FLAT PENNIES

By
Robert Ward
FADE IN:

EXT. SECLUDED INNER-CITY RAILROAD TRACKS - SUNSET

Vacant lot pockmarked with bricks, disfigured iron, craters

of rusty water.

YELLING comes from somewhere. A freight train RUMBLES nearby

with a CLICKITY-CLACK rhythm.

We rest upon a broken concrete wall that holds up an alone

and drunk ALEX RUTLEDGE, 17 and dressed hip-hop-ish, who
violently swigs whiskey from a bottle.

He overflows with anger as he faces the passing train. The

dying sun knifes between the boxcars and illuminates Alex
with a strobe.

ALEX
Why did you pound me into a
pile of dirt!

He CHUCKLES, slobbers back a sip, then spits.

ALEX (CONT'D)
Hell with you, quitters!
(sing-song)
The world hates quitters! The
world hates quitters!

He takes another sip and steps away from the wall.

ALEX (CONT'D)
Come back and I'll tell it to
your ugly faces.

He stands unbraced by the wall, looks back and forth,

wobbles, and swats at a mosquito.

ALEX (CONT'D)
I'm not even worth a
mosquito's ass? Go to hell!
You couldn't tie everything up
in a pretty bow? You dumpers!
Don't dump this on me.

He kicks at the train, almost falls over.

ALEX (CONT'D)
You cut me with broken glass.
You broken! Glass! Quitters!
 2.

Alex teeters toward the train. Throws his bottle -- it

SHATTERS against a boxcar.

ALEX (CONT’D)
There was no reason for what
you did. No reason!

He falls down.

ALEX (CONT'D)
(sing-song)
We all fall down! We all fall
down!

He struggles to his feet, stands upright again.

ALEX (CONT'D)
Was I a piece of litter to
throw away? A mess to clean
up? Paper everywhere.
Newspaper, newspaper, who's
got the newspaper? Anyone?!
Who wants a newspaper?!

Alex pretends to read a newspaper.

ALEX (CONT'D)
How could you... leave me, the
boy who made the papers?! I
was such a good boy. Should've
never abandoned me.

Alex falls into a sitting position as the train rolls off. He

glares at it, breathes heavily, choppy. His eyes close.

INT. IAN'S APARTMENT - NIGHT

A shadowy pale-white figure slouches at an elaborate model

railroad layout that wends through a dim apartment.

IAN CROCKER, about 51, unkempt with slick oily hair, flicks
switches and turns a dial on a master controller that
electrifies his layout lights and powers his train into
motion. He leans back, engrossed.

His EYES REVEAL a spellbound man transported someplace else.

CUT TO:
 3.

EXT. SNOWY MOUNTAIN SLOPE - DAY

THREE RESCUERS (Rescuer #1, Rescuer #2, and Ian) in red

jumpsuits surround and attend to an Injured Mountain Climber
in a HOWLING WIND. The body of a bagged climber lies next to
them.

Ian, with white medical crosses on his jumpsuit, performs

chest compressions on the barely alive climber.

Rescuer #1 holds up a bottle of liquid attached to an IV in

the climber's wrist.

IAN
Come on! Come on! Come on!
Don't blue code on me! You can
do this!

Ian continues CPR, a man obsessed with his mission.

Rescuer #1 and Rescuer #2 watch silently and behold a master

at his craft. The chest compressions continue.

RESCUER #1
(to Ian)
You're close!

IAN
I'm not putting him in a sack!

RESCUER #1
You got him Ian! You got him!
He's yours!

RESCUER #2
(holds radio)
Chopper is almost here!

IAN
Hope it's not the newbie!

The Injured Mountain Climber moves slightly on his own, his

eyes flutter for a moment. Ian ends the CPR.

IAN (CONT'D)
Atta boy.

RESCUER #1
Job well done Ian! He's ready
for the happy hoist!
 4.

Ian hunches over, exhausted by the exertion in the high

altitude.

IAN
(winded)
Fuckin' heart. Fuckin' heart
almost won.

A medical helicopter arrives and hovers precariously nearby.

A rescue basket is lowered from the side door.

Rescuer #2 fetches the basket and prepares the straps for the
Injured Mountain Climber.

Ian massages the climber's arms and hands to stimulate blood

flow. Rescuer #1 massages the climber's legs.

The Injured Mountain Climber moves his lips, trying to form

words as he stares at Ian. The climber's arm raises to Ian's
chest.

RESCUER #1
It's alright. Don't try to
thank me.

The climber gives Ian a faint thumbs-up sign.

IAN
We weren't going to just let
you die up here on our watch.

The helicopter WHIRS directly above.

Rescuer #1 and #2 and Ian load the climber into the rescue
basket. They tighten the straps around the climber.

Ian stands, looks up at the chopper, thrusts his arm straight

up and spins his gloved forefinger in circles.

INT. RESCUE HELICOPTER - DOOR

A Flight Crew Member leans halfway out the chopper door. He

guides the winch cable as it raises the rescue basket.

The winch strains with a LOUD SUSTAINED WHINING.

SMASH CUT:
 5.

EXT. IAN'S APARTMENT - DAY

An upsidedown Dumpster CLANKS against an idling garbage truck

outside a ground floor apartment window. The truck's
hydraulic system emits a LOUD SUSTAINED WHINING.

INT. IAN'S APARTMENT - CONTINUOUS

O.S. the WHINING from the garbage truck outside startles Ian
from his daydream. His train barrels along. He stops it.

IAN
Damn distractions.

Still sitting, he lights a cigarette and pours whiskey.

IAN (CONT'D)
Let's try something exciting.

Ian flips a track switch. With the master controller at his

fingertips, Ian commands the train back into motion. The
train rambles along a different set of tracks. Ian toots the
locomotive's AIR HORN.

IAN (CONT'D)
That should do it.

The train travels alongside buildings and scenery.

CLOSE on Ian's face.

INT. PHYLLIS'S HOUSE - ALEX'S BEDROOM - MORNING

Alex awakes. Lies there. Buzz-saw hangover. Legs over the

bedside, he's up. Opens the night-stand drawer. Removes a
photograph. Clutches it.

INSERT - Snapshot photograph of his parents holding him as a

four-year-old.

BACK TO SCENE

Alex studies the picture. Tosses it back into the drawer. He

trudges to the bedroom door, opens it and walks out.
 6.

KITCHEN - CONTINUOUS

Alex plods in past a stove, where PHYLLIS, about 45 and

wearing a thick robe, fries scrambled eggs. Alex takes a seat
at the table next to TANYA, a pretty 15-year-old girl bored
with everything.

Sunlight paints the room a warm patina. Bacon SIZZLES.

PHYLLIS
Hey sleepyhead. You got a lawn
with your name on it.

ALEX
You gotta be trippin'. I was
up late blasting on homework.
Almost until you got home from
your shift.

TANYA
Yeah, I bet, goober Mr. Cool.

Alex jumps up and makes an aggressive move toward Tanya, but

heads instead for the refrigerator. He removes a box of
waffles. Steals the last one and tosses it into a toaster.

TANYA (CONT'D)
I wanted that! You had all the
others. Mom!

Alex throws Tanya a tough-luck shrug. Silently mocks her

words with his lips. He plunks the toaster lever down.

PHYLLIS
Now what'd I teach you about
sharin', boy?

ALEX
Sharon Stone? Boo-ya!

TANYA
You're so funny. Nobody says
boo-ya anymore. Or anything
else you say.

ALEX
Phyll, I've been thinking.

TANYA
You know how to think?
 7.

ALEX
(to Tanya)
I'm thinkin' like a tank,
sucka. Get it? Think tank.
(to Phyllis)
I've been thinking about that
file from the adoption agency.
When do you think it’ll get
here?

PHYLLIS
Alex, I don't know. These
things take time.

ALEX
Whatever, dawg. I need to hear
about my scuzzball parents.

O.S., a DING-DONG from the doorbell startles everyone.

PHYLLIS
(to Alex)
Get that. It's Doris. She's
dropping by for coffee. And
you be nice to her this time.
And stop calling me a dog.

INT. IAN'S APARTMENT - DAY

CLOSE UP of Ian's model train locomotive ROARING down the

tracks at full throttle.

INT. PHYLLIS'S HOUSE - KITCHEN - DAY

DORIS, lanky and 50-something but looking much older, lounges

at the table with Alex and Phyllis and gives full vent to her
SMOKER'S HACK. Tanya stands in the background.

DORIS
I have to run. Great to see
y'all. Tanya you're just too
damn pretty for your own good.
And Alex you're getting more
handsome every day. And please
stop growing! You two are
making me feel old.
 8.

TANYA
I'm much prettier than he is
handsome.

ALEX
Right. Need glasses, huh?

DORIS
Well, at least one thing
hasn't changed. You two still
get along like oil and water.

Tanya and Alex shrug.

DORIS (CONT'D)
Alex, before I forget, I know
of an easy part-time job you
might be interested in. Still
need money for a car?

ALEX
Sure, why not.

DORIS
There's need for an errand boy
at my friend's apartment
complex. She's a neighbor of
this oddball loner who needs
someone. Last kid quit. That's
all I know. You interested?

ALEX
I guess.

Doris COUGHS and spits something into her napkin.

DORIS
Okay, I'll call my friend and
get the apartment number.

ALEX
Sweet. Money for the honeys.

Tanya smirks.

INT. IAN'S APARTMENT - DAY

Ian's face fills the screen.

 9.

The HUM of a model railroad train increases in volume as his

eyes follow the train.

Ian sits aside the train layout and works the controller.

Suddenly, Ian notices movement outside through the slightly

parted curtains. He stops the train.

IAN
What the hell's going on out
there?

EXT. IAN'S APARTMENT DOOR - CONTINUOUS

Alex fidgets outside Ian's apartment door, hesitant, too

nervous to knock.

INT. IAN'S APARTMENT - CONTINUOUS

Ian remains seated, faces the door, his stomach pressed

against the layout.

IAN
Can I help you?

O.S., muffled words outside from Alex's voice respond.

IAN (CONT'D)
Come in! It's unlocked!

The door swings open slowly, sunlight attacks Ian.

Alex leans in, timid. He beholds the layout with curiosity,

his mouth agape.

His gaze fixes on the seated Ian.

ALEX
I wasn't sure if this was the
right place. You the guy
looking for the errand monkey?

IAN
Depends on how well trained a
monkey you are. Can you jump
through flaming hoops? Swing
on a rope over infected water?
 10.

ALEX
I didn't know it was a
stressful suit and tie gig.

IAN
Hotdamn boy! Job is easy. I'm
Ian Crocker. Have a sit down.

Ian thrusts out his hand.

Alex enters the apartment and approaches Ian. They shake over
the layout.

Alex plunks down on a filthy sofa near the front door.

ALEX
Cool. I'm Alex. Some old lady
told me about the job. She has
a friend who lives here.

IAN
Could be anybody. I don't know
the cretins who live here. I
keep to myself. Like it that
way.

ALEX
Guess I can give the job a
try. You look healthy enough.
You can't do your own errands?

Ian, covered from the waist down by the layout until now,
ROLLS BACKWARD IN A WHEELCHAIR a couple feet.

Ian lightly punches the wheelchair several times as he talks.

IAN
There's things I can't do,
places I can't go. This tin
bin limits my freedom and my
arms get sore after a while.

ALEX
Just hoppin' to the store? I
can run with that.

IAN
I'm already feeling spunky boy
since you showed up! I could
use a little sunshine. Let's
go!
 11.

Ian rolls toward the door.

ALEX
I don't have a driver's
license, but I'm supposed to
be hooked up with one soon.

IAN
Until then, you can shove me
around.

ALEX
No problemo. Doesn't sound too
hard. I wouldn’t know. I
haven't had a real job.

IAN
Usually I call a cab, but the
drivers don't like dealing
with cripples. That's where
you come in. Dealing with
cripples.

Alex stands. He scans the layout and focuses on a little beer

truck in front of the town's liquor store.

ALEX
Epic setup you got here.

IAN
You like trains?

ALEX
There's a place I go by the
tracks to clear my noggin'
when I'm buggin' but that's
about it.

Ian's vision settles into the distance of his layout.

IAN
Tracks take you places you've
never been. Destinations far
from your worries.

Alex gazes over the expansive train layout.

ALEX
Looks like you have a lot of
troubles by the amount of
pretend land you got here.
 12.

IAN
Odd isn't it? So much
deafening horsepower is a
tranquil lullaby.

ALEX
Never thought about it that
way.

IAN
This layout wraps its arms
around me like my mother did.
A straightjacket of solitude.

ALEX
I guess being alone day after
day can blow. I know what it
feels like to be deserted.
(beat)
Sorry for asking, but what
happened to your legs?

Ian wheels to a portion of the layout that has a road

crossing over the tracks.

Alex follows him. Stands beside Ian. Ian places a nearby

locomotive a couple of feet to the left of the crossing.

IAN
I was a train engineer. A few
years ago, on a real freight
train. A brute like this bad
hombre.

Ian taps the locomotive and studies it, hypnotized.

IAN (CONT’D)
Used to be a burly bastard
with arms like railroad ties.

ALEX
(backs away)
I didn't mean to--

Ian reaches over to the nearby steel mill and picks up a

flatbed tractor-trailer.

He places the truck directly on the rails at the crossing in

front of him.
 13.

IAN
Pretend this little truck is a
semi loaded with steel. Say
that the truck crosses the
tracks and spills its load,
blocking any train from
getting through.

ALEX
So, you hit a truck with your
train?

IAN
I ain't that lucky.

Ian puts a nearby boxcar on the tracks slightly left of the

crossing, almost to the truck.

IAN (CONT'D)
Pretend this boxcar is a
passenger car -- the end unit
of a train that stopped here
because the engineer got a red
signal light and radio warning
back there...
(waves to left)
...regarding the steel mess up
here.

IAN (CONT'D)
It's just sitting there,
patiently, quietly, waiting
for the steel mess to be
cleaned up so it can be on its
merry frickin' way again.

Ian now grips the locomotive, which is a couple of feet

behind the boxcar.

Ian’s eyes glaze.

IAN (CONT'D)
Out of nowhere, comes some
high ballin' butthole in a
barreling freight train. The
drunk train engineer wasn't
paying attention.

Ian pretends to smash the locomotive into the boxcar.

 14.

IAN (CONT'D)
And POW! I slammed into the
passenger train. You can
picture me in the locomotive,
can't you? Pissed Drunk?

