PARIS, TEXAS Screenplay by Sam Shepard and Wim Wenders September 21, 1983(CO) DEVIL'S GRAVEYARD EXD, [DAY bird's eye view. The camera glides iver a vast, empty landscape. JOPENING SUPER-IMPOSED) TRAVIS’ POV inally, a lope man walking across his hellish fesert. Still seen from high above. The camera sinks Jeeper, almost to the ground. UT_TO: refitail -havk, just sitting. down on pofnted rock. Very still. Looking. UT TO: thin man approaching, still at ite a distance. He moves teadily toward the camera. We pee now that he is 2 man in his forkies. He wears a sun-bleached basbbali cap and a cheap Mexican suit and tie that show the signs of severe exppsure to the desert -- sweat stajins, dirt, torn at the knees. He 8 Sandals wrapped in tape and ragb to hold them together. This ily sunburned and eyes peer out with innocence and dismay. {-f1 s the yesert. @ a(G@) LONELY GAS STATION EXT. DAY _@), Trpvis arrfves at a gas station on afremote highway. No car in sight. He“goes difectly to the water hose. He tries th turn it on, but it's ary. Travis enters the adobe building. INT. /DAY nto the dimly lit, at serves as, i pool hall. 4 eyes and| looks around. the ATTENDANT, ,who!s phing hin. that Travis sees TS the f¥idge. He crosses| the room and opens |it. Its filled hp with nothing x-packs of beer, fostly Mexican brands. Travis| closes the fridge and turns to the| ice box next to it. He opens the 1i#. There's nothing but ice cubes ih it. Travis grabs a handful and stakts eating the ice. Suddenly, he Follapses. The attendant approaches him cautiously, nudges him with his foot. No movement from Travis. He chuckles. This is his usual introduction of himself. The attendant approaches him cautiously, nudges him with his foot. ATTENDANT Hey, man, you drunk No movement from Travis.REV. 10/1/83 7B), INT. DAY Travis [is lying on the pool table in the badk of the bar, still unconscious. sessions are spread out next to him on |the green cloth. jan is standing next lhe DOCTOR. He ex: caps. watch with fa broken HUNTER, about thkee years o: f Texas, a}most falling detailed. [Somebody cities and wis with one of jows theREV. 10/1/83 (ac) AMBULANCE int. DUSK (Cy Travis is iyiag on a stretcher in the back of the ambulance. His eyes are open now.| The doctor is sitting beside him, [There is somebody else driving, but je only see his back. The car is speeding down the empty highway. DOCTOR Well, boy, looks like you got yer bell rung pretty good, huh? You got a name? Nothing from [fravis. You know whith side a' the border yer on? Pause. Travils just stares. Té you done somethin’ illegal, I'm gonna kick yer butt right outa' here. You understand that? You wanna talk to me, son? I'm a doctor, believe it or not. (pause) Como te llamas? Maybe you hablas espanol? Huh? Travis doesn'f answer. He seems marooned between some tragic event in his past sha the helplessness of his present situation. He remains silent and wifhout any reaction. Ik GA) CLINIC EXT. /DUSK GA) P.0.V. lof the Terlingua Medical Clinic|sign hanging fin the landscape on the|1onely highway.REV, 10/3/83 ie) G)_ CLINIC int. /Nicet Gy Tedvis is lying on a make-shift examination table. The doctor is exdmining Travis. Travis just stares DOCTOR This ain't no monastery for fugitives. I don't care what kinda’ condition yer in. I spent too much time in this place to cultivate any sympathy. All the sympathy's been burnt right outa’ me. So you wanna’ talk to me, you talk to me now or I'm makin' a U-turn right outa’ this room, and you'll never see me again. Still nothking from Travis. pocToR Lay down. (forces Travis to lay down on the table) Lay down, stupid. (continues examination)’ All right. Guess somethin’ musta’ cut yer tongue off. Either that or you got somethin’ to hide ‘cause I can tell you hear me plain enough. The doctor| moves and starts| going’ faround fhe table through finds a the wa! crumpled let. ass Huh... Walter A. Henderson, (to Travis) Now, I wanna ask you one last question. You see this here card? The doctor holds up the Jusiness card with Walt's name on|it. Travis just stares at it. Is this you? Or a relative a! yours? Kin? I'm gonna call this here number and see if they can tell me who you are. T ain't got beds enough to be puttin’ up mutes. s looks at the a The doctor leaves. Trav: e tha Soczar's i ceiling. It's as though questions called up memofies and associations in his mind|that he finds impossible to answer. L4nguage is useless 5. to Travis.REV. 10/27/83 sao7 UNDE G® oO WALT'S BILLBOARD AND SIGN COMPANY EXT. LATE AFTERNOON (4). 7 | Wald is six to eight years younger | thar Travis. His business is a billboard and sign painting compan: in urbank. He's supervising the work of some ‘of his painters in thq backyard when he's called to the phode. The call is from Texas. Zetda very bad connections ba bas to dhout into the phone. 4-3 notices, “ar Siar : (into phone) Hello... yeah, yeah, that's wide me... Yeah... What?... Wait a second pe Doctor who?. GD (pause) That's my brother?... Are you sure? Durihg the/conversatipa, Walt Gan I talk to him?.,. Well, this has seed Anne ‘ross from fhe office | ‘kinda caught me up short here. I haven't intd the wokkshop. heard from uy brother in over four years? ves What? Okay... All right, give me the exact location of your hospital there... fan, (pause) OO Okay... all right, all right, listen, thanks for the call, doctor. I'll be a right down there, I'11 get down there ? as fast as I can. Tell him I'm coming, b okay?... Okay... After the call, he hangs up and starfis there for @ noment, thinkias, then goes into the workshop where Anne has gone.Walt grapl INT. (CATE AFTERNOON comes into the workshop where his Wife, ANNE, is giving some £0 one of the workers. Cu WALT Med 2-S A place He says he's found Ohjno. Is he all right? waALT I'h not sure. This doctor had such a thkick German accent, I couldn't hardly unflerstand him. E t're you going to do? waLT W411 I'11 go down there. Well, honey, what else can I do? I cpn't just leave him down there. jt about Hunter? What am I supposed fo tell him? (CONTINUED)= WALT, Well on a| I don't know. ‘Tell him I went trip or something. I mebn about Travis. wan] (pase) . Well, honey, I guess you betker just tell him the truth.GL SENIC big main room of the clinic. hother corner, TWO MEXICANS are ng silently. They are wettfacks, obviously, who are given salve on his skin, sees the uneaten tray of food at Travis' bed. NURSE air. ‘Trayis is silent. The nurse takes the|tray away and leave: The|Mexicans in the corner watch Trayis suspiciously. Pov. Trayis turns to look out thp window aboye his bed, then turns bck to look at the ceiling. You're not hungry? something, you know. (to the Mexicans, in Spanish) A little crazy, this one. The doctor called his family. They thought he was dead. TNT. 7EVENING —() You oughta’ eat Can't live onoy (6) Walt sits in an airplane by the window.| In front of him, some Paperwork that he took with him from tht office. But he can't concentrate on his work. He looks out the| window. (GAY WALT 'S TP Below him, 4n the last light of the day, th¢ rugged landscape of the Rock} Mountains. INT. DUSK (6) 10.REV. 10/3/83 Gy Grinic Ext. /wrceT (7) Travis hnd offers him a beer. Travis takes the can and looks at it. shakes his head and returns dt to the Mexican. ED (7A) _GAS| STATION/SOMBWHERE IN TEXAS ‘EXT. /NIGHT (7A) Walt has| been driving - He stops in a gas station as the |sun goes down to get coffee ard check his map to find Terlinguq. lu.REV. 10/4/83 (GA) RENTAL CAR/ON THE ROAD TO BIG BEND EXT. /DAWN (BA), OQ ¢ the camera and drives The land swallows it (S)_RENTAL_CAR/ON THE ROAD 70 BIG BEND INF. DAN CB) CAR WALT Walt drivep straight through the night. He| tries to find some faniliar mbsic on the car radio, but all he|can get is Mexican polka musit from the Rio Grande. Everything| is in Spanish, even the weathek. WALT (talking to the radio) What is this? Mariacchi Polka Cucaracha? What country is this, anyway? 1 thought this was the U.S.A. Where's George Jones, Bob Wells, Tammy Wynette? (curns off radio) Basta with the polka! (he starts singing) “The stars at night are big and bright, Deep in the heart of Texas, Reminds me of the one I love, Deep in the heart of Texas... " 2.REV. 10/3/83 @) CLINIC Ext. /NrcaT (3) porch. He hums a dtrange Mexican melody, very softly to himself. The tHo wetbacks aye asleep, one of them fnoring with His head on the table, the other sqread out on the bench}. Travis closes his ¢yes and stops humming. He listeys to the sounds of a great failed grackle whistling in the night. In front of Travis] inner eyes some images appear|from the time when he was living] in Mexico. 13.REV. 9/30/83, (0) VISION: ADOBE HUT INT. /DaAY G0) O ‘An OLD] INDIAN man watching over Travis is in very bad His head is smashed in. le body is bruised. The~ is bandaging Travis with GoD. 10a) SION: A MEXICAN HOUSE EXT. /DAY (0A) Just aflonely house with some chickeys in front of it and a pick-uj truck with a Mexican licensd plate. oad) Cob (op-3) (oe-) (08-2 (8-2) oe-P ‘VISION By People who Tyavis met in Mexico, just ees at h4m‘openly and fridndly. Goe-d (10C) VISION: ADOBE HUT EXT. /DAY ‘Cocy ‘The Old Yndian who nursed Travis crosses into the adobe hut from outside, |while a neighbor crosses out in the background. BACK TO: (GAY LATER Travis sudden: and puts his straight out gets up from the ground jacket on. He walks jack into the desert. 14.Gi) GarreD Gy C2) LINIC Walf is exhau: not| sleeping. CB feed from driving and He arrives at the fut of his car and ithe doctory who is jnair ont cM front 4) EXT. /MORNING (12) hsnse 9-3) ED DOCTOR You must be the brother of the mute. WALT Mute? DOCTOR Yeah, we couldn't squeeze the time a’ day outa’ him, Must be in some kind of a jam, huh? WALT I don't know, I haven't seen him in over four years. DOCTOR Is that right? Well, a lot can happen to a man in four years I guess. All kinds a’ trouble. Expensive trouble. WALT What do you mean? DOCTOR Well, down here, a man gets hinself into’ a fix sometimes and it costs a little to get him back out. We're kinda’ on the edge a’ things down here, 4 you understand what I mean. (CONTINUED) 1s.Oo REV. 10/1/83 (2) CONTINUED: Z 12-1 26 Gy WALT No, I don't understand what you mean. I wish you'd just get to the point ‘cause Id to see my brother. net ght, sir, all right, but first like to ask you somethin’. Did her ever get hisself in a car ck? No, not that I imow of. musta’ been mixin’ with some hard ‘cause that kinda’ damage don't om fallin’ outa’ bed. \d of damage? oks to me like every bone in his st broken up sometime or other. professional medical help either. WALT I'd like to see my brother now, if you don't mind. at's just the thing right there. Iwas tryin’ to hint at ya' see. He's disappeared. isappeared? ‘You mean he's not After I came all this vay— (CONTINUED) 16-17.REV. 10/1/83 CO) (12) CONTINUED: 2 2) 12-0 DocTOR He's been gone since early this morning. It was too late to let you know. We have all his possessions nevertheless. Saved them. We'd be glad to turn ‘em over to you... soon as you take care of our little reward. Your brother ran up one big bill, you know. ‘ 18.REV. 10/4/83 (G3) HIGHWAY RENTAL -CAR INT. -EXT./DAY_Ci3) backs “his car out of the clinie((3-}) WALT'S Pov onto the road. But he only goes jort way. Already at the next cosa he polis over to the cide, (3-9 ((2-19) lid he go on the paved highway of lhe dust road? He hesitates. He up the plastic bag contais lof Travis' possessions and{ jomly pulls out the photograph Iravis, Jane and littie Hunter stares at it. Then he quickly it back and pulls off down the road. ! “dow and stops. osses the road behind the cdr without looking over at Walt or sljowing hip pace. Walt gets out of thhe car. | Slowly he recognizes the fan as Travis. wis. Do"t you s Walt. It's your ltops and looks over at Walt. ‘ly approaches Travis until two [brothers stand face to face. Thpy're |just standing there for a dent, staring at each other, Ih a different kind of Travis very slpwly rebogniges the truth of it] through a fistat memory. Walt iq shocked fhysical change in fais brpther Jand his general cqndition. WALT What in the hell's happened to you anyway? You look like forty miles of rough road. (CONTINUED) 19.GO EDGD CPEB Ay Walt fhuckles, tries to|make a joke of it. Travis |just states. Walt/opens the|front dofr of the ca1 and invites Trgvis to gét in. Travis 8 at the door for while, tl the back|door and|gets into tl y drive $ff. ‘WALT Well, come on, let's get in the car and— Ler|'s just get id the car, okay? Conle on. 20.(iA) DRIVING TOWARD MARATHON/RENTAL CAR INT. ~EXT. DAY (14) @riving, glancfs in rear view dor at Travis in|back seat. , avkward, doesn't know quite how [to break the ict. He picks up the [plastic bag and|hands it back WALT Your stuff's in there. They gave it ¢ to me at the cline. Boy, you sure picked one helluva spot to land in. T can't blame you for running out on ‘em. Long pause, Travis|stares at the bag] doesn't open if, sets it on the seail beside him. WALT Look, we've got a little bit of traveling to do, so I hope you're not gonna clam up on me for the whole trip. Might get kinda lonely. (pause) Trav, would you mind telling me where you disappeared to for the last four years? RIS (pause) Have you seen Jane at all? Or talked a to her? teafis tenses up. Hach question drifes him further inside himself. Thefe is no hostility; he simply can}t speak. He hat no words for whaf took place. Fer awhile, they dripe on in silence WALT You know, Anne and I gave up on you. We actually thought you were dead. Trais slowly closes his eyes. 21.Wwe REV. 10/5/83. [5-l oO (5) MARATHON MOTEL, Ext. /Day (15) The caz| pulls up in front of one of the bungalows. Walt and Travis get out. Med 2-5 9) 7S arounfl, then opens the curtains. WALT ) Travip just stand in the middle of the rhom. Walt looks at his brother, This is nice, huh? sits pn the_bed. Travis sits on | as | Well, what do you think, Trav? You want to get cleaned up? Maybe take a shower or something? I think I'11 go into tow and get you some + clothes. You can use a new set of GUT 2-5 clothes, can't you? What size shoes do you wear? os Travis is silfnt. Walt moves to sit LY est |to his oh. the bad: (sy INSERT - CLOSE ANGLE ON SHES Let's see. (looking at their feet to measure, then looking at Travis) So where'd you get that beard? it’s pretty snazzy. (pause) Okay, I'11 just zip into town and zip back. I'll be right back, okay? Med - WALT | [5A-1 No shever frqa Travisl Walt noves to the You'll be okay, won't you, Trav? (pause) I'll be right back. Travis just Jooks at |him. Walt leaves. x 22.« QU Ge) Travis is left alone. He sts on the bed|for a moment) looks arond. Tears com He gets bp and moves 3 He E Gee Op the shower. The sound of the water hakes him start humming. It's the shme melody that we heard in the hospithl. Travis takes off his jacket and] suddenly finds himself looking at| his own face in the mirror. He is frightened by what he sees and turns around. Out of the sleeve Lining of fiis coat, he pulls an envelope dhat was hidden there. He unwarps iq. It contains a strange map and a [photograph of an empty piece of Jand. Travis smiles and suddenly the Spanish words of the song that he iq humming come to him and he sings them loudly. He s happy. REV. 10/5/83 22k.@:; REV. 10/5/83 &D (16) MARATHON WAIN STREET/HARDWARE, EXT. /DAY. Walt cones driving up the main street of the little tom of Marathon. Most shops are closed, forever.| The only place to buy clothes is the hardware store. Walt locks at the display of cheap : work clothes and boots. He sighs and enters the hardware store. Clb). Ti6A) [MARATHON MOTEL ExT. /DAY Travif walks down the lonely highway, leaving the motel behind. A police car passes him on the highway. ey eay G ‘MARATHON MOTEL, INT, [DAY Walf comes back into the motel room with two paper bags of new clothes and|a shoe box. But-there is no Walt seaZches the room; he even looks in the closet. The shower is still WALT running, but Travis is gone. Walt gets back into the car with the bags and drives off, leaving the motel door open. (looking in closet) Damn it. an 23.@D (Ci8)_DIRT ROAD/RENTAL CAR/RATLROAD TRACKS gets out of his|car, walks hp to the tracks and just| stands therp in Travis' way. Travis cones up to him and stops. REV. 10/7/83 EXT. /AFTERNOON (18) waur Pav. Would you mind telling me where you're headed? What's out there? 3 Trapis doesn't pnswer. He just looks down the failroad tracks. Travis, would you mind telling me why you want to walk straight out into the middle of nowhere? There's nothing out there! (pause) Don't you trust me or something? I'm just trying to help you out. That's all. (pause) Come on, Trav. huh. They move to tHe car on the road. Travis stays s{lent. Let's get in the car, 24,REV. 10/7/83 GD SHOP_IN FORT STOCKTON SLISHING SHOT of Fort Stockton "Bob's Barber Shop" in the ound. reading a magazine and waiting for Travis. Every once in a while their eyeq meet, then|they look away from each other. There is music from a sfette recordbr, an aria from a HERE ope “the Pearlfishers." INT. DAY BAY eB) g RANCHO MOTEL/RENTAL CAR jough the windshield of the lar. They are driving into Seen tl rental motels dnd neon signs. The car pulls isto the EL RANCHO and stops ia front of the office. FADE OUT: INT.-EXT. DUSK (8B) 24a.8 REV. 10/7/83 CE RANCHO OTEL, THT. EVENING (15), Wis is shaved and dressed up in stiff, new clothes. There is thing ludicrous about the whole ing. But Travis accepts it all. just looks at himself in the ror. Walt enters from the loining room. WALT How does it feel to have fresh clothes on? Huh? Pause. No answer from Travis. Just stand up. Let me take a look at you. Just stand up. Travis doesn’t say anything. He stands up |as Walt moves in the room to him. Let me look at it without your hat for a second. Just take your hat off for a second. Travis removes his hat, and Walt takes it. That's it. Turn around. (as Travis turns) Wait a minute, you've got labels. Walt takes the labels off the seat of Travis’ levis as he hides Travis’ old dusty hat lin the drawer. Are the shoes all right? (pause) Well, look we can always get you new stuff in California when we get there. I just | thought that for right now it would be good to have something clean. Do they feel okay? I Travis is silent. Okay... Stick your belt on and let's go get something to eat. I'm starved. the room, and Travis puts his to on and looks at himself 25.aed ch Co : REV. 10/7/83. 25 TeReviS WALT God Gon) Ga- (207 RESTAURANT INT. /NIGHT (20) Wal} and Travis fro each other WAITRESS has jus! fool. Travis st: he fon't eat. ire sitting |across ina booth. | A brought tHeir Ires at his|plate; WALT You're sure you're not hungry? (pause) You oughta’ eat something. When was the last time you had something to eat? Trapis stares. at |his plate f food. I talked to the doctor. At the clinic. ‘He told me that. you'd gotten all busted up. (pause) You don't have to tell me anything about it.. I'm just trying to help you out. That's all. Long pause. Walt eats. ‘Travis, do you remember your son —- Hunter? Well, he's with us. He's been with ne and Anne ever since you disappeared. We didn't know what else to do so we just kept him with us. He was just standing at the door. All he could tell us was that somebody had brought him there in acar. Hevdidn't know anything about what had happened to you or Jane. He was just very disturbed. We tried everything Wwe could to find out where you were. We tried to locate Jane. She vanished, too. There wasn't anything else we could do. Travis is just sitting there. He Long pause. Walt doesn't know how to handle this situation. Damn it, man -- Travis -- I don't know what happened to-you-- I don't know what kind of trouble you got into but— I'm your brother, you know. You can talk to me. (CONTINUED) 26.Go-2) (20-3 (20) CONTINUED: h (20) Travis stays sileht. WALT I'm tired of doing ALL the talking. Walt gets up fron the table. . - = I'm gonna go give Anne a call. XK 27.Fuel* ae : “ ‘ | REV. ‘10/7/83 7 (-L (@i) HHONE BOOTH OUTSIDE THE RESTAURANT EXT, /NIGHT (2) Walt and m In thy sittd] Jones ‘out of the restaurant 7S es to a phone booth outside, (2/-2 f ackground we can see Travis ig at the table from behind. When fhe call is answered, it is not Anne pn the other end, but Hunter. It takes Walt by surprise. GD WALT Hi, Huntey, it's daddy. I thought you were in bdd already. Hover (40.) I'm watchfag T.V. WALT Guess who|I am visiting here in Texas? ‘HUNTER (V10.) Who? WALT Your father, Do you remember your father? HUNTER (V0.) Yo. WALT Not at alll? HUNTER (v2.) PeaeayBis wl tet) ase. WALT (laughs) was? HUNTER (V.2) I think he¢was. (CONTINUED) v/ 28.q ’ suas REV. 10/7/83 (2i)_CONTINUED: z 2 Well,|guess what? I'm bringing him out there for a visit. Would you like Hi, hbney. Well you wobldn't... Well, ‘a place called Fbrt Stockton, just— him th eat... No. He wpn't tell me 29.. . x : REV.-.10/8/83 Gad Gr) O (22) EL RANGHO MOTEL ROOH INT. NIGHT Gz. : a ‘Travis sits'jon the fldor near his bed, He watches the 1,V. screen. There is no |program on it, just a strange and |hypnot: In the adjoining Foor on jhis bed, asleep ony He feel asleep A= B) XC CLOSER ]~ 0% TV (2a) TRAVIS" VISION: VIOLENCE, int. /icat (24) A dark figure of a man, chasing a woman through a narrow and long room. She tries to hide from him, bot he drags her out of the comer - her up badly. These images are only seen as distorted nightmarish fragments, neither of the two figures is recognizable. The scene is alnost silent; the only sound is the desperate crying of a child. / 30.REV. 10/8/83 GED (2a)_EL RANCHO HOTEL ROOM TNT, RIGHT (23) deep down inside him with wide open, ey. fe scarce talking tn @ voiceless, helpless rage, until he is finally able to shake his visions off. He gets up and walks to the window. He pulls the curtains open and looks out. TRAVIS Not one of his bones shall be broken. 5-1 (25) MOTEL "SW! NG POOL EXT. /NIGHT (25) TRAVIS' P.0.Y. The swimming pool of the motel|in the moonlight. The highway is right behind it. No car and np person in sight. 25a) (25a) TRAVIS" VISION, (say Travis frossing the Rio Grande at night, farrying his belongings in a bundif over his head. 31.REV. 10/10/83. (26)_EL RANCHO MOTEL PARKING LOT EXT. /MORNING (26) (27) SGREBT/RENTAL CAR EXD. DAY (27) The cay pulls out of the EL RANCHO MOTEL 4nd goes down the street one block 4o the next gas station. 32-33.“REV. 10/10/83 { (28)_GAS_STATION/RERTAL CAR INT. -EXT./DAY (28) T 7 watt frives’ into thh gas statgon and chts the engine} Travis stays in thp back seat wipre he eeeas quitel confortable. He studied the fap of Texas. The gas Station ATTENDANT moves to Walt'|s window, Kw war (to attendant) Fill it with unleaded, please. Wait|turns to Trav: You know, I'm getting a little sick of this silence stuff. You can talk. I can be silent, too, you know. I'd just as soon neither one of us said another word the whole trip if you want to know the truth. b Travis has been stidying the hap. He runs his finger|across the| map of Yexas and paused at the tofm XQ of Haris. TRAVIS Paris. Thip is the first ford Travis has . spoken in Walt's presence. Welt turfs to look at him, startled by the] sound of the wbrd. WALD What? ‘TRAVIS Paris. ‘WALT i : Paris? . : TRAVIS Did you ever go to Paris? (CONTINUED) 34.“REV.’ 10/10/83 » r By laughs) It's a little out of the way. There is|a pause while théy both jmenber. But we never seem to get the me because my business keeps me pretty sit there. sae Nd, I never got to go to Hurope. Anne tdixe about it all the tine, She wants ) td go because she's from France, you n _ é G py. you know. Travis chuckles to himselj, lost 4 ofn thoughts. out of the window. 35.REV. 10/10/83" (29)_HIGHWAY/RENTAL CAR Walt Jand Travis drfve down the highfay, the lands¢ape passing in te background. They|sit silently. ExT. DAY 3p 36-38.GO)_RENTAL CAR = Travis fis still in the back seat of the cay, Walt is driving. Travis takes qut the assessor's map and the polaroid of the vacant lot from the plgstic bag Walt brought from the cljnic. Travis stares at the photo dnd then tries to locate "paris'] on the map again. Walt is watchigg him the whole time through the redr view mitror. Cu Péoro Keu- PHOTO 30-3 We seq the qhoto Travis] holds. INT, -EXT./DAY (30) WALT What's that? ‘TRAVIS What? WALT That that you've got in your hand. TRAVIS (leans forward) Oh, Two things. WALT What are they? TRAVIS Um-- Well, one is um -- What do they call—- I forget what they call this one, but this other one is a um picture. war (frustrated with Travis' slowness) A picture of what? TRAVIS A picture of-- A picture of Paris. (coxtivED) 39.) GoD (30) CONTINUED i seat to jalt. Walt laughs because Travis sp the polaroid over the all he s Walt han| Travis. He aug! es is a vacant lot. fis the polaroid back to (30) war Paris? avis Yes. A picture of a piece of Paris. waar: Where'd you get a picture of Paris? Can I see it? TRAVIS Yes. WALT This is it? This is Paris? This looks just like Texas to me. ‘TRAVIS It is WALT Paris, Texas? ‘TRAVIS It's right here on the map. WALT You mean, there's really a place called "Paris, Texas'? (CONTINUED) 40.GO) CONTENDED: Travis hands the picture back to Walt. Wdit studies it closely. Vv GO) ‘TRAVIS It's right here. MALT Well, how come you've got a picture of a vacant lot in Paris, Texas? ‘TRAVIS It's mine. WALT I know it's yours, but how come you got a? ‘TRAVIS I um-~ I-- purchased it, In the mail. Long time ago. WALT You bought a picture of a vacant lot through the mail? ‘TRAVIS No. I bought the lend. aur You bought this lot? ‘TRAVIS Yes. WALT There's nothing on it.3 Oy © (30) CONTENTED TRAVIS (aughs) Empty. WALT Why in the hell would you buy a vacant lot in Paris, Texas for Christ's sake? TRAVIS (trying hard to remember) I uh—- I forgot. WALT (handing polaroid back to Travis) Here, Tra Travis takps picture back and stares hard at it/as though hoping the reason wilh cone back to him. Va 7d a1.REV.” 10/13/83, (GI)_EL PASO _AIRFORT/RENTAL CAR PARKING LOT EET. /DAY GU) widE 7 Walt xeturns[the car to thd car rental place| Again Travif doesn't want to get put. Pov. wae (opening Travis' door) Come on, Trav. Let's go. Travis looks around at the| terminal ard airstrip. ‘TRAVIS. Where're we going? WALT We going to fly to Los Angeles. You're not afraid of flying, are you? ‘TRAVIS We're leaving the ground? want Yeah. TRAVIS ny? WALT Because it would take too long to drive. It would take an extra two days and I can't afford the time, Trav. TRAVIS Why? WALT It's just--"It's easier to fly. There's nothing to it. Did you ever fly before? faster. Come on. ‘TRAVIS A long time ago. (CONTINUED) It's 42.REV. 10/13/83 fo» 3, Gq ~ Gi)_CONTINUED: Gp WALT Well it only takes a couple of hours. ‘TRAVIS A couple of hours? WALT Right. ‘Travis looks down and doesn|t budge. SCENE 32 -- OMITTED - 43.45.(G3)_EL PASO ATRPORT/RUNWAY The plane comes to a stop. A small truck with alumihum stairs on its bed is seen apprpaching the plane. The door of the plane opens. Travis appears and walks down the stairs. Walt follows him} Together they Walk back to the| terminal. ERD. /AFTERNOON (33) WALT Travis, look-- this is getting ridiculous. I mean, I don't even have to watch Hunter this close. (stops himself; feels he's said the wrong thing. Tavis Are you going to leave me? WALT No. I'm not going to leave you. TRAVIS It's all right if you leave me. aur I'm just trying to get you back home. See what I mean? I just want to get you back and get you settled and then you can do whatever you want. I don't care what you do after that. You can go off by yourself if you want. I'm responsible for you now. Understand? I'm trying to— (stops. himself again) Oh, just come on, will ya'. Just stick with me now, okay? Do you realize how many people we detained on that plane? You can't just go around doing things like that. This isn't the wilderness. You're living with people now. 46.REV. 10/13/83. Cy GE)_EL PASO ATRPORT TERMINAL/AVIS COUNTER. INT bay Gay AL MED = bate GHD i wale phone in front of the jer, talking to Anne. Je on Travis who is WALT (on phone) Well, it'll take a couple days at least. Look, I better go... Now He's-- I gotta go tow. I'll call you later... Okay... No, I love you. Yeah, I'm fine. Bye. Travis and persuades him qo leave now: 47,>) REV. 10/11/83 EXT. /APTERNOON (35) WALT-CLERK 354 (G5)_EL PASO ATRPO On the the RENTAL CLERK afe fol Travis car, apparently seprching for| something. He seehs to be lobking for a fertain detail, a scratch at the bak door or af half-torn pumper sticker. RENTAL CLERK (to Walt) Well, sir, I can't understand why you need to rent the very same car you had before. They're all alike. Every car we have here is a Ford or an Olds. I'm not even sure we can locate the car you had before. WALT I know. It's my brother-- Hé uh— He left something in the car, and he was hoping he could search through the car and-- RENTAL CLERK Oh, well, I'11 just contact our lost and found department in that case. want No-- We need to find that sane car. RENTAL CLERK Well, sir, I can't do that. There's no way I can trace that car for you. WALT Why not? You've got the license plate number there on the form, RENTAL CLERK Well, yes, but— waur Give it to me, and we'll find it. (CONTINUED) 48.. REV.. 10/11/83 oe ED & @ GS) coRTENTED: G5 RENTAL CLERK I'm sorry sir. I can't allow you in the lot. WALT Why not? We're already on it. RENTAL CLERK g: og I dust have to ask you to come back to the office with ne. faa (to Travis) Travis. TRAVIS. What? wae I don't think we can get the same car, } WY RENTAL CLERK I can rent you a model that's just, like the one you had before. TRAVIS We need the same car, Walt. How can we go in another car? WALT (to Clerk) Give me the license number, will ya, please. RENTAL CLERK Sir, I-- WALT . Just give me the number! Please, please, please, please. RENTAL CLERK O The Clerk shows Walt the number 7 : on @ sheet of paper. ALL right, sir. The number is 667-DJP. (CONTINUED) 49.) REV,..10/11/83 G5) CONTINUED: 7 Travis repeats the number as ti leave to look for the car. (e] WALT (repeating the number) 667-DJP. (to Travis) Remember that, Trav. 667-DJP. TRAVIS 667-DIP. It's got a bump on the hood. RENTAL CLERK Yes, it does. That's the license number. 667-DIP. ‘TRAVIS 667-DIP. 49n.: ou OA ne , MBO. Talis onbst HER pe MED AE BREE non Bu-8 Ged) CD (3b-B) ba) ups oN (36) RENTAL CAR. TINT. -EXT. /CATE AFTER N_ (36) They're ih"the same cak again driving avay from the birport toward thp freeway. Travis is now sittihg in front. | Walt is driving. TRAVIS (stants a _ therSstops) I renenper now... S WALT: p What hy 7 bought thatChand. rary Oh? Gin Paris, Texas? maavks Yeat. She (ld you that TRAVIS Yes| (pause) $o°I figurdd that that is Where I began.\ Travis Clay Henderson -- they,famed mg’ that. I stated out ther > wax (laughs) You thipk maybe that's . whers’ you were cohceived V Vv \y (compeO gd Ge) CONTINUED: 1 CE Travis starts laughing hard, then stops himself. me one. / ravis K about it. WALT ( 7 wane T Weil you're proiphty right, Travis. c 2 . waLr Well/ that's the [first I" aboutywhere they net. (stajes. at Walt) Daddy = 5 Oh yéwh? What was it? travis He uged to always introduc girl|he'd met inParis. a while before he said ‘Texas eee thoughtthat he was talking Paris, “tw abou! He always laughe ¢ WALT IN real hard abot I dost remember any of thpt. it mygt've been Hefore ay Fine. travis she fever 1ooked/French anyhay. you know how she jooks. I.don' who he thought h¢ was kiddifg. (contisbep) heard Mom| never told joke. as the he'd wait after ut that. Guess I mean, t know st.REV. 10/12/83 Be8) Ge) BeP) Be-D) — Be-3) Qo-W) , (3) CONTINUED: 2 T (e15) T 5 | mes 5 (aften pause) Travis —— ey What ?/ sux’ There?s something|I gotta’ ti T might as well E411 you now} TRAV] 2 What? 7 11 you = WA VRE ons WALT’ Pov _ Mom ied three years ago. Jhst about 9 a year after you Hisappeared| She just 36-1 died in her sleep Tipvis just |looks at him. | Then he Jopks out of the car. Thay are Passing a cduetery. ? \ TRavds / Could we pull ovef here. WAL: Yeah) sure. 5 rr | v7 INARA 52.O y have stopped bi t lies right bes: Walt doesn't. know. w} Conia. Stor. WAT 1 yan old cemetery jde an enormous trance as Travis cemetery looking 4 11 grave with sand 5 The i GRAVE avis Sy BES pick a flower ana O1-@) knebls besidp a sma: a hbadstone that has only one word He We see the entif touches the GD grave yard with y eway in the b.g. 3 37-/0 and Travis walk ou cendtery together and drive [off in the estat car. REV. 10/12/83 Ext. DUSK, R346) G7 53.“REV. 10/26/83 a GB) FREEWAY RENTAL CAR TAT [NIGHT G8) They're driving on a New Mexico freeway through the night, silently, both following their own thoughts. Walt is yawhing. ‘TRAVIS Do you remenber Mom's very first name? WALT Mary. TRAVIS No, no, I mean before she found Daddy. WALT ob. Her maiden name? ‘TRAVIS What was she called? WALT (can't believe that Travis doesn't know) You don't remember her maiden name? ‘TRAVIS No. WALT It was Sequins TRAVIS Oh, Sequine. Spanish. war Her father was. . ‘TRAVIS Yeah. 54.REv.”10/28/83 * Cr! G9) DRIVE TN RESTAURANT/RENTAL CAR EXT. /NIGHT (39) The car|is parked in a ASTRO BURGER DRIVE If restaurant. Travis site at a table| alone. A WATTRESS brings the food and sets the traps on the table. For the first t{me, Travis eats. Walt comes to the fable to join him. WALT I don't believe it. You finally decided to eat, huh? ‘Travis hods. Eating and talking. Before you know it, you'll be back in the land of the living, Trav. ‘TRAVIS You want me to drive? WALT ‘sure. You think you remember how? TRAVIS My body remembers. while I drive. You could sleep WALT Okay. (pause) They put cheese on this. You can't trust them. Well I'll just eat the bread. I hate cheese. 55Mou MCLE Fiantie! WALE = ae REV. 10/28/83 Go GD GD (GO)] FREEWAY /RENTAL CAR INT. (NIGHT Go) i Travis is driving |now as they Jeave the Astro-Burger yestaurant, very cauthously and self-consciously. Walt| watches him for a while. waLe Hey, Trav. Do you think you'rarabout ready now to tell me where yoi@fere for the last four years? ‘TRAVIS No. (after pause) Not yet. Walt nods. He makes himself a| comfortable as he fan in the passenger seat and closes his tyes. Travis drives faster and with pore confidence as the experience rpturns. k 56.some : : ee Rew., 10/22/83 « (already shot) (CL) DESERT JUNK YARD EXT. PRE-DAWN/DAWN (41) It\'s pre-davm and Travis is out of the caf wandering through a desolate junk yakd he's found in the desert. Walt is'Gleeping peacefully in the car in the distance, parked on a dirt road. con YI -F wie Mean seeing Travis, aed 24 comes out of| the car. WALT Travis? avis What? Walt moves to join Travis}. WALT Pow. Where are we? Travis? Where's the highway? Walt ipoks around in all flirections. Nothing but white sand and junk. You've gone off the highway! Jesus Christ, I can't get even five minutes of sleep without some crisis. Where'd you turn off anyway? TRAVIS I don't know. It didn't have a name. WALT Well, that's great. That's just dandy. We're out in the middle of the Mojave Desert in a place that hasn't got a ‘TRAVIS I can find the highway again.Rev. .10/22/83 ..... (already shot) (iy CONTINUED: —T Cy Reluctantly, Walt moves to stand| beside Travis, who is sitting on| an rar cores essai tmepieace wae fis voeel inndarepaerouaaycacaetl get oc Hievle'cuadeniy seares eo tell Whe Eeaieesys IRapid C{ty, South Dakota, ay ner gave~me ice cubes wrapped in kins to suck on. I was teething In and the ice numbed my guns. t night ye crossed the Badlands. oad in fhe shelf behind the back t of th Plymouth and stared our the starg. The glass of the dow was freezing cold if you hed it iS stopped op’ the prairie at a place h huge, eS plaster dinousaurs } nding arbynd in a circle. There no town,) Just these dinousaurs mother cérried me around in a ‘Army (blanket humming a slow e. I think it was 'Peg a’ my srt." She hummed it very softly herself/ Like her thoughts were a, re were ao people around. Just and the eo It 7 58.‘\ MEd. 28 Rev. 10/22/83 (already “shot) (2) DiRT eB TRACKS. woe GaD Travis road come |to a stop af crosging to wait pass Travis turns off| x ye d Walt jove down a dirt in their rental car and SO cy a railroad for a train to Ga-Sienir the enginel EXT. /DAY (42) MCA Teas ‘Trav, I need to talk to you! a little bit about Hunter. ‘TRAVIS Hunter? Is he okay? WALT Oh, yeah. Sure. He's fine. He's a great boy. RAVES How old 4s he now? war He's eight in January. ‘TRAVIS He's seven then. WALT What does that make hin? WALT I don't know what you mean. TRAVIS Well, what grade does that make him in? 59.O MED age MGA ce G2) CONTINUED: MALL : Rey, 10/22/83, WALT “TRAUIS, < (already shot) Go Goes Icy) wide Gta) SNS ‘WALT Oh. Second. TRAVIS Second grade. I can't remember second grade, Can you? WALT, Yeah, a Little bit. (after pause) But see, the thing that I wanted to talk to you about is -~ well, he's like part of the family now. 1 mean, Anne and me are like his parents now. TRAVIS Anne's your wife? WALT Yeah. You remember her, don't you? ‘TRAVIS No. Does he think you're his father? WALT Well -- Anne told him that you're coming. ‘TRAVIS Well, who does he think I am? WALT I told him. TRAVIS, What did you tell hin? wan I told him that you're his real father, but see -- you've been away so damn long. 60.(2)_CONTINUEDE ML “sRAUS Rev. 10/22/83 (already’ shot) (cs CD . : \ \ \ The train has passed now. Travis LINN Rep L 7 2 c a \ ? a ¢ startls the engine and drives on towayd the highway. ‘TRAVIS How long was it? Do you know? WALT Yeah.’ Four years. ‘TRAVIS Four years! WALT Yeah. And see the thing is... it's just that I don't know exactly how hhe's going to react to the whole thing. TRAVIS Is four years a long time? WALT Well, it is for a little boy. It's half his life! REV. ANGIE HA-S) TRAVIS 61.GD (@3)_DRIVING THROUGH THE MOJAVE/RENTAL CAR ‘The desgrt landscape seen through the windshield of the car; Travis’ eyes in|the rear view mirror. Walt's still sitting in the passenger seat. own, TRAVIS How come? WALT (V.0.) ‘TRAVIS Okay. WALT (V.0.) ‘TRAVIS Okay. In the middle of the day; the air is wavering with the desert heat. A very WIDE SHOT. The car pulls up at the side of the highway. Walt pnd Travis get out to change érivers. (GSB) MOJAVE DESERT — LATER (435) We see the rental car pasf down the highway. Desert Joshua tfees are scattered throughout the Hesert. Walt drives. WALT (V.0.) (after a pause) Hey, Trav, there's something I want you to know.. You, see, Anne and me can't have any kids of our Well just — REV. 10/28/83" *~ EXD. (DAY C3 medically, it didn't work =. out. "And that's why Hunter's been so important to us. Well I just want you to know that so you'll understand Anne's feelings about him. 62.” = REV.” 10/28/83 (Ga) BIG FREEWAY JUNCTION/RENTAL CAR INT.-EXT. AFTERNOON (44) The identical shot as Scene 43, seen through the again. In Walt's eyes, They're in }rindshield of the car e rear view mirror: e outskirts of Los Angeles dow. The traffic.is getting denser and watches wit of freeways on three or re frenzied. Travis amazement the system intertwining one, another four different levels. TRAVIS (V.0.) You live here? WALT Well, we live kind of in the suburbs, but I've got my business in town. TRAVIS (V.0.) What's your business? WALT Signs. I make billboards. You know =~ for advertising. TRAVIS (v.0.) Oh =~ You're the one who makes those. I love those. Some of them are beautiful. WALT I'm not the only one in the world who makes them. FRAVIS (V.0.) Oh. I think they're beautiful. watt Naturally. JRAVIS.(V.0.) Who are the other ones? wane 63. I don't know. Some do-do.C5) IN FRO? if OF WALT'S ROUSE The car stopp in front of « house 45 a middle c: residential area in the hills abbve the Burbank Airport. A plane cro’ very low, a spes over the street, | Travis and Walt walk toward the bbuse. Anne| awaits them at the door. She hugs|Walt, concerned about Walt's obvibus exh ‘and frayed nerve ESA-D She stands of hef next shyly! It and goes to Travis, jcting Travis to be red him. She big hug, but then jen she feels him from him, uncertain ‘Travis smiles EET. /busK (45) WALT Honey, is everything okay? ANNE Oh sure, We just missed you a lot. waLT I missed you, too. ANNE Travis, my God, we were beginning to wonder if we'd ever see you again. It's been so long. ANNE Bid you Rave a good trip? (CONTINUED) 64.o TRAVIS. aa mace, Tt was fine, WALT CBDED 0 ED (turns to EunteD\who stands off to one side) Hunter. ome over here. ane Co Hunter, this 48 Travis. ‘HUNTER : Bi. > avid just |stares|at Bunter, tr: ber {his fage as Fhe face pf J 14.ch 3 65.¢ LA Human AWE” G6) _WALT"S HOUSE/DINING ROOM Ge3) De® Oe Tan nt, Tepe sod Br ae, loss as to what /is expected of him. knife and fork, what to dd with his napkin, etc. Hunter watches hjm from adross the table, slightly Curious atjut Travis. Travis just nods. Travis smiles at\Hunter, Gut Hunter looks down at hié plate. Hunter iooks upyat Traide/ then back to his plate. voy eno ey: 0790783 7° INT. /NiGeT (26) Too bad you happened? WALT Oh, I don't blame you. 4 airplanes anymore. Especialig after living here. All (after. pause) You used to fly, didn't you, Travié? TRAVIS No. ¢ (CONTINUED) 66.a (46)_CONTIN Travis looks\up at her at) the mention of Jaie's name, then back at. his plate, Anne and eae ae jlances. Rev. 10/22/83 4o-5 ANNE Oh, T thou telling me I remembered Jane \ce that you flew to Dallas toggther or somewhere... Maybe I'm TRAVIS (after a 1 only once. staken. pause) We did. But 67. Tey* NOTE: SCENE 47 AND 48 ARE IN REVERSED ORDER am 3S _HOUSE/HUNTER'S KOON INT. /NiGeT (4B) Hunter, alone in his bedroom, is playing with his.Star Wars and £.T, toy$. He's doing three or four parfs at once and is talking in different voices. «> Rev. "10/22/83 Theke are posters of current mesb of toy cars and other assorted scibnce fiction toys. The T.V. is Geer — * No’ GD SCENE 47 AND 48 ARE IN REVERSED ORDER Rev. 10/22/83 (7) WALT" S| HOUSE/LIVING ROOM Anne makes fp a bed for Travis in the living rn There is a fittle pile of under- wear and towels and a toothbrush on the tablp near the sofa. Travis just|comes down the stairs from the setond floor. eee eee INT. /Nicat (7) WALT. iy Honey, he hasn't slept on a bed since we started out. I don't think it's really necessary. ANNE Where's he been sleeping then? WALT : He doesn't sleep. ANNE Well, he has to sleep somewhere. WALT Go ahead 4f you want to. “I don't think he'll use it though. ANNE He's gotta’ get tired sometime. (to. Travis) There's a towel for you, Travis, and some underwear and socks from Walt. ‘TRAVIS Thank you. The two brothers are left alone. They just stand there for a moment. Then 69. Walt follows Anne and just pats Travis on the shoulders as he passes hin. WALT Everything will be okay, Trav.) Rev. 10/22/83 (GS) WALT"S HOUSE/INSIDE AND BACK PORCH INT.-ExT. /NIGaT (49) A WIDE ESTABLISHING SHOT: The house CUT 2? against the dark sky. sO CL9se on PHOTO : Everyong is asleep except Travis, who Gand wanders |slowly around the fasiily room pictures mmily, ceramic figurines, and certificate of Walt's. of the a frame just night: crickets, coyotes, the huming ofy aay aa y . 196-3) 4B-2) — oD) a thro 4 onto the freeway| (SC) P.0.V. THROUGH BINOCULARS (45C) The cars on the freeway. Staring at them seems to recall other images. (30) VISION: TRAVIS" CAR CRASH (50) ‘A subjective P.0.V., seen through a windshield of a piek up truck: The car is driving at an insane~épeed on a Cat curving country road,“svaying from one the other as if the driver were~Grunk. Then, without 70.} & & \ REV. 11/7/83 Ge) GbD (GSD) WALT" $_HOUSE/BAGK PORCH EXD. (NIGHT Travis ghakes off the visions and goes badk into the hose. GD (GE) _WALT'S | BEDROOM SE, Walt and Anng.in-their bed. Walt is asleep but Ane is not. She is listening to|Travis, who is just closing the back porch door, and hears him rufmaging around the family Aae- (49F) FAMILY ROOM 49F} Travis is collectink everybody's shoes. kb HAG -| F TaG)_KITOREN TE dinner after everyone has gone to bed and is singing as he washes the dishes. He smilef at the night. Travis Fy gathered all the dishes from (co) 71.Rev. 9.0.0: = TRAY ‘pu wed te we ye TRAV TRAV Teav AWA ED: © facaCREWS 11/2/83" 7" ee one fl) WALY'S HOUSH/BACK PORCH EXT. 7MORNING (G1) Travis 14 still ditting| on the ig watching the/morning rush hdur ‘traffic on the freeway. tHe shoes are brightly [polish of at Sere Hunter comes out the back door in his socks looking for his shoes. He sees all the shoes lined up and timidly picks up one of his pairs. Travis smiles at him. ‘It's almost as if Hunter had forgotten his father overnight. FULL Mar Huwmae TRAV he hojise. Trqvis uodb yes. ‘Trqvis shakes his head no again. ANUE poms Ange goes {back infide ‘the [house. Trfvis lifts his Binoculars to lo coup at thé landscape. - HUNTER (stpring at Travis; after a long pause; shyly) Hi. AB (picking up her shoes) Oh, you polished them. That's very nice of you, Travis. Would you like to come in and have some breakfast? Aren't you hungry? We're having strawberry waffles. Do you like them? Do you want some? Well, there's hot coffee on the stove if you want some. ‘TRAVIS (pointing to the landscape) Look at that truck. (CONTINUED) 72.* Sg we mvs 11/2/83 ED ED BD (S1)_CONTINUED: GD, Walt comes out get his shoes. Travis smiles. shoeg, then pic} Travis picks up] around to Walt. Walt Looks s up one his boots Walt|hands the|boots to 1} goes|back in the house. ‘Travis puts on the boots a mont to look at the 1 agai. Then he stands up| mm the pord ih to WALT Decided to rough it, huh? at the f his pair. Boy, what'd you do, spit-polish these? You know, I could get you a job at the airport doing this. fand turns ‘TRAVIS I'l1, trade you these new boots for those old ones. want Do they fit you? TRAVIS Yeah. wae Sure, you can wear them. over|to the wall where t shoes are lined up. He pia one of Hunter's boots and holds the sole of it up to his own shoe, comparing sizes. ‘Anne cones back out to the back in a big hurry. yard (CONTINUED) 73.2 fee REWS LE/2/83 8 10° BING (I)_CONTINI Gy Anne leaves \the porch. only to reappear a gecond later. Anne leaveb." Travis stares al the remaining line of shoes and moves the remaining ones over to fill the gap. He looks out at the landscape jand then rushes around the house to the driveway. to s¢hool on time. Seems like I'm always I don't know why that is. We'll be back this afternoon. "gs number at the office is on the dinfng room table. See you later. Thank you. I forgot. The maid will come in half our. She knows you're here. Her is Carmelita. Bye. lelita. 18 1-26 Grpeias. Hiavogue: 74.se *OREW 11 /8/83-* EXT. /WORNING (52) Trqvis comes around Ht fan} Iter and Anne are ily car. he corner to front of the house just as getting’ into the TRAVIS (to Anne) I was thinking maybe I could meet Hunter after school is out atid we could walk home together if te wants to. ANNE That sounds like a great idea, Travis, HUNTER Walk home? I don't wanna’ walk home, Mom. Nobody walks, Everybody drives. TRAVIS That's okay. ANNE Now come on, Hunter. It won't hurt you to walk home once in your life. TRAVIS It's okay. I don't want to either. HUNTER I don't wanna’ walk, Mom. Everybody'll see me. ‘TRAVIS I don't want to either if he doesn't want to. No, Travis, I insist. He'll wait for you out in front. Walt can tell you how to get there. It's not far. (ContNvED) 75.G2] CONT: REV. 11/8/83 Gz HUNTER Mom ~~ ANNE Just get in the car, Hunter. We're late is. Trapis walks out to the middip of the| street and watchds them a| thep/leave. He turnd“to lool the street the other way and sees a plane landing. 76.REV. 11/9/83 they look at efch other. Travis makes a] compliment about /her boyfriend's car. Carmelita giggles. She looks Travis up and down and suggests his jeans would fit mu¢h better if they were washed. They go into the house joking and smiling at each other. EXT. /DAY (33) 17-78.eo Pe, MD... : File, MED nN orton sens CreMETE Cyeuerry ” Tras “Res Ms BV. 11/9/83 (2D CP Gr Gd, Gre (54) WALT'S HOUSE/FAMILY ROOM ‘TNT. /DAY. G4) front qf the T.V} "'s bathyobes. Inj the Lita lis tronin} then laundry, Hith a w les star: jout how| 'y_ speak| In B.G4 Catmelita 5 lalso watching rravis 4s watching; sn polishing on Holly}rood crazy the 5 over the [on television. CARMELITA ing, at in realize that teacher. | He people throu: courbes dobod few people rd: his feaching that! his| las stage nai his own jinve! | changed his Jewish. | But] | Many: people | ee similar: lyr; Yo do] you? tht. Many pedple wa iol the fime{ Sdill, ti Did you think that | Moe fd Jespe. | yery £ ichers? be Powe} "s dtar in [nono lamef) This is Jyron probably dddn't Many feopl Did ou ‘Tyronp wag a was educating yn his mpvieg. Of ink tl jat he itdon. ame fr this m end. icies| | never a Jew. against Jesus saw thidgs in QMORE)) Vv He hal + but a dif NM That'§ Hollywood... (comments in Spanish) tone She ip crazy. ‘8 (pause) Senor|Travis, how long are you going to be hete?. k acrods tht facq is star and fot oday 1g the| day t know. Why? into tile world. gypt. [You fiddn" ITA ‘you? |He was boyn . Similar fe Jequs. Cause|if you stay, I don't have to do any parallels betweqn more dishes. (They both laugh) and Jepus. | They (pause) iron, Senor, Travis? (both laugh again|- Travis comments to her in Spanish) How ig it that you speak so much Spanish? I spest quite a bit of time in Mexico. Where|are you from? bn wap no Jéw. ce was (Again they speak to each other in Spanish. Then they both watch TV again) . (CONTINUED)FU 5 MED 2s Rtn. 3, MED, MELA, « : i CML OnRMBWA Trans TRA/IS TRAMs REV. 11/9/83 OP DED Cel Gp GO INTINUET Cy (cont'd) wer ina ape pe ery dad tHing that hes toleorrdet some of welsee deople being! ake| Of |course, he wwe flone #t by force. TRANS TRAVIS LUTE GHD Gu.2) Cup) Gd CARMETTTA (watclHing the program on TV) Tyrone was a good actor, lady, but he wasn't Christ. (They|watch the program a little longer) CARMELTTA ‘Tyronp was a much better actor than the Presifient. He was great in Blood and Sand.| Did you see that? Great flick. Great| movie! aay HUNTER 'S BEDROOM INT. DAY GA) Travi| Looks| as if| his He pl] rid. bys with a intinues playing with x sits in Hbnter's room, ‘around at fhe boy's t gee ee ae ICARMELITA (calling from bottom of steps) Senor Travis, your jeans are ready. Wis "11 be right there, Carmelita. ‘80-81.SRE, ANG, : Ra NNGUE = AAO. Full SHOT. HunreR TRAVIS Ray, TRAVIS G5) S ScHOgE EXT. (DAY (55) Travis wagts for Huntdr across|the street frdm his school], He seps Hunker cope out of sclfpol. Hunter segs HII; too, int a frfend'f car a1 Travis slpwly walks away. (G6) GUL DE SAC DOWN THE STREET FROM WALT'S HOUSE EXD. /DUSK (6) It ds getting dark. There are already Lights in most of the houses. Travis climbs up the litclé hill at the end Cat of the dead-end street where Walt lives. He has the binoculars with him and watches the houses down the o hill. (G6A)_P.0.V. THROUGH BINOCULARS /SUBURBAN NEIGHBORHOOD, GSEAD He can see different family scenes played out in the open windows; people watching TV, kids being put to bed, people having arguments, laughter, babies crying... all the sounds and voices of people living their lives together in homes that ook more or less alike. a2.ase eee oes = Riv. 11/1783 ~ 57-D G72) 37) [WALI'S HOUSE] FAMILY ROOM TNT, EVENING G57) éxt|eS7.sudr— wearer Walt ‘and Anne are| sitting at the table by the kitchen. Pinner is ready, but Hinter is apparently missing when Travis walks into| the room. ANNE . Travis, didn't Hunter cone home with you? mRAVIs Hunter? He's not here? “ANNE No. Well, what happened? I thought you were going to walk home together. TRAVIS We were, but he-- he road home in a car. ANNE (suddenly alarmed, vorried about Hunter) What car? TRAVIS A friend of his I guess. ‘ ANNE Teas Which friend? qt ‘WALT =D Honey, just relax. Just sit down. was probably Mrs. Edwards. He's never done that before. WALT Just relax, sit down. I think I know Shere he is. 1111 go and check. Sit jown, I'll be right back. Wale leaves the dhotng rota table. Travis and Anne ate left dione. (CONTINUED) Vv 83.hohe oesaah beatae ons, SREWy ALD / 8350 GH +0.) Anne, t's okay. He's in here. ANNE I'm really sorry about this, Travis. I'll have a talk with him later. TRAVIS It's Wot easy for him. 3A.Seri . sae oor REv Tas : (58) | WALT" S_HOUSE/ GARAGE, INT. (NIGHT (GB) le is sitting behind the steefing wheel of an old W parkhd in the back of the garage. He! s| pretending to drive when Walt|opens the door leading to the ouse. WALT (over shoulder to Anne) Anne, it’s okay. ag He's in here: Cu-wauTt Watt |watks up to the window of Q@P~ ED the gar, He continues to ‘drive’ as W4lt speaks to him. WALT What're you doing? HUNTER Driving. WALT Where to; HUNTER Just driving. v You're eéce you're ndt hiding out in there, af you? HUNTER G No. WALT WALT Hunter, fou know Travis is your real dad, don? you? HUNTER Dad, wheh will they (make spaceships Cy : like they make cars’ = GcprmxveD) 84.we negut . REV. LL/2/83, oro Soeur Vy QO (58) CONTINUED: 1 rz Cik-wMT (58) } =< - "7 D E&D G3) at Hunter, I'm trying to ask you a question. Want to give me an answer? What? : WALT 4 Well, Travis went to pick you up at school today and he wanted to walk you home. HUNTER Nobody walks. WALT That's not the point. He's your real dad, and he wanted to talk to you. HUNTER Why? What about? I don't know him. Pause as WaJt thinks/about it, then opens the cr door. . WALT Okay, come on in to dinner now. It's all ready. Hunter gets [out reluetantly. They go back intq the houfe. 85.It{s after with them. is {still eating. SCA MCE > RAC ANNE WALT dinner. Huater is n¢ He's the ohly one whd ( oi Met “REV. TL ftye3 TRAvis. INT. /NIGET G9) WAL! Hey/Trav, do you remember that time me andSsnne came down to visit you all about five years ago? You(and Jane were down in Texas right on the voast then. Hunter was about three T think. Don't you remember that? mayts No.| HUNT Ty x. We went fishing. wa e's right. Well, I took some Super-8 stigf on that trip, and I put it all together. I thought you might want to see/some of it. mavrs is 4t? WALT Movi Super-8. You know. 1S oh. wan maybe Travis doesn't want-~ (CONTINUED) 86.PREV. 21/1/8368. 59D) GD FDIS) G9) CoNTINUEDF 1 r Gay Lt Hunt¢r and Wait leave tablg to set\up the projector leavjng Anne and Travis] sitting therd. WALT What? ANNE Well, maybe he'd like to wait a while before WALT It's up like to TRAVIS Movies’ WALT Great. There's HUNTER looks at it. him, I just thought maybe he'd jee some of it. Sure. ere's some great stuff in it. fsome great shots of Hunter in it. I've alrgady seen it. u'll have to see it again. Come r. Help me set up the projector. 87.( REV. 10/22/83 (60) LIVING-ROOM/SUPER-8 FOOTAGE Travis, Jane|and Hunter in front of their trailey somewhere near the cesan., Hunter is two or three years old. Jane if in her early twenties. Walt and Travis with their arms around each pther's shoulders. Fishing gear| is spread all around. Walt and Trqvis holding up some fish they cdught. All of them/around a campfire. Underexposes. On a car trip. Anne driving, with Hunter on ber lap holding the wheel. In the trailer, Anne and Jane cooking. Hunter on Walt's shoulders; Jane is watching them. CUT BACK Tb: INT. NIGHT (60) 88.REV. "11/3/83 ‘59R) LIVING ROOM ALE” Ley £ilh projected on a portable screen. Travis 18 absorbdag every second of it {ntensely. ae | They are alt a the Super-8 | | screen, You're g6d. (aftey-a while, Strawberry wafflds. 594 10 Gah) The #ilm projector ané|goes to turn on the lights. ‘Travis stares|at the blank screen a moment or two|longer as Walt moves next to him ahd sits on the back of the couch. Hunter is now|next to Travis. He =. goes to Anne bfter the film ends and puts his arms| around her neck. There's a mompnt of silence. ‘TRAVIS I almost forgot how beautiful she was. ‘Long pause. (to Hunter) Hunter. Time for bed now. HUNTER (getting up) Come on, don't complain. | ton. | | eye le. Hunter moves'to Walt sitting on the couch. fl HUNTER ! . (to Walt) Goodnight, Dad. (putting arm around Travis) Goodnight, ! Dad. Travis just smiles at him. Hunter leaves for bed with Anne. Walt is uneasy. en 89.O (Gab) HUNTERS BEDROOW Anne is Undressing Hunter for bed. Anne doepn't understand. cur To: : soREWS 11/7/83 9/0 INT. (NIGHT (9B) HUNTER Do you think he still loves her? aa How would I know that, Hunter? HUNTER I think he does. ANNE How can you tell? HUNTER From the way he looked at her. ANNE You mean when he saw her in the movie? HUNTER Yeah. (pause) But ‘that 's not her. ANNE - What do you mean? HUNTER That's only her in the movie... a long time ago... (a big smile)... in a galaxy far, far away. (G9C) KITCHEN Travis has gathered|all the dishes from dinner after eyeryone has gone to bed and is Washing the dishes again. “Int. /wrGuT (59C) 89a.a ard s REV. 21/7/83" (61) WALT'S HOUSE ARITCHEN Travip has gatherdd all the dishes from fiinner and i¢ busy washing them hen he hearf something insidb the house.| He turns to for a momext and then goes ares Cad 2D ud) 3 Giay RIGHT) Traviq follows Yim through dhe house withoyt trying 4a wake him. | Hunter says gomething, ‘just fragments that don't |make any sense. He seqs Hunter pe in his sleep. At thé end of his walk, he winds up in the bathroom where he crawls into the bathtub and keeps on sleeping. Travis gets a towel, rolls it up and places it under Hunter's head and lets hin sleep in the bathtub. INT. /NIGHT (61), HUNTER (with long pauses between the lines) You don't have to come back... You can't come in the house anymore... That's a rule... No more... The back door is all burned... Dogs burned it... You can't come in there... It's black... 90.fem 9 Dee PRADO Me oh Mee eon Maly Oe RED R/S PBB ES . ANNE Gad Ga-D a (62) WALT'S HOUSE/INSIDE AND GARDEN INT. 7EXT. MORNING (62) Walt gets up and moves to the window to look{ out. ) wus (turning to speak to Anne) It's Cad Tra--, Anne? Anne has left the[ room. Gap Walt_looks|out and sdes Travis working on the lawn mower, tying to tune the engine. | (G2AY WALT Hey Travis. We don't even have our law yet. Will you shut that off? i (efghbors are coming/éut to seq who inferrupted their morning sleep. Trhvis doesn't see the conmotip he}s caused. He's merely fixihg thp Yawn mower. ANNE (calling down stairway) Hunter? Things are different since Travis" arrival. She moves to the door. 91. Walt!we iS “REV. 10/22/83 (63) Wa T'S HOUSE/FANILY ROOM Travis 4nd Carmelita are left alone in the for vorl through he turn jouse after everyone has left or school. Travis switches jall the channels on T.V., then “his attention to a pile of magazings. He is looking for something. Carmelit cleaning Mexican harmony a is in another room, probably up. We hear her sing a lsong. Travis is singing jalong with her, but almost INT. /DaY (63) absentmiindedly. He stops when he suddenly realizes that she came into thq room and is watching him. CARMELITA What is it you are looking for? TRAVIS I am looking for the * CARMELITA Your father? ‘TRAVIS No, Anybody look ike? What does a father CARMELTTA There are many fathers. TRAVIS I just need one. CARMELITA (referring to magazines) Will you find him in there? TRAVIS I don't know where to look. CARMELITA ‘You want to look like a father? (CONTINUED) 92.2 ely (G3)_CONTENDED:. Cy TRAVIS Yes. CARMELITA Are you a father? avis Yes. “I guess co. {have a boy. camonnrtA Where is he? mavis (not wanting to reveal Hunter) He! in Texas. CARMELITA Texas. I know Texas. My father was from Texas. sRavis Where? CARMELITA San Antonio. mRavis on. CARMELIZA He wi vary Large. mun Did you like him? cass. te vas a very fierce aan. (CONTINUED) 93.ee eutvee REV, 10/22/83. Carmelita Walt and follows her| ks up the stairs to bedroom. Travis e 3) TRAVIS Oh. I don't want to look fierce. CARMELITA You don't look fierce. Tavs, What do I look like? CARMELITA Like a dog. (she laughs openly) TRAVIS A dog. CARNEELITA A very sad dog. Like a skinny coyote. mavis Oh. CARMELITA - You want to look like a snart father? mRavis I don't know. Maybe. CARMELITA You mist put on a hat then. mavis on. CARMELITA Just a moment. 94.“Rev. 10/22/83. Carmeli (G38) WALT’ §_HOUSE/WALT'S BEDROOM puts one of Walt's hats on Travi' head. him over to a mirror. jooks at himself seriously. the hat. aN) CARMELITA There. You look very much smarter nov. You want to see? TRAVIS Yes. (CARMELITA Do you feel smart? TRAVIS, I feél a little bit smarter. CARMELTTA Do you want to be a rich father? TRAVIS No. CARMELITA A poor father? Tavis No; In between. CcAROELITA There is no in-between. You have to either bee rich father or a poor father. TRAVIS Rich. CARMELTTA Bueno. Just a moment, You wait. (CONTINUED) 95.RBs 10/02/83 b3A-I (63a) CON” 1 She goes and gets one of Walt's vests, brings it back and puts it on Travis, He looks at himself again in the mirror with the vest and hat. [He likes what he sees. Travis lodks up. Travis logks higher. Travis starts walking stiffly around the house| in Walt's hat and vest, followed flosely by Carmelita who gives hin| instructions. CARMELITA 638) Now, one thing you must do to be a rich father is always to look at the sky and never at the ground. ‘Higher. That's good. Never look at the ground. And you must walk very stiff. TRAVIS stage? CARMELITA Yes CARMELTTA Look up! Bueno. You must walk stiff. Look up! Walk very stiff. 96. You try it.a =i 2107/23/83” G2 2G AOU) es Travis shows jup at Hunter's school again, dressed in a strange conglomeration of hig and Walt's clothes. He flooks tdtally ridjeulous. Hunter gets obt of 5 with a friend, EDWARD. He sees Travis standing across the street waving at him| and cay't help but laugh at the fostume {travis has on| | who c this guy? You know him? | | (igh sone enbarressnent) Yeah. My | | | | | fatter and him are brothers. No. ‘are both fathers. No... Oh, forget it. EDWARD aa who's father? / Edvard walks and Hunter walks opposite |from Travis, imitaking hie actions as they move dowh the street! Travis valks down the othdr, walkihg stiffly like Carmelita tayght him fo. See you tomorrow. Take care. They take quick glances aqross the HUNTER street at each other but yenain on . Okay. Bi their respective “ a 64a) STREET LEADING TO WALT'S HOUSE Exr./DAY _(64A) the-sereet—whers-Humter-iives. Hunter and Travis walk on, both still on different sides of the road. ar5) Travis famil; famil; a pict shows were Hunte: homewd to Tre the pl fALT"S HOUSE/FAMILY ROOM sits in a chair in the room going through an old photo album. He stares at jure of his father. Another Travis and Walt when they Joung. lays on the floor doing his rk, He gets up. and moves-next: wis, getting curious about jotos. REV. “11/10/83 ‘TNT. /DAY (65) HUNTER What are those pictures? TRAVIS (points to photo) That's my father. And this was me when I was about the same age as you. HUNTER (looking at photo) How old were you? TRAVIS I can't remember. Six or seven, I guess. HUNTER That's your Dad? TRAVIS Yea, And your grandfather. HUNTER What was his name? ‘TRAVIS Travis. HUNTER Same as yours. (pause) Where is he now? (CONTINUED) 98.ine tits atoms ee , WB a? oP RES 11/10/88. cs) (SD TRAVIS He died a few years after that picture. In that car, HUNTER Oh. He's dead. TRAVIS | Yeah. HUNTER Can you feel that he's dead? ‘TRAVIS What do you mean? HUNTER Oo You knew him when he was walking around \ and talking? Right? ‘TRAVIS Yes. ‘EONTER So can you feel that he's gone? TRAVIS Yeah. I know he's dead. Ws) sont I never felt like you were dead. I could feel you walking around and talking someplace. TRAVIS Oh yeah. ~ HUNTER I can feel Mom, too. Vy V (CONTINUED) 99.. Rev? 1/10/83 A 5) ing about| the phq Ged GurD (66) WALT'S HOUSE/BACK PORCH tos. Travis sitting on hils rug, staring out into the night. ‘TRAVIS You do? HUNTER Don't you? TRAVIS Yes. other. plctures|eo jecome veFy comfqrtable, EXT. /NicHT (66) 100.Ged “Rev. “1172/83 () GF. Walt bed| and WALT"S HOUSE /BEDROON and Anne are lying in the: moves Se ‘Susly Comcerned abou 0 the window. It of bed ANNE I don't has ch Travis WALT What's ANNE I'm jus WALT INT. /NicHT (7) ow. It just seems like everything ged between us so fast. Ever since ‘hanged? afraid. Afraid |of Travis? No. WALT Well what then? Of whi Hunter) WALT will happen to us if we lose We're fot going to lose Hunter. ANNE Then ¥) It's do you keep pushing them together? st as if you wanted him to leave. (CONTINUED) 101.a (G7) CONTINUED: 1 i) GIGP Long pausp. thinks. ‘Anne i down and You ke¥p promoting this father-son busingss between them to the point where—- WALT It's fiot business! Travis is his father, and-Hhnter is his son. “That's a fact. We've| both Known that all along. And Travif happens to be my brother: ANNE I knowhe is. I know he is! WALT How 1png do you want to go on pretending that Ye're the parents of my brother's son? | How long do you think’Hunter’s going|to buy that crap? Then ey all this "promoting" bullshit? ANNE I was ever pretending! I love him just like he was my own flesh and blood. WALT So do|t. ANNE Wait. Cwhat's going to happen to us? WALT Nothi#g, honey. Everything's gonna be fine.| Everything will work out for the best. L- Gra-l ir (GTA)_HUNTER'S BEDROOM Hunter is in hip bed, his eyes open. We are not sure| if he has overheard their conversation. ‘INT. /NIGHT (67) 102b7-b 7) z Anne hag gotten dressed and moves softly fown the steps to go find Travis. She wants to speak to him. Walt is/ still asleep in their bed and{ doesn't notice her leave. REV 11/8/63 LATER (oD 102A.Ay Anne and | Anne’ frank fishe| what FIRM IG! ons fe te eet yg RRW eA AR (OBES oe che . bias WALT"S HOUSE/BACK PORCH EXD. /NiGET ___(66A) omes out on the back porch Fes dowd wich Travds. ANNE You don't sleep much, do you? TRAVIS . Very little. I hate to sleep. . ANNE Why's that? TRAVIS I'm afraid I might die, And I'd miss it. faughs a little, amazed by his ess. There's a pause as she around for a way to begin she has to say. Travis, there is something I have to tell you. Iwas not going to, because somehow it makes things easier that nobody knows. I never even told Walt or Hunter. TRAVIS What is it? ANNE After Hunter came to live with us, Jane used to call, asking about him: She wa: very concerned for him. And very confused. She made me promise not to tell anyone she was calling. If Walt answered the phone, she'd hang up. ‘TRAVIS Then... Walt doesn't know about it? No. (CONTINUED) 103,at ‘ ieee ie © Spey. 1177783 CO (GORY CONTINGED: —T (ea) ‘TRAVIS Did she ask about me? Yeah... at the beginning. ‘TRAVIS © Where did she call from? (ANNE Places in Texas. + TRAVIS What places? ANNE Please, Travis. Let me finish. (she carefully chooses her words) After what happened between you and Jane, she decided Hunter should be with us. She id she couldn't be a mother to him anymore. TRAVIS (suddenly angry) She stopped being a mother a long time before that. ANNE (steadily) ‘Travis, I don't know about that. All she told me was she knew how much we cared for him, knew how we wanted a child but couldn't make one. She knew I loved him. TRAVIS : She took my son and then gave him away. (CONTINUED) 104,Lr XGons) G (Gea) CONTINUED: 7] Travis sti him, He! certain wi pain shoc! pause. Travis ci keeps shi is ham intlo silence t put if togethey, ing his head in pain. ps cold. | The anger jeaves remembeding. We arg not jat he renembers, buy his Rav. iny77e3 0" (EAD ANNE Travis, please. I'm just trying to explain. I don't want to feel I'm hiding something from you anymore. TRAVIS She's the one-who's hiding. ANNE What do you expect? You beat her up. And haven't you been hiding, too? A long He TRAVIS (softly, almost to himself) Yeah. she was so young. She wanted something and I couldn't figure out what it. Was. But whatever it was, I stopped being able to give it to her. She quit believing in me. She didn't believe in me anymore. I just couldn't stand to see her moving away from me. I wouldn't -see it, but then I saw it. (pause) I started getting crazier every day. I couldn't. stand it when she wasn't looking at me, even if she was reading a magazine. If she went into another room, I thought she was leaving me, I'd get up and follow her. If she went to sleep before me, I'd wake-her up. I even got so drunk one time that I took ay belt and tied our wrists together so she couldn't leave me. (pause) She had to 1 e me. (CONTINUED) 105.+ REV.L1/7/83- Gud vad) Goa (66A) CONTINUED 3 eA) He just sti res for a homent. Travis turfs to stand next to Anne: Bot} saying not! stand th ing. e for a mompnt ‘TRAVIS I just never realized how much rage I had. ANNE A little more than a year ago, she stopped calling. I haven't heard from her since. ‘TRAVIS : Nothing? ANNE Not a word. But the last call, she asked me to open a bank account for Hunter. ‘TRAVIS A bank account? ANNE Yeah. And on the fifth of every month she wires money to that account... sometimes a hundred dollars, sometimes fifty, or five. For Hunter's future. I had the bank trace the wire. It comes from a bank in Houston. ‘TRAVIS What bank? ANNE I wrote it down if you want it. All I kmow about Jane now is she goes to this bank on the fifth of each month and wires money for Hunter. (CONTINUED) 106.7 J ONTINGED aa Rev. 11/7/83 Travis is silent his head if he ha| time left. Anne takes off he: it arouyd Travis Kisses her Light: Travis bands fo gain, counting in at the ity, ther the binoculars an yard. (6B) INSERT unter lies if noises in the look out the He sees Anne in the back y4rd. a moment looking TRAVIS (to himself) She still sends him money. She still sends him money, (after pause, to Anne) Do you think she'd like to see me agein? ANNE HowTer's I don't) know really. TRAVIS What's the date today? « ANNE The first of November. got enodgh Jacket qnd drapes houlderq. Travis on both |cheeks. TRAVIS Thank you, Anne. ANNE Goodnight, Travis. TRAVIS Goodnight. turns, takes leaves the back bed awake. “He hears lback yard and moves to Hindow. nd Travis talking together 106A.foes See ROWs 92/9683 grog VANS BLY. EXE Aiea (68) Travis [ks alone down the Boulevard. . Gd (GEA) TRAVIS" WALK: FREEWAY OVERPASS EXT. /DAWN (GBA) Travis walks on a freeway overpass as a foggy dawn rises. In the distance on the bridge, yelling down at the traffic is a SCREAMING MAN spouting about man's salvation. As Travis draws nearer, the screaming man notices him and turns to address himself |to Travis. Travis listens a moment Hut doesn't know quite what to thin]. He cautiously passes him on the Uridge, the screaming man yelling |to his back until he ore around the corner at the end of the bridge. (GBB) TRAVIS" WALK: RATEROAD TRACKS [) Travis walks along the railroad tracks on San Fernando Road. wat (G3) Vision: JANE"S FACE CH Very, vdry CLOSE, a young woman's face. Jane. It appears out of darknes¢ and gains shape, then disappedrs again, as if Travis wasn't dble to hold it. 107.: i wae Fa tnt ny Pie roe REBT) 5/85" « mite (7) BILLBOARD ON MARENGO STREET EXT. /DAY (70). frdeway. Two of Walt's men are Ca Go Clo Travis clips up “stee. fer waLt So you're not afraid to leave the ground after all, huh? Travis slowly walks| toward hip. He feels very |insecure on the platform above the ground. ‘TRAVIS No. (looking down at the street below) I'm afraid of falling. WALT Well, don't look down. Tavis is Ipoking obt over the freeway from the platform. |There is 4n endless stream of cars as fpr as the eye can | ‘TRAVIS Too bad we can't see like this when } we're on the ground, WALT What do you mean? ‘TRAVIS Might clear things up. Walt tries to follow Travis' line of thinking. | | () | 4 WALT Re ! I guess you're pretty confused right now. V We all are, you know. : (CONTINUED) 108.Q ae “Rev. °41/3783" (70)_Conr: Coy No answer from Travis. Travis still offers ho answer. | There is a long Another pi again. pause. juse. Walt] finally speaks TRAVIS Especially Hunter. WALT (after pause) You know, I had a talk with Anne last night about Hunter. TRAVIS Yeah. WALT Yeah... and she's pretty upset. TRAVIS What's the matter? waLT She's afraid you might want him back. I told her I didn't really know how you felt about that. I think if that happened, it might break her heart. You remenber what I told you about us not having kids. That's me. I can't have kids. Anne can -- but it would have to be another man. What I'm trying to say is that Hunter is our only chance. He's the closest we're going to get to a son of our own and=- We've just grown very attached to him in thé last four years. (CONTINUED) 1109.. GD GDF (70) CONTENDED: 7] 28 te REV, BYS/83. 6 poss oes (oy Walt stops him all f the sudden. TRAVIS I know. I'm going to leave. What? TRAVIS I'm leaving. . war I'm not saying this in order to get you to leave. I'm not trying to get Tid of you, Travis. TRAVIS I know that, Walt. WALT Then why go? That's not going to solve anything. ‘TRAVIS I'm going to find Jane, I think I know where she is. WALT How do you know that? Travis, it's been four years. She's vanished. I mean, I've tried everything to hunt her down. TRAVIS Well I haven't. And I can find her. waLT What makes you so sure? (CONTINUED) 110.oo AREW A LPS /83° ay “10-3 DG CC) X70) CONTINDED = eee Travis is the height | arting to] be bothered by Travis doesn't 2 there de a pause. i | | CG i | i oy TRAVIS I can do it, I just know. Can we go down now? WALT No! (pause) You're going to tell me what happened! I'm tired of this mystery shit! I've been treating you like a spoiled baby ever since I picked you up in the fucking desert! Now you tell me what happened between you and Jane! All right... It's none of my business. (long pause) I'm sorry, Travis. I just avis Ie's all right. war I just want to help you. That's all. avis Good. I'm going to need to take some money and cards. WALT ALL right. I'L1 get it for you. TRAVIS You know you'll get it back. ‘WALT I'm not worried about that. (CONTINUED) mi.wie nbergle © Fe Bee REV. EL/S/83-8.-5 Co-D 03) 70D) (70) CONTINUED: (oy RAVES CoD I’m going to find her. travis cliavs dow! ne tadder, tearfos fais alone in hie thoughess He fathers his Jacket and binoculars | fh starte off croc’ the Field: | 112-113.r eae REV. “11/8/85. and looks Ranchero over. He walks avis, kicking the tires. Ext. /DAY, Gy HUNTER Is that your car? ‘TRAVIS Yeah. HUNTER You're crazy. 40 Where'd yoh get tl yard or something is from, a junk TRAVIS Junk yard?) Yeah,]a one-person owner. (pause) It's got 4 lazer, |too. HUNTER Oh yeah. (CONTINUED) 1a.ia, Y (i) coNtiNoED: 1 They|both get in the car and drive off. ir Rev." 11/8/83" ez) r ‘TRAVIS It's got a g1 gine. Hey look, I'm gry, and I gotta get something to eaf. Let's go for lunch. HUNTER How about McDontjd's? TRAVIS Okay, But what] about school? Won't they flip out? HUNTER No. I'11 do hoiywork. TRAVIS Okay, let's go us.(72) LOS ANGELES “FREEWAY - OVERPASS: Travis and Hunter stretch out in the back of the truck eating hamburgers and french cheese. They're parked under a giant freeway overpass, the cars humming above them. EXT. /DAY (72) TRAVIS (re: cheese) Not ‘bad stuff. HUNTER ‘Anne puts it in lunch every day; (pro French) La Vache Qui Rit. Seumy. TRAVIS (bad French) Lay Vass Qwee?? What? HUNTER Rererit. Rer-rer. Rerrerit. TRAVIS Yeh. Not bad. HUNTER : Where did you go all that time? TRAVIS Mexico. HUNTER How come? TRAVIS. (after a long pause) I didn't know where else to go. HUNTER But why did you have to go away? (CONTINUED) 116.a (2) CONTINED: Travis thinks. ai He looks at Hunter. 72) TRAVIS. (pause) I was very, very sad. I wanted to be alone. HUNTER Was Mom sad, too; she wanted to be alone? ‘TRAVIS Yes. HUNTER ‘You still want to be alone? ‘TRAVIS No. HUNTER Where'd Mom go? ‘TRAVIS I don't know, but now she's in Houston. HUNTER (excited) That's where the Space Center is. ‘TRAVIS That's what I wanted to tell you; I'm going away now. UNTER why? TRAVIS ‘I'm going to find her. (CONTINUED) 117.(72) CONTINUED: 2 There's a pause. There's a long pause while Hunter thinks about it. SCENES 73, 74, 75, 76 HAVE BEEN OMITTED a ———— zy HUNTER What about me? You just found me, Can I come with you? ‘TRAVIS What about Walt and Anne? They'll flip out. HUNTER You mean we'd never come back here? ‘TRAVIS Yeh, but I'm not sure when. HUNTER I want to come. TRAVIS You're sure? HUNTER Yes, I want to find her, too. When do we go? TRAVIS Right now. HUNTER “(excited) Radical! 118-125,Rev. 12/7/83 Trav: belij is shakes his head. eit. TEAR SAN BERNARDINO/EL RANCHERO re driving on the freeway, jaching San Bernardino. Hunter joking at a roadmap, reading of towns off the map like a Hunter can't EXD, /INT. CATE AFTERNOON (77) HUNTER Cucamunga, Azusa, Duarte, Pomona, La Verne, San Dimas, Padua Hills, Mt. Baldy Where will we be tomorrow? ‘TRAVIS In Arizona. Gila Bend. Maybe even Tucson. HUNTER (looks at the map) Wow! That's where the space shuttle landed. TRAVIS What's a space shuttle? HUNTER You don't know what the space shuttle is? You really don't know what a space shuttle is? TRAVIS No. Honest. HUNTER You didn't hear about that in Mexico? ‘TRAVIS No. HUNTER A space shuttle is like a space repair ship. It goes up to space to the space station, repairs it and then comes back down. (CONTINUED) 126.seta RODS RBI PBI on 7 ‘TRAVIS Would you like to go up in space? HUNTER Yeah. But they don't make them for kids yet. TRAVIS, - What? HUNTER The spaceships. My Dad, my other Dad, says that they'll make them when I'm older... like cars. TRAVIS I'll be darned. ‘HUNTER I'L] be hot. 127.He Fi getting day it of a coff joints to a hone booth. (taking dime) What's this for? TRAVIS Do you know how to make a collect call? You dial: the operator and when she comes on, you-- HUNTER I kmow how to make a collect call. TRAVIS Good. You should call Walt and Anne. HUNTER Why? ‘TRAVIS Because-- So they know where you are. So they don't worry about you. HUNTER What am I going to say to then? TRAVIS You just tell them the truth. Tell ‘them you're with me, and we're on our way to Texas. HUNTER They're going to flip out. mRavis, Go ahead. (CONTINUED) 128.gree Abet ove aa Settee ete REV, 11/4/83. 2 Fatt We Gp Ge > (78) CONTINUED: |. T Cy ter and st get out of the car and walk over t the phone booth. ter stops before he enters and tus to Travis HUNTER Can't you do it? ‘TRAVIS “No. I can't do it. HUNTER Why not? ‘TRAVIS It has to be you. ter enters the booth reluctantly. vis walks away a little bit and covers two ghant figures of josaurs standing behind the ‘king lot as fourist attractions . i) er in the p| Pees Walt answers and accepts call from Hunter. CRD QO \ ae &e Hello. ‘HUNTER, Hi, dad. ‘WALT (into phone) Hunter, where in the hell are you? Do you know what time it is? I've been looking for you everywhere. ‘EUNTER, ) We've got a radical car. It's a real “ family car. (CONTINUED) 129.: non a yyicha eee ap hae Soe EW, LIT ABBE ye Shoe oO (78) conTENUED: 2 (5) WALT Hunter, now you listen to me. Where are you exactly? You tell me exactly where you are. HUNTER Near San Bernardino. WALT San Bernardino? Hunter, what're you doing way out there? ANNE (interrupting Walt, taking the phone from his hand) Let me talk to him. Hunter is getting very nejvous, sensing the emotion of thé situation for the first time, He doesn't quite Oo know how to handle it. 130.Q CD (9) WALI" S HOUSE/FAMELY ROOM Walt passes the phone to vel. a 2 . os REV 11/4/83". --2" a INT. [DUSK (79) Hunter? Are you all right? HUNTER Yeah. ANNE What're you doing? HUNTER We're on a trip, Mom. ANNE With Travis? HUNTER Yeah. We're having a great time. We got this car— ANNE Where are you going? HUNTER We're on our way to Texas. You tell me exactly where you are, Hunter. Tell me exactly where you are. HUNTER We're in a gas station. ANNE What's the name of it? HUNTER Chevron. (CONTINUED) 131.: ve SRW 1174/83 07 oo C73y. Oh, my God. Well, what route are you taking? HUNTER I don't know. But we're going through some great towns. ANNE Like what? HUNTER Yuma, Gila Bend. Tucson. ANNE Across the desert? EUNTER Yeah. It's gonna be great. ANNE Hunter, you tell Travis to turn around and come back here right now. He has no right to do this, Do you understand me? Let me talk to him... Let me talk to him. 132-133.ag ‘REV: 10/24/83 the dinosaurs. has walked away a oe toward Travis and Hunter just for a while, looking a1 dinosaurs. cur To: Anne looks the patio d landscape. J jtand there those concrete de Walt who/has moved to jor to look|out at the EET. (DUSK CRAY 134.“Rev. 10735783 (G0) FREEWAY/WALT'S CAR Walt and Anne are racing down the freeway in the middle of the night. INT.-EXT. /NIGHT (80) ANNE He's not in his right mind, Walt. I don't care if he de your brother. ‘there's sonething wrong with a man who 4 disappears with a seven-year-old boy WALT He told me he was going. ANNE But not with Hunter! He's not entitled to just run off with him like that. He knew it was wrong; otherwise he would have talked to us about it. WALT You can't blame him for taking his own son! ANNE Yes I can! Ican blame him, If he wanted him so bad, why didn't he show up four years ago! Why didn't he at least send him a postcard? He abandoned Hunter! That's what he did. WALT He didn't know what he was doing. ANNE nd he still doesn't. He's out there wandering around with a child that we raised. He's dangerous. ALT Don't be crazy. ANNE We'll never find them. WALT We can track them. We know their route and the car they're driving. 135.SCENE..81. -, OMITTED. o ts, (GoS\ or Ga) a3 (82) [SAN BERNARDINO MOTEL ie Rev: 12/7/83 INT. /NIGHT (82), | Hunter is lying ih bed ready to and Travis sits of the bed across from |him. AnotHer pause. ; ; TRAVIS You're not sorry you came, are you? HUNTER (pause) No. TRAVIS You can go back to them any time you want. You just tell me, all right? HUNTER I don't want to go back. TRAVIS I know. But just in case you change your mind. HUNTER I'm so used to calling her "mom." ‘TRAVIS Anne? HUNTER (nods) Yeah. She sounded so sad. ‘TRAVIS I know. HUNTER What do you think Mom will look like now? (CONTINUED) 136.) 7 & (62) GONTENUED: ——~, 22 t Travis white himsel Hunte: to Tri ‘Travig turns into ; s ? it to Hunter| give the phot: the light and to go to sleep as Travis Reve 12/2/83 I don't know. Do you remember her? No, not really. Just from the little movie we saw -- not for real. Oh yeah, I do. remember her hair. She's very beautiful I remember that. Phe little blapk a ¢ Hunter, % (ooking at photo) We look happy then. (shakes his head) You keep that.Revs, 12/7/83. AE . 83-7 @ (3)_ SAN BERNARDINO WOTEL ERT, [MORNING (83 The Rancherq is the only car in the parking lot joutside the motel. The San Bernardino freeway looms in in the background. Travis and Hunter come/out of the hotel room and get in ghe Ranchero to resume their journey. - SCENES 84 AND 85 OMITTET 138.-143.(G6) MONTAGE - TRIP 10 HOUSTON 6: Travis and Hunter drive straight through, from Arizona to Houston. They only stop for gas and food. This should be told in little vignettes only. The size of this montage and the complexity will totally depend on how much time we have. Travis has-a' deadline to weet.” He has to be in Houston on the morning of the fifth, and when they leave, it is already midday on the third. He can't lose any more time. leway while Hunter explains Travis the origin of the 86-8 B) HUnfer sleeps on Travis! ote plder, exhausted. y ©) BORE Looks out the window at the A oe unfamiliar landscape their passing, gifncing once in a whéle to Travis. © NOTE TO EDITOR: MORE SHOTS THAN THIS WERE DONE, BUT NO SCRIPT NOTES WERE GIVEN TO ME ~~ CHECK WITH WIM. 2) . us.) (87) [HOUSTON-THE RANCHERO f 97 -D HuTer travis and HOFer drive into Houston as the sun riges over the city. They've been driving all night. x INT. -ERT. /DAY (87) 145.sD (88) [HOUSTON DRIVE-IN BANK-THE RANCHERO EXT. [DAWN (BB) The first light of day, Travis drivds along looking from the addrgss on his paper up at the glasq skyscrapers. Then he realizes that |the address matches the Drive-In lon that street. It's a huge jp: 15 lanes with banking booths je front of each. ds drives aroiind the block to Jat all the lanes. He's exhausted lerve-wracked from the non-stop ing. ily, he pulls to a stop and Hunter lout of the Ranchero taking one Walkie-Talkies with him. He lup the entrance a few feet then around to Travis. HUNTER (dnto Walkie-Talkie) Dad, can you read me? Over. ‘TRAVIS (into Walkie~Talkie) Loud and Clear. ives off around the corner ition. po: (seeing the Ranchero; into Walkie-Talkie) Hunter in position one. Over. TRAVIS Travis in position two. We got it covered. HUNTER Yeah. I told you these weren't toys, Dad. (CONTINUED) 146.GIGS) QR G8) CONTINUED: (BD TRAVIS. Ten-four.- Over and out. where early nor} eady begun. After a he phils out the photo of Trpvis, himself and Jane : from his pocket] to look at it. Then GEIB) ne puts it back in bis pocket and Settles to wait) | yw The first custozers of the morning | have already bagun to arrive. | Te 147.(GBA) HOUSTON DRIVE-IN BANK (LATER) Ext. DAY —_(8BA) Hunter is sound asleep on the wall he|was sitting on earlier, the Walide-Talkte by hie side. The (69, 6543 suh has finally reached his eye and he slowly wakes up. As he sits up, he looks over to see if ‘Trqvis is still across the parkiny lod in his Ranchero. Then he looks ovdr_to the drive-in tellers. Jane is at the window in a small red| Chevette, just completing her transaction. She pulls forvard in line to leave and stops for the car sa-frone of her. PSA) nee Looks directly at her and rechgnition suddenly hits him. He caches quickly into his pocket for hel picture of his mother to compare it with the woman ‘him. REE -10 janie -ByuFES to Dp : 2 atbhes hqr eye and si Si ‘at fim and smiles.before pulling out of fhe drive. r Hunker stands and turns around t watbh her leave, as though not (S9A-5 re bellieving his eyes. Suddenly, he a turfs and runs down the wall shouti intb his Walkie~Talkie to Travis. HUNTER | (erying to bd discreet) Dad, she’s leaving the Yank! Get over here. Dad, can you hear |me? Can you hear me? She's leaving the Bank! She's over here! She's leavin: bank, dad, wake up! $8At 1D Hunter FuRS bac] time to dee Jane pulling out] of the lot For|a moment, he doesn't understand what the fuck or what. He site up, looking for Hunter. a (CONTINUED) = 148.) CD) (GEA) CONTINUED: 1 BBA) Travis snap running on the Travis starte and paras tire 5-5) Pulls up to the drive where ection where Jane's car took scoops him up and speeds off som the street. 149,sie Wet TARO Pe pyan eigte perigee os: Cea 2 AG i) @» FREEWAY/THE RANUHERO EXT. /DAY (89) Jone Red theveete stoots up freeway.| The Ranchero follofs, several Lars behing. Travis) jockey: land weaves, but can't get close enough fo the Chevette tobe sure it's Janq. | | |: a A) O04. | \(@9A)_RANCHERO TINT] /DAY_(B9A) ttravis ig twisting around, trying tq ‘see the dar. ‘TRAVIS i Are you/sure if was her, Huntpr? Did she look like fhe picture? HUNTER Prettier than the picture. That way your hom. (pause Therefs ten thousand cars here, Hunter.) How ake we going to o her? c Which qne is it? Go faster dad, ‘go faster. ! What thé... whht color was ty? The car vighe| Yeah, p littldred chevy. 5 fe like unter. You'l} have to ( : help méy Can fou see? Do yol see ra) anything? ~ if (conttyuED) 150. bo apes anyfhing? 1 don'd Imow whatK89A)_ CONTINUED: (898) Hunter looks. a TNS eee OPEN "t see Her yet. » we're going Jo get a ticket. I see her, I|see her now! there, over|there! right lane, the right lane! mRkvis Ath right, all right, settle down, I it. use) if it's her,(can you tell? 151., QE@&OED G2 (695) HOUSTON FREEWAY/THE RANCHERO (89B) second red |Chevette bets al Ranchero. |The two Chevett: identical. | As the ¢ and change, the Ranthero confused wiich is which. do we.) In the mix of a trafi affic |shifts ic, a d of the are jets id so ExT. /DAY (89C) RANCHERO ed INT. DAY (9G) Travis movds back anf forth between| the two cars ahead, poth of then driven by girls that|look similar to each otHer. He gets jumpier. They cone to a fork {n the one Chevette is takitg the fork and one is taking the fork. freeway, | right left Travis purstes the rel Chevette which turned off left. TRAVIS Wait a miqute, now there's two cars. Which one)is it? HUNTER Take the| left! TRAVIS You sur UNTER Yeah. TRAVIS, Okay. Yeu're sur HUNTER Yeah. the left! this is the one now? (CONTINUED) 152.a) GRD) ts ‘CONTINUED: ed) (za43 Cred) (89C) AS ne. INS ~ eee you? Yeah, Hut I don't thipk she recognized me. Maybe id a litte bit, ‘cause she sorta at ae. TRAVIS . Her ha? is blonde, huh? HUNTER, Yeah, Just 1ike mineS TRAVIS, I can'p tell from here. ‘HUNTER Let's go closer, we gan wave. No, n0,/we don't wank to get too close. scare her ahd she'd have a something. | Okay? guess so. u're right,|Hunter. If we're fag the wrong ¢ar, we'll have to eight then. > ‘TRAVIS ; You'll Be what? | (CONTINUED) . 152A, Vvi) Goa (B9c)_contt NUED: An ambulant it siren if 2 on the NINS the fteeway bl distayce. aed ie Dy IN. HUNTER] I'l 9} TRAVIS, Are ve HUNTER No. TRAVIS ‘It's at UNTER Yeah, TRAVIS eight 4 getting a ficket? ambulance), huh? t's getting someone. Well I)wonder whete she's going? HUNTEI Maybe fhe's going "yo work. ‘TRAVIS Could be. Hunrer! Do you ‘TRAVIS know where 2he works? Well we're going fo find out, I guess. HUNTER| I gues} 80. 1528.O (GO) PORT ARTHUR STREETS EXT, DAY GO) The Ranchero trails the Chevette on the roughly vacant streets of Port Arthur] The Chevette drives fast, familiar with the streets. Travis still Gan't_gat close. The chever! ‘Is into an alley. Travis ‘loses jsight of it for a moment; When he sees it again, is parked behind a sto: building. It's empty. parks behind: it | Vas Ke Chevette le-front ‘The Ranchero & 153.a) cna Cw Travis jumps out, looks around, Hunter bentdd him. Hg and Hunter exanine the Ghevette Wee, aN 16! POW: It's |locked, debris sca arouyd inside: viny] hot-pants| HUNTER It's a girl's car. Do you think it's ny Mom's. ‘TRAVIS Could be. He mdves to Hunter who's standing on the Back of the car. Come on, let's get in the truck and I'll tell you my plan. Bunter climbs in the truck and Travis leang on the door to talk to him. ‘TRAVIS Tell you what I'm going to do. I'1L be as quick as I can. I'm gonna go inside and see if she's there. Stay in the car, roll up the windows and lock the doors. If anybody comes and talks to you, tell them your Dad's inside and I'll be right back out. Okay. ‘HUNTER okay. TRAVIS You all right? HUNTER Yeah. Travig goes to the door and enters a the bjilding. ) a 154-155.(Gi) MEYHOLE CLUS/STATRS AND KITCHEN TNT. /DAY (I) ‘Travig ‘goes up nattow stairs and finds himself coming into the back of a! Kitchen. The place is stainless-steel, seems untouched like something from a time qapsule of the '50s. An OLD MAN is at |the other end of the kitchen sittiqg at a desk. Travig doesn't notice the Old Man at first then sees him and crosses the . kitchdn. TRAVIS Sir? Excuse me, did a young blonde woman just go through here a couple of minutes ago? OLD MAN Oh, they come and they go... all the time. ‘TRAVIS What sort of a place is this? OLD MAN I used to run this place, you know. It was nice. You know, Curry was a good cop. They had everything here when he was chief. When they changed police chiefs, that's when it all started to go to hell in a basket. Values changed, and we didn't know which way was which. We didn’t know what to do. But we stuck it out. We just stuck it out. We stuck it @i-2) out... The 0g Man espe talking, Travis noves ‘out of the kitchen as the Old Man continues talkihg to bis back. Travis soves up a sualh stairway leading to the upstairs. ie 156.InT./DAY (92) (92) KEYHOLE CLUB/NIGHTCLUB-BAR. Travis cones} place: a lo\inge-nightclub. It]s too early in thd day for the club tp be running; chairs are tabled, only a members of run songs just drinking coffee, etc. to be | (amy He gets halfway along the room, not aoe finding her, when he hears an announcement. Ys, call for you, Booth 19. the women sitting at a table eating lunch gets up to leave “ERB a > in full costume. Froers LEAVING, ‘around the room and girls in the bar, a off the lounge. Travis (CONTINUED)(zy MAITRE D' Sir, you're in the wrong place. (stepping toward Travis) It's too early, all the girls are downstairs. Travif backs up, looking for a way out. ‘back, looking aroun} AS ‘The Maity Wer him. Travis am HALLWAY INT. /DAY ap) Travis hustles down the hallway. He TRA’ RON: ef heays footsteps thudding behind him. @20-D He urns the corner and sees a sort of, Cashier's booth with clients lined up at {he window and a long bar. urns and through a side G34) ie bustles down a long, narr coridor. He pauses briefly to look moves down the hall to enter a door ight turned, on above it. enters the same corridor, following Travis. He stops to look out and sees the boy waiting with ro ‘The Maite D' moves on down the hall to enter thq room that Travis entered. 157A.G2e-0 C) 926) KEYHOLE CLUB/ALLEY EXT. /DAY _(92C) Travis has been gone a few minptes when Hunter decides to explore the alley a little. He walks down the alley looking over the neighborhood and passing the| time. G20 He comes to one Of-the many buildings that have| murals painted on them-and stops tb-look. Someone has painted|a dirty word, "Pussy," in pkint on the * mural. He pauses th look then heads back for the Ranchero. X 157B.7% {J (93) KEYHOLE CLUB/BOOTH ROOW INT. /DAY (93) Trayis has stepped into the middle of a large, bluish dark ballroom. There are|two rows of black velvet draped booths set up in the room, twelve against one|wall and twelve against the opposite wall. The black booths form a long cortidor between them, STRAWS pv. Trayis [voke-P and down this corridor, trying to figure out what this place does. Fain’ booths from’under the black curtain doors pulted closed. Trayis moves toward the 1it-up booths listening. He can hear only muffled, broken conversations. He glances around at the smali placards that tag ith a number and place-name. REIS’ RON: ig through the corridor periodically, some exiting booths, some entering booths. Travis ducks into one of the unused booths, pu the curtain shut. ‘The Mait¥eDy-enters the room just as ‘Travis moves |into the first booth. He stands quietly, just watching Travis. 158.43-1) (G3) KEYHOLE CLUB/BOOTH ONE hen Trfvis shuts the curtain a little fable lamp is on revealing a chairlat a snail table with a telephohe on it. Draped black cureainf. soundproof the orhenvise empty, fark booth. Travis gits at the table. He's jumpy. He notices, something like a cast-ligt taped to the table; a list of-the girl's names opposite role categories. Travis dcans the list; hesitates; picks up the phone, A MAN'S VOICE answers |the phone. The man om the phone cuts him off. Abruptly,|a small room lights up on the other! side of the front wall of the booth| (obviously this wall is glass). This little room is a INT. DAY (934) MAN'S VOICE (Phone Filter) Srmtainnyereemctee: ‘TRAVIS I'm looking for a girl. MAN'S VOICE atte ‘TRAVIS She's blonde... and Yeh, maybe she's a little wild. Right. I got the girl for you. Stay right on the line. stylized bet that suggests a kitchen. Vv (CONTINUED) 159.Grd C) (3A) GONTINGED: 1 (GBA) At the|same moment, a time-clock meter lights |up in Travis’ booth and starts clickiqg down the minutes. Suddenily a tall blonde woman, STRETCH, in bladk leather jacket and fish-net stockings comes into the kitchen set. She's jn her mid-20s, striking with a no-shit| attitude. She plops a tape-deck, in.the-|sink, blasting loud: funk-rock ‘ music. | She leans down to the microphone. STRETCH Hi, honey. She yanks off her jacket to reveal a black| zippered leotard under it. She's straight-on unblinking about what she's doing. This is her business and she|means business. Dearie) yao cece: tees smiling and sort of stuttering into the phone. TRAVIS Um... hello. . + hello... STRETCH Hello. Yeah? TRAVIS. Could you turn it down? off! | STRETCH ALL right. Okay. I'll turn it off. (she punches the button) Off. | TRAVIS I'm looking for a different girl. STRETCH What's the matter. You don't Like me?” Loe (CONTINUED) Vv 160.(@3A)_CONTINUED: (3A) ‘TRAVIS Yes, I like you, but... I have to see all the girls. Thanks. Travis jumediately hangs up the phone and exits the booth. Stretch keeps talking lover his action. STRETCH Okay... I don't blame you. spas TRAVIS Pov @8-) G32) (998) KEYHOLE €LUB/BOOTHROOM CORRIDOR “INT. /DAY (938) Travis pulls opt, crosses into andgher booth. ‘The Maitre D' has been whitching cautiously from another pooth in the row. He peeks out and watches Travis as he moves into the next booth. : 161.7 XN KEYHOLE CLUB/BOOTH TWO. INT. /DAY (930 Travis| sits down in the booth. He's beginning to understand how this works how and is a little more sure of himbelf. He glances at the list of girls, then scoots his chair to sit nekt to the phone and picks it up. MAN'S VOICE (Phone Filter) Ra ‘TRAVIS I want to see a blonde girl. Kinda short, straight hair... about 25 years old. MAN'S VOICE eereniinrominzccrem Shin C ers atm The Lights go on in the booth to show a poolside set. NURSE BIBS hurries in a little out of breath and. disoriented. She stéps to the window/mirror and checks her lipstick (right opposite Travis! face). Then she sits and directs herself to the other end of the mitror where the customer normally sits. She tries to play a nursely attitude. NURSE BIBS Hi, honey. And how are you today? ‘Travis watches silently, trying to figure;why she's not looking at him. You know, out of the twenty-four booths { in this place, this is the one I haven't t worked yet. What can I do for you? Travis ‘doesn't answer. How -"bout some water polo? She looks around and picks up the tubber horse toy. She struggles to pull the toy on. WA « (CONTINUED) 162.) qed (930) CORTINUED: TT Travis mpves his hand around where she's lobking. She obviously doesn't see it. |She's uncomfortable from his silence. ‘Travis hangs up the phone and leaves the booth. Nurse Bits sits there for a moment, trying td figure out what happened. a (93C) NURSE BIBS Well, if you could tell me where the pain is, maybe I could find a cure. ‘mais Why aren't you looking at me. ‘NURSE BIBS I am looking at you. ‘TRAVIS I’m over here. Can't you see me? NURSE BIBS Listen sweetheart, if I could see you, I wouldn't be here, pal. TRAVIS What do you see? NURSE BIBS I see what you see. Nurse Bibs. Nurse Bibs with a rubber horse. ‘TRAVIS Oh, I see. Thank you, Nurse Bibs. NURSE BIBS (to herself) Shoulda’ brought my sandwich. 162A.\ dD, ¢ (93D) KEYHOLE CLUB/BOOTHROOM CORRIDOR Travig looks up and down the corridor like He's in a maze. Frustrated and humildated. More and more, he's refusilng to believe that Jane's in here. | He picks another booth. INT. /DAY_(93D) 1628.(GSE) KEYHOLE CLUB/BOOTH THREE INT. /DAY ‘93E) L- Travis fumbles up the phone, determined. He's| forced into almost playing the client, getting specific. MAN'S VOICE (Phone Filter) EERSTE! 7 2 2 TRAVIS Yeah, because I'm looking for a particular girl, I talked to her before. She's got short, straight, blonde hair, and the last time I talked to her, she had on a fluffly, 2 7 short pink dress, sorta like a sweater. Ss MOK-TRAVIS 4 Travis watts] trying to tell himself thig isn't gping to be Jane. But his lguts are| twisting up. The lights g room set. afraid to Lobk. A frail bloniie come Travis! thrdat. JANE Hi. (on the other side of the mirror) Are you out there. Travis is’ silent fo the |initial hock o: I see your light's still on, so I guess you must be out there. She[laughs, pauses. silent. (CONTINUED) CO 162¢.we Ge Gees (G3) CONTINTED IT (932) JANE It's all right if you don't want to talk. I don't like to talk either sometimes. I just like to be silent sometimes. Log pause. |Silence. Jane is oa awkyard, Do you mind if I sit down? Travis stays silent} She psks hin aga} Do you mind if I sit down? Trajis slowly opens|his eyps and looks at her| for thp first time. standing all the time. — = ses cS gs and stares out the onewway cS re Is this yobr first time here? ‘TRAVIS Yes. “ANS kind of strange to you then, (she laughs) 1 mean, you realize that I can't see fyou even though you can see me. It takes a little getting used S ? Z . JANE Oh-~ Peles whole thing must seem | to. Am I looking at your face now? NN. 1 Pause. VV onrv=D) 162D. anys <— kaG3E-4)G3es GED GENE (SE) Geng» CONTING! Gel) Gea (938) Travif is siler Another pause. ‘Travis is sileqt. She stands as fhough t sweater off. suddenly violept. faee leeten cera back down. Caen itecievereste stranger with is gentler Long| pause. ravis y on anfi sits e's the sense about handile this d gloves. voicd JIN. JANE Oh wel: anythii just 1 Ged) Would for yok | Do youl ru 4 take Her 11s at {her, TRAVIS JANE TRAVIS I don’ JANE Well-} , it don't mal JB you want tol sten. I'ma ou like me to} mind if I tal No! fo: Please! I'm sdrry. I just what {t is you want. want wo Why did you c ‘RAVI! I was ooking for wo (CONTINUED) ter. If there's talk about, I'1L eal good listener. - do something my sweater off? ist take my sweater off. we it on! n't know exactly me here then? 1628.93€-5 Ged) Gae-3) a3 (G3E)| CONTINUED: 3E4 ee (938) Travis is siflent. | u S am, \/ r | J | S g ; JANE Another gil? Maybe if yqu told me renenber her name? TRAVIS No. JANE. TRAVIS mms Jan Ob, I thought you sa ‘TRAVIS It is. JANE TRAVIS. No. JANE I'd like fo help you in you talking to me| be talking to someon TRAVIS I want to/talk to yo (Cor could. 1|mean, ther¢ | | i | tho she was, T could try fo find her|for you. I know all the girls heke + Do you ; Did you mebt her v else? id this was the first timg you'd sen ere: 3 Well —- cfn you deseyibe her for me? find her if I "s not much point if you'd rather else. ‘INUED) 162F.a 7 Ged OSE) CONTINUED: 93E-Il E-f (O3E) Jare laugt NBN Wry ie > Travis gets up: c ' NS Ne a mY SINS it) Is tere somethin, ‘Tran No. v wee JAN a secret. B you want to tell me? , you can tell me. 1 can keep ‘TRACTS Ts that all you dois talk? JAN} Welj-- yes-— most: meas tab else do you opt oo you racengle ks (stbps laughing) ing really. the customers do you see TRAVIS had lee do you gb? with thené ly. And listen. ln'm sorry. je are not allowed to Ihere. fem then? Do you (CONTINUED) 1626.ys Te SPSS * ef IN at the mirror, ASN JANE No, we don|t, sir. We're not allowed any outside relationships with the customers. TRAVIS Yeah, but (you can go hbme with them if you want) to,.can't(you? How-much extra money do you make! How mucl much weney do you make on the side? (stands) f'm sorry, bir, but I think maybe you pught to talk with one of our other girl. I'll see if I can find someone fof you. meavis ¢ (yells at(her) Wo! (No! No! Don't aN | Q >) JANE I just doq't think I]m the one you're looking fdr. ‘TRAVIS, Don't go,(please. JANE ALL right] ‘TRAVIS, I'm sorry? I just (coxsrxvED) 11628.~ ) 335) CONTINED: 6 (3B) Travis gets Ambarrassed| and awkwardly leqves the Spoth. Janel continues| tailing, noo know that he's gone. as | Thay!s all rigit. 1 know How difficult it ig to talk to|a stranger somgtimes. Fs try to relax and tell ke what's on your mind, M11 Listen.” T don't mind lfstening. | do it all the|tine. “| | (3Fy | GRE ar KEYHOLE CLUB/B00" INT. /DAY _(93F) Travis Jeaves Jare's booth|and passes by one df the botncer's standing in the doy oqway. He]s obviously upset. cer look4 at him with curiosity, if Ehefe's @ problem. MATTRE D' (to bouncer) Hey, it's okay, Showboat. Jane s: now, c G3o-h (93G) KEYHOLE CLUB/BOOTH THREE INT. /DAY (936) ifs in the booth alone, silent orffused and upset. Suddenly she heays the tusic of a blues harmon: He soot Jane 1 finish ida coming over the speaker. JANE Slater? thes her with the music. Finally, ves the booth while Slater 1e$ his song. aeLate afternoon. Travis Arives fiercely dpwn a flatland highwa! eo Gap GED Le CS He's drinking hard from a Tequildpottle, not lookling right or left. Long pal SDI 2. Travis firinks again. Huhter looks at him. a Hunter fratches him silently, but mostly roadsidb. eps his face turned to the = wo Rews 12/7/83." 6 INT, /DAY G5) HUNTER You did see her, didn't you? TRAVIS We'll talk about it later, okay? HUNTER You saw her didn’t you? She was there, wasn't she? TRAVIS Yep. (pause) Don't worry about me drinking, son, I can handle it. 1625.Ae ena ‘Travis town in| he abru swerves just a station, bars anc {DHEIM/THE RANCHERO jrives fast through a little the middle of nowhere. Then tly stops, backs up and back into the town. It's ighway junction with a gas @ washateria, a couple of a few scattered houses. Travis gcreeches up to one bar, the "Broadway Bar." > He gets explanat wanting knowing out of the truck without further jon. Hunter follows him, ito do something but not iwhat. ExT. DAY ey 163.@ (97) BROADWAY BAR’ INT. /DAY_ (97), The place is like an old western rea iaeciemeteneeltaass eeiole) mris ant omeeiniera 94.3 long brass bar. Travis has a beer and a|shot of Tequila ip front of. Huntet has a coke. is is of staring at the polaroid of his p- of lagd in Paris. a > (re: Polaroid) What's that? mats men Why did you take a picture of a vacant lot? manne I didn't take the picture. Somebody paces a oS a People I bought it from. I bought that lot when we were all together with your Mom. I thought we might live there some day. HUNTER Where? ‘RAVES Paris... Texas. (conTINvED) 164,SNL oP AOD § Pause as Hunter eer at|the picture. Travifs riods. \ | Travis looks at the polardid.' It dawns on him that his Hopes of (putting things right are over. |e tries \to deal with it aq a joke. } Travis takes a big swig of Tequila Finighing the glass. ( \ v GF. HUNTER Where's that? ‘TRAVIS Close to the Red River. How do you | like it? You mean we'd just live on the dirt? TRAVIS No, I'd build a house. ‘HUNTER Do you know how to? TRAVIS. It's easy. HUNTER You own this place, hey? Is that where we're going? ‘TRAVIS Well. Nope maybe we ought to. Maybe they found oil there while I was gone, Maybe we're millionaires. (CONTINUED) 165.ON ‘T é HUNTER > Why do you drink that stuff? Tt stinks. Bunter grabs his\coke as hel gets down from |the bar railing to walk out. ca TRAVIS | * ae tie i (over his: shoulder to-Hunter):-Where're-- » you going? 7 i / HUNTER ! } (disgusted) To the truck. Travis takes a pwig of the beer sitting in fyont of him| and heavily lays it on the bar. i TRAVIS iy (after a pause) Can I have another = / ote 5 ras ro ‘ 165A.Sosceccecssesessecscssseeesseseseseeeeseeseeseseeceseeeseseseesseseeeeeeseees seessi A Gee HD (J) (98)_NORDEEIN-BROADWAY BAR (LATER) Ext. /pusK (98) Hujter is in the Ranchero, the sun setting quickly, e little girl he|net earlier, Brandy, is across the street at the |Coke machine. She gets a Coke and Idoks curiously at Huater jn-the Randhero. ! a3 Hunter pick? up h4s binoculays and looks through thes at Brandy [as she gets on her|bicycle and rides off down the stteet. 7 tA SCENE 99 CMITTED 1658.ar Cooa-| TIOOA) ViSTON: MEXICAN BAR Travis’ sitting ‘in a primitive bar in a Mexifan village, getting loaded. (008. ‘TOOB) VISION: MEXICAN VILLAGE Travis, drunk out bf his mind, stumbling along a ftirt road in a mountain village. “INT. (NIGHT _(LOOAY EXT. /DAY (1008 Gooc-D. 10GC) VISION: SHOWER, Trayis runs water over his head with his clothes on in a primitive shoyer outside, then puts his hat back on, picks up his bottle of Teqhile and heads into a bar. Loon-D (oop) WESTON: Pov = MOUNTAINS Travis’ POV of the gountains and landscape outside te primitive Mexican Bar. EXT. /DUSK (100C) EXT. (DUSK (10D) 166.(02) NORDHETN/MAIN STREET/LAUNDROMAT, ee ~ 102-2) Travis stumbley into the empty lauqdromat, Hujter helping him. Thig is not mudh more than a barn. A lng row of ashing machines with a couch 4n one room, In the adjdining room| nothing but a few CSO) Int. (cur (102) TRAVIS (drunk, haf to Hunter and half to himself) This is not-- This is not the place tg take a fancy woman. Would you say? Tf you had a fancy woman, would you take her into a place like this? HUNTER What's @ fancy woman? ‘TRAVIS My mother-/My mother, not your mother— My mother fas not a fancy woman. She never was.\. She never even wanted to be. She never even pretended to be a fancy vonan/ HUNTER What was she? TRAVIS She was-- She was just-~ plain. Just a plain good woman. She was very good. She Was very plain and very good. But my Daddy. See my Daddy had this idea in his head like a sickness. HUNTER What idea? (CONTINUED) 168.ate (GOL) NORDHEIN-BROADWAY BAR INT. NIGHT (OL, travis sume ac'che fof che GLADYS cleans up behing the bar. os ¢ . HUNTER . : Dad, this place is closing now. Trapis looqs at the boy and smiles. ‘TRAVIS Okay. Hunter goeq to the door and turns to waif for Tavis. Travis very drupkenly moves to the door frame. TRAVIS (to Gladys) Where's the closest motel, Gladys? GLADYS ‘Twenty-seven miles west of here. HUNTER (from the sidewalk outside) Come on, aaa » Dad. I know a place down the street. l0t-2) The| two Of them leave together as Glagys clbses and locks the door. [- 167.(03) CONTINGE! (02) He had this idea about her. He'd look he wouldn't see her. ee this idea. See, he knew— he knew he was just as plain as dirt on the road... He knew that... He knew he'd/never be anything but plain. So he made this idea up about her. ‘Gaubhg) 'He-told people she. was: from.’* Paris.) He even started to believe it. He actually believed it. And she— she g6t so embarrassed... She was very shy. Is passes put on thp couch.| Hunter it in stride. Hel looks at Travis a moment, then goes| over to| him digs some quarters put of hts Iket.. HUNTER, Dad? Can I watch T.V.? TRAVIS (half waking up, mumbles) Sure. Hunter feeds some quarters into the T.V. and turns it on. A John Wayne western comes on. Hunter moves to the couch to sit and tries to get comfortable. He keeps looking back at |Travis. 169.(O3A) RANCHERO (LATER) ac fee ne ma the comiés. We see Travis coming opposite side of the the distance, carrying kets. osses the street to get in the Ranclero with Hunter. They look at 4ach other a moment, without saying a|word. ‘TRAVIS Vamanos. He close: and pull the door, starts the car off down Main Street. apa (1038-1 (03H) NORDHEIM CROSSROADS. The Hanchero stops where the Nordheim Main |Street meets the highway. ‘A sign says: "HOUSTON ~ 233 MILES SAN ANTONIO - 518. MILE PON. The truck pauses facing the sign. Le (03¢. ‘COIG)_RANCHERO Travis sits blinking at the sign. He can [barely think. He doesn't move. Hunter glances at him, trying to read him | Finally, Hunter speaks without looking up from his comics. | HUNTER | v f030-2) Left, Dad. Travis turns Left[down the highway. ointing left) (pointing right) EXT. /DAY _(LO3AY EXT. /DAY_(103B) INT. DAY (osey im.ayy waar i e inad) Gea DGoa.B) (103 NORDHEIM MAIN “STREET T EXT./MORNING (103) : 1 1 : poeta eee and dtands on the porch looking down Main Street. The streets are ~gtill fairly deserted! je runs across the street am the street, passing one of the locals slowly walkingjdown the i ns lL we ae passes the Broadway! Bar, e ine iieeie pinks Bey, ((03-F on hex way to wait for the schol | HUNTER 4 a S (smiliqg) Hi, toad-head. HUNTER HL, f1Yyface. Brandy, fetgiing sffense, shakes ( hands eith kin continues on to the bus stop. i the phone booth, | He picks up the |phoné ‘numbers. HUNTER Hello, Operator... This is a collect call from Hunter. Amnat's voice, talking to the operator. She bounds instantly frantfc. As Anne is akcepting the call, he fhanges his mind) and hangs up. He rung away from the boosh and gets in the Ranchero. : 170.} a LAG GD (04) HOUSTON HOTEL ROOM/SATHROOM Travis is in the bathroom. He stands in front of the mirror and just finighes combing his hair. He is clear shaven and has new clothes on, a black shirt and black trousers. He idoks transformed, like the Travis maybe that Jane first fell in 1qve with. bougit for the occasion, sits down on the ddge of the bathtub and starts talk{ng into the little machine. He fet a. tape: recorder: that he - In the next room we see the triangle- shap¢d glass hotel room in the downgown Houston skyscraper. Two long] glass window-walls meet in a point like a spaceship at one end of the room. Hunter bounces around the foom in a long T-shirt and sockp, still wet from a bath. INT. (DAY Oey ‘RAVI (iato| me. to sé perso} this. time show me I hoped| that all ‘to of things. tape recorder) Hunter. It's was afraid I'd never be able the right words to you in so I'm trying to do it like When I first saw you this _ - at Walt's, I was hoping for I was hoping to ou Iwas your father. You showed as. But the biggest thing I for can't come true. 1 know ow. You belong together with your hother... - 172.7 — Gos) (ls) HOUSTON HOTEL ROOM (LATER) Travis copes into the room where Hunter is|playing with his toys. INT. DAY (105) HUNTER Why axe you dressed ike that? TRAVIS Do I’ look dumb? HUNTER No. TRAVIS Ihave to-go out for a while, and I want you to wait here. HUNTER Where are you going? TRAVIS Back to that place again? HUNTER To TRAVIS Yes. HUNTER When am I going to get to see Nom? TRAVIS Soon as I talk to her. Real soon. You wait here and don't leave the room. Okay? HUNTER Okay, dad. (CONTINUED) 173.SreD (05) CONTINUED: —T Travis kisses him on the head, then gives him fhe little cassette recorder. Travis ledves. Hunter continues playing ad reading his comic book on the bed. NT. 7bAY (105) ‘TRAVIS I made this tape for you. I want you to play it agter I go. Okay? HUNTER . Sa Okay. | (oz4D (OSA) RANCHERO [FREEWAY Travis drives dqwn the freeway toward the Keyhgle Club for his meeting with Jape. Ext. /DAY (105A) 174,~ 7 eeD (G06). KEYHOLE CLUB - BOOTH FOUR ne fomes into the booth and si 1, 0k. Trav: drror. oO, is on the other side of t SINAN INT. [pay (106) JANE Hello. mRavis Sex T tell you something? ~ JANE Sure. Anything you like. TRAVIS It kcind of long. JANE I have plenty of time. ae I kmew these people —- . JANE What people? ‘TRAVIS. S These two people. They were in love (with each other. The girl was very young. About seventeen or eighteen, QT guess. And the guy was quite a bit Zolder. He was kind of raggedly and wild. > and she was very beautiful, you know? JANE (smiles) Yeah. (CONTINUED) 175.(CL (CD HPCE Ge DED 106)_ CONTINUED: 1 06) ADIN A | | ~ wr MINS Vv (Qor! INI IIIS SIRI NSS NI NIN IS NN I oooTININ_ BREN IRIDDRDRI OIA RADDA IA ALY TRAVIS I mean she loved him, because he was sort of crazy, so the age didn't matter. Not really crazy, but he'd turn everything into a kind of adventure and she liked that. Just an ordinary trip down to the grocery store was full of adventure. They were always laughing, about ‘stupid things... He Liked to make her laugh. They didn't much care about anything else, because all they wanted to do was be with each other. They were always together. JANE Sounds like they were very happy. TRAVIS Yes, They were. They were real happy. And he-- he loved her more than he ever felt possible. He couldn't stand being away from her during the day when he went to work. So he'd quit. Just to be home with her. Then he'd get another job when the money ran out. Then he'd quit again. But pretty soon, she started to worry. JANE About what? ‘TRAVIS Money, I guess. Not having enough. Not, Imowing when the next check was coming. in. JANE I know that feeling. ‘TRAVIS . And so he started to get kind of torn inside. (CONTINUED) 176.bs iD Ged) Ce DGoe-DGowid 106) CONTINDED: 2] T (06) Lob z J 5 do ypu mean? S$ 2 2 We: on he had to work just to 2 support her, but he couldn't stand re deips ax $7 from her either. § Oe re he was away from her, the je got. Except now, he got 2 azy. He started to imagine Sp of things. u Go) Lie whqt? He sd thinking she was seeing ofl on the sly. He'd come home frp work and accuse her of spending the cay yith somebody else. He'd 3 yel} at her and break things in the trgtler\ i trakt v ey were living in a trailer home. luse jue, sir-- but were you in to it ae the other day? don't’ mean Pry. (CONTINUED) 177.(06-3) (dv. “h ! 3) Oe = : 2 : : eon Any PIAS DI 106-k a pause) No. It thought I recognized your voice minute. wasn't me, j-- he started drinking pretty d he'd stay out late. just to it |do you mean, test her? if she'd get jealous. ited hex to get jealous, but she js just worried about him at got |him even madder. he fdlt that if she never got im, she didn't really (conrzNuED) 178.INS oO counter. ls a sign of her love for ‘And tfhen one night-- one night that she was pregnant. was abdut three or four months ant, dnd he didn't even know. then suddenly everything changed. topped |érinking and got a steady 2. He was convinced :that. she loved hhily now bedause she was carrying his chfid. And he was going to dedicate elf to|making a home for her. dat everything. Even the d to be an injustice to her. her. Buy her things. Take b dinner once a week. But |, but finally he knew it was to work out. So he hit But this time ic This time when he came back got mean. late at night, she wasn't worried about him or jealous. She was just enraged. She accused him of holding her captive by making her have a baby. She told him she dreamed about escaping. That was all she dreamed about. Escape. She saw herself at night running naked down a highway. Running across fields. Running down riverbeds. Always running. And always, when she was just about to get avay-- he'd be there. He'd stop her somehow. He'd just appear and stop her. : (HORE) (CONTINUED) 179.dosy ; > s (blob) © Ge Ge 1oo-1F fo the mirror, de. ftly. jane has gome ecognizitg by |now that it's Travis in the other s: jo the gldss si She puts her hand @o6y TRAVIS (Cont'd) And when she told him these dreams, he believed them. He knew she had to be stopped or she'd leave him forever. So he tied a cow bell to her ankle so he'd hear at night if she tried to get out of bed. But she learned how to muffle the bell by “.stuffing a sock into it and inching: .- her way out of bed and into the night. He caught her one night when the sock fell out, and he heard her trying to run to the highway. He caught her and he dragged her back to the trailer and tied her to the stove with his belt. He just left her there and went back to bed and lay there listening to her scream. Then he listened to his son scream, and he-was surprised at himself because he didn't feel anything anymore. All he wanted to do was sleep. And outside, the world seemed very quiet. All he could hear was a distant truck. And for the first time, he wished he was far away. Lost in a deep, vast country where nobody knew him. Somewhere without language or streets. And he dreamed about this place without knowing its name. And when he woke up, he was on fire. There were blue flames burning the sheets of his bed. He ran through the flames toward the only two people he loved, but they were gone. His arms were burning and he threw himself outside and rolled on the wet ground. Then he ran. He never looked back at the fire, He just ran. He ran until the sun came up and he couldn't run any further. When the sun went down, he ran again. For five days, he ran like this until every sign of man had disappeared. (CONTINUED) 180.5) CONT: ED? 6 She walks o| light and ¢} Travis t This revers} Jane sees time. She She softly it the door, |turns off the jen comes badk. the lamp of Hie face, 5 the mirrot. is face for the first tares at hit face. touches the [glass. Jane pulls faway from tHe glass. There is a very lng silence Vv 5 06) JANE Travis? TRAVIS If you turn the light off in there, will you be able to see me? JANE’ : . : I don't know. I never tried. mRavis, Can you see me? (JANE Yes. avis, Do you recognize me? JANE Oh, Travis—- TRAVIS T brought Hunter with me. (CONTINUED) 181.(06) CONTINUED: Z 08) ‘TRAVIS Don't you want to see hin? JANE Yes. More than anything in the world. T wanted to see him so much that I couldn't bear imagining him anymore. Anne kept. sending me photographs of hhim until T asked her to stop. I couldn't stand the pain of seeing him grow up and missing it. ‘TRAVIS Why didn't you keep him with you? JANE I couldn't, Travis. (pause) I didn't have'what I mew he needed. (pause) I didn't want to use him to fill all the emptiness in me. TRAVIS He needs you now. He wants to see you. axe Is he with you now? mRavis He's waiting for you. JANE Where? ‘TRAVIS. He's in the Meridian Hotel. Room 1520. (ContINUED) : 182.(06) CONTINUED: 6 Travis stands. Travis just stands there. ‘Long pause. She stares at him the glass. Travis just stands for a while. Long pause. : ‘hrough here oey JANE You're not going, are you? ‘TRAVIS (staring at the mirror) I can't see you. JANE Don't go yet. JANE I-- I used to make up long speeches to you. After you left. I used to talk to you all the time, even though I was alone. 1 walked around for months talking to you. Now I don't know what to say. It was easier when I just imagined you. I even imagined you talking back to me. The two of us. We'd have long conversations. It was almost like you were there. I could see you and ‘smell you. I could hear your voice. Sometimes your voice would wake me up. I'd hear it in the middle of the night just Like you were there in the room with me, Then slowly it faded. I couldn't picture you anymore. I tried to talk out loud to you like I used to, but there was nothing there. I couldn't hear you. Then—- I just gave up. Everything stopped. You-- just disappeared. Now I'm working here. I hear your voice all the time. Every man has your voice. (CONTINUED) 183.(106) CONTINUED: There is no good| leaves. (048 ‘Jane stands in ¢} room and turns She looks at thel last time. iS) ye. Travis just @ corner of her the lights again. place for the ‘TRAVIS I'll tell Hunter you're coming. JANE Travis? (pause) I'1l be there. TRAVIS Good. JANE Meridian Hotel? ‘TRAVIS Room 1520. 184,(obaD Covad O6A)| HOUSTON HOTEL ROO Hunter| listens to| Travis’ tape. (Just from where fe left off when Travis| spoke into| the recorder.) Hunter looks out! the window at [the skyscrapers around him. CouaD INT. [DAY CIO6AY TRAVIS (V.0.) (voice on recorder) ... You belong together with your mother. It was me that tore you apart. And I owe it to you'to bring you back together. But can't stay with you. I could never heal up what happened. That's just the way it is. I can't even hardly remember what happened. It's like a gap. But it left me alone in a way that I'll never get over. And right now I'm afraid. I'm afraid of walking away again. I'm afraid of what I might find. But I'm even more afraid of not facing this fear. I love you, Hunter. I love you more than my life. 185.C578: SCENES 107 AND 107A.-- OMITTED PARKING GARAGE! ROOFTOP EXE. /NiGHT (1078) TRANS RAUs TRIMS JANE HusTER ais (BNO B-S COE) Cow DO0GD 7 I Travis watches Jane entering the /hotel Foon ith the key he pave her, Bunt¢r is playing in the corner 4nd doesy't notice her at first. Then he turnd and see her. [Jane and Hujter don't move, staring gt each othet. They |don't “setm to know what to do. Then Hunter mpves to [Jane and starts playing with her haix|. He embraces his dother. She holds him tighter, turning him a| little. Now Hunter fates the window/wall, looking over Jane's shoulder. (OTE) HOUSTON HOTEL [ROOM Int. (NIGHT (O76) Now Hunter seks Trav4s and the solitary Ranchero on|the roof of the parking garage. SCENH 107D - ommrrTER - ‘107E) HOUSTON HOTEL ROOM “INT. /NIGHT_(1O7E), Hunter sees Travis get into the Ranchero and drive down into the| parking garage. (08) HOUSTON FREEWAY EXT. /SUNSET (108) (NOTE TO EDITOR: THIS SCENE WAS INITIALLY SHOT AS "'X" AS THERE WAS NO wavs’ PaV. PLACE IN THE SCRIPT FOR IT YET. IT NOW BECOMES SC. 108) Travis drives down the, freeway as ithe sun sqts in Houston, the city seeming to rise out of the light. 186.» Revs, 12/9/83, (lO) PARIS, TEXAS Travis works on the house. He's got a long way to go. EXT. /DAY (109) (iO) PARIS, TEXAS POST OFFICE 7 Travis picks up some equipment he's ordered for the house. The MAIL CLERK stops him as he's leaving. The clerk goes back and brings out a hand-sized box. Travis takes it. Travis stops in the middle of the lobby and inspects the small box. It has spaceships stuck all over it. He opens the box and slides out a plastic container of Super-8 film. That's all that's in the box. GSypeeP INT. DAY (110) MATL CLERK We got a little box; came in General Delivery for you last Friday. Mr. Henderson, wait-- (ii) |SUPER-8 FIL Image of Hunter and Jane traveling acrosq the country. They pass the camerg back and forth and wave. | Hunter says (without sound), "I love you, Dad." Jane says (without sound), "T love you, Travis." | ee iy 188.