"UNCLE BUCK" (1989)

UNCLE BUCK

A HUGHESENTERTAINMENT PRODUCTION

UNCLE BUCK

A 40's Georgian colonial inan established North Shore suburb. It's late autumn.WE HEAR A SINGLE HEARTBEAT. A TEENAGE girl crosses the lawnon the bias, dragging her feet, head hung enveloped in thought.To the front door. Her name is TIA RUSSELL.

CU. PURSE

Tia digs through her purse, comingup with a key ring.

Tia lets herself in and takes off hercoat. She's not a happy girl. Very pretty, very mature but stricken witha look of tragic preoccupation. Her clothes aredark and somber. Attractive and stylish in their ownway but exclusionary. WE HEAR ANOTHER HEARTBEAT.

A yellow school van pulls up in front of thehouse and a six year old girl gets out. Her name isMAIZY RUSSELL. She's dainty and proper. A girl like they don'tmake anymore. She's wearing a raincoat and huge backpack. She marchesup to the house, careful not to step on any cracks.WE HEAR ANOTHER HEARTBEAT.

An eight year old boy climbs over a back fenceand scopes out the yard. Considering it safe, he makes adash for the house. His name is MILES RUSSELL. He's the sort of chipped-tooth scraped-knee boy that grows up between two sisters.He's filthy and torn from a perilous journey home.His Air Jordans are scuffed and trailing splayed laces, his jeans are hanging low in the back. His backpack's split and threatening to spill the books and crumpled papers it contains.ANOTHER HEARTBEAT.

Tia's drinking a small bottle of Evian. Maizy drops her backpack on the table and takes off her coat.

The back door flies open and Miles bursts in.

He peels off hisbackpack and drops it by the door.

He looks down at the backpack.The floor by the door seems as good a place as any.

He starts to exit the room.Tia grabs him.

She releases him and he picksup the backpack.

Tia gives Maizy an impatient look.Maizy qualifies her remark.

Tia glares at Miles.He's hit a sore point with her.

He crosses the kitchenon his way out.

Miles stops and turns to Tia.

He exits angrily. ANOTHER HEARTBEAT.AND ANOTHER. Maizy looks at Tia.

She exits leaving a severely confused Maizy.A PAIR OF HEARTBEATS.

Opened carry-out Chinese boxes. A COUPLEMORE HEARTBEATS.

BOB and CINDY RUSSELL are home fromwork. The family's eating dinner. Bob's in his early forties,handsome, trim and healthy. A classic Reagan Era father.Cindy is in her late thirties. She's attractive and youthful,strong and successful. The Russells are the moderntwo income family. Bob's at the head of the table. Cindy's oppositehim. Maizy and Miles are on one side of the table.Tia's alone on the

other. It's not thewarmest domestic scene in town. There's a peculiar stiffness to their interaction.A PAIR OF HEARTBEATS.

He looks from his plate.

CU. TIA

She looks at Cindy with a smug smile.ANOTHER PAIR OF HEARTBEATS

CU. CINDY

She knows that Tia's mocking her but lets it pass.ANOTHER PAIR OF HEARTBEATS.

Bob senses impending difficulties.He picks up the conversation.

Miles smiles.

INT, DINING ROOM. TIA'S LAP. CU. FINGER

She makes a circle in the air with her index finger.A secret insult to Cindy. ANOTHER PAIR OF HEARTBEATS.

The living room lights go off. The HEARTBEATS BECOME REGULAR AND RHYTHMIC AND CONTINUE. The porch lights go out.

The family's miniature poodle scoots in the doggie door.

CU. ALARM CLOCK

Cindy sets it.

CU. MAIZY

She's as~eep in bed. The HEART SKIPS A BEAT AND CONTINUES AT A FASTER RATE.

CU. FRONT DOOR. LOCK

Bob secures it for the night.

He's sprawled across his bed,sleeping. The HEART SKIPS ANOTHER BEAT AND RETURNING, FALLS OUT OF RHYTHM.

INT,MASTER BEDROOM

Tastefully decorated.Bob and Cindy are in their iron bed reading business related material.They're wearing half- glasses. TheHEART'S TRYING TO GET BACK IN RHYTHM. IT'S BEATING FASTER.

The lights are out.The house is asleep. The HEAR.T'S POUNDING, WILDLYARHYTHMIC. And ... ITSTOPS.

CU. TIA

In bed, sleeping.Her eyes open -- confused and frightened.

It's dark. The phone's ringing.Bob and Cindy stir. Bob reaches out and picks up the phone.

He comes quickly to hissenses and sits up. Cindy rises up on her elbows.

CU. CINDY

She's breathless with shock.

Bob's leaning against the counter.Cindy's slumped in a kitchen chair, devasted. She's staring at the floor.

Cindy looks up athim. A tinge of anger. She doesn't want to be cheered up.

Cindy thinks for amoment. Shenods. A good thought.

Cindy knows he's right. She recants.

Cindy exits. Bob crosses to the phone.

Cindy comes up the stairs. She stops as she looksup.

HER POV

Tia's standing at the top of the stairs. She's in at-shirt and panties, hair pinned up.

CU. CINDY

She's surprised that Tia knows about it.

CU. TIA

Stern, serious and tough as a slab of pig iron.

CU. CINDY

There's obviously a fissure in their relationship. Cindy's hurt by the remark.

CU. TIA

Still hard and cold.

Cindy continues up the stairs to Tia.

Tia's jaw tightens.

She turns around and heads back to herroom.

Tia turns.

She goes into her bedroom and slams the door.

Cindy is loading clothes into an open suitcase on the bed.

Miles is standing in the doorway. Hair tossled, scratching his sleepy ass.

She turns from the bed to Miles.

Miles walks over to her. She sits down and puts Miles on her lap.

Bob's in the doorway.

1 1

CINDY

She looks past Miles.

BOB

He shakes his head.

CINDY

She sighs in defeat.

Bob steps in. Miles turns to him.

Miles hurries out of the room. Cindy looks up at Bob.

1 2

Bob nods with great certainty.

CU. FLOOR

In a darkened room. A booze bottle, a filled ashtray,a dinner plate, plastic cups, an alarm clock,the base portion of a telephone and finally a WOMAN crashes to the floor.

Lit by a beer sign on the wall. BUCK RUSSELL sitsup in bed. He's wearing at-shirt. His thinning hair's standingon end. He's holding the phone wrong way up.

The woman, CHANICE BLACKWELL, picks herself up off the floor. She's still half-asleep. She's in her late thirties, an attractive and independent woman. She's tough and a little hard in manner and look. Not so much cheap or easy as strong and pragmatic.

He's sitting on the edge of the bed. In the background, Cindy continues packing.

