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EXT. AIRPORT - NIGHT
Main terminal. Cars pull up to the drop-off area... people
getting out and hugging their loved ones...
REPORTER (V.O.)
As the war continues for the 1239th
day, a truck bomb was detonated
outside a brand new hospital in
Iraq, killing twenty two and
wounding a hundred and...
INT. AIRPORT - CONTINUOUS
YOUNG LOVERS kiss below the departure board... people wait
for their baggages to come down the conveyer belt...
REPORTER 2 (V.O.)
The market is down another two
hundred points as speculation
continues over Edge Water CEO Chris
Singleton's tax records...
Two POLICEMEN pull a drug sniffing dog across the floor,
passing a group of flight attendants...
REPORTER 3 (V.O.)
The job rate has hit a three year
low today as another car plant
closes in Ohio...
AIRPORT BAR - CONTINUED
The BARTENDER flicks through the channels.
BARTENDER
News, news, news, that's all.
PATRON (O.S.)
Hey, what time does the game start?
The bartender moves off, leaving the TV on the news. A MAN
sits at the edge of the bar, attention on the TV.
FEMALE REPORTER
(on TV)
... Big surprise for Washington
insiders when President Reeves
announced he will seek a second
term in office.
For weeks the speculation had been
that the embattled President would
gracefully bow out and let another
candidate take the Democratic
nomination. Those close to
President Reeves have continually
said the President would not want
to leave office with the country in
the state that it is. With his
approval rating steadily climbing
over the course of the year,
President Reeves...
The Man pulls out his pack of smokes. His eyes find the NO
SMOKING SIGN over the TV, mutters something under his breath.
This kind of man is nameless, though we will refer to him as
MARLBORO MAN (70), for the numerous cigarettes he smokes.
There is a lot of ware etched on his face. He wears a plan
black suit, no tie. Simple. Inconspicuous.
Marlboro Man's gaze catches an OVERWEIGHT MAN moving across
the terminal floor. The overweight man hands his ticket to
the attendant and moves down the boarding gate.
Marlboro Man moves toward the window overlooking the tarmac.
He watches the boarding gate collapse down.
EXT. DIRT LOT - NIGHT
A Lincoln Town car pulls into an empty lot overlooking the
airport runway. Marlboro Man emerges, lights a cigarette. He
watches FLIGHT 108, the flight the overweight man is on, take
off.
As the plane climbs through the atmosphere, the right wing
explodes! The plane veers off course, nose pointed down,
tumbling like a sweater in the dryer.
Flight 108 slams into the earth with a resounding THUD,
kicking up dirt and flames into the air. Marlboro Man gets
back in the car and it pulls off as fire trucks rush toward
the disaster site.
EXT. GOTHIC BRIDGE UNDERPASS - NIGHT
A POLICE HELICOPTER shines its eye down on the bridge. After
a beat, the helicopter moves into the maze of buildings
stacked on top of each other in the background.
TWELVE TEENS linger about, all with their faces painted and
wearing track suits. There is even a girl, WENDY (15).
OLIVER (O.S.)
I'm glad everyone made it in one
piece. That's what you call
dedication and commitment.
The teens straighten up as OLIVER (18) and WILLIAM (18)
appear out the shadows like two godly figures. Oliver is
handsome, in a weird kind of way. He has warm eyes and
carries a kind of laid back disposition.
William and Oliver have their faces painted and sport black
track suits.
OLIVER (CONT'D)
Those qualifications are essential
for warriors of the cause. We are
against an enemy who's lies protect
the lie which protects the ultimate
truth. That we are the enemy. Sons
of secretaries and waitresses,
children of entry level business
men and security guards. They say
we don't belong in their world.
They won't let us in. So what do we
do?
Oliver twirls his aluminum bat as he moves through the crowd.
OLIVER (CONT'D)
The United States is the greatest
purveyor of violence in the world.
Its military is unmatched. Its
reach is uncontested. We are a
nation born from rebellion.
William takes a pull from his asthma inhaler.
OLIVER (CONT'D)
So what do you think its children
are going to do? They fear us. They
call us unpatriotic because we
don't follow like mindless sheep.
They keep us in order through fear,
through the media. Hey, it's the
American way. Our forefathers
marched and protested. We are going
to fight, rape, and pillage.
Unprejudiced anarchy! We are at war
against the machine. Our overall
success lies in your hands.
The thugs are riled up and run off into the night.
WILLIAM
Nice speech.
OLIVER
I wrote it this morning on the
shitter.
Oliver glares up at the moon. A calmness falls over him. He
lets out a bellowing howl like a wolf --
OLIVER
BOOM!
EXT. CITY STREET - NIGHT
Bad side of town. Urban decay on steroids. A BUM rummages
through a garbage can. Oliver comes up behind him, kicks him
in the ass, sending the bum tumbling over the can.
BUM
Scourge! Scourge of the earth. What
kind of foulness have you people
spread?
WENDY
What is that supposed to mean?
BUM
Devil child! Cursed we are. The
devil's children shall inherit the
earth. You caused all this... all
this war and destruction. It's an
omen. God have mercy on us all.
OLIVER
God? There is no god, kind sir.
Only false prophets and scam
artists. Sucks for you. But you are
right about one thing. The devil's
children do inherit the earth.
Oliver raises his bat and comes down across the bum's head.
EXT. MOVIE THEATRE - NIGHT
The thugs move through the parking lot with a purpose. Oliver
dispatches a few thugs toward the back. William pulls a flash
bang out his backpack.
INT. MOVIE THEATRE - CONTINUOUS
People wait on line to buy their tickets, popcorn and candy.
A CLANKING SOUND, like something metal being rolled along the
floor, drowns out everything: THE FLASH-BANG!
It goes off with a loud bang -- everyone's ears go numb,
people dropping to the floor in pain. Patrons rush to the
exits to find them blocked by the thugs.
OLIVER
Tally ho!
Oliver slams his bat into the gut of an old man. Wendy
punches a girl in the face, then rips her dress off. William
rams a concession workers face into the popcorn bin. A THUG
tapes everything on a camcorder.
Punches are thrown. Innocent people are laid out. Pure mayhem
at its finest. Oliver stands on top the ticket counter
marvelling at the anarchy he created.
He locks on something which seems out of place to him amongst
this hell. MARY (18). A flower amongst a field of shit. Mary
conveys a certain innocence about her. Like a young child
that you just want to protect.
Oliver is mesmerized by her beauty. She is being protected
from harm by MARK (18).
William and two thugs take down Mark, begin kicking the
living shit out of him. William grabs Mary by the hair,
yanking her head back.
WILLIAM
I bet you taste like bubble gum.
Oliver moves across the floor and takes Mary from William. He
leads her down the corridor as William looks on perplexed.
AUDITORIUM - OLIVER AND MARY
Oliver pushes Mary into a seat and sits down next to her in
the emptied out auditorium. A TEEN SLASHER film plays on
screen.
MARY
Don't rape me.
OLIVER
Name?
MARY
Mary.
Oliver looks over her face: the little blonde hairs on her
cheek, her pink lips, her blue eyes, the GULP in her throat.
OLIVER
Look, I just want to talk.
MARY
About what?
Oliver picks up a discarded box of candy, begins eating from
it.
OLIVER
Tell me something about yourself.
MARY
I-- I don't get out much. This is
my first night out in months.
OLIVER
Why?
MARY
My father... I have rules to follow
like everyone else.
OLIVER
Rules, huh?
MARY
My father always said without rules
you'll have chaos.
OLIVER
He sounds like a smart man.
Oliver watches the movie for a bit as SCREAMS from the film
fill the auditorium.
OLIVER
This is putrid. You came to see
this?
Mary nods no. The sound of a CHAIN SHAW RUNNING bellow
through the theatre.
OLIVER
Where are you from?
MARY
From... here.
OLIVER
Here? From the theatre?
MARY
No--
OLIVER
That guy you were with, your
boyfriend...
Mary begins to tear up.
OLIVER
Hey, look, these things happen.
That's how life is Mary. Ugly.
Brutal. Unforgiving.
MARY
Life is beautiful. Life is what you
want it to be. It's beautiful.
OLIVER
No. Wrong. Life is not what you
want it to be. Not when they are
controlling your choices? You think
I can be an astronaut? Fuck no.
They guard the doors and hold the
keys. Class warfare.
MARY
I suppose you have all the answers?
OLIVER
I suppose.
MARY
Can I ask you a question?
OLIVER
Sure. Now your getting into it.
MARY
Why are you doing this?
OLIVER
Because I actually give a fuck
about making things equal. I
actually care about this country.
MARY
You think people are really going
to make change because you beat up
a few old men and vandalize the
7/11? That's supposed to invoke
patriotism in us? Your just another
inconsequential gang. In the
greater scheme of things your just
an ant in the forest.
Mary's comments slam into Oliver like a freight train. His
thought process gets fucked up, like a computer shutting
down.
MARY
You don't have to answer that.
Wendy sticks her head in.
WENDY
Oliver. We got trouble.
Mary awaits her fate. Oliver rubs his hand over her cheek,
removes the pink scrounge from her hair.
OLIVER
A memento.
Oliver and Wendy leave. Mary slinks back in her chair and
cries.
EXT. MOVIE THEATRE - NIGHT
Cop cars race to the scene. OFFICER JAMISON (54, disgruntled
veteran cop) and his rookie partner OFFICER MERCER (24,
female, African-American) head toward the theatre.
The thugs come out and disperse. Oliver and William are the
last ones out.
OFFICER JAMISON
Your under arrest!
Officer Jamison grabs Oliver. Oliver reacts, slugging him
smack in the jaw.
WILLIAM
Oooh! That looked like it hurt,
pig.
EXT. THE ALCHEMISTS LAB - NIGHT
At the end of this dilapidated block stands The Alchemists
Lab, written in purple neon lights. This is the late night
place of choice for all the cities creeps and miscreants.
INT. ALCHEMISTS LAB
Oliver and William have a booth to themselves. The booth next
to them is occupied by FOUR YOUNG MODELS.
The BLONDE lifts her head off the table, her nose covered in
a white powder. She glances at Oliver. They catch eyes. She
licks her lips.
THE ALCHEMISTS LAB - BATHROOM
SCREAMS of ecstasy do not distract the other bathroom
dweller's as Oliver fucks the Blonde in the stale.
INT. OLIVER'S HOUSE - CONTINUOUS
The decor is simple. The furniture is old. The house is
deteriorating.
OLIVER'S BEDROOM
Oliver's bedroom is in stark contrast to the rest of the
house. It is spotless, almost compulsively spotless.
Beautiful hardwood floors, walls painted orange, glow in the
dark stars align the ceiling.
A bookshelf holds up one wall. DUEL plays on the large screen
TV. There is a picture on the desk of OLIVER (10) AND HIS
FATHER.
Oliver is in his private bathroom washing up. He takes in his
image in the mirror -- his face half clean, half painted. He
places Mary's scrounge to his nose and inhales its scent.
Oliver shifts to the toilet, begins jerking off.
OLIVER'S BEDROOM - LATER
Oliver watches TV, box of Swedish Starfish candy on his lap,
joint dangling from his lips.
He flicks through the channels, stopping when he sees a
commercial for SENATOR ARTHUR KENT's (54) primary campaign--
ON TV:
Black and white photo of Senator Kent's two OPPONENTS.
DEEP VOICE (V.O.)
Can Michael O'Leary be trusted?
With violence at an all time high,
O'Leary sought to reduce
California's police force by twenty
five percent. What about Gary
Bennett? In 1999, he siphoned funds
from the Florida school budget for
his personal vacation to the
Bahama's.
A photo of Senator Kent is superimposed over a waving
American flag. Images of Senator Kent glad-handing with
COMMUNITY TYPES and CHILDREN.
REGULAR VOICE (V.O.)
What about Senator Arthur Kent? We
know from experience that he can be
trusted. He is a Yale graduate,
served in our armed forces and is
tough on violence. He is a pioneer
in rehabilitating criminals so they
can function normally in society.
Senator Arthur Kent is a man of
true principals. You make up your
mind who you want representing you.
Vote Kent for Republican.
INT. BUILDING - NEW YORK - MORNING
Marlboro Man moves through the oak doors of the four story
building. A nameplate is embedded into the building face--
INSERT NAMEPLATE: THE BURGUNDY FOUNDATION
INT. THE BURGUNDY FOUNDATION - SOCIAL ROOM
Seven ELDER GENTLEMAN sit about socializing. A GREY HAIRED
GENTLEMAN reads the NY Times by the window. Marlboro Man
approaches.
GREY HAIRED GENTLEMAN
How was your trip?
MARLBORO MAN
Good. I got a lot of work done.
GREY HAIRED GENTLEMAN
It made the paper. A little
overstated, don't you think?
MARLBORO MAN
No.
The Grey Haired Gentleman gets a rise out of this -- Marlboro
Man hasn't lost anything off his fastball.
GREY HAIRED GENTLEMAN
Something like this cannot happen
again. You must control your people
better.
MARLBORO MAN
It was a mistake on my part. He put
me, he put you in jeopardy. He was
weak. I assure you, changes are
already in place.
GREY HAIRED GENTLEMAN
I have no doubt. Have you recruited
anybody new yet?
Marlboro Man nods no.
GREY HAIRED GENTLEMAN
Do you have someone in mind?
Marlboro Man doesn't answer. Instead, he lights up a
cigarette. The Grey Haired Gentleman lights his pipe. An aide
comes over and opens the window behind them.
GREY HAIRED GENTLEMAN
I was assured Reeves wasn't going
to run again. Never trust
information coming out of
Washington. The public has grown
fond of him. They actually respect
him. This fouls up our plans. Now
we have to react in a short amount
of time.
MARLBORO MAN
Who do you have in mind?
GREY HAIRED GENTLEMAN
We need a man we can trust. A man
with good family values. A man I
talked into running for president
years ago. A man who understands
our agenda.
MARLBORO MAN
I'm not sure he's ready. He's a
real long shot.
GREY HAIRED GENTLEMAN
His father was a stand up
gentleman. I worked with him in the
CIA. He's as ready as he'll ever
be. We can no longer count on the
people to make the correct vote.
Arthur Kent must be president at
any cost.
MARLBORO MAN
I understand.
GREY HAIRED GENTLEMAN
That's why I called you here. I can
never doubt your ability. I've been
your biggest supporter. Ashamed
there's not more like you.
MARLBORO MAN
Times have changed.
GREY HAIRED GENTLEMAN
Yes they have. Yes they have. They
will be expecting your arrival.
Marlboro Man moves toward the door.
GREY HAIRED GENTLEMAN
Good luck.
INT. HOUSE - OLIVER'S BEDROOM - MORNING
Oliver, towel wrapped around his waist, hair wet from a
shower, sits on his bed eyeballing Mary's scrounge. His face
is intense, as if he's trying to break the mind of the
scrounge, get it to talk to him, show him the way.
KITCHEN
JOYCE (44) stares out the window, not really looking at
anything. She wears simple attire, her hair pulled back in a
bun -- more for convenience then style.
A small TV rests on the counter.
ON TV: The morning news. Loud mouthed reporter SID BANNISTER
(55) reports live from the movie theatre.
SID BANNISTER
The video has been posted online.
What's more alarming is the number
of hits the link has gotten in the
last six hours. Amazing. Cops are
sure this is the same painted face
gang that set monkey's loose from
the zoo last month. Revolting. I'm
sad to be a citizen of this fine
city when I hear things like this.
BACK TO SCENE
Joyce exits the kitchen as Oliver enters and rummages through
the refrigerator. He takes out a carton of orange juice,
guzzles it down.
