A small commercial fishing boat heads out of Manchester,
Massachusetts, toward the open sea. JOE CHANDLER, late 30s,
is in the wheelhouse. In the stern are LEE CHANDLER, Joe’s
younger brother by five years, and Joe’s son PATRICK, about 9
years old. Lee and Patrick are kidding around in a friendly
way while Joe steers.
SEVEN YEARS LATER -- THE PRESENT
EXT. BOSTON -- QUINCY -- APARTMENT HOUSE. DAY.
It’s a cold winter day on a narrow street.
In front of a small apartment building, LEE sweeps away the
old snow on the pavement, then sprinkles salt in front of the
building. He is 40 now, wearing janitor’s coveralls under his
weatherbeaten winter jacket.
INT. BATHROOM. DAY.
Lee works on a leaky toilet while MR MARTINEZ, 50s, a big man
in an undershirt and glasses, stands by watching.
MR MARTINEZ
I don’t know why the hell it keeps
dripping. All night long, drip,
drip. I’ve had the fucking thing
repaired ten times.
LEE
You need a new stopper.
MR MARTINEZ
Oh is that it?
LEE
See how it’s rotted around the
edges? It doesn’t make a seal, so
the water drips into the bowl. I
can bring you a new one tomorrow,
or you might want to consider
replacing the whole apparatus.
MARTINEZ
What do you recommend?
Lee starts putting away his tools and cleaning up.
LEE
Well, I could replace the stopper
first, and if that doesn’t work,
then I would come back and replace
the whole apparatus.
MARTINEZ
But you don’t have a professional
recommendation?
LEE
It’s really up to you.
MARTINEZ
Well, tomorrow I got my sister-in-
law coming over with my nephews
...and I gotta take my car in...
Lee waits while Mr Martinez works out his schedule.
Genres:
["Drama"]
Ratings
Scene
2 -
Unexpected Connections
INT. BASEMENT. DAY.
He organizes the trash cans and recycling in the basement.
INT. APARTMENT BUILDING HALLWAY. DAY.
He vacuums the hall with an industrial vacuum cleaner on a
fifty foot yellow extension cord.
EXT. QUINCY -- ANOTHER BUILDING. DAY.
A different apartment building on a similar street.
INT. MRS GROOM’S APARTMENT. DAY.
Standing on a ladder in a small grandmotherly apartment, Lee
changes a light bulb in the very small bathroom. MRS GROOM,
70s, is on the phone outside the open bathroom door.
MRS GROOM
(On the phone)
No, it’s my sister Janine’s oldest
girl’s bat mitzvah...No, I look
forward to being bored to death...
No, the girl doesn’t want it, the
father doesn’t want it. I don’t
ask. Seven hours in the car, I
could really slit my throat...Oh,
well, the little girls are
charming.
EXT. QUINCY -- A SLIGHTLY MORE UPSCALE STREET. DUSK.
A marginally more upscale building.
INT. BATHROOM. DUSK.
Lee looks down at a stopped-up toilet. Behind him is
MARIANNE, slender, 30s, attractive, wearing everyday around-
the-house clothes.
MARIANNE
I am so sorry. This is so gross.
LEE
It’s all right.
He plunges her toilet carefully and methodically.
LATER -- He wipes up the floor. Marianne comes in.
MARIANNE
Oh Lee, you don’t have to do that,
honestly.
LEE
That’s OK.
MARIANNE
Well -- God. Thank you so much, I
am so sorry.
LATER -- He is washing his hands in her bathroom sink. He
hears Marianne talking on the phone O.C.
MARIANNE (CONT’D)
No, tell him to come! ... Okay,
yeah ... But Cindy, I have to tell
you something. I'm like, in love
with my handyman. Is that sick? ...
Have you ever had a sexual fantasy
about your handyman? ... Well, it's
awkward because he is literally
like, cleaning the shit out of my
toilet bowl right now. And I don't
think I'm at my most alluring ...
Yeah, maybe you're right. It's not
like I met him socially ... Okay
thank you Cindy. You’re a really
good friend ... OK like twenty
minutes. ‘Bye!
IN HER SMALL LIVING ROOM -- He comes out of the bathroom.
Marianne is now dressed up to go out. She looks great.
LEE
All set.
MARIANNE
Thank you so much. Can I give you a
tip?
LEE
You mean, like a suggestion?
MARIANNE
(Taking out a ten)
No -- I mean -- like, a tip...
LEE
That’s all right. Have a good
night.
MARIANNE
Oh, please. I’d feel bad.
LEE
(Takes the money)
OK, thanks a lot. Good night.
MARIANNE
Good night! And thank you so much.
Genres:
["Drama","Comedy"]
Ratings
Scene
3 -
Tensions in the Bathroom
INT. MRS OLSEN’S BATHROOM. DAY.
Lee is down on his hand and knees. MRS OLSEN, 40s, in a
bathrobe, is very good-looking but bad-tempered and nervous.
MRS OLSEN
How many times do we have to fix
these fucking pipes? Every time I
take a shower their entire
apartment has a flood. It’s driving
me insane.
LEE
I’ll bring the plumber tomorrow but
I’d say we’re gonna have to break
through the tile and try to isolate
the leak, because there was quite a
lot of water --
MRS OLSEN
But how do you know it’s me? Why is
it automatically me?
LEE
Because if it was coming from
higher up you’d have water damage
on the ceiling too, and maybe in
your wall, and it’s all dry.
MRS OLSEN
Great.
Lee looks at the bathtub.
LEE
It might just be the caulking. This
whole tub needs to be re-caulked.
Did you take a bath or shower in
the last couple of hours?
MRS OLSEN
Yes...
LEE
Well, it could actually just be
that.
MRS OLSEN
OK. And how are you planning to
find that out?
LEE
Well, we could turn on the shower
and see if it drips downstairs...
MRS OLSEN
You want me to take a shower now?
LEE
No...
MRS OLSEN
You want me to take a shower while
you stand there watching, to see if
the water drips down into the
Friedrich’s apartment?
LEE
I don’t really give a fuck what you
do, Mrs. Olsen. I just want to find
the leak.
Mrs Olsen goes white with shock and fury.
MRS OLSEN
No, you can get out of my apartment
and don’t ever come back.
LEE MRS OLSEN (CONT'D)
OK. How dare you fucking talk to
me like that? Get the fuck
out of my house before I call
the police!
LEE
You’re blockin’ the doorway.
INT. MR EMERY’S OFFICE. NIGHT.
The building manager’s office. MR EMERY is in his 50s. Lee
sits in the chair before the crowded desk.
EMERY
What the fuck’s matter with you?
You can’t talk to the tenants like
that!
Lee shrugs.
EMERY (CONT’D)
Look, Lee. You do a good job.
You’re dependable. But I get these
complaints all the time. You’re
rude, you’re unfriendly, you don’t
say good mornin’. I mean come on!
LEE
Mr Emery, I fix the plumbing. I
take out the garbage. I paint their
apartments. I do electrical work --
which we both know is against the
law. I show up on time, I’m workin’
four buildings and you get all the
money. So do whatever you’re gonna
do.
EMERY
Would you be willin’ to apologize
to Mrs Olsen?
LEE
For what?
EMERY
All right, all right, I’ll talk to
her.
Lee gets up to go.
Genres:
["Drama"]
Ratings
Scene
4 -
A Night of Isolation and Confrontation
INT. A LOUD QUINCY BAR. NIGHT.
Lee drinks alone at a small, crowded neighborhood bar.
AT THE BAR -- Lee is waiting for service. Someone bumps a
CUTE GIRL, 30s, into him. She spills some beer on Lee.
GIRL LEE
Oh my God, I’m sorry! Did I That’s OK. I’m OK...
get you? Yeah. Lemme get a
napkin. Lenny, could I get a
couple of napkins? (Gives Lee
some napkins.) Here you
are...
LEE (CONT’D)
Thanks.
GIRL
Well, now I spilled beer all over
you, my name’s Sharon.
LEE
That’s OK.
GIRL
And you are...
LEE
Lee.
She gets the message that he is not interested. He pats
himself dry, not looking at her.
LATER --
The bar is far less packed. We see SHARON across the room,
talking to a girlfriend. At the bar, Lee is drinking alone.
He’s pretty drunk by now. He is looking at two BUSINESSMEN,
40s. One of them notices and mentions it to the other. They
look at him for a moment then ignore him. He gets up and
walks toward them. They are surprised at his approach.
1ST BUSINESSMAN
How you doin’?
2ND BUSINESSMAN
How you doin’?
LEE
Good. I’m good. Can I ask you guys,
have we met before?
The two men look at each other then back at Lee.
1ST BUSINESSMAN
I don’t think so.
2ND BUSINESSMAN
I don’t think so either.
LEE
So you guys don’t know me?
1ST BUSINESSMAN 2ND BUSINESSMAN
No... No, Yeah. No. Do we?
No.
LEE
Well then what the fuck are you
lookin’ at me for?
2ND BUSINESSMAN
Excuse me?
LEE
I said why the fuck are you lookin’
at me?
1ST BUSINESSMAN 2ND BUSINESSMAN
Sir, we really weren’t Hey! Take a fuckin’ walk. Hey
looking at you -- -- Paul -- No -- don’t
apologize to this asshole--
BARTENDER (To LEE) Take a hike!
(Hurrying over)
Hey, Lee...Lee...!
Lee HITS the 2nd Businessman and knocks him into a wall.
Several pictures fall and smash on the floor.
BARTENDER
Oh, goddamnit --
Lee punches the 1st Businessman’s nose. He falls back and
grabs his face, blood streaming from both nostrils. The 2nd
Businessman and Lee swipe at each other.
1ST BUSINESSMAN 2ND BUSINESSMAN
You broke my fuckin’ nose! Goddamn lunatic --
The BARTENDER leaps over the bar and grabs Lee from behind --
Other guys join in to break it up.
BARTENDER VARIOUS VOICES
Lee! Lee! Lee! Enough! Break it up! Break it up!
LEE
Lemme go. I gotta go take a hike.
General melee.
INT. LEE’S BASEMENT APARTMENT. NIGHT.
Lee turns the light on and comes in. He is a little roughed
up from the fight.
At his dresser, Lee pulls on sweatpants and an undershirt.
There are THREE FRAMED PHOTOS in imitation silver frames
standing on the little dresser. We don’t see the photos.
Lee sits on the sofa with a beer and turns the TV on to a
late-night sports program. Slowly he falls asleep. The can in
his hand tips slowly sideways and spills onto the sofa.
EXT. LEE’S STREET. DAY.
It’s snowing. Lots of slow, heavy flakes, very pretty.
EXT. LEE’S BUILDING -- WINTER. DAY.
Lee is shoveling snow. The air is clear and cold. The whole
street is beautified by the recent snow storm. His iPhone
rings. He takes off his gloves. Digs out the phone.
LEE
Hello ... This is Lee ... Oh ...
When did that happen? ... Well, how
is he? ... OK. Uh...No. Don’t do
that. I’ll come up right now ...
OK. Thank you.
He hangs up and goes inside with the shovel, leaving the snow
before the building only partially cleared and salted down.
Genres:
["Drama","Character Study"]
Ratings
Scene
5 -
A Heartbreaking Farewell
INT. LEE’S CAR (MOVING). DAY.
Lee sits behind the wheel, trying to get out of Boston and
onto Rt 1. North. He’s talking on his iPhone.
LEE
(Into his iPhone)
Mr Emery, it’s Lee again. I
contacted Jose, who says he can
cover for me til Friday night at
least, and then Gene MacAdavey can
take over till I get back. I’ll be
in Manchester at least a week or
two. I’ll call again when I have
more information. Goodbye.
He hangs up and drives into increasingly heavy traffic.
LEE (CONT’D)
Come on, come on.
The traffic slows. He becomes increasingly anxious.
EXT. RT. 128 -- LEE’S CAR (MOVING). DAY.
Lee’s car takes the exit for Beverly.
EXT. BEVERLY HOSPITAL. DAY.
Lee drives through the grounds of a big modern hospital. He
knows exactly where he’s going. He parks and gets out. He
walks quickly to the main entrance, then breaks into a run.
INT. BEVERLY HOSPITAL. DAY.
We lead/follow Lee as he walks quickly through the halls
toward the ICU, easily navigating the twists and turns from
habit. He goes into the ICU --
INT. ICU -- NURSE’S STATION -- CONTINUOUS. DAY.
-- and approaches GEORGE, around 50, a big weatherbeaten guy,
and NURSE IRENE, 40s. They both react as Lee approaches.
GEORGE
Hiya, Lee.
LEE
Is he dead?
George’s eyes fill with tears. He makes a helpless gesture.
NURSE IRENE
I’m sorry, Lee. He passed away
about an hour ago.
LEE
Oh.
NURSE IRENE
I’m so sorry.
Lee looks at the floor, hands on his hips. Nurse Irene gives
his arm an awkward squeeze. Lee stares into the middle
distance for a moment.
LEE
Did you see him?
GEORGE
Yeah. I mean -- No --
NURSE IRENE GEORGE (CONT'D)
George br -- I brought him in.
GEORGE (CONT’D)
...We were lookin’ at the boat this
mornin’, and he just -- I don’t
know, he just, like, fell over. I
thought he was kiddin’ me at first.
Then I called the ambulance ...and
uh -- that was it.
Lee shakes his head, still staring at the floor.
NURSE IRENE
I’ll just call Dr Muller and tell
him that you’re here.
LEE
Where’s Dr Betheny?
NURSE IRENE
Oh, she’s on maternity leave. Oh
here he is.
DR MULLER, 40s, has just joined them.
DR MULLER
Lee? I’m Dr Muller. We spoke on the
phone.
LEE
Yeah. Hi.
DR MULLER
I’m very, very sorry.
LEE
Thank you.
DR MULLER
Hello, George.
He shake hands with George.
GEORGE
Hiya Jim.
DR MULLER
How you holding up?
GEORGE
Oh -- Great! You know.
DR MULLER
Well...it’s a very sad day.
GEORGE
Yeah.
George starts to cry. He looks down and wipes his eyes.
LEE
Where’s my brother?
DR MULLER
He’s downstairs. You can see him if
you want.
LEE
What happened?
DR MULLER
Well, you know his heart was very
weak at this point, and it just
gave out. If it’s any comfort, I
don’t think he suffered very much.
I’m sorry you didn’t get here in
time, but as I told you on the
phone --
LEE
Aw, fuck this. (He looks at the
floor. Long pause. He looks up.)
Sorry.
DR MULLER GEORGE
That’s perfectly all right. That’s OK, buddy.
LEE
Did anybody call my Uncle?
DR MULLER and GEORGE glance at each other.
GEORGE
Their Uncle Donny.
LEE GEORGE (CONT'D)
Yeah, my Aunt and Uncle. No, Lee -- Lee, no --
Somebody shoulda called them.
What?
GEORGE (CONT’D)
-- Donny got a job in Minnesota,
like --
LEE GEORGE (CONT'D)
Minnesota? -- awhile ago. Yeah: He got a
job with some outfit in
Minnetonka, Minnesota, if you
can believe that. Joe didn't
tell you about that?
LEE
No.
GEORGE
I can call ‘em if you want, Lee.
And tell ‘em what happened.
LEE
OK. Thanks...
LEE (CONT’D) GEORGE
Tell ‘em...Tell ‘em what Oh, no problem --
happened. Tell ‘em I’ll call
‘em tonight, probably
tomorrow. Talk about
arrangements.
GEORGE (CONT’D)
Sure, I can do that.
LEE
And somebody better call my wife.
There is a confused, embarrassed hesitation.
DR MULLER
Your...
LEE GEORGE
Ex-wife. Yes. Sorry. You mean Randi?
I meant Randi. That's OK -- I already
thought of that. I'll take
care of it.
LEE
OK, thanks.
GEORGE
No problem.
LEE
Can I see him now?
DR MULLER
Sure.
GEORGE
Lee -- I can wait up here, Lee, in
case you need anything.
LEE
OK.
Dr Muller leads Lee away. George breaks down again.
GEORGE
I'm sorry.
NURSE IRENE
Would you like a Kleenex?
GEORGE
Thanks. Yeah.
Genres:
["Drama"]
Ratings
Scene
6 -
A Diagnosis Divides
INT. HOSPITAL ELEVATOR.
Dr Muller and Lee ride down very slowly.
LEE
How is Dr Betheny?
DR MULLER
Oh, she's doing very well. She just
had twin girls.
LEE
Oh yeah. Irene told me.
DR MULLER
Apparently weigh about eleven
pounds apiece. So she's gonna have
her hands full for a while...I’ll
call her this afternoon and tell
her what happened.
LEE
She was very good to him.
DR MULLER
Yes she was.
EIGHT YEARS AGO --
INT. JOE CHANDLER’S HOSPITAL ROOM. DAY.
JOE CHANDLER is lying in the hospital bed. There’s a close
resemblance between him and Lee.
ELISE, Joe’s wife, the same age as Joe, pretty, anxious and
high-strung -- stands near to STANLEY CHANDLER -- Lee and
Joe’s father, 70s. He sits in one chair. LEE sits in another.
