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Bodies, Rest & Motion (1993)

by Roger Hedden.
Based on a play by Roger Hedden.
Shooting draft.

More info about this movie on IMDb.com


FOR EDUCATIONAL PURPOSES ONLY


THE SCREEN IS BLACK

FADE IN:

INT. SHOPPING MALL - DAY

THE CAMERA LOOKS DOWN ON three levels of escalators 
transporting a smattering of Southwestern shoppers -- some 
in cowboy hats.

AS CREDITS ROLL

A SERIES OF ANGLES of shoppers being conveyed up and down.

							CUT TO:

EXT. ARIZONA DESERT - SUNSET

A beautiful vista -- cacti and sage dot the landscape as it 
rises to mountains in the distance.

END CREDITS

THE CAMERA PANS revealing an island of modern culture -- 
malls and more malls, parking lots, and fast food franchises.

FADE IN TITLE: ENFIELD, ARIZONA

A brown Pinto pulls out of a parking lot and into rush hour 
traffic.

INT. PINTO - DUSK

BETH WALKER is driving. She looks younger, but she's twenty-
eight. She has a strong face and flashing intelligent eyes. 
She's wearing a WAITRESS UNIFORM from Friendly's. She's deep 
in thought.

Beth pulls up to stoplight and stops.

SOUND: A gentle toot of car horn.

Beth looks up, startled.

BETH'S POV

SID, a pleasant looking twenty-four year old, is in a pick-
up truck next to her. He smiles and points up toward the 
traffic light.

BETH

She looks up toward the traffic light.

TRAFFIC LIGHTS

They're red except for one with a lit green arrow.

BETH AND SID

She pantomimes that she's in the wrong lane and wants to go 
straight.

Sid pantomimes that he'll let her cut in front of him.

SOUND: Horns honk impatiently.

THE INTERSECTION

Beth pulls away in front of the pick-up truck. The HONKING 
continues. Sid looks back at the honking car, cheerfully 
waves to it.

							CUT TO:

EXT. CAROL'S HOUSE - NIGHT

A tiny well-kept Spanish style home in lower middle class 
residential section.

INT. CAROL'S LIVING ROOM - NIGHT

It's neat and smartly furnished -- discount Swedish modern, 
framed deco posters, some nice plants. The only problem is 
it seems a little more like a well-designed waiting room 
than a home.

There's an empty ice bucket, several empty liquor bottles, 
and a swinging metal ball thingabobby on a chrome and glass 
coffee table in front of leather sofa.

CAROL AND NICK are curled up together on the sofa, drinks in 
hand.

They're both in their late twenties. Carol's dressed in the 
casually stylish clothes worn by women who work in shopping 
mall boutiques.

Nick's clothes are frumpled, a knit tie loose around his 
neck. They've achieved a state of contemplative drunkenness.

Carol sips her drink. Nick sips his drink. Carol sips her 
drink. Nick brings his glass to his lips, hesitates...

			NICK
		(flatly)
	We're moving.

			CAROL
	What?

			NICK
		(enunciating)
	We're going to move.

			CAROL
		(after a beat)
	When?

			NICK
	Two days.

			CAROL
	In two days?!

			NICK
	Yeah.

Carol shakes her head in weary disbelief.

			CAROL
		(covering her hurt)
	Thanks for the news...

She knocks back her drink. Nick broods.

			NICK
	I haven't known for long. I just 
	decided.
		(ruminating)
	What do I need that makes me make 
	these decisions?

Carol stares at him. He knocks back his drink.

			CAROL
	You got me.

She pours herself another drink.

			CAROL
	What does Beth say?

			NICK
	Beth?...

							CUT TO:

INT. BETH'S CAR - NIGHT

She stops at an intersection.

			NICK (V.O.)
	Whatever makes me happy. That's what 
	she says...

Headlights flash from behind her. She turns and looks.

BETH'S POV

Sid's smiling from his truck right behind her. He flashes 
his lights again.

INT. BETH'S PINTO

Beth looks up in the rearview mirror, amused.

REARVIEW MIRROR

Sid turns off, disappearing into the night.

BETH

Surprised to find herself vaguely disappointed, she drives 
on.

							CUT TO:

INT. CAROL'S KITCHEN - CONTINUOUS

It's small, prefab, and tidy. It has a counter with shutters 
that open onto the living room. Nick is kneeling, going 
through bottles in a cabinet.

			NICK
		(w/ drunken desperation)
	I know this place.

Nick stands, with an almost empty bottle of Johnny Walker 
Red.

			NICK
	I know what happens here.

He pours himself a drink. Carol shuts the cabinet.

			NICK
	I know what's going to happen.

Nick opens a cabinet under the sink and tosses the empty 
bottle in the trash. He begins to pace. Carol shuts the 
cabinet and follows him with her gaze.

As Nick speaks, he gestures grandly with his drink, liquor 
splashing unnoticed over the sides.

			NICK
		(bursting with 
			frustration)
	The same job, same scenery, same 
	people... I've been in this town for 
	years... Years!!

			CAROL
		(flatly)
	Three years.

			NICK
		(in despair)
	Oh, Carol...

			CAROL
	I know...

He stops and slugs back his drink.

			NICK
	Forever -- it seems forever.

							CUT TO:

INT. BETH'S PINTO - CONTINUOUS

Beth pulls up to a stoplight, her face blank with thought. 
She's suddenly lit by the flash of headlights going on and 
off. She looks up and smiles.

EXT. INTERSECTION - CONTINUOUS

Sid's pick-up truck is facing her across the intersection. 
It slowly pulls up beside her and stops.

He smiles and gives a little wave of his hand.

Without knowing why, she smiles and waves back.

			BETH
		(sweetly but firmly)
	Good-bye.

She drives away. Sid stares after her.

							CUT TO:

INT. CAROL'S LIVING ROOM - CONTINUOUS

Carol lifts the end metal ball on the thingabobby and releases 
it, starting the chain reaction. She stares at it clacking 
back and forth as she speaks.

			CAROL
	How long a drive is it?

Nick paces.

			NICK
	Fourteen hours.

			CAROL
	That's not bad.

			NICK
	In a car? It's a fuckin' nightmare.

Carol stops the metal ball. She releases two balls, starting 
a new chain reaction.

			NICK
		(griping)
	And there's no radio in Utah. It's 
	all religious programs.

			CAROL
	Get saved.

Nick slumps on the sofa beside her.

			NICK
		(flatly)
	No thanks.

			CAROL
	Hey. Think about this. You take a 
	detour and go through Vegas -- you 
	and Beth stop, see a show, have a 
	nice romantic dinner -- play the 
	slots, get the free drinks...

			NICK
		(interrupting)
	Too much money. The show. The meal. 
	The slots. Then the hotel -- that's 
	another hundred down the toilet.

As Carol speaks she pokes at Nick. He fends off her blows. 
By the end of her speech she is on top of him mock-strangling 
him.

			CAROL
		(jabbing Nick)
	No, you skip the hotel. It's night, 
	the highway's empty -- you can make 
	good time. You start speeding. You 
	get stopped in Utah by the cops -- 
	you flunk the breathalizer, they 
	haul you in. The judge is Mormon -- 
	you get fifteen years, you go to 
	prison, but at least your life has 
	taken a direction!

Nick and Carol collapse into laughter. The front door opens.

			BETH
		(calling in)
	I'm here!

Beth steps in. Carol quickly lets go of Nick's neck and gets 
off him.

NICK AND CAROL

Embarrassed, they both smile self-consciously.

There's an awkward instant followed by too much cheerfulness.

			CAROL
		(chipper)
	Hi!

			NICK
	Hi, honey.

			CAROL
	Hi.

BETH

stands in the doorway, awkwardly conscious of having 
interrupted something.

			BETH
		(w/ forced cheer)
	Hi.

							CUT TO:

EXT. FRONT LAWN - NIGHT

Nick and Beth are standing in the lawn, lit by the glow of 
the porch lamp.

Both sides of the street are lined with nearly identical 
tiny faux Spanish houses.

			BETH
	G'night.

THE FRONT DOORWAY

Carol waves.

			CAROL
	G'night.

ANOTHER ANGLE INCLUDING NICK, BETH, AND CAROL

			NICK
		(calling out)
	Pizza Hut, tomorrow?

			CAROL
	Okay.
		(to Beth)
	I've got the short shift -- you want 
	me to come over, help pack?

			BETH
	Great... I'm really sorry we didn't 
	tell you sooner. He just decided.

CAROL

smiles to herself, a trace of sadness in her eyes.

			CAROL
	I understand.

She shuts the door.

NICK AND BETH

She starts to walk across the lawn. She stops and stares at 
Nick, who's staring out into the night, oblivious to her.

			BETH
	I'm tired. I'm going to bed.

He turns and looks at her.

			NICK
	What's your problem?

			BETH
	I haven't got a problem.

			NICK
	Okay.

He walks up to her and past her -- when she doesn't fall 
into step, he stops.

			NICK
	You agreed to try Billings.

			BETH
	I know.
		(in Nick's words)
	Billings, Montana. City of the future.

			NICK
	Yeah and I read that a while ago -- 
	so the future's probably already 
	there.

She smiles and shakes her head.

			NICK
		(defensively)
	It's not like you're leaving anything 
	behind. A good job or something.

			BETH
	Just some friends.

He puts his arms around her waist from behind, and nestles 
her against his body.

			NICK
	You'll make new friends.

			BETH
	I know.
		(after a beat)
	I'm not eight years old. I know I'll 
	make new friends.

			NICK
	Then what is it?

She pulls away from him and starts walking to the house next 
door. He falls into step with her.

			BETH
		(uncomfortably)
	I, umm... I... It embarrasses me. 
	When you talk about something with 
	Carol that happened before me. She's 
	my best friend. It embarrasses me 
	that you used to live with her.

			NICK
	That was years ago.

			BETH
	Three years.

			NICK
	That's right.

			BETH
	I know...

			NICK
	And we're moving. She won't be your 
	best friend anymore.

They arrive at their front door. Beth takes out her keys. 
Nick stops her hand and kisses her. She kisses him back.

			NICK
	Living with someone isn't such a big 
	deal.

She nods and looks to the lock.

			NICK
	Anyway... I live with you now.

Beth looks to Nick. He stares out at the night.

							CUT TO:

CLOSE-UP: COFFEE-MAKER

The coffee-maker clock hits nine o'clock. The coffee maker 
clicks on with a rattle. Steam starts to spew out.

The coffee-maker makes horrible gurgling sounds.

INT. KITCHEN - CONTINUOUS

The kitchen is small and a little grimy, its furnishings 
fatigued.

Nick stares at the coffee-maker in disbelief. He's dressed 
in a dress shirt, untied necktie, and slacks. He's carrying 
a sportscoat with a Sears' employee name-tag attached.

			NICK
		(calling out)
	Beth!... Beth!!

Beth walks into the kitchen, wearing a robe and carrying the 
paper.

Nick points accusingly at the coffee maker as water pours 
down from around its top.

			NICK
	It's... it's raining!

			BETH
	It does that.

She drops the paper on the kitchen table and gets a mug off 
the counter.

			NICK
	Since we got it?

			BETH
	No.
		(pouring herself a 
			cup)
	Lately.

			NICK
		(throwing his jacket 
			on a chair)
	Shit.
		(agitated)
	What's wrong with it?

			BETH
	Water comes out.

			NICK
	Shit.
		(unplugging the coffee 
			maker)
	I hate this shit! It never kept the 
	coffee hot. And now this.

He angrily wraps the cord around the coffee-maker.

			BETH
		(blowing on her coffee)
	It still works.

			NICK
		(adamant)
	No. It doesn't. Water comes out.

			BETH
	Okay.

She sips her coffee. She flips open a box of Dunkin' Donuts.

			NICK
	I could've gotten a new one. On my 
	discount. Now it's too late.

			BETH
	Do you want a donut?

			NICK
		(exasperated)
	No. I want an appliance that works.

Beth shrugs and takes a donut out of the box. She leans 
against the counter, eating the donut.

Nick walks past Beth and jams the coffee maker into the trash.

			NICK
	This coffee maker was junk.

Nick pushes a button on the blender. It makes a horrible 
GRINDING WHINE. He unplugs it.

			NICK
	This blender's junk. Our t.v. is 
	junk!

He jams the blender into the trash.

			NICK
	I don't know why we're even bothering 
	to pack.

			BETH
		(through a mouthful 
			of donut)
	You got me.

			NICK
	The t.v. gets no channels.

			BETH
	And it's fifteen inch.

			NICK
		(shaking his head)
	I can't believe we don't have a big 
	t.v.

