DYSFUNCTION

Written by

Adam Livingston

8201 46th Avenue North

Minneapolis,
503 MN 55428
Washington Avenue FIRST DRAFT 4.9.15
Grinnell, Iowa 50112
641-351-9391 AdamLivingstonBusiness@gmail.com
 FADE IN:

INT. BEDROOM - EARLY MORNING

In a dimly lit bedroom there is a young man, OLIVER, sleeping

in his underwear on the bed. The walls are plastered with
posters from various grunge bands.

Oliver moves his head. He has awoken. He puts his pillow

over his face and tries to fall back asleep. Not happening.

He gets up and his full figure is visible. Oliver is average

in every way. He stretches and puts on some clothes. Socks,
jeans, T-shirt, shoes, leather jacket.
Oliver lays down on his bed and puts his face in his hands.
He lets out a deep breath and slowly exits the room.

INT. HALLWAY - CONTINUOUS

Oliver walks down a hallway and down the stairs at the end of
the hallway. The uncurtained windows show that it is very
early in the morning and the sun is just beginning to rise.
Oliver walks into the kitchen.

INT. KITCHEN - CONTINUOUS

Oliver opens the refrigerator and takes a huge chug of orange

juice from a bottle. He puts the bottle back and grabs a
carton of eggs and a stick of butter. He grabs a frying pan
from a nearby cupboard and melts some butter in the pan.
Oliver is oddly transfixed and attentive to the melting
butter.

He breaks his trance and cracks four eggs into the pan. He
scrambles them until they’re brown.

Oliver puts them on a plate and wolfs them down at the table.
He chugs more orange juice. He wipes his face with a paper
towel. Oliver shoves the paper towel into his pocket.

He checks his watch. He watches some seconds tick by.

Tick, tick, tick.

He gets up and slowly walks upstairs, through the hallway,

and into his bedroom.
 2.

INT. BEDROOM - CONTINUOUS

Oliver enters quietly and retrieves a large backpack, slings

it on, and grabs his car keys from atop his desk. He walks
out of the room, back into the hallway, and back down the
stairs.

INT. KITCHEN - CONTINUOUS

Oliver walks to the table and grabs a large kitchen knife

from the knife block.

The largest in the set.

He slowly walks out of the kitchen like he’s trying to not

make any noise.

INT. MASTER BEDROOM - CONTINUOUS

A door opens to another bedroom and Oliver enters quietly.

The room is dark.

He takes a look around. He walks over to the bed. He’s a

shadow.

On the bed is a sleeping, balding fat man. He snores loudly.

Oliver INTENSELY glares at him. His eyes widen.

Oliver throws the comforter off the fat man, revealing his
gelatinous build.

Oliver takes the paper towel out of his pocket and wraps it
around the handle of the knife.

He then slides it into the neck of the sleeping fat man.

The fat man wakes up instantly and his eyes nearly bulge out
of his head.

Blood ERUPTS from the wound like a geyser and his limbs
seizure and flail.

Oliver watches the fat man die, all with no expression on his
face.

Oliver wipes the handle of the knife with the paper towel.
He checks his watch. Time to go.

He takes the fat man’s wallet off the nightstand, leaves the
room and walks directly out of the house.
 3.

EXT. FRONT YARD - EARLY MORNING - CONTINUOUS

Oliver strolls to his car in the driveway, throws his

backpack to the back seat and gets in.

INT. CAR - CONTINUOUS

He starts the car and takes his time tuning the radio to an
enjoyable station. He settles on a classic rock station
playing “Tom Sawyer” by Rush. Oliver smirks at the sound of
the tune.

Oliver checks his watch once more, backs out of the driveway,
and hits the road.
He stops at a stop sign at the end of the block. He turns
right. He drives another block.

Up ahead in the early morning darkness he sees a teenage kid

standing on the sidewalk in front of the house. The person
is chubby, hunchbacked, and is wearing a coat and a backpack
identical to Oliver’s.

Oliver stops the car in front of the kid. The person walks
to the car, throws his backpack in the back seat and gets in
the passenger seat.

Oliver glares at the kid. The kid has trouble making eye-
contact. The kid looks out the window.

OLIVER
Hi, Jimmy.

JIMMY
Hi, Oliver.

Oliver puts the car in drive.

JIMMY (CONT’D)
Did you kill Dad?

Oliver nods.

OLIVER
Did you kill Mom?

JIMMY
Yes.

They’re both unphased. The car thunders down the road.

FADE TO BLACK.
 4.

DYSFUNCTION
CUT TO:

INT. LIVING ROOM - EVENING

Gunshots and explosions are heard from the television. In

front of the TV on the couch are OLIVER and JIMMY. They gaze
upon the screen like brain-dead zombies. The balding fat
man, ROBERT, pokes his head in the room.

ROBERT
Turn that shit off. Time to eat.

Jimmy gets up quick. His favorite part of the day. More

food. Oliver exhales deeply and turns off the TV. He
follows Jimmy into the dining room.

INT. DINING ROOM - EVENING

On the table are three plastic plates smothered with

salisbury steak, mashed potatoes, and macaroni and cheese.
There is a microwaveable container filled with more steak in
the center of the table.

Jimmy and Oliver take a seat and join Robert.

Robert munches down on his food.

ROBERT
Sign up for classes yet?
OLIVER
Nope.

ROBERT
Well why the fuck not?

OLIVER
I keep forgetting to.

ROBERT
You keep forgetting to? How many
more credits do you need to
graduate?

Oliver takes a big gulp of water.

OLIVER
Twenty-one.
 5.

ROBERT
You realize that’s almost two
semesters worth of classes? How
much longer do you think you’re
gonna be mooching off me by living
here? You pay ZERO rent. You do
nothing around here. You don’t
even work full time. Get your head
out of your ass, you freeloading
little shit.

OLIVER
So this is how we’re going to start
supper?

ROBERT
You’re goddamned right it is. If
your stupid ass didn’t have me to
motivate you, you’d be homeless
right now.

OLIVER
For fuck’s sake, I’m twenty years
old!

ROBERT
Watch your tone when you’re talking
to me.

OLIVER
How many kids in my graduating
class do you think are completely
independent of their parents?

ROBERT
I don’t give a shit about other
kids. It’s a problem with your
entire generation. Every one of
you is fucking lazy. When I was
your age I was busting my ass
working full time and going to
school. I expect you to do the
same.

OLIVER
Okay, well I don’t care about your
expectations. I’m an adult. I set
my own expectations for myself.

ROBERT
As long as you are living here, you
will live up to my expectations.
Otherwise, you can move out.
(MORE)
 6.
ROBERT (CONT'D)
Stop fucking around and sign up for
classes. You’ve had all summer and
the deadline is in five days.

JIMMY
Dad, ever since you and Mom got
divorced you’ve turned into a huge
jerk!

ROBERT
Shut up, Jimmy. I didn’t ask for
your input.

There’s an awkward silence as the three continue to eat.

ROBERT (CONT’D)
You have no career ambition. Think
you’re gonna be able to support
yourself working twenty hours a
week part-time at a grocery store?
Why don’t you ask for more hours?

OLIVER
There are eight people who work in
my department. One person works in
the morning, one at night. We’re
overstaffed. I wouldn’t get any
more hours if I asked for them.

ROBERT
Well, shit, how about you transfer
to a different fucking department?
Or start filling out job
applications for other jobs? You
don’t make shit there.
OLIVER
I like my job.

ROBERT
That’s so typical Oliver. You’d
rather go through no discomfort and
eek your way through life. You
always take the path of least
resistance. I hope your way of
thinking doesn’t infect Jimmy. I
can’t have another one of my kids
grow up to be like you.

Oliver takes one last bite of his mashed potatoes. He gets

up and clears off his plate. Robert glares at him as he
walks upstairs.
 7.

ROBERT (CONT’D)
Don’t grow up to be a lazy piece of
shit like your brother.

Robert gets up and reloads his plate. Jimmy continues to

eat.

CUT TO:

INT. OLIVER’S BEDROOM -

Oliver walks in, lays down on his bed, and opens his laptop.
He plays some music. Jimmy walks in.

JIMMY
What movie are we gonna watch
tonight?

Oliver sighs.

OLIVER
I don’t care. Pick one.

Jimmy wanders to Oliver’s film collection and picks out the

cinematic classic “Abraham Lincoln vs. Zombies”. He puts in
the DVD player.

OLIVER (CONT’D)
Why the fuck is Dad such an
asshole? I’ve literally never done
a single thing to him and he still
treats me like I’m a toddler. I’m
really getting sick of it.
JIMMY
I don’t know why he’s so mean.

OLIVER
Ever since he got divorced with Mom
he hasn’t been getting laid, that’s
why.

JIMMY
At least he doesn’t hit us anymore.

OLIVER
He stopped when I grew up and got
bigger because he knows I’d fuck
him up.

Jimmy presses play with the remote and the movie begins to
play.
 8.

OLIVER (CONT’D)
I swear I’m so close to killing
him. The world would be a better
place without him being a such a
dick to everyone.

JIMMY
I wouldn’t be sad if Dad died.

OLIVER
I wouldn’t be sad if Mom died
either. We were raised by
incompetent parents. We are both
intelligent enough to do whatever
we want in life but we were screwed
from the beginning because we were
unfortunate enough to be born to
these idiots. I wouldn’t have been
so afraid of having an actual life
if they didn’t ruin me. I wish I
could be normal.

JIMMY
You are normal, Oliver.

OLIVER
Ha, you don’t know the half of it.
There’s a bunch of shit I don’t
tell you for the sake of your own
mental health.

JIMMY
Like what?

OLIVER
You don’t want to know. That’s why
I don’t tell you. And I never
will.

JIMMY
Is what your not telling me the
reason why you hate Dad more than
me?

OLIVER
It’s one of the reasons, actually,
yeah.

Oliver and Jimmy watch Abraham Lincoln slice his mother’s

head off. They’re fascinated.
 9.

OLIVER (CONT’D)
Jimmy you don’t tell Dad anything I
tell you right? I hope you’re
loyal to me.

JIMMY
Of course. I am loyal to you.

Oliver GAZES fervently at the violence on screen, smiling.

FADE TO BLACK.

FADE IN:

INT. KITCHEN - NIGHT

A phone rings. Robert walks to the counter to pick it up.
He leans against the wall and answers it.

ROBERT
Hey, Ma. How ya doin’?

Robert gives off a weasely, creepy grin. An unexpected look

to be had when talking to his mother, MARGIE.

She has the gross voice of a heavy chain-smoker.

MARGIE
Hi, Son. I’m doin’ okay. I’d be
better with you around. I miss
you.

Robert adopts a seductive tone.

ROBERT
Well I miss you too.

MARGIE
Are they home?

Robert looks up.

ROBERT
(sighs) Yeah.

MARGIE
Ugh. So what’s new?

ROBERT
Not too much. Same old same old
around here. Shirley’s being even
more of fucking bitch than usual
lately.
(MORE)
 10.
ROBERT (CONT'D)
Taking my child support money and
using it to go on a fucking
shopping spree for herself.

MARGIE
Fuckin’ skank. That ain’t
surprisin’ to me in the slightest.
Bitch never knew how to behave.

ROBERT
Every time Jimmy needs money for
something it comes out my pocket.
Jimmy needs lunch money, out of my
pocket. Jimmy needs money for
clothes, out of my pocket. She
doesn’t pay for shit. I never go
two days without getting a phone
call from her, coming up with
another excuse for me to give her
fuckin’ a hundred dollars. I don’t
know where her money goes. I give
her more than enough money to take
care of one goddamned kid.

MARGIE
Baby I don’t know what compelled ya
to havin’ kids with that evil woman
in the first place. She corrupted
you. Stole you from her mama.

ROBERT
I know, I know.

MARGIE
Now you got two fully-grown corrupt
souls walkin’ around, doin’ nobody
no good. Should just get rid of
‘em. Give ‘em away to somebody
who’ll be content with taking care
of a couple a’ fuckin’ lowlifes.

ROBERT
Shit, Ma. You know nobody’d take
them in.

MARGIE
I just hate seein’ my baby’s life
ruined. I want you to be happy.
When are you gonna come back to
mama?

Robert checks around the corner, into the dining room.

Nobody’s there.
 11.

ROBERT
As soon as I get these two
shitheads off my back. I want you
back more than anything. You know
that.

Robert’s eyes tear up.

MARGIE
I know I know that. I just want to
wake up every morning to your
warmth and kisses. I’m not gettin’
any younger and I need to spend
time with my baby.

Margie’s all choked up, too.

Robert walks to kitchen table and takes a seat. He starts to
weep like a little girl.

ROBERT
I need to be with you, Ma. I love
you more than anything.

He continues to cry during a moment of silence.

ROBERT (CONT’D)
I’m gonna to find a way to sort
this all out. I can’t go another
year without having ya. I promise
you, Ma. I’ll be back with you
soon.

MARGIE
I’m holdin’ that promise to you,
Son.

