AHOV

A History Of Violence
Screenplay
By
Josh Olson
Based on the graphic novel

By
John Wagner & Vince Locke
March 11, 2004

EXT. CALIFORNIA HIGHWAY - MORNING
A battered old motel by the side of the road. The roof is

chopped up, nasty looking. Paint peels from the walls. A
large, pathetic green papier maché dinosaur - some
toothless mental case’s idea of a Tyrannosaurus Rex is
situated in front of the office. A sign reads “Rooms $24.98
and up!”
The door to one of the units opens and LELAND, a reedy

looking guy, almost made out of beef jerky, wearing an old
Johnny Cash tee shirt, steps out, small suitcase in hand
and takes in the morning. A voice calls out from inside.
BILLY
You think maybe we could just turn
around?
LELAND
Nah.
BILLY - shorter, chunkier, wearing a cheap suit - walks

out, hefting a grubby backpack and lighting a cigarette.
LELAND (cont’d)
Life’s all about choices, Billy. Ain’t
no video game where you get to hit the
restart button any time you ain’t
happy.
They walk over to a well worn old convertible. Leland takes

the top down and throws his suitcase in the back. Billy
does the same with his pack.
LELAND (cont’d)
We are who we are and we done what we
done. Whatever.
BILLY
Yeah, I guess. I’m just tired, though.
LELAND
Yuh. Me, too.
He tosses Billy the keys.
LELAND (cont’d)
Here. Warm ‘er up and bring ‘er on up
to the office. I’m gonna go check us
out.
BILLY
‘kay.
(CONTINUED)
2.
CONTINUED:
Leland walks towards the office as Billy climbs into the

car. Billy sits in the driver seat and looks around. The
sun beats down on the desert. No breeze, just a faint, low
electric hum from the power lines that head off into the
distance. Billy closes his eyes and enjoys the sun on his
face. He sighs and puts the key in the ignition. The engine
starts. Billy kicks it into gear and slowly pulls out.
He drives the car up to the office and slows down, leaving

the engine idling. He slides a casette tape - Johnny Cash
singing “Further On Up The Road” - into the player and
leans back, waiting patiently for his friend.
A long beat, and then Leland walks out of the office.
BILLY (cont’d)
What took so long?
LELAND
Nothin’. Little trouble with the maid,
but everything’s fine now. Johnny!
BILLY
Johnny.
Leland, humming along with Johnny, slides into the drivers

seat as Billy slides over.
LELAND
Damn. Eight AM and already this hot.
BILLY
Yuh.
LELAND
We got any water?
BILLY
Prolly not enough.
LELAND
Yeah. There’s a machine back in the
office.
BILLY
I’ll go.
He climbs out of the car and Leland gets behind the wheel.
Billy walks to the motel office.

3.
INT. MOTEL OFFICE
It’s quiet. Billy walks in and looks around, sees what he’s
looking for. He walks across the room and as he goes, we
see blood splattered on the wall.
Pull back to reveal the MOTEL CLERK behind the desk, shot
in the chest, dead. A MAID lies on the floor in a pool of
blood, shot in the head. Billy steps over her and goes to a
cooler against the wall and takes out three bottles of
water.
He hears a noise and freezes. He turns to see the bathroom

door against the far wall open, and a LITTLE GIRL steps
out. She sees the tableau in front of her and gasps.
Billy drops the bottles and pulls a revolver out of his

waistband and points it at the girl. She looks at him in
terror and opens her mouth to scream. Billy’s finger
tightens on the trigger.
CUT TO:
BLACK
A scream rips through the silence.
INT. STALL HOUSE - TOM & EDIE’S BEDROOM - NIGHT
TOM STALL, a slightly weathered husband and father of two,

snaps awake at the sound of the scream and leaps out of
bed, races to the door in the dark.
INT. STALL HOUSE - SARAH’S ROOM
SARAH STALL - an adorable five year old girl - is sitting

bolt upright in her bed, screaming.
A light snaps on as Tom, wearing pajama bottoms and a

worried look - comes racing in to save his daughter.
He takes her in his arms.
TOM
Sarah! Honey! What’s wrong? What is it?
His daughter stops screaming and looks around blearily,

then up at her father.
SARAH
Daddy? Daddy?
TOM
Daddy’s here, baby. Daddy’s here.
(CONTINUED)
4.
CONTINUED:
SARAH
There were monsters!
TOM
No, baby. There’s no such thing as
monsters. It was just a bad dream.
Daddy’s here now.
JACK STALL, 16, hair a mess, wearing a Beastie Boys tee

shirt and boxers, walks in the door.
JACK
What’s wrong, Dad?
TOM
Hey, kiddo. Sarah just had a bad dream.
SARAH
I saw monsters, Jack!
Jack walks over to his sister’s bed and sits down beside
her.
JACK
Monsters! Cool! What kind?
Tom shoots his son a dirty look.
SARAH
I don’t know. They were in the shadows.
JACK
Hmmm. Shadow monsters. They look pretty
scary. But they can’t really do
anything. Especially when the lights
are on. They’re afraid of the light.
TOM
Jack!
EDIE STALL, a strong and lovely woman, possibly a little

younger than Tom, stands in the doorway in a robe.
EDIE
What happened?
TOM
Sarah had a bad dream about monsters.
(Shoots a look at Jack) I’m telling her
there are no monsters.
SARAH
Jack says shadow monsters are afraid of
the light.
(CONTINUED)
5.
CONTINUED: (2)
Tom shakes his head. Edie smiles.
EDIE
It would seem there are two schools of
thought on the matter.
TOM
You could say that.
SARAH
I’m going to turn on my night light,
just in case.
EDIE
That sounds like a brilliant solution.
Edie sits on the bed and hugs her daughter. Tom smiles and
puts his arm around his son, who pulls away, embarrassed.
He is, after all, 16.
EXT. STALL HOUSE
A large, sturdy farmhouse in the middle of a huge corn

field - the house is at least a hundred years old, and well
kept up. An old station wagon parked in front of a small
barn. One barn door is open, revealing an old pickup
inside. A tricycle in front of the porch. A propane tank a
few yards from the front of the house, off to the side.
Halfway across the field, a tiny shack that hasn’t seen use
in decades. On the other side of the house from the barn, a
swing set and a small slide.
Dawn’s rosy fingers creep across the cornfield. Another day

in Taylorville, Indiana.
INT. STALL HOUSE - KITCHEN - MORNING
Edie, Tom and Sarah sit around a table, eating breakfast.
SARAH
I think Jack’s right about shadow
monsters, Daddy.
TOM
Oh, really?
She nods.
SARAH
But I think there’s something he
doesn’t know.
EDIE
What’s that, honey?
(CONTINUED)
6.
CONTINUED:
SARAH
I think shadow monsters aren’t as bad
as other monsters. And I think when
other monsters come, the shadow
monsters beat them up.
TOM
Sort of protector monsters, then.
She nods and eats a spoonful of cereal. Edie smiles, then

looks over at the empty space on the table and frowns.
EDIE
(Calling out)
Jack!
Jack walks in, dressed for school.
JACK
What?
Edie shakes her head. Jack sits down at the table, turns to
Sarah.
JACK (cont’d)
Night light worked, didn’t it?
She nods vigorously. Tom turns to Edie.
TOM
I’m running a bit late today. Can you
drop me off on the way in?
EDIE
Sure.
TOM
Great. Thanks. (Turns to Jack) What do
you have going on today?
JACK
Nothing much. Math test in a few days.
I think we’re playing baseball in gym
today, so I can look forward to sucking
hard in right field.
TOM
You remember what I told you, right?
Hang back. Never let the hitter get one
over your head...
JACK
Unless it’s over the fence.
(CONTINUED)
7.
CONTINUED: (2)
TOM
Right!
They continue their pleasant, familial chatter as we slowly

pull back.
EXT. TAYLORVILLE - ROAD - DAY
The Stall’s station wagon tools down the road towards town.
INT. STALL’S STATION WAGON
Edie’s at the wheel. Tom sits next to her, looking out the
window. Edie notices the half smile on his face.
EDIE
What?
TOM
Hmm? Oh, just thinking about Jack and
Sarah.
EDIE
They’re pretty incredible.
TOM
That’s an understatement. Her whole
theory about shadow monsters protecting
her from worse monsters? She’s just
brilliant. They’re both brilliant.
EDIE
God, it’s amazing, isn’t it?
TOM
What’s that?
EDIE
One minute you’re this dumb kid,
running around like an idiot, getting
into trouble, dreaming these impossible
dreams, and then, all of a sudden,
you’re this grown-up sitting around
worrying about whether or not your
children are gonna be okay.
TOM
I remember reading a book in high
school that had a bit about that.
(MORE)
(CONTINUED)
8.
CONTINUED:
TOM (cont'd)
Something about how one moment summer
vacation’s the longest stretch of time
imaginable and an unhooked bra strap is
as close to heaven as you can possibly
imagine. The next, you’re middle aged
wondering where it all went.
EDIE
Don’t be in such a hurry. We’re not
middle aged yet.
TOM
Yeah, I know.
EDIE
I don’t feel like a real grown-up yet.
TOM
Yeah. You think we ever will?
EDIE
Yup. Everyone does, eventually. Sooner
or later, you’re gonna wake up and find
out you’ve turned into that cranky old
guy who yells out the window, “Keep
that noise down, you goddam kids!”
TOM
God. Kill me before that happens, okay?
EDIE
Oh, honey, I’ll have left you long
before that.
She smiles at him, and slows the car down. He leans towards
her and they kiss. The kiss grows long and passionate -
Edie is surprised, but happy. Tom’s hand slides inside the
back of her shirt and moves towards her bra. She pulls
away, laughing.
EDIE (cont’d)
What are you doing?
TOM
You know, an unhooked bra is still
pretty damn close to heaven.
EDIE
You’re a nut.
He smiles warmly at her.
(CONTINUED)
9.
CONTINUED: (2)
EDIE (cont’d)
I’ll be done early today. All I have is
the Watson’s will and Dave Ryan’s
tractor sale. Want me to come pick you
up?
TOM
We can go to the drive-in and make out
tonight.
EDIE
Tom, there hasn’t been a drive-in in
this town since the early nineties.
He smiles and looks intently at her. She looks back with

the same intensity. These two are still very much in love.
EXT. TAYLORVILLE OUTSKIRTS
Tom gets out of the car, and Edie drives away. Tom walks
towards town.
EXT. TAYLORVILLE - CENTER
A small town, pleasant and clean. Shops line the streets,

and cars drive by - people on their way to work and school.
Tom walks down the street, clearly enjoying the sun on his
face.
A deep, thumping bass fades up behind him, and Tom turns to

see a car cruising towards him, rap blasting out of it.
THREE HIGH SCHOOL KIDS are in the car. Tom waves at the car
as it goes by. The car slows, and JARED, the driver leans
out the window.
JARED
Hey, Mr. Stall!
TOM
Hey, Jared.
JARED
Charlotte told me to tell you she’s
gonna have to be half an hour late this
afternoon.
TOM
Okay, Jared. Thanks.
JARED
No problem.
The car peels out, music still pounding. Tom watches them
go, smiling.
(CONTINUED)
10.
CONTINUED:
TOM
(To himself)
Keep that noise down, you goddam kids.
EXT. STALL’S DINER - DAY
A very nice, clean diner on a well travelled street. A

couple of LOCALS walk by and wave to Tom as he approaches
the diner. He opens the door, then pauses when he sees
something.
He leans down and scrapes a smudge off the window with his
finger. He walks into the diner.
INT. STALL’S DINER
PAT JOHNSON, a wiry man in his mid fifties in dusty

overalls sits at the counter, sipping at a cup of coffee.
He’s the classic Midwestern farmer.
MICK, the short order cook back in the kitchen waves as Tom
comes in.
TOM
Morning Pat, Mick.
PAT
Who’s the craziest woman you ever
dated?
TOM
Whoa. ‘scuse me?
PAT
Mick and me’s just talkin’ about women
we been with. He once dated a woman
used to attack him in the middle of the
night.
TOM
She what?
MICK
She’d have these crazy goddam dreams
where instead of her boyfriend, I was
some kind of demented killer. I woke up
one night she’d stuck a goddam fork in
my arm.
TOM
Jesus.
(CONTINUED)
11.
CONTINUED:
MICK
I’m spurtin’ blood and she’s sittin’
there, crying, goin’ “Baby, I love you,
I love you.”
TOM
You broke up with her, right?
MICK
Nope. Married her. Lasted six years.
(Off Tom’s look) Nobody’s perfect, Tom.
Tom nods - he can’t argue with that.
PAT
Yeah, well, I got that beat. I dated a
psychiatrist in New York for a whole
year.
MICK
Hard to top that.
PAT
I’m tellin’ you, there’s only one
reason a person gets into that line of
work, and it’s not to help crazy folks.
TOM
What the hell were you doing in New
York?
PAT
You ain’t the only one from out of
town. I was born and raised there.
TOM
In New York?
PAT
Uh huh.
TOM
City?
PAT
Well, sure.
MICK
Who’s the craziest girl you ever went
out with, Tom?
TOM
I dunno. I never really had any crazy
girlfriends.
(CONTINUED)
12.
CONTINUED: (2)
PAT
Sure wasn’t Edie.
TOM
Ha. No. She’s definitely the sanest
woman I’ve ever known.
PAT
Honest, too.
TOM
I remember we’re out on our first date,
and that song Me & Mrs. Jones comes on.
(Tom chuckles) We’re talking about the
lyrics, how it’s about this guy
screwing some other guy’s wife, and
Edie? She’s stunned. She always thought
it was Mr. Jones singing about how
great his wife was.
Tom shakes his head in amusement.
INT. TAYLORVILLE HIGH - BASEBALL FIELD - DAY
Gym class - A softball game in progress. Jack sits on a

