A God Damn Love Story
by Matt Weatherford
Act 1
FADE IN:
INT. YUPPIE APARTMENT - NIGHT
ANNA LAST enters the apartment and a Jack Russell Terrier
runs up and starts yapping at her. Anna is in her late-20s
and pretty. Holy cow is she pretty, pretty enough to make a
guy do irrational things, as we'll later learn.
She picks up a pile of mail off the desk and enters.
MICHAEL (O.S.)
Anna?
ANNA
Yeah?
MICHAEL (O.S.)
Call my mom about the reception hall.
And we have to go look at cakes. And
the priest called again about the
Engagement Encounter class.
Anna rolls her eyes, fed up.
ANNA
Okay.
MICHAEL KRAUSE is also in his twenties, keeper of this
apartment and a fastidious banker. As Anna comes around the
corner, she sees him, riding a stationary bike while
watching some Wall Street show. He takes a shot from an
asthma inhaler.
MICHAEL
Where'd you park my car?
ANNA
Two buildings down.
MICHAEL
Was there anything closer?
She shrugs.
MICHAEL (CONT.)
I'm going down to look.
He kisses her on the cheek with the passion you'd expect
from a banker.
Anna goes into the
BEDROOM:
And puts her wallet on the dresser. She pauses, debating
her next action, then opens the top drawer of the dresser.
It is full of Michael's pressed, white underwear. She
pushes them out of the way. Buried in the back corner is an
envelope. On the envelope is written
BOX 1535, CHEYENNE POST OFFICE
Anna opens the envelope and pulls out a single key. She
holds the key for a moment and then reluctantly puts it
back.
EXT. VAN NESS STREET - NIGHT
HARRY COTTON, early 20s, stands in his dirty cable-TV
coveralls across from a trés chic restaurant. His hair
sticks out every direction and his hands are streaked with
grease and dirt. As the rich young kids dressed to the
nines leave their cars at the valet and enter the
restaurant, Harry watches, sucking on a bottle of malt
liquor wrapped in a brown paper bag.
A black BMW pulls up and ALLISON LYONS and her lousy yuppie
boyfriend CAMERON, a slick-looking salesman type, get out.
Harry watches as they enter the restaurant. He polishes off
the bottle, throws it in the trash, wipes his mouth on his
overall sleeve and enters the restaurant.
INT. RESTAURANT/BAR - NIGHT
Harry walks up to the bar and looks around the room,
looking for Allison. His eyes dart about the room.
The BARTENDER approaches.
BARTENDER
What can I get you?
HARRY
Nothing, I drank a couple 40s out
front.
After taking the time to give Harry a look of contempt, the
bartender moves down the bar. Harry's as comfortable with
these well-dressed hipsters as a cow in a slaughterhouse.
He sees Allison and Cameron. Harry goes over to them.
Allison is surprised (not pleasantly) to see him.
ALLISON
Hi, Harry.
HARRY
Who's this?
CAMERON
Who's the grease monkey?
HARRY
I'm Allison's boyfriend.
ALLISON
Not anymore, Harry.
HARRY
Is this joker better than me?
ALLISON
Don't.
HARRY
Why do you like him?
ALLISON
I'm not going to talk about this
here.
HARRY
Where then?
ALLISON
Nowhere.
CAMERON
Go rotate someone's tires, junior.
Harry's flashes with rage.
HARRY
Shut your fucking piehole.
(soft again, to Allison)
Tell me what I need to do.
Cameron puts his hand on Harry's chest and pushes him.
CAMERON
She doesn't want to talk to you.
Harry comes right back. They now have the attention of the
entire bar.
HARRY
I said shut the fuck up.
CAMERON
You want to step outside?
HARRY
No.
ALLISON
Cameron, don't.
CAMERON
What's the matter, afraid I'll kick
your ass?
HARRY
Yes.
CAMERON
Afraid I'll beat the shit out of you?
HARRY
Yes, I am.
CAMERON
You are?
ALLISON
Stop it, Harry.
Harry stands directly in front of Cameron, not flinching.
HARRY
You're bigger than me, stronger, and
almost certainly a better fighter.
So, yes, I am afraid you'll kick my
ass, and break my legs, and fuck up
my teeth, which I am proud of.
CAMERON
Damn right I will.
HARRY
But you'll still be an overfed prick
who peaked in high school and who's
on a long slide toward misery. Why
should I fight you when I can just
wait until you get married to some
sorority queen who gets fat, drinks
too much, and fucks the pool boy?
Cameron takes a swing at Harry and connects squarely with
his nose. Harry falls down, his nose bleeding. Cameron
towers over him.
CAMERON
You want more?
ALLISON
Stop it, Cameron.
Harry sits up, wipes his nose and sees the blood. He's
furious. He stands up and Cameron swings again, hitting him
in the jaw. Harry spins from the force. He's wimpy, but
he's mad as hell and there's rage in his eyes as he-
-runs out the front door.
CAMERON
What a pussy.
As Cameron continues to gloat about the beating he gave
Harry, a car alarm goes off outside. When he hears this,
Cameron panics. He pushes people out of the way and bolts
out the door.
EXT. PARKING LOT - SAME
Harry is on the hood of Cameron's BMW, beating the crap out
of it. The hood is caved in, the windshield smashed, the
headlights busted. Two valets stand on either side trying
to talk Harry down.
Cameron charges out of the restaurant. He lunges and grabs
Harry by the legs. He pulls him to the ground and just
wails on him. He beats the holy fuck out of Harry, and
Harry doesn't fight back. In fact, he has a smile on his
face as the valets and other spectators try to pull Cameron
off him before his nose gets shoved back into his brain.
EXT. JAILHOUSE - MORNING
A door opens and Harry walks out. TOM MARTIN, same age and
also in dirty overalls, stands up and greets him. Harry's
nose is swollen and he has a black eye. His eyes have dark
circles underneath them. Tom hands him a jacket as they
walk through the police station halls.
TOM
You know, if you're going to piss
people off, maybe you should learn to
fight.
HARRY
For the right girl, I will.
TOM
(laughs)
And for the wrong girl you'll get
your ass kicked.
They exit to
EXT. STREET - MORNING
Dawn is breaking as they continue walking.
HARRY
You know what really kills me? I
didn't even like Allison.
TOM
So why'd you do it? Guys usually only
make an ass of themselves when
they're in love.
HARRY
Because she likes that asshole better
than me. Don't you think I need a
girlfriend more than that meathead?
TOM
You don't even like her.
HARRY
Just once I want to find a girl who
chooses me.
INT. BANK OF AMERICA - DAY
Michael sits at a desk in an office that says VICE-
PRESIDENT outside it. A customer knocks on his door.
MICHAEL
I'll be right with you.
On Michael's screen are transactions. One pops up showing
the same time as the clock on his desk. It reads:
"LAST, ANNA 06-02-01 11:21 BORDERS OAKLAND CA $21.14"
Michael picks up his phone and hits the speed-dial.
EXT. BORDERS BOOK STORE - DAY
Anna is opening the door of a spotless black Saab as her
cell phone rings.
SPLIT SCREEN:
ANNA
Hello?
MICHAEL
Are you in Oakland?
ANNA
How do you know that?
MICHAEL
I thought we agreed not to park the
car in Oakland.
Anna gets into the car.
ANNA
I rode the bus.
MICHAEL
Oh, okay. I love you.
ANNA
I love you too.
She hangs up and throws the phone at the passenger seat.
ANNA (CONT.)
Dick.
INT. COURT ROOM - DAY
Harry stands before JUDGE DOLE, a middle-aged woman, in an
empty courtroom. A GUARD stands beside him.
JUDGE
According to your record, this is the
third time you've been in this court.
Last year, you threw a park bench
into a lake, and earlier this year
you destroyed a parking meter.
HARRY
Yes, your honor. But in all fairness,
it was a very bad parking meter.
JUDGE
And the car you just destroyed? Was
it bad?
HARRY
No, but it was either that or punch
the owner.
JUDGE
What about doing neither?
HARRY
How does he learn his lesson that
way?
The judge leans back in her seat and takes off her glasses.
JUDGE
If you plead guilty today, I will
give you a choice: three days in
prison or an anger management class.
HARRY
I'll take prison.
JUDGE
Given your history, I strongly urge
you to consider the anger management.
HARRY
Fuck that. I don't need to manage my
anger. I have just the right amount.
JUDGE
A class may help you reconsider that.
Stalemate. The judge and Harry stare each other down.
JUDGE (CONT.)
Mr. Cotton, I sentence you to three
days of anger management. If you do
not bring this court a certificate of
completion within 30 days I will
sentence you to prison.
HARRY
Okay.
JUDGE
For one year.
She bangs her gavel. Harry is furious.
HARRY
You said I had a choice.
The judge ignores him and heads for her quarters.
HARRY (CONT.)
(muttering to himself)
God damn liar.
INT. MICHAEL'S SAAB - NIGHT
Anna and Michael are circling the block while Michael looks
for the perfect parking spot for his precious SAAB. This is
an old routine. In front of them, someone pulls out.
ANNA
There's a spot.
MICHAEL
Yeah, but I think we can get
something closer.
Anna sighs heavily, fed up with this routine. And they keep
moving.
ANNA
Michael, are you having second
thoughts about the wedding?
MICHAEL
No, of course not, not with the money
we're spending.
ANNA
Remember when we said we'd have a
simple wedding? Or just elope?
HARRY
And forfeit the deposits?
ANNA
I feel like I'm losing control of
this. It isn't really about us
anymore, is it?
MICHAEL
Don't worry, I've got it under
control.
Anna is silent, looking out the window.
MICHAEL (CONT.)
There's a spot!
INT. BUS STATION - DAY
Harry walks back from the counter with his tickets. Tom
hands him his backpack and they walk toward a Greyhound bus
with RENO on its signboard.
TOM
So, I'll see you in three days.
You'll behave yourself in Reno?
HARRY
I'll get the God-damn certificate.
TOM
Really, though, just listen and maybe
you'll learn something.
They get to the bus door and Harry climbs on.
HARRY
Remember, tell Lloyd I'm sick.
TOM
I know.
HARRY
And don't eat my yogurt.
Harry disappears into the bus.
TOM
God help you, Harry.
INT. BUS - DAY
Harry is walking down the aisle of the crowded bus. It's
the usual collection of misfits, unwed teen mothers and
senior citizens you find on America's motor coaches.
That is, until he gets halfway down the bus. A gorgeous
YOUNG WOMAN sits reading. He takes the seat next to her. He
looks at his filthy fingernails and hands and, embarrassed,
hides them under his legs before she can see them.
HARRY
Hi.
She looks up from her magazine and smiles.
BEAUTY
Hello.
INT. BUS - LATER
Harry is watching the pretty girl read her magazine. His
hands are still buried.
HARRY
Do you live in Reno?
BEAUTY
No.
HARRY
Your boyfriend does?
BEAUTY
(flattered)
No, no boyfriend. I live in San
Francisco.
HARRY
Really? So do I. We should go bowling
some time. I know this old alley that
doesn't have computer scoring, so you
can cheat.
BEAUTY
Are you a bowler?
HARRY
No, I'm a cheater.
BEAUTY
(flirting now)
Why are you going to Reno?
HARRY
It's a long story, but I have to take
these stupid anger management
classes.
Beauty raises an eyebrow.
HARRY (CONT.)
No, no ,no. It's not like it sounds.
I'm not nuts or anything. It's a long
story, but my girlfriend dumped me so
I smashed up this guy's car.
BEAUTY
Ohhhkay.
HARRY
The good news is I'm single.
Beauty opens her magazine and fakes like she's really
interested in its contents.
HARRY (CONT.)
Maybe we can have a drink after we
get to Reno.
BEAUTY
I'm going to be very busy.
HARRY
I'll buy, as much booze as you want.
You should see me when I'm drunk. I
can be very charming.
She tries to ignore him, but he keeps staring at her.
HARRY
You're really pretty.
BEAUTY
Excuse me.
Beauty makes a break for it, practically climbing over
Harry to get into the aisle and change seats. Harry's
crushed.
INT. RENO BUS DEPOT - DAY
Harry steps off the bus and looks around. The beauty gets
off behind him.
HARRY
Maybe I'll see you around? Call me at
the Circus Circus.
She doesn't say anything as she walks past. Harry watches
her go and then, without reacting, walks to the bathroom.
INT. BATHROOM - DAY
If you've never been in a bus depot bathroom, imagine a gas
station john maintained by a blind man. The fluorescent
lights buzz as Harry enters. He looks in the mirror and
scrubs his dirty hands, but the dirt is permanent. Harry
punches the towel dispenser hard and it breaks. It falls
off the wall.
HARRY
Oh, shit. Sorry.
He's remorseful and tries to put the towel dispenser back,
but it won't stay up.
