FADE IN:

EXT. SUBURBAN HOUSE, 1983 -- EVENING

A typical house in a pleasant suburban neighborhood.

Spielberg country.

INT. BENOIT HOME -- EVENING

Whack!

A pick axe slams into a sofa, barely missing MELINDA BENOIT.

Sixteen, pretty, and athletic, Melinda scrambles over the

sofa, escapes the swinging pick axe. She runs to...

INT. BEDROOM -- EVENING

Slams the door closed, no lock, wedges her body against it.

Scared to death.

INT. BENOIT HOME -- EVENING

The KILLER climbs over the sofa in pursuit.

We can't see the Killer's face, only the garden gloved hands

holding the pick axe and an occasional flash of long hair.

The Killer SLAMS his body against the bedroom door.

INT. BEDROOM -- EVENING

Melinda scoots as the door is forced a few inches open.

She presses back on the door, closing it.

WHAM! It's slammed open again.

Melinda tries pressing it closed, but the Killer's gloved

hand reaches in and grabs her. Yanks on her hair. Melinda

screams and slams the door closed on the Killer's hand.

INT. BENOIT HOME -- EVENING

The Killer withdraws his hand, raises the pick axe.

2.

INT. BEDROOM -- EVENING

The door SPLINTERS over Melinda. She screams, scrambles away.

Spots the telephone on the night stand, crawls to it as the

pick axe splinters away at the door.

In the bed, her parents MR. & MRS. BENOIT lay dead.

Melinda grabs the (rotary) phone, starts dialing 911.

The door rips open, the Killer enters, pick axe swinging.

Melinda lets go of the phone, hides under the bed.

The Killer hits the hang up bar on the phone, returns handset

to cradle, reaches under the bed for Melinda.

Melinda crawls away from the searching hand.

She crawls to the left side of the bed, the gloved hand

reaches in from the left.

She crawls to the right side of the bed, the hand reaches

from the right.

In the center of the bed, out of reach of the sides. Safe.

Until the gloved hands grab her ankles and YANK her out from

under the bed. Melinda screams as the pick axe falls.

EXT. SUBURBAN HOUSE, 1983 -- EVENING

A siren screams as a Santa Mira sheriff's car pulls up.

INT. BENOIT HOME -- EVENING

A pair of SHERIFFs cautiously enter the house, guns drawn.

Used to breaking up domestic disputes and making sure drunks

don't drive home, they aren't prepared for all of the blood.

Sitting on the floor, singing a childish lullaby, is YOUNG

ROGER Grandfort. Fifteen years old, long hair, baby faced.

Clothes blood stained, the pick axe lays on the floor nearby.

YOUNG ROGER

(sings lullaby)

Hush little dreamer, off to sleep.

No reason to fear the shadow's creep.

Drift little sleeper, off to dreams.

Slumber through the midnight screams...

(CONTINUED)

3.

SHERIFF #1 keeps his gun on Young Roger as SHERIFF #2 looks

into the bedroom... almost gets sick.

SHERRIFF #2 (O.S.)

Roger? Roger? What have you done?

Young Roger keeps singing the lullaby as Sheriff #1 and

Sheriff #2 cuff him, and lead him away from the carnage.

EXT. GRANDFORT HACIENDA -- DAY

Elegant, secluded. The Grandfort family built Santa Mira,

and lives in the single story palace on the outskirts.

INT. LIVING ROOM -- DAY

Small town Attorney DON LARRUE paces across from wealthy

widow MRS. GRANDFORT, who relaxes on a divan.

MRS. GRANDFORT

But Roger says he's innocent.

Attractive, early forties, she's used to getting her way.

Unhappy at this situation.

LARRUE

Ruth, he was at the house...

MRS. GRANDFORT

He went to see that daughter of theirs,

found them all dead.

LARRUE

He had the victim's blood on his

clothes...

A servant, CASSY, enters with a tray of iced tea and glasses.

MRS. GRANDFORT

Thank you, Cassy. You may leave.

She pours a glass from the pitcher.

MRS. GRANDFORT

Iced tea?

LARRUE

No.

(beat)

Roger has been in trouble before.

(CONTINUED)

4.