CU. BUCK

We see Buck in glorious detail. Bloodshot eyes, a couple days growth of beard.

i3

CU. BOB

He's embarrassed that Buck doesn't recognize him immediately. He flashes a look to Cindy before speaking.

Chanice slips back into bed. Buck brightens as he realizes it's his older brother. He clears his throat, setting off the neighborhood dogs in a barking frenzy.

CU. BOB

Bob gets to the heart of the matter.

CU. BUCK

He's puzzled.

CU. BOB

He cuts Buck off.

CU. BUCK

The goofy grin drops. He feels foolish for being so exuberant when there's such a grave problem.

CU. CINDY

She's packing the suitcases.She looks up at Bob, hoping they're doing the right thing.

CU. BOB

He explains the favorhe needs.

Chanice is curious about thechange in Buck's attitude.

Buck waves her off. He's focusedon the conversation and is overly sharp with her.

Buck waves her off again. She'sangry. She doesn't realize the seriousness of the matter.

Chanice glares at him. There'sobviously a history of unorthodox behavior.

Buck swings his legs over the side of the bed andhangs up the phone. Chanice is still staring athim. He sits for a moment, letting it all sink in.

Chanice doesn't respond. It's somethingshe can't complain about. She has to separate the event from thelarger issues.

Buck gets out of bed and crosses to his closet.

Buck comes out of the closet with an armfulof shirts and pants.

Buck pulls a cotton laundry bag out from under hisbed and begins filling it with clothing.

Buck crosses to the bed and grabs his pillow. He pulls the pillow out of the case and fills the case with socks and shorts.

He crosses back to the laundry bag and takes out a pair of sweat pants. He slips them on.

1 7

He reaches under the chair for a shirt. He quicklychecks it for excessive dirt. It's alright. He slips iton.

He starts to exit.

And he's gone.

CU. CHANICE

She sighs in defeat.As much as she loves him, she knows he can't give her the lifeshe wants.

A rusting 1969 Buick Riviera blasts througha suburban intersection.Music's blasting.

Cindy's dressed and standing at the frontwindow. Bob comes down the stairs.

Buck's car's in the driveway. He's standing at thedoorway with his pillow and a grocery bag. He rings the bell for the umpteenth time.

A porch light goes on.

The door opens, revealing a sleepy, puzzled ELDERLYWOMAN.

CU. BUCK

He's startled. He leans back and looks at the house address. He looks back at the woman.

Bob's standing in front of the house, looking down the street. We HEAR A CAR ENGINE.

CU. BOB

He's looking down the street.

The Buick roars through the FRAME.OC TIRES SQUEAL. The Buick backs into FRAME and stops. Buck getsout and looks at Bob's house.

Buck's in the kitchen with Cindy. She'srunning down the basics of the house and schedule.

Cindy's remark strikes him as odd. This is contrary towhat little he knows about raising kids. He nods in agreementonly to cover his discomfort. Bob comes in from the diningroom.

Cindy exits. Bob hangs back fora moment

Bob exits. Buck watches for a moment before closing thedoor.

Tia slips out of her room and sneaks down the hall.

Buck is in his shorts, brushing his teeth in the high-style bathroom. Every possible gadget and accessory.Granite counters, towel warmers, bidet, two-person whirlpool tub, steam shower. Buck flips on a 3 inch screenTV mounted on a bracket on the sink. He's not entirely surewhy a TV would be in a bathroom. He crosses to the toilet and sitsdown. He leans forward and looks at the TV. He getsup and steps into the tub. He sits down and looks at the TV from there.

Tia peeks into the bedroom. She listens to the running water in the bathroom. She slips into the bedroom.

Buck, with the toothbrush in his mouth, looks out from the shower to the TV.

Tia's spying on Buck between the space between the hinges and the jamb.

He exits the shower and crosses to a exercise treadmill. He puzzles over it for a moment. He steps up on it and studies the control panel. He takes the toothbrush out of his mouth.

CU. PANEL

A confusion of touch-pads and displays. Buck's finger presses a touchpad.

The treadmill suddenly comes ~o life. The walk surface moves out from under him, and in the blink of an eye, he's thrown to his knees and hurled off the machine. The toothbrush goes flying.

CU. TOILET BOWL

Buck's toothbrush hits the seat and drops in the bowl. Tom Jones' "DELILAH" COMES UP AND CONTINUES.

A crisp late autumn morning. The MUSIC CONTINUES.

Tia comes down the stairs dressed for school. Her outfit is gloomy and extreme. She slows as she hears an OFF-KEY SINGING VOICE FOLLOWING THE SONG. ;

Buck's in sweats and at-shirt. He's at the stove cooking, moving to the music, the source of which is a Proton radio on the counter.

Tia stands in the doorway. She looks Buck up and down.

HER POV. CU. BUCK'S FEET

Grotesquely misshapenand worn, laceless gum sole, canvas top shoesand black socks. MOVING UP the sweat pants to the blown-out seat, to the t-shirt and ENDING on thinning hair standingon end. A spatula COMES INTO FRAME and with the handle end,Buck scratches the top of his head.

CU. RADIO

Tia turns it off.

CU. BUCK

He freezes in mid-note.Thinks a moment and turns.

CU. TIA

Heavy, inpenetrable, inscrutable, teenage "Ihate you''scowl.

CU. BUCK

Through the scowl he sees the sweet face ofhis brother's first born, not the petulant, distressed youngwoman she's become.

CU. TIA

No reply. No response. She wants to let him know that she'sa tough case.

Buck takes the frying pan he's been attending from the burner.

Tia ignores him. She opens a cupboard and removes a coffee mug.

Tia continues to ignore him as she pours herself a cup of Buck's freshly manufactured coffee matter. Buck begins to catch on to her gig.

Tia sits down at the table.

CU. TIA

She sips the coffee. She struggles to repress her urge to grimace. Either she doesn't normally drink coffee or his coffee's horrible.

CU. BUCK

He notes her_displeasure with the coffee,despite her efforts to conceal it.

CU. TIA

Looks up with loads of boredom and irritation.

Buck pulls a carving knife from a holder beside the stove.

He takes a grapefruit from a fruit bowl on the counter.

Buck flips the grapefruit in the air and swings at it with the knife.

CU. COUNTER TOP

Two perfect halves of the grapefruit fall on the counter.

CU. TIA

She's disgusted.

He retrieves the halves, notes the clean, even cut and plants a halfon a plate. He spoons a load of eggs onto the plate.

Buck drops a piece of toast on the plate.

Buck ignores the remark and sets the plate beforeher.

Tia looks down at the plate.

CU. PLATE

The grapefruit half, very dry scrambled eggs with bits of bologna, chunks of onions and green pepper.

Tia pushes the plate away.

Miles walks in.He jumpsback in shock at seeing Buck.

Miles looks at Tia.

Buck gives Tia a look. He doesn't care for her mouth.He serves Miles. Miles stares at the food.

Tia gets up from the table.

She exits. Buck walks back to the stove.

Tia and Maizy are sitting on the bed. Tia'scombing Maizy's hair. Maizy is whining and squirming.

Tia stops combing.

Maizy turns to Tia with surprise.

CU. MAIZY

She looks at··Tiawith alarm.

Buck's sitting at the table with Miles.They're picking the bologna, peppers and onions out of theeggs.

Buck hesistates, not having an office.

Miles nods, satisfied with the answer.

Tia walks into the kitchen. Maizy follows. Tia goes to the cupboard and takes out a box of cereal.

Maizy stares at him.

Maizy climbs onto a chair. Tia serves her a bowl of cereal.

Tia sits down at the table.

Tia leans back in surprise.

Buck's driving, Tia next to him, Miles and Maizy are in the backseat. Tia's fiddling with the radio. The car's vibrating, rattling and howling with muffler leakage.

Tia reluctantly smacks the dashboard.

Tia hits it a little harder.

Tia gives him a look. She takes him up on the suggestion. She draws back and gives the dashboard a thundering blow. The RADIO goes on LOUD.

A big, sprawling suburban high school: Buck's car pulls in the lot.

Buck's Rivie~a approaches. The engine'sroaring. A trail of blue smoke lingers behind.

Milling around the front door. High school kids.They look with revulsion as the Riviera rattles up themain drive.

The brakes squeak like fingers coming downa chalkboard as the rolling embarrassment comes to a stop at thecurb. It rumbles, shudders, shakes. The only personwe see in the car is Buck.

He waits on the car as it goes through its shut-down ritual. He grimaces, holds the pained, anticipatory expression,holds out a finger...

It's hissing. Something's going to blow.

They move back as they anticipate an explosion.

Holding his expression, grits his teeth, wags the finger and ELAM! A huge, wet backfire. He smiles.

Scattering, rubbing their ears.

Buck looks down at the footwell.

HIS POV

Iia is hunched foreward to avoid being seen.She slowly sits up.

Tia's head rises ever so slowly in the windowand she looks out fearful that she'll be seen.

CU. BUCK

He doesn't get it. He loves the old car and can't imagine it being an embarrassment.

CU. TIA

She turns to Buck. She's angry.

Tia gathers up her books and slips on sunglasses.

Tia stares angrily at Buck. She knows she's lost but won't admit it.

Tia doesn't react. Buck gives her a little extra incentive.

Tia glares at him. She thinks he's being deliberately cruel. She reaches for the door handle. Buck reaches under the seat for a pair of pliers.

He hands her the pliers. She snatches them from him.

She gets the door open and flips the pliers on the scat.

Tia stares at him with complete disgust. She gets out and slams the door. Buck holds his look on her. He looks in the backseat.

HIS POV

Maizy's sitting in back. She smiles at him.

CU. BUCK

•·

He's puzzled.

CU. MAIZY

She confirms with a nod.

CU. BUCK

Acknowledges the maturity of the remark witha smile and a slow nod of his head.

In the heart of downtown.

He's in his seventies. Pale and fatigued.On the doorstep of death.

Cindy and Bob and Cindy's sister, RUTH, and Cindy's Mother, LEONA. Ruth's in her forties, plain, local, smalltown. Leona's petite and proper. She's wearing a dress,her hair's done, purse in her lap. She's holding her feelings in as best she can. Ruth is reading a magazine. Cindy'smost visibly affected. Bob is standing at the window. Cindy pats her mother's back.

A large inner city tire and auto accessory outlet.

Aisles of tires and auto merchandise. A large, noisy discount center.

CU. DIAMONDBRACELET

Pretty littlequarter carat diamonds on a woman's wrist. She's holdinga telephone. WE MOVE AROUND from the bracelet to her face. It'sChanice.

A cluttered little office.Chanice has her feet up on the wooden desk.

Buck's on the phone. He's undressing.The TV's still on. LOUD.

She's annoyed with him. As usual.

His shorts drop to his ankles and he steps out ofthem.

CU. BUCK

He sits down on the edge of the bed.

She's had enough conversation.

CU. BUCK .

He's getting buried and he knows it.

CU. CHANICE

She didn't expect such directness so quickly.She's hurt and she's saddened.

CU. BUCK

He's hurt by the remark. It represents distance from her.He reacts by taking the offensive.

CU. CHANICE

Not what she wanted to hear. But she's determined.

She hangs up the phone and curses softlyand sadly.

CU. BUCK

He knows he's losing her. He slowly lowers thephone and hangs it up.

He stands up and walks to the window. He's completely naked. We STAY ABOVE HIS WAIST. He's depressed, confusedand filled with regreat.

CU. BUCK

He stares out the window and sighs.

With no change in expression, he reaches up and pulls the mini-blinds closed.

Tia is sitting in front of the school with her boyfriend. He's a senior, BUG. He's a frightfuly thin, pale metal head with dyed blonde dreadlocks. He has his arm draped over Tia's shoulder. She's resting back on his chest.

OC we HE~R the now familiar VOICE OF THE RIVIERA. Bug looks down the drive. Tia doesn't bother. She knows what it is.

Tia sits up.

She grabs him and kisses him hard and full on the lips.

He seesTia and Bug. He's not delighted.

HISPOV

Tia getting upfrom the stairs and kissing Bug. A deliberate kiss forBuck.

He senses that the kisswas planned to crank him up.

The Riviera pullsup and stops. It shudders, rattles, coughs and ...

TIA ANDBUG

Tia covers her earsand implores Bug to do likewise. After a brief moment ofconfusion he covers his ears.

CU. BUCK

He leans overon one cheek, squeezes and BLAM!

TIA AND BUG

Bug's impressed by the backfire.

Bug bends down and waves to Buck.

CU. BUCK

He leans over in the seat.

CU. BUG

Looking in the car.

CU. BUCK

Calling out to Bug.

Tia gets in and closes the door. Bug leansin and kisses her. Buck hits the gas, spinning Bug away as the old deathmobile squeals away.

But would he notice?

Buck changes the subject.

Miles is standing on a foot stool washingdi~~es. Tia walks in and crosses to the refrigerator.

Tia grabs an Evian.

Tia shakes her head in disgust and exits.

A stately, three-story Colonial.

Cindy sits down at a desk in the dark, panelled room. She dials the phone.

The TELEPHON~ RINGS. Miles listens to the phone fora moment.

The TELEPHONE CONTINUES TO RING. Miles ;-._peshishandson the apron he's wearing and jumps down from the stool.

He answer~ the wall phone.

She's on the telephone.

CU. MILES

CU. CINDY

The worry has robbed her face of it's color and made her eyes heavy. Her deliberately cheerful tone emphasizes her exhaustion.

CU. MILES

He's on the kitchen phone.

CU. CINDY

She smiles.

CU. MILES

Buck's sitting on the edgeof Maizy's bed.

She's on the phone with her mother.

CU. CINDY

A moment of knee-jerk concern.Then she considers the source.

CU. TIA

She laughs.

CU. CINDY

A flash of concern.

Miles walks in as Buck continues to present hisargument against sleeping in his room.

He gets up from the bed and exits.

Buck steps back into the doorway.

He exits. Miles is startled.

Buck's sitting on the bed, talking on the telephone.

CU. CINDY

In light of what Tia said, she's listening tohim very carefully.

CU. BUCK

He lies.

She's listening to the conversation,her hand over the mouthpiece. She reaches down slowly with herfree hand.

CU. TELEPHONE

Tia pushes the button down and carefully hangsup the phone.

CU. TIA

A hard, angry, impenetrable face.

CU. CHANICE

She's in bed, awake, thinking aboutBuck.

He's laying in bed, on his side. Thinking.Lost, middle-age, middle of the night male thoughts.We PULL BACK AND RISE to reveal the full bed. Buck's perched on theedge of the bed, no pillow, no covers. Maizy and Miles are sprawledon the bed perpendicular to him taking up the :ion'sshare of space. They have the pillows and covers.

CU. WASHING MACHINE CONTROL PANEL

A terribly complex, state-of-the·-art,control center.A myriad of choices. Number pads. LED read·-outs.Lights.

CU. BUCK

Staring at the panel. A look of dumb confusion.He has an armload of laundry. He picks his momentand reaches out to the panel. He reaches just above CAMERA.He pulls his hand back and waits for the result of his action.An electronic BEEPER sounds. He leans forward again.

A clean, modern laundry room. White and whiteand white. Slick new appliances. Buck reaches out and tries to lift the lid on the washer. It won't open.

The back door opens and MARCIE DAHLGREN-FROST pokes herhead in. She's in her early thirties. Trendy, chic, nosey, annoying, status seeking modern mother. She's wearing the newest in exercise wear, the newest in hair, perfect nails and braces.

She doesn't get a reply. She steps in. She looks around the kitchen with horror.

HER POV

The kitchen is a mess from breakfast.

CU. MARCIE

She's shocked.

Buck's yanking on the washer lid. It's filling with water.

Marcie's at the basement door, listening.

Marcie gasps.

Buckhammers the buttons with his index fingers. Trying them all.He tugs on the lid. No go.

Marcie tries to peekdown into the basement. She gets down on all fours and drops her head.

Her head appearsbetween the stairs and the basement ceiling.

HER POV

Buck backs into view.He's in his undershorts.We can't see the washing machine.He reaches for a mop.

The family dog saunters inand stops.

HIS POV

Marcie's rump and bare legs.

CU. DOG

He licks his chops and steps forward.

CU. BUCK

He's angrily approaching thewasher with the mop held like a spear.

DOG'S POV. CU. MARCIE'S BOTTOM

MOVING in on those upper thighs.

CU. DOG'S MOUTH. WIDE ANGLE

COMES into CAMERA. The film SLOWSDOWN as the dog's long wet tongue slides out of it's mouth and wipes the lens.

CU. MARCIE

Abject horror. She SCREAMS.

CU. BUCK

He's startled. He SCREAMS and whirls around.

Marcie is co~vulsing with shivers from therude dog kiss planted so near her buttocks. She's frantically rifling through her purse.

Buck charges up the stairs.

Marcie stands by the door with a tiny aerosol spray can trained on the door. Buck flies into the kitchen.

Buck takes a step toward Marcie.

5 1

Marcie's embarrassednow that she knows the truth.

He offers his hand.Marcie shakes it.

Marcie leans back, deeply insulted.

The conversation dies.

Buck's shocked.

Chanice is behind her desk, doing paperwork.She feels a presense. A set of eyes upon her. She turnsslowly to the credenza behind her desk.

CU. FRAMED PHOTOGRAPH

A portrait of Buck. A smarmy, eyebrow-raised portrait. It's autographed. "ALL MY BEST TO A REAL SWELL GAL --BUCK".

CU. CHANICE

She sneers at the photograph and turns it around.She returns to her desk. On her back for a beat. She turns back.

CU. PHOTOGRAPH

On the verso is another portrait of Buck taken atthe same time in the same clothes. He's looking over his shoulder at CAMERA. It's also inscribed -- "WHATEVER I DID, I'M SORRY -- BUCK"

Chanice drops the photo in a desk drawer and tries to clear her mind of him. A little smile glimmers across her lips. She runs her hand across her mouth, obliterating it.

CU. BUCK

He's studying a sheet of paper. He has a tough comment to make and is considering how to do it with the least amount of damage.

CU. MILES

He's watching Buck intently.

CU. MAIZY

She's drawing with maniacal concentration, tongue mirroring the motion of her hand. She glances up at Miles.

Buck, Maizy andMiles are sitting at a game table. Paper and crayons are scattered aboutas the children have been drawing.

Tia's standing in the doorway.

CU. BUCK

He turns around and looks at Tia.

She slinks into the room and plops down in a chair.

CU. BUCK

He's surprised she knows so much abouthim.

CU. MAIZY

She looks down to avoid the unpleasantness.

CU. MILES

-

He stare?-at Buck. Then looks to Tia.

CU. BUCK

Opts for honesty. He nods.

CU. TIA

She's a little surprised at his honesty.She was prepared for a denial and hasn't anything to say.

Buck holds his look on Tia.

Buck keeps staring at her. Her remarks are painful.She pulls herself out of the chair and shuffles to the door.

Tia sneers and exits.

Buck puts on a smile and changes the subject.

He hands it to Miles for a second look.He studies it.

CU. DRAWING

Of an elderly man, distinguished by thinning hair,glasses and facial wrinkles. His face is grotesquely distorted in pain and he's clutching his heart as a squadron of fighter planes fire missiles into his hea:c'.:.At the top it says,"GET WELL SOON! LOVE YA, MILES.

Tia is finishing her make-up. She's looks older anda bit too sexy.

Buck rota-tweezer his nostrils. He leans back,checks himself in the mirror, holds a beat, then grabs hisnose and screams in agony.

Tia's sitting in the living room, looking out thewindow. Miles and Maizy come down the stairs.

Buck lumbers down the stairs. He's wearinga bowling shirt and jeans. He stops at the bottom of the stairs.

She looks at him with extremeboredom.

Tia is revolted. She curls her lip and giveshim the evil eye.

CU. BUCK

He gives her a crazed smile and raisesan eyebrow.

CU. TIA

Part of her believes that he might reallydo it.

CU. BOWLING PINS

A bowling ball rolls INTO FRAME and stopsa hair short of striking the pins.

CU. BUCK AND MAIZY

He's leaning over as they both look down the lane.

An old, inner city bowling alley. Loaded with pot-bellied blue-collar MEN, lacquer-headed middle-agedWOMAN, moussed, bleached, ninety pound, motorhead GIRLS and pumped-muscle, tattooed, bumper bending BOYS. The alley is smokey and loud.

She's sitting uncomfortably at a scoring table.Beside her is a wasted YOUNG MAN with his index finger jammed ina long neck Bud. He's checking her out.

Tia ignoreshim.

Tia continues toignore him.

Tia swallows hard.

Tia looks slowly around athim.

Buck slides into the booth.

Beaumont drags himself out of the boothand shuffles off.

6 1

A friend of Buck's leans over the booth and gives Buck a violent shoulder squeeze.He's a pot-bellied slob, ROG.

Rog realizes he's cursed in frontof a child.

CU. TIA

The mention of Chanice interests ~er.

CU. BUCK

He hasn't thought about Chanice all day.

CU. ROG

He pursues.

Tia's watching Buck for hisanswer.

He takes Buck aside and speaks in low, confidential tones.

Buck thinks for a moment. He glances over his shoulder.

HIS POV

Tia's pouting on the bench, Miles is helping Maizy take her ball off the return.

CU. BUCK

A conflicted moment. Gambling, hot tips and kids don't mix too well. He looks back to Rog.

Rog gives Buck a pop on the shoulder and waddles off. Buck returns to the kids.

She gives him a dumb look and holds up her beautifully manicured nails. She wiggles her fingers.

-

Buck's at the ball return. A thin, middle-aged weasel ofa man, HARRY, in the next lane, calls to Buck.

Buck looks around at him.

Harry laughs. He looks to his bowling mates.They laugh.

CU. BUCK

He doesn't care for the remark. He glances back at the kids. Then down to Harry's ball return.

He's turned away from Buck, laughing with hisbuds.

CU. BOWLING BALL

Harry's ball comes to rest on the ball return.

CU. BUCK

He takes the dangling cigarette from his lipsand leans over the ball return.

CU. BOWLING BALL

Buck flicks the burning tip off his cigarette intoone of the finger holes.

He rolls his ball. Harry sauntersover to the ball return.

Harry gives buck a disparaging lookand inserts his fingers in the ball. He brings it up to his face.The flesh starts to burn, Harry SCREAMS.

He whips the ball off his finger, sending it banging across half a dozen lanes. He jams his finger in hismouth and does the dance of pain.

The lights are out.

Buck's in bed. In the middle between Maizy and Miles.

CU. BUCK

He looks down at Miles.

CU. MILES

Sound asleep. Like an angel.

CU. MAIZY

Clutching a filthy, battered stuffed animal.

CU. BUCK

He lays back and sighs sadly.

CU. PANCAKE

A FRAME FILLED with bubbling, simmering pancake batter. SLOWLY PULL BACK to reveal that the pancake is being prepared

on a piece of sheet metal the size of the stove top.The pancake covers six square feet.

Buck is standing watch over the pancake.He's wearing chino pants and wrinkled white shirt. He's clearlyimpressed with his pancake.

He likes the name.

He brings up an aluminum snow shovel to flip thepancake with.

Miles stumbles out of the master bedroom with Maizy.

Buck's at the bottom of the stairs.He yells up to the kids.

CU. MILES

He realizes it's his birthday.

Miles scrambles down the stairs. Maizy'son his heels. Buck backs into the dining room.

He slips into the dining room. The kids wait at the bottom of the stairs.

The BEATLES "BIRTHDAY" starts.

The kids cross to the dining room door.

They stand with wide eyes staring into the room.

THEIR POV. INT. DINING ROOM

The drapes are drawn. In the center of the table is the mammoth pancake, festooned with sausages and bacon and drenched in melted butter and maple syrup. Sitting in the middle of it, in lieu of a candle is a flaming butane torch. MUSIC is playing on a blaster and Buck is standing proudly beside the table.

A Volkswagon Beetle customized to look like a mouse, with big plastic ears on the roof, whiskers on the hood and a tail on the back roars into the driveway and skids to a stop. From inside we HEAR A HIGH-PITCHED GIGGLE. The door opens and disheveled CLOWN tumbles out, laughing.

Miles and half a dozen of his friends are lounging around the family room. The TV's on. They're bored. Buck walks in.

There's a-collective groan from the boys.

CU. MILES

He's nervous. Afraid that his friends are having a bad time.

CU. BUCK

He doesn't understand the gloom.

CU. BOY

A snotty, spoiled little face.

He leans over to Miles.

CU. BUCK.:

He takes special note of the remark. There is alot of information in it although it's not yet clear to him how to use it. He quickly departs the subject.

The clown reaches out and rings the doorbell. He loses his balance and falls into the bushes. Another GIGGLE.

Buck crosses the foyer to the door and opens it.

Buck steps outon the porch. He sees the clown car in the driveway.He hears the commotion in the bushes.

He pulls himselfup on the porch.

He cracks himselfup.

CU. BUCK

He can't quite tell if this is part of the clown's actor actual deviant behavior.

CU. CLOWN

Beneath a lousy, smeared paint job and a dented red,plastic nose is a man in his early thirties. Blood-shot eyes,breath like Satan's ar~pits and a crooked smile.

He reache~ clumsily into his giant back pocket and pullsout a huge wallet. From it he withdraws a two foot long business card.

Buck smiles uncomfortably as he takes the card and looks at it. Pooter puts the wallet back in his pocket.

Buck looks Pooter up and down. He's not pleased with him.

CU. POOTER

He takes offense to the remark.

CU. BUCK

He doesn't care at allfor Pooter's retort.

CU. FOOTER

His eyes narrow in anger.

CU. BUCK

He comes qack just as hard.

CU. FOOTER

He grabs his lapel and aims a plastic flower atBuck.

He grits his teeth and squirts Buck.

CU. BUCK

He wipes his face with the back of hishand.

He draws his fist back.

The little boys are at the window.

CU. MILES

He's proud of Buck, strange as his behavior is.

Full-blown fist fight-.The clown escapesBuck and rushes to his car. He jumps in, locks the door and firesup the engine. Buck grabs one of the mouse ears and tears it off as theVW backs out of the drive. Buck hurls the ear after the fleeing vw.

Buck pushes a shopping cart up an aisle.He's searching for things. He stops a passing STOCK BOY.

CU. STOCK BOY

He looks at him like he asked him if they stocked bullsemen.

CU. BUCK

Stares blandly. And continues on hisway.

Buck's searching the counter. He leansback from the counter and looks at the sign above the section.

HIS POV

The sign reads -- FINE MEATS.

CU. MEAT COUNTER

No meat. Poultry and fish.

CU. BUTCHER

A female BUTCHER in her late twenties isstocking the counter. She notices Buck and offers help.

He looks to the butcher witha warm smile.

The Butcher thinks the question is odd.

Marcie's loading up on Evian. Buck makes the turndown the aisle. She sees him.

He doesn't remember her name.

Buck notices Marcie loading the cart with the bottled water.

A crowded, grade school cafeteria at high noon.

He's at a taQle with his birthday party friends.He opens the paper bag lunch Buck packed forhim. He's embarrassed as he pulls out items not usually found in children'sschool lunches. A baggie containing a pickled tomato,a small mayonnaise jar filled with milk,a bologna sandwich on a hamburger bun with lettuce, an enormous,severely over-ripe banana and a roll of Turns.Miles'mates stare at him as he unpacks the horror lunch.

A circle of cars in a parking area deep in thewoods. A fire is burning in a trash barrel. Couples are sittingon picnic tables pulled up around the burning barrel.The cars are all turned to the same radio station. Engines are running, windows are open.

CU. BUG AND TIA

They're making out. Bug breaks the kiss, sips a beer,offers Tia some. She declines without hesitation. Bug returns to the kiss. Tia pushes back from him, spits out a mouthful of beer, he's injected into her and slugs him in the chest.

BUG

'

Alcohol kills the germs.

The Riviera fumbles down the winding road that runsthrough the forest.

Buck's driving. Miles and Maizy are beside him.

He flips his beer can into the dark.

He leans forward to kiss her. In the near distance,the familiar Riviera BACK-FIRE SOUNDS. Bug and Tia freeze in mid- lip weld.

High beams wash them out. They turn squinting, into the light.

The Riviera rumbles and vibrates. Buck gets out and approaches the group of kids.

CU. BUG AND TIA

Tia unwraps Bug's arm from her waist and slides down off the table. Bug follows. He's not as distraught at Tia. Tia takes his hand and they walk over to Buck.

Buck stands his ground with his hands in his back pockets. Tia and Bug approach.

Bug lets go of Tia's hand and takesa step back. Buck turns and heads back to the car. Tiawants to kill him.

CU. TIA

She kisses him, making a very grand show of it for Buck's benefit.

Buck, Miles and Maizy are watching. Buck's fuming at the senseless display.

CU. BUCK

He's alarmed at Maizy's mouth.

Cindy's mother is at her husband's bedside. She's holding his limp hand, stroking it gently.

..

Cindy's curled up asleep in a chair. She's covered herself with her coat.

An old brick elementary school.

Buck struts down the hall. He's wearing jeans, a white shirt, a bow tie and a ratty sportcoat. It suddenly occurs to him that he's in a grade school smoking a cigarette. He franticallylooks for a place to doff it.

A boy's bathroom. Buck comes in and pushes open a stall door. He flips the butt in the john and flushes it. He crosses back to the door. Stops, turns and goes back to the two urinals on the wall.They're about a foot and half too low, only a few inches off theground. He squats down and reaches for his zipper.

A small, cluttered office.Buck takes a seat across a wooden desk from a callous old bitty,MRS. HOARGARTH. She has a prominent moleon her chin. It captures Buck's attention.

CU. MRS. HOARGARTH

A crooked smile.

CAMERA SLIDES DOWN to cut offMrs. Hoargarth's face at the nose and PUSHES in on themole on her chin.

CU. BUCK

He's slightly distracted by themole.

A quick beat and he realizes what he said.He quickly corrects himself.

Mrs. Hoargarth nods.

Buck immediately dislikes the woman and refuses to be intimidated.

Buck nods.

CU. BUCK

He's deeply surprised.

CU. MRS. HOARDGARTH

She leans back in her chairand taps a pencil on the back of her hand.

CU. BUCK

She's saying everything he doesn't want to hear.He feels she's unfair and certainly unreasonable.

CU. MRS. HOARGARTH

She's confident in her position. She juts out herlower lip and shakes her head.

CU. BUCK

He looks away in disbelief. He comes back ready todo battle.

CU. MRS. HOARGARTH

She's stunned, appalled, horrified.

CU. BUCK

He stands up.

He reaches in his pocket and fishes out a quarter.He flips it on her desk.

He exits.

CU. MRS. HOARGARTH

She's in complete shock. She reaches up and touches her chin.

Chanice is overseeing the assembly of a garishsnow tire display. A pair of YOUNG SLOBS are stacking the tires.

She turns to exit and runs nose-to-chin with a man, WALT BERNSTEIN. He's a nice-looking man, simple and solid, a decent fellow.

Another loud, confusing grade school lunch. There's a crowd gathered around one table.

CU. MILES

He's resigned to another embarrassing lunch. He's staring at it.

CU. LUNCH

A ziplock bag filled with ribs.

Mid-town office building.

He's in a meeting. A heated discussion on a real estate development is underway. Bob is distracted, immersed in thought. Something's gnawing his belly.

A four-flat in the city.

The door opens and the lights go on. Chanice and Walt Bernstein walk in. They've had dinner and a few pops and are affable a~d familiar.

Chanice goes into the bedroom. Walt sitsdown on the sofa.

Chanice walks into the fresh modernbedroom. It's large and multi-purpose. There's a desk and a seating group.She turns on the atisweringmachine, kicks off her shoesand goes into the bathroom. She leaves the door open.

He smiles at their remark. The answering machine kicksin.

Chanice is removing her contact lenses. She smiles at the message.

Chanice freezes as she hears Buck's voice.

Chanice manages a satisfied smile.

Chanice soberly considers themessage.

Chanice is rattled from her contemplation.

He cracks a smile.

Chanice darts out of the bathroom.

Chanice flies into the bedroom, bangs into Walt, knocks him to the floor.

Chanice stops the machine.

Buck and Maizy are sitting on the bed. Maisy's in her nightgown.

Buck realizes it was Mrs. Hoargarth.

Maizy smiles.

Thephone rings. It's grabbed on the first ring.

She's listening to music,curled up in a rat's nest of clothes, CD's,books, papers, magazines, trinkets. She puts the phone to her ear.

She sitting in dim lighton the phone.

CU. TIA

A wicked smile. Nothing could play better for her than to intercept a call from Buck's girl.

CU. CHANICE

It's curious to her why he wouldn't be home wi~hthe kids. If he's watching the kids.

CU. TIA

Seals it.

CU. CHANICE

She's stunned. She loses her words for a moment.

CU. TIA

Sheknows she got a home-run reaction.

She clears her throat.

She hangsup the phone.

She hangsup with a diminishing grin. She sits back on the bed consideringwhat she did. She isn't so much remorseful as

confused about her ambivilence to such an overtly dishonest action.

A massive crowd around the Miles' table.

He's rather enjoying hisodd celebrity. He opens a sandwich, checks the interior and reports to thecrowd.

The crowd bursts into applause.

He slowly opens hiseyes and looks around.

Buck is hosing down the potsand pans with the garden hose.

She's standing at her fencewatching Buck. She's just back from a run and is wet and glistening.

CU. BUCK

He looks up with surprise.

CU. MARCIE

She smiles at his strange behavior.

CU. BUCK

He looks at her wondering if there'sa hidden meaning.

Buck flicks the hose in her direction.She jumps back.

Buck's slouched in a chair.Marcie's slinked-out on the counter.

She puts the edge of her palm on her crotch.

... with hard-charging success machines. When they talk they sound like the Wall Street Journal for the blind. I'm in the mood for a little careless living.

A black Mustang convertable pulls in the driveway. Chanice gets out.

She slides off the counter and crosses to the refrigerator.

Marcie takes a bottle of Evian out of the frig.

She tries to open the bottle. She can't get a grip on it. She hands it to him for help.

Buck can't get a grip on it either.

Chanice steps down off the porch and walks up the driveway.

Buck is gripping the bottle between his knees. He struggles with the bottle.

Chanice hears Buck's voice. She crosses the driveway to Marcie's house.

Buck can't gfrtthe bottle open.

CU. CHANICE

She stops in her tracks as she hears the odd statement.She peeks in the open door.

HER POV. INT. KITCHEN

Marcie blocks her view of the bottle. Marciewipes her hands on her rump and leans over Buck. She grabs the bottle topand twists mightily.

CU. BUCK

He's gritting his teeth and he holds the bottles in his knees. He opens his eyes for a moment. He closes them fora split second. He opens them again in shock.

HIS POV

Past Marcie is Chanice in the doorway.

CU. CHANICE

She's outraged.

Chanice storms down the driveway to her car. Buck runs after her.

Chanice stands at the car, unconvinced.

She gets in the car.

CU. BUCK

He's puzzled how she knows Marcie's name.

Buck walks into the kitchen, still puzzled and confused. Tia's sitting at the table. She's waiting forhim.

Buck looks at her. He resents her pleasure with his troubles.

CU. BUCK

He knows she had something to do with it.

CU. TIA

Grins like a demon child.

Buck's sitting in the living room watching TV. Miles walks in. He slides into the chair with Buck.

Buck looks at him.He's not familiar with the new moniker.

Buck holds his curious stareon Miles. He hasn't heard him talk like this before.

There's a pause as Buck considers the remark.

Buck nods his understanding.

Miles fears that he'soffended Buck.

She's hunched-over, drawing on her forearm witha ballpoint pen. The PHONE RINGS. She answers it.

She lays back on the bed.

She's at the desk.

cu. TIA

She closes her eyes and sighs with relief.

cu. PHONE

Tia hangs it up.

cu. CINDY

She hearsthe line disconnect.

Buck's sittingon the edge of Maizy's bed.

Maizy's sufficiently startled.

Maizy takes a moment to digest the information. She nods that she gets it.

i02

Buck leans over her and gives her a quick rubon the cheek with his stubbly chin. She giggles and pusheshim away. Buck gets up and crosses to the door.

Buck closes Maizy's door and turns to find Tia leaningon her door jamb staring at him.

Tia rolls off the jamb, into her room. J

Tia sits down on her bed. Buck steps in. He looks around at all her things. He's a little uncomfortable in the room.

Buck doesn'trespond.

She's caught.Her strategy crashes .

•

Buck takes the insults as best he can. He stands his ground.

It's amess.

Laundry's piled-up in frontof the washer.

It's amess aswell. The dog is up on a chair eating off the breakfast plates.

Bug's car is in the driveway.

Tia scrambles down the stairs. She's dressed togo out. She's carrying a backpack. Miles and Maizy are at the bottom of the stairs.

She grabs her purse and dashes out of the house.

''ILES What day is ·:oday?

The Riviera's parked ina nearly vacant lot.

He's sitting behind thewheel waiting. He's angry. He looks at his watch.Tia's given him the slip. He pounds and smacks the steering wheel angrily.

The Riviera pulls into the driveway.Buck gets out and hurries into the house.

Buck comes in and yells.

Maizy and Miles come out of the kitchen.

He thinks quickly.

Buck herdsMaizy and Miles out the front door. He locks up.

Buck walks the kids to his car. He starts to slow down ashe approaches the car.

CU. BUCK

He opens the door for them. He's troubled.

Buck pulls the seat forward for the kids.

Buck reacts toSunday. Maizy gets in the car.

Miles gets in the car.Buck hesistates. He looks at his watch. He gets in.

He starts the engine.He thinks for a long troubled moment. He looks in the mirror.

CU. REAR VIEWMIRROR

Miles and Maizy looking like angels.

She's in the bedroom on the phone.

He's on the phone.

cu. CHANICE

She doesl'l'tbelievehim.

CU. BUCK

He knows she's suspicious.

CU. CHANICE

She understands now.

CU. BUCK

He's offended by the accusation. But understands it.

CU. CHANICE

She detects a hint of sincerity in his voice.

CU. BUCK

He shakes his head.

CU. CHANICE

She knows he's upset and his request is legitimate.

CU. BUCK

A touch of sadness in his panic.

Buck's in the kitchen with Miles and Maizy trying to figure a strategy.

Jammed with kids. Giant party in progress.MUSIC's howling. Loud CONVERSATION. The phone rings. And rings.A BOY notices it and answers.

He strains to listen to the voice against the background noise.

CU. BOY

He strains to listen.

CU. BUCK

He answers honestly.

11 0

CU. PARTY PHONE

It hangs up.

Buck looks at the phone.

Buck redials the number. He waits confidently as thephone rings again.

Buck waves him silent. He has things under control.

A GIRL has answered the phone.

CU. BUCK

He clears his throat and affects the voice and body english of someone much younger than himself.

She leans into the wall to shield herself from the noise.

cu. BUCK

cu. RACHAEL

She smiles.

cu. BUCK

.. BUCK No, Idid. From Bug. Can I meet you sometime? (pause) Yeah? So,when? (pause) Yeah? I don'tknow where you are how can Imeet you?

Buck motions franitcally for a pen and paper. Miles whips open a drawer and flips a note pad and a ballpoint to Buck.

The Girl yells above the noise.

CU. BUCK

He waits for the answer.She gives it and he writes it down.

CU.NOTE PAD

The ballpoint,like all kitchen pens, is dry. He scribbles frantically.

He signals fora new writing instrument.

Miles gives Buck a crayon.

He writes down the number.

He hangs up the phone.

She hangs up the phone, confused about Buck's said.

The Riviera cruises down a residential street.

Buck looks at the addresses on the houses, then at the road, then at the piece of note paper.

All the lights are on, cars are parked all over, people are streaming in and out, milling about on the lawn.

Buck looks out the window.

HIS POV

MOVING to the party house.