Robert’s pathetic tears continue to fall.

Suddenly heavy footsteps shuffle down the stairs.

ROBERT
Ma, I’ll call you back this week.

Robert hangs up the phone immediately and wipes away his

tears.

Jimmy walks in to the kitchen, unaware of Robert’s presence.

He opens the refrigerator door and grabs a can of soda. He
shuts the door, leans back against the counter, and begins
enjoying his beverage.

Robert GLARES at Jimmy with CONTEMPT and HATRED.

 12.

Jimmy continues to sip.

More DIABOLICAL glaring from Robert.

Jimmy finishes the can and turns to throw it away. He

catches Robert staring at him. Jimmy is caught off guard by
the emotional state of his father. The two lock eyes.

They stare.

Silence.

Jimmy breaks his trance.

JIMMY
Hi, Dad.
More glaring. This awkward silence seems like an eternity.

Jimmy throws away his soda can and walks out of the room and
up the stairs.

Robert looks FURIOUS.

CUT TO:

INT. OLIVER’S BEDROOM - NIGHT

Jimmy enters. Oliver hasn’t moved from his bed at all due to
the captivating magic of “Abraham Lincoln vs. Zombies”.

JIMMY
There’s something wrong with Dad.
He’s really mad.
OLIVER
I don’t give a fuck. Good.

Jimmy sits down to watch the movie.

OLIVER (CONT’D)
He has nothing to be pissed about.

HARD CUT TO:

EXT. HIGHWAY - MORNING

Oliver’s car ROARS down the highway.

CUT TO:
 13.

INT. CAR - MORNING

Oliver and Jimmy cruise down the road, listening to classic

rock. “China Girl” by David Bowie.

OLIVER
All I know is that when the opening
riff to “Freewill” starts, I’m
going to lose my fucking mind.
Everybody’s gonna lose their
fucking minds. That’s the best
part about going to a Rush concert.
All the fans are die-hard. Plus
there won’t be any dumb bitches
yelling at you for singing. That’s
what happened when I saw Paul
McCartney will Uncle Steve. The
twat in front of me had the nerve
to bitch at me in the middle of “We
Can Work It Out” that I was singing
too loudly in her ear. What the
fuck? You’re at a concert where a
fucking BEATLE is playing live and
you’re getting upset at people
singing too loud? The old people
around me didn’t care, so it was
obviously just her being a bitch.
But no people like that are gonna
be at Rush, because all Rush fans
are male. And they’ll all be
singing with us.

JIMMY
I’m most excited for the Neil Peart
drum solos.
OLIVER
The greatest drummer in the history
of music. He’s the most talented
member of the band by far. He
writes all the lyrics too.

JIMMY
Geddy Lee doesn’t write the lyrics?

OLIVER
Nope, but he sings them fucking
amazingly.

JIMMY
So when is the concert again?
 14.

OLIVER
As of today the concert is in two
weeks. The thing that sucks is
that I’m not even sure if we’ll get
our money by then. I wish we would
have got this idea sooner.

JIMMY
We might not even go?

OLIVER
Oh we’re gonna go. If this doesn’t
work out we’ll find one way or
another. I’ll fucking fight my way
in and hold people at the concert
at gunpoint if I have to. This is
like probably the only chance we’ll
ever have at seeing them live, so
we can’t not go. I can’t not see
YYZ live. This band is my fucking
life.

JIMMY
This band is the meaning of our
lives.

OLIVER
Pretty much.

Oliver and Jimmy enter a very small town and Oliver spots a
gas station.

OLIVER (CONT’D)
Gotta take a piss?
JIMMY
Yeah I better just in case.

OLIVER
Okay we’ll stop here.

Oliver pulls into the gas station and parks next to a fuel
pump.

OLIVER (CONT’D)
Here, pay for the gas and get me a
chocolate milk. Get a candy bar or
some shit for yourself.

JIMMY
Okay, thanks.

Oliver hands Jimmy a credit card. They exit the car.

 15.

EXT. GAS STATION - MORNING

Jimmy walks inside the gas station. Oliver begins to pump

gas.

INT. GAS STATION - MORNING

A hippie-looking senior is standing behind the counter as

Jimmy walks in. The bell from the door chimes.

HIPPIE
Hello!

Jimmy walks to the cooler and grabs a chocolate milk. He

grabs a candy bar too. He walks to the counter.
HIPPIE (CONT’D)
Any gas today?

Jimmy looks out the window.

JIMMY
Yeah, pump two.

HIPPIE
And did you find everything okay?

JIMMY
Yep.

HIPPIE
Alright, that’ll be thirty-four
dollars and seventeen cents.
Jimmy swipes the card.

JIMMY
How far is Minneapolis from here?

HIPPIE
About two hours.

JIMMY
Thanks. Have a nice day.

HIPPIE
You as well.

Jimmy leaves.
 16.

EXT. GAS STATION - DAY

Jimmy opens his candy bar and begins to eat it. He walks to
Oliver’s car and gets in.

INT. CAR - DAY

Jimmy hands Oliver his chocolate milk and credit card.

JIMMY
The guy in there said we’re two
hours away.

OLIVER
Perfect.
Oliver starts the car and they hit the road.

OLIVER (CONT’D)
So yesterday, we drove up to the
twin cities, got there around three
in the afternoon, walked around the
Mall of America, chilled there for
a bit, you know, visited the Lego
Store and all that shit, had supper
at a pizza place, and we slept in
our car on the side of the road.

JIMMY
Gotcha.

OLIVER
Now we drive up and actually do all
of that stuff today, but when the
cops come and talk to us, we did it
yesterday. Remember Jimmy, it is
imperative that you don’t fuck up
the story.

JIMMY
Uhh, to be honest Oliver, I don’t
think it’s the best story. It
doesn’t really make sense.

OLIVER
I know it doesn’t make sense but
the cops aren’t going to target us
for the crime so they won’t dig too
deep when they talk to us.
Remember to act fucking DISTRAUGHT
when they give us the news. We
need to put on a performance. You
gotta be Robert fucking De Niro.
(MORE)
 17.
OLIVER (CONT'D)
But here’s the thing, I was
watching this video that Robert De
Niro was giving about acting
advice, and you always have to be
minimal when you’re emotional.
When the cops tell us they found
mom and dad dead laying in their
beds, you can’t start sobbing
uncontrollably like a little girl.
You have to show a bit of restraint
to make it convincing. De Niro
kept saying “you don’t have to do
anything” meaning that you have to
keep your cool. You know that
scene in Mystic River when Sean
Penn loses his shit when he finds
out his daughter died?

JIMMY
Yeah.

OLIVER
That scene is the most overacted
scene in the history of cinema.
People don’t act like that in real
life when one of their family
members die.

Oliver pauses and continues to drive down the road.

OLIVER (CONT’D)
Or they do and I’m just a
psychopath.

FADE TO BLACK.
FADE IN:

INT. KITCHEN - MORNING

Oliver’s sitting at the table, dressed in a blue button-up

shirt and black slacks. He’s eating a bowl of cereal and
reading the back of the box.

Robert walks in.

ROBERT
Work today?

OLIVER
Yes sir.
 18.

Robert walks downstairs. Oliver takes another spoonful of

cereal in his mouth and eyes Robert as he descends.

Oliver gorges a few more spoonfuls.

ROBERT
WHAT THE FUCK IS THIS?!?!?!

Robert’s yell startles Oliver. Robert THUNDERS up the

stairs. He’s holding a pair of jeans.

ROBERT (CONT’D)
What the FUCK is this?

Robert shows Oliver the jeans.

OLIVER
It’s a pair of jeans.

Robert walks up to Oliver.

ROBERT
Feel them.

Oliver puts his hand on the jeans, and then returns to eating
his cereal.

ROBERT (CONT’D)
What do they feel like?

Another spoonful.

OLIVER
The jeans feel like they’re wet.
ROBERT
And why would that be?

OLIVER
Well, the dryer could be broken.
Or, the laws of thermodynamics
ceast to exist in our basement and
the heat emitted by the dryer does
not sufficiently dry the jeans.

Another spoonful. Robert smacks the spoon out of Oliver’s

mouth and it hits the wall.

ROBERT
You little smart ass, tell me how
I’m supposed to go to work with wet
clothes?

Oliver gets up and grabs another fork from the dishwasher.

 19.

OLIVER
Well, you put the wet clothes on
and go to work.

Another spoonfu-Robert SMACKS the FUCK out of Robert’s face.

ROBERT
YOU INCONSIDERATE LITTLE PIECE OF
SHIT. WHAT IN THE FUCK IS THE
MATTER WITH YOU? HOW DID YOU GROW
UP TO BE SUCH AN ASSHOLE?

Oliver sheds a tear. There’s a prominent red mark on his

face.

Robert SMACKS Oliver again. Blood leaks from his nose.

ROBERT (CONT’D)
YOU WILL NEVER BACK-TALK ME AGAIN,
DO YOU FUCKING HERE ME?

Robert grabs Oliver’s head and smashes it into the bowl of

cereal.

ROBERT (CONT’D)
EAT IT. EAT IT, YOU LITTLE FAGGOT!

Robert smushes Oliver’s face into the bowl.

ROBERT (CONT’D)
YOU GONNA TALK SHIT TO YOUR OLD MAN
AGAIN?

Robert pulls Oliver’s head up. There’s milk and cereal all
over his face. Oliver takes a gasp for air.
Robert punches Oliver HARD in the stomach.

ROBERT (CONT’D)
YOU GONNA TALK SHIT TO YOUR OLD MAN
AGAIN?

OLIVER
No!

ROBERT
YOU KNOW, EVER SINCE YOUR MOMMA
LEFT I THINK SOMETHING WENT OFF IN
YOUR BRAIN THAT MADE YOU THINK IT’S
OKAY TO TREAT PEOPLE LIKE SHIT.

Robert SLAMS his palm on the side of Oliver’s head.

 20.

ROBERT (CONT’D)
ARE YOU, GOING TO TALK SHIT, TO
YOUR, OLD MAN AGAIN?

Oliver wipes away his tears.

OLIVER
NO!

ROBERT
If you disrespect your father one
more time...

Robert pulls on Oliver’s shirt collar and meets him face-to-

face.
ROBERT (CONT’D)
I. Will. Fucking. End. Your. Life.

Robert spits in Oliver’s face.

ROBERT (CONT’D)
And if you tell anybody about this,
I. WILL END. YOUR FUCKING. LIFE.

Robert lets go of Oliver’s shirt.

ROBERT (CONT’D)
Do I make myself clear?

Oliver looks up at his father. They make eye contact.

Stare down.

ROBERT (CONT’D)
Good.

Robert kicks the spoon toward Oliver.

ROBERT (CONT’D)
Clean this mess up.

Robert exits the room and leaves the house at the front door.

Oliver cleans up the mess.

CUT TO:

INT. BATHROOM - MOMENTS LATER

Oliver enters the bathroom and turns the light on. He wipes
the blood from his nose with his forearm.
 21.

Oliver goes to the sink, turns it on, and begins to wash his
face with his hands.

He looks at himself in the mirror.

Humiliation.

Oliver starts to sob. He breaks down, sitting against the

sink with his face in his hands. Bawling like a newborn
baby.

All of a sudden - the door opens. Oliver looks up.

It’s Jimmy. With tears in his eyes.

Jimmy gets down, hugs Oliver, and places his head gently on
his shoulder.

They cry.

FADE TO BLACK.

FADE IN:

INT. DINING ROOM - NIGHT

A younger Robert and a younger Jimmy sit at the dining table.

Pencils and papers are scattered.

ROBERT
You see, Jimmy, a factor is a
number that can be timesd by
another number without a remainder.
So five is a factor of ten,
fifteen, and twenty. Because if
you take two fives, you get ten and
you have nothing left over. If you
take three fives, you get fifteen
and have nothing left over. If you
take four fives you get twenty and
you have nothing left over.

Jimmy stares at a page of homework, completely emotionless.

ROBERT (CONT’D)
Well do you get it?

JIMMY
Yeah. Yeah I think so.

ROBERT
Okay, so what are the factor of
ten?
 22.

JIMMY
Ummmmm.... One, ten, and five and
two.

ROBERT
That’s right!

Robert points to some problems on the homework.

ROBERT (CONT’D)
So do the rest of the numbers here.
Numbers six through ten.

Jimmy grabs a pencil and gets to work.

Robert crosses his arms, leans back, and observes Jimmy. He

smiles.

ROBERT (CONT’D)
Good job, Jimmy. You’re way more
smarter than your brother. It took
him forever to get this.

JIMMY
Oliver is smart.

ROBERT
Ha. No he isn’t. He is the
dumbest kid in his class every
year. Teacher says so at the
conferences.

JIMMY
No, Oliver is very smart. He knows
everything about movies, music, and
TV shows!

ROBERT
All the information that dumb kid
has in his brain is useless. Don’t
let him make you think any
different.

