THE PARDON

By Charles Deemer

(based on his stage play)

 

FADE IN:

 

EXT. A COUNTRY ROAD - NIGHT

 

A Trailways bus is speeding down an isolated country highway very late at night.

 

A full moon above casts the landscape in an eerie light. Mountains loom in the distance like a dark fog clinging to the horizon.

 

INT. THE BUS - NIGHT

 

In the bus is FRANK WHITE, seated alone, staring out the window at the landscape. He wears earphones and is listening to music on his walkman.

 

Frank, in a trimmed beard, is in his late twenties or early thirties.

 

FRANK'S POV

 

as he looks out over the landscape at the distant mountains, washed in moonlight. As the scenery passes by, we hear his voice:

 

FRANK: (V.O.) There was a war. There was a war but there were no heroes.

 

Silence, as the scenery passes by.

 

SUPER OVER SCENERY: "Summer, 1977".

 

FRANK: (V.O.) I assumed I'd never return. Who could have foreseen a Presidential pardon? When I went to Canada, I assumed it was forever. So I'd learned to live with it.

 

EXT. COUNTRY ROAD - DISTANT LIGHTS - NIGHT

 

The bus is approaching a distant small town, which we'll call Chief Joseph in eastern Oregon. The town is set against the looming mountains, the Wallowa range, under the moonlight.

 

EXT. TOWN OF CHIEF JOSEPH - MAIN STREET - NIGHT

 

The bus enters the town on Main Street.

 

The Chamber of Commerce has erected a sign of welcome at the entrance into town. The sign reads:

 

"Welcome to Chief Joseph!

 

Old-Fashioned Beauty Old-Fashioned Values"

 

The bus continues into town. The downtown area is only about five blocks long.

 

The bus moves slowly along Main Street, passing the town's shops: a hardware store, a five-and-dime, several cafes and taverns, a movie house, a dress shop.

 

The bus pulls in front of a closed service station at the far end of town and stops.

 

INT. BUS - NIGHT

 

Frank takes off the earphones, slides out into the aisle and fetches a suitcase and a tote bag from the storage rack above his seat.

 

He heads alone down the aisle for the exit, passing passengers who stir from uneasy sleep.

 

EXT. OUTSIDE THE BUS - NIGHT

 

The DRIVER has stepped off the bus to light up a cigarette.

 

Frank steps down off the bus and slips the strap of the tote bag over his shoulder.

 

FRANK: Thanks a lot.

 

DRIVER: You got somebody to pick you up?

 

FRANK: Yeah.

 

Frank moves off.

 

EXT. MAIN STREET - NIGHT

 

Frank walks down Main Street, heading for a pay phone. Although it is summer, he turns up the collar of his sportscoat against the chill of early morning in the high country of the west.

 

He passes the empty Chief Joseph Cafe, which has a "For Lease" sign in the window. He moves to the plate glass window, cups his hands and looks inside.

 

Then he knocks on the glass, as if for luck, and continues down Main Street.

 

EXT. PHONE BOOTH - NIGHT

 

Frank reaches a phone booth, sets down the small suitcase and begins looking for a number in the telephone book, squinting to make it out in the off-light of a distant street lamp.

 

He digs into his pocket for change. He drops some coins into the phone slot and begins to dial the number.

 

EXT. SHERI'S HOUSE - NIGHT

 

SHERI, Frank's older sister, lives with her husband CARL in an attractive A-frame outside the city limits of Chief Joseph. With the moon above the pines surrounding the house, it's a scene worthy of a postcard.

 

INT. SHERI'S HOUSE - BEDROOM - NIGHT

 

It's past midnight, and the couple is in bed. Carl is snoring with gusto when the bedside PHONE begins to RING. It is on Carl's side but Sheri stirs first. She shakes her husband. SHERI, in her mid-thirties, looks older than she is, from more outdoor work than beauty standards permit. But her eyes always reflect a beauty deeper than image.

 

CARL, also in his thirties, has dark bushy hair and looks a little like a mad scientist, though his field at the regional college is Political Science.

 

SHERI: Honey ...the phone ...

 

CARL: (waking) Umm? ...

 

He lifts himself up onto one elbow and reaches for the phone.

 

EXT. AT THE PHONE BOOTH - NIGHT

 

Frank is waiting for someone to answer. Finally:

 

CARL: (filtered) Hello?

 

FRANK: Is this Carl?

 

CARL: (filtered) Yes. Who is this?

 

FRANK: Morris. I mean, Frank.

 

CARL: (filtered) Who?

 

FRANK: Frank White.

 

INT. SHERI'S HOUSE - BEDROOM

 

The sound of Frank's voice has brought Carl suddenly awake.

 

INTERCUT PHONE CONVERSATION

 

CARL: Frank?

 

FRANK: Is Sheri there?

 

Sheri, too, is interested in who is on the line.

 

SHERI: Who is it?

 

CARL: (covering receiver) I think it's Frank. (back on line) Frank, where are you?

 

FRANK: I'm in town.

 

CARL: What is this, a joke?

 

FRANK: Put Sheri on, okay?

 

Carl hands the phone to Sheri, pulling out the cord so it will reach across the bed.

 

CARL: He says he's in town.

 

SHERI: You mean, here?

 

CARL: That's what he said.

 

SHERI: My God ...

 

She takes the phone.

 

SHERI: Frank, I can't believe it - where are you?

 

FRANK: Still looks like Main Street to me.

 

EXT. SHERI'S HOUSE - NIGHT

 

Carl and Sheri hurry out of the A-frame to get into their VW van in the gravel driveway, which is parked behind a VW bug.

 

Carl is still buttoning up his shirt. They are clearly very excited about Frank's arrival.

 

The van backs out of the driveway.

 

INT. THE VW VAN - NIGHT

 

Carl is wiping off fog from the inside windshield with his handkerchief, steering with one hand.

 

SHERI: I didn't think I'd ever see him again.

 

Carl looks at her and nods.

 

EXT. COUNTRY ROAD - NIGHT

 

as their van heads for town.

 

EXT. MAIN STREET - NIGHT

 

Frank is standing near the curb, his arms crossed against the chill, his suitcase on the sidewalk beside him. He seems distant, lost in his own thoughts, staring up the street toward the moonlit mountains.

 

The headlights of the VW van become visible in the distance. As the lights approach, we hear:

 

FRANK: (V.O.) Main Street hadn't changed at all. And the Wallowas were as impressive, and as ominous, as ever. But people change - or at least, I had. I wondered who else had changed as well.

 

The VW van approaches Frank, and as soon as Carl sees him he starts BEEPING the HORN.

 

Frank picks up his bag as the van swerves to the curb, and Sheri jumps out before Carl can stop. She runs into Frank's arms, embracing him as the suitcase falls back to the ground.

 

Brother and sister are in a long embrace.

 

SHERI: Frank, my God, I can't believe it's really you ...

 

Carl joins them, his arms embracing both. It's a grand reunion on the abandoned street, under the moonlight.

 

CARL: Man, it's good to see you.

 

CLOSE ON FRANK

 

being embraced and loved, his eyes closed tight against the emotion of it all.

 

FRANK: (V.O.) It felt strange being called Frank. The new ID they'd given me in Canada read Morris Appleway. Everybody in Vancouver called me Morris. My wife, Jocelyn, had called me Morrie.

 

INT. SHERI'S HOUSE - LIVING ROOM - NIGHT

 

The living room is decorated artfully, more tasteful than ostentatious.

 

Carl is sitting on the floor, lighting a dope pipe. Frank sits across from him on the divan.

 

CARL: (inhaling) You get good dope in Canada?

 

FRANK: Used to. I quit five, six, years ago.

 

CARL: You're kidding me.

 

Sheri enters with a bottle of wine and glasses, which she sets on the coffee table in front of the divan.

 

CARL: Frank doesn't smoke any more.

 

FRANK: Or drink.

 

SHERI: You don't drink?

 

FRANK: I don't mind what you guys do.

 

But this has put a damper on the homecoming party. Carl puts down the pipe and will let it go out.

 

Sheri pours two glasses of wine, passing one to her husband.

 

SHERI: I have juice, I think.

 

FRANK: Actually I'm really beat. I guess I should've called ahead.

 

SHERI: Bed's made in the guest room, if you want to crash.

 

FRANK: That'd be great.

 

He stands up. Sheri gets up and embraces him, as Carl watches from the floor.

 

SHERI: The guest room is up the stairs and left, at the end of the hall.

 

FRANK: Sorry I'm a party-pooper.

 

SHERI: Tomorrow you can tell me everything that's been going on with you. My God, Frank, it's been - ten years?

 

FRANK: Just about. Well - goodnight.

 

Sheri hugs him one more time.

 

SHERI: Sleep in as late as you want.

 

FRANK: Thanks.

 

CARL: Goodnight.

 

He turns and goes up the stairs as Carl and Sheri watch him.

 

When Frank is gone, Carl picks up the pipe again.

 

CARL: He's really changed.

 

SHERI: So have we.

 

CARL: I hope he isn't a reborn Christian or some damn thing.

 

He lights the pipe.

 

INT. SHERI'S HOUSE - KITCHEN - DAY

 

The next morning Sheri is on the phone when Carl enters.

 

SHERI: (on phone) I don't know what his plans are, he crashed as soon as he walked in the door, but I'm sure we'll be having a party or something.

 

CARL: You want the van or the bug?

 

Sheri waves him off.

 

SHERI: (on phone) ...He looks really good. He grew a beard.

 

CARL: I'll take the van.

 

He holds up the van keys, Sheri nods that she understands, and Carl leaves.

 

INT. SHERI'S HOUSE - GUEST ROOM - DAY

 

Frank is at the front window, buttoning his shirt as he looks down at the driveway.

 

FRANK'S POV

 

Carl is walking to the van.

 

As he opens the door to get in, he looks up and notices Frank at the window. He grins and gives Frank the peace "V".

 

INT. GUEST ROOM - DAY

 

Frank waves back and moves away from the window.

 

INT. KITCHEN - DAY

 

Sheri is on the phone with another friend.

 

SHERI: (on phone) You'll never guess who showed up last night? ...Frank .... I'm serious.

 

Frank enters the kitchen.

 

SHERI: (on phone) Really. He just walked in the kitchen. I'll let him say hello.

 

She holds out the phone to Frank.

 

SHERI: It's Mary Culbertson.

 

Frank puts up his hands to refuse the phone, then turns and leaves.

 

SHERI: (back on phone) I don't think he's fit for human discourse yet. Anyway, I'll be getting back to you, okay? I'm sure we'll be doing something for him .... I will. Bye.

 

She hangs up.

 

EXT. SHERI'S HOUSE - FRONT PORCH - DAY

 

Frank is sitting on the front porch when Sheri comes out with two cups of coffee.

 

SHERI: Do you still drink coffee?

 

FRANK: Thanks.

 

He takes the cup. Sheri sits down beside him.

 

SHERI: When I heard about President Carter's pardon, I wasn't sure whether you'd use it or not.

 

FRANK: I thought about it before I did.

 

SHERI: So is this just a visit, or are you back for good, or what?

 

FRANK: I'm not sure. I'd like to open my own place. I see the old Cafe is out of business.

 

SHERI: You want to open a restaurant? What are you now, a cook or something?

 

FRANK: I beg your pardon - I'm a chef.

 

SHERI: You're kidding.

 

FRANK: Pretty funny, isn't it? Suppose Dad will laugh?

 

Sheri reacts to a sore spot here.

 

SHERI: Frank, you stay with us for as long as you want, okay?

 

FRANK: I'll want to send for Billy as soon as I can. We'll need our own place.

 

SHERI: Billy? Are you telling me I'm an aunt?

 

FRANK: Aunt Sheri.

 

SHERI: Well, tell me!

 

FRANK: Billy's seven. He's a great kid.

 

SHERI: I can't take this all at once, Frank. You're not a teacher, you're a chef. You're married, you have a son. Seven years old!

 

FRANK: I'm a "widower."

 

SHERI: Oh, Frank.

 

FRANK: Last winter Jocelyn hit some black ice. One of those freak accidents. Could've happened to anyone.

 

Frank stands up.

 

FRANK: Anyway, I left Billy with her parents for a couple weeks, see if I can beat the bushes and make something happen. The job situation up there sucks. I got a little insurance money, and I've already talked to the bank here about a loan. I want to make a better life for the kid than I've been giving him so far.