INT. HOTEL ROOM - NIGHT
Harry walks into a small, musty room and sets his bag on
the bed. He opens the curtains to a view of a wall.
The message light on the phone blinks. Harry is momentarily
excited when he picks it up. It's only JEFFREY PRESTON, the
unctuous anger management counselor we'll meet in a moment.
JEFFREY (O.S.)
Hello, Harry, this is Jeffrey
Preston, your counselor. I know
you're excited to start a new, anger-
free life-
HARRY
Oh, Christ.
JEFFREY (O.S.)
-- Don't forget we're starting at one
p.m. I'm looking forward to meeting
you. Remember, Big Guy, today is the
first day of the rest of your life.
The alarm clock reads 12:51. Harry goes to the bathroom,
scoops up the free shampoo and soaps and puts them in his
bag.
He lies down on the bed and closes his eyes.
INT. HOTEL ROOM - LATER
The ringing phone shatters the silence and Harry bolts up
in the bed. He picks up the phone.
HARRY
Hello?
JEFFREY (O.S.)
Harry?
HARRY
Yeah.
JEFFREY (O.S.)
You're late.
HARRY
Oh, shit, I'm sorry. I'll be right
down.
Harry hangs up and looks at the clock. It's 1:02.
INT. CONFERENCE ROOM - DAY
Jeffrey Preston is easy to pick out. He's about 40, has a
long ponytail and a jacket with suede elbow patches, and he
carries a valise. He talks with a small group of seemingly
normal people: Asian, white and black, all ages. There are
about twenty people in the room, eating and drinking and
all but a few are clustered around the sandwich tray on the
side.
Harry enters. He tries to slide unnoticed over to the
sandwiches, but Jeffrey swoops in from nowhere.
JEFFREY (CONT.)
You must be the elusive Mr. Cotton.
I'm Jeffrey Preston.
Harry is antsy.
HARRY
Look, Mr. Preston, there's a mistake.
I don't need to be here.
JEFFREY
Uh-huh. Are you supposed to be at the
World of Concrete in Ballroom C?
HARRY
What I mean is, I don't need anger
management, all I need is the
certificate.
JEFFREY
You think you're too good for this?
HARRY
Yeah, a little bit. I mean, no
offense to you but I think this is a
scam. This shit won't help anyone.
Jeffrey never loses his smile, but it tenses.
JEFFREY
You think I'm a scam?
HARRY
Well, yeah, I mean, anyone that
claims to change people in three
days, you know.
JEFFREY
I'm not scamming anyone, understand?
HARRY
I'm just gonna sit in the back, keep
my mouth shut. Holler if you need
some help keeping these wackos in
line.
JEFFREY
I think you need this class more than
you know, Mr. Cotton.
Harry tries to go around Jeffrey. Jeffrey blocks him.
Jeffrey has such a confident, insipid smile. He thinks he
knows much more than he really does.
JEFFREY (CONT.)
I'm keeping my eye on you, Harry. For
the next two days, you're going to be
my special project.
HARRY
Whatever.
As Harry walks around him, Jeffrey points his hand like a
gun and shoots Harry with it.
JEFFREY
Okay, everyone, how about if we get
started?
Harry reaches the sandwich tray just as everyone disperses.
The tray is a decimated wasteland. Only a few olives and
bread heels remain. Harry jabs a fork into the wall.
Jeffrey goes to the front and sets his valise on the table.
JEFFREY (CONT.)
Harry, would you like to join us?
Harry takes a seat in the back of the room. He's still
angry about the sandwiches. He scowls at an older man with
two on his plate.
JEFFREY (CONT.)
My name is Jeffrey Preston. I'm an
expert in anger management. Actually,
that's not true. You're the experts,
I'm just going to help you unleash
your potential. Instead of getting
angry, wouldn't you like to get high-
-
A few eyes light up.
JEFFREY (CONT.)
--on life? Some of you told me you
don't belong here. Maybe you're
right. Let's prove to the world that
you're not angry, just misunderstood.
All I do is help you better express
yourself, and then you'll go and show
the world what incredible,
intelligent, vibrant and valuable
members of society you are. Okay,
then, before we begin this exciting
journey, are there any questions?
An ASIAN MAN in the front row raises his hand.
ASIAN MAN
Your brochure said we'd get tote
bags.
JEFFREY
The brochure is mistaken.
A displeased murmur ripples through the crowd.
JEFFREY (CONT.)
I do have coffee mugs.
He holds up a mug that says "I'm under control!" The class
doesn't like it. A louder grumble of unrest rises from
them.
JEFFREY (CONT.)
I'll get tote bags.
Applause.
JEFFREY (CONT.)
To start the class, let's do a
demonstration. Let's have two people
come up and we'll do a "stop-thought"
exercise. Harry, Laura, come on up.
LAURA, a middle-aged mousy housewife, walks up. Harry
doesn't move.
HARRY
I'm just observing.
JEFFREY
Come up here.
Harry drags himself to the front of the class. Jeffrey
speaks as he positions them facing each other.
JEFFREY
Okay, now, pretend Harry said
something awful. You're very upset.
LAURA
Like what?
JEFFREY
Use your imagination.
LAURA
He didn't like my hair.
JEFFREY
Worse.
LAURA
Something about my kids?
JEFFREY
He called you a bitch.
LAURA
He what?
HARRY
No, I didn't.
JEFFREY
Pretend you did.
HARRY
I would never say that.
JEFFREY
This is pretend.
HARRY
I'm not going to pretend I'm an
asshole.
Laura, mousy as she is, gets in Harry's face.
LAURA
You have no right saying that about
me.
HARRY
I didn't say it.
LAURA
I don't care who did. I don't
appreciate it.
HARRY
Back off, lady.
Laura slaps Harry.
JEFFREY
STOP!
Jeffrey throws up his arms with such force that it does
stop Laura and Harry. But Harry is shaking with anger.
Jeffrey pauses, closes his eyes, then slowly opens them. He
smiles.
JEFFREY (CONT.)
Now, what can we learn from Harry and
Laura?
LAURA
That he has a smart mouth.
HARRY
Lady, I don't even know you.
JEFFREY
Quiet, Harry.
HARRY
Fuck this.
Jeffrey points to the door.
JEFFREY
Outside. Right now.
Harry's still upset.
HARRY
But-
Jeffrey gives him a slight push toward the door. He picks
up his valise and follows Harry.
JEFFREY
(patronizing smile to class)
We'll be right back.
INT. HALLWAY - SAME
Jeffrey towers over Harry threateningly. He's scary. He
presses Harry against the wall.
HARRY
What's the big idea pushing me?
JEFFREY
If you want to learn, do what I say.
HARRY
I don't want to learn.
JEFFREY
(shaking valise)
If you want a certificate, do what I
say. And if you try to make me look
foolish I'll make you pay.
Jeffrey gives Harry another shove.
JEFFREY (CONT.)
(pressing harder)
Understand?
HARRY
Yes.
He lets off Harry.
JEFFREY
Then get back in there.
LATER:
The people are taking turns falling back into each other's
arms, while Jeffrey walks among them, giving his approval.
Harry is catching an old lady in his arms as Jeffrey walks
by.
JEFFREY
Excellent. I think you're learning,
Harry.
HARRY
Screw you.
JEFFREY
Temper, temper.
INT. YUPPIE APARTMENT - DAY
Anna is in the kitchen stirring a pot when Michael walks
in. He gives her a sterile peck on the cheek.
MICHAEL (CONT.)
Did you get the message to call
Father Lavin?
ANNA
Yes.
MICHAEL
And you have to decide about the cake
today. Plus the caterer says he
didn't get the deposit. Oh, and why
didn't we invite my Uncle Martin?
ANNA
Why can't you take care of some this?
MICHAEL
It's the bride's job.
ANNA
I don't want a big wedding.
MICHAEL
I do.
ANNA
This isn't all about you, you know?
MICHAEL
Just take care of it and hurry up,
we've only got two weeks and you're
procrastinating.
Anna sets down the spoon.
ANNA
Two weeks.
She walks to the
BEDROOM:
And quietly opens the dresser. Anna sticks her hand into
the back of the drawer and pulls out the envelope. She
sticks it in her pocket, then takes the car keys off the
top of the dresser. She walks back to the
LIVING ROOM:
MICHAEL (CONT.)
Where are you going?
ANNA
I forgot something. I'll be right
back.
MICHAEL
Be careful with the car.
INT. CONFERENCE ROOM - NIGHT
It's a madhouse. There are chairs knocked over, a fistfight
in progress, and Jeffrey is hovering over it all, panicked
and incompetent. In the back, taking it all in is Harry,
still sitting.
JEFFREY
Seats, please. Seats!
It's no good. The fighting is too far gone, and now another
group is shoving and pulling hair. Jeffrey starts to
hyperventilate.
JEFFREY (CONT.)
Okay, good job, everyone. How about
if we call it a night?
They ignore him, still fighting. Harry gets up and heads
for the door.
JEFFREY (CONT.)
Harry, are you going somewhere?
HARRY
We're done right?
JEFFREY
With class. But I'd like to talk to
you.
HARRY
See you tomorrow.
Harry walks out. Jeffrey is pissed.
EXT. VIRGINIA STREET - DAY
Every casino is wide open and inside are people playing the
slots and tables, laughing, having a good time. Harry hits
the street, still pissed off. He punches phones, light
poles and shrubs.
Harry continues along Virginia Street. In front of
Fitzgerald's is a giant black man dressed as a LEPRECHAUN
waving coupons and calling to passers-by.
LEPRECHAUN
Free cocktail.
Harry walks by.
LEPRECHAUN (CONT.)
Free cocktail.
Harry stops and looks at the leprechaun.
LEPRECHAUN (CONT.)
Free cocktail.
HARRY
What's the catch?
LEPRECHAUN
No catch.
HARRY
You're just giving away booze?
LEPRECHAUN
That's the Reno way.
Harry takes a coupon.
HARRY
Can I have two?
LEPRECHAUN
I don't care.
He gives Harry a stack of coupons and Harry goes inside.
INT. CASINO BAR - DAY
Harry walks into the casino bar, sits down and puts his
coupons on the bar. He's the only one here. KELLY, a
middle-aged woman, is working behind the bar.
HARRY
I'd like a whiskey and water, please.
Kelly nods and starts to pour.
HARRY (CONT.)
I'm not the designated driver so
don't cheat me on the booze.
INT. SAAB - NIGHT
Anna is on I-80 East, past Sacramento where the road starts
to wind up toward the Sierra Nevadas. She's going very
fast.
INT. CASINO BAR - NIGHT
Harry hands Kelly another coupon.
KELLY
Are you on vacation?
HARRY
No, I'm here to go to -- some very
important business meetings.
KELLY
What kind of business?
HARRY
Important stuff. Big business.
Harry finishes the drink.
KELLY
You want another one?
HARRY
(nodding)
They make me forget things, good and
bad, like why girls don't like me and
where I put my room key.
INT. SAAB - NIGHT
Anna drives through the mountains. The cell phone rings.
ANNA
Hello? -- Hi, no I'll be home soon.
It's taking longer than I thought. --
The car is fine. -- Okay, see you
soon.
She hangs up then reconsiders. She picks up the cell phone
and dials.
ANNA
Michael? -- I'm not coming home. Good
Bye.
INT. YUPPIE APARTMENT - NIGHT
Michael sets down the phone, stunned. He stands in shock
for a moment and then it occurs to him.
He runs into the
BEDROOM:
And yanks the top drawer clear out of the dresser. His
underwear go flying and he scrambles around, looking for
his envelope. But it's gone.
MICHAEL
Son of a bitch.
INT. CASINO BAR - NIGHT
Harry is drunk, slumping, having a hard time keeping his
head up. His drink glass is empty and his coupons are
almost gone.
HARRY
Send in the clowns.
KELLY
What?
He opens his mouth and points inside.
HARRY
More alcohol in the circus tent.
KELLY
You've had a lot.
HARRY
You're pretty. Your teeth are fucked
up, but you're still pretty.
KELLY
I think you've had enough.
HARRY
Will you touch my hair?
KELLY
I know you've had enough.
HARRY
(on the verge of tears)
But it still hurts. I'm still lonely
and I want a girlfriend. Why won't my
old friends talk to me anymore?
KELLY
(deliberating)
One more, but that's it.
HARRY
Make it a double.
INT. SAAB - NIGHT
Anna has crested the Sierra Nevadas and passes a sign that
says "Welcome to Nevada." Farther ahead, the lights of the
casinos shimmer.
The cell phone rings and rings. Finally, Anna throws it out
the window and it shatters on the road. At the same time, a
tire blows out and she swerves onto the shoulder.
EXT. HIGHWAY - NIGHT
Anna gets out of the car. She's understandably upset when
she sees the blown tire. But, she goes to the hatch and
pulls out the jack like she knows exactly what she's doing.
