INT. BUS - MORNING
Sam stares out the window at an unfamiliar
neighborhood. On
his lap, the pink box, now ripped, allowing
us to see Lucy's
birthday cake. It's lopsided from having
been thawed and
refrozen.
EXT. BUS STOP - NOON
Sam waits for his transfer. He sets the
cake down on the
bench and takes out a piece of paper with
directions written
on it. The number 43 bus pull sup and
Sam consults his paper
once more before jumping on, forgetting
the cake.
The bus goes half a block before it SCREECHES
to a halt. Sam
jumps off and runs back for the cake,
but the bus continues
on its way. Moments later, the NUMBER
34 bus pulls up.
Flustered and worried about being late,
Sam jumps on. He
feels something cold on his hand, looks
down, the box is
starting to leak ice cream.
INT. SOCIAL WORKERS OFFICE - DAY
Lucy, Margaret, a therapist and a child
psychologist wait for
Sam.
MARGARET BROWN
Lucy, I'm sorry. But it doesn't look
like he's going to make it.
LUCY
(staring forward)
He'll be here. You smell like soap.
MARGARET BROWN
Lucy, he's an hour and 45 minutes late.
You'll only have a few minutes left.
Suddenly through the door comes Sam CARRYING
THE MELTED,
DRIPPING birthday cake. Lucy runs to him.
LUCY
Daddy! I told you I told you!
CUT TO:
INT. THE SOCIAL WORKER'S SMALL GREY OFFICE
- MOMENTS LATER
Margaret, the therapist (Ms. Geller),
and the Child
Pscyhologist all write voraciously into
note pads as they
observe Sam and Lucy who sit in the center
of the room,
nervous under their scrutiny.
SAM
...and she's a Century City lawyer - a
very famous lawyer. Guess what her name
is? Rita Harrison.
LUCY
(jaw drops)
Lovely Rita Meter Maid.
SAM
Harrison. Just like George.
They move to hug each other. EVERYONE
REACHES for their
pens. Sam pulls back self-consciously.
Everyone writes even
harder.
SAM (CONT'D)
You've grown.
LUCY
Have I?
SAM
Your ears are larger. And your eyes are
older.
He's right. Her eyes are older. He hugs
her - ALL THE PENS
GO UP.
SAM (CONT'D)
I'm gonna get a phone machine. Next
paycheck. If I'm not home, you can
leave a message. "Hi, This is Lucy."
LUCY
You can't afford a phone machine.
The writing starts again.
SAM
Yes we can. I'm in line for a
promotion. Big promotion. A promotion
that's big.
LUCY
They're gonna let you make coffee?!
SAM
Set your dreams high, Lucy.
Lucy looks at her father lovingly.
LUCY
I'm sorry, Daddy. It was all my fault.
SAM
No, Lucy. Don't say that.
LUCY
I wouldn't want any Daddy but you.
She looks around to see if anybody's
writing. NOBODY IS.
She suddenly screams at them:
LUCY (CONT'D)
I said I was sorry! I said I didn't
want any Daddy but him! Why don't you
write that down?!
INT. RITA'S OFFICE - DAY
We hear sobbing and see Rita sitting
across from a very rich,
very angry COUPLE. Rita's foot is twitching
furiously.
RITA
...are you telling me that neither of
you want custody of your child?
WOMAN
He's created a monster. He's exactly
like him. He...he...
The woman is distracted by a loud thumping
on Rita's glass
wall - it's SAM. Holding an envelope.
Very distressed, as
the Secretary attempts to corral him back
into the lobby.
RITA
I am right here with you, excuse me.
(she unlocks door)
Sam? Didn't I tell you that you have to
call?
SAM
I -
RITA
You know how to make an appointment.
SAM
It's -
RITA
That's ridiculous you can always get
Patricia.
SAM
They -
RITA
Good. I'll see you next week.
SAM
But it's an emergency - lots of three
syllable words urgent open at once.
He hands the letter to Rita. Rita looks
through the glass
wall at her clients who are getting impatient.
RITA
They want to have you and Lucy evaluated
by a shrink. The appointment is today
at three. Today. Now. Today!
SAM
I know and I want you to object.
RITA
Sam I can't object. It's court ordered.
Sam notices that the woman in Rita's
office is crying. He
walks in and hands her a handkerchief
from his pocket.
SAM
Here. Don't be sad.
She looks at him as if he's from Mars.
Rita, now outside her
office, watches Sam now inside the office.
RITA
Patricia, I'm in the middle - get him
out of there -
She quickly gets up but Rita's too impatient
and pushes past
her into the office.
