"Parallel" (Working Title)

Working Title "Parallel" DRAFT 1
By
E. Michael Ruiz
EXT. STORMING FOREST - DAY
The darkness of the screen is filled with the sounds of
thunder and lightning. Rain fills the spaces in
between--slowly, rising and falling, rising and falling. The
ambiance increases until with a thunderous crack, we see a
OLDER TEEN, possibly eighteen or nineteen, fall from the top
of the frame to the muddy ground. His face is crimson with
blood from the nose down. He crawls forward, trying to
stand.
The TEEN crawls in agony, trying to stand. He does,
staggering from tree to tree. His body taking up a small
fraction of the massive forest.
He breathes heavily, and sways as he walks. After some final
pushes, he comes to a ledge. Beyond the steep decline in
front of him, a small cottage is lit with civilization.
Smoke rises from the chimney several hundred yards away, at
the base of the drop. The TEEN TUMBLES over the edge of the
cliff, desperate to reach the home. His body FLAILS and is
tossed as he falls and rolls down the steep decline. Foliage
is destroyed as he blows through them. Finally, the TEEN
stops, ten yards or so from the house. He lays flat on his
BACK, arms and legs spread in the style of the Vitruvian
Man. We hear a door open and shut as the TEEN closes his
eyes, satisfied.
VOICE
Oh my god! Hey! Hey! Are you
alright?!
An OLDER MAN, dressed in OVERALLS, kneels next to the
unconscious TEEN as the shot pulls out from its
birds-eye-view.
INT. COTTAGE - DAY
The TEEN sits across from the older MAN, as both eat dinner.
The TEEN has tissues by his side, and some CAKED BLOOD
remains on his face. A towel is draped over his shoulders.
He remains damp and his hair remains WET and MATTED. He
drinks chicken broth greedily.
The MAN, now shown to be in his 50s or 60s, sits with a
slumped position. He has graying hair and seems to be
slightly overweight. He sips on his chicken broth, and
nibbles on a roll as well.
A fire burns in the background. The tension is felt between
the strangers in the room.
(CONTINUED)
CONTINUED: 2.
MAN
Hows the broth?
The TEEN mumbles and hardly answers in between gulps. He
remains much more comfortable in the situation. Possibly due
to his hunger.
TEEN
...good. Thanks.
MAN
Well, I cant take all the credit
for it. My wife taught me how to
make it for when she was out. The
celery and the garlic is the trick,
you see? Cant use too much, or you
mess up the whole thing, you know?
TEEN
...sounds like a nice lady.
MAN
She was.
Silence for a few moments. The TEEN spots some bread, and
begins to devour it.
MAN
So what brings you way out here?
TEEN
Hmm?
MAN
Well, the nearest towns gotta be
at least ten miles up the road. I
handle my own water and heat and I
havent seen another person in
months.
TEEN
(Genuine)
Must be really nice to be alone.
MAN
Sometimes. Sometimes not.
A beat.
MAN
Got a name, kid?
(CONTINUED)
CONTINUED: 3.
TEEN
Matthew.
MAN
Ah, Matt.
TEEN
Matthew.
MAN
Alright then. Matthew what?
TEEN
Just "Matthew."
MAN
Excuse me?
TEEN
I prefer to keep private.
MAN
Private to whom? Im the only one
here.
TEEN
Its not about the amount of
people, you know? Its about the
effect.
MAN
(Amused.)
Alright, enlighten me.
TEEN
What?
MAN
The effect?
TEEN
Its like how you feel now. You
dont feel like you can trust
someone when they refuse to tell
you things. Their names, for
instance. We recognize people by
their names. We register a name to
a face and we save it. No name, no
register.
MAN
But, I know a few things about you.
For one, I know your name.
(CONTINUED)
CONTINUED: 4.
TEEN
You only know the name I told you.
Matthew. Your only register of me
is "Matthew." But what if my name
isnt Matthew?
MAN
Why would you lie?
TEEN
Exactly!
MAN
Im dont think Im getting what
your saying.
TEEN
Now you have to question whether or
not my name is Matthew, and, by
extension, if you can trust me.
And, likewise, I dont know you, so
therefore, I dont know if I can
trust you. Fear of the unknown.
MAN
Well, youre in my house, for one.
Obviously you trust me. And I trust
you as well. Enough to be in my
house, at the very least. I believe
someone can be trusted until they
break that trust. You havent
broken mine. Otherwise you wouldve
left already.
TEEN
I didnt know leaving was an option
for me.
MAN
...well, I never aimed to stop you.
Both stop eating. Silence. A beat.
MAN
...youre welcome to stay if youd
like. Its horrid out anyhow.
TEEN
...I should be moving.
MAN
No, please, stay. I like the
company. Even if it doesnt
particularly like me back.
(CONTINUED)
CONTINUED: 5.
The TEEN says nothing.
MAN
So back to the question...
TEEN
Why Im here?
MAN
(Sarcastic)
Well, normally, boys dont roll
down my hill and destroy my berry
garden all bloody and bruised. Id
like to at least know why.
TEEN
Well, I got in a fight.
MAN
Well, by the looks of it, you lost.
TEEN
I held my own. Besides, I didnt
start it anyhow. He...caught me
off-guard.
MAN
So you ran?
TEEN
(After a moment.)
Yes. I ran.
MAN
To what?
TEEN
...nowhere.
MAN
Well, theres no way you ran
nowhere.
TEEN
Well, no house to run to. No
friends to go to. No help in sight.
So yes, I think there is a way to
run nowhere.
MAN
Now what are you doin without so
much as a home?
(CONTINUED)
CONTINUED: 6.
TEEN
Well, I had one. Or something of
the sort. I got kicked out cause
Im eighteen now. No legal reason
to keep me around. They werent my
parents anyhow.
MAN
Well Im sorry to hear that.
TEEN
Alright.
Another beat. The storm rages outside.
MAN
So, youre an eighteen year old
kid, with no family, no friends,
and not a dime on you? So why keep
so secretive? What am I gonna do?
The TEEN has no answer.
MAN
Whats your name?
The TEEN ponders for a moment, before looking up.
TEEN
Matthew. Matthew Allen.
INT. COTTAGE - NIGHT
A fire burns in a furnace in the corner of the ROOM. The MAN
stirs the fire and makes sure its going to burn for a long
time. The TEEN stands, arms folded, but still freezing from
before. Its been several hours.
MAN
Well, this fire should last you the
night. The logs are over there, if
you need them.
The MAN gestures over to a bed in the corner.
MAN
The sheets havent been washed in a
while, but honestly, theyve never
been used.
TEEN
Its more than enough. Thank you.
(CONTINUED)
CONTINUED: 7.
The MAN nods, and closes the door, leaving the TEEN to
himself. Taking off his wet clothes, the TEEN reveals a
thigh holster, and pulls out a waterproof container, about
the size of a phone. Inside are several papers, and a
FOUNTAIN PEN. He holds the PEN with great care, and slowly
reads a paper. We do not see the words. Standing, he throws
the PAPER into the fire, and watches it burn, slowly. He
stares into the fire for a long time, thinking. He holds
another paper, this one much smaller, and seems to long to
burn it as well. He silently sobs as he slowly folds it
again; not to burn.
Suddenly moving, the TEEN puts everything back in its place.
His clothes get placed back on, and he opens a WINDOW in the
room, and climbs out into the night.
EXT. FOREST - NIGHT
The rain has stopped. Mud and debris lay strewn about.
Looking back once, the TEEN closes the window silently and
runs, towards the front of the house and down a dirt road.
He makes it a few more yards to the top of a hill, and
looking out, can see the nearest towns dim lights; nearly
ten miles away. He smiles and he looks onward. The score
swells underneath as he looks on...then runs. We swell
into--
INT. PUBLIC OFFICE - DAY
MRS. JOHNSON
This is the HR department.
Two women, MRS. JOHNSON and JORDAN FLECK, are walking side
by side. MRS. JOHNSON, and alpha type leader and clearly the
boss of the other woman, leads on--pad and paper in hand.
JORDAN FLECK, a young woman in her early twenties, follows
and listens both nervously and seriously. Both wear business
attire. MRS. JOHNSON speaks in a condescending tone, and
only occasionally includes JORDAN FLECK into her personal
monologue.
INSERT TITLE: SEVEN YEARS LATER
MRS. JOHNSON
Most interpersonal calls are routed
here through the front desk
secretaries. We handle most of the
complaints through here. Our
strategy is to equivocate the
number of calls per minute to twice
the number of current working
staff.
(CONTINUED)
CONTINUED: 8.
JORDAN
Complaints?
MRS. JOHNSON
This is the keep our average
holding period under ten minutes or
less. Complaints against schools
and teachers may be filed here, but
complaints against us go up to
state. And that is unacceptable.
JORDAN
The system of complaints or a
complaint against--
MRS. JOHNSON
HR works usually about eight hours
during the day; of course, during
posted public hours of the office
space here. Whereas myself--and by
default, yourself--will work and
will be working a full twelve hour
shift.
JORDAN
If I...excuse me, we, work over the
posted public hours, doesnt that
mean I--
The camera continues to barely keep up with MRS. JOHNSON and
JORDAN FLECK. MRS. JOHNSON is brooding, and refuses to stop
herself for anything. She leads on into the next hallway.
MRS. JOHNSON
There are a total of seven
different wings to cover the main
departments of the Board of Ed.
There are two dedicated to
HR--including the once you were
just introduced to--as well as two
more for finance--on your left and
right--and one each for General
Education, Administrative Services,
and Public Relations.
JORDAN
Wouldnt public relations fall
underneath Human Resources?
MRS. JOHNSON stops her pace, and pulls JORDAN FLECK to the
side.
(CONTINUED)
CONTINUED: 9.
MRS. JOHNSON
Miss Fleck, how many students are
in the county?
JORDAN
(Taken aback)
Excuse me, I think I didnt hear--
MRS. JOHNSON
How many students are in the
county?
JORDAN
Well, there are near half a million
in the city, so I would guess
something along the lines of one
hundred to two hundred thousand?
MRS. JOHNSON
Its a trick question.
JORDAN
Maam?
MRS. JOHNSON continues her stride, leaving JORDAN FLECK to
catch up quickly.
MRS. JOHNSON
We operate under the municipality
of Seattle, Washington. We are not,
nor are we serving King county and
nor do we plan to, regardless of
whether or not our students live
within the county.
JORDAN
So I see.
MRS. JOHNSON
437,532.
JORDAN
What?
MRS. JOHNSON
There are 437,532 students
currently being served by Seattle
Public Schools.
JORDAN
I must have underestimated.
(CONTINUED)
CONTINUED: 10.
MRS. JOHNSON
Shouldnt the cry of several
hundred thousand parents be worthy
of more than twenty people?
JORDAN
I dont think I follow.
MRS. JOHNSON
You asked me if Public Relations
should fall within Human Resources,
with I would retort with a
resounding "No", mainly due to the
fact that we have twenty people in
HR and I wouldnt honestly trust
them with so much as one angry
parent. Were replacing half the
department starting tomorrow
anyhow.
JORDAN
I thought HR serviced complaints?
MRS. JOHNSON
Oh they do. They service
complaints. But Im not referring
to complaints here. I refer to the
rounds of parents that seem to
think unionizing would be the most
effective way to revamp the already
multi-million dollar curriculum we
have in place at the present
moment.
JORDAN
I thought the PTO was organized
to--
MRS. JOHNSON
By definition the PTO works with
us. At least they give us so much
as a damn reason why they dislike
our policies. And besides, we dont
enact policies to seek the approval
of parents. We enact policies to
ensure the students of Seattle
County Schools receive a quality
education while at the same time,
protect and preserve the assets of
the state of Washington.
The two arrive to MRS. JOHNSONS OFFICE.
(CONTINUED)
CONTINUED: 11.
MRS. JOHNSON
I wont be needing your services
today on two accounts. One; today
is your orientation day and due to
the legal ramifications of working
someone with no pay and leaving
them to sue the Board being higher
than just handling my own affairs,
I choose not to work you. And two;
Its five-thirty and that means my
sons recital in in an hour so I
must attend on account of my
husbands accusations of my
distance.
JORDAN
So I see.
MRS. JOHNSON pulls out a few sheets of paper and loads them
into a briefcase.
MRS. JOHNSON
I didnt say that. At least not in
a business sense. You arent on the
clock so either way it has no
meaning or weight in this
discussion. Thank you for coming in
today. Report to this office at
seven oclock tomorrow morning and
not a minute late.
MRS. JOHNSON leaves the room flatly and leaves JORDAN to
herself. JORDAN stands, awestruck at the conversation. She
moves forward to the door, holding one arm with another. She
steps out of the office. Noises start to fill in the office
as JORDANS eyes look onward in remembrance and regret. As
the door closes, the noises of a dinner scene fill in. The
door shuts as we MATCH CUT TO--
INT. RESTAURANT - NIGHT
The evening restaurant is buzzing with noise and clinking
glasses. JORDAN, now in a night dress and seeming much more
rushed, moves quickly to a sitting man at a booth.
JORDAN
Ben! Hey, sorry Im late. I had the
interview today.
BEN
(Cool; collected.)
Which one?
(CONTINUED)
CONTINUED: 12.
JORDAN
Oh, the one for the assistant
position. For the superintendent.
BEN
(Uninterested)
Howd it go?
JORDAN
(Not sensing it)
Really good. She seemed really nice
and pleasant. If shes anything
like that on the job, itll be easy
money for us.
BEN says nothing. His appetizer is on the table and he picks
at it with a fork.
JORDAN
So whatd you get us?
BEN
I got chicken Parmesan.
JORDAN
And me?
BEN
Well, you never texted or anything
to order for you, so I didnt.
JORDAN
You know what I always get here.
BEN
Well, last time you got the
calzone. I didnt know you were
going back to the salad.
JORDAN
(Slightly offended)
Well, I was just trying it.
Something different, you know?
BEN
You said you loved it.
JORDAN
That doesnt mean Ill always get
it.
At this moment, a WAITRESS arrives, holding BENS chicken
Parmesan.
(CONTINUED)
CONTINUED: 13.
BEN
Thank you.
WAITRESS
Not a problem.
She pulls a pen and paper from her apron.
WAITRESS