 

SHERI: I'm glad you came home.

 

FRANK: Home? We'll see.

 

He leans down and pulls up Sheri to break the mood.

 

FRANK: So does the chef have to cook his own breakfast around here or what?

 

INT. MOUNTAIN RESORT - KITCHEN - DAY

 

Frank's father HORACE is cooking breakfast for a customer.

 

He is a heavyset man in semi-retirement after thirty years as a cook in the Army, through World War II and Korea. His beefy arms are filled with tattoos. He's wearing a dirty white cook's cap and a dirtier apron.

 

He scoops up the breakfast onto a plate.

 

HORACE: Order up!

 

INT. KITCHEN - A DIFFERENT ANGLE - DAY

 

Carl opens the swinging door into the kitchen.

 

CARL: Horace, you have a minute?

 

Horace puts the breakfast plate on the takeout counter and moves to Carl.

 

HORACE: What's up?

 

CARL: Frank's in town. He came in late last night.

 

Horace just looks at him, then turns and goes back to the grill.

 

CARL: Just thought you should know.

 

Getting no response, Carl turns to go.

 

EXT. HORACE WHITE HOME - FRONT STREET - DAY

 

Sheri's VW bug pulls into the driveway of a modest house in a residential area.

 

INT. THE VW BUG - DAY

 

Sheri is driving, Frank in the passenger seat.

 

SHERI: We really should've phoned first.

 

Frank doesn't respond.

 

INT. WHITE HOME - LIVING ROOM - DAY

 

EVELYN, Frank's mother, is on her way to answer the door.

 

She's a well-groomed conservative woman who's been a little lost after raising her family but who tries to keep busy with volunteer work at church and her woman's club.

 

She opens the door, and there stands Frank. Evelyn's hand snaps to her mouth in shock, and she inhales an audible gasp.

 

FRANK: Hi, mom.

 

INT. WHITE HOME - KITCHEN TABLE - DAY

 

Evelyn pours coffee, her hand visibly shaking.

 

Frank and Sheri sit at the table.

 

EVELYN: Look at my hand. Frank, you should've phoned first.

 

SHERI: I told him.

 

FRANK: Where's Dad?

 

Evelyn doesn't answer immediately. There's the suggestion that the subject is a sore one, as Horace's manner earlier also suggested.

 

But Evelyn, ever the peacemaker, recovers quickly.

 

EVELYN: You know your father, he'll never retire. He's cooking breakfasts up at the lodge. I tried to get him to slow down after his heart attack but-- ...

 

FRANK: He had a heart attack?

 

EVELYN: No one knew how to contact you.

 

She moves behind Frank, leans down and embraces him.

 

EXT. WHITE HOME - FRONT PORCH - DAY

 

Frank and Sheri are leaving.

 

SHERI: What time is dinner?

 

EVELYN: Any time is fine.

 

SHERI: What time are you serving, mother?

 

EVELYN: We always eat at six, you know that.

 

FRANK: See you a little before six then.

 

Frank and Sheri get into the car.

 

INT. ON THE PORCH - DAY

 

Evelyn watches them go. Only when they are out of sight does she let her emotions go, beginning to cry and quickly moving into the house so the neighbors won't see her.

 

INT. THE VW BUG - DAY

 

The Bug is moving down the street.

 

FRANK: Dad still thinks I'm a coward and a traitor, doesn't he?

 

SHERI: I really don't know, Frank. We'll have to play it by ear.

 

EXT. MOUNTAIN RESORT - EXPANSION AREA - DAY

 

A new wing is being added to the mountain resort. Carpenters and other workers are busy.

 

EXT. MOUNTAIN RESORT - BUILDING AREA - DAY

 

Carl has taken a summer job in carpentry. He's working when he's interrupted by another worker, STEVE, a college kid.

 

STEVE: Carl, your wife's on the phone.

 

Carl puts down his hammer and moves to answer the phone.

 

INT. MOUNTAIN RESORT - PHONE - DAY

 

Carl picks up the phone.

 

CARL: Hello? ...For Christ's sake, Sheri, do we have to face that shit right away? ...Dinner at six, fine.

 

He slams down the phone.

 

EXT. BUILDING SITE - DAY

 

Carl is hammering, just before lunch break. He looks at his watch. He tells a fellow worker:

 

CARL: I'm taking an hour for lunch today.

 

EXT. MOUNTAIN RESORT - PARKING AREA - DAY

 

Carl's VW van pulls out of the parking lot to head for town.

 

INT. COUNTRY HOUSE - LIVING ROOM - DAY

 

HARRIET is smoking a cigarette and appears to be on edge.

 

She's a pretty woman pushing thirty, who shows the tough life she's lived by a certain hardness. She looks at her watch.

 

She hears something and goes quickly to the window.

 

HARRIET'S POV

 

as Carl's VW van pulls into the driveway.

 

EXT. COUNTRY HOUSE - FRONT PORCH - DAY

 

Carl is on the porch. The door opens.

 

CARL: Sorry I'm late. I've only got twenty minutes.

 

Harriet moves quickly to the porch, and they embrace and kiss passionately.

 

INT. SHERI'S HOME - DINING ROOM TABLE - DAY

 

Frank is having coffee, Sheri a glass of white wine.

 

She looks more resigned than upset as she says:

 

SHERI: I've known for months.

 

FRANK: Then you know who it is?

 

SHERI: I'm not sure, actually. At first I thought it was one of his students. But I think it may be Harriet.

 

FRANK: Harriet Ramsey?

 

Sheri nods.

 

SHERI: See what a hornet's nest you came home to? Tommy died in Vietnam, you know. Well, I guess you don't. Anyway, Harriet's been going from man to man ever since.

 

FRANK: I didn't know about Tommy. And Homer?

 

SHERI: He came back, more or less.

 

FRANK: More or less?

 

SHERI: With Vietnam Syndrome, I guess they call it. I'm not sure whether it's better than dying or not.

 

INT. WHITE HOME - KITCHEN TABLE - EVENING

 

Evelyn is arranging flowers in a vase as a center piece for a formally set dinner table when the doorbell rings. She looks up with a start.

 

Now that the family is here for dinner, Evelyn feels panic at the situation. She starts for the door, then changes her mind and walks quickly into the den.

 

INT. WHITE HOME - DEN - EVENING

 

Horace is watching the news on television as Evelyn comes into the den.

 

EVELYN: They're here.

 

HORACE: I heard the doorbell. I'm not deaf yet.

 

Evelyn hesitates, not sure how to handle the situation.

 

EVELYN: Don't you want to come out and see them?

 

HORACE: I said I'd come to the table to eat. I didn't say I'd visit.

 

Evelyn knows she has no choice but to accept this. She moves to answer the door.

 

INT. WHITE HOME - ENTRANCE AREA - EVENING

 

Evelyn opens the door.

 

Sheri and Carl come in, followed by Frank. Sheri notices the formally set table right away.

 

SHERI: Mom, you didn't tell us it was formal. I feel under-dressed.

 

EVELYN: You look fine. I just felt like doing something special for Frank.

 

FRANK: It's beautiful.

 

EVELYN: Carl, I bet you'd like a beer.

 

CARL: I bet you're right.

 

Evelyn uses this as an excuse to escape to the kitchen. The others regard one another with a little awkwardness.

 

SHERI: Shall we make ourselves at home?

 

Frank has been staring at something on the wall: Horace's Purple Heart, medals and ribbons from the military are framed and placed prominently in the foyer, the first thing one sees entering the house.

 

SHERI: Frank?

 

FRANK: Oh. Sure.

 

The men follow Sheri into the living room.

 

INT. LIVING ROOM - EVENING

 

A SLOW PAN of the awkward silence of the moment: from Carl, to Sheri, to Frank, each not knowing what to say and looking ill at ease; to Evelyn, with a mechanical smile on her face, as if nothing was wrong. Finally:

 

SHERI: I'm hungry.

 

Evelyn practically leaps to her feet.

 

EVELYN: Then we'll eat. You all sit down at the table. I'll get Horace.

 

INT. DINING ROOM TABLE - EVENING

 

A bowl of mashed potatoes gets passed around the entire table, and each in turn takes a helping: Sheri, Evelyn, Frank, Carl and finally Horace.

 

No one speaks a word. Very little eye contact is made.

 

INT. WHITE HOME - THE DEN - NIGHT

 

Horace has a beer and is watching television. Frank appears in the doorway.

 

FRANK: We're leaving now.

 

Horace keeps focused on the tube.

 

FRANK: Isn't this a little childish, Dad?

 

Horace turns and stares at him.

 

HORACE: Childish? That's what you think it is?

 

FRANK: The war's over.

 

Horace turns back to the television set.

 

FRANK: President Carter pardoned me, Dad.

 

HORACE: Carter's a bleeding heart.

 

FRANK: I'm thinking of moving back. I thought you might want to meet your grandson.

 

Evelyn comes up behind Frank and puts her hand on his shoulder.

 

Finally Frank turns to leave. Evelyn waits in the doorway, as if she's going to speak to Horace, but finally decides against it.

 

INT. SHERI'S HOUSE - STAIRWAY - NIGHT

 

Frank is on his way upstairs to bed. Sheri and Carl are at the bottom of the stairs.

 

FRANK: Fuck him. I don't give a shit what he thinks.

 

SHERI: You have to give him time.

 

FRANK: Ten years isn't enough? Especially since I didn't do anything wrong.

 

CARL: Now you're talking. In my book, you're a moral hero. I wish I was teaching summer school so the kids could meet--

 

FRANK: I'm not a hero. I did what I had to do.

 

He turns and heads up the stairs.

 

EXT. MAIN STREET - LOCAL BANK - DAY

 

The VW bug pulls into a parking space in front of the local bank. Frank gets out and heads for the entrance.

 

FRANK: (V.O.) So Dad hadn't changed at all. He still considered me a failure as a son. There were no medals and Purple Heart on my wall. Not even close.

 

INT. THE BANK - OFFICE - DAY

 

Frank is being shown by a secretary into the office of BILL, an old school chum of Frank's who is now a loan officer at the bank.

 

BILL is clean-cut but has more liberal attitudes than many in the small town.

 

Bill stands up from his desk and offers his hand, as Frank steps forward.

 

BILL: Frank. Canada's been good to you. You're looking great.

 

FRANK: Bill. You own the bank yet?

 

BILL: Working on it. I was delighted to get your letter. Sit down.

 

FRANK: Then you've thought about my idea?

 

BILL: We don't have to get to business right away, do we? I want to know what's been going on in your life.

 

Bill's warmth and interest in Frank are genuine and helps Frank relax.

 

FRANK: You got a few weeks?

 

BILL: Longer than that if this restaurant of yours makes any money.

 

Frank smiles, taking this as a hint that his loan application will be accepted.

 

EXT. MAIN STREET - A BAR - DAY

 

HOMER staggers out of a bar on Main Street, a little drunk, though it is still morning.

 

He wears a dirty Army fatigue jacket and scuffed, unpolished combat boots. He's been on a bender and is half a week late for a shave.

 

Homer starts heading unsteadily up the sidewalk. In the distance, we can see the sign of the local bank.

 

EXT. THE BANK - FRONT DOOR - DAY

 

Bill has walked Frank to the door and comes out onto the street with him. They shake hands again.

 

FRANK: I appreciate your faith in me, Bill.

 

BILL: The location's good, and it's about time somebody made that damn place work, all the money we've thrown behind it. So let's have a beer sometime.

 

FRANK: We'll get together.

 

Bill goes back inside, and Frank heads for his car.

 

INT. THE VW BUG - DAY

 

Frank starts up the engine.

 

Suddenly the grotesque face of Homer appears on the other side of windshield, Homer sprawled out over the front hood of the car, pressing his nose against the glass.

 

After recovering, Frank gets out of the car.

 

EXT. AT THE CAR - DAY

 

Homer is very pleased with himself, startling Frank like he did.

 

He slides off the hood, loses his footing and falls into Frank's arms.

 

Frank helps Homer regain his balance.

 

FRANK: You need a ride somewhere, Homer?

 

HOMER: I gotta get home, man ...

 

FRANK: Get in.

 

Frank takes Homer and helps him around to the passenger door, opens it and helps him in.

 

Then he runs around to the driver's side.

 

INT. THE CAR - DAY

 

Frank puts the car in gear.

 

FRANK: Where to, Homer?

