A declining Oregon town begins to confront its guilty secrets when stranger on a mission drives into town.

HOMETOWN (WORKING TITLE)

EXT. THE DEER LEAP INN - SUMMER - DAY

FRONT LAWN

Over Black; "Norman Ridge, Oregon. 1954." There is the

sound of pleasant outdoor conversation, the tink of forks

and the clink of dinnerware.

FADE IN on The Deer Leap Inn, the outdoor terrace. It's a

resort hotel with high toned, outdoorsy people. The scene

is cheery.

At the best table are JAMES and MARGE HUFFSTODT. Marge is

21 and plain. James, 30, is holding court. Douchebag is the

only word to describe him. At the table are HERBERT and

NORA STOCKHAUSEN, old money if there ever was any.

JAMES

And so the Polock suspect steps

forward and screamed "That's her!!"

His laughs is like hearing puppies being ground up in a

blender.

JAMES (CONT'D)

So Mr. Stockhausen, about this-

HERBERT

Later...

Nora jumps in with interference.

NORA

You must have been a beautiful

bride!

Marge smiles.

MARGE

Thanks, Ma'am. IJAMES

She better be, with how much her

dress cost.

Marge shifts in her chair.

HERBERT

But I bet it was worth every penny.

JAMES

Who was it who did your dress, hon?

The one you had to have instead of

(MORE)

2

a house?

JAMES (CONT'D)

NORA

Hah! Money...

MARGE

Charles James.

Nora nods approvingly.

MARGE (CONT'D)

It had a skirt so big it could

barely fit through the door.

JAMES

Yes, sugar pie. It was the skirt.

Marge sets her drink down a little sharply, making them all

jump.

THE FIRST FLOOR - AN HOUR LATER

Marge and James are walking towards the door. They are

wearing their best whites and carrying rackets. Marge looks

as if she's been crying.

JAMES

...and you gotta make more of an

impression. These are the friends

we want.

MARGE

...they already are my friends.

JAMES

Or why don't you introduce me as

your "common as dirt husband"?

Dammit, just because you inherited

your money doesn't mean other

people don't have to work for

theirs.

MARGE

...sorry...

JAMES

...yeah, while you're gonna be if

you don't perk up a little. And if

mention Mutual Securities, I will

break that widening ass of yours

again.

She looks around, embarrassed and ashamed, as she follows

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him outside.

OUTSIDE HOTEL - CONTINUOUS

James's demeanor changes on a dime, and brightens the moment

he sees as he sees the Stockhausens.

JAMES

The Patricks are here to lose at

tennis!

NORA

Aw, you!

HERBERT

You will, but only by virtue of the

fact that I've been practicing

longer than you've been alive.

Nora, no fool she, kisses Marge on the cheek and leds her

behind the men.

JAMES

Speaking of winning, I was

wondering if I could mention this

opportunity I've just come across.

His voice fades as Nora leans in towards Marge, who's far,

far away.

NORA

(Low)

You hold the keys to the kingdom,

and he knows it. Remind him from

time to time.

Marge looks at her questioningly, and Nora nods.

NORA (CONT'D)

Think about it.

EXT. TENNIS COURTS

James, who wouldn't know subtlety if it bit him on the ass,

continues to talk. There is a distant sound which seems to

get louder.

JAMES

...and so, with rates returning at

over thirty percent-

HERBERT

First rule of business, save it for

(MORE)

4

another time than your honeymoon.

HERBERT (CONT'D)

JAMES

But...

Nora takes her racket out.

NORA

Girls versus boys?

MARGE

Oh, I'm sure I'll lose, but-

JAMES

(Meaning "shut up!")

Marge!

Nora and Herbert look at James, surprised.

JAMES (CONT'D)

I'm sorry, I don't mean to be rude,

but this is a -

Nora sees something in the air. Herbert follows her gaze,

but it's too late to do anything.