They are all listening to DR BETHENY, 30s. She is small,
intense, very serious and focused and level-headed, but
thoroughly well-meaning and decent.
DR BETHENY
The disease is commonly referred to
as congestive heart failure --
ELISE
Oh my God!
DR BETHENY
Are you familiar with it?
ELISE
No...!
JOE
Then what are you sayin’ “Oh my
God” for?
ELISE
Because what is it?
JOE
She’s tryin’ to explain it to us,
honey. I’m sorry, Dr Beth...uh...
DR BETHENY
Betheny:
JOE DR BETHENY (CONT'D)
I’m sorry. I can never get it Don’t worry about it. Not a
right. problem.
STAN
So, you were saying, Dr Beth.
JOE LEE
It’s Dr Betheny, Dad. Dr Betheny, Daddy, try to get
it right..
ELISE
It’s a comedy routine!
JOE STAN
Would you let her tell it? Elise, please...
ELISE
Oh my God: When am I gonna put one
foot right?
JOE
Honey, for Christ’s sakes!
ELISE
How about a hint?
Stanley takes Elise’s hand and holds onto it.
STAN
Elise...Sweetheart...Let’s just let
her explain the situation to us...
LEE
Daddy...
STAN
What? She's fine. We're all upset.
We're all gonna listen, then we're
gonna ask everything we wanna ask,
and then we’re gonna figure out
what do to, together. Right?
JOE
Right.
DR BETHENY
It's a gradual deterioration of the
muscles of the heart. It’s usually
associated with older people, but
in rarer cases it will occur in a
younger person. Some people can
live as long as fifty or sixty
years with just an occasional
attack. But most people suffer
periodic episodes, like the one you
had on Monday, which mimic the
symptoms of a heart attack and
which further weaken the muscle.
They can put you out of commission
for a week, two weeks. And you’ll
need to be hospitalized so we can
monitor your heart, because the
risk of cardiac arrest is elevated
for a week or two.
ELISE
Oh my God.
STAN
(Pats her hand)
OK...OK...
DR BETHENY
But in between these episodes, most
people feel perfectly healthy and
you can basically live a normal
life.
JOE
So...What do you mean that some
people live as long as fifty or
sixty years? You mean total? Or
from when they're diagnosed with
this, or what? And tell me the
fuckin’ truth.
DR BETHENY
Total.
Everyone is stunned into silence, even Elise.
DR BETHENY (CONT’D)
For approximately eighty percent of
patients your age the most common
statistical life expectancy is five
years or less.
Elise grips Stan’s hand. Lee looks at the floor.
JOE
Wow.
DR BETHENY
But the statistics vary widely, and
they’re just statistics. You’re not
a statistic, you’re just one
person, and we don't know what’s
going to happen to you yet. But
it’s not a good disease.
JOE
What’s a good disease?
DR BETHENY
Poison Ivy.
ELISE
(Rising)
I do not see where the humor lies
in this situation.
STAN
Elise, you must calm down.
JOE DR BETHENY
Honey, please... I’m sorry. I’m really not
trying to --
LEE
(To Dr Betheny)
Don’t -- it’s fine.
Elise pulls her hand away from Stan and waves “No” at them.
ELISE
No. No more -- I’m not gonna --
STAN ELISE (CONT'D)
Elise, let’s get you a glass No m -- No.
of water --
LEE
Daddy. Forget it.
JOE (TO LEE)
Hey, shut up.
ELISE
Yeah, forget it. Forget it like you
-- No, you know what? I’m tired of
bein’ the bad guy here.
JOE STAN
Jesus Christ! Who’s in the Nobody th --
fuckin’ hospital?!
ELISE
Right! So I’ll be the bad guy, and
you be in the hospital and explain
the jokes to your son. I’m goin’
home.
JOE STAN
You’re goin’ home. Sweetheart --
SHE WALKS OUT fast, her heels clicking against the floor.
STAN (CONT’D)
Lemme get her back.
LEE
Fuck her.
JOE STAN
You wanna stop with that Come on with that stuff
shit? already!
THE PRESENT --
Genres:
["Drama","Family"]
Ratings
Scene
7 -
A Farewell to Joe
INT. HOSPITAL ELEVATOR/LOWER LEVEL HALLWAY.
The ELEVATOR DOOR OPENS AT LL2. Dr Muller and Lee come out.
INT. MORGUE.
A SECURITY GUARD opens the door for DR MULLER and LEE.
DR MULLER
Thank you, Tony.
Lee goes in and looks down at the body. Pause.
LEE
(Hesitates)
OK.
DR MULLER
Take your time.
Lee moves closer to the body. He touches Joe’s hand. It feels
dead so he touches his shoulder where there’s a sleeve. He
leans over and kisses his cheek. He embraces the body as best
he can. Dr Muller drops back discreetly. Lee walks out past
Dr Muller. Dr Muller follows.
DR MULLER (CONT’D)
(To the Security Guard)
Thanks, Tony.
INT. ELEVATOR.
Lee and Dr Muller ride up again in silence.
INT. BEVERLY HOSPITAL. ICU. FLOOR. DAY -- CONTINUOUS.
The ELEVATOR DOOR OPENS. Lee and Dr Muller come out and walk
to the Nurse’s Station, where IRENE and GEORGE wait.
LEE
I gotta get up to Manchester.
Nobody told Patrick, right?
DR MULLER
No -- you had asked us to wait for
you to get here --
LEE
(On “us”)
Yes -- Thank you. So...What is the
procedure now?
DR MULLER
Well -- You should make
arrangements with a funeral parlor,
and they pretty much take care of
everything.
LEE
I don't know the name of one.
DR MULLER
We can help you with that.
NURSE IRENE
Yeah.
LEE
And they come up and get him?
DR MULLER
Yes.
NURSE IRENE
Yes.
GEORGE
I’ll make those calls, Lee --
GEORGE (CONT’D) LEE
Lemme know if you need any OK. And -- OK. Thanks. And --
help with anything. Yeah. Plus I gotta call you
about the boat, and the web
site. All that shit.
GEORGE
Sure. I’m around.
LEE
OK. I better get up there before
school lets out.
DR MULLER
You just have to sign for Joe’s
belongings.
Nurse Irene takes Lee around to the nurse’s station so Lee
can sign for Joe’s belongings.
SEVEN YEARS AGO --
Genres:
["Drama"]
Ratings
Scene
8 -
Fishing Tales and Shark Scares
EXT. THE SEA -- JOE’S BOAT. DAY.
Autumn. LEE, JOE and 8-YEAR-OLD PATRICK are on JOE’S BOAT.
The Cape Ann coast is in the distance. The boat is rigged for
whale-watching and deep sea fishing charters. Lee discreetly
keeps a hand near the rod as 8-Year-Old Patrick trolls. Joe
is at the tiller. He's looking thinner but better.
8-YEAR-OLD PATRICK
Like that?
LEE
Yeah, only keep your thumb off the
line, ‘cause if you get a strike
it's gonna slice it right open. And
you know what happens then.
8-YEAR-OLD PATRICK
What?
LEE
The sharks are gonna smell that
blood and rip this boat apart.
8-YEAR-OLD PATRICK
No they won’t. Dad, will they?
JOE
Oh yeah. I seen a school of sharks
tear a boat to pieces like it was
made of cardboard, just ‘cause some
kid threw a band-aid in the water.
8-YEAR-OLD PATRICK
No you didn’t.
LEE
Sometimes the only way to keep ‘em
off is to throw the kid directly in
the ocean to distract ‘em.
8-YEAR-OLD PATRICK
Shut up. Sharks don’t even swim in
schools.
JOE
Is this kid smart or what?
LEE
Yep. And a really smart kid is
exactly the kind of quality meal a
humongous school of sharks is
lookin’ for when they’re circlin’ a
boat.
PATRICK
Uncle Lee! Shut up!
Patrick's REEL starts SPINNING OUT with a thrilling whine.
LEE JOE
Strike! Strike! Look out, look out!
Ease up on the drag -- You got a strike!
And watch that fuckin’ thumb! Ease up, ease up!
8-YEAR-OLD PATRICK
(Hits him)
No swearing!
Patrick loses his balance. Lee catches him and props him up.
LEE JOE
Don't hit me -- ! Catch the What are you guys doin’? Hook
fish! We're doin’ fine. (To the fish! Get the hook in him
Joe) Just drive the boat. before he -- ! I’m drivin’
Patty, pull up sharp! Come the goddamn boat. Get that
on, buddy! There you go! (To hook in him!
JOE) Mind your business!
Lee helps Patrick pull the rod back sharply a few times.
8-YEAR-OLD PATRICK
What kind of fish is it?
JOE LEE
Gotta be a great white, Patty Feels like a great white
-- Maybe a barracuda -- shark to me.
8-YEAR-OLD PATRICK
Shut up!
Patrick is ecstatic with nerves and excitement.
THE PRESENT --
Genres:
["Drama","Family"]
Ratings
Scene
9 -
Reflections of Home
INT./EXT. LEE’S CAR (MOVING)/RT. 128 NORTH. DAY.
Lee drives up the highway.
EXT. THE OCEAN -- MANCHESTER-BY-THE-SEA. DAY.
FROM THE OCEAN -- We see the wealthy summer resort clinging
to the Cape Ann winter coastline.
INT. LEE’S CAR (MOVING) DAY.
Thru the windshield, Lee sees the MANCHESTER EXIT approach.
He takes the exit.
INT./EXT. LEE’S CAR/MANCHESTER. DAY.
Lee drives past the old houses of the little town.
SEVEN YEARS AGO --
INT. LEE’S MANCHESTER HOUSE. DAY.
Evening of the same day as the fishing scene. Lee comes into
his small house and takes off his wet things. In the living
room, his daughter SUZY, 7, is watching TV. A fire is
crackling behind a fire screen. A radio is playing O.S.
RANDI (O.S.)
Hello?
LEE
Hi honey! (To the girl) Hi, Suzy.
Daddy’s home. (Pause) Hi, Suzy.
Daddy’s home.
SUZY
Hi Daddy.
LEE
Hi, sweetheart.
He bends down to kiss her. She hooks her arm around his neck
and pulls him off balance, her eyes locked on the TV screen.
SUZY LEE (CONT'D)
Hug. Jesus Christ, you’re breakin’
my neck.
He kisses her and she releases him.
RANDI (O.S.)
Lee?
LEE
Yeah, hiya!
Genres:
["Drama"]
Ratings
Scene
10 -
Sick Day Shenanigans
INT. BEDROOM. DAY.
RANDI, Lee’s wife, 30s, is in bed with a cold. She is tough,
loving and sarcastic. The room is littered with Kleenex and
cold remedies and clothes. KAREN, 5, is playing with colored
plastic blocks on the floor. There is a CRIB in a corner.
LEE
Hi honey.
RANDI
You have a good time?
LEE
Yeah, really good. Where’s your
mother?
RANDI
They just left.
LEE
Oh no.
RANDI
Yeah, she really missed you.
LEE
There’s always next time. Did you
sleep?
RANDI
Oh, yeah. It’s always restful when
my mother’s here.
LEE
That’s too bad. Hi Kary.
KAREN
Hi Daddy.
LEE
(Picking her up)
Hello sweetheart.
KAREN
Put me down.
LEE
I’m puttin’ you down. Relax.
He kisses her and starts to put her down. She wriggles and
jerks unexpectedly backward. Lee almost loses his grip.
LEE (CONT’D) RANDI
Hey, hey, hey! Karen...!
LEE
(Putting her down)
Honey, don’t jerk around like that,
I almost dropped you on your head.
KAREN
I’m making a hair salon.
LEE
Oh yeah? It’s really good. You
wanna cut my hair?
KAREN
It’s just for girls. I’m sorry.
LEE
I understand. (To Randi) How you
feelin’?
RANDI
Little better.
LEE
You sound better.
RANDI
Did you actually use the fishin’
tackle?
LEE
Yeah, we really did. Patrick got a
humongous bluefish. Eighteen
pounds.
RANDI
Oh yeah? That’s awesome!
LEE
I never seen anybody so happy in my
life.
He crosses to her through the tissue-strewn, cluttered room.
LEE (CONT’D)
It’s nice in here. You keep it
nice. What a homemaker.
RANDI
Fuck off.
He tries to kiss her. She turns her head.
RANDI (CONT’D)
Get away from me.
They kiss. She claps his hand onto her breast.
RANDI (CONT'D)
No, don't, stop, I'm sick.
They kiss some more. She shoves him away.
RANDI (CONT'D)
OK, get offa me.
Lee goes to the CRIB. Inside is STANLEY, 8 months old, awake
and placid, waving his limbs at a multicolored mobile.
LEE
Hi Stanny. How come you’re not
cryin’?
RANDI
Let him alone. He’s been quiet for
half an hour.
Lee picks the baby up.
LEE RANDI (CONT'D)
Half an hour. What is that Oh Lee, please don't pick him
about? Take it easy. (To the up!
baby) Hiya buddy. You are
very handsome. If he’s not makin’ any noise,
leave well enough alone.
LEE
“Leave well enough alone.” That’s
what me and Mummy shoulda done
instead of gettin’ married.
RANDI
(Opens her magazine)
Just shut up.
LEE
...but then you wouldn’t be here.
And neither would your sisters. And
I could watch the football game in
my own livin’ room. That’s right, I
could.
RANDI
Go fuck yourself.
Lee kisses the baby and puts him back in the crib.
LEE
See? I didn’t make him cry. ‘Cause
I know how to handle him.
RANDI
How was Joe?
LEE
He’s all right. You know? He’s
doin’ all right.
RANDI
And you didn’t run outta beer? You
got through the day OK?
LEE
Oh yeah. We were very temperate.
RANDI
I don’t know why you guys bother
gettin’ on the friggin’ boat.
LEE
Because we love the sea.
LEE (CONT’D)
I only had eight beers over a seven
hour period. That’s approximately
one point four two somethin’ beers
per hour.
RANDI
No, it’s almost like a normal
person stayin’ sober.
LEE
I told you I was cuttin’ down.
Lee starts to get undressed.
RANDI
What do you think you’re gonna do?
LEE
I guess I’m gonna take a shower.
Randi, I swear to God. You shoulda
seen the look on Patty’s face when
he caught that fish. It was like
takin’ Suzy on the merry-go-round.
It was like -- pure happiness.
She smiles at him. Lee crawls across the bed.
RANDI
Get away. I’m sick. I’m deeply
sick.
They kiss. Karen plays on the floor. The baby waves his arms.
The TV can be heard from the other room.
LEE (V.O.)
He’s not at school?
THE PRESENT --
Genres:
["Drama","Family"]
Ratings
Scene
11 -
Concern on the Road
EXT./INT. MANCHESTER -- PINE STREET/LEE’S CAR. DAY.
Lee drives into town, talking on his cell phone.
LEE PAUL (O.S.)
I thought school let out at I'm pretty sure he --
three o'clock -- What? I'm I'm pretty sure he woulda --
sorry. My cell phone -- what? That's all right. I’m pretty
sure he woulda left for
hockey practice by now.
EXT. MANCHESTER ESSEX REGIONAL HIGH SCHOOL. DAY
Over an establishing shot of the big school building we hear:
LEE (O.S.)
He’s on the hockey team?
INT. VICE PRINCIPAL’S OFFICE. DAY -- CONTINUOUS.
PAUL, the vice principal, 40, is on the phone. His ASSISTANT,
50s, is on her computer nearby. WE CUT BETWEEN PAUL AND LEE.
PAUL
Yeah, he’s doin’ real well, too.
How’s Joe doin’? He gonna be OK?
LEE
He’s fine. Where’s the practice at?
The school?
PAUL
No -- It’s in Gloucester.
PAUL (CONT’D) LEE
It’s at the Gloucester -- It’s not at school? What?
That’s OK. Can you hear me? I’m sorry -- This phone is --
Yes.
We play with the Rockport
team. But they’re the lead I understand --
team.
LEE (CONT’D)
OK, thanks, Paul. I gotta go.
PAUL
Sure thing. Give Joe my regards,
will you?
LEE
I will.
INT. VICE PRINCIPAL’S OFFICE -- CONTINUOUS.
PAUL hangs up.
PAUL
Joe Chandler’s in the hospital
again.
ASSISTANT
Oh my gosh...Oh my gosh. That poor
man has had more trouble...
PAUL
Yep.
ASSISTANT
Who was on the phone?
PAUL
That was Lee Chandler.
ASSISTANT
Lee Chandler?
PAUL
The very one.
Genres:
["Drama"]
Ratings
Scene
12 -
Fractured Bonds
INT./EXT. LEE’S CAR/RT 128 NORTH. DAY.
Lee drives. The SIGN for GLOUCESTER and ROCKPORT is up ahead.
INT. GLOUCESTER MIDDLE SCHOOL -- HOCKEY RINK. DAY.
The Rockport/Manchester team is having practice. PATRICK is
on the ice. He is just 16, skinny, athletic, long-haired. He
is bright, practical, pugnacious. The HOCKEY COACH, 40s, is
shouting instructions. PATRICK checks another KID against the
boards. They start fighting. They’re evenly matched but
Patrick is kind of wild. The COACH yanks Patrick off the
other kid.
