e18
The Sweet Hereafter
THE SWEET HEREAFTER
By
Atom Egoyan
Based on the novel by
Russell Banks
Final revised draft
Copyright c1997 Ego Film Arts
All Rights Reserved
FADE IN
INT. SUMMER COTTAGE -- DAY
A young family together in bed. It is a bright summer
morning. Father, mother, and a three year old girl are
still asleep. They are naked. A light breeze drifts into
the room. The scene is serene and softly suspended.
Head credits appear over this idyllic image. The little
girl turns in her sleep. A dog barks outside.
CUT TO
INT./EXT. CAR WASH. -- NIGHT
From the peaceful tableau of the sleeping family, the scene
shifts to a vehicle entering a car wash. The image is shot
through the windshield, from the driver's point of view.
The car enters the lathered world of spinning felt wheels
and gushing water.
CUT TO
INT. CAR WASH. -- NIGHT
Inside the car MITCHELL STEPHENS, a man in his mid-fifties,
listens to a stirring piece of music. The sound of the car
wash is filtered out by the strains of music.
CUT TO
EXT. PHONE BOOTH -- NIGHT
The phone booth is located in a rundown area of a large
city. A young woman, ZOE, enters the booth and lifts the
receiver.
CUT TO
INT. CAR WASH. -- NIGHT
MITCHELL STEPHENS is going through the wash. The automatic
mops and buffers embrace his car with water and suds. The
cellular phone in the car rings. MITCHELL picks it up.
MITCHELL
Yes? Yes, I'll accept the charges.
CUT TO
INT. PHONE BOOTH -- NIGHT
ZOE is on the phone. There's a figure outside the booth
waiting for her.
ZOE
Daddy, it's me...How are you doing?
That's great...Where are you?
What's that sound?
CUT TO
INT. CAR WASH. -- NIGHT
MITCHELL in his car, playing with the volume on his radio.
MITCHELL
I'm in a car wash.
CUT TO
INT. PHONE BOOTH -- NIGHT
ZOE
A car wash! Wow, I've never talked
to you when you've been in a car
wash. Make sure you've got the
windows closed.
190
CUT TO
INT. CAR WASH. -- NIGHT
ZOE
(over the phone)
Remember that time we were having
the car washed and I started playing
with the automatic window? How old
was I, Daddy? Five or six? I got
fa0
absolutely soaked, remember?
MITCHELL
Why are you calling me, Zoe?
CUT TO
INT. PHONE BOOTH -- NIGHT
ZOE
Why am I calling you? You're my
father. I'm not supposed to call
you? What's the matter with wanting
to talk to you, Daddy?
CUT TO
INT. CAR WASH. -- NIGHT
MITCHELL
Nothing's wrong with trying to talk
to me, Zoe.
ZOE
(over the phone)
So what's the problem?
MITCHELL
The problem is I have no idea who
I'm talking to right now.
ZOE
(over the phone)
'Cause you think I'm stoned, Daddy?
'Cause you think I've got a needle
stuck in my arm? Is that what
you're thinking, Daddy?
Pause. MITCHELL doesn't respond.
CUT TO
INT. PHONE BOOTH -- NIGHT
ZOE
Are you wondering if I scored,
Daddy, and I'm calling you for
money? That I'm begging? God, I
don't fucking believe it!
CUT TO
INT. CAR WASH. -- NIGHT
MITCHELL is emotionally stunned by ZOE'S voice. She is
heard over the phone.
ZOE
(over the phone)
Daddy! Are you listening to me,
Daddy?!
The music that MITCHELL has been listening to becomes louder
as he stares at the spinning felt wheels of the car wash.
ZOE (CONT'D)
DADDY!!!
MITCHELL
Yes.
ZOE
Why can't you talk to me?
MITCHELL
I...I just need to know what state
you're in so I know...how to talk to
you...how to act...
MITCHELL is in pain. He closes his eyes.
CUT TO
INT. PHONE BOOTH -- NIGHT
The phone booth is deserted. ZOE is nowhere to be seen.
Over this image, the sounds of a band playing a blues
number.
CUT TO
EXT. FAIRGROUND -- DAY
The blues number continues as the camera cranes down to the
bandstand of a country fair. A local band is rehearsing.
Around the practising band, various carpenters and
technicians are making final preparations for that evening's
big event.
One of the people watching the band is SAM BURNELL, a man in
his early forties. He watches his daughter, NICOLE, as she
sings into the microphone. NICOLE is sixteen.
NICOLE stares at her father as she sings.
ANGLE ON
SAM looking back at his daughter. He is intensely proud of
her. SAM is a carpenter, working on at the fair site. He
gets back to his work, hammering a supporting beam into the
grandstand.
190
CUT TO
INT. AIRPORT. WASHROOM -- AFTERNOON
CLOSE UP of a three year old girl, staring up into the lens.
Her face is full of sweetness and trust.
ANGLE ON
MITCHELL STEPHENS in a crowded airport washroom, watching a
young father, PETER, trying to change the diaper on his
t
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hree year old daughter.
MITCHELL stares at the little girl, his face registering a
wistful smile. PETER is having a hard time trying to find
the towel from the toddler's bag and keeping an eye on her
at the same time.
MITCHELL
Need a hand?
PETER
Sure, it you could find a towel in
this bag. I know my wife packed one
in there...
MITCHELL comes forward and searches through the toddler's
bag.
MITCHELL
You always think you're prepared for
these things.
PETER
Tell me about it.
MITCHELL
How old is she?
PETER
Almost three.
MITCHELL
(finding a towel)
Is this it?
PETER
Perfect.
MITCHELL
Here we go.
PETER
Thanks.
PETER lays the towel across the counter, and dries the
little girl. MITCHELL watches as PETER puts a new diaper on
her. The toddler stares up at MITCHELL, her eyes are
playful.
MITCHELL stares at the girl's face.
CUT TO
INT. CAR WASH. -- NIGHT
TIME CUT back to MITCHELL honking the horn of his car,
trying to get someone's attention. No response. MITCHELL
picks up his cell phone, and dials the operator.
MITCHELL
Yes, operator, I'm in a strange
situation. I'm calling from my car,
and I appear to be stuck in a car
wash...A car wash, yes...Is there
anyway you
could...Hello?...Hello?...
The line has died.
MITCHELL searches for an umbrella, finds one, and tries to
get out of the car without getting soaked.
ANGLE ON
MITCHELL as he leaves the car, trying to protect himself
from the onslaught of water with his umbrella. He is
immediately soaked by a large mop. The camera watches
MITCHELL as he makes his way towards light at the end of the
wash.
CUT TO
INT. CAR WASH. -- NIGHT
MITCHELL walks into the office of the car wash. No one is
there. There is an ominous buzz coming from another room.
MITCHELL moves towards the garage of the car wash/auto
repair establishment. He moves into a larger room, full of
discarded auto parts. The buzzing noise is coming from an
electric guitar, which has been left on, and is on the verge
of screeching feedback.
Someone was just here. They are nowhere to be seen.
MITCHELL
Hello?
No response. MITCHELL picks up the guitar, which begins to
produce a terrifying electronic feedback.
CUT TO
EXT. FAIRGROUND -- DAY
SAM and NICOLE wander through the fairground. Various rides
and concession stands are being set up. SAM has his arm
around NICOLE.
SAM
That was great.
190
NICOLE
Really?
SAM
You're going to blow everyone away.
NICOLE
You mean it?
SAM
Of course.
NICOLE
You don't sound like one hundred
fa0
percent absolutely sure.
SAM
I am. Really. It was awesome.
NICOLE assesses SAM. Sensing his sincerity, she throws her
arms around him in a gesture of unabashed excitement.
NICOLE
I'm so happy, Daddy.
CUT TO
EXT. BIDE-A-WILE MOTEL -- DUSK
MITCHELL STEPHEN'S car pulls into the parking lot of this
run-down roadside motel. In the fading light, a magnificent
mountain range is seen in the background.
CUT TO
INT. BIDE-A-WILE MOTEL -- EVENING
MITCHELL enters the reception area, and rings a bell on the
desk. After a few moments RISA WALKER appears. She is an
exhausted looking woman in her mid-thirties, once attractive
but very run-down. RISA stares at MITCHELL'S soaked
clothes.
MITCHELL
Hello.
RISA
Is it raining outside?
MITCHELL
No, I...had an accident.
Pause. RISA stares at MITCHELL, her expression somewhere
else.
MITCHELL (CONT'D)
Do you have a room?
RISA
Will you be spending more than a
night?
MITCHELL
Hard to say. I might have...some
business here.
A voice is heard from the darkness beyond the desk.
WENDELL
Are you a reporter?
MITCHELL
No.
WENDELL WALKER, RISA'S husband, appears from the darkness.
WENDELL
You here about the accident?
MITCHELL stares at WENDELL'S haunted eyes, then looks back
at RISA. He immediately knows their story.
MITCHELL
Yes. I'm a lawyer. I realize this
is an awful time, but it's important
that we talk.
CUT TO
EXT. FAIRGROUND -- DAY
A group of men are setting up the ferris wheel for the
country fair. SAM and NICOLE walk into the shot, eating ice
cream cones. SAM waves at someone he recognizes in the
distance.
SAM
Let's sit down.
NICOLE nods, her mind elsewhere.
CUT TO
EXT. FAIRGROUND -- DAY
SAM and NICOLE are sitting at an outside table, finishing
their cones.
A school bus pulls up into the fairground. NICOLE watches
as young children spill out of the bus and gather outside.
NICOLE smiles at this scene. SAM notices, turns around to
see the children, then turns back to NICOLE.
SAM
What's so funny?
NICOLE
Just the way Dolores gets so excited
about bringing the kids to check out
the animals. It's like the biggest
thing in her life.
ANGLE ON
DOLORES DRISCOLL, a warm and cheery woman in her forties,
leading the young children into the large exhibition barn on
the fair site.
190
DOLORES
Alright, kids. I want you all to
listen to me. Rule number one No
one is allowed to stick their
fingers into the cages. I don't
care how cute some of these animals
may be, the fact is they don't like
being here, no matter how
fa0
many
ribbons some of them have won...
CUT TO
INT. BIDE-A-WILE MOTEL -- EVENING
MITCHELL STEPHENS is having a meeting with WENDELL and RISA
WALKER in their livingroom behind the reception area.
MITCHELL has a pad of paper and is taking notes.
WENDELL
Kyle Lambston's a drunk. Nobody
likes him. He's a nasty piece of
work.
MITCHELL
In what way?
WENDELL
Been drinking since high school.
Fucked himself up. Used to be smart
enough.
MITCHELL
Any criminal record?
WENDELL
Probably half a dozen traffic
convictions. Drunk driving. Lost
his licence. That's why he don't
work no more.
WENDELL
Can't get off that shitty dump they
live on. What little money comes in
goes to booze.
MITCHELL
How does the family survive?
WENDELL
Don't know. Food banks, welfare,
church charity. They scrape by.
MITCHELL looks at RISA, who has remained silent.
MITCHELL
What about Doreen?
RISA
She...she was a friend of mine.
MITCHELL
When?
RISA
At school. She fell for Kyle just
before we graduated. Got pregnant,
and...went to live in a trailer up
on a woodlot Kyle's dad used to own.
Kyle started spending more and more
time at the Spread Eagle...
MITCHELL
That's the local bar?
RISA
(nodding)
...coming home drunk and I guess
feeling trapped by his life and
blaming her for that...and...
RISA hesitates.
WENDELL
Taking it out on her.
MITCHELL stops taking notes, and looks at the WALKERS.
MITCHELL
He beat her?
RISA nods. MITCHELL crosses the LAMBSTONS off of his list.
He looks up at RISA and WENDELL.
MITCHELL (CONT'D)
You see, to do this right, to
actually have a chance at winning -
of getting some money to compensate
you for the loss of your boy - we
need folks like you. Sensitive,
loving parents. People with no
criminal background or history of
trouble in town. Do you understand?
The WALKERS nod.
MITCHELL (CONT'D)
Now, of all these parents you've
told me about whose kids were
killed, who would you consider to be
good upstanding neighbors?
RISA stares hard at MITCHELL.
RISA
What do you mean?
MITCHELL
190
People who will help our cause.
Pause.
RISA
Well, there's the Hamiltons. Joe
and Shelly Hamilton.
WENDELL
(caustically)
Yeah, right.
Beat. MITCHELL looks at WENDELL, waiting for an
explanation
fa0
.
WENDELL (CONT'D)
I mean, everyone knows Joey steals
antiques from summer cottages.
