A scenic view of a dreary looking morning - cars pass on the
interstate to work as the continues to raise behind a layer
of clouds. Rain beings to fall.
CUT TO:
74
71 INT. HIPSTER’S APARTMENT MUSIC ROOM - MORNING 71
Tommy and Joan are sleeping in each others arms. Tommy’s arm
is over Joan’s partially exposed breast. The room is dimly
lit by a filtered sun from outside through the windows.
Hunter peaks his head through the room’s sheet door.
HUNTER
(Whispering loudly)
Psst. Hey Tommy.
Tommy grunts.
HUNTER (CONT’D)
Tommy wake up.
Joan turns a little.
Tommy grunts again and then opens his eyes looking up very
tired at hunter standing at the sheet holding it open
slightly.
Joan doesn’t budge again.
Tommy reaches for the sheet near Joan’s waste.
Hunter realizes Joan is half naked and looks away with a half
smile haft embarrassed look on his face.
Tommy covers Joan up slowly trying not to disturber her from
her slumber. Tommy glides out of the mattress only wearing
his boxer and then begins to dress quietly.
TOMMY
(Quietly)
What’s up?
HUNTER
I was gonna go get some coffee. You
wanna come?
TOMMY
Now?
HUNTER
I was hopping to talk to you before
the girls got up.
Tommy has a hangover.
TOMMY
(Hesitant)
Okay, give me a minute.
75
HUNTER
Thanks man.
Hunter begins to slide back behind the sheet but stops at the
last moment turning back to Tommy.
HUNTER (CONT’D)
Hey?
TOMMY
Yeah?
HUNTER
You have a good time?
Tommy just snickers and waves at him to go away.
Hunter smiles and closes the curtain behind him.
Tommy puts on a pair of pants and a shirt. He stops and looks
at Joan.
Bending down, Tommy kisses her forehead.
Tommy grabs a pair of shoes and walks out of the room.
JOAN EYE IS OPEN ON THE MATTRESS.
CUT TO:
72 INT. PORTLAND DOWNTOWN COFFEE SHOP - MORNING 72
Tommy and Hunter are sitting in a back booth of the coffee
shop, each with a cup of coffee in front of them. A small
plate of french fries sits between them.
The coffee house has a few people scattered about the room at
tables. Some are by themselves while others are in small
groups chuckling about things to each other. A person is
writing on a lap top at a table.
HUNTER
What’s you think of everyone?
TOMMY
It’s amazing man. Beats the shit
out of Hermitsville.
HUNTER
Hermitsville isn’t horrible. We’ve
had some good times there.
76
TOMMY
Are you kidding? The place is a pit
of despair, a flushed tampon in a
mailing word.
HUNTER
You sound like all these Portland
people.
TOMMY
Actually,it was in one of those
Angela Bernard books.
Hunter laughs from the other side of the table.
HUNTER
Either way, you’d fit right in down
here.
TOMMY
You’re fitting in rather nicely.
Hunter reaches out and garbs a few french fries, dipping it
in some sauce.
HUNTER
I don’t know, I mean, it’s been a
good time, but, this shit isn’t
real ly w hat I’m look ing for
anymore.
TOMMY
What are you talking about? You got
Joyce, music, books, friends.
You've discovered something that
could be so great, the atmosphere,
damn Hunter this seems great.
HUNTER
W h a t ’ s w i t h t h a t w o r d ,
“atmosphere.” What is that? Why
don’ t yo u ju st s ay p lace or
something.
Tommy takes a drink of his coffee.
TOMMY
Whatever. So you’re changing your
mind about being here?
HUNTER
No, I’m here for the same reasons I
left. It was time to move on.
77
TOMMY
So what, you just gonna keep moving
or go back?
HUNTER
There’s a lot more to consider in
life then atmosphere.
TOMMY
I guess, this may not be a like
long station, but it’s good for a
while isn’t it?
HUNTER
Jesus, you make it sound like we’re
talking about you here Tommy.
TOMMY
(Pause)
No man, I’m just trying to figure
you out right now.
Hunter sips the coffee, and looks at Tommy for a moment.
HUNTER
Joyce is pregnant, Tommy.
TOMMY
(In shock)
What?
HUNTER
About two months. We found out last
week.
TOMMY
Holy Shit. Really? Holly shit.
A waitress comes over to refill their coffees. Hunter puts
his hand over his coffee cup.
The waitress only fills Hunter’s cup.
HUNTER
We just, we couldn’t handle things
right now. A time away.
TOMMY
What are you going to do?
HUNTER
We came down her to take care of
it. But we could do it. We drove up
to the clinic and drove away.
78
(MORE)
(Pause)
I’m gonna be a dad.
TOMMY
Fuck me. That’s great man.
HUNTER
I know, I’m thinking about so much
right now. My head is spinning with
thoughts about what’s going to
happen next, what things are going
to be like.
TOMMY
Well, you're right.
HUNTER
This place is nice but, I can't
have a kid here.
TOMMY
No, you can’t raise a kin in that
shit hole.
HUNTER
We turned out all right.
TOMMY
Are you serious? Nothing good comes
out of there.
HUNTER
Your mom came out of there.
TOMMY
She never left and she died there.
HUNTER
C’mon man. You know that shit is
not true in there somewhere. You’re
mom was a great person. She even
managed to do some great writing
even being located there then in
this city.
TOMMY
My mom killed herself because your
dad wouldn’t leave your mom.
Silence on the table. Hunter is not surprised.
Hunter looks over out the window at people moving back and
forth on the street.
79
HUNTER (CONT'D)
TOMMY (CONT’D)
Trust me man, you’re better off
raising your kid with that band of
hippies, than back there.
HUNTER
We’re getting married next week.
Courthouse thing, no big deal.
TOMMY
(Shrugs)
I guess that’s a good idea, tax
credit. You don’t have to get
married, you know? It is the 21st
century.
HUNTER
Ye ah , f or J o yc e t o ge t t he
benefits, we have to be married.
TOMMY
Benefits?
HUNTER
I’m joining the Air Force.
Tommy stairs his friend down from across the table.
TOMMY
Fuckin’ Christ man!
HUNTER
Is that how you’re gonna react to
everything? I was putting up with
your shit until now.
TOMMY
Sorry man, but your springing a
load on me here. What am I suppose
to be like?
HUNTER
How about a little support? It’s
not like we’re sixteen anymore,
Jesus, I’m twenty-three years old.
We gotta grow up sometime.
TOMMY
So, you’re just gonna run off to
the military? Get married? Raise a
little happy family in some other
town which is Hermitsville with
another name? You really think
you’re ready for all this?
80
HUNTER
I don’t know. Who really does, man?
I’m just doing what I feel is
right. I can’t just hang around
here, or in Hermitsville waiting
for a baby to fall out. Hanging out
might be good for you but I got to
grow up now.
TOMMY
What the fuck is that suppose to
mean?
HUNTER
Look, I know it’s been rough since
your mom died, but...
TOMMY
You don’t know shit!
The waitress and some customers look over at Tommy and
Hunters table in the back of the coffee house.
HUNTER
Alright, fine, I don’t know shit.
I’ll tell you what I see. I see you
working for your aunt washing
dishes. I see you pumping shit up
your nose, just to hide your
misery. And I see you fucking
around with a girl who’s been
thinking of you longer then you
ever have known. Come on Tommy.
TOMMY
Leave Joan out of this, you don’t
know what that’s about.
HUNTER
You’re right. You know you’re like
a brother to me.
TOMMY
Is that becomes your dad was
fucking my mom?
