ARTHUR'S ARTS

Written by

Brad Cook

FADE IN:

INT. ARTHUR’S RV - MORNING

GPS DEVICETurn right in 50 meters.

ARTHUR LOMAX (63) shoots a confused glance at his dash-mounted GPS device. Burly and bookish, he shifts his weight and rotates the GPS to face him.

The RV drifts slowly forward.

GPS DEVICE (CONT’D)Turn right ahead.

There is no right turn, just a row of cookie cutter houses.

Arthur emits a single hearty chuckle and snatches a piece of paper with an address off the center console. The AM Radio Show comes back from commercials.

AM RADIO HOST (V.O.)Welcome back folks, this is Kevin Merrill in the Morning on KPAZ 1020 AM, and if you're just tuning in then you're in for a treat because today is Talkday Tuesday!

At a stop sign, Arthur reads the address on the paper while notching up the radio volume.

KEVIN MERRILL (V.O.)(a bit more serious)

Our first e-mail today starts us out on a bit of a blue note, but it's a topic that, I think, will resonate with a lot of listeners.

Arthur accelerates, surveying the street names. He loses focus to the radio show as he drives.

KEVIN MERRILL (V.O.)It comes from Doubtful Debbie. She says, "Hi Kevin. I love your show, so it's sad that the first time I come to you for advice it's for something like this, but here goes.

Another glance at the paper, then he whirls the giant wheel to the right. The RV veers as it wrenches around the corner. A CRASH in the back of the RV jolts him.

KEVIN MERRILL (V.O.)“I met a man at a bar with some friends a few weeks ago and we really hit it off. We started seeing each other on weekends and everything was going really well until he told me that he was a recovering alcoholic!

Arthur’s face drops as he loses interest. He scans the addresses, and pulls over in front of a California-style ranch house.

KEVIN MERRILL (V.O.)“Needless to say, I was shocked. Now, I'm all for second chances, Kevin, but do you really think someone like that can change?"

Arthur turns the keys, shutting down the engine but not the radio. He listens.

KEVIN MERRILL (V.O.)Well, Debbie, let’s see what the callers have to say. Dennis from Paradise Valley, you're on the air.

DENNIS (V.O.)Hi Kevin, longtime listener, thanks for taking my call. I definitely think it's possible for people to change. Um, but having said that, I think in any situation like this, it's important to consider who is being affected.

He moves to get up, but can’t quite seem to. The GPS goes off again. He hits the power button.

DENNIS (V.O.)If it's a case of substance abuse, where it's likely that the person isn't really hurting anyone but themselves, I think it’s important that we give these people a second chance and an opportunity to change. People with, um, self-destructive tendencies like that are the ones who need help changing the most. If it’s someone who is physically or emotionally harmful, on the other hand, that's a different story.

2.

Arthur rises. From a table behind his seat he grabs a clipboard, checks for a pen in the clip. Tosses it onto the passenger seat.

KEVIN MERRILL (V.O.)Good points, Dennis, thanks for your call. Next we have Karen from Mesa, go ahead.

He drops to his knees and begins collecting his dispersed tools.

KAREN (V.O.)Yeah, hey Kevin. I just wanted to say that you can’t change people. I know from experience. My brother was a prick to me as a kid, and he's a prick to me now.

Arthur crawls toward the back of the RV, snagging the tools along the way.

KAREN (V.O.)I caught my ex-husband not once, not twice, THREE times with other women before I realized you can’t change people. It just don't work.

A humorless chuckle. He grabs a couple fine-bristle brushes, a magnifying glass. He places them in the toolbox.

KEVIN MERRILL (V.O.) (CONT’D)Wow... thanks for sharing your experiences, Karen. Some good opposing views, here. As for me, I'm sort of in the middle of the road. I believe in a second chance, but not a third. I do believe people can change, but also that there's a certain core to each human being that is so fundamental, so inherent, that it cannot be modified.

He tosses in a pair of gloves, some rags. Closes the toolbox and sets it aside.

KEVIN MERRILL (V.O.) (CONT’D)It's our job to figure out what falls inside that core, and what falls outside. Take from that what you will, Debbie. We'll be back after this.

3.

Hearing this, Arthur walks to the RV’s closet. He cracks it open hesitantly. There are some jackets, shoes, a walking cane, nothing remarkable. He stands, transfixed...

A KNOCKING breaks the silence. The passenger door opens. An elderly voice floats in:

OLD WOMANHello? Who’s there? Why are you in front of my house?

Arthur quickly shuts the closet. He turns and smiles.

ARTHURMrs. Billings, I presume?

He grabs his toolbox and heads for the door.

INT. BILLINGS’ HOUSE - MOMENTS LATER

MR. BILLINGSMust be a big fan of that Antiques Roadshow with your line of work, huh?

MR. BILLINGS (71) and Arthur sit on twin, opposing love seats, separated by an antique baroque-style coffee table.

ARTHURI enjoy it when I can, but when you’re on the road most of the year, you don’t really get your pick of the channels.

MRS. BILLINGS (69) enters the room with a tray of tea and cookies. She sets them on the coffee table.

MR. BILLINGSSusan just can’t turn it off. Unless the game is on. Heh.

Mrs. Billings sits next to her husband.

MRS. BILLINGSOh, if there’s no passing, punting, shooting, or punching, he won’t have it.

MR. BILLINGSI got my education forty years ago. I’m in my leisure years, woman.

4.

MRS. BILLINGSWould you like some tea, Arthur?

She pours a cup for herself and sits waiting for his answer.

ARTHURPlease and thank you.

Arthur notices there are only two cups.

ARTHUR (CONT’D)(To Mr. Billings)

Won’t you be having some?

MR. BILLINGSBah. You Loyalists can keep your England-juice. I’ll take ol’ Java.

Arthur sips the tea.

ARTHUR(smiling)

As I recall, coffee wasn’t the beverage that had a hand in shaping American independence.

MR. BILLINGSYeah, well... it tastes better.

MRS. BILLINGSEd, go get the box, will you?

MR. BILLINGS(saucy)

I like it when she tells me what to do.

Mr. Billings leaves.

MRS. BILLINGSWhat do you think of the table, Arthur?

Arthur admires it.

ARTHURIt’s gorgeous. You don’t see too many of these nowadays, especially this far West.

MRS. BILLINGS(proud)

It was my grandmother’s.

5.

Her family got it as a gift when she lived in Philadelphia. It’s Dutch.

He admires the table for a moment more.

ARTHURThat’s quite a generous gift.

He waits a moment.

ARTHUR (CONT’D)Actually, though, that’s a common misconception. Although people refer to these pieces as Dutch, it’s actually a mistranslation of Deutsch. They originate from German settlers to Pennsylvania in the late seventeenth century.

MRS. BILLINGSOh, my! It’s just like the Roadshow!

Mr. Billings enters the room with a small jewelry box.

MR. BILLINGSHere she is.

He sets it down on the table.

ARTHURCoincidentally enough, this piece actually is Dutch.

INT. MESA FLEA MARKET - LATER

Arthur enters through a large, ornate foyer. He prowls the grounds.

Bustling with quirky patrons that range from the morbidly obese, to punk teenagers, to foreign grandparents.

He walks up to the nearest vendor.

ARTHURHi, how are ya. Could you point me toward Administration, perchance?

The gaunt yet cheery woman simply smiles at him and points.

Arthur shoots a thank-you wave and walks on.

6.

He enters a small office that reads “Administration” on the door. TIM FULLER (38), a chubby, bald man with glasses, sits at his desk undisturbed. Arthur waits a moment, then speaks.

ARTHUR (CONT’D)Excuse me.

TIM(sigh)

No, sir, I don’t know where your family is. The help desk is out the door and to the left.

ARTHURI’m... actually here for booth space. I called last week.

TIMAh, right...

Tim shuffles through papers in his tray. He finds one that says “Schedule”. There’s only one name.

TIM (CONT’D)Arthur? From Arthur’s Arts?

ARTHURThat’s me.

TIMOkay guy, follow me.

They walk out the door.

INT. ARTHUR’S BOOTH - MOMENTS LATER

Arthur puts out various cups, plates, figurines, jars, signs, and more on tables and shelves. He smiles at a little boy who walks by wide-eyed.

Three young girls walk up and admire a set of old wine glasses on his table.

HEATHEROh my God! These would be totally perfect for Amy’s twenty-first!

NATALIEHeather, you can’t just say that with her here.

AMYEh, they’re kinda ugly anyway.

7.

Arthur guffaws. The girls notice him for the first time.

ARTHURIt’s Georgian glass. They’re older than your great grandparents.

HEATHERLike that’s a good thing?

ARTHURBirthday coming up?

AMYYes. And yes, I’m going to get drunk. I don’t need a lecture.

ARTHURHey, you only live once. Remember that in confidence and in caution, and you’ll do fine.

A pause.

ARTHUR (CONT’D)But you probably shouldn’t even drink water, let alone alcohol out of these. They’re lead glass.

NATALIEWhat, are they made in China or something?

ARTHURThey’re from England, early eighteen-hundreds. Named for the period of the first four King Georges. There are a few easy ways to tell.

Natalie and Amy pull in closer. Heather stays behind disinterested.

ARTHUR (CONT’D)Since each glass was made by three different people, it left some marks.

He grabs a cup and turns it over. Points to where the stem and foot connect.

ARTHUR (CONT’D)The junior craftsmen would make only the foot, which was always wider than the bowl.

8.

When it had cooled, it was snapped off from the pipe, leaving this pontil mark.

NATALIEIsn’t that a soup?

ARTHURWell, I’ve never seen a soup made of glass rods. But if you have, then yes.

Amy lets a chuckle slip out.

AMYWho made the rest?

ARTHURThe master craftsman made the stem, then the Gaffer made the bowl and connected the pieces.

NATALIEThey sound lazy.

ARTHURYou can’t afford to be lazy when you have a King to serve.

He sets the cup down.

ARTHUR (CONT’D)Anyway, if you have two-thousand bucks to blow, they’re all yours.

HEATHERNice history lesson, mister.

(to the girls)Let’s go.

She walks away.

AMYThat was neat. Thanks.

ARTHUREnjoy your birthday.

The other two walk away.

Arthur returns to putting out his items.

The vendor in the booth opposite his speaks:

9.

MIDDLE-EASTERN MANThat was impressive, my friend.

ARTHURWhat do you mean?

MIDDLE-EASTERN MANMaybe it’s my accent, but you just got more attention than I have in the past week.

Arthur chuckles.

ARTHURI don’t even think that’s possible.

Two very old women walk by.

MIDDLE-EASTERN MANHello, ladies!

They walk away giggling.

MIDDLE-EASTERN MAN (CONT’D)You see what I mean? You, though, you do something to people.

Arthur looks away.

ARTHURThat’s one way to put it.

EXT. FLEA MARKET PARKING LOT - LATE AFTERNOON

Arthur wheels a cart containing his antiques.

He opens the trailer attached to the RV, revealing an elegant setup. It’s full of shelves, padded and lined with blue satin. Each shelf has a cover that blocks items from falling out.

He begins placing his items on the shelves. Various ceramic plates, a large fancy clock, old mugs of famous peoples’ faces.

MIDDLE-EASTERN MANYou need the name of a hotel, my friend?

Arthur turns. The man is right behind him.

ARTHURYou’re pretty sneaky.

10.

MIDDLE-EASTERN MANNo no. You’re out of it, man. I called to you.

ARTHUROh... well no, thank you. I’ve got to get as far as I can tonight.

MIDDLE-EASTERN MANHaha! Too much desert for you, ah?

ARTHURNot at all. I can appreciate the isolation. But, I have an appraisal in Santa Fe early tomorrow.

MIDDLE-EASTERN MANWell, it was nice to meet you, my friend. Be well in your travels.

Arthur watches him saunter away, then finishes packing his items. Antique cowboy boots with spurs, jeweled bracelets and necklaces.

One spot in the back-center remains empty.

He looks at the setting sun, then his watch. He closes the trailer, double-padlocks it, then gets in the RV drives.

INT. ARTHUR’S RV - NIGHT

Arthur yawns, checks his watch. 1:28 AM.

He turns down the all-night Jazz radio. Next to it, an empty Big Gulp.

As he drives, he watches the signs. One says “Rest Stop 2 Miles”. A look of relief.

He taps a button on his GPS and it lights up. It reads “236 Miles to Destination”. His relief washes away.

ARTHURAt least I get the worm.

Two motorcycles whir past him.

He pulls into the rest stop. It’s a sad, run-down version of what it used to be.

Arthur parks the RV. The lot is empty except for him.

He gets out and walks quickly toward the building.

11.

The open building is split by a large hall. Bathrooms on either side. Fliers promoting state parks, attractions, and events litter the walls.

One catches his eye. It reads “NATIONAL ANTIQUES CONVENTION” with a list of dates. He rips it off the wall and pockets it.

He walks into the Men’s room.

CUT TO:

Arthur exits the stall and goes to wash his hands. He looks up, expecting a mirror, but there is none.

The loud WHINE of multiple motorcycles grows to a fever pitch over the muzak, then winds down to nothing.

Arthur pauses intently. He finishes washing his hands, then exits.

He examines the parking lot. There’s only his RV.

At a brisk pace, he walks to it.

At the driver door, he looks around. Still nothing in sight.

He walks to the back of the RV. The trailer is undisturbed.

As he creeps around the right side, two motorcycles parked against the RV come into view.

The CRASH of something heavy hitting Arthur’s head.

Black.

INT. ANTIQUE SHOP - NIGHT (DREAM)

A dusty, dimly lit room. Shelves covered with antiques.

A frail, old woman is standing in a corner, looking down...

She starts slowly walking backwards. She almost floats.

She comes to an open door. Still looking down.

She begins descending the steps backwards, slowly.

She LOCKS EYES with the dreamer right before she disappears into pure darkness.

END DREAM.

12.