MRS. GRANDFORT

Drugs, drink, brawling. Youthful

indiscretions. Nothing like this.

Why would he want to kill that girl?

LARRUE

She was two months pregnant. His

child, he admits it. Maybe she refused

to get an abortion. Wanted him to

marry her. I don't know, and Roger

isn't talking.

MRS. GRANDFORT

He said he's innocent.

LARRUE

Melinda put up a hell of a fight.

Scratched the killer. Had his blood

under her fingernails. Roger's blood.

MRS. GRANDFORT

How can you know that?

LARRUE

The Benoit family are Type A, Roger

is O negative.

Mrs. Grandfort sets her iced tea down. Worried.

LARRUE

The blood evidence ties him to the

crime. So does the murder weapon.

It was the pick axe from your shed.

(beat)

He brought the weapon with him. That's

premeditation.

MRS. GRANDFORT

Do you think he did this?

LARRUE

(reluctant)

Yes.

MRS. GRANDFORT

My God.

(beat)

What should I do?

LARRUE

The DA's going to try him as an adult,

maybe even go for the death penalty.

(MORE)

(CONTINUED)

5.

LARRUE (CONT'D)

(beat)

I'm good for contracts and wills, but

Roger's going to need a big gun lawyer

for this. Someone like F. Lee Baily.

MRS. GRANDFORT

I don't know.

LARRUE

You can afford it. He's your son.

MRS. GRANDFORT

Is he? How could my son do something

like this? My own flesh and blood.

Larrue touches her shoulder, then leaves.

EXT. COURTHOUSE -- DAY

Flashbulbs pop nearby.

TIGHT ON:

TV news REPORTER in front of the courthouse.

Commotion in the back ground.

REPORTER

After deliberating for less than an

hour, the jury has found fifteen year

old Roger Grandfort guilty of three

counts of first degree murder.

Courtroom sketch of Young Roger.

REPORTER

Even though these were the most brutal

killings in the history of Santa Mira,

in fact, in the history of Kern County,

Judge Hitchcock's sentence of life in

prison without the possibility of

parole showed great leniency.

Courtroom sketch of the judge.

REPORTER

This young man will...

(commotion)

They're bringing him out of the

courtroom, now.

Young Roger in shackles. Microphone thrust in his face.

(CONTINUED)

6.

REPORTER

Roger, do you have any...

YOUNG ROGER

I didn't kill those people. Tell my

mother I'm innocent. Mother?

INT. LIVING ROOM -- DAY

Mrs. Grandfort turns off the news report.

Pain changes to determination. Resolve.

MRS. GRANDFORT

I don't have a son anymore.

She packs the last photos of Young Roger into a box, gestures

for Cassy to take the stack of boxes.

MRS. GRANDFORT

Cassy, put these things in storage.

EXT. GRANDFORT HACIENDA -- DAY

Cassy carries the boxes out of the house, past the fountain,

across the grounds, to the barn.

EXT. BARN -- DAY

Cassy opens the storm cellar doors, climbs down.

INT. STORM CELLAR -- DAY

Cassy climbs down the stairs to the dark, spooky, cellar.

Places the boxes in a storage area of the cellar.

Climbs the stairs back to the surface.

Every trace of Mrs. Grandfort's son Roger in storage.

Forever.

FADE OUT.

FADE IN:

EXT. SOLEDAD PRISON -- DAY

Establishing shot of the prison.

Title is supered: SEVENTEEN YEARS LATER

7.

INT. JAIL CELL -- DAY

"Grandfort" is stenciled on the back of the denim shirt.

When a shadow falls over him, he looks up.

GUARD (O.S.)

Grandfort, Roger.

ROGER is no longer a baby faced fifteen year old. His hair

is short, face lean, eyes cold.

ROGER

What do you want?

GUARD (O.S.)

Warden wants to see you.

INT. WARDEN'S OFFICE -- DAY

State flag and American flag hang limp behind WARDEN AHERNE.

A picture of the President on the wall.

Roger sits across the desk from him, in shackles.

ROGER

This about my DNA test?

WARDEN

Grandfort, you know what I did before

I became a warden?

ROGER

Runway model?

WARDEN

I used to own a little motel in

Fairvale. On the old highway. Quiet

little place. Peaceful. That's the

way I like it.