RITA (CONT'D)
Sam. Sam come with me.
(to the Couple)
We're gonna get through this excuse
us...
(to Sam)
Sam this is their turn now. Not yours.
Theirs. If you leave now you'll never
make it and you have to make it.
SAM
Okay okay I know I take the #34 bus and
transfer to the #13...than the Downtown
Express to Wilshire then -
Rita looks at the Couple leaving her
office.
INT. RITA'S PORSCHE - DAY
Redefining road rage, Rita's slamming
the horn. Sam next to
her.
RITA
Go! Go! GO! for chrissakes! Green means
GO!
SAM
Red means stop yellow in the middle
means no no no...I don't like shrinks.
I've seen too many shrinks.
RITA
Yeah. You and me both. Right or left
which will it be you IDIOT!?
SAM
Your mother sent you to shrinks, too?
RITA
No. Well, sort of. I talk about her
the whole time I'm there.
SAM
That's nice. Did you notice that
everyone else is driving slower. I
noticed that did you?
RITA
(on the horn)
Go for Chrissakes! How about your
mother? Maybe she can help you -
SAM
She's gone. She's at the Park Lane
Mortuary. Two from the left. Under the
big tree.
RITA
Oh. I'm sorry. The light is green!
WOULD YOU MOVE MOVE MOVE!?
She cuts around the car in front of her;
flips him off, and
in a split second that her head is turned,
almost SMASHES
into the car in front of her! She slams
on the brakes.
SAM
Too many shrinks...I'm sorry Mrs.
Dawson, if I were you I wouldn't waste
any more time. I'm sorry Mrs. Dawson it
must be a tremendous disappointment.
I'm sorry Mrs. Dawson I think you'd both
be happier if Sam was in a home.
Rita looks over at Sam, forced to stop.
INT. PSYCHOLOGIST OFFICE - DAY
Sam sits across from a shrink, MS. GELLER,
nervously
straightening her desk.
PSYCHOLOGIST
Mr. Dawson, you do understand, that
since I am a court appointed
psychologist, the traditional client
therapist confidentiality will be
waived.
(Sam looks confused)
Mr. Dawson, do you understand that the
confidentiality will be waived?
Sam nods nervously and waves. With that
she begins.
INT. SAM'S APARTMENT - NIGHT
Sam, Ifty, Brad and Robert hover over
a used answering
machine. Ifty pours over the instructions.
IFTY
Before you read your message press the
red button for record, when you finish,
press the yellow button. If you press
the green button, it will play it back
you. Let's start with the "ogm".
SAM
Okay, okay. I'm ready. Hello, I am
Sam.
IFTY
No, no. I didn't press the red button.
SAM
Oh, yes. False start, false start.
IFTY
It's not working. That's what you get
for buying a used machine. Used means
broken. You're asking for other
people's problems, you have enough of
your own, not that everyone doesn't have
problems.
BRAD
It's not used. It's pre-owned. Guy
bought it for his auto shop and then he
got a secretary.
IFTY
Testing, one two three.
SAM
That's a good code. I'll remember that.
One, two, three.
IFTY
(pressing button)
Quick, you're recording.
SAM
I'm hi. I am Sam. I'm not home.
ROBERT
No, you don't want to say that. you
don't want them to know you're not home.
SAM
But then I'm lying.
ROBERT
Everybody's lying.
SAM
I'm not a liar. It will send a mixed
message to Lucy.
IFTY
(pressing the button)
You're on the air!
SAM
Let me see, let me see, let me see. Hi,
how are you?
BEEP! the tape runs out.
IFTY
That was pretty good. That was natural.
SAM
Did I sound like a good father?
IFTY
It's the outgoing message. You need to
sound more outgoing. Let's start again.
INT. GROUP HOME - NIGHT
Mrs. Kerry unlocks the phone and dials.
She hands the phone
to Lucy who waits eagerly in her pj's.
Sam's answering
machine clicks on; as if on slow speed.
ANSWERING MACHINE
Hi, it's Len's Auto Body Shop. We'd
love to show you our body work, but it's
invisible. Leave it at the beep.
LUCY
Try again. You must have dialed the
wrong number.
INT. RITA'S OFFICE - DAY
Rita and Sam walk through the lobby at
Rita's Olympic pace.
She passes the elevator and heads for
the stairs.
RITA
Look, we've got a lot to go over and
I've got five minutes.
SAM
(pointing to elevator)
Rubel Bly Harrison and Williams thirty
second floor, thirty-two floors up.