ALEX
You know, I ah--

IAN
I missed a couple stop and
stay signals a few miles back,
the same ones the passenger
train saw. It stopped, I
didn't.

ALEX
Wasn't there anyone on your
train who could've stopped it?

IAN
On freights, it's just the
engineer and conductor. He
would've stopped the train but
he had gone back to the second
engine to check on a fuse box.

ALEX
Whoa. Did the conductor know
you were drinking?

IAN
A lot of us took nips here and
there, especially when it was
cold. Some even took pills to
keep awake. Wasn't a big deal.

ALEX
Didn't you say something about
a radio warning?

IAN
I turned the radio down
because the noise was
disturbing my buzz. Worthless
engineer of the year I'd say.

Ian ruminates on the boxcar.

 15.

IAN (CONT'D)
I plowed 'em like a field of
corn--
(beat)
Woke up in a hospital bed and
couldn't move these.

Ian grips his lifeless legs and massages their deadness.

IAN (CONT'D)
Been useless ever since.

ALEX
Can't be all that bad. You
still have your arms.

IAN
Lose your legs, lose a lot.
(beat)
I've lost more than my legs in
life. Model trains are all I
have. Rain or shine, they're
here.
(beat)
It'll be nice to have you
around.

ALEX
Yeah, I guess so.

IAN
Job pays nine bucks an hour.
I'll need you every couple of
days. Easy work. Still
interested?

ALEX
Sure, why not. I'm trying to
buy a car. Getting tired of my
bo-bo bicycle.

IAN
Bo-bo?

ALEX
Nothing.

IAN
You have time for it? What do
you do? School?
 16.

ALEX
Yep, school. Chillin'. I tell
my adoptive mom I'm doing
homework, but I'm hanging with
my sippin' sauce.

IAN
Hanging like Clint Eastwood in
a spaghetti western, huh?

ALEX
A spaghetti what?

IAN
Never mind.

Ian wheels himself toward the door. Alex follows.

IAN (CONT'D)
Careful with your, what'd you
call it? Sippin' juice? That's
what got me in trouble.

ALEX
I never drain what I can't
maintain. I'm used to mad
sacks. I'm never risky with
the whiskey.

IAN
I don't understand half of
what you're saying but you can
hang out here whenever you'd
like.

ALEX
For real?

IAN
My rails will take you on
voyages. Any station better
than this dungeon!

Ian LAUGHS. Alex shoots back a painful grin.

IAN (CON'T) (CONT’D)

Let's hit the pavement son!
 17.

INT. PHYLLIS'S KITCHEN - NIGHT

Alex droops at the table, pores over the newspaper, soda in

hand. Phyllis plates up sandwiches at the counter.

She carries the plates to the table and sits across from
Alex. She drops his plate on the newspaper.

Perturbed, Alex’s eyes swing up.

ALEX
Thanks! Needed that.

PHYLLIS
You're welcome.

Alex shoves the newspaper aside.

ALEX
It was totally sick. He had a
town, trees, cars, sidewalks,
factories, tiny plastic people
walking around looking cool.
That train was off the hook.

Alex grabs a sandwich wedge, and crams it in his mouth.

PHYLLIS
What was he like? Can you work
for him?

ALEX
(mouth full)
He's weird. I guess harmless.
How much danger can a guy in a
wheelchair be?

PHYLLIS
That's good, Alex. At least
try the job. I didn't raise no
quitters.

Alex gulps a large amount of his soda.

ALEX
(burps out)
Damn straight!
 18.

PHYLLIS
That's gross. Where's your
manners? I didn't raise no
bums and I certainly didn't
raise no hogs!

ALEX
I was thinking, Phyllis.

PHYLLIS
Oh no, not again.

ALEX
How about a slammin' party for
my eighteenth birthday? You
could invite your peeps. I'll
hang low with my crims. It'll
be righteous.

PHYLLIS
We'll talk about it. You do
remember the last time you had
a party with your... crims.

Alex holds his hands in the air as if surrendering.

ALEX
Those guys weren't even
invited! I didn't know the
ones who caused the mess.

PHYLLIS
I'll think about it.

ALEX
I'm so looking forward to my
eighteenth birthday.

PHYLLIS
I'm so thrilled you're so
looking forward to it.

ALEX
Quit buggin' on my rap. I
can't help the way I talk.
Blame my deadbeat parents.

Phyllis puts her hands on her hips, akimbo.

 19.

PHYLLIS
Here we go again. Deadbeat?
Where'd you get that?

ALEX
What else do you call people
who give up their children?
They gave up on me. They're
deadbeats. Story over. Shut
the book.

PHYLLIS
They might have been loving
people. Not every parent who
gives up a child for adoption
is a monster with an ugly face
like in Twilight Zone.

Alex pretends to shovel bullshit.

ALEX
That's bogus. Being a parent
means putting grub on the
table, throwing down threads,
being a bodyguard, never
leaving.

PHYLLIS
Maybe your parents didn't have
the right situation at home,
or a healthy environment to
raise you at that time.

ALEX
They shouldn't have knocked
knees and had me then.

PHYLLIS
Who knows why people give up
children. There are as many
reasons as there are adopted
children.

ALEX
Here's a reason. They're
deadbeats!

Phyllis shakes her head and rolls her eyes.

 20.

INT. ALEX'S BEDROOM - MORNING

Alex rummages through a toy chest, searches for something.

He finds a withered baseball glove and holds it to his nose,

smells the pocket's faint scent of oil. He searches anew.

Alex tugs a tattered puppet of a squirrel out of the

menagerie and crams his hand into it.

He makes animated gestures, peers into the puppet's face as

he moves its mouth.

ALEX
(regular voice)
Why did my parents desert me?
(cartoon voice)
Alex, you weren't worth
keeping.
(regular voice)
I thought every child was
worth something.
(cartoon voice)
Not true, Alex. Some kids are
just worth nothing. That's why
your parents left you. You
ain't worth nuttin'.

Alex throws the puppet into the toy box. He searches yet
again.

Finally, he locates it. A penny. He ponders on it.

ALEX'S POV: In his palm a tarnished flattened penny with the

still identifiable image of Abraham Lincoln.

INT. IAN'S APARTMENT - KITCHEN - NIGHT

Ian sits alone at a table with an open can of tuna.

He eats perfunctorily.

Pours a whiskey shot. Downs it. Lights a cigarette.

Ian wheels to the window with a 1970's-era phone in his lap,

a long-coiled phone cord stretches to the max as if
connecting Ian to a spacecraft.

Ian makes a call.

 21.

IAN
(into phone)
Pete, can you hear me? -- I
can barely hear you. -- That's
better, yeah. I need a ride
tomorrow morning. Ten. Okay,
I'll see you at ten.

Ian hangs up.

EXT. IAN'S APARTMENT - TAXI CAB - DAY

PETE, a giant slob of a cabbie (late 30's), teeth clenching a

dead cigar butt, helps Ian out of his wheelchair and into the
back seat of a cab. Ian winces at Pete's breath.

Pete stows the folded wheelchair in the trunk. He spits on

his way back to the driver's seat. He squishes himself into
the seat.

The cab SQUEALS off into vigorous traffic.

PETE
If it weren't for Tony's Train
Store, you wouldn't get out!

IAN
Believe me, I travel plenty.

Pete eyes Ian in the rear-view mirror. Ian peers out the
window.

PETE
I'm talking about reality, not
some groovy train dreamland.

IAN
The world's a harsh, messed up
place. My layout and I have a
loving relationship.

PETE
(sotto voce)
I'd rather have a woman.

IAN
Trains are mobile, on the move
to better places, better
people.
 22.

PETE
You don’t say?

IAN
My make-believe landscape has
no wars, crime, poverty, or
heartbreak.

PETE
Just one hootin' escapade
after another, huh?

IAN
Plentiful and priceless. I'm
okay now anyway, since I have
Alex helping me.

PETE
Who's Alex?

IAN
My new errand boy, you know,
someone to help out.

PETE
Like doing what?

IAN
Shopping, cleaning, pushing me
around, chores and such.

PETE
I didn't know you had anyone
helping you out.

IAN
There are a lot of things you
don't know about me.

Ian sees workmen throw foam rubber and carpeting into the
gutter at a job site.

IAN (CONT'D)
Pull over!!! I can use that
for mountains!

PETE
Jesus. You scared the hell out
of me.

Pete's cab SCREECHES to the curb.

 23.

INT. TONY'S TRAIN STORE - DAY

Ian rolls along the aisles of a folksy wood paneled model

railroad store. He peruses display cases of merchandise.

TONY, a slight, hirsute 57-year-old with jet-black-dyed hair

and oily white apron eagerly approaches with a magazine in
hand. He holds it up so Ian can see the sleek Eurostar train
on the cover.

TONY
Just got it. You must take a
look at this! The new Eurostar
set, the pantograph that runs
from London to Paris in two
and a half.

IAN
What she roll?

TONY
Power driver, a dummy and two
passenger saloons with glazed
windows. Perfect for your size
layout, too. She's a beauty,
all sleek and sexy. Fast
little sucker.

Tony hands the magazine to Ian, who analyzes the cover.

IAN
That's a steel gazelle for
sure.

Ian opens the magazine, thumbs through it, examines the

article photos.

IAN (CONT'D)
I wish we had trains like this
in the good old U.S. of
Ancient transportation.

TONY
Tell me about it.

IAN
Bogies are copper-oxidized,
huh?
 24.

TONY
She'd make a nice addition to
your freight rolling stock.
You could lay down some cool
European scenery for it.

Ian, while looking at the magazine, smirks in disagreement.

IAN
Ahh, I don't know.

TONY
I can order all sorts of
incredible European pieces
nowadays.

IAN
Freight's in my blood, Tony.
You know me. I ain't no Nazi.
My idea of cargo has never
been humans.

Ian hands the magazine back to Tony and returns to gawk at

the nearest shelves.

ANGLE ON Ian as he looks over the merchandise.

TONY (O.S.)
Still using that new polyester
ground cover I gave you to try?

IAN
A bit of it.
(beat)
I'll think about buying the
Eurostar later. You still got
my F-7 on order?

TONY
I'm waiting to have the son of
a gun delivered. That yellow
and blue Santa Fe locomotive
sells out fast.

CASH REGISTER COUNTER - A MOMENT LATER

Ian places his latest accessory -- something in a bright

yellow box -- onto the wooden counter. He unzips his cloth
wallet with a steam locomotive embroidered on it.
 25.

IAN
This is all I can afford now.

TONY
Make sure you don't spend all
your state income on model
railroading. You know this
stuff is as bad as crack.

Tony RINGS UP the purchase on an old cash register. Stuffs

the merchandise and magazine into a Tony's Train Store bag.

TONY (CONT'D)
Twenty-seven fifty-eight. The
magazine is on me.

Ian digs out some cash and hands Tony a twenty and ten. Tony
hands Ian his change.

IAN
Crack and heroin combined. But
I practice prescription only
insanity. Without medication,
my life would be as bleak as a
robot's fart.

They LAUGH.

Ian wheels for the door. Tony strolls behind and carries the
bag.

FRONT DOOR - CONTINUOUS

Tony comes around swiftly and holds the door open. He places
the bag in Ian's lap.

Just then, a father and son shove past Ian's wheelchair to

enter the store.

TONY
Are you sure you're getting
outside enough. Ian, come on,
trains, trestles and tunnels
aren't everything.
 26.

IAN
Don't you want me rolling
around here all day creeping
out your customers?

END SCENE

SERIES OF SHOTS - A MOSAIC OF IAN AND ALEX HAVING FUN

A) Alex pushes Ian into an ice cream store.

B) Alex stands behind Ian shooting pool at a game center.

C) Alex peddles his bicycle, pulls Ian wildly with a rope.

D) Ian, Alex in wheelchair roll down grass hill, pull kite.

E) Alex steadies Ian on rolling bicycle, walks alongside.

F) Alex runs Ian in wheelchair crazily through crowded mall.

G) Alex and Ian, on blankets, enjoy the sunset at the beach.

INT. IAN'S APARTMENT - NIGHT

Ian, at the window, spies on the outside world. He yanks the

drapes shut.

He rolls to his layout in the dimness.

Ian FLIPS switches on his master controller and the invisible

town becomes a brilliant kaleidoscope of twinkling lights.

Ian ogles the layout and appraises his surreal real estate.

He glues down his latest accessory from the yellow box, a

billboard for smelly cologne. He FLIPS a switch and the
billboard glows.

Ian activates the train and watches it GROWL far away from
him. It curves around and RUMBLES back. He smiles like a
child.

IAN'S POV: His eyes lock onto the town's bus station,
bustling with assorted plastic people. He focuses on a bus.

CUT TO:
 27.

EXT. LONELY RURAL ROAD - NIGHT

An overturned bus CRACKLES in flames. A small-town fire

engine arrives on scene. THREE FIREFIGHTERS (FIRE CAPTAIN,
FIREFIGHTER, and Ian) in full gear jump down. Hoses are
uncoiled. The FIRE CAPTAIN and Ian move toward the bus.

FIRE CAPTAIN
Ian! Ian! Can you make it? I
don't want anything risky.

The FIREFIGHTER runs up alongside the Fire Captain and Ian.

FIREFIGHTER
Captain! The ETA on the
paramedics is 25 minutes! But
some doctor with his wife just
stopped and offered his
assistance.

INTERCUT: Shot of doctor and wife sitting in their car,

illuminated by the ambient light of fire engine's floodlight.

BACK TO SCENE

FIRE CAPTAIN
(to Firefighter)
Okay, good! Go get that broken
pump going!

The Firefighter runs back to the fire engine.

FIRE CAPTAIN (CONT'D)

(to Ian)
Don't take stupid chances. Go!

Ian, pry bar in hand, climbs up the bus without fear. Flames
poke from the wreckage. Ian POUNDS on a crushed window with
the pry bar. He attempts to pull apart the bent metal with
his gloved hand. TWO FACES squeezed together behind the
broken window YELL for Ian's help.

IAN
Hang in there! I'll get you
out! I won't leave you! Don't
worry! Have you out in a
moment!
 28.

Ian scampers to the crushed door with his pry bar. He STRIKES
THE DOOR WITH THE TOOL OVER AND OVER AND OVER, TRYING TO
WEDGE IT INTO A SMALL GAP with a THWACK! THWACK! THWACK!

