Seven Pounds

by
Grant Nieporte

Brad Rosenfeld
Preferred Artists
818-990-0305

12-08-05
FADE IN:

We are tight on THE FACE of PAUL THOMAS, late 30's, frozen

and contorted in paralytic terror, reminiscent of Munch's
The Scream. His wet hair fans out from his face FLOATING
RIGHT-SIDE UP IN WATER.

PAUL (V.O.)
In seven days God created the world.

His eyes BLINK for the first time, then dart from side to side.

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

In seven minutes He shattered mine.

FADE TO BLACK:

CHYRON READS: 31 DAYS EARLIER

FADE IN:

INT. HUMAN RESOURCE OFFICE -- DAY

Paul stands with a chubby OFFICE MANAGER, 29, as she

photocopies an EMPLOYEE FILE. Paul is dressed in a PLAIN
BROWN SUIT. Although lean, muscular and HANDSOME to the
point of drawing attention, Paul's constant dour expression
and demeanor are off-putting. He's also recovering from a
BLACK EYE.

OFFICE MANAGER
He's a pretty happy person, all things
considered...

She keeps stealing glances at Paul, visibly nervous in his

presence.

OFFICE MANAGER (CONT'D)

How did you get that shiner?

PAUL
(tersely)
Sparring.

She finishes the last couple of pages, then collects the

FILE from the copier and hands it to Paul.

OFFICE MANAGER
Is Ezra in some kind of trouble?
The girls and I sort of like to look
out for him... You know, if he needs
something extra.
(proud)
I get him lunch on Tuesdays.
 2.

PAUL
(no eye contact)
Routine. No trouble at all.

OFFICE MANAGER
He's working now in the call center,
fifth floor. Would you like me to
take you up? I have the time.

PAUL
No. Thank you.

OFFICE MANAGER
You don't want to talk to him? I
don't understand...

PAUL
I'll need the phone number for the
call center though.

She nods her head in compliance but she's totally confused.

INT. CHEAP MOTEL -- LATER

Paul sits on the bed. The EMPLOYEE FILE beside him.

PAUL
(into phone)
They had zero marble.

INTERCUT:

INT. CALL CENTER -- CONTINUOUS

EZRA TURNER, 40's wears a hands-free headset and a CAP ON

HIS HEAD. A DOZEN CO-WORKERS are busy on headsets in cubicles
around the room.

EZRA
(into headset)
I understand, sir--

PAUL
Not at all the melt in my mouth,
symphony of succulent flavors,
honeymoon for my tastebuds that I
had been promised upon placing my
order.

Ezra laughs a tiny laugh at Paul. It's not shared.

EZRA
I can have four new filets
overnighted to you by tomorrow.
(MORE)
 3.

EZRA (CONT'D)
I'll just need your name and to verify
your shipping address--

PAUL
I saved the meat, you know. After
my failed dinner party.

EZRA
Saved it how?

PAUL
In my freezer.

EZRA
How does that help us?

PAUL
It's evidence. I'm happy to ship
you the meat for your perusal.

EZRA
That won't be necessary. If you'll
provide me the name with which you
ordered the filets, I can get the
new ones sent out straight away.

PAUL
Thomas.

Ezra types.

EZRA
First name?

PAUL
If you'll recall I said that I didn't
want the four new fillets.

EZRA
(slightly annoyed)
Right. We have pork chops. We also
have a rack of lamb and several other
beef selections other than filets.

PAUL
But filets are the best cut. Given
my poor experience already why would
I pursue a less choice beef?

EZRA
I was just offering you alternatives.

PAUL
How many pork related complaints do
you receive on average?
 4.

EZRA
Almost never. They come highly
recommended. And taste excellent.

PAUL
So you've tasted the pork?

EZRA
No. I'm actually a vegetarian. But
everyone speaks very highly of the
pork. Can I get your first name Mr.
Thomas?

PAUL
Paul.

Ezra types in P-A-U-L. We see for the first time that his
keypad has BRAIL on it. Ezra is BLIND.

PAUL (CONT'D)
What are you typing?

A few more clicks. An AUDIBLE NEGATIVE BEEP is heard.

EZRA
I don't have an order for a Paul
Thomas.

PAUL
What was that noise?

EZRA
What noise?

PAUL
The beep. It was very distinct.

EZRA
Just my computer.

Ezra's frustration is surfacing now as he exhales.

EZRA (CONT'D)
Is there another name with which you
might have ordered the filets?

PAUL
You're lying. It's a special
computer.

EZRA
No... I would just like to provide
you with excellent service this
evening and you're making that
increasingly difficult--
 5.

PAUL
You're blind.

EZRA
(flustered)
What would make you say a thing--

PAUL
A blind beef salesman who doesn't
eat meat.
(laughing)
That's rich.

Ezra is unable to speak.

PAUL (CONT'D)
Could I talk to Ruth Chris? I want
to lodge a complaint.

EZRA
(swallowing emotion)
This isn't Ruth Chris... It's Omaha
Steaks. Ruth Chris does not sell
meat products by phone.

PAUL
I guess that explains why I'm not in
your computer.

EZRA
Is this some kind of cruel joke?
Did Lawrence in accounting put you
up to this--

PAUL
If it was a cruel joke, is there
anything you'd like to say to me?

EZRA
No... I'm working... I feel sorry--

PAUL
Fuck work, Ezra! Say what you mean
you blind vegan.

Ezra's eyes well up with tears. A moment passes while he

tries to compose himself. Paul rubs his head. HE APPEARS
TORTURED BY HAVING TO DO THIS, but his voice doesn't portray
a thing.

PAUL (CONT'D)
Ezra... That's a Jew name isn't it?

No response.
 6.

PAUL (CONT'D)
At least defend your honor. You are
a disgrace to Jew-boy vegetarian
blind beef salesmen everywhere, do
you know that?

Paul waits for a response. Ezra steels himself then...

EZRA
...I want to thank you for calling
Omaha Steaks.
(voice cracking)
Please take a moment to visit our
new website.

SFX: DIAL TONE

Paul looks at the phone having been hung up on. REGRET

WASHING OVER HIM.

INT. LARGE AQUARIUM -- NIGHT

C.U. of a JELLYFISH MOVING GRACEFULLY THROUGH A HUNDRED

GALLONS OF SALT WATER. Lit delicately from above, it is the
only living thing in the tank and it doesn't seem to mind.

PAUL'S FAMILY ROOM

PULL BACK to reveal Paul's SILHOUETTE sitting in a vintage

Danish rocking chair watching the jellyfish in the dark.
He's talking on his CELL PHONE and eating a BALANCE BAR.

PAUL
(into phone)
I was down in Fresno for work.
(listens)
I made a blind man cry actually...
(listens)
Wish I was. Listen, they asked me to
be in Chicago bright and early on the
nineteenth.

INTERCUT:

INT. INNER CITY GYMNASIUM -- CONTINUOUS

GEORGE MAMONE, Italian, 50's, talks on his cell phone while

a group of TEENAGE BOYS of various ethnicities run a game of
five-on-five basketball. George has a WHISTLE and keeps an
eye on the kids.

GEORGE
(into phone)
Are you sure you want to do this? I
know I keep asking you--
 7.

PAUL
I'm sure George. But I need you to
keep this between us. I hate my job,
but I don't want to lose it. You
understand?

A SCUFFLE on the court. TWO BOYS FIGHTING OVER a loose ball.

GEORGE
(blows his whistle)
Knock it off Letam!

The SCUFFLE ends immediately, the larger boy LETAM gets in

one last shove.

GEORGE (CONT'D)
Somebody want to remind Letam where
we are?

SEVERAL BOYS
In the sanctuary, coach!

The boys look disappointedly at Letam.

GEORGE
Play like it then!
(into phone)
Sorry about that, Paul.

PAUL
No problem.

GEORGE
I know what you're doing for me here,
so rest assured, okay?

PAUL
See you on the nineteenth.

Paul hangs up the phone.

INT. PAUL'S BEDROOM -- LATER THAT NIGHT

Paul LAYS ON THE FLOOR with a thin blanket across him. He

stares up at the ceiling unable to sleep. The room is empty
except a stripped boxspring and mattress, an ALARM CLOCK and
an old wooden dresser.

EXT. PRIVATE TENNIS COURT -- DAY

Paul sits outside the court on a BENCH in his brown suit

watching a pretty boy, MITCH, late 30's toweling off his
sweaty face beside a polished blonde NICOLE, 41, who's packing
up her racket and putting balls in a tube.
 8.

MITCH
You really hit the shit out of your
serve today.

NICOLE
You seem to be hitting them back
just fine.

Mitch and Nicole start to cross off the court. Mitch SWATS
NICOLE ON THE ASS with his towel flirtatiously.

NICOLE (CONT'D)
(mock anger)
Hey!

MITCH
I'm serious!

NICOLE
You missed your chance to play grab
ass years ago, Mitch.

MITCH
(laying it on thick)
Maybe if I would have seen you handle
a racket when we were pitching
accounts...

Nicole plays coy as Mitch DISCOVERS PAUL STARING AT THEM.

PAUL
Do you guys have the time?

Nicole looks at her BAUME MERCIER WATCH.

NICOLE
Sure. One-thirty.

PAUL
Thanks.

As they pass, Mitch glances over his shoulder at Paul slightly

put off. Paul meets his stare and holds it, deliberately.

INT. SENIOR CENTER PARKING LOT -- DAY

Paul carrying a satchel and wearing his brown suit looks at

the DEALER PLATE on a brand new BMW 5 SERIES. In front of
the car is a parking sign that states "Reserved Parking
Hospital Administrator Only."
 9.

INT. PATIENT ROOM -- MOMENTS LATER

STEWART WORTHY, 45, the hospital administrator wearing a tie

and an affable face, stands beside an elderly patient in her
80's, INEZ. A WHEELCHAIR sits on the other side of her bed.

STEWART
I hear you're refusing to take your
meds again this afternoon, Inez?

Inez reaches for a pen and pad of paper on her night table
as Paul is escorted to the room by a NURSE.

STEWART (CONT'D)
Not like that. Let's try using your
words Inez. The silent treatment isn't
doing anybody any good, now is it?

Inez bristles then turns toward the window ignoring him.

NURSE
Mr. Worthy you have a visitor, sir.

Stewart turns at the interruption a little annoyed but flashes

a smile upon seeing Paul.

STEWART
Mr. Thomas, I thought I was coming
to your office, today. Four o'clock,
if memory serves me.

PAUL
I was in the area. Thought maybe we
could talk here, if that's okay?

Stewart shakes Paul's hand and ushers him out at the same time.

STEWART
Sure, we can talk in my office.
Give Inez here a chance to get with
the program.

Inez watches them leave. Paul looks back at Inez, troubled

by the pain in her eyes.

INT. ADMINISTRATOR'S OFFICE -- MOMENTS LATER

Paul sits across from Stewart.

STEWART
I take a no nonsense approach. Cut
the operating costs for this place
by over seventeen percent last year
alone.
 10.

PAUL
I take it they're happy?

STEWART
Bet your ass! Now if I could just
get my personal finances in that
good of shape. I wouldn't have you
sitting here.

PAUL
I see you got yourself a new five
series.

Stewart laughs a little nervously.

STEWART
...Oh, yeah. You saw that? I get a
car allowance from the board here--

PAUL
Does it cover the whole payment?

STEWART
(stammering)
Not exactly... Close though. I have
to pitch in a couple hundred.

PAUL
The government would have preferred
that you put an extra couple of
hundred toward your tax bill--

STEWART
Look, Paul...

Paul looks irked at the casual reference.

STEWART (CONT'D)
When I found out my bone marrow
transplant wasn't a success. I
figured I owed myself a little
encouragement--

PAUL
I'm well aware of your ongoing medical
condition. We spoke at great length
about it during my last visit.

STEWART
That's right...
(straight shooter)
I have a bonus coming in January for
getting this place profitable again.
I'm going to use it to pay my tab in
full. I just need that six month
extension we discussed--
 11.

Paul assesses Stewart. Stewart smiles a winner.

STEWART (CONT'D)
I'm doing the best I can here...

PAUL
Tell you what. I'm going to let
myself out and I'll get back to you
later this week.

STEWART
Thanks, Paul. That way everybody
wins. Am I right?

Paul barely nods his head.

INT. INEZ'S ROOM -- LATER

Paul knocks on the door and enters halfway. Inez doesn't

look away from the window.

PAUL
I'm very sorry to disturb you Mrs.
Nichols. I just wondered if I could
have a moment of your time...

Paul waits patiently, after a beat Inez turns in his direction

inviting him to speak.

PAUL (CONT'D)
Thank you.

Paul crosses over and pulls up a chair next to Inez. When

he gets close he WRINKLES HIS NOSE SMELLING SOMETHING. This
is not lost on Inez who looks away embarrassed.

PAUL (CONT'D)
I'm trying to figure out what kind
of person Stewart Worthy is. It's
in my power to change his
circumstances...

After a long beat Inez reaches over and grabs her paper and
pen and WRITES PAUL A NOTE. Paul waits patiently for Inez
to finish.

PAUL (CONT'D)
(reading the note)
The drug they give me makes me dizzy.
I want a new one.
(to Inez)
That seems reasonable.

Inez writes a new note.

 12.

PAUL (CONT'D)
(reading the note)
He's punishing me for refusing to talk.
(to Inez)
Punishing you how?

Inez turns toward the window. Embarrassed again.

PAUL (CONT'D)
Maybe I can help.

Inez looks at Paul long and hard assessing whether she can
trust him. She takes back her pen and pad and writes
feverishly. Anger filling her face.

INT. HALLWAY -- MOMENTS LATER

Paul comes out of Inez's room carrying Inez in his arms.

She's WRAPPED IN A STAINED AND SOILED SHEET.

A NURSE looks up from down the hall.

NURSE
Excuse me sir, what do you think--

PAUL
Where is the bathroom?!

The nurse confronts Paul blocking his way in the hallway.

NURSE
You cannot carry her--

PAUL
How dare you!

The nurse looks at Paul's menacing face and then down at the
soiled sheet Inez's wrapped in. The nurse's composure turns
into more of a DEER IN HEADLIGHTS look.

INT. PRIVATE BATHROOM -- LATER

The same nurse gives Inez a SPONGE BATH. Paul has his back
to Inez standing near the doorway, trying to respect her
privacy.

Stewart bursts through the door with a full head of steam.

STEWART
Mr. Thomas, what in God's name do you
think you're doing with my patient!?

PAUL
(ignoring him)
Excuse me, Inez.
 13.

Inez looks over her shoulder at Paul, then speaks for the
first time.

INEZ
Thank you...

Paul regards her. Stewart gives Inez the evil eye.

STEWART
Kindly step outside!

INT. HALLWAY -- CONTINUOUS

Paul crosses out into the hallway. Stewart follows him out
and SHUTS THE BATHROOM DOOR behind him.

STEWART
You have no right, Paul--

Paul grabs Stewart and FORCEFULLY THROWS HIM up against the

door. He is two inches from his face as Stewart adopts a
look of sheer panic.

PAUL
You're not getting an extension
asshole! Or anything else for that
matter!

PEOPLE gather in the hallway to witness the ruckus.

PAUL (CONT'D)
I'm going to be dropping by from now
on, and if I don't find Inez tickled
pink and smelling like a rose, I
swear to God I'll seize your new
car, your house and your balls!

Paul THRUSTS Stewart back into the door again. Stewart lets
out a small whimper.

PAUL (CONT'D)
Why don't you try using your words.

STEWART
...I got it. I do.

Paul walks away. Stewart notices everyone staring at him.

EXT. BEACH HOUSE -- ESTABLISHING -- NIGHT

An unassuming one story mid-century home North of San

Francisco. It backs up to a private beach. There are large
GLASS WINDOWS across the back of the house, but the DRAPES
ARE SHUT blocking out the entire view. The LIGHTS ARE ON
inside as we PUSH THROUGH THE DRAPES to find...
 14.

PAUL

Sitting in his rocking chair. The large aquarium and

jellyfish looming in front of him. WE SEE the house is
sparsely furnished in Danish and American wood furniture
covered in YEARS OF DUST. He sorts through HIS MAIL. He
drops each piece on the floor unopened until he finds the
ONE of interest.

He opens a white envelope addressed to "PAUL THOMAS" return

address "CEDARS SINAI MEDICAL CENTER" to find a TYPE WRITTEN
LIST OF FIFTEEN NAMES accompanied by SOCIAL SECURITY NUMBERS.
The memo is marked "CONFIDENTIAL." A handwritten note on a
POST IT reads, "Paul, all candidates that meet your criteria
in Region 5. Remember, you don't know me. And there will
not be a next time."

EXT. I.R.S. BUILDING -- ESTABLISHING -- LATER THAT NIGHT

An austere cement and glass building with an understated

ETCHED SEAL denoting the "Internal Revenue Service."

INT. OFFICE CUBICLE -- CONTINUOUS

A nondescript cubicle. No personal effects. Just office

supplies and a computer. Paul accesses a mainframe.