Rita heads up the stairs. We hear a BEEP.
Then another.
Rita checks her heart rate watch. Starts
walking up the
stairs.
RITA
One-twenty. Gotta get to one-twenty
five to make it count. Okay okay okay.
I'm gonna need that list of people who
can testify that you're a good father
despite your handicap. I didn't mean
your handicap I meant your disability
-
I mean the fact that you're retarded.
That's not the right word. I mean...
What do I call you?
SAM
Sam. I am Sam.
Rita looks at Sam as she bounds up the
fourth floor.
RITA
Yes you are.
(he hands her a list - her CELL
PHONE RINGS)
Hello Ted how you doing/ Whattaya mean
what's that supposed to mean?
(her heart beep rate goes up)
Put Danny on... You're supposed to be
taking him to karate. No it is not my
day it's your day. I took your day last
Wednesday - are you eating no I will not
hold. Go pick him up! What? I can't
hear you I'm in the car - they put you
through to me here...I'm losing you --
(clicks off phone)
I get paid for this memory - I know I
took him last.
A look of horror falls across her face.
She does a 180 and
starts RUNNING down the stairs reading
the list.
RITA (CONT'D)
We're making progress. Three character
witnesses. That's a good start. What
does Ifty Bhutto do?
SAM
He works in a bank.
RITA
(tripping down the stairs)
Excellent.
INT. RITA'S OFFICE - THE VERY NEXT DAY
Ifty sits across from Rita who attempts
to take notes.
IFTY
Sam is a very concerned father. He
always saves his money at Bank of
America. Last year there was a lion on
the calendar. This year a gazelle. The
gazelle is national bird of Tunisia. We
have clients, not customers. At Bank of
America. Bank on us.
He looks up at her, lost. So is she.
IFTY (CONT'D)
What was the question again, please?
CUT TO:
INT. RITA'S OFFICE - DAY
ON BRAD
Who sits across from Rita. She tape records
him.
BRAD
He always made a point of feeding her
breakfast when "Bewitched" was
on and
lunch when "Jeopardy" was on
so she'd be
smart. Is that Wonderbra you're
wearing? Because you look wonderful.
CUT TO:
INT. RITA'S OFFICE - DAY
Robert sits across from Rita, who records
him.
RITA
How long have you and Sam -
ROBERT
Why are you recording this? Who's
listening?
RITA
It's often necessary -
ROBERT
Who are you really?
RITA
I'm -
ROBERT
What's that supposed to mean?
RITA
Let's -
ROBERT
I need to talk to my lawyer.
CUT TO:
INT. RITA'S OFFICE - LATER
Rita maniacally picks the frosting off
a donut.
RITA
Patricia, get Mr. Dawson on the line.
Over her INTERCOM, we hear SAM'S ANSWERING
MACHINE.
ANSWERING MACHINE (O.S.)
Hi, it's Len's Auto Body Shop -
RITA
I need this like a - call him at
Starbucks - no I don't know which
Starbucks. There's forty two between
here and the end of the block.
EXT. STREETS - DAY
Rita stands next to her Porsche. There
are Starbucks in
every direction she looks.
INT. STARBUCKS - DAY
Sam is straightening Sweet and Lows.
Rita barrels in.
RITA
Look I don't think you understand what
you're up against we have to be in court
in three days and we don't have a decent
witness. Now you've gotta know someone
who can testify who's been to college
-
or has a degree of some kind - or some
sort of way of expressing themselves
that's gonna make the court believe that
you deserve to get your daughter back
I
need a coffee. Big. Tall.
SAM
Tall's the smallest.
RITA
Of course. Of course, whatever. Okay
okay okay. Damn! I forgot to call back
no I did and once you think of this
person and there has to be one person
-
I want you to call me at work - because
I'm going back there now to my seven
other cases --
(her cellphone RINGS)
What? Mrs. Robeck? I'm on my way, the
traffic's horrible on the 405. Dorothy,
we put in five months lets not let a
three car pile up..I know it's been
enormously stressful.. Your Esczema?
Oh, honey, nobody notices..AH! They
opened a lane!
SAM
(too loudly)
Do you want it here or to go?
RITA
(dial tone)
Dorothy? Dorothy? No no no I didn't
stare at the eczema for five months for
-
She takes out her car beeper, clicks
it towards the window
and realizes that they're towing her car!
RITA (CONT'D)
Sonuvabitch!
INT. ANNIE'S APARTMENT - EVENING
Annie is at the piano, lost in a Beethoven
concerto.
