runaways under the nest by a.h. salem

8/10/2019 Runaways Under the Nest by A.H. Salem

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RUNAWAYS UNDER THE NEST

Written by

A.H. Salem

151 Tremont St.Apt. 10RBoston, MA Phone: [email protected]



FADE IN:

EXT. CHICAGO ALLEYWAY - NIGHT

A well dressed man lights a cigarette using a match. The

alleyway is dimly lit and vacant.

The voice of an unidentified male narrator begins:

NARRATOR(V.O.)

I once heard a story of a boy whofell in a well and spent ten daystrying to get out. Each day he would climb further and further but would fall right back in. Hefinally climbed to the edges on thetenth day. He came up and stood

upon the walls of the prison he wastrapped in. He stood there, silentand calm; wearing a face that didnot seem to match his brokenappearance.

The man finishes his cigarette and disposes it, looks at his watch and walks in to the building.

NARRATOR (CONT’D)(V.O.)

A passerby notices him and inquiresabout his state. The boy doesn’t

utter a word. He looks at the man with emotionless eyes. He scans hissurroundings, pausing for a secondat a birds nest resting atop atree. The Samaritan tries to getthe boy down and he refuses; hiseyes remain fixed at the nest.

A figure appears in the entrance of the alleyway. The shadowsticks to the wall and limps its way down. Light touches itsface and a black, rugged, unkempt man appears. His kind andhopeful eyes belie his abject and miserable demeanor.

NARRATOR (CONT’D)(V.O.)

Then, without hesitation, he jumpshead first into the well. Theypulled his body minutes later andhe was pronounced dead at thescene.



The homeless man finds a box and begins making a bed out ofit. Once satisfied he lays down and closes his eyes.

INT. BAR - NIGHT

Two men, one of which was outside, sit side by side at thebar. The man outside is NICK PETOSA, a well dressed, sturdylooking man in his forties with slightly graying hair. The man accompanying him is TONY PETOSA, an equally well dressed man who is similar in stature to Nick.

The bar is cramped and nearly vacant. The men’s clothesconflict with the austere decoration of the bar.

TONYCould you at least help me somehow?

NICK

I won’t let you get divorced Tony.Think about your girl. What do youthink would happen to her? Youthink it’s easy for a kid to live anormal life after that?

TONYYour parents broke up when you wereyounger and you turned out ok. HellYOU even divorced your wife.

NICKDon’t you compare my situation with

yours. You goddamn know why wesplit and it wasn’t cause I was aselfish pig.

Tony looks at his watch and signals for the check.

TONYI’m gonna go. I’ll let you know what I do.

Nick puts his hands on Tony’s shoulders.

NICKYou’re on thin ice Tony, the Petosacamel can’t take anymore of yourshitty straws on its back. Go hometo your family and fix the messthat you got yourself into.

TONYI will let you know.

2.



Tony shrugs Nick’s hand off his shoulder, pays the tab andexits. Nick signals the bartender for another drink.

EXT. ALLEYWAY - NIGHT

Tony walks down the alleyway towards the street but turnsback around. He begins to relieve himself near a dumpster.His body is engulfed in the darkness. A man yells inconfusion.

TONYShit...who the...

The homeless yells out in disgust.

TONY (CONT’D)Who the hell sleeps next to adumpster outside a bar. Are you a

moron?

HOMELESS MANNo man I just needed a place tosleep.

TONYOut of all the places in Chicago!You deserve that shit.

Tony walks further down the alley and begins to relievehimself again.

TONY (CONT’D)You gotta find a new bed bud. Idon’t think I am going to be theonly one whoÕs pissing on your facetonight.

The man sighs, gets up and tries to dry himself off. Tonyfinishes and approaches the man.

TONY (CONT’D)Sometimes it just takes a manpissing in your face to get you

motivated enough to find a job likeeveryone else.

He goes into his wallet and pulls out some cash.

TONY (CONT’D)Here’s something for the trouble.

3.



A COFFEE CLERK exits the coffee shop with a cup of coffee.She approaches Roland.

COFFEE CLERKHere you go Roland. It’s on us.

ROLANDDamn girl. You guys really tryin’to make me happy aintchya?

COFFEE CLERKEnjoy.

Marquis and Cody run by Roland.

MARQUISWe’re late!

CODY

(running backwards)See you after school!

EXT. SCHOOL CAFETERIA - MORNING

The boys sit at an empty lunch table, side by side, eatingtheir food.

MARQUISWe need to find a way to make ourown money. Imagine all the things we can buy and all the things we

can do...

CODYYeah but how?

MARQUISWe could beg like Roland. He told me he makes enough money to make akid’s eyes bleed.

CODYWhat’s that supposed to mean?

MARQUISI don’t know but if it gets usdough then lets do it. We can’tlive like we do anymore.

CODYOk, let’s ask him after school.

5.



MARQUIS(smiles to a girl inanother table)

We’re gonna be rich, Rebbecca. Meand Cody are gonna take you out ona date!

INT. FAST FOOD RESTAURANT - MORNING

Roland sits by himself in a corner table holding acheeseburger. He munches on the burger as he counts his money. He imitates a Southern accent and talks to himself.

ROLANDGod bless dem folks who keep mealive. God bless their family,their mothers for pushing dem outin to this cruel world and God

bless their fathers for beatingtheir ass into good people. Godbless their souls and God blesstheir day. God bless dem all. Godbless dem all.

He finishes his burger and takes a long sip from his drink.He smacks his lips, giving out a sound of satisfaction andbegins to sing word’s to Red Mitchell’s ‘Simple Isn’t Easy’.

ROLAND (CONT’D)Simple isn’t easy it’s the hardestthing/if you’re simple people think

you’re lazy/truthfulness is a messunless you swing/if you’re truthfulpeople think you’re crazy (humsunder his breath)...freedom isn’tfree/ it costs much more thanluxury/it’s plain to see why simpleisn’t easy.

He puts away his money, grabs his food and makes way to throwit out.

ROLAND (CONT’D)

(to the janitor stillsinging)See what I mean? dooo dee dooo deeebloo dooo deee beee doo deee.

He keeps humming until he exits the restaurant.

6.



INT. HOMELESS SHELTER - DIRECTORÕS OFFICE - MORNING

Director ANDERSON TURNER sits at his office busy writingsomething. The phone rings.

ANDERSON

United Homeless Shelter, this isAnderson Turner. (beat) RolandFryer? (beat) Yes he’s been with usfor sometime now. (nodding hishead) I’m sorry to hear that. Howlong have you been looking forhim? (picking up a pen) I’ll lethim know when I see him. Can I getyour number so I can call back?(scribbling) Your welcome, I’ll letyou know shortly. Who am I speaking with? (scribbling some more) Talkto you soon.

Anderson gets out of his chair and proceeds to the door.

EXT. CORNER COFFEE SHOP - MORNING

Roland is back sitting at his spot complimenting strangers asAnderson comes up from behind and puts an arm on hisshoulder. Roland looks around and gives Anderson’s butt a bigslap.

ROLANDAhh my boy’s finally here. You came

to see my good work or are youtryin to drop a heavy load on me?

ANDERSONIts always good to see you Roland.Where were you last night?

ROLANDI was out late on the east side anddidn’t want to make the trip back.

ANDERSON

You know it’s not safe.ROLAND

I am here aren’t I?

ANDERSONWill you come back to the shelter with me, I have something todiscuss with you.

7.



ROLANDWhat’s it about my brotha?

ANDERSONI don’t think this is the place tosay.

ROLANDEvery place is the place Mr.Turner.

ANDERSONIt’s about your sister.

Roland’s smile fades and a confused state overcomes him.

ROLANDMy sister?

ANDERSONCome back to the office and we’ll discuss.

EXT. STREET - MORNING

Cody and Marquis walk along the sidewalk with their backpacksstill on their shoulders. Marquis’ holds a pack of cards andshuffles them as they walk.

MARQUISThese packs are a money making

machine. You go to a casino knowinghow to play with these you can comeout a rich man.

CODYIf it was that easy then why isn’teveryone rich.

MARQUISYou have to know the game and howthe casino plays. If you know youcan make lots of dough.

CODYI don’t think that’s how it works.

MARQUISTrust me man, that’s how it works.You just have to give them collateral.

8.



CODYCollateral?

MARQUISYeah Cody, collateral. If you haveit you can risk it to get money.

CODYWhat is it?

MARQUISIt’s something that you give thecasino and then they give youdouble the money if you play thesecards right.

They stop at walkway and Marquis lays four cards on thegarbage can attempting to play blackjack. The cards in frontof Cody show a jack and a queen. Marquis shows a four of

spades.

MARQUIS (CONT’D)How much you willing to bet?

CODYUm, I don’t know, a brownietomorrow at lunch?

MARQUISDeal! Are you going to hit or stay?

CODY

I never played this game before.

MARQUISIt’s blackjack I’ll explain later.Hit or stay?

CODYHit.

Marquis takes another card from his deck and its a nine.

MARQUIS

You just busted. You owe me abrownie.

CODYThat’s not fair, I didn’t even knowhow to play.

The walkway signals them to go and Marquis picks up his cardsand they cross the street.

9.



MARQUISOk, you’re right. I’ll teach youlater but if I was the casino I would take your brownie tomorrow.

CODY

That game seems complicated.

MARQUISIt might be, but I’ll teach you and we will dominate.

Marquis puts his cards away and puts his arms around Cody’sshoulder.

MARQUIS (CONT’D)Me and you buddy. We’re going torule the world one day, I can feelit.

Cody smiles at Marquis and pretends to playfully punch him.They continue to walk until they approach the coffee shop.

CODYWhere’s Roland?

MARQUISHe might be inside getting a drinkor something.

They both walk inside.

INT. HOMELESS SHELTER - DIRECTOR’S OFFICE - MORNING

Roland sits uncomfortably at Anderson’s desk. Anderson closesthe door and sits down.

ANDERSONA woman by the name of CharlotteFryer called today asking if a mannamed Roland lived here.

Roland shifts in his seat. He looks at the clock then the

door.ANDERSON (CONT’D)

I answered her question in theaffirmative.

Roland stares aimlessly into the clock.

10.



ANDERSON (CONT’D)She’s expecting me to call herback. She said that she’s beenlooking for you for a long timenow.

ROLANDWhat for?

ANDERSONI don’t know, do you want me tocall her back now?

ROLANDI don’t think we have to....

ANDERSONDo you really think that she’s youractual sister?

ROLANDYeah, she might be. I haven’ttalked to her in a long time.

ANDERSONWell she’s looking for you, I think we should give her a call.

INT. CLOSET - NIGHT - FLASHBACK

A close up face of a frightened black eighteen year old

TEENAGER appears on screen. He is sweating profusely. TheSCREAMS of a terrified WOMAN reach his ears. The boy’s eyesrace as if they were watching an intense tennis match.

WOMAN (O.S.)Roger don’t!! Please don’t!

MAN (O.S.)Stop telling me what to do! You’veearned this!

The sounds of a struggle continue until the boy hears a sound

of a sliced watermelon followed by a thud. The boy’s eyesbegin to water.

MAN (O.S.) (CONT’D)Charlotte! Where are you hiding?!

The boy closes his eyes, mouths a prayer to himself andcharges out of the closet.

11.



INT. BEDROOM - NIGHT

The boy charges from the closet jumping over his mothers bodyand unto his father’s back. They both fall to the ground. Theaxe the father was holding falls from his hands. They bothstruggle to go after it.

After a few seconds the boy grabs the axe and smashes it overhis fathers head. His father’s body falls to the ground. Theboy stares at his father and then begins to repeatedly smashhim with the axe.

In the midst of his furious rage the axe breaks and the anvilflies through the bedroom window. He drops to his knees andgives out a scream. He crawls over to his mother and beginsto cuddle with her.

A young girl, CHARLOTTE, runs over and falls on Roland andtears jet down her face.

CHARLOTTEYou promised everything would beokay.

ROLAND(putting his arms aroundher)

Everything will be okay. I promise.

They cuddle with the arms of their breathless mother. Blood,sweat and tears roll in coercion along their faces and untothe floor.

ROLAND (CONT’D)Our life is not over. There’s aplan for everything, Bumblebee.

INT. NICK PETOSA’S OFFICE - MORNING - BACK TO PRESENT DAY

Nick is standing near a cracked window smoking a cigaretteand in deep thought. The door opens violently and an angryTony walks in.

TONYIt’s over!

NICKCalm down Tony. Nothing is over.

TONYI’m done with that bitch.

12.



NICKDon’t talk about the mother of yourchild like that.

TONYI don’t care!! I’m done and you’re

helping me!

Nick calmly puts out his cigarette and walks over to Tony. Heplaces his hand on Tony’s face.