			BETH
	We don't watch much.

			NICK
	But at our age...

They stare at each other. Nick picks the almost full pint 
bottle of scotch off the counter and puts it in his jacket 
pocket. Beth takes another donut.

			BETH
	Why don't you take one?

			NICK
	I'm not hungry.

			BETH
		(offhandedly)
	Not a donut. A t.v.

			NICK
	Take a t.v.?

			BETH
	It's your last day.

			NICK
	Like a bonus.

			BETH
	Yeah.

							CUT TO:

EXT. NICK AND BETH'S CARPORT - MINUTES LATER

Beth is holding a donut and her coffee mug. Nick tosses his 
jacket into the front seat of his old sedan.

			NICK
	I might do it.

			BETH
	I say do it.
		(after a beat)
	Sears can afford to give you a bonus.

			NICK
	Maybe they are.

			BETH
	What do you mean?

			NICK
	Maybe when I get my check today, 
	there'll be a bonus in it.

			BETH
		(evenly)
	Nick. They fired you.

			NICK
	Yeah...

			BETH
		(flatly)
	There's no bonus.

			NICK
	Yeah... That's true.
		(shaking his head)
	And I sold a lot of teevees for 
	them...

Beth sips her coffee, waiting for Nick to decide.

			BETH
		(calmly)
	You should take a t.v.

Nick looks at his watch.

			NICK
	I should go.
		(sarcastically)
	Don't wanna be late on my last day.

He kisses Beth, surprising her. He presses against her. He 
takes the donut from her hand and takes a bite.

Beth kisses Nick, his mouth still full of donut.

			BETH
	Mmmmm...

He kisses her fully, then breaks the kiss.

			NICK
	I gotta go.

							CUT TO:

EXT. MALL PARKING LOT - MORNING

About hundred cars dot the vast parking lot.

Nick swings into a parking spot and gets out of the car. He 
tosses his jacket on the roof and crouches, tieing his necktie 
using the car's outside mirror.

			MAN'S VOICE
	You livin' in your car or what?

NICK'S POV - IN THE MIRROR

CHIP, a big redheaded guy in his late thirties, wearing a 
jacket and tie, is grinning at the crouched Nick. Nick's 
reflection grins back.

			NICK
	Just waiting for the last second to 
	put on the noose.
		(tightening the tie)
	So Chip -- what's new?

NICK AND CHIP

Nick straightens up and grabs his jacket. They start walking 
toward the mall.

			CHIP
	Nothing much.
		(broaching the subject)
	I heard you're leaving.

			NICK
	Yeah. I'm outta here.

They approach the employees entrance.

			CHIP
	They can you?

			NICK
	That's what they think.

			CHIP
	Yeah?

			NICK
	I was gonna quit anyway -- this way 
	I get unemployment.

			CHIP
	Good deal.

Nick opens the door.

			NICK
	Yeah... recession insurance...
		(Chip enters)
	This way I'm not stuck waiting around 
	for the lay-offs to start.

Nick follows Chip in.

			CHIP
		(a hint of panic)
	Lay-offs?

The door shuts behind him.

							CUT TO:

CLOSE-UP - NEWSPAPER

The front page of the Phoenix Sun-Times -- the headline reads 
"Misery Index Soars".

Beth's hand comes INTO FRAME and crumples the page.

INT. KITCHEN - MORNING

Beth stuffs the paper in a glass and wraps the glass in 
another piece. She's sitting on the floor, surrounded by 
dishes, newspaper, and cardboard liquor boxes. She adds the 
wrapped glass to a box.

She hears the SOUND of a CAR DOOR SLAMMING, looks up, then 
returns to her packing. She reaches behind herself into the 
trash, pulls out the blender, and begins to wrap it.

At the SOUND of the FRONT DOOR opening, followed by a curious 
METALLIC CLUNKING, she stands and hurries through the swinging 
door to the living room.

INT. LIVING ROOM - CONTINUOUS

The living room is sparsely furnished -- a sofa, a coffee 
table, a bookcase cluttered with a handful of paperbooks, a 
couple of boardgames, a dying cactus, etc. A crappy old 
fifteen inch t.v. on a t.v. tray. WE SEE this for a moment 
before...

A paint-splattered cloth is unfurled FILLING THE SCREEN.

It gently floats down, revealing a PAINTER and his shopping 
cart overloaded with supplies. He's dressed in paint-
splattered clothes. A paint-splattered Red Sox cap is pulled 
low over his eyes, obscuring his face.

Beth stares in disbelief. Without seeing her, the painter 
backs up, his attention focused on spreading the dropcloth.

			BETH
	Who are you?

			SID
		(not looking up)
	The painter.

			BETH
		(agitated)
	What are you doing?

			SID
	Painting.

The painter looks up from the drop-cloth, ready to deal with 
this obstacle. He freezes. His face lights up.

It's Sid.

			SID
		(extremely pleased)
	Well, good morning...

			BETH
		(recognizing him)
	You...

			SID
		(extending a hand)
	Sid. Nice to see you again.

Beth stares in agitated disbelief.

With his untaken extended hand, he pulls a long strip of 
masking tape from a roll around his wrist, masking one side 
of the door frame from top to bottom.

			BETH
	Why are you here?

			SID
	Realty office likes a fresh coat 
	between tenants.

			BETH
		(pointedly)
	We're still here.

He stands on his tiptoes and puts a strip of masking tape on 
the top edge of the doorframe.

			SID
	I've done this house before.
		(admiringly)
	I did a nice job.

He masks the remaining side of the door frame.

			BETH
	Can't you come back tomorrow?

			SID
	Tomorrow's Sunday.

			BETH
	Yeah...?

			SID
	The new people move in on Sunday.
		(conversationally)
	Where are you moving to?

			BETH
		(wearily)
	Billings, Montana.

Sid moves to a window.

			SID
		(incredulous)
	Why?

			BETH
	It can't be worse than Enfield, 
	Arizona.

Sid pulls a strip of tape off the roll.

			SID
		(smiling)
	I've lived in Enfield my whole life.

He holds out the end of the masking tape.

			SID
	Could you hold this?

Beth takes it. He walks backwards, easing a long strip of 
tape off the roll.

			SID
	I use this to mask. Have you ever 
	used masking tape to mask?

He tears the tape off the roll and sticks it to the top of 
the baseboard in one corner.

			BETH
	No. I haven't.

Crouched, he waddles across the room toward Beth, applying 
the masking tape to the baseboard. He gets to Beth, stands 
up, takes the tape off her fingers, and presses it into place.

			SID
	A house like this, it's real easy. 
	Hardly needs a paint job.

			BETH
	You can skip it. I won't tell.

			SID
	It needs a fresh coat...

He hands her the end of the tape again and begins another 
baseboard.

			SID
	...a little color.

			BETH
		(naturally curious)
	What color is it gonna be?

			SID
	Off-white.

He goes along the floor pressing the masking tape to the 
baseboard.

			BETH
	It's already off-white.

			SID
	No. It's white. It's just dirty.

Beth looks at the walls. He's right.

			SID
	Now if it was my house, I would choose 
	a color...

Beth kneels down, holding the tape, as he arrives at her end 
of the wall.

			SID
	I would not choose off-white.

Beth holds out the tape. They are kneeling next to each other.

			BETH
	What would you choose?

			SID
	The color of your eyes.
		(pause, without looking)
	Hazel.

Beth stares at Sid. Sid looks to Beth. Smiling, he takes the 
tape from her fingers.

							CUT TO:

EXT. PIZZA HUT - AFTERNOON

An oasis in the center of a packed mall parking lot. Carol 
hurries toward the front entrance in a snappy skirt and blazer 
combo, a Bullock's name tag attached to her lapel.

INT. PIZZA HUT - CONTINUOUS

Nick is sitting at a booth, a beer in front of him, lost in 
thought.

Carol arrives, drops a gift-wrapped box on the table, and 
scoots into the booth.

			CAROL
	Sorry I'm late, the new girl's a 
	moron.

			NICK
		(looking to the present)
	What's that?

			CAROL
	Going away present.

Nick takes it.

			NICK
	Thanks.

He quickly unwraps it.

			NICK
		(happily)
	A map!

			CAROL
	I thought you might need it.

			NICK
		(unfolding it)
	I do! I had a map -- I lost it.

He spreads the map out over the table.

			CAROL
		(organized)
	Let's highlight your route.

A MAP

of the Western half of the U.S.A. fills the FRAME. Carol's 
hand, holding a bright red felt-tip pen, ENTERS FRAME.

			CAROL (O.S.)
	Here's Enfield.

She circles it. Nick's finger ENTERS FRAME.

			NICK (O.S.)
	Here's Billings.

Carol circles Billings. Nick's finger starts to trace the 
route.

Carol's pen follows, marking the route. Halfway to Billings, 
Nick's finger abruptly stops. Carol stops the pen at the 
same point.

			NICK (O.S.)
	Look at this -- right there -- that's 
	the town I was born in.

NICK AND CAROL

He looks to her for a reaction.

			NICK
		(emphatically)
	Where I grew up. Where my parent's 
	live... Isn't that a coincidence?

			CAROL
	Visit them.

			NICK
		(shaking his head)
	Oh... no...

			CAROL
	You're going to be driving by.

			NICK
	No...
		(shaking his head)
	They're not near the interstate.
		(sort of chagrined)
	I haven't even called them in years.

			CAROL
	You might as well visit.

			NICK
		(adamantly)
	No.
		(shrugging)
	I wouldn't know them.

Nick starts to fold the map -- very unsuccessfully.

			NICK
	Shit.

			CAROL
	Let me.

Nick hands her the map. She deftly folds it in one motion 
and hands it back to him.

			NICK
	Thanks.

He leans over the table and kisses her. She stands.

			CAROL
	I'm starved.

							CUT TO:

INT. BETH AND NICK'S LIVING ROOM - AFTERNOON

Two of the walls gleam with fresh paint.

Sid is painting with long-handled roller.

Beth, enters, hesitates, and then -- consciously ignoring 
him -- walks by with a packed box and adds it to the stack 
by the front door.

			SID
	I'm lucky I don't have to kill them.

			BETH
		(not a line she was 
			expecting)
	What?

			SID
	If they were dark, I'd have to put a 
	layer of kill down first.

Beth starts back to the kitchen. Sid and THE CAMERA FOLLOW.

			SID
	So the dark paint wouldn't shine 
	through the off-white.

INT. KITCHEN - CONTINUOUS

The dishes are mostly packed.

			BETH
	Oh.

She picks up two empty liquor boxes.

			SID
	Kill's an oil based paint.

Beth carries the boxes out of the kitchen -- Sid and THE 
CAMERA FOLLOW.

INT. LIVING ROOM - CONTINUOUS

Beth walks right on through followed by the talking Sid and 
THE CAMERA.

			SID
	It covers the old paint so that you'd 
	never know it was there, but it gives 
	off fumes when it's drying.

Beth goes into the small hallway, Sid and THE CAMERA FOLLOW.

INT. HALLWAY - CONTINUOUS

Beth walks toward the bedroom, Sid right behind her.

			SID
	Noxious fumes. They would find us on 
	the floor unconscious.

They enter the bedroom, THE CAMERA FOLLOWING.

INT. BEDROOM

There's a queen-sized bed, a bureau, a mirror, and a closet.

Beth takes the boxes to the closet.

			BETH
	They?

Sid sits on the bed, checking it's firmness.

			SID
	The "they" that find people...

			BETH
		(interjecting)
	Nick.

			SID
	...unconscious.

			BETH
		(flatly)
	Nick.
		(after a beat)
	The man I live with.

			SID
		(smiling)
	I guess he'd be the "they".

			BETH
	He'd find us. And he'd be surprised.

Sid gets off the bed and with a grin, gingerly pats out the 
wrinkles he's made in the bed spread.

							CUT TO:

EXT. MALL PARKING LOT - AFTERNOON

Nick and Carol are walking away from the Pizza Hut, across a 
huge parking lot, toward a large mall. Cars circle past them, 
searching for close spots.

			NICK
		(doggedly)
	It was the drive that killed us. San 
	Antonio to Seattle is just too many 
	hours in a car. If we'd have flown, 
	we would've made it.

			CAROL
		(shaking her head)
	No...

			NICK
	Things were all right in bed.

			CAROL
	But the rest of the time they were... 
	awful.

			NICK
		(hurt)
	Really?

			CAROL
		(flatly)
	Nick. We couldn't stand each other. 
	We stopped in Enfield and just stayed.

			NICK
		(after a beat)
	Why didn't you go on to Seattle? It 
	was your car.