A car pulls up behind her on the shoulder and middle-aged,
FATTY SALESMAN gets out.
FATTY
Need help?
He is interested in more than helping. Anna pulls out the
spare.
ANNA
Do I look like I need help?
The salesman walks up and leans in so that he's touching
her.
FATTY
I just want to be a gentleman.
Anna pulls out the lug wrench, turns to the man, snarls and
lifts it threateningly.
ANNA
I'm fine.
The salesman backs away.
FATTY
Take it easy, lady.
Anna returns to her task and Fatty gets back in his car.
EXT. VIRGINIA STREET - NIGHT
With the spare on it, the Saab pulls into the parking lot
of a closed Goodyear on the edge of the casino district.
She gets out and looks at the hours of operation on the
window. It opens at 8 a.m.
Anna walks toward the hotels.
INT. CASINO BAR - NIGHT
Harry is gone. The bar is empty and Kelly is cleaning
glasses.
Then Harry pops up, peeking over the edge of the bar.
HARRY
Here I am!
He disappears again.
HARRY (CONT.)
Where did Harry go?
He then pops up a little ways down the bar.
HARRY (CONT.)
Here I am! Did you do something with
your face? It looks great.
Just then, two burly GUARDS put their hands on Harry's
shoulders.
HARRY
Hello, gentlemen.
GUARD
Are you a guest of the hotel, sir?
HARRY
No, I'm staying at the one -- the one
with the--
(making wild hand gestures)
--that go click-whirrrr.
GUARD
You'll have to leave.
HARRY
But I still have coupons.
The guards haul Harry off his seat and toward the exit.
Harry brushes them off and falls flat on his face. The
elderly slot players look on with disappointment in him.
GUARD
Are you all right?
Harry gets to his knees. The room is spinning.
HARRY
No, someone stole my wheelchair.
The guard offers a hand to Harry.
GUARD
Would you like some help?
HARRY
(offended)
I have my dignity, you know.
Harry crawls through the casino with the security guard
walking behind him. He winds between the legs of gamblers
at slots and tables. The wild colors, flashing lights and
people rush at him like confetti vomit.
EXT. VIRGINIA STREET - NIGHT
Harry crawls out onto the street, amid the hustle of people
and blaring car horns.
Harry tries to stand up, but the world spins, and he falls
to his knees again. It is at this moment that Anna
approaches. Even in his drunken stupor, Harry sees her
beauty. He's mesmerized, transfixed, madly in love.
She walks toward him. She stops, their eyes meet. His are
full of adoration, hers are full of pity. He reaches out to
her. She pulls a dollar from her purse and hands it to him.
HARRY
Thank you.
She walks into the hotel. Harry tries to follow, still on
his knees, but he's blocked by the guards.
HARRY (CONT.)
I'm with her.
They shake their heads "no."
HARRY (CONT.)
Please?
Finally, he crawls away, along the sidewalk as people walk
by without even noticing. Up ahead, another DRUNK MAN is
crawling toward Harry. They slowly approach each other amid
the crowd of pedestrians. When they reach each other, Harry
and the drunk stop.
DRUNK
Hello.
HARRY
Hi.
Then they continue in opposite directions.
INT. CASINO - NIGHT
Anna goes to the hotel registration desk.
ANNA
I'd like a room, please.
INT. BANK OF AMERICA - DAY
Michael is there at the crack of dawn. The place is empty
except for him. He sits at his desk scrolling down the
screen of his computer. It's credit card transaction
records. He pauses when he gets to a line that reads:
"LAST, ANNA 07-09-01 22:42 FITZGERALD RENO NV $57.47"
Michael writes this down, shuts off the monitor and is out
the front door.
INT. HOTEL ROOM - DAY
The jarringly loud phone rings in the room. It's dark
except for a sliver of sunlight coming through the
curtains. The bed is empty. The phone rings and rings. The
clock reads 7:55.
Finally a hand reaches up and pulls the receiver down.
Harry is uncomfortably wedged in the tight space between
the bed and the wall.
HARRY
Heh... Hell... Huh?
JEFFREY (O.S.)
Rise and shine, Big Guy. Today is the
first day of the rest of your life.
Harry hangs up the phone. It immediately rings again. With
considerable effort, Harry sits up and picks up the phone.
JEFFREY (O.S.)
Get your ass down here in five
minutes.
Harry looks at his hands, they are gravelly from his crawl
last night, and the knees of his pants are worn through.
EXT. HOTEL - DAY
Harry, bedheaded and dirty as sin, straggles out of the
casino and is hit with the bright sunlight. He shrivels
like a vampire would. But across the street is Anna,
walking toward the Goodyear.
Harry looks at his watch, looks at Anna, at his watch, then
bolts across the street to her.
HARRY
Hey!
Anna looks over her shoulder at him and speeds up her walk.
HARRY (CONT.)
Wait up. Don't you recognize me?
He catches up to her and walks along. She walks fast,
trying to avoid him.
HARRY (CONT.)
You gave me a buck last night.
ANNA
And that's all you're getting.
HARRY
I don't need the money.
Anna looks him over.
ANNA
You sure?
HARRY
Yes, but that was very nice of you.
I'd like to take you out to dinner.
ANNA
I won't be here.
HARRY
Breakfast.
ANNA
No, thank you.
She keeps walking, faster.
HARRY
Where are we going?
ANNA
I don't know where you're going, but
I'm going to get my car.
They reach the tire store.
INT. GOODYEAR - DAY
Anna walks into the office with Harry right behind her. She
walks up to the MEATHEAD behind the counter. She sets her
car key on the counter. He never looks up from the parts
catalog he's looking at.
MEATHEAD
Yeah?
ANNA
I dropped off my car last night. It's
the black Saab.
MEATHEAD
What's wrong with it?
ANNA
It needs a tire.
MEATHEAD
We can look at it later.
ANNA
I'm in a hurry, is there any way to
do it sooner?
MEATHEAD
Them foreign cars are pretty tricky
to work on.
HARRY
Don't be a jackass. Put a God damn
tire on the lady's car.
The meathead looks up and gives Harry a slow burn. Anna is
surprised by Harry's outburst.
MEATHEAD
You looking for a fight?
HARRY
I just want you to do your damn job.
Long pause as the meathead continues to glare at Harry, who
glares back. Finally, he picks up the car key.
MEATHEAD
Ten o'clock.
EXT. GOODYEAR - DAY
Anna and Harry exit into the bright sunlight.
ANNA
Thanks.
HARRY
Now you've got time for breakfast.
ANNA
Thanks, but no.
HARRY
You have a boyfriend or something?
ANNA
Not right now.
HARRY
Watch this.
Harry pulls his pants down way low so his torso looks
ridiculously long and skinny.
HARRY (CONT.)
I can make myself look skinnier this
way.
He wriggles back and forth to illustrate his elongated
torso. Anna laughs.
HARRY (CONT.)
Now breakfast?
Anna shakes her head "no" while still smiling. Harry throws
up his arms.
HARRY
Well, that's it. That's the only
thing I can do to impress a girl.
ANNA
That's the best you can do?
HARRY
That's it.
ANNA
(relenting)
Okay.
HARRY
Really? Okay. Are you doing this
because you feel sorry for me?
ANNA
Well, partially, yes.
HARRY
That's okay. That's how most of my
friendships start.
INT. PINK PONY - DAY
Harry and Anna are sitting in the coffee shop, giving their
orders to the MATRONLY WAITRESS.
HARRY
I'd like the Belgian waffles, eggs
over easy and a Budweiser. No make
that two Budweisers.
Anna gives him a funny look.
ANNA
I don't want a beer this early.
HARRY
They're for me. Sometimes the service
is slow. You don't mind, do you?
ANNA
I guess not.
HARRY
Good, because I don't mind drinking
alone, but I really hate being drunk
alone.
INT. CONFERENCE ROOM - DAY
Jeffrey looks at his watch. The tray of bagels is full and
the class is surrounding them, eating, not really paying
attention to Jeffrey.
JEFFREY
Five more minutes, folks, and we'll
get started.
INT. PINK PONY - DAY
Harry and Anna are still sitting at the table. The food is
gone and there are now a half-dozen beer bottles on the
table.
ANNA
If you don't gamble, why are you
here?
HARRY
I'm supposed to be in this anger
management class right now. The judge
says I have a quick temper.
ANNA
Do you?
HARRY
No!
ANNA
What happens if you miss your class?
HARRY
I go to jail.
ANNA
Go to class.
HARRY
Nah. If I leave I'll never see you
again.
ANNA
(looking at her watch)
In another hour you'll never see me
again anyway. Don't be stupid.
HARRY
Why not?
EXT. RENO AIRPORT - DAY
Michael rushes out of the terminal and grabs a taxi.
MICHAEL
Fitzgerald's, please.
EXT. TRUCKEE RIVER - DAY
Harry and Anna walk along the riverwalk.
HARRY
I really like you.
ANNA
You only say that because you're
drunk.
HARRY
That's true. If I were sober I'd be
too scared to say anything -- or try
to hold your hand.
Which he does try to do, and she lets him.
INT. CONFERENCE ROOM - DAY
The bagels are gone, and now the class is getting restless.
Jeffrey still stands off to the side, pacing, distracted,
somewhat pissed off.
LAURA
Are we going to get started? Because
if we're not I wanna go play slots.
JEFFREY
Give me a minute.
Jeffrey starts to leave the room, returns to grab his
valise and then exits.
EXT. GOODYEAR STORE - DAY
They're walking out of the store now. The Saab sits out
front, new tire on it. It's ready to go.
ANNA
Well, this is it.
HARRY
Don't go. Stay and we'll get drunk
together.
ANNA
I really have to go.
She holds out her hand to shake. Harry is so sad, so
pathetically sad. They look into each other's eyes, they
move toward each other. Harry closes his eyes and puckers
his lips. This is a truly romantic moment, until it's
shattered by-
MICHAEL
Anna?
Standing in front of Harry and Anna is Michael. Anna
freezes.
ANNA
Michael. What are you doing here?
MICHAEL
What do you think?
HARRY
Who is this joker?
MICHAEL
I'm her fiancé.
Michael grabs Anna by the elbow.
MICHAEL (CONT.)
Let's go home.
She twists loose.
ANNA
I told you, I'm not going home.
He grabs her again.
MICHAEL
We can sort this out later.
She struggles to free herself, but can't. Harry steps up.
He is smaller than Michael.
HARRY
Let go of her.
MICHAEL
Stay out of this.
HARRY
Fuck you, if she doesn't want to go
she's not going.
Michael puts an arm around Anna so he's holding her tight.
She tries to kick free.
ANNA
Kick his ass, Harry.
HARRY
I said let go.
Michael drags Anna back a few steps. He then takes a breath
from his inhaler as Harry steps closer.
ANNA
Beat the shit out of him.
Harry clenches his fists. Nervously, he raises one and
draws back. He's shaking. He closes his eyes and is about
to let 'er rip at Michael's face when--
JEFFREY
There you are, you little prick.
Here comes Jeffrey.
JEFFREY (CONT.)
Why aren't you in class?
HARRY
I'm sort of busy.
JEFFREY
You want to make a fool out of me?
Jeffrey rolls up his sleeves. He's ready to fight.
HARRY
I'll be there in a few minutes, I
swear.
JEFFREY
Let's settle this right here, you
punk.
Fed up, Anna takes things into her own hands. She jerks her
head back and smashes it into Michael's nose.
MICHAEL
Jesus Christ. Owwwww.
Anna kicks him in the balls. He doubles over in pain.
Jeffrey takes a swing at Harry, but before he connects,
Harry is jerked away by Anna.
ANNA
Let's go.
Anna pulls Harry and they make a run for the Saab and jump
in.
JEFFREY
Get back here, you little shit!
INT. SAAB - SAME
Anna starts the car as Harry closes his door and they peel
rubber out of the parking lot. Michael is still doubled
over in pain and Jeffrey watches.
Tires still squealing, they haul ass out of downtown Reno.
HARRY
Where are we going?
ANNA
Cheyenne.
HARRY
What the fuck?
ANNA
I'll tell you later.
HARRY
What makes you think I want to go to
Wyoming?
ANNA
You want out?
HARRY
(beat)
No.
Harry looks out the rear window at Michael and Jeffrey
standing in the Goodyear lot. They're just specks in the
distance now.
HARRY
That was your fiancé?
Anna says nothing.
HARRY (CONT.)
You said you didn't have a boyfriend.
ANNA
I lied.
HARRY
Why the hell'd you do that?
ANNA
Because I didn't think it mattered.
You know how it is when you first
meet someone, the way you tell little
lies to move things along.
HARRY
No, I usually tell my lies at the end
of a relationship.
ANNA
Would you be with me now if I told
you I was running from my fiancé?
HARRY
Yeah, probably. I'm not a real good
judge of character.
