We hold on a big slice of MEMPHIS BLUE SKY. The only sound is
the out of focus American flag whipped by wind in the
distance. Soon after we hear, but don't see -
A car pull up on the gravelled asphalt and -
The beeping of the door as it opens. From it spills the radio
sounding out the ‘90s country hit -
‘Check Yes or No’ by George Strait.
GEORGE STRAIT
I think this is how love goes.
Check yes or no.
And - a fresh faced young man, 18, stands up filling the
frame, looking out into the distance.
This is JARED EAMONS.
He wears an ultra crisp white shirt buttoned to the neck with
no tie. He is slim and wears his hair cropped short.
The camera moves slightly to take in an out of focus church
cross atop a basic baptist steeple ahead of him. All the
while - that distant American flag, flapping in the breeze,
flanks him from behind.
A second door opens O.S., spilling out that music again -
GEORGE STRAIT (CONT'D)
Now we're grown up, and she’s my
wife. Still like two kids and stars
in our eyes.
- and now -
Jared's mother NANCY steps into frame. She is made up to the
nines: bottle blonde voluminous hair, hoop earrings and thick
mascara. Underneath her heavy make-up we can see concern.
She slides on Jackie O sunglasses and looks out toward the
steeple as Jared turns toward the flag. They both seem lost.
Nancy hides her concern behind the shades, tries a bright
smile and, out comes her chirpy southern voice -
NANCY
Are you ready, honey?
Jared looks away for a beat, then turns with a convincing
smile and starts walking. They leave frame.
INT. L.I.A. FOYER - CONTINUOUS
L.I.A. is an acronym for ‘Love In Action' -- But we should
not know that yet. There is no signage.
Grey-blue carpet covers an expansive floor space. Stark white
walls with no hangings or decorations. Some empty basic
chairs lining one section of wall. Heavy doors lead off to
unknown rooms. A potted plant in a corner seems an
afterthought.
N.B.: For now we should see it as a dry, clinical facility.
It should feel like a juvenile detention center of some kind.
-- Through the glass of the aluminum framed doors we see
Jared and Nancy approach uncertainly - then enter.
Nancy's ensemble is elegant, if not a little gaudy and
mismatched: a Southern Belle dress and a shoulder padded
coat. She wears heels and clutches a white bedazzled purse.
Jared's white shirt is tucked into a pair of brand new khakis
with no belt. He wears rubber soled black shoes and holds a
book in a blue plastic shopping bag.
They look an odd pair: A tall ‘Tammy Baker' mother escorting
her awkward, ultra conservative, son.
MALE VOICE O.S
I help you? What's your name?
Nancy turns, taking her sunglasses off.
AARON (40s) stands inside a reception booth: Stocky, with a
severe hair-cut, he puts a clipboard on the reception ledge.
NANCY
Nancy.
AARON
The kid I mean. Unless you're the
one checking in.
Jared and Nancy, side by side at the reception desk, sign the
clipboard document. Aaron stands erect with his authority
inside the booth. He too wears khakis and a white shirt,
along with a blue tie and a name badge. He sizes Jared up.
AARON (CONT’D)
Let’s get you checked in properly
Jared. Wanna say your good-byes?
He comes out from the door of his reception booth.
NANCY
Can I see the place?
AARON
Afraid you won't be allowed beyond
the reception area Missus Eamons.
You can pick him up at five P.M.
On Nancy, uncertain --
JARED
It’s okay mom.
NANCY
Call me if you need anything. I'll
be at the hotel and on my cell ph--
AARON
We'll be holding his cell-phone. If
there are any emergencies we will
contact you. Otherwise, five P.M.
Aaron punches a code into the door and the door mechanism
releases with a mechanical buzz.
Jared and Aaron pass through the secure door to a hallway,
leaving Nancy waving nervously goodbye.
INT. HALLWAY - CONTINUOUS
Jared walks ahead as Aaron follows him. When Jared turns, the
blank expression on Aaron's face troubles him a little.
AARON
Door on the right.
They stop in front of the third door and Aaron knocks. Soon -
A tall, skinny blonde man (Michael, 24) answers the door. His
shark grey, piercing eyes are almost permanently set in a
judgmental frown, giving him a mean-streak air.
AARON (CONT’D)
Newbie. Eamons.
INT. OFFICE - CONTINUOUS
Michael picks through Jared's possessions, scrutinizing each
thing placed down: coins; cash; gum; a plastic hotel keycard; the bag containing the book, and; his wallet.
He starts going through the wallet, while throwing the gum in
the trash. Jared reacts.
Jared holds out his cell phone unsure who to give it to.
Aaron takes it from Jared and puts it with the pile.
MICHAEL
Do you have any numbers or photos
we need to be concerned about?
On Jared. Thinks. Shakes his head slowly. It reads like he is
not convinced. Michael's eyes drill into him.
MICHAEL (CONT'D)
We will check this daily for any
‘False Imaging' and call any
numbers we want to at random. So
best you be straight with all this.
JARED
There is nothing... And yeah, call
whatever numbers if you need to.
Michael, now back in the wallet, holds up a business card.
And flips it... a handwritten cell number on the back.
MICHAEL
Who will answer if I call this
number?
JARED
Umm. It is my doctor.
(beat)
It's her off hours number. I forgot
it was even there.
MICHAEL
Anything else?
Aaron starts to pat Jared down. He finds something --
JARED
Oh. Yeah. This. It's...
From his back waistband he pulls a moleskin notebook. Michael
takes it and flicks through. It feels like a personal
intrusion to Jared, who leans forward.
JARED (CONT'D)
It's just... I write stories
sometimes. I'm at college studying
and... I forgot cause it's --
MICHAEL
You have to start getting a better
memory. Trust is one of the key
words around here. No journaling.
We'll need to read this. Again, for
any false imaging.
(to Aaron)
It's almost nine. -
JARED
Sure. Will I get this stuff back?
MICHAEL
Most things you get back at the end
each day.
JARED
That's fine. It's just stuff I -
Aaron starts to usher Jared out.
MICHAEL O.S
Forgetting something else?
Hold. Jared already feels in trouble. Then Michael takes
Jared's L.I.A. handbook from the plastic bag. On it we see a
logo: an upside down triangle with a red heart in it.
MICHAEL
You need the handbook at all times.
Good luck.
JARED
Thank you.
It's the only warmth Michael has offered thus far. Meager.
INT/EXT L.I.A. HALLWAYS - DAY
Jared is led by Aaron. As he turns the corner he looks back
and sees another young person being led to the check in area.
- They walk out a door and under an awning toward a larger
building.
INT. L.I.A. MAIN AUDITORIUM - DAY
Jared, wearing a name tag, finds a seat and settles into a
semi circle of chairs with TEN OTHERS: a half dozen teens and
young people; a few in their twenties and thirties, and; one
guy in his forties. Three women. Mostly boys. They all take
out their handbooks. We take in their faces as we hear -

- The rules read out, starting with Carl: super conservative
(25), likely taking time out his retail managerial position.
CARL
‘Sobriety. No smoking. No alcohol,
or drugs.'
And the CREDITS will appear over -
-- during the rules we will intercut with various historical
religious paintings and other images --
The Last Supper by Dagnan-Bouveret, Jesus holds up a wine.
And now to Sarah... (tomboy-ish teenager - all of 16)
SARAH
‘Off hours. All clients to remain
within the ‘Safe Zone areas as
designated.'
Les Romains de la Décadence, Thomas Couture.
Credits continue over -- An aerial shot of Memphis. Then -
shots of basic, boring diners and hotels.
Family Portrait by Gillis van Tilborgh. NB: The withering
look of the central bored male pilgrim facing the viewer.
Now - Cameron. Cropped hair. All of 17, he is a hulking linebacker in the making with a baby face. He reads nervously.
CAMERON
‘Hygiene. Men to shave facial hair,
and women to remove underarm and
leg hair daily.'
Toilette der Esther - Théodore Chassériau, depicting an
immoral woman with outstretched arms. No hair visible.
CREDITS continue as we move to LEE. Lee is the SLIM BOY who
peeked at Jared in hall. Well: Lee is actually gender fluid.
Non-Binary. Most people, in fact, would have a hard time
being certain of Lee's gender. Lee's voice is no guide either
way. It is soft and intelligent.
LEE
‘Attire. Men to wear long sleeves
and pants at all times.'
Portrait of Jesus by Del Parson, where a blonde Jesus has his
hands outstretched in an almost ‘you dig my robe?' gesture.

LEE O.S
‘Women's skirts must extend below
the knee and bras are to be worn at
all times.'
The Virgin Mary in the Rose Garden - Albert Edelfelt
We see a flash of a brassier catalogue: dry but sexual.
Now PHILLIP (30s. Balding and short. The guy from the hallway
when Jared first arrived.)
PHILLIP
‘Visitations and phone calls to be
pre-approved by L.I.A. staff.'
The Religious imagery continues. Credits too.
And over to SIMON (40. I.T. Worker type)
SIMON
‘Confidentiality. All matters
discussed in therapy are to remain
private.'
The Last Supper: Leonardo Da Vinci. Close on whisperings.
ANDERS, 17, is fidgety and freckled.
ANDERS
‘Restrooms. Members must be
supervised by staff during restroom visits.'
GARY (20s). Even under the crisp khaki and white uniform we
can still tell he is a ‘Goth': dyed black hair; pale
complexion, and; black converse. He is slight of frame,
handsome and super smart.
GARY
‘Sexual misconduct. No viewing of
pornographic material.'
His reading carries a thinly veiled cynicism that tells us he
does NOT believe L.I.A. and does NOT want to be here.
Jan Breughel & Marshall Paul Rubens: The Garden of Eden. Then
-
A flash of male pornography.