SID BANNISTER (O.S.)
One more thing, Jen. It has come to
light that one victims name is
being withheld for reasons --
Oliver turns the TV off. The telephone rings. He exists the
kitchen just as Joyce re-enters, picks up the phone.
JOYCE
(into phone)
Hello... speaking... yes, I plan to
make the minimum payment in a
few... I can't make the payment
over the phone. I don't have a
checking account... yes.
Joyce hangs up the phone, takes a few seconds to collect
herself. She grabs her purse and heads for the door.
JOYCE
(to Oliver)
Don't forget to lock up when you
leave!
Joyce leaves, slamming the front door in her wake.
OLIVER (O.S.)
What!
EXT. BUS STOP - MORNING
Joyce stands in the back of the line searching her pocketbook
for her money.
JOYCE
Dammit.
She heads back.
EXT. BUS - MOVING
People jammed in tight like a can of tuna. Joyce is
sandwiched in by a BUSINESS MAN on his cell phone.
The business man pushes his way through the mass of people to
the doors, knocking into Joyce like she never was there.
EXT. STREET - MORNING
Oliver and William walk to school.
WIILIAM
All the channels are on it. Live
from the scene type shit. And for
what? A movie theatre. You know
Pinchers?
OLIVER
Isn't he doing ten upstate for
child molestation?
WIILIAM
I can't speak to that. But his
cousin is straight off the boat. A
motherfuckin' revolutionary and
shit. He was an explosives expert--
OLIVER
You want to blow up city hall?
WIILIAM
Did I say that? All I'm sayin' is
we need to capitalize on the
situation.
OLIVER
Then what?
WIILIAM
You know, fuck is all this fuckin'
negativity? All this doubt. This is
our finest hour and you want to
start in with this shit.
OLIVER
All I'm saying is old ways die hard
my friend.
WIILIAM
(making the jerk-off
signal with his hand)
That's what I think about that.
OLIVER
Remember that old lady who lived on
the corner of pride street?
WILLIAM
That lime green house. She had that
fucking hell hound in the yard.
OLIVER
We had to walk that route to
elementary school every morning. As
soon as we would pass that dog
would start barking. That's how
much of a pisser it was. Couple of
times it got out.
WILLIAM
Chased us up and down that block.
Fucked up my new kicks that time.
OLIVER
Remember that time it chased us
around the corner? You tried to
jump that fence and it got hold of
your bookbag.
WILLIAM
Sentimental. Now what is the point?
OLIVER
The dog. The old lady. They've been
dead for years. But every time, til
this day, we pass that house you
freeze up.
WILLIAM
Fuck that old lady and her dog.
They got what they deserved.
OLIVER
I'm just trying to prove my point.
WILLIAM
Fuck you and your point.
Oliver and William pass a crumbling, lime green house.
William keeps his eyes on the front yard.
INT. OUTREACH CENTER - MORNING
A group of volunteers sit about the office. Joyce pours
herself a cup of coffee. TERRI (40's) reads Esquire. PHILLIP
(50's) does a crossword puzzle.
TERRI
You hear about all that news this
morning?
JOYCE
Poor kids.
PHILLIP
I heard an eight year old girl got
hurt.
TERRI
It's a shame these kids can't find
more constructive things to do.
Things are getting worse and worse.
You know, we've been thinking about
moving down to Arizona so Jason can
set up his own firm.
PHILLIP
Wish I can come. Doctor says
sunlight is bad for Nancy.
JOYCE
How is she doing?
PHILLIP
Chemo's taking better.
The ADMINISTRATOR enters.
ADMINISTRATOR
We're kind of short today, so some
of us are going to have to double
up. Joyce, your on the door.
OUTREACH CENTER HALLWAY
Joyce locks eyes on JOY (31), Asian, standing by the side
door. Joyce stares after her a bit, longer then normal. She
approaches.
JOYCE
Hello.
JOY
Hi.
JOYCE
Um, my name is Joyce. Are you new
here?
JOY
This is my first day. It feels like
school, you know?
JOYCE
You'll get the hang of it.
JOY
So, how does this work?
JOYCE
We bring them in two at a time,
give them a ticket so they can get
a meal. That's it. We try to keep
it moving. These guys tend to get a
little testy at times. Think of it
as crowd control.
JOY
I guess we're the bouncers. Letting
all the cool kids into the club.
They stare out the window at the waiting TRANSIENTS.
JOY
By the way, my name is Joy.
INT. HIGH SCHOOL CLASSROOM - MORNING
The Teacher rambles on. William is asleep. Oliver looks out
the window in deep thought, torn textbook unopened on his
desk. As he stuff's his mouth with Swedish Starfish, we see
he is wearing Mary's scrounge on his wrist underneath his
shirt.
INT. OUTREACH CENTER - DAY
Joy and Joyce eat lunch with the transients.
JOYCE
Terri's husband is one of those
downtown bankers. He works ten
hours a day, then comes home and
does more work. Phillip's daughter
was on drugs. She died four years
back. His son is in jail and his
wife has terminal cancer.
JOY
Bless his heart.
JOYCE
He used to be a composure.
Commercial jingles. I don't think
he likes to go home.
JOY
What about you. Are you married?
JOYCE
Yes. I mean... my husband died in
Iraq.
JOY
Oh. I'm sorry for your lose. Do you
have any kids?
JOYCE
A boy. Oliver.
(changing the subject)
What about you?
JOY
(showing Joyce the ring)
No kids. I'm engaged.
JOYCE
Congratulations. When is the
wedding?
JOY
It was supposed to be three months
ago. He got cold feet a week
before. We were going to buy a
house -- nice, little yard. I moved
here from San Francisco two months
ago. I had to get away. Live my
life. A girl can't wait forever.
JOYCE
Wow, San Francisco. I wish I can
travel. I've never been out of
state.
JOY
What's stopping you?
JOYCE
Nothing... I guess. I just...
(beat)
What do you do for a living?
JOY
I paint.
JOYCE
Houses?
JOY
Portraits, images. I haven't
painted anything since I came here.
I've been thinking about giving it
up.
JOYCE
Are you kidding? I'd give my right
arm to learn to paint. That's a
special skill that a few people
posses. It would be a waste of your
god given talent.
INT. SUBURBAN HOUSE - NIGHT
Plastic cups filled with cheap booze, rap music blaring,
cigarette smoke, kids passed out on the couch: the hallmarks
of a high school party.
The front door opens. William and the rest of the thugs push
in almost unnoticed. Wendy stops the music.
WILLIAM
Oops! Are we intruding.
Wendy slips in a CD. The dance begins. The thugs begin
ransack the house as kids push through the front door like a
THREE STOOGES routine.
EXT. HOUSE - CONTINUOUS
Oliver sits on the porch eating candy, thinking, not paying
any attention to the kids running past him, running for their
lives.
INSIDE HOUSE - SECOND FLOOR - CONTINUOUS
The thugs go through the bedroom's, taking what they want.
Destroying what they don't. They stuff money and jewels into
their pockets.
Wendy smears on some of the mother's makeup over her painted
face.
LIVING ROOM - CONTINUOUS
William throws a kid down the basement steps. Then, along
with another thug, tosses the sofa through the back window.
Another thug tapes the whole escapade.
Oliver steps in the house, survey's the landscape. He looks
at the kids as they lye hurt, nursing their wounds. He moves
about the house studying them like a scientist would a lab
rat.
One GIRL crawls along the hallway floor, her ankle badly
twisted. Oliver kneels down over her -- she cowers in fear at
Oliver's deadpan expression.
OLIVER
Are you scared?
The girls nods yes. Oliver squints his eyes, studying her
expression.
OLIVER
Is that because your foot is
mangled or are you genuinely
frightened of me?
The girl is too scared to respond. Oliver, realizing this,
moves on. He passes a thug sitting on the floor, guzzling
down a bottle of Jack Daniels.
Another TEEN sits on the steps, blood pouring down his
forehead. He looks up as Oliver approaches.
TEEN
I'm not scared of you.
OLIVER
(interested)
Good.
TEEN
You hurt my cousin last month. He
was working at his job, tending to
the golf course. One of you ran him
over with a stolen golf cart.
OLIVER
Oh, yeah! That was me. I remember
that day. Let me tell you
something, never drive while on
mushrooms. It's not as fun as it
sounds.
TEEN
My father calls you a bunch of
street punks, invalids. That's all
you fucking are. What gives you the
right to think your better? That
you can do this to people? Your day
will come.
OLIVER
So, you don't find me intimidating?
TEEN
Fuck no!
OLIVER
What about our cause? All that shit
on the internet?
The teen laughs. Disappointed, Oliver moves into the kitchen.
KITCHEN - CONTINUOUS
A PUNK GIRL (17) smokes a joint, oblivious to everything
going on around her. She is definitely out of place amongst
all the popular kids.
OLIVER
Why are you here?
PUNK GIRL
Why are you?
OLIVER
Business.
PUNK GIRL
Me too.
She offers her joint to Oliver. They pass it back and forth.
PUNK GIRL
Are you that guy from the TV? The
one everyone's talking about?
OLIVER
What do you think?
PUNK GIRL
Holy shit! Fuckin cool, man.
OLIVER
I'm cool?
PUNK GIRL
Yeah. That thing, putting pants on
that nude statue outside the
museum. That was motherfuckin
priceless. You know that credit
card commercial? "Priceless", like
that.
OLIVER
(to himself)
Cool.
PUNK GIRL
That shit you spray painted on the
floor of the arcade, "You can kill
the revolutionary, but you can't
kill the revolution." I got that on
a tee-shirt. You can put that on a
leather jacket, that'd be boss.
OLIVER
You like how things are?
PUNK GIRL
I'm making money off these
plastics. I mean, things can be
better, but you look at how things
are, like in the Middle East. Girls
get acid thrown in their face just
for going to school. What kind of
shit is that?
POLICE SIRENS are heard. Oliver sighs, sullen look on his
face. He is not happy with the answers he has received.
PUNK GIRL
Stay cool. Peace.
Oliver punches the punk girl in the face, dropping her to
the floor. He grabs a six pack off the counter and exits.
INT. HOUSE - OLIVER'S BEDROOM - NIGHT
The lights are out. The TV is on the news. Oliver's four down
in the six pack of beer. He sits on the floor, Mary's
scrounge around his wrist. He leans his head back on the bed,
stares up at the glow in the dark stars on his ceiling.
He watches them DANCE ACROSS THE ROOM LIKE THE NIGHTS SKY.
ON THE TV: LOCAL NEWS
SENATOR KENT (O.S.)
As a parent, you try not to think
the worse. After my wife's death,
Mary and I have become very close.
So when that phone rang in the
middle of the night...
Oliver's head rises, eyes glazed over, drool spilling out his
mouth.
OLIVER
Mary...
REPORTER
(on TV)
What is being done to apprehend
these criminals?
SENATOR KENT
Repeatedly vandalizing state
property is a serious crime. Let's
remember that this is the same gang
that stole a police car just last
week. Mayor Daniels and
Commissioner Franco have set up a
special gang task force to hunt
down and capture these criminals.
They are public enemy number one
and will be treated as such. If
anybody has any information
regarding this gang, you can call--
Oliver turns off the TV.
EXT. BRIDGE UNDERPASS - NIGHT
The thugs meet.
WIILIAM
We've been here for twenty minutes
and all I'm hearing are the wrong
words coming out of your mouths. I
hear fear. Selfishness. Doubt.
Which makes me question your
commitment.
THUG #1
Don't question my commitment.
WIILIAM
We are at the zenith of our lives.
We finally have them where we want
them.
OLIVER
Are you ready to die? Are any of
you ready to die for this?
Nobody answers. Everyone looks at the ground, each knowing
they are not ready to lay their lives on the line.
WIILIAM
I am. Fuck it.
WENDY
What do you want to do Oliver?
We're with you. You know that.
Oliver thinks it over.
WIILIAM
There is no question what we should
do. We need to release some kind of
counter statement or counter
action.
Oliver looks into the eyes of everyone, trying to look into
there souls.
OLIVER
Go home. It's over.
WIILIAM
Your shitting me.
WENDY
What?
OLIVER
It's not worth it.
WENDY
Why?
OLIVER
Beat it! Get the fuck out of here!
The thugs move off, heartbroken. William stays.
WILLIAM
All these years of work... once
they're gone. All the years of work
me and you put in... I want some
answers.
OLIVER
I have doubts.
WILLIAM
Doubts? Fuckin' kidding me?
OLIVER
I don't know if I believe in the
message or maybe I just like
beating people up.
WILLIAM
Fuck!
(thinking)
Is this about that girl? Some
fuckin' kouz?
OLIVER
People will never care about what
we are trying to do because they
cannot recognize they are at war.
How can they recognize our deeds?
WILLIAM
Fuck you. Fuck Kent. Fuck his
daughter. Poser.
OLIVER
We're foolish to think these people
are going to make radical changes
because of some inconsequential
street gang.
They are more concerned with who's
going to win American Idol then
who's going to be the next
president. Fuck'em! They let it get
this way. They deserve what's
coming to them. Why should I waste
my time, waste these kids time
fighting for something nobody gives
a shit about.
WILLIAM
And what's that?
OLIVER
Equality.
Oliver turns to walk away. William grabs him.
OLIVER
If I have doubt about who I am, how
can we carry this out? I forgot
what the goal was, then I realized
there was no goal.
William pushes Oliver away in disgust. He takes a puff from
his asthma inhaler as Oliver moves off.
INT. THERAPIST OFFICE - DAY
The therapist, MONICA (40), sits across from Mary, who stares
out the window.
MONICA
How has your life changed since the
accident?
MARY
It hasn't. But for my father...
MONICA
How does that make you feel?
Mary doesn't answer.
MONICA
What about your boyfriend?
MARY
He's not my boyfriend. A friend set
us up.
MONICA
How do you feel about what happened
to him?
MARY
I never knew him. I'm sorry he's
eating out of a stray now, but...
MONICA
Let's change the subject. Looking
forward to graduation?
MARY
Of course.
MONICA
What college are you going to?
MARY
Are you going to tell my father?
MONICA
Everything we say here is
confidential.
MARY
Well, I want to go to Stanford. My
family, for the most part, have all
gone to Yale. That's where they
want me to go. They want me around
the right people, whatever that
means...
Mary realizes she has opened up more then she wanted too.
MONICA
Does your father know of your
plans?
Mary freezes up, keeps quite.
INT. SENATOR KENT CAMPAIGN HEADQUARTERS - DAY
The building is alive, a hive of activity. A big portrait of
Senator Kent hangs in the window.
SENATOR KENT'S PRIVATE OFFICE
Mary gets off the elevator. She says hello to the secretary.
Senator Kent exits his office with Marlboro Man.
MARY
(to Marlboro Man)
Hello.
Marlboro Man doesn't acknowledge her as he moves into the
elevator.
MARY
Who was that?
SENATOR KENT
My advisor. How was therapy?
MARY
I like Adrian better.
SENATOR KENT
She was Mexican. You'll be more
comfortable with Monica. Her father
went to Yale.
Senator Kent inspects the stack of mail on the desk.
MARY
Speaking of Yale...
Mary notices her father is more interested in what's in the
mall then her.
SENATOR KENT
(to secretary)
I thought I canceled this?
SECRETARY
It's complementary. We get it for
free.
SENATOR KENT
(to Mary)
I'm sorry. What were you saying,
honey?
MARY
Nothing. It's not important.
INT. SALON
Joyce is getting a haircut. Joy looks on.
INT. BOUTIQUE - DAY
Joy gives Joyce a handful of clothes, pushes her inside the
dressing room.