Resells them to dealers in the city.
He's been doing that for years.
MITCHELL regards WENDELL with a slight smile of admiration.
MITCHELL
That's great, Wendell. That's the
sort of thing I need to know. So it
doesn't come back to haunt our case
later on.
RISA
There's the Prescots...
WENDELL
That sonofabitch owes thousands to
the bank and half the businesses in
town. He's about to lose his house
and car.
RISA
But Charlene...
WENDELL
Charlene's over at the Spread Eagle
every other night. Sleeps with
whatever she can get her hands on.
She'll go down for a pat on the head
and a fistful of peanuts.
MITCHELL is taking notes.
WENDELL (CONT'D)
Don't even think of the Bilodeaus or
the Atwaters. They're all inbred.
RISA
The Ottos.
Pause. MITCHELL waits. No response from WENDELL.
MITCHELL
Tell me about the Ottos.
RISA
Wanda and Hartley. They lost Bear.
He was their adopted son. A
beautiful boy. Indian.
MITCHELL
Indian?
RISA
Yes.
MITCHELL
That's good. Judges like adopted
Indian boys. Tell me more about the
Ottos.
As RISA talks, MITCHELL takes notes.
RISA
They're smart. Been to college.
They moved here from the city about
a dozen years ago.
MITCHELL
What do they do?
RISA
Crafts.
MITCHELL
Crafts?
RISA
Wanda does these photographic
things. That's one of her pictures
on the wall.
WENDELL
Yeah, well, they probably smoke
weed.
RISA
You don't know that.
MITCHELL
Have they ever been busted?
RISA
No.
WENDELL
You don't know is what you mean.
MITCHELL regards the tension between RISA and WENDELL as he
continues to make notes.
MITCHELL'S cell phone rings. He answers it.
MITCHELL
Yes, I'll accept the charges.
MITCHELL stands up.
MITCHELL (CONT'D)
Do you mind if I step outside for a
moment? It's a private call.
The WALKERS nod as MITCHELL moves outside.
190
CUT TO
EXT. BIDE-A-WILE MOTEL -- DUSK
MITCHELL speaks into his cellular phone.
MITCHELL
Zoe...Zoe, where are you?
CUT TO
INT. AIRPLANE. FIRST CLASS CABIN -- DAY
A newscaster is giving a report on the television s
fa0
creen of
a first class airplane cabin. The image is silent.
This scene takes place two years after the accident.
MITCHELL STEPHENS is playing with his headset, which doesn't
seem to be working. He summons a STEWARDESS over.
MITCHELL
I'm not getting any sound.
The STEWARDESS checks the headset and confirms the problem.
STEWARDESS
I'll find you another pair.
The STEWARDESS leaves.
A young woman seated beside MITCHELL hands him her headset.
ALISON
You can have mine.
MITCHELL takes ALISON'S headset. Their eyes lock for a
moment.
ALISON (CONT'D)
Yes, we do know each other. I'm
Alison Jones.
MITCHELL
Alison Jones.
ALISON
I was a friend of Zoe's. We went to
school together. I used to come to
your house.
MITCHELL
(pretending to
remember)
Yes.
ALISON
Ally. That was my nickname.
MITCHELL
Ally. That's right.
ALISON
How are you?
MITCHELL
I'm just fine, Ally. What about
you?
ALISON
I'm fine. Still working with my
father.
MITCHELL
And what does he do again?
ALISON
He used to work with you. Until you
found out he was having an affair
with your wife.
Pause. MITCHELL finally remembers ALISON JONES.
MITCHELL
Ally Jones.
ALISON
How is Mrs. Stephens?
MITCHELL
We're...not together.
ALISON
I'd heard that. But she's well?
MITCHELL
Yes...fine.
ALISON
And Zoe? How's Zoe?
Pause. The STEWARDESS comes back with a new headset. She
notices the set that ALISON has given him.
STEWARDESS
Oh, you've beaten me to it.
The STEWARDESS hands the headset to ALISON.
STEWARDESS (CONT'D)
Here.
The camera has remained fixed on MITCHELL'S face.
CUT TO
EXT. ROADSIDE -- MORNING
WANDA and HARTLEY OTTO are waiting for the school bus with
their adopted son BEAR.
The bus arrives, and the door opens to reveal DOLORES
DRISCOLL, who is driving.
DOLORES
Good morning, Wanda. Hi, Hartley.
WANDA
Hi, Dolores.
DOLORES watches as WANDA and HARTLEY OTTO affectionately say
goodbye to their boy. WANDA gives BEAR a photograph, which
has strong psychedelic influences. BEAR shows it proudly to
DOLORES.
WANDA (CONT'D)
190
What do you think?
DOLORES
Well, it's certainly what you'd call
interesting.
WANDA
(laughing)
You hate it.
DOLORES
I didn't say that.
WAND
fa0
A
I could wrap it up. Protect the
other kids.
DOLORES
I'll just strap it on the roof.
WANDA
It's for the school bazaar.
DOLORES
Oh, it's bizarre alright. C'mon
Bear. Let's get you out of here.
WANDA
Away from your crazy Mom.
DOLORES
(voice over)
The Ottos always waited for the bus
with Bear. They were the only
parents who did that, together like
that. I guess they're what you
might call hippies.
MITCHELL
(voice over)
What do you mean by that, Mrs.
Driscoll?
CUT TO
INT. DOLORES'S HOUSE -- DAY
DOLORES and MITCHELL are in the modest livingroom of
DOLORES'S house. The conversation continues from the
previous voice over.
In the corner of the room sits ABBOTT, DOLORES'S husband.
ABBOTT has suffered a massive stroke, and seems to be
completely paralyzed. His presence, however, is intense and
powerful.
MITCHELL frequently looks over to ABBOTT during his
conversations with DOLORES. ABBOTT is always watching him
like a hawk, making MITCHELL uneasy.
DOLORES
Dolores. No one calls me 'Mrs.
Driscoll'.
MITCHELL
What do you mean by that, Dolores?
DOLORES
About the Ottos?
MITCHELL
Yes. What do you mean by 'hippies'?
DOLORES
I mean, the way they look. Their
hair and clothing...
MITCHELL
Do they have any reputation for
drugs?
DOLORES
No, nothing like that. The Ottos
are what I'd call model citizens.
They're regular at town meetings.
They give their opinions in a
respectful way. They always help
out at various fund-raising bazaars
in town , though they aren't church
goers.
MITCHELL
And they loved Bear.
DOLORES
Oh yes. Like I said, they always
came out together to see him off to
school. It's like he was their
little treasure. He was such a
beautiful boy. That's a picture of
him on the wall there, behind
Abbott.
MITCHELL turns around to find the picture of BEAR.
It is right behind ABBOTT'S head, so MITCHELL has to divide
his attention between the cute PHOTOGRAPH of BEAR clutching
a prize rabbit at last year's county fair, and ABBOTT'S
glaring eyes.
ANGLE ON
The PHOTOGRAPHS of various children with their pets. Some
have ribbons.
DOLORES (CONT'D)
(voice over)
Those are all from the fair last
year. Abbott and
190
me were judges at
the pet show.
MITCHELL
For rabbits?
DOLORES
(nodding)
Abbott used to breed them 'til he
had the stroke. Bear won first
prize. Just look at the smile on
fa0
his face.
DOLORES
He was one of those children that
bring out the best in people. He
would have been a wonderful man.
ANGLE ON
MITCHELL as he stares at the photo of BEAR.
CUT TO
EXT. SCHOOL BUS -- MORNING
The camera is outside the bus, looking at BEAR as he
finishes waving to his parents.
ANGLE ON
BEAR'S P.O.V. of WANDA and HARTLEY disappearing as the bus
pulls away.
CUT TO
INT. SCHOOL BUS -- MORNING
The camera moves inside the crowded bus, peering at the
childrens' activity as they play with each other in the bus.
ANGLE ON
JESSICA and MASON ANSEL are seated at the back of the bus,
looking out the rear window, waving at someone.
CUT TO
EXT. SCHOOL BUS -- MORNING
JESSICA and MASON are seen waving at...
BILLY ANSEL, driving behind them in his pick up truck. He
waves back at his children.
DOLORES
(voice over)
Billy Ansel started honking at us up
around Upper Hat Creek. He always
started to do that when he caught up
to the bus. He'd wave at his kids,
Jessica and Mason, who always sat at
the back. Normally, he followed us
the whole distance over the ridge
towards the school.
CUT TO
INT. DOLORES'S HOUSE -- DAY
The conversation between MITCHELL and DOLORES continues from
the previous scene.
MITCHELL
So Billy was driving behind the bus
at the time of the accident?
DOLORES nods. Her expression is distant.
DOLORES
Billy loved to see his kids in the
bus. They always sat in the back,
so they could wave to each other.
It comforted him.
MITCHELL
From what?
DOLORES
(confused)
From what?
MITCHELL
Did he have any particular problems
that you knew of? Financial
pressures...run-ins with the law...
DOLORES
No, nothing like that. Billy's
wife, Lydia, died of cancer a few
years ago. He took over raising the
children by himself. It was obvious
how much he missed Lydia.
MITCHELL
You talked about it?
DOLORES
No.
(beat)
I saw it on his face.
Pause. DOLORES stares at MITCHELL.
CUT TO
EXT. BILLY'S PICK-UP -- MORNING
Through the windshield, the camera fixes on BILLY'S face as
he stares at his children.
ANGLE ON
Inside the cab of his pick up, BILLY dials a number on his
cell phone. He continues to wave at his children as he
speaks into the phone.
190
BILLY
(into the phone)
Hi...Can you talk? I'm on my way to
work...I'm waving at them
now...What's that noise?
CUT TO
EXT. BIDE-A-WILE MOTEL -- MORNING
RISA is on a cordless phone. She has
fa0
just finished cleaning
a room. WENDELL is hammering in the background.
RISA
Wendell's working on the roof. He
thinks he's fixing a leak. As far
as I'm concerned he's just punching
in a few new holes.
CUT TO
INT. BILLY'S PICK-UP -- MORNING
BILLY smiles as he continues the conversation.
BILLY
Nicole's coming over to look after
the kids tonight. She'll be there
around six.
RISA
Billy, that's too early.
BILLY
She said she's got to be home by
nine.
RISA
Can't you make it later?
BILLY
Look, I'll be waiting in the room.
You get over as soon as you can.
Okay?
RISA
I guess.
CUT TO
EXT. ROAD. -- MORNING
HELICOPTER AERIAL SHOT
The bus and the pick-up are travelling through a beautiful
mountain pass.
CUT TO
INT. AIRPLANE. FIRST CLASS CABIN -- DAY
MITCHELL continues his conversation with ALISON as they eat
dinner.
ALISON
I'm glad to hear that Zoe's okay.
MITCHELL
Are you still in touch?
ALISON
Not really. The last time I saw her
was at that clinic. That was a long
time ago.
MITCHELL
Which one?
ALISON
Which one?
MITCHELL
Which clinic?
ALISON
I don't remember the name. It was
near a beach.
MITCHELL
Sunnyridge. That was a long time
ago.
Beat. ALISON proceeds cautiously.
ALISON
So there were others?
MITCHELL
(as he eats)
Other clinics? Oh sure. Clinics,
half-way houses, treatment centers,
detox units...
ALISON
Then...when did she get better?
MITCHELL
She didn't.
ALISON
But you said...
MITCHELL
That's where I'm going. To see her.
ALISON
She's in trouble?
MITCHELL
Yes.
(beat)
Do you find there's something
strange about this meat?
ALISON stares at her plate. MITCHELL summons the
STEWARDESS.
STEWARDESS
Some more wine?
MITCHELL
I'm afraid this meat is overdone.
STEWARDESS
I'm sorry about that, Mr. Stephens.
190
Would you like to try the fish?
MITCHELL
What is it?
STEWARDESS
Poached salmon.
MITCHELL considers this. He is polite, but slightly edgy.
MITCHELL
Do you have a cold plate?
fa0
STEWARDESS
We do.
MITCHELL
Is there shrimp on it?
STEWARDESS
Yes.
MITCHELL
If you could pick the shrimp off, as
well as anything that touches the
shrimp...
STEWARDESS
(smiling)
I'm not sure if that will leave much
on the plate.
MITCHELL
Well, let's see what we get.
The STEWARDESS leaves with MITCHELL'S food. MITCHELL gets
up.
MITCHELL (CONT'D)
(to ALISON)
If you could excuse me for a moment.
ALISON nods. MITCHELL leaves. ALISON picks at her meat
undecidedly.