GARY (CONT'D)
‘No masturbation. No physical
contact with any members or non
members at any time apart from the
briefest of handshakes.'
The Last Judgement by Michelangelo depicting men kissing men.
Push in. We may keep returning to this image -
TINA, 27 - super conservative librarian's hairstyle. Glasses.
TINA
‘False Imagery. Cell phones will be
checked in and out each day.
Without exception.'
We see flashes of pornographic images PLUS innocent images of
men in modern society with their arms around each other.
As the credits wind up it is Jared's turn now.
JARED
‘Sinful, salacious and extraneous
materials. All reading material,
films and television are off limits
while inside the program.'
Hold on Jared --
SYKES O.S
Very good. Let's leave it there.
Jared and the rest of the group respond to the voice. Someone
new has entered.
Closer on The Last Judgement - Michelangelo.
CREDITS END --
INT. L.I.A. MAIN AUDITORIUM
Tight on the various faces as they listen to --
SYKES O.S
‘I am using sexual sin and
homosexuality to fill a God shaped
void in my life.'
GROUP
(repeating)
‘I am using sexual sin and
homosexuality to fill a God shaped
void in my life.'
Jared looks around to see the DOZEN or more people that have
entered and line the back walls. Various men and women of all
ages. Mostly young. A similar cross section to the seated
group.
SYKES O.S
‘But... I am not broken and God
loves me.'
They repeat.
SYKES O.S (CONT'D)
Somebody tell me what this is.
And finally Sykes steps into frame. A man in his mid-forties.
Greying cropped hair. Piercing eyes. A blue shirt and black
pleated trousers. The only one deviating from the dress code
here. He holds up a dollar bill.
SIMON
A dollar.
SYKES O.S
No matter how much you crumple up a
dollar bill, you can never take
away its value. Even if you rip it,
which would represent our being
severed from Christ, you can tape
it back together.
Jared following the logic, soaking up all wisdom.
SYKES
Jesus puts us back together, and
even though there is a scar, our
value does not change.
Behind Sykes is the only signage: The same ‘heart' logo from
the handbook cover.
Jared looks across at the androgynous boy, Lee. Out of
everyone Lee seems the most terrified.
SYKES (CONT'D)
You are somebody. You are worth
something. And that's a fact.
The door opens, interrupting Sykes, and in jogs a young,
attractive boy in his late teens. Breathless.
SYKES (CONT'D)
Nine-O-five Jon.
9.
JON
Sorry. Had to run here. Apologies.
Jon takes a seat. Dressed the same as the rest of the group,
his cowboy boots are the only thing that sets him apart.
Jared can't help but steal a look as Jon slouches in his
chair. As Sykes continues, Jon hurriedly fixes the last
couple of high buttons on his shirt. Sweat has rendered
patches of the shirt see-through. Jon catches Jared looking,
who turns away guiltily.
SYKES
Thank you Jon.
(beat)
Well, I want to welcome all you
brave souls. I know the road here
wasn't easy for many of you, but I
promise you a smoother ride now
that you are here. Welcome to ‘The
Refuge' program.
All of the men and women lining the walls follow Sykes's lead
in applauding the NEWCOMERS that are Jared's group.
SYKES (CONT'D)
Okay, you guys. Get back to your
schedules.
And with that, all of the men and women lining the walls
start to file out. Jared watches them.
SYKES (CONT'D)
(to Jared's group)
So we can get down to business.
He crumples the dollar bill and throws it to Cameron, who
catches it.
SYKES (CONT'D)
Don't spend it all at once.
Jared feels buoyed by Sykes's rhetoric and light energy in
the room.
SYKES (CONT'D)
This may be the toughest but the
most rewarding twelve days many of
you will ever face.
(Jared and four others)
We have only one task. Simply to
bring ourselves back to God. To
invite Him back in. T'understand
how he truly meant to create us.
10.
(MORE)
Before those pieces got torn away.
(beat)
‘What sinful things have you done?'
And to ask God's forgiveness.
(beat)
Discover who made you this way.
‘Who led you into sin?'
(beat)
And get you on the right path to a
life restored.
(beat)
I tell you, we are all about to go
on a wonderful journey together.
Who's ready?
(smiles)
That was a question.
Everyone either raises their hands, nods, or utters ‘yes.'
SYKES (CONT'D)
If you are ready, say ‘Amen.'
EVERYONE/JARED
Amen.
SYKES
If you know you're worth a dollar,
say ‘Amen.'
Jared feels suddenly good and swept up in the new atmosphere
in the room. For the first time we see him smile.
SNAP TO BLACK:
EVERYONE O.S
Amen.
--------------------------------------------------------------
TITLE: BOY ERASED
--------------------------------------------------------------
As the title disappears, a more personal silence develops.
JARED O.S
Please Lord, make me pure.
INT. L.I.A MAIN AUDITORIUM - MID MORNING
It's tea break. Jared sips tea as he looks around.
- Sykes speaks to a fellow staff member.
11.
SYKES (CONT'D)
- Sarah sits alone, eating cut carrots and celery.
- Lee sits doing nothing. Totally lost.
- Nearby, Jon talks with Carl; the super conservative
managerial type. Then Jon salutes him in a casual, military
style. During this Jon and Jared catch eyes.
Sykes claps his hands together.
SYKES
Okay. Bring it in.
Jared approaches his chair. Next to him is the VERY large and
very young, linebacker-type, CAMERON. A gentle giant.
The sneakers, the calloused hands, and the crew cut suggest
he was probably blocking a touchdown rush last Friday night
to the roar of his high school home crowd. Now, for reasons
that he seemed to be puzzling in his head, he had found
himself locked in at L.I.A.: The roaring stadium bleachers
now replaced by a prison.
Jared and Cameron acknowledge each other. He is painfully
shy, clutching his L.I.A. handbook, wishing it was just his
team's playbook. Something he fully understood.
Jared catches eyes again with Jon, who gives him a mini
salute.
SYKES O.S.
Who can tell us what a Genogram is?
INT. L.I.A. MAIN AUDITORIUM - AFTERNOON
On the group. Finally, Phillip raises his hand.
PHILLIP
A Genogram is like a family tree.
Only, one that shows patterns of
family behavior as well. But, like,
an illustrated one.
SYKES
Someone read the handbook. Thank
you, Phillip.
Michael moves through the room with big sheets of butcher
paper and plastic tubs of colored sharpies for each member.
12.
SYKES (CONT'D)
A Genogram shows hereditary
patterns and behavioral clues in
our families. It traces the history
behind our sinful behavior.
(beat)
Be as expressive as you will, but
write a list or draw these folk in
your family. Anyone of influence to
you as you grew up too. Blood or
otherwise. First sexual partners
even. Teachers. Coaches.
Jared looks across at the other members, curious of their
various stories and histories.
Sykes goes to a board where Michael is furiously writing up a
list of ‘behaviors.'
SYKES (CONT'D)
Then write next to these people,
their sins --
All members, old and young, start to sprawl out on the ground
like children drawing. Jon and Sarah, already familiar with
the task, are writing out family names and drawing etc...
SYKES (CONT'D)
Michael --
Michael's sounds out the codes.
MICHAEL O.S.
A. Alcoholism. P. Promiscuity. H
for homosexuality. D for drugs. A
Money sign for Gambling. M for
mental illness. Big A little b for
abortion. G slash C for gang or
crime involvement. Big P little o
for pornography.
Jared looks to big Cameron as he writes slowly -- M..o..m
SYKES
You're forgetting... oh ‘Dv.'
MICHAEL
Oh, sorry. Big D little v for
domestic violence.
Cameron now adds ‘Dv' next to his Dad.
13.
SYKES
Call them out in your Genogram.
Because I can guarantee, and you
may not even realize it yet but,
one or some of these people are to
blame for why you are here.
Jared looks down at his page. He has listed - Dad, Mom,
Grandpa W, Grandma W. Nan. Poppy. Uncle Chris. Aunt Minny.
Now, his hand wavers over what to mark any of them as.
Sykes's feet step before Jared's poster.
SYKES O.S.
Search your mind and you'll find
something.
Sykes crouches down. Jared, out of fear of coming up blank,
writes ‘A?' Next to Uncle Chris.
SYKES
You know or you don't know. ‘Uncle
Chris is an alcoholic.'
Jared erases the ‘?'. He looks at Sykes's feet, thinks, and
then writes Chloe... ‘P' - (promiscuous)
PRE-LAP - The roar of a crowd.
INT. ST. MARTIN'S AUDITORIUM - NIGHT (FLASHBACK - 2003)
Packed bleachers out of focus. Then in poetic slow motion we
see a BEAUTIFUL YOUNG CHEERLEADER fly into frame. A sequined
red, white and blue uniform with a big ‘M' on the chest. She
throws a shape in slow motion, beaming a THOUSAND WATT smile.
--------------------------------------------------------------
Title card : CHLOE
--------------------------------------------------------------
Gravity takes her away again, but soon she is back, bending
into an even more brilliant and dynamic shape.
WAYNE O.S
Chloe wants to have sex with you.
She lands now, in real time and the sound returns to normal.
Jared sits on the bench, leaning into his friend Wayne. He
didn't hear. Basketball players press in front of them.
14.
WAYNE
I said Chloe is down to do it.
She's been asking Mindy and Mindy
has been positive for obvious
reasons. So you can thank me.
Before Jared can respond - The buzzer rings sounds and the
St. Martin's Colonels, basketball team are in a GROUP HUG.
Soon, friends and family members are among them offering
congratulations.
Jared's parents approach. We recognize Nancy but his dad we
will now meet: MARSHALL. He limps over in a mismatched blazer
and pants. A sturdy man in his 50s.
NANCY
Yay!!! You set up so many points. I
saw -
MARSHALL
- Most underrated component of the
game, assists. And you scored some
too. Congratulations.
A handshake turns into a hug. A rare commodity.
MARSHALL (CONT'D)
That's victory sweat.
NANCY
Eww.
JARED
I only played five minutes.
Chloe approaches --
CHLOE
Yay!! Congratulations!!! Woo-hoo!!!
She hugs Jared still holding her pom-poms.
MARSHALL
(lights up re: Chloe)
And weren't you something. Another
underrated component of the game.
Nancy playfully hits her husband.
MARSHALL (CONT'D)
Moral support. Seriously. How high
up were you just now?
15.
NANCY
We were worried. What if they
dropped you?
Chloe takes Jared's hand.
MARSHALL
You kids going to celebrate?
Marshall holds up a Ford key. It's a big deal, his father
giving him the keys to the car.
MARSHALL (CONT'D)
It's yours.
(off Jared's surprise)
The dealership are putting me in a
new Explorer Sport. You deserve it.
Have fun.
Jared launches in to hug his dad. Chloe joins.
MARSHALL (CONT'D)
It was going to be for your
birthday. Congratulations.
JARED
Wayne!!
He holds up the keys to his teammate and friend, Wayne.
MARSHALL
No more people than it has seat
belts.
INT. JARED'S ‘02 FORD MUSTANG - NIGHT. ARKANSAS. SUMMER.
A JAMMED CAR. Just the opposite of what his father ordered.
Jared and Chloe ride up front. In the back are two couples:
Wayne and Mindy, along with Lance and Cheryl.
As they pass parked cars, and kids walking, we see a LAKE in
the B.G. KIDS are already stripping down and jumping in.
They park and everyone goes to get out. Chloe pulls Jared
back for a kiss. After a couple of attempts he pulls away.
JARED
Come on.
16.
EXT. LAKE - NIGHT
A sprawl of wet, undressing youth all in bathers or
underwear.
Jared strips down and heads for his teammates who are already
splashing in the water. He passes -
A flat-bed truck that is reversed close to the water's edge.
A couple of guys are trying to set up speakers. Meanwhile -
Chloe and the girls undress more carefully, hanging clothes
in trees or folding them into neater piles.
Then the music BLARES, received with a victorious cry. Bring
Me to Life - Evanescence. Another cheer rings out simply for
the choice of song. Through the opening riff -
The girls continue to undress while -
In the lake other kids start to ‘air-drum' to the song.
Jared and his mates tune in too, all playing their air
guitars. Then, as the song shifts gear, Wayne splashes Lance
and the others and they start to wrestle and play-fight -
Jared jumps into the fray, grappling with Wayne, fully
committing to the camaraderie. Then - Wayne breaks free.
WAYNE
Holy.... Dude. Check it out.
And then Jared turns to see -
- what would normally make any teenage boy quiver
immediately: Chloe in a white bra and panties, semi seethrough when wet. She is full breasted and wading, barely hip
deep, in the water. The boys all stare - at the trio of
girls: pure teenage fantasies wading in the lake. Jared turns
back to the guys.
WAYNE (CONT'D)
Bro. What's wrong with you? Go. Go.
That's the trophy.
The guys all push Jared toward Chloe. It's a slow approach.
WAYNE (CONT'D)
You know white is see through when
it's wet Chloe?
A few chuckles from the boys.
17.
CHLOE
I heard that laugh before. I think
on a documentary about hyenas...
that were retarded. And their
retarded friends.
Jared laughs like a goof at Chloe's joke.
WAYNE
You may as well take it off, cause
we can pretty much see it all.
CHLOE
Shall I..? Okay...
(she teases)
Oh, But I wouldn't want you guys to
pollute the water with all your...
WAYNE
Say it. You can't even say it.
CHLOE
Cum.
Shock. Off Wayne's expression she turns to the girls.
CHLOE (CONT'D)
See. He just did I bet. You guys
actually have hard-ons right now
don't you?
Blank expressions. Wayne gives an ‘as if' response.
CHLOE (CONT'D)
Prove it?!
Long pause. Jared certainly doesn't have a hard-on but
wonders if he should. Chloe won't let up.
CHLOE (CONT'D)
Stand up properly. All of you.
None of them are willing. Finally Lance goes up on his tiptoes. We don't see it but Chloe must be right because Mindy
stifles a laugh and Cheryl turns away with an ‘Ewwww.' Lance
drops back down into the water. He doesn't care.
LANCE
Damned if you do. Damned if you
don't.
Then - Chloe splashes Jared, breaking the tension and they
all start to wrestle, thrashing in the water.
18.
EXT. LAKE-SIDE BEACH BONFIRE - NIGHT
Jared and Wayne by the bonfire. Lance and Nick dress close
by. Wayne offers sage advice on sex -
JARED
What's it like?
WAYNE
We've done it four times now.
Jared nods. His friend is an expert.
WAYNE (CONT'D)
It's pretty awesome dude. I have to
say. I mean, I'm sure it'd be even
better just relaxing on a nice bed
instead of in the corner of a barn
or in some dark closet with an
actual real fear of getting caught
and shot by Mr. Riggs. But -
Even still, it's a-mazing.
(beat)
It's like being in a place you've
been told over and over is bad and
then you get in there and you are
like - ‘how is this bad? I wanna be
in here forever.'
LANCE
Like White Castle.
NICK
Like eating a burger??
LANCE
Like shut up.
NICK (CONT'D)
You compared sex with a girl
to eating shitty food.
Lance punches Nick and Nick returns fire. Soon they are up
wrestling each other. Wayne and Jared.
LANCE O.S.
Get off me, fag. Faggot!!
WAYNE
It's warm. And it gives you this
amazing great feeling.
JARED
I bet yeah
19.
(MORE)
WAYNE
Plus, man. Listen. This whole no
sex before marriage thing... would
your dad expect a customer to buy a
car without test-driving it? See.
You almost have to try it.
(good point)
You won't wanna stop dude.
Seriously. Try it. You'll see.
This lands with Jared. The thought that maybe sex with Chloe
could make him snap out of his thoughts aimed at men. He
looks across at her on opposite side of the fire. She has
finished dressing and wears his hoody.
INT/EXT JARED'S FORD / CHLOE'S FAMILY HOME - NIGHT
Elton John's - “Sad songs said so much” plays as Jared pulls
up to Chloe's family home. Their hair is still wet.
CHLOE
Go back behind the tree.
JARED
I should get home. I -
CHLOE
We are fifteen minutes early.
He reverses so a large maple tree blocks the view from the
house to the car. She immediately starts to kiss him. Jared
engages. Then his eyes open, looking down --
A hand, Chloe's hand, is on his thigh. He stops her.
CHLOE (CONT'D)
What? I just wanna touch it.
(beat)
On the outside.
Jared keeps his hand on hers.
CHLOE (CONT'D)
If it's not hard, I can make it
hard.
JARED
We should wait for that kind of -
20.
JARED (CONT'D)
CHLOE
I'm not asking you to put it inside
me, Jared. I just wanna feel it
through your jeans
20A.
(MORE)
. Wayne and Mindy have gone all the
way and they didn't get struck by
lightning or put in prison. Cheryl
has put at least three in her mouth
that I know of.
JARED
Cheryl?
CHLOE
I just wanna feel it.
JARED
If we start that, then it's gonna
be hard to stop. I want to but
shouldn't we wait until, you know -
CHLOE
You asking me to marry you?
(beat. Silence)
That's what my parents think should
happen. To keep us together through
college.
Jared is at a loss for words. Then Chloe tries one more time.
He stands his ground. She sits back defeated and opens the
door.
CHLOE (CONT'D)
What is wrong, Jared?
Jared is left alone, aware this is an escalating issue.
INT. EAMONS FAMILY HOME - JARED'S BEDROOM - DAY
Jared, shirtless, staring at a screen. He types something
quickly and bites his nails and checks the door.
Circa 2004 downloads were not so fast so it starts with the
top inch of a man's face then, five seconds later, the neck
and bare shoulders. A slow motion strip tease.
NANCY O.S
Jared honey?
Jared tries to shut the screen but gets the ‘spinning wheel'
The image is stuck halfway. He tries again but the image
downloads one bar further. Nancy approaches. Thinking quick
he turns the screen to black.
NANCY
I'm starting a new painting. Which
one do you like best
21.
CHLOE (CONT'D)
(MORE)
She holds up two images (both of the family). He picks one
She stays there continuing to look at the photos.
JARED
Mom, I'm getting dressed.
On her way out.
NANCY
Make sure you pack for Dallas. I
think your father wants to go
straight from church tomorrow.
Nancy leaves. Did she see or not see the glistening muscular
man in the underpants ad? He brings the screen up again. The
image, no longer enjoyable, is a just source of guilt.
INT. EAMONS FAMILY HOME - LATER
Marshall sits at the breakfast table. Jared shuffles in
dressed in a similar shirt. Jared goes to the fridge.
MARSHALL
We'll detail that car today.
JARED
Dad, seriously, it's so awesome.
MARSHALL
Are you ready? I'll ride with you --
JARED
Why are we actually going to
Dallas?
MARSHALL
The architect has updated the
remodelling plans for the ministry
and we are taking a tour of two
similar churches there.
JARED
Do you think I could stay at
Chloe's when you go instead?
(Off Marshall's look)
It's okay. I can stay at Wayne's or
I'll just come. I'll just come.
MARSHALL
I'm okay with you staying there, if
they are. I think it's a good idea
22.
NANCY (CONT'D)
(MORE)
EXT. EAMONS FAMILY HOME - DAY
Jared and his father get in Jared's car as Nancy waves to
them. She is setting up her easel and paints beside
Marshall's other hobby: a restored ‘65 Chevy Pick-Up.
MARSHALL O.S.
You are both mature kids.
EXT. INDUSTRIAL COUNTRY ROAD - DAY
Jared's car turns into the Ford dealership.
INT. EAMONS'S FORD DEALERSHIP - DAY
Jared walks through the dealership following his father.
Jared shakes Big Jim's hand and is greeted by other workers.
MARSHALL O.S.
Who know how to conduct themselves -
MARSHALL
Big Jim. Lead us in prayer today?
JIM
Be proud to Captain. Jared.
MARSHALL O.S.
- and who know by now how the world
works.
INT. DEALERSHIP FLOOR - LATER
There among the display cars Jared, Jim, AND FOUR OTHER COWORKERS, lock arms in prayer.
JIM
Dear Heavenly Father. Thank you for
this day filled with sunshine --
OMITTED
INT. LUNCH ROOM - DAY
Jared devours ‘To Kill a Mockingbird' over lunch --
23.
MARSHALL (CONT'D)
MARSHALL O.S.
You gotta learn to take small steps
toward manhood, so that you don't
have to run, panicking, when it
suddenly arrives.
Across the table, a voluptuous female employee eats lunch
reading a magazine. Jared shares an awkward smile with her.
OMITTED
OMITTED
INT. FIRST NATION BAPTIST MINISTRY - DAY
On Jared, flanked by Nancy, watches Marshall preach.
MARSHALL
Let's see a show of hands --
Wayne, who sits next to Jared, palms him something. A condom.
He winks. Jared is mortified.
MARSHALL (CONT'D)
Who knows they are imperfect?
Everyone's hands go up. Jared swaps the condom in his hands
to comply with all the hands firing up in the air.
MARSHALL (CONT'D)
And those that are?
No hands - a polite chuckle from the congregation -
MARSHALL (CONT'D)
Well, that seems like the perfect
segue to my introduction. Jesus
spoke to me the day I saw this man
first speak, and said ‘listen to,
and learn from, this man.' Which I
have done every week in this very
church. He has helped me immensely
and given me the strength to start
my own mission at Mountain Home.
Jared catches eyes with Chloe -
24.
MARSHALL (CONT'D)
He's about as perfect as any man
can get in this world and in his
true service to the Lord. My
mentor, Pastor Lynn Marks.
He passes the mic to the elder Pastor. Marshall then sits in
front of Jared and turns with a smile and a weird highfive/handshake. Pastor Wilkes climbs the stairs.
PASTOR
Everybody stand up. On your feet.
And such is Pastor Wilkes' power: the congregation stand.
INT. CHLOE'S FAMILY HOME - NIGHT
Jared sits for dinner with Chloe, her parents ERIC and BRANDY
and her fifteen-year-old brother CHRISTOPHER. Secretly, Chloe
reaches her leg out to touch Jared's thigh.
ERIC
So a semester at Lyon, and then
Chloe was saying you hope to bridge
over to U.N.C by next year?
JARED
Yes, sir. They have a great writing
program. Journalism really
interests me -
ERIC
Well. We'll have to find ways to
keep you guys connected.
Looks all around. The conversation is loaded.
OMITTED
INT. CHRISTOPHER'S BASEMENT BEDROOM - NIGHT
It's dark. Jared sits up to check on a sleeping Christopher.
His phone receives a vibrating text -
CHLOE
‘??? come up'

JARED
(texting back)
‘okay.

(MORE)
INT. STAIRWELL - NIGHT
Jared moves ever so quietly up the stairs. But then -
CHRISTOPHER O.S.
Where you think you're going?
Jared frozen, turns to see Christopher. Sprung.
INT. BASEMENT - NIGHT
Jared plays Dynasty Warriors III with Christopher. The music
is synthesized and upbeat. The character, Zhang, looks like
an Asian rock prince, clad in purple silks, wearing a slick
hair topped by a tiara. He swings a four pronged sword.
CHRISTOPHER
What do you think of him? What'shis-face, Zhang He, there with his
girly crown and pony tail in the
purple outfit moving around like a
dancer.
JARED
Yeah. It's a bit much.
CHRISTOPHER
A bit gay don't you think?
Jared looks at Christopher.
CHRISTOPHER (CONT'D)
Don't you think?
They stare at each other. Something shared in the look.
Dangerous and also tender. There is a wisdom to Christopher
for a younger kid. The silence broken only by a text message.
CHRISTOPHER (CONT'D)
You wanna go and fool around with
my sister, I ain't gonna stop you.
Hold.
26.
JARED (CONT'D)
INT. CHRISTOPHER'S BASEMENT BEDROOM - NIGHT
Jared stares at the ceiling, then finally turns to fall
asleep. He's given up the attempted mission.
CUT TO
INT. L.I.A. MAIN AUDITORIUM - AFTERNOON (PRESENT)
Jared stands back from his Genogram and stretches. He making
some notes on his L.I.A. notebook.
INT. L.I.A. ADMIN OFFICE - LATE AFTERNOON
Jared is handed a zip-lock bag containing his possessions by
Michael. Jared opens his phone, just to check it.
MICHAEL
Tomorrow at nine.
Jared starts to walk toward the exit, as Michael moves back
down the bowels of L.I.A. Jared turns, holding his Moleskin.
JARED
Um. Hey. You tore out the pages -
MICHAEL
False Imaging.
Jared looks at the book with the pages crudely ripped out.
JARED
They're just... stories.
MICHAEL
Sykes will decide that.
EXT. L.I.A. - AFTERNOON
Jared comes out quietly fuming, holding his bag of items. Jon
is on the steps waiting. Jared sits a little way off.
JON
Whatever they took, you'll probably
get it back. Don't sweat it.
Jared tries to let it go.
JARED
Were you in the military? I saw you
salute. I thought --
JON
Oh. That. No. I could do the whole
handshake thing. I'm just trying
zero contact what-so-ever.