HUNTER
Fuck you!
The people in the room continue to look over at Hunter and
Tommy’s commotion.
81
TOMMY
I don’t need to deal with your
shit.
HUNTER
Tommy, stop always being like this.
Start listing and stop talking all
the time.
TOMMY
Stop putting yourself on me. I’m
not pregnant.
HUNTER
No, you’re my best friend you
fucking bastard. Joan is going to
be my sister soon. Joyce wanted
both of you. Sister have always
been talking since forever. Don’t
drag her down with you Tommy. If
you really love her, don’t fuck her
up.
TOMMY
You think me being with her is
going to fuck her up?
HUNTER
(Pausing)
Were just going in circles. You
know , wh en y ou w ent away to
college, she was always asking
about you. I think she believed in
you more than anyone else. Never
understood that. And then when you
came back, she never left because
of you.
They are silent for a minute.
TOMMY
Look man, I’m sorry for shouting,
you’re a great guy, my best friend,
and I know you probably love her.
HUNTER
Joyce and I want you and Joan to be
at the court house. Joan doesn't
know yet.
Tommy looks down at his coffee.
82
PANNING OUT THE WINDOW, RAIN BEGINS TO FALL FROM THE OVERCAST
CLOUDS HITTING THE WINDOWS OF THE COFFEE HOUSE.
CUT TO:
73 INT. HIPSTER’S APARTMENT - DAY 73
Tommy walks through the Hipster’s Apartment. There are a
number of people still sleeping on furniture and the floor.
Quentin is on a couch reading a book. Sparta’s feet rest on
his legs as she lays there awake.
Quentin looks up from the book and smiles at Tommy as he
walks by.
TOMMY
(Whispering)
Sorry about taking over the back
room.
QUENTIN
Don’t think twice, it’s alright.
Quentin turns to show Tommy the book he is reading: Bob
Dylan’s “Tarantula.”
CUT TO:
74 INT. HIPSTER’S APARTMENT MUSIC ROOM - MORNING 74
Inside the sheet created music room, Joan is sitting against
the wall reading Tommy’s mom’s journal. Her hair is still
slightly wet from taking a shower. She is wearing new and
clean clothes for the day.
Joan is reading intently from Tommy’s mom’s journal before
she notices Tommy standing in the room with her.
JOAN
(Placing the book down)
Hey, there your are.
TOMMY
Yeah, sorry to bail like that so
early, I didn’t really want too.
JOAN
Intimacy issues, I understand.
Joan laughs jokingly at her own comment.
83
TOMMY
Well, that too, but, no, Hunter
wanted to go get coffee.
JOAN
Where you guys talking about what
Joyce wants to talk to me about
when she takes me out for lunch?
TOMMY
That’s probably a good guess.
JOAN
You gonna tell me?
TOMMY
I think you should let her do that.
Joan picks up Tommy’s mother’s journal.
JOAN
I was reading your mom’s stuff. I
hope that okay, I know I'm sort of
nosey.
TOMMY
No, that’s fine.
JOAN
She was so good, so honest and
painful. I always knew she was
talented, but this is amazing.
TOMMY
Not bad for a Hermitsville woman.
JOAN
Not bad for any town or city. Plain
brilliance.
Tommy smirks before sitting on the mattress and starts taking
off his shoes.
Suddenly Joyce appears wearing only a towel around her wet
body. She had rushed through the sheet door not even
thinking.
JOYCE
Hey Joan...
(Startled)
...Oh shit. Hi Tommy, I didn't know
you were back.
84
TOMMY
Hi Joyce.
JOYCE
Showers open Tommy.
TOMMY
Thanks.
JOYCE
(To Joan)
I’m gonna go get dressed, then
we'll go if that’s alright.
JOAN
Yeah, Ill be right there when your
ready to go.
JOYCE
(Smiles)
Cool.
(Looks to Tommy)
Good to see you to Tommy.
Joyce leaves the room through the sheet door leaving little
wet foot prints behind her.
Tommy and Joan laughs to each other.
Joan stands up, walks over to Tommy and takes his hand before
kissing him gently.
CUT TO:
75 INT. HIPSTER’S APARTMENT BATHROOM - DAY 75
MUSIC: KIMYA DAWSON’S “REMINDERS OF THEM” IS PLAYING.
Tommy runs his head under the water alone.
Joan hugs him from behind surprising him a little. They close
their eyes as the water runs down their faces and down their
naked bodies.
MUSIC KIMYA DAWSON’S “REMINDERS OF THEM” FADES LOW TO THE
BACKGROUND.
JOAN
Tommy?
85
TOMMY
Yeah, didn’t you already shower?.
JOAN
(After a moment)
I need to shave my legs.
TOMMY
(Laughing)
Yeah you do!
Joan slaps his back and they begin to play around.
TIME ELAPSE.
Tommy reaches out for a towel and steps out. Joan pokes her
head out around the curtain.
JOAN
Hey. I love you.
Tommy stairs at her for a moment. The conversation with
Hunter is probably going through his head.
TOMMY
I love you too.
Joan smiles and goes back into her shower.
CUT TO:
76 INT. HIPSTER’S APARTMENT MUSIC ROOM - DAY 76
Tommy walks into the room. He finds some clothes and puts
them on. As he sits back down on the mattress, he notices
Joan’s journal sitting on top of her bag.
Tommy picks up the journal. He look around the room and then
opens it up to the first few pages.
Tommy flips through more pages. He spots sentences with his
name.
JOAN (V.O.)
“I know Tommy likes me, and I want
him to show me.”
Tommy continues to skim pages.
JOAN (V.O.) (CONT’D)
“His destructive ways, do not
reflect his beautiful heart”
86
There is a drawing of two people, which resemble Joan and
Tommy, ridding horse holding hands on a beach. A large sun is
in the shape of a heart.
Tommy smiles while looking down at the drawing.
As Tommy lifts up the book to place it back on top of the
bag, some envelopes fall out from the back pages.
Tommy picks them up.
ONE OF THE ENVELOPES SAYS: EVERGREEN STATE COLLEGE.
He reads the first line of the letter inside the envelope.
TOMMY (V.O.)
“We hope you consider our student
loan program to pay tuition for
attendance”
Tommy skips to the last line of the letter saying:
TOMMY (V.O.) (CONT’D)
“If you should find alternate means
of financing feel free to enroll at
any time.”
Tommy places the envelope down next to him then picks up the
second envelope.
The second envelope is a bank statement.
TOMMY SKIMS DOWN TO A PART STATING: 21,437.00.
TOMMY (CONT’D)
“Saving...21,437.00.”
Tommy quickly stuffs the bank statement back into its
envelope. Garbing the first envelope from Evergreen, Tommy
places both back into the Journal.
Joan reenters the room. Joan smiles at him as she enters
through the sheet door, her hair still wet but back in her
clothes when Tommy had returned back from the coffee shop.
JOAN
Awe, that’s better.
Joan flops down next to Tommy on the mattress.
87
TOMMY
(Hugs her from behind)
I’ll see you when you get back.
Tommy kisses her.
JOAN
Did I do something?
TOMMY
No, I just, I need some air, I’m
gonna go to the roof.
JOAN
Okay.
Tommy exits the room leaving Joan sitting on the mattress
alone.
Joan appears confused as she sits there.
CUT TO:
77 EXT. HIPSTER’S APARTMENT ROOFTOP - DAY 77
Tommy is putting on a sweatshirt as he enters up on the roof
top of the apartment building. He lights a smoke as well.