SAM
Annie, it's one day. One hour. Maybe
only 53 minutes. Lucy needs you.
(Annie keeps playing)
You went to college. You can give the
right answers.
Annie plays even harder. Frustrated,
he POUNDS the piano.
SAM (CONT'D)
We can't lose her.
ANNIE
I can't. I'd make it worse for you. I
can't do it. Don't you think I would if
I could?
CUT TO:
INT. COURTROOM - DAY
We HEAR A VOICE:
VOICE (O.S.)
All rise for the Honorable Judge Phillip
McNeily.
Sam stands along with others in the courtroom.
The Judge
enters and sits. Everyone else sits now,
too. Except Sam.
Who continues to stand until Rita pulls
him down. Now we
see:
Ifty, Robert, Brad - and Brad's MOTHER,
who sits several
seats behind Brad knitting. Robert holds
up a handmade sign
from the back of the courtroom "Free
Lucy Dawson".
INT. COURTROOM - ONE HOUR LATER
Turner, the prosecuting attorney, examines
his first witness.
He's disheveled, but don't let the rumpled
suit fool you.
This man is razor-sharp. The THERAPIST
who evaluated Sam is
on the stand. Sam anxiously rearranges
all the pens on the
desk he sits at with Rita. Projected on
a SCREEN is a SLIDE
of the drawing Lucy made in school.
THERAPIST
...there is an unhealthy reversal of
roles here.
As you can see from her drawings, she
has an exaggerated sense of
responsibility. Lucy feels she has to
take care of her father. Although at
her birthday party her true feelings
about her father were revealed.
RITA
Objection. "True feelings revealed"?!
TURNER
The state is paying Miss Geller for her
opinions -
RITA
Then every child who rages because they
didn't get to stay up for that extra
hour of TV -
TURNER
Objection your honor -
Sam TUGS at Rita's sleeve. She ignores
it.
RITA
...in fact any child who said they hated
their parents because they didn't want
to take a bath would be a prime
candidate for Foster Care.
TURNER
Objection.
SAM
I think they want you to stop.
RITA
Really?! Thank you, Sam.
JUDGE MCNEILY
We all appreciate your assistance Mr.
Dawson - continue with your witness, Mr.
Turner.
TURNER
Now Ms. Geller, I assume in your therapy
session, Mr. Dawson extolled his
parenting abilities.
THERAPIST
On the contrary, Mr. Dawson admitted he
felt profoundly inadequate - that he was
terrified he'd made and would continue
to make - and I quote: "Huge mistakes,
huge mistakes, mistakes that are huge."
TURNER
No further questions.
Rita starts to scribble notes furiously.
So does Sam.
Turner smugly sits down. Rita confidently
strides toward the
witness.
RITA
You're a mother, aren't you Ms. Geller?
THERAPIST
Yes.
RITA
Would it be fair to say that as a
parent, you've felt confused from time
to time, possibly overwhelmed on
occasion, even though you're a wonderful
mother?
TURNER
Objection. It's Mr. Dawson's parenting.
Not Ms. Geller's that's at question
here.
RITA
But if Ms. Geller has never had a moment
where she felt confused as a mother it
would bias her opinion. And it is her
expert opinion we're all after, isn't
it, Mr. Turner?
JUDGE MCNEILY
Overruled. I'll allow it.
RITA
Thank you, your Honor. Ms. Geller, I
know there have been many moments as a
parent where I've felt I've made huge
mistakes - mistakes that are huge. And
I've had to admit them to myself. My
husband. But most importantly, to my
therapist. Which is the guise Mr.
Dawson thought he was seeing you under,
isn't that right, Ms. Geller?
TURNER
Objection.
JUDGE MCNEILY
Get to the point, Ms. Harrison.
RITA
The point is you've never had those
moments, have you Ms. Geller? Moments
that every parent I've ever spoken to
has - moments when you've felt the task
is so unbelievably challenging that you
feel retarded, disabled in some way.
Moments when you feel everyone has the
key but you. But you've never had those
moments, have you Ms. Geller?
THERAPIST
I -
RITA
Yes or no?
THERAPIST
I -
RITA
Let me rephrase the question. When your
son od'ed -
TURNER
Objection!
RITA
But if Ms. Geller didn't feel she had
made mistakes - mistakes that were huge
it might bias her opinion toward Mr.
Dawson.
JUDGE MCNEILY
I will -
RITA
Thank you. So Ms. Geller - yes or no -
when your son od'ed, did you feel you
might have made mistakes, mistakes that
were huge?