(MORE)
Twenty-three days now. So I -
(he salutes)
Salute instead

JON (CONT'D)
(MORE)
Jared nods awkwardly.
JON (CONT'D)
Sure it don't feel like it right
now maybe but you'll love it here.
You get all sorts but this group
seems good.
JARED
Have you been here before?
JON
It's my second go round in the
Refuge Program. I started a couple
days late last time and -
(beat)
I'm actually waiting for a place to
open up in one of the houses.
JARED
What houses?
JON
Down the back there, past the fence
they got a couple houses for the
long-stayers. New Hope house for
the men. One for the women too.
(points)
Those others you saw earlier today,
most of them stay there.
(beat)
Meanwhile, I'm at the Best Western
while I wait for my spot. Assuming
you're staying at one of the local
‘safe zone' hotels with a relative
too?
Jared takes this in.
JARED
How long will you stay for?
JON
That's not really up to me. Sykes
decides - sometimes six months. Or
else a year. You eighteen?
JARED
Just. Yeah.
JON
Then you can stay at the houses.
28.
JON (CONT'D)
Off Jared's look -
28A.
JON (CONT'D)
Nobody explained that to you? This
is just an assessment program, The
Refuge. To see what to do with you
next.
Just then - the doors open and out walks Sarah flanked by
Aaron on one side and an older man, possibly a stepfather, on
the other. Everyone watches as she gets ‘put' in the car like
an escorted prisoner. Jon takes it in.
JON (CONT'D)
Should'a seen her arrive this
morning. She'll be fine. Like I
said: ‘all sorts.' Some are ready
for it. Some not.
This hangs. Is Jared there by choice or by force? He catches
eyes with Gary who leans against the fence.
JON (CONT'D)
Lean into it man. It's the only way
to do it and win. S'only way it's
possible. Just lean in.
(beat)
And it is possible. If you're on
your heels you'll lean too far away
and fall backwards into hell again.
No point not leaning in when you
get given the chance.
Jared absorbs Jon's optimism. He already has identified him
as someone to look up to.
JARED
Yeah. No. I'm excited to be here.
Suddenly Nancy pulls up and leans out the window -
NANCY
Hey! How was it? Was it fun and
interesting?
Jared stands up, a little embarrassed. She waves to Jon -
NANCY (CONT'D)
Hi. I'm the Mom.
(no response)
I'll turn around.
Nancy starts the turn as Jared gets set to leave -
29.
JARED
You need a ride? I think we're just
near the Best Western.
JON
Someone's on their way to grab me.
Thanks though. And don't sweat the
things they took. Lean in. Think of
the bigger picture.
He salutes from his perch and Jared starts off -
Jared passes Cameron who gets into his Dad's suburban S.U.V.
At a first glimpse, CAMERON'S DAD, a wealthy man, looks like
an ex-football player.
JARED
See ya Cameron.
Cameron turns sweetly, flattered to be acknowledged. But his
father turns sharply to assess Jared.
INT. NANCY'S CAR - AFTERNOON
Nancy's car pulls onto the highway, into the dimming Memphis
sunlight, toward the glowing row of cheap hotel lights.
Jared winds down the window and puts his arm out, dancing in
the breeze.
NANCY
Please don't do that. I've told you
that makes me nervous. What if a
truck comes and...
JARED
That is never going to happen.
NANCY
It's happened before. It has.
He pulls his arm back in and winds the window up.
INT. HAMPTON INN AND SUITES RESTAURANT - DUSK/NIGHT
Jared and his mother eat. She keeps looking at him. Jared
puts his fork down decisively as if to say ‘what?' --
NANCY
Well? I wanna know about your day
30.
(MORE)
JARED
We're not meant to talk about it
outside of group.
NANCY
I don't need gossip. You can speak
generally.
JARED
I'm going to lean into it. And
there are some good people, and
yeah. I like it.
They go back to eating, Nancy relieved. He seems happy. Jared
thinks a beat and finally takes a piece of paper from his
pocket and places it beside Nancy's plate.
JARED (CONT'D)
Do we have people in the family who
had issues with any of this stuff.
Nancy examines it, getting her reading glasses.
NANCY
‘Pornography?'
The people at the booth behind turn and she lowers her voice.
NANCY (CONT'D)
‘Drugs.' ‘Gang affiliations?!' What
is this?
JARED
I need to know for homework.
NANCY
Gang affiliations?
OMITTED
INT. HAMPTON INN AND SUITES HALLWAY - DUSK/NIGHT
Jared and his mother walk the long hall to the room.
NANCY O.S.
Why does the family matter? Our
family is so... normal.
As Nancy enters the room, Jared clocks Sarah and her
stepfather a little way down the hall
31.
NANCY (CONT'D)
INT. HAMPTON INN AND SUITES ROOM - NIGHT
Jared puts his schedule on the wall. He takes his L.I.A.
handbook and homework and piles them on the nightstand. He
weighs his own books he brought for the stay -- now certainly
‘off limits.' About to place them in the trash, he thinks
better of it and piles them over on his mother's nightstand.
Nancy enters from the bathroom and places a piece of paper on
the top of his L.I.A. handbook: Jared's Genogram homework.
NANCY
Sleep well. Big day tomorrow.
As she walks away, he examines the paper.
NANCY (CONT'D)
I was only with the gang for a year
or so... Until I went down for
drugs, and got sent to prison.
JARED
Ha ha.
Jared leans over and switches off the lamp. Then after a
pause in the near darkness we hear -
NANCY O.S.
I put your Uncle Victor down there.
We never see him. He moved to
Louisiana. We always figured he
might have been... well, he was
very feminine-like you might say.
Jared stares at the ceiling, the traces of light outlining
his face.
SYKES O.S.
What is a real man?
INT. L.I.A. MAIN AUDITORIUM - MORNING
CLOSE ON JARED'S GENOGRAM. It now has a handful of ‘A's added
and ‘Dm' in both grandparents lines. And a new BOLD
addition... UNCLE VICTOR -- ‘H.' (Homosexuality)
SYKES O.S.
What defines a ‘real' man?
Close on Cameron's child-like drawing of his dad: Brutish.
32.
SYKES O.S. (CONT'D)
Perhaps being close to the flames
of hell and finding your way back
forges a great strength --
Jared and the others pin their work to the back wall. From
his position near the big open door, Jared can see the fence
line outside: A big black Chevy pickup parks outside.
OMITTED
INT. L.I.A. MAIN AUDITORIUM - DAY
Close on the members of the group as they keenly watch the
‘newcomer.'
SYKES O.S.
And if so... if this isn't a real
man, I don't know what is.
Sykes is almost too excited to introduce their guest staff
member. And we finally see him -
SYKES
Meet Brandon Ellis.
There is no mistaking, Brandon is a hard man, who's lived a
hard life, and walked a hard road. That 1% that makes most
self-proclaimed men feel ‘less than.'
SYKES (CONT'D)
Over to you Brandon.
Sykes tries a tough-guy handshake. It is comfortable on
Brandon. Not with Sykes.
BRANDON
Thanks Sykes. Mighty kind of you
and... God bless.
(beat)
A ‘real man' to me is a man of God
first and foremost. I'm a man of
God no doubt. But, I wasn't once.
If I was ever listed on my own
son's Genograms - God forbid I was
and that he were here -
In that comment we see not just Brandon's thinly veiled
disgust for homosexuality
33.
BRANDON (CONT'D)
- But if I was: Drugs. Violence.
Prison time. Gang crime... I'd
have so many letters next to my
name, it would look like
qualifications from some
university.
(pause for effect)
And I actually believe that to be
true. I'm qualified to be here, not
maybe because I have ever had the
kinds of thoughts and feelings that
y'all are wrestling with. Or that
your other guidance counselors have
overcome.
There is the disgust again. PLUS it dawns on Jared that most
of the staff may be ex-gay. He steals a look at Sykes.
BRANDON (CONT'D)
But I've had all sorts of my own
trials that took me so far from the
Lord, it is a true miracle that I
am standing here before you. But I
am.
INT. L.I.A. SHORT BUS - DAY
Jared and the gang all ride the short bus. Brandon and Sykes
flank the aisles near the front. Aaron drives. We are not
sure where they are headed. Jared turns for a moment and
looks down the aisle - perhaps to see Jon.
INT. OUTDOOR FOOTBALL FIELD - DAY
The whole group are in a line. Brandon moves along spreading
the guys' stances wider, and correcting posture while Sykes
and Aaron and the girls sit on the concrete bleaches.
BRANDON
Standing. Leaning. Sitting. It's
all the same idea. Triangles are
the strongest shape. This.
(he shows a wide stance)
Not this.
(a narrow one)
Okay, hand or hands on hips. Go.
Brandon claps and each boy/man lifts their hands to hips in
their own manner. It's a drill they're being subjected to
BRANDON (CONT'D)
(to what he sees)
Fingers forward not backwards
S'just the way it is. Elbows out.
Not back. S'just the way it is.
Triangles. Triangles.
Sykes watches with his hands on his hips. Not exactly the
picture of manliness, he adjusts his own elbows out a little.
BRANDON (CONT'D)
Think of the shapes you are making
and ask yourself... ‘Is this a
manly shape I am making?' Or, ‘is
this a girly or a feminine shape?'
On Sarah frowning. She is sitting this one out. But she'll
serve another purpose.
BRANDON (CONT'D)
Sarah? I want you to arrange these
guys in a line in terms of
masculinity if you will. Least to
most.
Jared and the others look around, wondering where they might
fall on the line. Sarah tentatively starts in on the task.
BRANDON (CONT'D)
Myself, and other alcoholics and
addicts put their faith in AA. Get
familiar with this phrase -
(beat)
‘Fake it until you make it.'
Sarah struggles in deciding who is on what side of the MANLY
evolutionary chain of L.I.A.
SYKES
Do it Sarah. Don't think. Just do.
Sykes's authority seems diminished by the mere presence of
Brandon, the clear biological ruler here.
Jared is moved along by Sarah. He is placed somewhere in the
middle next to Gary. They share an awkward friendly nod.
Sarah has placed Lee at one end and Jon and then Cameron at
the ‘Most' end. Cameron gets the crown.
Sarah stands back and Brandon steps forward. He walks the
line starting with Lee... his face hides nothing in his
confused assessment of Lee. As he completes the line -
35.
BRANDON
Perrrr-etty good.
Brandon moves to face Cameron, who stands at least five
inches taller than him. He reads his ‘sticker' name tag.
BRANDON (CONT'D)
So. You think ‘Cameron' here wins?
(beat)
You think being big and tall and
overeating immediately just puts a
guy at the front of the line?
Brandon lets it hang then moves away addressing the group.
Cameron, relieved to have Brandon out of his personal space.
BRANDON (CONT'D)
In prison I knew men who could shop
at Gap for Kids, by that I mean
little guys, who were pound for
pound tougher than any linebacker.
Swear to the mighty Lord.
(aside)
Now, Jesus was a tough dude. Don't
get me started on that.
He looks up at Cameron. Tries to make eye contact.
BRANDON (CONT'D)
It's more than triangles and
posture and genetics.
He offers to shake Cameron's hand, to which Cameron offers a
‘limp' shake. Brandon casts it aside with disgust.
BRANDON (CONT'D)
Firm handshakes. Eye contact. Not
too much. Looking at women at the
right times. The wrong times too.
Meanwhile he pushes Cameron fourth down the line.
BRANDON (CONT'D)
No offense son. All a process. Fake
it. Make it.
Jon now takes the prize of ‘manliest.' Brandon offers a hand
shake. Jon wants to... but he's on his ‘no-touch' promise.
After a tense pause, he offers one of his salutes.
BRANDON (CONT'D)
Military man. G'bless son
36.
(MORE)
EXT. BASEBALL BATTING CAGE - DAY
Jared and the others line up outside of a batting cage fence.
We hear the ball being shot out and the grunt of -
Simon, who misses the ball, then miserably hits the second.
BRANDON
Who you are on the inside can be
affected by the outside. Next.
Lee look bewildered, realizing it's time to step up to the
plate. Simon hands Lee the helmet.
BRANDON (CONT'D)
Outside in. Fake it till you make
it. Adapt to survive.
Lee enters as Brandon slides another coin into the slot.
There is a terrible anticipation and the first ball comes
SHOOTING out. Lee startles.
BRANDON (CONT'D)
And you kids and folk, being what
you are afflicted with --
Lee spins disoriented by the second. Then the third makes
awful body contact, tilting the helmet from Lee.
BRANDON (CONT'D)
- better learn how to survive.
Become the man you are not.
Jared sees Brandon smirk, amused, and unwilling to turn off
the machine. Lee is swamped and scared. Gary goes in to help.
BRANDON (CONT'D)
When you are in a prison, you would
surprise yourself --
On Jared absorbing all this as we hear -
METALLIC NOISES. GUNS in fact. Guns being loaded. CHK.CHK.
Magazines being locked. CHK. Firing bolts being racked.
EXT. FLAT BED TRUCK - DAY (FLASHBACK - 2002)
An array of HUNTING RIFLES placed on the flatbed tray. There
are four in total, laying side by side.
37.
BRANDON (CONT'D)
BRANDON O.S.
What you can do to fit in
37A.
(MORE)
The rifles are grabbed by their various owners.
EXT. FOREST - DAY (2002)
Big Jim, Marshall, Jared and a FOURTH MAN edge along a river,
deeper into the woods. They split into two groups.
- Later, Jared following Marshall, pulls up to rest. Marshall
urges him on. A SHOT volleys out over the valley. Jared looks
back.
EXT. FOREST - DAY
Jared helps Jim and his father winch a DEAD BUCK onto the
back of one of Jim's trucks
BRANDON O.S. (CONT'D) 38-39.
.
INT. CARMEN'S STOP - AFTERNOON
Jared, dressed in his hunting gear, finishes off his fries as
he sits alone. Marshall is at the counter with his glasses on
paying the check and using easy charm with the WAITRESS.
Beside Jared's table is A YOUNG MAN, barely 25, his three
KIDS and young wife. There is also two men sitting at a
window booth that Jared particularly notices. Just then -
CHERYL, who works in the diner, comes up to the table.
CHERYL
Hey Jared.
JARED
Oh. Cheryl. Hey.
CHERYL
Y'daddy's pickin' up everyone's
checks again. So sweet. He's even
paying for those two queers -
JARED
You think they're...?
CHERYL
They have to be. Actually quite
nice though.
Marshall, now shaking hands with the OLD MAN, calls Jared
over. He's ready to leave. Jared passes the male couple,
making eye contact with one of them. An awkward smile.
EXT./INT CARMEN'S STOP / MARSHALL'S TRUCK - DAY
Once in, Marshall takes a pile of religious pamphlets from
the glove compartment. On one he writes a bible reference
Romans 1:27.
MARSHALL
There are two men sitting by the
window. I just paid for their
lunch. Tell them I'd appreciate
them taking a look at this paper
and this verse. For their sake.
Jared wants to ask why, but is unable. He knows.
40.
MARSHALL (CONT'D)
Men committed shameful acts with
other men and received in
themselves the due penalty for
their error.
INT. CARMEN'S STOP - DAY
Jared walks back into the diner. He looks to where the men
enjoy their lunch. Jared looks out the window to where his
father's truck is in clear view, watching. He moves in their
direction holding the pamphlet behind his back.
JARED
You guys travelling?
MAN 1
We are on our way to a wedding in
New Orleans.
JARED
Oh. Cool. Um... My father... my
father just paid for your lunch.
The two men look strangely at this kid in hunting gear.
MAN 1
What's the catch?
JARED
Nothing. Just... He's out there -
The two men wave out the window. He pockets the flyer.
MAN 1
Well. Tell him thank you.
JARED
Yes Sir. Safe travels.
MAN 1
Thank you.
INT. MARSHALL'S TRUCK - LATER
Jared gets back into the truck. Marshall is staring at him.
After a long silence --
MARSHALL
What did they say?
40A.
JARED
They said to say thank you.
The moment hangs. Does he know that Jared failed the task?
EXT. GRAVEL ROAD/L.I.A. COMPOUND - DAY
Feet hit gravel. Jared and the new group run in a somewhat
military formation with Brandon as their commander. Aaron
follows them driving the short bus.
INT. HAMPTON INN AND SUITES - DAY
Jared brushes his teeth - his shirt is off. He examines a
bruise on the back of his shoulder: a baseball strike? But he
enjoys the wound, like a new sense of his manhood.
Then - he catches himself with one hand on his hip. He clamps
down on the tooth brush and stands ala Brandon: two hands on
hip; hand back; legs wide - proudly faking it. Soon Nancy
joins and they both brush side by side.
INT. L.I.A. MAIN AUDITORIUM - DAY
The words “Fake it till you Make it” written on the board.
Then - Sykes steps into frame, perusing -
The bewildered faces of the group staring back.
SYKES O.S.
Moral Inventory.
(beat)
Now the real work starts. Catalogue
your sins and ask God's forgiveness
for your wrongs. Sarah --
Sarah hesitates to get out of her chair. She finally does and
passes Aaron who is setting a video camera on a tripod. His
secondary task here seems to record significant events.
CUT TO:
Sarah facing the group, reading from a handful of papers. She
is mid-flow. It is painfully awkward hearing her read. She is
trying to motor through it as fast as humanly possible.
SARAH
...and it was there that I had
sinful thoughts of other girls
40B.
(MORE)
. I would look at other girls in
the changing rooms before gym. And
in the showers. My biggest sin is
one that I am also thankful for
because it has led me to Love In
Action.
(beat)
I had run away from my uncle's
house and stayed with some girls I
knew whose parents were away. And
it was there that for a few days I
finally acted on my homosexual
thoughts.
(breathes)
I renounce these sinful thoughts
and actions and I ask God to
forgive me all these things -
Jared watches. He knows that he'll be up there soon
cataloging his own sins.
OMITTED
INT. L.I.A. MAIN AUDITORIUM - DAY
Sykes sets up the ‘LIE CHAIR' exercise. Two empty chairs
facing each other: a role-playing exercise.
Sarah takes one of the seats, waiting with dread.
SYKES O.S.
Go Sarah. There he is in that chair --
CUT TO:
We smash right into the exercise. Jared watches Sarah be
BERATED by Sykes to engage with an invisible family figure.
Sarah grips the side of her chair. White knuckles.
SYKES
- staring right back at you.
He isn't. Opposite her is literally an empty chair.
Jared turns to check on Jon, who leans forward in his chair.
Gary beside him, leans back biting his nails.
SYKES (CONT'D)
There he is. Use your words. Spit
them out with purpose. Personal
pronouns like I said. ‘YOU' wronged
me. ‘YOU' showed me sin.
41.
SARAH (CONT'D)
(MORE)
But Sarah keeps thinking. Paralyzed.
SYKES (CONT'D)
Don't over think it. Nobody's
judging Sarah. But God is watching.
SARAH
I'm trying...
SYKES
He's watching. And He's waiting.
SARAH
I'm trying to find the right words.
Sykes unleashes a trial mock tirade on the empty chair.
SYKES
‘You wronged me. You wronged me
Uncle...' what was his name?
SARAH
Joe.
SYKES
‘You wronged me Uncle Joe -- You
took me into the care of your home
and locked me up for ---
SARAH
It was two of them. Joe and Leila.
SYKES
‘You wronged me Uncle Joe and Aunt -
(stops himself)
Aaron? Bring me that empty chair.
Aaron hustles and Sykes puts it next to the other empty
chair. Two chairs for two imaginary people. Behind him we
hear a laugh. He swivels, catching Tina with a smirk.
SYKES (CONT'D)
You think this is funny Tina? You
think the reason y'all are here is
funny? Take these exercises
seriously. Do not waste my time.
Each other's time. God's time. We
are trying to help you.
He clicks his fingers in front of Sarah.
42.
SYKES (CONT'D)
SYKES (CONT'D)
‘You wronged me Uncle Joe and Aunt
Leila.' Go!

(MORE)
SYKES (CONT'D)
Yes. Yes. Let it out.
SARAH
Leila wasn't my aunt. She was my
cousin that lived with Uncle Joe.
SYKES
(sighs)
Alright. Let's take a break.
He checks his watch. Aaron turns off the camera.
SYKES (CONT'D)
Sarah can try again tomorrow. Every
day, two of you will walk into the
arc like Noah's animals. And get
refuge from damnation. This is the
ticket of entry. No free rides.
He taps the empty chair and meets with Michael who has an
urgent issue. Sykes turns, concerned.
OMITTED
INT. L.I.A. MAIN AUDITORIUM - DAY
It's tea break, Jared walks over to a shaken Sarah.
JARED
You want anything? I'm making a cup
of tea.
She shakes her head, and as he walks away she stops him -
SARAH
You're at the Hampton right? I seen
you there.
(off his look)
Seven o'clock can you meet me by
the ATM in the dining area. Bring
your phone. Please.
Jared nods and moves away, conflicted by the encounter.
Through the open door Jared sees Sykes with two PARENTS. It's
somewhat heated: admonishment by the father. Then we see Lee,
backpack on. The father turns on Sykes --
43.
SYKES (CONT'D)
We wait for Sarah to GO... Instead she starts to tear-up.
LEE'S DAD O.S.
We told you that!! Unacceptable.
As Sykes moves back toward the door, everyone disperses.
INT. HAMPTON INN AND SUITES RESTAURANT - NIGHT (PRESENT)
Jared and Nancy eat dinner, Jared scarfing down food while
doing his L.I.A. homework and referring to the HANDBOOK.
Headphones on, he flicks through his Moleskin with the ripped
out pages. We see his notes --
Moral Inventory and... Without going into ‘graphic detail,'
catalogue all immoral and sexual experiences & He adds...
‘How you came to be at L.I.A.?'
He checks his watch. Almost seven --
INT. HALLWAY - MOMENTS LATER
Jared walks into the hallway leading to the bathrooms. It is
empty apart from the ATM. Then the bathroom door opens up and
Sarah peeks through. Seeing Jared she marches over covertly
and puts her hand out. He hands her his phone and just as
quickly she disappears into the bathroom. He waits.
Awkwardly. That's when he sees -
Sykes, with a woman and kids, ages six and four. They move
into the restaurant. Seemingly, an average American family.
Jared nervously hides behind the ATM and waits guiltily. What
is he doing? What if he gets caught?
Finally Sarah emerges wiping her eyes. She hands Jared the
phone and utters -
SARAH
Don't you dare tell anyone.
Jared watches her sneak away like she was never even there.
INT. HAMPTON INN AND SUITES DINING ROOM - MOMENTS LATER
Jared gathers his things, aware of Sykes's presence.
JARED
I'll finish this in my room. You
ready?