CUT TO
INT. AIRPLANE. FIRST CLASS CABIN -- DAY
In the mirror of the tiny washroom of the plane, MITCHELL
washes some water on his face. He stares at his reflection
in the mirror.
CUT TO
EXT. THE OTTOS HOUSE. -- DAY
MITCHELL approaches the house of HARTLEY and WANDA OTTO. He
gets out of his car and knocks on the door.
WANDA OTTO answers. She has been crying. The two stare at
each other.
MITCHELL
Mrs. Otto, my name is Mitchell
Stephens. The Walkers told me you
might be willing to talk to me.
Pause.
MITCHELL (CONT'D)
I'm sorry for coming over
unannounced like this, Mrs. Otto,
but the Walkers said you would
understand. I know it's an awful
time, but it's important that we
talk.
WANDA
Who are you?
MITCHELL
I'm a lawyer.
WANDA
You can't come here.
MITCHELL
Please, let me explain. I'll only
take a moment of your time.
WANDA
No.
MITCHELL
Please.
WANDA pauses, stares at MITCHELL, then lets him in.
CUT TO
INT. THE OTTOS HOUSE. -- DAY
MITCHELL walks into the OTTO residence. It is a large two-
storey space divided into several smaller chambers with
sheets of brightly colored cloth - tie-dyes and Indian
madras - that hang from wires.
On a low brick platform in the centre of the main chamber is
a large wood-burning stove. A few feet from the stove,
sitting on an overstuffed cushion, is HARTLEY OTTO.
HARTLEY is listening to music on his headphones. He is very
stoned. WANDA moves over, and pulls the headphones off her
husband's head.
WANDA
We have a guest. What did you say
your name was?
MITCHELL
Mitchell Stephens.
MITCHELL hands them a card. HARTLEY reads it with
deliberation.
WANDA
The Walkers sent him by.
HAR
190
TLEY rises up. He stares at MITCHELL. A tense pause.
HARTLEY
You want a cup of tea or something?
MITCHELL
A cup of tea would be nice.
(beat)
Would it be alright if I sit down
for a few minutes, Mrs. Otto? I
fa0
want to talk to you.
WANDA stares at MITCHELL. No response. MITCHELL waits a
beat, then seats himself rather uncomfortably on a large
pillow. He is unsure whether to cross his legs, or fold
them under his chin.
MITCHELL (CONT'D)
The Walkers spoke very highly of
you.
WANDA
You've been retained?
MITCHELL
Yes.
WANDA
Their child died, and they got a
lawyer.
Pause. MITCHELL assesses WANDA'S energy.
MITCHELL
It should be said that my task is to
represent the Walkers only in their
anger. Not their grief.
WANDA
Who did they get for that?
MITCHELL
You are angry, aren't you, Mrs.
Otto? That's why I'm here. To give
your anger a voice. To be your
weapon against whoever caused that
bus to go off the road.
WANDA
Dolores?
MITCHELL
It's my belief that Dolores was
doing exactly what she'd been doing
for years. Besides, the school
board's insurance on Dolores is
minimal. A few million at the very
most. The really deep pockets are
to be found in the town, or in the
company that made the bus.
WANDA
You think someone else caused the
accident?
MITCHELL
Mrs. Otto, there is no such thing
as an accident. The word doesn't
mean anything to me. As far as I'm
concerned, somebody somewhere made a
decision to cut a corner. Some
corrupt agency or corporation
accounted the cost variance between
a ten-cent bolt and a million dollar
out-of-court settlement. They
decided to sacrifice a few lives for
the difference. That's what's done,
Mrs. Otto. I've seen it happen so
many times before.
HARTLEY returns with the tea.
HARTLEY
But Dolores said she saw a dog and
tried to...
MITCHELL
How long has Dolores been driving
that bus, Mr. Otto? How many times
has she steered clear of danger?
What went wrong that morning?
MITCHELL takes the cup of tea.
MITCHELL (CONT'D)
Someone calculated ahead of time
what it would cost to sacrifice
safety. It's the darkest, most
cynical thing to imagine, but it's
absolutely true. And now, it's up
to me to make them build that bus
with an extra bolt, or add an extra
yard of guard rail. It's the only
way we can ensure moral
responsibility in this society. By
what I do.
Pause.
190
WANDA
So you're just the thing we need.
MITCHELL
Excuse me?
WANDA
Isn't that what you want us to
believe? That we're completely
defenseless? That you know what's
best?
fa0
MITCHELL
Listen to me, Mrs Otto. Listen very
carefully. I do know what's best.
As we're sitting here the town or
the school board or the manufacturer
of that bus are lining up a battery
of their own lawyers to negotiate
with people as grief-stricken as
yourselves. And this makes me very,
very mad. It's why I came all the
way up here. If everyone had done
their job with integrity your son
would be alive this morning and
safely in school. I promise you
that I will pursue and reveal who it
was that did not do their job.
MITCHELL
Who is responsible for this tragedy.
Then, in your name and the Walkers'
name and the name of whoever decides
to join us, I shall sue. I shall
sue for negligence until they bleed.
Pause.
WANDA
I want that person to go to jail.
For the rest of his life. I want
him to die there. I don't want his
money.
MITCHELL nods sympathetically.
MITCHELL
It's unlikely that anyone will go to
prison, Mrs. Otto. But he or his
company will pay in other ways. And
we must make them pay. Not for the
money or to compensate you for the
loss of your son. That can't be
done. But to protect other innocent
children. You see, I'm not just
here to speak for your anger, but
for the future as well.
(beat)
What we're talking about is an
ongoing relationship to time.
Pause. HARTLEY looks at MITCHELL'S teacup.
HARTLEY
I didn't ask if you wanted milk.
MITCHELL
No. A little sugar though.
HARTLEY
We've only got honey.
MITCHELL
I'll...take it straight.
MITCHELL maintains his eye contact with WANDA.
WANDA
Are you expensive?
MITCHELL
No.
MITCHELL
If you agree to have me represent
you in this suit, I will require no
payment until after the case is won,
when I will require one third of the
awarded amount. If there is no
award made, then my services will
cost you nothing. It's a standard
agreement.
WANDA
Do you have this agreement with you?
MITCHELL
It's in my car.
MITCHELL gets up.
MITCHELL (CONT'D)
I'll just be a minute. Anyhow, you
should discuss this all without me
before you make any decision.
MITCHELL moves to the door.
CUT TO
EXT. THE OTTOS HOUSE. -- DAY
MITCHELL l
190
eaves the house and moves to his car. He gets
inside and closes the door.
Once inside, MITCHELL opens his briefcase and takes out an
agreement for the OTTOS. Something inside the briefcase
catches his attention.
ANGLE ON
A photograph of ZOE.
MITCHELL stares at this photograph.
fa0
MITCHELL
(voice over)
I've done everything the loving
father of a drug addict is supposed
to do...
CUT TO
INT. AIRPLANE. FIRST CLASS CABIN -- EVENING
MITCHELL and ALISON have finished dinner. MITCHELL is
drinking a triple scotch.
MITCHELL
(continuing from
voice over)
...I've sent her to the best
hospitals, she's seen all the best
doctors. It doesn't matter. Two
weeks later she's on the street.
New York, Vancouver, Pittsburgh,
Toronto, L.A. The next time I hear
from her, it's a phone call scamming
for money. Money for school, or
money for a new kind of therapist,
or money for a plane ticket home.
'Oh Daddy, just let me come
home...Please, Daddy, I have to see
you...' But she never comes home.
I'm always at the airport, but she's
never there. Ten years of this, ten
years of these lies, of imagining
what happens if I don't send the
money, of kicking down doors and
dragging her out of rat-infested
apartments, of explaining why that
couldn't be my daughter in a porn
flick someone saw...well, enough
rage and helplessness, and your love
turns to something else.
ALISON
(soft)
What...does it turn to?
MITCHELL
It turns to steaming piss.
Pause. ALISON is shocked by MITCHELL'S intensity. He
collects himself.
MITCHELL (CONT'D)
I'm...so sorry.
ALISON
That's okay.
CUT TO
EXT. BILLY'S HOUSE. -- LATE DAY
BILLY is chasing his kids around the yard of their house.
NICOLE appears, and watching BILLY play with JESSICA and
MASON. BILLY notices her, and runs up breathlessly,
BILLY
Hi, Nicole.
NICOLE
Hi, Mr. Ansel. Hi, Jessica,
Mason...
BILLY
They just finished supper.
NICOLE
(to the kids)
Was it good?
The children shake their heads. NICOLE and BILLY laugh.
BILLY
I'll be back around nine.
NICOLE
Okay.
CUT TO
INT. GAS STATION -- DUSK
BILLY is playing his electric guitar in the same garage that
MITCHELL walked into at the beginning of the film.
This is the gas station/repair shop/car wash that BILLY
runs.
BILLY checks his watch, and takes his guitar off. He leaves
the garage.
CUT TO
EXT. BIDE-A-WILE MOTEL -- DUSK
BILLY is walking along a path behind the hotel, making sure
that he is not s
190
een. He sneaks into Room 11.
CUT TO
INT. BIDE-A-WILE MOTEL -- EVENING
BILLY is sitting in a chair in Room 11, smoking a cigarette.
The room is dark. After a while, RISA enters through the
door and slips inside.
RISA
Have you
fa0
been waiting long?
BILLY
A while.
RISA
Billy, do you have to smoke?
Wendell can smell if someone's been
smoking.
BILLY gets up to put out his cigarette in the toilet. He
notices some work tools in the washroom.
BILLY
What's all this?
RISA
Wendell put some fresh enamel on
that break in the tub.
BILLY
Does this mean I can't take a
shower?
RISA
No. It should be dry by now.
BILLY nods. He turns around, looks at RISA, and begins to
unbutton her shirt. RISA stops him, smiles, and kisses
BILLY. After a moment, she pulls away, unbuckles her belt,
and slips off her jeans. She moves to the bed.
BILLY
What time's he coming home?
RISA
When the game's over, I guess.
BILLY moves to the radio and turns it on, tuning into a
hockey game. RISA laughs. He lowers the volume. RISA
takes off her shirt, and moves behind BILLY, kissing his
neck. BILLY closes his eyes.
CUT TO
INT. BILLY'S HOUSE. -- EVENING
JESSICA and MASON, BILLY'S children, are being read to sleep
by NICOLE. She reads from Robert Browning's THE PIED PIPER
OF HAMELIN.
NICOLE
The Pied Piper of Hamelin.
By famous Hanover city;
The river Weser, deep and wide,
Washes its wall on the southern
side;
A pleasanter spot you never spied;
But, when begins my ditty...
MASON
What's a ditty again?
NICOLE
It's like a song.
MASON
Oh.
NICOLE
When begins my ditty,
Almost five hundred years ago,
To see the townsfolk suffer so
From vermin, was a pity...
MASON
What's vermin again?
NICOLE
Rats!
They fought the dogs and killed the
cats,
And bit the babies in the cradles,
And ate the cheeses out of vats.
And licked the soup from the cook's
own ladles,
Split open the kegs of salted
sprats,
Made nests inside men's Sunday hats,
And even spoiled the women's chats,
By drowning their speaking
With shrieking and squeaking
In fifty different sharps and
flats...
MASON
Nicole?
NICOLE
Yes.
MASON
Can I sit beside you on the bus
tomorrow?
NICOLE
Don't you usually like to sit at the
back? To wave at your Dad?
MASON
I
190
want to sit beside you tomorrow.
NICOLE
Okay.
NICOLE covers JESSICA, and gets up to leave.
MASON
Nicole?
NICOLE
What, Mason?
MASON
Did the Pied Piper ta
fa0
ke the children
away because he was mad that the
town didn't pay him?
NICOLE
That's right.
MASON
Well, if he knew magic - if he could
get the kids into the mountain - why
couldn't he use his pipe to make the
people pay him for getting rid of
the rats?
NICOLE
Because...he wanted to them to be
punished.
MASON
The people in the town?
NICOLE
Yes.
MASON
So he was mean?
NICOLE
No. Not mean. Just...very angry.
MASON
Oh.
NICOLE
Should I keep reading?
MASON
Okay.
NICOLE smiles at MASON. JESSICA is already asleep.
CUT TO
INT. BIDE-A-WILE MOTEL -- EVENING
Room 11 at the Bide-A-Wile. RISA is naked, sitting cross-
legged on the bed. BILLY has just gotten into the shower.
RISA stares at BILLY through the semi-transparent curtain.
RISA stands up and walks to the window. She looks across
the parking lot.