INSERT COMPUTER SCREEN

Login: "Paul Thomas"

Password:

CLOSE ON Paul's fingers as they type the password:

"CRACKERJACK"

INT. OFFICE CUBICLE -- LATER

Paul sits with the LIST OF FIFTEEN NAMES and corresponding

SOCIAL SECURITY NUMBERS that came in the mail. Paul CLICKS
HIS MOUSE then leans over and crosses out the EIGHTH NAME on
the list. He types the next name "EMILY POSA" into the
computer. He types in her social security number next, "551-
81-2600."

Paul seems to have found a person of interest.

PAUL
(scrolling)
Well, Emily...

INSERT SCREEN: Paul scrolls through PIECES OF CREDIT,

DELINQUENT ACCOUNTS, KNOWN ADDRESSES, etc. all related to
 15.

"EMILY POSA." There is an IRS collection history and paper

trail showing she owes back taxes...

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

You are drowning in debt aren't you.

Paul hits PRINT.

IN THE HALLWAY

A custodian name tagged, "MANNY," 40, comes by emptying

garbage cans into a PAPER SHREDDER. He arrives at Paul's
cubicle.

MANNY
Burnin' the midnight oil, huh?

PAUL
(glances at nametag)
You know we never sleep... Manny.

MANNY
Death and taxes, the only thing
guaranteed, right?

Paul laughs as Manny empties his trashcan. Paul notices

Manny's wedding ring.

PAUL
How's married life treating you?

MANNY
Good. Good. No complaints. I mean
my wife has complaints, you know...

Paul laughs with Manny as if he does, then reaches over to

collect his PRINTOUT. Manny moves on down the hall.

DISSOLVE TO:

INT. PAUL'S SHOWER -- LATER

The WATER beats down over his sunken head. WE PAN DOWN to
see that Paul has an old and very LARGE SURGICAL SCAR in the
shape of an "M" across his chest.

INT. BATHROOM -- MOMENTS LATER

Paul is brushing his teeth with a towel around his waist.

He spits into the sink. Then takes a long look at his
REFLECTION IN THE MIRROR.
 16.

PAUL
(to mirror)
Ken Anderson. Neil Brandt. John
Kettering. Miguel Nicita. Allison
Olsen. Steven Roberts. Eric Wang.

EXT. BEACH -- DAY

A MOTHER, and her two young children a BOY and a GIRL walk
along the beach. The boy runs ahead grabbing shells and
throwing them back into the ocean.

The boy stops along the beach seeing something in the sand
that makes his FACE CONTORT out of confusion. The girl
approaches and SCREAMS. The Mother rushes forward seeing
what her kids see...

INSERT: A SEVERED AND BLOATED HUMAN HAND lying in the sand.

SMASH CUT TO:

INT. PAUL'S BEDROOM -- CONTINUOUS

Paul BOLTS UPRIGHT OFF THE FLOOR where he was sleeping beside
the bed. He is bathed in sweat from his NIGHTMARE.

INT. KITCHEN -- MORNING

Paul leans against the island wearing the SAME BROWN SUIT
eating a BALANCE BAR. STACKS of Balance Bar Boxes are on
the counter. There's also a case of the beverage ENSURE.

SFX: CELL PHONE RINGS

Paul looks at his CELL PHONE on the counter surprised by the

NUMBER SHOWING UP.

PAUL
(into phone)
Hello?

BROTHER (O.S.)
(long pause)
...It's your brother.

PAUL
(long pause)
...Hey.

BROTHER (O.S.)
Where are you?

PAUL
...I'm still at the beach house.
 17.

BROTHER (O.S.)
Why did you have the land line
disconnected?

PAUL
I didn't need it anymore, Jack...

INTERCUT:

INT. KITCHEN -- CONTINUOUS

Paul's YOUNGER BROTHER, JACK, 33, bears a STRIKING RESEMBLANCE

to Paul sans the remorse and fatigue. Through the window
behind him we see his WIFE and TWO KIDS playing in the
backyard.

JACK
You changed your cell, too. We had
no way to reach you--

PAUL
...I was having trouble with my old
service.
(lying badly)
They made me get a new number.

JACK
They don't do that anymore.

PAUL
Do what?

JACK
Make you switch numbers.

Paul doesn't respond. Jack looks truly devastated at being

cast aside like this.

JACK (CONT'D)
I had to call in a favor at the FCC
just to track you down.

PAUL
I just needed some time. How are
you feeling?

JACK
Did I do something...

PAUL
No. Not unless you're smoking again--

JACK
Of course not. I'm in the best shape
of my life. I put on twenty pounds.
(MORE)
 18.

JACK (CONT'D)
Which is what I wanted to tell you...
(emotional)
Did you get my letters?

PAUL
I read all of them. You were very kind.

Jack looks relieved. A weight lifted.

JACK
We haven't heard from you in months...

Paul doesn't respond.

JACK (CONT'D)
Do you know any more about the
investigation? I mean have they--

PAUL
I know what happened.

JACK
You did your job. You can't keep--

PAUL
(cutting him off firmly)
Don't-- Jack.

Jack drops it immediately.

PAUL (CONT'D)
I gotta run... Give Melanie and the
kids a hug for me.

JACK
Sure, okay.

Just before Paul hangs up.

JACK (CONT'D)
Listen.
(uncomfortable)
When you were staying with us, you
didn't pick up something of mine...
by mistake?

PAUL
No...

JACK
It's just that when I went back to
work I realized--

PAUL
I remember giving you something.
That's about it.
 19.

It just hangs there in the air. Jack knows exactly what

Paul's referring to.

JACK
I just had to ask...

PAUL
(hanging up)
We'll talk soon.

INT. AIRPLANE -- LATER THAT DAY

Paul in his brown suit sits next to the bathroom in the aisle
seat. A BALDING MAN sits in the WINDOW SEAT. No one in the
middle. An incredibly SEXY STEWARDESS comes by giving out
peanuts, first to the bald man then to Paul who refuses.

PAUL
No, thank you.

Paul looks down avoiding further eye contact. The Stewardess

lingers.

STEWARDESS
(sotto)
I shouldn't really do this, but...
I've got a seat up in first class.

Paul looks over at the balding man who acts like he didn't
hear anything.

PAUL
Thank you. But I'm fine.

She's surprised but not done.

STEWARDESS
Are you traveling to Los Angeles for
business or pleasure?

Paul looks up to assess the intent of the question.

PAUL
Neither, really.

Paul looks down. Not wanting to entertain anything. The

Stewardess bites her lip almost flirtatiously. Not used to
being ignored.

STEWARDESS
I happen to like shy guys.

The balding man continues to act like he doesn't know what's

going on.
 20.

PAUL
(looking up)
I'm sorry?

She leans in conspiratorially. Paul is uncomfortable. The

closeness uninvited.

STEWARDESS
Especially when they look like you
do...

PAUL
I'm ugly on the inside.

The Stewardess taken slightly aback, looks for him to make a

joke or crack a smile.

PAUL (CONT'D)
A horrible person really.

He's not kidding and she knows it. She smiles the most
awkward smile possible and leaves.

BALDING MAN
Miss?
(she looks back)
I'd be willing to move--

She pretends not to hear him and continues down the aisle.

EXT. HERTZ PARKING AREA -- LATER

Paul walks along a line of BRIGHTLY COLORED FORD 500's with

a HERTZ REP.

PAUL
I'll take the black one.

EXT. SOUTH PASADENA HOUSE -- LATER

Modest two bedroom Craftsman bungalow. A JET BLACK male

GREAT DANE paces behind a sideyard gate intermittently
barking. Paul is waiting outside the FRONT DOOR. There are
not one but three "BEWARE OF DOG" signs. Paul, holding a
leather satchel, RINGS THE DOORBELL and waits.

ANGLE ON:

A NEIGHBOR LADY is trimming back ROSES in her perfect yard

which is in direct contrast to the neglected yard Paul is
standing in. She makes eye contact with Paul who is headed
towards his black Ford 500 RENTAL CAR.

NEIGHBOR LADY
She's not home.
 21.

PAUL
I gathered that.

She smirks.

PAUL (CONT'D)
I'm, sorry-- Do you know where she is?
(helping his case)
Emily. It's important.

NEIGHBOR LADY
She's at Cedars having some tests done.

EXT. CEDARS SINAI MEDICAL CENTER -- DAY (ESTABLISHING)

INT. ELEVATOR LOBBY -- CONTINUOUS

Paul gets in the elevator and pushes "5" as THREE DOCTORS

get on the elevator and push "3." Just as the door is going
to shut completely...

WOMAN (O.S.)
Hold the elevator please--

Paul sticks his hand out causing the door to RE-OPEN. The
doctors all look at Paul annoyed. Paul slinks back into the
corner before a BEAUTIFUL WOMAN, 30's, pale, almost ethereal,
who we'll come to know as EMILY POSA, enters the elevator
behind her NURSE.

NURSE
Thanks.

EMILY
Thank you.

Seeing how attractive Emily is, Doctor #1 takes the credit

immediately.

DOCTOR #1
You're welcome, ladies. Least we
could do.

The other two doctors look smugly at Paul as if he just got

outplayed.

DOCTOR #1 (CONT'D)
Beautiful day today.

Doctor #1 just smiles at Emily and avoids Paul's glare. The

other two doctors go about UNDRESSING Emily with their eyes.

EMILY
...Yeah.
 22.

DOCTOR #1
(taking her in, loaded)
Beautiful... just beautiful.

Emily looks down at her shoes a little uncomfortable. The

two doctors all seem to pat doctor #1 on the back with their
smirks.

The door opens and all three doctors get off. PAUL
SURREPTITIOUSLY TRIPS DOCTOR #1 sending him into a FACE PLANT
just outside the elevator.

The two other doctors lean down to help their fallen comrade
as the ELEVATOR DOOR CLOSES.

DOCTOR #1 (CONT'D)
Son of a--

INSIDE ELEVATOR

Emily looks over at Paul for the first time. He doesn't

look at her.

EMILY
Did you just--

PAUL
Yes.

Emily and the Nurse look disgustedly at Paul as the elevator

arrives on level "5." Paul waits for them to get off. The
Nurse gets off but Emily hesitates.

EMILY
Are you going to trip me, too?

PAUL
(not humorous)
Do you deserve to be tripped?

Emily gets off the elevator completely put off. Paul exits
behind them and heads toward the NURSES STATION.

Emily pauses by her door and looks back down the hall at
Paul. A NURSE seems to POINT IN HER DIRECTION. Paul looks
over his shoulder seeing Emily looking his way. He coolly
looks past Emily as if the NURSE is referring to someone or
something else. Emily goes in her room.

INT. HOSPITAL ROOM -- LATER THAT NIGHT

Emily is in bed hooked up to an IV tube. The Nurse pulls

her drapes shut.
 23.

NURSE ANN
Any more shortness of breath?
Dizziness?

EMILY
No. I'm better now. I feel so
foolish for having to stay the night.

NURSE ANN
You listened to your body. Wore
yourself out a little is all.

Emily smiles.

EMILY
I had to leave my dog outside. He's
going to hate me.

NURSE ANN
I think he can survive one night.
You don't have coyotes, do you?

EMILY
He's a Great Dane.

INT. EMILY'S ROOM -- LATER

It's dark. Emily is sleeping hooked up to an EKG monitor

and her IV tube. PULL BACK TO REVEAL Paul standing just
inside the door.

Emily stirs. Paul hesitates. Not sure whether to get out

of there. Can't seem to tear himself away from watching her
sleep.

Emily opens her eyes and turns over to get comfortable. A

second later she TURNS BACK OVER ALARMED to find the...

DOOR SWINGING SHUT

Emily looks at the clock 3:16 A.M. She springs up.

INT. HALLWAY -- CONTINUOUS

Emily pokes her head out into the hall. It's EMPTY. She
starts down the hall and her arm gets yanked back by the IV
tube. She winces, then reaches back into the room and brings
her IV BAG ON WHEELS into the hallway. She can't go far.

EXT. EMERGENCY ROOM -- MOMENTS LATER

Paul exits through the double doors as a BLACK PARAMEDIC and

his CAUCASIAN PARTNER wheel a WOMAN with an OXYGEN MASK inside.
 24.

BLACK PARAMEDIC
(mid argument)
You ride with me, you administer
until I tell you to stop.

PARTNER
I got it.

Paul brushes past the black paramedic.

BLACK PARAMEDIC
We're in the business of saving lives.
Case you forgot.

Paul disappears into the darkness of the parking lot.

INT. MOTEL 6 OFFICE -- LATER THAT NIGHT

Run down, WALL TO WALL MONOCHROMATIC BEIGE except for a

solitary GREEN FERN. Paul enters quietly and walks up to
the counter to find the KOREAN MANAGER, name tagged "LARRY,"
watching a PORNO on a small TV behind the counter.

SFX: PORNO SOUNDS

PAUL
I'd like a room.

LARRY
(startled)
Shit... jeez...

Larry grabs for the REMOTE and after missing badly finally
finds the OFF BUTTON.

Paul notices he's pitching a tent in his pants.

LARRY (CONT'D)
Like four A.M. You sure coming late.

PAUL
(dryly)
Hope I'm the only one, Larry.
(off his confusion)
One night. Two, tops.

LARRY
Sure, sure...

INT. HOSPITAL CAFETERIA -- DAY

Paul takes a bottle of ENSURE out of his satchel and empties

it into a glass. He gets up and tosses the container in the
trash and sits back down. He is wearing his brown suit but
with a different tie.
 25.

HE LOOKS UP TO FIND EMILY WATCHING HIM FROM ACROSS THE ROOM.

They regard each other. He is the first to look away. Emily
crosses over with her tray in a HOSPITAL GOWN and slippers.

EMILY
What do you think you're doing?

PAUL
I think they call it sitting.

Paul takes another sip.

PAUL (CONT'D)
Am I doing it wrong?

EMILY
You're watching me.

PAUL
I was actually in the cafeteria before
you entered.

EMILY
It was you. In my room the other
night.

Paul considers lying.

PAUL
That was an accident.

EMILY
You were in my room, staring at me
while I slept, by accident?

PAUL
No. It was an accident that you
woke up. I meant to be gone long
before--

EMILY
How long were you watching me? You do
realize I'm about to scream, don't you?

Paul tries to alleviate the tension with a SMALL SMILE.

PAUL
I was hoping we could just talk.

EMILY
Who are you?!

PAUL
Paul.

EMILY
Paul what?
 26.

PAUL
The rest isn't all that fun.

EMILY
I see.
(trying to take control)
I'm sure you'd love me to be the
adventurous type. Tell you how since
I've been sick it's nice to have the
comforting eye of a complete stranger
watch me sleep at night. How it
makes me feel all warm and tingly.
But the truth is, I'm not interested
in playing any stalker games today.
So I'm just going to call my friend
Frank over there, and find out
everything I want to know--
(yelling across)
HEY FRANK!

PEOPLE turn around to see that Emily is yelling at FRANK, 25,

a built like a brick shithouse SECURITY GUARD, who snaps to
attention.

EMILY (CONT'D)
After I get you arrested--

Paul looks over his shoulder at Frank approaching.

EMILY (CONT'D)
Frank heard all about the other night.

Emily glares at Paul like she's holding all the cards. She's
actually VERY SCARED but putting on a brave face.

PAUL
This is going to be embarrassing.

Frank arrives, he's all bravado.

FRANK
Hey, Emily. What's up?

EMILY
This is the guy. The stalker.

Frank looks at Paul confused, then...

FRANK
No shit!

Frank puts one hand on Paul's shoulder and another hand on

his HOLSTERED GUN.

Paul looks up at him unfazed.

 27.

FRANK (CONT'D)
Let's see some ID, Jerkoff.

PAUL
Is that thing loaded?

FRANK
Bet your ass.

PAUL
That scares me. I don't want to
reach for my ID and have you shoot
me in a steroid induced haze of
confusion.

Frank smirks. Digs his hand into Paul's shoulder.

PAUL (CONT'D)
You have nice hands, Frank.

Frank lifts Paul right out of his seat by the collar. Hating
the fact that Paul is disrespecting him.

FRANK
ID! Now!

Frank looks ready to punch Paul. Paul produces his ID, which
in this case is called a COMMISSION. Frank OPENS IT. Frank
looks like he's seen a ghost.

Frank lets up on Paul's shoulder immediately.

FRANK (CONT'D)
I'm really sorry, sir.

Frank actually tries to straighten Paul's collar. Paul lets

him.

FRANK (CONT'D)
I had no idea...

EMILY
What are you sorry for-- He's stalking
me!

Emily rips the ID out of Frank's hand.

INSERT:

"PAUL THOMAS, REVENUE OFFICER, US TREASURY DEPARTMENT"

PAUL
Actually, I'm auditing you.

Emily is flabbergasted. She looks over the ID.

 28.

EMILY
US Treasury Department? The IRS?

PAUL
I told you the rest wasn't any fun.

Frank tries to make a hasty retreat.

FRANK
I'll just let you two...

PAUL
Frank?

FRANK
Yeah?

PAUL
Keep those receipts, buddy.

FRANK
(not getting it)
Okay.