EXT. REST STOP - EARLY MORNING

Arthur opens his eyes.

A Coke can, a strip cut out of it. Two open padlocks.

As he comes out of his daze, a realization. He looks up. Two open doors.

The sun is rising.

He lays his head back down. Reaches up and holds it in pain.

ARTHUR(mumbles)

At least I got the worm.

He stands laboriously.

Surveys the trailer. Completely empty.

He closes the doors and sits on the trailer’s bumper. He rubs his head again. A light smattering of blood. He wipes it off.

To his right, he notices a broken glass. The Georgian wine glass from the flea market.

He picks it up. Examines where the stem broke off the foot. The shattered bowl.

ARTHUR (CONT’D)Should’ve just given it to her.

Arthur gets up and starts to walk, wavering slightly.

The driver door is locked still.

He pulls out his keys and opens it. He looks around inside.

He heads straight to the closet.

Jackets. Shoes. A walking cane.

A tear runs down his cheek.

He slams the closet door.

INT. ARTHUR’S RV - MORNING

Arthur drives.

His eyes are red and hardened.

13.

The radio plays golden-oldies:

SINGER (V.O.)I’ve got spurs that jingle, jangle, jingle!

Arthur hits the power button.

After a minute, he turns it back on. Switches to A.M.

A woman with a Midwestern accent speaks:

CALLER (V.O.)And that’s when he took the money and pushed my son down!

The female radio host’s soft Southern voice interjects:

HOST (V.O.)Oh, no.

CALLER (V.O.)They even had the nerve to laugh at him while he was on the ground.

He looks at the dried blood on his hand.

CALLER (V.O.)Needless to say, the bullies were not properly punished.

Arthur’s face lacks sympathy.

ARTHURTough luck, kid.

He screens the stations until he finds another.

A male reporter:

REPORTER (V.O.)Nowadays, Brick gets his money more legitimately.

The desert highway landscape slowly sprouts a city.

A gruff man speaks:

BRICK ROLLINS (V.O.)When I got out of the pen, a buddy of mine got me a job as a bodyguard.

The exit sign for Santa Fe approaches.

14.

BRICK ROLLINS (V.O.)I saved up some money, started my own business, and now I employ ten bodyguards of my own.

Arthur WHIPS the RV over to make the next exit.

The toolbox CRASHES onto the floor. Arthur doesn’t notice.

REPORTER (V.O.)A far cry from your history of assault and robbery.

BRICK ROLLINS (V.O.)I figured, you know, I had my fun. Hey, this is easier, anyway!

A look of contempt.

He turns the radio back off as he comes to a stoplight.

Arthur’s cell phone rings. He ignores it.

A man on the side of the road, dancing with a sign, catches his attention.

Looking past him, he notices his bank. He turns in.

He parks and walks to the ATM.

After he inserts his card and information, he chooses Check Balance.

He sighs.

INT. MOTEL OFFICE - AFTERNOON

ARTHURNeed a room, please.

A droopy, aging woman speaks lazily:

MOTEL CLERKAny preference where?

ARTHURI don’t care.

MOTEL CLERKThat makes two of us.

She hands him a rusty, old key.

15.

MOTEL CLERK (CONT’D)108, other side.

He walks out hotly.

Passing his RV, he walks around the corner of the motel.

He comes to a room at the next corner. It reads 108.

He grinds the key in and turns it. It opens revealing a dim, cramped room.

Arthur steps in and shuts the door, enveloping him in darkness.

He quickly snaps the light on. Opens the blinds covering a window left of the door, then one on the right wall.

Outside the second window, a Southwestern building with a neon sign that reads Hot Rocks Bar and Grill.

INT. HOT ROCKS BAR AND GRILL - AFTERNOON

The place is empty, but for a few stragglers. An old, sorrowful Western tune plays softly over the speakers.

Arthur sits at the bar, a few drinks in. Looking down.

He stares at the whiskey, disgustedly, as it swirls around the cup.

He knocks it back.

A grizzled COWBOY a few seats down pipes up in a baritone:

COWBOYYou know yer head’s bleedin’.

Arthur slowly turns to the right.

ARTHUR(non-chalantly)

What color is it?

The cowboy looks confused for a second, then chuckles.

COWBOYHad a few too many?

ARTHURNot yet.

16.

Arthur raises his glass. The bartender walks over, refills it.

COWBOYThat’s some determined drinking. I’d salute ya, but I get the feelin’ it’s not celebratory.

The cowboy downs his own shot.

Arthur stays quiet.

COWBOY (CONT’D)So, what do you do, Yankee?

ARTHURWell, up until this morning, I was an antiques dealer.

Arthur takes a drink.

ARTHUR (CONT’D)Now I guess I’m just an appraiser. Luckily you can’t steal knowledge.

The cowboy grimaces. Lifts his empty cup.

COWBOYThat due to the lump on your head?

ARTHURThat and my own stupidity.

COWBOYThat’s a bad box. You go to the authorities?

Arthur drinks again, then lifts the glass for a refill.

ARTHURNever liked Police.

COWBOYSame here, partner.

They both drink. The bartender fills their glasses.

Arthur reaches into his pocket for a tip. He pulls out a folded up piece of paper.

He unfolds it. The words NATIONAL ANTIQUES CONVENTION pop off the page.

17.

ARTHURWhat timing.

The cowboy moves over a few seats.

COWBOYYou were plannin’ on goin’, I reckon.

ARTHURStrangely, I’ve never heard of it. And I grew up around antiques.

COWBOYWell I’m at sea when it comes to all that. But it would seem like a hell of an opportunity to me.

Arthur looks over bitterly, making eye contact for the first time.

ARTHURI’ve got nothing! Not one piece to my name!

He looks back down.

COWBOYWell, ain’t nothin’ stopping you from getting some more, is it?

Arthur snorts.

ARTHUROnly time and money.

He stares intently at the flier.

COWBOYSeems to me it’s by hook or crook.

They lock eyes for a moment.

The cowboy looks away. Arthur’s gaze distractedly returns to the flier.

COWBOY (CONT’D)And it’s like you said, partner. They can’t take your knowledge.

The cowboy pulls out some bills, lays them down.

18.

COWBOY (CONT’D)Well sir, I been here since noon. I reckon it’s time to get my day started.

Arthur watches him stride out the door without looking back.

He locks in on one of the dates on the flier: June 21 - Dowagiac, MI.

He stares.

Arthur takes another drink. He lifts his glass.

EXT. HOT ROCKS BAR AND GRILL - NIGHT

Arthur drunkenly wobbles across the empty road to his motel room.

He tries to insert the key upside-down. Tries again and drops it. Tries a third time. He can’t get it in.

He looks up in exasperation. Out of the corner of his eye, he notices the tail of the RV.

ARTHURHa!

His face reads salvation.

Arthur hobbles his way over.

He pats his pockets, then reaches in and finds his keys.

A sigh of relief.

He tries the door. It’s unlocked.

Going up the steps, he trips and bashes his head on the door frame.

Arthur sways as he walks forward. He flops sideways onto the RV’s bed.

INT. ANTIQUE SHOP - NIGHT (DREAM)

The dreamer walks up the steps in slow motion.

All around is black.

A rectangular vision of the same dusty, dimly lit room sits at the top.

19.

From the side, a frail black figure slowly creeps into view.

The figure’s long, dark hand slides over and closes the door.

END DREAM.

INT. ARTHUR’S RV - MORNING

Arthur awakens abruptly. He sucks in air.

He quickly gets up and opens the blinds. The dark RV explodes with light.

He drops back onto the bed. Holds his head as it throbs. His cell phone lay on the bed next to him. He turns it on.

An alert pops up: 8 Missed Calls.

He looks up. Across from him, the closet.

His cell phone rings, breaking his fixation.

He pulls it out of his pocket, begrudgingly. Answers it.

ARTHURHello.

An OLD WOMAN speaks.

OLD WOMANOh, hello. Is this Arthur’s Arts?

ARTHUR(hesitates)

Uh... Yes.

OLD WOMANOh, good. My name is Bea Trudy. I tried calling a couple times yesterday, but no one answered.

ARTHURA few times, yes.

BEAWell the ad said call day or night.

Arthur looks confused.

ARTHURWhere are you located, ma’am?

20.

BEAI’m a few miles outside of Topeka.

ARTHURKansas? That ad is over a year old, ma’am.

BEAOh, I’m sorry, dear. Ever since my Glen passed, I’ve had no one to help keep my head on straight.

Arthur ponders.

ARTHURI’m sorry to hear that. How can I help you?

BEAYour ad says you do appraisals?

ARTHURThat’s correct.

BEAWell, I’m behind on my mortgage, so I thought I would have someone come take a look at a few of the family heirlooms.

Arthur thinks.

ARTHURI can swing by Topeka. However, due to prior engagements, the only time I can do it is tonight.

BEAI suppose that would be okay. I’m usually in bed by 9, but I’ll watch Leno until you arrive.

ARTHURWell, I wouldn’t ask you to do that. But I will need your address, ma’am.

BEAOh, let me think... Ten-Fifteen, Westward Way.

ARTHURDo you know the zip code?

21.

BEAI’m sorry, I don’t. Glen took care of my correspondence.

ARTHURThat’s just fine, ma’am. I’ll take care of it from here.

BEAOh, you’re very kind.

ARTHURMy pleasure. I’ll see you later tonight.

BEAThank you so much, Art. Goodbye.

Arthur closes his phone, then chuckles.

EXT. BEA TRUDY’S HOUSE - NIGHT

Arthur knocks on her door with his free hand.

The other is supported by a walking cane.

Arthur fidgets.

The door creaks open, revealing a tiny old woman.

BEAHello! You must be Art.

ARTHURArthur, actually. From Arthur’s Arts.

BEACome in, come in.

Arthur walks in.

The dim room is adorned with antiques.

ARTHURYou’ve got quite a collection, here.

They sit down. Bea beams.

22.

BEAOh, thank you. Most of them were Glen’s. Since he passed, I’ve grown quite fond of them.

She looks away, hurting.

Arthur looks away, too. He rests his hand on the cane.

BEA (CONT’D)He would understand my situation, don’t you think?

Arthur is bewildered for a second, then catches himself.

ARTHURI do.

They sit in silence for a moment.

BEASo, how did you get into the antiques business?

He furrows his brow.

ARTHURI actually grew up in an antique shop.

BEAGoodness! Every day must have been an adventure!

ARTHURThe woman who owned it raised me on a strict no touching policy. Not much fun for a child.

Arthur grows visibly uncomfortable.

ARTHUR (CONT’D)Of course, that only intensified my curiosity.

He looks at the antiques around him. The little old lady. He begins to sweat.

BEAAre you all right, Arthur?

He removes a handkerchief from his back pocket. Wipes his forehead.

23.

ARTHURYes, I, uh...

He pulls his phone from his pocket. Opens it up. Just the home screen.

He closes it.

ARTHUR (CONT’D)I’m so sorry, Bea, but something has come up. Could we reschedule for tomorrow night?

BEAYes, of course.

Arthur stands and walks with the cane to the door. He looks back.

ARTHURI apologize for keeping you up this late.

He exits.

Carrying the cane, he walks briskly to the RV.

He opens the door, tosses the cane to the closet, then stumbles to the bathroom.

As he drops to his knees and lifts the seat, he vomits.

He hurls again.

Resting his arm on the bowl, he groans, then flushes.

He stands slowly and moves to the sink. He runs the water and wipes his mouth. Swishes some around and spits it out.

He stares at himself in the mirror as he turns off the water.

He stares, unblinking.

INT. ARTHUR’S RV - LATER

Arthur pulls into the parking lot of a shabby motel.

He drives to the back, parks in the dark.

Before he turns the engine off, he flips a switch. It illuminates a row of track lights on each side of the RV. The interior glows.

24.

He spins to face the back.

Arthur inches the driver door open. He peeks out.

A few lonely cars dot the landscape. The woods beyond meet his gaze with a wall of blackness.

ARTHURFour wheels, at least.

Arthur closes the door, locks it.

He saunters to the bed. Lays down facing away from the closet.

His eyes won’t stay closed.

INT. ARTHUR’S RV - MORNING

Arthur awakens facing the closet.

The cane lays on the ground, reaching out to him.

He sighs.

ARTHURJust can’t leave me alone.

He gets up to turn on the radio.

He snaps it on. Static. Clicks over a few stations.

A brash, loud CALLER speaks:

CALLER (V.O.)So ya see what I’m saying, Rich? Either I sell the factory and they move the jobs overseas, or I can’t support my family.

Arthur sits on the bed. Leans back.

RICH (V.O.)Sounds like your hands are tied, Jim.

JIM (V.O.)The economy being the way it is, I can hardly keep the lights on, ya know?

RICH (V.O.)There are no guarantees.

25.

JIM (V.O.)I’m really losing sleep over this, Rich. A lot of people depend on me.

His eyes won’t stay open.

RICH (V.O.)Here’s what I think, Jim. Just because these people depend on you doesn’t mean you owe them anything.

Arthur’s brow furrows.

JIM (V.O.)You think?

RICH (V.O.)Well let me put it like this. Without you, they never would’ve had those jobs in the first place.

JIM (V.O.)I guess I never thought about it like that.

RICH (V.O.)Listen, Jim. You need to start thinking about yourself.

Arthur opens his eyes. The cane reaches out...

RICH (V.O.)Each of those workers has to deal with their own problems. Your top priority should be your family.

He scoots forward and grabs it.

JIM (V.O.)Some of those guys are practically family, though, Rich.

RICH (V.O.)We’re talking about the two most fundamental levels of Maslow’s Hierarchy, here.

He studies it carefully as he holds it.

RICH (V.O.)We’re talking hunger, thirst, the need for shelter and security.

Arthur runs his hand over the smooth wood.

26.

RICH (V.O.)What it comes down to, Jim, is you. What kind of man are you going to be? The kind that lets his life sink because of one mistake? Or the kind that keeps himself afloat with honor?