ANGLE ON
RISA'S P.O.V. of the rain-glistened concrete.
CUT TO
INT. BILLY'S HOUSE. -- NIGHT
NICOLE is in BILLY'S bedroom. She has some womens' clothing
laid out on the bed, and is staring at the selection of
blouses and summer dresses. The camera slowly glides to a
picture that BILLY has beside his bed.
ANGLE ON
The photograph. It shows BILLY and his deceased wife,
LYDIA.
Back to NICOLE, selecting various items of LYDIA'S clothing,
and placing them over her body, seeing how she looks in the
mirror.
CUT TO
EXT. BIDE-A-WILE MOTEL -- DAY
RISA'S DAYDREAM. A montage of various events, watched from
the window in Room 11. RISA is seen talking to BILLY on her
cordless phone (Scene 34), as well as going through various
activities. Finally, RISA is seen putting her son, SEAN,
into the schoolbus. As the bus pulls away, RISA waves
goodbye. RISA turns around and walks to the camera. She
stops in front of the lens and stares into it, her
expression calm and serene.
CUT TO
INT. BIDE-A-WILE MOTEL -- EVENING
Present time. Night. RISA is sitting on the bed, naked,
her legs crossed. She looks to the side, lost in thought.
BILLY is behind her, putting on his clothes.
BILLY
What are you thinking?
RISA
Tomorrow I'm going to put Sean on
the bus. He won't want to go. He
never does. He'll cry and want to
hold on to me.
BILLY
That's because he misses you.
RISA
Yes.
BILLY
It's natural.
190
RISA
Your kids never cry.
BILLY
Well, maybe that's because they know
I'm going to follow them. Behind
the bus.
RISA
They can look forward to that.
BILLY
Sure.
fa0
RISA
Just like we look forward to this.
BILLY looks at RISA and smiles at her with affection. He
moves to the door.
RISA (CONT'D)
You're leaving.
BILLY
I better get back.
RISA nods.
RISA
Good night, Billy.
BILLY
Good night.
BILLY leaves. RISA, still naked, moves to the washroom.
She stares into the tub, noticing that the white enamel that
WENDELL has applied has been washed away from BILLY'S
shower.
RISA picks up a tube of the enamel, and begins to re-apply
it.
CUT TO
INT. BILLY'S HOUSE. -- EVENING
NICOLE shows BILLY the clothes she has chosen. BILLY stares
at the selection.
NICOLE
Are you sure?
BILLY
Yeah.
NICOLE
It just seems...kind of weird.
BILLY
Why?
NICOLE
I don't know.
BILLY
Nicole, I'm just going to pack all
this stuff and give it to the church
for charity. Don't feel bad.
Unless you feel strange about
wearing it.
NICOLE
No. I mean, I remember Mrs. Ansel
wearing some of this stuff, but...I
don't feel funny about that. I
really liked her.
BILLY
And she really liked you. She
would've given you all this if she'd
outgrown it, or...
BILLY trails off, suddenly consumed with sadness.
NICOLE
What do you mean 'outgrown it'?
BILLY
I'm not sure.
NICOLE
Oh.
(beat)
Right.
NICOLE turns to leave, taking the clothes with her.
NICOLE (CONT'D)
Goodnight, Mr. Ansel.
BILLY
Goodnight, Nicole.
NICOLE leaves the house and walks towards the car where her
father is waiting.
CUT TO
INT. SAM'S CAR. -- DUSK
NICOLE gets into the car beside her father.
SAM
What took so long?
NICOLE
Nothing.
SAM stares at the bundle of clothes on NICOLE's lap.
SAM
What's that?
NICOLE
Mrs. Ansel's clothing.
SAM
Does it fit?
NICOLE nods, staring ahead, as SAM starts the car and drives
away.
CUT TO
EXT. BURNELL HOME -- NIGHT
SAM drives up the driveway to the Burnell home. He opens
the door, and takes a blanket from the back. NICOLE gets
out as well. The two walk towards the barn.
N
190
ICOLE
(voice over)
Once more he stept into the street,
And to his lips again
Laid his long pipe of smooth
straight cane;
And ere he blew three notes
such sweet soft notes as yet
musician's cunning
fa0
Never gave the enraptured air -
There was a rustling, seemed like a
bustling
Of merry crowds justling at pitching
and hustling,
Small feet were pattering, wooden
shoes clattering,
Little hands clapping and little
tongues chattering,
And, like fowls in a farm-yard when
the barley is scattering,
Out came the children running.
All the little boys and girls,
With rosy cheeks and flaxen curls,
And sparkling eyes and teeth like
pearls.
Tripping and skipping, ran merrily
after
The wonderful music with shouting
and laughter...
Inside the barn, SAM and NICOLE are engaged in a sexual
embrace. The camera glides past them as NICOLE's voice
continues to read from the poem.
NICOLE (CONT'D)
(voice over)
When, lo, as they reached the
mountain-side,
A wondrous portal opened wide,
As if a cavern was suddenly
hollowed;
And the Piper advanced and the
children followed,
And when all were in to the very
last,
The door in the mountain-side shut
fast...
CUT TO
INT. BUS -- DAY
CLOSE-UP of NICOLE in the bus as it makes it's way to
school. She seems to be listening to her own voice as it
reads from the poem.
NICOLE
(voice over)
Did I say, all? No! One was lame,
And could not dance the whole of
the way;
And in after years, if you would
blame
His sadness, he was used to say,-
'It's dull in the town since my
playmates left!
I can't forget that I'm bereft
Of all the pleasant sights they see,
Which the Piper also promised me.
For me led us, he said, to a joyous
land,
Joining the town and just at hand,
Where waters gushed and fruit-trees
grew,
And flowers put forth a fairer hue,
And everything was strange and
new...
On this last line, NICOLE's lips begin to move, as she
repeats the line out loud to herself.
NICOLE (CONT'D)
Everything was strange and new.
CUT TO
EXT. ROAD. -- MORNING
A HELICOPTER shot of the schoolbus making its way through
the winter terrain. DOLORES' voice is heard over this
sweeping panoramic shot.
DOLORES
(voice over)
By the time I reached the bottom of
Bartlett Hill Road, I had half my
load, over twenty kids, aboard.
CUT TO
EXT. WINTER ROAD -- MORNING
The bus comes to a stop where a couple of children in bright
snow suits are waiting by the side of the road. DOLO
190
RES
opens the door and the kids climb in.
OMITTED
DOLORES
(voice over)
They had walked to their places on
the main road from the smaller lanes
DOLORES
and private roadways that run off
it.
fa0
Bright little clusters of three
and four children - like berries
waiting to be plucked.
CUT TO
INT. DOLORES'S HOUSE -- DAY
DOLORES is continuing her conversation with MITCHELL.
DOLORES
(smiling to herself)
That's the way I thought of them
sometimes.
MITCHELL
Berries.
DOLORES
Yes. Like I was putting them into
my big basket. Clearing the
hillside of its children.
Pause. MITCHELL stares at DOLORES, disturbed by this image.
DOLORES looks back at him.
DOLORES (CONT'D)
Abbott and I used to do a lot of
that in the spring.
MITCHELL
Berry-picking.
DOLORES
Yes. The old-fashioned way.
MITCHELL
And what's that?
DOLORES
With our hands.
MITCHELL nods, stealing a glance ABBOTT, who stares at him
intensely.
CUT TO
EXT. BIDE-A-WILE MOTEL -- MORNING
The bus pulls up across the road from the Bide-A-Wile Motel.
DOLORES watches as RISA walks her little boy, SEAN, across
the road to the bus.
DOLORES
(voice over)
Anyhow, my next stop was across from
the Bide-A-Wile, which is owned and
operated by Risa and Wendell Walker.
Risa walked her little boy, Sean,
across the road, which was
customary. Sean had some kind of
learning disability.
DOLORES
He was behind all the other kids his
age in school and was too fragile
and nervous to play sports.
CUT TO
INT. DOLORES'S HOUSE -- DAY
DOLORES continues to talk to MITCHELL, who takes notes.
DOLORES
(smiling)
A strange little fellow, but you
couldn't help liking him. He was
close to ten but seemed more like a
frightened five or six.
MITCHELL
Were his parents...attentive to him?
DOLORES
What do you mean?
MITCHELL
You mentioned that he had a learning
disability.
DOLORES
That's right.
MITCHELL
Did his parents attend to that?
DOLORES
What do you mean?
MITCHELL
Did they give him special care?
DOLORES
The Walkers loved Sean. He was
their only child...the object of all
their attention. I mean, Wendell's
a withdrawn sort of man. That's his
nature. But Risa, she's still got
dreams.
190
CUT TO
EXT. BIDE-A-WILE MOTEL -- MORNING
DOLORES opens the door for SEAN. RISA is wearing a down
parka over her nightgown and bathrobe and is wearing
slippers.
RISA
Morning, Dolores.
DOLORES
Hi, Risa
fa0
. Aren't your feet
freezing?
RISA looks down at her slippers.
RISA
I guess they are.
SEAN gets to the landing of the bus, then turns around and
looks at his mother. He extends his hands like a baby
wanting to be hugged.
SEAN
I want to stay with you.
Pause. RISA stares at her son with great intensity and
feeling.
RISA
Go on now, Sean. Go on.
SEAN turns away and looks into the bus full of children.
NICOLE
C'mon, Sean. Sit next to me.
MASON is sitting beside NICOLE. NICOLE whispers something
to him, and he makes his way for SEAN.
MASON goes to the back of the bus and sits beside his
sister, JESSICA. SEAN moves tentatively towards NICOLE.
ANGLE ON
Back on DOLORES and RISA.
DOLORES
Is he okay?
RISA
I don't know.
DOLORES
Temperature?
RISA
No. He's not sick or anything.
It's just one of those mornings, I
guess.
CUT TO
INT. DOLORES'S HOUSE -- DAY
DOLORES continues her conversation with MITCHELL STEPHENS.
DOLORES
But I never had 'those mornings'
myself. Not so long as I had the
schoolbus to drive. Not so long as
I had my kids.
DOLORES is lost in this memory, realizing she will never
drive the children again. A tear runs down her cheek.
ABBOTT, sensing his wife's mood, activates his electric
wheelchair and maneuvers himself towards DOLORES.
MITCHELL watches as DOLORES grasps ABBOTT'S hand.
CUT TO
INT. SCHOOL BUS -- MORNING
NICOLE is seated in the bus next to SEAN. She is staring at
the large speedometer on the front panel.
ANGLE ON
The speedometer reads 51 miles an hour.
CUT TO
EXT. SCHOOL BUS -- MORNING
JESSICA and MASON, BILLY'S children, wave at their father
from the back of the bus.
CUT TO
EXT. BILLY'S PICK-UP -- MORNING
BILLY waving back at his children. His expression suddenly
changes as he sees...
CUT TO
EXT. ROAD. -- MORNING
From BILLY'S point of view, the schoolbus smashes through
the guardrail and the snowbank. It plummets down the
embankment to the frozen-over pond.
Still upright, the bus slides across the ice to the far
side. The ice lets go and the rear half of the yellow bus
is swallowed at once by the freezing water. The sound of
the ice breaking is terrifying.
DOLORES
(voice over)
It emerged from the blowing snow on
the right side of the road. It
might have been a dog or a small
deer or maybe even a lost child. It
might have been an optical illusion
or a mirage.
190
Whatever it was, for
the rest of my life I will remember
that red-brown blur...
An eerie silence as the camera stares at the scene of the
accident.
CUT TO
INT. SUMMER COTTAGE -- MORNING
The camera is high above the bed, looking down on a
fa0
sleeping
family.
This is the same image as from the beginning of the film.
A FATHER, a MOTHER, and a THREE YEAR OLD GIRL, naked in bed.
MITCHELL
(voice over)
Every time I get on one of these
flights to rescue Zoe, I remember
the summer we almost lost her. She
was three years old. It happened in
the morning, at this cottage we used
to rent. We were all sleeping
together in bed. It was a wonderful
time in our lives. We still thought
we had a future together, the three
of us. Did you ever visit the
cottage?
CUT TO
INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT
MITCHELL is telling the story to ALISON.
ALISON
I...don't think so.
MITCHELL
I woke to the sound of Zoe's
breathing. It was laboured. I
looked over and noticed she was
sweating and all swollen. I grabbed
her, rushed to the kitchen, and
splashed water on her face.
ALISON
What happened?
MITCHELL
I didn't know. I was in a panic. I
guessed she'd been bitten by an
insect, but there was no doctor.
