"THE WRONG LIFE"

 

                           by

 

                     Charles Deemer

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

                                          


 

 

 

FADE IN:

 

 

EXT. PARK - ROAD - NIGHT

 

About three in the morning. Pitch black in a park on the

outskirts of city limits.

 

Above the park, dark hills stretch into woods.

 

Distant HEADLIGHTS as a car approaches. It enters the park

and slows down.

 

The rear door opens, and a BODY is pushed out of the car.

 

The car speeds off.

 

The body is clothed in expensive, casual clothing. An ascot,

a vest, a watch chain, Italian shoes - quite a dandy.

 

The deceased was a middle-aged man. He has a small bullet

hole in his forehead.

 

 

EXT. PARK - HILL - DAY (DAWN)

 

On a hill overlooking the park, a makeshift lean-to has been

erected. Out of it crawls DUNCAN, 30s, a homeless man. He

wears an old, soiled jogging outfit.

 

He stretches and runs in place to loosen up. Duncan bends

down and talks into the lean-to.

 

                      DUNCAN

           You're missing a beautiful sunrise

           out here. Pinks right out of Homer.

           Oh the rosy-fingered dawn!  Right out

           of the Impressionists. Incredible

           sight, and you're missing it all.

 

                      LUKE (O.S.)

           Won't be the first time.

 

Duncan chuckles.

 

                      DUNCAN

           Today you come jogging with me. It

           can be the first day of the rest of

           your life.

 

                      LUKE (O.S.)

           Get out of here so I can go back to

           sleep!


                                                            2.

 

 

Duncan grins and starts off.

 

 

EXT. PARK - ROAD - DAY (DAWN)

 

Duncan jogs along a park road.

 

When he reaches a garbage can, he slows down and jogs around

it, looking to see if anything salvageable is on top.

 

He continues along the road, checking the cans.

 

Then he sees something ahead - and stops. He looks around,

as if looking for an explanation for what he thinks he sees.

 

He's completely alone. This settled, he carefully moves

forward again.

 

He reaches the body and looks down at it. He whistles.

 

Duncan stoops down to look more carefully at the body. For

the first time he sees a bullet hole in the man's head.

 

He stands staring at the body. He looks around again. Still

alone.

 

He stoops and takes out the man's wallet. He opens it.

Money, lots of it. And nothing but credit cards.

 

Duncan stands up, holding the wallet. He looks like he just

won the lottery. He looks around one last time before

running back toward camp.

 

 

EXT. PARK - HILL - DAY (DAWN)

 

Duncan reaches the lean-to. Luke is up and brushing his

teeth, rinsing from a wine bottle filled with water.

 

                      DUNCAN

           Good, you're up.

 

                      LUKE

           How can I sleep with you yapping at me?

 

                      DUNCAN

           There's a body down there.

 

                      LUKE

           Won't be the first time.


                                                            3.

 

 

                      DUNCAN

           Not somebody passed out. I mean a

           dead body. Bullet hole in his head.

           Clean as a whistle, hardly any blood

           at all.

 

Luke stares at him in disbelief.

 

                      DUNCAN

           Come see for yourself.

 

 

EXT. PARK - ROAD - DAY (DAWN)

 

Duncan and Luke stare down at the body.

 

                      LUKE

           You think he's somebody famous?

 

                      DUNCAN

           Somebody rich anyway. Look at those

           shoes.

 

                      LUKE

           Too big for me. Looks about right for

           you, though.

 

Duncan moves to the corpse and positions his badly worn

sneaker against a well-shined alligator shoe.

 

                      LUKE

           What'd I tell you?  Try it on.

 

Duncan grins and nods. He pulls off the shoe, then sits on

the grass. He takes off his sneaker and puts on the shoe.

 

He gets up and walks a few steps one way and the other. When

he turns back to Luke, Luke is kneeling by the corpse.

 

                      LUKE

           The wallet's gone. You was going to

           keep it all.

 

                      DUNCAN

           Bullshit, I was.

 

Duncan takes out the man's wallet from his own pocket and

opens it.

 

                      DUNCAN

           There's over five hundred dollars

           here. We go fifty-fifty, as always.


                                                            4.

 

 

                      LUKE

           You were going to ditch me later and

           keep the whole goddamn thing.