The host cuts Jim off before he can respond.

RICH (V.O.)You’re listening to the Rich Henley show. Don’t go away.

Arthur stands up using the cane.

He sets it in the closet, but doesn’t close it.

In his seat, Arthur powers up the GPS. He clicks the Utilities button, finds Libraries. The GPS maps out the route.

INT. LIBRARY - LATER

Arthur enters. As he approaches the help desk, a perky female LIBRARIAN speaks up:

LIBRARIANHi there, sir! How can I help you?

Arthur snaps out of a daze.

ARTHUROh, yes... I’m looking for the yellow pages, please.

She steps out from behind the counter.

LIBRARIANWell I can certainly help you with that! Follow me.

She strides off briskly. Arthur follows.

They pass Young Adult, Fiction, Non-Fiction, Occult.

Finally, at the back, they end up at a single pay phone. A phone book and the yellow pages hang down on chains.

LIBRARIAN (CONT’D)Here we are!

27.

Arthur reaches down, grabs the yellow pages.

ARTHURThanks.

He thumbs through the pages.

The Librarian stands, smiling blankly at him.

Arthur notices.

LIBRARIANDo you need help finding anything?

Arthur smiles.

ARTHURThank you, no.

She stays.

He looks up at her.

LIBRARIAN(grumbles)

Let me know if you need help.

She sulks away.

Arthur flips through the pages, landing on F.

INT. DALE’S FARMING AND FERTILIZERS - LATER

Arthur enters. A nerdy CASHIER behind a counter looks up.

CASHIERNeed any assistance?

Arthur turns.

ARTHURIs everyone in Kansas so helpful?

CASHIERI believe so, yes.

ARTHURI’ll let you know. Thanks.

He begins weaving through the aisles until he finds what he needs.

A bag of fertilizer. It says 90% + KCl Guaranteed!

28.

He struggles to pick it up.

ARTHUR (CONT’D)I could use some of that Kansas hospitality, son.

The cashier heads over.

Arthur points.

ARTHUR (CONT’D)This one, please.

The cashier struggles almost as badly as Arthur.

ARTHUR (CONT’D)You know what, I actually don’t need that much. Let’s go with the medium.

CASHIERGood idea.

He picks it up. They both head to the counter.

The cashier talks as he rings it up.

CASHIER (CONT’D)You a gardener?

ARTHURI wouldn’t go that far. I have a few plants that aren’t yielding much, and I read that Potassium fertilizer could help.

The cashier nods.

CASHIERIf yield is what you’re going for, then you heard right. This stuff is like steroids for plants.

ARTHURWell, you don’t win growing competitions with light and water.

They both chuckle. Arthur hands him the cash. The cashier hands him the change, bags up the fertilizer.

He grabs it.

ARTHUR (CONT’D)Take care now, son.

29.

He walks out, relieved.

EXT. BEA TRUDY’S HOUSE - NIGHT

The RV glows.

Arthur pours water into a paper cup with Potassium Chloride. He mixes it.

He looks in the mirror. An uneasy look stains his face.

He puts the materials away in the closet. Reaches for the cane.

He hesitates.

Arthur steps back and sits on the bed. Closes his eyes.

He relaxes as a sudden calm washes over him.

Arthur pulls his phone from his pocket. He calls Bea.

A sweet old voice answers:

BEA (V.O.)Hello?

Arthur smiles.

ARTHURHello, Bea.

BEA (V.O.)Oh, Art! Are you feeling better?

ARTHURI am, thank you.

He walks to the closet.

ARTHUR (CONT’D)I’m on my way over, if it’s not too late.

He grasps the cane. Pulls it out.

BEA (V.O.)Yes, that’s just fine.

He steps over to the bed. Sits. He grazes the cane with his hand.

30.

ARTHURHow is Leno tonight, Bea?

Arthur slowly grips the handle. He closes his eyes, then gives it a stiff twist. A soft pop.

BEA (V.O.)Oh, it’s very funny.

The handle of the cane pops off.

BEA (V.O.)He went Jaywalking, and he was asking people to point out Afghanistan on a map!

A half-concealed syringe pokes out of the hollow cane handle.

Arthur chuckles through his pained expression.

ARTHURHow many people got it?

He sets it to speakerphone.

BEA (V.O.)Not many, let me tell you. Although I don’t think I could either!

He lays the phone on a ledge. Walks to the bathroom.

ARTHURHow long were you and Glen together, Bea?

She pauses.

BEA (V.O.)Well, let me see. I was working in a malt shop when I met him, so I must have been about twenty-one.

Arthur grasps the syringe sticking out, pushes the top of the cane down to empty the air.

BEA (V.O.)He died last year, and I was eighty-four.

He guides the needle into the cup with his hand.

ARTHURSixty-three years. That’s quite an accomplishment, Bea.

31.

He pulls up on the cane, filling the syringe with the milky liquid.

The line is quiet a moment.

BEA (V.O.)(wistful)

It wasn’t an accomplishment. It was a gift, all of it...

Arthur pauses.

BEA (V.O.)It’s funny, he told me he was twenty-three when we met. He was actually twenty-five! My parents were not happy.

He listens.

BEA (V.O.)When he got drafted, I about lost my mind. We always said we would be together when our time came.

He carefully sheaths the top of the cane into the bottom.

BEA (V.O.)Turns out he was the lucky one. I was by his side the whole time.

He walks back to the bed, sits. The phone rests on the ledge beside him.

BEA (V.O.)All I can do now is survive until the Lord sees fit to reunite us.

As he stares down at the cane in his hands, his eyes well-up. His face is bitter for a moment.

ARTHURThat’s beautiful, Bea.

He lays the cane down. Wipes his eyes. Sighs.

ARTHUR (CONT’D)Well, I’m pulling up now. I’ll see you in a minute, okay?

Out of the toolbox by his bed, he pulls a pair of gloves.

32.

BEAOh, good! I’ll open the door. Goodbye, Art.

Arthur closes the phone.

EXT. BEA TRUDY’S HOUSE - MOMENTS LATER

Arthur exits the RV.

Across the way, Bea’s door opens. A light in the darkness.

A small shadow slowly slides into the doorway.

Arthur halts.

He closes his eyes.

Arthur approaches.

BEACome in! Come in!

He walks, his eyes down.

She waves him in as he climbs the steps.

Arthur stops in front of the door.

ARTHURThank you.

He calmly strides inside.

He looks down at the cane. His gloved hands.

He turns to face her.

ARTHUR (CONT’D)You can go now, Bea.

As she closes the door, a soft pop rings out.

Arthur gently plunges the syringe-tipped cane handle into her neck.

He turns as she slumps to the ground.

He sheathes the cane handle back into the shaft. Stands it against a side table.

His face is stoic.

33.

Arthur seizes Bea’s body. He pulls her toward the couch.

He sits on it as he grabs her below the arms. Her body slides up onto the couch as he pulls.

He lays her head back. Folds her hands in her lap. Gently closes her eyes.

Arthur walks to the front door. He steps out into the night as he opens it.

He makes the long walk back to the RV, caneless.

Inside, he grabs a large duffel bag and his toolbox. He puts the box inside the bag. Leaves the door unlocked as he exits.

Back inside Bea’s house, he closes the door. She sits peacefully on the couch.

He surveys the variety of antiques that line the walls: Tea cups, a Civil War handgun, colorful old signs and bottles, cups and glasses of all sorts.

ARTHUR (CONT’D)(solemn)

You had a good eye, Glen.

He sets the duffel bag by the couch.

Arthur walks to the kitchen. He searches.

Through the walkway, he enters the next room. A year’s worth of newspapers are stacked along the far wall.

As he moves to them, he passes a table. A ceramic fruit bowl, a fancy old candelabra, and a newspaper lay atop.

An advertisement is circled on the page.

As he gets closer, he sees that it’s his ad.

He snatches the paper, sets it on top of the oldest stack of newspapers. He takes the stack back to the other room.

He pulls the toolbox out of the bag, opens it. He removes a micro-fiber cloth.

Arthur chooses his souvenirs carefully. Removing each, he gently blows away the dust on the shelf, leaving no trace.

As he picks them, he meticulously, hypnotically cleans them with the cloth. He wraps each in newspaper, then tenderly sets them into the duffel bag.

34.

Last, he puts in the cane. He zips it up.

Arthur surveys the room again. It’s hardly noticeable that anything has been taken.

He opens the door. Toolbox in one hand, duffel in the other, he exits.

The door closes.

Bea sits peacefully on the couch. Eyes closed, hands folded.

INT. ARTHUR’S RV - LATER

Arthur’s weary face sags as he drives.

An upcoming sign reads Blue Springs, MO.

He turns up the radio. A woman CALLER speaks in between sobs.

CALLER (V.O.)It’s just that all these memories of her keep popping up.

A silky-voiced HOST soothes her.

HOST (V.O.)I know.

Arthur flips his turn signal on.

CALLER (V.O.)How are you supposed to deal with them? Do they ever stop? Oh, God, what if they do stop?

He turns the large steering wheel slightly.

HOST (V.O.)The first step is to slow down.

Arthur comes to a stoplight.

HOST (V.O.)You have to realize that this is a natural process. Slow down and let yourself mourn.

The woman weeps.

Arthur scans the Lodging sign as he waits.

35.

HOST (V.O.)It’s going to hurt. A lot and for a while. But you have to acknowledge that she’s gone.

He turns as the light changes.

CALLER (V.O.)(snaps)

I know she’s gone!

HOST (V.O.)And I know you know. But you haven’t yet accepted it. Accepting death doesn’t come easily.

Arthur scoffs. He drives.

HOST (V.O.)Death plants in us a seed. One of doubt, fear, anger, guilt, you name it. It’s up to us to shine a light on it until it grows into acceptance.

He spots a motel up the road.

HOST (V.O.)In that light, those memories will be a lot more pleasant.

CALLER (V.O.)Yeah, well, easier said.

Arthur turns in.

HOST (V.O.)I wish you the best. Take care.

He turns the radio down. Quietly parks the RV in the back, avoiding the front office.

Arthur flips on the RV’s interior lights. Switches off the engine.

He unbuckles and stands. Stares down the walkway.

The duffel bag sits on the bed.

He walks over to it. Sits in front of the bed.

Arthur grabs the bag. Unzips it.

36.

A variety of lumpy shapes, with a cane laid neatly atop. He stares reverently.

He pulls one out. Unwraps the newspaper.

An ornate compass. He admires, turns it. The needle is still.

He sets it atop the bed.

Arthur reaches back in. Pulls out another.

He unwraps a colorful old cigar box.

His wide-eyed gaze is fixed.

He opens it. It’s empty.

Sets it on the bed.

He opens another. A bronze mortar and pestle.

Entranced, he studies it.

Sets it on the bed.

Arthur reaches in for another.

INT. ANTIQUE SHOP - NIGHT (DREAM)

A dusty, dimly-lit room. Shelves covered with antiques.

The dreamer stands in the corner.

A woman wails eerily in the distance.

He turns.

Across the room, an open door. Darkness claws at the edges.

The woman groans louder.

He walks toward the door.

The weary moaning grows louder, deafening.

As he gets to the door, the blackness rushes out to him.

END DREAM.

INT. ARTHUR’S RV - MORNING

Arthur lays sprawled on his stomach.

37.

Newspapers scatter the RV floor.

A lineup of antiques bears down from the bed.

In the middle, a weathered, creepy garden gnome glares down intensely.

Arthur meets his gaze. Can’t hold it.

He props himself up, then turns on his back.

Stares at the ceiling.

Static from the radio softly hangs in the air.

He moves his arm. It hits something.

He turns to see the cane. His visage darkens.

Arthur sits up.

He grabs some newspaper from the floor. Pulls an item off the bed, wraps it up. Places it in the duffel bag.

He carefully, quickly wraps the rest, places them in the bag. Zips it up. Heads to the door.

The bright morning engulfs him as he opens it. He squints, frowns.

He quietly closes the door. Scans the parking lot as he walks to the trailer.

Not a car in sight.

Arthur sets the bag at the foot of the trailer. Opens it.

Rows of empty shelves. A strained look on Arthur’s face.

He picks up the bag, sets it inside. Unzips it.

Pulls out the first piece. Unwraps it.

The Civil War Handgun.

Arthur’s gloved hands tremble as he holds it.

He looks down the barrel.

After a moment, he slides it onto a shelf. Closes the cover.

He reaches down, grabs another. Unwraps it.

The compass.

38.

Arthur studies it with big, wet eyes.

The needle still, he places it on a shelf.

Unwraps another. An old, silver goblet. Finely detailed.

A tear slides down his cheek as he turns, inspects it.

He places it on a shelf, closes the cover.

As he reaches down for the next item, a marker-drawn circle stands out on the page.

He picks it up slowly. The words “Arthur’s Arts” stand out in big bold letters.

He inhales sharply. Bites his lip. His eyes are flooded.

MOTEL MANAGERHey yew!

Arthur turns, shocked.

A portly, unkempt man with a few teeth missing stands behind him.

MOTEL MANAGER (CONT’D)Yew deaf er somethin’?

Arthur’s mouth hangs, speechless.

MOTEL MANAGER (CONT’D)Yew been here all night? Tryin’ ta git a free ride, er somethin’?

Arthur shakes his head.

ARTHURNo... no I just pulled in here a few minutes ago.

The man considers it.

MOTEL MANAGERWhatchoo doin’ wit’ all them old things?

Arthur wipes his eyes.

ARTHURI’m an antiques dealer.

MOTEL MANAGERIs that whatchoo so sad about? Ha!

39.

Arthur forces a smile.

ARTHURNo, I just... lost a friend.

MOTEL MANAGERWell lemme know if ya find ‘em!

The Motel Manager walks away, laughing to himself.

The politeness melts from Arthur’s face. He furrows his brow, scowls.