HOCKEY COACH
OK, break it up! Break it up! You!
Chandler! One more time and you are
OUT. Understand me?
Patrick sees LEE in the stands, over the coach’s shoulder..
PATRICK
Aw, fuck me.
HOCKEY COACH
What’s that, Chandler?
PATRICK
Aw, fuck my fuckin’ ass.
HOCKEY COACH
OK, you are out! You’re benched!
PATRICK
(To himself, skating away)
Ask me if I give a shit.
HOCKEY COACH
What’s that? What’s the matter?
Patrick skates over to Lee. The Coach sees Lee and hesitates.
A small scrappy kid named JOEL skates up, followed by CJ, a
big handsome athletic kid. These are Patrick’s friends.
JOEL
That’s his uncle.
CJ
His dad must be in the hospital.
HOCKEY COACH
Whose dad? Chandler’s?
CJ JOEL
He’s got congestive heart ...He only comes up when Mr
failure. Patrick’s dad, I Chandler’s in the hospital.
mean. Not Patrick.
Some other kids skate up and are watching Patrick and LEE.
HOCKEY COACH
That’s Lee Chandler? The Lee
Chandler?
CJ
Yeah, but you know that stuff about
him’s bullshit, Mr Howard.
JOEL
Yeah, that story’s bullshit.
HOCKEY COACH
You guys wanna watch the language?
JOEL CJ
Sorry. Sorry.
Across the rink, Lee is talking to Patrick. Patrick is
kicking up little shards of ice with his skate. The Coach
notices that all the kids have stopped to watch.
HOCKEY COACH
OK, Everybody wanna mind their own
business? Five minute break. That
means five!
The kids break up, marginally. The Coach skates over to Lee
and Patrick. They talk briefly. The Coach puts a well-meant
but sentimental hand on Patrick’s shoulder. Lee goes back up
the aisle.
CJ and Joel skate over to Patrick. He tells them. They react
sincerely and with sympathy. They squeeze his shoulder, they
each hug him. All the kids are watching again by now.
HOCKEY COACH (CONT’D)
OK, show’s over! Let’s line it up
again! Come on, line up!
The kids start skating around, lining up at the blue line.
Patrick breaks away and skates toward the exit by himself.
Genres:
["Drama","Family","Sports"]
Ratings
Scene
13 -
A Difficult Farewell
INT. LEE’S CAR (MOVING). DUSK.
The winter sun is getting low. Patrick sports a semi-grunge
garage-band look. Longish greasy hair, Army jacket, black T-
shirt with some design on it, cargo pants maybe.
PATRICK
Oh well.
They pass a sign for MANCHESTER, BEVERLY and NORTH SALEM.
LEE
I gotta go back to the hospital and
sign some papers. Do you wanna see
him?
PATRICK
Him who? See who?
LEE
Your dad. Do you wanna look at him?
PATRICK
I don’t know. What does he look
like?
LEE
He looks like he's dead. (Pause) I
mean, he doesn't look like he's
asleep, or anything like that. He
doesn't look gross...(Pause) You
don't have to. I wanted to see him.
Maybe you don't want that image in
your memory. I don't know. It's up
to you.
Patrick is silent.
INT/EXT. LEE’S CAR/HOSPITAL PARKING LOT. DUSK.
Lee pulls into a parking space. He looks at Patrick, who is
looking slightly queasy.
LEE
What do you think? Should I take
you home? Do you want me to decide?
PATRICK
Let's just go.
At the same instant Patrick opens his door to step out and
Lee starts DRIVING. He slams on the brakes.
LEE
What the fuck are you doing?
PATRICK
I just said let’s go inside!
LEE
No, you just said “Let’s just go!”
LEE (CONT’D) PATRICK
And then you get out of the Yeah, I meant let’s go
car without telling me? inside. I meant let’s just go
What the fuck’s the matter look at him!
with you?
OK, OK! What’s your problem?
I coulda ripped your fuckin’
leg off, that’s my problem. OK! I’m sorry I misused the
English language!
They get out of the car, both more subdued.
PATRICK (CONT’D)
I’m sorry, Uncle Lee.
LEE
I’m sorry too. I just got scared.
INT. HOSPITAL MORGUE.
NURSE IRENE and LEE stand by while Patrick looks at Joe.
PATRICK
OK. Thank you.
NURSE IRENE
Of course...
Patrick walks away. Lee and Dr Muller follow.
INT/EXT. LEE’S CAR (MOVING)/R 128 NORTH. DUSK/NIGHT.
They drive in silence.
PATRICK
Well, that was a mistake.
LEE
I guess I gave you bad advice.
PATRICK
No...I decided...
Genres:
["Drama"]
Ratings
Scene
14 -
Blocked Paths
EXT. THE SEA. DUSK/NIGHT.
WIDE ON THE COAST: A few headlights move through in the dark
town.
EXT. MANCHESTER -- STREETS. NIGHT.
Lee’s car drives through the narrow hilly streets.
INT. LEE’S CAR. (MOVING) DUSK/NIGHT. SIMULTANEOUS.
They drive in silence. Lee slows the car to a halt. The
narrow street is blocked by an SUV by a big house. A visiting
family is saying goodnight to a family in front of the house.
LEE
Come on...(Pause) Come on, come on!
He HONKS the HORN LOUD, TWICE. Everybody looks at him. The
CAR DAD comes around to the driver’s side of the SUV...
CAR DAD
Sorry! Sorry! Come on, guys...!
The others continue saying goodbye and chatting. Lee HONKS
the HORN several times.
LEE PATRICK
Either get in the car or move What’s the matter with you?
it in the driveway!
The Car Dad turns around. The House Dad takes a step forward.
CAR DAD
What’s your problem, pal?
LEE CAR MOM
Don’t tell me to relax. We're leavin’, we’re leavin’!
You're sitting in the middle Sorry! (Kisses House Mom)
of the street. (HONKS) I’ll call you tomorrow. (To
LEE) OK, OK, OK! In the car,
PATRICK kids!
Would you stop it, Uncle Lee?
It's the Galvins and the CAR DAD
Doherties! Jesus! You wanna play tough guy with
me in front of all my kids?
LEE
Oh. It is? HOUSE MOM
Goodnight kids! Come over any
PATRICK time!
Yes! What’s the matter with
you? CAR KIDS
Goodbye! Thank you!
LEE CAR MOM
I’m sorry. Tommy, come on.
PATRICK CAR DAD
(Waving out the window) Hiya Patrick? Is that you?
Mr Doherty. It’s Patrick
Chandler. Hi Mrs Doherty...Mr Well, for Christ’s sakes!
Doherty! It’s OK: It’s Where’s the fire?
Patrick Chandler!
HOUSE MOM
Yeah, it’s just me. Hi. Sorry Hello, Patrick.
about that. We’re just late.
How are you? HOUSE DAD
Patrick? Jesus, what’s the
PATRICK ruckus all about? How are
Hi Mrs. Galvin. Hiya Mrs. you?
Doherty.
CAR MOM
I’m OK. How are you? Sorry Oh for goodness sake...!
about that.
CAR DAD
(Squinting)
Who is that?
PATRICK LEE
It’s just my Uncle Lee. It’s It’s Lee Chandler.
my uncle.
CAR DAD
Lee?
There is instant awkwardness between them.
LEE CAR DAD (CONT'D)
Hi Tom. Sorry -- I’m sorry: I Oh. Hey, Lee...What’s all the
didn’t know you... rumpus for?
CAR MOM Well, keep your shirt on
Hello, Patrick. on...! I’m movin’.
PATRICK
Hi, Mrs Galvin.
Lee calls to the House Dad through Patrick’s open window.
LEE HOUSE KIDS
Hello, Jeff. Hello, Arlene. Hi, Patrick! Hey, Patrick!
HOUSE DAD (Coldly) PATRICK
Hey, Lee. Hey guys. How’s it goin’?
CU: HOUSE MOM. She pointedly refuses to answer Lee at all.
LEE
...Sorry about the ruckus.
HOUSE MOM
Patrick, how’s your dad?
PATRICK
He’s fine.
Genres:
["Drama"]
Ratings
Scene
15 -
Remnants of Laughter
EXT. JOE’S HOUSE. NIGHT.
The car stops in front of the GARAGE of a small well-kept old
clapboard house with lots of bare trees and shrubs around.
PATRICK
You gotta hit the bleeper.
LEE
I don’t have the bleeper.
PATRICK
I’ll do it. There’s a code.
Patrick gets out and goes to open the garage door manually.
INT. JOE’S HOUSE. NIGHT.
Lee and Patrick come in and turn on the lights. The house is
just as it was that morning. The Boston Globe sports section
is spread on the sofa. One of Joe’s plaid shirts is draped
over the back of the chair.
PATRICK
Is it OK if some of my friends come
over? I told ‘em I would call ‘em.
LEE
Go ahead.
PATRICK
Can we get some pizza? There’s
nothing to eat here.
LEE
Yeah. Sure. (Takes out his iPhone)
What kind do you want?
PATRICK
Any kind is fine. Thank you.
Lee takes out his phone. Patrick starts to text his friends.
INT. JOE’S HOUSE -- LIVING ROOM. NIGHT.
Patrick, Joel and CJ and SILVIE, who seems to be Patrick’s
girlfriend, are all sitting around in the living room. They
are a bit awkward but well-meaning -- except Silvie, who is
over-relaxed and too touchy-feely with Patrick.
SILVIE
At least he didn’t suffer. It’s
worse for the family, but it’s
better for the person.
CJ
Well, he was a fuckin’ great guy,
Patrick, I’ll tell you that.
JOEL
That’s for sure.
CJ
I remember one time he took us all
out in the boat? Like in sixth
grade?
JOEL CJ (CONT'D)
I remember that. And he made us wear life
preservers? And I was like,
“What’s the difference, Mr
Chandler? Boat sinks in this
I remember. And he says -- weather we’re dead anyway.”
And he says “The life
jacket’s to make it easier on
the sharks when you go over.”
The boys laugh.
PATRICK
Yeah, he really liked those shark
jokes.
JOEL
He was funny, boy.
SILVIE
Yeah, but he was gentle too, you
know? (Strokes Patrick’s hair) Like
his son.
This piece of sentimentality embarrasses everyone but Silvie.
Genres:
["Drama","Family"]
Ratings
Scene
16 -
Star Trek Debates and Awkward Conversations
INT. JOE’S KITCHEN. SIMULTANEOUS.
Lee is at the table, halfway through a piece of pizza and a
beer. He finishes the beer, gets another and heads into --
INT. JOE’S LIVING ROOM. CONTINUOUS.
Lee moves through the room toward the staircase.
CJ JOEL
And there’s this former Star Trek sucks.
starship captain -- this
former starship captain, shut Star Trek sucks my ass.
up --
SILVIE CJ
How you doin’, baby? Star Trek is one of the
pillars of modern
PATRICK entertainment.
OK.
JOEL
One of the pillars of modern
entertainment is retarded.
CJ (CONT'D) JOEL
No it’s not! Ask Patrick! Ask Read my lips. Star Trek is
him! Moron! retarded. It’s retarded.
SILVIE
I can’t believe we’re talking about
Star Trek right now!!
This effectively kills the conversation. She goes back to
stroking his hair. LEE keeps going up the stairs.
PATRICK
I like Star Trek...
INT. JOE’S ROOM. NIGHT.
Lee snaps on the lights and comes in. The room is tidy except
for a few items: A coffee mug, an open book on the floor by
the bed. Lee opens the bottom dresser drawer and takes out a
pair of Joe’s neatly folded pajamas.
INT. GUEST/LEE’S ROOM. NIGHT.
Lee lies on top of the bed, wearing Joe’s pajamas, drinking
beer and watching television. Patrick knocks and comes in.
PATRICK
Hey, Uncle Lee? Is it OK if Silvie
sleeps over? Dad always let her.
LEE
Then what are you asking me for?
PATRICK
No reason. Thanks.(Pause) So -- Not
that it would come up, but her
parents think she stays downstairs
when she stays over? So if it comes
up for some reason, can you just
say she stayed in the downstairs
room?
LEE
I don’t even know them.
PATRICK
Yes you do. It’s the McGanns. Frank
and Pat McGann.
LEE
That’s Silvie McGann?
PATRICK
Yeah. So do you mind sayin’ she
stayed downstairs? Like if they
call or something?
LEE
OK.
Patrick hesitates.
LEE (CONT'D)
Am I supposed to tell you to use a
condom?
PATRICK
No...I mean -- Unless you really
feel like it.
LEE
Is that what Joe would say?
PATRICK
No. I mean, yes. I mean, we’ve had
“The Discussion” and everything.
LEE
OK.
PATRICK
Just lemme know if we’re makin’ too
much noise.
LEE
OK.
PATRICK
Hey. Do you think I should call my
mom? To tell her about Dad?
LEE
(Tenses)
I wouldn’t, Patty. I don’t think
anybody even knows where she is...
PATRICK
All right. I was just curious what
you thought. Anyway...Good night,
Uncle Lee.
LEE
Good night.
Patrick surprises Lee by going to him and giving him an
awkward hug. Patrick heads for the door.
INT. GUEST/LEE’S ROOM. NIGHT.
Lee lies on the bed.
SIX YEARS AGO --
Genres:
["Drama","Family"]
Ratings
Scene
17 -
Chaos at Dusk
INT. JOE & ELISE’S HOUSE. SUMMER -- DUSK.
The room is DARK except for the TV. Two little DOGS start
BARKING. JOE, 9-YEAR-OLD PATRICK and LEE come in the house.
They are muddy and dusty from playing softball. They drop the
softball gear, start taking off their muddy sneakers, etc.
JOE
-- and now you’re gonna sulk all
night because you dropped the
goddamn ball?
9-YEAR-OLD PATRICK LEE (To JOE)
I’m not sulking. Why don’t you stop already?
You wanna stop?
JOE (To Lee)
Shut up! (To Patrick) If you
would use a goddamn baseball Why don’t you kill him?
mitt you wouldn’t drop the I think you should kill him.
fuckin’ ball.
9-YEAR-OLD PATRICK
Shaddup, shaddUP, you stupid I don't need a baseball mitt.
dogs! ELISE! I catch better without one!
Joe flicks on the LIGHTS. The small living room is trashed.
JOE
Ah, shit.
9-YEAR-OLD PATRICK
Dad! No cursing!
ELISE is PASSED OUT on the SOFA, her short nightie scrunched
up underneath her. She's got no underwear on, so the men and
9-Year-Old Patrick can see everything. There's a half-empty
bottle and a glass of liquor on the coffee table. Cigarette
butts spill over the ashtray. Joe takes immediate control.
JOE
Lee, you wanna take Patty upstairs
and get him washed up? Go on up,
Patty. Everything’s OK.
LEE
Come on, buddy.
POV LEE as he takes Patrick upstairs: Joe pulls down Elise’s
nightie. Looks at his shoe. There’s a little dog shit on it.
JOE
Oh, come on.
POV LEE as Joe sees that the dogs have peed and crapped all
over the floor -- a whole day’s worth.
THE PRESENT --
INT. GUEST/LEE’S ROOM. NIGHT.
Lee is lying in bed. He switches off the light. We can hear
the ocean outside.
INT. PATRICK’S ROOM. SIMULTANEOUS.
SILVIE is asleep on Patrick’s single bed. PATRICK is at his
desk typing on his laptop. We see what he is TYPING:
“Dear Mom --”
EXT. JOE’S HOUSE. DAY.
A clear cold day. The house has a nice view of the town.
Genres:
["Drama"]
Ratings
Scene
18 -
Morning Conversations: Navigating Grief
INT. KITCHEN. DAY.
Lee is dressed and seated at the table with a cup of coffee,
talking on his iPhone.
LEE
(On the phone)
Beverly, Massachusetts ...
Gallagher Funeral Home please ...
SILVIE comes through the kitchen door, dressed, very
comfortable in the house.
SILVIE
Morning.
LEE
Hello.
Over the following she gets some juice and yogurt out of the
fridge, some herbal tea, and puts on the kettle, while Lee
watches her. Patrick enters, gets some cold cereal.
LATER -- They are all at the table. Lee is still on the
phone.
PATRICK
Pass the milk please.
LEE
So but, I don't know what I gotta
do to get his body from the
hospital to your place, but they
said ... Oh, OK...
SILVIE
Excuse me, Mr Chandler? I don’t
think Patrick needs to be here for
this.
PATRICK
That’s all right.
Lee gets up and goes out. Silvie puts a hand on Patrick’s
hand. We can hear LEE’S VOICE from the other room.
LEE (O.S.)
So why is it more to drive his body
to Manchester? ‘Cause you gotta
take the highway for seven minutes?
What do you charge if the hearse
takes 127?
SILVIE
Jesus. Like that’s his focus?
PATRICK
He’s alright.
Genres:
["Drama"]
Ratings
Scene
19 -
Navigating Grief
EXT. MANCHESTER ESSEX REGIONAL HIGH SCHOOL -- HALL. DAY.
Lee’s car stops in front of the school gate. Patrick and
Silvie climb out from the back.
