KNIT ONEScreenplay By

William H. Sokolic

Contact:William H. Sokolic401 Berkshire DriveVentnor, NJ 08406609-823-9159bsaks47@comcast.net

FADE IN:

END CREDITS SCROLLING

INT. SARASOTA HOSPITAL ROOM -- DAY

Lying beneath a pink and white afghan, bedridden andemaciated, HANNIE TOLAND, 62, nods to her husband, NESTOR,66. He picks up the remote, shuts off the soap opera,"Restless Lives."

Still possessing the physique from his days as a New YorkCity cop, Nestor turns back to his wife, a shell of a woman.

Hannie points to the door. Closes her eyes.

Nestor nods. He pauses. Heads towards the door. Beyond thedoor, ROBERT TOLAND, 34, and SYBIL NICOLELLA, 37, starethrough the narrow glass window.

The door opens. Nestor nods for them to go in. Robert andSybil enter.

Nestor stands outside the room, looking in the window.

Stylishly dressed, Sybil walks to one side of the bed. Sheputs a knitting bag on the chair. Robert, an even moreimpeccable dresser, walks to the other side, his eyes redfrom crying.

Sybil picks up Hannie's hand.

SYBILMom.

Hannie opens her eyes, manages a smile. Using what littlestrength she can muster, Hannie points to the nightstand.

SYBILThe drawer?

Hannie nods. Sybil opens the drawer and picks up her mother'spurse. Hannie shakes her head, coughs.

Sybil takes out a pack of cigarettes. Another cough, anothershake of Hannie's head. Sybil holds up a small white box.Hannie motions for the box.

Sybil lays the box on Hannie's chest. Sybil opens the box,pulls out a gold chain necklace containing Hannie's weddingband.

Hannie pats her neck. Sybil glances at Robert. He shrugs his shoulders, bewildered. Hannie pats her neck with moreforce.

2.

ROBERTI think she wants you to put thenecklace on.

Sybil smiles at Hannie.

SYBILI'm not really a necklace person,Mom.

Her hands quivering, Hannie pats her neck harder still. Sybillocks eyes with Robert. He gestures agreement.

Sybil reads the inscription in the inside of the band. `Loveforever, Nestor.' She sighs, puts the necklace on.

A faint smile creases Hannie's face. She closes her eyes. Her head rolls to the left. She dies.

Bowing his head, Robert whimpers at his mother's passing.Sybil clutches the wedding band, but shows no emotion.

From the bedside, Sybil exchanges a contemptuous glare withher father, looking in from the outside.

EXT. NEW YORK CEMETERY -- DAY

A PRIEST concludes the liturgy before two dozen MOURNERSgathered around the casket.

Robert, his arm linked with Sybil, wipes away tears. Sybilwraps her other arm around her lanky teenage son, TONYNICOLELLA, JR. 17. She stands stoic. So does Tony.

Nestor and his younger sister, FERN WELLS, 61, bundle upagainst the cold on the other side of the casket. They holdhands.

The casket lowers into the ground. Mourners sob. Nestor'sgaze zeros in on the wedding band necklace around Sybil'sneck.

Nestor scoops a shovel full of dirt, heaves it onto thecasket, eyes still trained on Sybil. He jabs the shovel backinto the dirt, stalks off. Fern follows Nestor.

Tony stares at Nestor.

TONY(to Sybil, re:Nestor)

Who's the tall dude with Aunt Fern?

Sybil shoots a furtive glance.

SYBILA friend.

3.

ROBERTTell the kid the truth, Sis. Whyshould he be spared the agony.

(to Tony re:the talldude)

That's your grandfather.

Tony shifts his sights from Sybil to Robert and back.

TONYGrandpa Nestor? You told me he died,Mom.

ROBERTWe can only wish.

Sybil chews her lower lip.

SYBILHe's been all but dead to us foryears, Tony.

Tony watches Nestor open a car door. Nestor glances towardsTony. Sybil wraps a hand around the wedding band.

EXT. PENN STATION -- NIGHT

The whistle blows. Fern takes Nestor's hands in hers.

NESTORI want the wedding band back.

FERNHannie gave it to her.

NESTORIt doesn't mean anything to Sybil.

FERNLet it go, Nestor.

Fern hugs Nestor. He huffs.

FERNI'll call Tomas to remind him topick you up.

Nestor brushes her off.

NESTORYou're a "nudge," Fern.

FERNI'll be down to see you next week,brother.

4.

NESTOR"Nudge."

FERNCrank.

She kisses Nestor on the cheek. He picks up his overnightbag. Climbs aboard the train. Fern waves goodbye.

INT. NESTOR'S KITCHEN -- DAY

Dishes and pots overload the sink. Others lie half-cocked inthe dishwasher. Fern opens the cabinets. A handful of cleansaucers and cups. But a cupboard bare of even the essentials.

Fern pivots towards the unshaven Nestor.

FERNHow hard is it to load the dishwasher?

NESTORI ran out of soap, dammit.

Fern stomps to the window.

FERNIs that a Walgreens across the street? Oh, and I think I see Tomas' vanparked even closer.

NESTORYou come down here to give me a hardtime, little lady, you can just marchyourself back to New York.

EXT. SUPERMARKET -- DAY

Fern and condo handyman, TOMAS GALENCIA, push Nestor intothe store.

INT. SUPERMARKET -- DAY

Nestor stands rigid, arms folded in aisle one.

EXT. SUPERMARKET -- DAY

Tomas pushes a full shopping cart out the door. Fern follows.Nestor trails, brandishing a lengthy receipt and ranting.

INT. NESTOR'S KITCHEN -- DAY

Perched on a step stool, Fern fills the cabinets. Thedishwasher churns.

Nestor finishes a bowl of ice cream as he watches a basketballgame on the countertop TV. He pours himself a glass of scotchon the rocks.

5.

Fern rips the glass from his hand. Dumps the booze in thesink.

INT. NESTOR'S BATHROOM -- NIGHT

Soaked in sweat, Fern scrubs the floor on hands and knees. She glances up, sees Nestor in the doorway, pointing to hiscrotch. She lifts herself up, grabs bucket and brush. Glares.

INT. STUDIO CONFERENCE ROOM -- DAY

A dozen haggard "Restless Lives" WRITERS and ASSISTANTS sitaround a large table, strewn with scribbled papers, notepads,coffee cups and donuts.

Sybil reads a script at the head of the table, tapping thetop with a knitting needle. The room is rapt at her everybreath. Sybil's eyes spring wide open.

SYBILGretchen can't survive that kind ofa plunge. This is SHIT!

Sybil spears a cream-filled chocolate donut with her needle,squirting chocolate over the desk and the closest writers.

She hurls the script across the table, knocking over a cupof latte.

A knock on the door. A SECRETARY walks in.

SECRETARYExcuse me, Miss N. Your aunt's onthe phone.

Sybil points the needle-pierced donut at her charges.

SYBILI want a new storyline for Hal andGretchen within the hour. Clean upthat mess. And somebody get me anotherlatte. Now.

She storms out the door. An assistant grabs bunches of napkinsto sop up the latte. FIRST WRITER wipes chocolate off hisface.

FIRST WRITERThat was a pleasant way to start theday.

SECOND WRITERCut Sybil some slack. She's stillgrieving over her mother.

6.

THIRD WRITERThe gene fairy lost the grievinggenes when he stocked her. Doubledup on the bitch genes instead.

Chuckles all around.

FOURTH WRITERMaybe her monthly account is due.

FIRST WRITERShe's like Gretchen. A monthly accountso overdue it's been sent tocollection.

INT. SYBIL'S APARTMENT -- NIGHT

A fashionable address on the Upper West Side. Sybil pourstwo cups of coffee at a dining room table designed to matchthe chrome and glass furnishings throughout the apartment.

Fern and Robert come from the kitchen. Robert carries a bottleof light beer.

They all sit at the table. Fern grabs a coffee cup. Sybilgrabs the other one.

SYBILHe'll have to manage, Fern.

FERNHe can't manage. He lost his driver'slicense. He refuses to take taxis.Or ask for favors. And I'm gettingtoo old to run down to Florida totidy up after him.

She pulls out an inhaler. Takes a hit.

FERNMy pulmonary guy says all thistraipsing is bad for my asthma.

ROBERTWe'll put him in a home.

SYBILNo home would take him for more thanhalf an hour.

Fern clutches Sybil's arm.

FERNHe's not going into a home. You hearme?! You might not care that he'syour father, but he's my brother andI care.

7.

SYBILThen move in with him.

FERNI can't take the heat in Florida. Hehas to move back here.

Sybil does a spit-take with her coffee.

SYBILDo you know how long we worked toget him to Florida?

FERNHe'll live with me.

ROBERTHe'll still be in the same city.

Robert guzzles some beer. Fern seizes his arm.

FERNIt's a big place, New York. Yourpaths will never cross.

Sybil and Robert exchange looks.

SYBILIs that a promise?

Fern nods.

FERNThen it's settled. Now which one ofyou will bring him up here?

SYBILHe'll bring himself up here. He's abig boy.

FERNHe can't travel by himself. He'llget lost.

ROBERTEven better.

Fern smacks Robert in the head.

FERNNext time, it'll be your other end.

The front door opens. Tony enters, tosses his bookbag on thedining room table.

TONYWhat's going on?

8.

FERNWe're arranging to bring thegrandfather your mother keeps hiddenfrom you back to New York.

SYBILI don't keep him hidden, Fern. Wedon't recognize each other. There'sa difference.

Fern puts her arm on Tony's shoulder.

FERNI recognize him, Tony. And maybesomeday you will, too. Now wherewere we?

TONYI was off to my room to do homework.

Tony leaves the room.

ROBERTAnd we were hiring a baby sitter toaccompany Nestor back here.

Robert slurps down more brew. Fern gets in his face.

FERNOne of you will do this favor forme, Bobby. Or I'll tell Sam aboutyour new boyfriend.

Robert does a spit-take.

Fern approaches Sybil.

FERN(whispers)

And I know about the little secretyou think you've kept buried.

INT. NESTOR'S CONDO -- DAY

The phone on speaker, Nestor peers out the living room windowat a pair of flamingos going through a mating dance.

NESTORI like it here, that's why.

SYBIL (V.O.)Fern says you can't get around. Yourcupboard is empty. You don't do thedishes. And you eat at some greasyspoon diner every day.

9.

NESTORFuck Fern. All she does is quackabout me moving back to New York. When I hung up my gold shield forgood, I hung up New York for good.Fern should mind her own business.

SYBIL (V.O.)You are her business, Nestor.

NESTORI won't leave and that's final. Thehell with her.

SYBILShe's your sister, f'r chrissakes.

NESTORI know who she is. And the hell withthe two of you also.

ROBERT (V.O.)The hell with you then, Nestor.

A phone hangs up.

SYBIL (V.O.)I've already contacted Mrs. Waltersto put your condo up for sale.

Angered, Nestor twirls away from the window.

NESTORYou had no right to do that.

SYBIL (V.O.)I did it anyway.

Nestor paces the living room.

NESTORWhy do you even give a shit, Sybil? We haven't had a civil thing to sayto each other in almost 20 years. And that goes for Robert, too. Youmade damn sure my grandson doesn'teven know I exist.

SYBIL (V.O.)I'm doing this for Fern, not you.

NESTORI want that ring back.

SYBIL (V.O.)No. Mom gave it to me.

10.

NESTORIt doesn't mean anything to you.

SYBIL (V.O.)She wanted me to have it, Nestor.End of story. Start packing.

INT. SYBIL'S APARTMENT -- DAY

Sybil disconnects the call. She hurls the phone. Throws herknitting to the floor.

Robert comes in from the balcony.

Sybil grabs Robert's bottle of beer. Takes a swig.

SYBILYou have to fly down and get thebastard. You only work at Pierre'swhen you feel like it. I have sweeps to worry about.

Robert yanks the bottle back.

ROBERTI don't care. If I was a billionairewith nothing to do all day, I wouldn'tgo after that schmuck. And Fern cantell Sam everything. So sorry, Sis.No. End of story.

SYBILIf he'd fly, I could have his shitshipped up here, and be done withhim overnight.

ROBERTMake him fly, dammit! You can makepeople do anything. You tell me thatall the time.

Sybil moves within inches of Robert's face. He moves hishead back.

SYBILI can't make you retrieve your father.

INT. PRODUCER'S OFFICE -- DAY

Donny and Sybil study a "Restless Lives" production chart onthe wall of an office which screams with Emmy Awards.

DONNYI'd tell you to go in two weeks, butthe schedule's even worse then.

11.

SYBILSo we're square?

DONNYIf you're not back by Thursday'sshooting, Hathway could fire you,especially with Gretchen's injury inthe storyline. I mean it, Sybil.

Donny focuses on the chart again.

DONNYWednesday's even better. Bittner issuch a prick to boot, I shudder tokeep him in charge one extra day.

SYBILIf I can overcome Nestor's neurosisabout flying, Wednesday's a cinch.

DONNYWhat's his problem?

SYBILHe's always had this phobia. Something to do with the war. Beforethis, I heartily approved of hisfear. Kept him a thousand miles away.

EXT. LA PLAYA CONDOS -- DAY

A cab pulls up to Nestor's building. A `For Sale' sign restson the lawn.

INT. TAXICAB -- DAY

Sybil stops knitting. Pays the driver.

INT. LA PLAYA CONDOS -- DAY

Sybil knocks on Nestor's door. No answer. She knocks harder.No answer. She rummages through her purse. Takes out keys.

INT. FOYER -- DAY

The door opens. Sybil steps in. Drops the travel bag. Staresat Nestor by the balcony window, cradling a scotch.

SYBILYou couldn't answer the door?

NESTORYou had a key.

INT. LIVING ROOM -- DAY

Sybil comes out from the bedroom. Nestor hasn't budged.