Carol stops. On her face, the answer to his question is clear -- 
she was stuck on Nick then and she's still stuck on him now.

But she'd never let him know that.

			CAROL
		(dryly)
	Big trees scare me.

She starts walking. Nick hurries up beside her. They walk 
side by side for a few paces before the shotdown Nick comes 
up with a new ploy to win favor.

			NICK
		(casually)
	I'm thinking about stealing a t.v.

							CUT TO:

INT. NICK AND BETH'S BEDROOM HALLWAY - AFTERNOON

Beth's taking extra sheets and towels from the linen closet 
and packing them in liquor boxes.

Sid enters from the living room.

			SID
		(cheerfully)
	I'm done in there. I won't paint the 
	ceiling 'til you've moved the 
	furniture out.

			BETH
	I don't think we're going to take 
	much of the furniture.

			SID
	No?

			BETH
	It's ugly.

			SID
	I kind of like the sofa.

			BETH
	It's a sofa bed.

			SID
	You're not going to take it?

			BETH
		(flatly)
	It weighs two thousand pounds.

			SID
	Can I have it?

			BETH
	It's yours.

			SID
	Excellent.

INT. THE LIVING ROOM - CONTINUOUS

The furniture is kind of ugly, but the walls look great. The 
whole room seems brighter, almost magically more cheerful.

Sid runs into the room and flops onto the sofa. He settles 
in and sighs contentedly.

The front door BURSTS open. Sid leaps up.

Carol races into the room.

			CAROL
		(excited)
	Nick's gonna steal a t.v.!

She sees Sid and freezes.

			CAROL
	Who are you?

			SID
	The painter.

Beth hurries into the living room.

			BETH
		(excitedly)
	He's really gonna do it?

			CAROL
	He says yes.

Carol glances pointedly at Sid then returns her attention to 
Beth.

			CAROL
		(conspiratorilly)
	We've got to talk.

			SID
		(piping in)
	About the crime?

			CAROL
		(sharply)
	There's no crime.

			SID
	Nick's gonna steal a t.v.

			CAROL
	That's just an expression.

			SID
	I've never heard that expression.

			CAROL
		(witheringly)
	It's making the rounds. College 
	students use it.

			SID
		(to Beth)
	Where's he stealing it from?

			BETH
	Sears.

			CAROL
		(incredulous)
	You want him to know?

			BETH
	He knows. He doesn't care.
		(to Sid)
	Do you care?

			SID
		(enthusiastically)
	I'm interested. Crime's interesting. 
	I read the papers.

			BETH
	It's not a crime.

			CAROL
	It's justice.

			BETH
	Poetic justice.

			SID
	How?

			BETH
	They fired him.

			SID
		(deducing)
	He's got motive.

			CAROL
		(exasperated)
	Who is this guy?!

			BETH
	The painter.

			SID
		(helpfully)
	Sid.

He holds out a hand to shake. Carol stares at his outstretched 
hand.

			CAROL
		(point blank)
	No.

Carol takes Beth by the arm and leads her away from Sid. She 
stares back over her shoulder at Sid.

Taking the hint, he begins to stir a can of paint, assuming 
an air of indifference. Carol turns her attention back to 
Beth.

			CAROL
		(purposefully)
	He needs you at the store.

			BETH
		(tinged w/ apprehension)
	He needs me?

							CUT TO:

INT. SEARS TELEVISION DEPARTMENT - CONTINUOUS

Nick is standing next to RORY, a precocious eight year old 
boy who's staring at a soap opera on a big screen t.v. As 
Nick and Rory talk, the soap ACTOR and ACTRESS passionately 
embrace.

			NICK
	You lookin' or buyin'?

			RORY
	Lookin'. I hate television.

			NICK
	Yeah. What do you like?

			RORY
	Movies.

			NICK
		(shaking his head)
	No...

			RORY
	I do.

			NICK
		(laying it out)
	You see... you go to a movie, you're 
	there.

Rory listens attentively.

			NICK
	You watch t.v., you're thirteen places 
	at once. As many channels as you 
	get, that's as many places as you 
	are. You get cable? You're forty 
	places at once. You get a satellite 
	dish?...

			RORY
	You're all over the world.

			NICK
	Exactly.

In the BACKGROUND, on the big screen t.v., the soap actress 
breaks the embrace and points a gun at the actor.

			NICK
	You're everywhere.

The soap actress shoots the actor. He stares at her in 
overacting disbelief and slumps to the floor.

			NICK
	It's called freedom.

							CUT TO:

INT. BETH'S LIVING ROOM - CONTINUOUS

Carol watches as Sid whistles cheerfully, ripping the long 
strips of masking tape off the trim.

			CAROL
		(w/ attitude)
	This is what you do?

			SID
	I also mow lawns.

			CAROL
	Which is your career?

			SID
	Painting. I'm an inside person.
		(confidentially)
	Mowing grass is seasonal.

			CAROL
		(dryly)
	That is true.

Sid wads the tape into a big ball.

			SID
		(disarmingly)
	You've got a nice tan.

			CAROL
		(not disarmed)
	I work on it.

Sid shoots the tape ball into his shopping cart of supplies.

			SID
	Do you want to get stoned?

Carol thinks for a moment. It's been a long time and she's 
not crazy about him being there.

			CAROL
		(after a beat)
	Yeah.

Sid takes a joint out of his shirt pocket.

			SID
	This kind of painting -- for people 
	I won't know -- it's boring.
		(lighting the joint)
	It's not very good. It's homegrown.

He takes a drag.

			CAROL
	Yeah?

			SID
	But it'll get you fucked up.

He hands the joint to Carol.

CAROL

takes a drag on the joint like an old pro.

			SID (O.S.)
	It'll take you someplace.

Carol chokes back wheezes and then explodes in a coughing 
fit.

							CUT TO:

INT. APPLIANCE CENTER - LATER

Nick and MAJOR JENKINS, a uniformed military man in his late 
forties, are standing in front of a wall of silent color 
televisions. On the t.v.s a nearly identical pairs of LOCAL 
ANCHORS smile their way through the news.

			NICK
	Have you thought about American?

			MAJOR JENKINS
	No.

			NICK
	I own an American set. I'm very 
	satisfied.

			MAJOR JENKINS
	I want Japanese.

			NICK
	I'll tell you...

Nick put his arm around the man's shoulder and guides him 
toward a display case.

			NICK
	...the thing is, a hundred and fifty 
	dollars gets you very little in the 
	way of Japanese technology.

			MAJOR JENKINS
	Oh.

They stop at the case. Nick points.

			NICK
	It would get you that t.v.

CLOSE-UP

A tiny two inch Casio television playing "Gilligan's Island".

NICK AND JENKINS

Nick looks to see the Jenkin's reaction. Jenkins stares 
dumbfounded at the tiny t.v. He looks to Nick.

			MAJOR JENKINS
	It's for my parents.

			NICK
	Your parents?

			MAJOR JENKINS
	Yes. They live with me...

Beth enters the FRAME. Nick doesn't see her.

			MAJOR JENKINS
	...and they want Japanese.

Nick stifles a strange urge to giggle. Beth tries to subtly 
get Nick's attention.

			MAJOR JENKINS
	Is there a problem?

			NICK
		(controlling the 
			giggles)
	No... I, uh, just never think of 
	adults as having parents.

			MAJOR JENKINS
		(flatly)
	They do.

			NICK
		(agreeably)
	I know...

Beth fake coughs to get his attention. Nick sees her.

			NICK
	I'm an adult, I have parents.

Nick turns to Beth with a burst of salesman cheer.

			NICK
	Oh, Miss, I've got your receipt!

Beth approaches them, still not sure what Nick's up to.

			BETH
		(acting cheerful)
	Oh... great!

Nick holds out the receipt.

			NICK
	This is all you need.

Beth takes the receipt.

			BETH
		(puzzled, but playing 
			along)
	Thanks...

			NICK
		(personably)
	Now you just take this receipt out, 
	give it to the guys at the loading 
	dock and they'll give you your brand 
	new beautiful television set.

			BETH
		(thrown)
	I get the t.v...?

			NICK
		(cheerfully)
	Out back. They'll help load it in 
	your car and everything.

			BETH
		(flatly)
	I get the t.v.

			NICK
	Out back.

Nick turns his full attention to the man.

			NICK
	Think about American. They're mostly 
	Japanese parts anyway.

Beth stares at Nick, amazed that he's managed to come up 
with a plan that has her taking the television.

			BETH
	Excuse me, I just...

			NICK
		(interrupting, 
			pleasantly)
	Miss... I'm helping this customer 
	here, perhaps you might...
		(firmly, a salesman's 
			put-off)
	You might want to see someone else.

			BETH
		(pointedly)
	You can't help me?

			NICK
		(after a beat, then 
			w/ finality)
	Not really.

							CUT TO:

INT. SEARS - CONTINUOUS

Beth rides down on the escalator, the receipt clenched in 
her hand, surrounded by other shoppers, as a tinny Muzak 
version of the "Theme from The Mary Tyler Moore Show" drones 
on in the background.

Conflicting emotions cloud her face.

							CUT TO:

CLOSE-UP - A HUGE T.V. BOX

			SID (O.S.)
	How'd you do it?

			BETH (O.S.)
	Nick sold a demo, wrote it up like a 
	new set, and gave me the receipt.

As Sid's jacknife ENTERS FRAME and zips through the packing 
tape, THE CAMERA PULLS BACK to reveal...

INT. LIVING ROOM - CONTINUOUS

The sun is low, giving the room a golden glow.

Sid and Beth are sitting on the sofa, the t.v. box on the 
floor in front of them.

Sid opens the television box. Slowly, he pulls out the sheets 
of bubbled packing plastic. He pops several of the bubbles.

			SID
		(savoring the bubble 
			plastic)
	Excellent.

			BETH
	Maybe I should just leave it packed...

			SID
	C'mon! You stole it. You gotta see 
	it! Hold the box.

Beth holds the box. Sid starts to lift out the television.

			SID
		(urgently)
	Wait!

Beth looks to him, anxiously.

			SID
	I thought I heard the police.

Beth listens, nervously. Sid grins.

			BETH
	Ha ha ha.
		(an amused realization)
	You're stoned!

			SID
		(innocently)
	Me?

			BETH
	You're being silly and you've got 
	bunny eyes.

Embarrassed, Sid pulls Visine from a pocket and drips it in 
his eyes as he speaks.

			SID
	I'm a little stoned... not that 
	stoned.

			BETH
	No?

			SID
	No.
		(after a beat)
	Carol's really stoned.

			BETH
	You got Carol stoned?

			SID
	Very stoned.

			BETH
	I didn't think she liked you.

			SID
	She doesn't. But she likes getting 
	stoned.

			BETH
		(smiling)
	She does.

			SID
	There's nothing like drugs to create 
	a quick and shallow friendship.

Beth laughs.

			SID
		(rubbing his hands)
	Let's look at the loot.

Sid pulls the t.v. up and out of the box. He sits back on 
the sofa, the t.v. in his lap.

The t.v. is spectacular -- huge, metallic, and ultra-modern.

			SID
		(very impressed)
	Jesus... you didn't fool around.

			BETH
		(w/ mixed emotions)
	This is the nicest thing I've ever 
	owned.

Beth stares at the television. Sid stares at Beth. She meets 
his eyes, then looks quickly back to the television.

							CUT TO:

INT./EXT. SEDAN - ENFIELD'S MAIN DRAG - DUSK

Nick is driving. His face is beaded with sweat as he drags 
heavily on a cigarette. He pushes the buttons on his radio, 
getting NEWS BROADCASTS.

			NEWSMAN'S VOICE
	And in Canton, Ohio today, a man 
	opened fire in a mall, killing nine 
	and wounding seventeen others. Initial 
	reports indicate the young man was a 
	disgruntled employee...

Nick turns the radio off.

He pulls the scotch bottle from his jacket and takes a slug.

He jerks his necktie loose and slips it over his head. He 
tosses it into the back seat.

NICK'S SEDAN

swerves into a vast mall parking lot.

EXT. MALL PARKING LOT - MINUTES LATER

Through the flow of traffic, WE SEE Nick standing at a 
payphone on the outside wall of a Red Lobster Restaurant.

Nick speaks urgently into the phone, punctuating his 
conversation with edgy body language. Abruptly, he hangs up.

							CUT TO:

INT. CAROL'S KITCHEN - CONTINUOUS

Carol hangs up a wallphone. She leans against the 
refridgerator, her expression a controlled blank. She turns 
her head and looks out her kitchen window.

CAROL'S POV

Through Nick and Beth's living room window, WE SEE Sid 
struggling under the weight of the t.v. as Beth laughingly 
gestures where she wants it.