Jared and Tony are sitting on a couch smoking weed from a
bong. Jared has a guitar on his lap while Tony has the bong
in his. They notice Tommy open the rooftop door and step out.
JARED
Hey bro, want a hit?
Tommy finishes lighting his cigarette and walks over to a
chair by the couch were Jared and Tony are sitting.
TOMMY
Sure, why not?
Tommy takes the bong from Tony and takes a big hit.
TONY
Look at that man.
QUICK SHOT OF AN ELONGATED VIEW OF PORTLAND INTERSTATE.
TONY (V.O.) (CONT’D)
A million people, rushing to get
some where they probably don't want
to go.
88
JARED
(Sings while on guitar)
...and the girls go go go go.
TONY
Fuck you.
Tommy smirks at the joke. Jared moves the guitar over and
takes the bong from Tommy before starting to take his own
hit.
TONY (CONT’D)
So man, how you like it here?
TOMMY
It’s good shit. Enthralling.
JARED
(Blowing a large cloud)
Yeah, it has it’s moments
TONY
So are you a writer or something?
TOMMY
Not really.
TONY
That’s good man. I don’t think
there’s anything I with those books
they keep reading, that can’t be
put into song so much better.
JARED
That’s just because you're to
fucking stupid to understand
anything without a melody.
TONY
Fuck you I've read all that shit,
and I’m telling you...
(Pause)
...watch.
Tony reaches over to takes Jared’s acoustic guitar. He strums
a little to check the strings.
TONY (CONT’D)
Observe...
Tony breaks into a guitar and blues punk riff before
beginning to sing along with his stringing.
89
TONY (CONT’D)
Oh, I drive at night, hitch hike
throughout Denver to L.A. All the
same, hop a train do cocaine
Tony goes into guitar solo.
TONY (CONT’D)
High on bennis writin’, fighin, ...
There is an awkward silence.
TOMMY
On the road?
TONY
Yes, just needs some music!
Jared stares at Tony like he’s an idiot.
TONY CONTINUES TO PLAY AS BACKGROUND ELEVATOR MUSIC.
JARED
What do you do Tommy?
TOMMY
(Pauses)
I don’t know
TONY
(Interrupting from his
playing)
Sound good to me.
Joan and Joyce appear from behind. They had snuck up through
the door during Tony’s music playing
JOAN
Hey, we’re leaving now.
Tommy turns not noticing Joan on the roof top with him before
gets up and walking toward them.
TOMMY
So, I'll see you when you get back.
JOAN
Yeah, you sure you’re okay?
TOMMY
I’m great, never been better.
90
JOAN
Okay Tommy.
Joan gives Tommy a kiss and walks away back towards the
rooftop door.
Joyce continues to stand looking at Tommy as Joan walks past
her. Before Joyce turns to leave with Joan takes a step back
to Tommy.
JOYCE
If you break her heart, I’ll cut
you dick off.
Tommy nods.
Joyce smiles an evil smile and turns towards the rooftop door
to exit.
Tommy returns back to the chair he was sitting in.
TOMMY
You guys don’t have anything
stronger?
TONY
Na man, I can’t do that shit,
throws me off focus.
THE SOUND OF THE ROOFTOP DOOR SLAMMING SHUT OFF CAMERA.
Jared reaches into his coat pocket. He pulls out a small
white pill.
JARED
Try this. Free of charge.
Tommy stares at the pill in Jared’s hand for a moment.
TOMMY
What is it?
JARED
It’s your Visa, man.
TOMMY
Why do you call it that?
JARED
Because it will take you anywhere
yo wanna go.
91
TONY
(Interrupting from his
music playing)
You’re so fucking lame.
JARED
Oh yeah Mr. Cliff’s notes musician.
Tommy looks at the pill once again.
THE PILL IS STILL RESTING JARED’S OUT THROWN HAND.
Tommy takes the pill and puts it in his mouth swallowing it
down with no liquid.
TOMMY LOOKS AT THE JARED AND TONY SITTING ACROSS FROM HIM
JUST STARING IN TO HIM WITH NO EMOTION ON THEIR FACES. TIME
SLOWLY FOR A MOMENT AS THE PILL MAKES ITS WAY DOWN TOMMY’S
THROAT.
TIME COMES BACK TO NORMAL AT THE END OF THE SWALLOW.
JARED (CONT’D)
It’s good shit. I wouldn’t hangout
on the roof for to long though.
TOMMY
What should I do?
JARED
Just relax. Let your mind be fee to
wander.
TONY
Yeah, and go take a piss before you
can’t stop it.
Tommy nods, stands up, salutes the two men, and heads for the
rooftop door exit to head down into the apartment.
TOMMY MOVES OFF CAMERA. THE SHOT REMAINS ON TONY AND JARED.
TONY (CONT’D)
Seems like a nice guy.
JARED
Yeah. Lets see what happens.
92
THE SOUND OF A DOOR SLAMMING SHUT OFF CAMERA.
CUT TO:
78 INT. HIPSTER’S APARTMENT - DAY 78
THERE IS SOFT JAZZ MUSIC PLAYING FROM SOMEWHERE IN THE ROOM
BUT ITS LOCATIONS CAN’T BE FIGURED OUT. IT’S AS IF ITS
PLAYING FROM THE WALLS, ROOF, AND FLOOR. THE MUSIC IS ALL
AROUND THE ROOM, THE MUSIC IS IN THE ROOM ITSELF.
Tommy walks out of the bathroom zipping his jeans fly up. He
looks around at the apartment: there are people sitting
talking.
Tommy moves to one of the couches and sits down. Quentin look
up at him stopping his own conversation.
QUENTIN
Visa?
Tommy nods at him his eyes falling back deeper and deeper
into his head.
QUENTIN (CONT’D)
Well, have a good trip.
Quentin laughs and goes back to his book - The other person
is no longer in the room talking with Quentin.
NO GO KNOWS, “COMING UP WITH THE BENDS” STARS TO PLAY.
Suddenly things become very tripy.
TOMMY SITS STARING STRAIGHT AHEAD, HIS THOUGHTS MOVING VERY
SLOWLY. THEN VERY QUICKLY, GOING WITH THE SOUND OF THE MUSIC.
PEOPLE SIT DOWN NEXT TO HIM, HE DOESN'T EVE NOTICE THEM.
QUICK IMAGES APPEAR AS TOMMY REMAINS STILL:
ALLUSION OF HIS GRANDPA SITTING BY THE SHACK WITH “EAT PUSSY”
WRITTEN ON THE SIDE OF THE SHACK.
JOAN’S SMILING FACE OUTSIDE THE TOWN AND COUNTRY STORE.
93
A LARGE GATHERING OF PEOPLE ON A CAMPUS LAWN, SHOUTING. BLOOD
SPLATTERS ON THE CAMERA’S SCREEN.
HUNTER AND JOYCE DRIVING THROUGH HERMITSVILLE.
SHERIFF ELY, MADGE, AND AUNT SARA SHAKING THEIR HANDS AT THE
SAME TIME.
Tommy does not move as people begin to dance around him.
A softer image of Tommy and Joan making love appears, but it
soon turns to a more graphic, sex from behind, slow motion
sequence; Joan is crying, Tommy looks angry. The letters from
Evergreen and the bank float on to Joan’s back.
Quick shot of Tommy sitting in a class room listening to a
professor.
Tommy’s mother is pulling on the arm of a man walking out a
door.
Tommy’s mother is crying as she dumps a handful of pills into
her mouth and continues to cry. She throws the bottle. It
lands by a pic of Tommy.