12.

SYBILI asked you to pack, Nestor.

Nestor turns his head.

NESTORTo your mother, I was Nestor. Toyou, I'm Dad, missy.

SYBILI haven't been your missy since Iwas 10. And it got on my nerves then.

NESTORI'll call you what I want to callyou...missy.

Nestor glares at the necklace. Sybil strokes the weddingband.

SYBILWhy didn't you pack...Nestor?

NESTORWhat's the rush?

SYBILI have to be back in New York, that'sthe rush.

INT. LIVING ROOM -- NIGHT

Sybil brings in a box to join a scattering of other boxes.Nestor plays solitaire.

SYBILWe can finish packing by tomorrowmorning, have the movers come by,and catch an afternoon flight.

Nestor slams the deck of cards on the table, almost knockingover his scotch.

NESTORI'm not getting on a plane, missy.You know that. So fly back yourself. I still own the car. I'll drive back.

SYBILYou don't have a license.

NESTORI'll drive slow and won't break anylaws.

Sybil walks over, bends down, the wedding band inches fromNestor's face.

13.

SYBILWe're flying, Nestor. It's notnegotiable.

Nestor balls his hands into fists, resists the urge to ripthe necklace from Sybil's neck.

NESTORI'm not stepping on a plane. So thehell with your non-negotiabledictates, missy.

LATER

Nestor snoozes in the easy chair. Sybil knits, an ear to thecell phone.

SYBILWhat am I supposed to do, Donny,shackle him? Drag him on the plane? I may be just as stubborn, but he'sbigger. And stronger.

DONNY (V.O.)Then take the train. 24 hours andyou're back in New York.

SYBILI don't care much for trains.

DONNY (V.O.)I'm not asking you to marry one.Just ride one.

SYBILOut of the question.

DONNY (V.O.)You're as bad as your father.

SYBILPlease, Donny. I fly everywhere.

DONNY (V.O.)Excuse me? Your paranoia's therailroad.

SYBILIt isn't paranoia. I have a realfear.

DONNY (V.O.)Of what? Afraid a giant locomotivewill gobble you up? You have a drinkand crab cakes in the club car, gointo a berth, fall asleep. Next thing,you're at Penn Station.

14.

SYBILBad idea. I'll drive.

A sigh from Donny.

DONNY (V.O.)I'll plead for a couple more days.Absorb Hathway's threats to put usboth out on the street. But the tradeoff is giving Bittner a say.

SYBILI'm not worried about that toad. But I owe you. And Donny? If youhappen to get Robert in Pierre's,stiff him for me.

INT. KITCHEN -- DAY

Sybil comes in, a box under her arms. Nestor takes a hit onhis inhaler.

SYBILHow often you use that thing?

NESTOREverytime numbnuts like you get onmy one last nerve.

Sybil drops the box.

SYBILIs the Buick driveable?

NESTORYour mother drove it.

SYBILSo it's been sitting for six months.

NESTORMore or less.

EXT. LA PLAYA CONDOS -- DAY

A MECHANIC jump-starts the Buick. It kicks in, then stalls.

MECHANICI'll have to tow it in.

SYBILThat car has to get us back to NewYork in three days.

The mechanic glares at her over the top of his glasses.

15.

SYBILFour days.

INT. LIVING ROOM -- NIGHT

Labelled boxes on the floor. A basketball game plays on thetelevision. Nestor watches Sybil knit a scarf. The phonerings.

NESTORIt's Fern or for you. Either way,I'm not answering.

Sybil throws the knitting to the floor. Grabs the phone.

SYBILYeah?

Her eyes light up.

SYBILTomorrow? Great.

EXT. LA PLAYA CONDOS -- DAY

A MOVER closes the door to the moving van. Sybil slams theBuick trunk shut. MRS. WALTERS and Tomas say goodbye toNestor.

MRS. WALTERSCall us when you get to New York.

TOMASCall me on the road if you got aproblem with that kid of yours.Collect.

A sly smile creeps onto Nestor's face.

MRS. WALTERSHush up, Tomas.

TOMASI won't. Makin' you leave your homehere. You shoulda fought it.

The mover hands Sybil the order slip. She signs.

SYBILI should be back in New York byFriday.

Sybil turns to Mrs. Walters. Hands her the keys.

SYBILThanks for everything, Mrs. Walters.

16.

MRS. WALTERSI'll keep you posted on the sale. Ihave serious offers on the table.

SYBILLet's get a move on, Nestor.

Tomas and Mrs. Walters glare at her.

Sybil gets in the Buick. Tomas hugs Nestor. Mrs. Waltersgives him a peck on the cheek.

MRS. WALTERSPhone me.

NESTOR"Nudge."

MRS. WALTERSCrank.

EXT. HIGHWAY -- DAY

Mid-afternoon somewhere in Southern Georgia. An accident onthe interstate has traffic backed up for miles.

INT. BUICK -- DAY

Nestor fiddles with the radio looking for information. Allhe finds are country stations.

NESTORDamn cowboy music. Don't they havenews reports in Georgia?

SYBILNot till we get near a city, Nestor.

He abandons the search. Glances at his watch.

NESTORIt's way past lunchtime and I haveto take a pill.

Sybil reaches into her knitting bag, takes out a package ofpeanut butter crackers. Tosses it to Nestor.

SYBILThis will tide you over.

Nestor tosses it back.

NESTORI can't eat peanut butter, dammit.

SYBILWhat do you want me to do?

17.

NESTORGet off this parking lot and stopsomewhere for real food.

INT. DINER -- DAY

Nestor finishes a hot turkey sandwich. Sybil washes down thelast of a bran muffin with coffee. She returns to herknitting, but stops after a few stitches. She suppresses achoke.

INT. DINER BATHROOM -- DAY

Her face devoid of color, Sybil rests her head against thewall of a stall. She then throws up in the toilet. She holdsher stomach. Doubles over.

INT. DINER -- DAY

Still pale, Sybil drags herself back to an empty table. Thedishes are still there. So is her knitting. And the check.But no Nestor.

She picks up the check, the knitting, and walks to the CASHIERwith her check card.

CASHIERHow y'all doin' today, ma'am.

SYBILJust dandy.

She belches.

SYBILExcuse me.

CASHIERBran muffin?

Sybil's eyes pop wide.

EXT. DINER -- DAY

Sybil unlocks the Buick, opens the car door but no Nestor.She stands up. Surveys the street. Sybil zings the knittingin the car. Slams the door.

INT. DINER -- DAY

Sybil passes the curious cashier.

SYBILI think my father's in the bathroom.

CASHIERHe went outside.

18.

Sybil stops.

SYBILWhen?

CASHIER10, 15 minutes ago.

SYBILYou sure?

CASHIERI'm sure. He got up, walked rightpast me. You weren't at the table. Ifigured maybe you're tryin' to stiffus.

Sybil leans in.

SYBILDo I look like the stiffing type,dear?

The cashier glowers.

CASHIERHe walked out.

The DINER OWNER comes over.

DINER OWNERWe got a problem here, girls?

CASHIERNo problem.

Sybil points to the restrooms.

SYBILI'll check out the men's room, justthe same.

The owner stands in her way.

DINER OWNERWhoa, lady. We run a familyestablishment here.

SYBILMy father may be in the bathroom.He's an old man. He may need help.

CASHIERHe left the premises, Randy.

The owner glances at the cashier, then back at Sybil.

19.

DINER OWNERI'll give a looksee for ya. Just incase he slipped back in unseen. What'shis name?

SYBILNestor.

The owner walks towards the rest room. Sybil follows. Hestops in his tracks. She bumps into him.

DINER OWNERI think I can handle this assignmenton my own.

MOMENTS LATER

The owner returns.

DINER OWNERBathroom's empty. I'd take anotherlooksee outside if I was you.

EXT. DINER -- DAY

Sybil checks the car again.

SYBILFuck!

EXT. MAIN STREET -- DAY

Sybil combs every store on a block. But no Nestor.

She crosses the street, stops in the middle of theintersection to scan the area. The DRIVER of a passing pick-up blares the horn.

DRIVERThat's a good way to die, bitch.

Sybil gives him the finger, scampers to the sidewalk on theother side.

She searches more stores. At the local barbershop, she peersin and sighs.

INT. BARBERSHOP -- DAY

Nestor and CHARLIE DANIELS, 56, the barber, sit in adjacentchairs in an otherwise empty place. They're playing gin rummyon a small table between them.

Sybil rushes in. She worms her way behind the chairs, sizesup the game.

20.

SYBILWhy'd you run off without tellingme, Nestor?

Charlie discards an eight of hearts.

NESTORYou were in the powder room, missy,and I wanted a breath of fresh airfrom the smell of all that stalesmoke and fried bacon.

Nestor takes a card. He tosses out a seven of clubs.

SYBILYou could have stayed by the car andgotten a lungful of fresh air, Nestor.

She picks up the seven, gives it to a stunned Charlie.

NESTORI wanted to stretch my legs. So Itook a walk, and met Charlie by thebarber pole.

CHARLIEI'm Charlie Daniels, the one whodon't play a mean guitar.

SYBILShould I be flattered?

Curling his lips over the rebuff, Charlie throws out a jackof diamonds.

NESTORI noted the picture of the USSChesapeake in the window. We came inhere, outta the sun, to talk a whileabout the war. It turned into a gameof gin.

Nestor picks up a five of spades, throws out a ten of hearts.

NESTORLord knows, I could use the company.

Sybil grabs the ten from the discard, shoves it in abewildered Charlie's hand. Throws out a six of clubs.

SYBILCan we go now, Nestor?

Nestor picks a two of hearts.

NESTORIn the middle of a game?

21.

Sybil rips a queen of diamonds from Nestor's hand, lobs itout. Nestor snorts. She plucks up the queen, completesCharlie's gin. She chucks the last card down.

CHARLIEGin?

SYBILCome on.

Nestor flings the cards down. Eases out of the chair.

CHARLIEJust you hold on a moment, younglady.

Sybil fumes. Charlie pries himself from the chair. He opensa drawer, pulls out a shell casing and a photo of an aircraftcarrier. He hands both to Nestor.

CHARLIEShe's in Norfolk nowadays, but Ihear they're gonna junk her. Sinkher out at sea for one of themartificial reefs.

Nestor coddles the photo.

NESTORI'd sure like to see her one lasttime.

Nestor casts a glance at Sybil. She grimaces.

INT. BUICK -- NIGHT

Nestor sleeps. Sybil yawns behind the wheel. Glances at theclock. It reads 10 p.m. She sips soda to keep awake. Hereyes grow heavy.

The car skirts the shoulder. Rumble strips jolt Sybil. Nestorawakens.

NESTOREither you let me take over the wheel,missy, or you call it a day and findus a place to sleep. If I'm gonnadie, I don't want it to be on I-95.

INT. BEST WESTERN -- NIGHT

A DESK CLERK looks up from his computer.

DESK CLERKI'm sorry, ma'am, but we're sold outfor tonight.

22.

SYBILWhere are we?

DESK CLERKJust outside of Walterboro, ma'am.

SYBILWho stops at Walterboro that all 90rooms are occupied?

DESK CLERKOur guests aren't visiting us. They'retravelers just like you. But theycalled ahead.

Nestor, sifting through brochures, smiles.

SYBILIsn't there some kind of law thatyou have to reserve a couple of roomsfor inebriated folks.

The desk clerk rocks on the balls of his feet, annoyed.

DESK CLERKIt's a courtesy, not a law, and youappear to be tired, not drunk.

SYBILHow 'bout I down a bottle of JackDaniels in the lounge. Will thatsatisfy you?

Nestor eases in front of Sybil.

NESTORYou have to excuse my daughter. She's not used to traveling the waythe common folk do. She's a hot shotin New York who only goes first class.

DESK CLERKWhat a pity.

SYBILHey.

Nestor puts his fingers to her lips.

NESTORMaybe you can see who might have anopening up the road.

23.

INT. MOTEL ROOM -- NIGHT

Nestor enters. Sybil follows. Two single beds, a lounge chair,a television, worn carpets, old drapes and faux artwork nailedto the walls.

Foil wrapped mints rest on each pillow atop a small cardwhich reads complements of the management.

SYBILYou have got to be kidding. This islike the Bates Motel.

Sybil drops her travel bag on the chair. She clutches herknitting bag and purse.

NESTORIt's better than driving another 100miles to Florence. The clerk promiseda working TV, clean sheets and fewbugs.

Nestor picks up a mint, tears off the wrapper, pops the candyin his mouth. He tests the bed.

Sybil tiptoes towards the bathroom.

INT. BATHROOM -- NIGHT

Sybil runs the tip of her finger on the sink. Wipes off athin layer of crud. She picks up the toilet seat. A strip ofpaper wraps across an untidy bowl. She gags.

INT. MOTEL ROOM -- DAY

Sunlight streams in, bathes Sybil's face as she sleeps sittingup in bed, still in street clothes. She opens her eyes. Checksher watch. 10 a.m.

SYBILShit! Nestor, wake up.

Sybil looks at an empty bed. She hurries to the closedbathroom door. Knocks.

SYBILNestor. Open up.

No reply. Sybil knocks again.

SYBILDad?

Sybil opens the door. No Nestor.

SYBILNot again.

24.

Sybil tucks her blouse in. She grabs her purse, knitting bagand room key. She searches in vain for the car keys, cringingwith everything she touches.

Sybil opens the door. The car is gone.

SYBILOh my God.

INT. MOTEL OFFICE -- DAY

Sybil rings the bell on the desk over and over. The MANAGERcomes out from a back room, plops his hand atop hers to stopthe ringing.

MOTEL MANAGERI'm neither deaf nor blind, Miss.

SYBILDid you see my father drive off in aratty old Buick? The metallic bluecar outside Room 12 A?