							CUT TO:

INT. BETH AND NICK'S LIVING ROOM - CONTINUOUS

Beth and Sid are kneeling on the floor in front of the t.v.

Playing on the t.v. a rock video featuring girls, guitars, 
and the endless highway.

			BETH
	It's a beautiful picture.

Sid takes the remote from Beth and turns the VOLUME UP very 
loud.

			SID
		(enthusiastically)
	Nice speakers!

Carol enters through the front door, unseen by the mesmerized 
t. v. viewers.

			BETH
		(happily)
	Yeah!
		(w/ happy disbelief)
	Fuckin' Nick...

Sid and Beth stare at the television, completely engrossed. 
Carol stares at them for a long moment.

			CAROL
		(over the din, dryly)
	Hi, kids.

Startled, Sid and Beth jump back. They look at each other 
and laugh.

			BETH
		(cheerfully)
	Come see!

Beth turns the VOLUME DOWN as Carol comes and looks at the 
t.v.

			CAROL
		(impressed)
	I should have had him steal me one, 
	too.

			BETH
	You can come over and watch.

Carol looks to Beth, a quizzical expression on her face.

			SID
		(to Beth, quietly)
	You're moving.

			BETH
		(w/ a tinge of sadness)
	Oh. Right.
		(to Carol)
	Sorry.

			CAROL
	Forget it...

Beth turns off the t.v. There's a moment of awkward silence 
as they all stare at the blank screen.

			CAROL
		(breaking the silence, 
			pointedly)
	How's the painting going?

			SID
		(shaking his head)
	Too many distractions. I'll be at it 
	all night.

			CAROL
	You have bad work habits.

			SID
	Not when I'm actually working.
		(standing)
	I better get set up in the kitchen.

He goes to his shopping cart of supplies. Carol and Beth 
stare at the television.

The television stares back at them, gleamingly modern.

			CAROL
	It makes teevee seem very futuristic.

			SID
		(at the kitchen door)
	That's 'cause you're stoned.

			CAROL
	I'm hardly stoned.

She looks to Beth. Beth is grinning.

			CAROL
		(mitigating)
	It was homegrown.

			BETH
		(teasing)
	Want some Visine?

			CAROL
		(flatly)
	No.

			SID (O.S.)
		(calling out)
	It gets the red out.

The Visine comes flying INTO FRAME. Carol fumbles, then 
catches it.

			CAROL
		(dryly)
	Thank you.

Carol tilts back her head and manuevers the Visine.

			CAROL
	Shit. Missed the eye, got the face.

			BETH
	Need help?

			CAROL
	Yeah.

Beth goes to her and takes the Visine.

			BETH
	Okay.
		(holding Carol's arm)
	Tilt your head back.

			CAROL
	Beth...

			BETH
	Stop fidgeting.

She puts a drop in one eye. Carol flinches.

			CAROL
	Got it.

			BETH
	Next eye.

			CAROL
	Wait a second.

Carol blinks and wipes a Visine tear off her cheek.

			CAROL
		(nodding to the 
			kitchen, in a 
			conspiratorial whisper)
	He really wants to get in your pants.

			BETH
		(smiling)
	My pants are taken.

She tilts Carol's head back.

			BETH
	Why don't you go for him?

			CAROL
	He likes you.

Beth puts a drop in Carol's eye. Carol flinches and rubs her 
eye.

			BETH
	I wish Nick would get back and help 
	with the packing.

She sighs, cheerfully exasperated.

			BETH
	He's probably getting drunk with the 
	stockboys...
		(after a beat)
	That's what he's probably doing.

Carol braces herself.

			CAROL
	Beth...
		(pause, then w/ 
			difficulty)
	Listen...

They stare into each other's eyes.

After a long moment Carol averts her eyes and looks down.

			BETH
		(simply)
	He's gone.

			CAROL
	Yeah.

			BETH
		(badly shaken)
	Where'd he call from?

			CAROL
	He said the highway.

Beth takes a deep breath, controlling her emotions.

			BETH
	I have to do something.

			CAROL
	I'll help.

			BETH
	I've got to be out of here Sunday. 
	That's tomorrow.

			CAROL
	You can come to my place.

			BETH
		(stunned)
	He's gone.

Beth sinks onto the arm of the sofa to support herself.

			CAROL
		(gently)
	He's an asshole.

CLOSE-UP: BETH

The truth makes its way deeply into her.

			BETH
		(a half whisper)
	Fuckin' Nick...

							CUT TO:

EXT. HIGHWAY - NIGHT

The lightly traveled highway cuts a straight line through 
the desert.

Nick's sedan pulls off into a service station with a giant 
teepee beside it.

EXT. SERVICE STATION

The wind is roaring, kicking up swirls of grey dust in the 
flourescent light of the service station.

A TEENAGE NAVAJO boy is filling Nick's tank. Nick leans 
against the car staring at the giant teepee.

			NICK
	Nobody lives in that, right?

			NAVAJO TEEN
	Gift shop. But it closed at seven.

			NICK
		(cheerfully shrugging)
	I got no one to shop for.

A gust of wind sends dust into Nick's eye.

			NICK
	Shit.
		(rubbing his eye)
	Fuckin' wind...

			NAVAJO TEEN
	Yeah.

			NICK
		(sincerely)
	What does it mean?

			NAVAJO TEEN
	High pressure field coming in -- 
	should bring some nice weather.

			NICK
	No. The wind itself, you know what I 
	mean, you're an Indian...

			NAVAJO TEEN
		(correcting him)
	I'm a Navajo.

			NICK
	Yeah, so you're in tune with this 
	stuff...

			NAVAJO TEEN
		(checking the pump)
	It's thirteen bucks.

			NICK
		(his train of thought 
			broken)
	Oh... right.

Nick pulls a bill out of his wallet and holds it out.

			NICK
	Here's a twenty.

The Navajo Teen takes the bill and takes a wad of bills from 
his pocket.

Nick stares out at the moonlit desert and the mountains rising 
in the distance.

			NICK
	So what does the wind mean? Like as 
	an omen or something, you know --
		(making his voice 
			mystical)
	-- a change is coming to the people. -- 
	the spirit of freedom is walking the 
	land.
		(flatly)
	That kind of meaning...

			NAVAJO TEEN
		(handing him money)
	Fourteen, fifteen and five makes 
	twenty.

He opens Nick's car door for him.

			NAVAJO TEEN
	The wind is. It's the wind like I'm 
	a Navajo.

			NICK
	That's it?

The Navajo teen nods.

			NICK
	Shit.

He gets in the car, his mood darkening, and pulls his door 
shut with a slam.

			NICK
		(out the window)
	It would be better if meant something.

The Navajo teen shrugs. Nick starts the engine.

							CUT TO:

INT. A BAR IN ENFIELD - NIGHT

A dimly lit room filled with raucous customers and lots of 
neon beer signs. Waitresses in red dresses tote pitchers of 
brew to the thirsty throng. At the far end a band plays a 
foot-stompin' good time tune about a trucker on his way to 
see his woman.

THE CAMERA MOVES through the crowd and discovers Carol and 
Beth sitting at a small table, an almost finished pitcher of 
beer between them.

They speak loudly to be heard over the din.

			CAROL
	He said he needs to be alone again. 
	Learn about himself. Make a fresh 
	start in a new town.

Beth shakes her head then takes a sip of her beer -- it tastes 
bitter in her mouth and she puts her glass down in disgust.

			CAROL
		(after a beat)
	He's sorry.

Beth stares at her beer. Carol puts a hand comfortingly on 
Beth's arm.

			CAROL
	He said he would have called you, 
	but your phone's disconnected. 'Cause 
	you're moving.
		(after a beat)
	He's always been an asshole.
		(after a beat)
	You'll be all right.

			BETH
	Yeah...

			CAROL
		(gently)
	I'm here.

			BETH
	I know that.

A big-haired WAITRESS approaches the table.

			WAITRESS
	You ready for another?

Carol looks to Beth.

			BETH
	Oh... uh, no...

			CAROL
	We're fine.

			WAITRESS
	Is Nick coming in?

Carol throws the waitress a look that could kill. Beth takes 
a deep breath.

							CUT TO:

INT./EXT. NICK'S SEDAN - HIGHWAY - NIGHT

Nick stares at the road ahead. He takes rapid drags on a 
cigarette. The RADIO is barely audible over the ROAR of the 
WIND through the open windows.

			PREACHER'S VOICE
		(covered by static)
	"And he arose and came to his father, 
	but when he was still a great way 
	off, his father saw him and had 
	compassion, and ran and..."

Nick turns the radio off.

He fumbles the cigarette into the ashtray.

He takes a pint of scotch from the front seat, uncaps it, 
takes a slug, takes another slug, recaps it, and drops it 
back on the seat.

He stares at the road. He looks down to the front seat and 
finds the map. He splits his attention between the road and 
unfolding the map. The wind catches the map.

The map billows up, covering his face. Losing control of the 
car, Nick slaps it down.

A car HORN blares.

Nick jerks the car back into his lane, bats the map down 
again, and pulls off to the side of the road.

He stops the car and slams the shift into park.

He opens his door a crack, turning on the dome light. He 
smooths out the map on the dashboard.

Billings and Enfield are marked with Carol's big red circles.

CLOSE-UP - THE MAP

Nick's finger traces from Enfield toward Billings along the 
route Carol highlighted with the red felt-tip. Halfway to 
Billings, the red line stops. Nick's finger stops.

NICK

He stares at the map.

							CUT TO:

INT. BETH'S LIVING ROOM - CONTINUOUS

Beth comes in the front door. The sound of Sid whistling 
comes softly from the kitchen.

Beth stares at the t.v. for a moment then strides purposefully 
toward the kitchen.

INT. BETH'S KITCHEN - CONTINUOUS

Sid is standing on the counter masking the top sill of the 
kitchen window. There's half a donut hanging from his mouth.

Beth comes through the swinging door.

			BETH
		(forcefully)
	You've lived here your whole life?

The half-donut falls from the startled Sid's mouth.

			SID
		(after a beat)
	Yeah.

			BETH
		(increduously)
	You've never gone anywhere?

He picks up the half-donut.

			SID
	Travelling has no allure for me.

			BETH
	None?

Sid climbs down and sits on the counter, dropping the half-
donut back into the donut box.

			SID
	Maybe through time.

			BETH
		(smiling)
	That's not offered.

			SID
	So I stay here.

			BETH
	Why?

			SID
		(the simple truth)
	It's my home. I belong here.

			BETH
	I'm serious.

So was Sid -- but he realizes Beth doesn't believe it can be 
as simple as that.

			SID
	My father says if you stay in one 
	place long enough your luck knows 
	where to find you.

			BETH
		(wryly)
	Maybe that's my problem.

			SID
		(carefully)
	Maybe it is...

Sid holds out the box of donuts to her.

			BETH
	Thanks.

She takes a donut and fiddles with it.

			BETH
	You think your father knows the truth?

			SID
	He's a bartender.
		(smiling)
	He's lived here his whole life.

			BETH
	Has his luck found him?

			SID
	Not yet.
		(after a beat)
	But it's probably very close.

Beth smiles weakly. Abruptly, she drops her donut back in 
the box.

			SID
		(cautiously)
	Are you all right?

			BETH
		(apologetically)
	Must be the paint fumes...

She opens up the back door and steps out. Sid stares at the 
empty doorway.

EXT. BACK STOOP - CONTINUOUS

Beth stands in the moonlight, staring out at the stars.

			BETH
		(contemplatively 
			dubious)
	You find what you want here?

Sid steps out behind her.

			SID
	It seems that way.

			BETH
	Yeah?

			SID
		(simply)
	I found you.

			BETH
	Oh. No...

She walks out into the backyard. Sid follows her.

			SID
		(earnestly)
	We never met before last night...

The moonlight through the orange trees casts a magical air 
about the backyard. Beth stops by a swingset.

			SID
	...but we know each other.

Beth stiffens.

			BETH
	No...

She walks away from him. He watches her intently.

			SID
	Leave it behind.

She looks to him.

			BETH
	Leave what behind?

			SID
	Unhappiness.

			BETH
		(amused)
	That was a bad answer.

			SID
		(seriously)
	No. It was true.

Beth stares at Sid.

			BETH
	It's not.

			SID
	Come hold me.
		(after a beat)
	Come hold me, and you'll be happy.

			BETH
		(dryly)
	I'll find happiness. Right. In your 
	arms.

			SID
	Yes.

			BETH
	In you.

			SID
	Yes.

			BETH
	But I won't. I have to find happiness 
	in myself.