The nearest hospital was forty miles
away, and Zoe was continuing to
swell. Klara took her in her arms
and tried to breast-feed her, while
I dialed the hospital. I finally
got a doctor on the line. He
sounded young, but cool. He was
confident, but there was a
nervousness. He have been an
intern. This was the first time he
ever had to deal with anything like
this. He wanted to seem like he
knew what he was doing, but he was
just as scared as I was.
ALISON stares at MITCHELL, taken by his need to chronicle
and detail this irrelevant stranger.
CUT TO
INT. SUMMER COTTAGE -- MORNING
FATHER (YOUNG MITCHELL) is on the phone. The camera is
behind his head.
In front of him, MOTHER (KLARA) is breast-feeding the THREE
YEAR OLD GIRL (ZOE).
MITCHELL
(voice over)
He surmised that there was a nest of
baby black widow spiders in the
mattress. He told me they had to be
babies, or else with Zoe's body
weight she'd be dead. He told me I
had to rush her to the hospital. He
was alone. There was no ambulance
available. 'Now you listen', he
said, 'There's a good chance you can
get her to me before her throat
closes, but the important thing is
to keep her calm.' He asked if
there was one of us she was more
relaxed with than the other. I
said, 'Yes, with me.'
CUT TO
190
INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT
MITCHELL continues telling the story to ALISON.
MITCHELL
Which was true enough, especially at
that moment. Klara was wild-eyed
with fear, and her fear was
contagious. I was a better actor
than
fa0
she was, that's all. Zoe loved
us equally then. Just like she
hates us both equally now.
(beat)
The doctor told me that I should
hold her in my lap, and let Klara
drive to the hospital. He asked me
to bring a small, sharp knife. It
had to be clean. There was no time
to sterilize properly. He explained
how to perform an emergency
tracheotomy. How to cut into my
daughter's throat and windpipe
without causing her to bleed to
death. He told me there'd be a lot
of blood. I said I didn't think I
could do it. 'If her throat closes
up and stops her breathing, you'll
have to, Mr. Stephens. You'll have
a minute and a half, two minutes
maybe, and she'll probably be
unconscious when you do it. But if
you can keep her calm and relaxed,
if you don't let her little heart
beat too fast and spread the poison
around, then you might just make it
over here first. You get going
now', and he hung up.
CUT TO
INT. CAR -- MORNING
A little girl staring innocently into the lens as a male
voice sings a lullaby to her.
It is now recognized as MITCHELL'S voice, singing to his
daughter as she is driven to the hospital.
MITCHELL
(voice over)
It was an unforgettable drive. I
was divided into two people. One
part of me was Daddy, singing a
lullaby to his little girl.
MITCHELL
The other part was a surgeon, ready
to cut into her throat. I waited
for the second that Zoe's breath
stopped to make that incision.
CUT TO
INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT
ALISON stares at MITCHELL as he finishes his story.
ALISON
What happened?
MITCHELL
Nothing. We made it to the
hospital. I didn't have to go as
far as I was prepared to. But I was
prepared to go all the way.
CUT TO
EXT. ACCIDENT SITE -- DAY
An open sky. BILLY ANSEL'S face appears in the frame,
looking down at the camera.
ANGLE ON
The camera is staring down at BILLY as he identifies the
bodies of his two children.
The camera is at a great height.
As BILLY walks away, the camera floats down, slowly moving
on his face.
CUT TO
EXT. WOODS -- DAY
BILLY's P.O.V. of his wife, LYDIA, tugging a sled through
the snow. JESSICA and MASON are on either side of her.
The three figures are seen from behind, trudging their way
through the winter landscape.
This image has a ghostly quality to it. It is filmed in
slow motion.
Suddenly, a snowball enters the frame and hits LYDIA on the
back of the
190
head. She turns around, laughing into the
camera.
CUT TO
INT. BIDE-A-WILE MOTEL -- EVENING
EXTREME-CLOSE-UP
BILLY in his chair in Room 11 of the Bide-A-Wile. He is
alone, smoking a cigarette. A slight faraway smile on his
lips.
After a moment
fa0
, the door opens. It is RISA.
They stare at each other. Silence.
RISA
I knew you'd be here.
RISA sits on the bed. Pause.
RISA (CONT'D)
Are you going to the funeral?
Pause.
BILLY
I stopped by the station a while
ago. I stared at the bus. I could
almost hear the kids inside. There
was a lawyer there. He told me he'd
gotten you signed up. Is that true?
RISA
Something made this happen, Billy.
Mr. Stephens is going to find out
what it was.
BILLY
What are you talking about? It was
an accident.
RISA
Mr. Stephens says that someone
didn't put a right bolt in the
bus...
BILLY
Risa, I serviced that bus. At the
garage. There's nothing wrong with
it.
RISA
...or that the guardrail wasn't
strong enough.
BILLY
You believe that?
RISA
I have to.
BILLY
Why?
RISA
Because I have to.
BILLY
Well I don't.
BILLY gets up to leave.
RISA
Is it true that you gave Nicole one
of Lydia's dresses? That she was
wearing it when the bus crashed?
BILLY
Yes.
RISA
Why did you do that, Billy?
BILLY
You think that caused the accident,
Risa? That it brought bad luck?
Christ, it sounds to me you're
looking for a witch doctor, not a
lawyer. Or maybe they're the same
thing.
RISA is crying. BILLY opens the door.
BILLY (CONT'D)
You know what I'm going to miss?
More than making love? It's the
nights you couldn't get away from
Wendell. It's the nights I'd sit in
that chair for an hour. Smoking
cigarettes and remembering my life
before...
BILLY stares at RISA painfully, then leaves.
CUT TO
EXT. GAS STATION -- NIGHT
MITCHELL is videotaping the bus with a portable camcorder.
The bus is badly damaged, though essentially intact. Most
of the windows in the rear have gone. There is a ghostly
quality to this image, as though the video light is
searching through the remains of an ancient shipwreck.
MITCHELL turns off the camcorder and stands in the silent
night, absorbing the disturbing energy of the bus. He hears
a truck approaching the garage from the distance. It's
BILLY ANSEL. MITCHELL retreats to his parked car as BILLY
stops his truck in front of the bus and steps out of the
truck.
BILLY leaves hi
190
s headlights on, and they cast dark shadows
over the inside passenger seats. BILLY stares at the bus a
long time. MITCHELL approaches him.
MITCHELL
I'm here about your children, Mr.
Ansel.
BILLY takes a moment, then turns around to face MITCHELL.
The two men stare at ea
fa0
ch other.
MITCHELL (CONT'D)
My name is...
BILLY
Mister, I don't want to know your
name.
MITCHELL
I understand.
BILLY
No you don't.
MITCHELL
I can help you.
BILLY
Not unless you can raise the dead.
MITCHELL hands BILLY a card.
MITCHELL
Here. You may change your mind.
BILLY looks at the card.
BILLY
Mr. Mitchell Stephens, Esquire,
would you be likely to sue me if I
was to beat you right now? Beat you
so bad that you pissed blood and
couldn't walk for a month. Because
that's what I'm about to do.
MITCHELL
No, Mr. Ansel. I wouldn't sue you.
BILLY
Leave us alone, Stephens. Leave the
people of this town alone. You
can't help.
MITCHELL
You can help each other. Several
people have agreed to let me
represent them in a negligence suit.
Your case as an individual will be
stronger if I'm allowed to represent
you together as a group.
BILLY
Case?
MITCHELL
The Walkers have agreed. The Ottos.
Nicole Burnell's parents. It's
important to initiate proceedings
right away. Things get covered up.
People lie. That's why we have to
begin our investigation quickly.
Before the evidence disappears.
That's why I'm out here tonight.
BILLY
I know Risa and Wendell Walker.
They wouldn't hire a goddamned
lawyer. And the Ottos wouldn't deal
with you. We're not country
bumpkins you can put a big city
hustle on. You're trying to use us.
MITCHELL
You're angry, Mr. Ansel. You owe it
to yourself to feel that way. All
I'm saying is let me direct your
rage.
BILLY stares at MITCHELL with a cold intensity. The cell
phone in MITCHELL'S car begins to ring.
MITCHELL (CONT'D)
That's my daughter. Or it may be
the police to tell me that they've
found her dead. She's a drug
addict.
BILLY
Why are you telling me this?
MITCHELL
I'm telling you this because...
we've all lost our children, Mr.
Ansel.
MITCHELL
They're dead to us. They kill each
other in the streets. They wander
comatose in shopping malls. They're
paralyzed in front of televisions.
Something terrible has happened
that's taken our children away.
190
It's too late. They're gone.
The phone continues to ring, as BILLY stares at MITCHELL.
MITCHELL turns to look at the ringing phone.
CUT TO
INT. DOLORES'S HOUSE -- DAY
MITCHELL is getting ready to leave. DOLORES is still
grasping onto ABBOTT'S hand.
fa0
DOLORES
I have a question for you, Mr.
Stephens.
MITCHELL
What's that, Dolores?
DOLORES
I told you that I was doing fifty
miles an hour when the accident
happened. That's how I remembered
it. But the truth is, I might have
been doing sixty. Or sixty five.
And if that's true, that I was over
the limit when the bus went over,
what would happen then?
MITCHELL
That would complicate things.
DOLORES
Because I'd be to blame, right?
MITCHELL
Billy Ansel will insist that you
were driving fifty-one miles an
hour. Just like you've done every
morning for the past fifteen years.
DOLORES
He knows that? Billy?
MITCHELL
Yes. He does.
DOLORES
Billy said that?
MITCHELL nods.
DOLORES (CONT'D)
You've talked to Billy?
MITCHELL
I did.
DOLORES
And Billy told you that he'll tell
that to...
MITCHELL
Mrs. Driscoll, if Billy Ansel does
not volunteer to say so in court, I
will subpoena him and oblige him to
testify to that effect.
Pause. MITCHELL plans his next step.
MITCHELL (CONT'D)
But in order to do that, you must
let me bring a suit in your name
charging negligent infliction of
emotional harm. That's what I'm now
asking you to consider.
Pause. DOLORES is lost.
MITCHELL (CONT'D)
It's clear to me and other people
that you have suffered significantly
from this event.
DOLORES
What other people?
MITCHELL
Excuse me?
DOLORES
Who's been talking to you about what
I'm feeling? Who should care about
what I'm feeling?
MITCHELL stares at DOLORES.
MITCHELL
Dolores, people have to know that
you've suffered too.
MITCHELL
And they won't understand until you
let me clear your name - your good
name - once and for all. Will you
let me do that? Will you let me do
my duty?
Suddenly, ABBOTT says something. He twists his face around
his mouth, purses his lips on the left side and emits a
string of broken syllables and sounds. After this outburst,
DOLORES looks at MITCHELL, a comforted smile on her face.
DOLORES
You heard what Abbott said?
MITCHELL
Yes.
DOLORES
190
Anything you didn't understand?
MITCHELL
There might have been a word or two
that slipped by. Maybe you could
clarify it for me, just to be
absolutely sure.
DOLORES
Abbott said that the true jury of a
fa0
person's peers is the people of her
town. Only they, the people who
have known her all her life, and not
twelve strangers, can decide her
guilt or innocence. And if I have
committed a crime, then it's a crime
against them, so they are the ones
who must decide my punishment.
MITCHELL stares at ABBOTT, who stares back.
MITCHELL
That's what he said, is it?
DOLORES
Yes. Abbot understands these
things.
CUT TO
EXT. DOLORES'S HOUSE -- DAY
MITCHELL leaves the DRISCOLL house, watched by DOLORES.
INT. HOSPITAL -- MORNING
NICOLE BURNELL is in bed. A doctor, DR. ROBESON, is
touching her forehead. NICOLE'S family (SAM, her mother
MARY, and her little sister JENNY)
DR. ROBESON
The mind is kind.
The camera fixes on NICOLE'S expression as she stares ahead.
NICOLE
(voice over)
They say I'm lucky because I can't
remember the accident.
SAM
Don't even try to remember.
MARY
You just think about getting well,
Nicole, that's all.
The camera is always fixed on NICOLE'S face when her voice
over is heard.
NICOLE
(voice over)
I know I'm as well as I ever can be
again. So shut up, Mom. To stay
like this, to live like a slug, I'm
going to have to work like someone
trying to get into the Olympics.
SAM
Just wait till you see what we've
got waiting for you at home.
CUT TO
INT. HOSPITAL -- DAY
NICOLE, in a wheelchair, is being led down a hallway with
her family.