(MORE)
(beat)
The head guy is here

JARED (CONT'D)
(MORE)
And Jared is gone. Nancy follows but looks around wondering:
‘Why is that a bad thing?'
Sykes, hearing clatter, looks up. Did he see Jared?
INT. HAMPTON INN AND SUITES - NIGHT
In the room, Jared sits on his bed. We push in on him,
knowing what his homework is.
The building intro of - The Red Hot Chili Peppers - ‘Can't
Stop.'
We see Jared's pen move over a fresh page. He writes ‘HENRY.'
HENRY O.S.
Yo. I got you pal.
INT. STAIRWELL, LYON COLLEGE - DAY (FLASHBACK, FALL 2003) 55
Music, emanating from a nearby room continues over --
Jared is struggling up some stairs with two full drawers.
Things have started to fall and topple when a fit and tanned
guy, Henry, bounds up the stairs toward him. Perfect timing.
HENRY
Here. I can take the top stuff.
Jared accepts the help with an awkward thanks. Henry looks in
a drawer as he carries it. It is mainly full of books.
HENRY (CONT'D)
Which room? Just learned a bunch of
things about you in half a second
looking in this drawer by the way.
JARED
Oh yeah? I'm in three-four-six.
HENRY
I'm in two-three-seven. You run?
People who run know about Asics.
There are Asics on Jared's feet.
HENRY (CONT'D)
I saw you unloading from that car
with the Razorbacks sticker. You
from Arkansas? I'm there a lot
45.
JARED (CONT'D)
(MORE)
INT. JARED'S DORM ROOM 346 - MOMENTS LATER
The room has a double bunk beds. There is no one else there.
HENRY
First one in gets to choose. You
got a girl? If so you might wanna
apply for a room without bunks.
JARED
Just broke up.
HENRY
(winks)
Good timing. Before college.
They head for the door.
HENRY O.S.
I got cousins in Mountain Home.
EXT. LYON COLLEGE, ARKANSAS - DUSK
Jared and Henry go for a run. We are behind them.
--------------------------------------------------------------
TITLE CARD: HENRY
--------------------------------------------------------------
Jared and Henry at one end of the run, sweat heavily and gasp
for air. They occasionally look at each other.
HENRY
We're a good fit. Hate running with
slow pokes. Or speed freaks.
(beat)
Tell you what. Race you on the way
back. Last one back has to go to
the other one's church. Serious.
JARED
Why? What kind of church is it?
HENRY
You game or not?
Jared smiles goofily
46.
HENRY (CONT'D)
HENRY (CONT'D)
Ready? After three. One, two,
Three, GO!
CUT TO:
INT. THE HEALING HANDS PENTACOSTAL CHURCH - DAY
The opening POWER CHORDS of a Christian Rock band's opener.
Jared and Henry sit among many YOUNG PEOPLE who throw their
hands in the air, CHEERING. A Pentecostal Church meeting in
full swing. More a party than a service.
LEAD SINGER
Get on your feet for Jesus.
Everyone stands and Henry does too. Jared is a beat behind
like a guilty outside observer. His dad would HATE this kind
of worship. Henry offers Jared a hand to stand. Jared stands
and watches as Henry, euphoric, cuffs the young TEEN in front
of him and lets out a ‘whoop.'
HENRY
(beaming)
Radical huh?
The minister, the YOUNG charismatic FRANK, 35, on the stage -
FRANK
Let's sing it for Jesus --
HENRY/EVERYONE
Amen/Amen!
Henry puts his manly arm around Jared who allows himself to
smile and start to enjoy it. He relaxes and puts his arm
around Henry too. It's a brotherly embrace that feels safe in
this environment. But --
The music turns to something synthesized and ominous.
EXT. LYON COLLEGE CAMPUS - NIGHT
Jared and Henry on a run, jog around trees, deflecting cherry
blossom tree branches to cut a smoother line.
Later -
47.
At the end of their run, they stare at each other as they
stretch and search for oxygen. Jared tries a smile. But it's
a little long and Henry frowns, a tad suspicious
47A.
INT. JARED'S DORM ROOM 346 - LATER
That ominous music is a SYNTHETIC LOOP from TOM CLANCY'S
SPLINTER CELL.
Jared and Henry are still dressed in sweats. We see from
behind as Jared controls the game and Henry watches, sipping
a beer. A lone player makes his way through the green and
blue glow of an underground concrete facility. Jared steals
a look at Henry's face, glowing in the screen's light.
Henry checks his watch. Sips his beer. He's tired.
HENRY
Y'said your roommate's not coming
back till tomorrow?
JARED
On some golf trip. You wanna crash?
Jared moves to turn off the game.
HENRY
You keep playing.
Henry gets up and we hear the sounds of Henry climbing up the
bunk ladder.
Jared watches, turns down the sound and then goes back to his
game, conflicted. He's attracted it's clear. But Henry is
straight and Jared has ZERO experience with ANYONE.
JARED O.S.
Am I in trouble?
INT. L.I.A. ADMIN OFFICE - DAY (PRESENT)
Tight on Jared's face as a door opens and shuts O.S.
JARED
Have I done something wrong?
MICHAEL O.S.
Here he comes now.
SYKES O.S.
Morning Jared.
48.
Sykes sits carrying a file. His demeanor is supremely casual
and friendly. Not the ‘man on show' he is in the group
sessions. The only sound is a ticking clock
48A.
SYKES
No reason to be worried. Around day
three I just check in with the new
recruits. See how they're getting
along. Little private chat.
A poster behind Sykes linking AIDS to homosexual deviant
behavior draws Jared's attention for a moment.
SYKES (CONT'D)
So, how is it going for ya?
JARED
It's good. I'm finding it all...
helpful, yeah.
SYKES
How is your Moral Inventory coming
along? Are you ready? You wanna go
today? Dive right in?
JARED
Oh... I, um.. I'd like to watch a
couple more people do theirs I
think, if that's okay. I haven't
completed everything yet.
Sykes pulls out a handful of papers from his file: Jared's
journal stories. He selects a page and holds it up.
SYKES
What is this?
JARED
It's a story.
SYKES
It's a love story about a boy and a
girl. Were you thinking about two
boys when you wrote this?
(hold)
Is this a true story?
JARED
No. It's just a story.
(off Sykes)
Will I be able to get them back?
They're assignments for college.
49.
SYKES
Yes, I noticed your list of books
here. A reading list I assume.
(holds it up
49A.
(MORE)
This troubles Jared, but he nods. Sykes reads him, his eyes
narrowing a little and then the smile returns -
SYKES (CONT'D)
Listen. I want you to know, I've
had conversations with your parents
in the lead up to you being here,
and I know a little of your story
somewhat.
(smiles)
I know there are discrepancies from
what your parents were told and
what you have said to them. And
they are really unsure what to
believe. But, I know there is a
bigger story. Or stories. Right?
We're not here based on mere
thoughts alone.
(beat)
You know, the ones that get the
most out of this, are the ones who
are brave. The ones who fess up to
what God already sees, Jared.
His friendly concern has somehow taken on the air of threat.
SYKES (CONT'D)
You really gotta put it all on the
table here. That way we can really
assess what is the best future for
you.
INT/EXT. HALLWAY/SYKES'S OFFICE - DAY
SLOW MOTION: Jared walks out. We read his disappointment -
GARY O.S.
Dear heavenly father, today I ask
your forgiveness for my sins.
Jared takes the corner
50.
SYKES (CONT'D)
Some of these books -- considering
everything that's going on for you,
I wonder if this is really the
right thing for you to be pursuing
at all. Perhaps a year with us is a
better use of your time. Something
to think about.
GARY O.S. (CONT'D)
For a year we lived under the cover
of being ‘roommates' though we
weren't using separate rooms.
INT. L.I.A. MAIN AUDITORIUM - DAY
Gary goes through the process of reading his Moral Inventory.
He has tears streaming his face. To the side - Aaron is
filming with his small mounted camera.
GARY
Much like a normal couple we lived
that way and for a time... it felt
normal... Until my family
discovered the truth. But I was
fooling myself. Being fooled. I was
seduced into sin... by all sorts of
sinful people... I knew in my heart
I had forsaken Jesus for Satan.
Jared listens, frowns. This just seems like a regular, caring
relationship being described. He looks across to Jon who we
can see has a minor black eye. Jon won't engage.
GARY (CONT'D)
But I am awake to my sins. I can't
believe the disgusting person that
I once was. I ask --
The haunting SYNTHETIC music of ‘SPLINTER CELL' Pulses --
SYKES O.S.
Lesbian. Gay. Bi --
INT. L.I.A. AUDITORIUM - DAY
On the board is a circle with several WORDS inside of it:
Marriage, Children, family, support, caring. In an opposing
circle is another list: Rape, child molestation, promiscuity,
AIDS , loneliness, zero children --
Sykes writes Heterosexual over the ‘Good/LIFE' circle, and
‘Homosexual' and LGBTQ over the other. He adds ‘D' and ‘P' as
well, literally as a joke.

SYKES
Transgender, Queer... Dolphins...
Pandas, Unicorns. Cupcakes. So much
choice over here

(MORE)
It's designed to make everyone laugh, and most don't but
Jared and Jon do. Sykes adds ‘DEATH' above the circle.
SYKES (CONT'D)
Talk about one way to ruin your
dollar bill. To burn it by falling
right back into hell. Inviting this
behavior into your life --
Move in on Jared as the ‘SPLINTER CELL' theme riffs. We will
recognize it and it will take us back to -
INT. JARED'S DORM ROOM 346 - NIGHT (FLASHBACK)
We are taken back to the night Henry crashes in Jared's dorm.
Jared plays alone for a beat but then finishes a game and
turns the console off, casting the room into darkness.
Later - Jared is lying on his bunk, still awake. Noises come
from the springs above: Henry moving. Turning. After a while -
-
JARED
Can't sleep, huh?
(no answer)
Probably shouldn't run so late at
night.
Then the figure of Henry jumps down in the darkness. A weird
moment of pause as Jared turns to look at his silhouette.
HENRY
Um...
Jared frowns. Something in the air. Then -
Suddenly, Henry lunges forward and clamps a hand over Jared's
mouth. Almost gently the command comes -
HENRY (CONT'D)
Shhhh. Shut up.
In a weird and almost silent flurry, Jared is forced to flip
over by Henry. His sweats are pulled down and Henry is on
him.
During the rapid and silent rape Jared's head is knocked
against the upright strut arm of the bunk. Then it is over.
Henry recedes. And all we hear is -
52.
SYKES (CONT'D)
HENRY O.S.
Damn it.
52A.
(MORE)
Hold on Jared. Paralyzed. His forehead trickles blood.
-- We hear Henry climb back up on the top bunk.
Jared is confused. What the hell just happened? We hold on
this for the longest time. Until -
Henry starts to cry. Finally, Jared moves ever so slightly.
HENRY O.S. (CONT'D)
What is wrong with me? What the
hell is wrong with me?
Jared rolls over onto his back. He listens to Henry cry.
HENRY O.S. (CONT'D)
I'm going to be in so much trouble.
JARED
Are you okay?
HENRY
Oh man.
JARED
Henry?
(beat)
Have you done that before?
Silence. Long.
HENRY
I need to confess. I'm going to
have to... will you hear me? Can
you keep this between us?
Jared thinks and utters ‘Mmhmm.' And Henry jumps down. He
sits on Jared's bed. Jared doesn't move.
HENRY (CONT'D)
I'm so sorry.
Hold.
HENRY (CONT'D)
Remember that kid from church. The
one in front of us..?
INT. JARED'S DORM ROOM 346 - MORNING
Jared wakes. Cautiously he stands to see -
53.
HENRY O.S. (CONT'D)
Henry has gone. The bunk is neatly made, and there's a note -
when Jared unfolds it, it merely says - “Run @ 6?”
The door opens, startling him: The ROOMMATE, carrying golf
clubs, back from his trip. They exchange ‘hellos'.
INT. LYON COLLEGE, AUDITORIUM - DAY
Jared sits in a class as it is filling up. We push in on him.
Later - he sits alone in the now empty space.
Later - he sits outside against a wall, alone.
OMITTED
OMITTED
EXT. TRACK, LYON COLLEGE - DUSK
Henry limbers up. Stretches for his run. He looks around for
Jared: a no-show. He begins texting. Then -
JARED O.S.
Hey. Sorry.
HENRY
Thought you weren't coming.
JARED
I nearly had to head home.
Henry - curious. Jared starts to stretch.
JARED (CONT'D)
It's all good. My aunt's a bit
sick. I'll probably head back in
the morning for a couple days.
HENRY
Let's stretch and pray.
(off his expression)
Why not? For your Aunt.
Henry takes a knee, but it doubles as a quad stretch.
HENRY (CONT'D)
Dear Heavenly Father..
54.
(MORE)
EXT. LYON COLLEGE, CAMPUS - NIGHT
Jared and Henry run at a medium jog. We follow behind.
HENRY V/O
We pray that you remove all
obstacles from our path.
They take a bend.
HENRY V/O (CONT'D)
And we give thanks for our freedom,
for our youth, and our health,
whereas others are less fortunate.
We continue to lead them now as Henry looks across to Jared.
It is clear he is concerned for Jared's withdrawal.
HENRY V/O (CONT'D)
We pray for Jared's aunt, that she
may be restored to health and we
dedicate this run to her recovery.
INT. JARED'S FORD MUSTANG - DAY
Jared drives his car. We are behind him.
HENRY V/O
We run guided by your love and
lifted by your spirit. Each step a
prayer that all of your children
share the same abundance.
The pair move down a rise and disappear into darkness.
INT. LYON COLLEGE, HALLWAY - DAY
Henry moves with a purpose. A swagger. We follow as he raises
a flip cell phone to his ear.
HENRY/JARED V/O
Amen. Amen.
EXT. JARED'S FAMILY HOME - DAY
Jared gets out of his car and moves to the house where he is
greeted with great warmth by his mother
55.
HENRY (CONT'D)
.
INT. LYON COLLEGE, HALLWAY - DAY
Henry on the phone -
HENRY
Yo. Hey, you remember a kid called
Jared Eamons? Ginger haired kid.
Your year at St. Martins?
INT. EAMONS FAMILY KITCHEN - DAY
Jared dumps his bag as he moves through the house.
HENRY O.S.
I'm looking to get a hold of him.
INT. LYON COLLEGE, HALLWAY - DAY
Henry walks the hall dialing a new number.
INT. JARED'S BEDROOM - DAY
Jared takes his sneakers off and turns on his computer. The
faint O.S. sounds of a phone ringing.
INT. EAMONS FAMILY KITCHEN - DAY
The phone rings in the kitchen. We follow Nancy as she wipes
her hands and moves to answer.
NANCY
Hello?
INT./EXT. HALLWAY / LYON COLLEGE COURTYARD - DAY
Henry opens the wide doors to the college courtyard where
hundreds of kids enjoy the sun.
HENRY
Hi. Is that Missus Nancy Eamons?
INT. EAMONS FAMILY KITCHEN - DAY
Nancy is chirpy but somehow senses something ominous.