PATRICK SILVIE
Thanks, Uncle Lee. Thanks a lot, Mr Chandler.
He watches them walk toward the school, joining a general
swarm of kids funneling to the school entrance.
INT. SCHOOL. DAY.
Patrick walks thru the halls. Various kids greet him with
expressions of sympathy.
KID’S VOICE
Hey, Patrick. Sorry to hear about
your dad, man.
PATRICK
Oh -- Thanks, man. Thank you.
He presses thru. Other kids stop him with condolences.
INT. ATHLETIC DEPARTMENT OFFICE. DAY.
HOCKEY COACH Mr. Howard is seated. Patrick stands.
HOCKEY COACH
We’re gonna forget about the
language. We’re gonna forget about
the fists. But I want you to take a
few days offa practice. I don’t
want you on the ice. You got enough
on your mind.
PATRICK
That’s OK, Mr Howard. To tell you
the truth, I could use the
distraction --
HOCKEY COACH
The ice is not a distraction. When
you’re on the ice, you gotta be
there. Take the week and we’ll
talk. And listen: I lost my dad
right about your age. So I know
what you’re goin’ through. So if
you wanna come in and talk, or you
just want somebody to spill your
guts to -- or you just wanna throw
the bull around, door’s open.
Genres:
["Drama","Family","Coming of Age"]
Ratings
Scene
20 -
A Drive to Remember
INT./EXT. LEE’S CAR/MANCHESTER ESSEX HIGH SCHOOL. DAY.
Lee picks Patrick up from school and they drive away.
INT. LEE’S CAR (MOVING) DAY.
They drive through town.
PATRICK
You mind if I put some music on?
LEE
No.
Patrick turns the radio to some pop-rock station.
PATRICK
You like these guys? The lead
guitar is weak but otherwise
they’re pretty good.
LEE
They all sound the same to me.
PATRICK
Where we going?
LEE
To see the lawyer.
PATRICK
What for?
LEE
We gotta read your father’s will.
PATRICK
Can’t you just drop me at home and
tell me what it says in it?
LEE
Well, yeah -- except we’re there.
They are approaching the Manchester’s tiny business district.
EXT. STREET -- LAWYER’S OFFICE. DAY.
They walk toward the little two story office building.
PATRICK
Who do you think he left the boat
to?
LEE
I’m sure he left you everything.
As they go up the OUTDOOR STAIRWAY to the 2nd story office,
We hear the SOUND of a PING-PONG game: Ka-POP, ka-POP, plus
other growing sounds of voices and music. They take us to --
FIVE YEARS AGO --
INT. LEE & RANDI’S HOUSE -- BASEMENT DEN. NIGHT.
LEE is playing PING-PONG with TOM DOHERTY -- the CAR DAD. A
bunch of his friends are drinking and making noise. Loud
music. We spot JOE and GEORGE. Lee SLAMS the BALL.
LEE
Eat my fuckin’ forehand, Tommy!
TOM LEE (CONT'D)
Once! That was once! He punts I got it workin’ now. Just
the ball sixteen times and keep away from this quadrant
now he’s Superman. and you won’t go home in
tears.
RANDI appears at the top of the basement stairs in a
bathrobe. Everybody looks up at her, like little boys.
RANDI
Would you keep it down, you fuckin’
morons? My kids are sleepin’.
LEE
I’m sorry, honey. (To the guys) I
told you guys to keep it down.
RANDI THE GUYS
Lee, you wanna get these Yeah, Sorry, Ran/ I told you
fuckin’ pinheads outta my guys to keep it down.
house please?
Randi leaves.
LEE
She can’t talk that way to us.
TOM
Yeah. We’re not pinheads.
EVERYBODY LAUGHS. Randi immediately appears again, furious.
RANDI
Hey! I’m not fuckin’ around! It’s
two o’clock in the fuckin’ mornin’!
Get these fuckin’ assholes dressed
and get ‘em the fuck outta here.
THE PRESENT --
Genres:
["Drama","Family","Comedy"]
Ratings
Scene
21 -
Unexpected Guardianship
INT. LAWYER’S OFFICE -- WAITING ROOM. DAY.
Patrick sits, texting. An ASSISTANT types at her computer.
INT. LAWYER’S OFFICE. DAY -- SIMULTANEOUSLY.
WES, 40s, sits behind his desk across from LEE. Each holds a
copy of Joe’s will.
LEE
I don’t understand.
WES
What -- part are you having trouble
with...?
LEE (On “trouble”)
I can’t be Patrick’s guardian.
WES
I understand it’s a serious
responsibility --
LEE
No -- I mean -- I mean, I can’t --
WES
Well -- Naturally I assumed that
Joe had discussed this with you --
LEE
No. He didn’t. No.
WES
Well...I must say I’m somewhat
taken aback --
LEE
He can’t live with me:
LEE (CONT’D) WES
I live in one room. But if you look -- Now, well,
if you look, you’ll see Joe
provided for Patrick’s
upkeep: Clothes, food, et
cetera...The house and boat
are owned outright...
LEE
I don’t see how I could be his
guardian.
WES
Well, those were your brother’s
wishes.
LEE
Yeah but I can’t commute from
Boston every day until he turns
eighteen.
WES
I think the idea was that you would
relocate.
LEE WES (CONT'D)
Relocate? Where? Here? If you look at --
WES (CONT’D)
Well, yes. As you can see, your
brother worked everything out
extremely carefully.
LEE WES (CONT'D)
But -- He can’t have meant And if you -- Well, you can
that. see he’s allowed up to five
thousand dollars to help you
with the move. There's a
small amount set aside for
you to draw from, as personal
income while you settle in --
assuming of course that you
accept...
LEE
What about Uncle Donny and Teresa?
WES
Well, they did come up. But Joe
didn’t feel that Patrick really had
any special relationship or feeling
about them --
LEE WES (CONT'D)
I don't understand. And now, I think you know
they've moved out to
Minnesota. Wisconsin, I believe..
Minnetonka, Minnesota. Minnesota, that's right.
So...
Wes watches as Lee flips through the 3-page will as if
there's something he may have missed. After a moment:
WES (CONT'D)
It was my impression you’ve spent a
lot of time here over the years...
LEE
Just as backup. I came up to stay
with Patty whenever Joe was in the
hospital, after my dad couldn’t do
it. We -- It was supposed to be my
Uncle Donny. I was just the backup.
WES
Well...I can only repeat, I’m
astonished that Joe never ran all
this by you, thorough as he was.
LEE
Yeah, because he knew what I would
say if he would have asked.
FIVE YEARS AGO (CONT’D)--
Lee stands outside waving and shouting goodbyes to the CARS
DRIVING AWAY. His friends respond with car horns and
apologies. Randi stands inside, wrapped in a bathrobe.
LEE (CONT’D) THE GUYS
See Jupiter? Good night! Keep Good night, Lee! Tell Randi
your eyes on the road! You we’re sorry! We’re so sorry!
see Jupiter? Keep your eyes Good night, etc.
on the road! Good night
Tommy! Good night Joe! Sorry
again! (To the Guys) See the
North Star? There's the North
Star, right there!
TOM (O.C)
Where?
LEE
It’s due north...!
A MOMENT LATER -- Lee shuts the front door, shivering in his
shirt sleeves. He tries to kiss Randi. She turns her head.
LEE (CONT’D)
I’ll clean up in the morning, baby.
RANDI
You see Jupiter you fucking
asshole?
He laughs.
LEE
Come on...
She lets him kiss her, then she goes off toward their
bedroom. Lee shivers and rubs his arms.
Genres:
["Drama"]
Ratings
Scene
22 -
Guardianship Concerns
INT. LAWYER’S OFFICE. DAY -- SIMULTANEOUS.
Lee is still staring at the will.
WES
Lee...
FIVE YEARS AGO (CONT’D) --
EXT. MANCHESTER STREET -- MINI-MART. NIGHT.
Cheerfully drunk, LEE walks along the crunchy snow-covered
sidewalk and into a mini-mart. It’s a very cold clear night.
THE PRESENT --
INT. LAWYER’S WAITING ROOM. DAY.
Patrick is still texting away in the armchair.
WES’S ASSISTANT
Patrick? Can I get you a soda or
anything?
PATRICK
No thank you.
FIVE YEARS AGO (CONT’D) --
EXT. MINI-MART. NIGHT.
THROUGH THE WINDOW we see the clerk bag two six-packs, milk,
and some Pampers for LEE. Lee comes out of the store. He has
some drunken trouble zipping his parka as he heads home. He
doesn’t notice the orange-red GLOW in the sky ahead.
THE PRESENT --
INT. LAWYER’S OFFICE. DAY.
WES
Lee...Nobody can appreciate what
you’ve been through...If I can say
that. And if you really don’t feel
you can take this on, that’s your
right, obviously --
LEE
But who would get him?
WES
The probate court would appoint a
guardian in your place.
LEE
Like who?
LEE (CONT’D) WES
My Uncle Donny? I don’t know -- No -- Not
necessarily. Especially, now
with the distance.
LEE
Who else would there be?
WES
Well...I don’t know what’s
happening with Patrick’s mother --
LEE WES (CONT'D)
No. No. I’m not sure where she is, or
what her condition is -- But
you can bet the judge would
certainly look into it.
LEE
...No...Can’t do that.
FIVE YEARS AGO (CONT’D) --
Genres:
["Drama"]
Ratings
Scene
23 -
Echoes of Loss
EXT. LEE’S STREET. NIGHT.
Lee slows as he nears the turn to his street. He is looking
at the FIERY SKY and FLASHING LIGHTS. He starts to run --
THE PRESENT --
INT. LAWYER’S OFFICE. DAY.
Lee sits staring out Wes’ window at the harbor.
WES
There is Patrick to be considered.
FIVE YEARS AGO (CONT’D) --
EXT. LEE & RANDI’S HOUSE. NIGHT.
The little HOUSE is COMPLETELY ON FIRE. Fire trucks and
FIREMEN are pumping water into the blinding SMOKE. There is
also an ambulance and police cars. TWO POLICEMEN are trying
to control RANDI. She’s in a nightgown smeared with smoke and
water. She thrashes violently to shake them off so she can
run into the flaming house. She is completely hysterical.
RANDI
Let me go! Get your hands off me!
Let go of me! Somebody go in there!
Let me go! Get them outta there!
We PAN the faces of a clutch of neighbors looking on,
mortified, until we land on LEE staring at the blazing house.
He still holds the paper bag from the mini-mart.
DISSOLVE TO:
EXT. LEE’S HOUSE. DAWN.
The sky is getting light. The fire is out. The smoking house
is burnt to nothing. The neighbors have been pushed back by
the police and firemen.
Two EMS workers are putting Randi into the ambulance. She's
on a stretcher and wears an oxygen mask. She is half
conscious.
TWO POLICEMEN are questioning LEE. He’s still holding the
grocery bag. JOE is standing next to him now hastily stuffed
into his winter coat. He grips Lee’s arm with a gloved hand.
The ambulance with Randi in it drives away. LEE looks past
the policemen as EMS WORKERS approach the next ambulance.
They are bringing and loading THREE COVERED STRETCHERS
bearing THREE LITTLE BODIES into the ambulance as Lee
watches. In the last stretcher the smoke-blackened ELBOW of a
LITTLE GIRL sticks out a little from under the blanket. An
EMS Worker quickly pushes it under again.
They put the stretchers in the ambulance and shut the doors.
Without moving Lee starts crying hopelessly. The two cops
stop trying to talk to him. Joe holds Lee’s arm throughout.
THE PRESENT --
INT. LAWYER’S OFFICE. DAY.
Lee looks from the will to the view out the window.
WES LEE
Look -- Lee -- Thanks, Wes. I’ll, uh, I’ll
be in touch.
Lee gets up abruptly and heads for the door.
FIVE YEARS AGO (CONT’D) --
EXT. MACHESTER POLICE STATION. DAY.
PUSH IN ON a weatherbeaten old building backed by the marina.
INT. MANCHESTER POLICE STATION -- MAIN OFFICE. DAY.
JOE and STAN wait for Lee at one end of the office with a few
desks and six or seven police officers going about their
business.
Genres:
["Drama","Family"]
Ratings
Scene
24 -
Descent into Despair
INT. POLICE STATION -- INTERVIEW ROOM. DAY.
SLOW PUSH IN ON LEE at a table, facing a POLICE DETECTIVE, a
UNIFORMED POLICEMAN, and the STATE FIRE MARSHALL.
LEE
You know. We were partyin’ pretty
hard.
(MORE)
LEE (CONT'D)
Beer, and somebody was passin’
around a joint. Somebody else had
some cocaine.
1ST DETECTIVE
Cocaine?
LEE
Yes.
1ST DETECTIVE
OK. Go on.
LEE
Anyway, our bedroom’s in the
downstairs. The girls sleep
upstairs. So Randi makes everybody
leave around two o’clock, maybe
three AM, and she went back to bed.
So everybody leaves, and I go
inside. And it’s really cold
inside, so I go check on the girls,
and it’s fuckin’ freezing up there.
We sleep downstairs. The girls
sleep in the upstairs. But Randi
doesn’t like the central heat
because it dries her out her
sinuses, and she gets these
headaches. So I went downstairs and
built a fire in the fireplace, and
I sit down to watch TV, except
there’s no more beer. And I’m still
jumpin’ like a jackrabbit. So I put
a couple big logs on the fire so
the house would warm up when I was
gone, and I went to the mini-
mart...It’s about a fifteen minute
walk both ways. But I didn’t wanna
drive cause I was really wasted.
And I’m halfway there, and I
remember I didn’t put the screen
back on the fireplace. But I figure
it’s probably OK. So I kept going
to the store. And that’s it. One of
the logs musta rolled out on the
floor when I was gone. The girls
were all upstairs... And that’s it.
The firemen got Randi out. She was
passed out downstairs. And then
they said the furnace blew, and
they couldn’t go inside again. And
that’s all I remember.
Pause.
1ST DETECTIVE
OK, Lee. That’s all for now. We’ll
call you if anything else comes up
we want to ask you about.
FIRE MARSHALL
Assumin’ the forensics bear you
out...which I’m assumin’ that they
will...
LEE
What do you mean? That’s it?
FIRE MARSHALL
Look, Lee: You made a horrible
mistake. Like a million other
people did last night. But we don’t
wanna crucify you. It’s not a crime
to leave the screen off the
fireplace.
LEE
So...What? I can go?
FIRE MARSHALL
Unless somethin’ else comes up that
we don’t know about already, yeah.
1ST DETECTIVE
You got a ride back home?
LEE
Yeah.
90 INT. POLICE STATION -- MAIN ROOM. DAY -- CONTINUOUS. 90
Lee comes out of a room opposite, followed by the Detective
and Fire Marshall. He makes his way past the desks. Suddenly
he GRABS a YOUNG COP from behind, pulls the GUN out of his
holster and shoves him away. SHOUTS and GUNS come out
everywhere. LEE puts the GUN to his own HEAD and pulls the
trigger, but the SAFETY CATCH is ON. JOE is across the room
in a bound.
JOE
Don’t shoot! Don’t shoot!
LEE fumbles with the safety catch -- TWO COPS take him DOWN
and grab the gun. He doesn't resist at all. JOE joins the
fray. STAN staggers and reaches for the wall behind him.
THE PRESENT --
INT. LAWYER’S WAITING ROOM. DAY.
LEE comes out of the lawyer’s office. Patrick gets up.
LEE
Alright. Let’s go.
PATRICK
Where to, the orphanage?
LEE
Shut up.
PATRICK
What the hell did I do?
LEE
Just be quiet.
Lee heads for the exit. Patrick follows him out.
Genres:
["Drama","Crime"]
Ratings
Scene
25 -
Turbulent Waters
EXT. OFFICE BUILDING. DAY.
Lee and Patrick come out of the building, Lee first. They
walk to the car. He digs out his keys.
LEE
All right. We got a lot to do.
PATRICK
What about the boat?
LEE
We gotta talk to George about it.
There’s no point hangin’ onto it if
no one’s gonna use it --
PATRICK
I’m gonna use it.
LEE
It’s gotta be maintained --
PATRICK LEE (CONT'D)
I’m maintaining it. ...we gotta change the rental
I’m gonna maintain it. of the boat yard from Joe to
me -- No, you can’t maintain
it by yourself --
PATRICK
Why not?
PATRICK (CONT’D) LEE
It’s my boat now, isn’t it? Because you’re a minor. You
can’t take it out alone. Yeah
-- But I’m the trustee. I
gotta make the payments, keep
What does “trustee” mean? up with the inspections --
It means I’m in charge of
handling everything for you
Does that mean you’re allowed until you turn eighteen --
to sell it if I don’t want
you to? I don’t know. But I’d
definitely consider it --
PATRICK
No fuckin’ way!
LEE
Don’t be so goddamn sure of
yourself! There’s nobody to run it!
You’re sixteen years old!
PATRICK
Yeah! I can get my licence this
year!
LEE
So what? You’re still a minor! You
can’t run a commercial vessel by
yourself!
PATRICK LEE (CONT'D)
Why can’t I run the boat with Meanwhile it’s a big fuckin’
George? expense and I’m the one
that’s gonna have to manage
it and I’m not even gonna be
here!