NICOLE
(voice over)
It's an incredible relief to be
leaving the hospital. I'm so sick
of looking at my doctor, listening
to Frankenstein ask me stupid
questions about what I was
feeling...
CUT TO
INT. HOSPITAL. LOBBY. -- DAY
NICOLE is being wheeled to the front door of the hospital.
NICOLE
(voice over,
continuing)
He thought it was cute when I called
him Frankenstein. It wasn't. I
feel like his monster.
MARY
Isn't it a lovely day?
NICOLE
What happened to summer?
MARY
Summer's over. It's fall.
NICOLE
And winter?
MARY
Well, winter's far behind us now.
NICOLE
How was it?
MARY
We had a terrible winter last year,
190
didn't we, Sam?
SAM nods.
NICOLE
Good thing I was in Florida.
MARY doesn't know quite what to make of NICOLE'S joke. SAM
flashes NICOLE a smile. She doesn't return it.
CUT TO
EXT. BURNELL HOME -- DAY
NICOLE a
fa0
rrives at home. The car pulls up in front of the
modest house.
SAM opens the door and puts the wheelchair up next to it.
He points out the ramp he has built for NICOLE.
The ramp is painted green.
SAM
How do you like it, Nicole?
NICOLE
The ramp?
SAM
Pretty slick, eh?
NICOLE
Very slick.
SAM
Do you like the colour?
NICOLE
It's okay.
SAM
And I had to widen a few doors.
You'll see.
CUT TO
INT. BURNELL HOME -- DAY
Inside the house. The interior of the house is dark and
somewhat tawdry. The BURNELL'S are almost poor.
But SAM then leads NICOLE into the special room he has built
for her. It seems like another world. Every detail has
been lovingly attended to. No expense has been spared to
make this room as attractive and inviting as possible.
A room that a guilty, abusive father might dream up for his
crippled daughter.
SAM
What do you think?
Pause. NICOLE wheels around, trying to control her emotions
as she inspects the room. A phone rings in the background.
MARY goes to answer it.
NICOLE fixes her gaze at the back of the door.
NICOLE
The door needs a lock.
SAM
(taken aback)
Sure. I'll fix it right away.
SAM goes to get his tools. JENNY stares at NICOLE.
JENNY
Can I come and visit you here?
NICOLE
You better. And you can sleep in my
new bed with me too.
NICOLE grabs her sister's hand, and JENNY moves in close to
her. SAM comes back with the tools. He starts to screw in
the hook.
NICOLE (CONT'D)
That's too high. I'll never reach
it.
SAM
(nervous)
Oh. I better get some spackle.
SAM leaves again.
JENNY
Mommy says you need to lock the boys
out.
NICOLE
What boys?
JENNY
I don't know.
NICOLE stares at JENNY, as MARY comes back into the room.
MARY
So do you like your new room?
NICOLE
It's interesting.
MARY
Your Dad spent all his spare time in
here. He wanted to make it
absolutely perfect.
NICOLE
I feel like a princess.
SAM comes back and begins to work on the door. NICOLE
watches him. She notices a new computer on a desk.
NICOLE (CONT'D)
Is this mine?
MARY
Yes. It's a present.
NICOLE
From you?
190
MARY
No. From Mr. Stephens. That was
him on the phone just now. He was
calling to see how you were.
NICOLE
Who's Mr. Stephens?
SAM
He's a lawyer. He's our lawyer.
NICOLE
fa0
You and Mom have a lawyer?
SAM
Well, yes. He's your lawyer too.
NICOLE
My lawyer? Why do I need a lawyer?
MARY
Maybe we shouldn't be talking about
this just now, with you barely home.
Aren't you hungry, honey? Want me
to fix you something?
NICOLE
No. What's this lawyer business?
MARY turns to JENNY.
MARY
Jenny, why don't you go and play
outside?
JENNY looks at NICOLE.
JENNY
He's given me some stuff too. Toys,
and some books...
MARY
Jenny.
JENNY turns to leave. When she's outside, MARY continues.
MARY (CONT'D)
He's a very kind man. And he knew
that you'd need a computer for doing
schoolwork.
CUT TO
EXT. BURNELL HOME. PORCH -- DAY
NICOLE wheels her chair to the exterior porch, where she
watches her sister climb a tree. SAM follows her outside.
SAM
It's because of the accident,
Nicole. Most people in this town
whose kids were on the bus have got
lawyers. A lot of people...well,
people in this town are very angry.
Us included.
NICOLE
But you didn't lose me.
MARY
No, honey. And we will thank the
Lord for that every day and night
for the rest of our lives. But you
almost died, and you were badly
injured, and you won't be...you
can't...
NICOLE
I can't walk anymore.
ANGLE ON
NICOLE'S P.O.V. of JENNY playing on a tree branch.
SAM
You're going to need special care
for a long time to come. It's not
going to be easy. Not for you, not
for any of us. Because we love you
so much. And it's going to cost
money. More than we can imagine.
NICOLE
What about insurance? Doesn't
insurance pay for these things?
SAM
Partly. But there's a lot the
insurance doesn't cover. That's one
of the reasons we have a lawyer. To
make sure the insurance gets paid
and to help us look after the rest.
NICOLE
How will he do that?
SAM
Well, Mr. Stephens is representing
several families. The Ottos, the
Walkers, us, and I think a couple
more. Mr. Stephens is suing the
town for negligence. He's sure that
the accident could have been avoided
if they had done their jobs right.
He's a very smart man.
NICOLE stares at her sister who's at the top of the t
190
ree.
JENNY turns to look back at NICOLE.
There's a tension, as it seems as though JENNY is going to
let herself fall.
NICOLE
(voice over)
That's the first thing I heard about
you. That you were a smart man.
That you were so sm
fa0
art that you
were going to sue the town, then
make us all feel better...
CUT TO
EXT. GAS STATION -- NIGHT
FLASHBACK to the scene outside the gas station between
MITCHELL and BILLY.
The cell phone in MITCHELL'S car has begun to ring. The two
men stare at each other.
NICOLE
(voice over)
You're good at that. Good at
getting people to believe you could
do something for them. Something
they could never do for themselves.
MITCHELL breaks the silence.
MITCHELL
That's my daughter. Or it may be
the police to tell me that they've
found her dead. She's a drug
addict.
BILLY
Why are you telling me this?
MITCHELL
I'm telling you this because we've
all lost our children, Mr. Ansel...
CUT TO
INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT
MITCHELL stares at the sleeping figure of ALISON.
MITCHELL
(voice over)
They're dead to us.
CUT TO
EXT. GAS STATION -- NIGHT
Back to the scene between BILLY and MITCHELL. The cellular
phone is ringing. MITCHELL breaks the stare with BILLY and
moves to his car.
The camera follows him, as BILLY moves back to his truck in
the background. MITCHELL gets in his car and picks up the
phone.
MITCHELL
Yes, I'll accept the charges.
ZOE
Daddy?
CUT TO
EXT. PHONE BOOTH -- AFTERNOON
MITCHELL
Yes.
ZOE
I'm calling because I've got some
news for you, Daddy. Some big news.
MITCHELL
News?
ZOE
Don't you want to hear?
MITCHELL
Yes. Give me your news, Zoe.
ZOE
You always think you know what I'm
going to say, don't you? You always
think you're two steps ahead of me.
The lawyer.
MITCHELL
Tell me your news, Zoe.
ZOE
Okay. I went to sell blood
yesterday. That's how it is. I'm
in this fucking city where my father
is a hot shit lawyer, and I'm
selling my blood.
MITCHELL
That's not news, Zoe.
ZOE
No. But this is. They wouldn't
take my blood.
CUT TO
INT. CAR -- DAY
Image of ZOE as a little girl in MITCHELL'S lap. Her face
is swollen. She is being driven to the hospital.
MITCHELL is singing her a lullaby.
MiTCHELL's conversation with ZOE c
190
ontinues over this image.
ZOE
Do you know what that means, Daddy?
Does it register?
MITCHELL
Yes.
ZOE
I tested positive.
MITCHELL
Yes.
fa0
ZOE
Welcome to hard times, Daddy.
Pause.
MITCHELL
What do you want me to do, Zoe?
I'll do whatever you want.
ZOE
I need money.
MITCHELL
What for?
ZOE
You can't ask me that! Not anymore!
You asked me what I wanted. Not
what I wanted it for. I want money.
MITCHELL
Do you have the blood test?
ZOE
You don't believe me? You don't
fucking believe me?
MITCHELL
Of...course I do. I just
thought...I could get you another
test. In case the one you got...was
wrong.
ZOE
I like it when you don't believe me,
Daddy. It's better you don't
believe me but have to act like you
do.
Pause.
ZOE (CONT'D)
I can hear you breathing, Daddy.
MITCHELL
Yes. I can hear you breathing too.
ZOE begins to cry over the phone.
ZOE
Oh God, I'm scared.
MITCHELL
I love you, Zoe. I'll be there
soon, and I'll take care of you. No
matter what happens. I'll take care
of you.
CUT TO
INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT
MITCHELL is still staring at the sleeping figure of ALISON.
ALISON'S blanket has fallen to the side.
MITCHELL lifts the blanket, and covers the sleeping figure
of the young woman.
CUT TO
EXT. BURNELL HOME -- DAY
MITCHELL drives up to the BURNELL home. He gets out of his
car and walks to the front door.
SAM has repainted the ramp.
It is now red.
CUT TO
INT. BURNELL HOME. KITCHEN -- DAY
MITCHELL meets NICOLE. SAM and MARY are also seated at the
table.
The meeting takes place in the kitchen/diningroom.
MITCHELL
Well, Nicole, I've been wanting to
meet you for a long time now. Not
just because I've heard so many good
things about you, but because, as
you know, I'm the guy representing
you and your mom and dad and some
other folks here in town. We're
trying to generate some
compensation, however meager, for
what you have suffered, and at the
same time see that an accident like
this never happens again. You're
central to the case I'm trying to
build, Nicole. But you'd probably
just as soon let the whole thing
lie. Just get on with your life as
quickly and smoothly as possible.
NICOLE nods. Pause, as MITCHELL waits for her to go on.
NICOLE
I don't like think
190
ing about the
accident. I don't even remember it
happening. Besides, it just makes
people feel sorry for me, and...
MITCHELL
You hate that.
NICOLE nods.
SAM
What she means, Mitch...
MITCHELL s
fa0
ilences SAM with a gesture of his hand.
MITCHELL
People can't help it, you know.
They really can't. When they see
you in this wheelchair, knowing what
your life was life eight months ago,
people are going to feel sorry for
you. There's no way around it,
Nicole. You and I just met, and
already I admire you. Who wouldn't?
You're a brave tough smart kid.
That's obvious. And I didn't know
you, know how exciting and promising
your life was before the accident.
But listen, even I feel sorry for
you.
NICOLE
You can only feel lucky that you
didn't die for so long. Then you
start to feel...unlucky.
MITCHELL
That you didn't die? Like the other
children?
NICOLE
Yes. Like Bear and the Ansel twins
and Sean and...
MARY
Nicole!
NICOLE
It's the truth.
MITCHELL regards MARY with calm authority, as though he's
telling her the time.
MITCHELL
It is the truth.
Pause. MITCHELL looks back at NICOLE.
MITCHELL (CONT'D)
It would be strange if you didn't
feel that way.
NICOLE
(after a slight
pause)
What do you want me to do for you,
Mr. Stephens?
CUT TO
INT. BURNELL HOME. LIVINGROOM. -- DAY
TIME CUT fifteen minutes forward. The scene shifts to the
livingroom.
MITCHELL and NICOLE are alone in the room. SAM comes back
from another room, as MARY appears from the kitchen with a
plate of cookies.
NICOLE
(voice over)
That got you talking about
depositions and lawyers. By the
time Daddy came back from the
washroom and Mom came in with her
tea and cookies, you were going on
about how tough it would be for me
to answer some of the questions
those other lawyers would ask .
MITCHELL
They work for the people we're
trying to sue. Their job is to try
to minimize damages. Our job,
Nicole, is to try to maximize them.
You have to think of it that way.
As people doing their jobs. No good
guys or bad guys. Just our side and
their side.
NICOLE
I won't lie.
MITCHELL
I don't want you to lie.
NICOLE
The truth is that it was an
accident, and no one's to blame.
MITCHELL
There's no such thing as an
accident, Nicole. Not in a
situation like this.
190
NICOLE
You seem very sure about that.
MITCHELL
I'm absolutely positive.
NICOLE turns to face SAM. She stares at him.