PAUL
And lighten up on the juice.

FRANK
(getting this)
Yes, sir. I'm actually testing with
the L.A.P.D., maybe you could put a
word in...

Paul's smirk says it all. Frank beats it.

EXT. HOSPITAL GROUNDS -- LATER

Paul and Emily walk around a concrete courtyard. PATIENTS

and their LOVED ONES mingle at tables.

EMILY
It still doesn't explain why you
were you in my room at 3 a.m.

PAUL
I suffer from bouts of insomnia.
I'm also a workaholic.

Emily's not convinced.

PAUL (CONT'D)
I admit, it's not normal government
protocol. But I was trying to figure
out what kind of person you were.
If you slept well.
 29.

EMILY
Why?

PAUL
You owe the government money, Emily.
A lot of it.

EMILY
I know. I got the letters.

PAUL
Now you get me.

Emily doesn't know what to say.

EMILY
What's the damage these days?

PAUL
Little over fifty-six thousand
dollars.

Emily looks at her watch.

EMILY
I'm late for my blood work.
(not sure)
Can I leave? I'm not being hauled
off to IRS Jail am I?

PAUL
No. You can go.

Emily starts back toward the hospital.

EMILY
I'm getting sent home today. Do I
call you, or...?

PAUL
I'll be in touch.

INT. MOTEL 6 ROOM -- MIDDLE OF THE NIGHT

Paul lays on the bedding arranged on the floor next to the

bed. He is on his back and wide awake STARING AT THE CEILING.

PAUL
(in God's direction)
I did everything right, and you fucked
me. You ruined my life... Did I
deserve that?

Paul waits for an answer. None comes.

 30.

PAUL (CONT'D)
Another one-sided conversation.

INT. MOTEL 6 OFFICE -- THE NEXT DAY

Paul KNOCKS LOUDLY on the exterior glass door. Larry waves

him in.

PAUL
Good morning.

LARRY
Yeah, yeah. Good morning. Sleep well?

PAUL
Like a baby. Wondering if I could
borrow your yellow pages?

LARRY
No problem.

EXT. BRICK MEDICAL BUILDING -- LATER

Paul sits in his RENTAL CAR watching the door. A WOMAN

clutching a MANILA FOLDER exits with a FRIEND. She looks
like she's been through something traumatic. The friend
helps her into her passenger door.

Paul watches them back out and drive away.

DISSOLVE TO:

EXT. BRICK MEDICAL BUILDING -- LATER

Another WOMAN, 35, in sweats, hard and angry at the world

walks past Paul glaring into his car. Paul looks away.

A MAN, 35, casually yet stylishly dressed, gets out of his

shiny MERCEDES. He goes over and opens the door for his
GIRLFRIEND, 26, less made up and apprehensive. Paul watches
as he ushers her toward the entrance.

DISSOLVE TO:

EXT. BRICK MEDICAL BUILDING -- LATER

Paul is trying to get comfortable. He continues to watch

the door. An MTA BUS pulls up to the bus stop adjacent the
medical building.

An ASIAN GIRL, 22, gets off the bus and heads toward the
door. She looks nervous. She hesitates going inside. She
digs around her purse and retrieves a CIGARETTE.
 31.

She lights it. After one drag she STOMPS IT OUT, upset with
herself.

Paul approaches her.

PAUL
Excuse me.

The girl turns to look at Paul.

ASIAN GIRL
Yeah?

PAUL
You're about three months along,
right?

Paul looks down at her stomach. She self-consciously covers

her PREGNANT BELLY.

PAUL (CONT'D)
Can I buy you a cup of coffee?

ASIAN GIRL
No. I've got an appointment--

PAUL
I know. I'll pay you two-hundred
dollars to sit and have a cup of
coffee with me. Before your
appointment.

The Asian girl looks inside and then back at Paul curiously.

PAUL (CONT'D)
Right there.
(pointing)
Across the street. No strings.

INT. COFFEE HOUSE PATIO -- LATER

They sip their coffee outside on the patio. The girl looks
at Paul like she's expecting something.

Paul hands her the TWO HUNDRED BUCKS. She greedily pockets it.

PAUL
I'm Paul.

JULIE
...Julie.

PAUL
I wanted to ask you why you're getting
an abortion today.
 32.

Julie's defensive. She gets it now.

JULIE
I figured you for some kind of pro-
lifer.

PAUL
I watched eleven women enter that
building today. Not one hesitated.
Except you.

JULIE
I wasn't hesitating--

PAUL
Why didn't you finish your cigarette?

Julie looks annoyed. She starts to gather her purse.

PAUL (CONT'D)
You couldn't finish your cigarette
because of the baby.

JULIE
(getting up)
Look, Freud. I've got better--

PAUL
Just tell me why you couldn't carry
the baby to term and give it to a
good home. If you've got one good
reason, I'll leave ya alone.

JULIE
I gotta go.

PAUL
You have to finish your coffee.
Your decaf coffee. A deal's a deal.

Julie considers throwing it in his face then decides to humor

him. She sits back down.

JULIE
I don't have any money. And I have
a semester left of college.

PAUL
(gently)
What else?

JULIE
I don't have a car.

PAUL
What else?
 33.

Julie watches traffic go by for a while.

JULIE
My boyfriend told me he'd break up
with me if I kept it.

Paul takes this in. Now he's getting somewhere.

PAUL
You're boyfriend sounds like an
asshole.

Julie looks ready to cry.

JULIE
I don't know if I could go through
with it. Adoption. I looked into
it. If they give me money to pay
for expenses and the vitamins then I
have to sign a contract. I have to
give them the baby...

PAUL
Anything else?

Julie wipes her eyes and exhales. She laughs a tiny laugh.

JULIE
Isn't that enough?

Paul smiles.

PAUL
You tell me.

Julie is truly conflicted.

INT. GALPIN FORD DEALERSHIP -- LATER

Paul sits with Julie in a cubicle with a SALESMAN, late 20's,

as slick and polished as a Men's Warehouse suit allows him
to be. Paul has a ROYAL BLUE DUFFEL BAG with him.

PAUL
I'd like to buy this car.

Paul slides an ADVERTISEMENT across the desk.

INSERT AD: "2006 Ford Focus, $9995, automatic, air, 1 at

this price, this weekend only"

The Salesman looks over the ad for a second and then smiles.
 34.

SALESMAN
(tons of attitude)
You look like a sharp guy, Paul.
So, I'll just cut to the chase. The
ad car is what we call bait. It
doesn't have any options--

PAUL
It says right here the car is
automatic and it has air.

The Salesman takes a closer look at the ad.

SALESMAN
No six disc, no rims, it's purple
for God's sake. I think it's probably
sold actually--

JULIE
(hating him)
I like purple.

PAUL
We called ahead. The car is here.

SALESMAN
Fine.
(stands up)
Let's go take a test drive--

PAUL
Just go start the paperwork--

SALESMAN
I can't sell you something you haven't
driven. I'm a professional and the
owner requires that--

PAUL
Seriously. Fuck off. Dan or Todd,
whatever your name is.

The Salesman looks taken aback, Julie is surprised. Paul

produces ELEVEN STACKS of bank-wrapped-cash each marked "ONE-
THOUSAND" dollars. He pushes the money toward the Salesman.

PAUL (CONT'D)
Just go start the paperwork.

The Salesman gets up and starts to leave completely defeated.

PAUL (CONT'D)
You forgot something.

The Salesman returns, gathers the stacks of money. He's

about to speak but stops himself, then exits.
 35.

EXT. BANK OF AMERICA -- LATER

Paul exits the bank with Julie. They cross over to her new
PURPLE FOCUS. Julie gets in.

PAUL
If he leaves, he doesn't deserve you.

Julie looks down at a deposit slip in her hand.

JULIE
Why are you doing this? That's fifty
thousand dollars you just put in my
account...

Paul can see that she needs an answer. A real one.

PAUL
In my job... I hurt a lot of people.
I want to make amends.

Julie can see that he's sincere.

PAUL (CONT'D)
Do you have friends or family that
can help you when it comes down to
the wire?

JULIE
My Aunt lives nearby... She's the
only one I told really...

PAUL
I don't know how you're going to feel
in six months, Julie, when you see
your baby. You'll follow your heart.
No matter what, your baby will live
and before you know it your little boy
or girl will be playing soccer and
laughing in the park. Either with you
or someone equally amazing you entrust
him or her to.

Julie weighs all of what's been said. She starts to tear up.

JULIE
I know.

PAUL
Either way. I want you to keep the
car and the money.

Paul starts to back away.

PAUL (CONT'D)
Just don't ever say you didn't have
a choice.
 36.

Julie nods her head as Paul walks off.

EXT. SOUTH PASADENA HOUSE -- LATER

Emily's house. Her Great Dane paces as Paul approaches the

gate. Paul ignores both "BEWARE OF DOG" signs.

PAUL
Hey boy. How are you doing?

The dog barks ferociously. Paul continues to approach

undaunted. The dog works himself into a fervor that were it
not for the gate, he would literally consume the trespasser
before him.

PAUL CALMLY LAYS DOWN ALONGSIDE THE GATE four inches from
the dog's massive head.

PAUL (CONT'D)
That's a good boy.

The dog crouches down gnashing it's teeth and biting into
the fence. Paul doesn't flinch.

DISSOLVE TO:

EXT. EMILY'S HOUSE -- LATER THAT AFTERNOON

Paul is sitting up now beside the fence. The Great Dane is

pacing back and forth agitated.

Too tired to snarl but too proud to stop posturing.

Paul pulls out a grocery store MEAT PACK of raw steak strips.
Paul makes a kissing noise and dangles the meat through the
fence. The dog starts to slowly approach.

INT. EMILY'S HOUSE -- LATER

SFX: RINGING PHONE

Emily crosses into the kitchen with groceries. She puts

them down on the counter and GRABS THE PHONE.

EMILY
Hello... This is Emily.
(listening)
I'm sorry. I'm unable to accept any
orders right now.
(listening)
Yes I do wedding invitations, but
I'm dealing with a health issue right
now and... Could you try back in a
few months?
 37.

Emily's face falls.

EMILY (CONT'D)
I'm sorry you feel that way.

Emily hangs up the phone UPSET WITH HERSELF.

She crosses to the BACKDOOR and opens it.

EMILY (CONT'D)
Duke. I'm home.

EXT. EMILY'S HOUSE -- CONTINUOUS

Emily exits into the backyard.

EMILY
Duke?

She looks over to see Paul laying belly up in the grass

MOTIONLESS, his head resting next to DUKE'S MIDSECTION, seated
beside him.

EMILY (CONT'D)
Ohmygod! Duke!

Duke gets up and crosses toward an approaching Emily. Paul

opens his eyes and looks up.

PAUL
Emily, hi...

EMILY
Paul? What are you doing! I thought
you were dead! You should be dead--

PAUL
Turns out he's all bark and no bite.

Paul gets up.

EMILY
I paid good money for the bite. Did
you drug my dog?

PAUL
That would have been cheating. Right,
Duke?

Duke comes over and Paul pets him. Emily looks like she's
been left at the altar.

EMILY
How long did it take you?
 38.

PAUL
Three hours, give or take.

Duke licks Paul's face.

PAUL (CONT'D)
He could turn on me at any moment
really... I'm out of steak.

EMILY
(pissed)
You fed Duke meat?

Paul nods "yes" sheepishly.

EMILY (CONT'D)
He eats tofu dry food. And steamed
broccoli.

Paul looks incredulous.

EMILY (CONT'D)
Duke is a vegetarian!

Duke licks Paul's face again.

PAUL
Was.

Emily looks like she could scream.

EMILY
Do you people ever call ahead?

PAUL
No.
(dryly)
People tend to hide things.

Emily isn't charmed, she's unnerved and uncomfortable.

EMILY
I have to do a few things first...

PAUL
I can wait.

Emily gives him a look like she's not surprised.

EXT. SOUTH PASADENA STREET -- LATER

Emily, Paul and Duke walk along the street. Duke is walking
Emily not the other way around.
 39.

EMILY
I hate my dog.
(off his look)
I mean, this part. The walking.

Duke PULLS Emily again. Emily tries to rip the leash back
in frustration.

EMILY (CONT'D)
Duke! Dammit! Cut it out!

PAUL
I could take him for you.

Emily scoffs, then hands Paul the reigns. They walk along.
The minute Duke pulls Paul SNAPS THE LEASH BACK two times
making a distinct METAL SNAPPING SOUND between the leash and
the collar. Paul then CHOKES UP on him.

PAUL (CONT'D)
Heel!

Duke allows Paul to come alongside of him evenly. The minute

he starts forward Paul again SNAPS THE LEASH TWICE.

PAUL (CONT'D)
Heel!

Duke falls into place immediately.

PAUL (CONT'D)
Good boy.

EMILY
He won't stay that way.

They walk along. Emily watches as Duke stays in lock step

with Paul. Paul lets the leash hang loosely and Duke
continues to keep even with him perfectly. Emily shakes her
head in disbelief.

EMILY (CONT'D)
He was already trained. I just forgot
how to... do that. I mean the work
was already done, by a professional.

PAUL
Of course.

Paul hands Emily the leash. She takes it.

They walk along for a full minute in silence. Duke stays

perfectly in step with her now. Emily is shocked, she looks
over at Paul who tries not to smirk.
 40.

INT. EMILY'S KITCHEN -- THAT NIGHT

Emily removes a FROZEN DISH from the FREEZER, it's marked

"EGGPLANT PARM." Several more FROZEN DISHES in different
types of cookware fill the freezer shelves. Paul sees they
are all earmarked things like "VEGGIE CASSEROLE," "TOFU
ENCHILADAS" and "NAVY BEAN CHILI" etc. She removes the foil
and puts the eggplant dish in the oven.

PAUL
(re: frozen dinners)
You make it all ahead of time, huh?

Paul removes a file from his satchel, it's marked "EMILY POSA."

EMILY
Some of it. The rest are my friends
way of looking out for me. Each
week they drop things by...

Throughout the following Emily starts making a SALAD in a bowl.

EMILY (CONT'D)
Funny how they never want to stick
around and eat with me... "Ring the
sick girl's bell and run" kind of deal.

Emily laughs nervously, stops herself from going any further.

Paul looks uncomfortable.

PAUL
If this is a bad time, I could come
back-- Tomorrow. I'll come back
tomorrow.

Paul starts to gather his things.

EMILY
I'd really rather not wait another
day. All of this has kind of been
weighing on me. Unless you have
someone waiting?

Paul understands what's being asked.

PAUL
No. Just me.

EMILY
Okay, then. Shoot.

Paul consults his file.

PAUL
Your credit report showed a recent
Wells Fargo re-fi?
 41.

EMILY
Refinanced this place to pay my past
due medical bills.

PAUL
Anything left over?

EMILY
Couple grand. To eat with.

PAUL
Do you receive income from any source
that the government isn't currently
aware of?

EMILY
Lately I've been diving for coins in
local wishing wells...

Paul doesn't react. Emily tries to help her own joke.

EMILY (CONT'D)
Dimes mostly. The occasional quarter.

Paul barely registers her attempt at humor. He consults his

file.

PAUL
October 2003. Something happened to
you. What was it?

Emily looks as though she's seen a ghost.

EMILY
Excuse me?

Paul registers the affect the question has on her.

PAUL
You had sixty-day lates on every
piece of credit due in October of
2003. Since your credit was spotless
before that time, most likely you
experienced an acute crisis...

Emily is fighting back emotion.

PAUL (CONT'D)
Death in the family, job loss, etc.
Ringing any bells?

Emily swallows. Shakes her head no. She looks almost

relieved that's all Paul knows.

EMILY
I don't recall anything in particular.
(MORE)
 42.

EMILY (CONT'D)
I run my own letterpress business,
may have been a... busy time.

PAUL
(letting it go)
I see...

Paul goes back to his file.

PAUL (CONT'D)
Your cardiologist, Dr. Hu, informed
me you were Status 2, which means
you're sick enough to be on the UNOS
Waiting List but not sick enough to
be admitted to the hospital and put
on Status 1. Basically if you ran
into problems or your heart started
to fail quickly you'd be in trouble
if a donor can't be located.

Emily hates that this man has so much access to her life.

EMILY
You're thorough. I'm also blood
type "O" negative. The most rare to
transplant.
(challenging)
Did he tell you that, too?

PAUL
Yes. He also said you get cold hands
and feet. And that you think that's
the worst part.

Emily looks betrayed. Paul realizes.

PAUL (CONT'D)
I'm sorry. I don't know why I said
that.

Paul stands there quietly going through her file.

EMILY
Did you go through any kind of
sensitivity training when you joined
the IRS, Mr. Thomas?

PAUL
(feeling like shit)
No... not really.

Paul goes back to his file.

PAUL (CONT'D)
I think I have what I need.
 43.

EMILY
That's it?

PAUL
(closing the file)
Yeah. I'm going to freeze your
account "uncollectible" until further
notice. I'll turn in my report
tomorrow.

Emily looks relieved.

PAUL (CONT'D)
Should buy you at least six months,
penalty-free. If anyone from the
IRS tries to hassle you, just call
me at this number. Day or night.