JIMMY
Yeah but he’s still smart. Just
because he doesn’t get good grades
doesn’t mean he’s not stupid - I
mean doesn’t mean he’s stupid.

ROBERT
Whatever. He’s an idiot. Don’t
become like him. Try hard in
school so you can get into a good
college.
(MORE)
 23.
ROBERT (CONT'D)
Your brother is gonna be worthless
in life. I don’t want you turning
out like him.

Jimmy continues to do his homework.

JIMMY
Dad?

ROBERT
What?

JIMMY
Why do you hate Oliver?

ROBERT
That’s none of your business.

Silence while Jimmy does his homework.

ROBERT (CONT’D)
I pay for him to live here. Hell,
I pay for him to exist. It’s not
required of me to like him. He
should be thankful that I brought
him into the world.

JIMMY
I thought all parents loved their
kids.

ROBERT
That’s what you see on the TV shows
that you watch with your brother,
but it ain’t what happens in
reality. Truth is that your
brother took my freedom away from
me.

JIMMY
Your freedom?

ROBERT
Mmm-hmm. You’re too young to
understand this now, but there’s a
woman out there for me, and I can’t
have her, cause havin’ your brother
wasn’t to her liking.

JIMMY
Mom didn’t want Oliver?
 24.

ROBERT
No, she did. But you know that
things just didn’t work out between
me and your mom. We divorced
before you were born. There’s
another one out there for me, and I
love her.

JIMMY
What’s her name?

ROBERT
Oh, don’t worry about it. She’s
long gone anyway. Your waste of
life fucking brother stole my
chance at a happy life. And I
guess when you decided to come
along that sealed my fate.

JIMMY
Why did you have him?

ROBERT
It wasn’t me who wanted him. Your
crack-dealin’ mother wasn’t fit to
handle him so I got thrown into
this mess. Whatever. It’s
complicated, it’s a long story.
I’d get rid of him if I could.

Robert stands up and stretches.

ROBERT (CONT’D)
I’m going to bed. Finish your
homework and get plenty of sleep
tonight. I don’t want you failin’
any tests or nothin’ at school.

JIMMY
Okay. Good night.

Robert walks into his bedroom. Jimmy sits at the table,

staring at his homework.

FADE TO BLACK.

FADE IN:

INT. DINING ROOM - A FEW HOURS LATER

Jimmy is sleeping with his head on the table. A pool of

slobber has formed. He hears the the door open and jolts
awake.
 25.

Oliver walks in, dressed in his work clothes and smoking a

cigar.

OLIVER
Oops, sorry for waking you up,
Jimmy.

Jimmy rubs his eyes and stretches.

JIMMY
What time is it?

OLIVER
I don’t know probably like one.

Oliver takes a puff of his cigar. He checks his watch.

OLIVER (CONT’D)
Twelve forty-five.

JIMMY
Uhh, you shouldn’t smoke that cigar
in here. Dad would probably get
mad at you if he, uhh, saw you
doing that.

Oliver and Jimmy hear a bang that is LOUD as FUCK.

They turn their heads toward Robert’s bedroom...

There he stands. Menacing and SEETHING with anger.

He points to Jimmy.

ROBERT
YOU. GET UPSTAIRS. NOW.

Jimmy scurries upstairs as fast as his uncoordinated self

can.

Oliver takes another puff and locks eyes with his father.

Robert’s red face looks like it’s going to explode.

Oliver breaks eye contact and looks down at the floor

unabashedly.

ROBERT (CONT’D)
WHERE WERE YOU?

Oliver takes yet another puff.

ROBERT (CONT’D)
GIVE THAT TO ME.
 26.

Oliver looks up at his father again and locks eyes with him
once more. He looks a LOT more pissed now.

Robert stretches out his hand. Oliver stares at it, then

right back at Robert.

Oliver shrugs.

OLIVER
Give what to you?

Oliver takes another puff.

Silence. A stand-off in the middle of the house.

ROBERT
THIS. IS. YOUR. LAST. CHANCE.

Robert heavily exhales from his nostrils.

ROBERT (CONT’D)
GIVE IT TO ME.

Oliver slowly walks over the Robert and places the lit cigar
gently in his palm.

Robert takes a puff of the cigar.

He blows smoke in Oliver’s face....

Robert takes the cigar out to take a breath and GRABS Oliver
by the throat.

He shoves the lit end of the fat cigar into Oliver’s face,
INCINERATING his cheek.
OLIVER
EEEEEEEEEEEKKKKKKKKK!

Robert throws Oliver by his throat to the floor. He gets

down and burns the cigar into his face again.

OLIVER (CONT’D)
AHHHHHHHHHHHHHHHHHHHHHHHHHHHH!

INT. HALLWAY - MOMENTS LATER

Jimmy sits atop the steps. Tears streaming down his face.
He covers his ears as he hears another bloodcurdling shriek
from his brother.
 27.

INT. DINING ROOM - MOMENTS LATER

Robert gets off of Oliver and stands up.

He’s calm now.

ROBERT
If you disobey the rules of this
household one more time...

Oliver crawls back to the wall and looks at his dad in

TERROR.

ROBERT (CONT’D)
You will be killed.
Robert flicks the cigar at Oliver and returns to his room.

FADE TO BLACK.

FADE IN:

INT. BATHROOM - MOMENTS LATER

Oliver uses the mirror on the wall and pours alcohol into his
wound. He bites down hard into a towel.

He pours alcohol into his other wound and clamps down on the
towel again.

Oliver wraps the towel around his face.

He stares at himself in the mirror.

Oliver shuts the light off.

He returns to the mirror and stares at the darkness.

....................

CUT TO:

INT. OLIVER’S BEDROOM - NIGHT

Rock music plays quietly as Oliver and Jimmy sit on the floor
across from one another.

OLIVER
I have to kill dad. And I need
your help.
 28.

JIMMY
Oliver, I can’t just help you kill
someone.

OLIVER
Yes you can. If I don’t kill him,
he’s going to kill me.

JIMMY
Why can’t you just call the police
when he beats you up?

OLIVER
Because he’s a manipulative
sociopath. There’s no proof that
he was the one who did this to me.
If he even saw me one time after I
called the police, I’d be dead.
Jimmy, he’s done more than just
what you’ve seen. He is evil.

JIMMY
You can’t just go around killing
people!

OLIVER
Jimmy, listen to me. Morally, it’s
okay for me to kill him because
he’s a piece of shit who deserves
to die. On another level, it’s
okay for me to kill him because
he’s going to end up killing me if
I don’t kill him.

JIMMY
How do you know that he’ll do that
though?

OLIVER
I can’t go through life wondering
if the next day is going to be the
day that I die. Are you even going
to care if he’s dead?

JIMMY
No, but I just don’t want you to go
to jail forever.

OLIVER
I won’t go to jail forever. We
need to establish an alibi. Do you
know what that means?
 29.

JIMMY
No.

OLIVER
An alibi is like a reason that we
couldn’t have killed him. So if
you are my witness to me being in
Minnesota at the time, there’s no
way the murder can be pinned on me.

JIMMY
That makes sense.

OLIVER
We need to plot this shit out
carefully. I can’t leave any
evidence behind. Neither can you.

JIMMY
What do you mean, me?

OLIVER
You have to kill mom.

JIMMY
No! Are you out of your mind?!?!

Oliver shushes Jimmy.

OLIVER
Be quiet, god damn it!

Oliver puts his head in his hands and sighs deeply.

OLIVER (CONT’D)
Okay, if you kill mom, we get rich.

JIMMY
What?

OLIVER
Mom has a huge life insurance
policy. If you kill her, we get a
shitload of money.

JIMMY
How do you know?

OLIVER
I overheard her talking about it
one day.

JIMMY
How much money?
 30.

OLIVER
A lot. When grandpa died, I heard
that Grandma got fifty-thousand
dollars. And mom’s policy is worth
a lot more than that because she’s
way younger. And Jimmy...

Jimmy looks up at Oliver.

OLIVER (CONT’D)
You know she’s worse than dad.

The two listen to the music playing.

OLIVER (CONT’D)
Listen to this. Hear it. Their
farewell tour is this summer. Mom
and Dad will never let us go. Our
lives revolve around this band. If
we don’t go, we’ll regret it
forever.

JIMMY
I know.

OLIVER
We can’t let these two pieces of
shit ruin our chance to see our
heroes live. We can be living
rich, doing whatever we want, and
then this summer we can get front
row tickets and have the greatest
night of our lives. None of that
is possible if we continue living
like this. We have to do this,
Jimmy.

JIMMY
Okay. Fine. I’ll do it.

OLIVER
Good.

Oliver gets up and walks to his desk. He opens the drawer

and pulls out a piece of paper and a pen.

OLIVER (CONT’D)
I already have most of this planned
out.

Oliver grins wickedly.

FADE TO BLACK.
 31.

INT. MARGIE’S LIVING ROOM - DAY

A phone rings. Price is Right is on the TV. Cats are all

over the fucking place.

Margie, decked out in purple pajamas and slippers, puts out

her cigarette.

Margie gets up and answers the phone.

She coughs loudly like the old, chain-smoking hag she is.

Margie’s quite irritated. She hates when her Price is Right

viewing gets interrupted.

MARGIE
What?

A voice is heard coming from the phone, but the words are
impossible to make out.

Margie looks confused.

MARGIE (CONT’D)
Wait, what? Where?

The voice continues.

A frightened look appears on Margie’s face. She puts her

hand over her mouth and gasps.

MARGIE (CONT’D)
Oh no, my baby!

Margie starts to obnoxiously sob. The voice continues.

MARGIE (CONT’D)
Do you know who did this?

The voice contin... INTERRUPTED by Margie

MARGIE (CONT’D)
What do you mean ya don’t know?!?
Are the kids dead too?

The guy on the phone speaks more hurriedly. Gotta give an

explanation for a pissed-off and grieving old bitch.

MARGIE (CONT’D)
What do you mean ya don’t know
where the kids are?!
(MORE)
 32.
MARGIE (CONT’D)
Like they got kidnapped or
somethin’?! They are not at their
momma’s house?

The voice slows down. Margie goes to the next level of her
emotional frenzy and starts to pace around the room, kicking
cats out of the way.

MARGIE (CONT’D)
Wait, what?

Margie stops crying audibly, but the tears continue to fall.

MARGIE (CONT’D)
She’s dead too?
The voice continues.

MARGIE (CONT’D)
No, I don’t want your damn
department sendin’ an officer over.
I’m fine by myself.

The voice continues.

MARGIE (CONT’D)
No I’m not in danger!!! What would
someone want somethin’ to do with
me for? FIND OUT WHO DID THIS TO
MY BABY!!!!

Margie chucks the phone across the room. It hits the wall
and shatters.

CUT TO:

INT. CAR - DAY

Oliver and Jimmy drive down a highway, listening to tunes and

casually shooting the shit.

OLIVER
I’m not saying I have a problem
with drugs. People should be able
to do whatever the fuck they want
with their own bodies. However,
that said, the people who end up
getting addicted are hopeless fucks
anyway. The ones who always get
addicted to drugs are simply
unintelligent fucking morons who
lack discipline.
(MORE)
 33.
OLIVER (CONT'D)
They lack the willpower to say no
to something that could fuck them
up for life. There’s no saving
people from that. I’ve done just
about every drug that there is, but
do I spend every paycheck on a
bunch of meth every other week?
No, because I know how to say no.

Oliver picks up his chocolate milk from the cup holder and
takes a swig.

OLIVER (CONT’D)
Mmmm.

He puts it back down and wipes his mouth with his sleeve.
OLIVER (CONT’D)
Did you know that chocolate milk is
like the best drink for you? It
replenishes all your nutrients and
shit after a workout better than a
Gatorade does.

JIMMY
No. I didn’t know that.

OLIVER
Well anyway, what I’m saying is
that there’s nothing wrong with
using drugs socially, and
responsibly. If you’re at a party
and you’re just having a good time,
there’s absolutely nothing wrong
with doing a line. As long as you
have discipline and self-control,
you’ll just get a good time out of
it and you won’t turn into fucking
Scarface or Chris Farley. Don’t be
an idiot and snort six lines and
OD. Have proper self control and
it’s seriously like one of the most
fun things in life, ever.

Oliver quickly shuts his mouth and is silent for a few

moments. Jimmy looks at him like he’s a fucking weirdo.

OLIVER (CONT’D)
But if I’m being completely honest,
there is nothing wrong at all with
just saying no to some dickhead
who’s trying to sell you something.
(MORE)
 34.
OLIVER (CONT’D)
That’s basically the core of this
lesson I’m trying to show you, that
you always need to be one-hundred
percent in control of your life and
your decisions. And I don’t give a
fuck what those dumb ass pseudo-
philosophers say about free will
not existing. If free will didn’t
exist, than why are people thrown
into jail for comitting crime? If
free will doesn’t exist, than
technically it wasn’t their fault?
Our entire justice system, hell
OUR ENTIRE SOCIETY is based upon
the notion that people have control
over their actions. Because they
do. End of story. And you, Jimmy,
as a young man growing up in this
fucked-up world, need to recognize
that and take advantage.