NICOLE
No matter what I'm asked, I'll tell
the truth.
SAM looks back, expressionless.
fa0
MITCHELL
That's fine. I want you to be
absolutely truthful. And I'll be
right there to advise and help you.
And there'll be a court stenographer
there to make a record of it, and
that's what'll go to the judge,
before the trial is set. It'll be
the same for everybody. They'll be
deposing the Ottos and the Walkers,
the bus driver...
NICOLE
Dolores.
MITCHELL
Yes. Dolores...and even your mom
and dad. But I'll make sure you go
last.
NICOLE
Why?
MITCHELL
So you can keep on getting well
before you have to go and do this.
It's not going to be easy, Nicole.
Do you understand that?
NICOLE nods.
SAM
When do they award damages?
MITCHELL
Depends. This could drag on for
quite a while. But we'll be there
at the end, Sam. Don't you worry.
NICOLE
(voice over)
At that moment, I hated my parents -
Daddy for what he knew and had done,
NICOLE
and even Mom for what she didn't
know and hadn't done. You told me
it wasn't going to be easy. But as
I sat there, staring at Daddy, I
knew it was going to be the easiest
thing in my life.
CUT TO
EXT. BIDE-A-WILE MOTEL -- MORNING
REPLAY of the scene of SEAN WALKER entering the bus. He
turns around to face his mother.
SEAN
I want to stay with you.
RISA
Go on now. Go on.
SEAN hesitantly turns to face the inside of the bus. He
sees NICOLE BURNELL, who pats the seat beside her.
MASON leaves his place beside NICOLE to make way for SEAN.
NICOLE
C'mon, Sean, sit next to me.
ANGLE ON
DOLORES as she watches SEAN move towards NICOLE.
CUT TO
INT. COMMUNITY CENTRE. -- DAY
DOLORES gives her deposition. A stenographer takes notes.
MITCHELL listens, along with SCHWARTZ, the opposing lawyer.
DOLORES
He never took his eyes off his
mother, even as he moved to sit
beside Nicole. He looked
frightened.
MITCHELL
Why would he be frightened?
DOLORES
I don't know. But it was weird in
terms of what happened next. Sean
was still watching his mother.
DOLORES
I shut the door with one hand, and
released the brake with the other,
and waited for a second for Risa to
cross in front of the bus. There
was a sixteen wheeler behind me, and
190
I heard his air brakes hiss as the
driver chunked into gear. I looked
into the side view mirror, and saw
him move into line behind me. Then
suddenly Sean shrieked...
CUT TO
INT. SCHOOL BUS -- MORNING
SE
fa0
AN leaps to the front of the bus.
SEAN
Mommy!
MITCHELL
(voice over, from
the court chamber)
What happened then?
DOLORES
(voice over)
Sean was all over me, scrambling
across my lap to the window. I
glimpsed Risa off to my left,
leaping out of the way of a red Saab
that seemed to have bolted out of
nowhere.
The scene is horrifying, as SEAN watches his mother just
missing a terrible accident with the speeding vehicle.
DOLORES (CONT'D)
Sean! Sit down! Your Mom's okay!
Now sit down!
SEAN sits back down beside NICOLE. DOLORES slides open her
window, and speaks to RISA.
DOLORES (CONT'D)
You get his number?
RISA is stunned.
DOLORES (CONT'D)
(voice over)
She was shaken, standing there with
her arms wrapped around herself.
DOLORES
She shook her head, turned away, and
walked slowly back to the office. I
drew a couple of breaths and checked
Sean, who was seated now but still
craning and looking after his
mother.
CUT TO
INT. COMMUNITY CENTRE. -- DAY
The deposition continues.
DOLORES
I smiled at him, but he only glared
back at me, as if I was to blame.
CUT TO
EXT. SCHOOL BUS -- MORNING
AERIAL VIEW of the bus as it makes its way through the
mountains. NICOLE'S voice is heard reading The Pied Piper
from the scene with the ANSEL children.
NICOLE
(voice over)
For he led us, he said, to a joyous
land,
Joining the town and just at hand,
Where waters gushed and fruit-trees
grew,
And flowers put forth a fairer hue,
And everything was strange and
new...
CUT TO
INT. SCHOOL BUS -- DAY
A montage showing the faces of the various children in the
bus. These images are intercut with DOLORES'S deposition.
CUT TO
INT. COMMUNITY CENTRE. -- DAY
The deposition. DOLORES is trying to control her emotions.
DOLORES
I remember wrenching the steering
wheel to the right and slapping my
foot against the brake petal. I
wasn't the driver anymore.
DOLORES
The bus was like this huge wave
about to break over us. Bear Otto,
the Lambston kids, the Hamiltons,
the Prescotts, the teenaged boys and
girls from Bartlett Hill, Sean,
Nicole Burnell, Billy Ansel's twins,
Jessica and Mason...all the children
of my t
190
own.
CUT TO
INT. BURNELL HOME -- NIGHT
SAM and JENNY are watching television. Lumberjack log-
rolling.
NICOLE, in her wheelchair, is reading a book off to one
corner. MARY comes into the room.
MARY
That wa
fa0
s Billy Ansel on the phone.
He wants to come over to talk to us.
SAM
Did he say what about?
MARY
No.
SAM
Was he drinking? Could you tell?
MARY
Jenny, it's time for you to go to
bed.
JENNY
Mom...
SAM
Come on, Jen. I let you watch your
nature show.
JENNY reluctantly kisses her father goodnight, then NICOLE.
As she leaves the room, MARY starts clearing the table.
SAM (CONT'D)
Is he coming over now? Right away?
MARY
That's what he said.
SAM is anxious. He looks over to NICOLE.
SAM
What are you up to, Nicole?
NICOLE
Nothing.
SAM
Nothing good on your T.V.?
NICOLE
As opposed to this T.V.?
NICOLE stares at SAM.
NICOLE (CONT'D)
Besides, I'd like to see Billy.
NICOLE stares at the television.
ANGLE ON
On the television screen, an image of a studio audience
applauding. The image is silent. The T.V. is on MUTE.
NICOLE (CONT'D)
(voice over)
That wasn't true. I didn't want to
be seen by anyone whose kids had
been killed by the accident.
Especially not Billy Ansel.
NICOLE turns her attention back to her parents.
NICOLE (CONT'D)
Actually, now that I think about it,
I'd just as soon stay in my room.
NICOLE shoves her wheelchair towards her room, as the camera
remains on her face.
NICOLE (CONT'D)
(voice over)
I remembered all the times I had
tucked Jessica and Mason into bed.
How they loved to have me read to
them before they slept. There was
nothing for me to say to Billy,
except I'm sorry. I'm sorry that
your children died when my parent's
children didn't.
CUT TO
EXT. BURNELL HOME -- NIGHT
BILLY pulls up to the BURNELL home. He gets out of his pick
up and approaches the house.
CUT TO
INT. BURNELL HOME -- NIGHT
From her room, NICOLE watches as BILLY approaches the house.
He leaves her view as a knock is heard at the door. NICOLE
wheels over to the door and presses her ear to the door so
that she can hear the conversation.
CUT TO
INT. BURNELL HOME. KITCHEN. -- NIGHT
SAM
Hey, Billy! What brings you out on
a night like this? C'mon in. Take
a load off.
MARY
Would you like a cup of tea, Billy?
There's a piece of cake left.
190
BILLY
No. No, thanks, Mary.
CUT TO
INT. BURNELL HOME. KITCHEN/LIVINGROOM -- NIGHT
SAM leads BILLY into the livingroom.
SAM
So what brings you out tonight?
BILLY
Well
fa0
, Sam, I might as well tell you
the truth. It's this lawsuit you've
gotten yourself all involved with.
I want you to drop the damned thing.
Pause.
SAM
I don't see how that concerns you,
Billy.
BILLY
It does concern me.
SAM
Well, I don't know why it should.
There's a whole lot of people in
town involved with lawsuits. We're
hardly unique here, Billy. I mean,
I can understand how you feel.
BILLY
How?
SAM
Well, it being so depressing and
all. But it's reality. You can't
just turn this off because you
happen to think it's a bad idea.
BILLY
Why not?
SAM
Because it's what we have to do.
BILLY
Well I don't want a damned thing to
do with it.
SAM
Okay, fine. So...stay out of it.
Pause. BILLY stares at SAM. Tension.
BILLY
I've tried to stay out of it. But
it turns out that's not so easy,
Sam. You've gone and got yourself
this lawyer. Mitchell Stephens.
You and Risa and Wendell and the
Ottos.
SAM
So? I mean, lot's of folks have got
lawyers.
BILLY
But yours is the one who's going to
subpoena me, Sam. Force me to
testify in court. He came by the
garage this afternoon. Gave me this
piece of paper.
BILLY reaches into his pocket and shows the paper to SAM.
MARY
Why would he do that? You didn't
have anything to do with the
accident.
BILLY
Because I was driving behind the
bus, Mary. Because I saw it. I saw
it happen...
BILLY is harrowed by this image. SAM and MARY stare at him,
frightened by his intensity.
BILLY (CONT'D)
If that bastard does subpoena me, if
he forces me to go over this again,
then all those other lawyers will
line up behind him and try and do
the same thing.
SAM
That won't happen, Billy. Mitch
Stephens' case is small, compared to
some of those other guys. The way
he told me, all he needs is for you
to say what you saw that day,
driving behind the bus. I know it's
a painful thing to do, but it'll
only take a few minutes of your
time. That'll be the end of it.
BILLY
That's wrong, Sam. You know that.
We'll be tangled up in this thing
for the next five years. This is
never going to go away...
190
SAM
C'mon, you know that won't...
BILLY
We've got lawyers suing lawyers
because some people were stupid
enough to sign on with more than one
of the bastards. We've got people
pointing fingers, making s
fa0
ide deals,
and dickering over percentages.
Yesterday, I heard somebody wants to
sue the rescue squad. The rescue
squad. Because they didn't act fast
enough.
ANGLE ON
NICOLE listening from her door.
BILLY (CONT'D)
If you two dropped the case, then
the others would come to their
senses
BILLY
and follow. You're good sensible
parents, you and Mary. People
respect you.
Pause.
SAM
No, Billy. We can't drop the
lawsuit. You know how much we need
the money.
BILLY
Why? You got money from Dolores'
insurance with the school board. We
all did.
SAM
It's not enough. For hospital
bills. For Nicole.
BILLY
I'll help pay for Nicole, if that's
what you're really talking about.
I'll even give you the money I got
for my kids.
(beat)
That's what we used to do, remember?
Help each other. This was a
community.
SAM
I'm sorry.
BILLY stares at SAM.
BILLY
I used to like it here. I used to
care about what happened. Now I
think I'll sell my house and move
the fuck away.
MARY
Billy, please. The children.
BILLY
The children.
BILLY looks at SAM and MARY, s strange smile on his face.
He moves to leave. He pauses at the door of the kitchen.
BILLY (CONT'D)
How is Nicole? Is she around?
MARY
She's resting. In her room.
BILLY
Say hello for me.
CUT TO
EXT. BURNELL HOME -- NIGHT
BILLY walks to his car. SAM and MARY watch him from the
porch/ramp.
SAM
(calling out)
We're getting on with our lives,
Billy. Maybe it's time you got on
with yours.
BILLY turns around, looks at SAM one final time, then moves
to his pick up.
CUT TO
INT. BURNELL HOME -- NIGHT
NICOLE is watching BILLY from her window. She is crying.
ANGLE ON
NICOLE'S P.O.V. of BILLY driving away.
CUT TO
INT. BURNELL HOME. NICOLE'S BEDROOM. -- NIGHT
NICOLE is lying in her bed. A knock at the door. SAM
enters the dark bedroom and sits on the bed beside her.
SAM
Are you sleeping?
NICOLE
No.
SAM
Nicole, tomorrow Mr. Stephens wants
you to make your deposition at the
courthouse
190
. I thought I'd take you
over.
NICOLE
Great.
SAM
You seem...I don't know...well,
distant, I guess. Hard to talk to.
NICOLE
We used to talk a lot, didn't we,
fa0
Daddy. About all the things you
were going to do for me.
SAM
What do you mean?
NICOLE
I mean I'm a wheelchair girl now.
It's hard to pretend I'm a beautiful
rock star. Not like you used to
tell me. Remember, Daddy? All the
people that were going to discover
me? Where are they now?
SAM turns away from NICOLE.
NICOLE (CONT'D)
(voice over)
He couldn't look at me. But I
looked at him. Right at him. His
secret was mine now. We used to
share it. But not anymore. Now, I
owned it completely.