THERAPIST
(tearfully)
Yes.
INT. COURTROOM CAFETERIA - DAY
Sam and Rita go down the cafeteria line.
SAM
You made her cry.
RITA
You got lucky.
SAM
That's not nice. Not very nice.
RITA
Only in there.
SAM
Your secretary too. Yellow and green in
one bowl.
(Sam stares at a bowl of Lima
beans and corn)
You separate the Lima beans from the
corn please?
The CAFETERIA WORKER stares at him. Yeah.
Sure he will.
RITA
Sam, don't be impossible.
(then to Worker)
Can I have the spinach omelet - only egg
whites no fat no oil no butter and extra
mushrooms.
CAFETERIA WORKER
Absolutely.
Sam is anxiously separating his Lima
beans and corn into
separate piles. They arrive at the cashier.
Rita pulls out
her billfold. Sam reaches for his wallet.
SAM
My treat. My treat.
RITA
Don't be ridiculous. I'll get it.
SAM
I said it's my treat. That means I'll
get it.
RITA
Sam, do you really want to get it or are
you just trying to --
SAM
Trying to what?
RITA
You know, trying to act like a -
SAM
Like a what?
RITA
Like a...a...
SAM
A real man?
RITA
I didn't say that.
SAM
You're my lawyer and you think what they
think. I don't have a chance. No
chance at all. Even with an expert
witness.
Rita looks at him. He's right. She chooses
her words
carefully.
RITA
I think...you deserve...a fair trial.
SAM
Answer the question.
RITA
Okay okay okay. What was the question
again?
SAM
Do you think what they think? Sam can't
order food. Sam can't pay a check. Sam
can't take care of Lucy?
RITA
It doesn't matter what I think - it
matters that we win.
SAM
You're my lawyer it matters what you
think.
RITA
Hey, it doesn't matter to them what I
think.
SAM
Me. It matters to me.
He reaches for the receipt, and faces
the CASHIER defiantly.
SAM (CONT'D)
Fourteen thirty three. That's 5 ones,
2
quarters and 16 cents less than twenty.
He slowly counts his money, takes his
tray and walks away.
Rita watches him, with a trace of remorse
and a hint of
admiration.
INT. COURTROOM - DAY
DR. DONOVAN, an attractive soft-spoken
woman is on the stand.
Rita is working the room. Sam, having
a hard time
concentrating, is following a crack up
the wall and onto the
ceiling.
RITA
Dr. Donovan, the American Medical
Journal named you one of the country's
leading oncologists. Isn't that
correct?
DR. DONOVAN
Yes.
RITA
What kept you going the twelve years you
were in medical school?
DR. DONOVAN
Caffeine. Sugar. And my mother's
confidence in me.
RITA
I wish I had a mother like that. She
must have been smart.
DR. DONOVAN
She had great instincts.
RITA
Do you have any idea what her IQ was?
DR. DONOVAN
In the lower ranges. About eighty.
RITA
So your mother, this woman with the IQ
of a nine-year old had the wisdom to
recognize that you would be a great
doctor. I guess her disability didn't
seem to hold you back in life.
DR. DONOVAN
No. My mother's condition taught me
what they can't teach you; compassion
and patience.
RITA
Traits most doctors have in spades.
Thank you, no further questions.
Sam runs to hug Dr. Donovan, bumping
into Rita who sits him
down.
TURNER
How'd you get through medical school?
Where'd you live?
DR. DONOVAN
We lived with my mother's parents.
TURNER
Oh, Grandma and Grandpa. Would it be
fair to say your grandparents were of
normal intelligence?
DR. DONOVAN
Yes.
TURNER
And didn't these people - your
grandparents - with normal intelligence
-
have the real responsibilities?
RITA
(relishing this)
Objection! I hear Mr. Turner's mother
in-law lives with him! She must help
out. Does that mean he doesn't have the
real -
TURNER
Motion to strike that from the record.
Irrelevant, immaterial and immature -
RITA
Irrelevant?! Any parent has a right to
a support system.
TURNER
I'm not talking about the rights of the
parent, I'm talking about the rights of
a child.
(the gavel bangs)
I'm talking about entrusting an eight
year old's welfare in the hands of
someone whose records show he was
diagnosed with infantile autism, mental
retardation...
RITA
Objection! Motion to strike that from
the record. It's clear that one's
intellectual capacity has no bearing on
their ability to love. You Honor, would
you please instruct council to proceed
with a modicum of sensitivity?
