Screenplay

» by Kristine Johnson & Jessie Nelson.
[Shooting draft]
2001

PART - III

DISSOLVE TO:

INT. COURTROOM - LATER

Turner stands where Rita did.

TURNER
Can Sam add?

ANNIE
Yes.

TURNER
How about multiplication?

ANNIE
He's learning.

TURNER
So what you're saying is that Sam can
not even multiply two times two?

ANNIE
I don't know about you, Mr. Turner, but
my fondest memories of my parents have
nothing to do with times tables or state
capitals.

TURNER
I bet he's knocking on your door all the
time with questions.

ANNIE
Yes. All the time. The last question
was whether to use Biz or Clorox to get
the grass stains out of Lucy's soccer
uniform.

ON RITA AND SAM

This is too good to be true.

TURNER
So let's see..he doesn't know math...he
can't even wash her clothes. How about
puberty? I can only imagine how much
insight he'll bring to approaching the
sensitive issues of a young girl's
development.

ANNIE
Mr. Turner, show me a father, any
father, who knows how to do that and
I'll give them the Parent of the Year
award.

TURNER
And you've had plenty of opportunity to
observe fathers, haven't you?

RITA
Objection!

TURNER
But the fact that Ms. Cassell hasn't
come out of her room in years might have
some effect on her perception.

JUDGE MCNEILY
I'll allow it.

ANNIE
I had twenty eight years in the world to
observe all kinds of fathers.

TURNER
What about your father, Ms. Cassell?
Since you appear to be an expert on
father-daughter relationships.

A long pause. Sam watches as Annie visibly tightens.

TURNER (CONT'D)
Excuse me, Ms. Cassell, I didn't hear
your response. What about your father?

Annie reaches for her water glass. We see her hand SHAKE.
It knocks over the glass, shattering it on the floor.

SAM
Objection! No further questions!

TURNER
Excuse me, Mr. Dawson?

SAM
I said that's enough! I will not allow
it! Overruled! Overruled!!

Rita doesn't stop him. The Judge hesitates, incredulous,
then pounds the gavel as the courtroom erupts.

EXT. SAM'S APARTMENT - DUSK

Rita sits in her Porsche with Annie and Sam. Annie is curled
into a tight ball in the passenger seat. Sam is tucked into
the shelf in the back. His legs kick Rita in the face with
every gear shift.

RITA
Thank you again, Annie. You were truly
extraordinary.

SAM
Extraordinary. Truly extraordinary.

Annie doesn't move.

RITA
Okay okay okay okay. Well, Sam has his
big day on the stand tomorrow and we
need to work a little bit so that he's
as effective as you were.

SAM
Effective. Very effective.

RITA
On a Porsche, the, uh, the door handle
is a little hidden by that thingamajig,
so if you're having a hard time finding
it I'll just --

Rita reaches across to open Annie's door when she SCREAMS!

ANNIE
Noooooooo!

SAM
Annie's not quite ready to go outside
yet.

RITA
Okay, we'll just take our time.

INT. PORSCHE - TWO HOURS LATER

It's dark now. Annie is still catatonic. Rita's on the car
phone, the kind that voice activates and she's yelling.

RITA
Home! Home! HOME GODDAMNIT! Juanita,
help Danny with his English assignment.
Ayude Danny un story...story...STORIO!

ANNIE
(rising from the dead)
I'm ready now.

RITA
(gently)
Good, fine, Sam? Annie's ready.

Sam's fallen asleep.

EXT. RITA'S LAVISH BEL AIR HOME - NIGHT

Rita and Sam enter.

INT. RITA'S BEL AIR HOME - NIGHT

Sam is awestruck at the magnificent home.

RITA
Okay okay okay okay. We'll work in the
library. It's down the hall and to the
left.

They pass another room and see Danny zoned out in front of
the wide-screen TV watching MUTANT NINJA TURTLES.

RITA (CONT'D)
Hey, Danny.
(no answer)
Where's your father?

DANNY
(staring at TV)
Guess.

RITA
I don't want to guess. Where is he?
(Sam watches Rita)
I told you I don't want to guess.

DANNY
Well where was he last night?

RITA
Working late.

DANNY
There you guessed it.

RITA
He said he was working late?

DANNY
That's what he said.

RITA
Well who did he say was taking care of
you?

DANNY
You. But you said you were working
late.

RITA
I am working late.

DANNY
Then go work.

RITA
How was your day?

DANNY
You have to work. Go work.

RITA
No. How was your -

Her CELL PHONE goes off. Rita moves into the hallway to
answer her phone. Sam moves into the den, sits on the couch,
the sound of Rita arguing with her husband drifts into the
room. Sam looks sideways at Danny who remains stonefaced.