PATRICK
Who gives a fuck where you are?
LEE
Patty, I swear to God I'm gonna
knock your fuckin’ block off!
A BUSINESSMAN in a winter coat calls from across the street.
MANCHESTER BUSINESSMAN
Great parenting.
LEE
Mind your own fuckin’ business!
PATRICK
Uncle Lee!
LEE MANCHESTER BUSINESMAN
Mind your own business! Shut No no, that’s good parenting.
the fuck up or I’ll fuckin’
shut you up, I swear to God -- Smash him in the face. Smash
him in the face. That’ll show
I'm gonnna smash you in the him.
fuckin’ face if you don't
take a walk! Mind your PATRICK
fuckin’ business! It's OK, Mister. Thank you!
It's OK! Uncle LEE! Are you
fundamentally unsound?
LEE
Get in the fuckin’ car!
Lee fumbles the keys and they fly out of his hands.
PATRICK
I can’t obey your orders until you
unlock the door.
LEE
Just shut up.
Genres:
["Drama"]
Ratings
Scene
26 -
Navigating Uncertainty
EXT. MANCHESTER -- MARINA. DAY -- PRESENT.
Lee and Patrick walk along the marina.
EXT/INT. MARINA -- JOE’S BOAT. DAY.
Lee and Patrick and GEORGE are looking at JOE’S BOAT. Lee and
Patrick are not dressed warmly enough.
GEORGE
It’s not like the motor’s gonna die
tomorrow, but Joe said it’s been
breakin’ down like a son of a bitch.
PATRICK LEE
Yeah, but we were gonna take See -- There’s an allotment
a look this weekend -- of some kind -- but things
are up in the air a little
bit, so --
GEORGE
No, I can take care of it as far as
general maintenance is concerned...
PATRICK GEORGE (CONT'D)
I’m takin’ care of it. But that motor’s gonna go at
some point...
LEE
There’s no allotment for a new
motor. Unless you wanna buy it,
George...
PATRICK
Wait a second. I’m not sellin’ it --
LEE
Anyway, we’re gonna be in Boston.
PATRICK
What? Since when am I supposed to
be in Boston?
Pause.
GEORGE
Well -- Whatever you decide...
GEORGE (CONT’D) LEE
But it's gonna bleed you dry It’s not all worked out yet.
just sittin’ here... (To Patrick) Just take it
easy! We don’t know what
we’re doin’ yet.
GEORGE
Well...you know he can always stay
with us, if he wants to come up
weekends.
LEE
You wanna be his guardian?
George is taken aback, embarrassed.
PATRICK GEORGE
He doesn’t wanna be my Well -- we already got a
guardian, for Christ’s houseful...We’re tryin’ to
sakes...! They got five kids lose some kids at this
already. Have you seen his point...
house?
LEE GEORGE (CONT'D)
No -- we're just working out Yeah, we're jammed in there
logistics...So, I didn't pretty good. But we've always
know. got a sofa for him any time
he wants. He knows that. (To
PATRICK Patrick) Right?
Jesus Christ, you wanna stop?
George. George. It’s OK. He’s welcome any time...
Really. You don’t have to say
that. I know that.
Genres:
["Drama"]
Ratings
Scene
27 -
Confrontation at the Wharf
EXT. MARINA/WHARF. DAY.
Lee and Patrick walk back along the wharf toward the street
and the car.
PATRICK
Are you brain-damaged? You can't
just ask people that...! You don't
wanna be my guardian, that's fine
with me.
LEE
It's not that. It's just the
logistics. I just gotta work it
out. I swear.
PATRICK
How? By sendin’ me to Wonkatonka
Minnesota with Uncle Donny?
LEE
Minnetonka!
PATRICK LEE (CONT'D)
OK, Minnetonka. Minnetonka Minnetonka Minnesota. Not
Minnesota. Same difference! Wonkatonka Minnesota.
PATRICK
What about my mother?
Lee stops walking, then starts again.
LEE
The judge wouldn't let her. Anyway,
no one knows where she is.
PATRICK
I do. She's in Connecticut. At
least she was last year.
Lee stops walking again.
LEE
Since when do you know that?
PATRICK
She emailed me last year. So I
emailed her back. You know, email?
LEE
Did your father know you were in
touch with her?
PATRICK
Are you kiddin’? (Pause) Could we
walk? I'm freezin’.
They start walking again.
LEE
All I can tell you is --
PATRICK
I know, I know, she's a drunk,
she's insane, she let the dogs shit
on the floor.
LEE
-- it’s the last thing your
dad ever woulda wanted.
PATRICK
Oh, like you suddenly care what he
woulda wanted?
LEE
Aw, fuck everything.
INT./EXT. LEE’S CAR(MOVING) NEAR THE MARINA. DAY.
Lee and Patrick are driving away from the marina.
PATRICK
Where to now?
LEE
The funeral parlor.
PATRICK
Great.
INT./EXT. LEE’S CAR(MOVING) MANCHESTER OUTSKIRTS. DAY
Patrick notices they are now heading out of town.
PATRICK
Whoa, whoa, where’re we goin’?
LEE
It’s in Beverly.
PATRICK
There’s no funeral homes in
Manchester?
LEE
No. (Pause) The cemetery's here...
PATRICK
Well, can you let me out? I'll just
walk home.
LEE
Let’s just get this done.
PATRICK
You wanna warn me if there's any
other Surprise Death Errands we
gotta run? Or is this gonna be it
for today?
LEE
Yes. Sorry. This is it.
Genres:
["Drama"]
Ratings
Scene
28 -
Cold Comfort
EXT. BEVERLY. DAY.
They drive through Beverly, a big coastal town of 40,000.
INT. GALLAGHER’S FUNERAL HOME. DUSK.
Patrick looks around while Lee talks to the Funeral Director.
EXT. GALLAGHER’S FUNERAL HOME. DUSK.
Lee and Patrick walk away. The wind is punishing.
PATRICK
What is with that guy and the big
Serious and Somber Act?
LEE
I don't know.
PATRICK
But seriously, does he not realize
that people know he does this every
single day?
LEE
I don't know. Who cares? (Stops) I
think I parked the other way.
Sorry.
They reverse direction and start walking into the wind.
PATRICK
Why can't we bury him?
LEE
It's too cold. The ground’s too
hard. They’ll bury him in the
spring.
PATRICK
So what do they do with him til
then?
LEE
They put him in a freezer.
PATRICK
Are you serious?
LEE
Yeah. That's what they do with
them. They put ‘em in a big freezer
until the ground thaws out.
PATRICK
That really freaks me out.
LEE
It doesn’t matter. It isn't him.
It's just his body. Where’d I park
the car?
PATRICK
What about one of those mini-steam
shovels?
LEE
What?
PATRICK
I once saw one of those mini-steam
shovels one time in a graveyard in
New Haven. It dug a perfect little
hole in about two seconds.
LEE
I don’t...really know how you would
get ahold of one. Or how much it
would cost --
PATRICK
Why can't we just look into it?
LEE
Anyway, I’m pretty sure you can’t
use heavy equipment in the Historic
Rosedale Cemetery.
PATRICK
Why not?
LEE
Because there’s a lot of important
people buried there, and their
descendants don’t want a steam
shovel vibratin’ over their dead
bodies. How do I know?
PATRICK
Why can't we bury him someplace
else?
LEE
That’s where he bought a plot.
Don’t ask me why. But if you wanna
find someplace else to bury him,
and find out how much it costs, and
change all the arrangements with
the mortician and the cemetery, and
call up Sacred Heart and talk to
Father Martin, and change the
arrangements for the funeral
service, be my guest. Otherwise
let's just leave it. OK?
They turn onto a SIDE STREET. The wind picks up brutally.
PATRICK
I just don't like him bein’ in a
freezer.
LEE
Oh come on! Where’s the goddamn
car?
PATRICK
I don’t know, but I wish you’d
figure it out because I’m freezin’
my ass off.
LEE
Don’t you have a normal winter
coat?
PATRICK LEE (CONT'D)
Yes. Why don’t you have gloves
with fingers on them?
Another gust of wind blows right through them.
PATRICK LEE (CONT'D)
Jesus Christ! God damn it!
LEE (CONT’D)
Oh where the fuck did I park the
fucking car?
Genres:
["Drama"]
Ratings
Scene
29 -
Cold Comfort
EXT./INT. BEVERLY STREET/LEE’S CAR. DUSK.
They see the car on a long sloping street and run to it. They
get in and slam the doors. Lee turns on the engine.
LEE
God damn it’s cold!
PATRICK
Why? What’s the matter with your
winter jacket?
LEE PATRICK (CONT'D)
Seriously, Patty --? Just turn the heat on!
It's on already!
Well turn it up a little!
It's all the way up! It takes It’s blowin’ fuckin’ freezin’
a minute to warm up, so just air on me.
relax, OK?
What year did you buy this
thing? 1928? Where’s the
Just be quiet. horse that goes with this
fuckin’ car? Maybe he could
breathe on us.
LEE
Patty, I swear to God --
PATRICK
I know. Why don’t we just keep my
dad in here for the next three
months? We could save a fuckin’
fortune.
LEE
Would you shut up about that
freezer please? You want me to have
a nervous breakdown because there's
undertakers and a funeral?
LEE (CONT’D) PATRICK
-- Who cares? No...I don’t!
Lee holds his hand over the vent.
LEE
‘K, it’s gettin’ warmer.
PATRICK
I got band practice. Can you drive
me home so I can get my stuff and
then take me over to my
girlfriend’s house?
LEE
Sure.
Genres:
["Drama","Comedy"]
Ratings
Scene
30 -
Secrets and Strings
EXT. MANCHESTER. SANDY’S HOUSE. DUSK.
Lee pulls up in front of a small ranch house with a big front
yard. Patrick twists around to gets his stuff from the back.
LEE
This is the same girl as who was
over at the house?
PATRICK
No. That was Silvie. This is Sandy.
But they don't know about each
other. So please don't say anything
in case it comes up.
LEE
I won’t. (Pause) Do you actually
have sex with these girls?
PATRICK
We don't just play computer games.
LEE
With both of them?
PATRICK
Well with Sandy's mom here it's
sort of strictly just basement
business.
LEE
What does that mean?
PATRICK
It means I'm workin' on it.
Patrick grabs his electric guitar and mini-amp from the back
seat. Lee watches him run across the lawn to the house.
INT. JOE’S HOUSE. NIGHT.
Lee comes in and snaps on the lights.
INT. KITCHEN. NIGHT.
Lee puts a slice of cold pizza in the microwave.
Genres:
["Drama","Coming-of-age"]
Ratings
Scene
31 -
Rehearsal Resilience
INT. SANDY’S HOUSE -- BASEMENT. NIGHT.
PATRICK’S ROCK BAND is practicing in the basement. SANDY, 17,
brighter, wilder and more original than Silvie, sings lead
vocals. PATRICK plays rhythm guitar, CJ plays lead, JOEL
plays bass, a kid named OTTO plays drums. The boys sing
backup. The name on the big drum is “STENTORIAN.” They are
playing an original composition.
SANDY
(Singing)
“I gotta RUN! I gotta RUN, I, I, I,
I, I, I, I gotta run --”
THE WHOLE BAND
“-- I gotta run, I gotta run, I
gotta run.”
PATRICK
Stop. Stop. Otto man, what are you
doing?
OTTO
What did I do?
PATRICK
You're way behind, man.
OTTO
No, I'm not.
JOEL CJ
You're a little behind, Otto. Otto, you’re kind of draggin’
it...
PATRICK
You gotta stay with the bass.
JOEL
Come on man, just stay with me, all
right?
OTTO
All right, I'm sorry.
CJ
It's all right! You're alright.
Let’s just take it again. Otto, you
good?
OTTO
Yeah.
They get ready to take it again. Patrick leans into his
microphone.
PATRICK
We are Stentorian.
They start playing again.
Genres:
["Drama","Music"]
Ratings
Scene
32 -
A Night of Solitude
EXT. SANDY’S HOUSE. NIGHT.
Lee’s car pulls up to the curb. Stentorian thuds through the
frozen earth. Sandy’s mom, JILL, comes out and crosses the
lawn. She is 40, pretty and pleasant, hair in a pony tail.
Lee rolls down the window.
JILL
Hi, are you Lee? I'm Jill. Sandy’s
mom. I think they’re wrapping up.
Do you wanna come inside and have a
beer or something?
LEE
Oh, that’s all right. Thank you.
JILL
I wanted to offer my condolences
about Joe. He was such a terrific
guy. There's not too many like him.
He was a wonderful father.
LEE
Thank you.
JILL
I was -- I was gonna ask Patrick if
he wants to stay for supper, if
that's OK with you. You wanna join
us? I made way too much...
LEE
Oh. That’s all right. Thank you.
What time should I come back?
JILL
Oh -- I don’t know. Nine? Nine-
thirty? They’re gonna do their
homework together. Supposedly. Ha
ha ha.
LEE
OK. I’ll come back at nine-thirty.
JILL
OK. You change your mind in the
next ten minutes, we’re right
inside.
LEE
OK. Thank you.
Jill hesitates, smiles, then runs back to the house. Lee
drives off.
Genres:
["Drama"]
Ratings
Scene
33 -
Awkward Encounters
INT. SANDY’S ROOM. NIGHT.
Patrick and Sandy are making out on her bed. Patrick’s hand
is halfway down the front of Sandy’s complicated jeans.
SANDY PATRICK
Hold on -- Hold on. Jesus Christ, I’m scrapin’
Just take your hand out. the skin off my knuckles. How
do you unbuckle this?
SANDY
Would you please take your hand
outta my cunt?
PATRICK
OK, OK! (Withdraws his hand) Ow!
Sandy wriggles out of her jeans.
PATRICK (CONT’D)
Oh, are we taking our pants off?
SANDY
I'm takin' my pants off. I don't
know what you're doing.
PATRICK
I'm takin' my pants off...
Patrick tries to take off his pants, but one leg bunches up
at his ankle. He kicks to get it off. She tries to help him.
SANDY
Come on! You gotta take your shoe
off...!
PATRICK
I’m tryin’!
O.C., Jill KNOCKS on the DOOR. The kids both scramble away
from each other and frantically start to dress.
JILL (O.C.)
Hey kids? Come on have some dinner!
PATRICK SANDY
OK, thanks Jill! We'll be Thanks, Mom! We’ll be right
down in just one second. down!
I just gotta log off...!
Would you shut up? She’s not
retarded.
PATRICK
Why are you pickin’ on me?
SANDY
I'm not pickin’ on you! You're
going to get me in trouble.
Genres:
["Drama","Comedy"]
Ratings
Scene
34 -
Family Dinner Dynamics
INT. JILL’S HOUSE -- LIVING ROOM. NIGHT.
Jill waits near the stairs. Patrick and Sandy come down.
JILL
How’s the math homework?
PATRICK
Very frustratin’.
JILL
Good.
PATRICK
Those algorithms are a bitch...
INT. JILL’S DINING AREA. NIGHT.
Jill, Sandy and Patrick eat spaghetti.
PATRICK
Mm. This is really delicious, Jill.
JILL
Thank you, Patrick.
SANDY
Yeah, Mom, really good.
PATRICK
Is this a homemade carbonara sauce?
SANDY
Jesus, shut up.
JILL
Oh -- no...
PATRICK
You could’ve fooled me.
SANDY
Jesus.
PATRICK
What?
SANDY
You're such a kiss-ass!
JILL
Sandy!
PATRICK
Why? Because I appreciate your
mother's cookin'?
Genres:
["Drama","Comedy"]
Ratings
Scene
35 -
Silent Connections
INT. LEE’S CAR (MOVING) NIGHT.
Lee drives Patrick home in silence. Then:
PATRICK LEE
Aren’t you gonna ask what I don’t want to know what
happpened? -- Guess not. happened.
INT. JOE’S LIVING ROOM. NIGHT.
Lee is on the sofa with his iPhone and a beer, watching a
Celtics game. A PHONE RINGS. He looks around, confused. Looks
at his cell. Finally he realizes Joe’s LAND LINE is ringing.
LEE
(Answering)
Hello?
RANDI
(Over the phone)
Hello...Lee? It’s Randi. (Pause)
Hello? Lee?
Pause.
LEE
Yeah. I’m here. Sorry. How are you?
RANDI
I’m OK. How are you?
LEE
Good.
RANDI
I was callin’ -- George told me
about Joe. I just wanted to call
and say I’m sorry. I hope you don’t
mind me callin’.
LEE
No. Thank you. I don’t mind...How
are you?
RANDI
Not so good, right now. I guess we
shoulda seen it comin’, but...it’s
still kinda hard to believe...
LEE
Yeah...
RANDI
How’s Patrick doin’? Beyond the
obvious, obviously...
LEE
He’s OK. It’s hard to tell with
kids.
RANDI LEE (CONT'D)
Yeah -- He doesn’t really open up
with me. I think he’s OK.
He’s got a lotta
Well, that’s good. friends...So...Yeah, it is...