He looks down at the item in his hands. His ad circled on the paper.

He unwraps it. A knowing gnome face peers out.

INT. ARTHUR’S RV - MOMENTS LATER

Arthur sulks petulantly as he paces.

He KICKS the empty duffel bag. It FLOPS into the wall.

Arthur stands, enraged.

He turns his head suddenly.

A drawer below the bed.

He drops to his knees. Opens it.

A notebook. A pen.

He picks them up. Closes the drawer.

Arthur sits back against the bed.

He opens the notebook.

The pages are yellowed, dog-eared. Half of them have been torn out.

There are indentations from pages past. They all say the same thing.

Arthur’s strained face looks down at the page.

He opens the pen and neatly writes:

“My name is Arthur Lomax, and I kill people.”

He grits his teeth.

40.

Arthur drags the pen back over the words, darkening them.

His hardened eyes gaze down intensely.

He traces it again. Presses harder.

A KNOCKING startles him. He drops the pen.

Arthur opens the drawer, tosses the items in.

Another knock.

He moves to the door. The Motel Manager peers in through the window.

MOTEL MANAGERYew gonna git a room, er what?

EXT. NEW FLORENCE FLEA MARKET - LATER

Arthur pulls into a tiny, crowded parking lot.

The spots are all full. He huffs.

Arthur pulls the RV along a turn in the grass.

He turns the engine off, exits the RV.

He takes a deep breath.

Before him, a huge, shoddy warehouse with a cheap banner: New Florence Flea Market.

Arthur walks back to the trailer.

He pulls his keys out of his pocket. Finds a small key.

Arthur unlocks his new hidden-shackle padlock.

He pulls open the swing-out door.

The padded compartments are closed off except for one in the back-center.

He hunches over, walks inside. Goes straight to a compartment, opens it.

The silver goblet.

Arthur turns, holding it in the light.

He studies it. The foot, the stem, the bowl. Runs his fingers over the intricately-carved details.

41.

The letters G.F. are imprinted along the bottom.

ARTHUR(mumbles)

George Fox...

He clasps his hand over it. Walks out of the trailer. Locks it up.

Arthur ambles into the warehouse.

Rows of stands in varying levels of disarray. Elderly people shuffle slowly in the aisles.

Arthur walks forward.

He looks left. An old Asian woman smiles at him. Japanese fans, Buddha statues, Chinese dragon figurines, assorted Asian items strewn across her table.

Arthur almost smiles.

As he walks, a YOUNG BOY calls out to him:

YOUNG BOYYou want some nuts?

Arthur looks over. The boy sits at a table with two large pots. A sign hanging from it reads: Boiled Peanuts.

The boy smirks.

Arthur walks past, clutching the goblet.

He passes an obese middle-aged man surrounded by VCRs, VHS tapes, DVDs, and other A/V equipment.

Arthur spots his target. In the back corner sits a table full of antiques helmed by a wiry man with glasses.

Arthur approaches the table.

ARTHURThese are some nice pieces you’ve got here.

The wiry man leans forward. His name tag says GARY.

GARYWhy, thank you.

He looks down at Arthur’s hands.

42.

GARY (CONT’D)What’s that you’ve got there?

Arthur looks down at the goblet.

ARTHUROh, this is just a little something that’s been passed down in my family.

Gary eyes it coyly.

ARTHUR (CONT’D)I was thinking about selling it. The economy being the way it is, I could use some extra cash.

Gary nods distractedly, gazes at the piece.

ARTHUR (CONT’D)Is this something you might be interested in?

Gary snaps out of it.

GARYWell, sir, that is a neat little cup. How much were you looking to get for it?

ARTHURThat’s a question I usually leave to the experts. What would you pay me for it?

Gary reaches his hand out, beckons for the goblet.

Arthur hands it over.

Gary examines the cup.

GARYYes... interesting...

Arthur’s eyes narrow a bit.

GARY (CONT’D)Yep, this is your standard silver chalice. I could probably give you around eighty dollars for it.

Arthur holds a poker face.

43.

ARTHURWell I was just at Arthur’s Arts, over in Sedalia. They said it was Victorian Sterling Silver. Nineteenth-century.

Gary’s eyebrows rise.

ARTHUR (CONT’D)Made by George Fox in London.

Gary’s eyes pop.

ARTHUR (CONT’D)They seemed pretty impressed. Recommended I ask at least five-hundred for it.

GARYI can’t do anything over two-fifty.

ARTHURThey said you’d say that. They wanted to buy it right there, but I told them I wanted to ask around.

Arthur starts to turn away.

ARTHUR (CONT’D)I guess I should’ve listened.

Gary reaches out.

GARYWait!

Arthur halts.

GARY (CONT’D)Three-fifty.

ARTHURGoodbye, Gary.

He takes a step.

GARYFour-fifty!

Arthur looks back.

GARY (CONT’D)That’s the best I can do. Take it or leave it.

44.

Arthur’s gaze trails off.

ARTHURWell, I guess it’d take me the difference in gas to get back there, anyway. You got it.

He steps back over, hands it to Gary.

Gary sighs. Opens a drawer in the desk. He counts out the money.

Arthur grins.

He takes the money, nods.

Gary admires the piece as Arthur walks away.

He comes to the table with the young boy.

ARTHUR (CONT’D)Give me your nuts.

A passing woman gasps, walks faster.

The young boy laughs.

EXT. GAS STATION - EVENING

Arthur exits the gas station with a bag.

He slips the bag on his wrist, opens the gas cap.

MANHey Michigan plates!

Arthur turns. Behind him, an aging African-American man stands, fueling his car.

ARTHURYes?

Arthur slips the pump in, begins fueling.

MANI used to live in the motor town. You listen to Motown?

ARTHURI’m an antiques dealer. I don’t listen to music.

The man nods his head.

45.

MANSounds about right.

ARTHURThat was a joke.

The man chuckles, slaps his leg.

MANYou got me, man.

ARTHURI’m big on the oldies, but I have been known to pop in The Temptations from time to time.

The man claps his hands.

MANThere it is!

Arthur smiles. The gas pump stops. He pulls it out, then walks to the door. Looks back.

ARTHURI second that emotion.

The man laughs as Arthur climbs into the RV. Slips the bag off his wrist.

A wrinkled piece of paper lay on the passenger seat. He picks it up. It says: NATIONAL ANTIQUES CONVENTION.

Arthur sets it down, pulls out his phone.

ON THE SCREEN

Saturday, June 18

BACK TO HIM

He pockets the phone.

Out of the bag he pulls a bottle of water, a box of NoDoze. He pops two of them.

INT. ARTHUR’S RV - EARLY MORNING

Arthur yawns.

A female radio host speaks with a young man:

46.

HOSTSo what’s in store for you, now that you’ve got this bun in the oven?

GUESTWell, it’s definitely going to be a big change. As a self-touring solo musician, you get used to being alone.

Arthur drives slowly through a heavily wooded area.

HOSTHow often do you actually go home?

GUESTI come around a couple times a year. Usually for a month or so at a time.

HOSTThat can’t be easy on your wife, especially being pregnant.

A sign at an intersection points right, says: Dowagiac 5 Miles.

GUESTNo, and there are times when it really gets to you.

He turns.

GUEST (CONT’D)But I mean she understands that I have to make a living. She went into this knowing that, at least for a while, my real home will be on the road.

HOSTWhat about when the baby comes?

The rising sun peeks through the mass of trees. Arthur navigates the narrow road.

GUESTI run.

Arthur laughs in unison with the man on the radio. He turns it down as he brakes.

47.

Slowly turning the wheel, Arthur threads the RV through a confined turn.

Once through, he stops at a gate. Takes the keys out.

He steps out of the RV.

As he gets to the gate, he finds a small key. Opens a plain padlock.

ARTHURGotta replace that.

He pushes the gate aside. Walks back to the RV.

Arthur pulls forward, drives to the right. Backs the RV into the gravel driveway of a secluded, modest house. He parks next to a little, old pickup truck.

He exits the RV. Walks back to the gate, closes and locks it.

Arthur yawns as he puts the key in the door. Turns it.

He steps inside, closes the door.

The air shimmers as dust reflects the light of the low morning sun. Large windows bear the forest beyond them.

Arthur turns, lazily walks into the next room. A bedroom.

He flops down onto the bed.

INT. ARTHUR’S HOUSE - AFTERNOON

Arthur awakens to a green room as light filters through the leaves outside.

He rolls over. Looks outside, smiles.

ARTHURWhy do I ever leave this place?

He slides his feet over the edge of the bed. Stands, stretches.

Arthur ambles toward the kitchen.

From a cabinet, he pulls a tea bag. From the one next to it, a teacup.

On the stove, an empty kettle sits. He grabs it, fills it at the sink.

48.

Arthur places it back on the stove, starts the burner.

He walks out of the kitchen. Pulls his phone from his pocket.

Arthur dials a number as he walks to his back porch, slides the door open.

He steps outside. Breathes in the fresh air.

He sits down at the table. Talks into the phone.

ARTHUR (CONT’D)Teddy, my good man, how have you been?

A cardinal flies up, lands on a tree near the table.

ARTHUR (CONT’D)Of course I’m back. Is there any other reason I’d call you?

Arthur chuckles as he watches the bird.

ARTHUR (CONT’D)No, I still wouldn’t call.

He laughs again.

ARTHUR (CONT’D)You working right now? I don’t see you...

Arthur squints his eyes. In the distance, a blank easel sits in a clearing. TEDDY BIRKLAND (55), a stocky man with a beret, walks into view. He waves.

ARTHUR (CONT’D)Ah, still planning, I see. As I recall, you were in that stage when I left. Making great progress.

He grins.

ARTHUR (CONT’D)Well, time is not exactly something we have in abundance. Better get cracking.

The cardinal flies away.

ARTHUR (CONT’D)Oh, you’d never get anything done if I didn’t rush you.

49.

Teddy gives a dismissive wave.

ARTHUR (CONT’D)That’s funny, because time and pressure create some of the greatest beauty the world has to offer.

A faint whistle pierces the air, grows louder.

ARTHUR (CONT’D)Do you know what that sound means, Mr. Coffee?

He stands.

ARTHUR (CONT’D)Yeah, I’ll be over shortly.

Arthur walks inside, closes the door.

ARTHUR (CONT’D)All right, bye Ted.

He pockets the phone as he moves to the stove.

EXT. TEDDY’S HOUSE - LATER

Arthur pulls up in his pickup truck. Between the trees, the sun lies low on the horizon.

He gets out. Follows the stepping stones to the backyard.

Arthur calls out.

ARTHURYou got my mail, old man?

TEDDY (O.S.)Told the mailman you died. Told him, “Don’t bother coming back.”

Arthur rounds the corner. Teddy stands in the backyard, arms crossed, staring at the blank canvas.

ARTHURSee, I can always tell when you’re lying because you omit the subject. “Told so-and-so this,” “Did this today.”

Teddy’s gaze remains on the canvas.

50.

TEDDYDidn’t catch that. What?

They both chuckle, walk through the sliding door into Teddy’s house.

Inside, eight shopping bags full of mail line the wall.

TEDDY (CONT’D)The first week starts on the... well, you know how it goes.

ARTHURIf I didn’t make you do it like this, I’d come back to a mountain of mail piled on the floor.

Arthur reaches down, grabs the left-most bag. Opens it.

TEDDYWhat’s wrong with that?

ARTHUROh, just everything.

Arthur shuffles through the mail.

ARTHUR (CONT’D)Anything new at the market?

TEDDYYou know, just the little things.

Arthur ruffles through bills.

TEDDY (CONT’D)Edna finally had to close down her booth, poor thing.

ARTHUROh, no.

TEDDYI guess the market for stamps and postcards isn’t quite as fertile as it once was.

Arthur moves on to the next bag.

TEDDY (CONT’D)A German fella took her booth. He sells steins.

51.

ARTHURHmm.

TEDDYWhat else... Oh, there’s a new woman running the farmer’s market.

Arthur pulls out a flier.

TEDDY (CONT’D)She’s feisty, from the South. I like her. Told her I might have to take her to dinner sometime.

The words NATIONAL ANTIQUES CONVENTION head the paper.

ARTHURWhat do you know about this, Teddy?

Arthur hands Teddy the flier. Teddy glances at it.

TEDDYOh, this. Yeah, they finally accepted us, I guess.

ARTHURFinally?

TEDDYWell, I know Ken has been sending them letters for the past few years requesting a date on the tour.

ARTHURHow did I not know about this?

TEDDYYou take extended cross-country vacations every few months. You’re not quite up on the word around town.

Arthur’s gaze slips away.

TEDDY (CONT’D)What? It’s not like you missed it.

Arthur looks back.

ARTHURNothing. Just hadn’t heard of it.

He glances over at the bags of mail.

52.

ARTHUR (CONT’D)You have something I can carry these in?

EXT. DOWAGIAC FLEA MARKET - MORNING

Arthur’s jaw hangs.

The little parking lot is overflowing with cars and people. A huge banner waves, reading NATIONAL ANTIQUES CONVENTION.

He slowly pulls his pickup into the lot.

As he inches along, he reaches for his cell phone. Makes a call.

ARTHURYou here yet, Teddy? I can’t believe this.

TEDDY (V.O.)It’s something.

Arthur makes a turn. Surveys the lot.

ARTHURDid you find parking? It’s a jungle out here.

TEDDY (V.O.)Ken’s been bragging about how many people this would bring in. Didn’t believe him, but I left early anyway.

ARTHURI didn’t even know there were this many people in Dowagiac.

TEDDYJust park in the grass and quit whining, grandpa. Meet me out front.

Arthur pockets the phone. He slowly pulls forward as the truck climbs the curb.

Arthur opens the door. As he steps out, a little girl runs right past him.

He pokes his head out, looks both ways, exits the vehicle.

53.

Arthur makes his way through the crowd of cars and people. Next to the warehouses, tour buses, huge trailers.