			SID
	No. That's wrong.
		(going toward her)
	People tell you that, but it's wrong.

She turns away from him. He stands behind her, close.

			SID
	I've lived with people who have that 
	happiness from within. That happiness -- 
	it's just them being pleased with 
	themselves. It's not enough. It's a 
	lonely thing.

She turns and faces him. The moonlight casts a pale glow 
over them.

She stares in his eyes for a long moment. She steps back 
from him.

			BETH
	You're showing how young you are.

			SID
	No. I'm not. I'm showing you a way. 
	You know that. And you know me.
		(after a beat)
	And I know you.

She walks away from him, back to the swingset.

			BETH
	I don't know you.

Sid follows and takes her arms, turning her to face him.

			SID
	You know.

			BETH
		(after a beat, 
			defensively)
	I know you want to fuck me.

He pulls her very close. He lets go of her arms so she is 
standing against him, unrestrained.

			SID
	Is that what you know?

Beth stares at his face for a long time.

			BETH
	I know...

She kisses him, suddenly, long and slow.

			BETH
		(whispering)
	I know you.

They kiss, pulling each other tight.

They lose their balance and stagger against the swingset, 
kissing passionately. Beth pulls back.

			BETH
		(w/ fierce intensity)
	I know you.

			SID
	That's right.

							CUT TO:

EXT. TWO-STORY SUBURBAN RANCH HOUSE - NIGHT

A canopy of stars hangs over it.

INT. NICK'S SEDAN - CONTINUOUS

Nick is parked, staring at the house. The roadmap is on the 
seat beside him. He takes a drink from a half empty pint of 
scotch. He screws the cap on and drops the bottle on the 
map.

He steps out of the car, unsteadily.

EXT. RANCH HOUSE'S FRONT LAWN - CONTINUOUS

Nick walks toward the door. He stops, stares at the door and 
starts back for his car. He stops, shakes his head, and walks 
quickly to the front door.

FRONT PORCH

Nick stands, staring at the door. He knocks. He waits 
impatiently, then pounds on the door. On his third pound the 
lights in the house suddenly go on.

OVER NICK'S SHOULDER

The door abruptly opens.

MR. AUGUST, an eighty year old man, stands in the doorway. 
HE wears pajamas, slippers, and a long robe. He is over six 
and a half feet tall.

NICK AND MR. AUGUST

Nick, startled, steps back. Mr. August stares at him. Nick 
composes himself.

			NICK
	Excuse me...

Mr. August stares at him.

			NICK
	Excuse me... I'm... I'm looking for 
	my parents.

Mr. August calmly puts his hands over his ears, and slowly 
shakes his head.

			NICK
	My mother, my father... they...

ELIZABETH, a fifteen year old girl steps out from behind Mr. 
August. She seems very small next to Mr. August. He puts a 
hand on her shoulder. She stares at Nick.

			NICK
		(uncomfortably)
	Hello.

			ELIZABETH
	Hello.

			NICK
		(exhaling in relief)
	Oh... good...
		(to the point)
	This is my house. I, uhh... mean 
	this is the house I grew up in.

Nick looks past them into the house.

			ELIZABETH
		(nodding to Mr. August)
	This is his house now.

			NICK
	Nice to meet you.

He holds out a hand to Mr. August, who slowly shakes it.

			ELIZABETH
	He's deaf.

			NICK
		(loudly)
	Nice to meet you.

			ELIZABETH
	He's stone deaf.

			NICK
	Oh.
		(uncomfortably)
	Yelling doesn't help.

			ELIZABETH
	No.

Nick breaks the handshake. Mr. August smiles at him. Nick 
looks to Elizabeth.

			NICK
	My name is Nick, Nick Brennan.

He waits for her to introduce herself. She doesn't.

			NICK
	Did you know the Brennans?

			ELIZABETH
	No.

			NICK
	They lived here. They used to live 
	here. I used to live here with them...

Elizabeth stares at him. Nick tries his salesman charm.

			NICK
	What's your name?

			ELIZABETH
	Elizabeth.

			NICK
	No...

			ELIZABETH
	Yes.

			NICK
	I know an Elizabeth.
		(quietly)
	I call her Beth.

							CUT TO:

INT. BETH'S BEDROOM - CONTINUOUS

Bathed in moonlight, Sid and Beth make tender passionate 
love.

Sid has never wanted someone so much and Beth has never felt 
so wanted.

Beth clings to Sid as if she were afraid of being swept 
away... and then she is.

							DISSOLVE TO:

INT. MR. AUGUST'S DINING ROOM - LATER

A chandelier casts a gently sparkling golden glow.

The CAMERA TILTS down to reveal...

Mr. August, Elizabeth and Nick, sitting at a large antique 
dining room table.

Nick is eating a sandwich, an untouched glass of milk in 
front of him. Mr. August and Elizabeth watch him, expectantly. 
Nick notices this.

			NICK
		(swallowing)
	This is a good sandwich.

			ELIZABETH
	Thank you.

			NICK
		(abruptly nodding 
			toward Mr. August)
	When did he move here? Would he know 
	where the people before him went?

			ELIZABETH
	No. He wouldn't remember.

			NICK
	You're sure?

			ELIZABETH
	Yes. He doesn't remember anymore.

			NICK
	Oh.
		(taking a deep breath)
	He can't help me.

			ELIZABETH
	No.

Nick looks around the familiar room, struck by the absurdity 
of the situation.

			NICK
		(with wry awareness)
	I've lost my parents.

Nick smiles weakly at Elizabeth.

			ELIZABETH
		(matter-or-factly)
	Did you lose them both at the same 
	time?

			NICK
	Is that like a joke?

			ELIZABETH
	No.

			NICK
	Then yes. I lost them both at the 
	same time.

			ELIZABETH
	I lost mine one at a time.
		(after a beat)
	Last year.

Nick realizes she's talking about death.

			NICK
	I'm sorry. That's tragic. I should...

			ELIZABETH
		(interrupting)
	Six months apart. Body failures. 
	Separate body failures.

			NICK
	I'm really sorry.
		(standing)
	I should go.

Mr. August slowly stands as Elizabeth follows Nick toward 
the foyer.

			ELIZABETH
	First my father's heart kept starting 
	and stopping.

			NICK
		(nodding)
	Attacks...

IN THE FOYER

Nick edges toward the door followed by Elizabeth and Mr. 
August.

			ELIZABETH
	My mother and I were with him in the 
	hospital and he'd grab at us, he'd 
	grab my arms and hold on.

			NICK
	That's very sad...
		(after a beat, backing 
			toward the door)
	I've really gotta be going. I, uh... 
	thank you again for the sandwich. 
	Delicious...

			ELIZABETH
	Right before my mother died, she 
	said -- "Elizabeth. You're adopted."

Nick stops in his tracks, his hand on the doorknob.

			NICK
	Have you found your real parents?

			ELIZABETH
	No. Two are enough to lose.

Nick stares at her -- the sad truth of her statement sinking 
in.

			ELIZABETH
	I'm not alone. I have my Grandfather.

Nick looks down. He is alone. He has no one.

			NICK
		(opening the door)
	Listen...

He looks into her eyes.

Elizabeth suddenly grabs his arm.

He stares at her, not knowing what to do. She holds his arm 
tightly for a moment, then lets go.

			ELIZABETH
	I'm sorry.

She steps back from Nick, against her grandfather.

			ELIZABETH
		(in explanation)
	He's stone deaf.

Nick stares at Elizabeth.

			NICK
	I have to go.

And he hurries out the door into the night.

							CUT TO:

INT. BETH'S BEDROOM - NIGHT

Beth is sitting up in bed, Sid leaning back against her, her 
arms wrapped around him.

			SID
		(after a beat)
	I'd like to stay right here...

			BETH
	I have to be out tomorrow.

			SID
	In this moment... Enjoying this 
	moment.

They both lie perfectly still. A flicker of sadness crosses 
Beth's face.

			BETH
		(hushed)
	The moment's gone.

			SID
		(shaking his head)
	It can go on as long as we want.

Beth leans him back, cradling him in her arms. She stares at 
him, a quizzical expression on her face.

			BETH
		(skeptically)
	Have you ever been in a relationship?

			SID
	No.
		(after a beat)
	I was married... but it wasn't really 
	a relationship.

			BETH
		(incredulous)
	You weren't married...

			SID
	Two years. Right out of high school.

Beth ponders this for a moment.

			BETH
	Do I remind you of her?

			SID
	No.

			BETH
		(relieved)
	Thank God.

Sid runs his hands over her body.

			SID
	You have beautiful skin... her skin 
	was polka-dotted.

			BETH
	Freckled...

			SID
	When we were kids we called her 
	"Spot".

			BETH
		(laughing)
	What happened?

			SID
	She disappeared.

Beth looks to Sid. He's staring off.

			BETH
		(after a beat)
	Was she ever found?

A flicker of loss crosses his face.

			SID
	No. Not by me...
		(looking to Beth)
	I didn't go look.

Beth stares at him, uncertainly. He leans up and gently traces 
circles on Beth's skin.

			SID
	She wanted to meet someone new. I 
	asked her "why?" -- she said, "Because 
	he won't know me from before. Just 
	now. Just what I am now."

Beth looks to him, puzzled.

			SID
	I knew her... on playgrounds... in 
	Sunday School... all those grades -- 
	I knew her as she changed. But she 
	was still the same person. All the 
	times I knew her, she was still her.
		(after a beat)
	She can't get away from that.

He holds Beth tightly.

			SID
	You stay in one place, and all those 
	things that are you... are there. 
	She didn't understand that if you 
	leave, they're still there, in you -- 
	but they stop being clear. You stop 
	knowing who you are, and what you 
	want.

			BETH
	You've stayed here and you know who 
	you are?

He moves away from Beth.

			SID
	I see the lawns I mow, houses I've 
	painted, faces I know... my parents... 
	And I'm constantly reminded of who I 
	am.

			BETH
	And you know what you want.

			SID
	I want you.

			BETH
	Oh.

			SID
	I want to be inside you.

			BETH
	Good.
		(after a beat)
	Come here and put it inside me.

			SID
	No... I want to be able to put myself 
	inside of you.

			BETH
	Doing this is as close as you get.

Beth pulls Sid close, bringing him into her.

			BETH
	Come here.

			SID
	I love you.

She holds him tightly.

			BETH
	Come inside me.

Sid arches away from her.

			SID
	Beth?

			BETH
	Yes?

			SID
	What do you want?

			BETH
		(uncertainly)
	I want... I want...

Beth pulls Sid back to her.

			BETH
		(w/ quiet urgency)
	Come inside me.

They hold each other tightly.

							CUT TO:

INT./EXT. NICK'S SEDAN - NIGHT

Nick looks like hell -- his eyes red, his hair a mess. The 
nearly empty scotch bottle is on the dashboard.

The car windows are open, the roar of the wind competing 
with the blasting radio.

Nick suddenly jerks the wheel over.

EXT. ABANDONED REST STOP - CONTINUOUS

The sedan screeches off the highway into the abandoned rest 
area.

It stops facing a battered phone booth -- the engine turns 
off but the headlines stay shining on the phone booth.

IN THE SEDAN

Nick turns off the radio. It is suddenly very quiet -- only 
the occasional lonely DRONE OF A TRUCK passing on the highway. 
He takes a deep breath.

INT. PHONE BOOTH - MOMENTS LATER

Nick is standing in the phone booth, harshly lit by his 
headlights.

			NICK
		(into the phone)
	Could you give me the number for 
	information in Arizona?... Thank 
	you.

Nick dials with drunken concentration.

			NICK
		(into the phone)
	Enfield. Carol, Carol, umm...
		(mortified)
	Carol... Carol Something... Shit!

He hangs up. He hits himself in the head in angry disbelief. 
He hurriedly dials zero and listens for a moment, desperately 
summoning up all his salesman charm.

			NICK
		(into the phone)
	Hello Janet, thank you for being my 
	operator. I hope you can help me, I 
	need to call my home.

Nick listens impatiently.

			NICK
	Well, I'll tell you my number, but 
	there's a problem. My phone's been 
	disconnected, not because of bills, 
	I mean we paid all our bills. We 
	were hardly ever even late. We were 
	very good customers, but we're moving, 
	so we had the phone disconnected. 
	But now I need to call... the woman 
	I live with. She's still there and 
	I've got to let her know where I am.

Nick listens, shaking his head emphatically.