JAMES (CONT'D)

A great opportunity for everyone to

get what they des-

But it's too late. The sound a skydiver who's fallen to

earth. On James. There is a sickening crunch and a healthy

spray of blood. Marge starts to scream at the top of her

lungs as the camera cuts to black.

Roll opening credits, a "light vs. dark" montage. The

uncomfortable truths of what might go on behind closed doors

of a small mountain town.

SIGHTSEEING VIDEO - 1962

A scratchy, super 8 looking tourism film for Norman Ridge.

It's after the films we all watched in grade school). It

starts with Slocum Street in better days.

NARRATOR (V.O.)

Welcome to Norman Ridge! It's a

quiet little mountain town.

A group shot of waving citizens in front of Hopper's

Restaurant.

5

NARRATOR (V.O) (CONT'D)

We're happy to have you. Take some

time out of your busy schedules and

enjoy a peaceful vacation here.

A cheery tracking shot of well kept houses.

NARRATOR (V.O.) (CONT'D)

Row after row of quaintold houses,a

gorgeous landscape, and a pond on

which you can row, fish or swim the

day away.

A shot of Carver Pond, where a happy, white bread family is

having a picnic.

NARRATOR (V.O.) (CONT'D)

Why not check into The Deer Leap

Inn, where they'll cater to your

every whim with vim, vigor and

vitality?

The Deer Leap Inn in better days.

The Narrator, a handsome older man, is standing at the end

of Slocum Street.

NARRATOR (CONT'D)

From friendly people who welcome

you with open arms, to clean and

honest living, Norman Ridge will

charm you with its old fashioned

values.

Pan out to crane shot of street.

NARRATOR (CONT'D)

Your time here will be pleasant and

your memories will last forever.

So come to Norman Ridge today!!!

The audio goes wonky and the video plays out.

EXT . HIGHWAY 38 - MORNING

OVER BLACK - "TODAY"

A slightly out of date car moving east into The Cascades.

The river looks large and cold. It's morning, and the mood

is blue and stark.

ADAM HATFIELD is driving. Adam is 38, terribly underweight,

and looks like he hasn't slept in days. He might have been

6

a winner once. Now he just looks lost.

There is an iPhone in the passenger's seat, on top of a

hastily packed bag. It says "42 missed calls"

THERAPIST (O.S)

Are you mad at her?

INT . THERAPIST'S OFFICE - DAY

Adam is sitting in a therapist's office. He is sitting

ramrod straight on the couch. The therapist looks concerned.

ADAM

Why would I be mad?

THERAPIST

It would be a normal, completely

understandable, even expected. It's

stage two.

ADAM

Maybe I'm behind schedule.

THERAPIST

Then where is "Adam" today? How do

we get him back?

Adam thinks.

ADAM

He's at peace with it. It's just

the way that life is.

THERAPIST

For who?

Adam smiles bitterly.

EXT . 3RD AND PINE STREETS - DAY

A busy day in front of Macy's. The scene is in a very

dreamlike slow motion.

Rebecca, a very handsome woman (think Chloe Sevigny), is

arguing with someone on the street we can't see. She

carries a shopping bag.

THERAPIST (O.S.)

What way is life for you?

ADAM (O.S.)

You know, there's people who get

what they want thrown at them.

(MORE)

7

People toss roses in from them

ADAM (O.S.) (CONT'D)

wherever they go.

Rebecca pulls away from the other person, looking agitated.

THERAPIST (O.S.)

And you?

ADAM (O.S.)

I get to settle for things. I have

to be happy with scraps, leavings

of things other people don't want

for themselves.

(Pause)

But it was okay when I had Bec.

THERAPIST (O.S.)

How so?

ADAM (O.S)

If I had her, it didn't matter that

I didn't have anything else.

The screen splits. On one side is Rebecca. The other screen

is the cross town bus. Rebecca is trying very hard to stay

calm.

THERAPIST (O.S.)