Amongst the masses, he spots Teddy and KEN (44), a balding, officious man in a suit, standing together.

Arthur approaches them.

ARTHURLook at you, out here cavorting with us normal folk.

TEDDYHey, give him some credit. The man’s taking a whole afternoon out of his year to leave his office.

KENI apologize, Arthur. I had to rent out your booth for the day.

ARTHUROh, that’s okay, Ken. I’m here merely to witness this spectacle. How did you pull this off, anyway?

Ken beams, tweaks his glasses.

KENWell, I had been in contact with them for a year or two, but at first we didn’t meet the requirements. However, with the added square footage afforded by the new warehouse...

Teddy interrupts.

TEDDYAll right, all right, don’t get your administrative documents in a bunch.

Ken clears his throat.

KENWell, then. Shall we?

He beckons them inside.

The warehouse bustles with people. Every single stand is manned and covered with goods.

Arthur stares out at the crowd.

54.

ARTHURI’ll bet you can’t find me one person here who knows the proper history behind a piece. Tourists, all of them.

TEDDY(to Ken)

He gets cynical around crowds.

ARTHURNo I don’t.

TEDDY(to Ken)

Figures the more, the dumber.

ARTHURYou think you’ve got it all figured out, don’t you old man.

TEDDYThere you go again.

KENI would love to listen to you two banter all day, but I must get back to my post.

ARTHURThen why did you walk us in here?

KENSo I could leave you here. Good day.

Ken walks off briskly.

ARTHURWe might as well check out the action.

Teddy gives a stiff nod. They walk forward.

A booth on their left is lined with paintings.

ARTHUR (CONT’D)I don’t see any of yours.

TEDDYFigure by the time you kick the bucket, I’ll start getting some recognition.

55.

Arthur chuckles.

ARTHURI’m not going to die. I feed on the weak and prey on the innocent. And there’s no shortage.

TEDDYSpeaking of feeding, are you as hungry as I am?

ARTHURYes. I woke up too late, skipped breakfast.

On their right, a man selling gemstones. Geodes, crystals, agates, fossils, minerals cover the table.

Arthur stops to admire an enormous geode. He puts his head next to it, grins at Teddy.

TEDDYNot sure which is harder.

They walk forward, approach a uniformed man selling military supplies.

VENDOREither of you fight for your country?

Teddy slows down, Arthur keeps walking.

Teddy moves to catch up.

TEDDYYou don’t want to trade stories?

ARTHURI didn’t serve so men like him can harass those who didn’t.

They walk on. Past a plethora of pottery, old and new. Past the ticking of a hundred watches and clocks. Past decades of vintage clothing.

A few small food stands sit outside between the warehouses.

ARTHUR (CONT’D)Should we just get something here?

Teddy shakes his head.

56.

TEDDYThere’s a new smoothie at the farmer’s market. Haven’t met my weekly quota yet.

ARTHURFarmer’s market it is.

They enter the adjacent warehouse, turn right.

Rows of jewelry of all sorts line the tables to their left.

Arthur and Teddy squeeze their way past the hordes of people admiring the jewelry.

Arthur looks up. A large, decorated wooden sign says FARMER’S MARKET.

ARTHUR (CONT’D)New sign.

TEDDYThe new owner has sort of an artistic side. I like her.

They come out of the crowd. A line of people surveys the market.

RENNA WHITLEY (59), a bit thick but arresting for her age, stands, helping customers. She wears an antique pendant around her neck.

Arthur’s eyes drift over to her. Down to the pendant.

His breath catches in his throat. He halts.

Teddy continues into line without noticing.

Arthur sucks in a ragged breath. He labors over to the side door, exits the warehouse.

The sun beats down on him as he leans against the outer wall. He speaks between breaths.

ARTHURShe has it.

INT. ARTHUR’S TRUCK - MOMENTS LATER

Arthur drives with his ear to his phone.

57.

ARTHURI’m sorry, Ted, I forgot I had an appraisal today.

TEDDYThe mind’s finally going, huh grandpa?

Arthur forces a laugh.

ARTHURStill more coherent than you, old man.

TEDDYShame, I wanted you to meet Renna.

ARTHURFarmer’s market lady? Sorry, it’s just I’m already late.

TEDDYSo where you headed?

ARTHUROh, just up the coast a ways...

He looks around. In the passenger seat, the flier for the convention.

ARTHUR (CONT’D)Muskegon.

TEDDYYou know, the Summer Celebration starts today. Maybe you should go.

They both chuckle.

Arthur pulls into his driveway. Parks in front of the gate.

ARTHURYeah, right. Well listen, I probably won’t be back until late. I’ll see you tomorrow. Enjoy that smoothie.

TEDDYNo way not to.

ARTHURBye, Ted.

He pockets the phone. Sighs. Exits the truck, opens the gate.

58.

Arthur clicks the garage door opener, pulls the truck inside. On the other side, his trailer.

He finds the key for the trailer lock, opens it.

All the compartments are closed except for the empty one at the back.

INT. ANTIQUE SHOP BASEMENT - NIGHT (DREAM)

A boy sits on a mattress in a corner of the dark room.

He plays with toy soldiers on top of an old antiques book.

He gets up, walks carefully in the dark.

The boy approaches the stairs.

At the bottom, an old woman lay sprawled on the floor.

The boy walks past her, calmly ascends the stairs.

The woman’s skin sags. Her eyes are clouded over, face wrenched in permanent pain.

A pendant hangs off her neck, rests on the floor.

Light shines through an open door atop the stairs.

The boy’s shadow stands in the doorway. He slowly closes the door.

INT. ARTHUR’S BEDROOM - MORNING

Arthur awakens placidly.

He stares at the ceiling.

Turns to look at his alarm clock. 8:16.

Arthur gets out of bed determinedly. He walks into the bathroom, closes the door.

The shower turns on.

EXT. DOWAGIAC FLEA MARKET - LATER

Arthur pulls up in his truck.

The parking lot is mostly empty.

59.

He parks on the side of the warehouse. Walks past the first, into the next warehouse. Turns right.

At the far end of the warehouse, Renna arranges fruits across the stand.

A pendant hangs around her neck.

Arthur breathes deeply as he approaches the farmer’s market.

Renna looks up, smiles, looks back down.

ARTHURMorning.

She continues placing produce.

RENNAYet another one. How can I help you?

ARTHURMy friend Teddy claims you make a mean smoothie.

She looks up.

RENNAAh, so you’re Mr. Forgetful.

ARTHURUh, yes. That’s me.

RENNASmoothies. Plural. Name your flavor. I’ll make you the best damn “that flavor” smoothie you ever had.

Arthur ponders the selection.

ARTHURBerries.

RENNAYou want strawberry, blueberry, raspberry...?

ARTHURYou pick. Just berries.

RENNAChef’s special, huh? Coming right up.

60.

Arthur watches the pendant dangle from her neck as she moves, gathering berries.

ARTHURSo, I hear you’re from the South?

She talks as she prepares the items.

RENNAWell, I was raised in Kentucky, but I left after my daddy died. His heart went, mid-plow.

ARTHUROh, no. That must have been a trying time.

RENNAOne of many. I headed out and ended up in Michigan...

Her gaze trails off.

RENNA (CONT’D)But that was a long time ago. I actually moved to Dowagiac just recently. Into the orchard on Oak Street. It’s the one with the big, unsightly tractor rusting by the road. Or at least it was. I got rid of that right quick.

ARTHURWow, I didn’t know it was for sale.

Renna puts the last ingredient in the blender, turns it on. She has no problem talking over it.

RENNAIt’s all mine now. The soil was a bit acidic at first, but some fine-ground agricultural lime brought up that pH level real fast. Increased my production by twenty-nine percent!

ARTHURIs that right? That’s very impressive.

Renna turns off the blender.

RENNAI know.

61.

She pours the contents into a large cup. Pops a top on, jams a straw in it. She holds the cup out.

ARTHURThank you...

An awkward pause as he takes the cup.

RENNAOh, I’m sorry. Renna. Renna Whitley.

ARTHURRenna. I’m Arthur Lomax.

RENNALike the painter?

Arthur raises an eyebrow.

ARTHURYou’re the only person besides Ted that has made the connection.

Renna grins slyly.

RENNAAll sorts of tricks up my sleeve.

He steals a glance at the pendant.

ARTHURIt would seem so.

RENNAPlus I have a friend who works at a gallery.

Arthur nods as he sips the smoothie. His eyes widen. He sips again.

RENNA (CONT’D)Don’t drop it.

ARTHUROh, my. Teddy was not kidding.

RENNAWhat about you, Arthur? What do you do?

He takes another long sip. Grimaces.

62.

ARTHURAh, brain freeze.

He puts his hand to his head. Renna laughs.

ARTHUR (CONT’D)I’m in the antiques business. Traveling dealer and appraiser.

RENNAAntiques, huh? Any word on this little thing?

She lifts the pendant from her neck, holds it forward.

Arthur leans in, savoring the details. The pendant is a playing-card club adorned with diamonds and silver on a gold chain.

Renna clears her throat. Arthur snaps out of it, looks up.

ARTHURI know this piece. It’s early Victorian, made of garnet. Very rare. It’s actually a pin. This isn’t the original chain.

He leans back slowly.

ARTHUR (CONT’D)A real beauty.

Renna stares at the pendant. Rests it back on her neck.

RENNAInteresting... No, I won’t sell it.

ARTHURMind if I ask where you got it?

She looks away.

RENNAOh, I picked it up at a garage sale decades ago.

Arthur’s eyes narrow a bit.

ARTHURLucky find.

Arthur sips his smoothie.

63.

ARTHUR (CONT’D)What do I owe you?

RENNAWell, since you’re the first person who hasn’t tried to convince me that this pendant is worthless, this one’s on the house.

ARTHURWe antiquers are a ruthless bunch. Thank you.

RENNANo problem.

Arthur stands and sips his smoothie in silence.

RENNA (CONT’D)So, Arthur. You have a booth here, right?

ARTHURUsually, yes. I was actually robbed, recently.

Renna grows visibly angry.

RENNAOh, Lord. People like that don’t deserve this life.

Arthur’s caught off-guard, the smoothie straw in his mouth.

RENNA (CONT’D)I’m sorry. I just have zero tolerance for criminals.

ARTHURI’m not sure why I just told you that. I haven’t even told Ted.

RENNAWell, it can just be our little secret. What will you do about business, though?

ARTHURWell, I... picked up a few pieces on my way back. Other than that, I’ll just have to play it by ear.

RENNADon’t we all.

64.

Arthur considers that as he sips the smoothie. The straw sucks empty air. Arthur looks at the cup in his hand.

Renna grins.

RENNA (CONT’D)They’re good, but they’re not magic.

ARTHURCould’ve fooled me.

Renna reaches out.

RENNAI’ll take that for ya.

He hands her the cup.

ARTHURThanks. It was a pleasure meeting you, Renna.

RENNALikewise, hun. Come back and see me sometime.

Arthur gives a slight nod.

ARTHURYou better believe it.

He turns, walks away. Renna watches him leave.

INT. ARTHUR’S TRUCK - MOMENTS LATER

Arthur gets in, closes the door. Turns the engine on.

He takes a deep breath.

The radio is on. A man tells a story.

HOST (V.O.)She moved away when I was fifteen years old. Suddenly, that big friendly house across the street wasn’t very fun to have around anymore.

Arthur turns down the radio, but the volume stays the same.

He furrows his brow.

65.

ARTHURJust another thing that needs fixing.

Arthur backs out of the parking spot.

HOST (V.O.)Ever since that day, I vowed to find her. She opened a compartment in my heart that I couldn’t fill. As I grew up, I did what I could, but it didn’t amount to much.

He pulls up to the stop sign at the main road. Turns right.

HOST (V.O.)A nationwide manhunt and a regular life don’t exactly go hand-in-hand, so after the local circuits failed, I had to take more drastic measures.

Arthur looks down at the passenger seat. The cane leans against the seat lazily.

HOST (V.O.)I hired a private detective to locate Anna.

Arthur cruises down shady, forested roads.

HOST (V.O.)It took a long time. So long that I almost gave up hope. Shortly after my twenty-sixth birthday, however, I got a call from the detective. After three years, he had found her.

He turns onto a narrow road.

HOST (V.O.)He told me she was living in California, and she was getting a divorce. I called her up and she was just as happy to hear me as I was her.

Arthur passes Teddy’s mailbox. Further down the road, he turns into his yard.

66.

HOST (V.O.)I’m not sure what will happen with Anna and I, but it just goes to show that if you want it badly enough, you can get it.

He approaches the gate. Turns the truck off, removes the keys. Opens the door.

HOST (V.O.)All you have to do is try.

Arthur’s gaze shoots to the radio. He stares.

Silence.

He walks out, unlocks the gate, returns.

Arthur starts the engine. The radio is silent.

He pulls the truck up the gravel driveway.

INT. TEDDY’S BASEMENT - NIGHT

Arthur and HARRISON (52), a red-faced, bearded man with glasses and a raspy voice, sit at a folding table. Cards adorn the table, and an ice-cooler full of beer sits next to it.

HARRISONSo I finally make my way up the hill and I can’t even believe my eyes. Fifteen points. Swear to Christ, biggest buck I ever shot.

Arthur swigs his beer.

ARTHURHell of an animal.

HARRISONYeah... my old woman wouldn’t let me keep it, though.

ARTHURA kill like that and you don’t even get a trophy to remember it? That’s a shame.

HARRISONYeah, well, I owed her one. You wanna party like we did back on New Year’s, it don’t come cheap.

67.

Arthur holds his bottle up.

ARTHURHere, here. So, when’s the next one?

HARRISONWhenever she buys too many shoes.

They both laugh, take a long drink.

The basement door opens. Teddy and Ken walk through.

TEDDYHere he is.

HARRISONLook at this guy! Always a suit!