INT. HOUSE - OLIVER'S BEDROOM - MORNING
Oliver, bored out his mind, surf's the TV: infomercial,
informercial, news, movie. He comes to another commercial for
Senator Kent's campaign. Oliver turns the TV off, checks his
watch. We see he has Mary's scrounge on his wrist.
INT. COFFEE SHOP - MORNING
Oliver finds a long line of OFFICE TYPES and HIGH SCHOOL
GIRLS waiting for their caffeine fix. He takes it all in,
doesn't like what he sees.
INT. MUSEUM ART GALLERY -- NIGHT
Joy and Joyce stare at a PORTRAIT OF A BLACK CANVAS. Joy has
to explain it to Joyce.
LATER
With sad looks on their faces, Joy and Joyce look at another
PORTRAIT -- a LITTLE GIRL with balloon in hand, crying at a
packed carnival, all alone.
INT. THERAPIST OFFICE - DAY
Monica and Mary.
MARY
He was always the cool parent, you
know. When I got older I realized
that he really wasn't the cool
parent. He just didn't give a crap.
His career was first. Since my
mothers death, he's become ultra
protective. Everything has to be
perfect. I can't go anywhere
without an entourage now. I feel
like an actress with paparazzi all
over her.
MONICA
All fathers are protective of their
daughters.
MARY
That night. At the theatre. It took
me weeks to talk him into letting
me go by myself.
MONICA
What's your thoughts about what
happened that night?
MARY
You know, I wasn't as scared as
most people make me out to be. When
you watch your mother die of
cancer, frankly, nothing scares you
anymore. Fear becomes your friend.
That night was nothing new for me.
I wasn't scared for my life, but...
I can't explain it. I can't get
that feeling out of my mind. The
vulnerability I felt. Does that
make me some sort of freak?
MONICA
No. It's an unusual feeling. Some
studies have been conducted in
regards to the affect of fear on a
person's physique.
MARY
I was watching a story last night
about how they skin animals alive
for their fur. I never used to like
things like that.
INT. RECORD SHOP - DAY
Oliver moves along the aisle. He approaches two COLLEGE
GIRLS. He pretends to look at CD's, at the same time checking
them out.
OLIVER
Excuse me.
He reaches over, grabs a CD off the shelf.
BLACK GIRL
(re: CD in Oliver's hand)
I saw them a month ago. Hundred
dollar ticket.
INT. APARTMENT - NIGHT
Some crappy hole in the wall. Beer bottles align the floor,
on display like trophies and precious keepsakes. The girls
grab beer bottles out the refrigerator.
Oliver eyes a green dildo wedged in the sofa. They drop a bag
of coke on the table.
BEDROOM - LATER
Oliver watches the girls make out. He tosses the dildo on the
bed...
LATER
Oliver does a line of coke off one of the girls ass...
LATER
Oliver has sex with both girls on the floor, joint dangling
from his mouth.
BEDROOM - LATER
The girls sleep. Oliver looks out the window, bottle of Jack
Daniels in one hand.
INT. MOVIE THEATRE - NIGHT
Joy is engrossed by the movie. Joyce, every once in awhile,
sneaks a peak at Joy. She looks like an ANGEL with the light
from the movie screen shining off her face.
EXT. CAR - NIGHT
Joy and Joyce sit parked outside Joyce's home.
JOYCE
The way he cried in her arms. That
was perfect.
JOY
See, doesn't it feel good to get
out of the house?
JOYCE
Yeah.
JOY
How do you like your haircut--
Joyce plants a kiss on Joy's lips. Embarrassed, she exits the
car and runs into her house.
INT. HOUSE - CONTINUED
Joyce runs down the hallway, past Oliver's closed door--
OLIVER'S ROOM - CONTINUED
FOOTSTEPS move past his door. Oliver is watching TV--
ON TV: NEWS, SID BANNISTER
SID BANNISTER
(on TV)
... the arrest of three teens in
connection with the movie theatre
incident. Investigators are
withholding the names of the teens
and through information from an
informant, they've come to question
the owner of the Alchemist's Lab--
EXT. BRIDGE UNDERPASS - NIGHT
Oliver and William constantly look over their shoulders as
they move along the underpass.
WILLIAM
They could be down there dropping a
dime on us now. They could have our
homes. Our phones. They could have
us right here, right now.
OLIVER
Calm down.
WILLIAM
I packed a bag before I came here.
I got a little money--
OLIVER
Easy. Take it easy Will.
WILLIAM
It's your fault this happened.
OLIVER
I didn't want it to come to this.
That's why I stopped it.
WILLIAM
Look. I called Wendy before I left.
Told her to meet us down her. She
didn't want to go through with it.
But I need another person to watch
my back.
OLIVER
What are you talking about?
WILLIAM
I want to rub it in Kent's face.
OLIVER
What? Why?
WILLIAM
I don't give a shit anymore. I just
need you to watch my back, keep eye
for 5-0.
OLIVER
I don't think that's a good idea.
WILLIAM
I'm not gonna sit back and wait for
them to kick in my door, drag me
off. I'm going to do what we should
have done weeks ago. I'm going with
or without you.
William moves off...
OLIVER
(to himself)
Fuck.
WILLIAM
(stopping)
Are you coming?
EXT. SENATOR KENT CAMPAIGN HEADQUARTERS - NIGHT
William twists the knob on the back door. It opens.
WILLIAM
Cleaning crew. They leave the door
open when they're on the first
floor. Kent's office is on the top
floor.
OLIVER
I see you've done your homework.
INT. SENATOR KENT CAMPAIGN HEADQUARTERS - TOP FLOOR
William picks the lock. They step in and marvel at the size
of Senator Kent's personal office. Expansive, plush -- part
big executive, part entertainment room.
WILLIAM
God damn.
OLIVER
Let's not stand here holding our
cocks.
William begins ransacking the office -- like a human wrecking
ball. Oliver watches, notices the enjoyment on William's
face, that old feeling tingling all over Oliver's body.
Oliver marvels at the size and the gaudiness of Senator
Kent's oak desk.
OLIVER
Motherfucker.
He climbs on top, unzips his pants and takes a leak on the
desk.
OLIVER
When you gotta go...
Oliver notices a red light blinking by the telephone. He
moves to the window, eyes a COP CAR pulling up.
EXT. SENATOR KENT CAMPAIGN HEADQUARTERS - NIGHT
Officer Jamison and Mercer emerge from the car, draw guns.
OFFICER JAMISON
They're not getting away this time.
A chair comes flying out the window and crashes down on the
hood of the squad car.
OFFICER JAMISON
God damn punks!
INT. SENATOR KENT CAMPAIGN HEADQUARTERS - STAIRWELL
Oliver and William tear ass down the steps.
WILLIAM
How'd they get here this fast?
OLIVER
Someone skipped on us. Who else
knew?
WILLIAM
Wendy... I told her.
They burst through the door and fly down the hallway. They
open the fire doors -- finding Officer Jamison and Mercer
waiting, guns pointed.
EXT. SENATOR KENT CAMPAIGN HEADQUARTERS - CONTINUOUS
OFFICER MERCER
Don't move.
William is breathing heavy. The thugs put their hands up.
OLIVER
What was that, pig?
OFFICER JAMISON
Your going to get what's coming to
you, now get on the ground. Hands
and feet out!
No one budges. A tense moment. William's breathing becomes
heavier, louder. He reaches in his pocket for his asthma
inhaler--
OFFICER JAMISON
He's got a gun!
TWO SHOTS! William goes down. The CLEANING CREW comes out,
giving Oliver an opportunity to run.
OFFICER MERCER
He's on the move.
Officer Mercer gives chase. Officer Jamison open's William's
hand, finding the inhaler.
CLEANING CREW MEMBER
Shit, man. What did you do?
EXT. SUBWAY STATION - CONTINUED
Oliver dashes up the block. He turns the corner and heads
into the subway station. Officer Mercer follows.
OFFICER MERCER
(into shouldered walkie
talkie)
Five-eleven, five-eleven. Need
backup at Walters Street subway
station. In pursuit of a suspect.
White male--
INT. SUBWAY STATION - CONTINUED
Oliver hops a turnstile and slips into a waiting train.
Officer Mercer searches the platform, no sign of Oliver. She
slips through the train doors just as they close.
TRAIN - MOVING
Oliver moves down the car, into the next, constantly looking
over his shoulder. He leans up against the door, catches his
breath.
The train pulls into the next stop. Oliver steps off the
train and is dropped by an elbow to the nose from Officer
Mercer. She sticks her gun in Oliver's face.
OFFICER MERCER
Oink, oink.
INT. POLICE PRECINCT - NIGHT
Oliver's mug shot is taken. Officer Mercer leads him to the
interrogation rooms. As she passes, COPS give her
congratulations.
OLIVER
You broke my nose bitch.
OFFICER MERCER
Shut up.
OLIVER
Fuck you, cunt. I want to press
charges on your partner. He killed
my friend... an unarmed man!
OFFICER MERCER
What did I say, Oliver?
OLIVER
Fuck your mother. Fuck your
partner. That racist coward!
Officer Jamison grabs hold of Oliver.
OFFICER JAMISON
It's not my fault, you little punk--
Oliver spits in his face. Officer Mercer grabs hold of
Oliver, slams him face down on a desk, her elbow jammed into
his neck.
OFFICER MERCER
Why'd you do that? Your just making
matters worse.
Officer Jamison calmly wipes the spit off and walks away.
INTERROGATION ROOM - LATER
Oliver sleeps handcuffed to the table. Officer Mercer peeks
in, then peeks into the next interrogation room where Officer
Jamison talks to TWO INVESTIGATOR'S.
INT. HOUSE - BEDROOM - NIGHT
The phone rings. Joyce is sound asleep...
INT. POLICE PRECINCT
Officer Mercer hangs up the phone. Her eyes follow Officer
Jamison and two cops moving toward Oliver's interrogation
room.
INTERROGATION ROOM - CONTINUED
Officer Mercer enters.
OLIVER
(re: cuffs)
Give me a shot to defend myself.
OFFICER JAMISON
You don't deserve a shot after all
you did, after all the people you
hurt. You realize the position you
and your friend put me in?
(rolling up sleeves)
You should get used to this. It is
how the rest of your life will be.
This won't be pleasant.
Officer Mercer watches through the small window on the door
as POUNDING noises can be heard.
OFFICER MERCER
Ouch.
INT. HOUSE - MORNING
Fresh from her slumber, Joyce moves down the steps, passing
the living room window. She reverses her direction --
something has caught her eye.
Joyce opens the front door to find a hoard of MEDIA. They
shove microphones and camera's in her face.
REPORTER
What do you have to say about your
son's arrest?
JOYCE
Oliver?
REPORTER 2
What do you have against Senator
Kent--
REPORTER 3
Is this about your daughter?
Joyce slams the door, races up the steps and into Oliver's
room -- he's gone.
INT. KENT CAMPAIGN HEADQUARTERS - MORNING
Senator Kent watches men bring in a new desk, office clean up
almost finished. Marlboro Man stands next to him, lights up a
cigarette, stares out at the rush of the city below.
EXT. HOUSE - EVENING
Sid Bannister interviews a female NEIGHBOR. The media is
still camped outside Oliver's home.
SID BANNISTER
When did you notice problems within
the family?
NEIGHBOR
The daughter, I always suspected
her. She was a problem child, never
talked to or played with the other
kids in the neighborhood. Then the
father died in the war... it's a
shame. I could see where Oliver was
heading. You know, I would often
find things missing, around my
home. Can I sue them for that?
INT. STATE BUILDING - DAY
Senator Kent holds a press conference. The Mayor and Police
Commissioner stand behind him.
GLENN (32), Senator Kent's dedicated aide, and JOE (50s),
female, Senator Kent's campaign manager, are also present.
SENATOR KENT
Thanks to the fine work of our
police force, the mayor and police
commissioner, we quickly brought
this situation to an end. The
streets are safer now that Oliver
and his gang have been brought to
justice. Now the hard part begins.
Rehabilitation. Oliver is our
problem, a product of his
environment, so we cannot just
throw him away because we might as
well do the same to our future.
FEMALE REPORTER
Last week you were a Republican
long shot. Now you are a
frontrunner to win your parties
nomination--
SENATOR KENT
Let me make one thing clear. I was
contemplating dropping out when
this happened. My lovely daughter
came to me, and she told me to
continue. To never let these
situations stop your dream. To
always be strong in the face of
adversity. If my daughter wants me
to continue then I will. For her,
and for the betterment of America.
INT. TELEVISION STUDIO
Sid Bannister readies for his live show.
SID BANNISTER
Welcome to Bannister's America.
Tonight we will focus on the life
and career of Senator Arthur Kent.
America has been moved by his
courage under fire recently, and we
are all wondering how can a man
face such personal odds yet
maintain his composure?
INT. SENATOR KENT CAMPAIGN HEADQUARTERS - KENT'S OFFICE
Senator Kent yells into his phone. He slams it down, rips the
phone out the wall and throws it at Glenn. Glenn keeps his
composure. He is used to this.
SID BANNISTER (V.O.)
Arthur Harrison Kent was born in
Connecticut in 1955. He was the
third child, first and only son. He
followed his fathers path to Yale
were he was known for drinking and
partying more then academics.
INT. COUNTY JAIL
Two GUARDS move down the cell block.
FAT GUARD
I told you about that bitch.
SLIM GUARD
What does she think I want to talk?
Watch fucking movies?
I didn't bring you here to watch
Ugly Betty. I brought you here to
suck my--
A CHOKING sound emits from a nearby cell. The guards peer in
to find Oliver trying to hang himself -- bed sheet wrapped
around his throat, the other end tied to the bed post.
SID BANNISTER (V.O.)
Arthur Kent joined the same
fraternity as his father and was
initiated into the Skull and Bones
society. Arthur graduated with a
degree in economics. He was in the
lower third of his class, a self
proclaimed average student.
INT. HOSPITAL - NIGHT
A DOCTOR exits Oliver's hospital room and moves to the
waiting room where REID (30's), female -- who's dressed like
a detective, badge and all -- waits. The doctor converses
with her.
SID BANNISTER (V.O.)
Unlike his father, who was awarded
the medal of honor, Arthur's Navy
career was short and brief because
of a cartilage problem in his knee.
Arthur floated between jobs given
to him by family friends. He
eventually turned up as a salesman
for his father's profitable oil
drilling business. His mother,
worried about where her son was
headed, set him up with a family
friend. Jennifer Pierce.
INT. OLIVER'S HOUSE - KITCHEN - MORNING
Reid talks to a depressed Joyce. Reid slides some documents
across the table.
REID
It's in your sons best interest.
Reid extends a pen.
EXT. HOUSE
A car waits outside. Reid exits the house, gets in the back
of the car where Marlboro Man sits.
INT. TELEVISION STUDIO - CONTINUOUS
SID BANNISTER
Jennifer and Arthur were married at
a small ceremony in 1985. Jennifer
had a background in finance and
politics and taught Arthur all he
knows about the political world.
Her father was the FED chairman in
the mid eighties.
STOCK FOOTAGE of Arthur and JENNIFER's wedding ceremony.
SID BANNISTER (CONT'D)
By 1985, the family thought Kent
was ready for a career in politics.
He ran for the House of
Representatives of Connecticut in
1986, and won. His opponent, Phil
Welch, raised questions of voter
irregularities and blamed Kent's
campaign for taking part in
underhanded tactics. Which were
never confirmed.
Photo's and footage of Arthur Kent and Jennifer on the
campaign trail in 1986.