NANCY
This is she. Who am I speaking to

(MORE)
We move in on Nancy's ‘not so great' portrait of the family,
now hanging on the wall.
NANCY (CONT'D)
Yes? What about him?
INT. EAMONS FAMILY HOME/JARED'S ROOM - AFTERNOON
Jared sits on his bed reading. A knock comes to the door.
MARSHALL O.S.
Jared?
Something in the tone of his voice makes Jared concerned.
INT. EAMONS FAMILY LIVING ROOM - NIGHT
We SMASH INTO A FIERCE FAMILY ARGUMENT. Jared IS AT WAR with
his father. Under interrogation. Nancy is the bystander.
JARED
Did he give you a name?
MARSHALL
Answer my question?!
JARED
If he gave you a name... I'm just
saying, why wouldn't he give you -
MARSHALL
Answer me. Are you doing all the
things he says?
JARED
Did he give you his name?
MARSHALL
Enough. I command you -
JARED
- command me all you want. I'm
asking questions too.
Marshall makes a move toward Jared.
NANCY
He didn't give me his name.
(wavers)
I don't think.
57.
NANCY (CONT'D)
We hear Henry's mumbled voice on the other end of the line.
They both look to Nancy
57A.
JARED
The guy is full of shit!
MARSHALL
Nancy. Leave the room.
JARED
I'll leave the room.
MARSHALL
No. You sit down.
JARED
It's bullshit, dad.
MARSHALL
LANGUAGE!
NANCY
He just said ‘counselor'. I
asked for his name --
MARSHALL (CONT'D)
(a warning)
-- Nancy.
NANCY
--- and a number but...
JARED
See.
MARSHALL
NANCY!
Nancy starts to retreat. Finally she leaves.
JARED
I can't believe this.
Marshall tries a new tactic, trying to focus the conversation.
MARSHALL
Okay son... Let's sit and talk
calmly. Man to man.
JARED
No. Dad, because it's --
MARSHALL
-- Is it true? He said you've
been... that you are a homosexual.
Jared sighs deeply. He gets up and moves for the door.
MARSHALL (CONT'D)
Hey. We are not finished.
58.
JARED
I am. Because you won't listen
58A.
(MORE)
Jared tries to go to his room. Marshall tries to intercept
him. Nancy watches from the hallway.
Jared tries to force the door shut which results in a
physical battle now with his father. The door hits Marshall's
face, knocking him backwards and bringing renewed fury.
Marshall forces Jared against the wall.
MARSHALL
Answer me! What this man
says...
JARED (CONT'D)
(correcting)
- What this full-of-shit guy
who is not a counselor and -
MARSHALL
Is it true?
JARED
Who didn't have the spine to
give his own name -
MARSHALL (CONT'D)
Son!!
JARED
Who raped a kid at his Pentacostal
church group. And... God knows who
else.
Marshall, still grips his son, but is rattled into stillness.
JARED (CONT'D)
Dad, you're hurting me.
Questions rage in his father's grip. But the thought of
hurting his son wakes him from the attack.
JARED (CONT'D)
Dad. It's not true. The guy is
lying. I can tell you --
As Marshall slowly releases, Jared steps forward. He takes in
his mother and father flanking him.
JARED (CONT'D)
His name is Henry Wallace. He's not
a counselor. He's a student too. He
told me he did some bad things.
(beat)
I think he thinks I'm going to tell
on him.
Pause. The dust settles finally. But, Marshall's radar is
tuned to the fact that he doesn't have ALL the information
59.
JARED (CONT'D)
INT. BEDROOM - NIGHT
Jared is playing a game on his PLAYSTATION 2: FINAL DOOM -
Level 9 with its dread filled pipe-organ theme track. Roaming
the pit, he blasts demon soldiers and fiery skulls with a
double barrel shotgun. Computer blood flows freely. He is
deep in burying his reality when his father walks in.
MARSHALL
Your mother is making dinner.
JARED
I'm okay. I'm not hungry.
He pauses the game as Marshall sets down a note pad and pen.
MARSHALL
I want you to write down this boy's
name and the name of this
Pentecostal Church. If he did what
you say then it needs to be
reported.
JARED
I don't want you to talk to him.
MARSHALL
I think this matter is a little too
important for us to get into the
business of protecting anyone.
Jared looks at the paper and pen. Marshall moves to leave.
MARSHALL (CONT'D)
Eric is coming over tomorrow to
discuss rewiring for the new
ministry.
(beat)
I extended the invitation to Chloe
and Brandy too. I'd appreciate it
if you stuck around another -
JARED
I really should get back.
MARSHALL
If you can miss one day of classes,
I'm sure one more is not going to
end the world.
(beat)
60.
(MORE)
Why did you come back in the first
place? Mid-week?
The way he asks it still feels like he mistrusts his son
60A.
MARSHALL (CONT'D)
MARSHALL (CONT'D)
You know there is nothing like the
feeling of... being with a woman.
If you knew what it was like -
JARED
Dad. It's not true.
Jared goes to put his head phones on.
MARSHALL
You know what I think about those
kind of games too.
Marshall leaves. Distracted, Jared is swamped by soldiers.
Game Over. He sits in silence for a moment and then -
Jared explodes. The closest thing we have seen to rage. He
rips the cord from the controller out of the system and
throws it across the room.
INT. EAMONS FAMILY KITCHEN - NIGHT
Marshall looks at his ministry architectural plans while
Nancy preps dinner. A somber mood. Broken as -
Jared enters and drops the ENTIRE gaming system on the table,
cords and all. BAM.
JARED
You want me to stop with the games?
His parents are puzzled.
JARED (CONT'D)
Ok... I'll stop with them.
Pause.
JARED (CONT'D)
I don't want to see Chloe.
(beat)
We broke up.
And he exits, leaving his parents confused. But then -
Moments later he is back ---
JARED (CONT'D)
We broke up because... I think I'm.
In fact, I'm pretty sure that I'm -
61.
Jared is trying to find the words. It's hard, but he's going
to stay until the message gets across. Finally
61A.
-
Marshall swoops up his architect plans, and leaves the room.
There is a long pause. Until Nancy awkwardly pipes up.
NANCY
Are you sure honey?
INT. JARED'S ROOM - FAMILY HOME - NIGHT
Jared is watching through a crack in the door. He sees -
In the kitchen his father sitting, embracing his mother. Then
he hears a car and moves to the window. He is alarmed to see -
Two men approach the house: Big Jim and Pastor Wilkes.
Marshall walks to greet them. It's definitely conspiratorial.
And it's definitely something to do with Jared. He moves to
the landing to watch them enter the house, careful to avoid
being seen.
MARSHALL
Thanks for coming Jim. Pastor.
INT. L.I.A. OFFICE - AFTERNOON (PRESENT)
The daily pick-up. Jared goes to collect his cell phone as
Jon is leaving the pick-up area, already having taken his. We
see that bruised eye more closely. Jon nods goodbye.
EXT. HAMPTON INN AND SUITES PARKING LOT - AFTERNOON
Jared and Nancy in profile shuffle back after a long day.
Jared's eye catches something and he stops briefly.
The BEST WESTERN sign. He and Jon are neighbors.
INT. HAMPTON INN AND SUITES ROOM - NIGHT
Jared stands at the window staring at the blue and yellow lit
tower of the BEST WESTERN: Jon's temporary home.
NANCY O.S.
We are trying a new place.
EXT. HAMPTON INN AND SUITES, PARKING LOT - MORNING
We follow Jared and Nancy toward the BEST WESTERN. Nancy,
always dressed like it's dinner, even when it's breakfast.
62.
NANCY O.S.
- in search of the perfect softboiled egg.
INT. THE BEST WESTERN, BUFFET ROOM - MORNING
Nancy holds a bedazzled phone in overly manicured hands.
Bangles rattle and rings knock against bigger rings.
Meanwhile, Jared scans the room, looking for Jon.
NANCY
We're about to find out.
As Jared cracks the top off a soft-boiled egg, Nancy
stretches out those hands in suspenseful expectation: The
pantomime of ‘Did they get it right?' One of their many
‘games.' Off Jared's reaction, she clenches her fists:
‘foiled again.'
NANCY (CONT'D)
Overcooked.
(into the phone)
If they have an office in Memphis,
I could check the color swatches
down here. I think a muted green is
a good match with oak. Blue is
always a little dominant,
regardless of shade.
Jared goes back to scanning the room. Then he finds -
Jon. Trailed by a guy (20s). An older brother Jared guesses:
an even manlier version of Jon. The brother hangs back to
talk on his cell, as Jon hits the buffet.
INT. THE BEST WESTERN - MORNING
Jared plants himself at the buffet waiting to be seen.
JON
Plate?
Jared almost answers but then realizes it's not an offering
for him. Instead - Jon's brother brushes past.
BROTHER
I said I'll look after myself.
JON
You want a juice?