RANDI
So, I don't know if you planned a
service yet, but I was also gonna
ask you if you wouldn't mind -- I'd
like to be there, if it's OK with
you.
LEE
Of course you can...
RANDI LEE (CONT'D)
OK. Thank you. It would mean That's fine. You should come.
a lot to me -- OK -- Thank I'll let you know when it's
you. gonna be.
RANDI
Thank you. (Pause) So, can I ask --
How are you?
LEE
I don’t know. How are you?
RANDI
You know. We're doin’ pretty well.
I should probably tell you -- I’m
gonna be -- I’m pregnant. Actually.
LEE
Oh yeah?
RANDI
Yeah. Like -- Ready to pop.
LEE RANDI (CONT'D)
Oh, I didn't know that. I didn’t know if I should
tell you, but --
LEE
No, it’s fine. Congratulations.
RANDI
Thank you. You would probably
deduce it for yourself when you see
me.
LEE
Yeah.
Lee is unable to stay on the phone any longer.
RANDI LEE (CONT'D)
So, are you still -- Actually, sorry -- I don’t
mean to cut you off. I just
gotta go pick up Patrick up
and I’m slightly late.
RANDI
That’s OK. I just wanted to make
sure it’s OK if me and Josh come to
the funeral.
LEE
It’s totally OK.
RANDI
OK. Thank you, Lee. God bless.
LEE
So long.
They hang up. Lee tries to keep a grip on himself.
Genres:
["Drama"]
Ratings
Scene
36 -
Disconnected Mourning
INT. PATRICK’S ROOM. NIGHT.
Patrick lies awake in the dark.
INT. LEE’S ROOM. NIGHT.
Lee lies on the bed watching a sports show and drinking beer.
EXT. MANCHESTER -- CHURCH OF THE SACRED HEART. DAY.
A beautiful day. A lot of people are filing into the church.
INT. CHURCH. DAY.
SLO-MO (MOS). People are greeting PATRICK. LEE stands to one
side. Some people greet him, some do not, some look at him
covertly.
GEORGE and his wife JANINE, 50, say hi to Lee and Patrick.
Then a very pregnant RANDI gives Patrick a big warm hug. She
and her husband, JOSH, greet Lee. Randi says a few words to
Lee. Josh shakes Lee’s hand. Then they move away.
Others come through: Grown-ups and kids. DR BETHENY and her
HUSBAND. George stays dutifully by Lee.
LATER -- STILL SLO-MO (MOS) THE SERVICE. FATHER MARTIN reads
the service. LEE sits in the front pew, with PATRICK, looking
lost.
EXT. GEORGE’S HOUSE. DAY.
George’s small, cramped, two-story house. Cars are stuffed
into George’s driveway and ranged up and down the block.
INT. GEORGE’S HOUSE. DAY.
The living room is packed with mourners, eating and drinking.
(Randi and Josh are not there.) PATRICK is hugging SANDY and
JILL. They are leaving. He keeps an eye out for SILVIE, who
is across the room talking to CJ, Joel and some other kids.
LATER -- PATRICK is in an armchair, watching LEE through the
press of chatting mourners. Lee holds a beer and looks lost.
TOM DOHERTY appears, shakes Lee’s hand and gives him a hug
which Lee rigidly returns. MRS DOHERTY kisses Lee.
SILVIE appears at Patrick’s side. She gives him some soda in
a plastic cup. Her eyes intrusively search his face.
SILVIE
You OK, baby?
PATRICK
I’m OK.
LATER -- LEE and GEORGE are talking over the din.
GEORGE
So how you holdin’ up?
LEE
What’s the matter?
GEORGE
No --
LEE GEORGE (CONT'D)
What? -- I said “How you holdin’
up?” It’s a stupid question.
Um... You get some food?
LEE
I had some cheese.
GEORGE
“You had some cheese.” Asshole.
LEE GEORGE (CONT'D)
It’s OK, George. I’ll get you something. Hey
JANINE!
We see JANINE through the crowd, replenishing items at the
buffet table and clearing paper plates and napkins, etc.
LEE
Seriously. I’m not hungry.
GEORGE JANINE
Sure? (To JANINE) Never mind! WHAT?
FORGET IT! SKIP IT! I CAN’T HEAR A GODDAMN THING
I SAID FORGET IT! YOU’RE SAYIN’!
JANINE (CONT’D)
DID LEE GET SOME FOOD?
INT. JOE’S HOUSE -- KITCHEN. NIGHT.
Lee comes in and takes off his dark jacket and gets some cold
chicken from the fridge. Patrick comes in, iPhone in hand.
PATRICK
Hey, is it OK if I ask Silvie to
stay over?
LEE
No.
PATRICK
What do you mean?
LEE
I don’t want her in the house right
now.
PATRICK
Why not? YOU don’t have to talk to
her...
LEE
I don’t like her. You can go to her
house or call one of your friends.
That’s it.
Patrick is stunned.
Genres:
["Drama"]
Ratings
Scene
37 -
Unspoken Tensions
INT. GUEST/LEE’S ROOM. NIGHT.
Lee gets ready for bed. We hear PATRICK in the hall O.C.
PATRICK (O.C.)
Would your mom be cool if I came
there? ... I have no idea.
LATER -- Patrick KNOCKS and comes in.
PATRICK (CONT’D)
Well, I can’t go there either.
LEE
Sorry about that.
PATRICK
So...Are you gonna stay in here...?
LEE
Well -- Yeah. Why not?
PATRICK
I thought maybe you’d want to stay
in Dad’s room.
LEE
Why? You want me to?
PATRICK
No. It’s just a better room. And
he’s not usin’ it...
LEE
I’ll stay in there. We’re not gonna
be here that much longer anyway.
PATRICK
I’m not movin’ to Boston, Uncle
Lee.
LEE
I don’t wanna talk about that right
now. OK?
PATRICK
You said he left you money so you
could move.
LEE PATRICK (CONT'D)
Yes. But that doesn’t mean I Anyway, what’s in Boston?
can just -- You’re a janitor.
LEE
So what?
PATRICK
You could do that anywhere. There’s
toilets and clogged-up drains all
over town.
LEE PATRICK (CONT'D)
I don’t wanna talk about it! All my friends are here. I’m
on the hockey team. I’m on
the basketball team. I gotta
maintain our boat now. I work
You can’t maintain it -- on George’s boat two days a
week. I got two girlfriends
and I’m in a band. You’re a
janitor in Quincy. What the
hell do you care where you
live?
Lee has no answer.
Genres:
["Drama"]
Ratings
Scene
38 -
Bittersweet Farewell
INT. JOE’S BEDROOM -- NIGHT.
Lee puts the last of his stuff away. He goes to the window.
The wind whistles outside.
10-YEAR-OLD PATRICK (V.O.)
Goodbye Uncle Lee!
FIVE YEARS AGO --
EXT. JOE’S HOUSE. DAY.
A few weeks after the girls’ funeral. Joe waits by Lee’s car,
which is packed with a few boxes and a borrowed suitcase. Lee
and 10-YEAR-OLD Patrick come out, carrying cardboard boxes.
A moment later, Lee slams the trunk. Patrick is inside.
JOE
Where you gonna be tonight?
LEE
I don’t know. A motel.
JOE
What time you gonna call me?
LEE
When I get to the motel.
JOE
If I don’t hear from you by nine
o’clock I’m gonna call the cops.
You understand?
LEE
Yes. Yes.
JOE
Patty! Come say goodbye to Uncle
Lee!
LEE
That’s OK.
JOE
It is not OK. Patrick! Come say
goodbye!
10-YEAR-OLD PATRICK (O.S.)
Comin’!
They wait. Joe hugs Lee. Lee hugs him back woodenly. Then
with more feeling. Then he breaks away and gets in the car.
LEE
I’m gonna see him...
He starts the motor. Patrick comes running out of the house.
10-YEAR-OLD PATRICK
(Exactly as before)
Goodbye Uncle Lee!
LEE
So long.
He drives off. Joe and Patrick watch him drive away.
PRESENT --
Genres:
["Drama"]
Ratings
Scene
39 -
Frozen Panic
INT. KITCHEN. NIGHT.
Patrick, in his sleeping gear, opens the refrigerator,
looking for a snack. He opens the overcrowded freezer and
some packages of frozen chicken breasts and chopped meat
slide out at him. He tries to catch or block them, but most
of them get past him and hit the floor.
INT. JOE’S ROOM. NIGHT -- SIMULTANEOUS.
At the window, Lee hears the clatter from downstairs.
INT. KITCHEN. NIGHT -- CONTINUOUS.
Patrick looks down at the frozen meat and starts to breathe
hard. He starts to put them back in but starts to feel sick.
He leans his head against the freezer door then backs away,
wiping his eyes.
PATRICK
I don’t want it. I don’t want it.
LEE comes in. Patrick can’t get ahold of himself.
LEE PATRICK (CONT'D)
Patty -- Somethin’s wrong with me.
LEE
What do you mean? Like what?
PATRICK LEE (CONT'D)
I don’t know! I feel really Are you sick?
weird! I’m havin’ like a
panic attack or something.
LEE (CONT’D)
What do you mean?
PATRICK
Could you get that shit outta the
freezer? I feel really weird.
LEE
Get ridda what? The chicken?
PATRICK LEE (CONT'D)
Yes. I don’t know. Should I take you to the
hospital? Do you want me to
I don’t know! No! call your friends?
Patrick runs out of the kitchen.
INT. PATRICK’S ROOM. NIGHT.
Patrick comes in and slams the door. Pause. Lee KNOCKS O.C.
LEE (O.C.)
You gonna go to bed?
PATRICK
Leave me alone.
LEE (O.C.)
I don’t think I should let you keep
the door shut.
PATRICK
Just go away!
LEE (O.C.)
I will. Just open up the door.
PATRICK
Fuck you.
LEE KICKS the DOOR IN. Patrick jumps up from his bed.
PATRICK (CONT’D) LEE
Jesus! What’s your problem? I said open up the door. Are
you havin’ a breakdown?
No! No! No! Should I take you to the
hospital?
No! I’m just freakin’ out.
Fine, but I can’t let you
freak out with the door shut.
Just go away! And if you’re gonna freak out
every time you see a frozen
chicken I think maybe we
should take you the hospital.
No we don’t --! I don’t know anything about
this.
PATRICK
-- I just don’t like him bein’ in
the freezer!
LEE
You’ve expressed that very clearly.
I don't like it either. But there’s
nothin’ we can do about it.
PATRICK
Just get out!
LEE
No.
PATRICK LEE (CONT'D)
I’m all right, OK? I just I’m not gonna bother you.
wanna be alone. I’m just gonna sit here. You
can be alone as soon as you
calm down.
Patrick turns his face toward the wall. Silence.
PATRICK
I’m calmer now. Would you please
get out?
LEE
No.
Patrick his face turned away. Lee sits there.
FIVE YEARS AGO --
INT. QUINCY -- LEE’S BASEMENT APARTMENT. DAY.
The same basement studio we saw at the beginning, minus most
of the furniture. LEE stands watching JOE inspect the room.
His affect is flat, colorless. 10-YEAR-OLD PATRICK is looking
through the window up to the street. People’s feet walk by.
10-YEAR-OLD PATRICK
Cool!
JOE
How much are they payin’ you?
LEE
Minimum wage plus the room.
JOE
Let’s go get some furniture.
LEE
I got furniture.
JOE
No you don’t. This doesn’t count as
furniture. This is not a room.
Let’s go get some furniture.
LEE
Get off my back.
JOE
Patty, come on. (To Lee) Let’s go.
Genres:
["Drama"]
Ratings
Scene
40 -
Tensions in Transition
INT. BOSTON DEPARTMENT STORE. DAY.
Joe stands with Lee looking at an armchair. Patrick is
spinning around in another one.
JOE
You like that one?
LEE
I love it.
JOE
Good. Now you got an armchair.
Movin’ right along. Let’s go look
at lamps.
10-YEAR-OLD PATRICK
Uncle Lee, try this one!
JOE
Patty! Cut the crap. Let’s go get a
lamp.
LEE
I got a lamp.
JOE
You got a light bulb. Let’s go get
a lamp. Patty, come on.
INT. LEE’S BASEMENT APARTMENT. NIGHT.
Joe finishes tearing the paper off the armchair. The studio
now has almost all the same furniture as in the present. LEE
stands watching. Patrick is playing a little computer game.
JOE
Better? Better.
THE PRESENT --
INT. THE KITCHEN. DAY.
Lee and Patrick are at the breakfast table. Patrick is eating
breakfast. Lee has coffee.
LEE
Listen. (Pause) We can stay until
your school lets out. That’ll give
me time to set things up in Boston
better. You can do some stuff with
George in the summer if you want
...And you don’t get jerked out of
your life overnight.
PATRICK
Are you askin’ me or tellin’ me?
LEE
I’m tellin’ you it’s the best I can
do.
PATRICK
(On “you”)
Then what the fuck do you care
whether it’s OK with me or not?
Pause.
LEE
It’s half an hour away! You can
come back here any time you want!
PATRICK
From Quincy?
PATRICK (CONT’D) LEE
What is that, a joke? Yes! No! Depending on the
It’s an hour and a half at traffic. Fifty minutes.
least! You gotta include the
other cars. But we don’t have to stay
there! We could look in
You couldn’t get from here to Charlestown, or Everett --
Quincy in half an hour if you
flew in a fuckin’ spaceship!
LEE (CONT’D)
OK, fuck it.
Genres:
["Drama","Family"]
Ratings
Scene
41 -
A Lighthearted Exchange
INT. LEE’S CAR/MANCHESTER ESSEX REGIONAL HIGH SCHOOL. DAY.
Lee and Patrick pull up in front of school.
PATRICK
I need lunch money.
Lee reaches for his wallet. TWO GIRLS rap on the car window
as they pass by on their way into the building.
1ST GIRL
Hi, Patrick! Hi, Patrick!
2ND GIRL
Hi, Patrick!
1ST GIRL
Hey Patrick -- !
Patrick unrolls the window.
1ST GIRL (CONT’D)
So are you goin’ to Godspell?
PATRICK
I’m thinkin’ about it.
1ST GIRL
OK, ‘bye.
They move on, giggling. Lee reaches for his wallet.
LEE
Are they your girlfriends too?
PATRICK
They wish.
LEE
Doesn’t George pay you a salary for
helpin’ with his boat?
PATRICK
Yeah, but I’m savin’ that.
LEE
For what?
PATRICK
New motor.
Pause. He gives Patrick $20. Patrick gets out of the car.
LEE
You goin’ to Godspell?
Genres:
["Drama","Comedy"]
Ratings
Scene
42 -
Silent Struggles
INT. JOE’S BEDROOM. DUSK.
Lee puts the THREE FRAMED PHOTOS on the dresser. He goes to
the window and looks out. He BREAKS the WINDOW with his FIST.
Blood wells out of his knuckles immediately. He hurries to
the bathroom. The LAND LINE RINGS.
LEE (O.C.)
Come on...!
He comes out, wrapping his hand in a towel. The blood soaks
through quickly. He picks up the phone.
LEE (CONT’D)
Hello?
INT. ELISE’S HOUSE. DAY -- CONTINUOUS.
Elise, dressed neatly and primly, is on the phone.
ELISE
(Over the phone)
Hello, is that Lee?
WE CUT BETWEEN ELISE AND LEE.
Lee freezes. He does not respond.
ELISE (CONT’D)
(Over the phone)
Hello? Lee? It’s Elise. (Pause)
Hello?
LEE does not respond. Blood stains the towel on his hand.
INT. JOE’S HOUSE -- DINING ROOM. NIGHT.
Lee and Patrick sit across from each other at the dinner
table, eating. Lee has a bandage on his hand.
PATRICK
What happened to your hand?
LEE
I cut it.
PATRICK
Oh. For a minute there I didn’t
know what happened.
Genres:
["Drama"]
Ratings
Scene
43 -
Fractured Ties
INT. JOE’S ROOM. NIGHT.
Patrick comes into the room. Lee is VACUUMING up broken glass
by the window. He has neatly taped a cardboard square over
the broken pane. He sees Patrick and turns off the vacuum. He
throws the last scraps of cardboard and tape into a heavy
duty trash bag full of broken glass, cardboard, etc.
PATRICK
Is there some reason why you didn’t
tell me my mom tried to call me?
Lee stops in his tracks.
PATRICK (CONT’D)
She wrote me you hung up on her.
She’s in Essex. She wants me to see
her new house and meet her fiancee.
(Pause) What’d you think? She
couldn’t get in touch with me?
LEE
I hung up because I didn’t know
what to say to her. And I didn’t
tell you ‘cause I didn’t know what
to say to you. I’m sorry.
PATRICK
You can’t stop me talkin’ to her.
LEE
I don’t care what you do.
He ties off the garbage bag and goes out. Patrick follows --
INT. HALLWAY/STAIRS/LIVING ROOM/KITCHEN. CONTINUOUS.
They go down the hall, stairs, into the kitchen...
PATRICK
No, but you won’t let my girlfriend
come over and you hate my mother so
much you won’t even tell me that
she called. You’d rather drag me
back to Quincy and ruin my life
than somebody else be my guardian --
LEE
There is nobody else.