INT. KENT ESTATE - STUDY - NIGHT
Mary is studying, multiple textbooks open. She feverishly
writes -- to the point where she breaks her pencil point.
Mary throws her pencil across the room in frustration.
SID BANNISTER (V.O.)
Arthur's life was crushed when
Jennifer contracted cancer and died
in 2002. She was the most important
thing in his life, in his career,
and Arthur struggled to carry on.
INT. KENT ESTATE - CONTINUED
All the lights are off or dimmed. Mary is alone. She moves
down the spacious hallway. Mary stares at all the pictures on
the wall -- of her MOTHER and FATHER, GRANDPARENTS. The
success of the family.
SID BANNISTER (V.O.)
After Jennifer's death, Arthur had
a meeting with his father-in-law
and other powerful Republicans who
talked a despondent Arthur into
continuing his political career. On
that day, he was tabbed as the
future of the party.
MARY'S BEDROOM
Your typical teenage bedroom. Instead of pictures of movie
stars and musicians, Mary's wall is filled with certificates
and awards, trophies and citations.
She grabs one, a certificate for finishing first in her class
in fifth grade. Mary stares at it, hands gripping tighter and
tighter on the frame.
Mary slams it to the floor in frustration. She throws a fit,
smashing her fist into other photo's -- cracking, breaking
some of them. She crumbles to her knees crying, hands
bleeding.
SID BANNISTER (V.O.)
Arthur Kent was born into politics
and power. He is the son of the
former director of the CIA. He has
cousins in banking. His uncle was a
foreign embassador under the Nixon
administration. His sister
Katherine is associate attorney
general. His second cousin is US
Secretary of Commerce under
President Reeves. In 2005, Time
magazine called him the American
prince, a modern day Kennedy. The
ground work has been laid for him
to be one of the great American
presidents...
Mary grabs a belt, loops it, wraps it around her throat. She
pulls the strap tight, choking herself. A test pull. Mary
calms herself and pulls the belt again. Tight. She holds it.
Her face turns red, her eyes fill with water as she gasps for
air. Mary begins violently choking. She claws at the belt
strap, trying to loosen it. After a few tense moments, she
gets it loose.
Mary breaths in deep, struggling to catch her breath. She
lifts her head up -- a thin smile of satisfaction falls over
her face.
INT. COURT ROOM - MORNING
Oliver scans the court room for a familiar face, finding
none.
JUDGE
After careful consideration, I've
decided to remand Oliver to the
Oxford Institute for Behavior
Modification. Their record for
helping at risk teens is excellent.
Oliver is under eighteen, suicidal
and at risk of repeat offense, so
he qualifies for the program. I
want to make it clear that it is
not about punishing a young man. It
is about changing ones behavior.
I'm tired of seeing teens go to
jail and come out hardened
criminals...
Oliver blankly stares at the judge, basically zones him out.
The judge bangs his gavel -- silence to Oliver.
INT. HOUSE - MORNING
Joyce looks out the front window at her yard, the media hoard
has dispersed. The phone rings. She doesn't even bother to
answer it.
INT. OUTREACH CENTER - MORNING
The office quiets when Joyce enters. She moves to the coffee
pot, where Phillip gives her a cold stare as he moves off.
The administrator comes in, notices Joyce.
JOYCE
Have you seen Joy?
ADMINISTRATOR
Her grandfather did last week. She
went back home. I'm sorry, all the
jobs are taken.
JOYCE
What? I've been coming here for--
ADMINISTRATOR
We have no more work for you.
Sorry.
EXT. WOODLAND AREA - MORNING
A van pulls through an iron gate and travels up a yellow
brick road. In the distance, a small building is nestled into
the surrounding woodland.
VAN - CONTINUOUS
Oliver has a black bag over his face. His hands are in
restraints. A guard sits behind him.
INT. THE OXFORD INSTITUTE - MORNING
Oliver is led through the lobby. The interior is pristine and
spacious. They enter into a waiting elevator.
OXFORD INSTITUTE - LOWER LEVEL
They exit the elevator and enter into the main wing, which
resembles an insane asylum.
INT. THE OXFORD INSTITUTE - OFFICE
Three PHYSICIANS are seated at a long table. Oliver is
brought in. The bag over his head is removed.
FEMALE PHYSICIAN
Good morning, Oliver. I understand
these last few days have been hard
for you but, trust assured, you are
in good hands now. We are
professionals and your care is of
great importance to us.
OLDER PHYSICIAN
We are the overseeing board of the
Oxford Institute.
Over the past few days we have
decided on what level of treatment
will be best for you.
FEMALE PHYSICIAN
We're only here to help, Oliver. If
you go along, it will make this
experience much, much easier then
it has to be.
INT. OXFORD INSTITUTE - HOLDING CELL
Oliver is led into a holding cell where NURSE MARION (60)
awaits. The guards take off his restraints. The processing
cell is bare, save for a thin bed and chair.
NURSE MARION
(re: uniform on bed)
Put it on. Leave your clothes on
the chair. Lights go out at seven
thirty. My name is Nurse Marion. I
will be your caretaker.
Nurse Marion and the guards leave as Oliver puts on his
uniform. He sits on the bed and stares up at the ceiling. A
far cry from the ceiling in his bedroom.
INT. HOLDING CELL - MORNING
The BELL rings. Oliver twists and turns in bed, refusing to
get up. The bell stops. Oliver settles back in.
The bed automatically closes into the wall like an elevator
door opening. Oliver falls face first to the ground.
DINING HALL - LATER
Oliver eats breakfast. He looks around the room, he is the
only inmate there.
HOLDING CELL - DAY
Oliver does push-ups and sit-ups.
INT. HOLDING CELL - MORNING
The bell rings. Oliver instantly rises, just seconds before
the bed closes. Nurse Marion enters.
NURSE MARION
Get dressed. We are ready to begin
your treatment.
INT. OXFORD INSTITUTE - LOWER LEVEL
Nurse Marion leads Oliver down a narrow corridor and into a
padded cell. There is no furniture. No windows. Just a
toilet. No sense of time.
OLIVER
What is this?
NURSE MARION
Wait here. Someone will be with you
momentarily.
Oliver reluctantly steps in. The doors slide shut. Oliver
examines the room. He squeezes the padding... the lights go
out.
OLIVER
Hey. Hey!
PADDED CELL - LATER
The lights flicker on, dimly lit. Oliver is curdled up in the
corner. A SCRATCHING sound is heard. CLAWS AGAINST METAL.
Startled, Oliver begins pounding on the door.
OLIVER
Let me out! Let me out!
The lights go out.
PADDED CELL - LATER
The lights are on. Very bright. Oliver's in his underwear,
his pants wrapped around his head like a bandana. He is
pouring with sweat. A latch on the door slides open. A tray
of food is slide in.
Oliver dives for it, consumes the mush and water with his
bare hands. The lights go out.
PADDED CELL - LATER
Oliver sits on the toilet, pulling out blotches of his hair
with his hand. He has a defeated demeanor, a wicked calmness
as he waits for death. Oliver watches the little strands of
hair drop from his hand to the floor like snow flakes.
PADDED CELL - LATER
The clawing sound can be heard. Oliver is balled up on the
floor, mouth caked and dry. Eye's red. A VOICE is heard--
WILLIAM/VOICE (V.O.)
Sellout. Fraud. What are you trying
to prove? You know what they want
from you. The only way to prove
them wrong is to die right here,
right now. That is your only chance
to send a big shit box wrapped in a
fuck you to Senator Kent.
The voice is gone.
PADDED CELL - LATER
Food is shoved in. Oliver dives for it, finding only foam. A
cruel joke. He grabs the tray and smash it against the door,
repeatedly.
The lights go out. Oliver begins to cry. Softly. It echo's
out through the darkness.
INT. PADDED CELL
A PORCELAIN NEEDLE TIP BEING PUSHED INTO FLESH. Oliver bolts
up as two orderlies hold him down. Nurse Marion removes the
needle -- the orderlies drag Oliver out the cell.
INT. THE OXFORD INSTITUTE - HOSPITAL WARD
Oliver is strapped to a table. He succumbs to the anesthetic,
going in and out of consciousness. He sees only brief images
between periods of black...
Nurse Marion slips a mouth guard in Oliver's mouth... she
places two electrodes on each side of his head... the OLDER
PHYSICIAN looks Oliver over...
The older physician moves to a bank of ELECTROSHOCK MACHINES,
tweaks frequencies, VU meters hum to life.
OLDER PHYSICIAN
This will feel weird at first. Try
to relax.
The physician turns the switch--
INT. PADDED CELL
A motionless Oliver is returned to the padded cell. Nurse
Marion checks his vital signs.
INT. THE OXFORD INSTITUTE - HOSPITAL WARD
More electroconvulsive therapy. The older physician enters
with Nurse Marion. Oliver, his head restrained, can only see
their shadows bouncing off the ceiling.
The physician hits the switch. Oliver jerks up, electrical
current running through his body, head shaking as if he is
having a seizer.
The physician hits the switch again, Oliver's body heaves
violently, eyes filling with water.
INT. THE OXFORD INSTITUTE - HOSPITAL WARD
Oliver's in bed, his eyes dead, body relaxed. The three
physicians and Nurse Marion stand over him.
FEMALE PHYSICIAN
Oliver, we are putting you in an
induced coma. It will be just like
taking a nap.
OLDER PHYSICIAN
(to female physician)
There's no need for him to know
that.
FEMALE PHYSICIAN
Oh, he's not going to remember
anyway.
Oliver slowly closes his eyes and falls into a deep state of
unconsciousness. The female physician places headphones on
Oliver. CLASSICAL MUSIC begins playing.
EXT. THE OXFORD INSTITUTE
Winters snow turns to a warm, spring breeze.
INT. THE OXFORD INSTITUTE - HOSPITAL WARD - MORNING
Our eyes flutter open. A young, JUBILANT NURSE comes into
view.
JUBILANT NURSE
Good morning, Oliver. I hope you
had pleasant and happy dreams? We
have a long day ahead of us. You
don't want to waste it away lying
in bed do you? Do you? I didn't
think so.
Oliver looks disheveled, he's been out of it for some time.
The nurse draws back the blinds, pouring sunlight into the
room. She pulls the sheets back, revealing Oliver's massive
boner.
JUBILANT NURSE
I guess you did have sweet dreams.
INT. DINING HALL - MORNING
The dining hall is beautiful, endless space, hard wood
tables, wall to ceiling windows. Is this the same place?
Oliver sits amongst other patients, all in the same comatose
state. Everyone eats breakfast, an emotionless wave all in
sink.
INT. HOSPITAL WARD
One by one, Oliver and the other patients come up to the
window and receive a small cup of water and two pills. They
move down the line, stopping at Nurse Marion, who watches
them take the pills.
INT. THE OXFORD INSTITUTE - LIBRARY
Oliver moves along a hall of library books, possibly the
greatest collection ever.
INT. HOSPITAL WARD
Oliver waits on line for his pills.
INT. THE OXFORD INSTITUTE - LIBRARY
Oliver's headphones are on. He thumbs through an ART BOOK.
Beautiful portraits at every turn of the page.
HOSPITAL WARD - LATER
Oliver receives more medicine.
INT. MEETING ROOM - EVENING
Oliver talks to the THERAPIST.
OLIVER
I had the chicken pocks one summer.
She stayed with me. All day. Damn
near the whole summer. She would
read to me, teach me about what's
going on, kept me company. On the
TV they would call her a monster. A
godless communist. How can she be a
monster when she is my sister?
THERAPIST
She is your sister, but she did
bad, terrible things. You do
recognize that?
OLIVER
Yes. I'm not forgiving her for what
she did.
HOSPITAL WARD - LATER
Oliver receives more medication.
INT. PRIVATE SCHOOL - MORNING
Graduation day. Senator Kent and his MOTHER, MRS. KENT (80),
distinguished type, are in the audience.
The VALEDICTORIAN is at the podium giving a speech. The
students all listen in. Except Mary. She has her headphones
on, listening to music.
EXT. KENT ESTATE - DAY
The Kent estate is off a lake with lots of open space.
Something much better then what your average senator would
have. Everyone is here -- aunts, uncles, cousins, friends of
the family.
A few women hold court with Mrs. Kent and AUNT KATHERINE
(45), who knocks back shots at an amazing clip.
AUNT KATHERINE
Of course she's a Jew. In eight
years working with her, I've never
seen her pick up a check. Give me a
reach, show some sort of effort at
least. I know your the Attorney
General's wife, but please.
MRS. KENT
That's how they all are.
INT. KENT ESTATE - BATHROOM
Mary dye's her hair.
EXT. KENT ESTATE - BACK YARD
Servers scurry about serving lunch. Four tables are set
about, sort of indicating the family pecking order.
Senator Kent sits at the main table. He's in an effervescent
state as he stuff's crab meat in his mouth. UNCLE BUCHANNON
(46) checks his PDA. UNCLE CLIFF (50) loads up on salad.
SENATOR KENT
I'm practically the god damn
president already. We just, you
know, have to play out the strings.
UNCLE BUCHANNON
Do you know who your running mate
will be?
SENATOR KENT
Does it matter?
UNCLE CLIFF
Aren't you suppose to base it off
your shortcomings?
SENATOR KENT
What are you trying to say? You got
some balls Cliff. Shortcomings? Who
drove you home from that bar, back
in Arizona when you couldn't even
make it to your kids birthday
party?
MRS. KENT
Okay. Settle down.
AUNT KATHERINE
Enough. Enough. You guys will jinx
him.
SENATOR KENT
(to Cliff)
Your a shortcoming. And your no
longer welcomed at my house.
Mary comes out, her hair colored bubble gum blue. She sits
down at the table, oblivious to everyone around her.
MRS. KENT
Is everything alright honey?
MARY
Yes, grandma.
Senator Kent stares at his daughter with fire in his eyes.
UNCLE CLIFF
Nice hair.
MARY
Thank you.
UNCLE BUCHANNON/AUNT KATHERINE
Shut up, Cliff.
Everyone tries to eat, to put the situation out of their
minds.
AUNT KATHERINE
(to Mary)
Did you sign up for any of your
classes yet?
MARY
No. But, thanks for bring it up
Aunt Katherine because I have a
little announcement to make.
I am going to take the rest of the
year off to do some travelling.
Then, in January, I will go to
Stanford.
Senator Kent almost chokes on his crab meat. Aunt Katherine
pours herself a drink and downs it.
UNCLE BUCHANNON
Stanford? Only Asians go to
Stanford.
MARY
Chelsea Clinton went to Stanford.
UNCLE BUCHANNON
She's a Clinton. Your a Kent. Of
course she went to Stanford.
MRS. KENT
It's family tradition to attend
Yale.
MARY
Cliff never went to Yale. Neither
did Christy.
UNCLE BUCHANNON
Christy runs a non-profit. Cliff's
a drunk for Christ sake.
UNCLE CLIFF
Hey! I've been sober for six years.
SENATOR KENT
(to Mary)
Can I please have a word with you.
INT. KENT ESTATE - KITCHEN - CONTINUED
Senator Kent signals for the staff to leave. Mary grabs a
beer.
SENATOR KENT
I was under the idea that you were
going to Yale. We talked about
this.
MARY
I don't recall that conversation.
Senator Kent snatches the beer out his daughters hand.
SENATOR KENT
Oh, you don't recall? You've been
acting strange lately. I had that
thing set up with the Women Against
Violence, your mothers
organization, and you blew it off.
I should have never been so stupid
to--
MARY
Trust your daughter? I want to
travel. See the world. It's my
life.