SAM
This is my favorite part. Hey Dommy,
this one looks like he's suffering from
shell shock.

DANNY
Boy I guess we can shell it out... It
was a shell of a good hit.

Rita stands in the doorway watching Sam have a longer
conversation with her son than she's had in months. She
retreats.

INT. RITA'S DEN - LATER

Danny and Sam eat popcorn watching the movie.

SAM
(bellowing)
"Turtles in the half-shell, turtle
power!" Rita! Come this is the best
part.

He heads towards Rita.

INT. PANTRY - CONTINUOUS

In the half-light Sam catches a glimpse of Rita standing in
the pantry unconsciously stuffing marshmallows into her
mouth. Their eyes lock for a moment.

SAM
You eat too fast. Come watch the movie.

RITA
It's getting late. We have to get to
work.
(handing him a suit)
This is my husband's. He won't notice.
He's got ten more just like it. Try it
on.

INT. RITA'S LIBRARY - MOMENTS LATER

Sam comes out of the bathroom in the new suit. Rita stares
at him astonished. He looks incredibly handsome. Rita,
attempting to stifle her reaction, turns away from Sam.

SAM
Bad?

RITA
No. Very, very good. But your tie's
crooked.

Rita stands behind Sam with her around him showing him how to
do his tie properly. Their images are reflected in the
mirror.

RITA (CONT'D)
Cross over once. Loop it around on the
inside of your neck.
(her hand grazes his neck)
Slide the other side through the loop,
then tighten.

Rita comes around to the front and straightens and tightens
the tie. They are both nervous. The room is charged.

RITA (CONT'D)
Okay okay okay okay. Our strategy is
that we're aggressively pursuing a
support system. I'm going to ask you h
ow are you prepared to help Lucy in
school?

SAM
Let me see let me see let me see.

RITA
Sam! I told you you have to stop that!
It makes you look stupid! Okay okay
okay. Try again.
(endless pause)
You say you will find her a tutor. Then
I say, "How will you pay for it?"

SAM
Could you slow down? Why do you eat so
fast?

RITA
(ignoring him)
We've gone over this a million times.
You've found a free tutoring service for
her at the YMCA.

SAM
But I didn't. You did.

RITA
Can't you grasp the concept of
manipulating the truth? Not lying.
Just a little tweak here and there.

SAM
No...You're so lucky. You get to play
with Danny all the time.

RITA
He doesn't want to play with me.

SAM
Yes he does. He does he does. He
thinks you don't want to.

RITA
Oh that's ridiculous of course I want
to.

SAM
Tweak, tweak.

RITA
(exploding)
I drove around after work yesterday 'til
9:30 looking for a goddman razor
scooter!

SAM
(in his own world)
Tweak, squeak, peek peek...

Rita shifts uneasily, embarrassed by her overreaction.

INT. RITA'S LIBRARY - LATER

RITA
Okay, why did you harass that young boy
at your home?

SAM
You know I didn't harass him, Rita. You
know that, you know that!

RITA
Sam, I'm pretending to be Mr. Turner,
remember? Okay?

SAM
Oh yeah yeah yeah yeah. I didn't harass
him, Mr. Turner. Mr. Turner -
(Sam can't keep a straight
face)
You don't look like him.

RITA
That's a blessing.

SAM
You're so much prettier.

RITA
(suddenly shy)
Thank you. Now.
What makes you think you can take care
of a woman - I mean a young child - when
you have a hard time taking care of
yourself?

INT. RITA'S LIBRARY - TWO HOURS LATER

Rita is relentless. Sam is exhausted but determined.

RITA
But who are you kidding? Isn't Lucy
already smarter than you?

SAM
In some ways. But in other ways, she's
not, I think.

RITA
You think?

SAM
I think.

RITA
Sam. You've got to be firm on this.

SAM
I think in other ways I'm smarter than
her. Smarter than you are, Mr. Turner.
In fact, in some ways I'm smarter than
you, Judge McNeilly.

RITA
Whoa! Bring it down.

SAM
What parent doesn't want more for their
child? To be more than the sum of the
parts of the whole of them.

RITA
Yeah yeah yeah, but it's one thing for a
little girl to love her daddy when she's
a baby, but once she loses respect for
you, what will you do?

SAM
(fierce)
I won't let that happen. I won't.

RITA
How can you say that?

SAM
Respect is not just about how smart
someone is. Smart is not just about how
smart someone is.

RITA
But what about Lucy? Aren't you being
selfish? Doesn't she deserve a better
life? Don't you think she's just
pretending she's happy to not hurt your
feelings?

Sam jumps up from the table, trembling with anger.