bench by the wire fence, watching his team at bat. He and
his teammates wear red gym shirts. The other team wears
blue. JUDY DANVERS - same age as Jack and a real alterna-
chick - walks up behind him and hits the fence. Jack turns.
JACK
Hey.
JUDY
Hey. How’s it going?
JACK
Same old crap. What do they have you
guys doing?
JUDY
Sprints. I’d rather be playing ball.
Jack shrugs.
JUDY (cont’d)
What position you playing?
JACK
Coach has me playing deep right field.
Real exciting.
JUDY
What’s the score?
(CONTINUED)
13.
CONTINUED:
JACK
We’re up by one. But they have one more
inning.
The batter strikes out, and the COACH blows his whistle.
JACK (cont’d)
Well, gotta get out to the boondocks.
Catch ya later.
JUDY
Yeah. Wanna work on math stuff later?
JACK
Sure!
He runs out to deep right field, putting on his glove. Judy

goes back to join the other girls.
EXT. TAYLORVILLE HIGH - BASEBALL FIELD - LATER
Jack stands out in deep right field bored out of his mind.
In the distance, on the track, Judy runs past and waves.
BOBBY JORDAN, class jock and all round tough guy, walks up
to bat. One man’s already on third base.
BOBBY
One winning run, coming up.
His teammates cheer - “Go get ‘em, Bobby!” etc.
The PITCHER winds up and pitches. Ball. Bobby sidesteps it.
The pitcher winds up again and fires. Jack steps back,

deeper into right field.
Bobby swings, and hits with a loud crack. The ball sails
through the air right towards Jack. Bobby races towards
first.
Jack races back and forth, glove ready, trying to get under
the ball.
CLOSE ON - Bobby, smirking arrogantly. He knows Jack’s

gonna miss.
THWAP!
Jack catches the ball.
The KIDS on Jack’s team cheer loudly.
Bobby looks furious.
(CONTINUED)
14.
CONTINUED:
Jack looks down at his glove, slightly amazed - this kid is

NOT the big athlete. He looks up and sees his teammates
cheering him.
COACH walks out on the field.
COACH
Game over. Reds win!
Jack looks around and smiles. Bobby storms off the field,
furious. A couple of Jack’s teammates run up to him and pat
him on the back. “Way to go, Stall!”
INT. TAYLORVILLE HIGH - BOY’S LOCKER ROOM
The boys getting back into civvies. Jack stands at his

locker, putting on a shirt. Bobby walks over to him, a pair
of his BUDDIES with him.
BOBBY
I guess you think you’re hot shit,
Stall.
JACK
What? No. I don’t.
BOBBY
Little superstar, here, huh? Little
hero saves the day at the last minute,
right?
JACK
What? Bobby, it’s just a game. It’s
just stupid gym class.
BOBBY
Who you callin’ stupid?
JACK
No, I said gym class was stupid.
BOBBY
(To his Buddies)
“No, I said gym class was stupid.”
Listen to this little faggot.
JACK
Yes, you’re right. I’m both little and
a faggot. You got me dead to rights.
Bobby pushes Jack up against his locker with a thud.
BOBBY
Come on, chickenshit. Let’s do it.
(CONTINUED)
15.
CONTINUED:
JACK
What would be the point?
BOBBY
What?
JACK
I mean, we’ve already established that
I’m little, that I’m a faggot and that
I’m chickenshit. What’s the point of
pummeling me mercilessly?
BOBBY
What?
JACK
I mean you win. You’ve established your
alpha male standing. You’ve established
my unworthiness. Doing violence to me
just seems pointless and cruel, don’t
you think?
Some of the other kids are laughing now, which pisses off
the confused Bobby. This is NOT the response he expected.
BOBBY
Come on, you punk ass bitch.
JACK
Shouldn’t that be “Little punk ass
chickenshit faggot bitch”?
BOBBY
God!
He pushes Jack against the locker and storms away, pissed

off. A few kids laugh. Jack breathes a sigh of relief and
turns back to his locker.
EXT. STALL’S DINER - DUSK
Tom stands outside the diner, stretching after a long day.

Edie pulls up in the station wagon. The rain is letting up.
EDIE
Hey, good looking.
TOM
Hey.
He climbs in.
16.
Edie starts up and drives down the street.
TOM
Are we going to the store?
EDIE
We’re not going to the store.
TOM
We’re not?
EDIE
Jack’s studying over at Judy Danvers’
house, and Martha’s taking care of
Sarah.
TOM
Oh yeah?
EDIE
Yeah.
TOM
So where are we going?
EDIE
We never got to be teenagers together.
TOM
Uh huh.
EDIE
I’m going to fix that.
Tom cocks an eyebrow.
TOM (O.S.)
Cannonball!
EXT. POND - NIGHT
The Stall’s station wagon sits near an idyllic pond. A

cooler full of beer sits nearby, and a small boom box sits
on the hood, blasting late seventies rock and roll.
Edie is in the water, naked. A naked Tom flies through the

air, curled in a ball, and lands with a huge splash. Edie
laughs, and Tom swims up to her and they kiss.
A loud buzzing, and Tom breaks the kiss to swat at a

mosquito.
(CONTINUED)
17.
CONTINUED:
TOM
Damn!
EDIE
Yeah, that’s kind of the downside.
TOM
That and the freezing water.
EDIE
Sort of makes it hard to achieve the
desired effect, huh?
TOM
Honey, there’s nothing hard within a
mile of this place.
Another mosquito buzzes by and Edie swats at it.
TOM (cont’d)
You ever think maybe kids didn’t come
here because it was so perfect but
because they didn’t have anywhere else
to make out?
She looks at him thoughtfully, then smiles.
EXT. POND - TWENTY SECONDS LATER
Edie and Tom, now loosely dressed, leap into the car and
peel out.
INT. STALL HOUSE - TOM AND EDIE’S BEDROOM - NIGHT
Tom sits on the bed, taking off his shoes in a hurry. He

quickly unbuttons his shirt, then pauses and calls out.
TOM
Hey, what’s going on in there?
EDIE (O.S.)
Keep your shirt on, I’m coming!
Tom looks at his half buttoned shirt and smiles, then takes
it off. He walks over to the light switch and dims the
lights. Too dim. Not dim enough. He gets it just right,
unbuckles his belt, and the bathroom door opens.
Edie stands in the bathroom door, wearing her old

cheerleader outfit, a lock of hair dangling over one eye, a
knowing smile on her face.
TOM
Holy cow.
(CONTINUED)
18.
CONTINUED:
EDIE
You need some help with that, big boy?
TOM
What have you done with my wife?
She sashays towards him and takes his belt in her hands and
yanks it. It catches, and she giggles, and then yanks
again.
EDIE
No wives in here, mister.
Tom’s pants drop to the floor, and he takes Edie gently in

his arms and lowers her to the bed, kicking his pants off
as they go down.
They kiss, warm and hungry.
Tom slides down Edie and throws up her skirt. She laughs as
his head slides under the skirt, and her laughs turn to
moans of pleasure.
A beat, and then Tom slides back up, grinning.
EDIE (cont’d)
There wasn’t a lot of that in high
school. Wasn’t much of this, either.
She rolls Tom over onto his back and slides down his
stomach. Tom closes his eyes, smiling.
TOM
Rah rah.... Sis boom bah.
She reaches up and gives him a gentle smack in the face.
INT. STALL HOUSE - TOM AND EDIE’S BEDROOM - LATER
Edie and Tom lie under the rumpled sheets. Tom runs his
fingers through Edie’s hair, staring off into the distance.
EDIE
What is it?
He rolls over takes her head in his hands and looks

intently into her eyes.
TOM
I remember the moment I knew you were
in love with me. I saw it in your eyes
in an instant. I can still see it.
(CONTINUED)
19.
CONTINUED:
EDIE
Of course you can. I still love you.
TOM
I am the luckiest son of a bitch alive.
She leans down and runs her hand down his cheek.
EDIE
You’re the best man I’ve ever known,
Tom. There’s no luck involved.
She rolls over and hits the switch on the bedside lamp. It
flickers on and off, and she grimaces. Tom smiles and leans
over her and shakes it, and the light snaps on in full. She
kisses him on the cheek in gratitude, and picks up some
papers and starts to read.
Tom looks at his wife thoughtfully. A smile spreads across

his face, and he rolls over to go to sleep.
EXT. TAYLORVILLE - AFTERNOON
Tom walking down the street. Town’s a little more crowded

than last time - it’s Saturday afternoon.
A pair of kids race by Tom. One kid has plastic Wolverine

claws, the other is wearing huge green Hulk fists. He
smiles as they pretend to duke it out.
The place is crowded. Charlotte is delivering a meal to a

table. Mick is cranking away at a dozen orders. Tom walks
in. SAM CARNEY, the local sheriff, sits at the counter
sucking down some coffee. Tom slaps him on the back.
TOM
Hey, Sam.
SAM
Afternoon, Tom.
TOM
How’s things?
SAM
Good. Good. Gettin’ ready for Saturday
night.
TOM
Yuh. Expecting trouble tonight?
(CONTINUED)
20.
CONTINUED:
SAM
Just the usual. Drunk assholes. Cow
tipping.
TOM
Don’t forget UFO abduction.
SAM
Right. How’s Edie?
TOM
Good as ever.
EXT. TOWN SQUARE - NIGHT
The town square’s a nice piece of land. Well kept, a few

trees, with City Hall - the nicest building in town - right
in the center. Kids in cars drive around and around, music
blasting from every window.
Jack and Judy sit alongside the building, passing a joint

back and forth, watching the kids go round and round.
JUDY
You ever wonder what kids did for fun
on a Saturday night a hundred years
ago?
JACK
I dunno. I always figured they got into
their parents’ wagon and went cruising
around their town square playing loud
banjo music and acting like idiots.
JUDY
So you think this is as good as it
gets?
JACK
For us? Yeah. For now. Eventually we
grow up and get jobs and have affairs
and become alcoholics.
Judy looks at him a long beat, then takes a hit off the
joint.
JUDY
Ya know, sometimes you depress me.
Jack smiles.
21.
INT. BOBBY’S CAR
Bobby and his pals are driving around the square, passing a
bottle of beer in a bag around. Bobby’s behind the wheel.
He looks out and spots Jack and Judy and frowns.
BUDDY #1
Hey, isn’t that that Stall faggot?
BOBBY
Yeah.
BUDDY #1
You should go kick his ass.
BOBBY
I’m thinkin’ about it.
He swerves into the next lane, and a horn honks loudly at

him. He hits the brake and looks back, sees he’s almost
driven into another car - a battered old pickup. He flips
the truck the finger- Leland and Billy sit inside the
truck. Billy gives Bobby a very cold glare and Bobby pulls
back his finger, scared. Billy nods and they drive on.
BUDDY #1
Who the fuck was that?
BOBBY
I don’t know. And I don’t want to.
INT. LELAND AND BILLY’S TRUCK
Billy’s looking back at Bobby’s car.
BILLY
Can I just say how sick I am of these
podunk towns and the goddam podunks who
live in them?
LELAND
You think if you keep saying that it’s
gonna change anything?
BILLY
I’m just sick of this shit.
LELAND
Yeah, you made that clear about ten
thousand miles ago, Billy. Until you
come up with a better idea, I don’t
want to hear about it anymore.
(CONTINUED)
22.
CONTINUED:
BILLY
We are so goddam broke.
LELAND
Yeah, well, that’s easy to fix.
EXT. TOWN SQUARE
Jack and Judy, still sitting. Judy looks over to the street
and sees Bobby climbing out of his car.
JUDY
Oh, shit.
JACK
What?
JUDY
Bobby.
JACK
What the hell is the matter with that
guy? Let’s get out of here.
They get to their feet and walk the opposite direction.
Mick’s behind the stove, cleaning and closing the place

down, Charlotte’s wiping down a table. JEFF and LISA, a
pair of high school kids sit at a booth, eating ice cream.
Tom is sitting behind the counter, talking to Pat, who’s
finishing up his dinner.
PAT
Good as ever, Tom.
Pat slaps some bills down on the counter and heads for the
door. He waves to Mick, who waves back.
PAT (cont’d)
See you in church, Tom.
TOM
Ayuh. Have a good evening.
Pat opens the door to walk out, and bumps smack into
Leland.
PAT
Oh, excuse me.
LELAND
S’alright, old man.
(CONTINUED)
23.
CONTINUED:
He holds the door open for Pat and lets him out, smiling
coldly. Pat looks at him, troubled. Billy walks in after
Leland, watching Pat go. Billy and Leland walk up to the
counter.
TOM
Just closing up, fellas.
LELAND
Coffee. Black.
BILLY
Same. And some pie. Gimme some pie.
TOM
Guys, I told you we’re just closing up.
LELAND
I said coffee!
Charlotte looks up at this, worried. Jeff and Lisa look