 

He starts away.

 

                      DUNCAN

           Hey!  Take your half. And help me

           with him.

 

Luke turns. They face one another in silence.

 

Duncan holds out some money, and Luke comes back and takes it.

 

He smells the bills as if they were fresh fruit.

 

                      LUKE

           What do you suppose he did?

 

                      DUNCAN

           Who the hell knows? Give me a hand

           here.

 

                      LUKE

           What're you doing?

 

                      DUNCAN

           I want to get it out of sight.

 

                      LUKE

           What for?

 

                      DUNCAN

           The shoes fit -- I think the clothes

           will fit, too. I can't undress him

           here, can I?

 

Duncan and Luke go to the body and lift it up between them.

They start dragging it back toward their lean-to.

 

 

EXT. PARK - HILL - DAY (DAWN)

 

The body is alongside the lean-to, half hidden by a blanket.

Luke is smoking a butt and staring at it.

 

                      LUKE

           What the hell's taking you so long?

 

Duncan's voice comes from inside the lean-to.

 

                      DUNCAN (O.S.)

           Almost done.


                                                            5.

 

 

                      LUKE

           It's bad luck having a dead body up

           here. I can't sleep here tonight with

           him around.

 

                      DUNCAN

           We'll put it back where we found it.

 

Duncan comes out from behind the lean-to -- and looks like a

new man. He's wearing the dead man's clothes from top to

bottom, and the improvement -- despite his needing a shower

and shave -- is striking. He looks almost respectable.

 

                      DUNCAN

           What do you think?

 

                      LUKE

           Amazing.

 

                      DUNCAN

           I feel like a new man.

 

                      LUKE

           Now can we put the body back?

 

                      DUNCAN

           There's something I got to do first.

 

                      LUKE

           Right -- we put your clothes on it,

           then we drag it back.

 

                      DUNCAN

           We can't put it back till tonight.

 

                      LUKE

           Tonight!

 

 

EXT. CITY CENTER - DAY

 

Duncan is strolling down Main Street. He's a curious

figure -- dressed expensively and yet needing a shave and

shower pretty badly.

 

He stops in front of a cafe window and looks inside.

 

 

INT. CAFE - DAY

 

Duncan is looking at the menu while a WAITRESS, 20s, waits

for his order. Then his eyes light up.


                                                            6.

 

 

                      DUNCAN

           Hang Town Fry!  I can't remember the

           last time I had one.

 

                      WAITRESS

           Hang Town Fry then?

 

                      DUNCAN

           You got it.

 

He gives the waitress a big grin. She starts away but he

takes her arm to stop her.

 

                      DUNCAN

           "As long as you and I have arms and

           lips which are for kissing and to

           sing with, who cares if some one-eyed

           son-of-a-bitch invents an instrument

           to measure Spring with?"  e.e.

           cummings. Should've seen the sunrise

           this morning!  Absolutely glorious!

 

The waitress grins and moves off.

 

 

EXT. CAFE - DAY

 

Duncan steps out, stuffed and content. He has a toothpick in

his mouth.

 

The waitress rushes out behind him.

 

                      WAITRESS

           Sir?  You left this on the table.

 

She holds out a twenty dollar bill.

 

                      DUNCAN

           Haven't you ever gotten a tip before?

 

                      WAITRESS

           Yeah, but not for more than the meal

           cost.

 

He flashes a big grin. The waitress has to smile back.

 

 

EXT. CITY - OLD TOWN - DAY

 

Duncan is walking through an old part of town. Several

storefronts are boarded up and out of business. This is

where the street people congregate.


                                                            7.

 

 

An old man, SHAKEY, 60s, approaches Duncan. Shakey is

pushing a shopping cart stuffed with junk.

 

                      DUNCAN

           Morning, Shakey.

 

Shakey stops and squints.

 

                      DUNCAN

           Don't you recognize me?  It's Duncan.

           I'm looking for Freddy.

 

 

INT. ABANDONED WAREHOUSE - DAY

 

Duncan enters an abandoned warehouse. A few birds inside

scatter.

 

                      DUNCAN

           Freddy?  You in here?

 

 

EXT. FAST FOOD JOINT - DAY

 

Duncan and FREDDY, 40s, sit on a bench outside a fast food

restaurant. Freddy wears Army fatigues and cap, which are

much the worst for wear.