ROGER

Is there a point?

WARDEN

I hate to see my guests leave so soon

after arriving. You've only been in

this facility...

ROGER

One year, seven months, fifteen days.

WARDEN

Right.

(CONTINUED)

8.

ROGER

But I had fifteen plus up in Q. That's

a lot of time for an innocent man.

WARDEN

What makes you think you're innocent?

ROGER

Did the tests come back or not?

WARDEN

Except for your attitude, Grandfort,

you've been a fairly peaceful guest.

ROGER

Do I have a choice?

The Warden flips through Roger's file.

WARDEN

Your jacket makes you sound like a

model prisoner. Never mentions that

smart mouth of yours.

(beat)

How come you were such a saint up at

San Quentin and such a hardass here?

ROGER

My inner child has been acting up.

The Warden controls his anger. Barely. Studies Grandfort.

WARDEN

When they shipped you here, your prison

bus had a little mishap. Some of the

men tried to escape. But three of

you stayed with the bus.

ROGER

We were hurt.

WARDEN

A lot of guys were hurt. Drayton ran

almost forty miles with a busted leg.

ROGER

He's a show off.

WARDEN

Now, I can understand Vilette and

Murphy staying with the bus, they're

short timers, but you're here for

life. Why didn't you run when you

had the chance?

(CONTINUED)

9.

ROGER

I'm an innocent man, Warden.

WARDEN

Didn't you want to escape? Find the

real killer? Bring him to justice?

ROGER

Bullshit. If I'd have run, the minute

you guys caught me I'd be back in

slam for life, real killer or not.

(beat)

Only way I can prove I'm innocent is

to prove that blood evidence is wrong.

(beat)

Seventeen years ago the best they

could do was match blood types. I

was convicted because I had the same

type blood as the killer... so did a

few hundred other people in town.

(beat)

Now they can compare the DNA. Narrow

down those few hundred people with

the killer's blood type to the one

guy who did it. Almost a hundred

percent accuracy. A God damned miracle

of modern science.

WARDEN

You demanded a DNA test at the State's

expense. We gave you one.

ROGER

So? Did I kill all those people?

WARDEN

(studies him)

(long beat)

No match.

ROGER

(smiles)

Said I was innocent. No one believed

me. My own mother disowned me. Didn't

want the scandal of having a hard

timer for a son. Pretty cold hearted.

WARDEN

She's your mother. The only family

you've got. Remember that.

ROGER

Right. They going to try me again,

or let me walk?

(CONTINUED)

10.

The Warden pulls some forms from the file.

WARDEN

Your release papers. I wanted to

keep you. Drill a little respect

into you. Make you lose that attitude.

ROGER

When can I leave?

WARDEN

Tomorrow morning. The state's

providing you with a suit of clothes

and five hundred dollars. But first

you have to sign this.

Shoves a form across to Roger.

ROGER

What is it?

WARDEN

Waver, absolving the State of any

civil and criminal false imprisonment

charges.

ROGER

You take seventeen years of my life,

treat me like a dog, and you want me

to just forgive you? Pretend it didn't

happen?

WARDEN

Your family's rich. You don't need

the money. I can't let you leave

until you've signed the paper.

Roger thinks about it for a moment, then grabs a pen.

ROGER

Now get me the hell out of here.

(soft)

I want to go home. See my mom.

The signed form goes back in the file.

THE FILE

Has a label: Roger Grandfort, prisoner ID # 7559292.

The label looks fairly new, even though the file has seventeen

years of wear and tear on it.

11.

INT. JAIL CELL -- NIGHT

Roger lays in bed smoking. Smiling. Then he laughs.

FADE OUT.

FADE IN:

EXT. SOLEDAD PRISON -- MORNING

Establishing shot of the prison.

INT. JAIL CELL -- DAY

Roger is dressed in a cheap suit, clunky leather shoes.

A small carry bag contains all of his belongings.

GUARD (O.S.)

You ready to go, Grandfort?

ROGER

I've been ready for the past 17 years.

Roger grabs his bag, the cell door CLANKS open.

EXT. GREYHOUND BUS -- DAY

The bus doors clank open, and Roger steps off the bus with

his carry bag. The bus roars away.