SMASH CUT:

EXT. IAN'S APARTMENT DOOR - NIGHT

MRS. GUTH (42) KNOCKS HEAVILY AND REPEATEDLY ON Ian's DOOR

WITH HER CLENCHED FIST FULL OF KEYS. A cigarette dangles from
her lipstick. She wears curlers. Garish nylon leggings
restrain her fleshy legs. She's a dainty sumo who's just
tasted strychnine.

INT. IAN'S APARTMENT - CONTINUOUS

O.S. KNOCKS on Ian's door shock him like electricity, his

face in a painful torque. He collects himself. Stops his
train. Wheels to the door. Opens it.

MRS. GUTH
You're behind in rent again...
You have it yet?

IAN
Mrs. Guth, I'm--

MRS. GUTH
Month after month of this with
you, Crocker.

IAN
You gotta remember--

MRS. GUTH
You're going to end up on the
streets, rolling around like a
marble if you don't get it
together.

IAN
I'm trying the best I can, you
know that!

MRS. GUTH
You're what? My hearing is bad
but I think I heard some shit
come out of your mouth.
 29.

IAN
I can't exactly go out and
make a shitload of money, can
I?

MRS. GUTH
I'm done feeling sorry for
you. The Lord helps those who
help themselves and you have
to help yourself from now on.
I've cut you so much slack
I've whittled you a new
asshole.

Mrs. Guth spins and departs. Ian makes his way back to the
layout. His face bloated with trauma, his hands shake as he
gazes at the layout as if it were a forlorn lover. Sweat
glistens on his forehead. He dabs his brow with an oily rag.

He quietly CRIES.

CAMERA SWEEPS his railroad layout and medicine bottles.

E.C.U. on the jovial faces of plastic figurines walking on

the streets.

INT. IAN'S APARTMENT - A MONTH LATER - DAY

Sunlight reveals the layout's colors. A refreshed Ian HUMS a

tune as he glues a piece of wood to a trestle. A shot-glass
rests next to a whiskey bottle before him on the layout's
fake-grass.

A SCRAPING sound on the door startles Ian. He looks at the

door, puzzled. The SCRAPING occurs again. Ian wheels to the
door. He listens intently, apprehensive.

Ian pulls the door open in one swift brave motion.

Alex half falls inside. He lies on the floor, an empty bottle

of booze in his hand. He's drunk.

IAN
What the hell are you doing?

ALEX
Ian, you in there? Yo! Ian! My
man! You locked your door?
 30.

IAN
Sometimes I have to keep drunk
assholes out of my apartment.

ALEX
You are too funny, Ian!

Ian grabs Alex by the arm and helps Alex half way up. Alex,
on his knees, sturdies himself on Ian.

IAN
Let's get you some water.

ALEX
Yes! Tonic water and vodka!

IAN
Don't be a dumbshit alcoholic.

ALEX
Guess I should be a smart
alcoholic like you!

LATER

Alex, water glass in hand, slouches in a chair at the layout.

Ian sits on the other side, the town between them.

ALEX (CONT’D)
What are you talking about?

IAN
I ain't that good a role model
in case you haven't noticed.

Alex gives Ian a "brush-off" wave.

ALEX
You don't belong to some
exclusive club. I got pain
just like you, so shut up.

IAN
You think?

ALEX
My life ain't so bad. Drink,
fall, drink, fall, drink,
fall.
 31.

IAN
Booze is for those too weak to
hang themselves.

ALEX
Again! Drink fall! Drink fall!
Drink fuckin' fall!

IAN
You’re like someone trying to
open a closed door with your
fingernails. Just scratching
away.

ALEX
And you're not clawing at the
edge of what's real and not
real? You should talk.

IAN
You know even less about love
than pain. You're the joke
here. Maybe someday you'll
learn what caring means.

ALEX
This is how you thank me? Come
off like holy-soaked preacher?

Alex drops to his knees, elbows on the layout, fake prays.

ALEX (CONT'D)
Dear Lord. Please wake Ian the
hell up. Tell him I'm getting
my driver's license in a few
days. I'll take him away from
his pain medicines, stool
softeners, bed lotions, and
other shit he pipelines.
Please teach Ian what the true
meaning of caring is all
about. Amen.

Ian ignores Alex and pets the layout's artificial ground

covering as if it's a favorite old dog.

LATER

Ian rests awkwardly on the sofa.

 32.

Alex sits in the wheelchair, grips the wheels and balances

it, his legs up in the air.

IAN
There's a remarkable
relationship you develop with
the layout. One you can't get
with humans.

ALEX
(laughing)
Yeah, right!

Alex loses his balance and nearly falls out of the

wheelchair.

ALEX (CONT'D)
Model trains never sass back
or cap on you, huh?

IAN
You create a living breathing
model of what you've seen or
what you remember from your
past or the way you wish
things could be.

ALEX
Wonder if my prick parents
have a layout. Maybe I'm in
the scenery somewhere.

IAN
Plant or animal?

ALEX
A little plastic dog wearing a
little plastic name tag with
Alex printed on it with little
plastic dog crap smeared all
over him.

IAN
Sounds like you've actually
seen it.

ALEX
I have. I've seen all I want
of their layout and how they
have decorated it.
 33.

IAN
And your soul.

ALEX
Huh?

IAN
Your soul. Who you are. Who
you wish to be. It's all right
there in the layout. The grand
design, kid.

ALEX
(points to tree)
Looks like who you really are
is artificial, like that funky
green tree.

IAN
That tree is real. I even
choose what kind of tree it
is. As god of this layout, I
can say deciduous, or I can
say coniferous.

ALEX
You got to get out more.

IAN
Why? It's all right here.

ALEX
Trust me. There's more to life
than right here.

IAN
I alone dictate what the tree
shall be. I give it life. I
give it death.

ALEX
Oh come on, man.

IAN
Same as everything in this
layout. I am the god.

Alex shoots Ian a derisive scowl.

Ian snatches a tiny gray-haired man with an Alpine hat who's

strolling in front of a store on Main Street.
 34.

IAN (CONT’D)
Take this guy. Sweet enough
fellow. Yet, I decide his
fate. Does he continue living,
and shopping here at the
store?

Ian uses the man as a pointer, aims it at the store.

IAN (CONT'D)
Or does he die an isolated,
painful death on the tracks
here.

Ian places the plastic man on the tracks near the edge of
town.

ALEX
Kill him.

IAN
I am the decider of what shall
be -- what shall not be.

He applies full power to his locomotive and whisks the train

toward the plastic man, stopping just inches from it.

IAN (CONT'D)
He lives.

ALEX
That’s some sick shit.
(beat)
You like playing god, don't
you? Admit it dude.

IAN
(irate)
I'm beyond god -- beyond a god
that's done me no favors.
(beat)
I'm hungry. How about you go
get us a bucket of clucks.

INT. IAN'S APARTMENT - LATER

Ian, alone, shuffles through his mail. An envelope with an

official calligraphic font piques his interest. Ian rips it
open. Removes the letter. Reads it as his face hemorrhages
distress.
 35.

INT. PETE'S CAB - FRONT OF IAN'S APARTMENT - MORNING

A buoyant WHISTLING Pete and a silent dejected Ian sit in an

IDLING cab. Pete chews a cigar butt and finishes paperwork.
Ian slumps in the back seat, clutches the state's envelope in
one hand, a live cigarette in the other. Pete raises his
head.

PETE
So where to?

IAN
Of all places, the state
disability office.

PETE
That government building on
Sutter? We haven't been there
in a while.

They depart -- Pete wrestles into traffic.

PETE (CONT'D)
So what's shaking at the shit
shack?

IAN
Some adjustments to my monthly
payments they want to tell me
about... personally.

PETE
Got a bad feeling, huh?

IAN
Personally is never good news.
My benefits are changing. I
just know it.

PETE
You never know. Maybe they'll
only prick your finger.

IAN
I'm getting screwed. I can
even feel it in my paralyzed
ass. I don't know what I'll do
if they reduce my monthly nut.
 36.

INT. STATE DISABILITY OFFICE - DAY

A large administrative office filled with CLICKING KEYBOARDS

and Complaining People. Ian, anxious, rocks in his wheelchair
next to a paper-stacked desk, waits for an official to
return. Ian studies the ho-hum cubical.

The STATE OFFICIAL arrives (he's 40-ish, bearded, wears a

starched shirt).

STATE OFFICIAL
Hello, Mr. Crocker. I'm glad
you could--

IAN
Is the state lowering my
monthly benefits? That can't
happen. I need everything you
give me.

STATE OFFICIAL
We certainly feel the same way
about your account. But at the
same time, we--

IAN
(with tics)
I use the funds for rent,
food, medicines. Things I
desperately need. My state
money is the only thing
keeping my head above water.

STATE OFFICIAL
Mr. Crocker, according to the
original disability claim
records, your benefits were
supposed to be lower than what
you've been receiving all
these years. You could count
yourself fortunate you
received the higher amount for
so long.

IAN
Fortunate? You call my life
fortunate? Why are you doing
this to me?
 37.

STATE OFFICIAL
The fault is on our end, I
agree. Seems the old computer
system we were on made a
simple mistake with how it
itemized and calculated living
expenses for some of our
clients that filed claims at
the time of your accident. I'm
sorry, Mr. Crocker.

Ian SMACKS his hands on the wheelchair armrests.

IAN
Simple mistake? Computer
calculations? I'm sorry, Mr.
Crocker? You do realize that
you're punishing me for your
stupid mistakes?

Uneasy, the State Official leans away from Ian.

STATE OFFICIAL
But Mr. Crocker, I--

IAN
When does the reduction go
into effect? How long do I
have? You know I'm not going
to be able to live with this
change, right?

STATE OFFICIAL
Your monthly allotment will
drop about 20 percent at the
end of this month.

IAN
(yells)
What the hell?

STATE OFFICIAL
I'm so sorry, there's nothing
I can do.

People in the office are alerted by the commotion.

Some now gawk at Ian.

 38.

IAN
There's nothing the state can
ever do! Nothing you
personally can ever do! Isn't
that right, Mr. Mumble Jumble.

The State Official looks around nervously.

STATE OFFICIAL
Please, please, Mr. Crocker.

IAN
Bureaucracy at its best, in
pure harmony with the needs of
others! Hail the wasteful
abandon of public funds and
the squander of the haves
versus the have nots! Well
aren't you and this agency a
circus mind fuck!

INT. PETE'S CAB - DAY

Pete swerves the cab through traffic. Ian smolders in the

back seat.

PETE
It's always the same old ugly
coin... heads they win, tails
you lose.
(beat)
Once fought the government for
two years over whether I was
eligible for the draft or not.
In the end, they won, I went.

IAN
War is for those without
diplomatic skills.

PETE
Amen, brother.

IAN
At least you went, Pete.
Served your country with
distinction too.
 39.

PETE
Twas no distinction on my
part. Just happened to stand
in front of somebody at the
right time. Stole a round
meant for someone else's
chest.

Pete raises his hand so Ian can see it and simulates firing a
pistol in the air.

The cab races up to a red light.

Ian glares out the window at Kids on skateboards who jump off
cement railings at an office building.

IAN
Freaky kids.

PETE
Too bad you don't have any to
help out with your troubles.
Kids come in handy for
headaches.

IAN
I didn't have time for them.
Pets neither. Good thing. I
would've owned a creepy cat
named Bruno that had a
tracheotomy and a cigarette
hanging out of the hole.

PETE
Or a dog on dialysis?

IAN
Too selfish, according to my
ex. Only had interest in booze
and locomotives. Diesel and
wood grain alcohol.

PETE
Too much testosterone, huh?

IAN
I was never one of those
people who thought every
cough, burp and fart a child
makes is the most precious
thing they've ever heard.
 40.

PETE
You could've handed down the
train trade if you had a kid.

IAN
With my luck the kid would've
split my skull with an ax.
Nickname would have been Lil'
Skullsplitter.

PETE
Ever hear from your ex?

IAN
Nope. She was good for
nothing. Defoliant. Killed
everything she touched.

The traffic light turns green. Pete SQUEALS away.

PETE
I'm sure princess agent orange
was good at deflowering you
about your drinking.

IAN
I sabotaged everything she
ever tried. The grand
experiment was a grand
failure.

PETE
You think she's in a better
place now?

IAN
Her life became a bloodstained
broken window through which
men crawled in and out.

PETE
I'm blessed with my daughter.
Anything goes wrong with me,
she's there in a heartbeat.

IAN
Children in my life? I’d
rather carve a decorative
figurine out of my own leg.
 41.

PETE
No doubt.

IAN
I'd rather lounge around half
naked like tapioca and
daydream my life away.

PETE
If I daydream on my job, we
get tattooed on a guardrail.

Pete LOUDLY CLAPS his hands together once for emphasis.

IAN
You promise?

EXT. FRONT OF IAN'S APARTMENT - DAY

Pete's cab, with Ian in the back seat, draws up to the

complex and parks. A girl skips rope out front.

INT. PETE'S CAB - CONTINUOUS

Ian leans forward from the back seat, ready to pay up.

IAN
Okay hero, what do I owe you?

PETE
(looks at meter)
Twenty-three-fifty.

Ian pulls out cash. Hands a clump to Pete.

IAN
Days of big tips are over. I'm
scrimpin' and savin' like a
rail yard hobo now. Enjoy your
bobo tip.

PETE
I've tasted the poorer cuts of
cow myself. Catch you on the
next call.
 42.

INT. IAN'S APARTMENT - KITCHEN - DAY

Ian eats from a can.

On the counter, generic cigarettes and cheap whiskey. Shelves

in the background hold canned food.

Ian gulps prescription pills with water.

Pours himself whiskey.

He rolls out of the kitchen.

INT. IAN'S APARTMENT - CONTINUOUS

Ian glides to the layout and sidles up to the master

controller.

He powers up the train and watches it travel.

Ian rolls back to the kitchen, grabs his phone and returns to
the layout.

Makes a call.

CLOSE ON Ian's EYES.

IAN
(into phone)
Alex, got some bad news about
your job.

ALEX (O.S.)
(filtered)
What's up maestro?

IAN
(into phone)
I'm letting you go. My
disability benefits have
changed.

ALEX (O.S.)
(filtered)
You bullshitting me? Is this
some kind of psych?
 43.

IAN
(into phone)
I make less money now.
Everything's ruined.

Ian's free hand rubs his wheelchair's wheel.

ALEX (O.S.)
(filtered)
What? Did you have to cut
something out of your life?
Was it a choice between me or
the whiskey?

IAN
(into phone)
Alex, is the phone connection
bad? You’re having trouble
understanding me.

ALEX
(filtered)
Connection’s fine. Unlike you.