And that's all for now. Not the end, just the end
of the First Act.
EXT. GOODYEAR DAY
Michael and Jeffrey are left standing in the Goodyear lot.
Both are pacing, livid with anger.
JEFFREY
That bastard. Nobody
makes a fool out of me.
MICHAEL
Listen, do you have a
car here?
JEFFREY
Yes, but-
MICHAEL
How much do you want for
it?
JEFFREY
It's not for sale.
MICHAEL
I'll give you 20,000 bucks.
JEFFREY
Sold.
Michael holds out his hand for the key and looks around.
He's impatient.
MICHAEL
Great, where is it?
JEFFREY
Where's the money?
MICHAEL
I'm good for it.
JEFFREY
I've heard that before.
MICHAEL
You can trust me; I'm a
banker.
Jeffrey snorts his disbelief.
MICHAEL
Look, I need to catch
her before I can pay you.
JEFFREY
Why?
MICHAEL
Thirty-thousand cash in
two days. I swear.
Jeffrey digs his keys out of his pocket and holds them out.
Michael snatches for them and Jeffrey pulls them away.
JEFFREY
We split 50-50.
MICHAEL
Fine.
Michael reaches for the keys, but Jeffrey still hangs on to
them.
JEFFREY
And I go with you.
Michael snarls.
MICHAEL
Let's go.
INT. CONFERENCE ROOM HALL SAME
The door is closed, but from behind it we can hear
screaming and breaking glass. Jeffrey's class, left
unattended, has gone berserk.
INT. SAAB - DAY
As Reno disappears behind the rolling hills, they enter the
empty, dirty high desert.
HARRY
Fiancé.
He almost says something before he finally, suddenly, lets
loose, wailing on the dashboard, punching it as hard as he
can, kicking it, tearing at it until bits of vent and
plastic shatter.
ANNA
Stop it.
He doesn't, continuing to punch and kick. She reaches over
to stop him, but can't drive and intervene at the same
time.
ANNA (CONT.)
Knock it off, you're
going to hurt yourself.
HARRY
I'll be done in a minute.
Finally, Harry slows. He takes one more swipe at the
dashboard and then looks at his hands. They're cut up and
bloody. He takes several deep breaths and calms down.
ANNA
What, are you nuts?
HARRY
Maybe, probably, yes.
I'm sorry about your car, it's nice.
ANNA
Do all the damage you
want, it's not my car.
HARRY
This is his car? It's
nice, is he rich?
ANNA
He won't be as rich tomorrow.
HARRY
How come?
Anna ignores his question.
ANNA
Do you have outbursts
like that often?
HARRY
Sometimes, until I feel
better.
ANNA
And how do you feel right now?
Harry leans back, runs his hands through his hair and
genuinely considers the question. He smiles.
HARRY
Much better, thank you.
ANNA
You're not going to hurt
me are you?
HARRY
No, no, never.
ANNA
What about yourself?
HARRY
I think I got it out of
my system for now.
INT. PARKING GARAGE DAY
Jeffrey and Michael are waiting at the valet. Jeffrey is
cool and collected, Michael is pacing impatiently. Finally,
a rattling, beat-up old Celica comes around the corner. The
valet stops it in front of them.
JEFFREY
Here it is.
MICHAEL
That's it? This is my
thirty-thousand dollar car?
JEFFREY
The dollar isn't what it
used to be.
Jeffrey walks to the driver's side, where the valet holds
the door open for him, while Michael stares at the hunk of
junk he bought.
JEFFREY (CONT.)
Tip the man, will you?
INT. SAAB DAY
It's much later now and Anna and Harry are in the middle of
nowhere. Harry is still looking out the window. There is
nothing but highway ahead of them.
ANNA
Can you drive for a while?
HARRY
No.
ANNA
Why not?
HARRY
I'm still a little drunk.
See, I don't have any motor skills.
Harry tries to clap and misses his hands.
ANNA
You're worthless.
Harry is quiet. He hangs his head, then he begins to sob
softly.
ANNA (CONT.)
Now what?
HARRY
I know I am.
His sobbing is a blubbery crying now, the kind where spit
bubbles form on your lips. He lets out a loud moan. Anna
rolls her eyes.
HARRY (CONT.)
I'm a total loser.
ANNA
No, you're not.
HARRY
Yes, I am.
ANNA
You're not a total loser. You're
a --loser with an edge.
He stops blubbering.
HARRY
You mean that?
ANNA
Sure I do.
He leans over and tries to give her an awkward hug. She
struggles to control the steering wheel while he sloppily
squeezes her.
HARRY (CONT.)
I'll drive if you want.
ANNA
Maybe I'll go a little farther.
HARRY
I'm okay now--except I can't
find my feet.
ANNA
I'll drive.
HARRY
Okay, I'll take a little nap.
Harry sets his head in Anna's lap and is instantly asleep.
Anna shoves him off her so he's contorted across the front
seat. His neck's gonna hurt like a bitch in the morning.
INT. CELICA DAY
Jeffrey is driving. The car rattles something fierce, and
little bits of it fall off as they go. He's intense, his
focus on the road ahead of him. Michael is in the passenger
seat.
JEFFREY
How much money are we talking
about here?
MICHAEL
Not a lot. What's the deal
with this Harry?
JEFFREY
He's an asshole. He's disruptive.
He's loud and rude and he accused
me of being a fraud.
MICHAEL
Is he sleeping with her?
JEFFREY
Hell if I know.
MICHAEL
Aren't you a psychologist or
something?
JEFFREY
Something.
MICHAEL
Well, what's your professional
opinion?
JEFFREY
I hate that little fucker.
Exactly how much money is there?
MICHAEL
One-hundred thousand.
JEFFREY
What's it from?
MICHAEL
That's none of your business.
JEFFREY
Is it legal?
MICHAEL
Of course.
EXT. REST AREA DAY
They're on the flat brown landscape of Eastern Nevada.
There's nothing to see for miles and miles except for
mounds of dirt, followed by more mounds of dirt.
The Saab pulls into the empty parking lot. Anna gets out
and runs to the restroom. She's pretty desperate to piss.
INT. SAAB - SAME
Harry wakes up and, sure enough, his neck is sore. He sits
up slowly and looks around. He gets out of the car and
stretches.
EXT. REST AREA - SAME
Anna comes back from the bathroom. She holds out the keys.
ANNA
Are you sober?
HARRY
Yes.
ANNA
Drive.
Harry walks around to the driver's side and gets in. They
leave.
A moment later, the Celica pulls in and Michael gets out.
He leaves the car door open and stands there a minute.
MICHAEL
You aren't going to leave me,
right?
JEFFREY
No.
MICHAEL
You swear?
JEFFREY
I won't leave you.
MICHAEL
Because I've been left before.
JEFFREY
I swear. Now hurry up.
Michael turns away from the car. Jeffrey guns the engine
and the Celica takes off, hauling ass out of view.
MICHAEL
(yelling)
I knew it!
There is the screech of brakes, and the Celica backs up,
stopping in front of Michael. Jeffrey is laughing.
JEFFREY
I'm just fucking with you.
Michael jumps in.
JEFFREY (CONT.)
I thought you needed to piss.
MICHAEL
I'll hold it.
INT. SAAB - DAY
It's dusk outside, Harry's behind the wheel and Anna
restlessly turns in her sleep in the passenger seat. Harry
looks over at her and smiles. He reaches over and tries to
put his arm around her. But, he has to reach too far and he
loses his hold on the steering wheel. The Saab swerves
wildly.
Anna stirs, but doesn't wake, as Harry regains control of
the car. He reaches over to her again, only this time he
tugs on her shirt until she leans into him. He puts his arm
around her and hugs her.
INT. SAAB NIGHT
Harry is driving, but he's thinking about something and he
keeps looking at Anna. She is still asleep beside him.
He shakes her shoulder.
HARRY
Hey.
She opens her eyes, still half-asleep.
ANNA
Hmmm?
HARRY
Were you really getting married?
Anna ignores him as she closes her eyes and tries to go
back to sleep.
HARRY (CONT.)
Were you?
ANNA
Lemme sleep.
HARRY
Okay, sorry.
That lasts about a second.
HARRY (CONT.)
Were you really getting married?
Unhappily, Anna straightens up and responds.
ANNA
Three weeks from Saturday. A big
church affair with lots of family
and friends, big hair and pretty
flowers. I have this beautiful
huge dress with a train that takes
three little kids to carry.
HARRY
I love weddings. I love brides and
I always want to have sex with them.
ANNA
That's very romantic.
HARRY
And you're calling it off for me. Do
you get a refund on the dress?
ANNA
First, it wasn't for you. Second, I
didn't have the balls to call it off.
HARRY
You're still getting married?
ANNA
No, that's why we're running.
HARRY
Why don't you just tell him?
ANNA
It's not just telling him anymore.
It's telling my parents, and the
girls who were bridesmaids. Then
his parents, the caterer, the
dressmakers, minister, reception
hall, photographer. And what happens
when I run into his friends at the
grocery store? Believe me, it's
easier to run away.
HARRY
Do you still love him?
ANNA
I don't know. Things changed. At
first I loved him, but by the end,
I think we only loved the objects
we had between us; the furniture,
car, apartment. I think we just
stopped caring and the wedding was
some sort of inevitable conclusion.
HARRY
Do you hate him?
ANNA
It doesn't have to be one or the
other.
HARRY
Yes it does. Everything in between
is too confusing. Trust me, I've
tried not to hate girls who dumped
me and it always winds up an ugly
mess -- name-calling and broken
windshields.
ANNA
We were together a long time; my
feelings are a little more complex
than simply hate and love.
HARRY
Do you like me better?
ANNA
I barely know you.
HARRY
You don't have to worry about
expensive stuff with me. I don't
own anything worth more than
fifty bucks.
EXT. GAS STATION NIGHT
Michael checks messages on his Palm Pilot as he pumps gas.
Jeffrey walks back from the convenience store with a cache
of junk food.
MICHAEL
What about your class in Reno?
JEFFREY
That's a problem.
MICHAEL
Don't you have an obligation to
them?
JEFFREY
Hey, I've got a life too, you know.
MICHAEL
Those people depend on you. How
can you let them down?
JEFFREY
Because this pays better.
MICHAEL
Don't psychologists have to take an
oath, or test or something to show
you won't rip off your clients?
JEFFREY
They probably do, but I'm not really
a psychologist.
MICHAEL
Then how can you teach that class?
JEFFREY
(shrugs)
Lie on the application.
MICHAEL
So you're not even qualified.
JEFFREY
Maybe not in the traditional sense.
But I think four years in a state
pen for armed robbery counts for
something.
The fuel shuts off. Michael is now less comfortable with
Jeffrey. Jeffrey smiles and slaps him on the back.
JEFFREY (CONT.)
Take it easy. It's not like I'm the
only fraud practicing psychology.
Jeffrey gets into his Celica. Michael stands outside it for
a moment, still shocked.
INT. SAAB NIGHT
Harry is still driving, but his mind is whirling.
HARRY
Why do you say I had nothing to do
with you leaving your boyfriend?
ANNA
I left him before I met you.
HARRY
Where do I fit in?
ANNA
You don't.
HARRY
You could have at least told me
you broke up with him because of
me.
ANNA
(rolling eyes)
Okay, yes, you've really opened my
eyes. Once I met you, I knew no other
man would do. Is that better?
HARRY
It doesn't count now, because I know
you don't mean it. A lie only counts
when it comes from the heart.
INT. CELICA NIGHT
While he drives, Jeffrey spins the radio dial and comes up
with nothing but static.
MICHAEL
What didn't I give her?
JEFFREY
Good sex?
MICHAEL
We had great sex.
JEFFREY
So you say.
MICHAEL
I have a nice apartment, nice car,
I have a good job, I took her to
the best restaurants. I mean,
what's that little shit got that I
don't?
JEFFREY
A head start.
MICHAEL
It's my money. I never even told
her about it. She wasn't supposed
to know.
JEFFREY
Maybe that's why.
MICHAEL
It's not something you bring up in
conversation: Oh, by the way, I
embezzled half a million dollars
from customer today.
JEFFREY
You said 100,000.
MICHAEL
(beat)
I lied.
JEFFREY
You do that a lot, don't you?
MICHAEL
No, I don't.
JEFFREY
Look, it's fine. I'm a liar too.
It's a great way to get ahead. I
just like to know who I'm dealing
with.
MICHAEL
Yeah, well, at least I'm not an
ex-con.
JEFFREY
Don't sell yourself short.
EXT. GRANTSVILLE, UTAH NIGHT
It's dark as the Saab passes the Great Salt Lake.
INT. SAAB NIGHT
Harry drives while Anna has her feet propped up on the dash
board. She's singing along with the radio.
HARRY
I still don't understand why we're
going to Wyoming.
ANNA
I have business there.
HARRY
What kind of business?