TURNER
Oh, I'm sensitive. I'm real sensitive
when I see people like you --
(the gavel BANGS!)
come here and try to give meaning to
your life by screwing up somebody
else's!
JUDGE MCNEILY
That's enough. Both lawyers approach
the bench!
RITA
(both approach)
And I suppose tearing apart a family is
truly noble work, Mr. Turner.
JUDGE MCNEILY
That's it. I fine you both for
contempt. Two-hundred fifty dollars.
TURNER
What's that to her? She gets that for
picking up the phone.
RITA
Oh, that's what this is about.
TURNER
I'll tell you what this is about. See
this is an award for you at some
luncheon. But I'm here everyday.
(gavel POUNDS AGAIN)
You win, you're out the door.
But guess who I see come back? The kid.
Most of the time, in less than a year.
Only now it's too late. So you're
right. I'm real sensitive. You can't
even touch that area.
ON SAM
Devastated.
CUT TO:
INT. INSTITUTIONAL GRAY SOCIAL WORKERS
OFFICE - DAY
Margaret Brown observes Sam and Lucy.
LUCY
But how did he prove it?
SAM
Columbus had to sail around the world
to
prove it was round.
LUCY
You're so smart, Daddy.
Sam shoots a look at Margaret. He hasn't
heard anything nice
about himself in so long. Lucy looks into
her father's eyes.
LUCY (CONT'D)
Are we winning, Daddy?
Sam shoots ANOTHER look. He doesn't want
to lie. Lucy
catches the look between Sam and Margaret.
MARGARET BROWN
Excuse me, time's up.
LUCY
Please. Just a little more.
MARGARET BROWN
I have another client at two-thirty.
You need to put your shoes on and get
ready to go.
LUCY
Oh no! There's a knot. A really big
knot.
Sam attempts to undo it. Lucy and he
work very slowly,
cherishing each moment together.
MARGARET BROWN
I'll help you.
She undoes it quickly. Hands it back.
LUCY
I need to go to the bathroom.
INT. BATHROOM - MOMENTS LATER
Lucy's feet dangle from under the stall.
Margaret's sturdy
shoes from under another. Suddenly, Lucy's
head pops out and
now she quietly wriggles out from under
the stall, tip toes
across the room and out the door. Locking
it with a key.
INT. SOCIAL WORKERS ROOM - CONTINUOUS
Lucy runs up to her father.
LUCY
Daddy, she said we could go to the park.
SAM
What's going on? What made her change
her mind?
LUCY
I started crying in the bathroom. She
thought we needed more time.
SAM
That was so nice of her. Very nice.
INT. BUS - DAY
Sam and Lucy hold hands and look out
the window. Sam sees
Echo Park approaching and gets up. Lucy
pulls him back to
the seat. She looks Daddy in the eye and
in a furtive
whisper:
LUCY
Let's not get off. Let's keep going.
SAM
No, Lucy.
LUCY
Please.
SAM
That would be wrong.
LUCY
Tamara's Mommy lost her case and Tamara
hasn't seen her in six years. She's had
five different mommies and one of them
hit her.
SAM
I won't let that happen.
LUCY
That's what her real mommy said. And
now they won't even let her talk to her.
Sam reels with confusion. Lucy buries
herself in his chest.
LUCY (CONT'D)
Daddy, it's the only way to be together.
We'll start a new life, get new names.
We'll live in a new apartment. They'll
never find us.
The bus has stopped. Passengers for the
park have exited.
Sam doesn't move. As the BUSDRIVER closes
the door and heads
on, he holds Lucy protectively to his
chest.
SAM
I love you Lucy. I love you.
LUCY
My name isn't Lucy anymore, it's
Michelle.
INT. BUS - NIGHT
Lucy sleeps cuddled close to Sam, who
is wide awake, as he
gazes out at the passing highway, far
from home. We hear the
song "Michelle".
EXT. PARK - 4 A.M.
Sam, totally disoriented, walks in circles
around the plastic
tunnels and jungle gym. A flashlight shines
in Sam's face.
COP
Hey, buddy. No loitering. Move it.
SAM
Not yet not yet not yet.
COP
You want me to get a black and white
down here?
He moves toward Sam. SUDDENLY THE SPRINKLER
SYSTEM goes on.
The cop backs off, but Sam doesn't move,
standing in the
middle of the park and getting totally
wet.
SAM
Not yet not yet not yet.
He shines the flashlight in Sam's face
and we see INSIDE THE
PLASTIC TUNNEL where LUCY SLEEPS PEACEFULLY
on a bed of
coats, holding a discarded stuffed animal.
COP
Jesus Christ.