JIMMY
Whatever you say, Oliver.

A phone rings.

OLIVER
What the fuck is that?

A phone rings again.

OLIVER (CONT’D)
I TOLD YOU TO TURN OFF YOUR FUCKING
PHONE!
The phone keeps ringing. Jimmy freaks out and scrambles to
get it out of his pocket.

OLIVER (CONT’D)
Turn it off!

Jimmy takes his phone out and looks at the screen. It keeps
ringing.

OLIVER (CONT’D)
Who is it?!?

JIMMY
It’s Grandma.

OLIVER
Shit. Jesus Christ. Don’t answer
it.
 35.

The phone rings a few more times and it stops.

OLIVER (CONT’D)
I told you to turn your fucking
phone off!

JIMMY
I’m sorry! I forgot!

OLIVER
The police and the NSA can track us
if you have your phone on.! They
use GPS technology and they can
find us wherever we are! Get your
head out of your ass.
JIMMY
Sorry.

OLIVER
Actually, you know what? I want
you to throw your phone out the
window. Right now. Do it.

JIMMY
No!

OLIVER
Do it right now! I can’t have you
screwing this up!

A beep is heard. Jimmy looks at his phone.

JIMMY
It’s a voicemail from Grandma.
OLIVER
Throw your phone out the window.

JIMMY
No-

OLIVER
Actually, no wait don’t throw your
phone out the window. They can’t
tell if we’ve listened to a
voicemail or not, I don’t think.
Play it. And put it on
speakerphone.

Jimmy plays the message.

 36.

MARGIE (O.S.)
Hi, Jimmy. This is your grandma
Margie.

Oliver and Jimmy give each other death-glares.

MARGIE (O.S.) (CONT’D)

Where are you and your brother?
I’m not sure if you’ve heard but
your father has been murdered.

Margie is heard crying.

MARGIE (O.S.) (CONT’D)

We’ve all been worried sick about
you! Uncle Rick and the police are
out trying to find you so if you’re
in a position where you can’t call,
don’t worry. We’ll find you. I
love you, Jimmy. Please come home
soon.

Beep.

OLIVER
Yeah, that’s not going to happen.

JIMMY
She sounds really worried about us!

OLIVER
We have talked to her about three
times in our entire lives. I
highly doubt she gives a fuck about
us. She’s never made an effort to
have a relationship with us.

JIMMY
But it’s our grandma!

OLIVER
Yeah, but our dad was our dad. We
can’t trust anyone right now. You
know this.

CUT TO:

MARGIE’S BEDROOM - DAY

Margie, in her purple PJ’s, is shuffling through papers in

her desk. She’s throwing shit up in the air, determined to
find something.
 37.

Top drawer checked. Nothing.

Middle and bottom drawers checked. Nothing again.

Margie puts her hands on her hips and walks to the bed. She
lays back and closes her eyes.

The fan blades above her sit stationary. She looks up at

them.

Margie gets up and walks to the light switches on the wall.

She flips one on and the fan blades start to revolve.

Margie sees something on the floor a few feet away. She

walks up to it and picks it up.
A small piece of paper - a business card.

On the business card: RICHARD P. BRANSON. PRIVATE

INVESTIGATOR. 563-343-6699 1402 MAIN STREET. CEDAR FALLS,
IOWA.

Margie quickly skimpers over to her old-ass corded phone.

She punches in the number and the phone begins to ring.

Someone picks up. It’s him.

BRANSON
Hello?

Margie is taken back by the southern gentleman. It’s been

awhile.

MARGIE
Hi there, is this Richard Branson?
BRANSON
Sure is. How did you get this
number?

MARGIE
This is Marg. Uhh, Margie
Gunderson. Do you remember me?

BRANSON
No, I can’t say that I do. How did
you get this number?

MARGIE
You helped my family, the
Gundersons, a while back. I kept
your business card.
 38.

BRANSON
Ahhh. I remember now. Sometime in
the early 90’s right?

MARGIE
Yes, I think so.

BRANSON
Yep. That’s right. The
Gundersons. So, why did you call?

MARGIE
I need your help.

BRANSON
Help with what?
MARGIE
Finding someone. I mean, finding
some people-

Another voice is heard bitching at Branson.

BRANSON
Hold on. I’m gonna have to let you
go. You still living where ya used
to?

MARGIE
Yes, but this is kind of urgent,
sir.

BRANSON
I have business there in the
morning. Meet me for breakfast.
Barney’s Pancake House, nine
o’clock sharp.

MARGIE
Okay-

Branson hangs up on Margie. She walks to her desk and grabs

a little notebook out of her purse. She scribbles the
appointment in the notebook, puts it back, and slings the
purse over her arm.

She leaves the room....

CUT TO:
 39.

INT. GARAGE - DAY

Over black we hear the opening of the garage door. As the

light spills in it reveals an old and rusty ‘74 Ford
Thunderbird. It’s a total piece of shit that looks like it
hasn’t been driven in thirty years.

At the entrance of the garage stands Margie, still in her PJs

but wearing cowboy boots. She walks to the back of the
garage, flailing at dusty cobwebs as she approaches a high
shelf.

Atop the shelf is a car battery. She steps on an old tire

and reaches the battery.

Margie pops the hood of the car and installs the battery.
She closes the hood, gets in the driver’s seat, and turns the
keys.

Nothing. She turns them again.

Nothing.

MARGIE
FUCK! FUCKING PIECE OF SHIT!

She slams her fists on the steering wheel repeatedly. She

wears herself out.

After a long moment of heavy-breathing, she turns the keys

again.

The car comes to life.

MARGIE (CONT’D)
FUCK! FUCK YES!

Margie begins laughing like a maniacal psycho and peels out

of the garage.

CUT TO:

EXT. FOREST VIEW TRAILER COURT - DAY

The Thunderbird roars as it tears into the trailer court.

Run-down trailers and white trash galore.

The Thunderbird comes to a screeching halt at an old orange

trailer.

The muddy cowboy boots step out of the car and Margie jogs up
to the door. Fat belly jiggling and all.
 40.

Margie POUNDS on the door.

MARGIE
Crystal! Open up! It’s me!

More POUNDING. This time with both fists.

MARGIE (CONT’D)
Crystal! Open up the damn door!

The door swings open, revealing CRYSTAL. She’s clearly a

meth addict, skinny and with fucked-up teeth. A toddler with
his thumb in his mouth is hugging her leg.

CRYSTAL
Marge?! The hell are you doin’
here?

MARGIE
We need to talk. It’s an
emergency.

CRYSTAL
Why is everything alright?

MARGIE
Can we just talk inside?

Crystal pokes her out of the doorway and looks both ways.
She beckons Margie inside.

CRYSTAL
Yeah, come in.

Crystal swats at the toddler.

CRYSTAL (CONT’D)
Get outta here! Get!

She swats at the toddler again.

CRYSTAL (CONT’D)
Get off my leg! Go play with your
brothers and sisters!

Margie walks into the house.

INT. CRYSTAL’S METH DEN - DAY

Crystal’s trailer is a disaster. Cat shit all over the

floors, tens of cereal boxes everywhere, for whatever
reason.
 41.

Crystal motions to the old sofa.

CRYSTAL
Have a seat, Marge. You want
anything to drink? How ‘bout a
diet Pepsi?

MARGIE
Yes. That sounds nice.

Crystal walks to the kitchen, well, the other side of the

trailer. She prepares the luxurious beverage.

CRYSTAL
So what’s goin’ on, Marge? I
haven’t seen ya for ages and ya
just show up on my doorstep actin’
like the world is about to end.

MARGIE
I think you might want to sit down.

Crystal gets a petrified look on her face.

CRYSTAL
Is something wrong?

MARGIE
Just sit down.

Crystal brings the drink to Margie and sits down on the chair
across from her.

CRYSTAL
Tell me what’s goin’ on, Marge!
You’re freakin’ me out a little.

Margie CHUGS the entire giant glass of Diet Pepsi. She

exhales deeply, ready to share the news.

MARGIE
My sweet baby boy Robert is dead.

CRYSTAL
What?

MARGIE
He was murdered. He was found in
his bed with a knife stabbed inta’
his throat.

CRYSTAL
Oh my god. Robert.
 42.

Margie and Crystal both get emotional.

CRYSTAL (CONT’D)
Who would do such a thing?

MARGIE
You see, the police don’t know
right now. And the kids are
missin’ too.

CRYSTAL
Jimmy and Oliver are missin’?

A look of genuine disgust emerges on Margie’s face.

MARGIE
Whatever their names are. They’re
gone.

Margie wipes the tears from her face with her purple pajama
sleeve.

MARGIE (CONT’D)
I need to find out who did this to
my baby.

CRYSTAL
How are you gonna find ‘em?

MARGIE
Well, that’s why I came here. To
get information.

CRYSTAL
Get information? What are you
goin’ on about, Marge?! You think
I had somethin’ to do with killin’
Robert?

MARGIE
No! Stop that! You knew him well.
You knew the family. You knew the
kids. I stopped gettin’ into their
stupid damn affairs when my baby
decided to have them two damn kids.

CRYSTAL
How do you know I can help? I
don’t even know ‘em that well?!

MARGIE
You worked with him for years! He
was always droppin’ off his kids at
your place for you to watch em’!
 43.

CRYSTAL
Well Marge, I don’t think I can
help. But feel free to ask away.

MARGIE
Did my baby ever tell you about any
enemies that he had?

CRYSTAL
No. He was a quiet guy. Kinda
antisocial too. He didn’t really
say much.

MARGIE
But...
CRYSTAL
I guess that Oliver was really
never too fond of him.

Margie eyes Crystal mysteriously. How does she know that?

CRYSTAL (CONT’D)
But, obviously not enough to kill
him or anything. Look, it’s been
years, Marge! Ya know, people
change, they meet more people.
Maybe Robert just crossed the wrong
guy.

MARGIE
I know he wasn’t the most sociable
fella. He didn’t know anyone. He
always kept to himself. I don’t
think my Robert could ever be in a
position where someone would do
this to him.

CRYSTAL
I never thought he would either. I
just hope Jimmy and Oliver are
safe.

Margie, the tut-tutter, tut-tuts. She shakes her head and

puts it in her hands.

THEN - her cell phone rings. She glances at the phone.

MARGIE
Oh, shit, Crystal. I gotta go. I
appreciate the hospitality.

Margie springs up out of the chair and scurries to the door.

She answers the phone while exiting the shit-hole trailer.
 44.

MARGIE (CONT’D)
Hello? Take care of yourself,
Crystal!

Crystal waves and Margie exits. Crystal gets up and goes to

the front window.

She moves the curtains and watches Margie talk on the phone
as the gets into the car and drives away.

Off goes Marge. Into the distance. Gone.

Crystal RUSHES to her phone and frantically punches in a

number.

She puts the phone to her ear and with each ring, her face
grows more worrisome.

FADE TO BLACK.

CUT TO:

INT. MOTEL ROOM - DAY

A crappy motel room. Hardly any light gets in, but it’s
enough to reveal the disgusting interior. Oliver and Jimmy
sleep on the bed together.

A phone rings - waking them both.

OLIVER
Fuck.

Oliver flails the blanet and sheets everywhere, trying to

find the phone. He and Jimmy both sit up.

JIMMY
I’m sitting on it. Here.

Jimmy quickly hands Oliver the phone and Oliver looks at the
screen.

OLIVER
It’s Crystal.

Jimmy and Oliver glare at each other. Ring, ring ring.

Ring, ring ring.

The ringing stops.

They continue to glare at each other. They’re a bit

concerned.
 45.

A notification sound - from Oliver’s phone. A voicemail.

Oliver plays it over the speaker.

CRYSTAL (O.S.)
Oliver, this is Crystal. I don’t
know if you’re gonna get this or if
you’re okay, but your grandma
Margie is lookin’ for ya.

Oliver and Jimmy dart their heads up and exchange an “Oh

fuck” look at each other. Scared shitless.

CRYSTAL (O.S.) (CONT’D)

Please call me if you get this,
Bye.
Oliver rubs his face with his hand.

OLIVER
Shit.

He looks at his phone again.

OLIVER (CONT’D)
I...

JIMMY
I thought we were supposed to shut
off our phones!

OLIVER
Shut up, you didn’t do it either.

JIMMY
Say sorry for yelling at me.
You’re a hypocrite.

OLIVER
Jesus Christ. I’m sorry. There.

Oliver sighs.

OLIVER (CONT’D)
Crystal can be trusted. I think
that if we need help, we can go to
her. She knows that Grandma’s
batshit.

JIMMY
Oliver, you said that we’re on our
own. You had rules that you made
and now you’re starting to break
them.
 46.

