Phony Collateral
screenplay by
Rex Bromfield
Copyright (c) 2011 R. Bromfield
Smashwords Edition
____________________________________________
SMASH CUT FROM BLACK
INT. JOHN'S CAR -- NIGHT
JOHN SIMONE, handsome, late 20's is at the wheel - alone in
the car. The twelve-year-old Alpha Romeo is going about 85
MPH. John is either unconscious or dead. He is disheveled,
unshaven and a small trickle of blood from his nose has dried
on his cheek. Car horns blare O.S. as they swerve to avoid
him.
JOHN (V.O.)
That's me, John Simone there at the
wheel... well, I would be at the
wheel if I weren't... uh, compromised
like I am.
(beat)
I'm not dead or anything--not yet
anyway but I am in big trouble--as
usual.
EXT. URBAN ALLEY -- DAY -- FLASHBACK
John is running as fast as he can to get away from two nasty-
looking guys wielding a baseball bat and a knife. Monotonous
Heavy Metal music dominates the track. John leaps over some
garbage, jumps a low concrete wall, makes it to his Alpha,
fumbles with his keys, gets in and twists the ignition
frantically. The car starts and squeals away. FREEZE on
his assailants as they are about to gain the car.
JOHN (V.O.)
That's the lead guitar player and
the drummer of the Monotones--a band
I was promotin'. Problem was they
only played one note - not one tune,
not one key -- one note. And pretty
soon it was getting on everybody's
nerves - like big time. It wasn't
my fault. What the boys here didn't
understand was that nobody, besides
maybe some seriously demented kids,
wanted to hear their so-called music.
EXT. CITY BANK -- DAY -- FLASHBACK
John can be seen inside having an impassioned conversation
with a young loans officer. He doesn't notice a meter maid
placing a parking ticket on his car outside. John grabs the
loans officer's framed family picture from his desk and throws
it against the wall.
JOHN (V.O.)
I don't want you to get the idea
that I'm a loser or anything. I'm
not. I'm an entrepreneur. Trouble
is the banks don't seem to understand
that. These guys always want
verification of this, notification
of that and collateralization of the
other...
Two security guards come in and escort him bodily out of the
office and into the street. John is angry as he stumbles to
his car. When he spots the parking ticket he grabs it and
tears it into a million pieces.
JOHN
The way these bastards treat me you'd
think I was tryin' to pull a fast
one.
(beat)
Okay, maybe I don't always get every
single detail ironed out just
perfectly, but hey, who doesn't make
the odd mistake once in a while?
INT. JOHN'S DOWNTOWN CONDO -- DAY -- FLASHBACK
A poor man's penthouse. Cheaply furnished but in good taste.
Lots of plants, nice view of the city. John is watering the
plants.
JOHN (V.O.)
I mean look at me, I take care of
plants. I give money to the SPCA
for Christsakes.
INT. BAR -- DAY - INSERT
John is picking up two drinks and his change at the bartender
when he spots two pretty girls watching him from the end of
the bar. He smiles at them then makes a big deal of dropping
his change into an SPCA donation box.
INT. JOHN'S CAR -- NIGHT
John, unconscious at the wheel - 85 mph.
JOHN
All I was ever really trying to do
was pay my family back what I owe
them.
INT. JOHN'S CAR -- DAY
WENDY, John's girlfriend, is twenty-two, Vietnamese, very
pretty with tight-tight pants, tight top and a tense attitude.
John, expensively dressed and looking good, is at the wheel.
WENDY
(spoiled)
I thought we were going out somewhere.
JOHN
Dinner at my parent's is going out.
WENDY
It's boring.
John shoots her an exasperated look.
JOHN (V.O.)
That's my girlfriend Wendy. She's
pissed at me, as usual, for not
paying enough attention to her.
A loud unmuffled engine breaks the mood and a red headed
woman in her early thirties roars past on her Harley Davidson.
John is momentarily entranced by the strangely sexy image.
Wendy sees this and gives him a swat.
JOHN (V.O.)
And she has this strange idea that I
pay too much attention to other women.
EXT. TOWN OF MT. FOREST -- DAY - CONTINUOUS
John's car pulls off the highway into Mt. Forest. We see
the quaint little town as the car navigates the streets.
JOHN (V.O.)
What I like about Wendy is she's not
one of those cloying women in need
of a permanent arrangement so she's
perfect for me right now. Important
thing is she works for Al Fortinni,
our friendly neighborhood loan shark.
Al's a tricky bastard at the best
of times. So Wendy's a great source
of inside information on all of Al's
doin's since she's his personal
secretary... In fact Al's due to
phone me right about now.
John's cell phone rings.
INT. JOHN'S CAR -- DAY
John answers the phone.
JOHN
John Simone here.
INT. AL'S OFFICE -- DAY - INTERCUT
Upscale, poor taste overlooking city. Al Fortinni, a gruff,
man in his early forties, is currently having his hair cut
by MARCEL, an effeminate but dangerous-looking man in his
thirties. Al talks on a speaker phone. MAX, Al's serious
muscle, sits quietly in a chair beside the door.
AL
Well John my boy, I got good news
for ya. I'm gonna let you have the
money you asked for but there's a
couple of conditions.
JOHN
(beat)
Conditions?
AL
Yer gonna fire the contractor ya got
and use my guy and...
JOHN
(concerned)
Uh well Al, this is pretty complicated
stuff...
AL
(ignores him)
And you gotta put up the land near
Mansonville.
JOHN
You're only loanin' me sixteen grand.
Mansonville is worth at least three
times that...
AL
...and that's good business. Come
see me tomorrow. Bring the title
papers.
Al hangs up.
JOHN
Jesus, why does that asshole have to
treat me like shit all the time?
WENDY
He treats everybody that way.
INT. AL'S OFFICE -- DAY
Marcel holds a hand mirror in front of Al so he can see the
cut which is grossly lop-sided. Al scowls, then slugs Marcel
in the face. Marcel crumples into a heap on the floor.
INT. JOHN'S CAR -- DAY
WENDY
I wouldn't go around callin' Al an
asshole neither. You could wind up
dead in a dumpster somewhere, or
worse.
(beat)
He is giving you your money.
John looks over at Wendy 'good point'.
JOHN
You knew that already?
She looks away.
JOHN
Thanks for telling me.
INT. JOHN'S CAR -- NIGHT
John, unconscious at the wheel - 85 mph.
JOHN (V.O.)
Yeah, Good old Al was dangerous
alright. And at that moment I was
wishin' I didn't have to deal with
him at all. But where the hell are
you supposed to get money from these
days? I had no choice. On top of
that, because he put my Pa out of
business on my last deal, no one can
know Al's in this one.
INT. JOHN'S CAR -- DAY
Wendy glares at John.
WENDY
John Simone. Will you talk to me
please?
JOHN
Wen, I know I've been ...well not
exactly ignoring you lately but it's
just that right now I gotta
concentrate on this deal. I'm just
distracted, that's all. After it's
done we'll go out and have a blast...