SAM
She hasn't been sleeping well. She
needs a good night's rest. Let her
sleep, let her sleep.
(the cop moves toward Sam)
NO!
COP
What are you, crazy?
All the cop sees is a lunatic walking
in protective circles
in the downpour of the sprinklers with
a kid in a plastic
tunnel.
SMASH CUT TO:
INT. POLICE STATION - DAWN
Police doors swing open as Rita, coat
over pj's, a sleepy
DANNY by her side, storm inside. Lucy
lies on a bench with
her head in Sam's lap.
RITA
What were you thinking what were you
possibly thinking?!
SAM
I -
RITA
That's ridiculous! Danny stay with me
-
(he moves away)
What could you possibly gain by
kidnapping your kid in the middle of a
custody hearing?!
SAM
She -
RITA
I don't wanna hear it! Can you possibly
explain this to me?!
SAM
But Lucy said -
RITA
Who's the parent here? Who's the
goddamned parent here? Danny! Stay in
the hallway -
Danny turns the corner just as Margaret
Brown rushes in.
Rita turns to her - her expression changes
on a dime.
RITA (CONT'D)
Miss Brown, I can imagine what you're
thinking.
MARGARET BROWN
I'm -
RITA
But I ask you what parent in their right
mind seeing their child in pain --
MARGARET BROWN
I have seen -
RITA
Their yearning for contact - wouldn't
take them in an attempt to comfort them?
Where the hell is Danny?
MARGARET BROWN
You -
RITA
He -
MARGARET BROWN
There's -
RITA
Oh yes there is! And if I were you I'd
look at my conscience you do have one
don't you long and hard before I tried
to use this in court.
MARGARET BROWN
Is that a threat?
RITA
No. It's a plea. Give'm a break.
Give'm one goddman break.
Margaret's cell phone RINGS.
MARGARET BROWN
What?! No, Mrs. Sloan. His temperature
couldn't be 117, no not even 107. Okay,
okay, I'll come...Come on Lucy, I'll
take you back.
RITA
C'mon, Danny. We're going home.
Danny!? Danny!?!?
The FIRE ALARM GOES OFF and --
RITA (CONT'D)
Goddamn it, Danny!
Rita avoids Margaret's look. Margaret's
cell phone goes off
again. She doesn't answer. Now Rita looks
at Margaret, but
this time Margaret avoids looking at her.
Lucy runs to Rita
and throws her arms around her waist.
LUCY
Please don't fire us. It was all my
idea. Please don't. Please. Please.
Rita is disarmed. She's moved and not
used to being moved.
INT. COURTROOM - DAY
BAILIFF
...the whole truth, and nothing but the
truth, so help you God?
Lucy's in her best dress, being sworn
in. One hand in the
air.
LUCY
So help me God...
And now CAMERA MOVES AROUND HER AND WE
SEE THAT SHE'S HIDING
HER OTHER HAND BEHIND HER BACK - FINGERS
CROSSED.
INT. COURTROOM - LATER
Lucy is on the stand, Turner is cross-examining
her.
TURNER
I heard you turned seven this year.
That's pretty exciting.
LUCY
Everybody gets older. It's not that big
a deal.
TURNER
What'd you get for your birthday?
LUCY
I haven't opened my presents yet.
TURNER
Really? That's odd. Why not?
Lucy looks to her father and Rita.
LUCY
I opened my presents. I got the HELP
album - limited edition.
ON RITA AND SAM
What is she doing?
TURNER
Oh, I'm sorry. I was confused. I
thought you didn't open your birthday
presents because you ran away from your
own party when your best friend told
everyone that you were adopted.
LUCY
I never said that; why would I say that?
TURNER
Why would your friends say it if you
hadn't said it?
LUCY
Kids lie all the time.
Next to her skirt, we see her fingers
are crossed so hard
they're practically turning purple.
TURNER
May I remind you Lucy that you're under
oath?
LUCY
You may.
TURNER
And do you know that means if you lie
you could be in serious trouble?
LUCY
I do.
TURNER
So now that you and I have agreed to
tell the truth, where did you sleep last
night?
Rita glares at Margaret. Thanks a lot.
LUCY
In my bed at the Foster home.
TURNER
All right, Lucy. If you're not going to
tell the truth, I am. Your dad
kidnapped you last night and the police
found you sleeping in a seedy park a
hundred miles from here. You're lying
right now because you're afraid. Afraid
that everyone will see how scared and
frustrated you really are. You're
afraid of hurting him, but now we need
to tell the truth. The truth is deep
inside you know you're not getting what
you need from your father. Isn't that
right, Lucy?