over, interested. Tom looks at Leland a beat, then nods.
TOM
Okay. I think we can handle that.
He walks over to the coffee machine and picks up a pot.
TOM (cont’d)
Charlotte, you can go home now if you
want.
LELAND
(Nods to the door)
Billy.
Billy walks over to the door, cutting off Charlotte.
BILLY
I think you’re gonna stick around a
while, honey.
CHARLOTTE
Tom?
Tom looks at her, worried, then over to Jeff and Lisa, who
look scared. He turns to Leland.
TOM
We don’t carry much money here, but
you’re welcome to all of it.
(CONTINUED)
24.
CONTINUED: (2)
LELAND
Oh, I know that, asshole. I do know
that.
He pulls out a gun and points it at Tom, who stands with

the coffee pot in his hand.
Billy pulls out his gun and points it at Charlotte. Lisa

screams.
LELAND (cont’d)
Shut up, bitch!
She stops, terrified. Jeff puts his arm around her, looking
at the two men in fear.
LELAND (cont’d)
Show this asshole we mean business,
Billy.
BILLY
(Nodding to Charlotte)
What, her?
LELAND
Yeah, her. Fuck her. Do it.
TOM
No! Don’t!
Billy shrugs and pulls the trigger.
Click.
Billy looks at the gun, puzzled. Leland looks to Billy -

what the fuck?
Without even thinking, Tom lashes out with the coffee pot,
smashing it into Leland’s face, the glass shattering.
Leland cries out and drops his gun, falls to the floor.
Tom leaps over the counter and picks up Leland’s gun.
Billy quickly ratchets another bullet into the chamber of

his gun and turns to Tom.
Tom fires, hitting Billy in the chest, sending him

spinning.
Lisa screams.
Leland grabs a knife from the floor and slams it into Tom’s
foot.
(CONTINUED)
25.
CONTINUED: (3)
Tom screams in pain and whirls, sees Leland on the floor,

the knife in his hand, and fires down, through the top of
Leland’s head. Leland’s face explodes in a shower of gore.
Billy staggers towards Tom, clutching his bloody chest, his

gun in his other hand.
BILLY
MOTHERFUCKER!!!
He raises the gun to fire again. Tom whips the gun up and
fires, hitting Billy in the stomach and sending him
crashing through the diner window in a shower of glass.
Lisa stops screaming. Mick walks out from the kitchen,

stunned. Charlotte stands there, in shock.
Tom slowly gets to his feet and surveys the carnage. Leland
lies on the floor, his head a bloody mess. Billy lies
outside on the sidewalk, dead, one of his feet propped up
on the shattered window. Outside, people yell and shout and
scream.
Tom struggles to stand upright, blood gushing from his

foot.
Mitch runs over to him and holds him up.
The rest is a swirl of disconnected images from Tom’s POV:
Sam, the local sheriff, bursts into the diner, gun in hand.
An ambulance in front of the diner.
A crowd of people watching as PARAMEDICS lead Tom to the

ambulance. Jack and Judy in front of the crowd, watching in
shock. Jack reaches out to touch his father’s hand.
The back of the ambulance. Tom being laid down. Edie bursts
through the doors and hugs her husband.
FADE TO BLACK.
A long beat
FADE IN:
EXT. STALL’S DINER - ON TV - TOM’S POV
A LOCAL REPORTER stands in front of the diner, the window

still shattered. A crowd of people in the background. The
image is blurry, coming slowly into focus.
(CONTINUED)
26.
CONTINUED:
REPORTER
...where Tom Stall, the owner of this
diner, fought off two savage criminals.
The two men, Leland DeVore and William
“Billy” Orser, were wanted by Texas and
California police for two weeks in
conjunction with several murders in
those states. Stall, a family man with
long standing ties to the community....
Switch
A reporter interviews Jeff and Lisa and their parents.
Switch
A reporter interviews Mitch.
Switch
A reporter interviews Charlotte.
Switch
TV - INT. STUDIO - THE RUNYAN REPORT
A slick, dark studio. A flinty eyed man in his fifties,

wearing a dark blue suit and a red tie sits behind a desk.
A picture of Tom is being projected behind him, the words
“American Hero” written across it.
RUNYAN
Three days ago, Tom Stall was just
another hard working business owner,
the manager of Stall’s Diner in
Taylorville, Indiana. But now, thanks
only to his true American character,
he’s a hero to all of us. When he found
himself in a...
The screen goes black.
INT. HOSPITAL ROOM - DAY
Tom sits on the edge of the bed, fully dressed, and

switches the TV off in disgust. Edie walks in, an ORDERLY
behind her, pushing a wheelchair.
EDIE
Honey?
TOM
God. Are you as sick of hearing about
me as I am?
(CONTINUED)
27.
CONTINUED:
EDIE
I’ll never be sick of you, honey.
They’re here to check you out.
TOM
Thank God for small favors.
He stands up and looks at the wheelchair.
ORDERLY
Regulations, sir. You have to let us
wheel you out.
EDIE
It’s true. Just do it, honey.
Tom chuckles and gets in the wheelchair.
INT. HOSPITAL WAITING AREA
Tom is wheeled out to find dozens of locals and well

wishers waiting for him. They pat him on the back. “Way to
go, Tommy!”
Jack, carrying Sarah, comes over to his father. Tom warmly

squeezes his son’s shoulder and kisses him on the forehead.
Jack pulls back, embarrassed, which makes Tom smile.
EXT. STALL HOUSE - DUSK
A PERKY FEMALE REPORTER stands outside Tom’s house, a

CAMERAMAN shooting her.
PERKY REPORTER
We’re in Taylorville, outside the home
of American hero Tom Stall, who is just
now returning from the hospital with
his family.
The car pulls down the lot and stops. The reporter races
over to Tom as he climbs out of the car, limping slightly.
PERKY REPORTER (cont’d)

Mr. Stall, Jenny Wyeth, KTWA News. How
did it feel when you saw those ruthless
killers’ guns pointed at you?
Tom pauses a moment, struck by the stupidity of the

question.
TOM
How did it feel?
(CONTINUED)
28.
CONTINUED:
PERKY REPORTER
Yes, sir.
TOM
Not very good. Is this a slow news day?
PERKY REPORTER
Well, sir, we....
TOM
I mean, what I did... Anyone would have
done that. It was just a terrible
thing, and I think we’ll all be better
off when we get past it.
PERKY REPORTER
Yes, but...
TOM
I really need to go be with my family.
Thank you.
He turns and walks into his house.
PERKY REPORTER
Uh... From Taylorville, this is Jenny
Wyeth, and, uh....
INT. STALL HOUSE - LIVING ROOM
Tom storms in, followed by Jack and Sarah, then Edie. He

looks out the window and sees the news van peeling out. He
plops down into his armchair.
TOM
God. It’s good to be home. I hope there
won’t be much more of that.
JACK
They just want an interview, Dad.
You’re a hero.
TOM
No, I’m not. I got lucky. Very lucky.
EDIE
This will all blow over as soon as they
have some other hot story.
TOM
Maybe the Lydons will have another two
headed cow.
(CONTINUED)
29.
CONTINUED:
JACK
That would be cool! I never got to see
the last one.
Tom rolls his eyes and smiles. Edie looks out the window.
EDIE
Those goddam reporters.
TOM
They still out there?
EDIE
There’s a car parked across the field.
They’re just sitting there.
She walks into the kitchen. Tom stands up and walks to the
window and looks out.
TOM’S POV -
EXT. STALL HOUSE
A dark sedan is parked on the other side of the field, by

the road, its lights on dim.
Tom looks thoughtfully at the car and frowns.
INT. STALL HOUSE - TOM AND EDIE’S BEDROOM - LATER
Tom sits on the bed, looking out at the night. Edie walks
in in her nightgown and puts her arms around him.
EDIE
You okay, baby?
TOM
I just keep thinking....
EDIE
About the diner?
TOM
I killed two men.
EDIE
Two really bad men.
TOM
I know. I know.
(CONTINUED)
30.
CONTINUED:
EDIE
They would have killed you.
TOM
Yeah, probably. I can’t help thinking
that.... I dunno... If I’d just managed
to take them down. Sam could have
arrested them. Maybe they could have
earned another chance... Made up for
what they did?
EDIE
I’m not going to let you eat yourself
alive over this. Some situations really
are black and white, and you did the
right thing. Period. End of story.
She kisses his cheek.
EXT. TAYLORVILLE OUTSKIRTS - MORNING
Edie drives along the road, alone, and pulls over by the
side.
Edie leans back and addresses the pile of sheets in the

back.
EDIE
Okay, Mr. Fugitive. We’re here.
Tom sticks his head out of the pile.
TOM
Nobody followed us?
EDIE
Nope. You’re in the clear. For now.
TOM
Thanks, baby.
EDIE
You sure you really want to go back to
work so soon?
TOM
I have to, babe. It’s my job.
EDIE
You’re such a man.
(CONTINUED)
31.
CONTINUED:
TOM
The manliest.
They kiss, and he climbs out.
EXT. TAYLORVILLE
Tom walks down the sidewalk. A car slows down as it passes

him and a MIDDLE AGED MAN sticks his head out.
MIDDLE AGED MAN

Hey, Tommy! Way to go!
TOM
Thanks, Hector. Come by the diner. Have
some breakfast.
MIDDLE AGED MAN

Will do, Tommy!
The car pulls out and drives away. The kids who were
playing Wolverine vs. Hulk earlier come racing by, one of
them firing an invisible gun at the other two.
KID
This is my diner, you punks! Blam blam
blam!
Tom flinches at this, and the kid runs smack into his legs.
Tom helps the kid up, and the kid looks at Tom in awe.
TOM
You okay?
The kid nods, and Tom pushes him on his way, disturbed.
EXT. STALL’S DINER
A large piece of wood covers the broken window. Tom unlocks

the door and walks in. The place is quiet. He looks around,
the first time he’s been here since then....
Mick walks out of the kitchen.
TOM
Hey, Mick.
Mick throws his arm around Tom and hugs him hard. Tom’s a
little taken aback.
MICK
Hey, boss. Back to work, huh?
(CONTINUED)
32.
CONTINUED:
TOM
Uh... Yeah. Back to work.
MICK
Good.
Charlotte walks up to them.
TOM
Hey, Charlotte.
She hugs him.
TOM (cont’d)
Hey, you guys. I’m your boss.
CHARLOTTE
We’ll go back to hating you next week,
okay?
TOM
Okay.
Tom turns on the lights and looks around. Mick nods to the
window.
MICK
Good as new, huh?
TOM
Yeah.
MICK
You sick of seeing yourself on TV?
TOM
Ayuh.
CHARLOTTE
It’s good just to go back to something
normal. I am not going to miss all
those cameras.
MICK
You sure made certain those cameras
didn’t miss you. How tall is Larry
King, really?
Charlotte glares at him.
CHARLOTTE
I’ll start the coffee machine.
(CONTINUED)
33.
CONTINUED:
TOM
Good.
MICK
Turn on the backup, too. We’re gonna
need a lot today.
TOM
You expecting a lot of customers?
Mick smiles.
DISSOLVE TO:
INT. STALL’S DINER - AFTERNOON
Every table is filled. There are a few empty seats at the

counter. Tom behind the counter, sorting through some
checks. Edie walks in. Several of the customers wave to her
and greet her. She smiles and nods back.
She walks up to her husband and plants a big kiss on his

cheek.
TOM
Hey, honey.
EDIE
Hey, baby.
TOM
What brings you by?
EDIE
Just wanted to see how you were doing.
TOM
Doing good. Business is great. I oughta
shoot someone every week.
She gives him a slightly worried look, but he smiles back

at her - everything’s okay.
The door opens and three men - very out of place - walk in.
FRANK & CHARLIE, two very assured looking gentlemen in
their mid thirties, tough as hell. In between them is
GIUSEPPE TORINO, an older man wearing shades and a black
suit. A scar runs down from the right side of his forehead
down to his cheek.
The three men stop at the door, ignoring the looks they’re
getting from everyone, and look intently at Tom.
(CONTINUED)
34.
CONTINUED:
EDIE
More reporters?
TOM
They don’t look like reporters.
The three men make their way to the counter and sit. There
are only two seats, so Frank stands behind Torino and
Charlie, like a guard. Tom puts menus down in front of
them, hands one to Frank, who ignores it.
TOM (cont'd)
Would you gentlemen like some coffee?
TORINO
You’re the hero.
TOM
Oh, I don’t know about that, sir. I
just...
TORINO
The big hero. You sure took care of
those two bad men.
TOM
I really don’t like talking about it,
sir. We’re just trying to get back to
normal here. Can I offer you gentlemen
some coffee?
TORINO
Sure. Give me some coffee. Make it
black, Joey.
TOM
Yes, sir. And your friend.... Excuse
me?
TORINO
I said make it black. Joey.
TOM
Who’s Joey?
TORINO
You are.
TOM
My name’s Tom, sir.
TORINO
Of course it is. Just one cup.
(CONTINUED)
35.
CONTINUED: (2)
Edie watches, troubled. Tom walks over to the coffee