IAN
(into phone)
I can't afford you anymore. I
can't pay my bills. I can't
afford you! Get it?!

ALEX (O.S.)
(filtered)
Listen, you're not blowing me
off that easy.

IAN
(into phone)
This isn't personal.

ALEX (O.S.)
(filtered)
Nobody kicks me to the curb
ever again, man. You
understand that?

IAN
(into phone)
Nobody's kicking you to the
curve.
 44.

ALEX (O.S.)
(filtered)
I'd never abandon you.

IAN
(into phone)
Never abandon me?

ALEX (O.S.)
(filtered)
Especially you, the man that
nobody wants to hang out with.

IAN
(into phone)
I have my trains and layout!

ALEX (O.S.)
(filtered)
Don't play me! I'd expect the
same from you. Don't shut me
down. You need me.

IAN
(into phone)
I'm afraid there's--

ALEX (O.S.)
(filtered)
You can't go it alone. You
don't have to deal with this
by yourself.

IAN
(into phone)
Because I'm a cripple? With
enemies like you, who needs
friends?

ALEX (O.S.)
(filtered)
Because I care about you, you
dick!

After an abrupt CLICK from Alex's phone, the call is over.

INT. IAN'S APARTMENT - NIGHT

The layout lights TWINKLE and emit a calm glow in silence.

 45.

Ian stares out the window, motionless, whiskey in hand,

cigarette between his lips.

Alex lies on the floor and fiddles with a flat car.

ALEX
Flashing images. Nothing more
to remember.

IAN
Is that so? And you think--

Alex wipes tears from his eyes.

ALEX
Kind of like, one day they
were there, and the next, I
don't know.

IAN
You're a broken record.

ALEX
Record!? What the hell's that,
old man.

IAN
Your parents didn't depart the
station because of some flaw
you had. I guarantee that.

Ian rolls over to Alex and places his hand on top of Alex's
head, then rolls off to the layout.

IAN (CONT'D)
There's a reason I wanted you
to come over. Big news, kid.
Big news.

Alex pretends to yawn.

IAN (CONT'D)
I want you to go with me on a
trip. More precisely, a
European vacation.

ALEX
Are you cranking me?

Alex curls upright, enthusiasm fills his face.

 46.

IAN
Europe, my boy. I want to take
you there.

ALEX
Why Europe? Isn't that
megabuckville?

IAN
The fun we’ll have will be
worth the expense.

Ian stretches out his arms.

He points his fingers out, makes a fist and does this several
times.

IAN (CONT'D)
Look, less pain.

Ian rubs his belly and pinches some fat.

IAN (CONT'D)
I'm hungrier. Getting fat and
sassy. Your reward is a
vacation.

ALEX
Yo Trump, how are we paying
for it?

Ian slips out two credit cards from his shirt pocket and
holds them up. He beams.

IAN
I sent away for some magic
plastic. Now, we can travel on
the Eurostar.

ALEX
The your a what?

Alex stands up with excitement.

IAN
The Eurostar.

Ian wheels to a table and returns with the magazine that has
the Eurostar on the cover.

He flips on a lamp.
 47.

IAN (CONT'D)
Here's a picture of the model
version. The real one is a 186-
mile-per-hour bullet train
from London to Paris in just
over two hours.

ALEX
We do like our speed.

IAN
It's like a rocket, but with a
booze car. One moment you're
saying brilliant mate, and the
next you're babbling bon jour!

Ian hands the magazine to Alex, who scrutinizes it.

ALEX
Oh man. This looks all good.
I'm down with the plan.

IAN
It runs under the English
Channel if you can picture
that -- three hundred feet
below the surface.

ALEX
Under water? For reals?

IAN
Thirty two miles inside a
tunnel, and twenty two miles
of the tunnel under water. Can
you believe the adventure?

ALEX
An adventure that makes no
sense for sure. Only a dead
person couldn’t enjoy the
rush.

Alex paces back and forth while contemplating on the

magazine.

IAN
I've been on trains most of my
life, but I've never been on
one that fast or one under
water. Exciting huh?
 48.

ALEX
(taps picture)
I wouldn't mind checking out
this train. We could go on a
mad railroad field trip. Got a
thumb-tack?

Alex motions like he's going to rip the cover off the
magazine.

IAN
Sure, a model railroader has
everything.

Ian removes a tack from his tool tray and hands it to Alex.

ALEX
Do you mind?

IAN
Just don't tack it to my legs!

Alex RIPS the cover off the magazine.

ALEX
It'll inspire us for our trip.

Alex tacks the magazine cover on the wall.

Alex walks down the hall toward the bathroom.

ALEX (O.S.) (CONT'D)

I gotta squeeze a leak.

SUDDENLY

O.S., a KNOCK-KNOCK-KNOCK pummels the apartment entry door,

already slightly ajar.

EXT. IAN'S APARTMENT DOOR - CONTINUOUS

Landlord Mrs. Guth shoves the door open without an invite and
conquers half a step inside.

INT. IAN'S APARTMENT - CONTINUOUS

MRS. GUTH
Did you get your rent
together? I need it now.
 49.

Ian sheepishly wheels toward the door, intimidated by Mrs.

Guth.

IAN
I'll get it. Don't worry.

MRS. GUTH
I have people dying to get
into this place. It's a
desirable area.

IAN
I desire to live here!

MRS. GUTH
If you can't pay up, I need to
know right now. I want this
apartment, pronto!

Ian slips out the two credit cards from his shirt pocket and
shows them to her.

IAN
Look! I told you I was working
on it. I can pay my rent now.

MRS. GUTH
I don't take credit cards. And
besides, how did you scam
those with your income?

IAN
I have great credit.

MRS. GUTH
I'm sure you do, Houdini.
Look, I know you're trying to
get it together, in your mind,
but I'm trying to run an
apartment complex here.

IAN
I'm serious about settling my
debt with you. Dead serious.

MRS. GUTH
You're going to be the man
with a dead new serious plan
if you don't get your back
rent paid by the end of the
month.
 50.

IAN
End of the month?!

MRS. GUTH
Exactamundo.

Mrs. Guth backs out and slams the door with a THUD.

Alex returns from the bathroom zipping up his pants.

Ian slouches, dejected.

Alex halts, perplexed at Ian's sudden metamorphosis.

ALEX
What's crackalackin' jack, you
look like you've just seen
Casper the ghost. You okay?

IAN
The apartment manager dropped
in to tell me she was going to
evict me if I don't pay my
rent.

ALEX
Your mood has dropped like a
bomb of bummed.

Alex paces throughout the room.

IAN
I need my medicine.

Ian pours himself a shot of whiskey and slams it.

ALEX
That bitty can't throw you
out.

IAN
I'm afraid she can. I ain't
that lucky.

INT. IAN'S APARTMENT - MORNING

Ian, alone, sleeps on the sofa.

Sunlight comes through the curtains and hammers Ian's

eyelids.
 51.

He awakes with a COUGHING FIT.

LATER

Ian sits at the edge of his layout, watches his train coming
around a bend as he sounds the HORN several times.

The train rolls as his eyes glaze...

CUT TO:

EXT. BIG CITY SIDEWALK - DAY

Ian walks along a busy avenue.

He window shops.

Ian comes to a hectic street corner. Waits for the signal.

Stands next to a Woman with her Two Young Daughters.

The light changes.

The Pedestrians step into the crosswalk.

There's a SCREAM.

A red light runner swerves and SKIDS to avoid the crowd.

One of the Young Daughters is struck.

She's trapped under the stalled car. The Driver runs off.

The Mother SCREAMS for help.

A Crowd of Onlookers gather around.

A Man standing next to Ian attempts to lift the car.

He hurts his back and ends his efforts.

Ian steps forward.

He backs up to the rear of the car.

He places his hands under the bumper.

He strains. Nothing happens.

 52.

He strains again. The car lifts slightly.

Someone pulls the girl from under the car. Others attend to
her medical needs.

Ian steps away. He humbly acknowledges the smattering of

backslapping, CHEERS and CLAPPING.

ONLOOKER
(to Ian)
I've read about this happening
but never thought it was
possible. You're a hero, you
know.

O.S., a car driver somewhere HONKS his horn several times.

SMASH CUT:

O.S., a car outside HONKS and startles Ian.

He lifts his head, bewildered, peers toward the curtains as

his train GROWLS through the layout.

EXT. IAN'S APARTMENT - PETE'S CAB - CONTINUOUS

Pete HONKS his cab's horn in front of Ian's door.

INT. IAN'S APARTMENT - CONTINUOUS

Ian stops his train. He's irritated by the honking. Wheels

over to the door. Opens it. Moves halfway outside.

EXT. IAN'S APARTMENT - CONTINUOUS

Pete extricates himself from his cab and strolls, with

something shiny in his hand, toward Ian.

A sharply dressed and coifed FEMALE PASSENGER (30's) primps

in the back seat.

PETE
(to Ian)
You left this train thing in
my car... it must have rolled
under the seat. I just found
it this morning.
 53.

IAN
What the hell is it?

PETE
Looks like a metal tube or
something. I was in the area.
Thought I'd drop it off.

Pete hands it to Ian.

IAN
Oh, that's the corn silo I
bought for my grain warehouse.
Forgot all about it.

The Female Passenger, as if struck by a realization, now EYES

Ian.

FEMALE PASSENGER
(calling out)
Are you the train guy? I've
heard about you. May I see it?

Pete shoots Ian an embarrassed grin.

IAN
Sure, give me a minute. Let me
pick up a little bit.

INT. IAN'S APARTMENT - A MOMENT LATER

Female Passenger and Pete stand next to Ian's wheelchair and

ogle the layout.

FEMALE PASSENGER
Simply awesome, Mr. Crocker. I
am most impressed.

PETE
Yeah, pretty amazing. I
haven't been in here for a
while. I can see you've been
working on the railroad.

Pete CHUCKLES. Ian smiles.

FEMALE PASSENGER
I was thinking of getting my
nephew a train set for
Christmas.
(MORE)
 54.

FEMALE PASSENGER (CONT'D)

What kind of train can you
recommend for him? What do
kids like nowadays?

IAN
Tough question. Young kids
like bright plastic cartoon
trains and locomotives with
happy faces on them.

FEMALE PASSENGER
Sounds colorful.

IAN
Older kids have attention
deficit problems and can't
enjoy a true hobby like model
railroading.

FEMALE PASSENGER
I see.

IAN
Only text messaging and all
that mindless clutter.

Ian gently removes a locomotive from the tracks in front of

him. He caresses it, fixates on it.

E.C.U. on the locomotive in Ian's hands.

IAN (O.S.) (CONT'D)

Model railroading changed with
the times. It's not popular
anymore with kids.

FEMALE PASSENGER
I see.

IAN
No explosions, guns, car
crashes, violence, killing.
Not enough blood and gore for
them.

FEMALE PASSENGER (O.S.)

You don't say.

IAN (O.S.)
I've had this locomotive for
years.
(MORE)
 55.

IAN (O.S.) (CONT'D)

It's one of my favorites. The
lines, the details, the
colors.

Ian returns the locomotive to the tracks. He stares into the

layout's distance.

IAN (CONT'D)
Humans aren’t all that they’re
cracked up to be.

Pete and the Female Passenger secretly glance at each other.

They fidget.

FEMALE PASSENGER
Oh surely Mr. Crocker, just
looking at this layout I can
see that you must be a very
colorful man. I'm guessing you
have more friends than you
think.

IAN
Who'd want 'em?

FEMALE PASSENGER
Don't sell yourself so short.

IAN
Locomotives and rolling stock
have their own distinct
personalities, their smell,
just like a mother or father,
a sister or brother.
(beat)
We have our holidays, just
like all families. We have our
Easters.

INTERCUT: Shot of model railroad gondolas carrying colored

Easter eggs through layout town.

IAN (V.O.) (CONT'D)

We have our summer evening
barbecues.

INTERCUT: Shot of model railroad flatcars carrying lighted

candles through layout town at night.

IAN (V.O.) (CONT'D)

We have our Thanksgivings.
 56.

INTERCUT: Shot of model railroad hoppers carrying sausage

sticks, chocolates and foil-wrapped cheeses through town.

IAN (V.O.) (CONT'D)

We have our Christmases.

INTERCUT: Shot of model railroad gondolas carrying small

"airline bottles" of various liquor brands traveling through
town that's bedecked with miniature Christmas lights.

BACK TO SCENE

The Female Passenger touches Pete on the arm and subtly

motions to the door like she's ready to get the hell out of
there.

PETE
Well, we better get going if
we're going to get you to the
dentist in time.

FEMALE PASSENGER
Dentist? Oh yeah, right.
Actually Mr. Crocker, Pete's
protecting my honor -- I have
a court date for a little DUI
matter. We better go. Well,
Mr. Crocker, it's been a
pleasure meeting you.

They shake hands.

IAN
Likewise. Stop by anytime you
need railroad advice. I'm
pretty much always here.

PETE
Alrighty then Ian, thanks for
the tour. See you soon.

Female Passenger and Pete depart quickly.

INT. IAN'S APARTMENT - NEXT DAY

Ian cleans a miniature plastic man and places the man in

front of the town's tavern. The GP-38 locomotive GRINDS
nonstop around the track.

Ian picks up a small paintbrush and bottle of paint.

 57.

He rolls to the rear of the layout.

EXT. IAN'S APARTMENT - LATER

Alex KNOCKS on Ian's door, looks closely at a small card he

holds. He wears a bomber jacket. Alex hears a faint invite
come from inside the apartment and enters.

INT. IAN'S APARTMENT - CONTINUOUS

Alex darts inside.

Ian, at the rear of the layout, slowly brushes paint on a

hillside.

Ian's EYES are glassy and droopy. He's out of it.

ALEX
Yo, I just snagged my driver's
license! I got Phyllis's car!
Let's get you outta here!

IAN
(monotonous)
That's great news, my boy.
Quite an accomplishment. I
need you to do a major errand
for me.

ALEX
I have a rad place I want to
take you, if you've got the
skill for the thrill.

INT. PHYLLIS'S CAR - DAY

Alex and Ian sit in an IDLING junker with tattered upholstery

and the windows rolled down.

Alex JAMS the car in reverse and backs up with a SQUEAL.

He engages the traffic.

IAN
I haven't been in the front in
a while.
 58.

ALEX
Cool, man.

IAN
(out window)
I'm an adult for once! Instead
of riding in the back like a
child!

ALEX
This is styling, dude.

Ian studies the car's shabby interior.