Tommy stands in a black suit by his mother’s grave. The rain
is pouring down. Joan is standing away.
Tommy’s closes his eyes.
NO GO KNOWS, “COMING UP WITH THE BENDS” FADES AWAY.
FADE TO BLACK:
ACT III
79 INT. HIPSTER’S APARTMENT - AFTERNOON 79
TOMMY OPENS HIS EYES.
Tommy is laying on the couch. As he looks up and around the
room, his eyes dotting left and right with out his head, he
sees Joan sitting and reading his mother’s journal. He moans
as he sits up.
JOAN
Welcome back.
94
TOMMY
(Rubbing his eyes)
What time is it?
JOAN
Late, everyone else went to dinner
before the show.
TOMMY
I’m sorry.
JOAN
Is this something I should get used
to?
TOMMY
What do you mean?
Tommy searches his pockets for his pack of cigarettes.
JOAN
You, getting stoned all day and
passing out. Nothing new I guess.
TOMMY
Not everyday I hope.
JOAN
I called Sarah for you.
TOMMY
Fuck , wa s I supp ose to w ork
tonight.
JOAN
I told her you were sick. She said
when you feel better, come get your
last check.
TOMMY
I guess we don’t need to go back
for a while then.
JOAN
I have to be at work at Tim’s by 9
tomorrow.
TOMMY
Why don’t we just stay here.
JOAN
You’re not serious.
Tommy finds his cigarette’s laying next to him on the couch.
95
TOMMY
Sure, why not? My head is killing
me.
JOAN
Oh, I don’t know because it’s a
stupid horrible decision.
Tommy pulls one out of the pack and lights it from his
lighter.
TOMMY
(Surprised)
Wow, alright.
JOAN
I have work. I have school.
TOMMY
You can do all that here.
JOAN
You know what, If you like it so
much you stay here.
Joan gets up off the couch and walks towards the music room.
Tommy is left sitting on the couch alone smoking his
cigarette.
CUT TO:
80 INT. HIPSTER’S APARTMENT MUSIC ROOM - AFTERNOON 80
Joan grabs a bag and walks back out towards the door. Her
journal is noticeable in the bag.
CUT TO:
81 INT. HIPSTER’S APARTMENT - AFTERNOON 81
Joan reenters the main apartment. Tommy continues to sit on
the couch with smoke coming off his cigarette. Tommy just
sits.
JOAN
You coming to the show?
Tommy stands up, puts on his shoes on, and walks towards the
door.
Joan walks out the door fallowed by Tommy.
96
The door shuts behind them. The Hipster’s Apartment is quiet.
CUT TO:
82 INT. TONIC LOUNGE - NIGHT 82
The bar is a typical hipster scene. Posters of Ellio Smith
and show flyers hang everywhere on the walls. New flyers
cover old ones. There is a small, neon lit stage at one end
of the room. People are sitting all over the room at tables,
in booths and at the bar drinking and talking with each
other.
The Transcending Giants are setting up their equipment to
play their set as Tommy and Joan enter the bar from the
street entrance.
AS THE DOOR IS OPENED, OUTSIDE ON THE STREET, CARS DRIVE BY
AND SOME HOMELESS PERSON ASKS FOR A CIGARETTE FROM SOMEONE
SMOKING. THE DOOR CLOSES BEHIND THEM.
As Joan and Tommy show a bouncer their ID’s and are being
stamped, Sparta is the first to notice them enter the bar.
She runs overt to them just as they leave the bouncer and he
begins checking someone else ID.
SPARTA
Hey, you’re just in time, they’re
about to go on.
TOMMY
I’m gonna get a drink first...
(To Joan)
...you want anything?
JOAN
Vodka Tonic.
TOMMY
(Slightly surprised)
Really?
JOAN
What, you’re the only one who can
get shit faced?
Tommy shakes it off as he walks over to the bar counter.
ANNOUCER VOICE (O.S.)
All right everybody, how are you
tonight?
97
Tommy turns around as the crowed cheers and applause.
ANNOUCER VOICE (O.S.) (CONT’D)
O’ yeah. The night is young as so
are many of the ladies her tonight.
Ladies cheer around the room.
ANNOUCER VOICE (O.S.) (CONT’D)
We are going to be continuing the
show tonight her with Transcending
Giants her just shortly. So grab a
drink but don’t take to long cause
the sound check is almost done.
Tommy makes it to the bar counter.
The bartender working looks nearly identical to Dale at Tim’s
Timber Tavern.
BARTENDER
What would you have?
SUDDENLY A WAVE OF LOUD FOLK/FUNK MUSIC STARTS FROM THE
STAGE.
TOMMY
Shot of Bourbon and a Vodka Tonic.
BARTENDER
Right up.
The Bartender pours the drinks, Tommy pays the bill with a
little tip money.
Joyce appears next to Tommy as he takes the shot of bourbon
he ordered.
JOYCE
What the fuck is your problem?
TOMMY
Another please.
BARTENDER
You got it.
The bartender pours a second shot for Tommy.
JOYCE
Tommy, what’s your problem?
Tommy looks over seeing Joyce standing there.
98
TOMMY
Hey Joyce.
( L o o k s o v e r a t t h e
bartender)
A shot of bur...wait, a soda for
the lady.
JOYCE
Come on Tommy, knock it off, stop
being such a asshole jerk.
TOMMY
(Lifting the second shot)
What I do best.
JOYCE
What? Be a complete asshole?
Tommy finishes his shot with an exhale of enjoyment and
burning.
TOMMY
(Wipes his mouth)
You shouldn’t talk like that,
you’re gonna be a mother you know.
JOYCE
She loves you Tommy you stupid
fucker. She has for a very long
time.
Tommy turns to Joyce.
TOMMY
What the fuck should I do Joyce?
Huh, I lover her too. I can’t, and
don’t need to explain it to you how
much I love her!
JOYCE
Let her go.
TOMMY
Let her go? I just got her!
JOYCE
No, you’ve had her for years. You
were just to stupid to notice. And
it’s obvious you're not gonna to
change.
TOMMY
So, you’re afraid I’m going to ruin
her too. You think that too?
99
(MORE)
Just because you are trapped
doesn't mean she is.
JOYCE
I think these last few days will
close one chapter of her life, so
she can’t open another.
Joan looks from a distance at Tommy and Joyce at the bar
counter.
The audience is clapping along with the music playing from
stage.
JOYCE (CONT’D)
If you can’t change for her, you
never will.
Joyce storms back to her seat in between Sparta and Joan.
Tommy watches Joyce move away. Tommy stands for a moment by
himself before fallowing after.
CUT TO:
83 INT. TONIC LOUNGE STAGE TABLE - NIGHT 83
TOMMY ENTERS FRAME HOLDING JOAN’S DRINK. HE SETS THE DRINK
DOWN BY HER ON THE TABLE. SHE LOOKS UP AT HIM AS HE SITS NEXT
TO HER ON THE OPPOSITE SIDE OF JOYCE.
JOAN
Look, don’t listen to her, she’s
just being a sister.
TOMMY
I know. Probably a pregnancy thing.
JOAN
Look, I know you’ll change. I’m
going to help you. I’m not hoping
you change for me through. Do it
for yourself.
Tommy throws down another shot at Joan’s remarks.
TOMMY
(Pause)
I’m gonna go outside for a smoke.
JOAN
You want me to come.
100
TOMMY (CONT'D)
Tommy point upward at Hunter on stage.
TOMMY
No. No. That’s your future brotherin-
law. Show him some love.