It sounds like you feel let down.

INT. THERAPIST'S OFFICE - CONTINUOUS

The scene continues as before. Adam is still smiling.

ADAM

You can't feel let down if you

never expected much.

THERAPIST

Can you explain what you mean by

that?

(Adam is silent, shrugs)

Adam, you've said before that you

feel you've spent your time being

strong for others. Who's strong for

you?

(Pause)

Your brother?

Adam laughs.

8

ADAM

Sorry, it's just -

(Laughs again)

If you only knew him! He's learning

that being there for another person

is a thing.

THERAPIST

Some family members don't even

engage. Do you feel he's making an

effort?

ADAM

Yes, because his type A wife told

him he had to. She's Southern -

apparently togetherness in times of

crisis is a tradition there.

THERAPIST

How about friends? Co-workers?

ADAM

(Miserably)

When you want to be happy, you

avoid unhappy people. I'd avoid me.

Insert - Rebecca eithers falls or is pushed in front of the

bus. POV Rebecca, as the bus runs her over.

Adam recoils, and put his head in his hands.

INT. HIGHWAY 38 - CONTINUOUS

Adam watches as his iPhone light up again. The display reads

"LUKE" and the picture is of a younger man, 34 maybe. He

looks very satisfied with himself.

Adam rejects the call, then calls up some saved pages on his

phone.

There is a newspaper headline from the 1980's which reads

"Oregon Town Celebrates 100 years." Another page reads

"Local Family Once Again Rocked by Tragedy."

The phone rings again. It's Luke again. Matter of factly,

he opens the window and tosses the phone out.

EXT. NORMAN RIDGE - 90 MINUTES LATER

Aerial shot of Norman Ridge - it's a small town some miles

from the highway, sitting in the lowest part of a valley.

A large ridge encircles the area on the opposite side from

the highway. To the east, a large crag of rock known as

9

Deer Leap.

PAN down to Adam's Car.

ADAM'S CAR

He passes a cheery looking sign in 1950's script "Welcome to

Norman Ridge - Come in and Stay Awhile!" It's then that he

hears a horn behind him. It's a very ancient looking truck

with a gun rack in back. Behind the wheel is the as yet

unintroduced DWAYNE KENNY.

DWAYNE is 22, and bad news. He looks very mad, and only

looks at Adam long enough to give him the finger.

DWAYNE'S TRUCK

Dwayne is drumming his fists on the steering wheel.

DWAYNE

...goddam motherfucker...

HE LOOKS AT SOMETHING IN THE PASSENGER SEAT WE CAN'T SEE.

DWAYNE (CONT'D)

...fuckin' pervert...

The truck speeds into our first view of Norman Ridge,

Oregon.

TS of truck as it makes its way into town. It passes modest

brick and wooden buildings, most of them from around the

turn of the century. They are lovingly restored and well

kept. It passes Slocum Street, which can be considered the

"Main Street" of Norman Ridge.

On the other side of the road is a set of railroad tracks,

and a picturesque mill which reads "Carver Park and Historic

Mill."

Just before Dwayne makes a right onto the next street, he

nearly plows into ABBY NITTLER. Abby is 17 and startlingly

pretty.

ABBY

Watch where you're going, asshole!

She is surpised at her own outburst, and puts her head down,

walking on in case someone should notice. She seems to be

preparing herself for something.

She crosses back to her car (a nice car for a girl her age)

and gets in.

10

INT. ABBY'S CAR

Abby pulls out her phone, takes a breath, and dials.

ABBY (CONT'D)

...Yeah, it's me.

(Listens)

...chill, okay? It's taken care

of.

(Listens)

It's gonna be okay, but we gotta

talk.

(Listens)

Nothin's happened yet!

(Listens)

Okay...

She hangs the phone up, takes a breath, then fires up the

engine, backing out.

ABBY (CONT'D)

Bitch.