 

A pile of empty food wrappers is on the table in front of

Freddy. He is finishing his fourth burger.

 

                      DUNCAN

           Anyway, like I said, I need a favor.

           You know the ropes better than

           anybody on the street, so I thought

           I'd come to you first.

 

                      FREDDY

           What you need, man?

 

                      DUNCAN

           Some new I.D.'s.

 

 

EXT. PARK - HILL - DAY

 

Luke is looking down the hill at the park below. The body,

under a blanket, is still alongside the lean-to.

 

Below, a POLICE CAR cruises through the park. When it's

gone, Luke drags some large sheets of cardboard they've been

saving and drapes them over the body.


                                                            8.

 

 

INT. PHOTO STORE - ROOM - DAY

 

Duncan sits on a stool in front of a camera. He is having

his photograph taken.

 

The photographer is KITTY, 50s, is a woman who wears too

much makeup.

 

                      KITTY

           Next time you see Freddy, you tell

           him he owes me a dinner. Now give me

           a big grin.

 

Duncan does. A FLASH BULB goes off.

 

 

INT. PHOTO STORE - BACK COUNTER - DAY

 

The woman is working at a counter, under a bright light. She

is putting Duncan's photograph on the driver's license of

the corpse.

 

                      KITTY

           You're not pulling my leg, are you?

           I really don't care what you're up to.

 

                      DUNCAN

           Kitty, would I like to you? It was in

           the paper, an obituary and everything.

           Then his wallet ends up in a trash

           bin. Course, they took all the money

           and credit cards -- but what the

           hell, never know when you need a new

           I.D. Gives me a sense of security.

 

He flashes her his grin. She regards him with disbelief,

grinning back.

 

 

EXT. PARK - LEAN TO - NIGHT

 

The corpse, now dressed in Duncan's old clothes, is on the

ground between Duncan and Luke.

 

                      LUKE

           You've lost your marbles.

 

                      DUNCAN

           Maybe.

 

                      LUKE

           You don't even look like the guy.


                                                            9.

 

 

                      DUNCAN

           Nobody's going to know that.

 

                      LUKE

           The tellers at the bank will.

 

                      DUNCAN

           Not at a branch he never goes to.

           Trust me, we're going to make out

           like bandits here. You can afford to

           get yourself into a program.

 

                      LUKE

           That'll be the day.

 

                      DUNCAN

           I'm your guardian angel, my friend.

           Good fortune has given us a ladder

           for climbing out of our situation.

           This is just the first rung.

 

Duncan moves to the corpse.

 

                      DUNCAN

           You going to give me a hand?

 

 

EXT. PARK - HILL - NIGHT

 

Duncan and Luke are holding the corpse up between them.

They're carefully moving it down the hill to the park.

 

The corpse is dressed in Duncan's old clothes, and Duncan

still wears the high-fashion of the deceased.

 

                      LUKE

           Duncan?  What if somebody thinks we

           did it?

 

                      DUNCAN

           How can I kill myself?

 

                      LUKE

           You know what I mean.

 

                      DUNCAN

           Nobody's gonna think anything.

           Nobody's gonna pay any attention,

           he's just another dead, homeless

           drifter as far as the world is

           concerned. I mean, I am.


                                                           10.

 

 

EXT. PARK - ROAD - NIGHT

 

They carry the corpse along the road, it's feet dragging

along as they walk.

 

                      DUNCAN

           Right about here.

 

They let the corpse drop to the grass.

 

                      DUNCAN

           Sleep well, my friend.

 

                      LUKE

           Be days before I can sleep again.

 

                      DUNCAN

           You'll be fine. Let's get out of here.

 

Duncan starts one way and Luke the other.

 

                      LUKE

           Where you going?

 

                      DUNCAN

           You think I'm sleeping up there

           tonight? We're getting a hotel.

 

 

INT. HOTEL - BATHROOM - NIGHT

 

Duncan is in the shower, singing while he scrubs himself.

 

 

INT. HOTEL - ROOM - NIGHT

 

Duncan comes out with a towel wrapped around him.

 

                      DUNCAN

           Next.

 

Luke walks by, scruffy as hell, looking very out of place in

the posh hotel room.