And so it comes to be that Jon COMPLETELY IGNORES JARED

BROTHER
Look after yourself. I got mine.
Jared hangs, self-consciously filling his plate, until it's
safe to walk back to the table.
INT. THE BEST WESTERN, BUFFET ROOM - MORNING
Jared sits back down at the table, stung. He is handed the
phone by Nancy.
JARED
Hey Dad. How's the remodeling
going?
He looks across one last time for Jon. No luck.
JARED (CONT'D)
I'm sorry I'm not there to help.
(listens)
Huh? Oh yeah. Good. It's fun.
(beat)
I said it's fun.
PRE-LAP: the SOUNDS OF A GROWN MAN WEEPING. DEEP PAIN.
INT. L.I.A MAIN AUDITORIUM - DAY
Tight on Aaron's video camera. Its red light on. Recording.
Phillip sits crying while Aaron films him.
The faces of Jared and others as they react to the LIE CHAIR
exercise and catharsis. Cameron bites his nails.
PHILLIP
(in between sobs)
I hate you. I hate you. I --
Phillip gives his last bit of energy and SOBS now,
uncontrollably. Broken. Sykes tentatively helps him up.
SYKES
Good job Phillip. We love you.
EVERYONE
We love you Phillip.
64.
SYKES
See. Good job. Go wash up if you
need. Michael -
64A.
(MORE)
Michael steps forward to escort him. They walk out together
with Aaron.
Jared looks across at Jon, who won't make eye contact with
him. He looks pissed. He then sees an empty chair. He looks
around. Jared turns to look around. Sarah is missing.
INT. L.I.A. MAIN AUDITORIUM - DAY
Jon is grabbing a boxed lunch. Jared come up beside him.
JARED
No one knows where Sarah is.
Have you heard anything?
He eyeballs Jared briefly. Jared feels scolded.
JON
Is this all a game to you? What
were you doing over there anyway?
JARED
We got sick of the breakfast at our
place.
JON
(moving off)
Okay. You tell yourself that.
MOMENTS LATER, Jared sits drinking tea on his own.
JON O.S.
Listen, man -
Jon plants himself in another chair.
JON
You gotta think about why you went
there. Seriously. You don't think I
wasn't fishing for where you were
staying when I told you my hotel.
These are the urges we gotta stamp
out. Whole reason we're even here.
Gotta control this.
He taps his head too hard. Admonishing.
JARED
We were just looking for somewhere
that could do boiled eggs properly.
Seriously.
65.
SYKES (CONT'D)
(MORE)
JON
True ownership man. That's what
Moral Inventory's about. Owning
your shit. If you want a boiled egg
then tell your place how long you
want them cooked. They got a
kitchen and eggs and a chef. Don't
come to my place pretending. Or
else you gotta add it to your M.I.
Jon gives a ‘sure you were' grunt then jumps up seeing
Cameron is throwing a football inside with Tina. He joins. We
sees Cameron, suddenly relaxed and happy to have a football
in his hands.
Jared stands too... beside Jon. They take turns throwing back
to Cameron who is now joined by Tina. The group keep
throwing, but suddenly STOP when they hear the door open.
SYKES
You don't have to stop.
In the B.G., Sykes starts re-arranging chairs with Michael.
SYKES O.S.
Football is okay. S'long as you
don't break anything. In fact --
Sykes jumps in and starts throwing with them. It becomes
awkward but sort of fun. The whole group encouraged to join
in. Some do. Some don't. Jared watches the madness. Then --
SYKES
Cameron!!
He throws the ball to Cameron, who catches it happily as --
SYKES O.S
You're up. Moral Inventory and Lie
Chair.
And the carefree smile turns to paralyzing fear.
INT. L.I.A. MAIN AUDITORIUM - DAY
Cameron is in the chair now. He is doing the Lie Chair
exercise. Cameron reads from a piece of paper --
CAMERON
You wronged me dad and I hate you --
66.
JARED (CONT'D)
It's so quiet that everyone has to lean in to hear him.
Aaron, behind the camera, gestures to Sykes: ‘volume'
66A.
SYKES
We can't hear you Cameron!
CAMERON
- hate you for the way you have
treated me since you found out
about my problems.
SYKES
‘About my sins.' Say it Cameron.
Cameron looks like he wants to disappear. Jared intervenes.
JARED
I can go. I don't mind -
SYKES
(shutting him down)
Everyone gets a turn. This is
Cameron's turn. Cameron? ‘Found out
about my sins' --
CAMERON
Found out about my sins.
SYKES
Louder.
CAMERON
(trying, still soft)
-- I hate you because you never
listen to me, or acknowledge me. Or
if you do acknowledge me it's to
make fun of me --
SYKES
‘IT'S TO MAKE FUN OF ME!!'
CAMERON
-- in front of other people, or -
You just yell at me --
Sykes decides to let Cameron work at his own volume.
CAMERON (CONT'D)
When you told me you wished I
hadn't been born, that really hurt.
Cameron stops reading from his notes. He looks at Sykes.
67.
SYKES
Well, you say that you are angry,
but frankly I don't see it. ‘That
really hurt.
67A.
(MORE)
(nothing from Cameron)
I wanna see you express it.
Cameron sighs. Something is definitely inside of him -
SYKES (CONT'D)
Only then can we have a chance to
tell these people in the real world
how they have affected us.
Cameron's wraps his arms around himself.
SYKES (CONT'D)
Where is that anger Cameron? You
wanna learn and grow? Well?
(turns away)
I guess not. Oh, well.
(to the group)
S'up to you.
Sykes urges the others to go on break and they all file
around Cameron who sits, feeling a failure in the chair -
But then - they hear an almighty noise and turn to see -
- Cameron bring the chair crashing down like a pick-axe, on
the empty chair opposite, POUNDING it repeatedly. Everyone is
in shock. When the dust settles, they all stare at Cameron,
and Cameron back at them --
CAMERON
Um. Sorry.
Cameron looks around like he has made a mistake. He retreats
into apologies, and starts to pick up what he's broken.
SYKES
It's okay. It's okay. Take a break
Cameron. I'll get that.
CAMERON
I'm sorry. That's just how I
express my anger so --
SYKES
That's on me. It's okay. Good job.
We love you Cameron.
GROUP
We love you Cameron.
Cameron passes by, watched by Brandon and applauded by Jon.
68.
SYKES (CONT'D)
Jared watches Cameron retreat back into his massive shell
68A.
INT. L.I.A. BATHROOM - LATE AFTERNOON
Jared steps up to pee. Unbuttoning, he sees a shape pass the
high window. Curious, he hoists himself up, and can see -
Sykes, alone and in the magical afternoon light staring at
the tree line. Hands on his hips. Jared immediately wonders
about him. Then the door swings open and Jared steps down -
BRANDON O.S.
You're meant to attend bathroom
breaks with a staff member.
Brandon eyes him cautiously, and Jared goes to exit --
BRANDON
What, you not gonna pee now?
Jared realizes his mistake. Looks at his unbuttoned pants.
BRANDON (CONT'D)
Or were you gonna do something
solo? That's why they make the
rules.
Jared turns back to pee. It's a fearful stop-start pee.
BRANDON (CONT'D)
Sounds like Morse code. You sending
me a message, faggot?
Finished, Jared goes to walk out. Brandon turns on the tap to
for him to wash. He complies. Now Brandon gets awful close
and hands him a paper towel.
BRANDON (CONT'D)
I do not get you guys at all. Too
much mothering and not enough
fathering. I can't be both for you.
Finally Jared is allowed to leave.
INT. NANCY'S CAR - DAY
Jared rides back from L.I.A. deep in his head. Nancy drives
wondering if she should respect the silence or probe --
NANCY
It's still early. Do you want to
watch a movie
69.
(MORE)
JARED
I got homework still. Plus,
I can't anyway. The rules say all
movies contain ‘sinful content.'
NANCY
What about an animation?
JARED
‘What'd you do last night?' ‘I was
hanging at the Hampton Inn watching
The Lion King with my mom.'
Jared winds his window down. Nancy turns off the air -
NANCY
You want fresh air?
Jared reaches out his hand and his hand dances with the air.
NANCY (CONT'D)
Honey... You know I don't like -
JARED
Mom! Who did that happen to and
when? Seriously!? Do you know!?
Nancy retreats into silence. But Jared is spoiling for a
fight.
JARED (CONT'D)
Seriously. Do you actually know who
that happened to? Do you? For real?
After another silence -
JARED (CONT'D)
It was Nobody. From Nowhere Town.
(beat)
On Highway Zero. It never happened.
Now she feels the right to bite back.
NANCY
Parents want to protect their kids.
JARED
So they feed them lies.
NANCY
I think those are okay lies.
70.
NANCY (CONT'D)
Jared, realizing he's been unfairly combative, pulls his hand
back just a little bit
70A.
JARED
You know the whole thing you and
Dad are paying for here is all
about how messed up we are by our
parents. They want to know about
you. That's why you can't know all
about it. Cause then they wouldn't
get their money out of you.
NANCY
What have I ever done to you? I'm
not a drunk or a divorcee. Your
father and I don't fight. We barely
even raise our voices.
(beat)
Talk about me however you want, my
conscience is clean.
Nancy stops. She hit ‘my' a little too hard. Silence.
NANCY (CONT'D)
I think I should read the book too.
(beat)
See what it's all about. Read these
rules and what not.
(no answer)
They get to discuss us. I think we
should know about them too. We are
paying for it, and trusting them
with your care.
Jared winds his window up: Happy? He leans against the glass.
INT. HAMPTON INN AND SUITES - NIGHT
Jared and his mother schlep down the hallway. Five steps
behind his mother Jared's step is heavy and tired.
INT. HAMPTON INN AND SUITES - ROOM - NIGHT
Jared sits on his bed as his mother showers in the bathroom -
Jared flips open his phone and finds the number Sarah dialed
two days before. He presses dial after a moment of
deliberation. Waits... Then -
YOUNG FEMALE VOICE
Hello? Sarah?
(beat)
Sarah is that you??
71.
Jared hangs up. Soon he turns to find Nancy there
71A.
NANCY
Honey. Is everything okay?
He nods. She holds up the handbook. That's when he notices
she has taken it from the nightstand.
NANCY (CONT'D)
I'm reading it. No debate. I need
to know what's inside of it.
JARED
I don't see why anyone would read
it unless you absolutely had to.
INT. HAMPTON INN AND SUITES - NANCY'S ROOM
We push slowly toward Nancy's room as -
JARED O.S.
You can read it at night when I'm
here if you seriously want to.
(beat)
There are tons of spelling errors
in it. I almost wanna mark up a
copy for them. But -
Nancy reads the Love In Action handbook with interest by her
bedside light. She frowns as we hear -
JARED O.S. (CONT'D)
- that would take away the only
real enjoyment you get from reading
it. Cause, I guess, it's actually
not much fun to be there.
Whatever she has read - a rule, a task, or an ideology - it
troubles her. She looks across at her son.
JARED O.S. (CONT'D)
At least if you turn to page ‘87'
you can enjoy that the goofball
that transcribed it was typing so
fast -
Nancy, remembering, guiltily turns the page to eighty-seven --
JARED O.S. (CONT'D)
- he wrote ‘Dog' instead of God.
We read the line as Nancy's manicured finger runs along it.
“...and so we always come back to Dog's true design..
72.
JARED O.S. (CONT'D)
It'd be a shame to ruin the next
poor kid's fun.
Tight on Nancy as she smiles ruefully and whispers --
NANCY
Almighty Dog.
INT. THE EAMONS FAMILY HOME KITCHEN - NIGHT (FLASHBACK)
Nancy washes dishes. We move in on her slowly from behind.
The clatter of dishes. Then she stops, rock still.
She is crying.
And we pull back - there behind her on the table is Jared's
gaming console. It's the night Jared declared himself.
-------------------------------------------------------------
TITLE CARD: NANCY
-------------------------------------------------------------
She hears men entering the house and turns so we see her
mascara stained cheeks. She leaves the room.
O.S. Sounds of Nancy vomiting.
INT. UPSTAIRS BATHROOM - NIGHT
Nancy post vomit, steps up to the mirror and, redoes her eyeliner. With each application she calms herself with -
NANCY
Everything. Is. Going. To. Be --
Hearing noise she puts on her happy voice.
NANCY (CONT'D)
One minute.
JARED O.S.
Mom?
NANCY
Oh. Yes honey?
73.
JARED
Why are Pastor Wilkes and Jim
Picard here
73A.
(MORE)
NANCY
I think your father is having a
meeting.
(no point lying)
Because of that call today and what
you just told us.
(beat)
Pastor Wilkes has dealt with this
kind of thing before. Jim's son
Sam. When you were just a boy.
JARED
What did they do to him?
Nancy smiles and then laughs. She embraces him.
NANCY
Oh, silly. They didn't do anything
to him. They did things for him.
Just like your father is wondering
what to do for you. To help you.
(beat)
You go to your room. Everything is
going to be okay. I promise.
INT. STAIRWELL LANDING - NIGHT
Jared sits on the stairs, listening to murmured conversation
but not being able to hear clearly. Suddenly Marshall appears
at the base of the stairs.
MARSHALL
Can we see you in the kitchen
please.
INT. EAMONS FAMILY KITCHEN - NIGHT
Jared, led by his father, enters the kitchen -
MARSHALL
You know Pastor Wilkes and Jim
obviously.
Jared says his ‘hellos', curious about the stack of brochures
of a ‘Christian Nature' that are piled on the table. The
L.I.A. logo of the heart in a triangle is prominent here.
His father seems strung out and tired, but there is a
paternal care and gentleness that still exists, despite
74.
JARED (CONT'D)
MARSHALL (CONT'D)
We have one question and then I'll
let you sleep. It's been a big day.
I've shared our conversation with
these two fine and trustworthy men
and asked for their guidance. Now,
we don't have all the answers but
you hold the key to the next step.
(beat)
In your heart, do you wanna change?
Hold. It is a big question.
MARSHALL (CONT'D)
And I have to be forthright here
before you answer. I don't think
continuing to live and be part of
things at home is going to be easy
for you if the answer is ‘no.' I
don't wanna make that a more bitter
pill to swallow, but, if the answer
is ‘no' then I have to be tough and
protect my needs with the ministry
taking flight and my commitment to
my whole flock.
(beat)
Your mother and I can't see a way
to have you under this roof and
attending service and working at
the dealership and driving that car
if you go against the grain of our
beliefs.
There it is - an ultimatum. Jared looks at his mother, who
can't bear to look at him. In that moment he feels alone.
MARSHALL (CONT'D)
Well son?
LONG Pause.
JARED
Yes. Yes, I wanna change.
MARSHALL
I was hoping for a quicker answer.
But, okay.
(beat)
Can you be free in the morning for
your mother to take you to see Dr.
Muldoon?
(Jared frowns/nods
75.
(MORE)
Then Pastor Wilkes has invited us
to accompany him to the jail
tomorrow.
(the Pastor's steely look)
Take a seat -
They all link hands.
PASTOR WILKES
Heavenly Father. Look down on us
now with your wisdom and unleash
your power for one of your flock
Jared, who has lost his way. We
pray Lord that you make him pure.
Sound starts to fade out --
PASTOR WILKES (CONT'D)
And deliver him safely back to us.
See the errors of his mind as
nothing more than what it is - a
momentary straying...
EXT. ARKANSAS STRIP MALL - MORNING
Jared and his mother walk. We follow them. Nancy puts on her
dark glasses. She turns to look over her shoulder, like she
is nervous they are being watched. That people know.
INT. DR. MULDOON'S WAITING ROOM - MORNING
Jared sits in a waiting room with a couple other folk. The
door opens and Nancy and Dr. Beverly Muldoon (45) come out.
DR. MULDOON
Jared.
(to Nancy)
I'll see him alone if that's okay.
Nancy takes Jared's seat.
INT. DR. MULDOON'S OFFICE - DAY
Jared sits opposite doctor Jane.
DR. MULDOON
Your father has asked me to take
some of your blood and check for
testosterone levels Jared. Is that
okay with you
76.
MARSHALL (CONT'D)
(MORE)
He shrugs.
DR. MULDOON (CONT'D)
You know, anything we discuss here
is just between you and me. Both
ways. I hope that's okay?
He nods. She leans forward with kindness.
DR. MULDOON (CONT'D)
I'm in a little bind here Jared.
And I said this to your mother too.
Now I'm a religious woman no
question, but I've also been to
medical school. So I guess you
could say I hold science in one
hand and God in the other. And
that's not always an easy balance.
Jared seems confused so she drops the round-a-bout speak.
DR. MULDOON (CONT'D)
We won't find any answers in your
blood Jared. I wish I could say
otherwise. And then send you to the
pharmacy for a pill that will
magically fix you. But that's not
going to happen.
On Jared.
DR. MULDOON (CONT'D)
I'm going to take your blood and I
know what it will tell me. That you
are a perfectly normal and very
healthy teenage boy. It's not my
place to tell you your parents are
wrong. But...
(beat)
There is a different opinion - a
medical one - that says that they
are wrong. And well -
(it hangs)
What happens next is still your
choice. It may not feel that way,
but it is. That's all.
Jared hears what she is saying. He's just not sure yet
exactly what the ‘next' is.
DR. MULDOON (CONT'D)
Do you have any questions for me
77.
DR. MULDOON (CONT'D)
(MORE)
He doesn't. She looks at him with a maternal air and then,
knowing what may be ahead of him, offers him this -
DR. MULDOON (CONT'D)
Well, just know you can call me any
time. Now or anytime in the future.
She slides her card writing her cell number on the back. (We
saw this card during Jared's induction into L.I.A.)
DR. MULDOON (CONT'D)
Okay. Which arm you want me to
excavate?
INT. CAR DEALERSHIP/LUNCH ROOM - DAY
Jared, alone, eats. His sleeves are rolled up and a cotton
bud taped in the crook of his left arm. He watches -
Through the glass, Nancy and Marshall in conversation with
Big Jim. Jim heads for the lunch room.
JIM
Hey pal. Your father wanted me to
show you something.
(beat)
I think your mom told you about my
son Sam. Ten years ago he was in
the same spot you're in pretty
much. Here -
Jared looks at the photo Jim hands him. A happy family
portrait. A smiling middle-aged guy, a slightly overweight
woman and their three children: a girl 8, and twin boys 5.
JIM (CONT'D)
This is him today. Happy as a clam.
(beat)
Don't know if that helps. But...
it's all possible my friend.
Marshall knocks on the door. ‘Ready?' Jim tucks the photo
back in his pocket, and pats Jared on the shoulder.
JIM (CONT'D)
I'm rooting for ya pal.
78.
DR. MULDOON (CONT'D)
INT. PRISON - DAY
Jared trails Pastor Wilkes and Marshall as they go through
the prison security check
78A.
. A big multi-bag of peanut M&M's gets scanned along with
three King James Bibles and pamphlets.
MARSHALL
Candy to anyone who can recite at
least two verses from the bible.
(beat)
If a want for candy tricks them
into finding truth in the gospel,
then -- We have to appeal to their
lower natures before we can appeal
to their higher ones.
Jared nods. Marshall, seeing Jared's fear, offers him a
reassuring pat on the shoulder.
INT. PRISON HALLWAY - DAY
Jared, terrified and wary, stands carrying the M&M bags. He
watches as his father consoles a prisoner with truly great
compassion. Then he hears his name called. Pastor Wilkes
needs a bag of M&M's. Jared steps closer to the cell he is
in, trying not to make eye contact with the prisoner.
PASTOR WILKES
This is where the fallen land. You
see? Look around you son.
INT. MARSHALL'S CAR - DAY
Marshall and Jared approach the car. Marshall eats M&M's.
Then hands the bag to Jared, who is still deep in memory of
the pastor's warning. They get in -
MARSHALL
You going to stay for dinner? Or --
JARED
I should probably make a start
today.
Hold. Marshall puts his hand on Jared's shoulder.
MARSHALL
We'll get through this son.
Then Marshall turns on the radio: Credence Clearwater revival
blasts out: There's a Bad Moon on the Rise
79.
INT./EXT. JARED'S CAR/HIGHWAY - DAY
Jared on the side of the highway, where people only usually
stop because their car has broken down. He is in the midst of
a panic attack: trying to regulate his breathing.
He gets out and closes the door, leaning against the car. He
manages to calm himself a little.
VRrrrmmm. The sounds of trucks racing past by catches his
attention. Soon he steps forward, until -
He is very close to the edge. Might he just step forward and
solve all his problems on the grill of a speeding semi? One
driver HONKS a warning. Finally -
Jared walks back to the car, kicking out at the side mirror,
breaking it. He gets back in the car and starts the ignition.
His complicated life must keep going.
INT. HAMPTON INN AND SUITES - MORNING (PRESENT)
Nancy wakes up. She looks around. Jared is gone.
On his freshly made bed, she finds a note -
JARED
Decided to walk x c u @ 5. Sorry I
was mean.
She finds a screwed up paper on the floor and unfurls it.
PAPER
‘Moral Inventory.' ‘Henry' and
‘Xavier.'
Henry has been scratched out. Nancy seems concerned. She
moves to the bed and covers herself entirely with the sheet.
Hold.
EXT. HIGHWAY - MORNING
Jared walks along the gravelled edge of the highway. He reads
a handful of pages, rehearsing for his Moral Inventory.
Then - A pick-up pulls next to him. Jon's brother's car.
JON
Yo. Need a ride?
80.
Jared sees Jon's brother in the driver's seat, eyes front
80A.
JARED
Thanks, but I got a little while. I
thought I'd walk. Looking through
my stuff for today.
Jon understands: ‘Okay.' The pick-up pushes on. Then -
Up ahead, it slows and stops. Then Jon gets out, slamming the
door. His brother blasts the horn and completes a screeching
U-turn as Jon walks toward Jared. Shrugs it off.
CUT TO:
EXT. PATHWAY/PARK - DAY
Jared and Jon have taken a short cut through a park. Jared
waits as Jon finishes peeing behind an old abandoned car.
JON
So, I got all these feelings in me,
obviously. Toward men and so on.
Have since I was thirteen or so.
But I never did anything about it.
Then, when I got older and
discovered booze, I'd get real
drunk and I'd let my guard down.
Basically I'd wrestle guys and
fight just to get the contact in a
way that seemed okay. But, you
know, people started to notice and
talk. Guess I'd go too far too
often.
(beat)
Then, one party, I get real drunk,
I mean like super crazy drunk and,
while a bunch of people are
cheering me and watching me wrestle
this kid, I kiss this dude, like
full on, on the mouth.
(beat)
I think in my haze I thought it was
okay ‘cause I figured it would look
like a domination over a kid
everyone was already suspect over.
Jared listens, deeply curious.
81.
JON (CONT'D)
Then I guess, I realized in the
moment how it looked to everyone
and I tried to start the wrestling
charade again
81A.
(MORE)
. But when I saw it wasn't working,
I had to do something and so --
(He sighs deeply)
I really started to whale on this
kid... like choked him out and beat
his face in... like bad, bad, bad,
bad, bad. Bad.
(beat)
And when it was done I remember I
stood up all messy, and put my fist
in the air like I'd just won at the
U.F.C or something whack... and I
was waiting for the cheers, and --
Jared waits - walks -
JON (CONT'D)
Everyone's faces were like... dead
still. Like -‘What the fuck just