EXT. SLOCUM STREET

Abby starts to pull out and nearly hits MARK REYNAUD, 19.

Mark is a scrappy young man with a quick wit, handsome as

hell.

MARK

Thanks. Take a leg. I got two!

Abby peels away. Mark continues towards Slocum Street. It is

a quaint but run down street. Hopper's, a picturesque

restaurant, is on the left, The Beauty Box is on the right.

Mark looks over as Adam's car passes him.

INSERT; The scene is being watched on camera.

TECHNICIAN

Focus area two...

(Pause)

Run license plate BQZ 734.

The camera follows Mark as he walks into Hopper's.

HOPPER'S RESTAURANT

It's a beautiful restaurant made from an old drug store.

It's a little shabby, as if business has been bad awhile.

MARGIE VAN ALDEN, 60's, sees Mark and nods at a the counter.

11

MARGIE

Mornin', Mark!

MARK

Morning, Margie! You're looking

VERY today.

MARGIE

If I didn't know your heart was in

the right place, I'd call you a

smartass.

The waitress holds up a box for him.

WAITRESS

Pipin' hot, just how she likes it!

MARK

Hope so, or the bitch will send me

back at to the rabble.

MARGIE

Mark!

(Pause)

Stop being perceptive.

They all share a laugh. The waitress looks at him, making

Mark suddenly bashful.

WAITRESS

How very do I look today, sweetie?

MARK

Oh so very.

He kisses her on the cheek and runs out the door, laughing.

The camera rolls in TS with him.

SLOCUM STREET

Mark is still smiling when he sees the as yet unintroduced

KIRK BALDWIN. Kirk, an older man in his 50's, is watching

Mark with a disapproving stare. When Mark sees him, his

smile disappears.

MARK (CONT'D)

Kirk.

KIRK

Mark.

Kirk looks like he's going to say more, but Mark keeps

walking. Eventually, so does Kirk.

12

He walks into Sew Pefect, and the camera follows him in.

SEW PERFECT

A somewhat nicely kept sewing shop.

Three women are giggling like schoolgirls at the register.

They are RUTH REYNAUD, mid 40's and acting like she's

eighteen, and her co-workers TARA and CINDY, same ages.

MARK

Your breakfast!

Ruth turns around and gives him a radiant smile.

RUTH

There's my big man!

He hands her the box.

MARK

Right on time!

RUTH

For once.

Tara and Cindy exchange a look. Ruth opens the box and picks

at the food with her fingers.

RUTH (CONT'D)

And what do you know, they got it

right!

Tara sizes Mark up.

TARA

How's it going, Marky?

MARK

Just fine, Tara. How about you?

RUTH

(To Tara)

Don't.

Cindy laughs and disappears in the back.

TARA

We were just talking about you!

MARK

(Looking at Ruth)

I'm sure that must have been a

happy conversation!

13

Ruth is not embarrassed at all.

RUTH

We were just talking about you

going to summer school.

Mark is embarrassed instead.

MARK

Hey, it happens.

TARA

Don't be upset Mark, one summer's

not the end of the world.

Ruth is eyeing Mark like a lion tracking a wounded gazelle.

RUTH

Yep, a nineteen year old boy still

in high school when all his friends

are graduated and done - yeah,

that's perfect.

Mark thinks, and smiles.

MARK

At least I'M GONNA GRADUATE.

Ruth is suddenly angry. She picks up a piece of paper poking

out of her purse.

RUTH

Go get everything on this list, and

then get the laundry started. The

crock pot will be done by six, and

you better have some salad ready

when it is.

He takes the piece of paper, and turns to leave.

MARK

Have fun today, Ruth. I hope you

find your youth again!

Ruth, outraged, watches as Mark walks outside again.

SLOCUM STREET

He walks out of the shop and across the street. On the

street is the as-yet-unintroduced KATE HITCHCOCK, 30's.