Ken looks out of place amongst the casually dressed men.

KENI know you mean that in the pejorative sense, but I’ll choose to ignore it. It’s not my fault you gentleman lack class.

Ken and Teddy sit down at the table.

HARRISONClass, huh?

(Motions to Teddy)I got one of his drawings hangin’ on my wall, don’t I?

Arthur and Teddy chuckle.

KENHow would I know?

HARRISONWell... I do.

KENRegardless, any class bestowed upon you by a work of art is obliterated by that beard.

Arthur and Teddy call out.

ARTHURWhoa, whoa...

68.

TEDDYHey, now.

Ken’s eyebrows raise in a dubious manner.

TEDDY (CONT’D)That beard is a national treasure.

Harrison juts his chin out proudly.

ARTHURJust look at the depth. If you stare too long you get hypnotized...

Arthur slowly moves toward the beard, pretending to be sucked in.

Ken clears his throat. Glances down at the table. Looks mildly displeased.

KENWhose idea was Blackjack? Might as well play “Guess the Next Card.”

Teddy grabs a beer out of the cooler, hands it to Ken.

TEDDYDrink.

Teddy scoops up the cards, shuffles them.

HARRISONEver gone huntin’, Ken?

Arthur chuckles.

ARTHURHere we go.

Teddy deals the cards starting with Ken to his left. One face down to each player.

KENDo I look the type to head out into the wilderness with Pa?

Teddy starts the next round, cards face up.

HARRISONSo there I am in Hartford Woods, ready to head home. It’s getting dark, and I ain’t seen a damn thing.

69.

Teddy lays a card before Arthur. The ace of clubs.

Arthur stares at the card.

EXT. ARTHUR’S HOUSE - MORNING

The garage opens lazily.

Arthur exits the house, closes the door. He holds a phone, hits the speakerphone button.

Over the phone, a message from JULIE WELLES (26) plays.

JULIE (V.O.)Mr. L, hi, it’s Julie.

He walks around to the driver door of the truck. Takes out his keys.

JULIE (V.O.)It’s been a while... I guess that’s a good thing, right?

He opens the door, sits down.

JULIE (V.O.)Anyway Roy and I split up, and I’m getting crap hours from the store.

He slides in the keys, turns them.

JULIE (V.O.)So, it looks like I’m gonna have to unload another one of mom’s old treasures.

ARTHURInteresting...

Arthur pulls out of the garage, closes it.

JULIE (V.O.)I just wanted to see if there was any way you could head over here sometime before too late. If not, just let me know. Thanks. Later.

He closes the phone, pockets it.

ARTHURSorry, Julie. The ladies come first.

70.

INT. WAFFLE HOUSE - LATER

Arthur steps through the door.

CHARLOTTE (47), a round, frazzled fry cook, turns around.

CHARLOTTEWell look at this, girls.

MARGE (58) calls out from behind a coffee machine in deadpan.

MARGEI don’t even have to turn around. I just feel him.

ARTHURI have returned for your fried, fatty goodness.

MARGEIs there any other kind?

CHARLOTTECheesy, gooey greatness.

ARTHURGeez-o-pete, I’ve missed you ladies.

Arthur sits at the bar.

CHARLOTTEWhere ya been this time, sugar?

Arthur slides his sunglasses down an inch.

ARTHURIf I told you that, I’d have to kill you.

After a moment, Arthur grins. Marge speaks as she pours him coffee.

MARGE(to Charlotte)

He likes to keep an air of mystery. Makes a man interesting.

ARTHURYou know me all too well, Marge.

MARGESo, the usual?

71.

Arthur picks up a menu, opens it.

ARTHURNo... I don’t think so.

EXT. JULIE’S APARTMENT - LATER

Arthur’s truck parks in a run-down apartment complex.

He gets out of the truck, looks around. Furrows his brow.

ARTHURGets worse every time.

Arthur walks up the stairs to the third story of a building. Stops at the back door on the left. Room 316.

He reaches up, knocks.

The sound of footsteps approaching the door.

It opens. Julie, a svelte brunette, stands, slightly caught off guard.

JULIEMr. L!

She leans in for a brief, casual hug. Arthur smiles.

ARTHUROver a decade, and I’m still Mr. L.

JULIEWell, you learn a sense of respect quickly when you’re orphaned at fifteen. Come on in.

Arthur steps through the door. The room is slightly messy. Julie closes the door.

JULIE (CONT’D)Sorry about the mess. Someone didn’t call to tell me they were coming.

ARTHURI like to keep the element of surprise.

Julie grunts sarcastically.

She moves to sit down on a couch. Arthur takes the chair opposite her. A table separates them, a glass pipe atop it.

72.

Julie notices the pipe.

JULIEOh, uh... I just...

Arthur holds up a hand.

ARTHURI’m not one to judge.

Julie looks relieved. She grabs the pipe, opens a drawer and stuffs it in.

JULIEThank God. First things first. I hear you got robbed. Are you okay?

Arthur’s face droops a little.

ARTHURWhere did you hear that?

JULIEOh, I was talking to Ms. Whitley up at the market and she mentioned it.

Arthur frowns, reaches up to rub his head.

ARTHURStill got a lump on the old noodle, but I’m fine. The bastards wiped me clean, though.

JULIEOh, no...

Arthur stares at the floor.

ARTHUREvery single piece I had.

A pause.

JULIEWhy didn’t you tell anyone?

ARTHURI didn’t want people making a big stink about it. Anyway, it’s in the past.

Arthur looks up.

73.

ARTHUR (CONT’D)Now, onto business.

JULIERight. I need some cash, and quick. Rent’s due soon.

Julie motions around the room sarcastically.

JULIE (CONT’D)Take a look around, unless you already had something in mind.

Arthur stands.

ARTHURActually, I did.

He walks over to a corner of the room.

JULIEAh. The dragon.

On a shelf in front of Arthur sits a small golden bowl shaped like a dragon.

ARTHURReady to part with it yet?

JULIEIt was Daddy’s favorite, but you did just get robbed...

Julie sighs.

ARTHURI’ll give you two hundred for it.

JULIEWhoa, now! What’s the current market value? The auction value?

Arthur smiles.

ARTHURGood girl.

EXT. DOWAGIAC FLEA MARKET - LATE AFTERNOON

The sun beats down on Arthur as he exits his truck.

He briskly walks between the two warehouses. Squeezes into the door amongst exiting patrons.

74.

Ken pops out from a row of stands holding a clipboard.

KENHello, Arthur.

Arthur halts, noticing Ken.

ARTHUROh, hey Ken.

KENThat Blackjack wasn’t too bad, eh? Next time I’ll try to go a bit easier on you guys.

ARTHURCan’t really talk right now, Ken. Catch up with you later.

Ken watches as Arthur weaves his way down the long hall to the Farmer’s Market. Vendors on either side of him close up shop for the day.

At the end of the hall, Renna fills crates with unsold produce.

Arthur speaks as he approaches.

ARTHUR (CONT’D)Ms. Whitley.

Renna looks up. The pendant hangs from her neck.

RENNAArthur! Sorry, hun. Closed for the day.

ARTHURJust in time.

Renna coughs as she continues packing her products.

ARTHUR (CONT’D)Could I give you a hand with that?

She looks up at him, eyebrow raised.

RENNADon’t you worry about little old me.

ARTHUROh, I’m not. It’s just been a while since I worked out.

75.

Renna cracks a smile, holds it back.

RENNAIf you must.

She stands, opens the door for Arthur to enter. Arthur slides inside.

Renna hands him a crate.

ARTHURAnywhere I should start?

RENNADoesn’t matter a lick.

Arthur stacks ears of corn into the crate.

ARTHURSo how’s business?

RENNAUnfortunately I can grow it faster than I can sell it. How about your antiques?

ARTHURWell, I’m slowly building my collection back up. Too bad I can’t just grow them.

Renna smiles, gives him a playful slap. Slides away her full crate, grabs another.

RENNAYou make it sound like child’s play. It takes knowledge, talent, effort, time. Most of all it takes luck... and I ain’t never had any luck with luck.

Arthur watches her as she piles peaches in the crate.

After a moment, he goes back to packing.

ARTHURI just talked to Julie Welles.

Renna looks up.

RENNAWho?

76.

ARTHURJulie Welles. She said you two had talked earlier. She mentioned something about the robbery...

Renna’s eyes widen.

RENNAOh, Arthur, I’m sorry. She started talking to me and I just wanted to be friendly. It was all I could think to say.

Arthur’s face softens.

ARTHURDon’t worry about it. But you do realize that you owe me one, right?

Renna fills her crate, stands.

RENNAThat right?

Arthur finishes up, stands.

ARTHURYou betcha.

He stacks one of Renna’s crates on his. She grabs the third.

RENNAAnd how might I pay that off?

They walk through a door leading behind the warehouse. Renna’s pickup truck sits parked.

ARTHURWell I’ll be. We have the same truck. Mine’s a faded blue. Is that the extended cab?

RENNAYep. Plenty to carry with the old girl.

Renna rests the crate between her leg and the bumper, opens the tail gate.

ARTHURBack to your previous question. You could pay it off by having lunch with me.

77.

Renna slides the crate to the back of the truck, turns to Arthur.

RENNAArthur... I’m not sure that would be a good idea.

Arthur smiles as he slides his top crate in, then the other.

ARTHURI’m sure enough for both of us.

Renna looks at him skeptically.

ARTHUR (CONT’D)What have you got to lose?

She breaks his gaze. Ponders a moment.

ARTHUR (CONT’D)Tomorrow, my place?

RENNAI’d have to go into work late...

ARTHURGotta relax sometime. And I’ll help you think of excuses to tell Ken.

Renna’s face brightens a bit. She looks up at him.

RENNAAll right. But you’re picking me up. A tank of gas costs more than a phone bill.

INT. ARTHUR’S TRUCK - MORNING

Arthur drives along a shabby old wooden fence. Rows of corn stretch back to fields of apple trees. As the road slopes downwards, a farmhouse sits in the distance.

Before the right turn, grass seed in the shape of a tractor.

Arthur chuckles.

His truck bounces along the gravel road toward the house.

Renna waters flowers in her front yard as Arthur pulls up. She notices him, but finishes watering the flowers anyway.

She sets the watering can down on the porch, grabs a purse and a container off the banister.

78.

Renna walks lazily to the car, opens the door.

RENNAHey, there.

She glances at the seat. The cane leans against it.

RENNA (CONT’D)That your walking stick, old timer?

Arthur looks down at the cane, shocked for a moment.

ARTHURI... forgot that was there.

His brow furrows.

RENNAWell, you gonna move it so I can get in?

He snaps out of it, gently sets the cane in the back seat. Renna slides into the truck.

RENNA (CONT’D)You better get some flash cards or something. You’re liable to forget to breathe.

ARTHUROnly if you tutor me.

Renna rolls her eyes. Arthur turns the truck around, heads out.

INT. ARTHUR’S HOUSE - LATER

Arthur and Renna walk in the front door.

ARTHURI’ve never wanted a cake so badly in my life. The smell alone cleared up my sinuses.

RENNAWell, little boy, you have to eat your vegetables first.

ARTHURBut I don’t wanna!

79.

Renna giggles. She sets the cake down on a banister, admires the house. The large windows at the back reveal an unending forest.

RENNAThat’s some view...

ARTHURI find that nature has a grounding effect on me. It keeps me balanced.

He lets her admire it a bit longer.

ARTHUR (CONT’D)And now, the vegetables.

Arthur leads her into the kitchen. The table is decorated for two with candles and flowers.

He sits her down, goes to the fridge. He pulls out pitchers of milk and orange juice, sets them on the table.

RENNAA Southern farmer’s favorite beverages.

He goes back to the fridge to retrieve salads, vegetable and fruit.

RENNA (CONT’D)Good variety of nutrients, I like it.

Arthur slides on oven mitts, pulls out bread sticks and beef stew.

RENNA (CONT’D)And there’s the meat. Now we’ve got ourselves a meal.

Renna picks up a lighter off the table, lights the candles.

EXT. ARTHUR’S PORCH - LATER

Arthur and Renna rock lazily on a swinging chair.

ARTHURAt least you knew one of your parents. I never met mine.

RENNAI’m sorry, hun. Who was it raised you, then?

80.

Arthur looks away.

ARTHURAda.

Renna watches him stare off as she waits for him to continue.

ARTHUR (CONT’D)We... she had a shop off the highway. Ada’s Arts. Top floor was hers, ground floor was the store, and I got the basement.

Renna’s face wilts a little. Arthur shifts in his seat.

ARTHUR (CONT’D)I could hear her rehashed speeches through the vents on the off-chance a customer did come in. After a while, I knew them all. I would try to impress her by reciting the history of a piece, one I knew she really liked. Didn’t work. She would make me stand outside wearing a sign.

Renna shakes her head softly.

RENNAHow awful.

Arthur breathes deeply.

ARTHURI’m sure I never saw her smile in fifteen years.

He looks up.

ARTHUR (CONT’D)And there’s another thing I haven’t told anyone.

Arthur checks his water bottle, shakes it.

ARTHUR (CONT’D)You slipping me some sort of truth serum?

Renna grins faintly.

RENNAHe who hides the most has the most to lose.

81.

She pulls a pill out of her pocket. Drinks it down with her water.

ARTHURWhat ails you?

RENNAHmm? Oh, that? It’s just a little something to keep my blood flowing.

Arthur looks her in the eyes. Drops his gaze after a moment.

ARTHURWe better call Ken.

Renna perks up.

RENNAOh, I did earlier. In fact, I took the whole day off.

Arthur’s eyebrows raise as he grins.

ARTHUROh?

Renna blushes a little.

RENNAHey, it’s like you said, gotta relax sometime. Now, you got anything good to watch?

EXT. RENNA’S FARM - NIGHT

Arthur’s truck pulls up to Renna’s farmhouse. It’s pitch black, but for the dusty glow of the headlights shining on the front porch.