SENATOR KENT
And how were you going to pay for
this? I'll tell you. Through me.
And I'm not paying for it if your
not going to Yale.
MARY
I was going to become a stripper to
pay for it.
SENATOR KENT
What?
MARY
Nothing. Just joking.
SENATOR KENT
Ever since that thing at the
theatre. I should have never took
security off.
MARY
If it wasn't for, "that thing", you
wouldn't be where you are today.
SENATOR KENT
What did you say young lady?
MARY
"What did you say young lady?"
SENATOR KENT
Your going to Yale.
MARY
No, I'm not.
SENATOR KENT
Yes, you are.
MARY
No, I'm not.
SENATOR KENT
Yes, you are.
MARY
It's my decision.
SENATOR KENT
No. It's mine.
Mary storms off.
INT. APARTMENT - NIGHT
Joy pours Joyce a cup of tea.
JOY
I came by your house before I left.
I rang the bell for five minutes.
JOYCE
I try not to answer the door
anymore.
JOY
I called a few times--
JOYCE
My phone is cut off. I didn't think
you were coming back.
JOY
My mom took it hard. With me not
being there... I needed to be with
her, with my family. I saw my
fiancee. He came to the funeral.
JOYCE
What happened?
JOY
We talked a little. Nothing has
changed. There's always that one
person you feel a connection with.
I know he's the one for me. But it
has to be right. He doesn't... have
you been back to the center?
JOYCE
No. Well, once. But everyone... I'm
not going back.
JOY
You don't need them. Everyone has
got problems. My brother was in
jail. But he's still family, and
real friends understand that.
Joyce let's her guard down, sips her tea.
JOYCE
I know it was months ago, and that
you probably forgot, but I need to
apologize for kissing you.
JOY
It was just a kiss. You shouldn't
have to apologize for how you feel.
Joyce looks into the living room where a few paintings are on
the floor.
JOYCE
Do you mind?
JOY
I just started painting again when
I got back. It's not my best work.
JOYCE
Oh, I don't care.
Joy moves into the living room, examines the paintings.
INT. THE OXFORD INSTITUTE - MORNING
Oliver goes before the physicians.
FEMALE PHYSICIAN
How do you feel?
OLIVER
I feel good.
OLDER PHYSICIAN
Do you remember anything especially
strange about your treatment?
OLIVER
No, sir.
The physicians trade looks.
FEMALE PHYSICIAN
Good. Your treatment is complete.
Congratulations.
OLIVER
Thank you.
FEMALE PHYSICIAN
(looking over his file)
I see you got your high school
diploma. Good. You've done
everything that has been asked of
you.
OLDER PHYSICIAN
Are you ready for the next phase of
your life?
OLIVER
Yes, sir.
OLDER PHYSICIAN
Have you been told about the
retribution part of the treatment?
That you must make amends to the
people you hurt most?
OLIVER
Yes. I have and I will, sir.
FEMALE PHYSICIAN
Well then...
EXT. THE OXFORD INSTITUTE - MORNING
Oliver enters into a waiting van, blindfolded.
INT. CONVENTION CENTER - NIGHT
Senator Kent gives his victory speech.
SENATOR KENT
When I see where we came from
months ago and where we are now, I
see that America really is craving
for change. Craving for someone to
shake things up in Washington. They
want someone who is responsible.
Someone they can trust.
Someone who has there, and only
there, best interest at heart.
Well, I want you to know that
Arthur Kent is that person. Arthur
Kent is that symbol. But we have to
do it together. That's the best
thing about a democracy. It's for
the people. By the people. And you
decided who you want representing
this party. So I applaud you. I
don't want to talk too long or give
a grand speech. So god bless you.
And god bless America.
CHEERS fill the hall as balloons fall from the sky. Mrs. Kent
and Mary -- who's sporting a wig -- come out on stage.
Senator Kent kisses his family, gestures and waves to the
crowd.
INT. HALFWAY HOUSE - NIGHT
Oliver fills out paperwork, talks to the overseer of the
facility, SCHMIDT (34). Oliver eyes the newspaper on the
desk:
INSERT HEADLINE: OLIVER RELEASED
SCHMIDT
I'm sure they informed you that you
have to find employment and have
weekly drug tests as part of your
parol?
OLIVER
Yes.
Schmidt leads Oliver up a flight of steps, through the
facility.
SCHMIDT
The bathrooms are on the second
floor. There is a small kitchen
area at the end of the hallway.
Make sure you put your name on
anything you leave in there if you
want to see it again. Our meetings
are held on the first floor.
Drinking or partying are not
allowed. Doors are locked at eight.
Your first order of business is to
make retribution to those you hurt
in the past.
If you need any help with anything,
I'm here. Let me show you to your
room.
INT. HALFWAY HOUSE - ROOM - NIGHT
A lot of people have moved through here, and you can tell.
The room is small and the furniture old. Oliver glares out
the window at the city with fresh eyes.
INT. DONUT SHOP - MORNING
Officer Mercer and Jamison sit across from Oliver.
OFFICER MERCER
I appreciate how censer you are and
except your apology.
OLIVER
Thank you.
OFFICER JAMISON
You want retribution? How bout I
punch you in the face. This little
shit hit me and spit in my face.
OFFICER MERCER
What? This is ridiculous.
OLIVER
No. It's alright.
Oliver stands, closes his eyes, braces for the hit. Officer
Jamison stares at him -- he can't do it. Frustrated, he bolts
up and out the shop.
OFFICER MERCER
(to Oliver)
Good luck.
INT. HOUSE - KITCHEN - MORNING
Joyce flips through a magazine. The TICK of the wall clock in
her ear, the TURNING OF EACH PAGE. The sound of silence.
The doorbell rings. Joyce stiffens. She tip-toes to the door,
takes a deep breath before opening.
OLIVER
I'm out, mom!
Oliver hugs his mother. Joyce has the look on her face of
utter surprise.
OLIVER
How are you doing?
Joyce shrugs her shoulders, moves back into the kitchen.
OLIVER
Did you get my letters?
Oliver looks on the kitchen counter, amongst all the stacks
of papers, he finds a few unopened letters he sent. He picks
them out of the pile.
OLIVER
Maybe you can read them later. So,
what's going on?
JOYCE
You want to know what's going on?
OLIVER
Yes. How have you been mom?
JOYCE
Let's see... how have I been...
well, the phone has been cut, I
have about three more weeks before
they cut the power, and your
father's benefits are running out.
Oh, and I'm losing the house. I'm
having the time of my life.
OLIVER
I thought you had enough money?
Weren't you taking care of this?
JOYCE
I don't know how to take care of
things! I don't know how to fix
things. I don't even know how to
write a check. Jesus, what are you
doing here?
OLIVER
This is my home. Your my mother.
JOYCE
Your eighteen now. I'm not
responsible for you anymore.
OLIVER
I'm here to do whatever I have to
do.
JOYCE
Better late then never. First your
sister. I had to go through
everything with her. My own
daughter, my little girl. A
terrorist. Then your father, who
didn't have to go back, but he did.
For what? Now you. I can't deal
with this anymore. News people,
people following me. Do you know
what that's like?
OLIVER
No.
JOYCE
You will.
Joyce turns her attention off of Oliver, almost forgetting he
is even there, lost in her own thoughts. Oliver notices.
OLIVER
I'm staying at the halfway home on
Curtis avenue. Drop by if you like.
Oliver leaves.
EXT. HALFWAY HOUSE - NIGHT
Oliver moves toward the entrance, notices a car waiting
outside. The window rolls down, Glenn inside, waves Oliver
over.
OLIVER
Hello...
GLENN
My name is Glenn. I work for
Senator Kent, for the campaign. He
was recently made aware of your
release. A condition of that being
you must make retribution to the
people you've hurt.
OLIVER
Yes.
GLENN
We need volunteers. Be there before
the week is over to sign up. Ask
for Carol.
OLIVER
Alright. Well--
The window rolls up. The car pulls off.
INT. RESTAURANT - DAY
Joy and Joyce. Joy is a little happier then she has been.
JOYCE
I'm glad you invited me. You know,
I've been thinking about going on a
trip. I don't know how I'm going to
do it, but... maybe we can drive
somewhere.
JOY
Joyce. I've reconciled with my
fiancee. I'm moving back home in
two weeks.
Joyce world has collapsed. Her fork slips out her hand as she
struggles to keep it all in.
JOY (CONT'D)
I love him, Joyce. He loves me. I
hope you understand. I don't want
to leave you in the lurch like
this... you can call, in fact I'd
like you to be one of my
bridesmaids. You can make the week
out of it... bring your son if you
like--
Joyce bolts up and runs out the door.
EXT. RESTAURANT - CONTINUOUS
As the fresh air hits her face, Joyce begins to cry.
INT. HOUSE - BEDROOM - MORNING
Oliver peaks in the door. His mother is in bed, covers over
her head.
OLIVER
How are you feeling?
Joyce turns over in bed. Oliver draws back the blinds, turns
on the ceiling fan, notices the mess in the room.
OLIVER
When was the last time you ate?
LIVING ROOM - LATER
Oliver cleans up, throws trash away, vacuums the floor.
BATHROOM - LATER
Oliver runs bath water for his mother. He moves down the
hallway, stopping at his bedroom door. Oliver thinks about
it...
KITCHEN - LATER
Sink finally clear of dishes, counter and table clear of
clutter, Oliver mops the floor.
INT. HOUSE - KITCHEN - DAY
Joyce sits at the clean table, bathrobe on, glass of juice in
front of her. Oliver's at the stove flipping pancakes.
OLIVER
I learned that. It's all in the
wrist. I learned a lot, mom.
Schmidt, my counselor, he might
know of some kind of organization
that could help us out with our
situation. If that doesn't work
then we have to think of a place
for you to stay. Do you have a
friend or someone?
JOYCE
(to herself)
It doesn't matter.
Oliver sits down next to his mother.
OLIVER
It matters to me. I understand the
hell I put you through. But that's
all in the past.
Oliver grabs his mothers hand. Shocked, she draws back.
OLIVER
We'll find a way. Trust me. I'll
come back on Saturday, bring
dinner.
JOYCE
Find a way? Like those kids at the
party that you beat up. One kid is
just learning how to walk again.
I'm sure he'll find a way.
Joyce gets up, heads back upstairs.
INT. KENT CAMPAIGN HEADQUARTERS - DAY
Preparations are under way for the presidential campaign.
Mary walks in, sunglasses on, cup of coffee in hand. She
moves toward a desk where Joe is on the phone.
JOE
I'm the campaign manager to the
face of the party, and I cannot get
in touch with party headquarters.
MARY
Beautiful.
JOE
I love your hair.
MARY
It came out nice, right?
JOE
Think I can walk around with hair
that color? They'd throw me in the
looney bin.
(into phone)
Yes... I am holding. For fifteen
fucking minutes. Fuck.
(to Mary)
How was your night?
MARY
I don't remember.
JOE
I remember those kind of nights.
Mary eyes the volunteer list on the desk. A certain name
catches her eye: OLIVER APPLEMILLER.
INT. HOUSE - BEDROOM - EVENING
Joyce flips through a family photo album. She stops at a
photo of a SEVEN YEAR OLD MIA holding BABY OLIVER.
BEDROOM - LATER
Joyce puts on her makeup, does her hair up nice, nice
clothes, the ones she brought with Joy.
Joyce removes a long belt from the closet and throws it on
the bed. She eyes the picture of her HUSBAND on the dresser.
Joyce turns it face down.
INT. HOUSE - EVENING
Oliver steps in, bag of Chinese food in hand. All the lights
are out. The house is quiet.
OLIVER
Mom!
Oliver heads upstairs. He sees his mother's door slightly
closed, a sheet of light peeking out from under the door.
OLIVER
It's me, Oliver. I brought some
food. Chow fun and shrimp with
broccoli.
Oliver slowly pushes open the door. His eyes widen at the
sight--
Joyce's body dangles from the ceiling fan, belt wrapped
around her neck. Oliver rushes in, tries to take her down.
OLIVER
No, no, no. What did you do? What
did you do?
He grabs a pair of scissors, tries to cut the belt to no
avail. Oliver runs out the room... returns moments later with
a kitchen knife.
After an excruciating amount of time, he finally cuts her
loose, lays her on the bed. He grabs the phone, dials 911.
OLIVER
(into phone)
My mother! My mother! She tried to
hang herself...
she's not breathing. I don't
know... nine Pennsylvania drive--
Oliver drops the phone, cradles his mother in his arms. He
looks at the belt imprint on her neck, her blue face and
lips, blood caked on her mouth and nose. The situation seems
surreal to him.
EXT. HOUSE - NIGHT
Paramedics wheel Joyce's body out as onlookers and media
gather.
LIVING ROOM - CONTINUED
Oliver sits on the couch watching them put Joyce in the
ambulance. People take pictures. Two cops stand by the door,
whispering to each other, maybe talking about Oliver.
INT. FUNERAL HOME - EVENING
Schmidt sits with Oliver. They are the only two people in the
place. Schmidt gives Oliver an encouraging pat on the
shoulder, then leaves.
Joy enters with her FIANCEE. She moves down the aisle and
kneels at the casket to pray. She tries hard not to look at
Joyce, to keep the tears inside. She gives Oliver a
comforting smile.
INT. HALFWAY HOUSE - OLIVER'S ROOM - NIGHT
Oliver places his mother's ern on the dresser next to a pill
case -- the ones with the days of the week on it. Oliver
removes a pill, swallows it. He looks out the window, feeling
alone for the first time in awhile.
INT. ROOM - CONTINUED
Marlboro Man sits before a small monitor watching Oliver in
REAL TIME.
INT. HALFWAY HOUSE, OLIVER'S ROOM - MORNING
Oliver gets dressed. He affixes his clip on tie to his one
size too small shirt. He pats the top of the ern then heads
for the door.
EXT. SUBWAY - MORNING
Oliver moves out the subway, turns the corner and is engulfed
with MEDIA. Reporters sticking microphones in his face,
camera's, flash bulbs.
Oliver pushes his way through, a smile on his face, and
enters into Senator Kent's campaign headquarters.
INT. KENT CAMPAIGN HEADQUARTERS - MORNING
Oliver waits in a small lounge area with a small group
VOLUNTEERS. SIENNA (26), stunningly beautiful, enters.
SIENNA
I guess this is all that's coming.
Alright, listen up. My name is
Sienna, and I am a volunteer. As
volunteers you will do the grunt
work. Whether it be getting food--
INT. KENT CAMPAIGN HEADQUARTERS - MORNING
Oliver walks in carrying two cartons of coffee. Everyone
converges on him for there morning fix. Oliver eyes Mary
exiting the building.
SIENNA (V.O.)
--Or helping people register to
vote.
EXT. STATE COLLEGE - DAY
The volunteers hand out voter registration forms to the
students. Most of them take pictures of Oliver.
SIENNA (V.O.)
You can work it any way you want
to. But rest assured, what you do
now will shape the future.
INT. KENT HEADQUARTERS -- DAY
Oliver has a box on each side of him and a stack of papers in
front of him on the desk. He takes a paper, then an envelope
out the box.
He puts them together, licks the envelope, drops it into the
other box. Oliver repeats this mind numbing task over and
over.
SIENNA (V.O.)
I'm sure you all are here because
you believe in Senator Kent. You
believe in his message of change.
His overall success lies in your
hands. Welcome to the campaign.
INT. HALFWAY HOUSE - OLIVER'S ROOM - NIGHT
Oliver sleeps. His face grimaces with pain. He is engulfed
with the sound of the ELECTROSHOCK MACHINE. Oliver bolts up,
sweating, breathing heavy. He opens the window, breathes in
the fresh air.