Wendy digs in her purse, pulls out a small pill bottle
spilling some blue ten milligram valiums into her palm.
WENDY
Here...
She hands three of the pills to John.
WENDY
You're altogether too uptight. Take
these and relax a bit. Worrying
isn't going to change it so just
calm down once in a while.
He gives her a look as she pops her pill preparatory to the
'boring' event to come. Not big on pills, John tosses his
two into the change cup on the car's console.
EXT. TOWN -- DUSK
John's car turns down a quiet residential street.
JOHN (V.O.)
And I've got to get this deal right.
This deal involves my Ma and Pa.
INT. SIMONE HOUSE LIVING ROOM -- EVENING
MA and PA SIMONE, in their late 60's, are lovingly attentive
as their only grandson, eight-year-old RYAN, murders "Blue
Moon" on a plastic alto saxophone.
JOHN (V.O.)
That's my Ma and Pa. They're good
people and I owe them big time.
They've made more sacrifices for me
than I can remember. Neither of
them ever talks about it but it was
a farming deal I did a couple of
years ago that lost Pa his business
in town. It was a nasty thing Al
Fortinni did too--Pa was the best
tailor in town.
EXT. MT. FOREST MAIN STREET, FLASHBACK -- DAY
The main business section of Mt. Forest. Other shop keepers
look on as painters paint out the generations old sign on
the front of "SIMONE'S FINE ITALIAN MEN'S WEAR" tailor shop,
changing it to the crass design of "AL'S FAST BURGERS". Al,
Marcel and MAX, look on. We see that several of the other
businesses on the street bear some version of Al Fortinni's
name.
INT. SIMONE HOUSE -- EVENING
On Ryan playing the saxophone.
MIKE and SYLVIE, Ryan's parents, a couple in their mid
thirties have heard Ryan's tune only four or five hundred
times before but to Sylvie it seems like more. Mike is the
eldest of the three Simone siblings - handsome but kind of
goofy-looking. His wife Sylvie struggles more or less
successfully, with a weight problem. ANGELA, 32, the Simone's
only daughter, has wisely positioned herself at the far end
of the room. She thinks Ryan is cute but can barely stand
his playing.
JOHN (V.O.)
Ma and Pa love little Ryan to bits
because he's the only grand child...
so far.
Angela's gaze drifts out the window.
JOHN (V.O.)
That's my sis Angela. She's a school
teacher--little kids. She loves
them. Angela keeps to herself a
lot. Not to suggest she hasn't had
men friends. They just don't seem
to last long.
(beat)
The rumor is that she can't have
kids.
(beat)
I love her to the end of the earth
but personally I think she's got her
ass in such a knot all the time, she
kills anything that tries to grow
inside her.
EXT. SIMONE HOUSE -- EVENING - ANGELA'S POV
John's Alpha Romeo comes down the street.
EXT. SIMONE HOUSE -- EVENING -- ESTABLISHING
The Simone home is an amazingly preserved obsessively, well-
kept elegant two story frame structure. Generous bay windows
look out upon a mathematically precise front garden. By far
the nicest house on the downscale street, it clearly doesn't
belong here.
John backs his car into the drive so that an unpainted fender
cannot be seen.
The next door neighbors, HELMUT and AMY ZITTER (mid 60's)
are having unheard dialogue on their front porch.
As Wendy and John get out of the Alpha, Amy Zitter waves to
them. John waves back.
JOHN
Hello Mrs. Zitter... Mr. Zitter.
Helmut Zitter flashes John a fake smile.
John and Wendy are half way up the walk when a man, HELPFUL
MONROE rides up on his bicycle, waves, then stops. The
Zitters hurry into their house to avoid him.
HELPFUL MONROE
(Australian accent)
Hello and good evenin' to you John
Simone and the very pretty young
lady.
JOHN
(to Wendy)
Shit, it's Helpful Monroe.
Helpful Monroe leaves his bike at the curb and heads for
them.
HELPFUL
I say, haven't seen you around lately.
What you been up to? Got plenty of
important business in the big city I
suppose...
JOHN
Uh can't talk now Helpful, late for
dinner.
HELPFUL
(changing course)
Right you are. Can't keep the folks
waiting... Now maybe if you were to
visit on a more regular basis...
John and Wendy go into the house, cutting Helpful off in mid
sentence.
INT. SIMONE HOUSE DINING ROOM -- NIGHT
The family sits around a huge table before a large meal.
The animosity between Angela and John seems to be a permanent
fact of life and everyone ignores it. It is clear too that
Angela doesn't care much for the tarty Wendy.
John's brother Mike slobbers slightly from one side of his
mouth and Ma discretely wipes his chin.
JOHN (V.O.)
There's my big brother Mike. Used
to be a cop. Until he injured his
neck in the police wrestling
tournament. Now he's on disability,
poor prick's walk's gone all crooked,
he talks sloppy and he's lost half
his memory. His wife Sylvie says,
'he's a vegetable'. She's referring
to sex of course. Fact is the
family's not been the same since we
lost Mike.
(beat)
Christ, he used to be the town hero.
Now everybody treats him like the
village idiot.
This over:
MA
(Italian accent-to
Ryan)
You can't spend your money yet dear.
Your grandpa and I gave you that
money so you could save it and build
interest...
RYAN
What's interest?
JOHN
It's the crumbs the bank pays you
for letting them make a fortune with
your hard-earned savings.
RYAN
(confused)
How much interest is there now?
MA
(thinks)
Let's see, a thousand dollars...
it's been in the fund for about a
year...
SYLVIE
(to Ryan)
If the interest rate is three percent
per year how much would that be?
Everybody thinks about this.
JOHN
(scowls)
It's less than twenty-five bucks
because the interest rate isn't even
close to three percent. But you
could do better than that with it if
you let me...
John catches a severe look from Angela and lapses into
silence.
SYLVIE
(under her breath)
We wanted Ryan to figure it out
himself.
JOHN
Oh, sorry...
RYAN
(pretends to think)
Thirty bucks.
MA
(proud)
That's right! Clever boy.
Sylvie rolls her eyes at the ceiling. Angela's look goes
from Sylvie to Wendy and she wonders why both of her brothers
are attracted to bimbos.
INT. SIMONE HOUSE BATHROOM -- NIGHT -- LATER
Mike is taking a pee when he hears Angela and John arguing
in the hall outside. When he leans over to listen, he pees
on the toilet seat, then the floor.
ANGELA (O.S.)
(angry)
You're wasting your time.
I'm not interested.
JOHN (O.S.)
Angela please... this is difficult
for me. I'm just asking you to listen
then decide...
INT. SIMONE HOUSE HALLWAY -- NIGHT
ANGELA
I have decided!
JOHN
But it's for Ma and Pa...
ANGELA
John, how can you ask me this after
the trouble you've caused with your
crazy schemes? I've got to protect
Ma and Pa and I'm not going to let
you do anything to their house
especially not move it anywhere!
(beat)
John, it's insane!
JOHN
I know how it sounds but it's done
all the time. I just ask you to
listen...