ALEX (CONT'D)
Beats my piece of crap bike.
No tunes though. Fucker's
broke.

IAN
Styling? That's it, boy.
Styling Alex. The Man!

Ian slips out a cigarette and brings a lighter to it.

ALEX
No smoking in the car, honky.
Phyllis's big rule.

Ian puts the lighter away but keeps the unlit cig in his
mouth.

ALEX (CONT'D)
So Alex the man is going to
find out about his real
parents. And right quick old
man!

IAN
You don't say. Good for you.
One of the joys of being an
adult. You hear things you
don't want to hear.

Alex PLAYS BONGOS with the steering wheel.

ALEX
I want to hear about this, bro
ham.
 59.

IAN
Is that right.

ALEX
Phyllis is going to let me
have a slammin' party for my
18th birthday next week.

IAN
Slammin' sounds fun I guess.

ALEX
My file from the adoption
agency is supposed to be
delivered by then. I'll know
who my parents are. Now that's
a birthday present.

IAN
I knew my dad well. He was a
mean drunk. So was his father.
One drunk raising another. The
gift that keeps on giving.
Thanks dad and grandpa!

Alex offers Ian a sympathetic look.

ALEX
You're too hard on yourself.
You ain't wacked.

IAN
I'm wacked plenty, whatever
the hell that means. You
didn't know me back in my
unholy days.

ALEX
Maybe not, but I wouldn't call
you a mean drunk. Maybe your
dad and grandpa, but not you.

IAN
He took his failures out on me
in the dark when I was young.
I can still see the cherry on
his cigarette reflecting off
his bourbon's ice cubes like a
hundred red shards of glass.

Ian pretends to inhale and exhale his unlit cigarette.

 60.

IAN (CONT'D)
He'd take a seat next to my
bed. Tell me how worthless I
was. He'd take a sip.

Ian LOUDLY SMACKS his fist into his palm as he talks.

IAN (CONT'D)
Then Bam! Bam! Bam! He'd punch
away his troubles on the back
of my head.

ALEX
You must have been scared
shitless.

IAN
You know what fear is? Pissing
in your pajamas and sleeping
like that.

ALEX
Didn't your mom do anything
about it?

IAN
Her idea of nurturing was
giving you the backside of her
hand while she wore a glove
made out of sandpaper.

Ian draws another drag off his unlit cigarette and pretends
to blow the invisible smoke out the window.

ALEX
Man, with that kind of love,
being unloved ain't bad. I
would have run away forever.

IAN
I learned at a young age to be
quiet. I could sing a whole
song in a silent room and you
wouldn't even know it.

ALEX
My childhood wasn't as bad as
yours. All I got was a first-
class ditch-job.
 61.

IAN
Ever been to therapy?

Alex spits out the window.

ALEX
Couple times. Didn't do shit.
Wonder where I'm taking you?

IAN
Thought crossed my mind, yes.

Alex twirls the steering wheel and RACES the junker into the
same industrialized vacant lot as the opening scene.

He drives serpentine through the obstacle course, kicks up

dust and rocks as he SPINS the tires in the dirt, abruptly
SLIDES to the edge of the railroad tracks.

ALEX
My favorite train tracks!
We're fuckin' here, you
goddamn railhead!

Ian surveys the location, looking blasé.

Alex scans the territory like it's nirvana.

IAN
Railhead? You mean like a
train groupie? The correct
term, my boy, is foamer.

ALEX
This is where I feel major
relaxed. Where I sip my sauce
and wash away my bad thoughts.

Alex coerces a whiskey bottle from his jacket's pocket.

Ian, disapproving, shakes his head back and forth.

ALEX (CONT'D)
Nip?

IAN
Whoa, son, how many times have
I told you? You shouldn't
drink and drive.
 62.

ALEX
(laughs)
Who's drinking and driving?
We're parked, old man.

Ian looks all around to see if anyone is visible.

IAN
I guess a slug wouldn't hurt.

Ian grabs the bottle and quaffs.

ALEX
Never, ever hurts, pops.

IAN
Boy, you're on my last nerve.

ALEX
Gets better.

Alex removes two Slim Jim meat sticks from his jacket's other
pocket and holds one in front of Ian's face.

ALEX (CONT'D)
Lunch?

EXT. PHYLLIS'S CAR - LATER

Ian sits in his wheelchair next to the car. He looks

dejected.

Alex uses the car hood and windshield as a recliner.

They smoke and monitor a freight train that approaches from

the distance.

ALEX
There are lots of brats at
school who are nothing to brag
about. I'm in good company.

IAN
Plenty of messed up kids from
messed up parents to go
around, huh?

ALEX
So you admit it! You think I'm
messed up?
 63.

IAN
Guess that didn't sound right.

ALEX
Yeah, whatever. That's harsh.
You look bummed. What's up,
grumpa?

Alex flicks his cigarette butt.

IAN
About that errand I needed.
Can you wheel me close to the
tracks when that train gets
here.

ALEX
Do you want to spit on it?

IAN
I want to feel the wind?

ALEX
Wind? Ain't no wind, dude.

IAN
The wind made by the train.
Train wind always breathed
life into me.

ALEX
Whatever.

Alex labors to roll Ian over loose rock close to the tracks.
Finally gets Ian a few feet from the tracks.

Just then, the train THUNDERS alongside with RAZOR-SHARP

METALLIC SQUEALS.

IAN
No, closer! I need more wind!

Alex edges Ian closer to the tracks.

IAN (CONT'D)
No, closer! Almost there. I
can almost feel the wind!

ALEX
Any closer and you'll get a
final shave!
 64.

IAN
(snivels)
I need a shave! I need a final
shave! This old cripple needs
a final shave!

Alex wrenches Ian away from the tracks.

Ian resists, grips the wheels with both hands, violently

rocks back and forth.

IAN (CONT'D)
Come on, Alex. Push! Don't
pull! Let this train finish
what the other train started.
Push! Push me in! Push me now!

Alex continues to tug Ian away from the tracks.

Ian resigns himself to defeat.

The train passes them.

Alex now shoves the wheelchair with angry authority toward

the car.

He’s winded from the struggle.

ALEX
You stupid freak! The world
might not miss you but I
would!

IAN
My trains? Would they be lost
without me?

ALEX
You're the one lost right now.
Get over it.

IAN
We're both lost. You and I.

ALEX
Man you're fucking jacked up
on your medications right now.
You should hear yourself.

IAN
But what about my trains?
 65.

ALEX
You've put too much energy
into them to kill them now.

IAN
You could take them over.

ALEX
Right. I guess all the stuff
about a layout being your soul
and who you are and the way
you want your world to be are
big lies?

IAN
I could bequeath the layout to
you.

ALEX
Bequeath the layout?! What are
you now... a fucking king? Are
you crazy?! You sound psycho,
Ian.

IAN
I'm serious.

ALEX
Abandoning something is never
an option! You never leave
anything! Anything! Ever!

Alex wheels Ian to the car door. Bends over, exhausted.

ALEX (CONT'D)
(mumbles)
Damn drug addict.

INT. PHYLLIS'S CAR - SUNSET

Alex drives in silence.

Ian, head bowed, WEEPS through closed eyelids that glisten in

the setting sun.

Alex glances over, but offers no pity.

 66.

ALEX
For a paralyzed guy, you sure
feel a tremendous amount of
shit. You want to kill
yourself? Boo-hoo. I want to
live to know who my parents
are. That's a train wreck you
can wrap your mind around.

Ian regains his composure. He glares into the distance.

ALEX (CONT'D)
Listen, I'm not taking you
home. I want you to meet
someone. It'll do you good.

Alex swerves hard to the right and turns down a dull working-
class street on the way home.

Ian sways to the left.

Alex shoves the rubbery Ian back toward the right.

INT. PHYLLIS'S KITCHEN - NIGHT

Phyllis, Alex, Tanya, and Ian sit rigid around the table
eating spaghetti.

Everyone focuses on their plate without speaking, the quiet

broken by the CLINK of inexpensive tableware.

Without warning and with a STARTLE--

IAN
This is absolutely delicious.
Much better than the canned
laughter I normally eat. I
don't get many cooked meals.

ALEX
This is worth getting out for,
idn'it?

Ian nods yes as he forks a load of pasta into his mouth.

TANYA
So what's wrong with your
legs?
 67.

PHYLLIS
Tanya! Don't be rude.

TANYA
I'm just asking.

IAN
(to Phyllis)
That's okay. I'd be curious
too, seeing this frightening
device.
(to Tanya)
Had an accident.

TANYA
I'm sorry.

IAN
I wasn't paying attention and
I paid the price -- two legs.
They had a special that day on
lack of attention. Two legs
for the price of one!

Ian LAUGHS. Phyllis, Alex, Tanya smirk politely.

ALEX
Yo, lighten up! We’re trying
to eat here, dude!

Ian fakes a huge smile.

ALEX (CONT'D)
Anyways, I have something to
say. I want to invite you to
my birthday party. Would that
be cool, Phyll?

Phyllis nods yes.

ALEX (CONT'D)
It's going to be a rager, bro.
We're having some peeps over
and I get to invite a couple
dorks from school. We promise
not to fall on you!

TANYA
And by peeps, he means his
aunts and uncles. He’s such a
gangsta.
 68.

ALEX
Tan, you're baked, like a loaf
of bread. You just got
buttered, yatch!

PHYLLIS
Alex, you know the rules. No
drinking and no smoking --
anything. Not even in that
dark spot in the backyard!

Alex shrugs and winks at Ian.

INT. IAN'S APARTMENT - NIGHT

Alex rolls Ian into the dark apartment.

ALEX
Well, here you go, my man.

IAN
Follow me over here to the
layout. I have new changes to
show you. Watch your step.

Alex follows him in the dark.

Rather than turn on the lamp, Ian activates the layout's

lights, which explode in a shower of miniature twinkling
stars.

Alex, wide-eyed, admires their sparkling beauty.

Ian lights a cigarette.

IAN (CONT'D)
Added more illumination as you
can see.

They both gaze at the layout in a moment of silence.

ALEX
This is poppin’, man.

IAN
Thank you, home slice.

Alex LAUGHS.
 69.

ALEX
I really mean it. It's
beautiful.

IAN
No, I'm saying thank you for
today. It was the first time
in years I felt part of a
family.

ALEX
It was cool with you sitting
there. Like a complete family.

IAN
Only thing missing was Norman
Q. Rockwell.

ALEX
Who the hell's that?

IAN
Nobody to you and me.

ALEX
Hmmm.

IAN
And to think... my idea of
making today even more special
was asking you to kill me.

ALEX
Don't ever do that suicide
shit again.

Ian throttles the train into motion.

ALEX (CONT'D)
You can come over any time
you'd like. And don't kill
yourself at the house, okay?

Alex LAUGHS and rests his hand on Ian's shoulder.

IAN
Phyllis is wonderful. You’re
blessed to have a caring woman
raise you.
 70.

ALEX
She's okay. I barely know her.

IAN
I wouldn't hold onto the idea
you're going to be reunited
with your real mother. You
could be in for a letdown.

ALEX
I might as well be dead then,
just like you want to be.

IAN
I'm no authority on parenting
anyway.

ALEX
You might make a decent soccer
dad, wheelchair and all.

IAN
Ha!. I was unreliable to those
who relied on me. Unfaithful
to those who had faith in me.
Unlovable to those who loved
me.

ALEX
Not what the girls at my
school call the total package.

Ian stretches out his arms and yawns.

IAN
This package has had a full
day. I'm hitting the sleeper
car.

ALEX
Yeah, I ought to get going.
Need anything before I vanish?

IAN
Got two extra legs?

They hug good-bye.

Alex smiles and walks to the door, locks the handle, and
leaves.
 71.

INT. IAN'S APARTMENT - LATER

Ian, alone, illuminated by the miniature lights, pours

himself a shot of whiskey.

He knocks it back. Pours another, dripping liquor onto the

layout's felt grass field.

Ian guides his train through town, stopping at the train

station, where a few plastic passengers wait on the platform.

IAN
Any of you motherfuckers want
a ride?

He waits a few seconds before he realizes that none of the

figurines have hopped aboard, then declares--

IAN (CONT'D)
Okay, suit yourselves,
assholes. I'll go it alone.

Ian pumps full power into the locomotive.

The train flees into the rugged countryside just as Ian

drifts off.

CUT TO:

EXT. HIGH-RISE BUILDING ROOF - NIGHT

Ian, in a coat and tie, stands with several police officers.

A FRANTIC MOTHER yanks his sleeves as she cries. A SUICIDE
JUMPER, a floodlit teenage boy -- her son -- stands on a
ledge below the roof and threatens to jump.

FRANTIC MOTHER
Please, you have to save my
son. He's just a boy. Don't
let him die. Please don't let
him jump!

IAN
Ma'am, I'll do what I can.
Don't worry, as a crisis
negotiator, I have a lot of
experience with this sort of
thing. I'll try my best --
you'll have to let me go now.
 72.

FRANTIC MOTHER
You're my only hope. His only
hope. He has his whole life
ahead of him.

Ian walks away from the woman and carefully approaches the
building edge. Below, the Suicide Jumper looks straight up at
him.

SUICIDE JUMPER
Don't get near me or I'll let
go! Do you hear me?

IAN
Come on, son, come on up. Give
me your hand. We can talk
about everything up here.

SUICIDE JUMPER
Fuck you with the son crap. Go
away and let me die in peace.
Your life ain't worth going
with me.

IAN
Maybe my life isn't worth it.
But your life is.

SUICIDE JUMPER
Right-o, chumley.

IAN
And besides, your mother is
here and she's worth it for
you to stay alive, isn't she?

SUICIDE JUMPER
My mom's here?! She's the
reason I'm out here! She
messes with my head.

IAN
Listen. Moms mess with heads.
It's what they do. By killing
yourself, you give your mother
all the power.

SUICIDE JUMPER
What do you know?
 73.

The Suicide Jumper looks down, shifts his feet, prepares to

leap.

IAN
It's like that Nine Inch Nails
song "Head Like a Hole." Trent
Reznor sings, "I'd rather die
than give you control."

SUICIDE JUMPER
What the hell does that mean?!

IAN
Think about it. That song,
that line, makes no sense. You
are giving up control if you
give someone the power to kill
you.

SUICIDE JUMPER
Come on, jerkoff!

IAN
See what I'm saying? Don't let
your mom kill you.

SUICIDE JUMPER
I'm not letting my mom kill
me, fuck-wad. I'm killing me.
I'm ending it all, on my
terms.