PATRICK
I can live in Essex with my mom.
LEE
No you can’t.
PATRICK
But if she's not an alcoholic
anymore and she wants me to stay
with her, then I can take the bus
to my same school and keep all my
friends, and the boat, and you can
go back to Boston, and you can
still -- I don't know: Like, check
in on me, or whatever, if you want
to...
LEE
I can’t do that.
PATRICK
Why?
LEE
I'm sorry I hung up on her. I’ll
call her back, and if she sounds
semi-human to me, you can go have
lunch with her and her fiancee if
you want. I don’t wanna talk about
this anymore.
Lee goes out the back door with the garbage.
Genres:
["Drama"]
Ratings
Scene
44 -
Seeking Solace
EXT. MARINA/WHARF. DAY.
Lee stands by as George and Patrick pull away in JOE’S BOAT.
Patrick is driving.
INT. THE BOAT (MOVING). DAY.
GEORGE
OK! Soon as we get clear, open it
up and we’ll see what we can do.
PATRICK
OK!
EXT. MARINA/WHARF. DAY -- CONTINUOUS.
Lee watches them go and then turns and walks away.
INT. BOAT YARD -- FRONT OFFICE. DAY.
JERRY, 40s, is just coming into the front office as LEE comes
thru the customer door. Jerry is immediately uncomfortable.
JERRY
Hey... Lee...! Well, what do you
know?
LEE
How you doin’, Jerry?
JERRY
Not bad, not too bad. I was sorry
to hear about Joe.
LEE
Yeah. Thank you.
JERRY
How’s Patrick doin’?
LEE
Good.
JERRY
Good. So what’s goin’ on?
LEE JERRY (CONT’D)
...You know, I’m back and You oughta -- Sure, sure.
thinking about staying Walter is down in Boston. He
through the summer and was should be back tomorrow if
wondering if you had any you want to come by or...Give
work? If I could pick up some him a call.
hours.
INT. BACK OFFICE -- SIMULTANEOUS.
SUE, 50s, is at a cluttered desk doing paperwork. She hears
voices in the front. Stops what she’s doing and listens.
WE CUT BACK AND FORTH.
LEE JERRY
...Anyway, I’m just lookin’ You oughta -- Sure, sure. You
for anything right now -- oughta come by tomorrow and
Fixit jobs: Boats, engines, -- talk to Walter...I doubt he’s
OK: I’ll do that. No, I know. got anything in February --
I just thought I’d ask. Oh, absolutely.
LEE
Thanks Jerry.
JERRY
Good to see you.
They shake hands. After Lee exits, SUE enters the FRONT
OFFICE.
JERRY (CONT’D) SUE
Guess who just -- I don’t wanna see him in here
again.
MINI-MONTAGE --
Lee goes into 1) COASTAL AUTOMOBILE REPAIR. 2) MILNE PLUMBING
& HEATING. 3) HAMMC PAINTING & REMODELING. He talks to
managers, fills out forms, walks in and out of doors...
Genres:
["Drama"]
Ratings
Scene
45 -
Navigating Responsibilities
EXT. GEORGE’S HOUSE. NIGHT.
Lee is picking Patrick up from George’s house. GEORGE and
JANINE and their five kids, ages 8-17, wave and shout
goodbye.
GEORGE GEORGE’S KIDS
So long...! Patty, I’ll see Goodbye, Patrick! See ya,
you Wednesday? So long, Lee! Patrick! Bye, Patty! G’bye!
JANINE PATRICK
So long...! „Bye guys! Yeah, Wednesday!
G’bye!
INT. LEE’S CAR (MOVING). NIGHT.
Lee and Patrick get in the car and start driving.
LEE
How’s the motor?
PATRICK
George says the piston’s gonna go
right through the block any minute
now.
LEE
Unfortunately that’s a problem. We
can’t afford to keep the boat if we
can’t hire somebody to work it, and
we can’t get anyone to work it, if
it’s got a broken motor.
PATRICK
Let’s take out a loan.
LEE
And pay it back with what?
PATRICK
We hire it out til we pay the loan
back, obviously.
LEE
Unfortunately for you, I’m
responsible for your finances until
you’re twenty-one, and I’m not
comfortable takin’ out enormous
loans on your behalf right now.
PATRICK
I have band practice. Can you drive
me home to get my stuff and then
drive me to Sandy’s house?
LEE
Why don’t you sign up for driver’s
ed?
PATRICK LEE (CONT'D)
Because Dad made me promise I’m not your chauffeur.
not to drive til I was
seventeen.
LEE (CONT’D)
OK. Then we’ll stick with that.
Genres:
["Drama","Family"]
Ratings
Scene
46 -
A Night of Music and Connection
EXT. SANDY & JILL’S HOUSE. NIGHT.
Lee’s car idles in front of the house.
PATRICK
You wanna stay for dinner? I think
Sandy’s mother likes you.
LEE
No she doesn’t.
PATRICK
Yes she does. This could be good
for both of us.
LEE
I’d really rather not.
PATRICK
Well, can you at least hang out
with her so I can be alone with
Sandy for half an hour without her
mother knockin’ on the door every
twenty seconds?
LEE PATRICK (CONT'D)
Come on, man. All you gotta do is talk to
her! Why can’t you help me
out a little bit for once
instead of draggin’ me to the
lawyers and the funeral
parlor and the morgue? Anyway
she’s really nice!
LEE
OK.
PATRICK
Thank you.
INT. SANDY’S HOUSE -- BASEMENT. NIGHT.
Patrick is practicing with his band. Sandy on lead vocals,
the guys singing backup.
SANDY
"Tell me why -- Why do you need me?
Why do you want me? / Why do you
love me?"
PATRICK
Stop. Stop.
Everybody stops playing.
PATRICK (CONT’D)
Otto, man --
OTTO
What? I'm too slow?
CJ
Too fast.
OTTO
I'm too fast?
JOEL
Dude, you're like pullin’ outta the
fuckin’ station ahead of me.
SANDY
Oh my God, you guys! Leave him
alone.
CJ
Are you serious about this band or
what?
OTTO
Get off my back.
CJ
All right, everybody just chill
here. Let's just go again.
Everyone resets.
PATRICK
(into microphone)
We are Stentorian.
INT. JILL’S LIVING ROOM. NIGHT.
Lee and Jill are alone in the living room. She has a glass of
wine. He has a beer. Silence.
JILL
Patrick’s one of my favorite
people.
LEE
That’s good.
Silence. Jill twists around.
JILL
(Calls up the stairs)
How’s it goin’ up there, you guys?
Silence. Then there is some O.C. giggling and A DOOR OPENS.
SANDY PATRICK
It’s going fine! Thanks! But Good! Really good! We’re
we’re right in the middle of totally rippin’ through those
something! compound fractions!
There is more laughing and the DOOR SHUTS O.C.
JILL
At least we know where they are,
right?
LEE
That’s true...
Genres:
["Drama","Comedy"]
Ratings
Scene
47 -
Dollhouse Dilemma
INT. SANDY’S ROOM. SIMULTANEOUS.
Sandy comes away from the door. They are in their underwear.
Patrick discards an unused, unrolled condom and GETS UP to
get another from his pants, across the darkened room.
PATRICK
Hold on a sec.
SANDY
How many of those you generally
gotta go through before you pick a
winner?
PATRICK
I’d like to see you use one of
these goddamn things with all these
interruptions -- Ow!
He trips over something with a crash.
SANDY
What happened? Are you OK?
PATRICK
I tripped over your fuckin’ doll
house.
SANDY
Oh my God, did you break it?
PATRICK
I don’t know. I’m fine though, by
the way.
Sandy snaps the light on.
SANDY
Oh my God. My grandmother gave me
that when I was five years old. It
was literally her doll house from
when she was a little girl.
PATRICK
Well what’s it doin’ on the fuckin’
floor?
SANDY
It’s a doll house! That’s where you
play with it!
JILL (O.S.)
Sandy? What is going on up there?
SANDY
Nothing! Patrick stubbed his toe on
Mummer’s doll house, but it’s OK!
JILL
Sandy, that doll house belonged to
my mother!
SANDY JILL (CONT'D)
Yes I know, Mom! It was just If you’re gonna smash it to
an accident. Nobody’s pieces I wish you’d let me
smashin’ it to pieces! It’s keep it somewhere else!
fine!
PATRICK
Don’t worry, Jill, I’m OK! My
toe’s gonna be OK!
INT. LIVING ROOM. NIGHT -- CONTINUOUS.
Jill turns back to Lee, smiles and shrugs. Silence.
JILL
Could I get you another beer, Lee?
LEE
I’m good. Thanks.
Jill sips her wine. Lee can’t think of anything to say.
JILL
Would you excuse me, Lee, one sec?
LEE
Sure.
Genres:
["Comedy","Drama"]
Ratings
Scene
48 -
Silent Tensions
INT. SANDY’S ROOM. CONTINUOUS.
The only light comes from Sandy’s laptop. They’re on the bed.
SANDY
Is it on?
PATRICK
Yes. It’s a miracle.
SANDY
OK. Hurry up.
JILL KNOCKS. Patrick and Sandy leap away from each other.
JILL SANDY (CONT'D)
Hey, Sandy? I’m sorry...! One second please! (To
Patrick) Get outta my way!
PATRICK
Goddamn it!
AT THE DOOR, A MOMENT LATER -- Jill is talking to SANDY
through a crack in the door. Patrick is pretending to work at
the laptop. Sandy and he have pulled on their clothes.
SANDY
What’s up?
JILL
I’m really sorry, I know you’re
trying to work, but I can’t sit
down there much longer.
SANDY
Why? What’s the problem?
JILL
He won’t talk. I’ve been trying to
make conversation for half an hour!
SANDY
Are you serious?
JILL PATRICK
I realize I’m not the most What’s the matter?
fascinating person in the
world, but it’s very, very SANDY
strained. Mom...
SANDY
She can't make your Uncle speak.
PATRICK
He likes sports.
JILL SANDY
I'm sorry to bust things up, Sports?
but how much longer do you
think you're gonna be? PATRICK
I'm sorry...! Can you talk about sports?
Maybe there’s a game on you
could watch.
SANDY (TO PATRICK) (CONT’D)
Shut up. (To Jill) Mummy, Please.
INT. LEE’S CAR (MOVING) NIGHT.
Lee drives Patrick home.
PATRICK
You were a tremendous help.
LEE
I didn’t ask to sit down there.
PATRICK
You can't make small talk like
every other grown up in the world?
PATRICK (CONT’D) LEE
You can't talk about boring No.
bullshit for half an hour?
“Hey, how about those
interest rates?” Hey, I lost Nope. Sorry.
my Triple A card?” Like
everybody else?
PATRICK
You're a fuckin' asshole.
INT. PATRICK’S ROOM. NIGHT.
Patrick is having trouble sleeping.
Genres:
["Drama"]
Ratings
Scene
49 -
Navigating Tension
EXT/INT. LEE’S CAR (MOVING). DAY.
Lee is driving Patrick along the road to Essex.
LEE
Where did she say she lives?
Because there are like no houses
here. None. Does she live in a
fuckin' sleeping bag?
PATRICK
119 Pigeon Hill Street.
LEE PATRICK (CONT'D)
Pigeon Hill Street? Or Pigeon Pigeon Hill Street. Street!
Hill Road? Pigeon Hill Court? This is Pigeon Hill Road.
PATRICK (CONT’D)
You have no GPS whatsoever?
LEE
No, I've got a little fuckin'
cartoon moving map.
PATRICK
Do you want me to punch it in for
you?
LEE
No, I don't. I've got it. Thank
you. (Pause) Okay, listen. Are you
nervous?
PATRICK
Yeah I’m nervous.
PATRICK (CONT'D) LEE
What are you, a fuckin’ Because --
genius? Skip it.
LEE (CONT’D)
Just...If anything gets weird, just
text me, and I’ll come and get you.
PATRICK
OK. (Pause) Thank you.
Genres:
["Drama"]
Ratings
Scene
50 -
A Tense Family Reunion
EXT. ELISE’S HOUSE. DAY.
They pull up to a small neatly kept house and get out. ELISE
opens the front door. She looks starched and brittle.
ELISE
Oh my gosh. Is that my Patrick?
PATRICK
Hi Mom.
ELISE
I’m so happy...! (To Lee) Welcome
to my home.
INT. ELISE’S HOUSE. CONTINUOUS.
JEFFREY stands waiting as Elise ushers them in. He is in his
late 40s, slight, well groomed and dressed in conservative
weekend wear. Slacks, loafers, a light-weight sweater. LEE
glances around the very tidy house. There is a framed pastel
of Jesus on the wall.
ELISE
Patrick. This is my fella. Jeffrey,
this is Patrick...
JEFFREY
(Shaking hands)
Great to finally meet you, Patrick.
PATRICK
Nice to meet you.
ELISE
And this is Lee...
JEFFREY
(Shaking hands.)
Hey, welcome. Jeffrey.
LEE
Thanks. Lee.
ELISE
Now, Lee, are you sure you won’t
stay for lunch?
LEE
I’m positive.
Genres:
["Drama"]
Ratings
Scene
51 -
A Warm Welcome
INT. ELISE’S DINING NOOK. DAY.
Patrick is at the table. Jeffrey and Elise bring in lunch.
PATRICK
Oh -- Can I help with anything?
ELISE
No thanks, honey.
JEFFREY
Your job is to relax. OK? That is
your A-Number One assignment.
PATRICK
OK. I’m gonna really apply myself.
JEFFREY
No -- I was just joking.
PATRICK
I know you were. So was I.
Elise comes in from the kitchen and sits down.
ELISE
How we gettin’ along?
JEFFREY
Great.
PATRICK
Great.
ELISE
You don't have to be so polite, you
know!
PATRICK
Oh -- I'm not bein’ polite...
ELISE
Did you wanna wash your hands
before we eat?
PATRICK
Um -- Yeah.
INT. ELISE’S DINING ROOM. DAY.
Everyone is seated. Jeffrey is saying grace.
JEFFREY
For what we are about to receive
let us give thanks. Amen.
ELISE PATRICK
Amen. Amen
They start passing around the lunch.
ELISE
It’s OK to say Amen, Patrick...!
Nobody’s tryin’ to recruit you!
PATRICK
I did say Amen.
ELISE
You did? OK. You don't have to...
PATRICK
I know. I just said it really
quietly.
ELISE
Honey, it’s fine. I know -- I’m
gonna be a shock to you. In a lotta
ways. Hopin’ it’s a good shock...
PATRICK
Yeah...
JEFFREY
What can I get you, Patrick?
ELISE
I hope everything’s OK...(e.g. the
lunch.)
PATRICK
Oh yeah, it looks great. Thank you.
ELISE
You don’t have to be so formal...!
PATRICK
I’m not.
JEFFREY ELISE
I think Elise’s just -- I know...! I’m just sayin’,
this is your home too! I
want it to be... It’s
different from what you’re
PATRICK used to, but...And...I don’t
That’s OK... know...!
JEFFREY
What are you studying in school,
Patrick?
PATRICK
Oh...well...The usual stuff...
ELISE
You know what? I’m gonna be right
back. Anybody need anything from
the kitchen?
JEFFREY PATRICK
I think we’re good. No. No, thanks. Thank you.
Elise gets up and goes into the kitchen.
JEFFREY
Did you get some string beans?
PATRICK
Oh -- not yet. Thank you.
JEFFREY
OK. (Pause) Lemme just see what
she’s doin’ in there.
He goes into the kitchen. Patrick eats.
Genres:
["Drama","Family"]
Ratings
Scene
52 -
Tension in Transition
INT. LEE’S CAR (MOVING) DUSK.
Lee is driving Patrick home. He glances at Patrick. Patrick
is very glum and unhappy.
LEE
So what was she like?
PATRICK
I don't know: She was pretty
nervous.
LEE
What was the guy like?
PATRICK
He was very Christian.
LEE PATRICK (CONT’D)
You know we're Christian too, Yes, I know that.
right? You are aware that
Catholics are Christians? Yes I am aware of that.
They drive in gloomy silence.
LEE
Well...it sounds like she’s doin’
better anyway. She’s not drinkin’.
She’s not in the psych ward.
PATRICK
Wow.
LEE PATRICK (CONT'D)
Wow what? You’ll do anything to get
ridda me!
LEE
What?
PATRICK
You heard me.
LEE
That’s not true.
Patrick shrugs and starts texting on his iPhone.
INT. PATRICK’S ROOM. NIGHT.
Patrick sits at his laptop, wet from the shower. He opens an
email from JEFFGARNDER7@YAHOO.COM. We see the first few lines
and hear JEFFREY’S VOICE at the same time.
JEFFREY V.O.
“Dear Patrick, I’m writing on to
thank you for today. Your visit
meant the world to your mom. We are
both deeply grateful for the love
and trust you’ve shown by offering
to rejoin her life.
(MORE)
JEFFREY V.O. (CONT'D)
But I feel it would be unfair to
your mom to rush her along the long
and challenging road ahead, and so
I’m going to ask you to write to me
in future to arrange any further
visits. I hope you won’t find this
to be --”
ON PATRICK as he reads on. He DELETES the MESSAGE.