 

Homer's chin is on his chest. He's close to passing out.

 

Frank shakes him.

 

FRANK: Where do you live, Homer?

 

EXT. COUNTRY ROAD - DAY

 

The VW Bug is driving down a country road.

 

INT. THE BUG - DAY

 

Frank is looking for the farm house Homer has directed him to. He shakes Homer awake.

 

FRANK: Homer, where the hell's the house?

 

Homer looks up, squints out the windshield and makes a gesture, straight ahead.

 

EXT. DIRT DRIVEWAY - DAY

 

The Bug is heading down a dirt driveway toward an old farmhouse badly in need of repair. Several trashed cars are scattered out in front.

 

The Bug comes to a stop.

 

INT. THE BUG - DAY

 

Frank shakes Homer again.

 

FRANK: We're here.

 

Homer looks up, sees that he's home and opens the door. He turns to Frank.

 

HOMER: Tommy's dead, man. We needed you out there.

 

He slides out of the car.

 

EXT. THE VW BUG - DAY

 

Frank gets out. He follows Homer, who is staggering toward the house.

 

FRANK: I'm sorry about Tommy, Homer.

 

Homer turns, talking as he continues an unsteady backwards approach to the house.

 

HOMER: We were the Three Musketeers, man, remember? Everybody called us that. Tommy died in my arms, man. Where the fuck were you when we needed you?

 

FRANK: We all made our own choices, Homer.

 

HOMER: What you come back for?

 

FRANK: I've got a kid. This is a good place to grow up.

 

HOMER: Shit.

 

Homer turns and staggers on into the house. Frank watches him go.

 

FRANK: (V.O.) The Three Musketeers: Homer, Tommy and Frank, inseparable in high school - we thought we had everything in common. And then came Vietnam and the shit hit the fan.

 

EXT. SHERI'S HOUSE - DRIVEWAY - NIGHT

 

Cars are parked in the driveway and along the street. A party is going on inside.

 

INT. SHERI'S HOUSE - LIVING ROOM - NIGHT

 

Loud music plays from a tape deck, music from the sixties, and the party is in full swing.

 

Small groups of people fill the room and spill into the hallway and kitchen, buzzing in animated conversation.

 

INT. SHERI'S HOUSE - KITCHEN - NIGHT

 

Frank is pouring himself tonic water on the rocks when Sheri comes into the kitchen.

 

SHERI: I don't think you're having a good time.

 

FRANK: I'm fine.

 

SHERI: Bullshit. I wish you'd told me you didn't want a party.

 

FRANK: I just feel a little -- you know ...

 

SHERI: No, I don't know.

 

FRANK: I was going to say "Canadian." Like a stranger.

 

Sheri comes forward and gives her brother a hug.

 

SHERI: If you want to go upstairs, I'll tell people you're not feeling well.

 

FRANK: Don't worry about me, okay?

 

SHERI: Okay.

 

She leaves the kitchen to go back to the party.

 

Frank moves for the kitchen door.

 

EXT. SHERI'S HOUSE - BEHIND HOUSE - NIGHT

 

Under the pines behind the house, Carl and Harriet are in a passionate embrace. They hear a sound on the back porch and pull apart.

 

EXT. BACK PORCH - NIGHT

 

Frank comes out alone onto the back porch. He looks at the dark woods and sits down on the back steps.

 

EXT. BACK OF HOUSE - WIDER

 

as Carl and Harriet come into the light of the back porch. Frank is surprised to see them.

 

CARL: Frank, I was showing Harriet where we plan to build the guest house. Come take a look.

 

Frank stands up. He knows from Sheri, of course, what is really going on.

 

FRANK: I'd better get back to the party.

 

He moves back inside.

 

INT. SHERI'S HOUSE - LIVING ROOM - NIGHT

 

Frank stands alone by the kitchen door, watching the party's activity in the living room.

 

Suddenly there is the crash of a broken window.

 

INT. LIVING ROOM - ANGLE ON WINDOW

 

A rock has been thrown through a front window.

 

Carl rushes to the front door.

 

EXT. SHERI'S HOUSE - FRONT PORCH - NIGHT

 

Carl comes onto the front porch just as a car is speeding away from the house.

 

INT. LIVING ROOM - BY THE BROKEN WINDOW - NIGHT

 

A note has been attached to the rock thrown through the window. Sheri is reading it and passes it to Carl as he enters the scene.

 

THE NOTE

 

A juvenile-looking hand has written "Go Back To Canada, Traitor!"

 

INT. LIVING ROOM - BY THE BROKEN WINDOW - NIGHT

 

Carl crumples the note as Frank comes up.

 

FRANK: What is it?

 

CARL: Bullshit, total bullshit.

 

Frank turns to see Harriet going out the front door.

 

EXT. FRONT PORCH - NIGHT

 

Harriet is heading for her car when Frank comes out.

 

FRANK: Harriet!

 

He trots to her.

 

EXT. FRONT OF HOUSE - NIGHT

 

FRANK: I never got a chance to tell you how sorry I am about Tommy.

 

HARRIET: I wish he'd listened to you.

 

FRANK: I'm not sure what you mean.

 

HARRIET: And gone to Canada, too.

 

FRANK: I just did what I had to do -- the same as Tommy did.

 

HARRIET: Obviously you made the right choice. You're alive.

 

She turns, and Frank watches her go to her car.

 

FRANK: (V.O.) Harriet and I went together for two years in high school. Lost our virginity together, the whole shot. We broke up our senior year, and she ended up marrying Tommy right after graduation.

 

EXT. COUNTRY ROAD - DAY

 

A bus is traveling down the road toward Chief Joseph. The glorious mountains loom in the background.

 

INT. THE BUS - DAY

 

Seated next to the window is seven-year-old BILLY, Frank's son, who takes after his mother more than his dad. He has walkman earphones on, listening to music.

 

EXT. MAIN STREET - GAS STATION - DAY

 

Frank and Sheri are waiting for the bus to arrive at the bus stop on the edge of town.

 

SHERI: I think I'm nervous. I've never been an aunt before.

 

FRANK: Billy's a wonder. You'll love him.

 

INT. THE BUS - DAY

 

The driver is approaching the gas station and looks at Billy through the rear-view mirror.

 

DRIVER: This is your stop, Billy!

 

EXT. THE BUS STOP - DAY

 

The bus has stopped, and Billy is the only passenger to get off.

 

He runs into his father's arms. Frank picks him up as Sheri comes forward.

 

FRANK: Billy, this is your Aunt Sheri.

 

SHERI: Hi, Billy.

 

BILLY: Hi.

 

INT. VW BUG - DAY

 

Sheri is driving, and Billy is on Frank's lap in the passenger seat. They're on their way home from the bus stop.

 

BILLY: Where do we live?

 

FRANK: Right now we're staying with Aunt Sheri til we find our own place.

 

Frank kisses his son on the cheek.

 

EXT. SHERI'S HOUSE - DRIVEWAY - DAY

 

The Bug pulls into the driveway, and everybody gets out. The van isn't there.

 

SHERI: Carl must be running late -- he should be home by now.

 

They move toward the front door.

 

FRANK: What do you think?

 

BILLY: It's big!

 

INT. SHERI'S HOUSE - DAY

 

Everyone comes in.

 

Sheri spots a note on the coffee table and picks it up. She makes a little gasp.

 

Frank notices this and sends Billy off.

 

FRANK: Check out the back yard -- we've got a whole forest to explore. But don't go out of sight of the house, okay?

 

BILLY: Okay.

 

Billy goes running off as Frank goes to Sheri. She is fighting back tears as she hands him the note.

 

SHERI: Carl moved out.

 

Frank starts to embrace her but Sheri stops him.

 

SHERI: No, I'm not going to cry and give him that satisfaction.

 

INT./EXT. THE RESTAURANT - A SERIES OF SHOTS - DAY/NIGHT

 

Frank begins the process of getting the restaurant in shape to reopen. Sheri helps him as:

 

(A) THEY REPAINT walls, inside and out.

 

(B) THEY SCRUB THE KITCHEN within an inch of its life.

 

(C) SHERI DESIGNS THE LOGO for the front cover of the menu and shows it to Frank, who approves.

 

(D) FRANK HANGS A BANNER announcing the Grand Opening.

 

(E) THEY SWEEP out the restaurant for the last time before opening.

 

EXT. MAIN STREET - THE RESTAURANT - NIGHT

 

Frank and Sheri stand in front of the restaurant, which is finally ready to open.

 

They turn to each other and spontaneously start laughing, as much from exhaustion as anything.

 

EXT. WHITE HOME - FRONT PORCH - NIGHT

 

Frank and Sheri come out onto the porch, followed by Billy and Evelyn, who's been baby-sitting her grandson.

 

BILLY: See you tomorrow, grandma!

 

He runs off toward Sheri's VW bug in the driveway.

 

FRANK: Appreciate it, mom. I'd never been able to open this soon without you.

 

EVELYN: It's no trouble -- he's an absolute joy. I wish I could have known Jocelyn.

 

FRANK: You'd've liked her. Well, I have a big day tomorrow.

 

SHERI: WE have a big day, thank you very much.

 

FRANK: (to Evelyn) My big sister, the first sergeant.

 

They head off toward the car.

 

EXT. WHITE HOME - SIDE OF HOUSE - NIGHT

 

Instead of getting in the car, Billy has gone down the driveway and alongside the house to the den window. He peers in and knocks on the window pane.

 

INT. DEN - NIGHT

 

Horace is watching TV.

 

He turns to the window, and when he sees Billy, he hesitates, not sure how to react, but then gives in and waves.

 

EXT. THE DRIVEWAY - NIGHT

 

Frank and Sheri arrive at the car to find no Billy.

 

FRANK: Where the hell'd he go? Billy!

 

Billy comes racing up the driveway.

 

BILLY: I scared grandpa!

 

Frank and Sheri exchange a knowing look.

 

EXT. SHERI'S HOUSE - YARD - DAY

 

Sheri is in her robe, having her early morning coffee in the yard, lost in her thoughts.

 

Frank comes out.

 

FRANK: You okay?

 

SHERI: Sure. You going in early?

 

FRANK: Might as well climb the walls there as here. You'll be stranded if I take the car, won't you?

 

SHERI: I already arranged for mom to pick me up.

 

FRANK: Well, hang in there.

 

He gives her a hug.

 

SHERI: What's Harriet like?

 

FRANK: God, Sheri, that was so long ago --I'm sure she's changed. I'll see you at lunch. Don't get down on yourself, okay?

 

Sheri gives Frank a hug back.

 

EXT. COUNTRY ROAD - THE VW BUG - DAY

 

Frank drives into town on a gorgeous western morning.

 

INT. THE VW BUG - DAY

 

He is listening to the radio, nervous but anxious, the dream of opening his own restaurant about to come true.

 

EXT. MAIN STREET - DAY

 

The Bug enters town.

 

INT. THE VW BUG - DAY

 

It pulls to the curb in front of the restaurant. Frank is startled to see something.

 

EXT. THE RESTAURANT - DAY

 

At the front of the restaurant, where one of the large front windows has been smashed.

 

Frank hurries out of the car and to the broken window.

 

FRANK: Goddamn it!

 

He looks around, as if looking for someone to accuse.

 

But Frank is alone on the city streets, not a soul to be seen anywhere.

 

EXT. MAIN STREET - RESTAURANT - DAY

 

The same shot of Main Street, just before the noon hour now, with traffic and pedestrians giving the town its daytime life.

 

Evelyn's car pulls up in front of the restaurant, waits for another car to pull out of a parking place, then parks.

 

Sheri and Evelyn get out.

 

The women start into the restaurant when Sheri sees the broken window that Frank has patched with cardboard.

 

SHERI: Somebody broke his window.

 

There's a cardboard patch job, which Frank has turned into advertising, painting: "Through rain and snow and broken windows - the GOOD FOOD must go on!"

 

Sheri and Evelyn continue to the door into the restaurant. Out front, a MAN in his thirties is passing out a flier.

 

MAN: Do you folks know the guy owning this place wouldn't fight for his country?

 

EVELYN: I'm his mother - and if you remember, Congress never did declare war and-- ...

 

Sheri is dragging her away and into the restaurant.

 

INT. THE RESTAURANT - KITCHEN - DAY

 

Frank is putting together a hamburger plate. He sets it on the pick-up counter, ringing the bell there.