IAN
Your terms are flawed, son.
You can take control of your
mom by coming back up here and
telling her how it's going to
be from now on. I'm sure
she'll agree with me. You'll
see. Your mom will treat you
differently from now on. I
promise.

SUICIDE JUMPER
Fuck that!

IAN
From now on, you call the
shots. I'll make sure of that.
 74.

SUICIDE JUMPER
(calming down)
Yeah right, buddy!

IAN
Come on up here and we can
talk about it. I'm frightened
of heights. I've seen what a
fall from here can do to a
human body. It's not pretty.
Your heart, kidneys, liver,
everything breaks loose and
pops out of your skin. Bones
shatter like a beer bottle.
You're a puddle of jelly. Very
tough to clean up. Come on,
give me your hand.

The Suicide Jumper thinks it over, capitulates, and reaches

for Ian's hand. With slow, maximum effort, Ian lifts the teen
onto the roof. The Frantic Mother and police officers rush to
the boy.

Ian turns away from the group. He GRIMACES and inspects his
hand, wiggles his fingers. They burn with pain as--

SMASH CUT:

INT. IAN'S APARTMENT - NIGHT

Ian jolts erect from his daydream and vigorously shakes his
hand. His cigarette has burnt down to the point it singes his
two fingers holding it.

IAN
What in the hell are you doing
Ian, trying to burn the town
down? Damn idiot!

Ian tamps the cig out and drains the last of the whiskey from
its bottle, lets it plunge to the carpet. He switches off the
train and layout lights.

In the dimmest possible light, he wheels himself to his couch

and flops onto it and passes out.
 75.

INT. IAN'S APARTMENT - MORNING

Ian, with an immense hangover, his face coarse, scales his

wheelchair. Wears the same clothes as the day before.

He grumbles his way toward the kitchen.

His wheelchair strikes the empty whiskey bottle with a CLINK.

He dials his phone, punches in numbers like a man killing

insects.

IAN
(into phone)
Pete, I need a ride to Tony's
Train Store today.

INT. TONY'S TRAIN STORE - DAY

Ian sits stationed across from Tony, the cash register

counter separates the two men.

Ian places a railroad passenger car on the counter.

IAN
I'll just be buying this
people car today. Oh, --

Ian grabs three tiny porcelain human figures from his lap and
adds them to the counter.

IAN (CONT'D)
And these three figurines from
that Swiss company.

TONY
My-my. A passenger car and
people! You haven't purchased
people in months. Your first
passenger car? Taking a break
from your freight stock, huh?

IAN
Fake people seem to round me
out these days.
 76.

TONY
Whatever. For a guy in a
wheelchair, you're becoming
rather pedestrian.

IAN
I also want you to find me
something and order it. That
Eurostar train set, the engine
and everything.

TONY
That's great! I knew you’d
break down. I'll have it
shipped to your apartment.

Tony picks up the three authentic figurines and analyzes them

up close.

TONY (CONT'D)
Wow, the Geneva woman, the
teenage boy and teenage girl?

Tony shakes his head while he rings up Ian's purchase.

TONY (CONT'D)
I don't even want to know.

INT. IAN'S APARTMENT - NIGHT

Ian attaches his new passenger car in the middle of his

freight train.

He admires his creation for a moment, smiles.

Ian throttle the train to half-speed.

He's tired. Drugged.

The phone RINGS. He picks up--

IAN
(into phone)
Hello? Oh hey Alex.
(beat)
Sure. Tomorrow would be fine.
I'm looking forward to your
birthday party. Okay, I'll see
you at noon then.
 77.

Ian hangs up.

He gently places his new figurines at the train station,

arranges his new friends like a close-knit family waiting
under the eaves.

INT. PHYLLIS'S CAR - NOON

Alex, with Ian in the passenger seat, manhandles stop-and-go

traffic.

Alex's EYES flit here and there. He's tense.

ALEX
Phyllis just called and said
the envelope from the adoption
agency is here! Gonna find out
who my parents are and why the
bitches ditched me.

IAN
Looking at today as some sort
of payback time?

ALEX
Don’t even think of ruining my
big day.

IAN
Nothing to pay back, Alex.
Having information isn't
exactly revenge. Your parents
might not even be living
anymore. Hope you're prepared
for that shit.

ALEX
I've already worked out every
possibility.

IAN
You have, huh?

ALEX
I've had plenty of time to
figure it all out. I'm
prepared for today.

IAN
Prepared?
 78.

ALEX
The party isn't for a few
hours. We’re stopping at the
tracks for a nip. I got a
birthday bottle with my name
on it.

IAN
What did I tell you about
drinking and driving? You
haven't learned a thing from
all I've gone through?

ALEX
We ain't going to be driving.
We'll park and have a birthday
sip, that's all.

IAN
Sips lead to slugs which lead
to slurps that get you into
trouble.

ALEX
Hold it buzz lightweight.

IAN
Guess a birthday sip wouldn't
kill either one of us. At the
party!

ALEX
You're not getting into the
birthday spirit here, Ian.

IAN
Since we do have a little
extra time, I'd like to show
you someplace new. Tracks you
don't know about.

ALEX
I've been to most of them.

IAN
Somewhere different than your
usual hangouts. A place I've
never taken anyone actually.
Haven't been there myself in
years. Head for Thirtieth
Avenue, James.
 79.

EXT. ISOLATED RAILROAD TRACKS - DAY

Covered with overgrowth, a pair of rusty rails slice bleak

typography in half.

All around, chain-link fences and abandoned warehouses

covered in graffiti and broken windows.

Alex stands alongside Ian in his wheelchair, between the car

and tracks.

CRACKLING weeds brush their legs. WIND swirls dust clouds in

their faces.

Their eyes sweep the lay of the land, their eyelids pinched.

IAN
This is it, kid. Where my luck
ran out.

ALEX
This is heavy, man.

IAN
Should be... You never forget
where you lose your legs.

Alex rubs his arms with his hands.

ALEX
I'm getting the willies. Feels
like ghosts are all around me.

The wind HOWLS.

IAN
Seems like you're standing in
a shadow, doesn't it, even in
this full sunlight? Can't
explain it.

Ian rolls alongside the tracks. Alex walks beside.

IAN (CONT'D)
Back in the steam days, when a
father in the train business
had a son, and that son
started his first day on the
job, they held a ceremony.
 80.

ALEX
For real? What kind?

IAN
A passing of the torch, you
could say. The ritual of the
flat penny.

ALEX
Say what? A flat penny? Are
you speakin' the truth?

IAN
Well, not Lincoln pennies.
Back in the eighteen hundreds
they flattened Indian head
pennies. Take a look at one. A
little birthday present.

They stop. Ian removes two 1880's Indian-head pennies from

his shirt pocket and hands one of them to Alex.

ALEX'S POV: He holds the coin and examines it.

E.C.U. of the coin in Alex's palm.

ALEX (O.S.)
Dude looks cool. Thanks.

IAN (O.S.)
It was something a father and
son did just between them.
They'd find a stretch of busy
track, put their coins on the
rail, and wait.

ALEX (O.S.)
What a trip.

IAN (O.S.)
While they waited, they talked
about what trains meant to
them, their lives, their
fears, their goals, their
dreams.

ALEX
You know what's strange? I
never have dreams.
 81.

IAN
I have almost nothing but
dreams.

Alex gazes down the tracks in both directions.

ALEX
Don't look like no train is
coming along today, Ian.

IAN
Yeah, hasn't been a train here
for years, ever since the
industries dried up.

ALEX
This place looks drier than
turds at old MacDonald's farm.

IAN
Next time we're at a live
track, we'll flatten our
pennies.

They gawk at the warehouses lined up like tombstones.

ALEX
So what'd the father and son
do with the flat pennies?

IAN
Keep them as tokens of their
bond of being father and son
in the same profession.
(beat)
They'd keep them in their
pockets their entire lives.

ALEX
No lie?

IAN
That's why it was so sad when
a stripe-hat got killed and
that flat penny was found in
his pocket. Meant he had a
father or son on the job.

Alex and Ian view artistic graffiti of skeletons.

 82.

ALEX
Obviously my father wasn't on
the job and neither was my
mother, huh?

IAN
You have my coin now.

ALEX
Close as I'll get I guess,
being a son with a father.

IAN
Some fathers are good. Some
bad. Some there. Some long
gone. One thing’s for sure,
you don't need a father around
to be a good son.

ALEX
I wonder if my father was
good?

IAN
I know he was a good father.

ALEX
I wouldn’t be too sure about
that?

Alex leans over Ian from behind and hugs him.

Ian's arm rises and pats Alex's shoulder.

Alex's face rests on Ian's shoulder as a tear rolls down

Alex's face.

ALEX (CONT’D)
I'm cool with everything.

Alex stands upright and covertly wipes the tear away.

ALEX (CONT'D)
Well, we better get going to
the party. All this parent
talk has me excited to hear
about my mine.

IAN
I could use some cognac and
cake! Home, James!
 83.

INT. PHYLLIS'S HOUSE - KITCHEN - DAY

Alex's birthday party is in full swing. A small family

affair. A blender WHIRS. A boom-box THUMPS. Food overflows
the table.

Partiers ring the room: Phyllis, Tanya, Doris, big-bellied

UNCLE JOE (42), well-dressed and pious AUNT VICKIE (35), and
diminutive AUNT PEG (38). Uncle Joe walks out the back door
with a drink in each hand.

OUTDOOR PATIO - CONTINUOUS

Uncle Joe walks out the kitchen door onto a small raised
patio and hands Ian a fruity cocktail.

Ian camps out near sharp steps that drop onto a grassy
backyard.

UNCLE JOE
Here you go, Ian, a little
stiffer than the other two.
Hope you don't mind.

IAN
As my classy father used to
say, a woman's never too loose
and a drink's never too stiff.

They LAUGH. Ian sips, snarls at the taste, and smiles.

IAN (CONT'D)
This'll get the job done.
Never met a liquor I didn't
like. Nice shindig, huh?

UNCLE JOE
We don't get together too
often, but it's always nice to
see my sister Phyllis and see
how big Alex and Tanya are
getting. They're good kids.

IAN
I really don't know Phyllis or
Tanya, but that Alex is a fine
boy.

Uncle Joe plunks down on a chair next to Ian.

 84.

They stare out to the backyard.

BACKYARD - CONTINUOUS

ANGLE ON ALEX, who horses around with his two schoolmates:

GARY, a black-haired thin kid, and PAD-TY, a chubby Asian
guy.

UNCLE JOE (O.S.)

He's been through a lot. I'm
sure you already know about
his issues regarding his real
parents.

IAN (O.S.)
Do you have any idea what
happened to them?

Gary takes out a cigarette and begins to light it.

Alex smacks the cigarette out of Gary's mouth.

Alex mouths something inaudible about no smoking at the

party.

UNCLE JOE (O.S.)

No idea. You'd think Phyllis
would've mentioned something,
but we're not all that close.
She's a private person.

IAN (O.S.)
She's done a fine job of
raising him. He's a
respectable young man.

PATIO - CONTINUOUS

Uncle Joe leans into Ian.

UNCLE JOE
That was nice of you to give
the boy some work. Keeps him
out of trouble. I'm sure it
makes him feel good about
himself.
 85.

IAN
He's the one who pumps up my
life. I wouldn't be able to do
half the stuff I do without
him. I owe that kid a lot.

UNCLE JOE
Today's a big day for the boy.
Going to be an interesting
evening for sure.

Phyllis, Tanya, Doris, and Aunt Vickie spill onto the patio,
pass by Ian and Uncle Joe, and move to the backyard.

PHYLLIS
(tipsy, to Ian)
You boys havin' fun yet?

Alex and his two schoolmates scurry to the vacated kitchen.

KITCHEN - A MOMENT LATER

Alex, Gary and Pad-Ty huddle at the table snacks. Aunt Peg
stands at the counter, makes egg salad, her back to the boys.
The boom-box THUMPS.

The boys GIGGLE.

They covertly pull liquor bottles from their pockets and pour
into plastic cups.

GARY
Man, check out this scary
fluid. It'll put hair on your
shiny lil' knuckles. Talkin'
bent here.

Alex checks to see that no one looks, sneaks a gulp, and

grimaces with delight.

He holds up his knuckles for general viewing.

ALEX
Whoa, this is swill, bro!
Damn, just look at me and my
fuzzy knucks! You are the
partay bartender, that's def.

The boys LAUGH, but keep it down so they don't attract

attention.
 86.

Aunt Peg turns from her egg salad and glares at the boys.

AUNT PEG
You fellows watch the liquor.
Phyllis said it'd be okay to
have a little hooch because
it's such an important
birthday... but she didn't say
to go insane.

PAD-TY
(high-pitch sing-
song voice)
Insane in the membrane!

The boys LAUGH.

ALEX
We're being cool, Aunt Egg. I
mean, Aunt Peg. You can trust
us. We're just chillaxin.

The boys LAUGH HARDER.

AUNT PEG
Yeah, right, I'm sure. I'm not
that old. You guys and your
silly words.

Aunt Peg turns back to finish her egg salad.

BACKYARD - NIGHT

Phyllis, Tanya, Doris, Uncle Joe, Aunt Vickie, and Aunt Peg
circle a barbecue pit bonfire. Ian, drink in hand, stays on
the patio because of the cement steps.

People take turns rubbing their hands in front of the fire

for warmth.

Tanya holds a stick with a marshmallow over the flames.

PHYLLIS
So, the smushed coins mean
what now?

Phyllis tosses birthday gift-wrap paper into the fire.

 87.

IAN
Oh, it was just a way of
stamping in metal the bond
between fathers and sons
working on the railroad.

PHYLLIS
That's interesting. Say what?

IAN
An old time-honored tradition
from the eighteen hundreds.

PHYLLIS
My. I guess trains do go back
quite a while.

UNCLE JOE
Yeah, Phyllis, you remember
steam trains, ain't that
right?

Everyone LAUGHS. Doris COUGHS. Phyllis punches Uncle Joe on

the shoulder.

PHYLLIS
Speaking of trains, it's been
really nice of you to share
your train sets with Alex. I
can tell he's thrilled to see
them. He might even get one.

IAN
It's a pleasure showing him
something so meaningful to me.

AUNT VICKIE
Amen.

KITCHEN - NIGHT

Aunt Peg washes the last of the dishes. It's quiet.

Only Ian, Uncle Joe, Aunt Peg and Phyllis remain, in various
degrees of inebriation.