ANNA
If I tell you a secret, can I
trust you?
HARRY
Probably not, but if you don't tell
me I'll bug the shit out of you
until you do.
ANNA
Michael has money in a locker there
and I have the key. That's why he's
chasing us.
HARRY
You're full of crap.
Anna pulls the key out of her shirt. It's on a chain.
ANNA
Not this time.
Harry takes a moment to digest this information.
HARRY
Whose money is it?
ANNA
Ours if we get there first.
HARRY
Whose was it before?
ANNA
(shaking head)
Michael and a co-worker embezzled it
from a rich lady's accounts at his
bank. They've been stashing it until
they could be sure she didn't miss
it.
HARRY
He stole it? Holy shit. How much
money is this?
ANNA
(beat)
Two-hundred-fifty thousand.
HARRY
That's a ton. That's more than I'll
make in my entire life.
ANNA
If you help me, I'll share.
HARRY
You can't do that; it's not your
money.
ANNA
It is if we get there first.
HARRY
You have to give it back to the
lady.
ANNA
No way.
HARRY
This is all about money.
ANNA
A lot of money.
There is silence in the car for a moment. Harry is
seething. He pulls off at the next exit.
EXT. DAVEY'S CHUCK WAGON - SAME
Exiting the freeway in the middle of nowhere, the Saab
pulls into the parking lot of Davey's Chuck Wagon, a shiny
aluminum diner.
INT. SAAB SAME
Harry shuts off the engine.
ANNA
What are you doing?
HARRY
I'm hungry.
ANNA
We're being chased and you want to
stop to eat?
HARRY
I want some waffles.
Harry opens the door and gets out of the car.
EXT. DAVEY'S CHUCK WAGON - SAME
As Harry walks toward the diner, Anna gets out of the car.
She chases him and tackles him. After she pins him, she is
on top and straddling him.
ANNA
Forget the waffles.
HARRY
No.
Anna slugs him in the nose and it bleeds.
ANNA
Forget the waffles.
HARRY
No.
Anna slugs him in the nose again.
ANNA
Forget the waffles.
She draws her fist, ready to punch.
HARRY
(beat)
Okay.
Anna gets off him, and he slowly gets to his feet. Then he
dashes for the diner.
ANNA
(chasing)
You lousy son of a bitch.
She catches up to him at the door and grabs him by the arm.
Harry turns, his eyes jittering with anger. Blood trickles
from his nose.
HARRY
Let go of me.
ANNA
We're leaving now.
HARRY
Not until I get my waffles.
ANNA
Fuck your waffles.
Harry punches the side of the building, putting a dent in
it.
HARRY
I skipped my anger management
seminar for this, and now they're
going to send me to jail for a
year.
ANNA
Less with good behavior.
HARRY
I've never had good behavior.
ANNA
What do you want me to do about
it?
HARRY
I came because I like you and I
thought you'd like me.
ANNA
I do like you.
HARRY
I thought maybe I found someone
who understood me.
A couple walks out of the diner and Harry stops until
they've walked past.
HARRY (CONT.)
I thought you did. But that was
before I knew about the stupid
money. Now I know you're just a
lousy thief. And when you get the
dough you'll dump my ass.
ANNA
That's not what I'm doing.
HARRY
I'm stupid, I know that. And I'm
a pushover, but I have my limits.
So, I'm going in there. I'm going
to eat waffles--and they'll be the
best fucking waffles I've ever had
--and then I'm going to figure out
what to do next.
ANNA
Harry, I do like you but I won't
promise you anything.
Harry steps away, still angry. Anna walks up behind him and
puts her hand on his shoulder.
ANNA (CONT.)
Do you want to go back to Reno?
HARRY
Maybe. No, probably not. Because
as full of shit as you are, I can't
help but hope you're telling the
truth.
Anna leans into him, kisses him on the lips, and that makes
him feel pretty damn great.
ANNA
Okay, let's get your waffles.
INT. DAVEY'S CHUCK WAGON DAY
It's a small, smoky diner. It's filled with truckers in
jeans and flannel shirts reading newspapers. Harry has a
HUGE plate of waffles and a bottle of beer in front of him.
Anna has a bagel. Harry takes a long swig from his beer.
ANNA
Don't do that.
HARRY
What?
ANNA
Drink so much. If you really want
me to like you, don't get drunk.
HARRY
But I'm a lovable drunk.
ANNA
Not every day.
Harry puts the beer down.
ANNA (CONT.)
Think how that money could change
your life. What would you do if
you kept it?
HARRY
It doesn't matter since we're
giving it back.
ANNA
But what if? What would you do
with that much money?
HARRY
(dreamy)
I'd go to some bar, get really drunk,
then get lost walking home and wet my
pants. Then I'd start crying and fall
asleep on a bus bench and when I woke
up the money would be gone.
ANNA
That's your dream?
HARRY
It's not my dream, it's just what
happens. I can't be trusted with
money.
ANNA
We could go to Mexico, Hawaii,
anywhere we wanted.
HARRY
Together?
ANNA
We could.
Harry thinks about it and nods his head.
HARRY
That'd be all right.
INT. CELICA NIGHT
Jeffrey is driving while Michael has his Palm Pilot open
and he's scanning transaction logs.
MICHAEL
No sign of them.
JEFFREY
They have to stop for gas sometime.
MICHAEL
I can't track her if she pays cash.
JEFFREY
We need someone ahead of her car.
MICHAEL
My car. My Saab. It's mine and
she'll ruin it.
JEFFREY
It's yours?
MICHAEL
Yes.
JEFFREY
Well, shit. Let's report it stolen.
They'll have highway patrol all over
them.
Michael smiles and then pulls out his cell phone.
EXT. DAVEY'S CHUCK WAGON NIGHT
Harry and Anna are leaving. In the doorway, Harry bumps a
LARGE REDNECK entering. The redneck pushes Harry hard on
purpose.
REDNECK
Watch where you're going.
HARRY
Fuck you.
REDNECK
What?
The redneck gets in Harry's face. He towers over him.
HARRY
I said, fuck you.
The redneck raises a fist and puts it to Harry's face. They
look each other in the eyes. Harry doesn't move. He doesn't
back down.
ANNA
He's sorry.
REDNECK
Let him say it.
ANNA
Say you're sorry.
HARRY
I'm not sorry.
The redneck shoves Harry against the wall.
ANNA
Just do it.
HARRY
I'm sorry --
The redneck lets up.
HARRY (CONT.)
-- you're such an asshole.
The redneck takes a swing, but Anna yanks Harry away just
in the nick of time. They run for the car.
INT. SAAB NIGHT
Anna and Harry are on I-80 through the Wasatch National
Forest, all steep canyons and low pines. Anna is behind the
wheel, Harry's got his feet out the window.
ANNA
That guy could have killed you.
HARRY
He would have stopped before it
came to that. They always do.
ANNA
Do you ever fight back?
HARRY
I've never hit someone.
ANNA
Why not?
HARRY
I've never had anything worth
fighting for.
A Utah Highway Patrol vehicle pulls up behind them, very
close.
ANNA
Uh-oh.
HARRY
What?
He turns around and looks through the rear window.
HARRY (CONT.)
Did we do something illegal?
ANNA
Speeding.
HARRY
Slow down.
Anna slows the car from 80 to 60 mph, but the red and blue
lights switch on behind them.
ANNA
Oh, we're screwed.
Anna accelerates. The siren goes on behind them.
HARRY
Stop! Stop, for God's sake.
ANNA
Can't stop.
EXT. INTERSTATE 80 - NIGHT
The Saab takes the off-ramp at a ridiculous speed, it
careens wildly and bounces off the asphalt. The cops
follow.
The Saab races down a two-lane among the pine trees. Up
ahead is a railroad crossing. The red lights start
flashing. Anna keeps the pedal floored.
The arms are starting to come down and there is a train
horn.
INT. SAAB SAME
HARRY
We're not gonna make it.
Anna ignores him. He's freaking out.
HARRY (CONT.)
(screaming)
We won't make it, we won't make it!
She's determined. The gates go lower, and lower, and are
now down. The Saab is still going top speed. The crossing
guards and tracks are dead ahead.
HARRY (CONT.)
This isn't how I want to die!
The lights flash, the bells clang, and from the woods
emerges the lumbering train. Anna slams on the brakes and
they skid to a stop right before the gate. The train rolls
right in front of them.
HARRY (CONT.)
I told you.
They back up; the cop lights are close behind. She turns
around and hits the gas. They go past the cops, who turn
around and continue the chase. Anna turns onto an even
smaller road into the woods. The road suddenly turns to
dirt. The cops are still hot on their trail.
HARRY
You can't outrun them.
ANNA
I know, but this gives me time
to think.
Anna swings the wheel violently and they spin out.
EXT. COUNTY ROAD SAME
The Saab swings a sliding right onto a crossroad, kicking
up a huge cloud of dust. The Saab backs off the road, into
the trees.
The cops break through the cloud of dust and fly past
without seeing the Saab.
INT. SAAB SAME
Anna and Harry watch the cop car zoom past, then Anna
starts laughing. Harry laughs, too, but much more uneasily.
He's not sure what they're laughing about.
ANNA
Oh, man, that was great. I always
wanted to do that.
A quarter mile down the road, the cops' brake lights come
on.
HARRY
They're coming back.
ANNA
All right!
Harry is nowhere near as ecstatic as Anna that they're
still being chased.
ANNA
Stealth mode.
She shuts off the car's lights and they're careening down
the dirt road by the light of the moon. It's pretty damn
hairy.
The cop car can't be seen through the dust out the back
window. At a T intersection, Anna turns, the car swinging
wildly.
She loses control and the car goes off the road, into the
trees, crashing into a stump. Steam pours from the hood.
The car is destroyed, bent and tweaked beyond repair. But,
it's also invisible from the main road, where the cop car
is just now going by, lights and siren still blaring.
Anna looks over at Harry.
ANNA
Are you okay?
HARRY
I might have crapped my pants.
ANNA
But we're safe.
HARRY
Safe from what? Not bears.
ANNA
The cops. We beat the pigs. God,
that was so much fun. I'm so
keyed up.
HARRY
It was just a fucking speeding
ticket.
She kisses him and he's caught off-guard.
She kisses him again and he kisses back, furiously, like
he's trying to eat her lips he's so desperate. Anna reaches
down and grabs his belt buckle and starts to undo it.
The sound of the siren, which was fading, is approaching
again. Anna stops and listens. Harry keeps trying to kiss
her.
ANNA
Hold on.
He can't, he's a red-blooded male and he wants sex.
HARRY
No, lets do it.
The siren is even closer. She pushes him off.
ANNA
We need to go.
HARRY
What about the --
He points to his unbuckled belt.
ANNA
Later.
HARRY
Promise?
She doesn't answer. She's already climbing out of the car.
EXT. WOODS NIGHT
Anna climbs out the window of the smashed Saab. As the
siren wail gets louder, Harry wrenches open his door and
slides out. Anna runs into the woods and Harry follows.
HARRY
Where are we going?
ANNA
I don't know yet.
HARRY
What's the plan?
ANNA
Get away from here and find a car.
HARRY
That's it? That's a
crappy plan.
ANNA
(annoyed)
Do you have a better one?
HARRY
That's not my job.
ANNA
What is your job?
HARRY
Hanging around smarter people who
come up with plans.
In the distance, the train blows its horn. Anna suddenly
turns direction and speeds up. Harry's running behind her.
ANNA
Come on.
HARRY
What?
ANNA
Ever want to be a hobo?
HARRY
No.
ANNA
Come on.
They continue running through the woods and the headlight
of the train can be seen among the trees. Its rumble grows
louder.
Anna and Harry reach a clearing and the headlight of the
slow-moving train is approaching.
ANNA
Hurry up!
Harry trails Anna as they run up beside the slow-moving
train. Anna jumps onto an open boxcar and pulls herself in.
Harry runs up beside it and she reaches to him.
ANNA (CONT.)
Jump.
Harry keeps running beside it. He stumbles and leaps, his
hands just barely grabbing the edge of the boxcar. Anna
grabs his hands. His feet dangle dangerously close to the
wheels below. Harry is panicking as he scrambles to lift
himself.
HARRY
Pull me up!
INT. BOXCAR - SAME
His foot hits the wheel and his hands slip on the boxcar
floor. Anna grabs him by the waist and hauls him up into
the car. He flops like a whale, hugging the floor, then
realizes how dirty it is. He has dirty straw in his mouth.
He leaps up.
HARRY
It smells like cowshit in here.
God, it's filthy.
ANNA
Just like Amtrak.
HARRY
Where are we going?
ANNA
What, do I look like the engineer?
Anna sits in the open door, her feet dangling out. She pats
the floor next to her.
ANNA (CONT.)
Sit down.
HARRY
(wary)
Why?
ANNA
Just sit.