			NICK
	I don't know any of the neighbors. I 
	know one, but I can't remember her 
	last name.
		(he listens, frustrated)
	No. No. No. You see you have to be 
	able to help me, this is not a prank, 
	it's my home phone, this is an 
	emergency.
		(he listens, then 
			urgently)
	Yes it can, it can be done. Someone 
	there can hook the phone back up. 
	It's not like a phone guy came to 
	our house to disconnect the phone, 
	nobody came to our house, someone 
	just flipped a switch somewhere, 
	somewhere there where you work, or 
	plugged something into a computer 
	and our phone stopped working!
		(he listens)
	They turned it off, they can turn it 
	back on!
		(he listens, starting 
			to panic)
	I know it's the week-end! I know! 
	Call them at home! They'll have a 
	computer at their house, they'll 
	have a phone thing to hook it up to 
	the real computer! That's how these 
	people live! They'll be glad to do 
	it!...

Nick listens. Suddenly all his energy drains away.

			NICK
		(crestfallen)
	No. No. I can't have the police go 
	to the house. That won't work, there 
	are circumstances.
		(desperately)
	It's you... you've got to help me! 
	Please! I've gotta call home! I can't 
	wait. It could be too late! Janet!! 
	You've gotta help me! Please! You 
	can reconnect me. Please!! Don't 
	hang up! Don't hang up!!

He hurls the receiver at the phone.

			NICK
	You fucker!! You heartless...

Nick doubles over, retching, clutching the side of the booth.

			TELEPHONE RECORDING
	"If you'd like to make a call, please 
	hang up and try again. If you need 
	help..."

										CUT TO BLACK:

FADE IN:

INT. BETH'S BEDROOM - MORNING

Sid is sprawled out over the bed, sleeping, Beth nestled 
against him. She stirs and cuddles closer.

Suddenly she realizes it's not Nick. She pulls away, 
orientating herself. She quickly scoots out of bed and 
hurriedly pulls on a pair of jeans.

The alarm clock CLANGS.

Beth looks about for the alarm. She tensely scatters some 
boxes. She dumps one, finds the alarm and shuts it off. She 
stares at the clock and drops it into a box.

			SID (O.S.)
		(cheerfully)
	Morning.

Beth cringes slightly and turns to face Sid.

SID AND BETH

			BETH
		(attempting a smile)
	Hi.

			SID
		(grinning)
	Hi.

			BETH
	I didn't want to wake you.

			SID
		(cheerfully)
	I'm awake. I'm a morning person.

			BETH
	I'm not.

			SID
	Then why don't you come back to bed?

			BETH
	I've got to pack.

			SID
		(sitting up)
	Where do we start?

			BETH
		(firmly)
	No.
		(softening)
	You paint.

She looks around the room littered with boxes and piles of 
clothes.

			BETH
	I'll manage.

			SID
		(cheerfully)
	Whatever you say.

Sid gets out of bed, wrapping the sheet around himself. Beth 
stares at the room. She suddenly trembles. She steadies 
herself on the bed table.

			BETH
	Oh God...

			SID
		(concerned)
	What?

Beth avoids his eyes, glancing around the room.

			BETH
		(an outpouring)
	I'd be so much happier if I could 
	blame this on Nick, but it always 
	happens to me. I'm always left with 
	nothing.
		(taking a deep breath)
	It doesn't matter if I leave the guy 
	or if the guy leaves me -- I'm left 
	with nothing. I never do anything 
	for myself. I never acquire anything. 
	I mean Nick didn't take from me. He 
	stole a t.v. and left it for me. He 
	didn't take my things, he didn't 
	take our things... he didn't even 
	take his clothes! And I'll still 
	leave this house with nothing!

			SID
	He took three years from you.

			BETH
	No...
		(meeting his eyes)
	He didn't take 'em. I mean, when he 
	cared about me, he cared about me. 
	And he was really good in bed.

She glances away from Sid toward the bed.

			BETH
		(after a beat)
	I didn't expect more.

She turns away from Sid and the bed. Sid moves toward her.

			SID
		(carefully)
	Beth...

Beth summons up all the composure she can manage.

			BETH
		(referring to the 
			cluttered room)
	I can't face this.
		(looking to Sid)
	I'm gonna finish up the kitchen...
		(heading for the door)
	...get some momentum...

She goes out the bedroom door. Sid stares after her.

							CUT TO:

EXT. ABANDONED REST STOP - MORNING

Nick's sedan is parked in the same place as the night before.

A YOUNG MAN with long hair ROARS into the rest stop on a 
Harley-Davidson, his life's possession strapped on the back.

He stops the bike between Nick's car and the phonebooth, 
idling the engine, loudly. He looks to the phonebooth, the 
receiver dangling. He turns to Nick's sedan.

			YOUNG MAN
	Phone work?

NICK

Awakened by the ROAR, Nick has wearily leaned his head out 
the window.

Nick stares at the young man.

			NICK
		(after a beat)
	No.

Drained, Nick rests his head on the steering wheel.

OFFSCREEN, the motorcycle starts up and zooms away. A silence 
falls over the rest stop.

Without raising his head from the steering wheel, Nick starts 
the car.

							CUT TO:

INT. BETH'S BEDROOM - MORNING

Sid is making the bed.

			CAROL (V.O.)
		(gleefully 
			conspiratorially)
	How was he?

			BETH (V.O.)
		(sheepishly)
	He's twenty-four.

Sid pulls up the blanket and fluffs the pillows.

			CAROL (V.O.)
	A little weak on tenderness, but 
	long on juice?

			BETH (V.O.)
	Long on conversation.

							CUT TO:

INT. BETH'S KITCHEN - CONTINUOUS

The cupboards are all open and bare. A half dozen boxes are 
neatly stacked. Beth is sitting on the floor packing the 
final dishes. Carol holds out a mug of coffee.

			CAROL
	Did you need talk?

Beth stands and takes the coffee.

			BETH
	Yeah. I guess I did.

			CAROL
	Good.

Beth sips her coffee, gazing out the kitchen window.

BETH'S POV

The backyard. In the light of day it's lost its magical 
quality. The grass needs cutting and is marred by brown 
patches. The swingset looks pathetically rusted and 
dilapidated.

CLOSE-UP: BETH

Her face clouds over.

			CAROL (O.S.)
		(cheerfully)
	So what are we doing?

BETH AND CAROL

Carol is staring at Beth staring out at the backyard.

			BETH
	Christ...

She turns to Carol.

			BETH
		(w/ an edge of 
			desperation)
	I gotta get out here. I was in Tucson 
	two years before you and Nick got 
	here.
		(in disbelief)
	I've been here five years...

			CAROL
	Yeah...

			BETH
	This state's driving me crazy.

			CAROL
	So what are you gonna do?

			BETH
	I've got no money.

			CAROL
	I've got some.

			BETH
		(chagrined by self-
			awareness)
	I can't take it. I mean you're being 
	great, but I can't take it. I'm gonna 
	be gone, we won't see each other, 
	and I won't send the money. I won't. 
	I know... I won't get around, I'll 
	forget, I won't do it.

She looks around the room in disgust.

			BETH
		(agitated)
	Shit. I'll sell all this shit. I 
	don't want any of it, just my car 
	and my clothes...

			CAROL
		(carefully)
	Okay...

			BETH
		(shaking her head)
	I'm sorry... I shouldn't have fucked 
	this kid last night. I should have 
	slept. Now I've got all this stuff 
	to do, and I'm tired, I'm churned 
	up, I'm in a fuckin' mood.

			CAROL
	Let's do things, get you busy.

			BETH
	Yeah.

			CAROL
	You get all the stuff you wanna sell, 
	and I'll make some tag sale signs.

			BETH
	No one'll buy my stuff. It's all 
	junk.

			CAROL
	That's what people buy at tag sales. 
	Broken appliances, ugly knicknacks.

Beth looks at the semi-packed boxes.

			BETH
		(laughing)
	I guess I do have stuff to sell.

							CUT TO:

EXT. BETH'S FRONT LAWN - DAY

Boxes full of a motley collection of knickknacks, housewares, 
and crummy appliances are spread out on the lawn.

In the BACKGROUND a couple of M.T.V. influenced teens are 
checking out the knickknacks and goofing on them.

MRS. DOTSON, a woman in her late forties wearing a NURSE'S 
UNIFORM is poking through the odds and ends.

Beth and Carol hovering near her.

Mrs. Dotson picks up the coffee maker, examines it, and puts 
it down. She picks up the blender, examines it, and puts it 
down.

			CAROL
		(impatiently)
	Is there something specific you're 
	looking for?

			MRS. DOTSON
	Yes.
		(sheepishly)
	Actually everything... I don't have 
	anything.

			BETH
	Nothing?

			MRS. DOTSON
	I just moved to town.
		(hesitating then 
			confiding)
	My husband passed away, and I, umm, 
	didn't want to have our things... 
	they were too familiar.

Beth realizes why she's selling all her stuff -- it's too 
familiar.

			BETH
		(abruptly)
	You can have it all for three hundred. 
	The stuff in these boxes and 
	everything inside.

			MRS. DOTSON
		(taken aback)
	Oh, my, I don't know... everything?

			BETH
	Everything.
		(hesitating)
	Except the t.v.

Mrs. Dotson searches Beth's face with a kind gaze. Beth smiles 
nervously.

			BETH
		(apologetically)
	The t.v.s not for sale.

							CUT TO:

INT/EXT. NICK'S SEDAN

Nick's smoking, looking haggard. Between drags, he anxiously 
taps a tempo on the steering wheel with his cigarette holding 
hand.

NICK'S POV

The highway and the desert stretch out before him, the heat 
waves of late afternoon shimmering above the blacktop.

In the distance, the giant teepee souvenir shop rises out of 
the horizon like a mirage.

NICK

An idea strikes him and his lips tighten into a small 
determined smile.

							CUT TO:

INT. TEEPEE GIFT SHOP - AFTERNOON

A couple of vacationing families and a busload of elderly 
sightseers poke through the stunning assortment of Native 
American souvenirs.

Nick stands at the counter talking to a plump elderly NAVAJO 
WOMAN.

			NAVAJO WOMAN
	Maybe some nice turquoise jewelry.

			NICK
		(shaking his head)
	I don't think she really wears 
	jewelry.

A little boy stares at the disheveled Nick. His mother hurries 
him away.

			NAVAJO WOMAN
	Maybe a nice Navajo rug?

			NICK
		(incredulous)
	As a present? No.

He points past her.

			NICK
	What about that?

THEIR POV

A huge beautifully feathered ceremonial headdress.

NICK AND THE NAVAJO WOMAN

			NICK
	That would make her laugh.

			NAVAJO WOMAN
		(not amused)
	That's authentic -- it's very 
	expensive.

			NICK
	You got something like it but fake?

							CUT TO:

EXT. FRONT LAWN - LATE AFTERNOON

Beth and Mrs. Dotson are standing beside the now empty 
blankets.

In the BACKGROUND, Sid and Carol are packing boxes into Mrs. 
Dotson's car.

Mrs. Dotson has begun to fill out a check.

			MRS. DOTSON
	I'm sorry, what's your name?

			BETH
	Can you just leave the name blank? I 
	won't have an account, so I'll have 
	to find someplace to cash it for me.

Mrs. Dotson looks at her. They stare into each other's eyes.

			MRS. DOTSON
		(after a beat)
	All right.

Mrs. Dotson hands Beth the check. Beth sticks it in her back 
pocket. After an awkward moment she extends her hand.

			BETH
	Thanks a lot.

Mrs. Dotson takes her hand. Sid and Carol walk up to them.

			SID
		(cheerfully)
	You're set.

Mrs. Dotson lets go of Beth's hand. They turn to Sid and 
Carol.

			MRS. DOTSON
		(warmly chagrined)
	You did all the work...

			SID
		(good-naturedly)
	Sure.
		(mischieviously)
	Now I've gotta finish painting, but 
	Carol here would be happy to help 
	you unload.

Carol starts to protest and then checks herself for Beth's 
sake.

			CAROL
		(trapped, dryly)
	Of course. I'll follow you in my 
	car.

			SID
		(to Mrs. Dotson)
	And I'll be by tomorrow with my truck 
	and the big things.

He heads into the house. Beth stares after him. Mrs. Dotson 
touches her shoulder, lightly, getting her attention.

			MRS. DOTSON
		(to Beth)
	Thank you.
		(smiling)
	You've given me a home.

She looks to Carol.

			CAROL
		(nicely)
	I'll be right along.

Mrs. Dotson walks off toward her car.

			CAROL
		(to Beth)
	This had to be history's most 
	efficient tag sale.

Beth laughs, distractedly.

			BETH
	Yeah... I'm sorry Sid stuck you with 
	unloading.

			CAROL
	No problem.
		(smiling to herself)
	He kinda bites my butt, but he's 
	okay.

			BETH
	He is.