SAM
Lucy is happy! We have fun! We go to
Denny's, we go to video night. I know
how to love her. I know I'm not going
to able to go to law school and learn
how to be a mean person, but I know how
to love. I know how to be her father,
Mr. Turner!

By this time he is face to face with Rita, breathing hard,
overcome with emotion. Rita is unexpectedly near tears.
Suddenly before she knows it, she is HOLDING SAM. The room
charged. She speaks tenderly, moved by this awkward boy/man.

RITA
I know you do, Sam. I know you do.

INT. STARBUCKS - MORNING

Sam rushes into the coffee shop in his new suit.

GEORGE
You look great, Sam. What time do you
have to be in court?

SAM
Half day, half day. I take the stand at
two.

George leads him behind the counter. THE STAFF BEAMS.
Euphorically, Sam approaches the huge espresso machines.

GEORGE
Okay, we need two grande cappucinos, non
fat.

SAM
Sprinkles or Cinnamon?

INT. STARBUCKS - 11:00 A.M.

Sam is doing great. He's humming as he prepares a triple
latte with the precision of a Swiss watchmaker.

INT. STARBUCKS - 12:00 P.M.

The place is packed, including a GROUP OF JAPANESE TOURISTS.
Sam zips around, trying to juggle between the blender, the
espresso machine, steamed milk, icemaker, all the while
glancing up at the clock. Sam hands three cups to customers,
the foam overflowing, coffee spilling out.

A CUSTOMER takes a sip and SPITS IT OUT.

GUY
What is this? I ordered an Americano,
not a latte.

SAM
Americano, Americano, not a latte.

Working as fast as he can but still NOT FAST ENOUGH, Sam
unconsciously drinks the latte.

INT. STARBUCKS - 12:45 P.M.

Hyped on coffee, Sam is zooming around and he's a mess.
Shirt hangs out, coffee stains on it, his hair wild.
Frazzled, he forgets to put the lid on the blender and turns
it ON. A mint mocha frappuccino SPLATTERS HIM in the face.
At that moment, George comes out of his office.

SAM
I'm going to be late! I'm going to be
late!

GEORGE
I'll call a taxi.

SAM
No, no, I can't wait. I can't wait.
I've got to go right now.

Sam heads out, the coffee drink still dripping from his face.

EXT. STREET - DAY

Walking a hundred miles an hour, Sam barrels down the street
out of his mind. Cars are jammed up. He walks over them, a
man possessed.

INT. COURTROOM - DAY

Everyone is in their places, waiting.

TURNER
Your Honor, if the defendant doesn't
have enough interest in his daughter to
even show up -

RITA
Your Honor, I'm sure he'll be here any
moment. This is an extremely important
day to Mr. Dawson.

At THAT MOMENT, Sam bursts through the doors. Suit stained,
hair sticky with frappuccino. Rita's jaw drops.

RITA (CONT'D)
Your Honor, may I have a moment with my
client?

JUDGE MCNEILY
Make it brief, Ms. Harrison.

Rita heads towards Sam. Up close, he looks even worse.

RITA
What the hell happened?
(sniffing the air)
What is that smell? Mint?

Sam, determined, heads for the stand. Rita grabs Sam's
shoulders and tries to focus him. Looks deep into his eyes.

RITA (CONT'D)
Sam, look at me. Look at me!
(he does)
I will guide you like last night.
(Sam hugs her)
Not that part of last night, the other
part. Now you can do it. I know you
can. Lucy needs you.

SAM
(a mile a minute)
Lucy needs me.

RITA
Yes, slow down because Lucy needs you.

SAM
Lucy needs you.

JUDGE MCNEILY
Ms. Harrison. We need you!

INT. COURTROOM - LATER

Sam, on the stand, talks a mile a minute from the coffee.

RITA
How will you be able to pay for private
tutoring?

SAM
There's a free program at the YMCA.
Lucy can go there.

RITA
But don't you ever think it would be
better for Lucy if she lived with a
permanent foster family and you could
visit whenever you wanted?

SAM
The Fosters don't know her. Why can't
she live with me and they can come visit
if they want to. I'm firm on this. And
I'm getting firmer. Lucy belongs with
me.

RITA
Why?

Sam puts his finger to his chin and starts his "Let me
see..." Rita gives him a look; he lowers his finger and
starts talking very fast from the coffee. The STENOGRAPHER
desperately tries to keep pace.

SAM
Paul wrote the first part of the song
"Michelle". He said to John, "Where do
I go from here?" John had been
listening to Nina Simone. There was a
line in it that went something like, "I
love you, I love you, I love you..."
They put that into the song. It
wouldn't be the same song without that.
It made the song complete. That's why
the whole world cried when they broke up
on April 10, 1970.

ON RITA

Well, he has some kind of point.