11 3

CU. BUCK

-

He looks at the address on the mailbox.

CU. MAIL BOX

The blocks letters painted on the sideread -- 147.

He looks at the address on the paper.

CU. PAPER

In crayon_-- 147.

Chanice's car is in the driveway.

Miles opens the mail chute and calls out.

Chanice bends down to address the mail chute

CU. MAIL CHUTE

Miles peeks out of the chute.

The Riviera parks at the end of the line of party cars. He gets out and looks at his sheet of paper then down the street at the party.

Miles unlocks and opens the door. Chanice steps in.

1i4

He can't remember. He looks toMaizy.

Chanice recognizes the remarkas a buckism.

She looks around.

HER POV

MOVING across the entrance hall starting with the diningroom with a heap of laundry on the table,the staircase and the debris piled on the steps and the carpetscreaming for a vacuum. At the end of a narrow hall the cluttered kitchenand finally the living room, dark except fora light on one end of the couch. Buck's seat,marked by beer cans, an ashtray and newspapers.

CU. CHANICE

It's worse than she could haveimagined. But it's pure Buck and she's vividly reminded ofhim.

11 5

Bug's on the bed with a girl (presumably Tia).He's seriously mauling her. There's a knock on the door.

CU. BUG

He looks around at the door.

Bug returns to his girl. He's interrupted again.This time by the high-pitched, irregular sound of a small, electricmotor at work. He lifts his head to listen.

CU. DOOR KNOB

A screw falls out and another. The doorknob to the floor.

CU. BUG

He looks at the door.

HIS POV

The bedroom door opens and Buck stands, backlit, in the doorway holding a battery-powered electric screwdriver.

He flips on the overhead light.

CU. BUG

He's terrified to see Buck. The girl he's with sits up. It's not Tia but another young girl.

CU. BUCK

He's startled to see that Bug isn't with Tia.

CU. GIRL

A chilly, mildly annoyed look.

She's hurtand angry and humiliated. She's walking down the sidewalk.Her eyes are red, her cheeks are damp from a past cry.The tears are gone to a lonely ache. In the distance,

ii6

the familiar POW of the Riviera back-firing.Tia rolls her eyes and sighs. Just what she doesn'tneed.

Buck's cruising the street slowly,looking for Tia. He spots her. He bites his lip, expectinga difficult time.

The Riviera pulls along the curb.Buck hangs his head out the window.

She continues walking, not answering,not looking at Buck.

CU. BUCK

He tries another approach.

CU. TIA

No reaction. She just keeps walking.

CU. BUCK

He's getting nowhere. He sticks his head back in thewindow and stops the car.

The Riviera parks and the engine stopswith a shutter, a rattle and a POW. The lights go out.

CU. TIA

She continues walking, noting that he's stopped.

Buck gets out of the car and sits on thehood.

From the back. She stops. A long beat and she turnsaround.

He doesn't react.

CU. TIA

She continues.

CU. BUCK

He shakes his head, no.

CU. TIA

She doesn't trust him.

CU. BUCK

He slides down off the hood of the car.

CU. TIA

She surprised by his change of heart. She puts up her defenses and denies that she's affected.

11 8

Tia walks to'dardthe car.Buck gets in and starts it up. Tia walks around to the pasasenger side.She has to wait as Buck fiddles with the brokendoor and the pliers. She gets in.

Tia looks at Buck. He tries to ignore her.

Buck looks at her and shakes hishead, no.

Buck nods. Tia looks down at herknees.

CU. TIA

She doesn't understand where he's taking the conversation.

CU. BUCK

He's a little embarrassed.

1 1 9

CU. TIA

She cracks the tiniest smile.

CU. BUCK

He smiles. He turns off the car and opens the door.

CU. TRUNK

The Riviera trunk opens. Bug is in his shortsbound at the wris~s with duct tape. Another piece is across hismouth.

Tia's startled to see him. Buck leans down.

CU. BUG

Buck rips the tape off his mouth.

CU. BUCK

He tosses the tape away.

CU. BUG

He snarls at Buck.

CU. BUCK

He remains calm and passive.

CU. BUG

His eyebrows shoot up in horror.

CU. TIA

She cracks up.

Chanice aod Tia are in the kitchen. It's been cleaned and Chanice is just finishing the sink.

Chanice walksover to the swinging dining room door, lifts a leg and gives ita swift kick.

Buck lands on his ass,grabbing his stinging head.

Bob and Cindy pullin the driveway.

Chanice andBuck are in the kitchen looking up at the ceiling.

THEIR POV

Two halves ofa grilled cheese sandwich are stuck to the ceiling.

Chanice looks from the ceiling toBuck.

·122

CU. BUCK AND CHANICE

She puts her arms around Buck's neck.

She reaches down and gives Buck a squeeze.

She releases him.

Miles thunders down the stairs

Maizy roars down afterhim.

Chanice and Buck hear the kids.Chanice looks up at the sandwich still stuckon the ceiling.

Chanice exits.Buck opens the back door and whistles for the dog. He pomes scrambling in.Buck positions h~m in front of the stove and turns hishead up to the ceiling.

Bob and Cindyhug and kiss Miles and Maizy.

Chanice walks in.

Buck enters.

Buck grabs Bob'shand. He gives Cindy a kiss.

i25

Buckmoves to silence Miles.

The room falls silent as all eyes turn to the top of the stairs.

CU. CINDY

She looks to the upstairslanding. Uncertain of what to expect.

HER POV

Tia's standing at the top of the stairs.She's dressed in light colors, light fabrics.Her appearance is softer and saner.

cu. CINDY

She looks at..Bob.

cu. BOB

His stomach winds-up a notch.

cu. BUCK

He looks away.

Cindy starts up the stairs.

Bob looks at Buck with concern.

Tia backs away from the staircase. Cindy reaches the top. They look at each other for a moment. Cindy's cautiousand hesitant. Tia's nervous. A long, loaded beat passesand Tia throws her arms around Cindy and hugs her.

Buck and Chanice are saying farewell.All the Russells are on the porch.

Chanice gives him a mock glare.

CU. BUCK

He looks at Tia. He gives her a wink.

CU. TIA

She smiles.

Buck and Chanice walk to their cars. Chanice gets in hers and starts it up. Buck gets in his.

EXT, HOUSE. PORCH. THE RUSSELLS

Tia taps Cindy. Cindy looks at her.

Cindy overs her. Miles, Maizy and Bob cover theirs.

CU. BUCK

He winces as-he grinds the starter,silently urging it on. It catches. He hits the gas,holds up his finger, waits a beat, points and ...

... the biggest backfire yet.A puff of blacksmoke and tremendous ELAM! Chanice backs out,Buck backs and they pull away leaving the cloud ofsmoke and dogs for miles around BARKING and HOWLING.

END