 

                      DUNCAN

           We gotta get you a new wardrobe

           tomorrow.

 

 

INT. CONDO - DECK - DAY

 

TONY DIMARCO, 40s, is reading the morning paper on his deck

overlooking the city. He's turning the pages, looking for

something.


                                                           11.

 

 

He puts down the section of the paper and picks up another.

Turning the pages, looking.

 

But nothing. He picks up his cell phone.

 

 

EXT. INTERSTATE - DAY

 

The same car that dropped off the body is heading down the

interstate.

 

 

INT. CAR - DAY

 

BOBBY and ZAFIRO are in the car. Bobby is driving. The car

phone rings. Zafiro picks it up.

 

 

INTERCUT PHONE CONVERSATION

 

                      ZAFIRO

           Hello?

 

                      TONY

           What're you trying to pull on me?

 

                      ZAFIRO

           What're you talking about?

 

                      TONY

           I mean there's not a goddamn mention

           of it in the paper!

 

                      ZAFIRO

           We took care of it. Look in a later

           edition.

 

                      TONY

           They found some bum in the park.

           Couple gang members in old town, a

           housewife got it from her old man -

           but nothing about Jake.

 

                      ZAFIRO

           Relax, Tony. Wait for the next

           edition. We took care of it. No

           problem.

 

 

INT. CAR - DAY

 

Zafiro hangs up.


                                                           12.

 

 

                      ZAFIRO

           There's nothing in the paper yet.

           Fuckin' Tony. His nerves, he's in the

           wrong business.

 

                       BOBBY

           What's he want, express edition?

 

                      ZAFIRO

           He practically accused us of blowing

           it. Fuck him.

 

 

EXT. CITY - MEN'S CLOTHING STORE - DAY

 

Duncan and Luke come outside. Both are wearing new leisure

suits and carrying bags with their old clothes in them.

Freshly shaven, they both look good.

 

As they pass a garbage container on their way down the

sidewalk, Duncan takes Luke's bag of old clothes and drops

it in.

 

                      DUNCAN

           Move back, it may spontaneously

           combust.

 

They continue down the street.

 

                      DUNCAN

           After I get you in a program, I'm

           moving on.

 

                      LUKE

           What do you mean?

 

                      DUNCAN

           Get a job. Maybe I'll be settled in

           somewhere by the time you get out of

           treatment.

 

                      LUKE

           You're serious here.

 

                      DUNCAN

           Damn right I am. This is one of those

           epiphanies, my friend. One day we'll

           look back at this and call it a gift

           from God.

 

                      LUKE

           If we don't end up in jail.


                                                           13.

 

 

                      DUNCAN

           You got to work on your attitude.

           Here's the hotel key. I'll meet you

           there later.

 

                      LUKE

           Where're you going?

 

                      DUNCAN

           I still got things to take care of.

 

 

EXT. RESIDENTIAL NEIGHBORHOOD - DAY

 

A cab moves slowly down the street.

 

 

INT. CAB - DAY

 

The CABBY looks at Duncan in the rear-view mirror.

 

                      CABBY

           Which one?

 

                      DUNCAN

           There, it must be that one.

 

 

EXT. RESIDENTIAL NEIGHBORHOOD - DAY

 

Duncan gets out of the cab, which pulls away. He stares at

the house in front of him. Then he slowly moves up the walk.

 

He steps onto the porch. He rings the doorbell. No one

responds.

 

He rings it again. Still no response.

 

Duncan looks out to the street. It's safe.

 

He brings out a set of keys, which he had taken off the

corpse. He chooses a key and tries it in the door. Wrong key.

 

He tries another. Bingo.

 

The front door opens.

 

 

INT. JAKE MATSON HOUSE - DAY

 

Duncan moves into the house. The furnishings are more modest

than the corpse's wardrobe suggested.

 

Duncan looks around, visibly nervous to have broken in.


                                                           14.

 

 

He moves to a cabinet in the living room and opens it. A

very full bar, very expensive brands. He pours himself some

single malt whiskey.

 

He moves into the kitchen with the glass. He opens the

refrigerator. Not much there. A bachelor's refrigerator.

 

Next Duncan walks into the bedroom. This is the most

luxurious room in the house. Large color TV. CD deck.

 

He opens the closet. The man's wardrobe is first class.