She is watching the parking lot of The Chatterbox, an

average little diner you'd find in a thousand small towns

14

everywhere.

In the parking lot, Adam is getting out of his car and is

looking around. If he sees Kate, he doesn't show it. He goes

inside.

INT. THE CHATTERBOX - CONTINUOUS

Adam walks in. It's an old diner just like any diner you'd

find in a small town - well kept, but past it's prime. Duct

tape on the upholstery. Stained and scratched formica.

A regular assortment of small town people inside, some young

but mostly old. There is a radio playing gospel hymns in the

back.

MICHELLE, a waitress of about 35, seems way to happy about

her job.

MICHELLE

Blueberry.

Adam looks around. The trade is light, but there's something

off. Everyone is eating but no one is acknowledging each

other.

ADAM

Blueberry?

MICHELLE

Best damn blueberry pancakes in the

state. You look like a blueberry

pancake would do you a world of

good right now.

ADAM

I think you'd be right!

She giggles and points to a booth.

MICHELLE

I haven't been wrong today! How

about we get you started right over

there, hon?

He sits at the booth as she deals him his cup of coffee,

leaning over a little more than necessary to see her good

rack.

ADAM

I don't think I want coffee.

15

MICHELLE

No...coffee?

ADAM

Naw...thanks, though. Got any tea?

MICHELLE

Yeah, I guess...

(Picks up cup)

Whatever you want, we're serving it

up hot as you like today.

Adam is out of it but not out of it enough to miss her tone.

He watches her go with the look of a hungry lion. He

glances out the window, and stops.

Outside, Rebecca Hatfield is walking down the street. She

carries a carrier bag from Macys.

Michelle returns with a teapot and a basket of teas.

MICHELLE (CONT'D)

...Kayso, we got pekoe, Earl Grey,

and black. Got a preference?

Adam looks up at her.

ADAM

...uh, surprise me.

MICHELLE

...black? Mister, you don't look

so good.

ADAM

Maybe it's because I'm hungry?

She smiles.

MICHELLE

Sure, why don't I get your order

in? We got the pancakes, but we

also got some crispy bacon and some

hash browns. How about I fix you

up?

He's distracted by her breasts. She grabs his hand.

MICHELLE (CONT'D)

My name's Michelle, but the way.

He snaps out of it.

16

ADAM

Oh...sorry! I'm Adam-Adam.

MICHELLE

It's nice to meet you, Adam Adam.

(She laughs) )

And don't be sorry. How would I

know if they're still good if I

can't get a man to stare at them

once in awhile?

She goes to put in his order while he looks down, away from

the window.

INT. LAIRD'S HOUSE - AT THE SAME TIME

A small duplex on a Ridge Road. It's very depressing and

somewhat removed from the road. Norman Ridge can be seen in

the distance.

LAIRD TAYLOR, 27, fat and pathetic, takes a look out the

window as Dwayne's truck pulls up. His eyes widen.

LAIRD

Holy shit.

He's very nervous. He looks around for something to save him

from the angry young man walking up to his door, but manages

to calm himself down.

LAIRD (CONT'D)

(To himself)

Just be cool.

There's pounding on the door.

DWAYNE (O.S.)

You in there, Lard?

The words are like a dagger in his soul. He takes a minute

and then opens the door.

LAIRD

What the hell do you-

But he can't say anymore, because Dwayne punches him in the

face. He falls back, stunned. Then the blood starts pouring

out his nose, and he starts to get up.

DWAYNE

(CALMLY)

How are you, Laird J. Taylor? Just

thought I'd come by and say hello.

(MORE)

17

BTW you might want to stay down.

DWAYNE (CONT'D)

He steps in coldly. There is something in his other hand.

LAIRD

Have you gone crazy? I didn't-

He's interupted by a boot in the stomach. The camera pans

out the door as Dwayne slams it shut. There is the sound of

a beating on the other side, but eventually, the farther the

camera gets, the sound fades and it's just a grey morning in

the mountains.