Joan leans over to kiss him. Tommy kisses her back then walks
towards a back door as the Transcending Giants finishes
playing a song.
CUT TO:
84 EXT. TONIC LOUNGE ALLEYWAY - NIGHT 84
Tommy storms out the back door onto the back street alleyway.
He walks through a large crowd of people smoking and then
ducks into a secondary section -deeper into an alleyway.
Tommy falls to his knees and begins to cry uncontrollably. He
thinks he’s alone.
Tommy moves from his knees and sits down next to a garbage
can as he continues to sobs. The tears flow steadily. His
pain is evident.
Slowly Tommy stops crying regaining some composure. He pulls
out a cigarette and starts to smoke. He looks to a corner and
sees two men snorting powder from each others hand. It is
obvious that they are doing cocaine.
Tommy stands up, brushes his eyes and walks over to them. As
he gets closer to the men, he realizes that they are drag
queens.
DRAG QUEEN NUMBER ONE
How’s it goin’ suga? You want in on
this?
TOMMY
How much?
DRAG QUEEN NUMBER ONE
Easy now baby, this is the good
shit. Pace yourself. You been
crying.
TOMMY
No, smoking some.
DRAG QUEEN NUMBER ONE
O’ I see that in your eyes then.
101
TOMMY
But that’s the good stuff?
DRAG QUEEN NUMBER TWO
You lookin’ for a date tonight.
TOMMY
(Pause)
No, I, Uh, I got a girlfriend
waiting.
DRAG QUEEN NUMBER ONE
Hmm, I bet you worth the wait to.
The drag queens laugh - Tommy smiles.
DRAG QUEEN NUMBER ONE (CONT’D)
Tell me suga, what’ch you doin’ in
this dirty ole alley fo’? When you
got a girl in there.
TOMMY
I don’t know...
(Pause)
...I guess I’m trying to save her.
DRAG QUEEN NUMBER TWO
Oh, a knight in shining armor tail.
What’ch you savin’ her from suga?
TOMMY
(Thinks for a moment)
From a guy who does coke with drag
queens.
Tommy turns around and starts to walk away without scoring
some cocaine.
DRAG QUEEN NUMBER ONE
Don’t give yourself to much credit
there asshole!
Tommy rounds the corner onto the main street of downtown
Portland.
DRAG QUEEN NUMBER TWO (O.C.)
We probably more woman than that
little bitch!
Tommy opens the door and walks back into the bar through the
main entrance.
CUT TO:
102
85 INT. TONIC LOUNGE - NIGHT 85
The Transcending Giants are signing off and beginning to pack
up their equipment.
Tommy walks from an opposite direction and sits down in his
chair.
Hunter sits next to Tommy - his hair is sweaty and his face
is flushed.
HUNTER
(Still out o f bre ath
slightly)
We’re you been man? You missed the
whole show.
TOMMY
I’ve been thinking about what you
said man.
HUNTER
Hey look man, I didn’t mean to
sound like a dick.
Joan sits down in her chair.
JOAN
Welcome back. What’s up with you
two?
TOMMY
Forget it. Well talk later.
JOAN
No I want to talk now, that’s why I
came to sit next to you.
TOMMY
(Stares her down)
Why aren’t you in school?
JOAN
I am, I’m just finishing up with...
TOMMY
No, I mean a real school. Evergreen
maybe.
JOAN
What are you trying to ask me?
103
HUNTER
Alright look, this is getting to
intense.
A Gathering Storm introduces themselves to a large round of
applause from the audience.
TOMMY
I know, to much.
JOAN
What exactly do you think you know?
TOMMY
I know about the money, and about
Evergreen.
JOAN
You read my mail?
TOMMY
Don’t give me that shit, if you
didn’t want me to see it you
wouldn’t have brought it with you
for no reason.
Joan pauses for a moment trying to figure out what to say.
Instead she stands up and runs out the front door.
The bouncer at the door watches her as she moves through the
door.
TOMMY (CONT’D)
(Sighs to himself)
Fuck me.
Hunter garbs Tommy’s arm.
HUNTER
Let her go Tommy.
Tommy shoves Hunter’s arm away.
TOMMY
Fuck off!
Tommy changes his attention to Joyce sitting a few seat down
at the table. He stairs at her for a moment.
TOMMY (CONT’D)
I guess you guys are getting what
you wanted...
(Pause)
...have a good life.
104
Tommy leaves the chair and runs after Joan, out the door and
into the night.
The Tonic Lounge’s bouncer watches as Tommy moves through the
front entrance door.
Joyce and Hunter appear to be dumb founded and upset.
Hunter moves to sit next to Joyce.
CUT TO:
86 EXT. PROTLAND STREETS - NIGHT 86
Tommy is running to catch up to Joan, who is briskly walking
away up the street. Cars are driving next to the sidewalk.
Groups of people are hanging out along the street. As Tommy
gets closer he reaches out and grabs her arm from behind.
JOAN
Get your fucking hands off of me!
TOMMY
Will you just listen?
A group of young people stare up at them smoking their
cigarettes as Joan stops walking in front of them.
JOAN
Why would I want to listen to you.
TOMMY
Look, I just want to know, why?
JOAN
(Crying)
Jesus, are you that fucking stupid.
Do you just need to hear it for
your own fucking ego!
TOMMY
You stayed because of me?
JOAN
I waited because of you. I took
things slower. That shit hole
community college hoping yo would
change!
TOMMY
Then why still wait?
105
JOAN
Because yo wanted me now.
TOMMY
You were just going to bum around
Hermitsville waiting for me to get
my shit together?
JOAN
It’s what you do when you love
someone! It’s been seven years I
loved you!
TOMMY
What?
JOAN
You drove me to school in your
mom’s car. You were the nicest boy
I ever knew. I had dreams about us.
Going away to college. Laughing
about it behind us.
TOMMY
They why did you wait all this
time?
JOAN
I was scared and then when you came
back from school, back into my
life, everything changed. There was
nothing I could do. I just settled
for being your friend. And it hurt
to watch you kill yourself more and
more eac h da y. B ut w e ha d a
breakthrough the other night; I
finally got your embrace.
TOMMY
Yo u ju s t ex p ec t m e to dr op
everything just like that?
JOAN
I still believe in you.
TOMMY
Everybody wants to talk about
change. What if I don’t want that?
JOAN
Happy?
JOAN (CONT’D)
Don’t let me stop you.
106
Joan stops crying and wipes a tear - she has made a change
inside - a realization.
JOAN (CONT’D)
Just know that I loved you, and I
know you loved me. Don’t hide
behind my not going to school
sooner because of you. You know
that is bullshit. I would have
waited a thousand lifetimes for you
to change and love me.
Tommy stands still and watches Joan walk away down the street
her head lowered looking down at the cement at her feet. He
watches her as though she is walking away forever.
The kids on the street are in awestruck in what they have
just witness randomly on the street.
Tommy slowly turns back in the direction he come from.
RAJA RASA’S “BERKLEY P.D.” BEGINS TO PLAY. THE CITY GROWS
SILENT WITH ONLY THE MUSIC PLAYING.
Tommy is closing in on the Tonic Lounge.
The Bouncer is outside checking ID’s.
Tommy walks past the Tonic Lounge, past the group of people
in line to get in.
The Bouncer fallows Tommy with his head panning with him.
Tommy continues to walk through the night. He walks past
people, empty stores, and warehouses.
CUT TO:
87 EXT. HIPSTER’S APARTMENT - NIGHT 87
Joan is leaning against the tire of Tommy’s car crying
heavily.