 

Duncan goes to a desk in the corner of the large bedroom. He

opens a drawer.

 

Business and personal papers. He starts rooting through them.

 

 

INT. MATSON HOUSE - GARAGE - DAY

 

There's a door connecting the house to the garage, and

Duncan comes through it into the garage.

 

A newer Mercedes is parked in there. Duncan gets into the car.

 

 

INT. MERCEDES - DAY

 

Duncan looks for the ignition key on the key-ring he took

from the corpse. He finds it. Inserts the key, turns.

 

The car starts up immediately, bah-room!

 

 

EXT. JAKE MATSON HOUSE - DAY

 

The garage door opens, and Duncan backs the Mercedes out.

 

He stops and uses a remote on the seat to close the garage

door. Then he backs out the driveway onto the street.

 

 

EXT. CITY CENTER - DAY

 

The Mercedes is cruising through the city.

 

 

INT. MERCEDES - DAY

 

Duncan has died and gone to heaven. Loud jazz plays on the

car's stereo system.

 

There's a box of cigars on the seat beside him, and Duncan

lights up.


                                                           15.

 

 

EXT. GAS STATION - DAY

 

Duncan fills the Mercedes with gasoline. He gives a credit

card to the ATTENDANT, who moves off to process it.

 

A car parks across the pump from him. HOWARD gets out.

 

                      HOWARD

           Duncan?

 

                      DUNCAN

           Howard.

 

                      HOWARD

           Man, are you looking spiffy! I've

           been worried sick about you. So where

           are you working?

 

                      DUNCAN

           I'm, ah, doing consulting work.

 

                      HOWARD

           When I saw you, what was it?, six or

           eight months ago on the street -- I

           can't tell you how bad I felt.

           Goddamn corporations anyway. A man of

           your ability on the street, it just

           tore my heart out. I'm so glad to see

           you back on your feet.

 

                      DUNCAN

           Yeah, things are going well.

 

                      HOWARD

           I can't wait to tell the guys.

 

The attendant returns with the credit card.

 

                      ATTENDANT

           Here we go, Mr. Matson.

 

Duncan signs the slip. He sees that Howard is looking at him

funny.

 

                      DUNCAN

           Company car.

 

                      HOWARD

           As a consultant?

 

                      DUNCAN

           I cut a tough deal, Howard. You take

           care.


                                                           16.

 

 

He climbs into the Mercedes as Howard watches, smiling and

shaking his head.

 

                      HOWARD

                (after him)

           Call me!  We'll do lunch!

 

 

INT. CONDO - DECK - NIGHT

 

Tony is on the phone with Zafiro again. Zafiro and Bobby are

in a motel.

 

 

INTERCUT

 

                      ZAFIRO

           Course we guarantee our work.

 

                      TONY

           Then you'd better get your ass here

           cause something ain't right. The only

           body found in the park was a homeless

           man.

 

                      ZAFIRO

           Well, fuck, I don't know what the

           problem is, but we took care of him.

 

                      TONY

           Then where's the body?

 

                      ZAFIRO

           How do I know?  We'll see you in a few.

 

 

INT. MOTEL ROOM - DAY

 

Zafiro hangs up.

 

                      ZAFIRO

           He says there was no fucking body.

 

                      BOBBY

           What do we do now?

 

                      ZAFIRO

           Shit, I don't know. Try and straighten

           it out.

 

 

INT. HOTEL - NIGHT

 

Duncan is at the front counter. He gives his key to a CLERK.


                                                           17.

 

 

                      CLERK

           Come back again, Mr. Matson.

 

                      DUNCAN

           I'm sure I will.

 

He moves across the lobby where Luke is waiting for him.

 

                      LUKE

           That was nice while it lasted.

 

                      DUNCAN

           It gets nicer. Wait'll you see our

           new pad.

 

 

EXT. RESTAURANT - PARKING LOT - NIGHT

 

The Mercedes is parked outside a fancy restaurant in the

suburbs.

 

 

INT. RESTAURANT - PAY PHONE - NIGHT

 

Duncan is at a pay phone. He's waiting for someone to answer.

 

A WOMAN stands nearby, waiting to use the phone. Still no

answer.

 

Duncan finally hangs up.