MARY, the Stenographer, is still typing.

JUDGE MCNEILY
Did you get that, Mary?

INT. COURTROOM - LATER

Turner fires questions at Sam - a mile a minute.

TURNER
When you were Lucy's age, were you
living at home?

SAM
No.

TURNER
Were you living with your mother and
father?

SAM
No.

TURNER
Well then where were you living?

SAM
(very quietly)
In an institution.

TURNER
So your parents put you in an
institution?

SAM
Only after my mom got sick.

TURNER
What about your father? Where was he?

SAM
Gone with the wind when Sam was born.

TURNER
So, you weren't raised by your mother?

SAM
I saw her I saw her.

TURNER
When?

SAM
Christmas, Easter and my birthday.

TURNER
Oh, once a year on your birthday. So in
a way, the people at the institution
were your parents. Were they nice to
you?

SAM
Some yes. Some on. Some yes.

TURNER
Did they hit you?

SAM
Sometimes. Sometimes they did
sometimes.

TURNER
Like when you hit Lucy's friend at her
birthday party?

RITA
Objection! Nobody hit anybody!

TURNER
Let me rephrase that, strong-armed. So
what role model do you call upon as a
father when you're parenting Lucy? The
head of the institution? The Principal
the warden?

SAM
No. Not Mr. Whitehead. Not him.

TURNER
Then who?

SAM
Myself.

TURNER
you have the mental capacity of a seven
year old. So you ask yourself, a seven
year old -

SAM
I am not a seven-year old.

TURNER
How to parent a fellow seven-year old?

SAM
Yes. No. What was the question?

TURNER
The question is: what makes you think
you can be a parent? Your background?
Your IQ? Your friends who can't even
testify for you?

RITA
Objection -

SAM
My friends -

RITA
Objection -

SAM
My friends love Lucy even if Rita
thought they weren't smart enough to
testify. Even if she said you'd wipe
the floor with them.

ON RITA

Trying to telepathically reach Sam.

TURNER
Excuse me, Mr. Dawson, your lawyer just
objected; that means you didn't have to
answer the question. You can't even
follow the simple rules you've watched
here day after day. You really think
you can raise a seven-year old? A ten
year old? A thirteen-year old?
(in his face)
That means she'll be six years more
advanced than you.

Sweat pours down Sam's coffee stained collar. He searches
for words. Then from the clearest place inside himself:

SAM
I've had a lot of time to think about
whatever it is that makes somebody a
good parent. It has to do with
constancy. It has to do with patience.
It has to do with listening. To
pretending to listen when you can't even
listen anymore.

The court is riveted by Sam's eloquence. Rita's amazed.

SAM (CONT'D)
It has to do with love, like she says...

Rita's antenna goes up: who's "she?"

SAM (CONT'D)
And I don't know where it's written that
a woman has a corner on that market,
that a man has any less of those
emotions than a woman. Billy has a home
with me! It's not perfect! I'm not a
perfect parent! Sometimes I forget he's
just a little kid...
(whispers from the courtroom)
We built a life together and we love
each other and if you destroy that, it
may be irrep, irrep, irrep...

IFTY
Irreparable.

All eyes TURN to the back of the room. Ifty is there trying
with all his might to help his friend.

IFTY (CONT'D)
Joanne, don't do that, please. Don't do
it twice, not to him. Then Meryl Streep
can't even look at Dustin Hoffman after
that.

TURNER
Right, "Kramer vs. Kramer." Thank you
for the commentary, Mr. Bhutto. It's
hard to find words isn't it, Mr. Dawson.
It's confusing. It's confusing to know
what to say to Lucy half the time, isn't
it?

Mortified, so uncomfortable in this strange world, so at a
loss how to swim through it, beginning to believe everything
Turner's saying, Sam looks out at the faces in the courtroom.
Rita, stunned and incredulous; Turner and his associate
smirking at him; Ifty, shaking his head; Robert, his face in
his hands; Miss Wright, Margaret Brown, the State's Expert,
almost willing him to fail. Are they right? Are they?

SAM
No, yes, no.

TURNER
No what?

SAM
Let me see let me see let me see.

TURNER
You don't know what?

SAM
Yes.

TURNER
Yes. You're right, you don't know. You
don't know enough to really raise your
daughter?

RITA
Objection. These aren't questions,
these are attacks.

SAM
(frantic)
I am Lucy's father.

TURNER
Are you? Are you really? I'm not
talking about the fact that you got some
homeless woman pregnant.

RITA
Objection your Honor. I motion a
recess.

JUDGE MCNEILY
Denied. Get to the question, Mr.
Turner.