CUT TO:
88 EXT. PORTLAND STREETS - NIGHT 88
Tommy continues to walk for a good period of time. He walks
along a glistening black river.
107
He stops and stares out across the vast still water. The wind
is not blowing, the river is like glass.
CUT TO:
89 EXT. INTERSATE BUS STOP - NIGHT 89
Joan smoking a cigarette standing under a bus stop light.
A Greyhound bus pulls up screeching as the brakes are on.
THE SIGN ON THE SIDE OF THE BUS TURNS ON STATING:
LONGVIEW/KELSO THEN QUICKLY SWITCHES TO SEATTLE.
Joan puts out her cigarette and moves towards the opening
slider doors. People begin to board the bus.
CUT TO:
90 EXT. PORTLAND STREETS - NIGHTS 90
Tommy stares at a restaurant that barely appears open, and is
dimly lit.
A SIGN ON THE TOP OF THE BUILDING SAYS: TIO PEPG’S ITALIAN
CUISINE.
A middle aged coup walks out through the front glass doors,
down some steps, and get into a nice car in the parking lot.
Tommy reaches the steps and walks up to the front glass door
entrance of the restaurant.
CUT TO:
91 INT. TIO PEPG’S LOUNGE - NIGHT 91
The lounge is a very small, dark, and has a sophisticated
feeling to the place. Bearded yuppies are on dates, drinking
wine, adjusting their ties and laughing at stupid jokes.
Tommy appears rightly out of place as he ushers away from the
host and ducks down to the small bar by the front window
looking out at nothing.
The Bartender leaves his till to serve Tommy. The Bartender
looks similar to Dale.
108
DALE THE BARTENDER
How may I help you sir?
TOMMY
This is a nice place. I don’t
suppose you have PBR?
The Bartender smirks and reaches deep under the bar pulling
out a PBR. He takes out a crystal glass after he crakes a can
of Pabst and begins to pour liquid gold into the nice
crystal.
DALE THE BARTENDER
You’d be surprised what a place
like this has below the bottom
shelf.
Tommy takes the glass of Pabst from the Bartender.
TOMMY
Yuppy slumming.
DALE THE BARTENDER
You know it. Hope you don’t mind
the glass. Manager has “appearance”
issues.
TOMMY
No problem man.
DALE THE BARTENDER
Anything else?
WOMAN (O.C.)
I’ll have another Long Island if
the gentleman is willing?
Tommy and the Bartender turn towards the voice from each side
of the bar counter. It is the one and only Angela Bernard.
The Bartender turns back to Tommy who is still looking at the
woman. The Bartender turns away from Tommy to start making
the Long Island.
TOMMY
Anything for the modern, “Charlotte
Brunte.
ANGELA BERNARD
How sweet you are. You sure know
the back of your novels.
TOMMY
You got me.
109
ANGELA BERNARD
(After an awkward silence)
So what sorrow brings you all the
way out here.
TOMMY
Sorrow?
ANGELA BERNARD
You’re a dozen blocks from where
the rest of your writers and
artists find themselves. Hell,
you're at least fifteen years
younger then everyone in here.
TOMMY
I’m no writer.
ANGELA BERNARD
Then what are you kid?
Tommy drinks his beer.
TOMMY
I came to that conclusion tonight -
I am a guy who tries to do coke
from the hands of random cross
dressers in dark downtown alleys.
Angela shows no sign of shock on her face as if she has heard
this story before.
ANGELA BERNARD
You sure you're not a writer with
that story kid?
Tommy and Angela laugh for different reasons.
ANGELA BERNARD (CONT’D)
There’s something about you.
Angela drinks her drink. Tommy drinks his drink.
ANGELA BERNARD (CONT’D)
So, what really brings you to this
retirement home of intellectuals
and once somebodies.
TOMMY
It’s nothing special.
ANGELA BERNARD
You’re really not from around here
are you ?
110
(MORE)
I didn’t ask how special it was I
asked what brings you here tonight.
TOMMY
Love and loss.
ANGELA BERNARD
A girl.
TOMMY
Yes.
ANGELA BERNARD
You may be a writer yet, or from a
family of writers. Am I close.
TOMMY
No, I’m from up north, about an
hour, small town called Her...
ANGELA BERNARD
(Quickly responding)
Hermitsville!
Tommy has a look of confusion on his face as if wondering how
this woman across on the chair next to him knows this place
of Hermitsville.
TOMMY
Yeah? How’d you know?
Angela laughs at her own interruptions then lights a
cigarette in doors while still giggling to herself.
ANGELA BERNARD
I know who you are. I can’t believe
this. The odds alone.
TOMMY
And I would be what?
ANGELA BERNARD
Your name wouldn’t happen to be
little Tommy Voyar?
TOMMY
How do you know my name?
ANGELA BERNARD
I know all about you, of course,
last time I saw you, you were
running around dressed like a Ninja
Turtle.
111
ANGELA BERNARD (CONT'D)
TOMMY
You knew my mom?
ANGELA BERNARD
Best writer I ever have been able
to met. Your father too. A family
of writers.
TOMMY
Holy shit.
ANGELA BERNARD
I have always wondered what came of
you, so what the story Mr. Voyar?
TOMMY
Typical teenage anks. My mom died.
I drink.
ANGELA BERNARD
I read about your mom a few years
back when it happened. Even thought
abou t go ing to t he f uner al,
couldn’t do it though, couldn’t do
it.
TOMMY
How couldn’t you make it to a
funeral?
ANGELA BERNARD
We just went our separate ways. I
was only passing through at the
time when I met you mom, ended up
stay ing in H ermi tsvi lle and
Longview a little longer than I
wanted too. So, I was stayed with
your father for a while. To which I
met your mom through.
TOMMY
A once upon a time mystery is
solved, you’re the girlfriend.
Fucking small world down her in the
big fucking city in a small bar.
ANGELA BERNARD
Oh God no! No, Robbie was all your
mom’s. Not one person could come
between those two.
Angela takes a deep drag off her smoke.
112
ANGELA BERNARD (CONT’D)
Robert just, wasn’t ready to settle
down with your mom. He loved her
but I was living a double life. He
was proud of you.
Tommy smirks at the notion Angela spouts.
TOMMY
My mom had always told me he died.
Motorcycle accident. She made him
out to be the though guy.
ANGELA BERNARD
You’re mom just didn’t want you to
get hurt.
Tommy finishes off his beer with an exhaust of air of
pleasuer.
ANGELA BERNARD (CONT’D)
We all have our secrets Tommy.
Life’s more complicated then black
and white.
TOMMY
About a mouth before my mom killed
herself, I read that he died of
aids in San Francisco. Said he was
survived by his sister and his Life
Partner of thirteen years. Charles
Steinberg. My dad was suppose to
have been dead twenty years before,
so what did it matter not like he
was around anyway.
Angela stubs out her cigarette. The Bartender brings them
fresh drinks.
DALE THE BARTENDER
Another Tommy.
TOMMY
Yeah.
ANGELA BERNARD
Another please.
DALE THE BARTENDER
Right up.
ANGELA BERNARD
Thanks
113
The bartender moves back off to his work.
ANGELA BERNARD (CONT’D)
(Looking back to Tommy)
I don’t know what to say Tommy.
TOMMY
Why would you say anything? I don’t
ever know you.
Tommy drinks his beer.
ANGELA BERNARD
I used to stop through and visit. I
never could get your mom to come
down here. She was a good person I
hope that gives you some peace in
life.