A LONG SILENCE. She stares at Turner
defiantly.
LUCY
"All you need is love."
INT. COURTROOM CORRIDOR - DAY
WE HEAR THAT SONG as Sam and Rita walk
out of the courtroom.
Rita is breaking pieces off a candy bar
she has stuffed in
her purse. They see Lucy running down
the corridor toward
Sam, Margaret Brown behind her.
LUCY
Daddy! I did great, didn't I?
SAM
No, Lucy, you lied.
LUCY
Shhh! Don't tell anyone.
Rita watches Sam. Moved by his concern
as a parent.
MARGARET BROWN
Lucy, Mrs. Kerry's here to take you
back.
LUCY
I thought you'd be proud of me. Jo Jo's
mom told him to lie on the stand and say
he never saw a needle in the house; and
he did, and now they're back together.
SAM
Jo Jo isn't us. The truth, the truth,
when the judge hears the truth, he'll
know, he'll know we should be together.
LUCY
(bursting)
Nobody's interested in the truth, Daddy.
Nobody cares!
They lead her down the hallway toward
Mrs. Kerry - Sam's
voice gets louder and louder - determined
to make her hear.
SAM
I CARE! DO YOU HEAR ME? THE TRUTH.
THE WHOLE TRUTH! SO HELP ME GOD!!
INT. SAM'S APARTMENT - NIGHT
The darkness of Sam's apartment. We see
him on his knees.
Saying his prayers by his bedside.
SAM
Help me, God. Help me, God. Help me,
God...
We see ANNIE'S SILHOUETTE from the window
of her apartment as
it moves across the frame.
INT. COURTROOM - DAY
Turner cross examines George, the manager
of Starbucks.
GEORGE
Sam's my most reliable employee. He's
never missed a day of work in eight
years. Always warm, always friendly.
TURNER
Admirable qualities for a single father.
Mr. Walker, in these eight years, have
Mr. Dawson's responsibilities,
which...let me see...would include
bussing tables, replenishing Sweet 'n
Lows, and sweeping up the place...
increased?
GEORGE
No. Not really.
TURNER
And isn't that because he's mentally
incapable of learning management skills
or working the cash register or even
making a cup of coffee?
RITA
Objection. Leading the witness.
JUDGE MCNEILY
You may answer the question.
George searches for a way to tell the
truth.
GEORGE
Well as a matter of fact, Sam and I have
been discussing a promotion that I was
planning on putting into effect at the
end of the week.
Sam leaps to his feet.
SAM
Oh boy! Thank you, George!
Rita pulls him down. Turner seizes the
moment.
TURNER
Yes. Thank you, George. Now, after
eight years, Sam can finally measure out
a teaspoon of coffee and cup of water.
Now, he must certainly be able to help
Lucy with her geometry.
RITA
Objection -
TURNER
No further questions.
INT. COURTROOM CORRIDOR - LATER
Rita prepares Ifty.
RITA
...and when I ask another question?
IFTY
I answer in one sentence.
RITA
Yes. Short and sweet.
IFTY
Yes. One sentence. Short and sweet.
My aunt was short and sweet. But her
cooking was too spicy she...
Rita's twitching foot knocks over her
purse. Out spill
several Snickers Bars with the chocolate
picked off them.
Embarrassed, she kneels to pick them up
when she and Sam see
something that stops them both, awestruck.
In the corner of
the corridor, huddled on a bench in dark
sunglasses, sits
ANNIE IN A PROFESSIONAL BUSINESS SUIT.
Sam runs to her.
SAM
Annie! I can't believe it!
ANNIE
(visibly trembling)
Tell them to take me quickly.
RITA
Give me one minute with the judge.
INT. COURTROOM - FIFTEEN MINUTES LATER
Annie, wearing her dark glasses, is being
questioned by Rita.
RITA
Besides being Lucy's godmother, aren't
you also Lucy's piano teacher?
ANNIE
Yes.
RITA
Lucy's very lucky. Didn't you graduate
Magna Cum Laud from the Julliard School
of Music?
ANNIE
Summa Cum Laud.
RITA
(delighted)
Excuse me. Now Ms. Cassell, in all the
time you've known them, have you ever
questioned Sam's ability as a father?
ANNIE
Never.
RITA
Never?
ANNIE
Never. Look at Lucy. She's strong,
she's able to display true empathy for
people, all kinds of people. I know you
all think she's as bright as she is
despite him. But it's because of him. |
Spain.