INT. KENT CAMPAIGN HEADQUARTERS - MORNING
Oliver enters into an office, finding Mary smoking a
cigarette, head out the window.
OLIVER
Sienna told me to clear some space.
Mary rolls her eyes, throws her cigarette out the window. She
heads for the door -- Oliver stepping in, unconsciously
blocking her path. Everything boils up. Mary cocks her fist
and clocks Oliver.
EXT. KENT CAMPAIGN HEADQUARTERS - BACK OF BUILDING - DAY
Oliver, sporting a black eye, empties the garbage. He turns
back to the door, finding Mary blocking his path. Mary takes
out a pack of smokes.
MARY
Did I scare you?
OLIVER
Kind of.
MARY
Good. How's your eye?
OLIVER
It's alright.
Oliver bows his head and moves back into the building.
MARY
Want a smoke?
OLIVER
No. I don't smoke. It's bad for
you.
MARY
That's what they say. Playing the
odds. That's how life is.
INT. KENT CAMPAIGN HEADQUARTERS - BATHROOM - DAY
Oliver splashes some water on his face. He comes up, finding
DIRK STEVENS (late 60s), Senator Kent media consultant,
combing his hair next to him.
DIRK
What are you doing for lunch?
OLIVER
I have an apple and half a tuna
sandwich from yesterday.
DIRK
Yummy. My names Dirk Stevens. I am
Senator Kent's media consultant. I
helped Regan, Bush... no losers.
All winners. That's what I do. Win.
OLIVER
Okay.
DIRK
I have someone who would like to
meet you.
FRONT OF BUILDING - CONTINUED
Dirk leads Oliver to a waiting jeep. The back window rolls
down, Senator Kent in the back seat.
SENATOR KENT
Hello, Oliver. We need to talk. Do
you have some free time?
EXT. CAR - MOVING
Oliver sits across from the senator. Glenn, Dirk and Joe have
their ears glued to their cell phones.
Oliver looks out the window, intimidated by the situation.
Senator Kent examines Oliver with fire and hate in his eyes.
JOE
We're four minutes away. How do you
feel?
SENATOR KENT
Hey. It's me.
JOE
Just remember that we have little
margin for error--
SENATOR KENT
How can you say something like that
to me?
JOE
I just want you to understand--
SENATOR KENT
I told you, don't upset me before I
speak in front of people. I must
maintain a Zen like disposition.
DIRK
I like to imagine them nude.
Everyone, even the men.
JOE
Wow. Thanks for telling us.
INT. DINING HALL - EVENING
A banner hangs over the dais reading: MOTHER'S AGAINST
VIOLENCE. The hall is filled with mostly WOMEN. They clap as
Senator Kent moves to the podium.
SENATOR KENT
Thank you. It is always good to
speak to Mother's Against Violence.
Oliver and the rest of the entourage watch by the door.
Oliver is engrossed in the whole spectacle.
SENATOR KENT
This is the home my wife built
twenty years ago and Claudette
Wells has done a fine job carrying
on her legacy.
There is a word that most people
who proclaim they are tough on
violence forget to mention:
rehabilitation.
JOE
(to Oliver)
You are watching a master at work.
I've seen him talk billionaire
business men into submission. It's
the other shit that needs work. By
the way, don't forget to smile and
speak clearly.
OLIVER
What? Why?
SENATOR KENT
-- As a reminder that we cannot
forget about these lost children.
That's why I brought one of them
with me today. Oliver...
The spotlight shines on Oliver. Dirk gives him a nudge.
Oliver moves to the podium.
SENATOR KENT
Let's make him feel at home.
A smattering of applause. Oliver takes the podium, lights
shinning in his face.
OLIVER
Good morning, I mean good day... he
just told you that... I volunteer
for the campaign. For the senator.
Senator Kent. Not because I have
to, but because I want to. I feel I
must pay back those who got hurt,
or were affected by my stupid
decisions--
Dirk and Joe begin to clap. Soon, the whole room is roused
into applause. Senator Kent throws his arm over Oliver's
shoulder -- what a perfect picture op.
INT. DINING HALL - LATER
Oliver and Senator Kent eat lunch. The senator has topped his
plate off with as much food as possible. Joe sits down across
from them, drink in hand.
OLIVER
I don't really like to talk about
it.
SENATOR KENT
I know how you feel.
OLIVER
I know it was my fault. I led her
to do that... my decisions. I have
her blood on my hands and I have to
live with it for the rest of my
life.
Senator Kent tries to mask his pleasure in hearing this.
JOE
What are your plans for the future?
OLIVER
I never thought about it. I never
expected to live this long.
SENATOR KENT
The American people have taken an
interest in you.
OLIVER
Why? I'm just some guy.
SENATOR KENT
Your hope. Your someone who can
rise from nothing into something.
JOE
And if you can do it, so can they.
SENATOR KENT
People eat that shit up. Like
today. A feel good story. You
represent that. And that's what I
need from you. I need you to do
some publicity for the campaign.
Make a couple of appearances, say a
few words. We need you out there on
the stump with us. Can you do that
for me?
OLIVER
Yes. I can. I will. But I'm on
parole. I cannot leave the state.
SENATOR KENT
Let us worry about that.
JOE
We'll have our people with you.
Just say what they tell you.
SENATOR KENT
And if you scratch our back, we'll
scratch yours. You come see me and
I'll help you plan out your future.
OLIVER
I won't let you down. You can count
on me... and I am truly sorry for
what I did to your family.
SENATOR KENT
We'll see.
INT. TELEVISION STUDIO - MORNING
The studio is made up to look like a kitchen. Oliver sits at
the table talking to the BUBBLY HOST.
BUBBLY HOST
We all heard about this Oxford
Institute. How was it there?
OLIVER
It was the right place for me. The
judge was right about that. The
counselors and physicians where
only looking out for my best
interest. There was no mistreatment
of prisoners... and the food was
great.
That gets a laugh from the audience. Dirk Stevens stands off
camera watching, approving of Oliver's answer.
INT. HIGH SCHOOL AUDITORIUM - DAY
Oliver talks to a group of kids.
KID (O.S.)
Sellout!
INT. TELEVISION STUDIO
Oliver does a nightly news show.
OLIVER
I cannot take back the things I
did. I wish I could, but of course
I can't. Senator Kent is trying to
help me. Trying to save me from
falling back into that life again.
Because you see where it leads you.
I have a chance to be a productive
citizen, to put my past behind me.
I won't screw it up.
INT. KENT ESTATE, BEDROOM - NIGHT
Senator Kent eats a bowl of ice cream in bed. He watches news
coverage.
SID BANNISTER
(on TV)
How will this affect Senator Kent's
campaign? To have a criminal
campaigning for you?
REPORTER
(on TV)
We've seen worse.
Senator Kent changes the channel, stopping on THE BENNIE HILL
SHOW. He chuckles as he stuff's a spoonful of ice cream down
his throat.
EXT. KENT ESTATE - ROOF - CONTINUOUS
Mary sits on the roof smoking a joint. She gazes at the
moon's reflection off the water.
The breeze picks up. Mary moves to the edge of the roof --
her feet inches away, her arms extended, eyes closed.
The heavy winds kicks up her clothing, her hair blowing
strong. Mary takes it all, waiting. Hoping the wind takes her
away.
INT. DINER - DAY
Senator Kent tours the south. He shakes hands and talks with
working class citizens.
REPORTER (V.O.)
While Senator Kent is campaigning
in the south and then heading to
Texas for a big fund-raising push,
President Reeves will be touring
the west coast until Saturday. In
our latest projection polls,
Senator Kent has steadily gained
ground and is trailing President
Reeves by three percent. Senator
Kent campaign flooded the south and
northwest with new campaign
commercials, billboards and
internet ads.
INT. RANCH - STUDY - TEXAS - DAY
Senator Kent holds court with big Texas OIL MEN, LOBBYISTS
and other assorted BUSINESSMEN.
SENATOR KENT
I understand your concerns. They
are my concerns too. But the
economy is weak. People are scared
to put money into banks, to buy
homes. To buy anything.
OIL MAN
They fucked it up for us.
BUSINESS MAN
But we need assurances. What's the
point in helping you if we see no
gain? The economic package that
Reeves put on the table is mighty
tempting.
The others agree.
SENATOR KENT
But my package will offer more tax
free money. My package will make it
easier for you to do business
overseas. My package will offer you
a better turn around. Reeves
doesn't like you. He is smart.
He knows he must lye with the devil
to be president. But as soon as he
wins, he'll slit your throat. He
thinks your a cancer to America. He
hates lobbyists. He hates oil men.
But I fucking love ya.
EXT. RANCH - DAY
Oliver takes pictures, does his duty. He finds Mary, who's
talking to a couple old cows. Mary finds his gaze. Oliver
waves, she gives him the finger. Oliver chuckles as the
camera flashes.
RANCH - LATER
Oliver comes to the bar.
OLIVER
(to bartender)
Can I have a water?
Marlboro Man takes a seat next to Oliver, lights up a
cigarette.
MARLBORO MAN
Do you mind?
OLIVER
No. Not at all.
MARLBORO MAN
What are you drinking?
OLIVER
Water.
MARLBORO MAN
I don't drink when I work either.
The bartender comes back with Oliver's water.
MARLBORO MAN
(to bartender)
Give me a whisky straight.
OLIVER
What do you do?
MARLBORO MAN
What do you mean?
OLIVER
For a living.
MARLBORO MAN
I'm a salesman.
OLIVER
What do you sell?
MARLBORO MAN
Solutions.
OLIVER
You like your work?
MARLBORO MAN
Like? That's a word we try not to
use. Our industry is always looking
for fresh minds.
OLIVER
I'm not a salesman.
MARLBORO MAN
You must have some plans for your
future, Oliver?
OLIVER
Well, no. I'm kind of liking what
I'm doing though.
MARLBORO MAN
Do what your good at.
OLIVER
I hate to be rude, I must continue
my...
MARLBORO MAN
Of course. Don't let me hold you
up. Good luck, Oliver.
OLIVER
I didn't get your name?
Marlboro Man winks at him, downs his drink, moves off.
RANCH - LATER
A preppy teen approaches Mary. She waves him off. She finds
Oliver, plate of food in hand, searching for a place to sit.
They catch eyes. Mary kicks out the chair across from her.
Glenn watches as Oliver sits down.
MARY
Hungry?
OLIVER
Yes. I haven't eaten all day.
MARY
Interesting situation we're in.
OLIVER
What do you mean?
MARY
I want out. You want in.
OLIVER
Your the daughter of the next
president.
MARY
I used to dream about what it would
be like to be the president's
daughter. Like a princess, dumb
shit like that. When my father wins
it won't be so easy to ditch
security. I'll be the president's
daughter.
OLIVER
What girl wouldn't want to be that?
Everybody adoring you, I wish I
were in your shoes. Your father has
been nothing but super nice to me.
MARY
You believe him?
OLIVER
Of course. He's shorter in real
life then on TV. But I'd never
imagine him to be so concerned with
my well being. You never know with
people...
MARY
Boy. What did they do to you?
RANCH - LATER
Senator Kent stands over the grill cooking steaks, cold beer
in hand, flirting with Joe. Glenn sits at the bar, attention
still on--
MARY AND OLIVER
MARY
Have you ever raped anyone?
OLIVER
I don't like where this
conversation is going. I don't want
to talk about that.
MARY
That means yes. Evil bastard.
OLIVER
Your language.
MARY
(mimicking Oliver)
Your language. Stop being a pussy.
You ever killed anyone?
OLIVER
No.
MARY
Stole?
OLIVER
Yes.
MARY
How does that feel?
OLIVER
I never realized how perverse you
are.
MARY
I never realized how lame you are.
Your pretty weird Oliver
Applemiller. But that's good.
OLIVER
Why?
MARY
Because it shows your human. Your
not playing someone your not.
OLIVER
While we're talking, I want to
sincerely apologize to you... for
what happened at the theatre.
MARY
Why? All we did was talk. Are you
sorry now?
OLIVER
No. It just that, part of my
therapy is that I must make it up
to you. Retribution. Its not like
they're forcing me... I want to do
it.
MARY
Let's not get all mushy. I might
leave it open just to torture you.
Glenn approaches.
GLENN
Oliver. Your services are needed.
Oliver gets up.
OLIVER
(to Mary)
Bye.
Oliver moves off.
GLENN
You should be more careful of the
company you keep.
MARY
Since your good at following
orders, you know, because your my
fathers robot, you could make
yourself useful for once and fetch
me a soda... and make sure it's
cold.
Glenn swallows his pride, shuffles off to retrieve the soda.
INT. KENT ESTATE - NIGHT
Four chalk boards are filled with facts and numbers. Aides
huddle around Senator Kent, helping him prepare for the
debate.
SENATOR KENT
I need a break.
JOE
We'll break in an hour.
SENATOR KENT
I'm not asking...
KITCHEN
Mary riffles through the refrigerator.
SENATOR KENT (O.S.)
Hungry?
MARY
Shit... you scared me. What are you
still doing up?
SENATOR KENT
The stupid debate. Health care,
joblessness. I never imagined how
these peoples lives sucked so much.
MARY
Calm down. I'll make you a protein
shake.
SENATOR KENT
Why do we have to do a debate?
MARY
Because some people actually care
what a candidate is saying. What he
stands for.
SENATOR KENT
Idiots. This is the hardest I ever
had to study since... well, ever.
MARY
Well, keep it up.
SENATOR KENT
I need to ask something of you.
It is of the utmost importance to
me.
MARY
What is it?
SENATOR KENT
You know I don't ask much of you--
MARY
Dad, spit it out.
SENATOR KENT
I need you at the debate.
MARY
Dad, I already have plans.
SENATOR KENT
You remind me of your mother so
much... I just need that, you know.
Just a little extra support.
Mary caves in. She gives her father a re-assuring smile.
SENATOR KENT
Great. Don't put too much
strawberries in this time.
INT. HOTEL - NIGHT
Glenn gets off the elevator. He stops at room two hundred and
knocks on the door. No answer.
INT. HOTEL ROOM - NIGHT
Joe smokes a cigarette on the balcony, everyone on pins and
needles. Glenn enters.
GLENN
Sir, Mary's not in her room.
SENATOR KENT
What?
GLENN
She's gone.
SENATOR KENT
Where is she?
GLENN
We don't know.
SENATOR KENT
How can you not know? It is your
fucking job to know.
GLENN
Irv found a flyer in her room for a
rave. Maybe--
SENATOR KENT
She'll be here. She wouldn't do
this to me.
DIRK
We have to go, senator.
SENATOR KENT
Dirk, she'll be here. Fifteen more
minutes.
JOE
We pack up, get everybody ready to
move. We would have wasted fifteen
minutes just by doing that. If
she's not back by then...
Senator Kent thinks it over, nods in agreement.
DIRK
Okay people, lets move out.
SENATOR KENT
(to Glenn)
I want you to see to it that Mary
is found. Keep it quiet.
GLENN
Sir.
INT. SENATOR KENT CAMPAIGN HEADQUARTERS - NIGHT
The lights are still on. A few workers and volunteers prepare
to watch the debate. Oliver is still hard at work, making
last minute phone calls.
As he hangs up the phone, he closes his eyes and grabs his
head in pain -- the distinct sound of the ELECTROSHOCK
MACHINE frying his brain.
EXT. SENATOR KENT CAMPAIGN HEADQUARTERS - CONTINUED
Oliver catches his breath. SOMEBODY comes up behind him.
MARY (O.S.)
Boo!