ARTHURLet me walk you to the door.

RENNAYou don’t have to do that.

ARTHURWould Cary treat Doris like that?

They smile softly at each other.

They open the doors, walk out.

82.

RENNAYou know you have to take me out in that RV at some point, right?

ARTHURRoad trip?

RENNAYou bet.

They reach the porch stairs. Arthur steadies her as they ascend.

RENNA (CONT’D)I have to admit, Arthur, I had a delightful time today.

ARTHURI’m sure it was difficult to concede that.

Renna pulls Arthur close, hugs him tightly but briefly.

RENNAGive me your cheek.

Arthur turns his head.

Renna waits a moment, straightens his face and kisses him tenderly. The headlights etch their silhouettes against the house.

Arthur looks confused.

RENNA (CONT’D)You only live once. You have to make it count.

She slowly backs away.

RENNA (CONT’D)Good night, Arthur.

Renna slips inside the house. Arthur slowly descends the steps, walks to his truck.

He gets in. Arthur breathes deeply, lets out a quiet chuckle.

He reaches for the radio.

INT. WAFFLE HOUSE - AFTERNOON

Arthur and Teddy enter.

83.

TEDDY(to Arthur)

Only the finest Waffle Houses serve beer.

Charlotte fries food at the grill for the few customers, Marge tends to JILL, a younger girl, learning the register.

TEDDY (CONT’D)God knows this is one of them.

CHARLOTTEYou got that right, Picasso.

Arthur notices Jill.

ARTHURAnd who is this?

MARGEThis is Jill, she’s a trainee. Jill, this is Arthur Lomax. He’s a regular, so get used to his order.

JILLNice to meet you, Mr... Hey, don’t you work at the flea market?

ARTHURI do.

JILLI thought you looked familiar. My mom drags me there all the time.

(a pause)Not that I don’t like going!

Arthur and Teddy laugh.

ARTHURI couldn’t blame you if you did.

TEDDYLadies, today we celebrate.

MARGEWhat’s the occasion?

TEDDYThis young man went and pulled himself a partner without telling anyone.

84.

ARTHURI could hardly believe it, myself, let alone vocalize it.

MARGE(to Teddy)

He likes to keep an air of mystery. Makes a man interesting.

Arthur laughs.

ARTHURSo, a round of this fine establishment’s best beer?

EXT. RENNA’S FARM - DAY

Renna and LORRAINE WALKER (56) laugh as they weave leisurely through apple trees. A breeze ruffles the leaves.

RENNALet’s stop, rest a spell.

Renna leans against a tree, sits down. Lorraine sits.

LORRAINEIt really is gorgeous out here.

RENNAOh L, it’s so good to have you here. Thank you for coming.

LORRAINEGirl, you know I would rather be relaxin’ with you than working the gallery. The drive isn’t even as bad as I thought.

RENNAIt was so lonely out here for a while, just me and this big old farm. With Arthur, these last few weeks haven’t been so bad.

LORRAINEOh yes, tell me about this man of yours.

Renna smiles wistfully.

RENNAArthur’s in the antiques business.

85.

LORRAINEMmm, how exciting.

RENNAThat’s what I thought, too, but he’s so... alive. I can see the passion in his eyes when he speaks. And he knows so much.

LORRAINEHe have anything to say about that... thing around your neck?

Renna touches the club pendant at her throat.

RENNAHe gave me an honest appraisal, despite obviously knowing its worth. That’s what first attracted me to him.

LORRAINEIt’s not right, you know. You wearing that thing all the time. Bad vibes.

Renna sighs, gazes distractedly.

RENNAWe’ve gone over this before, L. It’s to remind me. To keep reminding me. How quickly things can change.

Renna coughs.

Lorraine’s expression shifts to sympathy.

LORRAINESweetie I hate to bring it up, but have you told--

Renna cuts her off.

RENNANo. I can’t... I need this.

A pause.

Lorraine stands.

LORRAINEWell, you look thin. Good thing Mama’s cooking tonight.

86.

INT. DOWAGIAC FLEA MARKET - MORNING

Renna and Julie stand around the Farmer’s Market.

RENNAThere are just a few more things. Have you ever made a smoothie?

JULIEI’m a twenty-six year old female. That’s like asking Arthur if he’s ever seen an old cup.

Julie smiles as Renna laughs.

RENNARemember to spray everything with water throughout the day.

Julie nods.

RENNA (CONT’D)I usually take the produce home overnight so I don’t have to pay to use the cooler, but you can just leave it in there. Just make sure the door is fully closed, or Ken will blow his lid and start talking really fast.

JULIEGotcha.

RENNANow, have you ever handled money professionally?

Julie rolls her eyes.

JULIEI know how to count, don’t worry. I can handle this.

RENNAAgain, thank you so much for doing this.

They hug quickly.

RENNA (CONT’D)I’ve always wanted to take a trip in an RV!

87.

JULIEWell, go! You enjoy yourself. I’ll take care of everything. Tell Arthur to stay out of trouble.

Renna chuckles as she walks out of the warehouse.

Arthur sits in the RV. Renna opens the door, steps up and in.

ARTHURReady hit the road, Bonnie?

RENNAReady when you are, Clyde.

Arthur turns on the RV.

INT. ARTHUR’S RV - LATER

Renna sits slouched in her seat as they drive.

RENNASo where is it we’re headed, anyway? You never told me.

Arthur grins.

ARTHURThe element of surprise is essential.

RENNAThis ain’t Deal Or No Deal. What’s the plan?

ARTHURWell, first I thought we’d go check out the local jail...

RENNAArthur!

ARTHUROkay, okay. I got a call from a man in Marquette about an antique Coke cooler.

RENNAWell, I’ve never been on that side of the lake.

ARTHURThat’s a good thing, right?

88.

RENNAWhat kind of road trip would it be if I had?

ARTHURPast that, you can set the course.

RENNAHun, I don’t want to set the course. I want romance. It’s been a long time since I went on a date, and even longer since I enjoyed one.

Arthur looks at her sympathetically.

Renna pretends to whisper, cups her mouth with her hand.

RENNA (CONT’D)Plan something romantic.

Arthur sighs slightly.

Renna chuckles.

RENNA (CONT’D)That’s always a good sign. Fine, I’ll plan it. But you better play your part, mister.

ARTHURI’ll be a good boy.

Renna rolls her eyes.

EXT. FARRELL FARLEY’S TRAILER - EVENING

The sun hangs low.

The RV pulls up to a trailer with a large yard. Junk is strewn across the lawn.

FARRELL FARLEY (41), a man with no shirt, sits on a lawn chair, beer can in hand. Several others litter the lawn below him.

Arthur parks the RV in the gravel driveway. He and Renna get out.

FARRELLHere he comes!

89.

Arthur approaches Farrell, reaches out a hand to introduce himself.

ARTHURArthur Lomax, nice to meet you.

Farrell stays seated, struggles to lean forward as he extends a grubby hand.

FARRELLFarrell Farley. Sounds like a fake name, I know. F names just run in the family. At least the old man didn’t call me Sue.

Renna laughs.

FARRELL (CONT’D)(to Renna)

And who do we have here?

ARTHURThis is...

Arthur hesitates.

He looks at Renna for guidance, gets nothing.

ARTHUR (CONT’D)This is my girl, Renna Whitley.

Renna smiles coyly.

RENNAArthur tells me you have something called a... Gascock Junior?

FARRELLHell, I don’t know what it’s called. It’s big and green and says Coca-Cola on the side.

Arthur chuckles.

ARTHURFrom what you’ve told me, it sounds like a 1930 Glascock Junior Coca-Cola Cooler. Glascock was the first manufacturer officially approved to make coolers for Coke.

FARRELLThat sounds nice an’ fancy, but what’s it worth?

90.

Arthur looks around at the items covering the yard.

ARTHURYou help me find it, and I’ll let you know.

Out of nowhere, Farrell yells.

FARRELLFELTON!

Arthur and Renna shoot glances at each other.

They look around.

Running footsteps in the distance.

From behind the trailer runs FELTON FARLEY (12), a husky boy in denim overalls, pushing a wheelchair.

ARTHUR(to Farrell)

I’m... I didn’t know...

Farrell cackles.

FARRELLYou’re an expert at analyzin’, but you can’t even see what’s right in front of you.

Renna coughs.

Arthur looks over.

ARTHURYou okay, Ren?

Renna nods.

RENNAAn itchy throat, is all.

Felton arrives with the wheelchair, helps Farrell into it.

He settles in. Felton hands him a cold beer.

FARRELLThanks, son. Now run do your homework.

Felton runs to the old trailer, goes inside.

91.

RENNAHe seems like a nice boy.

FARRELLFelton’s great. Keeps to himself, mostly. Never gives me any trouble, unlike his sister... But, she’s down in Florida with her mom, now. Let her handle that can of worms.

Farrell cackles.

FARRELL (CONT’D)Let’s find that cooler.

EXT. FARRELL FARLEY’S WAREHOUSE - MOMENTS LATER

They stand in front of a small warehouse behind the trailer.

Arthur opens the door for Farrell, who wheels inside. Arthur and Renna follow.

Arthur’s jaw hangs agape as he surveys the place. Various vintage signs drape the walls, old bottles and jars stacked carefully along floor, boxes piled halfway to the ceiling.

A well-defined trail weaves through the mess.

RENNA(to Arthur)

Your kind of place, huh?

FARRELLYeah, this is mostly my daddy’s old stuff. He was a bit of a hoarder.

ARTHURWell, you don’t just throw this type of stuff away.

They slowly make their way toward the back. Every few feet, Arthur finds something to fawn over.

He admires an old barber shop sign.

ARTHUR (CONT’D)Beautiful craftsmanship. Real porcelain.

Further up, Indian figurines catch his eye. His eyes light up.

92.

ARTHUR (CONT’D)We had some just like this at the shop when I was a child.

Farrell calls out from further into the warehouse.

FARRELLFound it! It’s really, really dusty.

Arthur’s eyes remain on the figurines.

ARTHURWhat? Oh, would you grab a microfiber cloth from the drawer under the bed, Ren?

Renna opens her mouth to protest.

She watches Arthur gently handle the toys.

She turns and walks out.

EXT. ARTHUR’S RV - MOMENTS LATER

Renna approaches the RV.

The sunset stains the sky.

She enters through the side door.

The sunlight dances off the dust in the air.

Renna softly kneels before the bed.

There are two drawers. She looks back and forth at them.

She reaches for the right drawer. Hesitates. Opens the left drawer.

A ragged notebook sits next to a pen.

INT. FARRELL FARLEY’S WAREHOUSE - MOMENTS LATER

Renna walks through the door holding a microfiber cloth.

Arthur, wearing an old cowboy hat, turns to her. He grins.

ARTHURHow do I look?

Renna forces a smile.

93.

RENNAI hardly even recognize you.

She slowly walks to him, hands him the cloth. Steps back a little.

ARTHURMuch obliged, little lady.

Arthur walks over to Farrell and the cooler with the hat on.

INT. ARTHUR’S RV - LATER

Arthur and Renna wave to Farrell and Felton as they pull away. The freshly-polished cooler sits between them.

ARTHURFive-hundred. What a price. I can sell it for twice that!

Renna sits arms crossed, uncomfortably.

RENNAYou don’t think you should’ve given him more?

ARTHURI gave him a hundred more than he asked for. And he threw in the hat! We both win.

Arthur slips the hat on his head.

ARTHUR (CONT’D)Now that it’s twilight, the most romantic time of the day, is there anything you’d like to do?

Renna looks away.

RENNAI don’t feel so good, actually. I’d like to head straight home, if we could.

Arthur’s face droops. He takes off the hat.

ARTHURWhat’s wrong, Ren?

She stares out the window.

94.

RENNAMy stomach is acting up a bit. I just need to get back in my own bed and rest it off.

ARTHURIt’s a long drive...

RENNAI can help if you need me to. I won’t be sleeping, anyway.

ARTHURNo. No, that’s fine. I can take care of it. Would you like me to stop and get you a book, or something?

Renna shakes her head.

ARTHUR (CONT’D)If you need anything, just let me know.

Renna curls up in the seat.

Arthur leans forward to turn on the radio.

A soft static emits from the speakers.

He turns up the volume. The static grows.

Arthur turns a knob to change the station.

More static.

Another station.

White noise.

He switches to FM radio.

Heavy, buzzing static.

He turns the knob rapidly. Nothing but static.

ARTHUR (CONT’D)Something happen to the antenna?

EXT. RENNA’S HOUSE - NIGHT

Arthur backs the RV up to Renna’s porch.

95.

He looks over. Renna sleeps facing away from him.

Arthur quietly opens the door, steps outside.

He walks away from the RV, turns around.

The antenna sits atop the vehicle, nothing visibly wrong.

Arthur stares at it.

The sound of a door closing.

ARTHURRen?

Arthur walks around the front of the RV.

The passenger door is open. Renna’s seat is empty.

He looks toward the house.

A light turns on upstairs.

Arthur furrows his brow, stares.

He gets back into the RV.

INT. WAFFLE HOUSE - AFTERNOON

Teddy and Arthur sit at their usual table drinking coffee.

ARTHURSo then she said she would take care of it all, as long as I “played my part.”

Teddy shakes his head.

TEDDYWell, there’s your mistake. She’s probably upset that she had to take the initiative. You have to be the man with the plan.

Arthur frowns.

ARTHURI’m just no good at romance. Lack of experience.

Charlotte calls out from back at the grill.

96.

CHARLOTTEYou need some practice, you let me know.

Jill’s face scrunches in disgust.

Arthur laughs weakly.

ARTHURI wouldn’t be worrying so much if it wasn’t so long since I got a hold of her. Ken called me today saying she hasn’t showed up for a few days now.

TEDDYWomen do tend to get emotional over things like this.

Arthur stares down, mocks Ken’s uptight voice.