INT. THE CHATTERBOX - A FEW MINUTES LATER

THE BOOTHS

Adam is drinking his tea over his untouched breakfast,

avoiding looking out the window.

POV MARY ELLEN; Adam is seen from behind. A small hand

reaches out and touches his shoulder.

Adam starts and looks out the window first, then at his

visitor. MARY ELLEN WARREN is a small, heavy woman of about

sixty, with chapped hands and a weathered face. She holds up

her hands.

MARY ELLEN

I mean no harm.

Adam get up.

ADAM

No one ever does. Thanks for

showing up Mrs. Warren - can I call

you Mary?

Mary Ellen just nods and perches, rather than sits, in the

booth opposite Adam. She is very aware of her surroundings.

She looks at his plate.

MARY ELLEN

I've always been Mary Ellen, and

it's not a matter. I knew you'd

show no matter that I did.

(Looks at his plate)

Not eating?

ADAM

No.

18

MARY ELLEN

You need your strength, Mr.

Hatfield.

He looks at his plate.

ADAM

If you're Mary, I'm Adam.

MARY ELLEN

I'm not comfortable with that.

ADAM

(Pause)

Fair enough. But I don't want to

eat. I want to talk.

MARY ELLEN

You starving yourself won't change

nothing. If you don't do it for

you, indulge an old mother.

He doesn't move.

MARY ELLEN (CONT'D)

What if I told you I won't tell you

what you wanna know until you take

a couple bites?

He chuckles.

ADAM

What am I, five?

MARY ELLEN

I don't know, but actin' like

you're five won't bring her back.

She picks up a piece of bacon. Adam, when he realizes that

it's not a request but a command, takes a piece of bacon and

pops it in.

KITCHEN

BEN, the cook, is paying absolutely no attention to the

food, and watches Michelle, as she goes through Adam's

wallet. She reads his license, examines his credit cards,

and then finds a snap of Rebecca. Her eyebrows raise.

Ben turns back to the food while Michelle dials the phone in

the back. She whispers into it.

19

MICHELLE

Confirm Adam Hatfield, DOB 8/11/77,

6'2, brown and blue, address 428

Bellingham Avenue...

THE BOOTHS

Mary Ellen is examining Adam. He eats slowly.

MARY ELLEN

(Low)

I told you not to come here. I

begged you, even. There's nothing

for you here.

ADAM

There's nothing for me anywhere.

She closes her eyes, then begins to pull a few photos from

her purse.

MARY ELLEN

I'm sorry about that, but it's not

going to get better by being here.

ADAM

I don't have anywhere else to go.

MARY ELLEN

We've all got sorrows, Adam.

Believe me.

ADAM

Then why not talk to me? What's the

big fuckin' deal?

She slaps him across the face.

MARY ELLEN

LANGUAGE!

Adam looks around (no one's watching), and at her as if to

say "Did that just happen?" But the look on her face makes

him sorry.

ADAM

Sorry, Ma'am.

MARY ELLEN

I will give you something that will

hold you one one condition. Get in

your car and drive away.

20

She pushes an envelope to him, which he opens to her

objections.

There is an assortment of photos. It's the early life of a

little girl, 80's and 80's. She is almost heartbreakingly

endearing in them.

MARY ELLEN

You were supposed to leave first.

ADAM

(Ignoring statement)

What the hell?

MARY ELLEN

Meet Susanna Linden Ballard, who

you knew as Rebecca. I knew her

from the day she was born.

Adam can only stare.

INT . LAWYER'S OFFICE - DAY

OVER BLACK - The sound of pen drumming on a desk. CAPTION :

"Two Months Earlier." We hear RACHEL BERKMAN'S flinty voice.

RACHEL

I know this is a horrible time, and

if there were any way I could avoid

this, I would have taken it.