EXT. SUBURBAN STREET -- DAY

Roger walks along the street. Takes off the prison-bought

neck tie, throws the suit jacket over his shoulder.

Walks past the Benoit house, gives it a glance.

EXT. COUNTRY ROAD -- DAY

Takes him home, to the place, he belongs.

Roger sticks out his thumb as a car whizzes past.

It doesn't stop.

Roger sits on a roadside guard rail, takes off his shoes.

His feet are blistered.

Hears a car, moves to his feet and sticks out his thumb.

(CONTINUED)

12.

A SHERIFF'S CAR whizzes towards him.

Roger lowers his thumb.

The Sheriff's car slows as it passes him.

INT. SHERIFFS CAR -- DAY

WALT KELLER is a small town Sheriff with small town values.

Santa Mira is his town. He exudes a paternal protectiveness.

KELLER

Trouble.

Keller frowns at the hitch-hiker, then zooms off.

EXT. COUNTRY ROAD -- DAY

Roger waits until the Sheriff's car is long gone before

putting his shoes on and continuing down the road.

EXT. GRANDFORT HACIENDA -- DAY

Roger stops walking when he sees the house.

Big, beautiful, amazing. Home has never looked so good.

ROGER

Wow.

For a minute, Roger just takes it in.

Then grabs his bag and walks up the drive to the front door.

EXT. GRANDFORT HACIENDA -- DAY

The front door is opened by private care nurse ANNE LOGAN.

Quiet, shy, with a girl next door beauty. No nurse uniform,

Anne dresses in comfortable clothes.

ANNE

Yes?

ROGER

Where's Cassy?

ANNE

Retired. You must be Roger.

He nods. Wonders if he's supposed to know who she is.

(CONTINUED)

13.

ANNE

Come in.

Roger enters the Hacienda.

INT. ENTRY HALL -- DAY

Anne leads Roger through the house.

ANNE

Must be nice to be home again...

Roger stops.

ROGER

Wait a minute. Who the hell are you?

ANNE

(moment to recover)

I'm sorry.

(shakes his hand)

Anne Logan, Mrs. Grandfort's nurse.

Roger hasn't touched a woman in over seventeen years. Pulls

his hand away in fear. Confusion. Lust.

Anne continues down the hall.

ANNE

You do know she's lost her sight.

ROGER

They told me. Completely blind?

Anne nods, keeps moving.

Roger tries to keep up, isn't sure where she's leading him.

INT. LIVING ROOM -- DAY

Mrs. Grandfort sits in a thrown-like chair near the fireplace.

Though seventeen years have passed, she's still a stylish,

attractive woman. She wears dark glasses, cane at her side.

MRS. GRANDFORT

Roger? Is that you?

ROGER

Yes, mother.

MRS. GRANDFORT

Come here.

(CONTINUED)

14.

Roger crosses to her side. Looking at her dark glasses.

Can she see anything at all?

She finds Roger's arm, pulls him down to her.

MRS. GRANDFORT

Let me touch you.

She runs her hands over Roger's face, "seeing" him.

Joy turns to confusion.

MRS. GRANDFORT

You're different.

ROGER

Prison changes a man.

Roger pulls away from her.

MRS. GRANDFORT

You sound different, too.

ROGER

I'm not a boy anymore.

(emotional)

My childhood ended long ago.

MRS. GRANDFORT

Are you alright?

Roger's temper flares. He is as volatile as nitroglycerin,

shake him too much and he's liable to explode.

ROGER

They took seventeen years of my life.

Put me in a cage, like some dog. Fed

me slop on tin trays. Told me when

to talk, where to walk. Took

everything away from me. Everything.

Anne tries blending into the wall, afraid.

Like a whipped puppy.

ROGER

I said I didn't kill those people.

But no one believed me. Not even my

own mother.

MRS. GRANDFORT

I always knew you were innocent.

ROGER

But you didn't do anything about it.

(CONTINUED)

15.

MRS. GRANDFORT

Roger...

Mrs. Grandfort reaches for Roger, but he shrugs her off.

Roger pops a cigarette in his mouth, lights it with an

engraved lighter: "To Roger. Love, mother." Puffs.