Tommy turns to Angela.
TOMMY
What about before me? The thing
with city lights.
ANGELA BERNARD
Wasn’t what she wanted she’d always
say “I want out of this town” but,
when the chance came, she couldn’t
do it.
TOMMY
She should have left. I’m leaving.
ANGELA BERNARD
Look, there’s no use beating
yourself up over these things. Just
find some ease with this it’s done
you just have to understand it
first. Your mother loved you.
That’s all that matters.
TOMMY
(Raising his voice)
My mother was an unstable lunatic
bitch!
Angela is silent. Tommy smiles, he starts to laugh.
TOMMY (CONT’D)
Good that felt good!
ANGELA BERNARD
It’s not true though.
114
TOMMY
My mother killed herself because
her ex boyfriend died from being a
faggot, and she was fucking a
married man who didn’t love her.
ANGELA BERNARD
Does that really make you feel
better?
TOMMY
Yes is does.
ANGELA BERNARD
Congratulating, now you know
everything and are at peace, you
can move on can’t you.
TOMMY
Yes! Yes I can!
ANGELA BERNARD
Yeah, so you can just forget about
her and the pain she felt. Fuck her
right!
TOMMY
Her pain?
ANGELA BERNARD
You’re drunk kid don’t do this.
TOMMY
She didn’t have any pain. She just
gave up.
ANGELA BERNARD
Your mother was always unhappy. But
she obviously loved you enough to
bear thought it all just for you. I
saw her look at you.
TOMMY
Yeah, she sure did that. I guess I
should thank her right? Thanks for
not dying before I could get some
college in. What a sweet gall.
ANGELA BERNARD
And all she has to show for her
life is a self righteous junky kid
who had more potentially then most
people.
115
(MORE)
Your dad leaving killed her inside,
so much she never recovered from
that realization. But, shit kid,
she could have left you dripping at
the end of a coat hanger, and ran
off with me to on the road. But she
didn’t. You were her child and it
that doesn't mean anything to you,
then it makes sense that you’re
sitting here killing yourself is
right in the world.
TOMMY
Well, yo seem to know all about me.
Tell me this, why is it that I am
so fucked up. If I can’t blame her,
who do I blame? Everyone says not
to blame myself for her dying, so
who’s left, she’s not complaining.
ANGELA BERNARD
I think you need to ask yourself a
bigger question.
TOMMY
Yeah, and what would that be?
ANGELA BERNARD
What are you sitting a half a mile
away from? Why are you hiding
behind a life of indignity, and
what has rea lly caus ed t his
disgusting revelation of yours? If
you’ve been really been okay in
dealing with your loss of a mother
you think so poorly of, what has
sparked this sudden outburst?
TOMMY
A woman’s heart, once open to love,
will always remain open, even if
it’s only in the smallest view.
Sound about right?
ANGELA BERNARD
I think I’m going to check out now
Dale.
DALE THE BARTENDER
Alright Angela, on your tab?
ANGELA BERNARD
Yeah throw it on my tab and the
kids too?
116
ANGELA BERNARD (CONT'D)
Tommy looks up from his glass.
DALE THE BARTENDER
You sure.
ANGELA BERNARD
Yeah, give him something tonight,
let him have a few more to if he
wants.
DALE THE BARTENDER
Okay Angela.
(Looks to Tommy)
That’s an amazing woman there
Tommy. You might listen to her.
Angela bernard starts to get up and leave.
ANGELA BERNARD
You know, I think you’re right.
Until you figure out what it is
that is eating you alive, you wont
be capable of loving anyone. So if
it’s a woman you’re all up in arms
about, do you and her a favour, let
her go and be free away from you.
If its meant to be, you might learn
how to get over yourself and make
it work. But don’t take her down
into the fire with you. Don’t do it
Tommy.
ANGELA WALKS OFF CAMERA. THE CAMERA REMAINS STATIONARY.
Tommy remains siting and staying blankly at a row of bottles
behind the bar.
Dale the Bartender washes the counter with a white rag.
DALE THE BARTENDER
What you going to have now Tommy?
FADE IN MUSIC: ELLIOT SMITH’S PRETTY UGLY BEFORE.
Tommy sips at his crystal glass filled with PBR beer, he is
in a deep trance with Dale the Bartender looking down at him
still washing the Table.
The bar is quiet.
FADE TO:
117
92 EXT. INTERSATE 5 TRUCK STOP - NIGHT 92
A SIGN IN THE DISTANCE READS: HERMITSVILLE 10 MILES.
Joan gets off the Greyhound bus, bag over her shoulder. She
walks to a pay phone down the way and starts to make a call.
After a moment Joan hangs up the phone. She curls up inside
the phone booth and stares into the distance darkness with
white head lamps moving past.
CUT TO:
93 EXT. TOMMY’S CORROLA - EARLY MORNING 93
Tommy is driving down the interstate smoking a cigarette,
visible in the passenger seat is this mom’s journal, lying
open.
THE CAR PASSES A SIGN SAYING: LONGVIEW EXIT 1 MILE.
MUSIC FADES: ELLIOT SMITH’S PRETTY UGLY BEFORE.
CUT TO:
94 EXT. HERMITSVILLE, HIGHWAY 37 - DAY 94
A SCHOOL BILLBOARD STATES: CLASSES START SEPTEMBER 7TH NO
SCHOOL SEPTEMBER 11TH PATRIOT DAY.
Tommy’s Corolla passes by the school sign.
CUT TO:
95 EXT. WHITTLE CEMCTARY - DAY 95
Tommy is parked sitting inside his car near his mother’s
gravestone.
Tommy gets out of his car and walks over to his mother’s
grave stone carrying a white rose in his hands. He stares
down at his mother’s grave.
118
PAN OVER TO THE SONE NEXT TO HIS MOTHER’S. READS AS FOLLOW -
RONAL LOUIS GIBSON 1940-2008 “THE SUN ALSO RISES, AND THE SON
CROES AND HASETH TO THE PLACE WHERE HE AROSE.
A gardener is working in the background. He watches Tommy
walk over to the gravestones.
Tommy stares down at the two gravestones.
TOMMY
It’s like you said old man, You
gotta hold on.
He leans over and places a single white rose in front of his
mother’s grave.
TOMMY (CONT’D)
Here you go. I know how much you
hated this as well.
(Pause)
B u t t h e n a g a i n y o u h a t e d
everything. But I know you loved
me.
Tommy is still for a moment. He starts to walk away when a
sudden large gust of wind hits.
The white rose is flaring about on the ground heading towards
his car. It lands in the dirt near the dirve side door.
Tommy picks the white rose up out of the dire, looks back
towards the gravestone.
Tommy gets back into his car.
The car backs away from the graveyard then drives off down
the dirt road.
The gardener watches the car dive off - he cuts some white
roses timing them.
CUT TO:
96 EXT. TOWN AND COUNTRY GAS STATION - DAY 96
Joan is sitting inside the store behind the counter reading a
book unlike the time she would have been out on the chair
waiting for Tommy to arrive.
Tommy’s Corolla pulls up into its usual spot outside and
shuts down.
119
A moment passes before Tommy gets out of the car carrying a
single white rose in his hands. There is a white letter
sticking out of his back pocket.
Tommy walks into the Town and Country Gas Station past the
empty chair in front of the main entrance. He passes by the
window. Joann doesn't look up from her book.
CUT TO:
97 INT. TOWN AND OUNTRY GAS STAION - DAY 97
The bell above the door rings as Tommy enters the store.