And for you, maam? Would you like
anything?
JORDAN
(To the WAITRESS, but also to
BEN.)
The Ceasar Salad, please.
WAITRESS
And to drink?
JORDAN
Water is fine.
WAITRESS
Alright, Ill be back in a minute
with that water.
The WAITRESS leaves, leaving BEN and JORDAN alone.
JORDAN
...so, how was your day?
BEN
Good. I sold three cars today.
JORDAN
Awesome! They should really give
you a raise.
BEN
(Monotone)
I sold three cars yesterday as
well.
JORDAN
Well, for consistent numbers, then!
BEN
Can we not do this?
JORDAN
Not do what?
(CONTINUED)
CONTINUED: 14.
BEN
This. You know, this small talk.
JORDAN
This isnt small talk. I was just
asking about your day--
BEN
It is small talk. "How was your
day, dear." "Good job!" All this.
Small talk.
JORDAN
Well, I enjoy talking to you. Were
dating, arent we?
BEN
Thats the other thing I wanted to
talk about.
JORDAN
(Realizing)
What?
BEN
Us. I dont think were really
doing anything worthwhile.
JORDAN
We went out to see a movie the
other day.
BEN
You know what I mean.
JORDAN
Im trying to get a job. Once I do
we can start, you know, saving--
BEN
For what?
JORDAN
Our future. What lies ahead.
BEN
If what lies ahead is what lies
behind, I want no part of it.
JORDAN
Excuse me?
(CONTINUED)
CONTINUED: 15.
BEN
Weve been dating for almost a
year. And I think the most weve
done is kiss.
JORDAN
What are you trying to say? Am I
not physical enough for you?
BEN
No, I dont mind that. I mean, we
just do this. Date. Go out. See
things. We never talk about the
future. Just that we want to get
there.
JORDAN
I prefer to life in the present,
Ben.
BEN
But thats just it. You spend all
this time thinking of whats
immediate. Your job interview. This
date. Maybe some sort of plan to
meet your parents in a week or so.
But thats it. Where do you see
yourself in ten years, for example?
JORDAN
Well...with you, I guess.
BEN
I guess? And dont use me. Where do
you see you?
JORDAN says nothing. The WAITRESS returns and puts the glass
of water down. Sensing the tension, she leaves, without a
word.
BEN
Nothing? No job?
JORDAN
Like you said, Id like for you to
meet my parents next week.
BEN
Thats next week, Jordan! This is
my problem. You dont want to move
forward. You get get through days
like theyre some sort of trial.
(CONTINUED)
CONTINUED: 16.
JORDAN
What are you saying?
BEN
I think we need to stop seeing each
other.
JORDAN
Ben--
BEN
Im not debating this. You need to
figure out what youre going to do
with your life before you can bring
others into it. You need to become
more...interesting...I guess.
JORDAN, visibly insulted, says nothing. She holds back her
emotions. BEN makes the first move; setting money on the
table.
BEN
Heres enough to cover my half.
BEN stands up.
BEN
Youre a really nice girl, Jordan.
Youre pretty, youre kind, but
youre just not...going anywhere.
BEN leaves, as JORDAN stares a hole into the seat where he
had just been.
EXT. BOARD OF EDUCATION - DAY
The lights fade as we see JORDAN exiting the Board of
Education. She walks down the street, hurriedly. The
soundtrack begins to slowly fade in a droning noise. See "2
Ghosts II" The following images begin to flash on the
screen. No sound is heard in any of the following:
JORDAN slowly begins to break down, crying softly at first,
the loudly. The people behind her begin to look.
17.
EXT. PARKING LOT - DAY
JORDAN enters her car, quickly and hurriedly. She doesnt
want to think about--
JORDAN clutches the napkin on her table and appears to
scream loudly. Tears cover her face. The WAITRESS comes over
to hold her. People walk away in the background. Another
WAITER comes forward and stands a foot or so away. He looks
concerned.
INT. JORDANS CAR - DAY
JORDAN starts the car and throws it on reverse, moving out
of frame.
EXT. RESTAURANT - NIGHT
WIDE SHOT:
Two WAITERS (the ones previously shown) lead a broken JORDAN
to a taxi, waiting nearby. They say things we cannot hear
over the drone.
EXT. BOARD OF EDUCATION PARKING LOT - DAY
We see JORDANS older grey car pull out of the parking lot,
and drive rather speedily out of frame.
EXT. SEATTLE STREETS - NIGHT
A taxi finally escapes traffic and drives at a normal pace.
INT. TAXI CAB - NIGHT
JORDAN looks out the side window as she leans her head
against the pane. The blurry skyscrapers of Seattle flash by
behind her frame.
EXT. SEATTLE OUTER CITY - DAY
We are shown a smaller road with several apartments lining
the streets. JORDANS car continues to move recklessly.
CLOSE UP:
We see JORDANS face take up most of the frame. She is
worried. She is afraid. Her eyes fill with tears.
18.
JORDAN closes her eyes as a tear rolls down her face. Shes
given up. The drone swells to peaking levels.
JORDANS eyes close tightly. She looks as if shes about to
loose it.
JORDANS closed eyes begin to seem worried, then angry. Seem
seems more and more tense until a scream is heard.
JORDAN, now with eyes fully open, continues the scream heard
earlier, and slams her breaks.
EXT. SEATTLE APARTMENTS - DAY
JORDANS car tries to slow down to avoid hitting the
seemingly HOMELESS MAN, but to no avail. She stops as she
hits him, sending the man FLYING back a few feet before
rolling and sliding to a stop on the concrete.
JORDAN jumps out of the car, and makes her way over to him
as fast as possible.
JORDAN
Oh God!
The HOMELESS MAN groans as he tries to sit up. JORDAN
doesnt hesitate to help him. JORDAN looks up, as if to call
for help, but everyone she seems to look to turns away.
POV SHOT:
**
JORDANS eyes move to people on the streets. As she looks
at them, they look away, or walk away.
**
JORDAN
(Thinking aloud)
Why are they leaving?
HOMELESS MAN
(In a surprisingly young
voice.)
Maybe its because youre helping
the dirty bum.
JORDAN looks over to the MAN shes helping. This is the
(CONTINUED)
CONTINUED: 19.
first time we notice his age. Apart from the dirt and beard,
the man could be no older than his mid-twenties.
JORDAN
Are you alright?
HOMELESS MAN
(Laughing)
What sort of question is that?
JORDAN
I am so sorry. I was just not
paying attention to the road. Its
all my fault.
HOMELESS MAN
(Surprisingly light)
Oh, dont be so hard on yourself.
You looked like you were having a
pretty hard time in there. You
know, before the screaming.
Both of the laugh as the HOMELESS MAN is helped to his feet.
JORDAN
Again, really, Im very sorry about
all this.
HOMELESS MAN
Hey, no harm, no foul. Im not
hurt. Nothing to be concerned
about.
The HOMELESS MAN turns away to leave.
HOMELESS MAN
Have a good one.
JORDAN hesitates for a while. She considers if it is worth
it to stop him. She waits a while, before calling out.
JORDAN
Hey!
The HOMELESS MAN turns around.
HOMELESS MAN
What?
JORDAN
I never caught your name.
(CONTINUED)
CONTINUED: 20.
HOMELESS MAN
You never needed it.
JORDAN is left alone in the street. We pan out as the
neighbors re-enter the streets. An acoustic guitar leads us
into.
INT. JORDANS APARTMENT - NIGHT
JORDAN, now dressed in more casual clothes, paces about the
house in a series of phone calls. Each line of dialogue
occurs within a different phone call and--thus--a different
take. The acoustic soundtrack keeps the scene humorous.
JORDAN
Hey! Hannah!
JORDAN
Hey. Is this Jennifer?
JORDAN
Susan! How are you?
JORDAN
I wondering if you wanted to, you
know--
JORDAN
Sometime tonight, or tomorrow, or--
JORDAN
--itll be just like old times!
JORDAN
What do you say? Girls night out,
you know!
JORDAN
...ok. You know, tonights not the
best for me either.
JORDAN
Youre busy? Oh, youre getting
married. Alright. Awesome. Didnt
hear about it before now...
JORDAN
Jordan? From college?
JORDAN
--no, not Jenn. Jordon. J-O-R--
(CONTINUED)
CONTINUED: 21.
JORDAN
Ok. Yeah, well talk later.
JORDAN
Glad to have caught up with you!
JORDAN
Ok.....Ok.
JORDAN
Say hey to Mary for me.
We are shown JORDAN hanging up the phone three different
times. Each time slightly more aggravated than the last.
Finally, in a scene apparently much later, JORDAN sits in
pajamas, watching television and eating a bag of chips.
Thunder is heard outside, and JORDAN looks out her window.
Her eyes scream with want as we cut to--
EXT. SEATTLE - NIGHT
ESTABLISHING SHOTS:
We see the streets and skyline of Seattle, as well as the
busy traffic. Our last shot holds a silhouette of a man,
walking across the streets of Seattle. Unknown to anyone
else. As the sun sets, we fade to black. The blackness holds
for a few seconds, before the piercing noise of an alarm
clock cuts the silence and brings us to--
INT. JORDANS APARTMENT - DAY
JORDAN shuffles and moans under the thick covers of her
white bed. Slamming the alarm, JORDAN lays back down on the
bed for a minute, before letting out a loud guttural moan.
This cues the middle section of "A Day In The Life" by the
Beatles to begin, and leads us into a montage.
INT. HR DEPARTMENT - DAY
JORDAN walks down a narrow hallway, with cubicles lining the
hallway. The camera tracks with her. She busily hands out
papers and letters to each woman; never stopping her stride.
JORDAN
Mrs. Evans, heres that monthly
review of your raise petition.
MRS. EVANS
Great, whats the word?
(CONTINUED)
CONTINUED: 22.
JORDAN
Youre denied.
JORDAN silently hands out a few more letters. The camera
ceases to move on one particular woman; a weary old hag of
73, MS. BUFORD. JORDAN continues on.
MS. BUFORD
Whats this?
JORDAN (V.O.)
Pink slip.
MS. BUFORD
What?
JORDAN (V.O.)
Youre fired.
MS. BUFORD begins to cry.
INT. HEADQUARTERS - DAY
MRS. JOHNSON and JORDAN both sit, facing towards both the
camera and two other men in suits. MRS. JOHNSON discusses
opportunities while JORDAN points to pages.
MRS. JOHNSON
So as you can see by our financial
reports, money invested from
outside sponsors is always directed
to students in need. Of course, as
per contract, your locations of
advertisement are described in full
detail here.
The two MEN look at each other, approvingly.
INT. DRY CLEANERS - DAY
JORDAN picks up dry cleaning from a woman behind the
counter. There are three BUSINESS SUITS, presumably MRS.
JOHNSONS.
JORDAN
Thanks.
WOMAN
Come in anytime.
23.
INT. SUPERINTENDENTS OFFICE - DAY
MRS. JOHNSON and JORDAN are both looking at two folders; one
red and one blue.
MRS. JOHNSON
Which do you prefer?
JORDAN
(After a moment.)
The red one.
MRS. JOHNSON
Good. We use the blue one.
MRS. JOHNSON picks up the blue one as JORDAN rolls her eyes.
INT. HR DEPARTMENT - DAY
MS. BUFORD cries loudly as she clutches JORDAN. JORDAN is
none too pleased.
MS. BUFORD
(Almost unintelligibly.)
I lost my job!
JORDAN
(Monotone; bored)
Its really not that big of a deal.
MS. BUFORD
What am I going to do?!
JORDAN
Collect social security is my best
guess.
MS. BUROD
Why did this happen to me!
JORDAN
Honestly, maam, at your age, Id
be content with still being alive.
INT. SUPERINTENDENTS OFFICE - DAY
JORDAN answers a phone call.
JORDAN
Hello, this is the superintendents
office.
A beat.
(CONTINUED)
CONTINUED: 24.
JORDAN
(Feigning sadness)
Im sorry, but Mrs. Johnson is
awfully busy in a meeting right
now.
The shot pans out to reveal MRS. JOHNSON painting her
toenails by her desk.
JORDAN
If youd like to leave a message
and a number, Im sure shell get
back to you.
EXT. PARKING LOT - DAY
MS. BUFORD remains crying loudly and loads her car as JORDAN
holds her things.
MS. BUFORD
How do I tell George?
JORDAN
Just tell him you got fired.
MS. BUFORD
Hell be heartbroken.
JORDAN
Im sure hell be fine.
MS. BUFORD
It happened so fast.
JORDAN
Is there any way you could get
fired faster?
With JORDANS final snide remark, the music abruptly cuts
out (before Johns lyric) in sync with a cut to--
INT. JORDANS BEDROOM - NIGHT
JORDANS body flops onto to bed, face first. She doesnt
bother to take off any clothes as she gropes for the lamp,
and turns it off, filling the room, and the screen, with
blackness.
25.
EXT. BUS STOP - DAY
The HOMELESS MAN, whom we were acquainted with rather
recently, lies asleep on the bench. He carries nothing but
the tattered clothes he wears. We heard a womans footsteps
approach him. Behind him, JORDAN walks past briskly, not
looking at the man until just barely in frame. We hear her
footsteps stop, then return as she walks back into frame,
realizing who this was.
JORDAN
Excuse me?
The HOMELESS MAN stirs from his light rest. Looking up, he
smiles. His lighthearted attitude remains.
HOMELESS MAN
Why hello there.
JORDAN
I thought it was you. What are you
doing out here?
HOMELESS MAN
Were else would I be?
JORDAN
At work. At home. Going between the
two.
HOMELESS MAN
(Sitting up)
Got no work. Got no job.
JORDAN
Youre homeless?
The HOMELESS MAN chuckles and stands; gesturing to his
clothes.
HOMELESS MAN
Really? None of this clued you in?
Not even when I referred to myself
as the "dirty bum."
JORDAN
I honestly figured you were just
joking.
HOMELESS MAN
Youre not from around here, are
you?
(CONTINUED)
CONTINUED: 26.
JORDAN
(Joking)
I am. I just dont get out much.
JORDAN glances at her watch.
JORDAN
Well, Im just now out of work Im
pretty hungry. Mind if I come back
with some burgers?
HOMELESS MAN
Oh, you really dont have to. You
dont even know my name.
JORDAN
I never needed it.
HOMELESS MAN
Well, its Matthew. Matthew Allen.
JORDAN
Jordan. Jordan Fleck.
The two smile.
MUCH LATER:
JORDAN and MATTHEW sit together on the bus stop bench.
People idle by behind them. The two are separated by a bag
from McDonalds. JORDAN eats slowly while MATTHEW scarfs the
food down.
JORDAN
(While nibbling on a fry)
You havent eaten anything decent
in a while, have you?
MATTHEW
(While eating)
Three days.
JORDAN
Since you have a real meal?
MATTHEW
Since Ive had anything.
JORDAN
Three days without eating?
(CONTINUED)
CONTINUED: 27.
MATTHEW
A kind old lady with her daughter
brought me a burrito from Taco
Bell.
JORDAN
Wait, so if I offered you food,
whyd you try to turn me down?
MATTHEW
I was just being polite, you know?
If I had said "Yeah, go buy like
the biggest stake you can with lots
of sauce and a baked potato," you
wouldve been less inclined to get
me some real food.
JORDAN
Its been like this for a while,