 

 

INT. RESTAURANT - TABLE - NIGHT

 

Duncan joins Luke at a table. Luke is finishing dessert.

 

                      DUNCAN

           Coast is clear, nobody home.

 

                      LUKE

           The man's dead, how can he be home?

 

                      DUNCAN

           Just double-checking he ain't married

           or something.

 

                      LUKE

           So what's the plan?

 

 

EXT. PARK - ROAD - NIGHT

 

The Mercedes stops and Luke gets out. Duncan pulls away and

Luke starts up the hill to the lean-to.


                                                           18.

 

 

EXT. CITY - STREET - NIGHT

 

The car with Bobby and Zafiro cruises along.

 

 

INT. CAR - NIGHT

 

Bobby is driving.

 

                      BOBBY

           How about we get a room and check

           with him tomorrow?

 

                      ZAFIRO

           I want to check out the park first.

 

 

EXT. PARK - NIGHT

 

The car cruises through the park. Ahead the headlights catch

Luke, walking unsteadily down the road, drunk.

 

 

INT. CAR - NIGHT

 

Bobby is still driving.

 

                      ZAFIRO

           What have we here?

 

 

EXT. PARK - NIGHT

 

The car passes Luke and stops. Zafiro and Bobby get out.

 

                      ZAFIRO

           Boy, did you have a good time!

 

                      LUKE

           You got that right!

 

                      ZAFIRO

           You often hang around the park at

           night?

 

                      LUKE

           Used to. I'm moving!

 

                      ZAFIRO

           Say, you didn't happen to know the

           homeless man who died here the other

           day?


                                                           19.

 

 

This puts Luke on guard, despite his intoxication. Who are

these guys?  He doesn't want to know.

 

Instinctively, he turns and starts running up the hill

toward the lean-to.

 

Zafiro and Bobby chase him. They catch him halfway up the

hill.

 

Zafiro grabs him and throws him to the ground.

 

                      LUKE

           I didn't do it!

 

Zafiro and Bobby exchange glances. This guy must know

something.

 

                      ZAFIRO

           Tell me about the body.

 

                      LUKE

           The guy's dead, what difference does

           it make?  We're just trying to

           improve our situation.

 

                      ZAFIRO

           And how's that?

 

                      LUKE

           I'm not saying any more.

 

Another exchange of glances. Zafiro nods.

 

Bobby takes out a switchblade.

 

 

EXT. MATSON HOUSE - NIGHT

 

The Mercedes pulls to the curb outside the house.

 

 

INT. MATSON HOUSE - LIVING ROOM - NIGHT

 

Duncan enters. Looks around. He looks right at home.

 

There's a desk in a corner of the room. He goes to it and

sits down. He opens a drawer and starts snooping around.

 

 

EXT. MATSON HOUSE - NIGHT

 

A car pulls up and parks. CANDY, 20s, attractive, gets out

and heads for the door.


                                                           20.

 

 

INT. MATSON HOUSE - LIVING ROOM - NIGHT

 

Duncan has found bank and financial records and is putting

them in a briefcase he found alongside the desk.

 

The doorbell rings.

 

His eyes dart to the front door. He looks worried.

 

The doorbell rings again.

 

Duncan closes the briefcase. He gets up and steps cautiously

to the door.

 

 

EXT. MATSON HOUSE - PORCH - NIGHT

 

Candy waits for the door to open. When it does, she is

surprised to face Duncan.

 

                      DUNCAN

           May I help you?

 

                      CANDY

           Where's Jake?

 

Duncan doesn't know what to say. Candy takes out

identification and flashes it at him.

 

                      CANDY

           F.B.I.

 

Duncan instinctively slams the door.

 

Candy draws a pistol. She tries the door, locked. She shoots

the lock.

 

 

INT. MATSON HOUSE - LIVING ROOM - NIGHT

 

Duncan is running to the desk when the shot fires. He grabs

the briefcase and sprints for the rear exit.

 

Candy comes in, gun still drawn, and faces an empty living

room. She rushes toward the rear of the house.

 

 

EXT. MATSON HOUSE - REAR - NIGHT

 

Duncan races out, carrying the briefcase, and darts across

the back yard.

 

Candy comes out, looks one way and the other, hesitates,

then hurries across the lawn.


                                                           21.