Harry sits next to her. She takes his hand in hers as they
watch the dark landscape as the train slowly rolls along.
She leans into him. There is lightning splitting the
horizon. It's quite romantic until-
HARRY
It really stinks in here.
INT. CELICA NIGHT
Michael is on his cell phone, talking, while Jeffrey
drives.
MICHAEL
Great. Where?--Okay--What
condition is it in?--Shit!-- How?
--Okay, we'll see you there.
Michael hangs up the phone, all torn up, he's almost in
tears.
MICHAEL (CONT.)
They found my Saab. It's--it's
totaled.
JEFFREY
What about Harry and Anna?
MICHAEL
I didn't ask.
JEFFREY
Jesus Christ. You're really not
cut out for crime, are you?
MICHAEL
Don't you even care about my car?
Jeffrey accelerates. Raindrops begin to hit the windshield.
EXT. EVANSTON NIGHT
It's raining as the train is rolling to a stop in a rail
yard on the edge of the small town. Railyard workers are
moving up and down the train as Harry and Anna slip off the
boxcar.
HARRY
Where are we?
ANNA
Wyoming, I think.
Harry looks around, taking in the flat landscape nodding.
HARRY
I've never been to Wyoming
before.
INT. CELICA NIGHT
The rain is coming down pretty hard. Michael and Jeffrey
pull up on the scene of the accident. A patrol car's lights
are flashing and its spotlight is on a tow truck hauling
the mangled wreckage of Michael's baby. He is crushed.
MICHAEL
My car. My beautiful car.
JEFFREY
Look, we're getting information,
but we give none. And we don't
tell them who was in the car.
MICHAEL
Don't we want them to get caught?
JEFFREY
Not by the cops. The key's pretty
useless if it's in jail.
Michael gets it and nods.
MICHAEL
You know, you're a terrible
therapist, but you're good at
crime.
EXT. WOODS - SAME
Jeffrey and Michael get out of the car and walk through the
rain toward a HIGHWAY PATROLMAN. A spotlight from the
patrol car shines on the wreckage of the Saab as it's
hauled up by a tow truck.
COP
Who's the owner?
MICHAEL
I am.
COP
Any ideas who took it?
MICHAEL
No, not a clue. What about you?
COP
We know it's a man and woman
and we'll take fingerprints.
MICHAEL
Any idea where they went?
COP
We've got men out in the woods;
they won't get far.
EXT. EVANSTON NIGHT
The rain is harder now as Anna and Harry walk down a quiet
residential street. There are a few lights on in houses,
but the street is empty. As they walk along, Anna tries the
car doors, looking for an unlocked one. They're all locked.
ANNA
What's this world coming to
when people in a small town can't
even leave their cars unlocked?
HARRY
I don't want to steal a car.
ANNA
Okay, I'll steal it.
Anna tries the door of a pickup and it opens. Anna smiles
and slowly pulls open the creaky door.
The car's horn goes off, blaring. It lights flashes. Anna's
eyes light up and she laughs.
ANNA
Oh, shit.
As lights in the houses come on, the two of them take off
running.
As the horn blares behind them, they run as fast as they
can, Anna's laughing. They turn into an alley and bolt down
it. The horn fades farther away as they continue to sprint,
past garages, stray dogs and trashcans.
At the end of the alley, they reach a major road, across
from the Jackrabbit Motel, a 50s-style place with a neon,
hopping bunny on the sign. They stop running.
HARRY
Now what?
Anna gives him a sly smile and grabs his ass.
HARRY (CONT.)
What?
ANNA
Let's get a room.
HARRY
Yeah?
ANNA
Yeah. We're not getting out of
here until morning.
She puts her hand in his and they run across the street.
INT. MOTEL LOBBY NIGHT
They're soaking wet as they enter the vinyl-upholstered
lobby. Anna rings the service bell and a fat man in his
pajamas walks out, his eyes are closed, he's doing this in
his sleep.
FAT MAN
Help you?
ANNA
We'd like a room.
This guy is not going to open his eyes, but he has this
down to routine. He starts to fill out a form.
FAT MAN
One bed or two?
HARRY
One.
FAT MAN
Fill this out and it's 27.50.
Anna hands him her credit card.
INT. MOTEL ROOM NIGHT
It's pretty grungy, not exactly conducive to romance. Harry
and Anna walk in. Harry touches the bed and it squeaks. He
turns to Anna, awkward.
HARRY
How do you want to do this?
ANNA
What do you mean?
HARRY
How do you want me to start?
ANNA
I don't want you to start.
She pushes him onto the bed and climbs on top, kissing him
deeply.
INT. CELICA NIGHT
Jeffrey and Michael sit in the car avoiding the rain as the
tow truck slowly pulls away with the mangled Saab. Michael
waves at his baby as it goes. The cop walks up to the
driver window and taps on it. Michael rolls it down.
MICHAEL
Any sign of them?
COP
No report yet, but we have a
helicopter out. I need your
license to finish the report.
Michael pulls out his wallet and hands his license over
then rolls up the window. The cop goes back to his car.
Michael distractedly pulls out his Palm Pilot and turns it
on.
MICHAEL
She's long gone.
JEFFREY
How do you know?
MICHAEL
She's resourceful. She could
make a car out of twigs and
boulders if she knew it would piss me
off. Of course, she'd probably crash
that, too.
Michael looks at his screen. Anna's transaction at the
Jackrabbit Motel appears. Michael is obviously excited.
MICHAEL
There she is.
JEFFREY
(looking outside)
Where?
MICHAEL
Evanston, at a motel. What the
hell are they doing at a motel?
He better not screw her.
JEFFREY
I hope he has the stamina to
last until we get there.
Michael starts the car and they take off, leaving the cop
and the crime scene.
INT. MOTEL ROOM NIGHT
Anna and Harry are naked under the covers, wrapped around
each other, resting. Their clothes are thrown all over the
room. Harry's stroking her shoulder, happily in post-coital
bliss.
HARRY
That was great.
ANNA
Yeah.
HARRY
I bet I do that better than your
fiancé.
Anna doesn't say anything.
HARRY (CONT.)
Right?
ANNA
It was good.
HARRY
Better?
ANNA
Good.
Harry's unsatisfied with her answer. She runs her fingers
through his hair, but he pulls away.
HARRY
But he's better.
ANNA
Who cares?
HARRY
Based purely on technique, is he
better than me?
ANNA
I'm not going to compare you.
HARRY
Because I would lose.
Anna is becoming frustrated and annoyed.
ANNA
It's not a competition. Sex
happens to be something Michael
is particularly good at.
HARRY
Well, Christ, was there anything
about it that you did like?
Anna rolls over, facing away, trying to ignore him.
HARRY (CONT.)
What does he do that's so great?
Can he do it for hours?
No response.
HARRY
Does he have a big dick? Better
positions?
ANNA
Drop it.
HARRY
I need to know.
ANNA
No.
HARRY
Tell me.
Harry grabs the alarm clock and throws it across the room.
It shatters against the wall. Anna is furious, she stares
him in the eyes.
ANNA
You really want to know?
HARRY
Yes.
ANNA
He has a huge cock, thick as
your leg and it's curved just
so; he gives me looooong
orgasms; has incredible stamina; a
nicer body; has perfect rhythm; loves
going down on me; he can do this
thing with his hands that sends
shivers down my spine. And when you
and I were just having sex, when you
were fumbling around, for a moment I
wished you were him. You want me to
go on?
HARRY
No.
ANNA
Then drop it.
Anna turns away again. Harry takes a swing at the bedside
lamp and it shatters to the floor.
HARRY
You didn't have to tell me all of
that.
ANNA
You asked.
HARRY
Just because I ask doesn't mean you
should answer. I ask a lot of
stupid questions that should be
ignored. I'm a fucking idiot.
ANNA
Sorry. I haven't learned which stupid
questions to answer and which stupid
questions to ignore.
HARRY
Well, you better learn quick because
there's plenty more where those came
from.
ANNA
Whatever.
HARRY
Do you still love him?
ANNA
Do I answer this one or ignore it?
Harry really has to think about this.
HARRY
Answer it.
ANNA
No.
Harry sits there for a moment trying to convince himself.
HARRY
I believe you.
ANNA
No you don't.
HARRY
I know, but I'm trying.
Harry stands up and puts on his pants.
ANNA
Where are you going?
HARRY
To drink.
ANNA
You're not going out. Come to bed
and get some sleep.
HARRY
I don't want to go bed angry. I
want to go to bed drunk.
ANNA
I want you sober.
Harry throws on his shirt and slams the door on his way
out. Anna shakes her head and then turns out the light.
EXT. EVANSTON SAME
It's still pouring rain as Harry exits the motel and darts
across the street to the Axis Bar.
INT. AXIS BAR - SAME
It's a dive, a dead dive and a scary one at that. It's dark
like a cave, with a dark wood bar the size of a small
house. As Harry enters, the menagerie of animal heads
mounted on the walls all appear to be staring at him.
He's greeted by silence from the couple of drunks in there.
He walks up to the bar and the BARTENDER BURT stares at
him. Harry stares back, and they stare for a while.
BURT
Cat got your tongue?
This is hilarious to the HAG, a leathery woman in her 50s.
She cackles like an overfed crow. The cackle becomes a
hacking cough.
HAG
Oh, shit, that's good. You're
funny, Burt.
BURT
Well?
HARRY
I just want a beer.
Burt "humphs" as he draws a beer. The hag slides down a few
stools and settles in next to Harry.
HAG
So what brings you to our fair
town?
HARRY
I'm passing through.
HAG
I was once, too. Fifteen years
ago.
HARRY
What happened?
HAG
He left and I waited.
HARRY
For him to come back?
HAG
Hell no, for another drink.
She holds up her drink to toast to Harry. Harry smiles
uneasily. He holds his beer up to her cocktail. She clinks
the glasses and takes a drink. Harry is about to drink when
the hag says
HAG (CONT.)
(whispering)
You want to go out and fuck by the
grease bin? There's condoms in the
john.
Harry nearly drops his beer.
INT. MOTEL NIGHT
Anna lies in bed, watching the news on TV, which is the
only light in the room.
ANCHOR (V.O.)
A riot broke out in downtown Reno
today at the Circus Circus Hotel.
A small group destroyed a
conference room and then rampaged
through the casino, overturning
tables and setting fire to a section.
The screen shows Harry's classmates being hauled out of the
casino in handcuffs while smoke billows out the front doors
and a man sweeps broken glass off the sidewalk.
ANNA
Hurry up, Harry.
EXT. EVANSTON NIGHT
The rain is still coming down as the Celica trolls down
Main Street and crosses over the railroad tracks. The only
place still open is the Axis Bar, its neon sign flickers
through the rain.
INT. CELICA SAME
Michael drives while Jeffrey watches out the window.
JEFFREY
We have to be fast.
MICHAEL
Okay.
JEFFREY
And we have to beat the shit out
of them.
MICHAEL
Not her.
JEFFREY
What do you want: your money or
another chance with her?
MICHAEL
Both.
JEFFREY
You fucking dreamer. Pick one.
MICHAEL
The money.
JEFFREY
Okay, then don't be such a pussy.
Let's go.
Michael takes a hit off his inhaler before they get out of the Celica.
INT. AXIS BAR NIGHT
Harry sits with his beer in front of him. It's untouched.
The hag sits next to him. She is mid-story.
HAG
-- and my God damn daughter won't
even let me see my own grandkids. I'd
do anything to see those kids.
HARRY
Would you stop drinking?
HAG
(beat)
I'd hide it better.
Harry looks at his watch.
HARRY
I'd I better get going.
HAG
Going? You're gonna leave me, too?
Harry stands up.
HARRY I'd
I'm sorry, I don't want to disappoint
someone.
HAG
All I want is a dance. Make Grandma
happy.
Harry deliberates. The hag's eyes are glossy.
HARRY
Just one?
HAG
Burt, put the song on.
BURT
What song?
HAG
(angry)
You God damn well know what song!
As the hag leads Harry out to the dance floor, Burt punches
a few buttons on the juke box. Patsy Cline's "Crazy" begins
to play and the hag nuzzles herself into Harry's chest as
they slow dance. She's got the content smile of a child on
Christmas as she holds him close. Harry looks to the door.
EXT. MOTEL SAME
Michael and Jeffrey sneak along the sidewalk in front of
the rooms. As they go by each window, Jeffrey cups his
hands and peeks through the gap between the closed
curtains. The first room is empty. In the second room are a
man and a dog sitting on the bed watching TV. In the third
room are a man and woman fucking. Jeffrey lingers a little
longer here, before moving along and crashing into a patio
chair on the sidewalk.
INT. MOTEL ROOM SAME
Anna hears the crash and turns off the TV's sound. There
are footsteps outside. Anna moves away from the bed and
into the darkness of the room. The footsteps get louder
then stop.