 

FRANK: Order up, Tracy!

 

TRACY, the bubbly and pretty teenage waitress Frank has hired, picks up the order.

 

FRANK: How're you hanging in?

 

TRACY: Great. I think it's a good opening for lunch.

 

FRANK: You know that guy handing out fliers?

 

TRACY: Bob Nelson. His brother didn't come back.

 

INT. RESTAURANT - DINING AREA - DAY

 

About half a dozen customers are having lunch as Sheri and Evelyn come in and take a table.

 

The women look around as they pick up their menus.

 

EVELYN: Well, it's a nice little crowd for the first day, don't you think?

 

SHERI: It might be better without that guy outside.

 

Evelyn, ever the optimist, lets the remark pass.

 

EVELYN: Every new business takes time to catch on.

 

She catches Frank's eye and waves.

 

Frank smiles and gives a thumbs up sign.

 

EXT. RESTAURANT - SIDEWALK - DAY

 

The lunch hour has passed but the man with the fliers is still outside.

 

Frank comes out.

 

FRANK: Can I buy you lunch?

 

MAN: Go back to Canada where you belong.

 

FRANK: I lost a friend over there, too.

 

MAN: You can stand there and tell me that, refusing to fight for your country like you did?

 

The man shakes his head and walks off. Frank watches him go.

 

EXT. MAIN STREET - RESTAURANT - NIGHT

 

The restaurant lights are on as the VW Bug parks in front of the restaurant. Most of Main Street is deserted at this late hour.

 

Sheri gets out and goes to the restaurant door, which is locked.

 

INT. RESTAURANT - KITCHEN - NIGHT

 

Frank is finishing up prep work for the next day when he hears Sheri knocking on the door.

 

INT. RESTAURANT - NIGHT

 

Frank lets Sheri in.

 

SHERI: You're not ready yet?

 

FRANK: I was thinking -- maybe I should spend the night here.

 

SHERI: I thought you said the police would keep an eye out.

 

FRANK: There's only one car on patrol at night. It can't be everywhere at once.

 

SHERI: You have to trust people, Frank. What's the point if you have to stand watch all night?

 

Frank knows she's right.

 

SHERI: If you hurry, we can make last call at the lounge. I'll buy you a coke, and you can watch me drink a brandy.

 

FRANK: You got a deal.

 

INT. THE LODGE - KITCHEN - DAY

 

Horace is at the grill when two well-dressed men enter.

 

One, EARL WILSON, is Horace's boss, an ex-rancher who looks lost in a suit, which in fact is something he rarely wears.

 

The other is MR. HAMILTON, a visiting potential buyer from California.

 

EARL WILSON: Horace, this is Mr. Hamilton from California. (to Hamilton) Horace is the real workhorse around here.

 

MR. HAMILTON: Nice to meet you. Looks good enough to eat!

 

Horace isn't sure what to make of this attempt at camaraderie. He gets back to work as the pair quickly pass through the kitchen.

 

When they're gone, HELEN, a waitress, speaks to Horace through the pick-up station. She's worked at the lodge for twenty years.

 

HELEN: Can you believe Earl in a suit?

 

HORACE: You know what's going on?

 

HELEN: I think he found a live one.

 

HORACE: He's been trying to sell for years.

 

HELEN: I never seen a potential buyer around here before, though.

 

Horace's expression tells us that he hasn't either.

 

EXT. HOMER'S HOUSE - FRONT PORCH - DAY

 

Homer is sitting on the front porch, passing a bottle of wine with two teenage boys. Loud rock music blares through the open doorway from inside. The first teenager is LARRY, a heavy set tough.

 

LARRY: You want us to do anything else?

 

HOMER: You're not listening to me, Larry. I didn't want you to do that in the first place.

 

LARRY: He's a communist, isn't he?

 

The other teenager is RICK, a small kid who makes up for his size with daring.

 

RICK: He's a coward and a traitor. I think we should torch the place.

 

HOMER: Hey! You two listen up. You boycott the place, okay? We don't need no violence. Now get out of here so I can get some work done.

 

LARRY: What work you got to do?

 

HOMER: I got things to think about.

 

Homer stands up.

 

HOMER: Catch you dudes later.

 

The teenagers get up to go to their car in the driveway. It's the same car we saw speeding away after the broken window at Sheri's house.

 

EXT. COUNTRY ROAD - DAY

 

The teenagers' car is speeding down the road.

 

INT. THE CAR - DAY

 

Larry is driving.

 

LARRY: Homer's losing it, man. All he does any more is drink. Otherwise he'd torch the place in a minute.

 

EXT. COUNTRY ROAD - DAY

 

Sheri's VW Bug is coming the other way and passes the teenagers' car.

 

INT. TEENAGERS' CAR - DAY

 

Rick turns around to watch the receding VW.

 

RICK: That was him, man - the coward!

 

LARRY: Fuck, man.

 

RICK: I'm sure it was. Maybe he's going to see Homer.

 

LARRY: Homer will probably kiss his ass. We can't depend on him, man - we've got to torch the place ourselves.

 

EXT. HOMER'S HOUSE - DRIVEWAY - DAY

 

The VW Bug pulls into the driveway and Frank gets out. He goes to the front porch, where the door is still open, with music blaring out.

 

INT. HOMER'S HOUSE - KITCHEN - DAY

 

Homer is doing a week's worth of dishes when Frank steps into the kitchen, knocking on the doorframe. Homer turns from the sink.

 

FRANK: Door was open, and I knew you couldn't hear me knocking.

 

Homer turns and goes back to work. Frank moves closer.

 

FRANK: I could use some help, Homer. You want a job?

 

Homer doesn't reply.

 

FRANK: I opened up the old Chief Joseph Cafe. I sure could use a dishwasher. I'll pay a dollar more than minimum.

 

Homer turns from the sink again.

 

HOMER: I'm not looking for a job.

 

FRANK: Thought maybe you were. I heard you were broke.

 

HOMER: I got disability, Frank.

 

FRANK: I didn't know.

 

HOMER: All kinds of shit you don't know, Frank.

 

FRANK: I just thought I'd give you a shot, is all.

 

He waits for a response but gets none.

 

FRANK: If you change your mind, come by the restaurant.

 

Frank hesitates before going on.

 

FRANK: I don't have to defend myself to you or anyone else, Homer. I did what I thought was right. The same as you.

 

HOMER: Why don't you just admit you're a coward, man? Even when we used to go hunting, you never did like guns.

 

FRANK: I got a deer before you did, Homer.

 

HOMER: You went hunting because your old man expected it of you.

 

FRANK: If you change your mind about the job, let me know.

 

He turns and goes.

 

EXT. MAIN STREET - RESTAURANT - NIGHT

 

A couple is coming out of the restaurant, accompanied by Frank.

 

The same man who was passing out leaflets is there, now accompanied by two friends, all of them with placards protesting a restaurant owned by a draft dodger.

 

FRANK: Thanks, folks.

 

CUSTOMER: Goodnight.

 

Frank looks at the picketers.

 

FRANK: Don't you folks have something better to do with your time?

 

PICKETER: We ARE making the best use of our time. You're not wanted here.

 

FRANK: I really don't see your point. The war's over. Most people think it sucked.

 

They ignore him. Frank goes back inside.

 

INT. RESTAURANT - NIGHT

 

Harriet is sitting alone at a table, the only one left in the restaurant. Frank goes to the table.

 

FRANK: They're worse than religious fanatics. So what did you want to talk to me about?

 

HARRIET: Can I buy you a drink?

 

INT. COCKTAIL LOUNGE - NIGHT

 

Frank and Harriet sit alone in a booth. Frank is drinking coke, Harriet beer.

 

HARRIET: I never expected him to move out on Sheri, Frank. The last thing I wanted to do was break up his marriage.

 

FRANK: Harriet, what the hell did you think would happen? He's a married man.

 

HARRIET: He said he and Sheri had an arrangement.

 

Frank looks at her as if to say, "How could you be so stupid to believe such a line?"

 

HARRIET: They're so liberal in other ways. It wasn't hard to believe him.

 

Frank still just looks at her.

 

HARRIET: You hate me, don't you?

 

FRANK: No. I just get the idea you want something from me.

 

HARRIET: Maybe you're right.

 

She reaches across the table to touch his hand. But Frank quickly pulls his hand away.

 

FRANK: I'm not looking for a relationship, Harriet.

 

He stands up.

 

HARRIET: You don't have to be angry.

 

FRANK: Just busy and a little scared.

 

HARRIET: You did the right thing, going to Canada. I wish Tommy had.

 

FRANK: Tommy did what he thought was right.

 

Frank turns and goes.

 

EXT. MAIN STREET - SIDEWALK - NIGHT

 

Frank is walking from the lounge back to the restaurant.

 

FRANK: (V.O.) She was a temptation, actually. If she wasn't tied up with Carl, who knows what might have happened? Just because I wasn't ready for a relationship didn't mean we couldn't have a fling. But with Harriet, it would be much too complicated.

 

He reaches the restaurant, where someone has spray-painted on one of the large front windows.

 

The message reads: "Go Back To Canada, Commie Lover!"

 

INT. POLICE DEPT. - FRONT DESK - NIGHT

 

Frank has driven straight to the police department to report the vandalism.

 

POLICE OFFICER: There's nothing we can do about it tonight.

 

FRANK: You're supposed to be patrolling. You knew something like this had happened before.

 

POLICE OFFICER: We only got one car out there, and you're not the only one in the community who's got a problem.

 

FRANK: I didn't see the goddamn patrol car come by once tonight.

 

POLICE OFFICER: Maybe you're not very high up on our priority list. You ever think of that?

 

FRANK: I see. Because I went to Canada, right?

 

POLICE OFFICER: Off the record, peaceniks like you make me puke. Officially, I'm going to tell you, "Of course not, sir."

 

The officer laughs.

 

Frank starts to say something but decides against it. He leaves.

 

EXT. APARTMENT BUILDING - PARKING LOT - DAY

 

The VW Bug pulls into the parking lot and parks beside Carl's Van.

 

EXT. APARTMENT BUILDING - MAIL BOXES - DAY

 

Frank finds Carl's mailbox and gets the apartment number.

 

EXT. APARTMENT BUILDING - CARL'S APT. - DAY

 

Carl answers the door to find Frank. He steps out.

 

CARL: Frank. If Sheri sent you-- ...

 

FRANK: Nobody sent me. I'd like to borrow the van. I've got a bed to move.

 

CARL: You found a place?

 

FRANK: I'm going to stay at the restaurant for a while. Somebody keeps trashing the front window.

 

CARL: That doesn't surprise me, actually. Assholes around here don't know a moral hero when they see one.

 

He gives Frank the keys.

 

CARL: Can you have it back in a couple hours?

 

FRANK: No problem.

 

Frank starts away.

 

CARL: Frank?

 

Frank turns to Carl.

 

CARL: Sheri and I have been having problems for a couple years now.

 

Frank just looks at him, then turns to go.

 

INT./EXT. RESTAURANT - A SERIES OF SHOTS

 

of Frank converting an office in the restaurant building into a bedroom for himself and Billy.

 

(A) UNLOADING A MATTRESS from the van, with Sheri's help, and lugging it into the restaurant through the back door.

 

(B) PUTTING UP SHELVES for folded clothes.

 

(C) BILLY MOVING AROUND THE ROOM, deciding where he wants his small bed set up, as Frank and Sheri watch.

 

(D) THE FINAL ADMIRATION of the room, cramped to be sure but comfortable temporary living quarters for Frank and Billy.

 

INT. THE RESTAURANT - BEDROOM - NIGHT

 

Frank is putting Billy to bed.

 

BILLY: When are we going to get a house?

 

FRANK: Pretty quick, partner. We just need to get the restaurant on its feet first, okay?

 

Billy nods. Frank kisses him on the cheek.

 

FRANK: I'm going to turn out the light, okay? I'll be in the kitchen.

 

BILLY: Goodnight.

 

FRANK: Night. Love you, guy.

 

BILLY: Dad? Why does everybody call you Frank?

 

FRANK: It's an old nickname. I told you that. Don't you remember?

 

BILLY: I guess.

 

FRANK: Goodnight, Billy.

 

Frank turns out the light.

 

INT. RESTAURANT - KITCHEN - NIGHT

 

Frank is doing prep for the next day when he hears a sound from the front of the restaurant.