ARTHUR“People want their smoothies, Arthur. People need their smoothies!”

Teddy laughs. Arthur looks up at him.

TEDDYSorry. Good impression.

ARTHURHe sounded almost desperate enough to call Julie back.

JILL(to Arthur)

Women are easy to deal with. Just give her what she wants.

Marge walks over holding a pot of coffee.

MARGEShe’s right. It’s never too late to make amends.

Arthur ponders. He obliviously blocks her access to his cup with his arm. She waits.

MARGE (CONT’D)Are you going to move your arm, or is that where you want your coffee?

97.

INT. ARTHUR’S HOUSE - EVENING

Arthur sits at a table, reading the yellow pages.

A paper covered in scrawled notes sits next to his cell phone.

The phone book is opened to restaurants.

Arthur puts his finger to the paper, follows with it as he reads.

The cell phone rings abruptly.

Arthur picks it up. It says Renna.

He answers.

ARTHURRen?

Renna speaks softly, as if she’s been crying.

RENNAHello, Arthur.

ARTHURWhat’s going on, Renna? You haven’t responded to me in days. Ken says you haven’t been to work.

RENNAI want to tell you something, Arthur.

ARTHUROf course, anything. Go ahead.

RENNAI didn’t get the pendant I wear from a garage sale.

Arthur stays quiet. His eyes narrow.

RENNA (CONT’D)I’ve always been an optimistic person. Even though my momma died giving birth to me. Even after my daddy died showing me how to use a tractor. I moved to Michigan and started over. As a farmer. Creating life.

She pauses. Arthur listens intently.

98.

RENNA (CONT’D)Things started to fall into place. I got a job at a local market. I even met someone. Someone special. He fit me like a puzzle piece. Then one day when I came home, I found him dead on the floor, his glazed eyes boring into mine.

Arthur’s eyes widen. The phone shakes in his hand.

She sobs softly.

RENNA (CONT’D)Next to him sat this... thing. This necklace. As if it was some sort of sick consolation prize. That’s when I knew.

Arthur’s voice quivers.

ARTHURYou knew what?

RENNAThat I was wrong. There’s no reason to hope for the best. No matter how good you are, life will beat it out of you. We all get what’s coming, whether we deserve it or not.

A pause.

ARTHURYou did not deserve that. Let me make all this up to you, Ren. Tomorrow night. I have it all planned out.

Silence on the other end. He shakily continues.

ARTHUR (CONT’D)Dinner, a movie, a walk down by the pier. It will be lovely.

The emotion drains out of Renna’s voice.

RENNAAll right.

He lights up.

99.

ARTHURGreat! Meet me at Redmond’s, seven o’clock?

RENNAGoodbye, Arthur.

ARTHURI love...

She hangs up before he can finish. Arthur looks at the phone for a moment.

He sets it down. Closes the phone book. Sighs heavily.

EXT. RENNA’S FARM - MORNING

Renna stands on her porch. Squints at the sunrise.

She walks forward.

EXT. ARTHUR’S HOUSE - MORNING

Arthur opens the front door. The sunrise greets him.

He walks forward.

INTERCUT BETWEEN RENNA AND ARTHUR

Past Renna’s driveway, healthy produce grows in rows.

The sprinklers kick on, showering the plants.

She walks forward.

Arthur heads to the RV in the driveway.

He pulls out his keys, opens the passenger door.

To Renna’s left, rows of lettuce surround peas and beans. To her right, tall rows of corn. She sticks her hand out, touches the corn as she walks by.

Arthur stares into the RV. With the shades closed, it’s dark inside.

He steps in, kneels onto the bed. Lifts the shades as light streams in.

Renna smiles, walks forward as her outfit becomes increasingly soaked.

100.

Arthur turns around on the bed, sits.

He stares at the closet across from him.

Renna approaches a small thicket of apple trees in the back of the field.

Arthur moves to the closet. He opens it.

Jackets, shoes, a walking cane.

Renna reaches for an apple, plucks it.

Arthur reaches for the cane, grabs it.

Renna gingerly lowers herself, sits where she and Lorraine conversed earlier.

She holds the apple up, admires it.

Arthur steps back to the bed, sits on it.

He holds the cane up, stares at it.

Renna takes a big bite of the apple, savors it.

Arthur stands, goes to the driver’s seat.

He puts in the keys, turns the RV on. Hops out of the RV with the cane.

He walks in front of it. Sets the cane in front of the tire.

Renna leans back, relaxes. She takes another bite.

Arthur gets back into the driver’s seat. He rolls the RV forward.

A crunch, then glass shattering.

He rolls back over it, then puts it in park.

An uneasy chuckle escapes Arthur’s lips.

INT. MEN’S WAREHOUSE - DAY

Arthur is measured by an male employee.

ARTHURI need something snazzy, but casual.

101.

EMPLOYEEI’m not sure any of our products qualify as “snazzy”, but I’ll see what I can do.

He finishes up measuring.

EMPLOYEE (CONT’D)It looks like you’re about a forty-eight long. Were you ever in the military, Mr. Lomax?

Arthur’s caught off-guard.

ARTHURI was, actually. Vietnam.

The employee is smugly satisfied, he speaks quickly.

EMPLOYEEI thought so. You have the build for it. Oh, and thank you for your service. Now let’s go check out our options.

He walks away briskly. Arthur follows.

INT. ARTHUR’S TRUCK - LATER

Arthur drives. A suit hangs from the handle above the passenger window.

He holds his cell phone up to his ear. The host answers.

HOSTRedmond’s.

ARTHURYes, hi. I’d like to make a reservation for two at seven p.m. please. The name is Lomax.

HOSTWe do take reservations, sir, but this time of the year we’re empty. I’d say you’re safe without one.

ARTHURThat’s good to hear. I have to do it, though. For the romance.

102.

HOSTAh, yes. Seven p.m. for a Mr. Lomax. Thank you for calling, sir.

Arthur closes the phone, grins.

INT. RENNA’S BEDROOM - AFTERNOON

Renna comes out of the bathroom wearing a white dress. Her hair is fancily styled.

She examines herself in a mirror.

RENNAOh, Lord, no.

Three other outfits lie on her bed. She walks to them.

The left-most dress has a floral pattern. She heads into the bathroom with it.

Shortly after, she walks back out. Heads over to the mirror.

The floral dress hugs her body tightly.

RENNA (CONT’D)When did I gain all this?

She walks back over to the bed.

The middle dress is ruffled, a maroon color. She snatches it up, goes to try it on.

When she comes back, she stands in front of the mirror.

The dress fits her perfectly.

Renna stands in front of the mirror. She confronts herself, stares deeply.

Tears slowly flood her eyes. She bites her lip.

As she walks over to the bed, she chokes up. Drops stream from her eyes.

Renna breaks down, drops to her knees in front of the bed.

She buries her face in the sheets, soaking them.

103.

EXT. REDMOND’S - EVENING

Arthur’s truck pulls into a parking spot. The lot is more empty than full.

He turns the truck off, gets out. He wears a sharp suit.

Arthur looks around for Renna’s truck.

It’s nowhere in sight.

Arthur walks up to the entrance as he dials Renna on his phone.

He leans against a pillar as the phone rings.

It goes to voice mail.

Arthur’s brows furrow slightly.

After the beep, he speaks.

ARTHURHey, Ren. I just got here. I’m early, I know. I guess I’m going to go get our table. I’ll see you inside. Bye, hun.

Arthur pockets the phone, walks inside.

The host stands behind a lectern. Arthur approaches him.

ARTHUR (CONT’D)Hi, I have a reservation for Lomax.

The host’s eyes brighten.

HOSTAh, Mr. Lomax. How are you this evening?

ARTHURI am well, thanks.

HOSTLet me take you to your table.

He grabs two menus and walks off. Arthur follows.

Arthur is seated in an isolated back corner. The flame of a lit candle dances on the table.

104.

HOST (CONT’D)The waiter will be around shortly. Enjoy your meal, sir.

ARTHURThank you.

INT. REDMOND’S - LATER

Arthur watches the door as it opens.

A woman that resembles Renna enters. Arthur begins to stand, when a man follows her in the door. She turns, looks nothing like Renna.

Arthur checks his phone. The time reads 7:23.

He opens it up, re-dials Renna. It goes to voice mail again.

ARTHURRen, this is kind of embarrassing. What’s taking you so long? Are you still mad? Let me know, please.

He hangs up.

The waiter approaches, refills his water.

WAITERCan I get you anything yet, sir?

ARTHURNo, thanks. I’m still waiting on someone.

EXT. REDMOND’S - LATER

The sun sets as Arthur walks out of Redmond’s. He opens his phone. The time reads 8:15.

He calls her again as he gets in the truck. It goes to voice mail again.

ARTHURI’m coming over. I know it’s late, but we need to talk. I don’t understand why you’re acting like this. You could’ve just said no if you didn’t want to go.

He closes the phone hard, starts the engine.

105.

EXT. RENNA’S FARM - NIGHT

Arthur’s truck pulls up to the porch. He turns the truck off.

He ascends the steps to the porch.

Arthur knocks on the door.

He waits. Nothing.

He knocks again, harder.

Nothing.

He calls out.

ARTHURRenna!

Nothing.

Exasperated, he starts slowly down the steps.

He stops. Looks back at the door.

He walks up to it. Tries the handle. It’s open.

Arthur peeks inside. It’s completely dark. He steps inside, switches on the light.

It illuminates a long hall. He slowly walks it.

At the other end, two rooms. Unpacked boxes are lined up along the walls.

To his right, a screen porch.

In it, the figure of a woman sits motionless on a sofa.

Arthur slowly walks toward the door.

He opens it softly as he peers inside.

ARTHUR (CONT’D)Ren?

She is still.

He walks out, flicks on the porch light.

Renna’s face droops. A pink foam trails down her chin and her maroon dress. Her eyelids flutter weakly.

On the floor, an empty bottle of pills.

106.

ARTHUR (CONT’D)No!

He rushes over to her, pulls out his phone. Dials 911.

OPERATORNine-one-one, what is your emergency?

ARTHURI’ve got an attempted suicide on pills at three-one-four-three Oak Street in Dowagiac. Hurry!

He slams the phone closed.

Arthur shakes Renna lightly.

ARTHUR (CONT’D)Renna! You have to wake up.

Her head lolls to the side. He slaps her cheek lightly a few times.

ARTHUR (CONT’D)Why, Renna? Why did you do this?

Her eyes flutter open, look around weakly.

RENNAArthur...

Arthur holds her head in his hands.

ARTHURRen, I’m here. I called the ambulance, they’re on their way.

Her eyes close for a few moments, then open.

RENNAI know, Arthur.

ARTHURGood. Then if you can just hold on...

She interrupts him with a raspy whisper.

RENNAI know what you are.

Arthur looks confused.

107.

ARTHURWhat I am?

A realization. His jaw drops.

ARTHUR (CONT’D)What? How?

Her eyes close again, her head falls to the side.

Arthur shakes her awake again.

ARTHUR (CONT’D)Ren, I know I’ve done some bad stuff in my past. I tried fighting it, I did. I thought there was nothing I could do. But then I found you. You were my way out!

RENNAAnd you showed me mine.

A siren blares faintly in the distance.

Arthur looks in the direction of the sound.

Renna passes out again.

ARTHURJust stay with me, hun. We’re almost there.

Something falls out of Renna’s hand.

Arthur looks down.

The pendant.

He stuffs it in his pocket, then reaches under Renna. He picks her up.

Arthur walks quickly through the house with Renna in his arms.

As he walks through the open front door, the ambulance pulls up.

The paramedics jump out with a stretcher. Two of them grab Renna from Arthur, lay her down gently. They wheel her into the back of the ambulance

One of them calls out to Arthur.

108.

PARAMEDICDowagiac General!

The ambulance rushes away.

Arthur stands in front of the house. The fading ambulance lights bathe the scene in red.

As it pulls away, Arthur stands in the darkness in shock.

EXT. CHURCH - MORNING

An overcast day. A light rain falls.

Arthur’s truck pulls up to the church. He gets out.

Arthur wears his only suit.

The lot is empty but for a few cars.

He walks up to the doors.

A sign in front of the church reads “Renna Whitley Funeral.”

Arthur steps inside.

INT. CHURCH - MOMENTS LATER

Arthur walks past Renna’s open casket.

He takes the podium.

Lorraine and Julie sit teary-eyed in the front row. A few random people dot the pews. A priest stands at the back.

ARTHURA person’s career says a lot about who they are. Especially when the word career inadequately describes what they do.

Arthur looks up at the mourners. Over at Renna’s face in the casket.

He takes a breath.

ARTHUR (CONT’D)Renna Whitley was a farmer. She helped things grow. That’s just who she was. She brought things to life.

109.

Lorraine’s tears flow fresh.

ARTHUR (CONT’D)Life. It’s what I’ve been missing the whole time. I deal with the dead, dusty relics of people and times gone by. Renna Whitley brought me to life. I’m only sorry I couldn’t do the same for her.

INT. ARTHUR’S GARAGE - LATER

Arthur stands in his antiques trailer.

One cabinet at the back remains empty, open.

He pulls the Club pendant out of his pocket.

Arthur hangs the pendant on a hook in the cabinet. It dangles perfectly, just above the bottom.

INT. GERTIE HARRIS’ HOUSE - MORNING

A radio plays an old big band song faintly.

Gertie (82) hums along with it as she walks into the room.

She grabs a feather duster, begins working on a coffee table in front of the sofa.

She continues humming as she walks back into the next room.

A KNOCKING on her door.

Gertie walks back holding an ornate, old music box. She sets it down on the table gently. Heads for the door.

Gertie opens the door slowly.

Arthur stands on her doorstep, a cane in his hand, a grin on his face.

GERTIEAre you the man from Arthur’s Arts?

ARTHURArthur Lomax. Nice to meet you, Gertie.

FADE OUT.

110.