Beth suddenly embraces Carol.

			BETH
	Listen.
		(breaking the embrace)
	I'll probably be gone before you get 
	back.

			CAROL
	I thought maybe we could be roomies 
	for a while. You know, while you 
	figure out what's next.

			BETH
		(shaking her head)
	I can't.
		(after a beat, 
			admitting her feelings)
	He gets to me... too much. If I don't 
	go I'll end up with staying with 
	him.

			CAROL
		(gently)
	You've done worse.

			BETH
	Sure.

They look at each other and start to laugh. Their laughter 
builds -- a release of the strain of the last two days.

							CUT TO:

INT. NICK'S SEDAN - INTERSTATE - DAY

Nick's driving fast, completely focused on the road ahead, 
the wind ROARING through the open windows.

A cheap plastic Indian headdress with brightly colored 
synthetic feathers is perched on his head.

							CUT TO:

INT. BEDROOM - CONTINUOUS

Sid's finished painting -- the room gleams. He pulls a 
dropcloth off the bureau, then another one off of Beth's two 
packed suitcases.

			BETH (O.S.)
		(softly)
	Sid?

Sid turns and looks, smiling.

SID'S POV

Beth is standing in the doorway, a weariness having settled 
over her. She steps into the room.

BETH AND SID

			SID
	Hi.

			BETH
	I'm sorry about selling the sofa 
	bed.

			SID
	I didn't really need one. When my 
	friends get drunk, they throw up and 
	sleep on the floor.

			BETH
	But I gave it to you.

He puts his arms around her.

			SID
	You gave me a lot more.

			BETH
	No.
		(holding him tightly)
	It was all even in this department.

			SID
		(softly)
	...Feel me?

			BETH
		(whispering)
	I know... You're hard again.

Holding her tightly, Sid runs his fingers down her spine.

			SID
	I want you all the time.

			BETH
		(torn)
	Shit.

She kisses him. They kiss, long and hard. Abruptly, she breaks 
the embrace and moves away from him.

			BETH
		(ironically self-aware)
	I just fleeced a widow.

			SID
		(protesting)
	No...

			BETH
	It was all junk.

She shivers.

			BETH
	Shit. I've got to get some aspirin...
		(shaking her head)
	I didn't drink enough to be hung 
	over.

She walks away from Sid, out of the bedroom.

INT. BETH'S BATHROOM - MOMENTS LATER

Beth gulps down aspirin. She stares at herself in the mirror, 
wearily searching.

IN THE MIRROR

Sid appears in the doorway, his reflection small next to the 
reflection of her face.

			SID
	You just feel bad for her like I 
	feel bad for her... 'cause her husband 
	died.

			BETH
		(doubting this)
	Yeah?

ANGLE TO INCLUDE SID AND BETH

			SID
	That's about the saddest thing there 
	is... losing someone you love.

Beth is struck by a certainty that she's never lost anyone 
she's loved because she's never really loved anyone.

			BETH
	It's never happened to me.

Sid hesitates, then speaks his heart.

			SID
	If you died, I couldn't stand life.

			BETH
	I...

She steps forward and kisses him. She steps back.

			BETH
		(businesslike)
	I've got to go now.

She walks out of the bathroom. Sid and THE CAMERA FOLLOW as 
she hurries though the living room toward the bedroom.

IN THE LIVING ROOM

			BETH
	The new people'll be here.

She disappears down the hall to the bedroom.

			SID
		(following)
	Go to my house.

			BETH (O.S.)
	No.

IN THE BEDROOM

Beth picks up her suitcases. Sid steps into the doorway.

			SID
	While you find a place.

			BETH
	No. I gotta get out.

She heads to the bedroom door.

			SID
	I can talk to the realtors, I know 
	they've got a place in Agawam.

Beth stops.

			BETH
		(shaking her head)
	No... Agawam?... no. I don't know 
	where I'm going. Somewhere else.

She walks past him into the hallway. Sid and THE CAMERA 
FOLLOW.

			SID
	You can call me when you get there. 
	I'll give you my number.

IN THE LIVING ROOM

She stops and puts down the suitcases.

			BETH
		(gently)
	Sid. I'm going away. You're making 
	me way too important. You met me 
	yesterday.

He goes to her.

			SID
	And today I love you.

She steps back, shaking her head.

			BETH
	Jesus... one day...

			SID
	That doesn't matter. You know that. 
	It can take a second.

Beth loses control, upset with herself for having mixed 
emotions, upset with her life, and upset he's making this 
more difficult.

			BETH
	No! That's... that's a fuckin' animal 
	thing, I've done that.

			SID
	Not with me.

			BETH
	I meet men, go home with them and 
	just stay. No decision involved -- 
	it's just what I do. And then I don't 
	have to live my life, I just lead 
	theirs. I can't keep doing that.

			SID
		(adamant)
	We're not that way!

			BETH
	What way are we?

			SID
	We're passionate. We're comfortable.

			BETH
	It's been passionate, it's been 
	comfortable. But it hasn't been... 
	important.
		(after a beat)
	Like you're making it!

			SID
		(urgently)
	It is important! You know that.

			BETH
	No! It was a night! It wasn't real. 
	It was fun, it was some great fucking! 
	But it's just something that happened! 
	It's not real!

			SID
	It didn't "just happen"! You know 
	we're it! I'm the one for you!

			BETH
	The "one"?! I've had lots of "ones"! 
	I look like a baby but I'm twenty-
	fuckin'-- eight years old! You're 
	just the latest!

			SID
	No. I'm the last. You've found me. 
	And it can go on forever.

			BETH
	No!
		(her heart breaking 
			for him)
	Oh, Sid... Forever?
		(shaking her head)
	You have to understand -- it's just 
	talk.

			SID
	It's not.

			BETH
		(defiantly disbelieving)
	It is. C'mon, these things you say... 
	c'mon! What?! If I died you couldn't 
	stand life? That's... that's...

			SID
	That's true.

			BETH
	No.

Beth can't bear the risk of opening her soul to believe him -- 
and she can't bear to hear the outpouring of his soul without 
believing him. So she ends it.

			BETH
		(after a beat, harshly)
	You won't know when I die. You won't 
	be there.

She picks up her suitcases and heads for the door.

			SID
		(following her, certain)
	You'd want me there. If I wasn't 
	there it wouldn't matter who was. 
	You'd be alone.

			BETH
	No.

He grabs her arms and spins her to face him.

			SID
		(imploring)
	Beth... Beth... you love me...

			BETH
		(defiantly)
	No!

			SID
	How do you feel? Think! You love me.

She stares at him, breathing deeply, gathering herself. He 
lets go of her arms and steps back.

			BETH
		(her words carefully 
			chosen)
	I care about you.

			SID
	You have to be with me.

			BETH
	No.
		(pause)
	I care about you. But I'm an adult. 
	I can say no.

They stare at each other.

			SID
		(w/ controlled anger)
	That's what makes you an adult?

			BETH
		(unwavering)
	Yes.
		(pause)
	I can say no.
		(pause)
	No, I won't do that. No, I won't 
	have that. No, I can't.

			SID
		(needing to hear her 
			say it)
	You can say no to me?

			BETH
	Yes.

He looks away from her. She stares at his back.

			BETH
	I'm going.

She steps toward the door.

			SID
	Beth!

She stops.

			SID
		(after a beat)
	Have someplace to go.

			BETH
		(simply)
	I don't.

She opens the door.

			SID
	Why don't...

			BETH
		(interrupting)
	Don't tell me what to do.

She goes out the door. Sid goes to the door.

EXT. THE FRONT LAWN - CONTINUOUS

Beth makes her way to her car. Sid stands in the doorway, 
watching.

			SID
	What are you gonna do?

She turns and faces him.

			BETH
	I don't know.

Beth tosses her suitcases in the backseat. She gets into the 
car and starts the engine.

Sid stands, willing her to stop the car.

Beth pulls out to the end of the driveway.

INT. BETH'S PINTO

She looks up at the rearview mirror.

BETH'S POV

Sid is framed in the doorway of her old home, waiting, 
trusting that she can't leave, that they are destined.

BETH

Her eyes well with tears. Her face sets with resolve.

THE HOUSE AND DRIVEWAY

The car pulls out and disappears down the road. Sid stands 
in the doorway for a long moment. He steps back into the 
house and shuts the door.

								SLOW DISSOLVE TO:

INT. NICK'S CAR - DUSK

Nick is driving, the cheap headdress still perched on his 
head. Crumpled empty coffee cups are scattered about the 
front seat. He reaches up and turns the rearview mirror.

REARVIEW MIRROR

Nick's face stares back at him. It's not a pretty sight.

NICK

Nick reaches into the back seat, fishes and comes up with 
his necktie. He slips the still-knotted necktie over his 
headdress and tightens it around his neck.

Nick looks back to the road and suddenly swerves off an exit 
ramp. The CAMERA LINGERS on the Exit Sign -- "Enfield AZ.".

							DISSOLVE TO:

INT. KITCHEN - DUSK

Sid silently goes through the motions of pulling the masking 
tape from around the window sills of the freshly painted 
room, his face a stony mask.

							CUT TO:

EXT. BETH'S HOUSE - CONTINUOUS

Nick's car screeches to a stop in front of the house. He 
leaps out of the car and runs toward the front door.

INT. LIVING ROOM - CONTINUOUS

The front door flings open. Nick charges into the room.

			NICK
		(calling out)
	Beth!
		(bellowing)
	Beth!!!

Sid steps through the swinging door into the living room. 
Nick freezes.

			SID
		(coldly)
	She's not here.

			NICK
		(desperately)
	Where is she?

			SID
	She's gone.

			NICK
	Shit!
		(a moment of manners)
	Excuse me.
		(exploding)
	Shiiiiit!!
		(confrontationally)
	Who are you?

			SID
		(coldly)
	The painter. You're Nick.

			NICK
		(startled)
	Yeah.

			SID
	The Indian chief.

			NICK
		(puzzled)
	What?

Then Nick, remembering the headdress, rips it off his head 
and furiously tears it apart -- scattering a flurry of plastic 
feathers. He hurls what's left of it across the room.

			NICK
	Shit!

			SID
		(accusingly)
	You're too late. She's gone.

			NICK
		(angrily)
	I got that. Where'd she go?

			SID
	She didn't say.

			NICK
	Shit!

			SID
		(bitterly)
	She didn't know.

Nick runs out the front door.

EXT. NICK'S FRONT LAWN - CONTINUOUS

Nick runs out into his lawn.

			NICK
		(running; under his 
			breath)
	Be at Carol's... be at Carol's...

The CAMERA FOLLOWING he races up to Carol's front door and 
leans on the doorbell -- a loud tight buzzing.

He pounds on the door, then stops, gasping for breath. No 
one's home. He turns, leaning against the door for support, 
staring out at tract house neighborhood.

			NICK
		(spent)
	I'm too late...

Suddenly he bolts for his car.

Nick yanks his car door open and disappears into it. In a 
second he emerges with the bottle of scotch.

It's empty. He eyes it for a moment then hurls it as far as 
he can down the street -- it shatters explosively.

He races to his front door and stops dead in his tracks at 
the open doorway.

INT. NICK'S LIVING ROOM

Sid has covered the floor and remaining furniture with drop 
cloths and is applying even strokes to the ceiling with a 
long handled roller.

Nick steps in and stares at Sid and his own nearly empty 
drop-cloth covered home.

			NICK
		(at the top of his 
			lungs)
	This really bothers me!

Sid stares at him.

			SID
		(after a moment, with 
			mock politeness)
	Will you do me a favor?

			NICK
		(spitting out the 
			word)
	What?

			SID
	Act normal.

Nick advances on Sid.

			NICK
		(adamantly)
	Listen! I don't want to be normal. I 
	don't have to be, I don't! This is 
	my house. You're in my house. And 
	I'm tired of going to my house and 
	finding strangers!

They're face to face in a stand-off.

			SID
	It's not your house. You're gone. 
	I'm painting --

He puts the long handled roller right in Nick's face.

			SID
	-- for the new people -- whose house 
	it's going to be.
		(pause)
	You're gone. They're not here yet. 
	I'm here.
		(calmly)
	I guess that makes this my house.

Nick ponders this logic, Sid's size, and the roller in his 
face.

			NICK
		(politely)
	May I look around?

			SID
		(w/ a stony politeness)
	Sure. Make yourself at home.

Nick wanders around the nearly empty room, then, after a 
beat...

...he pulls a dropcloth off an object in the corner, revealing 
the television.

			NICK
		(dismayed)
	Nooo... she left the television.

			SID
	Yeah.

			NICK
	Too bad.