MOTEL MANAGERI haven't seen the car or your father.

SYBILHe isn't suppose to drive. He doesn'thave a license or his wits abouthim.

MOTEL MANAGERMaybe the car was stolen, and yourfather went to look for it. Did youlock it last night?

SYBILYes. I know better than to trust thebackwoods rabble who live in theseparts.

The manager glowers.

MOTEL MANAGERWell, the backwoods rabble can'tkeep track of the comings and goingsof everyone.

Sybil tears out of the office.

EXT. MOTEL OFFICE -- DAY

Sybil scans the horizon in a fruitless effort to spot Nestor.She heads into the coffee shop next door.

25.

EXT. MAIN STREET -- DAY

The sound of screeching brakes, followed by metal hittingmetal. A COUPLE walking their dog turn towards the sound.

INT. COFFEE SHOP -- DAY

Sybil winces from the smell of fried food. She hurries intothe bathroom.

Seconds later, echo-laden wretching noises cascade from therest room, startling customers.

INT. POLICE STATION -- DAY

Nestor sits across from OFFICER CARL MAYWEATHER. Carl takesnotes on a legal pad.

CARLSo you have no wallet?

NESTORI told you. I left the wallet backat the motel.

SGT. SARA AMES, 36, ambles in. Petite, with a blond ponytail bobbing up and down, Sara extends a hand.

SARAI'm Sargeant Sara Ames.

Nestor declines the invite. Sara leans against the desk.

SARAYou have no driver's license, andyou went through a stop sign, smackinginto the rear of another car. Yousee how that looks from our end.

NESTORI'm familiar with the law.

Sara stares at the legal pad.

SARANestor Toland, is it? A formerdetective?

NESTORThat's right.

Sara leans in closer.

SARABut how do we know you're NestorToland?

26.

NESTORFor God's sakes, I just told you.

Sara takes a deep breath to maintain her composure.

SARAAre you in town alone?

NESTORUnfortunately, no. My-good-for-nothingdaughter is with me.

SARAAnd what's her name, Mr. Toland?

NESTORSybil Nicolella.

SARAWhere is Sybil?

EXT. COFFEE SHOP -- DAY

Sybil breathes in fresh air. Dials 9-1-1 on her cell.

INT. POLICE STATION -- DAY

A DISPATCHER answers the call.

INTERCUT PHONE CONVERSATION

DISPATCHERReevesville police. Can I help you?

SYBILMy name is Sybil Nicolella. I'mstaying at the Sunset Motel and myfather stole his car.

DISPATCHERExcuse me, ma'am. But this line isreserved for emergencies. And stealingyour own car hardly qualifies.

SYBILMy father has no license.

DISPATCHERDUI?

SYBILNo. He's 67, and not altogether inhis right mind. So the state ofFlorida took it away when he got toomany tickets.

27.

DISPATCHERI still don't see an emergency here.

SYBILIt is for anyone else on the road.

DISPATCHERCall this number. 555-9277. That'dbe the main office.

END INTERCUT

SYBILWhy can't you help me? Hello? Hello?!

Sybil bangs the phone shut. She dials, but gets a busy signal.She tries again. Gets a busy signal again.

The cell phone rings. Sybil answers it.

SYBILWhat?! Why didn't you people tell methat when I called two seconds ago?...Where are you?

Sybil slams the cell phone in her knitting bag, turns to herleft, stares towards the center of town three blocks away.

EXT. MAIN STREET -- DAY

A picture perfect downtown in the rural south, populated bymom and pop stores of all types.

EXT. VARIETY STORE -- DAY

Mesmerized, Sybil stares at young CICELY, perched atop awooden crate, knitting a headband at lightning speed.

DEE, a heavyset older woman, pipe dangling from her lips,grabs a completed headband before it hits the ground. Cicelycasts on for another headband.

Dee returns Sybil's stare.

DEEYou gotta problem?

SYBILI'm in awe of this young lady.

DEEYou should be. Don't nobody comeclose to besting this girl. Been thecounty champ three years now.

28.

SYBILI didn't know you held contests forsuch things.

DEE'Cause you from up North.

Sybil moves a little closer to observe.

SYBILYou like her manager or something?

DEEMore like her inspiration. Now go onabout your business. This ain't apeep show.

Sybil holds her tongue. She glances at the variety store.

SYBILThis place sell yarn?

DEEThird aisle. Near Cicely's work.

Sybil enters the store. Another headband drops into Dee'shands.

INT. VARIETY STORE -- DAY

Still watching Cicely through the window, Sybil drops twoneedles and a dozen skeins of yarn on the countertop in frontof a CLERK.

CLERKDon't you be thinking you can showher up with all this yarn. She maybe young, but she can take on anystitcher in the state. That be $12.50.

EXT. VARIETY STORE -- DAY

Her eyes focused on Cicely, Sybil leans against a rail, pullsout a pack of yarn, and the new needles.

SYBIL$10 says I beat your girl.

Sybil tosses a bill on the ground. Dee exchanges glanceswith Cicely. The young girl nods. Dee takes out a ten andthrows it on top of Sybil's.

Cicely disengages the half completed headband. Dee checksher watch.

DEEGet it on, girls.

29.

Cicely shoots a quick look towards Sybil, digs in, her handsa blur. Sybil keeps pace.

MONTAGE

The hands of both knitters move with whirlwind speed.Headbands fall. Sweat beads dot the foreheads of bothcombatants. More headbands fall. A small crowd gathers.

Sybil takes the lead. Her fifth headband drops. A handful ofonlookers gasp in disbelief. Nervous, Cicely drops a stitchon her fifth.

CARL (O.S.)Sybil Nicolella.

Sybil and Cicely turn to Carl.

SYBILYeah?

INT. POLICE DEPARTMENT -- DAY

A small foyer, decorated by Wal-Mart. Sybil eyes the chipped,cruddy and corroded chairs with loathing as she strolls tothe bulletproof glass in front of the dispatcher.

SYBILYou have the kind of criminal elementhere that requires glass like this?

DISPATCHERYou must be Sybil. Sargeant Ameswill be out in a minute, ma'am.

A door opens. Sara comes in.

SARASo you're the new knitting champ ofReevesville.

EXT. POLICE BACK LOT -- DAY

Sybil and Sara stroll towards the tow garage.

SARAYour father got himself involved ina little fender bender on Main Street. Eyewitnesses say he plowed into Mrs.Priscilla Bean's wagon at a stopsign.

SYBILWas he hurt?

Sara shakes her head, no.

30.

SARAEveryone got out unscathed. But Nestorhad no license or identification ofany kind. To tell you the truth, hewas so belligerent, I thought he wasdrunk.

SYBILHe's like that a lot these days.

SARAHe finally brought your name up, andour dispatcher remembered you justcalled.

INT. TOW GARAGE -- DAY

Sybil and Sara peer at the Buick. The front bumper is pushedin on the passenger side, the headlight glass broken.

SYBILIs the engine damaged?

SARANot that we can tell. The vehicle'snot the holdup.

SYBILThen what? I'll pay the fines forNestor's indiscretions.

SARAIt's not that simple, Miss Nicolella.

SYBILI favor Sybil, if you don't mind.

SARAIf Mrs. Beans files charges, Sybil,we have to set a court date for laterthis month, and you've got to postbail.

Sybil glares at Sara.

SYBILNestor has to come back here?

SARAThat's the way the justice systemworks.

SYBILYou realize Nestor was a cop formore than 25 years.

31.

SARAHe made sure I was aware. We talkedabout some of his more celebratedcases. I especially liked the SubwayKiller.

Sybil chuckles.

SYBILWhat's the body count up to thesedays?

Sara throws a stern look, like she's been had.

SARAEight. Why? He make up this character?

SYBILNo. There really was a Subway Killer.Hayward something or other. Myrecollection is he killed five peoplebefore Nestor nabbed him.

SARANo matter what the number, it won'tearn any special privileges here.

SYBILWhat if I can convince Priscilla tochange her mind?

SARAMrs. Beans was never the negotiatingtype.

SYBILNo harm trying.

SARAI'll get you the number. Maybe youwant to see your father now.

SYBILWhy?

Sara does a double take.

INT. JAIL -- DAY

Nestor stops reading the local newspaper when Sybil and Saraapproach. Sara opens the cell door.

SARAI'll let you two alone.

Sara leaves. Sybil keeps her distance from the cell.

32.

NESTORThe bars don't bite, missy. Neitherdo I. Pull up a chair.

The cell is furnished with the same worn out plastic chairsas the waiting room, only in worse condition.

SYBILI'll stand, thank you.

NESTORYou got my inhaler? This place doesn'thave the healthiest air. Or the mostintelligent people. Carl's a buffoon.Can't take yes for an answer.

Sybil hunts through her pocketbook. Pulls out the inhaler. Hands it to Nestor. He takes a puff.

SYBILYou want to tell me what you werethinking going for a joy ride.

NESTORYou were dead to the world. I wantedto see the sites.

SYBILI don't recall seeing too many siteswhen we drove into Reevesville.

NESTORI read in a brochure at the motelthey got one of the oldest cemeteriesin the South.

SYBILAnd if you pull another stunt likethis, you may get permanent visitationrights, Nestor.

Nestor crumples up the newspaper. He tosses it on the floorand stands over Sybil.

NESTORFor your information, missy, I'm notguilty. The other driver stoppedwhen she should have gone. The lightwas green.

SYBILThere was no light. It was a stopsign. She stopped. You didn't. I'mgoing to bail you out so we can getback on the road while we still havedaylight.

33.

NESTORGood luck.

SYBILPriscilla Beans? I'll write her acheck. She'll go away.

INT. POLICE DEPARTMENT -- DAY

Sybil readies pen and checkbook.

SARAWe're up to $430, not countingwhatever fine is levied on behalf ofMrs. Beans.

The bottom of Sybil's mouth drops several inches.

SYBILYou wanna break that down for me,Sarge?

Sara hands her an invoice.

SARARunning a stop sign, $140. Recklessdriving, another $140. No license, $75. And leaving the scene of anaccident, $75.

SYBILNestor left the scene? To where?

SARAMonroe's Tavern across the street.Coulda nailed him for DUI, probably.

Sybil puts her head in her hands.

SARAIf I really want to be a stickler,he'd get jail time as well.

Sybil grits her teeth. And writes a check.

SYBILNow can we go?

SARAYou can. The car can't. Not withouta new headlight and Priscilla Beans'blessing. I took the liberty ofcalling her. Here's the address.

Sara hands it to Sybil.

34.

SARABut if you wanna have any shot oflanding on her good side, stay clearbetween 1 and 2. Her soap's on, andshe gets irritated anyone interrupts.

INT. TAXI -- DAY

A rickety cab pulls up to an old Victorian house. The TAXIDRIVER checks his watch, turns to Sybil and Nestor.

TAXI DRIVERYou ought not go bangin' on Mrs.Beans door right about now.

SYBILLeave it to me. And stay put. Bothof you.

She gets out. Marches onto the porch.

EXT. MRS. BEANS HOUSE -- DAY

A television blares from the living room. Sybil peeks throughthe curtains.

Draped in a black knit shawl, MRS. PRISCILLA BEANS, 74, iscurled up on the sofa, intense eyes watching the action unfoldon "Restless Lives."

On the soap, HAL runs down the steps of Tenafly train station.Gretchen pursues him despite a cast on her leg, crutchesunder her arm.

Sybil screams.

INT. MRS. BEANS HOUSE -- DAY

Mrs. Beans falls off the sofa. She pulls herself up, staresat an angry Sybil on the other side of the window.

SYBILDamn that Bittner.

Mrs. Beans opens the door.

MRS. BEANSWho the hell are you and why are youon my porch raving like a lunaticabout a Bittner? And during "Restless"time to boot?

Sybil weaves around Mrs. Beans into the living room. Shepoints to the television.

35.

SYBILGretchen has a cast on her leg. She's on crutches, and she runs downsteps? That's not possible, and evena dolt like Bittner should know that.

Mrs. Beans checks the screen.

MRS. BEANSThat's what I'm thinkin' but...Hey,I asked you who you are? And what'sthis thing about a Bittner?

SYBILBittner is my assistant, and he onlykeeps his job because his uncle is anetwork vice president.

MRS. BEANSWhat are you jabbering about?

Sybil motions to the television.

SYBILMrs. Beans, I direct....

MRS. BEANSHow did you know my name, young lady?

SYBILI'm Sybil Nicolella. Sargeant Amescalled, said I'd be stopping by.About my father, Nestor.

MRS. BEANSYou don't stop by during "Restless"no matter who your assistant is.Come back at 2.

Mrs. Beans returns to the sofa. Sybil sits down next to her.

SYBILCan we talk, please?

Mrs. Beans glares at Sybil.

MRS. BEANSI'm getting more perturbed by thesecond, you insolent child. And yourfather is guilty as sin.

Sybil takes a deep breath.

SYBILI...

36.

MRS. BEANSSilence.

Sybil's eyes widen.

EXT. MRS. BEANS PORCH -- DAY

Nestor peers through the window to see Gretchen and Hal lockedin an awkward embrace on television. The TAXI DRIVER triesto drag him away.

TAXI DRIVERYou heard what your daughter said.

Nestor shoves the driver off the porch. He lands on his buttwith a thud.

NESTORMy daughter is an uppity fool. Youthink I'm going to listen to an uppityfool?

INT. MRS. BEANS HOUSE -- DAY

Nestor barges in. Sybil and Mrs. Beans jerk their headstowards him.

SYBILI thought I told you to keep yourass in the taxi, Nestor.

MRS. BEANS(to Sybil)

And I told you to shut up.(to Nestor)

That goes for you, too.

Mrs. Beans increases the volume on the remote. Nestor leansdown to Mrs. Beans.