TURNER
The question is if you love your
daughter as much as they say you do
don't you think she deserves more?!
Don't you? In your heart of hearts,
secretly question yourself every day?
Don't you?!

SAM
Yes.

TURNER
Was that a "yes?"

RITA
Objection.

SAM
Yes. She does. She deserves
everything. In my heart of hearts.

TURNER
Yes she does. And you agree with
everyone, you can't give her that?

SAM
(in unbearable pain)
Maybe. Maybe everybody's right.

ON TURNER

There. He got it.

ON RITA

Anguished. Watching Sam unravel as he stands up and starts
walking around in a circle in the witness box.

SAM (CONT'D)
No more no more! Let it stop! No more!
No more! No more!

The Judge watches Sam, sad and stunned. The verdict is
obvious. Sam has passed judgement on himself.

EXT. CHILD AND FAMILY PROTECTIVE SERVICES - HALLWAY

Sam, broken, walks down the long hallway with Rita toward
Margaret Brown's office. Suddenly, Rita stops as she and Sam
both see -

LUCY

Sitting, hopeful on the bench. She searches Sam's face for
the verdict. The minute she sees sorrow in his eyes, she
knows. She runs to him, gluing herself to his chest.

LUCY
No Daddy! No Daddy! No Daddy!

In a SERIES OF WORDLESS DISSOLVES, they hold each other in
the hallway through the entire forty five minute visit. The
only thing moving is the hands of a large wall clock in the
background. Pained, Margaret reaches for Lucy.

MARGARET BROWN
C'mon, Lucy. It's time to say goodbye.

LUCY
NOOOO! Don't let go don't let go don't
let go -

Sam's tears mix with Lucy's as they sob, clinging to each
other. With such fierce love; a parent and a child.

LUCY (CONT'D)
Don't let them Daddy don't let them!
Don't ever let me go!

He can't let her go. That he can't do. Margaret, steel
herself, turns to Rita, no matter how many times she's done
this.

MARGARET BROWN
Please help me.

Rita, aching from a place she thought she buried long ago,
shakes her head, NO. Now, Margaret literally has to wrench
Lucy away from her father's arms. Lucy bellowing as she
pulls her down the hallway. Sam is frozen in incalculable
pain.

EXT. SAM'S APARTMENT HALLWAY - NIGHT

We hear "Fool on the Hill". We follow a trail of PINK LIQUID
melting down the hall and come to Annie's door where a pile
of grocery bags and newspapers sit in a PUDDLE OF STRAWBERRY
ICE CREAM. Suddenly, the needle SCRAPES LOUDLY across the
record, followed by a mysterious POUNDING against the wall.

INT. SAM'S APARTMENT - NIGHT

The CAMERA MOVES to the WINDOW. Inside, the lights are dim.
Lucy's HAMMOCK SWINGS EMPTY, ghostlike. Sam, curled into a
ball in Lucy's bare corner, bangs his head over and over
again against the wall, overcome with grief.

INT. DANNY'S ROOM - RITA'S HOUSE - NIGHT

The POUNDING CONTINUES as we see Rita standing in the
doorway, watching her sleeping child. This stranger that
she's raised. She moves to cover him, this tough little boy,
when she sees POOH BEAR tucked under his arm. She tucks them
both in, tenderly.

EXT. CARPENTER HOUSE - DAY

Saturday in idyllic suburbia. Sam, directions and a map in
his hands, tentatively rounds the corner. A small bouquet of
flowers in his hands when he stops - STARING AHEAD AT --

REVERSE ANGLE

Lucy looking absolutely radiant in a new spring dress. She
stands on the front porch with RANDY, who wears a red smock
and is setting up TWO EASELS AND PAINTS. There's a tiny
chair for Lucy and a tiny chair for her.

CLOSE ON LUCY AND RANDY

The tension in Lucy's face, Randy straining to connect with
her.

RANDY
Your teacher told me you were an artist.

LUCY
You wear too much perfume. You're
trying too hard.

RANDY
I am, aren't I. Maybe you could teach
me how to paint.

LUCY
My daddy's coming today. We're going to
open my birthday presents. Why don't
you just go do something.

BACK TO SAM

From where he stands, all he sees is Lucy getting everything
she deserves. He looks down at the tiny bouquet in his hand -
feeling profoundly inadequate, he reaches for some flowers
from a garden he's passing. Puts them in his bouquet. Then
stops. Feels guilty. Tries to put the flowers BACK. He
stares up at Lucy on the porch a few houses away.

Lucy sits on the steps. Randy sits right next to her.

BACK ON SAM

Where he WAS standing, but is now GONE. The flowers lay in
the dirt. From the porch, Lucy looks out and waits. And
waits. And waits.