machine and pours a cup. He puts it in front of Torino who
picks it up, takes a long sip.
TORINO (cont’d)
Good coffee.
TOM
Thank you.
TORINO
Hard to find coffee this good in
Philadelphia. But you know that, don’t
you, “Tom.”
TOM
I don’t really remember. I’ve only been
to Philly once. For a day. Passing
through. Is that where you gentlemen
are from?
CHARLIE
Like you don’t know.
TOM
I’m sorry. Do we know each other?
TORINO
You tell me.
He takes off his sunglasses, revealing that his right eye,

the one with the scar above and below it, is white, milky
and dead. Edie gasps. Tom looks at him, puzzled.
TOM
Sir, I’m very sorry. You seem to think
you know me, and I wish I could help
you. I really have no idea where we
would have met.
CHARLIE
Come on, Joey. Cut the crap.
TOM
My name is Tom.
CHARLIE
Joey Furillo. Your name is Joey
Furillo.
Edie steps up.
(CONTINUED)
36.
CONTINUED: (3)
EDIE
If you aren’t going to order anything,
my husband and I would appreciate it if
you men would be on your way.
Charlie turns to her and smiles. Torino keeps his gaze

fixed on Tom.
TORINO
We ate on the road.
TOM
Sir, we really are busy. If you’re not
eating, we should give your seats to
paying customers.
Torino nods, and Frank reaches into his jacket pocket. Tom
and Edie tense.
Frank pulls out a wallet, takes out a fifty dollar bill,

and puts it on the counter. Charlotte notices what’s
happening and looks on, concerned.
FRANK
Now we’re paying customers.
TOM
I can’t take this.
TORINO
It shouldn’t be a problem for you.
TOM
Look, mister. I’ve been exceedingly
polite to you, but if I have to, I’ll
call the authorities and we can take
this up with them. I will not have
anyone come into my business and
threaten me.
CHARLIE
Mr. Torino’s just making conversation.
TOM
Whatever you want to call it. This
conversation is over.
CHARLIE
He wants us to leave, Mr. Torino.
FRANK
You know what he does when he don’t
like people, Mr. Torino.
(CONTINUED)
37.
CONTINUED: (4)
CHARLIE
Yeah. I’m scared. We should leave
before he goes all Dirty Harry on us.
Torino stands up.
TORINO
Thank you for the coffee, Joey. It
really is very good.
TOM
It’s Tom. Tom Stall.
For the first time, Torino smiles. He and his men head for
the door. Tom watches them go. Edie picks up the phone and
dials.
EDIE
Hello, Molly? This is Edie Stall. Is he
in?
Tom turns to her.
TOM
You calling Sam?
EDIE
Yeah.
TOM
Isn’t that overreacting?
EDIE
These days? No. Do you know those men?
TOM
No. Of course not.
EDIE
For all we know, they’re friends of the
men who tried to rob you.
Tom nods.
EDIE (cont’d)
Hello, Sam?
A black sedan drives slowly down the street. A Sheriff’s

car pulls up behind it, lights flashing. The sedan pulls
over.
(CONTINUED)
38.
CONTINUED:
Sam gets out of the sheriff’s car and walks up to the

sedan. The window rolls down, and Frank sticks his head
out. Charlie sits next to him. A shadowy figure - Torino,
we assume - sits in the back.
FRANK
There a problem with my driving,
officer?
SAM
May I see your license, sir?
FRANK
Sure. (Hands Sam the license) I thought
I was under the limit.
Sam looks at the license, then walks back to his car. Frank
turns to Charlie, who looks impassively ahead. Sam walks
back to the car and hands Frank the license.
SAM
Step out of the car, sir.
Frank steps out.
SAM (cont’d)
Place your hands on the hood, sir.
Frank does as he’s told, and Sam pats him down.
FRANK
I ain’t carrying anything, officer.
SAM
What’s your business in Taylorville,
sir?
FRANK
We’re tourists.
SAM
What business did you have at Stall’s
Diner today?
FRANK
We heard the coffee was terrific.
SAM
Well, let me make something clear, Mr.
Lazorko. This is a nice town. We have
nice people here. We take care of our
nice people. Do you understand me?
(CONTINUED)
39.
CONTINUED: (2)
FRANK
Sure.
SAM
Don’t let me see you around again.
FRANK
Keep up the good work, officer.
SAM
I’m not an officer. I’m the sheriff.
FRANK
I’ll remember that.
SAM
You’re not going to need to. You’re
leaving town.
Frank shrugs and gets back in the car.
FRANK
You lettin’ us off with a warning,
officer? Sheriff?
SAM
Yeah. A warning.
FRANK
Thanks. You have a great day.
They pull out and take off. Sam watches them go, troubled.
EXT. GAS STATION - DAY
Torino’s sedan pulls into the station and Torino gets out
and heads for the men’s room. Frank starts pumping gas.
Charlie gets out and stretches.
CHARLIE
What do you think?
FRANK
About what?
CHARLIE
All this. Joey.
FRANK
I dunno. It’s been twenty years. I
mean, yeah, boss says the guy looks
kinda like Joey, but you know, I look
kinda like Mel Gibson and you look a
lot like Godzilla.
(CONTINUED)
40.
CONTINUED:
CHARLIE
Funny asshole.
FRANK
I mean, for all we know Joey’s put on
eighty pounds, gone bald and dresses
like a ballet dancer these days. He
could be anywhere.
CHARLIE
Yeah. What if it’s not him. What if
he’s the wrong guy?
FRANK
You sayin’ every guy you ever sent down
was the right guy? He’s the wrong guy,
then he’s the wrong guy. Fuck ‘im.
CHARLIE
Yeah.
FRANK
We do our job. Let the bosses worry
about the right guy and the wrong guy.
Charlie nods. Torino walks out of the men’s room.
TORINO
What’re you talking about?
FRANK
Game last night. Atlanta kicked some
ass.
INT. STALL HOUSE
Tom and Edie doing the dishes. The doorbell rings.
TOM
I’ll get it.
He goes to the door, opens it to find Sam.
TOM (cont’d)
Sam. Everything okay?
SAM
You mind if I come in, Tom?
TOM
No, of course not. Come on in. We just
finished putting Sarah to bed, so we
have to keep it low for a bit.
(CONTINUED)
41.
CONTINUED:
They walk in and sit in the living room. Edie joins them.
SAM
Edie.
EDIE
Sam. What’s going on?
SAM
Those men who came in to see you this
morning....
EDIE
God. Yes. Thank you for that.
SAM
Well, I did a little digging this
afternoon. Tom.... You don’t know these
fellas, do you?
TOM
Jesus, Sam. No. I’ve never seen them in
my life.
SAM
Okay. Because these are some bad men.
(Takes out a notepad) Charles Olivieri,
out of New York. Indicted on three
counts of murder. Frank Lazorko,
Philadelphia. Indicted on one count of
murder, questioned in relation to
dozens of acts of violence you do not
want to hear about. Both men work for
Giuseppe Torino, the fella with the
eye. He has a major history of
violence. Spent fifteen years in prison
on several accounts of assault.
Suspected in half a dozen murders and
more disappearances. Tom, these guys
are organized crime from the East
Coast. They’re the real thing. The bad
men.
EDIE
Jesus. Jesus, Tom.
Tom looks at her, worried.
SAM
I have to ask you a question, and you
have to know that I’ve known you as
long as you been here, and Edie and I
go back to high school.
(MORE)
(CONTINUED)
42.
CONTINUED: (2)
SAM (cont'd)
If there’s one person in this town
outside your family you can trust, it’s
me.
TOM
I know that, Sam.
SAM
Are you in some kind of witness
protection plan?
Tom is a little surprised, a little taken aback by the

question.
TOM
Wha... Some kind of... Are you...?
He laughs.
SAM
It’s no laughing matter, Tom.
EDIE
Of course he’s not, Sam.
SAM
I’d just like to hear Tom tell me that,
Edie.
TOM
Sam. God. I love that. It’s hilarious.
No. No. I’m not in some kind of witness
protection program. Those men just have
the wrong guy. They saw me on TV, I
reminded them of someone... Johnny....
EDIE
Joey.
TOM
Joey something. Lord, the idea of
me....
Edie smiles.
SAM
I honestly didn’t believe it, Tom. But
I had to ask. I did a little research
on the name Joey Furillo. Didn’t find
anything, but there is a Richie Furillo
in Philadelphia. He’s the head of
organized crime in the city.
(MORE)
(CONTINUED)
43.
CONTINUED: (3)
SAM (cont'd)
Men like this come to our town, start
harassing a citizen... We have to take
it seriously.
TOM
Sure. Of course. I understand.
SAM
So, look, I talked to Torino and his
men today. Made it real clear that if
they didn’t have business here, they
weren’t welcome in town. You let me
know if you see them coming around,
okay?
TOM
Of course.
Sam stands up to go.
EDIE
Would you like some pie, Sam?
SAM
Aw, no thanks, Edie. I’d love some, but
I have to get back to work.
Tom walks him to the door and shakes his hand.
TOM
Sam. Thank you. It’s good to know
you’re watching out for us.
SAM
Come on, Tom. You know we look out for
our own here.
Tom smiles and pats Sam on the back as he leaves. He closes

the door and turns to face a troubled Edie.
TOM
Don’t worry. They have the wrong guy.
They’re leaving. It’s over and done
with.
They hug.
Tight on Leland, looking straight at us.
LELAND
I’m gonna kill you and everyone you
know and your whole goddam family.
(CONTINUED)
44.
CONTINUED:
A loud roar and Leland is hit in the chest by a shotgun

blast and flung across the room.
Tom walks across to him, smoking shotgun in hand. He looks

over the body, but Leland has become Torino. He lies on the
floor in a pool of blood, his chest ripped open, laughing.
Tom looks at him, puzzled, and Torino slowly raises a gun

towards Tom and squeezes the trigger.
BLAM!
CUT TO:
INT. STALL HOUSE - TOM AND EDIE’S BEDROOM - NIGHT
Tom’s eyes snap open and he cries out. He’s bathed in

sweat. Edie wakes up, sees him, and holds him tight. Tom
looks out the window at the dark night.
EDIE
What is it, baby?
TOM
God.... A dream... Just a dream...
Jesus...
EDIE
It’s okay, baby. It’s okay.
She holds him tight.
EXT. STALL HOUSE - DAWN
Tom quietly walks out the front door and walks down the
road.
Tom getting ready to open for business. He walks to the

front door and opens it, then freezes.
Torino’s black sedan is sitting in the middle of the

street, engine running.
Tom steps outside.
EXT. STALL’S DINER
Tom stands looking at the sedan a long beat. The sedan

shifts into gear and slowly rolls down the street. It slows
as it passes the diner, the rear window rolled down, Torino
staring coldly at Tom.
(CONTINUED)
45.
CONTINUED:
The window slides up, and the car picks up a little speed.
Tom runs after it.
EXT. TAYLORVILLE - STREET
Tom comes to the end of the street and watches the sedan
slowly drive down the street, towards the outskirts.
TOM
Jesus.
He runs after it, desperate and scared, hobbling on his

injured foot. He pulls his cell phone out of his pocket and
punches a number as he runs.
INT. STALL HOUSE - TOM AND EDIE’S BEDROOM
Edie sleeps as the morning sun peeks through the curtains.