OLIVER
Obviously I’m not gonna have
everything set in stone, dipshit.
I don’t know what’s gonna happen,
you don’t know what’s gonna happen.
All I’m saying is that if we need
Crystal’s help, she will help us.
I’m not about to start changing our
plan.

JIMMY
You didn’t even shut your phone
off!

OLIVER
So what? I don’t think the cops
are monitoring our cell phones yet.
That was just a future precaution
we have to take. Besides, we’re in
the bumfuck redneck backwoods of
Minnesota in a shithole motel room.
That I paid a retarded inbred guy
in cash for. Nobody knows we’re
here. Chill the fuck out.

JIMMY
Okay sorry! Jeeze!

OLIVER
I’m going back to sleep. Are you?

JIMMY
No, I don’t think so. I’m not
really that tired anymore. I’m
gonna try to see if they have any
cartoons on this TV.

OLIVER
If you’re gonna watch cartoons,
keep the volume down.

Jimmy watches Oliver get in bed and close his eyes.

He grabs the remote on the end table and turns on the TV.

FADE TO BLACK.

FADE IN:

INT. BRANSON’S OFFICE - EVENING

Margie sits in a chair across from Branson, who is sat behind

a desk.
 47.

Branson is an older guy, with that silver-fox sex appeal.

His inherent masculinity is topped off with his slicked-back
hair and Bunyan-esque beard.

BRANSON
Yeah, that was a famous case. Got
me well-known. Put me on the map
in this field. Kinda become a
local lengend for a while there. I
still get asked about it from time
to time. I’ll always be indebted
to your family for trusting me.

MARGIE
Oh, Mr. Branson...
BRANSON
Please, call me Harold.

Branson snickers like a scumbag. But it still manages to

turn on Margie. Margie giggles like a little schoolgirl.

MARGIE
Harold, I wouldn’t trouble you
unless it was for something that
was very important.

BRANSON
Ha ha. You’re not troubling me.
This is my job.

MARGIE
I suppose you’re right. I need
help finding someone, I mean, I
need help finding two people.
BRANSON
Okay. That is my speciality. What
are their names?

MARGIE
Their names are Oliver and Jimmy.

There’s a brief pause in the conversation.

BRANSON
There are a lot of people named
Oliver and Jimmy. What are their
last names?

Margie laughs nervously... That Harold Branson is just too

damn sexy.
 48.

MARGIE
Well, actually, they’re brothers.
My son’s kids.

BRANSON
So your grandsons?

Margie hesitates.

MARGIE
Yes. And their last name is
Gunderson.

BRANSON
Mmm-hmm.
MARGIE
They’ve been missing for a little
while now.

BRANSON
How long is a little while?

MARGIE
Uhh, two days now. Two days.

BRANSON
And how did you discover that they
were missing?

MARGIE
My baby boy Robert was murdered two
days ag..

BRANSON
Wait, what? Your baby boy, like as
in your child?

MARGIE
No, my son.

BRANSON
Oh.

Branson seems a little weirded out. Understandably so. He

picks up a pen and starts twirling it.

BRANSON (CONT’D)
And you didn’t tell me about this
earlier because why?

MARGIE
I didn’t have a chance t..
 49.

BRANSON
There are a lot of technicalities
that go on when I interfere with an
ongoing police investigation. It
makes my job a lot harder than it
already is. Have you talked to any
police detectives about your issue?

MARGIE
No.

BRANSON
Well why the hell not? They’re the
ones on the case right now.

MARGIE
Because I was told to come to you!
By my father! You were very highly
recommended. My father was an
honest man. You know that. So
when he told me to come to you for
help if I needed it, I did.

Branson sighs and puts his pen down.

BRANSON
I can’t do it.

Margie ERUPTS.

MARGIE
WELL WHY THE HELL NOT?!?!

BRANSON
I can’t just jump into a brand new
police investigation. A fucking
MURDER investigation. There are
too many laws to be broken, I could
end up dead, you could end up dead,
who knows?

MARGIE
You OWE this family. I’m not
walkin’ ‘outta here till you agree
to help find those boys!

BRANSON
A vast majority of missing person’s
cases are solved within a few days.
I’ll probably be wasting my time.
 50.

MARGIE
Then just waste your time and help
this family again. You owe my
father for all he did to help you.

Branson mulls it over for a moment.

BRANSON
I’ll do it. But I’m gonna need
your help. You’re a member of the
family of the victim. With a bit
of luck, you can probably weasel
your way into the crime scene.

MARGIE
What? Why...
BRANSON
This is required of you. I gotta
start somewhere. I can’t do the
job if you don’t do this. I can’t
start investigating something out
of thin air. I’ll look into the
murder and have my contacts at the
station fill me in. Go to the
scene of the crime and report your
findings back to me.

Branson motions to the door. Margie shuts up and gets up.

She has no choice.

BRANSON (CONT’D)
I’ll get started from my end. Go.

Margie walks to the door.

BRANSON (CONT’D)
Hey, Margie!

Margie turns around.

BRANSON (CONT’D)
You’re lucky your father was so
nice to me.

Branson gives her a scumbag grin. She doesn’t smile back.

She slams the door on her way out.

FADE TO BLACK.

FADE IN:
 51.

INT. MOTEL ROOM - NIGHT

Moonlight shines through the window, illuminating Oliver

pacing nervously around the room. Jimmy sits at the small
table next to the TV.

We can sense the FRUSTRATION in the air.

OLIVER
God damn it, what the FUCK are we
doing?

Jimmy hangs his head.

OLIVER (CONT’D)
Seriously, what the fuck are we
doing?

Oliver kicks over the trash can by Jimmy’s table.

OLIVER (CONT’D)
I’ll tell you what we’re doing.
We’re sitting, HIDING, out in a run-
down motel room with our heads up
our asses. This plan was retarded.
We are just waiting to be arrested.
FUCK!

JIMMY
Calm down.

OLIVER
I AM CALM! FUCK OFF!

JIMMY
Shhhhh! What if someone hears you?

Oliver paces back and forth.

Back and forth. Think, think, think.

OLIVER
Well we don’t even know that the
cops think we killed ‘em. There’s
probably an amber alert out for you
right now or some shit. We’re both
just missing right now. Fuck. I
don’t know. Something doesn’t feel
right for some reason. It feels
like everything isn’t going to
plan.

More pacing. Back and forth.

 52.

OLIVER (CONT’D)
Got any ideas?

JIMMY
No.

OLIVER
(under his breath) Didn’t think so.

Another two paces.

OLIVER (CONT’D)
We’re calling Crystal.

JIMMY
That’s not part of the plan!
OLIVER
I don’t care. I’m changing the
plan. Anything’s better than
waiting here for the cops to break
down the door and take us to prison
for the rest of our lives. I’d
probably get lethal injection.

JIMMY
Okay, but why would we call
Crystal?

OLIVER
She can be trusted. And she
offered to help us. I’m just gonna
call her and tell her everything.
She’ll come get us and hide us for
now.
Oliver picks up the trash can and places it upright. He
walks to the bed and sits down.

OLIVER (CONT’D)
That’s a solid idea. Am I right?

A brief moment of silence.

JIMMY OLIVER
I don’t know. Of course it’s a good idea.

Oliver complete ignores Jimmy. What a surprise.

OLIVER (CONT’D)
I’ll call first thing in the
morning, and we’ll be out of here
on the way to Crystal’s by tomorrow
evening.
 53.

Oliver thinks it over quick.

OLIVER (CONT’D)
Yes. That is a killer fucking
idea. We’re doing it.

Jimmy hangs his head again.

FADE TO BLACK.

CUT TO:

INT. MARGIE’S THUNDERBIRD - MORNING

Margie, in her signature purple PJs, crusises down the road,

sipping gas station coffee and listening to the morning
radio.

GUY ON RADIO (O.S.)

It’s a beautiful day in central
Iowa. Low 70s all day, not a cloud
in the sky... (voice fades out)...

... as we focus on Margie, sipping away at her coffee in a

driving trance. Suddenly...

Her phone RINGS, snapping her trance. She flinches and

spills her coffee all over herself.

MARGIE
AHHHH! EEEEEEHHHHH!

The coffee INCINERATES her skin.

MARGIE (CONT’D)
FUCK FUCK FUCK FUCK FUCK FUCK FUCK!

She swerves her car all over the road, trying to wipe herself
off. The phone keeps ringing loudly.

MARGIE (CONT’D)
AHHHHHH! Damn it! Fuck fuck fuck!

Margie wipes her right hand on her shoulder and answers her
phone.

MARGIE (CONT’D)
WHAT?!?!?!?

BRANSON (O.S.)
Jesus Christ! Well top of the
morning to you, too!
 54.

MARGIE
Branson, er, Harold! Shit! Sorry!
I just spilled ma’ coffee all over
myself!

BRANSON
Shit! You all right?

MARGIE
Yeah. I’m burned real bad though.

BRANSON
Better get that checked up.

MARGIE
You find anything out yet.
BRANSON
Why yes I sure did. While I was
investigating the two currently
missing children I stumbled upon
something that is quite
interesting. Figured I’d run it by
you.

MARGIE
What is it?

Margie sips some of the burning coffee off her skin.

BRANSON
I did some research with the Iowa
Department of Human services,
thanks to some very reliable
contacts that I have, and I found
some serious shit.

MARGIE
Like what?

BRANSON
It seems that four years ago the
babysitter of the family, some lady
named Crystal with an extensive
criminal background regarding
drugs, filed child abuse claims
against your son for the
mistreatment of his kids.

Margie EXPLODES with RAGE.

MARGIE
WHAT?!?! CRYSTAL DID THAT! TO MY
BABY?!??
 55.

BRANSON
Yes she did. And I have the
records in my hand to prove it.

MARGIE
FUCKING BITCH!

Margie hangs up the phone and pulls a wicked U-turn, tires

screeching and all.

CUT TO:

INT. PAWN SHOP - MORNING

A higher-end pawn shop with a lot of guns lining the wall

behind the counter. A clerk helps a customer.

CLERK
Got enough ammo for tonight, Steve?

STEVE
Yeah, I think so.

CLERK
Alrighty, your total will be
$83.55.

Margie walks in hurriedly, the door bell chiming as she

strolls in. The clerk looks up at her.

CLERK (CONT’D)
Hello there!

MARGIE
Hi.

Margie walks behind Steve and waits in line. She’s fidgety

and impatient. The extra caffeine isn’t helping.

The clerk finishes the transaction.

CLERK
Okay Steve, you have fun. See ya
next time.

STEVE
See ya!

Steve leaves and Margie steps up to the counter.

CLERK
Hi mam’, how can I help you?
 56.

Margie’s eyes widen as she looks at the guns on the back

wall. A wicked grin emerges on her face.

FADE TO BLACK.

CUT TO:

EXT. FOREST VIEW TRAILER COURT - DAY

Margie’s Thunderbird ROARS into the driveway of Crystal’s

trailer. She gets out and sprints to the door.

CUT TO:

INT. CRYSTAL’S METH DEN - MOMENTS LATER

Margie KICKS IN the door with superhuman-like strength.

She’s fucking pissed.

MARGIE
CRYSTAL!!!! GET THE FUCK OUT HERE,
YOU BITCH!

Margie ransacks the house. Flipping shit over, destroying

everything in site. She’s a lunatic.

She goes down the small hallway and checks a couple bedrooms,
finding nothing. She returns to the living room.

She sits down on the couch and tries to catch her breath.

She looks around the room, panting like a dog. Her eyes dart
to something across the room.
A telephone, on the kitchen counter. And next to that, an
answering machine.

Margie walks hurriedly to the answering machine. She presses

a button.

ANSWERING MACHINE
There are no new messages.

She presses another button.

ANSWERING MACHINE (CONT’D)

Playing message one. Received,
today, at, ten, thirty-one, A.M.

OLIVER (O.S.)
Hi, Crystal. This is Oliver. We
got your message.
(MORE)
 57.
OLIVER (O.S.) (CONT'D)
We need you to come get us. I
killed my dad. Me and Jimmy are
hiding in a motel in Minnesota.
It’s a long story. I’ll tell you
everything when you get here.
We’re staying at Joe’s Inn and
Breakfast, 132 Bigsby Road, right
outside of Hanover. Please get
here as soon as possible. We’re
losing our minds in here. Call
when you get this message. Bye.

Margie looks PISSED. She sprints out the door.

CUT TO:

EXT. FOREST VIEW TRAILER COURT - MOMENTS LATER

Margie runs to her car, gets in, and peels out of the trailer
court. She hits the road, going as fast as her car will let
here.

FADE TO BLACK.

FADE IN:

INT. MOTEL ROOM - NIGHT

Jimmy and Oliver sit on the bed, watching TV. Oliver checks
his watch. He closes his eyes and is about to drift off to
sleep when suddenly...

Three LOUD KNOCKS on the door jolt Oliver and Jimmy upright.
They start to whisper.

JIMMY
Who’s at the door, Oliver?

The two start freaking out.

OLIVER
I don’t fucking know. Check your
phone.