INT. STARBUCKS - DAY

It's Saturday. The place is buzzing. Sam listlessly cleans
the tables, without the usual energy and verve. A TODDLER
marches around a table, playing under the adoring gaze of his
parents.

MAN
Excuse me, my kid knocked over a coffee,
could you clean this up?

Sam sees a FAMILY at a table covered with spilled coffee.

MAN (CONT'D)
I said I need a refill and a towel over
here.

SAM
(snapping)
You need a towel? A refill? A glass of
water? You need more than you already
have? You have everything -
(all his fury and frustration)
Everything. But it's not enough. Take
my daughter, too!

Sam's out of control, the whole shop stares at him as he
backs into a shelf of MUGS he so carefully arranged. They
CRASH onto the floor.

SMASH CUT TO:

EXT. CARPENTER PORCH - DAY

Paints and brushes go FLYING across the porch as Lucy KNOCKS
THEM OVER. Totally out of control.

LUCY
You gave him the wrong address! You're
hiding me from him!

As Randy reaches for her, Lucy pours black paint on her.

EXT. CARPENTER HOUSE - DUSK

Lucy sits in a ball on the corner of the porch. Her eyes
swollen from crying. Finally, she gets up and moves to the
tiny chair that Randy put out for her. Straightens the easel
and begins to paint.

The front door opens and Randy comes out having washed her
face and hair. Without speaking, Randy straightens her easel
and sits down next to Lucy and begins to paint. Randy and
Lucy paint in silence for a long time. Then -

LUCY
You're going to send me away now, aren't
you?

RANDY
(tenderly)
No.

We hear what sounds like a child's hand playing the song
"Here, There and Everywhere..."

INT. SAM'S APARTMENT - EVENING

We see SAM sitting at Lucy's miniature toy piano as he plays
with one finger. IN A SERIES OF DISSOLVES, as DAYS and WEEKS
PASS, we see SAM'S HANDS at the PIANO -

INTERCUT:

EXT. CARPENTER HOUSE - DAY

With Lucy and Randy's hands as they PAINT side by side to
Sam's sad melody. Lucy's pictures start ANGRY, angular with
blacks and blues, then GRADUALLY soften and the dark figures
recede. By the END, there is a BRUSHSTROKE of the red of
Randy's smock peeking into the corner of Lucy's picture.

INT. SAM'S APARTMENT - DAY

We come back to Sam, having withdrawn completely into himself
serenading no one.

INT. LUCY'S BEDROOM - DAY

We see Lucy and Randy sitting on her bed unwrapping the
birthday presents. TIME HAS PASSED. They look close, almost
like a mother and daughter. Lucy finishes unwrapping Sam's
present and we see a stack of ONE HUNDRED DENNY'S NAPKINS.

RANDY
Oh, he must've forgotten to put the gift
in.

Randy picks up one of Lucy's pictures and moves to the wall.

RANDY (CONT'D)
You know, this wall really needs
something special on it.

Lucy half-smiles and unconsciously begins to fold one of the
Denny's napkins into an origami bird. Then crushes it. Then
cautiously:

LUCY
What's the longest any one of those kids
stayed with you?

RANDY
Megan stayed a little over a year.

LUCY
(averting her eyes)
Did you ever want any of them to stay
longer?

ON RANDY

Moved herself. Understanding how huge a question this is
coming from this bruised little heart.

INT. SAM'S APARTMENT - WEEKS LATER - DAY

Sam sits in a dark corner; maniacally folding newspaper into
an odd origami pattern. There's a knock at the door - Sam
doesn't move, he just continues folding his paper.

RITA (O.S.)
Sam it's me! Open up!

He doesn't answer it, just methodically folds.

EXT. SAM'S APARTMENT - CONTINUOUS

Rita stands there impatiently.

RITA
I don't have time for this! You were
supposed to show up for your first
evaluation. And I leave work early to
get there and where the hell are you?!
Open the door! Sam! Open the goddamn
door!
(nothing)
Alright. If you don't care enough to
open the goddamn door I'm outta here!
I've ruined my practice, I've alienated
my colleagues - I sent my kid off on a
fishing trip with his father so I could
work with you and you won't open your
goddman door for me?! Fine! THAT'S IT!
I've had enough!

She starts down the hall when suddenly she turns and - with
the mastery of a karate black belt - RUNS AND KICKS the door
down.

INT. SAM'S APARTMENT - CONTINUOUS

Rita bursts through the door and then stops. Sam has created
an origami wall of newspapers, intricately woven together.
A fortress against the world. He keeps folding - doesn't
even look at Rita. He's more far gone than she could
imagine, she walks gingerly to the wall and knocks gently on
it.

RITA
Sam, it's Rita. Can I come in?

SAM
No room. No room.