SAM
Well, okay. I'll take you about
nine-thirty in the morning. That's
okay with you?
NICOLE
Great.
Silence. SAM gets up to leave the room.
NICOLE (CONT'D)
(voice over)
Before, everything had been so
confusing. I never knew who was to
blame. But now I know. He's just a
thief, a sneaky thief who had robbed
his daughter. Robbed me
of...whatever it was that my sister
still had and I didn't. And then
the accident robbed me of my body.
CUT TO
INT. CAR -- DAY
SAM and NICOLE are driving to town. They don't exchange a
word.
CUT TO
EXT. COMMUNITY CENTRE. -- DAY
SAM is carrying NICOLE up the stairs of the community
centre.
There is no ramp, so the wheelchair is left at the bottom.
He is having difficulty, because NICOLE is keeping her body
stiff and won't hold on to him.
CUT TO
INT. COMMUNITY CENTRE. -- DAY
NICOLE is wheeled across the floor of the community centre
to a table where the depositions are being made. MITCHELL,
SCHWARTZ, and the STENOGRAPHER are waiting for her.
NICOLE
(voice over)
The last time I was in the community
hall was for the big Christmas party
almost a year ago. It hadn't
changed.
CUT TO
INT. COMMUNITY CENTRE. -- DAY
The deposition. SAM watches his daughter as she speaks
confidently into the microphone. The STENOGRAPHER takes
notes.
NICOLE is answering questions from the opposing lawyer.
MITCHELL is also taking notes.
SCHWARTZ
Now on that morning, did there come
a time, Nicole, when you left your
parents' house?
NICOLE
Yes.
SCHWARTZ
What time in the morning was this?
NICOLE
About eight-thirty in the morning.
SCHWARTZ
Was anyone waiting for the bus with
you?
190
NICOLE
No. I was alone. My sister Jenny
was sick and stayed home that day.
SCHWARTZ
Was there anything unusual about the
driver, Dolores Driscoll, or the bus
that particular morning?
NICOLE
fa0
Like what? I mean, I don't remember
a lot.
ANGLE ON MITCHELL
MITCHELL
I object to the form of that
question. Note that.
SCHWARTZ
Was the bus on time?
NICOLE
Yes.
SCHWARTZ
And where did you sit that morning?
NICOLE
My usual place. On the right side.
The first seat.
SCHWARTZ
And according to your recollection,
there was nothing unusual about the
drive that morning?
NICOLE
Until the accident? No.
(beat)
Yes, there was.
ANGLE ON MITCHELL
Worried about this new information.
NICOLE (CONT'D)
It was when Sean Walker got on. He
was crying and didn't want to leave
his mother. Mason Ansel was sitting
beside me. I asked him to move, so
I could quiet Sean down. When the
bus started up, a car came around
the corner and almost hit Sean's
mother. She was okay, but it really
scared Sean, because he watched it
out the window.
SCHWARTZ
And was this incident caused in any
way by anything the driver of the
bus did?
Pause. MITCHELL is nervous.
NICOLE
No, she hadn't even started to move
the bus. It was the car's fault.
MITCHELL is relieved.
SCHWARTZ
There was nothing reckless in Mrs.
Driscoll's behavior?
MITCHELL
I object to that form of question.
Note that.
NICOLE
(answering the
question)
No.
SCHWARTZ
Did there come a time when all the
children had been picked up?
NICOLE
Yes.
SCHWARTZ
You remember that much?
NICOLE
As I'm talking, I'm remembering more
about it.
MITCHELL is worried.
MITCHELL
Note my objection. She said, 'As
I'm talking.'
SCHWARTZ
Did there come a time when the bus
turned off Staples Mill Road onto
the Marlowe Road at what's called
Wilmot Springs?
NICOLE
Yes.
NICOLE
There was a brown dog that ran
across the road up there, right by
the dump, and Dolores slowed down
not to hit him, and he ran into the
woods. And then Dolores drove on
and turned onto the Marlowe road, as
usual. I remember that. I'm
remembering it pretty clearly.
SCH
190
WARTZ
(eyebrows raised)
You are?
NICOLE
Yes.
MITCHELL
(worried)
Note that she said 'pretty clearly'.
Not 'clearly'.
SCHWARTZ
And wh
fa0
at was the weather like at
this time?
NICOLE
It was snowing.
MITCHELL
Unless the report from the National
Weather Bureau for the district on
January 23 goes into the record, I
will object to that question.
SCHWARTZ
I will offer that report. Well,
then, now that your memory seems to
be clearing, can you tell us what
else you observed at that time?
NICOLE
Before the actual accident?
SCHWARTZ
Yes.
NICOLE stares at her father as she responds.
NICOLE
I was scared.
SCHWARTZ
Why were you scared?
SCHWARTZ
This is before the accident, Nicole.
Do you understand what I'm asking?
NICOLE
Yes, I understand.
SCHWARTZ
Why were you scared?
NICOLE
Dolores was driving too fast.
Silence. MITCHELL is watching his entire case crumble.
SCHWARTZ
Mrs. Driscoll was driving too fast?
What made you think that, Nicole?
NICOLE
The speedometer. And it was
downhill there.
SCHWARTZ
You could see the speedometer?
NICOLE
Yes. I looked. I remember clearly
now. It seemed we were going too
fast down the hill. I was scared.
NICOLE looks at MITCHELL, who stares back.
SCHWARTZ
How fast would you say Mrs. Driscoll
was going? To the best of your
recollection?
NICOLE
Seventy-two miles an hour.
SCHWARTZ
Seventy-two miles an hour? You're
sure of this?
NICOLE
Positive.
SCHWARTZ
You believe that the bus driven by
Mrs. Driscoll was going at seventy-
two miles an hour at this time?
NICOLE
I told you I was positive. The
speedometer was large and easy to
see from where I was.
ANGLE ON
The speedometer from NICOLE'S P.O.V. It reads fifty-one
miles an hour.
SCHWARTZ
(voice over)
You saw the speedometer?
NICOLE
Yes.
SCHWARTZ
Did you say anything to Mrs.
Driscoll?
NICOLE
No.
SCHWARTZ
Why not?
NICOLE
I was scared. And there wasn't
time.
SCHWARTZ
There wasn't time?
NICOLE
No. Beca
190
use the bus went off the
road. And crashed.
SCHWARTZ
You remember this?
NICOLE
Yes. I do now. Now that I'm
telling it.
MITCHELL
(defeated)
She said,
fa0
'Now that I'm telling it'.
Note that.
SCHWARTZ
What do you remember about the
accident?
NICOLE
I remember the bus swerved, it just
suddenly swerved to the right, and
it hit the guardrail and the
snowbank on the side of the road,
and then it went over the embankment
there, and everyone was screaming
and everything. And that's all. I
guess I was unconscious after that.
That's all. Then I was in the
hospital.
SCHWARTZ smiles and makes some notes in his pad. He talks
to MITCHELL without looking up.
SCHWARTZ
Do you have any questions, Mr.
Stephens?
MITCHELL stares silently at NICOLE for a long time.
NICOLE
(voice over)
Daddy was leaning forward in his
chair, his mouth half open, as if he
wanted to say something. Like what,
Daddy? Like 'What about my money?'
NICOLE and SAM stare at each other.
MITCHELL
I have no questions.
SCHWARTZ
Thank you, Nicole.
NICOLE wheels herself away. She passes MITCHELL.
MITCHELL
(in a low voice)
You'd make a great poker player,
kid.
NICOLE wheels herself over to her father.
NICOLE
Let's go, Daddy.
EXT. COMMUNITY CENTRE -- DAY
NICOLE is in the car in front of the community centre. She
stares at SAM as he argues with MITCHELL on the steps.
NICOLE
(voice over)
Daddy took a long time. I guess he
wanted to have a few words with you.
He must have tried to tell you that
I was lying. Then you would tell
Daddy that it didn't matter if I was
lying or not, the lawsuit is dead.
As NICOLE'S words are heard, her point of view of SAM and
MITCHELL arguing is seen.
The movement of their lips is in sync with NICOLE'S voice
over.
NICOLE (CONT'D)
(voice over)
Everyone's lawsuit is dead. Forget
it. Tell the others to forget it.
It's over. Right now, Sam, the
thing you've got to worry about is
why she lied. A kid who'd do that
to her own father is not normal,
Sam.
SAM comes down the stairs and enters the car, sitting down
at the driver's seat. NICOLE stares at him as he starts the
car.
NICOLE (CONT'D)
(voice over)
But Daddy knows who lied. He knows
who the liar is. He knows who's
normal.
SAM stares ahead, not knowing what to do next.
NICOLE (CONT'D)
(speaking to SAM)
I hope he lets us keep the computer.
SAM turns to look at NICOLE.
NICOLE (CONT'D)
I'd like an ice cre
190
am.
CUT TO
INT. AIRPORT. -- MORNING
MITCHELL is at the baggage section of the arrival area,
waiting for his luggage.
He watches PETER, the man he met in the washroom changing
his daughter, playing with the little girl.
PETER is full of love as he swing
fa0
s the little girl into the
air as she laughs.
MITCHELL is caught in a daydream, smiling at the happy image
of father and daughter. ALISON approaches him.
ALISON
Well, it was nice meeting you again,
Mr. Stephens.
MITCHELL
Mitchell. It was nice to see you
again, Ally.
ALISON
Alison.
MITCHELL
Alison.
ALISON
Say hi to Zoe.
MITCHELL
I will.
ALISON
I hope she gets better.
MITCHELL
I'll tell her that.
ALISON shakes MITCHELL'S hand, and leaves.
CUT TO
EXT. FAIRGROUND -- DAY
SAM wheels NICOLE along a path away from the same concession
stand that was seen at the beginning of the film. NICOLE is
licking an ice-cream cone. Around them, people are setting
up the bandstand.
NICOLE
Daddy, can we come to the fair?
SAM
Yes.
NICOLE
How about Sunday night? That's
always the best time.
SAM
Okay.
NICOLE looks at a team of men constructing a ride. A school
bus pulls up, and a group of children spill out. NICOLE
watches as the driver tries to form them into a group.
NICOLE
What's going to happen to Dolores?
SAM
I don't know.
NICOLE
Will the police do anything to her?
SAM
It's too late for that. She can't
drive the bus anymore. The school
board saw to that right off.
NICOLE
She'll move away.
SAM
There's talk of that.
NICOLE
Someplace where no one knows her.
(beat)
Someplace strange and new.
SAM is frozen. NICOLE smiles to herself.
CUT TO
EXT. AIRPORT. -- MORNING
At the airport, in the arrivals bay, MITCHELL waits for his
limousine.
Across the road, a hotel minibus is parked. The driver is
DOLORES. The camera settles on her face as she stares at
MITCHELL.
MITCHELL catches her gaze, and the two stare at each other.
NICOLE
(voice over)
As you see each other, almost two
years later, I wonder if you realize
something.
MITCHELL'S limo arrives. He gets inside.
CUT TO
INT. LIMOUSINE -- MORNING
CLOSE-UP of MITCHELL as he stares ahead, lost in thought.
NICOLE
(voice over)
I wonder if you realize that all of
us - Dolores, me, the children who
survived, the children who didn't -
190
that we're all citizens of a
different town now.
CUT TO
EXT. GAS STATION -- DAY
BILLY watches as a crane lifts the demolished schoolbus onto
a flatbed truck.
NICOLE
(voice over)
A
759
town of people living in the sweet
hereafter.
CUT TO
EXT. CAR -- AFTERNOON
NICOLE and SAM driving home from the fairground.
NICOLE
(voice over)
Whether others defend us, protect
us, love us or hate us - they do it
to meet their own needs, not ours.
The camera leaves the car to look up at the sky.
CUT TO
EXT. FAIRGROUND -- DUSK
Sunday night at the fairground. NICOLE is staring at the
ferris wheel. In her imagination, the swinging cars of the
slowly turning wheel are full of children. The laughter and
noise is haunting.
NICOLE smiles as she stares at this private apparition.
NICOLE
(voice over)
This is what I learned. This is
what I found out.
CUT TO
INT. BILLY'S HOUSE. JESSICA AND MASON'S BEDROOM. -- NIGHT
NICOLE has just finished reading a story to JESSICA and
MASON. The children are asleep. NICOLE puts the book down,
and kisses the two sleeping children on the cheek.
NICOLE gets up to leave the bedroom, leaving the door
slightly open.
Light spills in from the hallway.
The End October, 1996
Found on INFlow Screenplay Repository
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