 

INT. RESTAURANT - FRONT AREA - NIGHT

 

Frank moves toward the front door to find Harriet there. He opens the door.

 

Harriet steps forward and without hesitation moves into his arms, kissing him.

 

At first Frank is passive but as Harriet keeps kissing him, his desire rises until he is kissing back.

 

EXT. WHITE HOME - FRONT YARD - DAY

 

Evelyn is doing some gardening when the MAILMAN comes up the walk. She quits working, and he gives her the mail.

 

EVELYN: Thank you.

 

MAILMAN: I had dinner at your son's restaurant. Quite good.

 

EVELYN: Well, thank you, I'll be sure to tell him.

 

She goes inside with the mail.

 

INT. WHITE HOME - KITCHEN - DAY

 

Horace is very upset at something he's reading.

 

HORACE: "You are, of course, invited to submit your application for one of the support positions in the kitchen or for any other position at the lodge. We appreciate ..." and so on.

 

He wads up the letter.

 

HORACE: I suppose that means I'm free to apply for night janitor. Who the hell do they think they are?

 

EVELYN: Maybe it's just a formality.

 

HORACE: They're bringing up their own chef from California, that's what it means. They're cleaning house.

 

EVELYN: Maybe if you talked to Earl.

 

HORACE: Earl's got nothing to say about it any more.

 

INT. RESTAURANT - KITCHEN - NIGHT

 

Frank is putting an order up when Tracy arrives to take it.

 

TRACY: A satisfied customer would like to meet the chef. Table five.

 

Frank looks at table five.

 

INT. RESTAURANT - TABLE - NIGHT

 

Sitting at table five are Earl and Mr. Hamilton. Only a few other tables have customers.

 

Mr. Hamilton and Earl are having coffee after dinner. Earl is leaning forward, sharing something privately with the new owner of the lodge.

 

MR. HAMILTON: Controversial, how?

 

EARL WILSON: A draft dodger. He went to Canada during the war.

 

MR. HAMILTON: Christ, you people aren't still fighting the Vietnam War, are you?

 

Frank arrives at the table.

 

FRANK: Hello, Earl. You wanted to see me?

 

MR. HAMILTON: I did.

 

He offers his hand, and Frank shakes it.

 

MR. HAMILTON: You just served the best meal I've had since leaving San Francisco. I'm sorry there aren't more customers here to appreciate it.

 

FRANK: Well, these things take time.

 

Hamilton hands Frank his card.

 

MR. HAMILTON: I'm the new owner of the Lodge, and I'm doing a complete overall of the culinary services. I've managed to lure Samuel Delgado away from the Mark Hopkins Hotel. We're going to need good chefs to support him.

 

FRANK: I'm not looking for a job, sir.

 

MR. HAMILTON: I don't have to tell you you're in a volatile business. If your situation changes, you come talk to me.

 

FRANK: I'm glad you enjoyed your dinner. If you'll excuse me, I have an order up.

 

MR. HAMILTON: My compliments again.

 

They shake hands again, and Frank leaves.

 

INT. A TAVERN - POOL TABLE - NIGHT

 

Homer, pretty drunk, is lining up a shot. He drives the eight ball into a pocket, losing the game.

 

The guy he was playing against, a young man in a baseball cap, moves forward to collect their bet.

 

POOL PLAYER: You owe me five, Homer.

 

Homer reaches into his pocket and drops some wadded bills and change onto the pool table. There are four one-dollar bills, which Homer counts out and hands to the player.

 

Then he slowly starts counting out a dollar's worth of change. People watching the scene find it pretty amusing.

 

POOL PLAYER: Hate to leave you with only pocket change, Homer, but a bet's a bet.

 

Homer staggers toward the bar.

 

INT. THE TAVERN - AT THE BAR - NIGHT

 

Homer motions for the bartender to come over. Then he leans across the bar to ask a favor.

 

HOMER: Give me a beer on my tab.

 

BARTENDER: Sorry, man, you're at your limit.

 

Homer staggers away.

 

EXT. ALLEY - BACK OF RESTAURANT - NIGHT

 

The teenagers' car is creeping along the alley behind Frank's restaurant.

 

The car stops, and Larry and Rick get out. Each is carrying a Molotov cocktail.

 

LARRY: You want to go first, man?

 

Rick visibly doesn't want to.

 

LARRY: What're you scared of?

 

RICK: I'm not scared.

 

LARRY: The guy's a traitor to his country, isn't he? You know what the Constitution says about treason.

 

EXT. THE TAVERN - BACK DOOR - NIGHT

 

Homer comes out the back door of the tavern and starts walking down the alley.

 

EXT. THE ALLEY - BEHIND RESTAURANT - NIGHT

 

The teenagers are ready to torch the restaurant. Larry throws his Molotov cocktail first, then Rick, and both hurry into the car to speed away.

 

The homemade bombs burst into flame.

 

EXT. THE ALLEY - NIGHT

 

Homer is staggering along the alley when the car almost runs him down.

 

INT. THE CAR - NIGHT

 

RICK: That was Homer!

 

LARRY: Drunk on his ass, right? While we have to do the work ourselves.

 

EXT. ALLEY - NIGHT

 

Homer gives the departing car the finger, then continues staggering down the alley. The rising flames behind the restaurant get his attention.

 

The back of the building, an area of weeds and trash from opening up the restaurant, has caught fire and is rapidly spreading.

 

Homer hurries as best he can to the back of the restaurant.

 

He finds a hose attached to a spigot at the corner of the building away from the flames. He turns on the water and starts hosing the fire.

 

INT. THE RESTAURANT - BEDROOM - NIGHT

 

Frank and Billy are asleep. Smoke has begun to drift into the room, and Frank stirs.

 

Frank begins to smell the smoke. Suddenly he jolts up and realizes there is a fire nearby.

 

FRANK: Billy!

 

Frank gets Billy out of bed and, taking his hand, leads him out of the bedroom.

 

Frank and Billy move into a hallway, where flames can be seen now in the rear of the building.

 

FRANK: Go out to the front door! I'll be there in a minute.

 

Billy runs off. Frank hurries to the phone and dials 911.

 

FRANK: There's a fire at the Chief Joseph Cafe!

 

Frank hangs up and hurries to the dishwashing area, takes the hose and turns on the water. He starts soaking down the rear area of the building where the flames haven't reached yet.

 

EXT. BACK OF RESTAURANT - NIGHT

 

Homer is still putting the hose on the fire. He's caught it in time to save real damage.

 

EXT. RESTAURANT - BACK ALLEY - EARLY MORNING

 

A fire truck is moving out the alley after the fire has been put out.

 

The exterior damage to the rear of the building is considerable, but there's only water damage inside the restaurant.

 

Bill (from the bank) is overlooking the damage as Frank watches.

 

FRANK: There's no damage in the kitchen at all. I can open for lunch.

 

BILL: I'll be honest with you, Frank. I went out on a limb for you with the first loan. Since you don't have insurance, I don't know if I can swing as much as you'll need.

 

FRANK: Then I'll have to live with it.

 

BILL: I noticed the bedroom inside. You're not supposed to be living here, Frank.

 

FRANK: It was just temporary -- I keep getting vandalized.

 

BILL: Are you suggesting arson?

 

FRANK: I don't know.

 

Bill heads for his car, which is parked off the alley.

 

BILL: I'll do my best.

 

Frank goes back into the restaurant.

 

INT. RESTAURANT - MATTRESS NEAR KITCHEN - DAY

 

Homer is sprawled out on the mattress. He is groaning, waking up with a bad hangover. Frank bends down beside him.

 

FRANK: Get you a cup of coffee?

 

Homer groans.

 

FRANK: I owe you one, buddy.

 

Homer isn't in the mood for conversation, so Frank rises to get his coffee.

 

EXT. SHERI'S HOUSE - DRIVEWAY - DAY

 

The VW Bug pulls into the driveway, with two mattresses tied to the roof. The back seat is stuffed with belongings.

 

Frank and Billy are moving back in with Sheri.

 

They get out.

 

BILLY: Dad, can I go play?

 

FRANK: You sure can. Stay close to the house.

 

Frank starts unloading as Sheri comes out of the house to help.

 

EXT. BEHIND SHERI'S HOUSE - WOODS - DAY

 

Billy is exploring the edge of the woods behind the house when he suddenly stops, seeing something.

 

A deer is in the brush ahead of him.

 

Billy starts moving slowly toward the deer to get a closer look.

 

The deer suddenly freezes, hearing Billy's approach, and in a quick motion takes off.

 

Billy takes off after the deer.

 

INTERCUT THE CHASE

 

as Billy chases the deer through the woods.

 

EXT. SHERI'S HOUSE - BACK PORCH - DAY

 

Frank comes out onto the back porch.

 

FRANK: Billy! Lunch is ready! Billy!

 

EXT. WOODS - DAY

 

Billy has gone through the woods to the edge of a large meadow, across which several deer are feeding.

 

He stops, tired, and sits on a fallen log to watch the deer.

 

EXT. BACK OF SHERI'S HOUSE - EDGE OF WOODS - DAY

 

Frank, with growing panic, enters to woods, calling for Billy.

 

FRANK: Billy! Billy!

 

Frank quickly moves through the woods, beside himself that his son is not answering.

 

FRANK: B-i-l-l-y! B-I-L-L-Y!

 

EXT. WHITE HOME - FRONT LAWN - DAY

 

Horace is mowing the lawn when Evelyn comes onto the front porch. She is yelling at him but at first he doesn't notice her above the roar of the mower. Then, making a turn, he sees her and shuts off the engine.  

EVELYN: Sheri just called -- Billy's lost in the woods.

 

EXT. WOODS - EVENING

 

Billy, who can't find his way back, has panicked and is running every which way through the woods. Then he steps into a small hole in the ground and twists his ankle.

 

He can't stand up. He crawls into nearby brush, the fright full on his face.

 

EXT. WOODS - NIGHT

 

Frank and Sheri, carrying a lantern, move through the woods.

 

FRANK: Billy!

 

SHERI: Billy!

 

It's too dark to make much headway, but they keep trying.

 

EXT. SHERI'S HOUSE - DRIVEWAY - EARLY MORNING

 

Half a dozen pickup trucks are parked with the VW Bug in the driveway.

 

Carl's van pulls in, and Carl gets out to go to the front door.

 

INT. SHERI'S HOUSE - LIVING ROOM - EARLY MORNING

 

Frank has been briefing Horace and other men on what happened, before taking to the woods as a search party.

 

Sheri goes to the front door, answering the doorbell.

 

INT. SHERI'S HOUSE - FRONT DOOR - EARLY MORNING

 

Sheri opens the door to find Carl.

 

CARL: I came as soon as I heard.

 

EXT. WOODS - DAY

 

A search party is spread out, combing the woods for Billy.

 

Carl is moving through the woods next to Frank, who has been up all night.

 

CARL: You get any sleep?

 

Frank shakes his head.

 

FRANK: B-i-l-l-y!

 

CARL: Maybe you should take a break.

 

Frank turns at Carl as if this were a personal attack, then moves quickly away. Horace approaches Carl.

 

CARL: Frank can't hold out much longer.

 

HORACE: What the hell's the kid doing alone in the woods in the first place?

 

The search party reaches the meadow, moving into the clearing and keeping ranks as it moves ahead.

 

EXT. WOODS - BILLY - DAY

 

Billy is still in the underbrush, his ankle twisted. He is scared. Then he hears a distant call, "B-i-l-l-y!" He leans up and answers, but not loud enough to be heard, "Over here . . ."

 

EXT. WOODS - MEADOW - DAY

 

The search party has moved across the meadow and waits at the edge of the woods as a helicopter lands nearby, bringing the searchers lunch.

 

EXT. MEADOW - DAY

 

Men sit on the ground, eating sandwiches.

 

Frank can barely keep his eyes open.

 

CARL: Why don't you get a lift back?

 

When Frank doesn't answer, Carl helps him up.

 

Carl helps him make it to the helicopter, where he is helped inside.

 

The helicopter takes off, and the search party reforms its ranks to move into the woods beyond the meadow.

 

EXT. SHERI'S HOUSE - DRIVEWAY - EVENING

 

Pickup trucks are still in the driveway.

 

INT. SHERI'S HOUSE - LIVING ROOM - EVENING

 

Sheri is sipping a glass of wine and mindlessly watching television, looking stressed and tired. The phone rings.