NESTORDo you know my daughter is responsiblefor this television show?

Nestor straightens up. Mrs. Beans glances from Nestor toSybil.

MRS. BEANSWhat's he talking about?

SYBILI'm the director of "Restless Lives."I could describe this or any otherepisode. Except where that jerkwadBittner is involved.

Mrs. Beans leans back, wary.

37.

MRS. BEANSProve it and I won't report you fordisturbing the peace.

SYBILWatch the credits at the end.

MRS. BEANSWell, then, that's what we'll do. Sokeep quiet. Everyone.

Nestor notices a copy of Soap Opera Digest on the coffeetable.

NESTORNo need to wait. Look through that magazine. I'll bet you'll find Sybil'sname plain as day.

Sybil eyes Nestor up and down, surprised he even knew SoapOpera Digest. Mrs. Beans leafs through the magazine. Herface lights up.

MRS. BEANS"Restless Lives" director, righthere in Reevesville. In my livingroom, no less. I am humbled.

SYBILOh please. Spare me the sarcasm.

Nestor squeezes in between Sybil and Mrs. Beans.

NESTORI'll bet Sybil can get you a ticketto watch them tape the show in NewYork.

Sybil tries to speak, but words fail her.

NESTORShall I repeat myself?

SYBILAh, no, Dad. I'll get right on it.

NESTORAnd that includes airfare.

(to Mrs. Beans)You do fly, don't you?

MRS. BEANSFor "Restless Lives," anything.

Sybil wiggles between Nestor and Mrs. Beans. She takes Mrs.Beans hands.

38.

SYBILThere is one thing, though, Priscilla.

MRS. BEANSHoney, when I see those tickets inmy hand, the little ole fender benderwill be yesterday's news.

Nestor smirks. On TV, Hal hurries into a taxi, leavingGretchen blathering on the sidewalk.

Sybil jumps to her feet.

SYBILDamn that Bittner.

EXT. HIGHWAY -- DAY

The Buick passes a Florence exit sign. The turn signal goeson.

EXT. RESTAURANT -- DAY

The Buick stops in the parking lot.

INT. BUICK -- DAY

Sybil shuts the ignition off. The car shimmies and shakesfor several seconds before the engine quits. Sybil pauses.

SYBILDo I need a leash for you, Nestor?

NESTORIf it makes you feel any better,we'll accompany each other to thebathroom.

SYBILI'm serious. No more surprises.

INT. RESTAURANT -- DAY

Remnants of dinner cover the table. Nestor enjoys a dish ofvanilla fudge ice cream. Sybil jots down notes about "RestlessLives." The WAITRESS returns with the credit card and receipt.

WAITRESSI thank you. Y'all have a nice day.

NESTORSame to y'all.

The waitress smiles at Nestor and sashays off.

39.

NESTORYou want any of this ice cream beforeI finish it off?

Sybil winces.

SYBILJust the thought of it makes me gag,Nestor. It's nauseating.

Nestor shakes his head, finishes the rest.

NESTORI think I'll use the little boysroom before we hit the road again,missy. You coming?

SYBILWouldn't miss it for the world.

EXT. RESTROOM -- DAY

Nestor stops.

NESTORComing in with me?

An OLDER WOMAN passing by scowls at the suggestion.

SYBILI'll stand guard out here, Nestor.

NESTORIf I need tending, I'll holler.

Nestor goes into the men's room. Sybil places a cell call.

SYBILGood afternoon, baby brother...In agreasy spoon somewhere outsideFlorence, South Carolina, waitingfor Nestor to do whatever he does inthe bathroom these days.

Sybil watches a tubby YOUNG MAN come out of the restroom.She sneaks a peak inside.

SYBILHow's Tony?...I don't care what itmeans for your love life...Where yougoing?...You don't impress me as theVermont type, Robert.

Sybil rolls her eyes.

40.

SYBILIf big Tony backs out, you call Fernor you don't go...Where's she offto?...He's still only 17, that'swhy.

Flushing from inside the men's room.

Sybil hangs up the phone. Nestor saunters out of the men'sroom. A COUPLE head towards respective bathrooms.

SYBILBobby says hello.

NESTORHe still queer?

The couple do a double take.

EXT. HIGHWAY -- NIGHT

I-95 just into North Carolina. The Buick zooms by, its enginespewing out sporadic sputters.

LATER

Another stretch of highway, the Buick rattles and stammers.It starts to rain.

INT. BUICK -- NIGHT

More sputtering, joined by knocking and pinging. Then a seriesof fluttering jolts. The car slows.

A tractor-trailer honks its horn as it passes. Sybil givesthe driver the finger.

A pop, a flash of smoke. The engine dies. The car weaves andslows. More horn honking.

Sybil struggles to ease onto the shoulder. The car belchesto a stop. Sybil smacks her hand on the steering wheel justas a bolt of lightning shatters the dark sky.

SYBILGreat. We're in the middle of NowhereNorth Carolina. Just fucking great.

Nestor wakes up.

NESTORI won't tolerate that kind oflanguage, missy.

Sybil does a slow burn towards Nestor. She plucks the cellphone from her bag. Purses her lips. Dials 9-1-1.

41.

SYBILMy father's car broke down...This isan emergency.

EXT. BUICK -- NIGHT

Headlights of occasional passing cars and trucks interruptnear total blackness, highlighting the pelting rain. Anoverhead light shines inside the Buick.

INT. BUICK -- NIGHT

Nestor is riveted by the breakneck speed of Sybil's knitting.

SYBILFern says I should have popped atranquilizer in your orange juiceand forced you on a plane.

NESTORThat's how much she cares about me. That's how much any of you care aboutme.

SYBILTo quote a Biblical cliche, you reapwhat you sow.

NESTORExplain yourself, missy.

SYBILTake that comment about Robert backat the restaurant. You never acceptedhim for what he is.

NESTORHe chose his lifestyle. God didn'tanoint him a homosexual.

SYBILThis isn't about lifestyle to you. You're the great rejector, Nestor.We all have to fit your image of us.You rejected big Tony, too.

Nestor perks up.

NESTORThat good-for-nothing lout. Youshoulda never run off with that scum.

SYBILTrue. Looking back. But I didn'tknow it at the time. Neither didyou.

42.

NESTORI knew it. I have a sixth sense aboutthese things. That's what made mesuch a good detective.

SYBILAnd I suppose your sixth sense toldyou to wiretap Jason Carr's phone inhigh school.

NESTORI had to know what his intentionswere.

Sybil stops knitting.

SYBILHis intentions were to take me tothe senior prom.

Nestor opens the glove compartment. He takes out a flask ofScotch. Has a drink.

SYBILYeh, that's right. Turn to the boozewhen you're at a loss for words.

Sybil resumes knitting.

NESTORIt calms my indigestion, missy.

SYBILYou want to calm your stomach, knitinstead.

Nestor scoffs.

NESTORSissy stuff.

SYBILIt'll keep you out of trouble.

NESTORMaybe I like trouble.

Nestor slugs down more Scotch.

NESTORNow if you'll excuse me, missy, I'mgonna shut my eyes for a few minutestill the cavalry arrives. Dream ofdrunken knitting needles doing battlewith each other.

43.

Nestor curls up against the door. He peeks at Sybil, knittingaway. Sybil peeks back.

NESTORYou have something else you want tosay?

Sybil pauses.

SYBILSomething about little Tony.

Nestor yawns.

NESTORYeh. Big Tony isn't his father.

Sybil drops a stitch. She gapes at Nestor.

NESTORI figured it out before the kid turnedfive. He doesn't look like eitherone of you. I told you. A sixth sense.

SYBILThank God Big Tony doesn't have asixth sense.

NESTORHe didn't do too well on the otherfive senses, either. So who's thereal father?

Sybil shakes her head.

SYBILNo one of any importance. Just anopportune man at an inopportune time.

NESTORI wouldn't tell little Tony if Iwere you.

Sybil scoops out a photo of her son from her purse. She rubsher hands over it.

Nestor falls asleep. Sybil stares out the window.

EXT. BUICK -- NIGHT

A state police car comes up behind the car. A tow truck pullsup in front.

INT. BUICK -- NIGHT

A tap on the window startles Sybil out of a sound sleep. Shebolts upright. Nestor stays asleep.

44.

A beefy STATE TROOPER shines a flashlight through the sidewindow. An even beefier ROYAL JENKINS, 33, waves from thefront of the car.

INT. TOW TRUCK -- NIGHT

The truck toddles along a two-lane blacktop, wipers keepingtime to the country song on the radio. Sybil hugs her knittingbag and purse. Nestor stares into the darkness, still halfasleep.

ROYALWhatcha whippin' up with the chunkywool?

Sybil throws a bewildered look his way.

SYBILA sweater.

ROYALLooks like you usin' a cable stitch.

SYBILYeh. That's right.

ROYALI just learned that one meself.

The comment snaps Nestor to attention.

NESTORYou knit?

ROYALEver chance I get. Soothes the savagebeast, as they say. Hell, with whatgoes on in my life, my beast needsall the soothin' it can get.

SYBILYou don't say.

ROYALHell, my life's thornier than thesoaps my Mom can't get enough of.

NESTORYou don't say. Why, my daughterhere...

Sybil kicks Nestor with her foot.

ROYALYour daughter what?

Nestor grits his teeth.

45.

NESTORMy daughter here wants me to keep mymouth shut. How much farther anyway?

ROYALNot more'n two miles.

SYBILSo tell me, what kind of thorns doesa tow truck driver in North Carolinahave?

ROYALAs I said, we only got about twomiles ta go. So's I'll give you theabridged version.

The rain slows. Royal turns the radio off.

ROYALMy former wife, Dory, she's bleedin'me dry with alimony so's she and herlover, Felix, can live high off thehog without his liftin' a finger.

SYBILDon't they have due process downthis way?

ROYALThat's the funny part. The countyjudge? He's my ex's uncle. And aclose uncle at that. Dory accused meof doin' her cousin - the judge'sdaughter - but I never touched her,not since I married the mean-temperedbitch.

Nestor and Sybil glance at each other.

EXT. GARAGE -- NIGHT

The rain ends as Royal lets the Buick down from the truck.He unlatches the winch.

He walks over to Sybil. Hands her a greasy business card.

ROYALYou can call me early tomorraafternoon, after I take a look atthe vehicle.

SYBILAren't you forgetting something...

(glances at card)Royal?

46.

Royal scratches his head. He shrugs. Sybil looks at her watch.

SYBILIt's almost midnight. Can't you takeus to a motel or bed and breakfast.

Royal creases his face.

ROYALWe don't have no motels or B & Bs. Mrs. Simmons has a guest house overon Plum Street, but I don't thinkshe'd take kindly to hammerin' onher door this hour.

NESTORWhat Sybil is hinting at is we needa place to stay for the evening.

Royal grins as a great truth settles over him.

ROYALI live out behind the garage, andyou're more than welcome to share myhumble home with me and my spaniel,Buster.

Sybil groans.

INT. ROYAL'S HOME -- DAY

Sybil, Nestor sit side by side, knitting needles in theirhands, a skein of wool in their laps. Sybil stitches away. Nestor doesn't lift a finger.

SYBILWhat are you afraid of, Nestor?

NESTORFailing.

Sybil shakes her head.

SYBILYou sound like Bobby. He slips throughlife so he doesn't have to fail.

NESTORRobert isn't afraid of failure. He'safraid of success.

SYBILBullshit. You put fear into him ifhe didn't measure up. And you neveroffered a smidgen of praise for hisfew accomplishments. So he refusedto try.

47.

NESTORDid I put fear into you?

SYBILI wouldn't...

The front door flies opens. DORY and FELIX enter.

SYBILlet...you.

Sybil's voice trails off as she and Nestor turn their eyesto the couple. Dory wears a low cut dress, exposing much ofher ample bosom. Felix has an outfit suited for a monk.

SYBILTalk about your odd couple.

Royal comes in with a pot of coffee, cups, sweeteners andbran muffins. Tail-wagging Buster tags along behind. Royalstops short at the site of his ex-wife and her lover.

ROYALYou can't just come in hereunannounced.

DORYI need to get some of the clothes Ileft here.

He looks them up and down.

ROYALYou two goin' to a costume ball thishour in the morning?

DORYThat's Felix's work attire.

FELIXI become a preacher in my spare time.

Royal deposits the tray of goodies on the coffee table.

ROYALYou got nothin' but spare time, youlazy ass.

Dory marches up to Royal's face.

DORYYou shut your mouth, Royal. Youtalkin' to a man of the cloth now.He got himself a congregation andwe're movin' outta the county.

48.

FELIXI'm promotin' the Lord.

ROYALThat a payin' job, Felix? If it is,you make sure the Lord kicks in the$350 Dory owes me.

Nestor smirks. Dory notices Nestor and Sybil for the firsttime.

DORYYou laughin' at us, Mister. Say, whothe hell are you two?

(to Royal)You runnin' a guest house now, Royal? 'Cause I didn't notice a permit onthe door.

SYBILI assure you, we're very reluctanthouse guests, Dory.

Dory shifts attention to Sybil.

DORYHow do you know my name? You ain'tfrom around these parts.

SYBILRoyal treated me to a capsule summaryof life with Dory last night. I justput two and one together.

Clenching her fists, Dory steps towards Sybil, bends over.

DORYMaybe I'll put my two fists intoyour one face.

Sybil rises, taking her time. Dory inches away.

Nestor reaches for Sybil's hand, but she brushes him away.She grabs a knitting needle.

SYBILBring it on, skank.

Nestor, Felix and Royal pop their eyes open. Dory moves infor the kill, her fists in striking position. Sybil refusesto back down, parrying with her needle.

Felix steps between them.

FELIXStep back, both of you.

49.