RITA
Hey. I lived in the East Village. I
don't need a lot of room.

SAM
Sam makes life too hard. Sam makes life
too hard on everyone.

RITA
Sam, I can go at least nine more rounds.
But you gotta let me in. Please Sam.
Please.

He pulls out one small brick of origami, opening a window.

RITA (CONT'D)
Thank you. Now I can see your kind
eyes...George told me you needed a break
from work.

SAM
I don't want to work there anymore. Too
many people.

RITA
Maybe we could find you a quieter job.
Because remember one of the judges
conditions is you have to earn more
money; you've got to keep earning more
money for when we get you Lucy back.

SAM
Lucy doesn't need me anymore. She has a
new family. She doesn't need me
anymore.

RITA
Is that what she said?

SAM
She didn't have to say it. I may be
stupid, but I know. I know.

RITA
Well that's the first stupid thing I've
ever heard you say.

Sam looks at her through the window. A CHINK in the wall.

RITA (CONT'D)
Sam, Sam you can get her back. The
court favors reunification. The only
thing that can block you is if the
foster family petitions to adopt. And
from what I've heard, Lucy's making
their life miserable - that's our girl.
Sam, fight for her.

SAM
I tried. I tried.

RITA
Try harder.

SAM
You don't know. You don't know.

RITA
I don't know?

SAM
You don't know what it is to try and try
and never get there. You were born
perfect, perfect.

RITA
Is that right? Everyone else is perfect
but only Sam feels loss and pain?

SAM
That's right. People like you don't
know.

RITA
People like me?

SAM
People like you don't know, don't know
what hurt feels like, people like you
don't feel, don't feel anything.

She slaps him. STUNNED, he slaps her back. STUNNED, she
slaps him again. HE SLAPS HER. She rips the newspaper wall
down.

RITA
You think you got the market cornered on
human suffering? Well let me tell you
something about "People like me."
People like me feel little and lost and
ugly and dispensable. People like me
have perfect husbands screwing someone
far more perfect than me and my son, my
son hates me, I try too hard and I push
and he knows it and I talk in that
voice, that voice I promised I'd never
use, and I've screamed, I've screamed
horrible things to him, a five year-old
because he doesn't want to get in the
car at the end of a day and he stares at
me with such anger and I hate him then.
I know I'm failing you, I know I'm
disappointing you, I know you deserve
better but get in the fucking car! It's
like every morning I wake up and fail,
and I look around and anybody, anybody
can pull it off, but somehow I can't.
And I know, I know I have everything,
and I'm still miserable and it's
pathetic. I know it's pathetic. No
matter how hard I try, something about
me will never be enough.

She's crying too hard to continue. He pulls her to him.
Before she realizes what's happening, she's holding him
tightly. He whispers in her ear.

SAM
You're enough. You're so much more than
enough.

He looks her straight in the eye - she's undone by the
intimacy of the moment, by the strength of his purity. And
staring into his eyes, she begins to sob, walls crumbling.
He kisses her elbow, her shoulder, her forehead, her eyes,
her tears. And something ignites between them - something
confused and scary and deep and filled with a passionate
ache.

SAM (CONT'D)
Lovely Rita...

On a bed of newspaper that was once a wall they come
together, whole again.

EXT. RANDY'S NEIGHBORHOOD - DAY

Sam rounds the corner walking - or rather being walked by SIX
DOGS, all shapes, all sizes. He heads up the walkway to
Randy's house. She comes out of the house and shuts the door
behind her, stopping him.

RANDY
You're early.

SAM
All the lights were green.

RANDY
There's a reason for the court schedule.
You stopped showing up. Lucy has had to
rebuild her life.

SAM
I want her back. I can do it. I know I
can.

RANDY
That's not up to me, but I'm telling
you, I will do everything in my power to
prevent Lucy from getting hurt again.

Sam hangs his head. A dog barks at Randy.

RANDY (CONT'D)
Whose dogs are these?

SAM
Supplemental income supplemental income -
bathe, walk and feed. Sam Dawson meets
your canine needs.
(to dogs)
Sit! Sit! Sit! Sit! Sit! Sit!

All the dogs sit but a BIG BLACK LAB. Randy heads into the
house. The front door opens and Lucy comes out. She runs
down the stares to Sam. Thrilled, Sam opens his arms to her.
She leaps into them and begins slugging his chest with pent
up fury.

LUCY
You never came! You never even called!
You forgot about me! How could you
forget me!

SAM
I never forgot you. I forgot me.

SAM (CONT'D)
I hate you I hate you I hate you!

Lucy pulls away. A long charged silence. Lucy refusing to
even look at her father.

SAM (CONT'D)
Lucy, I tried to write you a letter last
night...