Oliver jumps. Mary wears sunglasses and a hat.
MARY
Jesus Christ. Did I make you wet
your pants?
OLIVER
What are you doing here?
INT. HOT DOG STAND - NIGHT
Mary eats a chilli cheese dog. Oliver watches.
OLIVER
How come your not watching the
debate?
MARY
I have something better to do. I'm
going out, you know, last night on
earth. I want you to come with.
OLIVER
I can't. I mean, I'd love to...
curfew is in twenty minutes.
MARY
You owe me. Now you want to come up
with excuses. I didn't expect that
from you.
OLIVER
It's not like that.
MARY
Fine. Whatever. I guess I misjudged
you. I have to go all by myself.
Retribution my pretty little ass.
Mary moves to the door. Oliver lingers for a beat, knowing
what he's about to do is wrong.
INT. UNIVERSITY - NIGHT
The producer signals to the moderator, BILL DUFFY. The red
light on the TV camera illuminates.
BILL
Good evening. My name is Bill
Duffy.
Welcome to the 2008 presidential
debate between President David
Reeves and Senator Arthur Kent.
Tonight, the main topic will be
domestic affairs. There will be a
two minute closing statement by
each candidate. I would like the
audience to join me in welcoming
President David Reeves and Senator
Arthur Kent.
Applause as President Reeves and Senator Kent come out and
take their places behind the podiums.
INT. RAVE - NIGHT
Oliver and Mary take in the atmosphere -- the CLUB KIDS
dancing, the lights, the music blasting. A CLUB GIRL hands
them a slit of acid.
Mary swallows hers. Oliver stares at his. Mary snatches it
out of his hand, swallows it.
MARY
I'm gonna get so fucked up. I want
to dance.
Mary pulls Oliver onto the dance floor. She sways to the
music, becoming one with it. Oliver stands still, the only
person not moving.
INT. DEBATE
SENATOR KENT
That should be our goal as a
nation, Bill. To achieve said goal
we must first recognize then
correct our past mistakes. I
believe we must maintain our press
on terrorism and continue to spread
freedom throughout the world. I
signed the homeland security bill
that would better equip our
agencies to prevent attack.
President Reeves vetoed the bill.
To answer your question, all we
need to secure our children's
future is good, strong, decisive
leadership.
BILL
President Reeves, the same
question.
PRESIDENT REEVES
I agree with the senator. We must
secure our children's future with
strong leadership and a decisive
plan of action. Something that the
senator forgot to mention is that
we need to do this with American's
in mind. A plan beneficial to
American needs, not ulterior
motives.
INT. RAVE
Oliver watches from the corner of the hanger as Mary dances
with a PARTY BOY, who looks a little too old to be there. He
grabs Mary in close, his hands all over her thighs and ass.
He leads Mary through the crowd, off the floor.
BATHROOM - CONTINUED
The party boy drags Mary in. Mary's so gone, she doesn't
resist. They move into the last stale.
PARTY BOY
You look familiar.
MARY
I'm a model.
Oliver enters the bathroom, scopes the scene out,
instinctively moves to the last stale. He opens it, finding
Mary and party boy making out.
PARTY BOY
You want somethin', fag?
Oliver doesn't answer.
PARTY BOY
You got a problem dick lips?
He flashes a piece in Oliver's face. Mary eyes the broken
toilet lid on the floor.
OLIVER
I don't want any trouble.
PARTY BOY
Your that kid from TV. The bad ass.
The sellout. Hey, my mom says your
a piece of--
Mary clocks party boy over the head with the lid. He crumbles
to the ground, knocked out cold. Mary goes through his
pockets, takes his money and drugs, grabs the gun.
EXT. RAVE PARKING LOT - NIGHT
Oliver grabs the gun from Mary, throws it in the bushes.
MARY
What the fuck.
OLIVER
Guns are trouble.
Mary digs into the drug bag, pulls out some mushrooms. Oliver
tries to grab the bag.
MARY
Snooze you lose.
She runs off. Oliver gives chase. As they pass a row of cars,
one starts, Glenn behind the wheel. He grabs his phone.
GLENN
(into phone)
Irv, keep your men at the debate.
Pull them off the hotel... because
that's how I want it! If Mary
returns, call me first... no, I
haven't found her yet.
INT. UNIVERSITY - DEBATE
President Reeves and Senator Kent are going through their
closing statements.
SENATOR KENT
My fellow American's, thank you for
coming out and tuning in. I
presented the topics the president
has constantly chosen to be evasive
on. Terrorism. The middle east.
Rising health care, rising gas
prices. The lack of jobs.
Hopelessness. Violence.
I stood over a city riddled with
crime and we changed that within a
year. I am optimistic that we will
win the war on terror. I have faith
in the words liberty and freedom. I
have faith on its effect to convert
a hostile world into a peaceful
one. I have faith that the economy
will turn around. That America will
be flooded with jobs. My hope for
America is that of a prosperous
America. An America where
American's can make a future for
themselves and their children. I
want to thank you for listening
tonight, and I hope I have your
vote. God bless you all.
BILL
That brings this debate to a close.
I want to wish both candidates good
luck.
Light applause as Senator Kent and President Reeves come
together, shake hands, smile and gesture to the audience.
Mrs. Kent joins her son on stage as does President Reeves
family.
INT. HOTEL - ROOM - NIGHT
Oliver sits Mary down on the bed. She is so high she falls
back.
MARY
Do you smell that? The flowers on
the wallpaper.
Oliver retrieves a bottle of water from the refrigerator,
tries to give it to Mary.
OLIVER
It will make you feel better.
MARY
I don't want to feel better. Stop
trying to control me, Hitler.
Mary starts to giggle uncontrollably.
OLIVER
Okay, okay. I'll tell you a story.
MARY
The Three Little Bears.
OLIVER
When we first met. At the theatre.
When I took your scrounge. I never
understood why I... why I was so
infatuated with you. It was the
fact that you showed me there was
beauty in life. I was ready to... I
was just waiting for my turn. Like
everyone else in my family. It was
something--
Mary leans in and kisses Oliver. He moves in for another when
Mary throws up in his lap.
MARY
Fuck. Sorry.
Oliver moves to the bathroom. He comes back, wet stain on his
pants. Mary is fast asleep.
Oliver looks down at her. He takes her shoes off and drapes
the blanket over her. He turns the lights out and leaves.
EXT. HOTEL - NIGHT
Oliver walks out the hotel. He looks around, noticing the
lobby is practically empty. He notices the parking lot is
eerily quit and still.
Glenn sits in the car taking pictures. His cell phone rings.
GLENN
(into phone)
Senator, I found her... I think I
should tell you in person.
INT. HOTEL - MARY'S ROOM - MORNING
Mary awakes with a killer hangover. She finds her father
sitting in the corner, a picture of OLIVER LEAVING THE HOTEL
in hand.
MARY
I can explain.
SENATOR KENT
You gave me your word. We had to
tell everyone you were sick.
MARY
I was--
SENATOR KENT
Shut up!
Mary looks at the floor, searches for answers.
SENATOR KENT
Did he touch you?
MARY
Jesus.
SENATOR KENT
You are better then him. You
disappoint me.
MARY
You disappoint me. You disappoint
mom. Your infatuated with becoming
president. Whoever you have to use.
Me, mom, Oliver.
SENATOR KENT
This is who your family is. This is
so you can have a future. So you
don't have to fight for scraps with
the other animals.
MARY
I'm just an accessory.
SENATOR KENT
A spoiled little brat. That's what
you are. Yale, now this. I don't
know who you are. I can't trust you
anymore.
MARY
I'm going to Stanford. I already
accepted and sent the papers in for
housing. There's nothing you can do
to stop me.
SENATOR KENT
Good riddance.
Senator Kent moves to the door. Mary's anger boils over.
MARY
I fucked him.
Senator Kent stops, swallows his feelings, calming himself.
SENATOR KENT
Like I care.
Senator Kent leaves, slamming the door in his wake.
INT. MOVIE THEATRE - MORNING
Oliver and Mary sit in the back aisle. This is the same
theatre where they first met.
MARY
I can't stop thinking about that
night, thinking about you.
OLIVER
Me either.
MARY
(jokingly)
You can't stop thinking about
yourself?
OLIVER
(laughing)
No.
MARY
I'm going to Stanford. I want you
to come.
OLIVER
(without hesitation)
Of course.
They kiss.
INT. HOTEL SUITE - MORNING
Election day. Dirk lies in bed reading the paper, a beautiful
young lady sleeping next to him.
INT. HOTEL SUITE - JOE'S ROOM
Joe, bathrobe on, a light breakfast spread, watches TV
coverage of the election.
NEWS ANCHOR
(on TV)
Early polls will probably favor
President Reeves since senior
citizens are usually the first to
the voters booth. Senator Kent is
voting at the Rose elementary
school. I don't think it's a
stretch to guess who he's voting
for.
INT. ELEMENTARY SCHOOL - MORNING
Senator Kent and Mary step out their voting booths, smiling
for the camera's.
EXT. SCHOOL - CONTINUED
They are escorted into a waiting jeep. Senator Kent lets go
of Mary's hand, gets on his cell phone. Mary finds Glenn's
caring glare. She turns away in disgust.
INT. DELI - NEW YORK - EVENING
The front of the shop is your average deli --
BACK ROOM
A safe house, a command center where Marlboro Man has set up
his operations. He stands before a bank of monitors, all with
news coverage of the elections -- that big ass screen with
the state by state breakdown. Reid approaches.
MARLBORO MAN
How are the numbers?
REID
Everything is running smoothly.
Miller and his team are in place.
Marlboro Man lights up a cigarette, looks over the scene.
REID
What do you want to do?
SID BANNISTER (V.O.)
It is now eight o'clock on the east
coast and the presidential race is
too close to call.
INT. CONVENTION CENTER - NIGHT
The doors swing open and we are engulfed with CHEERS. Senator
Kent is at the podium giving his victory speech.
SENATOR KENT
We'll take the fight right to
Washington. Let them know we are
serious about change. Let them know
the American people have spoken and
they must listen.
INT. CONVENTION CENTER - HOTEL ROOM - LATER
Senator Kent, his advisors and aides party. Senator Kent eyes
Sienna standing a few feet away.
HALLWAY
Mary finds Oliver. They move into a small corner, away from
prying eyes.
MARY
It's finally over.
OLIVER
I want to see you. I have to speak
to your father first.
MARY
About what? What are you going to
do?
OLIVER
He said he would help me. With my
future. Plus... I want to tell him
about us.
MARY
No. Please don't. Don't listen to
what he says. My father hates you,
Oliver. Please.
OLIVER
I have to tell him. It's the right
thing to do.
Oliver turns to leave. Mary grabs his arm. Looks into his
eyes, wanting to explain everything to Oliver.
MARY
Meet me at the bridge at one. No
matter what.
INT. CONVENTION CENTER - NIGHT
Glenn and Oliver move down the glass corridor leading from
the convention center to the adjacent hotel.
INT. HOTEL SUITE - NIGHT
Glenn and Oliver enter. Senator Kent looks out the large
window, cigar in his mouth.
OLIVER
Congratulations, Mr. President.
Senator Kent and Oliver take a seat at the desk. Glenn exits
the room, two BODYGUARDS slip in, stand by the door.
Senator Kent stares at Oliver, twisting the cigar in his
mouth. Oliver looks on, anticipating... a long, uncomfortably
beat.
SENATOR KENT
Did you happen to catch the debate?
OLIVER
No, no I didn't catch it. But I
regret not--
SENATOR KENT
Is that all you regret? I just
realized, you apologize a lot. Your
unsure of yourself. That's a sign
of weakness.
OLIVER
I don't...
SENATOR KENT
You should have told me why you
really didn't see the debate.
Senator Kent places a photo of OLIVER LEAVING MARY'S HOTEL in
front of Oliver.
SENATOR KENT
I suppose now you want to do what
you do best.
INT. HOTEL - ELEVATOR
Glenn takes a sneak peek at Mary, cocky smirk on his face.
Mary sees this off the shinny elevator door.
MARY
What's the problem?
GLENN
Things are going to be different
now.
MARY
Keep telling yourself that.
Glenn grabs Mary, tries to kiss her. Mary slaps him.
GLENN
We don't need to hide our affection
for each other anymore.
MARY
Are you serious? Fucking asshole.
Glenn try's to force himself on Mary again. She over powers
him, knees him in the groan. The elevator doors open. Mary
runs out.
GLENN
I protected you, Mary. Oliver's no
good for you, he's a loser! I love
you!
MARY'S HOTEL ROOM - CONTINUED
The phone rings. Mary answers it.
MARY
Hello! Is anybody there?... do you
work for my father? Who put you up
to...
Mary listens in to the person on the other end for a long
beat. She hangs up the phone, takes a seat on the bed, falls
into deep thought.
INT. SENATOR KENT SUITE
Oliver turns the photo over.
OLIVER
It's not what you think.
Senator Kent throws his cigar at Oliver, hitting him in the
face.
SENATOR KENT
Then what is it like? What is it
like!
OLIVER
She was drunk. I cared her home--
SENATOR KENT
You fucked her?
OLIVER
No. No.
SENATOR KENT
You liar.
Senator Kent hurls a glass at Oliver, clunking him in the
head. Oliver falls out the chair. The two guards stand him
up, hold him.
OLIVER
I don't understand what's going on.
All I did was take her home. I love
your daughter. I want to go to
Stanford with her.
Senator Kent signals to the guards. They punch Oliver in the
stomach, take turns working him over.
SENATOR KENT
Okay, okay, that's it. Jesus, what
were you guys in the mafia? I'm
trying to have a little fun with
him first. Put him in the chair.
They place Oliver in the chair. His nose is busted. It
squirts all over the floor.
SENATOR KENT
I had this grand plan. This bad
ass, ultimate revenge scenario
where I would build your confidence
up, then crush you. But you screwed
me. You embarrassed me again,
Oliver. And then to turn around and
think I would allow you to take my
daughters hand?
OLIVER
You were my friend. You said you
would help me. I dedicated my life
to helping you. My retribution to
you--
SENATOR KENT
Shut up! Stupid retribution. I am
the president of the United States.
I can do whatever I want. I am the
commander in chief. I rule the
world. I'm better then you. I hold
all the cards. Me! Me, me, me, me.
Senator Kent places a gun wrapped in plastic on the desk.
SENATOR KENT
Does that look familiar?
OLIVER
No.
SENATOR KENT
That gun was found in the bushes
outside the rave you attended with
my daughter. It has your
fingerprints on it. Your filthy,
criminal fingerprints. You know, I
thought for a long time what to do
with you after this was over. But I
couldn't have planned it better
then this.
Oliver winces in pain, his headache's return.
OLIVER
Get it over with.
SENATOR KENT
What did you say?
OLIVER
Stop running your mouth and get it
over with.
SENATOR KENT
Fucking punk. Your going to jail
for the rest of your life. You will
be fucked over and over and over
again by your cell mate. There will
be no mercy for you.
I want you to feel the pain, to
live with the shame of your failed
life. Get him outta here.
The security guards grab Oliver, drag him out the room.
Oliver, thinking quick, slips out of his suit jacket, out the
grasp of security. He scrambles around the room.
SENATOR KENT
Come on you dip shits. Catch him!
Oliver dives over the sofa and slips out the room.
INT. HOTEL - HALLWAY
Oliver races out the elevator to Mary's room. He bangs on the
door. Mary opens it.
OLIVER
Your father is trying to set me up.
He knows. He knows about the rave.
He knows about us.
MARY
I can't help you.
The DING from the elevator doors opening, the security guards
stepping out.