The phone by the side of the bed rings and she rolls over.
EDIE
(Eyes closed)
Honey, get that.
She realizes Tom’s not there, and rolls over to answer the
phone.
EDIE (cont’d)
Hello?.... Tom? Where are....? What?
Coming here? Tom... Hang on. What? Are
you serious?
Tom, running desperately down the street, talking on the

phone.
TOM
The shotgun, Edie. Get the shotgun.
They’re coming to the house!
INT. STALL HOUSE - TOM AND EDIE’S BEDROOM
Edie slams the phone down and runs to the closet. A rifle
and a double barreled 12 gauge shotgun lean side by side
against the wall. She grabs the 12 gauge, and races out of
the room.
Edie tears down the stairs, holding the shotgun. She runs
to the front door and peers out the window. Nothing.
46.
Tom, running frantically, in horrible pain, sweat pouring

down his face, his legs cramping, his injured foot killing
him. In the far distance, he sees the sedan turn down a
small road.
TOM
No! No!
He runs, harder. Breath comes in short, pained bursts,

gasps.
His left leg cramps and he cries out in pain, but keeps
going.
Down the road, through the field.
Across the field.
Panting. Gritting his teeth. Screaming.
Through the field, through the corn.
Falls. Hard. WHAM!
Staggers to his feet and burns on.
He comes to the end of the field, leaps over the propane

tank, comes to the house.
Quiet. No car. He stops, panting, red, damp with sweat,

dirty.
He cautiously approaches the front door.
Which whips open, to reveal....
Edie. Holding the gun. Confused.
EDIE
Tom?
He staggers to her and wraps her up in his arms.
EDIE (cont’d)
Tom, what’s going on?
TOM
I don’t know, baby. I don’t know.
EDIE
I’ll call Sam.
(CONTINUED)
47.
CONTINUED:
TOM
No. Don’t. I don’t even know... I don’t
even know if it was them.
She looks at him, worried. He staggers into the house.
INT. STALL HOUSE - BATHROOM
Tom in the shower, washing it all off.
INT. STALL HOUSE - TOM & EDIE’S BEDROOM
Tom steps out of the bathroom, wrapped in a towel, and sees

Edie standing there.
TOM
Hey.
EDIE
Hey.
TOM
I think I’m losing my mind.
EDIE
No, you’re not. You’ve been through
some serious trauma. And these men are
just making it worse. I’m here, baby.
We’re all here. We all love you. It’s
going to be okay.
They hug and Tom kisses his wife.
EXT. TAYLORVILLE MALL - DAY
A typical Midwestern mall. The Stall’s station wagon pulls

into the parking lot and Edie gets out, gets Sarah, and the
two of them head into the mall. Behind them, in the
distance, a familiar black sedan pulls into the parking lot
and sits.
INT. TAYLORVILLE MALL - SHOE STORE
Edie sits in a chair while a SHOE SALESWOMAN helps her try

on a pair of shoes. Sarah is roaming around the store,
bored.
SALESWOMAN
How do they feel?
EDIE
Good. I like them.
(CONTINUED)
48.
CONTINUED:
SALESWOMAN
I have a pair of these myself. They
look great, and they really last.
EDIE
Okay. I’ll take them. Now we need a new
pair for her.
They both turn to look, but Sarah’s gone. Edie gets up.
EDIE (cont’d)
Sarah?
No Sarah. Worried, Edie walks to the door and looks out

into the mall. The Saleswoman follows.
SALESWOMAN
M’am?
Edie turns, and the woman nods to her feet. Edie is still
wearing the new shoes.
EDIE
I have to find my daughter.
SALESWOMAN
I’m sorry, m’am. I can’t let you leave
the store with those.
Edie kicks off the shoes in exasperation and walks briskly

out of the store. A hand grabs her shoulder and she whirls.
It’s Charlie, Torino’s man. Edie gasps.
CHARLIE
Mrs. Stall.
EDIE
Oh my God. My daughter! Where is she?
Charlie nods, and Edie follows his look to see Sarah

standing outside the toy store, looking in the window.
Torino and Frank sit on a bench across from her. Edie walks
to her daughter, followed by Charlie.
EDIE (cont’d)
Sarah! NEVER do that again!
SARAH
I’m sorry, Mommy. But look! They have
the new Kimberly!
(CONTINUED)
49.
CONTINUED: (2)
TORINO
No need to worry, Mrs. Stall. We were
keeping her safe.
EDIE
You stay the fuck away from my family,
you son of a bitch.
TORINO
There’s no need for that kind of
language, Mrs. Stall.
EDIE
Look, I don’t know what you want, and I
don’t care. If I see you again, this
will be police business.
TORINO
Yes, you’re an attorney, aren’t you?
You have some strong ties to the local
law enforcement community. I respect
that. But we’re not here to break any
laws, Mrs. Stall. I just want what’s
mine.
EDIE
My husband is not the man you think he
is.
TORINO
That’s certainly possible. Please. Have
a seat. Let me tell you a story.
She glares at him, not moving.
TORINO (cont’d)
Mrs. Stall. This is a crowded shopping
mall. Even if I was the bad man you
seem to think I am, what could I do
here? Please. Sit.
EDIE
I’ll stand.
Torino sighs and nods.
TORINO
(To Charlie)
Never argue with a woman. Especially a
woman lawyer.
Charlie smiles.
(CONTINUED)
50.
CONTINUED: (3)
TORINO (cont'd)
Mrs. Stall, your husband’s name is Joey
Furillo. Twenty years ago, I worked
with his older brother, Richie. Richie
had come up through the ranks of our
business, and he’d trained Joey to
follow in his footsteps. The boss would
give me a job, I’d pass it on to guys
like Joey. And let me tell you, Mrs.
Stall, your husband was very good at
what he did. He had that crazy meanness
that made him a natural. Joey Furillo
came to see you, it meant negotiations
were over. It meant you were not long
for this world, you understand?
Edie looks at him, sickened.
TORINO (cont’d)
When Richie got his button - when he
got bumped up the ladder - he had to
leave Joey back working for me. Joey
didn’t like that, Mrs. Stall. He blamed
me for the fact that his brother didn’t
take him with him. I wasn’t too
thrilled, either - Richie was always
better than me at keeping Joey in line.
Without him, he was wild.
Unpredictable. But business is
business. You’re a lawyer - you
understand that. I used to own a little
cheese shop on Seventh street. Nice
place. I was proud of it. One night,
after closing, Joey and a friend of his
came tearing in, knocked down the door,
guns blazing.
EDIE
This is crazy.
TORINO
Five of my friends were hit. Of the
three who lived, one of ‘em can’t use
his arm anymore. Another is permanently
brain damaged, Mrs. Stall, and I
started the day with two good eyes.
Joey’s friend, well, he went down in
the fight, but Joey - your husband -
took off. This sort of thing is bad for
business. Richie.... He wasn’t happy at
all. His brother had disgraced his
family. Me, I just wanted to get on
with my life. Learn from my mistakes
and move forward.
(MORE)
(CONTINUED)
51.
CONTINUED: (4)
TORINO (cont'd)
But when I turned on my television the
other day and saw Joey Furillo staring
me in the face, I knew I had to do
something. You say he’s the wrong man.
He’s not Joey Furillo. Perhaps this is
true. Anything’s possible. But would
you forget the man who took your eye,
Mrs. Stall? I doubt it.
Edie looks at Torino calmly for a long beat.
EDIE
Mr. Torino, let me tell you how I’m
going to spend the rest of my day. I’m
going to take my daughter and we’re
going to buy her a pair of new shoes.
Then I’m going to my office and calling
Judge Lane. He’s the toughest judge in
the county, but he has a crush on me a
mile wide, and I’m going to push
through a restraining order against you
and your.... associates. If I see you
or them within five hundred feet of me,
my children or my husband, I’m going to
have you arrested. If you come anywhere
near my home, I’m going to shoot you.
Can I possibly make myself clearer to
you?
Torino smiles.
TORINO
No, Mrs. Stall. You can’t. I want to
thank you for your time. You have an
enchanting daughter.
Edie reaches out her hand to Sarah, who takes it. They turn
and walk away. Her back turned to Torino, Edie’s face
cracks - in spite of her tough facade, she’s terrified.
TORINO (cont’d)
Mrs. Stall.
She turns.
TORINO (cont’d)
Don’t forget your shoes.
EXT. TAYLORVILLE HIGH - HALLWAY - DAY
Jack and Judy walking out of a class.
JUDY
How’s your dad?
(CONTINUED)
52.
CONTINUED:
JACK
I dunno. A little weird.
JUDY
What he went through? That would freak
anyone out.
JACK
Yeah. I guess.
Jack is pushed from behind and staggers forward, dropping

his books. He and Judy turn to see Bobby and his buddies
standing there.
BOBBY
So your old man’s some kind of tough
guy. What’s he think of his wimp son?
Jack glares at Bobby.
BOBBY (cont’d)
You think he’d take this shit? You
think he’d make jokes? Come on, bitch.
Say something funny.
JUDY
Leave him alone, Bobby.
BOBBY
Shut up, skank.
Jack glares at Bobby.
BOBBY (cont’d)
Ooh. He’s getting mad.
JUDY
Come on, Jack. Let’s get out of here.
Jack doesn’t move.
JUDY (cont’d)
Jack, come on. He’s an asshole. You
know that. He doesn’t mean shit. Let’s
go.
BOBBY
Yeah, puss. Run away. God DAMN, but
your daddy must be real shamed by you.
Jack takes a step towards Bobby, angry.
(CONTINUED)
53.
CONTINUED: (2)
BOBBY (cont’d)
Say something funny, bitch. Make me
laugh.
Jack turns to walk away. Bobby smiles.
Without warning Jack whirls and grabs the larger boy by the
shirt and hurls him into a locker. He dives into Bobby,
fists swinging, and pummels him mercilessly. Blood spurts
from Bobby’s nose. Jack punches him hard in the stomach,
then kicks him in the balls.
With a cry, Bobby falls to the ground, and Jack savagely

kicks him in the stomach and head. Judy tries to pull him
off, but he pushes her away.
JACK
Are you laughing? Are you laughing now?
Are you fucking laughing, you
motherfucking cocksucking piece of
shit?
Judy and Bobby’s buddies try to pull Jack back, but he’s
furious, possessed. A TEACHER steps out of a classroom and
sees what’s happening, grabs Jack and yanks him off of the
battered, bleeding Bobby.
INT. STALL HOUSE - LIVING ROOM - AFTERNOON
Tom confronts his son.
TOM
What the hell were you thinking?
JACK
He’s been riding me all year. He’s a
jerk.
TOM
“He’s a jerk”? That’s it? That’s no
excuse. You stand up to him. You don’t
nearly put him in the hospital.
JACK
Oh, big deal. It’s the best thing
anyone could have done to him. Besides,
I only got suspended.
TOM
His parents could still sue us. We
can’t afford that, Jack. We don’t have
that kind of money.
(CONTINUED)
54.
CONTINUED:
JACK
Oh, what? Mom’s not gonna take the
case? Whatever, dad.
TOM
Goddammit. In this family, we do not
solve problems by hitting people.
JACK
No. In this family, we shoot them.
Before he can even think, Tom lashes out and smacks Jack
across the face.
Jack staggers back, stunned. A horrified look crosses Tom’s

face.
Tears streaming down his face, Jack turns and runs out of
the house.
TOM
Jack.... Oh, no.... Jack....
He stands there, looking at the open door, appalled at what

he did.
INT. STALL HOUSE - TOM AND EDIE’S BEDROOM - AFTERNOON
Tom lies on the bed in the dark, very upset. He hears the
door open downstairs and rolls to his feet and heads for
the door.
INT. LIVING ROOM
Tom comes down the stairs.
TOM
Honey. Something really....
EDIE
Tom. You have to listen to me.
TOM
What? What’s wrong, baby?
He comes down the stairs and takes his wife in his arms.
TOM (cont’d)
Are you okay?
EDIE
I’m okay. We’re fine. Torino and his
men followed us to the mall.
(CONTINUED)
55.
CONTINUED:
TOM
He what? Jesus Christ. Call Sam. We
have to call....
EDIE
I took care of it, honey. I called Sam.
I went to the courthouse, and we got a
restraining order.
TOM
For all the good that will do...
EDIE
It’s something. If he comes around
again, we can have him arrested. But I
have to tell you something....
TOM
What?
She leads him over to the sofa.
EDIE
This man Torino... He really believes
you’re this Joey something. He told me
a story this afternoon... He’s certain
it’s you. We have to find a way to
convince him it’s not.
TOM
I don’t know how to do that, honey. He
won’t believe the truth.
EDIE
I know. It’s just... It’s crazy. It’s
crazy. Why can’t we just have our lives
back?
Sarah looks at her mother, upset. Tom kneels by his

daughter.
TOM
Hey, baby. Everything’s okay. Don’t
worry. Mommy and Daddy are just having
a tough week. Why don’t you go play
upstairs.
SARAH
Okay, Daddy.
He hugs his daughter, and she scampers upstairs. Tom

watches her go, then turns to his wife. Edie is crying.
(CONTINUED)
56.
CONTINUED: (2)
EDIE
God. I’m so sorry. What’s happening to
us?
Tom takes his wife in his arms and holds her tight.
The sound of a car pulling up outside interrupts them. Tom

looks out the window, and a black look crosses his face.
TOM
Get the guns.
EDIE
Tom?
TOM
Edie, go upstairs and get the guns.
Both of them.
Edie heads for the stairs.
EXT. STALL HOUSE
Torino’s sedan is parked in the driveway. Torino, Frank and

Charlie get out of the car.
Tom appears in the doorway of the house, rifle in one hand,

shotgun in the other. Edie stands behind him.
TOM
Get off my land.
TORINO
We’ll go, Joey. We just want you to
come with us. Come back to Philly.
TOM
I’m not the man you think I am, Torino.
But I will shoot you where you stand if
you don’t get off my property.
TORINO
You really believe this crap, don’t
you?
Torino shakes his head in amazement. He nods to Charlie who

leans back into the car. Standing behind Tom in the
doorway, Edie tenses.
EDIE
Tom... Where’s Jack?
(CONTINUED)
57.
CONTINUED:
Charlie drags Jack out of the back of the car. Tom’s jaw
tightens. He puts down the shotgun, still holding the
rifle.
TORINO
We don’t want to hurt these people,
Joey. Just come with us.
Tom starts to lower the rifle.
EDIE
(Whispering)
What are you doing?
TOM
I have to go with them.
EDIE
Tom...
He looks at his wife and she looks back, brave, but

shaking.
EDIE (cont’d)
They’re going to kill us all.
Tom nods, and turns back to Torino. He looks like he’s

about to give up, then he whips the rifle up and in one
smooth, quick move, aims and fires.
The bullet spangs into the propane tank in the field, which
EXPLODES, shooting fire everywhere, sending Torino, his men
and Jack sprawling to the ground. Frank takes the brunt of
it, his back protecting Jack.
Tom dives to the ground, rifle in hand.
TOM
Jack! Run!
Jack scrambles to his feet, and Tom fires at Charlie and