INT. SIMONE HOUSE BATHROOM -- NIGHT -- INTERCUT
Mike leans closer to the bathroom door to hear better and
pees on the wall. When he realizes what he has done he sets
about cleaning up his mess as best he can.
INT. SIMONE HOUSE HALLWAY -- NIGHT
John and Angela both notice the small puddle emerging from
under the bathroom door and ignore it.
ANGELA
They can all go out of their way to
make you feel wanted in spite of
what you've done. I don't have to.
(beat)
And I don't want you talking to Ma
or Pa about it either.
Mike comes out of the bathroom wiping the floor with a big
wad of toilet paper.
JOHN
Mike and Sylvie are going along.
They don't have money to spare.
ANGELA
(sarcastic)
I wonder why that is.
(a thought-to Mike)
Mike, why do you think Sylvie is
always complaining there's not enough
money?
Mike has a marked but not completely disabling physical
infirmity that causes him to be limp on his right side. He
has a slight speech impediment.
MIKE
(dopey grin)
She's got expensive taste?
ANGELA
No. Because half your disability
insurance settlement went into that
stupid yak farm.
(beat)
And now, instead of a nice quiet
Sunday family dinner we have Yak
Scaloppine, Roast Yak, Rack of Yak...
Mike laughs at this. Angela does not. Neither does John.
ANGELA
(softens)
Mike, I don't mean this in a bad way
and I don't want you to take it
personally, but you're an idiot.
(to John)
And you... You have no excuse.
With that she turns and walks away back to the living room.
John is dejected. Mike pouts.
EXT. SIMONE HOUSE FRONT -- NIGHT
Ma, Pa, Ryan and Sylvie can be seen in the front room window.
Angela comes in from the hall.
JOHN (V.O.)
Yeah, that's the plan--I'm going to
move the house, Ma and Pa's pride
and joy, up the hill to the kind of
neighborhood they deserve.
(beat)
How do you do that? Simple. You
just build a new foundation exactly
like the old one at the new site,
jack the house onto a huge flatbed,
then take it up the hill, set it
down, patch it all up and Bob's yer
uncle as the English say.
INT. SIMONE HOUSE HALLWAY -- NIGHT
JOHN
(to Mike)
Jesus. I make one or two little
mistakes and...
MIKE
(looks after Angela)
I think she's scared it'll go wrong
again like the last two times.
John realizes the truth of this.
JOHN
Yeah... But this is for Ma and Pa
Mike. It's not a money making scheme
or anything. It can't go wrong!
Mike looks at his brother, can't think of anything to say,
goes blank then shuffles off toward the living room.
John looks sympathetically after him. It's not Mike's fault
that his brain isn't 100%. John slowly makes his way back
to the living room.
INT. JOHN'S CAR -- NIGHT
John unconscious at the wheel - 85 mph.
JOHN (V.O.)
See the deal that Angela keeps
twisting the knife about is the
farming deal; It was a yak farm which
I admit may have been a bit
unrealistic. But, at the time, there
was the whole mad cow thing. Yak
don't get mad cow so I imported a
herd of them from Nepal to raise
near here on a nice little property
near Mansonville.
EXT. MANSONVILLE FARM COTTAGE -- DAY -- FLASHBACK
A beautiful twenty-acre, gently sloping hillside. A small
fixer-upper cottage nestled picturesquely in a clump of trees.
JOHN (V.O.)
'Course the bank wouldn't play and
Al wouldn't lend me the money unless
I put up Pa's business as security.
(beat)
How the hell was I supposed to know
the government wouldn't let me sell
yak meat until they'd done four years
of research and got FDA approval?
INT. JOHN'S CAR -- NIGHT
John unconscious at the wheel 85 mph.
JOHN (V.O.)
So that's the land Al wants to secure
this loan to pay my share of the
house moving deal and part of the
reason I wound up in this situation.
If Angela knew all about this she'd
probably kill me.
EXT. MT. FOREST -- DAWN - ESTABLISHING
EXT. ANGELA'S HOUSE FRONT -- DAY
A small bungalow on a quiet street. Angela comes out to
find a beautifully gift wrapped box on the doorstep. Without
reading the card she scowls, picks up the package and stuffs
it violently into a garbage can. She gets into her ten-year-
old Volvo parked in the drive, slams the door shut and drives
off.
EXT. MT. FOREST LAW OFFICE -- DAY - ESTABLISHING
INT. LAW OFFICE -- DAY
CHARLIE BOYES, the family lawyer is a prematurely bald
alcoholic. Words engraved on the windowed door inform:
SMALL, BOYES $ COCKE - ATTORNEYS AT LAW.
John has spread permits, contracts and land title documents
out on Charles' desk. But most of Charlie's attention is on
Wendy, in a skimpy skirt, sitting bored by the window.
CHARLIE
(watching Wendy)
Unfortunately Mr. Simone...
JOHN
Come on Charlie, never mind the
"Mister Simone" bullshit.
CHARLIE
OK, John. Uh, The best I can do now
is present the facts to your sister.
It's not really my place to try to
convince her of the merits...
JOHN
That's all I want you to do is look
it over and present the facts.
John gathers up the papers.
JOHN
(gets up)
You'll talk to her today?
Wendy crosses her legs giving Charlie a shot at her crotch
then gets up adjusting her skirt.
CHARLIE
(distracted)
Uh, thank you... I mean, yes, I'll
talk to her as soon as I can.
JOHN
Today?
CHARLIE
Uh, sure...
JOHN
Thanks Charlie.
John and Wendy go out. Charlie shakes the image of Wendy
from his mind, looks at the papers, then takes a bottle of
triple malt and a glass from his desk drawer and pours a
shot.
EXT. PRIMARY SCHOOL -- DAY
An animated Angela can be seen in one of the large windows
addressing a class of six-year-olds.
EXT. SIMONE HOUSE -- DAY
Pa stands on a small step ladder pruning the top branches on
one of the trees that border the Zitter's property.
INT. HELMUT'S HOUSE LIVING ROOM -- DAY
Helmut Zitter stands at his living room window glaring at
Pa. His wife comes in from the kitchen to put clean dishes
in the dining room cabinet.
HELMUT
(German accent)
Why does he have to cut those trees
every two weeks? They don't grow in
two weeks.
AMY
It's his hobby. Leave him alone.
HELMUT
(waving her away)
That whole house is his hobby. He's
not happy until his house is better
than everybody else's...
The doorbell rings and Helmut answers it. He plasters a
fake smile across his face when he sees that it is Ma Simone.
Amy looks in from the kitchen. The two women exchange a
friendly wave.
MA
Oh Helmut, Ned's pruning his trees
and he wants to know if you'd like
him to do your trees in the back to
match.
HELMUT
(pleasant)
Oh, thank you no Mrs. Simone. I
should get out there and do them
myself.
(pounds his chest)
Need my exercise. It will give us a
chance to talk.
MA
(to Helmut)
Alright, I'll tell him.
As she goes off Helmut's smile drops and he turns back inside
scowling.