Felix plucks a mini-bible from the inside pocket of his robe,flips it open as he keeps the two women at arm's length. Heplaces a hand on Sybil's shoulder, drawing a cross glarefrom Dory.

FELIXFriend. Whatever war of words keepsyou at odds with my Dory can be putto rest by a few pertinent passagesfrom the Holy Book.

SYBILHow about turn the other cheek?

DORYOr an eye for an eye.

Dory and Sybil close ranks around Felix. The two toss him tothe floor.

Buster barks. He runs into the fray, knocking Royal down.

The dog's tail slaps the tray, sending it flying off thetable. Coffee squirts over the combatants, and over a not-too-amused Nestor.

NESTORNow I'm pissed.

Dory smacks Sybil in the face, just below the eye. Sybilstabs Dory in the hand, drawing blood. Dory grips one end ofthe needle. Sybil refuses to leave go of the other end.

ROYALI'm calling the sheriff.

Royal runs off.

Nestor, his pants soaked with coffee, gets up. Swipes theneedle. His intrusion startles Dory and Sybil, but in seconds,they grab for each other's arms and shoulders.

Dory reaches for the necklace around Sybil's neck.

Sybil kicks her in the groin, and Dory falls into Nestor.She springs back up. Goes after Sybil again.

Nestor squeezes both women by the nape of the neck. Theyyelp.

NESTORIf you ladies can't play nice, thendon't play at all.

He pushes both of them towards the front door.

50.

EXT. ROYAL'S HOUSE -- DAY

Dory and Sybil stumble out to find two sheriff's cars infront of the house. Dory clutches her stomach; Sybil holdsher face.

Nestor walks out behind the two, stands on the front step.

Felix follows, runs around Nestor, drapes an arm around Dory'sshoulder. She knocks his arm off, and rushes up to SHERIFFDUSTY.

DORYI want those two interlopers putbehind bars, Dusty. Or I'll have myuncle on your ass.

SHERIFFShut up and go, Dory. Your uncle's aRepublican. He can't touch me.

FELIXThen the Lord have mercy on yoursoul, Sheriff.

Sheriff Dusty shakes his head. Royal steps outside withBuster. The sheriff turns to Royal.

SHERIFFIt'd be in everyone's best interestfor these two to retreat from theseborders as soon as possible, Royal.

SYBILAmen to that.

INT. ROYAL'S HOUSE -- DAY

Royal moseys in from the garage. Grease-stained. Head down.Feet shuffling. Buster hides behind Royal. Grease stained. Head down. Feet shuffling.

Sybil glances up from her knitting, her face still raw fromthe slap.

ROYALThe fender bender did more'n bend afender. The radiator pushed its wayinto the carb.

Sybil glares through clenched teeth.

SYBILLet's have it.

51.

ROYALThe damage accelerated the breakdown. But that engine ain't beencleaned in about four years, and Idoubt them cylinders woulda gottenyou past Virginia anyway.

Groaning, Sybil bows her head.

SYBILGive me the bottom line.

ROYALI gotta flag down a part from Raleigh,so's I figure three days tops. Runyou about $8-900 total. That ain'tgonna make the Sheriff too happy. OrDory, if she finds out.

SYBILI'd just as soon junk the damn carfor part money and rent another.

INT. GARAGE OFFICE -- DAY

Sybil on the cell phone, careful not to touch any of the oilencrusted walls and chairs. She can't take her eyes off Royal,his feet propped up on the desk, running through the cablestitch on a sweater.

SYBILDon't you deliver or something?

She scrunches her eyes.

SYBILWhere the hell's Wilson?...And justhow am I supposed to get to Wilsonwithout a car?

She glances over at Nestor, also fixated on Royal's prowesswith a needle.

SYBILThe train? Out of the question. Idon't do trains...I do busses - if Ihave to.

INT. BUS STATION -- DAY

Sybil turns from the window, tickets in hand. She checks herwatch. Places a call.

INT. DONNY'S OFFICE -- DAY

Donny picks up the phone. He smiles.

52.

INTERCUT PHONE CONVERSATION

SYBILDid you put a muzzle on Bittner'sbrain yet?

DONNYI reiterated the 10 commandments youmade so abundantly clear to him inyour last discussion.

SYBILAnd?

DONNYAnd he promised to be good, thencomplained to Hathway how you insistedthe taping of the next episodes wouldhave to wait until you return.

SYBILThat weasel-brained bastard.

DONNYNot to change the subject, but whereare you calling from?

SYBILPine Level, North Carolina.

DONNYNorth Carolina is no where near NewYork, dearie.

SYBILDon't remind me. This is one of thefew places on earth without aStarbucks. Or even a Dunkin' Donuts.

DONNYThen why are you there?

SYBILI refused to spend the time or moneyto fix the Buick after Nestor's lapsein judgement wrecked the car.

DONNYAnd?

SYBILAnd I bought two bus tickets tosomeplace called Wilson where we canpick up a rental.

53.

DONNYAmtrak can deliver you in less than12 hours.

SYBILDon't push my buttons again, Donny.I'll be in the office by Monday.

DONNYIf you're not, Hathway will scream. And you'll hear it no matter whatshanty town you're passing through.

Donny hangs up the phone.

END INTERCUT

Sybil hangs up the phone.

INT. BUS -- DAY

Sybil knits. Nestor looks at her bruised face.

NESTORIf it's any consolation, I gave youthe edge over Dory back there.

SYBILI showed you something, huh? I couldhandle a bitch like that in my sleep.

Sybil reaches into her bag, pulls out a pair of needles andthe yarn Nestor worked on earlier.

SYBILNow it's your turn to show mesomething. If that hillbilly excuseof a mechanic can master this, youcan.

Sybil initiates the next few stitches, hands everything toNestor.

SYBILRemember. Back and forth. Right.Left. Left. Right. And repeat.

Nestor tries it, but drops a stitch. He picks up again withthe same result.

NESTORYou call this relaxing?

EXT. WILSON TERMINAL -- DAY

The bus rolls into the terminal.

54.

INT. BUS -- DAY

The squeal of the brakes cracks Nestor's concentration. Hehurls the knitting down.

NESTORCome on, we're here.

EXT. INTERSTATE -- DAY

A rented Buick flies along.

INT. RENTED BUICK -- NIGHT

Nestor leans his head against the window, morose, the knittingon his lap. Sybil steals glances his way.

SYBILIt took me a long time to get thehang of it, Nestor.

Nestor turns her way.

NESTORBullshit. You picked it up just bywatching your grandmother.

SYBILAnd I dropped hundreds of stitchesin the process. I want you to set agoal for yourself. By the time wereach New York, you'll have 10 rowsfinished.

Nestor curls up against the door, ignoring Sybil. He shutshis eyes.

INT. EMPORIA HOTEL ROOM -- NIGHT

The door opens. Sybil and Nestor enter a well-appointed,though hardly luxurious room.

NESTORComfy enough for you, missy?

LATER

Sybil knits.

Nestor opens his travel bag, takes out the Scotch, and adeck of cards. He hits the remote to turn on the TV. Swigsthe booze.

He flicks to a Seinfeld rerun. George argues sex with Jerry.

55.

NESTORYou want to stop knitting long enoughfor a game of gin?

Sybil pauses. She nods at the ball of yarn on the coffeetable.

SYBILI thought you were going to give itanother go.

NESTORMind if I take a brief hiatus forsomething I enjoy.

Nestor shuffles the cards. Sybil puts the knitting down.Pulls up a chair.

SYBILYou saw me with Charlie Daniels backin Okieville. I'm not the same timidgirl you ridiculed everytime I threwout the wrong card.

NESTORSo I noticed.

SYBILI don't care to lose, even in afriendly game of gin.

Nestor deals the cards.

NESTORGood for you. You owe that attitudeto me.

SYBILI don't owe anything to you, Nestor.

Sybil picks up her cards. Nestor picks up his. He chuckles.

NESTORYou do. You just don't see it, missy.

On TV, George laments living with his parents.

Sybil takes a card, tosses another out with vigor.

SYBILExcept for the lunatic stunts, Irarely saw you, Nestor. You ever doanything positive? Take us to a ballgame? A movie? Anywhere? You didn'teven make it to our graduations.

Nestor grabs a card, throws it back on the discard pile.

56.

NESTORYou wanted nothing to do with me,either of you.

Sybil scoops up the discard.

SYBILThat's what teenagers do.

She rearranges her hand. Zings out a discard.

SYBILTony Jr. is just like that. But Imake an attempt to connect with himanyway.

Nestor takes the card, flips another onto the discard pile.

SYBILThat's what parents do.

Sybil snatches the card.

SYBILGin.

Nestor stares at his hand in disbelief. On TV, George yellsat his parents.

Sybil tosses the jumble of yarn at Nestor. He grabs it.

EXT. HIGHWAY -- DAY

The rented Buick approaches a sign for Norfolk.

INT. RENTED BUICK -- DAY

The sign breezes by.

NESTORYou don't have to sidestep on myaccount, missy.

SYBILDon't tempt me to be mean, Nestor. This might cost me my job, but I'mtrying my best to be the good daughteryou insist you never had.

EXT. HIGHWAY -- DAY

The car flies by another sign for the Norfolk Navy Yard.

EXT. MAIN GATE -- DAY

The Buick stops. An ARMED GUARD ambles out of the guard hut.Sybil rolls the window down.

57.

ARMED GUARDMay I help you, ma'am?

Nestor leans over.

NESTORI sailed on the USS Chesapeake. Wewere in the neighborhood, so to speak,so I thought I'd revisit the old galbefore she gets deposited out atsea.

ARMED GUARDI'm sorry, sir, but that vessel isoff-limits to tours.

NESTORThat's OK. I'll just browse aroundon my own.

Nestor steps from the car.

ARMED GUARDSir, you'll have to get back in thevehicle.

The jittery guard fingers his rifle.

NESTORLook, son, I just want to rekindle afew memories, while I can stillrekindle anything.

SYBILNestor, leave it be.

A SECOND GUARD comes out of the hut.

NESTORYou pick up the phone, and place acall to Colonel Morgan.

SECOND GUARDMighty Morgan?

Nestor nods, grins.

SECOND GUARDHe's not here.

NESTORTrack him down.

SECOND GUARDI don't think that's appropriate.

58.

NESTORSon, you're not paid to think. MightyMorgan told me so on many an occasion.

SYBILDad. Let's go.

NESTORHush up, missy.

(to guards)Now one of you fine young gentlemenplease let Morgan know Nestor Tolandis here to see the Chesapeake.

The two guards circle Nestor.

ARMED GUARDMr. Toland, back in the car.

Nestor's eyes widen. He grabs his chest. Shakes.

SECOND GUARDSir?!

SYBILNestor. What the hell's happening?

Upset, Sybil climbs out of the car, knitting bag clasped onher shoulder.

Nestor rolls his eyes. He opens and closes his mouth, overand over. He lays down on a nearby bench. Grabs his chest.Cocks his head to one side.

ARMED GUARDCall the medivac.

The second guard hurries into the hut.

SYBILI think we need to elevate his heador something.

The guard scratches his ear, bewildered.

Nestor's tongue lolls to the side. He closes his eyes.

SYBILDon't do this to me, Nestor.

A siren in the distance grows louder.

ARMED GUARDHas this happened before, ma'am?

59.

SYBILNo. As far as I know, the bastardwas always strong as an ox.

An ambulance rolls to a stop. Two MEDICS rush out, one witha stretcher, the other with a medical bag.

The first medic applies a blood pressure cuff and takes areading. The second places a baby aspirin under Nestor'stongue, takes his temperature, places an oxygen mask on hisnose.

SECOND MEDICHe's pale, clammy.

FIRST MEDICHis pressure is a bit low.

(to Nestor)Are you dizzy or nauseous, sir?

Nestor nods weakly.

SYBILIs this an anxiety attack? Heartattack? Angina?

FIRST MEDICWe don't know yet, ma'am. We're takinghim to the base infirmary for furtherobservations. We'll talk on the way.

The two medics lift Nestor onto a gurney and into theambulance. Sybil hops on board, clinging to her knittingbag. Second medic gets behind the wheel.

INT. AMBULANCE -- DAY

The ambulance drives off. The siren wails.

First medic unbuttons Nestor's shirt. He places EKG leads onhis chest. Flicks on the machine. Turns his back to scribblenotes.

Nestor opens his left eye, checks out the medic...and winksat a shocked Sybil. Her mouth drops open. Nestor winks again,with the right eye.

SYBIL(mouthing words)

You fucker.

Nestor shuts his eyes just before the medic pivots. The medicsets up a glucose and saline IV, inserts it in Nestor's arm.

Sybil holds back a choke.

60.

FIRST MEDICWhat can you tell me about yourfather's medical history?

Sybil tilts her head towards the medic, her eyes glued toNestor.

SYBILNever had a lick of heart disease.

FIRST MEDICHow about a tendency towards anxiety?

SYBILNot Nestor.

FIRST MEDICIs there anything else you couldtell me about your father?

SYBILEnough to write a book.

INT. INFIRMARY ROOM -- DAY

Nestor lies in a bed, still hooked up. He opens his eyes.Sybil glares back at him.

SYBILI want to know how you faked thosesymptoms.

Nestor pulls the oxygen mask down.

SYBILA trade secret, missy.

A knock on the door. Nestor puts a finger to his lips.

NESTORSilence is golden.

Nestor replaces the mask. Shuts his eyes.

The door opens and DOCTOR SIG JONES enters, flanked by thetwo medics. Jones carries a clipboard with Nestor's chart.

He checks Nestor's pulse. Takes his blood pressure. Readsthe latest EKG. Notes the results in the chart.

JONESAll indications point to a panicattack of some kind. But your fatherhas recovered quite nicely.

SYBILNot surprising.

61.

JONESStill, it may be wise to do a stresstest. We'd ship him off to DePaulMedical for that.