Joan begins to look up from Kerouac’s “Visions of Grakd.”
She puts the book down and stairs in shock up at Tommy
standing in front of her holding a single white rose.
TOMMY
Hey.
JOAN
Hey.
TOMMY
(Awkwardly)
I, uh, just came into town.
Tommy hands Joan the flower across the front counter.
TOMMY (CONT’D)
I got this for you.
Joan takes the white rose and holds it in her hands.
JOAN
Thanks.
A non awkward moment.
TOMMY
Uh, you look good.
JOAN
(Laughs)
Yeah, you too Tommy.
TOMMY
Jesus is pathetic.
120
JOAN
No, I mean, it’s good to see you
Joan.
TOMMY
Yeah, it’s good to see you too.
JOAN
So, where you been over the last
while?
TOMMY
Here and there. Longview mostly.
JOAN
I didn’t see you at the funeral,
thought you’d never come back if
not for that.
TOMMY
Ye ah , I k no w . I w as i n S an
Francisco and you know, I just
wasn’t ready to come back yet.
JOAN
San Francisco?
TOMMY
Business actually, that sound
corny.
JOAN
Yeah, really...
(Laughs)
What you have to do?
Tommy pulls a letter from his back pocket.
TOMMY
You know, a little closure. Some
people I should have seen a long
time ago. And this.
He hands Joan the letter across the counter the same way he
had done the white rose.
Joan sits the white rose down on the counter top before
taking the letter and begins to read it.
JOAN
Wow!
121
A CLOSE UP OF THE LETTER SHOWS THAT IS FROM CITY LIGHTS BOOKS
ACCEPTING A COLLECTION OF HIS MOTHER WORK.
JOAN (CONT’D)
I can’t believe this, how did you
do it?
TOMMY
I ran into an old friend I didn’t
know I had, and they helped me get
it off the ground.
JOAN
That’s so great, I’m in shock.
TOMMY
Yeah , th e bo ok i s co ming in
November, I’ll make sure you get a
copy.
JOAN
I’d love it, thanks so much.
TOMMY
Five also been working on some
other stuff, short stories and
such.
JOAN
Portland brought out some good for
you.
Tommy smirks - the night of the Tonic Lounge flashes in his
head for a moment like an old demon.
TOMMY
Yeah I guess so.
JOAN
I’m glad to hear, you know doing
all this?
TOMMY
How about you? How’s the grand old
town treating you?
JOAN
(Laughs)
Not to bad actually. I don’t work
at Tim’s anymore, some of your
copycats pissed off old Washington
with that damn jukebox until he
beat it with a baseball bat.
122
(MORE)
Thought about what I was doing
there.
TOMMY
(Shocked)
Holy shit! Didn’t see that one
coming! Never thought he would
actually do it.
JOAN
Yeah, nobody did...
(Pause)
...Oh, and your buddy Sheriff Ely
is retiring in November. Says he
and Madge are going to tour the
country in his big ass RV.
TOMMY
Arizona probably. Old people love
it down there.
JOAN
That’s my guess too...
(Pause)
...and I'm not working here so
much. I’m actually on my last
night.
TOMMY
You leaving town?
JOAN
(Smirks)
Yeah, well, someone told me it was
time to stop screwin’ around...
(pause)
...Evergreen starts here in the
next few weeks.
TOMMY
That’s great, congratulation!
JOAN
Yeah, it’s been...
(Pause)
...long over due.
Tommy looks down at his shoes.
TOMMY
Well, that’s great, you will do
great.
123
JOAN (CONT'D)
JOAN
Thanks. How about you? Any thoughts
of you know, school?
TOMMY
Right now I'm sort of doing this
afternoon, after school program in
Kelso, the junior high.
JOAN
Really?
TOMMY
Well, somebody told me it was time
to stop screwin’ around.
They have an awkward moment of silence.
TOMMY (CONT’D)
How are Joyce and Hunter?
JOAN
Good I guess. Joyce is starring to
show. My dad about shit his pants
until he found out it was a boy.
Now he’s a happy grandpa.
TOMMY
Sound about right. What about
Hunter, he take off?
JOAN
Yeah, he graduates soon, Joyce will
be going down to San Antonio. She’s
going to meet him in Maryland for
his tech school. He’s doing Public
affairs.
TOMMY
Nice. Sounds like everything is
working out well.
JOAN
Yeah I supposes it is.
Another awkward silence.
TOMMY
Well I guess this is the part
where...
(Pause)
I’m sorry Joan.
124
JOAN
No, don’t, you really helped me.
TOMMY
You know there hasn’t been a single
day I haven wished it never came
down the way it all did. I never
wanted to hurt you.
JOAN
I know. You were, protecting me.
Thank you for showing me the
changes that were needed.
TOMMY
You know, a guy in San Francisco
took me for a trip to the wine
country. He told me it was the most
romantic place in America
(Pause)
I never missed yo sou much. I just
wanted to let you know that.
JOAN
Thank you Tommy.
Tommy looks around the room.
TOMMY
I got to get back to town, work
stuff. But, you know, maybe I could
call you...?
JOAN
I’d like that.
Tommy heads towards the door.
TOMMY
So, yeah,um, thanks again. For
everything.
JOAN
It was my pleasure Tommy.
The bell rings as Tommy opens the door.
TOMMY
(Walking out the door)
See you around.
The bell rings as Tommy exits and walks off back down towards
his car.
125
Tommy walks past the window. Joan watches him as he walks
away.
CUT TO:
98 EXT. TOWN AND COUNTRY GAS STAION - DAY 98
Tommy walks past the store to the front of his car. He starts
to light a cigarette then stops before the fame reaches the
tip of rolled paper. He looks out to the street beyond him.
WESTFOLD'S “OH PEPPER” BEGINS TO PLAY.
As he starts to enter his car, he hears loud footsteps
Suddenly Joan is seen running at him from the front entrance
of the town and country. She jumps on him leaving him between
hear and his car. She kisses him frantically. They share a
long awaited embrace. They kiss for several second. Joan is
still crying.
Music fades away. Joan removes her self from Tommy’s body.
JOAN
(Sort of embarrassed)
Hi, I’m Joan.
Joan puts her hand out in front of her.
TOMMY
(Laughs)
Tommy. Nice to meet you.
Tommy shakes Joan’s hand.
JOAN
You wanna buy me a coffee Tommy?
They laugh and have a long hug. They kiss once again.
Joan walks backwards towards the passenger side of the
Corolla watching Tommy with a smile before she enters the
car.
Tommy enters the car.
The Corolla's engine comes to life and slowly backs up,
leaving the parking lot and the past behind them.
126
WESTFOLD'S “OUT DEAR” STARTS TO PLAY AGAIN.
CUT TO:
99 EXT. TOMMY’S HOUSE - DAY 99
Tommy’s Toyota Corolla pulls in front of the house his mother
had left him. He stares out the side window.
In the distance, by a tool shed, Jonathan, the goth kid, is
spraying a painting he turns round and looks at the car. He
smiles; he looks different, he looks happy.
JOAN
Are you going in?
TOMMY
(Staring at Jonathan)
No, it will be okay.
Jonathan waves again and then turns back to the shed.
Tommy leans over and kissed Joan. She smiles at him.
Joan and Tommy drive off into fading sunlight.
PAN BACK TO JONATHAN PAINTING ON THE SHED.
Jonathan is painting a large mural of a sunset. He continues
to paint.
VIVA VOCE’S “WE DO NOT FUCK AROUND” BEGINS TO PLAY.
FADE TO BLACK:
THE END