hasnt it?
MATTHEW
Been like what?
JORDAN
Living off of donations and
generous people.
MATTHEW
Its always like that. You look
rough and dangerous on the outside.
People think youve gonna rape them
or take their kids away. Maybe you
have a gun. Maybe youre out of
jail. The lack of deodorant or a
razor doesnt help. You beg for
money on the streets and ask for
every last penny because you know
twenty cents gets you a packet of
ramen, and that will hold you off
for another day. A dollar gets you
a nice hot dog. Ten gets you into a
shelter for the night. Some move to
violence to survive. Others just
die.
JORDAN
What do you do?
MATTHEW
Move. Go where the people are nice,
and if they stop being nice, keep
moving.
(CONTINUED)
CONTINUED: 28.
JORDAN
(After thinking)
I think I could help you out with
some of that.
MATTHEW
What?
JORDAN
There a barbershop about three
blocks from here. Maybe getting you
a haircut would get you better
chances to get paid more.
MATTHEW
Thats too kind of you, but I dont
really need to bother you.
JORDAN
Now thats the polite guy talking.
What do you really think?
MATTHEW
(After some time)
I think Id appreciate that
greatly, Miss Fleck.
INT. BARBERSHOP - DAY
JORDAN watches on as the BARBER shaves the HOMELESS MANS
beard off. His face is noticeably cleaner, and now we
realize that MATTHEW is underneath it all.
JORDAN
Thats much better. Now, youre
gonna be the best looking homeless
guy on the streets.
MATTHEW
Is that supposed to be a good
thing?
JORDAN
You always gotta look on the bright
side.
BARBER
Alright, just about...done.
The BARBER holds out a mirror for MATTHEW to see. MATTHEW is
shocked by his clean-shaven appearance.
(CONTINUED)
CONTINUED: 29.
MATTHEW
Wow. I honestly havent looked this
good in years.
MATTHEW stands up and joins JORDAN in walking to the cash
register.
BARBER
Thats going to be $15.85.
JORDAN hands over a card, silently.
MATTHEW
I really cant that you enough,
honestly. I havent met someone as
nice as you since I was in the
south.
JORDAN
South where? You mean like near
Portland?
MATTHEW
I mean like near Alabama.
JORDAN is surprised at the statement. She takes her card
back and the two leave the building.
EXT. SEATTLE SIDEWALK - DAY
JORDAN
Now how did you get to Alabama?
MATTHEW
Well, I started in Georgia. Made my
way north, and west. I guess that
makes this the end of the line, of
sorts.
JORDAN
Wait, so let me get this straight;
youve been homeless, and traveling
from Georgia to get here?
MATTHEW
Not here, specifically. I just like
to keep moving. Like I said before.
JORDAN
So how long have you been in
Seattle?
(CONTINUED)
CONTINUED: 30.
MATTHEW
About five days or so.
JORDAN
And no one has taken you in?
MATTHEW
The shelters are full. I went there
first. After I found that out I
just tried to stick around the
right people.
JORDAN
Any luck?
MATTHEW
...No.
They arrive at JORDANS car.
JORDAN
Well, Ive made a decision.
MATTHEW
Im sorry?
JORDAN
On account of your story, as well
at the fact that youre both about
my age and are about the nicest
homeless man Ive met, Id like for
you to come stay with me for the
night.
MATTHEW
Oh, thats really not-
JORDAN
Seriously. No way Im letting you
sleep out there. My couch is
uncomfortable, sure, but it beats
the park bench.
MATTHEW
I cant argue with that, but I
really dont think--
JORDAN
(Pleading flirtatiously)
Oh come on. You really gonna turn
down a pretty girl and her sweet
little apartment? Lets hear the
honest Matthew talk for a bit.
(CONTINUED)
CONTINUED: 31.
A beat. MATTHEW thinks for a moment.
MATTHEW
If you insist.
JORDAN
Good. Now lets go buy you clothes.
You still sort of look like crap.
MATTHEW
Gee, thanks.
The pair get into JORDANS CAR. JORDAN makes a sort of a
"This better not end horribly" face to no one in particular
before driving off. MATTHEW doesnt notice.
INT. JORDANS APARTMENT - NIGHT
The door opens to the apartment, and in enters first JORDAN,
then MATTHEW. They carry bags of clothing and MATTHEW has
changed into a clean shirt and pants.
JORDAN
...so basically I just fire people
and do basic errands.
MATTHEW
Sounds awfully boring.
The two set the clothes down on the dining room table.
JORDAN
It is, but hey, it pays for this.
JORDAN gestures the to apartment as she turns on the lights.
MATTHEW
Wow, this is really impressive for
your age.
JORDAN
Excuse me?
MATTHEW
Well, you know, you gotta be fresh
out of college or something...
JORDAN
Three years out. And in this
economy, I guess you could say Im
lucky.
(CONTINUED)
CONTINUED: 32.
MATTHEW
Luckier than me.
JORDAN senses the touch subject.
JORDAN
Oh, Im sorry. I didnt mean--
MATTHEW
No, its fine. I havent really
looked for a job recently anyways.
JORDAN
Why not?
MATTHEW
Oh, I dont know. I guess I no
longer looked suitable for a job.
No one would hire what I looked
like earlier.
JORDAN
As much as I hate to admit it, I
have to agree with you.
MATTHEW moves for the couch, and sits slowly. He still isnt
convinced he is welcomed. JORDAN sits in a loveseat directly
across from him. The apartment is decorated nicely and looks
well kept.
MATTHEW
(After some time)
...youre awesome. You know that,
right?
JORDAN
(Laughing)
What?
MATTHEW
No one does this. Never in my seven
years of homelessness have I met
someone as inviting as you. Either
youre a crazed, murderous
psychopath, or youre awesome. And
Im betting on the latter.
JORDAN
Well then, thank you?
MATTHEW
Youre welcome.
(CONTINUED)
CONTINUED: 33.
After a beat, MATTHEW looks to a pair of sliding glass
doors, to the balcony.
MATTHEW
(Gesturing)
Do you mind?
JORDAN
Go ahead. Ill get us some drinks
from the fridge.
(Standing up)
Any preference.
MATTHEW shakes his head as he goes out to the balcony.
EXT. BALCONY - NIGHT
MATTHEW stands, looking outward. A panoramic view surrounds
the apartment building. He holds the rail with both hands,
and closes his eyes for a long time. JORDAN comes out,
holding two glasses of wine.
JORDAN
(Hanging him the wine)
Youre of legal age, right?
MATTHEW
(Taking the drink)
25.
JORDAN
Same here.
The two stand in silence for a while, sipping wine.
MATTHEW
(Breaking the silence)
Why are you doing this?
JORDAN
What?
MATTHEW
This. You dont know me. You know
my first and last name, the fact
that Im 25, and you just...you
just let me in. It isnt normal.
JORDAN
(Slowly)
No...I suppose youre right. Im
sure if I called mom and told her
whats going on shed call the cops
(MORE)
(CONTINUED)
CONTINUED: 34.
JORDAN (contd)
on me and you. Shed probably call
me some sort of hoar and recommend
I move back in with her until I
"recover from myself" like she
always referred to it. And maybe
shes right. Maybe I shouldnt be
doing this. Its not normal and
certainly isnt safe...for me at
least. But I cant say it feels
wrong. Because it doesnt. Ive
been living alone and with no
friends for months. And that makes
you feel lonelier and sadder than
ever. I guess all I wanted
was...someone, you know? Company. A
human being. Someone with feelings,
and emotions, and a brain. Someone
with a past; with pain, with
happiness. Someone going somewhere.
MATTHEW
Im afraid Im not the person to
pick if youre looking for someone
thats going somewhere.
JORDAN
But you are going somewhere?
MATTHEW
And where is that?
A beat.
JORDAN
...north, and west.
MATTHEW can only give a weak smile. The two look on into the
urban jungle lights and say nothing more. A door is heard
opening, matching with a cut to--
On the couch, MATTHEW, strewn about and covered in a
blanket, stirs, as JORDAN, dressed in her job attire exits
from her room behind the couch. She strides over to the
blinds and pulls them open, much to MATTHEWS displeasure.
JORDAN
(Monotone)
Wakey wakey.
(CONTINUED)
CONTINUED: 35.
MATTHEW
(Grumbling)
Im not the one with a job. Why do
I have to get up?
JORDAN makes her way over to the kitchen and starts a pot of
coffee.
JORDAN
Because I dont want the bum
staying in my apartment to miss the
house rules.
MATTHEW
(Jokingly)
House rules?
JORDAN talks while making herself a breakfast sandwich.
JORDAN
Number one: No one else is allowed
in the apartment.
MATTHEW
(Sitting up)
Because I have so many friends.
JORDAN
Number two: My room is off limits.
MATTHEW
Well that goes without saying...
JORDAN
And finally, number three: The
kitchen is yours. Just try not to
eat everything?
MATTHEW stands and meets her by the door, as JORDAN has
finished her coffee pot and breakfast sandwich.
MATTHEW
Your hospitality is more than
enough. You wont regret this. I
promise.
JORDAN
I better not. Now, the rest of that
coffee is yours. Clean after
yourself, and well see how long
this lasts.
(CONTINUED)
CONTINUED: 36.
MATTHEW
Thank you Jordan.
JORDAN
(As she leaves)
Your welcome.
The DOOR closes, leaving MATTHEW alone in the apartment. He
waits a few seconds.
INT. OUTSIDE JORDANS APARTMENT - DAY
JORDAN stands outside her apartment, thinking. After a few
seconds, she leaves.
Moving forward, MATTHEW goes into the kitchen and pours
himself the leftover coffee from JORDANS pot.
The scene skips to MATTHEW sitting on the couch, watching
television in a similar manner to JORDAN earlier. He changes
channels for a while before finally turning if off. Staring
at the floor for a few seconds, he suddenly pulls down his
pants and takes the fountain pen out of his thigh holsters
waterproof container. (NOTE: We do not see the waterproof
container. Only the pen coming out of it.)
INSERT SHOT:
**
MATTHEW digging around in JORDANS kitchen drawers for a
paper. He finds it after a small search.
**
MATTHEW is now sitting on the couch, with his socked feet
pulled inward, now begins to write with his fountain pen.
His face looking deep in thought, the sounds of a school
begin to mix into the soundtrack. His fountain pen scribbles
with a quick but elegant motion. Our scene quickly flashes,
and a MATCH CUT takes us to--
EXT. SCHOOL (MANY YEARS PRIOR) - DAY
MATTHEW, in the exact same spot in frame and position as
before, appears much younger. We infer this is before the
events of the opening of the film. His face is filled with
youth, but is not pure. Evident of hard work remain on his
face. His long, black hair come down in straight bangs and
reach his shoulders along the back.
He sits atop a lunch bench in the courtyard outside a
school. The school is old and of normal size; blurred into
the background. Foliage and trees line the brick walls
shown. In the mid ground, students are seen eating lunch
(CONTINUED)
CONTINUED: 37.
together. They remain either ignorant or ignoring of
MATTHEWS presence near them.
The table across from MATTHEWS table holds eight or nine
teens, looking about MATTHEWS age. They dress nice, and
seem to be the more popular group of students. Their speech
is intelligible, but they seem to push one girl playfully to
her feet. They laugh, and she finally starts walking towards
MATTHEW, laughing as she walks, but slowly regains
composure. She appears about 17, has long blonde hair, and
wears a Letterman jacket.
She sits on top of the table, with her feet pulled in;
matching MATTHEWS position and sitting opposite of him.
This is the first time he takes notice.
GIRL
(Joking)
Whatcha doin?
MATTHEW makes a low tone of acknowledgement, then looks up.
MATTHEW
(Cold.)
Oh...just writing.
GIRL
Writing what?
MATTHEW
Well, right now, just a history
paper due tomorrow.
GIRL
Well, that cant always be the
case.
MATTHEW
What do you mean?
GIRL
You sit here every day. And all I
ever see you do is write in that
little notepad of yours. Do you
normally write about history?
MATTHEW
(Chuckling slightly; opening
up)
Well, no. Normally I write about
anything. Stories. Goals. What I
want to do. That sort of thing.
(CONTINUED)
CONTINUED: 38.
GIRL
(Starting to get genuinely
interested)
Why dont you drop that notebook
and talk to us sometime?
MATTHEW looks over the GIRLS shoulder to the popular table.
The girls look on with interest, as the guys seem to be
laughing. All of them avoid eye contact as MATTHEW looks and
act as if they were doing something else.
MATTHEW
Something tells me theyre not all
that keen on my company.
GIRL
Why do you say that?
MATTHEW
Well, Im pretty sure you just got
sent over here to mess with me for
starters.
GIRL
(Sensing her cover is blown)
Now, hold on...
MATTHEW
Its sort of obvious. Theres a
very distinct social latter here.
Im the loner archetype. I keep to
myself for a variety of reasons;
one of which being I dislike
mingling with some of those guys
over there; the alpha-males.
GIRL
(Not fully following)
Whats an archetype?
MATTHEW
...nevermind. The point is, it
isnt...well...cool for you to be
talking to me right now.
GIRL
Dont be like that--
MATTHEW
Isnt it?
A beat.
(CONTINUED)
CONTINUED: 39.
GIRL
...a guess you make a point. And
yeah, the guys sent me over here,
but I wasnt tying to mess with you
or anything. Its sort of like a
dare.
MATTHEW
Im a dare?
GIRL
Youre taking it wrong. And youre
very closed. This is sort of the
reason why its a dare and not just
being friendly.
MATTHEW
What? Talking to me.
GIRL
Yeah. And just because were,
more...popular in your opinion
doesnt make us less human.
MATTHEW says nothing. The GIRL thinks for a moment on how to
make her point.
GIRL
Alright, so look over my right
shoulder. You should see a guy in a
red polo and dark blonde hair. Make
him out?
MATTHEW looks in the direction the girl says to. The boy she
refers to was looking directly at him, but breaks eye
contact once it is made, acting as if he was not watching.
MATTHEW
Yeah.
GIRL
His name is Ryan.
MATTHEW
Whats your point?
GIRL
You didnt let me finish. Ryan look
sort of...I dunno...douche-y?
MATTHEW
Well, thats one way to put it.
(CONTINUED)
CONTINUED: 40.
GIRL
Well, he puts up a front like that.
In actuality, hes a big fan of
musicals.
MATTHEW
Really? Musicals?
GIRL
You couldnt tell, could you? But
yeah, keeps a whole secret playlist
on his iPod and everything.
MATTHEW
Thats some dedication.
GIRL
See? Were human, at least. Just
because we dress and act
differently than you makes us no