INT. POLICE THERAPIST'S OFFICE -- DAY
Mike, now in a constable's uniform, sits across a plain table
from the therapist, a smartly dressed middle-aged woman.
She has his file open before her.
THERAPIST
Now Constable Simone...
MIKE
(depressed-almost
pouting)
I'm not a 'Constable'.
THERAPIST
Mike, if you don't want me to call
you constable why are you wearing
your uniform?
MIKE
I don't know. I won't wear it again.
THERAPIST
(thumbs through file)
I'm afraid we haven't made a lot of
progress.
(beat)
How's the physio going?
MIKE
(vague)
Okay, I suppose...
THERAPIST
(writes)
I'm going to arrange to do some new
tests next time. Is that okay with
you?
MIKE
(looks out window)
Sure.
INT. DOWNTOWN CD SHOP -- DAY
John is frantically flipping through the audio CDs in the
INSTRUCTIONAL\SELF HELP section of the store. He has chosen
two; "STRUCTURING A PROFITABLE OPERATION" and "CREATING THE
FORTUNE 500 COMPANY".
His cell phone rings.
JOHN
John Simone.
The reception is poor inside the store and he makes his way
quickly to the cashier where an elderly lady is purchasing a
CD called "PREPARING FOR YOUR SURGERY".
JOHN
Hello, just a minute...
John puts his selections down on the counter beside the lady's
CD but the cashier gets them mixed up and winds up putting
"PREPARING FOR YOUR SURGERY" in John's bag and sending the
lady away with "CREATING THE FORTUNE 500 COMPANY".
John pays quickly and heads for the door.
INT. CHARLIE BOYES' OFFICE -- DAY
Angela and Mike are sitting across the desk from Charlie
patiently listening to loud rustling from a speaker phone.
CHARLIE
(to Angela)
It would be nice for your folks...
ANGELA
I don't need your opinion, I need
legal advice.
JOHN (O.S.)
(on speaker)
Hello?
ANGELA
John Simone, I took time off from
class to do this. Why can't you at
least do me the courtesy of attending?
JOHN
Because I don't want you to think
I'm trying to talk you into anything.
I have nothing to hide...
ANGELA
(cuts him off)
Be assured that I remain opposed to
all of this. This is only an inquiry.
I just want to know...
JOHN
(on speaker phone)
Hello... hello is that better?
EXT. DOWNTOWN CD SHOP -- DAY -- INTERCUT
John talks on the phone as he makes his way across the street
to his car.
CHARLIE
John, this is Charlie Boyes.
(beat)
I have your sister Angela and your
brother Michael here with me and
we'd like to discuss...
ANGELA
(loudly-cutting in)
John, I can see that you're not going
to give up on this thing. My talking
about it now doesn't necessarily
mean I'm going along with anything...
JOHN
Angela, you're a doll. I love you.
ANGELA
Never mind that, there's going to be
strings attached if I go along at
all and I wanted you to be here to
understand that.
JOHN
I'm on my way.
ANGELA
(looks at watch)
No, the soonest we can get together
is Wednesday night here at Charlie's
office.
JOHN
Can't we make this a little less
formal? How about Paddy's?
ANGELA
We're not making this any less formal
but... Paddy's will be okay I guess.
JOHN
You're a doll. I love you.
Charlie leans in to the phone.
CHARLIE
(awkward)
Uh, John, could you fax me your budget
breakdown, the permit and the
contractor's agreement ASAP?
JOHN
(nervous)
Uh, well OK, but there's been a bit
of a switch on the contractor...
ANGELA
(alarmed.)
What!?
John clicks the phone on and off several times faking poor
reception then turns it off altogether, gets into his car,
throws the new CDs on the passenger's seat and drives off.
EXT. PADDY'S -- NIGHT -- ESTABLISHING
The quaint watering hole is nestled between a 'Al's PAYDAY'
cheque cashing store and 'FORTINNI DRY CLEANERS'.
INT. PADDY'S -- NIGHT
The place is quite busy. Charlie is already on his third
drink at the bar. He pays undue attention to a sexy bar
maid. Helpful Monroe holds forth to a couple who aren't
really listening.
HELPFUL
...second cousin of mine in Australia
wanted to move a house once... wasn't
really a house mind you. Not more
than a shack but...
Paddy, the owner and bar keep, a wise and gentle man in his
sixties, leans over and puts a hand on Helpful's shoulder
shutting him up, as Angela comes in.
PADDY
Angela Simone! Haven't seen you in
here in a while.
Angela smiles at Paddy. She spots Charlie, goes to him and
drags him from his stool to a quiet table in the back.
John comes in and he and Paddy exchange waves as he finds
and goes to Angela and Charlie.
EXT. PADDY'S -- NIGHT
Mike and Sylvie get out of their six-year-old Buick and head
for the restaurant.
SYLVIE
All I'm trying to tell you is, if
we're going to spend the money, we
should spend it on Ryan.
MIKE
John says we get it all back...
SYLVIE
(angry)
John says. John says...
They go inside.
INT. PADDY'S -- NIGHT - CONTINUOUS
Mike and Sylvie are greeted enthusiastically by almost
everyone in the place. The townspeople are clearly
sympathetic to Mike's condition. Paddy talks to Mike as
though he were deaf.
PADDY
(loud)
Mike Simone and your lovely wife.
How nice it is to see you again.
Paddy pops open a beer and holds it out to Mike, clearly no
charge, as the other patrons greet him - friendly but
sympathetic.
Smiling weakly, Mike takes all this in as though through a
fog. As he passes their looks turn to pity for this local
hero now only a shadow of his former self.
Mike and Sylvie come to the family table. John pulls a chair
away from an empty table for Sylvie.
JOHN
You're just in time. Haven't missed
a thing.
Paddy comes to the table with beer for Angela and John.
Charlie starts to order but Angela nods 'no' to Paddy.
PADDY
(to Sylvie)
Pardon me. I never got a chance to
ask what the lovely Mrs. Simone would
like.
SYLVIE
(matter of fact)
I'll have a Virgin Tinker Bell.
Paddy is perplexed as he returns to the bar to thumb through
a thick bar reference book, then another.
JOHN
(sincere, to Angela)
Sis, this is real awkward for me.
ANGELA
Let's just hear it. We haven't even
ordered yet and I've already got
heartburn.
JOHN
First I have to say that I know how
you all think I'm a screw up. Even
Mike knows it.
ANGELA
(indicates patrons)
Even they know it.
The other patrons, unconsciously looking on, turn away.
Helpful Monroe continues to stare until another customer
elbows him.
JOHN
(weak smile)
Okay, I deserved that. But in the
past few months... I've changed.
(beat)
I've thought about life...
Angela looks at the ceiling.
JOHN
I know you don't like many of my
entrepreneurial ideas but...
ANGELA
You're not entrepreneurial, you're
delusional. With that stupid yak
farm you managed single-handedly to
bring the family finances into the
red so fast...
JOHN
We still own the property.
ANGELA
Sixty-seven acres...
(soft pedals the curse)
In the middle of no-damned-place.
JOHN
It'll be developed eventually.