OLIVER
You can't help me. Why? They got to
you. Didn't they?
MARY
I'm sorry.
Mary shuts the door in Oliver's face just as security comes.
OLIVER
Don't let them do this to us. I
love you. You love me. I need you.
I can't do this without you.
The guards drag Oliver off.
EXT. CONVENTION CENTER PARKING GARAGE
Security struggles with Oliver. They bind his hands, toss him
in the back of a waiting van. The van moves up the ramp
toward the street.
Oliver closes his eyes to calm himself... then lunges for the
driver, clubs him in the back of the head -- his head smashes
against the steering wheel knocking him out.
The van swerves, slams into the guard rail. After a few
seconds, Oliver emerges from the smoky wreckage, steps over
the bodies of the guards and heads up the ramp, disappearing
into the night.
EXT. HOUSE - NIGHT
Oliver stands looking at the lot which used to be his home.
He hears something, car tires screeching. He runs off.
EXT. HALFWAY HOUSE - NIGHT
Oliver eyeballs the front door. He stands across the street,
trying to keep a low profile. He spots a tinted jeep parked
at the opposite corner, someone inside.
INT. SUBWAY - NIGHT
Oliver nurses his wounds in the nearly empty car. Paranoid,
he eyes every single person in the car.
EXT. PARK - NIGHT
Oliver jumps a fence. His pants pocket gets snagged on the
fence as he jumps down, causing a thigh to hip tear. Oliver
tears ass through the utopian park toward the bridge.
EXT. GOTHIC BRIDGE - NIGHT
Oliver looks over the rail into the black waters. William,
wearing a tux, appears.
WILLIAM
I was always weary of politicians.
They want to be gods. The ego. I
mean, why else would you want that
shit job? Seriously. You get into
politics because you lust for
power, not because you want to make
a difference, help out the working
man. Ever since we were kids we've
been told to believe in god. To
fear him.
We were trained as followers, so
were our parents, to never question
authority. Politicians are the
closest thing we have to gods on
earth. They make all the rules,
they issue us an allowance, tell us
how to live our lives. That's why
they get away with murder and we
sit there with our thumbs in our
ass.
OLIVER
(to himself)
I wonder what time it is.
WILLIAM
Control. The elusion that you can
be what you want to be. That the
sky's the limit. The world is
yours. Control. Have charge of.
Hold back. Think about it, in the
olden days there had to be a group
of elders who considered a way to
control the heathen masses. Within
that act began the creation of the
system. The way of life... gods
law.
OLIVER
I was suppose to meet her here at
one. I might have missed her.
WILLIAM
That's why I want to discuss the
theoretical belief in heaven and
hell. How do we know they exist? I
can't book a flight to purgatory.
What are the hotel rates? What sun
screen should I bring? Like those
brainless cocks who believe in god,
but don't believe in aliens. There
are like millions of galaxies with
X number of planets in them. Do the
math. What are the possibilities
that there can be higher beings out
there? It's... I digress. Hell is a
chasm of pain and anguish, with
little red dudes poking you in the
ass with pitch forks. Then there's
heaven, where we fly up into the
clouds to a magical land of make
believe.
OLIVER
What are you saying?
WILLIAM
My point, Mr. Smart ass, is that we
are living in hell. Wars, famine,
poverty, crime. Death is heaven.
Life is hell.
OLIVER
Your not making any sense.
WILLIAM
Your the one talking to an
imaginary friend. All I'm trying to
do is make you see the light. Make
you see that you don't control your
life. Your options are what they
want it to be. You were fucked
since jump street.
William steps over the rail.
WILLIAM
Let's get out of here. He ruined
your life. She ruined your life.
You have no friends, no prospects,
no family. Your all alone, and it's
your fault. You fell for there
shit. What are you going to do?
Options. This is your only...
The words sink into Oliver.
WILLIAM
Here, I'll go first.
William extends his hands and swan dives off the bridge,
disappearing into the black waters without a sounds.
OLIVER
Options?
HEADLIGHTS beam down the road, shinning on Oliver. Oliver
grips his head in pain. He hears the ELECTROSHOCK MACHINE
running through his forehead. He grabs the rail as the pain
takes over.
OLIVER
Stop. Stop! Get out of my head.
The pain takes over as Oliver passes out, losing his grip and
falling into the water with a SMACK.
FADE TO BLACK.
EXT. CEMETERY - MORNING
The back of a TOMBSTONE. Mary kneels down, dressed in black,
original hair color back. She brushes her hand over the face
of the tombstone.
MARY
Goodbye grandma.
She rises, slips on her shades. Secret service are dotted
about. They escort her back to a waiting car.
EXT. CAR - MOVING
Mary sits in the back seat watching the line of news vans and
camera's focused in on her. She shakes her head in disgust.
INT. HOSPITAL ROOM - MORNING
EYES OPEN ON A WHITE CEILING. Oliver sits up, notices the IV
in his arm, feels at the bandage on his head. He notices the
glass of water on the counter, the tremble of little waves
inside.
Oliver eyes the camera on the wall pointed at him. Marlboro
Man enters, lights a cigarette and takes a seat.
OLIVER
Are you a nurse?
Marlboro Man shakes his head no. Oliver glares out the
window, which overlooks a beautiful ocean view.
OLIVER
Where are we?
MARLBORO MAN
Virginia.
OLIVER
What happened to me?
MARLBORO MAN
You fell off a bridge.
OLIVER
How long have I been here?
MARLBORO MAN
About two weeks. My people were
following you. They pulled you out
of the water pretty quick.
OLIVER
I've seen you before. Your the
salesman. Why are you here?
MARLBORO MAN
I'm here because your here.
OLIVER
Are you here to finish the job?
MARLBORO MAN
Of course not.
OLIVER
Then who are you? I want some
answers.
MARLBORO MAN
I was in the military. Did some
hush work. Black ops. From there I
was... drafted into the
intelligence field where I worked
for Kent's father and similar men
like him. I was a contract agent of
sort. Men like me don't exist, yet
I have one of the highest security
clearances in America. My most
recent job was to get Kent elected.
That is who I am.
OLIVER
Why him?
MARLBORO MAN
America is the biggest business in
the world. Pharmaceuticals. Oil.
The military industrial complex.
The people you vote for to protect
your rights work for them. That is
because they must keep the machine
rolling. Keep it running
efficiently. So, you don't matter.
Your people gave away your rights a
long time ago. Kent? He's one of
them. His father was.
After the previous administrations
fucked everything up, well... they
want to stop the bleeding before
it's to late. I drew up the plan:
use you as the enemy, then, with
the help of the white knight, you
would be turned into a sympathetic
figure. Americans like comeback
stories.
OLIVER
So you brought the election?
MARLBORO MAN
It's not as easy as it sounds.
First, the race needs to be close.
Then you sort of tip the scales in
whichever direction you want. We
needed a miracle to close the gap.
Then you came along. You were sent
to the Oxford and given a crash
course to make you obedient.
Willing. Once you joined the
campaign, well, everything fell
into place. Through our contacts in
the media, we positioned you in the
public eye as the all-American
success story. A real life reality
show.
OLIVER
I didn't even get him elected.
MARLBORO MAN
Only me and my people know this,
but I never threw the election.
Kent won it the American way. The
people really believed in you. I
believed in you... and recognize
your capabilities.
Oliver takes it all in.
OLIVER
Mary. They turned her against me.
MARLBORO MAN
She was given an ultimatum. She
chose a bright future over
uncertainty. She's a smart girl.
They have big plans for her.
OLIVER
Kent wants to frame me. He found
out about Mary and me. He wants to
send me back to jail.
MARLBORO MAN
It will be hard for him to send you
to jail now.
OLIVER
Why?
MARLBORO MAN
Because your dead.
It takes a beat for it to sink in.
MARLBORO MAN
Everyone thinks you committed
suicide on that bridge. Of course,
your body was never found. Your
yesterday's news. American Idol is
starting up again.
OLIVER
I don't-- why save me? I'm no good
to you anymore.
MARLBORO MAN
You have no value to Kent. But you
have value to me. When you started
your gang you understood a crucial
principle. You wanted to make
change through fear. Fear will make
a sane man kill his family. Trust
me, we tested it out to great
success.
OLIVER
I'm not like that anymore.
MARLBORO MAN
It's still there deep inside you.
You've just been taught to regress
it. But it will come back before
long. It's one of your god given
talents. The bottom line is... the
bottom line is that I have an
opening on my team. I'm looking for
a new aide. I'm looking for the
future of my field.
OLIVER
Aide? With you? I told you before
I'm not a salesman.
MARLBORO MAN
You have the right mind for this
job. You grew up on the streets.
You know the rules and how to
manipulate them for your benefit.
Times are changing. American's
aren't like they used to be. There
is better information. The same
tricks are not useful anymore. I
need people who don't think like a
government agent, who don't think
like a solider.
OLIVER
I'm no use to you.
MARLBORO MAN
You have the qualities for the job
and I'm offering you a chance to
use them.
OLIVER
I never asked for this. I just want
a normal life.
MARLBORO MAN
What kind of life can you possibly
lead now? Get a job. A nice girl.
Cook you food and go to the movies
on the weekends. Live a meaningless
existence? Maybe you can be brought
back to life... you washed up
somewhere. We've made worse cover
stories that worked. Kent will find
you, put those charges back on
you... and he will. Maybe they'll
just kill you. Hit by a car. An
overdose. You know too much now.
Or... or you can work for me.
OLIVER
Those aren't great choices.
MARLBORO MAN
Those are your only choices.
OLIVER
Then I have no choice. No options.
MARLBORO MAN
That's how it is.
OLIVER
Why should I do it?
MARLBORO MAN
Because I'm offering you what you
always wanted. A chance to change
the world. To deal on a level, not
on the ground with the sheep, but
within the real power structure.
I'm offering you a future over
uncertainty.
Marlboro Man outs his cigarette, straightens himself up.
MARLBORO MAN
I want you to understand you are
not being held here against your
will. I don't expect you to make a
decision now. But I will need an
answer within forty eight hours. If
you need anything, just ring the
buzzer. Your a smart kid, Oliver. I
trust you'll make the right
decision.
Marlboro Man exits the room. Oliver moves to the window,
looks out at the ocean view.
FADE TO BLACK.
INT. POLICE PRECINCT - NIGHT
A party is commencing. Officer Jamison grabs a box full of
his belongings -- a watch case, a plaque-
INSERT PLAQUE - IN APPRECIATION OF THIRTY YEARS OF SERVICE,
WE CONGRATULATE YOU ON YOUR RETIREMENT.
EXT. POLICE PRECINCT
Officer Jamison sits in his car crying. He looks at his
plaque, wonders if this is really all his life has amounted
too.
EXT. KENT CAMPAIGN HEADQUARTERS - MORNING
Glenn is thrown out on his ass by security. Mary watches from
an upstairs window. President Kent stands by his daughter.
INT. APARTMENT - BATHROOM - NIGHT
Glenn is in the tub, pills scattered about, dead from an
overdose.
EXT. CAPITAL HALL
Mary by his side, President Kent is sworn in.
EXT. GOLF COURSE - MORNING
President Kent golfs with ARABIAN DELEGATES.
EXT. LAKE
President Kent fishes, half chewed cigar dangling from his
lips, secret service dotted about. Sienna, Kent's new aide,
hands him a cell phone.
EXT. WHITE HOUSE BACK LAWN - DAY
Senator Kent waves as he boards the presidential helicopter.
EXT. HELICOPTER - MOVING
Senator Kent naps like a baby.
INT. WHITE HOUSE - OVAL OFFICE
President Kent, feet up on the desk, flips through a wildlife
magazine while his aides work around him.
INT. LECTURE HALL - MORNING
While most students are yawning, trying to stay awake, Mary
sits in the front of the class. She is following the
professors every word.
EXT. LECTURE HALL
Mary exits the lecture hall, passing the Yale sign on her way
out.
INT. DORM ROOM - NIGHT
Mary study's. Her ROOMMATE is having a spirited conversation
on the phone in the background.
INT. LECTURE HALL - CALIFORNIA
A banner reading: YOUNG REPUBLICANS OF CALIFORNIA hangs over
the dais. Mary is at the podium speaking.
INT. RESTAURANT - EVENING
Mary has dinner with five other women, some of whom we
recognize from Mothers Against Violence.
INT. BAR - NIGHT
Mary sits with a few friends -- drinking and talking. But
Mary is mainly listening, not really engaged or interested in
the conversation. Just going through the motions.
EXT. BURGUNDY FOUNDATION - MORNING
Marlboro Man climbs into a waiting car, Oliver behind the
wheel. Oliver's hair is longer and a different color. He
sports sunglasses, looks more hardened.
INT. APARTMENT - NIGHT
Oliver's apartment is similar to his old bedroom. There is a
large bookshelf, half filled, no stars on the ceiling though.
Oliver moves into his bedroom. He goes into the closet,
removes a floor panel -- revealing a stash of money, fake
passports, documents, and a gun.
LATER
Oliver frantically does sit-ups.
EXT. GUN RANGE - MORNING
Oliver practices his shot. Marlboro Man looks on from a
distance, talking to a fellow in military fatigues.
EXT. APARTMENT BUILDING - WASHINGTON - NIGHT
Oliver sits in a cab, telescope camera in hand. He takes
pictures of an OLDER MAN entering the building.
INT. ROOM
Oliver sits in front of a small monitor, headphones on, a box
of Swedish Starfish to his side, listening and watching the
ACTIVITY IN THE OLDER MAN'S APARTMENT.
EXT. APARTMENT BUILDING - WASHINGTON - MORNING
The Older Man exits, stands in front of the building lighting
a cigarette. A van screeches to a halt in front of him. Two
men jump out, force the Older Man inside. They take off.
Smooth, quick and clean.
INT. TRAIN - MOVING
Oliver reads the newspaper, a story about MARY GRADUATING
FROM YALE.
INT. UNDERGROUND PARKING LOT
Oliver meets two men, hands them a briefcase. They hand
Oliver an envelope.
INT. DELI - NEW YORK - DAY
Oliver hands the envelope to Marlboro Man.
DELI - BACK ROOM - LATER
Oliver, Reid, and two other AGENTS sit around smoking and
bullshitting around. Oliver vividly re-enacts a tale.
INT. DELI - NIGHT
The last few customers leave as the deli prepares to close. A
WORKER sweeps the floor. Oliver sits in the corner, a few
Swedish Starfish laid out on the table.
He watches the AFTER WORK crowd move along the streets, heavy
rain coming down. A MAN pushes through the crowd and enters
the deli.
He's dripping wet and scared. He finds Oliver and approaches.
Oliver never looks at him.
SCARED MAN
Where is he?
Oliver doesn't answer.
SCARED MAN
Tell him I'm sorry. But, but I did
what he wanted...
He reveals a manila envelope from underneath his trench coat.
He places it on the table, then leaves. Oliver opens it,
happy with its contents.
Oliver watches the scared man out the window. He stands at
the curb, waiting to cross the street. Reid comes up behind
the scared man, jams something into his back.
The scared man stiffens up as a taxi cab slams to a stop in
front of them, TWO MEN inside.
Reid pushes the scared man into the backseat. Oliver watches
the cab pull off. Smooth. Quick and clean. Oliver eats the
last of his candy, puts his coat on, puts the envelope in his
pocket. He moves to the door, takes a cigarette from his coat
pocket and lights it.
DELI WORKER
Enjoy your night.
OLIVER
Yeah...
Oliver exits the deli as Frank locks the door behind him.
Oliver moves down the block, disappearing into the crowd.
THE END
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