Torino, covering his son. Jack makes it to the field, dives
into the corn, vanishing.
Charlie and Torino fire wildly at the house. Tom hits the
ground and rolls off the side of the porch.
INT. LIVING ROOM
Edie curls up on the floor, screaming as bullets slam into

the walls and the furniture.
SARAH (O.S.)
Mommy?
(CONTINUED)
58.
CONTINUED:
EDIE
Stay down, baby! Mommy’s coming! But
stay down!
She crawls towards the stairs.
EXT. STALL HOUSE
Tom crouches by the side of the house, rifle in hand. He

checks the load - one bullet left. He peers up at the
porch, sees the shotgun lying there, and frowns. A bullet
zings past his face, and he dives back, scrambles behind
the house.
The circle of fire where the tank was is expanding. The

field is starting to burn.
Charlie and Torino crouch down. Torino nods towards Frank,

who lies face down, his back ripped to shreds, on fire.
Charlie shakes his head - “no.” Torino grimaces. He points
to the other side of the house, gestures for Charlie to
head that way. Charlie scuttles off.
Behind the house, Tom straightens up, back to the wall, and
slides towards the other side of the house.
He creeps around the corner, alongside the porch, and looks

up. The shotgun’s gone.
Charlie creeps around the side of the porch and bumps right
into Tom. The two men scramble to bring their guns up, but
they’re in too tight. Tom drops the rifle and goes for
Charlie’s throat.
The two men roll on the ground, pounding the shit out of
each other. Tom bites Charlie’s hand hard, until blood
squirts out. Charlie screams in pain. Tom rolls on top of
him and punches his throat hard, over and over.
Charlie chokes and gurgles and dies. Tom keeps pounding.
Tom cries out in pain as a bullet tears through his

shoulder, knocking him forward. He rolls over to find
Torino standing over him, gun in hand, glaring in rage.
Torino cocks his gun and points it right at Tom’s head.
TORINO
You have anything to say before I kill
you, you miserable prick?
Tom stares back, hatred in his eyes, clutching his wounded

shoulder.
(CONTINUED)
59.
CONTINUED:
TOM
I should have killed you back in
Philly.
Torino smiles, relieved. Finally!
Tom clenches his jaw, ready for the shot.
BLAM!
Blood splatters all over Tom as Torino’s chest explodes.

Torino staggers forward and falls to the ground. Tom rolls
out of the way and sees Jack standing there, a dazed look
on his face, the shotgun in his hands.
Tom staggers towards Jack and takes the shotgun from him.
Jack is frozen, non-responsive. He just stares at the dead
man on the ground.
Edie steps out the front door, Sarah in her arms, and walks
briskly towards her husband and son.
EDIE
Oh my God. Tom? Are you okay? Is it
over? Is it over?
She rushes over and hugs her son tight.
Tom stands, looking at his family for a moment. Edie looks

back at him, a mixture of conflicting emotions on her face,
but mostly anger. Tom hesitantly steps toward them, then
takes them all in his arms. Outside, the fire in the field
rages.
In the distance, sirens.
EXT. STALL HOUSE - LATER
A fire truck parked in the field, FIREMEN putting out the

last of the fire.
Tom sits on the back of an ambulance as the Paramedic

bandages his shoulder. Sam is questioning him as Edie
stands by, still holding the dazed Sarah. Jack stands off
in the distance, looking at the spot where Torino lay.
TOM
They had the wrong man, Sam. They had
the wrong man.
(CONTINUED)
60.
CONTINUED:
SAM
I know. I’m going to have to come back
later and ask you some formal
questions, but it’s going to be okay,
Tom.
Tom nods. The Paramedic finishes up his shoulder.
PARAMEDIC
Sir, we’re going to have to take you to
the hospital now.
TOM
Wait a minute.
He gets up and walks to Jack, puts his hand on his son’s

shoulder.
TOM (cont’d)
Jack?
No answer.
TOM (cont’d)
Jack. You did the right thing. I know
it’s hard to believe, but you did.
Jack turns slowly to face his father.
TOM (cont’d)
It’s not going to be easy, the next few
days, or weeks. It could take a long
time to get right with what happened.
Jack stares intently at his father, looking for something.
TOM (cont’d)
Jack... What is it?
Jack shakes his head and walks over to his mother, leaving
Tom alone. The Paramedic approaches him.
PARAMEDIC
Sir? We have to go now.
He gently puts a hand on Tom’s good arm and guides him to

the ambulance. Sam turns to Edie.
SAM
We can take the kids with us if you
want to ride with him, Edie.
She looks at Sam and smiles faintly in gratitude.

61.
INT. AMBULANCE
Tom lies back on the stretcher.
Edie climbs in and sits beside him, a distant look on her

face. She holds his hand, but doesn’t look at him. The
ambulance takes off.
INT. HOSPITAL ROOM - NIGHT
Tom lies in the bed in the dark, staring at the ceiling.

The door opens, and Edie walks in. He reaches out to her.
TOM
Edie.... Honey... Are you okay?
She steps back, away from him.
EDIE
Tell me the truth.
Tom looks at her a long beat, then hangs his head.
TOM
You heard.
EDIE
No. I saw. I saw Joey, not Tom. You
didn’t grow up in Portland. And you
never talked about your adopted parents
because you didn’t have any. You killed
men.... You killed men for money.
TOM
Edie... It wasn’t like that.
EDIE
What was it like, Tom? Make me
understand what it was, so I can be
okay with having given almost twenty
years of my life to a lie.
TOM
It wasn’t a lie.
EDIE
Are you going to sit there and tell me
it depends on what your definition of
the word “is” is? Goddam it, Tom...
Joey.... Shit! Whoever you are! The lie
is over. It’s dead. I want to know the
truth right now.
(CONTINUED)
62.
CONTINUED:
TOM
Edie....
She glares at him, furious.
TOM (cont’d)
It’s true. I worked for those guys. I
did things for them... But I swear to
you, Edie, I swear to God, we never
hurt anyone who wasn’t part of it. If
you were in, you were fair game. That
was part of the risk. But we never...
Jesus, Edie. You have to know that.
She looks at him hard.
TOM (cont’d)
My brother, Richie... He got moved up
the ladder, and I was stuck with
Torino. And Torino was a monster. He
didn’t care who got hurt. I couldn’t
work for him, and the guys at the top,
they wouldn’t let me out. So I went to
Torino. I knew he wouldn’t listen to
talk, so I went armed. And it got out
of hand. A lot of people got hurt, and
Torino was higher up than me. I knew
nobody - not even Richie - would
believe my side of the story.
EDIE
Richie was your brother...
TOM
It didn’t matter. He’d taken the oath.
He was part of it, on the way to the
top. I’d crossed the line. Torino and
his men, they were made, protected. You
raise a hand against them, you have to
die. It’s that simple.
EDIE
Your own brother....
TOM
Yeah. So I left.
EDIE
And you came here.
TOM
I went a lot of places. It takes a long
time to shed your skin, Edie. I didn’t
lie to you. I killed Joey Furillo.
(MORE)
(CONTINUED)
63.
CONTINUED: (2)
TOM (cont'd)
I didn’t have any other choice. I went
out to the desert and I killed him. And
I spent the next few years becoming Tom
Stall. Edie, you have to know this. I
was born again when I met you. You...
this town... these people... you gave
me what I needed to start over, to
become decent.
EDIE
Decent? A decent man doesn’t lie to his
family, Tom. A decent man doesn’t give
his children a made up name.
TOM
Edie....
EDIE
We never lie to each other, Tom. That
was the deal, remember? Our love can
get us through anything. My God. You
never told me anything BUT lies.
TOM
We can start again. We can just go
back to normal. It’s so easy, you’ll
see.
EDIE
I have to think, Tom. I have to go
think very long and very hard about all
of this.
She turns and heads to the door. He reaches out and touches
her arm.
TOM
Joey’s dead, Edie.
She walks out.
EXT. TAYLORVILLE HIGH - BASEBALL FIELD - DAY
Jack sits on the bench and watches the girls’ class running
around the track. He sees Judy and waves to her. She nods,
but doesn’t come over.
Jack walks over to the track, walks up to Judy.
JACK
Hey.
JUDY
Hey.
(CONTINUED)
64.
CONTINUED:
JACK
What’s going on?
JUDY
Nothing. Running laps. Coach notices
you here, you’ll get into trouble.
JACK
Who cares?
A long, awkward, silent beat.
JUDY
Well... I have to finish my laps.
She smiles uncomfortably at him.
JACK
Yeah. Okay. Fine.
He turns and walks away. She watches him, troubled, then

turns to go after him, to say something - anything. The
GIRLS’ COACH blows her whistle.
GIRLS’ COACH
Danvers! Get back on the track!
Judy sighs in frustration and goes back to running.
EXT. STALL HOUSE - DAY
A big chunk of the field is black from the fire. The taxi
pulls up in front and Tom gets out and walks to the front
door. Jack sits on the porch.
TOM
Hey.
Jack looks up at him.
JACK
What am I supposed to call you now?
TOM
What? Jack, please. You have to...
JACK
I have to what, Dad? What do I have to
do? This isn’t a normal life, so I
don’t have any idea what I have to
fucking do anymore. If I go rob
Miliken’s Drug Store, will you ground
me if I don’t give you a piece of the
action? What, Dad? You tell me?
(CONTINUED)
65.
CONTINUED:
Tom says nothing - what can he say?
JACK (cont'd)
You know what you are, Dad?
Tom looks at his son, not answering.
JACK (cont’d)
You’re the monster in Sarah’s closet.
Tom frowns.
JACK (cont’d)
You can’t tell me anything.
He gets up and walks away, leaving Tom standing there,

upset.
INT. STALL HOUSE
Tom walks into the empty house. He looks around. It’s

still.
Tom walks around the house, looking into the empty rooms.
INT. STALL HOUSE - SARAH’S ROOM
Tom sits on his daughter’s bed and picks up one of her

dolls. He gently puts it back on the bed and looks out the
window.
INT. TOM AND EDIE’S BEDROOM
Tom stands in the doorway, looking. Nothing has changed,

but nothing’s the same.
EXT. STALL HOUSE
Tom slowly walks outside and looks at the devastation. He

walks to the shed in the back and gets out a wheelbarrow
and takes it to the field, starts loading it up with burnt
out corn husks and bits of metal.
The sheriff’s car rolls down the driveway and Sam steps
out.
SAM
Hey, Tom. Good to see you up and
around.
TOM
Hey, Sam.
(CONTINUED)
66.
CONTINUED:
SAM
I could sure go for some of Edie’s
lemonade.
TOM
Come on in.
INT. LIVING ROOM
Sam is pacing around the living room. Tom walks in with two
glasses of lemonade and hands one to Sam, who takes a deep
long sip.
TOM
So what brings you out here, Sam?
SAM
Well, you know. I just wanted to see
how you were doing.
TOM
I’ll be okay.
Sam nods.
TOM (cont’d)
There’s something else.
SAM
Yeah. There is. Tom... I’ve been
running through it all for the last
couple days, and it just doesn’t fit.
TOM
What doesn’t fit?
SAM
None of it.
Tom nods. He looks out the window and sees the station
wagon rolling up.
SAM (cont’d)
Edie home?
TOM
Yeah.
SAM
We don’t have to do this now.
TOM
Might as well.
(CONTINUED)
67.
CONTINUED:
The door opens, and Edie walks in. Tom and Edie kiss very
perfunctorily. Sam notices.
EDIE
Hey, Sam.
SAM
Edie. How’re you doing?
EDIE
I’m okay. What brings you out here,
Sam?
SAM
Tom and I were just talking about that,
Edie.
Edie looks to Tom, who’s close-mouthed and glum looking.