They hunker over the table and pick remains.

 88.

UNCLE JOE
Phyllis, that chocolate cake
was something else.

AUNT PEG
Yeah, something else you
shouldn't be eating with that
big ol' gut of yours.

Uncle Joe smiles and rubs his belly.

AUNT PEG (CONT'D)

(to Phyllis)
It was scrumptious. Better
than your mother's. Remember
her cake, Phyll?

IAN
I had three pieces! Not bad
for a cripple!

Everyone LAUGHS.

Alex SWAYS into the room. His EYES glassy.

ALEX
Okay Phyllis, everyone's gone.
Can we look at the file now?

PHYLLIS
I'm surprised you could wait
this long. Okay, let's go into
the family room where we can
be alone.

Phyllis and Alex exit the kitchen.

FAMILY ROOM - A MOMENT LATER

Phyllis and Alex sit erect on a sofa in a sparsely furnished

room. Phyllis holds a large manila envelope in her lap.

PHYLLIS
This will explain everything
regarding your adoption. I've
already taken a quick look.

ALEX
Bring it on!
 89.

PHYLLIS
I want you to prepare yourself
for what you're about to see.
Are you ready?

Alex rubs his hands together.

ALEX
Sure am. Bring it on.

PHYLLIS
Okay, steady yourself.

Phyllis hands Alex the envelope.

He opens it, pulls out the contents, and ruffles through

faded newspaper clippings.

ALEX
What's all this crap?

Alex selects one with the largest headline and several

pictures on it.

ANGLE ON Alex reading it to himself.

PHYLLIS (O.S.)
Your parents didn't leave you
because you were a bad son or
because they didn't love you
as you've always believed.
They left because they were
killed in a horrible accident.
Your father was a well-known
doctor in town. That's him
with your mother in the
picture at the bottom.

ALEX'S POV: He scans the newspaper clipping.

INSERT -- newspaper clipping headline: "SCORES KILLED IN

TRAIN MISHAP -- PROMINENT DOCTOR AMONG FATALITIES"

INSERT -- newspaper photo of Alex's parents, with caption:

"DR. THOMAS RUTLEDGE, M.D., AND WIFE SARALYNN"

BACK TO SCENE

Alex studies the black-and-white photo of his mother and

father, rubs his thumb over the edge.
 90.

PHYLLIS (CONT'D)
Those were your parents, Alex.

ALEX
She was so pretty. And look at
him. So downright dignified.
My last name is Rutledge?

Alex again scans the article, glances down and SEES--

INSERT -- newspaper photo of Ian Crocker, with caption:

"TRAIN ENGINEER RESPONSIBLE FOR COLLISION"

INSERT -- newspaper photo of mangled wreckage of freight

train and passenger train.

BACK TO SCENE

ALEX (CONT'D)
You're kidding me? You gotta
be kidding me?!

PHYLLIS
I never knew your parents, but
I read about them in the
paper. Your father treated
poor people for free. He was a
kind man, a local hero.

ALEX
Is that Ian? My Ian? Ian
killed my parents?

Phyllis grabs one of the articles and searches it over.

PHYLLIS
Ian?! Ian was a train
engineer?! Oh my God! That is
Ian!

ALEX
What the hell is going on?

PHYLLIS
When you introduced him to me
at dinner the other night, I
never heard anything about
what he had done for a living.
He said he was in an accident
and I thought he meant a car
accident.
 91.

ALEX
You're kidding me?

PHYLLIS
When I looked at the articles
today I didn't recognize him.

Alex CRIES and SOBS.

Phyllis freezes with rigidity, stunned.

PHYLLIS (CONT'D)
Oh my God! This is so wrong.
This can't be possible.

Alex SLAMS the clippings down on the coffee table.

He jumps straight up.

KITCHEN - CONTINUOUS

Alex rushes in as Ian drains the last of a beverage.

In the background, Uncle Joe pours another round.

Alex SHRIEKS -- everyone shudders.

ALEX
(to Ian)
You bastard!

IAN
Huh? What?

ALEX
You killed my parents and just
kept your mouth shut and took
advantage of me!

Ian recoils at the accusations and drops his glass.

Both of Ian's hands reach for and grip his wheels in a desire
to flee.

IAN
I did? What in the hell are
you saying?
 92.

ALEX
Your train! You pathetic
loser! You never said anything
to me about killing people on
that passenger train that you
hit! How could you keep that
from me?!

IAN
It was an accident. I meant no
harm. There was nothing for
you to know.

ALEX
It just happened, huh?

IAN
So fast and before I knew it,
I was encased in flaming
metal.

ALEX
Like my parents! You piece of
garbage!

IAN
You must understand--

Alex catapults toward Ian.

Uncle Joe intercepts Alex with a bear hug.

Alex strains to grasp Ian.

IAN (CONT'D)
I had no idea it was your
parents in that train.

ALEX
Had no idea?!

IAN
Had I known, I wouldn't have
hired you to run my errands.
I'm, I'm sorry!

In Uncle Joe's firm grasp, Alex kicks at Ian, just out of

reach, who winces at every threatening thrust.

Alex SOBS.
 93.

ALEX
You betrayed me! I treated you
like a human being and you let
me! You murderer! Get out of
this house!

Alex breaks free from Uncle Joe.

Alex bulldozes Ian's wheelchair toward the kitchen door,

intent on pushing Ian down the perilous patio steps.

Uncle Joe regains his hold on Alex and thwarts Alex's plan.

ALEX (CONT'D)
(to Ian)
Go away and die! Go back to
your sack of shit life! To
your miserable, lifeless
tunnels. You freak!

Alex runs out of the room toward the front door.

O.S., the front door SLAMS. Ian, Phyllis, Uncle Joe, and Aunt
Peg sit shocked.

PHYLLIS
(to Ian)
Alex has wanted to know about
his parents for a long time.
You'll have to forgive him.
This was a big occasion for
Alex.

Ian is overtaken by grief.

IAN
I'm truly sorry. I didn't know
his parents were on that train
with the others. I hope he can
forgive me some day.

Ian dabs his wet eyes with a napkin.

PHYLLIS
It'll take him a while to cool
down. It was pretty shocking
news. I've never seen him so
riled up, even when he gets
one of his fits.
 94.

UNCLE JOE
After all, it was just an
accident. Don't blame yourself
so much, Ian.

IAN
(to Phyllis)
You should take me home now,
in case he comes back. I don't
want the boy to go through any
more pain today.

PHYLLIS
He's used to pain. As a child,
he had the worst kind of
demons -- the ones who became
his imaginary friends.

IAN
Well, I'm ready to leave. I've
done enough damage for a day.

Ian rolls toward the front door.

IAN (CONT'D)
I'd give my life for the boy's
grief to be gone.

INT. PHYLLIS'S CAR - NIGHT

Phyllis, with Ian in the front seat, drives through

impoverished neighborhoods. Floodlights protect trashy
possessions.

The painful quiet breaks--

PHYLLIS
I want you to know I have
nothing personal against you.

IAN
You think I haven't damaged
you, huh?

PHYLLIS
Whoever you were back then
doesn't matter now. At least
to everyone in my family,
including Alex.
 95.

IAN
If you only knew the extent of
what I did. The long-term
effects on so many people.

PHYLLIS
Ian, it's in the past. You're
different now.

IAN
I wish I could go back in
time. Could stop the drinking.
Those people would still be
alive today.

PHYLLIS
Ian, now, now.

IAN
A man in a tower overlooking
railroad tracks doesn't
control a freight train. Fate
does. Fate failed me and those
killed in the wreck.

PHYLLIS
There's nothing you, I, or
anyone else can do to reshape
the way things turned out.
(beat)
Are you a religious man, Ian?

IAN
Not after the accident, no.
Oh, sorry, a left here.

Phyllis turns left.

PHYLLIS
There's great comfort in
surrendering your guilt and
misery to a higher power. A
power that handles infinite
pain.

IAN
So I've been told before.
 96.

PHYLLIS
All I'm going to say is, if
you need that comforting
solace, it's there for you.

IAN
Some of us have guilt and
misery so deep that we choose
to go it alone rather than
annoy a god with our evil
diseases.

PHYLLIS
You're not evil...

IAN
Maybe not, but I live in a
godless world.

PHYLLIS
Your troubles can't be that
appalling.

IAN
That and more.

PHYLLIS
God is larger than we can
possibly imagine. More capable
than you think.

IAN
A right here. Thanks.

Phyllis turns right.

IAN (CONT'D)
As punishment, I'm sentenced
to spend the rest of my days
at the speed of Henry David
fucking Thoreau.

PHYLLIS
Whatever Alex is feeling at
the moment, you'll have to
understand his misery. But I
want you to remember no matter
what happens, he's always felt
a special fondness for you.
You could even call it love.
 97.

IAN
Okay, turn left up here and
then a right two blocks up.
We're just about there.

Phyllis makes a left turn.

PHYLLIS
This is a long ride on a
bicycle.

IAN
The boy is correct. I got away
with it. Only paid two legs.

INT. PHYLLIS'S KITCHEN - MORNING

Alex and Tanya sit at the table. Phyllis makes pancakes.

Alex, his face fatigued, eyes blazing, stabs bacon on his

plate with his fork.

Tanya, distracted and annoyed by Alex, fiddles with her

crossword puzzle.

PHYLLIS
Want another one, sweetie?

TANYA
Yeah!

PHYLLIS
I was talking to Alex. You've
already had two.

ALEX
To think he wanted me to help
him commit suicide. I kept him
alive! Doesn't he see that?

Alex stabs the bacon.

Phyllis and Tanya stop and gape at his malicious display.

ALEX (CONT'D)
If he wants to die, I'll help
him commit suicide alright!
Just give me the chance again.
I'll shove him fast into that
train.
 98.

Alex stabs his bacon.

PHYLLIS
Alex, that's not you. You
don't wish harm on anyone,
especially Ian. He's not the
same man he was back when he
worked for the railroad. Tell
me you see that?

ALEX
All I can see is red. Blood
red. Dripping from his every
pore.

Alex stabs his bacon.

TANYA
Yuck! Euwwwww.

Tanya covers her ears with her hands.

PHYLLIS
Alex! Enough! You were raised
to be better than that. And
remember, before your
birthday, you actually liked
Ian.

ALEX
I guess you don't know me very
well then. I hate people when
I find out they're evil.

PHYLLIS
And you think you and only you
have the power to look into a
person's soul and see what
they're made of?

Alex jumps up, assumes an aggressive posture.

ALEX
You mean, I don't have the
power to see he wasn't always
the freak he is today?

PHYLLIS
Alex!
 99.

ALEX
Staying hidden in a dark
apartment day after day,
playing with childish trains?

Phyllis THWACKS the pancake spatula on the counter top.

PHYLLIS
Stop it!

ALEX
A freak with no friends, a
loner who never opens the
curtains like some disgusting
pervert?

PHYLLIS
Everyone's idea of pleasure,
joy, recreation, fun, or pain,
sorrow, sadness, whatever, is
different than everyone
else's. It's what makes the
world go around.

ALEX
Right. Sure.

PHYLLIS
You've always been taught
that. Live and let live. God
help Ian. His trains are all
that poor man has.

ALEX
Ian's lifestyle isn't normal.
It's wack and strange I tell
ya.

PHYLLIS
What's normal and not normal
on this mixed up planet?

ALEX
Not that carnival freak.

PHYLLIS
I didn't know your mom and
dad, but I'm sure they were
loving and compassionate
people.
 100.

ALEX
Says who?

PHYLLIS
You read it yourself in the
newspaper. Your father was a
compassionate man who helped
those who no one else would
help.

ALEX
Don't even mention my father
and Ian in the same room. My
father wasn't a freak.

Alex STOMPS out.

INT. ALEX'S BEDROOM - DAY

Alex lies on his bed, stares at the ceiling.

He rolls over and grabs the manila envelope.

Alex looks at a newspaper clipping.

He pictures the story--

SERIES OF SHOTS

A) Big-rig semi moves over railroad track crossing.

B) The big-rig SPILLS steel onto the tracks.

C) Passenger train STOPS safely before it reaches big-rig.

D) DR. RUTLEDGE AND SARALYNN relax in their seats and chat.

E) Long fast-moving freight train.

F) YOUNGER IAN SINGS aboard his locomotive.

G) Younger Ian SWIGS whiskey from a bottle.

H) A RED LIGHT SIGNAL above the tracks.

I) Younger Ian, sightseeing, fails to notice signal.

J) The Rutledges share a laugh and sip their drinks.

 101.

K) Younger Ian's freight train at FULL SPEED as it approaches

the passenger train. and precisely at IMPACT--

SMASH CUT:

INT. IAN'S APARTMENT - DAY

Ian slumps in his wheelchair, a whiskey bottle between his

legs.

He stares zombie-like, tries to follow his train as it wends

through his layout. Saliva trickles from his lip.

Ian fumbles for his phone. He manages to make a call.

IAN
(monotone, into
phone)
Pete, a ride 'morrow.

INT. TONY'S TRAIN STORE - NEXT DAY

At the register counter, Ian surveys the shelves for anything

new while he fidgets with his wallet.

Tony enters through a curtained door behind the counter, puts

his apron on.

TONY
Thanks for watching the store,
Ian. I really had to go.

IAN
(dazed)
I have some changes in mind.

TONY
Changes?

IAN
A new layout. Less industrial.
More people. That Eurostar
train'll be perfect.

TONY
You haven't made major changes
to your layout for quite a
while. Are you feeling okay?
 102.

Ian massages his own temples with both hands.

IAN
Yeah, fine. Just feeling a tad
under the weather. Must be all
the extra partying.

TONY
You look down alright, sick to
the bone. Distracted too.

IAN
More unhealthy than normal, I
guess.

Ian stares down into his lap.

TONY
You guess?

IAN
The new pain medication I'm
on. No worries.

Tony notices a tremor in Ian's hand.

TONY
Maybe you should cut back on
your pain killers or whatever
you're taking. Get some sleep.

IAN
You're right, doctor. I'll cut
back on my meds. And get more
sleep. Now, I'm going to look
for some pieces to make my new
layout snap, crackle and pop.

Ian wheels down an aisle and BELLOWS--

IAN (CONT'D)
How long do I have to wait for
that Eurostar train?!

TONY
Supposed to be shipped
already. Might get it today.
 103.

INT. IAN'S APARTMENT - NIGHT

The layout illuminates the room. Open medication bottles

strewn around a shot glass and whiskey.

Ian sets down a streetlight, doesn't realizes he knocks over

people walking down Main Street. He MUMBLES.

SERIES OF SHOTS

A) A warehouse being torn off the layout.

B) Industrial accessories dropped into a wastebasket.

C) Ian sprinkles green ground covering on layout.

D) Replica bushes and trees now added to create a park.

E) Ian sets up dogs and people throughout the park.

F) Ian installs the town's new cinema.

BACK TO SCENE

Ian has a box in his lap. Scoops out Styrofoam pellets and
drops them on the floor like snowfall. Impassive, he removes
the Eurostar train set.

Ian places the train on the tracks. He arranges the three

porcelain figurines from the Swiss company -- the Geneva
woman, the teenage boy, and the teenage girl -- directly on
the tracks.

With a glower and the master controller at his fingertips,

Ian slaughters the figurines with his new train, leaving
their scattered bodies to rot under the new cinema's
miniature-light marquee.

MORNING

Thin beams of fresh sun split the drapes.

Ian hasn't been to sleep. Sprawled in his wheelchair

alongside the layout, a pained expression on his haggard
face.

Slowly inhales a cigarette, slowly exhales. Smoke in the

dissected sunlight resembles heavenly divine rays.
 104.

Ian wheels over to his phone. He picks up the receiver, then

hangs it up. Does this twice. Finally calls.

IAN
(into phone)
Alex... Alex, I need to talk
to you -- Alex, are you there?
Come on, don't hang up. Alex?

Ian makes the call again.

IAN (CONT'D)
(into phone)
Alex, don't hang up again. I
have important things to say.

ALEX (O.S.)
(filtered)
What do you want? I have
nothing to say to you.

Ian, with his free hand, rubs the wheel of his chair as if he
wants to be in motion.

IAN
(into phone)
You got to let me explain my
side of things. You're a big
boy now.

ALEX (O.S.)
(filtered)
Oh yeah, tell me wise master.

IAN
You're going to have to face
painful things. It's part of
life, part of being an adult.

ALEX (O.S.)
(filtered)
And this coming from the
biggest loser of all time.
Your advice sucks you know.

IAN
(into phone)
Don't leave me hanging.
 105.

ALEX (O.S.)
(filtered)
Leave you hanging? I don't owe
you squat! I don't want to see
you, you creepy piece of crap!

IAN
(into phone)
Alex? Alex? Are you still
there? Alex? Alex?

Ian hangs up the phone.

INT. ALEX'S BEDROOM - DAY

Alex, supine on the floor, tosses a baseball in the air and

catches it with his old baseball glove.

He stops, views the ceiling for a moment.

Grabs his cell phone. Punches a saved number.

ALEX
(into phone)
Alright, just for a moment.
We'll go to the tracks and
talk. And don't try to smooth
things over and act like you
have any love. I'll pick you
up at three. Sharp.

IAN (O.S.)
(filtered)
That would be great. I feel--

Alex snaps his cell phone closed.

INT. PHYLLIS'S GARAGE - A MOMENT LATER

Alex excavates the clutter, looking for something.

He yanks garden tools away from the wall until he finally

finds it. A long piece of rope.

He coils it, a scowl on his face.

 106.

EXT. PHYLLIS'S DRIVEWAY - A MOMENT LATER

Alex stands behind Phyllis's car, opens the trunk and tosses
the coiled rope in.

He SLAMS the trunk lid down.

INT. PHYLLIS'S CAR - SECLUDED INNER-CITY TRAIN TRACKS - DAY

Alex and Ian sit with the engine off at Alex's favorite
railroad tracks.

They stare forward in silence.

They smoke, ignoring Phyllis's no-smoking-in-car mandate.

Alex, liquored up, swigs from a whiskey bottle.

Without a glance, he offers it to Ian, SMACKING the bottle

into Ian's shoulder.

ALEX
Snort?

Ian hesitates, then takes the bottle and a hearty sip.

Ian passes it back to Alex, who makes no eye contact with

Ian.

IAN
I got that new Eurostar train
delivered. You should see it.

ALEX
Man up, brah. I'm not really
into trains anymore.

Ian watches Alex, who just glares forward.

Ian chokes back tears.

IAN
I can't imagine never seeing
you again. You're a part of
me, forever. You’re more
closer to me than you can
understand. You’re...you’re...

Ian hesitates, unsure how to continue.

 107.

ALEX
And?

IAN
I can't take away your numb
feelings. It’s obvious you
feel like you don’t belong
here. But I can't bring back
your parents or the others.

ALEX
Everything about you is numb.

Alex takes a long swig from the bottle.

IAN
Every day I pay the fucking
toll on a bridge from one side
of hell to the other.

ALEX
Some toll. You got off pretty
easy compared to those people
you crushed to death. You've
never paid for screwing up
anything you've ever done.
You're a fucking machine.

Alex takes another swig.

IAN
I'm paying hard time son,
inside and out, until I die.

ALEX
Stop calling me son.

IAN
What is it you want from me?

ALEX
A god not mine forced you to
spend life in a wheelchair so
you can think about what you
did. But you're so lucky.

IAN
Why is that so lucky?
 108.

ALEX
My god would have killed you
in that locomotive.

IAN
I'm paying more for my past
than simply dying, more than
you'll ever know.

ALEX
You're not paying dick, dick.

IAN
Do you want me to beg for your
forgiveness?

ALEX
You never begged for anything
in your life. To beg takes
strength. You're weak.

IAN
I have more than enough
strength to beg if that's what
you want to put me through.

ALEX
Give me one reason why I
should forgive you? Or pity
you?

IAN
My life is made up of ghosts.
All that remains are model
trains and dreams of being a
hero to escape my real life.

ALEX
Save your nonsense, old man.

Alex yanks another swig.

O.S., an AIRHORN blasts from an approaching freight train in

the distance.

Alex and Ian peer at the train.

ALEX (CONT’D)
I have to piss.
 109.

IAN
Me too. I'll just go in my
diaper. I wouldn't mind
getting outside for some fresh
air though.

EXT. PHYLLIS'S CAR - CONTINUOUS

Alex hops out of the car and lopes to the passenger side.

He roughly unloads Ian into the wheelchair.

Ian grabs onto Alex's shoulder.

Alex flicks Ian's hand away.

RAILROAD TRACKS - CONTINUOUS

Alex pushes Ian toward the tracks, halting a few feet from
the rails.

ALEX
I'll be right back.

Alex relieves himself behind the car.

Ian squints at the tracks toward the approaching freight

train.

Alex quietly opens the car trunk. Grabs the rope. Holds it
behind his back as he walks toward Ian.

Suddenly, Alex swirls the rope around and around Ian and ties
it quickly into a loose knot.

IAN
What the hell?! What are you
doing?

Alex thrusts Ian's wheelchair closer to the tracks as the

freight train grows upon them.

ALEX
You still want to commit
suicide! I'll help you!

Ian struggles to free his arms.

 110.

IAN
No, Alex, No!

ALEX
Funny. People you hate the
most can't die fast enough.

IAN
No, Alex, stop! No! I want to
live! Let's not end things
like this! No! No!

The train nears.

Alex slams Ian's wheelchair against the rail trying to dump

Ian over.

The train engineer blasts the AIRHORN.

Ian thrashes his torso side to side as a weapon against Alex

in an all-out fight to defy death.

ALEX
Why should you continue
living? Why do you deserve
life and my parents have to be
dead?

IAN
Stop! Stop, Alex! I was lost
back then! I tried now! I
tried so hard this time. I
tried to be the father you
never had!

ALEX
I tried too. But I succeeded!
I became the son you never
knew! I gave you all I had!
You couldn't even meet me half
way, could you! Could you!

IAN
There was just too much to
overcome. I didn't have it in
me to compete! Yes, I fell
short! I'm sorry!

Alex smacks Ian on the back of the head.

 111.

ALEX
Just a juiced up washout who
executed innocent people! You
couldn't be a good train
engineer. And you couldn't
even be a good father and
that's all I ever asked of
you! You failed everything!

IAN
I was never capable of the
ability to kiss and make up!
What more do you want from
me?!

ALEX
Kiss this train!

IAN
No! Stop! Please No! I don't
want to die! Stop! Alex! No!
Don't you love me?! Stop! No!
Come on, stop! Don't you love
me?! I love you! I love you!

ALEX
Tell it to the train!

Ian wriggles his arms free and struggles with Alex as the
train closes in.

AIRHORN BLASTS.

Ian spills out of his wheelchair.

Alex stumbles over the wheelchair, plummets backwards over

the rail and cracks his head on the far rail.

Alex lies motionless on the tracks.

Ian claws his way through the rocks toward Alex.

With great difficulty, Ian rolls Alex off the tracks.

AIRHORN BLASTS.

Ian strains to escape the tracks.

He's unable to get away in time.

The train smashes into him.

 112.

AERIAL SHOT: Slow ascension above the tracks with the train
traveling through.

Only Alex is visible, lying still.

Camera continues to rise as ground becomes solid snow amidst

empty railroad tracks.

A season has passed.

DISSOLVE TO:

INT. INTERNATIONAL AIRPORT TERMINAL - NIGHT

Alex slouches in a long row of seats, a duffle bag by his

side.

He gazes around, fascinated by the unfamiliar surroundings.

Alex removes an envelope from his shirt pocket and slides the
Hallmark card and plane ticket out. He reads the card.

ALEX'S POV:

"CONGRATULATIONS ON YOUR GRADUATION, ALEX!"

"Enjoy the trip! Love, Phyllis."

Alex removes a coin of some sort from the envelope.

ALEX'S POV: He palms and admires the Indian-head penny that

Ian gave him.

SERIES OF SHOTS

A) Alex walks down ramp toward airplane.

B) Alex gets seated inside plane.

C) Alex sleeps on the plane.

D) Plane lands in London.

E) Alex inside a London cab.

F) Alex dropped off at his London hotel.

G) Alex in hotel room, looking at Eurostar pamphlet.

H) Alex buying Eurostar ticket at London train station.

 113.

I) Alex walks on platform toward the train.

J) Alex finds his seat on the train, settles in.

K) Eurostar departs the station.

INT. EUROSTAR TRAIN - DAY

Alex watches scenery swoosh by as the bullet train hurtles

past orchards, Tudor estates, rolling brown hills and ancient
stone buildings of Chaucer's England. Just then--

TRAIN INTERCOM (O.S.)

(in French, no
subtitles)
Bonjour. Nous entrerons dans
le tunnel sous la Manche sous
peu pour croiser de 20 minute.
Merci.

Alex turns away from the window, distracted, baffled by the

strange language. The message begins anew.

TRAIN INTERCOM (O.S.) (CONT'D)

(British accent)
Good Afternoon. We will be
entering the Channel Tunnel
shortly for the 20-minute
crossing. Thank You.

Alex is edgy.

He sees the scenery disappear as his train pierces the black

tunnel.

He holds his hands between the window glass and his face in
an effort to see the walls of the tunnel.

He sits back to recline.

ALEX
(mumbles)
Here we go.

Alex draws a full breath and relaxes into the gliding ride.

SUDDENLY, horrific METALLIC SCRAPING and SCREECHING detonates

inside the passenger compartment.

The train derails and buckles in the tunnel.

 114.

PASSENGERS SCREAM.

Flashes and sparks STROBE just as everything goes black and--

SMASH CUT:

INT. IAN'S APARTMENT - DAY

Ian jolts awake by a GRINDING sound that ends his daydream.

He searches for the source of the noise.

His Eurostar train, in disarray, has derailed inside his

layout tunnel.

Ian shuts off the controller.

He wheels to the curtains. Draws them open. Stares out.

Sweats. He breathes heavily.

Behind Ian, a bare wall where the Eurostar magazine cover was
once tacked up in a daydream.

A faded old newspaper clipping lies in Ian's lap.

As so many times before, he reads it once again.

IAN'S POV:

INSERT - Newspaper clipping headline:

"SCORES KILLED IN TRAIN MISHAP -- PROMINENT DOCTOR AMONG

FATALITIES"

INSERT - Newspaper sub-headline:

"The List of Deceased Passengers Includes:"

BACK TO SCENE

Ian glances up, then down to the article, his SOBS grow.

E.C.U. ON IAN'S FACE.

Ian reads the article to himself.

IAN (V.O.)
Casper Wheeling, a mountain
climbing instructor heading to
a trade show.
 115.

INTERCUT - Shot of Injured Mountain Climber rescued from

snowy mountain slope.

BACK TO SCENE

E.C.U. on Ian's eyes.

IAN (V.O.) (CONT'D)

Linda Burroughs and Andrew
Michaels, who were two
vacationing bus drivers.

INTERCUT - Shot of the Two Faces trapped behind the bus

window in burning bus crash scene.

BACK TO SCENE

E.C.U. on Ian's eyes.

IAN (V.O.) (CONT'D)

Judith Taylor and son Trevor,
who were traveling to see the
mother's sister.

INTERCUT - Shot of Suicide Jumper and Frantic Mother.

BACK TO SCENE

E.C.U. on Ian's eyes.

IAN (V.O.) (CONT'D)

Megan and Jennifer McNeely,
and their mother Stephanie,
traveling to a relative's home
to drive back a used car.

INTERCUT - Shot of Mother and Two Young Daughters on busy

sidewalk corner where red light runner hit the girl.

BACK TO SCENE

E.C.U. on Ian's eyes.

IAN (V.O.) (CONT'D)

Tanya Jacobs, a foreign
exchange student from England.

INTERCUT - Shot of Tanya.

BACK TO SCENE
 116.

E.C.U. on Ian's eyes.

IAN (V.O.) (CONT'D)

Phyllis Matterly, a local
homemaker.

INTERCUT - Shot of Phyllis.

BACK TO SCENE

E.C.U. on Ian's eyes.

IAN (V.O.) (CONT'D)

Also killed in the train crash
were prominent physician Dr.
Thomas Rutledge and his wife
SaraLynn.

INTERCUT - Shot of the Doctor and Wife sitting in their car,

illuminated by the ambient light of a fire engine's
floodlight from burning bus crash scene.

BACK TO SCENE

Ian, tears rolling down his cheeks, EYES UP then down again,
finishes reading the newspaper clipping's last sentence--

E.C.U. on Ian's eyes.

IAN (V.O.) (CONT'D)

The Rutledges were traveling
to New York on vacation, along
with their four-year-old son,
Alex, who was also killed.

BACK TO SCENE

From the lonely side of a sheet of glass, Ian watches a boy

ride a bicycle in circles through the parking lot.

FADE OUT