 

INT. SHERI'S HOUSE - KITCHEN - EVENING

 

She answers the phone.

 

SHERI: Hello? ...He's asleep but I can wake him .... Thank God!

 

INT. SHERI'S HOUSE - GUEST ROOM - EVENING

 

Sheri moves into the guest room, where Frank is asleep on the bed.

 

SHERI: Frank?

 

She moves to the bed and shakes him gently. Frank wakes.

 

SHERI: They found him, Frank. He's alive.

 

Frank, overjoyed, embraces his sister.

 

INT. HOSPITAL - WAITING ROOM - NIGHT

 

A doctor is bringing Frank and Sheri up to date.

 

DOCTOR: A few days rest, and he should be good as new.

 

FRANK: Can I see him?

 

DOCTOR: Of course, but please don't wake him.

 

INT. RESTAURANT - KITCHEN - DAY

 

Frank is slicing onion when Homer comes into frame with a load of clean dishes to put on the shelves. He's taken the job as dishwasher.

 

FRANK: Thanks, Homer.

 

Homer still is keeping his personal distance. He moves away as Frank continues slicing.

 

Frank accidentally cuts his finger.

 

FRANK: Damn it!

 

He moves to the sink, holding the finger under water. Tracy comes to the pick-up station, returning an order.

 

TRACY: Frank, this burger was supposed to be without onions and no mayo.

 

Frank nods to acknowledge the mistake, but his mind clearly is somewhere else.

 

INT. RESTAURANT - A TABLE - NIGHT

 

Frank is going over his books. The financial situation is not encouraging.

 

There's a knock on the front door, and Frank looks up to find Harriet.

 

His reaction suggests he doesn't want to see her now but he gets up to let her in.

 

He opens the door, and Harriet steps in.

 

HARRIET: I heard Billy's fine.

 

FRANK: He'll be on crutches for a few days, but we were lucky.

 

HARRIET: I was thinking maybe you'd like to come over tonight.

 

Frank's mind is working, trying to decide whether to get into it now or later.

 

FRANK: I'll buy you a beer.

 

HARRIET: Great.

 

INT. COCKTAIL LOUNGE - BOOTH - NIGHT

 

Frank and Harriet sit in a secluded booth.

 

FRANK: It's not that I'm not attracted to you. I've just got too much on my mind right now to get into a relationship.

 

HARRIET: We don't have to get serious. What about having fun?

 

FRANK: I don't do that.

 

HARRIET: I see. It's because of Carl, isn't it?

 

FRANK: No. It's because I almost lost my kid, and the goddamn restaurant is taking me to the poor house quicker than I thought was possible, and I'm no longer sure why the hell I came back in the first place. If it was to make a better life for Billy, I'm sure doing a poor job of it.

 

HARRIET: You're too hard on yourself.

 

INT. COCKTAIL LOUNGE - ENTRANCE - NIGHT

 

Carl comes into the lounge and starts for the bar.

 

Then he sees Harriet and Frank in the booth. He hesitates, then heads for it.

 

INT. COCKTAIL LOUNGE - BOOTH - NIGHT

 

Carl arrives.

 

CARL: How's Billy doing?

 

FRANK: Twisted ankle is all.

 

CARL: (to Harriet) Can I talk to you a minute?

 

FRANK: Sit down, I was just leaving.

 

He slides out of the booth.

 

CARL: I don't mean to interrupt anything.

 

FRANK: You aren't.

 

Frank quickly moves off. Carl looks at Harriet, who is watching Frank go.

 

CARL: May I?

 

Harriet turns to Carl and makes up her mind, smiling flirtatiously.

 

HARRIET: I was just about to call you.

 

EXT. HIGHWAY TO LODGE - DAY

 

The VW Bug is heading up the highway toward the lodge.

 

FRANK: (V.O.) So far, I wasn't doing a goddamn thing to give Billy a better life. It got to be time to swallow a little pride and take care of business.

 

EXT. THE LODGE - PARKING LOT - DAY

 

The VW Bug pulls into the parking lot at the lodge and parks. Frank gets out and heads for the entrance.

 

INT. THE LODGE - MR. HAMILTON'S OFFICE - DAY

 

Horace sits across the desk from Mr. Hamilton.

 

MR. HAMILTON: Horace, I wanted to talk to you because I think it's important to keep some continuity during the transition. I'm sorry you disagree.

 

HORACE: It's not a matter of disagreeing. To me, breakfast is bacon, eggs and spuds. I never made a quiche in my life. I'm too old to learn now.

 

MR. HAMILTON: We cater to tourists on vacation from the city. The mistake here has been neglecting to serve what they expect from a fine restaurant.

 

HORACE: Seems to me they'd want a change.

 

MR. HAMILTON: Between you, me and the fence post, Earl's beat that wrong premise to death.

 

HORACE: Well, I guess we got nothing more to talk about.

 

He stands up. Mr. Hamilton stands up and offers his hand.

 

MR. HAMILTON: There's other ways you can fit into the program if you're interested.

 

INT. THE LODGE - AREA OUTSIDE HAMILTON'S OFFICE - DAY

 

Frank approaches Hamilton's secretary just as Horace comes out of the office. They are startled to see one another.

 

FRANK: Dad.

 

Horace looks at his son and shakes his head.

 

HORACE: Quiche, huh?

 

Horace moves off. Frank is puzzled by what Horace meant as he watches his father go.

 

INT. THE LODGE - KITHCEN - DAY

 

Frank, wearing a white chef's uniform and hat, is serving up quiche. He adds some fruit and decorative parsley. He starts to put it on the pick-up counter but is stopped by the senior chef, SAMUEL DELGADO, a handsome middle-aged man who wears an aura of aristocracy like after-shave lotion.

 

DELGADO: Frank, the carrot.

 

He adds a decoratively sliced carrot to the plate.

 

FRANK: Sorry.

 

DELGADO: For color balance, yes?

 

Frank puts the plate on the pick-up counter.

 

EXT. SHERI'S HOUSE - DRIVEWAY - DAY

 

The VW Bug pulls into the driveway, and Frank gets out, going to the front door.

 

INT. SHERI'S HOUSE - DAY

 

Frank comes in.

 

FRANK: Billy, I'm home! Anybody here?

 

Sheri comes into the area from the kitchen.

 

SHERI: How'd it go?

 

FRANK: Still learning the ropes. Where's Billy?

 

SHERI: Dad picked him up. I didn't think you'd mind.

 

EXT. WHITE HOME - BACK YARD - DAY

 

Billy is wearing an oversized military helmet and carries a rifle much too large for him. He is playing "war" with grandpa and moves carefully from tree to tree in the back yard, looking for the enemy.

 

EXT. BACK YARD - SHED - DAY

 

Horace is hiding behind a shed in the rear of the yard. He, too, carries a weapon, an old German pistol from World War II.

 

EXT. BACK YARD - DAY

 

Billy creeps toward the shed, moving from tree to tree.

 

EXT. WHITE HOME - DRIVEWAY - DAY

 

The VW Bug pulls into the driveway, and Frank and Sheri get out. They go to the front door.

 

EXT. BACK YARD - DAY

 

Billy sees Horace for the first time. He raises the huge rifle.

 

BILLY: Bam, bam, bam, bam!

 

Horace comes out from behind the shed, dropping his pistol and holding his stomach as if he's been shot.

 

INT. WHITE HOME - KITCHEN - DAY

 

Frank watches this scene out the back kitchen window, as Horace falls to the ground, dead, and Billy runs up to him.

 

Frank is infuriated by what he sees.

 

FRANK: What the hell are they doing?

 

Evelyn is ever the peacemaker.

 

EVELYN: Don't you remember how you used to play Cowboys and Indians?

 

EXT. WHITE HOME - BACK YARD - DAY

 

Horace grabs Billy's leg and pulls him on top of him.

 

HORACE: I was playing possum! I've got you now!

 

Frank comes out and hurries to his kid.

 

FRANK: Why'd you give him a gun?

 

Horace sits up. Billy is excited.

 

BILLY: I shot him dead, dad, before he shot me!

 

FRANK: Go in the house.

 

BILLY: Grandpa's a Jap and--!

 

FRANK: Now!

 

Billy, confused, moves off as Horace gets to his feet.

 

HORACE: It's just a game, for Christ's sake.

 

FRANK: I don't want my kid playing war games.

 

Frank glares at his father, then turns to go back to the house.

 

FRANK: Billy, we're going now.

 

BILLY: I don't want to go home!

 

INT. WHITE HOME - ENTRANCE FOYER - DAY

 

Frank is trying to get Billy to go to the car. Sheri and Evelyn look on uncomfortably.

 

FRANK: I said, get in the car, Billy.

 

BILLY: I want to stay with grandpa!

 

He starts to run off, Frank grabs him and picks him up. Billy starts screaming.

 

BILLY: I don't want to go now!

 

Frank carries Billy to the front door.

 

FRANK: We're going, guy.

 

Horace moves into the area to see Frank carrying his son out the door. Billy is kicking and screaming.

 

HORACE: Jesus Christ, what the hell's going on here?

 

Evelyn gives her husband a look reading, "Please stay out of it."

 

Horace turns in disgust, heading back to the den.

 

INT. SHERI'S HOUSE - GUEST ROOM - NIGHT

 

Billy is in bed when Frank comes in. He moves quietly to Billy, bends down to kiss him and realizes that Billy is still awake.

 

FRANK: You still mad at me?

 

Billy doesn't answer.

 

FRANK: There's lots of other games you can play with Grandpa. I don't want you playing with guns. Okay?

 

Still no response. Frank tries tickling Billy to bring him around but the boy jerks away.

 

FRANK: Okay, guy, we'll do it your way.

 

He moves to his own bed to turn in.

 

INT. SHERI'S HOUSE - STAIRWAY - DAY

 

Frank is coming down the stairs to go to work.

 

INT. SHERI'S HOUSE - KITCHEN - DAY

 

Frank comes into the kitchen and is startled to find Sheri and Carl at the breakfast bar, having coffee.

 

FRANK: Morning.

 

CARL: How's the new job?

 

FRANK: Learning a lot, actually.

 

He pours a cup of coffee in a plastic cup to take with him.

 

FRANK: Sheri, I want Billy to stay around here all day, if that's all right.

 

SHERI: Okay.

 

He leaves.

 

INT. THE LODGE - KITCHEN - DAY

 

Frank is turning a traditional French omelet out of the pan as Delgado supervises. It's perfect, and Delgado smiles. Frank is pleased.

 

EXT. SHERI'S HOUSE - FRONT AREA - DAY

 

Horace's pickup truck turns into the driveway. He parks and gets out.

 

Billy comes running out of the house to greet him.

 

BILLY: Grandpa!

 

HORACE: Hey, Billy boy!

 

Sheri comes out onto the porch.

 

SHERI: Hi.

 

HORACE: Can I borrow Billy for a few hours? I thought we'd catch some fish for dinner.

 

SHERI: How about a cup of coffee?

 

HORACE: Well, we're getting a late start as it is.

 

SHERI: We have to talk, Dad.

 

BILLY: I want to catch a fish!

 

HORACE: You bet, we'll catch a fish.

 

He ruffles Billy's hair and moves to go inside.

 

INT. SHERI'S HOUSE - KITCHEN - DAY

 

Sheri is giving Billy a cookie to bribe him to get out of the house.

 

SHERI: Take it out front so we don't spill crumbs in the house, okay?

 

BILLY: Okay.

 

She waits until the kid is gone before getting into it.

 

SHERI: Frank wants Billy to stay around here today.

 

HORACE: Why, because we played soldiers? He played soldiers himself, for Christ's sake.

 

SHERI: I know. I really feel put on the spot, Dad. I don't want to take sides.

 

He gets up to go.

 

HORACE: No need to.

 

SHERI: Please don't run off.

 

HORACE: I don't understand Frank any more.

 

EXT. SHERI'S HOUSE - FRONT PORCH - DAY

 

Horace comes out, and Billy immediately runs to him.

 

HORACE: We have to take a rain check on that fish, Billy.

 

He starts toward the truck as Sheri comes out onto the porch.

 

SHERI: Why don't you come inside now, and I'll make hot chocolate?

 

BILLY: I'm going with grandpa.

 

HORACE: You have to stay here.

 

BILLY: Why?

 

Horace looks at Sheri.