She nods.
EDIE
I’d like to hear it.
SAM
Well.... It’s just that none of this
adds up. I can buy Torino thinking you
might be this Joey fella. But these are
serious men. They wouldn’t have come
here, they wouldn’t have gone through
all this if they weren’t dead certain
they had the right man.
Tom doesn’t say anything. Edie looks at Tom, then back to

Sam.
EDIE
What are you saying, Sam?
SAM
I’m saying I think I need to know the
truth.
TOM
The truth.
SAM
You owe it to the people of this town,
Tom.
EDIE
Sam.
SAM
Hmm?
(CONTINUED)
68.
CONTINUED: (2)
Tom looks at Edie anxiously.
EDIE
You’ve got too much time on your hands.
SAM
Sorry?
EDIE
I don’t know why those men were so
convinced Tom was this Joey person, and
frankly, I don’t care. You’re the one
who said we look out for our own around
here, and if Tom Stall isn’t one of our
own, I don’t know who is. Tom is who he
says he is, and that’s all that
matters, Sam. Hasn’t this family
suffered enough?
Sam looks at her a long beat.
SAM
Well, goddam, Edie.
He finishes his lemonade, puts it down, and gives her a

slow smiles and nods.
SAM (cont’d)
I guess I’ll be on my way.
He heads to the door, then stops.
SAM (cont’d)
You folks give a ring if you need
anything. Tom, you need some help
fixing up the field this weekend, you
let me know, alright?
Tom nods. Sam touches his hat and walks outside. Tom and
Edie stand alone, watching Sam get into his car and drive
off.
TOM
Edie....
She slaps him hard.
EDIE
Fuck you, Joey.
Tom shakes the slap off, and for the first time we see
something different in his eyes - Joey has just made his
entrance....
(CONTINUED)
69.
CONTINUED: (3)
Tom grabs her arm, and there’s a beat of electricity and

fear between them. He kisses her hard, and as mad and full
of hatred as she is, she kisses him back.
They tear at each other in anger and lust. This is a new

man Edie’s with - someone other than her husband.
Tom tears her shirt open and yanks her pants down. She
falls back and he catches her, leans her back against the
stairs. He pulls her pants the rest of the way off and rips
her panties off.
Tom pulls his pants down and they go at it on the stairs,

raw, animalistic, full of anger and passion and the thrill
of something new, something dangerous and terribly wrong.
Their orgasms come fast and hard, and they lie on the
stairs, him on top of her, breathing hard.
She pushes him off her - not in the friendliest way - and
picks up her clothes and walks upstairs.
Tom lies on the stairs, watching her go, processing what

just happened.
INT. TOM AND EDIE’S BEDROOM
Tom sits on the bed, listening to Edie in the shower. The

water turns off, and after a beat, she walks out in a
bathrobe, a towel around her head.
Tom looks up, ready for the conversation. She walks past
him, and out of the door, then closes it behind her.
EXT. TRAIN TRACKS - DUSK
Jack sits on the tracks, a bottle in a brown paper bag in

his hands. He watches the sun set over the trees.
JUDY (OS)
Hey.
He turns to see Judy.
JACK
Hey.
JUDY
Since when did you start drinking?
JACK
I don’t.
A long beat.
(CONTINUED)
70.
CONTINUED:
JACK (cont’d)
It tastes like shit.
He chucks the bottle. She sits down next to him.
JUDY
Want to smoke a joint?
JACK
Nah. Thanks.
Judy shrugs and lights up, takes a deep hit. They sit in
silence for a long beat.
JUDY
So Mr. Beezer said “Shit” today.
JACK
Beezer?
JUDY
Yeah. He slammed his thumb with a
hammer in class.
JACK
Beezer never curses.
JUDY
Right. I know. We’re all, like, whoa!
Dude!
A long beat.
JUDY (cont'd)
Jodi and Mitch broke up.
JACK
Again?
JUDY
Yeah, I guess they do that every week,
huh?
JACK
They’re gonna end up married someday.
JUDY
No way.
JACK
They are.
JUDY
That’s crazy.
(CONTINUED)
71.
CONTINUED: (2)
JACK
Bet you.
JUDY
Okay. Five bucks.
JACK
Make it ten. We’ll have jobs by then.
She smiles and leans her head on his shoulder.
INT. TOM AND EDIE’S BEDROOM - NIGHT
Edie sleeps on one side of the bed, tossing and turning,

not able to sleep. The other side of the bed is empty.
INT. STALL HOUSE - GUEST ROOM
Tom lies on the guest bed, staring at the ceiling.
He finally rolls over and closes his eyes.
FADE TO:
BLACK.
A phone rings.
TOM
Hello?
MAN’S VOICE (O.S.)

You’re still pretty good with the
killing, Joey.
TOM
Richie?
MAN’S VOICE (O.S.)

So, you gonna come see me, or do I have
to come to you?
INT. TOM AND EDIE’S BEDROOM - NIGHT
Edie wakes up with a start, frightened. Tom is standing in

the closet door, getting dressed.
EDIE
What are you doing?
TOM
I have to go back to Philly.
(CONTINUED)
72.
CONTINUED:
EDIE
Tom?
Tom stops and turns to her.
TOM
My brother called.
She looks at him, puzzled.
EDIE
Your....
The reality of her life comes rushing back to her, and she
wakes up fully.
EDIE (cont’d)
Richie.
Tom nods. Edie looks around the room, searching for a way
out.
EDIE (cont’d)
What does that mean, Tom.... Joey...
What the hell am I supposed to call
you?
Tom looks at her, sorry as hell.
EDIE (cont’d)
Richie calls you and you have to go.
TOM
If I don’t, he’ll send someone else.
EDIE
And you’ll just kill them, too. You’re
good at that.
TOM
Edie...
Edie gets up and puts on her robe.
EDIE
Goddammit, you prick. I don’t know how
I’m supposed to react to this... To any
of it. Last week, I had the best life.
My children were brilliant, my husband
was brilliant, we were all brilliant.
Now.... Christ, I don’t even know if
we’re really married. I’m guessing you
didn’t legally change your name.
(CONTINUED)
73.
CONTINUED: (2)
TOM
Edie, I’m sorry.
EDIE
You are. You’re the sorriest son of a
bitch in the world. What happens to our
kids, Tom? What does this mean for
Jack? For Sarah? Do they have this
thing inside them, too? My God. My son
killed a man. Because of you...I have
an idea - why don’t I just call you
Vinnie? Or Dom? Fuck! This is not my
life!
TOM
I have to go. I have to see my brother.
EDIE
What are you gonna do? Talk it out?
Slap him around? Kill him?
TOM
He’s not gonna let this just go away.
They know where we live, Edie. I was
hoping it would end with Torino, but
that was stupid.
EDIE
But Richie... He’s your brother...
TOM
He’s also the boss, and I killed three
of his men.
EDIE
Goddammit. You can’t.
TOM
For twenty years I’ve run from this. I
did a damn good job of lying to myself
and everyone around me, but you can’t
do that. You can’t just make it go away
by wishing.
EDIE
You don’t have to go.
TOM
What do you suggest, Edie? Do it all
over again? Change all our names, start
over somewhere else as the Smiths?
She looks at him, not saying anything. Tom frowns and

buttons his shirt. He turns to her.
(CONTINUED)
74.
CONTINUED: (3)
TOM (cont'd)
There aren’t any choices left for me,
Edie. I thought I’d made this all go
away. But this kind of thing... It’s
always there. It was just waiting. I
have to do this. We’ll never get back
to normal if we just let this hang over
our heads.
EDIE
Back to normal? Jesus. Normal. Normal
is history, Tom. We danced on its grave
last night.
Tom finishes buttoning his shirt and turns to her. A long

beat, then he kisses her, hard. She kisses him back, then
pushes him away.
EDIE (cont'd)
We won’t be here when you get back.
TOM
I hope you are.
He walks out of the room without looking back. Edie drops

onto the bed, slightly in shock. She reaches over to turn
on the lamp, and it flickers off and on. She shakes it, but
it doesn’t do anything. In a flash of rage, she lashes out,
slamming the lamp against the wall, where it shatters.
EXT. STALL HOUSE
The barn in the back. Tom opens the doors and goes inside.
There’s a roar of an engine, and a moment later, a big,
battered pickup drives out. He swerves around the station
wagon and disappears down the road.
EXT. PHILADELPHIA - NIGHT
The city looks alive at night. The skyline is brightly lit

and beautiful. Tom - let’s call him Joey now, because
that’s who he is - sits in the shadows of the steps of the
Art Museum looking over it. It’s been a long time. His
hair’s scruffy and he hasn’t shaved in a couple days.
A loud roar, and two souped up cars blast past the museum,
a late night street race. Joey smiles faintly in
recognition and stands, heads down the stairs to his truck.
EXT. CAFE DES ARTISTES - NIGHT
A corner restaurant in the middle of the city. Joey walks

up to it and looks at the sign hanging outside. He walks
in.
75.
INT. CAFE DES ARTISTES
A nice boho kind of joint. College kids and young urban

professionals enjoy vegetarian meals in a delicate, pretty
decor. A maitre’d approaches him.
MAITRE’D
How many in your party, sir?
JOEY
What happened to Murph’s?
MAITRE’D
Sir?
JOEY
This place used to be Murphy’s Tavern.
Christ, I mean, forever. Since the
forties, at least.
MAITRE’D
Oh, Murphy’s. They were shut down at
least six years ago.
JOEY
For what?
MAITRE’D
They were serving minors.
Joey shakes his head.
JOEY
Yeah, that figures.
MAITRE’D
Will you be having dinner, sir?
JOEY
No. I don’t think so. Thanks.
He stops, then turns back.
JOEY (cont’d)
Track and Turf still around?
MAITRE’D
That place on 45th? Yeah. I think so.
Joey nods and walks out.

76.
INT. TRACK AND TURF - LATER
A real dive bar. A broken neon sign in the window reads

“Track & Turf” backwards. A battered old bar in the middle.
A few booths, a couple tables with mismatched old chairs.
A decent sized, albeit ratty crowd fills the place. Joey

walks in and looks around. He looks in the corner and sees
a decrepit old slide bowling machine and smiles. He walks
to the bar and sits. The bartender walks over to him.
JOEY
Genny Cream.
The bartender puts a bottle in front of Joey, who takes a

long pull and looks around the place. He spots a MAN
sitting in a booth in the back and gets up and walks over
to him.
JOEY (cont’d)
Where’s Ruben?
MAN
Ruben? Shit. Ruben’s been dead for ten
years, man.
Joey nods and turns to walk away.
MAN (cont’d)
The man is gone, but his tradition
lives on.
JOEY
Yeah?
The man nods. Joey sits down across from him.
JOEY (cont’d)
I’m looking to buy.
MAN
You bought from Ruben?
JOEY
Long time ago.
MAN
What you lookin’ for?
JOEY
Something in a semi-automatic. I need
two of them. And ammo. Couple more
items. I need to see what you’ve got.
(CONTINUED)
77.
CONTINUED:
The man nods.
MAN
You a cop?
JOEY
Do I look like a cop?
MAN
Shit. You look like a farmer on
vacation.
Joey smiles.
EXT. SCHUYLKILL EXPRESSWAY - NIGHT
Joey’s truck roars down the road.
INT. JOEY’S TRUCK
Joey looks at a piece of paper, then up at the signs on the

freeway. He turns off at an exit.
EXT. SUBURBAN STREETS
Joey’s truck drives down hilly, heavily treed streets.

Ancient stone walls surround some of the houses. The truck
slows down and pulls over by the side of the road.
INT. JOEY’S TRUCK
Joey sits in the driver seat, sipping coffee from a

“World’s Greatest Dad” mug. He’s fully strapped - loaded
holsters under each arm. A huge knife in a strap-on holster
sits next to him. He finishes the coffee, slips the strap
on around his leg under his pants, and puts a jacket on
over the holsters. He gets out.
EXT. SUBURBAN STREETS
Joey walks down the street, coming to a large stone wall.

Joey walks along the wall until he comes to an open gate.
He walks through the gate.
EXT. RICHIE’S MANSION
A long driveway leads up to a very old stone house,

surrounded by densely wooded land.
Joey walks up the driveway.
Two GUARDS stand by the front door, large men in suits,

keen eyes taking in everything. They step towards Joey.
(CONTINUED)
78.
CONTINUED:
JOEY
I’m here to see Richie.
GUARD #1
Joey?
Joey nods.
GUARD #1 (cont’d)
Come on in.
The Guard opens the door and Joey steps inside.
INT. RICHIE’S MANSION - ENTRYWAY
The place is ornately decorated. Lots of deep reds and

gold. Two more GUARDS sit at the foot of the enormous
stairway. Guard #3 walks up to Joey, smiling.
GUARD #3
You ain’t aged much at all, Joey.
Joey doesn’t respond. The Guard nods to him.
GUARD #3 (cont’d)
Gotta frisk you.
JOEY
I’ll save you the trouble. I’m packing.
Guard #3 shakes his head.
GUARD #3
Let’s have it.
JOEY
Sure. Give me yours, I’ll give you
mine.
GUARD #3
Jesus, you always were a prick. I can’t
let you in to see the boss with you
packin’.
JOEY
Then tell him to come see me. I’m out
at the George Washington Motor Lodge.
Checking out tomorrow.
RICHIE (O.S.)
Can you believe that place is still
standing?
(CONTINUED)
79.
CONTINUED:
Joey and the Guards look up to see RICHIE FURILLO walking

down the stairs, another Guard behind him. He’s got quite a
few years on Joey, but he’s got a real power and force to
him.
RICHIE (cont’d)
Didn’t you bang Jill Levy there?
JOEY
I never banged Jill Levy.
RICHIE
You should have.
JOEY
Hello, Richie.
GUARD #3
Richie, he’s packing.
RICHIE
(Waving him off)
Of course he is. Joey’s got a lot of
enemies back here. Not all of ‘em are
old men with one eye.
The two brothers hug.
RICHIE (cont’d)
Been a long, long time, broheem.
JOEY
Yeah.
RICHIE
Come with me.
He leads Joey into the study, followed by two of the