SYBILI don't think that will be necessary,Doctor.

JONESIt's your call. And your father's. But we do need to wait until Mr.Toland awakens before he can make afinal decision and sign a release.

SYBILI expect that will be any minutenow.

JONESGood. Ring the buzzer if anythingchanges.

The trio turn and walk out.

Nestor yanks off the mask.

NESTORWe'll leave after I see what I camehere to see.

He sits up straight. Rips the IV needle from his arm. Tearsoff the EKG leads.

Sybil gags.

Nestor finds a bandage in the desk drawer. Applies it to theIV wound.

SYBILHow'd you get to be so duplicitous.You're like a 12 year-old.

NESTORScope out the hallway for me.

SYBILNo.

NESTORYou want me to be arrested?

SYBILThey'll send you to a psyche ward,Nestor. Which might not be such abad idea. I'd catch the next flightto New York.

62.

Nestor motions to the door. Sybil, pauses, then opens it,peers out.

SYBILA couple of nurses...

Not waiting for a further report, Nestor slinks out of thehospital room towards the side door.

INT. INFIRMARY HALLWAY -- DAY

Sybil strolls by the nursing station, knitting bag in onehand, the cell phone held to her ear with the other.

SYBILNestor will be fine. When he wakesup, he'll sign a release and we canget back on the road.

EXT. INFIRMARY -- DAY

Still pretending to talk on the phone, Sybil looks to herleft and spots Nestor trotting across the street towards a carrier two blocks away.

INT. INFIRMARY ROOM -- DAY

First medic checks the dangling IV cord and EKG leads.

FIRST MEDICOh shit.

EXT. DOCKS -- DAY

Nestor stares at the USS Chesapeake. LT. COLONEL KIRBY VOGLER,51, marches up in his spiffy dress whites. Nestor turns hisway.

NESTORI served on that ship 40 years ago.

KIRBYI commanded her for nine years. Lt.Colonel Kirby Vogler.

The two shake hands.

NESTORSupply Officer Nestor Toland. Youmust know Colonel Morgan?

KIRBYMighty Morgan? Oh yeah. A legend. Lives near Washington these days.Still spry as ever.

63.

NESTORMy commanding officer back then.

KIRBYWhat do you do now, Mr. Toland?

NESTORRetired from the NYPD after 26 years.Was a detective for over 22.

Kirby looks Nestor up and down.

KIRBYYou have a pass to be here?

NESTORNo.

KIRBYHow did you slip onto the base?

Nestor leans in.

NESTORI faked a panic attack. Got admittedto the infirmary. Snuck out. Just tosee this lady again.

KIRBYI'm impressed.

Sybil clears her throat behind them. Nestor and Kirby turnin unison.

NESTORMy daughter, Sybil, Lt. Colonel. Anunwilling partner in this caper.

SYBILI didn't fake an attack. I reallypanicked.

The three watch an MP vehicle toddle along a block away.

KIRBYImpressed though I am over yoursuccessful deception, I'm afraid thetwo of you will have to leave thebase now or risk arrest.

Nestor puts his hands on Kirby's shoulders.

NESTORI'd sure like to step aboard heragain. It's important for my daughter.Heck, it's important to me.

64.

INT. INFIRMARY HALLWAY -- DAY

An incredulous Dr. Jones glares at the two medics and a pairof NURSES.

JONESHow do you lose a patient?

The medics and nurses exchange embarrased looks.

INT. CARRIER -- DAY

Nestor, Sybil and Kirby walk into the galley. Nestor explores the cabinets, the pots and pans hanging up.

NESTORThis was where I got chummy withMighty. I'd whip him up my famousSalisbury Steak. He couldn't getenough of it.

SYBILYou cooked?

NESTORDon't be so surprised, missy. I knewmy way around a kitchen in my youngeryears. Why I got assigned to messduty.

Kirby's pager goes off. He checks the number, cancels thepage.

KIRBYWe really ought to get going, Mr.Toland. They have half the basesearching for you.

NESTORI have one more stop I need to make.

INT. CARRIER HANGAR -- DAY

Several older fighter jets lay in various states of repair.Nestor reaches up to one, strokes the underbelly.

NESTORI trained to fly these things. Thoughtthat'd be my real role in the Navy.

Sybil chortles.

SYBILNestor here won't get within a mileof an airport, let alone pilot aplane.

65.

Nestor strolls around the jet.

NESTORJuly 10, 1966. I had the worsthangover imaginable. Didn't evendrink that much the night before.

He climbs up the steps towards the cockpit.

KIRBYMr. Toland.

Nestor ignores him.

NESTOROn top of that, I had some bug. Mightytells me I look like shit warmedover, but I gotta fly anyway.

He reaches the top. Kirby fidgets, his hand on the beeper.

NESTORSo I slide into the cockpit, grabthe oxygen mask.

Nestor slips into the cockpit. Picks up the mask.

KIRBYThis has gone far enough, Mr. Toland. Don't make me call the militarypolice.

SYBILLet him continue. I have to see wherethis intrigue is going.

NESTORThanks, missy.

Nestor pulls out his inhaler. Takes a hit.

NESTORI massage the rubber on the mask,and the smell bombards me, like Ireleased toxic fumes. Next thing, Ivomit, on the mask, the seat, myself.Brings tears to my eyes.

He stares at the mask.

NESTORMighty tells me to haul ass out ofthere. Ritchie Hume would take myplace after the swabbies cleaned upthe mess.

He strokes the mask.

66.

NESTORI sit there, frozen in my own puke. I barely make out Mighty screamingat me. I hear engines kicking in. My senses return. I look on the deck. Rich holds his helmet.

Kirby walks up the bottom few steps.

NESTORI climb out, helmet in hand, steppingin vomit. I slog down the steps. Atthe bottom, I stare at Ritchie. Hesteps back on account of the smell.I salute and trudge off.

Nestor puts the mask on. Grabs the controls. Envisions flyingthe plane. Kirby reaches the cockpit platform. Bends over. Lifts the mask off Nestor. Tears inch down Nestor's face.

NESTORI never saw Ritchie again.

Kirby extends a hand. Helps Nestor out of the cockpit seat.Nestor steadies himself on Kirby's arm.

NESTORHe got shot down over Khe Sahn.Panicked in the cockpit. Couldn'tfire a round, I heard.

Nestor slowly lumbers down the steps. Kirby stays put. Nestorturns to Kirby half way down.

NESTORHe got blown to smithereens.

He focuses on Sybil.

NESTORIt shoulda been me. But shouldasdon't mean anything in the military.

(to Kirby)Do they?

Nestor steps to the hangar floor.

NESTORI haven't stepped inside an airplanesince, missy. Until now. And I neverwill again.

He walks towards the exit.

67.

EXT. CARRIER -- DAY

Kirby, Nestor and Sybil stroll down the plank. Dr. Jones,the medics and half dozen MPs wait to greet them. A SARGEANTsteps forward.

SARGEANTSir. Ma'am. The two of you...

KIRBYCan it, Sargeant.

SARGEANTSir?

KIRBYThese people were my guests.

Nestor smiles, embraces Kirby.

NESTORThanks for the memories.

He stands at attention, salutes. Kirby returns the salute.

EXT. MAIN GATE -- DAY

Nestor, Sybil and the guards stare at an empty space wherethe rented Buick used to be. Grasping her knitting bag, Sybilturns to the guards.

SYBILDid someone have the car towed?

No reply.

SYBILAnyone?

SECOND GUARDI don't know.

NESTORWho was minding the fort?

The guards look at each other.

ARMED GUARDI was here.

SYBILAnd?

ARMED GUARDYour car was parked illegally.

68.

SYBILYou couldn't have moved it for us?The keys were in the ignition. Myfather was having an attack.

SECOND GUARDHe faked it.

NESTORYou didn't know it at the time.

The second guard goes into the hut.

ARMED GUARDI thought somebody did move it.

Second guard comes back.

SECOND GUARDI called Sargeant Benson. Our peopledidn't tow it. Neither did the police.

ARMED GUARDMaybe it was stolen. You did leavethe keys in the car.

EXT. POST EXCHANGE -- DAY

Nestor on a bench, struggles with the garter stitch. Sybilhangs up her cell phone. Sighs. She sits next to Nestor.

SYBILI reported the car stolen.

NESTORSo they just give us another one.

SYBILMy purse was in the car. My money,credit cards and driver's licensewere in the purse.

NESTORSo?

SYBILRental companies tend to frown upongiving a car to someone without alicense, credit card or money. Especially someone who left the keysin the car like an engraved invitationfor grand theft auto.

NESTORBut they have all your information.

69.

SYBILI cancelled the cards, too.

Nestor sifts through his wallet. He pulls out a credit card.

NESTORI have this.

Sybil takes it.

SYBILThis won't get us a car, but it willget us a bus ride home.

NESTORA train ride.

INT. TERMINAL -- DAY

Nestor drags Sybil inside.

SYBILYou won't get on a plane. So whycan't I swear off trains?

Nestor pushes Sybil.

NESTORCause you have no good reason.

SYBILSure I do. I just don't know what itis.

NESTORI'm buying us a couple of tickets.

SYBILYou can't make me go.

Nestor glares at Sybil.

NESTORYou have no money. No credit cards. And I don't see you begging for busfare on the street corner. Of course,you could sell that necklace youstole from me. Or trade it for a busticket.

Sybil throws a cross look at Nestor.

SYBILThe necklace was never yours.

NESTORThief. You stole it from Hannie.

70.

He pokes Sybil. She pokes back.

SYBILHer dying declaration was I wear it.This necklace doesn't leave my neck.

She pulls the knitting bag to her neck protecting the ringfrom Nestor.

NESTORThen, the train it is.

AT TICKET COUNTER

Nestor hands the agent his credit card.

NESTORTwo tickets to New York.

AGENT$186, including the bus to NewportNews.

Nestor watches Sybil massaging the necklace as if it were atalisman.

The agent returns and slides the card through the window.

AGENTThis account has no funds, Mr. Toland.

EXT. TERMINAL -- DAY

Sybil digs through her knitting bag, and comes up with $6,most of it in change.

SYBILEmpty your pockets.

Nestor sifts through his pockets and finds $14.

SYBIL$20 leaves us a little short.

Nestor's eyes open wide in revelation.

NESTORI got it.

He sits on a nearby bench, takes off his left shoe. He pullsback the inside sole and retrieves two folded $20s.

SYBILAnother trick of the trade?

71.

NESTORFor emergencies and stakeouts.Druggies do it all the time to hidetheir money and stash.

Sybil plucks the bills with a nothing-surprises-me-anymorecock of her head.

SYBILThat should get us to Washington.

She notices the yarn.

SYBILMaybe I can sell some knitting. Makeenough to get us back to New York.

NESTORThat'll cost you a full day, at thevery least, missy.

SYBILYou haven't seen me in action.

NESTORCall your good-for-nothing brother.Have him wire us funds to a WesternUnion office close to the bus stationin D.C.

INT. TERMINAL -- DAY

Sybil dials her cell.

SYBILHaving fun frolicking in the northcountry, Bobby?

She rolls her eyes.

SYBILThe point is, someone stole our rentalcar after Nestor faked a panic attackat the naval base, and...and it'stoo long a story to repeat.

Nestor hands Sybil a latte from Drippy Donuts.

SYBILBottom line, brother dear, you needto wire us money to Washington todayso we can get home tonight...Theremust be a dispatcher somewhere inVermont...You want me to tell Samabout your indiscretions? Bobby!

Sybil slams the phone shut. She growls. Sips the latte.

72.

SYBILThis shit is nasty.

NESTORSpend three years in the Navy and 26as a cop, you get used to nasty.

SYBILSpend seven years on "Restless Lives"and you expect the best.

Sybil tosses the cup in the trash.

NESTORWhat's Bobby's problem?

SYBILWhere do you want me to begin?

NESTORBegin with the indiscretions.

SYBILAfter I call Fern.

Sybil dials. Gets voice mail.

SYBILFern. Call me soon as you get this.It's urgent.

She ends the call. She texts a message to Fern.

SYBILI have one more contact.

She dials.

SYBILHiya, Rex...Where's Donny?

Sybil furrows her brow?

SYBILThe studio? It's Sunday...Hathway?You have to be kidding...If you hearfrom him, have him call ASAP.

She closes the phone.

SYBILA Sunday taping. If that's supposedto make me nervous about my job, itworked.

73.

LATER

Sybil knits. Nestor tries.

NESTORGet your mind off our troubles. Tellme about Robert's indiscretions.

SYBILHe's had this on again, off againrelationship for several years. Afellow named Sam. A few months ago,Robert met a young stud at the gym.

NESTORAnd he's cheating on Sam with this buck.

SYBILFern caught the two of them in somesmokey bar one night, and she holdsit over his head anytime he stepsout of line.

NESTORGood for Fern. Why doesn't Robertbreak up with Sam? Is that what youcall it with two guys? Breaking up?

SYBILThe terms are the same, Nestor.

NESTORDad.

Sybil casts a dagger stare his way.

SYBILSam helps support Robert. So he wantsit both ways.

NESTORThat's always been Robert's problem. Wanting it both ways. Unable tocommit. That's one situation youdon't face, missy.

INT. BUS -- DAY

Sybil knits a scarf. Nestor fingers his yarn. He stares outthe window. Watches an Amtrak train go by.

NESTORWhen you were a young kid, you lovedtrains.

He glances at Sybil.

74.

NESTORBegged me to take you down to PennStation just to watch them roll inand out.

SYBILNice try, Nestor.

NESTORI'm serious. And on days when I wasn'tworking, I'd buy us a couple oftickets to whereever.

Sybil stops knitting.

SYBILJust to ride the train?

Nestor nods.

SYBILYou must have me confused with adaughter in a parallel universe.