MRS. GRANDFORT

You know I don't allow smoking in the

house. Why don't you take that outside?

ROGER

Throwing me out already?

MRS. GRANDFORT

No, Roger...

ROGER

I've only been home twenty minutes...

He snubs out the cigarette on some priceless nick-nack.

MRS. GRANDFORT

Maybe you should go to your room,

freshen up.

ROGER

I've been in my room for seventeen

years.

MRS. GRANDFORT

You remember where it is?

ROGER

Of course.

MRS. GRANDFORT

I can have Anne show you the way...

ROGER

I'll find it.

Roger softens, moves to Mrs. Grandfort, kneeling beside her.

ROGER

Mother, they took everything. You

know I wouldn't be here if I didn't

need your help. All I've got is this

cheap state suit, and a couple of

hundred dollars. They didn't even

give me a wallet. I've got no job,

no car, no future. You're all I have.

(CONTINUED)

16.

She strokes his head... like a dog.

MRS. GRANDFORT

I'm sorry, son. So sorry.

A tender moment before Roger pulls away.

ROGER

I guess I'll get settled, freshen up,

before dinner.

Roger grabs his bag, starts towards the hall.

MRS. GRANDFORT

Roger?

He stops.

MRS. GRANDFORT

I... I cleaned out your room. Put

all of your things in storage.

Anger creeps into Roger's expression.

ROGER

Like I wasn't coming home?

MRS. GRANDFORT

You weren't.

Anger dissipates. Roger nods, leaves.

Anne moves to clean up the cigarette mess on the nick-nack.

INT. HALLWAY -- DAY

Roger tries a couple of doors before he finds the right one.

INT. ROGER'S ROOM -- DAY

An impersonal guest room. Looks like Motel 6.

Roger drops his bag on the bed, looks around.

ROGER

Home sweet home.

EXT. GRANDFORT HACIENDA -- EVENING

Sun sets behind the house.

17.

INT. ROGER'S ROOM -- EVENING

Roger lays in bed smoking. Smiling. Then he laughs.

INT. HALLWAY -- EVENING

Anne listens at his door.

Why is he laughing? She moves her ear closer to the door.

Wham!

The door opens and Roger grabs her wrist, yanking her inside.

INT. ROGER'S ROOM -- EVENING

Roger throws Anne against the wall, slams his door closed.

Anne tries to scramble away.

Roger grabs her, pins her against the wall.

ROGER

I don't like people spying on me.

She struggles to get away, but Roger overpowers her. Keeps

her pinned against the wall. Fear in her eyes.

ROGER

Privacy is important to me, understand?

ANNE

Yes.

ROGER

I don't like maids snooping around.

ANNE

I'm a nurse.

ROGER

Really? Where's your uniform.

Roger examines her clothes, roughly coping a feel.

ANNE

Not that kind of nurse. Live in.

Residential. Like a paid companion.

ROGER

I could use a little companionship.

Nuzzles her neck, freaking her.

(CONTINUED)

18.

ROGER

Know how long it's been since I've

slept with a woman? Since I've touched

a woman?

(cops a feel)

Smelled a woman?

(sniffs her)

Kissed a woman? Licked a woman?

He licks her face. Gross.

Anne knees him in the groin, ducks under his arm, escapes.

But grabs his arm and twists it behind his back, slamming

his face against the wall a couple of times.

ANNE

Your mother wanted me to tell you

dinner was ready.

She lets go of Roger, and he starts laughing.

ROGER

I like a girl with spunk. You and me

are gonna get along just fine.

ANNE

In your dreams.

ROGER

I'm sure they'll be wet ones.

Anne exits as Roger laughs.

INT. DINING ROOM -- EVENING

Elegantly set table. Fine china. Silver service.

A SERVANT hovers close by, to see to their needs.

Mrs. Grandfort and Anne eat gracefully.

Roger shovels food into his mouth with one hand, the other

arm guarding his plate. As if he's in the prison mess.

MRS. GRANDFORT

Did you have any job training when

you were...

ROGER

Inside?

(Mrs. Grandfort nods)

I know how to stamp license plates,

work an industrial laundry, and I

(MORE)

(CONTINUED)

19.