Oliver checks his phone. Jimmy checks his.

JIMMY
I don’t have any messages.

OLIVER
Neither do I.
 58.

Oliver starts to put his phone back in his pocket when

Another three LOUD KNOCKS makes them flinch back. They look
at each other and Oliver walks to the door.

OLIVER (CONT’D)
Who is it?

CRYSTAL
It’s me! Crystal! Let me in!

OLIVER
Jesus Christ.

Oliver unlocks the door and lets Crystal in. She’s holding a
brown paper bag filled with groceries.
CRYSTAL
I brought ya guys some food.

OLIVER
How about you knock a little
quieter? You scared the shit out
of us.

CRYSTAL
Sorry.

Crystal puts the groceries on the table. Oliver looks out

the door and shuts it and locks it.

CRYSTAL (CONT’D)
You guys hungry? Eat up.

OLIVER
We’re not eating here, we’ll eat in
the car. We can’t stay here
anymore. I’m getting paranoid as
fuck in this place.

CRYSTAL
I just drove more than three hours
to get here. Give me a quick rest.
Eat something and we’ll be on the
road in no time. And one of you
please tell me what the fuck is
going on.

OLIVER
Fuck. Jimmy get over and eat
something.
 59.

Jimmy gets up and goes to the table. He picks out an apple

from the grocery bag and begins to snack on it. Oliver gets
one too.

Crystal lights up a cigarette.

CRYSTAL
So your dad is dead.

OLIVER
Yes.

CRYSTAL
Good. Piece of shit had it coming.
Fucking evil asshole.
OLIVER
Yep.

Crystal takes a drag of her cig. She looks at Jimmy and

Oliver, looking innocent while eating their apples.

CRYSTAL
So did you guys do it or not?

Oliver and Jimmy look at each other again.

Silence.

CRYSTAL (CONT’D)
You gonna fuckin’ tell me? I just
drove all the way here to help ya.
Ya gotta let me know what’s goin’
on.
Silence. Except for the loud bites out of the apples.
Oliver crosses his arms.

OLIVER
Yep. We did.

Another drag of Crystal’s cigarette.

CRYSTAL
No shit. So what’s your plan?

OLIVER
We don’t have much of one. We were
just gonna drive up here after we
did it and say we were here all
weekend. But at the time we didn’t
realize that plan was retarded.
 60.

CRYSTAL
Why didn’t you come to me first?

JIMMY
I never thought...

OLIVER
We hadn’t talked to you in forever.
Our father wouldn’t necessarily
like us seeing you. If I’m being
totally honest, we kinda forgot
about you.

CRYSTAL
Wow. Thanks.
OLIVER
No offense. It was our dad’s
fault.

Another drag.

CRYSTAL
I know.

OLIVER
You’re the only person who
understands our situation. We had
to come to you for help.

CRYSTAL
Oh, I’m glad to help you guys.
I’ve always loved you.

JIMMY
I love you too, Crystal.

CRYSTAL
Awww, Jimmy.

OLIVER
You’re the person who kept us sane
all these years. Thanks for
everything.

CRYSTAL
Don’t mention it. We’ll wait to
see what the cops do and I’ll help
hide ya until then.

OLIVER
Perfect.
 61.

Oliver sits down on the chair, leans back, and exhales out
all his pent-up stress. He leans forward.

OLIVER (CONT’D)
So Grandma’s looking for us, huh?

Another drag.

CRYSTAL
Yep. She came around to my place,
told me ‘bout your dad, and how you
guys were missin’.

OLIVER
She tried calling us, too.
CRYSTAL
You didn’t answer, did ya?

OLIVER
Of course not.

CRYSTAL
Good.

OLIVER
Wait, if Grandma was coming around
to your place, we can’t fucking
hide out there!

CRYSTAL
No shit! I have another place for
ya guys. Don’t worry about it.

Oliver starts to pace around the room.

OLIVER
Shit. I don’t know. Fuck.

CRYSTAL
Chill out. Come on. Let’s hit the
road. I guess you can eat your
damn food in the car.

A DEAFENING SHOTGUN BLAST RIPS THROUGH THE DOOR.

SPLINTERS OF WOOD FLY EVERYWHERE. OLIVER, JIMMY, AND CRYSTAL

ARE STUNNED.

OLIVER
GET DOWN!!!

OLIVER, JIMMY, AND CRYSTAL ALL HIT THE FLOOR.

 62.

A DEADLY BARRAGE OF SHOTGUN BLASTS DECIMATES THE MOTEL ROOM.

OLIVER (CONT’D)
WHO IS THAT?!?!?

CRYSTAL AND JIMMY CRAWL TO OLIVER AS THE SHOTGUN BLASTS KEEP

COMING.

OLIVER GRABS CRYSTAL BY HER SHIRT.

OLIVER (CONT’D)
WHO THE FUCK FOLLOWED YOU HERE?

CRYSTAL
I DON’T KNOW!!!!!
MORE SHOTGUN BLASTS BARRAGE THE ROOM. ONE AFTER ANOTHER,
DESTROYING THE TV, THE PICTURE FRAME ON THE WALL, THE BAG OF
CRYSTAL’S GROCERIES.

SUDDENLY, THE SHOTGUN STOPS.

DEAD SILENCE, EXCEPT FOR JIMMY’S HEAVY BREATHING.

OLIVER
(loud whisper) Jimmy, shut up!
Breathe through your nose.

The sound of heavy boots are heard walking toward the room.
They get louder and louder as they approach.

BAM! BAM! BAM! MORE SHOTGUN SHOTS LIGHT UP THE ROOM. OVER
AND OVER AGAIN UNTIL THE PLACE IS BARELY RECOGNIZABLE.

THE SHOTGUN STOPS AGAIN.

Oliver looks at Jimmy and Crystal. They’re frightened for
their lives. Oliver takes a deep breath and runs to the door
while crouching.

He steps to the side of the door and waits by the wall.

CRYSTAL
(loud whisper) What are you
doing?!?!?

Oliver motions “shhhhhh”.

He waits, breathing heavily, sweating, and staring at Jimmy

and Crystal.

The sound of the boots start again. Hitting the pavement

steadily, getting louder. And louder.
 63.

And louder.

THE DOOR SWINGS OPEN. MARGIE WALKS INTO THE ROOM. POINTING
THE SHOTGUN, LOOKING FOR SURVIVORS.

WITHOUT HESITATION, OLIVER TACKLES MARGIE.

THE SHOTGUN FLIES BACK OUT THE DOOR, INTO THE PARKING LOT.

OLIVER GETS ON TOP OF MARGIE AND PUNCHES HER IN THE FACE

SEVERAL TIMES.

OLIVER
CRYSTAL, JIMMY, GET OUT OF HERE!
GO GET THE CAR!!!
Jimmy and Crystal get up and frantically run out of the room
as Oliver continues to pummel Margie, until...

Margie catches Oliver’s hand, puts her mouth to it, and BITES
the FUCK out of it.

OLIVER (CONT’D)
AHHHHHHHH!

MARGIE
GET THE FUCK OFF ME, YOU LITTLE
SHIT!

Margie overpowers the vulnerable Oliver and throws him off

her.

MARGIE (CONT’D)
YOU KILLED MY BABY!!!
Margie kicks Oliver’s face over and over with her cowboy
boots. Blood spurts from his nose.

MARGIE (CONT’D)
YOU TOOK MY BABY AWAY FROM ME!

She stomps on the side of his knee. It emits a loud snapping

sound.

OLIVER
EEEEEKKK! HEEEEEELP!
HEEEELLLLLLLPPPPPPPP!

Marie gets down and shoves her entire fist in Oliver’s mouth.

MARGIE
SHUT YOUR MOUTH, YOU LITTLE FUCK.
I’M GOING TO FUCKING END YOU.
 64.

Oliver KNEES Margie in the groin with his opposite leg.. She
rolls over in pain.

Oliver gets up and RUNS out of the door, limping heavily and
with blood rushing down his face, getting all over his
clothes.

AHEAD, are Crystal and Jimmy driving toward Oliver in

Crystal’s shitty car. They drive up to him, he opens the
backdoor, and he propels himself into the backseat.

INT. CRYSTAL’S CAR - MOMENTS LATER

OLIVER
JIMMY! SHUT MY FUCKING DOOR!
Jimmy reaches back from the passenger seat and shuts Oliver’s
door.

OLIVER (CONT’D)
DRIVE! GET THE FUCK OUT OF HERE!

CRYSTAL
OH MY GOD! OLIVER ARE YOU OKAY?!?
JIMMY, CHECK ON HIM.

Crystal SLAMS her foot down on the gas pedal.

OLIVER
NO I’M NOT OKAY. SHE JUST BROKE MY
FUCKING LEG.

CRYSTAL
WHAT LEG?
OLIVER
AHHHH!!! FUCK! MY LEFT ONE!

CRYSTAL
JIMMY, PULL UP HIS LEFT PANTLEG.
CHECK ON IT. WHAT DOES IT LOOK
LIKE?

Jimmy gets up and reaches into the backseat. He pulls up

Oliver’s pantleg.

OLIVER
AHHHHH! SHIT THAT FUCKING HURTS.

Jimmy unravels the pant leg a bit more and reveals his knee.

JIMMY
It looks normal!
 65.

Crystal looks back.

OLIVER
I’M FINE! KEEP YOUR EYES ON THE
ROAD.

Oliver continues to grunt and moan in pain. Crystal turns

around.

CRYSTAL
If it looks fine, you probably just
sprained something! You’re gonna
be okay!

OLIVER
Give me something to wipe this
blood off my face!

Crystal looks around.

CRYSTAL
Shit. Jimmy, find something for
Oliver.

Jimmy finds something on the floor in front of him.

JIMMY
Here ya go, Oliver!

Jimmy throws back a fast food sack filled with used napkins.
Oliver wipes off his face with it.

OLIVER
How the fuck did she find us?
CRYSTAL
I don’t know. Shit. I slashed two
of her tires.

OLIVER
What the hell are we gonna do?!?

CRYSTAL
I DON’T KNOW!! SHUT UP FOR A
SECOND AND LET ME THINK.

Oliver shuts up and looks around the car.

OLIVER
Did you get her gun?!?

JIMMY
I put in on the floor back there.
 66.

OLIVER
Oh thank god.

CRYSTAL
Shit. We gotta get this car off
the road or we’re gonna get pulled
over.

OLIVER
We’re in the middle of nowhere.
Uhhh, how much gas do you have?

CRYSTAL
About half a tank.

OLIVER
Just find some old gravel road and
drive on it and get lost while we
figure out what the fuck to do.

Oliver lies back. He takes the whole situation in. He

listens to the sound of the car drive down the road.

Oliver tries to say something, but he stumbles over his

words. It turns into mumbling as he passes out in the
backseat.

FADE TO BLACK.

FADE IN:

INT. BRANSON’S BEDROOM - EARLY MORNING

An alarm clock’s red numbers are the only thing visible in

the darkness. They read 6:11.

The sound of someone waking up in a sweet water-bed. It

bounces as Branson turns on the lamp on his night stand.

Branson rubs his eyes. He gets up, goes to the bathroom, and
takes a piss.

He finishes his piss, zips up his pants, and grabs his phone
off the dresser. He unlocks it.

BRANSON
What in the hell...
 67.

INT. POLICE STATION - MORNING

Branson shoves the door of the police station, letting

himself in. He’s very messily dressed and unkempt. No time
for a shower this morning. He hurriedly walks up to the
receptionist behind the desk in front of him.

RECEPTIONIST
Hi there, how can I help you?

BRANSON
I need to speak with Detective
Traff immediately. It’s regarding
one of my clients. I’m a private
investigator.
RECEPTIONIST
He’s waiting for you now, sir.
Take a left at this hallway and
it’s three doors down.

BRANSON
Thank you.

Branson walks down the hallway, slicking his greasy hair back
with his hands. He walks into the office.

INT. POLICE OFFICE - MOMENTS LATER

A police detective, Traff, is going through files in a

cabinet behind his desk. He’s old and with glasses. He
looks almost exactly like the Monopoly guy. He turns to the
door as Branson walks in.
DETECTIVE TRAFF
Richard! How’s it going,
Detective?

BRANSON
Detective? I haven’t gone by that
in years.

Branson walks up to Traff and shakes his hand. Traff

chuckles.

DETECTIVE TRAFF
Have a seat. There are some
pressing matters at hand.

BRANSON
Yes, of course.

They both sit down.

 68.

DETECTIVE TRAFF
Last night your client, Margie
Gunderson, was reported to have
been apart of a pretty crazy
shootout up in Minnesota last
night. What do you know about
this?

BRANSON
What? Margie? In a shootout?

DETECTIVE TRAFF
Yes. At a motel up in Minnesota.
What do you know about this?

BRANSON
I don’t know anything about it.

DETECTIVE TRAFF
You have no idea why she would be
involved in a shootout?