 

HORACE: How am I supposed to answer that?

 

SHERI: Billy.

 

BILLY: I want to go with grandpa!

 

She comes off the porch and goes to Billy, picking him up.

 

SHERI: Grandpa can't go fishing today. Isn't that right?

 

HORACE: We'll do it some other time, Billy.

 

We see that Horace is none too pleased with this turn of events.

 

EXT. SHERI'S HOUSE - FRONT OF HOUSE - EVENING

 

Billy is playing in front of the house when the VW Bug pulls into the driveway, beeping its horn. The summer sun is still up early in the evening.

 

When Billy sees his dad, he runs into the house without waving hello.

 

Frank gets out and heads for the front door.

 

INT. SHERI'S HOUSE - ANGLE ON ENTRANCE

 

Sheri is watching Billy race upstairs as Frank enters.

 

FRANK: I guess he's still mad at me.

 

SHERI: Dad came by to take him fishing.

 

INT. SHERI'S HOUSE - GUEST ROOM - EVENING

 

Billy is sprawled on his bed when the door opens and Frank comes in.

 

FRANK: Can we talk?

 

BILLY: I don't want to talk.

 

Frank goes to the bed and sits down.

 

FRANK: I was wrong, Billy. I don't mind if you go fishing with grandpa.

 

He touches Billy, who slides away across the bed. Frank gets up.

 

INT. SHERI'S HOUSE - STAIRWAY - EVENING

 

Frank comes down the stairs and heads for the door.

 

SHERI: Dinner's almost ready.

 

FRANK: I'm not hungry.

 

He walks out the door.

 

EXT. WHITE HOME - DRIVEWAY - EVENING

 

Horace is directing a flat bed truck, driven by Homer, as it backs up into the driveway, Homer able to use the last light of dusk.

 

Looking on are Rick and Larry, Homer's teenage friends.

 

EXT. WHITE HOME - STREET - EVENING

 

The VW Bug comes down the street to the White home, stopping along the curb out front. Frank gets out.

 

Homer gets out of the truck as Frank approaches his dad.

 

Larry and Rick exchange a glance of wonder, expecting something dramatic to happen at any minute now.

 

There is an awkward silence.

 

FRANK: You busy, Dad?

 

HORACE: I came by to take Billy fishing today.

 

FRANK: So I heard. I'm sorry about that. I think we should talk.

 

HORACE: Bad time for it.

 

FRANK: Well, when is a good time?

 

Homer moves to Frank.

 

HOMER: When we're not busy, okay? You know how close the Fourth of July is? I guess you don't, you Canadians don't give a shit, right? Well, this here is the foundation of a float, man, a float that vets are going to ride in the parade. So if you don't mind, we got work to do here.

 

FRANK: What'd I do, Homer?

 

HOMER: Just because I work for you, man, doesn't mean I like you.

 

Frank moves around Homer to speak to his dad.

 

FRANK: If you want to take Billy fishing tomorrow-- ...

 

HORACE: I'm tied up now til after the Fourth.

 

HOMER: I told you, we've got a float to build here.

 

HORACE: Homer, why don't we go inside and go over the plans again?

 

Homer stares at Frank before moving off. The teenage boys follow.

 

Horace stays behind and approaches Frank.

 

HORACE: I was thinking Billy might get a kick out of riding on the float.

 

FRANK: Jesus, you really have to push it, don't you?

 

HORACE: You got something against your kid being patriotic?

 

FRANK: I don't understand why you insist on making this such an issue.

 

Horace shakes his head and turns to go.

 

FRANK: I was right about the goddamn war!

 

Horace stops, turns and glares at him.

 

FRANK: It stunk! Most Americans would agree with me. Read the polls.

 

HORACE: Piss on the polls. Your country asked you to defend it. Your answer was to run to Canada.

 

He turns and heads for the house.

 

FRANK: I'm not a coward.

 

Frank doesn't know what to do. He kicks a rock across the yard.

 

Evelyn comes out onto the porch, passing Horace as he comes inside.

 

Evelyn, as always, is the peacemaker.

 

EVELYN: I sure do feel like an ice cream soda.

 

Frank looks at her, decides, and gestures for her to get into the car.

 

EVELYN: It's the way someone is brought up. That's all it is. Nobody's right and nobody's wrong. Everybody's just different.

 

INT. ICE CREAM PARLOR - TABLE - NIGHT

 

They are sitting at a small table in the ice cream parlor.

 

FRANK: He wants me to feel like a traitor and a coward.

 

EVELYN: No, he just doesn't understand why you left.

 

FRANK: Do you?

 

EVELYN: I know that Congress is supposed to declare war before we go fighting one.

 

FRANK: That's a start. So what do I do, mom? I can't talk to him.

 

EVELYN: Try to be tolerant. You used to play soldiers, cowboys and Indians, space cadet. We couldn't keep you in toy guns.

 

Frank, beginning to feel he's on weak ground, doesn't offer a defense.

 

EXT. HARRIET'S COUNTRY HOUSE - DRIVEWAY - NIGHT

 

The VW Bug weaves into Harriet's driveway and comes to an abrupt stop. Ahead of the VW, Carl's van is in the driveway.

 

Frank gets out, paying no mind to the van and weaving a little as he starts for the front door. He's carrying a half-full bottle of champagne and clearly has been drinking.

 

EXT. HARRIET'S HOUSE - FRONT PORCH - NIGHT

 

He goes to the door, takes a drink and rings the doorbell. When no one answers immediately, he starts pounding on the door.

 

The front porch light comes on. Harriet, in her robe, opens the door and steps out. Frank bows.

 

FRANK: I bring champagne.

 

He holds out the bottle to Harriet.

 

HARRIET: Frank, it's almost midnight. I was in bed.

 

Someone appears in the house behind her.

 

CARL: (O.S.) Who is it?

 

Carl moves into the scene.

 

CARL: You're drinking?

 

Frank starts weaving his way back to the car.

 

FRANK: My mistake, ladies and gentlemen, no offense intended, please go on back to bed, I was merely in the area with a bottle of the bubbly to share, sorry to disturb you ...

 

CARL: Frank! You sure you can drive?

 

FRANK: No problem.

 

Carl and Harriet hesitate, then go back inside. The front porch light turns off.

 

Frank gets into his car.

 

INT. THE CAR - NIGHT

 

Frank takes a swig from the bottle. Then he slumps on the seat.

 

EXT. HARRIET'S HOUSE - DRIVEWAY - DAY

 

The VW Bug and van are both still in the driveway early the next morning.

 

Frank gets out of the Bug and stretches.

 

FRANK: (V.O.) It was the first time I'd gotten drunk in years, and I was paying the price for it with interest. What the hell did I think I was going to prove?

 

He gets back into the car.

 

The car starts up, backs out the driveway, and heads on down the road.

 

EXT. MAIN STREET - PARADE - DAY

 

The Fourth of July parade is in full swing, the high school band a popular fixture as it struts down Main Street.

 

EXT. MAIN STREET - IN THE CROWD - DAY

 

The street is lined with people watching the parade, and among them are Evelyn and Billy.

 

Sheri arrives with a soft drink for Billy.

 

SHERI: Here we go.

 

Billy takes the cup of pop.

 

EVELYN: Say thank you.

 

BILLY: Thank you, Aunt Sheri.

 

SHERI: Did I miss grandpa's float?

 

BILLY: It's not here yet.

 

INT. LODGE - THE KITCHEN - DAY

 

Frank, in his chef whites, is putting an order up on the counter when Delgado comes to him.

 

DELGADO: Go ahead and take off, Frank, we can handle it from here.

 

FRANK: You're sure?

 

DELGADO: Maybe you can catch the end of the parade with your boy.

 

FRANK: Thanks.

 

EXT. MAIN STREET - PARADE - DAY

 

The flat bed truck float put together by the veterans is a large American flag surrounded by six-foot firecrackers, all represented by floral designs.

 

Horace, Homer and other vets are on the float, each in full military uniform.

 

EXT. ROAD INTO TOWN - DAY

 

The VW Bug approaches the entrance into Chief Joseph but is faced with a road block and detour.

 

Frank turns the Bug onto a side street.

 

EXT. MAIN STREET - DAY

 

Billy sees the vets' float coming.

 

BILLY: There's grandpa!

 

SHERI: Well, let's get a better look.

 

She hoists Billy up in her arms as the float approaches. Billy is yelling for his grandpa and waving.

 

Horace smiles when he sees Billy along the route. He snaps to attention and offers a proud salute to his grandson.

 

Billy still in Sheri's arms, offers a rough military salute in return.

 

EXT. BACK OF HARDWARE STORE - OFF ALLEY - DAY

 

Larry and Rick are jimmying a back window of the hardware-and-sporting-goods store. Larry's car is parked nearby.

 

Finally the window pops open.

 

LARRY: After you.

 

Rick is nervous -- this is his first robbery. He boosts himself up and goes in through the window.

 

EXT. ALLEY - DAY

 

Frank in the VW Bug is driving down the alley, having decided to park behind the restaurant.

 

INT. THE BUG - DAY

 

Frank passes the hardware store and sees something.

 

EXT. ALLEY - DAY

 

Larry goes in through the rear window.

 

Frank swerves to a stop and gets out. He moves quickly toward the back of the building.

 

Frank reaches the jimmied window and peers in.

 

Rick is emptying cash from a register, putting it in a satchel, while Larry is breaking a display case to get guns.

 

Frank isn't sure what to do. He sees their car behind the store and quickly goes to it.

 

Frank lets the air out of two tires.

 

INT. HARDWARE STORE - DAY

 

Through the large plate glass windows facing Main Street, we see the crowd and the parade passing by.

 

Inside, Rick has all the cash out of the register, and Larry has selected several pistols.

 

LARRY: Let's get out of here.

 

They head for the back door.

 

EXT. ALLEY - DAY

 

Frank has just let the air out of the second tire when he hears something and looks up to see the teenagers coming out.

 

He looks around in panic, then moves to hide behind a trash bin in the adjacent lot.

 

Larry and Rick move away from the building to the car. Larry sees the flat tires first.

 

Instinctively Larry understands the problem here. He hands Rick a pistol and speaks softly.

 

LARRY: We're being watched.

 

RICK: What?

 

LARRY: Sshh, damn it! This way.

 

Larry moves toward the adjacent lot and the trash bin, with a very nervous Rick following him.

 

Frank hears them coming. He's not sure what to do.

 

Larry and Rick move past the trash bin.

 

Frank gets to his feet.

 

Larry and Rick move between buildings, toward the crowd lining Main Street.

 

Frank races after them.

 

EXT. MAIN STREET - SIDEWALK - DAY

 

Larry stops at the corner of the building, sticking his gun into his belt, hiding it. Rick runs up, holding his pistol.

 

LARRY: Hide that thing.

 

Rick hides his gun, as both walk quickly into the back edge of the crowd and start moving down the sidewalk.

 

Frank reaches the sidewalk, looks one way, then the other.

 

He sees the teenagers moving away down the sidewalk and heads after them.

 

FRANK: Stop those two!

 

Larry and Rick hear Frank yelling behind them, turn and see him.

 

LARRY: We better split up.

 

Larry starts elbowing his way into the crowd.

 

RICK: Larry, wait a minute! Where do we meet up?

 

He sees Frank getting closer and decides to cross the street, moving with more panic than ever.

 

Frank comes up to the spot where they split up. He looks toward the parade and sees:

 

Rick is moving between floats across the street.

 

Frank decides to keep following Larry down the sidewalk and runs ahead.

 

EXT. THE SIDEWALK - DAY

 

Larry is racing ahead but faces a huge crowd on the sidewalk now, the end of the parade having passed and people breaking their lines along the curb to fill the sidewalk.

 

Ahead of Larry come Sheri, Evelyn and Billy, as he continues to shove his way through the crowd.

 

Frank is gaining on him.

 

FRANK: Stop that guy!

 

But on the crowded street, it's not obvious whom Frank is talking about.

 

Larry, now panicked himself, takes the pistol out of his belt. A few people see it and react with surprise and fear.

 

Larry sees Billy right ahead of him, grabs the boy and points the gun at his head.

 

LARRY: Give me room! The kid won't get hurt if you give me room!

 

And people around him do, moving apart to clear a path on the sidewalk.

 

Frank reaches Sheri and Evelyn, who are watching in panic. He's not yet aware of what has happened.