Anna is scared. She ducks behind the bed, peering around
the edge. Lightning strikes and the silhouette of Michael
peering through the window flashes on the curtains. Anna
stifles a scream as she pulls herself back into hiding.
She sits in the dark, waiting and shivering for a long
moment as the rain pounds outside.
INT. MOTEL ROOM SAME
The footsteps start again and fade away. Anna slowly moves
out from behind the bed and walks to the window. She peeks
through the gap in the curtains. Lightning flashes and
Michael is there, staring at her from the other side of the
glass. She screams and jumps back.
Michael pounds on the door as Anna backs into the darkness.
MICHAEL
Anna, let me in.
EXT. MOTEL SAME
JEFFREY
Break it down.
MICHAEL
How?
JEFFREY
Kick it.
MICHAEL
You kick it.
Jeffrey shoves Michael out of the way and takes a strong,
competent kick at the door. It breaks, but does not open.
Jeffrey kicks again, and the door breaks open. From inside
there is the sound of glass breaking. Michael and Jeffrey
rush in.
INT. MOTEL ROOM SAME
The room is empty, and only the bathroom light is on. The
window is broken out and Anna is just slipping out of it.
JEFFREY
Get back here, you bitch!
Michael turns around and leaves the room. Jeffrey follows
him.
EXT. WEEDY FIELD -SAME
As Michael turns the corner of the motel, Anna is running
toward him and the street.
She tries to dodge him and he tackles her. But as we
already know, she doesn't go down easily and she manages to
kick him a few times.
They wrestle until Michael has her pinned. Jeffrey catches
up to them.
MICHAEL
Give me the key and I won't hurt you.
ANNA
Fuck you.
MICHAEL
C'mon, Anna, just do it. We can sort
everything else out later.
ANNA
Fuck you.
Jeffrey grabs her by the hair.
JEFFREY
Give us the key or I'll split your
skull.
It's menacing, he really means it, spit strings between his
teeth as he snarls.
ANNA
No.
Jeffrey drops her to the ground. He looks around and grabs
a chunk of two-by-four. He waves it like a baseball bat.
MICHAEL
What the hell are you doing?
JEFFREY
I want the God damn key.
He cocks his arms like he's getting ready to swing at a
fastball.
ANNA
Okay, okay. Let me up.
Michael looks to Jeffrey, who nods okay but doesn't drop
the lumber.
INT. AXIS BAR SAME
Harry and the hag are still slow-dancing to "crazy." The
hag leans into him and snakes her thick, wet tongue into
his ear.
HAG
(whispered)
You're making me wet.
She forces her outstretched lips toward him and he leans
back, barely avoiding her kiss.
EXT. WEEDY FIELD - SAME
Michael slowly gets off Anna and she warily stands up. She
reveals the key hanging from the string around her neck.
Michael reaches for it, but she quickly yanks the key free
and sticks it in her mouth. She smiles smugly.
MICHAEL
Oh, Jesus Christ.
JEFFREY
Get it back.
MICHAEL
How am I supposed to do that?
JEFFREY
Put your hand down her throat. Cut
her open. I don't care.
MICHAEL
(to Anna)
I don't believe it. You're such a
pain in the ass. Give me the key.
Michael puts his hand under her mouth like a scolding
teacher to a student chewing gum. Anna opens her mouth.
It's empty; she's swallowed it. Jeffrey is livid.
JEFFREY
Stand back.
He takes a swing with the two-by-four, barely missing Anna
as she ducks.
MICHAEL
(to Jeffrey)
Don't do that.
JEFFREY
You want to do it?
MICHAEL
We'll take her with us.
JEFFREY
What the fuck? Are you trying to win
the Nobel Peace Prize?
MICHAEL
If we don't, I won't tell you where
the locker is.
JEFFREY
(beat)
I have tape in the trunk.
INT. AXIS BAR SAME
"Crazy" winds down and Harry tries to extricate himself
from the hag's tentacle-like grip on him.
HARRY
Okay, I have to go.
HAG
One more.
HARRY
No, really, my girlfriend is waiting.
She makes one more desperate grab for him, but he's gone,
out the door.
EXT. JACKRABBIT PARKING LOT SAME
Anna, Jeffrey and Michael stand behind the hatch of the
Celica under the dim light of the parking lot. Anna's hands
and feet are duct-taped. Michael applies a last bit of tape
to her hands.
ANNA
Don't do this, Michael.
Michael puts a piece of duct tape across her mouth.
MICHAEL
Be quiet.
At this moment, Harry steps into the parking lot. He's
still a ways off, but he sees them.
HARRY
Hey!
He starts running.
MICHAEL
Let's go.
They lift Anna's taped body into the hatch and Jeffrey
pulls the hatch down as Michael runs around to the driver
door. The hatch hits Anna and won't shut as Michael starts
the car. Harry is near.
The Celica takes off, with the hatch still open, leaving
Jeffrey behind. Harry is fifty feet away. Jeffrey's valise
is thrown out the Celica's window.
JEFFREY
(yelling after car)
We had a deal!
Harry reaches the car just as it zooms past. He turns and
chases it down the street as it gets away.
Harry stops to catch his breath as the Celica gets farther
away. Then, he starts running after it again, only giving
up after its taillights have vanished into the night.
He stops again, turns around and sprints back toward the
bar and motel.
He is hit in the stomach by a rock thrown by Jeffrey. He
stops, Jeffrey reloads and throws again (he throws like a
girl).
HARRY
What's that for?
JEFFREY
Because you're a son of a bitch.
HARRY
Nice job with your anger, Mr.
Preston.
JEFFREY
Blow me.
Harry runs again, dodging the rocks as he makes it to the
Axis Bar.
INT. AXIS BAR NIGHT
It's just the hag and Burt.
Harry bursts in.
HAG
Loverboy!
HARRY
I need your car.
HAG
Come here and give me a kiss.
HARRY
Loan me your car. I swear I'll return
it.
HAG
What do you need it for?
HARRY
To get my girl.
HAG
Oh, is that what this is about?
(with utter contempt)
Love?
HARRY
Now do you understand?
HAG
No. I think you're in for a world of
pain if you chase her.
HARRY
Can I have the car?
The hag digs in her purse and pulls out a pair of car keys.
HAG
However, I'm not above letting others
make the same mistakes I've made.
Harry takes the keys.
HARRY
Thank you.
HAG
It's the brown Ford.
Harry is about to take off, but first runs over to the hag
and kisses her on the cheek.
HAG (CONT.)
I'll be here when you get back.
Harry is out the front door.
EXT. AXIS BAR SAME
Harry comes out of the bar. Of course, the Ford is an old
pickup. Down the road, Jeffrey is picking up his briefcase
from the middle of the road. Harry climbs in the Ford and
starts it up.
He drives down the road. Jeffrey waves him down, blocking
the road. Harry slams on the brakes at the last minute to
avoid him.
JEFFREY
Hey, give me a ride.
HARRY
Hell no.
Harry revs the engine.
JEFFREY
I'll give you your certificate.
Harry stops revving.
HARRY
Yeah?
JEFFREY
I'll tell your court officer you're a
model student.
HARRY
Prove it.
Jeffrey opens his briefcase, pulls out a blank certificate
and holds it up in front of the windshield.
JEFFREY
And we'll split the money.
HARRY
I don't care about the money.
JEFFREY
Better still.
HARRY
Get in.
Jeffrey runs around and jumps into the passenger side and
they take off.
INT. CELICA NIGHT
Michael pulls up to a pump at the gas station. He stops the
car and looks at Anna. He rips the tape off her mouth.
ANNA
Owwwww. That hurt, asshole.
MICHAEL
Yeah, but it got rid of that little
mustache you have.
Anna looks in the rearview mirror.
MICHAEL (CONT.)
You want anything?
ANNA
To get the hell away from you.
MICHAEL
How about a Snickers instead?
Anna shakes her head no and stretches her mouth.
EXT. KUM & GO GAS STATION NIGHT
Michael sets the pump at this desolate gas station. The
Celica is the only car.
He goes into the convenience store to pay. As soon as he
does, Anna tries pounding the passenger side window with
her head.
INT. KUM & GO SAME
As Michael sets down his money, the REDNECK CASHIER points
out the window.
REDNECK
Your old lady's put your window out.
Through the store window, Anna can be seen, her head is
smashed through the window and she's now wiggling her body
through the opening.
MICHAEL
Jesus.
REDNECK
Women, huh?
Michael leaves his change and runs outside.
EXT. KUM & GO GAS STATION NIGHT
Michael runs to Anna. She's halfway out the window. He
grabs her.
ANNA
Let go of me.
Michael tries shoving her back into the car.
ANNA (CONT.)
Let go! RAPE! RAPE!
Michael pushes her back through the window. The Redneck is
inside the store, laughing. When Michael makes eye contact
with him, he shrugs. Michael gets back in the car and they
take off.
INT. CELICA NIGHT
Michael drives fast, wind whistling through the broken
window. He nervously checking the rear view mirror. Anna
sits up in the back.
MICHAEL
What the hell is going on, Anna? Is
this about the money?
ANNA
Partially.
MICHAEL
Partially? What's the rest?
ANNA
I don't want to marry you.
MICHAEL
We've been planning this for over a
year.
ANNA
I didn't want to marry you last week,
or the week before, or the month
before that. But when I learned you
were hiding the money, I finally made
up my mind.
MICHAEL
I was going to tell you.
ANNA
When?
MICHAEL
Soon -- eventually.
ANNA
Well, you waited too long.
MICHAEL
Do you like Harry better?
ANNA
It's not a contest, Michael.
MICHAEL
Well, would you rather marry him?
ANNA
All I'm thinking about right now is
the money.
MICHAEL
I can't believe you had sex with him.
You're a slut.
Anna furiously bolts forward and bites his shoulder as hard
as possible.
MICHAEL (CONT.)
Stop it!
The car swerves as Michael tries to free himself.
ANNA
Take it back.
She bites down again, harder this time.
MICHAEL
Sorry.
Blood is seeping through his shirt in the shape of her
bite.
INT. TRUCK NIGHT
It's dark. Harry drives. They pass a sign that says
CHEYENNE 242 MILES
JEFFREY
This is going to take a while and I
know something wonderful we can do to
kill the time.
HARRY
What?
JEFFREY
Talk about your anger.
HARRY
Fuck that.
JEFFREY
You want your certificate, don't you?
HARRY
That wasn't the deal.
JEFFREY
You called me a fraud and I'm going
to prove you wrong. Now open up to
me.
HARRY
I don't want to.
JEFFREY
Share with me. I'm here for you.
Harry says nothing. Jeffrey leans over and punches him in
the arm as hard as he can.
HARRY
Ow.
JEFFREY
Open up, fucker. Talk about your
childhood--about your mother.
HARRY
(beat)
What about my mother?
JEFFREY
You tell me.
HARRY
Well, like, what? You want me to say
she beat me? She never laid a finger
on me. She's a God damn saint.
JEFFREY
Then let's talk about your father.
HARRY
The only thing that bugs me about my
mom is nothing I do is ever good
enough for her, you know? Like, I
would come home from school with a C
or something and all she could ask
was why didn't I get a B.
JEFFREY
Good, good.
HARRY
When I was five I hit a drinking
fountain and split open my eyebrow
and she wouldn't take me to the
doctor. I had blood pouring down my
face and she said she told me not to
play around drinking fountains.
Jeffrey rubs his hands together gleefully.
JEFFREY
Now we're getting somewhere.
EXT. INTERSTATE - NIGHT
Michael and Anna are standing beside the road, under the
light of a billboard. Anna is hunched over, her finger down
her throat, trying to force herself to vomit. She gags.
MICHAEL
Hurry up.
Anna tries again, nothing. She tries a third time and
vomits. The key hits the asphalt with a CLINK. Michael
bends to pick it up.
ANNA
(threatening)
Don't touch it.
INT. TRUCK NIGHT
The dawn is breaking in the distance and Harry is talking a
blue streak. Jeffrey is sorry he asked Harry to talk about
his mother. Jeffrey is sorry he ever asked about Harry's
mother. A roadside sign says
CHEYENNE 122 MILES
HARRY
And she calls me all the time, you
know like to tell me to wear a jacket
or make sure I'm not eating uncooked
hot dogs for dinner. She treats me
like a fucking baby and it drives me
crazy.
JEFFREY
Because you're not a baby anymore.
You're a grown man.
HARRY
No, I am a baby, and every time she
calls I'm reminded of that. If she
doesn't remind me to wear a jacket,
I'll probably forget and die of
pneumonia.
JEFFREY
Okay, well, I think we've talked
enough about your mother.
HARRY
Oh no, I've only just begun.
JEFFREY
I'm sure you have. But let's talk
about the rest of your family.
HARRY
And then there was the time this girl
dumped me right before the prom, so
my mom took me. Oh man, that was
fucked up, but she held her liquor
good at the parties afterward. What
do you think? Do you think that
scarred me?
Jeffrey throws his hands in the air. He reaches into his
briefcase and pulls out a certificate.
JEFFREY
Okay, you win, I can't help you. Stop
talking now.
HARRY
She never approves of girls I'm
dating. And they never approve of
her. They think a grown man should
buy his own groceries.
Jeffrey fills out the certificate while Harry talks.
JEFFREY
Please, stop talking.
Jeffrey hands over the certificate. Harry looks at it while
he drives.
HARRY
Cool.
And then it is silent in the truck--for a moment.
HARRY
Will you write a note for my mom?
Tell her what a good kid I am? I
mean, she would get a kick out of
that.
Jeffrey puts his hands to his ears and looks out the window
as Harry drones on.
INT. TRUCK DAY
CHEYENNE 7 MILES
The sun is up now, and the flat brown landscape of Wyoming
is bathed in yellow light. As Harry talks, he passes right
by the Toyota in the right lane. Jeffrey notices and snaps
out of his misery.
JEFFREY
What the hell are you doing?
HARRY
Huh?
JEFFREY
That's them. You just passed them.
HARRY
Where?
JEFFREY
Back there.
EXT. INTERSTATE - SAME
Harry slows the truck and the Toyota pulls up beside them.
Jeffrey rolls down the window and waves his hands. Michael
looks up.
Michael is scared, piss his pants scared. He accelerates
away from the truck, but it catches up. The Toyota slams on
its brakes, skidding in the road.
The truck slows, but behind it, the Toyota is stopped in
the middle of the road. It gets onto the median and turns
around to join the westbound lanes.
INT. TOYOTA SAME
Michael rights the car on the road and accelerates.
ANNA
Cheyenne is the other way.
MICHAEL
I know that.
ANNA
Then why don't we go that way?
MICHAEL
I need to shake those guys first.
ANNA
Is it easier to shake them in this
direction? I don't think it is.
MICHAEL
Why don't you shut up?
Behind them, the truck is turning around on the median and
following them. Michael turns the wheel violently.
EXT. INTERSTATE SAME
The Toyota is back on the median, turning around to head
toward Cheyenne again. The truck follows.
The Toyota turns around again, heading westbound. The truck
follows. They're just going in circles now.
INT. TOYOTA SAME
Anna is fed up with the round-and-round as they bounce onto
the median again.
ANNA
You don't know what you're doing, do
you?
MICHAEL
(beat)
No.
Anna reaches and takes hold of the steering wheel. She
forces them straight.
ANNA
Just drive.
EXT. INTERSTATE SAME
The Toyota and truck pass traffic at high speed.
INT. TOYOTA SAME
The speedometer is wobbling around one hundred. The
temperature gauge is rising into the red. The car shakes
violently and the wind is really tearing through the broken
window.
Directly behind them is the Ford, insanely close to their
rear bumper. Michael looks back.
ANNA
Slow down.
MICHAEL
I can't slow down. That bastard will
run me over.
Roadside, a sign says
CHEYENNE NEXT 6 EXITS
Steam starts to seep out of the hood.
INT. TRUCK SAME
The truck is behind the Toyota, close, but not on the
bumper.
JEFFREY
Ram them.
HARRY
No.
JEFFREY
Ram them. This is a big truck; we'll
be fine.
HARRY
I borrowed this truck and I promised
I'd take care of it.
EXT. CHEYENNE SAME
Alarming amounts of steam are pouring from the hood of the
Toyota as it hits the off-ramp and slows. The truck
follows.
Both cars fly past the stop sign and turn onto the surface
streets of Cheyenne. They're still moving fast and
accelerating up the street, cutting through traffic.
INT. TOYOTA SAME
The Toyota is about to give up the ghost. The steam is so
thick it obscures Michael's view. The heat gauge is all the
way into the red. And then the engine coughs.
MICHAEL
God dammit!
Michael punches the steering wheel and then glares at Anna.
MICHAEL (CONT.)
This wouldn't have happened in the
Saab.
EXT. CHEYENNE SAME
The Toyota is dead, slowing. The truck pulls up beside it
as it fades and then coasts through a red light and traffic
at an intersection at 10 mph.
On the other side of the intersection, the Toyota jumps the
curb, rolls over the sidewalk and finally come to a halt in
the bushes. But just before it stops, Anna leaps out and
starts running.
The truck stops in the road. Michael jumps out of the
Toyota and follows her. Jeffrey and Harry are out of the
truck.
MICHAEL
Get back here.
It's a foot race. Anna leads them across the parking lot,
down the street and into
DOWNTOWN:
Where lots of old brick storefronts house western wear
shops, antiques and "For Lease" signs.
Anna stops at the first person she gets to, an OLD TIMER in
a cowboy hat. The three guys are gaining ground: first
Jeffrey, then Harry, finally Michael falling behind.
ANNA
Where's the post office?
OLD TIMER
What?
The boys are closer still.
ANNA
The post office.
OLD TIMER
Turn here, go two blocks and then
right.
Anna is running again before he finishes and Jeffrey is
only a few steps behind. Harry is a hundred feet and
Michael is stopping to catch his breath. The Old timer
watches them all go by.
OLD TIMER
Popular girl.
Anna runs the two blocks, Jeffrey is slowly gaining so that
he is right on her heels as she turns the corner.
Farther back, Michael has lost sight of the rest and is
stuck at a corner, confused.
Anna turns the corner and collides with a SHOPPER coming
out of a shop. They both go sprawling. Jeffrey turns the
corner and puts his knee in Anna's back, keeping her flat
on the concrete. The shopper hurries off.
JEFFREY
Give me the key.
HARRY
Leave her alone!
He is behind Jeffrey.
JEFFREY
Piss off.
HARRY
I said leave her alone.
In this moment, 20-odd years of getting the crap beat out
of him boils over. Harry's face is red, he's blind with
rage, he leaps onto Jeffrey, windmilling punches. He's
kicking, biting, anything he can do. It isn't pretty but
it's effective.
JEFFREY
Stop it! Stop hitting me.
Jeffrey curls into a ball but the assault continues. Anna
pulls herself free.
This is a terrific victory for us little guys. Rather than
slowing down, Harry's picking up steam.
ANNA
Okay, that's enough.
Harry doesn't let up, he's still pounding Jeffrey. Anna
tries to pull Harry away.
ANNA (CONT.)
That's enough, Harry!
She finally pulls Harry off Jeffrey. Harry's face is red,
he's hyperventilating. It takes a moment for him to regain
composure.
ANNA
Are you okay?
Harry looks back at Jeffrey's twitching mass.
HARRY
(smiling)
That was really fun.
ANNA
Good. Now, we have to go.
Anna runs again with Harry following, and down the street
is the post office. They run up the steps and enter.
INT. POST OFFICE SAME
Anna and Harry run into the lobby. There are thousands of
P.O. boxes on the walls.
ANNA
Watch the door.
She quickly and nervously scans for Box 1535 and finds it.
She inserts the key with a shaking hand and slowly opens
the door. She peers into the small cubicle.
Inside is a fat package wrapped in brown butcher's paper
and tied with twine. Anna's pulls it out. It is dense and
soft. Harry comes over from keeping watch.
HARRY
Is that it?
She nods, trying to keep cool (and failing) as she tucks
the bundle under her arm.
ANNA
Let's get out of here.
HARRY
Open it.
ANNA
Not here.
HARRY
I want to see. Don't you want to see?
I mean, I've never seen $250,000
Before.
ANNA
When it's safe, and it's a half
million.
HARRY
You said 250,000.
ANNA
That was when I didn't trust you.
She leads him to the back, out another exit.
EXT. POST OFFICE DAY
Anna walks out with the package under her arm. Harry
follows.
HARRY
Let me see now. Come on.
Anna stops. Michael is standing there, waiting, still
wheezing a little bit and sucking from his inhaler. There
is a standoff as they all look at each other for a moment.
MICHAEL
All I want is my fair share.
HARRY
Okay.
She punches Harry.
ANNA
No way! We got here first.
Michael is about to throw a tantrum.
MICHAEL
Come on! I'm the one who stole it.
You wouldn't even be here if it
weren't for me.
HARRY
He's got a point.
ANNA
He doesn't get shit.
Anna walks past him and Michael blocks her path. He grabs
for the bundle and they struggle. Anna holds it out to
Harry.
ANNA
Take it! Take it!
Harry grabs the bundle and runs. Anna follows him. Michael
takes a deep breath from his inhaler and pursues.
Anna and Harry turn the corner and Jeffrey is there,
looking incredibly angry, but approaching slowly because of
a limp. They run the other direction. Michael and Jeffrey
are on their trail, but not exactly hot on it. More like
lukewarm.
As they get farther and farther ahead, Anna and Michael
relax. They begin to laugh as they run, then trot along the
sidewalk. Harry tears at the wrapping.
ANNA
Not here.
HARRY
I want to see.
ANNA
Give it to me.
Harry ignores her and rips the brown paper away.
HARRY
Just a peek.
Inside are stacks and stacks of hundred dollar bills,
wrapped in bundles of $10,000. They are approaching an
intersection.
HARRY
Holy shit, holy shit, holy shit.
Lost in the money, Harry steps off the curb. A CAR HORN.
Anna grabs him and yanks him out of the way of a speeding
car. But he drops the bundle.
HARRY
Did you see that asshole? She almost
hit me.
ANNA
She had the green light. Now get the
money.
In the street, between lanes of traffic, the bundle sits.
Harry steps out to get it, only to be nearly hit by another
car. He leaps back. The car hits the bundle and knocks it
farther out into the street.
But, it's still intact -- until a semi hits it and tears it
open. Some bills flutter, other packets slide across the
street only to be hit by other cars.
ANNA
You idiot.
HARRY
I know, I know.
As Anna rushes to pick up bills, cars are stopping and
people are getting out. It's a mad dash for the money.
ANNA
At least help me here. That's our
money.
Harry starts grabbing for bills, but they flutter out of
his grasp.
HARRY
I'm sorry.
There are too many people fighting over it now and it's
scattering. The money is raining down and being carried
away in the wind. Anna screams at the people.
ANNA
GET AWAY FROM HERE!
They ignore her and she is pushed back into the crowd. She
tries to dive back in, only to be rebuffed.
ANNA
How could you be so stupid?
HARRY
I don't know. It's a gift.
Harry tries to calm her, taking her in his arms, but she
shoves him away.
ANNA
Don't touch me.
HARRY
I said I was sorry.
ANNA
That doesn't get my money back.
HARRY
Well, that's all I have: I'm sorry,
I'm sorry, I'm sorry.
ANNA
Do you have any idea how angry I am?
HARRY
Is it the kind where your eyes start
jittering?
ANNA
No.
HARRY
Then I've had worse.
ANNA
Why don't you leave before I think of
something to do.
HARRY
Oh. I get it. You'll treat me nice
when you have a half-million bucks,
but not when you're poor.
ANNA
Just stop talking.
HARRY
Well, I'm not leaving. Why don't you
leave?
ANNA
I will.
HARRY
Then go already.
ANNA
I'm going.
HARRY
Good bye.
She takes a few steps away.
HARRY (CONT.)
Go!
Anna looks at him sulking and walks away. It takes him
about three seconds to change his mind.
HARRY
I don't want to die alone.
She stops.
ANNA
You're dying?
His eyes grow moist as he speaks.
HARRY
Someday, yes. I mean, not soon. But
the thing is, I don't want to muddle
through life as this lonely guy who
keeps making the wrong decisions and
hurting himself. I don't want to die
alone and have some stranger find my
body in a low-rent apartment, urine
stains around the fireplace, cans of
cat food but no cat, huge Internet
porn bills, and three years worth of
unread newspapers stacked up. I need
someone smart enough to tell me no.
ANNA
Harry, that's not me.
HARRY
It has to be.
ANNA
Goodbye, Harry.
She walks away. Harry watches her go, tears clouding his
vision. Then he punches a traffic signal pole, hard. Again,
again, again. He clutches his hand. Anna looks back at him.
HARRY
Owww.
He tries to rip the "Walk" button off the pole. It won't
budge. He slaps at it furiously before collapsing on the
sidewalk, clutching his swollen hand and sobbing.
Then he tries to kick the signal pole.
ANNA
Stop it. Stop it.
Anna is back. She sits down next to him and puts an arm
around him. He leans into her, still sobbing.
HARRY
You'll save me?
ANNA
I'll try.
She gets up and holds out her hand. Harry takes it with his
good hand and stands up.
ANNA (CONT.)
Get up.
HARRY
Where are we going?
ANNA
Home.
HARRY
Can we have waffles?
ANNA
Yes.
HARRY
I love you.
ANNA
I know.
They walk away, her holding his swollen hand.
FADE OUT.
THE END.