ROGER (CONT'D)

picked up some tips on armed robbery.

Guy named Ryan had these ten rules.

MRS. GRANDFORT

Have you given any thought to your

future? Employment?

ROGER

(mouth full of food)

I've been living in a cage, I need

some time to stretch my legs.

Mrs. Grandfort stops eating, turns to him.

MRS. GRANDFORT

Have you lost your manners?

ROGER

Sorry. Not used to civilization.

Roger watches the way his mother eats, tries to mimic it.

Has trouble holding his fork in the continental position

(tines down, not like a shovel).

MRS. GRANDFORT

Anne tells me...

ROGER

(glares at Anne)

What?

MRS. GRANDFORT

You already knew about my affliction.

ROGER

Cassy sent me a Christmas card every

year. Kept me up to date.

(smiles)

Only mail I ever got, from the maid.

MRS. GRANDFORT

She retired last year.

Roger nods, goes back to shoveling his food.

Chugs his glass of bordeaux and signals for more.

ROGER

Fill it.

The Servant nods, fills his glass to the brim.

Roger chugs it, gestures for more.

As the Servant pours, Roger kicks back, smiles.

(CONTINUED)

20.

ROGER

I have any back allowance coming?

Could sure use some money for clothes

and smokes.

MRS. GRANDFORT

If you'll write down your measurements

I'll see that you get what you need.

ROGER

I'm not a kid anymore. I want to buy

my own things, okay? I need money.

Can't you get me a checking account,

let me borrow your credit cards?

MRS. GRANDFORT

(hesitates)

I don't know if that's a good idea...

ROGER

You don't trust me.

MRS. GRANDFORT

It's not that...

(it is)

Roger's temper flares. Like a bomb about to explode.

ROGER

You don't care about me, you don't

care about anyone other than yourself!

Anne is as shocked as Mrs. Grandfort.

MRS. GRANDFORT

Roger.

ROGER

Sorry.

MRS. GRANDFORT

This isn't easy for me. I can't just

instantly start loving you again.

Trusting you again.

ROGER

I'm your SON... Your own flesh and

blood.

MRS. GRANDFORT

We've lived apart for over fifteen

years. Both become set in our ways.

(beat)

We have to learn to compromise.

(CONTINUED)

21.

ROGER

I still need some money. My own money.

(back to eating)

Most of my life, the state's been

buying my clothes, my food, everything.

I need to be independent. Start living

my own life, making my own decisions.

MRS. GRANDFORT

I'll call Don Larrue in the morning.

Have him open a bank account for you.

ROGER

Thank you.

Truce. Roger and his mother focus on eating.

Anne focuses on Roger. Hard to believe he's a Grandfort.

INT. MRS. GRANDFORT'S ROOM -- NIGHT

Anne is helping Mrs. Grandfort get ready for bed.

ANNE

Hard to believe he's your son.

MRS. GRANDFORT

Despite his behavior, he is my son,

and you will treat him with respect.

ANNE

Yes, ma'am.

Anne helps her to the bed, even though Mrs. Grandfort knows

where it is. Anne is there to serve her.

MRS. GRANDFORT

(snapping)

Watch it! Get me my pills.

Anne spends a second too long with Mrs. Grandfort.

MRS. GRANDFORT

Now, Anne!

Slaps Anne's arm. Taking out her anger and frustration.

Anne jumps to grab the pills. Scowling at Mrs. Grandfort.

Who doesn't see a thing.

Mrs. Grandfort takes her pills, adjusts herself in the bed.

On the stand near the bed: a buzzer button to signal Anne.

(CONTINUED)

22.

ANNE

Anything else, ma'am?

MRS. GRANDFORT

What did they do to him in there?

ANNE

I don't know, ma'am. Goodnight.

Anne flips off the lights and leaves.

INT. ANNE'S ROOM -- NIGHT

Anne's personal touch is evident in the room, from family

photos to art lithos (anything with people's reflections).

Her medical kit is on top of the dresser.

Anne begins undressing for bed.

Gets ready to take off her bra when she sees...

A face outside her window.

Lit from below.

Demonic.

Anne jumps, frightened.

EXT. ANNE'S ROOM -- NIGHT

Roger laughs and takes another puff on his cigarette.