NICKCalm down.

TONYDon’t tell me to calm down! Youthink just because you’re family,you have a say in this. BULLSHIT!I’m suffocating Nick, I’m not

happy, no one is happy!

NICKGo check yourself in a hotel andlet it sit for awhile. You’re making a mistake.

TONYA mistake? A mistake?! Staying withher is the goddamn mistake.

Nick backs away from Tony and sits down in his chair.

NICKIf your intention is to getdivorced then I will not beinvolved in any way.

TONYAre you really going to let me gointo this alone?

NICKI refuse to be an accessory in thebreaking up of my niece’s family.

TONYWhat?! You are one of the bestlawyers in this city! If I don’tget your help she might take all mykids and all my money! Do youreally want that?! Do you hate meand my daughter that much?

13.



NICKStop being so dramatic.

TONYScrew you, asshole. Screw you!

Tony storms out the office and Nick dials a phone number.

NICKYour tone always makes me laugh.(beat) Take it easy Abbe. (beat)Alright, alright. How’s Ashley?(beat) She’s my daughter, I can’task...I know she doesn’t live with...(beat) I will neverunderstand how you got like this.(beat) Ok keep painting me asJudas...I was good when I met youand I am good now, nothing has

changed except you. (beat) I am notdoing this. I called cause I wantedto talk but I forgot that no onecan talk to a deaf dumb bitch.

Nick winces and hangs up the phone. He reaches for hiscigarette pack.

EXT. CHICAGO STREET - MORNING

Cody and Marquis are walking on the sidewalk.

CODYWhere do you think he is?

MARQUISI don’t know we looked everywhere,probably went back home. We’ll seehim tomorrow.

The boys turn the corner and go up the stairs of a building.The sign reads "CHICAGO FOSTER CARE SHELTER."

EXT. TRAIN STATION - LOT - MORNINGRoland and Anderson are outside the train station. A TRAINATTENDANT walks up.

ATTENDANTHello sir, you got any bags?

ROLANDNo, just me.

14.



ATTENDANTWell alright.

ROLANDI can’t tell you how grateful Iam....

ANDERSONDon’t worry about it. Just get onthat train and see this sister ofyours.

ROLANDI’m gonna come and pay you back oneday.

ANDERSONThe only person you need to payback is your sister. Thirty-two

years is a long time to be away.

ROLANDI know. I don’t know what I’m goingto say to her.

ANDERSONA hug’s always a good place tostart.

Anderson laughs and reaches out for a hug.

ROLAND

Thanks for everything Director.

ANDERSONNo problem Roland. Its been apleasure.

They shake hands and Roland limps inside the train station.

EXT. CHICAGO GHETTO - MORNING - FLASHBACK

A young Roland parks a red truck on the side of the street

while a group of African American boys are talking on one ofthe stairs. Roland, in a wife beater and jeans gets out andapproaches the boys.

ROLANDGood afternoon fellas.

The boys all look at each other and laugh. JABBAR, a tallhunky man, gets up and approaches Roland.

15.



JABBARYou’re not from around here?

ROLANDNo, I’m not.

JABBARThen what you here for?

ROLANDI ran away from home, I drove upfrom Memphis and I’m just gettingin.

Jabbar turns around and faces the crew.

JABBARDamn, we got ourselves a Southernnigger! Now tell me how ARE the

white girls down south?

ROLANDI can’t say...I don’t know.

JABBARYou’re either a fag or just one modest fellow.

ROLANDI’m neither. Say can you fellashelp me out?

JABBARDon’t address them, address me.What you need?

ROLANDDo you guys know where a man might work without any papers? I got nopapers but I need a place to stayand a job so I can eat.

JABBARYou came all the ways to Chicago

without no money and no papers?ROLAND

Yes and I just need a little helpis all.

JABBARI think we can help you out. Ain’tthat right boys?

16.



The crew yells in affirmation.

INT. BEDROOM - NIGHT - BACK TO PRESENT DAY

The boys are in a small, cramped room with a metal bunk bed.

The walls are plain and the only decoration is a calenderover the dresser. Cody is in his pajamas looking forsomething. Marquis is in the top bunk reading a book.

CODYHave you seen my socks?

MARQUISThe striped ones you sleep with?

CODYYeah

MARQUISNo I don’t think so.

Cody, worried, walks out of the room.

INT. FOSTER HOME - HALLWAY - NIGHT

Cody walks over to a room down the hall and peeks in. It’sthe room of ROGER and DAN, two white fourteen year oldteenagers. Dan lays in the bottom bunk on top of his sheets wearing boxers and a pair of colorful striped socks.

CODYWhere did you get those socks?

Dan looks over to the doorway where Cody is standing butdoesn’t say anything.

CODY (CONT’D)They’re mine. Can I please havethem back?

Dan looks at his feet and eyes them with interested curiositylike he’s never appreciated them until now.

DANI bought these socks, they’re mine.

CODYYou bought them with the exact holethat mine had?

Dan examines his feet again and pokes his finger through thehole.

17.



DANYup.

CODYI can’t sleep without those socks.They mean something to me.

DANThat sucks buddy. Maybe you shouldgo find them.

Cody remains at the door struggling for something to say. Danyawns and sits up on the edge of the bed. He vigorouslyitches his right toe with his left foot, his eyes move backand forth from Cody to his feet.

After a few seconds he gets up and shuts the door on Cody’sface as if no one was there. Cody’s eyes are filled withsadness but his demeanor is calm and docile. He walks back to

his bedroom.

INT. FOSTER HOME - BEDROOM - NIGHT

Cody enters the room and finds Marquis the same as he hadleft him. Marquis notices something is wrong and puts hisbook away.

MARQUISWhat’s wrong?

Cody looks through his drawers going through different pairs

of socks in a depressed manner.

CODYI wish I could leave this place.

MARQUISWhat? What happened?

Cody stops his search and jumps into his bed. He lies on hisstomach with his head stuffed in the pillow.

CODY

Dan took my sleeping socks and won’t give them back. I don’t know what to do.

Marquis jolts up from his resting position as if surprised byCody’s words.

MARQUISAre you serious?!

18.



CODYYeah, I wish I couldjust...just....

As Cody searches for the right words Marquis climbs down thebunk ladder and exits the room. Cody flips onto his back.

CODY (CONT’D)No Marquis, don’t try!

Cody gets out of bed and peeks out the door into the hallway.Dan is heard yelling from his room and after a moment Marquisemerges with a pair of stripped socks. Cody steps into thehallway wearing a shocked expression.

CODY (CONT’D)How...how did you?

Marquis begins to jokingly lash Cody using one of the socks

as a whip.

MARQUIS(rapping)

Cause I’m Marquis the man/There isno one on earth who isn’t a fan.

Marquis laughs and goes back to his bunk. Cody stares at theground and begins to rub his left shoulder.

INT. HOMELESS SHELTER - MAIN LOBBY - MORNING

The boys enter the homeless shelter and approach the janitor.

MARQUISHello sir, do you know where Rolandis?

JANITORRoland? I saw him yesterday in thedirector’s office. They both lefttogether somewhere.

MARQUIS

Can you show us to the director?JANITOR

Of course, just go down thathallway on your left and its theoffice in the corner. You can’t miss it.

MARQUISThanks man, see you on the way out.

19.



JANITORGood luck.

INT. HOMELESS SHELTER - DIRECTOR’S OFFICE - MORNING

The boys knock on the door but no one answers. Marquis triesto open the door but it’s locked.

ANDERSON(O.S.)

You boys looking for me?

Anderson walks up to the door with a cup of coffee and goesthrough his pockets.

MARQUISWell it depends, are you thedirector?

Anderson pulls out a set of keys, unlocks the door and motions the boys to enter.

ANDERSONIndeed, I am. How can I help you?

MARQUISDo you know where Roland is?

EXT. HOMELESS SHELTER - DIRECTOR’S OFFICE - MORNING

Anderson puts his coffee down on the desk and starts to take

off his shoes.

ANDERSONRoland? He left town last night.

He puts his shoes to the side and takes off his socks.Marquis and Cody look at each other.

ANDERSON (CONT’D)My apologies, it’s this damnathlete’s foot.

MARQUISWhy did he leave?

Anderson opens his desk to take out an anti-bacterial soapand a cream. He begins to lather his hands and feet first with the soap and then applies the cream.

ANDERSONWell, he’s got a sister that hehasn’t seen in thirty years. She

20.

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called the shelter yesterdayafternoon and told him to come seeher.

MARQUISWhen will he be back?

ANDERSONI don’t know. He might never comeback. His sister has a house of herown and if all goes well he just might stay there forever.

MARQUIS(to Cody)

Are you hearing this?

Cody nods.

ANDERSONHow do you boys know Roland?

MARQUISWe’ve known him ever since westarted kindergarten.

Anderson stops his application and throws the bottles backinto the drawer. He opens another drawer and takes out abrand new pair of socks which he begins to put on.

ANDERSONAhh, you met him at his corner?

MARQUISYeah. Is there a way we can reachhim?

ANDERSONI am afraid not. You guys just haveto wait until he gets back. If youhave a number I’ll be happy to callyou once he does.

CODY

What if he never does?ANDERSON

(surprised)For a second there I thought you might be a mute.

MARQUISRoland means a lot to us. We don’tknow a life without him around.

21.

ANDERSON (CONT'D)



ANDERSONRoland never mentioned he had twoclose apprentices.

Anderson puts his shoes back on.

ANDERSON (CONT’D)Well have your parents drive youdown there one weekend. I can giveyou his sisters address.

MARQUISYes, that would be helpful.

EXT. STREET - MORNING

Cody and Marquis walk down the steps of the shelter insilence. Marquis is in deep thought while Cody is struggling

not to cry.

CODYWhat are we going to do?

Marquis does not answer. They turn a corner, they are headedto the coffee shop.

CODY (CONT’D)Life will suck even more withouthim.

Marquis breaks his concentration and looks over at Cody.

MARQUISAre you crying?

CODYNo.

MARQUISDon’t worry man. I will think ofsomething.

EXT. CORNER COFFEE SHOP - MORNINGThe boys arrive to the coffee shop expecting to somehow seeRoland at his usual spot. Marquis jumps on top of a garbagecan and sits on it. He takes out his deck of cards and beginsto shuffle them while in deep thought.

MARQUISLet’s go after him.

22.



CODYGo after him?

MARQUISHear me out. He’s going to be athis sisters house right? We can go

to Memphis and live with him andhis sister.

CODYThat will never work. How are wegoing to make it all the way toMemphis?

MARQUISThere’s always a way. We can eitherspend weeks collecting money fortrain tickets or even better we canjust hitchhike.

CODYAre you crazy?

MARQUISListen, its either go after him orsit in that crummy orphanage with adying old lady and two assholesforever or we go on this littleadventure. We can always come backif it doesn’t work out.

CODY

How are we going to eat? Where are we going to sleep?

MARQUISDon’t worry about that stuff. Leaveit to me. Who got you those sockslast night?

Cody does not respond. He looks over to the coffee shop window and back to Marquis.

CODY

It will be worth it if we end up with Roland.

Marquis puts his cards away and gets down from the garbagecan. He puts his arm around Cody.

MARQUISWe will, trust me. You’re the onlybrother I have, he’s the closestthing to a father we have, we’re

23.

(MORE)



basically a family. Something cameup and separated us. It’s up to usto bring us all back together.

Marquis smiles reassuringly and Cody reflects the smile back.They walk back home.

EXT. CHARLOTTE’S HOME - DRIVEWAY - MORNING

A taxi cab drives down a nice neighborhood and pulls in tothe driveway of a house. Roland comes out and limps his wayto the front door. He stops at the steps, looks around thehouse seemingly amazed and gives out a long sigh.

He climbs the steps one by one. Finally on the porch, he wipes the sweat off his forehead and stands at the door tocatch his breath. He gives a gentle knock. He notices thebell, shakes his head at his nervousness, and presses it.

A mid aged black woman, Charlotte, opens the door. She isdressed in a professional manner.

CHARLOTTECan I help you?

ROLANDBu-bum-bumblebee?

CHARLOTTERoland? Roland is that you?

ROLANDNo one but me.

They both stand motionless as the paintings in their memoriesare burnt by the sudden appearance of each other.

The ashes take a moment to settle and Charlotte takes asingle step onto the porch.

After another moment passes she takes another step and thedoor closes behind her. Her face filled with sadness; hereyes filled with tears. She opens her mouth to speak, each

word passes her lips as if they were dipped in oil.CHARLOTTE

What have they done...to you?

ROLANDJust the scars of going throughlife ma’am.

She begins to cry and Roland motions over and hugs her.

24.

MARQUIS (CONT'D)



INT. FOSTER HOME - BEDROOM - NIGHT

Cody and Marquis enter the room in excitement.

MARQUIS(rapping)

We going to runaway/Back to thedays of yesterday/When the kingused to be called Cassius Clay/Fromthe ghettos of yesterday/Intothe history books of today/If youdon’t want to join us then pleaseget out our way./There’s nostopping us from making headway.

Cody laughs and jumps on his bed. He notices that its wet andsprings back up.

CODY

There’s pee all over my bed.

Marquis smells the sheets and makes a disgusted face.

MARQUISDamn its Dan, that freaking coward.

CODYWhat should we do?

MARQUISNothing. Just sleep with metonight, we’re gonna leave this

dump tomorrow anyways.

CODYI can’t wait. If only I was biggerI would show that Dan kid what he’s worth.

MARQUISThere’s nothing stopping you. Idon’t know why you let people treatyou that way.

CODYI don’t know how else to act. Idon’t want to become an a-hole.

MARQUISYou can stand up for yourself without being an asshole. LikeRoland said its demanding respectfrom people who won’t give it to

25.

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you. Do you see any of these kidsdo anything to me?

CODYNo but you’re different. You know more about life.

MARQUISI’m the same age as you bro and we’ve been together since birth.There’s nothing in this world thatI’ve seen that you haven’t.

Cody reaches for his pajamas.

MARQUIS (CONT’D)Get up here. Tomorrow’s the firstday of the rest of our lives.

Cody puts on his pajamas, turns off the light and climbs upthe bed with his striped socks in hand. He puts them on andgets inside the sheets with Marquis.

CODYWhat did you do to get my socksback last night?

MARQUISI’m tired, let’s go to sleep.

INT. SCHOOL - CLASSROOM - MORNING

The clock on the school wall strikes 2:29. Marquis and Codyeagerly watch the clock from their desks as the teacher isfinishing up a lesson. Marquis pulls out two Metrarailtickets from his pockets and hands one to Cody.

INT. METRARAIL - MORNING

The boys are on the Metrarail. Marquis sits window side andCody is right next to him. The train cart is empty. Marquisputs his hand in a fist and Cody bumps him. They both smile.

EXT. JOLIET STATION - MORNING

Marquis and Cody emerge from the station each with backpackson. Marquis examines a map and looks around.

MARQUISThis way.

26.

MARQUIS (CONT'D)



INT. STREET - MORNING

A shot of a directional sign for interstate highway 80. Carszoom past the kids who are walking on the sidewalk.

MARQUIS

Watch this.

Marquis runs ahead and jumps on to the rail speedilytiptoeing to the intersection. He jumps off and poses withhis arms crossed.

MARQUIS (CONT’D)Now that takes skill.

Cody jogs to catch up to him.

MARQUIS (CONT’D)I bet you can’t do that. Let’s see

you try.

CODYNo you’re right I probablycouldn’t.

Marquis puts his hands on Cody’s shoulders and turns himaround.

MARQUISDon’t be so down on yourself. Giveit a try.

Cody starts to take off his backpack.

MARQUIS (CONT’D)No WITH the backpack.

Cody puts it back on and lets out a nervous cough. He startsto rub his left shoulder and closes his eyes. Marquis pusheshim and he starts running. He jumps on to the rail and lastsonly a step before falling on to the sidewalk. He lets out ascream and grabs his left foot. Marquis runs towards him.

MARQUIS (CONT’D)

Are you ok?CODY

I think it’s broken.

MARQUISTake your shoes off.

Cody starts to take his shoes and socks off. Strangerspassing by offer their help. Marquis waves them off.

27.



MARQUIS (CONT’D)Put your shoes back on and try tostand up, let’s go somewhere elseso we don’t draw attention to us.

CODY

I don’t think I can.

Marquis pulls Cody up and lets him lean on him. Cody limps ashe walks.

MARQUISLet’s go back to that school, wecan figure things out in theplayground.

EXT. JOLIET ELEMENTARY SCHOOL - PLAYGROUND - MORNING

Cody climbs onto the main playground set followed my Marquis.Cody immediately sits.

MARQUISLet’s see how bad it is.

Cody takes off his shoes and sock to reveal a swollen foot.

MARQUIS (CONT’D)I don’t think it’s broken. Doesthis hurt?

Marquis touches Cody’s ankle. Cody shakes his head.

MARQUIS (CONT’D)It will be better in the morning. Iguess we’re sleeping here tonight.

CODYI should have never attempted thattrick.

MARQUISIt was my fault for forcing you butat least you tried.

CODYTrying never amounts to anythinggood. I already knew I didn’t haveit in me.

MARQUISBut that’s the thing. Sometimes youdon’t know what you’re capable ofunless you try.

28.



Cody remains silent while clutching his foot.

CODYWhat are we going to do until bed?

MARQUIS

We’re in a playground! Lets swing,you don’t need your feet for that.And then I can teach you blackjack.

Marquis gets up and puts his hand out to help Cody stand.

MARQUIS (CONT’D)Actually, just slide down. I’ll meet you at the bottom.

EXT. PLAYGROUND - NIGHT

Four cards are placed on the playground floor. Cody’s pairare two jacks. Marquis’ card is a three.

MARQUISNow you’re already at twenty so ifthe dealer, who’s me, asks you whatto do, you say stay.

CODYCause if I hit I might go overright?

MARQUIS

Yeah and since I have a three mychances of getting a twenty or anexact twenty-one are low.

Marquis flips one of his cards over and its a queen. He grabsanother card and places it right next to the queen. Its asix. He takes yet another card and its a king.

MARQUIS (CONT’D)I busted, you won. Are you gettingthe hang of it?

CODYYeah.

MARQUISNow if you had bet something you would have won double.

CODYWow.

29.



MARQUISYou can bet anything you want, somepeople even bet their cars andsometime homes.

CODY

And if they lose, they lose thehouse and car?

MARQUISYeah. Crazy right? They said that’s what happened to my dad.

CODYWhat do you mean?

MARQUISHe loved to play games like this atthe casino and he kept losing. He

bet everything he owned.

CODYDo you ever wonder if your parentsare still alive?

Marquis cleans the deck of cards and puts them back in hisbag.

MARQUISAre you hungry? I’m hungry letseat.

EXT. PLAYGROUND - MORNING

The boys lay fast asleep using their backpacks as pillows andsweaters as blankets. Cody’s stripped feet dangle the edgesof the playset. Marquis’ head is wrapped in a t-shirt overhis eyes.

The sound of buses and school kids dominate the playground.Marquis wakes up to these sounds and quickly rises up. Heshakes Cody awake.

MARQUISPut your shoes on.

Cody takes off his socks and puts on his normal socks andshoes.

MARQUIS (CONT’D)You remember what to do right?

30.



Cody throws the crutches to the side and jumps into the wheelchair.

MARQUIS (CONT’D)Welcome onboard wheelchair 1385,this is Marquis your captain

speaking, and we have a bumpy rideahead of us.

Cody laughs as Marquis starts running while he pushes Cody upthe school driveway and onto the street sidewalk.

EXT. SUPERMARKET - MORNING

Cody sits in the wheelchair near the entrance of thesupermarket. A teenage girl, CHRISTA, 15, begins to enter thestore but retraces her steps back Cody’s way. She inchescloser with her eyes directly fixated at him. Cody notices

her and beings to rub his left shoulder.

CHRISTA You a cripple?

Cody is lost for what to say and remains mute. Christaapproaches him and touches the arm of the chair.

CHRISTA (CONT’D)Nice chair you got there.

CODYIt’s nice.

CHRISTA What’s wrong with your shoulder? Isthat crippled too?

Cody stops rubbing his shoulder and puts both hands in hislap.

CHRISTA (CONT’D)What are you doing hanging out at asupermarket on a Monday afternoon?Cripples don’t go to school?

CODYI am traveling.

CHRISTA Traveling?

CODYYeah.

32.



CHRISTA With who?

CODYMy friend. He’s inside getting usfood.

CHRISTA Holy fudge! Are you two runaways?

Cody starts to stutter something.

CHRISTA (CONT’D)You two young sirs were on the newslast night I think. Orphans, theother dude’s black right? Peopleare going crazy like you two are mental patients.

CODYMy mom’s inside. I’m with my mom.

CHRISTA Nice one dude. Well, I’m gonna goinside and talk to your mom. Howdoes she look like? I sure would bedisappointed if I go inside andyour mom’s not a three foot tallblack midget.

INT. SUPERMARKET - MORNING

The cereal aisle is empty except for the ten year oldMarquis. He cups a bunch of change as he walks throughexamining his choices. He picks up a Frosted Flakes box asChrista peers into the aisle.

CHRISTA You’re gonna have trouble eatingthat from an ash tray.

Marquis looks up, puts the cereal back and approaches her.

CHRISTA (CONT’D)It’s just gonna spill all over thepavement. Cereals not the bestchoice for a bunch of runaways.

His eyes widen and his jaws gape open. He immediately walksaway in the opposite direction.

33.



CHRISTA (CONT’D)Don’t worry dude I’m not gonnatell.

Marquis lets out an inaudible curse and shakes his head as hecontinues to ignore her. She runs after him and puts him into

a headlock.

CHRISTA (CONT’D)I’ve always wanted a black youngerbrother.

Marquis struggles to get out of her hold. An old lady walkspast the aisle and Christa lets Marquis go but holds on tohis sleeve.

CHRISTA (CONT’D)So listen dude, here’s what’s gonnahappen. I was looking to runaway

myself. Your little story inspired me, my situation kind of sucks too.So I think I’m gonna join and makeyour little duet into a trio. Yougotta have a girl or it just getsgay.

Marquis takes a moment to analyze what she’s saying.

CHRISTA (CONT’D)You kind of don’t have a choice,either I go with or I tell. Boy will your orphanage be happy, I

might even get a reward.

MARQUISDamn man, but we’re not runningaway were just going to visit aclose relative of ours in Memphis.

CHRISTA I don’t eat buck dude, so save itfor the police officer.

MARQUIS

(frustrated and confused)Ok, ok. You can come. But we’regoing to Memphis, the destinationcannot change.

CHRISTA I’m good with that brosef.

MARQUISYou got money?

34.



CHRISTA I got lots.

She winks and walks backwards while imitating to flash a wadof bills with both hands outstretched. Then throws her handsup in the air and pretends to shower.

CHRISTA (CONT’D)I make it rain on dem hos!

Marquis laughs and shakes his head. He walks down the aisleto catch up to her. Christa wears a huge smile.

MARQUISYou’re weird.

They began to walk side by side.

CHRISTA

Duuuuude, you’re just mad that youcannot make it rain like I do. Didyou SEE the downpour?

EXT. SUPERMARKET - MORNING

Marquis and Christa walk out the store carrying two full bagseach. Cody wheels himself over obviously confused.

CHRISTA If it isn’t the crippled mute.

Marquis darts a stern glare at her.

MARQUISDon’t talk to him like that. Hisname’s Cody and this, Cody, isChrista.

Marquis puts down the groceries and takes off his backpack.He unloads the plastic bags which are filled with bars.

CODYWhat does she want?

Christa throws one bag on his lap and hangs the other on thepalm of the wheelchair. She gets behind it and leans over to whisper in Cody’s ear.

CHRISTA I wanna fly.

35.



Cody turns his face the other way. He raises his rightshoulder to his ear and scratches. Christa continues to utterinaudible speech.

CODYStop, that tickles.

Christa pulls away and ruffles Cody’s head.

MARQUISChrista’s gonna join us.

CODYWhat?

MARQUISI know, I know but I had no choicebut to let her.

CHRISTA Don’t worry dude. You guys aregonna be glad I came.

Marquis crumbles the empty bags and throws them in the trash.

MARQUISShe paid for all this.

CHRISTA Damn right I did. Tell him what Ido and how I do it.

Marquis shakes his head and takes the other two plastic bagsand Cody’s backpack from the wheelchair. He looks up at Codyholding back a smile.

MARQUISShe makes it rain.

CHRISTA Don’t tell, show!

MARQUISAlright, I’ll show.

Marquis finishes unloading the rest of the bags whichconsisted of peanut butter and bread among other things. Heshapes the bag to make the end look like a microphone. Hebegins to rap and stares Christa down as he does.

MARQUIS (CONT’D)Cody, this chick is fly/She would make any grown boy cry/She must bea goddess, or some kind of

36.

(MORE)



wonderful/Cause I just saw her inthere making things colorful/Greenbills everywhere I looked/And from that moment on I knew I was hooked.

He crosses his hands into a pose. Christa cracks up and puts

her arms over Marquis.

CHRISTA We’re gonna get along just fine.

Cody is unamused.

CODYLet’s go Marquis. We’re alreadybehind schedule.

EXT. HIGHWAY REST STOP - MORNING

A taxi cab pulls up to the entrance of a highway rest stop.Christa comes out followed by the boys. The DRIVER, agearound 60, pulls down his window and pops the trunk open.

Marquis pulls the wheelchair out and unfolds it on thesidewalk. Christa takes out money from her wallet.

CHRISTA Thanks for the free ride mister. It was really nice of you.

TAXI DRIVER

(laughing)You put on a show in there, maybe Ishould be paying you.

CHRISTA That’s what I’m saying! I ain’tcheap, its gonna cost you more thanjust a free ride.

TAXI DRIVERHow much do I owe you, Ms. Diller.

CHRISTA The names Petosa, Christa Petosa.

Christa imitates James Bonds famous pose, using her hands asa fake gun. Then she makes an angry face and points the gunat the driver.

CHRISTA (CONT’D)There must be a hundred reasons whyI shouldn’t blow you away right

37.

MARQUIS (CONT’D)

(MORE)



now, right here. But at this momentI just can’t seem to think of one.

TAXI DRIVERIsn’t that a scary thought. Yougotta pretty good mean face there

young lady.

She drops the persona and laughs.

CHRISTA That’s why they pay me the bigbucks.

She flashes the money, smiles at the driver, and hands it tohim. The driver takes it.

TAXI DRIVERIf I could afford it, I would let

you keep it but you know how it is.

CHRISTA Don’t worry about it. You’re mynumber one fan, I’ll dedicate asong to you one of these days.

TAXI DRIVERI will be sure to look out for it.

CHRISTA Have a good day and oh, good luck with your wife’s surgery.

TAXI DRIVERMuch appreciated. Have a nice daynow.

The taxi driver pulls away and Christa turns around to theboys who are in the middle of a conversation.

CHRISTA Look boys, without me you morons would have walked down theinterstate looking like a bunch of

lost sheep. Am I making myselfuseful or what?

MARQUISWe were just talking about you.

CHRISTA (with a southern accent)

I like that! What’s the good talkabout?

38.

CHRISTA (CONT’D)



MARQUISCody doesn’t think it makes sensefor you to come with us.

CHRISTA Come on now kiddo. Why’s that? You

don’t like me? I’m not like thisall the time I’m just hyper I’llcalm down in a bit.

Cody looks down towards the ground embarrassed.

CODYNo, it’s nothing.

MARQUISPeople will raise more trouble if agirl like you is gone missing thanjust us two. But it’s too late now

I guess.

CHRISTA Don’t worry C&M. I’ve been onlygood so far, how old are you two?Eleven? Well I’ve got three yearson you both. Your original plan wasto walk down the highway lookingfor a rest stop, without me you would have been caught by now.

Cody and Marquis look at each other.

MARQUISYou cool now?

CODYYeah, I’m sorry I said anything.

CHRISTA Don’t worry dude. I did kind ofbust in on your party, but Ipromise you won’t regret it.

Cody stays silent for a second.

CODYNow what?

MARQUISLet’s find us a truck driver.

39.



INT. CHARLOTTE’S HOUSE - MORNING

Charlotte and Roland are sitting at the table eating lunch.Roland is much cleaner now dressed in a tight t-shirt andshorts.

ROLANDThey had it against me since thestart.

CHARLOTTESo did you end up going to jail?

ROLANDYes ma’am. For twelve years.

INT. INTERROGATION ROOM - MORNING - FLASHBACK

A young Roland sits in an orange jumpsuit. A YOUNG MAN in his mid 20s walks in. He’s holding his briefcase and a bunch ofpapers under his arm. He throws all of it down on the tableand takes off his suit jacket.

NICKI’m attorney Nick Petosa and thestate has assigned me you as yourlawyer.

INT. CHARLOTTE’S HOUSE - MORNING - BACK TO PRESENT DAY

ROLANDI took a deal they offered. Rattedout all those folks in the gang andgot out in twelve.

CHARLOTTEWhat happened when you got out?

ROLANDI done had to pay for my actions.They found me and beat me till I was inches near death. They threw

me out of the hospital and I’vebeen on the streets since. No onecared that I didn’t die. They sawit fit that I became a crippledbum.

Charlotte starts to cry. She holds out her hand on the tableand he holds it.

40.



CHARLOTTETo think it could have all beendifferent.

ROLANDNo sister, I’ve learned a long time

ago that life chooses bad things tohappen to all of us, some more thanothers. Some people A LOT more thanothers. But it ain’t cause itscruel, its just life. There ain’t a word for it.

CHARLOTTEWell I just wish I could have beenthere for you.

ROLANDI wish that too but you’re here for

me now. These past few days havebeen the best in my life and if theLord takes me away now I could sayI lived a damn good life. I keptclimbing that wall and I keptfalling but I sure am standing ontop of it now.

Charlotte wipes the tears from her face with a handkerchief.

CHARLOTTELet me get you some more pasta.

EXT. HIGHWAY REST STOP - MORNING

Christa and the boys sit on the curb watching truck drivers.A mid aged lady with a mullet gets out of one truck and walksover to the rest stop.

MARQUISHow about her? She seems nice.

CHRISTA Dude, she will take us home and

feed us to her dogs.MARQUIS

How do you know? You shouldn’tjudge people like that.

CHRISTA Trust me Luther Junior, I know mystuff. You should watch more TV,lots of freaks in this country.

41.



CODYWe’ve been looking for over an hournow lets just pick someone.

CHRISTA Patience young one.

A truck pulls in and a man, ED, gets out. He wears asleeveless shirt that’s just inches from covering his wholebelly. He wears a hat with a lady’s leg etched into thefront. His mustache grows out onto the sides of his chin buthis jaw line is naked.

He walks over towards the rest stop but remembers somethingand goes back into his truck. He turns it off and emerges with the key in hand. He starts to walk to the rest stopagain but stops and turns back this time to lock the door.

CHRISTA (CONT’D)

Bingo! I found my Waldo.

Christa gets up and approaches Ed.

CHRISTA (CONT’D)Hi there mister.

ED(gruff, deep voice)

What’s happening there kid?

Marquis and Cody walk up and flank her sides. Ed stares themboth down and then returns his gaze back on Christa.

CHRISTA Where’s a fine trucker like youheaded?

EDJust gotta piss and maybe grab somegrub or something.

CHRISTA And then where to after that?

EDSt. Louis, Missouri.

CHRISTA I’ve never been there mind if wetag along?

EDUgh, why would you want to come with me?

42.



CHRISTA We’re orphans from Chicagoand we have a mean lady that beatsus and treats us horribly. So weran away. We’re trying to get toMemphis. We have relatives that can

take care of us there.

He scratches his head and looks around.

EDIt’s against the law to pick uphitchhikers.

CHRISTA Do we look harmful?

Ed scans them starting with Cody then makes his way right tothe other two.

EDWell I guess not. But I’m headedfor St. Louis. You better findsomeone else here who’s going downthere to Memphis.

MARQUISYeah that probably would be best

Christa elbows him and Marquis yells.

CHRISTA

Take us to St. Louis and we’ll be more than grateful. The lord shinesdown on those who help orphans.

EDWell I don’t believe in no Lord sothere won’t be any shining down on me.

CHRISTA You can always do it for karma.

EDWell I ain’t much of a karma guyeither to be honest.

CHRISTA Well I guess you can do it for goodold fashioned justice.

43.



EDWell justice ain’t much of areason--

CHRISTA Can you please just take us? We

promise we won’t be a bother.

He nervously looks around again and scratches his head once more.

EDWell I don’t see why not. You guys might be good company, I couldteach young kids like you a fewthings about life.

CHRISTA Thanks man, what’s your name?

EDThe name’s Ed.

He puts out his hand for a shake and Christa shakes itfirmly.

CHRISTA I’m Christa and these two areMarquis and Cody.

EDNice to meet you kids. I’ll be over

there pissing, stay here until I am done.

CHRISTA Ok will do Eddie.

Ed walks into the rest stop and Christa high fives the boys.

INT. ED’S TRUCK - MORNING

Cody is sandwiched between Christa and Marquis. Christa sits

near the window and Marquis is the closest to Ed. Thetruckpulls out of the rest stop and into the highway.

CHRISTA So, Eddie McTeddy, where you from?

Ed laughs hysterically, more than is expected for the joke.

44.



EDThat’s good. That’s pretty damngood. Well I’m from the good oldstate of West Virginia. Born andraised.

MARQUISThat’s cool.

CHRISTA What made you want to become atruck driver?

EDWell, I never chose such a job, itjust came to me. My sister’shusband said he had a job if I wanted it. I said ok and here I am.

CHRISTA You like it?

EDWell, it has its perks. I get tolisten to music all the time whichis pretty cool.

CHRISTA What you listen to? Marquis here isa rapper.

ED

Well is he now?

CHRITA Come on Marquis, show him something.

MARQUISAight. (beat) We in a truck makinlike gansters/Takin no questionscause we only got answers/EddieMcTeddy at the wheel/Fresher thanthe softest veal/We comin at you

full blast/So get ready...fast.CHRISTA

(clapping)Daaaamn!

ED(laughing)

I wish I understood what you said.I am not much into that stuff. I

45.

(MORE)



only play one artist in the truckanyhow.

CHRISTA Who’s that?

Ed turns on his stereo and Warren Zevon’s ‘Mohamed’s Radio’starts to play.

CHRISTA (CONT’D)Warren Zevon?

EDYes sir, you a fan?

CHRISTA My mom has a bunch of his CDs and Ikind of like him too. I love thesong about the headless gunner. I

know that song by heart.

EDThat’s a mighty good song. Hereopen that compartment and grab a CDcalled ‘Excitable Boy’.

Christa opens the compartment that’s full of CDs and a gun.She eyes the gun then takes the CD stacks out and goesthrough them.

ED (CONT’D)You boys like this song?

MARQUISSounds a bit too old for my taste.

CHRISTA Wait till you listen to this song.Its fun to sing along to.

ED(to Cody)

How about you there buddy?

CODYI like it. Who’s Mohamed though?

EDOnly the man knows.

CHRISTA Here I found it.

46.

ED (CONT'D)



Ed puts the CD in and changes the tracks until he finds thesong. On cue Christa immediately starts to sing along withthe song.

CHRISTA (CONT’D)Roland was a warrior from the Land

of the Midnight Sun/With a Thompsongun for hire, fighting to bedone/The deal was made in Denmarkon a dark and stormy day/So he setout for Biafra to join the bloodyfray.

The boys looks at each other when Roland’s name is mentioned while Ed cannot help laughing.

CODYDid she just say Roland?

EDYes sir, that’s the song.

Christa and Ed both sing the chorus.

CHRISTA AND EDRoland the Thompson gunner,Roland the Thompson gunner,Roland the Thompson gunner.

INT. RESTAURANT - MORNING

Nick Petosa is sitting with HANK WARD an elegantly dressed,heavy set man with a large beard. Nick is sipping soup whileHank munches on a salad.

HANKThere’s five calories in each pieceof lettuce. I don’t know how it makes any sense.

Nick laughs politely.

HANK (CONT’D)

Sometimes I look at the salads theyput in front of me and I just wishthey would just shove me in thecoffin and be done with it.

NICKI am not much a salad person myself.

47.



HANKNo one likes salads Mr. Petosa. Ifit didn’t help man with his desirefor immortality no one would eatthem.

NICKYou are probably right.

HANKNow you say you found somethingthat could help me out.

Nick nods his head and takes out papers from a suitcase. Hehands them to Hank.

NICKRead what’s highlighted.

Hank takes out his glasses and begins to read. His facelightens up and he smiles.

HANKAhh Mr. Petosa. This is why I payyou the money I do.

NICKIn my opinion this is pretty much ashut--

HANKMr. Petosa.

NICKYes?

Hank leans back on his chair and motions for the check.

HANKIf I told you there was a a path toimmortality, would you ask me howto find it?

NICK

I am not sure I understand sir.HANK

If I offered you immortality wouldyou accept it?

Nick uncomfortably looks at his watch.

48.



NICKI don’t think I would want to liveforever.

HANKMan’s only goal in life is to live

forever Mr. Petosa. All this moneythat I have in my accounts, allthese luxuries. I want to live tosee every penny of it spent. Thisis why I eat this salad.

NICKThe author of the Epic of Gilgamesh would probably disagree.

HANKYou’d probably disagree Mr. Petosa.I heard you don’t value life at

all.

NICKSir?

HANKYou and your wife...your daughterhad a--

NICKSorry sir but that’s private.

HANK

Mr. Petosa, what your wife did wasright. It’s sad to see a good womansuffer for making sure the Lord’s miracle is carried out and notsnuffed or should I say murdered.

Nick is extremely uncomfortable and irritated. The waitressplaces the check on the table and Nick takes it. Hank takesout his wallet and hands a card to the waitress.

HANK (CONT’D)Take it from him before he makes a

fool of himself.The waitress laughs and takes the card from Hank and thecheck from Petosa.

NICKThat was unnecessary, Mr. Ward butthank you.

49.



HANKMy pleasure. What you just did for me right here is going to make meeven richer and a little bithappier.

Nick takes the papers and puts them back in his briefcase. Heglances at his phone and something catches his attention.

NICKI’m sorry sir. I think someone’s introuble.

Nick begins to get up while reading something on his phone.

HANKWhat’s the matter?

NICK

I don’t know. Sorry sir but I haveto go.

Nick storms out of the restaurant.

INT. ED’S TRUCK - NIGHT

The kids have shifted their seating arrangements with Marquissitting next to the window, Christa in the middle and Codyclosest to Ed.

ED

This is the closest I can get youkids to downtown. There’s a coupleof hotels you can stay at downthere.

MARQUISHotels? We’re orphans not childstars.

CHRISTA Don’t mind him. Thanks for the liftEddie.

EDIt’s been a mighty fine pleasure.

Christa shakes Ed’s hand and Marquis does too before theyboth exit. Cody doesn’t move and looks up to Ed.

CODYDo you really believe that there isno life after this one?

50.



EDPretty sure its just pitch black.

CODYThen what do you do if your lifehere sucks?

EDWell, you try your best to make itas fine as you can. But if youcan’t and you die face down in apile of shit then you probably won’t remember your shitty lifecause you won’t exist.

Cody, depressed, shakes Ed’s hand and scoots down the seat toleave.

ED (CONT’D)

Here kid, take this album. I cantell when I see a future fan.

He hands a greatest hit compilation to Cody. Cody takes itcautiously with now delighted eyes.

ED (CONT’D)You can listen to Mohamed’s Radioand tell me what you think it means.

CODYThanks, Ed.

EDNo problem. You’re quiet but yougot something in you my friend.Don’t worry too much about yourlife, it’ll take care of you aslong as you keep on trying. MaybeMr. Zevon here can get your mindoff your troubles for a second.

Cody smiles and shakes Ed’s hands again. This time with moreforce and enthusiasm.

ED (CONT’D)It’s been a pleasure kid. Now go onafter your friends.

INT. TONY PETOSA’S HOUSE - FRONT DOOR - NIGHT

The doorbell rings and EVE, Tony’s wife, answers it. Her faceis red from crying. Nick walks in and holds Eve’s hands.

51.



NICKIs Tony here?

EVEYes but he’s not taking thisseriously.

Tony comes out of the living room.

TONYShe’s fine, I’m sure she’s hidingsomewhere. It’s normal.

EVEITS NOT NORMAL, SHE COULD BE INTROUBLE.

Nick takes her into his arms.

NICKCalm down Eve, its okay. Have youcalled the police?

TONYNo, she could come back any minute.

NICKCall the damn cops Tony. We gottafind her, what if she’s hurt?

Tony rolls his eyes and walks back into the living room. Nickshakes his head and lets go of Eve.

NICK (CONT’D)Tell the ploice everything. Makesure everything is still here, ifshe ran away she would haveprobably taken something.

EXT. DOWNTOWN STREET - NIGHT

The clock just struck midnight, it is now Tuesday. Thestreets are relatively empty except for the usual

nightcrawlers. The kids stand out as they march down theavenue. Cody eyes his CD case while Christa and Marquis talk.

MARQUISAre you sure they won’t charge ituntil the end?

CHRISTA Yes dude, I’m sure. That’s why Ibrought it with me. We leave early

52.

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tomorrow morning and we should beout of the city by checkout time.They can search for us all they want but won’t find shiite.

MARQUIS

(excited)So lets find us a hotel.

CHRISTA And lets look for one that has goldplated toilets.

MARQUISYou hear that Cody? We’re spendingthe night in a fancy hotel.

Cody who has been lost in thought looks over to Marquis.

CODYReally?

CHRISTA Yeah kiddo. All thanks to thebiotch you guys brought with you.

CODYLet’s order from the service menu!

CHRISTA Loving the enthusiasm bro.

She puts Cody in a loose head lock as they walk.

CHRISTA (CONT’D)Let’s live it up dudes.

INT. LUXURY HOTEL - NIGHT

Christa stands alone across the hotel counter smiling at theATTENDANT. His blank expression doesn’t change. Christa putsher arms on the counter then places her chin in between themand taps a credit card.

CHRISTA So do you always work the latenight shift?

The hotel attendant looks up from his computer.

HOTEL ATTENDANTWhen I have to, not everyone hasrich parents who spoil their kids.

53.

CHRISTA (CONT'D)



Christa pushes herself away from the counter and slides thecredit card towards him. The attendant takes it.

CHRISTA You know I got some monkeyrepellent in my bag somewhere you

want some?

The attendant doesn’t respond. He puts the hotel cards on thecounter.

HOTEL ATTENDANTHere are your keys. Your room isthrough that elevator, top floor.

Christa takes the keys and puts them in her bag.

CHRISTA Are you sure you don’t want that

repellent? The monkey’s just gonnakeep on climbing and climbing andyou’re gonna get angrier andangrier.

The attendant makes a face at her. The shift supervisor walksout of the back room.

SUPERVISORIf there’s anything we can doplease let us know.

CHRISTA

(to the supervisor)Ms., we gotta situation here. Thereseems to be a monkey lodged up inthat young man’s behind. Now Ican’t go to sleep knowing that he might just flip out any second andkill everyone, including you.

The attendant gets extremely nervous and makes faces behindthe supervisors back.

SUPERVISOR

I am sorry honey. I’m confused.CHRISTA

Oh never mind. I just think hebirthed it out just now.

She winks at the attendant and waves to the supervisor.

CHRISTA (CONT’D)Have a good night.

54.



She approaches the boys who are sitting on the lobby couches.

CODYThis place is awesome!

CHRISTA

Lets go. We got a party up in thepenthouse suite.

INT. PENTHOUSE SUITE - NIGHT

The door opens and Christa steps to the side to let the boysrun in. They are amazed and dazzled by everything they see.Cody jumps on to the bed and Marquis looks over towards theview.

MARQUISYou can see the Arc from here!

Cody finds the remote and turns on the TV.

CODYI’ve never watched TV on such a bigscreen.

Marquis walks over and grabs the remote from Cody. Using itas a microphone, he begins to rap. He climbs on to the bedand pretends to touch fans as if he were on stage.

Christa slowly struts in with a huge smile. She takes Cody’sCD and ejects it into the stereo. She chooses ‘Poor, Poor

Pitiful Me’.

Cody climbs on to the bed and pushes Marquis off of it andtakes the remote and begins to badly mouth out the words tothe song. Christa and Marquis began to playfully dance. Aftera moment Cody jumps down and shuts the music off.

CODY (CONT’D)Let’s get food!

LATER

The boys and Christa sit at the table around a service menufeast.

CHRISTA Isn’t this fun?

CODYSo much fun.

55.



MARQUISI have to say, this was a goodidea.

CHRISTA What’d I tell ya?

CODY(with a stuffed mouth)

Won’t your parents think you werekidnapped?

CHRISTA Good! Maybe if they are forced inthat situation they would start to work together to find me.

MARQUISWhy wouldn’t they work together,

aren’t they married?

CHRISTA Fresh off the divorce oven, hot andeverything.

CODYSo they are not together anymore?

Christa becomes increasingly agitated.

CHRISTA Yeah dude, keep up.

CODYWhat made them not like each other?

CHRISTA What’s with all the questions kid?You don’t talk all day and nowyou’re Barbra Walters?

A moment of silence follows the outburst.

CODY

You don’t have to hide anythingfrom us. Our lives suck too.

MARQUISBoy am I full and sleepy.

He gets up and takes off his shirt. Christa and Cody stay atthe table munching on food.

56.



MARQUIS (CONT’D)I think I’m making myself a bath.

He heads over to the bathroom.

CHRISTA

What’s your story?

CODYI don’t have one. My mom gave meaway cause she couldn’t raise me.She was fifteen.

Christa plays with her food.

CHRISTA Shiite.

CODY

Roland said that she did the rightthing but that the system did me wrong. She loved me and that’s whyshe let me go.

CHRISTA I’m sure she would be proud to seeyou now.

Cody smiles at her then looks down and rubs his leftshoulder.

CODY

I wanna find her someday.

CHRISTA Have you tried?

CODYNo, they keep her identity asecret.

CHRISTA Then she’s your Waldo.

CODYMy Waldo?

CHRISTA Yeah, someone or something you needto find in a seemingly crowdedpicture, everyone’s got one whetherthey know it or not.

57.



MARQUISWhat do you have in mind? Do youhave another card?

Christa looks around as people whiz by her. She takes off herbackpack and opens the first pocket revealing a gun. Marquis

and Cody jump back.

MARQUIS (CONT’D)A gun?

CHRISTA (smiling)

We armed and we dangerous.

CODYWhere did you get it from?

CHRISTA

Ed’s glove compartment, swiped it when we stopped to eat.

MARQUISWhat does a gun have to do with usgetting to Memphis?

CHRISTA Were running out of cash--

MARQUISSo were gonna rob people’s money?Are you crazy?

CHRISTA Not people per say, I was thinking more of a grocery or convenientstore.

Marquis shakes his head and walks away.

MARQUISNo, Christa, no. This is not a goodidea.

She grabs his shirt and turns him to her.CHRISTA

Listen. Were not going to hurtanyone. We walk in....

She distances herself from Marquis and makes her hand into agun and puts it in her pocket.

59.



CHRISTA (CONT’D)I pull out the gun.

She takes out her fake gun and points it at Marquis.

CHRISTA (CONT’D)

I ask for the money, you two grab abag and put all the cash in it.Then we run. It’s that simple. Noone gets hurt and we head off toMemphis.

MARQUISYou’re crazy. Isn’t she crazy Cody?

CODYI don’t know she’s been right sofar.

CHRISTA This is the quickest way. What arethe chances we actually find atruck driver headed for Memphis?

MARQUISI guess you’re right.

CHRISTA Aight gangsta.

She puts an arm over each of them and start to walk inunison.

CHRISTA (CONT’D)At the end of the day, your gonnabe with your boy Roland. Now letshave a little fun in the city.

MONTAGE - SIGHTSEEING SEQUENCE

-- The kids ride a bus tour

-- They goof around at the Arc and other sites

-- They buy ice cream at a stand in the park

END MONTAGE

60.



MARQUISGas leak, we’re taking care of itright now.

WOMANWhat about the food?

MARQUISDon’t worry we will take care ofit. There’s another store down theother street.

INT. CONVENIENT STORE - MORNING

Christa pulls out the gun and points it at the clerk. Theclerk does not notice until she begins to speak.

CHRISTA

All we want is the money.

The clerk looks up and is startled. Cody opens theretractable door to the counter and takes off the backpackand opens it.

CHRISTA (CONT’D)Don’t think I won’t blow the shiiteout of your brain kid. We’re allorphans and we have nothing tolose.

The clerk stares into Christa’s eyes and motions himself to

the cashier.

CLERKAnd I thought I had seeneverything. You two have a lotof....

CHRISTA I didn’t ask for a runningcommentary! Just give us the goddamn cash!

The clerk is convinced that Christa might actually shoot him.He nervously tries to open the cashier but it won’t open.

CLERKIt won’t open it’s jammed.

CHRISTA Don’t give me that bull. I swear toGod if you don’t open it a bullet

62.

(MORE)



is going through your skull inabout two minutes.

The clerk becomes more desperate as he tries to open theregister. Christa rolls her eyes. She keeps the gun pointedat the clerk as she creeps towards the counter door.

CHRISTA (CONT’D)Some things in here don’t react well to bullets, you better praythat you’re not one of them.


Marquis looks into the door and doesn’t see anything. Helooks around. A young BOY walks up.

MARQUIS

It’s closed.

HISPANIC BOY(confused)

No it isn’t.

MARQUISThere’s a gas leak.

A mid aged MAN walks up besides the boy.

BOYDad, this boy says the store’s

closed. He says there’s a gas leak.

MANA gas leak? What? No one told me.Where’s Andy?


Christa opens the door to the counter and motions Cody over.

CHRISTA

Take the gun for a second.Cody who has been calm to this point gets nervous.

CODYI, I, I’ve never handled a g-gunbefore.

63.

CHRISTA (CONT'D)



CHRISTA DUDE! Just hold it and point it atthe bastard. There isn’t much toit. If he tries anything just pullthe trigger. (looks at the clerk)and try to to aim it between his

eyes.

Cody sighs, drops the bag scratches his left shoulder for asecond. Christa still has the gun pointed at the clerk, who’sstill trying to open the register.

EXT. CONVENIENT STORE - MORNING

MARQUISI’m sorry sir it just happened.

The man is frustrated and tries to pass Marquis to enter the

store.

MARQUIS (CONT’D)Sir, you can’t go in.

MANWho the hell are you? This is mystore, did Andy tell you to standhere? Did anyone call the firestation?

Marquis’ mind is racing and he can’t seem to think of what tosay. The man tries to look into the store and Marquis blocks

him.


Cody walks over to Christa’s left side. She kneels down onone knee and carefully tries to hand it over to Cody, whilestill pointing it at the clerk. The clerk has given up on thecashier. Cody’s hands are shaking.

CHRISTA Stop shaking Cody.

CLERKAre you really going to shoot me ifthis doesn’t open? I swear itsnever...

CHRISTA Holy mother of Shiite, shut thefudge up!

64.




The man pushes Marquis out the way and grabs the storehandle.

MARQUIS

Andy is in the hospital. He told meto....

MAN(turning around)

Andy is in the hospital? Where?


Cody’s hands palm the gun, his index finger slides throughthe trigger guard and the tip rests on the trigger blade. Thegun is still pointed right at the clerk.

CHRISTA You got this Cody. You’re the man.

Cody nods.

CHRISTA (CONT’D)(as she’s letting go ofthe gun and getting up,to the clerk)

Now moron here’s....

The gun goes off. Cody drops the gun. The clerk’s feet

stutter in place. He looks down at his chest. He looks up,coughs, blood streams from his mouth and nose.

CHRISTA (CONT’D)WHAT DID YOU DO?!

Cody is silent, his jaws agape. Christa looks over at theclerk who is still standing, his eyes staring at Cody. Hestumbles back a step then falls to the ground. The registerRINGS opens as his body hits the ground.

EXT. CONVENIENT STORE - MORNINGMARQUIS

Somewhere downtown, he just told me....

MAN(grabbing Marquis by thecollar)

Where is he?! He’s my goddamn son!

65.



A shot is heard at the end of the father’s sentence.


Christa crouches over the boy’s body who’s shirt is soaked

with blood. She lifts his head up and rests it on her leg.

She tries to talk to him.

CHRISTA Don’t die dude!

The door opens and the man runs in.

MANWho’s in here?!

Christa and Cody are unseen behind the counter. Christa

thinks to herself for a moment. She gestures at Cody to slideher the gun.

Marquis and the boy enter, both wearing the same confused and worried expression. The man looks around and steps closer tothe counter.

MARQUISWe can’t stay in here there’s a gasleak.

The man looks back at Marquis.

MARQUIS (CONT’D)I don’t think the gun shot was from here.

Christa holds the gun with one hand. The boy is still alive,he spits out more blood as he stares at Christa. His mouthbegins to mouth something. After two inaudible tries he musters out a loud sound followed by a gush of blood.

CLERKD-d-dad!

Christa takes her leg away from under his head. The man turnsand runs to the counter door. Christa holds the gun with twohands and jumps up on her feet. She points the gun arounduntil she fixates it on the father.

CHRISTA Don’t move! Do NOT MOVE!

The man stops. He can’t see his son on the floor from hisposition.

66.



MANWhat the hell is going on here?Where is my goddamn son?

Christa is fighting tears. She walks over to the openregister.

CHRISTA Cody, take all this money and putit in the bag.

Cody is sitting on the floor. He grabs the bag and begins toput the cash in the bag. He stares at the body as he works.

MANAre you bastards robbing me?

The man makes a move to open the door.

CHRISTA If you open that freaking door I will shoot you. Hurry up Cody!

The man sees his son lying on the ground and without thinkingopens the door.

MANIs that...what did you do?

CHRISTA Another step and I will shoot!

The words are not heard by the man as he runs in as Cody zipsup the bag. The man pushes Cody who falls to the ground.Christa sidesteps the man who drops to the body of his son.

MANAndy!

The boy is unresponsive. Christa’s eyes are rushing withtears. She lowers her gun.

CHRISTA We gotta run.

Christa grabs Cody with her free arm and exits the counter.She runs past Marquis and the little brother. Marquis followsthem out. The man begins to weep loudly and the brother runstowards the counter.

67.




Christa runs down the quiet street towards the busyintersection. Cody runs behind her and Marquis sprints tryingto catch up. They reach the intersection, all panting.

CHRISTA Hail a cab!

Marquis waves frantically for cabs. Two pass by him. Christa,still crying, takes Cody’s backpack and tries to cover theblood stains on her shirt.

CODYWe should go back.

A cab finally pulls over. Marquis opens the door and motionsthem to come. Christa jogs over and enters. Cody stays on thesidewalk.

MARQUISCody!

Christa puts her head out.

CHRISTA Cody! If we go back we go to jail,do you want to go to jail?

Cody looks back as distant sirens can be heard. Cody walksover and enters. Marquis closes the door and gets in thefront seat. The driver, RAHEEM, 22, is a skinny black man

with a bandana. He turns to Marquis.

RAHEEMWhat the fuck is she talking aboutjail?

MARQUISShe was just joking. Can you pleasejust start driving?

Raheem starts to pull out. Cody starts to cry.

RAHEEMSomethings up nigger. There’s twocute white kids in the back of mytaxi cryin. (looks up into his rear mirror) and...is that fucking bloodon the chick? (he turns around)That is fucking blood!

MARQUISIt’s not what you think.

68.



There’s three BLACK MEN in their twenties sitting on theporch. Raheem turns off the car and gets out.

RAHEEMYo Paul is the Boss in.

PAULYeah.

RAHEEMWait till you see what I got forhim.

INT. SATELLITE HOUSE - LIVING ROOM

THE BOSS, a large overweight black man with large sunglassesand a beard sits on a couch. He is surrounded by TWOBODYGAURDS who carry AK-47s.

The living room belies the outside of the house and is modernand clean. There is a flat screen TV mounted to the wallplaying the news on mute. The living room is set up like anyliving room a rich suburban family would have.

The kids sit together smooched into a love seat opposite theBoss. He stares in their direction without saying a word.Raheem stands at the door of the entrance way. The Boss takesout a cigar and lights it.

THE BOSSWhy the fuck are these kids here?

RAHEEM(walks to the middle ofthe living room)

I told you, they killed a man andneeded....

THE BOSSI heard you the first time. I stilldon’t understand why you wouldbring them here. (getting louder with each sentence) To the fucking

satellite house! To my house! Tothe headquarters of the gang!

Raheem is taken back from the response.

THE BOSS (CONT’D)How many times after you fuck up doI get the right to kill you?

He takes out a gun and looks at both sides of it.

70.



THE BOSS (CONT’D)Do you know anything about them?What happens if they rat us out?

RAHEEMI don’t know--

THE BOSSThe gang is DONE! That’s whathappens. Now the safest thing to dois to kill them all.

He points his gun at the kids who sit in frozen fear.

RAHEEMMy b, boss, my b. I just thoughtthat maybe we could help them. It’skarma, I’ve been reading up on it.

THE BOSS(points the gun at Raheem)

Is it cruel to punish a retard?After all he doesn’t know what he’sdoing.

The bodyguards grunt, Raheem starts to get nervous.

RAHEEMI’m sorry Boss, I’m sorry.

CHRISTA Take it easy Boss. We don’t want to

cause any trouble.

Everyone looks at Christa.

CHRISTA (CONT’D)We robbed a store trying to get money and we ended up killing aninnocent boy by accident. All we want is a place to lay low for abit. We promise not to do anythingdetrimental while we are here. Wecould care less about you or the

gang.THE BOSS

You got balls pretty lady. You gotBIG balls.

He laughs and shakes his head.

71.



DARRELLI saw it on the news. You werelike....

He stands on his bed and pretends to shoot and be shot.

TRINA Stop it Darrell, it’s not funny.(to the kids) Dinner will be readyin thirty minutes.

She leaves the room.

DARRELLSo why did you guys shoot a kid?

The trio look at each other.

MARQUIS

What happened?

CHRISTA I don’t know.

CODYI killed him.

CHRISTA It’s not your fault.

CODYYes it is.

CHRISTA You didn’t intentionally pull thetrigger.

CODYYes I did! This is all your fault!If we had just gone to Memphis like we planned we wouldn’t be in thisplace.

He picks up a toy on the ground and throws it on the wall. It

shatters. Christa, Marquis and Darrell stare, surprised atCody’s anger.

CHRISTA Dude.

74.



INT. KITCHEN - NIGHT

Trina, Darrell and the kids sit at the dinner table in the midst of dinner. There’s a dish of pasta in the middle and abroken piece of bread. Cody plays with his food.

CHRISTA So the Boss owns this house?

TRINA Yeah, my brother and Darrell’sfather were shot in a gun fight with another gang. He gave us thishouse and a stipend for the loss.

DARRELLMy dad died a fighter!

CODY

Fighting isn’t cool.

DARRELLYou can’t say that. You a fighteras well.

Cody gives Darrell an evil glare.

CHRISTA Why did he choose to put us here?

TRINA I owed him a favor.

CHRISTA Well thanks for having us.

Trina forces a tired smile.

INT. TONY PETOSA’S HOUSE - LIVING ROOM - MORNING

The Petosa family watches the news: Roland is speaking at anews conference outside his house.

ON THE TVROLAND

I treated dem boys like they were mine. We were close, and when Idone left, I didn’t tell them. It was a mistake.

75.



NEWS REPORTER(O.S.)

Did you know the girl?

ROLANDNo ma’am I’ve never seen her ever.

BACK TO SCENE

Nick sits with Eve and ASHLEY, his 25 year old daughter.

EVENone of this makes any sense.

NICKLet’s just hope she’s ok. They’rebound to turn up.

Ashley’s phone rings and she answers it.

ASHLEYYes, who is it?

She motions for the TV to be muted. Her face turns white, shesits down.

EVEWhat’s wrong?

INT. SATELLITE HOUSE - BATHROOM - MORNING

Christa is on her knees scrubbing the toilet. One of theBoss’ bodyguards, JALEN, stands at the door.

JALENGet out honey, I need to take adump.

CHRISTA Wait till I’m done you filthyanimal.

JALEN

What’s the point little girl?You’re just going to have to cleanup after me.

CHRISTA (throws the sponge on thefloor)

I bet you’re the kind of guy that would fudge a person in theirbehind and not even have the common

76.

(MORE)



courtesy to give him areach-around.

JALENWhat?

CHRISTA (getting up)All yours buddy.

INT. ROOM - MORNING

The boys are around a table with bricks and hills of coke.The UMMAH, a tall, tough, muscular black man in his thirtiestalks to the boys. He is The Boss’ right hand man.

THE UMMAHYou kids ever seen crack before?

The kid’s look at each other. They shake their heads. Hethrows them a small bag.

THE UMMAH (CONT’D)Well this is what you’ll be runnin with all over Cobra’s turf.

EXT. TRINA’S HOUSE - PORCH - NIGHT

Cody and Marquis sit on the steps of the porch.

MARQUISHow long has it been since we left?

CODYI don’t know, three days I think.

MARQUISIt feels like a year.

CODYI know.

Christa comes out holding Cody’s stripped socks. She sits inbetween them.

CHRISTA Here it buddy. We washed it in thesink, the room won’t smell anymoretonight.

CODYThanks.

77.

CHRISTA (CONT'D)



She puts her arm around Cody.

CHRISTA We’re all haunted by what we did.Don’t think it’s only you.

Cody looks at the ground and places his socks to the side.

CODYI just don’t understand why ithappened. Why God would allow it tohappen?

MARQUISIt’s just like Roland said. If youstart asking questions, you’ll missthe answer.

CODY

When are we going to see Roland?

CHRISTA I don’t know but I can’t do thechores I did again.

CODYWhy don’t we just leave tomorrow?

CHRISTA Runaway?

CODY

No, lets just see if they’ll let usgo. Maybe give them the money westole and see what the Boss says.We’re all over the news andeveryone here knows us. Sooner orlater the cops are gonna find out we’re here.

CHRISTA Sounds like a plan kiddo. Lets goinside and introduce Darrell to ourgood old friend Mr. Zevon.

They all get up and go inside. The stripped socks are leftalone to lay on the porch steps.

INT. BEDROOM - NIGHT

Christa marches into the room and tackles Darrell who’s inbed. Cody walks in with an old stereo.

78.



He plugs it in and puts in his CD. He changes it to the song"Desperados Under the Eaves." Christa stops tickling Darrelland gets up.

CHRISTA You trying to get us depressed?

CODYIt fits my mood.

She changes the CD and plays "Johnny Strikes Up the Band."She mouths the first few lines of the song as she grabsCody’s hand.

CHRISTA Dry your eyes my little friend/Let me take you by the hand.

He can’t help but smile as she starts to dance with him.

Darrell joins in. She lifts him up into the air and throwshim on the bed. He gets right back up and pretends to strumon a guitar. They all start dancing in the room.

TRINA (walking in)

What’s all this noise?

Marquis takes her hand and pulls her in.

MARQUISShow me a move sister!

TRINA Boy, I’ll show you moves.

She starts skillfully dancing, Marquis tries to out do her.They all laugh and continue to dance all over the room.

INT. TONY PETOSA’S HOUSE - BEDROOM - NIGHT

Ashley cries alone in the guest bedroom. Nick opens the door.

NICK

Can I come in?She nods and he sits besides her.

ASHLEYI never thought...I don’t know howthey found out.

79.



NICKIt’s the media, they’ll do anythingto get a good story.

ASHLEYI can’t believe its been ten

years...ten years...god Dad itfeels like yesterday.

NICKI feel the same way.

ASHLEYI didn’t mean to split up thefamily.

She cries more and Nick holds her in his arms.


The crew walk in to find the Boss as they had seen him whenthey first met. The Ummah paces the living room floor.

THE BOSSWell if it isn’t my refugees.

They sit on the couch this time spreading out. Cody sitsclosest to the Boss. The Ummah stands motionless watchingthem.

CHRISTA

It’s been fun but we want out boss.

THE BOSSBut you were just starting to enjoyyourselves.

CHRISTA (pointing to thebodyguard)

I wouldn’t call cleaning after thatpiece of shiite as fun.

The bodyguard points the Ak-47 in her direction.CHRISTA (CONT’D)

You wish.

CODYWe will give you the money we stolethat day if you give us someone todrive us down to Memphis.

80.



The Boss stares Cody down.

THE BOSSAre the girl’s balls contagious?Who said you could speak?

CODYI just want to leave.

THE BOSSHow much money you guys got?

CODYWe have one hundred and thirtyfive.

THE BOSSI was asking the girl.

He looks at her and nods as if to give her permission toanswer.

CHRISTA Um, like he said: one hundred andthirty five.

THE BOSSThat’s not enough.

CHRISTA What more do you want?

THE BOSSHow do I know that you guys won’trat us out? It’s a risk that Ican’t take.

CODYWe promise we won’t say anything.

THE BOSSWho the fuck told you to speak?!Get out of my sight. (toMarquis) And you too.

The boys can’t tell if he is serious or not so they stayseated.

CHRISTA Cool it Boss man. Are you thinkingof holding us here forever?

81.



THE BOSSNo...but I would feel a lot betterif there was blood on your hands.Not just a random boy’s blood(leans over) I’m talking real gangblood.

CHRISTA What are you suggesting?

THE BOSS(eying the boys)

The devil is going to be happy withyou two. (to Ummah) I found yourfoot soldiers.

INT. VAN - MORNING

A van is parked in the middle of an abandoned parking lot.Marquis and Cody sit in the back seat. They both wearoversized NBA jersys and jeans. The boys are sweatingprofusely. The Ummah sits in the driver’s seat.

THE UMMAHBoys ready?

He taps a small package in a blue gift wrapper on thedriver’s seat.

MARQUISWhat if we mess up?

THE UMMAHHopefully heaven.

Cody feels his chest. There’s something strapped underneathhis shirt. He shakes his head, sweat still dampening hisskin.

CODYHow can you do this to two kids?

THE UMMAH

I do what I’m told.CODY

You don’t believe in karma?

The Ummah turns around and slaps Cody. Marquis spits in theUmmah’s face. He grabs Marquis by the throat for two secondsand lets him go. He gets a hold of himself.

82.



THE UMMAHThis has everything to do withkarma. Just do it right and you’lllive. You know what to do.

INT. SATELLITE HOUSE - BASEMENT

Christa paces the empty basement floor. Jalen, the bodyguard who interacted with Christa before, stands at the foot of thestairs.

CHRISTA How many times do you go down onthe Boss on a given day?

The bodyguard doesn’t say anything.

CHRISTA (CONT’D)

From looking at your face and howyou eye him, I’m thinking aboutseven. Once in the morning, oneafter lunch. Oh you can’t forget--

He shoots the ground beside her with his gun and she fallsover.

EXT. NEIGHBORHOOD STREET - MORNING

Cody and Marquis walk down another neighborhood similar totheir own place of current residence. Cody holds the package.

MARQUISThere it is.

CODYI can’t believe we’re going to killagain.

MARQUISThis is different man. He’ssupposed to be a rapist and anyways we don’t have a choice. Either a

rapist dies or we do.He feels his shirt.

MARQUIS (CONT’D)I hope these don’t malfunction.

CODYThis is suicide. Literally.

83.



They walk across the street and pass a red Dodge parked in adriveway of an average house. Marquis looks around and theysneak in. They crouch between the fence and the car. Codytakes the package and sticks it under the driver’s seat.

MARQUIS

I think my heart stopped beating.

They are about to run out when, MIKE, a scrawny 26 year oldblack man, walks on to the porch.

MARQUIS (CONT’D)Wait...damn!

Mike steps down into the driveway exit. The boys try to getbehind the front of the car but are making too much noise.Mike turns around and sees them.

CODY

Run!

Marquis grabs unto Cody’s arms and pulls him back. They standup.

MARQUISWhat’s up man? We’re just playinghiding seek.

Mike walks over.

MIKEReally?

MARQUISYeah sorry to trespass we’ll be onour way.

They try to walk past Mike and he grabs on to the back ofCody’s shirt. His back is revealed. Mike is intrigued.

MIKEWhat’s strapped on to your back?

CODY

Nothing just bandages.Mike pulls off the jersey and a bomb is strapped unto toCody’s stomach.

MIKEIs that a bomb?! (pulling out agun) don’t move!

84.



THE BOSS (CONT’D)Don’t take it personally kid. It’sjust business.

He motions for her to be taken away. At that moment, theUmmah barges in.

THE UMMAHWe in trouble.

INT. MIKE’S HOUSE - BEDROOM - MORNING

The boys, shirtless, are tied behind their backs on thefloor. Mike is joined by STEVE and TERRANCE, black men intheir twenties. Terrance wears glasses, a shirt and a tie.Steve wears a sleeveless shirt.

TERRANCE

(examining the bomb onCody)

They’re wireless.

MIKEWireless?

TERRANCEYeah they can be detonated from anywhere.

MIKEYou sayin they could blow up any

second?

TERRANCEYeah. If the goal was to bomb thishouse then it should have beendetonated by an outside force bynow.

MIKEThese suicide bombers ain’t got nocontrol over their bombs?

TERRANCEYeah. You guys should take them outof here as soon as possible.

MARQUISWe told you guys, we were going tobomb an abortion clinic, just letus go.

87.



MIKEI don’t see no abortion clinicaround here.

MARQUISWe were waiting for a ride!

MIKEBullshit!

STEVECan’t you defuse that shit?

TERRANCEI can’t. The wires are beyond myabilities.

MIKEYou dressed like a fucking nerd and

you tellin me that you can’t doshit?

TERRANCEI’m sorry Mike. I just--

He throws Terrance out the bedroom.

STEVEYou thinkin this is the BulletCrew’s doin’?

MIKE

I don’t know. They gone using kidsnow?

STEVEThey be doin’ worse things.

MIKEWe gots to get them out NOW!


Christa is still in the living room being held by Jalen. TheUmmah sits on the couch closest to the Boss who is pacing theliving room.

THE BOSSIf the kids squeal, we’re lookingat the bloodiest gang war Cobra hasever faced.

88.



THE UMMAHForty-five minutes. That’s all itsgonna be.

THE BOSSIt could be too late.

CHRISTA Give me a chance--

Jalen puts his hands on her mouth.

THE BOSSWhat did I say about touching thegirl?!

Jalen takes away his hand.

CHRISTA

Just give me a god damn chance tosave them.

THE BOSSAlone?

CHRISTA Yes. No one will know that I’m withyou filthy bastards, just pleasegive me a chance.

THE BOSSYou want to die with them too?

CHRISTA God damn right I want to die withthem, they’re my friends.(mockingly) Then I can be a real martyr.

THE UMMAHFory-five minutes, Boss. It doesn’t matter.

THE BOSS

If I’m going to let you do this noone involved in this gangcan help you. It’ll be you and whoever you round up. And...I’m goingto detonate in forty-five minutesno matter what.

CHRISTA Just give me a gun, all I need is agun.

89.



THE BOSSI can give you guns.

INT. TRINA’S HOUSE - LIVING ROOM - MORNING

Christa storms into the living room out of breath.

CHRISTA Darrell, do you know how to contactRaheem?

DARRELLYeah I think so, what’s wrong?

CHRISTA It’s time for a fight.

EXT. TRINA’S HOUSE - BACKYARD - SUNSET

Christa and Darrell sit on the ground. In between them lies abig black duffel bag. Raheem walks in and the kids both getup.

CHRISTA Finally dude. Like there isn’tsomeone’s life on the line.

RAHEEMYo Christa, I don’t know what youthink you want me to do--

CHRISTA You brought us to a fudging physco!Now if you don’t help me, Cody andMarquis’ brains are gonna be allover the freaking sidewalk! Come on we got guns.

RAHEEMMan, I ain’t handled a gun before.I am no gansta. I just thought they would take care of you that’s all.

CHRISTA Well, they sure are taking care ofus.

DARRELLCome on Raheem. We got it in ourblood, lets catch some bad guys!

90.



EXT. CHARLOTTE’S HOME - PORCH - NIGHT

Roland sits on the porch. He stares at a bird’s nest in oneof the trees on the lawn.

A red truck races down the quiet neighborhood and passes the

house. The same truck turns around at the end of the streetand comes back. It slows once it reaches Charlotte’s houseand pulls in the drive way. RICK, an old white man, aboutRoland’s age, climbs out. He wears a cowboy hat and jeans.

ROLANDCan I help you sir?

RICKNever thought I’d see the day.

He walks up to the porch and stands in front of Roland.

RICK (CONT’D)You look mighty different in personthan you do on TV.

ROLAND(laughing)

You’ve come for an autograph?

RICKNo, no. I’ve come for more thanjust an autograph.

ROLAND

Well what can I do for you?

RICKYou god damn niggers.

Roland senses the tension and adjusts himself in his seat.

RICK (CONT’D)You all just love getting introuble. (paces the porch)Thensometimes us white folks getblamed. Maybe its because we did

wrong all those years that we now must suffer unjustly. I hear theycall it karma.

ROLANDSir, I don’t understand, I thinkyou got the wrong person.

92.



Christa, surprised, looks over to the car. She throws a stoneat the car which hits the window. Cody’s head appears andChrista waves.

CHRISTA Oh they’re cute, how can you accuse

them of being in a gang?

RAYWe don’t but the Bullet Crewprobably tricked them somehow.

CHRISTA I see. Well thanks for the info mister.

RAYWhat’s a fine white girl doing downhere?

CHRISTA Hustling, I guess.

She laughs and runs to Raheem’s window. Darrell is in theback seat.

CHRISTA (CONT’D)Darrell?

RAHEEMThe son of a bitch snuck in.

DARRELLYou need me!

CHRISTA No we don’t. This is easier than wethought. The boys are held up inthat car over there. Those peopleon the street are guarding it. Theboys know I’m here. Easiest way isto drive up to the car using yourtaxi as cover and have me run andopen the door while you look out.

It should take thirty seconds tops.RAHEEM

I already planned on dying tonight,so lets just get it over with.

Christa gets in the car. Raheem cocks his gun. Christa takesa gun from the dashboard.

94.



CHRISTA Keep your head down Darrell. Let’sdo this.

RAHEEMI never coulda dreamed I was gonna

die in a taxi next to a fifteenyear old white bitch and a sevenyear old nigger.

The taxi pulls out and starts to approach the Dodge. It slowsto a stop right next it. Raheem rolls down his window whileChrista gets out of and opens the back door to the Dodge.

RAHEEM (CONT’D)What’s happenin playyas? What’sgood tonight?

Three gunners notice Christa helping the boys out of the taxi

and pull out their guns.

RAYTell that bitch to back up.

Christa opens the back door and lets Cody and Marquis in. Shegets in the front seat. The gunners start shooting. Raheemfires back.

DARRELLDamn man. You guys are walkingbombs.

Raheem drives off. The gunners get in the Dodge and chaseafter them. Christa takes Raheem’s cell phone and dials anumber.

CHRISTA Trina! Call the Boss and tell him the boys are with me. Yes Darrelltoo...don’t worry he’s safe.

The taxi races through neighborhood streets. The Dodge isclosing in behind it. Christa climbs out the window andstarts shooting at the car.

RAHEEMWhat the hell are you doing? You’venever shot a gun before!

He pulls on her shirt with one hand. She gets back in.

CHRISTA Thought maybe I would get lucky.

95.



She turns around at the boys.

CHRISTA (CONT’D)Do you guys love me or what?

The phone rings and Christa picks it up.

CHRISTA (CONT’D)They are with me...yeah but we’rebeing chased...ok ok we’ll try tolose them.

She hangs up, Cody looks back at the Dodge which is gettingclose. A gunner hangs out the window and starts to shoot witha machine gun. The boys duck.

CODYIsn’t that the car we strapped thebomb to?

MARQUISYeah.

CODYChrista! There’s a bombunder that car, call the guy to seeif he can detonate it.

Christa dials the number.

CHRISTA They’re driving the car with the

bomb, can you guys blow it--

The back window shatters and Raheem’s face sulks over the wheel. The car starts to veer off its course and crashes intoa tree. The Dodge races past them and screeches to a halt.

Christa’s forehead is bleeding as she struggles to undo herseatbelt. She grabs her gun. Marquis opens the back doorstumbles out followed by Cody.

The gunners, four of them, walk guns drawn towards the crash.Christa, still inside, shoots at one of them and misses. The

boys crawl away from the car. The gunners start to shoot atthe car when the Dodge blows up behind them throwing them onthe ground.

Christa limps out. She aimlessly shoots at one of the downedgunners. She gets behind the car. The four gunners run up tothe boys and hold them.

RAYYou shoot and the boys are dead.

96.



Come out! Yo Jamal keep it pointed at them.

CHRISTA Drop your guns and I’ll come out.

RAY

Who do you think I am?

Christa thinks of what to do.

CHRISTA Leave the boys alone and come get me! Are you that much of a puss toput a child between you and yourenemy?

Ray laughs. He points his gun at Christa’s direction.

RAY

I’m the hardest nigga on thesestreets.

Cody kicks Ray in the balls. Ray falls to his knees. Distantsirens are heard.

JAMALYo man, lets go! These kids theycan blow up too.

Ray struggles to get back up and stares Cody down. Jamaltries to pull Ray away but Ray shoves him off.

RAYDo you think I’ll ever walk awayfrom a cracker who hits me? Who youthink you are huh?

Cody kicks Ray in the balls again, he falls to his knees.Christa shoots at Ray and hits him. The sirens get louder.

JAMALLet’s get out of here.

The three gunners keep firing as they walk backwards and run

off. Christa runs towards Cody and Marquis.CHRISTA

Where’s Darrell?

CODYHe didn’t get out.

97.



CHRISTA Darrell! You better not be dead inthere.

MARQUISThe police are coming we need to

run.

CHRISTA (running towards the taxi)

Darrell!

She looks in then steps back from the taxi.

MARQUISWhat is it?!

CHRISTA He sure is a fighter, just like his

daddy.

A scared Darrell crawls out.

DARRELLIs it over?

Cody and Marquis give out a sigh of relief.

CHRISTA A fighter huh?

DARRELL

I am! I was just biding my time forthe right moment, you know?

MARQUISWhat about Raheem?

They all realize they’ve forgotten about him. The police areon the street.

CODYWe gotta leave him, we can’t becaught.

Christa quickly enters the taxi gives a regretful look atRaheem’s slumped body.

CHRISTA (tearing up)

I’m sorry buddy. I’m sorry I gotyou into this.

Cody calls for her as police tires SCREECH. They run off.

98.




The Boss sits in his usual couch, flanked by the twobodyguards. The Ummah sits on the couch closest to the Boss.

The kids line up in the middle of the living room battered

and bruised. The bombs are off of Cody and Marquis.

THE BOSSWhat stands before us now aren’tthree kids. They are somethingelse, aren’t they?

CHRISTA Thanks for the encouragement. Are we free now?

THE BOSSYeah. I’ll have someone drive you

to Memphis tomorrow. Now go wash upand celebrate.

The kids start to head out. Cody stops. He turns around and walks back to the Boss.

CODYYou guys are going to pay for whatyou did.

THE UMMAHGet out of my face kid. Just beglad you’re still breathing.

He turns to the Ummah, stares him down and kicks him in theballs and backs away. The bodyguards point their guns at him.The Ummah keels over.

THE UMMAH (CONT’D)You piece of--

The Boss holds the Ummah’s shoulder.

THE BOSSLet us take care of our sins and

you take care of yours. Now get outbefore he kills you.

Cody stares the Ummah down again and walks out.

EXT. SATELLITE HOUSE - NIGHT

Cody joins Marquis and Christa on the steps of the house.

99.



CODYIt’s over, that’s all that mattersnow.

The crew’s conversation is interrupted by the sound ofDarrell yelling as he runs down the street towards them.

DARRELL(panting)

He’s dead...he’s dead...I justsaw....

CODYWho’s dead?

MARQUISCatch your breath.

Darrell ignores the suggestion.

DARRELLHe’s dead...you’re friend...he’sdead.

CODYWhich friend?

DARRELLYour friend...your friend from Memphis.

EXT. TRINA’S HOUSE - PORCH - MORNING

The kids sit on the steps of the house all in deep thought.Marquis’ face is still marked with tears while Cody’s andChrista’s are dry.

MARQUISWhat now?

CHRISTA We’re runaways for life.

CODYWe don’t have to be.

He gets up and walks to the road. His face stern. He turnsback around and stares at them both.

CODY (CONT’D)We’re a bunch of murderers,thieves, and terrorists. We can’t

100.

(MORE)



keep running away, we have to face what we have done.

CHRISTA You mean turn ourselves in?

CODYYes....

CHRISTA I’m not going to prison.

CODYSo we’re going to keep running awayall our lives? Running away from all our problems like they don’texist?

MARQUIS

But Cody, what if we go to jail?

CODYWhat if we don’t? What if werunaway from something that isn’teven after us in the first place?And so what if we go to jail. We won’t be there forever. Everysituation has an end, and ours willcome whether we want it to or not.The police can come knocking on ourdoor five minutes from now or fiveyears. It’s all the same.

A black sedan drives up to the house. The DRIVER gets out.

DRIVERYou the kids the Boss wants me totake to Memphis?

CODYYeah, just a second.

The driver gets back in the car.

CODY (CONT’D)I say we take this car down to thepolice station and face our fate.Roland was a runaway all his lifebut even he had to go back home andface his mistake. Whether it washis choice or not.

Christa and Marquis look at each other.

101.

CODY (CONT’D)



CHRISTA We should stay here and look outafter Trina and Darrell.

She starts to tear up.

CHRISTA (CONT’D)I’m not leaving her here alone.

CODYThe cops are here all the time now.They were here this morning, if westay here we’re bound to getcaught.

She gets up and goes inside.

MARQUISListen Cody. I see your point but

look at us, look at you. Five daysaway from that dump and you’veturned into something...somethinggood.

Cody walks over and takes Christa’s seat.

CODYSomething good? I’m a killer.

MARQUISRemember when Dan took your socksthat night? You know what I--

CODYI would never let him get away withthat now.

MARQUISMan, exactly. You’ve become a man.You got respect now. All in acouple of days out of that place.The only reason it was bearable wasof Roland and now he’s gone....

Marquis begins to tear up again. He brings his hands up tohis eyes.

CODYRoland was an awesome person. Healways wanted us to becomesomething, he always used to sayhow you gotta keep on climbing outof trouble even if you keepfalling. He kept falling all his

102.

(MORE)



CHRISTA (sitting down on the bed)

I never wanted it to be this way.

TRINA (takes Christa in her

arms)It’s not your fault.

CHRISTA Raheem was such a cool guy...henever wanted to hurt anyone...Ikilled him...and the boy in thestore....

TRINA Don’t think like that. There’salways a master plan, sometimes wethink we are the ones in control of

every moment but that’s not thecase. Sometimes the decisions we make have been written in a bigbook upstairs by God himself along, long time ago.

CHRISTA Then what’s the point of living?Isn’t there good and evil? Right or wrong?

TRINA I guess, I guess it’s complicated.

CHRISTA I’m staying here with you. I’m gonna help you.

TRINA Don’t be silly girl. There’s afamily back home that loves you.That’s been loving you and that misses you. You need to be withthem.

CHRISTA But you’re gonna be alone.

TRINA I’ve got Darrell and anyhow I beenalone all my life darling. Myparents, my siblings and Darrell’sfather. God knows my heart can takethis. He loves me...he loves methat’s why he keeps on testing me.

104.

(MORE)



He tells me, "You’s a tough bitch.I’m gonna take it out on you now sothat you be more blessed when youcome and see me."

CHRISTA

You’re not mad that He keeps onpunishing you?

TRINA Girl, you can’t talk like that. Inthe end, everything good in thislife’s a blessing and when he takesblessings away am I supposed tocurse his name? I should bethankful! I should thank him forgiving me those blessings. If I goon and curse him that’ll just make me a selfish sinner and I’ll lose

out on the blessing in this worldand the next.

CHRISTA If He exits, may He bless you.

TRINA Thanks child, you too. Now go on with them boys back home.

Christa wipes the tears from her eyes.

CHRISTA

I ran away from home cause Ithought life sucked. All myproblems don’t mean shiite anymore.Life is...life is strange.

TRINA It sure is, but it’s just the wayit is and always will be.

Christa hugs her tightly.

EXT. TRINA’S HOUSE - PORCHChrista walks up behind Cody and Marquis. Her face is stillred from crying.

CHRISTA Boys, lets go home.

MARQUISLet’s do it.

105.

TRINA (CONT'D)



Cody stands up, reaches his hands out to them. They both grabeach arm.

CODYHere’s to Roland who inspired usfor so long. May he finally rest

under the shades of his patience.Here’s to all who helped us alongthe way. May they be rewarded fortheir kindness. Here’s to Raheem who lost their lives trying toprotect us. May they be rewardedfor their sacrifice. Here’s tous...to the runaways...the runawaysunder the....

He lets go of their hands and looks up. A bird flies to anest on the roof lodged in the gutter of the house.

CODY (CONT’D)(smiling)

To the runaways under the nest. May we all find what we’re looking for.(looks at Christa) May we all findour Waldo. Amen.

Christa smiles. Marquis puts his hand on Cody’s back.

MARQUISRoland would be proud, my brother’sa wordsmith.

CHRISTA To think it all started at asupermarket. Come on let’s go saybye.

They run into the house. The bird in the nest watches overthree chicks who are sleeping.

INT. CAR - MORNING

The kids climb into the car, Cody in the front, Marquis and

Christa in the back. The driver pulls out. The narrator fromthe beginning begins to speak.

NARRATOR(V.O.)

No one understood why the boy wouldjump back into the well andintentionally kill himself aftersuch a long climb. His parentsclaim that he must have slipped.

106.

(MORE)



While doctors blamed the decisionon hunger and dehydration. Inreality, the only person who knows why is the boy himself.

EXT. CHICAGO PARK - SUNSET - FLASHBACK

The voice over continues to the next scene with Roland’svoice. He sits in his wheelchair while the boys are crosslegged on the grass.

ROLANDNow you see boys, if we ask thatboy we might find out but we ain’tgot that kind of power. Sometimes we just gotta let things be. Causeonce you start asking questionsabout stuff like this, you’re gonna

miss the answer.

He pauses and looks up towards the sunset.

ROLAND (CONT’D)Ain’t that right boys? Now let’sget on home.

The boys get up and flank Roland, each of them askinginaudible questions as the camera expands to the whole park.

INT. OFFICE LOBBY - MORNING - BACK TO PRESENT DAY

SUPER: "Some days later."

Ashley calmly walks in the door. She is dressed elegantly andseems nervous.

ASHLEY(to the secretary)

Am I late? Are they in there?

SECRETARYYes, should I tell him you’ve

arrived?ASHLEY

No, no I’ll just walk in.

107.

NARRATOR (CONT'D)



INT. NICK PETOSA’S OFFICE - MORNING

Christa, Cody and Marquis sit opposite of Nick at his desk.They are all dressed nicely with their hairs done. Nick is inthe middle of talking about the case.

The door opens and Ashley walks in. She takes two steps andstops cold when Cody turns around. They stare at each other with a sense of familiarity.

ASHLEY(still looking at Cody)

I just wanted...will you guys belong?

NICKNo just a little while longer.

She smiles at Cody and he smiles back. She exits the room,

her eyes leaving Cody’s at the last possible moment. Codyturns to Nick.

CODYWho is that?

NICKMy daughter.

Nick returns to explaining the case. Cody turns to Marquisand Christa.

CODY

(smiling)I think I found my Waldo.

Christa yells out in delight and Marquis puts his arm aroundCody.

108.

runaways under the nest by a.h. salem

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