 

SHERI: He took Billy.

 

FRANK: Oh my God.

 

Frank starts to move after Larry but Sheri grabs him.

 

SHERI: Frank, he has a gun.

 

Frank nods and pulls away, moving through the crowd after Larry.

 

Larry with the gun still on Billy, moves quickly down the sidewalk.

 

Larry and Billy move along. Ahead of them, two police cars skid to a stop, one comes up over the curb and onto the sidewalk.

 

The policemen get out, drawing weapons and taking positions behind their cars.

 

Larry sees the police barricade ahead. He moves into the doorway of a building.

 

INT. THE BUILDING - DAY

 

Larry drags Billy in and heads up a stairway.

 

EXT./INT. THE BUILDING - FRANK

 

Frank reaches the building and enters.

 

Inside, he listens, hears them and slowly starts up the stairway.

 

EXT. THE BUILDING - DAY

 

Two policemen reach the building at the same time Sheri does.

 

SHERI: Frank went in after them. He's the boy's father.

 

POLICE OFFICER: Oh great, an amateur hero.

 

The two officers exchange a look before entering the building with guns drawn.

 

INT. THE BUILDING - TOP FLOOR - DAY

 

Larry and Billy reach the top of the stairway.

 

A hallway leading to various offices is ahead. Larry isn't sure what to do.

 

BILLY: You're hurting me ...

 

Larry changes his grip on Billy from his body to his clothes.

 

LARRY: Is that better?

 

Billy shakes his head, yes, but the boy is clearly frightened.

 

INT. STAIRWAY - DAY

 

Frank moves slowly up.

 

INT. THE STAIRWAY - FARTHER DOWN

 

as the police officers move slowly up.

 

INT. TOP OF STAIRWAY - DAY

 

Larry hears Frank coming up.

 

LARRY: Don't come any farther! I mean it!

 

Frank stops on the stairway.

 

FRANK: Don't hurt my kid!

 

BILLY: (O.S.) Dad!

 

Larry yanks on Billy's clothes and gestures for him to shush.

 

FRANK: (O.S.) Billy, it's going to be okay, guy! Just do as the man says!

 

INTERCUT CONVERSATION - FRANK AND LARRY

 

LARRY: He's okay, you just stay down there.

 

FRANK: I don't want any trouble.

 

INT. STAIRWAY - DAY

 

The police officers hear the talking above them. They start climbing the stairs a little more quickly.

 

Frank waits patiently.

 

FRANK: Did you hear me? I don't want any trouble.

 

INTERCUT CONVERSATION - FRANK AND LARRY

 

LARRY: I want a car and guarantee to get out of town.

 

FRANK: I don't know if I can do that.

 

LARRY: Get someone who can.

 

FRANK: Don't hurt Billy, please. I'll see what I can do.

 

LARRY: I want a car right now!

 

FRANK: Okay. I'll see what I can do. Just stay put, okay?

 

INT. THE STAIRWAY - DAY

 

Frank starts moving down the stairway and runs into the policeman.

 

FRANK: He's got my son. He wants a car, can you get him a car?

 

POLICE OFFICER: You'd better get out of the building, sir.

 

FRANK: That's my kid up there.

 

POLICE OFFICER: So your kid matters more than your country, right?

 

Frank doesn't want to deal with this now and heads downstairs.

 

Larry is aware that something is going on down below.

 

LARRY: Who's down there? What's going on?

 

Police officer with gun drawn continues to ascend.

 

POLICE OFFICER: You might as well give it up --there's no way out of here.

 

LARRY: I've got a gun on the kid. I won't let him go unless I get a car.

 

Billy is clearly frightened.

 

TELEVISION SCREEN

 

An on-the-scene reporter stands on Main Street with the building where Billy is held hostage in the background. It is evening.

 

REPORTER: With the standoff entering its fifth hour, the tension mounts. With me now is Horace White, the boy's grandfather. What's your assessment of the situation?

 

HORACE: Well, I have some opinions but I'd rather not say - the guy may have a TV up there. I don't want to say nothing to put Billy in danger.

 

REPORTER: Your son is Billy's father. There's a rumor he left the scene.

 

HORACE: I have no comment on that. I just think we need patience and prayers for the boy's safety.

 

Someone off camera hands the reporter a note.

 

REPORTER: Thank you, Mr. White.

 

Horace moves off camera.

 

REPORTER: This is just in -- apparently the police have contacted someone who knows Larry Flinch and will try to talk him into surrendering.

 

INT. STAIRWAY - EVENING

 

Homer is slowly moving up the stairway. Police officers are behind him.

 

HOMER: Hey, Larry! It's Homer!

 

INT. TOP OF STAIRWAY - EVENING

 

Billy is asleep on the floor. Larry responds to Homer.

 

LARRY: You stay out of this, Homer!

 

EXT. BEHIND BUILDING - EVENING

 

Frank is climbing a ladder up to a top-floor window at the rear of the hardware store building.

 

INT. BUILDING - HALLWAY - EVENING

 

Frank comes through the window into the building at the other end of the hallway from the stairway.

 

Frank carefully starts moving down the hallway.

 

INT. TOP OF STAIRWAY - EVENING

 

Larry and Billy are at the top of the stairway. Billy is still asleep on the floor, and Larry is still talking with Homer.

 

INTERCUT CONVERSATION - LARRY AND HOMER

 

LARRY: I mean it, man!

 

HOMER: You're trapped, Larry. There's no way out.

 

LARRY: Then I take the kid with me.

 

HOMER: Don't do that, Larry. You don't know what you're doing.

 

LARRY: I'm not like you, Homer, I don't get lost in a bottle. I know exactly what I'm doing.

 

INT. HALLWAY - EVENING

 

Frank is moving down the hallway. Larry comes into view. And then Billy, asleep on the floor.

 

Frank stops and takes a coin out of his pocket. He tosses it ahead.

 

The coin lands near Larry who jumps and looks around with his gun ready.

 

FRANK: I'm unarmed.

 

Larry turns toward the voice. Now he's threatened on both sides and yanks Billy awake.

 

LARRY: I'm not afraid to kill the kid, everybody understand that?

 

FRANK: I'm unarmed! Just take it easy, okay?

 

FRANK: I have a deal to offer you.

 

LARRY: You got my car?

 

FRANK: I want to trade places with my son.

 

INT. STAIRWAY - EVENING

 

The police officers stand aside as Homer moves back down the stairway, his efforts fruitless. But they aren't ready to make their own move yet.

 

INT. TOP OF STAIRS - EVENING

 

Billy reacts to Larry's grip.

 

BILLY: You're hurting me!

 

FRANK: Billy!

 

LARRY: Hold it right there!

 

Frank puts his hands up and moves toward the top of the stairs.

 

FRANK: I'm unarmed. You can hold me hostage instead. He's just a kid, for Christ's sake.

 

Frank continues moving slowly down the hallway.

 

Frank gets closer and closer.

 

LARRY: How do I know you don't have a gun?

 

FRANK: I just want to trade places with my son.

 

Larry considers this. He's still feeling trapped, with people on both sides.

 

LARRY: Homer, you still down there?

 

There's no answer.

 

FRANK: Let the kid go downstairs, and you can have me instead.

 

LARRY: What kind of trade is that? People around here would love to see your traitor's ass dead, man.

 

INT. STAIRWAY - EVENING

 

The police officers decide it's time to make their move. They slowly start up the stairway, guns drawn.

 

INT. TOP OF STAIRS - EVENING

 

Frank decides he has no choice but to go for it.

 

FRANK: Then you're going to have to shoot me yourself.

 

He keeps moving toward Larry.

 

Larry doesn't like this situation. The closer Frank gets, the more trapped he feels, ever aware that there's a threat down the stairway as well.

 

LARRY: I'm not kidding you, man, I'd blow you away in a minute.

 

FRANK: Be my guest.

 

LARRY: You think I wouldn't?

 

FRANK: I think if you do, it'll give the police time to get you from below.

 

LARRY: I'll shoot your kid you come one step closer.

 

Frank stops. He takes a deep breath.

 

LARRY: You fucking coward, I thought that would stop you.

 

Larry is distracted by a noise below, turning briefly to look down the stairway, and this is enough for Frank instinctively to race forward, diving at Larry's feet.

 

As Larry tumbles to the floor, Billy gets loose and runs off down the hallway.

 

INT. STAIRWAY - EVENING

 

The police, hearing the commotion above, rush up the stairs.

 

INT. TOP OF STAIRS - EVENING

 

Frank and Larry are wrestling, Frank managing to get the gun and toss it aside, then getting Larry in a half-nelson, getting full control of the situation by the time the police officers get to the top of the stairs.

 

The police officers see that Frank has total control of the situation. Several exchange glances, surprised to find Frank there.

 

POLICE OFFICER: Well, I'll be damned. Look who turns out to be a hero.

 

FRONT PAGE OF NEWSPAPER

 

The front page has a headline story and photograph of Frank.

 

The headline reads "Local Father Rescues Son" - under it, a subhead reads "Dramatic ending to tense standoff".

 

INT. WHITE HOME - DINING ROOM - DAY

 

Evelyn is clipping out the article to put in her scrapbook.

 

EXT. WHITE HOME - FRONT PORCH - DAY

 

Evelyn comes out, looking for Horace.

 

EVELYN: Horace?

 

She notices that the garage door is open and heads for the garage.

 

INT. WHITE HOME - GARAGE - DAY

 

Horace is wrapping a small package.

 

Evelyn steps inside the garage.

 

EVELYN: Dear, we're going to be late.

 

HORACE: I'm ready.

 

EVELYN: What's that?

 

HORACE: Going away present for the boy.

 

Evelyn starts to ask and is cut off.

 

HORACE: It's a surprise, mother.

 

EXT. MAIN STREET - BUS STOP - DAY

 

Frank, Billy and Sheri are waiting for the Greyhound bus to arrive.

 

FRANK: I expect a visit sooner rather than later.

 

SHERI: I may be up right after the divorce is final. I think I'll feel like kicking up my heels a little.

 

FRANK: Then we'll expect you.

 

EXT. MAIN STREET - DAY

 

The Greyhound bus is coming through town, approaching the bus stop.

 

Horace and Evelyn pull into the gas station that is the bus stop, stop the car and get out.

 

The bus pulls to the curb.

 

Horace and Evelyn hurry up, and Frank embraces his mother, then Evelyn embraces Billy.

 

Horace approaches Frank.

 

HORACE: I'd like your permission to give Billy this.

 

He shows Frank the package. He leans close to whisper in his son's ear.

 

Frank is touched by what he hears.

 

FRANK: Sure.

 

Horace nods.

 

FRANK: Billy, look what grandpa has for you.

 

Horace stoops and gives Billy the package. He hugs his grandson.

 

BILLY: Can I open it?

 

Horace looks to Frank for permission. Frank nods.

 

Billy quickly rips open the package - and finds Horace's Purple Heart.

 

BILLY: It's a heart.

 

FRANK: A very special heart, Billy. I'll tell you all about it on the way home.

 

Billy gives his grandpa a hug of thanks.

 

FRANK: Come on, guy, we've got to go.

 

Horace stops Frank before he climbs onto the bus.

 

HORACE: Frank -- that was a damn brave thing you did.

 

FRANK: My kid was in trouble. Anybody would've done the same.

 

HORACE: No, not everybody. I'm proud of you.

 

Horace touches and squeezes Frank's shoulder. Frank puts his hand on top of his father's hand on the shoulder. They still can't bring themselves to embrace but this is a start, this is a new beginning for them.

 

FRANK: We've got great fishing in Canada.

 

HORACE: So I heard -- maybe we'll have to come up and check it out. If I can get your mother out of the house.

 

EVELYN: Don't you worry about me.

 

FRANK: Billy would like that. So would I.

 

The bus driver is getting impatient to take their tickets.

 

DRIVER: Time to board, folks.

 

Frank and Billy move onto the bus.

 

EXT. MAIN STREET - BUS STOP - DAY

 

The family is waving as the bus pulls from the curb. In a window, Frank and Billy wave back.

 

Then the bus is moving away down Main Street.

 

EXT. A HIGHWAY - DAY

 

The bus goes down the highway with the magnificent Wallowa mountains in the background, heading north for the long trip to Canada.

 

FRANK: (V.O.) There was a war. There was a war but there were no heroes. Perhaps you remember.

 

FADE OUT.