Waves at her as she closes the curtains.

EXT. GRANDFORT HACIENDA -- DAY

Establishing.

EXT. HACIENDA GROUNDS -- DAY

Roger wanders around the grounds, exploring.

ANNE (O.S.)

Help you find something?

Startling Roger. Contains his fear.

ROGER

Don't like people sneaking behind me.

ANNE

Sorry.

(CONTINUED)

23.

ROGER

In the yard, only reason someone'd

sneak behind you was to stick in a

shiv.

(explains)

A knife. Made 'em out of spoons they's

steal from the mainline.

(explains)

Cafeteria.

ANNE

Like a whole different language.

ROGER

Whole different world.

Roger looks around, walking as if he's lost.

Anne decides to keep an eye on him, follows.

ROGER

Where's the barn?

ANNE

You don't remember?

ROGER

It's been a long time.

ANNE

Forget?

ROGER

Look, I spent more time in Q than I

did in that house. Everything about

this place is kind of hazy.

ANNE

The barn's through there.

They walk to the barn.

Anne still suspicious.

Keeping her distance.

ROGER

Look, sorry about last night.

(picks up a rock)

Wasn't trying to spy on you

(throws it)

She didn't want me smoking inside.

Didn't know it was your window.

The rock hits the side of the barn. Anne realizes she's

alone with an ex-convict. Hides her fear.

(CONTINUED)

24.

ANNE

I should get back.

ROGER

Mother keeps you on a pretty short

leash, doesn't she?

ANNE

That's none of your business.

ROGER

No reason for us to be on opposite

sides of this thing, you know?

ANNE

Keep your hands off me, no more

surprises, we'll get along.

EXT. GRANDFORT HACIENDA -- DAY

They get to the front of the house, where a Santa Mira Sheriff

car is parked in the driveway... So is Sheriff Keller.

ROGER

Shit.

Keller blocks Roger from entering the house. Anne enters.

KELLER

Roger.

(shark smile)

Thought I'd stop by, see how you're

doing.

ROGER

Do I know you?

KELLER

Sheriff Keller. Walt.

Holds out his hand to shake. Roger looks at the hand, doesn't

take it. These two are natural enemies. Circling each other.

ROGER

Did my mother set this up?

KELLER

Hard to believe you're the same boy

who killed those people.

ROGER

I'm not.

(CONTINUED)

25.

KELLER

Saw you arrested on TV. Still have

the case file down at the station.

(beat)

A pick axe? Wasn't that messy?

ROGER

I didn't kill them. DNA evidence.

KELLER

That's right. I keep forgetting.

ROGER

Shouldn't you be out looking for the

real killer? Leave me alone?

KELLER

(smiles)

I don't play golf.

ROGER

Is this some sort of shakedown?

KELLER

Just want to make sure you aren't

having any problems re-adjusting.

ROGER

What kind of problems?

KELLER

Usual kind. Lot of guys get out of

the joint, nothing to do, fall right

back into their old nasty habits.

ROGER

Start finding people with pick axes

in them, you know where to find me.

Keller gets right in his face. Threatening.

KELLER

I thought you were an innocent man,

wrongly accused?

Roger doesn't back down.

ROGER

Then there's nothing to worry about.

Now how about getting out of my face?

KELLER

See? That's what I'm afraid of.

(MORE)

(CONTINUED)

26.

KELLER (CONT'D)

That bad prison attitude. You may

have gone in an innocent man, but you

came out an ex-con.

ROGER

Take the boy out of prison but you

can't take the prison out of the boy?

KELLER

Genetics versus environment. You may

have been a rich kid for fifteen years,

but you were a hard timer for

seventeen.

ROGER

Seventeen and a half.

KELLER

(nods)

Prison can turn a man into an animal.

ROGER

That'll happen when you put a man in

a cage, treat him like a dog.

Keller unsnaps the flap over his gun, just in case he has to

shoot Roger in his own drive way. A serious threat.

ROGER

Don't you have something to do?

KELLER

I don't think so.

ROGER

If I didn't kill those people, it

means someone else did. The killer's

still running loose somewhere.

KELLER

Funny how he went 17 years without

striking again, isn't it?