happened!?!?'
Pause.
JON (CONT'D)
I haven't been home since.
(beat)
I'm sorry for it. But it's also
what got me to where I am. So...
Pause.
JON (CONT'D)
And I'm committed, I'm not here to
waste anyone's time, don't get me
wrong, but -
(beat)
- I am what I am. I don't think
there is any changing me and my
thoughts and whatnot. But I do know
by staying off the drink and making
certain choices, I can just choke
that side of me away. Put it aside.
There is a difference. Whether you
can actually change or just choose
different things.
Jared absorbs this. Jon knows he can't change. He just
believes he can put his desires in a drawer.
JON (CONT'D)
Haven't touched another guy since.
That's why I don't even shake hands
you know. I've just decided that's
it for me. Whatever it takes
82.
JON (CONT'D)
(MORE)
Jon kicks a rock.
JON (CONT'D)
What you got?
(beat)
What's your big crazy story?
Jared absorbs what he has on his meager pages...
JON (CONT'D)
Sykes's gonna decide you know,
based on what you say today,
whether you stay another month,
three months, six. A year.
Finally, Jared stops.
JARED
I don't really have a crazy story.
We, ah, probably shouldn't walk in
together.
And they walk in silence for some time --
EXT. L.I.A. HEADQUARTERS - DAY
Jared approaches to see Sykes on the steps conferring with
two OLDER MEN. One, a striking man with silver hair and sharp
features and, a shiny-bald stocky man. Both in their fifties.
Sykes sees Jared.
SYKES
Today's going to run a little
differently. I'll be inside soon.
INT. L.I.A. MAIN AUDITORIUM - DAY
There is trash bag in the center of the room and, from it,
the members of the group are trying on black and dark-blue
blazer coats as instructed by Michael and Aaron.
JON
What's going on Michael?
MICHAEL
Sykes can tell you. Try this on.
Jon and Jared try on coats. They are handed ties too as -
Sykes enters looking troubled
83.
JON (CONT'D)
SYKES
Everybody sit down. Michael. Aaron.
You can start on the windows.
Jared sees a MASSIVE roll of black material. Duct tape etc...
He wonders: “what the hell is going on?!?”
And then the door opens and a couple of STAFF lug a funeral
casket into the room. Aaron runs to help.
SYKES (CONT'D)
Okay. We haven't got much time and
I need your help.
Sykes signs for the casket. Then he turns to the group.
SYKES (CONT'D)
There's been a situation with
Cameron overnight.
Everyone sinks. Is Cameron dead?!?!
SYKES (CONT'D)
Cameron has broken some serious
rules and in conference with his
father and their church elders,
we've decided to offer him a
chance. To shock him into recovery.
Jared is confused.
SYKES (CONT'D)
Today Cameron is going to choose to
be dead to his life and to his
family or to truly surrender.
INT. L.I.A. MAIN AUDITORIUM - DAY
The room is now cast in darkness, the windows blacked out.
Candles flicker and dim lamps otherwise illuminate the room.
The centerpiece is the casket. Slivers of sun infiltrate.
Jared, Simon, Jon, Carl... all are in attendance.
Jared looks across to a handful of NEW PEOPLE: CAMERON'S
FAMILY and CLOSE FRIENDS: An OLDER BROTHER and SISTER. And
TWO YOUNGER SIBLINGS. The two younger ones are confused and
are teary-eyed. CAMERON'S MOTHER also attends along with
Cameron's LOCAL MINISTER (the balding man we saw earlier.)
Plus a couple of FOOTBALL TEAMMATES, along with their COACH.
84.
Sykes enters. He gestures for everyone to stand. He grabs a
chair and sets it down beside the casket, facing the group
84A.
SYKES
Here?
The BALD MAN nods approval. Sykes is not in control here.
Then a knock at the door alerts him --
Sykes opens the door. Cameron, BLINDFOLDED, is led by his
FATHER and Rev. Neil, the silver haired man.
Jared looks deeply concerned: It looks more backyard,
improvised and pagan-like than truly Christian.
Brandon starts a classic funeral dirge on the Hi-fi system:
OPUS 35 - Chopin.
Cameron is taken to his seat by the casket. They unmask him
and, when he sees his family gathered together plus the
casket, his weeping deepens. Understandably, he is scared.
Jared squirms.
REVEREND NEIL
Sadly, we are gathered here today
to say farewell to our son, our
brother and friend Cameron Van
Huessen who, by his own making,
last night fell prey to Satan's
wishes, falling farther away from
God.
(beat)
But, the Heavenly Father in the
wisdom of his mercy hasn't had his
last word on this boy's soul -
Jared watches as --
-- Music starts drowning out the ‘service.' The beatific -
Moonlight Sonata by Beethoven.
----- as it plays, we see -----
Various images in slow motion to the music.
- Cameron wraps himself in his big arms and folds over. Sykes
attends him, holding him in place.
- Cameron's sisters hug each other.
- The bald Minister opens the coffin as Cameron is led there
by Sykes and Rev. Neil. A pantomime where the message is
clear. Does Cameron want to DIE or BE REBORN.
85.
- Cameron shakes his head fervently. He doesn't want to die
85A.
- They crowd around Cameron, offering an ultimatum. He nods
his head, still in tears, fully submitting.
- Sykes gestures to Aaron and Michael who rip the black
material off the walls letting the light in.
- Cameron kneels, eyes shut, hands up, surrendering himself.
Rev. Neil places a hand on Cameron's head. In a wild, jolting
gesture he PUSHES to CAST the demons out.
- Others join him, doing the same.
- Cameron's Father pushes Cameron's head aggressively.
Cameron falls backwards to the ground.
- Cameron's brother is handed a bible. He strikes Cameron
with it. Cameron's anguished face as he rolls over, tears
streaming.
- Various people are encouraged to strike Cameron with bibles
and other books. Harder and harder they strike.
- Later: Cameron vomits in a trash can held by Brandon. Rev.
Neil brings him back to his knees.
- Jon is handed a bible. He stands, Jared watching him.
- Jon strikes Cameron with the bible.
- Cameron stands with the help of those around him. His
sisters are close.
The music carries through -
EXT. DRIVEWAY/STREETS - LATER
- Cameron walks the street, propped up by his father and
others. The full congregation snakes behind.
Jared is right up the back. Sarah near him. They share a
look.
- They walk up the path toward a house: New Hope House. The
Men's ‘long stay' house we have been hearing of. Follow into -
INT. NEW HOPE HOUSE - DAY
Seen, through Jared's P.O.V.: A suburban house with all doors
removed and closed circuit surveillance cameras in the corner
of EACH ROOM. HE notices, as they pass -
86.
The ONLY DOOR in the house. It has two PADLOCKS securing it.
86A.
INT. NEW HOPE HOUSE, BATHROOM - DAY
Jared watches through the crowd as Cameron is placed in the
basic shower bath-tub of the small bathroom.
There he is baptized with his father and mother close,
encouraged by Rev. Neil to place their hands on him.
His big body shudders and his strong arms reach out for the
water. Like a massive baby. Full surrender.
Jared watches mute.
The only thing that makes this even remotely bearable is that
Cameron, seems ecstatic and accepting of his REBIRTH. His
arms clawing for God, reaching for a loving embrace.
Beethoven's music underpins the whole horrible, beautiful,
scene.
Jared sees Sykes on the edge of the action, involved but not
really. Jared turns to go, unable to watch anymore.
Interestingly, Sykes doesn't try and stop him. But -
Jon does. He grabs for Jared's arm. Jared shakes him off.
EXT. NEW HOPE HOUSE, HALLWAY - DAY
Jared moves into the hall, escaping the horror. He is alone.
GARY O.S.
Starting to see it for what it is?
Gary is standing by the corner.
GARY
They catch him with another boy in
a steam room and what do they do?
(beat)
You seem smart. You want my advice?
Tell them everything they need to
hear and play the part. You're up
any day now. Let them know you're
understanding your mistakes,
getting better, that it's working.
Think all my stories and my tears
were real? ‘Fake it to make it'.
None of this is going to help any.
The sooner you are out of here and
home the better.
87.
(MORE)
And the sooner we are all out of
home and somewhere else the better -
(that hangs
87A.
GARY (CONT'D)
(MORE)
You don't want to end up at one of
these houses for any amount of
time. I've heard the stories and
they are not good.
A muffled chorus and shout comes from the bathroom.
GARY (CONT'D)
Unless you really think you can
change. Or want to.
INT. HAMPTON INN AND SUITES - NIGHT
The music continues as -
Jared walks the hall with his mother. Seen from behind they
walk away and enter the room, leaving an empty hallway. Hold.
And the music ends on a deep base note -
EXT. MEMPHIS MOTEL MILE - NIGHT
Jared runs, exorcising the days events. Hood up, he pounds
the pavement past the various motels. The rushing oncoming
cars WHOOSH past like his dark thoughts.
Later: As he passes a bus shelter he comes to a stop. A strip
mall in the background. Not a soul about. He takes a seat on
a bench to catch his breath and when he looks back he sees -
On the outside of the bus shelter: a beatific advertising
image of a SHIRTLESS GUY, lit and inviting. Jared looks away
but something draws him back. His nature.
Then, something fierce wells up in him, and he gets up as if
he is looking around for something. Leaves frame. Hold. We
hear noises of effort.
He soon returns with a heavy paving stone. He is about to
launch the missile at the advertising image. However --
On the approach, the poster slides to the NEXT ad... a woman
in a swim suit. It railroads his intentions.
JARED
Arghhhh.
He throws the paver anyway and it bounces off the Perspex
shield, doing minimal damage. He sits down drained. Defeated
88.
GARY (CONT'D)
JARED (CONT'D)
Fuck.
(turning skyward)
Fuck you. I hate you. Fuck you.
FUUUUUUCK!
He waits. Nothing. Then -
The advertising image slides back, to the beatific male
image. But, now buckled by the assault, its mechanism falters
and sticks halfway. We move in on Jared. Recognition. Memory.
The man, the face, albeit obscured with fracture glass,
reminds him of something. Someone.
SNAP TO BLACK:
INT./EXT. JARED'S CAR/COLLEGE DORM BUILDING - LATE
AFTERNOON (FLASHBACK)
Jared parks the car. He is dressed as he was the day of the
prison visit. The day he had his panic attack on the highway
and had thoughts of suicide. We know this too because when he
gets out, he inspects the freshly broken side window.
INT. COLLEGE DORM BUILDING - EARLY EVENING
Jared lugs his overnight bag, dragging his feet. Depleted.
He lumbers past a bulletin board, then stops. Backs up.
An image of Christ. It's a western depiction of Jesus where
the man himself could have signed with a California modeling
agency. The words ‘God vs. Science' pop out.
He steps closer and takes the flyer in his hands. It is
advertising for a college art exhibition.
EXT. JARED'S DORM ROOM 346 - NIGHT
Jared unlocks his room. He notices, behind him, TWO STUDENTS
whisper gossip about him. Has word gotten around somehow?
Then he looks into the room -
INT. JARED'S DORM ROOM 346 - NIGHT
Inside, his room has been trashed. He enters cautiously.
89.
Then he stops - Just above his bunk bed mattress is a crudely
spray-painted message: ‘DIE HOMO.
89A.
- He corrects a fallen chair and finds a bottle of wine.
- Room fixed up, Jared sits on his bed holding the bottle. He
turns over the flyer in his hands then puts it aside. He
opens the bottle sniffing the booze: ‘Die Fag' behind him.
INT. LYON CAMPUS, ARTS BUILDING FOYER - NIGHT
A section of the Fine Arts building turned gallery space.
People mill about. A decent crowd. Jared steps into frame.
He raises a glass of wine to his lips. He is staring at -
The Mormon style image of Jesus. The same ultra-color Blonde
depiction as the flyer. The actual artwork is five feet by
six. HUGE. We see that in Jesus's hand is an image of a CELL
PHONE. It's controversial in a playful way.
To Jared it is distasteful and somewhat irrelevant. Trite. He
turns and places his drink down and suddenly stops, seeing --
A BEAUTIFUL BOY (20), gesturing to a small group about an
image: MARY. Arms in offering, a Virtual Reality system on
her face. Someone in the group shakes his hands in
congratulations, and he nods humbly in thanks. This is the
ARTIST. Xavier.
Jared is transfixed. Not by the image, but by Xavier.
And then Xavier catches him and looks right back. He steps in
front of the image so that he appears Jesus-like. Divine:
Mary's offering arms seem to be his.
-----------------------------------------------------------
TITLE CARD: XAVIER
-----------------------------------------------------------
Jared does not turn away. Xavier gestures ‘cheers' with his
wine and moves away. Jared keeps staring.
INT. HALLWAY - NIGHT
Jared walks an expansive hallway alone. Soon -
Xavier comes into frame, following. Then he takes the lead.
90.
INT. XAVIER'S STUDIO ROOM - NIGHT
They walk in together. As the door closes the music stops
90A.
There is minimal improvised and eclectic furniture in this
studio space. Beyond it Jared can see at the far end, a bed
room lit by warm lamp light.
Xavier puts on Otis Redding - Change is Gonna Come. Vinyl.
XAVIER O.S
I'm having some wine. Do you want
some more?
When Xavier speaks he has a slight European accent: French.
Swiss? It is hard to tell.
Jared looks around at the motley pictures hanging: Subversive
religious images; magazine cut-outs, plus; sketches of people
and shapes. Curated by a novice, yet somehow captivating.
JARED
Where are you from Xavier?
XAVIER O.S
I lived in thirteen countries
before I left high school. Born in
Vienna. Ended up in Canada. Now
here.
He approaches with a red wine. Jared takes it.
JARED
Do you believe in God?
XAVIER
Serious.
JARED
Why is that serious?
Jared is buoyed by drink. It is a bold side of him we have
never seen. Perhaps some things are possible with booze that
otherwise are not, as we may remember from Jon's tale.
Like with that - this encounter should carry an edge that
carries the possibility of that same danger.
JARED (CONT'D)
Do you believe in God or not? Your
whole art thing is --
XAVIER
I do. I was raised with religion
and I question it, but I still
believe in God
91.
(MORE)
JARED
Who created the earth?
Xavier laughs. That's a BIG question?
XAVIER
You like a little small talk, huh?
JARED
I don't think you can believe in
science and religion equally.
Xavier frowns, not ready to engage in the seriousness.
JARED (CONT'D)
Don't you think you have to pick a
side? Don't they cancel each other
out.
XAVIER
Well, paper beats rock. Then no one
can believe in God.
JARED
Why?
XAVIER
Because science has shown itself
and God has not.
JARED
Sure he has.
XAVIER
Not all the time. Science shows
itself all the time. It's always
around us developing. Does God show
himself enough? Where is He?
(off Jared's expression)
Wait till you really suffer.
Jared seems to be getting either angry now or emotional. He
may lash out, physically OR sexually... or totally crumble.
It is hard to tell.
Xavier walks away.
When he comes back, he has a joint. He lights it. Jared has
never been this close to drugs.
XAVIER (CONT'D)
Do you believe in the devil?
92.
XAVIER (CONT'D)
Jared's silence is a yes
92A.
XAVIER (CONT'D)
Does he look like me?
JARED
I don't know.
XAVIER
Because he also doesn't show
himself.
Jared surprises us by taking the joint. He takes a toke.
After a long beat.
JARED
You know Job? From the Bible.
XAVIER
Not personally.
Jared sees the humor in it.
XAVIER (CONT'D)
I hear he's not great company.
Always complaining.
Jared cracks up. Then gets real. He has to make his point.
JARED
I imagine I'm him sometimes. That
God and the Devil are having a bet
over me. That one day he'll show
himself to me and let me in on the
experiment he was having to test
me.
XAVIER
You just summed it all up.
(beat)
People hoping someone is watching
over them. That hard times are part
of a design.
(beat)
I think we are our own test. Our
own judgement. Our own god. Meaning
I think he is in us. All of us. Not
somewhere watching and hiding.
Jared thinks about this.
XAVIER (CONT'D)
Stay with me.
93.
Jared is not flinching
93A.
XAVIER (CONT'D)
Nothing needs to happen. I swear.
Nothing from Jared.
XAVIER (CONT'D)
I'll prove to you that God won't
strike you down.
JARED
What if you are the devil?
XAVIER
Then you are too.
He backs away.
XAVIER O.S.
We are the same. I could be you or
you could be me.
Soon, Jared looks back for the door, but instead he watches
Xavier who disappears into the warm glow of his bedroom den.
INT. XAVIER'S BEDROOM DEN - NIGHT
From above, Jared and Xavier lie down. The music filters in
from the other room.
They look at each other.
They hold hands. And that's it.
INT. XAVIER'S DEN - MORNING
Jared wakes up to full sunlight. Xavier is facing him asleep.
Jared looks down. They are still holding hands, and still
fully clothed. Jared slowly releases his hand from Xavier's.
He stares for some time then finally moves out of frame.
INT. ARKANSAS STREET - DAY
Jared walks the street and lifts his phone to his ear.
JARED
Dad. I'm ready. I'm coming home.
I'll go wherever you need me to
94.
(MORE)
EXT. LYON COLLEGE, LAKE PONTOON - DAY
Jared naked from the waist up.
JARED
Please Lord, make me pure.
And falls backward, right into the icy college lake. His
clothes left piled on the shore nearby.
INT. HAMPTON INN AND SUITES, BATHROOM - NIGHT (PRESENT)
Jared, dripping wet, stands before the mirror in his running
gear, staring at himself. The shower runs in the B.G. Then we
realize that he is looking at a card. It is the business card
of Dr. Beverly Muldoon. He turns it over in his hands.
Contemplating. Phone poised he actually starts to dial. Then
he thinks better of it and takes off his shirt, walking into
the steam.
INT. HAMPTON INN AND SUITES HALLWAY - MORNING
Behind: Nancy, in her Jackie O's, and Jared walk the hall.
INT. L.I.A. HALLWAY - DAY
Behind: Jared walks the L.I.A. hallway.
INT. L.I.A. MAIN AUDITORIUM - DAY
Jared sits in his chair, clutching his papers and handbook, a
purposeful steely look in on his face. He looks across and -
Cameron slowly eases himself into an empty seat. He
acknowledges no one and sits, arms across his massive torso.
Sykes moves to his podium.
SYKES
I don't know about y'all, but today
I feel invigorated. I feel hopeful
that so much is possible.
Jared steals a look at Cameron. Cameron does not seem to be
sharing the same vigor. He seems truly sunk.
95.
JARED (CONT'D)
SYKES (CONT'D)
Cameron. How do you feel
95A.
(MORE)
CAMERON
I feel great, Sir.
SYKES
Do you feel the true presence of
God in your heart?
CAMERON
Yes sir.
SYKES
It feels great don't it?
CAMERON
Yes sir. It does for sure.
Jared catches Gary's eye. A shared skepticism. Then he
catches Jon's eye, but Jared turns away almost coldly. Things
have shifted between the two of them. Broken.
SYKES O.S.
Ready when you are, Jared.
INT. L.I.A. MAIN AUDITORIUM - MOMENTS LATER
Jared's hands squeeze his papers for his Moral Inventory.
We hold on Jared's face through --
JARED
I had thoughts of men.
(beat)
Boys at school. On T.V. On the
street. In my imagination. At
college I held the hand of a boy
and I stayed through the night. In
his bed.
(beat)
For these thoughts and this action,
for which I felt regretful, I -
SYKES O.S.
Hold on. And..?
The faces of others. Of Jon. Aaron filming.
JARED
I never... I stayed the night with
the boy from college but we never
did anything more. That's the only
96.
SYKES (CONT'D)
(MORE)
SYKES
Come on Jared. Don't hide your
sins. God sees everything. What
else?
Jared stews. He really is telling the truth. What happened
with Henry was Henry's sin.
JARED
I lied on my Genogram. My uncle
Chris wasn't an alcoholic.
Sykes sighs.
JARED (CONT'D)
It's true. How do you know?
SYKES
You want to waste everyone's time?
JARED
I'm not.
SYKES (CONT'D)
And mock everyone who has got
up here being honest and
brave.
JARED
I could make something up. Is that
what you want me to do? Isn't that
a sin too?
He eyeballs Sykes. A new strength of defiance.
JARED (CONT'D)
If thoughts are a sin, I ask God's
forgiveness for that, but I'm not
making anything up.
On Sykes. He eyes Jared: It seems like a stand off.
SYKES
Okay then.
He moves off to get the lie chair. He sets it down in front
of Jared. And places another chair beside Jared.
SYKES O.S
There's your father. Sit down.
Jared sits, albeit reluctantly.
97.
JARED (CONT'D)
SYKES
Tell him how he's affected you.
Tell him how angry you are
97A.
(MORE)
(hold)
Tell him you hate him for --
Jared stands back up again.
SYKES (CONT'D)
Sit down.
JARED
But, I'm not angry and I -
SYKES
Yes you are -
JARED
- he's done things that upset
me and he's let me down, but -
SYKES (CONT'D)
- you are angry and -
JARED
Why do I have to be angry?
SYKES
Sit down Jared. Sit.
JARED
I'm not a dog.
(beat)
And I don't think anyone is
responsible for me. So -
Jared continues to hold his ground.
JARED (CONT'D)
I don't see how it's going to help.
Picking someone to blame or hate.
Pretending we're angry at someone.
(to Aaron)
Can you stop filming me -
Aaron, tracking him, does not stop filming.
JARED (CONT'D)
I don't hate anyone.
SYKES
Then why all this anger -
JARED
Because, you are making me angry.
SYKES
Then use it
98.
SYKES (CONT'D)
(MORE)
JARED
You are not listening to me.
MICHAEL
No! Stop!! You are not listening to
him! You are not taking this
seriously.
JARED
I am taking it seriously.
MICHAEL
You're not. You're pathetic, and a
liar. And you don't wanna change at
all. He doesn't want to change -
JARED
I do. I am. I just don't agree. I'm
not going to pretend to be angry. I
love my father.
SYKES
I don't think you do.
JARED
You don't know me. You are all
crazy. All of you.
Tina's jaw is wide open. Gary smirks. Cameron is raising his
eyebrows.
Jared moves a few steps toward the door.
SYKES
Where are you going? You're not
going anywhere until --
JARED
You're in my chair. There you go. I
hate you. But how does that help?
Jared is starting to breath heavily. Panic.
JARED (CONT'D)
I really want to go.
SYKES
Just take a minute.
JARED
I mean, how does any of this help?
It's crazy.
99.
SYKES (CONT'D)
And he walks out
99A.
.
EXT. L.I.A. HALLWAY - MOMENTS LATER
The office door is locked. He knocks. Panic rising.
Sykes comes from the main auditorium. He is oscillating
between tender and hard tactics. Tender it is -
SYKES
Jared? Son?
(beat)
Don't open -
A FEMALE CLERK opens the door. Jared moves past.
JARED
I want my things.
SYKES
We'll get your things, just come
back and have a talk with me first.
JARED
I want my things now. And I want -
Jared just walks around and opens a drawer and finds various
bags of people's belongings. At one stage Michael rushes in
and tries to intervene and Jared scuffles with him.
Finally, Jared finds his bag and grabs his cell phone from
it. He leaves the room -