BRANSON
Look, detective. I just told you
two fucking times that I don’t
know. This is the third time.

DETECTIVE TRAFF
We all know that she recently hired
you for some work. Care to share
what that is?

BRANSON
Uh, actually no. I don’t really
care to share what my work with her
is. It’s a personal thing. Tell
me about this shootout. What the
fuck is going on?

DETECTIVE TRAFF
We don’t know much. Last night a
motel room checked out to Oliver
and Jimmy Gunderson was shot to
shit with a shotgun. It woke up
the manager, he called the police.
When we got there, there was nobody
to be found. However, a Ford
Thunderbird registered to Margie
Gunderson was found in the parking
lot. Now, I just need to know why
there was a crazy gunfight in the
middle of nowhere involving two
missing kids and their grandmother.
 69.

BRANSON
Jesus.

DETECTIVE TRAFF
Richard, I need to let you know
that if you’re hiding anything, you
need to come forward. We have some
leads, and I don’t want to find
anything incriminating against you.
We need you to cooperate before
someone gets killed.

BRANSON
Okay, I was hired to find the kids.
I didn’t know what her motive was
on why she wanted to find them, but
I owed her.

DETECTIVE TRAFF
You owed her?

BRANSON
I owed her family.

DETECTIVE TRAFF
What do you mean you owed her
family?

BRANSON
Her father helped me out when I was
just getting started. It was a
long time ago. And irrelevant.

DETECTIVE TRAFF
That doesn’t sound irrelevant to
me.

BRANSON
Eat shit, Traff. I invoke my fifth
amendment right to remain silent.

Traff chuckles.

DETECTIVE TRAFF
You better be careful, Rick. Don’t
fuck with me. Maybe when I solve
this one I’ll remember how
uncooperative you were.

Branson stands up.

 70.

BRANSON
Hard to be cooperative when you
don’t know what’s going on, smart
ass. I’m leaving.

DETECTIVE TRAFF
Take care of yourself.

BRANSON
Yeah.

Branson walks out the door.

FADE TO BLACK.

FADE IN:

INT. CRYSTAL’S CAR - MORNING

Oliver, Jimmy, and Crystal are all in a heavy slumber.

Oliver suddenly jolts awake.

He looks around in a panic, checking on everyone. He looks

out the window, revealing that they are parked on a dirt road
in the middle of fucking nowhere.

His heavy breathing fades as he calms down. He shakes

Crystal.

OLIVER
(loud whisper) Crystal, wake up!

Crystal doesn’t wake up. He shakes her again.

OLIVER (CONT’D)
(loud whisper) Crystal, wake up!

Her eyes open and she looks around. She lets out a yawn.

CRYSTAL
Oh, shit. What time is it?

OLIVER
It’s 11.

CRYSTAL
Jesus. We better get goin.

Crystal yawns again as she starts the car and they get going.

OLIVER
What are we gonna do?
 71.

CRYSTAL
We’re gonna drive back home and
I’ll hide ya.

Oliver nods and leans back.

OLIVER
Good.

CRYSTAL
Actually, I’m not so sure that’s
the best idea. Did ya leave any
evidence behind? They got any
reason to suspect you for killin’
your dad?
OLIVER
No, of course not. I’m smarter
than that.

CRYSTAL
Well how about I just take you back
to your car and you drive back, and
you can just return home and act
like you have no idea what the fuck
happened.

OLIVER
No. Screw that. I don’t want to
take any chances. And my grandma
will probably find me and kill me
if I make my presence known like
that.

CRYSTAL
Fuck, Oliver. I know I said I
would but I just can’t keep ya for
a long time. Somebody’d find out
and I’d go to jail for somethin’
too.

Oliver puts his face in his hands.

OLIVER
Jesus Christ. Fuck. Whatever.
Take me back to my car, me and
Jimmy will follow you home and
we’ll talk about it on the phone on
the way there.

CRYSTAL
Okay. Let’s do it.
 72.

OLIVER
FUCK! The cops are probably all
over the place. They probably have
my car impounded. SHIT!

CRYSTAL
Ugh, how did I not think of that?

OLIVER
Every plan I make, it goes to shit.
God damn it!

CRYSTAL
I’ll just drive you back, you say
your car got stolen, and you called
me to come get you?
OLIVER
That doesn’t make any sense.

CRYSTAL
Why not?

OLIVER
Whatever, fine. Let’s just do
that. No story I make up will make
any sense now anyway.

The car comes to an intersection, where the dirt road meets

an actual fucking road.

The car turns as Crystal, Oliver, and Jimmy begin to make

their way back to Iowa.

FADE TO BLACK.
FADE IN:

INT. BRANSON’S OFFICE - AFTERNOON

Branson, still looking very unkepmt, pounds away at the

keyboard at his computer. He sees something on the screen
and immediately picks up the phone on his desk and dials a
number.

Ring, ring, ring. Branson waits impatiently by pacing around

the room.

Ring, ring... someone picks up.

BRANSON
I told you to find me the kid’s
number, god damn it!
 73.

The voice on the other end mumbles something.

BRANSON (CONT’D)
I don’t care.

The voice utters a quick reply.

BRANSON (CONT’D)
I don’t care. Get it for me. If
it’s not in my inbox in five
minutes, you’re gonna be sorry!

The voice utters a one-word reply.

BRANSON (CONT’D)
Get on it. Now.
Branson sits down. He listens to what the person has to say
for a second and SLAMS the phone back down and hangs it up.

He reaches under his desk and a refrigerator is heard opening

and closing. Branson brings a bottle of whiskey and a glass
to his desk.

He takes a shot.

He takes another shot.

He takes a third shot.

He’s in the middle of pouring his fourth when he hears his

computer make a notification noise. He screws the cap back
on the bottle, whips out his cell phone, and calls the
number.
Ring, ring, ring. While the phone rings, Branson decides he
wants a fourth shot. He opens the bottle again and finishes
pouring the glass.

He takes the shot.

OLIVER (O.S.)
This is Oliver, leave a message.

Beep.

BRANSON
Hi, Oliver. My name is Richard
Branson. I’m a private
investigator. More specifically,
the investigator that your
grandmonther hired to find you.
(MORE)
 74.
BRANSON (CONT'D)
Now, I initially had no idea why
your grandmother wanted to find
you, but now that I’ve heard about
the little shootout that went down
at the motel you were staying at,
now I think I might know why. I
took the job because I owed your
family. I owed your great-
grandfather. You ending up dead is
probably not exactly what he would
have wanted. I can help you. I
just need to hear your side of the
story. Call me back.

Branson hangs up, grabs his jacket off the desk, and walks
out of his office.

EXT. PARKING LOT - MOMENTS LATER

Branson walks to his car and lights up a cigarette. He takes

a few puffs and gets in his car. He starts the car and pulls
out his cell phone.

He dials a number and it’s answered almost instantly as he

pulls out of his parking space.

MARGIE
Why the fuck haven’t you been
answering your phone?

BRANSON
What the fuck did you do up in
Minnesota last night, huh? What
were you up to?
MARGIE
That’s none of your business!

BRANSON
Actually, it kind of is my
business. You trying to get me
arrested, bitch?

MARGIE
How would you get arrested? What
are you talking about?

BRANSON
I provided you with the information
on where Oliver and Jimmy Gunderson
were located, and the next thing I
hear is that the whole place turned
into a goddamned war zone.
(MORE)
 75.
BRANSON (CONT'D)
That’s an accessory. You can tell
me what the hell is going on, or
I’m done helping you.

MARGIE
I don’t need your help. Fuck you.

Margie hangs up the phone.

BRANSON
FUCK! FUCKING BITCH!

Robert hits the steering wheel repeatedly and peels out of

the parking lot.

CUT TO:

INT. CRYSTAL’S CAR - LATE AFTERNOON

Crystal, Jimmy, and Oliver drive down the road, just as the
sun begins to set.

CRYSTAL
Thirty miles till home.

Oliver leans back in his seat.

OLIVER
God, I’m tired. Long car rides
take a lot outta me.

Oliver checks his phone.

OLIVER (CONT’D)
What the hell? I have a voicemail
from some random number.

CRYSTAL
Check it.

Oliver plays the message from Branson over the speaker.

OLIVER
Holy shit. We gotta go to this guy
for help. If we can prove how
insane Grandma is, we can prove how
insane Dad was.

JIMMY
Are you crazy?
 76.

CRYSTAL
Have you gone, batshit? He’s
probably the police.

OLIVER
Am I the only one thinking how to
get us out of this?

CRYSTAL
You got yourself into this.

OLIVER
It can’t hurt to call him.

CRYSTAL
Yes it can, they’ll track your
number or some shit.

OLIVER
If they find us, we’ll be in the
exact same situation as if they’d
find us a few months from now. We
have no choice but to stick to the
same plan. This guy’s been talking
to grandma, he’s got to have dirt
on her.

They all sit quietly for a brief moment.

OLIVER (CONT’D)
HOLY SHIT!

Oliver has an epiphany.

OLIVER (CONT’D)
Grandma killed Dad, and she’s
trying to kill the rest of her
family because she’s insane
batshit! After the cops find
forensic evidence and shit at the
motel, that can be proved fucking
easily!

CRYSTAL
What evidence are you talking
about?

OLIVER
What do you mean what evidence am I
talking about? I fought her on the
floor so there’s probably skin
cells and shit. And oh yeah, where
did she get that shotgun?
(MORE)
 77.
OLIVER (CONT'D)
She probably just bought it. They
keep records of that.

CRYSTAL
That’s true.

OLIVER
We gotta go to this private
investigator guy. If we sit down
with him, we can get our plan set
in stone and get out of this mess.

Crystal and Jimmy look at each other with hesitation.

OLIVER (CONT’D)
Come on. What else are we gonna
do.

Crystal lets out a deep sigh.

CRYSTAL
Okay. Call him.

Oliver dials Branson’s number.

Branson picks up quickly.

BRANSON (O.S.)
Hi, is this Oliver?

OLIVER
Yes. Expecting my call, Mr.
Branson.

BRANSON (O.S.)
Yes. I figured you didn’t have
much of a choice.

OLIVER
You’re right. We don’t.

BRANSON (O.S.)
Your grandmother is a fucking
psychopath. Did she try to kill
you last night?

OLIVER
Yep. She took a shotgun and shot
up the motel room me and my brother
were staying at. We got into a bit
of a physical fight too. She
stomped on my knee and I think it’s
permanetly fucked up.
 78.

BRANSON (O.S.)
Jesus. I think we can help each
other out. I think that if she
gets caught by the police, she’ll
lie to them and say that I helped
her to reduce her sentence or some
shit. Well, I did help her. But I
didn’t know what her intentions
were. I figured that she needed to
find you guys ‘cause she was scared
you were missing. Not that she was
gonna try to kill you two.

OLIVER
That’s understandable. No hard
feelings, sir.
BRANSON (O.S.)
We should meet immediately. Where
are you at?

OLIVER
Umm, we’re in Iowa. I’m not so
sure I should say my exact location
over the phone.

BRANSON (O.S.)
That’s fine. I’m gonna give you my
address. I’m gonna be home all
night. Call me when you’re about
to get here.

OLIVER
Okay, will do.
BRANSON (O.S.)
You got something to write this
down?

OLIVER
Crystal, you got a pen and paper?

CRYSTAL
Jimmy, check in my purse.

Jimmy reaches down into Crystal’s purse and pulls out a pen
and a napkin.

JIMMY
Here.

Oliver grabs the pen and napkin.

 79.

OLIVER
Ready when you are.

BRANSON
I live at 720 West Street in Cedar
Falls. You got GPS on your phone?

OLIVER
Yeah.

BRANSON
Turn that shit off. Don’t use the
GPS.

OLIVER
Crystal, do you know how to get to
Cedar Falls from here?

CRYSTAL
No, but I’m sure I can find out.
It can’t be too tough.

OLIVER
Okay, I’ll call you later.

BRANSON
I’ll be waiting.

OLIVER
Bye.

BRANSON
Bye.

Oliver hangs up the phone.

CRYSTAL
That went well.

OLIVER
Yeah. I think we’re gonna get out
of this. This guy seems legit.

CRYSTAL
I hope so.

JIMMY
Me too.

OLIVER
We’ll be fine. Let’s get a map or
something so we find out where the
fuck to go.
 80.

The car drives off into the early-evening sunset.

INT. BRANSON’S KITCHEN - MOMENTS LATER

Branson checks a few things on his phone and puts it in his

pocket. He grabs his jacket, puts it on, and walks through
the living room and out the front door.

EXT. BRANSON’S FRONT PORCH - MOMENTS LATER

Branson locks the front door to his house and walks away.

FADE TO BLACK.
FADE IN:

INT. UNCLE LARRY’S TACO HOUSE

Branson walks up to the counter to order some greasy fast

food.

FAT FAST FOOD LADY

Hi! Welcome to Uncle Larry’s Taco
House, home to Uncle’s Larry’s
terrific tacos! Can I take your
order, please?