Paul hands Emily a BUSINESS CARD with his name, title and a
cell number.

EMILY
Okay, sure.

EXT. EMILY'S FRONT DOOR -- MOMENTS LATER

Emily shows Paul out.

EMILY
Why do I get the feeling you're doing
me a very big favor?

PAUL
After you get your heart, can I count
on you to pay your taxes again?

EMILY
If I get a heart. I have every
intention of paying. I promise.

PAUL
I believe you.

Emily can see that Paul is being sincere.

PAUL (CONT'D)
Well, I've got to catch a plane home
tonight, so...
(turning to go)
Take care.

EMILY
Where's home, Paul?
 44.

PAUL
North of San Francisco, along the
coast.

EMILY
Any brothers or sisters?

PAUL
(uncomfortable)
One brother. Jack. Good egg.

Emily can see that Paul is a guarded, profoundly sad person.

EMILY
Goodbye, Paul. Thank you.

PAUL
Bye, Emily.

Paul walks off toward his car.

INT. MOTEL 6 OFFICE -- THE NEXT DAY

Larry is very focused on Paul.

LARRY
(saying it back)
You want me to keep your room as you
left it. No one in or out.

PAUL
Right. Except you. Which is where
the favor comes in.

LARRY
What favor?

PAUL
I need you to sign for a delivery.
And put it in my room when it gets
here.

LARRY
(glancing at his tv)
No problem. That it?

PAUL
Almost. Do you know where to get
live shrimp?

LARRY
Downtown, but... I'm a busy man.

Paul looks over the counter where a PORNO is FREEZE FRAMED

on the TV.
 45.

LARRY (CONT'D)
What? You don't like porno? Who
doesn't like porno?

Paul apparently.

PAUL
How's five hundred cash?

LARRY
Less busy.

MUSIC MONTAGE:

INT. AIRPLANE CABIN -- NIGHT

Paul tries to sleep. No one else seems to be having trouble.

INT. PAUL'S BEACH HOUSE -- DAY

FAMILY ROOM

Paul polishes his furniture with a dust rag. He arranges

the furniture around the room.

BATHROOM

Paul scrubs the toilet. The shower. The tile floor.

FAMILY ROOM

Paul mops the hardwood floor as the JELLYFISH floats in the

background in the aquarium.

HALLWAY

Paul on a ladder puts in a new LIGHT BULB in the ceiling.

He gets down and checks to make sure it works.

OUTSIDE

Paul oils the teak wood furniture. Sweeps the deck. Cleans
the grimy light fixtures outside.

END MONTAGE:

INT. BOXING RING -- EARLY MORNING

Paul moves in the ring with RICO, 24, Latino, FEATHERWEIGHT

BOXER. Paul is much taller, but Rico is shredded, tattooed,
and the toughest five foot-eight guy around. Paul has on
sweats, GLOVES, and no headgear.

Rico JABS TWICE lighting fast. Paul puts up his guard.

 46.

RICO
Been a few weeks. Your eye healed
up nice.

PAUL
You want to talk or box?

RICO
Both.

Rico lays down a flurry of RIB PUNCHES. Paul takes them in

stride. Doesn't box back, just continues to guard and move.

RICO (CONT'D)
I want to know why you like to get
hit so much, Cabrón?

Paul doesn't like the line of questioning.

PAUL
You look small, Rico. Soft.

With that Rico unloads on Paul. It is punishing and fierce.

INT. BANK -- DAY

Paul is in a SECURE AREA. His face is BRUISED and BATTERED.

Paul takes several DOCUMENTS from a STRONG BOX and puts them in
his ROYAL BLUE DUFFEL BAG along with a COUPLE STACKS OF CASH.

INT. BANK LOBBY AREA -- LATER

A male BANK MANAGER, 45, walks Paul out.

PAUL
Please close my account once you've
made the transfer I requested.

BANK MANAGER
I hope it wasn't a service issue?

PAUL
Not at all...

BANK MANAGER
We'll go ahead and wire the transfer
you requested next week.

PAUL
Thank you.
 47.

EXT. PAUL'S BEACH HOUSE -- DUSK

Paul is wrapped in a blanket sitting in his teak lounge chair.

He is typing a letter on an old CORONA MANUAL TYPEWRITER.
He takes a sip of his Ensure drink and when he looks up his
face is illuminated by ORANGES and REDS REFLECTING OFF the
SLIDING GLASS DOOR. WE SEE what Paul HAS HIS BACK TO...

THE SETTING SUN

It is majestic. Paul CLOSES HIS EYES as if he's basking in it

but never once turns to look at it.

INSERT TYPEWRITER:

Paul types the words "Never gets old" into a letter.

INT. SOCIAL SERVICES -- DAY

Paul sits across from a caseworker, HOLLY, 45. He's wearing

his brown suit, and his face is BRUISED.

HOLLY
I don't understand. You're not here
to investigate anyone?

PAUL
No. I just need you to give me a name.

HOLLY
There are rules... Abuse victims
have to be protected.
(regarding his face)
Speaking of, would you like to file
a report?

PAUL
(ignoring it)
I just need one name.

HOLLY
I'm sorry. I could lose my job.

PAUL
Holly, I have every intention of
ignoring the fact that you don't
live at the home address you have
listed for your kid's schooling.

Holly is stunned.

PAUL (CONT'D)
It's actually your mother's address,
in Los Gatos, isn't that right?

Before Holly can respond.

 48.

PAUL (CONT'D)
And that you currently get paid under
the table at your weekend waitressing
job. Now I realize you need to make
ends meet as a single parent, but in
my line of work we call that fraud.

HOLLY
How could you possibly--

PAUL
One name. Someone who might not
survive the month, the week, the
night.

HOLLY
...Glenda.

Paul waits for her to continue.

HOLLY (CONT'D)
Harris. Glenda Harris.

INT. MOTEL 6 OFFICE -- LATE AFTERNOON

A uniformed DELIVERY GUY stands in front of Larry. A PORNO

plays silently on his TV again.

LARRY
For Mr. Thomas?
(remembering)
Oh yeah, yeah. Where do I sign?

The delivery guys points to the spot on his clipboard.

DELIVERY GUY
Where do you want me to put it?
Shit's heavy.

LARRY
How big?

The Delivery Guy is distracted by the porno.

DELIVERY GUY
Almost as big as that chick's tits.

LARRY
Nice ones, huh? You a big porno fan?

The delivery guy looks a little uncomfortable at the question.

DELIVERY GUY
Yeah, sure.
 49.

EXT. OAKLAND RESIDENTIAL STREET -- NIGHT

Paul is parked outside a run down section of VICTORIAN ERA

ROW HOUSES. He is watching a YELLOW HOUSE.

EXT. YELLOW HOUSE -- LATER

Paul watches as a BLACK MAN, LEN, mid 40's, hard and angry
exits the front door. He stumbles down to his rundown PICKUP
TRUCK. He is clearly DRUNK. A BOY, 8, looks out the window
fearfully watching the proceedings.

A black woman GLENDA HARRIS, 40-ish, opens the door. She's

dressed in a blouse and pants but looks worn thin.

GLENDA
You can't drive like that, Len!

LEN
Shut up bitch!

Len turns around and FIRES the half-full BEER CAN at Glenda.
She doesn't flinch as it hits the house beside her.

LEN (CONT'D)
Get back in the motherfuckin' house!

A weary Glenda shuts the door as Len gets in his pickup truck.

LEN (CONT'D)
Mind them kids of yours!

Paul watches Len drive away.

EXT. FRONT DOOR -- MOMENTS LATER

Paul is at the front door. He shows Glenda his COMMISSION.

GLENDA
I pay my taxes. All of them.

PAUL
I know. This is more of a general
inquiry, Glenda.

A GIRL, 10, joins her mother at the door.

GLENDA
About what?

PAUL
Your life.

Glenda looks Paul over. She allows Paul in.

 50.

INSIDE HOUSE:

Paul watches Glenda lock THREE DEADBOLTS.

INT. FAMILY ROOM -- MOMENTS LATER

Glenda and her two children sit on the couch. Paul has a
glass of water. Crackers and cheese and a SPREADING KNIFE
are on the table.

BOY
What happened to your face?

PAUL
A featherweight champion named Rico
Miralés.

BOY
Is that your truck outside?

PAUL
Yes. You saw me out there, huh?

The boy nods yes. Glenda looks inquisitively at Paul.

GIRL
(to Paul)
Want to see me dance?

GLENDA
No honey. Lets just let Mr. Thomas
talk.

PAUL
I would love to see you dance.

She jumps up and starts dancing. There's a tune in her head.

A fun upbeat one.

PAUL (CONT'D)
That's a beautiful dance. I like
the way you keep the beat.

GIRL
Thank you.

GLENDA
Sit down, baby. Please.

The girl obeys her mother.

BOY
What's inside your truck?

PAUL
Nothing. Yet.
 51.

BOY
Can I have it?

GLENDA
No, honey.

PAUL
It's a rental. But you and your mom
can take it for a drive later.

The boy looks interested. Glenda looks concerned again.

GLENDA
Mr. Thomas, I'm still not
understanding why you're here.

PAUL
I want to give you a house.

BOY
We have a house.

Paul looks at Glenda.

PAUL
But this one you'll own.

Glenda doesn't appreciate Paul's sense of humor.

GLENDA
Kids. Go to your room.

BOY
But--

GLENDA
Now! Go now! I'm not going to say
it again!

The kids look at their mother, knowing something is

drastically wrong, they run upstairs. Glenda stares at Paul.

GLENDA (CONT'D)
I don't know what kind of game you're
playing -- now either explain what
the hell the government wants with
me or get out of my house!

PAUL
Do you have a drug or alcohol problem?

GLENDA
No. I do not.

PAUL
I believe you.
 52.

GLENDA
(righteous indignation)
I don't care what you--

Paul reaches in his jacket pocket. Glenda instinctively

grasps the SPREADING KNIFE off the table, and backs away.
Positioning herself between Paul and her kids upstairs.

Paul removes a PLAIN WHITE ENVELOPE.

PAUL
Holly at the shelter told me Len
broke two of your ribs last year.

Glenda is stoic.

GLENDA
(lowering the knife)
Holly sent you?

PAUL
She thinks it's a matter of time
before he kills you. Possibly your
kids. They aren't his?

Glenda looks ready to break at the mention of her kids being

harmed, knowing it's true.

GLENDA
I'm widowed...

Paul REMOVES SEVERAL TYPED PAGES from the envelope and

smoothes them out on the table.

GLENDA (CONT'D)
What is that?

PAUL
Your new life.

Paul gets up from the table. Glenda instinctively holds the

knife up again in a defensive posture.

PAUL (CONT'D)
I'll wait outside.

Paul exits. Glenda crosses and locks the door.

EXT. RUNDOWN BAR PARKING LOT -- LATER THAT NIGHT

Paul sits parked in his own car an older model CAMRY.

INSIDE CAR

Paul writes the name "Glenda Harris" on the BACK OF A SMALL

3X5 PHOTOGRAPH.
 53.

INSERT: Glenda is the third entry after the names "Paul

Thomas" and "Julie Kwon."

He tucks the photo in his wallet and pockets it.

Paul then removes his IRS COMMISSION from his suit jacket
and tucks it under the seat.

INT. RUNDOWN BAR -- LATER

Paul is sitting at the bar with a FULL BEER in front of him.

WIDEN TO REVEAL Paul is watching Len finish a BEER ten stools
away. The BARTENDER brings Len another, referencing Paul.
Len looks over confused, Paul nods, signaling his compliments.

Len gets up and crosses toward Paul. Len is a big angry

guy, but Paul appears calm.

LEN
Shit you buying me a beer for? Some
kind of fag?

Paul leans in toward Len's ear and whispers something. Len's

EYES GO WIDE as if he's just been propositioned with something
very gay.

In delayed and drunken fashion Len hauls off and punches Paul.
Paul makes a point of falling off his stool before standing up
and facing Len. Len swings again, Paul returns a nice LEFT
JAB connecting. Len swings again, missing, he proceeds to
tackle Paul to the ground. The Bartender hops over the bar to
break up the brawl.

Len elbows the bartender in the face. Paul punches Len hard
in the face, but Len is a strong man, returning blow for blow.

MONTAGE:

EXT. GLENDA'S HOUSE -- LATER

Glenda and the kids quickly pack boxes.

PAUL (V.O.)
Don't worry about the furniture,
just get what's important to you and
get on the road as soon as you can...

EXT. HIGHWAY -- LATER

Glenda and her kids sit across the bench seat of Paul's RENTAL
TRUCK. Glenda clutches the wheel, apprehensively, as the
kids sing along to the radio.
 54.

PAUL (V.O.)
You're headed about an hour and a
half north of San Francisco. Little
town, good people...

INT. BEACH HOUSE -- LATER

Glenda unlocks the door and leads the kids inside. She starts
turning on lights and looking around.

PAUL (V.O.)
It's old furniture. Solid Danish
wood. Buy once, my grandfather always
said.

Glenda runs her hand across the dining room table. Paul
left it spotless. The kids run around discovering the house.

INT. DAUGHTER'S BEDROOM -- LATER

Glenda tucks her daughter into bed.

PAUL (V.O.)
There's three bedrooms. Hopefully
that's enough.

INT. KITCHEN -- THE NEXT DAY

Glenda in PAJAMAS crosses to the REFRIGERATOR and FREEZER.

PAUL (V.O.)
I'm not sure what you like to eat.

Glenda opens the door to find it STOCKED FULL OF FOOD. She

removes some EGGS with a smile.

PAUL (CONT'D)
So I bought a little of everything.
Please be on the lookout for a
delivery during the day...

INT. HOUSE -- LATER

SFX: DOORBELL

Glenda and the kids cross to the door. Glenda opens the
door with the kids. A CHOCOLATE LAB PUPPY is handed to them
by a DELIVERY MAN.

PAUL (V.O.)
You may only make a return if someone
is deathly allergic.
 55.

The kids smother the dog with kisses.

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

Somehow, I don't see it happening.

INT. JAIL CELL -- CONTINUOUS

Paul is let out of his cell by a DEPUTY. Len in an opposing

cell gives Paul the death stare. Paul doesn't make eye contact.

LEN
I'm gonna be looking for you.

PAUL
You're gonna be looking for a lot of
people, Len.

EXT. BEACH HOUSE DECK -- TWILIGHT

PAUL (V.O.)
Whatever you do, don't miss the best
part...

Glenda sits at the table teary-eyed she is reading the last

entry of Paul's letter. Both of her kids wrapped up in a
blanket on a teak lounge chair with the puppy asleep on them.
The SUN IS JUST SETTING.

A beautiful array of ORANGES AND REDS ACROSS THE HORIZON.

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

Never gets old.

Glenda smiles. At peace.

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

There's a lot of equity in the house,
please use it wisely. When you sign
your name on the dotted line, you'll
own the house outright...

Glenda SIGNS THE DEED, seals the envelope, and starts to

joyfully sob.

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

Been in my family for several
generations. I hope that it stays
in yours for many more. I only ask
that you never mention how you got
the house, research who I am or try
to contact me for any reason. Please
honor my wishes... And of course,
live life abundantly. Regards, Paul.

END MONTAGE:
 56.

INT. MOTEL 6 ROOM -- DAY

INSERT: A LIVE SHRIMP bouncing in a plastic bag. It gets

dumped into Paul's lit aquarium. The Jellyfish doesn't react.

Larry picks up discarded masking tape, box packaging and a

lid marked "THIS SIDE UP" and throws it in the room's garbage
can. The aquarium SITS ON THE DESK against the wall.

He sits on the bed enthralled as the JELLYFISH reaches out

and STINGS THE SHRIMP with it's long tentacles and draws it
into the center of it's translucent body.

EXT. WETLANDS -- DAY

A HUSBAND and WIFE, mid 40's, stand around in RUBBER BOOTS

in TWO FEET OF MUD. A SHERIFF is HUNCHED OVER nearby staring
at a large piece of RIVETED CARBON COMPOSITE sticking out of
the mud at an angle. It's stamped "SST-131."

HUSBAND
We hiked out due south from the
turnout to do some bird watching and
came across it.

WIFE
The turn out's west of us.
(scoffing)
Due south. Your sense of direction
sucks.

The husband looks at the sheriff totally embarrassed.

SHERIFF
I'll call it in.

HUSBAND
You think it's part of it?

SHERIFF
Looks like it. Fits the break up
pattern they posted on the web.

WIFE
Can we get any money for it?

SHERIFF
No, lady. You can't.

The wife exhales annoyed, rolls her eyes.

WIFE
That sucks.

The Sheriff looks at her like she's an insensitive bitch.

 57.

SHERIFF
Imagine being onboard.

INT. HOSPITAL ROOM -- LATER THAT NIGHT

Paul in his BROWN SUIT goes over a FILE with George Mamone,
the same man who we met COACHING BASKETBALL earlier. George
is in the middle of a DIALYSIS PROCEDURE with a NURSE
attending. The NEWS is on the TELEVISION but the volume is
barely audible.

GEORGE
The mayor approved additional funding
for the kids. I can use it to start
a college scholarship for several of
the boys...

PAUL
That's great. How about your own
three dependents?

GEORGE
My boys are great. My youngest,
Adam, wants to quit little league...

PAUL
(distracted)
Why's that?

GEORGE
Scared to death. They took the tee
away this year.

George looks up at the TV that Paul is DISTRACTED BY.

ON TV:

EXT. TURNPIKE TURNOUT -- CONTINUOUS

The Sheriff and the couple are holding an impromptu PRESS

CONFERENCE in the turnout adjacent to the wetlands. Several
NEWS CREWS are holding a microphone up to the trio.

SHERIFF
(into microphone)
No one touched anything, we left it
just as we found it--

BACK IN THE ROOM

GEORGE
(re: TV)
Want me to turn it up?
 58.

PAUL
(affected)
Off. If you don't mind.

George FLIPS OFF THE TV by remote. Paul turns his attention

back to George.

GEORGE
I need you to know, I'm going to pay
what I owe. All of it.

PAUL
I know, George. First things first.

George looks at Paul, there's something he needs to say.

GEORGE
Paul...
(emotional)
Why me?

PAUL
Just doing my job.

George smiles, he clearly is not.

GEORGE
Please...

PAUL
Because you're a good man. I know, so
don't bother being humble about it.

George is deeply moved by this.

INT. HOSPITAL OFFICE -- SEVERAL DAYS LATER

DR. GATSINARIS, Greek, 35, dressed in slacks and a white

DOCTOR COAT sits across from Paul wearing his brown suit.
Paul looks PASTY and UNSHAVEN as if he's been through
something traumatic as of late.

DR. GATSINARIS
The hospital administration asked me
to sit down with you... to talk.

PAUL
George is doing great, right?

DR. GATSINARIS
Yes. We're quite pleased.

PAUL
That's what's important isn't it?
 59.

DR. GATSINARIS
The welfare of all of our patients
is important. You weren't entirely
honest with us, Mr. Thomas.

Paul doesn't give anything.

DR. GATSINARIS (CONT'D)

About your past. We've done some
additional research and I need to
ask you about your previous work--

PAUL
(flash of anger)
Doesn't concern you.

Dr. Gatsinaris sees that Paul is ready to snap.

DR. GATSINARIS
Our general counsel is concerned
from a liability standpoint. Your
arrangement with George was highly
unorthodox to begin with and we took
great care to scrutinize his case.
This type of thing is not supposed
to happen. There are safeguards.
You blatantly manipulated them--

PAUL
Do you want me to become a liability?

Dr. Gatsinaris takes a long, hard, concerned look at Paul.

He clearly does not.

DR. GATSINARIS
I flagged your name in the system.

Paul knows exactly what this means.

PAUL
I have a plane to catch.

Paul gets up to leave.

DR. GATSINARIS
Why is George Mamone under the
impression your first name is Paul?

Paul leans over the desk looking the doctor right in the eye.

PAUL
It's my middle name.

The doctor looks down at his file, searching for a middle name.
 60.

PAUL (CONT'D)
You won't find it in there, Doc.
Just for friends.

Off his confused look.

PAUL (CONT'D)
(leaving)
Like George.

EXT. EMILY'S FRONT YARD -- CONTINUOUS

Emily walks up the path with Duke returning from a walk.

Emily waves to her neighbor with the roses.

EMILY
They look great.

NEIGHBOR LADY
Coffee grinds. My new best friend.

Emily smiles and heads for the front door. After a couple
of steps she STUMBLES and FAINTS DEAD AWAY, her neighbor
rushes over immediately.

NEIGHBOR LADY (CONT'D)

Emily! Oh my God! Emily!

INT. L-TRAIN -- LATER

Paul, looking piqued sits across from a MAN on the train.

Paul digs through his blue duffel bag and retrieves a PEN.

Paul removes the small 3X5 PHOTOGRAPH out if his wallet. WE

DON'T SEE who's in the picture, as he turns it over.

INSERT: Paul adds the name "GEORGE MAMONE" to the list. It

becomes the FOURTH NAME after "PAUL THOMAS," "JULIE KWON"
and "GLENDA HARRIS."

Paul puts the photo away as a MAN across from him MOTIONS
FOR PAUL TO LOOK DOWN at his dress shirt. Paul discovers
he's BLEEDING THROUGH HIS SHIRT at the waist just above his
groin.

ANNOUNCER (O.S.)
Next stop Chicago O'Hare.

INT. CHICAGO O'HARE AIRPORT -- LATER

Paul stands at the ticket counter of United Airlines with his

suit now BUTTONED UP. A flamboyant TICKET MAN assists him.
 61.

TICKET MAN
I'm sorry. I don't have a direct
flight to Fresno.

PAUL
Does anyone fly direct?

TICKET MAN
I don't think so.
(with attitude)
We are the largest carrier out of
Chicago. And you don't exactly have
a reservation, so...

PAUL
I got it.

DISSOLVE TO:

EXT. APARTMENT BUILDING -- THAT NIGHT

Paul watches from across the street, as Ezra, the blind beef
salesman, exits a CITY BUS and extends his CANE. Right behind
him TWO HOODLUMS get off the bus ribbing one another. They
follow behind Ezra as Paul looks on.

The first hoodlum nudges the other and hoodlum #2 darts up

behind Ezra and PULLS HIS PANTS DOWN FORCEFULLY. Ezra cries
out and quickly TRIPS FACE FORWARD. The two hoodlums laugh
and high five as they run down the street. Paul crosses the
street immediately as Ezra tries unsuccessfully to get up.

PAUL
Hold on there! I'm coming! I saw
what happened...

Paul arrives and helps Ezra to his feet.

EZRA
I'm fine. Really.

PAUL
Just some...
(yelling after them)
Little punks!
(back to Ezra)
Hold on, I got ya. Go ahead and
pull up your pants.

Ezra pulls up his pants as Paul holds him steady.

PAUL (CONT'D)
Do you know what happened?

Ezra looks at Paul as if he has eyes.

 62.

EZRA
I believe I was pantsed.

PAUL
(feeling stupid)
Yeah... You okay?

EZRA
Yes, thank you. Do I know you?

PAUL
(covering)
I don't think so.

Paul walks Ezra toward his apartment building entrance.

PAUL (CONT'D)
You're just outside your building.
Keypad to your left.

EZRA
I know your voice--

PAUL
Take care.

Paul leaves immediately.

INT. FRESNO MOTEL BATHROOM -- LATER

Close on Paul who is FACE DOWN with his forehead and nose
PRESSED against the TILE FLOOR. He's NAKED EXCEPT FOR A
TOWEL.

PAUL
(in prayer, angry)
It's a lie. All of it. You don't
know every hair on my head. You
don't even know my name...

SFX: PHONE RINGS

Paul doesn't move his face off the floor, he just reaches
out for his CELL PHONE and answers it. Paul SAYS NOTHING,
he just listens.

EMILY (O.S.)
Paul?

Paul hearing his name, listens for a beat, still face down.

EMILY (CONT'D)
Are you there? It's Emily.

PAUL
...Emily?
 63.

EMILY
I'm sorry to call so late.

PAUL
That's okay.

EMILY
Were you sleeping?

Paul is quiet.

INTERCUT:

INT. HOSPITAL ROOM -- CONTINUOUS

Emily lies in bed. Heart monitor on.

PAUL
(concerned)
Did the IRS contact you?

EMILY
No. I just...

Paul doesn't help her.

EMILY (CONT'D)
I was having trouble breathing after
I took Duke for a walk. An ambulance
had to bring me to the hospital.

PAUL
Are you okay?

EMILY
Yeah. I guess I fainted. They're
running some tests. I should let
you go-- I'm sorry to have called...

And it hangs there.

PAUL
It's okay, really.

EMILY
(starting to cry)
It's just that I had your card with
me. I don't know what I'm doing--
I'm sorry...

Paul knows he shouldn't get emotionally involved. HE PUTS

THE PHONE TO HIS FOREHEAD, CONTEMPLATING SERIOUSLY HOW TO
GET OFF THE PHONE.

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

Paul? Are you still there?
 64.

When Paul brings the phone to his lips WE SEE HE'S MADE A
MONUMENTAL DECISION.

PAUL
What's your favorite color, Emily?

EMILY
Pink. And chocolate brown.

PAUL
That's cheating.

EMILY
They're only my favorite together.

They're both quiet. Not knowing what to say next.

EMILY (CONT'D)
Where are you?

PAUL
Fresno.

EMILY
Why?

PAUL
Investigating a case.

EMILY
How's he or she sleeping?

PAUL
Well. Ezra sleeps well.
(beat)
I don't like it here.

EMILY
Fresno? Let me guess hot and muggy--

PAUL
And brown.

Emily laughs.

EMILY
Beautiful here...

Emily stops herself from soliciting any more than she already
has. PAUL SITS UP OFF THE FLOOR. WHEN HE DOES HE HAS A
SHOOTING PAIN.

Paul INSTINCTIVELY REACHES for the SURGICAL STAPLES OVER A

FOUR-INCH INCISION above his groin. It's a stark comparison
to the older much larger "M" SHAPED SCAR across his chest.
There are also THREE SMALL ONE INCH STITCHED INCISIONS in a
CIRCULAR PATTERN just below his ribs.
 65.

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

Do you ever think about dying, Paul?

PAUL
(pained)
Sometimes. Are you worried?

EMILY
Yeah. My face is blue-ish. It's
not exactly a good sign.

PAUL
You're going to be fine.

Paul crosses into the other room and looks around, coming to
some kind of decision, he grabs his duffel bag.

INT. PAUL'S RENTAL CAR -- LATER

Paul drives down a barren Interstate 5 talking on his cell.

EMILY (O.S.)
(groggy)
Then what...

PAUL
...Then senior year I got pregnant
and had triplets.

EMILY
(fading quickly)
Highschool's... fun.

Paul knows she's only half there.

PAUL
Why don't you try to rest.

EMILY
I'm fine, but I should let you go--

PAUL
No, don't. But just try to rest,
okay? Once you fall asleep I'll
hang up.

EMILY
I can't do that to you...

PAUL
Sure you can. I'm an insomniac
remember?
 66.

INT. HOSPITAL ROOM -- WEE HOURS OF THE NIGHT

Emily is ASLEEP in bed hooked up to monitors. The PHONE

HANDSET is lying on her pillow near her face.

PAUL ENTERS the room. He crosses toward her SHUTTING HIS

CELL PHONE. He had been listening to her sleep the whole
drive down.

Paul HANGS UP the hospital phone. He pulls up the blanket

around Emily, then looks around the room. He reaches out to
TOUCH HER FACE and then doesn't allow himself to.

INT. BEDROOM -- NIGHT

A MARRIED COUPLE sleeps in their bed.

SFX: HORRIBLE NOISE

Without warning a LARGE METALLIC PROJECTILE BURSTS THROUGH

THE ROOF of the bedroom and buries itself HALFWAY INTO THE
FLOOR JOISTS. The couple BOLT UPRIGHT, the man tumbles out
of bed in fear.

EMILY (O.S.)
Paul.

INT. HOSPITAL -- EARLY MORNING

Emily, hooked to her IV tube on wheels, is touching Paul's

SLEEPING FACE in a chair. But it's not peaceful, he's having
another NIGHTMARE. Paul OPENS HIS EYES with a start.

EMILY
Hey...

Paul collects himself.

EMILY (CONT'D)
You were having a nightmare.

Paul looks around the room noticing the CLOCK READS "9 a.m."

PAUL
At least I slept.

Emily smiles. Paul notices that her face is very pale with
a BLUE HUE to it, still beautiful but not exactly the picture
of health.

EMILY
You drove all night, to see me?

Paul looks embarrassed. Without warning Emily leans in and

KISSES him on the lips.
 67.

After a beat, Paul gently removes his lips.

PAUL
Hi.

EMILY
Hi.

PAUL LOOKS BOTHERED AS IF HE'S BETRAYED HIMSELF OR EMILY.

Emily is confused by the reaction. They're saved by an ASIAN
CARDIOLOGIST, DR. HU, 44, who appears in the doorway and
clears his throat. He's confident and intense.

DR. HU
How's our girl?

EMILY
Better.

Dr. Hu crosses to Paul and shakes his hand.

DR. HU
Paul, right? From the IRS?

PAUL
That's right. Good to see you again.
(to Emily)
I'll let you two talk.

EMILY
Stay. Please.

Dr. Hu is as surprised by this as Paul is.

INT. HOSPITAL ROOM -- MOMENTS LATER

Paul sits in the chair listening as DR. Hu gives it to Emily

very directly.

DR. HU
We've upped you to Status 1. The
hospital is now actively searching
for a suitable donor.

EMILY
Getting worse actually helps me?

DR. HU
Yes. To a point. You fainted because
your heart isn't pumping enough blood
to your brain. So, you move up the
priority list but your heart is
enlarged. And shutting down.

EMILY
How long?
 68.

DR. HU
Entirely up to your heart. Could be
six weeks, a month...

EMILY
(making light of it)
Day after yesterday.

Dr. Hu looks at her long and hard. Makes the decision she's
strong enough, if not physically, as a person.

DR. HU
Either a suitable heart will present
itself in time or it won't.

Emily looks wiped out by the stark reality of it all.

DR. HU (CONT'D)
Within twenty-four hours you should
get your wind back and your blood
pressure should stabilize. Then
we'll start looking at possible active
donations.

EMILY
Can I wait at home?

DR. HU
We'll see. You'd still need round
the clock care. And from now on,
you get this...

Dr. Hu produces a RED PAGER and hands it to Emily.

DR. HU (CONT'D)
For when your number comes up.

INT. EMILY'S ROOM -- LATER

Emily talks on her CELL PHONE. Paul sits waiting.

EMILY
(into phone)
Pam. I'll know by tomorrow.
Nothing's definite.
(listening)
Well, I thought if I stayed with you
I wouldn't have to pay for a nurse.
(disappointed)
Yeah, okay.

Emily hangs up the phone, puts on a smile.

PAUL
I've got to go back up to Fresno.
(MORE)
 69.

PAUL (CONT'D)
Close out my case. Can I get you
anything before I go?

Emily shakes her head no. Then remembers something.

EMILY
Duke's in the yard. I just need to
call my neighbor, Sandy, and ask her
if she can--

PAUL
How about I take Duke with me up to
Fresno?

EMILY
I can't ask you to do that.

PAUL
I know.
(beat)
He'll be keeping me company.

EMILY
Are you sure?

PAUL
Yeah, I'll bring him back tomorrow.

EMILY
Okay.

EXT. FRESNO STREET -- LATER THAT DAY

Paul stands WITH DUKE ON A LEASH by the curb. He's watching

something across the street.

APARTMENT BUILDING

One flight up through a window, Paul watches Ezra, the blind

beef salesman, give a GIRL, 13, a PIANO LESSON. The girl
plays passably as Ezra nods his head appreciatively.

A WOMAN approaches the entrance below. She BUZZES THE

APARTMENT. Paul watches as the girl hops off the bench and
crosses to the window and looks down at the WOMAN.

GIRL
(calling down)
I'll be right down, Mom!

WOMAN
Okay. Give Ezra his check, honey!

The Girl runs back to Ezra and hands him a CHECK from her
bag.
 70.

She crosses to the door to leave but then runs back and gives
Ezra a kiss on the cheek before she exits.

Paul watches Ezra touch his cheek affected after the door
closes.

EXT. SAN FRANCISCO FREEWAY -- DUSK -- ESTABLISHING

A rental car heading into SAN FRANCISCO.

INSIDE CAR:

Paul looks at the skyline ahead. PAN OVER to see Duke SITTING
HUMAN LIKE in the front seat appreciating the view as well.

INT. LAW OFFICE -- THAT NIGHT

Paul sits with his ATTORNEY, 40's, bookish. High end office.
Duke sits on his hind quarters at attention next to Paul.

PAUL
Did you draw up the paperwork as I
instructed or not?

ATTORNEY
Yes, but... knowing what I know, I'm
sorry. I have a moral responsibility
to--

PAUL
I paid you a lot of money to do a
simple job. Dot the I's cross the
T's. Keep your mouth shut.

The attorney rests his hand on a MANILA ENVELOPE. The label

reads: "HARRISON, LEEDS & STEIN, ATTORNEY'S AT LAW"

PAUL (CONT'D)
Look at me.
(he does)
Attorney. Client. Privilege.

The attorney looks gravely conflicted.

ATTORNEY
I'm aware of my oath, but I can't do
this-- I can't help you kill yourself.

PAUL
A friend of mine went to Space.

The attorney looks curiously at Paul. Space, space?

 71.

PAUL (CONT'D)
When he returned the only word he
could think of to explain how he
felt inside was... volatile. Like
something got twisted around in his
head up there. Suddenly he didn't
feel as though he had complete control
over his actions.

The attorney is not sure where Paul is going with this.

Paul stares intently at the attorney.

PAUL (CONT'D)
I've never been to Space. But I
know the feeling.

The attorney can see Paul is dangerous or insane or both.

PAUL (CONT'D)
(from memory)
Two hundred-seventy thousand dollars
gross income last year. You live at
426 Filmore Street here in the city.
Two kids, ages 6 and 11, one in braces.
Your wife Nicole drives a silver BMW
and wears a Baume Mercier watch.
Plays tennis on Thursday afternoons
with an old work friend named Mitch.
You own a cabin in Lake Arrowhead and
a boat named "Fun Dip"--

ATTORNEY
How do you--

PAUL
I used to love the little vanilla
sticks myself.

The attorney looks chilled to the bone.

PAUL (CONT'D)
I don't want to hurt anymore people.
Do I have your confidence?

After a moment of reflection and what appears to be Duke

snarling at him...

ATTORNEY
You have my every confidence, Mr.
Thomas.

The attorney hands over the MANILA ENVELOPE to Paul.

PAUL
Thank you.

Paul stands up.

 72.

PAUL (CONT'D)
Mitch wants to be more than a friend
to your wife.

The attorney nods his head taking this in. Paul leads Duke out.

EXT. I.R.S. BUILDING -- ESTABLISHING -- LATER THAT NIGHT

The same austere cement and glass building with an understated

ETCHED SEAL denoting the "Internal Revenue Service."

INT. OFFICE CUBICLE -- CONTINUOUS

The OFFICES ARE DARK except for Paul's lit cubicle, everyone
having gone home. Paul is working on his computer. He
consults a typed list of NAMES on a SHEET OF PAPER.

INSERT LIST:

The first SIX of TEN NAMES are crossed out. The LAST NAME
CROSSED OUT is "STEWART WORTHY," who we'll remember as the
hospital administrator. The next name up is "ADAM ENGLAND."

Paul types in the name "ADAM ENGLAND" into the IRS database.
He enters the social security number. Paul scrolls through
the file and then reaches over and crosses out Adam's name.

OFFICE DOWN THE HALL

A MAN in a suit STUMBLES OUT of a darkened office with a HOT

WOMAN hanging on him.

MAN
What time is it? My wife is going
to bust my balls.

Paul LOOKS UP ALARMED as they walk toward him.

HOT WOMAN
Too late. I already did that.

The two of them laugh it up playing grab ass before they

look up to see Paul stand up from his cubicle.

PAUL
Late night, huh?

The man and woman are taken aback instantly.

MAN
Who the shit are you?
 73.

PAUL
(extending his hand)
Paul Thomas. I'm in town for the
security conference.

MAN
Oh...

The man SHAKES HANDS with Paul.

MAN (CONT'D)
I see.

He looks over at the hot woman who is busy buttoning her blouse.

MAN (CONT'D)
What office did you say you're with?

PAUL
I didn't. Orlando.

MAN
Surprised the shit out of us there,
Paul from Orlando.

PAUL
I can see that.

The woman smiles at Paul, she's just realizing how handsome

he is, she shakes out her disheveled hair and drinks him in.

MAN
(seeing this, abruptly)
We'll see ya around, Paul.

Paul watches as the two of them cross toward the elevator.

INT. ELEVATOR -- MOMENTS LATER

MAN
How come I didn't know about the
conference, Jen?

JENNIFER
First I've heard of--

MAN
That's the fuckin' problem. Apparently
you only know how to lay on a desk.

JENNIFER
(woman scorned)
Good thing there's a lot of bigger
desks around.
 74.

INT. PAUL'S RENTAL CAR -- NIGHT

Paul drives down INTERSTATE 5 with Duke laying next to him

asleep. Paul looks up at the HIGHWAY MILE MARKER ahead.

ANGLE ON SIGN: 135 miles to Los Angeles

DISSOLVE TO:

INT. HOSPITAL ROOM -- THE NEXT DAY

Emily PACKS her things in a bag. Her sister PAM, 36, pretty
with makeup but no Emily, watches her with a hint of disdain.

PAM
I just think it would be easier if
you were in your own home.

Emily smiles politely.

PAM (CONT'D)
Tom and I have already arranged for
a full time nurse. She comes highly--

EMILY
I understand. Really.

PAM
We'll pay for it.
(loaded)
Given your situation... monetarily.

Emily looks at her sister.

EMILY
I had to shut down my business.
Doctor's orders.

PAM
I know, Em.
(nodding her head)
And I want you to know if it wasn't
for the boys, and how busy-- just
you staying with us, would be--

EMILY
I get it.

Emily just looks at her sister, neither wanting to go there.

PAM
(can't help herself)
It's just really uncomfortable for Dan,
given the misunderstanding last year.
 75.

EMILY
It wasn't a misunderstanding.

PAM
I don't really want to get into this.

EMILY
Then don't. Calling it a
misunderstanding is like calling
me a liar.

Pam tries to swallow her contempt.

EMILY (CONT'D)
We used to trust one another.
(sincere)
I miss that.

PAM
That's tough shit, Emily. You know?
We don't always get what we want.
(almost venomous)
Even you.

Emily looks at her sister with pity. Wishing she had the
capacity to understand but knowing she can't. It's only
then that she realizes Paul is STANDING IN THE DOORWAY.

EMILY
Paul... Hi.

PAUL
How are you feeling?

EMILY
Good, really good. Paul, this is my
sister, Pam. Pam this is my...
friend, Paul.

PAM
Hello.

Paul shakes her hand.

PAUL
Hi, Pam.

PAM
How do you two know each other?

Paul looks at Emily who looks mortified at the thought of

saying Paul is her IRS agent.

EMILY
We met... Paul, actually--
 76.

PAUL
I massage her.

Emily looks as surprised as Pam does.

PAM
Oh, I see. Here at the hospital?

PAUL
And at home.
(off Pam's look)
Lovely place.

Pam looks at Paul then at Emily. Trying to assess how close

these two are. Emily just smiles, slightly embarrassed but
loving that Pam is thrown.

EMILY
He's really very good.

PAM
We should really get going. I have
to pick up Andy at soccer by six--
The nurse will be at your house by
five-- And the 110's gonna be hellish.

EMILY
Pam. I can just take a cab.

Pam looks at Paul politely then back to Emily.

PAM
You're not going to take a cab.

Before Emily can speak.

PAUL
Why don't I drive you home?

PAM
Oh...

Pam tries to hide being pleased by the offer which is not

lost on Emily.

PAUL
I actually have Duke in my car.

EMILY
Looks like your off the hook, Pam.

PAM
Okay, if that's what you want...
(hugging Emily)
This is all going to work out, Em.
 77.

INT. EMILY'S BEDROOM -- LATER THAT AFTERNOON

Emily is resting. Paul puts down a TEA TRAY on the end table.
She notices the CUTELY CUT LITTLE SANDWICHES Paul made.

EMILY
Thank you. Those are cute.

PAUL
Did you get some sleep?

EMILY
A little. Did the nurse get here yet?

PAUL
Who do you think cut those sandwiches
into little triangles?

EMILY
(laughing)
Thank you. For Everything.

PAUL
I'm going to take off. Is it okay
if I give you a call tomorrow or
come by and see how you are?

EMILY
I would love that.

INT. EMILY'S KITCHEN -- THE NEXT MORNING

Emily is just finishing eating breakfast with her matronly

nurse KATE, 50's. They don't have anything to talk about.

EMILY
This was great.

KATE
You think? I don't like the eggs
you buy.

Emily doesn't know how to respond. She crosses to the sink

to put her dishes in. When she looks out the window she
sees SOMEBODY OUTSIDE.

EXT. EMILY'S BACKYARD -- MOMENTS LATER

Emily comes outside to find Paul WEEDING THE ROSE BEDS with
Duke standing over him supervising. The WEEDS are like large
plants themselves.

EMILY
What do you think you're doing?
 78.

PAUL
These are weeds, right?

EMILY
Yes. But, stop. You're not allowed
to do that. I was going to get to
that... some day.

PAUL
I'm just looking out for the
government's interests.

EMILY
You're not taking my house.
(off his smirk)
You want some coffee?

PAUL
No, I'm good--

EMILY
I forgot you only drink old people juice.

PAUL
Ensure is loaded with nutrients and
essential vitamins working in tandem
to keep my body running at peak
performance. Nine out of ten doctors
of octogenarians everywhere recommend
Ensure for their patients.

Emily has to laugh.

PAUL (CONT'D)
I took the day off work. I thought
I could help out around here. If
it's okay?

Emily looks deeply moved.

EMILY
I don't know what to say... except
thank you.

PAUL
(referencing inside)
How's your nurse, Kate?

EMILY
Fine. Doesn't like my eggs.

Paul laughs.

EMILY (CONT'D)
And she slept in this morning.

DISSOLVE TO:
 79.

EXT. DETACHED BACKYARD GARAGE -- THAT AFTERNOON

Paul stands there as Emily removes a KEY ABOVE A LANTERN and

UNLOCKS barn-style craftsman GARAGE DOORS.

They step inside and Paul looks around Emily's workspace.

SHELVES OF ASSORTED PAPER, CABINETS FULL OF TYPE, CANS OF

INK lining the walls.

PAUL
This is your office, huh.

Emily pulls a CANVAS TARP off an OLD CHANDLER AND PRICE

LETTERPRESS MACHINE. It's formidable iron construction with
a huge flywheel and gears on it. Despite it's sheer mass
and age it's in a word...

PAUL (CONT'D)
Beautiful. How old is it?

EMILY
1895. Chandler & Price. Weighing
in just shy of twelve hundred pounds.
It's how I put out my line of
letterpress cards. Some custom
stationary, wedding invitations...

Paul motions to an even LARGER COVERED MACHINE.

PAUL
What's behind door number two?

Paul takes the COVER OFF of an even LARGER LETTERPRESS that

is almost double the size of the first, it's awe inspiring.

EMILY
I call it The Beast.

PAUL
Seems appropriate.

EMILY
Makes the best impression I've ever
seen. But it pooped out on me about
five years ago. I can't find anybody
who knows how to work on it.

PAUL
Sort of a dying art, right?

EMILY
I've been doing my part to change
all of that.

Emily plugs in the motor that drives the flywheel on the

smaller machine.
 80.

EMILY (CONT'D)
At least I was until I had to shut
down the business.

PAUL
Can I print something?

EMILY
(devilish smile)
You can try.

INT. GARAGE -- LATER

The letterpress is cranking, piston arms pumping, the flywheel

turning and the plate mechanism opening and closing. Emily
is standing behind Paul, who is holding a sheet of paper and
looking a bit overwhelmed.

EMILY
Now.

The arm comes up smashing the PLATE against what's called

the PLATEN.

EMILY (CONT'D)
Or now.

Paul starts to put the paper on the platen but it starts to

close back down smashing against the plate. Paul pulls his
hands back still holding the paper.

PAUL
Does it have to go so fast?

EMILY
Yes. Single speed motor.

PAUL
I don't like that.

EMILY
You get used to it. Just time it
and go...

Paul musters his courage and when the plate and platen open
and close he tries again to PLACE THE PAPER. It goes in
crooked.

PAUL
No! No! DAMN IT!

Paul reaches into the press chasing the paper as EMILY PULLS
HIM BACK BY THE SHIRT JUST IN TIME TO SAVE PAUL'S FINGERS
FROM BEING SMASHED.
 81.

EMILY
Paul! You never chase!

Paul looks like a scolded child.

EMILY (CONT'D)
When you chase you end up with
pancakes for hands.

PAUL
But it ate my card.

EMILY
Step back.

Emily times it, then expertly feeds the paper into the chase
which comes together and makes an impression. Emily retrieves
the NEWLY MINTED CARD. She hands it to Paul.

PAUL
Wow...

EMILY
(printing another)
True pressmen hate that we modern
girls want a deep impression.
(and another)
For a hundred years they tried their
damndest just to "kiss it" so it
didn't leave an indentation in the
paper.

Paul runs his finger across the grooves of the impression.

Emily prints one more card and SHUTS OFF the motor.

PAUL
I like the grooves. Feels--

EMILY
Richer.

PAUL
Yeah...
(reading it)
You designed the whole thing?

Emily nods her head yes. They both look at the card.

INSERT CARD:

"KISS ME YOU FOOL" is the inscription below a letterpressed

MAN WEARING A DUNCE CAP and a GIRL IN PIGTAILS looking at
him adoringly.

PAUL (CONT'D)
You're very witty.
 82.

Emily looks up at Paul, she lingers there giving him the

opportunity to take a hint from the card. She's PUTTING
HERSELF OUT THERE.

EMILY
You think so?

PAUL
And talented.

A moment passes, Paul chooses NOT TO KISS HER. Emily SMILES

SWEETLY and steps away to get the cover for the letterpress.

PAUL (CONT'D)
I should get going. Do you want me
to take Duke for a walk before I
leave?

EMILY
(masking disappointment)
That would be great.

Paul helps Emily PUT THE COVER BACK ON THE BEAST.

INT. BACKYARD -- LATER

Emily is sitting outside on her back porch.

PAUL
There you are. I think Duke wanted
to curl up with you.

EMILY
Did he tell you that?
(off his look)
I don't think we've ever really
properly bonded. I mean he's known
you for a week...

Paul looks at Emily knowing that this is real for her.

PAUL
Why did you get Duke?

Emily looks affected by the question. After a long while.

EMILY
Because of October 2003.

Paul takes this in remembering her credit file.

PAUL
Do you want to talk about it?

EMILY
No. I just didn't want to lie about it.
 83.

Paul nods his head as if he understands that perfectly.

PAUL
Can we try something? With you and
Duke.

INT. BACKYARD -- MOMENTS LATER

CLOSE ON Emily who is kneeling down NOSE TO NOSE with Duke

seated opposite of her. They stare at each other for awhile.

EMILY
(nose to nose)
Now what?

PAUL
Now repeat after me... In the beginning
I treated you like just a guard dog.

EMILY
In the beginning I treated you like
just a guard dog.

PAUL
I'm sorry for that, it wasn't fair.

EMILY
I'm sorry for that, it wasn't fair.

PAUL
It was also selfish of me to make
you a vegetarian, Duke.

EMILY
(pained)
It was selfish of me to make you a
vege-- this is ridiculous.

PAUL
(forging ahead)
But I need you to trust me now. I
have real feelings for you that go
beyond mere security.

EMILY
But I need you to trust me now. I
have real feelings for you that go
beyond mere security. Even if you
didn't eat Paul -- a total stranger --
when you had the chance.

PAUL
Good one. Very clever.
(off her look)
Duke, I love you like family. And I
can't live without you.
 84.

EMILY
Duke, I love you like family. And I
can't live without you.

Emily turns to look at Paul as if to say "Now what?" When

Duke LICKS OVER HER WHOLE FACE WITH HIS ENORMOUS TONGUE.

PAUL
You're forgiven.

Emily gets teary-eyed hugging Duke as he continues to give

her a tongue bath.

PAUL (CONT'D)
I think my work here is done. Get
some rest, okay.

EMILY
I will.

PAUL
If you need anything tomorrow. Don't
hesitate to call, I've got a case
downtown but I'm reachable.

Emily smiles.

EMILY
Paul. I feel like you're my guardian
angel.

PAUL
That would mean God and I were on
speaking terms.

Emily and Paul share a moment.

MUSIC MONTAGE:

EXT. BACK ALLEY BEHIND EMILY'S HOUSE -- LATER THAT NIGHT

Paul parks his car behind Emily's house. He quietly hops

the fence. He REMOVES THE KEY from Emily's hiding place
over the lantern.

INT. GARAGE -- MOMENTS LATER

Paul removes the cover off the larger letterpress known as

the BEAST. He starts to run his fingers and his mind over
the moving parts.
 85.

INT. GARAGE -- LATER

Paul removes the large piston arm. The Beast is half taken
apart. He continues to remove parts like he has a pretty
good idea of the mechanics of it all.

INT. GARAGE -- LATER

Besides the frame, the LETTERPRESS NOW LIES IN NEAT PILES.

Paul is using a rag to wipe down and clean off various pieces
of the PISTON ARM ASSEMBLY. He is completely focused,
confident and in control of the process. He's covered in
grease, but he looks to have found THE PROBLEM.

INT. GARAGE -- LATER

Paul consults a diagram he's drawn. It's free hand but looks
amazingly DETAILED and PROFESSIONAL. HE EXPERTLY DROPS PIECES
BACK INTO PLACE ON THE MAIN FRAME.

INT. GARAGE -- LATER

Paul finds a can of PINK PAINT in Emily's garage.

EXT. GARAGE -- LATER

Paul closes the doors to the garage, puts the key back in
it's place. Dawn is approaching.

END MONTAGE:

INT. MOTEL 6 SHOWER -- EARLY MORNING

Paul SCRUBS GREASE and flecks of pink paint off of himself.

INT. MOTEL 6 BATHROOM -- LATER

Paul stands in front of a foggy mirror in his towel brushing

his teeth. Paul spits in the sink, then wipes the steam off
the mirror REVEALING HIS REFLECTION.

PAUL
(to the mirror)
Ken Anderson. Neil Brandt. John
Kettering. Miguel Nicita. Allison
Olsen. Steven Roberts. Eric Wang.
(beat)
Stick to the plan. You don't deserve
to love her.

DISSOLVE TO:
 86.

INT. CLINIC OFFICE -- LATER THAT DAY

A HUGE SYRINGE plunges into the HIP OF A MALE TORSO on an

examining table.

DOCTOR
How's the pain?

PAUL (O.S.)
(pained)
Fine.

WIDEN TO REVEAL it's Paul's buttock exposed.

DOCTOR
You did refuse the local.

The doctor PULLS BACK ON THE SYRINGE, filling it with a RED

LIQUID.

PAUL
It's not really giving unless it
hurts a little, right, doc?

EXT. MOTEL 6 PARKING LOT -- LATER

Paul pulls up in his rental car outside his room.

Paul gets out of the car and walks toward the door like HE'S
HAD A BAG OF CEMENT SHOT IN HIS ASS. He's carrying a gallon
of VINEGAR.

LARRY
What the hell happened to you?

Paul turns to find Larry the manager with a cigarette dangling

from his mouth.

PAUL
Fell off the monkey bars.

LARRY
You're an odd guy, Mr. Thomas.

Paul unlocks his door.

LARRY (CONT'D)
How long you staying for?

PAUL
I'm checking out for good tomorrow
or the day after.

LARRY
I fed your pet.
 87.

PAUL
Thanks.

Paul goes in his room and shuts the door.

INT. MOTEL 6 ROOM -- LATER THAT AFTERNOON

Paul is asleep draped across the bed with his clothes still
on. The JELLYFISH swims in the aquarium on top of the desk.

Paul's CELL PHONE RINGS quietly. He doesn't wake up.

INT. EMILY'S KITCHEN -- CONTINUOUS

Emily listens to Paul's cell phone message.

EMILY
(into phone)
Hey, it's Emily. It's about four
o'clock right now, and I thought... if
you're not doing anything tonight, you
might want to stop by. I mean if you're
still here in LA. But not because I
need you or anything-- just to hang
out... So call me if you want, okay?

Emily hangs up feeling foolish.

INT. MOTEL 6 -- THAT NIGHT

Paul sits on the bed. He's dressed to go out in JEANS and a

POLO SHIRT.

SFX: CELL PHONE RINGING

EZRA (O.S.)
...Hello?

PAUL
Ezra?

EZRA (O.S.)
...yes.

PAUL
It's Paul. Thomas. We spoke a few
weeks back.

INTERCUT AS NEEDED:

INT. EZRA'S LIVING ROOM -- CONTINUOUS

Ezra sits up on the couch and takes a deep breath.

 88.

EZRA
(into phone)
How did you get this number?

PAUL
I have all your numbers.

EZRA
It was you that helped me to my door
that day.

PAUL
That's right. I'm sorry I ran away.
I'm also sorry for being such an
asshole on the phone the first time
we spoke.

EZRA
I've been having trouble rectifying
the anti-Semite with the good
Samaritan.

Paul lets out a small laugh.

PAUL
I just needed to know you were a decent
man... kind, slow to anger, that kind
of thing.

EZRA
Why?

PAUL
Because I'm going to give you a gift.

EZRA
I don't need anything--

PAUL
Do good things with them anyway.
Okay, Ezra?

EZRA
(confused)
Paul? Wait--

DIAL TONE.

EXT. EMILY'S FRONT DOOR -- LATER THAT NIGHT

Paul waits at the door.

SFX: DUKE BARKING

Kate, the nurse, opens the front door and lets Paul in.
 89.

PAUL
Hi, there. Any word from the
hospital?

JUST INSIDE THE FOYER

KATE
No. But she did great today.

EMILY (O.S.)
Paul, I'll be right out.

KATE
Just let me know if you want me to
come back before eleven.

PAUL
Thanks, Kate.

KATE
By the way, I noticed a man in a car
across the street earlier today. He
came and went several times.

Paul looks across the street.

PAUL
What'd he look like?

KATE
I didn't really get a good look.
Normal enough, never can be too
careful though.

EXT. EMILY'S GARAGE -- LATER

Paul gingerly walks up to the garage doors with Emily.

EMILY
What happened to you?

PAUL
I slipped, fell on my ass. Hurts
like hell, actually.

EMILY
That's terrible. I'm sorry.

Emily opens the doors.

EMILY (CONT'D)
What are we doing, exactly?

PAUL
I think I figured out the problem.
 90.

Emily laughs.

PAUL (CONT'D)
Just let me take a look.

She crosses over to the beast and UNCOVERS IT.

Emily notices that the HANDLE is now PASTEL PINK. She also
notices it's different somehow.

EMILY
What did you do?

Emily runs her hands over the BEAST.

EMILY (CONT'D)
When did you...

PAUL
Give it a whirl.

EMILY
(not believing)
Cleaning it and fixing it are two--

Paul turns the SWITCH to the on position and the MASSIVE

FLYWHEEL and PISTON ARMS start to do revolutions.

Emily is dumbfounded that the Beast is operational.

EMILY (CONT'D)
How did you... do this?

Emily grasps the PINK HANDLE and gives it a crank which

initiates the PRINTING ACTION. She checks the platen and
looks over the whole machine working smoothly.

EMILY (CONT'D)
It never ran like this. The beast
is back!

Paul tries to mask his pride.

EXT. EMILY'S HOUSE -- LATER THAT NIGHT

SFX: LIGHT RAIN comes down.

Paul exits the house and walks down the front path with Duke
on a leash, he seems to almost have a SPRING IN HIS STEP
until he notices a MAN sitting in a RENTAL CAR ACROSS THE
STREET watching Emily's house.

Paul turns down the sidewalk just as the CAR DOOR OPENS and
the man comes up on Paul from behind.
 91.

MAN (O.S.)
You want to start talking or should
I go knock on Emily's door myself?

Paul turns to acknowledge the voice he knows all too well,

his brother Jack. Duke STANDS AT ATTENTION SNARLING.

PAUL
You shouldn't be here, Jack.

JACK
That makes two of us.

PAUL
Go home.

JACK
How was that security conference up
in San Francisco? Everything work
out alright for ya?

PAUL
Not here.

Paul keeps walking. Jack walks in the road alongside Paul

keeping his distance from Duke.

JACK
You don't get to call the shots
anymore.

PAUL
Let's call it a favor. I think you
owe me one.

Jack registers this. It's not enough anymore.

JACK
Look I know what you've done for me,
but you could be costing me my career
here. I just started down the rabbit
hole. How deep is it? How fucked
am I, exactly?

PAUL
I can get away tomorrow morning.
I'll explain everything.

JACK
Like why you paid Emily's tax bill
in full?

PAUL
(busted)
There's a Coffee Bean a block away.
I can meet you there at 7 a.m.
(MORE)
 92.

PAUL (CONT'D)
I'm asking you-- I'm begging you--
not here.

JACK
I can't trust you. Not anymore...

Paul stops dead in his tracks and turns to face his brother.

PAUL
She's sick. I couldn't run away
even if I wanted to, damn it.

Jack can see that Paul's sincere.

JACK
Give it to me.

After a moment Paul knows exactly what Jack wants. He reaches

in his back pocket and HANDS OVER HIS IRS COMMISSION.

JACK (CONT'D)
(checks it)
Where are you staying?
(off his confusion)
What hotel?

PAUL
Tonight? I'm not.
(having to lie)
Staying here... with Emily.

JACK
You're sleeping with this woman?

PAUL
Yeah.

JACK
Good. Give me your keys. I'll be
parked right out here on your bumper.

Paul looks at Jack.

JACK (CONT'D)
Or we can go inside and talk now if
you like. With Emily.

Paul hands his KEYS OVER. Jack doubles back toward his car.

JACK (CONT'D)
(over his shoulder)
Don't make me come knock on the door.

Paul is rattled. He turns back toward the house.

 93.

INT. EMILY'S FAMILY ROOM -- LATER

Emily is sitting with Paul in the family room. MUSIC is on.

EMILY
It's almost eleven. Can't wait for Kate.

PAUL
She's not that bad.

EMILY
She re-organized my entire kitchen.

PAUL
Well...

EMILY
All I did was ask her to empty the
dishwasher.

Paul laughs, but it's strained.

EMILY (CONT'D)
Are you okay? If you need to go--

PAUL
No. It's just that um... forget it.

EMILY
No... What?

PAUL
I checked out of my hotel today.
And... I was wondering if I could
stay here tonight. I mean in your
guest room.

EMILY
Of course you can.

PAUL
I'm sure I could find a hotel--

EMILY
No. Absolutely not. You're staying.

EXT. EMILY'S BATHROOM -- LATER THAT NIGHT

Emily wearing pajamas FIXES HER HAIR in the mirror. She's

nervous and fidgety about it.

INT. GUEST BEDROOM -- CONTINUOUS

SFX: RAIN OUTSIDE THE WINDOW.

 94.

Paul stands IN THE DARK looking out through the blinds KEEPING
TABS ON HIS BROTHER. Paul has underwear on but NO SHIRT.

PAUL'S POV: JACK SITS IN HIS CAR WITH THE SEAT BACK RUBBING
HIS EYES.

SFX: KNOCK AT PAUL'S DOOR

PAUL
Just a sec.

Paul steps away from the window and LOOKS FOR HIS SHIRT seeing
it across the room on the dresser. He makes a dash for it.

EMILY (O.S.)
Paul?

EMILY ENTERS as Paul is PULLING HIS SHIRT OVER HIS HEAD, she
sees a FLASH of the "M" SHAPED SCAR across his chest and the
SEMICIRCLE OF ONE INCH STITCHED INCISIONS under his ribs.
They're healing but STILL RED.

EMILY (CONT'D)
My God...

Paul pulls his shirt down and turns to face her.

PAUL
(angry)
I said wait.

EMILY
I'm sorry... I wasn't thinking.

Emily stands there confused. Paul sits down on the bed and
doesn't make eye contact.

EMILY (CONT'D)
I just wanted to say, that I was
glad you're staying the night... It
means a lot to me...

Paul nods his head but can't bring himself to look up.

EMILY (CONT'D)
Do you want me to leave?

PAUL
No...

Emily sits down next to Paul on the bed.

EMILY
Do you want to talk about it?

Emily puts her hand on his shoulder.

 95.

PAUL
I'd only be lying. I've been lying
to people for the better part of
three years now.

Emily doesn't understand, but she knows not to push.

EMILY
How did you fix my letterpress?

PAUL
I spent most of my childhood taking
things apart and putting them back
together...
(emotional)
I always wanted to be an engineer.

EMILY
What kind?

PAUL
The kind that flew people to the moon.

Emily leans in and starts to GENTLY KISS Paul's neck. He

allows her too.

EMILY
What stopped you?

PAUL
God had other plans.

Emily looks into Paul's eyes, she starts to remove his t-

shirt slowly. He flinches at first.

EMILY
I want to know you.

Paul allows her to take off his shirt. She slowly traces
her finger over the "M" shaped scar in his chest.

Paul relents and KISSES HER PASSIONATELY. They lay back

onto the bed and continue to kiss. After a few moments,
Paul finds himself partially on top of Emily. It's intense
yet incredibly gentle.

PAUL
Am I hurting you?

EMILY
That's not possible.

Paul kisses her again and then stops, AFFECTED BY HER WORDS.

EMILY (CONT'D)
It's okay... I'm fine.
 96.

Paul takes a long loving look at her.

PAUL
I can't. I'm sorry.

Emily nods her head somehow understanding.

EMILY
We could just lay here together...
Try to fall asleep.

PAUL
I'd like that.

DISSOLVE TO:

INT. GUEST BEDROOM -- LATER THAT NIGHT

The room is almost totally dark. Paul has his arm around
Emily SPOONING HER from behind under the covers. They both
have their eyes open, reflecting.

SFX: STEADY RAIN outside the window.

EMILY
When I stopped paying my bills...
October 2003.

PAUL
Yeah.

EMILY
I'd been attacked... raped.

Paul doesn't need anymore information.

PAUL
I'm so sorry.

EMILY
It's taken me a long time, to get
over...

Paul lays there quietly. He strokes Emily's hair. She holds

back tears, sniffling quietly.

EMILY (CONT'D)
Can't top that one can you.

A SINGLE TEAR falls down Paul's face unbeknownst to Emily.

PAUL
No...

EMILY
...You could try.
 97.

PAUL
Tomorrow. I promise. You can ask
me anything you want.

Emily turns over just enough to see Paul's face.

EMILY
You promise?

PAUL
Yes.

Paul REGARDS HER as if he's trying to MEMORIZE HER FACE.

BEFORE SHE CAN SPEAK...

PAUL (CONT'D)
Good-night, Emily.

EMILY
(letting it go)
Good-night, Paul.

Emily settles in and Paul goes back to holding her tightly.

DISSOLVE TO:

INT. GUEST BEDROOM -- LATER THAT NIGHT

Paul slowly climbs out of bed with Emily. He crosses to the

window and looks out through the blinds.

PAUL'S POV: JACK IS NOW ASLEEP IN THE CAR

Paul finds his pants on the floor. He puts them on quietly.

EXT. BACKYARD FENCE -- LATER

Paul hops the fence into the alley.

EXT. CITY STREET -- LATER

Paul walks along the road getting SOAKED BY THE RAIN.

EXT. PAY PHONE -- LATER

Paul waits inside. A TAXI pulls up and FLASHES IT'S BRIGHTS.

Paul exits the booth and gets in the cab.

INT. MOTEL 6 BATHROOM -- WEE HOURS OF THE NIGHT

During the following scene WE HEAR A PREVIOUS PHONE CALL.

 98.

911 OPERATOR (V.O.)

911 Emergency.

Paul is submerged in a BATHTUB FULL OF WATER. He's preparing

himself for something.

PAUL (V.O.)
I'd like to report a suicide.

911 OPERATOR (V.O.)

I have you at 412 Fair Oaks Avenue
in Pasadena.

PAUL (V.O.)
Yeah, the Motel 6. Room twelve.

Paul steels himself and then PUTS HIS ENTIRE RIGHT ARM into
the AQUARIUM WITH THE JELLYFISH that is now ALONGSIDE THE TUB.

911 OPERATOR (V.O.)

Who's the victim?

PAUL (V.O.)
I am.

CLOSE ON PAUL: As his right arm, shoulder and face CONTORT

AND SEIZE UP as if SILENTLY ELECTROCUTED.

SMASH CUT TO:

EXT. BLUE SKY -- DAY (FLASHBACK)

We follow behind in the trail of the SPACE SHUTTLE CORONADO

as it DESCENDS into the EARTH'S ATMOSPHERE.

INT. OFFICE -- DAY (FLASHBACK)

Paul stands in an EMPTY ROOM among SEVEN DESKS. Each desk

has personal affects on it. Each desk has a NAMEPLATE we
see several of the names, "Neil Brandt", "Allison Olsen"
"Miguel Nicita." WE REMEMBER THEM AS SOME OF THE NAMES PAUL
SAYS INTO THE MIRROR.

Paul picks up a PHOTOGRAPH OF A FAMILY off of the desk of

"Allison Olsen."

INSERT PHOTO: ALLISON with her husband and their two kids
at an amusement park.

Paul fights back tears.

A NASA MISSION PATCH is stuck in a corkboard next to a SMALL

3x5 PHOTOGRAPH beside her desk. Paul leans over and REMOVES
THE PHOTOGRAPH. We don't see who's in it. PAUL PUTS THE
PHOTOGRAPH IN HIS WALLET AND LEAVES.
 99.

INT. INVESTIGATION PANEL ROOM -- DAY (FLASHBACK)

An INVESTIGATION PANEL of twelve distinguished looking people

in suits, TEN MEN and TWO WOMEN sit in an elevated HALF MOON
above a solitary man, Paul, testifying before them. A
microphone is before Paul, but he's not talking. IT'S A
CLOSED DOOR SESSION. Everyone is listening to a TAPED
RECORDING being played back.

ON RECORDING:

WANG
(on tape)
Control's been stable through the
rolls that we've done so far, Houston,
we have good trims--

BRANDT
(on tape, interrupting)
Houston. Flight MMAC.

MISSION CONTROL
(on tape)
Go ahead, MMAC.

BRANDT
(on tape)
I've just lost four separate
temperature transducers on the rear
of the vehicle, hydraulic return
temperatures. Two of them on system
one and one each in systems two and
three.

MISSION CONTROL
(on tape)
Four hydraulic return temps?

BRANDT
(on tape)
To the rear outboard elevons. All
four of them are located in the rear
wing, right in front of the elevon
actuators. And there is no
commonality.

MISSION CONTROL
(on tape)
No commonality?

WANG
(on tape, concerned)
I'm now showing abnormal heat
signatures throughout tail section!
 100.

BRANDT
We've also lost the nose gear down
talkback and the right main gear
talkback-- I have every indication
of fire!
(jumbled, panicked)
Initiating protocol-- X@S%&#--

MISSION CONTROL
(on tape)
Shuttle Coronado, Houston, comm check.

Paul speaks into his microphone.

PAUL
Stop playback.

MISSION CONTROL
(on tape)
I repeat. Shuttle Coronado, Houston
comm check--

PAUL
Please. Stop.

The man seated in the center position within the panel, the
COMMISSIONER, 60, signals it's okay. The playback stops.

PAUL (CONT'D)
Thank you. I'm here to accept
responsibility. I don't need to--

COMMISSIONER
Mr. Thomas. This is not a private
execution before a public one. We
are not--

PAUL
I wish it was. Public.

COMMISSIONER
Our findings indicate that
responsibility lies equally with
over fifteen managers. Spanning
design, engineering, launch, in-flight
as well as re-entry--

PAUL
(interrupting)
As Launch and Entry Flight Director--

COMMISSIONER
Excuse me I wasn't--
 101.

PAUL
(interrupting again)
As well as the lead engineer on the
failed rear wing system, I am solely
and squarely to blame for the fire
in the rear wing that led to the
breakup of Space Shuttle Coronado
upon re-entry--

COMMISSIONER
Mr. Thomas. We asked you here today
to give your testimony--

PAUL
(not listening)
No one is more responsible for the
deaths of these seven astronauts
than I am.

Several of the panelists start GRUMBLING AMONGST THEMSELVES

while the rest look on in stunned silence.

COMMISSIONER
Mr. Thomas. I don't want to have to
ask you again--

PAUL
(forging ahead)
I'm entering into the record this
signed statement accepting full
responsibility along with my letter
of resignation.

An AID crosses and retrieves BOTH ITEMS from Paul.

PAUL (CONT'D)
I have furnished the same materials
to both the Houston Chronicle and
the NY Times.

COMMISSIONER
Mr. Thomas, we are in no way ready
to go public at this juncture--

PAUL
I'm truly sorry.

Paul stands up and exits amidst protests.

END FLASHBACKS:

DISSOLVE TO:
 102.

INT. PAUL'S MOTEL 6 ROOM -- LATER

SFX: BANGING ON THE DOOR

PARAMEDIC (O.S.)
Comin' in!

Two paramedics barge into the room. They are the same men
we met earlier in the movie, the black paramedic and his
partner. The black paramedic sees the WRITING ON THE CLOSED
BATHROOM DOOR. The words are scrawled in BIG BLACK MAGIC
MARKER...

BLACK PARAMEDIC
(reading the door)
"Dead guy in here. DO NOT touch the
box jellyfish. I repeat DO NOT touch
the poisonous box jellyfish. DO
read this."

An ARROW is drawn down the door pointing to...

A SHEET OF TYPE WRITTEN INSTRUCTIONS taped to the door. The

black paramedic rips the piece of paper off the door and
ENTERS THE BATHROOM, his partner in tow...

BLACK PARAMEDIC (CONT'D)

(stunned)
Holy shit.

PARTNER
(stunned)
What the fuck.

INSIDE BATHROOM

Paul lies in the BATHTUB FULL OF ICE. HIS ARM IS BENT ON AN

ANGLE hanging over the bathtub with the BOX JELLYFISH WRAPPED
AROUND IT. The Paramedics rush over to get a closer look.
PAUL IS STIFF AS A BOARD.

CLOSE ON PAUL: WE REMEMBER his face floating in water looking

like Munch's The Scream from the first scene of the movie
except his eyes are now fixed in a DEATH STARE.

The black paramedic READS FROM THE NOTE.

PARTNER (CONT'D)
(losing it)
What the hell do we do, huh!? Look
at this guy!

BLACK PARAMEDIC
It says we have to take him to Cedar's
and have them harvest his heart.
 103.

PARTNER
(getting closer)
That thing's tentacles are wrapped
around his arm!

BLACK PARAMEDIC
Don't touch him.

The black paramedic picks up a MANILLA ENVELOPE off the floor

marked "LEGAL PAPERWORK FOR HOSPITAL ATTORNEYS." WE RECOGNIZE
it as the envelope that Paul forced the Attorney to hand
over earlier.

PARTNER
How the hell are we suppose to get
him out?

The black paramedic sees a GALLON OF VINEGAR marked "Tentacle

Remover" beside the tub.

BLACK PARAMEDIC
Very carefully.

FADE TO BLACK:

CHYRON READS: 31 DAYS LATER

FADE IN:

INT. EXAMINING ROOM -- DAY

Emily sits with her cardiologist, DR. Hu. He listens to

EMILY'S BACK with a stethoscope.

DR. HU
All your tests indicate your body is
accepting the donor heart beautifully.
I think we can start to scale back
your anti-rejection drugs...

EMILY
Hard to enjoy. Under the
circumstances...

DR. HU
I know. I'm so sorry about everything
that you've been through...

Emily nods her head emotionally.

DR. HU (CONT'D)
There's something I need to tell
you.
 104.

Emily looks expectantly at Dr. Hu.

DR. HU (CONT'D)
His brother is here in town...
(off Emily's look)
I've held him at bay, to give you
time to recover. But he's looking
for answers.

EMILY
I don't really have any of those.

DR. HU
He's been investigating the last
year of Tim's -- who you know to be
Paul's -- life. It's quite a tale.

EMILY
That's what the police seem to think.

DR. HU
He left this address...
(handing her a note)
Asked that you come by some time
today. He has a family back in
Florida he needs to get home to.

Emily nods her head, but she's tortured by the thought.

EXT./INT. MOTEL 6 ROOM -- AFTERNOON

Emily knocks on the door to room "12."

JACK (O.S.)
Come in.

Emily ENTERS to find the ROOM IS A STY cluttered with

documents, a computer, fast food cartons. When Emily sees
the UNSHAVEN JACK she is taken aback by how much HE LOOKS
LIKE PAUL.

EMILY
My God. You look so much like Paul.

JACK/REAL PAUL
(gently)
I am Paul...

EMILY
I'm sorry. I knew that. I've had a
month now to get it straight. Your
brother also told me your name was Jack.

JACK/REAL PAUL
Tim wasn't lying about that.
(MORE)
 105.

JACK/REAL PAUL (CONT'D)

He's called me "Jack" since we were
kids. Short for "Crackerjack," 'cause
I always wanted to be a crackerjack
fighter pilot. And Tim always
promised to build me the fastest
plane on Earth...

Emily smiles.

JACK/REAL PAUL (CONT'D)

I settled for piloting a Ford Taurus
around Orlando collecting people's
overdue taxes.

Emily looks around the room. A collage of taped PICTURES OF

PEOPLE, FAXES and COMPUTER PRINTOUTS are sprawled across the
wall. Everything relates to the SEVEN DIFFERENT PEOPLE we
saw Paul affect throughout the movie.

JACK/REAL PAUL (CONT'D)

Tim stole my identity to get closer
to you. To all of you.

Emily crosses to the BATHROOM DOOR half open. She looks

inside then pulls the door toward her so she can read what
Paul wrote for the paramedics.

INSERT DOOR:

DEAD GUY IN HERE. DO NOT TOUCH THE BOX JELLYFISH. I REPEAT

DO NOT TOUCH THE POISONOUS BOX JELLYFISH. DO READ THIS.

JACK/REAL PAUL (CONT'D)

The Australian Box Jellyfish carries
a neuro-toxin that is incredibly
painful and extremely lethal. Multiple
stings can arrest a grown man's heart
in under six minutes.

EMILY
He wanted to suffer.

JACK/REAL PAUL
(nodding his head)
Tim went scuba diving at the Great
Barrier Reef years ago. I guess it
must have planted a seed.

EMILY
(tearing up)
How could this happen?

Emily walks along the WALL OF PAUL'S EFFORTS.

 106.

JACK/REAL PAUL
Tim was the youngest Flight Director
on a shuttle mission in the history
of the program. He never recovered
from the loss, he always talked about
making amends...

Emily crosses over to a small 3x5 PHOTOGRAPH pinned to the wall.

She REMOVES IT to take a closer look.

JACK/REAL PAUL (CONT'D)

(emotional)
How can a man atone for seven dead
astronauts?

INSERT PHOTO: SEVEN ASTRONAUTS IN FLIGHT SUITS POSING FOR

THEIR OFFICIAL SHUTTLE MISSION CREW PICTURE

Emily is reminded of something.

EMILY
With a pound of flesh... Seven pounds,
actually.

Jack looks at Emily affected by her words, he TURNS THE PHOTO

OVER IN EMILY'S HAND revealing SEVEN NAMES in Tim's
handwriting. IT'S THE PHOTO "TIM" CARRIED WITH HIM THE WHOLE
TIME.

INSERT BACK OF THE PHOTO:

1. Paul Thomas 2. Julie Kwon. 3. Glenda Harris. 4. George

Mamone. 5. Nicholas Adams 6. Emily Posa. 7. Ezra Turner

EMILY (CONT'D)
You were the first?

JACK/REAL PAUL
Lung cancer. Two packs a day. I
needed a double lobe transplant.
One came from my nearest living
relative...
(emotional)
Tim. Even though he was depressed
and apparently suicidal...

EMILY
I bet you didn't have to ask.

Jack shakes his head no.

JACK/REAL PAUL
He stayed with us for a month last
year after the procedure. Said it
made him feel useful for the first
time since the accident.
 107.

Jack looks at the wall and the faces of the SEVEN PEOPLE
Paul did things for.

JACK/REAL PAUL (CONT'D)

If I'd have known-- Any of this--
I swear to God...

Emily instinctively hugs Jack. They embrace until Jack nods

his head thanking Emily.

Emily looks down at the LIST OF NAMES on the BACK OF THE

PHOTOGRAPH.

EMILY
Can you tell me about them?

CUT TO:

FLASH: of a very pregnant Julie with friends happily trying

on MATERNITY CLOTHES

CUT TO:

FLASH: of Glenda, her kids and the puppy playing in the OCEAN

CUT TO:

FLASH: of George showing his family his KIDNEY TRANSPLANT

SCAR during dinner while his wife protests.

CUT TO:

FLASH: of a smiling LITTLE BOY riding his bike down the street
with NEW HAIR SPROUTING from his head.

BACK TO SCENE:

Emily's eyes are welling up with tears.

JACK/REAL PAUL
Apparently Paul never met Nicholas,
he just made an anonymous bone marrow
donation, the only stipulation that
it be a child.

Emily takes this in, then looks down at the LIST AGAIN seeing
her own name.

EMILY
How about Emily Posa?

JACK/REAL PAUL
She needed a heart... and apparently
to be loved.

Emily smiles at his kindness, then looks around the room.

 108.

EMILY
Why me? Why any of us?

JACK/REAL PAUL
Tim used the IRS database to filter
through names on transplant waiting
lists that he bribed from people.

Emily nods her head following along.

JACK/REAL PAUL (CONT'D)

When he got a match, meaning someone
Tim was a suitable donor for and had
tax trouble, he went and found out--

EMILY
If they were worthy.

JACK/REAL PAUL
That's right.

Emily registers the implication.

JACK/REAL PAUL (CONT'D)

People like Julie and Glenda he found
on his own I guess, depending on need.

Emily looks like she's having trouble catching her breath,

overwhelmed by it all.

JACK/REAL PAUL (CONT'D)

Are you okay? I know this is a lot to
hear. I waited as long as I could...

Emily nods her head, then looks at the WALL AGAIN.

EMILY
Which one's Ezra?

Jack points to the PICTURE OF EZRA.

EMILY (CONT'D)
He's the reason Paul went to Fresno, right?

JACK/REAL PAUL
Yeah. He's blind. Tim wanted him to have
his eyes for a double corneal implant.

EMILY
(dawning on her)
Oh my God...

Emily looks like it's all making sense however unbelievable.

She wipes tears from her eyes.

JACK/REAL PAUL
He was brilliant. Even in death.
 109.

EXT. MOTEL 6 PARKING LOT -- LATER

Jack walks Emily to her car.

JACK/REAL PAUL
Tim wasn't himself when he did this.
I need you to know that.

Emily nods her head, she knows all too well. Emily hugs
Jack and gets in her car.

JACK/REAL PAUL (CONT'D)

I can see that you loved him.

EMILY
I still do.

Jack nods his head appreciating her even more.

JACK/REAL PAUL
You'll call if--

EMILY
Absolutely.

Jack watches Emily drive out.

INT. HOSPITAL HALLWAY -- LATER THAT NIGHT

Emily comes out of the LADIES ROOM and crosses toward a ROOM.
The nurse on call, SARA, looks up from stocking a cabinet.

NURSE SARA
Visiting hours are over, Emily.

EMILY
I know. I'm gonna stay, okay Sara?

NURSE SARA
I just have to say it, that's all.

EMILY
I know. Good-night.

NURSE SARA
Hang in there.

INT. HOSPITAL ROOM -- LATER

CLOSE ON Emily who is sitting in a chair beside a bed. WE

SEE her hand is holding ANOTHER HAND.

PAN UP further to reveal a SEVERELY SCARRED AND LACERATED

ARM belonging to TIM, formerly known as Paul, STILL ALIVE
but unconscious in a COMATOSE STATE.
 110.

Emily puts her head down in prayer.

EMILY
Please God. Don't do this...
I love him.

DISSOLVE TO:

EXT. HORIZON -- THE NEXT DAY

THE SUN COMES UP over the HILLS OF LOS FELIZ in the distance.

INT. HOSPITAL ROOM -- CONTINUOUS

Emily is ASLEEP sitting in the chair half sprawled across

Tim's bed. A HAND comes into view and runs it's fingers
through Emily's hair.

SFX: ALARM STARTS BEEPING ON A MONITOR

TIM
(softly)
Hey...

Emily stirs. Tim continues to stroke her hair as she awakens

and registers that Tim's eyes are open, a peaceful smile
comes over her face.

TIM (CONT'D)
What are you doing sleeping in a
chair?

EMILY
Waiting for you.

TIM
I'm not supposed to be here. With
you. I had a plan.

EMILY
I know you did... I got my heart
while you were gone.

TIM
How's that working out?

EMILY
Really good... now.

Emily's eyes well up with tears.

A NURSE hurriedly enters the room and shuts off THE ALARM.
 111.

NURSE
Ma'm, I need you to step aside,
please. Mr. Thomas...

TEARS OF JOY FALL DOWN EMILY'S FACE as she backs away. Tim
never stops looking at her.

NURSE (CONT'D)
You've been unconscious for thirty-
one days. Do you understand what
I'm telling you?

TIM
(watching Emily)
Yes.

NURSE
Do you know where you are?

TIM
(to Emily)
I knew you were here. I could hear
your voice... I just couldn't get my
eyes to open until now.

Emily is trembling with emotion, nodding her head.

TIM (CONT'D)
I love you. You know that don't you?

Emily nods her head yes. She's completely overwhelmed.

As DOCTORS enter, nurses come and go and Tim and Emily never
lose eye contact, WE HEAR the following AS WE PULL UP AND
AWAY...

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

For as long as I can remember, I've
been able to take things apart and
put them back together. No matter
how complicated things got, I always
figured out how to control the
outcome, determining the fate of
things...

EXT. NEIGHBORHOOD PARK -- DAY (IN THE FUTURE)

WE MOVE across a BEAUTIFUL GREEN PARK from a BIRD'S EYE VIEW.

TIM (V.O.)
Until the day seven amazing people
died on my watch. I know now, I
wasn't meant to stop it from
happening... I never had control. I
couldn't even kill myself.
(MORE)
 112.

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

(beat)
My whole life I've kept God at a
distance. I can't do that anymore...

PEOPLE walking and jogging, a LITTLE LEAGUE GAME in progress,

A BIG FAMILY BBQ, a NEW MOM pushing a stroller.

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

He knows my name... And the number
of my days...

WE COME UPON TIM AND EMILY ON A BLANKET dressed in COLORFUL

CASUAL CLOTHES eating from a PICNIC SPREAD. Duke is nudging
Tim with a TENNIS BALL in his mouth.

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

I'm just trying to make the most of
them now.

Tim grabs the ball and gets up to play toss with Duke AS WE
HEAR THE FOLLOWING CONVERSATION during their game of toss...

EZRA (O.S.)
Thank you for calling Omaha Steaks.
How may I provide excellent service
for you today?

TIM (O.S.)
Ezra? It's Tim. I wanted to
apologize for not following through
with my promise.

EZRA (O.S.)
You brother said you had a sweet set
of baby blues coming my way.

TIM (O.S.)
Didn't quite work out. I'm sorry.

EZRA (O.S.)
I heard what you did for those people
Tim. But if you ask me you're still
the worst damn Indian Giver I've
never had the pleasure to meet.

WE HEAR Tim laugh after a second knowing Ezra's kidding.

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

Your voice... It's good.

TIM
I met someone.

WE SEE Tim return to the blanket in the scene. He and Emily

kiss, and laugh and horse around like kids.
 113.

EZRA (O.S.)
Hold on tight.

TIM (O.S.)
(heartfelt)
Is there anything I can do for you?

EZRA (O.S.)
Well Tim, we've got some great filets
on sale for $24.95. As you know,
they melt in your mouth.

TIM (O.S.)
(laughing)
But how do they taste?

EZRA (O.S.)
(tit for tat)
I imagine just like the pork.

TIM (O.S.)
I'll take a dozen.

FADE OUT.

THE END