She returns to her knitting.

NESTOROne day, we'd go to Mahwah. Another,to Long Island. Or out to Brooklynto visit Fern. And every once in awhile, we'd be off on an adventureto Boston or Philly.

SYBILHow old was I?

NESTORFive. Maybe six.

SYBILWhy would you "shlep" a five year-old to Boston?

NESTORThe rumble of the wheels mesmerizedyou. So did the world out those bigwindows.

SYBILThen why do I hate trains?

NESTORThere was a problem once. On thetrain back from Plainfield. We gotoff at the station for some ice cream.Chocolate marshmallow. You couldn'tget enough chocolate marshmallow.

75.

SYBILAre you making this up as you goalong?

Nestor shakes his head.

NESTORI bought you a cone, and we got backon the train. We're walking up theaisle and I felt these eyes on me. Itold you I have a sixth sense?

SYBILYeah, you mentioned it once or twice.

NESTORI turned. Butch Rollins had a gunpointed at me.

SYBILButch Rollins, huh?

NESTORI arrested Rollins on a drug chargetwo years before. Got him in a stingoperation. He walked on atechnicality, but was pissed I turnedout to be a cop.

SYBILSo he vowed revenge?

NESTORNo. But when he saw me, his emotionsgot the better of him. I tried toconvince him to walk away. He wouldn'tgo for it.

Nestor takes a hit on his inhaler.

NESTORRollins inched closer. The gun wassteady in his hand, so I knew hewasn't hopped up on anything.

Passengers surrounding Nestor on the bus gawk, engrossed.

NESTORI pulled you behind me, out of theline of fire. Rollins said I couldn'tprotect you.

SYBILWasn't there a cop on the train?

Nestor glares at her. She stares out the window.

76.

NESTORThe few people on the train got outof the car. I retreated a step, andas I did so, I reached to the smallof my back for the .38 I kept hidden.

Sybil turns back to Nestor.

NESTORRollins raised his gun, cocked thehammer. In one motion, I pushed youdown to the ground, fell on top ofyou, and fired a bullet into Rollins'chest. He collapsed in a heap.

The passengers give Nestor a standing ovation.

SYBILBlood squirted all over. I screamed.

Nestor nods.

NESTORYour cone splattered underneath you,and ice cream smashed all over yourfavorite jacket. You refused to setfoot on another train. Or ever eatice cream. Or trust me.

Nestor and Sybil sit in silence.

NESTORGive me those needles again.

INT. CONTROL ROOM -- DAY

Overlooking the set, Donny turns on the mike.

DONNYWe need another take, ladies. Gretchen has to step more gingerly.She's still recovering from a brokenleg.

Donny cues the sound man. He signals for action.

INT. RESTLESS LIVES SET -- DAY

Celeste turns towards Gretchen.

GRETCHENI did what I had to, Celeste. Tadwould have killed me in a heartbeatonce I mentioned the judge. It's hiscousin, you know.

77.

CELESTESo you come off as a hero, instead,is that it?

GRETCHENI'm not looking for glory.

CELESTEWhat happens to me now, Gretchen?

Gretchen steps back, tripping over her cast, and collapsingto the floor.

INT. CONTROL ROOM -- DAY

Donny turns to HATHWAY, the stuffed shirt head of daytimetelevision.

DONNYIt's Sunday. What do you expect?

HATHWAYI expect to do this till we get itright. And I expect Sybil back onNew York soil by tomorrow, or bothof you will be looking for jobs.

EXT. BUS STATION -- NIGHT

The cell phone beeps. Sybil has a message. She hits `listen.'

FERN (O.S.)The nearest Western Union is 30 milesaway and impossible to reach causeof a storm last night. The stormknocked out power to the hotel. We'releaving for home. The interstate'sopen. If you're still stranded,I'll wire money when I get to thecity. Call me. This is Fern.

Sybil clicks delete.

SYBILThere's a dose of happy news. Let metry Donny again.

She dials. No answer.

NESTORMaybe begging isn't such a bad idea.

Sybil spies a yarn shop across the street.

SYBILYou beg. I have other plans.

78.

INT. YARN SHOP -- NIGHT

Sybil approaches the counter where the OWNER completes apurchase for a YOUNG WOMAN. She takes out several headbandsand two scarves.

SYBILI was wondering if I could interestyou in some of my wares here?

OWNERNot really.

YOUNG WOMANMay I?

Sybil hands a scarf to the woman.

YOUNG WOMANHow long did this take you?

SYBILTwo-three hours. I do headbands inless than 10 minutes.

The owner motions with her fingers to see a sample. Sybillays a headband in her hand. The owner twists it one waythen the other.

OWNERNo way. I'm fast, and it takes me 20 minutes.

SYBILI guess I'm faster.

OWNERProve it.

SYBILI finish one in 10 minutes, you payme $20 for two headbands. I fail, Igive you two for free.

Sybil takes out what little yarn she has left, threads itbetween the needles.

EIGHT MINUTES LATER

The headband flies off the needles onto the counter top. Anunamused owner picks it up for inspection, compares it tothe others. She sighs. Hands Sybil $20.

SYBILHow about a couple skeins of yarn inexchange for a third headband?

79.

YOUNG WOMANHow much for the scarf?

EXT. YARN SHOP -- NIGHT

Sybil shows Nestor the yarn and the money she picked up inthe shop.

SYBILAnd I have enough yarn to turn outhalf dozen headbands to sell.

INT. UNION STATION CONCOURSE -- NIGHT

Sybil sells a headband to an aging HIPPIE. She sells anotherto a TEENAGE GIRL.

ACROSS THE CONCOURSE

LORRAINE, 19, knits a scarf standing up. Boyfriend, TOMMY,20, pitches her line of products like a carnival barker.

Decked out with spiked orange hair, identical earrings, andidentical trench coats, the young couple shift attention toSybil as she works customers. They're pissed.

INT. SEATING AREA -- NIGHT

Nestor knits. Sybil joins him with added funds.

Lorraine and Tommy approach, sour expressions on their faces.

TOMMYNever seen a grown man take up sucha girly hobby, dude.

Nestor and Sybil exchange glances.

NESTORNever seen anyone color their hairlike a ripe cantalope, punk. Nowbeat it before missy here gets angry.She's got a mean knit one and a flashypurl two.

Sybil thrusts a needle in the young man's face. Lorrainepushes the needle away.

LORRAINEMean enough to take me on for queenof the concourse?

SYBILThat a challenge?

Lorraine nods.

80.

LORRAINEI'll even let you call your shot.

SYBILWhat's at stake?

TOMMYWhat do you got?

SYBIL$60.

Sybil tosses the money on the floor. Tommy fumbles in hispocket. Peels off $60. Throws the bills on top of Sybil's.

NESTORYou sure about this, missy? That'sticket money to New York.

SYBILI'm sure.

(to Lorraine)Headband.

LORRAINEWe stop when the clock hits halfpast.

Sybil checks the clock on the wall.

SYBILYou're on.

LATER

Lorraine finishes her first headband. Sybil is close behind.

TOMMYRoll it out, Lor.

NESTORI need a cup of coffee.

Nestor vanishes.

LATER STILL

Lorraine nears the end of her second headband. A fumblingSybil drops a stitch halfway through her second.

TOMMYYou got her ass fried.

Sybil glowers at Tommy.

SYBILYou wanna keep your mitt shut?

81.

STILL LATER

The clock reaches half past as Lorraine tops off her third,a half a headband ahead of Sybil.

Tommy grabs the pile of money.

LORRAINEGuess you shoulda backed off mychallenge.

Tommy bends over.

TOMMYYeah, missy.

Sybil parries with her needle.

SYBILI have no qualms poking you in theeye. Now get lost.

Tommy waves the bills.

TOMMYI was gonna say we'd see you on thetrain, but I guess not.

He laughs. Sybil moans, her hands buried in her face.

Nestor returns, a cup of coffee in his hand. Sybil glancesup. Nestor waves two train tickets in her face.

NESTORI couldn't bear to watch, so I tookup begging.

INT. TRAIN STATION -- NIGHT

Sybil pauses. Nestor starts down the steps to the tracks.

NESTORDon't be a wuss.

Sybil holds her ground. Nestor plows ahead.

NESTORWe don't have time for dawdling,missy.

Nestor disappears from view.

SYBILNestor? DAD?!

82.

INT. PLATFORM -- NIGHT

Nestor hops on the train. Taps the CONDUCTOR on the shoulder.

NESTOR(huffing)

My daughter's coming. Hold off a fewseconds.

Nestor takes a hit with the inhaler.

Sybil trips on the last step, loses her balance, but not thegrip on her knitting bag. The whistle blows.

Nestor leans out the train.

NESTORYou can do it, missy.

SYBILI hurt my damn ankle.

The whistle blows again. Perspiring, Sybil picks up speeddespite her injured foot.

The conductor reaches out like a relay runner. He locks handswith Sybil as the train inches forward. He boosts her up andinto Nestor's arms. But she loses the knitting bag.

SYBILShit.

The conductor jumps to the platform, retrieves the knittingbag and vaults back on the train. He hands Sybil the bag.

SYBILBless you, sir. I've lost everythingelse on this adventure. I don'twant to lose my sanity, and my sanityis wrapped up in this knitting bag.

The conductor smiles and tips his cap. Nestor takes anotherhit on his inhaler.

SYBILGive me some of that.

INT. METROLINER -- NIGHT

Nestor knits. Sybil leans back, her face ashen. She glancesaround the car.

SYBILI think I see Butch Rollins sittingdown the other end.

83.

NESTORHe's dead.

SYBILThen it's his ghost. And he's eatingan ice cream cone. Chocolatemarshmallow.

Sybil bends over.

SYBILI'm going to be sick.

NESTORStart knitting, missy. It'll calmyour stomach.

Sybil gives Nestor a cross look. Her eyes jerk open.

SYBILYou sold your wedding band.

NESTORI put it up as collateral. If Ididn't, you wouldn't get back to NewYork tonight.

A cell phone rings. Sybil answers. She sits up.

FERN (O.S.)Where are you two? This is Fern.

SYBILOn the Metroliner. And I'm gettingsicker by the mile.

Sybil flips the phone to Nestor. She bends over again.

NESTORThanks for helping us out, "nudge."

FERN (O.S.)Crank. Maybe if I had ice skates Icould have reached Western Union. Sohow did you pull all this off?

NESTORCajoling and begging.

Lorraine and Tommy stroll up the aisle.

NESTORI see a couple of old friends marchingtowards us. Pick us up at Penn Stationaround 11:30.

Nestor hangs up.

84.

TOMMYWell, if it ain't knit and purl. Onthe train, after all.

NESTORDon't you have a circus to join?

TOMMYI think he's makin' fun of us,Lorraine.

LORRAINELet it be.

(to Nestor)What's wrong with her?

NESTORI think she ate a bad muffin.

TOMMYI think she's sick cause she ain'tas good as she thinks she is.

Sybil belches.

NESTORYour honey just got lucky before.

Lorraine shakes a needle in Nestor's face.

LORRAINEI've hustled knitting for years,bub. Luck doesn't enter the picture.

TOMMYShe'll take missy on any time, anyplace. She'll take you both on.

SYBILMake them go away, Nestor.

LORRAINECome on, Tommy.

TOMMYWait a minute.

He sits down across the aisle.

TOMMYI like that necklace of yours.Probably worth a shit-load of money,too. You want to put it up against$50 in a rematch?

Sybil glances up at Tommy. Belches again.

85.

SYBILAre you nuts? The necklace isn't abargaining chip. Go away. Everybody.

NESTORI still say this is a battle you canwin.

TOMMYYeah. A chance at redemption.

LORRAINEForget it. The necklace means a lotto the woman. I don't want to takeit away along with her dignity.

Sybil straightens up. Her eyes narrow. Her lips curl upwards.

SYBILDignity? What does a freak like youknow about dignity?

She whips out yarn and needle.

SYBILHeadband in garter stitch again.First with four, wins. And it's $60.

LORRAINEBring it on.

TOMMYWait.

Nestor, Sybil and Lorraine glare at Tommy.

TOMMYTake off the necklace first. Put iton the seat behind us with the money.

MOMENTS LATER

Tommy drops an imaginary checkered flag.

TOMMYStitch away, ladies.

Sybil and Lorraine knit at warped speed.

EXT. TRAIN -- NIGHT

The whistle blows as the rail car rolls past a railroadcrossing.

86.

INT. TRAIN -- NIGHT

Lorraine nears the end of her first headband. Sybil lagsbehind.

A jolt on the tracks. Sybil grabs her stomach. She reboundsand picks up speed.

Lorraine binds off the first headband. Tommy grabs it as itslips off the needle. Lorraine casts on her second.

Sybil takes a deep breath, but maintains her pace. Shecompletes her first, binds it off, lets it loose. Nestorpicks it up.

Lorraine glides half way through her second headband.

Sybil freezes. She shakes her head, throws the knitting toNestor, stands and hobbles off.

Nestor, Lorraine and Tommy watch her disappear down the aisle.

Lorraine smiles.

TOMMYSee what I mean.

NESTORSybil didn't quit, she called a timeout.

TOMMYThere's no time outs in this contest,dude. It ain't football.

NESTORShe said she didn't feel good, punk.

TOMMYThen she loses.

Nestor picks up the needles and yarn.

NESTORI'll take her place. You said she'dtake on both of us.

Tommy snorts.

LORRAINECan it, Tommy. The old man doesn'tstand a chance against me. You pickup where she left off.

Lorraine completes the second headband. Nestor drops a stitchbefore finding his way. But he gains ground much to Lorraineand Tommy's surprise.

87.

INT. TRAIN LAVATORY -- NIGHT

Sybil on her knees, her head over the toilet. She vomits. Apounding on the door outside.