ROGER

Down-right hysterical.

Keller smiles like a shark, gets in Roger's face again.

KELLER

I don't know who was in charge back

when you killed those people, but I'm

in charge now. This is MY town.

(MORE)

(CONTINUED)

27.

KELLER (CONT'D)

(beat)

You get into even a hint of trouble,

I'll have you back in slam before you

know it. You understand me on this?

ROGER

I hear you.

Keller backs Roger up against the car, hand on his gun.

KELLER

Do you UNDERSTAND me?

ROGER

I understand you.

Keller takes a step back.

KELLER

Good.

Anna and Mrs. Grandfort step onto the porch.

MRS. GRANDFORT

Roger? Who are you talking to?

ROGER

Sheriff Keller.

Anne looks from Roger to Keller. Tension between them.

MRS. GRANDFORT

Walt? Is something wrong?

KELLER

No...

ROGER

He just stopped by to see how I was

adjusting to my new environment.

(beat)

Just getting ready to leave, weren't

you, Walt.

Keller gives him a cold stare.

KELLER

Yeah. Good day, Mrs. Grandfort.

Sheriff Keller gets in his car, leaves.

28.

INT. LIVING ROOM -- DAY

Roger, Anne, and Mrs. Grandfort enter the house.

MRS. GRANDFORT

What did he want?

ROGER

He doesn't believe the DNA evidence.

Thinks I killed those people.

Mrs. Grandfort nods, but doesn't comment.

EXT. SHERIFF STATION -- EVENING

Green and white building with a pay phone out front.

Sign says: Santa Mira Sheriff Station.

Sheriff's car parked out front.

INT. SHERIFF STATION -- EVENING

Keller drops a box of old case files on his desk and starts

sorting through them. Finally finds the one labeled Roger

Grandfort Murders. Inside are old newspaper stories, arrest

forms, case notes from the previous sheriff. A ton of papers.

Keller pours himself a drink and starts reading.

It will take him months to get through the whole box.

INT. LIVING ROOM -- MORNING

Roger enters with the tea service.

ROGER

I thought you'd like some tea, mother.

MRS. GRANDFORT

Yes, Roger.

Roger fills Mrs. Grandfort's cup, smiles and pours for Anne.

ANNE

Aren't you having any?

ROGER

It's a beautiful day. I thought I'd

take a walk around the estate.

29.

EXT. HACIENDA GROUNDS -- MORNING

Roger explores the grounds, wandering over the trails.

EXT. ORCHARD -- DAY

Walks through the groves. Reaches up and plucks an orange

from a tree, peels it and eats it. It's HIS orange, now.

EXT. STREAM -- DAY

Roger crosses the wooden bridge, still eating the orange,

and climbs the stairs to the...

EXT. GAZEBO -- DAY

Roger pokes around the gazebo.

Anne watches him from the trail. Wonders why he seems lost.

Roger feels someone watching him.

Turns around.

The trail... but Anne is gone.

Roger backtracks to the trail, turns to the left instead of

going down the stairs.

EXT. QUARRY -- DAY

The trail leads to the edge of a cliff overlooking a quarry.

Roger looks down. A fifty foot drop to the rocks.

Roger wanders back to the house.

EXT. COURTYARD -- DAY

Roger enters the courtyard, rubs the head of a statue, passes

the fountain, enters the house.

INT. LIVING ROOM -- DAY

Mrs. Grandfort lifts her head when Roger enters.

Anne by her side.

MRS. GRANDFORT

Roger?

(CONTINUED)

30.

ROGER

Yes, mother.

MRS. GRANDFORT

I called the bank this morning. Opened

a checking account for you.

ROGER

Thanks.

MRS. GRANDFORT

You'll have to go down and fill out

some paperwork...

ROGER

This mean I'm back in the family? No

longer disowned? Disinherited?

MRS. GRANDFORT

Let's give it some time, Roger. Time

to get to know each other again.

Time for old wounds to heal.

Roger moves to his mother, embracing her, laying it on.

ROGER

Thank you, mother. It's good to be

back in the family. Good to feel a

mother's love again...

INT. ROGER'S ROOM -- NIGHT

Roger lays in bed, smoking a cigarette, remembering...

EXT. S