 

 

A SERIES OF SHOTS - THE CHASE

 

Duncan runs from one back yard to another, then to the

adjacent street.

 

Candy runs after him, still looking around, not sure where

he is.

 

 

EXT. MATSON HOUSE - NIGHT

 

Duncan circles around to the front of the Matson house, gets

into the Mercedes, and speeds off.

 

Candy arrives too late to chase him.

 

 

EXT. PARK - NIGHT

 

The Mercedes cruises through the park and stops. Duncan gets

out and climbs the hill.

 

 

EXT. PARK - HILL - NIGHT

 

Duncan reaches the lean-to. He sees the shadowy silhouette

of Luke in a folding chair, his back to him.

 

                      DUNCAN

           Change of plans, buddy.

 

He moves around the chair to face Luke. And sees that his

throat has been cut.

 

 

EXT. FREEWAY - NIGHT

 

The Mercedes roars down the freeway.

 

 

INT. MERCEDES - NIGHT

 

Duncan is sweating. He is running on panic and nerves.

 

 

EXT. FREEWAY - NIGHT

 

Duncan turns under a sign for the Interstate and an out-of-

state city.

 

 

INT. CONDO - DECK - DAY

 

Zafiro and Bobby watch Tony eat breakfast.


                                                           22.

 

 

                      ZAFIRO

           He said his buddy was the same size

           and so on, and decided to take over

           his identity.

 

                      BOBBY

           The point being, Matson is in the

           morgue under the other guy's name. He

           switched I.D.'s.

 

                      TONY

           Hell of an imagination for a wino,

           isn't it?

 

                      ZAFIRO

           You want us to find the other guy?

 

                      TONY

           Been thinking about that. What for?

           Let the poor slob enjoy his good

           fortune. It's no skin off our back,

           and the Feds pay the bill -- at least

           till they find out. Serves them right.

           Long as Matson is in the morgue, I'm

           happy. You do good work.

 

                      ZAFIRO

           Yes, we do.

 

 

EXT. INTERSTATE - REST STOP - DAY

 

The Mercedes is parked in a rest stop along the Interstate.

 

 

INT. MERCEDES - DAY

 

Duncan wakes up. He yawns and looks around.

 

 

EXT. MERCEDES - DAY

 

Duncan gets out of the car. He stretches. He starts for the

men's room.

 

 

INT. MEN'S ROOM - DAY

 

Duncan stands at a urinal.

 

A TRUCK DRIVER takes the adjacent one.

 

                      TRUCK DRIVER

           The pause that refreshes.


                                                           23.

 

 

Duncan nods.

 

                      TRUCK DRIVER

           You headed north?

 

Duncan nods again.

 

                      TRUCK DRIVER

           You got heavy construction about

           thirty miles up. Cars lined up to

           beat hell. Messier than my ex's

           lovelife.

 

                      DUNCAN

           Thanks.

 

 

EXT. DOWNTOWN CAFE - DAY

 

Mom's Cafe at lunch hour. Pedestrian traffic passes by, some

enter.

 

 

INT. DOWNTOWN CAFE - DAY

 

Candy sits alone at a table. She looks up at the clock on

the wall.

 

MARTIN, 40s, arrives and joins her.

 

                      CANDY

           Something weird is going on.

 

                      MARTIN

           With Matson?

 

                      CANDY

           I don't know. This guy had a key and

           let himself in. He was wearing Jake's

           clothes, I think. He said Jake went

           out of town. It was all very strange.

 

                      MARTIN

           Where is this guy?

 

                      CANDY

           He drove off in Jake's Mercedes.

 

                      MARTIN

           What about Matson?

 

                      CANDY

           Not a word since a couple days ago.

           Something doesn't feel right.


                                                           24.

 

 

Martin thinks a minute.

 

                      MARTIN

           Okay. You sit tight till I call you.

 

 

EXT. SMALL HIGHWAY - DAY

 

The Mercedes is off the Interstate now and cruising along a

scenic highway.

 

 

INT. MERCEDES - DAY

 

Classical music plays on the radio.

 

Duncan looks a little more relaxed.

 

He sees a turnoff to a small town and takes it.

 

 

INT. SMALL TOWN - MAIN STREET - DAY

 

The Mercedes drives slowly along Main Street.