INT. LIVING ROOM. NIGHT.
Patrick is watching an action movie on TV. Lee drifts in.
LEE
Where’s your friends tonight?
PATRICK
I don’t know.
LEE
Why don’t you call that girl Sandy
and see if she’ll come over?
PATRICK
No thanks. Nice try, though.
Pause. Lee walks away and goes into --
INT. JOE’S DEN. NIGHT.
Lee turns on the light. He walks over to the fancy GUN CASE.
It's got several expensive rifles mounted, and some HANDGUNS.
Lee gets the key from on top of the case and opens it. He
takes out a HANDGUN. Realizes that PATRICK is in the doorway.
PATRICK
Who are you gonna shoot? You or me?
LEE
Do you know how much these guns are
worth?
PATRICK
A lot, I think.
LEE
Want to try to sell them and put
the money toward a new second hand
motor for the boat?
PATRICK
That’s a really good idea.
Genres:
["Drama"]
Ratings
Scene
53 -
A Day at Sea: Thrills and Spills
EXT. GUN SHOP. DAY.
Through the window we see Lee and Patrick talking to the GUN
SHOP OWNER. Joe’s guns are laid out on the counter on a felt
cloth. The owner is counting out bills for them.
EXT. MARINA -- BOAT YARD. DAY.
LEE, GEORGE and PATRICK are connecting up the new secondhand
MOTOR to Joe’s boat.
PATRICK
This is awesome.
EXT. JOE’S BOAT (MOVING) -- AT SEA. DAY.
A beautiful day at sea. Patrick is driving the boat, fast.
SANDY is next to him. LEE is in the back, taking in the air.
SANDY
This is awesome!
PATRICK
You wanna drive?
SANDY
Sure!
PATRICK
OK -- So --
The BOAT SWERVES WILDLY as Sandy takes the wheel.
PATRICK (CONT’D) SANDY
Yeah -- Don’t -- Just (Screams)
straighten her out -- OK. Oh my God! Sorry!
She straightens the wheel and speeds up again.
Genres:
["Drama","Coming-of-age","Family"]
Ratings
Scene
54 -
Unresolved Past
EXT. JOE’S DRIVEWAY. DAY.
Lee drives Sandy and Patrick into the driveway and stops.
Sandy and Patrick get out of the car.
LEE
I gotta run some chores. I'll be
back in a couple hours. You want
anything?
PATRICK SANDY
No thank you. No thanks Mr. Chandler.
Lee drives away.
SANDY (CONT’D)
Setup city.
PATRICK
What are you talking about?
SANDY
Oh yeah? How's Silvie McGann?
PATRICK
Who?!
SANDY
Open the door.
INT. PATRICK’S BEDROOM. DAY.
SANDY AND PATRICK lie on the bed, her dozing head on his
chest. He’s very happy.
EXT. WATERFRONT STREET. DAY.
Lee is walking toward his car. He slows because he sees RANDI
pushing a stroller his way, with a newborn BABY in it. The
baby is almost invisible inside his winter parka. Randi is
accompanied by a friend, RACHEL, 40s.
RANDI
Lee...! Hi.
LEE
Hi.
RANDI
Um -- Rachel. This is Lee. Lee,
Rachel.
LEE
Hi.
RACHEL
Hello.
RANDI
(Re: the baby)
And this is Dylan. You can’t see
him too good.
LEE
Hey Dylan. Very handsome.
RACHEL
Randi, you want me to get the car
and pick you up?
RANDI LEE
Oh, sure -- That’s OK. I gotta --
RANDI
Well, could I -- I’d -- Could we
talk a second?
LEE
Sure.
RACHEL
I’ll just pull around -- Just be
like two minutes.
RANDI
OK, thanks.
RACHEL
Nice to meet you.
LEE
You too.
RACHEL
Be right back.
Rachel hurries off and turns a corner.
RANDI
I don’t have anything big to say:
RANDI (CONT’D) LEE
I just -- I know you been That’s OK.
around --
Yeah, I just been gettin’
And I thought -- we never -- Patrick settled in.
Yeah I know. He seems like
he's doin’ pretty well,
considering. I mean... I think he is...Yeah...
RANDI
I guess you probably didn’t know I
really kept in touch with Joe --
RANDI (CONT'D) LEE
So it's been kinda weird for No, I knew that --
me, not seeing Patrick since
he passed away -- Oh, OK. I
didn’t know.
LEE (CONT’D)
Well you can see him. I have no --
RANDI
Could we ever have lunch?
LEE
You mean us? You and me?
RANDI
Yeah. I, uh...Because...I said a
lotta terrible things to you. But --
I know you never -- Maybe you don't
wanna talk to me --
LEE
It’s not that.
RANDI
But let me finish. However it -- my
heart was broken. It's always gonna
be broken. I know your heart is
broken too. But I don't have to
carry...I said things that I should
-- I should fuckin’ burn in hell
for what I said. It was just --
LEE
No, no...
RANDI LEE (CONT'D)
I’m just sorry. I love you. I can’t --
Maybe I shouldn’t say that.
And I’m sorry -- You can say it, but -- No,
it’s just --I -- I can’t -- I
gotta go.
RANDI
We couldn’t have lunch?
LEE
I’m really sorry. I don’t think so.
RANDI LEE (CONT'D)
You can’t just die...! Thank you for sayin’
everything --I’m not! But I
But honey, I see you walkin’ can’t -- I’m happy for you.
around like this and I just And I want...I would want to
wanna tell you -- talk to you -- But I can’t, I
can’t...
But Lee, you gotta -- I don't
know what! I don't wanna I'm tryin’ to --
torture you. I just wanna You're not. But I got nothin’
tell you I was wrong. to -- Thank you for sayin’
that. But -- There’s nothin’
That’s not true! Can't be there ...You don’t
true...! understand...
RANDI
Of course I do!
LEE
I know you understand...But I’ve
gotta go -- I'm sorry.
RANDI LEE (CONT'D)
OK. I’m sorry. There’s nothin’ I can s -- I
gotta go.
He moves away. Randi breaks down.
Genres:
["Drama"]
Ratings
Scene
55 -
From Chaos to Comfort
INT. WATERFRONT BAR & GRILLE. DAY.
CU LEE, very drunk. He is at the counter of a busy local
place full of fishermen eating and drinking their lunch. A
new bunch of guys comes in loudly and boisterously. One of
them accidentally clips Lee as the group passes by.
FISHERMAN
Pardon me.
LEE
It’s all right.
Lee whirls around and sucker punches the Fisherman. He goes
down hard. His friends immediately grab at Lee en masse.
FISHERMEN
Hey! Hey! What’re you doin’? Etc.
Lee is pushed into some tables -- The whole place is in an
uproar -- He is jumped by several guys. He keeps fighting
crazily. Someone tries to pin his arms to stop the fight.
Everyone is shouting.
GEORGE appears. He uses his size to shove the other guys away
from Lee.
GEORGE
Break it up! Break it up! It's Lee
Chandler. Lee! Let him go, Eddy.
He's Joey Chandler's brother. Let
him go! Lee. Lee! It's George. Lee.
Come on -- (To the guys who beat
Lee up) You won. OK? You won the
fight.
Lee shoves George away and swings at the nearest man.
Everybody pounces on him again. Someone hits Lee squarely and
knocks him down. Now George is fighting everybody. Chaos.
GEORGE (CONT’D)
OK, OK, OK!
INT. GEORGE’S LIVING ROOM. DAY.
Lee is dazed, lying on the sofa in George's cramped living
room. George watches anxiously as George’s wife Janine
finishes washing and bandaging Lee’s banged up face. George
is a little banged up too.
JANINE
...Should we take him to the
hospital?
GEORGE
I don't think so. Nothin’s broken.
JANINE
...What the hell did they hit him
with, a fuckin’ baseball bat?
GEORGE
They all just said he started
swingin’.
Lee wakes up.
LEE
Where’s Patrick?
GEORGE
He’s with the kids. I sent ‘em out
for burgers.
LEE
Lemme give you some money.
Lee sits up painfully and reaches for his wallet.
GEORGE
Lee. Please. It‘s my treat.
Lee stands up and fumbles for his wallet and drops it on the
floor. George picks it up and gives it to him.
GEORGE (CONT’D)
Would you sit down please, for
Christ’s sake?
LEE
OK.
Lee sits down and breaks into tears.
GEORGE
Come on, buddy.
George looks uncomfortable. He looks up toward the kitchen.
Janine comes back in with coffee and sits next to Lee.
LEE
I’m sorry...
GEORGE
That’s OK, buddy. It’s OK...
JANINE
Lee? Have some coffee. Come on.
Drink this...
Lee takes the coffee and keeps crying. George and Janine
exchange a look.
Genres:
["Drama"]
Ratings
Scene
56 -
Burning Sauce, Smoldering Past
INT. JOE'S HOUSE -- KITCHEN. NIGHT.
Patrick comes in, followed by Lee. Lee moves slowly past him
into the living room.
INT. JOE’S ROOM. NIGHT.
Patrick walks in and takes a long look at Lee's THREE FRAMED
PHOTOS.
INT. LIVING ROOM. NIGHT.
Lee lies on the sofa nursing a beer, his face swollen and
cut. Patrick comes in from the kitchen and hovers.
PATRICK
Can I get you anything, Uncle Lee?
LEE
No thanks, buddy.
PATRICK
OK. I’m goin’ to bed.
LEE
Good night.
EXT. JOE’S HOUSE -- DAY.
The sun shines over the house, the town, and the water.
INT. JOE’S HOUSE -- KITCHEN. DAY.
Lee puts some spaghetti sauce in a skillet and turns the
flame on.
INT. LIVING ROOM. DAY.
Lee is asleep on the sofa with a beer while the TV plays...A
LITTLE HAND tugs at his SLEEVE.
SUZY (O.C.)
Daddy?
He turns his head and sees without surprise his DAUGHTERS
seated next to him in their nightgowns. The BABY is in a
playpen on the floor. SUZY, 7, is pulling his sleeve. Lee
smiles at them.
LEE
Yes, honey?
SUZY
Can't you see we're burning?
LEE
No, honey...You’re not burning.
LEE WAKES UP -- There’s SMOKE coming from the KITCHEN.
INT. KITCHEN. DAY.
The blackened skillet is SMOKING. Lee comes in and puts it
under the water in the sink. It hisses and steams.
PATRICK (O.S.)
Uncle Lee! What the hell’s that
smell?
LEE
I just burnt the sauce!
Everything’s OK!
He grips the sink and tries to recover from his dream.
INT. LEE’S CAR (MOVING) NIGHT.
Lee drives up George and Janine’s street.
INT. GEORGE’S HOUSE. DAY.
PUSH IN: (MOS) LEE is seated at the dining table talking
seriously with GEORGE and JANINE. It has the air of a
conference.
Genres:
["Drama"]
Ratings
Scene
57 -
A Difficult Goodbye
INT. LIVING ROOM. NIGHT.
Lee and Patrick eat dinner.
LEE
I got a job in Boston. It starts in
July.
PATRICK
What is it?
LEE
Custodian, handyman...But just two
buildings this time.
PATRICK
And what delightful Boston
neighborhood have you selected for
us to live in?
LEE
None.
PATRICK
What do you mean?
LEE
You don’t have to move to Boston.
I’m gonna be in Charlestown and
George is gonna take you.
PATRICK
What?
LEE
Yeah. I talked to them last week.
I explained the situation to them.
Georgie Junior’s goin’ to school
this fall. Jimmy graduates next
year. We’ll have to rent out this
house. You can move back in when
you turn eighteen. When you turn
twenty-one, you’re allowed to sell
it or stay in it, or whatever you
want. Definitely have to hire the
boat out when the summer’s over --
just like we talked about. I
thought when you get your license,
we can figure that one out as we
go. I'm still the trustee, but all
the financial stuff Joe set up for
me is gonna get transferred over to
George.
(MORE)
LEE (CONT'D)
So everything’ll be the same,
except you don’t have to move.
PATRICK
But...like, are they gonna be my
guardians? Or do you still --
LEE
They’re gonna adopt you. (Pause)
Anyway, that's how I set it up. If
you want. It's up to you.
PATRICK LEE (CONT'D)
So are you gonna just You don’t have to do it. No.
disappear? No. I just set it up so you
can stay here. They’re really
glad to have you. They love
you.
PATRICK
I know. I mean, they’re great...But
why can’t you stay?
Patty starts crying.
LEE
Come on, Patty...I can’t beat it.
(Pause) I can’t beat it. I’m sorry.
Patrick wipes his eyes. Lee comes over and hugs him.
Genres:
["Drama"]
Ratings
Scene
58 -
Reflections of Loss
EXT. MANCHESTER STREET/ROSEDALE CEMETERY. DAY.
Patrick walks along the street. The TREES he passes have BUDS
or BLOSSOMS. It’s early SPRING. He snaps a dead branch off a
tree. He runs it across a fence as he walks. We REVEAL that
he is headed for the cemetery gate. He goes into the
cemetery.
He pokes his stick into the ground to see if it’s softened
up. It has. He digs up some clods. He walks away.
EXT. AN OLD MANCHESTER HOUSE. DAY.
A MILNE PLUMBING & HEATING VAN is parked in the driveway.
INT. BASEMENT. DAY.
Lee is kneeling on the floor in coveralls, working on the hot-
water heater. The HOMEOWNER, in his 80s, stands by watching.
HOMEOWNER
What do you think?
LEE
I think you’re gonna be OK.
HOMEOWNER
Are you one of Stan Chandler’s
boys?
LEE
Yeah, I’m Lee.
HOMEOWNER
I used to play a little chess with
your father a long time ago. He was
a heck of a chess player.
LEE
That's him.
HOMEOWNER
He's not still living, is he?
LEE
No.
HOMEOWNER
And one of the sons passed away
recently I heard.
LEE
Yeah. Joe. My brother.
HOMEOWNER
That's right. Very personable man.
LEE
Yeah.
HOMEOWNER
My father passed away in 1959. A
young man. Worked on a tuna boat.
Went out one morning, little bit of
weather, nothing dramatic...And he
never returned. No signal. No
Mayday. No one ever knew what
happened.
Lee continues to work on the heater.
Genres:
["Drama"]
Ratings
Scene
59 -
Moments of Grief and Comfort
EXT. LAWYER’S OFFICE WINDOW. DAY.
Past the BLOSSOMS on the tree outside Wes’ window, we see
GEORGE, LEE and WES, signing documents.
EXT. JOE’S HOUSE. DAY.
There is a “FOR RENT BY OWNER” SIGN outside the house. Lee’s
car is in the yard. Also Patrick’s bicycle.
EXT. CEMETERY. DAY.
(MOS) Joe’s burial service. PATRICK, LEE, GEORGE and JANINE
all stand in a row at the front. RANDI holds a CRYING BABY.
She gives him to JOSH, who steps away.
CU: CHANDLER TOMBSTONE. Engraved are the names of Lee's
parents and now Joe.
EXT. WIDE SHOT OF THE TOWN. DAY.
A beautiful early spring day. Lots of boats in the water.
EXT. MANCHESTER STREET -- CORNER GROCERY STORE. DAY.
Lee and Patrick walk up the street, still in their funeral
clothes.
PATRICK
I’m gonna get some ice cream.
LEE
Go ahead.
PATRICK
Can I have some money?
LEE
Yeah.
Lee gives him a ten-dollar bill. Patrick goes inside. Lee
picks up an old rubber ball from the ground and bounces it up
and down. Patrick comes out with an ice cream bar.
Genres:
["Drama"]
Ratings
Scene
60 -
Navigating Futures
EXT. MANCHESTER STREET. DAY.
Lee and Patrick trudge up a steeply inclined street. Lee
occasionally bounces the ball.
PATRICK
So...When am I supposed to move in
with Georgie?
LEE
July. I don’t even have a place to
live yet.
PATRICK
Don’t they give you an apartment?
LEE
Yeah, but I was gonna try to get a
place with an extra room. Or room
for like a pullout sofa.
PATRICK
What for?
LEE
In case you wanna visit sometime.
Or if you’re lookin’ at colleges in
Boston or somethin’ and you wanna
stay overnight...
PATRICK
I’m not goin’ to college.
LEE
All right, well then I'll have an
extra room for all my shit. Do we
have to talk about this now?
PATRICK
Nope.
He tosses away his ice cream stick.
After a minute Lee wipes his eyes. He bounces the ball and
tosses it to Patrick. It goes wide and bounces crazily.
PATRICK (CONT’D)
Great throw.
LEE
Just let it go.
Patrick runs to gets the ball. They continue to walk up the
hill, bouncing the ball across the street to each other and
chasing it when it rolls back down the hill.
EXT. WIDE SHOT OF THE TOWN -- JOE’S BOAT. DAY.
Lee and Patrick head out to fish. Patrick drives the boat.
Lee sets up the fishing gear.
A FEW MOMENTS LATER -- Lee and Patrick are seated, fishing
off the back of the boat. They talk quietly. Lee looks a
little better than we’ve seen him. He squints at the sea and
the wide open sky.