Adam, dressed in a suit, sits across from Rachel. She is not

maternal, supportive or evern empathetic looking. She looks

like she'd rather not be there.

ADAM

Thanks, I could feel your concern

the moment I walked in.

Rachel, who felt the shot right between the eyes, grimaces.

RACHEL

Adam, is there anyone you'd like me

to call, or?...

ADAM

No.

Rachel puts her briefcase down on the table.

RACHEL

Then I guess I better get started.

21

She pulls out a file and hesitates.

ADAM

If I'm here because you want me to

sue the transit authority, I can't

think about that right now.

RACHEL

I only wish that's why I was here.

She gives him the file.

ADAM

That's comforting.

He opens the file. In it, there is a picture of a younger

Rebecca. It's clipped to a birth certificate.

RACHEL

Pursuant to legal will of William

Ballard, it's my duty to inform you

that the woman known as Rebecca

Jane Greenwood was born Susanna

Linden Ballard in Bend, Oregon.

Adam sits up straight.

ADAM

...that's not possible.

RACHEL

I'm sorry to be the one who has to

tell you this - it was thought that

a woman could better deliver this

news - but it's true.

Rachel doesn't speak. He starts to cry.

RACHEL (CONT'D)

There's more.

INT. THE CHATTERBOX - A FEW MINUTES LATER

Adam is looking at the photos, and had lost all interest in

his meal again. Mary Ellen looks uncomfortable.

ADAM

She can't be more than eight or ten

here.

Mary Ellen looks at the photo.

22

MARY ELLEN

Seems about right.

ADAM

Was she happy?

MARY ELLEN

Who can answer that question? Some

little girls can spin a yarn so

good, even they believe it.

INSERT; Rebecca across the table (on a date?), POV ADAM.

There is no sound, and the caption reads; "I've never been

to Oregon."

Adam looks at a picture of Rebecca with a little boy.

Written on back is "Suzanna and Bart - Siblings getting

along?! Yay! 1991.

ADAM

Tell me about it.

INSERT; Rebecca again across the table, POV ADAM. This

time, the caption reads, "I'm an only child."

ADAM

So where do we begin? Tell me

everything.

Mary Ellen gathers herself.

MARY ELLEN

We don't.

ADAM

No, you're not doing that. You

can't bait me and then throw me

back.

MARY ELLEN

It's not-

Michelle comes walking towards Adam from across the room, a

strange look on her face. Mary Ellen notices her.

MARY ELLEN

I wish I'd never answered the

phone.

Michelle looks to the floor and bends down, then straightens

up, brightening.

23

MICHELLE

'Scuse me, but I think you dropped

your wallet.

Mary Ellen stares at her.

MARY ELLEN

...sure.

They exchange a quick hostile look with one another while

Adam grabs his wallet.

ADAM

God, that was careless. Thanks.

Mary Ellen keeps her eyes on Michelle, who shows no sign of

leaving.

MARY ELLEN

We're fine, hon.

Michelle, not happy, moves along.

MARY ELLEN (CONT'D)

Say hi to your husband!

Adam keeps his eyes on Mary Ellen.

ADAM

She didn't even ask for your order!

Mary Ellen bristles.

MARY ELLEN

No matter.

(Pause)

Adam, you had a life together, and

your loved each other? Right?

Adam thinks.

ADAM

That's not the point, IMARY

ELLEN

It was real for you, therefore it

was real. You have to make due with

that, think about that when you

feel alone at night.

(Shoves the photes at

him)

Go home.

24

ADAM

You're supposed to help me.

She puts her hands on his.

MARY ELLEN

I am helping you.

ADAM

I did NOT come all this way to get

blown off, lady. You like paying

with people?

MARY ELLEN

(Getting up)

It's won't be who'll doing the

playing. I'm sorry for your loss.

ADAM

Wait!

POV ADAM; He gets up to go after her, but his vision gets

blurry. She walks out the door right before he passes out.

END ACT ONE.