 

The town is only about three blocks long. Duncan parks in

front of Mom's Cafe.

 

He gets out and enters.

 

A "Help Wanted" sign hangs prominently in the window.

 

 

INT. MOM'S CAFE - DAY

 

The cafe is busy during lunch.

 

 

SUPER ON SCREEN: "FOUR MONTHS LATER"

 

 

INT. MOM'S CAFE - DAY

 

Duncan is working as a short-order cook. He is going under

the name of Jake Matson.

 

Waiting tables and picking up an order is RACHAEL, 20s.

 

The owner, HANNAH, 50s, works behind the cash register.

 

                      RACHAEL

           Jake, you going to the community

           meeting tonight?


                                                           25.

 

 

                      DUNCAN

           Sure am. You?

 

                      RACHAEL

           Maybe we can grab a bite to eat first.

 

                      DUNCAN

           "One cannot think well, love well,

           sleep well, if one has not dined

           well." Virginia Woolf.

 

                      RACHAEL

           An old girlfriend?

 

                      DUNCAN

           A dead writer.

 

He grins as she picks up the order.

 

 

EXT. MOM'S CAFE - NIGHT

 

Duncan and Rachael come out of the cafe.

 

                      DUNCAN

           I think Hannah has her feelings hurt

           when I eat someplace else.

 

                      RACHAEL

           You can't eat all the time where you

           work. It gets monotonous.

 

                      DUNCAN

           Tell her that.

 

                      RACHAEL

           I have, believe me.

 

 

INT. RESTAURANT - NIGHT

 

They sit in a booth, sipping beverages before their meal.

Rachael drinks a beer, Duncan drinks iced tea.

 

                      RACHAEL

           May I ask you a personal question?

 

                      DUNCAN

           Sure.

 

                      RACHAEL

           Why'd you sell your Mercedes?


                                                           26.

 

 

                      DUNCAN

           I needed the money.

 

                      RACHAEL

           I can understand that. But I heard

           people talking, you know? You drive

           into town in a car like that and seem

           desperate for a job. People, some

           people, wonder if you're running from

           something.

 

                      DUNCAN

           I'm still here.

 

                      RACHAEL

           So I noticed. Which leads me to

           another question. How come you never

           asked me out yet?

 

                      DUNCAN

           Well, here we are.

 

                      RACHAEL

           One, it was my idea. Two, I meant

           like on a date. I see the way you

           look at me.

 

                      DUNCAN

           It's that obvious, huh?

 

                      RACHAEL

           I was hoping you'd see the way I look

           back.

 

                      DUNCAN

           I guess I have.

 

                      RACHAEL

           And...?

 

                      DUNCAN

           I'm new in town. I guess I don't feel

           secure enough to do something like

           that yet.

 

                      RACHAEL

           Ask a girl to a movie!  How much

           security does that take?

 

                      DUNCAN

           You're right. How about the late show

           after the meeting?


                                                           27.

 

 

                      RACHAEL

           Now you're talking.

 

 

EXT. HIGH SCHOOL - GYM - NIGHT

 

A community meeting is being held in the gymnasium of the

high school.

 

TOWNSPEOPLE move into the building.

 

 

INT. GYM - NIGHT

 

THREE MEN and TWO WOMEN sit at a table in front of rows of

folding chairs.

 

Duncan and Rachael come in and sit down.

 

Chairing the meeting is MARTHA, 50s, the city mayor.

 

                      MARTHA

           The meeting will come to order

 

She bangs her gavel a few times until people quiet down.

 

                      MARTHA

           Thank you. Special meeting of the

           Timberline County Task Force on

           Education is now convened. Randy will

           start with new business.

 

RANDY, 30s, gets focus.

 

                      RANDY

           Our first item of business concerns a

           special offer by Jake Matson, who

           will make a brief statement now.

 

Duncan stands up. Beside him, Rachael is flabbergasted that

he is on the program.

 

                      RACHAEL

           Why didn't you tell me?

 

Duncan moves to the front of the room. All eyes are on him.

 

                      DUNCAN

           Believe it or not, I'm not much for

           speech making, so I'll make this

           short and sweet.

 

                      SOMEONE IN AUDIENCE

           That'll be a first!


                                                           28.

 

 

Everybody laughs.

 

                      DUNCAN