BRANSON
Yeah I’d like two shredded chicken
burritos, that steak and potato
burrito, and a side of queso.
Don’t judge me.
FAT FAST FOOD LADY
Haha, judge you for what? Queso?
Queso makes the world go ‘round.

BRANSON
No, for how much food I’m getting.

FAT FAST FOOD LADY

I’ll judge you for not getting any
of Uncle Larry’s terrific tacos,
but not for how much food you get.

The fat fast food lady smiles at Branson.

FAT FAST FOOD LADY (CONT’D)

That’ll be nine dollars and fifty-
two cents.
 81.

BRANSON
Alright.

Branson swipes his card to pay for his food.

FAT FAST FOOD LADY

Okay, it’ll be just a few minutes
for you.

BRANSON
Thanks.

The fat fast food lady walks to the back and Branson observes
some kids playing in the play area.

Suddenly his phone rings. He answers it.

BRANSON (CONT’D)
Talk to me.

OLIVER (O.S.)
Hey we’re about twenty minutes from
your house.

BRANSON
Sounds good. I gotta go. I’ll see
you then.

OLIVER
Okay, bye.

BRANSON
Bye.

Branson hangs up his phone. He looks around the back area

for the fat fast food lady.

BRANSON (CONT’D)
(yelling) Hey, I need my food
quick! It’s an emergency!

A few workers in the back look at Branson like he’s a moron.

The fat fast food lady comes up to him.

FAT FAST FOOD LADY

Sir, it’ll be just another minute.
I would appreciate it if you didn’t
yell at the other employees.

BRANSON
Sorry, I just gotta go.

FAT FAST FOOD LADY

You sh..
 82.

BRANSON
Can I get a cup for some water?

FAT FAST FOOD LADY

Sure.

The fat fast food lady gives Branson a cup.

BRANSON
Thanks.

The fat fast food lady turns around to get Bransons food.
Branson walks to the fountain pop machine and fills the cup
with cola.

He returns to the counter and retrieves his food.

BRANSON (CONT’D)
Thanks again. Have a good night.

Branson walks to the door and...

FAT FAST FOOD LADY

Uhh, sir, I saw you fill that cup
with pop. I’m gonna have to have
you pay for that.

Branson flips the fat lady off and walks out the door.

CUT TO:

INT. BRANSON’S LIVING ROOM - NIGHT

Branson’s door swings open and he steps in, fast food in

hand. He sits down on the couch, places the bag of food on
the coffee table, and digs in to one of his burritos.

BRANSON
Mmmm-hmmm. Fuck that’s good.

Branson scarfs down the rest of the minute in a matter of

seconds. He licks his fingers clean and dives into the bag
for another one.

A loud KNOCK at the door.

BRANSON (CONT’D)
Hold on!

Branson digs into his second burrito and hurriedly walks into
his bedroom.
 83.

INT. BRANSON’S BEDROOM - MOMENTS LATER

Branson takes another bite as he looks up at something next

to his bed -

A gun case. Filled with rifles and pistols.

Branson walks to the case, looks over a few pistols, and

selects a glock.

He looks it over, checks to see if it was loaded, and puts it

in his the back of his waistband.

He walks back into the living room.

INT. BRANSON’S LIVING ROOM

He strolls to the door and answers it.

There stand Oliver, Jimmy, and Crystal. All looking tired,

unhygenic, and depressed.

BRANSON
Hey, guys. Come on in.

They all three walk in slowly and cautiously, looking around

for potential threats.

BRANSON (CONT’D)
Ha. Chill out. You’re safe here.
Have a seat on that couch over
there.

They all sit on the couch. Branson puts his burrito down on
the coffee table.

BRANSON (CONT’D)
Can I get you guys something to
drink? You all look like you could
use some water.

OLIVER
I’d like some.

JIMMY
Me too.

CRYSTAL
Yeah me too.

Branson goes to the kitchen and the other three hear the
faucet run.
 84.

Oliver, Jimmy, and Crystal nervously look at each other.

Branson flips the light off in the kitchen and returns to the
living room with three glasses of water.

BRANSON
Here ya go.

They all take the glasses and take a few sips. Branson sits
down.

BRANSON (CONT’D)
Alrighty. Let’s get down to
business. What the hell did you
guys do? Be honest with me.
OLIVER
I killed my dad.

BRANSON
Whoa. Okay. And why did you do
that?

OLIVER
Ever since me and Jimmy were
little, he was relentless in his
physical and mental abuse that he
caused us. He beat the shit out
us. He was a fucking lunatic. If
I didn’t kill him, he was going to
kill me first.

BRANSON
Okay. Why didn’t you go to the
police?
OLIVER
I didn’t have enough evidence to
pin our abuse on him. But he did
abuse us, Jimmy and Crystal here
can attest to that. He wouldn’t
have went to jail. The first time
he would have saw me after I
reported him I would have been
dead. He was smart about hitting
us, for the most part. He didn’t
make it too apparent.

BRANSON
Shit. I’m sorry about that. And
you, Crystal, you’re the one who
filed child service claims against
their father?
 85.

CRYSTAL
Yes. That’s right.

BRANSON
So how did you two know each other?

CRYSTAL
Well I was basically Oliver and
Jimmy’s babysitter. He’d drop the
kids off and I’d look after them.

BRANSON
But how did you meet each other?

CRYSTAL
We used to date, back in the day.
BRANSON
That’s quite the age difference,
don’t ya think?

CRYSTAL
It sure was. And one of the many
reasons why it didn’t work out.

BRANSON
Why did he keep dropping off the
kids after you two split?

CRYSTAL
Because he didn’t give a shit about
them. I wanted them with me. They
were safe at my place.

BRANSON
Makes sense. Okay. So, I have an
idea on what we’re gonna do.

OLIVER
Good. That’s what we need.

BRANSON
I think we need to sit here,
formulate a believable story on why
everything happened the way it did,
and go to the police with some,
uhhh, fabricated information to put
your grandma behind bars.

OLIVER
Sounds like a plan to me.
 86.

BRANSON
Good. I guess we don’t really
fabricate that much information
about her. She’s a goddamned crazy
bitch.

Oliver and Branson chuckle. No one else does.

MARGIE
Oh am I?

MARGIE’S VOICE STARTLES EVERYONE.

MARGIE EMERGES FROM THE SHADOWS, CLUTCHING A MAGNUM PISTOL IN

HER HAND.
OLIVER TRIES TO GET UP.

MARGIE POINTS THE GUN AT HIM.

MARGIE (CONT’D)
NOT SO FAST, YOU LITTLE PIECE OF
SHIT. SIT THE FUCK DOWN.

Margie turns to Branson.

MARGIE (CONT’D)
And you, don’t move a muscle. I’ll
put a bullet right through your
fucking skull if I see you move an
inch.

Margie sits down on the chair across from them all.

MARGIE (CONT’D)
And don’t leave your gun case
unlocked, you dumb fuck.

She keeps her gun pointed at all of them, making sure none of
them move.

Margie gives Oliver a DEATH STARE.

In a deadpan voice...

MARGIE (CONT’D)
Why did you kill my baby?

OLIVER
Because he was going to kill me.
He almost did a few times.
 87.

MARGIE
I loved him. My only reason for
existing on this Earth is gone.
All because of you! You ungrateful
bastard child!

Margie starts to tear up. She really did love her baby.

MARGIE (CONT’D)
And you were gonna frame me for the
murder or some shit? The hell is
the matter with you?

Margie cries. The tears fall like rain.

MARGIE (CONT’D)
I just wanted you gone so I could
love my baby! And now I can’t!

Everyone in the room immediately looks a bit less scared, a

bit more weirded the fuck out.

MARGIE (CONT’D)
I guess the fact of the matter is,
you don’t know what love is. And
you never will.

Margie stands up. She walks up to Oliver, standing before

him just a few feet.

She raises her gun and POINTS IT AT OLIVER’S FACE.

HE RAISES HIS HANDS AND COWERS IN FEAR.

OLIVER
DON’T KILL ME!! I’M SORRY! I’M
SORRY! I’M SO SORRY.

Oliver breaks down in tears and...

JIMMY JUMPS IN FRONT OF OLIVER.

JIMMY
DON’T KILL MY BROTHER! I LOVE HIM!

In the corner of her eye, Margie sees Branson REACH BEHIND

HIS BACK.

In a swift motion, Margie turns and BLASTS A HOLE THROUGH

BRANSON’S FACE with her magnum, just as he swings his arm
around to shoot her.

Crystal lets out a primal shriek. Now’s her chance.

 88.

Crystal TACKLES Margie to the ground. Crystal slams her

fists into Margie’s body, PUMMELING her with all her might.

Crystal grabs Margie’s wrists as they fight for control of

the gun.

CRYSTAL
RUN! GET THE HELL OUT OF HERE!!!

Shrieks and yells from the combating females on the ground.

Oliver and Jimmy run the FUCK out of the house, Oliver
closing the door behind him.

EXT. BRANSON’S FRONT YARD - MOMENTS LATER

OLIVER AND JIMMY SPRINT TO CRYSTAL’S CAR. THEY’RE ABOUT TO

GET IN THE FRONT TWO DOORS...

OLIVER
FUCK THIS.

Oliver walks around to the opposite side of the car and opens
the back door.

OLIVER (CONT’D)
JIMMY, STAY IN THE CAR.

JIMMY
Where are you going?

OLIVER
SHUT UP AND GET IN THE FUCKING CAR!
A BANG. A SINGLE GUNSHOT - FROM INSIDE THE HOUSE.

OLIVER (CONT’D)
Shit! Holy fuck!

Oliver and Jimmy exchange looks of terror.

Oliver retrieves Margie’s BIG-ASS SHOTGUN from the backseat

of the car.

OLIVER (CONT’D)
Get in the car and wait for me! I
have to go in!

JIMMY
No! Don’t! Let’s leave!
 89.

OLIVER
WE CAN’T LEAVE CRYSTAL BEHIND, YOU
FUCKING IDIOT! GET IN THE FUCKING
CAR AND WAIT FOR ME!!!!

Jimmy shuts his face and gets in the car. He gets down on
the floor.

The moonlight shines on Oliver holding the shotgun. He takes

a couple deep breaths and walks up to the house, pointing the
shotgun at the door.

He takes a few more steps toward the door.

And a few more.

He’s at the door. He kicks the door open and points the
shotgun at the living room.

He sees Branson’s corpse hanging in the chair. Oliver looks

down and sees Crystal’s hair on the floor. Her body is
laying in other half of the room, not visible.

He looks more intently at her hair... and sees a pool of

blood gathering around her.

Oliver steps into the house.

INT. BRANSON’S LIVING ROOM

Oliver sees Branson’s corpse to the left, and Crystal’s to

the right. In front of him, a long, dark hallway that leads
to the rest of the rooms in the house. Four doors.
He points his shotgun to the hallway and creeps toward it.

Police sirens are heard.

They get closer and closer.

Oliver opens up the first door of the hallway, a laundry

room. Clear.

The sirens get louder.

Oliver shuts the first door and moves onto the second.

The light in the hallway starts to flicker.

He opens the second door, Branson’s home office. It looks

clear.
 90.

BAM! THE THIRD DOOR SWINGS THE FUCK OPEN - OLIVER HITS THE
FLOOR BEHIND THE SECOND DOOR.

HE SITS AGAINST IT, ANTICIPATING THE INEVITABLE...

BREATHING HEAVILY, ALMOST HYPERVENTILATING...

THE SOUND OF FOOTSTEPS.... INCREASING IN VOLUME....

OLIVER EXHALES ONE LAST TIME.......

HE TURNS FROM THE DOOR....

MARGIE.... AND OLIVER.... THEIR EYES MEET.

THEY DRAW THEIR GUNS....

BAM! A LOUD BLAST FROM OLIVER’S SHOTGUN...

HITS MARGIE’S TORSO. SHE GOES FLYING.

THE OLD BITCH... PROPELLED TO THE BACK OF THE HALLWAY.

Oliver lets out a deep breath, pent-up adrenaline dissapates

from him almost immediately.

The police sirens get LOUD. The blue and red lights start to
flash. They’re fucking everywhere.

Oliver sits down against the wall. He starts to sob...

looking at the carcasses of Crystal and Branson.

What has he done....

POLICEMAN
(megaphone) GET THE FUCK OUT OF THE
HOUSE, NOW! WITH YOUR HANDS UP!

Oliver gets up and walks to the entrace of the house. Before

he exits, he draws another breath. The tears continue to
fall.

A look of unshakeable defeat emerges on Oliver.

He steps out.

EXT. BRANSON’S FRONT PORCH

Ten police officers, behind their cars, all with their guns
pointed at him.

He picks the shotgun up to his waist.....

 91.

Right as he tosses it to his right.....

A GUNSHOT.

JIMMY’S TERRIFIED FACE.

Oliver’s head....

With a hole through it.

He falls back.

CUT TO BLACK

THE END.