A BASSET HOUND SNEEZES.

SAM (CONT'D)
Gesundheit, Buster. Buster has a cold.
But the letter had too many big words.
Pokey, sit.

The black lab has begun eating Randy's flowers. Lucy stares
forward. Sam speaks tentatively, carefully:

SAM (CONT'D)
Dear Lucy. Pokey sit. Dear Lucy, I'm
sorry that I hurt you. Every moment of
the day I thought about you. Lucy in
the hammock, Lucy at school. Lucy in
the sky...XXOO. Daddy. P.S. I love
you, recorded September 11th, the day
you took your first step.

Lucy raises her head and looks at Sam for the first time.

INT. DENNY'S - DAY

ON SALAD BAR

Rows of carrots, tomatoes, cucumbers and - uh-oh, a tomato's
in the peas. A hand comes into frame and carefully places
the tomato just so, in the tomato bin. Now it moves to the
olives. Shouldn't all the pimentos be facing up?

PULL BACK

To reveal Sam, in white apron and hat, deftly filling the
containers of the elaborate salad bar as people fill their
plates.

SAM
Napa cabbage, excellent choice. Purple
and green, purple and green. Very rich
in Vitamin C. Good choice. Very good
choice.

INT. COURTHOUSE - HALLWAY - DAY

Sam walks toward the courtroom when we see Rita approaching
from the other end of the hall. They both slow down when
they see each other. Rita unconsciously fixes her hair. Sam
adjusts his tie.

RITA
Hello, Sam. Mr. Dawson. Sam. Dawson.

SAM
Hello, lawyer.

They almost shake hands - realize that means touching each
other and don't. Rita motions toward the door.

RITA
Shall we?

SAM
No. We already did. Don't tell
anybody.

They nervously walk through the door, bumping into each
other.

INT. SMALL COURT ROOM - LATER

She's very aware of Sam. He looks away, over compensating
obviously. Throughout the scene, Rita's hair falls in her
eyes. She attempts to put it in place.

RITA
Furthermore, my client has found a new
job, and is making every effort to find
a bigger apartment so that -

Rita's hair falls in her eyes again. Sam stands up, pulls
HER BARRETTE from his pocket, the one she left at his house.

SAM
Here.

Rita stares at the barrette as if it were the murder weapon.

RITA
Oh, thank you. What a...a lovely
barrette, Mr. Dawson. It will look
great on Lucy. Who I'm sure you bought
it for. Furthermore, so that...there
will be more room for Lucy as she grows
up.

MARGARET BROWN
All of that is well and good but the
fact that Mr. Dawson quite his job,
missed his hearing, and did not even
show up for his visits with his
daughter...

RITA
The fact that my client went through
profound depression is the most natural
reaction any parent could have.

MARGARET BROWN
But once again he had no idea how his
behavior during that depression impacted
on his daughter.

RITA
In these next months, Mr. Dawson will be
expanding his support system to include
Social Service programs, tutors --

MARGARET BROWN
It's too late! The foster family is
petitioning the court for sole custody
of Lucy and I fully support their
request.

Sam turns to Rita. This can't be happening.

INT. DENNY'S - NIGHT

Sam, Rita, Ifty, Robert and Brad sit in a booth. With one
extra person, it's a little tight. Rita picks at her
Salisbury Steak special, trying to deal with the business at
hand.

IFTY
Isn't it illegal? It's illegal to go
through stop signs. It's illegal to
cross on the red.

RITA
It's not illegal. It's very
complicated. When a strong foster
parent lobbies for a child it changes
the equation.

ROBERT
They're reaching right through Sam as if
he doesn't exist. As if he's a ghost.

RITA
There's one option we've never talked
about, Sam.
(very carefully)
I know what you went through the last
time you took the stand. We could
settle out of court, ask for the most
incredible visitation rights - it would
almost seem like joint custody.

SAM
You're saying I don't have a chance.
That's what you're saying.

RITA
I'm not saying you don't have a chance.

ROBERT
That's what you said last time and look
where he is now.

SAM
Stop. Rita's not saying I don't have a
chance. Are you? Tell me I have a
chance.

Too long a pause. Ifty looks at the clock.

IFTY
Oh my God! 6:35 is Video Night at my
house and I'm not even there!

ROBERT
If we get there before you do we'll wait
for you - check!

BRAD
Sam get your dessert to go.

SAM
This is very hard to say. I'm having my
dessert here. With Rita. I'm not
coming to video night.

Devastated, Ifty, Robert and Brad solemnly gather their
things.

RITA
Sam - if you want to go...

SAM
I said no, Rita.

RITA
I know, but if you -

SAM
What? Do you want me to go?

RITA
I didn't say that. But do you want to