			SID
		(pointedly)
	She didn't seem to want it.

			NICK
	That's foolish. That t.v. is a 
	remarkable thing.

They both stare at the television.

The sweep of HEADLIGHTS turning into the driveway cross their 
faces. They both race to the door.

EXT. FRONT LAWN - CONTINUOUS

Carol gets out of her car. Nick hurries toward her.

			CAROL
		(flatly)
	You came back.

			NICK
		(a little chagrined)
	Yeah.

			CAROL
	Is Beth here?

			NICK
	No. Do you know where she went?

			CAROL
	No.

			NICK
	Shit.

			CAROL
	You're too late.

			SID
		(from the doorway)
	She's gone.

			NICK
		(to Carol, exasperated)
	Who is this guy?

			CAROL
		(walking past him 
			toward the house)
	Beth's new boyfriend.

			NICK
		(exploding)
	What?!

			CAROL
		(stopping)
	You heard me.

			NICK
		(to Sid)
	Is this true?!

			SID
	Not really.

He turns and walks back into the house.

			NICK
		(to Carol)
	Not really?

He races after Sid.

INT. LIVING ROOM - CONTINUOUS

Sid is painting the ceiling. Nick bursts through the door.

			NICK
		(to Sid)
	Not really?! What?
		(w/ "say it ain't so" 
			attitude)
	Did you fuck her?

			SID
	I don't tell.

			NICK
	Jesus! The next day!
		(bitterly disillusioned)
	That's the world, huh? They don't 
	even wait a day anymore.

			CAROL
		(stepping in the 
			doorway)
	You left her.

			NICK
		(defensively)
	I didn't fuck anyone.

			CAROL
		(witheringly)
	You didn't find anyone.

			NICK
		(hurt)
	No... I didn't leave her for another 
	person, I left her for another place.
		(pause)
	Which I think is a little more 
	excusable.

			SID
	I don't.

			NICK
	Well it's none of your fuckin' 
	business!

			SID
		(threateningly)
	I think it is.

			NICK
	Cause you fucked her? No! That gives 
	you no business in my life.

			SID
	If you hadn't gone, I'd be done by 
	now. I'd be home.

			NICK
	Be glad you have a home, asshole!

			CAROL
	Let it drop, Nick!

			NICK
		(outraged)
	Why?!

			CAROL
	He was nice to Beth when you treated 
	her like shit.

Nick stares at her -- knowing what she says is true.

			NICK
		(protesting weakly)
	I came back...

			CAROL
		(busting him)
	Nick. This is me. You didn't come 
	back for Beth's sake -- something 
	just didn't work out like you had 
	planned.

			NICK
		(defensively)
	You see -- you don't know everything 
	about me -- I didn't really have any 
	real plans!

			CAROL
	He was sweet to her. They were sweet 
	with each other.

Nick stares at her.

			CAROL
	Beth looked young with him. They had 
	a real connection.

			NICK
		(after a beat, dryly)
	And I brought them together?

He exhales loudly and holds his head in his hands.

			NICK
	It seems I'm blessed... in what I 
	do. I do wrong, and it turns out 
	right... that I've done right. So it 
	really doesn't matter what I do.

Nick takes a deep breath.

			NICK
	Hey!

Sid ignores him.

			NICK
		(after a beat)
	I said "hey!"

Sid looks at him.

			NICK
		(flamboyantly sarcastic)
	I hope you're very happy together!

			SID
	She's gone.

			NICK
		(glancing to Carol, 
			pointedly)
	She is, isn't she?
		(to Sid)
	If you two were such the happy couple 
	why the fuck did she leave, Romeo?

			SID
	After three years with you, she wanted 
	to be alone.

			NICK
	I was already gone! This is not about 
	me and Beth, there is no me and Beth! 
	This is about you! Why didn't you go 
	with her?

			SID
	It wasn't offered.

			NICK
		(advancing on him)
	People aren't going to offer you 
	anything! You have to take what you 
	want.

			SID
	You can't take another person. They 
	have to give themselves to you.

			NICK
		(in his face)
	That's very wise, but not very true.
		(relentlessly)
	I sell televisions. People don't 
	know what they want. You have to 
	show them.

			SID
	I couldn't show her.

			NICK
	Go after her!

			CAROL
	Leave him alone!

			NICK
	No. He's not alone, he's with us. 
	She's alone. She's out there alone.
		(after a beat, quietly)
	Just hoping she's closer to what she 
	wants...

			CAROL
		(sardonically)
	And what is that?

			NICK
		(exploding)
	I don't know!

Nick throws his arms in the air and storms up to Carol's 
face.

			NICK
	How would I know?! What do I know?!

Carol doesn't flinch. He steps back.

			NICK
		(w/ a sweeping gesture)
	I know that what I want isn't there.
		(pointing to his chest)
	It isn't here.
		(gesturing wildly)
	It isn't inside! It isn't outside!
		(spent)
	It doesn't exist.

He turns on Sid.

			NICK
		(forcefully)
	But you want her, and you aren't 
	doing shit about it!

			CAROL
	There isn't anything he can do.

			NICK
	He can go after her.
		(to Sid)
	Go after her!

			SID
	I can't. She...
		(torn)
	My life is here.

			NICK
	What kind of man won't fuck up his 
	life for the women he loves? Go find 
	her!!

He stares at Sid.

			CAROL
	He wouldn't know where to look.

			NICK
		(groping)
	She'd she'd she'd...
		(triumphant)
	She'd head for her parents!

			CAROL
	What?

			NICK
	She'd head for her parents. Believe 
	me.
		(pause, then flatly)
	They're in Florida. That's east.

Nick stares at Sid, waiting.

			SID
	I...

			NICK
		(businesslike)
	You start driving east on route forty. 
	Keep going east and around eleven 
	start checking every roadside motel. 
	The budget ones... You do that all 
	night, you'll find her.

			CAROL
	How do you know she's on the highway?

			NICK
	When you don't know where you're 
	going, you drive on the highway.

Sid looks to Carol, then around the drop cloth covered room.

			NICK
		(cheerfully)
	I'll finish painting.

			SID
		(to Carol)
	Do I have a chance?

Nick and Sid both look to Carol.

			CAROL
		(after a beat, shaking 
			her head)
	You've got a chance.

			SID
		(determined)
	Then I'm gone.

Sid races out the door.

Nick tosses a self-satisfied smile at Carol and walks past 
her to the door.

SOUND

Sid's truck engine roars to life.

NICK'S POV

Sid peels out, driving up onto the lawn past Nick and Carol's 
cars, out onto the street and out of sight.

THE DOORWAY

Carol steps into the doorway beside Nick.

			CAROL
	So.
		(dryly)
	Start painting.

Nick looks back into the room.

			NICK
		(after a beat)
	Fuck the ceiling.
		(walking in)
	Who looks up that often?

Carol follows him into the room. Nick slumps on the sofa, 
staring at the blank t.v.

			MAN'S VOICE
		(happily)
	This is it!

A MAN and a WOMAN, both slightly portly Mexican-Americans in 
their late forties, wearing their Sunday best, step over the 
threshold and kiss.

The man is carrying the woman cradled in his arms.

			CAROL
		(politely)
	Hello...?

			MAN
		(surprised, breaking 
			the kiss)
	Oh. Hello.

The four stare at each other in awkward silence, the woman 
still cradled in the man's arms.

			MAN
	I'm sorry. We thought it was going 
	to be empty.

			NICK
		(flatly)
	It is.

			WOMAN
		(cheerfully)
	We're here to move in.

The man puts her down on her feet.

			WOMAN
	Are you the couple moving out?

			CAROL
	No.

			NICK
	No...

Nick and Carol look to each other, at a loss. Nick looks 
back to the couple.

			NICK
		(improvising)
	We're your new neighbors. From next 
	door.

Carol throws him a look.

			MAN
	Well.
		(putting on a good 
			face)
	It's nice to meet you.

He holds out his hand to shake. After an instant of awkward 
hesitation they all shake hands with too much enthusiasm.

			WOMAN
		(cheerfully, while 
			shaking hands)
	It is... and it's so nice of you to 
	greet us.

			CAROL
	Thank you.

They finish the handshakes -- there's an awkward pause.

			NICK
	Actually, we're here for the t.v.

He waits, half expecting this statement to be challenged. It 
isn't.

			NICK
		(confidently)
	The people who left here -- our old 
	neighbors -- left us that t.v.

They all look at the t.v.

			MAN
	Oh. It's very nice.

			CAROL
	Yes. It is.

There's an awkward pause.

			CAROL
		(going to the t.v.)
	Well, dear... we should carry it 
	home.

Nick and Carol lift the t.v.

			WOMAN
	Do you need help?

			NICK
	We can manage.

They move toward the front door, Carol going backwards.

			CAROL
	Thanks anyway.

Nick looks to make eye contact with Carol. He can't. She's 
looking back over her shoulder for obstacles. He smiles and 
glances toward the couple.

Nick and Carol go out the door, lugging the t.v.

			WOMAN
		(calling out)
	Nice meeting you.

The man and woman look at each other. They look around the 
room.

			MAN
	They're not done painting.

			WOMAN
	They'll finish.

She stares out the front door.

			WOMAN
		(whimsically)
	I wonder where our furniture is?

She looks back to him. He's staring at the ceiling.

							CUT TO:

EXT. THE LAWN - CONTINUOUS

They're lugging the t.v. across to Carol's -- Carol backing 
up and Nick going forward. They arrive at the front door.

Nick takes most of the weight of the t.v., while Carol fumbles 
with her key into her front door lock with her free hand.

			CAROL
	You're not going to be their new 
	neighbor.

			NICK
	It was just something to say.

Carol gets the door open.

			CAROL
	Good.

Carol backs into the house, leading the way.

INT. CAROL'S FOYER - CONTINUOUS

They lug the t.v. toward the living room.

			CAROL
	You look terrible.

			NICK
	Yeah? Well, I had a big day.
		(after a beat)
	I went to my parent's house. Like 
	you said to. And there was this 
	ancient man, this giant man in the 
	doorway.

They step into the living room.

INT. LIVING ROOM - CONTINUOUS

Carol leads them to a corner.

			NICK
	And I thought, "It's my father. My 
	how he's aged."

			CAROL
	You were drunk...

They gingerly put the t.v. down.

			NICK
	Not at the house. At the house I was 
	stone sober.

Nick slumps down onto the sofa. Carol watches him, puzzled.

			NICK
	He was very tall. He was too tall to 
	be my father. He was wearing a long 
	overcoat, and I thought, "it's a 
	trick, he's on my mother's shoulders".

He smiles at the memory.

			NICK
	And then out from behind him came 
	this beautiful young girl... Beth.

			CAROL
	Beth?...

			NICK
		(lost in reverie)
	And they sang to me. They sang "London 
	Bridge is Falling Down"...
		(singing softly)
	"Falling down, falling down.".

Nick looks to Carol. She stares at him.

			NICK
		(seriously)
	It was very touching.

			CAROL
	I'm sure.

			NICK
		(defensively)
	It was.

Carol sits beside him.

			CAROL
	Nick?...

			NICK
	Yeah?

			CAROL
	What you've been doing... you can't 
	do anymore.

Nick looks to Carol, puzzled.

			CAROL
	You just can't do it.

			NICK
		(after a beat, 
			agreeably)
	Okay.

			CAROL
		(very skeptically)
	Okay?

			NICK
	Yeah. I understand.

			CAROL
	No. I don't think so.

			NICK
		(defensively)
	I understand.

			CAROL
		(determined)
	It's not like you can't do it.

			NICK
		(interjecting)
	I'll stop.

			CAROL
		(urgently)
	It's that I don't want you to do it.

			NICK
	I've stopped.

She stares at Nick. He avoids her stare. She takes his face 
in her hand and makes him look at her.

			CAROL
		(staring in his eyes)
	Nick.
		(emphatic)
	I don't want you to do it.

Nick stares in her eyes.

			NICK
		(calmly, after a beat)
	Okay.

She lets go of his face.

			CAROL
	Shit.
		(after a beat, wryly)
	I hate talking to you.

							CUT TO:

EXT. SID'S TRUCK - NIGHT

Through the windshield we see Sid driving slowly, looking 
out at motel parking lots. Their neon signs reflect in the 
windshield.

EXT. STRIP OFF THE HIGHWAY

Gas stations, fast food joints and motels.

Sid and his truck pull away from the strip and up onto the 
on ramp.

EXT. HIGHWAY - CONTINUOUS

Sid and his truck pull onto the highway.

CREDITS ROLL

As Sid's taillights disappear down the barren highway.

							FADE OUT:

			THE END
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