SYBIL(whines)

Go away.

INT. TRAIN -- NIGHT

Lorraine is on her third headband.

Nestor binds off his second, casts on the third. His fingerspick up speed.

Lorraine watches out of the corner of her eye. The break inconcentration lets Nestor take the lead.

He races towards the end of the third headband seconds aheadof Lorraine. He binds off the yarn. The headband falls. Hecasts on a fourth as Lorraine finishes her third.

TOMMYYou can still catch him, Lorraine.

LORRAINEShut the fuck up, Tommy.

INT. TRAIN LAVATORY -- NIGHT

Using the sink as leverage, Sybil rises to her knees.

INT. TRAIN -- NIGHT

A hand reaches for the emergency brake on the wall.

INT. TRAIN LAVATORY -- NIGHT

A screech, and the train grinds to a jolting stop. Sybil isthrown against the wall. She grabs her stomach, falls backto her knees and barfs again.

INT. TRAIN -- NIGHT

Confusion abounds. Screaming passengers, many on the floor.Nestor groans. He pushes yarn and headbands away, climbs tothe seat, brushes himself off. He rubs his aching side.

Nestor glances around. Lorraine and Tommy are nowhere to befound. He looks on the seat behind him. No sign of thenecklace or the money.

He combs under the seats, on the floor. Still no evidence.

88.

EXT. TRAIN LAVATORY -- NIGHT

The door opens. Sybil wobbles out, her face shades of whiteand pale green. She has a wet paper towel propped againsther head.

INT. TRAIN -- NIGHT

Sybil teeters in, forehead drenched with sweat. She staresat Nestor on his knees.

SYBILWhere's the inhaler? Where's thefucking inhaler, Nestor? I need ahit.

Nestor reaches into his pocket. Slaps it in Sybil's hand.She takes a puff. She glances around.

SYBILWhere's the Tropicana twins?

NESTORGone.

SYBILAnd the necklace?

NESTORGone. The money, too.

SYBILI go the bathroom for five minutesand you let all hell break loose. And you let that punk steal Mom'snecklace.

NESTORI didn't let the punk do anything. I didn't put his hand on the emergencybrake. What I did do is pick up theslack for you. I had that bitch beat.

Sybil takes another puff. Her eyes well up. She whimpers.The whimpers turn to sobs. She plunks down in the seat.

SYBILYou damn well better use that sixthsense you keep bragging about tofind those skinny pricks and get mynecklace back!

Sybil bursts into tears.

89.

INT. SECOND TRAIN CAR -- NIGHT

Nestor eases up the aisle, searching for any sign of Lorraineand Tommy. He taps a knitting needle against his leg.

NESTORAnybody see a couple of young scrubswith orange spikey hair? Ugly as sinscrubs?

Some heads shake no. Most ignore the question. Nestor moveson.

INT. THIRD TRAIN CAR -- NIGHT

Nestor enters. Same steady pace. Same scanning eyes.

NESTORAnybody see a couple of young scrubswith orange spikey hair? Ugly as sinscrubs?

A YOUNG ADOLESCENT points up ahead. The door opens. Nestorcatches a glimpse of Lorraine exiting the car. He breaksinto a trot.

EXT. TRAIN CAR -- NIGHT

Nestor enters the platform. Lorraine tries desperately topry open the door to the next car. Nestor picks her up bythe neck. Thrusts the needle in front of her face.

NESTORThe necklace? Where is it?

LORRAINE(gagging)

I don't know.

Nestor squeezes her neck harder. She whimpers.

LORRAINETommy ran off with it.

NESTORAnd the money?

LORRAINETommy.

NESTORWhich way did he go?

Lorraine nods her head towards the club car. Nestor lets herdown. He puts the needle in his back pocket. He drags herthrough the door.

90.

INT. CLUB CAR -- NIGHT

STAFFERS and PASSENGERS turn to Nestor yanking Lorraine intothe car. She resists, tries to grab the needle from Nestor'sback pocket, but fails.

NESTORI'm Nestor Toland, an Amtrakdetective. This woman's boyfriend iswanted in connection with a seriesof robberies on the Metroliner.

LORRAINEThat's bullshit.

(to crowd)He's lying. He's a sore loser.

Nestor squeezes her arm tight. Muffles her mouth.

NESTORWe have reason to believe he camethis way. Spiky hair. Earrings. Lookskinda like Lorraine here.

LORRAINEMmmmmm.

WAITERYou got a badge proves who you are.

NESTORIn my pants pocket. You wanna reachin there and get it. I let go ofthis little lady and she's gone.

The WAITER pauses, thinks about it.

WAITERMaybe some other time.

A LITTLE BOY pulls on Nestor's pant leg. He points towardsthe rest room. Nestor smiles.

NESTORThanks, kid. You just made my day.

He jerks Lorraine to the bathroom door. He pounds on thedoor with his elbow. Lorraine squirms.

NESTOROpen up, Tommy. You have nowhere torun.

No reply. He pounds again. Still no reply. Nestor looks overat the little boy. The kid nods.

91.

Still gripping Lorraine, Nestor kicks in the door. He wincesfrom the pain in his side.

The door flies inwards, knocking Tommy to the ground. Nestorthrows Lorraine on top of him.

Nestor whips out the needle, pulls Tommy up by his spikedhair.

Tommy's mouth is closed tight. Nestor bangs Tommy's headagainst the wall. He puts the needle to the guy's throatwith his free hand.

NESTORThe necklace, punk?

No answer. Lorraine tries to crawl out.

LORRAINESomebody help us.

Nestor steps on her, pushing her back to the floor. A crowdhas gathered outside the bathroom door.

Nestor eases the tip of the needle into Tommy's neck, justpiercing the skin.

NESTORCough up the necklace.

Tommy slowly parts his lips, lowers his head. The necklaceand ring spill out of his mouth into Nestor's left hand.Nestor cringes at the saliva on the necklace.

NESTORYou got the money in there too?

TOMMYYou don't get the money. Your bitchof a daughter lost. You shouldn'teven get the necklace.

NESTORI took the bitch's place. I won. Where's the money?

Nestor draws blood with the needle. Tommy cries. Lorrainecries.

TOMMYIn my pants pocket.

Nestor glances over his shoulder, sees the little boy,standing in front of his MOTHER.

92.

NESTORKid. You want to do me a favor. Reachinto this punk's pants.

Mom clutches her son.

MOTHERHe'll do no such thing.

NESTORThere's $60 in there. And you earnyourself a 10 percent finder's fee.

LITTLE BOY20 percent.

The mother does a double take.

NESTOR20 percent it is.

The little boy steps on top of Lorraine. She yowls.

He reaches into a squirming Tommy's pants, and pulls out aPez dispenser, a set of keys and the wad of money. The boypeels off $12, and hands the rest to Nestor.

Nestor lets Tommy down, but keeps the needle close by. Hepockets the money.

A lurch. The train starts moving again. Nestor falls againstTommy, stabbing him in the arm.

He steps off of Lorraine and out of the bathroom to find across-armed INSPECTOR.

INSPECTORWhat's going on here? Who broke thisdoor?

LORRAINEHe did.

TOMMY(in unison)

He did.

NESTORThe male pulled the emergency brakeso he could rip off passengers inthe confusion.

TOMMYYou got no proof of that.

The little boy pulls the inspector's pants leg.

93.

LITTLE BOYThat man with the orange hair had anecklace in his mouth. He spit itinto the policeman's hand.

Nestor opens his hand to reveal the necklace.

INSPECTORPoliceman?

INT. TRAIN -- NIGHT

Sybil sits curled up, her head resting against the window asthe train flies by in the night. Her eyes are red from crying.Her nose runs.

Nestor puts a hand on Sybil's shoulder. She pushes it off.

He thrusts his right fist in front of Sybil's face. He openshis fist to reveal the necklace. Sybil's gaze moves towardsthe open hand.

A smile radiates across Sybil's face. She straightens up.Plucks the necklace. Hugs it to her bosom, massaging thering.

Nestor grins.

SYBILThank you, Mom.

Nestor's grin turns sour. Sybil takes Nestor's hand in hers.

SYBILYou, too. Dad.

Sybil wipes her eyes. Puts the necklace on.

EXT. TRAIN -- NIGHT

The Metroliner approaches New York.

INT. METROLINER -- NIGHT

In unison, Sybil and Nestor finish their respective stitches.They put their knitting away. Sybil stares out the window atthe skyline.

SYBILI'm going to kiss the dirty groundof Manhattan when I get off thistrain.

Sybil turns back to Nestor.

SYBILYou know I have a spare bedroom.

94.

NESTORYou suggesting I stiff Fern for you?

SYBILMight be something to consider.

NESTORMight be, given the shit Fern dishesout on a daily basis.

Nestor puts his hand on Sybil's.

NESTORBut you already got a teenager tocontend with. The last thing youneed right now is a cantankerous oldman living under your roof. Especiallyat your age.

Sybil does a slow burn.

NESTORI mean that in a good way. You'veput one bad relationship behind you,and hopefully, have a good one ahead.

SYBILPlease. The guys aren't beating downmy door.

NESTORWhen they do, you need your privacy. So thanks for the offer, but I'llstick with Fern. Maybe I'll be the"nudge" this time.

The train screeches to a stop. Sybil removes the necklace. She caresses the ring. Takes it off the necklace. Places itin Nestor's hand.

NESTORWhat's this about?

SYBILYou pawned your ring for me. Youdeserve it. I think Mom would approve.

Nestor wipes a small tear from his eye.

NESTORI guess I can borrow it for a littlewhile. Until I reclaim my ring.

INT. PENN STATION -- NIGHT

Fern and Robert wait at the top of the steps. Tony paces aspassengers ascend the escalator from the tracks.

95.

ROBERTI can't believe Sybil took a train.It's so...un-Sybil like.

FERNSome of us have the capacity forchange, Bobby.

ROBERTI change. Do I change, Tony?

TONYKeep me out of this.

Robert sneers at Tony.

ROBERTSo where the hell are they?

FERNYou have the patience of a child.

Robert sneers at his aunt.

FERN(to Tony)

You, too, Tony.

TONYI haven't spoken to this guy in like10 years. I'm entitled to be nervous.

Nestor and Sybil emerge from below, arm in arm. Both wearhuge grins.

A smiling, but confused Fern kisses her brother and her niece.Robert blinks his eyes, confused.

Tony keeps pacing, but zeros in on his grandfather.

SYBILRobert, I want you to meet yourfather.

(to Nestor)Father, meet your son.

An awkward pause is followed by a tentative hand shake.

SYBILAnd one other introduction.

Sybil limps towards Tony.

TONYWhat's with your foot, Mom?

96.

SYBILTrain accident.

Fern, Robert and Tony focus on Sybil.

SYBILIt'll heal.

Sybil hugs Tony. She looks at her father.

SYBILTony's put on some height since thetwo of you last spoke.

Nestor and Tony face each other. Size each other up.

Nestor beckons him to come closer. Tony wavers. Nestor beckonswith a larger gesture.

Tony wipes the corner of his eyes, takes that first step,then the second.

Nestor, Tony embrace. Nestor steps back. Ruffles Tony's hair.

INT. FERN'S CAR

Nestor sits in the front seat with Fern. Robert and Sybilshare the back with Tony. Robert leans over to Sybil.

ROBERT(mouthing words)

What's with you?

SYBILDid you say something, little brother?

ROBERT(still mouthing)

You know what I mean.

Nestor takes needles in hand and knits away on his scarf.

Fern and Robert both do a double take.

SYBILI convinced Dad he should up take upa new hobby. You should try it,Robert. It'll do wonders for yourdisposition.

Nestor turns to the back passengers and smiles, never missinga stitch. Sybil grins. Dials a number on her cell.

SYBILI was on the Amtrak...That's right...

Sybil giggles.

97.

SYBILTrust me, I was in no condition toanswer the cell...Just wanted to letyou know I'm on 6th Avenue...I thoughtyou'd be thrilled...Wouldn't miss itfor the world, darling.

She hangs up the phone. Stares out at the concrete canyonsof New York.

INT. RESTLESS LIVES SET -- DAY

Gretchen, her leg still in a cast, knits in the easy chair.The television plays a soap opera in the background, butneither she nor Hal pay it any mind.

DAD (O.S.)Gretchen.

GRETCHENThere he goes again, Hal.

Hal puts down the paper.

HALYour mother's wish is our command.

DAD (O.S.)I can't get the damn television towork again.

GRETCHENDid you use the buttons on the TV?

DAD (O.S.)I didn't touch the TV.

GRETCHENThen you must have used the greenremote instead of the silver one.

DAD (O.S.)You have so many. Why can't there beone remote control?

Gretchen fumes.

GRETCHENIt's what technology is all about.

DAD (O.S.)In my day, we had six channels. NoVCRs. No DVDs.

GRETCHENThat's what you get for outlivingyour day.

98.

Hal smiles. He goes back to his newspaper.

INT. CONTROL ROOM -- DAY

Sybil motions a cue to the sound man. Mrs. Beans sits nextto her, ecstatic she's inside the studio where her blessedshow is unfolding. Sybil gives Mrs. Beans a thumbs up.

INT. RESTLESS LIVES SET -- DAY

A camera pulls back to reveal Gretchen and Hal.

DAD (O.S.)Get back here and give me a hand.The damn show will be over before Ifigure this thing out.

GRETCHENI still have a fractured leg, Dad.I'm supposed to keep my feet up.

DAD (O.S.)Oh. But you're not too crippled tostab your uncle's girlfriend.

Gretchen seethes. She looks skyward.

GRETCHENSee what groveling did for me, Mother?

She throws her knitting down, limps to her feet.

The credits scroll down the screen. After the cast rolls by,the name of Sybil Nicolella, Director, makes its appearance.

FADE OUT

THE END