Paddy brings Sylvie's drink to the table - a purple concoction
in a Martini glass.
ANGELA
(barks)
The far side of the moon will be
developed... EVENTUALLY!
JOHN
(deflates)
Yeah, well I was wrong on the trend.
It was the mad cow. I thought...
ANGELA
A trend?! Young Ryan could have
told you that people would never eat
yak--even if they could buy it!
JOHN
But...
One by one the patron's gazes have drifted back to the
Simones. Everybody in the place knows the history of the
Simone family and are now following the scene as though they
had been invited to participate.
ANGELA
John, they moved the old train station
fifty feet and that was a big deal.
You want to move Ma and Pa's house
five kilometers for goodness sakes!
JOHN
(getting a foothold)
It's only three and a half 'K'.
I've researched it. It's do-able.
ANGELA
Please don't use that term.
JOHN
What, do-able?
ANGELA
Every time you convinced us something
was 'do-able'...
(thinks back)
The juice bar... you couldn't even
get a simple juice bar franchise
right.
JOHN
What's wrong with a juice bar
franchise?
ANGELA
(loud)
Apple-cabbage?
JOHN
It was good.
ANGELA
It was not!
MIKE
The bitter-melon carrot was okay.
Paddy returns to the table.
PADDY
How we doing here?
JOHN
(holding up his glass)
I'll have another.
Paddy takes Mike's glass too, looks to Charlie (who looks
away) then, reluctantly to Sylvie.
SYLVIE
I'll have a Virgin Riviera Can Can.
Paddy frowns at this and returns to the bar to search the
books again.
ANGELA
What about that stupid electronic
chair that was supposed to help old
people stand up?
JOHN
That wasn't my idea, I was only
selling them.
ANGELA
(intense)
Poor old Rickey Simard almost died.
Things are getting a bit rowdy at the table and all attention
in the room is on the growing fracas.
JOHN
Okay, maybe I'm not explainin' this
right.
John looks around and all the patrons quickly look away.
JOHN
(leans in)
The point here is that it isn't going
to cost any of us a dime.
ANGELA
Then what's the problem?
JOHN
I need money up front but it all
comes back when....
ANGELA
It's not going to cost a dime but
you want money?
(beat)
John, can't you see we don't trust
you?
JOHN
I think I deserve a chance to make
up for what I've done in the past.
(no reaction)
People grow... people change.
ANGELA
(leans in)
First they have to grow up and realize
that what they do affects others.
Then they change. Maybe.
JOHN
(making a point)
That's exactly what I mean. After
Pa lost the shop...
ANGELA
(cutting in)
Pa didn't lose the shop, you did!
All looks in the place are drifting back to them. Paddy
returns to the table with two beers and a bizarre pink drink
for Sylvie.
JOHN
I know, I know. How do you think I
felt? He trusted me and I lost it
for him.
(beat)
But something's happened to me.
(taps his chest)
Inside. Something's changed.
Remember when we were kids Pa was
always sayin' how he regretted not
bein' able to buy the Robinson house
up on the hill?
Angela is deeply conflicted over the whole thing. It's as
though there is more to her feelings that she cannot reveal.
JOHN
Well it's right next to that. It's
even better!
(Angela stares blankly
at John)
Remember Ma and Pa going over the
papers all night on the kitchen table,
trying to figure out how to raise
the hundred and thirty thousand
dollars for it?
Several of the patrons nod 'yes' in recognition of this.
CHARLIE
(surprised)
One-hundred-and-thirty!? Up on the
hill!?
ANGELA
Nineteen seventy one.
CHARLIE
Oh.
JOHN
The best Pa could get for the old
place was ninety grand.
(beat)
And the forty grand difference was a
lot in those days.
ANGELA
(cynical)
It still is.
JOHN
The worst part was when the Martins
got it for a hundred-and-ten.
CHARLIE
(impressed)
Wow!
JOHN
If I'd been old enough to have a go
at that deal...
ANGELA(CUTS IN)
We'd all of us be living together in
a three room tenement in the city.
The townspeople exchange looks that say, 'She has a point
there'. Angela spots them and they all turn away again.
ANGELA
And just where do you propose Ma and
Pa stay while all this is happening?
My place?
(to Sylvie)
Your house?
SYLVIE
(horrified)
Our house!?
Paddy passes by. No one has touched their drinks but Sylvie.
Paddy tries to get away but:
SYLVIE
(to Paddy)
A vodka lime squish. Pomegranate
nectar instead of lime.
JOHN
That's the great trick. We send
them on an extended vacation to...
(pulls out airline
tickets)
Italy!! They haven't been to the
old country for a vacation in eleven
years!
When John leans closer to make a point the bar patrons lean
forward as one to hear what he is about to say.
JOHN
I want to do this for Ma and Pa...
(holds up a hand)
I promise this on Ma's grave...
ANGELA
Don't you EVER promise anything on
Ma's grave!
JOHN
Okay, I promise this on my own grave.
John looks Angela straight in the eye and makes a solemn
pledge.
JOHN
I'm serious about this Sis, I'll
kill myself. If I screw this up I
swear, I'll take my own life.
Paddy crosses himself. So do many others. Angela stares at
John for long seconds.
ANGELA
(taken aback)
Let me see if I've got this
straight... On top of God-knows-how-
much, there's an expensive vacation.
Playing his trump card, John reaches into his pocket and
produces a travel itinerary featuring photos and the words:
PARADISE ON THE ITALIAN RIVIERA
JOHN
Booked and paid for.
Mike grins. Angela is in a corner. She fixes John with her
toughest look.
ANGELA
How much is all this going to cost?
John takes out a pen, scribbles on a napkin and passes it to
Angela. The patrons exchange approving looks. Paddy is
returning with Sylvie's drink when:
ANGELA
(screaming)
EIGHTY-ONE THOUSAND DOLLARS!!
A startled Paddy drops the glass. Everyone in the room draws
back. When John looks to them they all turn as one and
pretend not to be listening.
JOHN
Uh yeah, but Sis, it's only twenty-
four grand each...
ANGELA
(forces herself to
calm down)
Then explain to me how it won't cost
us anything.
John takes back the napkin. Paddy mops up the mess.
JOHN
(draws a small square)
Here's the land that was to be used
for the yak farm. This land is
assessed by the county at a minimum
of thirty-five grand. The old lot,
where the house is now...
ANGELA
Stop saying grand.
JOHN
What?
ANGELA
'Grand' I hate that word.
JOHN
Oh--okay, The old lot is worth forty-
six thousand. That's eighty-one
thousand, guaranteed. I pay you
each twenty-four gra... uh, thousand
in first position out of those sales
and you're out.
Angela does a quick mental calculation.
ANGELA
What do you propose to do with the
nine thousand dollars profit?
JOHN
There's insurance, landscaping...
It's foolproof--I've thought of
everything.
Angela looks to Charlie who gives her a weak shrug.
CHARLIE
(to John)
You're going to have to tell your
folks about it I'm afraid...
JOHN
Charlie, that's a bit of a sticky
point...
ANGELA
Here it comes.
JOHN
I don't want them to know because I
want it to be a surprise. Remember
during the yak farm deal....
ANGELA
When can we ever forget it?
JOHN
...Pa gave me power of attorney over
all of his business?
ANGELA
(shoots Charlie a
caustic look)
And who's the idiot who let that
happen?
John looks at Charlie. Everyone else in the pub looks at
Charlie. Charlie flushes red.
SYLVIE
(slightly loopy)
I don't like it.
(all eyes on her)
It's too... too...
Sylvie falls silent.
ANGELA
(to Mike)
I thought those were virgins she was
ordering.
MIKE
(confused)
Virgins?
ANGELA
Never mind.
(to John)
I want to make myself perfectly clear.
First, Charlie vets every shred of
paper. Second, Mike and I co-sign
everything!
She looks at a blank-faced Mike and changes her mind.
ANGELA
I co-sign everything, understand?
JOHN
No problem.
Angela gives Charlie a nudge. Paddy arrives with Sylvie's
replacement drink.
CHARLIE
We'll put the money into a trust.
Everything up front. And the cheques
will be drawn according to a pre-
approved schedule...
ANGELA
(looks at ceiling)
I must be crazy.
JOHN
And Uh, I've already paid for the
vacation so I'll need to recoup that
before...
ANGELA
(cuts him off)
This deal starts now. No retroactive
payments until Mike and I are
reimbursed. If anything goes wrong...
ANYTHING...
JOHN
I know, I know. When do we set it
up?
ANGELA
Charlie will handle it.
(glares at Charlie)
With great care.
Charlie flushes red again and sheepishly nods his agreement.
EXT. PADDY'S -- NIGHT
The precariously united family comes out and Mike and John
watch Angela and Charlie go to their cars. Sylvie goes to
their car. Mike holds back with John.
MIKE
(whispers)
You shouldn'ta said that thing about
killin' yerself...
JOHN
(confidant)
No problem.
Mike is not so sure.
SYLVIE
(to Mike)
Are you coming or what?
INT. ANGELA'S CAR -- NIGHT
Angela seems to be on the verge of tears as she drives through
the streets of Mt. Forest towards her home. At one
intersection she stops as though considering whether to
continue on her way or turn right up a hill. Finally she
turns up the hill.
INT. MIKE'S CAR -- NIGHT
Mike at the wheel.
MIKE
My parent's happiness is important.
SYLVIE
(disgusted)
It's exactly the amount of a college
tuition.
Sylvie grabs the rear-view mirror, twisting it, so she can
see herself in it. Mike cranes his neck looking back to
make a turn.
MIKE
Ryan's not going to college for at
least... well, a lot of years.
SYLVIE
(primping)
What about my family? You never
have anything nice to say about my
family.
Mike pulls his car into their drive and puts his arm around
her.
MIKE
Maybe you had a bit too much to...
SYLVIE
(pulling away)
I could have been a model.
MIKE
Aren't you a bit too..?
Mike stops himself. Sylvie turns sharply to him.
SYLVIE
Too what?
MIKE
(sheepish)
Uh... too um, old... uh, now...
He clearly meant overweight. Sylvie glares at him for long
seconds then gets out and walks towards the house. Mike
follows after her.
EXT. VACANT LOT ON THE HILL -- NIGHT
This sparsely developed part of the neighborhood is very
dark. The lights of the town twinkle below. It is a
magnificent vantage point.
Angela leans against her car looking from the empty lot to
the twinkling lights of the town spread out below. She
tries not to be taken in by the beauty of it. A Realtor's
"FOR SALE" sign can be seen.
Angela buries her face in her hands. Headlights flash behind
her and John pulls up in his car.
JOHN
(getting out)
Sis.
He comes to her side. She rubs tears from her eyes and gives
him a weak smile.
JOHN
Beautiful isn't it?
ANGELA
(deflated)
I have to admit, it is even better
than the Robinson's.
JOHN
(proud)
Yeah, they're going to be happy here.
ANGELA
John, I'm afraid I have to be tough
with you on this. I have to make
sure this will work before I do
anything. It all seems so... crazy.
JOHN
Sis, there's nothing in my life I've
ever meant as much as this.
ANGELA
I want to believe you John but...
John puts his arm around his sister's shoulder. For once, a
happy moment between the two and, for once, John wisely
decides to say nothing more.
JOHN (V.O.)
Well that was it. It never said
anything in the contract about me
havin' to kill myself... At least I
don't think it did, I still have to
read it.
INT. ELDERLY LADY'S HOUSE -- NIGHT
The elderly lady from the CD Shop is having trouble sleeping
in anticipation of her surgery. She moves through the
darkness and finds the CD she bought by accident: "CREATING
THE FORTUNE 500 COMPANY". She opens the shrink wrap with
arthritic hands and places the CD into a small boom box style
player. Upbeat but light music then:
WOMAN'S VOICE
(on CD)
Welcome. This is the second in a
series of seminars on successful
entrepreneurial business management...
The woman fiddles with her hearing aid - not sure what she
is hearing - but continues to listen.
INT. SIMONE HOUSE LIVING ROOM -- DAY
Ma Simone comes in from the front hall to sit in the living
room, where Angela, Mike, Sylvie, John and Pa are already
gathered. Ma eagerly looks over Pa's shoulder as he looks
through the travel itinerary.
MA
Italy!
PA
(bewildered)
This is for almost a month?
JOHN
Twenty-six days including travel
time. All you have to do is pack.
(beat)
It's an anniversary present.
Pa looks at the photo on the front of the itinerary folder
and shows it to Ma.
MA
Mia qualità !
Pa casts a quizzical look to Angela. She smiles weakly.
Mike grins proudly.
PA
Someone will have to look after the
house while we're gone.
Angela gives John a dark look.
EXT. CITY -- DAY -- ESTABLISHING
A sunny morning in the financial district.
INT. AL'S OUTER OFFICE -- DAY
Wendy is dwarfed behind a huge reception desk. She chews
gum and types seven words a minute. John sits on a leather
sofa across from her. There is a heated argument going on
inside Al's office that quickly turns into loud shouts,
crashing and banging.
JOHN
I thought you said he was in a good
mood.
WENDY
He is.
(beat)
You get used to it.
Suddenly double doors fly open and Max comes out literally
carrying two smaller men in torn business suits. Marcel
follows carrying a large sports bag. Max dumps the men near
the elevators, grabs the bag and throws it at them. John is
shocked but to Wendy, this is routine.
Al emerges from the office to point a stubby index finger at
the two men.
AL
And don't come back! I see your
goddamned faces around here... there
won't be anything left to break.
The men grab up their stuff and huddle near one of the
elevators stabbing at the 'down' button.
AL
(turning back to his
office)
Bloody low life. What the hell do
they think I am....?
(sees John)
Johnny boy!
Al, pleased to see John, grabs him by the shoulders and all
but lifts him right off the sofa.
JOHN
Uh, Hi Al...
AL
How are ya boy?
Al whisks John inside the office. Marcel and Max follow.
Wendy continues her 'typing'.
INT. AL'S OFFICE -- DAY
Marcel is busy sweeping up a large amount of white powder
from the floor near the wall across from Al's desk (where Al
threw it). Max sits in his usual chair beside the door.
John sits in one of the two mismatched chairs across the
desk from Al. Another door hangs open, revealing a small
bathroom. Al looks over a property title, files it in his
desk then, with a grand flourish, takes a gold-embossed cheque
book from his drawer and opens it.
AL
(writing cheque)
I get my twenty-four grand back when
you sell the land the house was on.
JOHN
Two months tops.
Al produces a dog-eared dirty business card and hands it to
John.
AL
Here's the guy for the job.
JOHN
(looks at card)
But I've already got this other
contractor on commission...
AL
Fire him.
(to Marcel)
Get the vacuum outta the back. I
don't want any of that shit left
around here.
(to John)
I run a fuckin' legitimate business
here for Christsake.
Marcel goes out, then comes back with a vacuum cleaner and
starts fiddling with the hoses.
He has clearly never used one of these machines before.
JOHN
But he's already done a survey. It
would cost at least twenty-four
hundred to break the contract...
Al gives John the cheque, then reaches into his pocket and
takes out an enormous roll of bills. He counts out twenty-
four hundred dollars and throws it down on the desk.
AL
I'll put it on your bill. Bloody
guys come in here with their fuckin'
narcotics. I didn't make it all the
way up here dealin' dope.
(waves his arm)
How many guys you know got a bathroom
in their office?
John holds up the cheque.
JOHN
This is only for twelve grand.
AL
I'm givin' ya half now and the other
half when Labri does the survey.
JOHN
Uh, well that's a problem. I need
all of it up front.
AL
(smiles)
Then you'd better get onto Labri
right away.
Marcel finally gets the vacuum put together backwards, points
it at the white powder and presses down on the foot switch.
JOHN
But...
Suddenly the room is filled with white dust and everyone
starts coughing and sneezing and heading for the door.
EXT. LABRI'S OFFICE -- DAY
A yard full of battered heavy construction equipment and a
sign:
"FORTINNI & LABRI RENOVATIONS AND DEMOLITION LTD"
John makes his way from his car to a battered shack, knocks,
then opens the door.
INT. LABRI'S OFFICE -- DAY
JEAN LABRI, Al's replacement contractor is a pretty rough-
looking piece of work. Though ruggedly handsome, there is
something unclean about him. He lounges behind a filthy
steel desk perusing photos of the Simone house and a street
map. John stands in the doorway looking around the cramped
and dirty room. John still has traces of cocaine in his
hair and on his clothes.
LABRI
Good thing Al sent you to me. This
is a pretty complicated operation.
JOHN
I know I...
LABRI
(cutting him off)
Can't compromise on a single detail
here. Not if you want the job done
right.
JOHN
(flat)
I do. How much?
LABRI
I'll let you know after the survey.
JOHN
Just one more thing.
LABRI
Shoot.
JOHN
Does Al own this place?
LABRI
Eighty-nine percent.
(indicates sign outside)
Why do you think it says Fortinni
and Labri when Labri and Fortinni is
obviously better?
John makes a mental note of Labri's resentment.
INT. POLICE THERAPIST'S OFFICE DAY
Mike sits across the table from the therapist.
THERAPIST
Mike, I'm going to show you some
cards and you say the first thing
that comes to mind, an idea, an image--
anything.
She opens a box, takes out a Rohrshach card and holds it up
for Mike to see. Mike stares at the image without speaking.
THERAPIST
Does this make you think of anything?
MIKE
I don't know...
She puts the first card face down, takes out a second one
and shows it to him.
THERAPIST
Alright, how about this one? Does
it make you think of anything?
MIKE
Yes.
THERAPIST
(hopeful)
What?
MIKE
(turns over first
card)
Looks just like this one.
The therapist stares blankly at Mike.
THERAPIST
I want you to use your imagination
when you look at the next one and
tell if it makes you think of another
image of any kind.
She holds up a card and Mike stares at it for long seconds,
then looks at the other two. He can't think of anything.
EXT. AIRPORT -- DAY
Establishing.
EXT. AIRPORT DEPARTURES -- DAY
John, Angela, Mike, Sylvie and Ryan come out and head for
their cars.
ANGELA
I've got to admit I've never seen Ma
and Pa so happy.
JOHN
(looks at his watch)
Shit, I've got a meeting with the
contractor.
ANGELA
(firm, to John)
I'm coming with you.
JOHN
Good, I need you to sign a couple of
cheques for the first estimate and
the survey and the permit... It's
about seven hundred.
ANGELA
SEVEN HUNDRED!?
INT. HELMUT'S HOUSE LIVING ROOM -- DAY
Helmut sees something from the kitchen and comes to the living
room to peer out the window.
EXT. SIMONE HOUSE -- DAY HELMUT'S POV
Several cars and a heavy truck are parked in the drive and
on the lawn. Labri directs two of his men to dig at the
foundation near the front of the house.
John crouches at the foot of the drive, taking pictures of
the Simone house with a Polaroid camera.
EXT. SIMONE HOUSE -- DAY
Helpful Monroe is Passing on his bicycle, when he spots John
and pulls into the drive.
HELPFUL
'Mornin', John Simone. Need a hand?
JOHN
No thanks Monroe everything's under
control...
HELPFUL
Gonna redo the garden?
JOHN
Uh, no.
HELPFUL
My brother had a wonderful garden
back in Australia.. 'course in
Australia a man's got more space
than he knows what to do with. I
remember one time...
Helpful goes to sit on the fender of the Alpha but John grabs
his arm.
JOHN
Don't sit there!
HELPFUL
Oops, sorry,
INT. HELMUT'S HOUSE -- DAY
Helmut watches the goings-on next door from a side window.
He hides behind the curtain when Helpful looks his way.
EXT. SIMONE HOUSE -- DAY
John looks at the Polaroids as he walks towards the house,
hoping that Helpful will stay put.
HELPFUL
(following)
Anyway he was diggin' up his
garden...two-hundred feet to the
side if it was an inch. And he's
diggin' and diggin' and suddenly he
strikes something hard.
(grabs John)
Know what it was?
JOHN
Pardon?
HELPFUL
Do you know what it was he dug up
that day?
JOHN
Umm no.?
HELPFUL
Well neither did he. But we sure
had a good laugh over it when we
found out...
John has managed to make it to the front door.
JOHN
(over his shoulder)
That's nice Monroe. I've got to be
getting back to work now so...
With that he steps inside, closing the door behind him.
INT. SIMONE HOUSE -- DAY
Just to be on the safe side, John locks the door. He turns
to see Angela coming through the house. She goes to open
the front door. John stops her.
JOHN
Helpful Monroe's out there.
ANGELA
(recoils)
Oh...
(hides from windows)
Well, there's plenty to do upstairs.
John watches her trip up the stairs. His joy at her happiness
is a genuine new feeling and he revels in it.
John walks slowly through the living room, gazing lovingly
around. Moving to a side window, he opens the curtains to
look out upon a beautiful cherry blossom tree.
JOHN
(to himself)
Should see if I can get that
transplanted...
He takes a shot of the tree and moves on to the kitchen.
EXT. SIMONE HOUSE REAR -- DAY
Jean Labri is poking around the foundations of the house,
when Helmut sidles across the front lawn to question him.
HELMUT
(nonchalant)
Basement leaking?
LABRI
(without looking up)
Don't think so.
HELMUT
Trouble with the septic tank?
LABRI
Wouldn't know.
Helmut then notices another man surveying the street in front
of the house and entering figures into a palm-sized computer.
John and Angela come from the house. Helmut goes to them.
HELMUT
(to John)
'Folks get off alright?
JOHN
Hello Mr. Zitter.
(to Labri)
What do you think?
ANGELA
(to Helmut)
Yes Mr. Zitter they're on their way.
LABRI
(rubs chin)
Well, the structure's plenty strong.
Last of the good new houses. Don't
see any problem.
HELMUT
(to John)
If you're getting new siding maybe
we could go in on a package deal...
JOHN
No Mr. Zitter, we're not getting
siding--We're having it moved.
HELMUT
(confused)
What?
ANGELA
We're moving the house up the hill.
A thoroughly perplexed Helmut looks all around, then stands
back and looks at the group. He thinks they are kidding.
HELMUT
Ha, ha, that's funny.
No one responds. His smile drops.
Mike and Sylvie and Ryan pull up in their car. As usual
Sylvie is a little too dolled up for the occasion.
Helmut knows that Mike is an easy source of information and
goes to him. Ryan runs up the front steps and into the house.
HELMUT
Folks get off okay?
MIKE
Hello Mr. Zitter. Yep!
Mike loses the thought when he spots something down the
street. Helmut follows his gaze to see a large moving van
pull into the drive.
MIKE
(calling out)
Hey John, the movers are here. We
gotta move the cars.
John reaches into his pocket, takes out his car keys and
throws them to Mike.
A concerned Helmut retreats into his house.
INT. HELMUT'S HOUSE LIVING ROOM -- DAY
Helmut comes into the living room to see his wife peering
out through the curtains. He goes straight to a small
telephone table and rifles through the phone directory.
AMY
(looks out window)
What's all the commotion?
Helmut locates the name of the company displayed on the side
of the van and dials.
HELMUT
(on phone)
Hello, do you have a moving job today
at 2345 Chestnut Street?
(beat)
Where to?
(beat)
Storage?
Helmut is agog as the moving company confirms the plan.
AMY
Now there's some men from the gas
station...
HELMUT
(hangs up phone)
GAZ STATION!?
Helmut looks out the window.
EXT. SIMONE HOUSE -- DAY THEIR POV
The moving van slowly backs into the drive, and a brown sedan
with a 'FORTINNI GAS AND OIL SERVICES' insignia has pulled
up at the curb. Two men in identical brown blazers with a
'FORTINNI GAS & OIL' insignia on their lapels approach John.
INT. HELMUT HOUSE LIVING ROOM -- DAY
Helmut slumps in his easy chair and begins to entertain the
notion that his whole world may be about to come apart.
AMY
You don't suppose they intend to
build a gas station do you?
HELMUT
A gaz station? Have you got mind
block woman? How could they build a
gaz station on a street like this
without us knowing?
AMY
I suppose...?
HELMUT
(under his breath)
Gaz station.
EXT. SIMONE HOUSE FRONT YARD -- DAY
John signs an authorization form for the Fortinni Gas man.
The flashy red-haired woman cruises past on her Harley but
this time John takes no notice.
GAS MAN
We can have the new one dropped off
at the new site on your order. I'll
have my men by tomorrow to pick up
the old one and drop it at the dump
at Mansonville.
JOHN
(startled)
There's no dump at Mansonville.
GAS MAN
Is now--otherwise we'd have to ship
the thing all the way out to Gormley--
and you don't want to be payin' for
that.
A concerned John takes out his cell phone and dials.
JOHN
(into phone)
Al?
EXT. MANSONVILLE FARM COTTAGE -- DAY
It is the same formerly peaceful hillside with the cottage,
where the yak farm used to be. Al, Max and Marcel stand on
a small rise near the cottage watching trucks dump toxic
waste containers into a deep pit.
AL
(answering it)
Yeah?
(beat)
John boy, how are ya?
(long pause)
Yeah well there is now.
(beat)
Let's just say I'm maximizing my
investment.
EXT. SIMONE HOUSE FRONT YARD -- DAY - INTERCUT
JOHN
You can't do that!
AL
You don't expect me to just sit on
it. I'm a fuckin' businessman son.
JOHN
That's my property.
AL
Calm down, you'll get yer land back.
It'll just smell funny for a while.
Marcel laughs.
JOHN
That land doesn't belong to you.
AL
(serious)
Listen Johnny boy, you take care of
your business and I'll take care of
mine.
He clicks the phone off and looks proudly back at the grimy operation.
EXT. SIMONE HOUSE FRONT -- DUSK
One of Labri's men unspools a roll of bright yellow tape
creating a safety perimeter around the site. Labri approaches
John and Angela, who are standing by Mike's car. The moving
van is gone.
ANGELA
(to Labri)
Will it be on schedule?
LABRI
Right on time... Actually a bit ahead.
Didn't expect the foundation and
primary frame to be as sound as it
is.
(beat)
Already started digging at the new
site.
Angela is grateful for small miracles.
Labri spots Sylvie approaching. Sylvie notices him and
deliberately waggles her behind for his gratification as she
leans into her car. Labri loses his train of thought as he
looks at her ass. Sylvie leans on the horn, and Mike and
Ryan stick their heads out an upstairs window.
MIKE
Yeah?
SYLVIE
Let's go.
She gets into the car. Labri realizes he is ogling her and
snaps out of it.
LABRI
(to Angela)
Uh, yeah... well, see you bright and
early in the mornin'.
Labri heads for his pickup truck.
JOHN
'Night...
Sylvie now watches Labri's ass. Seeing all of this Angela
shakes her head and goes to her car. Mike comes out of the
house carrying a laughing Ryan upside down, and tosses him
into their car.
John watches from the porch as they pull away down the street.
Finally, all is peaceful around the site. John's looks at
the house. 'No turning back now.'
INT. HELMUT'S HOUSE LIVING ROOM -- NIGHT -- DREAM SEQUENCE
Helmut is smoking a cigarette and watching TV when he hears
several loud bells coming from the Simone house. He gets up
and goes slowly to the window to investigate.
EXT. SIMONE HOUSE -- NIGHT HIS POV
Helmut is shocked and stunned to see that the house has been
replaced by a gleaming new 'FORTINNI DISCOUNT GAS BAR'.
In his amazement the cigarette drops from his mouth onto the
window sill, then onto the ground outside. He watches in
horror as a small lick of flame snakes it's way from the
cigarette across his yard towards the gas bar.
HELMUT
No.......!
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