different on the inside.
MATTHEW
Did you really just say that?
GIRL
Well, you get me point.
MATTHEW
I do, but youre still wrong.
GIRL
Oh really? Please, do tell. How am
I wrong.
MATTHEW
(After a moment)
Well, for example, you said that
Ryan over there listens to his
musicals in a secret playlist.
The GIRL nods.
MATTHEW
Well, why hide? I mean, if hes
human, and really just is just like
me, whats the point of hiding?
The GIRL says nothing.
MATTHEW
Its the image of it all. I bet
you, if Ryans friends over there
(MORE)
(CONTINUED)
CONTINUED: 41.
MATTHEW (contd)
figured out Ryan listened to
musicals, theyd all make fun of
him for it. Call him fruity or
something along that lines. So, in
reality, you guys do care about
image, and thats what makes us so
different. Ive got other things to
think about. Far more important
things. What I am going to do after
college? How do I manage my own
finances? Where do I see myself in
ten years? Fifty years?
GIRL
Well, you might be thinking about
all that stuff now, but what about
today? Dont you want to live out
today? I mean, sure, maybe the
"popular kids" dont put a ton of
effort into thinking about the
future, but at least we enjoy
today. One of these days youll
realize that tomorrow was
yesterday.
MATTHEW smiles. Hes impressed at the GIRLS words and
slightly interested. Before he can respond, the bell rings.
GIRL
Well, I guess Im off to my
douche-y friends. Care to join us?
MATTHEW
No thanks. Ive got some more work
to do on this history paper. But
its been a pleasure talking to
you...
GIRL
Madeline.
MATTHEW
Madeline. Ill see you around?
GIRL
(Getting up)
See ya around, Matthew.
MATTHEW
How do you know my name?
(CONTINUED)
CONTINUED: 42.
GIRL
(Over her shoulder, as she
walks away)
Your reputation supersedes you!
MATTHEW stretches his legs out where the GIRL had been,
watching the GIRL join back with her friends. He sees them
ask her questions as she walks away, seeming to mess with
her. RYAN shoots a hateful glance to MATTHEW as he rounds a
corner. After a short time, MATTHEW looks down and begins to
write a word.
The word "MADELINE" is written in delicate, beautiful
handwriting by MATTHEW. He looks up from his paper and onto
the ceiling, seeming to be thinking of a time long past.
EXT. JORDANS APARTMENT - DAY
Its several hours later. JORDAN walks into frame, carrying
a few bags of various items. She stands outside the doorway,
clearly stressed out.
JORDAN
(To herself)
Please dont be destroyed, please
dont be destroyed...
JORDAN opens the door and steps inside.
JORDAN is surprised to find her apartment in better shape
than she left it. All the blankets MATTHEW has used are
folded neatly in the corner. The notepad and fountain pen
are nowhere to be seem. In the kitchen, MATTHEW chops
vegetables, and looks up to see JORDAN.
MATTHEW
Hey!
JORDAN
(Aside)
Well, its not destroyed...
MATTHEW
How was work?
JORDAN sets the bags down on the dining room table and sighs
heavily, leaning against the wall.
(CONTINUED)
CONTINUED: 43.
JORDAN
Work.
MATTHEW
You do, uh, Board of Ed stuff,
right?
JORDAN
Im the assistant of the
superintendent. The superintendent
of all of Seattle.
MATTHEW
Lots of remedial errands?
JORDAN
Exactly.
(Glancing over to his
countertop)
Now where on earth did you learn to
cook like that?
MATTHEW loads the vegetables into a strainer, and sets it
aside. He pulls out a pound of ground beef and cuts it open.
MATTHEW
I lived with a chef of a small
restaurant over in Kansas City for
a two weeks. A really nice guy.
Free room and board and everything.
Even taught me how to cook.
JORDAN
What happened?
MATTHEW
His wife started complaining on
what she called "free-loading,"
even though I worked with the guy
at his job for free. Both she and
him were fighting a lot, and she
was pregnant, so I left on my own.
Didnt want the kid growing up in
some sort of dysfunctional family.
(Looking up)
Have any tomato sauce?
JORDAN
(While pointing)
Second cabinet. Over there.
(CONTINUED)
CONTINUED: 44.
MATTHEW
(Opening the cabinet and
quickly finding the can)
Thanks.
MATTHEW gets to work opening the can as a pot begins to
boil.
JORDAN
Cooking for an army, there?
MATTHEW
Nope. Just two.
JORDAN
Aw, you really didnt have to--
MATTHEW
Its the least I could do. For the
haircut and clothes and night and
all. Ill finish this up, we can
eat, and Ill be out of your hair
by seven.
JORDAN starts to suggest he can stay, but chooses to say
nothing. She goes into her room to change.
INT. DINING ROOM - DAY
MATTHEW and JORDAN sit across from each other, eating meat
loaf with pasta and vegetables. Silence reigns for a short
time, before JORDAN finally speaks up.
JORDAN
So, where did you live? You know,
before the whole "nomadic life"
started.
MATTHEW talks between bites.
MATTHEW
Well, you know, I lived where most
people did my age. With my folks.
JORDAN
In, Georgia, right?
MATTHEW
Exactly.
An awkward silence.
(CONTINUED)
CONTINUED: 45.
JORDAN
...they must miss you.
MATTHEW
Who? My parents?
JORDAN
Yeah. I mean, having my kid
disappear like that must have been
pretty hard to deal with.
MATTHEW
(Avoiding the question)
Sure.
JORDAN
What, you dont think so?
MATTHEW
Think what?
JORDAN
Your parents are worried?
MATTHEW
Probably not.
JORDAN
Oh, come on, parents always worry
about their--
MATTHEW
Not when they leave you for dead.
JORDAN
(Realizing the bad topic)
Im really sorry. I didnt mean
to--
MATTHEW
My parents were a couple of pothead
deadbeats that never got out of the
seventies, apparently. They were
too "natural" to have an abortion,
but too lazy to raise a kid. So
after I was born they left me on
the side of the road.
MATTHEW speaks in an as-a-matter-of-fact tone as he eats.
JORDAN is shocked to hear this.
(CONTINUED)
CONTINUED: 46.
MATTHEW
About seven hours later, a cop
picked me up, and I went through
the foster care system. Ended up
stuck with who I call my "folks" at
about seven.
JORDAN
And after that?
MATTHEW
(Cold)
Long story.
MATTHEW sets his utensils down and stands up.
MATTHEW
Sorry for staying so late. I didnt
mean to inconvenience you. Thanks
again for letting me stay.
JORDAN
Wait! I never said you had to go.
She stands up to stop him at the door.
MATTHEW
You didnt need to. You paid me a
good favor by staying. I tried to
make you a nice dinner. The way I
see it, until I can pay you back
for the clothes, were even. No
need to shelter me.
JORDAN
I dont want to shelter you--
MATTHEW
And you dont need to.
MATTHEW makes his way out the door, leaving JORDAN
speechless for a while, she begins to show that shes very
upset by this.
INT. OUTSIDE JORDANS APARTMENT - DAY
MATTHEW walks away briskly, looking rather distant. Behind
him, we see JORDAN come outside.
JORDAN
You cant just leave!
MATTHEW continues to walk away.
(CONTINUED)
CONTINUED: 47.
JORDAN
(Getting emotional)
Dont just leave me! At least let
me talk!
(Screaming, not in anger, but
in pain)
Dont just walk away from me!
JORDAN leans against the wall and begins to cry. MATTHEW
turns around, and realizes whats going on.
MATTHEW
(Sympathetically)
Oh, Jordan...
He makes her way over to her. She shakily embraces him
tightly.
JORDAN
(Through tearful sobs)
He never let me talk! He never let
me talk!
We pan out on the duo embracing each other. JORDAN cries
deeply into MATTHEWS shoulder as he tenderly rubs her back.
They dont talk for a long time.
JORDAN
...please dont walk away from me.
MATTHEW
I wont. I wont.
The two embrace as the scene slowly fades to black.
Suddenly, smashing plates and rustling kitchenware lead into
the beginning of the next scene.
INT. TRAILER HOME - DAY
ARTHUR JACKSON, a middle aged working man, argues with his
wife, LINDA JACKSON, in the kitchen of their trailer home.
The layout and style of the home makes it appear to be very
outdated and malfunctioning. Their clothing and the
appliances are the only indicators we are not in the
seventies. ARTHURS quick temper and drunken attitude are
shown instantly with his words.
ARTHUR
--I told you that boy wasnt worth
our time, Linda, but you had to
adopt hi--
(CONTINUED)
CONTINUED: 48.
LINDA
Oh come on! We agreed together! As
a family!
ARTHUR
Agreed? You wouldnt shut your damn
mouth about kids. At least you
didnt want some little brat!
LINDA
Matts a good kid. You gotta cut
him some slack! His life hasnt
been easy but--
ARTHUR
His life hasnt been easy? Our life
hasnt been easy! I work day and
right for the kid to just come home
and sit on his ass! He does
nothing! Nothing of value around
here! I cant get him to take the
damn trash out--
LINDA
Hes writing. Its what he likes to
do! Besides, apart from how, hes
done nothing but good in school and
never got in trouble.
ARTHUR
Linda, I swear to God, next month,
the second he turns eighteen hes
out of the house! He can handle his
own damn self.
LINDA
Would you at least let him finish
school? Hes almost there and--
At this point, MATTHEW looks through a window and sees the
two argue. The fight continues.
ARTHUR
I didnt finish school! You didnt
finish school. None of us,
including and especially that lazy
ass dont need any fu--
49.
EXT. TRAILER HOME - DAY
Outside lies mid-evening. We see the full outside of the
trailer home, and it is as expected; old, worn and covered
in overgrown foliage. The parents argument is muffled, and
we no longer can make out individual words. MATTHEW, taking
a deep breath, pulls his backpack back up and enters the
home. As soon as the door opens, we hear the argument once
more.
INT. TRAILER HOME - DAY
LINDA has been reduced to tears, and sobs quietly; covered
by the sounds of her husbands screaming.
ARTHUR
--you hear me? Either youre with
me or youre against me! And anyone
against me can kindly get the hell
out of my house!
The sound of the door closing clues ARTHUR in to MATTHEWS
arrival.
ARTHUR
Oh, there you are! You know much
much trouble you put us through?
MATTHEW
(Clearly used to this;
speaking wearily)
What happened?
ARTHUR
What happened? Ill tell you what
the hell happened. Your school
called. Not only are you failing
Math, your apparently all goggly
eyes with some little broad as
well.
MATTHEW
What?
ARTHUR
You administrator was so kind to
tell me how often you hang around
her after school ends. You know I
dont give a damn about your
grades, but youre failing. And
failing because youre probably
knocking up some chick on the side.
(CONTINUED)
CONTINUED: 50.
MATTHEW
I did not! Were just...hanging
out.
ARTHUR
(Walking to get another beer
from the fridge.)
...my ass youre just hanging out.
You better be using protection,
because that is not and will never
be my problem.
MATTHEW
(Quietly)
Moms crying.
ARTHUR
(After grabbing the beer;
seeming to think MATTHEW is
being disobedient)
What?
MATTHEW
Mom is crying, Dad.
ARTHUR comes right into MATTHEWS face. He is unfazed, even
though hes half a foot shorter.
ARTHUR
Thats because you made her cry.
And also, I aint your damn father.
The second you turn eighteen,
youre trespassing, ya hear? Ill
call the cops if you stay a second
longer. Now do me a favor and get
out.
MATTHEW
(Legitimately confused.)
What?
ARTHUR quickly punches MATTHEW square in the jaw. He falls
to the floor, catching himself, but starting to bleed from
his nose and lip.
ARTHUR
(Roaring)
Get out of my house! And I swear if
I see you before tomorrow youre
getting your ass handed to you.
MATTHEW quickly grabs his bag, shoots a look of defiance at
his father, and leaves. Behind him, LINDA begins to say
something, but we dont hear it.
(CONTINUED)
CONTINUED: 51.
MADELINE (V.O.)
Howd they find out?
EXT. FIELD - DAY
MADELINE and MATTHEW both sit out in an open field. The
field curves slightly downward and is surrounded by all
sides by a forest. His wounds are looking better. Its been
a few hours. MATTHEW sits upright, as MADELINE lays on his
lap. He strokes her hair as they talk.
MATTHEW
Apparently an administrator saw us
and mentioned it.
MADELINE
No way they saw us. You know how
we are.
MATTHEW
...after school.
MADELINE
Oh. Well, they couldnt have
reacted that badly.
MATTHEW
My mom cried.
MADELINE
Oh my god. Because of us?
MATTHEW
Because of Dad.
The two remain silent for a while.
MATTHEW
When do you tell your folks?
MADELINE
(Annoyed)
I was thinking next week. Moms got
something going on at work. Its
stressing her out and I dont want
her to get any worse.
MATTHEW
Alright. Just...tell them, alright?
I dont want us to have to be
so...secretive.
(CONTINUED)
CONTINUED: 52.
MADELINE
Were not.
MATTHEW
To each other. But we arent even
near public.
MADELINE
You know why I dont want to be
public.
MATTHEW
You cant hide from your parents
forever.
MADELINE
I dont want to know what theyd
think if I so much as even
touched another man.
MATTHEW
It cant be any worse than my
parents. I promise.
MADELINE
(After a beat.)
Are you allowed home tonight?
MATTHEW tenderly rubs his head against hers.
MATTHEW
...no. At least not tonight. They
need time to think about it. But
Im pretty sure Dads kicking me
out next month.
MADELINE
On your birthday?
MATTHEW
Yeah.
MADELINE
Harsh.
MATTHEW
Well, thats Arthur Jackson for
you.
MADELINE sits up; she lays across MATTHEW, with her hands
holding her up to meet him face to face. She speaks
tenderly.
(CONTINUED)
CONTINUED: 53.
MADELINE
Well, I know Matthew Jackson wont
be like that? Will he?
MATTHEW
(Laughing slightly)
Of course not.
The two share a KISS.
MADELINE
Thats what I like to hear. And
guess what?
MATTHEW
What?
MADELINE
The parents are out on business
tonight. Someone gets to sleep in
the guest room.
The two lay down, side by side in the grass. All the while,
the sky begins to open up, and rain begins to fall slowly.
MADELINE
(Covering her eyes)
Augh, rain.
MATTHEW
Dont like it?
MADELINE
It just looks so...depressing.
MATTHEW
Well, youre looking at it the
wrong way.
MADELINE sits up, looking at MATTHEW. The rain is a slight
drizzle.
MADELINE
Oh please do enlighten me, Mr.
Jackson.
MATTHEW
Well, its always sunny.
MADELINE
Whats wrong with the sun?
(CONTINUED)
CONTINUED: 54.
MATTHEW
Nothing. Its just...its just nice
to see a little change for a while.
To get out there and just feel the
rain Its something you just gotta
do sometimes.
MADELINE
Lay in the rain?
MATTHEW
(After some time)
...feel alive.
MATTHEW stands up reaches his hand down. It begins to rains
much more heavily.
MATTHEW
(Flirtatiously)
Madame Madeline?
MADELINE takes his hand. It begins to really pour. The look
into each others eyes.
MADELINE
Were...not going to make out or
something like The Notebook, right?
MATTHEW
Not unless you want me to...
MATTHEW leans in to kiss MADELINE, but she runs away.
MADELINE
You gotta catch me first!
CRANE SHOT:
**
MADELINE and MATTHEW run and play in the rain. The shot
pulls out as the soundtrack swells.
**
INT. GUEST BEDROOM - NIGHT
BIRDS EYE VIEW: MATTHEW IN BED
MATTHEW lies in a queen-sized bed; presumably the guest
bedroom in MADELINES house. He stares into the ceiling,
blankly; he cant sleep. After a moment, the door opens. He
sits up and sees MADELINE come inside. She silently makes
her way over to and into his bed. MATTHEW is visibly
worried.
(CONTINUED)
CONTINUED: 55.
MADELINE
(Quietly)
Dont worry, Im not here for that.
I just didnt wanna sleep alone in
this big dumb house.
MATTHEW
Dont you normally?
MADELINE
I do. And I never said I liked it.
MADELINE curls up next to MATTHEW. She rests her head on his
chest and places an arm on his stomach.
MADELINE
This is much better than that.
MATTHEW
Not being alone?
MADELINE
Being here with you. Being next to
you. Having nothing on your mind
but you. Knowing you can fall
asleep, and when you wake up, the
person you love is right next to
you.
MATTHEW says nothing for a while. He rubs her head
affectionately.
MATTHEW
I just wish we could be together.
MADELINE
We are together.
MATTHEW
I mean, longer than just a night. I
just want to run away. Run away and
be with you.
MADELINE
You know...that doesnt sound too
bad right about now.
MATTHEW
Then why dont we?
MADELINE
Ive got parents that care. Friends
that like me. My classes are going
(MORE)
(CONTINUED)
CONTINUED: 56.
MADELINE (contd)
good and Im on track to graduate.
Doesnt that matter?
MATTHEW
(Quietly)
Dont I matter?
MADELINE
Dont say that.
MATTHEW
I just wish we could at least be
public. You dont even acknowledge
me at school anymore.
MADELINE
I just want to take things slowly.
Be careful about stuff. How serious
we are.
MATTHEW
Then what are we doing right now?
MADELINE thinks for a long while.
MADELINE
Being together. And right now,
thats all that really matters to
me. Isnt it all that really
matters to you?
MATTHEW
Of course.
MADELINE
Well go public as soon as I can
get to mom and dad. Then things
will get better. I promise.
MATTHEW
I hope so. I really, really do.
MADELINE gets comfortable before closing her eyes. Content,
MATTHEW slowly does the same.
INT. MATTHEWS APARTMENT - DAY
CLOSE UP: MATTHEWS EYES, TEAR-STRICKEN
MATTHEW, in present day, opens his eyes. Hes been crying in
the night. Sitting up, he looks round. In his new apartment
are various pieces of papers, all strewn about. A computer
(CONTINUED)
CONTINUED: 57.
sits on a desk in the corner. Otherwise, the only furniture
in the room is the bed. After wiping his tears away, MATTHEW
begins to climb out of bed.
JORDAN (V.O.)
How was the first night?
CUT TO: MATTHEW ON PHONE, SITTING AT DESK. PRESUMABLY HOURS
LATER.
MATTHEW
Fine. Slept like a baby. Thanks
again--
INT. BOARD OF EDUCATION - DAY
JORDAN leans against a wall in one of the wings of the board
of education. Clearly at work, people behind her mill about.
JORDAN picks up where MATTHEW left off.
JORDAN
--for taking the apartment in my
name, I know, I know. You tell me
all the time.
MATTHEW (V.O.)
That doesnt mean thats enough.
You took a chance on me. I
appreciate that.
JORDAN
Youre the one who miraculously got
a freelance writing job in T-minus
two weeks. You never told me you
could write.
MATTHEW looks at his floor. Papers of handwritten journals
lay about. On the computer screen, a article labeled
"Seattles Homeless: What the problems are and how to fix
it" is half-written.
MATTHEW
Well, I always did some writing
from time to time.
MATTHEW glances to the handwritten pages littering the
floor.
JORDAN (V.O.)
And it looks like it paid off for
you.
(CONTINUED)
CONTINUED: 58.
MATTHEW
Just a little bit. And Ill pay you
back on the security deposit. I
swear.
JORDAN
Take your time. Youre back on your
feet for the first time in years.
Enjoy it. Its a feeling not
everyone gets.
MATTHEW (V.O.)
Ill try to. I really will.
MRS. JOHNSON (V.O.)
(From Afar)
Miss Fleck! Please kindly get off
the phone and "assist" me in
finishing these pink slips!
MATTHEW (V.O.)
Sounds like you need to get back to
your job.
JORDAN (V.O.)
Probably...oh! One last thing I
wanted to ask you. You busy
tonight?
MATTHEW
(Happily)
Well, other than "freelance
writing," no. No Im not.
JORDAN
Good, because I wanted to take you
to see a the Sculpture Park.
MATTHEW (V.O.)
Sculpture Park?
JORDAN
Oh come on, near a month in Seattle
and youve never heard of the
Olympic Sculpture Park?
(CONTINUED)
CONTINUED: 59.
MRS. JOHNSON (V.O.)
Im not asking again Miss Fleck!
JORDAN
(Quieter)
Well, its very nice. Can I pick
you up around seven?
MATTHEW (V.O.)
...sure. I guess, why not?
JORDAN
Great! Its a date then!
MATTHEWS face looks greatly distressed and disheartened at
JORDANS phrasing with the word DATE. He says nothing for a
while.
JORDAN (V.O.)
Matthew?
MATTHEW
Yeah. Thats fine. See you then.
JORDAN
Awesome. Talk to you later!
MATTHEW
You too.
MATTHEW hangs up the phone and sighs deeply. After a moment,
he stands up and pours himself a bowl of cereal. Looking at
the wall time, and noting the time (10:30AM), he sits down
with his fountain pen at the foot of his bed and begins to
write. A slow pan in and a musical cue show the pain as we
can only assume he writes of MADELINE. His eyes grow more
and more intense as the soundtrack swells. Then, suddenly, a
knock is heard at the door.
MUCH LATER:
MATTHEW sits up suddenly, and looks towards the door. He
glances at the clock (7:10PM) and looks down. The amount of
papers he has has nearly doubled. Quickly, he puts his pen
and paper down and hastily cleans up himself.
MATTHEW
(To JORDAN)
Just a minute!
MATTHEW straightens himself out, sprays on a bit of cologne,
and opens the door.
(CONTINUED)
CONTINUED: 60.
Standing in front of him JORDAN, wearing a blue summer
dress. MATTHEW is clearly both shocked, attracted, and
under-dressed in his khaki slacks and black polo shirt.
JORDAN
Hey!
MATTHEW
(Still slightly shocked)
...hey. How was your day?
JORDAN
Good. Just another day at work
though. Ready to go?
MATTHEW
Sure. Lets get out of here.
EXT. SEATTLE STREETS - NIGHT
NIGHT has fallen. We are shown a row of buildings from the
second floor down. Out of one door, the two friends exit
from an apartment complex. Once JORDAN turns to head one
direction, MATTHEW looks confused.
MATTHEW
I thought the parking lot was this
way.
JORDAN
(Still walking)
I didnt drive.
MATTHEW
(Catching up)
Wait, how do you expect to get to
this Sculpture Park?
JORDAN
By walking. Duh.
MATTHEW smiles and lets JORDAN lead on.
JORDAN
...so...about that Olympic Park
thing...
MATTHEW
...yeah?
JORDAN
Thats more of an endpoint. Not a
destination.
(CONTINUED)
CONTINUED: 61.
MATTHEW
Wait, so youre basically just
getting me out of the apartment?
JORDAN
(Taking his hand)
Im getting you to have fun.
JORDAN starts to try running, pulling MATTHEW along.
JORDAN
So come on! Lets go do something!
MATTHEW, smiling, runs along with her, off frame. The
soundtrack cues in, underneath the following scenes. (Temp
score for reference: The Moon Song by Karen O.) None of the
following is audible:
INT. MALL - NIGHT
MATTHEW is seen walking down the aisles of a clothing store.
He passes by (but doesnt see) JORDAN hiding in a line of
clothes, and walks off-screen. JORDAN tries not to laugh,
and in doing so knocks over some clothes from the rack.
Visibly laughing, she runs off-screen in the opposite
direction as MATTHEW crosses back over, trying to catch her.
EXT. SIDEWALK - NIGHT
MATTHEW and JORDAN are walking together, when they pass a
STREET BUSKER with an acoustic guitar. JORDAN looks at
MATTHEW, and the two stop and turn around.
EXT. MARKET - NIGHT
MATTHEW walks around the market, seeming to look for JORDAN.
As he walks, JORDAN comes into frame, eating an apple. As he
approaches, she walks away. As MATTHEW turns around, he
seems to hear a voice. A VENDOR stands, looking angry, and
faking being angry, MATTHEW pulls out his wallet to pay for
the apple.
INT. MALL - NIGHT
From outside the store, we see JORDAN running out, laughing
and catching her breath. From behind her, MATTHEW runs out
and picks her up from behind. She is seen to be screaming.
62.
MATTHEW and JORDAN sit on either side of the STREET BUSKER,
and seem to be joining him in a song. All three look like
they are having a good time.
INT. PARAMOUNT THEATRE - NIGHT
MATTHEW and JORDAN are watching a play. From the moments
that we see of it, it appears to be "Les Miserables". We see
JORDAN wiping away a tear. MATTHEW jokingly elbows her, are
she seems to say "Oh stop" to him.
EXT. MARKET - NIGHT
MATTHEW continues his search for JORDAN in the marketplace.
He walks in one direction, while JORDAN comes in from behind
and grabs his hand, pulling him in the other direction, and
off-screen.
MATTHEW and JORDAN continue to sing, as a PASSERBY puts a
few dollars into the STREET BUSKERS guitar case. MATTHEW
seems to loudly thank the guy and JORDAN dies laughing.
INT. PARAMOUNT THEATRE - NIGHT
As we see the two continue to walk "Les Miserables," MATTHEW
is now seen tearing up, and JORDAN gives him a look of fake
shock and pushes him slightly. He laughs as he wipes his
tears.
MATTHEW and JORDAN now walk together on a sidewalk we
havent yet seen. As they now talk audibly, the music fades.
The tone is sarcastic and light.
JORDAN
You didnt tell me you were such a
great singer!
MATTHEW
Well, I happen to know a thing or
two about musicality.
JORDAN
Musicality? Oh please, like you
know anything.
(CONTINUED)
CONTINUED: 63.
MATTHEW
Hey! I got the busker twenty
dollars! Think of what he can do
with twenty whole dollars!
JORDAN
Pay you to shut your mouth so he
can make even more money.
MATTHEW
Well, its not like you helped
much.
JORDAN
I happen to have the voice of an
angel.
(Demonstrating)
I dreamed a dream of time gone
by...
MATTHEW
A time when Jordan would quit
singing...
JORDAN pushes MATTHEW away, and MATTHEW chases after her,
bringing them, laughing and all, to the Olympic Sculpture
Park.
JORDAN
Well, here we are.
(Mocking an announcers voice)
The Olympic Sculpture Park!
MATTHEW
Sounds official.
JORDAN
Oh it is.
MATTHEW
Well, lets go look at hunks of
metal, shall we.
(Bowing and offering his hand)
Shall we?
JORDAN
(Taking his hand)
I think you may have had a little
too much to drink tonight.
MATTHEW
(Mocking a British accent, and
leading her on in a posh
fashion.)
(CONTINUED)
CONTINUED: 64.
You are surely mistaken. The only
thing Ive had tonight were your
apples.
JORDAN
(Laughing)
Lets hope so.
MUCH LATER:
MATTHEW and JORDAN, now surveying the sculptures, seem to
have calmed down. They stand and look at the Red Sculpture.
JORDAN
What does it look like to you?
MATTHEW
Well, youve lived here longer.
What does it look like to you?
JORDAN
Alright, fine, Ill go first. Ive
always seen a giraffe.
MATTHEW
(Sarcastically)
A giraffe.
JORDAN
Oh stop it. I was a little girl
when I first saw it. So, clever
boy, what do you see?
MATTHEW
(After some time.)
...Id say...based on the color and
the shape...a bunch of red metal.
JORDAN
Wow. So deep. No one would have
guessed that.
MATTHEW
I try my hardest.
The two stand there a while, gazing onto the sculpture.
MATTHEW
Alright, my turn.
JORDAN
What?
(CONTINUED)
CONTINUED: 65.
MATTHEW
Ive got somewhere to take you.
JORDAN
Where? A back alleyway?
MATTHEW
Even better.
EXT. OUTSIDE MATTHEWS APARTMENT - NIGHT
MATTHEW leads JORDAN seemingly to the door of his apartment
complex.
JORDAN
Oh...were going to your apartment?
How thrilling. Well roll around in
paper or something.
MATTHEW
Were not going to my apartment.
As he says this, the two pass the door and go around to the
back alley. Grabbing the fire escape ladder, MATTHEW begins
to climb up.
JORDAN
Really? Isnt that illegal?
MATTHEW
Probably.
JORDAN
Whatever happened to ladies first?
MATTHEW
(Making it to the top and
turning around.)
Youre wearing a dress. Now come
on, we havent got forever.
(He lends a hand downward)
You coming or not?
EXT. ROOFTOP - NIGHT
MATTHEW, now on the roof, reaches down over the edge. He
helps JORDAN climb up to the top of the building, and both
take a deep breath.
JORDAN
That better have been worth it. I
just climbed fifteen stories.
(CONTINUED)
CONTINUED: 66.
MATTHEW
Me too. Now come on. Theres
something Id like to show you.
MATTHEW takes JORDAN by the hand and leads her to the edge.
Over the edge lies a picturesque, panoramic view of Seattle.
They both sit down along the edge. JORDAN takes off her
heels as she sets them aside and dangles her feet over the
edge. MATTHEW lowers his legs over as well.
JORDAN
(After some time.)
Wow. Its ever better than the view
back home.
MATTHEW
See? Told you it was worth it.
JORDAN
You never said that.
MATTHEW
Well...it was strongly implied.
The two say nothing for a while. Suddenly, MATTHEW turns to
JORDAN.
MATTHEW
I want to ask you something.
JORDAN
Alright, what?
MATTHEW
Why did you let me in?
JORDAN
I thought you already asked me
this.
MATTHEW
Well, no. I asked you why you let
me stay at your house that night. I
am asking you now...why you let me
in to your life. After that.
JORDAN
Well...it felt right, you know? I
cant really explain it...its one
of those things that you do based
on your gut instinct...sort of like
when I moved out of my parents
place and flew, by myself, to
(MORE)
(CONTINUED)
CONTINUED: 67.
JORDAN (contd)
Seattle for college. I didnt think
it was the smartest thing to do,
but I did it. You were kind of like
that. A gut feeling.
MATTHEW
Well, Im glad.
JORDAN
And why is that?
MATTHEW
Because Im happy. And I havent
been for a long time. When youre
livin like I do, and you never
stay in one spot for a few weeks,
you live constant peril. You always
gotta fight to stay somewhere,
fight for food, fight to live.
Thats why I always try to keep a
positive attitude. It always gets
me into places quicker. Acting
witty, and being polite, and all
that. But with you, I didnt have
to fake it. You were always so kind
to me. And now, after tonight, I
really can say for the first time
in nearly seven years...Im happy.
JORDAN
You know what?
MATTHEW
What?
JORDAN
I think...I think Im happy too.
JORDAN leans against MATTHEWS shoulder as he wraps his arm
around her. Their silhouettes are a stark contrast against
the panoramic view as we slowly fade out.
INT. OUTSIDE MATTHEWS APARTMENT - NIGHT
The two slowly walk into frame together, and come next to
MATTHEWS door. He opens the door and turns on the lights,
before turning back to JORDAN.
JORDAN
I had a wonderful night.
(CONTINUED)
CONTINUED: 68.
MATTHEW
I did too. Thanks for getting me
out of the room.
The two slide closer to each other subconsciously. JORDANS
left hand slides into MATTHEWS right. MATTHEWS right hand
comes up and goes into JORDANS hair on her left. The move
closer and closer...and share a slow, passionate kiss. They
pull away slowly. MATTHEWS eyes slowly light up. He
realizes what just happened. He quickly backs away, goes
inside.
INT. MATTHEWS APARTMENT - NIGHT
JORDAN
Matthew?
MATTHEW turns and closes the door.
MATTHEW
(Exasperated)
Well talk later.
JORDAN instantly begins protesting, but we can barely hear
it over the screeching soundtrack. He is having a panic
attack. MATTHEW takes a few steps to the bed, and collapses
to the floor. He leans himself against the bed, sweating
horribly. The music intensifies as we hear him begin to
repeat over and over again as he is covered by the
soundtrack.
MATTHEW
(Robotically)
Its not right. This isnt right.
Its not right. This isnt right.
Its not right. This isnt--
EXT. SCHOOL - DAY
Silence. The same shot from when we were last hear is on the
screen, but no one else is. A bell rings after several
seconds. We see students begin to move into the frame from
the entrance of the building. Several groups move into
seating, including MADELINE and the "popular group," and
MATTHEW, by himself, leading from behind. He has a fresh
bruise on his arm. He sits in the same spot atop the desk
and begins to write. His face distorts slowly into more
anger. He writes much more rapidly with determination. His
image (and the screen) is seared with the following images.
69.
ARTHUR is seen throwing things out of the door of the
trailer home. LINDA is seen crying behind him. FLASH TO--
EXT. SCHOOL - DAY
MATTHEW writes and writes. His focus cannot be broken.
MATTHEW is seen walking, then jogging, then running up to he
house.
MATTHEW
What are you doing?!
ARTHUR
Happy Birthday, sport!
MATTHEW
I dont turn eighteen for three
more days!
ARTHUR
Oh Im so worry, I just couldnt
wait.
LINDA
(In hysterics, holding her
face.)
Matthew Im sorry! I cant stop
him! I cant stop him.
MATTHEW
Did you hurt her?
ARTHUR
Aint your damn business, boy.
MATTHEW snaps. He grabs ARTHURS neck and SLAMS him against
the side of the trailer home with one hand. Muscles we never
thought existed in his tiny frame bulge horribly.
MATTHEW
(seething)
Did you touch her?
ARTHUR wipes the look of surprise off his face. He speaks as
if he still has power, but speaks through his teeth.
(CONTINUED)
CONTINUED: 70.
ARTHUR
She hit her head because she
tripped over your stuff. I swear to
God.
MATTHEW stares into ARTHURS eyes, trying to read him. After
a moment, he throws him to the ground and walks away. As he
does so, he rubs the spot on his arm that slammed into the
trailer; its the same spot that appears later on MATTHEW.
MATTHEW
Keep my stuff. Its been a pleasure
meeting you.
As MATTHEW walks away, ARTHUR stands up.
ARTHUR
(Calling)
Wait? Thats it? All Matthew
Jackson can muster is kindness? A
little self-restraint? Show
backbone! I didnt raise no pussy!
MATTHEW stops walking. His face blazes with anger. The music
building and finally, we hear a scream.
EXT. SCHOOL - DAY
MATTHEW, in mid-scream, throws his notebook down as hard as
he can to the ground. Taking a deep breath to calm himself,
he looks around. Everyone stares. Realizing his outburst,
MATTHEW bends down to pick up his thrown items. However, as
he sits up, he sees RYAN and MADELINE. The two seem to talk
flirtatiously. MATTHEW gets angry. MADELINE laughs, and in a
moment, the two share a kiss. RYAN puts his arm around her.
PAN IN to MATTHEWS face, then--
MATTHEW (V.O.)
What the hell was that?
EXT. FRONT LAWN - DAY
SCHOOL has just been released. Students mill about to their
cars in the background. In front of us, about five hundred
feet from the school, stand MATTHEW and MADELINE, shoulder
to shoulder. MATTHEW is PISSED. JORDAN immediately takes the
offensive.
MADELINE
Not so loud!
(CONTINUED)
CONTINUED: 71.
MATTHEW
Not so loud--really? I was trying
to be quiet, especially while you
had your tongue down that guys
throat.
MADELINE
His name is Ryan.
MATTHEW
Why do I care?
MADELINE
Hes a human being.
MATTHEW
What are you doing, Madeline?
MADELINE
We were just being friendly.
MATTHEW
Last time I checked, you dont make
out with friends. We were supposed
to go public three weeks ago!
MADELINE
Im sorry! I just havent gotten a
chance to--
MATTHEW
Tell my parents? Screw your
parents! Tell the school! Tell
Ryan. Tell yourself for Gods sake.
MADELINE
Look, Matthew, I dont think--
MATTHEW
How long have you and Ryan been
talking?
MADELINE
Matthew, Ive been friends with him
for like 7--
MATTHEW
Fine! Ill make it simple. How long
have you been a thing?
MADELINE
(After some time)
...about two weeks
(CONTINUED)
CONTINUED: 72.
MATTHEW
Oh, God forbid...
MADELINE
And thats what Ive been meaning
to talk to you about.
MATTHEW
What?
MADELINE
I dont know if were going to work
out.
MATTHEW
Ok, now what the hell do you mean
by that?
MADELINE
I dont know, I just...I just dont
feel the same way.
MATTHEW
You have got to be kidding me.
MADELINE
Im sorry I didnt mention this
earlier, Ive just been having
second thoughts.
MATTHEW
Second thoughts? Where did this
come from? We were going to run
away together!
MADELINE
I know, and youre really
sweet...youre just not...
MATTHEW
Just not...?
MADELINE
Look, I dont know what the word
is. I just need some space for now
is all, ok?
MADELINE tries to leave. MATTHEW is having none of it.
MATTHEW
Its because Im not popular.
(CONTINUED)
CONTINUED: 73.
MADELINE
What?
MATTHEW
I knew it. I knew it all this time
and I refused to believe it.
MADELINE
Its not about--
MATTHEW
Im not cool enough for you. Im
not a pretty boy, and some handsome
chiseled douche whos ready to
sweep the next girl off her feet. I
know Im not. Im scarred. Im
broken. But at least I have the
common decency to be honest with
you. And what does that get me?
Huh?
MADELINE
Matthew-
MATTHEW
Be honest with me. Am I really not
worth you loosing your reputation?
MADELINE
(Near tears)
I have to go.
MADELINE turns to leave.
MATTHEW
Madeline!
MADELINE
I have to think! Just give me time
to think!
MATTHEW
About what?
MADELINE
Meet me here. Tomorrow morning.
Ill be ready.
MATTHEW
Do you expect me to wait almost a
day?!
MADELINE walks away. MATTHEW gets desperate.
(CONTINUED)
CONTINUED: 74.
MATTHEW
Madeline! Madeline! Madeline!
MATTHEW breaks down as it begins to rain. Soon, a girl
crying fades into the noise.
RYAN (V.O.)
Its ok, you can trust me.
INT. GUEST BEDROOM - NIGHT
MADELINE sits on the bed in the guest bedroom. She cries
horribly. RYAN sits across from her. He smiles coyly and
holds her hand as she cries.
MADELINE
Im sorry! Ive made a mistake!
RYAN
What? What is it?
MADELINE
You have to forgive me!
RYAN
Madeline, you know I love you. Ill
forgive you. I promise.
RYAN hugs her. MADELINE calms down, but still speaks through
tears.
MADELINE
Ok...alright...so...do you know
Matthew?
RYAN
Who?
MADELINE
Matthew. Hes the kid whos always
writing in his book.
RYAN
...yeah? Yeah. We sent you to go
mess with him like last semester.
MADELINE
Well, me and him were talking for a
while, and we were getting pretty
close.
(CONTINUED)
CONTINUED: 75.
RYAN
You? With him?
MADELINE
Yeah. But we never did anything,
Ryan I promise!
RYAN
...I believe you.
MADELINE
Ok, so after a while, I got tired
of it, you know? He was too
emotional, and so I tried to break
it off, but he just wouldnt let
me, and it got me thinking, and--
(Breaking down again)
--and I dont know what to do,
Ryan, I dont know what to do!
RYAN
(Holding Madeline)
Its ok, its ok! We can sort this
out! Whens the next time you see
him?
MADELINE
(Cleaning herself; calming
down.)
Tomorrow. Tomorrow morning.
RYAN
Look, tomorrow morning were going
to meet up with him, and youre
going to spell it out. Its over.
He didnt deserve you anyway.
MADELINE
But what about him?
RYAN
Hes irrelevant. Its just me and
you, right?
MADELINE
Of course!
RYAN
So let the kid down flat and move
on. Youre better off.
(CONTINUED)
CONTINUED: 76.
MADELINE
...alright. Alright.
RYAN
Now Im not letting some nobody
ruin our night? Are we?
MADELINE
No. Of course not.
RYAN
See? There she is! I knew she was
in there somewhere.
MADELINE
(Playfully hitting him)
Oh, stop.
RYAN
Bad move...
Playfully, RYAN tackles MADELINE on the bed. They wrestle
for a bit, then RYAN turns the light off as MADELINE begins
removing her clothes.
EXT. FOREST - NIGHT
The sounds of MADELINE and RYAN play over the visual of
MATTHEW, leaning against a tree in the middle of a forest.
He slowly closes his eyes and tries to sleep.
JORDAN (V.O.)
(Muffled; a voicemail.)
Hey, Matthew...you there?
(A long pause)
I...Im sorry.
INT. MATTHEWS APARTMENT - NIGHT
MATTHEW leans against the wall in a similar manner to the
previous shot. The wall is filled with fist-sized holes.
MATTHEWS hands are covered in dust.
JORDAN (V.O.)
I dont know if it was something I
said or maybe what I did, but I
didnt mean to hurt your feelings.
INSERT SHOT: MATTHEW PACING, STRESSED.
JORDAN (V.O.)
The truth is...Ive really grown to
care about you over the past few
(MORE)
(CONTINUED)
CONTINUED: 77.
JORDAN (V.O.) (contd)
months. I never told you this, but
I had a pretty bad breakup about
three months before we met. And
that one evening that I broke down
was because of that. I felt
so...alone.
INSERT SHOT: MATTHEW PULLING HIS HAIR OUT, SCREAMING. NO
SOUND IS HEARD.
JORDAN (V.O.)
And Ive gone through breakups
before, sure, but this one ended
badly. And that feeling of just
being...worthless...I couldnt take
it. Being alone wasnt an option. I
needed someone. And maybe I came on
too strong but I never intended to
hurt you if I did.
INSERT SHOT: MATTHEW WRITING PAGES UPON PAGES OF NOTES.
JORDAN (V.O.)
Im bad at this. Ive never good
with words and thats where you fit
into my life. You say and think
things I can always relate to but
never put into words. You remind me
that I am so very blessed, but, at
the same time, so very sheltered.
We return to the original SHOT.
JORDAN (V.O.)
I dont know your past, and maybe
you face some sort of challenge,
but I just wanted to know how you
were. I just...I just wanted to
talk. Just...let me know when you
get this message, ok? I...really
care about you Matthew. I really
do.
We hear the voice-mail click off. MATTHEW lays his head back
on the broken drywall and closes his eyes. He opens them as
he turns his head and looks to the phone with a tormented
expression. The music swells as we are shot into--
78.
EXT. SEATTLE - DAY
MATTHEW, now dressed but still looking disheveled, walks
towards JORDAN. Their distance quickly closes as they
embrace.
JORDAN
(Near tears)
You had me so worried.
They separate.
MATTHEW
Its all my fault--
JORDAN
Dont say that--
MATTHEW
Honestly, it is. I never told you
about who I am.
JORDAN
You never needed to. You showed me
who you were.
MATTHEW
I consider myself a pretty alright
guy, Jordan, but its about who I
was. The decisions Ive made that
haunt me to this day.
JORDAN
W-we can work it out, right? Lets
just talk. I can tell you about you
and you can tell me about yourself,
right?
MATTHEW
Jordan, Im sorry, but I dont have
much time.
The faint ringing of a police siren is heard.
JORDAN
I dont understand.
MATTHEW
I cant do this. Not until I right
the wrongs I have committed.
(CONTINUED)
CONTINUED: 79.
JORDAN
What are you saying, Matthew?
MATTHEW
Im saying I might not see you
again. Not for a while.
JORDAN
Why, where are you going?
The sirens grow louder. JORDAN slowly begins realizing what
is going on. She takes a step back.
JORDAN
...Matthew..?
MATTHEW
I messed up. It was a fit of rage.
JORDAN
Matthew, what did you do?
MATTHEW
My real name isnt Matthew Allen.
Its Matthew Jackson. And I just
called the police and told them.
MATTHEW slides a key into JORDANS pocket. Its his
apartment key.
MATTHEW
(Almost whispering.)
Its in your name. They wont
search it. Go inside. Find out the
truth.
The police round the corner. Ten cop cars all begin to
approach at rapid speed.
MATTHEW
(Louder.)
I was broken, Jordan. They broke
me. And all it took was just one
little push.
JORDAN is shell-shocked.
MATTHEW
(Over the sirens)
Im sorry it has to be like this.
But if I dont fix this, Ill live
the rest of my life unresolved. And
in the end...Im almost happy I did
it.
(CONTINUED)
CONTINUED: 80.
JORDAN
Why?
A TEAR runs down MATTHEWS face.
MATTHEW
(After a period of time.)
...because I got to meet you.
MATTHEW grabs JORDAN and brings her into a passionate kiss.
The sirens ring loudly as we hear police screaming into
megaphones. The kiss is abruptly ended when three policeman
pull MATTHEW away from JORDAN. Suddenly, JORDAN realizes.
JORDAN
(In hysterics)
Matthew! Matthew!
JORDAN runs to him, but several policeman pull her back and
away. MATTHEW just looks to her, knowingly, and surrenders.
He is put in handcuffs and thrown into a police car. The
police leave JORDAN where she is, and get into the police
cars they came in. As quickly as they came, the police drive
away, leaving JORDAN alone. JORDAN wanders into the empty
street, and watches as the police cars fade into the
distance, and the noise of the sirens can no longer be
heard.
JUDGE (V.O.)
Matthew Allen Jackson,--
INT. PRISON - DAY
Two OFFICERS lead MATTHEW, who is in handcuffs, to a jail
cell.
JUDGE (V.O.)
In the interest of the laws of the
United States, regarding dual
sovereignty,--
INT. VISITATION ROOM - DAY
MATTHEW and another person, presumably his LAWYER, talk. We
hear none of it.
JUDGE (V.O.)
You will be transported to
Stallsworth, Georgia, to face trail
by a jury of your peers. Your
rights are as follows:
81.
INT. POLICE CAR - DAY
MATTHEW leans his head against the rear window of a police
car, in a similar fashion to JORDANS scene 15.
JUDGE (V.O.)
You have the right to remain
silent. Anything you say can and
will be used against you in a court
of law. You have the right to an
attorney during interrogation. If
you cannot afford one, an attorney
will be provided to you.
EXT. AIRPORT - DAY
A squadron of cop cars drive towards the unloading dock of
an airport.
JUDGE (V.O.)
You are charged with the following
crimes: One count of second-degree
homicide, one count of aggravated
assault, and one count of fleeing
the scene of a crime.
INT. AIRPORT - DAY
A formation of cops surround MATTHEW, who walks handcuffed
in an orange jumpsuit.
JUDGE (V.O.)
You will face trail for these
actions in Georgia, where any
punishment involved with the ruling
will be instated and ensured.
INT. SEATTLE COURTHOUSE - DAY
A JUDGE looks to MATTHEW, who stands handcuffed to a stand.
JUDGE
Do you have any questions regarding
your rights in the coming trail.
MATTHEW thinks for a long time.
MATTHEW
No, your honor.
JUDGE
Then you are to be transported to
the state of Georgia for further
trail, effective immediately.
82.
The JUDGE slams his gavel down, and MATTHEW is taken from
the room.
EXT. AIRPORT RUNWAY - DAY
We see a plane takeoff. In a close-up, we see MATTHEW,
leaning against a window. In the reflection, we see the city
of SEATTLE fall vastly behind.
JORDAN (V.O.)
No.
INT. DEPOSITION ROOM - DAY
JORDAN sits across from many men, one of them we recognize
as MATTHEWS LAWYER. She is being deposed.
LAWYER
Did you enter into conversation
with the defendant pertaining to or
relating to the crimes he is
accused of?
JORDAN
No.
MATTHEWS LAWYER
Did my client ever offer you any
sort of consolation for helping him
in any way?
JORDAN
No.
LAWYER
Did the defendant put you into a
situation where sexual activity was
necessary?
JORDAN
Excuse me?
LAWYER
Did the you and the defendant
engage in sexual activity?
JORDAN
What? No. We did not.
MATTHEWS LAWYER
Did you have any knowledge leading
you to question his credibility?
(CONTINUED)
CONTINUED: 83.
JORDAN
What sort of question is that?
MATTHEWS LAYWER
Well, did you have any knowledge--
JORDAN
No. Look, if I may, my relation to
to Matthew Allen--
LAWYER
Jackson.
JORDAN
Jackson, really shouldnt have
happened. I helped him out of pity,
he moved in for a few days, then
got a freelance job and we remained
friends. Thats it. I didnt talk
to him about these crimes, I didnt
know of them, I knew nothing. Why
am I here?
MATTHEWS LAWYER
Well, if I may--you were kissing
when we arrested him.
JORDAN rolls her eyes and sits back. The men in the room
look to each other.
INT. POLICE STATION - DAY
JORDAN sits in a chair in a row of empty chairs. We hear
footsteps, and MATTHEWS LAWYER walks into frame.
JORDAN
Are we done?
MATTHEWS LAWYER
You swore before we began the
deposition, and we have no reason
to question it. The others will
argue for a few more hours, but Im
confident youre done.
JORDAN sighs.
MATTHEWS LAYWER
(Silently)
Look, I know you arent being
completely honest with us. We know
it. Its the reason the prosecution
is in there pressing for your
witness.
(CONTINUED)
CONTINUED: 84.
JORDAN
I have nothing of theres to tell--
MATTHEWS LAWYER
Like what? Like the fact you never
mentioned if he moved out or not?
Youre lucky they didnt call for a
warrant to search your properties.
JORDAN
How do you--
MATTHEWS LAWYER
This is my job, Miss Fleck. And the
only reason I didnt mention the
glaring lack of specificity on Mr.
Jacksons living arrangements is
because something tells me the
evidence would be damning to him.
JORDAN
(After some time)
Why are you telling me?
MATTHEWS LAYWER
Because I know you care about him.
So do I. And honestly I cant see
how he did this crime in the first
place. Not yet. So please contact
me if you find something that helps
the case. If not, Id advise you to
have no further contact or
appearing in these precedings or
the prosecution will call another
deposition, and I wont be able to
protect you from them.
MATTHEWS LAYWER walks away from JORDAN. She stands for a
few moments longer.
EXT. POLICE STATION - DAY
Evening is setting. JORDAN walks alone, in a shot mirroring
her walk from the BOARD OF EDUCATION in scene 7.
EXT. MATTHEWS APARTMENT BUILDING - NIGHT
JORDAN walks up to and enters the building.
85.
EXT. MATTHEWS ROOM - NIGHT
JORDAN walks up, breathes heavily, and turns the key in the
lock, entering the room.
INT. MATTHEWS ROOM - NIGHT
JORDAN walks in and we immediately hear paper crunching.
JORDAN looks down and moves her foot to reveal a
hand-written paper. CUT OUT to reveal the room, and the
entire floor, is covered in papers. INSERT SHOTS show us
that each is written beautifully, and numbered in the top
corner of the pages. JORDAN closes the door, kneels down and
looks through the papers, seeming to search for number 1.
MATTHEWS LAYWER (V.O.)
You lucked out.
INT. MEETING ROOM - DAY
MATTHEW and his LAYWER (furthermore denoted as PERCY) sit
across from each other at a metal table. MATTHEW is in an
orange jumpsuit and is chained to the table.
MATTHEW
Really? Would you like to explain
how?
PERCY
Well, first of all, youve been
given one of the finer Lawyers in
the state of Georgia working for
you, who personally volunteered to
fly out to Seattle when you needed
one.
MATTHEW
Gee, thanks Percy. Appreciate it.
PERCY
Im joking of course, but the real
reason youre lucky is because your
work at the paper wasnt "on the
books" to say, so youre unemployed
legally.
MATTHEW
I still dont see how this helps.
PERCY
It helps because your bail is a
record low for the crimes you are
accused of.
(CONTINUED)
CONTINUED: 86.
MATTHEW
I still dont have the money to
post bail regardless.
PERCY
I know that. But anyone with decent
credit whos willing to pay a $600
premium can get you out. Friends,
family--
MATTHEW
I have no one.
PERCY
You have Jordan.
MATTHEW
Do not bring her into this. I told
you in Seattle--
PERCY
I know. And I did as you said. To
the best of my abilities while
remaining in good legal standing, I
may add. But I have a feeling
shell come around, even though I
told her not to.
MATTHEW
Why would she come back?
PERCY
She likes you, Matthew--
MATTHEW
Oh, for the love of God, Percy,
this isnt high school--
PERCY
Look the in the eyes and tell me
Jordan doesnt care about you.
MATTHEW says nothing.
PERCY
I thought so. Now the turnaround
for this case is quick. As soon as
I get back we pick jurors and after
that the trial begins. Id give it
a week or less. The case has been
open for seven years and Georgia
was nothing more than to slam it
shut, one way or another. So you
need to tell me.
(CONTINUED)
CONTINUED: 87.
MATTHEW
What?
PERCY
Everything. From the beginning.
Anything and everything that I need
to know, good or bad. Now, you know
your word is not as meaningful in a
court of law, but it means
something to me.
MATTHEW
Why? Why does anything else matter
except what I did?
PERCY
Because if I know exactly what lead
you to it I can defend you and
still go to sleep at night.
A BEAT.
PERCY
Matthew. Please.
MATTHEW sighs.
EXT. FOREST - DAY
DAWN comes. ESTABLISHING SHOTS show the wilderness and the
beauty around. MATTHEW sits in the same spot he did as he
fell asleep much earlier. Hes been crying. He gets up and
walks outward.
EXT. OUTSIDE SCHOOL - DAY
MATTHEW stands at the spot that he last spoke to MADELINE.
He thinks for a long time, and looking down the road, then
back to the school. CUT TO
EXT. ROADSIDE - DAY
MATTHEW walks away from the school. To his left is an open
field, and to his right is a CONSTRUCTION SITE; empty. The
city is a blur behind him. His pace is hurried and his face
is pained. In the background, a blur slowly becomes a car,
which pulls up to the side of him. We see RYAN driving and
MADELINE riding. Once MATTHEW sees RYAN, he turns quickly
and walks into the CONSTRUCTION SITE.
88.
EXT. CONSTRUCTION SITE - DAY
MATTHEW walks away as MADELINE jumps out of the car and
chases after him.
MADELINE
Matthew! Matthew!
MADELINE reaches MATTHEW and grabs his shoulder--
MADELINE
If you would just listen to me--
MATTHEW spins around, practically yelling in her face.
MATTHEW
Why did you bring him?
MADELINE
Matthew, be reasonable he--
MATTHEW
He has nothing to do with us--
MADELINE
He has something to do with me!
MATTHEW
And why is that?
RYAN approaches from behind MADELINE.
MADELINE
Just let me explain--
RYAN
Back off. Its over.
MADELINE
(To RYAN)
Please let me handle this--
MATTHEW
This is how youre handling this?
MADELINE
Look...we both knew this was never
going to work out--
MATTHEW
Thats what you thought of us?
(CONTINUED)
CONTINUED: 89.
MADELINE
There never was an us--
MATTHEW
There was to me!
RYAN
(Moving towards MATTHEW)
Calm down. Back off.
MATTHEW
(Coming at him.)
This doesnt involve you, so I
suggest you shut. Your. Mouth.
MADELINE
(Coming between them.)
Matthew, it was never going to
work. You and I are two very
different...people. Different
interest, different values--
MATTHEW
Clearly.
MADELINE
I mean, it--it was fun while it
lasted, but--
MATTHEW
Is that all I am to you? Fun? Just
a little fling on the side and
nothing else? Oh God, why was I so
naive? To just assume you meant
what you said--that you really
wanted us to be together? And you
know what the worst part is? I
wanted something special for us. Do
my feelings mean nothing to you? I
might mean nothing to you, but you
meant everything to me.
(Tearing up)
You were my chance at happiness,
Madeline. You were my chance at
life. And to see you drop me for
that?
(Points to RYAN)
Just to have a socially acceptable
pretty-boy to sleep around with--
RYAN
You watch what you say.
(CONTINUED)
CONTINUED: 90.
MATTHEW
I have nothing. You might want to
back off.
RYAN
(In MATTHEWS FACE)
I will not be threatened by you.
MATTHEW
(Turning away.)
Im not warning you again.
MATTHEW walks away, towards the foundations of the
construction site. RYAN walks behind him, catching up. The
two get to the center of the CONSTRUCTION SITE. Concrete
covers the ground. Tools lay strewn about.
RYAN grabs MATTHEWS ARM and raises his other arm to PUNCH
him. As soon as contact is made, MATTHEW turns around and
hooks him square in the nose. MADELINE goes into hysterics
throughout the following sequence. RYAN falls back, shocked.
He hits the floor and sits upright. MATTHEW pauses for a
moment, then KICKS RYAN underneath the jaw. He falls the the
floor. MATTHEW climbs above him and punches him in the face
OVER and OVER and OVER again.
After a few seconds, RYAN re-cooperates and pushes MATTHEW
up and off of him. MATTHEW lands and the two lay
side-by-side, about three feet apart. RYAN twists his torso,
and tries to get on top of MATTHEW. MATTHEW, who clutches
his chest from being winded, sees the danger and looks to
his left, seeing a CROWBAR. He grabs it, and strikes RYAN
across the face, hitting him with the blunt L-shaped bend in
the metal while holding the shaft.
RYAN is nearly unconscious, and falls to the ground like he
was laying before. MATTHEW climbs on top of him and screams,
beating RYANS face with the same blunt end of the CROWBAR
AGAIN and AGAIN and AGAIN. We dont see much of it, but we
hear RYANS face crack and break under the immense force. He
no longer moves. MATTHEW slows down, and strikes him across
the face in two second long intervals, screaming as he does
it. After a painfully long time, we see a leg swing into
frame and kick MATTHEW in the face, knocking him over and
off of RYAN.
MATTHEW grabs his bloody nose and looks up. MADELINE stands,
clutching her mouth and tears streaming freely. She looks at
MATTHEW for a few seconds.
MADELINE
What are you?
(CONTINUED)
CONTINUED: 91.
MATTHEW gets up and runs. This is the only shot we get of
RYANS dented and bloody face, now unrecognizable. He makes
it through to the forest as it begins to pour rain. He
cries, mixing his tears with the blood and rain. MADELINE
screams for help unintelligibly. The music swells as the
rain pours harder and harder. We MATCH CUT to:
EXT. SEATTLE STREETS - DAY
RAIN pours down. A taxi waits for JORDAN, running through
the intense rain, clutching hundreds of papers. She makes it
into the car.
JORDAN
Sea-Tac. And fast.
The TAXI roars onward.
INT. AIRPORT - DAY
JORDAN runs hurriedly down a crowded hallway, pushing many
people out of the way. She holds a phone in one hand and the
papers in another.
JORDAN
(On the phone)
Hey, um Percy? Yeah this is Jordan
Fleck. Matthews friend? Could you
get me a hotel near the courthouse?
Ill pay you back.
INT. JAILHOUSE - DAY
MATTHEW sits in his cell, staring at the wall. A man walks
up and opens the door.
MATTHEW
I thought recreation hours were
from twelve to two.
BAILIFF
Someones posted bail.
EXT. JAILHOUSE - DAY
MATTHEW, now back in the close he was wearing before he was
arrested, walks out of the JAILHOUSE. Standing across from
him, about ten feet away, is PERCY and JORDAN. MATTHEW
stands in shock, and walks slowly towards JORDAN. As he
nears her, he tries to talk.
(CONTINUED)
CONTINUED: 92.
MATTHEW
Jordan, I--
JORDAN
(Running and hugging him
tightly.)
Dont ever do that to me again.
MATTHEW
Get arrested?
JORDAN
Leave.
PERCY
Jordan brought your little
autobiography.
MATTHEW
You read everything?
JORDAN
Every word. Why didnt you tell me?
MATTHEW
(Emotional.)
Ive...Ive never told anyone.
PERCY (V.O.)
The trial only has one witness.
This case should be opened and
closed in a single day; tomorrow.
INT. HOTEL ROOM - NIGHT
PERCY sits in a chair as he talks to JORDAN and MATTHEW,
seated together on a bed in the hotel room. It looks similar
to a hotel from thirty years ago.
PERCY
Based on the textual evidence here,
as well as the witness testimony
well have, I dont think well
have a problem knocking down the
second-degree charge. Your issue
will be with aggravated assault,
and battery. We can handle a
battery charge. Youll be in house
arrest for a few years, but no jail
time. The assault charge will mean
at least a year. The prosecution
pushed for too much in this case.
Well exploit that and turn it
around on them.
(CONTINUED)
CONTINUED: 93.
JORDAN
Youre going to call Madeline to
the stand?
PERCY
No. The prosecution is calling her,
but Im going to get my information
out via cross-examination. Its the
only way we knock second-degree
homicide far out of the water.
Plus, if shes honest, and shes
supposed to be, shell confirm what
Im going to refer to as a
confession here.
(Gestures to MATTHEWS
papers.)
Matthew, youre going to have to
remain silent as I ask her the
questions. Can you do that?
MATTHEW
Of course.
PERCY
One last thing; Ryans family will
be in attendance. Their criminal
history leads me to believe theyll
act out and cause a disturbance.
You cannot do anything. No facial
movements. Nothing. Whether or not
the jury is told to overthrow it
doesnt matter.
(Checking the time.)
Ill send someone over to take you
over to the courthouse. Be ready by
seven.
PERCY rises, and MATTHEW rises to shake his hand.
MATTHEW
I cannot think you enough, Percy.
PERCY
Its been a pleasure, Matthew. Ill
meet you tomorrow.
PERCY exits, leaving MATTHEW and JORDAN alone.
JORDAN
So thats it?
(CONTINUED)
CONTINUED: 94.
MATTHEW
Thats all we can do.
MATTHEW sits where PERCY sat, looking at his hands.
MATTHEW
Im sorry I brought you into all of
this--
JORDAN
I brought myself into it. Dont
apologize.
MATTHEW
But why did you?
JORDAN
Because I care about you. You
matter to me. Dont you see that?
MATTHEW
(After a while)
I just wish I was worth caring for.
JORDAN
You dont have to be worthy of
something given away for free. You
matter to me whether you deserve it
or not.
MATTHEW
Who cares for a killer?
JORDAN
You. Are not. A killer.
MATTHEW
Then what am I?
JORDAN
(Taking his hands)
You are Matthew Allen Jackson, and
you are a human being. We make
mistakes. We fight. We scream. We
curse. But the most important thing
is that we move on. You gave that
to me. I moved on from Ben. And now
Im returning the favor.
MATTHEW
I dont understand.
(CONTINUED)
CONTINUED: 95.
JORDAN
Youre not supposed to understand
love. Just accept it.
MATTHEW looks into JORDANS eyes, and the two share a slow,
passionate kiss. They separate, then the two embrace.
MATTHEW
I accept.
PROSECUTION (V.O.)
Ladies and gentleman of the jury...
INT. TRIAL - DAY
The TRAIL has now opened. The PROSECUTION has begun opening
statements. The PROSECUTION is snide and confident.
PROSECUTION
I understand youre busy. We all
have lives to lead outside the
walls of the courthouse, and I want
nothing more than to return you to
those you love as soon as possible.
We have a case on our hands that
should be as simple as it gets. A
young man, just barely eighteen,
decides the most effective way to
end an argument is with violence.
Ryan Stone, just a regular kid,
only wanting to keep Matthew
Jackson away from Madeline Parker,
his girlfriend. A simple request
turned argument turned assault. But
it would not end there. Matthew
refused to stop. Picking up a
crowbar, Matthew decided then and
there--Ryan Stone was going to die.
He beat Ryan. Over and over again,
until the physical trauma could no
longer be withstood. Ryan succumbed
to his injuries. When Matthew was
thrown off of Ryan by Madeline, he
ran. Ran for seven years. I would
like to submit to the jury how
someone even remotely innocent
would run from his sins for seven
years. And based on the evidence we
will show you, I believe, beyond a
reasonable doubt, that you will
conclude that Matthew Jackson is
guilty of murder in the second
degree. I thank you for your time.
(CONTINUED)
CONTINUED: 96.
The PROSECUTION rests, leaving the room in shock. MATTHEW
looks to PERCY.
JUDGE
Would the defense like to make its
opening statement.
PERCY stands. Hes cool as ice. He approaches the jury.
PERCY
Yes, your honor.
Ladies...gentlemen...I choose like
my counterpart to not waste your
time. Would I like to "wow" you
with soaring rhetoric? Yes. Would
Would I like to tell you that
Matthew Jackson is innocent of
murder? Of course. However, Id
like to take my time to ask you to
be vigilant. I will not vilify my
counterparts. I will not pressure
you or convince you with sweeping
emotional statements. I appeal to
your logic in the case, and I
believe you logic will tell you
that the bogus charges against my
client are easily dismissed beyond
a reasonable doubt. Thank you for
your time.
PERCY sits back down, leaving the room to slight murmurs.
The judge slams his gravel.
JUDGE
Enough, enough. Lets begin.
PROSECUTION (V.O.)
And furthermore--
MUCH LATER:
The PROSECUTION holds a crowbar to the jury.
PROSECUTION (V.O.)
I would grant aggravated assault if
this was a simple brawl between
men. But when a twenty bound piece
of metal comes into play, I no
longer think the term "Aggravated
Assault" qualifies.
INSERT SHOT:
PERCY clutches unto the pages of Matthews writings.
(CONTINUED)
CONTINUED: 97.
PERCY
If you do not believe what my
client may say now then believe
what he has said before! I quote,
"Ryan grabbed my shoulder and
pulled me back, his fist raised."
Does this sound like a merciless
attack with no grounds? "His fist
raised?"
INSERT SHOT:
The PROSECUTION holds up images of the crime scene, and
Ryans corpse.
PROSECUTION
...multiple tearing of the skin on
the forehead. Blunt force trauma to
the nose and jaw. Indention of the
skull above the bridge of the nose.
Cracking of the skull above the
left temple--
INSERT SHOT:
PERCY questions MATTHEW on the stand.
PERCY
Did Ryan Stone threaten you?
MATTHEW
Yes.
PERCY
Did you tell Ryan Stone to back
off?
MATTHEW
Yes.
PERCY
Did Ryan Stone touch you?
MATTHEW
Yes.
INSERT SHOT:
The same scene, with the PROSECUTION questioning.
PROSECUTION
Did you pick up the crowbar?
(CONTINUED)
CONTINUED: 98.
MATTHEW
Yes.
PROSECUTION
Did you attack Ryan Stone with the
crowbar?
PERCY
Objection!
JUDGE
Re-phrase the question, please.
PROSECUTION
Did you strike Ryan Stone with the
crowbar?
MATTHEW
Yes.
INSERT SHOT:
PERCY holds the MATTHEWS papers above his head.
PERCY
I urge you! The confessions of my
client trace back to long before
the arrests. Months, even according
to forensic analysis.
JUDGE
Enough.
PERCY
If you want the truth you must take
it from the source. Only then will
you--
JUDGE
Enough! The court is taking a much
needed adjournment for lunch.
Everyone return to your seats by
1:45.
PERCY sighs and returns to his seat. Everyone else begins to
stand and file out.
99.
INT. LUNCH ROOM - DAY
MATTHEW and PERCY sit together and eat in a government break
room. No one else is around.
MATTHEW
Did I finish well on the stand? I
tried to answer like you said but--
PERCY
You did fine. The prosecutions
evidence is emotion. They want you
to have no sympathy. We would have
this case in the bag if it wasnt
for Madeline. The prosecution is
calling her to the stand. If she
answers truthfully, it shouldnt be
a problem.
MATTHEW
If not?
PERCY
I just dont know. Youll handle
yourself, right?
MATTHEW
I will.
PROSECUTION (V.O.)
The prosecution would like to call
Madeline Parker to the stand.
INT. TRIAL - DAY
MADELINE PARKER sits in the witness stand. She shows signs
of wear, and abuse. She may be 25 but she looks 35 or 40.
The PROSECUTION goes first.
PROSECUTION
Thank you for your time, Miss
Parker. I would like to go ahead
and ask my few questions. Did
Matthew Jackson strike Ryan Stone?
MADELINE
(Barely audible)
Yes.
PROSECUTION
Excuse me?
(CONTINUED)
CONTINUED: 100.
MADELINE
Yes.
PROSECUTION
Thank you. Now, did Matthew Jackson
use deadly force on Ryan Stone?
PERCY
Objection, your honor--
JUDGE
Overruled. Clarify the force,
prosecution.
PROSECUTION
The crowbar. Did Matthew Jackson
use the crowbar to strike Ryan
Stone?
MADELINE
Yes.
PROSECUTION
And, after you yourself struck
Matthew Jackson, did he flee the
scene?
MADELINE
Yes.
PROSECUTION
No further questions.
JUDGE
Percy, please proceed with your
questions.
PERCY stands and goes up to MADELINE. MADELINE cannot help
but to look at MATTHEW. MATTHEW looks away with tears in his
eyes.
PERCY
Good afternoon, Miss Parker. I
would like to ask if you saw who
began the fight.
MADELINE
I did.
PERCY
And who did?
(CONTINUED)
CONTINUED: 101.
MADELINE
Ryan.
PERCY
Ryan. Now, may I ask who was
attacking as Matthew Jackson was
reaching for the crowbar?
MADELINE
Ryan.
PERCY
Ryan. Now, who threatened to start
a fight in the first place?
MADELINE
Ryan did.
PERCY
Ryan did. Now, this only leaves the
question of why Matthew Jackson did
not stop. He and his writings say
one thing. What say you?
MADELINE
(Speaking up.)
You ask me why Matthew did what he
did?
PERCY nods.
MADELINE
I would argue out of his own pain.
Murmurs move about the room. The JUDGE slams his gravel and
demands order. MADELINE continues.
MADELINE
Matthew came from a broken foster
home that he was kicked out of the
night before the alleged crime. On
the same day he witnessed myself
having romantic relations with
Ryan, as well as heard me
effectively end the relationship. I
asked him to meet me again, but
Ryan came with me.
PROSECUTION
Your honor--
(CONTINUED)
CONTINUED: 102.
JUDGE
Continue, Miss Parker.
MADELINE
Matthew never fit in. He never was,
well, "normal". And I would say
its because we never allowed him
to be. We taught him that the
things that made Matthew who he was
were wrong. We taught him to be
outcasted for his differences. And
worst of all, we added to his pain.
I...I added to his pain. And for
that I am immensely sorry. So when
you ask me why Matthew hit Ryan, I
would argue that the pain was too
much to bear.
(Looking directly at MATTHEW)
That what we did to him--what I did
to him, was break him.
MATTHEW holds his composure, but just barely. MADELINE is
silently led out of the room.
INSERT SHOT:
Its been a few hours. The JUDGE stands from his seat. The
jury is not in the room.
JUDGE
Until the jury has reached a
verdict this court is adjourned.
Please remain close-by for a speedy
return.
The JUDGE slams his gravel, and people begin the file out of
the room.
EXT. HOTEL ROOM - DAY
Dusk is coming. PERCY leans against a wall, while JORDAN
sits on the floor. MATTHEW stares blankly outward, towards
the sky. Finally, PERCY sits up, staring at his watch.
PERCY
Its seven-thirty and the jury is
still deliberating, but I have to
go home. My wife made me promise--
MATTHEW
Youve been more than helpful this
whole time, Percy. Thank you.
The two shake hands.
(CONTINUED)
CONTINUED: 103.
MATTHEW
No matter what happens, I will
always be grateful for your
service.
PERCY
Thank you. Truly. Ill call you if
anything happens. Jordan, its been
a pleasure. Your help has been
unprecedented. I hope to see you
both soon.
JORDAN stands up as PERCY leaves.
JORDAN
Ive decided.
MATTHEW
Decided what?
JORDAN
Im not going to hear the verdict.
MATTHEW
Jordan, that could be the last time
I see you--
JORDAN
It wont be.
MATTHEW
You dont know that. I want to see
you again before I turn 60.
JORDAN
You will. Youll walk out of that
courthouse with no more than an
ankle bracelet.
MATTHEW
Please dont say that. You dont
know if its true.
JORDAN
I couldnt accept it if it wasnt
true. Have a little faith, please.
For me.
We hear MANIC FOOTSTEPS come fast.
PERCY (O.S.)
Matthew! Matthew! Its time!
PERCY makes it to the two.
(CONTINUED)
CONTINUED: 104.
PERCY
I just got the call. We have to go
now.
JORDAN
What? So soon?
PERCY
I had figured all along they
wouldnt deliberate long! Now we
need to move.
MATTHEW turns to JORDAN.
MATTHEW
I might not fully believe Ill
return tonight, so in case I
dont...
The two kiss passionately. MATTHEW quickly turns and begins
to walk down the hallway with PERCY.
JORDAN
Matthew!
MATTHEW turns to JORDAN.
JORDAN
You remember just a few months ago,
when I hit you with my car?
MATTHEW
Yes?
JORDAN
(With a tear)
Im not sorry!
She smiles. The two look at each other for a while, before
MATTHEW turns back once more.
INT. TRIAL - NIGHT
MATTHEW stands as everyone around him stands. the JUDGE
turns to the jury.
JUDGE
Has the jury reached a verdict?
JURY
We have.
(CONTINUED)
CONTINUED: 105.
JUDGE
What has been decided?
JURY
In the case of The Stave Vs.
Matthew Jackson; on the charge of
Second-Degree Murder, we the jury
find the defendant, Matthew
Jackson--
INT. HOTEL ROOM - NIGHT
JORDAN sits in the chair MATTHEW an PERCY used beforehand.
She holds her head in her hands and remains silent for a
long time. After a very long pause, we hear the door being
knocked on. JORDAN gasps, and shakily stands up and makes
for the door. She opens the door, and immediately JORDAN and
MATTHEW embrace. The shot slowly, but conclusively, fades to
black.
THE END

"Parallel" (Working Title)

Uploaded by

Document Information

Copyright

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

"Parallel" (Working Title)

Uploaded by

Copyright:

Working Title "Parallel" DRAFT 1

You might also like

&quot;Parallel&quot; (Working Title)

Uploaded by

Document Information

Copyright

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

&quot;Parallel&quot; (Working Title)

Uploaded by

Copyright:

Working Title "Parallel" DRAFT 1

You might also like

"Parallel" (Working Title)

"Parallel" (Working Title)