INT. L.I.A. HALLWAY - MOMENTS LATER
Sykes blocks his way to the exit. Jared retreats.
INT. L.I.A. MEN'S BATHROOM - MOMENTS LATER
Jared storms into the bathroom and finds a stall and locks
himself in. His breath is short now. Panicked.
JARED
(on the phone)
Mom. It's me. I need your help.
Come get me please. Like now.
(beat)
Please. I'm in trouble.
He waits. For a long time there is silence. Then voices on
the other side of the door. Soon the door opens.
100.
JARED (CONT'D)
Go away
100A.
(MORE)
SYKES
!
Jared?
(beat)
Jared.
(quietly)
Michael, get Brandon.
Jared is scared now. Shit. He has to get out. He prepares
himself and then storms out past Sykes back into --
INT. L.I.A. HALLWAY - CONTINUOUS
Jared's way to the exit is blocked by Brandon and Aaron.
Behind Jared are the other group members, all too scared to
help or comment in any way. It's a stand off: staff on one
side, blocking the exit. Clients on the other side.
JARED
I wanna leave, okay? Please.
SYKES
You are just having a rough moment.
JARED
‘A moment?!' A moment?
SYKES
Steady on. I know it feels -
JARED (CONT'D)
I don't wanna talk. I wanna
go.
SYKES
I don't want you to.
JARED (CONT'D)
I read the rules and none of
them say you can stop me from
leaving.
Sykes turns to Brandon. Mutters something. It's certain he is
asking Brandon to use his muscle to contain Jared.
JARED (CONT'D)
And if you or anyone puts their
hands on me. I have witnesses.
(phone rings)
Mom? Where are you? If I put him on
they might take the phone.
(listens)
How far away?
Heavy screeching outside and a minor collision. Then a door
slam and -
101.
JARED (CONT'D)
NANCY
Jared!
101A.
(MORE)
NANCY O.S.
(breathless and LOUD)
JARED!!! Honey? What's happening?
JARED
Mom!! They won't let me out.
NANCY O.S.
What!? Why? Who's there with you?!
Sykes walks toward the door. Jared tries to too but Brandon
blocks his way.
SYKES
Jared is having a moment born out
of a role-play task. He thinks he
wants to go because it brought up
some issues for him but I think
it's best for his development that
he doesn't --
JARED
No. That's not... Mom? Tell him he
has to open the door.
SYKES
I'll call Mr. Eamons, and you and I
and Jared can all sit down to --
NANCY O.S.
Who exactly am I speaking to?
SYKES
This is Victor Sykes. We spoke on
the phone a few weeks back.
(beat)
Missus Eamons. I think the thing to
understand here --
NANCY O.S.
Open the door Mr. Sykes. Now!
Before I call the police.
Hold. Jared waits. Sykes remains unmoved.
Then Cameron steps forward.
CAMERON
Open the door.
102.
NANCY (CONT'D)
!
Heavy POUNDING comes from the other side of the exit door.
It's a HUGE moment: Cameron rebelling. He moves forward and -
102A.
Puts his MASSIVE FRAME between Brandon and Jared, challenging
the tough guy who once belittled him.
CAMERON (CONT'D)
He wants to leave.
Hold. Brandon stands his ground. But then something shifts.
He knows, in this moment, he is the weaker of the two men.
NANCY O.S.
Jared!?
CAMERON
Come on.
JARED
We're coming.
Cameron escorts Jared all the way to the exit door.
Sykes too steps aside, having been overpowered by forces on
both sides, allowing Cameron to open the door,
The reveal of Nancy is AMAZING. She wears sweats and no makeup or jewelry. This is what Nancy looks like when she doesn't
have to present. The real her. Naturally beautiful.
Jared shakes Cameron's hand and then hugs him tight: Thanks.
He eyeballs Sykes: ‘You got a problem with this?'
Now Jared joins Nancy as they start to move for the door.
Then she turns sharply -
NANCY O.S.
What actual qualifications do you
have Mr. Sykes? I never asked.
Hold. Great question. It hangs.
NANCY
Are you a doctor? A psychologist? A
real proper one?
Nothing --
NANCY O.S.
Just as I thought. Shame on you.
Shame on you.
It's true. No disputing it. Nancy and Jared continue to exit
103.
EXT. L.I.A. HEADQUARTERS - MOMENTS LATER
Jared and Nancy walk fast from the door to the car.
NANCY
They following?
JARED
No.
NANCY
Don't look at me. I'm a mess.
(beat)
You said hurry.
They get in the car. And they drive away as fast as Nancy
will drive. Maybe one spin of the tires.
Music starts -
INT. THE PEABODY HOTEL, MEMPHIS - EARLY EVENING
Jared sits alone in the affluent, green and cream dining hall
of the famous hotel. It is early and almost empty.
WAITER
Can I help you?
JARED
I'm not sure if I'm staying or
going.
Then Nancy arrives. Jared waits expectantly. She is done up
again now, albeit a conservative version of herself.
NANCY
Your father wants you to go back.
Hold. We can see Jared's crest fall. Nancy sits.
NANCY (CONT'D)
I told him... we'll see him at
home. I told him you are not going
back.
(beat)
That night Pastor Wilkes and Jim
came to the house?
104.
(MORE)
Those men decided what to do with
you, and I just fell into line like
I usually do. Sometimes they say
you gotta hurt a child in order to
help them
104A.
NANCY (CONT'D)
(MORE)
. And that may be so with some
things, but a mother knows when
something isn't right, and I knew
in my bones it wasn't hurting to
help. I was just letting you down
and I kept my mouth shut. I'll
always regret that.
(beat)
So I'm going to do a different
thing now I have a chance. I'll
handle your father. He can fall
into line with me for a change.
Jared allows his mother's embrace. Now she lifts the mood.
NANCY (CONT'D)
I bet this hotel is “off limits?”
Out of the “safe zone.”
He smiles at her use of the L.I.A. jargon.
NANCY (CONT'D)
We may as well have a drink.
(small laugh)
One of my ideas, one of my many
ideas, that I know would have made
a lot of money... ‘Minister's Wives
Gone Wild.'
She gets up heroically, not an ounce of fear, and turns as if
the brave should follow the brave - ‘come on'
NANCY (CONT'D)
Let's go to the bar.
Jared smiles and stands, buoyed by her support.
INT. EAMONS FAMILY HOME - DINING ROOM - NIGHT
Jared and his mother and father eat.
Given what's happened you would think that there would be
much discussion. Instead there is none. Maybe it's already
been had. Maybe it is to come. Or maybe not.
Finally, Marshall takes his plate and leaves. Nancy and Jared
share a look, and she keeps eating unperturbed.
Music continues
105.
NANCY (CONT'D)
INT. JARED'S ROOM/EAMONS LIVING ROOM - NIGHT
Jared sits on his bed. He unzips his L.I.A. bag. He raises
his white shirt. Throws it in the trash. Behind him now as he
unpacks, we hear a doorbell ring. He turns to register it but
doesn't pay too much mind. Moments later he hears a knock at
his door.
NANCY
(knocking)
Honey.
Jared turns -
NANCY (CONT'D)
Do you know a boy by the name of
Cameron Van Huessen?
JARED
Is he here?
NANCY
No honey. That's a sheriff. He's
come to ask you some questions.
Apparently this Cameron boy killed
himself today.
The world drops away. And much like Cameron's fake funeral,
we absorb his death in a similar fashion: slowly --
-- Jared sits to talk to a young sheriff. The sheriff takes
Jared's statement. Behind the sheriff -
-- Jared sees him father move away up.
-- The Sheriff is seen to the door and the whole family
disperses into separate rooms.
- Jared walks into his room. He turns and sees his father
watching him. Jared closes his door.
SNAP TO BLACK:
OMITTED
OMITTED
FADE TO BLACK
106.
EXT. BROOKLYN STREETS - NIGHT (THREE YEARS LATER)
We follow Jared. A black coat. If it isn't apparent, it will
be as we take in his profile, and then his face full frontal
as he turns the corner, that it is a few years later.
--------------------------------------------------------------
TITLE CARD: JARED
--------------------------------------------------------------
It's not so much that he has aged. More that he wears a new
confidence that wasn't apparent before. Under his arm he
carries a six pack of craft beer and a bottle of wine. He
approaches a building in an industrial area --
Jared puts a phone to his ear. An iPhone 1. (It is 2008)
JARED
I left my keys. They fixed the
buzzer.
He buzzes and is buzzed up. We pull sideways to take in - New
York City. The vast skyline.
OMITTED
INT. JARED'S SHARED APARTMENT - NIGHT
Jared and friends share a drink, post dinner. They are
playing a board game.
Improvised scene from which --
We move back to see this action now in B.G. From a bedroom we
discover is Jared's. His phone sits beside his computer and a
stack of papers. Perhaps we see certain things in the glow:
An article with Jared's name on it in an open journal
magazine; a photo of him and his Mom posted on a board;
Another of him and a boyfriend. Then, as we reach his iPhone
and push in - it lights up and rings faintly. The vibration
moves it toward the desks edge, until it finally stops
teetering over the lip. The glow of the ‘unknown number'
finally goes away.
Back with Jared and his friends. Unaware of who was calling
him and what it would potentially mean, Jared continues
laughing and playing.
107.
LATER: The kitchen is empty. The bottles and dishes can wait
for another day. We hear Jared farewell a friend O.S
107A.
OMITTED
INT. JARED'S BROOKLYN BEDROOM - LATER
Jared works. Now lit by the screen of his desktop, we see
evidence of the writer Jared has become. We pick off various
things including a post-it note saying ‘write what you
know!!'
Jared types furiously and when an email pings he immediately
switches to his email page: an email from - Nancy Eamons:
“URGENT -- I WAS RIGHT!!” How could he not open it -
A news article: A BOY WHO LOST HIS ARM, HANGING IT OUT OF A
CAR IN IBIZA.
Then another PING: He sighs, she has hooked him again,
dragging him from work into a text chat.
MOM: Are you coming for Thanksgiving?
JARED: I don't know I can.
MOM: Your dad would love to see you.
JARED: I'll come when Dad is away at the convention.
Then the phone rings. He snatches it up -
JARED
Mom! I'm working.
Pause. Then a PING on the computer - Again it is -
MOM: Okay. Goodnight.
Then, who is on the phone!
VOICE
Is this Jared Eamons?
JARED
Yeah. Who's this?
Jared walks out to the fridge in the darkened kitchen to grab
another beer --
VOICE
From L.I.A. a few years ago?
108.
He stops. Moves back to the bedroom and turns off the music.
Now there is utter silence
108A.
JARED
Who is this?
VOICE
It's ah... It's Victor Sykes.
Hold.
SYKES
Before you hang up. Please hear me
out. I've been contacting as many
ex-clients as I can...
Jared listens and Sykes' call drowns out. We move behind
Jared's head as he listens and we hear faint traces --
When we come across to Jared's other side of Jared we hear a
fierce and firm drum snare SNAP!
THEN TO BLACK:
Then a drum roll rumbles over -
EXT. BROOKLYN STREET - DAY
A truck passing reveals Jared's face cautiously standing on
the street keenly watching something. He puts his phone to
his ear. Another drum beat and we see - the drumming actually
comes from a TEEN BOY right by Jared. Jared looks at him for
a moment.
Jared's friend, one we saw from the night before steps up.
FRIEND
He's in there. Well, from your
description, I think he is.
(Jared tenses)
You don't have to do this you know.
And with that, Jared moves off.
FRIEND (CONT'D)
Call if you need back up.
INT. BROOKLYN CAFE - DAY
Jared pokes his head in. He looks around --
Jared turns the bend cautiously and looks around.
109.
A man stands -- It is Sykes. He looks different. A new
haircut. A grey goatee. Loose clothing. Transformed.
109A.
SYKES
Jared. Thanks for this.
JARED
How did you get my number?
SYKES
I tried the one I had on file.
They sit.
SYKES (CONT'D)
I'm sorry to jump out of nowhere
and contact you.
Sykes seems interminably nervous. Not his L.I.A. self. He
rummages through a shoulder bag.
SYKES (CONT'D)
I said I had some things for you.
Jared is just watching and waiting. Uncomfortable.
SYKES (CONT'D)
There's a few things about me you
don't know. And, well, reading the
article I figured it was about time
I made contact with you.
(beat)
Try and make some kind of peace.
Sykes finds what he wants to give, handing it over: The torn
out pages of Jared's Moleskin from all those years ago.
SYKES (CONT'D)
I kept everything. When I left --
Jared is trying to compute everything.
SYKES (CONT'D)
I couldn't recognize it at the time
but they really were... are very
good. The stories.
(beat)
You look well. And seem good. So --
(beat)
Listen, I don't know where to start
but I want you to know that I've
left the ministry and L.I.A. and
well, I guess you could say I've
turned my back on all of it.
110.
On Jared, absorbing
110A.
Sykes pushes a picture across the table - Jared picks it up.
A picture of - Sykes with his arm around a man.
Jared, feelings welling, gets up and heads for the restroom.
INT. RESTROOM - CONTINUOUS
Jared closes the door. And it is here, of all places, and in
this moment that Jared finally releases emotion. His shaking
hands wipe a tear and he tries to suppress it. But then -
It's too much and IT ALL COMES OUT.
INT. BROOKLYN CAFE - CONTINUOUS
Sykes waits patiently at the table. He peruses the menu. Then
his phone rings.
INT. RESTROOM - CONTINUOUS
Jared wipes his eyes and speaks on the phone.
JARED
It's Jared. Hey. I, um... no
offense, but could we try this some
other time.
INTERCUT WITH Sykes. Empathetic, he listens. Something ironic
in the image of him now facing an empty chair.
SYKES
I understand. Of course.
INT. BROOKLYN CAFE - CONTINUOUS
Sykes slowly gets up from the table and makes his way out.
INT. RESTROOM - CONTINUOUS
Jared has calmed now. He steadies his breathing, until he's
ALMOST calm again. As we see this, we hear --
OMMITTED
111.
OMMITTE
D
111A.
EXT. EAMONS FAMILY HOME - DAY
Jared's car pulls into the family driveway.
JARED O.S.
Where is he?
INT. EAMONS FAMILY KITCHEN - DAY
Jared stands in the kitchen table, on a mission. Fierce. (NB:
Nancy is slightly less ‘made-up' these days)
NANCY
Honey. It's Sunday. If it's urgent,
you'll have to go to the church.
JARED
I'll wait for him to get back.
NANCY
You haven't even seen it. Not with
all the fittings and filled with
people. He's so proud of it.
(beat)
Like he's proud of you.
JARED
Mom, he lost part of his
congregation on account of me.
NANCY
You've made that a bigger deal than
it ever was. Honey -
(beat)
What is the matter? Is everything -
JARED
Why aren't you there? At church.
NANCY
I don't always go. I do to support
your father sometimes. But, he
knows. I have my own religion.
(off Jared's expression)
Everyone else creates religions to
suit themselves, so I figured, why
couldn't I.
112.
INT. NANCY'S CAR - DAY
Nancy at the wheel. The sun sheds a warm glow on Nancy
112A.
NANCY O.S.
I love God and God loves me. And I
love my son.
Nancy turns to smile. Jared returns the look.
INT. EAMONS FAMILY KITCHEN - AS BEFORE - DAY
Jared listens to his mother's religion -
NANCY
And if He doesn't love my son too,
then I will stop loving Him.
Jared wipes a tear, trying not to be drawn into feeling -
NANCY (CONT'D)
For your father it is a little more
complicated than that.
EXT. ARKANSAS HIGHWAY - MOMENTS LATER
Nancy's car travels the highway. Her car peals left and we
continue up the highway.
NANCY
Your call. Church left. Or right if
you wanna go see a movie instead.
INT. HOPE SPRINGS FIRST BAPTIST MINISTRY - LATER
Jared enters from the podium side with his Mother as The
choir belts out the final bars of - ‘Someday'
As Jared sits, he catches eyes with Chloe who enters with
Wayne (a new couple). Chloe, surprised, offers a small smile.
Wayne, however, blanks him. Then the crowd settles: Marshall
is heading down the aisle, greeting folk when --
He sees Nancy and offers a smile, before spotting Jared. He
freezes a beat, but then covers and offers a mini salute.
Jared turns back, focusing his eyes to the front as --
113.
MARSHALL
The night before the crucifixion.
Jesus and the disciples are heading
down the Kidron Valley toward the
Garden of Gethsemane. Vines are
everywhere.
113A.
(MORE)
On Jared, aware that his presence has created a stir.
MARSHALL (CONT'D)
So Jesus pointed to the vines and
said these words: ‘Just like those
grapes depend on the vine, so
should you depend on me.'
On Jared focusing on his father, in his element. You can tell
he is charismatic as the congregation hang on his words.
MARSHALL (CONT'D)
‘Be fruitful' is the subject of
today's sermon.
EXT. CHURCH PARKING LOT - EARLY EVENING
Jared and Chloe walk in silence until they reach Nancy's car.
WOMAN O.S.
Goodbye, Jared.
Jared turns and waves to the WOMAN getting in her car.
CHLOE
See? Not everyone wants you to burn
in hell.
She hits him playfully. They hear a car horn BLAST. A large
pick-up cruises in the background: Wayne. As Jared and Chloe
hug goodbye, Wayne sounds the horn, sharply, one more time.
Jared watches Chloe totter to the car. Once she's in, the car
lurches and stops. Then Wayne gets out. He approaches Jared.
WAYNE
Yo. Chloe wanted me to apologize.
JARED
It's okay Wayne.
WAYNE
Just shake my hand.
(he does. Wayne grips)
Stay away from her. Yeah? We don't
wanna see you again around here. Or
you and me got trouble.
JARED
You're on my father's property.
114.
MARSHALL (CONT'D)
WAYNE
Your father agrees with me. You are
an abomination. Don't come near us
114A.
(MORE)
(heading for the car)
Or, I swear to God I'll get my M-4
and put one in your skull.
True hate right there. But Jared meets it with kindness.
JARED
You know Wayne. You or anyone
could'a been born just the same.
WAYNE
Then I'd shoot myself.
NANCY O.S.
We could arrange that Wayne. I'm
sure there's plenty of guns here.
Jared turns to see Nancy has arrived back at the car.
NANCY
Okay. Sorry. Sorry.
JARED
It's okay. Wayne was just leaving.
EXT. EAMONS FAMILY HOME - PORCH - NIGHT
The yard is dark and still in the approaching winter. Jared
sits alone, ruminating on all things when the door opens.
MARSHALL
I've got some work to do and then
I'm going to turn in.
JARED
Ministry looks good, Dad.
MARSHALL
Glad you could make it. Well, if I
don't see you early, I'll see you
in a few weeks at Christmas.
JARED
I won't be here for Christmas.
Marshall stops. Nods. It is what it is.
JARED (CONT'D)
Did you hear about the article in
the Times I've got coming out?
(hold - he does)
Do you know what it's about
115.
WAYNE (CONT'D)
(MORE)
MARSHALL
(he knows)
Listen I don't want to get into a
fight. Your mother told me about -
JARED
It's not a fight. I'm just doing
the right thing. Letting you know.
(beat)
I've written more, and the
publishers are talking about me
putting together a whole book. You
don't need to read any of it, but I
just needed you to know that it
might be out there. And --
MARSHALL
Yeah. Well, now I know.
Jared is arming up for a confrontation. Hard as it is.
JARED
But, it might be good for you to
read... because you also never
really asked what went on there.
(beat)
You never really knew the staff or -
And Marshall continues inside, leaving Jared unresolved.
INT. EAMONS FAMILY HOME KITCHEN - NIGHT
Marshall makes notes for a sermon, his bible beside him.
Suddenly, a newspaper placed down: Jared's article (A few in
fact). Nancy holds Marshall's look. She picks up the bible.
NANCY
I think you've read that one.
He goes to take her hand but she moves off. We see Jared in
the background, like he did the night Pastor Wilkes and Jim
helped determine his fate, peering through the door.
EXT. EAMONS FAMILY HOME - EARLY MORNING
Jared loads his car. He closes the trunk. He looks to the
house. His dad is not coming to say goodbye. He hugs his mom.
116.
JARED (CONT'D)
Jared is about to drive away. But his mom knocks on the
window and Marshall appears at the passenger window.
116A.
MARSHALL
You mind driving me to the
dealership? Got some stuff to
organize.
Marshall gets in and they pull away. Nancy waves good bye.
OMITTED
INT. JARED'S CAR - EARLY MORNING
Jared drives and looks across to - Marshall deep in thought,
his eyes trained to the front.
EXT. CAR DEALERSHIP - MORNING
Jared gets out of the car as his father moves toward the
entrance. His father turns --
MARSHALL
Come on in for a second.
INT. MARSHALL'S DEALERSHIP - MORNING
Marshall turns, looking around in the expansive showroom. He
seems confused. Agitated.
JARED
Is there anything you need help
with? Otherwise I should --
Jared turns hesitantly, to leave. But then -
MARSHALL
Hold on. This was going to be for
Christmas.
(he hands Jared keys)
It's an Explorer. Your mother said
you and your friends drive up --
JARED
Dad. I live in New York. I don't
need a car.
(beat)
I don't want to pretend anymore.
It's okay Dad. I'm okay without all
this.
117.
(MORE)
Unless we are going to speak to
each other properly. Like -
(beat
117A.
JARED (CONT'D)
(MORE)
Hold. Marshall breathes. He looks out over the dealership -
MARSHALL
This was all going to be yours you
know?
(beat)
Still will be. I meant, to run and
make a living from. But, I know you
got other fish to fry.
(beat)
I ran your grandfather's mill, like
he wanted, until I had the gall to
tell him I didn't want that.
He is still looking around, not making eye contact. Then --
MARSHALL (CONT'D)
I stayed up all night trying to
think of good reasons to convince
you to keep everything to
yourself... the book and whatnot...
but then I thought that would be
like your grandpa forcing me to run
the mill.
Jared listens.
MARSHALL (CONT'D)
I like to do what I want, so who am
I to get in anybody else's way?
He turns to Jared.
MARSHALL (CONT'D)
The truth is I do want you to do
well and have a good life. I know
we don't agree on a handful of
things. And, I realize by what's
happened, I've set myself up to
lose you. I had to ask myself and
God if I was ready for that.
(beat)
Your mother said a prayer that she
got comfort from. Whether it was
her that needed to change and not
you... My prayer didn't so much
give me comfort. I don't think I am
ready to lose you and so I wanted
to let you know -
118.
JARED (CONT'D)
I'm gay. I'm gay and I'm your son.
And neither of those things are
going to change.
(MORE)
MARSHALL (CONT'D)
-- that I am going to try. I'm
sorry it's not more, and I
understand if that is not good
enough for you. That's on me.
(beat)
Son, I tend to be more eloquent in
front of full congregation than
this. I guess, I prepare for that.
He takes a big breath in and out. Smiles ruefully.
MARSHALL (CONT'D)
‘I'm trying' is the subject of
today's sermon.
Marshall hangs his head. Jared steps forward and hugs him.
JARED
Mom is coming to New York for
Christmas. You are welcome to come
too. Have a think about it.
Hold wide as father and son embrace. Then Jared removes
himself and sets the keys down.
If It Be Your Will - by Leonard Cohen as sung by Antony and
the Johnsons starts and carries through --
INT. JARED'S CAR - DAY
Jared drives free and alone along a stretch of Arkansas
countryside. He cracks the window to let in the warm breeze.
And his hand goes out the window to dance in that breeze.
CUT TO BLACK: