No Parking

1
1. INT. SEDAN - SURFACE STREETS - NIGHT
The scene fades in from black to reveal the inside of a
sedan being driven by a PRETTY YOUNG WOMAN. Soft music is
playing in the background (slow and melancholy with lots of
space similar to Coffaro's theme at the beginning of Finding
Forrester). A news broadcast is playing on the radio in the
background. We see different close ups of the interior of
the vehicle.
[Shots: We see a close up of the radio (the radio volume
rises for a brief second and falls), a close up of flowers
in the passenger seat, a close up of the left side exterior
mirror, a close up of her earing, a close up of a trinket
hanging from the rear view mirror, a close up of her eyes
in the rear view mirror, a close of up her hand on the
steering wheel as she turns into the parking lot.]
[Inset Shot: A close up of the front left tire as it turns
into the parking lot.]
[Shots: A close up of the flowers as she grabs them from the
seat next to her.]
Between each shot there is a fade out to black with credits.
Opening Narration ensues during this sequence.
DANNY
"It happened in a red 1966 13 window
deluxe original German Volkswagen
bus....well, actually lots of things
happened in that bus. In fact, I
even have a sneaky suspicion that I
was conceived in the old bucket. But
that's all besides the point. The
point is that my dad died the same
day that my mother did. The only
difference between the two of them
was that he didn't stop breathing.
For him, life just stopped.
CUT TO:
2. EXT. HOSPITAL - NIGHT
[Establishing shot: Stationary camera low, follow feet, tilt
up to see hospital sign.]
The camera follows the womans feet as she steps out of the
vehicle and walks in through the doors of a hospital.
CUT TO:
2
3. INT. HOSPITAL LOBBY - NIGHT
Woman walks in through the lobby and heads towards the
corridor.
CUT TO:
4. INT. HOSPITAL CORRIDOR - NIGHT
Shots: Pick up womans feet low, over the shoulder from
behind while she walks, close up of the flowers in her hand,
walks into an unlit patients room]
The hospital has few people in it except for staff and a few
patients. Clips fade in and out focusing on different close
up shots of the woman and the surroundings. She remains
mysterious as the camera never gets a good look at her face.
DANNY
They say there are stages to grief.
If this is true then my dad got
stuck somewhere in the metaphorical
no mans land between anger and
depression. I kept hoping that he
would snap out of it but the years
began to go by and there was little
to no change. Then he retired and he
took a turn for the worse. I began
to lose hope, until one day, that
old 66 gave him a jump start on life
again."
The fade in fade out effect continues. The woman drops off
the flowers.
FADE TO:
5. INT. HOSPITAL - NURSES STATION - NIGHT
3 nurses in doctors jackets are talking amongst one another.
One is working while the other two are chatting.
NURSE 1
Whooo girl, look at the time.
Pane to clock on the wall it reads 7:57pm
NURSE 1
I am almost outa here, and look out
honey, cuz I miss my man.
FADE TO:
6. INT. HOSPITAL CORRIDOR - NIGHT
3
[Shots: Low shots of feet, hands no longer hold flowers,
walks past doorway]
The woman is walking back down the hall back towards her
car. She passes a hallway that leads to a waiting room with
a man sitting in a chair holding his head in his hands. She
walks past the hallway, stops and walks back peering in at
the man for a second.
FADE TO:
7. INT. LIVING ROOM - MID MORNING
This is Pauls living room. It is dark and messy, cluttered
from months of neglect. The curtains are closed. Empty beer
and liquor bottles, are strewn haphazardly around the easy
chair where he sits.
A lone figure, Paul, sits in his well used easy chair. He is
in his late 50's, slightly balding with graying hair. A lit
cigarette is slowly burning out in his left hand. The ash
tray if overflowing with old cigarette butts. The old
television set is turned on and gives off a warm glow our
character does not notice it.
The phone rings and somewhat startles Paul and brings him
out of his stupor. The phone is in the for-ground of the
shot and is blurry. Pauls face is in focus and we see him
staring at the phone debating whether or not to answer it.
The camera angle changes to focus on the phone. Paul reaches
for it and just as he is about to pick it up, his hand
hesitates and then passes over to rest on a half empty
liquor bottle. He takes a drink and stares at the phone as
the caller is relegated to the answering machine.
PAUL
(Answeringin Machine talking)
Hi, this is Paul. I am not in but
leave me a message and I will get
back to you as soon as I can.
DANNY
Dad? Dad hello? I know your there.
Why don't you pick up?.... Alright,
well I just wanted to know how you
are doing. Your grandaughter is
going to be having her birthday soon
and we would really like to see you
for the party. I'm getting a bit
worried about you. I don't like the
idea of you being cooped up in that
dark house all the time. You really
should get out and do something.
4
Well...I wish you would pick up the
phone. Nancy and Abbey both send
their love. I love you too. Call me
back.
Danny hangs up and the answering machine beeps. Paul is left
staring at the phone. He tries to take another puff on his
cigarette but realizes that it has gone out. He takes the
cigarette out of his mouth, looks at it for a second and the
places it in the ash tray along with all the rest.
Paul is left looking at an old photograph of a woman sitting
in the passenger seat of a red VW bus.
FADE TO:
8. INT. VW BUS - DREAM SEQUENCE - DAY
Pual is sitting in the passenger seat of bus and a woman is
driving. The camera is a first person view of what Paul
sees. It is the same woman who was in the picture. She is
relaxed and is noticeably happy.
Paul is having a dream but that fact is not readily
apparent. The lady driving is his dead wife, Mary.
CATHERINE
I always loved the fall colors. They
remind me of when we first met. Do
you remember that day? The leaves
were so brilliant that year. I don't
know if I would have made it through
that first year of teaching if it
was not for you. So much has changed
since then. I know life has been
hard for you. I want you to do
something for me. I want you to let
me go. You did nothing wrong! It was
not your fault. You need to move on
Paul. Promise me...
As she finishes, she is looking Paul square in the face. Out
of nowhere, a semi appears and is headed straight toward the
bus coming from the drivers side behind Mary. The semi honks
its horn frantically.
CUT TO:
9. INT. BED ROOM - NIGHT
Paul sits up quickly in a sweat with a shocked expression on
his face and looks around frantically. He calms down, rubs
his hand on his head and then falls back on his pillow
realizing that it was a dream and begins to cry.
5
[Shot: Slowly focuses in on a picture of Mary on the night
stand.]
FADE TO:
10. INT. GARAGE - DAY
From a black screen we can hear someone fidgeting with a
lock. Suddenly light begins to appear as a flat swing style
garage door opens to reveal a very cluttered, very full,
very dusty garage.
Paul is standing outside the garage looking at all the stuff
that has not seen the light of day for some time. He is
holding a mug of coffee in his right hand.
As he surveys the scene, his eyes scan over all the old
family stuff and finally rests on a large object that is
covered with a canvas tarp. He sets down his coffee, moves a
few things and pulls off the tarp which sends up a cloud of
dust.
Coughing and waving away the dust, we begin to see what
looks to be a very well used, late 60's early 70's VW bus.
It's paint is old and warn and the tires are flat.
Picking up his coffee he takes a drink as if thinking the
situation through.
PAUL
This is going to take some work.
CUT TO:
11. INT. LIVING ROOM - EARLY EVENING
Short shot of the living room looking towards the window. It
is empty and there is a soft yellow light coming in from
what is later found out to be the garage. A staticky radio
station is playing in the distance.
CUT TO:
12. EXT. GARAGE - EARLY EVENING
Starts off with a wide shot of the garage from the outside.
Music is playing from a radio in the garage.
The garage has been cleaned up a bit. Things have been moved
around to allow access to the bus.
Paul is working on the bus trying to get it running. He
wipes his hands from working under the engine compartment
and walks to the front of the bus to try and start it. The
6
bus turns over a few times but wont start.
After a few efforts, Paul throws his rag on the ground,
gives up, and turns the lights off.
CUT TO:
13. INT. LIVING ROOM - MID MORNING
Paul has just finished brewing a cup of coffee in his living
room the next day looking haggard and tired. He takes a
drink while walking into his living room.
The television is on in the background and Good Day
Sacramento is on. Mark S. Allen is promoting the Bugorama
event that is being held that day in Sacramento.
Mark mentions Bugoramas swap meet and how you can find any
part you might need to get your old VW running.
[Inset shot: television screen with Mark S. Allen]
Paul is now paying attention to the television. He takes
another drink of his coffee.
CUT TO:
14. EXT. BUGORAMA SACRAMENTO - MID DAY
Paul is walking through the crowds and seems a bit out of
sorts. He has dark sunglasses on and a ball cap and looks
like he is trying to not be noticed.
He happens upon a table where a bunch of various VW parts
are strewn about haphazardly. There is a young guy sitting
behind the table who is wearing a sideways ball cap and
seems to be in good spirits. He has many tattoos on his
arms. This is Jason.
Paul begins to fumble with some of the parts looking at them
as if he is pretending to be comfortable. Jason notices
Paul.
2 dollars.
Huh?
JASON
PAUL
JASON
That part is two dollars.
PAUL
Oh, thanks. It's not really what I'm
7
looking for.
JASON
Well what are you looking for. I
probably have two of it lying around
somewhere, whatever IT is.
PAUL
I'm actually not really sure what I
need. My bus wont idle. Just dies
when I let off the gas.
JASON
Oh no kidding. We'll it could be a
few things. The carb might need to
be re-jetted, or your idle might
need to be increased, or a couple of
other random things. Is your bus
here?
PAUL
No, its at home.
JASON
It's hard to tell without seeing it.
PAUL
You work much on old VW's.
JASON
Do I? That's all I do.
PAUL
Where's your shop.
JASON
Well, I'm working on that. Hope to
have a place soon. Right now I just
work out of my garage and make house
calls.
PAUL
House calls huh? How much an hour?
$60
$60!?
JASON
PAUL
JASON
I know it seems like a lot but work
fast and I have all my own tools.
That's as low as I can go. It is
8
what it is.
PAUL
Oh, I wasn't complaining. I thought
you would charge more actually. You
ever find yourself out in Roseville.
JASON
Yah, a bunch!
PAUL
You think you could help me get my
bus running?.. I would pay you of
course.
JASON
Of course bro. Like I said, its what
I do.
PAUL
Good, well ah, you got a number
where I can reach you at.
JASON
Sure thing. Here's my card. When
would you like me to come over?
PAUL
Well, when can you?
JASON
Tomorrow afternoon if you like? I'll
be busy up until 2 or so but I'm
free after that.
PAUL
That works for me. You got a pen and
some paper I can give you my address
with?
JASON
I sure do. Let me grab it. We'll get
that bus running in no time!
Jason reaches over and grabs a piece of paper and hands it
to Paul. Paul begins to write on the paper.
CUT TO:
15. EXT. IN FRONT YARD AND GARAGE - DAY
[Shots: Close up of Jason driving up in his 56 bug. Paul
steps out of the garage and shakes Jasons hand.]
9
PAUL
(Reaching out to shake hands)
Jason right?
JASON
You know it.
PAUL
You must be a pretty decent mechanic
to keep an old piece of junk like
that on the road.
(Nods toward the bus)
JASON
Actually, believe it or not, that
old rust bucket is worth more than 6
grand as it sits. I got her running
solid and left everything else in
the condition that I found it.
PAUL
So your not going to repaint it or
anything?
JASON
Nah Bro, I wanted to go for a total
hoodride look you know.
Hoodride?
PAUL
JASON
Yah, it's pretty simple. You take an
old junky aircooled VW, the more
rust the better, you get her running
mechanically but leave her looking
like she's gonna fall apart. You
also usually drop her till shes
scrape'n pavement too.
PAUL
(slightly shakes head still
not quite understanding)
Hmmmm. Well it looks like I've got
me the beginnings of one of these
hoodrides in my driveway.
JASON
I can see that right there. Mind if
I take a peek?
PAUL
Yah, go for it. I don't want to
10
lower, uh, I mean drop it or
anything like that. Just get her
running.
JASON
Yah, no worries. I read ya.
Paul and Jason walk to side yard.
CUT TO:
16. EXT. PAULS HOUSE - SIDE YARD - DAY
Jason walks up to the bus and begins to do a quick visual
check on different parts of the bus, nodding in approval at
some points and showing concern at some others.
JASON
Try to start her up for me would ya?
PAUL
Sure. I've tried a few times already
but it wont turn over.
Hmmmm?
JASON
Jason starts to fidget in the engine compartment.
JASON
Try and start her one more time
would ya?
(Nothing happens)
PAUL
(Exiting the bus)
Well, what do you think?
JASON
Hard to say. Your electrical seems
to be working. My guess is that your
engine has seized up. Water may have
gotten in through the seals and
rusted it all up. See that rust
right there. Bad sign.
PAUL
So what are my options
Well.
JASON
(staring at the engine)
We can do a full rebuild on the
11
motor. They usually are salvageable
but your lookin at at least 2 weeks
since I do all my engine rebuilds in
the evenings.
PAUL
Two weeks huh.
JASON
Yah, two weeks. But heres the good
news. I just got my hands on a bug
that's running this same engine.
It's missing a few of the nice
extras that you've got like the
alternator and such but it runs like
a top. I was planning on just
selling it but I'm in no rush. If
your willing to trade me motors, I
will swap you for the same price
that I would do an engine rebuild
for. We could have her running
tomorrow if everything goes well.
How much?
PAUL
JASON
(Doing some math in his head)
$350 for the engine, another 200 to
get her dialed in and running like a
top.
PAUL
Five hundred and fifty dollars?!?!
JASON
(a bit defensive)
Hey man. Thats not a bad price. I
only charge 40 bucks an hour. Go
anywhere else and...
PAUL
(Cutting him off)
No, I wasn't mad about the price. I
was expecting, well, a good deal
more than 5 hundred and change for
all that not including a new engine.
I cant get even get my window fixed
on my SUV for that much.
JASON
(His happy self again)
Thats the beauty of air-cooled
12
v-dubs baby. Especially if you are
driving a 65 to a 72. Parts are dirt
cheep and mechanically they are very
simple. The only reason that people
don't drive them more is because
they take more routine maintenance.
PAUL
Yah, well I already know
drove this car for years
pretty good at adjusting
and other regular things
that. I
so I got
the valves
like that.
JASON
Good deal bro. I don't doubt you can
handle it yourself. I can go drop
the engine out of my other bug in no
time and be back here with all the
necessary parts by say early
afternoon?
PAUL
Thats fine by me. Mind if I work
with you on the bus. I don't really
have much else to do right now.
JASON
Of course not! Ill meet you back
hear around 1. We can get started
then.
PAUL
Ok. Sounds good. Ill be here.
CUT TO:
17. EXT. SIDE YARD - DAY
Paul is rummaging through all the old stuff in his garage
getting ready to work on the bus when Jason gets back.
[Inset Shot: The camera briefly focuses in on an old
photograph on the wall of Paul in the Bus when he was
younger with another boy his age. They are having a good
time.]
Paul moves a few things from besides his work bench which
reveals an old dusty cardboard tub. He picks up the tube,
pulls the top off of it, and pulls out a large rolled up
piece of paper.
The camera shows a view from the table top as Paul unrolls
the paper. You can see his eyes light up with a bit of
excitement as he realizes what he has just found. You don't
13
see what is written on the paper.
Paul rolls it back up quickly puts it back in the tube.
CUT TO:
18. EXT. SIDE YARD - DAY
The rear end of the bus is now jacked up above the ground
and both Jason and Paul's heads are under the engine
compartment. They are trying to get a piece to come loose
which is presenting a bit more trouble than normal.
JASON
Ok, pull, no no no! Wrong way.
(Pointing)
That way. On the count of three.
One, two, THREE!
Both pull at the same time grunting a bit and the bolt
finally comes loose.
JASON
That was a tight one.
(Both roll out from underneath
the bus)
How long has she been sitting?
PAUL
I'm not sure. 13, 14 years maybe.
JASON
(Wiping hands off with a rag)
So why did you stop driving her.
PAUL
Well, I got this bus as a high
school graduation present from my
parents back in 1970. I took pretty
good care of it over the years but
it finally broke down back sometime
around 95. My kids were at an age
where the bus was no longer cool and
they begged me to get a new car so
instead of fixing it up I threw a
tarp over it, pushed it into the
back yard, and bought my SUV. I
always meant to fix it up again but
never really took the time. About 7
or 8 years ago I noticed that rust
was showing up in spots so I made
this spot in the garage and here its
sat ever since.
14
JASON
And it's a good thing you did put it
in here too. She probably would have
needed an entire new pan if you
hadn't. So why fix her up now if you
don't mind me asking?
PAUL
(Drinks a beer, thinking)
I guess because I've got nothin else
better to do with my time.
JASON
Nothing?
(Whistles)
Thats sad bro. A man should not
waste his life away like that.
(realizes that what he just
said might be offensive and
tries to change the subject)
So what are you going to do after we
get her all dialed in?
PAUL
I'm not quite sure yet.
(pauses)
Let me ask you a question. How far
do you think this bus will be able
to go after your done working on it?
JASON
That really only depends on you. I
know plenty of people who have
driven type 1's and 2's all over the
country in the last few years.
PAUL
And they don't break down?
JASON
Sure they do. Thats part of the fun.
Let me ask you something? Would you
rather have an adventure, or a
pleasure cruise?
PAUL
I guess, at this point I would
rather have an adventure.
JASON
Good! Then why would you take a car
that is guaranteed to make the
entire trip with no problems? Wheres
the adventure in that? There's this
15
group called the League of
Adventurists out of England. All
they do is take old beat up cars and
try to drive them thousands, and
even tens of thousands, of miles
through jungles, mountains and
deserts. The goal is not to make it
to the destination. The goal is to
have an adventure. Most of them
never finish. One of their routes
goes through most of South America
and every team is required to use an
old beat up VW Beatle.
PAUL
(Thoughtfully)
Interesting. So these people who
drive across the states. What do
they do if they break down?
JASON
Its really a matter of when. Not if.
And they mostly figure out how to
fix it if they can. If they can't.
Well, then they figure out another
way to get home. Also part of the
adventure. So, back to my last
question. What are you going to do
after we get her running?
CUT TO:
19. INT. LIVING ROOM - NIGHT
Paul is looking over a map of California. The mysterious
paper is next to him, still not visible.
Paul pours himself a burbon and takes a drink as he
scrutinizes the map.
[Inset Shot: close look at map]
[Shot: The camera shifts back to Paul as he leans back in
his chair, puts both his hands on his head as if in
deliberation.]
CUT TO:
20. INT. LIVING ROOM - MORNING
Paul has fallen asleep on the couch. A car drives up with a
honk that wakes Paul up. He looks out the window to see
Jason getting his tools out.
16
[Inset Shot: looking out the window]
CUT TO:
21. EXT. DRIVEWAY IN FRONT OF HOUSE - MORNING
Paul exits to meet Jason, looking bleary eyed, still wearing
yesterdays clothes.
JASON
Mornin sunshine! You look like you
didn't sleep a wink.
PAUL
I slept, but not very well.
You
not
and
her
JASON
don't need to help me if you are
feeling good. I know what to do
I am pretty sure I can finish
up today.
PAUL
No, I would rather be out here
working with you than sitting in the
house.
(Looks up and squints at the
sun)
JASON
Good! Thats the spirit. You got any
coffee?
PAUL
I'll start brewing some right now.
JASON
Great! Ill meet you in the garage in
a few then.
CUT TO:
22. EXT. SIDE YARD - DAY
Paul and Jason have got the new engine in the bus and are
hooking pieces back up.
[Insert shot: An empty pot of coffee and one coffee mug sits
on the ground empty denoting the passing of time.]
PAUL
It's pretty amazing how simple these
cars are when you take a closer look
17
at them.
JASON
Oh most definitely. They really are
the "peoples car." Thats what
Volkswagen stands for. The old type
1's and 2's were made to be
inexpensive, reliable, get great gas
mileage, as well as be easy and cost
effective to repair. There really
are no other cars like them in the
world. Why do you think they still
make these things in South America
with hardly any design changes?
PAUL
I did not know they still made them.
JASON
You bet they do. What other car can
you swap an engine in with minimal
equipment in only a few hours?
PAUL
I cant think of any?
JASON
Thats because there are none. I
guarantee you that with a little bit
of TLC every once in a while, this
bus will be driving long after your
SUV has gone the way of the junk
yard.
PAUL
I believe that. That old piece has
been nothing but a headache and a
money pit for the past 5 years.
JASON
They certainly don't make em like
they used to, thats for sure.
PAUL
Have you ever driven across the
country in your bug?
JASON
Yah, well, not that bug. I've
traveled all over the states a
couple times with friends or by
myself. Some of the best times of my
life. I am planning on doing that
trip through South America next year
18
that I mentioned yesterday.
PAUL
Yah, but you are a mechanic and know
how to fix these things in a pinch.
If something serious happened, I
would not really know what to do.
JASON
That just your boring "I want to be
comfortable" side talking. Besides,
the first time that I took my bus
across the states, I probably did
not even know as much as you do
about how it works. I just decided
to do it.
PAUL
Is that so.
(More of a statement than a
question)
JASON
I'm not kidding you. I broke down 3
times on that trip too. My buddy and
I didn't have a clue how to get that
old bus running. The cool thing is
that we met the greatest and most
helpful people ever. We never were
broken down for more than a few
hours before some good samaritan
stopped to help. I still talk to a
few of those people to this day.
Never would have met them had we not
broken down.
PAUL
Thats pretty amazing.
JASON
Oh, you bet it is! The old
air-cooled community is a different
breed all together. Very helpful
people they are. It was folks like
them that got me into working on
these old cars. Come to think of it,
I probably would not even be a VW
mechanic had it not been for that
first trip. I'd probably be pushing
papers or some other dead end job
where I want to gouge my eyes out
with a spoon.
19
PAUL
Your an interesting guy Jason. I'm
glad we met.
JASON
Me too boss. Me too. Well how about
that. I think we're ready to fire
her up. You wanna do the honors?
PAUL
Sure. Just let me get the keys.
Paul grabs the keys from off of the tool bench and sits down
in the front seat. He puts the keys in the ignition,
squeezes his eyes shut and turns the key. The engine turns
over a few times and then roars to life.
Inset shot: Close up grabbing keys, key in ignition, turning
the key, close up of eyes, reaction to turning over.
Jason gives off a whoop and Paul opens his eyes with a
slight smile on his face. It is apparent that this is the
first time that he has smiled in a while.
JASON
(Yelling)
She sounds good bro! I think she's
ready for her first test drive.
PAUL
Perfect. You want to take her?
JASON
Me!? No way. She's your baby. You
should be the one to take her. Ill
ride shotty.
PAUL
Alright, lets get it off of the
stands.
JASON
Already ahead of you.
CUT TO:
23. EXT. GARAGE - SURFACE STREETS - EVENING
[Shots: Close up shot showing the doors shut. Close up shot
showing the seat belts clicking. Close up shot showing Paul
place his hand on the key. Shot moves to Jason.]
JASON
(Looking at Paul)
20
You ready.
Paul is looking straight forward with one hand on the wheel.
He nods his head.
PAUL
Yah. I'm ready.
Paul turns the ignition and the car roars to life. He pulls
the car out of the driveway with a bit of a jerk, getting
used to driving the old stick again.
Paul is visibly
driving the bus
We see his left
further outside
tense but begins to relax as the memory of
begins to come back to his hands and feet.
elbow slowly begin to rest further and
of his window.
Scene ends with a crane shot slowly rising showing the bus
driving off down the street with the sun setting in the
distance. Jason gives a triumphant shout while raising his
hand straight up in a fist out of the passenger window.
CUT TO:
24. EXT. DRIVEWAY IN FRONT OF HOUSE, EVENING
Paul and Jason are standing next to Jasons bug while Jason
puts some of his tools away.
JASON
(Stoked)
Man, you are roll'n for sure! She
purrs like a kitten. Your ready for
that big roadie you've been talkin
about!
PAUL
(Confused)
I never said I was going on a road
trip!
JASON
(Smiling)
Oh yes you did. You may not have
said those specific words but you
haven't stopped talking about it
since yesterday afternoon. It's
alright, you don't have to tell me
where you are going.
Paul reaches into his back pocket and grabs his wallet.
PAUL
Well, I'm not going anywhere. How
21
much do I owe you?
JASON
Say what you like. You've got the
bug. No pun intended. And you owe me
$550 like we talked about yesterday.
PAUL
You take cash?
JASON
You bet I do.
Paul starts pulling bills out of his wallet. When he is done
counting he hands the bills to Jason who does not even count
them and stuffs them nonchalantly into his pocket.
JASON
Thanks a lot. You've got a great bus
right there. Don't let her just sit
there.
Jason shakes Pauls hands and moves towards his bug and stops
suddenly remembering something.
JASON
Oh yah, I almost forgot. I made you
something last night.
PAUL
You made ME something?
Jason pulls out what looks like a rectangular metal sign out
of his bug.
JASON
Think nothing of it. I've had this
sitting in my garage for years
collecting dust. I noticed that you
were missing a window visor on your
drivers side so I threw this
together with some extra parts that
I had. Its the right size and all. I
don't know why it had not occurred
to me sooner.
Jason hands the gift to Paul who takes a minute to look at
it. The camera angle first shows Paul as he is reading what
is written on the sign then switches angles to show the
audience. In his hands is an old black and white sign that
says "NO PARKING" in big letters on it. The left hand corner
has a small arm that has been attached to it so that I could
be mounted just like a regular window visor would be.
22
PAUL
(Still a bit confused)
Uh, thanks. This is pretty cool.
JASON
Like I said. Think nothing of it.
Jason now gets into his bug and begins to start it up. Paul
is still looking at the makeshift window visor in his hands.
Jason sticks his head out of his window.
JASON
Keep it real brotha! Call me if you
need me. You know my numbah! And let
me know how your roadie goes when
you get back!
That last sentence is yelled out the window as Jason drives
off so as to be able to have the last word. Paul is left
holding the gift in both hands.
PAUL
(Under his breath)
Goofy kid. Nice though.
Paul walks back towards the garage.
FADE TO:
25. INT. LIVING ROOM - MORNING
Paul is sitting back in his easy chare. The window shades
are pulled open and the sunlight is coming in. He is
noticeably ill at ease. He is keeps pulling away, looking at
the bus that is parked out front. He looks back at the
cigarillos and then at the "NO PARKING" sign is sitting on
the coffee table not far from him and he keeps looking at
it.
DANNY
(Narration)
My Dad has always been a stubborn
individual. He never was one to give
in and the more he was told that he
should do something, the more
resolved he would be not to do that
very thing. I have no idea what that
mechanic said to him but somehow, he
struck a chord and got through my
dads defenses.
Paul stops writing and looks out at the bus one last time
and turns to look at the phone. He reaches out slowly, picks
it up, visibly reluctant, and dials a number.
23
PAUL
Hi Ray. It's me. You busy today?....
Ok, well you mind if I drop by for a
bit? I've got an idea that I want to
run past you.
CUT TO:
26. EXT. DRIVEWAY IN FRONT OF HOUSE - AFTERNOON
[Establishing Shot: This is a wide shot showing the back of
the bus. The rear hatch is open and it is full of gear.]
Its a sunny summer afternoon.
Paul closes and locks his front door. He walks down to the
bus with the "NO PARKING" sign and a screw driver in his
hands and closes the rear hatch on his way to the drivers
side door.
[Inset Shot: The camera shows a close up of Paul screwing
the NO PARKING sign into the roof on the passenger side and
testing it out.]
[Inset Shot: The camera shows close ups of Paul putting the
screw driver in the glove box, closing his door, and
adjusting his rear view mirror.]
He puts his hand on the ignition.
PAUL
Here goes nothing
Gives the key a turn and the car turns over a few times and
the camera shows a close up of the exhaust as it fires to
life. Paul puts the van in gear and pulls out onto the
street.
27. INT. BUS - AFTERNOON
Paul is driving along surface streets. A song begins to play
in the background. This song is happy and a bit melodic.Paul
is in a better mood than normal and is enjoying the weather.
The camera focuses in on a young boy walking down the street
with his parents. He gets a big smile on his face and starts
to jump up and down and point when he sees the bus drive.
A bug drives by in the opposite lane and gives Paul a honk
and a peace sign. Paul waves back, almost as an
afterthought, not really knowing how to react.
Theres some thugs hanging out in front of their house and
the all throw up their hands over there mouths point at the
24
bus and yell out to Paul and he drives by.
THUG
Man that bus is dope!!!
Music fades as Paul pulls up to a mid size suburban house.
It looks like it is about 15 or 20 years old and is not much
to look at on the outside as if the person who takes care of
it keeps it from deteriorating but doesn't know how to or
care to add any character to it.
This is Ray's house.
CUT TO:
28. EXT. RAYS FRONT YARD - AFTERNOON
Paul walks up and knocks on the door with a distinctive rap
that sounds as if he has knocked on door that way his entire
life.
The door opens to reveal Ray, a tall, well built, and
handsome looking guy who is near the same age as Paul.
The house is noticeably unkempt and dark as well. Similar to
that of Paul's.
Ray brushes his fingers through his graying hair in a
resigned manner.
RAY
Hey, c'mon in.
CUT TO:
29. INT. RAY'S HOUSE - AFTERNOON
Paul walks in to Ray's house.
PAUL
Hey Ray. It's good to see you.
RAY
You too. The place is a mess.
not really done much cleaning
Cindy and the kids left. It's
me and the dog and neither of
care all that much.
I have
since
just
us
PAUL
I know. Don't worry about it. So how
have you been lately.
Ray walks to the refrigerator.
25
RAY
Ahhh, things have been shitty Paul.
Just plain shitty.
Yah?
PAUL
Ray opens the refrigerator and grabs a couple of beers.
RAY
(Sighs)
I just filed bankruptcy papers on
the business last week. I tried my
best to keep doors open but there's
just no jobs out there right now.
You want a beer?
PAUL
Uh, sure. Thanks. I'm sorry Ray.
You've had that business for a long
time.
RAY
Going on 20 years.
Ray takes a drink.
PAUL
(Shaking head)
Wow. Has it really been that long?
RAY
(staring blankly)
It has, but it sure don't feel like
it.
Ray suddenly perks up as if waking back up as if a thought
jolted him out of his momentary daze.
RAY
So what did you come by for anyway?
I know you didn't come over just to
hear me bitch and moan. What's this
"idea" that you were talking about.
PAUL
Before I tell you, why don't you
come outside for a second and check
out my ride.
RAY
New ride? Did the old SUV finally
kick the bucket?
26
PAUL
I didn't say it was new, and I still
got the SUV.
RAY
Ok then. Lets go see this "ride" of
yours.
CUT TO:
30. EXT. RAY'S FRONT YARD - EVENING
Both Paul and Ray walk out into the front yard.
RAY
(Surprised)
You have got to be kidding me. You
really got that old hunk o junk
running?!
PAUL
Sure did. You want to take her for a
spin around the block?
RAY
(Distracted)
Whats all that stuff in the back?
Paul waves his question off.
PAUL
Never mind that. C'mon. Take it for
a spin.
Paul throws the keys to Ray who catches them and looks at
them for a moment, taking his mind off of all the gear in
the back.
RAY
Oh, alright. Can the dog come? I
don't really want to have to tie him
up.
Sure.
PAUL
Paul opens the sliding door and lets Cody in as Ray walks to
the drivers side door and gets in. Paul closes the sliding
door and gets in the passenger seat.
CUT TO:
31. INT. VW BUS - ROSEVILLE STREETS - EVENING
27
Ray is in the drivers seat re-familiarizing himself with the
old bus. He wiggles the shifter, grips the steering wheel
etc. Paul is sitting in the passenger seat.
RAY
I had forgotten how comfortable
these seats actually are.
PAUL
I thought the same thing while
driving over here.
Ray turns the key and starts the motor. Puts the vehicle in
gear and slowly pulls forward.
RAY
(Slightly smiling)
What is it about these things that
just make you want to smile huh?
PAUL
I'm not sure. I tell you, working on
this old bus has been great. I have
not had this much fun since...
Paul trails off for a second and then quickly changes
subject.
PAUL
Anyway, remember that road trip we
had planned on doing the summer
after our senior year in high
school?
Yah?
RAY
PAUL
Well I was thinking, why don't we...
Ray cuts Paul off:
RAY
No Paul! I know what your thinking
and the answer is NO!
Paul is a bit taken aback by the sudden rejection.
Why not!?
PAUL
RAY
Because, I just cant take that kinda
time off. What will it be? Three,
28
four weeks?
PAUL
Two at the most.
RAY
That's still too long.
PAUL
(Defensive)
And why are you worried about taking
time off? From the looks of it
you've got nothing but time what
with you loosing your business and
all...
Paul's sentence trails off. He looks away out the passenger
side window realizing what he just said wishing he could
take it back. Ray remains silent just staring ahead. A few
tense moments pass.
PAUL
(Sighing)
I'm sorry Ray. What I said right
there, that was not right.
Ray continues to look straight forward. Paul looks up at him
to gauge if anything is getting through. He looks back off
into the distance.
PAUL
I've just been sitting on my ass
doing nothing for so damn long that
I actually got kinda excited when I
started working on this old bus.
Ray begins to loosen up a bit.
PAUL
Now that I've got it running, I've
found that I can't stand the thought
of going back and wasting away in
that prison of a house.
Ray begins to nod. Acknowledging that he is listening.
PAUL
I need to get out and do something
new but I don't think I can do it
alone right now. I don't really know
anyone else anymore except for you.
I thought you might need some
convincing but I did not think you
would shut me down so quick. I just
29
over reacted. I'm really sorry that
you lost your business. You don't
have to do the trip if you don't
want to.
Ray has softened up at this point but puts on a stern face.
RAY
How long have we been friends?
PAUL
(Confused)
Ahh, since..since freshman year in
high school.
RAY
If I do this trip with you Paul,
there is ONE condition.
Paul looks at Ray with hopeful surprise.
PAUL
Yah. You got it! What ever you want.
RAY
I get to be big spoon.
Paul starts laughing and Rays tough guy front quickly bursts
into laughter too.
PAUL
Lets go back to the house. I've got
one last thing to show you.
CUT TO:
32. INT. RAYS KITCHEN TABLE - EVENING
The scene starts abruptly with Paul unfolding the paper that
he found in the tube in his garage a few days earlier.
We see from the tables perspective looking up at Paul and
Ray.
PAUL
I found this while rummaging through
the garage last week. It's what gave
me the idea to go on the trip.
Ray's eyes get a bit wide.
RAY
Man you are pulling history out of a
hat today aren't you? I had all but
30
forgotten this.
The shot finally moves to show the mysterious piece of
paper. Sitting on the table is an old, brownish piece of
paper that is cracking on the edges. It is about 2 feet wide
by 2 feet tall. On it is a hand drawn map of California with
a red line weaving in and out of the states edges. Every so
often their was a line that would shoot out from the Red
line with some text denoting a certain place of interest
along the route.
PAUL
I thought I had lost it years ago.
It was a fluke that I even found it.
Shot angle shifts back to Ray's face. He is still going over
the piece of paper with interest.
RAY
This is great. Remember all research
we did?
PAUL
It took weeks of interrogating
everyone we knew as to what places
we should visit.
RAY
Gosh life was so much more simple
then.
PAUL
Yah. Seems just like yesterday too
doesn't it?
Ray laughs a bit to himself.
RAY
Yah, sure does.
Paul looking at Ray.
PAUL
So what do you think?
RAY
I still can't believe that you have
this old map. When do you want to
leave.
PAUL
Tomorrow morning bright and early.
Ray is still staring at the map.
31
RAY
Ok. Where's our first stop gonna be.
Paul points at a spot on the map.
PAUL
How about the same as the one we
decided on way back in High school?
Truckee.
RAY
(Thoughtful)
Hmmm. Sounds good. It looks like
I've got some packing to do.
Scene ends showing a close up of the map on a destination
with a number 1 circled next to it. It's Truckee California.
FADE TO:
33. EXT. BUS - MID MORNING
The scene fades in to a wide shot showing the bus parked in
the street in front of Ray's house.
CUT TO:
34. INT. RAYS HOUSE - LATE MORNING
Shot starts off showing a large Analog clock on the wall
showing that its between 11:30 and Noon.
The shot starts off with a duffle bag out of focus in the
foreground and Paul in focus in the background. Insert shots
of Pauls feet impatiently tapping. He checks his watch. We
see Ray's hands throw some more stuff in the duffle bag and
walks back out of the room. Paul looks up a bit frustrated.
PAUL
(To himself)
Bright and early... Bright and
early.
Ray walks back into the room.
RAY
I'm just about ready. You want to go
warm the bus up?
PAUL
It's about time! We're going on 12
oclock here.
RAY
32
Yah yah yah. Just go warm up the car
you hoar. And take the dog with you.
CUT TO:
35. INT. BUS - NOON
Paul is sitting in the bus and is clearly showing signs of
impatience.
He honks the horn twice.
PAUL
(Yelling)
C'mon Ray! We've already wasted half
the day!
RAY
(Muffled)
Hold your horses will ya!
Paul shakes his head. He is about to honk the horn again
when Ray emerges from the house, locking the door.
RAY
Ok, ok! I'm coming. Cool your jets!
Ray hands a bag of something to Paul who drops it carelessly
in the back.
RAY
Careful with that. That's important
stuff right there.
Ray places the rest of his stuff in the back and steps up
into the front seat and closes the door.
PAUL
I swear your worse than a woman when
it comes to packing.
RAY
You know what!... I'm gonna think of
a really great comeback later.
Ray buckles up. Paul starts the bus rolling his eyes.
PAUL
Sure you will sweetie.
Ray points his finger at Paul.
Watch it!!
RAY
33
Both laugh at each other and Paul pulls out and onto the
street.
PAUL
Ok. For the first order of business,
I need some Coffee bad. Where's your
local Starbucks?
RAY
Man let me show you a little secret
us construction workers discovered.
This coffee's gonna blow your mind.
CUT TO:
36. INT. BUS - AFTERNOON
The scene starts with a tight shot on Pauls confused face.
PAUL
McDonalds!?!?! Your taking me to get
coffee at McDonalds!
RAY
Cool it man. Just give it a try. If
you don't like it then we can go to
Starbucks. Pull in through the drive
through.
CUT TO:
37. EXT. BUS - MCDONALDS DRIVE THROUGH - AFTERNOON
The bus is sitting at the spot where you take your order.
Paul is ordering. The shot is from the outside of the front
of the buss looking in. A young lady takes their order on
the intercom. She is happy and bubbly.
WAITRESS
Good afternoon and welcome to
McDonalds. May I take your order?
PAUL
Ahh, Hi. Just one sec.
Paul turns to Ray.
PAUL
So what should I order?
RAY
Hmmmm, get two Lattes.
PAUL
34
Lattes? I never pegged you as a
Latte drinker.
RAY
Is it a crime to like good coffee?
PAUL
No, well this is McDonalds. I highly
doubt it is good.
RAY
You just wait and see. Now order
will you!
Paul turns to back to the intercom.
PAUL
Ok, we're ready when you are.
WAITRESS
Order away!
PAUL
Alright, we would like two Lattes
please.
WAITRESS
Would you like a shot of vanilla,
sugar free vanilla, caramel or
hazelnut with those?
PAUL
No, were fi... you have hazelnut?
Hmmm. Add a shot of hazelnut to one
of those will ya.
Turns to Ray.
PAUL
You want any shots?
Ray waves him off to say no. Paul turns back to the
intercom.
PAUL
Ok, I think that will be all for
now.
WAITRESS
Very good. That will be $5.95 at the
window. Thanks for ordering.
Paul is a little taken aback by the price.
35
PAUL
Wow, thats cheep for two lattes.
RAY
I'm tell'n ya. You'll never go back
to Starbucks again.
PAUL
We'll see. I still have to actually
drink it and the jury is still out.
Bus pulls forward.
CUT TO:
38. INT. BUS - MCDONALDS PARKING LOT - AFTERNOON
The shot angle is now coming from the back of the bus
towards our characters. They are parked in the parking lot
outside of McDonalds getting the coffee ready to drink
before they take off.
Ray is fidgeting with the coffee.
RAY
Before you drink. I always add one
packet of sugar just for good
measure.
PAUL
Didn't you used to only drink your
coffee black?
RAY
Used to, until I tried one of these.
Ray hands the cup to Paul. Paul grabs it. Scrutinizes it for
a second.
PAUL
Well, here we go.
Paul lifts his cup in a toast fashion and looks at Ray.
PAUL
To finally going on our road trip.
Ray lifts his cup in agreement.
RAY
To the road trip.
They both drink simultaneously. When Paul is done taking his
first drink, he kinda swishes it around in his mouth making
36
sure that he gets the full taste of the coffee, almost
looking to see if there is any disagreeable after taste.
His eyes widen in pleasant surprise.
PAUL
This is actually pretty good!
RAY
Pretty good?! You wouldn't know good
coffee if it bit you in the ass.
This little cup of joe beat all
other comparable coffees in consumer
reports last year and it was the
least expensive of the bunch. It's
darn good if you ask me.
Ray shakes his head and looks away lifting his cup to take
another drink. Paul is still marveling at the quality.
RAY
(Under Breath)
Pretty good my ass.
Theres a slight pause.
RAY
Well, you ready to get this show on
the road Mr. Snobby Coffee Elitist?
PAUL
You bet. Lets go.
Paul begins to start the car up.
CUT TO:
39. INT. BUS - FREEWAY
RAY
Oh! I almost forgot.
Ray turns around to grab the bag that he brought out from
the house that morning.
RAY
I grabbed a bunch of my favorite
CD's this morning so we could have
some tunes to listen too.
Ray pulls the bag up to his lap and starts rummaging through
it. Paul is looking at him a bit perplexed.
PAUL
Ahh, you do know that this bus
37
doesn't have a CD player in it
right.
Ray looks up at him quickly.
RAY
You never put one in?
PAUL
No, I didn't.
Ray sits back a bit deflated.
RAY
I could have sworn you had.
Ray perks up again and reaches for the radio.
RAY
No worries. We'll just listen to the
radio.
Paul shakes his head.
PAUL
The radio has not worked for nearly
20 years.
Ray sits back even more deflated.
RAY
You seriously expect me to drive
three thousand miles without any
sort of tunes?!?!
PAUL
What's wrong with that? People did
it for thousands of years before the
radio and CD's were even invented.
RAY
Yah! And it SUCKED! That's whats
wrong with it.
Ray is noticeably put out then he gets another idea.
RAY
Pull over up here. Theres a Best Buy
just down the road. We're gonna buy
you a cheep cd player.
PAUL
The speakers are all shot.
38
RAY
Well since when did I start hanging
out with Negative Nancy? Pull over!
We're going to Best Buy now.
PAUL
Ok, ok. Suit yourself.
Paul starts to turn the car.
CUT TO:
40. INT. BUS - AFTERNOON
The sliding door opens abruptly and a portable boom box is
dropped in the back seat. The CD part is opened up and a
Disc is dropped in. A finger pushes the play button and some
type of energetic music (Eye of the Tiger comes to mind)
starts playing.
CUT TO:
41. EXT. BUS - AFTERNOON
The music continues playing through and over this sequence.
[Shot: A crane shot show the bus pulling out of the parking
lot and onto the street.]
CUT TO:
42. EXT. BUS - ONRAMP AUBURN - AFTERNOON
The next shot shows the bus pulling onto the freeway, very
slowly.
Other cars are passing them constantly.
CUT TO:
43. INT. BUS - AFTERNOON FREEWAY NEAR AUBURN - AFTERNOON
Paul and Dan are having a good time just enjoying the ride
at this point.
A semi truck passes them at what seems to be lightning
speed.
Some people pull up next to them and give them a thumbs up.
Paul and Ray respond with a thumbs up in return.
Both guys are having a good time.
The camera grabs different angles inside and outside the
39
vehicle for this sequence.
The sequence ends with the music fading and a crane shot of
the bus driving past Donner Lake. The camera shot lifts
until you see the road sign for Donner Lake.
PAUL
Theres a good little diner just up
ahead. You want to get some
breakfast.
Sure.
RAY
CUT TO:
44. EXT. TRUCKEE DINER - LATE AFTERNOON
Establishing shots of Old Town Truckee - Sign that says
welcome to Truckee.
We see a quick wide shot of the bus parked out in front of
the diner.
45. INT. TRUCKEE DINER - LATE AFTERNOON
Paul and Ray are sitting in a booth by the window eating
their breakfast and chatting between bites.
RAY
So what made you decide to fix the
old bus up anyway?
PAUL
(Stares out the window)
I'm not too sure really. I guess I
just needed something to occupy my
time with. Retirement isn't all that
it was cracked up to be. At least
not for me anyway.
RAY
Hey, at least you've got that nice
government check coming to ya every
month like clockwork. Me, I'll
probably be working until the day I
die.
PAUL
Yah, I guess. Sometimes I still wish
I was back teaching but thats really
not it. I wasn't happy teaching the
last few years. I just kinda lost
interest. I guess I miss the
40
busyness.
RAY
Man, if I had all my bills covered
you wouldn't find me complaining.
I've got child support to deal with
for the next 10 years.
PAUL
How are the kids doing by the way?
RAY
I'm not too sure. I'd rather not
talk about that right now.
PAUL
Fair enough....So, what would you be
doing right now if you had all your
bills covered?
RAY
Hmmmm?
(stops and thinks)
Thats a good question. I'm not
really sure. The last 20 years of my
life pretty much revolved around
providing for my family. I never
really took time to think about
those types of things.
PAUL
Yah. Me neither.
CUT TO:
46. EXT. TRUCKEE DINER - LATE AFTERNOON
Wide shot showing Paul and Ray walking out of the diner.
RAY
I've got a nephew who lives up here
somewhere. If I can get him on the
phone do you mind if we give him a
quick visit?
PAUL
Not at all.
CUT TO:
47. EXT. IANS HOUSE - EARLY EVENING
The shot shows Paul and Ray knocking on the door. You hear
barking in the background. The door is opened by a young guy
41
somewhere in his late 20's. This is one of Ian's room mates
Pat. Pat yells back in the house.
PAT
Hey, who invited the old dudes over?
Ian yells out from inside the house.
IAN
That's my uncle and his friend. Let
them in!
PAT
Right on. I guess you guys can come
in.
Pat peeks out the door and sees the bus.
PAT
Is that your bus?
PAUL
Uh, yah. It is.
PAT
Right on man. That's one sick ride.
Ian is downstairs.
48. INT. IANS HOUSE - EARLY EVENING
Paul and Ray walk in and pass a number of young people in
different parts of the house. Ian is in the kitchen making
something for dinner with a few other people. Four other
room mates are hangin out on the patio. Music is blaring.
49. INT. IANS KITCHEN - EARLY EVENING
IAN
Hey! Uncle Ray! What's hapnin?
RAY
Not much. We're just taking the bus
on a road trip around the state and
we were in town so I figured I would
stop by and see my nephew. This is
my old buddy Paul from way back in
High school.
IAN
Cool. Nice to meet you Paul. Where
are you guys planning on staying
tonight.
Ray looks at Paul who shrugs his shoulders as if the thought
42
had not crossed his mind yet.
RAY
We're not sure yet. We'll probably
just sleep in the bus somewhere.
IAN
Well why don't you just stay here.
We've got plenty of room.
PAUL
Well we wouldn't want to intrude on
your party...
Ian cuts Paul off.
IAN
Ha! There's no party. These are just
the roommates. There's ten of us
here.
No kid'n!?
RAY
IAN
Yup. The neighbors make the same
mistake all the time. The cops even
show up every once in a while and we
have to explain that we all actually
live here.
RAY
That's funny. Sure, we'd love to
stay.
Paul looks at Ray with some shock in his face. Ray looks
back at Paul.
RAY
Wouldn't we Ray?
Ray tries to get some composure back to answer.
PAUL
Um, sure I guess we could.
IAN
Great! Why don't you go get your
stuff and bring it in. Dinner will
be ready in about half an hour.
RAY
Sure thing!
43
Both Paul And ray walk away.
CUT TO:
50. EXT. IANS HOUSE - EVENING
When Paul and Ray get outside toward the bus Paul turns on
Ray.
PAUL
What were you thinking?
RAY
What do you mean?
PAUL
I don't want to stay here.
Ray opens up the sliding door of the bus and begins to grab
what he needs.
RAY
So you would rather sleep in the
cold van over a warm house? We're
gonna have plenty of nights to sleep
in the van. Whats the problem.
PAUL
We would not be in this situation if
we had left on time.
RAY
Don't worry about it. Your going to
have a good time. You'll see.
Besides, you still owe me for coming
with you on this hair brained
adventure.
Paul sighs in resignation.
PAUL
Ok, but this is not what I had in
mind when I planned the trip.
RAY
Oh give it a break will ya.
Scene ends with them closing the doors to the bus.
CUT TO:
51. INT. IANS HOUSE - EVENING
Paul and Ray are sitting around the dinner table with Ian
44
and various room mates. They are half way through their
meal. Paul is not interacting very much but Ray seems to be
fitting right in. Pat and Ian are in the middle of retelling
a story from being in Las Vegas.
PAT
So Ian and I walk up to him and say
"Oh my gosh!! Your (so and so)! You
made (Snowboarding DVD title)"
IAN
And he perks up and says yah and
then Pat says, "Man you DVD totally
sucked!"
PAT
That totally throws him off for a
sec. He pauses and looks at us with
the straightest face and says;
"that's the best compliment anyone
has ever given me." We ended up
hanging out with him for the whole
rest of the weekend.
Everyone laughs and Ian zero's in on Ray and changes the
subject.
IAN
So Uncle Ray. What's this road trip
all about?
RAY
Well, Paul here and I had this crazy
idea back in high school to take his
bus all over the state after we
graduated. Lots of kids our age were
doing it at the time.
IAN
That's cool. And you just decided to
do it again for fun.
Other room mates begin to take interest in the conversation.
RAY
Actually this is our first around. I
was drafted into the war and went
off to basic before we knew what was
happening. Once I got back...well
things had changed. We never ended
up going.
IAN
That sucks.
45
PAT
So what made you guys decide to go
on the trip now?
RAY
Well, your gonna have to talk to
Paul about that.
Ray looks over at Paul. The room mates look at Paul as well.
Paul coughs/chokes a bit at being put on the spot.
PAUL
(Pauses)
Well I recently retired and I needed
something to do. The bus was sitting
in my garage and needed some TLC so
I decided to fix it up. That's when
I got the idea to try and do the
trip.
IAN
Awesome! How much do you think it
would cost to get a bus like that
now?
PAUL
(Thoughtful)
Hmmmm. Thats a good question. They
generally run anywhere from 800 to 5
thousand online. If you know what to
look for though you can find a
really nice one in running condition
for under $1,500.
IAN
Really? That little?
PAUL
Yah, and they are really inexpensive
to maintain as long as you don't
mind a little elbow grease now and
then.
IAN
Hmmmmm. What websites would you
suggest?
PAUL
The best ones that I have found so
far is hoodridenation.com and the
other is called the Samba.yr
IAN
Cool! I'm totally gonna get me a
46
sweet bus to cruz around in!
PAT
Hey!!! You know what time it
is?!?!?!....It's time for BEER
PONG!!!
ROOM MATE
Ill grab the PBR!
Paul and Ray look a bit confused. Other people around the
table begin to clear it off to get ready for the game. Pat
notices that both Paul and Ray seem a bit confused about the
term.
PAT
Hey guys. I don't think the old
dudes have ever played Beer Pong
before.
ROOM MATE
Whaaaat is this?
RAY
What is it?
PAT
Oh you'll see.
(Yelling)
Old dudes have first game!!!
CUT TO:
52. INT. IANS DINING ROOM - EVENING
The table in the dining area is cleared and the cups are set
up. Paul and Ray are on opposing side of the table. Pat is
on Pauls side, and Ian is on Ray's side and Pat is
describing the rules. Ian is pouring in the last of the
Pabst Blue Ribbon into the cups.
PAT
...So if I get a ball in one of your
cups then you have to drink that cup
and vice versa.
RAY
(Jokingly)
Bummer!
PAT
Alright Paulio, why don't you give
it the first shot.
47
Paul is still a bit out of place and misses badly.
OHHHHHH!
ROOMMATES
RAY
C'mon Paul. You can do better than
that.
Paul gives it one more shot and sinks one. He is more
relieved than excited.
ROOMMATES:
(Clapping)
Yay!! Woohoo!
Ray drinks the cup a bit enthusiastically and some beer
spills out of the cup.
RAY
Alright! My turn!!
Ray sinks both shots and Paul and Pat both chug the beers.
The scene moves into a short montage showing the game
progressing. Paul begins to loosen up the more beer that he
drinks until he is noticeably having a good time.
The game ends with Paul and Pat winning.
RAY
This is bogus.
Rematch!
IAN
PAUL
Looks like someone's a glutton for
punishment. I will be happy to
oblige.
They restart the game and there is another short montage
showing them playing, laughing and having a great time.
CUT TO:
53. EXT. IANS HOUSE - EVENING
Paul and Ray have finished their game. With beers in their
hands, both walk/stumble out onto the back porch to get some
fresh air.
RAY
(Slapping Pauls back)
See, I told you that this would be
48
fun.
Yah, well.
PAUL
Paul stares down at his beer. Ray walks out to the railing.
RAY
I can't believe you won both games!
You must have been cheating. It's
the only explanation.
PAUL
Ha! Your just bitter cuz you lost at
something.
RAY
(Shaking head)
Nooooo way. You were cheating. I
know it.
Ray walks up to the railing. Both become silent as they
stare off into the blackness.
PAUL
You know, I had forgotten what its
like to laugh like that.
RAY
Yah, I know what you mean.
PAUL
Not too much for either of us to
laugh at lately huh?
Ray is silent. It's apparent that he does not really know
how to continue this conversation. Paul waits for a response
and when he gets none decides to stop probing. He takes a
drink of his beer. Ian pops his head out of the door and
hollers at the guys.
IAN
There you guys are! The nights just
getting started. We're heading down
to the pub. I'm gonna buy you two a
world famous Truckee Blue Wave!!
PAUL
What on earth is that?!
IAN
The best drink ever! C'mon, you'll
see when we get there.
49
Paul and Ray look at each other and shrug their shoulders
and head back in.
CUT TO:
54. INT. BAR TRUCKEE
Paul, Ray, Ian, Pat, and a few extra room mates are all
sitting at a table.
IAN
This drink is going to blow your
mind!
Pat and some other room mates stifle a laugh. The waitress
walks up with two very blue looking drinks and two glasses
of water and hands the blue drinks to Paul and Ray.
RAY
Hmmmmm. This better not be one of
those fruity drinks!
IAN
Oh, not at all uncle Ray. your gonna
love it. But its tradition that you
both drink at the same time!
PAUL
Whats the water for.
IAN
Oh don't worry about that, those are
only if you guys cant handle the
wave!
RAY
There's no drink I can't handle.
PAT
Good. Then drink up on the count of
three. 1...2....3!!
Both Paul and Ray throw back there heads imbibing the blue
liquid and right as they are in the middle of the act, the
waitress tosses the water from both of the cups in their
faces.
PAT
YEAH!!! The Truckee Blue Wave
strikes again!
WAITRESS
(Smiling)
Welcome to Truckee.
50
She walks away leaving Paul and Ray sputtering. Both Look at
each other and begin to laugh.
PAUL
Drinks on me!!
PAT
Hell yeah!!
CUT TO:
55. INT. IANS HOUSE EARLY MORNING.
Ray and Paul are sleeping on the living room floor. The sun
is peaking in the window. Cody is practically sleeping on
top of Ray who is snoring away.
Paul wakes up to find a Doberman Pincher growling in his
face. The shot is an extreme close up of the dogs face, so
much so that it is not apparent that this is in fact a
miniature doberman pincher.
Paul jumps up and away from the dog startled until he
realizes that the dog is only 6 inches tall. He laughs a bit
too himself and then reaches over to try to pet the dog when
it snarls at him again and almost bites his hand which he
jerks back out of reach. He looks over at Ray who is still
sleeping soundly with Cody. Paul, gets a bit grumpy that Ray
is sleeping so well and gives ray a kick who just grunts a
bit and continues to sleep.
Paul starts to get up to get a drink of water when a young
lady comes down the stairs.
FEMALE ROOMMATE
Oh there you are Toby! Come here you
evil little dog!
(Turning to Paul)
I'm sorry. I didn't know that he got
out of my room. He's not very
friendly with new people.
PAUL
So I've noticed.
FEMALE ROOMMATE
Here, have some cheese.
PAUL
(Grabs cheese)
You sure eat strange things for
breakfast here.
FEMALE ROOMMATE
51
(Laughing)
Noooo! HAHA! That's for the dog. He
loves cheese. It will help keep him
from biting you in the future.
PAUL
Oh! Thanks.
Paul runs his left hand through his hair and hands the
cheese to the dog with the other. Toby grabs the cheese and
then runs off. The young lady grabs Toby as he runs past.
FEMALE ROOMMATE
Ok Toby, back to the room with you.
Paul Looks at his watch and then turns to Ray kicking him
slightly.
PAUL
Alright Ray, you cant sleep the day
away. We've got plenty of miles
ahead of us.
Hmmmmmph!
RAY
CUT TO:
56. EXT. DRIVEWAY - IANS HOUSE
A bunch of the room mates are standing out in the front lawn
waving as the bus revs up the engine. Ian walks up to the
rolled down passenger window where Ray is sitting.
IAN
Thanks for stopping by uncle Ray.
Ray reaches out and grabs Ians hand.
RAY
Thanks for having us bud.
IAN
Have a safe trip.
RAY
You bet! Ill let you know how it
goes.
Ian steps back and the bus pulls forward and with a couple
of farewell honks and a wave is on its way.
PAT
Man,I gotta get me a sweet bus like
52
that.
CUT TO:
57. INT. BUS - DRIVING PAST TAHOE - DAY
Paul is driving and Ray is enjoying all of the scenery. The
car is noticeably quite (except for the engine noise). Both
our characters do not really know what to talk about. Ray
decides to break the silence.
RAY
You know. It really is something
that all this is practically right
in our back yard.
Ray's comments pulls Paul out of his thoughts. Paul shakes
his head a bit in agreement.
PAUL
Mary used to love to come up here on
summer days and sit on the beach.
RAY
Looking back I wish I had spent more
time going to places like this with
the kids.
PAUL
There still young. What's keeping
you from doing it now.
Ray shakes his head.
RAY
I don't know how well that would
work right now. Their mother is
pulling out all the stops to try and
keep me from seeing the kids.
Paul nods his head in understanding.
PAUL
She doesn't have full custody yet?
RAY
No, but that's what she wants. Until
the thing is settled, I can only see
the kids as long as there's a social
worker involved... Can you believe
that bitch!?! My own kids!
PAUL
When's the court date?
53
RAY
It's sometime at the end of next
month.
Paul, looks over at Ray not sure of how he will respond to
his next question.
PAUL
Well, would you want me to go with
you?
RAY
What? To court?
Ray pauses, as if the idea had never occurred to him.
RAY
Nah, you don't have to go. I don't
want to rope you into my life's
shit. You've got enough of your own
as it is.
PAUL
It would not be a problem...
RAY
I appreciate the gesture Paul but I
just don't think it would be a good
idea. Let's change the subject. I'm
all pissed off right now.
Ok.
PAUL
The brief moment of transparency has past and Ray has
quickly put on his happy go lucky facade.
RAY
So where are we headed today anyway?
PAUL
Grab the map. It's right there
between our seats.
Ray opens up the map and studies it for a second.
RAY
Hmmmmm. Ok, looks like the next main
stop is going to be Placerville.
Yup
PAUL
RAY
54
You know, theres this little bar
down there that I went to years
back. We should hit that place up
tonight for dinner!
Sure thing
RAY
CUT TO:
58. EXT. POOR REDS - EVENING
The scene opens with a wide shot showing the bus parked out
in front of the bar and the bars sign lit up.
Music is playing quietly in the background.
CUT TO:
59. INT. POOR REDS - EVENING
Inside we find that the music is actually coming from a live
musician (Micah Tawlks) who is playing on stage.
The scene starts off focusing in on the musician and then in
on Paul and Ray who are eating at the bar.
There is a gentleman (Cliff) sitting a few stools down from
Paul and Ray who is evidently a local.
The bartender is cleaning some glasses and strikes up a
conversation with Paul and Ray.
BAR TENDER
Haven't seen you guys around here
before. You from out of town.
PAUL
Not too far. We live near
Sacramento.
BAR TENDER
So what brings a couple of flat
landers to El Dorado on a Wednesday
night, if you don't mind me asking?
RAY
Not at all. A few days ago, O'l Paul
here and I
(Slaps Pauls back)
decided to up and go on this hair
brained road trip that we planned
way back in high school. Well, these
flatlanders got hungry on our way
55
through town so we decided to give
your joint a shot.
CLIFF
You the guys driving that old VW bus
that's parked outside.
You bet.
PAUL
BAR TENDER
How far you guys going?
PAUL
Well, we are going to pretty much
end up doing a circuit of the entire
state. From best I can guess, we
will have put almost 3,200 miles
behind us when all said and done,
give or take.
The bar tender is a bit taken aback by the distance and the
vehicle.
BAR TENDER
You mean you are going to drive that
old rust bucket over 3,000 miles in
one trip?! Can it even drive that
far?
Cliff butts in.
CLIFF
Sure it can, and it will! You
wouldn't know a quality vehicle if
it slapped you in the face.
cliff moves in one stool closer to introduce himself.
CLIFF
The names Cliff.
RAY
Nice to meet you Cliff. I'm Ray and
this old prune next to me is Paul.
CLIFF
(Reminiscing)
You know, I had a bus just like
yours when I was in my twenties.
Drove that thing everywhere. Some of
the best times of my life those
days.
56
PAUL
Yah, there's something about them
for sure.
CLIFF
I bounced all over the US and Canada
in that old bucket.
PAUL
Did you break down much?
CLIFF
Oh sure! But that was a part of the
fun. What I would not give to go on
a trip like that again. Good for you
guys, getting off your asses and
doing something worthwhile!
(Slaps his knee)
PAUL
Thanks. The truth is we really did
not have anything better to do with
our time.
CLIFF
Nothing better? I can't think of
many things that I would rather be
doing myself.
Cliff turns to both of them as if an idea had just occurred
to him.
CLIFF
Say! Where you boys staying tonight?
Paul and Ray look at each other wondering whats going to
come out of this guys mouth. Cliff takes this as a no.
CLIFF
Good! Well you do now. I manage the
Cary House in Placerville. We don't
get too much business in the middle
of the week and there are always
rooms that are open. Ill set you
boys up in a nice sweet.
PAUL
Oh, we wouldn't want to impose..
CLIFF
I won't take no for an answer. I had
plenty of people help me out when I
was on the road now its my turn to
57
return the favor. Just go to the
front desk and tell the lady that
Cliff sent you. She'll take care of
the rest.
CUT TO:
60. INT. HOTEL LOBBY - NIGHT
Paul and Ray are standing at the concierge desk holding
various gear.
The place is empty. Soft light from the lamps seems to make
the dark wood walls and antique furniture glow with warmth.
There is a "NO PETS" sign on the desk.
Paul reaches out and rings the bell on the desk and steps
back.
RAY
Fancy place.
Paul looking around slowly.
PAUL
Cody's gonna have to spend the night
in the bus.
RAY
He'll be alright.
A young lady steps out and greets Paul and Ray.
RECEPTIONIST
Welcome. Sorry for making you wait.
You must be the gentlemen that Cliff
called about. I just finished
getting your room ready. If you
wouldn't mind, I just need you to
sign here. You must be tired.
Paul takes the paper and signs.
PAUL
We definitely could use a good
nights rest. How old is this place
anyway?
RECEPTIONIST
It was built in 1857 during the Gold
Rush years.
RAY
58
1857 huh. I hope the mattresses
aren't the originals.
RECEPTIONIST
HAHA! No sir. The beds are much
newer than that and I am sure you
will sleep very well. Here's your
keys, your on the 3rd floor in room
310.
CUT TO:
61. INT. HOTEL ROOM - NIGHT
Paul and Ray are standing in the room staring at a single
bed with somewhat feminine covers and surrounding decor.
RAY
Rock Paper Scissors for who gets the
bed?
Paul nods his head.
CUT TO:
62. INT. HOTEL ROOM - NIGHT
Paul steps out of the bathroom in pajamas after showering
and gets into the bed, the obvious winner.
He settles in and turns the light off.
Hey Paul?
RAY
Paul turns the light back on.
Uh-huh?
PAUL
RAY
Do you ever wonder if our best days
are behind us?
Paul pauses, a bit surprised by his friends sudden deep
question and is almost equally perturbed at the timing.
PAUL
What do you mean?
RAY
Well, I was just thinking about that
guy who set us up with this room. He
mentioned how excited he was that we
59
were doing this trip and started
reminiscing about how good he had it
when he was younger. Now I'll bet
the highlight of his day is sitting
in that bar.
Yah?
PAUL
RAY
Well, that made me think of me. I'm
pretty much no different than him.
Maybe worse... I don't know.
Ray sits up from the floor on the side of the bed.
RAY
What do you think?
Paul pauses for a bit staring at the ceiling.
PAUL
I don't know either Ray. I don't
know either.
Ray looks down thinking to himself.
RAY
Hmmmm. Night Paul.
Ray lies back down.
Night Ray.
PAUL
Paul turns off the light.
CUT TO:
63. INT. BUS - MORNING
Paul, Ray and Cody are in the bus driving through the hills
on highway 49 towards their next destination which is
Yosemite Valley. Ray is driving. He pulls down the sun visor
and notices the no parking sign stuck to it.
RAY
So what's with this sign on the
visor?
PAUL
The kid who helped me fix the car
gave it too me.
60
RAY
Interesting.
What?
PAUL
RAY
Oh, nothing really. I just thought
it was interesting, thats all.
PAUL
I still am not sure why he did it.
Ray seems to shift gears.
RAY
You know, it's funny. I have been to
Yosemite a few times before, with
the kids and such, but I always took
99 to get there.
Paul looks up trying to figure where Ray is going with this
conversation.
RAY
But, I have always hated driving
down 99. Ugly and way to congested.
Here, were driving along with
beautiful scenery and hardly any
traffic comparatively. Sure, 99 got
us there faster, but it was pretty
much wasted time no matter which way
you look at it.
PAUL
Yah, its much nicer out here on the
back roads.
RAY
Definitely. If I could take those
trips over again, I wouldn't rush
the trip. I would try to enjoy
getting there as much as being
there. You know what I mean?
PAUL
Too much time spent wishing you were
somewhere else?
RAY
Exactly! Now that I think of it. I
spent most of my life looking and
working for something off in the
distance and I let a lot of life
61
pass me by. I hardly remember what
my kids were like when they were
learning to talk and such. My own
kids Paul!
Paul nods his head in agreement.
PAUL
Work always seemed so important but
looking back, it all seems a bit
silly doesn't it? It felt so
important back then.
RAY
Yeah. Makes you wonder why we were
working so hard in the first place.
PAUL
Get ahead of the Johnses, make more
money, buy more stuff, beat the
status quo, etc.
RAY
It's like we're stuck in a system
that's designed to keep us working
to support that system and to hell
with the individual person.
Paul looks over at Ray waiting for him to continue.
RAY (CONT.)
I mean, we spend the best years of
our life working our collective
asses off and for what? A watch and
a crappy severance package that
doesn't amount to shit. That's what!
All the while "the man" sits back
and gets fatter.
PAUL
HAHA!, so who is "the man" anyway?
RAY
Ill tell you who "the man" is! Its
the rich fat cats who actually run
our government for their own
purposes. I'm not talking about the
puppet senators and the other
politicians. Their just the front
men. Most of them though, their just
as bad.
PAUL
So what's your point with all this?
62
RAY
My point? My point is that I'm a
schmuck! That's what! The only thing
that matters in life is time Paul,
and I was never smart enough to see
that. I let the system steal almost
40 plus years from me.
PAUL
So what are you going to do about it
now?
Ray gets silent and calms down.
RAY
I'm not sure. Sometimes it feels
like the time when I actually could
have done something about it passed
me by years ago.
Pauls mood drops realizing his friends real point.
Me too.
PAUL
CUT TO:
64. EXT. BUS - COUNTRY ROADS - DAY
The bus is driving through the country along 49. The hills
are covered with golden brown grass and green oak trees.
They pass by farm houses, small towns and over reservoirs.
As they veer off of highway 49, the land slowly begins to
change. The oak trees give way to pine and the rolling hills
begin to steadily transform into mountains and river canyons
until Yosemite Valley is revealed from the lookout on
highway 41. The bus drives off down into the valley.
CUT TO:
65. EXT. CAMPGROUND YOSEMITE - EVENING
The bus is parked in the campsite, a small tent is set up
and a fire is going in the pit. Paul is rummaging around in
the bus while Ray nurses a beer and cooks some meat on the
BBQ.
The sun sets early on the valley floor but light still
clings to the tops of the valley walls.
Paul walks over to Ray pulling a sweater over his head as he
goes.
63
PAUL
Brrrrrrr. I didn't expect it to be
this cold. Good thing I thought to
bring a sweater.
RAY
Ahh, its not cold. It feels great!
Sure beats baking in that bus all
day.
Paul begins to set the table.
PAUL
If you thought today was hot, just
wait till we get to death valley.
Ray stops flipping the burgers and stares off into the
distance with a somewhat stunned look on his face.
RAY
We planned the route through Death
Valley?! What were we thinking?
Sheesh, I'm gonna burn to a crisp.
Speaking of which, do you still burn
your meat like a girl or did you
finally man up and realize that the
bloodier the better?
PAUL
A lot of things may have changed but
I still don't understand how you can
eat your meat that way.
RAY
It's all about the taste. Its all in
the blood man! You burn all the
flavor right out of yours.
PAUL
Well then, since you put it that
way, I will gladly take a flavorless
burger.
Ray waves a spatula at Paul in a dismissive manner focusing
back on the burgers on the grill.
RAY
Suit yourself.
CUT TO:
66. EXT. YOSEMITE CAMPGROUND - NIGHT
Paul, Ray, and Cody are sitting around the campfire talking
64
and cooking marsh mellows. Ray is holding a half empty
bottle of Southern Comfort in one of his hands. Ray is
finishing up telling a funny story and both are laughing.
PAUL
....and wouldn't you know it, not
more than a few minutes after the
priest got there those beer bottles
started to pop down in the cellar
from the pressure build up. The
noise startled the preacher. I can
still see the shock on my Mom and
Dads face.
RAY
HAHA! Didn't they blame it on the
root beer that they had made for us.
PAUL
(laughing)
Yah, they did.
RAY
I wonder if that preacher knew?
PAUL
He must have, I don't think that he
ever let on though. Good guy, that
preacher.
Both men quite down staring into the flames for a second.
Pauls mood quickly becomes melancholy.
PAUL
I've forgotten a lot of things in my
life but I'll never forget that
night.
RAY
(Confused)
With the preacher?
PAUL
The night Catherine died.
Ray looks up at Paul listening intently. Paul is staring
into the fire as if it isn't even there.
PAUL
I never know when the memories are
going to come, but when they hit,
they wash over me like waves. Its
hard to believe that its been almost
3 years. I can see the lights from
65
the police car reflecting off the
the wall through the windows.
Pauls marsh mellow catches on fire and begins to burn.
PAUL (CONT.)
Feel the handle of the door as I
open it. The silhouette of the
officer in the entry way as he asks
me my name. As he tells me that
Catherine is dead. It all plays back
in slow motion. Every detail.
Ray takes a swig of the Southern Comfort not knowing what to
say. Paul is still staring listlessly into the fire.
PAUL (CONT.)
Since then, I don't really know how
to describe it. I feel like I am
trying to walk through darkness that
is so thick you can feel it. Its
heavy. It sticks to you. I can't see
anything. Other people, they keep on
moving. I haven't moved an inch
since that night.
RAY
You grew up going to church right?
Yah.
PAUL
RAY
Where's God in all of this?
Paul shakes his head, pulls the marsh mellow out of the fire
and realizes, without emotion, that he let it burn to a
crisp.
PAUL
God? I don't know where He is. Not
even sure if He exists. Not sure if
I want him to exist. Because, if He
does, He sure wasn't anywhere near
when my wife died. How can God
possibly be good when He allows such
horrible things to happen?
(Pauses)
No, I don't want to believe in that
kind of God. Better off that He does
not exist.
Ray is staring into the fire. He looks up at Paul and the
best answer he has is to hand him the bottle of Southern
66
Comfort.
Paul takes the bottle, twists the top off, gives the liquor
a look of resignation and takes a drink.
CUT TO:
67. EXT. BUS - HIGHWAY - DAY
The bus is driving along roads outside of Yosemite and over
the Sierra's towards Nevada. Various shots of the bus as it
drives through the mountains and down into the high desert
on the other side.
CUT TO:
68. INT. BUS - HIGHWAY DAY
Paul is driving. The melancholy mood from the night before
has persisted into the next days drive and both have been
driving for a while in silence.
Along Tioga Pass where the pine trees begin to give way to
open fields of shrub grass and rocks, they finally begin
talking.
PAUL
Thanks for listening to me last
night. Sorry for shifting gears so
quickly on you.
RAY
Don't worry about it.
PAUL
Somehow it was really good to get it
off my chest.
MmmHmmmm.
RAY
PAUL
Thanks for not saying anything
either. Everyone keeps trying to fix
me and its frustrating.
Ray continues to be silent but he is listening.
PAUL (CONT.)
The problem is that there is nothing
that anyone else can do. All their
words, as kind as they are, are
meaningless.
67
RAY
Yah, that or they just make some
dumb ass un-informed statement as if
they know something. How can they
know!
PAUL
Exactly! The worst is "I know what
you are going through."
(Rising Anger)
No you don't! You don't know a thing
about what I am going through!
RAY
Or how about "Every cloud has a
silver lining."
This almost starts to become a game where both try to think
up different comments that have frustrated that people make
in response to their situation.
PAUL
She's in a better place!
RAY
What does not kill you makes you
stronger!
PAUL
God works in mysterious ways!
RAY
Perhaps you are better off.
PAUL
Time heals all wounds.
RAY
It's not your fault!
PAUL
Life goes on.
Both stop as the last sentence by Paul sinks in. The scene
ends with an exterior shot of the bus driving along.
CUT TO:
69. EXT. BISHOP GAS STATION - AFTERNOON
Ray is taking Cody out to pee. Cody is squatting like a girl
dog.
RAY
68
C'mon Cody. When are you going to
learn to pee like a man. You see,
you've got to lift your leg up like
this and then...
Ray
are
the
his
looks up and realizes what he is doing and that two kids
staring right at him. One is sucking on a lollipop and
other is holding a doll. Ray, a bit embarrassed, puts
leg back down and pretends like nothing happened.
RAY
(Under breath)
Stupid dog.
Paul walks out from the gas station doors and back up to the
bus.
PAUL
(Shouting)
You ready?
RAY
Yah, were done.
Ray walks up to the open sliding door of the bus, puts Cody
in, and closes the door.
PAUL
We had better get a move on. The
cashier lady said that we are still
about 4 hours out from Death Valley.
The good news is that this will put
us there as the sun is setting which
means we get to drive through when
its cooler. This will also allow us
to drive through the hottest parts
during the night.
Bus pulls out and they pass a sign that says Death Valley
(X) amount of miles ahead.
CUT TO:
70. INT. BUS - DEATH VALLEY HIGHWAY - LATE AFTERNOON
The sun is about an hour away from setting and they are just
getting into the heart of the valley. It is very hot and
both men are sweating. Cody is panting like crazy.
RAY
Drive through when its COOLER huh?
It's got to be at least 135 degrees
out!
69
PAUL
It's not that hot. Just be thankful
that we are not driving through here
6 or 7 hours ago.
RAY
Hmmph! We should have bypassed this
place all together. What were we
thinking when we drew up that stupid
map!
PAUL
We wanted to see California from the
top of Mount Shasta to the bottom of
Death Valley remember?
RAY
That's right. Wait! You're not still
planning on hiking to the top of
Shasta are you!?!
PAUL
I'm not sure. I haven't given it
much thought yet. My knees are not
what they used too be.
RAY
Yah, my knees and every other part
of my beat up body to boot! You can
climb it if you want, I'll stick
with the bus and take a nap.
PAUL
Suit yourself.
Ray grabs his chest and grimaces with a grunt in noticeable
discomfort.
You ok?
PAUL
RAY
Yah, I'm fine. Its just this heat is
all.
PAUL
I thought I saw a sign for gas ahead
so we can stop there and get
something cold to drink.
CUT TO:
71. INT. DEATH VALLEY HIGHWAY - NIGHT
70
Paul is driving. Cody and Ray are asleep in the back of the
bus. It is pitch black outside and there is hardly anyone on
the highway.
Paul looks up and sees the stars. He can see the Milky Way
clearer than he has ever seen it before and decides to pull
over to take a look.
Paul Looks back at Ray and Cody still sleeping as if
debating whether or not he should wake him up. He decides
not to and steps out into the darkness.
He walks around to the front of the bus and stares up at the
sky.
The scene triggers a painful memory and Paul begins to cry.
He sits down on the ground in front of the van overtaken by
his emotions. A car drives by as he sits there.
CUT TO:
72. INT. BUS - NEVADA HIGHWAY - EARLY MORNING
The sun is rising over the hills in the East and Paul is
still driving He looks a bit haggard. He passes a sign that
shows that he is passing into Nevada. He gets distracted for
a second, looks up and realizes that he is heading into the
other lane, swerves and wakes Ray up suddenly.
RAY
(Groggily)
You ok?
PAUL
Yah, I'm fine.
RAY
What time is it?
Paul checks his watch.
Its 6:35.
PAUL
RAY
(Yawning)
Did you drive through the night?
PAUL
No, I stopped for a while and got
some shut eye.
RAY
Good. So where are we exactly?
71
The bus drives past a sign that says Welcome To Pahrump.
CUT TO:
73. INT. BREAKFAST DINER - PAHRUMP - MORNING
Both characters are sitting at the diner and are eating
breakfast. They slowly become aware that they are not in
Kansas anymore. Most of the people in the diner are
holstering all types of guns at their sides.
Ray and Paul look around and look back at each other as if
to say "let's eat and get out of here as fast as we can"
without words.
At that moment the town sheriff walks
coffee. When the waitress goes to get
his left and notices Paul and Ray. He
scrutinizing them through his aviator
up against the bar.
in and orders a cup of
the cup, he looks to
steps over,
sun glasses and leans
OFFICER
You boys aint from around these
parts are ya.
Paul and Ray look at each other. Paul turns back to the
officer.
PAUL
Uh, no. No officer. Were not.
OFFICER
Hmmmmmm. Well we like to think of
ourselves as a friendly little town.
Nothing like you big city folks from
San Francisco.
RAY
Sacramento.
The officer pauses and looks at Ray for a second.
OFFICER
(Slowly)
Sacramento....
The officer says the word as if he is logging the
information to use against them at a further date and then
resumes.
OFFICER (CONT.)
As I was saying. We're a friendly
town and strangers are welcome, as
long as they know their place and
72
don't cause any trouble.
The officer drops his glasses down to look them straight in
the eyes.
OFFICER (CONT.)
You boys hear what I am saying?
Ray is staring at the officer while Paul looks down at his
plate sheepishly and then back at the officer.
PAUL
Yes sir. We were just passing
through.
OFFICER
Good. Good.
The officer smiles and pats Paul on the back.
OFFICER (CONT.)
Well! It's been a pleasure chatting
with you boys. Enjoy your time in
Pahrump.
The officer turns as the waitress appeares with his coffee.
OFFICER
Thanks Margaret. Your a peach. You
just let me know if I need to come
back for any reason.
The officer tips his hat to the waitress, gives Paul and Ray
one last warning glance and steps out.
Both Paul and Ray breath a sigh of relief.
PAUL
Check please.
CUT TO:
74. EXT. PARKING LOT - DINER - MORNING
Paul and Ray walk out of the diner to the bus and get in. As
Ray is stepping in, he sees a sign that says "I want to give
YOU a Free Handgun! Ignatius Piazza, Front Sight Firearms
Training Institute, #1 Frontsight Rd, Pahrump Nevada."
Paul is buckled in the passenger seat and ready to go and
looks up at Ray who is still standing there.
PAUL
What are you looking at? Lets go.
73
RAY
Hold on a sec!
(Under Breath)
Firearms Training Institute...
PAUL
C'mon! That cop gave me the creeps.
Ray steps into the car.
RAY
Ok. Let's go. I just want to make a
quick stop first.
PAUL
A stop! Here! These people don't
like us Ray. I don't want to stop
until we are long gone.
RAY
Yah yah! Don't get your panties all
in a knot. They're just regular old
country folk is all.
PAUL
Regular? You call those people
regular?!
RAY
Sure. I'm just gonna make a quick
stop is all. It will only take a
minute.
CUT TO:
75. INT. FRONT SIGHT LECTURE HALL - DAY
Paul and Ray are sitting down at a table in a large room
with about 25 other middle aged men and women. A man with a
mustache and a gun is standing up at the front and is giving
a lecture on what happens after you have to use deadly
force.
Ray is interested and Paul is sulking somewhat. Paul leans
over and whispers heavily to Ray.
PAUL
Only take a minute my ass!!
RAY
SHHHH. I've always wanted to do this
so don't ruin it for me. Besides
this is interesting.
74
PAUL
Interesting. These people are crazy!
RAY
They're not crazy. They're just
exercising their 2nd amendment
rights is all.
PAUL
I've never even seen a fully
automatic rifle before, let alone
shot one.
RAY
I know! That's why I paid for you to
take the course too. I've gotta man
you up somehow. Now quit bitching
and pay attention.
Ray turns back and ignores Paul. Paul is still sulking.
CUT TO:
76. EXT. SHOOTING COURSE - DAY
Paul and Ray are out on the course. Both now are wearing
protective glasses and noise canceling earphones.
Ray is at ease while Paul is noticeably uncomfortable.
An instructor is giving field demonstration to the class
with an MP5 before they shoot their own weapons.
INSTRUCTOR
Ok, now I am going to fire the
firearm at the target. Watch my
stance. Take aim, safety off, finger
completely off the trigger until I
am ready to fire. And here we go.
The instructor fires off 30 rounds making a nice group in
the chest area of the target.
Paul jumps at the noise of the gun going off and breaths a
sigh of relief when it finally stops.
PAUL
(To Ray)
You really want to do this huh?
RAY
You bet! And your not getting out of
it either. You're gonna have fun.
You'll see.
75
Paul leans back. The instructor directs the students to a
table where they will be issued their gun and ammo.
RAY
(Slaps Pauls back)
Here we go!
Paul jumps a bit at the slap.
CUT TO:
77. EXT. SHOOTING COURSE - DAY
All the students are standing in a line at ease, facing
their targets, guns in hand, barrels down.
The instructor is giving some final instructions before they
fire.
INSTRUCTOR
Remember! Keep your eye on the
target and your finger off the
trigger until you are ready to fire.
You are going to fire one burst and
one burst only!
Instructor pauses and looks everyone up and down one last
time.
INSTRUCTOR (CONT.)
The range is clear! Ready!
The students raise their guns and begin to fire. Ray is
having a blast, shooting off multiple bursts as aggressively
as he can.
Paul lifts his gun up uncomfortably, sets his feet, and
takes a few belabored seconds to aim. He clicks the safety
to the off position, places his finger on the trigger, takes
one last breath, and squeezes.
The recoil from the burst pushes him back a step. He is
breathing a bit heavy from the nervousness and the
adrenaline. As his eyes focus in on the target, he sees a
fairly good grouping in the head area on the target.
Paul is a bit stunned. He is looking at the target and the
gun with a bit of bewilderment, having a tough time
believing he made those shots.
INSTRUCTOR
Yes, those bullets came out of YOUR
gun Paul. Nice job!
76
Paul nods in stunned acknowledgment to the instructor. He
stares down at the gun again as if seeing it in a different
light.
INSTRUCTOR
Ok! Now that you know what it feels
like to fire off one burst, we are
going to fire off a number of
successive bursts? The range is
clear!.. Ready!
Paul steps back up to the line and raises his gun, this
time, with more confidence and quicker response. He fires
off another single burst. Looks at the target, and then
fires off 3 consecutive bursts.
He lowers his gun to inspect his target. He is still
shooting well. He looks down at the gun again, holding it in
his hands and smiling.
He lifts the gun back up into ready position and fires off
the rest of the clip.
The camera begins to pull back. Showing the rest of the
group firing off into their targets as well.
CUT TO:
78. EXT. SHOOTING COURSE - DAY
Ray is handed his target. Most of his bullets have hit their
mark with a few outside the silhouette. He is very proud of
his performance.
Paul walks up holding his target folded up in one hand, gun
slung at his side.
RAY
Would you look at this. Not too bad
for my first try.
PAUL
Thats very good Ray. Looks like you
hit the guy much more than you
missed.
RAY
Darn right! So what do you think?
More fun than you would have thought
huh?
(Pauses)
Don't let it get you down if you
missed the target a lot. It takes
some getting used to and this is
77
your first time.
PAUL
Oh, I wont, and you were right. This
is actually pretty fun.
RAY
(Smiling)
Good, well let's see your target! I
showed you mine!
PAUL
(Hesitant)
Oh, I don't know. I guess I did
alright. Like you said, this was my
first time.
RAY
Oh, don't be a sissy. Let me see
that!
Ray grabs the target out of Pauls hands and opens it up to
find that his clusters are much more precise than his own.
All of the bullets are within the silhouette. The head and
the chest area have been shot to shreds.
Ray looks at it for a second in disbelief and then turns to
Paul with a half smile.
RAY
You cheater! You had me for a
second. This is someone else's isn't
it. Now really, where's YOUR target?
PAUL
(Smiling)
That IS my target.
RAY
(Frowning)
You mean that you expect me to
believe that a guy who has never
held a gun before in his entire
life, shot these clusters?
At this point, one of the instructors walks up and slaps
Paul on the back.
INSTRUCTOR
That was some great shooting out
there Paul. If I hadn't known better
I would have thought you had already
taken the course before.
78
Ray is dumbfounded. He looks at the instructor and back at
the target.
RAY
You mean you really DID shoot this?
Paul nods with a smile.
RAY (CONT.)
Well Ill be!
A grin begins to emerge on Rays face.
RAY (CONT.)
I think I'm actually starting to
make a man out of you after all.
Paul swipes the target out of Ray's hands in feinted
exasperation.
PAUL
Oh, give me that. I'm through with
you and your comments! You can talk
to me when your target looks like
this!
Paul walks back to the course to reload and shoot some more.
Ray stands there watching his friend walk away, quietly
laughing to himself.
CUT TO:
79. INT. BUS - DRIVING TO VEGAS - LATE AFTERNOON
Scene starts off with a short exterior shot showing the bus
driving down the road towards Vegas.
Ray is driving and Paul is in the passenger seat, still
admiring his target.
He holds it up to the light and inspects the target.
PAUL
Hey Ray, correct me if I'm wrong,
but from the looks of it, I pretty
much whooped your ass today.
Ray shakes his head.
RAY
All beginners luck my friend.
PAUL
79
Oh really!
RAY
Sure, I've been shooting various
guns for years. By this time I'm
shooting fully on skill, not luck.
PAUL
(Laughing)
Oh, you've been shooting Uzzi's and
MP5's for years? Just admit it. Your
embarrassed that you got bested at
your own game.
Ray begins to try to make a comeback, pauses and then starts
to laugh.
RAY
Alright, alright, you did good.
PAUL
Did good? I beat you. I want you to
say it.
RAY
Ok... you.... got a very good score.
PAUL
Man you really suck sometimes!!
RAY
Well your stuck with me hombre. And
if I'm not mistaken, you had a
pretty good time today. I seem to
remember that one of us was bitching
and moaning the whole way up until
they pulled the trigger.
PAUL
I'm not nearly as stubborn as you
are. I can admit when I am wrong.
You were right. It was a lot of fun.
More than I had anticipated
Paul's mood begins to change a bit. His smile fades.
PAUL
Do you think that's what this life
is all about?
RAY
What do you mean?
PAUL
80
Do you think its all about having
fun? You know, life?
RAY
Hmmmm. Don't really know. What I do
know is that all I care about right
now is having a good time.
PAUL
Yeah, I know what you mean. But it
seams that no matter how much fun I
have, it's only a matter of time
before the darkness creeps back in
and steals even the memory of any
happiness from me.
Paul pauses and looks at Ray waiting for an answer. Ray
begins to get uncomfortable.
RAY
Ahh Paul, you know that I have never
been very good when it comes to
these deep conversations. That's
your territory.
PAUL
It's not a matter of being good at
it. It's just sharing your thoughts
is all. I don't really care what it
is that you think, I'm just
interested in knowing. That's all.
Ray pauses, as if trying to collect his thoughts and put
words to them.
RAY
Well, if you must know, I do my best
not to think about it... That's
probably why I don't like talking
about it.
PAUL
But don't you ever feel like you are
lying to yourself when you do that.
RAY
Maybe. Maybe my whole life is
nothing but a lie. I'll tell you
what though. I would rather live
happy with a lie than depressed with
the truth.
PAUL
But are you really happy?
81
RAY
Paul, I'm done with this
conversation. I really don't want to
discuss this now.
PAUL
Ok, ok. I'm sorry about that. I
didn't mean to pry.
RAY
That's ok. I'm just not in the mood
is all. We've got about an hour and
a half before we hit Vegas. I've got
$150 bucks burning a hole in my
pocket and I can hear the Black Jack
tables singing from here.
Paul looks off into the distance. He seems a bit nervous. He
is not showing the same enthusiasm for Vegas that Ray is.
CUT TO:
MAP
The map that Ray and Paul drew when they were kids is shown.
A cut out of a VW bus with Paul, Ray and Cody in it shows
the bus moving from Pahrump to Las Vegas.
CUT TO:
80. EXT. LAS VEGAS CASINO STRIP - NIGHT
The bus is driving into the bright neon lights of Vegas down
Las Vegas Blvd. It passes the main strips Casino's like the
Belagio, the Luxor, the MGM and so on.
Paul and Ray are looking out through the windows of the bus
in amazement at all the activity.
There are plenty of signs promoting gambling, eating and
entertainment.
The bus finally pulls up in the round about in the Palms
Casino and parks.
CUT TO:
81. EXT. THE PALMS CASINO - NIGHT
Paul and Ray both step out and Ray walks towards the valet.
The valet looks at the bus as if he does not know what to do
with it.
82
Ray hands the valet the keys with a slap on the back.
RAY
She's a "beyoot" ain't she? Give her
a few seconds to start up, remember
to feather the throttle when in
first and keep your eye on 3rd gear.
She likes to pop out every once in a
while. And I don't what to see any
scratches when I get back.
Ray stuffs a dollar bill in the valet's shirt pocket and
winks.
RAY (CONT.)
There's more where that came from.
He pats the pocket and walks off. The valet is left staring
at the bus.
CUT TO:
82. EXT. PALMS CASINO ENTRANCE - NIGHT
The valet is in the bus. He tries to start it, revs it up
and kills it almost immediately.
CUT TO:
83. INT. PALMS CASINO - NIGHT
Paul and Ray walk into the Casino amidst all the lights and
slot machine noise.
Ray is excited and is looking forward to gambling while Paul
seems noticeably out of place.
Ray turns to Paul.
RAY
What do you say we get a bite to eat
first? I'm starved.
Paul nods, still looking like a fish out of water.
CUT TO:
84. INT. PALMS RESTAURANT - NIGHT
Paul and Ray are sitting at a table. Both are eating a steak
dinner. Ray is finishing his meal while Paul is barely half
way done. Paul is not in a good mood.
Ray notices that Paul is not finished with his meal.
83
RAY
What's wrong with your steak?
Nothing.
PAUL
RAY
You sure are in a funky mood. My
steak was amazing! I could eat three
more! Hurry up and finish yours so
we can hit the tables.
Paul takes a big breath and starts to cut into the steak.
Ray gets impatient and a bit fed up with Paul. He takes his
last bite, pulls his napkin out of his lap and wipes his
face.
RAY
Well, you just take all the time you
want. When you are ready to have a
good time come find me at the
tables. I'll be the guy with all the
chicks winning the big bucks.
Ray gets up, takes a drink of water and walks away.
Paul is left sitting at the table, staring at his food.
CUT TO:
85. INT. PALMS BLACK JACK TABLE - NIGHT
Ray sits down in an empty seat at a black jack table in a
good mood. He says a quick hi to the other players and
addresses the dealer.
RAY
$150 worth in chips please.
DEALER
Sure thing. There you are boss.
On his first game he gets an ace and a 10. The dealer nods
in approval.
FEMALE PLAYER
Looks like we've got a hot hand over
here.
RAY
You know it sister. This is my game.
Ray settles in and makes another bet.
84
CUT TO:
86. INT. PALMS RESTAURANT - NIGHT
The food on the plate is gone now, showing that time has
passed.
Paul is still sitting at the table. He finally decides to
get up and find Ray. He pays the bill and walks out.
CUT TO:
87. INT. PALMS CASINO SLOT MACHINE AREA - NIGHT
Paul is walking around a looking a bit lost. The camera view
goes back and forth between his 1st person view and a third
person view.
The Casino begins to close in around Paul. The noise becomes
deafening. People bump into him. The people look menacing.
His heart rate begins to rise. He has to escape.
He sees a sign for a bathroom and hurries in as fast as he
can without running, opens up a stall, and sits down in a
panic.
He is left breathing heavy, head in hands, trying to calm
down.
CUT TO:
88. INT. PALMS BLACK JACK TABLE - NIGHT
Ray has an almost empty cocktail glass in front of him. His
stack of chips is noticeably less than when he had first
started. He is no longer as happy as when he started.
He has just split two 9's and was dealt a 2 and a 5. He
decides to double down. This requires him to use the rest of
his chips.
He is nervous. He is betting everything he has left in a
hail marry play
He gets two more cards. An 8 and a 6. His spirits lift.
Almost a perfect hand. He stands with the potential to get
solidly back in the game if the dealer busts.
The dealers up card on the table is a 7. The next card is a
3. Ray Holds his breath. The dealers 3rd card is an Ace.
The dealer has 21 and Ray has lost all his chips and his
spirits.
85
The dealer smiles in a nice but condescending manner.
He stands up from the table. Grabs his ball cap and walks
away.
FEMALE PLAYER
(Smiling)
Better luck next time sugar.
Ray does not even respond. He just walks off and heads
towards the restroom.
CUT TO:
89. INT. PALMS - RESTROOM - NIGHT
Ray walks in to the restroom slowly. He goes to the sink
turns on the cold water and washes his face and stares in
the mirror.
He walks over to one of the open stalls, closes the door,
unzips his pants to go pee, leans over the toilet with his
left arm between the wall and his head and begins to relieve
himself.
Paul is hiding in the stall next to Ray. He looks down and
recognizes Ray's shoes.
PAUL
(Whispering)
Ray, is that you?
Ray stops peeing.
Paul?
RAY
PAUL
Yah, its me.
Ray starts peeing again and finishes.
RAY
What do you say we get out of here?
Ok.
PAUL
CUT TO:
90. EXT. ROAD OUTSIDE OF VEGAS - NIGHT
The lights of Vegas are in the background as the bus drives
through the frame away, into the night.
86
CUT TO:
91. INT. BUS, ROAD - NIGHT
Ray is driving quietly. Paul has a deadpan expression and is
staring strait ahead.
PAUL
How was Black Jack?
Hmmph!
RAY
PAUL
That good huh?
RAY
Yeah. That good..... So what was up
with you back there? How long were
you in that bathroom?
Paul does not answer for a moment.
PAUL
I don't know. maybe an hour or so.
Ray begins to make a comment then thinks better of it.
PAUL (CONT.)
I... I'm just not very good around
crowds anymore. Since Catherine....
Paul trails off for a second as if having a quick flash
back.
PAUL (CONT.)
You know how you can look at your
life and set up certain expectations
for your future?
Ray takes a second to think.
RAY
Maybe. What do you mean?
PAUL
Well, for instance, you can see that
you have kids who will most likely
get married someday, so you
naturally would expect to be a grand
parent as well at some point in your
future.
RAY
87
Ok, I see what your saying.
PAUL
You base those expectations on what
you have to work with at the time
when you make them. When one of the
foundational pieces disappears,
well, the future doesn't seem so
clear.
Paul trails off again as if getting ready to get to the
heart of the matter.
PAUL (CONT.)
I watched my entire future crumble
to pieces the night Catherine died.
She was a part of everything. I
never expected her to go before I
did.... I guess that was selfish of
me.
RAY
Maybe it was, but its also a logical
guess. Most men die before their
wives do.
PAUL
We were together for so long. Now
that she is gone, I don't really
even know who I am anymore. I used
to be so confident around people.
Now its a struggle just to look
someone in the eyes. I sometimes get
panic attacks when I am stuck in
crowds of people I do not know.
(Pauses)
I never really liked Casino's to
begin with. I just felt like I was
suffocating and I couldn't stand all
the people looking at me.
Ray nods his head in understanding.
PAUL (CONT.)
The bathroom was the first place I
could find to get away from the
people.
RAY
I'm sorry Paul. I shouldn't have
left you in the restaurant.
PAUL
It's ok. You didn't know. Some days
88
are worse than others.
RAY
I'm feeling pretty good. What do you
say we try and drive through the
night to San Diego?
PAUL
Yah, that's fine. I'm gonna fall
asleep for a bit. Wake me up if you
start to doze off.
Will do.
RAY
CUT TO:
92. EXT. BUS - HIGHWAY - NIGHT
The bus drives away from the camera into the darkness.
93.EXT. BUS - SAN DIEGO BEACH - EARLY MORNING
The seagulls are calling and the waves are crashing in the
background. The bus is parked in a parking lot on the beach.
CUT TO:
94. INT. BUS - SAN DIEGO BEACH - EARLY MORNING
Paul is still asleep in the front seat, head against the
window.
Ray is asleep in the back of the bus.
Paul wakes up and slowly realizes that he has slept the
entire night sitting up. He grimaces and rubs his neck and
back in pain. He looks around realizing that he is at the
beach. He looks to find Ray and see him sleeping in the back
of the bus.
Paul opens the door to the bus and moves to get out but gets
stuck realizing that he has not yet unbuckled his seat belt.
He unbuckles, still a bit groggy and walks out onto the
beach.
94.5 EXT. SAN DIEGO BEACH - EARLY MORNING
Paul stops a few feet away from the spot where the waves end
their advance on the beach and retreat back to the ocean. He
closes his eyes and takes a deep breath of the fresh sea
air.
89
While Paul's eyes are still closed, his wife walks up and
stands next to him. Staring out at the sea. Paul does not
open his eyes.
CATHERINE
Remember our honey moon?
PAUL
How could I forget.
CATHERINE
Spending the days on the beach, just
the two of us.
PAUL
I remember.
CATHERINE
You were such a blessing to me Paul.
Pauls eyes are still closed, a lone tear emerges.
CATHERINE (CONT.)
I thanked God every day for you.
Even after nearly 30 years of ups
and downs, I never stopped loving
you.
Pauls eyes are still closed. Catherine turns now to look
straight at him.
CATHERINE (CONT.)
I want you to know that letting me
go does not mean that you do not
love me. I want you to live again
Paul.
Paul crouches down and cries. Catherine is gone.
CUT TO:
95. INT. BAR - SAN DIEGO - NIGHT
Ray and Paul are sitting at the bar eating dinner. It is a
dark but warm environment.
The meal is half
themselves. They
takes a bite and
to encompass the
eaten and both men seem to be enjoying
are in the middle of conversation. Ray
then looks around and waves his hand as if
entire area.
RAY
I gotta admit, the country is nice,
but if I had to choose, I would take
90
the city any day. There's always
something going on.
Paul looks around a little more reserved while taking a
bite.
PAUL
Not me. I can only take so much of
the city. It's nice to visit but I
love the quite.
RAY
You always were the boring one. Take
this place for example. I'll bet you
never would have set foot in here if
it wasn't for me.
PAUL
You, my friend, are correct. It's
nice but too busy and hip for me.
RAY
You always were a home body. How
often do you get out? One...two
nights a week?
PAUL
I don't know.
RAY
What do you mean you don't know? Are
you saying you don't get out even
one night a week?!
PAUL
Well.... not every week.
RAY
(Whistles)
Boy, we gotta get you a woman and
quick.
PAUL
HA! Like thats going to happen. I
haven't dated in over 30 years.
RAY
Excuses excuses. It's like riding a
bike. You never forget. Take that
lady over there.
Ray points to a bookish but beautiful blond woman wearing
glasses who is chatting with a friend. Ray looks to see. She
91
glances over at the both of them and smiles.
Paul turns back embarrassed that she saw him looking.
RAY
You see that? I know that look. Your
in! Go introduce yourself to her.
PAUL
Now!?! I couldn't possibly do that.
RAY
Sure you can. Its a snap.
PAUL
Well why don't you do it then?
RAY
Because I'm not the one who has
issues with the ladies.
PAUL
I don't have issues with women!
RAY
Oh yes you do? Your terrified of
them. She's not going to bite!
What's the worst that could happen?
PAUL
I'm not going Ray.
RAY
I dare you!
PAUL
As if thats going to work.
PAUL
I double dog dare you!
Paul is now a bit frustrated with Ray. He puts his knife and
fork down and gets up from the table. Ray assumes that Paul
is going to go talk to the lady and smiles.
RAY
That-a-boy! Go get her.
Paul does not respond to Ray. Instead he turns around and
walks in the direction of the lady. Ray watches with
anticipation. Paul approaches the womans table and walks
right past her.
Ray throws up his hands in resignation, watches as his
92
friend goes into the rest room. Ray deliberates for a second
then gets up to follow Paul.
CUT TO:
96. INT. RESTROOM - SAN DIEGO BAR - NIGHT
Paul is washing his hands when Ray walks in.
RAY
What was that all about? You had her
in the bag! You've still got a
chance. Now when you walk out..
PAUL
No Ray. I got up to get away from
you, not to hit on some random lady
in a bar. I don't even know how to
approach a lady any more.
It's easy.
RAY
Ray walks up to Paul and puckers his lips.
RAY (CONT)
You just walk up to her, pucker your
lips and say "give me a kiss baby!"
Ray is only inches away from Pauls face when a guy steps out
of the stall directly behind them. He has earphones on and
has not heard any of the conversation. Paul starts at the
door opening, Ray stays put with his lips puckered in Pauls
direction but looks over at the guy.
The guy sees them and stops in mid opening of the door,
pauses for a second, and then goes back into the stall and
closes the door.
Paul and Ray stay frozen for a second look at each other and
then both start to laugh.
PAUL
You ready to go.
Sure.
RAY
Both characters make for the door and start to leave the
bathroom.
RAY
I triple dog dare you.
93
Ray!!!!!
PAUL
CUT TO:
MAP
The map that Ray and Paul drew when they were kids is shown.
A cut out of a VW bus with Paul, Ray and Cody in it shows
the bus moving from San Diego to Irvine.
CUT TO:
97. EXT. BUS - PCH TO IRVINE - MORNING
We see a view of PCH from the land side looking out towards
the ocean. It is morning.
The bus drives through the frame.
CUT TO:
98. INT. BUS - HIGHWAY TO IRVINE - MORNING
Paul is driving and Ray is in the passenger seat. They are
driving North along the coast on PCH.
Ray gets out the map and starts looking at it.
He notices that the route has changed a little and that
there is a detour through Irvine.
RAY
Irvine? Why are we going through
Irvine?
PAUL
Oh, well the kid who helped me get
the bus running said that if I was
in the area around the 14th, then I
should drop by Irvine and check out
this big VW festival that was going
on down there.
hmmmmmmm.
RAY
PAUL
He said it was the largest in the
world.
RAY
Really? In Irvine? Ok, I'm game.
94
Scene ends with an exterior shot of the bus driving out of
frame.
CUT TO:
99. EXT. VW CLASSIC - IRVINE - MID DAY
As the bus pulls into Irvine, they start driving past more
and more old school VW's. Many VW drivers flash the peace
sign with a smile to our characters as they drive.
They pass a sign letting them know that they have reached
the VW Classic.
They pull up to the entrance to the event and stop to pay.
ATTENDANT
Welcome to the Classic fellas. That
will be $15 a piece.
PAUL
Can you break a fifty?
ATTENDANT
Sure can brotha.
Paul hands the attendant the cash and the attendant leafs
through his wallet to pull out a $20.
ATTENDANT
Here's your change and your passes.
PAUL
You don't know a guy in his mid 30's
named Jason do you? He's got a bunch
of tattoos on his arms, dark hair,
always wears his hat a bit sideways.
The attendant laughs a bit.
ATTENDANT
Hard to say. That pretty much
describes at least 20 people that I
have seen so far just this morning.
PAUL
Ok, no sweat. Just thought I'd ask.
ATTENDANT
Hope you find him. I think the
transporters are congregating in the
back to the left. Have a great day
boys!
95
Paul and Ray pull in to the event and head towards the
back.
RAY
Man, I didn't realize there were so
many of these things still running.
PAUL
Tell me about it.
RAY
Check out all the old split window
bus's! Let's park over there.
The bus pulls away down along the line of bus's.
CUT TO:
100. EXT. VW CLASSIC - IRVINE - MID DAY
Paul and Ray are meandering down the isles of old VW's
taking time to gawk at the ones that catch their attention.
Both men are eating a hamburger as they walk.
RAY
So what do you actually do at these
things anyway?
Well.
PAUL
Paul pauses to wipe the sid of his mouth with the back of
his wrist.
PAUL (CONT.)
They have a great swap meet out
back. So if you need parts thats the
place to go. VW people also like to
show off their cars. The more
accessories the better.
They walk past a number of people who are sitting in
colapsable chairs, drinking beers and having a good time.
PAUL (CONT.)
Mostly though, I think its just an
excuse to get together and have a
party. VW people are a bit
different.
RAY
Ill say. I have not seen this many
peace signs since the 60's.
96
PAUL
I had forgotten how much fun all
this could be.
RAY
So tell me something. Why what made
you decide to get the bus out of
moth balls in the first place. I
didn't even know you still had it.
PAUL
I don't really know. I guess I
needed a sense of purpose and fixing
the bus filled that need in its own
little way.
RAY
So when you got it running you
needed something else to do with
your time, and here we are.
Yes.
PAUL
Paul takes a drink and looks away from Ray. His mood has
dropped a bit.
RAY
So tell me, what do you plan on
doing when we get home.
PAUL
I haven't thought that far yet. What
will you do?
Ray pauses.
RAY
That's the real question now isn't
it.
Paul nods in agreement and both men keep walking.
CUT TO:
101. EXT. IRVINE - CHEAP MOTEL - DUSK
Introductory shot to the next scene showing the bus parked
outside of a cheap motel in Irvine.
102. INT. IRVINE - CHEAP MOTEL - NIGHT
This is a typical motel room with double beds, a small
97
television, a bathroom in the back and stiff mattresses.
Paul and Ray are sitting in their beds, The television is on
and the remnants of a fast food dinner sit in front of each
of them.
Ray is flipping through channels with the remote. Paul
trying to read a book and is slightly agitated at his friend
for not being able to choose a station.
Paul looks up at the television.
PAUL
Would you pick one already? Your
driving me crazy.
RAY
There's nothing good on.
PAUL
Then turn it off.
RAY
No, I'm bored and I never liked
reading much.
PAUL
But you just said there was nothing
on.
RAY
Yet. There's hundreds of channels on
this thing. Something good might
have come on since I scrolled
through the channels last.
PAUL
Well its driving me nuts.
RAY
Well I can't go to sleep with you
reading over there with the light on
now can I.
PAUL
Ok, ok. Lets just go to sleep. Ill
put my book down if you'll turn the
TV off.
Deal.
RAY
Paul turns the light off and settles into bed. Ray continues
to flip through the channels. Paul turns around and looks at
98
Ray.
Ray!!!
PAUL
RAY
Ok, ok. I'm done. There really is
nothing on.
Ray turns the TV off and settles into bed but the silence
from the television reveals that a couple is making love
loudly in the room next door. There is some yelling and a
repetitive thudding noise from the bed hitting the wall.
Paul and Ray sit silently for a few seconds.
Paul looks up and lies back down. Breathes out deeply in
resignation.
PAUL
What do you say we leave the TV on?
You bet.
RAY
The scene ends with an exterior shot of the hotel showing
their room with the glow of the television in the window.
CUT TO:
MAP
The map is shown again on the screen and shows the bus
moving north along Highway 1 from LA to San Francisco.
CUT TO:
103. EXT. IRVINE - CHEAP MOTEL - MORNING
Ray opens the sliding door to the bus and throws his gear in
the back.
Paul gets in the drivers seat and begins to start up the
car.
Both characters look like they did not sleep well.
RAY
I can remember looking forward to
this leg of the trip. I've never
driven up 1 the whole way before.
PAUL
I don't know what's better. The
coast in our windshield or that
99
motel in the rearview mirror.
RAY
Tell me about it. No more shitty
motels.
Lets go.
PAUL
CUT TO:
104. EXT. BUS - HIGHWAY 1 - MORNING
Various angles of the bus driving along highway one. Upbeat
music is playing in the background. The road is windy.
After a few miles the music stops, the bus pulls over to the
side of the road and Ray jumps out and proceeds to vomit for
an extended period of time.
Ray stands up slowly.
You done?
PAUL
Ray bends back over quickly and begins to vomit again.
He finally finishes and slowly gets back into the bus and
closes the door.
The bus pulls forward and the music starts again.
The scene ends with the bus driving towards the camera and
out of the frame.
Cigar?
PAUL
RAY
Uhhhhhhh!!!
Paul chuckles.
CUT TO:
105. INT. BUS - HIGHWAY 1 - MORNING
Paul is driving and Ray is leaning against the window still
not feeling too good.
Paul is smoking a cigar.
After a short while, Ray finally breaks the silence. His
sour stomach has taken over his mood.
100
RAY
You know what really pisses me off.
Paul looks over at his friend a bit un-prepaired for this
mood change.
RAY (CONT.)
It's not that Susan left me, or that
she took the kids with her. I
deserved it.
Paul is giving Ray his full attention now realizing that
this is a moment of vulnerability.
RAY (CONT.)
No, it's that I was too stupid and
stubborn to see it happening up
until the day she served me the
papers. I should have known but I
didn't.
PAUL
I'm sorry Ray.
RAY
Don't be sorry, its not your fault.
PAUL
No, I'm not apologizing, I just wish
there was something that I could do.
RAY
(takes deep breath)
I wish someone would have just
slapped me in the face and told me
how much of an ass I was.
PAUL
Would you have even listened?
RAY
Probably not. You know me.
Paul gives a wry smile for a moment and then lets it fade.
PAUL
You know what bother's me more than
anything?
No, what?
RAY
PAUL
The night Catherine died, one of the
101
first things I remember feeling...
Paul hesitates.
PAUL (CONT.)
...was relief. Not shock, not
sadness! I felt relieved! I mean,
how bad of a husband must I have
been to feel relief the moment my
wife dies?
Ray is now the one looking at Paul not knowing quite what to
say. His look is that of almost understanding but he does
not know why. Ray blinks a bit and turns to look out the
window. An awkward pause ensues.
PAUL (CONT.)
I've spent hours trying to figure
that one out you know? She was
always doing something crazy. I was
always worried that I would not be
able to take care of her as we got
older.
Paul turns abruptly to Ray.
PAUL (CONT.)
Did I ever tell you about the time
she bought a boat?
Ray looks over at Paul and shakes his head in response. Paul
begins to laugh a bit and continues.
PAUL (CONT.3)
"I bought a boat" she says. We were
all eating dinner at the time. At
first I was not sure if she was
joking or not. Well it turns out
that she actually had bought a boat.
She had seen it for sale on the side
of the road and decided that we just
had to have it.
(Shakes head)
12,000 dollars gone just like that!!
I couldn't believe it. She said it
was a God thing or something like
that. She was always invoking divine
providence when she did something
that I did not like.
Paul pauses as if he is done talking. He begins to talk
again but this time its almost as if he does not want to
admit what he is about to say.
102
PAUL (CONT.)
You know, I hate to admit it but she
was right most of the time. I don't
mean the God thing. She was always
trying to find ways to bring our
family closer together.
(Reminiscing)
We sure had a lot of great times
with that boat.
(Sighs)
I guess I never could see life the
way she did. I was always wondering
what crazy hair brained thing she
was going to come up with next.
Paul's thought is finished and he has stopped talking. Ray
looks over at him with some intensity in his eyes.
RAY
Paul, I've known you for a long
time. Now I can't speak for this
feeling that you had, but I know
that you loved that woman and I have
no doubt about that. You may have
lost Catherine, but at least your
not to blame. I can't say as much
for myself. Don't beat yourself up
over it.
Paul turns to Ray with a slight smile on his face.
PAUL
Are you saying that it's... "not my
fault?"
RAY
Umm. Ha! I guess I am. I guess I am.
PAUL
It's ok. Somehow I don't mind
hearing it from you.
Paul turns back to focus on the road. His mood is lifted and
there seems to be a lightness in his Spirit. He takes a puff
on his cigar and turns to Ray.
Grandma.
PAUL
Both characters begin laughing at each other.
[Inset Shot: exterior of bus while driving with laughing in
background.]
103
CUT TO:
106. EXT. BUS - HIGHWAY 1 - MORNING
This is a montage set to music showing the characters
driving north on Highway one. During on point, they pull
over for ray to go to the bathroom again.
The music starts back up and the characters are now driving
through various San Francisco streets including Lombard,
Coit Tower, Height Ashbury, Golden Gate Park and finally the
Golden Gate as the Sun gets ready to set over the ocean.
CUT TO:
107. EXT. BUS - HIGHWAY 1 ABOVE SAN FRANCISCO - AFTERNOON
The bus is driving along and pulls over again for Ray to go
to the bathroom. Ray is driving and when the bus stops he
turns it off.
PAUL
Man, I can't even count how many
times we have had to pull over for
you!
RAY
When you gotta go you gotta go.
When Ray returns to the bus he finds that it wont start. The
engine turns over but it will not fire up. He tries for a
few moments while Paul gets a bit more frustrated.
PAUL
Give the pedal a few taps and then
try.
RAY
I am! Somethings wrong.
PAUL
Nothings wrong! Your just not doing
it right!
RAY
I'm telling you there's a problem.
Paul opens his door and steps out.
PAUL
Here, Ill show you how its done.
The scene cuts to Paul sitting in the drivers seat
attempting to start the bus with no better luck than Ray.
104
Ray is standing off to the side, arms folded.
RAY
Nothing wrong huh?
108. EXT. BUS HIGHWAY 1 ABOVE SAN FRANCISCO - AFTERNOON
[Shot: We see the wheels of the bus moving slowly through
the frame and our characters feet pushing the bus along.
Paul is pushing from the front drivers side with the door
open while Ray is pushing from the rear right.
A car drives by from behind. Ray stops pushing to waive them
down. The car honks a few times and zips past them.
RAY
Ahh thanks Jackass!! I wasn't
waiving to say hi!
PAUL
Come on Ray! If we can get it to the
top of the hill then we might be
able to roll start it.
RAY
No Paul! This is ridiculous! I can't
push another foot!
PAUL
Well we would not be stuck here if
you didn't need to piss every 5
miles!
RAY
Oh so its my fault now is it!! I'm
done with this! I didn't even want
to go on this trip in the first
place.
PAUL
Well I'm sorry its been such a
horrible experience for you!
Ray throws up his hands in exasperation and begins to walk
back down the road away from the bus.
PAUL
Where are you going!
RAY
As far as I can get from that bus!
PAUL
105
So your just going to leave me here!
RAY
Like I said, I'm done Paul! This
trip is over!
PAUL
Fine! Leave then! I don't even know
why I invited your sorry ass on this
trip anyway.
Paul slams the door and turns away from Ray.
Ray walks about 20 yards from the bus when he grabs his
chest in pain and stumbles to the ground.
Paul turns around to throw out on last insult.
PAUL
And I never....
He sees Ray on the ground and the anger on his face
immediately turns to fear.
Ray?! Ray!
PAUL
He runs over to Ray who is now lying on the ground and
shakes him. Ray just grimaces and moans.
Paul pulls out his cell phone to make a call but there's no
reception.
He grabs Ray by the shoulders and drags him to the bus.
He gets in the drivers seat and begins to turn the key
again. The bus still will not start.
PAUL
Come on! Come on Damn it!! Start!!!
He tries two or three times, turns around to see Ray on the
floor and begins to freak out. He turns back to the
ignition.
PAUL
Oh God! Please turn on!!!
He turns the key and miraculously, the bus starts right up.
CUT TO:
109. INT. HOSPITAL HALLWAY - EVENING
106
Immediately we see a gurney with Ray on it being pushed
rapidly through the hallway of a hospital. He is surrounded
be nurses taking his pulse and sticking him with a needle
for an IV.
Paul is running by his friends side all the way up until
they reach a pair of swinging doors where Paul can not go.
The nurses rush through the door leaving Paul to stand there
alone staring as the doors swing back and forth until they
are still.
CUT TO:
110. INT. HOSPITAL HALLWAY - EVENING
This scene is choppy and fast paced to mirror Paul's mental
state.
He moves his hands to his head and paces back and forth. He
is sweating. He nervously grabs the ring on his hand.
The camera circles around him rapidly.
PAUL
Oh God, oh God, oh God, OH GOD, OH
GOD!!!
He reaches up and grabs his head again. The camera rests on
his face.
CUT TO:
111. INT. HOSPITAL WAITING ROOM - EVENING
Paul is sitting in a chair in the waiting room by himself. A
Doctor steps into the room. Paul stands up immediately.
DOCTOR
Mr. Cressman?
Yes?
PAUL
DOCTOR
Why don't you sit down.
The doctor sits down with Paul.
DOCTOR
Your friend, well it doesn't look
good. We were able to get his heart
beating again and he has stabilized
some but his brain went a long time
without oxygen.
107
Paul nods his head staring at the floor.
PAUL
What are his chances?
DOCTOR
Well, this is only a guess but. I
would say he has a 10 to 15 percent
chance of making it through the
night. Now if he makes it through
till morning, then I would give him
about a 30 to 50 percent chance of
survival. We still don't know how
extensive the brain damage is, if
there is any so we cant be sure what
he will be like if he makes it
through.
PAUL
I understand.
DOCTOR
IS there anything that I can do for
you in the mean time while you wait?
PAUL
No, you have already done enough.
DOCTOR
Ok, well try and get some rest if
you can. You look like you need it.
PAUL
Thanks Doctor. Thanks for everything
that you have done to help my
friend.
DOCTOR
Well, I only wish I could do more.
Unfortunately we are not miracle
workers. I'll have one of the nurses
inform you if anything happens.
The Doctor stands up, rests his hand on Pauls shoulder for a
second and then walks out of the room.
Paul is left sitting in the chair with his head in his
hands.
CUT TO:
112. INT. HOSPITAL WAITING ROOM - NIGHT
[Shot montage: shows Paul standing up and sitting down and
108
pacing through the room. The cuts just show Paul fading into
different positions while the room seems to stay the same.
The time on the clock changes.]
CUT TO:
113. INT. HOSPITAL WAITING ROOM - NIGHT
Some time has passed and Paul is still sitting in the
waiting room. He is leaning forward with his head in his
hands.
A clock on the wall lets us know that its 10:15.
A young woman walks up to him a bit hesitant and taps him on
the shoulder.
[Shot: the camera is at eye level for Paul. We see the torso
of the young woman but not her face yet.]
Paul does not move for a second and then slowely looks up.
He looks gaunt and distraught.
[Shot: the camera angle moves to show the young ladies face
for the first time.]
YOUNG LADY
I'm sorry to interrupt. Can I talk
with you for a moment?
Paul takes a second to respond.
PAUL
Uh, yeah. Sure.
YOUNG LADY
Well, I was walking down the hall
when I passed the door to this room
and when I saw you, God spoke to me
about you.
Paul gets a confused look on his face for a second. The
woman presses on.
YOUNG LADY
He said that you have been going
through the darkest time of your
life and He wants you to know that
He loves you and that he never left
you. He wants you to live again but
you have to choose to live. He will
not choose for you.
PAUL
109
How do you know that?
YOUNG LADY
Oh I talk with Papa all the time. He
also told me that He does not want
you to worry. He heard your prayer
the minute you asked and everything
is going to be fine.
PAUL
What's your name?
Catherine.
YOUNG LADY
PAUL
Your names Catherine!!
YOUNG LADY
It sure is. I need to go but do you
mind if I pray with you for a
moment?
No.
PAUL
The young lady begins to pray
[Shot: the camera pulls away from our subjects through the
door of the waiting room.]
CUT TO:
114. INT. HOSPITAL WAITING ROOM - NIGHT
[Shot: the camera trucks in on our character from the
oposite side it pulled away from at the end of the previous
scene.]
The young lady is not there and Paul is sitting back in the
chair, looking at the floor. His leg is nervously bouncing
up and down.
The doctor walks in and sits down next to Paul. Paul
continues to look at the floor.
DOCTOR
Mr. Cressman.
Yes.
PAUL
The doctor looks down at the papers on his clip board and
brushes his fingers through his hair. He is a bit perplexed.
110
DOCTOR
When your friend came in there was
very little we could do but try and
get him stabilized and hope for the
best.
The doctor pauses for a moment, looks at Paul as if looking
for a response then continutes. Ray is bracing himself for
the worst.
DOCTOR (CONT.)
Well, a couple of hours ago your
friend almost instantanteously made
a complete turn around.
Paul tilts his head up suddenly and looks the doctor in the
eyes.
He's ok?
PAUL
DOCTOR
More than OK. We cant find a single
thing wrong with him. All the tests
come back the same. He is in perfect
health for his age.
PAUL
What happened?
DOCTOR
The short answer is.. we dont really
know. I would have informed you
earlier but we were busy trying to
figure out the answer to that
question ourselves.
PAUL
What time was it when he got better.
DOCTOR
About 10:20 or so.
Paul looks away as if thinking.
PAUL
Can I see him?
DOCTOR
He's sleeping right now. We still
would like to keep an eye on him for
a few more hours to be sure that
everything checks out. He should be
able to leave in the morning.
111
The doctor stands up.
DOCTOR (CONT.)
In the meantime, it looks like you
should get some sleep yourself. Do
you have a place you can stay
tonight?
Paul stands as well.
PAUL
I'll be fine. Thanks doc.
The Doctor shrugs his shoulders.
DOCTOR
Ok, well you have a good night.
Check out is any time after 8 am.
Paul and the doctor shake hands and the doctor steps out of
the room.
Paul sits back down and stares at the door the doctor just
exited from.
[Shot: the scene ends with a close up of Paul fidgeting with
the ring in his hand.]
CUT TO:
115. INT. HOSPITAL WAITING ROOM - MORNING
Sunlight is coming through the waiting room windows. Paul is
sitting in the same seat that he was in the night before. He
is asleep, ring in hand.
A nurse walks into the room. The noise wakes Paul up.
NURSE 2
Good morning sunshine. Looks like
you didn't sleep very well there.
Ray woke up a few minutes ago and he
asked about you.
Paul stands up.
PAUL
He's awake?
NURSE 2
Sure is. Has been for nearly half an
hour now.
PAUL
112
Can I see him?
NURSE 2
Sure you can honey!
CUT TO:
116. INT. RAY'S HOSPITAL ROOM - EARLY MORNING
The sun is shining brightly into the hospital room.
Ray looks up from his bed as soon as Paul walks in and
smiles. He has some IV's in him and is wearing the one sided
hospital smock outfit.
RAY
There he is! Boy, you look like you
slept worse than I did.
PAUL
You alright?
RAY
I feel like a new man!
PAUL
I.. I'm really sorry about what I
said back there on the road. I was
being such an ass.
RAY
Hey man, its alright. We both said
things we didn't mean. I'm sorry
too.
PAUL
When I saw you down on the ground it
was like Catherine all over again...
Paul trails off for a split second remembering the girl from
the night before.
PAUL (CONT.)
...Catherine.
Paul snaps out of it and looks back at Ray and begins to
smile.
PAUL (CONT.)
I'm so glad your better. I don't
know if I could have handled losing
you as well.
RAY
113
Awe, now don't go getting all mushy
on me.
Paul starts laughing, happy to have the old Ray back.
PAUL
That's a nice dress you are wearing.
RAY
You like it? Wait till you see the
back.
PAUL
HAHA! No thanks. Lets get you
dressed and outa here.
RAY
Sounds good.
CUT TO:
117. EXT. BUS - HIGHWAY ONE NORTH OF SAN FRANCISCO - DAY
Paul is driving and Ray is in the passenger seat. They are
somewhere on highway one near the Redwoods. Paul speaks up
first.
PAUL
What was it like?
RAY
What was what like?
PAUL
Well the doctor told me that you
were dead on arrival and that had to
revive you. Did you feel anything?
RAY
I remember feeling the pain in my
chest and I remember you kneeling
over me and... did you carry drag me
back to the bus?
PAUL
Yah, I did.
RAY
Funny. I remember that too but I was
watching it happen as if I was
someone else. It was like I was
outside of my body.
PAUL
114
Really? So you saw it happen from
outside your body.
RAY
Yah, I guess. Kinda strange isn't
it.
Paul nods his head.
RAY (CONT.)
The next thing I remember after that
is waking up in the hospital bed.
Ray pauses for a second. He looks out the passenger side
window.
RAY (CONT.)
You know how people talk about their
life flashing before their eyes?
It's no joke. But instead of running
through everything I have done, I
saw everything that I was going to
miss after death. I saw my kids
getting married without me. I saw my
grandchildren growing up not knowing
who I was. I saw Susan get
remarried...
Ray finally trails off again for a second then turns back to
face Paul.
RAY (CONT.)
Thanks for saving my life.
PAUL
I... I didn't save your life.
RAY
Ha! You got me to the hospital in
time. I wouldn't be here if it
wasn't for you... How did you get me
to the hospital by the way?
PAUL
In the bus.
RAY
But it wasn't running.
PAUL
I know. I tried to start it two or
three times with no luck. I had
almost given up but decided to give
it one more shot and she fired right
115
up. I don't know how to explain it.
She hasn't had a hiccup since.
RAY
That's a bit odd don't you think?
PAUL
Yah, it is strange. This entire last
24 hours have been strange.
At this point Paul and Ray are driving in to Fort Bragg
CUT TO:
118. INT. BUS - FORT BRAGG - AFTERNOON
Paul is driving and Ray is in the passenger seat. They drive
past a tattoo parlor.
Pull over!
RAY
PAUL
What, do you need to go again?
RAY
Just pull over.
Paul pulls the bus over and Ray hops out.
CUT TO:
119. EXT. FORT BRAGG ST. - AFTERNOON
Ray is getting out of the bus. Paul opens his door.
PAUL
What are you doing!?
Ray looks back at Paul with a smile.
RAY
I'm getting a tattoo.
PAUL
A tattoo?! Are you serious?
120. INT. TATTOO PARLOR - AFTERNOON
[Shot: we hear the buzz of the tattoo gun and see a close up
of Ray's face while he is grimacing. We see a close up of
his fist and then a close up of the gun on his arm. Then the
camera goes to a wide shot of the room.]
116
MR. G.
Ok, your all done.
RAY
How does it look?
It looks
bandaged
that you
stuff on
MR. G.
great. Just keep it
up for 4 to 6 hours. After
will need to keep this
it for 4 to 6 weeks.
RAY
Right on. Thank you very much Mr. G.
MR. G.
No problem. Just come on back when
you want to get your next one.
Both Paul and Ray begin to walk out of the tattoo room and
down the stairs.
[Shot: the camera leads them from the front all the way down
the stairs.]
CUT TO:
121. EXT. SIDE WALK IN FRONT OF TATTOO PARLOR - EVENING
Paul and Ray are walking up to the bus.
PAUL
So what on earth made you want to
get a tattoo now?
RAY
I've wanted to get one for years but
I was always to worried about what
other people would think. After last
night, well, I just don't really
give a damn about what anyone else
thinks anymore.
PAUL
Fair enough. So tell me, why Teddy
Rosevelt?
RAY
Because hes was such a badass!
PAUL
That's it? He was a bad ass?
RAY
117
You bet. I'm alive baby! I'm not
gonna pass up any more
opportunities.
Paul and Ray are in front of the bus. Paul shrugs his
shoulders and gets in the drivers side of the bus. Paul gets
in the passenger seat.
CUT TO:
122. EXT. CAMPING IN WOODS - EARLY MORNING
The bus is sitting with the sliding door open and the rear
hatch open as well.
A tarp is set up next to the bus and the sleeping bags and a
few other items are lying on the tarp. Paul and Ray are
putting their gear away.
RAY
You know, its funny. Even though we
were outside on the ground, I slept
like a baby.
PAUL
I'm glad you did. I spent the entire
night with a root digging into my
left kidney. Good thing I have an
extra one.
Paul rubs his lower back.
RAY
So where are we headed to today?
PAUL
Well, if we follow the old map, we
cut across the coastal ranges and
head towards Lassen. We could
probably just skip it though since
you don't want to climb it.
RAY
What? and miss out on that view. No
way. We're going?
PAUL
But you were so against it when I
mentioned it last week?
RAY
Yah, but that was then. This is now!
I feel 20 years younger! Let's do
it.
118
Paul smirks and shakes his head at the change in his friend.
PAUL
Well lets get going then. We've got
some driving to do.
MAP - FORT BRAGG TO LASSEN
The cartoon bus is moving along the map from Fort Bragg to
Lassen.
123. INT. BUS - HIGHWAY TO LASSEN - DAY
The bus is driving along highway 1 north of Fort Bragg. Ray
is driving and Paul is in the passenger seat.
PAUL
How you feelin?
RAY
Good man. I don't know what those
doctors did but like I said, I feel
like a new man.
Paul almost talking to himself looking out the window.
PAUL
I'm not sure if the doctors had much
to do with it.
RAY
What was that?
PAUL
Oh, I was just saying that it didn't
seem like the doctors had much to do
with your recovery.
RAY
Yah, the nurse did say something
about it being a miracle. Didn't
really get a better explanation than
that.
PAUL
You know Ray, I've been thinking.
We're rounding third. We've got some
time left but it's short. What
bothers me is I still don't know
what I'm gonna do with what I've got
left.
RAY
119
Well I know exactly what I'm going
to do. I'm gonna spend as much
quality time with my kids as
possible.
PAUL
I wish I could say the same. Your
kids are still at the age where you
can do that. Mine, well I can visit
but I always feel like I'm a burden.
They've got families of their own.
RAY
Oh, that's a lame ass excuse.
What is?
PAUL
RAY
Your kids are never too old! Their
your kids. Family is family. It took
me nearly dying to realize that.
PAUL
Doctor said you died, for a little
while at least.
RAY
Right. My point is that its simple
yet somehow, I never understood it
until now. It's like I spent my
entire life working for things that
weren't worth a rats ass while I
neglected the most important thing
in my life.
PAUL
Yah, it's strange. I was never very
good at connecting with the kids. I
love them, but I don't know, I guess
its hard for me to show it.
RAY
Believe me. I understand. But life's
too short to let a little discomfort
get in between you and your kids.
I've got a second chance. I'm not
going to screw up twice in a row.
Scene ends with exterior shot of bus driving away.
CUT TO:
124. EXT. BUS - DRIVING TO LASSEN - DAY
120
The bus begins to drive up the road to mount Lassen. Our
character pull into the parking lot.
CUT TO:
125. EXT. LASSEN PARKING LOT - DAY
Paul and Ray get out of the car and star up at the mountain.
Paul looks over at Ray.
PAUL
You sure you want to do this?
Of course!
RAY
PAUL
Just a few days ago you were pretty
adamant about not going to the top.
RAY
I changed my mind, so sue me
Ray points at something.
RAY (CONT.)
What's that?
Ray takes off running.
RAY (CONT.)
Last one to the top is a rotten egg!
Paul chases after him.
CUT TO:
126. EXT. SIDE OF MOUNT LASSEN - DAY
Ray is ahead of Paul on the trail. He turns to see Paul
having a bit of trouble hiking up the hill.
RAY
Come on old man! Shake a leg!
PAUL
I'm coming, I'm coming. Just go on
ahead if you want.
RAY
No way. We're gonna do this together
or not at all.
121
Alright.
PAUL
Paul walks up to where Ray is and sits down
breather. Paul looks out back down into the
a drink from his water bottle and wipes the
from the side of his mouth with the back of
to take a quick
valley and take
excess water
his hand.
PAUL
It's a bit surreal isn't it?
Ray nods his head looking out at the view from where they
sit.
RAY
Just a few months ago I would never
have even considered doing something
like this.
Paul turns to Ray.
PAUL
I never thanked you for coming on
this trip with me.
RAY
Hey, thank you for inviting me. I
would still be sitting back at my
house having a pitty party if it
wasn't for you.
PAUL
Your a good friend Ray.
RAY
Back atcha partner!
Ray slaps Paul on the back. Then as if just remembering,
Paul reaching into his backpack.
RAY (CONT.)
Hey, I've got a special suprise that
I've been saving for the right
moment.
He pulls out a couple of Lars Tetens cigars and hands one to
Paul.
PAUL
Ohhh, your the best man. I love
these.
RAY
But don't go smoking it now. Save it
122
for the top.
Certainly.
PAUL
Paul puts his cigar in his shirt pocket.
PAUL (CONT.)
What do you say we get moving?
RAY
Onward and upward!
Both men get back up and start walking.
CUT TO:
126.5 EXT. SIDE OF LASSEN DAY
This is a montage showing the men walking up and sitting on
the top of the mountain set to ambient, thoughtful music.
127. DRIVING HOME DOWN I5 - AFTERNOON
[Shots: Paul driving down I5 home.]
Narration by Danny:
DANNY (NARRATION)
I have often wondered what happened
on that trip. Dad didn't talk about
it much.
CUT TO:
128. DANNYS HOUSE - FRONT YARD - DAY
The bus is parked out in front of the the house. There is no
dialogue, only narration by Danny at this point.
Paul is walking up to to the front door and Danny comes out
with his daughter who runs up to give Paul a large hug.
DANNY (NARRATION CONT.)
He didn't have too. You could see
that something was different in his
eyes. He wasn't back his old self.
This was something new.
CUT TO:
129. DANNY'S HOUSE - BACK YARD - DAY
Family and friends are having a Bar-B-Q in the backyard.
123
Miscellaneous party decorations are placed around.
[Shots: Paul cooking burgers, children playing birthday
games, grandaughter blowing out candles on cake with Paul
holding her up, Paul having a good time, Danny watching his
father with a smile and some amazement, etc.]
DANNY (NARRATION CONT.)
It wasn't that he was back to his
old self. This was something new. I
once asked him what brought about
the change.
130. MT. LASSEN - DAY
Shot of Paul leaving the ring on the top of Mount Lassen.
DANNY (NARRATION CONT.)
"Letting go" he said.
THE END
124