Guards.
INT. RICHIE’S MANSION - STUDY
A huge room. A big wooden desk sits in front of large

windows. Books line the shelves on the wall. Richie walks
over to a bar against the wall and pours himself a drink.
RICHIE
You want anything?
JOEY
No.
(CONTINUED)
80.
CONTINUED:
RICHIE
So you like that farm life? Milking
cows and shit?
JOEY
I don’t have a farm.
RICHIE
No? Torino thought you lived on some
kinda farm. Said he could smell pig.
How that old fart would know what a pig
smells like, I dunno. But that’s what
he said. You like being married?
JOEY
What?
RICHIE
Do you like being married? Does it work
for you? I can’t see it working for me.
I never felt the urge, you know? Lotta
great lookin’ women in the world, I
never met one made me want to give up
all the others. Sure, you can fuck
around, but it’s so much goddam work,
keeping it quiet. Not worth the effort.
Don’t see an upside. You see the
upside, Joey?
JOEY
Yeah, Richie. I do.
Richie sits behind the desk, gestures to Joey to sit across

from him. Joey checks out the two Guards who stand by the
door, then sits.
RICHIE
Man, it is so good to see you. It’s
been a long, long time. I’m pretty
pissed at you, broheem. You coulda
called. You coulda dropped a postcard
in the mail.
Joey doesn’t say anything.
RICHIE (cont’d)
Aw, what did you think would happen?
We’re brothers.
JOEY
(Quoting)
“Business comes first.”
(CONTINUED)
81.
CONTINUED: (2)
RICHIE
Yeah, yeah. I know, I know. What am I
gonna do? You bust up a made man’s
place, you kill some of his guys, you
take his eye. Jesus, Joey. You took his
eye. Barbed wire, wasn’t it? That’s
disgusting. You always were the crazy
one.
JOEY
Not anymore.
RICHIE
Yeah, I heard you’re livin’ the
American Dream. You really bought into
it, didn’t you? You been this other guy
almost as long as you been yourself.
Hey, when you dream, are you still
Joey?
JOEY
No. Joey’s been dead a long time.
RICHIE
And yet, here you sit, big as life. You
know you cost me a lot of time and
money. Before you pulled that shit with
Torino, I was a shoo-in to take over
when the boss croaked. A shoo-in. It
was made very clear to me, Joey. I had
to clean up your mess, or nothing was
ever gonna happen for me. You got no
idea how much shit I had to pull to get
back in with those guys. You cost me a
hell of a lot, Joey. A hell of a lot.
JOEY
You’re doing alright here.
RICHIE
Yeah, I am. But it took ten years
longer than it shoulda. I’m always
gonna be ten years behind, you know?
Eh. What’re ya gonna do? It’s good to
see you again, Joey. You look healthy.
You look happy.
Joey opens his mouth to say something, then pauses. He

spots a flash of light in the window behind Richie. He
whips his hand up just in time to catch the piano wire
Guard #3 is dropping over his head.
(CONTINUED)
82.
CONTINUED: (3)
Richie watches intently as the Guard struggles to garotte

Joey. The Guard yanks back hard, and blood spurts as the
wire cuts into Joey’s hand.
With his free hand, Joey reaches for one of his guns. Guard
#4 runs over and grabs his hand and his injured shoulder.
Joey cries out in pain, braces his feet against Richie’s

desk and pushes back hard.
He slams into Guard #3, who loses his grip on the piano
wire. Joey swings his bloody fist up into Guard #4’s face.
Guard #4 staggers back, and Joey scrambles to his feet.
The study door bursts open and the first two Guards rush
in, guns drawn.
Joey whips out one of his guns and fires wild, nailing
Guard #1 in the chest. Guard #2 dives to the ground. Joey
turns and, without pausing, without thinking, dives out the
enormous window in an explosion of glass and wood.
EXT. RICHIE’S MANSION
Joey hits the ground with a thud and a grunt of pain. He

scrambles for the dense trees. Shots ring out from the
house.
INT. RICHIE’S MANSION - STUDY
Richie is furious, screaming at Guard #3. Guard #1 lies on

the floor in a pool of blood, twitching. Guard # 2 kneels
over him.
RICHIE
How do you fuck that up? How do you
fuck that up?
GUARD #3
I’m sorry, Richie, he...
RICHIE
Get him.
He storms over to the door and walks out into the entryway.
INT. RICHIE’S MANSION - ENTRYWAY
Guard #5 meets Richie at the door to the study.
(CONTINUED)
83.
CONTINUED:
RICHIE
He’s out there. He ain’t going
anywhere. Get the damn dogs and let’s
finish this.
Guard #5 opens the front door and
GUARD #5
Yeah, okay, Richie, we got...
BLAM BLAM BLAM!
A hail of bullets cut him down from outside.
Richie dives back behind the stairs.
Guards #2 & 3 run out of the study, guns in hands. Joey

dives through the front door guns blazing. A bullet slams
into Guard #3’s forehead, and #2 dives behind a chest.
Joey races up the stairs. Guard #2 fires at him from behind

the chest, sending up a shower of splinters as the bullets
spang into the stairs and the railing.
Joey crouches against the wall on the landing, waiting for

Guard #2 to come out.
Guard #2 crouches back behind the chest, waiting for Joey

to make his move.
Guard #2 looks off to the side, and sees Guard #4 peering

through a cracked door, unsees by Joey. The two guards make
eye contact, and Guard #4 nods.
Guard #2 dives out from behind the chest, racing for the
study door.
Joey lurches forward, ready to shoot.
Guard #4 pops out of the door to Joey’s side.
Joey sees something moving in his periphery and, mid jump,

swings to his side, blasting, hitting Guard #4 in the
chest, sending him flying.
Joey hits the ground just as Guard #2’s bullets slam into
the wall where Joey’s head was just a split second earlier.
Joey whirls and fires - click.
He rolls, dropping his gun, and pulls out the other one
from his holster, and slides behind the body of Guard #4.
(CONTINUED)
84.
CONTINUED: (2)
Bullets slam into the dead Guard’s back as Joey hunches

down behind him, propping him up with one hand, pressed
against the railing of the landing.
Joey grits his teeth and pushes hard, and with several loud
cracks, the body of Guard #4 breaks through the slats and
falls to the ground.
Guard #2 steps back reflexively, and Joey sticks his gun

over the side of the landing, firing wildly - bullets slam
into the body of the last Guard.
Quiet. The dust settles. Joey lies on the floor of the

landing, gun dangling from his fingers, catching his
breath.
A clicking sound, and Joey looks up to see Richie standing

over him. Joey closes his eyes and nods.
RICHIE
Jesus, broheem. It really is like
riding a bike, isn’t it?
He gestures to stand, and Joey stands up, dropping his gun.

Richie looks around at the carnage, awe struck.
RICHIE (cont’d)
You just keep fucking up my guys.It’s
my fault, isn’t it? If I’d brought you
up with me, we coulda avoided all of
this.
Joey doesn’t respond, just stares evenly at his brother.
RICHIE (cont’d)
You ever notice how your mistakes
always come back to fuck with you?
Joey sticks his forehead up against the barrel of Richie’s

gun.
JOEY
Shut up, Richie. Just shut up and do
what you’re gonna do.
RICHIE
I want you to beg for me.
JOEY
Not gonna happen. Just end it.
RICHIE
Alright. Then beg for your family.
(CONTINUED)
85.
CONTINUED: (3)
JOEY
My family...?
RICHIE
I seen your wife on TV. She’s got a
real bloom to her. I think I’ll fuck
her before I kill her. How about that?
You willing to beg for that?
Without warning, Joey whips his head to the left, causing

Richie’s gun to slide forward, past his head. Richie
staggers forward, and Joey slams his elbow into his chest
and sticks his foot back behind his ankle, knocking him to
the ground with a thud.
Richie drops his gun, and Joey goes down with him, smoothly
pulling the knife from his ankle holster.
Joey sits on top of Richie, knife raised, ready to plunge

it into his chest. Richie is terrified, holding his hands
up.
RICHIE (cont’d)
Joey! Come on, man! I’m your brother!
We’re family!
JOEY
We’re not family.
He slams the knife down.
EXT. SCHUYLKILL RIVER - DAWN
Joey stands at the edge of the river, battered and blood

soaked. He walks down to the edge of the water and hurls
his revolvers as far as they’ll go. He takes the bloody
knife out of its holster and throws it after them. He tears
off the knife holster and the underarm holsters and throws
them into the river as well.
He rips his bloody shirt off and throws it in after the

weapons, then falls to the ground and sits, staring out as
the sun rises over the city.
He sits a long, long time.
EXT. STALL HOUSE - DUSK
Tom’s pickup pulls up in front of the house. Tom gets out

and looks at the house, sees the station wagon parked in
front.
The field has been cleaned up, all remnants of the propane
tank are gone.
(CONTINUED)
86.
CONTINUED:
Tom walks to the front door and opens it.
INT. LIVING ROOM
Empty. Tom hears a sound in another room, and heads for the
kitchen.
INT. KITCHEN
Edie sits at the head of the table, dishing out dinner to

Jack and Sarah. Jack and Sarah look up when he walks in,
then go back to their meals. Edie doesn’t look up. Tom
stands in the doorway a long beat, then sits in his chair.
A long beat as the family eats. Tom looks around at his

family, who don’t return his look. He closes his eyes and
fights back the tears. Sarah looks around the table, at her
mother and brother, then her father. She’s thinking hard.
Sarah gets up and walks over to the counter and picks up a

plate and some silverware and puts them in front of her
father, her face very straight. Tom looks at her, his eyes
wet, and smiles. She shoots him an uncertain smile, then
goes back to her seat.
Jack, chewing his dinner, looks at the serving plate in the

middle of the table. He swallows, then pushes the plate
over in front of his father, not making eye contact. Tom
smiles in gratitude.
He looks across the table at Edie, who stares intently at

the food in front of her.
After a long beat, she looks up at her husband, her face

impassive. He looks back, no idea what she’s thinking, no
idea what the future holds. But he sees something in her
eyes, and for now, that’s enough.
There’s hope.
FADE TO BLACK

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A History Of Violence

Based on the graphic novel

March 11, 2004

A battered old motel by the side of the road. The roof is

The door to one of the units opens and LELAND, a reedy

BILLY - shorter, chunkier, wearing a cheap suit - walks

They walk over to a well worn old convertible. Leland takes

He tosses Billy the keys.

Leland walks towards the office as Billy climbs into the

He drives the car up to the office and slows down, leaving

A long beat, and then Leland walks out of the office.

Leland, humming along with Johnny, slides into the drivers

Billy walks to the motel office.

INT. MOTEL OFFICE

He hears a noise and freezes. He turns to see the bathroom

Billy drops the bottles and pulls a revolver out of his

A scream rips through the silence.

INT. STALL HOUSE - TOM & EDIE’S BEDROOM - NIGHT

TOM STALL, a slightly weathered husband and father of two,

INT. STALL HOUSE - SARAH’S ROOM

SARAH STALL - an adorable five year old girl - is sitting

A light snaps on as Tom, wearing pajama bottoms and a

He takes her in his arms.

His daughter stops screaming and looks around blearily,

JACK STALL, 16, hair a mess, wearing a Beastie Boys tee

Tom shoots his son a dirty look.

EDIE STALL, a strong and lovely woman, possibly a little

Tom shakes his head. Edie smiles.

EXT. STALL HOUSE

A large, sturdy farmhouse in the middle of a huge corn

Dawn’s rosy fingers creep across the cornfield. Another day

INT. STALL HOUSE - KITCHEN - MORNING

Edie, Tom and Sarah sit around a table, eating breakfast.

She nods and eats a spoonful of cereal. Edie smiles, then

Jack walks in, dressed for school.

She nods vigorously. Tom turns to Edie.

They continue their pleasant, familial chatter as we slowly

EXT. TAYLORVILLE - ROAD - DAY

INT. STALL’S STATION WAGON

He smiles warmly at her.

He smiles and looks intently at her. She looks back with

EXT. TAYLORVILLE OUTSKIRTS

EXT. TAYLORVILLE - CENTER

A small town, pleasant and clean. Shops line the streets,

A deep, thumping bass fades up behind him, and Tom turns to

EXT. STALL’S DINER - DAY

A very nice, clean diner on a well travelled street. A

INT. STALL’S DINER

PAT JOHNSON, a wiry man in his mid fifties in dusty

Tom nods - he can’t argue with that.

Tom shakes his head in amusement.

INT. TAYLORVILLE HIGH - BASEBALL FIELD - DAY

Gym class - A softball game in progress. Jack sits on a

He runs out to deep right field, putting on his glove. Judy

EXT. TAYLORVILLE HIGH - BASEBALL FIELD - LATER

His teammates cheer - “Go get ‘em, Bobby!” etc.

The PITCHER winds up and pitches. Ball. Bobby sidesteps it.

The pitcher winds up again and fires. Jack steps back,

CLOSE ON - Bobby, smirking arrogantly. He knows Jack’s

Jack catches the ball.