ve got some good news.
INT. FRANKIE’s HOUSE
FRANKIE
I like good news.
R.C.
I found a place to rent today. It‟s a condo on the beach in downtown Daytona.
FRANKIE
Vic and I will book our flight tomorrow.
R.C.
You‟re more than welcome to. (Laughs) It‟s only a two bedroom condo, so the boys
will have to sleep on the couch. It‟s a pullout.
FRANKIE
Screw the boys. They can stay with granny.
R.C.
I move on Friday. Allen‟s helping me. It‟ll probably be the first time I see Tina
since I left.

35
FRANKIE
Are you okay with that?
R.C.
I better be. Blair suggested I ask Tina to go see a marriage counselor.
FRANKIE
Blair sounds pretty smart to me. If you don‟t ask, you‟ll always wonder.
R.C.
Just because you‟re right doesn‟t mean you have to be an ass about it.
FRANKIE
Vic tells me that all the time.
R.C.
Thank you, though. I probably would‟ve gone out of my mind if not for you,
Allen, Blair, and Wine Man.
FRANKIE
Wine Man? Who‟s Wine Man?
R.C.
Oh, he works at the liquor store in Port Orange near Allen and Blair‟s house. Carl
really knows his stuff.

36
FRANKIE
You are such a dork. I‟ll let you get back to dinner. Call me when you get settled.
R.C.
Will do. Goodnight.
R.C. hangs up the phone and goes back in the house as the camera pans out.
EXT. R.C.’s HOUSE—FRIDAY—EARLY AFTERNOON
Shot of R.C. and Allen‟s cars are parked out in front of R.C.‟s house.
INT. R.C.’s HOUSE—VARIOUS
R.C. and Allen are in R.C. and Tina‟s room gathering up the rest of R.C.‟s clothes out of the closet. Allen
pulls out a lacy negligee and holds in front of him, as if to model.
ALLEN
Do you want to pack this? For old time‟s sake?
R.C.
It‟s not my color.
Allen puts it back in the closet, and the two start to lug a load of hang-up clothes from the bedroom to
their respective cars.
ALLEN
So you‟re just taking your clothes?
R.C.
Yeah. The kitchen at the condo is fully stocked with pots, pans, and spices. I‟ll worry
about the rest of it when the divorce papers are drawn up.
ALLEN
Does Tina know you‟re here today?
R.C.
Only if she checked her voicemail.
EXT. R.C.’s HOUSE

37
Shot of R.C. and Allen are packing the last of R.C.‟s things in their respective cars when Tina‟s car pulls
in the driveway. She gets out of the car and crosses over to them, smiling.
TINA
Hi, stranger.
R.C.
Hi. I came to get the rest of my things. I left you a message.
TINA
I got it. Hi, Allen.
ALLEN
Tina.
Allen ducks into the back seat of his car and arranges some of R.C.‟s belongings.
R.C.
I thought we‟d be gone before you got home. Didn‟t want to be in the way.
TINA
It‟s still your home, R.C.
R.C.
About that…
TINA
Could you come inside with me? Just for a minute?
Allen sticks his head out of the back of the car.
ALLEN
Why don‟t I head on down to the condo and start unloading my car. You can
catch up.
R.C.
That sounds good. The key is under the potted plant by the back door. I won‟t
be long.
Allen climbs into his car. The car comes to life, and whizzes out of the driveway. The camera comes
back to Tina and R.C.
R.C.
After you.
38
INT. R.C.’s HOUSE—LIVING ROOM
Tina sits on the couch and R.C. sits near her in an arm chair. There is an awkward silence hanging in the
air.
R.C.
So, you have a good group of kids this year?
TINA
Better than average. I‟m surprised Roy hasn‟t kicked you out of the office.
R.C.
He tried. (Chuckles) When you didn‟t answer any of my messages, I thought you
might not want to see me.
TINA
It wasn‟t intentional. Beginning of the year is always a crazy time for me.
R.C.
I remember.
TINA
I‟ve missed you.
R.C.
What am I supposed to do with that?
TINA
I don‟t know. I just thought you‟d like to know.
R.C.
I do. I‟ve missed you, too.
TINA
Where are you staying?
R.C.
I found a condo near Beach Street. It‟s only temporary.
TINA
Nice. I don‟t know why we never considered beach-front property.
39
R.C.
The Weather Channel.
TINA
Right. You look good. I like the facial hair. You haven‟t had that since…
R.C.
Since we met in college. I think I shaved it for you.
TINA
It tickled.
R.C.
I remember. So, why are you home so early on a Friday afternoon?
TINA
I‟m going away for the weekend.
R.C.
Alone?
TINA
No.
R.C.
I see.
TINA
I don‟t know how to do this, R.C.
R.C.
Then don‟t. I should go. Have a fun trip. I hope Steve gives you herpes.
R.C. rises and the camera follows him as he crosses to the entrance hall.
EXT. R.C.’s HOUSE
R.C. is opening his car door when Tina emerges from the house.
TINA
So you‟re just going to leave things like that?
40
R.C.
How else can I leave them? Ya know, I came here today with every intent of
asking you to see a marriage counselor with me. I thought maybe we could put
things back together. I‟m a damn fool.
TINA
Why would you want to do that?
R.C.
I still love you, Tina. I love you, and I hate you. It‟s very complex.
TINA
And you think I don‟t love you anymore?
R.C.
You have made it quite clear how you feel about me.
TINA
Counseling won‟t help. It would be a waste of time and money. You know it‟s true.
R.C.
Yeah. Probably.
TINA
We were friends once. There‟s no reason we can‟t be again.
R.C.
I can think of plenty of reasons.
R.C. gets in his car and starts the motor. Tina walks to the driver‟s side and taps on the window. R.C.
rolls down the window.
TINA
I‟m sorry you‟re hurting.
R.C.
Me, too. Be safe.
R.C. rolls up the window and Tina steps back as the car reverses out of the drive way and whizzes away
from the house.
INT. R.C.’s CAR
R.C. pulls out his cell phone and dials Rhonda Claxton. She answers.
41
INT. RHONDA’s OFFICE
RHONDA
This is Rhonda.
INT. R.C.’s CAR
R.C.
Rhonda, this is R.C. Swift.
RHONDA
Well, hello, handsome. I thought you were busy moving.
INT. R.C.’s CAR
R.C.
It looks like it‟s going to take less time than I anticipated. Are you still
available tonight?
RHONDA
You bet I am. What did you have in mind?
INT. R.C.’s CAR
R.C.
My condo is near Beach Street. Why don‟t we meet at the Seaside Grill at seven.
RHONDA
I‟ll be there.
INT. R.C.’s CAR
R.C.
Good. We‟ll see you then.
R.C. hangs up the phone and puts it in the passenger‟s seat.

42
R.C.
Allen is going to love this.
INT. R.C.’s CONDO—VARIOUS—EARLY EVENING
R.C. is walking around the living room arranging pillows and tidying. He is dressed in linen pants and a
button-down, short-sleeve linen shirt and is wearing leather sandals.
R.C. walks into the kitchen and pours himself a glass of wine.
EXT. R.C.’s CONDO—BACK DECK
R.C. walks onto the back deck and looks out at the ocean.
Camera pans out onto shot of the waves rolling in.
Shot of R.C. sipping wine, the sea breeze tousling his hair. R.C. pulls out his phone and dials ROBIN
SWIFT, his mother. Robin answers.
INT. ROBIN’s KITCHEN
Robin is 61 years-old, with graying hair. Robin is a handsome woman, with soft features. She wears
glasses and is in decent shape for a woman in her sixties. She is cooking dinner.
ROBIN
Happy Friday, honey.
EXT. R.C.’s CONDO
R.C.
Hi, Mom. What‟s up?
ROBIN
It‟s Friday. I‟m fixing stir fry and struggling with the difficult choice of watching
baseball or reruns of Doctor Who on the BBC.
EXT. R.C.’s CONDO
R.C.
Of course. How silly of me to ask.

43
ROBIN
How are you? Did you and Tina get my card?
EXT. R.C.’s CONDO
R.C.
The card. Right. I‟m sure we did. I‟ve just been really busy with work, and Tina
started back to school. It‟s been a whirlwind. But thanks.
ROBIN
Uh huh. You want to try that again?
EXT. R.C.’s CONDO
R.C.
Try what again?
ROBIN
You never were a very good liar. What aren‟t you telling me?
EXT. R.C.’s CONDO
R.C. finishes the rest of the wine in his glass and shakes his head.
R.C.
Well, Mom. The thing is…Tina and I are splitting up.
ROBIN
Oh, no, honey. What happened? Please tell me you didn‟t meet someone.
EXT. R.C.’s CONDO
R.C.
Whoa, thanks for the vote of confidence. I‟m not Dad.

44
ROBIN
That was uncalled for, but since your marriage is in the crapper I‟m willing
to overlook it.
EXT. R.C.’s CONDO
R.C.
It sounds a lot better when you say it. (Laughs) I moved out. I‟m on the beach
now in a condo.
Robin is pouring the contents of her wok onto a plate during the dialogue.
ROBIN
Nice. Do you need me to come down?
EXT. R.C.’s CONDO
R.C. looks at his watch. It‟s a quarter of seven.
R.C.
I‟m fine. Really. But hey, can I call you later this weekend? I have a business
dinner to get to, and I don‟t want to be late.
ROBIN
Okay. Just use protection.
EXT. R.C.’s CONDO
R.C.
I‟m hanging up now.
R.C. hangs up the phone and deposits the wine glass just inside the back door.
EXT. BEACH
The camera follows R.C. as he walks along the beach towards Seaside Grill on Beach Street. It is getting
darker, though the sun hasn‟t completely set. R.C. observes couples walking along the beach, hand-in-
hand, and flocks of birds flying overhead.
INT. SEASIDE GRILL

45
R.C. enters the Seaside Grill. It is bustling with activity. R.C. spots Rhonda in the far corner at an
intimate table. She hasn‟t noticed him yet, and he can‟t quite make out what she‟s wearing. As R.C.
makes his way over to the table, he fusses with his clothes a bit. Rhonda turns around and sees him. She
rises.
RHONDA
R.C., you made it!
Rhonda is wearing a provocative, short black dress with a plunging neckline. R.C. joins her at the table.
R.C.
Rhonda, you look….wow, nice.
Rhonda laughs her hyena laugh, drawing looks from other tables.
RHONDA
Give me a hug, you.
R.C. hugs her and she holds on longer than he is comfortable with.
RHONDA
Sit down. I ordered us cocktails. You like Manhattans?
R.C.
Sure. Cheers.
R.C. and Rhonda clink glasses and drink.
RHONDA
I took the liberty of making them doubles. Are you all settled in at the condo?
R.C.
More or less. I couldn‟t pick a better time for my marriage to fall apart. Not
a single hurricane in the forecast.
Rhonda laughs again. People stare.
RHONDA
I never knew you were so funny. You‟re funny. You‟re. Funny.
R.C.
You been here long?
46
RHONDA
About a half-hour. I like the martinis here.
R.C.
I never was one for martinis. So. What‟re we going to do about Quality Control?
RHONDA
Boo! It‟s Friday. Let your hair down, R.C. Now listen. We‟re going to have a
good time tonight, and I don‟t want to hear word one about work. Now drink up.
I‟m going to order you another one, so you can catch up.
R.C.
Oh, god.
R.C. tosses back the Manhattan.
INT. SEASIDE GRILL—THREE HOURS LATER
There are several cocktail glasses on the table and empty plates of food. R.C. and Rhonda are laughing,
and he doesn‟t even mind that she sounds like a hyena.
RHONDA
Have you saved room for dessert?
R.C.
I hear they have a great cheesecake here.
RHONDA
That wasn‟t the kind of dessert I had in mind.
R.C.
Oh. I…
RHONDA
It‟s alright, R.C.
Rhonda places her hand on R.C.‟s thigh and massages it.
R.C.
You wanna get out of here?
RHONDA
I thought you‟d never ask.
47
EXT. BEACH
R.C. and Rhonda are running along the beach towards R.C.‟s condo. They‟re laughing and jumping
around like children. When they reach the back deck of R.C.‟s condo, he leans against the raised deck,
slightly out of breath. Rhonda sashays towards him and places her hand on his chest.
R.C.
Thank you for tonight, Rhonda. I mean it.
RHONDA
The night isn‟t over yet.
Rhonda leans in and kisses R.C. full on the mouth aggressively and runs her hands along R.C.‟s butt.
He‟s taken off guard.
R.C.
Hello!
RHONDA
Hello.
Rhonda dives back in. R.C. give in more this time until Rhonda‟s hands wander to his crotch. R.C.
squirms away.
R.C.
She‟s with him tonight. They went away for the weekend.
RHONDA
Aw, sweetie, is that what you‟re worried about?
R.C.
I don‟t do this sort of thing.
RHONDA
She did it first.
R.C.
I still love her.
RHONDA
What‟s love got to do with it?
R.C.
Please. Don‟t ruin Tina Turner for me.
48
RHONDA
You‟re sweet. I like you. Let me show you how much.
Rhonda moves slowly to R.C. and takes her face in her hands. Delicately, deliberately she brings his
mouth to hers and they kiss, gentle at first but building to reckless abandon.
INT. R.C.’s CONDO—BEDROOM—NIGHT
The following shots are in black and white:
1) R.C. undressing Rhonda as they make out.

2) Rhonda ripping open R.C.‟s linen shirt.
3) R.C. and Rhonda semi-naked under the covers kissing and having sex.
4) Rhonda clawing down R.C.‟s back in climax.
5) Rhonda lying in R.C.‟s arms.
INT. R.C.’s CONDO—VARIOUS
R.C. is asleep and having a dream. Images flash in his mind.
1) R.C. as a small child in a kindergarten class.

2) Kids playing in different areas of the room, coloring, talking.
3) R.C. drawing a picture badly by himself.
The images continue and slow into real time, a memory from his childhood.
INT. KINDERGARTEN CLASSROOM—R.C.’s CHILDHOOD
R.C. is drawing a cartoon character when a sweet voice beckons to him.
CARRIE
R.C.! Come color with me.
R.C. looks up. A little girl, with curly brown hair, and caramel eyes is motioning him over. He
awkwardly joins her. Her name is CARRIE SMIRL.
R.C.
Hi, Carrie.
CARRIE
What‟re you drawing?
49
R.C.
The Green Goblin. He‟s Spider-Man‟s arch-abacus.
CARRIE
Oh. Neat.
R.C.
What‟re you coloring?
CARRIE
Strawberry shortcake. She‟s my favorite. Hey, you wanna come over and play
after school?
R.C.
Okay.
R.C. and Carrie continue drawing and coloring in silence. R.C. stops and looks at Carrie. He looks
around to see if anyone is watching and then kisses her on the cheek as if in slow motion.
INT. R.C.’s CONDO—NIGHT—VARIOUS
R.C. wakes up from his dream asleep on the couch in the living room. He is still dressed in his linen
clothes from the date. He is breathing heavily.
Shot of R.C. looking in on Rhonda in his bedroom. She is passed out in her clothes. He shakes his head
and sighs.
EXT. R.C.’s CONDO
R.C. stands on the back deck and stares up at the moon. He is crying for the loss of his marriage and the
emergence of a memory long lost.
R.C.
Carrie…
BLACKOUT
50
INT. R.C.’s CONDO—MORNING—KITCHEN
It is Saturday morning. R.C. is making an omelet and cutting some cantaloupe and honeydew. He is
wearing jogging shorts and a T-shirt. R.C. is pouring a cup of coffee as Rhonda enters the living
room/dining area. She is wearing the same outfit from the previous night, her hair quite disheveled, and
is carrying her heels.
R.C.
Good morning. Coffee?
RHONDA
Yes, please.
R.C.
Have a seat. It‟ll be right up.
RHONDA
You‟re a god.
Rhonda sits at the table. R.C. pours her a cup of coffee and brings it over. He goes back to the kitchen
and puts the finished omelet on a plate with some fresh fruit and takes it to Rhonda.
R.C.
I thought you might be hungry.
RHONDA
And you would be right. It looks delicious.
R.C.
Dig in.
Rhonda dives in to the omelet. R.C. leans against the entry to the kitchen. Rhonda moans a little from
the food.
RHONDA
What‟s in this? Wait. Don‟t tell me. I don‟t want to know if it‟s fattening.
R.C.
Then you don‟t want to know.
The following dialogue happens as Rhonda eats, sometimes with her mouth full.
51
RHONDA
What happened last night? You never came to bed.
R.C.
Passed out on the couch.
RHONDA
I got lonely.
R.C.
Sorry. I wouldn‟t have been very good company.
RHONDA
I doubt that.
R.C.
It‟s true. Rhonda, do you remember your first crush?
RHONDA
Mmm. Sure do. His name was Marcus Pate. He was the first boy who ever kissed me.
You remind me of him.
R.C.
You don‟t say.
Rhonda approaches him.
RHONDA
Uh huh. You know, I never thanked you for last night. The beach. It was fun.
R.C.
Right. About that…
RHONDA
Maybe we could pick up where we left off.
Rhonda moves in to kiss R.C. He pulls away.
R.C.
I don‟t think that would be wise.
RHONDA
You‟re no fun.
52
R.C.
I‟m serious. I can‟t.
RHONDA
You seemed pretty eager last night. Sure I can‟t change your mind?
Rhonda moves in again. R.C. stops her.
R.C.
It‟s not that I don‟t find you attractive. I do.
RHONDA
Most men do. It‟s a curse.
R.C.
The thing is…it‟s too soon.
RHONDA
You‟re joking, right? I‟m a sure thing here. What‟re you waiting for?
R.C.
I just remembered that I don‟t actually like you all that much. The only reason
I even called you was because I was upset that my wife was going off for the
weekend with her lover. I think you should go.
RHONDA
Fine. I will. Try and do a guy a favor, and he throws it in your face.
R.C.
I‟m sorry. You are beautiful, Rhonda. I just can‟t. It‟s not who I am.
RHONDA
Yeah. Maybe that‟s why you can‟t keep your wife.
Rhonda grabs her heels and darts out the back entrance, storms off the deck and onto the beach. R.C.
watches her as she walks along the beach towards the Seaside Grill. R.C. goes to pick up Rhonda‟s plate
and nibbles on some of the unfinished fruit. He carries the plate and coffee cup to the sink and put them
in.
EXT. R.C.’s CONDO—BACK DECK
R.C. sits on the back deck enjoying the sound of the surf. He is calling Roy on his cell phone. No
answer. It goes to voicemail.
53
R.C.
Roy, this is R.C. It‟s Saturday morning. I thought about it, and I think I‟d like to take
you up on that offer for some time off. Call me when you get this. Thanks. Bye.
EXT. BEACH—MID MORNING
R.C. is out jogging on the beach. He is thinking about Carrie Smirl. Memories from the past are
interspersed between shots of R.C. jogging along the beach. The following images flash in his mind:
1) Kissing Carrie on the cheek in kindergarten.

2) Playing with Carrie at her home in her bedroom. Strawberry Shortcake dolls are involved. He is
holding a Huckleberry Pie doll.
3) Carrie shoving him on the playground and running off.
EXT. R.C.’s CONDO—EARLY AFTERNOON—BACK DECK
R.C. has showered and changed. He is wearing khaki shorts, a T-shirt, and flip flops. He has also
manicured his beard a bit more. R.C. observes people on the beach when his cell phone rings. It is Allen.
R.C.
Hello?
INT. ALLEN’s LIVING ROOM
ALLEN
R.C., it‟s Allen. What‟s going on?
EXT. R.C.’s CONDO
R.C.
I was actually just about to call you. You and Blair should come over for dinner
tonight.
ALLEN
Blair had to fly to Boston this morning. She won‟t be back til tomorrow. But I‟m
free.
EXT. R.C.’s CONDO
R.C.
Alright. Then you come over. I‟ll have the beer ready and the grill prepped.
54
ALLEN
I‟ll bring my appetite and the porn.
INT. R.C.’s CONDO—KITCHEN—LATE AFTERNOON
R.C. is washing two cobs of corn in the sink and prepping them for the grill. He douses them in canola
oil and wraps the corn individually in aluminum foil. R.C. washes his hands, dries them, and pulls out his
cell phone. He dials his mother. He gets her voicemail.
R.C.
Hi, Mom. It‟s me. I just wanted to call and touch base with you. I was thinking about
making a trip up to Memphis. I‟ll call back tomorrow. Love you. Bye.
EXT. R.C.’s CONDO—BACK DECK—EARLY EVENING
It is around six o‟clock, and R.C. has the grill fired up. A cooler rests beside the grill, open and full of
ice, Modelo Especial, and Fat Tire. R.C. is roused from his reverie by the sound of a fake bird call.
The camera focuses on Allen walking along the beach in the distance. He is in shorts and a polo shirt,
and approaches the condo with a brown paper bag in tow.
R.C. puts a hand over the flame on the grill to see how it‟s heating as Allen arrives at the back deck.
ALLEN
I brought you some Maker‟s Mark for a house-warming gift. Carl says hi.
R.C.
He‟s so thoughtful. Help yourself to a beer. I think the grill is ready.
Allen opens a Fat Tire and takes a swig.
ALLEN
What‟re we having?
R.C.
Shish kabobs, grilled corn, and beer. And maybe some of that Maker‟s Mark for
dessert. You can sleep in the guest room.
ALLEN
And here I had my heart set on spooning you.
55
R.C.
Better you than Rhonda.
ALLEN
Tell me you didn‟t.
R.C.
My Rhonda cherry is intact, if that‟s what you‟re wondering. But as the young kids
say, “I could‟ve tapped that had I wanted to.”
ALLEN
I don‟t know any young kids who would say that.
EXT. R.C.’s CONDO—BACK DECK—SUNSET
R.C. and Allen are seated on the back deck enjoying beer, shish kabobs, and grilled corn as the sun sets
and the tide rolls in.
ALLEN
You realize by the time we get back to work on Monday, Rhonda will have spread
a completely different story around the office.
R.C.
I may not be there. I called Roy today. Thought I‟d take him up on that offer for some
time off.
ALLEN
Really. Where are you going?
R.C.
Memphis to start. I haven‟t seen my mom for a while. She went through the same thing
with Dad, and I could use some decent BBQ.
ALLEN
Sounds like a solid plan to me.
R.C.
Allen, do you remember your first crush?
ALLEN
I was a late bloomer. The Adonis you see before you didn‟t develop an interest in girls
until later in life.
56
R.C.
Okay, who was your first boyfriend?
ALLEN
Eat me. (Laughs, takes a sip of beer) What‟s the interest in old flames?
R.C.
I had a dream last night about my first crush. Carrie Smirl. I had completely
forgotten her. But when I look at Tina, hell, any of my past relationships, Carrie
is a big piece of the puzzle.
ALLEN
How so?
R.C.
Without fail, every woman I have ever loved has left me. Starting with Carrie.
ALLEN
I think you‟re making a pretty big leap in logic there, buddy.
R.C.
I‟m serious. I‟m going to find her.
ALLEN
Who?
R.C.
Carrie Smirl. Hell, it‟s not like you can‟t find anyone you want on the internet now.
ALLEN
Listen, R.C. I know you‟ve had a rough couple of weeks. But you‟re not going to
get what you want by tracking down this girl.
R.C.
What is it you think I want?
ALLEN
Closure.
R.C.
No. I just want to understand why.
INT. R.C.’s CONDO—KITCHEN—NIGHT

57
R.C. is doing dishes, and Allen is pouring up some Maker‟s Mark for the two of them.
ALLEN
I totally get it. I do. But you haven‟t seen this girl since you were in kindergarten.
She could be a breeder for some cult in Montana, for all you know.
R.C.
Classy, Allen. I‟m just saying that there must be something wrong with me if I
have a pile-up of romantic casualties on the highway of love.
ALLEN
Highway of love? You seriously need a drink.
R.C. takes the glass and sips on the bourbon. He goes back to washing.
R.C.
It‟s simple. I am apparently a cosmic fool in matters of the heart. The way I see it
is if I can find Carrie and just talk with her, maybe I‟ll understand better why I love
the way I do, where I went wrong with Tina. Is that too much to ask?
ALLEN
No. Of course not. But life isn‟t that tidy. She may not even remember you.
R.C.
I know. But I have to try.
ALLEN
Well, here‟s wishing you success. Bottoms up.
R.C. and Allen clink glasses and down their bourbon.
INT. R.C.’s CONDO—BEDROOM—MORNING
R.C. is in bed asleep when his cell phone wakes. He flails for the cell phone. Camera on view screen
reveals that it is Roy Rand. R.C. wipes the sleep from his eyes and answers.
R.C.
Morning, Roy.
ROY (O.S.)
R.C. It‟s me, Roy Rand. I got your message and wanted to let you know you‟re all
clear for your leave of absence. How long do you expect to be gone?
58
R.C.
Probably a week, but go ahead and put me down for ten days. If I get back
early, I‟ll make the adjustment in my file then.
ROY (O.S.)
Good, good. Oh, and talk with Allen before you leave. I want him to set up
your laptop for remote access, so you can still do some work from the road if an
emergency comes up.
R.C.
Of course. I‟ll call him this morning.
ROY (O.S.)
Be careful, and we‟ll see you soon. Call if you need anything.
R.C.
Will do. Thanks, Roy.
R.C. hangs up the phone and stretches upright in his bed. He rests against the headboard and stares
ahead.
EXT. R.C.’s CONDO—LATE AFTERNOON
R.C. is packing his suitcase in the trunk of his car. R.C. closes the trunk and walks back to the back deck,
sits down and watches the ocean. R.C. takes off his wedding ring and puts it in his pocket. He closes his
eyes, lets the breeze wash over him, and breathes in the salty air. R.C.‟s phone rings. It is his mother.
R.C.
Hi, mom.
EXT. ROBIN’s HOUSE—FRONT PORCH
ROBIN
Hi, honey. Are you on the road yet?
EXT. R.C.’s CONDO
R.C.
Not yet. I should be on the road by six at the latest. I‟m going to drive all night, so
I‟ll see you for breakfast.

59
ROBIN
You know I hate it when you drive late at night.
EXT. R.C.’s CONDO
R.C.
And you know I love it. Besides, I‟m getting antsy. I need to get away.
ROBIN
Just be careful. I‟ll have the coffee on when you get in.
EXT. R.C.’s CONDO
R.C.
And cheese grits?
ROBIN
Don‟t hold your breath. Bye.
Robin hangs up her phone.
EXT. R.C.’s CONDO
R.C. hangs up his cell phone, rises and stretch. He takes one final look around the beach.
EXT. R.C.’s CONDO—FRONT ENTRANCE—EARLY EVENING
R.C. locks the front door of the condo and walks to the car with his laptop in tow.
EXT. R.C.’s CAR
R.C. is driving his car away from the condo.
The camera sequences the following shots as music plays:
1) R.C.‟s car turning onto US-1 northbound.

2) R.C.‟s car turning left on Granada.
3) R.C.‟s car taking the northbound exit onto I-95 northbound.
INT. R.C.’s CAR—NIGHT

60
The camera sequences the following shots from R.C.‟s POV as music plays:
1) R.C.‟s car taking the westbound exit for I-10.

2) A shot of an exit for Tallahassee.
3) R.C.‟s car taking the northbound exit for I-65 towards Birmingham.
INT. R.C.’s CAR—NIGHT
It is late at night and R.C. is between Birmingham and Memphis on US-78. He yawns and bites his nails.
R.C. turns on the radio and scans the stations for something interesting. It stops on a station playing the
song, “Creep,” by Radiohead. R.C. smiles at a distant memory awakened as he continues driving.
R.C. (V.O.)
April…
EXT. R.C.’s MEMORY—MEMPHIS—HIGH SCHOOL
The following images flash through R.C.‟s mind:
1) R.C. at 17 walking down a high school corridor holding hands with his girlfriend, APRIL
TRENTON.
2) R.C. and April are driving in R.C.‟s first car, an old station wagon, at night on a date in the
spring. They are laughing and singing at the top of their lungs with the windows rolled down.
3) R.C.‟s car is pulling off a road onto a bluff overlooking the Mississippi River.
EXT. R.C.’s MEMORY—MEMPHIS—BLUFF
R.C. is laying a blanket on the grass and April stands tentatively nearby. The windows on R.C.‟s car are
rolled down and music is still playing. R.C. finishes situating the blanket and gets comfortable. He looks
up to April. She is in some sort of skirt and top that are very indicative of early 90‟s fashion. April wears
her hair loose around her shoulders.
R.C.
Is this alright?
APRIL
It‟s perfect.
R.C.
Come here.
61
April joins R.C. on the blanket. He moves in and kisses her, sweet and awkward at first. He pulls away
from her and runs his fingers through her hair, brushing it off her shoulder. He smiles. She smiles. He
lies down on the blanket and pulls her down with him to where she is resting in his arms.
The camera focuses on the stars overhead. The sky is brilliant with stars, and there is little to no light
from the moon to break the darkness.
The camera focuses back on R.C. and April.
APRIL
It‟s beautiful, R.C.
R.C.
So are you, April.
APRIL
You‟re sweet.
R.C.
No. Just honest.
April rolls on her side to face R.C. and he does the same. They kiss, intense but brief.
APRIL
Thank you for bringing me here.
R.C.
There‟s no one else I‟d rather be here with. I love you.
APRIL
I love you, too.
R.C. and April begin kissing with growing intensity. His hands wander down her torso below the hem of
her skirt and caress her thighs as she draws him on top of her.
EXT. R.C.’s CAR—PRESENT—NIGHT
R.C.‟s car continues on US-78 towards Memphis as the following images from the past flash through his
mind.
1) April approaching R.C. at his locker in high school with tears streaming down her face.
2) R.C. and April sitting in her bathroom holding a pregnancy test.
3) R.C. approaching the front door of April‟s house to pick her up for a date.
62
EXT. APRIL’s HOUSE—R.C.’s MEMORY—NIGHT
Seventeen year-old R.C. rings the doorbell to April‟s house. She answers the door in track shorts and a
T-shirt, her hair pulled back in a ponytail.
R.C.
Hey. You ready to go?
APRIL
R.C., we need to talk.
April pulls the front door closed behind her and walks with R.C. towards his car. They stop in her front
yard.
R.C.
What‟s up?
APRIL
I can‟t do this anymore.
R.C.
What do you mean?
APRIL
This. Us. I can‟t do it.
R.C.
Is this about the pregnancy test? Cause if it is, look, I was scared, too.
APRIL
No. Yes. Of course it is. We‟re in high school, R.C. We should be worrying about
where we‟re going to college, not whether or not to have a baby.
R.C.
We can slow down. We don‟t have to have sex again.
APRIL
It‟s not that simple.
R.C.
It is for me. I love you, April.
APRIL
That‟s the thing, R.C. I don‟t love you. Not anymore.
63
R.C.
Oh. I should go.
R.C. starts to walk away.
APRIL
R.C., wait.
April crosses to him.
APRIL
It‟s not like we were going to end up getting married or anything.
R.C.
I didn‟t know that.
APRIL
We can still be friends.
R.C.
Sure. Friends.
R.C. leaves April alone in her front yard, gets into his station wagon, and drives off as the memory fades
to…
INT. R.C.’s CAR—MEMPHIS—MORNING
It is present day, and R.C. has arrived in Memphis. He is driving past the Rhodes College campus on
North Parkway, turns right on N McLean Blvd, left on Tutwiler, and right onto Idlewild Street, where
Robin Swift‟s house is. R.C. parks the car in front of the house.
EXT. ROBIN’s HOUSE
R.C. walks to the front porch and rings the doorbell. After a short while, the door is unlocked and Robin
stands on the other side of the door in her robe.
ROBIN
Welcome home, sweetheart. The cheese grits are almost ready.
R.C. hugs his mother and the camera pans out from the house as they disappear inside.
BLACKOUT
64
INT. ROBIN’s HOUSE—R.C.’s ROOM—MIDDAY
Camera focuses on R.C. in his old bedroom. It is later in the day on Monday. It is more a guest room
now than it was when he lived there, but some of his old pictures are still hanging on the walls. R.C. stirs
in bed, wakes, and looks at the clock by his bed. It reads a 12:45 p.m.
EXT. ROBIN’s HOUSE—IDLEWILD NEIGHBORHOOD
R.C. is in jogging shorts, an old T-shirt, and is jogging through the neighborhood. Music plays as the
following shots are captured:
1) R.C. turning left on N McLean Blvd.

2) View of homes and businesses as he takes a right on Jackson Ave.
3) The campus of Rhodes and students roaming the campus. A couple is kissing under a tree.
4) R.C. walking up to the Barrett Library.
INT. RHODES COLLEGE—BARRETT LIBRARY
R.C. enters the library and gets funny looks from students as he is quite sweaty and older than his college-
aged counterparts. R.C. walks to his mother‟s office and taps on the open door. She is sitting inside at
her desk.
R.C.
Good morning.
ROBIN
I didn‟t expect you up this early. Or late. Look at you…all sweaty.
R.C.
I was feeling nostalgic. Thought I‟d go jog my old route. Not much has changed
around here.
ROBIN
So, what‟ve you got going on this afternoon?
R.C.
I‟m sure I‟ll have a hundred e-mails from Roy. Other than that, just some research.
ROBIN
You‟re on vacation. Let Roy put out the fires.
R.C.
You don‟t know Roy. Hey, how about BBQ tonight at Central? My treat.
65
ROBIN
Sure. I‟ll be home by six. Can you hold off til then?
R.C.
I still know my way around your kitchen. If I get hungry, I‟ll just break into your
goody stash.
ROBIN
Leave me some.
R.C.
Is it alright if I look around? If memory serves, I actually made it into one of the
old yearbooks.
ROBIN
Help yourself.
INT. RHODES COLLEGE—BARRETT LIBRARY
R.C. wanders through the stacks of books and finds where the yearbooks are kept. He runs his fingers
along the spines of the books until he finds the one for the year 1981. He pulls out the yearbook and
thumbs through it.
Camera focuses in on a picture of the interior of the library. The picture is of R.C., Robin, another
woman, and Carrie Smirl. R.C. reads the caption and looks to find the names. The woman next to Carrie
is her mother, PAT SMIRL. Carrie looks just how he remembered her from his dreams. Camera shift to:
INT. ELEMENTARY SCHOOL—R.C.’s MEMORY
Young R.C. is in his kindergarten class watching Carrie near a stack of building blocks. He goes to join
her.
R.C.
Whatcha doin‟?
CARRIE
Playing.
R.C.
Can I play?
CARRIE
No.
66
R.C.
Why not?
CARRIE
I don‟t wanna be your friend anymore.
R.C.
Why?
CARRIE
Because. Leave me alone.
Young R.C. bows his head, turns and walks away. The camera focuses on Carrie in the background. She
is crying and watching R.C. walk away.
EXT. ROBIN’s HOUSE—PRESENT—AFTERNOON
R.C. is jogging into the driveway at Robin‟s house. He sits on the ground and stretches. He remembers
the following:
1) Coming into his kindergarten class with a buttercup for Carrie.

2) Carrie‟s seat is empty.
3) The teacher is shaking her head, telling him that Carrie has moved away.
4) R.C. throwing the buttercup in the trash can.
EXT. CENTRAL BBQ—EVENING
A shot of cars driving past Central BBQ.
INT. CENTRAL BBQ
R.C. and Robin are sitting at a booth eating. R.C. is working on a full-slab of ribs and Robin a BBQ
sandwich. R.C. takes a sip of his beer.
R.C.
You can‟t get ribs like this in Ormond.
ROBIN
So, what‟s going on with Tina? I‟ve tried to be considerate, not ask too many questions.
I always liked her.
R.C.
I don‟t know. She went off for the weekend with Steve. Steve. That‟s her lover‟s name.
67
R.C. (CON‟T)
I‟ve hardly seen her since I moved to the condo. And she wasn‟t interested in trying
to work things out.
ROBIN
When your father left, it took me a while to get over the anger.
R.C.
Tina is nothing like dad.
ROBIN
I‟m sorry to hear that. Because he‟s coming to the table.
R.C. looks over his shoulder and sees his father, GARY SWIFT, walking towards them. Gary is 66
years-old, in decent physical shape, and wears a beard. With the beard, R.C. actually favors his father in
appearance. Gary arrives at the booth. Robin scoots over and makes room for him. Gary sits down.
GARY
Hi.
R.C.
What‟re you doing here?
GARY
Robin called me. Told me about Tina. I just wanted to help if I could.
R.C.
You want to help. That would‟ve come in handy about twenty years ago. I‟m
not interested. Thanks.
ROBIN
Honey, I know you wouldn‟t have gone along with it if I‟d told you. Your father
loves you. Even if he is an asshole.
GARY
I deserved that.
ROBIN
Don‟t get me started on what you deserve, Gary.
R.C.
Fine. You‟re here. Let‟s just deal with it. Would you like some of my ribs? I‟m
not going to eat them all.
68
GARY
Sure.
INT. CENTRAL BBQ—EVENING
Some time has elapsed. It is dark outside. They are finished with dinner, and Gary and R.C. are both
sipping on a beer. Robin is having sweet tea and a piece of peanut butter pie.
R.C.
How is it possible to be with someone for twelve years and not have the first clue that
they‟re unhappy?
GARY
Listen, bub. And this goes for your mother, too. When a person strays, it rarely is
about the one on the other end of the relationship. I was selfish. It had nothing to do
with Robin. I just wish I‟d had the courage to talk with her about it before I ran out.
ROBIN
How is Margaret?
GARY
Maggie‟s good. She says hello.
R.C.
Right. Listen, I…
R.C.‟s cell phone rings. It‟s Tina.
R.C.
Christ, it‟s Tina. I have to take this.
R.C. gets up from the booth and walks outside.
EXT. CENTRAL BBQ
R.C. leans against the wall and answers the phone.
R.C.
How was your weekend?
TINA (O.S.)
Hi. It was nice. We went to the Keys.
69
R.C.
Sounds romantic. What can I do for you?
TINA (O.S.)
I thought it was time we got together and talked about the terms of our divorce.
R.C.
You‟re probably right. But I can‟t. I‟m in Memphis.
TINA (O.S.)
Oh. How‟s Robin?
R.C.
She‟s good. She‟s plotting your death, but she‟s good.
TINA (O.S.)
I hope you‟re joking. I always loved your mother.
R.C.
I‟m joking. She doesn‟t hate you. She doesn‟t understand it, but she‟s not alone.
TINA (O.S.)
When will you be back?
R.C.
I don‟t know. Sometime next week. Can it wait?
TINA (O.S.)
Yeah. We‟ll just talk when you get back.
R.C.
Bye, Tina.
TINA
Bye. Tell your mom I said hi.
R.C.
Sure.
R.C. hangs up.
INT. CENTRAL BBQ
R.C. is sliding back into the booth with Robin and Gary.
70
R.C.
Tina says hi.
ROBIN
Did you tell her I was disappointed?
R.C.
I told her you were plotting her death.
ROBIN
That‟s a bit extreme.
GARY
Didn‟t you plot mine? And that‟s my cue to go. I know we don‟t spend time
together, or do things, R.C. But I‟d like that to change. How about you let
me take you to Silky‟s for a beer?
R.C.
Sure. Why not. Mom, you mind driving my car home?
ROBIN
Not at all. Gary, try not to get our son completely hammered.
EXT. SILKY O’ SULLIVAN’S—BEALE STREET
Camera focuses on Silky O‟ Sullivan‟s and people walking up and down Beale Street.
INT. SILKY O’ SULLIVAN’S
R.C. and GARY are sitting at the bar having a beer.
GARY
I really am sorry about things with you and Tina.
R.C.
Thanks, but let‟s move on. I‟m tired of talking about her. How are you liking
retirement?
GARY
I hate it. I haven‟t been able to wrap my mind around not having a daily schedule.
I‟m thinking about getting a part-time job just to keep active.
71
R.C.
Maggie will love that.
GARY
Are you kidding me? I‟m driving her crazy. She‟d be happy to have me out of
the house.
R.C.
Nice.
As Gary and R.C. are talking amidst music and drinking, R.C.‟s mind is wandering back to one of the
first trips he and Tina made to Memphis. The following shots flash through R.C.‟s mind:
1) Image of R.C. and Tina on a carriage ride.

2) Image of R.C. and Tina at Silky O‟ Sullivan‟s drinking out of a bucket.
3) Image of R.C. and Tina dancing in the street, ending with a kiss.
R.C. is pulled from his memory by the sound of Gary‟s voice.
GARY
Son? I hope I‟m not boring you.
R.C.
Sorry. I was just thinking. Dad, you don‟t remember Carrie Smirl, do you? She
was in my kindergarten class.
GARY
Not ringing a bell. Who is she?
R.C.
My first crush.
GARY
Man, I don‟t even know if I remember mine. What‟s so special about your first crush?
R.C.
I‟d like to track her down.
GARY
That‟s not creepy at all.
R.C.
It‟s not like that. You know my history with women. I can‟t blame it all on you.
I think it started with Carrie, that‟s all.
72
GARY
Don‟t do it. It‟s not going to change the outcome with Tina, is it?
R.C.
No.
GARY
Then take my advice and leave it alone. It‟s in the past.
R.C.
Says the man who walked out on his family.
EXT. GARY’s CAR
Gary‟s car is pulling into Robin‟s driveway. R.C. gets out of the car and walks to the front door. Gary
backs out and drives off.
INT. ROBIN’s HOUSE—VARIOUS
R.C. locks the front door behind him. It‟s not quite eleven o‟clock. The lights are still on in the living
room.
R.C.
Mom? You still up?
ROBIN (O.S.)
In the living room. Grab a glass of wine in the kitchen and join me.
R.C. enters the kitchen, grabs a wine glass from the cabinet, and pours a glass of red wine from the open
bottle on the counter.
R.C. enters the living room. Robin is sprawled on the couch, reading in her robe. R.C. takes a seat on the
floor near the couch and slips out of his shoes. He takes a sip of the wine.
R.C.
Yum. I should introduce you to Carl.
ROBIN
Who‟s Carl?
R.C.
Wine Man. He‟s the man I buy most of my wine from in Port Orange. I saw a lot
of him when I first moved out of the house.
73
ROBIN
I bet. How was Silky‟s?
R.C.
Good. Surprisingly good.
ROBIN
Hmm. I guess he has his moments. (Puts her book down) Goodness, it‟s getting late.
You must be exhausted.
R.C.
A little. But I think I‟ll stay up a while yet. I‟ve got a lot to think about.
ROBIN
Sweetheart, you‟re going to give yourself an ulcer. She‟s not worth it.
R.C.
I‟m not thinking about Tina. I mean, I am. But about all my relationships. April.
Cami. I‟m just trying to figure out what I do wrong. I‟m happy to see you, but I
don‟t even know what I‟m doing here.
ROBIN
I wish I could take away all your pain.
R.C.
I found our picture in the old yearbook today. It was you, me, and Carrie and Pat
Smirl. Do you know what ever happened to them? I can‟t remember. All I know
is that one day Carrie wasn‟t in my kindergarten class anymore.
Robin finishes the last of her wine.
ROBIN
Pat and I were good friends. We kept in touch for a while after they moved to
Laramie, but eventually we stopped.
R.C.
Wait. You‟re telling me that Pat and Carrie moved to Laramie?
ROBIN
Sure. Pat got a job as a resident director there at the University of Wyoming.
R.C. finishes his wine. Contemplative.

74
R.C.
You know, I should probably call it a night.
ROBIN
I‟ll be quiet in the morning when I‟m getting ready for work.
R.C.
I don‟t sleep in. If I‟m up before you, I‟ll make you breakfast.
ROBIN
I feel so spoiled.
R.C.
Goodnight.
ROBIN
Goodnight.
R.C. kisses Robin on the forehead and excuses himself.
INT. R.C.’s BEDROOM
R.C. is on the internet trying to find Carrie Smirl in relation to Laramie, Wyoming, as music plays in the
background. The camera focuses on the laptop and some of R.C.‟s searches including:
1) Pat Smirl, Laramie, Wyoming

2) Pat Smirl, University of Wyoming
3) Carrie Smirl, Laramie, Class of 1994
4) Carrie Smirl, Wyoming, Wedding Announcement
This goes on for a while until R.C. lands on a link for an article from the Wyoming Tribune-Eagle. The
name Carrie Smirl is highlighted. R.C. clicks on the link. The camera focuses on R.C.‟s face as he reads
the article. He smiles. His eyes glisten.
R.C. closes his laptop and pulls out his cell phone. He dials Allen. After a few rings, Allen answers.
ALLEN (O.S.)
Good news. Rhonda isn‟t pregnant.
R.C.
Better news. I found her.
BLACKOUT
75
INT. R.C.’s CAR—MID-MORNING
It is Tuesday morning, and R.C. is driving on I-55 towards St. Louis. Music is playing as R.C. pulls out
his cell phone and dials Frankie. She answers.
Frankie is sitting on a stool thumbing through the newspaper.
FRANKIE
Buenas días, Señor.
INT. R.C.’s CAR
R.C.
Schmee-schmoe fleuma, Señora. Guess where I am?
FRANKIE
Shelby County lockup.
INT. R.C.’s CAR
R.C.
You missed your calling in comedy. No, I‟m on my way to St. Louis.
FRANKIE
Shut up! When will you be here?
INT. R.C.’s CAR
R.C.
Probably a little after three. I couldn‟t impose on you and Vic to crash for the night,
could I?
FRANKIE
The guest room is ready, dude. And Vic‟s out of town for an athletic trainer‟s
conference, so it‟ll just be the two of us.
76
INT. R.C.’s CAR
R.C.
Where are the boys?
FRANKIE
They‟re at granny‟s. Mama needed a vacation.
INT. R.C.’s CAR
R.C.
(laughs)
I‟ll see you at three. You better have your running shoes ready. I‟ve got to
get you up to speed on the last few days.
FRANKIE
I‟ll be ready. You just better hope I don‟t run your ass into the ground.
INT. R.C.’s CAR
R.C.
Bring it, ho.
INT. R.C.’s CAR—EARLY AFTERNOON
R.C. is scanning the radio for something worth listening to. It stops on an NPR station, and classical
music is playing, one of Chopin‟s nocturnes, the Opus Posthum. R.C.‟s mind flashes to his time in
college when he was dating CAMI JEFFERS. The following images flash through R.C.‟s mind:
1) R.C. and Cami having dinner at a restaurant.

2) R.C. and Cami sharing a kiss near a classroom building.
3) R.C. and Cami laying out by Lake Alice.
4) R.C. watching Cami practice piano late one night at the Baughman Center.
INT. BAUGHMAN CENTER—NIGHT—R.C.’s MEMORY
Cami is around 23 in this memory, and R.C is 22. She has shoulder-length sandy, blonde hair, green
eyes, and is trim but not a health fanatic. Cami is playing Chopin‟s Nocturne Opus Posthum. R.C. is
sprawled out on the floor near the piano. He is watching her with admiration but is a little nervous and
preoccupied. Cami finishes the piece.
77
R.C.
That was beautiful, Cami. You‟re going to ace your final. No doubt.
CAMI
It still needs another five hours or so of rehearsal. But the final‟s tomorrow,
so I suppose this will have to do.
R.C.
Sweetie, you‟re being too hard on yourself. Come down here and sit with me.
You need to unwind a little.
Cami joins R.C. on the floor.
CAMI
I am so tired. And I have job interviews at three schools next week.
R.C.
You‟re gonna knock „em dead. Probably get offers from all three schools.
CAMI
I wish you were on the hiring committee.
R.C.
Would you like a massage? You‟re tense.
CAMI
Yes, please.
R.C. starts working on Cami‟s shoulders and back. She closes her eyes and leans into R.C.
R.C.
Is that better?
CAMI
You have no idea.
R.C.
I can‟t believe the semester is almost over. It‟s been an amazing seven months.
CAMI
Mmm. It has.
R.C. kisses on Cami‟s neck. She shivers and giggles, turns around and kisses R.C.
78
R.C.
What was that for?
CAMI
I‟m just happy to have you in my life. You‟ve been a rock for me, the one person
I can always count on.
R.C.
I love you.
CAMI
I love you, too.
R.C. kisses Cami. Leans his forehead against her. Pulls away.
R.C.
I‟ve been thinking a lot about your graduation. I need to ask you something.
CAMI
Shoot.
R.C. reaches into his pocket and pulls out a ring box. Cami scoots away a little in surprise.
R.C.
Cami, I can‟t imagine a future that doesn‟t involve you in it. I love you. I
always will. And I want to spend the rest of my life with you. Will you marry
me?
R.C. opens the ring box and an engagement ring is inside.
CAMI
Oh, R.C. I…
R.C.
I know things are crazy right now. But I…
CAMI
No, it‟s not that. R.C., the ring is lovely. Really.
R.C.
I wanted to get something nicer, but I still have another year in school.
79
CAMI
It‟s beautiful. But it‟s not for me.
R.C.
What‟re you talking about?
CAMI
I love you. And I couldn‟t ask for a better friend to have seen me through what can
only be described as one of the craziest years of my life. But it‟s not enough.
R.C.
I don‟t understand.
CAMI
You‟re a great guy. We‟ve had a lot of fun together. But you‟re just not marriage
material. Not for me.
EXT. R.C.’s CAR—ST. LOUIS—PRESENT
Shot of R.C. driving through St. Louis. The arch is in the background.
INT. R.C.’s CAR—LATE AFTERNOON
R.C. is making his way to Frankie and Vic Burton‟s house. He is driving on South Hanley Road, takes a
right on Flora, and a left on Coleman and pulls into the driveway of Vic and Frankie Burton‟s house.
EXT. FRANKIE’S HOUSE
R.C. walks to the door and rings the doorbell. After a few moments, the door opens and Frankie Burton
stands on the other side of the door. She is already wearing her jogging attire.
FRANKIE
Oh my god, it‟s so good to see you! I can‟t believe you‟re here.
Frankie throws her arms around R.C. and they hug.
R.C.
You look great.
FRANKIE
I wore my nice spandex since you‟re company. Look at you. Love the beard.
R.C.
It makes me feel butch.
80
FRANKIE
Come on in. I‟ll show you the guest room and you can unpack.
INT. FRANKIE’s HOUSE—GUEST ROOM
R.C. is in his jogging attire (not spandex) and is tying his shoes. Frankie appears at the door.
FRANKIE
Ready to do this?
R.C.
I‟m ready if you are.
EXT. FRANKIE’s NEIGHBORHOOD
R.C. and Frankie have been jogging for a while. They are both sweaty.
FRANKIE
Shut up! You‟re going to Cheyenne to find your first crush? That‟s romantic.
R.C.
Hardly. She‟s…getting married this weekend.
FRANKIE
Please tell me you‟re not going to crash it.
R.C.
Of course not. I‟m not even certain how to find her once I get there. She‟s a
guidance counselor at one of the local high schools. Thought I might start there.
FRANKIE
I hope you find what you‟re looking for. Tina‟s a dumbass.
R.C.
She called while I was having dinner with mom and dad. Looks like she‟s
ready to move forward with the divorce. Really makes me want to rush
back to Florida.
FRANKIE
It will get easier.
R.C.
I know. In my head, I know. My heart….that‟s a different matter.
81
FRANKIE
Let‟s head back to the house. I‟ve got some Riesling chilling in the fridge.
R.C.
Hell yeah.
EXT. FRANKIE’s HOUSE—EARLY EVENING
Frankie and R.C. are sitting on Frankie‟s back deck having a glass of wine. The sun hasn‟t quite started
to set yet. They are still in their jogging clothes.
FRANKIE
You had yourself a nice, little pace going there.
R.C.
I have to keep active. If I didn‟t, I‟d be a butterball.
FRANKIE
Don‟t get me started.
Frankie takes off her shoes and socks and starts rubbing her feet.
R.C.
Let me.
FRANKIE
R.C., you are not about to massage my sweaty feet.
R.C.
Stop being such a girl and put your feet up on my lap.
Frankie concedes and puts her feet in R.C.‟s lap. He starts massaging the right one first. Frankie closes
her eyes and leans back in her chair. Moans a little.
FRANKIE
Damn. You need to teach Vic how to do that.
R.C.
Yeah, he‟d love that. Eww, toe jam.
Frankie opens her eyes and flips R.C. off. He starts massaging the other foot.
82
FRANKIE
What do you feel like for dinner?
R.C.
Why don‟t I run to the store and pick up some salmon. We can throw it on the
grill with some fresh veggies.
FRANKIE
Okay, now you‟re just trying to turn me on.
R.C.
It‟s just a foot massage, Frankie.
FRANKIE
No, the salmon and veggies. But this is nice, too.
R.C.
Thanks. If you like, I can give you a happy ending.
FRANKIE
Kinky.
R.C.
Well, that‟s how I roll now. I always did have a crush on you in college.
R.C. starts working his way up to Frankie‟s calves and massages. Frankie watches him for a moment.
Their eyes lock. He smiles. She smiles. He holds her calves in his hands.
FRANKIE
You‟re a mess. Hit the showers. I‟ll run to the store and be back in a jiff.
R.C.
Right.
INT. FRANKIE’s HOUSE—GUEST BATHROOM
Camera pans out from the shower.
Shot of R.C. as he washes his hair. The following shots flash through R.C.‟s mind:
1) Tina and Steve kissing on the front steps of their house.

2) R.C. massaging Frankie‟s calves.
3) Tina and Steve having sex in their bed (black and white shot).
4) R.C. kissing Rhonda near the back deck of his condo on the beach.
83
R.C. turns the shower off.
INT. FRANKIE’s HOUSE—DINING ROOM—NIGHT
R.C. and Frankie have both showered and changed clothes. They are practically finished with dinner and
having more wine.
FRANKIE
That was amazing. You should make spontaneous trips and cook for me more often.
R.C.
If it pays better than my current job, I‟ll take it.
FRANKIE
Do you think she‟ll remember you? Carrie.
R.C.
There‟s no reason she should. We were so young when she and her mom moved away.
FRANKIE
I bet she will. Maybe you were her first crush, too.
R.C.
It doesn‟t really matter, either way. I just feel like I should be there. If I can just talk
to her, maybe I‟ll be able to let go. And move on.
FRANKIE
So, you had a crush on me in college.
R.C.
I was hoping you‟d let that go.
FRANKIE
Yeah, well I wasn‟t the one making moves on a married woman.
R.C.
Ouch. I know, I‟m an ass. Sorry. I was out of line.
FRANKIE
No, it‟s kind of flattering. Although I do look a lot different than I did in college.
R.C.
If it‟s possible, you‟re more beautiful.
84
FRANKIE
R.C., I really don‟t want to have to kick your ass.
R.C.
I mean it. You are.
FRANKIE
Vic seems to think so. Don‟t sweat what happened out back. Lines can get
blurry sometimes. And for the record, I had a crush on you, too.
R.C.
Let‟s pretend we‟re in college again.
FRANKIE
I don‟t think you could handle me.
R.C.
You‟d be surprised.
FRANKIE
I‟m sure I would.
Frankie takes R.C.‟s hand in hers. She smiles.
FRANKIE
So, more wine?
BLACKOUT
85
EXT. R.C.’s CAR—MIDDAY
R.C. is driving on I-29 from Kansas City en route to Nebraska on Wednesday. It is around noon.
INT. R.C.’s CAR—VARIOUS
R.C. is listening to music on the radio, and his mind flashes over the following images:
1) Shot of R.C. kissing Frankie in the dining room (black and white).
2) Shot of Tina and Steve having sex in their bed (black and white).
3) Shot of R.C. and Frankie having sex in the guest room (black and white).
4) Shot of R.C. and Rhonda having sex in his condo (black and white).
These images continue to flash through his mind as the music plays and are interspersed with city shots of
St. Joseph and Lincoln at later points in the day.
EXT. R.C.’s CAR—EVENING
R.C. is driving on I-80 westbound. He exits on Exit 272 and pulls into a hotel parking lot.
INT. COUNTRY INN & SUITES—KEARNEY
R.C. is pulling his suitcase into a bedroom with a king-sized bed. He rolls his suitcase over to the corner
by the air conditioner and slings his laptop in an armchair. He sits at the foot of the bed, rubs his eyes,
and leans over, burying his face in his hands.
INT. COUNTRY INN & SUITES—KEARNEY—NIGHT
R.C. is sitting on his bed working on his laptop. He looks at the clock on the bedside table. It reads a
quarter til nine.
EXT. WHISKEY CREEK
R.C.‟s car pulls into a parking space. People are walking in and out of the restaurant.
INT. WHISKEY CREEK
R.C. sits alone at a booth picking through a bucket of peanuts and snacking. He discards the peanut shells
on the floor. A menu is on the table in front of him.
A waitress approaches the table. Her name is ANGELA WEISS. Angela is 29 years-old, brunette, and
curvy. She sets a glass of water on the table for R.C.
86
ANGELA
Sorry for the wait. How are you doing this evening?
R.C.
Excellent.
ANGELA
Can I start you off with a margarita?
R.C.
Only if you want to drive me home. Kidding. I‟ll have a Boulevard Pale Ale.
ANGELA
(laughs)
One Pale Ale coming up.
R.C.
Why don‟t I save you a few steps. I know what I‟d like to eat.
ANGELA
There‟s no hurry. We don‟t close for another hour.
R.C.
Alright then. I‟ll take my time.
INT. WHISKEY CREEK
Some time has elapsed. R.C. is working on his second Pale Ale and is halfway through his Cobb Salad.
There are very few tables still filled with people. R.C. looks around.
Angela returns to the table.
ANGELA
How is everything?
R.C.
Delicious, thanks. I hope I‟m not keeping you.
ANGELA
Not really. Wednesdays are always slow. You‟re my last table.
R.C.
Hmm. So what do people do for fun around here?
87
ANGELA
Depends on your definition of fun.
R.C.
I‟m just in town for a day or two.
ANGELA
Traveling for business?
R.C.
Not exactly.
ANGELA
Well, if you like sports bars with character, you should check out Dad‟s Tavern.
R.C.
Maybe I will. You wouldn‟t want to meet me there later, would you?
ANGELA
If you don‟t mind waiting around, I‟ll drive.
EXT. DAD’s TAVERN
Shot of cars driving past the tavern.
INT. DAD’s TAVERN
R.C. and Angela are sitting at a booth. Angela has changed out of her work clothes and is in jeans, a cute
blouse, and cowboy boots.
R.C.
How long have you been working at Whiskey Creek?
ANGELA
About two years. I‟m working on my masters in music education at UN-Kearney.
R.C.
No kidding. My wife got her masters in music education.
ANGELA
Your wife?
R.C.
It‟s not what it sounds like. We‟re getting divorced.
88
ANGELA
Uh huh. Nice to meet you, R.C.
Angela rises to leave.
R.C.
Look, it‟s a messy situation. She cheated on me.
Angela stops.
R.C.
I don‟t know how to do this. I‟ve been married for the last twelve years of my
life. This….this is new for me.
Angela sits down.
ANGELA
I‟m listening.
INT. DAD’s TAVERN
It is getting close to two in the morning. R.C. and Angela are working on another drink. They‟re both a
little buzzed.
ANGELA
No offense, but Tina‟s a stupid bitch.
R.C.
I‟ve heard worse theories.
ANGELA
You‟re sticking around another day?
R.C.
I don‟t have to be in Cheyenne til Friday. Kearney is as good a place as any to unwind.
ANGELA
You should know I‟ve never done this.
R.C.
What?
89
ANGELA
Gone out with a customer from the restaurant.
R.C.
Wow. I am honored to be your first.
Angela rises and comes over to R.C.‟s side of the booth. He scoots over to make room for her.
ANGELA
I don‟t have class tomorrow.
R.C.
What a coincidence. Neither do I.
Angela laughs. Quiet moment. R.C. leans in and kisses Angela. It is soft but intense. She pulls away
and melts into the crook of his neck and shoulder. They sit there like that for a few moments as the
camera pans away from the booth.
BLACKOUT
90
EXT. COUNTRY INN & SUITES—MORNING
It is Friday morning. Camera focuses on R.C. packing his car.
EXT. R.C.’s CAR
R.C.‟s car is traveling westbound on I-80 towards Cheyenne, WY.
INT. R.C.’s CAR
He is listening to music on the radio when his cell phone rings. It is Tina.
R.C.
Good morning.
TINA
Where are you?
INT. R.C.’s CAR
R.C.
I‟m about four hours outside Cheyenne. Why?
TINA
What‟s in Wyoming?
INT. R.C.’s CAR
R.C.
It‟s the next stop on the “Whoring My Way across America” tour. What does it
matter to you?
TINA
I don‟t care what you do, R.C. I just wanted to call and let you know I‟ve had
some papers drawn up. They‟ll be ready when you get back. You can take
them to your lawyer, and see if everything looks alright to you.
INT. R.C.’s CAR

91
R.C.
That was fast. What happened to discussing terms when I got back?
TINA
Steve asked me to move in with him.
INT. R.C.’s CAR
R.C.
Of course he did. And you‟re going to?
TINA
Why shouldn‟t I?
INT. R.C.’s CAR
R.C.
Fine. Move in with Captain Donkey Dick. I‟ll come by for the damn papers
when I get back next week.
TINA
Why are you so angry?
INT. R.C.’s CAR
R.C.
I‟m not having this conversation with you, Tina. Goodbye.
R.C. hangs up his cell phone and throws it in the passenger seat.
EXT. R.C.’s CAR—CHEYENNE—AFTERNOON
It is mid-afternoon in Cheyenne as R.C.‟s car enters the city limits. The following series of shots are
captured:
1) R.C.‟s car pulling into the parking lot for the Plains Hotel in downtown Cheyenne.
2) R.C. unloading his car.
92
3) R.C. walking into the hotel.
INT. THE PLAINS HOTEL—R.C.’s ROOM
R.C. is getting situated in his room. His suitcase is placed by the chest-of-drawers, and his laptop rests on
the king-sized bed. R.C. is in the bathroom. He washes his face in the sink and studies his face in the
mirror. He runs a brush through his hair and rubs a hand over the bearded area of his face. He notices
grey in the chin of his beard and lightly tugs at the graying hair, not to pull them out, just as an object of
amusement. He lets out a sigh and expresses what he couldn‟t on the phone with Tina.
R.C.
Why shouldn‟t I be angry, Tina?
R.C. turns out the bathroom light.
EXT. DOWNTOWN CHEYENNE—VARIOUS
R.C. is walking around downtown Cheyenne taking in the sights. He sees a kiosk with the Friday edition
of the Wyoming Tribune Eagle. He purchases a copy. R.C. continues walking when his cell phone rings.
It is Frankie. He continues walking as he talks with her. By the end of the conversation he should be
back at the hotel.
R.C.
Hi, Frankie.
FRANKIE
Hi, friend. Are you in Cheyenne yet?
EXT. DOWNTOWN CHEYENNE
R.C.
Just checked into the hotel about an hour ago. I‟m walking around now.
FRANKIE
What‟s wrong? You sound like shit.

93
R.C.
Tina called. She‟s already had divorce papers drawn up. Steve wants her to move in
with him.
FRANKIE
I‟m sorry. So, have you tracked down the blushing bride?
R.C.
I haven‟t even started looking. Maybe I just need to leave it alone. Frankie, I should
probably tell you…
FRANKIE
If you‟re going to apologize, don‟t. Nothing happened. We had some wine and got
a little friendly. That‟s all. I have and will always trust you.
R.C.
I think part of me wanted something to happen. Just to forget about Tina for a night.
FRANKIE
I know.
R.C.
Oh, you‟ll never believe what happened to me while I was in Kearney.
FRANKIE
You ate some corn.

94
R.C.
Well, I ate something, but it wasn‟t corn.
FRANKIE
R.C.! Gross! Who was she?
R.C.
She was my server.
FRANKIE
That‟s a full-service restaurant.
R.C.
(laughs)
She was very sweet.
FRANKIE
Uh huh.
R.C.
Hey, I‟m back at the hotel. I should hop in the shower and get my head out of
my ass.
FRANKIE
I know I don‟t have to tell you it will get easier, but I‟m going to. It will get
easier.
EXT. THE PLAINS HOTEL

95
R.C.
I know. It just sucks.
FRANKIE
Listen, friend. You‟re doing the right thing. Call me on your way back to
FL.
R.C.
I will. Thank you for just being there. Love you.
FRANKIE
Love you, too.
EXT. CROWN BAR—NIGHT
It is night in Cheyenne, around ten o‟clock. People are walking down the street at the corner of W
Lincolnway and 16th Street. This shot is taken in black and white.
INT. CROWN BAR
Choice amounts of color are restored on the interior as R.C. sits at the bar drinking a beer and reading
through the newspaper he bought earlier. The camera focuses in on the fact that he‟s pouring over the
wedding/obituary section. R.C. finishes his beer, and motions the bartender for another.
The bartender brings R.C. another beer as a group of five men enter the bar. They are well-dressed but
being a little rowdy. The ringleader of the group quiets them. His name is JESSE CALVERT. Jesse and
the group of men approach the bar.
JESSE
Jasper, I need a round of Jack for me and the guys.
JASPER
Comin‟ right up.
Jasper goes about pouring drinks for Jesse and his friends. R.C. takes a moment to observe Jesse. Jesse
is a handsome man, around 35 years-old, tall and lean.
96
R.C.
Let me guess. Bachelor party.
JESSE
Is it that obvious?
R.C.
You have the look of a man in love.
Jasper puts five shot glasses on the bar for Jesse and his friends.
JESSE
Drink up, guys. Go ahead and get us a pool table. I‟ll be right over.
Jesse‟s friends wander off with their shots. Jesse sits next to R.C. on a stool.
JESSE
So what exactly does a man in love look like?
R.C.
Blissfully ignorant. When‟s the big day?
JESSE
Tomorrow. You get to a certain age, and you think it isn‟t gonna happen for
you. But I guess it‟s never too late, huh.
R.C.
I guess not. My name‟s R.C., by the way.
JESSE
Jesse Calvert. Nice to meet you.
Jesse and R.C. shake hands.
R.C.
This is your first time taking the plunge?
JESSE
You betcha. And I don‟t aim to mess it up. You ever been married?
R.C.
Yep. Twelve years. We‟re getting divorced.
97
JESSE
Sorry to hear that. Let me buy you a shot.
R.C.
I‟ll stick to my beer. But thanks.
JESSE
You got any advice for a scared groom?
R.C.
You don‟t want advice from me. Really.
JESSE
Come on. You were married twelve years. Some of it had to be good.
R.C.
A lot of it was good. And then it wasn‟t. I don‟t know. I guess if I had to tell
you anything it would be to say that love is messy. But I still like to think that
at the end of the day it‟s all worth it.
JESSE
I‟ll drink to that.
Jesse and R.C. clink glasses. A young woman, also around thirty-five walks up to R.C. and Jesse. She
has dark brown hair, curly with loose ringlets, and caramel eyes. It is CARRIE SMIRL. She puts her
arm around Jesse‟s waist.
CARRIE
Are you trashed yet, hon?
JESSE
Not even close. Hey, I want to introduce you to my new friend. R.C., this is my
fiancé, Carrie Smirl. Carrie, this is R.C. I didn‟t catch your last name.
R.C.
Swift. It‟s R.C. Swift. Nice to meet you.
They shake hands. Carrie reacts, a hint of recognition flashes across her face.
CARRIE
Nice to meet you.
Jesse‟s friends holler at him from a pool table.

98
JESSE
I better go. Carrie, don‟t leave just yet. I‟ll be right back.
Jesse goes off to join his friends. Carrie sits on the bar stool next to R.C.
CARRIE
I hope Jesse didn‟t talk your ear off. He can do that.
R.C
Not at all.
CARRIE
Good. You‟re not from around here, are you?
R.C.
No. I‟m from Memphis originally.
CARRIE
I lived in Memphis for a while when I was growing up.
R.C.
No kidding.
CARRIE
You don‟t seem that surprised.
R.C.
I‟m not really.
CARRIE
Do I know you?
R.C.
Something like that.
CARRIE
Wait. You said your last name was Swift. My mom worked with your mom,
didn‟t she? Miss Robin?
R.C.
Yeah. That‟s my mom.
CARRIE
R.C.! Of course, I remember now. I can‟t believe it. What are you doing here?!
99
R.C.
That‟s a long story.
INT. CROWN BAR
An hour or so has passed. R.C. and Carrie are sitting at the bar drinking beer.
CARRIE
Wow.
R.C.
Yeah, I know. Carrie, I‟ve always wondered something. And you may not even
remember, but I‟ll go ahead and ask. Before you moved away, something
happened. I don‟t know what it was, but your attitude towards me changed.
CARRIE
Gosh, R.C. I don‟t know. I‟m sure Mom told me we were moving, and I was
sad. I probably didn‟t want to say goodbye. I‟ve never been good at that.
R.C.
Me, neither.
CARRIE
It‟s hard letting go. But it‟s part of life, right?
R.C.
People keep telling me that. But the heart wants what it wants.
CARRIE
I sure wish I weren‟t seeing you under these circumstances. You should come to
the wedding tomorrow! Mom would love to see you.
R.C.
I couldn‟t. It‟s your wedding day. It should be bright and happy. And I am not
bright and happy right now. Besides, I have to start heading back to Florida. I
have to stop running.
CARRIE
Gosh, it‟s good to see you, R.C.
R.C.
Yeah. You, too. I can‟t believe it‟s actually happening.
100
CARRIE
Do you feel any better?
R.C.
I don‟t know. Maybe? I just wanted to see you one more time, to tell you…
EXT. OLIVET CEMETERY—SATURDAY—AFTERNOON
R.C. is standing outside in front of the gravestone of Carrie Smirl. Behind it is a mound of dirt that has
not yet settled from her funeral earlier in the day. R.C.‟s car is in the background.
R.C.
…that I am grateful that you were in my life, even if it was for the briefest of
moments. You were the first girl I ever cared for, and I think on some level I
was probably looking for you in every woman who passed through my heart
after. I still don‟t understand why I love the way I do. I may never. But I do
love. And that‟s something.
The following shots are flashed over R.C.‟s dialogue:
1) R.C. finding the article in the Wyoming Tribune Eagle online at his mother‟s house with the
headline, “Local High School Guidance Counselor Victim of DUI Fatality.”
2) R.C. reading the Friday edition of the Wyoming and finding Carrie‟s obituary in the wedding and
obituary section.
3) R.C. as a child kissing Carrie on the cheek in kindergarten.
R.C.
I like to think if we had gotten to see each other again, before you died, that
it would be like I imagined it. Comfortable, like picking up where you left off
with an old friend. But we didn‟t, and you‟re gone now. All I do know is that I have to
keep moving forward. I have to go on because you can‟t. I have to live because the
alternative would be an insult to your memory.
EXT. R.C.’s CAR
R.C. is driving cross country back to Florida. We should see the following city shots as he drives and
music plays:
1) Lincoln, NE
2) Kansas City, KS
3) Louisville, KY
4) Chattanooga, TN
5) Atlanta, GA
101
The shots of the above cities, along with R.C.‟s driving are interspersed with the following shots:
1) R.C. signing the divorce papers.

2) R.C. being welcomed by Allen and Blair at their home with hugs and wine.
3) R.C. shaking hands with Roy back at the office.
4) R.C. jogging along the beach near his condo at sunset.
BLACKOUT AND CREDITS

102
CAST OF CHARACTERS
R.C. SWIFT
TINA SWIFT
ALLEN BRASHEAR
BLAIR BRASHEAR
FRANKIE BURTON
ROY RAND
RHONDA CLAXTON
ROBIN SWIFT
GARY SWIFT
R.C. SWIFT—AGE 6
CARRIE SMIRL—AGE 6
R.C. SWIFT—AGE 17
APRIL TRENTON—AGE 17
CAMI JEFFERS
ANGELA WEISS
JESSE CALVERT
CARRIE SMIRL
STEVE CANTRELL
JANIE
JASPER
SERVER AT SHELL HOUSE

Finding Carrie Smirl

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Finding Carrie Smirl

Uploaded by

Copyright:

Available Formats

Finding Carrie Smirl

Finding Carrie Smirl

INT. R.C. SWIFT’S HOUSE—MORNING—BEDROOM—BATHROOM

EXT. R.C. SWIFT’S HOUSE—CITY STREETS

1) View of runners on Williamson.

EXT./INT. 7-ELEVEN CONVENIENCE STORE

EXT. R.C. SWIFT’S HOUSE

INT. R.C. SWIFT’S HOUSE—KITCHEN—BEDROOM—BATHROOM

EXT. LASSITER-RAND ELECTRONICS

INT. LASSITER-RAND ELECTRONICS

R.C. pours himself a cup of coffee.

INT. R.C.’s OFFICE

INT. TINA’s OFFICE

INT. R.C.’s OFFCE

INT. TINA’s OFFICE

INT. R.C.’s OFFICE

INT. TINA’s OFFICE

INT. R.C.’s OFFICE

INT. TINA’s OFFICE

INT. R.C.’s OFFICE

INT. TINA’s OFFICE

INT. R.C.’s OFFICE

INT. TINA’s OFFICE

INT. R.C.’s OFFICE

INT. TINA’s OFFICE

INT. R.C.’s OFFICE

The staff and management team explode in applause.

The staff and management team come to congratulate R.C.

INT. STAVRO’S PIZZA HOUSE—LUNCH

R.C. hands it to Roy. Roy gives it a quick scan.

EXT. R.C.’s CAR

R.C. is driving from work towards his house.

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

EXT. R.C.’s HOUSE

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

EXT. R.C.’s HOUSE

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

EXT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR

INT. FRANKIE’s KITCHEN

INT. R.C.’s CAR